As You Like It


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.


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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Yonder comes my master, your brother.
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Go apart, Adam, and thou shalt hear how he will
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shake me up.
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Now, sir! what make you here?
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Nothing: I am not taught to make any thing.
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What mar you then, sir?
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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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Marry, sir, be better employed, and be naught awhile.
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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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Know you where your are, sir?
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O, sir, very well; here in your orchard.
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Know you before whom, sir?
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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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What, boy!
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Come, come, elder brother, you are too young in this.
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Wilt thou lay hands on me, villain?
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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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Sweet masters, be patient: for your father's
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remembrance, be at accord.
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Let me go, I say.
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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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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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I will no further offend you than becomes me for my good.
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Get you with him, you old dog.
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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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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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Calls your worship?
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Was not Charles, the duke's wrestler, here to speak with me?
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So please you, he is here at the door and importunes
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access to you.
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Call him in.
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'Twill be a good way; and to-morrow the wrestling is.
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Good morrow to your worship.
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Good Monsieur Charles, what's the new news at the
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new court?
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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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Can you tell if Rosalind, the duke's daughter, be
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banished with her father?
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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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Where will the old duke live?
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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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What, you wrestle to-morrow before the new duke?
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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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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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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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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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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.


I pray thee, Rosalind, sweet my coz, be merry.
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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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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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Well, I will forget the condition of my estate, to
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rejoice in yours.
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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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From henceforth I will, coz, and devise sports. Let
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me see; what think you of falling in love?
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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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What shall be our sport, then?
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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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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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'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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Nay, now thou goest from Fortune's office to
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Nature's: Fortune reigns in gifts of the world,
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not in the lineaments of Nature.
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No? when Nature hath made a fair creature, may she
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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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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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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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Mistress, you must come away to your father.
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Were you made the messenger?
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No, by mine honour, but I was bid to come for you.
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Where learned you that oath, fool?
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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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How prove you that, in the great heap of your
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Ay, marry, now unmuzzle your wisdom.
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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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By our beards, if we had them, thou art.
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By my knavery, if I had it, then I were; but if you
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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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Prithee, who is't that thou meanest?
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One that old Frederick, your father, loves.
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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
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one of these days.
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The more pity, that fools may not speak wisely what
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wise men do foolishly.
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By my troth, thou sayest true; for since the little
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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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With his mouth full of news.
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Which he will put on us, as pigeons feed their young.
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Then shall we be news-crammed.
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All the better; we shall be the more marketable.
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Bon jour, Monsieur Le Beau: what's the news?
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Fair princess, you have lost much good sport.
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Sport! of what colour?
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What colour, madam! how shall I answer you?
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As wit and fortune will.
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Or as the Destinies decree.
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Well said: that was laid on with a trowel.
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Nay, if I keep not my rank,--
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Thou losest thy old smell.
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You amaze me, ladies: I would have told you of good
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wrestling, which you have lost the sight of.
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You tell us the manner of the wrestling.
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I will tell you the beginning; and, if it please
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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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Well, the beginning, that is dead and buried.
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There comes an old man and his three sons,--
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I could match this beginning with an old tale.
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Three proper young men, of excellent growth and presence.
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With bills on their necks, 'Be it known unto all men
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by these presents.'
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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.
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But what is the sport, monsieur, that the ladies
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have lost?
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Why, this that I speak of.
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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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Or I, I promise thee.
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But is there any else longs to see this broken music
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in his sides? is there yet another dotes upon
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rib-breaking? Shall we see this wrestling, cousin?
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You must, if you stay here; for here is the place
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appointed for the wrestling, and they are ready to
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perform it.
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Yonder, sure, they are coming: let us now stay and see it.
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Flourish. Enter DUKE FREDERICK, Lords, ORLANDO, CHARLES, and Attendants

Come on: since the youth will not be entreated, his
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own peril on his forwardness.
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Is yonder the man?
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Even he, madam.
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Alas, he is too young! yet he looks successfully.
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How now, daughter and cousin! are you crept hither
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to see the wrestling?
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Ay, my liege, so please you give us leave.
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You will take little delight in it, I can tell you;
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there is such odds in the man. In pity of the
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challenger's youth I would fain dissuade him, but he
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will not be entreated. Speak to him, ladies; see if
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you can move him.
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Call him hither, good Monsieur Le Beau.
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Do so: I'll not be by.
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Monsieur the challenger, the princesses call for you.
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I attend them with all respect and duty.
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Young man, have you challenged Charles the wrestler?
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No, fair princess; he is the general challenger: I
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come but in, as others do, to try with him the
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strength of my youth.
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Young gentleman, your spirits are too bold for your
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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

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

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

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

And mine, to eke out hers.
Link: 1.2.175

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

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

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

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

You shall try but one fall.
Link: 1.2.181

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

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

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

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

They wrestle

O excellent young man!
Link: 1.2.190

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

No more, no more.
Link: 1.2.193

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

How dost thou, Charles?
Link: 1.2.195

He cannot speak, my lord.
Link: 1.2.196

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

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

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

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

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

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

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

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

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

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

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

Will you go, coz?
Link: 1.2.234

Have with you. Fare you well.
Link: 1.2.235


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

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

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

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

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


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.


