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Enter Orlando and Jaques. Cel. You bring me out:-Soft!comes he not here? Ros. 'Tis he; Slink by, and note him.

[Celia and RoSALIND retire. 7AQ. I thank you for your company; but, good faith, I had as lief have been myself alone.

Orl. And so had I; but yet, for fashion fake, I thank you too for your society. JAQ. God be with you ; let's meet as little as we

can. Orl. I do desire we may be better strangers.

JAQ. I pray you, mar no more trees with writing love-songs in their barks.

Orl. I pray you, mar no more of my verses with reading them ill-favouredly.

JAQ. Rosalind is your love's name?
Orl. Yes, just.
JAQ: I do not like her name.

Orl. There was no thought of pleasing you, when she was christen’d.

JAQ. What stature is she of?
Orl. Just as high as my heart.

FAQ. You are full of pretty answers: Have you not been acquainted with goldsmiths' wives, and conn'd them out of rings?

Orl. Not so; but I answer you right painted cloth, from whence you have studied your questions.

but I answer you right painted cloth,] This alludes to the fashion in old tapestry hangings, of mottoes and moral sentences from the mouths of the figures worked or painted in them. The poet again hints at this custom in his poem, called, Tarquin and Lacrece:

Who fears a sentence, or an old man's faw,
- Shall by a painted cloth be kept in awe.” THEODALD.

ZAQ. You have a nimble wit; I think it was made of Atalanta's heels. Will you sit down with

So, in Barnaby Riche's Soldier's Wifbe to Britons welfare, or Captaine Skill and Captaine Pill, &c. 1604, p. 1: “ It is enough for him that can but robbe a painted cloth of a historie, a booke of a discourse, a foole of a fashion,” &c.

The same allusion is common to many of our old plays. So, in The Two Angry Women of Abington, 1599: “ Now will I see if my memory will serve for some proverbs. O, a painted cloth were as well worth a shilling, as a thief is worth a halter." Again, in A Match at Midnight, 1633:

- There's a witty posy for you.
“ – No, no; I'll have one shall savour of a faw.

• Why then 'twill smell of the painted cloth.Again, in The Muses' Looking Glass, by Randolph, 1638:

" - I have seen in Mother Redcap's hall

“ In painted cloth, the story of the prodigal." From this last quotation we may suppose that the rooms in publick houses were usually hung with what Falstaff calls water-work. On these hangings perhaps moral sentences were depicted as issuing from the mouths of the different characters represented.

Again, in Sir Thomas More's English Works, printed by Rastell, 1557: “ Mayster Thomas More in hys youth devysed in hys father's house in London, a goodly hangyng of fyne paynted clothe, with nine pageauntes, and verses over every of those pageauntes; which verses expressed and declared what the ymages in those pageauntes represented: and also in those pageauntes were paynted the thynges that the verses over them dyd (in effecte) declare." Of the present phraseology there is an instance in King John: “ He speaks plain cannon-fire, and bounce, and smoke."

STEEVENS. I answer you right painted cloth, may mean, I give you a true painted cloth; answer; as we say, she talks right Billing/gate : that is, exactly such language as is used at Billingsgate. Johnson.

This fingular phrase may be justified by another of the same kind in K. Henry V:

“ I speak to thee plain foldier.Again, in Twelfth Night:

“ He speaks nothing but madman." There is no need of Sir T. Hanmer's alteration: “I anfwer you right in the stile of painted cloth.” We had before in this play, • It is the right butter-woman's rate to market.” So, in Golding's translation of Ovid, 15673

“ the look of it was right a maiden's look."

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me? and we two will rail against our mistress the world, and all our misery.

Orl. I will chide no breather in the world, but myself; against whom I know most faults.

JAQ. The worst fault you have, is to be in love.

Orl. 'Tis a fault I will not change for your best virtue. I am weary of you.

JAQ. By my troth, I was seeking for a fool, when I found you.

Orl. He is drown'd in the brook; look but in, and you shall see him.

JAQ. There I shall see mine own figure.
ORL. Which I take to be either a fool, ora cypher.

