As You Like It

The full text side-by-side with a translation into modern English.  

DRAMATIS PERSONAE.			CHARACTERS.
DUKE, living in exile			Duke who lives in exile
FREDERICK, his brother, and usurper of his dominions			Frederick, his brother and usurpa of his rule
AMIENS, lord attending on the banished Duke			Amiens, Lord, who participates in the banished Duke
JAQUES, " " " " " "			Jaques, "" "" "
LE BEAU, a courtier attending upon Frederick			Le Beau, a court who is present Frederick
CHARLES, wrestler to Frederick			Charles, Wrestler von Frederick
OLIVER, son of Sir Rowland de Boys			Oliver, son of Sir Rowland de Boys
JAQUES, " " " " " "			Jaques, "" "" "
ORLANDO, " " " " " "			Orlando, "" "" "
ADAM, servant to Oliver			Adam, servant of Oliver
DENNIS, " " "			Dennis, "" "
TOUCHSTONE, the court jester			Teststein, the court level
SIR OLIVER MARTEXT, a vicar			Sir Oliver Martext, a pastor
CORIN, shepherd			Corin, shepherd
SILVIUS, "			Silvius "
WILLIAM, a country fellow, in love with Audrey			William, a country fellow, in love with Audrey
A person representing HYMEN			A person who represents Hymen
ROSALIND, daughter to the banished Duke			Rosalind, daughter of the duke
CELIA, daughter to Frederick			Celia, daughter of Frederick
PHEBE, a shepherdes			Phebe, a shepherd
AUDREY, a country wench			Audrey, a country joy
Lords, Pages, Foresters, and Attendants			Lords, pages, forest representative and companion
SCENE:			SCENE:
OLIVER'S house; FREDERICK'S court; and the Forest of Arden			Oliver's house; Frederick's court; and the forest of Arden
ACT I. SCENE I.			Act I. Sene I.
Orchard of OLIVER'S house			Old garden of Oliver's house
Enter ORLANDO and ADAM			Enter Orlando and Adam
ORLANDO. As I remember, Adam, it was upon this fashion bequeathed			Orlando. As I remember Adam, it was left on this fashion
me by will but poor a thousand crowns, and, as thou say'st,			But I want a thousand crowns, and as you say
charged my brother, on his blessing, to breed me well; and there			accused my brother on his blessing to breed me well; and since
begins my sadness. My brother Jaques he keeps at school, and			My sadness begins. My brother Jaques, whom he keeps in school, and
report speaks goldenly of his profit. For my part, he keeps me			Report speaks golden of his profit. For my part he holds me
rustically at home, or, to speak more properly, stays me here at			Rustical at home or to speak better, I stay here
home unkept; for call you that keeping for a gentleman of my			At home nasuous; For them, call them so that they are kept for a gentleman of me
birth that differs not from the stalling of an ox? His horses are			Birth that does not differ from the stable of an ox? His horses are
bred better; for, besides that they are fair with their feeding,			better bred; Because they are also fair with their feeding,
they are taught their manage, and to that end riders dearly			You will learn your management and these finalists expensive
hir'd; but I, his brother, gain nothing under him but growth; for			Hir'd; But I, his brother, gain nothing among him as growth; to the
the which his animals on his dunghills are as much bound to him			The one who is also tied to him on his crap in his crap.
as I. Besides this nothing that he so plentifully gives me, the			like me. Except this nothing that he gives me so abundant
something that nature gave me his countenance seems to take from			Something that nature seems to take my face
me. He lets me feed with his hinds, bars me the place of a			me. He lets me feed me with his Hinds, forbids me the place of one
brother, and as much as in him lies, mines my gentility with my			Brother, and as much as he lies in it, my guestility mountainous to mine
education. This is it, Adam, that grieves me; and the spirit of			Education. That is it, Adam who mourned me; And the spirit of
my father, which I think is within me, begins to mutiny against			My father, what I think in me, begins against mutiny
this servitude. I will no longer endure it, though yet I know no			This bondage. I will not endure it anymore, although I know no
wise remedy how to avoid it.			Wise medium as you avoid it.
Enter OLIVER			Enter Oliver
ADAM. Yonder comes my master, your brother.			ADAM. My master comes over over there, your brother.
ORLANDO. Go apart, Adam, and thou shalt hear how he will shake me			Orlando. Go apart, Adam and you should hear how he will shake me
up. [ADAM retires]			high. [Adam in retirement]
OLIVER. Now, sir! what make you here?			Oliver. Well, sir! What does you do here?
ORLANDO. Nothing; I am not taught to make any thing.			Orlando. Nothing; I am not taught to do something.
OLIVER. What mar you then, sir?			Oliver. What kind of mar, sir?
ORLANDO. Marry, sir, I am helping you to mar that which God made, a			Orlando. Marriage, sir, I will help you march what God did, a
poor unworthy brother of yours, with idleness.			Poor unworthy brother of you with idleness.
OLIVER. Marry, sir, be better employed, and be nought awhile.			Oliver. Marriage, Sir, is better busy and is nothing for a while.
ORLANDO. Shall I keep your hogs, and eat husks with them? What			Orlando. Should I keep your pigs and eat shells with them? What
prodigal portion have I spent that I should come to such penury?			Probably I spent that I should get such a weakness?
OLIVER. Know you where you are, sir?			Oliver. Do you know them where they are, sir?
ORLANDO. O, sir, very well; here in your orchard.			Orlando. O, sir, very good; Here in your orchard.
OLIVER. Know you before whom, sir?			Oliver. Do you know who, sir?
ORLANDO. Ay, better than him I am before knows me. I know you are			Orlando. Yes, better than him, I'm known before. I know you are
my eldest brother; and in the gentle condition of blood, you			My eldest brother; And in a gentle bloodstream, you
should so know me. The courtesy of nations allows you my better			Should know me like that. The courtesy of the nations allows them my better
in that you are the first-born; but the same tradition takes not			There they are the firstborn; But the same tradition does not take
away my blood, were there twenty brothers betwixt us. I have as			Away my blood, there were twenty brothers between us. I have as
much of my father in me as you, albeit I confess your coming			A big one
before me is nearer to his reverence.			In front of me is closer to his awe.
OLIVER. What, boy! [Strikes him]			Oliver. What boy! [Meets him]
ORLANDO. Come, come, elder brother, you are too young in this.			Orlando. Come on, come, older brother, you are too young in it.
OLIVER. Wilt thou lay hands on me, villain?			Oliver. Do you want to put my hands on me, villain?
ORLANDO. I am no villain; I am the youngest son of Sir Rowland de			Orlando. I am not a villain; I am the youngest son of Sir Rowland de
Boys. He was my father; and he is thrice a villain that says such			Guys. He was my father; And he is a bad guy three times who says so
a father begot villains. Wert thou not my brother, I would not			A father founded bad guys. You don't dust my brother, I wouldn't
take this hand from thy throat till this other had pull'd out thy			Take this hand out of your throat until this other had pulled you out
tongue for saying so. Thou has rail'd on thyself.			Tongue to say it. You seemed to yourself.
ADAM. [Coming forward] Sweet masters, be patient; for your father's			ADAM. [Forward] sweet master, be patient; For your father of your father
remembrance, be at accord.			Memory, his accord.
OLIVER. Let me go, I say.			Oliver. Let me go, I say.
ORLANDO. I will not, till I please; you shall hear me. My father			Orlando. I won't get it until I want it; You should hear me. My father
charg'd you in his will to give me good education: you have			You have them in his will to give me a good education
train'd me like a peasant, obscuring and hiding from me all			I trained like a farmer who hides me all and hid to me
gentleman-like qualities. The spirit of my father grows strong in			Gentleman-like properties. My father's spirit becomes strong in
me, and I will no longer endure it; therefore allow me such			Me, and I will no longer endure it; So allow me that
exercises as may become a gentleman, or give me the poor			Exercises that become a gentleman or give me my arms
allottery my father left me by testament; with that I will go buy			Allotry My father left me after the will; I will buy that
my fortunes.			My fortune.
OLIVER. And what wilt thou do? Beg, when that is spent? Well, sir,			Oliver. And what will you do? Betting when that is output? Well, sir,
get you in. I will not long be troubled with you; you shall have			Come in. I will not be worried with you for long; you should have
some part of your will. I pray you leave me.			Part of your will. I pray, you leave me.
ORLANDO. I no further offend you than becomes me for my good.			Orlando. I will not insult you than to become my good.
OLIVER. Get you with him, you old dog.			Oliver. Get yourself with him, you old dog.
ADAM. Is 'old dog' my reward? Most true, I have lost my teeth in			ADAM. Is 'old dog' my reward? The truest, I lost my teeth in my teeth
your service. God be with my old master! He would not have spoke			Your service. God be with my old master! He would not have spoken
such a word.			Such a word.
Exeunt ORLANDO and ADAM			Leave Orlando and Adam
OLIVER. Is it even so? Begin you to grow upon me? I will physic			Oliver. Is it at all? Do you start growing on me? I become physical
your rankness, and yet give no thousand crowns neither.			Their ranking unit and yet they do not give crowns.
Holla, Dennis!			Holla, Dennis!
Enter DENNIS			Enter Dennis
DENNIS. Calls your worship?			Dennis. Do you call your worship?
OLIVER. not Charles, the Duke's wrestler, here to speak with me?			Oliver. Not Charles, the Duke's wrestler, here to talk to me?
DENNIS. So please you, he is here at the door and importunes access			Dennis. So please, he is here at the door and access to import
to you.			to you.
OLIVER. Call him in. [Exit DENNIS] 'Twill be a good way; and			Oliver. Call him. and
to-morrow the wrestling is.			Tomorrow is the wrestling.
Enter CHARLES			Enter Charles
CHARLES. Good morrow to your worship.			Charles. Good morning for your worship.
OLIVER. Good Monsieur Charles! What's the new news at the new			Oliver. Good Monsieur Charles! What are the new news in the new
court?			Targeted?
CHARLES. There's no news at the court, sir, but the old news; that			Charles. There is no news about the court, sir, but the old news; the
is, the old Duke is banished by his younger brother the new Duke;			Is, the old duke is banished by his younger brother, the new Duke;
and three or four loving lords have put themselves into voluntary			and three or four loving gentlemen have volunteered to voluntarily
exile with him, whose lands and revenues enrich the new Duke;			Exile with him, whose countries and income enrich the new Duke;
therefore he gives them good leave to wander.			That is why he gives you good permission to hike.
OLIVER. Can you tell if Rosalind, the Duke's daughter, be banished			Oliver. Can you see whether Rosalind, the duke's daughter, is banished
with her father?			with her father?
CHARLES. O, no; for the Duke's daughter, her cousin, so loves her,			Charles. Oh no; For the duke's daughter, her cousin, she loves
being ever from their cradles bred together, that she would have			Always weighing out of her tied that she would have
followed her exile, or have died to stay behind her. She is at			followed her exile or has died to stay behind her. She is at
the court, and no less beloved of her uncle than his own			The Court of Justice and no less loved by her uncle than his own
daughter; and never two ladies loved as they do.			Daughter; And never loved two ladies like her.
OLIVER. Where will the old Duke live?			Oliver. Where will the old duke live?
CHARLES. They say he is already in the Forest of Arden, and a many			Charles. You say he is already in the forest of Arden and many
merry men with him; and there they live like the old Robin Hood			Happy men with him; And there they live like the old Robin Hood
of England. They say many young gentlemen flock to him every day,			from England. They say that many young men flock to him every day,
and fleet the time carelessly, as they did in the golden world.			And fleet the time carelessly as they did in the golden world.
OLIVER. What, you wrestle to-morrow before the new Duke?			Oliver. What, you ring in front of the new duke tomorrow?
CHARLES. Marry, do I, sir; and I came to acquaint you with a			Charles. Get married, me, sir; And I came to make you known to you
matter. I am given, sir, secretly to understand that your younger			Matter. I am administered, Sir, secretly to understand that they are younger
brother, Orlando, hath a disposition to come in disguis'd against			Brother, Orlando, has a disposition
me to try a fall. To-morrow, sir, I wrestle for my credit; and he			I try a fall. Tomorrow, sir, I rings after my loan; and he
that escapes me without some broken limb shall acquit him well.			This escapes me without a broken link will release him well.
Your brother is but young and tender; and, for your love, I would			Your brother is only young and tender; And for your love I would
be loath to foil him, as I must, for my own honour, if he come			Be off to thwart him, as I have to, to my own honor when he comes
in; therefore, out of my love to you, I came hither to acquaint			in; So I came here from my love for you to familiarize myself
you withal, that either you might stay him from his intendment,			They widen that they could either remain from his view,
or brook such disgrace well as he shall run into, in that it is			Or book as well as he was doing
thing of his own search and altogether against my will.			His own search and overall against my will.
OLIVER. Charles, I thank thee for thy love to me, which thou shalt			Oliver. Charles, thank you for your love for me what you should
find I will most kindly requite. I had myself notice of my			Find you, I will need the kindest. I had remembered myself
brother's purpose herein, and have by underhand means laboured to			The purpose of the brother and worked with sneaky means
dissuade him from it; but he is resolute. I'll tell thee,			dissuade him; But he's determined. I will tell you,
Charles, it is the stubbornest young fellow of France; full of			Charles, it is the most stubborn young man in France; full of
ambition, an envious emulator of every man's good parts, a secret			Ambition, a envious emulator of the good parts of every man, a secret
and villainous contriver against me his natural brother.			And malignant attention against me, his natural brother.
Therefore use thy discretion: I had as lief thou didst break his			So use your discretion
neck as his finger. And thou wert best look to't; for if thou			Neck like his finger. And you look best; Because if you
dost him any slight disgrace, or if he do not mightily grace			Dost a slight shame or if he doesn't make tired
himself on thee, he will practise against thee by poison, entrap			He on yourself, he will practice against you through poison, penetrate
thee by some treacherous device, and never leave thee till he			you from a treacherous device and never leave you to him
hath ta'en thy life by some indirect means or other; for, I			Has your life with indirect or other means; Because me
assure thee, and almost with tears I speak it, there is not one			Assure you, and almost with tears I speak it, there is none of one
so young and so villainous this day living. I speak but brotherly			Living so young and so malignant that day. But I speak fraternally
of him; but should I anatomize him to thee as he is, I must blush			by him; But if I anatomize him to you as it is, I have to blush
and weep, and thou must look pale and wonder.			And wines, and you have to look pale and wonder.
CHARLES. I am heartily glad I came hither to you. If he come			Charles. I am heard from the heart that I came to you. If he comes
to-morrow I'll give him his payment. If ever he go alone again,			Tomorrow I will give him his payment. If he ever goes alone
I'll never wrestle for prize more. And so, God keep your worship!			I will never wrestle for the price again. And so God keeps your worship!
Exit			Exit
OLIVER. Farewell, good Charles. Now will I stir this gamester.			Oliver. Farewell, good Charles. Now I will stir this game.
I hope I shall see an end of him; for my soul, yet I know not why,			I hope I will see an end from him; For my soul, but I don't know why
hates nothing more than he. Yet he's gentle; never school'd and			Hate nothing more than him. But he is gentle; Never at school and
yet learned; full of noble device; of all sorts enchantingly			still learned; Full of noble devices; all kinds
beloved; and, indeed, so much in the heart of the world, and			Lover; And indeed so much in the heart of the world and
especially of my own people, who best know him, that I am			Especially from my own people who know him best, I am
altogether misprised. But it shall not be so long; this wrestler			Overall wrong. But it won't be that long; This wrestler
shall clear all. Nothing remains but that I kindle the boy			Should all rooms. There is nothing left for me to ignite the boy
thither, which now I'll go about. Exit			When I go now. Exit
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SCENE II.			Scene II.
A lawn before the DUKE'S palace			A lawn in front of the duke's palace
Enter ROSALIND and CELIA			Enter Rosalind and Celia
CELIA. I pray thee, Rosalind, sweet my coz, be merry.			Celia. I pray you, Rosalind, sweet my reason, be happy.
ROSALIND. Dear Celia, I show more mirth than I am mistress of; and			Rosalind. Dear Celia, I show more joy than I am a mistress; and
would you yet I were merrier? Unless you could teach me to forget			Would you still be Merrier? Unless they could teach me to forget it
a banished father, you must not learn me how to remember any			A banished father, they must not learn me how to remember any
extraordinary pleasure.			Exceptional pleasure.
CELIA. Herein I see thou lov'st me not with the full weight that I			Celia. Here I see that you don't love me with the full weight that I am
love thee. If my uncle, thy banished father, had banished thy			love you. If my uncle, your banished father, would have banished yours
uncle, the Duke my father, so thou hadst been still with me,			Uncle, the Duke, my father, so you were still with me
I could have taught my love to take thy father for mine; so wouldst			I could have teached my love to take your father for mine; So would
thou, if the truth of thy love to me were so righteously temper'd			You, if the truth of your love for me was so righteous
as mine is to thee.			as mine is to you.
ROSALIND. Well, I will forget the condition of my estate, to			Rosalind. Well, I will forget the condition of my estate to
rejoice in yours.			Happy about you.
CELIA. You know my father hath no child but I, nor none is like to			Celia. You know my father has no child, but me, and nobody is like it
have; and, truly, when he dies thou shalt be his heir; for what			to have; And really, when he dies, you should be his heritage; for what
he hath taken away from thy father perforce, I will render thee			He brought your father Perforce away, I will render you
again in affection. By mine honour, I will; and when I break that			Again in affection. I will be; And when I break the
oath, let me turn monster; therefore, my sweet Rose, my dear			Oath, let me do a monster; So my sweet rose, my love
Rose, be merry.			Rose, be happy.
ROSALIND. From henceforth I will, coz, and devise sports.			Rosalind. From now on I will, Coz, and do sports.
Let me see; what think you of falling in love?			Let me see; What do you think to fall in love?
CELIA. Marry, I prithee, do, to make sport withal; but love no man			Celia. Marriage, I prithmy, do to do sports with sport; But I don't love a man
in good earnest, nor no further in sport neither than with safety			in good seriousness or no further in sport neither as certainly as
of a pure blush thou mayst in honour come off again.			From a pure blushing that comes to honor, comes again.
ROSALIND. What shall be our sport, then?			Rosalind. Then what should our sport be?
CELIA. Let us sit and mock the good housewife Fortune from her			Celia. Let us sit and mock the good housewife of her
wheel, that her gifts may henceforth be bestowed equally.			Rad that your gifts can be awarded from now on.
ROSALIND. I would we could do so; for her benefits are mightily			Rosalind. I would do that; Because their advantages are powerful
misplaced; and the bountiful blind woman doth most mistake in her			laid; And the rich blind woman is the most mistakes in her
gifts to women.			Gifts to women.
CELIA. 'Tis true; for those that she makes fair she scarce makes			Celia. It's true; For those who make them fair, they are scarce
honest; and those that she makes honest she makes very			honest; And those who make them honest makes them very much
ill-favouredly.			badly favorless.
ROSALIND. Nay; now thou goest from Fortune's office to Nature's:			Rosalind. No; Now you go from Fortune's Office to Nature's:
Fortune reigns in gifts of the world, not in the lineaments of			Fortune rules in gifts in the world, not at the intervals of
Nature.			Nature.
Enter TOUCHSTONE			Enter the test stone
CELIA. No; when Nature hath made a fair creature, may she not by			Celia. No; If nature has made a fair creature, it may not
Fortune fall into the fire? Though Nature hath given us wit to			Fall in the fire? Although nature gave us joke
flout at Fortune, hath not Fortune sent in this fool to cut off			Folding at Fortune, no fortune sent this fool to cut off
the argument?			the argument?
ROSALIND. Indeed, there is Fortune too hard for Nature, when			Rosalind. In fact, there is happiness for nature when nature is too heavy when
Fortune makes Nature's natural the cutter-off of Nature's wit.			Happiness naturally makes nature a cutter of the mind of nature.
CELIA. Peradventure this is not Fortune's work neither, but			Celia. Peradventure is not a fortune, but also, but also, but also
Nature's, who perceiveth our natural wits too dull to reason of			Nature's that perceives our natural mind that is too boring
such goddesses, and hath sent this natural for our whetstone; for			Such goddesses and of course have sent this so naturally for our Whitstone; to the
always the dullness of the fool is the whetstone of the wits.			The mattness of the fool is always the whet stone of the mind.
How now, wit! Whither wander you?			Like now, joke! Where do you go?
TOUCHSTONE. Mistress, you must come away to your father.			Test stone. Mistress, you have to come to your father.
CELIA. Were you made the messenger?			Celia. Were they made a messenger?
TOUCHSTONE. No, by mine honour; but I was bid to come for you.			Test stone. No, through my honor; But I had offered to come for you.
ROSALIND. Where learned you that oath, fool?			Rosalind. Where did this oath learn you, fools?
TOUCHSTONE. Of a certain knight that swore by his honour they were			Test stone. A certain knight who swore through his honor, they were
good pancakes, and swore by his honour the mustard was naught.			Good pancakes and swore through his honor, the mustard was nothing.
Now I'll stand to it, the pancakes were naught and the mustard			Now I will stick to it, the pancakes were nothing and the mustard
was good, and yet was not the knight forsworn.			Was good and wasn't the Ritter -Forsum.
CELIA. How prove you that, in the great heap of your knowledge?			Celia. How do you prove this in the great pile of your knowledge?
ROSALIND. Ay, marry, now unmuzzle your wisdom.			Rosalind. Yes, marriage, now your wisdom.
TOUCHSTONE. Stand you both forth now: stroke your chins, and swear			Test stone. Stand up both of them now: stroke their chin and swear
by your beards that I am a knave.			Through your beard that I am a villain.
CELIA. By our beards, if we had them, thou art.			Celia. If we had them, if we had them, artificially.
TOUCHSTONE. By my knavery, if I had it, then I were. But if you			Test stone. If I had it, then I was. But if you
swear by that that not, you are not forsworn; no more was this			swear that you are not sent; It was no longer
knight, swearing by his honour, for he never had any; or if he			Ritter who swears after his honor because he never had any; Or if he
had, he had sworn it away before ever he saw those pancackes or			Had sworn away before he had seen these pancackes or
that mustard.			This mustard.
CELIA. Prithee, who is't that thou mean'st?			Celia. Prithee, who doesn't mean that you mean?
TOUCHSTONE. One that old Frederick, your father, loves.			Test stone. One, the old Friedrich, your father, loves.
CELIA. My father's love is enough to honour him. Enough, speak no			Celia. My father's love is enough to honor him. Enough, speak no
more of him; you'll be whipt for taxation one of these days.			More from him; One day you will be for taxation.
TOUCHSTONE. The more pity that fools may not speak wisely what wise			Test stone. The more a shame that fools don't speak with carefully what wise
men do foolishly.			Men do stupid.
CELIA. By my troth, thou sayest true; for since the little wit that			Celia. According to my troth, they say the truth; Because since the little joke that
fools have was silenced, the little foolery that wise men have			Fock heads were silenced, the little stupidity, the wise men have
makes a great show. Here comes Monsieur Le Beau.			Makes a great show. Here comes Monsieur Le Beau.
Enter LE BEAU			Set the beautiful
ROSALIND. With his mouth full of news.			Rosalind. With his mouth full of news.
CELIA. Which he will put on us as pigeons feed their young.			Celia. What he will attract us when pigeons feed their young.
ROSALIND. Then shall we be news-cramm'd.			Rosalind. Then we will be news cramm'd.
CELIA. All the better; we shall be the more marketable. Bon jour,			Celia. All the better; We will be all the more marketable. Bonjour,
Monsieur Le Beau. What's the news?			Mr. Beau. What's new?
LE BEAU. Fair Princess, you have lost much good sport.			Le Beau. Fair princess, you have lost a lot of good sport.
CELIA. Sport! of what colour?			Celia. Sports! From what color?
LE BEAU. What colour, madam? How shall I answer you?			Le Beau. What color, Madam? How should I answer you?
ROSALIND. As wit and fortune will.			Rosalind. Like wit and happiness.
TOUCHSTONE. Or as the Destinies decrees.			Test stone. Or as fate records.
CELIA. Well said; that was laid on with a trowel.			Celia. Well said; That was created with a trowel.
TOUCHSTONE. Nay, if I keep not my rank-			Test stone. No, if I don't keep my rank.
ROSALIND. Thou losest thy old smell.			Rosalind. You left your old smell.
LE BEAU. You amaze me, ladies. I would have told you of good			Le Beau. You surprise me, ladies. I would have told you about good
wrestling, which you have lost the sight of.			Wrestling what you lost the sight.
ROSALIND. Yet tell us the manner of the wrestling.			Rosalind. However, tell us the type of wrestling.
LE BEAU. I will tell you the beginning, and, if it please your			Le Beau. I'll tell you the beginning and if you like it
ladyships, you may see the end; for the best is yet to do; and			Ladyships, you can see the end; The best has to do; and
here, where you are, they are coming to perform it.			Here where you are, they come to put it on.
CELIA. Well, the beginning, that is dead and buried.			Celia. Well, the beginning, that's dead and buried.
LE BEAU. There comes an old man and his three sons-			Le Beau. An old man and his three sons come.
CELIA. I could match this beginning with an old tale.			Celia. I could match this start with an old story.
LE BEAU. Three proper young men, of excellent growth and presence.			Le Beau. Three real young men, of excellent growth and presence.
ROSALIND. With bills on their necks: 'Be it known unto all men by			Rosalind. With bills on the neck: “Be it known to everyone
these presents'-			These gifts
LE BEAU. The eldest of the three wrestled with Charles, the Duke's			Le Beau. The oldest of the three rank with Charles, the Duke, rank
wrestler; which Charles in a moment threw him, and broke three of			Wrestling; which Charles threw him in one moment and three out of three broke
his ribs, that there is little hope of life in him. So he serv'd			His ribs that there is little hope of life in him. So he served
the second, and so the third. Yonder they lie; the poor old man,			The second and so the third. They lie over there; The poor old man,
their father, making such pitiful dole over them that all the			Her father, who dives so miserably that everyone all
beholders take his part with weeping.			Viewers take part in the wines.
ROSALIND. Alas!			Rosalind. Ach!
TOUCHSTONE. But what is the sport, monsieur, that the ladies have			Test stone. But what is the sport, Monsieur the women have?
lost?			lost?
LE BEAU. Why, this that I speak of.			Le Beau. Why is that that I speak.
TOUCHSTONE. Thus men may grow wiser every day. It is the first time			Test stone. So men can become smarter every day. It's the first time
that ever I heard breaking of ribs was sport for ladies.			I ever heard that Ribs was the breaking of women.
CELIA. Or I, I promise thee.			Celia. Or I promise you.
ROSALIND. But is there any else longs to see this broken music in			Rosalind. But there is still something else to see this broken music in the music
his sides? Is there yet another dotes upon rib-breaking?			his sides? Are there any other points at the rib breaker?
Shall we see this wrestling, cousin?			Should we see this wrestling, cousin?
LE BEAU. You must, if you stay here; for here is the place			Le Beau. You have to stay here if you stay here; Because here is the place
appointed for the wrestling, and they are ready to perform it.			appointed for the wrestling and are ready to do it.
CELIA. Yonder, sure, they are coming. Let us now stay and see it.			Celia. Direct, safe, they come. Let us stay now and see it.
Flourish. Enter DUKE FREDERICK, LORDS, ORLANDO,			Bloom. Enter Duke Frederick, Lords, Orlando,
CHARLES, and ATTENDANTS			Charles and companions
FREDERICK. Come on; since the youth will not be entreated, his own			Friedrich. Come on; Since the young person is not answered, his own
peril on his forwardness.			Danger on his forward.
ROSALIND. Is yonder the man?			Rosalind. Is the man over over there?
LE BEAU. Even he, madam.			THE BEAUTIFUL. Even he, Madam.
CELIA. Alas, he is too young; yet he looks successfully.			Celia. Unfortunately he is too young; Nevertheless, he looks successful.
FREDERICK. How now, daughter and cousin! Are you crept hither to			Friedrich. Like now, daughter and cousin! Did you sneak up here?
see the wrestling?			Do you see the wrestling?
ROSALIND. Ay, my liege; so please you give us leave.			Rosalind. Yes, my lucks; So please give us vacation.
FREDERICK. You will take little delight in it, I can tell you,			Friedrich. You will have little pleasure in it, I can tell you
there is such odds in the man. In pity of the challenger's youth			There are such opportunities in the man. In pity with the youth of the challenger
I would fain dissuade him, but he will not be entreated.			I would go away, but he weren't asked.
Speak to him, ladies; see if you can move him.			Talk to him, ladies; See if you can move it.