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

Not one to throw at a dog.
Link: 1.3.2

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

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

But is all this for your father?
Link: 1.3.8

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

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

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

Hem them away.
Link: 1.3.15

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

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

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

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

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

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

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

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

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

With his eyes full of anger.
Link: 1.3.33

Enter DUKE FREDERICK, with Lords

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

Me, uncle?
Link: 1.3.36

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

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

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

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

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

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

Dear sovereign, hear me speak.
Link: 1.3.63

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

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

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

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

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

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

I have more cause.
Link: 1.3.90

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

That he hath not.
Link: 1.3.94

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

Why, whither shall we go?
Link: 1.3.105

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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


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

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

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


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

Who's there?
Link: 2.3.1

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

Why, what's the matter?
Link: 2.3.16

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

Into a thousand that I have forgotten.
Link: 2.4.29

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


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

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

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

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

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

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

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

Holla, you clown!
Link: 2.4.62

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

Who calls?
Link: 2.4.64

Your betters, sir.
Link: 2.4.65

Else are they very wretched.
Link: 2.4.66

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

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

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

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

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

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

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

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

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


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


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

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

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

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

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

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

What you will, Monsieur Jaques.
Link: 2.5.16

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

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

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

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

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

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

And I'll sing it.
Link: 2.5.42

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

What's that 'ducdame'?
Link: 2.5.52

'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

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.


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

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


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

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

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


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

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

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

What fool is this?
Link: 2.7.35

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

Thou shalt have one.
Link: 2.7.44

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

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

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

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

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

Forbear, and eat no more.
Link: 2.7.89

Why, I have eat none yet.
Link: 2.7.90

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

I thank you most for him.
Link: 2.7.172

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

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


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

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



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.


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

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

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


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

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



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

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

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

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

No, truly.
Link: 3.2.32

Then thou art damned.
Link: 3.2.33

Nay, I hope.
Link: 3.2.34

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

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

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

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

Instance, briefly; come, instance.
Link: 3.2.49

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

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

Besides, our hands are hard.
Link: 3.2.55

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

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

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

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

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

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

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
Link: 3.2.81

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

Enter ROSALIND, with a paper, reading

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

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

Out, fool!
Link: 3.2.94

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

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

Truly, the tree yields bad fruit.
Link: 3.2.111

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

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

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

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

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

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

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


Didst thou hear these verses?
Link: 3.2.157

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

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

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

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

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
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Pythagoras' time, that I was an Irish rat, which I
Link: 3.2.169
can hardly remember.
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Trow you who hath done this?
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Is it a man?
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And a chain, that you once wore, about his neck.
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Change you colour?
Link: 3.2.174

I prithee, who?
Link: 3.2.175

O Lord, Lord! it is a hard matter for friends to
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meet; but mountains may be removed with earthquakes
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and so encounter.
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Nay, but who is it?
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Is it possible?
Link: 3.2.180

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

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

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
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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

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

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

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

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

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

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

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

Link: 3.2.208

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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

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

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

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

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

Give me audience, good madam.
Link: 3.2.229

Link: 3.2.230

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

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

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

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

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

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

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


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

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

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

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

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

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

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

Rosalind is your love's name?
Link: 3.2.253

Yes, just.
Link: 3.2.254

I do not like her name.
Link: 3.2.255

There was no thought of pleasing you when she was
Link: 3.2.256
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What stature is she of?
Link: 3.2.258

Just as high as my heart.
Link: 3.2.259

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

Not so; but I answer you right painted cloth, from
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whence you have studied your questions.
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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.
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I will chide no breather in the world but myself,
Link: 3.2.269
against whom I know most faults.
Link: 3.2.270

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

'Tis a fault I will not change for your best virtue.
Link: 3.2.272
I am weary of you.
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By my troth, I was seeking for a fool when I found
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He is drowned in the brook: look but in, and you
Link: 3.2.276
shall see him.
Link: 3.2.277

There I shall see mine own figure.
Link: 3.2.278

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

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

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


(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

Very well: what would you?
Link: 3.2.287

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

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

And why not the swift foot of Time? had not that
Link: 3.2.294
been as proper?
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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.
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I prithee, who doth he trot withal?
Link: 3.2.300

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,
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Time's pace is so hard that it seems the length of
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seven year.
Link: 3.2.305

Who ambles Time withal?
Link: 3.2.306

With a priest that lacks Latin and a rich man that
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hath not the gout, for the one sleeps easily because
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he cannot study, and the other lives merrily because
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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.
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Who doth he gallop withal?
Link: 3.2.313

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

Who stays it still withal?
Link: 3.2.316

With lawyers in the vacation, for they sleep between
Link: 3.2.317
term and term and then they perceive not how Time moves.
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Where dwell you, pretty youth?
Link: 3.2.319

With this shepherdess, my sister; here in the
Link: 3.2.320
skirts of the forest, like fringe upon a petticoat.
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Are you native of this place?
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As the cony that you see dwell where she is kindled.
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Your accent is something finer than you could
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purchase in so removed a dwelling.
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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
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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
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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

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

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

I prithee, recount some of them.
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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

I am he that is so love-shaked: I pray you tell me
Link: 3.2.348
your remedy.
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There is none of my uncle's marks upon you: he
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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

What were his marks?
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A lean cheek, which you have not, a blue eye and
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sunken, which you have not, an unquestionable
Link: 3.2.355
spirit, which you have not, a beard neglected,
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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

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

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?
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I swear to thee, youth, by the white hand of
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Rosalind, I am that he, that unfortunate he.
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But are you so much in love as your rhymes speak?
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Neither rhyme nor reason can express how much.
Link: 3.2.376

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
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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

Did you ever cure any so?
Link: 3.2.382

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
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and liking, proud, fantastical, apish, shallow,
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inconstant, full of tears, full of smiles, for every
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passion something and for no passion truly any
Link: 3.2.389
thing, as boys and women are for the most part
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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
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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.
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I would not be cured, youth.
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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

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

With all my heart, good youth.
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Nay you must call me Rosalind. Come, sister, will you go?
Link: 3.2.409


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.


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

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

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

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

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

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

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

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

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

Would you not have me honest?
Link: 3.3.23

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

(Aside) A material fool!
Link: 3.3.26

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

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

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

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

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

Well, the gods give us joy!
Link: 3.3.39

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

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

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

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

Link: 3.3.62
Proceed, proceed I'll give her.
Link: 3.3.63

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

Will you be married, motley?
Link: 3.3.68

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

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

(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

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

'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


'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


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.


