As You Like It

by

William Shakespeare

As You Like It is a comedic play that follows the story of Rosalind, who is banished from the court by her uncle Duke Frederick. Rosalind disguises herself as a man named Ganymede and sets off into the forest of Arden to find her father, Duke Senior, who has also been exiled.

In the forest, Rosalind encounters Orlando, a young man who has been forced to flee his home due to his older brother's jealousy. Orlando is lovesick for Rosalind, but she is unable to reveal her true identity to him because of her disguise. Instead, she counsels him on how to win her love, all while disguised as Ganymede.

Meanwhile, in the forest, a group of exiled courtiers, including Duke Senior, have formed a community and live harmoniously with nature. The play explores themes of love, gender roles, and the contrast between city life and country life.

As the play progresses, various romantic entanglements arise, including the courtship between Rosalind and Orlando, as well as the love triangle between Silvius, Phebe, and Ganymede. Eventually, all of the characters are reunited, and the play ends with multiple marriages and celebrations.

Overall, As You Like It is a lighthearted and entertaining play that explores themes of love, identity, and the pastoral ideal of living in harmony with nature.

Act I

Act 1 of As You Like It begins with a dispute between two brothers, Duke Frederick and Duke Senior. Duke Frederick has overthrown and exiled Duke Senior, who has taken refuge in the Forest of Arden. Meanwhile, Rosalind, the daughter of Duke Senior, is banished by Duke Frederick, along with her cousin Celia, who decides to accompany her. Rosalind disguises herself as a man named Ganymede, and Celia as a shepherdess named Aliena. They set out for the Forest of Arden, where they meet a clown named Touchstone.

At the same time, Orlando, the son of a late nobleman, is mistreated by his older brother Oliver. Orlando challenges a wrestler named Charles, who is in the employ of Duke Frederick, to a match. Orlando wins the match, but is warned by Duke Frederick to stay away from court. Orlando also decides to flee to the Forest of Arden, where he meets Duke Senior and his court.

Meanwhile, in the forest, Rosalind, disguised as Ganymede, meets Orlando, who is unaware of her true identity. Rosalind decides to test Orlando's love for her by pretending to be Ganymede, and offering to "cure" him of his love for Rosalind. Orlando agrees, and the two spend time together in the forest. Celia, disguised as Aliena, falls in love with a shepherd named Silvius, who is in love with a shepherdess named Phoebe. Phoebe, however, falls in love with Ganymede (Rosalind in disguise), causing much confusion and mistaken identity.

The act ends with Duke Frederick discovering that Celia and Rosalind have fled, and ordering Oliver to find and kill his brother Orlando.

SCENE I. Orchard of Oliver's house.

Scene 1 of Act 1 begins with Orlando, a young man, complaining about his mistreatment by his older brother, Oliver. Orlando's father has passed away, and Oliver inherited the family estate, leaving Orlando with nothing but an education. Oliver refuses to provide Orlando with any financial support or help him get a job, and Orlando feels neglected and mistreated.

As Orlando is venting his frustrations to his servant, Adam, a wrestler named Charles enters. Charles is a friend of Oliver's, and Orlando challenges him to a wrestling match. Despite Adam's warnings that Charles is a skilled wrestler, Orlando is determined to fight him and win.

The scene ends with Oliver entering and warning Orlando not to go through with the match. Oliver tells Orlando that if he gets hurt, Oliver will not pay for his medical expenses. Orlando ignores his brother's warning and continues with the match anyway.

Enter ORLANDO and ADAM

ORLANDO
As I remember, Adam, it was upon this fashion
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bequeathed me by will but poor a thousand crowns,
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and, as thou sayest, charged my brother, on his
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blessing, to breed me well: and there begins my
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sadness. My brother Jaques he keeps at school, and
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report speaks goldenly of his profit: for my part,
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he keeps me rustically at home, or, to speak more
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properly, stays me here at home unkept; for call you
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that keeping for a gentleman of my birth, that
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differs not from the stalling of an ox? His horses
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are bred better; for, besides that they are fair
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with their feeding, they are taught their manage,
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and to that end riders dearly hired: but I, his
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brother, gain nothing under him but growth; for the
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which his animals on his dunghills are as much
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bound to him as I. Besides this nothing that he so
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plentifully gives me, the something that nature gave
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me his countenance seems to take from me: he lets
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me feed with his hinds, bars me the place of a
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brother, and, as much as in him lies, mines my
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gentility with my education. This is it, Adam, that
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grieves me; and the spirit of my father, which I
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think is within me, begins to mutiny against this
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servitude: I will no longer endure it, though yet I
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know no wise remedy how to avoid it.
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ADAM
Yonder comes my master, your brother.
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ORLANDO
Go apart, Adam, and thou shalt hear how he will
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shake me up.
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Enter OLIVER

OLIVER
Now, sir! what make you here?
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ORLANDO
Nothing: I am not taught to make any thing.
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OLIVER
What mar you then, sir?
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ORLANDO
Marry, sir, I am helping you to mar that which God
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made, a poor unworthy brother of yours, with idleness.
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OLIVER
Marry, sir, be better employed, and be naught awhile.
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ORLANDO
Shall I keep your hogs and eat husks with them?
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What prodigal portion have I spent, that I should
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come to such penury?
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OLIVER
Know you where your are, sir?
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ORLANDO
O, sir, very well; here in your orchard.
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OLIVER
Know you before whom, sir?
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ORLANDO
Ay, better than him I am before knows me. I know
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you are my eldest brother; and, in the gentle
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condition of blood, you should so know me. The
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courtesy of nations allows you my better, in that
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you are the first-born; but the same tradition
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takes not away my blood, were there twenty brothers
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betwixt us: I have as much of my father in me as
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you; albeit, I confess, your coming before me is
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nearer to his reverence.
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OLIVER
What, boy!
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ORLANDO
Come, come, elder brother, you are too young in this.
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OLIVER
Wilt thou lay hands on me, villain?
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ORLANDO
I am no villain; I am the youngest son of Sir
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Rowland de Boys; he was my father, and he is thrice
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a villain that says such a father begot villains.
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Wert thou not my brother, I would not take this hand
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from thy throat till this other had pulled out thy
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tongue for saying so: thou hast railed on thyself.
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ADAM
Sweet masters, be patient: for your father's
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remembrance, be at accord.
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OLIVER
Let me go, I say.
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ORLANDO
I will not, till I please: you shall hear me. My
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father charged you in his will to give me good
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education: you have trained me like a peasant,
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obscuring and hiding from me all gentleman-like
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qualities. The spirit of my father grows strong in
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me, and I will no longer endure it: therefore allow
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me such exercises as may become a gentleman, or
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give me the poor allottery my father left me by
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testament; with that I will go buy my fortunes.
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OLIVER
And what wilt thou do? beg, when that is spent?
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Well, sir, get you in: I will not long be troubled
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with you; you shall have some part of your will: I
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pray you, leave me.
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ORLANDO
I will no further offend you than becomes me for my good.
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OLIVER
Get you with him, you old dog.
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ADAM
Is 'old dog' my reward? Most true, I have lost my
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teeth in your service. God be with my old master!
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he would not have spoke such a word.
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Exeunt ORLANDO and ADAM

OLIVER
Is it even so? begin you to grow upon me? I will
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physic your rankness, and yet give no thousand
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crowns neither. Holla, Dennis!
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Enter DENNIS

DENNIS
Calls your worship?
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OLIVER
Was not Charles, the duke's wrestler, here to speak with me?
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DENNIS
So please you, he is here at the door and importunes
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access to you.
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OLIVER
Call him in.
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'Twill be a good way; and to-morrow the wrestling is.
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Enter CHARLES

CHARLES
Good morrow to your worship.
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OLIVER
Good Monsieur Charles, what's the new news at the
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new court?
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CHARLES
There's no news at the court, sir, but the old news:
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that is, the old duke is banished by his younger
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brother the new duke; and three or four loving lords
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have put themselves into voluntary exile with him,
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whose lands and revenues enrich the new duke;
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therefore he gives them good leave to wander.
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OLIVER
Can you tell if Rosalind, the duke's daughter, be
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banished with her father?
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CHARLES
O, no; for the duke's daughter, her cousin, so loves
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her, being ever from their cradles bred together,
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that she would have followed her exile, or have died
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to stay behind her. She is at the court, and no
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less beloved of her uncle than his own daughter; and
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never two ladies loved as they do.
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OLIVER
Where will the old duke live?
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CHARLES
They say he is already in the forest of Arden, and
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a many merry men with him; and there they live like
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the old Robin Hood of England: they say many young
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gentlemen flock to him every day, and fleet the time
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carelessly, as they did in the golden world.
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OLIVER
What, you wrestle to-morrow before the new duke?
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CHARLES
Marry, do I, sir; and I came to acquaint you with a
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matter. I am given, sir, secretly to understand
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that your younger brother Orlando hath a disposition
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to come in disguised against me to try a fall.
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To-morrow, sir, I wrestle for my credit; and he that
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escapes me without some broken limb shall acquit him
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well. Your brother is but young and tender; and,
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for your love, I would be loath to foil him, as I
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must, for my own honour, if he come in: therefore,
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out of my love to you, I came hither to acquaint you
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withal, that either you might stay him from his
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intendment or brook such disgrace well as he shall
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run into, in that it is a thing of his own search
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and altogether against my will.
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OLIVER
Charles, I thank thee for thy love to me, which
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thou shalt find I will most kindly requite. I had
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myself notice of my brother's purpose herein and
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have by underhand means laboured to dissuade him from
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it, but he is resolute. I'll tell thee, Charles:
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it is the stubbornest young fellow of France, full
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of ambition, an envious emulator of every man's
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good parts, a secret and villanous contriver against
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me his natural brother: therefore use thy
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discretion; I had as lief thou didst break his neck
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as his finger. And thou wert best look to't; for if
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thou dost him any slight disgrace or if he do not
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mightily grace himself on thee, he will practise
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against thee by poison, entrap thee by some
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treacherous device and never leave thee till he
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hath ta'en thy life by some indirect means or other;
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for, I assure thee, and almost with tears I speak
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it, there is not one so young and so villanous this
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day living. I speak but brotherly of him; but
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should I anatomize him to thee as he is, I must
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blush and weep and thou must look pale and wonder.
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CHARLES
I am heartily glad I came hither to you. If he come
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to-morrow, I'll give him his payment: if ever he go
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alone again, I'll never wrestle for prize more: and
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so God keep your worship!
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OLIVER
Farewell, good Charles.
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Now will I stir this gamester: I hope I shall see
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an end of him; for my soul, yet I know not why,
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hates nothing more than he. Yet he's gentle, never
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schooled and yet learned, full of noble device, of
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all sorts enchantingly beloved, and indeed so much
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in the heart of the world, and especially of my own
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people, who best know him, that I am altogether
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misprised: but it shall not be so long; this
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wrestler shall clear all: nothing remains but that
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I kindle the boy thither; which now I'll go about.
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Exit

SCENE II. Lawn before the Duke's palace.

Scene 2 of Act 1 of this particular play takes place in a palace where the audience is introduced to the two main characters, Duke Frederick and his niece Rosalind. Duke Frederick is angry with his niece for being too close to her father, who was Duke before him. He orders her to leave the palace and tells her that if she is found within the court, she will be put to death. Rosalind is devastated and confused but has no other choice but to leave.

Before she leaves, Rosalind confides in her cousin Celia, who is also the daughter of Duke Frederick. Celia decides to go with Rosalind as she cannot bear to be apart from her. However, Celia's father, Duke Frederick, is not pleased with this decision and warns Celia that if she leaves with Rosalind, she will be disowned and banished from the court.

Rosalind and Celia decide to disguise themselves to avoid being caught by Duke Frederick's men. Rosalind dresses up as a man and calls herself Ganymede while Celia takes on the name Aliena. They set out to find Rosalind's father, who is living in the Forest of Arden.

The scene ends with Rosalind and Celia leaving the palace, uncertain of what lies ahead for them.

Enter CELIA and ROSALIND

CELIA
I pray thee, Rosalind, sweet my coz, be merry.
Link: 1.2.1

ROSALIND
Dear Celia, I show more mirth than I am mistress of;
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and would you yet I were merrier? Unless you could
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teach me to forget a banished father, you must not
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learn me how to remember any extraordinary pleasure.
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CELIA
Herein I see thou lovest me not with the full weight
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that I love thee. If my uncle, thy banished father,
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had banished thy uncle, the duke my father, so thou
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hadst been still with me, I could have taught my
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love to take thy father for mine: so wouldst thou,
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if the truth of thy love to me were so righteously
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tempered as mine is to thee.
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ROSALIND
Well, I will forget the condition of my estate, to
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rejoice in yours.
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CELIA
You know my father hath no child but I, nor none is
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like to have: and, truly, when he dies, thou shalt
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be his heir, for what he hath taken away from thy
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father perforce, I will render thee again in
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affection; by mine honour, I will; and when I break
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that oath, let me turn monster: therefore, my
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sweet Rose, my dear Rose, be merry.
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ROSALIND
From henceforth I will, coz, and devise sports. Let
Link: 1.2.22
me see; what think you of falling in love?
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CELIA
Marry, I prithee, do, to make sport withal: but
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love no man in good earnest; nor no further in sport
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neither than with safety of a pure blush thou mayst
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in honour come off again.
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ROSALIND
What shall be our sport, then?
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CELIA
Let us sit and mock the good housewife Fortune from
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her wheel, that her gifts may henceforth be bestowed equally.
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ROSALIND
I would we could do so, for her benefits are
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mightily misplaced, and the bountiful blind woman
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doth most mistake in her gifts to women.
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CELIA
'Tis true; for those that she makes fair she scarce
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makes honest, and those that she makes honest she
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makes very ill-favouredly.
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ROSALIND
Nay, now thou goest from Fortune's office to
Link: 1.2.37
Nature's: Fortune reigns in gifts of the world,
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not in the lineaments of Nature.
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Enter TOUCHSTONE

CELIA
No? when Nature hath made a fair creature, may she
Link: 1.2.40
not by Fortune fall into the fire? Though Nature
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hath given us wit to flout at Fortune, hath not
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Fortune sent in this fool to cut off the argument?
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ROSALIND
Indeed, there is Fortune too hard for Nature, when
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Fortune makes Nature's natural the cutter-off of
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Nature's wit.
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CELIA
Peradventure this is not Fortune's work neither, but
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Nature's; who perceiveth our natural wits too dull
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to reason of such goddesses and hath sent this
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natural for our whetstone; for always the dulness of
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the fool is the whetstone of the wits. How now,
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wit! whither wander you?
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TOUCHSTONE
Mistress, you must come away to your father.
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CELIA
Were you made the messenger?
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TOUCHSTONE
No, by mine honour, but I was bid to come for you.
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ROSALIND
Where learned you that oath, fool?
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TOUCHSTONE
Of a certain knight that swore by his honour they
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were good pancakes and swore by his honour the
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mustard was naught: now I'll stand to it, the
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pancakes were naught and the mustard was good, and
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yet was not the knight forsworn.
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CELIA
How prove you that, in the great heap of your
Link: 1.2.62
knowledge?
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ROSALIND
Ay, marry, now unmuzzle your wisdom.
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TOUCHSTONE
Stand you both forth now: stroke your chins, and
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swear by your beards that I am a knave.
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CELIA
By our beards, if we had them, thou art.
Link: 1.2.67

TOUCHSTONE
By my knavery, if I had it, then I were; but if you
Link: 1.2.68
swear by that that is not, you are not forsworn: no
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more was this knight swearing by his honour, for he
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never had any; or if he had, he had sworn it away
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before ever he saw those pancakes or that mustard.
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CELIA
Prithee, who is't that thou meanest?
Link: 1.2.73

TOUCHSTONE
One that old Frederick, your father, loves.
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CELIA
My father's love is enough to honour him: enough!
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speak no more of him; you'll be whipped for taxation
Link: 1.2.76
one of these days.
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TOUCHSTONE
The more pity, that fools may not speak wisely what
Link: 1.2.78
wise men do foolishly.
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CELIA
By my troth, thou sayest true; for since the little
Link: 1.2.80
wit that fools have was silenced, the little foolery
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that wise men have makes a great show. Here comes
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Monsieur Le Beau.
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ROSALIND
With his mouth full of news.
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CELIA
Which he will put on us, as pigeons feed their young.
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ROSALIND
Then shall we be news-crammed.
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CELIA
All the better; we shall be the more marketable.
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Bon jour, Monsieur Le Beau: what's the news?
Link: 1.2.88

LE BEAU
Fair princess, you have lost much good sport.
Link: 1.2.89

CELIA
Sport! of what colour?
Link: 1.2.90

LE BEAU
What colour, madam! how shall I answer you?
Link: 1.2.91

ROSALIND
As wit and fortune will.
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TOUCHSTONE
Or as the Destinies decree.
Link: 1.2.93

CELIA
Well said: that was laid on with a trowel.
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TOUCHSTONE
Nay, if I keep not my rank,--
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ROSALIND
Thou losest thy old smell.
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LE BEAU
You amaze me, ladies: I would have told you of good
Link: 1.2.97
wrestling, which you have lost the sight of.
Link: 1.2.98

ROSALIND
You tell us the manner of the wrestling.
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LE BEAU
I will tell you the beginning; and, if it please
Link: 1.2.100
your ladyships, you may see the end; for the best is
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yet to do; and here, where you are, they are coming
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to perform it.
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CELIA
Well, the beginning, that is dead and buried.
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LE BEAU
There comes an old man and his three sons,--
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CELIA
I could match this beginning with an old tale.
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LE BEAU
Three proper young men, of excellent growth and presence.
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ROSALIND
With bills on their necks, 'Be it known unto all men
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by these presents.'
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LE BEAU
The eldest of the three wrestled with Charles, the
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duke's wrestler; which Charles in a moment threw him
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and broke three of his ribs, that there is little
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hope of life in him: so he served the second, and
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so the third. Yonder they lie; the poor old man,
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their father, making such pitiful dole over them
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that all the beholders take his part with weeping.
Link: 1.2.116

ROSALIND

TOUCHSTONE
But what is the sport, monsieur, that the ladies
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have lost?
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LE BEAU
Why, this that I speak of.
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TOUCHSTONE
Thus men may grow wiser every day: it is the first
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time that ever I heard breaking of ribs was sport
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for ladies.
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CELIA
Or I, I promise thee.
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ROSALIND
But is there any else longs to see this broken music
Link: 1.2.125
in his sides? is there yet another dotes upon
Link: 1.2.126
rib-breaking? Shall we see this wrestling, cousin?
Link: 1.2.127

LE BEAU
You must, if you stay here; for here is the place
Link: 1.2.128
appointed for the wrestling, and they are ready to
Link: 1.2.129
perform it.
Link: 1.2.130

CELIA
Yonder, sure, they are coming: let us now stay and see it.
Link: 1.2.131

Flourish. Enter DUKE FREDERICK, Lords, ORLANDO, CHARLES, and Attendants

DUKE FREDERICK
Come on: since the youth will not be entreated, his
Link: 1.2.132
own peril on his forwardness.
Link: 1.2.133

ROSALIND
Is yonder the man?
Link: 1.2.134

LE BEAU
Even he, madam.
Link: 1.2.135

CELIA
Alas, he is too young! yet he looks successfully.
Link: 1.2.136

DUKE FREDERICK
How now, daughter and cousin! are you crept hither
Link: 1.2.137
to see the wrestling?
Link: 1.2.138

ROSALIND
Ay, my liege, so please you give us leave.
Link: 1.2.139

DUKE FREDERICK
You will take little delight in it, I can tell you;
Link: 1.2.140
there is such odds in the man. In pity of the
Link: 1.2.141
challenger's youth I would fain dissuade him, but he
Link: 1.2.142
will not be entreated. Speak to him, ladies; see if
Link: 1.2.143
you can move him.
Link: 1.2.144

CELIA
Call him hither, good Monsieur Le Beau.
Link: 1.2.145

DUKE FREDERICK
Do so: I'll not be by.
Link: 1.2.146

LE BEAU
Monsieur the challenger, the princesses call for you.
Link: 1.2.147

ORLANDO
I attend them with all respect and duty.
Link: 1.2.148

ROSALIND
Young man, have you challenged Charles the wrestler?
Link: 1.2.149

ORLANDO
No, fair princess; he is the general challenger: I
Link: 1.2.150
come but in, as others do, to try with him the
Link: 1.2.151
strength of my youth.
Link: 1.2.152

CELIA
Young gentleman, your spirits are too bold for your
Link: 1.2.153
years. You have seen cruel proof of this man's
Link: 1.2.154
strength: if you saw yourself with your eyes or
Link: 1.2.155
knew yourself with your judgment, the fear of your
Link: 1.2.156
adventure would counsel you to a more equal
Link: 1.2.157
enterprise. We pray you, for your own sake, to
Link: 1.2.158
embrace your own safety and give over this attempt.
Link: 1.2.159

ROSALIND
Do, young sir; your reputation shall not therefore
Link: 1.2.160
be misprised: we will make it our suit to the duke
Link: 1.2.161
that the wrestling might not go forward.
Link: 1.2.162

ORLANDO
I beseech you, punish me not with your hard
Link: 1.2.163
thoughts; wherein I confess me much guilty, to deny
Link: 1.2.164
so fair and excellent ladies any thing. But let
Link: 1.2.165
your fair eyes and gentle wishes go with me to my
Link: 1.2.166
trial: wherein if I be foiled, there is but one
Link: 1.2.167
shamed that was never gracious; if killed, but one
Link: 1.2.168
dead that was willing to be so: I shall do my
Link: 1.2.169
friends no wrong, for I have none to lament me, the
Link: 1.2.170
world no injury, for in it I have nothing; only in
Link: 1.2.171
the world I fill up a place, which may be better
Link: 1.2.172
supplied when I have made it empty.
Link: 1.2.173

ROSALIND
The little strength that I have, I would it were with you.
Link: 1.2.174

CELIA
And mine, to eke out hers.
Link: 1.2.175

ROSALIND
Fare you well: pray heaven I be deceived in you!
Link: 1.2.176

CELIA
Your heart's desires be with you!
Link: 1.2.177

CHARLES
Come, where is this young gallant that is so
Link: 1.2.178
desirous to lie with his mother earth?
Link: 1.2.179

ORLANDO
Ready, sir; but his will hath in it a more modest working.
Link: 1.2.180

DUKE FREDERICK
You shall try but one fall.
Link: 1.2.181

CHARLES
No, I warrant your grace, you shall not entreat him
Link: 1.2.182
to a second, that have so mightily persuaded him
Link: 1.2.183
from a first.
Link: 1.2.184

ORLANDO
An you mean to mock me after, you should not have
Link: 1.2.185
mocked me before: but come your ways.
Link: 1.2.186

ROSALIND
Now Hercules be thy speed, young man!
Link: 1.2.187

CELIA
I would I were invisible, to catch the strong
Link: 1.2.188
fellow by the leg.
Link: 1.2.189

They wrestle

ROSALIND
O excellent young man!
Link: 1.2.190

CELIA
If I had a thunderbolt in mine eye, I can tell who
Link: 1.2.191
should down.
Link: 1.2.192

Shout. CHARLES is thrown

DUKE FREDERICK
No more, no more.
Link: 1.2.193

ORLANDO
Yes, I beseech your grace: I am not yet well breathed.
Link: 1.2.194

DUKE FREDERICK
How dost thou, Charles?
Link: 1.2.195

LE BEAU
He cannot speak, my lord.
Link: 1.2.196

DUKE FREDERICK
Bear him away. What is thy name, young man?
Link: 1.2.197

ORLANDO
Orlando, my liege; the youngest son of Sir Rowland de Boys.
Link: 1.2.198

DUKE FREDERICK
I would thou hadst been son to some man else:
Link: 1.2.199
The world esteem'd thy father honourable,
Link: 1.2.200
But I did find him still mine enemy:
Link: 1.2.201
Thou shouldst have better pleased me with this deed,
Link: 1.2.202
Hadst thou descended from another house.
Link: 1.2.203
But fare thee well; thou art a gallant youth:
Link: 1.2.204
I would thou hadst told me of another father.
Link: 1.2.205

Exeunt DUKE FREDERICK, train, and LE BEAU

CELIA
Were I my father, coz, would I do this?
Link: 1.2.206

ORLANDO
I am more proud to be Sir Rowland's son,
Link: 1.2.207
His youngest son; and would not change that calling,
Link: 1.2.208
To be adopted heir to Frederick.
Link: 1.2.209

