As You Like It: Act II: Scene I Complete Paraphrase

Enter DUKE SENIOR, AMIENS, and two or threeLORDS, like foresters        DUKE
SENIOR, AMIENS, and two or threeLORDS enter, dressed like foresters. 

        DUKE SENIOR
Now, my co-mates and brothers in exile,
Hath not old custom made this life more sweet
Than that of painted pomp? Are not these woods
More free from peril than the envious court?
Here feel we not the penalty of Adam,
The seasons' difference, as the icy fang
And churlish chiding of the winter’s wind,
Which, when it bites and blows upon my body,
Even till I shrink with cold, I smile and say,
“This is no flattery. These are counselors
That feelingly persuade me what I am.”
Sweet are the uses of adversity,
Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head.
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything. 

DUKE SENIOR
Now, my companions and brothers in exile, hasn’t experience made this
simple life sweeter than a life of glittery pomp and circumstance?
Aren’t these woods less perilous than the court, with all its
jealousies and intrigues? Out here we feel the changing of the
seasons, but we’re not bothered by it. When the icy fangs of the
brutal, scolding wind bite and blow on my body, even though I’m
shivering with cold, I can appreciate the weather’s honesty. I smile
and think, “Thank goodness the wind doesn’t flatter me: it’s like a
councilor who makes me feel what I’m really made of.” Adversity can
have its benefits—like the ugly, poisonous toad that wears a precious
jewel in its forehead. In this life, far away from the civilized
world, we can hear the language of the trees, read the books of the
running streams, hear sermons in the stones, and discover the good in
every single thing. 

        AMIENS
I would not change it. Happy is your Grace,
That can translate the stubbornness of fortune
Into so quiet and so sweet a style. 

AMIENS
I wouldn’t change my situation for anything. You’re lucky, my lord, to
be able to see the peace and sweetness even in what bad luck has
brought you. 

        DUKE SENIOR
Come, shall we go and kill us venison?
And yet it irks me the poor dappled fools,
Being native burghers of this desert city,
Should in their own confines with forkèd heads
Have their round haunches gored. 

DUKE SENIOR
Come, shall we hunt some deer for dinner? It bothers me, though, that
these poor spotted innocents, who, after all, are this deserted city’s
native citizens, should be gouged with arrows. 

        FIRST LORD
Indeed, my lord,
The melancholy Jaques grieves at that,
And in that kind swears you do more usurp
Than doth your brother that hath banished you.
Today my Lord of Amiens and myself
Did steal behind him as he lay along
Under an oak, whose antique root peeps out
Upon the brook that brawls along this wood,
To the which place a poor sequestered stag
That from the hunter’s aim had ta'en a hurt
Did come to languish. And indeed, my lord,
The wretched animal heaved forth such groans
That their discharge did stretch his leathern coat
Almost to bursting, and the big round tears
Coursed one another down his innocent nose
In piteous chase. And thus the hairy fool,
Much markèd of the melancholy Jaques,
Stood on th' extremest verge of the swift brook,
Augmenting it with tears. 

FIRST LORD
Indeed, my lord, the gloomy Jaques grieves over these deaths. He
swears that when you kill the deer, you’re a worse usurper than your
brother was for banishing you. Today, Lord Amiens and I followed
Jaques. We saw him lie down along a brook under an oak tree whose
ancient roots peeked out from the earth. A poor, lonely stag who had
been hurt by a hunter’s arrow came to rest there, where he heaved such
heavy groans that the effort seemed to stretch his hide to bursting.
Big, round tears ran piteously down the animal’s innocent nose. The
hairy fool, watched closely by sad Jaques, stood on the very edge of
the brook, adding his own tears to the streaming water. 

        DUKE SENIOR
But what said Jaques?
Did he not moralize this spectacle? 

DUKE SENIOR
And what did Jaques say? Didn’t he take the opportunity to draw a
moral from the scene? 

        FIRST LORD
Oh, yes, into a thousand similes.
First, for his weeping into the needless stream:
“Poor deer,” quoth he, “thou mak’st a testament
As worldlings do, giving thy sum of more
To that which had too much.” Then, being there alone,
Left and abandoned of his velvet friend,
“'Tis right,” quoth he. “Thus misery doth part
The flux of company.” Anon a careless herd,
Full of the pasture, jumps along by him
And never stays to greet him. “Ay,” quoth Jaques,
“Sweep on, you fat and greasy citizens.
'Tis just the fashion. Wherefore do you look
Upon that poor and broken bankrupt there?”
Thus most invectively he pierceth through
The body of the country, city, court,
Yea, and of this our life, swearing that we
Are mere usurpers, tyrants, and what’s worse,
To fright the animals and to kill them up
In their assigned and native dwelling place. 

FIRST LORD
Oh, yes, he created a thousand comparisons. First, he spoke of the
deer’s needless addition to the stream’s water supply. “Poor deer,” he
said, “you’re just like a human: you add more to what already has too
much.” Then, about the deer’s being alone, abandoned by his velvety
companions: “It’s appropriate,” he said, “that a miserable creature
should excuse itself from company.” Just then, a carefree herd of
deer, having just eaten their fill of pasture grass, bounded along
without stopping to greet their wounded brother. “Sure,” said Jaques,
“hurry on, you fat and greasy citizens. Why stop and notice this poor,
broken, bankrupt creature here?” In this way, he most insightfully
pierced to the heart of the country, the city, the court, and even our
lives out here in the forest, swearing that we are mere usurpers and
tyrants, frightening and killing animals in their own homes. 

        DUKE SENIOR
And did you leave him in this contemplation? 

DUKE SENIOR
And did you leave him like this? 

DUKE SENIOR
Show me the place.
I love to cope him in these sullen fits,
For then he’s full of matter. 

DUKE SENIOR
Take me to him. I love to argue with him when he’s having one of these
fits, because then he always has a lot to say. 

FIRST LORD
I’ll bring you to him straight. 

FIRST LORD
I’ll bring you to him right away. 

Exeunt  They all exit 

As You Like It: Act I: Scene II Complete Paraphrase

Enter CELIA and ROSALIND 

CELIA and ROSALIND enter. 

CELIA
I pray thee, Rosalind, sweet my coz, be merry. 

CELIA
Please, Rosalind, my sweet cousin—be happy. 

ROSALIND
Dear Celia, I show more mirth than I am mistress of, and would you yet
I were merrier? Unless you could teach me to forget a banished father,
you must not learn me how to remember any extraordinary pleasure. 

ROSALIND
Dear Celia—I already look much happier than I feel, but you want me to
look even happier? Unless you can also teach me how to forget my
banished father, you shouldn’t try to teach me how to be happy. 

CELIA
Herein I see thou lov’st me not with the full weight that I love thee.
If my uncle, thy banished father, had banished thy uncle, the duke my
father, so thou hadst been still with me, I could have taught my love
to take thy father for mine. So wouldst thou, if the truth of thy love
to me were so righteously tempered as mine is to thee. 

CELIA
Well, by this I can see that you don’t love me as much as I love you.
If your father had banished my father, I could have learned to love
your father as my own, as long as I still had you. You’d do the same,
if your love for me were as true as mine for you. 

ROSALIND
Well, I will forget the condition of my estate to rejoice in yours. 

ROSALIND
Well, I’ll just forget the difficulties of my situation, in order to
focus on the happiness of yours. 

