William Shakespeare The Complete Works (37 plays, 160 sonnets and 5 Poetry Books With Active Table of Contents). William Shakespeare
Well, the gods give us joy!
Touch. Amen. A man may, if he were of a fearful heart, stagger in this attempt; for here we have no temple but the wood, no assembly but horn-beasts. But what though? Courage! As horns are odious, they are necessary. It is said, “Many a man knows no end of his goods.” Right! many a man has good horns, and knows no end of them. Well, that is the dowry of his wife, ’tis none of his own getting. Horns? even so. Poor men alone? No, no, the noblest deer hath them as huge as the rascal. Is the single man therefore bless’d? No, as a wall’d town is more worthier than a village, so is the forehead of a married man more honorable than the bare brow of a bachelor; and by how much defense is better than no skill, by so much is a horn more precious than to want.
Enter Sir Oliver Martext.
Here comes Sir Oliver. Sir Oliver Martext, you are well met. Will you dispatch us here under this tree, or shall we go with you to your chapel?
Sir Oli. Is there none here to give the woman?
Touch. I will not take her on gift of any man.
Sir Oli. Truly, she must be given, or the marriage is not lawful.
Jaq. [Discovering himself.] Proceed, proceed. I’ll give her.
Touch. Good even, good Master What-ye-call’t; how do you, sir? You are very well met. God ’ild you for your last company. I am very glad to see you. Even a toy in hand here, sir. Nay, pray be cover’d.
Jaq. Will you be married, motley?
Touch. As the ox hath his bow, sir, the horse his curb, and the falcon her bells, so man hath his desires; and as pigeons bill, so wedlock would be nibbling.
Jaq. And will you (being a man of your breeding) be married under a bush like a beggar? Get you to church, and have a good priest that can tell you what marriage is. This fellow will but join you together as they join wainscot; then one of you will prove a shrunk panel, and like green timber warp, warp.
Touch. [Aside.] I am not in the mind but I were better to be married of him than of another, for he is not like to marry me well; and not being well married, it will be a good excuse for me hereafter to leave my wife.
Jaq. Go thou with me, and let me counsel thee.
[Touch.]
Come, sweet Audrey,
We must be married, or we must live in bawdry.
Farewell, good Master Oliver: not
“O sweet Oliver,
O brave Oliver,
Leave me not behind thee;”
but
“Wind away,
Be gone, I say,
I will not to wedding with thee.”
[Exeunt Jaques, Touchstone, and Audrey.]
Sir Oli. ’Tis no matter; ne’er a fantastical knave of them all shall flout me out of my calling.
Exit.
¶
Scene IV
Enter Rosalind and Celia.
Ros. Never talk to me, I will weep.
Cel. Do, I prithee, but yet have the grace to consider that tears do not become a man.
Ros. But have I not cause to weep?
Cel. As good cause as one would desire, therefore weep.
Ros. His very hair is of the dissembling color.
Cel. Something browner than Judas’s. Marry, his kisses are Judas’s own children.
Ros. I’ faith, his hair is of a good color.
Cel. An excellent color. Your chestnut was ever the only color.
Ros. And his kissing is as full of sanctity as the touch of holy bread.
Cel. He hath bought a pair of cast lips of Diana. A nun of winter’s sisterhood kisses not more religiously, the very ice of chastity is in them.
Ros. But why did he swear he would come this morning, and comes not?
Cel. Nay certainly there is no truth in him.
Ros. Do you think so?
Cel. Yes, I think he is not a pick-purse nor a horse- but for his verity in love, I do think him as concave as a cover’d goblet or a worm-eaten nut.
Ros. Not true in love?
Cel. Yes, when he is in—but I think he is not in.
Ros. You have heard him swear downright he was.
Cel. ‘Was’ is not ‘is.’ Besides, the oath of [a] lover is no stronger than the word of a tapster; they are both the confirmer of false reckonings. He attends here in the forest on the Duke your father.
Ros. I met the Duke yesterday, and had much question with him. He ask’d me of what parentage I was. I told him of as good as he, so he laugh’d and let me go. But what talk we of fathers, when there is such a man as Orlando?
Cel. O, that’s a brave man! he writes brave verses, speaks brave words, swears brave oaths, and breaks them bravely, quite traverse, athwart the heart of his lover, as a puisne tilter, that spurs his horse but on one side, breaks his staff like a noble goose. But all’s brave that youth mounts and folly guides. Who comes here?
Enter Corin.
Cor.
Mistress and master, you have oft inquired
After the shepherd that complain’d of love,
Who you saw sitting by me on the turf,
Praising the proud disdainful shepherdess
That was his mistress.
Cel.
Well; and what of him?
Cor.
If you will see a pageant truly play’d
Between the pale complexion of true love
And the red glow of scorn and proud disdain,
Go hence a little, and I shall conduct you,
If you will mark it.
Ros.
O, come, let us remove,
The sight of lovers feedeth those in love.
Bring us to this sight, and you shall say
I’ll prove a busy actor in their play.
Exeunt.
¶
Scene V
Enter Silvius and Phebe.
Sil.
Sweet Phebe, do not scorn me, do not, Phebe;
Say that you love me not, but say not so
In bitterness. The common executioner,
Whose heart th’ accustom’d sight of death makes hard,
Falls not the axe upon the humbled neck
But