ROSALIND
My father loved Sir Rowland as his soul,
Link: 1.2.210
And all the world was of my father's mind:
Link: 1.2.211
Had I before known this young man his son,
Link: 1.2.212
I should have given him tears unto entreaties,
Link: 1.2.213
Ere he should thus have ventured.
Link: 1.2.214

CELIA
Gentle cousin,
Link: 1.2.215
Let us go thank him and encourage him:
Link: 1.2.216
My father's rough and envious disposition
Link: 1.2.217
Sticks me at heart. Sir, you have well deserved:
Link: 1.2.218
If you do keep your promises in love
Link: 1.2.219
But justly, as you have exceeded all promise,
Link: 1.2.220
Your mistress shall be happy.
Link: 1.2.221

ROSALIND
Gentleman,
Link: 1.2.222
Wear this for me, one out of suits with fortune,
Link: 1.2.223
That could give more, but that her hand lacks means.
Link: 1.2.224
Shall we go, coz?
Link: 1.2.225

CELIA
Ay. Fare you well, fair gentleman.
Link: 1.2.226

ORLANDO
Can I not say, I thank you? My better parts
Link: 1.2.227
Are all thrown down, and that which here stands up
Link: 1.2.228
Is but a quintain, a mere lifeless block.
Link: 1.2.229

ROSALIND
He calls us back: my pride fell with my fortunes;
Link: 1.2.230
I'll ask him what he would. Did you call, sir?
Link: 1.2.231
Sir, you have wrestled well and overthrown
Link: 1.2.232
More than your enemies.
Link: 1.2.233

CELIA
Will you go, coz?
Link: 1.2.234

ROSALIND
Have with you. Fare you well.
Link: 1.2.235

Exeunt ROSALIND and CELIA

ORLANDO
What passion hangs these weights upon my tongue?
Link: 1.2.236
I cannot speak to her, yet she urged conference.
Link: 1.2.237
O poor Orlando, thou art overthrown!
Link: 1.2.238
Or Charles or something weaker masters thee.
Link: 1.2.239

Re-enter LE BEAU

LE BEAU
Good sir, I do in friendship counsel you
Link: 1.2.240
To leave this place. Albeit you have deserved
Link: 1.2.241
High commendation, true applause and love,
Link: 1.2.242
Yet such is now the duke's condition
Link: 1.2.243
That he misconstrues all that you have done.
Link: 1.2.244
The duke is humorous; what he is indeed,
Link: 1.2.245
More suits you to conceive than I to speak of.
Link: 1.2.246

ORLANDO
I thank you, sir: and, pray you, tell me this:
Link: 1.2.247
Which of the two was daughter of the duke
Link: 1.2.248
That here was at the wrestling?
Link: 1.2.249

LE BEAU
Neither his daughter, if we judge by manners;
Link: 1.2.250
But yet indeed the lesser is his daughter
Link: 1.2.251
The other is daughter to the banish'd duke,
Link: 1.2.252
And here detain'd by her usurping uncle,
Link: 1.2.253
To keep his daughter company; whose loves
Link: 1.2.254
Are dearer than the natural bond of sisters.
Link: 1.2.255
But I can tell you that of late this duke
Link: 1.2.256
Hath ta'en displeasure 'gainst his gentle niece,
Link: 1.2.257
Grounded upon no other argument
Link: 1.2.258
But that the people praise her for her virtues
Link: 1.2.259
And pity her for her good father's sake;
Link: 1.2.260
And, on my life, his malice 'gainst the lady
Link: 1.2.261
Will suddenly break forth. Sir, fare you well:
Link: 1.2.262
Hereafter, in a better world than this,
Link: 1.2.263
I shall desire more love and knowledge of you.
Link: 1.2.264

ORLANDO
I rest much bounden to you: fare you well.
Link: 1.2.265
Thus must I from the smoke into the smother;
Link: 1.2.266
From tyrant duke unto a tyrant brother:
Link: 1.2.267
But heavenly Rosalind!
Link: 1.2.268

Exit

SCENE III. A room in the palace.

In Scene 3 of Act 1, two brothers, Oliver and Orlando, are having a heated argument. Oliver, the elder brother, has denied Orlando his inheritance, leaving him with only a meager allowance. Orlando is angry and demands that Oliver give him his rightful inheritance, but Oliver refuses and instead insults him. The argument quickly turns physical, and Orlando gains the upper hand by pinning Oliver to the ground. Just as Orlando is about to strike his brother, a servant enters and breaks up the fight.

After the servant leaves, Oliver decides to take revenge on his younger brother and hires a wrestler named Charles to beat Orlando in a match. However, Charles warns Oliver that Orlando is a skilled fighter and it would be dangerous to challenge him. Despite the warning, Oliver insists on the match and promises Charles a reward if he succeeds in defeating Orlando. The scene ends with Oliver plotting his revenge and Charles agreeing to take on the challenge.

Enter CELIA and ROSALIND

CELIA
Why, cousin! why, Rosalind! Cupid have mercy! not a word?
Link: 1.3.1

ROSALIND
Not one to throw at a dog.
Link: 1.3.2

CELIA
No, thy words are too precious to be cast away upon
Link: 1.3.3
curs; throw some of them at me; come, lame me with reasons.
Link: 1.3.4

ROSALIND
Then there were two cousins laid up; when the one
Link: 1.3.5
should be lamed with reasons and the other mad
Link: 1.3.6
without any.
Link: 1.3.7

CELIA
But is all this for your father?
Link: 1.3.8

ROSALIND
No, some of it is for my child's father. O, how
Link: 1.3.9
full of briers is this working-day world!
Link: 1.3.10

CELIA
They are but burs, cousin, thrown upon thee in
Link: 1.3.11
holiday foolery: if we walk not in the trodden
Link: 1.3.12
paths our very petticoats will catch them.
Link: 1.3.13

ROSALIND
I could shake them off my coat: these burs are in my heart.
Link: 1.3.14

CELIA
Hem them away.
Link: 1.3.15

ROSALIND
I would try, if I could cry 'hem' and have him.
Link: 1.3.16

CELIA
Come, come, wrestle with thy affections.
Link: 1.3.17

ROSALIND
O, they take the part of a better wrestler than myself!
Link: 1.3.18

CELIA
O, a good wish upon you! you will try in time, in
Link: 1.3.19
despite of a fall. But, turning these jests out of
Link: 1.3.20
service, let us talk in good earnest: is it
Link: 1.3.21
possible, on such a sudden, you should fall into so
Link: 1.3.22
strong a liking with old Sir Rowland's youngest son?
Link: 1.3.23

ROSALIND
The duke my father loved his father dearly.
Link: 1.3.24

CELIA
Doth it therefore ensue that you should love his son
Link: 1.3.25
dearly? By this kind of chase, I should hate him,
Link: 1.3.26
for my father hated his father dearly; yet I hate
Link: 1.3.27
not Orlando.
Link: 1.3.28

ROSALIND
No, faith, hate him not, for my sake.
Link: 1.3.29

CELIA
Why should I not? doth he not deserve well?
Link: 1.3.30

ROSALIND
Let me love him for that, and do you love him
Link: 1.3.31
because I do. Look, here comes the duke.
Link: 1.3.32

CELIA
With his eyes full of anger.
Link: 1.3.33

Enter DUKE FREDERICK, with Lords

DUKE FREDERICK
Mistress, dispatch you with your safest haste
Link: 1.3.34
And get you from our court.
Link: 1.3.35

ROSALIND
Me, uncle?
Link: 1.3.36

DUKE FREDERICK
You, cousin
Link: 1.3.37
Within these ten days if that thou be'st found
Link: 1.3.38
So near our public court as twenty miles,
Link: 1.3.39
Thou diest for it.
Link: 1.3.40

ROSALIND
I do beseech your grace,
Link: 1.3.41
Let me the knowledge of my fault bear with me:
Link: 1.3.42
If with myself I hold intelligence
Link: 1.3.43
Or have acquaintance with mine own desires,
Link: 1.3.44
If that I do not dream or be not frantic,--
Link: 1.3.45
As I do trust I am not--then, dear uncle,
Link: 1.3.46
Never so much as in a thought unborn
Link: 1.3.47
Did I offend your highness.
Link: 1.3.48

DUKE FREDERICK
Thus do all traitors:
Link: 1.3.49
If their purgation did consist in words,
Link: 1.3.50
They are as innocent as grace itself:
Link: 1.3.51
Let it suffice thee that I trust thee not.
Link: 1.3.52

ROSALIND
Yet your mistrust cannot make me a traitor:
Link: 1.3.53
Tell me whereon the likelihood depends.
Link: 1.3.54

DUKE FREDERICK
Thou art thy father's daughter; there's enough.
Link: 1.3.55

ROSALIND
So was I when your highness took his dukedom;
Link: 1.3.56
So was I when your highness banish'd him:
Link: 1.3.57
Treason is not inherited, my lord;
Link: 1.3.58
Or, if we did derive it from our friends,
Link: 1.3.59
What's that to me? my father was no traitor:
Link: 1.3.60
Then, good my liege, mistake me not so much
Link: 1.3.61
To think my poverty is treacherous.
Link: 1.3.62

CELIA
Dear sovereign, hear me speak.
Link: 1.3.63

DUKE FREDERICK
Ay, Celia; we stay'd her for your sake,
Link: 1.3.64
Else had she with her father ranged along.
Link: 1.3.65

CELIA
I did not then entreat to have her stay;
Link: 1.3.66
It was your pleasure and your own remorse:
Link: 1.3.67
I was too young that time to value her;
Link: 1.3.68
But now I know her: if she be a traitor,
Link: 1.3.69
Why so am I; we still have slept together,
Link: 1.3.70
Rose at an instant, learn'd, play'd, eat together,
Link: 1.3.71
And wheresoever we went, like Juno's swans,
Link: 1.3.72
Still we went coupled and inseparable.
Link: 1.3.73

DUKE FREDERICK
She is too subtle for thee; and her smoothness,
Link: 1.3.74
Her very silence and her patience
Link: 1.3.75
Speak to the people, and they pity her.
Link: 1.3.76
Thou art a fool: she robs thee of thy name;
Link: 1.3.77
And thou wilt show more bright and seem more virtuous
Link: 1.3.78
When she is gone. Then open not thy lips:
Link: 1.3.79
Firm and irrevocable is my doom
Link: 1.3.80
Which I have pass'd upon her; she is banish'd.
Link: 1.3.81

CELIA
Pronounce that sentence then on me, my liege:
Link: 1.3.82
I cannot live out of her company.
Link: 1.3.83

DUKE FREDERICK
You are a fool. You, niece, provide yourself:
Link: 1.3.84
If you outstay the time, upon mine honour,
Link: 1.3.85
And in the greatness of my word, you die.
Link: 1.3.86

Exeunt DUKE FREDERICK and Lords

CELIA
O my poor Rosalind, whither wilt thou go?
Link: 1.3.87
Wilt thou change fathers? I will give thee mine.
Link: 1.3.88
I charge thee, be not thou more grieved than I am.
Link: 1.3.89

ROSALIND
I have more cause.
Link: 1.3.90

CELIA
Thou hast not, cousin;
Link: 1.3.91
Prithee be cheerful: know'st thou not, the duke
Link: 1.3.92
Hath banish'd me, his daughter?
Link: 1.3.93

ROSALIND
That he hath not.
Link: 1.3.94

CELIA
No, hath not? Rosalind lacks then the love
Link: 1.3.95
Which teacheth thee that thou and I am one:
Link: 1.3.96
Shall we be sunder'd? shall we part, sweet girl?
Link: 1.3.97
No: let my father seek another heir.
Link: 1.3.98
Therefore devise with me how we may fly,
Link: 1.3.99
Whither to go and what to bear with us;
Link: 1.3.100
And do not seek to take your change upon you,
Link: 1.3.101
To bear your griefs yourself and leave me out;
Link: 1.3.102
For, by this heaven, now at our sorrows pale,
Link: 1.3.103
Say what thou canst, I'll go along with thee.
Link: 1.3.104

ROSALIND
Why, whither shall we go?
Link: 1.3.105

CELIA
To seek my uncle in the forest of Arden.
Link: 1.3.106

ROSALIND
Alas, what danger will it be to us,
Link: 1.3.107
Maids as we are, to travel forth so far!
Link: 1.3.108
Beauty provoketh thieves sooner than gold.
Link: 1.3.109

CELIA
I'll put myself in poor and mean attire
Link: 1.3.110
And with a kind of umber smirch my face;
Link: 1.3.111
The like do you: so shall we pass along
Link: 1.3.112
And never stir assailants.
Link: 1.3.113

ROSALIND
Were it not better,
Link: 1.3.114
Because that I am more than common tall,
Link: 1.3.115
That I did suit me all points like a man?
Link: 1.3.116
A gallant curtle-axe upon my thigh,
Link: 1.3.117
A boar-spear in my hand; and--in my heart
Link: 1.3.118
Lie there what hidden woman's fear there will--
Link: 1.3.119
We'll have a swashing and a martial outside,
Link: 1.3.120
As many other mannish cowards have
Link: 1.3.121
That do outface it with their semblances.
Link: 1.3.122

CELIA
What shall I call thee when thou art a man?
Link: 1.3.123

ROSALIND
I'll have no worse a name than Jove's own page;
Link: 1.3.124
And therefore look you call me Ganymede.
Link: 1.3.125
But what will you be call'd?
Link: 1.3.126

CELIA
Something that hath a reference to my state
Link: 1.3.127
No longer Celia, but Aliena.
Link: 1.3.128

ROSALIND
But, cousin, what if we assay'd to steal
Link: 1.3.129
The clownish fool out of your father's court?
Link: 1.3.130
Would he not be a comfort to our travel?
Link: 1.3.131

CELIA
He'll go along o'er the wide world with me;
Link: 1.3.132
Leave me alone to woo him. Let's away,
Link: 1.3.133
And get our jewels and our wealth together,
Link: 1.3.134
Devise the fittest time and safest way
Link: 1.3.135
To hide us from pursuit that will be made
Link: 1.3.136
After my flight. Now go we in content
Link: 1.3.137
To liberty and not to banishment.
Link: 1.3.138

Exeunt

Act II

Act 2 of "As You Like It" begins with Orlando, the younger brother of Oliver, confronting his older brother about their abusive relationship. Oliver responds with violence and threats, causing Orlando to flee into the forest. Meanwhile, Rosalind, the daughter of a banished Duke, disguises herself as a man named Ganymede and flees to the forest with her cousin Celia. They encounter the fool Touchstone and the shepherd Corin, who introduces them to the pastoral life. Rosalind, disguised as Ganymede, meets Orlando in the forest and discovers that he is the same man she had fallen in love with before. She decides to test his love by pretending to be Ganymede and offering to cure Orlando's love sickness. Orlando agrees and they make plans to meet again the next day.

Elsewhere in the forest, the banished Duke and his loyal followers live a simple life in harmony with nature. They welcome Rosalind and Celia into their group and offer them shelter. Meanwhile, Oliver plots to kill Orlando in the forest but encounters a lion instead. Orlando saves Oliver from the lion and they reconcile their differences. Orlando learns that Rosalind is in the forest and tells Oliver about his love for her.

The act ends with a series of comedic scenes involving Touchstone's courtship of a country girl named Audrey and a conversation between Rosalind and Celia about love and marriage. Rosalind, still disguised as Ganymede, promises to help Orlando with his love troubles while secretly hoping that he will recognize her true identity.

SCENE I. The Forest of Arden.

In Scene 1 of Act 2, two characters named Corin and Touchstone are having a conversation. Corin is a shepherd and Touchstone is a court jester. They discuss the differences between life in the country and life in the city. Corin argues that country life is preferable because it is simpler and less stressful. Touchstone disagrees, pointing out that city life offers more opportunities for entertainment and social status.

The two characters then discuss the topic of love. Corin mentions that he is in love with a shepherdess named Phoebe, but she does not return his affections. Touchstone offers his opinion on the matter, stating that love is often irrational and can cause people to act foolishly. He also mentions that he is in love with a woman named Audrey, who is a simple country girl.

As the conversation comes to a close, Touchstone tells Corin that he plans to marry Audrey despite her lack of education and refinement. Corin wishes him luck and the two part ways.

Enter DUKE SENIOR, AMIENS, and two or three Lords, like foresters

DUKE SENIOR
Now, my co-mates and brothers in exile,
Link: 2.1.1
Hath not old custom made this life more sweet
Link: 2.1.2
Than that of painted pomp? Are not these woods
Link: 2.1.3
More free from peril than the envious court?
Link: 2.1.4
Here feel we but the penalty of Adam,
Link: 2.1.5
The seasons' difference, as the icy fang
Link: 2.1.6
And churlish chiding of the winter's wind,
Link: 2.1.7
Which, when it bites and blows upon my body,
Link: 2.1.8
Even till I shrink with cold, I smile and say
Link: 2.1.9
'This is no flattery: these are counsellors
Link: 2.1.10
That feelingly persuade me what I am.'
Link: 2.1.11
Sweet are the uses of adversity,
Link: 2.1.12
Which, like the toad, ugly and venomous,
Link: 2.1.13
Wears yet a precious jewel in his head;
Link: 2.1.14
And this our life exempt from public haunt
Link: 2.1.15
Finds tongues in trees, books in the running brooks,
Link: 2.1.16
Sermons in stones and good in every thing.
Link: 2.1.17
I would not change it.
Link: 2.1.18

AMIENS
Happy is your grace,
Link: 2.1.19
That can translate the stubbornness of fortune
Link: 2.1.20
Into so quiet and so sweet a style.
Link: 2.1.21

DUKE SENIOR
Come, shall we go and kill us venison?
Link: 2.1.22
And yet it irks me the poor dappled fools,
Link: 2.1.23
Being native burghers of this desert city,
Link: 2.1.24
Should in their own confines with forked heads
Link: 2.1.25
Have their round haunches gored.
Link: 2.1.26

First Lord
Indeed, my lord,
Link: 2.1.27
The melancholy Jaques grieves at that,
Link: 2.1.28
And, in that kind, swears you do more usurp
Link: 2.1.29
Than doth your brother that hath banish'd you.
Link: 2.1.30
To-day my Lord of Amiens and myself
Link: 2.1.31
Did steal behind him as he lay along
Link: 2.1.32
Under an oak whose antique root peeps out
Link: 2.1.33
Upon the brook that brawls along this wood:
Link: 2.1.34
To the which place a poor sequester'd stag,
Link: 2.1.35
That from the hunter's aim had ta'en a hurt,
Link: 2.1.36
Did come to languish, and indeed, my lord,
Link: 2.1.37
The wretched animal heaved forth such groans
Link: 2.1.38
That their discharge did stretch his leathern coat
Link: 2.1.39
Almost to bursting, and the big round tears
Link: 2.1.40
Coursed one another down his innocent nose
Link: 2.1.41
In piteous chase; and thus the hairy fool
Link: 2.1.42
Much marked of the melancholy Jaques,
Link: 2.1.43
Stood on the extremest verge of the swift brook,
Link: 2.1.44
Augmenting it with tears.
Link: 2.1.45

DUKE SENIOR
But what said Jaques?
Link: 2.1.46
Did he not moralize this spectacle?
Link: 2.1.47

First Lord
O, yes, into a thousand similes.
Link: 2.1.48
First, for his weeping into the needless stream;
Link: 2.1.49
'Poor deer,' quoth he, 'thou makest a testament
Link: 2.1.50
As worldlings do, giving thy sum of more
Link: 2.1.51
To that which had too much:' then, being there alone,
Link: 2.1.52
Left and abandon'd of his velvet friends,
Link: 2.1.53
''Tis right:' quoth he; 'thus misery doth part
Link: 2.1.54
The flux of company:' anon a careless herd,
Link: 2.1.55
Full of the pasture, jumps along by him
Link: 2.1.56
And never stays to greet him; 'Ay' quoth Jaques,
Link: 2.1.57
'Sweep on, you fat and greasy citizens;
Link: 2.1.58
'Tis just the fashion: wherefore do you look
Link: 2.1.59
Upon that poor and broken bankrupt there?'
Link: 2.1.60
Thus most invectively he pierceth through
Link: 2.1.61
The body of the country, city, court,
Link: 2.1.62
Yea, and of this our life, swearing that we
Link: 2.1.63
Are mere usurpers, tyrants and what's worse,
Link: 2.1.64
To fright the animals and to kill them up
Link: 2.1.65
In their assign'd and native dwelling-place.
Link: 2.1.66

DUKE SENIOR
And did you leave him in this contemplation?
Link: 2.1.67

Second Lord
We did, my lord, weeping and commenting
Link: 2.1.68
Upon the sobbing deer.
Link: 2.1.69

DUKE SENIOR
Show me the place:
Link: 2.1.70
I love to cope him in these sullen fits,
Link: 2.1.71
For then he's full of matter.
Link: 2.1.72

First Lord
I'll bring you to him straight.
Link: 2.1.73

Exeunt

SCENE II. A room in the palace.

In Scene 2 of Act 2, two characters are introduced, Jaques and the Duke Senior. They are in the forest discussing Jaques' melancholy and the beauty of nature. Jaques expresses his belief that life is full of misery and that man's existence is ultimately meaningless. The Duke Senior, however, counters this by saying that in nature, everything has a purpose and a place, and that man is no exception.

As they continue to talk, a group of men enters the scene, including Orlando, the young man who is in love with Rosalind. They are all tired and hungry, having been wandering in the forest for days. The Duke Senior welcomes them and offers them food and shelter.

As they eat, they discuss their reasons for being in the forest. Orlando reveals that he is in love with Rosalind and has been forced to flee his home because of his older brother's jealousy. The Duke Senior sympathizes with him and offers to help him in any way he can.

Meanwhile, Jaques continues to observe the group, commenting on their behavior and making witty remarks. He is particularly fascinated by the fool, Touchstone, and engages him in conversation.

The scene ends with the Duke Senior inviting everyone to his camp, where they can rest and recover from their journey. As they depart, Jaques remains behind, continuing to ponder the nature of life and existence.

Enter DUKE FREDERICK, with Lords

DUKE FREDERICK
Can it be possible that no man saw them?
Link: 2.2.1
It cannot be: some villains of my court
Link: 2.2.2
Are of consent and sufferance in this.
Link: 2.2.3

First Lord
I cannot hear of any that did see her.
Link: 2.2.4
The ladies, her attendants of her chamber,
Link: 2.2.5
Saw her abed, and in the morning early
Link: 2.2.6
They found the bed untreasured of their mistress.
Link: 2.2.7

Second Lord
My lord, the roynish clown, at whom so oft
Link: 2.2.8
Your grace was wont to laugh, is also missing.
Link: 2.2.9
Hisperia, the princess' gentlewoman,
Link: 2.2.10
Confesses that she secretly o'erheard
Link: 2.2.11
Your daughter and her cousin much commend
Link: 2.2.12
The parts and graces of the wrestler
Link: 2.2.13
That did but lately foil the sinewy Charles;
Link: 2.2.14
And she believes, wherever they are gone,
Link: 2.2.15
That youth is surely in their company.
Link: 2.2.16

DUKE FREDERICK
Send to his brother; fetch that gallant hither;
Link: 2.2.17
If he be absent, bring his brother to me;
Link: 2.2.18
I'll make him find him: do this suddenly,
Link: 2.2.19
And let not search and inquisition quail
Link: 2.2.20
To bring again these foolish runaways.
Link: 2.2.21

Exeunt

SCENE III. Before OLIVER'S house.

Scene 3 of Act 2 begins with Orlando entering the forest, muttering to himself about his love for Rosalind. As he laments, he comes across Duke Senior and his band of loyal followers, who have made a home for themselves in the forest.

Orlando is initially suspicious of the group, but they welcome him with open arms and offer him food and shelter. Duke Senior takes Orlando under his wing and explains why they have chosen to live in exile in the forest. He tells Orlando that in the forest, they are free from the constraints of courtly life and can live as they please.

As Orlando settles in with the group, he becomes friends with a clown named Touchstone, who provides some much-needed comic relief. Together, they discuss the nature of love and the ridiculousness of courtly life.

The scene ends with the entrance of Rosalind and Celia, who have also fled to the forest disguised as a man and a shepherdess, respectively. Orlando is overjoyed to see Rosalind, but he does not recognize her in her disguise. Rosalind, who is still pretending to be a man, promises to help Orlando win her own love, unaware that Orlando is already in love with her.

