As You Like It
|ACT III SCENE II||The forest.|
|[Enter ORLANDO, with a paper]|
|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||5|
|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.|
|[Enter CORIN and TOUCHSTONE]|
|CORIN||And how like you this shepherd’s life, Master Touchstone?||12|
|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. Now, in respect it|
|is in the fields, it pleaseth me well; but in|
|respect it is not in the court, it is tedious. As|
|is it a spare life, look you, it fits my humour well;|
|but as there is no more plenty in it, it goes much||20|
|against my stomach. Hast any philosophy in thee, shepherd?|
|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; that|
|he that hath learned no wit by nature nor art may|
|complain of good breeding or comes of a very dull kindred.|
|TOUCHSTONE||Such a one is a natural philosopher. Wast ever in||30|
|TOUCHSTONE||Then thou art damned.|
|CORIN||Nay, I hope.|
|TOUCHSTONE||Truly, thou art damned like an ill-roasted egg, all|
|on one side.|
|CORIN||For not being at court? Your reason.|
|TOUCHSTONE||Why, if thou never wast at court, thou never sawest|
|good manners; if thou never sawest good manners,|
|then thy manners must be wicked; and wickedness is||40|
|sin, and sin is damnation. Thou art in a parlous|
|CORIN||Not a whit, Touchstone: 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.|
|TOUCHSTONE||Instance, briefly; come, instance.|
|CORIN||Why, we are still handling our ewes, and their||50|
|fells, you know, are greasy.|
|TOUCHSTONE||Why, do not your courtier’s hands sweat? and is not|
|the grease of a mutton as wholesome as the sweat of|
|a man? Shallow, shallow. A better instance, I say; come.|
|CORIN||Besides, our hands are hard.|
|TOUCHSTONE||Your lips will feel them the sooner. Shallow again.|
|A more sounder instance, come.|
|CORIN||And they are often tarred over with the surgery of|
|our sheep: and would you have us kiss tar? The|
|courtier’s hands are perfumed with civet.||61|
|TOUCHSTONE||Most shallow man! thou worms-meat, in respect of a|
|good piece of flesh indeed! Learn of the wise, and|
|perpend: civet is of a baser birth than tar, the|
|very uncleanly flux of a cat. Mend the instance, shepherd.|
|CORIN||You have too courtly a wit for me: I’ll rest.|
|TOUCHSTONE||Wilt thou rest damned? God help thee, shallow man!|
|God make incision in thee! thou art raw.||70|
|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.|
|TOUCHSTONE||That is another simple sin in you, to bring the ewes|
|and the rams together and to offer to get your|
|living by the copulation of cattle; to be bawd to a|
|bell-wether, and to betray a she-lamb of a|
|twelvemonth to a crooked-pated, old, cuckoldly ram,|
|out of all reasonable match. If thou beest not|
|damned for this, the devil himself will have no|
|shepherds; I cannot see else how thou shouldst|
|CORIN||Here comes young Master Ganymede, my new mistress’s brother.|
|[Enter ROSALIND, with a paper, reading]|
|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.||80|
|All the pictures fairest lined|
|Are but black to Rosalind.|
|Let no fair be kept in mind|
|But the fair of Rosalind.|
|TOUCHSTONE||I’ll rhyme you so eight years together, dinners and|
|suppers and sleeping-hours excepted: it is the|
|right butter-women’s rank to market.|
|TOUCHSTONE||For a taste:|
|If a hart do lack a hind,|
|Let him seek out Rosalind.|
|If the cat will after kind,|
|So be sure will Rosalind.|
|Winter garments must be lined,|
|So must slender Rosalind.|
|They that reap must sheaf and bind;|
|Then to cart with Rosalind.|
|Sweetest nut hath sourest rind,|
|Such a nut is Rosalind.|
|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.||90|
|TOUCHSTONE||Truly, the tree yields bad fruit.|
|ROSALIND||I’ll graff it with you, and then I shall graff it|
|with a medlar: then it will be the earliest fruit|
|i’ the country; for you’ll be rotten ere you be half|
|ripe, and that’s the right virtue of the medlar.|
|TOUCHSTONE||You have said; but whether wisely or no, let the|
|[Enter CELIA, with a writing]|
|ROSALIND||Peace! Here comes my sister, reading: stand aside.|
|Why should this a desert be?|
|For it is unpeopled? No:|
|Tongues I’ll hang on every tree,|
|That shall civil sayings show:|
|Some, how brief the life of man|
|Runs his erring pilgrimage,|
|That the stretching of a span|
|Buckles in his sum of age;|
|Some, of violated vows|
|‘Twixt the souls of friend and friend:||110|
|But upon the fairest boughs,|
|Or at every sentence end,|
|Will I Rosalinda write,|
