As You Like It (Folger Shakespeare Library)
Page 11
I do engage158 my life.
DUKE SENIOR Welcome, young man.
Thou offer'st fairly160 to thy brothers' wedding:
To one his lands withheld, and to the other
A land itself at large162, a potent dukedom.
First, in this forest, let us do those ends163
That here were well begun and well begot:
And after, every165 of this happy number
That have endured shrewd166 days and nights with us
Shall share the good of our returned fortune,
According to the measure of their states168.
Meantime, forget this new-fall'n169 dignity
And fall into our rustic revelry.
Play, music! And you, brides and bridegrooms all,
With measure heaped in joy, to th'measures172 fall.
JAQUES Sir, by your patience173. If I heard you rightly,
The duke hath put on a religious life
And thrown into neglect the pompous175 court?
JAQUES DE BOIS He hath.
JAQUES To him will I: out of these convertites177
There is much matter to be heard and learned.--
To Duke Senior
You to your former honour I bequeath,
Your patience and your virtue well deserves it.--
To Orlando
You to a love that your true faith doth merit.--
To Oliver
You to your land and love and great allies182.--
To Silvius
You to a long and well-deserved bed.--
To Touchstone
And you to wrangling, for thy loving voyage
Is but for two months victualled185. So, to your pleasures.
I am for other than for dancing measures.
DUKE SENIOR Stay, Jaques, stay.
JAQUES To see no pastime, I. What you would have
I'll stay to know at your abandoned cave.
Exit
DUKE SENIOR Proceed, proceed.-- We'll begin these rites,
They dance
As we do trust they'll end, in true delights.
[Exeunt all but Rosalind]
ROSALIND It is not the fashion to see the lady the epilogue, but
it is no more unhandsome193 than to see the lord the prologue.
If it be true that good wine needs no bush194, '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 case197 am I in then, that am neither
a good epilogue nor cannot insinuate with198 you in the behalf
of a good play! I am not furnished199 like a beggar, therefore to
beg will not become me. My way is to conjure200 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 I205
were a woman, I would kiss as many of you as had beards
that pleased me, complexions that liked207 me and breaths that
I defied208 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 farewell210.
Exit
TEXTUAL NOTES
F = First Folio text of 1623, the only authority for the play F2 = a correction introduced in the Second Folio text of 1632
F3 = a correction introduced in the Third Folio text of 1664
Ed = a correction introduced by a later editor
SH = speech heading (i.e. speaker's name)
List of parts = Ed
1.1.98 she = F3. F = hee 143 SH OLIVER = F2. Not in F
1.2.3 yet I were = Ed. F = yet were 51 SH TOUCHSTONE = Ed. F = Clow. (then Clo. throughout) 73 SH CELIA = Ed. F = Ros.
1.3.76 her = F2. F = per 128 be = F2. F = by 2.1.51 much = F2. F = must
2.3.10 some = F2. F = seeme 16 SH ORLANDO = F2. Not in F 30 SH ORLANDO = F2. F = Ad. 72 seventeen = Ed. F = seauentie 2.4.39 thy = Ed. F = they wound = F2. F = would 64 you, friend = F2. F = your friend 69 travel = F3. F = trauaile 2.5.1 SH AMIENS = Ed. Not in F
2.7.38 brain = Ed. F = braive 88 comes = F2. F = come 186 The = F. Ed = Then 202 master = F2. F = masters 3.2.24 good = Ed. F = pood 113 this a = Ed. F = this 133 her = Ed. F = his 218 forth such = F2. F = forth 242 more = modernization of F's moe 332 deifying = F2. F = defying 339 are = F2. F = art 349 accoutrements spelled accoustrements in F