CELIA
You know my father hath no child but I, nor none is like to have, and,
truly, when he dies, thou shalt be his heir, for what he hath taken
away from thy father perforce, I will render thee again in affection.
By mine honor I will, and when I break that oath, let me turn monster.
Therefore, my sweet Rose, my dear Rose, be merry. 

CELIA
You know I’m my father’s only child, and he isn’t likely to have
another. And when he dies, you will inherit his fortune—because
whatever he took from your father by force, I will return to you as
affection. I swear I will, and if I ever break my promise let me turn
into a monster. So please, my sweet Rose, my dear Rose, be happy. 

ROSALIND
From henceforth I will, coz, and devise sports. Let me see—what think
you of falling in love? 

ROSALIND
From now on I will, cousin, and I’ll think of all kinds of games for
us. Let me see—what do you think about falling in love? 

CELIA
Marry, I prithee do, to make sport withal, but love no man in good
earnest, nor no further in sport neither than with safety of a pure
blush thou mayst in honor come off again. 

CELIA
Yes, please do, so we can have a good laugh about it. But don’t fall
in love for real, and don’t take the game too far. You want to get out
of it easily, and with your honor intact. 

ROSALIND
What shall be our sport, then? 

ROSALIND
Well, then, what should we do for fun instead? 

CELIA
Let us sit and mock the good housewife Fortune from her wheel, that
her gifts may henceforth be bestowed equally. 

CELIA
Let’s go find that hussy, Fortune, and and mock her till she starts
distributing her gifts more equally. 

ROSALIND
I would we could do so, for her benefits are mightily misplaced, and
the bountiful blind woman doth most mistake in her gifts to women. 

ROSALIND
I wish we could do that, because Fortune gives all of her gifts to the
wrong people, and she especially gets things wrong where women are
concerned. 

CELIA
'Tis true, for those that she makes fair she scarce makes honest, and
those that she makes honest she makes very ill- favoredly. 

CELIA
It’s true: the women she makes beautiful she also makes slutty, and
the women she makes pure and virginal she also makes ugly. 

ROSALIND
Nay, now thou goest from Fortune’s office to Nature’s.
Fortune reigns in gifts of the world, not in the lineaments of
Nature. 

ROSALIND
No, you’re getting Fortune and Nature mixed up: Nature determines how
we’re made, and Fortune decides what happens to us. 

Enter TOUCHSTONE 

TOUCHSTONE enters. 

CELIA
No? When Nature hath made a fair creature, may she not by Fortune fall
into the fire? Though Nature hath given us wit to flout at Fortune,
hath not Fortune sent in this fool to cut off the argument? 

CELIA
Oh, really? Well, when Nature makes a person beautiful, can’t Fortune
make her fall into a fire, thereby making her ugly after all? And even
though Nature has given us the wit to have this argument, hasn’t
Fortune sent this fool here to stop us? 

ROSALIND
Indeed, there is Fortune too hard for Nature, when Fortune makes
Nature’s natural the cutter-off of Nature’s wit. 

ROSALIND
Yes, and now Fortune is playing a nasty trick on Nature: she’s
breaking up a show of wit between two naturally witty women with the
arrival of a natural fool. 

CELIA
Peradventure this is not Fortune’s work neither, but Nature’s, who
perceiveth our natural wits too dull to reason of such goddesses, and
hath sent this natural for our whetstone, for always the dullness of
the fool is the whetstone of the wits. How now, wit, whither wander
you? 

CELIA
Well, maybe this is Nature’s work after all. Maybe Nature sensed that
we’re not smart enough to be having this high-flown discussion about
goddesses, so she sent us this fool to use as a mental whetstone.
After all, smart peoples' wits are always sharpened by the presence of
a fool. What’s up, you wit? Where are you wandering off to? 

TOUCHSTONE
Mistress, you must come away to your father. 

TOUCHSTONE
Mistress, you have to go see your father. 

CELIA
Were you made the messenger? 

CELIA
Did they make you the messenger? 

TOUCHSTONE
No, by mine honor, but I was bid to come for you. 

TOUCHSTONE
No, by my honor, but they told me to come get you. 

ROSALIND
Where learned you that oath, fool? 

ROSALIND
Where’d you learn a phrase like, “by my honor,” fool? 

TOUCHSTONE
Of a certain knight that swore by his honor they were good pancakes,
and swore by his honor the mustard was naught. Now, I’ll stand to it,
the pancakes were naught and the mustard was good, and yet was not the
knight forsworn. 

TOUCHSTONE
From a certain knight who swore on his honor that the pancakes he was
eating were good, and that the mustard on top of them—he swore on his
honor—was bad. Now, I’ll swear to the opposite—that the pancakes were
rotten, and the mustard was fine—but even so, the knight wasn’t lying. 

CELIA
How prove you that in the great heap of your knowledge? 

CELIA
And how, out of your great heap of knowledge, will you manage to prove
that? 

ROSALIND
Ay, marry, now unmuzzle your wisdom. 

ROSALIND
Yes, please; unleash your wisdom. 

TOUCHSTONE
Stand you both forth now: stroke your chins and swear by your beards
that I am a knave. 

TOUCHSTONE
Watch me: stroke your chins and swear by your beards that I am a
knave. 

CELIA
By our beards (if we had them), thou art. 

CELIA
By our beards (if we had them), you are a knave. 

TOUCHSTONE
By my knavery (if I had it), then I were. But if you swear by that
that is not, you are not forsworn. No more was this knight swearing by
his honor, for he never had any; or if he had, he had sworn it away
before ever he saw those pancakes or that mustard. 

TOUCHSTONE
And I swear by my wickedness (if I had any) that I am a knave. But you
can’t swear by what you don’t have—and this knight had no honor, or if
he did, he swore it off before he ever saw those pancakes and that
mustard. 

CELIA
Prithee, who is ’t that thou mean’st? 

CELIA
Tell me, who is this knight? 

TOUCHSTONE
One that old Frederick, your father, loves. 

TOUCHSTONE
A man old Frederick, your father, loves. 

CELIA
My father’s love is enough to honor him. Enough. Speak no more of him;
you’ll be whipped for taxation one of these days. 

CELIA
If he has my father’s love, then that’s enough honor for me. Enough of
this. No more talk about my father; you’ll be whipped for slander one
of these days. 

TOUCHSTONE
The more pity that fools may not speak wisely what wise men do
foolishly. 

TOUCHSTONE
It’s a pity that fools aren’t allowed to speak wisely about the
foolish things that wise men do. 

CELIA
By my troth, thou sayest true. For, since the little wit that fools
have was silenced, the little foolery that wise men have makes a great
show. Here comes Monsieur Le Beau. 

CELIA
Honestly, you’re speaking the truth—ever since the fools were
silenced, the foolishness of wise men has become all the more
apparent. Here comes Monsieur Le Beau. 

Enter LE BEAU 

LE BEAU enters. 

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
Which he’ll shove down our throats the way pigeons feed their young. 

ROSALIND
Then shall we be news-crammed. 

ROSALIND
Then we’ll be stuffed with news. 

CELIA
All the better. We shall be the more marketable.—Bonjour,
Monsieur Le Beau. What’s the news? 

CELIA
Well that’s good. If we’re fattened up, we’ll be worth more.
Hello, Monsieur Le Beau. What’s the news? 

LE BEAU
Fair princess, you have lost much good sport. 