Enter ORLANDO and ADAM, meeting

ORLANDO
Who's there?
Link: 2.3.1

ADAM
What, my young master? O, my gentle master!
Link: 2.3.2
O my sweet master! O you memory
Link: 2.3.3
Of old Sir Rowland! why, what make you here?
Link: 2.3.4
Why are you virtuous? why do people love you?
Link: 2.3.5
And wherefore are you gentle, strong and valiant?
Link: 2.3.6
Why would you be so fond to overcome
Link: 2.3.7
The bonny priser of the humorous duke?
Link: 2.3.8
Your praise is come too swiftly home before you.
Link: 2.3.9
Know you not, master, to some kind of men
Link: 2.3.10
Their graces serve them but as enemies?
Link: 2.3.11
No more do yours: your virtues, gentle master,
Link: 2.3.12
Are sanctified and holy traitors to you.
Link: 2.3.13
O, what a world is this, when what is comely
Link: 2.3.14
Envenoms him that bears it!
Link: 2.3.15

ORLANDO
Why, what's the matter?
Link: 2.3.16

ADAM
O unhappy youth!
Link: 2.3.17
Come not within these doors; within this roof
Link: 2.3.18
The enemy of all your graces lives:
Link: 2.3.19
Your brother--no, no brother; yet the son--
Link: 2.3.20
Yet not the son, I will not call him son
Link: 2.3.21
Of him I was about to call his father--
Link: 2.3.22
Hath heard your praises, and this night he means
Link: 2.3.23
To burn the lodging where you use to lie
Link: 2.3.24
And you within it: if he fail of that,
Link: 2.3.25
He will have other means to cut you off.
Link: 2.3.26
I overheard him and his practises.
Link: 2.3.27
This is no place; this house is but a butchery:
Link: 2.3.28
Abhor it, fear it, do not enter it.
Link: 2.3.29

ORLANDO
Why, whither, Adam, wouldst thou have me go?
Link: 2.3.30

ADAM
No matter whither, so you come not here.
Link: 2.3.31

ORLANDO
What, wouldst thou have me go and beg my food?
Link: 2.3.32
Or with a base and boisterous sword enforce
Link: 2.3.33
A thievish living on the common road?
Link: 2.3.34
This I must do, or know not what to do:
Link: 2.3.35
Yet this I will not do, do how I can;
Link: 2.3.36
I rather will subject me to the malice
Link: 2.3.37
Of a diverted blood and bloody brother.
Link: 2.3.38

ADAM
But do not so. I have five hundred crowns,
Link: 2.3.39
The thrifty hire I saved under your father,
Link: 2.3.40
Which I did store to be my foster-nurse
Link: 2.3.41
When service should in my old limbs lie lame
Link: 2.3.42
And unregarded age in corners thrown:
Link: 2.3.43
Take that, and He that doth the ravens feed,
Link: 2.3.44
Yea, providently caters for the sparrow,
Link: 2.3.45
Be comfort to my age! Here is the gold;
Link: 2.3.46
And all this I give you. Let me be your servant:
Link: 2.3.47
Though I look old, yet I am strong and lusty;
Link: 2.3.48
For in my youth I never did apply
Link: 2.3.49
Hot and rebellious liquors in my blood,
Link: 2.3.50
Nor did not with unbashful forehead woo
Link: 2.3.51
The means of weakness and debility;
Link: 2.3.52
Therefore my age is as a lusty winter,
Link: 2.3.53
Frosty, but kindly: let me go with you;
Link: 2.3.54
I'll do the service of a younger man
Link: 2.3.55
In all your business and necessities.
Link: 2.3.56

ORLANDO
O good old man, how well in thee appears
Link: 2.3.57
The constant service of the antique world,
Link: 2.3.58
When service sweat for duty, not for meed!
Link: 2.3.59
Thou art not for the fashion of these times,
Link: 2.3.60
Where none will sweat but for promotion,
Link: 2.3.61
And having that, do choke their service up
Link: 2.3.62
Even with the having: it is not so with thee.
Link: 2.3.63
But, poor old man, thou prunest a rotten tree,
Link: 2.3.64
That cannot so much as a blossom yield
Link: 2.3.65
In lieu of all thy pains and husbandry
Link: 2.3.66
But come thy ways; well go along together,
Link: 2.3.67
And ere we have thy youthful wages spent,
Link: 2.3.68
We'll light upon some settled low content.
Link: 2.3.69

ADAM
Master, go on, and I will follow thee,
Link: 2.3.70
To the last gasp, with truth and loyalty.
Link: 2.3.71
From seventeen years till now almost fourscore
Link: 2.3.72
Here lived I, but now live here no more.
Link: 2.3.73
At seventeen years many their fortunes seek;
Link: 2.3.74
But at fourscore it is too late a week:
Link: 2.3.75
Yet fortune cannot recompense me better
Link: 2.3.76
Than to die well and not my master's debtor.
Link: 2.3.77

Exeunt

SCENE IV. The Forest of Arden.

Scene 4 of Act 2 of the play begins with Rosalind, Celia, and Touchstone taking a break from their journey in the Forest of Arden. They come across Corin, an old shepherd who works for a wealthy landowner named Silvius. Rosalind and Celia are interested in buying some of Silvius' land, so they ask Corin about the price. Corin explains that Silvius is in love with a shepherdess named Phoebe and is not interested in selling his land.

Touchstone, who is a court jester, finds Corin's simple way of life amusing and begins to mock him. However, Rosalind and Celia defend Corin and his way of life, pointing out that he is honest and content with what he has. Rosalind also has a conversation with Corin about the nature of love and how it affects people differently.

Eventually, Rosalind and Celia decide to buy Corin's cottage and some of Silvius' land. They offer Corin money for his help in negotiating the deal. Corin is surprised and grateful for their generosity, and the scene ends with the group discussing their plans for the future.

Enter ROSALIND for Ganymede, CELIA for Aliena, and TOUCHSTONE

ROSALIND
O Jupiter, how weary are my spirits!
Link: 2.4.1

TOUCHSTONE
I care not for my spirits, if my legs were not weary.
Link: 2.4.2

ROSALIND
I could find in my heart to disgrace my man's
Link: 2.4.3
apparel and to cry like a woman; but I must comfort
Link: 2.4.4
the weaker vessel, as doublet and hose ought to show
Link: 2.4.5
itself courageous to petticoat: therefore courage,
Link: 2.4.6
good Aliena!
Link: 2.4.7

CELIA
I pray you, bear with me; I cannot go no further.
Link: 2.4.8

TOUCHSTONE
For my part, I had rather bear with you than bear
Link: 2.4.9
you; yet I should bear no cross if I did bear you,
Link: 2.4.10
for I think you have no money in your purse.
Link: 2.4.11

ROSALIND
Well, this is the forest of Arden.
Link: 2.4.12

TOUCHSTONE
Ay, now am I in Arden; the more fool I; when I was
Link: 2.4.13
at home, I was in a better place: but travellers
Link: 2.4.14
must be content.
Link: 2.4.15

ROSALIND
Ay, be so, good Touchstone.
Link: 2.4.16
Look you, who comes here; a young man and an old in
Link: 2.4.17
solemn talk.
Link: 2.4.18

CORIN
That is the way to make her scorn you still.
Link: 2.4.19

SILVIUS
O Corin, that thou knew'st how I do love her!
Link: 2.4.20

CORIN
I partly guess; for I have loved ere now.
Link: 2.4.21

SILVIUS
No, Corin, being old, thou canst not guess,
Link: 2.4.22
Though in thy youth thou wast as true a lover
Link: 2.4.23
As ever sigh'd upon a midnight pillow:
Link: 2.4.24
But if thy love were ever like to mine--
Link: 2.4.25
As sure I think did never man love so--
Link: 2.4.26
How many actions most ridiculous
Link: 2.4.27
Hast thou been drawn to by thy fantasy?
Link: 2.4.28

CORIN
Into a thousand that I have forgotten.
Link: 2.4.29

SILVIUS
O, thou didst then ne'er love so heartily!
Link: 2.4.30
If thou remember'st not the slightest folly
Link: 2.4.31
That ever love did make thee run into,
Link: 2.4.32
Thou hast not loved:
Link: 2.4.33
Or if thou hast not sat as I do now,
Link: 2.4.34
Wearying thy hearer in thy mistress' praise,
Link: 2.4.35
Thou hast not loved:
Link: 2.4.36
Or if thou hast not broke from company
Link: 2.4.37
Abruptly, as my passion now makes me,
Link: 2.4.38
Thou hast not loved.
Link: 2.4.39
O Phebe, Phebe, Phebe!
Link: 2.4.40

Exit

ROSALIND
Alas, poor shepherd! searching of thy wound,
Link: 2.4.41
I have by hard adventure found mine own.
Link: 2.4.42

TOUCHSTONE
And I mine. I remember, when I was in love I broke
Link: 2.4.43
my sword upon a stone and bid him take that for
Link: 2.4.44
coming a-night to Jane Smile; and I remember the
Link: 2.4.45
kissing of her batlet and the cow's dugs that her
Link: 2.4.46
pretty chopt hands had milked; and I remember the
Link: 2.4.47
wooing of a peascod instead of her, from whom I took
Link: 2.4.48
two cods and, giving her them again, said with
Link: 2.4.49
weeping tears 'Wear these for my sake.' We that are
Link: 2.4.50
true lovers run into strange capers; but as all is
Link: 2.4.51
mortal in nature, so is all nature in love mortal in folly.
Link: 2.4.52

ROSALIND
Thou speakest wiser than thou art ware of.
Link: 2.4.53

TOUCHSTONE
Nay, I shall ne'er be ware of mine own wit till I
Link: 2.4.54
break my shins against it.
Link: 2.4.55

ROSALIND
Jove, Jove! this shepherd's passion
Link: 2.4.56
Is much upon my fashion.
Link: 2.4.57

TOUCHSTONE
And mine; but it grows something stale with me.
Link: 2.4.58

CELIA
I pray you, one of you question yond man
Link: 2.4.59
If he for gold will give us any food:
Link: 2.4.60
I faint almost to death.
Link: 2.4.61

TOUCHSTONE
Holla, you clown!
Link: 2.4.62

ROSALIND
Peace, fool: he's not thy kinsman.
Link: 2.4.63

CORIN
Who calls?
Link: 2.4.64

TOUCHSTONE
Your betters, sir.
Link: 2.4.65

CORIN
Else are they very wretched.
Link: 2.4.66

ROSALIND
Peace, I say. Good even to you, friend.
Link: 2.4.67

CORIN
And to you, gentle sir, and to you all.
Link: 2.4.68

ROSALIND
I prithee, shepherd, if that love or gold
Link: 2.4.69
Can in this desert place buy entertainment,
Link: 2.4.70
Bring us where we may rest ourselves and feed:
Link: 2.4.71
Here's a young maid with travel much oppress'd
Link: 2.4.72
And faints for succor.
Link: 2.4.73

CORIN
Fair sir, I pity her
Link: 2.4.74
And wish, for her sake more than for mine own,
Link: 2.4.75
My fortunes were more able to relieve her;
Link: 2.4.76
But I am shepherd to another man
Link: 2.4.77
And do not shear the fleeces that I graze:
Link: 2.4.78
My master is of churlish disposition
Link: 2.4.79
And little recks to find the way to heaven
Link: 2.4.80
By doing deeds of hospitality:
Link: 2.4.81
Besides, his cote, his flocks and bounds of feed
Link: 2.4.82
Are now on sale, and at our sheepcote now,
Link: 2.4.83
By reason of his absence, there is nothing
Link: 2.4.84
That you will feed on; but what is, come see.
Link: 2.4.85
And in my voice most welcome shall you be.
Link: 2.4.86

ROSALIND
What is he that shall buy his flock and pasture?
Link: 2.4.87

CORIN
That young swain that you saw here but erewhile,
Link: 2.4.88
That little cares for buying any thing.
Link: 2.4.89

ROSALIND
I pray thee, if it stand with honesty,
Link: 2.4.90
Buy thou the cottage, pasture and the flock,
Link: 2.4.91
And thou shalt have to pay for it of us.
Link: 2.4.92

CELIA
And we will mend thy wages. I like this place.
Link: 2.4.93
And willingly could waste my time in it.
Link: 2.4.94

CORIN
Assuredly the thing is to be sold:
Link: 2.4.95
Go with me: if you like upon report
Link: 2.4.96
The soil, the profit and this kind of life,
Link: 2.4.97
I will your very faithful feeder be
Link: 2.4.98
And buy it with your gold right suddenly.
Link: 2.4.99

Exeunt

SCENE V. The Forest.

Act 2, Scene 5 begins with Touchstone, the court jester, flirting with Audrey, a country girl. He is trying to convince her to marry him, but she seems hesitant. Meanwhile, Jaques, a melancholy character, enters and starts a conversation with Touchstone. They discuss the nature of love and the different types of lovers. Jaques argues that lovers are often foolish and that love itself is a fleeting emotion.

As they continue talking, William, a countryman, enters and announces that a wrestling match is about to begin. Touchstone and Jaques decide to go watch, and Audrey follows them. The scene ends with all four characters leaving to watch the wrestling match.

Overall, this scene explores the themes of love, courtship, and the different perspectives on romance. Touchstone represents the courtly love tradition, while Jaques takes a more cynical view of love. The inclusion of the wrestling match adds a touch of excitement and foreshadows the physical conflicts that will arise later in the play.

Enter AMIENS, JAQUES, and others

SONG.

AMIENS
Under the greenwood tree
Link: 2.5.1
Who loves to lie with me,
Link: 2.5.2
And turn his merry note
Link: 2.5.3
Unto the sweet bird's throat,
Link: 2.5.4
Come hither, come hither, come hither:
Link: 2.5.5
Here shall he see No enemy
Link: 2.5.6
But winter and rough weather.
Link: 2.5.7

JAQUES
More, more, I prithee, more.
Link: 2.5.8

AMIENS
It will make you melancholy, Monsieur Jaques.
Link: 2.5.9

JAQUES
I thank it. More, I prithee, more. I can suck
Link: 2.5.10
melancholy out of a song, as a weasel sucks eggs.
Link: 2.5.11
More, I prithee, more.
Link: 2.5.12

AMIENS
My voice is ragged: I know I cannot please you.
Link: 2.5.13

JAQUES
I do not desire you to please me; I do desire you to
Link: 2.5.14
sing. Come, more; another stanzo: call you 'em stanzos?
Link: 2.5.15

AMIENS
What you will, Monsieur Jaques.
Link: 2.5.16

JAQUES
Nay, I care not for their names; they owe me
Link: 2.5.17
nothing. Will you sing?
Link: 2.5.18

AMIENS
More at your request than to please myself.
Link: 2.5.19

JAQUES
Well then, if ever I thank any man, I'll thank you;
Link: 2.5.20
but that they call compliment is like the encounter
Link: 2.5.21
of two dog-apes, and when a man thanks me heartily,
Link: 2.5.22
methinks I have given him a penny and he renders me
Link: 2.5.23
the beggarly thanks. Come, sing; and you that will
Link: 2.5.24
not, hold your tongues.
Link: 2.5.25

AMIENS
Well, I'll end the song. Sirs, cover the while; the
Link: 2.5.26
duke will drink under this tree. He hath been all
Link: 2.5.27
this day to look you.
Link: 2.5.28

JAQUES
And I have been all this day to avoid him. He is
Link: 2.5.29
too disputable for my company: I think of as many
Link: 2.5.30
matters as he, but I give heaven thanks and make no
Link: 2.5.31
boast of them. Come, warble, come.
Link: 2.5.32
Who doth ambition shun
Link: 2.5.33
And loves to live i' the sun,
Link: 2.5.34
Seeking the food he eats
Link: 2.5.35
And pleased with what he gets,
Link: 2.5.36
Come hither, come hither, come hither:
Link: 2.5.37
Here shall he see No enemy
Link: 2.5.38
But winter and rough weather.
Link: 2.5.39

JAQUES
I'll give you a verse to this note that I made
Link: 2.5.40
yesterday in despite of my invention.
Link: 2.5.41

AMIENS
And I'll sing it.
Link: 2.5.42

JAQUES
Thus it goes:--
Link: 2.5.43
If it do come to pass
Link: 2.5.44
That any man turn ass,
Link: 2.5.45
Leaving his wealth and ease,
Link: 2.5.46
A stubborn will to please,
Link: 2.5.47
Ducdame, ducdame, ducdame:
Link: 2.5.48
Here shall he see
Link: 2.5.49
Gross fools as he,
Link: 2.5.50
An if he will come to me.
Link: 2.5.51

AMIENS
What's that 'ducdame'?
Link: 2.5.52

JAQUES
'Tis a Greek invocation, to call fools into a
Link: 2.5.53
circle. I'll go sleep, if I can; if I cannot, I'll
Link: 2.5.54
rail against all the first-born of Egypt.
Link: 2.5.55

AMIENS
And I'll go seek the duke: his banquet is prepared.
Link: 2.5.56

Exeunt severally

SCENE VI. The forest.

Scene 6 of Act 2 takes place in a forest with Rosalind and Celia talking to Corin, an old shepherd. They discuss the differences between life in the country and in the city, with Rosalind expressing her desire for a simpler life in the country.

Corin offers to sell them his cottage and flock of sheep, but they don't have enough money to buy it. Just then, Touchstone, a court jester, arrives and begins to flirt with Audrey, a goat herder. Rosalind and Celia are amused by Touchstone's antics, but Corin disapproves of his behavior.

After Touchstone leaves with Audrey, Rosalind and Celia continue to discuss their desire for a simpler life in the country. They decide to find a way to buy Corin's cottage and flock of sheep, and Rosalind declares that they will live like shepherds and shepherdesses.

The scene ends with Corin advising them to seek out a wealthy young man who might be willing to buy the cottage for them. Rosalind agrees, and they set off to find such a man.

Enter ORLANDO and ADAM

ADAM
Dear master, I can go no further. O, I die for food!
Link: 2.6.1
Here lie I down, and measure out my grave. Farewell,
Link: 2.6.2
kind master.
Link: 2.6.3

ORLANDO
Why, how now, Adam! no greater heart in thee? Live
Link: 2.6.4
a little; comfort a little; cheer thyself a little.
Link: 2.6.5
If this uncouth forest yield any thing savage, I
Link: 2.6.6
will either be food for it or bring it for food to
Link: 2.6.7
thee. Thy conceit is nearer death than thy powers.
Link: 2.6.8
For my sake be comfortable; hold death awhile at
Link: 2.6.9
the arm's end: I will here be with thee presently;
Link: 2.6.10
and if I bring thee not something to eat, I will
Link: 2.6.11
give thee leave to die: but if thou diest before I
Link: 2.6.12
come, thou art a mocker of my labour. Well said!
Link: 2.6.13
thou lookest cheerly, and I'll be with thee quickly.
Link: 2.6.14
Yet thou liest in the bleak air: come, I will bear
Link: 2.6.15
thee to some shelter; and thou shalt not die for
Link: 2.6.16
lack of a dinner, if there live any thing in this
Link: 2.6.17
desert. Cheerly, good Adam!
Link: 2.6.18

Exeunt

SCENE VII. The forest.

Scene 7 of Act 2 takes place in the Forest of Arden where Jaques, one of the characters, is alone reflecting on the nature of life and existence. He talks about the seven ages of man, from infancy to old age, and how each stage brings its own challenges and struggles. He also reflects on the role of the fool in society and how they often speak the truth that others are afraid to say.

During his soliloquy, Jaques is interrupted by Orlando, one of the main characters, who is also seeking refuge in the forest. Orlando is carrying a love letter he has written to Rosalind, the woman he loves, but is hesitant to give it to her. Jaques, always the cynic, tells Orlando that love is fleeting and that he should enjoy it while it lasts. He also gives him advice on how to win Rosalind's heart, telling him to be witty and charming.

Orlando eventually leaves, and Jaques continues his musings on life, saying that all the world's a stage and we are merely players. He talks about how each person has their own part to play in the grand scheme of things, and that once their time is up, they exit stage left.

Overall, Scene 7 of Act 2 is a contemplative and philosophical moment in the play, with Jaques providing insights on the nature of love and life.

A table set out. Enter DUKE SENIOR, AMIENS, and Lords like outlaws

DUKE SENIOR
I think he be transform'd into a beast;
Link: 2.7.1
For I can no where find him like a man.
Link: 2.7.2

First Lord
My lord, he is but even now gone hence:
Link: 2.7.3
Here was he merry, hearing of a song.
Link: 2.7.4

DUKE SENIOR
If he, compact of jars, grow musical,
Link: 2.7.5
We shall have shortly discord in the spheres.
Link: 2.7.6
Go, seek him: tell him I would speak with him.
Link: 2.7.7

Enter JAQUES

First Lord
He saves my labour by his own approach.
Link: 2.7.8

DUKE SENIOR
Why, how now, monsieur! what a life is this,
Link: 2.7.9
That your poor friends must woo your company?
Link: 2.7.10
What, you look merrily!
Link: 2.7.11

JAQUES
A fool, a fool! I met a fool i' the forest,
Link: 2.7.12
A motley fool; a miserable world!
Link: 2.7.13
As I do live by food, I met a fool
Link: 2.7.14
Who laid him down and bask'd him in the sun,
Link: 2.7.15
And rail'd on Lady Fortune in good terms,
Link: 2.7.16
In good set terms and yet a motley fool.
Link: 2.7.17
'Good morrow, fool,' quoth I. 'No, sir,' quoth he,
Link: 2.7.18
'Call me not fool till heaven hath sent me fortune:'
Link: 2.7.19
And then he drew a dial from his poke,
Link: 2.7.20
And, looking on it with lack-lustre eye,
Link: 2.7.21
Says very wisely, 'It is ten o'clock:
Link: 2.7.22
Thus we may see,' quoth he, 'how the world wags:
Link: 2.7.23
'Tis but an hour ago since it was nine,
Link: 2.7.24
And after one hour more 'twill be eleven;
Link: 2.7.25
And so, from hour to hour, we ripe and ripe,
Link: 2.7.26
And then, from hour to hour, we rot and rot;
Link: 2.7.27
And thereby hangs a tale.' When I did hear
Link: 2.7.28
The motley fool thus moral on the time,
Link: 2.7.29
My lungs began to crow like chanticleer,
Link: 2.7.30
That fools should be so deep-contemplative,
Link: 2.7.31
And I did laugh sans intermission
Link: 2.7.32
An hour by his dial. O noble fool!
Link: 2.7.33
A worthy fool! Motley's the only wear.
Link: 2.7.34

DUKE SENIOR
What fool is this?
Link: 2.7.35

JAQUES
O worthy fool! One that hath been a courtier,
Link: 2.7.36
And says, if ladies be but young and fair,
Link: 2.7.37
They have the gift to know it: and in his brain,
Link: 2.7.38
Which is as dry as the remainder biscuit
Link: 2.7.39
After a voyage, he hath strange places cramm'd
Link: 2.7.40
With observation, the which he vents
Link: 2.7.41
In mangled forms. O that I were a fool!
Link: 2.7.42
I am ambitious for a motley coat.
Link: 2.7.43

DUKE SENIOR
Thou shalt have one.
Link: 2.7.44

JAQUES
It is my only suit;
Link: 2.7.45
Provided that you weed your better judgments
Link: 2.7.46
Of all opinion that grows rank in them
Link: 2.7.47
That I am wise. I must have liberty
Link: 2.7.48
Withal, as large a charter as the wind,
Link: 2.7.49
To blow on whom I please; for so fools have;
Link: 2.7.50
And they that are most galled with my folly,
Link: 2.7.51
They most must laugh. And why, sir, must they so?
Link: 2.7.52
The 'why' is plain as way to parish church:
Link: 2.7.53
He that a fool doth very wisely hit
Link: 2.7.54
Doth very foolishly, although he smart,
Link: 2.7.55
Not to seem senseless of the bob: if not,
Link: 2.7.56
The wise man's folly is anatomized
Link: 2.7.57
Even by the squandering glances of the fool.
Link: 2.7.58
Invest me in my motley; give me leave
Link: 2.7.59
To speak my mind, and I will through and through
Link: 2.7.60
Cleanse the foul body of the infected world,
Link: 2.7.61
If they will patiently receive my medicine.
Link: 2.7.62

