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Title: As You Like It (published 1600) Author: William Shakespeare (died 1616)
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As You Like It is a dramatic comedy, known for its confusing yet tantalising storyline that intrigues yet is one of the hardest by Shakespeare to understand. Like most others of its genre and age, it relies heavily on mistaken identity and desperate romance to induce humour between the artful weaving of the 16th century language.
Second Brother, brother to Orlando and Oliver, named Jaques
Adam, servant to Oliver and friend to Orlando
Dennis, servant to Oliver
Rosalind, daughter to Duke Senior
Celia, Rosalind’s cousin, daughter to Duke Frederick
Touchstone, a court Fool
Duke Frederick, the usurping duke
Charles, wrestler at Duke Frederick’s court
Le Beau, a courtier at Duke Frederick’s court
First Lord
Second Lord
attending Duke Frederick
Duke Senior, the exiled duke, brother to Duke Frederick
Jaques
Amiens
First Lord
Second Lord
Lords attending Duke Senior in exile
First Page
Second Page
attending Duke Senior in exile
Corin, a shepherd
Silvius, a young shepherd in love
Phoebe, a disdainful shepherdess
Audrey, a goat-keeper
William, a country youth in love with Audrey
Sir Oliver Martext, a parish priest
Hymen, god of marriage
Lords, Attendants, Musicians
ACT 1
Scene 1
Enter Orlando and Adam.
line 0001ORLANDOAs I remember, Adam, it was upon this line 0002fashion bequeathed me by will but poor a thousand line 0003crowns, and, as thou sayst, charged my brother on line 0004his blessing to breed me well. And there begins my 5line 0005sadness. My brother Jaques he keeps at school, and line 0006report speaks goldenly of his profit. For my part, he line 0007keeps me rustically at home, or, to speak more line 0008properly, stays me here at home unkept; for call you line 0009that “keeping,” for a gentleman of my birth, that 10line 0010differs not from the stalling of an ox? His horses are line 0011bred better, for, besides that they are fair with their line 0012feeding, they are taught their manage and, to that line 0013end, riders dearly hired. But I, his brother, gain line 0014nothing under him but growth, for the which his 15line 0015animals on his dunghills are as much bound to him line 0016as I. Besides this nothing that he so plentifully gives line 0017me, the something that nature gave me his countenance line 0018seems to take from me. He lets me feed with line 0019his hinds, bars me the place of a brother, and, as 20line 0020much as in him lies, mines my gentility with my line 0021education. This is it, Adam, that grieves me, and the line 0022spirit of my father, which I think is within me, line 0023begins to mutiny against this servitude. I will no Act 1 Scene 1 - Pg 9line 0024longer endure it, though yet I know no wise remedy 25line 0025how to avoid it.
Enter Oliver.
line 0026ADAMYonder comes my master, your brother. line 0027ORLANDOGo apart, Adam, and thou shalt hear how he line 0028will shake me up.Adam steps aside. line 0029OLIVERNow, sir, what make you here? 30line 0030ORLANDONothing. I am not taught to make anything. line 0031OLIVERWhat mar you then, sir? line 0032ORLANDOMarry, sir, I am helping you to mar that line 0033which God made, a poor unworthy brother of line 0034yours, with idleness. 35line 0035OLIVERMarry, sir, be better employed, and be naught line 0036awhile. line 0037ORLANDOShall I keep your hogs and eat husks with line 0038them? What prodigal portion have I spent that I line 0039should come to such penury? 40line 0040OLIVERKnow you where you are, sir? line 0041ORLANDOO, sir, very well: here in your orchard. line 0042OLIVERKnow you before whom, sir? line 0043ORLANDOAy, better than him I am before knows me. I line 0044know you are my eldest brother, and in the gentle 45line 0045condition of blood you should so know me. The line 0046courtesy of nations allows you my better in that you line 0047are the first-born, but the same tradition takes not line 0048away my blood, were there twenty brothers betwixt line 0049us. I have as much of my father in me as you, albeit I 50line 0050confess your coming before me is nearer to his line 0051reverence. line 0052OLIVERthreatening OrlandoWhat, boy! line 0053ORLANDOholding off Oliver by the throatCome, line 0054come, elder brother, you are too young in this. 55line 0055OLIVERWilt thou lay hands on me, villain? line 0056ORLANDOI am no villain. I am the youngest son of Sir Act 1 Scene 1 - Pg 11line 0057Rowland de Boys. He was my father, and he is line 0058thrice a villain that says such a father begot villains. line 0059Wert thou not my brother, I would not take this 60line 0060hand from thy throat till this other had pulled out line 0061thy tongue for saying so. Thou hast railed on thyself. line 0062ADAMcoming forwardSweet masters, be patient. For line 0063your father’s remembrance, be at accord. line 0064OLIVERto OrlandoLet me go, I say. 65line 0065ORLANDOI will not till I please. You shall hear me. My line 0066father charged you in his will to give me good line 0067education. You have trained me like a peasant, line 0068obscuring and hiding from me all gentlemanlike line 0069qualities. The spirit of my father grows strong in 70line 0070me, and I will no longer endure it. Therefore allow line 0071me such exercises as may become a gentleman, or line 0072give me the poor allottery my father left me by line 0073testament. With that I will go buy my fortunes.
Orlando releases Oliver.
line 0074OLIVERAnd what wilt thou do—beg when that is 75line 0075spent? Well, sir, get you in. I will not long be line 0076troubled with you. You shall have some part of your line 0077will. I pray you leave me. line 0078ORLANDOI will no further offend you than becomes line 0079me for my good. 80line 0080OLIVERto AdamGet you with him, you old dog. line 0081ADAMIs “old dog” my reward? Most true, I have lost line 0082my teeth in your service. God be with my old line 0083master. He would not have spoke such a word.
Orlando and Adam exit.
line 0084OLIVERIs it even so? Begin you to grow upon me? I 85line 0085will physic your rankness, and yet give no thousand line 0086crowns neither.—Holla, Dennis!
Enter Dennis.
line 0087DENNISCalls your Worship? Act 1 Scene 1 - Pg 13line 0088OLIVERWas not Charles, the Duke’s wrestler, here to line 0089speak with me? 90line 0090DENNISSo please you, he is here at the door and line 0091importunes access to you. line 0092OLIVERCall him in. Dennis exits. ’Twill be a good line 0093way, and tomorrow the wrestling is.
Enter Charles.
line 0094CHARLESGood morrow to your Worship. 95line 0095OLIVERGood Monsieur Charles, what’s the new news line 0096at the new court? line 0097CHARLESThere’s no news at the court, sir, but the old line 0098news. That is, the old duke is banished by his line 0099younger brother the new duke, and three or four 100line 0100loving lords have put themselves into voluntary line 0101exile with him, whose lands and revenues enrich line 0102the new duke. Therefore he gives them good leave line 0103to wander. line 0104OLIVERCan you tell if Rosalind, the Duke’s daughter, 105line 0105be banished with her father? line 0106CHARLESO, no, for the Duke’s daughter her cousin so line 0107loves her, being ever from their cradles bred together, line 0108that she would have followed her exile or have line 0109died to stay behind her. She is at the court and no 110line 0110less beloved of her uncle than his own daughter, line 0111and never two ladies loved as they do. line 0112OLIVERWhere will the old duke live? line 0113CHARLESThey say he is already in the Forest of Arden, line 0114and a many merry men with him; and there they 115line 0115live like the old Robin Hood of England. They say line 0116many young gentlemen flock to him every day and line 0117fleet the time carelessly, as they did in the golden line 0118world. line 0119OLIVERWhat, you wrestle tomorrow before the new 120line 0120duke? Act 1 Scene 1 - Pg 15line 0121CHARLESMarry, do I, sir, and I came to acquaint you line 0122with a matter. I am given, sir, secretly to understand line 0123that your younger brother Orlando hath a line 0124disposition to come in disguised against me to try a 125line 0125fall. Tomorrow, sir, I wrestle for my credit, and he line 0126that escapes me without some broken limb shall line 0127acquit him well. Your brother is but young and line 0128tender, and for your love I would be loath to foil line 0129him, as I must for my own honor if he come in. 130line 0130Therefore, out of my love to you, I came hither to line 0131acquaint you withal, that either you might stay him line 0132from his intendment, or brook such disgrace well line 0133as he shall run into, in that it is a thing of his own line 0134search and altogether against my will. 135line 0135OLIVERCharles, I thank thee for thy love to me, which line 0136thou shalt find I will most kindly requite. I had line 0137myself notice of my brother’s purpose herein, and line 0138have by underhand means labored to dissuade him line 0139from it; but he is resolute. I’ll tell thee, Charles, it is 140line 0140the stubbornest young fellow of France, full of line 0141ambition, an envious emulator of every man’s good line 0142parts, a secret and villainous contriver against me line 0143his natural brother. Therefore use thy discretion. I line 0144had as lief thou didst break his neck as his finger. 145line 0145And thou wert best look to ’t, for if thou dost him line 0146any slight disgrace, or if he do not mightily grace line 0147himself on thee, he will practice against thee by line 0148poison, entrap thee by some treacherous device, line 0149and never leave thee till he hath ta’en thy life by 150line 0150some indirect means or other. For I assure thee— line 0151and almost with tears I speak it—there is not one so line 0152young and so villainous this day living. I speak but line 0153brotherly of him, but should I anatomize him to line 0154thee as he is, I must blush and weep, and thou must 155line 0155look pale and wonder. line 0156CHARLESI am heartily glad I came hither to you. If he Act 1 Scene 2 - Pg 17line 0157come tomorrow, I’ll give him his payment. If ever line 0158he go alone again, I’ll never wrestle for prize more. line 0159And so God keep your Worship. 160line 0160OLIVERFarewell, good Charles.Charles exits. line 0161Now will I stir this gamester. I hope I shall see an line 0162end of him, for my soul—yet I know not why— line 0163hates nothing more than he. Yet he’s gentle, never line 0164schooled and yet learned, full of noble device, of all 165line 0165sorts enchantingly beloved, and indeed so much in line 0166the heart of the world, and especially of my own line 0167people, who best know him, that I am altogether line 0168misprized. But it shall not be so long; this wrestler line 0169shall clear all. Nothing remains but that I kindle the 170line 0170boy thither, which now I’ll go about.
He exits.
Scene 2
Enter Rosalind and Celia.
line 0171CELIAI pray thee, Rosalind, sweet my coz, be merry. line 0172ROSALINDDear Celia, I show more mirth than I am line 0173mistress of, and would you yet I were merrier? line 0174Unless you could teach me to forget a banished 5line 0175father, you must not learn me how to remember line 0176any extraordinary pleasure. line 0177CELIAHerein I see thou lov’st me not with the full line 0178weight that I love thee. If my uncle, thy banished line 0179father, had banished thy uncle, the Duke my father, 10line 0180so thou hadst been still with me, I could have taught line 0181my love to take thy father for mine. So wouldst thou, line 0182if the truth of thy love to me were so righteously line 0183tempered as mine is to thee. line 0184ROSALINDWell, I will forget the condition of my estate 15line 0185to rejoice in yours. Act 1 Scene 2 - Pg 19line 0186CELIAYou know my father hath no child but I, nor line 0187none is like to have; and truly, when he dies, thou line 0188shalt be his heir, for what he hath taken away from line 0189thy father perforce, I will render thee again in 20line 0190affection. By mine honor I will, and when I break line 0191that oath, let me turn monster. Therefore, my sweet line 0192Rose, my dear Rose, be merry. line 0193ROSALINDFrom henceforth I will, coz, and devise line 0194sports. Let me see—what think you of falling in 25line 0195love? line 0196CELIAMarry, I prithee do, to make sport withal; but line 0197love no man in good earnest, nor no further in line 0198sport neither than with safety of a pure blush thou line 0199mayst in honor come off again. 30line 0200ROSALINDWhat shall be our sport, then? line 0201CELIALet us sit and mock the good housewife Fortune line 0202from her wheel, that her gifts may henceforth be line 0203bestowed equally. line 0204ROSALINDI would we could do so, for her benefits are 35line 0205mightily misplaced, and the bountiful blind woman line 0206doth most mistake in her gifts to women. line 0207CELIA’Tis true, for those that she makes fair she scarce line 0208makes honest, and those that she makes honest she line 0209makes very ill-favoredly. 40line 0210ROSALINDNay, now thou goest from Fortune’s office to line 0211Nature’s. Fortune reigns in gifts of the world, not in line 0212the lineaments of nature. line 0213CELIANo? When Nature hath made a fair creature, line 0214may she not by fortune fall into the fire?
Enter Touchstone.
45line 0215Though Nature hath given us wit to flout at Fortune, line 0216hath not Fortune sent in this fool to cut off the line 0217argument? Act 1 Scene 2 - Pg 21line 0218ROSALINDIndeed, there is Fortune too hard for Nature, line 0219when Fortune makes Nature’s natural the 50line 0220cutter-off of Nature’s wit. line 0221CELIAPeradventure this is not Fortune’s work neither, line 0222but Nature’s, who perceiveth our natural wits too line 0223dull to reason of such goddesses, and hath sent line 0224this natural for our whetstone, for always the dullness 55line 0225of the fool is the whetstone of the wits. line 0226To Touchstone. How now, wit, whither wander you? line 0227TOUCHSTONEMistress, you must come away to your line 0228father. line 0229CELIAWere you made the messenger? 60line 0230TOUCHSTONENo, by mine honor, but I was bid to come line 0231for you. line 0232ROSALINDWhere learned you that oath, fool? line 0233TOUCHSTONEOf a certain knight that swore by his line 0234honor they were good pancakes, and swore by his 65line 0235honor the mustard was naught. Now, I’ll stand to it, line 0236the pancakes were naught and the mustard was line 0237good, and yet was not the knight forsworn. line 0238CELIAHow prove you that in the great heap of your line 0239knowledge? 70line 0240ROSALINDAy, marry, now unmuzzle your wisdom. line 0241TOUCHSTONEStand you both forth now: stroke your line 0242chins, and swear by your beards that I am a knave. line 0243CELIABy our beards (if we had them), thou art. line 0244TOUCHSTONEBy my knavery (if I had it), then I were. 75line 0245But if you swear by that that is not, you are not line 0246forsworn. No more was this knight swearing by his line 0247honor, for he never had any, or if he had, he had line 0248sworn it away before ever he saw those pancakes or line 0249that mustard. 80line 0250CELIAPrithee, who is ’t that thou mean’st? line 0251TOUCHSTONEOne that old Frederick, your father, loves. line 0252CELIAMy father’s love is enough to honor him. Act 1 Scene 2 - Pg 23line 0253Enough. Speak no more of him; you’ll be whipped line 0254for taxation one of these days. 85line 0255TOUCHSTONEThe more pity that fools may not speak line 0256wisely what wise men do foolishly. line 0257CELIABy my troth, thou sayest true. For, since the little line 0258wit that fools have was silenced, the little foolery line 0259that wise men have makes a great show. Here 90line 0260comes Monsieur Le Beau.
Enter Le Beau.
line 0261ROSALINDWith his mouth full of news. line 0262CELIAWhich he will put on us as pigeons feed their line 0263young. line 0264ROSALINDThen shall we be news-crammed. 95line 0265CELIAAll the better. We shall be the more line 0266marketable.—Bonjour, Monsieur Le Beau. What’s line 0267the news? line 0268LE BEAUFair princess, you have lost much good sport. line 0269CELIASport? Of what color? 100line 0270LE BEAUWhat color, madam? How shall I answer you? line 0271ROSALINDAs wit and fortune will. line 0272TOUCHSTONEOr as the destinies decrees. line 0273CELIAWell said. That was laid on with a trowel. line 0274TOUCHSTONENay, if I keep not my rank— 105line 0275ROSALINDThou losest thy old smell. line 0276LE BEAUYou amaze me, ladies. I would have told you of line 0277good wrestling, which you have lost the sight of. line 0278ROSALINDYet tell us the manner of the wrestling. line 0279LE BEAUI will tell you the beginning, and if it please 110line 0280your Ladyships, you may see the end, for the best is line 0281yet to do, and here, where you are, they are coming line 0282to perform it. line 0283CELIAWell, the beginning that is dead and buried. line 0284LE BEAUThere comes an old man and his three sons— 115line 0285CELIAI could match this beginning with an old tale. Act 1 Scene 2 - Pg 25line 0286LE BEAUThree proper young men of excellent growth line 0287and presence. line 0288ROSALINDWith bills on their necks: “Be it known unto line 0289all men by these presents.” 120line 0290LE BEAUThe eldest of the three wrestled with Charles, line 0291the Duke’s wrestler, which Charles in a moment line 0292threw him and broke three of his ribs, that there is line 0293little hope of life in him. So he served the second, line 0294and so the third. Yonder they lie, the poor old man 125line 0295their father making such pitiful dole over them that line 0296all the beholders take his part with weeping. line 0297ROSALINDAlas! line 0298TOUCHSTONEBut what is the sport, monsieur, that the line 0299ladies have lost? 130line 0300LE BEAUWhy, this that I speak of. line 0301TOUCHSTONEThus men may grow wiser every day. It is line 0302the first time that ever I heard breaking of ribs was line 0303sport for ladies. line 0304CELIAOr I, I promise thee. 135line 0305ROSALINDBut is there any else longs to see this broken line 0306music in his sides? Is there yet another dotes upon line 0307rib-breaking? Shall we see this wrestling, cousin? line 0308LE BEAUYou must if you stay here, for here is the place line 0309appointed for the wrestling, and they are ready to 140line 0310perform it. line 0311CELIAYonder sure they are coming. Let us now stay line 0312and see it.
Flourish. Enter Duke Frederick, Lords, Orlando, Charles, and Attendants.
line 0313DUKE FREDERICKCome on. Since the youth will not be line 0314entreated, his own peril on his forwardness. 145line 0315ROSALINDto Le BeauIs yonder the man? line 0316LE BEAUEven he, madam. line 0317CELIAAlas, he is too young. Yet he looks successfully. Act 1 Scene 2 - Pg 27line 0318DUKE FREDERICKHow now, daughter and cousin? Are line 0319you crept hither to see the wrestling? 150line 0320ROSALINDAy, my liege, so please you give us leave. line 0321DUKE FREDERICKYou will take little delight in it, I can line 0322tell you, there is such odds in the man. In pity of the line 0323challenger’s youth, I would fain dissuade him, but line 0324he will not be entreated. Speak to him, ladies; see if 155line 0325you can move him. line 0326CELIACall him hither, good Monsieur Le Beau. line 0327DUKE FREDERICKDo so. I’ll not be by.