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

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

But have I not cause to weep?
Link: 3.4.4

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

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

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

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

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

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

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

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

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

Do you think so?
Link: 3.4.19

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

Not true in love?
Link: 3.4.24

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

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

'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

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

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


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

Well, and what of him?
Link: 3.4.48

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

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


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.


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

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

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

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

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

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

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

For no ill will I bear you.
Link: 3.5.72

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


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

Sweet Phebe,--
Link: 3.5.84

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

Sweet Phebe, pity me.
Link: 3.5.86

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

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

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

I would have you.
Link: 3.5.93

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

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

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

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

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

Phebe, with all my heart.
Link: 3.5.139

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


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.


I prithee, pretty youth, let me be better acquainted
Link: 4.1.1
with thee.
Link: 4.1.2

They say you are a melancholy fellow.
Link: 4.1.3

I am so; I do love it better than laughing.
Link: 4.1.4

Those that are in extremity of either are abominable
Link: 4.1.5
fellows and betray themselves to every modern
Link: 4.1.6
censure worse than drunkards.
Link: 4.1.7

Why, 'tis good to be sad and say nothing.
Link: 4.1.8

Why then, 'tis good to be a post.
Link: 4.1.9

I have neither the scholar's melancholy, which is
Link: 4.1.10
emulation, nor the musician's, which is fantastical,
Link: 4.1.11
nor the courtier's, which is proud, nor the
Link: 4.1.12
soldier's, which is ambitious, nor the lawyer's,
Link: 4.1.13
which is politic, nor the lady's, which is nice, nor
Link: 4.1.14
the lover's, which is all these: but it is a
Link: 4.1.15
melancholy of mine own, compounded of many simples,
Link: 4.1.16
extracted from many objects, and indeed the sundry's
Link: 4.1.17
contemplation of my travels, in which my often
Link: 4.1.18
rumination wraps me m a most humorous sadness.
Link: 4.1.19

A traveller! By my faith, you have great reason to
Link: 4.1.20
be sad: I fear you have sold your own lands to see
Link: 4.1.21
other men's; then, to have seen much and to have
Link: 4.1.22
nothing, is to have rich eyes and poor hands.
Link: 4.1.23

Yes, I have gained my experience.
Link: 4.1.24

And your experience makes you sad: I had rather have
Link: 4.1.25
a fool to make me merry than experience to make me
Link: 4.1.26
sad; and to travel for it too!
Link: 4.1.27


Good day and happiness, dear Rosalind!
Link: 4.1.28

Nay, then, God be wi' you, an you talk in blank verse.
Link: 4.1.29


Farewell, Monsieur Traveller: look you lisp and
Link: 4.1.30
wear strange suits, disable all the benefits of your
Link: 4.1.31
own country, be out of love with your nativity and
Link: 4.1.32
almost chide God for making you that countenance you
Link: 4.1.33
are, or I will scarce think you have swam in a
Link: 4.1.34
gondola. Why, how now, Orlando! where have you been
Link: 4.1.35
all this while? You a lover! An you serve me such
Link: 4.1.36
another trick, never come in my sight more.
Link: 4.1.37

My fair Rosalind, I come within an hour of my promise.
Link: 4.1.38

Break an hour's promise in love! He that will
Link: 4.1.39
divide a minute into a thousand parts and break but
Link: 4.1.40
a part of the thousandth part of a minute in the
Link: 4.1.41
affairs of love, it may be said of him that Cupid
Link: 4.1.42
hath clapped him o' the shoulder, but I'll warrant
Link: 4.1.43
him heart-whole.
Link: 4.1.44

Pardon me, dear Rosalind.
Link: 4.1.45

Nay, an you be so tardy, come no more in my sight: I
Link: 4.1.46
had as lief be wooed of a snail.
Link: 4.1.47

Of a snail?
Link: 4.1.48

Ay, of a snail; for though he comes slowly, he
Link: 4.1.49
carries his house on his head; a better jointure,
Link: 4.1.50
I think, than you make a woman: besides he brings
Link: 4.1.51
his destiny with him.
Link: 4.1.52

What's that?
Link: 4.1.53

Why, horns, which such as you are fain to be
Link: 4.1.54
beholding to your wives for: but he comes armed in
Link: 4.1.55
his fortune and prevents the slander of his wife.
Link: 4.1.56

Virtue is no horn-maker; and my Rosalind is virtuous.
Link: 4.1.57

And I am your Rosalind.
Link: 4.1.58

It pleases him to call you so; but he hath a
Link: 4.1.59
Rosalind of a better leer than you.
Link: 4.1.60

Come, woo me, woo me, for now I am in a holiday
Link: 4.1.61
humour and like enough to consent. What would you
Link: 4.1.62
say to me now, an I were your very very Rosalind?
Link: 4.1.63

I would kiss before I spoke.
Link: 4.1.64

Nay, you were better speak first, and when you were
Link: 4.1.65
gravelled for lack of matter, you might take
Link: 4.1.66
occasion to kiss. Very good orators, when they are
Link: 4.1.67
out, they will spit; and for lovers lacking--God
Link: 4.1.68
warn us!--matter, the cleanliest shift is to kiss.
Link: 4.1.69

How if the kiss be denied?
Link: 4.1.70

Then she puts you to entreaty, and there begins new matter.
Link: 4.1.71

Who could be out, being before his beloved mistress?
Link: 4.1.72

Marry, that should you, if I were your mistress, or
Link: 4.1.73
I should think my honesty ranker than my wit.
Link: 4.1.74

What, of my suit?
Link: 4.1.75

Not out of your apparel, and yet out of your suit.
Link: 4.1.76
Am not I your Rosalind?
Link: 4.1.77