|Teaching all that read to know|
|The quintessence of every sprite|
|Heaven would in little show.|
|Therefore Heaven Nature charged|
|That one body should be fill’d|
|With all graces wide-enlarged:|
|Nature presently distill’d||120|
|Helen’s cheek, but not her heart,|
|Atalanta’s better part,|
|Sad Lucretia’s modesty.|
|Thus Rosalind of many parts|
|By heavenly synod was devised,|
|Of many faces, eyes and hearts,|
|To have the touches dearest prized.|
|Heaven would that she these gifts should have,|
|And I to live and die her slave.||130|
|ROSALIND||O most gentle pulpiter! what tedious homily of love|
|have you wearied your parishioners withal, and never|
|cried ‘Have patience, good people!’|
|CELIA||How now! back, friends! Shepherd, go off a little.|
|Go with him, sirrah.|
|TOUCHSTONE||Come, shepherd, let us make an honourable retreat;|
|though not with bag and baggage, yet with scrip and scrippage.|
|[Exeunt CORIN and TOUCHSTONE]|
|CELIA||Didst thou hear these verses?|
|ROSALIND||O, yes, I heard them all, and more too; for some of|
|them had in them more feet than the verses would bear.||142|
|CELIA||That’s no matter: the feet might bear the verses.|
|ROSALIND||Ay, but the feet were lame and could not bear|
|themselves without the verse and therefore stood|
|lamely in the verse.|
|CELIA||But didst thou hear without wondering how thy name|
|should be hanged and carved upon these trees?|
|ROSALIND||I was seven of the nine days out of the wonder|
|before you came; for look here what I found on a|
|palm-tree. I was never so be-rhymed since|
|Pythagoras’ time, that I was an Irish rat, which I|
|can hardly remember.|
|CELIA||Trow you who hath done this?|
|ROSALIND||Is it a man?|
|CELIA||And a chain, that you once wore, about his neck.||156|
|Change you colour?|
|ROSALIND||I prithee, who?|
|CELIA||O Lord, Lord! it is a hard matter for friends to|
|meet; but mountains may be removed with earthquakes|
|and so encounter.|
|ROSALIND||Nay, but who is it?|
|CELIA||Is it possible?|
|ROSALIND||Nay, I prithee now with most petitionary vehemence,|
|tell me who it is.|
|CELIA||O wonderful, wonderful, and most wonderful|
|wonderful! and yet again wonderful, and after that,|
|out of all hooping!||167|
|ROSALIND||Good my complexion! dost thou think, though I am|
|caparisoned like a man, I have a doublet and hose in|
|my disposition? One inch of delay more is a|
|South-sea of discovery; I prithee, tell me who is it|
|quickly, and speak apace. 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?||178|
|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.|
|ROSALIND||Nay, but the devil take mocking: speak, sad brow and|
|CELIA||I’ faith, coz, ’tis he.|
|ROSALIND||Alas the day! what shall I do with my doublet and|
|hose? What did he when thou sawest him? What said|
|he? How looked he? Wherein went he? What makes|
|him here? Did he ask for me? Where remains he?|
|How parted he with thee? and when shalt thou see|
|him again? Answer me in one word.||195|
|CELIA||You must borrow me Gargantua’s mouth first: ’tis a|
|word too great for any mouth of this age’s size. To|
|say ay and no to these particulars is more than to|
|answer in a catechism.|
|ROSALIND||But doth he know that I am in this forest and in|
|man’s apparel? Looks he as freshly as he did the|
|day he wrestled?|
|CELIA||It is as easy to count atomies as to resolve the|
|propositions of a lover; but take a taste of my|
|finding him, and relish it with good observance.|
|I found him under a tree, like a dropped acorn.||206|
|ROSALIND||It may well be called Jove’s tree, when it drops|
|forth such fruit.|
|CELIA||Give me audience, good madam.|
|CELIA||There lay he, stretched along, like a wounded knight.|
|ROSALIND||Though it be pity to see such a sight, it well|
|becomes the ground.|
|CELIA||Cry ‘holla’ to thy tongue, I prithee; it curvets|
|unseasonably. He was furnished like a hunter.||216|
|ROSALIND||O, ominous! he comes to kill my heart.|
|CELIA||I would sing my song without a burden: thou bringest|
|me out of tune.|
|ROSALIND||Do you not know I am a woman? when I think, I must|
|speak. Sweet, say on.||221|
|CELIA||You bring me out. Soft! comes he not here?|
|[Enter ORLANDO and JAQUES]|
|ROSALIND||‘Tis he: slink by, and note him.|
|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.||231|
|ORLANDO||I pray you, mar no more of my verses with reading|
|JAQUES||Rosalind is your love’s name?|
|JAQUES||I do not like her name.|
|ORLANDO||There was no thought of pleasing you when she was|
|JAQUES||What stature is she of?|