He steps aside.
line 0328LE BEAUto OrlandoMonsieur the challenger, the line 0329Princess calls for you. 160line 0330ORLANDOI attend them with all respect and duty. line 0331ROSALINDYoung man, have you challenged Charles the line 0332wrestler? line 0333ORLANDONo, fair princess. He is the general challenger. line 0334I come but in as others do, to try with him the 165line 0335strength of my youth. line 0336CELIAYoung gentleman, your spirits are too bold for line 0337your years. You have seen cruel proof of this man’s line 0338strength. If you saw yourself with your eyes or knew line 0339yourself with your judgment, the fear of your adventure 170line 0340would counsel you to a more equal enterprise. line 0341We pray you for your own sake to embrace your line 0342own safety and give over this attempt. line 0343ROSALINDDo, young sir. Your reputation shall not line 0344therefore be misprized. We will make it our suit to 175line 0345the Duke that the wrestling might not go forward. line 0346ORLANDOI beseech you, punish me not with your hard line 0347thoughts, wherein I confess me much guilty to deny line 0348so fair and excellent ladies anything. But let your line 0349fair eyes and gentle wishes go with me to my trial, 180line 0350wherein, if I be foiled, there is but one shamed that line 0351was never gracious; if killed, but one dead that is line 0352willing to be so. I shall do my friends no wrong, for Act 1 Scene 2 - Pg 29line 0353I have none to lament me; the world no injury, for line 0354in it I have nothing. Only in the world I fill up a 185line 0355place which may be better supplied when I have line 0356made it empty. line 0357ROSALINDThe little strength that I have, I would it line 0358were with you. line 0359CELIAAnd mine, to eke out hers. 190line 0360ROSALINDFare you well. Pray heaven I be deceived in line 0361you. line 0362CELIAYour heart’s desires be with you. line 0363CHARLESCome, where is this young gallant that is so line 0364desirous to lie with his mother Earth? 195line 0365ORLANDOReady, sir; but his will hath in it a more line 0366modest working. line 0367DUKE FREDERICKcoming forwardYou shall try but line 0368one fall. line 0369CHARLESNo, I warrant your Grace you shall not entreat 200line 0370him to a second, that have so mightily persuaded line 0371him from a first. line 0372ORLANDOYou mean to mock me after, you should not line 0373have mocked me before. But come your ways. line 0374ROSALINDNow Hercules be thy speed, young man! 205line 0375CELIAI would I were invisible, to catch the strong line 0376fellow by the leg.
Orlando and Charles wrestle.
line 0377ROSALINDO excellent young man! line 0378CELIAIf I had a thunderbolt in mine eye, I can tell who line 0379should down.
Orlando throws Charles. Shout.
210line 0380DUKE FREDERICKNo more, no more. line 0381ORLANDOYes, I beseech your Grace. I am not yet well line 0382breathed. line 0383DUKE FREDERICKHow dost thou, Charles? line 0384LE BEAUHe cannot speak, my lord. 215line 0385DUKE FREDERICKBear him away.
Charles is carried off by Attendants.
line 0386What is thy name, young man? Act 1 Scene 2 - Pg 31line 0387ORLANDOOrlando, my liege, the youngest son of Sir line 0388Rowland de Boys. DUKE FREDERICK line 0389I would thou hadst been son to some man else. 220line 0390The world esteemed thy father honorable, line 0391But I did find him still mine enemy. line 0392Thou shouldst have better pleased me with this line 0393deed line 0394Hadst thou descended from another house. 225line 0395But fare thee well. Thou art a gallant youth. line 0396I would thou hadst told me of another father.
Duke exits with Touchstone, Le Beau, Lords, and Attendants.
CELIAto Rosalind line 0397Were I my father, coz, would I do this? ORLANDO line 0398I am more proud to be Sir Rowland’s son, line 0399His youngest son, and would not change that calling 230line 0400To be adopted heir to Frederick. ROSALINDto Celia line 0401My father loved Sir Rowland as his soul, line 0402And all the world was of my father’s mind. line 0403Had I before known this young man his son, line 0404I should have given him tears unto entreaties 235line 0405Ere he should thus have ventured. line 0406CELIAGentle cousin, line 0407Let us go thank him and encourage him. line 0408My father’s rough and envious disposition line 0409Sticks me at heart.—Sir, you have well deserved. 240line 0410If you do keep your promises in love line 0411But justly, as you have exceeded all promise, line 0412Your mistress shall be happy. ROSALINDgiving Orlando a chain from her neck line 0413Gentleman, line 0414Wear this for me—one out of suits with Fortune, Act 1 Scene 2 - Pg 33245line 0415That could give more but that her hand lacks line 0416means.— line 0417Shall we go, coz? line 0418CELIAAy.—Fare you well, fair gentleman. ORLANDOaside line 0419Can I not say “I thank you”? My better parts 250line 0420Are all thrown down, and that which here stands up line 0421Is but a quintain, a mere lifeless block. ROSALINDto Celia line 0422He calls us back. My pride fell with my fortunes. line 0423I’ll ask him what he would.—Did you call, sir? line 0424Sir, you have wrestled well and overthrown 255line 0425More than your enemies. line 0426CELIAWill you go, coz? line 0427ROSALINDHave with you. To Orlando. Fare you well.
Rosalind and Celia exit.
ORLANDO line 0428What passion hangs these weights upon my tongue? line 0429I cannot speak to her, yet she urged conference. 260line 0430O poor Orlando! Thou art overthrown. line 0431Or Charles or something weaker masters thee.
Enter Le Beau.
LE BEAU line 0432Good sir, I do in friendship counsel you line 0433To leave this place. Albeit you have deserved line 0434High commendation, true applause, and love, 265line 0435Yet such is now the Duke’s condition line 0436That he misconsters all that you have done. line 0437The Duke is humorous. What he is indeed line 0438More suits you to conceive than I to speak of. ORLANDO line 0439I thank you, sir, and pray you tell me this: 270line 0440Which of the two was daughter of the duke line 0441That here was at the wrestling? Act 1 Scene 3 - Pg 35LE BEAU line 0442Neither his daughter, if we judge by manners, line 0443But yet indeed the smaller is his daughter. line 0444The other is daughter to the banished duke, 275line 0445And here detained by her usurping uncle line 0446To keep his daughter company, whose loves line 0447Are dearer than the natural bond of sisters. line 0448But I can tell you that of late this duke line 0449Hath ta’en displeasure ’gainst his gentle niece, 280line 0450Grounded upon no other argument line 0451But that the people praise her for her virtues line 0452And pity her for her good father’s sake; line 0453And, on my life, his malice ’gainst the lady line 0454Will suddenly break forth. Sir, fare you well. 285line 0455Hereafter, in a better world than this, line 0456I shall desire more love and knowledge of you. ORLANDO line 0457I rest much bounden to you. Fare you well.
Le Beau exits.
line 0458Thus must I from the smoke into the smother, line 0459From tyrant duke unto a tyrant brother. 290line 0460But heavenly Rosalind!
He exits.
Scene 3
Enter Celia and Rosalind.
line 0461CELIAWhy, cousin! Why, Rosalind! Cupid have mercy, line 0462not a word? line 0463ROSALINDNot one to throw at a dog. line 0464CELIANo, thy words are too precious to be cast away 5line 0465upon curs. Throw some of them at me. Come, lame line 0466me with reasons. line 0467ROSALINDThen there were two cousins laid up, when line 0468the one should be lamed with reasons, and the line 0469other mad without any. Act 1 Scene 3 - Pg 3710line 0470CELIABut is all this for your father? line 0471ROSALINDNo, some of it is for my child’s father. O, line 0472how full of briers is this working-day world! line 0473CELIAThey are but burs, cousin, thrown upon thee in line 0474holiday foolery. If we walk not in the trodden paths, 15line 0475our very petticoats will catch them. line 0476ROSALINDI could shake them off my coat. These burs line 0477are in my heart. line 0478CELIAHem them away. line 0479ROSALINDI would try, if I could cry “hem” and have 20line 0480him. line 0481CELIACome, come, wrestle with thy affections. line 0482ROSALINDO, they take the part of a better wrestler line 0483than myself. line 0484CELIAO, a good wish upon you. You will try in time, in 25line 0485despite of a fall. But turning these jests out of line 0486service, let us talk in good earnest. Is it possible on line 0487such a sudden you should fall into so strong a liking line 0488with old Sir Rowland’s youngest son? line 0489ROSALINDThe Duke my father loved his father dearly. 30line 0490CELIADoth it therefore ensue that you should love his line 0491son dearly? By this kind of chase I should hate him, line 0492for my father hated his father dearly. Yet I hate not line 0493Orlando. line 0494ROSALINDNo, faith, hate him not, for my sake. 35line 0495CELIAWhy should I not? Doth he not deserve well? line 0496ROSALINDLet me love him for that, and do you love line 0497him because I do.
Enter Duke Frederick with Lords.
line 0498Look, here comes the Duke. line 0499CELIAWith his eyes full of anger. DUKE FREDERICKto Rosalind 40line 0500Mistress, dispatch you with your safest haste, line 0501And get you from our court. line 0502ROSALINDMe, uncle? Act 1 Scene 3 - Pg 39line 0503DUKE FREDERICKYou, cousin. line 0504Within these ten days if that thou beest found 45line 0505So near our public court as twenty miles, line 0506Thou diest for it. line 0507ROSALINDI do beseech your Grace, line 0508Let me the knowledge of my fault bear with me. line 0509If with myself I hold intelligence 50line 0510Or have acquaintance with mine own desires, line 0511If that I do not dream or be not frantic— line 0512As I do trust I am not—then, dear uncle, line 0513Never so much as in a thought unborn line 0514Did I offend your Highness. 55line 0515DUKE FREDERICKThus do all traitors. line 0516If their purgation did consist in words, line 0517They are as innocent as grace itself. line 0518Let it suffice thee that I trust thee not. ROSALIND line 0519Yet your mistrust cannot make me a traitor. 60line 0520Tell me whereon the likelihood depends. DUKE FREDERICK line 0521Thou art thy father’s daughter. There’s enough. ROSALIND line 0522So was I when your Highness took his dukedom. line 0523So was I when your Highness banished him. line 0524Treason is not inherited, my lord, 65line 0525Or if we did derive it from our friends, line 0526What’s that to me? My father was no traitor. line 0527Then, good my liege, mistake me not so much line 0528To think my poverty is treacherous. line 0529CELIADear sovereign, hear me speak. DUKE FREDERICK 70line 0530Ay, Celia, we stayed her for your sake; line 0531Else had she with her father ranged along. CELIA line 0532I did not then entreat to have her stay. line 0533It was your pleasure and your own remorse. Act 1 Scene 3 - Pg 41line 0534I was too young that time to value her, 75line 0535But now I know her. If she be a traitor, line 0536Why, so am I. We still have slept together, line 0537Rose at an instant, learned, played, eat together, line 0538And, wheresoe’er we went, like Juno’s swans line 0539Still we went coupled and inseparable. DUKE FREDERICK 80line 0540She is too subtle for thee, and her smoothness, line 0541Her very silence, and her patience line 0542Speak to the people, and they pity her. line 0543Thou art a fool. She robs thee of thy name, line 0544And thou wilt show more bright and seem more 85line 0545virtuous line 0546When she is gone. Then open not thy lips. line 0547Firm and irrevocable is my doom line 0548Which I have passed upon her. She is banished. CELIA line 0549Pronounce that sentence then on me, my liege. 90line 0550I cannot live out of her company. DUKE FREDERICK line 0551You are a fool.—You, niece, provide yourself. line 0552If you outstay the time, upon mine honor line 0553And in the greatness of my word, you die.
Duke and Lords exit.
CELIA line 0554O my poor Rosalind, whither wilt thou go? 95line 0555Wilt thou change fathers? I will give thee mine. line 0556I charge thee, be not thou more grieved than I am. line 0557ROSALINDI have more cause. line 0558CELIAThou hast not, cousin. line 0559Prithee, be cheerful. Know’st thou not the Duke 100line 0560Hath banished me, his daughter? line 0561ROSALINDThat he hath not. CELIA line 0562No, hath not? Rosalind lacks then the love line 0563Which teacheth thee that thou and I am one. Act 1 Scene 3 - Pg 43line 0564Shall we be sundered? Shall we part, sweet girl? 105line 0565No, let my father seek another heir. line 0566Therefore devise with me how we may fly, line 0567Whither to go, and what to bear with us, line 0568And do not seek to take your change upon you, line 0569To bear your griefs yourself and leave me out. 110line 0570For, by this heaven, now at our sorrows pale, line 0571Say what thou canst, I’ll go along with thee. line 0572ROSALINDWhy, whither shall we go? CELIA line 0573To seek my uncle in the Forest of Arden. ROSALIND line 0574Alas, what danger will it be to us, 115line 0575Maids as we are, to travel forth so far? line 0576Beauty provoketh thieves sooner than gold. CELIA line 0577I’ll put myself in poor and mean attire, line 0578And with a kind of umber smirch my face. line 0579The like do you. So shall we pass along 120line 0580And never stir assailants. line 0581ROSALINDWere it not better, line 0582Because that I am more than common tall, line 0583That I did suit me all points like a man? line 0584A gallant curtal-ax upon my thigh, 125line 0585A boar-spear in my hand, and in my heart line 0586Lie there what hidden woman’s fear there will, line 0587We’ll have a swashing and a martial outside— line 0588As many other mannish cowards have line 0589That do outface it with their semblances. CELIA 130line 0590What shall I call thee when thou art a man? ROSALIND line 0591I’ll have no worse a name than Jove’s own page, line 0592And therefore look you call me Ganymede. line 0593But what will you be called? Act 1 Scene 3 - Pg 45CELIA line 0594Something that hath a reference to my state: 135line 0595No longer Celia, but Aliena. ROSALIND line 0596But, cousin, what if we assayed to steal line 0597The clownish fool out of your father’s court? line 0598Would he not be a comfort to our travel? CELIA line 0599He’ll go along o’er the wide world with me. 140line 0600Leave me alone to woo him. Let’s away line 0601And get our jewels and our wealth together, line 0602Devise the fittest time and safest way line 0603To hide us from pursuit that will be made line 0604After my flight. Now go we in content 145line 0605To liberty, and not to banishment.
They exit.
ACT 2
Scene 1
Enter Duke Senior, Amiens, and two or three Lords, like foresters.
DUKE SENIOR line 0606Now, my co-mates and brothers in exile, line 0607Hath not old custom made this life more sweet line 0608Than that of painted pomp? Are not these woods line 0609More free from peril than the envious court? 5line 0610Here feel we not the penalty of Adam, line 0611The seasons’ difference, as the icy fang line 0612And churlish chiding of the winter’s wind, line 0613Which when it bites and blows upon my body line 0614Even till I shrink with cold, I smile and say 10line 0615“This is no flattery. These are counselors line 0616That feelingly persuade me what I am.” line 0617Sweet are the uses of adversity, line 0618Which, like the toad, ugly and venomous, line 0619Wears yet a precious jewel in his head. 15line 0620And this our life, exempt from public haunt, line 0621Finds tongues in trees, books in the running brooks, line 0622Sermons in stones, and good in everything. AMIENS line 0623I would not change it. Happy is your Grace, line 0624That can translate the stubbornness of fortune 20line 0625Into so quiet and so sweet a style. Act 2 Scene 1 - Pg 51DUKE SENIOR line 0626Come, shall we go and kill us venison? line 0627And yet it irks me the poor dappled fools, line 0628Being native burghers of this desert city, line 0629Should in their own confines with forkèd heads 25line 0630Have their round haunches gored. line 0631FIRST LORDIndeed, my lord, line 0632The melancholy Jaques grieves at that, line 0633And in that kind swears you do more usurp line 0634Than doth your brother that hath banished you. 30line 0635Today my Lord of Amiens and myself line 0636Did steal behind him as he lay along line 0637Under an oak, whose antique root peeps out line 0638Upon the brook that brawls along this wood; line 0639To the which place a poor sequestered stag 35line 0640That from the hunter’s aim had ta’en a hurt line 0641Did come to languish. And indeed, my lord, line 0642The wretched animal heaved forth such groans line 0643That their discharge did stretch his leathern coat line 0644Almost to bursting, and the big round tears 40line 0645Coursed one another down his innocent nose line 0646In piteous chase. And thus the hairy fool, line 0647Much markèd of the melancholy Jaques, line 0648Stood on th’ extremest verge of the swift brook, line 0649Augmenting it with tears. 45line 0650DUKE SENIORBut what said Jaques? line 0651Did he not moralize this spectacle? FIRST LORD line 0652O yes, into a thousand similes. line 0653First, for his weeping into the needless stream: line 0654“Poor deer,” quoth he, “thou mak’st a testament 50line 0655As worldlings do, giving thy sum of more line 0656To that which had too much.” Then, being there line 0657alone, line 0658Left and abandoned of his velvet friends: line 0659“’Tis right,” quoth he. “Thus misery doth part Act 2 Scene 2 - Pg 5355line 0660The flux of company.” Anon a careless herd, line 0661Full of the pasture, jumps along by him line 0662And never stays to greet him. “Ay,” quoth Jaques, line 0663“Sweep on, you fat and greasy citizens. line 0664’Tis just the fashion. Wherefore do you look 60line 0665Upon that poor and broken bankrupt there?” line 0666Thus most invectively he pierceth through line 0667The body of country, city, court, line 0668Yea, and of this our life, swearing that we line 0669Are mere usurpers, tyrants, and what’s worse, 65line 0670To fright the animals and to kill them up line 0671In their assigned and native dwelling place. DUKE SENIOR line 0672And did you leave him in this contemplation? SECOND LORD line 0673We did, my lord, weeping and commenting line 0674Upon the sobbing deer. 70line 0675DUKE SENIORShow me the place. line 0676I love to cope him in these sullen fits, line 0677For then he’s full of matter. line 0678FIRST LORDI’ll bring you to him straight.
They exit.
Scene 2
Enter Duke Frederick with Lords.
DUKE FREDERICK line 0679Can it be possible that no man saw them? line 0680It cannot be. Some villains of my court line 0681Are of consent and sufferance in this. FIRST LORD line 0682I cannot hear of any that did see her. 5line 0683The ladies her attendants of her chamber line 0684Saw her abed, and in the morning early line 0685They found the bed untreasured of their mistress. Act 2 Scene 3 - Pg 55SECOND LORD line 0686My lord, the roinish clown at whom so oft line 0687Your Grace was wont to laugh is also missing. 10line 0688Hisperia, the Princess’ gentlewoman, line 0689Confesses that she secretly o’erheard line 0690Your daughter and her cousin much commend line 0691The parts and graces of the wrestler line 0692That did but lately foil the sinewy Charles, 15line 0693And she believes wherever they are gone line 0694That youth is surely in their company. DUKE FREDERICK line 0695Send to his brother. Fetch that gallant hither. line 0696If he be absent, bring his brother to me. line 0697I’ll make him find him. Do this suddenly, 20line 0698And let not search and inquisition quail line 0699To bring again these foolish runaways.