3.3.81 SH TOUCHSTONE = F2. F = Ol.
3.4.27 of a = F2. F = of
3.5.22 Lean but = F2. F = Leane 108 erewhile = Ed. F = yere-while 4.1.1 me be = F2. F = me 17 my = F2. F = by 26 travel = F3. F = trauaile 91 Sestos = F2. F = Cestos 134 hyena = Ed. F = Hyen 145 wilt = F3. F = wil't 183 in, it = F2. F = in, in 4.2.2 SH FIRST LORD = Ed. F = Lord 7 SH SECOND LORD = Ed. F = Lord. 10 SH LORDS = Ed. Not in F
4.3.7 bid = F2. F = did bid 146 In = F2. F = I 5.1.34 sir = F2. F = sit 52 policy = F2. F = police 5.2.7 nor her = Ed. F = nor 25 swoon = Ed. F = sound 29 overcame = F2. F = overcome 98 Who = Ed. F = Why 5.3.17 ring = Ed. F = rang
5.4.74 lied = Ed. F = lie 75 to the = F2. F = ro 105 her= F3. F = his 143 SH JAQUES DE BOIS = Ed. F = 2. Bro. 156 them = Ed. F = him 164 were = F2. F = vvete
SCENE-BY-SCENE ANALYSIS
ACT 1 SCENE 1
Lines 1-24: Orlando complains to Adam about his eldest brother's treatment of him. Orlando has inherited "but poor a thousand crowns" and, while their other brother is at university, Oliver keeps Orlando at home, unoccupied. He tells Adam that he "begins to mutiny," but admits that he cannot see any "wise remedy" for his circumstances. He sees Oliver approaching and tells Adam to "Go apart" and watch how Oliver scolds and abuses him.
Lines 25-75: Orlando responds insolently to Oliver's questions, saying that he has nothing to do and has not been taught any useful occupation. Oliver asserts his place as "the first-born," introducing the theme of social position and status. Orlando acknowledges this but argues that, although his brother has inherited their father's estate and title, they have both inherited his "blood," establishing the theme of lineage and inheritance. Their argument becomes physical and Adam steps in. Orlando repeats his complaints, but Oliver sends him off, telling the "old dog" Adam to go, too. Offended, Adam observes that their father would not have spoken to him in such a way.
Lines 76-151: Oliver calls for Charles, "the duke's wrestler." He asks for news of the court, and Charles, setting the background for the play, says that there is only "old news": Duke Senior remains banished by his usurping younger brother, Duke Frederick, along with "three or four" of his lords who have remained faithful; a brotherly rift that echoes the discord between Orlando and Oliver. The old duke and his followers are living in the Forest of Arden, "like the old Robin Hood of England" in "the golden world," an allusion that acknowledges the play's mythological qualities and its roots in traditional romantic narratives. Charles reports that Duke Senior's daughter, Rosalind, remains at court. He describes how her cousin Celia, Duke Frederick's daughter, loves Rosalind so much that she would have "died" had she been separated from her, an image of female unity that contrasts with the discordant male relationships presented so far. The conversation moves to Charles' forthcoming wrestling match. Charles has heard that Orlando intends to disguise himself and wrestle against him. He says that if Orlando does fight, he must "foil" him, but he is worried about the disgrace to Oliver. Oliver thanks Charles but tells him that his brother is "a secret and villainous contriver." He warns him that Orlando means to defeat him "by some treacherous device," and advises Charles to break his brother's neck. Oliver's soliloquy reveals how he hates Orlando for the good qualities that make people prefer him. He hopes that Charles will kill Orlando.
Lines 1-127: In an exchange that reveals their love for each other, Celia encourages Rosalind to "be merry" despite the banishment of her father. Rosalind argues that she is already trying to "show more mirth" than she is "mistress of," raising the theme of disguise/concealment. Celia promises that one day she will restore Rosalind to her true status. Rosalind tries to be merry as Celia requests and begins to "devise sports" for their entertainment, asking "what think you of falling in love?" thereby introducing the key theme of the play: love in its various forms. As Celia and Rosalind banter about love, revealing their quick wit, they are interrupted by Touchstone. The jester joins in the ladies' witty exchange, quipping about wise fools and foolish wise men (reinforcing a wider theme of "exchanged roles" and raising a key motif of fools and foolishness). They are joined by Monsieur Le Beau, who tells them of the "sport" at the wrestling match, a language choice that echoes Rosalind's earlier use of the term in conjunction with love, creating a parallel between sport and courtship. Le Beau reports that Charles has defeated three men and there is to be another bout. Celia and Rosalind decide to watch.
