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Posts Tagged ‘Rosalind’

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 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 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 Four

The Forest of Arden has new residents.

Rosalind and Celia, disguised as Ganymede, his sister Aliena, and also Touchstone.

ROSALIND

Well, this is the forest of Arden.

TOUCHSTONE

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

Enter two “natives” of the area. Corin and Silvius

ROSALIND

Look you, who comes here; a young man and an old in
solemn talk.

CORIN

That is the way to make her scorn you still.

SILVIUS

O Corin, that thou knew’st how I do love her!

CORIN

I partly guess; for I have loved ere now.

SILVIUS

No, Corin, being old, thou canst not guess,
Though in thy youth thou wast as true a lover
As ever sigh’d upon a midnight pillow:
But if thy love were ever like to mine–
As sure I think did never man love so–
How many actions most ridiculous
Hast thou been drawn to by thy fantasy?

CORIN

Into a thousand that I have forgotten.

SILVIUS

O, thou didst then ne’er love so heartily!
If thou remember’st not the slightest folly
That ever love did make thee run into,
Thou hast not loved

O’ how true Silvius is. …..

Silvius runs off to find his love, Phoebe and the travellers ask Corin for food and shelter. Corin admits that there is not much to give as his master is not given to be charitable.

Rosalind and Celia agree to buy the land and hire Corin.

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