Prefents more woful pageants, than the scene
Wherein we play in.

Jaq. All the world's a Stage,

And all the men and women meerly Players;
They have their Exits and their entrances,
And one man in his time plays many parts:
His acts being feven ages. At first the infant,
Mewling and puking in the nurse's arms.

And then, the whining school-boy with his fatchel,
And shining morning-face, creeping like snail
Unwillingly to school. And then, the lover;
Sighing like furnace, with a woful ballad

Made to his miftrefs' eye-brow. Then a foldier:
Full of strange oaths, and bearded like the pard,
Jealous in honour, fudden, and quick in quarrel;
Seeking the bubble reputation

8

Even in the cannon's mouth. And then, the juftice
In fair round belly, with good capon lin❜d,
With eyes fevere, and beard of formal cut,
Full of wife faws and modern instances,
And fo he plays his part. The fixth age fhifts
Into the lean and flipper'd pantaloon,
With fpectacles on nofe, and pouch on fide;
His youthful hose well fav'd, a world too wide
For his fhrunk fhank; and his big manly voice,
Turning again toward childish treble, pipes

8 Full of wife faws and modern infances.] It is remarkable that Shakespear ufes modern in the double fenfe that the Greeks ufed xaivos, both for recens and abfurdus. WARBURTON. I am in doubt whether modern is in this place ufed for abfurd: the meaning feems to be, that the juftice is full of old fayings and late examples.

9 -The fixth age fhifts
Into the lean and flipper'd pan-
taloon.] There is a greater

beauty than appears at firft fight in this image. He is here comparing human life to a stage play, of feven acts, (which was по unufual divifion before our author's time.) The fixth he calls the lean and flipper'd pantaloon, alluding to that general character in the Italian comedy, called Il Pantalone; who is a thin emaciated old man in flippers; and well defigned, in that epithet, because Pantalóne is the only cha racter that acts in flippers. WARB.

And

And whistles in his found. Laft Scene of all,
That ends this ftrange eventful History,

Is fecond childishness, and meer oblivion,
Sans teeth, fans eyes, fans tafte, fans every thing.

SCENE X.

Enter Orlando, with Adam.

Duke Sen. Welcome. Set down your venerable burden, '

And let him feed.

Orla. I thank you moft for him.

Adam. So had you need,

I fcarce can speak to thank you for myself.

Duke Sen. Welcome, fall to: I will not trouble

you,

As yet to queftion you about your fortunes.

Give us fome musick; and, good cousin, fing.

Heigh bo! fing, beigh ho! unto the green bolly;
Moft friendship is feigning; most loving meer folly:
Then beigh bo, the boily!

This life is moft jolly.

Freeze, freeze, thou bitter sky,
That doft not bite fo nigh
As benefits forgot:
Tho' thou the waters warp.
Thy fting is not so sharp
As friend remembred not.
Heigh bo! fing, &c.

faithlefs courtiers. Without
doubt, Shak Spear wrote the line
thus,

Because thou art not SHEEN,

i. e. fmiling, fhining, like an ungrateful court-fervant, who flatters while he wounds, which was a very good reafon for giving the winter wind the preference. So in the Midsummer's Night's Dream,

Spangled far light SHEEN. and feveral other places. Chaucer ufes it in this fenfe,

Your blissful suster Lucina the

forgot to leave the reason, which is now wanting, Why the winter wind was to be preferred to man's ingratitude. WARBURTON.

I am afraid that no reader is fatisfied with Dr. Warburton's emendation, however vigorously enforced; and it is indeed enforced with more art than truth. Sheen, i. e. fmiling, fhining, That fheen fignifies fhining is easily proved, but when or where did it fignify smiling? yet smiling gives the fenfe neceffary in this place. Sir T. Hanmer's change is lefs uncouth, but too remote For my from the present text. part I question whether the original line is not loft, and this fubftituted merely to fill up the meafures and the rhyme. Yet even out of this line, by ftrong agitation, may fenfe be elicited, and fenfe not unfuitable to the

occafion. Thou winter wind, fays the Duke, thy rudeness gives the less pain, as thou art not feen, as thou art an enemy that doft not brave us with thy prefence, and whofe unkindness is therefore not aggravated by infult.

Duke

Duke Sen. If that you were the good Sir Rowland's
Son,

As you have whisper'd faithfully you were,
And as mine eye doth his effigies witness,
Most truly limn'd, and living in your face,
Be truly welcome hither. I'm the Duke,

That lov'd your Father. The refidue of your fortune
Go to my cave and tell me. Good old Man,

Thou art right welcome, as thy mafter is.

-Support him by the arm; give me your hand,
And let me all your fortunes understand.

[Exeunt.

ACT III.

SCENE I.

N°

The PALACE.

Enter Duke, Lords, and Oliver.

DUKE.

OT fee him fince?-Sir, Sir, that cannot be But were I not the better part made mercy, Ifhould not feek an abfent argument 3

Of my revenge, thee prefent: but look to it;
Find out thy brother, wherefoe'er he is;

Seek him with candle; bring him dead or living,
Within this twelvemonth; or turn thou no more
To feek a living in our territory.

Thy lands and all things that thou doft call thine,
Worth feizure, do we feize into our hands;
'Till thou canft quit thee by thy brother's mouth,
Of what we think against thee.

3 An abfent argument.] An argument is used for the contents of a book, thence Shakespeare con

fidered it as meaning the subject, and then used it for fubject in yet another sense.

Oli. Oh, that your highness knew my heart in this: I never lov'd my brother in my life.

Duke. More villain thou.

doors;

Well-Pufh him out of

And let my offices of fuch a nature

Make an Extent upon his house and lands:
Do this expediently, and turn him going.

Orla.

[Exeunt.

Hang there, my verfe, in witness of my

love;

And thou thrice-crowned Queen of night furvey, s
With thy chafte eye, from thy pale fphere above,
Thy huntress' name that my full life doth fway.
O Rofalind! these trees fhall be my books,
And in their barks my thoughts I'll character;
That every eye, which in this Foreft looks,
Shall fee thy virtue witness'd every where.
Run, run, Orlando, carve, on every tree,
The fair, the chafte, and unexpreffive She.

[Exit.

Cor. And how like you this fhepherd's life, Mr. Touchstone?

4 Expediently.] That is, expe- defs, and comprised in thefe meditiously. morial lines:

5 Thrice crowned Queen of night.] Alluding to the triple character of Proserpine, Cynthia, and Diana, given by fome Mythologifts to the fame God

Terret, luftrat, agit, Profer-
pina, Luna, Diana,
Ima, fuperna, feras, Sceptro,
fulgore, fagittis.
6 Unexpreffive, for inextreffible.