LE BEAU
Fair princess, you’ve missed some good sport. 

CELIA
Sport? Of what color? 

CELIA
Sport? Of what color? 

LE BEAU
What color, madam? How shall I answer you? 

LE BEAU
What color, madam? I don’t understand—how should I answer that? 

ROSALIND
As wit and fortune will. 

ROSALIND
However your wit and luck allow. 

TOUCHSTONE
Or as the Destinies decrees. 

TOUCHSTONE
Or however the Destinies say you should. 

CELIA
Well said. That was laid on with a trowel. 

CELIA
Nicely done; you laid that on thick. 

TOUCHSTONE
Nay, if I keep not my rank— 

TOUCHSTONE
Well, if I don’t keep up my rank— 

ROSALIND
Thou losest thy old smell. 

ROSALIND
—you’ll lose your smell. 

LE BEAU
You amaze me, ladies. I would have told you of good wrestling, which
you have lost the sight of. 

LE BEAU
You’re confusing me, ladies. I was going to tell you all about a good
wrestling match that’s going on, which you’re missing. 

ROSALIND
You tell us the manner of the wrestling. 

ROSALIND
Tell us about this wrestling. 

LE BEAU
I will tell you the beginning, and if it please your Ladyships, you
may see the end, for the best is yet to do, and here, where you are,
they are coming to perform it. 

LE BEAU
I’ll tell you about the beginning, and if you find that interesting
you can see the end. The best is yet to come, and they’re going to
perform it right here. 

CELIA
Well, the beginning that is dead and buried. 

CELIA
Well, we’ve missed the beginning; it’s dead and buried. 

LE BEAU
There comes an old man and his three sons— 

LE BEAU
There comes an old man with his three sons— 

CELIA
I could match this beginning with an old tale. 

CELIA
It sounds like the beginning of an old folktale. 

LE BEAU
Three proper young men of excellent growth and presence. 

LE BEAU
Three proper young men, all good looking and with great presence— 

ROSALIND
With bills on their necks: “Be it known unto all men by these
presents.” 

ROSALIND
Right, and they wore proclamations around their necks, saying, “Be it
known to all men by these presents—” 

LE BEAU
The eldest of the three wrestled with Charles, the duke’s wrestler,
which Charles in a moment threw him and broke three of 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 their father making such
pitiful dole over them that all the beholders take his part with
weeping. 

LE BEAU
The eldest of the three brothers wrestled with Charles, the duke’s
wrestler. Immediately, Charles threw the brother, breaking three of
his ribs; it’s not likely he will survive. Charles did the same to the
second brother, and the third. They’re lying over there, and the poor
old man, their father, weeps so piteously over them that the whole
audience has joined him in grieving. 

ROSALIND
Alas! 

ROSALIND
Oh, dear! 

TOUCHSTONE
But what is the sport, monsieur, that the ladies have lost? 

TOUCHSTONE
But tell me, monsieur—what sport are the ladies missing? 

LE BEAU
Why, this that I speak of. 

LE BEAU
Why, the one I just told you about. 

TOUCHSTONE
Thus men may grow wiser every day. It is the first time that ever I
heard breaking of ribs was sport for ladies. 

TOUCHSTONE
Men must be getting wiser every day; that’s the first time I’ve heard
that rib-breaking was appropriate entertainment for ladies. 

CELIA
Or I, I promise thee. 

CELIA
Me too, I swear. 

ROSALIND
But is there any else longs to see this broken music in his sides? Is
there yet another dotes upon rib-breaking? Shall we see this
wrestling, cousin? 

ROSALIND
Doesn’t anyone else want to see this, and hear breath wheezing out
from broken ribs? Does anyone else love rib breaking? Shall we go
watch this wrestling, cousin? 

LE BEAU
You must if you stay here, for here is the place appointed for the
wrestling, and they are ready to perform it. 

LE BEAU
You’re going to have to, if you stay here. This is the place they’re
scheduled to wrestle, and they’re ready to go. 

CELIA
Yonder sure they are coming. Let us now stay and see it. 

CELIA
Yes, I see them coming. Let’s stay and watch. 

Flourish. Enter DUKE FREDERICK, lords, ORLANDO, CHARLES, and
attendants 

Trumpets play. DUKE FREDERICK, lords, ORLANDO, CHARLES, and attendants
enter. 

DUKE FREDERICK
Come on. Since the youth will not be entreated, his own peril on his
forwardness. 

DUKE FREDERICK
Come on. Since the youth won’t be reasoned with, he’ll have to suffer
for his stubbornness. 

ROSALIND
Is yonder the man? 

ROSALIND
Is that the man? 

LE BEAU
Even he, madam. 

LE BEAU
That’s him, madam. 

CELIA
Alas, he is too young. Yet he looks successfully. 

CELIA
Alas, he is too young. Yet he seems capable. 

DUKE FREDERICK
How now, daughter and cousin? Are you crept hither to see the
wrestling? 

DUKE FREDERICK
What’s up, daughter and niece? Have you snuck over here to watch the
wrestling? 

ROSALIND
Ay, my liege, so please you give us leave. 

ROSALIND
Yes, my lord, if you give us permission. 

DUKE FREDERICK
You will take little delight in it, I can tell you, there is such odds
in the man. In pity of the challenger’s youth, I would fain dissuade
him, but he will not be entreated. Speak to him, ladies; see if you
can move him. 

DUKE FREDERICK
You won’t enjoy it much, I can tell you, the odds are so against this
young man. Because he’s so young, I’ve tried to discourage him, but he
won’t listen. Talk to him, ladies. See if you can persuade him. 

CELIA
Call him hither, good Monsieur Le Beau. 

CELIA
Call him over here, good Monsieur Le Beau. 

DUKE FREDERICK
Do so. I’ll not be by. 

DUKE FREDERICK
Go ahead. I’ll make myself scarce.
He steps aside. 

He steps aside. 

