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TOUCH. For my part, I had rather bear with you, than bear you: yet I fhould bear no cross,3 if I did bear you; for, I think, you have no money in your purse.

Ros. Well, this is the foreft of Arden.

TOUCH. Ay, now am I in Arden: the more fool I; when I was at home, I was in a better place; but travellers must be content.

Ros. Ay, be fo, good Touchftone:-Look you, who comes here; a young man, and an old, in folemn talk.


COR. That is the way to make her fcorn you ftill. SIL. O Corin, that thou knew'ft how I do love her!

COR. I partly guefs; for I have lov'd ere now. SIL. No, Corin, being old, thou canst not guess; Though in thy youth thou waft as true a lover As ever figh'd upon a midnight pillow: But if thy love were ever like to mine, (As fure I think did never man love fo,) How many actions moft ridiculous Haft thou been drawn to by thy fantasy?


COR. Into a thousand that I have forgotten.
SIL. O, thou didst then ne'er love fo heartily:

-I had rather bear with you, than bear you :] This jingle is repeated in King Richard III:

"You mean to bear me, not to bear with me.”


3 ・yet Ifhould bear no crofs,] A cross was a piece of money ftamped with a crofs. On this our author is perpetually quibbling. STEEVENS.

If thou remember'ft not the flightest folly4
That ever love did make thee run into,
Thou haft not lov'd:

Or if thou haft not fat as I do now,
Wearying thy hearer5 in thy mistress' praise,
Thou haft not lov'd:

Or if thou haft not broke from company,
Abruptly, as my paffion now makes me,
Thou haft not lov'd: O Phebe, Phebe, Phebe!

Ros. Alas, poor fhepherd! fearching of thy


I have by hard adventure found mine own.

TOUCH. And I mine: I remember, when I was in love, I broke my fword upon a ftone, and bid him take that for coming anight' to Jane Smile:

4 If thou remember'ft not the flighteft folly-] I am inclined to believe that from this passage Suckling took the hint of his Tong:

"Honeft lover, whofoever,

"If in all thy love there ever

"Was one wav'ring thought, if thy flame
"Were not still even, ftill the fame.

"Know this,

"Thou lov'ft amifs,

"And to love true,

"Thou must begin again, and love anew," &c.


5 Wearying thy hearer-] The old copy has-wearing. Corrected by the editor of the fecond folio. I am not fure that the emendation is neceffary, though it has been adopted by all the editors. MALONE.

6of thy wound,] The old copy has-they would. The latter word was corrected by the editor of the fecond folio, the other by Mr. Rowe. MALONE.

7 anight-] Thus the old copy. Anight, is in the night. The word is ufed by Chaucer, in The Legende of good Women. Our modern editors read, o'nights, or o'night. STEEVENS.

and I remember the kiffing of her batlet, and the cow's dugs that her pretty chop'd hands had milk'd: and I remember the wooing of a peafcod inftead of her; from whom I took two cods, and, giving her them again, faid with weeping tears,' Wear thefe


batlet,] The inftrument with which washers beat their coarse clothes. JOHNSON.

Old copy-batler. Corrected in the fecond folio. MALONE. 9 two cods,] For cods it would be more like fenfe to read-peas, which having the fhape of pearls, resembled the common prefents of lovers.. JOHNSON.

In a schedule of jewels in the 15th Vol. of Rymer's Foedera, we find, "Item, two peafcoddes of gold with 17 pearles."


Peafcods was the ancient term for peas as they are brought to market. So, in Greene's Groundwork of Cony-catching, 1592:

-went twice in the week to London, either with fruit or pefcods," &c. Again, in The Shepherd's Stumber, a fong publifhed in England's Helicon, 1600:

"In pefcod time when hound to horne
"Gives ear till buck be kill'd," &c.

Again, in The honeft Man's Fortune, by Beaumont and Fletcher: "Shall feed on delicates, the firft peafcods, ftrawberries."


In the following paffage, however, Touchftone's prefent certainly fignifies not the pea but the pod, and fo, I believe, the word is used here: "He [Richard II.] alfo ufed a peafcod branch with the cods open, but the peas out, as it is upon his robe in his monument at Westminster." Camden's Remains, 1614. Here we fee the cods and not the peas were worn. Why Shakspeare ufed the former word rather than pods, which appears to have had the fame meaning, is obvious. MALONE.

The peafcod certainly means the whole of the pea as it hangs upon the ftalk. It was formerly ufed as an ornament in drefs, and was reprefented with the fhell open exhibiting the peas. The paffage cited from Rymer, by Dr. Farmer, fhows that the peas were fometimes made of pearls, and rather overturns Dr. Johnfon's conjecture, who probably imagined that Touchftone took the cods from the peafcods, and not from his mistress. Douce.

Iweeping tears,] A ridiculous expreffion from a fonnet in Lodge's Rofalynd, the novel on which this comedy is founded.

for my fake. We, that are true lovers, run into ftrange capers; but as all is mortal in nature, fo is all nature in love mortal in folly.2

Ros. Thou speak'ft wifer, than thou art 'ware of. TOUCH. Nay, I fhall ne'er be 'ware of mine own wit, till I break my fhins against it.

Ros. Jove! Jove! this fhepherd's paffion
Is much upon my fashion.

TOUCH. And mine; but it grows fomething ftale
with me.

CEL. I pray you, one of you queftion yond man, If he for gold will give us any food;

I faint almoft to death.

TOUCH. Holla; you, clown!

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COR. And to you, gentle fir, and to you all.

It likewise occurs in the old anonymous play of The Victories of King Henry V. in Peele's Jefts, &c. STEEVENs.


The fame expreffion occurs alfo in Lodge's Doraftus and Fawnia, on which The Winter's Tale is founded. MALONE. fo is all nature in love mortal in folly.] This expreffion I do not well understand. In the middle counties, mortal, from mort, a great quantity, is used as a particle of amplification; as mortal tall, mortal little. Of this fenfe I believe Shakspeare takes advantage to produce one of his darling equivocations. Thus the meaning will be, fo is all nature in love abounding in folly. JOHNSON.

3 to you, friend.] The old copy reads-to your friend. Corrected by the editor of the fecond folio. MALONE.

Ros. I pr'ythee, fhepherd, if that love, or gold, Can in this defert place buy entertainment, Bring us where we may reft ourselves, and feed: Here's a young maid with travel much oppress'd, And faints for fuccour.


Fair fir, I pity her,
And with for her fake, more than for mine own,
My fortunes were more able to relieve her :
But I am fhepherd to another man,
And do not sheer the fleeces that I
My mafter is of churlifh difpofition,
And little recks 4 to find the way to heaven
By doing deeds of hofpitality:


Befides, his cote, his flocks, and bounds of feed,
Are now on fale, and at our fheepcote now,
By reafon of his abfence, there is nothing
That you will feed on; but what is, come fee,
And in my voice most welcome shall you be.5

Ros. What is he that fhall buy his flock and pafture?

COR. That young fwain that you faw here but erewhile,

That little cares for buying any thing.

Ros. I pray thee, if it ftand with honefty, Buy thou the cottage, pasture, and the flock, And thou fhalt have to pay for it of us.

CEL. And we will mend thy wages: I like this place,

And willingly could waste my time in it.


And little recks-] i. e. heeds, cares for. So, in Hamlet: "And recks not his own rede." STEEVENS.

5 And in my voice most welcome hall you be,] In my voice, as far as I have a voice or vote, as far as I have power to bid you welcome. JOHNSON.

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