Lines 128-233: The ladies comment on Charles' youthful challenger (the disguised Orlando). Duke Frederick has tried to dissuade him from fighting, and suggests that the ladies may be able to "move him." Orlando thanks the ladies but insists that he will fight, declaring that his "place" in the world "may be better supplied" by someone else if he dies. Orlando defeats Charles and reveals that he is "the youngest son of Rowland de Bois." Frederick's attitude changes: he and Orlando's father were enemies. When Frederick has left, Rosalind explains that de Bois was a loyal friend of her father. Celia is ashamed of Duke Frederick's "rough and envious" behavior and praises Orlando. Rosalind gives him a chain from around her neck as a favor, a gesture that reinforces ideas of courtly romance. The ladies take their leave and Orlando tries to stop them. Rosalind, clearly smitten with Orlando, stays briefly to tell him that he has "overthrown / More than [his] enemies."
Lines 234-266: Orlando realizes that he, too, is "overthrown," and says that "passion" rendered him unable to talk to Rosalind. Le Beau urges Orlando to leave. He explains that Duke Frederick is temperamental. Orlando asks about the two ladies. Le Beau describes Celia and reveals that the other lady is "daughter to the banished duke." He adds that the love between the two of them is "dearer than the natural bond of sisters," again presenting a female love to contrast with the male enmity seen so far. He explains that Frederick has recently "ta'en displeasure" against Rosalind because the people "praise her for her virtues," creating a parallel between Rosalind and Orlando, who is disliked by Oliver for similar reasons. Le Beau warns that Frederick's "malice" against Rosalind "Will suddenly break forth." He leaves Orlando musing on "heavenly Rosalind."
ACT 1 SCENE 3
Lines 1-88: Celia questions whether Rosalind can have fallen in love with Orlando "on such a sudden." They are interrupted by Duke Frederick, who abruptly tells Rosalind that she is banished from the court. Bewildered, Rosalind asks for an explanation and Frederick replies that she is her "father's daughter, there's enough," a statement that reinforces the theme of inheritance, as does Rosalind's retort that "Treason is not inherited." Celia pleads with her father, claiming that she and Rosalind are "coupled and inseparable." Frederick is unmoved, saying that Celia is a "fool" and reiterating Rosalind's banishment before he leaves.
Lines 89-140: Celia announces that her father has banished them both--she and Rosalind are "one" and cannot be "sundered." She suggests that they go into the forest to find Rosalind's father. Rosalind points out that two "Maids" such as themselves would be in danger, as "Beauty provoketh thieves sooner than gold." Celia suggests they disguise themselves "in poor and mean attire" for safety. Rosalind agrees, deciding that she will disguise herself as a man, with a "swashing and a martial outside" to conceal her "hidden woman's fear," emphasizing the theme of disguise/concealment and raising the issue of gender identity. She announces that she will be called "Ganymede," and Celia chooses "Aliena" as her new identity. They decide to take Touchstone with them.
ACT 2 SCENE 1
The action moves from the court to the country, one of several binaries in the play, including male/female and hate/love, as well as the oppositions within and between characters: pairs of warring brothers and the division of various characters between their disguised selves and true identities.
Duke Senior compares the "sweet" life in the forest with the "painted pomp" of the "envious court." The language used to describe the forest by the duke and others reinforces the idyllic, pastoral nature of the setting, but there are also constant reminders of the realities and troubles of human existence, a tension sustained throughout the play. The duke suggests that they go hunting but is troubled that the "native" citizens of the forest, the deer, are to be usurped and killed "in their own confines," an image that echoes his own deposition by his brother. A lord describes how the "melancholy Jaques" watched a dying deer and wept while moralizing on the human condition. Duke Senior is entertained by Jaques' somewhat excessive and affected moralizing and suggests that they go to find him.
ACT 2 SCENE 2
Duke Frederick has discovered that Celia has fled with Rosalind. One lord reveals that Touchstone has gone with them; another reports that Celia's waiting woman overheard them discussing Orlando and suspects that he is "surely in their company." Frederick sends for Orlando, and, if he cannot be found, for Oliver.
ACT 2 SCENE 3
Orlando is met by Adam, who warns him he should leave immediately. He reports that Oliver is so jealous of his brother that he plans to kill him. Orlando replies that he has nowhere to go and no money. Adam offers all the money he has saved for his old age and suggests that he go with him. Much moved by Adam's goodness, Orlando agrees.
