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with things dying, I with things new born. Here's a sight for thee; look thee, a bearing-clothfor a squire's child! Look thee here; take up, take up, boy; open't. So, let's see; It was told me, I should be rich by the fairies: this is some changeling:8_open't: What's within, boy?
Clo. You're a made old man;" if the sins of your youth are forgiven you, you're well to live. Gold! all gold ! .
Shep. This is fairy gold, boy, and 'twill prove SO : up with it, keep it close; home, home, the next way. We are lucky, boy; and to be so still, requires nothing but secrecy.--Let my sheep go :Come, good boy, the next way home.
Clo. Go you the next way with your findings; I'll go see if the bear be gone from the gentleman, and how much he hath eaten: they are never curst, but when they are hungry: if there be any of him left, I'll bury it.
Shep. That's a good deed: If thou may'st discern by that which is left of him, what he is, fetch me to the sight of him.
Clo. Marry, will l; and you shall help to put him i'the ground. .
Shep. 'Ï'is a lucky day, boy; and we'll do good deeds on't.
a bearing-cloth ] A bearing-cloth is the fine mantle or cloth with which a child is usually covered, when it is carried to the church to be baptized. Percy." ; : some changeling:] i. e. some child left behind by the fairies, in the room of one which they had stolen. 7. You're a' made old man;] i.'e. your fortune's made.
the next wuy.] i.e. the nearest way. 9 never cursţ,] Curst, signifies mischievous."
Enter Time, as Chorus.
and leave the growth untried Of that wide gap;] Our author attends more to his ideas than to his words. The growth of the wide gap, is somewhat irregular; but he means, the growth, or progression of the time which filled up the gap of the story between Perdita's birth and her sixteenth year. To leave this growth untried, is, to leave the passages of the intermediate years unnoted and uneramined. Untried is not, perhaps, the word which he would have chosen, but which his rhyme required. Johnson.
I now name to you; and with speed so pace
Enter POLIXENĘS and CAMILLO. Pol. I pray thee, good Camillo, be no more importunate : 'tis a sickness, denying thee any thing ; a death, to grant this.
Cam. It is fifteen years, 4 since I saw my country: though I have, for the most part, been aired abroad, I desire to lay my bones there. Besides, the penitent king, my master, hath sent for me: to whose feeling sorrows I might be some allay, or I o'erween to think so; which is another spur to my departure.
Pol. As thou lovest me, Camillo, wipe not out the rest of thy services, by leaving me now: the need I have of thee, thine own goodness hath made ; better not to have had thee, than thus to want thee: thou, having made me businesses, which none,
? Is the argument of time:] Argument is the same with subject. I'm Of this allow,] To allow in our author's time signified to Approre.
* It is fifteen years,] We should read-sixteen, according to several preceding passages,
without thee, can sufficiently manage, must either stay to execute them thyself, or take away with thee thé very services thou hast done : which if I have not enough considered, (as too much I cannot,) to be more thankful to thee, shall be my study; and my profit therein, the heaping friendships. Of that fatal country Sicilia, pr’ythee speak no more: whose very naming punishes me with the remembrance of that penitent, as thou call'st him, and reconciled king, my brother; whose loss of his most precious queen, and children, are even now to be afresh lamented. Say to me, when saw'st thou the prince Florizel my son ? Kings are no less unhappy, their issue not being gracious, than they are in losing them, when they have approved their virtues.
Cam. Sir, it is three days, since I saw the prince: What his happier affairs may be, are to me unknown: but I have, missingly, noted, he is of late much retired from court; and is less frequent to his princely exercises, than formerly he hath appeared.
Pol. I have considered so much, Camillo; and with some care; so far, that I have eyes under my service, which look upon his removedness: from whom I have this intelligence; That he is seldom from the house of a most hoinely shepherd; a man, they say, that from very nothing, and beyond the imagination of his neighbours, is grown into an unspeakable estate.
Cam. I have heard, sir, of such a man, who hath a daughter of most rare note: the report of her is extended more, than can be thought to begin from such a cottage.
- and my profit therein, the heaping friendships.] Friendships is, I believe, here used, with sufficient licence, merely for friendly offices. Malone.
missingly,] Missingly, i. e. at intervals, not constantly..
Pol. That's likewise part of my intelligence But, I fear the angle that plucks our son thither. Thou shalt accompany us to the place: where we will, not appearing what we are, have some question? with the shepherd; from whose simplicity, I think it not uneasy to get the cause of my son's resort thither. Pr’ythee, be my present partner in this business, and lay aside the thoughts of Sicilia.
Cam. I willingly obey your command.
Pol. My best Camillo!-We must disguise our. selves.
SCENE II. The same. A Road near the Shepherd's Cottage.
Enter AUTOLYCUS, singing.
When daffodils begin to peer,
With, heigh! the doxy over the dale,Why, then comes in the sweet o'the year ;
For the red blood reigns in the winter's pale.
some question] i. e. some talk. 6 When daffodils begin to peer, And
Jog on, jog on, the fout-path way,] “ Two nonsensical songs, by the rogue Autolycus,” says Dr. Burney: who subsequently observes, that “ This Autolycus is the true ancient Minstrel, as described in the old Fabliaux." I believe, that many of our readers will push the comparison a little further, and concur with me in thinking that our modern minstrels of the opera, like their predecessor Autolycus, are pickpockets as well as singers of nonsensical ballads. STEEVENS.
9 For the red blood reigns in the winter's pale.] The meaning is, the red, the spring blood now reigns o'er the parts lately under the dominion of winter. The English pale, the Irish pale, were frequent expressions in Shakspeare's time; and the words red and pale were chosen for the sake of the antithesis. FARMER.