Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 2

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1.3Sc. 3Scena Tertius.

Enter Celia and [Rosalind].

Cel. Why Cosen, why [Rosalind]: Cupid haue mercie, Not a word?


Ros. Not one to throw at a dog.


Cel. No, thy words are too precious to be cast away vpon curs, throw 4some of them at me; come lame mee with reasons.


Ros. Then there were two Cosens laid vp, when the one should be 6lam'd with reasons, and the other mad without any.


Cel. But is all this for your Father?


Ros. No, some of it is for my childes Father: Oh how full of briers 9is this working day world.


Cel. They are but burs, Cosen, throwne vpon thee in holiday foolerie, if 11we walke not in the trodden paths our very petty-coates will catch them.


Ros. I could shake them off my coate, these burs are in my heart.


Cel. Hem them away.


Ros. I would try if I could cry hem, and haue him.


Cel. Come, come, wrastle with thy affections.


Ros. O they take the part of a better wrastler then my selfe.

Q5rCritical Apparatus Link 17

Cel. O, a good wish vpon you: you will trie in time

in dispight of a fall:

18but turning these iests out of seruice, let vs talke in good earnest: Is it 19possible on such a sodaine, you should fall into so strong a liking with 20old Sir Roulands yongest sonne?


Ros. The Duke my Father lou'd his Father deerelie.


Cel. Doth it therefore ensue that you should loue his Sonne deerelie? By 23this kinde of chase, I should hate him, for my father hated his father 24deerely; yet I hate not Orlando.


Ros. No faith, hate him not for my sake.


Cel. Why should I not? doth he not deserue well?

Enter Duke with Lords.
Critical Apparatus27

Ros. Let me loue him for that, and do you loue him because I doe. 28Looke, here comes the Duke.


Cel. With his eies full of anger.


Duk. Mistris, dispatch you with your safest haste,

31And get you from our Court.

Ros. Me Vncle.

Duk You Cosen,

pg 187532Within these ten daies if that thou beest found

33So neere our publike Court as twentie miles,

34Thou diest for it.

Ros. I doe beseech your Grace

35Let me the knowledge of my fault beare with me:

36If with my selfe I hold intelligence,

37Or haue acquaintance with mine owne desires,

38If that I doe not dreame, or be not franticke,

39(As I doe trust I am not) then deere Vncle,

40Neuer so much as in a thought vnborne,

41Did I offend your highnesse.

Duk. Thus doe all Traitors,

42If their purgation did consist in words,

43They are as innocent as grace it selfe;

44Let it suffice thee that I trust thee not.


Ros. Yet your mistrust cannot make me a Traitor;

Critical Apparatus46Tell me whereon the likelihoods depends?


Duk. Thou art thy Fathers daughter, there's enough.


Ros. So was I when your highnes took his Dukdome,

49So was I when your highnesse banisht him;

50Treason is not inherited my Lord,

51Or if we did deriue it from our friends,

52What's that to me, my Father was no Traitor,

53Then good my Leige, mistake me not so much,

54To thinke my pouertie is treacherous.


Cel. Deere Soueraigne heare me speake.


Duk. I Celia, we staid her for your sake,

57Else had she with her Father rang'd along.


Cel. I did not then intreat to haue her stay,

59It was your pleasure, and your owne remorse,

60I was too yong that time to value her,

61But now I know her: if she be a Traitor,

62Why so am I: we still haue slept together,

63Rose at an instant, learn'd, plaid, eate together,

64And wheresoere we went, like Iunos Swans,

65Still we went coupled and inseperable.


Duk. She is too subtile for thee, and her smoothnes;

Critical Apparatus67Her verie silence, and [her] patience,

68Speake to the people, and they pittie her:

69Thou art a foole, she robs thee of thy name,

70lAnd thou wilt show more bright, & seem more vertuous

Critical Apparatus71When she is gone: then open not thy lips,

72Firme, and irreuocable is my doombe,

73Which I haue past vpon her, she is banish'd.


Cel. Pronounce that sentence then on me my Leige,

75I cannot liue out of her companie.


Duk. You are a foole: you Neice prouide your selfe,

77If you out-stay the time, vpon mine honor,

78And in the greatnesse of my word you die.

Exit Duke, &c.
pg 1876 79

Cel. O my poore [Rosalind], whether wilt thou goe?