ACT 2 SCENE 4
Rosalind (as Ganymede), Celia (as Aliena), and Touchstone arrive in the Forest of Arden. Celia and Touchstone are weary, but Rosalind is "merry" in spirit. She argues that, since she is disguised as a man, she must be brave, "as doublet and hose ought to show itself courageous to petticoat," raising issues of gender but also the extent to which "disguise" creates or conceals identity. Two shepherds enter and the others stand aside to listen. The theme of love is raised again, as Silvius tells Corin how much he loves Phoebe. When Corin sympathizes, Silvius claims that Corin is too old to know how he feels and can never have loved as he does. Silvius leaves, still lamenting, and Rosalind sympathizes with him, seeing a parallel between his love and hers for Orlando. Touchstone, too, recalls past love, but with cynical, bawdy humor, concluding that "so is all nature in love mortal in folly." Touchstone's prosaic attitude is compounded by Celia, who is thinking only of food. They ask Corin to take them where they can rest and eat. He explains that he cannot help them himself: he is only "shepherd to another man," introducing an anti-pastoral element of realism and reinforcing the play's concerns with social position and status. He offers to take them to his master's cottage, which is for sale. Rosalind offers to buy the "cottage, pasture and the flock."
ACT 2 SCENE 5
Amiens sings a song emphasizing the pleasant idleness of the pastoral setting. Jaques asks Amiens to carry on singing, but he refuses, as it will make Jaques melancholy. Revealing his affected nature, Jaques says he enjoys being melancholy, and Amiens continues. Jaques contributes a final, cynical verse, suggesting that anyone who leaves the "wealth and ease" of the court for the country is an "ass." Amiens goes to call Duke Senior to a banquet.
ACT 2 SCENE 6
Adam is weak from hunger. Orlando carries him, promising to find food and shelter.
ACT 2 SCENE 7
Lines 1-88: Duke Senior searches for Jaques. He appears and describes a meeting he has had with a "motley fool" (Touchstone). He is filled with admiration for Touchstone's apparently profound reflections on time and humanity and expresses his own desire to be "a fool," saying he is "ambitious for a motley coat." Ironically, Jaques is ofte
n "foolish," but he also comes close to fulfilling the traditional dramatic role of the fool--providing observation on the events of the play and the human condition--but his self-importance and affectation hinder his insight. As Duke Senior and Jaques debate with each other, Orlando enters.
Lines 89-169: Orlando draws his sword and demands food, saying that "bare distress" prevents him from "the show / Of smooth civility," suggesting, perhaps, that manners and courtliness are a "disguise" for basic human instincts. When the duke gently invites him to "Sit down and feed," Orlando apologizes. He adds that he must fetch Adam, declaring that he will not eat until his servant has. While he is gone, the duke comments that they are not the only ones to be unhappy, observing that "This wide and universal theatre / Presents more woeful pageants than the scene Wherein we play in." Continuing the meta-theatrical theme, Jaques compares human existence to theatrical performance: "All the world's a stage And all the men and women merely players." As he comments on the last "scene," old age, Orlando returns, carrying the elderly Adam on his back.
Lines 170-204: Orlando thanks Duke Senior, and a song is sung as they eat. The duke tells Orlando that, if he is really the son of "good Sir Rowland," then he is "truly welcome."
ACT 3 SCENE 1
Duke Frederick refuses to believe that Oliver has not seen Orlando. He orders him to find his brother dead or alive within the year or face banishment. The duke seizes control of Oliver's estate until Orlando is found. Oliver tells the duke that he has never loved Orlando, at which Frederick ironically brands him a "villain," confiscates his lands, and banishes him.
ACT 3 SCENE 2
Lines 1-76: Lovesick Orlando has written poems to Rosalind and is hanging them on trees in the forest. In highly conventional poetic language he praises "The fair, the chaste and unexpressive" Rosalind and declares his intention to carve her name "on every tree." As he leaves, Corin and Touchstone enter, discussing the differences between court and country. Touchstone provides a neat summary, providing arguments and counterarguments for both. Corin returns this "philosophy" with his prosaic observations, such as the "great cause of the night is lack of the sun." He observes, however, that court and country are two mutually exclusive spheres, emphasizing the notion that the courtly characters' sojourn in the woods is an unreal, artificial episode. As they wrangle, Rosalind arrives (still in disguise as Ganymede).