I take some joy to say you are, because I would be
Link: 4.1.78
talking of her.
Link: 4.1.79

Well in her person I say I will not have you.
Link: 4.1.80

Then in mine own person I die.
Link: 4.1.81

No, faith, die by attorney. The poor world is
Link: 4.1.82
almost six thousand years old, and in all this time
Link: 4.1.83
there was not any man died in his own person,
Link: 4.1.84
videlicit, in a love-cause. Troilus had his brains
Link: 4.1.85
dashed out with a Grecian club; yet he did what he
Link: 4.1.86
could to die before, and he is one of the patterns
Link: 4.1.87
of love. Leander, he would have lived many a fair
Link: 4.1.88
year, though Hero had turned nun, if it had not been
Link: 4.1.89
for a hot midsummer night; for, good youth, he went
Link: 4.1.90
but forth to wash him in the Hellespont and being
Link: 4.1.91
taken with the cramp was drowned and the foolish
Link: 4.1.92
coroners of that age found it was 'Hero of Sestos.'
Link: 4.1.93
But these are all lies: men have died from time to
Link: 4.1.94
time and worms have eaten them, but not for love.
Link: 4.1.95

I would not have my right Rosalind of this mind,
Link: 4.1.96
for, I protest, her frown might kill me.
Link: 4.1.97

By this hand, it will not kill a fly. But come, now
Link: 4.1.98
I will be your Rosalind in a more coming-on
Link: 4.1.99
disposition, and ask me what you will. I will grant
Link: 4.1.100

Then love me, Rosalind.
Link: 4.1.102

Yes, faith, will I, Fridays and Saturdays and all.
Link: 4.1.103

And wilt thou have me?
Link: 4.1.104

Ay, and twenty such.
Link: 4.1.105

What sayest thou?
Link: 4.1.106

Are you not good?
Link: 4.1.107

I hope so.
Link: 4.1.108

Why then, can one desire too much of a good thing?
Link: 4.1.109
Come, sister, you shall be the priest and marry us.
Link: 4.1.110
Give me your hand, Orlando. What do you say, sister?
Link: 4.1.111

Pray thee, marry us.
Link: 4.1.112

I cannot say the words.
Link: 4.1.113

You must begin, 'Will you, Orlando--'
Link: 4.1.114

Go to. Will you, Orlando, have to wife this Rosalind?
Link: 4.1.115


Ay, but when?
Link: 4.1.117

Why now; as fast as she can marry us.
Link: 4.1.118

Then you must say 'I take thee, Rosalind, for wife.'
Link: 4.1.119

I take thee, Rosalind, for wife.
Link: 4.1.120

I might ask you for your commission; but I do take
Link: 4.1.121
thee, Orlando, for my husband: there's a girl goes
Link: 4.1.122
before the priest; and certainly a woman's thought
Link: 4.1.123
runs before her actions.
Link: 4.1.124

So do all thoughts; they are winged.
Link: 4.1.125

Now tell me how long you would have her after you
Link: 4.1.126
have possessed her.
Link: 4.1.127

For ever and a day.
Link: 4.1.128

Say 'a day,' without the 'ever.' No, no, Orlando;
Link: 4.1.129
men are April when they woo, December when they wed:
Link: 4.1.130
maids are May when they are maids, but the sky
Link: 4.1.131
changes when they are wives. I will be more jealous
Link: 4.1.132
of thee than a Barbary cock-pigeon over his hen,
Link: 4.1.133
more clamorous than a parrot against rain, more
Link: 4.1.134
new-fangled than an ape, more giddy in my desires
Link: 4.1.135
than a monkey: I will weep for nothing, like Diana
Link: 4.1.136
in the fountain, and I will do that when you are
Link: 4.1.137
disposed to be merry; I will laugh like a hyen, and
Link: 4.1.138
that when thou art inclined to sleep.
Link: 4.1.139

But will my Rosalind do so?
Link: 4.1.140

By my life, she will do as I do.
Link: 4.1.141

O, but she is wise.
Link: 4.1.142

Or else she could not have the wit to do this: the
Link: 4.1.143
wiser, the waywarder: make the doors upon a woman's
Link: 4.1.144
wit and it will out at the casement; shut that and
Link: 4.1.145
'twill out at the key-hole; stop that, 'twill fly
Link: 4.1.146
with the smoke out at the chimney.
Link: 4.1.147

A man that had a wife with such a wit, he might say
Link: 4.1.148
'Wit, whither wilt?'
Link: 4.1.149

Nay, you might keep that cheque for it till you met
Link: 4.1.150
your wife's wit going to your neighbour's bed.
Link: 4.1.151

And what wit could wit have to excuse that?
Link: 4.1.152

Marry, to say she came to seek you there. You shall
Link: 4.1.153
never take her without her answer, unless you take
Link: 4.1.154
her without her tongue. O, that woman that cannot
Link: 4.1.155
make her fault her husband's occasion, let her
Link: 4.1.156
never nurse her child herself, for she will breed
Link: 4.1.157
it like a fool!
Link: 4.1.158

For these two hours, Rosalind, I will leave thee.
Link: 4.1.159

Alas! dear love, I cannot lack thee two hours.
Link: 4.1.160

I must attend the duke at dinner: by two o'clock I
Link: 4.1.161
will be with thee again.
Link: 4.1.162

Ay, go your ways, go your ways; I knew what you
Link: 4.1.163
would prove: my friends told me as much, and I
Link: 4.1.164
thought no less: that flattering tongue of yours
Link: 4.1.165
won me: 'tis but one cast away, and so, come,
Link: 4.1.166
death! Two o'clock is your hour?
Link: 4.1.167