80Wilt thou change Fathers? I will giue thee mine:

81I charge thee be not thou more grieu'd then I am.


Ros. I haue more cause.

Cel. Thou hast not Cosen,

83Prethee be cheerefull; know'st thou not the Duke

84Hath banish'd me his daughter?

Ros. That he hath not.

Critical Apparatus85

Cel. No, hath not? [Rosalind] lacks [thou] then the loue

86Which teacheth thee that thou and I am one,

87Shall we be sundred? shall we part sweete girle?

88No, let my Father seeke another heire:

89Therefore deuise with me how we may flie

90Whether to goe, and what to beare with vs,

91And doe not seeke to take your change vpon you,

92To beare your griefes your selfe, and leaue me out:

93For by this heauen, now at our sorrowes pale;

94Say what thou canst, Ile goe along with thee.


Ros. Why, whether shall we goe?


Cel. To seeke my Vncle in the Forrest of Arden.


Ros. Alas, what danger will it be to vs,

98(Maides as we are) to trauell forth so farre?

99Beautie prouoketh theeues sooner then gold.


Cel. Ile put my selfe in poore and meane attire,

101And with a kinde of vmber smirch my face,

102The like doe you, so shall we passe along,

103And neuer stir assailants.

Ros. Were it not better,

104Because that I am more then common tall,

105That I did suite me all points like a man,

106A gallant curtelax vpon my thigh,

107A bore-speare in my hand, and in my heart

108Lye there what hidden womans feare there will,

109Weele haue a swashing and a marshall outside,

110As manie other mannish cowards haue,

111That doe outface it with their semblances.


Cel. What shall I call thee when thou art a man?


Ros. Ile haue no worse a name then Ioues owne Page,

114And therefore looke you call me Ganimed.

Critical Apparatus115But what will you [be] call'd?


Cel. Something that hath a reference to my state:

117No longer Celia, but Aliena.


Ros. But Cosen, what if we assaid to steale

119The clownish Foole out of your Fathers Court:

120Would he not be a comfort to our trauaile?


Cel. Heele goe along ore the wide world with me,

122Leaue me alone to woe him; Let's away

pg 1877123And get our Iewels and our wealth together,

124Deuise the fittest time, and safest way

125To hide vs from pursuite that will be made

Critical Apparatus126After my flight: now goe [we in] content

127To libertie, and not to banishment.


Notes Settings


Critical Apparatus
1.3.17 trie jaggard; cry sisson. Sisson notes the potential graphical error, and posits 'cry in time' as a reference to pregnancy that would continue the bawdy punning of 'cry hem'. In context, however, 'trie' works better as a technical wrestling term (compare 1.1.94) while preserving a bawdy subtext.
Critical Apparatus
1.3.27–8 Let … Duke pope; 2 lines jaggard: you loue him|. The breaking of the line after 'him' (followed by spaces to fill the measure) and the capitalized 'Because' make the line appear like verse.
Critical Apparatus
1.3.46 likelihoods jaggard; likelihood allot. See 1.2.78.
Critical Apparatus
1.3.67 her allot; per jaggard. Perhaps erroneously anticipating 'patience', or else foul case error.
Critical Apparatus
1.3.71 lips, allot; ~^ jaggard. Dropped punctuation, or a scribe or compositor thought 'Firme' in the next line modified 'lips'.
Critical Apparatus
1.3.85 lacks thou then wells (Taylor) (= lack'st thou then); lacks then jaggard. Celia's mid-conversation shift to addressing Rosalind in the third person suggests error. Some try to rectify this by adopting theobald's emendation of 'thee' to 'me' in the next line. wells reads 'lacks' as a shortened form of 'lack'st 'and includes 'thou', omitted because of a possible eye-skip error, and reframing Celia's comment as a direct question to Rosalind.
Critical Apparatus
1.3.115 be allot; by jaggard Possible foul case error, or perhaps unconscious confusion with the phrase 'called by'.
Critical Apparatus
1.3.126 we in allot; in we jaggard. wells argues that retaining jaggard emphasizes 'goe in' at the expense of 'content to libertie', which thus 'sounds too limiting'. However, brissenden finds jaggard 'more theatrical', allowing 'a greater sense of movement', although there is no reason why allot cannot be staged with an emphasis on movement. Shakespeare does not appear to use 'in we' elsewhere to indicate two or more people simultaneously leaving, and jaggard is probably a simple transposition error.
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