CELIA. Call him hither, good Monsieur Le Beau.			Celia. Name him here, good Monsieur Le Beau.
FREDERICK. Do so; I'll not be by.			Friedrich. Do this; I won't be over.
[DUKE FREDERICK goes apart]			[Duke Frederick goes apart]
LE BEAU. Monsieur the Challenger, the Princess calls for you.			Le Beau. Monsieur, the challenger, the princess calls for you.
ORLANDO. I attend them with all respect and duty.			Orlando. I visit them with any respect and duty.
ROSALIND. Young man, have you challeng'd Charles the wrestler?			Rosalind. Young man, did you challenge Charles, the wrestler?
ORLANDO. No, fair Princess; he is the general challenger. I come			Orlando. No, beautiful princess; He is the general challenger. I'm coming
but in, as others do, to try with him the strength of my youth.			But like others to try the strength of my youth with him.
CELIA. Young gentleman, your spirits are too bold for your years.			Celia. Young man, your mood is too brave for your years.
You have seen cruel proof of this man's strength; if you saw			You have seen a cruel evidence of the strength of this man; When you have seen
yourself with your eyes, or knew yourself with your judgment, the			themselves with their eyes or knew their judgment, that
fear of your adventure would counsel you to a more equal			The fear of her adventure would advise you on the same advice
enterprise. We pray you, for your own sake, to embrace your own			Company. We pray you to hug your own
safety and give over this attempt.			Security and give this attempt.
ROSALIND. Do, young sir; your reputation shall not therefore be			Rosalind. Do, young sir; Your reputation will therefore not be
misprised: we will make it our suit to the Duke that the			Misaligned: We will make it our suit to the duke that the
wrestling might not go forward.			Wrestling could not go forward.
ORLANDO. I beseech you, punish me not with your hard thoughts,			Orlando. I ask you, don't punish me with your hard thoughts
wherein I confess me much guilty to deny so fair and excellent			Although I owe myself a lot to deny so fairly and excellently
ladies any thing. But let your fair eyes and gentle wishes go			Women everything. But let your beautiful eyes and gentle wishes go
with me to my trial; wherein if I be foil'd there is but one			with me to my process; Where, when I am threaded, there is only one
sham'd that was never gracious; if kill'd, but one dead that is			Sham'd that was never gracious; When killed, but a dead man is that is
willing to be so. I shall do my friends no wrong, for I have none			to be ready. I won't go wrong with my friends because I don't have any
to lament me; the world no injury, for in it I have nothing; only			to complain; The world no injury because I have nothing; only
in the world I fill up a place, which may be better supplied when			In the world I fill out a place that may be delivered better if
I have made it empty.			I made it empty.
ROSALIND. The little strength that I have, I would it were with			Rosalind. The little force I have would be with it
you.			She.
CELIA. And mine to eke out hers.			Celia. And mine to spend their.
ROSALIND. Fare you well. Pray heaven I be deceiv'd in you!			Rosalind. Good luck for the future. Praying sky I'm being deceived in you!
CELIA. Your heart's desires be with you!			Celia. The wishes of your heart are with you!
CHARLES. Come, where is this young gallant that is so desirous to			Charles. Come, where is this young gallant who is so desirable
lie with his mother earth?			lie with his mother earth?
ORLANDO. Ready, sir; but his will hath in it a more modest working.			Orlando. Ready, sir; But his will has a more modest work.
FREDERICK. You shall try but one fall.			Friedrich. You will only try a fall.
CHARLES. No, I warrant your Grace, you shall not entreat him to a			Charles. No, I guarantee your grace, you shouldn't ask him for one
second, that have so mightily persuaded him from a first.			Second, that persuaded him from a first one.
ORLANDO. You mean to mock me after; you should not have mock'd me			Orlando. You want to mock me afterwards; You shouldn't have mocked me
before; but come your ways.			Before; But come your ways.
ROSALIND. Now, Hercules be thy speed, young man!			Rosalind. Now Hercules is your speed, young man!
CELIA. I would I were invisible, to catch the strong fellow by the			Celia. I would be invisible to catch the strong guy from the
leg. [They wrestle]			Leg. [You wrestle]
ROSALIND. O excellent young man!			Rosalind. O Excellent young man!
CELIA. If I had a thunderbolt in mine eye, I can tell who should			Celia. If I had a flash in my eye, I can say who should
down.			Low.
[CHARLES is thrown. Shout]			[Charles is thrown. Scream]
FREDERICK. No more, no more.			Friedrich. No longer.
ORLANDO. Yes, I beseech your Grace; I am not yet well breath'd.			Orlando. Yes, I ask your grace; I don't breathe well yet.
FREDERICK. How dost thou, Charles?			Friedrich. How do you, Charles?
LE BEAU. He cannot speak, my lord.			Le Beau. He can't speak, Lord.
FREDERICK. Bear him away. What is thy name, young man?			Friedrich. Retain it. What is your name, young man?
ORLANDO. Orlando, my liege; the youngest son of Sir Rowland de			Orlando. Orlando, my couch; The youngest son of Sir Rowland de
Boys.			Guys.
FREDERICK. I would thou hadst been son to some man else.			Friedrich. I would have been a son of another man.
The world esteem'd thy father honourable,			The world appreciated your father honor
But I did find him still mine enemy.			But I still found him my enemy.
Thou shouldst have better pleas'd me with this deed,			You should have liked me better with this act.
Hadst thou descended from another house.			Have you got down from another house.
But fare thee well; thou art a gallant youth;			But you are fine; You are a gallant youth;
I would thou hadst told me of another father.			I would have told myself about another father.
Exeunt DUKE, train, and LE BEAU			Leave Duke, Zug and Le Beau
CELIA. Were I my father, coz, would I do this?			Celia. Would I be my father, Coz, would I do that?
ORLANDO. I am more proud to be Sir Rowland's son,			Orlando. I am more proud to be Sir Rowland's son,
His youngest son- and would not change that calling			His youngest son and would not change this appointment
To be adopted heir to Frederick.			Adopted heritage for Frederick.
ROSALIND. My father lov'd Sir Rowland as his soul,			Rosalind. My father loved Sir Rowland as his soul
And all the world was of my father's mind;			And the whole world was out of my father's head;
Had I before known this young man his son,			I knew this young man, his son, before,
I should have given him tears unto entreaties			I should have given him tears for the requests
Ere he should thus have ventur'd.			So before he should have Venturis'd.
CELIA. Gentle cousin,			Celia. Gentle cousin,
Let us go thank him, and encourage him;			Let us thank him and encourage him;
My father's rough and envious disposition			My father's rough and envious disposition
Sticks me at heart. Sir, you have well deserv'd;			I am in the heart. Sir, you deserve it well;
If you do keep your promises in love			If you keep your promises in love
But justly as you have exceeded all promise,			But rightly how you have surpassed all promises,
Your mistress shall be happy.			Your lover should be happy.
ROSALIND. Gentleman, [Giving him a chain from her neck]			Rosalind. Gentleman, [gives him a chain out of her neck]
Wear this for me; one out of suits with fortune,			Wear that for me; One of suits with assets,
That could give more, but that her hand lacks means.			That could give more, but that your hand is missing.
Shall we go, coz?			Should we go, Coz?
CELIA. Ay. Fare you well, fair gentleman.			Celia. Ay. Dir Gut fare, Fairler Gentleman.
ORLANDO. Can I not say 'I thank you'? My better parts			Orlando. Can't I say "I thank you"? My better parts
Are all thrown down; and that which here stands up			Are all thrown down; And what is up here
Is but a quintain, a mere lifeless block.			Is just a quintain, a mere lifeless block.
ROSALIND. He calls us back. My pride fell with my fortunes;			Rosalind. He calls us back. My pride fell with my assets;
I'll ask him what he would. Did you call, sir?			I will ask him what he would do. Did you call Sir?
Sir, you have wrestled well, and overthrown			Sir, you wrestled well and fell
More than your enemies.			More than your enemies.
CELIA. Will you go, coz?			Celia. Will you go, Coz?
ROSALIND. Have with you. Fare you well.			Rosalind. Have with you. Good luck for the future.
Exeunt ROSALIND and CELIA			Leave Rosalind and Celia
ORLANDO. What passion hangs these weights upon my tongue?			Orlando. What passion does this weight depend on my tongue?
I cannot speak to her, yet she urg'd conference.			I can't talk to her, but she has granted a conference.
O poor Orlando, thou art overthrown!			O Poor Orlando, you fell!
Or Charles or something weaker masters thee.			Or Charles or something weaker.
Re-enter LE BEAU			Visit the beautiful again
LE BEAU. Good sir, I do in friendship counsel you			Le Beau. Good Sir, I will advise you in Friendships
To leave this place. Albeit you have deserv'd			Leave this place. Although they deserve it
High commendation, true applause, and love,			High commendation, true applause and love,
Yet such is now the Duke's condition			However, this is now the condition of the duke
That he misconstrues all that you have done.			That he misinterprets everything they did.
The Duke is humorous; what he is, indeed,			The duke is humorous; What he is indeed, actually
More suits you to conceive than I to speak of.			More fits you to speak of me.
ORLANDO. I thank you, sir; and pray you tell me this:			Orlando. Thank you, sir; And pray, you tell me that:
Which of the two was daughter of the Duke			Which of the two was the daughter of the duke?
That here was at the wrestling?			That was the wrestling here?
LE BEAU. Neither his daughter, if we judge by manners;			Le Beau. Neither his daughter if we judge manners;
But yet, indeed, the smaller is his daughter;			But the smaller one is indeed, his daughter;
The other is daughter to the banish'd Duke,			The other is the daughter of the banished duke,
And here detain'd by her usurping uncle,			And here from her usurpering uncle,
To keep his daughter company; whose loves			To keep his daughter in society; their love
Are dearer than the natural bond of sisters.			Are more expensive than the natural binding of sisters.
But I can tell you that of late this Duke			But I can tell you that lately this duke
Hath ta'en displeasure 'gainst his gentle niece,			Hat unmutgend
Grounded upon no other argument			Is not based on any other argument
But that the people praise her for her virtues			But that people praise them for their virtues
And pity her for her good father's sake;			And a shame about the will of her good father;
And, on my life, his malice 'gainst the lady			And in my life his malice win the lady
Will suddenly break forth. Sir, fare you well.			Will suddenly produce. Sir, you are fine.
Hereafter, in a better world than this,			In the following in a better world than this,
I shall desire more love and knowledge of you.			I will wish you more love and knowledge from you.
ORLANDO. I rest much bounden to you; fare you well.			Orlando. I rest a lot to you; Good luck for the future.
Exit LE BEAU			Leave the beautiful
Thus must I from the smoke into the smother;			So I have to suffocate from smoke in the smoke;
From tyrant Duke unto a tyrant brother.			From the tyrant Duke to a tyrant brother.
But heavenly Rosalind! Exit			But heavenly Rosalind! Exit
SCENE III.			Scene III.
The DUKE's palace			The Duke Palace
Enter CELIA and ROSALIND			Enter Celia and Rosalind
CELIA. Why, cousin! why, Rosalind! Cupid have mercy!			Celia. Why, cousin! Why, Rosalind! Cupid have mercy!
Not a word?			Not a word?
ROSALIND. Not one to throw at a dog.			Rosalind. Not one who throwing a dog.
CELIA. No, thy words are too precious to be cast away upon curs;			Celia. No, your words are too precious to be thrown away on curses;
throw some of them at me; come, lame me with reasons.			Throw some of them on me; Come on, paralyze me with reasons.
ROSALIND. Then there were two cousins laid up, when the one should			Rosalind. Then two cousins ​​were taken up if one should
be lam'd with reasons and the other mad without any.			Be crazy with reasons and the other without one.
CELIA. But is all this for your father?			Celia. But is that all for your father?
ROSALIND. No, some of it is for my child's father. O, how full of			Rosalind. No, part of it is for my child's father. O, how full of
briers is this working-day world!			Briers is this world on the working day!
CELIA. They are but burs, cousin, thrown upon thee in holiday			Celia. You are just Burs
foolery; if we walk not in the trodden paths, our very petticoats			Folly; If we don't go on the transported paths, our very petticoats
will catch them.			it will catch.
ROSALIND. I could shake them off my coat: these burs are in my			Rosalind. I could shake them from my coat: these borders are in mine
heart.			Heart.
CELIA. Hem them away.			Celia. Line them away.
ROSALIND. I would try, if I could cry 'hem' and have him.			Rosalind. I would try if I could cry 'hem and have it.
CELIA. Come, come, wrestle with thy affections.			Celia. Come on, come, rings with your affection.
ROSALIND. O, they take the part of a better wrestler than myself.			Rosalind. Oh, they take the part of a better wrestler than me.
CELIA. O, a good wish upon you! You will try in time, in despite of			Celia. Oh, a good wish for you! You will try it in time, despite
a fall. But, turning these jests out of service, let us talk in			A fall. But let us make these jokes out of the service
good earnest. Is it possible, on such a sudden, you should fall			Good serious. Is it possible that you should fall so suddenly
into so strong a liking with old Sir Rowland's youngest son?			In such a strong preference with the youngest son of old Sir Rowland?
ROSALIND. The Duke my father lov'd his father dearly.			Rosalind. The Duke My Father loved his father very much.
CELIA. Doth it therefore ensue that you should love his son dearly?			Celia. So it follows that you should love his son very much?
By this kind of chase I should hate him, for my father hated his			With this kind of chase I should hate him because my father hated his
father dearly; yet I hate not Orlando.			Father expensive; Still, I don't hate Orlando.
ROSALIND. No, faith, hate him not, for my sake.			Rosalind. No, don't believe it to myet.
CELIA. Why should I not? Doth he not deserve well?			Celia. Why shouldn't I? Doesn't he earn it well?
Enter DUKE FREDERICK, with LORDS			Enter Duke Frederick with Lords
ROSALIND. Let me love him for that; and do you love him because I			Rosalind. Let me love him for it; And do you love him because I
do. Look, here comes the Duke.			do. Look here comes the duke.
CELIA. With his eyes full of anger.			Celia. With his eyes full of anger.
FREDERICK. Mistress, dispatch you with your safest haste,			Friedrich. Mistress, send you with your safest hurry,
And get you from our court.			And get from our dish.
ROSALIND. Me, uncle?			Rosalind. I, uncle?
FREDERICK. You, cousin.			Friedrich. You, cousin.
Within these ten days if that thou beest found			Within these ten days if you have found
So near our public court as twenty miles,			So near our public court as twenty miles,
Thou diest for it.			You have for it.
ROSALIND. I do beseech your Grace,			Rosalind. I give your grace
Let me the knowledge of my fault bear with me.			Let me endure the knowledge of my guilt with me.
If with myself I hold intelligence,			When I keep intelligence with myself
Or have acquaintance with mine own desires;			Or have acquainted with my own wishes;
If that I do not dream, or be not frantic-			If I don't dream or not hectic.
As I do trust I am not- then, dear uncle,			Since I trust, I am not- dear uncle,
Never so much as in a thought unborn			Never as much as in an unborn thoughts
Did I offend your Highness.			Did I insult your sovereignty?
FREDERICK. Thus do all traitors;			Friedrich. This is how all traitors do;
If their purgation did consist in words,			If your purgatory existed in words,
They are as innocent as grace itself.			They are as innocent as the grace itself.
Let it suffice thee that I trust thee not.			Let it be enough for me not to trust you.
ROSALIND. Yet your mistrust cannot make me a traitor.			Rosalind. But her distrust cannot make me a traitor.
Tell me whereon the likelihood depends.			Tell me where the probability depends.
FREDERICK. Thou art thy father's daughter; there's enough.			Friedrich. You are your father's daughter of your father; There is enough.
ROSALIND. SO was I when your Highness took his dukedom;			Rosalind. So I was when your sovereignty took his heart;
So was I when your Highness banish'd him.			So I was when your sovereignty banished him.
Treason is not inherited, my lord;			Retirement is not inherited, my gentleman;
Or, if we did derive it from our friends,			Or if we have derived it from our friends
What's that to me? My father was no traitor.			What is that for me? My father was not a traitor.
Then, good my liege, mistake me not so much			Then well, my lucks, don't confuse me so much
To think my poverty is treacherous.			To think, my poverty is tricky.
CELIA. Dear sovereign, hear me speak.			Celia. Better to hear me sovereign.
FREDERICK. Ay, Celia; we stay'd her for your sake,			Friedrich. Ay, Celia; We stayed with her for your sake
Else had she with her father rang'd along.			Otherwise she had called her father.
CELIA. I did not then entreat to have her stay;			Celia. I then did not ask for your stay;
It was your pleasure, and your own remorse;			It was her pleasure and her own remorse;
I was too young that time to value her,			I was too young too young to appreciate her
But now I know her. If she be a traitor,			But now I know her. If she is a traitor
Why so am I: we still have slept together,			Why so I am: we still slept together
Rose at an instant, learn'd, play'd, eat together;			Rose;
And wheresoe'er we went, like Juno's swans,			And where we went, like Juno's swans,
Still we went coupled and inseparable.			Nevertheless, we went coupled and inseparable.
FREDERICK. She is too subtle for thee; and her smoothness,			Friedrich. It is too subtle for you; and their smoothness,
Her very silence and her patience,			Your silence and patience,
Speak to the people, and they pity her.			Talk to people and pity with her.
Thou art a fool. She robs thee of thy name;			You're an idiot. It robs you of your name;
And thou wilt show more bright and seem more virtuous			And you will appear brighter and virtuous
When she is gone. Then open not thy lips.			When she's gone. Then don't open your lips.
Firm and irrevocable is my doom			My doom is firm and irrevocable
Which I have pass'd upon her; she is banish'd.			What I went to her; They banished.
CELIA. Pronounce that sentence, then, on me, my liege;			Celia. Then speak this sentence on me;
I cannot live out of her company.			I can't live from your company.
FREDERICK. You are a fool. You, niece, provide yourself.			Friedrich. You are a fool. You, niece, turn out.
If you outstay the time, upon mine honour,			If you oversteer the time, according to my honor,
And in the greatness of my word, you die.			And in the size of my word you die.
Exeunt DUKE and LORDS			Leave duke and gentlemen
CELIA. O my poor Rosalind! Whither wilt thou go?			Celia. O My poor Rosalind! Where will you go?
Wilt thou change fathers? I will give thee mine.			Do you want to change fathers? I'll give you mine.
I charge thee be not thou more griev'd than I am.			I don't calculate you, you are no longer difficult than me.
ROSALIND. I have more cause.			Rosalind. I have more cause.
CELIA. Thou hast not, cousin.			Celia. You don't have cousin.
Prithee be cheerful. Know'st thou not the Duke			Prithee is happy. You don't know the duke
Hath banish'd me, his daughter?			Did me, his daughter, banish me?
ROSALIND. That he hath not.			Rosalind. That he doesn't have.
CELIA. No, hath not? Rosalind lacks, then, the love			Celia. No, didn't have? Rosalind then lacks love
Which teacheth thee that thou and I am one.			It teaches you that you and I are one.
Shall we be sund'red? Shall we part, sweet girl?			Should we be healthy? Should we separate, sweet girl?
No; let my father seek another heir.			No; Let my father look for another heir.
Therefore devise with me how we may fly,			That's why they develop with me how we can fly
Whither to go, and what to bear with us;			Where to go and what should carry with us;
And do not seek to take your charge upon you,			And don't try to adopt your charges
To bear your griefs yourself, and leave me out;			To wear your grief yourself and let me out;
For, by this heaven, now at our sorrows pale,			Because through this sky, now in our worries, pale,
Say what thou canst, I'll go along with thee.			Say what you can do, I'll take part with you.
ROSALIND. Why, whither shall we go?			Rosalind. Why should we go?
CELIA. To seek my uncle in the Forest of Arden.			Celia. Find my uncle in the forest of Arden.
ROSALIND. Alas, what danger will it be to us,			Rosalind. Unfortunately, what danger will it be for us,
Maids as we are, to travel forth so far!			Maids as we are to travel so!
Beauty provoketh thieves sooner than gold.			The beauty provocetal thieves earlier than gold.
CELIA. I'll put myself in poor and mean attire,			Celia. I will put myself in the arms and my clothes
And with a kind of umber smirch my face;			And with a kind of umber my face grins;
The like do you; so shall we pass along,			They do the same; So we should go on
And never stir assailants.			And never stir the attacker.
ROSALIND. Were it not better,			Rosalind. Wasn't it better
Because that I am more than common tall,			Because I am more than often big
That I did suit me all points like a man?			That I met all the points like a man?
A gallant curtle-axe upon my thigh,			A gallant hut axis on my thigh,
A boar spear in my hand; and- in my heart			A boar spear in my hand; and- in my heart
Lie there what hidden woman's fear there will-			Lay
We'll have a swashing and a martial outside,			We will sweat outside and are warlike
As many other mannish cowards have			Like many other male cowards
That do outface it with their semblances.			The overlap with their attacks.
CELIA. What shall I call thee when thou art a man?			Celia. How should I call you when you are a man?
ROSALIND. I'll have no worse a name than Jove's own page,			Rosalind. I will not have a worse name than Jove's own side.
And therefore look you call me Ganymede.			And that's why you call me Ganymed.
But what will you be call'd?			But how will you call?
CELIA. Something that hath a reference to my state:			Celia. Something that has a reference to my condition:
No longer Celia, but Aliena.			No longer Celia, but Aliena.
ROSALIND. But, cousin, what if we assay'd to steal			Rosalind. But cousin, what if we have examined to steal?
The clownish fool out of your father's court?			The clown fool from your father's yard?
Would he not be a comfort to our travel?			Wouldn't he be comfort for our trip?
CELIA. He'll go along o'er the wide world with me;			Celia. He will go across the wide world with me;
Leave me alone to woo him. Let's away,			Leave me alone to rewrite it. Let's leave out
And get our jewels and our wealth together;			And get our jewels and our wealth together;
Devise the fittest time and safest way			Develop the strongest and safest way
To hide us from pursuit that will be made			To hide from the persecution that is made
After my flight. Now go we in content			After my flight. Now we are going into content
To liberty, and not to banishment. Exeunt			For freedom and not for exile. Exeunt
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ACT II. SCENE I.			ACT II. Sente I.
The Forest of Arden			The forest of Arden
Enter DUKE SENIOR, AMIENS, and two or three LORDS, like foresters			Enter Duke Senior, Amiens and two or three Lords, like Forsters
DUKE SENIOR. Now, my co-mates and brothers in exile,			Duke senior. Now my roommates and brothers in exile,
Hath not old custom made this life more sweet			The old habit made this life sweeter
Than that of painted pomp? Are not these woods			As that from Painted Pomp? Are not these forests
More free from peril than the envious court?			More free from danger than the jealous court?
Here feel we not the penalty of Adam,			Here we don't feel the punishment of Adam,
The seasons' difference; as the icy fang			The difference in the seasons; As an icy catch
And churlish chiding of the winter's wind,			And Churlish Tatide of the Winterwind,
Which when it bites and blows upon my body,			What if it bites and blows on my body,
Even till I shrink with cold, I smile and say			Even until I shrink cold, I smile and say
This is no flattery; these are counsellors			This is not a flattery; These are consultants
That feelingly persuade me what I am.'			That feels persuaded to what I am. '
Sweet are the uses of adversity,			The use of adversities are cute,
Which, like the toad, ugly and venomous,			What, how the toad, ugly and toxic,
Wears yet a precious jewel in his head;			Still wears a precious jewel in his head;
And this our life, exempt from public haunt,			And this is our lives, freed from public meeting point,
Finds tongues in trees, books in the running brooks,			Find tongues in trees, books in the current Brooks,
Sermons in stones, and good in everything.			Sermons in stones and well in everything.
I would not change it.			I wouldn't change it.
AMIENS. Happy is your Grace,			Amiens. Your grace is happy
That can translate the stubbornness of fortune			This can translate the stubbornness of the assets
Into so quiet and so sweet a style.			In such a calm and so sweet a style.
DUKE SENIOR. Come, shall we go and kill us venison?			Duke senior. Come on, should we kill the venison?
And yet it irks me the poor dappled fools,			And yet it mistakes my poor heads
Being native burghers of this desert city,			Be a local burgher of this desert city,
Should, in their own confines, with forked heads			Should be in their own limits with fork heads
Have their round haunches gor'd.			I have their rounds bounce.
FIRST LORD. Indeed, my lord,			First gentleman. Indeed my Lord,
The melancholy Jaques grieves at that;			The melancholic Jaques mourn it;
And, in that kind, swears you do more usurp			And in this way they swear that they do more usurp
Than doth your brother that hath banish'd you.			When your brother who banned you.
To-day my Lord of Amiens and myself			Today my master of Amiens and I
Did steal behind him as he lay along			Stolen behind him when he kept up
Under an oak whose antique root peeps out			Under an oak whose ancient root emerges
Upon the brook that brawls along this wood!			On the stream that slips over this wood!
To the which place a poor sequest'red stag,			To what a poor sequest deer places,
That from the hunter's aim had ta'en a hurt,			That from the hunter's goal had an injuries
Did come to languish; and, indeed, my lord,			Came to smile; And indeed my Lord,
The wretched animal heav'd forth such groans			The miserable animal was highlighted by such a groan
That their discharge did stretch his leathern coat			That her discharge stretched his leather coat
Almost to bursting; and the big round tears			Almost to burst; And the big round tears
Cours'd one another down his innocent nose			Correct each other about his innocent nose
In piteous chase; and thus the hairy fool,			In pictorial chase; And so the hairy fool,
Much marked of the melancholy Jaques,			Much shaped by the melancholic Jaques,
Stood on th' extremest verge of the swift brook,			Stood on the most extreme edge of the Swift stream,
Augmenting it with tears.			Expand it with tears.
DUKE SENIOR. But what said Jaques?			Duke senior. But what did Jaques say?
Did he not moralize this spectacle?			Didn't he moralize this spectacle?
FIRST LORD. O, yes, into a thousand similes.			First gentleman. O, yes, in a thousand parables.
First, for his weeping into the needless stream:			First, for his crying in the unnecessary electricity:
Poor deer,' quoth he 'thou mak'st a testament			Poor deer, 'quoth he' du mak'st a testament
As worldlings do, giving thy sum of more			Like the world, they give their sum of more
To that which had too much.' Then, being there alone,			To what was too much. 'Then be alone
Left and abandoned of his velvet friends:			Left and abandoned by his velvet friends:
'Tis right'; quoth he 'thus misery doth part			'It right'; Quoth he 'so bad parts partly
The flux of company.' Anon, a careless herd,			The flow of society. 'Anon, a careless herd,
Full of the pasture, jumps along by him			Full pasture jumps from him
And never stays to greet him. 'Ay,' quoth Jaques			And never stays to greet him. "Ay", Quoth Jaques
Sweep on, you fat and greasy citizens;			Send them further, fat and greasy citizens;
Tis just the fashion. Wherefore do you look			It's just fashion. That's why you look out
Upon that poor and broken bankrupt there?'			There on this poor and broken bankruptcy? '
Thus most invectively he pierceth through			The most included through Pierceth
The body of the country, city, court,			The body of the country, the city, the court, court,
Yea, and of this our life; swearing that we			Yes, and of it of our lives; we swear that we
Are mere usurpers, tyrants, and what's worse,			Are mere usurpators, tyrants and what is worse
To fright the animals, and to kill them up			To scare the animals and kill them
In their assign'd and native dwelling-place.			In their assigned and local place of residence.
DUKE SENIOR. And did you leave him in this contemplation?			Duke senior. And did you leave him in this contemplation?
SECOND LORD. We did, my lord, weeping and commenting			Second gentleman. We did, my master, cried and commented
Upon the sobbing deer.			On the sobbing deer.
DUKE SENIOR. Show me the place;			Duke senior. Show me the place;
I love to cope him in these sullen fits,			I love to cope with him in these grumpy seizures,
For then he's full of matter.			Because then it is full of matter.
FIRST LORD. I'll bring you to him straight. Exeunt			First gentleman. I will bring you directly to him. Exeunt
SCENE II.			Scene II.
The DUKE'S palace			The Duke Palace
Enter DUKE FREDERICK, with LORDS			Enter Duke Frederick with Lords
FREDERICK. Can it be possible that no man saw them?			Friedrich. Can nobody see her?
It cannot be; some villains of my court			It can not be; Some villains of my farm
Are of consent and sufferance in this.			Are of approval and suffering.
FIRST LORD. I cannot hear of any that did see her.			First gentleman. I can't hear from anyone who saw her.
The ladies, her attendants of her chamber,			The ladies, their companion of their chamber,
Saw her abed, and in the morning early			Looked at and in the morning early
They found the bed untreasur'd of their mistress.			They didn't find the bed from their lover.