They exit.
Scene 3
Enter Orlando and Adam, meeting.
line 0700ORLANDOWho’s there? ADAM line 0701What, my young master, O my gentle master, line 0702O my sweet master, O you memory line 0703Of old Sir Rowland! Why, what make you here? 5line 0704Why are you virtuous? Why do people love you? line 0705And wherefore are you gentle, strong, and valiant? line 0706Why would you be so fond to overcome line 0707The bonny prizer of the humorous duke? line 0708Your praise is come too swiftly home before you. 10line 0709Know you not, master, to some kind of men line 0710Their graces serve them but as enemies? line 0711No more do yours. Your virtues, gentle master, line 0712Are sanctified and holy traitors to you. Act 2 Scene 3 - Pg 57line 0713O, what a world is this when what is comely 15line 0714Envenoms him that bears it! line 0715ORLANDOWhy, what’s the matter? line 0716ADAMO unhappy youth, line 0717Come not within these doors. Within this roof line 0718The enemy of all your graces lives. 20line 0719Your brother—no, no brother—yet the son— line 0720Yet not the son, I will not call him son— line 0721Of him I was about to call his father, line 0722Hath heard your praises, and this night he means line 0723To burn the lodging where you use to lie, 25line 0724And you within it. If he fail of that, line 0725He will have other means to cut you off. line 0726I overheard him and his practices. line 0727This is no place, this house is but a butchery. line 0728Abhor it, fear it, do not enter it. ORLANDO 30line 0729Why, whither, Adam, wouldst thou have me go? ADAM line 0730No matter whither, so you come not here. ORLANDO line 0731What, wouldst thou have me go and beg my food, line 0732Or with a base and boist’rous sword enforce line 0733A thievish living on the common road? 35line 0734This I must do, or know not what to do; line 0735Yet this I will not do, do how I can. line 0736I rather will subject me to the malice line 0737Of a diverted blood and bloody brother. ADAM line 0738But do not so. I have five hundred crowns, 40line 0739The thrifty hire I saved under your father, line 0740Which I did store to be my foster nurse line 0741When service should in my old limbs lie lame, line 0742And unregarded age in corners thrown. line 0743Take that, and He that doth the ravens feed, 45line 0744Yea, providently caters for the sparrow, Act 2 Scene 3 - Pg 59line 0745Be comfort to my age. Here is the gold. line 0746All this I give you. Let me be your servant. line 0747Though I look old, yet I am strong and lusty, line 0748For in my youth I never did apply 50line 0749Hot and rebellious liquors in my blood, line 0750Nor did not with unbashful forehead woo line 0751The means of weakness and debility. line 0752Therefore my age is as a lusty winter, line 0753Frosty but kindly. Let me go with you. 55line 0754I’ll do the service of a younger man line 0755In all your business and necessities. ORLANDO line 0756O good old man, how well in thee appears line 0757The constant service of the antique world, line 0758When service sweat for duty, not for meed. 60line 0759Thou art not for the fashion of these times, line 0760Where none will sweat but for promotion, line 0761And having that do choke their service up line 0762Even with the having. It is not so with thee. line 0763But, poor old man, thou prun’st a rotten tree 65line 0764That cannot so much as a blossom yield line 0765In lieu of all thy pains and husbandry. line 0766But come thy ways. We’ll go along together, line 0767And ere we have thy youthful wages spent, line 0768We’ll light upon some settled low content. ADAM 70line 0769Master, go on, and I will follow thee line 0770To the last gasp with truth and loyalty. line 0771From seventeen years till now almost fourscore line 0772Here livèd I, but now live here no more. line 0773At seventeen years, many their fortunes seek, 75line 0774But at fourscore, it is too late a week. line 0775Yet fortune cannot recompense me better line 0776Than to die well, and not my master’s debtor.
They exit.
Act 2 Scene 4 - Pg 61
Scene 4
Enter Rosalind for Ganymede, Celia for Aliena, and Clown, alias Touchstone.
ROSALIND line 0777O Jupiter, how weary are my spirits! line 0778TOUCHSTONEI care not for my spirits, if my legs were line 0779not weary. line 0780ROSALINDI could find in my heart to disgrace my 5line 0781man’s apparel and to cry like a woman, but I must line 0782comfort the weaker vessel, as doublet and hose line 0783ought to show itself courageous to petticoat. Therefore line 0784courage, good Aliena. line 0785CELIAI pray you bear with me. I cannot go no further. 10line 0786TOUCHSTONEFor my part, I had rather bear with you line 0787than bear you. Yet I should bear no cross if I did line 0788bear you, for I think you have no money in your line 0789purse. line 0790ROSALINDWell, this is the Forest of Arden. 15line 0791TOUCHSTONEAy, now am I in Arden, the more fool I. line 0792When I was at home I was in a better place, but line 0793travelers must be content. line 0794ROSALINDAy, be so, good Touchstone.
Enter Corin and Silvius.
line 0795Look you who comes here, a young man and an old 20line 0796in solemn talk.
Rosalind, Celia, and Touchstone step aside and eavesdrop.
CORINto Silvius line 0797That is the way to make her scorn you still. SILVIUS line 0798O Corin, that thou knew’st how I do love her! CORIN line 0799I partly guess, for I have loved ere now. Act 2 Scene 4 - Pg 63SILVIUS line 0800No, Corin, being old, thou canst not guess, 25line 0801Though in thy youth thou wast as true a lover line 0802As ever sighed upon a midnight pillow. line 0803But if thy love were ever like to mine— line 0804As sure I think did never man love so— line 0805How many actions most ridiculous 30line 0806Hast thou been drawn to by thy fantasy? CORIN line 0807Into a thousand that I have forgotten. SILVIUS line 0808O, thou didst then never love so heartily. line 0809If thou rememb’rest not the slightest folly line 0810That ever love did make thee run into, 35line 0811Thou hast not loved. line 0812Or if thou hast not sat as I do now, line 0813Wearing thy hearer in thy mistress’ praise, line 0814Thou hast not loved. line 0815Or if thou hast not broke from company 40line 0816Abruptly, as my passion now makes me, line 0817Thou hast not loved. line 0818O Phoebe, Phoebe, Phoebe!He exits. ROSALIND line 0819Alas, poor shepherd, searching of thy wound, line 0820I have by hard adventure found mine own. 45line 0821TOUCHSTONEAnd I mine. I remember when I was in line 0822love I broke my sword upon a stone and bid him line 0823take that for coming a-night to Jane Smile; and I line 0824remember the kissing of her batler, and the cow’s line 0825dugs that her pretty chopped hands had milked; 50line 0826and I remember the wooing of a peascod instead of line 0827her, from whom I took two cods and, giving her line 0828them again, said with weeping tears “Wear these for line 0829my sake.” We that are true lovers run into strange line 0830capers. But as all is mortal in nature, so is all nature 55line 0831in love mortal in folly. Act 2 Scene 4 - Pg 65line 0832ROSALINDThou speak’st wiser than thou art ware of. line 0833TOUCHSTONENay, I shall ne’er be ware of mine own line 0834wit till I break my shins against it. ROSALIND line 0835Jove, Jove, this shepherd’s passion 60line 0836Is much upon my fashion. line 0837TOUCHSTONEAnd mine, but it grows something stale line 0838with me. line 0839CELIAI pray you, one of you question yond man, if he line 0840for gold will give us any food. I faint almost to death. 65line 0841TOUCHSTONEto CorinHolla, you clown! line 0842ROSALINDPeace, fool. He’s not thy kinsman. line 0843CORINWho calls? line 0844TOUCHSTONEYour betters, sir. line 0845CORINElse are they very wretched. ROSALINDto Touchstone 70line 0846Peace, I say. As Ganymede, to Corin. Good even to line 0847you, friend. CORIN line 0848And to you, gentle sir, and to you all. ROSALINDas Ganymede line 0849I prithee, shepherd, if that love or gold line 0850Can in this desert place buy entertainment, 75line 0851Bring us where we may rest ourselves and feed. line 0852Here’s a young maid with travel much oppressed, line 0853And faints for succor. line 0854CORINFair sir, I pity her line 0855And wish for her sake more than for mine own 80line 0856My fortunes were more able to relieve her. line 0857But I am shepherd to another man line 0858And do not shear the fleeces that I graze. line 0859My master is of churlish disposition line 0860And little recks to find the way to heaven 85line 0861By doing deeds of hospitality. line 0862Besides, his cote, his flocks, and bounds of feed line 0863Are now on sale, and at our sheepcote now, Act 2 Scene 5 - Pg 67line 0864By reason of his absence, there is nothing line 0865That you will feed on. But what is, come see, 90line 0866And in my voice most welcome shall you be. ROSALINDas Ganymede line 0867What is he that shall buy his flock and pasture? CORIN line 0868That young swain that you saw here but erewhile, line 0869That little cares for buying anything. ROSALINDas Ganymede line 0870I pray thee, if it stand with honesty, 95line 0871Buy thou the cottage, pasture, and the flock, line 0872And thou shalt have to pay for it of us. CELIAas Aliena line 0873And we will mend thy wages. I like this place, line 0874And willingly could waste my time in it. CORIN line 0875Assuredly the thing is to be sold. 100line 0876Go with me. If you like upon report line 0877The soil, the profit, and this kind of life, line 0878I will your very faithful feeder be line 0879And buy it with your gold right suddenly.
They exit.
Scene 5
Enter Amiens, Jaques, and others.
Song.
AMIENSsings line 0880Under the greenwood tree line 0881Who loves to lie with me line 0882And turn his merry note line 0883Unto the sweet bird’s throat, 5line 0884Come hither, come hither, come hither. line 0885Here shall he see line 0886No enemy line 0887But winter and rough weather. line 0888JAQUESMore, more, I prithee, more. Act 2 Scene 5 - Pg 6910line 0889AMIENSIt will make you melancholy, Monsieur line 0890Jaques. line 0891JAQUESI thank it. More, I prithee, more. I can suck line 0892melancholy out of a song as a weasel sucks eggs. line 0893More, I prithee, more. 15line 0894AMIENSMy voice is ragged. I know I cannot please you. line 0895JAQUESI do not desire you to please me. I do desire line 0896you to sing. Come, more, another stanzo. Call you line 0897’em “stanzos”? line 0898AMIENSWhat you will, Monsieur Jaques. 20line 0899JAQUESNay, I care not for their names. They owe me line 0900nothing. Will you sing? line 0901AMIENSMore at your request than to please myself. line 0902JAQUESWell then, if ever I thank any man, I’ll thank line 0903you. But that they call “compliment” is like th’ 25line 0904encounter of two dog-apes. And when a man thanks line 0905me heartily, methinks I have given him a penny and line 0906he renders me the beggarly thanks. Come, sing. And line 0907you that will not, hold your tongues. line 0908AMIENSWell, I’ll end the song.—Sirs, cover the while; 30line 0909the Duke will drink under this tree.—He hath been line 0910all this day to look you. line 0911JAQUESAnd I have been all this day to avoid him. He is line 0912too disputable for my company. I think of as many line 0913matters as he, but I give heaven thanks and make no 35line 0914boast of them. Come, warble, come.
Song.
ALLtogether here. line 0915Who doth ambition shun line 0916And loves to live i’ th’ sun, line 0917Seeking the food he eats line 0918And pleased with what he gets, 40line 0919Come hither, come hither, come hither. line 0920Here shall he see line 0921No enemy line 0922But winter and rough weather. Act 2 Scene 6 - Pg 71line 0923JAQUESI’ll give you a verse to this note that I made 45line 0924yesterday in despite of my invention. line 0925AMIENSAnd I’ll sing it. line 0926JAQUESThus it goes: line 0927If it do come to pass line 0928That any man turn ass, 50line 0929Leaving his wealth and ease line 0930A stubborn will to please, line 0931Ducdame, ducdame, ducdame. line 0932Here shall he see line 0933Gross fools as he, 55line 0934An if he will come to me. line 0935AMIENSWhat’s that “ducdame”? line 0936JAQUES’Tis a Greek invocation to call fools into a line 0937circle. I’ll go sleep if I can. If I cannot, I’ll rail line 0938against all the first-born of Egypt. 60line 0939AMIENSAnd I’ll go seek the Duke. His banquet is line 0940prepared.
They exit.
Scene 6
Enter Orlando and Adam.
line 0941ADAMDear master, I can go no further. O, I die for line 0942food. Here lie I down and measure out my grave. line 0943Farewell, kind master.He lies down. line 0944ORLANDOWhy, how now, Adam? No greater heart in 5line 0945thee? Live a little, comfort a little, cheer thyself a line 0946little. If this uncouth forest yield anything savage, I line 0947will either be food for it or bring it for food to thee. line 0948Thy conceit is nearer death than thy powers. For my line 0949sake, be comfortable. Hold death awhile at the 10line 0950arm’s end. I will here be with thee presently, and if line 0951I bring thee not something to eat, I will give thee line 0952leave to die. But if thou diest before I come, thou art Act 2 Scene 7 - Pg 73line 0953a mocker of my labor. Well said. Thou look’st line 0954cheerly, and I’ll be with thee quickly. Yet thou liest 15line 0955in the bleak air. Come, I will bear thee to some line 0956shelter, and thou shalt not die for lack of a dinner if line 0957there live anything in this desert. Cheerly, good line 0958Adam.
They exit.
Scene 7
Enter Duke Senior and Lords, like outlaws.
DUKE SENIOR line 0959I think he be transformed into a beast, line 0960For I can nowhere find him like a man. FIRST LORD line 0961My lord, he is but even now gone hence. line 0962Here was he merry, hearing of a song. DUKE SENIOR 5line 0963If he, compact of jars, grow musical, line 0964We shall have shortly discord in the spheres. line 0965Go seek him. Tell him I would speak with him.
Enter Jaques.
FIRST LORD line 0966He saves my labor by his own approach. DUKE SENIORto Jaques line 0967Why, how now, monsieur? What a life is this 10line 0968That your poor friends must woo your company? line 0969What, you look merrily. JAQUES line 0970A fool, a fool, I met a fool i’ th’ forest, line 0971A motley fool. A miserable world! line 0972As I do live by food, I met a fool, 15line 0973Who laid him down and basked him in the sun line 0974And railed on Lady Fortune in good terms, Act 2 Scene 7 - Pg 75line 0975In good set terms, and yet a motley fool. line 0976“Good morrow, fool,” quoth I. “No, sir,” quoth he, line 0977“Call me not ‘fool’ till heaven hath sent me 20line 0978fortune.” line 0979And then he drew a dial from his poke line 0980And, looking on it with lack-luster eye, line 0981Says very wisely “It is ten o’clock. line 0982Thus we may see,” quoth he, “how the world wags. 25line 0983’Tis but an hour ago since it was nine, line 0984And after one hour more ’twill be eleven. line 0985And so from hour to hour we ripe and ripe, line 0986And then from hour to hour we rot and rot, line 0987And thereby hangs a tale.” When I did hear 30line 0988The motley fool thus moral on the time, line 0989My lungs began to crow like chanticleer line 0990That fools should be so deep-contemplative, line 0991And I did laugh sans intermission line 0992An hour by his dial. O noble fool! 35line 0993A worthy fool! Motley’s the only wear. line 0994DUKE SENIORWhat fool is this? JAQUES line 0995O worthy fool!—One that hath been a courtier, line 0996And says “If ladies be but young and fair, line 0997They have the gift to know it.” And in his brain, 40line 0998Which is as dry as the remainder biscuit line 0999After a voyage, he hath strange places crammed line 1000With observation, the which he vents line 1001In mangled forms. O, that I were a fool! line 1002I am ambitious for a motley coat. DUKE SENIOR 45line 1003Thou shalt have one. line 1004JAQUESIt is my only suit, line 1005Provided that you weed your better judgments line 1006Of all opinion that grows rank in them line 1007That I am wise. I must have liberty 50line 1008Withal, as large a charter as the wind, Act 2 Scene 7 - Pg 77line 1009To blow on whom I please, for so fools have. line 1010And they that are most gallèd with my folly, line 1011They most must laugh. And why, sir, must they so? line 1012The “why” is plain as way to parish church: 55line 1013He that a fool doth very wisely hit line 1014Doth very foolishly, although he smart, line 1015Not to seem senseless of the bob. If not, line 1016The wise man’s folly is anatomized line 1017Even by the squand’ring glances of the fool. 60line 1018Invest me in my motley. Give me leave line 1019To speak my mind, and I will through and through line 1020Cleanse the foul body of th’ infected world, line 1021If they will patiently receive my medicine. DUKE SENIOR line 1022Fie on thee! I can tell what thou wouldst do. JAQUES 65line 1023What, for a counter, would I do but good? DUKE SENIOR line 1024Most mischievous foul sin in chiding sin; line 1025For thou thyself hast been a libertine, line 1026As sensual as the brutish sting itself, line 1027And all th’ embossèd sores and headed evils 70line 1028That thou with license of free foot hast caught line 1029Wouldst thou disgorge into the general world. line 1030JAQUESWhy, who cries out on pride line 1031That can therein tax any private party? line 1032Doth it not flow as hugely as the sea 75line 1033Till that the weary very means do ebb? line 1034What woman in the city do I name line 1035When that I say the city-woman bears line 1036The cost of princes on unworthy shoulders? line 1037Who can come in and say that I mean her, 80line 1038When such a one as she such is her neighbor? line 1039Or what is he of basest function line 1040That says his bravery is not on my cost, line 1041Thinking that I mean him, but therein suits Act 2 Scene 7 - Pg 79line 1042His folly to the mettle of my speech? 85line 1043There then. How then, what then? Let me see line 1044wherein line 1045My tongue hath wronged him. If it do him right, line 1046Then he hath wronged himself. If he be free, line 1047Why then my taxing like a wild goose flies 90line 1048Unclaimed of any man.