Ay, sweet Rosalind.
Link: 4.1.168

By my troth, and in good earnest, and so God mend
Link: 4.1.169
me, and by all pretty oaths that are not dangerous,
Link: 4.1.170
if you break one jot of your promise or come one
Link: 4.1.171
minute behind your hour, I will think you the most
Link: 4.1.172
pathetical break-promise and the most hollow lover
Link: 4.1.173
and the most unworthy of her you call Rosalind that
Link: 4.1.174
may be chosen out of the gross band of the
Link: 4.1.175
unfaithful: therefore beware my censure and keep
Link: 4.1.176
your promise.
Link: 4.1.177

With no less religion than if thou wert indeed my
Link: 4.1.178
Rosalind: so adieu.
Link: 4.1.179

Well, Time is the old justice that examines all such
Link: 4.1.180
offenders, and let Time try: adieu.
Link: 4.1.181


You have simply misused our sex in your love-prate:
Link: 4.1.182
we must have your doublet and hose plucked over your
Link: 4.1.183
head, and show the world what the bird hath done to
Link: 4.1.184
her own nest.
Link: 4.1.185

O coz, coz, coz, my pretty little coz, that thou
Link: 4.1.186
didst know how many fathom deep I am in love! But
Link: 4.1.187
it cannot be sounded: my affection hath an unknown
Link: 4.1.188
bottom, like the bay of Portugal.
Link: 4.1.189

Or rather, bottomless, that as fast as you pour
Link: 4.1.190
affection in, it runs out.
Link: 4.1.191

No, that same wicked bastard of Venus that was begot
Link: 4.1.192
of thought, conceived of spleen and born of madness,
Link: 4.1.193
that blind rascally boy that abuses every one's eyes
Link: 4.1.194
because his own are out, let him be judge how deep I
Link: 4.1.195
am in love. I'll tell thee, Aliena, I cannot be out
Link: 4.1.196
of the sight of Orlando: I'll go find a shadow and
Link: 4.1.197
sigh till he come.
Link: 4.1.198

And I'll sleep.
Link: 4.1.199


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

Which is he that killed the deer?
Link: 4.2.1

A Lord
Sir, it was I.
Link: 4.2.2

Let's present him to the duke, like a Roman
Link: 4.2.3
conqueror; and it would do well to set the deer's
Link: 4.2.4
horns upon his head, for a branch of victory. Have
Link: 4.2.5
you no song, forester, for this purpose?
Link: 4.2.6

Yes, sir.
Link: 4.2.7

Sing it: 'tis no matter how it be in tune, so it
Link: 4.2.8
make noise enough.
Link: 4.2.9


What shall he have that kill'd the deer?
Link: 4.2.10
His leather skin and horns to wear.
Link: 4.2.11
Then sing him home;
Link: 4.2.12
Take thou no scorn to wear the horn;
Link: 4.2.13
It was a crest ere thou wast born:
Link: 4.2.14
Thy father's father wore it,
Link: 4.2.15
And thy father bore it:
Link: 4.2.16
The horn, the horn, the lusty horn
Link: 4.2.17
Is not a thing to laugh to scorn.
Link: 4.2.18


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.


How say you now? Is it not past two o'clock? and
Link: 4.3.1
here much Orlando!
Link: 4.3.2

I warrant you, with pure love and troubled brain, he
Link: 4.3.3
hath ta'en his bow and arrows and is gone forth to
Link: 4.3.4
sleep. Look, who comes here.
Link: 4.3.5


My errand is to you, fair youth;
Link: 4.3.6
My gentle Phebe bid me give you this:
Link: 4.3.7
I know not the contents; but, as I guess
Link: 4.3.8
By the stern brow and waspish action
Link: 4.3.9
Which she did use as she was writing of it,
Link: 4.3.10
It bears an angry tenor: pardon me:
Link: 4.3.11
I am but as a guiltless messenger.
Link: 4.3.12

Patience herself would startle at this letter
Link: 4.3.13
And play the swaggerer; bear this, bear all:
Link: 4.3.14
She says I am not fair, that I lack manners;
Link: 4.3.15
She calls me proud, and that she could not love me,
Link: 4.3.16
Were man as rare as phoenix. 'Od's my will!
Link: 4.3.17
Her love is not the hare that I do hunt:
Link: 4.3.18
Why writes she so to me? Well, shepherd, well,
Link: 4.3.19
This is a letter of your own device.
Link: 4.3.20

No, I protest, I know not the contents:
Link: 4.3.21
Phebe did write it.
Link: 4.3.22

Come, come, you are a fool
Link: 4.3.23
And turn'd into the extremity of love.
Link: 4.3.24
I saw her hand: she has a leathern hand.
Link: 4.3.25
A freestone-colour'd hand; I verily did think
Link: 4.3.26
That her old gloves were on, but 'twas her hands:
Link: 4.3.27
She has a huswife's hand; but that's no matter:
Link: 4.3.28
I say she never did invent this letter;
Link: 4.3.29
This is a man's invention and his hand.
Link: 4.3.30

Sure, it is hers.
Link: 4.3.31

Why, 'tis a boisterous and a cruel style.
Link: 4.3.32
A style for-challengers; why, she defies me,
Link: 4.3.33
Like Turk to Christian: women's gentle brain
Link: 4.3.34
Could not drop forth such giant-rude invention
Link: 4.3.35
Such Ethiope words, blacker in their effect
Link: 4.3.36
Than in their countenance. Will you hear the letter?
Link: 4.3.37

So please you, for I never heard it yet;
Link: 4.3.38
Yet heard too much of Phebe's cruelty.
Link: 4.3.39

She Phebes me: mark how the tyrant writes.
Link: 4.3.40
Art thou god to shepherd turn'd,
Link: 4.3.41
That a maiden's heart hath burn'd?
Link: 4.3.42
Can a woman rail thus?
Link: 4.3.43

