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Archive for the ‘As you like it’ Category

Act Five Scene Three

Touchstone and Audrey prepare for the big day

TOUCHSTONE

To-morrow is the joyful day, Audrey; to-morrow will
we be married.

AUDREY

I do desire it with all my heart; and I hope it is
no dishonest desire to desire to be a woman of the
world.

There is a song – Lover and his Lass

Act Five Scene Four

Everyone is gathered for the festivities and the promises that Ganymede has made

ROSALIND

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

 

Duke Senior begins to see the truth, but Orlando shows his gullibility

DUKE SENIOR

I do remember in this shepherd boy
Some lively touches of my daughter’s favour.

ORLANDO

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

 

After a humorous exchange between Touchstone and Jaques, Rosalind returns in her true colours

DUKE SENIOR

If there be truth in sight, you are my daughter.

ORLANDO

If there be truth in sight, you are my Rosalind.

PHEBE

If sight and shape be true,
Why then, my love adieu!

After the ceremonies, with Hymen, Rosalind gives the Epilogue to the play

ROSALIND

It is not the fashion to see the lady the epilogue;
but it is no more unhandsome than to see the lord
the prologue. If it be true that good wine needs
no bush, ’tis true that a good play needs no
epilogue; yet to good wine they do use good bushes,
and good plays prove the better by the help of good
epilogues. What a case am I in then, that am
neither a good epilogue nor cannot insinuate with
you in the behalf of a good play! I am not
furnished like a beggar, therefore to beg will not
become me: my way is to conjure you; and I’ll begin
with the women. I charge you, O women, for the love
you bear to men, to like as much of this play as
please you: and I charge you, O men, for the love
you bear to women–as I perceive by your simpering,
none of you hates them–that between you and the
women the play may please. If I were a woman I
would kiss as many of you as had beards that pleased
me, complexions that liked me and breaths that I
defied not: and, I am sure, as many as have good
beards or good faces or sweet breaths will, for my
kind offer, when I make curtsy, bid me farewell.

 

 THE END

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As you like it – Act five Scene Two

Orlando questions Oliver’s motives when he learns Oliver has fallen in love with Celia so quickly, even though he did the same with Rosalind.

ORLANDO

Is’t possible that on so little acquaintance you
should like her? that but seeing you should love
her? and loving woo? and, wooing, she should
grant? and will you persever to enjoy her?

Enter Rosalind who greets Oliver as leaves

ROSALIND

God save you, brother.

OLIVER

And you, fair sister.

Oliver is no fool.

Orlando is pleased for his brother but it is a double edged sword

ORLANDO

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

Rosalind, seeing how unhappy Orlando is decides to remedy it.

ROSALIND

. Believe then, if
you please, that I can do strange things: I have,
since I was three year old, conversed with a
magician, most profound in his art and yet not
damnable. If you do love Rosalind so near the heart
as your gesture cries it out, when your brother
marries Aliena, shall you marry her:

Enter Phebe and her faithful pup, Silvius. They all are in love with the wrong person.

PHEBE

Good shepherd, tell this youth what ’tis to love.

SILVIUS

It is to be all made of sighs and tears;
And so am I for Phebe.

PHEBE

And I for Ganymede.

ORLANDO

And I for Rosalind.

ROSALIND

And I for no woman.

Rosalind has had enough.

ROSALIND

Pray you, no more of this; ’tis like the howling
of Irish wolves against the moon.

She promises to fix everybody’s problems as we shall see in the final scene.

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As you like it – Act Five scene One

Touchstone and Audrey are in the forest when Touchstone mentions a rival for his affections, and right on cue, he arrives

Touchstone and Audrey

TOUCHSTONE

…. Is thy name William?

WILLIAM

William, sir.

TOUCHSTONE

A fair name. Wast born i’ the forest here?

WILLIAM

Ay, sir, I thank God.

TOUCHSTONE

‘Thank God;’ a good answer. Art rich?

WILLIAM

Faith, sir, so so.

TOUCHSTONE

‘So so’ is good, very good, very excellent good; and
yet it is not; it is but so so. Art thou wise?

WILLIAM

Ay, sir, I have a pretty wit.

TOUCHSTONE

Why, thou sayest well. I do now remember a saying,
‘The fool doth think he is wise, but the wise man
knows himself to be a fool.’