|ORLANDO||Just as high as my heart.|
|JAQUES||You are full of pretty answers. Have you not been|
|acquainted with goldsmiths’ wives, and conned them|
|out of rings?|
|ORLANDO||Not so; but I answer you right painted cloth, from|
|whence you have studied your questions.|
|JAQUES||You have a nimble wit: I think ’twas made of|
|Atalanta’s heels. Will you sit down with me? and|
|we two will rail against our mistress the world and|
|all our misery.|
|ORLANDO||I will chide no breather in the world but myself,|
|against whom I know most faults.||251|
|JAQUES||The worst fault you have is to be in love.|
|ORLANDO||‘Tis a fault I will not change for your best virtue.|
|I am weary of you.|
|JAQUES||By my troth, I was seeking for a fool when I found|
|ORLANDO||He is drowned in the brook: look but in, and you|
|shall see him.|
|JAQUES||There I shall see mine own figure.|
|ORLANDO||Which I take to be either a fool or a cipher.||260|
|JAQUES||I’ll tarry no longer with you: farewell, good|
|ORLANDO||I am glad of your departure: adieu, good Monsieur|
|ROSALIND||[Aside to CELIA] I will speak to him, like a saucy|
|lackey and under that habit play the knave with him.|
|Do you hear, forester?|
|ORLANDO||Very well: what would you?|
|ROSALIND||I pray you, what is’t o’clock?|
|ORLANDO||You should ask me what time o’ day: there’s no clock||271|
|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.|
|ORLANDO||And why not the swift foot of Time? had not that|
|been as proper?|
|ROSALIND||By no means, sir: Time travels in divers paces with|
|divers persons. I’ll tell you who Time ambles|
|withal, who Time trots withal, who Time gallops|
|withal and who he stands still withal.||280|
|ORLANDO||I prithee, who doth he trot withal?|
|ROSALIND||Marry, he trots hard with a young maid between the|
|contract of her marriage and the day it is|
|solemnized: if the interim be but a se’nnight,|
|Time’s pace is so hard that it seems the length of|
|ORLANDO||Who ambles Time withal?|
|ROSALIND||With a priest that lacks Latin and a rich man that|
|hath not the gout, for the one sleeps easily because|
|he cannot study, and the other lives merrily because|
|he feels no pain, the one lacking the burden of lean|
|and wasteful learning, the other knowing no burden|
|of heavy tedious penury; these Time ambles withal.||296|
|ORLANDO||Who doth he gallop withal?|
|ROSALIND||With a thief to the gallows, for though he go as|
|softly as foot can fall, he thinks himself too soon there.|
|ORLANDO||Who stays it still withal?|
|ROSALIND||With lawyers in the vacation, for they sleep between|
|term and term and then they perceive not how Time moves.|
|ORLANDO||Where dwell you, pretty youth?|
|ROSALIND||With this shepherdess, my sister; here in the|
|skirts of the forest, like fringe upon a petticoat.|
|ORLANDO||Are you native of this place?|
|ROSALIND||As the cony that you see dwell where she is kindled.|
|ORLANDO||Your accent is something finer than you could|
|purchase in so removed a dwelling.|
|ROSALIND||I have been told so of many: but indeed an old|
|religious uncle of mine taught me to speak, who was|
|in his youth an inland man; one that knew courtship|
|too well, for there he fell in love. I have heard|
|him read many lectures against it, and I thank God|
|I am not a woman, to be touched with so many|
|giddy offences as he hath generally taxed their|
|whole sex withal.|
|ORLANDO||Can you remember any of the principal evils that he|
|laid to the charge of women?|
|ROSALIND||There were none principal; they were all like one|
|another as half-pence are, every one fault seeming|
|monstrous till his fellow fault came to match it.||320|
|ORLANDO||I prithee, recount some of them.|
|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|
|ROSALIND||There is none of my uncle’s marks upon you: he||332|
|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.||346|
|ORLANDO||Fair youth, I would I could make thee believe I love.|
|ROSALIND||Me believe it! you may as soon make her that you|
|love believe it; which, I warrant, she is apter to|
|do than to confess she does: that is one of the|
|points in the which women still give the lie to|
|their consciences. But, in good sooth, are you he|
|that hangs the verses on the trees, wherein Rosalind|
|is so admired?|
|ORLANDO||I swear to thee, youth, by the white hand of|
|Rosalind, I am that he, that unfortunate he.||356|
|ROSALIND||But are you so much in love as your rhymes speak?|
|ORLANDO||Neither rhyme nor reason can express how much.|
|ROSALIND||Love is merely a madness, and, I tell you, deserves|