LE BEAU
Monsieur the challenger, the Princess calls for you.
LE BEAU
Mister Challenger, the princess wants to speak to you.
ORLANDO
I attend them with all respect and duty.
ORLANDO
I’ll wait on them with all respect and duty.
ROSALIND
Young man, have you challenged Charles the wrestler?
ROSALIND
Young man, have you challenged Charles the Wrestler?
ORLANDO
No, fair princess. He is the general challenger. I come but in as
others do, to try with him the strength of my youth.
ORLANDO
No, lovely princess. He is the general challenger. I have only come in—
like the others have—to try to fight him with the strength of my
youth.
CELIA
Young gentleman, your spirits are too bold for your years. You have
seen cruel proof of this man’s strength. If you saw yourself with your
eyes or knew yourself with your judgment, the fear of your adventure
would counsel you to a more equal enterprise. We pray you for your own
sake to embrace your own safety and give over this attempt.
CELIA
Young gentleman, you are too bold for your age. You have seen the
cruel proof of this man’s strength. If you took a good look at
yourself, or if you thought about this more carefully, your fear would
teach you to act more cautiously. We beg you, for your own sake, to
respect your safety and give up.
ROSALIND
Do, young sir. Your reputation shall not therefore be misprized. We
will make it our suit to the duke that the wrestling might not go
forward.
ROSALIND
Please, young sir. We’ll make sure your reputation isn’t hurt; we’ll
take it upon ourselves to argue with the duke that the wrestling match
should be called off.
ORLANDO
I beseech you, punish me not with your hard thoughts, wherein I
confess me much guilty to deny so fair and excellent ladies anything.
But let your fair eyes and gentle wishes go with me to my trial,
wherein, if I be foiled, there is but one shamed that was never
gracious; if killed, but one dead that was willing to be so. I shall
do my friends no wrong, for I have none to lament me; the world no
injury, for in it I have nothing. Only in the world I fill up a place
which may be better supplied when I have made it empty.
ORLANDO
I beg you not to think poorly of me—though I suppose anyone who could
deny anything to such beautiful women deserves to be scorned. But
please, send me good thoughts in this match. If I’m beaten, the shame
is all mine, and I wasn’t in anyone’s good graces to begin with. If
I’m killed, it will only be the death of a man who was willing to be
dead. I won’t wrong any of my friends, because I don’t have any to
mourn for me, and I won’t have wronged the world, because I don’t have
anything in the world. In this world, I’m only taking up space. If I
leave, maybe someone more worthy will fill it.
ROSALIND
The little strength that I have, I would it were with you.
ROSALIND
I wish I could give you the little strength that I have.
CELIA
And mine, to eke out hers.
CELIA
Mine too, to join hers.
ROSALIND
Fare you well. Pray heaven I be deceived in you.
ROSALIND
Good luck. I hope to God I’m wrong about your chances.
CELIA
Your heart’s desires be with you.
CELIA
I hope you get what you desire!
CHARLES
Come, where is this young gallant that is so desirous to lie with his
mother earth?
CHARLES
Come on, where’s the young show-off who’s so eager to lie with mother
earth?
ORLANDO
Ready, sir; but his will hath in it a more modest working.
ORLANDO
Ready, sir, but I have more modest ambitions.
DUKE FREDERICK
You shall try but one fall.
DUKE FREDERICK
You get only one round.
CHARLES
No, I warrant your Grace you shall not entreat him to a second, that
have so mightily persuaded him from a first.
CHARLES
No, I’m sure your Grace won’t be able to persuade him to try a second
round, even though you couldn’t dissuade him from trying the first.
ORLANDO
You mean to mock me after, you should not have mocked me before. But
come your ways.
ORLANDO
You should mock me after you’ve beaten me, not before. Come on.
ROSALIND
Now Hercules be thy speed, young man!
ROSALIND
Hercules give you speed, young man!
CELIA
I would I were invisible, to catch the strong fellow by the leg.
CELIA
I wish I were invisible, so I could grab that strong fellow by the
leg.
They wrestle
They wrestle.
ROSALIND
O excellent young man!
ROSALIND
Oh, what an excellent young man!
CELIA
If I had a thunderbolt in mine eye, I can tell who should down.
CELIA
If I could shoot lightning bolts from my eyes, I can tell you who’d be
on the ground.
CHARLES is thrown Shout
ORLANDO throws Charles. The crowd shouts.
DUKE FREDERICK
No more, no more.
DUKE FREDERICK
No more, no more.
ORLANDO
Yes, I beseech your Grace. I am not yet well breathed.
ORLANDO
Oh, come on, your Grace—I’m barely out of breath.
DUKE FREDERICK
How dost thou, Charles?
DUKE FREDERICK
How are you doing, Charles?
LE BEAU
He cannot speak, my lord.
LE BEAU
He can’t speak, my lord.
DUKE FREDERICK
Bear him away. What is thy name, young man?
DUKE FREDERICK
Carry him away. What is your name, young man?
ORLANDO
Orlando, my liege, the youngest son of Sir Rowland de
Boys.
ORLANDO
Orlando, my lord, the youngest son of Sir Rowland de Boys.
DUKE FREDERICK
I would thou hadst been son to some man else.
The world esteemed thy father honorable,
But I did find him still mine enemy.
Thou shouldst have better pleased me with this deed
Hadst thou descended from another house.
But fare thee well. Thou art a gallant youth.
I would thou hadst told me of another father.
DUKE FREDERICK
I wish you were someone else’s son. The whole world thought your
father was an honorable man, but he was always my enemy. Your victory
would have pleased me more if you’d been someone else’s son. But good
luck; you are a brave young man. I wish you had told me you had a
different father.
Exeunt DUKE FREDERICK, train, and LE BEAU
DUKE FREDERICK, his train, and LE BEAU exit.
CELIA
Were I my father, coz, would I do this?
CELIA
If I were my father, cousin, would I do this?
ORLANDO
I am more proud to be Sir Rowland’s son,
His youngest son, and would not change that calling
To be adopted heir to Frederick.
ORLANDO
I’m proud to be Sir Rowland’s son—his youngest son—and I would never
change that, not even to be Frederick’s adopted heir.
ROSALIND
My father loved Sir Rowland as his soul,
And all the world was of my father’s mind.
Had I before known this young man his son,
I should have given him tears unto entreaties
Ere he should thus have ventured.
ROSALIND
My father loved Sir Rowland as much as he loved his own soul, and the
rest of the world shared my father’s opinion. If I had known this
young man was his son, I would have tried harder to convince him not
to fight.
CELIA
Gentle cousin,
Let us go thank him and encourage him.
My father’s rough and envious disposition
Sticks me at heart.—Sir, you have well deserved.
If you do keep your promises in love
But justly, as you have exceeded all promise,
Your mistress shall be happy.
CELIA
Gentle cousin, let’s go thank him and encourage him. My my father’s
rude and envious behavior is like a knife through my heart. (to
ORLANDO) Sir, you fought very well. If you live up to your potential
in love as well, your wife will be a very happy woman.
ROSALIND
Gentleman,
(giving him a chain from her neck)
Wear this for me—one out of suits with fortune
That could give more but that her hand lacks means.
—Shall we go, coz?
ROSALIND
(giving him a chain from her neck) Gentleman, wear this for me. I’m a
woman who’s down on her luck, and I’d give more if I could. Shall we
go, cousin?
CELIA
Ay.—Fare you well, fair gentleman.
CELIA
Yes. Good luck, fair gentleman.
ORLANDO
Can I not say “I thank you”? My better parts
Are all thrown down, and that which here stands up
Is but a quintain, a mere lifeless block.
ORLANDO
(to himself) Can’t I even say “thank you”? I left my brain back on the
wrestling field. What’s left of me is a dummy, just a lifeless block.
ROSALIND
He calls us back. My pride fell with my fortunes.
I’ll ask him what he would.—Did you call, sir?
Sir, you have wrestled well and overthrown
More than your enemies.
ROSALIND
He’s calling us back. My pride fell when my fortunes did; I’ll ask him
what he wants.—Did you call us, sir? Sir, you wrestled well and
conquered more than just your enemies.
CELIA
Will you go, coz?
CELIA
Will you come on, cousin?
ROSALIND
Have with you. Fare you well.
ROSALIND
I’m coming. Farewell.
Exeunt ROSALIND and CELIA
ROSALIND and CELIA exit.
ORLANDO
What passion hangs these weights upon my tongue?
I cannot speak to her, yet she urged conference.
O poor Orlando! Thou art overthrown.
Or Charles or something weaker masters thee.
ORLANDO
What is this passion that ties up my tongue? I can’t speak to her,
even though she asked me to. Oh, poor Orlando, you’ve been overthrown!
Either Charles or some prettier thing has mastered you.
Enter LE BEAU
LE BEAU enters.
LE BEAU
Good sir, I do in friendship counsel you
To leave this place. Albeit you have deserved
High commendation, true applause, and love,
Yet such is now the duke’s condition
That he misconsters all that you have done.
The duke is humorous. What he is indeed
More suits you to conceive than I to speak of.
LE BEAU
Good sir, as a friend, I advise you to leave this place. Although you
deserve praise, applause, and love, right now the duke misconstrues
everything you’ve done. The duke is temperamental. I’m sure you can
imagine what I mean without my having to spell it out.
ORLANDO
I thank you, sir, and pray you tell me this:
Which of the two was daughter of the duke
That here was at the wrestling?
ORLANDO
Thank you, sir. Now please tell me this: which of the two ladies who
were at the wrestling match is the duke’s daughter?
LE BEAU
Neither his daughter, if we judge by manners,
But yet indeed the smaller is his daughter
The other is daughter to the banished duke,
And here detained by her usurping uncle
To keep his daughter company, whose loves
Are dearer than the natural bond of sisters.
But I can tell you that of late this duke
Hath ta'en displeasure 'gainst his gentle niece,
Grounded upon no other argument
But that the people praise her for her virtues
And pity her for her good father’s sake;
And, on my life, his malice 'gainst the lady
Will suddenly break forth. Sir, fare you well.
Hereafter, in a better world than this,
I shall desire more love and knowledge of you.
LE BEAU
Neither one is his daughter, to judge from their good manners. But
really, the smaller one is his daughter. The other is the daughter of
the banished duke. Duke Frederick keeps her for his daughter’s sake;
the love between the two of them is stronger than the bond between
sisters. But I will tell you that lately the duke has been displeased
with his niece, and for no other reason than that people praise her
virtues and pity her for her father’s sake. I swear, one day the
duke’s malice toward Rosalind will suddenly erupt. Goodbye, sir.
Later, in a better world than this, I’d love to get to know you.
ORLANDO
I rest much bounden to you. Fare you well.
ORLANDO
I’m indebted to you. Goodbye.
Exit LE BEAU
LE BEAU exits.
Thus must I from the smoke into the smother,
From tyrant duke unto a tyrant brother.
But heavenly Rosalind!
Out of the frying pan and into the fire—from a tyrant duke to a tyrant
brother! But, oh, heavenly
Rosalind!
Exit
He exits.