Enter Orlando, brandishing a sword.
line 1049But who comes here? line 1050ORLANDOForbear, and eat no more. line 1051JAQUESWhy, I have eat none yet. ORLANDO line 1052Nor shalt not till necessity be served. 95line 1053JAQUESOf what kind should this cock come of? DUKE SENIORto Orlando line 1054Art thou thus boldened, man, by thy distress, line 1055Or else a rude despiser of good manners, line 1056That in civility thou seem’st so empty? ORLANDO line 1057You touched my vein at first. The thorny point 100line 1058Of bare distress hath ta’en from me the show line 1059Of smooth civility, yet am I inland bred line 1060And know some nurture. But forbear, I say. line 1061He dies that touches any of this fruit line 1062Till I and my affairs are answerèd. 105line 1063JAQUESAn you will not be answered with reason, I line 1064must die. DUKE SENIORto Orlando line 1065What would you have? Your gentleness shall force line 1066More than your force move us to gentleness. ORLANDO line 1067I almost die for food, and let me have it. DUKE SENIOR 110line 1068Sit down and feed, and welcome to our table. Act 2 Scene 7 - Pg 81ORLANDO line 1069Speak you so gently? Pardon me, I pray you. line 1070I thought that all things had been savage here, line 1071And therefore put I on the countenance line 1072Of stern commandment. But whate’er you are 115line 1073That in this desert inaccessible, line 1074Under the shade of melancholy boughs, line 1075Lose and neglect the creeping hours of time, line 1076If ever you have looked on better days, line 1077If ever been where bells have knolled to church, 120line 1078If ever sat at any good man’s feast, line 1079If ever from your eyelids wiped a tear line 1080And know what ’tis to pity and be pitied, line 1081Let gentleness my strong enforcement be, line 1082In the which hope I blush and hide my sword.
He sheathes his sword.
DUKE SENIOR 125line 1083True is it that we have seen better days, line 1084And have with holy bell been knolled to church, line 1085And sat at good men’s feasts and wiped our eyes line 1086Of drops that sacred pity hath engendered. line 1087And therefore sit you down in gentleness, 130line 1088And take upon command what help we have line 1089That to your wanting may be ministered. ORLANDO line 1090Then but forbear your food a little while line 1091Whiles, like a doe, I go to find my fawn line 1092And give it food. There is an old poor man 135line 1093Who after me hath many a weary step line 1094Limped in pure love. Till he be first sufficed, line 1095Oppressed with two weak evils, age and hunger, line 1096I will not touch a bit. line 1097DUKE SENIORGo find him out, 140line 1098And we will nothing waste till you return. ORLANDO line 1099I thank you; and be blessed for your good comfort.
He exits.
Act 2 Scene 7 - Pg 83DUKE SENIOR line 1100Thou seest we are not all alone unhappy. line 1101This wide and universal theater line 1102Presents more woeful pageants than the scene 145line 1103Wherein we play in. line 1104JAQUESAll the world’s a stage, line 1105And all the men and women merely players. line 1106They have their exits and their entrances, line 1107And one man in his time plays many parts, 150line 1108His acts being seven ages. At first the infant, line 1109Mewling and puking in the nurse’s arms. line 1110Then the whining schoolboy with his satchel line 1111And shining morning face, creeping like snail line 1112Unwillingly to school. And then the lover, 155line 1113Sighing like furnace, with a woeful ballad line 1114Made to his mistress’ eyebrow. Then a soldier, line 1115Full of strange oaths and bearded like the pard, line 1116Jealous in honor, sudden and quick in quarrel, line 1117Seeking the bubble reputation 160line 1118Even in the cannon’s mouth. And then the justice, line 1119In fair round belly with good capon lined, line 1120With eyes severe and beard of formal cut, line 1121Full of wise saws and modern instances; line 1122And so he plays his part. The sixth age shifts 165line 1123Into the lean and slippered pantaloon line 1124With spectacles on nose and pouch on side, line 1125His youthful hose, well saved, a world too wide line 1126For his shrunk shank, and his big manly voice, line 1127Turning again toward childish treble, pipes 170line 1128And whistles in his sound. Last scene of all, line 1129That ends this strange eventful history, line 1130Is second childishness and mere oblivion, line 1131Sans teeth, sans eyes, sans taste, sans everything.
Enter Orlando, carrying Adam.
Act 2 Scene 7 - Pg 85DUKE SENIOR line 1132Welcome. Set down your venerable burden, 175line 1133And let him feed. line 1134ORLANDOI thank you most for him. line 1135ADAMSo had you need.— line 1136I scarce can speak to thank you for myself. DUKE SENIOR line 1137Welcome. Fall to. I will not trouble you 180line 1138As yet to question you about your fortunes.— line 1139Give us some music, and, good cousin, sing.
The Duke and Orlando continue their conversation, apart.
Song.
AMIENSsings line 1140Blow, blow, thou winter wind. line 1141Thou art not so unkind line 1142As man’s ingratitude. 185line 1143Thy tooth is not so keen, line 1144Because thou art not seen, line 1145Although thy breath be rude. line 1146Heigh-ho, sing heigh-ho, unto the green holly. line 1147Most friendship is feigning, most loving mere folly. 190line 1148Then heigh-ho, the holly. line 1149This life is most jolly.
line 1150Freeze, freeze, thou bitter sky, line 1151That dost not bite so nigh line 1152As benefits forgot. 195line 1153Though thou the waters warp, line 1154Thy sting is not so sharp line 1155As friend remembered not. line 1156Heigh-ho, sing heigh-ho, unto the green holly. line 1157Most friendship is feigning, most loving mere folly. 200line 1158Then heigh-ho, the holly. line 1159This life is most jolly. Act 2 Scene 7 - Pg 87DUKE SENIORto Orlando line 1160If that you were the good Sir Rowland’s son, line 1161As you have whispered faithfully you were, line 1162And as mine eye doth his effigies witness 205line 1163Most truly limned and living in your face, line 1164Be truly welcome hither. I am the duke line 1165That loved your father. The residue of your fortune line 1166Go to my cave and tell me.—Good old man, line 1167Thou art right welcome as thy master is. 210line 1168To Lords. Support him by the arm. line 1169To Orlando. Give me your hand, line 1170And let me all your fortunes understand.
They exit.
ACT 3
Scene 1
Enter Duke Frederick, Lords, and Oliver.
DUKE FREDERICKto Oliver line 1171Not see him since? Sir, sir, that cannot be. line 1172But were I not the better part made mercy, line 1173I should not seek an absent argument line 1174Of my revenge, thou present. But look to it: 5line 1175Find out thy brother wheresoe’er he is. line 1176Seek him with candle. Bring him, dead or living, line 1177Within this twelvemonth, or turn thou no more line 1178To seek a living in our territory. line 1179Thy lands and all things that thou dost call thine, 10line 1180Worth seizure, do we seize into our hands line 1181Till thou canst quit thee by thy brother’s mouth line 1182Of what we think against thee. OLIVER line 1183O, that your Highness knew my heart in this: line 1184I never loved my brother in my life. DUKE FREDERICK 15line 1185More villain thou.—Well, push him out of doors, line 1186And let my officers of such a nature line 1187Make an extent upon his house and lands. line 1188Do this expediently, and turn him going.
They exit.
Act 3 Scene 2 - Pg 93
Scene 2
Enter Orlando, with a paper.
ORLANDO line 1189Hang there, my verse, in witness of my love. line 1190And thou, thrice-crownèd queen of night, survey line 1191With thy chaste eye, from thy pale sphere above, line 1192Thy huntress’ name that my full life doth sway. 5line 1193O Rosalind, these trees shall be my books, line 1194And in their barks my thoughts I’ll character, line 1195That every eye which in this forest looks line 1196Shall see thy virtue witnessed everywhere. line 1197Run, run, Orlando, carve on every tree 10line 1198The fair, the chaste, and unexpressive she.
He exits.
Enter Corin and Touchstone.
line 1199CORINAnd how like you this shepherd’s life, Master line 1200Touchstone? line 1201TOUCHSTONETruly, shepherd, in respect of itself, it is a line 1202good life; but in respect that it is a shepherd’s life, it 15line 1203is naught. In respect that it is solitary, I like it very line 1204well; but in respect that it is private, it is a very vile line 1205life. Now in respect it is in the fields, it pleaseth me line 1206well; but in respect it is not in the court, it is line 1207tedious. As it is a spare life, look you, it fits my 20line 1208humor well; but as there is no more plenty in it, it line 1209goes much against my stomach. Hast any philosophy line 1210in thee, shepherd? line 1211CORINNo more but that I know the more one sickens, line 1212the worse at ease he is, and that he that wants 25line 1213money, means, and content is without three good line 1214friends; that the property of rain is to wet, and fire line 1215to burn; that good pasture makes fat sheep; and that line 1216a great cause of the night is lack of the sun; that he line 1217that hath learned no wit by nature nor art may Act 3 Scene 2 - Pg 9530line 1218complain of good breeding or comes of a very dull line 1219kindred. line 1220TOUCHSTONESuch a one is a natural philosopher. Wast line 1221ever in court, shepherd? line 1222CORINNo, truly. 35line 1223TOUCHSTONEThen thou art damned. line 1224CORINNay, I hope. line 1225TOUCHSTONETruly, thou art damned, like an ill-roasted line 1226egg, all on one side. line 1227CORINFor not being at court? Your reason. 40line 1228TOUCHSTONEWhy, if thou never wast at court, thou line 1229never saw’st good manners; if thou never saw’st line 1230good manners, then thy manners must be wicked, line 1231and wickedness is sin, and sin is damnation. Thou line 1232art in a parlous state, shepherd. 45line 1233CORINNot a whit, Touchstone. Those that are good line 1234manners at the court are as ridiculous in the line 1235country as the behavior of the country is most line 1236mockable at the court. You told me you salute not at line 1237the court but you kiss your hands. That courtesy 50line 1238would be uncleanly if courtiers were shepherds. line 1239TOUCHSTONEInstance, briefly. Come, instance. line 1240CORINWhy, we are still handling our ewes, and their line 1241fells, you know, are greasy. line 1242TOUCHSTONEWhy, do not your courtier’s hands sweat? 55line 1243And is not the grease of a mutton as wholesome as line 1244the sweat of a man? Shallow, shallow. A better line 1245instance, I say. Come. line 1246CORINBesides, our hands are hard. line 1247TOUCHSTONEYour lips will feel them the sooner. Shallow 60line 1248again. A more sounder instance. Come. line 1249CORINAnd they are often tarred over with the surgery line 1250of our sheep; and would you have us kiss tar? The line 1251courtier’s hands are perfumed with civet. line 1252TOUCHSTONEMost shallow man. Thou worms’ meat in 65line 1253respect of a good piece of flesh, indeed. Learn of the Act 3 Scene 2 - Pg 97line 1254wise and perpend: civet is of a baser birth than tar, line 1255the very uncleanly flux of a cat. Mend the instance, line 1256shepherd. line 1257CORINYou have too courtly a wit for me. I’ll rest. 70line 1258TOUCHSTONEWilt thou rest damned? God help thee, line 1259shallow man. God make incision in thee; thou art line 1260raw. line 1261CORINSir, I am a true laborer. I earn that I eat, get that line 1262I wear, owe no man hate, envy no man’s happiness, 75line 1263glad of other men’s good, content with my harm, line 1264and the greatest of my pride is to see my ewes graze line 1265and my lambs suck. line 1266TOUCHSTONEThat is another simple sin in you, to bring line 1267the ewes and the rams together and to offer to get 80line 1268your living by the copulation of cattle; to be bawd to line 1269a bell-wether and to betray a she-lamb of a twelvemonth line 1270to a crooked-pated old cuckoldly ram, out of line 1271all reasonable match. If thou be’st not damned for line 1272this, the devil himself will have no shepherds. I 85line 1273cannot see else how thou shouldst ’scape.
Enter Rosalind, as Ganymede.
line 1274CORINHere comes young Master Ganymede, my new line 1275mistress’s brother. ROSALINDas Ganymede, reading a paper line 1276From the east to western Ind line 1277No jewel is like Rosalind. 90line 1278Her worth being mounted on the wind, line 1279Through all the world bears Rosalind. line 1280All the pictures fairest lined line 1281Are but black to Rosalind. line 1282Let no face be kept in mind 95line 1283But the fair of Rosalind. line 1284TOUCHSTONEI’ll rhyme you so eight years together, line 1285dinners and suppers and sleeping hours excepted. line 1286It is the right butter-women’s rank to market. Act 3 Scene 2 - Pg 99line 1287ROSALINDas GanymedeOut, fool. 100line 1288TOUCHSTONEFor a taste: line 1289If a hart do lack a hind, line 1290Let him seek out Rosalind. line 1291If the cat will after kind, line 1292So be sure will Rosalind. 105line 1293Wintered garments must be lined; line 1294So must slender Rosalind. line 1295They that reap must sheaf and bind; line 1296Then to cart with Rosalind. line 1297Sweetest nut hath sourest rind; 110line 1298Such a nut is Rosalind. line 1299He that sweetest rose will find line 1300Must find love’s prick, and Rosalind. line 1301This is the very false gallop of verses. Why do you line 1302infect yourself with them? 115line 1303ROSALINDas GanymedePeace, you dull fool. I found line 1304them on a tree. line 1305TOUCHSTONETruly, the tree yields bad fruit. line 1306ROSALINDas GanymedeI’ll graft it with you, and line 1307then I shall graft it with a medlar. Then it will be 120line 1308the earliest fruit i’ th’ country, for you’ll be rotten line 1309ere you be half ripe, and that’s the right virtue of line 1310the medlar. line 1311TOUCHSTONEYou have said, but whether wisely or no, line 1312let the forest judge.
Enter Celia, as Aliena, with a writing.
125line 1313ROSALINDas GanymedePeace. Here comes my sister line 1314reading. Stand aside. CELIAas Aliena, reads line 1315Why should this a desert be? line 1316For it is unpeopled? No. line 1317Tongues I’ll hang on every tree 130line 1318That shall civil sayings show. line 1319Some how brief the life of man line 1320Runs his erring pilgrimage, Act 3 Scene 2 - Pg 101line 1321That the stretching of a span line 1322Buckles in his sum of age; 135line 1323Some of violated vows line 1324’Twixt the souls of friend and friend. line 1325But upon the fairest boughs, line 1326Or at every sentence’ end, line 1327Will I “Rosalinda” write, 140line 1328Teaching all that read to know line 1329The quintessence of every sprite line 1330Heaven would in little show. line 1331Therefore heaven nature charged line 1332That one body should be filled 145line 1333With all graces wide-enlarged. line 1334Nature presently distilled line 1335Helen’s cheek, but not her heart, line 1336Cleopatra’s majesty, line 1337Atalanta’s better part, 150line 1338Sad Lucretia’s modesty. line 1339Thus Rosalind of many parts line 1340By heavenly synod was devised line 1341Of many faces, eyes, and hearts line 1342To have the touches dearest prized. 155line 1343Heaven would that she these gifts should have line 1344And I to live and die her slave. line 1345ROSALINDas GanymedeO most gentle Jupiter, what line 1346tedious homily of love have you wearied your parishioners line 1347withal, and never cried “Have patience, 160line 1348good people!” line 1349CELIAas AlienaHow now?—Back, friends. Shepherd, line 1350go off a little.—Go with him, sirrah. line 1351TOUCHSTONECome, shepherd, let us make an honorable line 1352retreat, though not with bag and baggage, yet 165line 1353with scrip and scrippage.
Touchstone and Corin exit.
line 1354CELIADidst thou hear these verses? line 1355ROSALINDO yes, I heard them all, and more too, for Act 3 Scene 2 - Pg 103line 1356some of them had in them more feet than the verses line 1357would bear. 170line 1358CELIAThat’s no matter. The feet might bear the verses. line 1359ROSALINDAy, but the feet were lame and could not line 1360bear themselves without the verse, and therefore line 1361stood lamely in the verse. line 1362CELIABut didst thou hear without wondering how thy 175line 1363name should be hanged and carved upon these line 1364trees? line 1365ROSALINDI was seven of the nine days out of the line 1366wonder before you came, for look here what I line 1367found on a palm tree. She shows the paper she read. 180line 1368I was never so berhymed since Pythagoras’ line 1369time that I was an Irish rat, which I can hardly line 1370remember. line 1371CELIATrow you who hath done this? line 1372ROSALINDIs it a man? 185line 1373CELIAAnd a chain, that you once wore, about his neck. line 1374Change you color? line 1375ROSALINDI prithee, who? line 1376CELIAO Lord, Lord, it is a hard matter for friends to line 1377meet, but mountains may be removed with earthquakes 190line 1378and so encounter. line 1379ROSALINDNay, but who is it? line 1380CELIAIs it possible? line 1381ROSALINDNay, I prithee now, with most petitionary line 1382vehemence, tell me who it is. 195line 1383CELIAO wonderful, wonderful, and most wonderful line 1384wonderful, and yet again wonderful, and after that line 1385out of all whooping! line 1386ROSALINDGood my complexion, dost thou think line 1387though I am caparisoned like a man, I have a 200line 1388doublet and hose in my disposition? One inch of line 1389delay more is a South Sea of discovery. I prithee, line 1390tell me who is it quickly, and speak apace. I would line 1391thou couldst stammer, that thou might’st pour this Act 3 Scene 2 - Pg 105line 1392concealed man out of thy mouth as wine comes out 205line 1393of a narrow-mouthed bottle—either too much at line 1394once, or none at all. I prithee take the cork out of line 1395thy mouth, that I may drink thy tidings. line 1396CELIASo you may put a man in your belly. line 1397ROSALINDIs he of God’s making? What manner of 210line 1398man? Is his head worth a hat, or his chin worth a line 1399beard? line 1400CELIANay, he hath but a little beard. line 1401ROSALINDWhy, God will send more, if the man will be line 1402thankful. Let me stay the growth of his beard, if 215line 1403thou delay me not the knowledge of his chin. line 1404CELIAIt is young Orlando, that tripped up the wrestler’s line 1405heels and your heart both in an instant. line 1406ROSALINDNay, but the devil take mocking. Speak sad line 1407brow and true maid. 220line 1408CELIAI’ faith, coz, ’tis he. line 1409ROSALINDOrlando? line 1410CELIAOrlando. line 1411ROSALINDAlas the day, what shall I do with my doublet line 1412and hose? What did he when thou saw’st him? What 225line 1413said he? How looked he? Wherein went he? What line 1414makes he here? Did he ask for me? Where remains line 1415he? How parted he with thee? And when shalt thou line 1416see him again? Answer me in one word. line 1417CELIAYou must borrow me Gargantua’s mouth first. 230line 1418’Tis a word too great for any mouth of this age’s size. line 1419To say ay and no to these particulars is more than to line 1420answer in a catechism. line 1421ROSALINDBut doth he know that I am in this forest and line 1422in man’s apparel? Looks he as freshly as he did the 235line 1423day he wrestled? line 1424CELIAIt is as easy to count atomies as to resolve the line 1425propositions of a lover. But take a taste of my line 1426finding him, and relish it with good observance. I line 1427found him under a tree like a dropped acorn. Act 3 Scene 2 - Pg 107240line 1428ROSALINDIt may well be called Jove’s tree when it line 1429drops forth such fruit. line 1430CELIAGive me audience, good madam. line 1431ROSALINDProceed. line 1432CELIAThere lay he, stretched along like a wounded 245line 1433knight. line 1434ROSALINDThough it be pity to see such a sight, it well line 1435becomes the ground. line 1436CELIACry “holla” to thy tongue, I prithee. It curvets line 1437unseasonably. He was furnished like a hunter. 250line 1438ROSALINDO, ominous! He comes to kill my heart. line 1439CELIAI would sing my song without a burden. Thou line 1440bring’st me out of tune. line 1441ROSALINDDo you not know I am a woman? When I line 1442think, I must speak. Sweet, say on. 255line 1443CELIAYou bring me out.