DUKE SENIOR
Fie on thee! I can tell what thou wouldst do.
Link: 2.7.63

JAQUES
What, for a counter, would I do but good?
Link: 2.7.64

DUKE SENIOR
Most mischievous foul sin, in chiding sin:
Link: 2.7.65
For thou thyself hast been a libertine,
Link: 2.7.66
As sensual as the brutish sting itself;
Link: 2.7.67
And all the embossed sores and headed evils,
Link: 2.7.68
That thou with licence of free foot hast caught,
Link: 2.7.69
Wouldst thou disgorge into the general world.
Link: 2.7.70

JAQUES
Why, who cries out on pride,
Link: 2.7.71
That can therein tax any private party?
Link: 2.7.72
Doth it not flow as hugely as the sea,
Link: 2.7.73
Till that the weary very means do ebb?
Link: 2.7.74
What woman in the city do I name,
Link: 2.7.75
When that I say the city-woman bears
Link: 2.7.76
The cost of princes on unworthy shoulders?
Link: 2.7.77
Who can come in and say that I mean her,
Link: 2.7.78
When such a one as she such is her neighbour?
Link: 2.7.79
Or what is he of basest function
Link: 2.7.80
That says his bravery is not of my cost,
Link: 2.7.81
Thinking that I mean him, but therein suits
Link: 2.7.82
His folly to the mettle of my speech?
Link: 2.7.83
There then; how then? what then? Let me see wherein
Link: 2.7.84
My tongue hath wrong'd him: if it do him right,
Link: 2.7.85
Then he hath wrong'd himself; if he be free,
Link: 2.7.86
Why then my taxing like a wild-goose flies,
Link: 2.7.87
Unclaim'd of any man. But who comes here?
Link: 2.7.88

Enter ORLANDO, with his sword drawn

ORLANDO
Forbear, and eat no more.
Link: 2.7.89

JAQUES
Why, I have eat none yet.
Link: 2.7.90

ORLANDO
Nor shalt not, till necessity be served.
Link: 2.7.91

JAQUES
Of what kind should this cock come of?
Link: 2.7.92

DUKE SENIOR
Art thou thus bolden'd, man, by thy distress,
Link: 2.7.93
Or else a rude despiser of good manners,
Link: 2.7.94
That in civility thou seem'st so empty?
Link: 2.7.95

ORLANDO
You touch'd my vein at first: the thorny point
Link: 2.7.96
Of bare distress hath ta'en from me the show
Link: 2.7.97
Of smooth civility: yet am I inland bred
Link: 2.7.98
And know some nurture. But forbear, I say:
Link: 2.7.99
He dies that touches any of this fruit
Link: 2.7.100
Till I and my affairs are answered.
Link: 2.7.101

JAQUES
An you will not be answered with reason, I must die.
Link: 2.7.102

DUKE SENIOR
What would you have? Your gentleness shall force
Link: 2.7.103
More than your force move us to gentleness.
Link: 2.7.104

ORLANDO
I almost die for food; and let me have it.
Link: 2.7.105

DUKE SENIOR
Sit down and feed, and welcome to our table.
Link: 2.7.106

ORLANDO
Speak you so gently? Pardon me, I pray you:
Link: 2.7.107
I thought that all things had been savage here;
Link: 2.7.108
And therefore put I on the countenance
Link: 2.7.109
Of stern commandment. But whate'er you are
Link: 2.7.110
That in this desert inaccessible,
Link: 2.7.111
Under the shade of melancholy boughs,
Link: 2.7.112
Lose and neglect the creeping hours of time
Link: 2.7.113
If ever you have look'd on better days,
Link: 2.7.114
If ever been where bells have knoll'd to church,
Link: 2.7.115
If ever sat at any good man's feast,
Link: 2.7.116
If ever from your eyelids wiped a tear
Link: 2.7.117
And know what 'tis to pity and be pitied,
Link: 2.7.118
Let gentleness my strong enforcement be:
Link: 2.7.119
In the which hope I blush, and hide my sword.
Link: 2.7.120

DUKE SENIOR
True is it that we have seen better days,
Link: 2.7.121
And have with holy bell been knoll'd to church
Link: 2.7.122
And sat at good men's feasts and wiped our eyes
Link: 2.7.123
Of drops that sacred pity hath engender'd:
Link: 2.7.124
And therefore sit you down in gentleness
Link: 2.7.125
And take upon command what help we have
Link: 2.7.126
That to your wanting may be minister'd.
Link: 2.7.127

ORLANDO
Then but forbear your food a little while,
Link: 2.7.128
Whiles, like a doe, I go to find my fawn
Link: 2.7.129
And give it food. There is an old poor man,
Link: 2.7.130
Who after me hath many a weary step
Link: 2.7.131
Limp'd in pure love: till he be first sufficed,
Link: 2.7.132
Oppress'd with two weak evils, age and hunger,
Link: 2.7.133
I will not touch a bit.
Link: 2.7.134

DUKE SENIOR
Go find him out,
Link: 2.7.135
And we will nothing waste till you return.
Link: 2.7.136

ORLANDO
I thank ye; and be blest for your good comfort!
Link: 2.7.137

Exit

DUKE SENIOR
Thou seest we are not all alone unhappy:
Link: 2.7.138
This wide and universal theatre
Link: 2.7.139
Presents more woeful pageants than the scene
Link: 2.7.140
Wherein we play in.
Link: 2.7.141

JAQUES
All the world's a stage,
Link: 2.7.142
And all the men and women merely players:
Link: 2.7.143
They have their exits and their entrances;
Link: 2.7.144
And one man in his time plays many parts,
Link: 2.7.145
His acts being seven ages. At first the infant,
Link: 2.7.146
Mewling and puking in the nurse's arms.
Link: 2.7.147
And then the whining school-boy, with his satchel
Link: 2.7.148
And shining morning face, creeping like snail
Link: 2.7.149
Unwillingly to school. And then the lover,
Link: 2.7.150
Sighing like furnace, with a woeful ballad
Link: 2.7.151
Made to his mistress' eyebrow. Then a soldier,
Link: 2.7.152
Full of strange oaths and bearded like the pard,
Link: 2.7.153
Jealous in honour, sudden and quick in quarrel,
Link: 2.7.154
Seeking the bubble reputation
Link: 2.7.155
Even in the cannon's mouth. And then the justice,
Link: 2.7.156
In fair round belly with good capon lined,
Link: 2.7.157
With eyes severe and beard of formal cut,
Link: 2.7.158
Full of wise saws and modern instances;
Link: 2.7.159
And so he plays his part. The sixth age shifts
Link: 2.7.160
Into the lean and slipper'd pantaloon,
Link: 2.7.161
With spectacles on nose and pouch on side,
Link: 2.7.162
His youthful hose, well saved, a world too wide
Link: 2.7.163
For his shrunk shank; and his big manly voice,
Link: 2.7.164
Turning again toward childish treble, pipes
Link: 2.7.165
And whistles in his sound. Last scene of all,
Link: 2.7.166
That ends this strange eventful history,
Link: 2.7.167
Is second childishness and mere oblivion,
Link: 2.7.168
Sans teeth, sans eyes, sans taste, sans everything.
Link: 2.7.169

Re-enter ORLANDO, with ADAM

DUKE SENIOR
Welcome. Set down your venerable burthen,
Link: 2.7.170
And let him feed.
Link: 2.7.171

ORLANDO
I thank you most for him.
Link: 2.7.172

ADAM
So had you need:
Link: 2.7.173
I scarce can speak to thank you for myself.
Link: 2.7.174

DUKE SENIOR
Welcome; fall to: I will not trouble you
Link: 2.7.175
As yet, to question you about your fortunes.
Link: 2.7.176
Give us some music; and, good cousin, sing.
Link: 2.7.177

SONG.

AMIENS
Blow, blow, thou winter wind.
Link: 2.7.178
Thou art not so unkind
Link: 2.7.179
As man's ingratitude;
Link: 2.7.180
Thy tooth is not so keen,
Link: 2.7.181
Because thou art not seen,
Link: 2.7.182
Although thy breath be rude.
Link: 2.7.183
Heigh-ho! sing, heigh-ho! unto the green holly:
Link: 2.7.184
Most friendship is feigning, most loving mere folly:
Link: 2.7.185
Then, heigh-ho, the holly!
Link: 2.7.186
This life is most jolly.
Link: 2.7.187
Freeze, freeze, thou bitter sky,
Link: 2.7.188
That dost not bite so nigh
Link: 2.7.189
As benefits forgot:
Link: 2.7.190
Though thou the waters warp,
Link: 2.7.191
Thy sting is not so sharp
Link: 2.7.192
As friend remember'd not.
Link: 2.7.193
Heigh-ho! sing, c.
Link: 2.7.194

DUKE SENIOR
If that you were the good Sir Rowland's son,
Link: 2.7.195
As you have whisper'd faithfully you were,
Link: 2.7.196
And as mine eye doth his effigies witness
Link: 2.7.197
Most truly limn'd and living in your face,
Link: 2.7.198
Be truly welcome hither: I am the duke
Link: 2.7.199
That loved your father: the residue of your fortune,
Link: 2.7.200
Go to my cave and tell me. Good old man,
Link: 2.7.201
Thou art right welcome as thy master is.
Link: 2.7.202
Support him by the arm. Give me your hand,
Link: 2.7.203
And let me all your fortunes understand.
Link: 2.7.204

Exeunt

Act III

Act 3 of As You Like It begins with Rosalind, disguised as Ganymede, and Orlando meeting once again in the forest of Arden. Rosalind tests Orlando's love for her by pretending to be "Rosalind" and seeing how far he will go to prove his affection. Meanwhile, Touchstone, a court jester, and Audrey, a country girl, discuss their upcoming wedding. Touchstone's witty banter and Audrey's simple-mindedness provide a humorous contrast in the scene.

Next, Jaques, a melancholy courtier, meets with Duke Senior and his followers in the forest. He delivers his famous "All the world's a stage" monologue, reflecting on the different stages of life and how people play their roles. Duke Senior comforts him and urges him to enjoy the beauty of nature.

Back with Rosalind and Orlando, she reveals her true identity to him and they profess their love for each other. Touchstone and Audrey's wedding takes place with the comical presence of William, a country bumpkin, who wants to marry Audrey for her money.

The act concludes with Duke Frederick, Celia's father and Rosalind's uncle, searching for his daughter and niece in the forest. He encounters an old religious man who convinces him to change his ways and become a better person. This encounter ultimately leads to Duke Frederick's redemption and the resolution of the play's conflict.

SCENE I. A room in the palace.

Act 3 Scene 1 begins with two of the main characters, Rosalind and Celia, discussing their love interests. Rosalind is in love with Orlando, who has been absent for some time, and Celia is in love with Rosalind's cousin, Oliver. As they talk, they hear a shepherd named Silvius declaring his love for a woman named Phoebe.

Phoebe, however, is not interested in Silvius and instead loves Ganymede, who is actually Rosalind in disguise. Rosalind agrees to help Silvius win Phoebe's heart, but also tells Phoebe that she should be grateful for Silvius' love. Meanwhile, Orlando arrives and hangs love poems he has written for Rosalind on trees throughout the forest.

Rosalind and Celia stumble upon Orlando and Rosalind, still disguised as Ganymede, decides to test Orlando's love for her by pretending to be uninterested and challenging him to prove his love. Orlando agrees to do anything to win her love and Rosalind then tells him to come back the next day and address her as if she were Rosalind herself.

As the scene ends, Rosalind reveals her true identity to the audience and admits that she is falling in love with Orlando even more.

Enter DUKE FREDERICK, Lords, and OLIVER

DUKE FREDERICK
Not see him since? Sir, sir, that cannot be:
Link: 3.1.1
But were I not the better part made mercy,
Link: 3.1.2
I should not seek an absent argument
Link: 3.1.3
Of my revenge, thou present. But look to it:
Link: 3.1.4
Find out thy brother, wheresoe'er he is;
Link: 3.1.5
Seek him with candle; bring him dead or living
Link: 3.1.6
Within this twelvemonth, or turn thou no more
Link: 3.1.7
To seek a living in our territory.
Link: 3.1.8
Thy lands and all things that thou dost call thine
Link: 3.1.9
Worth seizure do we seize into our hands,
Link: 3.1.10
Till thou canst quit thee by thy brothers mouth
Link: 3.1.11
Of what we think against thee.
Link: 3.1.12

OLIVER
O that your highness knew my heart in this!
Link: 3.1.13
I never loved my brother in my life.
Link: 3.1.14

DUKE FREDERICK
More villain thou. Well, push him out of doors;
Link: 3.1.15
And let my officers of such a nature
Link: 3.1.16
Make an extent upon his house and lands:
Link: 3.1.17
Do this expediently and turn him going.
Link: 3.1.18

Exeunt

SCENE II. The forest.

Scene 2 of Act 3 of "As You Like It" takes place in the Forest of Arden. Orlando, the main male protagonist, has been leaving love poems for Rosalind, the main female protagonist, on trees throughout the forest. When Rosalind and her cousin Celia come across one of these trees with Orlando's poem, they are both amused and intrigued.

As they continue their walk through the forest, they come across Orlando himself. Rosalind and Celia, who are in disguise, strike up a conversation with Orlando. Rosalind, who is disguised as a man named Ganymede, offers to cure Orlando of his love for Rosalind by pretending to be her and having Orlando practice his wooing skills on her. Orlando agrees to this plan.

Meanwhile, Touchstone, a court jester who has been traveling with Rosalind and Celia, is also in the forest with his love interest, a shepherdess named Audrey. As they are about to get married, they are interrupted by a country fellow named William who claims to be in love with Audrey and challenges Touchstone to a wrestling match. Touchstone easily defeats William and the wedding proceeds.

The scene ends with Rosalind, Celia, and Orlando planning to meet again the next day to continue their plan of Orlando practicing his wooing skills on Ganymede.

Enter ORLANDO, with a paper

ORLANDO
Hang there, my verse, in witness of my love:
Link: 3.2.1
And thou, thrice-crowned queen of night, survey
Link: 3.2.2
With thy chaste eye, from thy pale sphere above,
Link: 3.2.3
Thy huntress' name that my full life doth sway.
Link: 3.2.4
O Rosalind! these trees shall be my books
Link: 3.2.5
And in their barks my thoughts I'll character;
Link: 3.2.6
That every eye which in this forest looks
Link: 3.2.7
Shall see thy virtue witness'd every where.
Link: 3.2.8
Run, run, Orlando; carve on every tree
Link: 3.2.9
The fair, the chaste and unexpressive she.
Link: 3.2.10

Exit

Enter CORIN and TOUCHSTONE

CORIN
And how like you this shepherd's life, Master Touchstone?
Link: 3.2.11

TOUCHSTONE
Truly, shepherd, in respect of itself, it is a good
Link: 3.2.12
life, but in respect that it is a shepherd's life,
Link: 3.2.13
it is naught. In respect that it is solitary, I
Link: 3.2.14
like it very well; but in respect that it is
Link: 3.2.15
private, it is a very vile life. Now, in respect it
Link: 3.2.16
is in the fields, it pleaseth me well; but in
Link: 3.2.17
respect it is not in the court, it is tedious. As
Link: 3.2.18
is it a spare life, look you, it fits my humour well;
Link: 3.2.19
but as there is no more plenty in it, it goes much
Link: 3.2.20
against my stomach. Hast any philosophy in thee, shepherd?
Link: 3.2.21

CORIN
No more but that I know the more one sickens the
Link: 3.2.22
worse at ease he is; and that he that wants money,
Link: 3.2.23
means and content is without three good friends;
Link: 3.2.24
that the property of rain is to wet and fire to
Link: 3.2.25
burn; that good pasture makes fat sheep, and that a
Link: 3.2.26
great cause of the night is lack of the sun; that
Link: 3.2.27
he that hath learned no wit by nature nor art may
Link: 3.2.28
complain of good breeding or comes of a very dull kindred.
Link: 3.2.29

TOUCHSTONE
Such a one is a natural philosopher. Wast ever in
Link: 3.2.30
court, shepherd?
Link: 3.2.31

CORIN
No, truly.
Link: 3.2.32

TOUCHSTONE
Then thou art damned.
Link: 3.2.33

CORIN
Nay, I hope.
Link: 3.2.34

TOUCHSTONE
Truly, thou art damned like an ill-roasted egg, all
Link: 3.2.35
on one side.
Link: 3.2.36

CORIN
For not being at court? Your reason.
Link: 3.2.37

TOUCHSTONE
Why, if thou never wast at court, thou never sawest
Link: 3.2.38
good manners; if thou never sawest good manners,
Link: 3.2.39
then thy manners must be wicked; and wickedness is
Link: 3.2.40
sin, and sin is damnation. Thou art in a parlous
Link: 3.2.41
state, shepherd.
Link: 3.2.42

CORIN
Not a whit, Touchstone: those that are good manners
Link: 3.2.43
at the court are as ridiculous in the country as the
Link: 3.2.44
behavior of the country is most mockable at the
Link: 3.2.45
court. You told me you salute not at the court, but
Link: 3.2.46
you kiss your hands: that courtesy would be
Link: 3.2.47
uncleanly, if courtiers were shepherds.
Link: 3.2.48

TOUCHSTONE
Instance, briefly; come, instance.
Link: 3.2.49

CORIN
Why, we are still handling our ewes, and their
Link: 3.2.50
fells, you know, are greasy.
Link: 3.2.51

TOUCHSTONE
Why, do not your courtier's hands sweat? and is not
Link: 3.2.52
the grease of a mutton as wholesome as the sweat of
Link: 3.2.53
a man? Shallow, shallow. A better instance, I say; come.
Link: 3.2.54

CORIN
Besides, our hands are hard.
Link: 3.2.55

TOUCHSTONE
Your lips will feel them the sooner. Shallow again.
Link: 3.2.56
A more sounder instance, come.
Link: 3.2.57

CORIN
And they are often tarred over with the surgery of
Link: 3.2.58
our sheep: and would you have us kiss tar? The
Link: 3.2.59
courtier's hands are perfumed with civet.
Link: 3.2.60

TOUCHSTONE
Most shallow man! thou worms-meat, in respect of a
Link: 3.2.61
good piece of flesh indeed! Learn of the wise, and
Link: 3.2.62
perpend: civet is of a baser birth than tar, the
Link: 3.2.63
very uncleanly flux of a cat. Mend the instance, shepherd.
Link: 3.2.64

CORIN
You have too courtly a wit for me: I'll rest.
Link: 3.2.65

TOUCHSTONE
Wilt thou rest damned? God help thee, shallow man!
Link: 3.2.66
God make incision in thee! thou art raw.
Link: 3.2.67

CORIN
Sir, I am a true labourer: I earn that I eat, get
Link: 3.2.68
that I wear, owe no man hate, envy no man's
Link: 3.2.69
happiness, glad of other men's good, content with my
Link: 3.2.70
harm, and the greatest of my pride is to see my ewes
Link: 3.2.71
graze and my lambs suck.
Link: 3.2.72

TOUCHSTONE
That is another simple sin in you, to bring the ewes
Link: 3.2.73
and the rams together and to offer to get your
Link: 3.2.74
living by the copulation of cattle; to be bawd to a
Link: 3.2.75
bell-wether, and to betray a she-lamb of a
Link: 3.2.76
twelvemonth to a crooked-pated, old, cuckoldly ram,
Link: 3.2.77
out of all reasonable match. If thou beest not
Link: 3.2.78
damned for this, the devil himself will have no
Link: 3.2.79
shepherds; I cannot see else how thou shouldst
Link: 3.2.80
'scape.
Link: 3.2.81

CORIN
Here comes young Master Ganymede, my new mistress's brother.
Link: 3.2.82

Enter ROSALIND, with a paper, reading

ROSALIND
From the east to western Ind,
Link: 3.2.83
No jewel is like Rosalind.
Link: 3.2.84
Her worth, being mounted on the wind,
Link: 3.2.85
Through all the world bears Rosalind.
Link: 3.2.86
All the pictures fairest lined
Link: 3.2.87
Are but black to Rosalind.
Link: 3.2.88
Let no fair be kept in mind
Link: 3.2.89
But the fair of Rosalind.
Link: 3.2.90

TOUCHSTONE
I'll rhyme you so eight years together, dinners and
Link: 3.2.91
suppers and sleeping-hours excepted: it is the
Link: 3.2.92
right butter-women's rank to market.
Link: 3.2.93

ROSALIND
Out, fool!
Link: 3.2.94

TOUCHSTONE
For a taste:
Link: 3.2.95
If a hart do lack a hind,
Link: 3.2.96
Let him seek out Rosalind.
Link: 3.2.97
If the cat will after kind,
Link: 3.2.98
So be sure will Rosalind.
Link: 3.2.99
Winter garments must be lined,
Link: 3.2.100
So must slender Rosalind.
Link: 3.2.101
They that reap must sheaf and bind;
Link: 3.2.102
Then to cart with Rosalind.
Link: 3.2.103
Sweetest nut hath sourest rind,
Link: 3.2.104
Such a nut is Rosalind.
Link: 3.2.105
He that sweetest rose will find
Link: 3.2.106
Must find love's prick and Rosalind.
Link: 3.2.107
This is the very false gallop of verses: why do you
Link: 3.2.108
infect yourself with them?
Link: 3.2.109

ROSALIND
Peace, you dull fool! I found them on a tree.
Link: 3.2.110

TOUCHSTONE
Truly, the tree yields bad fruit.
Link: 3.2.111

ROSALIND
I'll graff it with you, and then I shall graff it
Link: 3.2.112
with a medlar: then it will be the earliest fruit
Link: 3.2.113
i' the country; for you'll be rotten ere you be half
Link: 3.2.114
ripe, and that's the right virtue of the medlar.
Link: 3.2.115

TOUCHSTONE
You have said; but whether wisely or no, let the
Link: 3.2.116
forest judge.
Link: 3.2.117

Enter CELIA, with a writing

ROSALIND
Peace! Here comes my sister, reading: stand aside.
Link: 3.2.118

CELIA
Why should this a desert be?
Link: 3.2.120
For it is unpeopled? No:
Link: 3.2.121
Tongues I'll hang on every tree,
Link: 3.2.122
That shall civil sayings show:
Link: 3.2.123
Some, how brief the life of man
Link: 3.2.124
Runs his erring pilgrimage,
Link: 3.2.125
That the stretching of a span
Link: 3.2.126
Buckles in his sum of age;
Link: 3.2.127
Some, of violated vows
Link: 3.2.128
'Twixt the souls of friend and friend:
Link: 3.2.129
But upon the fairest boughs,
Link: 3.2.130
Or at every sentence end,
Link: 3.2.131
Will I Rosalinda write,
Link: 3.2.132
Teaching all that read to know
Link: 3.2.133
The quintessence of every sprite
Link: 3.2.134
Heaven would in little show.
Link: 3.2.135
Therefore Heaven Nature charged
Link: 3.2.136
That one body should be fill'd
Link: 3.2.137
With all graces wide-enlarged:
Link: 3.2.138
Nature presently distill'd
Link: 3.2.139
Helen's cheek, but not her heart,
Link: 3.2.140
Cleopatra's majesty,
Link: 3.2.141
Atalanta's better part,
Link: 3.2.142
Sad Lucretia's modesty.
Link: 3.2.143
Thus Rosalind of many parts
Link: 3.2.144
By heavenly synod was devised,
Link: 3.2.145
Of many faces, eyes and hearts,
Link: 3.2.146
To have the touches dearest prized.
Link: 3.2.147
Heaven would that she these gifts should have,
Link: 3.2.148
And I to live and die her slave.
Link: 3.2.149

ROSALIND
O most gentle pulpiter! what tedious homily of love
Link: 3.2.150
have you wearied your parishioners withal, and never
Link: 3.2.151
cried 'Have patience, good people!'
Link: 3.2.152

CELIA
How now! back, friends! Shepherd, go off a little.
Link: 3.2.153
Go with him, sirrah.
Link: 3.2.154

TOUCHSTONE
Come, shepherd, let us make an honourable retreat;
Link: 3.2.155
though not with bag and baggage, yet with scrip and scrippage.
Link: 3.2.156

Exeunt CORIN and TOUCHSTONE

CELIA
Didst thou hear these verses?
Link: 3.2.157

ROSALIND
O, yes, I heard them all, and more too; for some of
Link: 3.2.158
them had in them more feet than the verses would bear.
Link: 3.2.159

CELIA
That's no matter: the feet might bear the verses.
Link: 3.2.160

ROSALIND
Ay, but the feet were lame and could not bear
Link: 3.2.161
themselves without the verse and therefore stood
Link: 3.2.162
lamely in the verse.
Link: 3.2.163