Call you this railing?
Link: 4.3.44

Link: 4.3.45
Why, thy godhead laid apart,
Link: 4.3.46
Warr'st thou with a woman's heart?
Link: 4.3.47
Did you ever hear such railing?
Link: 4.3.48
Whiles the eye of man did woo me,
Link: 4.3.49
That could do no vengeance to me.
Link: 4.3.50
Meaning me a beast.
Link: 4.3.51
If the scorn of your bright eyne
Link: 4.3.52
Have power to raise such love in mine,
Link: 4.3.53
Alack, in me what strange effect
Link: 4.3.54
Would they work in mild aspect!
Link: 4.3.55
Whiles you chid me, I did love;
Link: 4.3.56
How then might your prayers move!
Link: 4.3.57
He that brings this love to thee
Link: 4.3.58
Little knows this love in me:
Link: 4.3.59
And by him seal up thy mind;
Link: 4.3.60
Whether that thy youth and kind
Link: 4.3.61
Will the faithful offer take
Link: 4.3.62
Of me and all that I can make;
Link: 4.3.63
Or else by him my love deny,
Link: 4.3.64
And then I'll study how to die.
Link: 4.3.65

Call you this chiding?
Link: 4.3.66

Alas, poor shepherd!
Link: 4.3.67

Do you pity him? no, he deserves no pity. Wilt
Link: 4.3.68
thou love such a woman? What, to make thee an
Link: 4.3.69
instrument and play false strains upon thee! not to
Link: 4.3.70
be endured! Well, go your way to her, for I see
Link: 4.3.71
love hath made thee a tame snake, and say this to
Link: 4.3.72
her: that if she love me, I charge her to love
Link: 4.3.73
thee; if she will not, I will never have her unless
Link: 4.3.74
thou entreat for her. If you be a true lover,
Link: 4.3.75
hence, and not a word; for here comes more company.
Link: 4.3.76



Good morrow, fair ones: pray you, if you know,
Link: 4.3.77
Where in the purlieus of this forest stands
Link: 4.3.78
A sheep-cote fenced about with olive trees?
Link: 4.3.79

West of this place, down in the neighbour bottom:
Link: 4.3.80
The rank of osiers by the murmuring stream
Link: 4.3.81
Left on your right hand brings you to the place.
Link: 4.3.82
But at this hour the house doth keep itself;
Link: 4.3.83
There's none within.
Link: 4.3.84

If that an eye may profit by a tongue,
Link: 4.3.85
Then should I know you by description;
Link: 4.3.86
Such garments and such years: 'The boy is fair,
Link: 4.3.87
Of female favour, and bestows himself
Link: 4.3.88
Like a ripe sister: the woman low
Link: 4.3.89
And browner than her brother.' Are not you
Link: 4.3.90
The owner of the house I did inquire for?
Link: 4.3.91

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

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

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

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

I pray you, tell it.
Link: 4.3.100

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

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

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

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

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

Are you his brother?
Link: 4.3.137

Wast you he rescued?
Link: 4.3.138

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

'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

But, for the bloody napkin?
Link: 4.3.143

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


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

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

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

Look, he recovers.
Link: 4.3.166

I would I were at home.
Link: 4.3.167

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

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

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

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

Counterfeit, I assure you.
Link: 4.3.178

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

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

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

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

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


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.


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

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

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

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

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


Good even, Audrey.
Link: 5.1.12

God ye good even, William.
Link: 5.1.13

And good even to you, sir.
Link: 5.1.14

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

Five and twenty, sir.
Link: 5.1.17

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

William, sir.
Link: 5.1.19

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

Ay, sir, I thank God.
Link: 5.1.21

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

Faith, sir, so so.
Link: 5.1.23

'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

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

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

I do, sir.
Link: 5.1.34

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

No, sir.
Link: 5.1.36

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

Which he, sir?
Link: 5.1.42

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

Do, good William.
Link: 5.1.56

God rest you merry, sir.
Link: 5.1.57



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

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


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.


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

Neither call the giddiness of it in question, the
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poverty of her, the small acquaintance, my sudden
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wooing, nor her sudden consenting; but say with me,
Link: 5.2.7
I love Aliena; say with her that she loves me;
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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
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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