Enter Orlando and Jaques.
line 1444Soft, comes he not here? line 1445ROSALIND’Tis he. Slink by, and note him.
Rosalind and Celia step aside.
line 1446JAQUESto OrlandoI thank you for your company, line 1447but, good faith, I had as lief have been myself alone. 260line 1448ORLANDOAnd so had I, but yet, for fashion sake, I line 1449thank you too for your society. line 1450JAQUESGod be wi’ you. Let’s meet as little as we can. line 1451ORLANDOI do desire we may be better strangers. line 1452JAQUESI pray you mar no more trees with writing love 265line 1453songs in their barks. line 1454ORLANDOI pray you mar no more of my verses with line 1455reading them ill-favoredly. line 1456JAQUESRosalind is your love’s name? line 1457ORLANDOYes, just. 270line 1458JAQUESI do not like her name. line 1459ORLANDOThere was no thought of pleasing you when line 1460she was christened. Act 3 Scene 2 - Pg 109line 1461JAQUESWhat stature is she of? line 1462ORLANDOJust as high as my heart. 275line 1463JAQUESYou are full of pretty answers. Have you not line 1464been acquainted with goldsmiths’ wives and line 1465conned them out of rings? line 1466ORLANDONot so. But I answer you right painted cloth, line 1467from whence you have studied your questions. 280line 1468JAQUESYou have a nimble wit. I think ’twas made of line 1469Atalanta’s heels. Will you sit down with me? And we line 1470two will rail against our mistress the world and all line 1471our misery. line 1472ORLANDOI will chide no breather in the world but 285line 1473myself, against whom I know most faults. line 1474JAQUESThe worst fault you have is to be in love. line 1475ORLANDO’Tis a fault I will not change for your best line 1476virtue. I am weary of you. line 1477JAQUESBy my troth, I was seeking for a fool when I 290line 1478found you. line 1479ORLANDOHe is drowned in the brook. Look but in, and line 1480you shall see him. line 1481JAQUESThere I shall see mine own figure. line 1482ORLANDOWhich I take to be either a fool or a cipher. 295line 1483JAQUESI’ll tarry no longer with you. Farewell, good line 1484Signior Love. line 1485ORLANDOI am glad of your departure. Adieu, good line 1486Monsieur Melancholy.Jaques exits. line 1487ROSALINDaside to CeliaI will speak to him like a 300line 1488saucy lackey, and under that habit play the knave line 1489with him. As Ganymede. Do you hear, forester? line 1490ORLANDOVery well. What would you? line 1491ROSALINDas GanymedeI pray you, what is ’t line 1492o’clock? 305line 1493ORLANDOYou should ask me what time o’ day. There’s line 1494no clock in the forest. line 1495ROSALINDas GanymedeThen there is no true lover line 1496in the forest; else sighing every minute and Act 3 Scene 2 - Pg 111line 1497groaning every hour would detect the lazy foot of 310line 1498time as well as a clock. line 1499ORLANDOAnd why not the swift foot of time? Had not line 1500that been as proper? line 1501ROSALINDas GanymedeBy no means, sir. Time line 1502travels in divers paces with divers persons. I’ll tell 315line 1503you who time ambles withal, who time trots withal, line 1504who time gallops withal, and who he stands still line 1505withal. line 1506ORLANDOI prithee, who doth he trot withal? line 1507ROSALINDas GanymedeMarry, he trots hard with a 320line 1508young maid between the contract of her marriage line 1509and the day it is solemnized. If the interim be but a line 1510se’nnight, time’s pace is so hard that it seems the line 1511length of seven year. line 1512ORLANDOWho ambles time withal? 325line 1513ROSALINDas GanymedeWith a priest that lacks Latin line 1514and a rich man that hath not the gout, for the one line 1515sleeps easily because he cannot study, and the other line 1516lives merrily because he feels no pain—the one line 1517lacking the burden of lean and wasteful learning, 330line 1518the other knowing no burden of heavy tedious line 1519penury. These time ambles withal. line 1520ORLANDOWho doth he gallop withal? line 1521ROSALINDas GanymedeWith a thief to the gallows, line 1522for though he go as softly as foot can fall, he thinks 335line 1523himself too soon there. line 1524ORLANDOWho stays it still withal? line 1525ROSALINDas GanymedeWith lawyers in the vacation, line 1526for they sleep between term and term, and line 1527then they perceive not how time moves. 340line 1528ORLANDOWhere dwell you, pretty youth? line 1529ROSALINDas GanymedeWith this shepherdess, my line 1530sister, here in the skirts of the forest, like fringe line 1531upon a petticoat. line 1532ORLANDOAre you native of this place? Act 3 Scene 2 - Pg 113345line 1533ROSALINDas GanymedeAs the cony that you see line 1534dwell where she is kindled. line 1535ORLANDOYour accent is something finer than you line 1536could purchase in so removed a dwelling. line 1537ROSALINDas GanymedeI have been told so of many. 350line 1538But indeed an old religious uncle of mine taught line 1539me to speak, who was in his youth an inland man, line 1540one that knew courtship too well, for there he fell in line 1541love. I have heard him read many lectures against it, line 1542and I thank God I am not a woman, to be touched 355line 1543with so many giddy offenses as he hath generally line 1544taxed their whole sex withal. line 1545ORLANDOCan you remember any of the principal evils line 1546that he laid to the charge of women? line 1547ROSALINDas GanymedeThere were none principal. 360line 1548They were all like one another as halfpence are, line 1549every one fault seeming monstrous till his fellow line 1550fault came to match it. line 1551ORLANDOI prithee recount some of them. line 1552ROSALINDas GanymedeNo, I will not cast away my 365line 1553physic but on those that are sick. There is a man line 1554haunts the forest that abuses our young plants with line 1555carving “Rosalind” on their barks, hangs odes upon line 1556hawthorns and elegies on brambles, all, forsooth, line 1557deifying the name of Rosalind. If I could meet 370line 1558that fancy-monger, I would give him some good line 1559counsel, for he seems to have the quotidian of love line 1560upon him. line 1561ORLANDOI am he that is so love-shaked. I pray you tell line 1562me your remedy. 375line 1563ROSALINDas GanymedeThere is none of my uncle’s line 1564marks upon you. He taught me how to know a man line 1565in love, in which cage of rushes I am sure you are line 1566not prisoner. line 1567ORLANDOWhat were his marks? 380line 1568ROSALINDas GanymedeA lean cheek, which you Act 3 Scene 2 - Pg 115line 1569have not; a blue eye and sunken, which you have line 1570not; an unquestionable spirit, which you have not; a line 1571beard neglected, which you have not—but I pardon line 1572you for that, for simply your having in beard is a 385line 1573younger brother’s revenue. Then your hose should line 1574be ungartered, your bonnet unbanded, your sleeve line 1575unbuttoned, your shoe untied, and everything line 1576about you demonstrating a careless desolation. But line 1577you are no such man. You are rather point-device in 390line 1578your accouterments, as loving yourself than seeming line 1579the lover of any other. line 1580ORLANDOFair youth, I would I could make thee believe line 1581I love. line 1582ROSALINDas GanymedeMe believe it? You may as 395line 1583soon make her that you love believe it, which I line 1584warrant she is apter to do than to confess she does. line 1585That is one of the points in the which women still line 1586give the lie to their consciences. But, in good sooth, line 1587are you he that hangs the verses on the trees 400line 1588wherein Rosalind is so admired? line 1589ORLANDOI swear to thee, youth, by the white hand of line 1590Rosalind, I am that he, that unfortunate he. line 1591ROSALINDas GanymedeBut are you so much in love line 1592as your rhymes speak? 405line 1593ORLANDONeither rhyme nor reason can express how line 1594much. line 1595ROSALINDas GanymedeLove is merely a madness, line 1596and, I tell you, deserves as well a dark house and a line 1597whip as madmen do; and the reason why they are 410line 1598not so punished and cured is that the lunacy is so line 1599ordinary that the whippers are in love too. Yet I line 1600profess curing it by counsel. line 1601ORLANDODid you ever cure any so? line 1602ROSALINDas GanymedeYes, one, and in this manner. 415line 1603He was to imagine me his love, his mistress, line 1604and I set him every day to woo me; at which time Act 3 Scene 3 - Pg 117line 1605would I, being but a moonish youth, grieve, be line 1606effeminate, changeable, longing and liking, proud, line 1607fantastical, apish, shallow, inconstant, full of tears, 420line 1608full of smiles; for every passion something, and for line 1609no passion truly anything, as boys and women are, line 1610for the most part, cattle of this color; would now line 1611like him, now loathe him; then entertain him, then line 1612forswear him; now weep for him, then spit at him, 425line 1613that I drave my suitor from his mad humor of love line 1614to a living humor of madness, which was to forswear line 1615the full stream of the world and to live in a line 1616nook merely monastic. And thus I cured him, and line 1617this way will I take upon me to wash your liver as 430line 1618clean as a sound sheep’s heart, that there shall not line 1619be one spot of love in ’t. line 1620ORLANDOI would not be cured, youth. line 1621ROSALINDas GanymedeI would cure you if you line 1622would but call me Rosalind and come every day to 435line 1623my cote and woo me. line 1624ORLANDONow, by the faith of my love, I will. Tell me line 1625where it is. line 1626ROSALINDas GanymedeGo with me to it, and I’ll line 1627show it you; and by the way you shall tell me where 440line 1628in the forest you live. Will you go? line 1629ORLANDOWith all my heart, good youth. line 1630ROSALINDas GanymedeNay, you must call me line 1631Rosalind.—Come, sister, will you go?
They exit.
Scene 3
Enter Touchstone and Audrey, followed by Jaques.
line 1632TOUCHSTONECome apace, good Audrey. I will fetch up line 1633your goats, Audrey. And how, Audrey? Am I the line 1634man yet? Doth my simple feature content you? Act 3 Scene 3 - Pg 119line 1635AUDREYYour features, Lord warrant us! What 5line 1636features? line 1637TOUCHSTONEI am here with thee and thy goats, as the line 1638most capricious poet, honest Ovid, was among the line 1639Goths. line 1640JAQUESasideO knowledge ill-inhabited, worse than 10line 1641Jove in a thatched house. line 1642TOUCHSTONEWhen a man’s verses cannot be understood, line 1643nor a man’s good wit seconded with the line 1644forward child, understanding, it strikes a man more line 1645dead than a great reckoning in a little room. Truly, I 15line 1646would the gods had made thee poetical. line 1647AUDREYI do not know what “poetical” is. Is it honest line 1648in deed and word? Is it a true thing? line 1649TOUCHSTONENo, truly, for the truest poetry is the most line 1650feigning, and lovers are given to poetry, and what 20line 1651they swear in poetry may be said as lovers they do line 1652feign. line 1653AUDREYDo you wish, then, that the gods had made me line 1654poetical? line 1655TOUCHSTONEI do, truly, for thou swear’st to me thou 25line 1656art honest. Now if thou wert a poet, I might have line 1657some hope thou didst feign. line 1658AUDREYWould you not have me honest? line 1659TOUCHSTONENo, truly, unless thou wert hard-favored; line 1660for honesty coupled to beauty is to have honey a 30line 1661sauce to sugar. line 1662JAQUESasideA material fool. line 1663AUDREYWell, I am not fair, and therefore I pray the line 1664gods make me honest. line 1665TOUCHSTONETruly, and to cast away honesty upon a 35line 1666foul slut were to put good meat into an unclean line 1667dish. line 1668AUDREYI am not a slut, though I thank the gods I am line 1669foul. line 1670TOUCHSTONEWell, praised be the gods for thy foulness; Act 3 Scene 3 - Pg 12140line 1671sluttishness may come hereafter. But be it as it may line 1672be, I will marry thee; and to that end I have been line 1673with Sir Oliver Martext, the vicar of the next village, line 1674who hath promised to meet me in this place of the line 1675forest and to couple us. 45line 1676JAQUESasideI would fain see this meeting. line 1677AUDREYWell, the gods give us joy. line 1678TOUCHSTONEAmen. A man may, if he were of a fearful line 1679heart, stagger in this attempt, for here we have no line 1680temple but the wood, no assembly but horn-beasts. 50line 1681But what though? Courage. As horns are odious, line 1682they are necessary. It is said “Many a man knows no line 1683end of his goods.” Right: many a man has good line 1684horns and knows no end of them. Well, that is the line 1685dowry of his wife; ’tis none of his own getting. 55line 1686Horns? Even so. Poor men alone? No, no. The line 1687noblest deer hath them as huge as the rascal. Is the line 1688single man therefore blessed? No. As a walled town line 1689is more worthier than a village, so is the forehead of line 1690a married man more honorable than the bare brow 60line 1691of a bachelor. And by how much defense is better line 1692than no skill, by so much is a horn more precious line 1693than to want.
Enter Sir Oliver Martext.
line 1694Here comes Sir Oliver.—Sir Oliver Martext, you are line 1695well met. Will you dispatch us here under this tree, 65line 1696or shall we go with you to your chapel? line 1697OLIVER MARTEXTIs there none here to give the line 1698woman? line 1699TOUCHSTONEI will not take her on gift of any man. line 1700OLIVER MARTEXTTruly, she must be given, or the 70line 1701marriage is not lawful. line 1702JAQUEScoming forwardProceed, proceed. I’ll give line 1703her. Act 3 Scene 3 - Pg 123line 1704TOUCHSTONEGood even, good Monsieur What-you-call-’t. line 1705How do you, sir? You are very well met. God 75line 1706’ild you for your last company. I am very glad to see line 1707you. Even a toy in hand here, sir. Nay, pray be line 1708covered. line 1709JAQUESWill you be married, motley? line 1710TOUCHSTONEAs the ox hath his bow, sir, the horse his 80line 1711curb, and the falcon her bells, so man hath his line 1712desires; and as pigeons bill, so wedlock would be line 1713nibbling. line 1714JAQUESAnd will you, being a man of your breeding, be line 1715married under a bush like a beggar? Get you to 85line 1716church, and have a good priest that can tell you line 1717what marriage is. This fellow will but join you line 1718together as they join wainscot. Then one of you will line 1719prove a shrunk panel and, like green timber, warp, line 1720warp. 90line 1721TOUCHSTONEI am not in the mind but I were better to line 1722be married of him than of another, for he is not like line 1723to marry me well, and not being well married, it line 1724will be a good excuse for me hereafter to leave my line 1725wife. 95line 1726JAQUESGo thou with me, and let me counsel thee. line 1727TOUCHSTONECome, sweet Audrey. We must be married, line 1728or we must live in bawdry.—Farewell, good line 1729Master Oliver, not line 1730O sweet Oliver, 100line 1731O brave Oliver, line 1732Leave me not behind thee, line 1733But line 1734Wind away, line 1735Begone, I say, 105line 1736I will not to wedding with thee.
Audrey, Touchstone, and Jaques exit.
line 1737OLIVER MARTEXT’Tis no matter. Ne’er a fantastical line 1738knave of them all shall flout me out of my calling.
He exits.
Act 3 Scene 4 - Pg 125
Scene 4
Enter Rosalind, dressed as Ganymede, and Celia, dressed as Aliena.
line 1739ROSALINDNever talk to me. I will weep. line 1740CELIADo, I prithee, but yet have the grace to consider line 1741that tears do not become a man. line 1742ROSALINDBut have I not cause to weep? 5line 1743CELIAAs good cause as one would desire. Therefore line 1744weep. line 1745ROSALINDHis very hair is of the dissembling color. line 1746CELIASomething browner than Judas’s. Marry, his line 1747kisses are Judas’s own children. 10line 1748ROSALINDI’ faith, his hair is of a good color. line 1749CELIAAn excellent color. Your chestnut was ever the line 1750only color. line 1751ROSALINDAnd his kissing is as full of sanctity as the line 1752touch of holy bread. 15line 1753CELIAHe hath bought a pair of cast lips of Diana. A line 1754nun of winter’s sisterhood kisses not more religiously. line 1755The very ice of chastity is in them. line 1756ROSALINDBut why did he swear he would come this line 1757morning, and comes not? 20line 1758CELIANay, certainly, there is no truth in him. line 1759ROSALINDDo you think so? line 1760CELIAYes, I think he is not a pickpurse nor a horse-stealer, line 1761but for his verity in love, I do think him as line 1762concave as a covered goblet or a worm-eaten nut. 25line 1763ROSALINDNot true in love? line 1764CELIAYes, when he is in, but I think he is not in. line 1765ROSALINDYou have heard him swear downright he line 1766was. line 1767CELIA“Was” is not “is.” Besides, the oath of a lover is 30line 1768no stronger than the word of a tapster. They are line 1769both the confirmer of false reckonings. He attends line 1770here in the forest on the Duke your father. Act 3 Scene 4 - Pg 127line 1771ROSALINDI met the Duke yesterday and had much line 1772question with him. He asked me of what parentage 35line 1773I was. I told him, of as good as he. So he laughed line 1774and let me go. But what talk we of fathers when line 1775there is such a man as Orlando? line 1776CELIAO, that’s a brave man. He writes brave verses, line 1777speaks brave words, swears brave oaths, and breaks 40line 1778them bravely, quite traverse, athwart the heart of line 1779his lover, as a puny tilter that spurs his horse but on line 1780one side breaks his staff like a noble goose; but all’s line 1781brave that youth mounts and folly guides.
Enter Corin.
line 1782Who comes here? CORIN 45line 1783Mistress and master, you have oft inquired line 1784After the shepherd that complained of love, line 1785Who you saw sitting by me on the turf, line 1786Praising the proud disdainful shepherdess line 1787That was his mistress. 50line 1788CELIAas AlienaWell, and what of him? CORIN line 1789If you will see a pageant truly played line 1790Between the pale complexion of true love line 1791And the red glow of scorn and proud disdain, line 1792Go hence a little, and I shall conduct you 55line 1793If you will mark it. line 1794ROSALINDaside to CeliaO come, let us remove. line 1795The sight of lovers feedeth those in love. line 1796As Ganymede, to Corin. Bring us to this sight, and line 1797you shall say 60line 1798I’ll prove a busy actor in their play.
They exit.