As You Like It: Act I: Scene I Complete Paraphrase

Enter ORLANDO and ADAM 
ORLANDO and ADAM enter. 
ORLANDO
As I remember, Adam, it was upon this fashion bequeathed me by will
but poor a thousand crowns, and, as thou sayest, charged my brother on
his blessing to breed me well. And there begins my sadness. My brother
Jaques he keeps at school, and report speaks goldenly of his profit.
For my part, he keeps me rustically at home or, to speak more
properly, stays me here at home unkept; for call you that “keeping”
for a gentleman of my birth that differs not from the stalling of an
ox? His horses are bred better, for, besides that they are fair with
their feeding, they are taught their manage and, to that end, riders
dearly hired. But I, his brother, gain nothing under him but growth,
for the which his animals on his dunghills are as much bound to him as
I. Besides this nothing that he so plentifully gives me, the something
that nature gave me his countenance seems to take from me. He lets me
feed with his hinds, bars me the place of a brother, and, as much as
in him lies, mines my gentility with my education. This is it, Adam,
that grieves me, and the spirit of my father, which I think is within
me, begins to mutiny against this servitude. I will no longer endure
it, though yet I know no wise remedy how to avoid it. 
ORLANDO
I remember, Adam, that’s exactly why my father only left me a thousand
crowns in his will. And as you know, my father commanded my brother,
Oliver, to make sure that I was brought up well—and that’s where my
sadness begins. Oliver keeps my brother Jaques away at school, and
everyone says he’s doing extremely well there. But he keeps me at home
in the country—to be precise, he keeps me stuck at home but doesn’t
support me. I ask you, is this any way to treat a gentleman as nobly
born as I am, to pen me in like an ox? His horses get treated better
than I do—at least he feeds them and trains them properly, and spends
a lot of money on trainers for them. All I’ve gained from his care is
weight, which makes me as indebted to him as his animals on the manure
pile are. He gives me plenty of nothing, and takes away everything
else, letting me eat with his servants, refusing me what’s owed me as
his brother, and ruining my good birth with a poor education. This is
what angers me, Adam. My father’s temper and spirit, which I think I
share, makes me want to mutiny against my brother’s tyranny. I won’t
stand for it any longer, though I haven’t yet figured out how to
revolt. 
Enter OLIVER 
OLIVER enters. 
ADAM
Yonder comes my master, your brother. 
ADAM
Here comes my master, your brother. 
ORLANDO
Go apart, Adam, and thou shalt hear how he will shake me up. 
ORLANDO
Go hide, Adam, and you’ll hear how he abuses me. 
OLIVER
Now, sir, what make you here? 
OLIVER
Hey, you! What are you making here? 
ORLANDO
Nothing. I am not taught to make anything. 
ORLANDO
Nothing. I’ve never been taught how to make anything. 
OLIVER
What mar you then, sir? 
OLIVER
Well, then, what are you messing up? 
ORLANDO
Marry, sir, I am helping you to mar that which God made, a poor
unworthy brother of yours, with idleness. 
ORLANDO
I’m helping you mess up one of God’s creations—your poor, unworthy
brother—by having him do nothing. 
OLIVER
Marry, sir, be better employed, and be naught awhile. 
OLIVER
Indeed, sir, find something better to do and get lost for a while. 
ORLANDO
Shall I keep your hogs and eat husks with them? What prodigal portion
have I spent that I should come to such penury? 
ORLANDO
Should I tend your pigs and eat husks with them? When did I waste so
much money that I ended up this poor? 
OLIVER
Know you where you are, sir? 
OLIVER
Do you know where you are, sir? 
ORLANDO
O sir, very well: here in your orchard. 
ORLANDO
Yes, sir, very well—I’m here in your orchard. 
OLIVER
Know you before whom, sir? 
OLIVER
Do you know whom you’re talking to? 
ORLANDO
Ay, better than him I am before knows me. I know you are my eldest
brother, and in the gentle condition of blood you should so know me.
The courtesy of nations allows you my better, in that you are the
first-born, but the same tradition takes not away my blood, were there
twenty brothers betwixt us. I have as much of my father in me as you,
albeit, I confess, your coming before me is nearer to his reverence. 
ORLANDO
Yes, better than you know me. I know you’re my oldest brother, and
deserve more respect. But we’re in the same family, so you should
acknowledge that I am a gentleman too. According to custom, as the
first-born you are my superior. But it’s not customary to treat me
like I’m not even a gentleman, even if there were twenty brothers
between you and me. I have as much of our father in me as you do,
though I admit you’re closer to him and matter more because you’re
older. 
OLIVER
What, boy! (strikes him) 
OLIVER
(hitting ORLANDO) What nerve! 
ORLANDO
Come, come, elder brother, you are too young in this. (seizes him) 
ORLANDO
(grabbing hold of OLIVER) Come on, big brother; you don’t know
anything about fighting. 
OLIVER
Wilt thou lay hands on me, villain? 
OLIVER
What, you dare put your hands on me, villain? 
ORLANDO
I am no villain. I am the youngest son of Sir Rowland de Boys. He was
my father, and he is thrice a villain that says such a father begot
villains. Wert thou not my brother, I would not take this hand from
thy throat till this other had pulled out thy tongue for saying so.
Thou hast railed on thyself. 
ORLANDO
I’m no villain. I’m the youngest son of Sir Rowland de Boys, and
anyone who claims my father’s sons are villains is a villain himself.
If you weren’t my brother, I’d leave this hand of mine on your neck
until I’d pulled out your tongue for talking like this. You’ve only
insulted yourself. 
ADAM
Sweet masters, be patient. For your father’s remembrance, be at
accord. 
ADAM
Gentlemen, calm down. For the sake of your father’s memory, make
peace. 
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 charged you in
his will to give me good education. You have trained me like a
peasant, obscuring and hiding from me all gentlemanlike qualities. The
spirit of my father grows strong in me, and I will no longer endure
it. Therefore allow me such exercises as may become a gentleman, or
give me the poor allottery my father left me by testament. With that I
will go buy my fortunes. 
ORLANDO
I won’t until I’m ready. You will listen to me. My father instructed
you in his will to give me a good education. But you’ve raised me as a
peasant, hiding from me what I needed to become a gentleman. My
father’s spirit is growing in me, and I won’t take this any longer.
Either give me the freedom to act like someone of my own rank or give
me my share of the inheritance, so that I can seek my fortune
elsewhere. 
OLIVER
And what wilt thou do—beg when that is spent? Well, sir, get you in. I
will not long be troubled with you. You shall have some part of your
will. I pray you leave me. 
OLIVER
And what are you going to do after you’ve spent your money? Beg? Well,
sir, go inside. I’m not going to be bothered by you for long. You’ll
get some of what you want. Now please leave me alone. 
ORLANDO
I will no further offend you than becomes me for my good. 
ORLANDO
I won’t bother you any more than necessary. 
OLIVER
Get you with him, you old dog. 
OLIVER
(to ADAM) And you get lost too, you old dog. 
ADAM
Is “old dog” my reward? Most true, I have lost my teeth in your
service. God be with my old master. He would not have spoke such a
word. 
ADAM
Is that my reward—to be called “old dog?” Well, it’s true, I’ve served
this family so long I’ve gotten old and toothless, like a dog. God
bless my old master. He would never have spoken to me like this. 
Exeunt ORLANDO and ADAM 
ORLANDO and ADAM exit. 
OLIVER
Is it even so? Begin you to grow upon me? I will physic your rankness
and yet give no thousand crowns neither.—Holla, Dennis! 