SECOND LORD. My lord, the roynish clown, at whom so oft			Second gentleman. My Lord, the roynic clown, where it is often
Your Grace was wont to laugh, is also missing.			Your grace was not laughing, too.
Hisperia, the Princess' gentlewoman,			Hisperia, the gentle wife of the princess,
Confesses that she secretly o'erheard			Confesses that she is secretly passing over
Your daughter and her cousin much commend			Her daughter and cousin praise a lot
The parts and graces of the wrestler			The parts and grace of the wrestler
That did but lately foil the sinewy Charles;			This has only been thwarted the searing charles lately;
And she believes, wherever they are gone,			And she believes wherever you are gone
That youth is surely in their company.			This youth is certainly in your company.
FREDERICK. Send to his brother; fetch that gallant hither.			Friedrich. Send to his brother; Get the gallant here.
If he be absent, bring his brother to me;			If he is absent, bring his brother to me;
I'll make him find him. Do this suddenly;			I will make him find him. Suddenly do that;
And let not search and inquisition quail			And do not search and be awakened in quisitions
To bring again these foolish runaways. Exeunt			To bring these stupid outliers back. Exeunt
SCENE III.			Scene III.
Before OLIVER'S house			In front of Oliver's house
Enter ORLANDO and ADAM, meeting			Enter Orlando and Adam, meeting
ORLANDO. Who's there?			Orlando. Who's there?
ADAM. What, my young master? O my gentle master!			ADAM. What, my young master? O My gentle master!
O my sweet master! O you memory			O My sweet master! O You memory
Of old Sir Rowland! Why, what make you here?			Of the old Sir Rowland! Why, what is you doing here?
Why are you virtuous? Why do people love you?			Why are you virtuous? Why do people love you?
And wherefore are you gentle, strong, and valiant?			And why are you gentle, strong and brave?
Why would you be so fond to overcome			Why would you be so well overcome?
The bonny prizer of the humorous Duke?			The Bonny Prizer of the humorous duke?
Your praise is come too swiftly home before you.			Your praise is too quickly home in front of you.
Know you not, master, to some kind of men			Don't know yourself, master, for a kind of men
Their graces serve them but as enemies?			But their graces serve as enemies?
No more do yours. Your virtues, gentle master,			Don't do yours anymore. Your virtues, gentle master,
Are sanctified and holy traitors to you.			Are sanctified and sacred traitors for them.
O, what a world is this, when what is comely			Oh, what kind of world is it when what is beautiful
Envenoms him that bears it!			Envenoms him that it wears!
ORLANDO. Why, what's the matter?			Orlando. Why what's going on?
ADAM. O unhappy youth!			ADAM. O unfortunate youth!
Come not within these doors; within this roof			Do not come within these doors; Within this roof
The enemy of all your graces lives.			The enemy of all graces lives.
Your brother- no, no brother; yet the son-			Your brother- no brother; But the son
Yet not the son; I will not call him son			But not the son; I won't call him son
Of him I was about to call his father-			I wanted to call his father from him.
Hath heard your praises; and this night he means			I heard your praise; And that night he means
To burn the lodging where you use to lie,			To burn the accommodation where you lie where you lie,
And you within it. If he fail of that,			And you in him. If he fails
He will have other means to cut you off;			He will have different means to cut them off;
I overheard him and his practices.			I heard him and his practices.
This is no place; this house is but a butchery;			This is not a place; This house is just a butcher;
Abhor it, fear it, do not enter it.			Faith, fear it, don't enter it.
ORLANDO. Why, whither, Adam, wouldst thou have me go?			Orlando. Why, where to go, would you let me go?
ADAM. No matter whither, so you come not here.			ADAM. No matter where, so you can't come here.
ORLANDO. What, wouldst thou have me go and beg my food,			Orlando. What, would you let me go and ask my food
Or with a base and boist'rous sword enforce			Or enforce with a base and a Boist'Rous sword
A thievish living on the common road?			A duration that lives on the common street?
This I must do, or know not what to do;			I have to do this or don't know what to do;
Yet this I will not do, do how I can.			But I won't do that as I can.
I rather will subject me to the malice			I will rather submit to malice
Of a diverted blood and bloody brother.			Of a redirected blood and a bloody brother.
ADAM. But do not so. I have five hundred crowns,			ADAM. But not like this. I have five hundred crowns
The thrifty hire I sav'd under your father,			The economical attitude that I mocked under your father,
Which I did store to be my foster-nurse,			What I have stored to be my care
When service should in my old limbs lie lame,			If the service should be lame in my old limbs,
And unregarded age in corners thrown.			And not respected in corners.
Take that, and He that doth the ravens feed,			Take that and who feeds the ravens feeds.
Yea, providently caters for the sparrow,			Yes, providers for the sparrow,
Be comfort to my age! Here is the gold;			Be comfort my age! Here is the gold;
All this I give you. Let me be your servant;			I give you all of this. Let me be your servant;
Though I look old, yet I am strong and lusty;			Although I look old, I am strong and lustful;
For in my youth I never did apply			Because in my youth I never applied
Hot and rebellious liquors in my blood,			Hot and rebellious liquids in my blood,
Nor did not with unbashful forehead woo			Also was not with an unjustified forehead Woo
The means of weakness and debility;			The means of weakness and weakness;
Therefore my age is as a lusty winter,			Therefore my age is a lustful winter
Frosty, but kindly. Let me go with you;			Frosty but friendly. Let me go with you;
I'll do the service of a younger man			I will do the service of a younger man
In all your business and necessities.			In all your business activities and necessities.
ORLANDO. O good old man, how well in thee appears			Orlando. O good old man, how well appears in you
The constant service of the antique world,			The constant service of the antique world,
When service sweat for duty, not for meed!			If the service welds to service, not for Meed!
Thou art not for the fashion of these times,			You are not for the fashion of these times
Where none will sweat but for promotion,			Where nobody will sweat, but for promotion,
And having that do choke their service up			And if that chokes your service
Even with the having; it is not so with thee.			Also with that; It's not that with you.
But, poor old man, thou prun'st a rotten tree			But poor old man, you gave a lazy tree
That cannot so much as a blossom yield			That can't be as much as a flower yield
In lieu of all thy pains and husbandry.			Instead of all pain and attitude.
But come thy ways, we'll go along together,			But come on your ways, we'll ride along
And ere we have thy youthful wages spent			And um, we spent your young wages
We'll light upon some settled low content.			We will illuminate some low content.
ADAM. Master, go on; and I will follow the			ADAM. Master, continue; And I'll follow that
To the last gasp, with truth and loyalty.			Until the last gas with truth and loyalty.
From seventeen years till now almost four-score			From seventeen years so far almost four score
Here lived I, but now live here no more.			I lived here, but now you don't live here.
At seventeen years many their fortunes seek,			At the age of seventeen, their assets are looking for
But at fourscore it is too late a week;			But at FourScore it is too late a week;
Yet fortune cannot recompense me better			But Fortune can't teach me better
Than to die well and not my master's debtor. Exeunt			To die as good and not the debtor of my master. Exeunt
SCENE IV.			Feel IV.
The Forest of Arden			The forest of Arden
Enter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias TOUCHSTONE			Enter Rosalind for Ganymede, Celia for Aliena and Clown alias Touchstone
ROSALIND. O Jupiter, how weary are my spirits!			Rosalind. O Jupiter, how tired are my mood!
TOUCHSTONE. I Care not for my spirits, if my legs were not weary.			Test stone. I don't care about my mood when my legs were not tired.
ROSALIND. I could find in my heart to disgrace my man's apparel,			Rosalind. I was able to find my husband's clothing, to shake my husband's clothing
and to cry like a woman; but I must comfort the weaker vessel, as			and how to cry like a woman; But I have to comfort the weaker ship like
doublet and hose ought to show itself courageous to petticoat;			Double and hose should be courageous for petticoat;
therefore, courage, good Aliena.			Hence courage, good aliena.
CELIA. I pray you bear with me; I cannot go no further.			Celia. I pray, you carry with me; I can't go any further.
TOUCHSTONE. For my part, I had rather bear with you than bear you;			Test stone. On my part I preferred to born with you than to carry you;
yet I should bear no cross if I did bear you; for I think you			Nevertheless, I shouldn't wear a cross if I born you; Because I think you
have no money in your purse.			I don't have any money in your handbag.
ROSALIND. Well,. this is the Forest of Arden.			Rosalind. Spring,. This is the forest of Arden.
TOUCHSTONE. Ay, now am I in Arden; the more fool I; when I was at			Test stone. Yes, now I'm in Arden; the more fool I; When I was at
home I was in a better place; but travellers must be content.			At home I was in a better place; But travelers have to be satisfied.
Enter CORIN and SILVIUS			Enter Corin and Silvius
ROSALIND. Ay, be so, good Touchstone. Look you, who comes here, a			Rosalind. Yes, be so, good touchstone. Watch who comes here, a
young man and an old in solemn talk.			Young man and an old solemn conversation.
CORIN. That is the way to make her scorn you still.			Corin. This is the way to make them despised.
SILVIUS. O Corin, that thou knew'st how I do love her!			Silvius. O Corin that you knew how I love her!
CORIN. I partly guess; for I have lov'd ere now.			Corin. I partly suspect; Because I've loved now.
SILVIUS. No, Corin, being old, thou canst not guess,			Silvius. No, corin, old, you can't advise,
Though in thy youth thou wast as true a lover			Although in your youth you have disappeared as a true lover
As ever sigh'd upon a midnight pillow.			As always, a midnight pillow sighed.
But if thy love were ever like to mine,			But if your love would ever like to be mine
As sure I think did never man love so,			I think I think man never loved, so,
How many actions most ridiculous			How many actions the most ridiculous
Hast thou been drawn to by thy fantasy?			Have you dressed by your imagination?
CORIN. Into a thousand that I have forgotten.			Corin. In a thousand that I forgot.
SILVIUS. O, thou didst then never love so heartily!			Silvius. Oh, you never loved so warmly!
If thou rememb'rest not the slightest folly			If you remember, not the slightest foolishness
That ever love did make thee run into,			This love has ever made you run,
Thou hast not lov'd;			You didn't loved;
Or if thou hast not sat as I do now,			Or if you haven't sat as I do now,
Wearing thy hearer in thy mistress' praise,			Wear your listeners in the praise of the mistress with your listener,
Thou hast not lov'd;			You didn't loved;
Or if thou hast not broke from company			Or if you have not broken out of society
Abruptly, as my passion now makes me,			Abrupt how my passion does me now,
Thou hast not lov'd.			You didn't loved.
O Phebe, Phebe, Phebe! Exit Silvius			Oh phebe, hinge, quiet! Leaves SYEE SYEVEY
ROSALIND. Alas, poor shepherd! searching of thy wound,			Rosalind. Unfortunately, poor shepherd! Search for your wound
I have by hard adventure found mine own.			I found my own from Hard Adventure.
TOUCHSTONE. And I mine. I remember, when I was in love, I broke my			Test stone. And I mean. I remember when I was in love, I broke mine
sword upon a stone, and bid him take that for coming a-night to			Sword on a stone and provides that he held that for an evening
Jane Smile; and I remember the kissing of her batler, and the			Jane smiles; And I remember kissing your batler and the
cow's dugs that her pretty chopt hands had milk'd; and I remember			Cowdugs that their pretty chop hands were milk; And I remember
the wooing of peascod instead of her; from whom I took two cods,			the swinging earth instead of it; from whom I took two cod,
and giving her them again, said with weeping tears 'Wear these			and gave her again, said with crying tears who wear them
for my sake.' We that are true lovers run into strange capers;			because of me.' We who are true lovers meet strange capers;
but as all is mortal in nature, so is all nature in love mortal			But how everything is mortal in nature, so everything is mortal in love
in folly.			in foolish.
ROSALIND. Thou speak'st wiser than thou art ware of.			Rosalind. You speak wises as you kind of goods of.
TOUCHSTONE. Nay, I shall ne'er be ware of mine own wit till I break			Test stone. No, I will not exercise my own mind until I break
my shins against it.			My shin on the other hand.
ROSALIND. Jove, Jove! this shepherd's passion			Rosalind. Jove, Jove! The passion of this shepherd
Is much upon my fashion.			Is a lot of my fashion.
TOUCHSTONE. And mine; but it grows something stale with me.			Test stone. And mine; But it grows a bit with me.
CELIA. I pray you, one of you question yond man			Celia. I pray you, one of you question yond man
If he for gold will give us any food;			If he gives us something for gold;
I faint almost to death.			I'm almost to death.
TOUCHSTONE. Holla, you clown!			Test stone. Holla, you clown!
ROSALIND. Peace, fool; he's not thy Ensman.			Rosalind. Peace, fool; He is not your Ensman.
CORIN. Who calls?			Corin. Who is calling?
TOUCHSTONE. Your betters, sir.			Test stone. Your improvements, sir.
CORIN. Else are they very wretched.			Corin. Otherwise they are very miserable.
ROSALIND. Peace, I say. Good even to you, friend.			Rosalind. Peace, I say. Good even for you, friend.
CORIN. And to you, gentle sir, and to you all.			Corin. And to them, gentle lord and all of them.
ROSALIND. I prithee, shepherd, if that love or gold			Rosalind. I prithmy, shepherd when this love or gold
Can in this desert place buy entertainment,			Can buy entertainment in this desert plate,
Bring us where we may rest ourselves and feed.			Bring us where we can rest and feed.
Here's a young maid with travel much oppress'd,			Here is a young maid with a lot of oppressed trips,
And faints for succour.			And passed out to the assistance.
CORIN. Fair sir, I pity her,			Corin. Fairer sir, I pity with her,
And wish, for her sake more than for mine own,			And wish you more than for mine, for my will,
My fortunes were more able to relieve her;			My fate was more able to relieve them;
But I am shepherd to another man,			But I'm to another man who has another man shepherd,
And do not shear the fleeces that I graze.			And do not seem to score the fleeces that I wreise.
My master is of churlish disposition,			My master is of churlical attitude,
And little recks to find the way to heaven			And small demonstrations to find the way to heaven
By doing deeds of hospitality.			By doing hospitality.
Besides, his cote, his flocks, and bounds of feed,			In addition, his Cote, his herds and limits of the feed,
Are now on sale; and at our sheepcote now,			Are now for sale; And now with our sheep's kote,
By reason of his absence, there is nothing			For reasons of his absence there is nothing
That you will feed on; but what is, come see,			That they feed; But what is you come, you see
And in my voice most welcome shall you be.			And you want to be with my voice.
ROSALIND. What is he that shall buy his flock and pasture?			Rosalind. What should he buy his herd and pasture?
CORIN. That young swain that you saw here but erewhile,			Corin. This young Schwain you saw here, but duck,
That little cares for buying any thing.			This little one takes care of buying something.
ROSALIND. I pray thee, if it stand with honesty,			Rosalind. I pray you when it is with honesty
Buy thou the cottage, pasture, and the flock,			Buy the cottage, pasture and herd,
And thou shalt have to pay for it of us.			And you should pay for it.
CELIA. And we will mend thy wages. I like this place,			Celia. And we will repair your wages. I like this place
And willingly could waste my time in it.			And could willingly waste my time with it.
CORIN. Assuredly the thing is to be sold.			Corin. The thing is certainly to be sold.
Go with me; if you like upon report			Walk with me; If you like the report
The soil, the profit, and this kind of life,			The soil, profit and this kind of life,
I will your very faithful feeder be,			I will be your very loyal feeder
And buy it with your gold right suddenly. Exeunt			And suddenly buy it right with your gold. Exeunt
SCENE V.			Sente V.
Another part of the forest			Another part of the forest
Enter AMIENS, JAQUES, and OTHERS			Enter Amiens, Jaques and others
SONG			LIED
AMIENS. Under the greenwood tree			Amnies. UNTER THE GREENWOOD TREE
Who loves to lie with me,			Who loves to lie with me,
And turn his merry note			And turn his happy note
Unto the sweet bird's throat,			To the neck of the sweet bird,
Come hither, come hither, come hither.			Come here, come here, come here.
Here shall he see			Here he should see
No enemy			No enemy
But winter and rough weather.			But winter and rough weather.
JAQUES. More, more, I prithee, more.			Jaques. More, more, I prithmy, more.
AMIENS. It will make you melancholy, Monsieur Jaques.			Amiens. It will make you melancholic, Monsieur Jaques.
JAQUES. I thank it. More, I prithee, more. I can suck melancholy			Jaques. I thank him. More, I prithmy, more. I can suck melancholy
out of a song, as a weasel sucks eggs. More, I prithee, more.			A weasel sucks from a song. More, I prithmy, more.
AMIENS. My voice is ragged; I know I cannot please you.			Amiens. My voice is tossed; I know I can't like you.
JAQUES. I do not desire you to please me; I do desire you to sing.			Jaques. I don't want me to like them; I want you to sing.
Come, more; another stanzo. Call you 'em stanzos?			How much; Stop another. Do you call you a stanzos?
AMIENS. What you will, Monsieur Jaques.			Amiens. Was of the Wirst, Mr. Jaques.
JAQUES. Nay, I care not for their names; they owe me nothing.			Jaques. No, I am not interested in your names; They don't owe me anything.
Will you sing?			Will you sing?
AMIENS. More at your request than to please myself.			Amiens. More on your request than I like.
JAQUES. Well then, if ever I thank any man, I'll thank you; but			Jaques. Well, if I ever thank a man, I will thank you. but
that they call compliment is like th' encounter of two dog-apes;			The fact that they call compliments is like the encounter of two dog apes;
and when a man thanks me heartily, methinks have given him a			And when a man thanks me from the heart, I gave him one
penny, and he renders me the beggarly thanks. Come, sing; and you			Penny, and he renders the beggar, thank you. Come on, sing; And you
that will not, hold your tongues.			That won't be, keep your tongues.
AMIENS. Well, I'll end the song. Sirs, cover the while; the Duke			Amiens. Well, I'll end the song. Sirs, cover the while; The Duke
will drink under this tree. He hath been all this day to look			Will drink under this tree. He was to see the whole day
you.			She.
JAQUES. And I have been all this day to avoid him. He is to			Jaques. And I was all day to avoid him. He is too
disputable for my company. I think of as many matters as he; but			Disputation for my company. I think of as many affairs as he is; but
I give heaven thanks, and make no boast of them. Come, warble,			I give the sky, thank you and do not boast. Come on, drinker,
come.			Come.
SONG			LIED
[All together here]			[All here]
Who doth ambition shun,			Who has avoided ambition
And loves to live i' th' sun,			And loves to live, I 'the sun,
Seeking the food he eats,			Find the food he eats,
And pleas'd with what he gets,			And asks what he gets
Come hither, come hither, come hither.			Come here, come here, come here.
Here shall he see			Here he should see
No enemy			No enemy
But winter and rough weather.			But winter and rough weather.
JAQUES. I'll give you a verse to this note that I made yesterday in			Jaques. I give you a verse for this note that I made yesterday
despite of my invention.			Despite my invention.
AMIENS. And I'll sing it.			Amiens. And I'll sing it.
JAQUES. Thus it goes:			Jaques. That is how it goes:
If it do come to pass			When it comes over
That any man turn ass,			That every man turns the ass
Leaving his wealth and ease			Leave its wealth and ease
A stubborn will to please,			A persistent will to please,
Ducdame, ducdame, ducdame;			Ducdame, Ducdame, Ducdame;
Here shall he see			Here he should see
Gross fools as he,			Rough fools like him,
An if he will come to me.			A when he comes to me.
AMIENS. What's that 'ducdame'?			Amiens. What kind of ducdame is that?
JAQUES. 'Tis a Greek invocation, to call fools into a circle.			Jaques. It is a Greek calling to call fools into a circle.
I'll go sleep, if I can; if I cannot, I'll rail against all the			I'll go to sleep if I can; If I can't, I will judge everyone
first-born of Egypt.			Firstborn Egypt.
AMIENS. And I'll go seek the Duke; his banquet is prepar'd.			Amiens. And I will look for the duke; His banquet is prepared.
Exeunt severally			Abandoned
SCENE VI.			Scene we.
The forest			The forest
Enter ORLANDO and ADAM			Enter Orlando and Adam
ADAM. Dear master, I can go no further. O, I die for food! Here lie			ADAM. Dear master, I can't go any further. Oh, I die for food! Lie here
I down, and measure out my grave. Farewell, kind master.			I down and measure my grave. Farewell, friendly master.
ORLANDO. Why, how now, Adam! No greater heart in thee? Live a			Orlando. Why, like now, Adam! Not a bigger heart in you? Live a
little; comfort a little; cheer thyself a little. If this uncouth			little; Comfort a little; cheer a little. If this uncombination
forest yield anything savage, I will either be food for it or			Forest show everything wild, I will either be food for it or
bring it for food to thee. Thy conceit is nearer death than thy			Bring it to you for food. Your imagination is closer than death than yours
powers. For my sake be comfortable; hold death awhile at the			Forces. To be good; Keep death at the
arm's end. I will here be with the presently; and if I bring thee			Arm's end. I will be the same here; And when I bring you
not something to eat, I will give thee leave to die; but if thou			Not eating anything, I'll go to you to die; But if you
diest before I come, thou art a mocker of my labour. Well said!			Before I come, you are a ridicule of my work. Well said!
thou look'st cheerly; and I'll be with thee quickly. Yet thou			You look happy; And I'll be with you quickly. But you
liest in the bleak air. Come, I will bear thee to some shelter;			Reads in the bleak air. Come on, I'll endure you for protection;
and thou shalt not die for lack of a dinner, if there live			And you shouldn't die because of a lack of dinner when it lives
anything in this desert. Cheerly, good Adam! Exeunt			Everything in this desert. Happy, good Adam! Exeunt
SCENE VII.			Hears VII.
The forest			The forest
A table set out. Enter DUKE SENIOR, AMIENS, and LORDS, like outlaws			A table laid out. Enter Duke Senior, Amiens and Lords, like Outlaws
DUKE SENIOR. I think he be transform'd into a beast;			Duke senior. I think he is transformed into an animal;
For I can nowhere find him like a man.			Because I can't find it anywhere like a man.
FIRST LORD. My lord, he is but even now gone hence;			First gentleman. My Lord, he is only gone now;
Here was he merry, hearing of a song.			Here he was happy and heard of a song.
DUKE SENIOR. If he, compact of jars, grow musical,			Duke senior. When he grows musically, compactly from glasses,
We shall have shortly discord in the spheres.			We will have a discord in the balls shortly.
Go seek him; tell him I would speak with him.			Go looking for him; Tell him I would talk to him.
Enter JAQUES			Enter Jaques
FIRST LORD. He saves my labour by his own approach.			First gentleman. He saves my work according to his own approach.
DUKE SENIOR. Why, how now, monsieur! what a life is this,			Duke senior. Why, like now, Monsieur! What kind of life is it
That your poor friends must woo your company?			That their poor friends have to rewrite their company?
What, you look merrily!			What, you look happy!
JAQUES. A fool, a fool! I met a fool i' th' forest,			Jaques. A fool, a fool! I met a fool I have the forest
A motley fool. A miserable world!			A colorful fool. A miserable world!
As I do live by food, I met a fool,			While I live with food, I met a fool
Who laid him down and bask'd him in the sun,			Who put it down and got him in the sun,
And rail'd on Lady Fortune in good terms,			And seemed approved on Lady Fortune in good terms,
In good set terms- and yet a motley fool.			In good set and yet a colorful fool.
Good morrow, fool,' quoth I; 'No, sir,' quoth he,			Good morning, fool, quoth i; "No, sir", quoth he,
Call me not fool till heaven hath sent me fortune.'			Don't call me fools until heaven has sent me luck. '
And then he drew a dial from his poke,			And then he pulled a dial from his stocher,
And, looking on it with lack-lustre eye,			And with a lack of funny eye to look at it,
Says very wisely, 'It is ten o'clock;			Says very wise: “It's ten o'clock;
Thus we may see,' quoth he, 'how the world wags;			So we can see "quoth" how the world wags;
Tis but an hour ago since it was nine;			It is an hour ago since it was nine;
And after one hour more 'twill be eleven;			And after an hour there is more Eleven;
And so, from hour to hour, we ripe and ripe,			And so, from hour to hour, we are ripe and ripe,
And then, from hour to hour, we rot and rot;			And then, from hour to hour, we rot and rot;
And thereby hangs a tale.' When I did hear			And hangs a story with it. ' As I heard
The motley fool thus moral on the time,			The colorful fool so morally in time
My lungs began to crow like chanticleer			My lungs began to crow like Chantanyer
That fools should be so deep contemplative;			That fools should be so deeply contemplative;
And I did laugh sans intermission			And I laughed without a break
An hour by his dial. O noble fool!			An hour after his dial. O Noble Narr!
A worthy fool! Motley's the only wear.			A worthy fool! The only wear is colorful.
DUKE SENIOR. What fool is this?			Duke senior. Which fool is that?
JAQUES. O worthy fool! One that hath been a courtier,			Jaques. O worthy fool! One who was a court
And says, if ladies be but young and fair,			And says if women are only young and fair,
They have the gift to know it; and in his brain,			You have the gift to know; and in his brain,
Which is as dry as the remainder biscuit			This is as dry as the rest of the biscuit
After a voyage, he hath strange places cramm'd			After a trip he summarized strange places
With observation, the which he vents			With observation what he ventilates
In mangled forms. O that I were a fool!			In mutilated forms. Oh that I was a fool!
I am ambitious for a motley coat.			I am ambitious for a colorful coat.
DUKE SENIOR. Thou shalt have one.			Duke senior. You should have one.
JAQUES. It is my only suit,			Jaques. It is my only suit
Provided that you weed your better judgments			Provided that they dedicate their better judgments
Of all opinion that grows rank in them			Of all the opinion that rank in them
That I am wise. I must have liberty			That I am wise. I have to have freedom
Withal, as large a charter as the wind,			With as big as the wind, as big as the wind,
To blow on whom I please, for so fools have;			To blow who I want, because so fools;
And they that are most galled with my folly,			And those who are most glued to my foolishness,
They most must laugh. And why, sir, must they so?			You have to laugh the most. And why, sir, do you have to?
The why is plain as way to parish church:			The why is clear as in the community church:
He that a fool doth very wisely hit			Whoever strikes a fool very carefully
Doth very foolishly, although he smart,			Very stupid, although he is smart
Not to seem senseless of the bob; if not,			Not to appear senselessly from the bob; unless,
The wise man's folly is anatomiz'd			The folly of the wise man is anatomized
Even by the squand'ring glances of the fool.			Even through the prandy look of the fool.
Invest me in my motley; give me leave			Invest me in my colorful; Give me a vacation
To speak my mind, and I will through and through			To speak my opinion, and I will be through and through
Cleanse the foul body of th' infected world,			Clean the bad body of the infected world,
If they will patiently receive my medicine.			If you patiently receive my medication.
DUKE SENIOR. Fie on thee! I can tell what thou wouldst do.			Duke senior. Fie on you! I can say what you would do.
JAQUES. What, for a counter, would I do but good?			Jaques. What would I do for a counter?
DUKE SENIOR. Most Mischievous foul sin, in chiding sin;			Duke senior. The most mischievous bad sin, in the activity of sin;
For thou thyself hast been a libertine,			Because you were a libertine
As sensual as the brutish sting itself;			As sensual as the brutal stab itself;
And all th' embossed sores and headed evils			And all embossed wounds and heads bad
That thou with license of free foot hast caught			That you caught with license for free foot
Wouldst thou disgorge into the general world.			Would you be released into the general world.
JAQUES. Why, who cries out on pride			Jaques. Why who is proud of pride
That can therein tax any private party?			This can control a private party in it?
Doth it not flow as hugely as the sea,			It doesn't flow as much as the sea
Till that the wearer's very means do ebb?			Until that means that the carrier means to make EBB?
What woman in the city do I name			Which woman in the city do I call?
When that I say the city-woman bears			When I say the city woman Bären
The cost of princes on unworthy shoulders?			The cost of prince on unworthy shoulders?
Who can come in and say that I mean her,			Who can come in and say that I mean
When such a one as she such is her neighbour?			If one is your neighbor as you like?
Or what is he of basest function			Or what is it from the basic function?
That says his bravery is not on my cost,			It says that his bravery is not at my expense
Thinking that I mean him, but therein suits			I think I mean him, but the suits in it
His folly to the mettle of my speech?			His foolishness to the path of my speech?