Act 3 Scene 5 - Pg 129
Scene 5
Enter Silvius and Phoebe.
SILVIUS line 1799Sweet Phoebe, do not scorn me. Do not, Phoebe. line 1800Say that you love me not, but say not so line 1801In bitterness. The common executioner, line 1802Whose heart th’ accustomed sight of death makes 5line 1803hard, line 1804Falls not the axe upon the humbled neck line 1805But first begs pardon. Will you sterner be line 1806Than he that dies and lives by bloody drops?
Enter, unobserved, Rosalind as Ganymede, Celia as Aliena, and Corin.
PHOEBE line 1807I would not be thy executioner. 10line 1808I fly thee, for I would not injure thee. line 1809Thou tell’st me there is murder in mine eye. line 1810’Tis pretty, sure, and very probable line 1811That eyes, that are the frail’st and softest things, line 1812Who shut their coward gates on atomies, 15line 1813Should be called tyrants, butchers, murderers. line 1814Now I do frown on thee with all my heart, line 1815And if mine eyes can wound, now let them kill thee. line 1816Now counterfeit to swoon; why, now fall down; line 1817Or if thou canst not, O, for shame, for shame, 20line 1818Lie not, to say mine eyes are murderers. line 1819Now show the wound mine eye hath made in thee. line 1820Scratch thee but with a pin, and there remains line 1821Some scar of it. Lean upon a rush, line 1822The cicatrice and capable impressure 25line 1823Thy palm some moment keeps. But now mine eyes, line 1824Which I have darted at thee, hurt thee not; line 1825Nor I am sure there is no force in eyes line 1826That can do hurt. Act 3 Scene 5 - Pg 131line 1827SILVIUSO dear Phoebe, 30line 1828If ever—as that ever may be near— line 1829You meet in some fresh cheek the power of fancy, line 1830Then shall you know the wounds invisible line 1831That love’s keen arrows make. line 1832PHOEBEBut till that time 35line 1833Come not thou near me. And when that time line 1834comes, line 1835Afflict me with thy mocks, pity me not, line 1836As till that time I shall not pity thee. ROSALINDas Ganymede, coming forward line 1837And why, I pray you? Who might be your mother, 40line 1838That you insult, exult, and all at once, line 1839Over the wretched? What though you have no line 1840beauty— line 1841As, by my faith, I see no more in you line 1842Than without candle may go dark to bed— 45line 1843Must you be therefore proud and pitiless? line 1844Why, what means this? Why do you look on me? line 1845I see no more in you than in the ordinary line 1846Of nature’s sale-work.—’Od’s my little life, line 1847I think she means to tangle my eyes, too.— 50line 1848No, faith, proud mistress, hope not after it. line 1849’Tis not your inky brows, your black silk hair, line 1850Your bugle eyeballs, nor your cheek of cream line 1851That can entame my spirits to your worship.— line 1852You foolish shepherd, wherefore do you follow her, 55line 1853Like foggy south puffing with wind and rain? line 1854You are a thousand times a properer man line 1855Than she a woman. ’Tis such fools as you line 1856That makes the world full of ill-favored children. line 1857’Tis not her glass but you that flatters her, 60line 1858And out of you she sees herself more proper line 1859Than any of her lineaments can show her.— line 1860But, mistress, know yourself. Down on your knees line 1861And thank heaven, fasting, for a good man’s love, Act 3 Scene 5 - Pg 133line 1862For I must tell you friendly in your ear, 65line 1863Sell when you can; you are not for all markets. line 1864Cry the man mercy, love him, take his offer. line 1865Foul is most foul, being foul to be a scoffer.— line 1866So take her to thee, shepherd. Fare you well. PHOEBE line 1867Sweet youth, I pray you chide a year together. 70line 1868I had rather hear you chide than this man woo. line 1869ROSALIND,as GanymedeHe’s fall’n in love with your line 1870foulness. To Silvius. And she’ll fall in love with line 1871my anger. If it be so, as fast as she answers thee with line 1872frowning looks, I’ll sauce her with bitter words. 75line 1873To Phoebe. Why look you so upon me? line 1874PHOEBEFor no ill will I bear you. ROSALINDas Ganymede line 1875I pray you, do not fall in love with me, line 1876For I am falser than vows made in wine. line 1877Besides, I like you not. If you will know my house, 80line 1878’Tis at the tuft of olives, here hard by.— line 1879Will you go, sister?—Shepherd, ply her hard.— line 1880Come, sister.—Shepherdess, look on him better, line 1881And be not proud. Though all the world could see, line 1882None could be so abused in sight as he.— 85line 1883Come, to our flock.
She exits, with Celia and Corin.
PHOEBEaside line 1884Dead shepherd, now I find thy saw of might: line 1885“Who ever loved that loved not at first sight?” SILVIUS line 1886Sweet Phoebe— line 1887PHOEBEHa, what sayst thou, Silvius? 90line 1888SILVIUSSweet Phoebe, pity me. PHOEBE line 1889Why, I am sorry for thee, gentle Silvius. SILVIUS line 1890Wherever sorrow is, relief would be. Act 3 Scene 5 - Pg 135line 1891If you do sorrow at my grief in love, line 1892By giving love your sorrow and my grief 95line 1893Were both extermined. PHOEBE line 1894Thou hast my love. Is not that neighborly? SILVIUS line 1895I would have you. line 1896PHOEBEWhy, that were covetousness. line 1897Silvius, the time was that I hated thee; 100line 1898And yet it is not that I bear thee love; line 1899But since that thou canst talk of love so well, line 1900Thy company, which erst was irksome to me, line 1901I will endure, and I’ll employ thee too. line 1902But do not look for further recompense 105line 1903Than thine own gladness that thou art employed. SILVIUS line 1904So holy and so perfect is my love, line 1905And I in such a poverty of grace, line 1906That I shall think it a most plenteous crop line 1907To glean the broken ears after the man 110line 1908That the main harvest reaps. Loose now and then line 1909A scattered smile, and that I’ll live upon. PHOEBE line 1910Know’st thou the youth that spoke to me erewhile? SILVIUS line 1911Not very well, but I have met him oft, line 1912And he hath bought the cottage and the bounds 115line 1913That the old carlot once was master of. PHOEBE line 1914Think not I love him, though I ask for him. line 1915’Tis but a peevish boy—yet he talks well— line 1916But what care I for words? Yet words do well line 1917When he that speaks them pleases those that hear. 120line 1918It is a pretty youth—not very pretty— line 1919But sure he’s proud—and yet his pride becomes line 1920him. Act 3 Scene 5 - Pg 137line 1921He’ll make a proper man. The best thing in him line 1922Is his complexion; and faster than his tongue 125line 1923Did make offense, his eye did heal it up. line 1924He is not very tall—yet for his years he’s tall. line 1925His leg is but so-so—and yet ’tis well. line 1926There was a pretty redness in his lip, line 1927A little riper and more lusty red 130line 1928Than that mixed in his cheek: ’twas just the line 1929difference line 1930Betwixt the constant red and mingled damask. line 1931There be some women, Silvius, had they marked line 1932him 135line 1933In parcels as I did, would have gone near line 1934To fall in love with him; but for my part line 1935I love him not nor hate him not; and yet line 1936I have more cause to hate him than to love him. line 1937For what had he to do to chide at me? 140line 1938He said mine eyes were black and my hair black, line 1939And now I am remembered, scorned at me. line 1940I marvel why I answered not again. line 1941But that’s all one: omittance is no quittance. line 1942I’ll write to him a very taunting letter, 145line 1943And thou shalt bear it. Wilt thou, Silvius? SILVIUS line 1944Phoebe, with all my heart. line 1945PHOEBEI’ll write it straight. line 1946The matter’s in my head and in my heart. line 1947I will be bitter with him and passing short. 150line 1948Go with me, Silvius.
They exit.
ACT 4
Scene 1
Enter Rosalind as Ganymede, and Celia as Aliena, and Jaques.
line 1949JAQUESI prithee, pretty youth, let me be better line 1950acquainted with thee. line 1951ROSALINDas GanymedeThey say you are a melancholy line 1952fellow. 5line 1953JAQUESI am so. I do love it better than laughing. line 1954ROSALINDas GanymedeThose that are in extremity line 1955of either are abominable fellows and betray line 1956themselves to every modern censure worse than line 1957drunkards. 10line 1958JAQUESWhy, ’tis good to be sad and say nothing. line 1959ROSALINDas GanymedeWhy then, ’tis good to be a line 1960post. line 1961JAQUESI have neither the scholar’s melancholy, which line 1962is emulation; nor the musician’s, which is fantastical; 15line 1963nor the courtier’s, which is proud; nor the line 1964soldier’s, which is ambitious; nor the lawyer’s, line 1965which is politic; nor the lady’s, which is nice; nor line 1966the lover’s, which is all these; but it is a melancholy line 1967of mine own, compounded of many simples, extracted 20line 1968from many objects, and indeed the sundry line 1969contemplation of my travels, in which my often line 1970rumination wraps me in a most humorous sadness. line 1971ROSALINDas GanymedeA traveller. By my faith, you Act 4 Scene 1 - Pg 143line 1972have great reason to be sad. I fear you have sold 25line 1973your own lands to see other men’s. Then to have line 1974seen much and to have nothing is to have rich eyes line 1975and poor hands. line 1976JAQUESYes, I have gained my experience. line 1977ROSALINDas GanymedeAnd your experience makes 30line 1978you sad. I had rather have a fool to make me merry line 1979than experience to make me sad—and to travel for line 1980it too.
Enter Orlando.
ORLANDO line 1981Good day and happiness, dear Rosalind. line 1982JAQUESNay then, God be wi’ you, an you talk in blank 35line 1983verse. line 1984ROSALINDas GanymedeFarewell, Monsieur Traveller. line 1985Look you lisp and wear strange suits, disable all line 1986the benefits of your own country, be out of love with line 1987your nativity, and almost chide God for making you 40line 1988that countenance you are, or I will scarce think you line 1989have swam in a gondola.
Jaques exits.
line 1990Why, how now, Orlando, where have you been all line 1991this while? You a lover? An you serve me such line 1992another trick, never come in my sight more. 45line 1993ORLANDOMy fair Rosalind, I come within an hour of line 1994my promise. line 1995ROSALINDas GanymedeBreak an hour’s promise in line 1996love? He that will divide a minute into a thousand line 1997parts and break but a part of the thousand part of a 50line 1998minute in the affairs of love, it may be said of him line 1999that Cupid hath clapped him o’ th’ shoulder, but I’ll line 2000warrant him heart-whole. line 2001ORLANDOPardon me, dear Rosalind. line 2002ROSALINDas GanymedeNay, an you be so tardy, Act 4 Scene 1 - Pg 14555line 2003come no more in my sight. I had as lief be wooed of line 2004a snail. line 2005ORLANDOOf a snail? line 2006ROSALINDas GanymedeAy, of a snail, for though he line 2007comes slowly, he carries his house on his head—a 60line 2008better jointure, I think, than you make a woman. line 2009Besides, he brings his destiny with him. line 2010ORLANDOWhat’s that? line 2011ROSALINDas GanymedeWhy, horns, which such as line 2012you are fain to be beholding to your wives for. But 65line 2013he comes armed in his fortune and prevents the line 2014slander of his wife. line 2015ORLANDOVirtue is no hornmaker, and my Rosalind is line 2016virtuous. line 2017ROSALINDas GanymedeAnd I am your Rosalind. 70line 2018CELIAas AlienaIt pleases him to call you so, but he line 2019hath a Rosalind of a better leer than you. line 2020ROSALINDas Ganymede, to OrlandoCome, woo me, line 2021woo me, for now I am in a holiday humor, and like line 2022enough to consent. What would you say to me now 75line 2023an I were your very, very Rosalind? line 2024ORLANDOI would kiss before I spoke. line 2025ROSALINDas GanymedeNay, you were better speak line 2026first, and when you were gravelled for lack of line 2027matter, you might take occasion to kiss. Very good 80line 2028orators, when they are out, they will spit; and for line 2029lovers lacking—God warn us—matter, the cleanliest line 2030shift is to kiss. line 2031ORLANDOHow if the kiss be denied? line 2032ROSALINDas GanymedeThen she puts you to entreaty, 85line 2033and there begins new matter. line 2034ORLANDOWho could be out, being before his beloved line 2035mistress? line 2036ROSALINDas GanymedeMarry, that should you if I line 2037were your mistress, or I should think my honesty 90line 2038ranker than my wit. Act 4 Scene 1 - Pg 147line 2039ORLANDOWhat, of my suit? line 2040ROSALINDas GanymedeNot out of your apparel, and line 2041yet out of your suit. Am not I your Rosalind? line 2042ORLANDOI take some joy to say you are because I 95line 2043would be talking of her. line 2044ROSALINDas GanymedeWell, in her person I say I line 2045will not have you. line 2046ORLANDOThen, in mine own person I die. line 2047ROSALINDas GanymedeNo, faith, die by attorney. 100line 2048The poor world is almost six thousand years old, line 2049and in all this time there was not any man died in line 2050his own person, videlicet, in a love cause. Troilus line 2051had his brains dashed out with a Grecian club, yet line 2052he did what he could to die before, and he is one of 105line 2053the patterns of love. Leander, he would have lived line 2054many a fair year though Hero had turned nun, if it line 2055had not been for a hot midsummer night, for, good line 2056youth, he went but forth to wash him in the Hellespont line 2057and, being taken with the cramp, was 110line 2058drowned; and the foolish chroniclers of that age line 2059found it was Hero of Sestos. But these are all lies. line 2060Men have died from time to time and worms have line 2061eaten them, but not for love. line 2062ORLANDOI would not have my right Rosalind of this 115line 2063mind, for I protest her frown might kill me. line 2064ROSALINDas GanymedeBy this hand, it will not kill a line 2065fly. But come; now I will be your Rosalind in a more line 2066coming-on disposition, and ask me what you will, I line 2067will grant it. 120line 2068ORLANDOThen love me, Rosalind. line 2069ROSALINDas GanymedeYes, faith, will I, Fridays and line 2070Saturdays and all. line 2071ORLANDOAnd wilt thou have me? line 2072ROSALINDas GanymedeAy, and twenty such. 125line 2073ORLANDOWhat sayest thou? Act 4 Scene 1 - Pg 149line 2074ROSALINDas GanymedeAre you not good? line 2075ORLANDOI hope so. line 2076ROSALINDas GanymedeWhy then, can one desire line 2077too much of a good thing?—Come, sister, you shall 130line 2078be the priest and marry us.—Give me your hand, line 2079Orlando.—What do you say, sister? line 2080ORLANDOto CeliaPray thee marry us. line 2081CELIAas AlienaI cannot say the words. line 2082ROSALINDas GanymedeYou must begin “Will you, 135line 2083Orlando—” line 2084CELIAas AlienaGo to.—Will you, Orlando, have to line 2085wife this Rosalind? line 2086ORLANDOI will. line 2087ROSALINDas GanymedeAy, but when? 140line 2088ORLANDOWhy now, as fast as she can marry us. line 2089ROSALINDas GanymedeThen you must say “I take line 2090thee, Rosalind, for wife.” line 2091ORLANDOI take thee, Rosalind, for wife. line 2092ROSALINDas GanymedeI might ask you for your 145line 2093commission, but I do take thee, Orlando, for my line 2094husband. There’s a girl goes before the priest, and line 2095certainly a woman’s thought runs before her line 2096actions. line 2097ORLANDOSo do all thoughts. They are winged. 150line 2098ROSALINDas GanymedeNow tell me how long you line 2099would have her after you have possessed her? line 2100ORLANDOForever and a day. line 2101ROSALINDas GanymedeSay “a day” without the line 2102“ever.” No, no, Orlando, men are April when they 155line 2103woo, December when they wed. Maids are May line 2104when they are maids, but the sky changes when line 2105they are wives. I will be more jealous of thee than a line 2106Barbary cock-pigeon over his hen, more clamorous line 2107than a parrot against rain, more newfangled than 160line 2108an ape, more giddy in my desires than a monkey. I line 2109will weep for nothing, like Diana in the fountain, Act 4 Scene 1 - Pg 151line 2110and I will do that when you are disposed to be line 2111merry. I will laugh like a hyena, and that when thou line 2112art inclined to sleep. 165line 2113ORLANDOBut will my Rosalind do so? line 2114ROSALINDas GanymedeBy my life, she will do as I line 2115do. line 2116ORLANDOO, but she is wise. line 2117ROSALINDas GanymedeOr else she could not have 170line 2118the wit to do this. The wiser, the waywarder. Make line 2119the doors upon a woman’s wit, and it will out at the line 2120casement. Shut that, and ’twill out at the keyhole. line 2121Stop that, ’twill fly with the smoke out at the line 2122chimney. 175line 2123ORLANDOA man that had a wife with such a wit, he line 2124might say “Wit, whither wilt?” line 2125ROSALINDas GanymedeNay, you might keep that line 2126check for it till you met your wife’s wit going to line 2127your neighbor’s bed. 180line 2128ORLANDOAnd what wit could wit have to excuse that? line 2129ROSALINDas GanymedeMarry, to say she came to line 2130seek you there. You shall never take her without her line 2131answer unless you take her without her tongue. O, line 2132that woman that cannot make her fault her husband’s 185line 2133occasion, let her never nurse her child line 2134herself, for she will breed it like a fool. line 2135ORLANDOFor these two hours, Rosalind, I will leave line 2136thee. line 2137ROSALINDas GanymedeAlas, dear love, I cannot lack 190line 2138thee two hours. line 2139ORLANDOI must attend the Duke at dinner. By two line 2140o’clock I will be with thee again. line 2141ROSALINDas GanymedeAy, go your ways, go your line 2142ways. I knew what you would prove. My friends told 195line 2143me as much, and I thought no less. That flattering line 2144tongue of yours won me. ’Tis but one cast away, and line 2145so, come, death. Two o’clock is your hour? Act 4 Scene 1 - Pg 153line 2146ORLANDOAy, sweet Rosalind. line 2147ROSALINDas GanymedeBy my troth, and in good 200line 2148earnest, and so God mend me, and by all pretty line 2149oaths that are not dangerous, if you break one jot of line 2150your promise or come one minute behind your line 2151hour, I will think you the most pathetical break-promise, line 2152and the most hollow lover, and the most 205line 2153unworthy of her you call Rosalind that may be line 2154chosen out of the gross band of the unfaithful. line 2155Therefore beware my censure, and keep your line 2156promise. line 2157ORLANDOWith no less religion than if thou wert indeed 210line 2158my Rosalind. So, adieu. line 2159ROSALINDas GanymedeWell, time is the old justice line 2160that examines all such offenders, and let time try. line 2161Adieu.
