Part 4

Enter Orlando and Jaques.

CELIA. You bring me out. Soft, comes he not here?

ROSALIND. ’Tis he! Slink by, and note him.

[_Rosalind and Celia step aside._]

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. 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. 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.

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 you.

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.

JAQUES. I’ll tarry no longer with you. Farewell, good Signior Love.

ORLANDO. I am glad of your departure. Adieu, good Monsieur Melancholy.

[_Exit Jaques.—Celia and Rosalind come forward._]

ROSALIND. 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 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.

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 seven year.

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.

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 coney 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 halfpence are, every one fault seeming monstrous till his fellow fault came to match it.

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 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 everything 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.

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.

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?

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 anything, 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.

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?

[_Exeunt._]

## SCENE III. Another part of the Forest

Enter Touchstone and Audrey; Jaques at a distance observing them.

TOUCHSTONE. Come apace, good Audrey. I will fetch up your goats, Audrey. And how, Audrey? Am I the man yet? Doth my simple feature content you?

AUDREY. Your features, Lord warrant us! What features?

TOUCHSTONE. I am here with thee and thy goats, as the most capricious poet, honest Ovid, was among the Goths.

JAQUES. [_Aside_.] O knowledge ill-inhabited, worse than Jove in a thatched house!

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. 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, and lovers are given to poetry, and what they swear in poetry may be said, as lovers, they do feign.

AUDREY. Do you wish, then, that the gods had made me poetical?

TOUCHSTONE. I do, truly, for thou swear’st to me thou art honest. Now if thou wert a poet, I might have some hope thou didst feign.

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. And to that end I have been with Sir Oliver Martext, the vicar of the next village, who hath promised to meet me in this place of the forest and to couple us.

JAQUES. [_Aside_.] I would fain see this meeting.

AUDREY. Well, the gods give us joy!

TOUCHSTONE. Amen. A man may, if he were of a fearful heart, stagger in this attempt, for here we have no temple but the wood, no assembly but horn-beasts. But what though? Courage! As horns are odious, they are necessary. It is said, “Many a man knows no end of his goods.” Right. Many a man has good horns and knows no end of them. Well, that is the dowry of his wife; ’tis none of his own getting. Horns? Even so. Poor men alone? No, no, the noblest deer hath them as huge as the rascal. Is the single man therefore blessed? No. As a walled town is more worthier than a village, so is the forehead of a married man more honourable than the bare brow of a bachelor. And by how much defence is better than no skill, by so much is horn more precious than to want.

Enter Sir Oliver Martext.

Here comes Sir Oliver. Sir Oliver Martext, you are well met. Will you dispatch us here under this tree, or shall we go with you to your chapel?

MARTEXT. Is there none here to give the woman?

TOUCHSTONE. I will not take her on gift of any man.

MARTEXT. Truly, she must be given, or the marriage is not lawful.

JAQUES. [_Coming forward_.] Proceed, proceed. I’ll give her.

TOUCHSTONE. Good even, good Master What-ye-call’t, how do you, sir? You are very well met. God ’ild you for your last company. I am very glad to see you. Even a toy in hand here, sir. Nay, pray be covered.

JAQUES. Will you be married, motley?

TOUCHSTONE. As the ox hath his bow, sir, the horse his curb, and the falcon her bells, so man hath his desires; and as pigeons bill, so wedlock would be nibbling.

JAQUES. And will you, being a man of your breeding, be married under a bush like a beggar? Get you to church, and have a good priest that can tell you what marriage is. This fellow will but join you together as they join wainscot; then one of you will prove a shrunk panel, and like green timber, warp, warp.

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.

JAQUES. Go thou with me, and let me counsel thee.

TOUCHSTONE. Come, sweet Audrey. We must be married, or we must live in bawdry. Farewell, good Master Oliver. Not _O sweet Oliver, O brave Oliver, Leave me not behind thee._ But _Wind away,— Begone, I say, I will not to wedding with thee._

[_Exeunt Touchstone, Audrey and Jaques._]

MARTEXT. ’Tis no matter. Ne’er a fantastical knave of them all shall flout me out of my calling.

[_Exit._]

## SCENE IV. Another part of the Forest. Before a Cottage

Enter Rosalind and Celia.

ROSALIND. Never talk to me, I will weep.

CELIA. Do, I prithee, but yet have the grace to consider that tears do not become a man.

ROSALIND. But have I not cause to weep?

CELIA. As good cause as one would desire; therefore weep.

ROSALIND. His very hair is of the dissembling colour.

CELIA. Something browner than Judas’s. Marry, his kisses are Judas’s own children.

ROSALIND. I’ faith, his hair is of a good colour.

CELIA. An excellent colour. Your chestnut was ever the only colour.

ROSALIND. And his kissing is as full of sanctity as the touch of holy bread.

CELIA. He hath bought a pair of cast lips of Diana. A nun of winter’s sisterhood kisses not more religiously; the very ice of chastity is in them.

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”. Besides, the oath of a lover is no stronger than the word of a tapster. They are both the confirmer of false reckonings. He attends here in the forest on the Duke your father.