There then! how then? what then? Let me see wherein			Then there! How then? so what? Let me see woin
My tongue hath wrong'd him: if it do him right,			My tongue did it wrong: if it does it right
Then he hath wrong'd himself; if he be free,			Then he did wrong himself; When he's free
Why then my taxing like a wild-goose flies,			Then why my taxation like a wildlown fly,
Unclaim'd of any man. But who comes here?			Not claimed by any man. But who comes here?
Enter ORLANDO with his sword drawn			Enter Orlando drawn with his sword
ORLANDO. Forbear, and eat no more.			Orlando. Laze and no longer eat.
JAQUES. Why, I have eat none yet.			Jaques. Why, I haven't eaten yet.
ORLANDO. Nor shalt not, till necessity be serv'd.			Orlando. Not yet until the need is to be served.
JAQUES. Of what kind should this cock come of?			Jaques. What kind should this tail come from?
DUKE SENIOR. Art thou thus bolden'd, man, by thy distress?			Duke senior. Are you so tired, man, through your need?
Or else a rude despiser of good manners,			Or an rude despair of good manners,
That in civility thou seem'st so empty?			You seem so empty in courtesy?
ORLANDO. You touch'd my vein at first: the thorny point			Orlando. You first touched my vein: the thorny point
Of bare distress hath ta'en from me the show			The show from me from naked need
Of smooth civility; yet arn I inland bred,			Of smooth courtesy; But I bred in the interior,
And know some nurture. But forbear, I say;			And know some care. But I say to be deceptive;
He dies that touches any of this fruit			He dies that touches this fruit
Till I and my affairs are answered.			Until I and my affairs are answered.
JAQUES. An you will not be answer'd with reason, I must die.			Jaques. You are not answered with reason, I have to die.
DUKE SENIOR. What would you have? Your gentleness shall force			Duke senior. What would you have? Your gentleness should force
More than your force move us to gentleness.			More than their strength move us in a gentleness.
ORLANDO. I almost die for food, and let me have it.			Orlando. I almost die for food and let myself be.
DUKE SENIOR. Sit down and feed, and welcome to our table.			Duke senior. Sit down and feed and greet it to our table.
ORLANDO. Speak you so gently? Pardon me, I pray you;			Orlando. Do you speak you so gently? Forgive me, I pray you;
I thought that all things had been savage here,			I thought that all things had been wild here
And therefore put I on the countenance			And therefore sit on my face
Of stern commandment. But whate'er you are			Of the strict bid. But what are you
That in this desert inaccessible,			That in this desert inaccessible,
Under the shade of melancholy boughs,			In the shadow of the melancholic branches ,,
Lose and neglect the creeping hours of time;			Lose and neglect the creeping hours;
If ever you have look'd on better days,			If you ever looked on better days,
If ever been where bells have knoll'd to church,			When bells have ever been bulged in the church,
If ever sat at any good man's feast,			If there was ever a good man at the festival,
If ever from your eyelids wip'd a tear,			When a tear ever wiped from her eyelids
And know what 'tis to pity and be pitied,			And know what pity and replaced,
Let gentleness my strong enforcement be;			Leave gentle on my strong enforcement;
In the which hope I blush, and hide my sword.			In the hope I blush and hide my sword.
DUKE SENIOR. True is it that we have seen better days,			Duke senior. It is true that we saw better days
And have with holy bell been knoll'd to church,			And with sacred Bell in the church,
And sat at good men's feasts, and wip'd our eyes			And sat in good men and wiped our eyes
Of drops that sacred pity hath engend'red;			Of drops that Holy pity has brought with it;
And therefore sit you down in gentleness,			And therefore sit down in gentleness,
And take upon command what help we have			And take over with the command the help we have
That to your wanting may be minist'red.			That can be ministin for her wish.
ORLANDO. Then but forbear your food a little while,			Orlando. But then you ask your food a little,
Whiles, like a doe, I go to find my fawn,			While I find my fawn like a doe, I think
And give it food. There is an old poor man			And give him food. There is an old poor man
Who after me hath many a weary step			Whoever has behind me has so many tired step
Limp'd in pure love; till he be first suffic'd,			Slack in pure love; Until he is sufficient for the first time
Oppress'd with two weak evils, age and hunger,			Suppressed with two weak evils, age and hunger,
I will not touch a bit.			I won't touch a little.
DUKE SENIOR. Go find him out.			Duke senior. Go out.
And we will nothing waste till you return.			And we won't waste anything until they return.
ORLANDO. I thank ye; and be blest for your good comfort!			Orlando. I thank you; And be blessed for your good comfort!
Exit			Exit
DUKE SENIOR. Thou seest we are not all alone unhappy:			Duke senior. You see, we are not entirely unhappy alone:
This wide and universal theatre			This width and universal theater
Presents more woeful pageants than the scene			Presents more sad pageants than the scene
Wherein we play in.			Where we play.
JAQUES. All the world's a stage,			Jaques. The whole world is a stage
And all the men and women merely players;			And all men and women only players;
They have their exits and their entrances;			They have their outputs and their entrances;
And one man in his time plays many parts,			And a man in his time plays many parts
His acts being seven ages. At first the infant,			His deeds are seven age groups. First the child,
Mewling and puking in the nurse's arms;			Mowing and cooking in the nurse's arms;
Then the whining school-boy, with his satchel			Then the whining of the school boy with his bag
And shining morning face, creeping like snail			And bright morning face, crawl like snail
Unwillingly to school. And then the lover,			Involuntarily to school. And then the lover,
Sighing like furnace, with a woeful ballad			Sighs like oven, with a sad ballad
Made to his mistress' eyebrow. Then a soldier,			Made the eyebrow of his lover. Then a soldier,
Full of strange oaths, and bearded like the pard,			Full of strange oath and bearded like the pardon,
Jealous in honour, sudden and quick in quarrel,			To honor jealous, suddenly and quickly into argument,
Seeking the bubble reputation			Find the call of the bubble
Even in the cannon's mouth. And then the justice,			Even in the mouth of the cannons. And then the justice,
In fair round belly with good capon lin'd,			In a beautiful round belly with good Kapon Lin ,,
With eyes severe and beard of formal cut,			With the eyes and beard of the formal cut,
Full of wise saws and modern instances;			Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts			And so he plays his role. The sixth age changes
Into the lean and slipper'd pantaloon,			In the slim and slippery pantaloon,
With spectacles on nose and pouch on side,			With glasses on the nose and bag on the side,
His youthful hose, well sav'd, a world too wide			His youthful hose, well mocked, a world too wide
For his shrunk shank; and his big manly voice,			For his shrunk shaft; and his great male voice,
Turning again toward childish treble, pipes			Turn back towards childish heights, whistle
And whistles in his sound. Last scene of all,			And whistles in his sound. Last scene of everyone,
That ends this strange eventful history,			This ends this strange eventful history,
Is second childishness and mere oblivion;			Is the second childhood and mere forgetting;
Sans teeth, sans eyes, sans taste, sans every thing.			Sans teeth, without eyes, without taste, without everything.
Re-enter ORLANDO with ADAM			Visit Orlando with Adam again
DUKE SENIOR. Welcome. Set down your venerable burden.			Duke senior. Warm welcome. Determine your venerable stress.
And let him feed.			And let him feed it.
ORLANDO. I thank you most for him.			Orlando. Thank you most for him.
ADAM. So had you need;			ADAM. So they had;
I scarce can speak to thank you for myself.			I can seldom thank you.
DUKE SENIOR. Welcome; fall to. I will not trouble you			Duke senior. Warm welcome; fall. I will not worry you
As yet to question you about your fortunes.			Ask them about their assets.
Give us some music; and, good cousin, sing.			Give us music; And good cousin, sing.
SONG			LIED
Blow, blow, thou winter wind,			Blowing, blowing, you winter wind,
Thou art not so unkind			You are not that unfriendly
As man's ingratitude;			As a human purpose;
Thy tooth is not so keen,			Your tooth is not so sharp
Because thou art not seen,			Because you haven't seen
Although thy breath be rude.			Although your breath is rude.
Heigh-ho! sing heigh-ho! unto the green holly.			Heigh-Ho! Sing Height-Ho! To the green sting palm.
Most friendship is feigning, most loving mere folly.			Most of the friendship is pretended, the favorite mere folly.
Then, heigh-ho, the holly!			Then, Heigh-Ho, The Stechpalme!
This life is most jolly.			This life is the funniest.
Freeze, freeze, thou bitter sky,			Freeze, freeze, you bitter sky,
That dost not bite so nigh			This dost does not bite so close
As benefits forgot;			Forgotten as advantages;
Though thou the waters warp,			Although you take the water
Thy sting is not so sharp			Your stitch is not so sharp
As friend rememb'red not.			As the friend remembers, it didn't remember.
Heigh-ho! sing, &c.			Heigh-Ho! sing, & c.
DUKE SENIOR. If that you were the good Sir Rowland's son,			Duke senior. If you were the good son of good Sir Rowland,
As you have whisper'd faithfully you were,			How you whispered faithfully were you
And as mine eye doth his effigies witness			And how my eye testifies to its portraits
Most truly limn'd and living in your face,			Most true and live on your face,
Be truly welcome hither. I am the Duke			Be really welcome here. I am the duke
That lov'd your father. The residue of your fortune,			That loved your father. The deficit of their assets,
Go to my cave and tell me. Good old man,			Go to my cave and tell me. Good old man,
Thou art right welcome as thy master is.			You are really welcome as your master is.
Support him by the arm. Give me your hand,			Support him on the arm. Give me your hand,
And let me all your fortunes understand. Exeunt			And let me all understand their assets. Exeunt
ACT III. SCENE I.			ACT III. Sente I.
The palace			The palace
Enter DUKE FREDERICK, OLIVER, and LORDS			Enter Duke Frederick, Oliver and Lords
FREDERICK. Not see him since! Sir, sir, that cannot be.			Friedrich. Not see him since then! Sir, Sir, that can't be.
But were I not the better part made mercy,			But I wasn't the better part to make mercy
I should not seek an absent argument			I shouldn't look for an absent argument
Of my revenge, thou present. But look to it:			From my revenge, you are present. But look at it:
Find out thy brother wheresoe'er he is;			Find out your brother where he is;
Seek him with candle; bring him dead or living			Find him with candle; Bring him dead or live
Within this twelvemonth, or turn thou no more			Within these twelve months or do they no longer turn
To seek a living in our territory.			To seek a living in our territory.
Thy lands and all things that thou dost call thine			Your countries and all things you call yours
Worth seizure do we seize into our hands,			We take the confiscation into our hands,
Till thou canst quit thee by thy brother's mouth			Until you can rely through your brother's mouth
Of what we think against thee.			From what we think against you.
OLIVER. O that your Highness knew my heart in this!			Oliver. Oh that your sovereignty knew my heart in this area!
I never lov'd my brother in my life.			I never loved my brother in my life.
FREDERICK. More villain thou. Well, push him out of doors;			Friedrich. More villain you. Push him out of the doors;
And let my officers of such a nature			And leave my officers of such a nature
Make an extent upon his house and lands.			Make a measure of his house and country.
Do this expediently, and turn him going. Exeunt			Do this functional and turn it off. Exeunt
SCENE II.			Scene II.
The forest			The forest
Enter ORLANDO, with a paper			Enter Orlando with a paper
ORLANDO. Hang there, my verse, in witness of my love;			Orlando. Hang there, my verse, in testimony to my love;
And thou, thrice-crowned Queen of Night, survey			And you, three times crowned queen of the night, survey
With thy chaste eye, from thy pale sphere above,			With your chastest eye, from your pale ball above ,,
Thy huntress' name that my full life doth sway.			The name of the hunter that my full life fluctuates.
O Rosalind! these trees shall be my books,			O Rosalind! These trees should be my books
And in their barks my thoughts I'll character,			And in their barks I become my thoughts character, character,
That every eye which in this forest looks			That every eye looks in this forest
Shall see thy virtue witness'd every where.			Should see your virtue that is attested everywhere.
Run, run, Orlando; carve on every tree,			Run, Run, Orlando; carve on every tree,
The fair, the chaste, and unexpressive she. Exit			The fair, chastity and the undestected it. Exit
Enter CORIN and TOUCHSTONE			Enter Corin and Teststein
CORIN. And how like you this shepherd's life, Master Touchstone?			Corin. And how do you like this shepherd's life, master test stone?
TOUCHSTONE. Truly, shepherd, in respect of itself, it is a good			Test stone. Really, shepherd in relation to yourself is good
life; but in respect that it is a shepherd's life, it is nought.			Life; But it is nothing in relation to the life of a shepherd.
In respect that it is solitary, I like it very well; but in			Regarding that it is lonely, I like it very well; but in
respect that it is private, it is a very vile life. Now in			Respect that it is private, it is a very hideous life. Now in
respect it is in the fields, it pleaseth me well; but in respect			Respect it in the fields, it delights me well; But in respect
it is not in the court, it is tedious. As it is a spare life,			It is not in court, it is tedious. How it is a substitute life
look you, it fits my humour well; but as there is no more plenty			Take a look, it fits my humor well; But since there is not much anymore
in it, it goes much against my stomach. Hast any philosophy in			There is a lot against my stomach. Do you have every philosophy in
thee, shepherd?			The shepherds?
CORIN. No more but that I know the more one sickens the worse at			Corin. Not more, but I know the more you are sick, the worse in
ease he is; and that he that wants money, means, and content, is			It is easier; And that the one who means money, and content is
without three good friends; that the property of rain is to wet,			Without three good friends; that the property of the rain is wet,
and fire to burn; that good pasture makes fat sheep; and that a			and burn fire; This good pasture makes fat sheep; And the A
great cause of the night is lack of the sun; that he that hath			The lack of the sun is a great cause of the night; That he has that
learned no wit by nature nor art may complain of good breeding,			I have no joke of nature or art complain about good breeding,
or comes of a very dull kindred.			Or comes from a very boring relative.
TOUCHSTONE. Such a one is a natural philosopher. Wast ever in			Test stone. Such is a natural philosopher. Wast ever in
court, shepherd?			Court, shepherd?
CORIN. No, truly.			Corin. No really.
TOUCHSTONE. Then thou art damn'd.			Test stone. Then you are damn.
CORIN. Nay, I hope.			Corin. No, I hope.
TOUCHSTONE. Truly, thou art damn'd, like an ill-roasted egg, all on			Test stone. Really, you are damn, like a poorly roasted egg, everything on
one side.			a page.
CORIN. For not being at court? Your reason.			Corin. For not being in court? Your reason.
TOUCHSTONE. Why, if thou never wast at court thou never saw'st good			Test stone. Why, if you have never disappeared in court, have you never seen well?
manners; if thou never saw'st good manners, then thy manners must			Manners; If you have never seen good manners, then your manners have to
be wicked; and wickedness is sin, and sin is damnation. Thou art			be angry; And malice is sin and sin is damnation. You are art
in a parlous state, shepherd.			In a parlous state, shepherd.
CORIN. Not a whit, Touchstone. Those that are good manners at the			Corin. No white, test stone. Those who are good manners
court are as ridiculous in the country as the behaviour of 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			The country is the most ridiculous at the court. You told me that you weren't greeted, not
at the court, but you kiss your hands; that courtesy would be			on the square, but you kiss your hands; This courtesy would be
uncleanly if courtiers were shepherds.			Unjust if courtes were shepherds.
TOUCHSTONE. Instance, briefly; come, instance.			Test stone. Instance short; Come on, example.
CORIN. Why, we are still handling our ewes; and their fells, you			Corin. Why, we still take care of our eve; and their furs, you
know, are greasy.			White are greasy.
TOUCHSTONE. Why, do not your courtier's hands sweat? And is not the			Test stone. Why don't your Höfler's hands don't sweat? And is not that
grease of a mutton as wholesome as the sweat of a man?			Fat of a mutton meat as healthy as the sweat of a man?
Shallow, shallow. A better instance, I say; come.			Flat, flat. A better case, I say; Come.
CORIN. Besides, our hands are hard.			Corin. Our hands are also hard.
TOUCHSTONE. Your lips will feel them the sooner. Shallow again.			Test stone. You will feel your lips all the earlier. Again flat.
A more sounder instance; come.			A sound instance; Come.
CORIN. And they are often tarr'd over with the surgery of our			Corin. And they are often surpassed by us with the operation
sheep; and would you have us kiss tar? The courtier's hands are			Sheep; And would you kiss us, tar? The hands of the Höfler are
perfum'd with civet.			Perfume with civilian.
TOUCHSTONE. Most shallow man! thou worm's meat in respect of a good			Test stone. The flatest man! You worm meat in relation to a good one
piece of flesh indeed! Learn of the wise, and perpend: civet is			Piece meat indeed! Learn from the wise and perpetrator: Civet is
of a baser birth than tar- the very uncleanly flux of a cat.			a more grass birth as a tar river of a cat.
Mend the instance, shepherd.			Repair the instance, shepherd.
CORIN. You have too courtly a wit for me; I'll rest.			Corin. You have too politely a joke for me; I will rest.
TOUCHSTONE. Wilt thou rest damn'd? God help thee, shallow man!			Test stone. Do you want to rest damn? God help you, flat man!
God make incision in thee! thou art raw.			God makes incision in you! You are raw.
CORIN. Sir, I am a true labourer: I earn that I eat, get that I			Corin. Sir, I am a real worker: I deserve that I eat, I get that
wear; owe no man hate, envy no man's happiness; glad of other			wear; If no one hates, envies a person's happiness; I'm happy about others
men's good, content with my harm; and the greatest of my pride is			Men well, satisfied with my damage; And the greatest of my pride is
to see my ewes graze and my lambs suck.			To see how my eve grazes and my lambs suck.
TOUCHSTONE. That is another simple sin in you: to bring the ewes			Test stone. This is another simple sin in you: to bring the ewes
and the rams together, and to offer to get your living by the			and the rams together and offer to make their livelihood through them
copulation of cattle; to be bawd to a bell-wether, and to betray			Copulation of cattle; To be a bellwether and to betray
a she-lamb of a twelvemonth to crooked-pated, old, cuckoldly ram,			A sheer lamb from twelve months to crooked, age, cuckoldly ram, ram,
out of all reasonable match. If thou beest not damn'd for this,			From all reasonable games. If you are not damn for it
the devil himself will have no shepherds; I cannot see else how			The devil itself will not have any shepherds; Otherwise I can't see how
thou shouldst scape.			You should collect.
CORIN. Here comes young Master Ganymede, my new mistress's brother.			Corin. Here comes the young master Ganymedede, the brother of my new mistress.
Enter ROSALIND, reading a paper			Enter Rosalind, read a paper
ROSALIND. 'From the east to western Inde,			Rosalind. 'From east to western, unstable,
No jewel is like Rosalinde.			No jewel is like Rosalinde.
Her worth, being mounted on the wind,			Your value that is mounted on the wind,
Through all the world bears Rosalinde.			Rosalinde carries through the whole world.
All the pictures fairest lin'd			All pictures fairest lin'd
Are but black to Rosalinde.			Are only black to Rosalinde.
Let no face be kept in mind			Do not keep an eye on your face
But the fair of Rosalinde.'			But Rosalinde's fair. '
TOUCHSTONE. I'll rhyme you so eight years together, dinners, and			Test stone. I'll be together for eight years, dinner and eight years rhyme
suppers, and sleeping hours, excepted. It is the right			Dinner and sleep hours, with exception. It is the right
butter-women's rank to market.			Butter-Women rank to the market.
ROSALIND. Out, fool!			Rosalind. Get out, fool!
TOUCHSTONE. For a taste:			Test stone. For a taste:
If a hart do lack a hind,			If you lack a Hind hard,
Let him seek out Rosalinde.			Clear him to look for Rosalinde.
If the cat will after kind,			When the cat becomes in the way
So be sure will Rosalinde.			So be sure that Rosalinde.
Winter garments must be lin'd,			Winter clothing must be lin'd
So must slender Rosalinde.			So muss Schlank Rosalinde.
They that reap must sheaf and bind,			Those who have to harvest must taste and bind,
Then to cart with Rosalinde.			Dann My Rosalinde Zum Karren.
Sweetest nut hath sourest rind,			The sweetest nut has the oxest bark,
Such a nut is Rosalinde.			Such a nut is Rosalinde.
He that sweetest rose will find			The sweetest rose will find
Must find love's prick and Rosalinde.			Must find the tail and rosalinde of love.
This is the very false gallop of verses; why do you infect			This is the very wrong gallop of the verses; Why do you infect?
yourself with them?			yourself with you?
ROSALIND. Peace, you dull fool! I found them on a tree.			Rosalind. Peace, you boring fool! I found it on a tree.
TOUCHSTONE. Truly, the tree yields bad fruit.			Test stone. Really, the tree delivers bad fruits.
ROSALIND. I'll graff it with you, and then I shall graff it with a			Rosalind. I'll graple it with you, and then I'll gract with a
medlar. Then it will be the earliest fruit i' th' country; for			Medlar. Then it will be the earliest fruit that I will be the country 'Land'; to the
you'll be rotten ere you be half ripe, and that's the right			You will be lazy before you are half ripe, and that's the right
virtue of the medlar.			Tugend des Medlars.
TOUCHSTONE. You have said; but whether wisely or no, let the forest			Test stone. You said; But whether with careful or no, leave the forest
judge.			Richter.
Enter CELIA, with a writing			Enter Celia with a letter
ROSALIND. Peace!			Rosalind. Frieden!
Here comes my sister, reading; stand aside.			Here comes my sister, reads; stand aside.
CELIA. 'Why should this a desert be?			Celia. "Why should that be a desert?
For it is unpeopled? No;			Because it is unnoticed? No;
Tongues I'll hang on every tree			Tongues I will hang on every tree
That shall civil sayings show.			This will show civil sayings.
Some, how brief the life of man			Some, how short human life
Runs his erring pilgrimage,			Carries out his crazy pilgrimage
That the streching of a span			That the offense of a span
Buckles in his sum of age;			Beak in its sum;
Some, of violated vows			Some of injured vows
Twixt the souls of friend and friend;			Twixt the souls of the friend and friend;
But upon the fairest boughs,			But on the most beautiful branches,
Or at every sentence end,			Or at the end of the sentence,
Will I Rosalinda write,			I will write Rosalinda
Teaching all that read to know			Teach everything that is read to know
The quintessence of every sprite			The quintessence of every sprite
Heaven would in little show.			The sky would be in a small show.
Therefore heaven Nature charg'd			That is why Heaven has been
That one body should be fill'd			This one body should be filled
With all graces wide-enlarg'd.			Wide with all graces.
Nature presently distill'd			Nature is currently being distilled
Helen's cheek, but not her heart,			Helens Wange, but not her heart,
Cleopatra's majesty,			Cleopatras Majesty,
Atalanta's better part,			Atalantas a better part,
Sad Lucretia's modesty.			Sad Lucretia's modesty.
Thus Rosalinde of many parts			So Rosalinde from many parts
By heavenly synod was devis'd,			Devis'd was from heavenly synod,
Of many faces, eyes, and hearts,			From many faces, eyes and hearts,
To have the touches dearest priz'd.			To have the most expensive pricing.
Heaven would that she these gifts should have,			The sky would have these gifts
And I to live and die her slave.'			And I live and die their slaves. '
ROSALIND. O most gentle pulpiter! What tedious homily of love have			Rosalind. O Most Betler Bemwer! What a tedious Hütschlichkeit of love
you wearied your parishioners withal, and never cried 'Have			You have cried with the tired and never cried.
patience, good people.'			Patience, good people. '
CELIA. How now! Back, friends; shepherd, go off a little; go with			Celia. Like right now! Back, friends; Shepherd, go a little off; go with
him, sirrah.			is, syrah.
TOUCHSTONE. Come, shepherd, let us make an honourable retreat;			Test stone. Come on, shepherd, let's make an honorable retreat;
though not with bag and baggage, yet with scrip and scrippage.			Although not with a bag and luggage, but with scrip and scrib.
Exeunt CORIN and TOUCHSTONE			Leave Corin and Teststein
CELIA. Didst thou hear these verses?			Celia. Did you hear these verses?
ROSALIND. O, yes, I heard them all, and more too; for some of them			Rosalind. Oh, yes, I heard them all and more; For some of them
had in them more feet than the verses would bear.			Had more feet in them than the verses would wear.
CELIA. That's no matter; the feet might bear the verses.			Celia. It does not matter; The feet can wear the verses.
ROSALIND. Ay, but the feet were lame, and could not bear themselves			Rosalind. Yes, but the feet were lame and couldn't endure
without the verse, and therefore stood lamely in the verse.			Without the verse and therefore lame in the verse.
CELIA. But didst thou hear without wondering how thy name should be			Celia. But you heard without asking yourself how your name should be
hang'd and carved upon these trees?			Hang and carved on these trees?
ROSALIND. I was seven of the nine days out of the wonder before you			Rosalind. I was seven of the nine days before the miracle in front of you
came; for look here what I found on a palm-tree. I was never so			came; For a look here, what I found on a palm tree. I was never like that
berhym'd since Pythagoras' time that I was an Irish rat,			Berhym since Pythagoras' time that I was an Irish rat,
which I can hardly remember.			which I can hardly remember.
CELIA. Trow you who hath done this?			Celia. Do it, who did that?
ROSALIND. Is it a man?			Rosalind. Is it a man?
CELIA. And a chain, that you once wore, about his neck.			Celia. And a chain that they once wore around his neck.
Change you colour?			Change your color?
ROSALIND. I prithee, who?			Rosalind. I prithee, who?
CELIA. O Lord, Lord! it is a hard matter for friends to meet; but			Celia. O Lord, Lord! It is a difficult matter for friends to meet; but
mountains may be remov'd with earthquakes, and so encounter.			Mountains can be removed with earthquakes and encounter.
ROSALIND. Nay, but who is it?			Rosalind. No, but who is it?
CELIA. Is it possible?			Celia. Is it possible?
ROSALIND. Nay, I prithee now, with most petitionary vehemence, tell			Rosalind. No, I am now prithhe with the most petitional vehemence, tell you
me who it is.			I who it is.
CELIA. O wonderful, wonderful, most wonderful wonderful, and yet			Celia. O Wonderful, wonderful, wonderful, most wonderful and yet
again wonderful, and after that, out of all whooping!			Wonderful again and then from all gasps!
ROSALIND. Good my complexion! dost thou think, though I am			Rosalind. Well, my complexion! You think even though I am
caparison'd like a man, I have a doublet and hose in my			Caparison was like a man, I have a double and a hose in mine
disposition? One inch of delay more is a South Sea of discovery.			Arrangement? One more centimeter delay is a South Sea of ​​discovery.
I prithee tell me who is it quickly, and speak apace. I would			I tell myself who it is, quickly and speak. I would
thou could'st stammer, that thou mightst pour this conceal'd man			You could stem that you could water this hidden man
out of thy mouth, as wine comes out of narrow-mouth'd bottle-			The wine comes from your mouth from narrow mouth bottles.
either too much at once or none at all. I prithee take the cork			Either too much at once or none at all. I take the cork
out of thy mouth that I may drink thy tidings.			I can drink your message from your mouth.
CELIA. So you may put a man in your belly.			Celia. So you can put a man in your stomach.
ROSALIND. Is he of God's making? What manner of man?			Rosalind. Is he of God's making? What kind of man?
Is his head worth a hat or his chin worth a beard?			Is his head worth a hat or chin?
CELIA. Nay, he hath but a little beard.			Celia. No, he only has a small beard.
ROSALIND. Why, God will send more if the man will be thankful.			Rosalind. God, God will send more if the man will be grateful.
Let me stay the growth of his beard, if thou delay me not the			Let me keep the growth of his beard if you don't delay me, not that
knowledge of his chin.			Knowledge of his chin.
CELIA. It is young Orlando, that tripp'd up the wrestler's heels			Celia. It is the young Orlando who pulled the wrestlers up
and your heart both in an instant.			And your heart in a moment.
ROSALIND. Nay, but the devil take mocking! Speak sad brow and true			Rosalind. No, but the devil takes mockery! Talk sadly and true
maid.			Maid.
CELIA. I' faith, coz, 'tis he.			Celia. I think Coz, it is him.
ROSALIND. Orlando?			Rosalind. Orlando?
CELIA. Orlando.			Celia. Orlando.
ROSALIND. Alas the day! what shall I do with my doublet and hose?			Rosalind. Unfortunately the day! What should I do with my double and hose?
What did he when thou saw'st him? What said he? How look'd he?			What did he see him when you saw him? What did he say? How does he look?
Wherein went he? What makes he here? Did he ask for me? Where			Where did he go? What is he doing here? Did he ask about me? Where
remains he? How parted he with thee? And when shalt thou see him			Does he stay? How did he separate from you? And when you see him, you will see
again? Answer me in one word.			again? Answer me in one word.