JAQ. I'll tarry no longer with you: farewell, good fignior love.

I suppose Orlando means to say, that Jaques's questions have no more of novelty or shrewdness in them than the trite maxims of the painted cloth. The following lines which are found in a book with this fantastick title,--No whipping nor tripping, but a kind friendly snipping, octavo, 1601, may serve as a specimen of painted cloth language:

« Read what is written on the painted cloth:
“ Do no man wrong; be good unto the poor;
" Beware the mouse, the maggot and the moth,
“ And ever have an eye unto the door;
« Trust not a fool, a villain, nor a whore;
Go neat, not gay, and spend but as you spare;

“ And turn the cult to pasture with the mare;' &c.
That moral sentences were wrought in these painted cloths, is
afcertained by the following passage in A Dialogue both pleafaunt
and pitifull, &c. by Dr. Willyam Bulleyne, 1564, (signat. H 5.)
which has been already quoted: “ This is a comelie parlour,
and faire clothes, with pleasaunte borders aboute the same, with
many wise sayings painted upon them.” Malone.
s-no breather in the world,] So, in our author's 81st Sonnet:

“ When all the breathers of this world are dead."
Again, in Antony and Cleopatra:

“ She shows a body, rather than a life; .
A ftatue, than a breather." MALONE,

Orl. I am glad of your departure; adieu, good monsieur melancholy. [Exit JAQUES.—Celia and ROSALIND come forward.

Ros. I will speak to him like a saucy lacquey, and under that habit play the knave with him.Do you hear, forester?

Orl. Very well; What would you?
Ros. I pray you, what is’t a clock? ,

Orl. You should ask me, what time o’day; there's no clock in the forest.

Ros. Then there is no true lover in the forest; else sighing every minute, and groaning every hour, would detect the lazy foot of time, as well as a clock.

Orl. And why not the swift foot of time? had not that been as proper?

Ros. By no means, sir: Time travels in divers paces with divers persons : I'll tell you who time ambles withal, who time trots withal, who time gallops withal, and who he stands still withal.

Orl. I pr’ythee, who doth he trot withal ?

Ros. Marry, he trots hard with a young maid, between the contract of her marriage, and the day it is solemnized : if the interim be but a se'nnight, time's pace is so hard that it seems the length of seven years.

Orl. Who ambles time withal?

Ros. With a priest that lacks Latin, and a rich man that hath not the gout: for the one sleeps easily, because he cannot study; and the other lives merrily, because he feels no pain: the one lacking the burden of lean and wasteful learning; the other knowing no burden of heavy tedious penury: These time ambles withal.

6 Marry, he trots hard with a young maid, between the contract, &c.] And yet in Much ado about Nothing, our author tells us, Time goes on crutches, till love have all his rites.” In boch passages, however, the interim is equally represented as tedious.

MALONE.

ORL. Who doth he gallop withal ?

Ros. With a thief to the gallows: for though he go as softly as foot can fall, he thinks himself too soon there.

ORL. Who stays it still withal?

Ros. With lawyers in the vacation: for they Neep between term and term, and then they perceive not how time moves.

Orl. Where dwell you, pretty youth?

Ros. With this shepherdefs, my sister; here in the skirts of the forest, like fringe upon a petticoat.

Orl. Are you native of this place?

Ros. As the coney, that you see dwell where she is kindled.

ORL. Your accent is something finer than you could purchase in so removed + a dwelling.

Ros. I have been told so of many : but, indeed, an old religious uncle of mine taught me to speak, who was in his youth an in-land man;s one that

- removed -] i. e. remote, sequeftered. Reed. So, in A Midsummer Night's Dream, folio, 1623: “ From Athens is her house remov'd seven leagues."

Steevens. 5 - in-land man;] Is used in this play for one civilised, in opposition to the ruflick of the priest. So, Orlando before-" Yet am I inland bred, and know some nurture.” Johnson. See Marlowe's Hero and Leander, 1598:

“ His presence made the rudest peasant melt,

“ That in the vast uplandis countrie dwelt.” Vol. VI.

H

di kile priet. Play for one STERVEN

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