You have my consent. Let your wedding be to-morrow:
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thither will I invite the duke and all's contented
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followers. Go you and prepare Aliena; for look
Link: 5.2.15
you, here comes my Rosalind.
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God save you, brother.
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And you, fair sister.
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O, my dear Orlando, how it grieves me to see thee
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wear thy heart in a scarf!
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It is my arm.
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I thought thy heart had been wounded with the claws
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of a lion.
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Wounded it is, but with the eyes of a lady.
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Did your brother tell you how I counterfeited to
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swoon when he showed me your handkerchief?
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Ay, and greater wonders than that.
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O, I know where you are: nay, 'tis true: there was
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never any thing so sudden but the fight of two rams
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and Caesar's thrasonical brag of 'I came, saw, and
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overcame:' for your brother and my sister no sooner
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met but they looked, no sooner looked but they
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loved, no sooner loved but they sighed, no sooner
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sighed but they asked one another the reason, no
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sooner knew the reason but they sought the remedy;
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and in these degrees have they made a pair of stairs
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to marriage which they will climb incontinent, or
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else be incontinent before marriage: they are in
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the very wrath of love and they will together; clubs
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cannot part them.
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They shall be married to-morrow, and I will bid the
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duke to the nuptial. But, O, how bitter a thing it
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is to look into happiness through another man's
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eyes! By so much the more shall I to-morrow be at
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the height of heart-heaviness, by how much I shall
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think my brother happy in having what he wishes for.
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Why then, to-morrow I cannot serve your turn for Rosalind?
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I can live no longer by thinking.
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I will weary you then no longer with idle talking.
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Know of me then, for now I speak to some purpose,
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that I know you are a gentleman of good conceit: I
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speak not this that you should bear a good opinion
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of my knowledge, insomuch I say I know you are;
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neither do I labour for a greater esteem than may in
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some little measure draw a belief from you, to do
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yourself good and not to grace me. Believe then, if
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you please, that I can do strange things: I have,
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since I was three year old, conversed with a
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magician, most profound in his art and yet not
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damnable. If you do love Rosalind so near the heart
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as your gesture cries it out, when your brother
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marries Aliena, shall you marry her: I know into
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what straits of fortune she is driven; and it is
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not impossible to me, if it appear not inconvenient
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to you, to set her before your eyes tomorrow human
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as she is and without any danger.
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Speakest thou in sober meanings?
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By my life, I do; which I tender dearly, though I
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say I am a magician. Therefore, put you in your
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best array: bid your friends; for if you will be
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married to-morrow, you shall, and to Rosalind, if you will.
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Look, here comes a lover of mine and a lover of hers.
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Youth, you have done me much ungentleness,
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To show the letter that I writ to you.
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I care not if I have: it is my study
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To seem despiteful and ungentle to you:
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You are there followed by a faithful shepherd;
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Look upon him, love him; he worships you.
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Good shepherd, tell this youth what 'tis to love.
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It is to be all made of sighs and tears;
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And so am I for Phebe.
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And I for Ganymede.
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And I for Rosalind.
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And I for no woman.
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It is to be all made of faith and service;
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And so am I for Phebe.
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And I for Ganymede.
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And I for Rosalind.
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And I for no woman.
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It is to be all made of fantasy,
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All made of passion and all made of wishes,
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All adoration, duty, and observance,
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All humbleness, all patience and impatience,
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All purity, all trial, all observance;
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And so am I for Phebe.
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And so am I for Ganymede.
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And so am I for Rosalind.
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And so am I for no woman.
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If this be so, why blame you me to love you?
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If this be so, why blame you me to love you?
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If this be so, why blame you me to love you?
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Who do you speak to, 'Why blame you me to love you?'
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To her that is not here, nor doth not hear.
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Pray you, no more of this; 'tis like the howling
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of Irish wolves against the moon.
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I will help you, if I can:
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I would love you, if I could. To-morrow meet me all together.
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I will marry you, if ever I marry woman, and I'll be
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married to-morrow:
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I will satisfy you, if ever I satisfied man, and you
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shall be married to-morrow:
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I will content you, if what pleases you contents
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you, and you shall be married to-morrow.
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As you love Rosalind, meet:
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as you love Phebe, meet: and as I love no woman,
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I'll meet. So fare you well: I have left you commands.
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I'll not fail, if I live.
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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.


To-morrow is the joyful day, Audrey; to-morrow will
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we be married.
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I do desire it with all my heart; and I hope it is
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no dishonest desire to desire to be a woman of the
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world. Here comes two of the banished duke's pages.
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Enter two Pages

First Page
Well met, honest gentleman.
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By my troth, well met. Come, sit, sit, and a song.
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Second Page
We are for you: sit i' the middle.
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First Page
Shall we clap into't roundly, without hawking or
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spitting or saying we are hoarse, which are the only
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prologues to a bad voice?
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Second Page
I'faith, i'faith; and both in a tune, like two
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gipsies on a horse.
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It was a lover and his lass,
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With a hey, and a ho, and a hey nonino,
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That o'er the green corn-field did pass
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In the spring time, the only pretty ring time,
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When birds do sing, hey ding a ding, ding:
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Sweet lovers love the spring.
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Between the acres of the rye,
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With a hey, and a ho, and a hey nonino
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These pretty country folks would lie,
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In spring time, c.
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This carol they began that hour,
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With a hey, and a ho, and a hey nonino,
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How that a life was but a flower
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In spring time, c.
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And therefore take the present time,
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With a hey, and a ho, and a hey nonino;
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For love is crowned with the prime
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In spring time, c.
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Truly, young gentlemen, though there was no great
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matter in the ditty, yet the note was very
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First Page
You are deceived, sir: we kept time, we lost not our time.
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By my troth, yes; I count it but time lost to hear
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such a foolish song. God be wi' you; and God mend
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your voices! Come, Audrey.
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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.