CELIA. You must borrow me Gargantua's mouth first; 'tis a word too			Celia. You first have to borrow me gigantic; It's also a word
great for any mouth of this age's size. To say ay and no to these			Ideal for every mouth of the size of this age. Ay and no to say this
particulars is more than to answer in a catechism.			Details are more to answer than in a catechism.
ROSALIND. But doth he know that I am in this forest, and in man's			Rosalind. But he knows that I am in this forest and in humans
apparel? Looks he as freshly as he did the day he wrestled?			Dress? Does he look as fresh as on the day he rank?
CELIA. It is as easy to count atomies as to resolve the			Celia. It's so easy to count atomies to solve them
propositions of a lover; but take a taste of my finding him, and			Statements of a lover; But take a taste of me that I found it and
relish it with good observance. I found him under a tree, like a			Enjoy it with good compliance. I found it under a tree like A
dropp'd acorn.			Let the glans fall.
ROSALIND. It may well be call'd Jove's tree, when it drops forth			Rosalind. It can definitely be called Jove's tree if it turns out
such fruit.			Such fruits.
CELIA. Give me audience, good madam.			Celia. Give me the audience, good Madam.
ROSALIND. Proceed.			Rosalind. Continue.
CELIA. There lay he, stretch'd along like a wounded knight.			Celia. There he lay there, stretched like a wounded knight.
ROSALIND. Though it be pity to see such a sight, it well becomes			Rosalind. Although it's a shame to see such a sight, it will be good
the ground.			the floor.
CELIA. Cry 'Holla' to thy tongue, I prithee; it curvets			Celia. Wine 'holla' to your tongue, I prithmy; It bends
unseasonably. He was furnish'd like a hunter.			unusual. He was like a hunter.
ROSALIND. O, ominous! he comes to kill my heart.			Rosalind. O, threatening! He comes to kill my heart.
CELIA. I would sing my song without a burden; thou bring'st me out			Celia. I would sing my song without a load; You bring me out
of tune.			from melody.
ROSALIND. Do you not know I am a woman? When I think, I must speak.			Rosalind. Don't you know that I am a woman? When I think I have to speak.
Sweet, say on.			Sweet, they continue.
CELIA. You bring me out. Soft! comes he not here?			Celia. You bring me out. Soft! Doesn't he come here?
Enter ORLANDO and JAQUES			Enter Orlando and Jaques
ROSALIND. 'Tis he; slink by, and note him.			Rosalind. 'It he; Slink over and note it.
JAQUES. I thank you for your company; but, good faith, I had as			Jaques. Thank you for your company; But well believe that I had as
lief have been myself alone.			I was running myself.
ORLANDO. And so had I; but yet, for fashion sake, I thank you too			Orlando. And me too; But for the sake of fashion, I thank you too
for your society.			For your society.
JAQUES. God buy you; let's meet as little as we can.			Jaques. God buy yourself; We meet as little as possible.
ORLANDO. I do desire we may be better strangers.			Orlando. I hope that we can be more strangers.
JAQUES. I pray you mar no more trees with writing love songs in			Jaques. I pray that they no longer trees in writing love songs in
their barks.			Your bark.
ORLANDO. I pray you mar no more of my verses with reading them			Orlando. I pray that you no longer march from my verses with reading
ill-favouredly.			badly favorless.
JAQUES. Rosalind is your love's name?			Jaques. Rosalind is the name of your love?
ORLANDO. Yes, just.			Orlando. YES, But.
JAQUES. I do not like her name.			Jaques. I don't like your name.
ORLANDO. There was no thought of pleasing you when she was			Orlando. There was no thought to please her when she was
christen'd.			CHRISTEST'D.
JAQUES. What stature is she of?			Jaques. Which stature is it?
ORLANDO. Just as high as my heart.			Orlando. As high as my heart.
JAQUES. You are full of pretty answers. Have you not been			Jaques. They are full of prettier answers. Were not you
acquainted with goldsmiths' wives, and conn'd them out of rings?			Familiar with the women of gold flashes and come out of wrestling?
ORLANDO. Not so; but I answer you right painted cloth, from whence			Orlando. Not so; But I answer you rightly painted cloth from where from
you have studied your questions.			You studied your questions.
JAQUES. You have a nimble wit; I think 'twas made of Atalanta's			Jaques. You have a nimble joke; I think it was made from Atalanta
heels. Will you sit down with me? and we two will rail against			Heels. Will you sit down with me? and we two are against bails against
our mistress the world, and all our misery.			Our mistress the world and all our misery.
ORLANDO. I will chide no breather in the world but myself, against			Orlando. I will not hunt a breather in the world except myself against him
whom I know most faults.			Who I know the most mistakes.
JAQUES. The worst fault you have is to be in love.			Jaques. The worst mistake you have is to be in love.
ORLANDO. 'Tis a fault I will not change for your best virtue. I am			Orlando. It is a mistake that I will not change for your best virtue. I am
weary of you.			Tired of you.
JAQUES. By my troth, I was seeking for a fool when I found you.			Jaques. I was looking for a fool with my troth when I found you.
ORLANDO. He is drown'd in the brook; look but in, and you shall see			Orlando. He drowned in the stream; But look in and you should see
him.			him.
JAQUES. There I shall see mine own figure.			Jaques. I will see my own figure there.
ORLANDO. Which I take to be either a fool or a cipher.			Orlando. What I take as a fool or cipher.
JAQUES. I'll tarry no longer with you; farewell, good Signior Love.			Jaques. I will no longer linger with you. Farewell, good significant love.
ORLANDO. I am glad of your departure; adieu, good Monsieur			Orlando. I look forward to your departure; Adieu, good Monsieur
Melancholy.			Melancholy.
Exit JAQUES			Exit jaques
ROSALIND. [Aside to CELIA] I will speak to him like a saucy lackey,			Rosalind. [Apart from Celia] I will speak to him like a cheeky Lacke.
and under that habit play the knave with him.- Do you hear,			And under this habit they play the villain with him. Do you hear,
forester?			Förster?
ORLANDO. Very well; what would you?			Orlando. Very good; what would you?
ROSALIND. I pray you, what is't o'clock?			Rosalind. I pray you, what is not a watch?
ORLANDO. You should ask me what time o' day; there's no clock in			Orlando. You should ask me when he's a day; There is no clock in
the forest.			The forest.
ROSALIND. Then there is no true lover in the forest, else sighing			Rosalind. Then there is no real lover in the forest, otherwise sighing
every minute and groaning every hour would detect the lazy foot			Every minute and groaned the lazy foot every hour
of Time as well as a clock.			of the time and a clock.
ORLANDO. And why not the swift foot of Time? Had not that been as			Orlando. And why not the quick foot of the time? Wasn't like
proper?			correct?
ROSALIND. By no means, sir. Time travels in divers paces with			Rosalind. Under no circumstances, sir. Time drives in divers and socket
divers persons. I'll tell you who Time ambles withal, who Time			Divers people. I will tell you who administered time with whom the time
trots withal, who Time gallops withal, and who he stands still			Trots Withal, who gallops and who he stands still
withal.			with.
ORLANDO. I prithee, who doth he trot withal?			Orlando. I Prithee, who didn't have the trot?
ROSALIND. Marry, he trots hard with a young maid between the			Rosalind. Get married, he trabs hard with a young maid between the
contract of her marriage and the day it is solemniz'd; if the			Treaty of her marriage and the day on which it is solemn; If the
interim be but a se'nnight, Time's pace is so hard that it seems			Interim is only a se'Nnight, the pace of time is so difficult that it seems
the length of seven year.			The length of seven years.
ORLANDO. Who ambles Time withal?			Orlando. Who will die over time?
ROSALIND. With a priest that lacks Latin and a rich man that hath			Rosalind. With a priest, the Latin is missing and a rich man who has, who has
not the gout; for the one sleeps easily because he cannot study,			not the gout; Because it has a slight sleep because he cannot study
and the other lives merrily because he feels no pain; the one			And the other lives happily because he doesn't feel pain; the one
lacking the burden of lean and wasteful learning, the other			Without the burden of slim and lavish learning, the other
knowing no burden of heavy tedious penury. These Time ambles			No run of the whites. This time is overcome
withal.			with.
ORLANDO. Who doth he gallop withal?			Orlando. With who do he gallop with?
ROSALIND. With a thief to the gallows; for though he go as softly			Rosalind. With a thief to the gallows; Because even though he goes so softly
as foot can fall, he thinks himself too soon there.			If the foot can fall, he thinks too early there.
ORLANDO. Who stays it still withal?			Orlando. Who still stays with it?
ROSALIND. With lawyers in the vacation; for they sleep between term			Rosalind. With lawyers on vacation; Because they sleep between the term
and term, and then they perceive not how Time moves.			And term, and then do not arrange how time moves.
ORLANDO. Where dwell you, pretty youth?			Orlando. Where do you live, pretty youth?
ROSALIND. With this shepherdess, my sister; here in the skirts of			Rosalind. With this shepherd, my sister; here in the skirts of
the forest, like fringe upon a petticoat.			The forest, like edge on a petticoat.
ORLANDO. Are you native of this place?			Orlando. Are you born from this place?
ROSALIND. As the coney that you see dwell where she is kindled.			Rosalind. When the kony you see where it inflamed.
ORLANDO. Your accent is something finer than you could purchase in			Orlando. Your accent is something finer than you could buy
so removed a dwelling.			So removed an apartment.
ROSALIND. I have been told so of many; but indeed an old religious			Rosalind. I was told by many; but indeed an old religion
uncle of mine taught me to speak, who was in his youth an inland			Uncle of me taught me to speak, which was a country in his youth
man; one that knew courtship too well, for there he fell in love.			Man; One that knew the advertising too well, because he fell in love there.
I have heard him read many lectures against it; and I thank God I			I read him a lot of lectures against it; And thank God me
am not a woman, to be touch'd with so many giddy offences as he			I am not a woman to be touched with as many dizzying crimes as he
hath generally tax'd their whole sex withal.			Generally has all of your sex with taxes.
ORLANDO. Can you remember any of the principal evils that he laid			Orlando. Can you remember one of the main evils he laid?
to the charge of women?			To charges women?
ROSALIND. There were none principal; they were all like one another			Rosalind. There was no client; They were all like each other
as halfpence are; every one fault seeming monstrous till his			How the half -penotes are; Every single mistake seemed monstrous
fellow-fault came to match it.			Mit-fault came.
ORLANDO. I prithee recount some of them.			Orlando. I tell some of them.
ROSALIND. No; I will not cast away my physic but on those that are			Rosalind. No; I will not throw away my physics, but on those who are
sick. There is a man haunts the forest that abuses our young			Sick. There is a man pursued the forest that misused our young
plants with carving 'Rosalind' on their barks; hangs odes upon			Plants with "rosalind" on their bark; Oden hangs
hawthorns and elegies on brambles; all, forsooth, deifying the			Hawthorns and elegies on blackberries; All those who realize the
name of Rosalind. If I could meet that fancy-monger, I would give			Name of Rosalind. If I could meet this fantasy, I would give
him some good counsel, for he seems to have the quotidian of love			Good advice because he seems to have the quotidian of love
upon him.			on him.
ORLANDO. I am he that is so love-shak'd; I pray you tell me your			Orlando. I am the one who loves so that it is joking; I pray, you tell me yours
remedy.			Remedy.
ROSALIND. There is none of my uncle's marks upon you; he taught me			Rosalind. There are no notes of my uncle on you; He taught me
how to know a man in love; in which cage of rushes I am sure you			How to know a man in love; In which cage of Bitters I am sure
are not prisoner.			are not a prisoner.
ORLANDO. What were his marks?			Orlando. What were his brands?
ROSALIND. A lean cheek, which you have not; a blue eye and sunken,			Rosalind. A slim cheek that you don't have; A blue eye and sunken,
which you have not; an unquestionable spirit, which you have not;			what you don't have; an undeniable spirit that you don't have;
a beard neglected, which you have not; but I pardon you for that,			A beard neglected what you don't have; But I forgive you for that
for simply your having in beard is a younger brother's revenue.			Because simply, if you have in the beard, it is the income of a younger brother.
Then your hose should be ungarter'd, your bonnet unbanded, your			Then your hose should be Hungarian, your bonnet is not responsible, yours
sleeve unbutton'd, your shoe untied, and every thing about you			Colon buttons, your shoe that is deleted and everything about you
demonstrating a careless desolation. But you are no such man; you			Demonstrate a carelessly blur. But you are not such a man; she
are rather point-device in your accoutrements, as loving yourself			are rather point device in their equipment than to love themselves
than seeming the lover of any other.			As the lover of another.
ORLANDO. Fair youth, I would I could make thee believe I love.			Orlando. Fair youth, I could make you believe that I love.
ROSALIND. Me believe it! You may as soon make her that you love			Rosalind. I think it! You can make them so fast that they love
believe it; which, I warrant, she is apter to do than to confess			believe it; What, as I guaranteed, is a bit afraid than to be confessed
she does. That is one of the points in the which women still give			She does. This is one of the points in the women still give
the lie to their consciences. But, in good sooth, are you he that			The lie to your conscience. But in good calming, are you?
hangs the verses on the trees wherein Rosalind is so admired?			Does the verses hang on the trees where Rosalind is so admired?
ORLANDO. I swear to thee, youth, by the white hand of Rosalind, I			Orlando. I swear to you, youth, through the white hand of Rosalind, me
am that he, that unfortunate he.			I am that, as unhappy.
ROSALIND. But are you so much in love as your rhymes speak?			Rosalind. But are you so in love as your rhymes speak?
ORLANDO. Neither rhyme nor reason can express how much.			Orlando. Neither rhyme nor reason can express how much.
ROSALIND. Love is merely a madness; and, I tell you, deserves as			Rosalind. Love is just amazing; And I'll tell you, deserve as
well a dark house and a whip as madmen do; and the reason why			Now a dark house and a whip like crazy; And the reason why
they are not so punish'd and cured is that the lunacy is so			They are not punished and healed that the madness is so
ordinary that the whippers are in love too. Yet I profess curing			Usually that the Whippers are also in love. Still, I can assert myself
it by counsel.			it by lawyer.
ORLANDO. Did you ever cure any so?			Orlando. Did you heal something like that?
ROSALIND. Yes, one; and in this manner. He was to imagine me his			Rosalind. Yes, one; And in this way. He should imagine me
love, his mistress; and I set him every day to woo me; at which			Love, his lover; And I put it every day to recruit myself. in which
time would I, being but a moonish youth, grieve, be effeminate,			I would be time, just a moon -rich youth, mourn, be female, female,
changeable, longing and liking, proud, fantastical, apish,			Wandling, longing and liked, proud, fantastic, apical,
shallow, inconstant, full of tears, full of smiles; for every			flat, inconsistent, full of tears, full of smile; for each
passion something and for no passion truly anything, as boys and			Passion something and for no passion really something, as a boy and
women are for the most part cattle of this colour; would now like			Women are mostly cattle of this color; Want now
him, now loathe him; then entertain him, then forswear him; now			He loathes it now; Then entertain him and then give it up; now
weep for him, then spit at him; that I drave my suitor from his			Crying around him and spit on him; that I am my freer from his drawe
mad humour of love to a living humour of madness; which was, to			Crazy humor of love for a lively humor of madness; Which was too
forswear the full stream of the world and to live in a nook			Give up the full electricity of the world and live in a corner
merely monastic. And thus I cur'd him; and this way will I take			only monastic. And so I worked it together; And so I'll take
upon me to wash your liver as clean as a sound sheep's heart,			To me to wash your liver as clean as a noise, heart,
that there shall not be one spot of love in 't.			that there will not be a place of love in 't.
ORLANDO. I would not be cured, youth.			Orlando. I would not be healed, youth.
ROSALIND. I would cure you, if you would but call me Rosalind, and			Rosalind. I would heal you if you would only call me Rosalind and
come every day to my cote and woo me.			Come to my Cote every day and raise me.
ORLANDO. Now, by the faith of my love, I will. Tell me where it is.			Orlando. Well, through 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,			Rosalind. Go to me with me and I'll show you it; And by the way,
you shall tell me where in the forest you live. Will you go?			You should tell me where you live in the forest. Will you go?
ORLANDO. With all my heart, good youth.			Orlando. All my heart, good youth.
ROSALIND. Nay, you must call me Rosalind. Come, sister, will you			Rosalind. No, you have to call me Rosalind. Come on, sister, you will
go? Exeunt			Walk! Exit
SCENE III.			Scene III.
The forest			The forest
Enter TOUCHSTONE and AUDREY; JAQUES behind			Enter Touchstone and Audrey; Jaques behind
TOUCHSTONE. Come apace, good Audrey; I will fetch up your goats,			Test stone. Come on, good Audrey; I'll get your goats
Audrey. And how, Audrey, am I the man yet? Doth my simple feature			Audrey. And how, Audrey, am I already the man? My simple function
content you?			Satisfied you?
AUDREY. Your features! Lord warrant us! What features?			Audrey. Your functions! Lord, justify us! Which functions?
TOUCHSTONE. I am here with thee and thy goats, as the most			Test stone. I am with you and your goats here as most here
capricious poet, honest Ovid, was among the Goths.			The moody poet Ehrlich Ovid was among the Goths.
JAQUES. [Aside] O knowledge ill-inhabited, worse than Jove in a			Jaques. [Apart from] O know badly, worse than Jove in A
thatch'd house!			Thatch'd House!
TOUCHSTONE. When a man's verses cannot be understood, nor a man's			Test stone. If a man's verses are neither understood nor that of a man
good wit seconded with the forward child understanding, it			Good mind that was canceled with the progress of the child, it
strikes a man more dead than a great reckoning in a little room.			beats a man who is more dead than a great settlement in a small room.
Truly, I would the gods had made thee poetical.			Truly, I would have made the gods poetic you.
AUDREY. I do not know what 'poetical' is. Is it honest in deed and			Audrey. I don't know what is "poetic". Is it honest indeed and
word? Is it a true thing?			Word? Is it a real thing?
TOUCHSTONE. No, truly; for the truest poetry is the most feigning,			Test stone. No really; The most deceptive, for the truest poetry, is
and lovers are given to poetry; and what they swear in poetry may			And lovers are given to poetry; And what you can swear in poetry
be said as lovers they do feign.			As a lover, they pretend.
AUDREY. Do you wish, then, that the gods had made me poetical?			Audrey. Do you then wish that the gods would have made me poetic?
TOUCHSTONE. I do, truly, for thou swear'st to me thou art honest;			Test stone. I really swear, you are honest;
now, if thou wert a poet, I might have some hope thou didst			If you have a poet now, I could hope that you do it
feign.			to pretend.
AUDREY. Would you not have me honest?			Audrey. Wouldn't you have me honestly?
TOUCHSTONE. No, truly, unless thou wert hard-favour'd; for honesty			Test stone. No, really, unless you favored hard; for honesty
coupled to beauty is to have honey a sauce to sugar.			Is linked to beauty to have a sauce to the sugar honey.
JAQUES. [Aside] A material fool!			Jaques. [Aside] a material fool!
AUDREY. Well, I am not fair; and therefore I pray the gods make me			Audrey. Well, I'm not fair; And that's why I pray that the gods make me
honest.			ehrlich.
TOUCHSTONE. Truly, and to cast away honesty upon a foul slut were			Test stone. Really, and the honesty to throw away on a bad bitch were
to put good meat into an unclean dish.			To put good meat in an impure dish.
AUDREY. I am not a slut, though I thank the gods I am foul.			Audrey. I am not a bitch, although I thank the gods to be bad.
TOUCHSTONE. Well, praised be the gods for thy foulness;			Test stone. Well, praised, the gods are for your foul;
sluttishness may come hereafter. But be it as it may be, I will			Burglaries can come afterwards. But be it as it may be, I'll do it
marry thee; and to that end I have been with Sir Oliver Martext,			Marriage get married; And for this purpose I was at Sir Oliver Martext,
the vicar of the next village, who hath promis'd to meet me in			The pastor of the next village who promises me to meet me
this place of the forest, and to couple us.			This place of the forest and to couple us.
JAQUES. [Aside] I would fain see this meeting.			Jaques. [Aside] I would see this meeting difficult.
AUDREY. Well, the gods give us joy!			Audrey. Well, the gods give us joy!
TOUCHSTONE. Amen. A man may, if he were of a fearful heart, stagger			Test stone. Amen. If he were of an anxious heart, a man can stumbling
in this attempt; for here we have no temple but the wood, no			In this attempt; Because here we have no temple except the wood, no
assembly but horn-beasts. But what though? Courage! As horns are			Assembly, but horn animals. But what? Courage! How the horns are
odious, they are necessary. It is said: 'Many a man knows no end			Sodus, they are necessary. It says: “Some people know no end
of his goods.' Right! Many a man has good horns and knows no end			its goods. ' Right! Many a man has good horns and don't know any end
of them. Well, that is the dowry of his wife; 'tis none of his			from them. Well, that's his wife's dowry; It is none of him
own getting. Horns? Even so. Poor men alone? No, no; the noblest			get your own. Horns? Even so. Poor men alone? No no; The noblest
deer hath them as huge as the rascal. Is the single man therefore			They have deer as huge as the rascal. Is the individual man therefore
blessed? No; as a wall'd town is more worthier than a village, so			blessed? No; So as Wall -Stadt it is more worthy than a village, so
is the forehead of a married man more honourable than the bare			Is the forehead of a married man honorary as the close
brow of a bachelor; and by how much defence is better than no			Forehead of a bachelor; and how much defense is better than no
skill, by so much is horn more precious than to want. Here comes			Skill, after so much Horn is more precious than Will. Here comes
Sir Oliver.			Sir Oliver.
Enter SIR OLIVER MARTEXT			Enter Sir Oliver Martext
Sir Oliver Martext, you are well met. Will you dispatch us here			Sir Oliver Martext, they are well fulfilled. Will you send us here?
under this tree, or shall we go with you to your chapel?			Under this tree do we go to your chapel with you?
MARTEXT. Is there none here to give the woman?			Martext. Is there none here to give the woman?
TOUCHSTONE. I will not take her on gift of any man.			Test stone. I will not take her with a man's gift.
MARTEXT. Truly, she must be given, or the marriage is not lawful.			Martext. Really, it has to be given or the marriage is not lawful.
JAQUES. [Discovering himself] Proceed, proceed; I'll give her.			Jaques. [Discovery itself] continue, go away; I will give her.
TOUCHSTONE. Good even, good Master What-ye-call't; how do you, sir?			Test stone. Well, even, good master, what not; How are you, sir?
You are very well met. Goddild you for your last company. I am			They are very well fulfilled. Damn her for your last company. I am
very glad to see you. Even a toy in hand here, sir. Nay; pray be			Very happy to see you. Even a toy in hand here, sir. No; be praying
cover'd.			covered.
JAQUES. Will you be married, motley?			Jaques. Will you be married, colorful?
TOUCHSTONE. As the ox hath his bow, sir, the horse his curb, and			Test stone. When the ox has its bow, sir, the horse his curb, and
the falcon her bells, so man hath his desires; and as pigeons			The falcon, the bells, so the man has his wishes; And as pigeons
bill, so wedlock would be nibbling.			Bill, so before nibbling.
JAQUES. And will you, being a man of your breeding, be married			Jaques. And will be married, a man of her breeding
under a bush, like a beggar? Get you to church and have a good			Under a bush like a beggar? Take yourself into the church and have a good one
priest that can tell you what marriage is; this fellow will but			Priest who can tell them what marriage is; But this guy becomes
join you together as they join wainscot; then one of you will			Tigger them while joining Wainscot. Then one of you will be
prove a shrunk panel, and like green timber warp, warp.			Proof a shrunk panel and like Green Timber Warp, Warp.
TOUCHSTONE. [Aside] I am not in the mind but I were better to be			Test stone. [Aside] I'm not in my head, but I was better to be
married of him than of another; for he is not like to marry me			Married by him as from another; Because he doesn't like to get married
well; and not being well married, it will be a good excuse for me			Good; And not being well married, it will be a good excuse for me
hereafter to leave my wife.			In the following to leave my wife.
JAQUES. Go thou with me, and let me counsel thee.			Jaques. Go with me and get you advised.
TOUCHSTONE. Come, sweet Audrey;			Test stone. Come on, sweet Audrey;
We must be married or we must live in bawdry.			We have to be married or we have to live in Bawdry.
Farewell, good Master Oliver. Not-			Farewell, good master Oliver. Not-
O sweet Oliver,			O Sweet Oliver,
O brave Oliver,			O brave Oliver,
Leave me not behind thee.			Don't leave me behind you.
But-			But-
Wind away,			Wind away,
Begone, I say,			I spit, he said, he said:
I will not to wedding with thee.			I won't be with you for the wedding.
Exeunt JAQUES, TOUCHSTONE, and AUDREY			Leave Jaques, Touchstone and Audrey
MARTEXT. 'Tis no matter; ne'er a fantastical knave of them all			Martext. It does not matter; No, a fantastic villain of everyone
shall flout me out of my calling. Exit			Should make me from my calling. Exit
SCENE IV.			Feel IV.
The forest			The forest
Enter ROSALIND and CELIA			Enter Rosalind and Celia
ROSALIND. Never talk to me; I will weep.			Rosalind. Never speak to me; I will cry.
CELIA. Do, I prithee; but yet have the grace to consider that tears			Celia. Tu, I prithmy; But the grace has to look at these tears
do not become a man.			Don't become a man.
ROSALIND. But have I not cause to weep?			Rosalind. But didn't I let it cry?
CELIA. As good cause as one would desire; therefore weep.			Celia. As good as one would wish; So cry.
ROSALIND. His very hair is of the dissembling colour.			Rosalind. His hair has the dissipating color.
CELIA. Something browner than Judas's.			Celia. Something brownesses than Judas.
Marry, his kisses are Judas's own children.			Marriage, his kisses are Judas' own children.
ROSALIND. I' faith, his hair is of a good colour.			Rosalind. I think his hair has a good color.
CELIA. An excellent colour: your chestnut was ever the only colour.			Celia. An excellent color: their chestnut was always the only color.
ROSALIND. And his kissing is as full of sanctity as the touch of			Rosalind. And his kissing is as full of holiness as the touch of
holy bread.			Holy bread.
CELIA. He hath bought a pair of cast lips of Diana. A nun of			Celia. He bought a few cast lips Diana. A nun of
winter's sisterhood kisses not more religiously; the very ice of			Winter's sisterhood does not kiss more religiously; The ice of
chastity is in them.			Chastity is in them.
ROSALIND. But why did he swear he would come this morning, and			Rosalind. But why did he swear that he would come this morning, and
comes not?			does not come?
CELIA. Nay, certainly, there is no truth in him.			Celia. No, certainly there is no truth in him.
ROSALIND. Do you think so?			Rosalind. Do you think so?
CELIA. Yes; I think he is not a pick-purse nor a horse-stealer; but			Celia. Yes; I think he's neither a pick-purse nor a horsepower; but
for his verity in love, I do think him as concave as covered			For his truth in love, I think he as a concave as covered
goblet or a worm-eaten nut.			Cup or a nut at eaten with worm.
ROSALIND. Not true in love?			Rosalind. Not true in love?
CELIA. Yes, when he is in; but I think he is not in.			Celia. Yes, if he's in it; But I think he's not there.
ROSALIND. You have heard him swear downright he was.			Rosalind. You have heard him swear that he was.
CELIA. 'Was' is not 'is'; besides, the oath of a lover is no			Celia. 'It is not' is'; In addition, the oath of a lover is no
stronger than the word of a tapster; they are both the confirmer			stronger than the word of a tapster; You are both confirmed
of false reckonings. He attends here in the forest on the Duke,			of false billing. He visits here in the forest on the duke,
your father.			your father.
ROSALIND. I met the Duke yesterday, and had much question with him.			Rosalind. I met the duke yesterday and had a lot of question with him.
He asked me of what parentage I was; I told him, of as good as			He asked me after the descent what descent I was; I told him about as good as
he; so he laugh'd and let me go. But what talk we of fathers when			he; So he laughed and let me go. But what talk about fathers if
there is such a man as Orlando?			Is there such a man like Orlando?
CELIA. O, that's a brave man! He writes brave verses, speaks brave			Celia. Oh, this is a brave man! He writes courageous verses, speaks courageous
words, swears brave oaths, and breaks them bravely, quite			Words, brave oath swears and breaks them brave, entirely
traverse, athwart the heart of his lover; as a puny tilter, that			Traverse, athwart the heart of his lover; as a micker tilter that, that
spurs his horse but on one side, breaks his staff like a noble			Spurs
goose. But all's brave that youth mounts and folly guides.			Goose. But everything is brave that young people and foolishness leads.