Touchstone is possessive of Audrey, even if his motives are suspect. He threatens poor William

TOUCHSTONE

. Therefore, you
clown, abandon,–which is in the vulgar leave,–the
society,–which in the boorish is company,–of this
female,–which in the common is woman; which
together is, abandon the society of this female, or,
clown, thou perishest; or, to thy better
understanding, diest; or, to wit I kill thee, make
thee away, translate thy life into death, thy
liberty into bondage: I will deal in poison with
thee, or in bastinado, or in steel; I will bandy
with thee in faction; I will o’errun thee with
policy; I will kill thee a hundred and fifty ways:
therefore tremble and depart.

Touchstone will marry Audrey, although I feel she would have been better off with William

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As you like it – Act Four Scene Two & Three

A musical interlude in the forest. After killing a deer Jaques demands a song for it.

JAQUES

 …Have you no song, forester, for this purpose?

Forester

Yes, sir.

JAQUES

Sing it: ’tis no matter how it be in tune, so it
make noise enough.

Scene Three

Rosalind is waiting, impatiently,  for Orlando when Silvius arrives with the letter from Phebe

SILVIUS

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

The letter is full of praise from Phebe for Ganymede. Rosalind accuses Silvius of writing a letter of scorn to warn Ganymede of Phebe.

ROSALIND

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

SILVIUS

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

……

SILVIUS

So please you, for I never heard it yet;
Yet heard too much of Phebe’s cruelty.

ROSALIND

She Phebes me: mark how the tyrant writes.

Reads

Art thou god to shepherd turn’d,
That a maiden’s heart hath burn’d?
Can a woman rail thus?

SILVIUS

Call you this railing?

Poor Silvius departs and Oliver, brother to Orlando arrives looking for the youth. He brings a bloody handkerchief from Orlando. He tells the story of his arrival in the forest.

OLIVER

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

CELIA

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

OLIVER

And well he might so do,
For well I know he was unnatural.

ROSALIND

But, to Orlando: did he leave him there,
Food to the suck’d and hungry lioness?

OLIVER

Orlando and the lion

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

 

Hearing how Orlando was injured by the lion and seeing the bloody handkerchief Rosalind faints. She tries to pretend that it was a joke but Oliver is not impressed.

OLIVER

Be of good cheer, youth: you a man! you lack a
man’s heart.

ROSALIND

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

OLIVER

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

ROSALIND

Counterfeit, I assure you.

OLIVER

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

ROSALIND

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

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As you like it – Act Four Scene One

Jaques meets Rosalind and Celia

JAQUES

I prithee, pretty youth, let me be better acquainted
with thee.

ROSALIND

They say you are a melancholy fellow.

JAQUES

I am so; I do love it better than laughing.

Jaques describes his melancholy

JAQUES

I have neither the scholar’s melancholy, which is
emulation, nor the musician’s, which is fantastical,
nor the courtier’s, which is proud, nor the
soldier’s, which is ambitious, nor the lawyer’s,
which is politic, nor the lady’s, which is nice, nor
the lover’s, which is all these: but it is a
melancholy of mine own, compounded of many simples,
extracted from many objects, and indeed the sundry’s
contemplation of my travels, in which my often
rumination wraps me m a most humorous sadness

 He dparts when Orlando turns up. Rosalind is unhappy with the lateness of Orlando

ORLANDO

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

ROSALIND

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

 She teases him and asks him to woo her as if she was Rosalind

ROSALIND

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

ORLANDO

I would kiss before I spoke.

ROSALIND

Nay, you were better speak first, and when you were
gravelled for lack of matter, you might take
occasion to kiss.

Orlando vows he will die if Rosalind ever spurned him

ROSALIND

. The poor world is
almost six thousand years old, and in all this time
there was not any man died in his own person,
videlicit, in a love-cause. Troilus had his brains
dashed out with a Grecian club; yet he did what he
could to die before, and he is one of the patterns
of love. Leander, he would have lived many a fair
year, though Hero had turned nun, if it had not been
for a hot midsummer night; for, good youth, he went
but forth to wash him in the Hellespont and being
taken with the cramp was drowned and the foolish
coroners of that age found it was ‘Hero of Sestos.’
But these are all lies: men have died from time to
time and worms have eaten them, but not for love.

 Rosalind changes tact and becomes more flirty

ROSALIND

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

ORLANDO

Then love me, Rosalind.

ROSALIND

Yes, faith, will I, Fridays and Saturdays and all.