CELIA
But didst thou hear without wondering how thy name
Link: 3.2.164
should be hanged and carved upon these trees?
Link: 3.2.165

ROSALIND
I was seven of the nine days out of the wonder
Link: 3.2.166
before you came; for look here what I found on a
Link: 3.2.167
palm-tree. I was never so be-rhymed since
Link: 3.2.168
Pythagoras' time, that I was an Irish rat, which I
Link: 3.2.169
can hardly remember.
Link: 3.2.170

CELIA
Trow you who hath done this?
Link: 3.2.171

ROSALIND
Is it a man?
Link: 3.2.172

CELIA
And a chain, that you once wore, about his neck.
Link: 3.2.173
Change you colour?
Link: 3.2.174

ROSALIND
I prithee, who?
Link: 3.2.175

CELIA
O Lord, Lord! it is a hard matter for friends to
Link: 3.2.176
meet; but mountains may be removed with earthquakes
Link: 3.2.177
and so encounter.
Link: 3.2.178

ROSALIND
Nay, but who is it?
Link: 3.2.179

CELIA
Is it possible?
Link: 3.2.180

ROSALIND
Nay, I prithee now with most petitionary vehemence,
Link: 3.2.181
tell me who it is.
Link: 3.2.182

CELIA
O wonderful, wonderful, and most wonderful
Link: 3.2.183
wonderful! and yet again wonderful, and after that,
Link: 3.2.184
out of all hooping!
Link: 3.2.185

ROSALIND
Good my complexion! dost thou think, though I am
Link: 3.2.186
caparisoned like a man, I have a doublet and hose in
Link: 3.2.187
my disposition? One inch of delay more is a
Link: 3.2.188
South-sea of discovery; I prithee, tell me who is it
Link: 3.2.189
quickly, and speak apace. I would thou couldst
Link: 3.2.190
stammer, that thou mightst pour this concealed man
Link: 3.2.191
out of thy mouth, as wine comes out of a narrow-
Link: 3.2.192
mouthed bottle, either too much at once, or none at
Link: 3.2.193
all. I prithee, take the cork out of thy mouth that
Link: 3.2.194
may drink thy tidings.
Link: 3.2.195

CELIA
So you may put a man in your belly.
Link: 3.2.196

ROSALIND
Is he of God's making? What manner of man? Is his
Link: 3.2.197
head worth a hat, or his chin worth a beard?
Link: 3.2.198

CELIA
Nay, he hath but a little beard.
Link: 3.2.199

ROSALIND
Why, God will send more, if the man will be
Link: 3.2.200
thankful: let me stay the growth of his beard, if
Link: 3.2.201
thou delay me not the knowledge of his chin.
Link: 3.2.202

CELIA
It is young Orlando, that tripped up the wrestler's
Link: 3.2.203
heels and your heart both in an instant.
Link: 3.2.204

ROSALIND
Nay, but the devil take mocking: speak, sad brow and
Link: 3.2.205
true maid.
Link: 3.2.206

CELIA
I' faith, coz, 'tis he.
Link: 3.2.207

ROSALIND
Orlando?
Link: 3.2.208

CELIA
Orlando.
Link: 3.2.209

ROSALIND
Alas the day! what shall I do with my doublet and
Link: 3.2.210
hose? What did he when thou sawest him? What said
Link: 3.2.211
he? How looked he? Wherein went he? What makes
Link: 3.2.212
him here? Did he ask for me? Where remains he?
Link: 3.2.213
How parted he with thee? and when shalt thou see
Link: 3.2.214
him again? Answer me in one word.
Link: 3.2.215

CELIA
You must borrow me Gargantua's mouth first: 'tis a
Link: 3.2.216
word too great for any mouth of this age's size. To
Link: 3.2.217
say ay and no to these particulars is more than to
Link: 3.2.218
answer in a catechism.
Link: 3.2.219

ROSALIND
But doth he know that I am in this forest and in
Link: 3.2.220
man's apparel? Looks he as freshly as he did the
Link: 3.2.221
day he wrestled?
Link: 3.2.222

CELIA
It is as easy to count atomies as to resolve the
Link: 3.2.223
propositions of a lover; but take a taste of my
Link: 3.2.224
finding him, and relish it with good observance.
Link: 3.2.225
I found him under a tree, like a dropped acorn.
Link: 3.2.226

ROSALIND
It may well be called Jove's tree, when it drops
Link: 3.2.227
forth such fruit.
Link: 3.2.228

CELIA
Give me audience, good madam.
Link: 3.2.229

ROSALIND
Proceed.
Link: 3.2.230

CELIA
There lay he, stretched along, like a wounded knight.
Link: 3.2.231

ROSALIND
Though it be pity to see such a sight, it well
Link: 3.2.232
becomes the ground.
Link: 3.2.233

CELIA
Cry 'holla' to thy tongue, I prithee; it curvets
Link: 3.2.234
unseasonably. He was furnished like a hunter.
Link: 3.2.235

ROSALIND
O, ominous! he comes to kill my heart.
Link: 3.2.236

CELIA
I would sing my song without a burden: thou bringest
Link: 3.2.237
me out of tune.
Link: 3.2.238

ROSALIND
Do you not know I am a woman? when I think, I must
Link: 3.2.239
speak. Sweet, say on.
Link: 3.2.240

CELIA
You bring me out. Soft! comes he not here?
Link: 3.2.241

Enter ORLANDO and JAQUES

ROSALIND
'Tis he: slink by, and note him.
Link: 3.2.242

JAQUES
I thank you for your company; but, good faith, I had
Link: 3.2.243
as lief have been myself alone.
Link: 3.2.244

ORLANDO
And so had I; but yet, for fashion sake, I thank you
Link: 3.2.245
too for your society.
Link: 3.2.246

JAQUES
God be wi' you: let's meet as little as we can.
Link: 3.2.247

ORLANDO
I do desire we may be better strangers.
Link: 3.2.248

JAQUES
I pray you, mar no more trees with writing
Link: 3.2.249
love-songs in their barks.
Link: 3.2.250

ORLANDO
I pray you, mar no more of my verses with reading
Link: 3.2.251
them ill-favouredly.
Link: 3.2.252

JAQUES
Rosalind is your love's name?
Link: 3.2.253

ORLANDO
Yes, just.
Link: 3.2.254

JAQUES
I do not like her name.
Link: 3.2.255

ORLANDO
There was no thought of pleasing you when she was
Link: 3.2.256
christened.
Link: 3.2.257

JAQUES
What stature is she of?
Link: 3.2.258

ORLANDO
Just as high as my heart.
Link: 3.2.259

JAQUES
You are full of pretty answers. Have you not been
Link: 3.2.260
acquainted with goldsmiths' wives, and conned them
Link: 3.2.261
out of rings?
Link: 3.2.262

ORLANDO
Not so; but I answer you right painted cloth, from
Link: 3.2.263
whence you have studied your questions.
Link: 3.2.264

JAQUES
You have a nimble wit: I think 'twas made of
Link: 3.2.265
Atalanta's heels. Will you sit down with me? and
Link: 3.2.266
we two will rail against our mistress the world and
Link: 3.2.267
all our misery.
Link: 3.2.268

ORLANDO
I will chide no breather in the world but myself,
Link: 3.2.269
against whom I know most faults.
Link: 3.2.270

JAQUES
The worst fault you have is to be in love.
Link: 3.2.271

ORLANDO
'Tis a fault I will not change for your best virtue.
Link: 3.2.272
I am weary of you.
Link: 3.2.273

JAQUES
By my troth, I was seeking for a fool when I found
Link: 3.2.274

ORLANDO
He is drowned in the brook: look but in, and you
Link: 3.2.276
shall see him.
Link: 3.2.277

JAQUES
There I shall see mine own figure.
Link: 3.2.278

ORLANDO
Which I take to be either a fool or a cipher.
Link: 3.2.279

JAQUES
I'll tarry no longer with you: farewell, good
Link: 3.2.280
Signior Love.
Link: 3.2.281

ORLANDO
I am glad of your departure: adieu, good Monsieur
Link: 3.2.282
Melancholy.
Link: 3.2.283

Exit JAQUES

ROSALIND
(Aside to CELIA) I will speak to him, like a saucy
Link: 3.2.284
lackey and under that habit play the knave with him.
Link: 3.2.285
Do you hear, forester?
Link: 3.2.286

ORLANDO
Very well: what would you?
Link: 3.2.287

ROSALIND
I pray you, what is't o'clock?
Link: 3.2.288

ORLANDO
You should ask me what time o' day: there's no clock
Link: 3.2.289
in the forest.
Link: 3.2.290

ROSALIND
Then there is no true lover in the forest; else
Link: 3.2.291
sighing every minute and groaning every hour would
Link: 3.2.292
detect the lazy foot of Time as well as a clock.
Link: 3.2.293

ORLANDO
And why not the swift foot of Time? had not that
Link: 3.2.294
been as proper?
Link: 3.2.295

ROSALIND
By no means, sir: Time travels in divers paces with
Link: 3.2.296
divers persons. I'll tell you who Time ambles
Link: 3.2.297
withal, who Time trots withal, who Time gallops
Link: 3.2.298
withal and who he stands still withal.
Link: 3.2.299

ORLANDO
I prithee, who doth he trot withal?
Link: 3.2.300

ROSALIND
Marry, he trots hard with a young maid between the
Link: 3.2.301
contract of her marriage and the day it is
Link: 3.2.302
solemnized: if the interim be but a se'nnight,
Link: 3.2.303
Time's pace is so hard that it seems the length of
Link: 3.2.304
seven year.
Link: 3.2.305

ORLANDO
Who ambles Time withal?
Link: 3.2.306

ROSALIND
With a priest that lacks Latin and a rich man that
Link: 3.2.307
hath not the gout, for the one sleeps easily because
Link: 3.2.308
he cannot study, and the other lives merrily because
Link: 3.2.309
he feels no pain, the one lacking the burden of lean
Link: 3.2.310
and wasteful learning, the other knowing no burden
Link: 3.2.311
of heavy tedious penury; these Time ambles withal.
Link: 3.2.312

ORLANDO
Who doth he gallop withal?
Link: 3.2.313

ROSALIND
With a thief to the gallows, for though he go as
Link: 3.2.314
softly as foot can fall, he thinks himself too soon there.
Link: 3.2.315

ORLANDO
Who stays it still withal?
Link: 3.2.316

ROSALIND
With lawyers in the vacation, for they sleep between
Link: 3.2.317
term and term and then they perceive not how Time moves.
Link: 3.2.318

ORLANDO
Where dwell you, pretty youth?
Link: 3.2.319

ROSALIND
With this shepherdess, my sister; here in the
Link: 3.2.320
skirts of the forest, like fringe upon a petticoat.
Link: 3.2.321

ORLANDO
Are you native of this place?
Link: 3.2.322

ROSALIND
As the cony that you see dwell where she is kindled.
Link: 3.2.323

ORLANDO
Your accent is something finer than you could
Link: 3.2.324
purchase in so removed a dwelling.
Link: 3.2.325

ROSALIND
I have been told so of many: but indeed an old
Link: 3.2.326
religious uncle of mine taught me to speak, who was
Link: 3.2.327
in his youth an inland man; one that knew courtship
Link: 3.2.328
too well, for there he fell in love. I have heard
Link: 3.2.329
him read many lectures against it, and I thank God
Link: 3.2.330
I am not a woman, to be touched with so many
Link: 3.2.331
giddy offences as he hath generally taxed their
Link: 3.2.332
whole sex withal.
Link: 3.2.333

ORLANDO
Can you remember any of the principal evils that he
Link: 3.2.334
laid to the charge of women?
Link: 3.2.335

ROSALIND
There were none principal; they were all like one
Link: 3.2.336
another as half-pence are, every one fault seeming
Link: 3.2.337
monstrous till his fellow fault came to match it.
Link: 3.2.338

ORLANDO
I prithee, recount some of them.
Link: 3.2.339

ROSALIND
No, I will not cast away my physic but on those that
Link: 3.2.340
are sick. There is a man haunts the forest, that
Link: 3.2.341
abuses our young plants with carving 'Rosalind' on
Link: 3.2.342
their barks; hangs odes upon hawthorns and elegies
Link: 3.2.343
on brambles, all, forsooth, deifying the name of
Link: 3.2.344
Rosalind: if I could meet that fancy-monger I would
Link: 3.2.345
give him some good counsel, for he seems to have the
Link: 3.2.346
quotidian of love upon him.
Link: 3.2.347

ORLANDO
I am he that is so love-shaked: I pray you tell me
Link: 3.2.348
your remedy.
Link: 3.2.349

ROSALIND
There is none of my uncle's marks upon you: he
Link: 3.2.350
taught me how to know a man in love; in which cage
Link: 3.2.351
of rushes I am sure you are not prisoner.
Link: 3.2.352

ORLANDO
What were his marks?
Link: 3.2.353

ROSALIND
A lean cheek, which you have not, a blue eye and
Link: 3.2.354
sunken, which you have not, an unquestionable
Link: 3.2.355
spirit, which you have not, a beard neglected,
Link: 3.2.356
which you have not; but I pardon you for that, for
Link: 3.2.357
simply your having in beard is a younger brother's
Link: 3.2.358
revenue: then your hose should be ungartered, your
Link: 3.2.359
bonnet unbanded, your sleeve unbuttoned, your shoe
Link: 3.2.360
untied and every thing about you demonstrating a
Link: 3.2.361
careless desolation; but you are no such man; you
Link: 3.2.362
are rather point-device in your accoutrements as
Link: 3.2.363
loving yourself than seeming the lover of any other.
Link: 3.2.364

ORLANDO
Fair youth, I would I could make thee believe I love.
Link: 3.2.365

ROSALIND
Me believe it! you may as soon make her that you
Link: 3.2.366
love believe it; which, I warrant, she is apter to
Link: 3.2.367
do than to confess she does: that is one of the
Link: 3.2.368
points in the which women still give the lie to
Link: 3.2.369
their consciences. But, in good sooth, are you he
Link: 3.2.370
that hangs the verses on the trees, wherein Rosalind
Link: 3.2.371
is so admired?
Link: 3.2.372

ORLANDO
I swear to thee, youth, by the white hand of
Link: 3.2.373
Rosalind, I am that he, that unfortunate he.
Link: 3.2.374

ROSALIND
But are you so much in love as your rhymes speak?
Link: 3.2.375

ORLANDO
Neither rhyme nor reason can express how much.
Link: 3.2.376

ROSALIND
Love is merely a madness, and, I tell you, deserves
Link: 3.2.377
as well a dark house and a whip as madmen do: and
Link: 3.2.378
the reason why they are not so punished and cured
Link: 3.2.379
is, that the lunacy is so ordinary that the whippers
Link: 3.2.380
are in love too. Yet I profess curing it by counsel.
Link: 3.2.381

ORLANDO
Did you ever cure any so?
Link: 3.2.382

ROSALIND
Yes, one, and in this manner. He was to imagine me
Link: 3.2.383
his love, his mistress; and I set him every day to
Link: 3.2.384
woo me: at which time would I, being but a moonish
Link: 3.2.385
youth, grieve, be effeminate, changeable, longing
Link: 3.2.386
and liking, proud, fantastical, apish, shallow,
Link: 3.2.387
inconstant, full of tears, full of smiles, for every
Link: 3.2.388
passion something and for no passion truly any
Link: 3.2.389
thing, as boys and women are for the most part
Link: 3.2.390
cattle of this colour; would now like him, now loathe
Link: 3.2.391
him; then entertain him, then forswear him; now weep
Link: 3.2.392
for him, then spit at him; that I drave my suitor
Link: 3.2.393
from his mad humour of love to a living humour of
Link: 3.2.394
madness; which was, to forswear the full stream of
Link: 3.2.395
the world, and to live in a nook merely monastic.
Link: 3.2.396
And thus I cured him; and this way will I take upon
Link: 3.2.397
me to wash your liver as clean as a sound sheep's
Link: 3.2.398
heart, that there shall not be one spot of love in't.
Link: 3.2.399

ORLANDO
I would not be cured, youth.
Link: 3.2.400

ROSALIND
I would cure you, if you would but call me Rosalind
Link: 3.2.401
and come every day to my cote and woo me.
Link: 3.2.402

ORLANDO
Now, by the faith of my love, I will: tell me
Link: 3.2.403
where it is.
Link: 3.2.404

ROSALIND
Go with me to it and I'll show it you and by the way
Link: 3.2.405
you shall tell me where in the forest you live.
Link: 3.2.406
Will you go?
Link: 3.2.407

ORLANDO
With all my heart, good youth.
Link: 3.2.408

ROSALIND
Nay you must call me Rosalind. Come, sister, will you go?
Link: 3.2.409

Exeunt

SCENE III. The forest.

Scene 3 of Act 3 of "As You Like It" starts with Orlando hanging love poems on trees in the forest. Touchstone and Audrey enter, and Touchstone tries to woo Audrey with his wit. Jaques enters and engages in a philosophical discussion with Touchstone about the nature of time and love.

Rosalind, disguised as Ganymede, enters with Celia, disguised as Aliena. Jaques leaves, and Rosalind decides to test Orlando's love by pretending to be Ganymede and offering to cure Orlando's love sickness if he agrees to act out a mock marriage ceremony with her. Orlando agrees, and they proceed with the ceremony.

Meanwhile, Silvius enters with Phebe, a shepherdess he loves. Phebe rejects Silvius and falls in love with Ganymede, who is actually Rosalind in disguise. Rosalind, still pretending to be Ganymede, tells Phebe that she must choose between Silvius and Ganymede. Phebe ultimately chooses Ganymede, much to Silvius's dismay.

The scene ends with Touchstone and Audrey agreeing to get married, and Rosalind promising to help Orlando win her heart.

Enter TOUCHSTONE and AUDREY; JAQUES behind

TOUCHSTONE
Come apace, good Audrey: I will fetch up your
Link: 3.3.1
goats, Audrey. And how, Audrey? am I the man yet?
Link: 3.3.2
doth my simple feature content you?
Link: 3.3.3

AUDREY
Your features! Lord warrant us! what features!
Link: 3.3.4

TOUCHSTONE
I am here with thee and thy goats, as the most
Link: 3.3.5
capricious poet, honest Ovid, was among the Goths.
Link: 3.3.6

JAQUES
(Aside) O knowledge ill-inhabited, worse than Jove
Link: 3.3.7
in a thatched house!
Link: 3.3.8

TOUCHSTONE
When a man's verses cannot be understood, nor a
Link: 3.3.9
man's good wit seconded with the forward child
Link: 3.3.10
Understanding, it strikes a man more dead than a
Link: 3.3.11
great reckoning in a little room. Truly, I would
Link: 3.3.12
the gods had made thee poetical.
Link: 3.3.13

AUDREY
I do not know what 'poetical' is: is it honest in
Link: 3.3.14
deed and word? is it a true thing?
Link: 3.3.15

TOUCHSTONE
No, truly; for the truest poetry is the most
Link: 3.3.16
feigning; and lovers are given to poetry, and what
Link: 3.3.17
they swear in poetry may be said as lovers they do feign.
Link: 3.3.18

AUDREY
Do you wish then that the gods had made me poetical?
Link: 3.3.19

TOUCHSTONE
I do, truly; for thou swearest to me thou art
Link: 3.3.20
honest: now, if thou wert a poet, I might have some
Link: 3.3.21
hope thou didst feign.
Link: 3.3.22

AUDREY
Would you not have me honest?
Link: 3.3.23

TOUCHSTONE
No, truly, unless thou wert hard-favoured; for
Link: 3.3.24
honesty coupled to beauty is to have honey a sauce to sugar.
Link: 3.3.25

JAQUES
(Aside) A material fool!
Link: 3.3.26

AUDREY
Well, I am not fair; and therefore I pray the gods
Link: 3.3.27
make me honest.
Link: 3.3.28

TOUCHSTONE
Truly, and to cast away honesty upon a foul slut
Link: 3.3.29
were to put good meat into an unclean dish.
Link: 3.3.30

AUDREY
I am not a slut, though I thank the gods I am foul.
Link: 3.3.31

TOUCHSTONE
Well, praised be the gods for thy foulness!
Link: 3.3.32
sluttishness may come hereafter. But be it as it may
Link: 3.3.33
be, I will marry thee, and to that end I have been
Link: 3.3.34
with Sir Oliver Martext, the vicar of the next
Link: 3.3.35
village, who hath promised to meet me in this place
Link: 3.3.36
of the forest and to couple us.
Link: 3.3.37

JAQUES
(Aside) I would fain see this meeting.
Link: 3.3.38

AUDREY
Well, the gods give us joy!
Link: 3.3.39

TOUCHSTONE
Amen. A man may, if he were of a fearful heart,
Link: 3.3.40
stagger in this attempt; for here we have no temple
Link: 3.3.41
but the wood, no assembly but horn-beasts. But what
Link: 3.3.42
though? Courage! As horns are odious, they are
Link: 3.3.43
necessary. It is said, 'many a man knows no end of
Link: 3.3.44
his goods:' right; many a man has good horns, and
Link: 3.3.45
knows no end of them. Well, that is the dowry of
Link: 3.3.46
his wife; 'tis none of his own getting. Horns?
Link: 3.3.47
Even so. Poor men alone? No, no; the noblest deer
Link: 3.3.48
hath them as huge as the rascal. Is the single man
Link: 3.3.49
therefore blessed? No: as a walled town is more
Link: 3.3.50
worthier than a village, so is the forehead of a
Link: 3.3.51
married man more honourable than the bare brow of a
Link: 3.3.52
bachelor; and by how much defence is better than no
Link: 3.3.53
skill, by so much is a horn more precious than to
Link: 3.3.54
want. Here comes Sir Oliver.
Link: 3.3.55
Sir Oliver Martext, you are well met: will you
Link: 3.3.56
dispatch us here under this tree, or shall we go
Link: 3.3.57
with you to your chapel?
Link: 3.3.58

SIR OLIVER MARTEXT
Is there none here to give the woman?
Link: 3.3.59

TOUCHSTONE
I will not take her on gift of any man.
Link: 3.3.60

SIR OLIVER MARTEXT
Truly, she must be given, or the marriage is not lawful.
Link: 3.3.61

JAQUES
(Advancing)
Link: 3.3.62
Proceed, proceed I'll give her.
Link: 3.3.63

TOUCHSTONE
Good even, good Master What-ye-call't: how do you,
Link: 3.3.64
sir? You are very well met: God 'ild you for your
Link: 3.3.65
last company: I am very glad to see you: even a
Link: 3.3.66
toy in hand here, sir: nay, pray be covered.
Link: 3.3.67

JAQUES
Will you be married, motley?
Link: 3.3.68

TOUCHSTONE
As the ox hath his bow, sir, the horse his curb and
Link: 3.3.69
the falcon her bells, so man hath his desires; and
Link: 3.3.70
as pigeons bill, so wedlock would be nibbling.
Link: 3.3.71

JAQUES
And will you, being a man of your breeding, be
Link: 3.3.72
married under a bush like a beggar? Get you to
Link: 3.3.73
church, and have a good priest that can tell you
Link: 3.3.74
what marriage is: this fellow will but join you
Link: 3.3.75
together as they join wainscot; then one of you will
Link: 3.3.76
prove a shrunk panel and, like green timber, warp, warp.
Link: 3.3.77

TOUCHSTONE
(Aside) I am not in the mind but I were better to be
Link: 3.3.78
married of him than of another: for he is not like
Link: 3.3.79
to marry me well; and not being well married, it
Link: 3.3.80
will be a good excuse for me hereafter to leave my wife.
Link: 3.3.81

JAQUES
Go thou with me, and let me counsel thee.
Link: 3.3.82

TOUCHSTONE
'Come, sweet Audrey:
Link: 3.3.83
We must be married, or we must live in bawdry.
Link: 3.3.84
Farewell, good Master Oliver: not,--
Link: 3.3.85
O sweet Oliver,
Link: 3.3.86
O brave Oliver,
Link: 3.3.87
Leave me not behind thee: but,--
Link: 3.3.88
Wind away,
Link: 3.3.89
Begone, I say,
Link: 3.3.90
I will not to wedding with thee.
Link: 3.3.91

Exeunt JAQUES, TOUCHSTONE and AUDREY

SIR OLIVER MARTEXT
'Tis no matter: ne'er a fantastical knave of them
Link: 3.3.92
all shall flout me out of my calling.
Link: 3.3.93

Exit

SCENE IV. The forest.