OLIVER
Is that how it’s going to be? Are you starting to challenge me? I’ll
cure you of your insolence, and I’m not going to give you a thousand
crowns, either!—Hey, Dennis! 
Enter DENNIS 
DENNIS enters. 
DENNIS
Calls your Worship? 
DENNIS
Did you call for me, your Worship? 
OLIVER
Was not Charles, the duke’s wrestler, here to speak with me? 
OLIVER
Wasn’t Charles, the duke’s wrestler, here to speak with me? 
DENNIS
So please you, he is here at the door and importunes access to you. 
DENNIS
Yes, sir, he’s here at the door right now and asks to see you. 
OLIVER
Call him in. 
OLIVER
Call him in. 
Exit DENNIS 
DENNIS exits.
        ‘Twill be a good way, and tomorrow the wrestling is.  I have a good
plan. And tomorrow is the wrestling match. 
Enter CHARLES 
CHARLES enters. 
CHARLES
Good morrow to your Worship. 
CHARLES
Good morning, sir. 
OLIVER
Good Monsieur Charles, what’s the new news at the new court? 
OLIVER
Good Mr. Charles! Tell me, what’s the latest news at the new court? 
CHARLES
There’s no news at the court, sir, but the old news. That is, the old
duke is banished by his younger brother the new duke, and three or
four loving lords have put themselves into voluntary exile with him,
whose lands and revenues enrich the new duke. Therefore he gives them
good leave to wander. 
CHARLES
No news but the old news: the old Duke Senior has been banished by his
younger brother, the new Duke Frederick. A few loyal lords have gone
into exile with Duke Senior, and given up their lands and money to
Frederick—so he’s happy enough to have them leave. 
OLIVER
Can you tell if Rosalind, the duke’s daughter, be banished with her
father? 
OLIVER
Can you tell me whether Rosalind, Duke Senior’s daughter, has also
been banished? 
CHARLES
Oh, no, for the duke’s daughter her cousin so loves her, being ever
from their cradles bred together, that she would have followed her
exile or have died to stay behind her. She is at the court, and no
less beloved of her uncle than his own daughter, and never two ladies
loved as they do. 
CHARLES
Oh, no. Duke Frederick’s daughter, Celia, grew up with Rosalind, and
Celia loves her cousin so much that she would have either followed her
into exile or died of grief. Rosalind has stayed at court, where Duke
Frederick loves her like his own daughter. No two women ever loved
each other like they do. 
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 merry men
with him; and there they live like the old Robin Hood of England. They
say many young gentlemen flock to him every day and fleet the time
carelessly, as they did in the golden world.    CHARLES
They say he’s already in the Forest of Arden. He has many cheerful men
with him, and they live like Robin Hood and his outlaws. People say
that new batches of young men flock there every day, and that they all
pass the time without a care, like people did in the Golden Age. 
OLIVER
What, you wrestle tomorrow before the new duke? 
OLIVER
So, are you going to wrestle before the new duke tomorrow? 
CHARLES
Marry, do I, sir, and I came to acquaint you with a matter. I am
given, sir, secretly to understand that your younger brother Orlando
hath a disposition to come in disguised against me to try a fall.
Tomorrow, sir, I wrestle for my credit, and he that escapes me without
some broken limb shall acquit him well. Your brother is but young and
tender, and, for your love I would be loath to foil him, as I must for
my own honor if he come in. Therefore, out of my love to you, I came
hither to acquaint you withal, that either you might stay him from his
intendment or brook such disgrace well as he shall run into, in that
it is a thing of his own search and altogether against my will. 
CHARLES
Indeed I do, sir, and I’ve come to let you in on a certain problem.
I’ve been informed by certain sources I can’t disclose that your
younger brother Orlando plans to fight me in disguise. Tomorrow, sir,
I’m fighting for my reputation, and any man who gets away without a
broken bone or two is an exceptional wrestler indeed. Your brother is
young and inexperienced, and because of my affection for you, I’d hate
to crush him—though I’d have to, if he challenged me. I’m telling you
all this out of affection for you, so you can either keep him from
carrying out his plans or prepare to accept his disgrace, which will
be his own fault, not mine. 
OLIVER
Charles, I thank thee for thy love to me, which thou shalt find I will
most kindly requite. I had myself notice of my brother’s purpose
herein and have by underhand means labored to dissuade him from it;
but he is resolute. I’ll tell thee, Charles: it is the stubbornest
young fellow of France, full of ambition, an envious emulator of every
man’s good parts, a secret and villainous contriver against me his
natural brother. Therefore use thy discretion. I had as lief thou
didst break his neck as his finger. And thou wert best look to ’t, for
if thou dost him any slight disgrace or if he do not mightily grace
himself on thee, he will practice against thee by poison, entrap thee
by some treacherous device and never leave thee till he hath ta’en thy
life by some indirect means or other. For I assure thee—and almost
with tears I speak it—there is not one so young and so villainous this
day living. I speak but brotherly of him, but should I anatomize him
to thee as he is, I must blush and weep, and thou must look pale and
wonder. 
OLIVER
Charles, I thank you for your loyalty to me, and you’ll see that I’ll
reward you. I’d heard about my brother’s plan and have been subtly
trying to change his mind, but he’s determined. I tell you, Charles,
he’s the stubbornest young fellow in France: overly ambitious, jealous
of other people’s good qualities, and a traitor against me, his own
blood brother. So use your discretion. I’d be just as happy if you
broke his neck as his finger. And you’d better be careful, because if
you embarrass him at all—in fact, if he doesn’t beat you thoroughly—
he’ll come after you and won’t leave you alone till he’s poisoned you
or trapped you—killed you, in other words, one way or another. It
brings me to tears to say this, but there isn’t another person alive
who is so young and at the same time so wicked. Because he’s my
brother, I have to take his side. But if I really laid him bare, I’d
have to weep and hang my head, and you would not believe me, his
behavior is so shocking. 
CHARLES
I am heartily glad I came hither to you. If he come tomorrow, I’ll
give him his payment. If ever he go alone again, I’ll never wrestle
for prize more. And so God keep your Worship.   CHARLES
I’m very glad I came to see you. If he shows up tomorrow, I’ll give
him what’s coming to him. If he can manage to walk after our fight,
I’ll never wrestle for money again. Farewell, my lord. 
OLIVER
Farewell, good Charles. 
OLIVER
Take care, Charles. 
Exit CHARLES 
CHARLES exits. 
        Now will I stir this gamester. I hope I shall see an end of him, for
my soul—yet I know not why—hates nothing more than he. Yet he’s
gentle, never schooled and yet learned, full of noble device, of all
sorts enchantingly beloved, and indeed so much in the heart of the
world and especially of my own people, who best know him, that I am
altogether misprized. But it shall not be so long; this wrestler shall
clear all. Nothing remains but that I kindle the boy thither, which
now I’ll go about. 
Now it’s time to get this playboy brother of mine all worked up. I
hope I’ll see the end of him soon—I don’t know why, but I hate nothing
in the world as much as him, though he’s an upstanding guy. He’s never
gone to school but he’s smart, with good values, and everyone is
delighted by him and loves him, especially my subjects, who know him
the best. They love him, and therefore they despise me. But not for
long; Charles will take care of everything. All I have to do is get
Orlando to fight, which I’ll do now. 
Exit 
He exits. 