ORLANDO

And wilt thou have me?

ROSALIND

Ay, and twenty such.

ORLANDO

What sayest thou?

ROSALIND

Are you not good?

ORLANDO

I hope so.

ROSALIND

Why then, can one desire too much of a good thing?

Celia plays along and “pretends” to marry them

ORLANDO

Pray thee, marry us.

CELIA

I cannot say the words.

ROSALIND

You must begin, ‘Will you, Orlando–‘

CELIA

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

ORLANDO

I will.

ROSALIND

Ay, but when?

ORLANDO

Why now; as fast as she can marry us.

ROSALIND

Then you must say ‘I take thee, Rosalind, for wife.’

ORLANDO

I take thee, Rosalind, for wife.

ROSALIND

I might ask you for your commission; but I do take
thee, Orlando, for my husband

Orlando departs to meet the duke leaving the girls alone. Rosalind finally lets her disguise down

ROSALIND

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

CELIA

Or rather, bottomless, that as fast as you pour
affection in, it runs out.

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As You Like It – Act Three Scene Four & Five

Scene Four

Rosalind is impatient as Orlando has not turned up.

ROSALIND

But why did he swear he would come this morning, and
comes not?

CELIA

Nay, certainly, there is no truth in him.

ROSALIND

Do you think so?

CELIA

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

ROSALIND

Not true in love?

CELIA

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

ROSALIND

You have heard him swear downright he was.

CELIA

‘Was’ is not ‘is:

Corin enter and tells them to come see Silvius and his love Phebe 

Scene Five

SILVIUS

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

Pheobe denies hurting Silvius but poor Silvius is in Love

PHEBE

but now mine eyes,
Which I have darted at thee, hurt thee not,
Nor, I am sure, there is no force in eyes
That can do hurt.

SILVIUS

O dear Phebe,
If ever,–as that ever may be near,–
You meet in some fresh cheek the power of fancy,
Then shall you know the wounds invisible
That love’s keen arrows make.

Rosalind intervenes and chides Phebe

ROSALIND

And why, I pray you? Who might be your mother,
That you insult, exult, and all at once,
Over the wretched? What though you have no beauty,–
As, by my faith, I see no more in you
Than without candle may go dark to bed–
Must you be therefore proud and pitiless?
Why, what means this?

 Rosalind continues

Rosalind

For I must tell you friendly in your ear,
Sell when you can: you are not for all markets:
Cry the man mercy; love him; take his offer:

Phebe is stirred by the sight of Rosalind, dressed as a man.

PHEBE

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

Is this next phrase another reference to Christopher Marlowe?

PHEBE

Dead Shepherd, now I find thy saw of might,
‘Who ever loved that loved not at first sight?’

Phebe, pretending to Silvius that she hates Ganymede, decides to write a letter to him and Silvius can bear it.

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As you like it – Act Three Scene Three

Touchstone and Audrey

Touchstone and Audrey together in the forest and Touchstone tries to woo her in the only way he knows how. They are overheard by Jaques

Touchstone is given a line by Shakespeare which has been linked to the death of Marlowe, murdered in a pub.

TOUCHSTONE

When a man’s verses cannot be understood, nor a
man’s good wit seconded with the forward child
Understanding, it strikes a man more dead than a
great reckoning in a little room.

Touchstone woos Audrey

TOUCHSTONE

….Truly, I would
the gods had made thee poetical.

AUDREY

I do not know what ‘poetical’ is: is it honest in
deed and word? is it a true thing?

TOUCHSTONE

No, truly; for the truest poetry is the most
feigning;

He proposes marriage in his own fashion

AUDREY

Would you not have me honest?

TOUCHSTONE

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

JAQUES

[Aside] A material fool!

AUDREY

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

TOUCHSTONE

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

AUDREY

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

TOUCHSTONE

Well, praised be the gods for thy foulness!
sluttishness may come hereafter. But be it as it may
be, I will marry thee,

 

Enter the vicar – Sir Oliver Martext who demands a witness to the marriage. Step forward Jaques who has words of advice to Touchstone. Find a proper priest and a church and do it properly

TOUCHSTONE

[Aside] I am not in the mind but I were better to be
married of him than of another: for he is not like
to marry me well; and not being well married, it
will be a good excuse for me hereafter to leave my wife.

But he takes Jaques advice and dismisses Martext.

 

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