In Scene 4 of Act 3, two young men named Orlando and Jaques are having a conversation in the forest. Orlando is in love with a woman named Rosalind and is searching for her in the forest. Jaques asks Orlando why he is so lovesick and Orlando explains that he cannot get Rosalind out of his head. Jaques advises Orlando to not waste his time on love and instead focus on enjoying life. Orlando disagrees and says that he would rather suffer for love than live without it.

They are interrupted by the entrance of Rosalind and her cousin Celia. Orlando is overjoyed to finally see Rosalind, but she is disguised as a man named Ganymede. Rosalind tells Orlando that she can cure him of his love sickness and they agree to meet the next day for a mock courtship.

After Rosalind and Celia leave, Jaques comments on how strange it is that people are always seeking love, even though it causes so much pain. He then exits, leaving Orlando alone to reflect on his feelings for Rosalind and the upcoming meeting.

Enter ROSALIND and CELIA

ROSALIND
Never talk to me; I will weep.
Link: 3.4.1

CELIA
Do, I prithee; but yet have the grace to consider
Link: 3.4.2
that tears do not become a man.
Link: 3.4.3

ROSALIND
But have I not cause to weep?
Link: 3.4.4

CELIA
As good cause as one would desire; therefore weep.
Link: 3.4.5

ROSALIND
His very hair is of the dissembling colour.
Link: 3.4.6

CELIA
Something browner than Judas's marry, his kisses are
Link: 3.4.7
Judas's own children.
Link: 3.4.8

ROSALIND
I' faith, his hair is of a good colour.
Link: 3.4.9

CELIA
An excellent colour: your chestnut was ever the only colour.
Link: 3.4.10

ROSALIND
And his kissing is as full of sanctity as the touch
Link: 3.4.11
of holy bread.
Link: 3.4.12

CELIA
He hath bought a pair of cast lips of Diana: a nun
Link: 3.4.13
of winter's sisterhood kisses not more religiously;
Link: 3.4.14
the very ice of chastity is in them.
Link: 3.4.15

ROSALIND
But why did he swear he would come this morning, and
Link: 3.4.16
comes not?
Link: 3.4.17

CELIA
Nay, certainly, there is no truth in him.
Link: 3.4.18

ROSALIND
Do you think so?
Link: 3.4.19

CELIA
Yes; I think he is not a pick-purse nor a
Link: 3.4.20
horse-stealer, but for his verity in love, I do
Link: 3.4.21
think him as concave as a covered goblet or a
Link: 3.4.22
worm-eaten nut.
Link: 3.4.23

ROSALIND
Not true in love?
Link: 3.4.24

CELIA
Yes, when he is in; but I think he is not in.
Link: 3.4.25

ROSALIND
You have heard him swear downright he was.
Link: 3.4.26

CELIA
'Was' is not 'is:' besides, the oath of a lover is
Link: 3.4.27
no stronger than the word of a tapster; they are
Link: 3.4.28
both the confirmer of false reckonings. He attends
Link: 3.4.29
here in the forest on the duke your father.
Link: 3.4.30

ROSALIND
I met the duke yesterday and had much question with
Link: 3.4.31
him: he asked me of what parentage I was; I told
Link: 3.4.32
him, of as good as he; so he laughed and let me go.
Link: 3.4.33
But what talk we of fathers, when there is such a
Link: 3.4.34
man as Orlando?
Link: 3.4.35

CELIA
O, that's a brave man! he writes brave verses,
Link: 3.4.36
speaks brave words, swears brave oaths and breaks
Link: 3.4.37
them bravely, quite traverse, athwart the heart of
Link: 3.4.38
his lover; as a puisny tilter, that spurs his horse
Link: 3.4.39
but on one side, breaks his staff like a noble
Link: 3.4.40
goose: but all's brave that youth mounts and folly
Link: 3.4.41
guides. Who comes here?
Link: 3.4.42

Enter CORIN

CORIN
Mistress and master, you have oft inquired
Link: 3.4.43
After the shepherd that complain'd of love,
Link: 3.4.44
Who you saw sitting by me on the turf,
Link: 3.4.45
Praising the proud disdainful shepherdess
Link: 3.4.46
That was his mistress.
Link: 3.4.47

CELIA
Well, and what of him?
Link: 3.4.48

CORIN
If you will see a pageant truly play'd,
Link: 3.4.49
Between the pale complexion of true love
Link: 3.4.50
And the red glow of scorn and proud disdain,
Link: 3.4.51
Go hence a little and I shall conduct you,
Link: 3.4.52
If you will mark it.
Link: 3.4.53

ROSALIND
O, come, let us remove:
Link: 3.4.54
The sight of lovers feedeth those in love.
Link: 3.4.55
Bring us to this sight, and you shall say
Link: 3.4.56
I'll prove a busy actor in their play.
Link: 3.4.57

Exeunt

SCENE V. Another part of the forest.

In Scene 5 of Act 3, two characters engage in a conversation about love. One character, a woman, is dressed as a man and has been living in the forest with a group of outcasts. The other character, a man, is a member of a noble family and has also sought refuge in the forest.

The conversation begins with the woman expressing her confusion about the nature of love. She says that she has been pretending to be a man in order to protect herself from unwanted advances, but that she has found herself falling in love with a woman who is also living in the forest. The man responds by telling her that love is a complicated emotion that cannot be easily understood or controlled. He says that sometimes love can be painful, but that it is always worth pursuing.

The woman then asks the man how he knows so much about love. He responds by telling her that he has been in love himself, but that his feelings were not reciprocated. He says that he has learned to accept rejection and to move on with his life. The woman is impressed by the man's wisdom and thanks him for his advice.

The scene ends with the woman reflecting on the man's words and realizing that she must be true to her own feelings, even if they are unconventional. She decides to pursue her love for the woman in the forest, regardless of the risks.

Enter SILVIUS and PHEBE

SILVIUS
Sweet Phebe, do not scorn me; do not, Phebe;
Link: 3.5.1
Say that you love me not, but say not so
Link: 3.5.2
In bitterness. The common executioner,
Link: 3.5.3
Whose heart the accustom'd sight of death makes hard,
Link: 3.5.4
Falls not the axe upon the humbled neck
Link: 3.5.5
But first begs pardon: will you sterner be
Link: 3.5.6
Than he that dies and lives by bloody drops?
Link: 3.5.7

Enter ROSALIND, CELIA, and CORIN, behind

PHEBE
I would not be thy executioner:
Link: 3.5.8
I fly thee, for I would not injure thee.
Link: 3.5.9
Thou tell'st me there is murder in mine eye:
Link: 3.5.10
'Tis pretty, sure, and very probable,
Link: 3.5.11
That eyes, that are the frail'st and softest things,
Link: 3.5.12
Who shut their coward gates on atomies,
Link: 3.5.13
Should be call'd tyrants, butchers, murderers!
Link: 3.5.14
Now I do frown on thee with all my heart;
Link: 3.5.15
And if mine eyes can wound, now let them kill thee:
Link: 3.5.16
Now counterfeit to swoon; why now fall down;
Link: 3.5.17
Or if thou canst not, O, for shame, for shame,
Link: 3.5.18
Lie not, to say mine eyes are murderers!
Link: 3.5.19
Now show the wound mine eye hath made in thee:
Link: 3.5.20
Scratch thee but with a pin, and there remains
Link: 3.5.21
Some scar of it; lean but upon a rush,
Link: 3.5.22
The cicatrice and capable impressure
Link: 3.5.23
Thy palm some moment keeps; but now mine eyes,
Link: 3.5.24
Which I have darted at thee, hurt thee not,
Link: 3.5.25
Nor, I am sure, there is no force in eyes
Link: 3.5.26
That can do hurt.
Link: 3.5.27

SILVIUS
O dear Phebe,
Link: 3.5.28
If ever,--as that ever may be near,--
Link: 3.5.29
You meet in some fresh cheek the power of fancy,
Link: 3.5.30
Then shall you know the wounds invisible
Link: 3.5.31
That love's keen arrows make.
Link: 3.5.32

PHEBE
But till that time
Link: 3.5.33
Come not thou near me: and when that time comes,
Link: 3.5.34
Afflict me with thy mocks, pity me not;
Link: 3.5.35
As till that time I shall not pity thee.
Link: 3.5.36

ROSALIND
And why, I pray you? Who might be your mother,
Link: 3.5.37
That you insult, exult, and all at once,
Link: 3.5.38
Over the wretched? What though you have no beauty,--
Link: 3.5.39
As, by my faith, I see no more in you
Link: 3.5.40
Than without candle may go dark to bed--
Link: 3.5.41
Must you be therefore proud and pitiless?
Link: 3.5.42
Why, what means this? Why do you look on me?
Link: 3.5.43
I see no more in you than in the ordinary
Link: 3.5.44
Of nature's sale-work. 'Od's my little life,
Link: 3.5.45
I think she means to tangle my eyes too!
Link: 3.5.46
No, faith, proud mistress, hope not after it:
Link: 3.5.47
'Tis not your inky brows, your black silk hair,
Link: 3.5.48
Your bugle eyeballs, nor your cheek of cream,
Link: 3.5.49
That can entame my spirits to your worship.
Link: 3.5.50
You foolish shepherd, wherefore do you follow her,
Link: 3.5.51
Like foggy south puffing with wind and rain?
Link: 3.5.52
You are a thousand times a properer man
Link: 3.5.53
Than she a woman: 'tis such fools as you
Link: 3.5.54
That makes the world full of ill-favour'd children:
Link: 3.5.55
'Tis not her glass, but you, that flatters her;
Link: 3.5.56
And out of you she sees herself more proper
Link: 3.5.57
Than any of her lineaments can show her.
Link: 3.5.58
But, mistress, know yourself: down on your knees,
Link: 3.5.59
And thank heaven, fasting, for a good man's love:
Link: 3.5.60
For I must tell you friendly in your ear,
Link: 3.5.61
Sell when you can: you are not for all markets:
Link: 3.5.62
Cry the man mercy; love him; take his offer:
Link: 3.5.63
Foul is most foul, being foul to be a scoffer.
Link: 3.5.64
So take her to thee, shepherd: fare you well.
Link: 3.5.65

PHEBE
Sweet youth, I pray you, chide a year together:
Link: 3.5.66
I had rather hear you chide than this man woo.
Link: 3.5.67

ROSALIND
He's fallen in love with your foulness and she'll
Link: 3.5.68
fall in love with my anger. If it be so, as fast as
Link: 3.5.69
she answers thee with frowning looks, I'll sauce her
Link: 3.5.70
with bitter words. Why look you so upon me?
Link: 3.5.71

PHEBE
For no ill will I bear you.
Link: 3.5.72

ROSALIND
I pray you, do not fall in love with me,
Link: 3.5.73
For I am falser than vows made in wine:
Link: 3.5.74
Besides, I like you not. If you will know my house,
Link: 3.5.75
'Tis at the tuft of olives here hard by.
Link: 3.5.76
Will you go, sister? Shepherd, ply her hard.
Link: 3.5.77
Come, sister. Shepherdess, look on him better,
Link: 3.5.78
And be not proud: though all the world could see,
Link: 3.5.79
None could be so abused in sight as he.
Link: 3.5.80
Come, to our flock.
Link: 3.5.81

Exeunt ROSALIND, CELIA and CORIN

PHEBE
Dead Shepherd, now I find thy saw of might,
Link: 3.5.82
'Who ever loved that loved not at first sight?'
Link: 3.5.83

SILVIUS
Sweet Phebe,--
Link: 3.5.84

PHEBE
Ha, what say'st thou, Silvius?
Link: 3.5.85

SILVIUS
Sweet Phebe, pity me.
Link: 3.5.86

PHEBE
Why, I am sorry for thee, gentle Silvius.
Link: 3.5.87

SILVIUS
Wherever sorrow is, relief would be:
Link: 3.5.88
If you do sorrow at my grief in love,
Link: 3.5.89
By giving love your sorrow and my grief
Link: 3.5.90
Were both extermined.
Link: 3.5.91

PHEBE
Thou hast my love: is not that neighbourly?
Link: 3.5.92

SILVIUS
I would have you.
Link: 3.5.93

PHEBE
Why, that were covetousness.
Link: 3.5.94
Silvius, the time was that I hated thee,
Link: 3.5.95
And yet it is not that I bear thee love;
Link: 3.5.96
But since that thou canst talk of love so well,
Link: 3.5.97
Thy company, which erst was irksome to me,
Link: 3.5.98
I will endure, and I'll employ thee too:
Link: 3.5.99
But do not look for further recompense
Link: 3.5.100
Than thine own gladness that thou art employ'd.
Link: 3.5.101

SILVIUS
So holy and so perfect is my love,
Link: 3.5.102
And I in such a poverty of grace,
Link: 3.5.103
That I shall think it a most plenteous crop
Link: 3.5.104
To glean the broken ears after the man
Link: 3.5.105
That the main harvest reaps: loose now and then
Link: 3.5.106
A scatter'd smile, and that I'll live upon.
Link: 3.5.107

PHEBE
Know'st now the youth that spoke to me erewhile?
Link: 3.5.108

SILVIUS
Not very well, but I have met him oft;
Link: 3.5.109
And he hath bought the cottage and the bounds
Link: 3.5.110
That the old carlot once was master of.
Link: 3.5.111

PHEBE
Think not I love him, though I ask for him:
Link: 3.5.112
'Tis but a peevish boy; yet he talks well;
Link: 3.5.113
But what care I for words? yet words do well
Link: 3.5.114
When he that speaks them pleases those that hear.
Link: 3.5.115
It is a pretty youth: not very pretty:
Link: 3.5.116
But, sure, he's proud, and yet his pride becomes him:
Link: 3.5.117
He'll make a proper man: the best thing in him
Link: 3.5.118
Is his complexion; and faster than his tongue
Link: 3.5.119
Did make offence his eye did heal it up.
Link: 3.5.120
He is not very tall; yet for his years he's tall:
Link: 3.5.121
His leg is but so so; and yet 'tis well:
Link: 3.5.122
There was a pretty redness in his lip,
Link: 3.5.123
A little riper and more lusty red
Link: 3.5.124
Than that mix'd in his cheek; 'twas just the difference
Link: 3.5.125
Between the constant red and mingled damask.
Link: 3.5.126
There be some women, Silvius, had they mark'd him
Link: 3.5.127
In parcels as I did, would have gone near
Link: 3.5.128
To fall in love with him; but, for my part,
Link: 3.5.129
I love him not nor hate him not; and yet
Link: 3.5.130
I have more cause to hate him than to love him:
Link: 3.5.131
For what had he to do to chide at me?
Link: 3.5.132
He said mine eyes were black and my hair black:
Link: 3.5.133
And, now I am remember'd, scorn'd at me:
Link: 3.5.134
I marvel why I answer'd not again:
Link: 3.5.135
But that's all one; omittance is no quittance.
Link: 3.5.136
I'll write to him a very taunting letter,
Link: 3.5.137
And thou shalt bear it: wilt thou, Silvius?
Link: 3.5.138

SILVIUS
Phebe, with all my heart.
Link: 3.5.139

PHEBE
I'll write it straight;
Link: 3.5.140
The matter's in my head and in my heart:
Link: 3.5.141
I will be bitter with him and passing short.
Link: 3.5.142
Go with me, Silvius.
Link: 3.5.143

Exeunt

Act IV

Act 4 of As You Like It starts with Rosalind and Celia encountering Silvius, a shepherd who is hopelessly in love with a shepherdess named Phoebe. Rosalind, who is disguised as a man named Ganymede, decides to help Silvius by writing love letters to Phoebe on his behalf. However, Phoebe falls in love with Ganymede instead, which causes Rosalind to realize that she is in love with Orlando.

Meanwhile, Orlando arrives at Duke Senior's campsite and leaves love poems for Rosalind on the trees. Touchstone, the court jester, finds the poems and reads them aloud to Duke Senior and his companions. Amused by Orlando's poems, Duke Senior decides to invite him to the campsite.

Back in the forest, Rosalind, still disguised as Ganymede, decides to teach Orlando how to properly woo a woman. She tells him to pretend that Ganymede is Rosalind and to practice his love declarations. During their conversation, Orlando reveals that he has a brother named Oliver who had once plotted to kill him. Ganymede promises to help Orlando find his brother.

Later on, Phoebe approaches Ganymede and declares her love for him. Ganymede rejects her, telling her that he is in love with someone else. However, he promises to help her win Silvius's heart. In the end, Rosalind reveals her true identity to Orlando and they declare their love for each other. Duke Frederick arrives and apologizes for his past actions, restoring Duke Senior to his rightful position as ruler of the kingdom.

SCENE I. The forest.

Act 4, Scene 1 of "As You Like It" takes place in the Forest of Arden. Rosalind, disguised as Ganymede, meets Orlando who is looking for her. Orlando is sad and tells Ganymede how he cannot live without Rosalind. Ganymede, trying to maintain her disguise, tells Orlando that he can practice wooing her as if she were Rosalind. Orlando agrees and begins to court Ganymede in the same way he would court Rosalind.

During their conversation, Ganymede asks Orlando about the love poems he wrote for Rosalind. Orlando admits that he has written many poems for her and recites one for Ganymede. Ganymede, still in disguise, tells Orlando that the poem is not good enough and that he needs to write a better one. Orlando agrees and promises to write a better poem.

After their conversation, Rosalind reveals her true identity to Orlando. Orlando is surprised and happy to see that Rosalind is alive and well. Rosalind tells Orlando that she loves him and they decide to get married. Touchstone, the court jester, and Audrey, a country girl, also decide to get married.

Overall, Act 4, Scene 1 of "As You Like It" is a pivotal scene in the play as it marks the resolution of the romantic tension between Rosalind and Orlando. The scene also showcases the theme of disguise and deception as Rosalind disguises herself as Ganymede and Orlando does not recognize her at first.

Enter ROSALIND, CELIA, and JAQUES

JAQUES
I prithee, pretty youth, let me be better acquainted
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with thee.
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ROSALIND
They say you are a melancholy fellow.
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JAQUES
I am so; I do love it better than laughing.
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ROSALIND
Those that are in extremity of either are abominable
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fellows and betray themselves to every modern
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censure worse than drunkards.
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JAQUES
Why, 'tis good to be sad and say nothing.
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ROSALIND
Why then, 'tis good to be a post.
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JAQUES
I have neither the scholar's melancholy, which is
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emulation, nor the musician's, which is fantastical,
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nor the courtier's, which is proud, nor the
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soldier's, which is ambitious, nor the lawyer's,
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which is politic, nor the lady's, which is nice, nor
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the lover's, which is all these: but it is a
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melancholy of mine own, compounded of many simples,
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extracted from many objects, and indeed the sundry's
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contemplation of my travels, in which my often
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rumination wraps me m a most humorous sadness.
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ROSALIND
A traveller! By my faith, you have great reason to
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be sad: I fear you have sold your own lands to see
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other men's; then, to have seen much and to have
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nothing, is to have rich eyes and poor hands.
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JAQUES
Yes, I have gained my experience.
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ROSALIND
And your experience makes you sad: I had rather have
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a fool to make me merry than experience to make me
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sad; and to travel for it too!
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Enter ORLANDO

ORLANDO
Good day and happiness, dear Rosalind!
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JAQUES
Nay, then, God be wi' you, an you talk in blank verse.
Link: 4.1.29

Exit

ROSALIND
Farewell, Monsieur Traveller: look you lisp and
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wear strange suits, disable all the benefits of your
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own country, be out of love with your nativity and
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almost chide God for making you that countenance you
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are, or I will scarce think you have swam in a
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gondola. Why, how now, Orlando! where have you been
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all this while? You a lover! An you serve me such
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another trick, never come in my sight more.
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ORLANDO
My fair Rosalind, I come within an hour of my promise.
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ROSALIND
Break an hour's promise in love! He that will
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divide a minute into a thousand parts and break but
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a part of the thousandth part of a minute in the
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affairs of love, it may be said of him that Cupid
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hath clapped him o' the shoulder, but I'll warrant
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him heart-whole.
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ORLANDO
Pardon me, dear Rosalind.
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ROSALIND
Nay, an you be so tardy, come no more in my sight: I
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had as lief be wooed of a snail.
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ORLANDO
Of a snail?
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ROSALIND
Ay, of a snail; for though he comes slowly, he
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carries his house on his head; a better jointure,
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I think, than you make a woman: besides he brings
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his destiny with him.
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ORLANDO
What's that?
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ROSALIND
Why, horns, which such as you are fain to be
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beholding to your wives for: but he comes armed in
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his fortune and prevents the slander of his wife.
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ORLANDO
Virtue is no horn-maker; and my Rosalind is virtuous.
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ROSALIND
And I am your Rosalind.
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CELIA
It pleases him to call you so; but he hath a
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Rosalind of a better leer than you.
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ROSALIND
Come, woo me, woo me, for now I am in a holiday
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humour and like enough to consent. What would you
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say to me now, an I were your very very Rosalind?
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ORLANDO
I would kiss before I spoke.
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ROSALIND
Nay, you were better speak first, and when you were
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gravelled for lack of matter, you might take
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occasion to kiss. Very good orators, when they are
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out, they will spit; and for lovers lacking--God
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warn us!--matter, the cleanliest shift is to kiss.
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ORLANDO
How if the kiss be denied?
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ROSALIND
Then she puts you to entreaty, and there begins new matter.
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ORLANDO
Who could be out, being before his beloved mistress?
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ROSALIND
Marry, that should you, if I were your mistress, or
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I should think my honesty ranker than my wit.
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ORLANDO
What, of my suit?
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ROSALIND
Not out of your apparel, and yet out of your suit.
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Am not I your Rosalind?
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ORLANDO
I take some joy to say you are, because I would be
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talking of her.
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ROSALIND
Well in her person I say I will not have you.
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ORLANDO
Then in mine own person I die.
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ROSALIND
No, faith, die by attorney. The poor world is
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almost six thousand years old, and in all this time
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there was not any man died in his own person,
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videlicit, in a love-cause. Troilus had his brains
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dashed out with a Grecian club; yet he did what he
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could to die before, and he is one of the patterns
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of love. Leander, he would have lived many a fair
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year, though Hero had turned nun, if it had not been
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for a hot midsummer night; for, good youth, he went
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but forth to wash him in the Hellespont and being
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taken with the cramp was drowned and the foolish
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coroners of that age found it was 'Hero of Sestos.'
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But these are all lies: men have died from time to
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time and worms have eaten them, but not for love.
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ORLANDO
I would not have my right Rosalind of this mind,
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for, I protest, her frown might kill me.
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ROSALIND
By this hand, it will not kill a fly. But come, now
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I will be your Rosalind in a more coming-on
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disposition, and ask me what you will. I will grant
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ORLANDO
Then love me, Rosalind.
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ROSALIND
Yes, faith, will I, Fridays and Saturdays and all.
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ORLANDO
And wilt thou have me?
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ROSALIND
Ay, and twenty such.
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ORLANDO
What sayest thou?
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ROSALIND
Are you not good?
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ORLANDO
I hope so.
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ROSALIND
Why then, can one desire too much of a good thing?
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Come, sister, you shall be the priest and marry us.
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Give me your hand, Orlando. What do you say, sister?
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ORLANDO
Pray thee, marry us.
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CELIA
I cannot say the words.
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ROSALIND
You must begin, 'Will you, Orlando--'
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CELIA
Go to. Will you, Orlando, have to wife this Rosalind?
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ORLANDO

ROSALIND
Ay, but when?
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ORLANDO
Why now; as fast as she can marry us.
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ROSALIND
Then you must say 'I take thee, Rosalind, for wife.'
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ORLANDO
I take thee, Rosalind, for wife.
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ROSALIND
I might ask you for your commission; but I do take
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thee, Orlando, for my husband: there's a girl goes
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before the priest; and certainly a woman's thought
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runs before her actions.
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ORLANDO
So do all thoughts; they are winged.
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ROSALIND
Now tell me how long you would have her after you
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have possessed her.
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ORLANDO
For ever and a day.
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ROSALIND
Say 'a day,' without the 'ever.' No, no, Orlando;
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men are April when they woo, December when they wed:
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maids are May when they are maids, but the sky
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changes when they are wives. I will be more jealous
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of thee than a Barbary cock-pigeon over his hen,
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more clamorous than a parrot against rain, more
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new-fangled than an ape, more giddy in my desires
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than a monkey: I will weep for nothing, like Diana
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in the fountain, and I will do that when you are
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disposed to be merry; I will laugh like a hyen, and
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that when thou art inclined to sleep.
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ORLANDO
But will my Rosalind do so?
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ROSALIND
By my life, she will do as I do.
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ORLANDO
O, but she is wise.
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ROSALIND
Or else she could not have the wit to do this: the
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wiser, the waywarder: make the doors upon a woman's
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wit and it will out at the casement; shut that and
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'twill out at the key-hole; stop that, 'twill fly
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with the smoke out at the chimney.
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ORLANDO
A man that had a wife with such a wit, he might say
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'Wit, whither wilt?'
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ROSALIND
Nay, you might keep that cheque for it till you met
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your wife's wit going to your neighbour's bed.
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ORLANDO
And what wit could wit have to excuse that?
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ROSALIND
Marry, to say she came to seek you there. You shall
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never take her without her answer, unless you take
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her without her tongue. O, that woman that cannot
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make her fault her husband's occasion, let her
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never nurse her child herself, for she will breed
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it like a fool!
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ORLANDO
For these two hours, Rosalind, I will leave thee.
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ROSALIND
Alas! dear love, I cannot lack thee two hours.
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ORLANDO
I must attend the duke at dinner: by two o'clock I
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will be with thee again.
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ROSALIND
Ay, go your ways, go your ways; I knew what you
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would prove: my friends told me as much, and I
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thought no less: that flattering tongue of yours
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won me: 'tis but one cast away, and so, come,
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death! Two o'clock is your hour?
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ORLANDO
Ay, sweet Rosalind.
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ROSALIND
By my troth, and in good earnest, and so God mend
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me, and by all pretty oaths that are not dangerous,
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if you break one jot of your promise or come one
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minute behind your hour, I will think you the most
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pathetical break-promise and the most hollow lover
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and the most unworthy of her you call Rosalind that
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may be chosen out of the gross band of the
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unfaithful: therefore beware my censure and keep
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your promise.
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ORLANDO
With no less religion than if thou wert indeed my
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Rosalind: so adieu.
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ROSALIND
Well, Time is the old justice that examines all such
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offenders, and let Time try: adieu.
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Exit ORLANDO

CELIA
You have simply misused our sex in your love-prate:
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we must have your doublet and hose plucked over your
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head, and show the world what the bird hath done to
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her own nest.
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ROSALIND
O coz, coz, coz, my pretty little coz, that thou
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didst know how many fathom deep I am in love! But
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it cannot be sounded: my affection hath an unknown
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bottom, like the bay of Portugal.
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CELIA
Or rather, bottomless, that as fast as you pour
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affection in, it runs out.
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ROSALIND
No, that same wicked bastard of Venus that was begot
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of thought, conceived of spleen and born of madness,
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that blind rascally boy that abuses every one's eyes
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because his own are out, let him be judge how deep I
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am in love. I'll tell thee, Aliena, I cannot be out
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of the sight of Orlando: I'll go find a shadow and
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sigh till he come.
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CELIA
And I'll sleep.
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Exeunt

SCENE II. The forest.