As You Like It: Act II: Scene II

Q. Mention two actions of human beings which are criticised by Jaques. 

        Among the lords attending upon Duke Senior is Jaques, a meditative
kind of man, who, however, has a cynical outlook upon life. The
importance of this man lies in himself, as a person distinguished from
all others by his melancholy and philosophical remarks. 

        Jaques says that the deer is weeping into the stream in the same ways
as rich people leave their wealth to those who are already rich. And
the herd of deer behaves in the same manner in which over-prosperous
people behave towards those who are in distress. Many human beings,
who are enjoying prosperity and wellness, pay no heed to those who are
in misery. In this way Jaques speaks in severe and harsh terms about
mankind, and criticizes and condemns people whether living in the
country, in the city, or at the court. 

Context: 

First Lord: 

I can not hear of any that did see her.
The ladies, her attendants of her chamber.
Saw her a-bed: and in the morning early.
They found the bed untreasur’d of their mistress. 

Second Lord: 

My lord, the roynish clown, at whom so oft
Your Grace was wont to laugh, is also missing.
Hisperia, the princess’ gentlewoman,
Confess that she secretly o’erheard
Your daughter and her cousin much commend
The parts and graces of the wrestler
That did but lately foil the sinewy Charles: 

i) Where does the scene take place? Who are present at the scene? What
is being talked about? 

        The scene takes place in a room of Frederick’s palace. 

        The Duke Frederick, his lords and attendants are present in the
scene. 

        The sudden disappearance of Rosalind, Celia from the palace and the
court jester Touchstone also being absent in the dukedom are being
talked about here. 

ii) What did the first lord say about the runaways? 

        The first lord reported that he had not heard anybody tell him that
he saw his (Frederick’s) daughter. The women-folk attending upon her
in her apartment saw her going to bed last night, but early in the
morning they found the bed empty and their noble princess gone. 

iii) What is meant by the roynish clown? Name the clown referred to in
the extract. What is suspected about the clown? 

        A roynish clown is a vulgar or contemptible clown. 

Touchstone, who is suspected of assisting the princesses to run away
from the palace, is being referred here. 

iv) What does Hisperia confess that can give some clue about the
vanished cousin? What makes her think that the victorious wrestler
could be in the company of the cousins? 

        Hisperia, the maid of the princesses, confesses that she secretly
overheard the Duke’s (Frederick) daughter and his niece greatly
praising the qualities and the accomplishments of the wrestler
(Orlando) who not so long ago overthrew the muscular Charles. 

        All these praises of the two princesses make Hisperia convinced that
wherever the two ladies have gone, the young man is surely with them. 

v) Give the meaning of: 

a) They found the bed untreasur’d of their mistress: 

-They found the bed empty and their pretty occupants gone. 

b) The parts and graces of the wrestler: 

        - The qualities and the accomplishments of the wrestler. 

As You Like It: Act II Scene III

1. Context: Adam... 
Why would you be so fond to overcome 
The bonny prizer of the humourous duke? 
Your praise is come too swiftly home before you. 
Know you not, master, to some kind of men 
Their graces serve them but as enemies? 
No more do yours: your virtues, gentle master, 
Are sanctified and holy traitors to you. 
O, what a world is this, when what is comely 
Envenoms him that bears it! (Lines 7-14) 

[Meaning: Why were you so foolish as to defeat the stalwart prize-
fighter of the capricious Duke? Your praise reached the ears of your
brother before you came. You ought to know that to some men their
virtues are a curse. It is true in your case at any rate. Your virtues
have acted as traitors with their holy and innocent airs. It must be a
rotten world where virtues and good qualities should be harmful poison
to their owner.] 

I) What has happened that makes Adam to come to Orlando? How can you
conclude that Adam is fond of Orlando? 

        The wicked Oliver’s plan to set Orlando’s room on fire at night is
not unknown to the faithful Adam and this makes him approach Orlando
to forewarn him. 

        Adam’s fondness of Orlando is clearly evidenced by his manners and
actions. 

        1. Adam warns Orlando of the wicked plans of Oliver. 

        2. He offers all his life’s savings (five hundred crowns) to his
young master, who is now in a state of destitution. 

        3. He also proposes to accompany Orlando to an uncertain faith
because he is so devoted to him. 

ii) Who is the bonny prizer? How was he overcome by Orlando? Why is
the Duke referred to as humourous? 

        The stalwart (bonny) prizer (prize-fighter) is the court-wrestler of
Duke Frederick. 

        No sooner the wrestling begins than Orlando overcomes Charles. The
prize-fighter is seen lying on the ground, unable even to speak just
in a few moments after the bout has begun. 

        The Duke is subject to whims and that’s why he has been referred to
in this term. His capriciousness, greed and lack of moral scruples
make him behave in an unpredictable manner most of the time. 

iii) What is the praise that has come swiftly home before Orlando?
What was its impact? 

        Orlando’s having defeated the formidable wrestler and the subsequent
praise that he has won is being talked about here. 