|as well a dark house and a whip as madmen do: and|
|the reason why they are not so punished and cured|
|is, that the lunacy is so ordinary that the whippers|
|are in love too. Yet I profess curing it by counsel.|
|ORLANDO||Did you ever cure any so?||365|
|ROSALIND||Yes, one, and in this manner. 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.||381|
|ORLANDO||I would not be cured, youth.|
|ROSALIND||I would cure you, if you would but call me Rosalind|
|and come every day to my cote and woo me.|
|ORLANDO||Now, by the faith of my love, I will: tell me|
|where it is.|
|ROSALIND||Go with me to it and I’ll show it you and by the way|
|you shall tell me where in the forest you live.|
|Will you go?|
|ORLANDO||With all my heart, good youth.|
|ROSALIND||Nay you must call me Rosalind. Come, sister, will you go?|
Next: As You Like It, Act 3, Scene 3
Explanatory notes for Act 3, Scene 2
From As You Like It. Ed. Samuel Thurber, Jr. and Louise Wetherbee. Boston: Allyn and Bacon, 1922.
(Line numbers have been altered.)
This scene, the longest in the play, gives us a love-sick Orlando writing sonnets to his love — not so impossible an accomplishment even now. Touchstone and Jaques find their respective entertainment and Rosalind finds that her lover is in the forest to be played with as she will.
Line 1. What action here?
2. thrice-crowned queen of night: One of the many proofs that Shakespeare knew his Ovid and Virgil. The epithets triceps, three-headed, and triformis, having three forms, were applied by both poets to Luna, the goddess of the moon, who was worshiped as Diana on earth and as Proserpina in Hades.
3. chaste: pure eye.
4. Diana was the goddess of chastity and Orlando pictures Rosalind as one of her devotees.
5. Are we reminded of Duke Senior?
6. character: write.
10. unexpressive: beyond description. In this curious usage the pronouns he and she are treated like nouns, meaning man and woman. Thus they have no objective case-form and form a plural in s.
16. naught: bad.
16. private: solitary.
21. Touchstone is now the man of the world which was his pose when he first met Corin. You will notice that Corin is very much of a philosopher, perhaps more of one than Touchstone realizes.
28. of good breeding: of lack of good breeding.
30. a natural philosopher: Consider the various meanings of natural, as in this play, I, i, 135; I, 2, 46.
41. parlous: perilous.
46. you salute … hands: you do not salute without kissing your hands.
51. fells: fleeces.
52. a mutton: a sheep.
64. perpend: weigh carefully in the mind.
69. God … raw: Raw means ignorant, simple, or as we might say, green. The expression make incision has reference to the ancient practice of blood-letting as a remedy for disease.
73. content … harm: content when in sorrow.
77. Make all lines in the stanza rhyme with lined and see how it adds to the whimsical expression of Rosalind’s face.
81. lined: drawn.
82. black to: black as compared to.
83. fair: beauty.
87. butter women’s … market: the jog-trot of women in a row, one after another.
88. Why is Rosalind irritated?
89. Touchstone, posing as a critic, carries on the metaphor of his previous speech.
90. infect: pollute.
** [The editors have removed the suggestive passage “Must find love’s prick and Rosalind” and thus have changed the line extensively in this scene.]
93. graff: As the dictionaries will show you, graff is the original form of the word while graft is the derived form. In Act IV, of “Macbeth,” we find Malcolm using the word as follows: “It is myself I mean: in whom I know all the particulars of vice so grafted.”
94. then … fruit: If the medlar was a late or backward fruit in its ripening to what quality in Touchstone must Rosalind’s mischievous teasing have reference? The entire tilt between the two is amusing. Note how quickly Touchstone changes to the fool when Rosalind and Celia appear.
101. Upon what are the verses written?
102. for: because.
104. civil sayings: sayings of civilized life.
106. erring: wandering.
108. buckles in: includes.
115. quintessence: Besides the four elements of fire, earth, air, and water, the early alchemists believed that there was a fifth essence, which was the highest. This, then, means the concentrated virtue of the spirit.
116. in little: in miniature.
121. Helen: wife of Menelaus, taken by Paris of Troy because of her beauty. This caused the Trojan War.
122. Cleopatra: the queen of Egypt who fascinated Antony and caused his downfall. Shakespeare makes her the heroine of “Antony and Cleopatra.”