In Scene 2 of Act 4 of "As You Like It," a man named Touchstone is speaking with a shepherdess named Audrey. Touchstone is trying to woo Audrey, but she seems uninterested in him. However, Touchstone is persistent and continues to make advances towards her.

Meanwhile, a man named William enters the scene. William is a countryman who is in love with Audrey and is jealous of Touchstone's advances towards her. The two men begin to argue and exchange insults, with Touchstone mocking William's country ways and William accusing Touchstone of being a fool.

As the argument intensifies, Audrey becomes fed up with both men and attempts to leave. However, Touchstone stops her and declares that he will marry her, despite her protests. William then challenges Touchstone to a fight, but Touchstone refuses, saying that he does not want to dirty his hands with a commoner.

The scene ends with Touchstone and Audrey walking off together, leaving William alone and defeated.

Enter JAQUES, Lords, and Foresters

JAQUES
Which is he that killed the deer?
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A Lord
Sir, it was I.
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JAQUES
Let's present him to the duke, like a Roman
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conqueror; and it would do well to set the deer's
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horns upon his head, for a branch of victory. Have
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you no song, forester, for this purpose?
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Forester
Yes, sir.
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JAQUES
Sing it: 'tis no matter how it be in tune, so it
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make noise enough.
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SONG.

Forester
What shall he have that kill'd the deer?
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His leather skin and horns to wear.
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Then sing him home;
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Take thou no scorn to wear the horn;
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It was a crest ere thou wast born:
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Thy father's father wore it,
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And thy father bore it:
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The horn, the horn, the lusty horn
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Is not a thing to laugh to scorn.
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Exeunt

SCENE III. The forest.

Scene 3 of Act 4 of the play begins with Rosalind, disguised as Ganymede, talking to Orlando about his love for Rosalind. Orlando is confused about his feelings and tells Ganymede that he feels like he is both happy and sad at the same time. Ganymede tells Orlando that he should speak to her as if she were Rosalind, and that he should woo her with love letters and poems.

As they continue talking, Silvius enters the scene and tells Ganymede that Phoebe, the woman he loves, has rejected him. Ganymede tells Silvius that he should continue to pursue Phoebe, even though she does not love him back. Silvius agrees to do so, and leaves the scene.

Next, Phoebe enters the scene and tells Ganymede that she is in love with him. Ganymede tries to dissuade her, but she persists and even gives him a letter declaring her love. Ganymede takes the letter and promises to deliver it to his "true love."

Finally, Rosalind enters the scene, still disguised as Ganymede, and meets with Phoebe. Rosalind tells Phoebe that she is not interested in her love, and that she should instead focus on Silvius. Phoebe is taken aback, but eventually agrees to consider Silvius as a potential suitor.

The scene ends with Rosalind revealing her true identity to Orlando, who is overjoyed to see her. The two embrace, and the stage is set for the play's final act.

Enter ROSALIND and CELIA

ROSALIND
How say you now? Is it not past two o'clock? and
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here much Orlando!
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CELIA
I warrant you, with pure love and troubled brain, he
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hath ta'en his bow and arrows and is gone forth to
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sleep. Look, who comes here.
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Enter SILVIUS

SILVIUS
My errand is to you, fair youth;
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My gentle Phebe bid me give you this:
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I know not the contents; but, as I guess
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By the stern brow and waspish action
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Which she did use as she was writing of it,
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It bears an angry tenor: pardon me:
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I am but as a guiltless messenger.
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ROSALIND
Patience herself would startle at this letter
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And play the swaggerer; bear this, bear all:
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She says I am not fair, that I lack manners;
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She calls me proud, and that she could not love me,
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Were man as rare as phoenix. 'Od's my will!
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Her love is not the hare that I do hunt:
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Why writes she so to me? Well, shepherd, well,
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This is a letter of your own device.
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SILVIUS
No, I protest, I know not the contents:
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Phebe did write it.
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ROSALIND
Come, come, you are a fool
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And turn'd into the extremity of love.
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I saw her hand: she has a leathern hand.
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A freestone-colour'd hand; I verily did think
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That her old gloves were on, but 'twas her hands:
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She has a huswife's hand; but that's no matter:
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I say she never did invent this letter;
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This is a man's invention and his hand.
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SILVIUS
Sure, it is hers.
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ROSALIND
Why, 'tis a boisterous and a cruel style.
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A style for-challengers; why, she defies me,
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Like Turk to Christian: women's gentle brain
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Could not drop forth such giant-rude invention
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Such Ethiope words, blacker in their effect
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Than in their countenance. Will you hear the letter?
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SILVIUS
So please you, for I never heard it yet;
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Yet heard too much of Phebe's cruelty.
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ROSALIND
She Phebes me: mark how the tyrant writes.
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Art thou god to shepherd turn'd,
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That a maiden's heart hath burn'd?
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Can a woman rail thus?
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SILVIUS
Call you this railing?
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ROSALIND
(Reads)
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Why, thy godhead laid apart,
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Warr'st thou with a woman's heart?
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Did you ever hear such railing?
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Whiles the eye of man did woo me,
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That could do no vengeance to me.
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Meaning me a beast.
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If the scorn of your bright eyne
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Have power to raise such love in mine,
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Alack, in me what strange effect
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Would they work in mild aspect!
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Whiles you chid me, I did love;
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How then might your prayers move!
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He that brings this love to thee
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Little knows this love in me:
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And by him seal up thy mind;
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Whether that thy youth and kind
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Will the faithful offer take
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Of me and all that I can make;
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Or else by him my love deny,
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And then I'll study how to die.
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SILVIUS
Call you this chiding?
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CELIA
Alas, poor shepherd!
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ROSALIND
Do you pity him? no, he deserves no pity. Wilt
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thou love such a woman? What, to make thee an
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instrument and play false strains upon thee! not to
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be endured! Well, go your way to her, for I see
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love hath made thee a tame snake, and say this to
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her: that if she love me, I charge her to love
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thee; if she will not, I will never have her unless
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thou entreat for her. If you be a true lover,
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hence, and not a word; for here comes more company.
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Exit SILVIUS

Enter OLIVER

OLIVER
Good morrow, fair ones: pray you, if you know,
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Where in the purlieus of this forest stands
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A sheep-cote fenced about with olive trees?
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CELIA
West of this place, down in the neighbour bottom:
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The rank of osiers by the murmuring stream
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Left on your right hand brings you to the place.
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But at this hour the house doth keep itself;
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There's none within.
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OLIVER
If that an eye may profit by a tongue,
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Then should I know you by description;
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Such garments and such years: 'The boy is fair,
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Of female favour, and bestows himself
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Like a ripe sister: the woman low
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And browner than her brother.' Are not you
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The owner of the house I did inquire for?
Link: 4.3.91

CELIA
It is no boast, being ask'd, to say we are.
Link: 4.3.92

OLIVER
Orlando doth commend him to you both,
Link: 4.3.93
And to that youth he calls his Rosalind
Link: 4.3.94
He sends this bloody napkin. Are you he?
Link: 4.3.95

ROSALIND
I am: what must we understand by this?
Link: 4.3.96

OLIVER
Some of my shame; if you will know of me
Link: 4.3.97
What man I am, and how, and why, and where
Link: 4.3.98
This handkercher was stain'd.
Link: 4.3.99

CELIA
I pray you, tell it.
Link: 4.3.100

OLIVER
When last the young Orlando parted from you
Link: 4.3.101
He left a promise to return again
Link: 4.3.102
Within an hour, and pacing through the forest,
Link: 4.3.103
Chewing the food of sweet and bitter fancy,
Link: 4.3.104
Lo, what befell! he threw his eye aside,
Link: 4.3.105
And mark what object did present itself:
Link: 4.3.106
Under an oak, whose boughs were moss'd with age
Link: 4.3.107
And high top bald with dry antiquity,
Link: 4.3.108
A wretched ragged man, o'ergrown with hair,
Link: 4.3.109
Lay sleeping on his back: about his neck
Link: 4.3.110
A green and gilded snake had wreathed itself,
Link: 4.3.111
Who with her head nimble in threats approach'd
Link: 4.3.112
The opening of his mouth; but suddenly,
Link: 4.3.113
Seeing Orlando, it unlink'd itself,
Link: 4.3.114
And with indented glides did slip away
Link: 4.3.115
Into a bush: under which bush's shade
Link: 4.3.116
A lioness, with udders all drawn dry,
Link: 4.3.117
Lay couching, head on ground, with catlike watch,
Link: 4.3.118
When that the sleeping man should stir; for 'tis
Link: 4.3.119
The royal disposition of that beast
Link: 4.3.120
To prey on nothing that doth seem as dead:
Link: 4.3.121
This seen, Orlando did approach the man
Link: 4.3.122
And found it was his brother, his elder brother.
Link: 4.3.123

CELIA
O, I have heard him speak of that same brother;
Link: 4.3.124
And he did render him the most unnatural
Link: 4.3.125
That lived amongst men.
Link: 4.3.126

OLIVER
And well he might so do,
Link: 4.3.127
For well I know he was unnatural.
Link: 4.3.128

ROSALIND
But, to Orlando: did he leave him there,
Link: 4.3.129
Food to the suck'd and hungry lioness?
Link: 4.3.130

OLIVER
Twice did he turn his back and purposed so;
Link: 4.3.131
But kindness, nobler ever than revenge,
Link: 4.3.132
And nature, stronger than his just occasion,
Link: 4.3.133
Made him give battle to the lioness,
Link: 4.3.134
Who quickly fell before him: in which hurtling
Link: 4.3.135
From miserable slumber I awaked.
Link: 4.3.136

CELIA
Are you his brother?
Link: 4.3.137

ROSALIND
Wast you he rescued?
Link: 4.3.138

CELIA
Was't you that did so oft contrive to kill him?
Link: 4.3.139

OLIVER
'Twas I; but 'tis not I I do not shame
Link: 4.3.140
To tell you what I was, since my conversion
Link: 4.3.141
So sweetly tastes, being the thing I am.
Link: 4.3.142

ROSALIND
But, for the bloody napkin?
Link: 4.3.143

OLIVER
By and by.
Link: 4.3.144
When from the first to last betwixt us two
Link: 4.3.145
Tears our recountments had most kindly bathed,
Link: 4.3.146
As how I came into that desert place:--
Link: 4.3.147
In brief, he led me to the gentle duke,
Link: 4.3.148
Who gave me fresh array and entertainment,
Link: 4.3.149
Committing me unto my brother's love;
Link: 4.3.150
Who led me instantly unto his cave,
Link: 4.3.151
There stripp'd himself, and here upon his arm
Link: 4.3.152
The lioness had torn some flesh away,
Link: 4.3.153
Which all this while had bled; and now he fainted
Link: 4.3.154
And cried, in fainting, upon Rosalind.
Link: 4.3.155
Brief, I recover'd him, bound up his wound;
Link: 4.3.156
And, after some small space, being strong at heart,
Link: 4.3.157
He sent me hither, stranger as I am,
Link: 4.3.158
To tell this story, that you might excuse
Link: 4.3.159
His broken promise, and to give this napkin
Link: 4.3.160
Dyed in his blood unto the shepherd youth
Link: 4.3.161
That he in sport doth call his Rosalind.
Link: 4.3.162

ROSALIND swoons

CELIA
Why, how now, Ganymede! sweet Ganymede!
Link: 4.3.163

OLIVER
Many will swoon when they do look on blood.
Link: 4.3.164

CELIA
There is more in it. Cousin Ganymede!
Link: 4.3.165

OLIVER
Look, he recovers.
Link: 4.3.166

ROSALIND
I would I were at home.
Link: 4.3.167

CELIA
We'll lead you thither.
Link: 4.3.168
I pray you, will you take him by the arm?
Link: 4.3.169

OLIVER
Be of good cheer, youth: you a man! you lack a
Link: 4.3.170
man's heart.
Link: 4.3.171

ROSALIND
I do so, I confess it. Ah, sirrah, a body would
Link: 4.3.172
think this was well counterfeited! I pray you, tell
Link: 4.3.173
your brother how well I counterfeited. Heigh-ho!
Link: 4.3.174

OLIVER
This was not counterfeit: there is too great
Link: 4.3.175
testimony in your complexion that it was a passion
Link: 4.3.176
of earnest.
Link: 4.3.177

ROSALIND
Counterfeit, I assure you.
Link: 4.3.178

OLIVER
Well then, take a good heart and counterfeit to be a man.
Link: 4.3.179

ROSALIND
So I do: but, i' faith, I should have been a woman by right.
Link: 4.3.180

CELIA
Come, you look paler and paler: pray you, draw
Link: 4.3.181
homewards. Good sir, go with us.
Link: 4.3.182

OLIVER
That will I, for I must bear answer back
Link: 4.3.183
How you excuse my brother, Rosalind.
Link: 4.3.184

ROSALIND
I shall devise something: but, I pray you, commend
Link: 4.3.185
my counterfeiting to him. Will you go?
Link: 4.3.186

Exeunt

Act V

Act 5 of As You Like It sees the resolution of the various plotlines that have been developed throughout the play. Orlando and Oliver reconcile, and Oliver falls in love with Celia. Touchstone marries Audrey, and Jaques decides to leave the forest and return to court. Meanwhile, Rosalind reveals her true identity to Orlando and they become engaged.

The act opens with a conversation between Orlando and Oliver, in which they reconcile and Orlando forgives his brother for attempting to kill him. Oliver then falls in love with Celia, who reciprocates his feelings. Touchstone and Audrey also decide to get married.

Jaques, who has been a melancholy figure throughout the play, announces that he will be leaving the forest and returning to court. He has decided that he cannot find happiness in the forest and must seek it elsewhere.

Rosalind, who has been disguised as Ganymede throughout the play, reveals her true identity to Orlando. They declare their love for each other and become engaged. The play ends with a song celebrating the joys of love and marriage.

SCENE I. The forest.

Act 5 Scene 1 of 'As You Like It' opens with a conversation between two shepherds, Corin and Touchstone. Corin has been a shepherd all his life and is content with his simple lifestyle, whereas Touchstone, who is a court jester, has recently become a shepherd and is finding it difficult to adjust to the rural lifestyle.

As the two men talk, they are interrupted by the arrival of William, a countryman, who is looking for a shepherd to buy his cottage. Corin offers to buy the cottage for his master, who is in love with a wealthy woman, but needs a place to live. After some negotiation, the men agree on a price and William agrees to sell the cottage to Corin.

Touchstone then begins to tease Corin about his simple way of life, and the two men engage in a witty and humorous conversation about the merits of rural and urban lifestyles. Touchstone argues that city life is more sophisticated and cultured, while Corin defends the simplicity and beauty of rural life.

The scene ends with Corin and Touchstone parting ways, each content with their own way of life. The conversation between the two men highlights the play's theme of the contrast between city and country life, and the different values that each represents.

Enter TOUCHSTONE and AUDREY

TOUCHSTONE
We shall find a time, Audrey; patience, gentle Audrey.
Link: 5.1.1

AUDREY
Faith, the priest was good enough, for all the old
Link: 5.1.2
gentleman's saying.
Link: 5.1.3

TOUCHSTONE
A most wicked Sir Oliver, Audrey, a most vile
Link: 5.1.4
Martext. But, Audrey, there is a youth here in the
Link: 5.1.5
forest lays claim to you.
Link: 5.1.6

AUDREY
Ay, I know who 'tis; he hath no interest in me in
Link: 5.1.7
the world: here comes the man you mean.
Link: 5.1.8

TOUCHSTONE
It is meat and drink to me to see a clown: by my
Link: 5.1.9
troth, we that have good wits have much to answer
Link: 5.1.10
for; we shall be flouting; we cannot hold.
Link: 5.1.11

Enter WILLIAM

WILLIAM
Good even, Audrey.
Link: 5.1.12

AUDREY
God ye good even, William.
Link: 5.1.13

WILLIAM
And good even to you, sir.
Link: 5.1.14

TOUCHSTONE
Good even, gentle friend. Cover thy head, cover thy
Link: 5.1.15
head; nay, prithee, be covered. How old are you, friend?
Link: 5.1.16

WILLIAM
Five and twenty, sir.
Link: 5.1.17

TOUCHSTONE
A ripe age. Is thy name William?
Link: 5.1.18

WILLIAM
William, sir.
Link: 5.1.19

TOUCHSTONE
A fair name. Wast born i' the forest here?
Link: 5.1.20

WILLIAM
Ay, sir, I thank God.
Link: 5.1.21

TOUCHSTONE
'Thank God;' a good answer. Art rich?
Link: 5.1.22

WILLIAM
Faith, sir, so so.
Link: 5.1.23

TOUCHSTONE
'So so' is good, very good, very excellent good; and
Link: 5.1.24
yet it is not; it is but so so. Art thou wise?
Link: 5.1.25

WILLIAM
Ay, sir, I have a pretty wit.
Link: 5.1.26

TOUCHSTONE
Why, thou sayest well. I do now remember a saying,
Link: 5.1.27
'The fool doth think he is wise, but the wise man
Link: 5.1.28
knows himself to be a fool.' The heathen
Link: 5.1.29
philosopher, when he had a desire to eat a grape,
Link: 5.1.30
would open his lips when he put it into his mouth;
Link: 5.1.31
meaning thereby that grapes were made to eat and
Link: 5.1.32
lips to open. You do love this maid?
Link: 5.1.33

WILLIAM
I do, sir.
Link: 5.1.34

TOUCHSTONE
Give me your hand. Art thou learned?
Link: 5.1.35

WILLIAM
No, sir.
Link: 5.1.36

TOUCHSTONE
Then learn this of me: to have, is to have; for it
Link: 5.1.37
is a figure in rhetoric that drink, being poured out
Link: 5.1.38
of a cup into a glass, by filling the one doth empty
Link: 5.1.39
the other; for all your writers do consent that ipse
Link: 5.1.40
is he: now, you are not ipse, for I am he.
Link: 5.1.41

WILLIAM
Which he, sir?
Link: 5.1.42

TOUCHSTONE
He, sir, that must marry this woman. Therefore, you
Link: 5.1.43
clown, abandon,--which is in the vulgar leave,--the
Link: 5.1.44
society,--which in the boorish is company,--of this
Link: 5.1.45
female,--which in the common is woman; which
Link: 5.1.46
together is, abandon the society of this female, or,
Link: 5.1.47
clown, thou perishest; or, to thy better
Link: 5.1.48
understanding, diest; or, to wit I kill thee, make
Link: 5.1.49
thee away, translate thy life into death, thy
Link: 5.1.50
liberty into bondage: I will deal in poison with
Link: 5.1.51
thee, or in bastinado, or in steel; I will bandy
Link: 5.1.52
with thee in faction; I will o'errun thee with
Link: 5.1.53
policy; I will kill thee a hundred and fifty ways:
Link: 5.1.54
therefore tremble and depart.
Link: 5.1.55

AUDREY
Do, good William.
Link: 5.1.56

WILLIAM
God rest you merry, sir.
Link: 5.1.57

Exit

Enter CORIN

CORIN
Our master and mistress seeks you; come, away, away!
Link: 5.1.58

TOUCHSTONE
Trip, Audrey! trip, Audrey! I attend, I attend.
Link: 5.1.59

Exeunt

SCENE II. The forest.

Scene 2 of Act 5 of "As You Like It" takes place in the forest where a group of characters have gathered to witness the wedding of Rosalind and Orlando. Rosalind, disguised as a man named Ganymede, is standing with her cousin Celia, who is disguised as a shepherdess named Aliena. The two women are discussing how they will reveal their true identities to their respective partners once the wedding is over.

Meanwhile, Orlando arrives with his brother Oliver and a group of other characters. He is surprised to see Ganymede, who he doesn't realize is actually Rosalind. Ganymede challenges Orlando to prove his love for Rosalind by pretending to woo Ganymede as if he were Rosalind. Orlando agrees and begins to court Ganymede, much to the amusement of the other characters.

As the wedding ceremony begins, various characters step forward to offer their blessings to the couple. Touchstone, the court jester, gives a humorous speech about the nature of marriage, while the shepherd Silvius recites a poem about the joys of love. Finally, Rosalind reveals her true identity to Orlando, who is overjoyed to see her.

The play ends with the various couples pairing off and preparing to return to civilization. Rosalind and Orlando are reunited, Touchstone and Audrey plan to get married, and even the melancholy Jacques decides to join the group and try to find happiness in the world.