Who comes here?			Who comes here?
Enter CORIN			Enter corin
CORIN. Mistress and master, you have oft enquired			Corin. Mistress and master, they have often asked
After the shepherd that complain'd of love,			After the shepherd who complained about love,
Who you saw sitting by me on the turf,			Who you saw, saw sitting on the lawn on the lawn,
Praising the proud disdainful shepherdess			Praise the proud contemptuous häpherdess
That was his mistress.			That was his lover.
CELIA. Well, and what of him?			Celia. Well, and what about him?
CORIN. If you will see a pageant truly play'd			Corin. When you see a pageant that is really played
Between the pale complexion of true love			Between the pale complexion of true love
And the red glow of scorn and proud disdain,			And the red glow of contempt and proud contempt,
Go hence a little, and I shall conduct you,			So go a little and I'll behave you
If you will mark it.			If you mark it.
ROSALIND. O, come, let us remove!			Rosalind. O, come, let's get offs off!
The sight of lovers feedeth those in love.			The sight of lovers fell in love.
Bring us to this sight, and you shall say			Bring us to this sight and you should say
I'll prove a busy actor in their play. Exeunt			I will prove a busy actor in her piece. Exeunt
SCENE V.			Sente V.
Another part of the forest			Another part of the forest
Enter SILVIUS and PHEBE			Enter Silvius and Phebe
SILVIUS. Sweet Phebe, do not scorn me; do not, Phebe.			Silvius. Sweet phebe, do not despise me; Not, phebe.
Say that you love me not; but say not so			Say that you don't love me; But don't say that
In bitterness. The common executioner,			In bitterness. The common hangman,
Whose heart th' accustom'd sight of death makes hard,			Whose heart, which is used to seeing death, makes hard, difficult, difficult
Falls not the axe upon the humbled neck			Do not fall on the modest neck on the ax
But first begs pardon. Will you sterner be			But first asks forgiveness. Will you be a dying?
Than he that dies and lives by bloody drops?			As the one who dies and lives through bloody drops?
Enter ROSALIND, CELIA, and CORIN, at a distance			Enter Rosalind, Celia and Corin at some distance
PHEBE. I would not be thy executioner;			Phebe. I wouldn't be your executioner;
I fly thee, for I would not injure thee.			I fly you because I wouldn't hurt you.
Thou tell'st me there is murder in mine eye.			You tell me that it has murder in my eye.
Tis pretty, sure, and very probable,			It's pretty, safe and very likely
That eyes, that are the frail'st and softest things,			These eyes are the frail and soft things,
Who shut their coward gates on atomies,			Which have closed their cowards on atomies,
Should be call'd tyrants, butchers, murderers!			Should tyrants, butcher, murderer be called!
Now I do frown on thee with all my heart;			Now I'm all my forehead on you;
And if mine eyes can wound, now let them kill thee.			And if my eyes can be wounded, let them kill you now.
Now counterfeit to swoon; why, now fall down;			Now fake too passed; Why, fall now;
Or, if thou canst not, O, for shame, for shame,			Or if you don't, o, for shame, for shame,
Lie not, to say mine eyes are murderers.			Don't lie to say that my eyes are murderers.
Now show the wound mine eye hath made in thee.			Now show the wound mine eye have made in you.
Scratch thee but with a pin, and there remains			But scratch you with a pin, and there is left
Some scar of it; lean upon a rush,			A scar of it; Place on a hurry,
The cicatrice and capable impressure			The Cicatrice and the capable impression
Thy palm some moment keeps; but now mine eyes,			Your palm holds a moment; But now my eyes
Which I have darted at thee, hurt thee not;			What I threw you off didn't hurt you;
Nor, I am sure, there is not force in eyes			I am also not sure that there is no strength in the eyes
That can do hurt.			That can hurt.
SILVIUS. O dear Phebe,			Silvius. Oh Dear Phebe,
If ever- as that ever may be near-			If that always may be nearby
You meet in some fresh cheek the power of fancy,			They meet the power of the imagination in a fresh cheek
Then shall you know the wounds invisible			Then you will know the wounds invisibly
That love's keen arrows make.			Make the sharp arrows of this love.
PHEBE. But till that time			Phebe. But until this time
Come not thou near me; and when that time comes,			Don't come near me; And when this time comes
Afflict me with thy mocks, pity me not;			I am busy with your appearance, too bad I don't;
As till that time I shall not pity thee.			As up to this point, I won't be a shame.
ROSALIND. [Advancing] And why, I pray you? Who might be your			Rosalind. [Progress] and why am I praying you? Who could be yours
mother,			Mother,
That you insult, exult, and all at once,			That they insult, hunt and at once,
Over the wretched? What though you have no beauty-			Above the misery? What though they have no beauty-
As, by my faith, I see no more in you			As through my belief, I no longer see in you
Than without candle may go dark to bed-			As without a candle, the bed can get dark.
Must you be therefore proud and pitiless?			So do you have to be proud and merciless?
Why, what means this? Why do you look on me?			Why, what does that mean? Why do you look at me
I see no more in you than in the ordinary			I don't see more in you than in the ordinary
Of nature's sale-work. 'Od's my little life,			The sales work of nature. 'Od is my little life
I think she means to tangle my eyes too!			I think she also means to get involved in my eyes!
No faith, proud mistress, hope not after it;			No faith, proud mistress, hope not afterwards;
Tis not your inky brows, your black silk hair,			It is not your ink -ink brows, your black silk hair,
Your bugle eyeballs, nor your cheek of cream,			Your horn auctions, still your cheek of the cream,
That can entame my spirits to your worship.			That can give my ghosts to their worship.
You foolish shepherd, wherefore do you follow her,			They stupid shepherds, why follow her,
Like foggy south, puffing with wind and rain?			Like foggy south, blow with wind and rain?
You are a thousand times a properer man			You are a decent man a thousand times
Than she a woman. 'Tis such fools as you			When she is a woman. 'It is such fools as you
That makes the world full of ill-favour'd children.			That makes the world full of bad children.
Tis not her glass, but you, that flatters her;			It is not her glass, but you, that flatters you;
And out of you she sees herself more proper			And she sees herself better from you
Than any of her lineaments can show her.			As each of her lines, it can show her.
But, mistress, know yourself. Down on your knees,			But mistress, know you. Down on the knees,
And thank heaven, fasting, for a good man's love;			And thanks heaven, fasting, for the love of a good man;
For I must tell you friendly in your ear:			Because I have to tell you friendly in your ear:
Sell when you can; you are not for all markets.			Sell ​​if you can; They are not for all markets.
Cry the man mercy, love him, take his offer;			Wines, the mercy, love him, accept his offer;
Foul is most foul, being foul to be a scoffer.			Foul is the foul that is a foul to be a scofer.
So take her to thee, shepherd. Fare you well.			So bring her to you, shepherd. Good luck for the future.
PHEBE. Sweet youth, I pray you chide a year together;			Phebe. Sweet youth, I pray that you are tading together for a year;
I had rather hear you chide than this man woo.			I preferred to hear you blame than to convert this man.
ROSALIND. He's fall'n in love with your foulness, and she'll fall			Rosalind. He falls in love with your foul and she will fall
in love with my anger. If it be so, as fast as she answers thee			In love with my anger. If so, as soon as she answers you
with frowning looks, I'll sauce her with bitter words. Why look			With a frowning look, I will be a sauce with bitter words. Why look?
you so upon me?			You so much about me?
PHEBE. For no ill will I bear you.			Phebe. Because no sick person I will endure you.
ROSALIND. I pray you do not fall in love with me,			Rosalind. I pray, you don't fall in love with me
For I am falser than vows made in wine;			Because I am falscher than in wine;
Besides, I like you not. If you will know my house,			Besides, I don't like you. When you know my house
Tis at the tuft of olives here hard by.			Tis on Oles Büschel through hard.
Will you go, sister? Shepherd, ply her hard.			Will you go, sister? Shepherd, she hard.
Come, sister. Shepherdess, look on him better,			Come on, sister. Shepherd, look better
And be not proud; though all the world could see,			And don't be proud; Although the whole world could see
None could be so abus'd in sight as he.			Nobody could be like him.
Come, to our flock. Exeunt ROSALIND, CELIA, and CORIN			Come to our herd. Exeunt Rosalind, Celia and Corin
PHEBE. Dead shepherd, now I find thy saw of might:			Phebe. Dead Shepherd, now I find your saw the power:
Who ever lov'd that lov'd not at first sight?'			Who has ever loved that who didn't loved at first glance? '
SILVIUS. Sweet Phebe.			Silvius. Sweet Phebe.
PHEBE. Ha! what say'st thou, Silvius?			Phebe. Ha! What do you say, Silvius?
SILVIUS. Sweet Phebe, pity me.			Silvius. Sweet phebe, pity with me.
PHEBE. Why, I arn sorry for thee, gentle Silvius.			Phebe. Why, I'm sorry for you, gentle Silvius.
SILVIUS. Wherever sorrow is, relief would be.			Silvius. Wherever grief is relief.
If you do sorrow at my grief in love,			If you mourn my grief about love
By giving love, your sorrow and my grief			By giving love, grief and grief
Were both extermin'd.			Were both eradicated.
PHEBE. Thou hast my love; is not that neighbourly?			Phebe. You have my love; Isn't that neighborly?
SILVIUS. I would have you.			Silvius. I would have you.
PHEBE. Why, that were covetousness.			Phebe. That was the desire.
Silvius, the time was that I hated thee;			Silvius, it was time for me to hated you;
And yet it is not that I bear thee love;			And yet it is not that I love you;
But since that thou canst talk of love so well,			But since you can talk about love so well,
Thy company, which erst was irksome to me,			Your company that was irccede for me,
I will endure; and I'll employ thee too.			I will endure; And I will also keep you busy.
But do not look for further recompense			However, do not look for a further reward
Than thine own gladness that thou art employ'd.			As your own joy you use.
SILVIUS. So holy and so perfect is my love,			Silvius. My love is so holy and so perfect
And I in such a poverty of grace,			And I in such a poverty of grace,
That I shall think it a most plenteous crop			That I think it is a very hundredweight harvest
To glean the broken ears after the man			To facilitate the broken ears after the man
That the main harvest reaps; loose now and then			That the main office is harvested; from time to time too loose
A scatt'red smile, and that I'll live upon.			A scatt'red smile, and I will live that.
PHEBE. Know'st thou the youth that spoke to me erewhile?			Phebe. Do you know that she was going to take the youth that I talked to me?
SILVIUS. Not very well; but I have met him oft;			Silvius. Not very good; But I often met him;
And he hath bought the cottage and the bounds			And he bought the cottage and borders
That the old carlot once was master of.			That the old Carlot was once a master.
PHEBE. Think not I love him, though I ask for him;			Phebe. Do not think that I don't love him even though I ask about him;
Tis but a peevish boy; yet he talks well.			It is just an angry boy; Nevertheless, he speaks well.
But what care I for words? Yet words do well			But what care for words? But words do it well
When he that speaks them pleases those that hear.			When he speaks them, they like the ones who hear.
It is a pretty youth- not very pretty;			It's a pretty youth- not very pretty;
But, sure, he's proud; and yet his pride becomes him.			But sure, he is proud; And yet he becomes his pride.
He'll make a proper man. The best thing in him			He will do a real man. The best in him
Is his complexion; and faster than his tongue			Is his complexion; and faster than his tongue
Did make offence, his eye did heal it up.			Has insulted, his eye healed it.
He is not very tall; yet for his years he's tall;			He is not very big; But he is great for his years;
His leg is but so-so; and yet 'tis well.			His leg is only so lala; And yet it's good.
There was a pretty redness in his lip,			There was a pretty redness in his lip
A little riper and more lusty red			A little friction and lustful red
Than that mix'd in his cheek; 'twas just the difference			Than this mix in his cheek; 'It was just the difference
Betwixt the constant red and mingled damask.			Between the constant red and mixed damask.
There be some women, Silvius, had they mark'd him			There are some women, Silvius, they would have marked it
In parcels as I did, would have gone near			In packages like me would have gone nearby
To fall in love with him; but, for my part,			To fall in love with him; But on my part,
I love him not, nor hate him not; and yet			I don't love him and don't hate him; and yet
I have more cause to hate him than to love him;			I have more reason to hate him than love him;
For what had he to do to chide at me?			Because what did he have to do to speak to me?
He said mine eyes were black, and my hair black,			He said my eyes were black and my hair was black.
And, now I am rememb'red, scorn'd at me.			And now I am reminded of it, despised me.
I marvel why I answer'd not again;			I am amazed why I didn't answer again;
But that's all one: omittance is no quittance.			But that's all: Obstanz is not fonts.
I'll write to him a very taunting letter,			I will write him a very mocking letter
And thou shalt bear it; wilt thou, Silvius?			And you should wear it; Do you want Silvius?
SILVIUS. Phebe, with all my heart.			Silvius. Phebe with all my heart.
PHEBE. I'll write it straight;			Phebe. I'll write it right now;
The matter's in my head and in my heart;			The thing is in my head and in my heart;
I will be bitter with him and passing short.			I will be bitter with him and come over briefly.
Go with me, Silvius. Exeunt			Go with me, Silvius. Exit
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ACT IV. SCENE I.			ACT IV. Sente I.
The forest			The forest
Enter ROSALIND, CELIA, and JAQUES			Enter Rosalind, Celia and Jaques
JAQUES. I prithee, pretty youth, let me be better acquainted with			Jaques. I prithmee, pretty youth, get to know me better
thee.			you.
ROSALIND. They say you are a melancholy fellow.			Rosalind. They say they are a melancholic guy.
JAQUES. I am so; I do love it better than laughing.			Jaques. I am so; I love it better than laughing.
ROSALIND. Those that are in extremity of either are abominable			Rosalind. Those who are in the end of the two are hideous
fellows, and betray themselves to every modern censure worse than			Fellows and reveal themselves worse than modern criticism than
drunkards.			Drunk.
JAQUES. Why, 'tis good to be sad and say nothing.			Jaques. Why, it's good to be sad and nothing to say.
ROSALIND. Why then, 'tis good to be a post.			Rosalind. Then why it's good to be a contribution.
JAQUES. I have neither the scholar's melancholy, which is			Jaques. I have neither the melancholy of the scholar, that is
emulation; nor the musician's, which is fantastical; nor the			Emulation; Still the musician who is fantastic; Still the
courtier's, which is proud; nor the soldier's, which is			Courters, which is proud; still the soldiers, which is
ambitious; nor the lawyer's, which is politic; nor the lady's,			ambitious; still the lawyer who is political; still the lady ,,
which is nice; nor the lover's, which is all these; but it is a			What is nice; still the lovers who are all of these; But it's a
melancholy of mine own, compounded of many simples, extracted			Melancholy of mine, which was composed of many Simitia, was extracted
from many objects, and, indeed, the sundry contemplation of my			From many objects and in fact the sunny contemplation from me
travels; in which my often rumination wraps me in a most humorous			Travel; in which my often ruminations enveloped me into a very humorous
sadness.			Sadness.
ROSALIND. A traveller! By my faith, you have great reason to be			Rosalind. A traveller! In my belief, they have a big reason to be
sad. I fear you have sold your own lands to see other men's; then			sad. I'm afraid you sold your own country to see other men. then
to have seen much and to have nothing is to have rich eyes and			Having a lot and having nothing is rich eyes and
poor hands.			Poor hands.
JAQUES. Yes, I have gain'd my experience.			Jaques. Yes, I have had my experience.
Enter ORLANDO			Enter Orlando
ROSALIND. And your experience makes you sad. I had rather have a			Rosalind. And your experience makes you sad. I preferred to have one
fool to make me merry than experience to make me sad- and to			Dummy, make me happy as experience to make me sad and too
travel for it too.			Travel for it too.
ORLANDO. Good day, and happiness, dear Rosalind!			Orlando. Hello and luck, dear Rosalind!
JAQUES. Nay, then, God buy you, an you talk in blank verse.			Jaques. No, then, God, buy yourself, a you talk in empty verses.
ROSALIND. Farewell, Monsieur Traveller; look you lisp and wear			Rosalind. Farewell, Monsieur Traveler; Look at Lispel and carry
strange suits, disable all the benefits of your own country, be			Strange suits, deactivate all the advantages of your own country, be
out of love with your nativity, and almost chide God for making			Out of love with your birth and almost blame God to do it
you that countenance you are; or I will scarce think you have			They are the face they are; Or I'll think you'd think you have
swam in a gondola. [Exit JAQUES] Why, how now, Orlando! where			Swam in a gondola. [Output Jaques] Why, like now, Orlando! Where
have you been all this while? You a lover! An you serve me such			Were you all of this? You a lover! And you serve me like that
another trick, never come in my sight more.			Another trick, they never come into my eyes again.
ORLANDO. My fair Rosalind, I come within an hour of my promise.			Orlando. My beautiful Rosalind, I come after my promise within an hour.
ROSALIND. Break an hour's promise in love! He that will divide a			Rosalind. Break an hour in love! Who will share a
minute into a thousand parts, and break but a part of the			Minute in a thousand parts and break only part of the
thousand part of a minute in the affairs of love, it may be said			A thousand part of a minute in the affairs of love can be said
of him that Cupid hath clapp'd him o' th' shoulder, but I'll			From him this Amor worked him off his shoulder, but I will
warrant him heart-whole.			Guarantee him cardiac Gohole.
ORLANDO. Pardon me, dear Rosalind.			Orlando. Forgive me, dear Rosalind.
ROSALIND. Nay, an you be so tardy, come no more in my sight. I had			Rosalind. No, you are so late, don't come into my eyes anymore. I had
as lief be woo'd of a snail.			A snail is thrown as a load.
ORLANDO. Of a snail!			Orlando. A snail!
ROSALIND. Ay, of a snail; for though he comes slowly, he carries			Rosalind. Ay, from a snail; Because although he comes slowly, he wears
his house on his head- a better jointure, I think, than you make			His house on his head- I think a better joint than you do
a woman; besides, he brings his destiny with him.			a woman; He also brings his fate with him.
ORLANDO. What's that?			Orlando. What is that?
ROSALIND. Why, horns; which such as you are fain to be beholding to			Rosalind. Why, horns; What you can see as to see it
your wives for; but he comes armed in his fortune, and prevents			Your women for; But he comes armed and prevented in his assets
the slander of his wife.			The defamation of his wife.
ORLANDO. Virtue is no horn-maker; and my Rosalind is virtuous.			Orlando. Virtue is not a horn maker; And my Rosalind is virtuous.
ROSALIND. And I am your Rosalind.			Rosalind. And I'm your Rosalind.
CELIA. It pleases him to call you so; but he hath a Rosalind of a			Celia. He likes to name you; But he has a rosalind of a
better leer than you.			Better empty than you.
ROSALIND. Come, woo me, woo me; for now I am in a holiday humour,			Rosalind. Come on, you raise me, woo me; For now I am humor on a vacation,
and like enough to consent. What would you say to me now, an I			And like enough to agree. What would you tell me now, a me
were your very very Rosalind?			Were you your very, very rosalind?
ORLANDO. I would kiss before I spoke.			Orlando. I would kiss before I spoke.
ROSALIND. Nay, you were better speak first; and when you were			Rosalind. No, you were better at first; And when you were
gravell'd for lack of matter, you might take occasion to kiss.			Due to a lack of lack, you can take the opportunity to kiss.
Very good orators, when they are out, they will spit; and for			Very good speakers, when they are on the go, they will spit; and for
lovers lacking- God warn us!- matter, the cleanliest shift is to			Lovers who are missing- God warns us!- Matter, the cleanest shift is closed
kiss.			Kiss.
ORLANDO. How if the kiss be denied?			Orlando. How if the kiss is refused?
ROSALIND. Then she puts you to entreaty, and there begins new			Rosalind. Then she brings you to a plitten and there starts new
matter.			Matter.
ORLANDO. Who could be out, being before his beloved mistress?			Orlando. Who could be outside to be in front of his lover?
ROSALIND. Marry, that should you, if I were your mistress; or I			Rosalind. Marriage, you should be that if I were your lover; or I
should think my honesty ranker than my wit.			Should think of my honesty ranger than my joke.
ORLANDO. What, of my suit?			Orlando. What about my suit?
ROSALIND. Not out of your apparel, and yet out of your suit.			Rosalind. Not out of your clothes and yet out of your suit.
Am not I your Rosalind?			Am I not your rosalind?
ORLANDO. I take some joy to say you are, because I would be talking			Orlando. I am happy to say that they are because I would talk
of her.			of their.
ROSALIND. Well, in her person, I say I will not have you.			Rosalind. Well, in your person I say I won't have you.
ORLANDO. Then, in mine own person, I die.			Orlando. Then I die in my own person.
ROSALIND. No, faith, die by attorney. The poor world is almost six			Rosalind. No, believe, die from lawyer. The poor world is almost six
thousand years old, and in all this time there was not any man			A thousand years old, and in all this time there was no man
died in his own person, videlicet, in a love-cause. Troilus had			died in his own person, Videlicet, in a love case. Troilus had
his brains dash'd out with a Grecian club; yet he did what he			His brain was out with a Greek club; Still he did what he did
could to die before, and he is one of the patterns of love.			Could die beforehand and he is one of the love patterns.
Leander, he would have liv'd many a fair year, though Hero had			Leander, he would have lived a nice year, although hero had hero
turn'd nun, if it had not been for a hot midsummer night; for,			Nun if it hadn't been for a hot midsummer night; to the,
good youth, he went but forth to wash him in the Hellespont, and,			Good youth, but he continued to wash him in the Hellespont, and,
being taken with the cramp, was drown'd; and the foolish			To be taken with the cramp was drowned; And the stupidity
chroniclers of that age found it was- Hero of Sestos. But these			Chronicle of this age found that it was hero from Sestos. But these
are all lies: men have died from time to time, and worms have			are all lies: men died from time to time and have worms
eaten them, but not for love.			I ate her, but not out of love.
ORLANDO. I would not have my right Rosalind of this mind; for,			Orlando. I would not have my right Rosalind for this spirit; to the,
I protest, her frown might kill me.			I protest that her frown could kill me.
ROSALIND. By this hand, it will not kill a fly. But come, now I			Rosalind. This hand will not kill a fly. But come now me
will be your Rosalind in a more coming-on disposition; and ask me			will be in a common disposition; and ask me
what you will, I will grant it.			What you want, I will grant it.
ORLANDO. Then love me, Rosalind.			Orlando. Then love me, Rosalind.
ROSALIND. Yes, faith, will I, Fridays and Saturdays, and all.			Rosalind. Yes, I think I will, on Fridays and Saturdays and everything.
ORLANDO. And wilt thou have me?			Orlando. And do you want me
ROSALIND. Ay, and twenty such.			Rosalind. Ay and twenty like.
ORLANDO. What sayest thou?			Orlando. What are you saying?
ROSALIND. Are you not good?			Rosalind. Are you not good
ORLANDO. I hope so.			Orlando. Hopefully.
ROSALIND. Why then, can one desire too much of a good thing?			Rosalind. Why can you want too much a good thing?
Come, sister, you shall be the priest, and marry us. Give me your hand,			Come on, sister, you should be the priest and marry us. Give me your hand,
Orlando. What do you say, sister?			Orlando. What do you say, sister?
ORLANDO. Pray thee, marry us.			Orlando. Pray yourself, marry us.
CELIA. I cannot say the words.			Celia. I can't say the words.
ROSALIND. You must begin 'Will you, Orlando'-			Rosalind. You have to start, you will, Orlando'-
CELIA. Go to. Will you, Orlando, have to wife this Rosalind?			Celia. Go to. Will you, Orlando, have this rosalind woman woman?
ORLANDO. I will.			Orlando. I will.
ROSALIND. Ay, but when?			Rosalind. Yes but when?
ORLANDO. Why, now; as fast as she can marry us.			Orlando. Why now; As quickly as she can get married.
ROSALIND. Then you must say 'I take thee, Rosalind, for wife.'			Rosalind. Then you have to say: "I'll take you, Rosalind, for women."
ORLANDO. I take thee, Rosalind, for wife.			Orlando. I take you, Rosalind, for women.
ROSALIND. I might ask you for your commission; but- I do take thee,			Rosalind. I could ask you for your commission. But I'll take you
Orlando, for my husband. There's a girl goes before the priest;			Orlando, for my husband. There is a girl in front of the priest;
and, certainly, a woman's thought runs before her actions.			And certainly a woman's thought runs before her actions.
ORLANDO. So do all thoughts; they are wing'd.			Orlando. So all thoughts; You are winged.
ROSALIND. Now tell me how long you would have her, after you have			Rosalind. Now tell me how long you would have it after you have
possess'd her.			they own.
ORLANDO. For ever and a day.			Orlando. Forever and a day.
ROSALIND. Say 'a day' without the 'ever.' No, no, Orlando; men are			Rosalind. Say 'a day' without the 'Je'. No, no, Orlando; men are
April when they woo, December when they wed: maids are May when			April, when they are amplifying, December when they got married: maids are May when
they are maids, but the sky changes when they are wives. I will			They are maids, but the sky changes when they are women. I will
be more jealous of thee than a Barbary cock-pigeon over his hen,			Be jealous of you as a barbary tail pigeon over his hen,
more clamorous than a parrot against rain, more new-fangled than			more relaxed than a parrot against rain, new fishing than a parrot
an ape, more giddy in my desires than a monkey. I will weep for			A monkey, more dizzy in my wishes than a monkey. I will cry
nothing, like Diana in the fountain, and I will do that when you			Nothing like Diana in the fountain, and I will do that if you
are dispos'd to be merry; I will laugh like a hyen, and that when			are overdraft facilities to be happy; I'll laugh like a hyen, and when
thou are inclin'd to sleep.			You are inclined to sleep.
ORLANDO. But will my Rosalind do so?			Orlando. But will my Rosalind do that?
ROSALIND. By my life, she will do as I do.			Rosalind. In my life she will do what I do.
ORLANDO. O, but she is wise.			Orlando. Oh, but it is wise.
ROSALIND. Or else she could not have the wit to do this. The wiser,			Rosalind. Or she couldn't have the joke. The wiser,
the waywarder. Make the doors upon a woman's wit, and it will out			The specially ". Make the doors on the joke of a woman and it will come out
at the casement; shut that, and 'twill out at the key-hole; stop			in the destruction; Close that and fatally on the keyhole; Break
that, 'twill fly with the smoke out at the chimney.			That, tweit flies with the smoke in the chimney.
ORLANDO. A man that had a wife with such a wit, he might say 'Wit,			Orlando. A man who had a woman with such a joke could say "joke"
whither wilt?' ROSALIND. Nay, you might keep that check for it, till you met your			Where to go? 'Rosalind. No, you could keep this check until you hit yours
wife's wit going to your neighbour's bed.			The wit of the woman goes to the bed of her neighbor.
ORLANDO. And what wit could wit have to excuse that?			Orlando. And which joke could have to excuse that?
ROSALIND. Marry, to say she came to seek you there. You shall never			Rosalind. Marriage to say that she came there to look for you there. You will never
take her without her answer, unless you take her without her			Take them without their answer unless you take them without them
tongue. O, that woman that cannot make her fault her husband's			Tongue. Oh, this woman who cannot blame her to her husband
occasion, let her never nurse her child herself, for she will			Opportunity, never let your child care for yourself, because you will do it
breed it like a fool!			Breed it like a fool!
ORLANDO. For these two hours, Rosalind, I will leave thee.			Orlando. For these two hours, Rosalind, I will leave you.
ROSALIND. Alas, dear love, I cannot lack thee two hours!			Rosalind. Unfortunately, love, I can't miss you two hours!
ORLANDO. I must attend the Duke at dinner; by two o'clock I will be			Orlando. I have to visit the duke at dinner. I will be at two o'clock
with thee again.			Again with you.
ROSALIND. Ay, go your ways, go your ways. I knew what you would			Rosalind. Yes, go your ways, go your ways. I knew what you would
prove; my friends told me as much, and I thought no less.			prove; My friends told me just as much and I didn't think less.
That flattering tongue of yours won me. 'Tis but one cast away, and			Your flattering tongue won me. It is only poured away, and
so, come death! Two o'clock is your hour?			So come to death! Two o'clock is your hour?
ORLANDO. Ay, sweet Rosalind.			Orlando. Ay, Sweet Rosalind.
