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Posts Tagged ‘Jaques’

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 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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AS YOU LIKE IT – ACT THREE SCENE ONE & TWO

Scene One

We are briefly returned to the court for a short scene -Duke Frederick is angry with Oliver and demands he finds his brother.

DUKE FREDERICK

Not see him since? Sir, sir, that cannot be:
But were I not the better part made mercy,
I should not seek an absent argument
Of my revenge, thou present

Oliver protests

OLIVER

O that your highness knew my heart in this!
I never loved my brother in my life.

DUKE FREDERICK

More villain thou.

Oliver must find his brother, Orlando, and deliver him to court or risk punishment himself.

Act Three Scene Two

Back in the Forest – A Long Scene, the longest scene of the play.  I’ll break it down in sections

Orlando's bad fruit

1 – Orlando

He is hanging poems on trees for Rosalind, not knowing she is in the forest too.

ORLANDO

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

Exit

“The fair, the chaste and unexpressive she” is such a lovely line

2 – Corin and Touchstone

CORIN

And how like you this shepherd’s life, Master Touchstone?

TOUCHSTONE

Truly, shepherd, in respect of itself, it is a good
life, but in respect that it is a shepherd’s life,
it is naught. In respect that it is solitary, I
like it very well; but in respect that it is
private, it is a very vile life…..

Corin has his own philosophy

CORIN

No more but that I know the more one sickens the
worse at ease he is; and that he that wants money,
means and content is without three good friends;
that the property of rain is to wet and fire to
burn; that good pasture makes fat sheep, and that a
great cause of the night is lack of the sun;

Next follows a section detailing the differences between court and country life

CORIN

…….those that are good manners
at the court are as ridiculous in the country as the
behavior of the country is most mockable at the
court. You told me you salute not at the court, but
you kiss your hands: that courtesy would be
uncleanly, if courtiers were shepherds.

Corin is happy with his simple country life

CORIN

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

3 – Rosalind and Celia

Enter Rosalind reading one of the poems left by Orlando, although she doesn’t know this yet.

ROSALIND

From the east to western Ind,
No jewel is like Rosalind.
Her worth, being mounted on the wind,
Through all the world bears Rosalind.
All the pictures fairest lined
Are but black to Rosalind.
Let no fair be kept in mind
But the fair of Rosalind.

Touchstone teases her

TOUCHSTONE

He that sweetest rose will find
Must find love’s prick and Rosalind.
This is the very false gallop of verses: why do you
infect yourself with them?

ROSALIND

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

TOUCHSTONE

Truly, the tree yields bad fruit.

Enter Celia, also reading some of the “bad fruit”

CELIA

Trow you who hath done this?

ROSALIND

Is it a man?

CELIA

And a chain, that you once wore, about his neck.
Change you colour?

ROSALIND

I prithee, who?

..

I would thou couldst
stammer, that thou mightst pour this concealed man
out of thy mouth, as wine comes out of a narrow-
mouthed bottle, either too much at once, or none at
all. I prithee, take the cork out of thy mouth that
may drink thy tidings.

CELIA

So you may put a man in your belly.

ROSALIND

Is he of God’s making? What manner of man? Is his
head worth a hat, or his chin worth a beard?

CELIA

Nay, he hath but a little beard.

ROSALIND

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

CELIA

It is young Orlando, that tripped up the wrestler’s
heels and your heart both in an instant.

4 – Orlando and Jaques

JAQUES

I thank you for your company; but, good faith, I had
as lief have been myself alone.

ORLANDO

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

JAQUES

God be wi’ you: let’s meet as little as we can.

ORLANDO

I do desire we may be better strangers.

JAQUES

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

ORLANDO

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

Jaques, Reading one of Orlando’s verses

JAQUES

Rosalind is your love’s name?

ORLANDO

Yes, just.

JAQUES

I do not like her name.

ORLANDO

There was no thought of pleasing you when she was
christened.

JAQUES

What stature is she of?

ORLANDO

Just as high as my heart.

JAQUES

You are full of pretty answers.

5 – Rosalind (as Ganymede) and Orlando

Rosalind encounter Orlando and questions him, Orlando is unaware that it is his Rosalind

ROSALIND

I pray you, what is’t o’clock?

ORLANDO

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

ROSALIND

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

Rosalind continue to tease and question Orlando

ROSALIND

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

ORLANDO

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

ROSALIND

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

ORLANDO

What were his marks?

ROSALIND

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

 She Continues

ROSALIND

But are you so much in love as your rhymes speak?

ORLANDO

Neither rhyme nor reason can express how much.

Rosalind suggest that she/he tries to cure Orlando of his Love-sickness.  Orlando, knowing that it is impossible, agrees to play along.

ROSALIND

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

ORLANDO

I would not be cured, youth.

But he agrees to humour the youth, knowing his love is unshakeable

EXIT

Phew…Lots going on in that scene with lots of plot, subplot, character and themes. I’m going for a lie down under a greenwood tree.

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As you like it – Act two scene 6 & 7

Before we get to the famous speech we have Scene 6

Adam is weary and almost fainting from lack of food.

ORLANDO
If this uncouth forest yield any thing savage, I
will either be food for it or bring it for food to
thee. Thy conceit is nearer death than thy powers.
For my sake be comfortable; hold death awhile at
the arm’s end: I will here be with thee presently;
and if I bring thee not something to eat, I will
give thee leave to die: but if thou diest before I
come, thou art a mocker of my labour. Well said!
thou lookest cheerly, and I’ll be with thee quickly.
Yet thou liest in the bleak air: come, I will bear
thee to some shelter; and thou shalt not die for
lack of a dinner, if there live any thing in this
desert. Cheerly, good Adam!

So off he goes.

ACT TWO SCENE SEVEN

 Elsewhere in the forest The exiled Lords prepare for a feast

Jaques is in high spirits much to the amusement of the Duke

JAQUES

A fool, a fool! I met a fool i’ the forest,
A motley fool;

 Jaques is ambitiuos to become a fool. Why? So he has licence to say as he pleases.

Orlando enters with sword drawn and demands food.

DUKE SENIOR

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

ORLANDO

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

DUKE SENIOR

Sit down and feed, and welcome to our table.

ORLANDO

Speak you so gently? Pardon me, I pray you:
I thought that all things had been savage here;
And therefore put I on the countenance
Of stern commandment.

Orlando and Adam are invited to dine with the lords. He Exits to go fetch him while Jaques delivers his famous speech. I’ve included two videos below from the multitude available on youtube

DUKE SENIOR

Thou seest we are not all alone unhappy:
This wide and universal theatre
Presents more woeful pageants than the scene
Wherein we play in.

JAQUES

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

Two Videos now contrasting how to deliver this speech. First , in my opinion, the wrong way.

And the Right way (again in my opinion) by Morgan Freeman

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Forest of Arden

As you like it – Act Two Scene One

We are in the Forest of Arden and meet the exiled Duke and his lords.

DUKE SENIOR

Now, my co-mates and brothers in exile,
Hath not old custom made this life more sweet
Than that of painted pomp? Are not these woods
More free from peril than the envious court?

He is happy in his forced exile and would not change this forest for the court. He suggests killing a deer for food.

DUKE SENIOR

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

We are introduced to the character of Jaques, before we meet him.

First Lord

Indeed, my lord,
The melancholy Jaques grieves at that,
And, in that kind, swears you do more usurp
Than doth your brother that hath banish’d you.

After a speech about Jaques seeing a wounded deer they go to find him.

DUKE SENIOR

Show me the place:
I love to cope him in these sullen fits,
For then he’s full of matter.

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