Orlando exits.
line 2162CELIAYou have simply misused our sex in your love-prate. 215line 2163We must have your doublet and hose plucked line 2164over your head and show the world what the bird line 2165hath done to her own nest. line 2166ROSALINDO coz, coz, coz, my pretty little coz, that thou line 2167didst know how many fathom deep I am in love. But 220line 2168it cannot be sounded; my affection hath an line 2169unknown bottom, like the Bay of Portugal. line 2170CELIAOr rather bottomless, that as fast as you pour line 2171affection in, it runs out. line 2172ROSALINDNo, that same wicked bastard of Venus, that 225line 2173was begot of thought, conceived of spleen, and born line 2174of madness, that blind rascally boy that abuses line 2175everyone’s eyes because his own are out, let him be line 2176judge how deep I am in love. I’ll tell thee, Aliena, I line 2177cannot be out of the sight of Orlando. I’ll go find a 230line 2178shadow and sigh till he come. line 2179CELIAAnd I’ll sleep.
They exit.
Act 4 Scene 3 - Pg 155
Scene 2
Enter Jaques and Lords, like foresters.
line 2180JAQUESWhich is he that killed the deer? line 2181FIRST LORDSir, it was I. line 2182JAQUESto the other LordsLet’s present him to the line 2183Duke like a Roman conqueror. And it would do well 5line 2184to set the deer’s horns upon his head for a branch of line 2185victory.—Have you no song, forester, for this line 2186purpose? line 2187SECOND LORDYes, sir. line 2188JAQUESSing it. ’Tis no matter how it be in tune, so it 10line 2189make noise enough.
Music. Song.
SECOND LORDsings line 2190What shall he have that killed the deer? line 2191His leather skin and horns to wear. line 2192Then sing him home. (The rest shall bear this burden:) line 2193Take thou no scorn to wear the horn. 15line 2194It was a crest ere thou wast born. line 2195Thy father’s father wore it, line 2196And thy father bore it. line 2197The horn, the horn, the lusty horn line 2198Is not a thing to laugh to scorn.
They exit.
Scene 3
Enter Rosalind dressed as Ganymede and Celia dressed as Aliena.
line 2199ROSALINDHow say you now? Is it not past two o’clock? line 2200And here much Orlando. line 2201CELIAI warrant you, with pure love and troubled brain line 2202he hath ta’en his bow and arrows and is gone forth 5line 2203to sleep. Act 4 Scene 3 - Pg 157
Enter Silvius.
line 2204Look who comes here. SILVIUSto Rosalind line 2205My errand is to you, fair youth. line 2206My gentle Phoebe did bid me give you this.
He gives Rosalind a paper.
line 2207I know not the contents, but as I guess 10line 2208By the stern brow and waspish action line 2209Which she did use as she was writing of it, line 2210It bears an angry tenor. Pardon me. line 2211I am but as a guiltless messenger.
Rosalind reads the letter.
ROSALINDas Ganymede line 2212Patience herself would startle at this letter 15line 2213And play the swaggerer. Bear this, bear all. line 2214She says I am not fair, that I lack manners. line 2215She calls me proud, and that she could not love me line 2216Were man as rare as phoenix. ’Od’s my will, line 2217Her love is not the hare that I do hunt. 20line 2218Why writes she so to me? Well, shepherd, well, line 2219This is a letter of your own device. SILVIUS line 2220No, I protest. I know not the contents. line 2221Phoebe did write it. line 2222ROSALINDas GanymedeCome, come, you are a 25line 2223fool, line 2224And turned into the extremity of love. line 2225I saw her hand. She has a leathern hand, line 2226A freestone-colored hand. I verily did think line 2227That her old gloves were on, but ’twas her hands. 30line 2228She has a huswife’s hand—but that’s no matter. line 2229I say she never did invent this letter. line 2230This is a man’s invention, and his hand. line 2231SILVIUSSure it is hers. ROSALINDas Ganymede line 2232Why, ’tis a boisterous and a cruel style, Act 4 Scene 3 - Pg 15935line 2233A style for challengers. Why, she defies me line 2234Like Turk to Christian. Women’s gentle brain line 2235Could not drop forth such giant-rude invention, line 2236Such Ethiop words, blacker in their effect line 2237Than in their countenance. Will you hear the letter? SILVIUS 40line 2238So please you, for I never heard it yet, line 2239Yet heard too much of Phoebe’s cruelty. ROSALINDas Ganymede line 2240She Phoebes me. Mark how the tyrant writes. Read. line 2241Art thou god to shepherd turned, line 2242That a maiden’s heart hath burned? 45line 2243Can a woman rail thus? line 2244SILVIUSCall you this railing? ROSALINDas Ganymede Read. line 2245Why, thy godhead laid apart, line 2246Warr’st thou with a woman’s heart? line 2247Did you ever hear such railing? 50line 2248Whiles the eye of man did woo me, line 2249That could do no vengeance to me. line 2250Meaning me a beast. line 2251If the scorn of your bright eyne line 2252Have power to raise such love in mine, 55line 2253Alack, in me what strange effect line 2254Would they work in mild aspect? line 2255Whiles you chid me, I did love. line 2256How then might your prayers move? line 2257He that brings this love to thee 60line 2258Little knows this love in me, line 2259And by him seal up thy mind line 2260Whether that thy youth and kind line 2261Will the faithful offer take line 2262Of me, and all that I can make, 65line 2263Or else by him my love deny, line 2264And then I’ll study how to die. Act 4 Scene 3 - Pg 161line 2265SILVIUSCall you this chiding? line 2266CELIAas AlienaAlas, poor shepherd. line 2267ROSALINDas GanymedeDo you pity him? No, he 70line 2268deserves no pity.—Wilt thou love such a woman? line 2269What, to make thee an instrument and play false line 2270strains upon thee? Not to be endured. Well, go your line 2271way to her, for I see love hath made thee a tame line 2272snake, and say this to her: that if she love me, I 75line 2273charge her to love thee; if she will not, I will never line 2274have her unless thou entreat for her. If you be a true line 2275lover, hence, and not a word, for here comes more line 2276company.Silvius exits.
Enter Oliver.
OLIVER line 2277Good morrow, fair ones. Pray you, if you know, 80line 2278Where in the purlieus of this forest stands line 2279A sheepcote fenced about with olive trees? CELIAas Aliena line 2280West of this place, down in the neighbor bottom; line 2281The rank of osiers by the murmuring stream line 2282Left on your right hand brings you to the place. 85line 2283But at this hour the house doth keep itself. line 2284There’s none within. OLIVER line 2285If that an eye may profit by a tongue, line 2286Then should I know you by description— line 2287Such garments, and such years. “The boy is fair, 90line 2288Of female favor, and bestows himself line 2289Like a ripe sister; the woman low line 2290And browner than her brother.” Are not you line 2291The owner of the house I did inquire for? CELIAas Aliena line 2292It is no boast, being asked, to say we are. OLIVER 95line 2293Orlando doth commend him to you both, Act 4 Scene 3 - Pg 163line 2294And to that youth he calls his Rosalind line 2295He sends this bloody napkin. Are you he?
He shows a stained handkerchief.
ROSALINDas Ganymede line 2296I am. What must we understand by this? OLIVER line 2297Some of my shame, if you will know of me 100line 2298What man I am, and how, and why, and where line 2299This handkercher was stained. line 2300CELIAas AlienaI pray you tell it. OLIVER line 2301When last the young Orlando parted from you, line 2302He left a promise to return again 105line 2303Within an hour, and pacing through the forest, line 2304Chewing the food of sweet and bitter fancy, line 2305Lo, what befell. He threw his eye aside— line 2306And mark what object did present itself: line 2307Under an old oak, whose boughs were mossed with 110line 2308age line 2309And high top bald with dry antiquity, line 2310A wretched, ragged man, o’ergrown with hair, line 2311Lay sleeping on his back. About his neck line 2312A green and gilded snake had wreathed itself, 115line 2313Who with her head, nimble in threats, approached line 2314The opening of his mouth. But suddenly, line 2315Seeing Orlando, it unlinked itself line 2316And, with indented glides, did slip away line 2317Into a bush, under which bush’s shade 120line 2318A lioness, with udders all drawn dry, line 2319Lay couching, head on ground, with catlike watch line 2320When that the sleeping man should stir—for ’tis line 2321The royal disposition of that beast line 2322To prey on nothing that doth seem as dead. 125line 2323This seen, Orlando did approach the man line 2324And found it was his brother, his elder brother. Act 4 Scene 3 - Pg 165CELIAas Aliena line 2325O, I have heard him speak of that same brother, line 2326And he did render him the most unnatural line 2327That lived amongst men. 130line 2328OLIVERAnd well he might so do, line 2329For well I know he was unnatural. ROSALINDas Ganymede line 2330But to Orlando: did he leave him there, line 2331Food to the sucked and hungry lioness? OLIVER line 2332Twice did he turn his back and purposed so, 135line 2333But kindness, nobler ever than revenge, line 2334And nature, stronger than his just occasion, line 2335Made him give battle to the lioness, line 2336Who quickly fell before him; in which hurtling, line 2337From miserable slumber I awaked. 140line 2338CELIAas AlienaAre you his brother? line 2339ROSALINDas GanymedeWas ’t you he rescued? CELIAas Aliena line 2340Was ’t you that did so oft contrive to kill him? OLIVER line 2341’Twas I, but ’tis not I. I do not shame line 2342To tell you what I was, since my conversion 145line 2343So sweetly tastes, being the thing I am. ROSALINDas Ganymede line 2344But for the bloody napkin? line 2345OLIVERBy and by. line 2346When from the first to last betwixt us two line 2347Tears our recountments had most kindly bathed— 150line 2348As how I came into that desert place— line 2349In brief, he led me to the gentle duke, line 2350Who gave me fresh array and entertainment, line 2351Committing me unto my brother’s love; line 2352Who led me instantly unto his cave, 155line 2353There stripped himself, and here upon his arm line 2354The lioness had torn some flesh away, Act 4 Scene 3 - Pg 167line 2355Which all this while had bled; and now he fainted, line 2356And cried in fainting upon Rosalind. line 2357Brief, I recovered him, bound up his wound, 160line 2358And after some small space, being strong at heart, line 2359He sent me hither, stranger as I am, line 2360To tell this story, that you might excuse line 2361His broken promise, and to give this napkin line 2362Dyed in his blood unto the shepherd youth 165line 2363That he in sport doth call his Rosalind.
Rosalind faints.
CELIAas Aliena line 2364Why, how now, Ganymede, sweet Ganymede? OLIVER line 2365Many will swoon when they do look on blood. CELIAas Aliena line 2366There is more in it.—Cousin Ganymede. line 2367OLIVERLook, he recovers. 170line 2368ROSALINDI would I were at home. line 2369CELIAas AlienaWe’ll lead you thither.—I pray you, line 2370will you take him by the arm? line 2371OLIVERhelping Rosalind to riseBe of good cheer, line 2372youth. You a man? You lack a man’s heart. 175line 2373ROSALINDas GanymedeI do so, I confess it. Ah, line 2374sirrah, a body would think this was well-counterfeited. line 2375I pray you tell your brother how well I line 2376counterfeited. Heigh-ho. line 2377OLIVERThis was not counterfeit. There is too great 180line 2378testimony in your complexion that it was a passion line 2379of earnest. line 2380ROSALINDas GanymedeCounterfeit, I assure you. line 2381OLIVERWell then, take a good heart, and counterfeit to line 2382be a man. 185line 2383ROSALINDas GanymedeSo I do; but, i’ faith, I should line 2384have been a woman by right. line 2385CELIAas AlienaCome, you look paler and paler. Pray line 2386you draw homewards.—Good sir, go with us. Act 4 Scene 3 - Pg 169OLIVER line 2387That will I, for I must bear answer back 190line 2388How you excuse my brother, Rosalind. line 2389ROSALINDas GanymedeI shall devise something. line 2390But I pray you commend my counterfeiting to him. line 2391Will you go?
They exit.
ACT 5
Scene 1
Enter Touchstone and Audrey.
line 2392TOUCHSTONEWe shall find a time, Audrey. Patience, line 2393gentle Audrey. line 2394AUDREYFaith, the priest was good enough, for all the line 2395old gentleman’s saying. 5line 2396TOUCHSTONEA most wicked Sir Oliver, Audrey, a most line 2397vile Martext. But Audrey, there is a youth here in line 2398the forest lays claim to you. line 2399AUDREYAy, I know who ’tis. He hath no interest in me line 2400in the world.
Enter William.
10line 2401Here comes the man you mean. line 2402TOUCHSTONEIt is meat and drink to me to see a clown. line 2403By my troth, we that have good wits have much to line 2404answer for. We shall be flouting. We cannot hold. line 2405WILLIAMGood ev’n, Audrey. 15line 2406AUDREYGod gi’ good ev’n, William. line 2407WILLIAMto TouchstoneAnd good ev’n to you, sir. line 2408TOUCHSTONEGood ev’n, gentle friend. Cover thy head, line 2409cover thy head. Nay, prithee, be covered. How old line 2410are you, friend? 20line 2411WILLIAMFive-and-twenty, sir. line 2412TOUCHSTONEA ripe age. Is thy name William? line 2413WILLIAMWilliam, sir. Act 5 Scene 1 - Pg 175line 2414TOUCHSTONEA fair name. Wast born i’ th’ forest here? line 2415WILLIAMAy, sir, I thank God. 25line 2416TOUCHSTONE“Thank God.” A good answer. Art rich? line 2417WILLIAM’Faith sir, so-so. line 2418TOUCHSTONE“So-so” is good, very good, very excellent line 2419good. And yet it is not: it is but so-so. Art thou wise? line 2420WILLIAMAy, sir, I have a pretty wit. 30line 2421TOUCHSTONEWhy, thou sayst well. I do now remember line 2422a saying: “The fool doth think he is wise, but the line 2423wise man knows himself to be a fool.” The heathen line 2424philosopher, when he had a desire to eat a grape, line 2425would open his lips when he put it into his mouth, 35line 2426meaning thereby that grapes were made to eat and line 2427lips to open. You do love this maid? line 2428WILLIAMI do, sir. line 2429TOUCHSTONEGive me your hand. Art thou learned? line 2430WILLIAMNo, sir. 40line 2431TOUCHSTONEThen learn this of me: to have is to have. line 2432For it is a figure in rhetoric that drink, being poured line 2433out of a cup into a glass, by filling the one doth line 2434empty the other. For all your writers do consent line 2435that ipse is “he.” Now, you are not ipse, for I am he. 45line 2436WILLIAMWhich he, sir? line 2437TOUCHSTONEHe, sir, that must marry this woman. line 2438Therefore, you clown, abandon—which is in the line 2439vulgar “leave”—the society—which in the boorish line 2440is “company”—of this female—which in the common 50line 2441is “woman”; which together is, abandon the line 2442society of this female, or, clown, thou perishest; or, line 2443to thy better understanding, diest; or, to wit, I kill line 2444thee, make thee away, translate thy life into death, line 2445thy liberty into bondage. I will deal in poison with 55line 2446thee, or in bastinado, or in steel. I will bandy with line 2447thee in faction. I will o’errun thee with policy. I line 2448will kill thee a hundred and fifty ways. Therefore line 2449tremble and depart. Act 5 Scene 2 - Pg 177line 2450AUDREYDo, good William. 60line 2451WILLIAMto TouchstoneGod rest you merry, sir.
He exits.
Enter Corin.
line 2452CORINOur master and mistress seeks you. Come away, line 2453away. line 2454TOUCHSTONETrip, Audrey, trip, Audrey.—I attend, I line 2455attend.
They exit.
Scene 2
Enter Orlando, with his arm in a sling, and Oliver.
line 2456ORLANDOIs ’t possible that on so little acquaintance line 2457you should like her? That, but seeing, you should line 2458love her? And loving, woo? And wooing, she should line 2459grant? And will you persever to enjoy her? 5line 2460OLIVERNeither call the giddiness of it in question, the line 2461poverty of her, the small acquaintance, my sudden line 2462wooing, nor her sudden consenting, but say with line 2463me “I love Aliena”; say with her that she loves me; line 2464consent with both that we may enjoy each other. It 10line 2465shall be to your good, for my father’s house and all line 2466the revenue that was old Sir Rowland’s will I estate line 2467upon you, and here live and die a shepherd.
Enter Rosalind, as Ganymede.
line 2468ORLANDOYou have my consent. Let your wedding be line 2469tomorrow. Thither will I invite the Duke and all ’s 15line 2470contented followers. Go you and prepare Aliena, line 2471for, look you, here comes my Rosalind. line 2472ROSALINDas Ganymede, to OliverGod save you, line 2473brother. line 2474OLIVERAnd you, fair sister.He exits. Act 5 Scene 2 - Pg 17920line 2475ROSALINDas GanymedeO my dear Orlando, how it line 2476grieves me to see thee wear thy heart in a scarf. line 2477ORLANDOIt is my arm. line 2478ROSALINDas GanymedeI thought thy heart had been line 2479wounded with the claws of a lion. 25line 2480ORLANDOWounded it is, but with the eyes of a lady. line 2481ROSALINDas GanymedeDid your brother tell you line 2482how I counterfeited to swoon when he showed me line 2483your handkercher? line 2484ORLANDOAy, and greater wonders than that. 30line 2485ROSALINDas GanymedeO, I know where you are. line 2486Nay, ’tis true. There was never anything so sudden line 2487but the fight of two rams, and Caesar’s thrasonical line 2488brag of “I came, saw, and overcame.” For your line 2489brother and my sister no sooner met but they 35line 2490looked, no sooner looked but they loved, no sooner line 2491loved but they sighed, no sooner sighed but they line 2492asked one another the reason, no sooner knew the line 2493reason but they sought the remedy; and in these line 2494degrees have they made a pair of stairs to marriage, 40line 2495which they will climb incontinent, or else be incontinent line 2496before marriage. They are in the very wrath line 2497of love, and they will together. Clubs cannot part line 2498them. line 2499ORLANDOThey shall be married tomorrow, and I will 45line 2500bid the Duke to the nuptial. But O, how bitter a line 2501thing it is to look into happiness through another line 2502man’s eyes. By so much the more shall I tomorrow line 2503be at the height of heart-heaviness by how much I line 2504shall think my brother happy in having what he 50line 2505wishes for. line 2506ROSALINDas GanymedeWhy, then, tomorrow I cannot line 2507serve your turn for Rosalind? line 2508ORLANDOI can live no longer by thinking. line 2509ROSALINDas GanymedeI will weary you then no 55line 2510longer with idle talking. Know of me then—for Act 5 Scene 2 - Pg 181line 2511now I speak to some purpose—that I know you are line 2512a gentleman of good conceit. I speak not this that line 2513you should bear a good opinion of my knowledge, line 2514insomuch I say I know you are. Neither do I labor 60line 2515for a greater esteem than may in some little measure line 2516draw a belief from you to do yourself good, and line 2517not to grace me. Believe then, if you please, that I line 2518can do strange things. I have, since I was three year line 2519old, conversed with a magician, most profound in 65line 2520his art and yet not damnable. If you do love Rosalind line 2521so near the heart as your gesture cries it out, line 2522when your brother marries Aliena shall you marry line 2523her. I know into what straits of fortune she is line 2524driven, and it is not impossible to me, if it appear 70line 2525not inconvenient to you, to set her before your eyes line 2526tomorrow, human as she is, and without any line 2527danger. line 2528ORLANDOSpeak’st thou in sober meanings? line 2529ROSALINDas GanymedeBy my life I do, which I 75line 2530tender dearly, though I say I am a magician. Therefore line 2531put you in your best array, bid your friends; for line 2532if you will be married tomorrow, you shall, and to line 2533Rosalind, if you will.