Dost thou believe, Orlando, that the boy
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Can do all this that he hath promised?
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I sometimes do believe, and sometimes do not;
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As those that fear they hope, and know they fear.
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Patience once more, whiles our compact is urged:
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You say, if I bring in your Rosalind,
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You will bestow her on Orlando here?
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That would I, had I kingdoms to give with her.
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And you say, you will have her, when I bring her?
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That would I, were I of all kingdoms king.
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You say, you'll marry me, if I be willing?
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That will I, should I die the hour after.
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But if you do refuse to marry me,
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You'll give yourself to this most faithful shepherd?
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So is the bargain.
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You say, that you'll have Phebe, if she will?
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Though to have her and death were both one thing.
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I have promised to make all this matter even.
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Keep you your word, O duke, to give your daughter;
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You yours, Orlando, to receive his daughter:
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Keep your word, Phebe, that you'll marry me,
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Or else refusing me, to wed this shepherd:
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Keep your word, Silvius, that you'll marry her.
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If she refuse me: and from hence I go,
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To make these doubts all even.
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I do remember in this shepherd boy
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Some lively touches of my daughter's favour.
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My lord, the first time that I ever saw him
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Methought he was a brother to your daughter:
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But, my good lord, this boy is forest-born,
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And hath been tutor'd in the rudiments
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Of many desperate studies by his uncle,
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Whom he reports to be a great magician,
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Obscured in the circle of this forest.
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There is, sure, another flood toward, and these
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couples are coming to the ark. Here comes a pair of
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very strange beasts, which in all tongues are called fools.
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Salutation and greeting to you all!
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Good my lord, bid him welcome: this is the
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motley-minded gentleman that I have so often met in
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the forest: he hath been a courtier, he swears.
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If any man doubt that, let him put me to my
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purgation. I have trod a measure; I have flattered
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a lady; I have been politic with my friend, smooth
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with mine enemy; I have undone three tailors; I have
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had four quarrels, and like to have fought one.
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And how was that ta'en up?
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Faith, we met, and found the quarrel was upon the
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seventh cause.
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How seventh cause? Good my lord, like this fellow.
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I like him very well.
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God 'ild you, sir; I desire you of the like. I
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press in here, sir, amongst the rest of the country
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copulatives, to swear and to forswear: according as
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marriage binds and blood breaks: a poor virgin,
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sir, an ill-favoured thing, sir, but mine own; a poor
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humour of mine, sir, to take that that no man else
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will: rich honesty dwells like a miser, sir, in a
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poor house; as your pearl in your foul oyster.
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By my faith, he is very swift and sententious.
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According to the fool's bolt, sir, and such dulcet diseases.
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But, for the seventh cause; how did you find the
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quarrel on the seventh cause?
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Upon a lie seven times removed:--bear your body more
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seeming, Audrey:--as thus, sir. I did dislike the
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cut of a certain courtier's beard: he sent me word,
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if I said his beard was not cut well, he was in the
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mind it was: this is called the Retort Courteous.
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If I sent him word again 'it was not well cut,' he
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would send me word, he cut it to please himself:
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this is called the Quip Modest. If again 'it was
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not well cut,' he disabled my judgment: this is
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called the Reply Churlish. If again 'it was not
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well cut,' he would answer, I spake not true: this
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is called the Reproof Valiant. If again 'it was not
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well cut,' he would say I lied: this is called the
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Counter-cheque Quarrelsome: and so to the Lie
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Circumstantial and the Lie Direct.
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And how oft did you say his beard was not well cut?
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I durst go no further than the Lie Circumstantial,
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nor he durst not give me the Lie Direct; and so we
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measured swords and parted.
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Can you nominate in order now the degrees of the lie?
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O sir, we quarrel in print, by the book; as you have
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books for good manners: I will name you the degrees.
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The first, the Retort Courteous; the second, the
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Quip Modest; the third, the Reply Churlish; the
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fourth, the Reproof Valiant; the fifth, the
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Countercheque Quarrelsome; the sixth, the Lie with
Link: 5.4.89
Circumstance; the seventh, the Lie Direct. All
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these you may avoid but the Lie Direct; and you may
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avoid that too, with an If. I knew when seven
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justices could not take up a quarrel, but when the
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parties were met themselves, one of them thought but
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of an If, as, 'If you said so, then I said so;' and
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they shook hands and swore brothers. Your If is the
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only peacemaker; much virtue in If.
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Is not this a rare fellow, my lord? he's as good at
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any thing and yet a fool.
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He uses his folly like a stalking-horse and under
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the presentation of that he shoots his wit.
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Still Music

Then is there mirth in heaven,
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When earthly things made even
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Atone together.
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Good duke, receive thy daughter
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Hymen from heaven brought her,
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Yea, brought her hither,
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That thou mightst join her hand with his
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Whose heart within his bosom is.
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(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.
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If there be truth in sight, you are my daughter.
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If there be truth in sight, you are my Rosalind.
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If sight and shape be true,
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Why then, my love adieu!
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I'll have no father, if you be not he:
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I'll have no husband, if you be not he:
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Nor ne'er wed woman, if you be not she.
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Peace, ho! I bar confusion:
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'Tis I must make conclusion
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Of these most strange events:
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Here's eight that must take hands
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To join in Hymen's bands,
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If truth holds true contents.
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You and you no cross shall part:
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You and you are heart in heart
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You to his love must accord,
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Or have a woman to your lord:
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You and you are sure together,
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As the winter to foul weather.
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Whiles a wedlock-hymn we sing,
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Feed yourselves with questioning;
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That reason wonder may diminish,
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How thus we met, and these things finish.
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Wedding is great Juno's crown:
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O blessed bond of board and bed!
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'Tis Hymen peoples every town;
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High wedlock then be honoured:
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Honour, high honour and renown,
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To Hymen, god of every town!
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O my dear niece, welcome thou art to me!
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Even daughter, welcome, in no less degree.
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I will not eat my word, now thou art mine;
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Thy faith my fancy to thee doth combine.
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Let me have audience for a word or two:
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I am the second son of old Sir Rowland,
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That bring these tidings to this fair assembly.
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Duke Frederick, hearing how that every day
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Men of great worth resorted to this forest,
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Address'd a mighty power; which were on foot,
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In his own conduct, purposely to take
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His brother here and put him to the sword:
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And to the skirts of this wild wood he came;
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Where meeting with an old religious man,
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After some question with him, was converted
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Both from his enterprise and from the world,
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His crown bequeathing to his banish'd brother,
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And all their lands restored to them again
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That were with him exiled. This to be true,
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I do engage my life.
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Welcome, young man;
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Thou offer'st fairly to thy brothers' wedding:
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To one his lands withheld, and to the other
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A land itself at large, a potent dukedom.
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First, in this forest, let us do those ends
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That here were well begun and well begot:
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And after, every of this happy number
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That have endured shrewd days and nights with us
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Shall share the good of our returned fortune,
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According to the measure of their states.
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Meantime, forget this new-fall'n dignity
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And fall into our rustic revelry.
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Play, music! And you, brides and bridegrooms all,
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With measure heap'd in joy, to the measures fall.
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Sir, by your patience. If I heard you rightly,
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The duke hath put on a religious life
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And thrown into neglect the pompous court?
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He hath.
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To him will I : out of these convertites
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There is much matter to be heard and learn'd.
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You to your former honour I bequeath;
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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

Stay, Jaques, stay.
Link: 5.4.189

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


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