ROSALIND. By my troth, and in good earnest, and so God mend me, and			Rosalind. From my troth and in good seriousness, and so God heals me, and
by all pretty oaths that are not dangerous, if you break one jot			With all the pretty oaths that are not dangerous if they break a jot
of your promise, or come one minute behind your hour, I will			From your promise or a minute after your hour, I will
think you the most pathetical break-promise, and the most hollow			Think you are the most pathetic break and the hollowest
lover, and the most unworthy of her you call Rosalind, that may			Lovers and the most unworthy of yours you call Rosalind, that can be
be chosen out of the gross band of the unfaithful. Therefore			can be selected from the coarse gang of the unfaithful. Because of this
beware my censure, and keep your promise.			Take care of my criticism and keep your promise.
ORLANDO. With no less religion than if thou wert indeed my			Orlando. With no less religion than if you actually mean you have
Rosalind; so, adieu.			Rosalind; Also, Adieu.
ROSALIND. Well, Time is the old justice that examines all such			Rosalind. Well, time is the old justice that all examines
offenders, and let Time try. Adieu. Exit ORLANDO			Criminal and try the time. Adieu. Leave Orlando
CELIA. You have simply misus'd our sex in your love-prate. We must			Celia. You just have our sex at your love price. We must
have your doublet and hose pluck'd over your head, and show the			Leave your double and hose over your head and show that
world what the bird hath done to her own nest.			World what the bird has done with her own nest.
ROSALIND. O coz, coz, coz, my pretty little coz, that thou didst			Rosalind. O Coz, Coz, Coz, my pretty little Coz, you did that
know how many fathom deep I am in love! But it cannot be sounded;			You know how many Fathom depth I am in love! But it cannot be sounded;
my affection hath an unknown bottom, like the Bay of Portugal.			My affection has an unknown soil like the Bay of Portugal.
CELIA. Or rather, bottomless; that as fast as you pour affection			Celia. Or rather, bottomless; that as quickly as you insert affection
in, it runs out.			In, it runs out.
ROSALIND. No; that same wicked bastard of Venus, that was begot of			Rosalind. No; The same evil bastard of Venus, that was a start of
thought, conceiv'd of spleen, and born of madness; that blind			Thoughts, designed by spleen and born out of madness; The blind
rascally boy, that abuses every one's eyes, because his own are			Snling boy who misused everyone because his own are his own
out- let him be judge how deep I am in love. I'll tell thee,			Let him judge how deep I am in love. I will tell you,
Aliena, I cannot be out of the sight of Orlando. I'll go find a			Aliena, I can't be out of Orlando's eyes. I'll find one
shadow, and sigh till he come.			Shadow and sigh until he comes.
CELIA. And I'll sleep. Exeunt			Celia. And I'll sleep. Exeunt
SCENE II.			Scene II.
The forest			The forest
Enter JAQUES and LORDS, in the habit of foresters			Enter Jaques and Lords to use Forsters
JAQUES. Which is he that killed the deer?			Jaques. What did the deer kill?
LORD. Sir, it was I.			MR. Sir, it was me.
JAQUES. Let's present him to the Duke, like a Roman conqueror; and			Jaques. Let us introduce him to the Duke, like a Roman conqueror; and
it would do well to set the deer's horns upon his head for a			It would be good to put the horns of the deer on the head for a head
branch of victory. Have you no song, forester, for this purpose?			Branch of victory. Do you have no song for this purpose, forester?
LORD. Yes, sir.			MR. Yes indeed.
JAQUES. Sing it; 'tis no matter how it be in tune, so it make noise			Jaques. Sing it; It is no matter how it is in harmony, so it makes noise
enough.			enough.
SONG.			LIED.
What shall he have that kill'd the deer?			What should he let the deer kill?
His leather skin and horns to wear.			Wear his dermis and horns.
[The rest shall hear this burden:]			[The rest will hear this load:]
Then sing him home.			Then sing him home.
Take thou no scorn to wear the horn;			Do not take any contempt to wear the horn;
It was a crest ere thou wast born.			It was a coat of arms before you were born.
Thy father's father wore it;			Your father's father wore it;
And thy father bore it.			And your father wore it.
The horn, the horn, the lusty horn,			The horn, the horn, the lustful horn,
Is not a thing to laugh to scorn. Exeunt			There is nothing to laugh to despise. Exeunt
SCENE III.			Scene III.
The forest			The forest
Enter ROSALIND and CELIA			Enter Rosalind and Celia
ROSALIND. How say you now? Is it not past two o'clock?			Rosalind. How do you say now? Isn't it after two o'clock?
And here much Orlando!			And here a lot of Orlando!
CELIA. I warrant you, with pure love and troubled brain, he hath			Celia. I guarantee her with pure love and worrying brain, he has
ta'en his bow and arrows, and is gone forth- to sleep. Look, who			Ta'en his bow and his arrows and went out to sleep. Look who
comes here.			comes here.
Enter SILVIUS			Enter Silvius
SILVIUS. My errand is to you, fair youth;			Silvius. My mission is for you, fair youth;
My gentle Phebe did bid me give you this.			My gentle show offered me to give them that.
I know not the contents; but, as I guess			I don't know the content; But I think
By the stern brow and waspish action			Through the strict forehead and the waspish campaign
Which she did use as she was writing of it,			What she used when she wrote about it,
It bears an angry tenour. Pardon me,			It bears an angry tenour. Excuse me,
I am but as a guiltless messenger.			I am only as a guilless messenger.
ROSALIND. Patience herself would startle at this letter,			Rosalind. Patience itself would be frightened by this letter,
And play the swaggerer. Bear this, bear all.			And play the boastant. Wear that, wear them all.
She says I am not fair, that I lack manners;			She says I am not fair that I lack the manners.
She calls me proud, and that she could not love me,			She calls me proud and that she couldn't love me
Were man as rare as Phoenix. 'Od's my will!			Were man as rare as Phoenix. 'Od is my will!
Her love is not the hare that I do hunt;			Your love is not the rabbit that I hunt;
Why writes she so to me? Well, shepherd, well,			Why does she write to me like that? Well, shepherd, well,
This is a letter of your own device.			This is a letter from your own device.
SILVIUS. No, I protest, I know not the contents;			Silvius. No, I protest, I don't know the content;
Phebe did write it.			Phebe wrote it.
ROSALIND. Come, come, you are a fool,			Rosalind. Come on, come, you're a fool,
And turn'd into the extremity of love.			And turned into the end of love.
I saw her hand; she has a leathern hand,			I saw her hand; She has a trext hand,
A freestone-colour'd hand; I verily did think			A freestone colored hand; I really thought
That her old gloves were on, but 'twas her hands;			That their old gloves were switched on, but their hands;
She has a huswife's hand- but that's no matter.			She has the hand of a husband- but that doesn't matter.
I say she never did invent this letter:			I say she never invented this letter:
This is a man's invention, and his hand.			This is the invention of a man and his hand.
SILVIUS. Sure, it is hers.			Silvius. Sure, it's her.
ROSALIND. Why, 'tis a boisterous and a cruel style;			Rosalind. Why, it's an exuberant and cruel style;
A style for challengers. Why, she defies me,			A style for challengers. Why, she defies me
Like Turk to Christian. Women's gentle brain			Like Turk to Christians. Gentle brain of women
Could not drop forth such giant-rude invention,			Could not spend such a huge pack finding,
Such Ethiope words, blacker in their effect			Such Ethiopen words, blackish in their effect
Than in their countenance. Will you hear the letter?			Than in her face. Will you hear the letter?
SILVIUS. So please you, for I never heard it yet;			Silvius. So please, because I've never heard of it;
Yet heard too much of Phebe's cruelty.			But too much of phbeese cruelty.
ROSALIND. She Phebes me: mark how the tyrant writes.			Rosalind. She phones: Mark, as the tyrant writes.
[Reads]			[Read]
Art thou god to shepherd turn'd,			Art you God to peel you to transform you,
That a maiden's heart hath burn'd?'			That the heart of a virgin burned? '
Can a woman rail thus?			Can a woman seem like this?
SILVIUS. Call you this railing?			Silvius. Do you call them this railing?
ROSALIND. 'Why, thy godhead laid apart,			Rosalind. 'Why, your deity, which was put apart,
Warr'st thou with a woman's heart?'			Warrior with the heart of a woman? '
Did you ever hear such railing?			Have you ever heard such a railing?
Whiles the eye of man did woo me,			While the person's eye overturned me,
That could do no vengeance to me.'			That couldn't take revenge. '
Meaning me a beast.			That means an animal.
If the scorn of your bright eyne			If the contempt for their bright eyne
Have power to raise such love in mine,			The power to raise such love in mine,
Alack, in me what strange effect			Alack, in me what strange effect
Would they work in mild aspect!			Would you work in a mild aspect?
Whiles you chid me, I did love;			While you do me, I loved;
How then might your prayers move!			How could your prayers move!
He that brings this love to the			Who brings this love into the
Little knows this love in me;			This love knows little in me;
And by him seal up thy mind,			And through it they seal their minds
Whether that thy youth and kind			Whether that is your youth and friendly
Will the faithful offer take			Will the loyal offer accept?
Of me and all that I can make;			From me and everything I can do;
Or else by him my love deny,			Or otherwise denied my love,
And then I'll study how to die.'			And then I will die how to die. '
SILVIUS. Call you this chiding?			Silvius. Do you call them so that you blame yourself?
CELIA. Alas, poor shepherd!			Celia. Unfortunately, poor shepherd!
ROSALIND. Do you pity him? No, he deserves no pity. Wilt thou love			Rosalind. Are you pity? No, he doesn't make pity. Do you want to love
such a woman? What, to make thee an instrument, and play false			Such a woman? What to make you an instrument and play wrong
strains upon thee! Not to be endur'd! Well, go your way to her,			Tribes on you! Not be ended! Go to her, go to her,
for I see love hath made thee tame snake, and say this to her-			Because I see that love has made you tame snake and she says to her.
that if she love me, I charge her to love thee; if she will not,			If she loves me, I describe her to love you; If she doesn't get
I will never have her unless thou entreat for her. If you be a			I will never have them if you don't ask for them. If you are one
true lover, hence, and not a word; for here comes more company.			True lover, therefore and not a word; Because more companies come here.
Exit SILVIUS			Leave Sylvia
Enter OLIVER			Enter Oliver
OLIVER. Good morrow, fair ones; pray you, if you know,			Oliver. Good morning, fair; You pray when you know
Where in the purlieus of this forest stands			Where in the Purlieus of this forest
A sheep-cote fenc'd about with olive trees?			A sheep's spencen fen with olive trees?
CELIA. West of this place, down in the neighbour bottom.			Celia. West of this place, down in the neighbor.
The rank of osiers by the murmuring stream			The rank of Osier through the murmur of stream
Left on your right hand brings you to the place.			On the left on her right hand takes her to the place.
But at this hour the house doth keep itself;			But at this hour the house stays on itself;
There's none within.			There is no in there.
OLIVER. If that an eye may profit by a tongue,			Oliver. If that can benefit from a tongue,
Then should I know you by description-			Then I should know them with a description.
Such garments, and such years: 'The boy is fair,			Such clothing and such years: “The boy is fair,
Of female favour, and bestows himself			Of female favor and gives itself
Like a ripe sister; the woman low,			Like a mature sister; The woman low,
And browner than her brother.' Are not you			And Browmer as her brother. ' You are not
The owner of the house I did inquire for?			The owner of the house I asked about?
CELIA. It is no boast, being ask'd, to say we are.			Celia. It is not a boast of being asked to say that it is.
OLIVER. Orlando doth commend him to you both;			Oliver. Orlando recommends both;
And to that youth he calls his Rosalind			And he calls his Rosalind to this youth
He sends this bloody napkin. Are you he?			He sends this bloody napkin. Are you he?
ROSALIND. I am. What must we understand by this?			Rosalind. I am. What do we have to understand?
OLIVER. Some of my shame; if you will know of me			Oliver. Some of my shame; When you know me
What man I am, and how, and why, and where,			Which man I am and how and why and where,
This handkercher was stain'd.			This handkerchief was stained.
CELIA. I pray you, tell it.			Celia. I pray you, say it.
OLIVER. When last the young Orlando parted from you,			Oliver. When the young Orlando separated from them, the young Orlando separated,
He left a promise to return again			He left a promise to return
Within an hour; and, pacing through the forest,			Within an hour; and through the forest to walk through the forest,
Chewing the food of sweet and bitter fancy,			Chew the food of sweet and bitter imagination,
Lo, what befell! He threw his eye aside,			Lo, what about! He threw his eye aside
And mark what object did present itself.			And mark which object has imagined.
Under an oak, whose boughs were moss'd with age,			Under an oak, the branches of which were mosd with increasing age,
And high top bald with dry antiquity,			And high upper bare with dry antiquity,
A wretched ragged man, o'ergrown with hair,			A miserable, ragged man who has grown with hair,
Lay sleeping on his back. About his neck			Place sleep on your back. Over his neck
A green and gilded snake had wreath'd itself,			A green and gilded snake had swung itself,
Who with her head nimble in threats approach'd			Whoever approached her head quickly in threats
The opening of his mouth; but suddenly,			The opening of his mouth; But suddenly,
Seeing Orlando, it unlink'd itself,			When you saw Orlando, it has linked itself
And with indented glides did slip away			And with the sliding sliding gone away
Into a bush; under which bush's shade			In a bush; Under what Bush Schade
A lioness, with udders all drawn dry,			A lioness, with honorers who are all dry,
Lay couching, head on ground, with catlike watch,			Lay couching, head on the floor, with a cat, clock,
When that the sleeping man should stir; for 'tis			If the sleeping man should stir; For 'tis
The royal disposition of that beast			The royal disposition of this animal
To prey on nothing that doth seem as dead.			Nothing to hunt that is so that it is like being dead.
This seen, Orlando did approach the man,			This was Orlando, who approached the man
And found it was his brother, his elder brother.			And thought it was his brother, his older brother.
CELIA. O, I have heard him speak of that same brother;			Celia. Oh, I heard him speak of the same brother;
And he did render him the most unnatural			And he made it the most unnatural
That liv'd amongst men.			That lived among men.
OLIVER. And well he might so do,			Oliver. And now, he could do it too
For well I know he was unnatural.			Because well, I know that he was unnatural.
ROSALIND. But, to Orlando: did he leave him there,			Rosalind. But to Orlando: he left him there,
Food to the suck'd and hungry lioness?			Eating for sucking and hungry lionin?
OLIVER. Twice did he turn his back, and purpos'd so;			Oliver. He turned his back twice and fit;
But kindness, nobler ever than revenge,			But friendliness, noble and revenge, revenge,
And nature, stronger than his just occasion,			And nature, stronger than its fair opportunity
Made him give battle to the lioness,			Löwin let him fight against the lioness,
Who quickly fell before him; in which hurtling			Who quickly fell in front of him; in which slide
From miserable slumber I awak'd.			I woke up from the miserable sleep.
CELIA. Are you his brother?			Celia. Are you his brother
ROSALIND. Was't you he rescu'd?			Rosalind. Wasn't he admitted?
CELIA. Was't you that did so oft contrive to kill him?			Celia. Were you not to kill him?
OLIVER. 'Twas I; but 'tis not I. I do not shame			Oliver. 'Tas i; But it's not me. I am not ashamed
To tell you what I was, since my conversion			To tell you what I was since I was converted
So sweetly tastes, being the thing I am.			Tastes so cute, that's what I am.
ROSALIND. But for the bloody napkin?			Rosalind. But for the bloody napkin?
OLIVER. By and by.			Oliver. Bit by bit.
When from the first to last, betwixt us two,			From the beginning to the end, between us two,
Tears our recountments had most kindly bath'd,			Tears of our reporting had the friendliest bathing,
As how I came into that desert place-			As how I came into this desert place
In brief, he led me to the gentle Duke,			In short, he led me to the gentle duke,
Who gave me fresh array and entertainment,			Who gave me fresh array and entertainment,
Committing me unto my brother's love;			Commit me to my brother's love;
Who led me instantly unto his cave,			Who immediately led me to his cave,
There stripp'd himself, and here upon his arm			There was itself and here on his arm
The lioness had torn some flesh away,			The lioness had torn some meat away,
Which all this while had bled; and now he fainted,			What all he had bled; And now passed out, passed out,
And cried, in fainting, upon Rosalind.			And cried in fainting, over Rosalind.
Brief, I recover'd him, bound up his wound,			Letter, I recovered him, bound his wound,
And, after some small space, being strong at heart,			And after a little small space that is strong in the heart,
He sent me hither, stranger as I am,			He sent me here, strangers like me,
To tell this story, that you might excuse			To tell this story so that they could excuse
His broken promise, and to give this napkin,			His broken promise and to give this napkin,
Dy'd in his blood, unto the shepherd youth			Colored in his blood until the shepherd youth
That he in sport doth call his Rosalind.			That he calls his Rosalind in sports.
[ROSALIND swoons]			[Rosalind SWOONS]
CELIA. Why, how now, Ganymede! sweet Ganymede!			Celia. Why, like now, Ganymede! Sweet Ganymede!
OLIVER. Many will swoon when they do look on blood.			Oliver. Many will pass if they look at blood.
CELIA. There is more in it. Cousin Ganymede!			Celia. There is more in it. Cousin Ganyymede!
OLIVER. Look, he recovers.			Oliver. Look, he recovers.
ROSALIND. I would I were at home.			Rosalind. I would be at home.
CELIA. We'll lead you thither.			Celia. We lead you there.
I pray you, will you take him by the arm?			I pray you, will you take him on your arm?
OLIVER. Be of good cheer, youth. You a man!			Oliver. Be of good cheers, youth. You a man!
You lack a man's heart.			You lack a man's heart.
ROSALIND. I do so, I confess it. Ah, sirrah, a body would think			Rosalind. I give it, I confess. Ah, Sirrah, a body would think
this was well counterfeited. I pray you tell your brother how			This was well fake. I pray, you tell your brother how
well I counterfeited. Heigh-ho!			Well, I fake. Heigh-Ho!
OLIVER. This was not counterfeit; there is too great testimony in			Oliver. This was not fake; There is too great testimony in
your complexion that it was a passion of earnest.			You complexion that it was a passion of seriousness.
ROSALIND. Counterfeit, I assure you.			Rosalind. I assure you.
OLIVER. Well then, take a good heart and counterfeit to be a man.			Oliver. Then take a good heart and fake to be a man.
ROSALIND. So I do; but, i' faith, I should have been a woman by			Rosalind. So I do; But I think I should have been a woman
right.			To the right.
CELIA. Come, you look paler and paler; pray you draw homewards.			Celia. Come on, you look paler; You pray home.
Good sir, go with us.			Good sir, go with us.
OLIVER. That will I, for I must bear answer back			Oliver. I will because I have to take back an answer
How you excuse my brother, Rosalind.			How to excuse my brother, Rosalind.
ROSALIND. I shall devise something; but, I pray you, commend my			Rosalind. I will develop something; But I pray you, recommend mine
counterfeiting to him. Will you go? Exeunt			Falsifications to him. Will you go? Exeunt
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ACT V. SCENE I.			Nude V. SENE I.
The forest			The forest
Enter TOUCHSTONE and AUDREY			Enter Touchstone and Audrey
TOUCHSTONE. We shall find a time, Audrey; patience, gentle Audrey.			Test stone. We will find a time, Audrey; Patience, gentle Audrey.
AUDREY. Faith, the priest was good enough, for all the old			Audrey. Believe, the priest was good enough for everyone old
gentleman's saying.			Gentleman's saying.
TOUCHSTONE. A most wicked Sir Oliver, Audrey, a most vile Martext.			Test stone. A very bad Sir Oliver, Audrey, a very hideous marttext.
But, Audrey, there is a youth here in the forest lays claim to			But Audrey, here in the forest there is a young person who claims to be entitled to it
you.			She.
AUDREY. Ay, I know who 'tis; he hath no interest in me in the			Audrey. Yes, I know who it is; He has no interest in me in the
world; here comes the man you mean.			World; Here comes the man you mean.
Enter WILLIAM			Enter William
TOUCHSTONE. It is meat and drink to me to see a clown. By my troth,			Test stone. It is meat and drink for me to see a clown. From my troth,
we that have good wits have much to answer for: we shall be			We who have the good mind have a lot to answer: we will be
flouting; we cannot hold.			Disregard; We can't hold.
WILLIAM. Good ev'n, Audrey.			WILHELM. Good Ev'n, Audrey.
AUDREY. God ye good ev'n, William.			Audrey. God your good, William.
WILLIAM. And good ev'n to you, sir.			WILHELM. And good to them, sir.
TOUCHSTONE. Good ev'n, gentle friend. Cover thy head, cover thy			Test stone. Good Ev'n, gentle friend. Cover your head, cover yours
head; nay, prithee be cover'd. How old are you, friend?			Head; No, Prithee are covered. How old are you, my friend?
WILLIAM. Five and twenty, sir.			WILHELM. Five and twenty, sir.
TOUCHSTONE. A ripe age. Is thy name William?			Test stone. A mature age. Is your name William?
WILLIAM. William, sir.			WILHELM. William, Sir.
TOUCHSTONE. A fair name. Wast born i' th' forest here?			Test stone. A fair name. Wast born i 'the forest here?
WILLIAM. Ay, sir, I thank God.			WILHELM. Yes, sir, thank God.
TOUCHSTONE. 'Thank God.' A good answer.			Test stone. 'Thank God.' A good answer.
Art rich?			Art rich?
WILLIAM. Faith, sir, so so.			WILHELM. Faith, sir, so.
TOUCHSTONE. 'So so' is good, very good, very excellent good; and			Test stone. "So" is good, very good, very excellent good; and
yet it is not; it is but so so. Art thou wise?			But not; But it is so. Art you wise?
WILLIAM. Ay, sir, I have a pretty wit.			WILHELM. Yes, Sir, I have a nice joke.
TOUCHSTONE. Why, thou say'st well. I do now remember a saying:			Test stone. Why, you say well. I now remember a saying:
The			That
fool doth think he is wise, but the wise man knows himself to be			Think fools, he is wise, but the wise one knows that he can be himself
a fool.' The heathen philosopher, when he had a desire to eat a			a fool. 'The pagan philosopher when he had the desire to eat a
grape, would open his lips when he put it into his mouth; meaning			Grape would open his lips if he put them in his mouth; meaning
thereby that grapes were made to eat and lips to open. You do			This made these grapes to open and lips to open. they do
love this maid?			Do you love this maid?
WILLIAM. I do, sir.			WILHELM. I do it, sir.
TOUCHSTONE. Give me your hand. Art thou learned?			Test stone. Give me your hand. Are you learning?
WILLIAM. No, sir.			WILHELM. No Sir.
TOUCHSTONE. Then learn this of me: to have is to have; for it is a			Test stone. Then learn this from me: to have it; Because it is a
figure in rhetoric that drink, being pour'd out of cup into a			Figure in rhetoric that drink and be poured out of the cup in A
glass, by filling the one doth empty the other; for all your			Glass by filling one empty to the other; For all yours
writers do consent that ipse is he; now, you are not ipse, for I			Writers agree that IPSE is; Now you are not an ipse for me
am he.			I am.
WILLIAM. Which he, sir?			WILHELM. What he, sir?
TOUCHSTONE. He, sir, that must marry this woman. Therefore, you			Test stone. He, sir, that has to marry this woman. Therefore, you
clown, abandon- which is in the vulgar leave- the society-which			Clown, abandoned- what is on a vulgar vacation- the society- what
in the boorish is company- of this female- which in the common is			On the Boorish there is society of this woman- what is common in common
woman- which together is: abandon the society of this female; or,			Frau- what is together: leave the society of this woman; or,
clown, thou perishest; or, to thy better understanding, diest;			Clown, you're right thinking; Or to your better understanding, destroyed;
or, to wit, I kill thee, make thee away, translate thy life into			Or, to spoil, kill yourself, make yourself away, translate your life in
death, thy liberty into bondage. I will deal in poison with thee,			Death, your freedom in bondage. I will handle you poisonous
or in bastinado, or in steel; I will bandy with thee in faction;			or in Bastinado or in steel; I will be summarized with you in the parliamentary group;
will o'er-run thee with policy; I will kill thee a hundred and			Will take you over you with guidelines; I'll kill you a hundred and
fifty ways; therefore tremble and depart.			fifty paths; Therefore tremble and departure.
AUDREY. Do, good William.			Audrey. Do good William.
WILLIAM. God rest you merry, sir. Exit			WILHELM. God rest happily, sir. Exit
Enter CORIN			Enter corin
CORIN. Our master and mistress seeks you; come away, away.			Corin. Our master and our beloved are looking for them; Come away, away.
TOUCHSTONE. Trip, Audrey, trip, Audrey. I attend, I attend.			Test stone. Travel, Audrey, Reise, Audrey. I am going, I assume.
Exeunt			Exit
SCENE II.			Scene II.
The forest			The forest
Enter ORLANDO and OLIVER			Enter Orlando and Oliver
ORLANDO. Is't possible that on so little acquaintance you should			Orlando. Is not possible that you should be known to you so little
like her? that but seeing you should love her? and loving woo?			as? That, but you see yourself, should she love? And loving Woo?
and, wooing, she should grant? and will you persever to enjoy			And should we grant? And will you hold out to enjoy it?
her?			She?
OLIVER. Neither call the giddiness of it in question, the poverty			Oliver. Neither call the dizziness, poverty, poverty
of her, the small acquaintance, my sudden wooing, nor her sudden			From her, the little acquaintance, my sudden advertising or her sudden
consenting; but say with me, I love Aliena; say with her that she			Approval; But tell me, I love Aliena; Say with her that she
loves me; consent with both that we may enjoy each other. It			love me; Consent to both that we can enjoy each other. It
shall be to your good; for my father's house and all the revenue			should be yours; For my father's house and all income
that was old Sir Rowland's will I estate upon you, and here live			That was the old Sir Rowland's will I estate on her and here you live
and die a shepherd.			And a shepherd die.
ORLANDO. You have my consent. Let your wedding be to-morrow.			Orlando. You have my consent. Let your wedding be tomorrow.
Thither will I invite the Duke and all's contented followers.			I will invite the duke and all satisfied supporters.
Go you and prepare Aliena; for, look you, here comes my Rosalind.			Go and prepare Aliena; Because they look at them, here is my Rosalind.
Enter ROSALIND			Enter Rosalind
ROSALIND. God save you, brother.			Rosalind. God saved you, brother.
OLIVER. And you, fair sister. Exit			Oliver. And you, beautiful sister. Exit
ROSALIND. O, my dear Orlando, how it grieves me to see thee wear			Rosalind. Oh, my dear Orlando, how it mourns me to wear you
thy heart in a scarf!			Your heart in a scarf!
ORLANDO. It is my arm.			Orlando. It's my arm.
ROSALIND. I thought thy heart had been wounded with the claws of a			Rosalind. I thought your heart had been wounded with the claws by A
lion.			Lion.
ORLANDO. Wounded it is, but with the eyes of a lady.			Orlando. It is wounded, but with the eyes of a lady.
ROSALIND. Did your brother tell you how I counterfeited to swoon			Rosalind. Your brother told you how I fell for fainting
when he show'd me your handkercher?			When did he show me your handkerchief?
ORLANDO. Ay, and greater wonders than that.			Orlando. Ay, and greater miracles than that.
ROSALIND. O, I know where you are. Nay, 'tis true. There was never			Rosalind. Oh, I know where you are. No, it's true. There was never
any thing so sudden but the fight of two rams and Caesar's			Everything that suddenly as the struggle of two Rams and Caesars
thrasonical brag of 'I came, saw, and overcame.' For your brother			Thrasonic boasting of 'I came, saw and overcame.' For your brother
and my sister no sooner met but they look'd; no sooner look'd but			And my sister hardly met, but they looked; No look before but
they lov'd; no sooner lov'd but they sigh'd; no sooner sigh'd but			you love; Hardly loved, but they sighed; No earlier but sigh but
they ask'd one another the reason; no sooner knew the reason but			They asked each other the reason; As soon as the reason knew
they sought the remedy- and in these degrees have they made pair			They searched for the remedy and in these degrees they made couples
of stairs to marriage, which they will climb incontinent, or else			From stairs to marriage that will climb incontinent, or otherwise
be incontinent before marriage. They are in the very wrath of			be incontinent before marriage. You are in anger of
love, and they will together. Clubs cannot part them.			Love, and they become together. You cannot separate clubs.
ORLANDO. They shall be married to-morrow; and I will bid the Duke			Orlando. You will be married tomorrow; And I will offer the duke
to the nuptial. But, O, how bitter a thing it is to look into			To the wedding. But how bitter it is to examine yourself
happiness through another man's eyes! By so much the more shall I			Luck through the eyes of another man! The more I should be more
to-morrow be at the height of heart-heaviness, by how much I			Tomorrow at the peak of the warm life, how much I do
shall think my brother happy in having what he wishes for.			I will think my brother is happy to have what he wishes.