Enter Silvius and Phoebe.
line 2534Look, here comes a lover of mine and a lover of 80line 2535hers. PHOEBEto Rosalind line 2536Youth, you have done me much ungentleness line 2537To show the letter that I writ to you. ROSALINDas Ganymede line 2538I care not if I have. It is my study line 2539To seem despiteful and ungentle to you. 85line 2540You are there followed by a faithful shepherd. line 2541Look upon him, love him; he worships you. Act 5 Scene 2 - Pg 183PHOEBEto Silvius line 2542Good shepherd, tell this youth what ’tis to love. SILVIUS line 2543It is to be all made of sighs and tears, line 2544And so am I for Phoebe. 90line 2545PHOEBEAnd I for Ganymede. line 2546ORLANDOAnd I for Rosalind. line 2547ROSALINDas GanymedeAnd I for no woman. SILVIUS line 2548It is to be all made of faith and service, line 2549And so am I for Phoebe. 95line 2550PHOEBEAnd I for Ganymede. line 2551ORLANDOAnd I for Rosalind. line 2552ROSALINDas GanymedeAnd I for no woman. SILVIUS line 2553It is to be all made of fantasy, line 2554All made of passion and all made of wishes, 100line 2555All adoration, duty, and observance, line 2556All humbleness, all patience and impatience, line 2557All purity, all trial, all observance, line 2558And so am I for Phoebe. line 2559PHOEBEAnd so am I for Ganymede. 105line 2560ORLANDOAnd so am I for Rosalind. line 2561ROSALINDas GanymedeAnd so am I for no line 2562woman. PHOEBE line 2563If this be so, why blame you me to love you? SILVIUS line 2564If this be so, why blame you me to love you? ORLANDO 110line 2565If this be so, why blame you me to love you? line 2566ROSALINDas GanymedeWhy do you speak too, line 2567“Why blame you me to love you?” line 2568ORLANDOTo her that is not here, nor doth not hear. line 2569ROSALINDas GanymedePray you, no more of this. Act 5 Scene 3 - Pg 185115line 2570’Tis like the howling of Irish wolves against the line 2571moon. To Silvius. I will help you if I can. line 2572To Phoebe. I would love you if I could.—Tomorrow line 2573meet me all together. To Phoebe. I will marry line 2574you if ever I marry woman, and I’ll be married 120line 2575tomorrow. To Orlando. I will satisfy you if ever I line 2576satisfy man, and you shall be married tomorrow. line 2577To Silvius. I will content you, if what pleases you line 2578contents you, and you shall be married tomorrow. line 2579To Orlando. As you love Rosalind, meet. 125line 2580To Silvius. As you love Phoebe, meet.—And as I love line 2581no woman, I’ll meet. So fare you well. I have left line 2582you commands. line 2583SILVIUSI’ll not fail, if I live. line 2584PHOEBENor I. 130line 2585ORLANDONor I.
They exit.
Scene 3
Enter Touchstone and Audrey.
line 2586TOUCHSTONETomorrow is the joyful day, Audrey. Tomorrow line 2587will we be married. line 2588AUDREYI do desire it with all my heart, and I hope it is line 2589no dishonest desire to desire to be a woman of the 5line 2590world.
Enter two Pages.
line 2591Here come two of the banished duke’s pages. line 2592FIRST PAGEWell met, honest gentleman. line 2593TOUCHSTONEBy my troth, well met. Come, sit, sit, and line 2594a song. 10line 2595SECOND PAGEWe are for you. Sit i’ th’ middle.
They sit.
line 2596FIRST PAGEShall we clap into ’t roundly, without Act 5 Scene 3 - Pg 187line 2597hawking or spitting or saying we are hoarse, which line 2598are the only prologues to a bad voice? line 2599SECOND PAGEI’ faith, i’ faith, and both in a tune like 15line 2600two gypsies on a horse.
Song.
PAGESsing line 2601It was a lover and his lass, line 2602With a hey, and a ho, and a hey-nonny-no, line 2603That o’er the green cornfield did pass line 2604In springtime, the only pretty ring time, 20line 2605When birds do sing, hey ding a ding, ding. line 2606Sweet lovers love the spring.
line 2607Between the acres of the rye, line 2608With a hey, and a ho, and a hey-nonny-no, line 2609These pretty country folks would lie 25line 2610In springtime, the only pretty ring time, line 2611When birds do sing, hey ding a ding, ding. line 2612Sweet lovers love the spring.
line 2613This carol they began that hour, line 2614With a hey, and a ho, and a hey-nonny-no, 30line 2615How that a life was but a flower line 2616In springtime, the only pretty ring time, line 2617When birds do sing, hey ding a ding, ding. line 2618Sweet lovers love the spring.
line 2619And therefore take the present time, 35line 2620With a hey, and a ho, and a hey-nonny-no, line 2621For love is crownèd with the prime, line 2622In springtime, the only pretty ring time, line 2623When birds do sing, hey ding a ding, ding. line 2624Sweet lovers love the spring. Act 5 Scene 4 - Pg 18940line 2625TOUCHSTONETruly, young gentlemen, though there line 2626was no great matter in the ditty, yet the note was line 2627very untunable. line 2628FIRST PAGEYou are deceived, sir. We kept time. We lost line 2629not our time. 45line 2630TOUCHSTONEBy my troth, yes. I count it but time lost line 2631to hear such a foolish song. God be wi’ you, and line 2632God mend your voices.—Come, Audrey.
They rise and exit.
Scene 4
Enter Duke Senior, Amiens, Jaques, Orlando, Oliver, and Celia as Aliena.
DUKE SENIOR line 2633Dost thou believe, Orlando, that the boy line 2634Can do all this that he hath promisèd? ORLANDO line 2635I sometimes do believe and sometimes do not, line 2636As those that fear they hope, and know they fear.
Enter Rosalind as Ganymede, Silvius, and Phoebe.
ROSALINDas Ganymede 5line 2637Patience once more whiles our compact is urged. line 2638To Duke. You say, if I bring in your Rosalind, line 2639You will bestow her on Orlando here? DUKE SENIOR line 2640That would I, had I kingdoms to give with her. ROSALINDas Ganymede, to Orlando line 2641And you say you will have her when I bring her? ORLANDO 10line 2642That would I, were I of all kingdoms king. ROSALINDas Ganymede, to Phoebe line 2643You say you’ll marry me if I be willing? Act 5 Scene 4 - Pg 191PHOEBE line 2644That will I, should I die the hour after. ROSALINDas Ganymede line 2645But if you do refuse to marry me, line 2646You’ll give yourself to this most faithful shepherd? 15line 2647PHOEBESo is the bargain. ROSALINDas Ganymede, to Silvius line 2648You say that you’ll have Phoebe if she will? SILVIUS line 2649Though to have her and death were both one thing. ROSALINDas Ganymede line 2650I have promised to make all this matter even. line 2651Keep you your word, O duke, to give your 20line 2652daughter,— line 2653You yours, Orlando, to receive his daughter.— line 2654Keep you your word, Phoebe, that you’ll marry me, line 2655Or else, refusing me, to wed this shepherd.— line 2656Keep your word, Silvius, that you’ll marry her 25line 2657If she refuse me. And from hence I go line 2658To make these doubts all even.
Rosalind and Celia exit.
DUKE SENIOR line 2659I do remember in this shepherd boy line 2660Some lively touches of my daughter’s favor. ORLANDO line 2661My lord, the first time that I ever saw him 30line 2662Methought he was a brother to your daughter. line 2663But, my good lord, this boy is forest-born line 2664And hath been tutored in the rudiments line 2665Of many desperate studies by his uncle, line 2666Whom he reports to be a great magician 35line 2667Obscurèd in the circle of this forest.
Enter Touchstone and Audrey.
line 2668JAQUESThere is sure another flood toward, and these line 2669couples are coming to the ark. Here comes a pair of Act 5 Scene 4 - Pg 193line 2670very strange beasts, which in all tongues are called line 2671fools. 40line 2672TOUCHSTONESalutation and greeting to you all. line 2673JAQUESto DukeGood my lord, bid him welcome. line 2674This is the motley-minded gentleman that I have so line 2675often met in the forest. He hath been a courtier, he line 2676swears. 45line 2677TOUCHSTONEIf any man doubt that, let him put me to line 2678my purgation. I have trod a measure. I have flattered line 2679a lady. I have been politic with my friend, line 2680smooth with mine enemy. I have undone three line 2681tailors. I have had four quarrels, and like to have 50line 2682fought one. line 2683JAQUESAnd how was that ta’en up? line 2684TOUCHSTONEFaith, we met and found the quarrel was line 2685upon the seventh cause. line 2686JAQUESHow “seventh cause”?—Good my lord, like 55line 2687this fellow. line 2688DUKE SENIORI like him very well. line 2689TOUCHSTONEGod ’ild you, sir. I desire you of the like. I line 2690press in here, sir, amongst the rest of the country line 2691copulatives, to swear and to forswear, according as 60line 2692marriage binds and blood breaks. A poor virgin, sir, line 2693an ill-favored thing, sir, but mine own. A poor line 2694humor of mine, sir, to take that that no man else line 2695will. Rich honesty dwells like a miser, sir, in a poor line 2696house, as your pearl in your foul oyster. 65line 2697DUKE SENIORBy my faith, he is very swift and line 2698sententious. line 2699TOUCHSTONEAccording to the fool’s bolt, sir, and such line 2700dulcet diseases. line 2701JAQUESBut for the seventh cause. How did you find the 70line 2702quarrel on the seventh cause? line 2703TOUCHSTONEUpon a lie seven times removed.—Bear line 2704your body more seeming, Audrey.—As thus, sir: I line 2705did dislike the cut of a certain courtier’s beard. He Act 5 Scene 4 - Pg 195line 2706sent me word if I said his beard was not cut well, he 75line 2707was in the mind it was. This is called “the retort line 2708courteous.” If I sent him word again it was not well line 2709cut, he would send me word he cut it to please line 2710himself. This is called “the quip modest.” If again it line 2711was not well cut, he disabled my judgment. This is 80line 2712called “the reply churlish.” If again it was not well line 2713cut, he would answer I spake not true. This is called line 2714“the reproof valiant.” If again it was not well cut, he line 2715would say I lie. This is called “the countercheck line 2716quarrelsome,” and so to “the lie circumstantial,” 85line 2717and “the lie direct.” line 2718JAQUESAnd how oft did you say his beard was not well line 2719cut? line 2720TOUCHSTONEI durst go no further than the lie circumstantial, line 2721nor he durst not give me the lie direct, and 90line 2722so we measured swords and parted. line 2723JAQUESCan you nominate in order now the degrees of line 2724the lie? line 2725TOUCHSTONEO sir, we quarrel in print, by the book, as line 2726you have books for good manners. I will name you 95line 2727the degrees: the first, “the retort courteous”; the line 2728second, “the quip modest”; the third, “the reply line 2729churlish”; the fourth, “the reproof valiant”; the line 2730fifth, “the countercheck quarrelsome”; the sixth, line 2731“the lie with circumstance”; the seventh, “the lie 100line 2732direct.” All these you may avoid but the lie direct, line 2733and you may avoid that too with an “if.” I knew line 2734when seven justices could not take up a quarrel, but line 2735when the parties were met themselves, one of them line 2736thought but of an “if,” as: “If you said so, then I said 105line 2737so.” And they shook hands and swore brothers. line 2738Your “if” is the only peacemaker: much virtue in line 2739“if.” line 2740JAQUESto DukeIs not this a rare fellow, my lord? line 2741He’s as good at anything and yet a fool. Act 5 Scene 4 - Pg 197110line 2742DUKE SENIORHe uses his folly like a stalking-horse, line 2743and under the presentation of that he shoots his wit.
Enter Hymen, Rosalind, and Celia. Still music.
HYMEN line 2744Then is there mirth in heaven line 2745When earthly things made even line 2746Atone together. 115line 2747Good duke, receive thy daughter. line 2748Hymen from heaven brought her, line 2749Yea, brought her hither, line 2750That thou mightst join her hand with his, line 2751Whose heart within his bosom is. ROSALINDto Duke 120line 2752To you I give myself, for I am yours. line 2753To Orlando. To you I give myself, for I am yours. DUKE SENIOR line 2754If there be truth in sight, you are my daughter. ORLANDO line 2755If there be truth in sight, you are my Rosalind. PHOEBE line 2756If sight and shape be true, 125line 2757Why then, my love adieu. ROSALINDto Duke line 2758I’ll have no father, if you be not he. line 2759To Orlando. I’ll have no husband, if you be not he, line 2760To Phoebe. Nor ne’er wed woman, if you be not line 2761she. HYMEN 130line 2762Peace, ho! I bar confusion. line 2763’Tis I must make conclusion line 2764Of these most strange events. line 2765Here’s eight that must take hands line 2766To join in Hymen’s bands, 135line 2767If truth holds true contents. Act 5 Scene 4 - Pg 199To Rosalind and Orlando. line 2768You and you no cross shall part. To Celia and Oliver. line 2769You and you are heart in heart. To Phoebe. line 2770You to his love must accord line 2771Or have a woman to your lord. To Audrey and Touchstone. 140line 2772You and you are sure together line 2773As the winter to foul weather. To All. line 2774Whiles a wedlock hymn we sing, line 2775Feed yourselves with questioning, line 2776That reason wonder may diminish 145line 2777How thus we met, and these things finish.
Song.
line 2778Wedding is great Juno’s crown, line 2779O blessèd bond of board and bed. line 2780’Tis Hymen peoples every town. line 2781High wedlock then be honorèd. 150line 2782Honor, high honor, and renown line 2783To Hymen, god of every town.
DUKE SENIORto Celia line 2784O my dear niece, welcome thou art to me, line 2785Even daughter, welcome in no less degree. PHOEBEto Silvius line 2786I will not eat my word. Now thou art mine, 155line 2787Thy faith my fancy to thee doth combine.
Enter Second Brother, Jaques de Boys.
SECOND BROTHER line 2788Let me have audience for a word or two. line 2789I am the second son of old Sir Rowland, line 2790That bring these tidings to this fair assembly. Act 5 Scene 4 - Pg 201line 2791Duke Frederick, hearing how that every day 160line 2792Men of great worth resorted to this forest, line 2793Addressed a mighty power, which were on foot line 2794In his own conduct, purposely to take line 2795His brother here and put him to the sword; line 2796And to the skirts of this wild wood he came, 165line 2797Where, meeting with an old religious man, line 2798After some question with him, was converted line 2799Both from his enterprise and from the world, line 2800His crown bequeathing to his banished brother, line 2801And all their lands restored to them again 170line 2802That were with him exiled. This to be true line 2803I do engage my life. line 2804DUKE SENIORWelcome, young man. line 2805Thou offer’st fairly to thy brothers’ wedding: line 2806To one his lands withheld, and to the other 175line 2807A land itself at large, a potent dukedom.— line 2808First, in this forest let us do those ends line 2809That here were well begun and well begot, line 2810And, after, every of this happy number line 2811That have endured shrewd days and nights with us 180line 2812Shall share the good of our returnèd fortune line 2813According to the measure of their states. line 2814Meantime, forget this new-fall’n dignity, line 2815And fall into our rustic revelry.— line 2816Play, music.—And you brides and bridegrooms all, 185line 2817With measure heaped in joy to th’ measures fall. JAQUESto Second Brother line 2818Sir, by your patience: if I heard you rightly, line 2819The Duke hath put on a religious life line 2820And thrown into neglect the pompous court. line 2821SECOND BROTHERHe hath. JAQUES 190line 2822To him will I. Out of these convertites line 2823There is much matter to be heard and learned. Act 5 Scene 4 - Pg 203line 2824To Duke. You to your former honor I bequeath; line 2825Your patience and your virtue well deserves it. line 2826To Orlando. You to a love that your true faith doth 195line 2827merit. line 2828To Oliver. You to your land, and love, and great line 2829allies. line 2830To Silvius. You to a long and well-deservèd bed. line 2831To Touchstone. And you to wrangling, for thy 200line 2832loving voyage line 2833Is but for two months victualled.—So to your line 2834pleasures. line 2835I am for other than for dancing measures. line 2836DUKE SENIORStay, Jaques, stay. JAQUES 205line 2837To see no pastime, I. What you would have line 2838I’ll stay to know at your abandoned cave.He exits. DUKE SENIOR line 2839Proceed, proceed. We’ll begin these rites, line 2840As we do trust they’ll end, in true delights.
Dance. All but Rosalind exit.
Page 205 - As You Like It - EPILOGUE
EPILOGUE.
line 2841ROSALINDIt is not the fashion to see the lady the line 2842epilogue, but it is no more unhandsome than to see line 2843the lord the prologue. If it be true that good wine line 2844needs no bush, ’tis true that a good play needs no 5line 2845epilogue. Yet to good wine they do use good bushes, line 2846and good plays prove the better by the help of good line 2847epilogues. What a case am I in then that am neither line 2848a good epilogue nor cannot insinuate with you in line 2849the behalf of a good play! I am not furnished like a 10line 2850beggar; therefore to beg will not become me. My line 2851way is to conjure you, and I’ll begin with the line 2852women. I charge you, O women, for the love you line 2853bear to men, to like as much of this play as please line 2854you. And I charge you, O men, for the love you bear 15line 2855to women—as I perceive by your simpering, none line 2856of you hates them—that between you and the line 2857women the play may please. If I were a woman, I line 2858would kiss as many of you as had beards that line 2859pleased me, complexions that liked me, and breaths 20line 2860that I defied not. And I am sure as many as have line 2861good beards, or good faces, or sweet breaths will for line 2862my kind offer, when I make curtsy, bid me farewell.