ROSALIND. I met the Duke yesterday, and had much question with him. He asked me of what parentage I was. I told him, of as good as he, so he laughed and let me go. But what talk we of fathers when there is such a man as Orlando?

CELIA. O, that’s a brave man! He writes brave verses, speaks brave words, swears brave oaths, and breaks them bravely, quite traverse, athwart the heart of his lover, as a puny tilter, that spurs his horse but on one side, breaks his staff like a noble goose. But all’s brave that youth mounts and folly guides. Who comes here?

Enter Corin.

CORIN. Mistress and master, you have oft enquired After the shepherd that complained of love, Who you saw sitting by me on the turf, Praising the proud disdainful shepherdess That was his mistress.

CELIA. Well, and what of him?

CORIN. If you will see a pageant truly played Between the pale complexion of true love And the red glow of scorn and proud disdain, Go hence a little, and I shall conduct you, If you will mark it.

ROSALIND. O, come, let us remove. The sight of lovers feedeth those in love. Bring us to this sight, and you shall say I’ll prove a busy actor in their play.

[_Exeunt._]

## SCENE V. Another part of the Forest

Enter Silvius and Phoebe.

SILVIUS. Sweet Phoebe, do not scorn me, do not, Phoebe. Say that you love me not, but say not so In bitterness. The common executioner, Whose heart th’ accustomed 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?

Enter Rosalind, Celia and Corin, at a distance.

PHOEBE. I would not be thy executioner; I fly thee, for I would not injure thee. Thou tell’st me there is murder in mine eye. ’Tis pretty, sure, and very probable That eyes, that are the frail’st and softest things, Who shut their coward gates on atomies, Should be called tyrants, butchers, murderers. Now I do frown on thee with all my heart, And if mine eyes can wound, now let them kill thee. Now counterfeit to swoon; why, now fall down; Or if thou canst not, O, for shame, for shame, Lie not, to say mine eyes are murderers. Now show the wound mine eye hath made in thee. Scratch thee but with a pin, and there remains Some scar of it; lean upon a rush, The cicatrice and capable impressure Thy palm some moment keeps. But now mine eyes, Which I have darted at thee, hurt thee not; Nor I am sure there is not force in eyes That can do hurt.

SILVIUS. O dear Phoebe, 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.

PHOEBE. But till that time Come not thou near me. And when that time comes, Afflict me with thy mocks, pity me not, As till that time I shall not pity thee.

ROSALIND. [_Advancing_.] 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? Why do you look on me? I see no more in you than in the ordinary Of nature’s sale-work. ’Od’s my little life, I think she means to tangle my eyes too! No, faith, proud mistress, hope not after it. ’Tis not your inky brows, your black silk hair, Your bugle eyeballs, nor your cheek of cream, That can entame my spirits to your worship. You foolish shepherd, wherefore do you follow her, Like foggy south, puffing with wind and rain? You are a thousand times a properer man Than she a woman. ’Tis such fools as you That makes the world full of ill-favoured children. ’Tis not her glass but you that flatters her, And out of you she sees herself more proper Than any of her lineaments can show her. But, mistress, know yourself; down on your knees, And thank heaven, fasting, for a good man’s love. 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; Foul is most foul, being foul to be a scoffer. So take her to thee, shepherd. Fare you well.

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

ROSALIND. He’s fall’n in love with your foulness, and she’ll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, I’ll sauce her with bitter words. Why look you so upon me?

PHOEBE. For no ill will I bear you.

ROSALIND. I pray you do not fall in love with me, For I am falser than vows made in wine. Besides, I like you not. If you will know my house, ’Tis at the tuft of olives here hard by. Will you go, sister? Shepherd, ply her hard. Come, sister. Shepherdess, look on him better, And be not proud. Though all the world could see, None could be so abused in sight as he. Come, to our flock.

[_Exeunt Rosalind, Celia and Corin._]

PHOEBE. Dead shepherd, now I find thy saw of might: “Who ever loved that loved not at first sight?”

SILVIUS. Sweet Phoebe—

PHOEBE. Ha, what sayst thou, Silvius?

SILVIUS. Sweet Phoebe, pity me.

PHOEBE. Why, I am sorry for thee, gentle Silvius.

SILVIUS. Wherever sorrow is, relief would be. If you do sorrow at my grief in love, By giving love your sorrow and my grief Were both extermined.

PHOEBE. Thou hast my love. Is not that neighbourly?

SILVIUS. I would have you.

PHOEBE. Why, that were covetousness. Silvius, the time was that I hated thee; And yet it is not that I bear thee love; But since that thou canst talk of love so well, Thy company, which erst was irksome to me, I will endure, and I’ll employ thee too. But do not look for further recompense Than thine own gladness that thou art employed.

SILVIUS. So holy and so perfect is my love, And I in such a poverty of grace, That I shall think it a most plenteous crop To glean the broken ears after the man That the main harvest reaps. Loose now and then A scattered smile, and that I’ll live upon.

PHOEBE. Know’st thou the youth that spoke to me erewhile?

SILVIUS. Not very well, but I have met him oft, And he hath bought the cottage and the bounds That the old carlot once was master of.