123. Atlanta: a beautiful Greek heroine, noted for her grace and fleetness. What is, then, the better part to which Orlando alludes?
124. Lucretia: a beautiful Roman lady dishonored by Tarquin. She is the heroine of Shakespeare’s poem, “The Rape of Lucrece.”
126. synod: council of the gods.
128. touches: features.
131. Rosalind puts on a delicious air of boredom, but watch her eyes.
137. scrip: a wallet. Touchstone coins scrippage. Do they wish to go?
139. Shakespeare does this charming dialogue with so much more insight than does Lodge. In the novel the two girls find the love songs at the same time, but Shakespeare makes the scene more humorous by having Celia follow Rosalind, which naturally leads to the teasing of the one and the elaborate pretense of the other. Orlando’s entrance is the climax for which we have been waiting for some time.
141. feet: Note the lively play of words in the next few lines.
149. Rosalind waxes extravagant.
150. a palm tree: an amazing forest indeed.
161. Pythagoras: a Greek philosopher who is said to have originated the doctrine of transmigration of souls.
152. Irish rat: This refers to a superstition that rats could be driven from a house by ceremonies, such as were used in driving out evil spirits. The ceremony was conducted by a duly qualified exorcist, who chanted or hung up about the house rhymed verses bidding the rats depart under threatened pains and penalties. Evidently Shakespeare’s contemporaries were much amused by the stories brought from Ireland of ancient belief in magic.
163. trow you: know you.
158. Celia distorts the old proverb: Friends may meet, but mountains never greet, the sense of which yields itself to a little thinking. She hints that a meeting is about to occur which had seemed as unlikely as the encounter of two mountains.
166. out of all hooping: beyond the power of all hooping.
168. Picture Rosalind’s action here.
169. caparisoned: Rosalind is again exaggerating.
170. One inch … discovery: If you delay further, I will drown you with questions.
179. A hint as to his youth?
181. stay: wait for.
185. speak … maid: speak seriously if you are a true maid.
190. What action here? Note the excitement suggested by the quick, short questions.
196. Gargantua: a giant in Rabelais who swallowed five pilgrims at a mouthful. Shakespeare got his information in a chapbook of the time.
203. atomies: atoms.
207. Jove’s tree: that is the oak which was sacred to Jupiter.
215. holla: stop.
218. burden: low accompaniment.
222. bring me out: put me out. Celia is an expert tease and knows how to keep Rosalind in suspense.
232. moe: more. Why is Jaques interested in Orlando? Orlando’s retorts are as good as those of his impertinent questioner. Note that Rosalind has a chance to listen and make sure of Orlando’s love.
242. conned … rings: studied the motto or posy inside the ring. Compare the last scene of “The Merchant of Venice,” a paltry ring … whose posy was ‘Love me, and leave me not.’
244. painted cloth: This is an allusion to old tapestries having all sorts of figures and pictures upon them.
250. With what a fine dignity does Orlando say this line to Jaques, the mocker.
262. Imagine the satirical bows which they exchange.
272. Note how quickly Rosalind reaches the subject of love.
284. sen’night: a week.
301. She has caught his interest.
305. cony: rabbit.
309. old … uncle: Rosalind displays a lively imagination, does she not? By religious she means educated.
311. one … well: That is, one who has had much experience in courts.
325. Odes and elegies are different kinds of poems used here by Rosalind without much thought.
327. fancy-monger: love-dealer.
328. quotidian: a daily attack of chills and fever, supposed to be a symptom of love.
336. blue eye: sunken with blue circles.
337. Unquestionable: silent.
339. your having: your possession.
344. point-device: exact.
361. An accurate description of the treatment of the insane which continued until a comparatively short time ago.
368. moonish: changeable.
391. What has Celia been doing all this time? Is she bored?
1. How long have the lovers been in Arden?
2. What do you think of Orlando’s verse? Did he differ from any other lover of his time? What person has already answered this question?
3. Contrast the courtesy and philosophy of Corin and Touchstone.
4. Describe all the qualities which Orlando finds in his Rosalind.
5. What action makes the dialogue between Rosalind and Celia amusing and even dramatic?
6. At what point in the scene is Rosalind made happy?
7. Do you think Orlando recognizes Rosalind? Defend your answer.
8. Why does Rosalind’s wit sparkle more in this scene?
9. At what point in the dialogue with Rosalind does Orlando become serious? Why?
10. Is Rosalind satisfied at the end of the scene?
11. What point in the plot has been reached in this scene?