Enter ORLANDO and OLIVER

ORLANDO
Is't possible that on so little acquaintance you
Link: 5.2.1
should like her? that but seeing you should love
Link: 5.2.2
her? and loving woo? and, wooing, she should
Link: 5.2.3
grant? and will you persever to enjoy her?
Link: 5.2.4

OLIVER
Neither call the giddiness of it in question, the
Link: 5.2.5
poverty of her, the small acquaintance, my sudden
Link: 5.2.6
wooing, nor her sudden consenting; but say with me,
Link: 5.2.7
I love Aliena; say with her that she loves me;
Link: 5.2.8
consent with both that we may enjoy each other: it
Link: 5.2.9
shall be to your good; for my father's house and all
Link: 5.2.10
the revenue that was old Sir Rowland's will I
Link: 5.2.11
estate upon you, and here live and die a shepherd.
Link: 5.2.12

ORLANDO
You have my consent. Let your wedding be to-morrow:
Link: 5.2.13
thither will I invite the duke and all's contented
Link: 5.2.14
followers. Go you and prepare Aliena; for look
Link: 5.2.15
you, here comes my Rosalind.
Link: 5.2.16

Enter ROSALIND

ROSALIND
God save you, brother.
Link: 5.2.17

OLIVER
And you, fair sister.
Link: 5.2.18

Exit

ROSALIND
O, my dear Orlando, how it grieves me to see thee
Link: 5.2.19
wear thy heart in a scarf!
Link: 5.2.20

ORLANDO
It is my arm.
Link: 5.2.21

ROSALIND
I thought thy heart had been wounded with the claws
Link: 5.2.22
of a lion.
Link: 5.2.23

ORLANDO
Wounded it is, but with the eyes of a lady.
Link: 5.2.24

ROSALIND
Did your brother tell you how I counterfeited to
Link: 5.2.25
swoon when he showed me your handkerchief?
Link: 5.2.26

ORLANDO
Ay, and greater wonders than that.
Link: 5.2.27

ROSALIND
O, I know where you are: nay, 'tis true: there was
Link: 5.2.28
never any thing so sudden but the fight of two rams
Link: 5.2.29
and Caesar's thrasonical brag of 'I came, saw, and
Link: 5.2.30
overcame:' for your brother and my sister no sooner
Link: 5.2.31
met but they looked, no sooner looked but they
Link: 5.2.32
loved, no sooner loved but they sighed, no sooner
Link: 5.2.33
sighed but they asked one another the reason, no
Link: 5.2.34
sooner knew the reason but they sought the remedy;
Link: 5.2.35
and in these degrees have they made a pair of stairs
Link: 5.2.36
to marriage which they will climb incontinent, or
Link: 5.2.37
else be incontinent before marriage: they are in
Link: 5.2.38
the very wrath of love and they will together; clubs
Link: 5.2.39
cannot part them.
Link: 5.2.40

ORLANDO
They shall be married to-morrow, and I will bid the
Link: 5.2.41
duke to the nuptial. But, O, how bitter a thing it
Link: 5.2.42
is to look into happiness through another man's
Link: 5.2.43
eyes! By so much the more shall I to-morrow be at
Link: 5.2.44
the height of heart-heaviness, by how much I shall
Link: 5.2.45
think my brother happy in having what he wishes for.
Link: 5.2.46

ROSALIND
Why then, to-morrow I cannot serve your turn for Rosalind?
Link: 5.2.47

ORLANDO
I can live no longer by thinking.
Link: 5.2.48

ROSALIND
I will weary you then no longer with idle talking.
Link: 5.2.49
Know of me then, for now I speak to some purpose,
Link: 5.2.50
that I know you are a gentleman of good conceit: I
Link: 5.2.51
speak not this that you should bear a good opinion
Link: 5.2.52
of my knowledge, insomuch I say I know you are;
Link: 5.2.53
neither do I labour for a greater esteem than may in
Link: 5.2.54
some little measure draw a belief from you, to do
Link: 5.2.55
yourself good and not to grace me. Believe then, if
Link: 5.2.56
you please, that I can do strange things: I have,
Link: 5.2.57
since I was three year old, conversed with a
Link: 5.2.58
magician, most profound in his art and yet not
Link: 5.2.59
damnable. If you do love Rosalind so near the heart
Link: 5.2.60
as your gesture cries it out, when your brother
Link: 5.2.61
marries Aliena, shall you marry her: I know into
Link: 5.2.62
what straits of fortune she is driven; and it is
Link: 5.2.63
not impossible to me, if it appear not inconvenient
Link: 5.2.64
to you, to set her before your eyes tomorrow human
Link: 5.2.65
as she is and without any danger.
Link: 5.2.66

ORLANDO
Speakest thou in sober meanings?
Link: 5.2.67

ROSALIND
By my life, I do; which I tender dearly, though I
Link: 5.2.68
say I am a magician. Therefore, put you in your
Link: 5.2.69
best array: bid your friends; for if you will be
Link: 5.2.70
married to-morrow, you shall, and to Rosalind, if you will.
Link: 5.2.71
Look, here comes a lover of mine and a lover of hers.
Link: 5.2.72

PHEBE
Youth, you have done me much ungentleness,
Link: 5.2.73
To show the letter that I writ to you.
Link: 5.2.74

ROSALIND
I care not if I have: it is my study
Link: 5.2.75
To seem despiteful and ungentle to you:
Link: 5.2.76
You are there followed by a faithful shepherd;
Link: 5.2.77
Look upon him, love him; he worships you.
Link: 5.2.78

PHEBE
Good shepherd, tell this youth what 'tis to love.
Link: 5.2.79

SILVIUS
It is to be all made of sighs and tears;
Link: 5.2.80
And so am I for Phebe.
Link: 5.2.81

PHEBE
And I for Ganymede.
Link: 5.2.82

ORLANDO
And I for Rosalind.
Link: 5.2.83

ROSALIND
And I for no woman.
Link: 5.2.84

SILVIUS
It is to be all made of faith and service;
Link: 5.2.85
And so am I for Phebe.
Link: 5.2.86

PHEBE
And I for Ganymede.
Link: 5.2.87

ORLANDO
And I for Rosalind.
Link: 5.2.88

ROSALIND
And I for no woman.
Link: 5.2.89

SILVIUS
It is to be all made of fantasy,
Link: 5.2.90
All made of passion and all made of wishes,
Link: 5.2.91
All adoration, duty, and observance,
Link: 5.2.92
All humbleness, all patience and impatience,
Link: 5.2.93
All purity, all trial, all observance;
Link: 5.2.94
And so am I for Phebe.
Link: 5.2.95

PHEBE
And so am I for Ganymede.
Link: 5.2.96

ORLANDO
And so am I for Rosalind.
Link: 5.2.97

ROSALIND
And so am I for no woman.
Link: 5.2.98

PHEBE
If this be so, why blame you me to love you?
Link: 5.2.99

SILVIUS
If this be so, why blame you me to love you?
Link: 5.2.100

ORLANDO
If this be so, why blame you me to love you?
Link: 5.2.101

ROSALIND
Who do you speak to, 'Why blame you me to love you?'
Link: 5.2.102

ORLANDO
To her that is not here, nor doth not hear.
Link: 5.2.103

ROSALIND
Pray you, no more of this; 'tis like the howling
Link: 5.2.104
of Irish wolves against the moon.
Link: 5.2.105
I will help you, if I can:
Link: 5.2.106
I would love you, if I could. To-morrow meet me all together.
Link: 5.2.107
I will marry you, if ever I marry woman, and I'll be
Link: 5.2.108
married to-morrow:
Link: 5.2.109
I will satisfy you, if ever I satisfied man, and you
Link: 5.2.110
shall be married to-morrow:
Link: 5.2.111
I will content you, if what pleases you contents
Link: 5.2.112
you, and you shall be married to-morrow.
Link: 5.2.113
As you love Rosalind, meet:
Link: 5.2.114
as you love Phebe, meet: and as I love no woman,
Link: 5.2.115
I'll meet. So fare you well: I have left you commands.
Link: 5.2.116

SILVIUS
I'll not fail, if I live.
Link: 5.2.117

PHEBE

ORLANDO

Exeunt

SCENE III. The forest.

In Scene 3 of Act 5, two characters are having a conversation in the forest. One character, Orlando, has recently been injured in a wrestling match. The other character, Oliver, used to dislike Orlando but has had a change of heart and now cares for his brother. Orlando expresses his love for a woman named Rosalind and Oliver promises to help him win her over.

As they continue talking, they hear a group of people approaching. The group includes the woman Orlando loves, Rosalind, who is disguised as a man named Ganymede. Also with her is her cousin, Celia, who is disguised as a shepherdess named Aliena. They are accompanied by a jester named Touchstone.

Orlando does not recognize Rosalind in her disguise and begins to confide in "Ganymede" about his love for Rosalind. "Ganymede" offers to pretend to be Rosalind and help Orlando practice wooing her. Meanwhile, Celia and Oliver are drawn to each other and begin to flirt.

The scene ends with Touchstone making a joke and the group preparing to continue their journey through the forest.

Enter TOUCHSTONE and AUDREY

TOUCHSTONE
To-morrow is the joyful day, Audrey; to-morrow will
Link: 5.3.1
we be married.
Link: 5.3.2

AUDREY
I do desire it with all my heart; and I hope it is
Link: 5.3.3
no dishonest desire to desire to be a woman of the
Link: 5.3.4
world. Here comes two of the banished duke's pages.
Link: 5.3.5

Enter two Pages

First Page
Well met, honest gentleman.
Link: 5.3.6

TOUCHSTONE
By my troth, well met. Come, sit, sit, and a song.
Link: 5.3.7

Second Page
We are for you: sit i' the middle.
Link: 5.3.8

First Page
Shall we clap into't roundly, without hawking or
Link: 5.3.9
spitting or saying we are hoarse, which are the only
Link: 5.3.10
prologues to a bad voice?
Link: 5.3.11

Second Page
I'faith, i'faith; and both in a tune, like two
Link: 5.3.12
gipsies on a horse.
Link: 5.3.13
It was a lover and his lass,
Link: 5.3.14
With a hey, and a ho, and a hey nonino,
Link: 5.3.15
That o'er the green corn-field did pass
Link: 5.3.16
In the spring time, the only pretty ring time,
Link: 5.3.17
When birds do sing, hey ding a ding, ding:
Link: 5.3.18
Sweet lovers love the spring.
Link: 5.3.19
Between the acres of the rye,
Link: 5.3.20
With a hey, and a ho, and a hey nonino
Link: 5.3.21
These pretty country folks would lie,
Link: 5.3.22
In spring time, c.
Link: 5.3.23
This carol they began that hour,
Link: 5.3.24
With a hey, and a ho, and a hey nonino,
Link: 5.3.25
How that a life was but a flower
Link: 5.3.26
In spring time, c.
Link: 5.3.27
And therefore take the present time,
Link: 5.3.28
With a hey, and a ho, and a hey nonino;
Link: 5.3.29
For love is crowned with the prime
Link: 5.3.30
In spring time, c.
Link: 5.3.31

TOUCHSTONE
Truly, young gentlemen, though there was no great
Link: 5.3.32
matter in the ditty, yet the note was very
Link: 5.3.33
untuneable.
Link: 5.3.34

First Page
You are deceived, sir: we kept time, we lost not our time.
Link: 5.3.35

TOUCHSTONE
By my troth, yes; I count it but time lost to hear
Link: 5.3.36
such a foolish song. God be wi' you; and God mend
Link: 5.3.37
your voices! Come, Audrey.
Link: 5.3.38

Exeunt

SCENE IV. The forest.

Scene 4 of Act 5 of the play follows the reunion of Rosalind and Orlando. The scene starts with Rosalind, disguised as Ganymede, running into Orlando in the forest. Orlando is heartbroken as he believes that Ganymede is Rosalind's lover. Ganymede tries to console Orlando by pretending to be a wise counselor.

After a while, Orlando leaves, and Rosalind takes off her disguise. She is overjoyed to have finally met Orlando and decides to reveal her true identity to him. Meanwhile, Phoebe is still in love with Ganymede and follows him to declare her love. Rosalind, in her true identity, tells Phoebe to look at Silvius, who is madly in love with her.

Finally, Touchstone and Audrey enter, and everyone starts to discuss the upcoming wedding of Rosalind's uncle. Orlando proposes to Rosalind, and she accepts, and the scene ends with everyone celebrating the upcoming nuptials.

Enter DUKE SENIOR, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA

DUKE SENIOR
Dost thou believe, Orlando, that the boy
Link: 5.4.1
Can do all this that he hath promised?
Link: 5.4.2

ORLANDO
I sometimes do believe, and sometimes do not;
Link: 5.4.3
As those that fear they hope, and know they fear.
Link: 5.4.4

Enter ROSALIND, SILVIUS, and PHEBE

ROSALIND
Patience once more, whiles our compact is urged:
Link: 5.4.5
You say, if I bring in your Rosalind,
Link: 5.4.6
You will bestow her on Orlando here?
Link: 5.4.7

DUKE SENIOR
That would I, had I kingdoms to give with her.
Link: 5.4.8

ROSALIND
And you say, you will have her, when I bring her?
Link: 5.4.9

ORLANDO
That would I, were I of all kingdoms king.
Link: 5.4.10

ROSALIND
You say, you'll marry me, if I be willing?
Link: 5.4.11

PHEBE
That will I, should I die the hour after.
Link: 5.4.12

ROSALIND
But if you do refuse to marry me,
Link: 5.4.13
You'll give yourself to this most faithful shepherd?
Link: 5.4.14

PHEBE
So is the bargain.
Link: 5.4.15

ROSALIND
You say, that you'll have Phebe, if she will?
Link: 5.4.16

SILVIUS
Though to have her and death were both one thing.
Link: 5.4.17

ROSALIND
I have promised to make all this matter even.
Link: 5.4.18
Keep you your word, O duke, to give your daughter;
Link: 5.4.19
You yours, Orlando, to receive his daughter:
Link: 5.4.20
Keep your word, Phebe, that you'll marry me,
Link: 5.4.21
Or else refusing me, to wed this shepherd:
Link: 5.4.22
Keep your word, Silvius, that you'll marry her.
Link: 5.4.23
If she refuse me: and from hence I go,
Link: 5.4.24
To make these doubts all even.
Link: 5.4.25

Exeunt ROSALIND and CELIA

DUKE SENIOR
I do remember in this shepherd boy
Link: 5.4.26
Some lively touches of my daughter's favour.
Link: 5.4.27

ORLANDO
My lord, the first time that I ever saw him
Link: 5.4.28
Methought he was a brother to your daughter:
Link: 5.4.29
But, my good lord, this boy is forest-born,
Link: 5.4.30
And hath been tutor'd in the rudiments
Link: 5.4.31
Of many desperate studies by his uncle,
Link: 5.4.32
Whom he reports to be a great magician,
Link: 5.4.33
Obscured in the circle of this forest.
Link: 5.4.34

Enter TOUCHSTONE and AUDREY

JAQUES
There is, sure, another flood toward, and these
Link: 5.4.35
couples are coming to the ark. Here comes a pair of
Link: 5.4.36
very strange beasts, which in all tongues are called fools.
Link: 5.4.37

TOUCHSTONE
Salutation and greeting to you all!
Link: 5.4.38

JAQUES
Good my lord, bid him welcome: this is the
Link: 5.4.39
motley-minded gentleman that I have so often met in
Link: 5.4.40
the forest: he hath been a courtier, he swears.
Link: 5.4.41

TOUCHSTONE
If any man doubt that, let him put me to my
Link: 5.4.42
purgation. I have trod a measure; I have flattered
Link: 5.4.43
a lady; I have been politic with my friend, smooth
Link: 5.4.44
with mine enemy; I have undone three tailors; I have
Link: 5.4.45
had four quarrels, and like to have fought one.
Link: 5.4.46

JAQUES
And how was that ta'en up?
Link: 5.4.47

TOUCHSTONE
Faith, we met, and found the quarrel was upon the
Link: 5.4.48
seventh cause.
Link: 5.4.49

JAQUES
How seventh cause? Good my lord, like this fellow.
Link: 5.4.50

DUKE SENIOR
I like him very well.
Link: 5.4.51

TOUCHSTONE
God 'ild you, sir; I desire you of the like. I
Link: 5.4.52
press in here, sir, amongst the rest of the country
Link: 5.4.53
copulatives, to swear and to forswear: according as
Link: 5.4.54
marriage binds and blood breaks: a poor virgin,
Link: 5.4.55
sir, an ill-favoured thing, sir, but mine own; a poor
Link: 5.4.56
humour of mine, sir, to take that that no man else
Link: 5.4.57
will: rich honesty dwells like a miser, sir, in a
Link: 5.4.58
poor house; as your pearl in your foul oyster.
Link: 5.4.59

DUKE SENIOR
By my faith, he is very swift and sententious.
Link: 5.4.60

TOUCHSTONE
According to the fool's bolt, sir, and such dulcet diseases.
Link: 5.4.61

JAQUES
But, for the seventh cause; how did you find the
Link: 5.4.62
quarrel on the seventh cause?
Link: 5.4.63

TOUCHSTONE
Upon a lie seven times removed:--bear your body more
Link: 5.4.64
seeming, Audrey:--as thus, sir. I did dislike the
Link: 5.4.65
cut of a certain courtier's beard: he sent me word,
Link: 5.4.66
if I said his beard was not cut well, he was in the
Link: 5.4.67
mind it was: this is called the Retort Courteous.
Link: 5.4.68
If I sent him word again 'it was not well cut,' he
Link: 5.4.69
would send me word, he cut it to please himself:
Link: 5.4.70
this is called the Quip Modest. If again 'it was
Link: 5.4.71
not well cut,' he disabled my judgment: this is
Link: 5.4.72
called the Reply Churlish. If again 'it was not
Link: 5.4.73
well cut,' he would answer, I spake not true: this
Link: 5.4.74
is called the Reproof Valiant. If again 'it was not
Link: 5.4.75
well cut,' he would say I lied: this is called the
Link: 5.4.76
Counter-cheque Quarrelsome: and so to the Lie
Link: 5.4.77
Circumstantial and the Lie Direct.
Link: 5.4.78

JAQUES
And how oft did you say his beard was not well cut?
Link: 5.4.79

TOUCHSTONE
I durst go no further than the Lie Circumstantial,
Link: 5.4.80
nor he durst not give me the Lie Direct; and so we
Link: 5.4.81
measured swords and parted.
Link: 5.4.82

JAQUES
Can you nominate in order now the degrees of the lie?
Link: 5.4.83

TOUCHSTONE
O sir, we quarrel in print, by the book; as you have
Link: 5.4.84
books for good manners: I will name you the degrees.
Link: 5.4.85
The first, the Retort Courteous; the second, the
Link: 5.4.86
Quip Modest; the third, the Reply Churlish; the
Link: 5.4.87
fourth, the Reproof Valiant; the fifth, the
Link: 5.4.88
Countercheque Quarrelsome; the sixth, the Lie with
Link: 5.4.89
Circumstance; the seventh, the Lie Direct. All
Link: 5.4.90
these you may avoid but the Lie Direct; and you may
Link: 5.4.91
avoid that too, with an If. I knew when seven
Link: 5.4.92
justices could not take up a quarrel, but when the
Link: 5.4.93
parties were met themselves, one of them thought but
Link: 5.4.94
of an If, as, 'If you said so, then I said so;' and
Link: 5.4.95
they shook hands and swore brothers. Your If is the
Link: 5.4.96
only peacemaker; much virtue in If.
Link: 5.4.97

JAQUES
Is not this a rare fellow, my lord? he's as good at
Link: 5.4.98
any thing and yet a fool.
Link: 5.4.99

DUKE SENIOR
He uses his folly like a stalking-horse and under
Link: 5.4.100
the presentation of that he shoots his wit.
Link: 5.4.101

Enter HYMEN, ROSALIND, and CELIA

Still Music

HYMEN
Then is there mirth in heaven,
Link: 5.4.102
When earthly things made even
Link: 5.4.103
Atone together.
Link: 5.4.104
Good duke, receive thy daughter
Link: 5.4.105
Hymen from heaven brought her,
Link: 5.4.106
Yea, brought her hither,
Link: 5.4.107
That thou mightst join her hand with his
Link: 5.4.108
Whose heart within his bosom is.
Link: 5.4.109

ROSALIND
(To DUKE SENIOR) To you I give myself, for I am yours.
Link: 5.4.110
To you I give myself, for I am yours.
Link: 5.4.111

DUKE SENIOR
If there be truth in sight, you are my daughter.
Link: 5.4.112

ORLANDO
If there be truth in sight, you are my Rosalind.
Link: 5.4.113

PHEBE
If sight and shape be true,
Link: 5.4.114
Why then, my love adieu!
Link: 5.4.115

ROSALIND
I'll have no father, if you be not he:
Link: 5.4.116
I'll have no husband, if you be not he:
Link: 5.4.117
Nor ne'er wed woman, if you be not she.
Link: 5.4.118

HYMEN
Peace, ho! I bar confusion:
Link: 5.4.119
'Tis I must make conclusion
Link: 5.4.120
Of these most strange events:
Link: 5.4.121
Here's eight that must take hands
Link: 5.4.122
To join in Hymen's bands,
Link: 5.4.123
If truth holds true contents.
Link: 5.4.124
You and you no cross shall part:
Link: 5.4.125
You and you are heart in heart
Link: 5.4.126
You to his love must accord,
Link: 5.4.127
Or have a woman to your lord:
Link: 5.4.128
You and you are sure together,
Link: 5.4.129
As the winter to foul weather.
Link: 5.4.130
Whiles a wedlock-hymn we sing,
Link: 5.4.131
Feed yourselves with questioning;
Link: 5.4.132
That reason wonder may diminish,
Link: 5.4.133
How thus we met, and these things finish.
Link: 5.4.134
Wedding is great Juno's crown:
Link: 5.4.135
O blessed bond of board and bed!
Link: 5.4.136
'Tis Hymen peoples every town;
Link: 5.4.137
High wedlock then be honoured:
Link: 5.4.138
Honour, high honour and renown,
Link: 5.4.139
To Hymen, god of every town!
Link: 5.4.140

DUKE SENIOR
O my dear niece, welcome thou art to me!
Link: 5.4.141
Even daughter, welcome, in no less degree.
Link: 5.4.142

PHEBE
I will not eat my word, now thou art mine;
Link: 5.4.143
Thy faith my fancy to thee doth combine.
Link: 5.4.144

Enter JAQUES DE BOYS

JAQUES DE BOYS
Let me have audience for a word or two:
Link: 5.4.145
I am the second son of old Sir Rowland,
Link: 5.4.146
That bring these tidings to this fair assembly.
Link: 5.4.147
Duke Frederick, hearing how that every day
Link: 5.4.148
Men of great worth resorted to this forest,
Link: 5.4.149
Address'd a mighty power; which were on foot,
Link: 5.4.150
In his own conduct, purposely to take
Link: 5.4.151
His brother here and put him to the sword:
Link: 5.4.152
And to the skirts of this wild wood he came;
Link: 5.4.153
Where meeting with an old religious man,
Link: 5.4.154
After some question with him, was converted
Link: 5.4.155
Both from his enterprise and from the world,
Link: 5.4.156
His crown bequeathing to his banish'd brother,
Link: 5.4.157
And all their lands restored to them again
Link: 5.4.158
That were with him exiled. This to be true,
Link: 5.4.159
I do engage my life.
Link: 5.4.160

DUKE SENIOR
Welcome, young man;
Link: 5.4.161
Thou offer'st fairly to thy brothers' wedding:
Link: 5.4.162
To one his lands withheld, and to the other
Link: 5.4.163
A land itself at large, a potent dukedom.
Link: 5.4.164
First, in this forest, let us do those ends
Link: 5.4.165
That here were well begun and well begot:
Link: 5.4.166
And after, every of this happy number
Link: 5.4.167
That have endured shrewd days and nights with us
Link: 5.4.168
Shall share the good of our returned fortune,
Link: 5.4.169
According to the measure of their states.
Link: 5.4.170
Meantime, forget this new-fall'n dignity
Link: 5.4.171
And fall into our rustic revelry.
Link: 5.4.172
Play, music! And you, brides and bridegrooms all,
Link: 5.4.173
With measure heap'd in joy, to the measures fall.
Link: 5.4.174

JAQUES
Sir, by your patience. If I heard you rightly,
Link: 5.4.175
The duke hath put on a religious life
Link: 5.4.176
And thrown into neglect the pompous court?
Link: 5.4.177

JAQUES DE BOYS
He hath.
Link: 5.4.178

JAQUES
To him will I : out of these convertites
Link: 5.4.179
There is much matter to be heard and learn'd.
Link: 5.4.180
You to your former honour I bequeath;
Link: 5.4.181
Your patience and your virtue well deserves it:
Link: 5.4.182
You to a love that your true faith doth merit:
Link: 5.4.183
You to your land and love and great allies:
Link: 5.4.184
You to a long and well-deserved bed:
Link: 5.4.185
And you to wrangling; for thy loving voyage
Link: 5.4.186
Is but for two months victuall'd. So, to your pleasures:
Link: 5.4.187
I am for other than for dancing measures.
Link: 5.4.188

DUKE SENIOR
Stay, Jaques, stay.
Link: 5.4.189

JAQUES
To see no pastime I what you would have
Link: 5.4.190
I'll stay to know at your abandon'd cave.
Link: 5.4.191

Exit

DUKE SENIOR
Proceed, proceed: we will begin these rites,
Link: 5.4.192
As we do trust they'll end, in true delights.
Link: 5.4.193

A dance