ROSALIND. Why, then, to-morrow I cannot serve your turn for			Rosalind. Why I can't serve your series in the morning
Rosalind?			Rosalind?
ORLANDO. I can live no longer by thinking.			Orlando. I can no longer live by thinking.
ROSALIND. I will weary you, then, no longer with idle talking.			Rosalind. Then I will tire you, no longer talking with idle.
Know of me then- for now I speak to some purpose- that I know you are			I know myself at the moment- I am talking about a purpose- from which I know it is
a gentleman of good conceit. I speak not this that you should			A gentleman of good imagination. I'm not talking what you should
bear a good opinion of my knowledge, insomuch I say I know you			Wear a good opinion as far as I know, I say I know you
are; neither do I labour for a greater esteem than may in some			are; I also do not work for a greater appreciation than in some
little measure draw a belief from you, to do yourself good, and			Little measure they take a faith of them to do themselves well, and
not to grace me. Believe then, if you please, that I can do			Not to adorn me. Believe when you want me to do it
strange things. I have, since I was three year old, convers'd			Strange things. I have spoken since I was three years old.
with a magician, most profound in his art and yet not damnable.			With a magician, the deepest in his art and yet not damn it.
If you do love Rosalind so near the heart as your gesture cries			When you love Rosalind as much as your gesture cries near the heart
it out, when your brother marries Aliena shall you marry her.			It out if your brother marries Aliena, you should marry her.
I know into what straits of fortune she is driven; and it is not			I know which street of the assets she is driven; And it is not
impossible to me, if it appear not inconvenient to you, to set			Impossible for me if it does not seem impractical to set them
her before your eyes to-morrow, human as she is, and without any			You in front of your eyes tomorrow, humanly like her and without any
danger.			Danger.
ORLANDO. Speak'st thou in sober meanings?			Orlando. Do you speak in an empty meanings?
ROSALIND. By my life, I do; which I tender dearly, though I say I			Rosalind. I do after my life; What I fate deeper, even though I say I say
am a magician. Therefore put you in your best array, bid your			I'm a magician. So sit down in your best array, offer yours
friends; for if you will be married to-morrow, you shall; and to			Friends; Because if you are married tomorrow, you will; and to
Rosalind, if you will.			Rosalind, if you like.
Enter SILVIUS and PHEBE			Enter Silvius and Phebe
Look, here comes a lover of mine, and a lover of hers.			Look, here is a lover of me and a lover of her.
PHEBE. Youth, you have done me much ungentleness			Phebe. Youth, you did a lot of uncercitation to me
To show the letter that I writ to you.			To show the letter that I wrote to you.
ROSALIND. I care not if I have. It is my study			Rosalind. It is important to me whether I have it. It's my studies
To seem despiteful and ungentle to you.			To appear defiant and inappropriate for them.
You are there follow'd by a faithful shepherd;			They are followed by a loyal shepherd;
Look upon him, love him; he worships you.			Look at him, love him; He revered you.
PHEBE. Good shepherd, tell this youth what 'tis to love.			Phebe. Good shepherd, tell this youth what it is.
SILVIUS. It is to be all made of sighs and tears;			Silvius. Everything should consist of sighs and tears;
And so am I for Phebe.			And I am for PHEBE.
PHEBE. And I for Ganymede.			Phebe. And I for Ganymed.
ORLANDO. And I for Rosalind.			Orlando. And I for Rosalind.
ROSALIND. And I for no woman.			Rosalind. And I for no woman.
SILVIUS. It is to be all made of faith and service;			Silvius. Everything should consist of faith and service;
And so am I for Phebe.			And I am for PHEBE.
PHEBE. And I for Ganymede.			Phebe. And I for Ganymed.
ORLANDO. And I for Rosalind.			Orlando. And I for Rosalind.
ROSALIND. And I for no woman.			Rosalind. And I for no woman.
SILVIUS. It is to be all made of fantasy,			Silvius. It's all out of imagination
All made of passion, and all made of wishes;			Everything out of passion and everything from wishes;
All adoration, duty, and observance,			All worship, duty and attention,
All humbleness, all patience, and impatience,			Every humility, all patience and impatience,
All purity, all trial, all obedience;			All purity, all court hearings, all obedience;
And so am I for Phebe.			And I am for PHEBE.
PHEBE. And so am I for Ganymede.			Phebe. And I'm for Ganymed.
ORLANDO. And so am I for Rosalind.			Orlando. And I'm for Rosalind.
ROSALIND. And so am I for no woman.			Rosalind. And nor for any woman.
PHEBE. If this be so, why blame you me to love you?			Phebe. If so, why do you accuse me of loving you?
SILVIUS. If this be so, why blame you me to love you?			Silvius. If so, why do you accuse me of loving you?
ORLANDO. If this be so, why blame you me to love you?			Orlando. If so, why do you accuse me of loving you?
ROSALIND. Why do you speak too, 'Why blame you me to love you?'			Rosalind. Why do you also speak: "Why do I accuse you of loving you?"
ORLANDO. To her that is not here, nor doth not hear.			Orlando. This is not here for them, nor do they hear.
ROSALIND. Pray you, no more of this; 'tis like the howling of Irish			Rosalind. Pray yourself, no longer of it; It likes howling Irish
wolves against the moon. [To SILVIUS] I will help you if I can.			Wolves against the moon. [To Silvius] I will help you if I can.
[To PHEBE] I would love you if I could.- To-morrow meet me all			[To phebe] I would love you if I could.
together. [ To PHEBE ] I will marry you if ever I marry woman,			together. [To phebe] I will marry you if I ever marry a woman,
and I'll be married to-morrow. [To ORLANDO] I will satisfy you if			And I'll be married tomorrow. [After Orlando] I will satisfy you if
ever I satisfied man, and you shall be married to-morrow. [To			I have ever been satisfied with the man and you will be married tomorrow. [To
Silvius] I will content you if what pleases you contents you, and			Silvius] I will be satisfied if what you like
you shall be married to-morrow. [To ORLANDO] As you love			You will be married tomorrow. [After Orlando] as you love
Rosalind, meet. [To SILVIUS] As you love Phebe, meet;- and as I			Rosalind, meet. [To Silvius] How you love PHEBE, meet;- and like me
love no woman, I'll meet. So, fare you well; I have left you			Love no woman, I will meet. So you are fine; I left you
commands.			Commands.
SILVIUS. I'll not fail, if I live.			Silvius. I won't fail if I live.
PHEBE. Nor I.			Phebe. NO. I.
ORLANDO. Nor I. Exeunt			Orlando. Still I. Exit
SCENE III.			Scene III.
The forest			The forest
Enter TOUCHSTONE and AUDREY			Enter Touchstone and Audrey
TOUCHSTONE. To-morrow is the joyful day, Audre'y; to-morrow will we			Test stone. Tomorrow is the joyful day, Audre'y; tomorrow we will
be married.			be married.
AUDREY. I do desire it with all my heart; and I hope it is no			Audrey. I wish it with all my heart; And I hope it's no
dishonest desire to desire to be a woman of the world. Here come			Dishonorable desire to be a woman in the world. Come here
two of the banish'd Duke's pages.			Two of the banished ducal pages.
Enter two PAGES			Enter two sides
FIRST PAGE. Well met, honest gentleman.			FIRST PAGE. Well hit, honest gentleman.
TOUCHSTONE. By my troth, well met. Come sit, sit, and a song.			Test stone. From my troth, well hit. Come sit, sit and a song.
SECOND PAGE. We are for you; sit i' th' middle.			SECOND PAGE. We are for you; I sit down in the middle.
FIRST PAGE. Shall we clap into't roundly, without hawking, or			FIRST PAGE. Shouldn't we be rounded, without hawking, or in no round clapping, or
spitting, or saying we are hoarse, which are the only prologues			Spitting or saying we are hoarers who are the only prologue
to a bad voice?			To a bad voice?
SECOND PAGE. I'faith, i'faith; and both in a tune, like two gipsies			SECOND PAGE. I'm smooth, I'm smooth; And both in a melody, like two plasteries
on a horse.			on a horse.
SONG.			LIED.
It was a lover and his lass,			It was a lover and his girl
With a hey, and a ho, and a hey nonino,			With a Hey and a HO and a Hey Nonino,
That o'er the green corn-field did pass			That over the green corn field passed
In the spring time, the only pretty ring time,			The only pretty ring time in the spring period,
When birds do sing, hey ding a ding, ding.			When birds sing, hey a thing, thing.
Sweet lovers love the spring.			Sweet lovers love spring.
Between the acres of the rye,			Between the hectares of the rye,
With a hey, and a ho, and a hey nonino,			With a Hey and a HO and a Hey Nonino,
These pretty country folks would lie,			These pretty countrymen would lie
In the spring time, &c.			In spring & c.
This carol they began that hour,			She started this carol in this hour
With a hey, and a ho, and a hey nonino,			With a Hey and a HO and a Hey Nonino,
How that a life was but a flower,			How it was a life just a flower,
In the spring time, &c.			In spring & c.
And therefore take the present time,			And therefore take the current time
With a hey, and a ho, and a hey nonino,			With a Hey and a HO and a Hey Nonino,
For love is crowned with the prime,			Because love is crowned with the Prime,
In the spring time, &c.			In spring & c.
TOUCHSTONE. Truly, young gentlemen, though there was no great			Test stone. Really, young gentlemen, although there was no big one
matter in the ditty, yet the note was very untuneable.			Matter in the Ditty, but the note was very inconspicuous.
FIRST PAGE. YOU are deceiv'd, sir; we kept time, we lost not our			FIRST PAGE. They are deceived, sir; We held time, we didn't lose ours
time.			Time.
TOUCHSTONE. By my troth, yes; I count it but time lost to hear such			Test stone. From my troth, yes; I count it, but lost time to hear so
a foolish song. God buy you; and God mend your voices. Come,			A stupid song. God buy yourself; And God repair your voices. Come,
Audrey. Exeunt			Audrey. Exit
SCENE IV.			Feel IV.
The forest			The forest
Enter DUKE SENIOR, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA			Enter Duke Senior, Amiens, Jaques, Orlando, Oliver and Celia
DUKE SENIOR. Dost thou believe, Orlando, that the boy			Duke senior. You believe, Orlando, that the boy
Can do all this that he hath promised?			Can this do everything he promised?
ORLANDO. I sometimes do believe and sometimes do not:			Orlando. Sometimes I think and sometimes not:
As those that fear they hope, and know they fear.			As those who fear them, they hope and know that they are afraid.
Enter ROSALIND, SILVIUS, and PHEBE			Enter Rosalind, Silvius and Phebe
ROSALIND. Patience once more, whiles our compact is urg'd:			Rosalind. Patience again while our compact is:
You say, if I bring in your Rosalind,			They say when I bring in their rosalind
You will bestow her on Orlando here?			Will you give you here in Orlando?
DUKE SENIOR. That would I, had I kingdoms to give with her.			Duke senior. I would have kingdoms to give her with her.
ROSALIND. And you say you will have her when I bring her?			Rosalind. And you say you will have them if I bring them?
ORLANDO. That would I, were I of all kingdoms king.			Orlando. I would be, I would be of all queens.
ROSALIND. You say you'll marry me, if I be willing?			Rosalind. You say you'll get married when I'm ready?
PHEBE. That will I, should I die the hour after.			Phebe. I will die the hour later.
ROSALIND. But if you do refuse to marry me,			Rosalind. But if they refuse to marry me
You'll give yourself to this most faithful shepherd?			Will you give yourself this loyal shepherd?
PHEBE. So is the bargain.			Phebe. That's the bargain.
ROSALIND. You say that you'll have Phebe, if she will?			Rosalind. Do you say that you have PHEBE when you do it?
SILVIUS. Though to have her and death were both one thing.			Silvius. Although they and death were both a thing.
ROSALIND. I have promis'd to make all this matter even.			Rosalind. I have promised to even make all of these affairs.
Keep you your word, O Duke, to give your daughter;			Keep your word, oh duke to give your daughter;
You yours, Orlando, to receive his daughter;			You are yours, Orlando to receive his daughter;
Keep your word, Phebe, that you'll marry me,			Keep your word, phebe that you will marry me
Or else, refusing me, to wed this shepherd;			Or otherwise, to refuse to marry this shepherd;
Keep your word, Silvius, that you'll marry her			Keep your word, Silvius, that you will marry her
If she refuse me; and from hence I go,			If she rejected me; And from now on I go, I go
To make these doubts all even.			All doubts all.
Exeunt ROSALIND and CELIA			Leave Rosalind and Celia
DUKE SENIOR. I do remember in this shepherd boy			Duke senior. I remember in this shepherd boy
Some lively touches of my daughter's favour.			Some lively touches of my daughter's favor.
ORLANDO. My lord, the first time that I ever saw him			Orlando. My Lord, the first time I have ever seen him
Methought he was a brother to your daughter.			Powderal he was a brother of her daughter.
But, my good lord, this boy is forest-born,			But my good gentleman, this boy is forest born,
And hath been tutor'd in the rudiments			And had been taught in the basics
Of many desperate studies by his uncle,			Of many desperate studies from his uncle,
Whom he reports to be a great magician,			Who he reports as a great magician,
Obscured in the circle of this forest.			Hidden in the circle of this forest.
Enter TOUCHSTONE and AUDREY			Enter Touchstone and Audrey
JAQUES. There is, sure, another flood toward, and these couples are			Jaques. There is certainly another flood in the direction of and these couples are
coming to the ark. Here comes a pair of very strange beasts which			come into the ark. Here comes a few very strange beasts that
in all tongues are call'd fools.			In all tongues, fools are called.
TOUCHSTONE. Salutation and greeting to you all!			Test stone. Greetings and greeting to all of you!
JAQUES. Good my lord, bid him welcome. This is the motley-minded			Jaques. Well, my gentleman, offer him welcome. This is the colored resorts
gentleman that I have so often met in the forest. He hath been a			Gentleman, which I met in the forest so often. He was a
courtier, he swears.			Heights, he swears.
TOUCHSTONE. If any man doubt that, let him put me to my purgation.			Test stone. If any man doubts about it, let him bring me to my purgatory.
I have trod a measure; I have flatt'red a lady; I have been			I have made a measure; I led a lady; I have been
politic with my friend, smooth with mine enemy; I have undone			Politically with my friend, smooth with my enemy; I reversed
three tailors; I have had four quarrels, and like to have fought			Three tailors; I had four disputes and were happy to fight
one.			one.
JAQUES. And how was that ta'en up?			Jaques. And how was that?
TOUCHSTONE. Faith, we met, and found the quarrel was upon the			Test stone. Faith met us and found that the dispute was on it
seventh cause.			seventh cause.
JAQUES. How seventh cause? Good my lord, like this fellow.			Jaques. How seventh cause? Well, my gentleman, like this guy.
DUKE SENIOR. I like him very well.			Duke senior. I like him very well.
TOUCHSTONE. God 'ild you, sir; I desire you of the like. I press in			Test stone. God, you, sir; I wish you from that. I press in
here, sir, amongst the rest of the country copulatives, to swear			Here, sir, under the rest of the country copulative, to swear
and to forswear, according as marriage binds and blood breaks. A			And give in to how marriage binds and blood breaks. A
poor virgin, sir, an ill-favour'd thing, sir, but mine own; a			Poor virgin, sir, a bad favorite, sir, but my own; A
poor humour of mine, sir, to take that that man else will.			Bad humor from me, sir, to take this man otherwise.
Rich honesty dwells like a miser, sir, in a poor house; as your pearl			Rich honesty lives like a misery, sir, in a poor house; As your pearl
in your foul oyster.			In her bad oyster.
DUKE SENIOR. By my faith, he is very swift and sententious.			Duke senior. According to my belief, he is very quick and sentimized.
TOUCHSTONE. According to the fool's bolt, sir, and such dulcet			Test stone. After the bolt of the fool, sir and such dulcet
diseases.			Diseases.
JAQUES. But, for the seventh cause: how did you find the quarrel on			Jaques. But for the seventh thing: How did you find the dispute?
the seventh cause?			The seventh cause?
TOUCHSTONE. Upon a lie seven times removed- bear your body more			Test stone. To a lie seven times away, wear your body more
seeming, Audrey- as thus, sir. I did dislike the cut of a certain			Apparently, Audrey- like so, sir. I didn't like the cut of a certain section
courtier's beard; he sent me word, if I said his beard was not			Courtier's beard; He sent me the news when I said it wasn't his beard
cut well, he was in the mind it was. This is call'd the Retort			Well cut, he was in the spirit that it was. This is called up as a retort
Courteous. If I sent him word again it was not well cut, he would			Polite. If I would send him the floor again, it wasn't well cut, he would do it
send me word he cut it to please himself. This is call'd the Quip			Send me word, he cut it to please himself. This is called up as a quip
Modest. If again it was not well cut, he disabled my judgment.			Modest. If it wasn't cut well again, he deactivated my judgment.
This is call'd the Reply Churlish. If again it was not well cut,			This is the answer churlical. If it wasn't cut well again, it wasn't cut well,
he would answer I spake not true. This is call'd the Reproof			He would answer that I don't feel true. This is called blame
Valiant. If again it was not well cut, he would say I lie.			Brave. If it were not cut well again, he would say that I lie.
This is call'd the Countercheck Quarrelsome. And so to the Lie			This is referred to as Countercheck dispute. And so to lie
Circumstantial and the Lie Direct.			Indications and the lie directly.
JAQUES. And how oft did you say his beard was not well cut?			Jaques. And how did you say his beard wasn't cut well?
TOUCHSTONE. I durst go no further than the Lie Circumstantial, nor			Test stone. I don't go any further than the lie, which are cumbersome
he durst not give me the Lie Direct; and so we measur'd swords			He doesn't give me the lie directly; And so we measure swords
and parted.			and separated.
JAQUES. Can you nominate in order now the degrees of the lie?			Jaques. Can you nominate the degree of lies now?
TOUCHSTONE. O, sir, we quarrel in print by the book, as you have			Test stone. O, sir, we are arguing in printed form after the book as you have
books for good manners. I will name you the degrees. The first,			Books for good manners. I will give you the degrees. The first,
the Retort Courteous; the second, the Quip Modest; the third, the			The retort polite; the second, the quip modest; The third, that
Reply Churlish; the fourth, the Reproof Valiant; the fifth, the			Answer Churlisch; The fourth, the blame brave; The fifth, the
Countercheck Quarrelsome; the sixth, the Lie with Circumstance;			Opposite; the sixth, the lie with circumstance;
the seventh, the Lie Direct. All these you may avoid but the Lie			The seventh, the lie directly. You can avoid all of this, but the lie
Direct; and you may avoid that too with an If. I knew when seven			Direct; And you can avoid that with an IF. I knew as seven
justices could not take up a quarrel; but when the parties were			Judges were unable to take a dispute; But when the parties were
met themselves, one of them thought but of an If, as: 'If you			met for himself, one of them only thought of an if, as: 'if you
said so, then I said so.' And they shook hands, and swore			said it, then I said it. 'And they shook their hands and sworn
brothers. Your If is the only peace-maker; much virtue in If.			Brothers. Your IF is the only peace maker; A lot of virtue in If.
JAQUES. Is not this a rare fellow, my lord?			Jaques. Isn't that a rare guy, my Lord?
He's as good at any thing, and yet a fool.			He is just as good in something and yet a fool.
DUKE SENIOR. He uses his folly like a stalking-horse, and under the			Duke senior. He uses his folly like a stalking horse and under the
presentation of that he shoots his wit:			Presentation of it shoots his joke:
Enter HYMEN, ROSALIND, and CELIA. Still MUSIC			Enter Hymen, Rosalind and Celia. Still music
HYMEN. Then is there mirth in heaven,			HYMEN. Then there are shepherds in heaven
When earthly things made even			When earthly things are done just
Atone together.			Slide together.
Good Duke, receive thy daughter;			Good duke, receive your daughter;
Hymen from heaven brought her,			Hymen from the sky brought it
Yea, brought her hither,			Yes, she brought here
That thou mightst join her hand with his,			You could join his hand,
Whose heart within his bosom is.			Whose heart is in his breast.
ROSALIND. [To DUKE] To you I give myself, for I am yours.			Rosalind. [To Herzog] I give myself because I am your.
[To ORLANDO] To you I give myself, for I am yours.			[To Orlando] I give myself to you because I am yours.
DUKE SENIOR. If there be truth in sight, you are my daughter.			Duke senior. If it is in sight in the truth, you are my daughter.
ORLANDO. If there be truth in sight, you are my Rosalind.			Orlando. If it is in sight in the truth, they are my Rosalind.
PHEBE. If sight and shape be true,			Phebe. When view and shape are true,
Why then, my love adieu!			Then why my love!
ROSALIND. I'll have no father, if you be not he;			Rosalind. I will not have a father if you are not him;
I'll have no husband, if you be not he;			I will not have a husband if you are not him;
Nor ne'er wed woman, if you be not she.			Never married woman, if you are not, she is.
HYMEN. Peace, ho! I bar confusion;			HYMEN. Peace, HO! I balance confusion;
Tis I must make conclusion			I have to draw conclusion
Of these most strange events.			Of these strangest events.
Here's eight that must take hands			Here are eight who have to take their hands
To join in Hymen's bands,			Participate in Hymen's bands,
If truth holds true contents.			If the truth has true content.
You and you no cross shall part;			You and you will not separate a cross;
You and you are heart in heart;			You and you are heart in your heart;
You to his love must accord,			You have to meet his love
Or have a woman to your lord;			Or do you have a woman to your master;
You and you are sure together,			You and you are safely together
As the winter to foul weather.			As a winter weather.
Whiles a wedlock-hymn we sing,			While we sing a Wedlock-Hof, we sing while singing
Feed yourselves with questioning,			Feed yourself with questions
That reason wonder may diminish,			This reason is a miracle that can decrease
How thus we met, and these things finish.			How we met and end these things.
SONG			LIED
Wedding is great Juno's crown;			Wedding is a great juno crown;
O blessed bond of board and bed!			O blessed binding of the board and bed!
Tis Hymen peoples every town;			Tis hymen peoples in every city;
High wedlock then be honoured.			Then honored.
Honour, high honour, and renown,			Honor, High Honor and Awareness,
To Hymen, god of every town!			To the Hymen, God of every city!
DUKE SENIOR. O my dear niece, welcome thou art to me!			Duke senior. Oh my dear niece, you greet me!
Even daughter, welcome in no less degree.			Even daughter, welcome to no less degree.
PHEBE. I will not eat my word, now thou art mine;			Phebe. I will not eat my word, now you are mine;
Thy faith my fancy to thee doth combine.			Your faith, my desire for you, combine.
Enter JAQUES de BOYS			Enter Jaques from boys
JAQUES de BOYS. Let me have audience for a word or two.			Jaques de Boys. Let me have the audience for one or two words.
I am the second son of old Sir Rowland,			I am the second son of old Sir Rowland.
That bring these tidings to this fair assembly.			This brings these messages to this fair assembly.
Duke Frederick, hearing how that every day			Duke Frederick, hears how it is every day
Men of great worth resorted to this forest,			Men of great value are used in this forest,
Address'd a mighty power; which were on foot,			Addressed a powerful power; who were on foot
In his own conduct, purposely to take			To intentionally take in his own behavior
His brother here, and put him to the sword;			His brother here and put him in the sword;
And to the skirts of this wild wood he came,			And he came to the skirts of this wild wood,
Where, meeting with an old religious man,			Where, meet with an old religious man,
After some question with him, was converted			He was converted to some question
Both from his enterprise and from the world;			Both from his company and the world;
His crown bequeathing to his banish'd brother,			His crown leaves his banished brother,
And all their lands restor'd to them again			And all of their lands have restored them again
That were with him exil'd. This to be true			That was in exile with him. Be true
I do engage my life.			I hire my life.
DUKE SENIOR. Welcome, young man.			Duke senior. Welcome, young man.
Thou offer'st fairly to thy brothers' wedding:			You are pretty much on my brothers' wedding:
To one, his lands withheld; and to the other,			His country remained to one; And on the other hand,
A land itself at large, a potent dukedom.			A country itself, a strong dukes.
First, in this forest let us do those ends			First, we let these goals do these in this forest
That here were well begun and well begot;			This was started well and well generated;
And after, every of this happy number,			And then each of this happy number,
That have endur'd shrewd days and nights with us,			That ended clever days and nights with us
Shall share the good of our returned fortune,			Should share the well -being of our return,
According to the measure of their states.			According to the measure of their states.
Meantime, forget this new-fall'n dignity,			In the meantime, forget this new dignity
And fall into our rustic revelry.			And fall into our rustic fumbling.
Play, music; and you brides and bridegrooms all,			Game music; And you bride and grooms all,
With measure heap'd in joy, to th' measures fall.			With measurement in joy, until the measures fall.
JAQUES. Sir, by your patience. If I heard you rightly,			Jaques. Sir, through her patience. If I heard you rightly
The Duke hath put on a religious life,			The duke has raised a religious life
And thrown into neglect the pompous court.			And thrown into the neglect of the pompous courtyard.
JAQUES DE BOYS. He hath.			Boys Jaques. He has.
JAQUES. To him will I. Out of these convertites			Jaques. I want to go to him. From these converts
There is much matter to be heard and learn'd.			There is a lot to hear and learn.
[To DUKE] You to your former honour I bequeath;			[To Herzog] to her earlier honor, I beg;
Your patience and your virtue well deserves it.			Your patience and virtue deserves it well.
[To ORLANDO] You to a love that your true faith doth merit;			[To Orlando] she a love that deserves her true faith;
[To OLIVER] You to your land, and love, and great allies			[To Oliver] she in her country and the love and great ally
[To SILVIUS] You to a long and well-deserved bed;			[To Silvius] she to a long and well -deserved bed;
[To TOUCHSTONE] And you to wrangling; for thy loving voyage			[Touchstone] and to argue; For your loving journey
Is but for two months victuall'd.- So to your pleasures;			But is sacrificed for two months, so to their joys;
I am for other than for dancing measures.			I am for others than for dance measures.
DUKE SENIOR. Stay, Jaques, stay.			Duke senior. Stay, Jaques, stay.
JAQUES. To see no pastime I. What you would have			Jaques. To see no pastime. What they would have
I'll stay to know at your abandon'd cave. Exit			I will stay to know at your abandoned cave. Exit
DUKE SENIOR. Proceed, proceed. We will begin these rites,			Duke senior. Go on, continue. We will start these rites
As we do trust they'll end, in true delights. [A dance]			As we trust, they will end in real joys. [A dance]
Exeunt			Exit
EPILOGUE			EPILOGUE
EPILOGUE.			EPILOGUE.
ROSALIND. It is not the fashion to see the lady the epilogue; but			Rosalind. It is not fashion to see the lady the epilogue; but
it is no more unhandsome than to see the lord the prologue.			It is no more incurable than seeing the Lord the prologue.
If it be true that good wine needs no bush, 'tis true that a good play			If it is true that good wine doesn't need a bush, it is true that a good game is
needs no epilogue. Yet to good wine they do use good bushes; and			Does not require evidence. You still use good bushes; and
good plays prove the better by the help of good epilogues.			Good pieces prove better with the help of good epilogues.
What a case am I in then, that am neither a good epilogue, nor cannot			What kind of case I am back then, that is neither a good epilogue nor not
insinuate with you in the behalf of a good play! I am not			Those with them on behalf of a good game! I'm not
furnish'd like a beggar; therefore to beg will not become me.			deliver like a beggar; So I don't get to myself.
My way is to conjure you; and I'll begin with the women. I charge			My way is to conjure up you; And I'll start with women. I upload
you, O women, for the love you bear to men, to like as much of			You, oh women, for the love you endure men to like so much
this play as please you; and I charge you, O men, for the love			This piece like you; And I ask you to do men, for love
you bear to women- as I perceive by your simp'ring none of you			You endure women- like me from your Simp'Ring none of you perceive you
hates them- that between you and the women the play may please.			Hatted them that the game like between you and the women.
If I were a woman, I would kiss as many of you as had beards that			If I were a woman, I would kiss as many of them as Barts that
pleas'd me, complexions that lik'd me, and breaths that I defied			I liked, complexion that grab me, and breath that I resisted myself
not; and, I am sure, as many as have good beards, or good faces,			Not; And I am sure that so many have good beards or good faces,
or sweet breaths, will, for my kind offer, when I make curtsy,			Or sweet breaths, for my friendly offer when I make curtsy,
bid me farewell.			offer me adopted.
THE END			THE END