        Oliver’s heart is filled with jealousy because of this development
and he gets desperate to kill Orlando by hook or crook. 

iv) Give the meaning of 

a) Their graces serve them but as enemies:
        Their virtues and accomplishments invite but enmities for them from
wicked people like Oliver. 

b) Are sanctified and holy traitors to you:
        Your virtues have acted as traitors with their holy and innocent
airs. 

v) What is meant by: what is comely/Envenoms him that bears it? How is
this saying true as far as Orlando is concerned? 

        (It must be a rotten world) where virtues and good qualities should
be harmful poison to their owner.
        Orlando possesses many a noble quality but those have only brought to
him misfortunes and sufferance. 

2. Context: Orlando: Why, whither, Adam, wouldst thou have me go?
Adam: No matter whither, so you come not here.
Orlando: What! Wouldst thou have me go and beg my food?
Or with a base and boisterous sword enforce
A thievish living on the common road?
This I must do, or know not what to do:
Yet this I will not do, do how I can;
I rather will subject me to the malice
Of a diverted blood and bloody brother.
[Meaning: Adam – You may go wherever you like but you can not come
here.
Orlando: Would you have me go and beg for my food? Or take to the
highway and rob the passers-by for a living? I shall have to do this,
or I know not what to do. Yet I have no mind to take to highway
robbery for a living, whatever I may do. I will rather submit to the
ill-will of a brother who is estranged from me.]
i) Explain the circumstances due to which Adam advises Orlando to
leave his house.
        Oliver gets extremely jealous of Orlando when the news of his
youngest brother’s victory over Charles and how he has been praised
for that reaches his ears. The villainous Oliver immediately plots to
kill Orlando by setting fire to his room at night. However, Adam gets
to learn of the plot and also realises that Oliver will not rest till
he gets Orlando out of his way. So Adam warns his young master to
leave the place immediately.
ii) According to Orlando, what options are open for him after leaving
his house?
        Orlando says that either he has to beg for food or be a highway
robber to earn his living if he has to leave his home. Being
uneducated and not accomplished in anything, he says he has no other
option before him.
iii) Give the meaning of:
a) Or with a base and boisterous sword enforce
A thievish living on the common road.
        I (Orlando) have only another choice except begging. I have to rob
the travellers on highways with a dishonest and riotous sword and live
a corrupt living.
b) Of a diverted blood and bloody brother.
        A brother who has an antipathy for me and who has only the thought of
murder in his heart for me.
iv) Finally, what does Orlando say that he would prefer?
        Orlando finally says that he would rather submit to the ill-wills of
his elder brother than adopting the humiliating life of a beggar or
the corrupt one of a highway robber.
v) Referring to the extract, state what sort of a man is Orlando?
        The words spoken by Orlando in the extract clearly demonstrate
Orlando’s sense of honesty and his upright nature. He is ready to face
the dangerous villainy of Oliver but will not adopt an unfair way of
life, come what may.
vi) ***According to the dramatic necessity, Orlando has to go to the
forest. Justify this statement.
        Orlando’s going to the Forest of Arden is a dire dramatic necessity
for Shakespeare because otherwise Orlando and Rosalind can not be
together. Some good reason was needed for Orlando to decide to go to
the Forest of Arden. Oliver’s conspiracy provides that reason and in
order to save his life, it seems only natural that Orlando will run
away to the Forest of Arden.
3. Context: Take that; and He that doth the ravens feed,
Yea, providently caters for the sparrow.
Be comfort to my age! Here is the gold;
All this I give you. Let me be your servant:
Though I look old, yet I am strong and lusty;
For in my youth I never did apply
Hot and rebellious liquors in my blood.
Nor did not with unbashful forehead woo
The means of weakness and debility.
[Meaning: Take that money, and God who feeds the ravens, and provides
for sparrows, will be my comfort in my old age. Here is the gold; all
this I offer you. Let me be your servant. Though I look old, I am
strong and vigorous, for when I was young, I never indulged in excess,
nor lived a dissolute life which enfeebles a man.]
i) Why does Adam give away his gold coins to Orlando?
        He does so as he is truly devoted to his young master. He knows how
honest Orlando is and so hands over his entire life’s savings to him
to help him in his destitution.
ii) How did Adam come to possess the gold? Why had he saved it?
        Adam saved the gold bit by bit during his long tenure of service with
Orlando’s father, Sir Rowland de Boys. Being thrifty by nature, he
could save the princely sum of five hundred crowns.
        He had saved the money to be the means of his support in his old age
when he would be unable to work with no one to help him.
iii) Give the meaning of:
Nor did not with unbashful forehead woo
The means of weakness and debility.
        I never indulged in unrestrained behaviour brazenly, nor lived an
immoral life which enfeebles a man.
iv) Besides giving money and gold, what else does Adam offer to
Orlando?
        Adam offers to be Orlando’s servant even at this old age claiming
that he is still strong enough to do so as he has not dissipated his
physical strength as many young men do in their youth by running after
pleasures.
v) What type of relationship did exist between a master and a servant
in the olden times?
        A servant would go on rendering faithful service to his master in the
ancient world. People worked out of a sense of duty rather than for
reward or for wages.


4. Context: Orlando: O good old man! How well in thee appears
The constant service of the antique world,
When service sweat for duty, not for meed!
Thou art not for the fashion of these times,
Where none will sweat but for promotion,
And having that, do choke their service up
Even with the having: it is not so with thee,
But, poor old man, thou prun’st a rotten tree,
That can not so much as a blossom yield,
In lieu of all thy pains and husbandry.
[Meaning: O good old man, you set the example of loyalty which marked
the servants of the past age, when service was inspired by a sense of
duty, and not by a mercenary motive. You do not follow the custom of
these days, when none will work except with a view to a financial
reward, and having that, he forgets his master. You are not like them.
But, poor old man, you take care of one who can not compensate you for
your devotion or kindness to me.]
i) To whom is Orlando speaking? What is meant by the antique world?
What constant service has he given to Orlando?
        Orlando is speaking to the simple yet loyal and noble-hearted Adam
who has been serving the Boys’ household for decades.
        The antique world points to the ancient times when people worked with
utmost devotion regardless of what reward he received for the same.
        Adam had been serving Sir Rowland de Boys faithfully when he was
alive and now is doing the same to Orlando without any expectation of
monetary reward. He is more of a father-figure to Orlando than a paid
servant and completely identifies himself with the welfare of his
young master.
ii) What type of service is rendered in these times? How is it
different from the services of the ancient times?
        People have entirely forgotten the true spirit in which a service
should be rendered in these times (Shakespeare here talks of his times
i.e. the Elizabethan Age). Instead, they have become sloppy in their
work though their mercenary spirit has grown stronger.
        It is different from the services of the ancient times in the sense
that the workers of today are neither devoted to their masters nor do
they serve for the sake of duty but only for money. They also often
desert their masters in spite of being paid.
iii) Give the meaning of:
a) When service sweat for duty, not for meed!
        When service was inspired by a sense of duty and not by greed for
unearned money.
b) In lieu of all thy pains and husbandry.
        In return for all your pains and careful rearing.
iv) In what context does Orlando say to the old man, thou prun’st a
rotten tree? What is meant by this expression?
           Since Orlando is penniless and can not reward Adam for his
services, he compares himself with a rotten tree which can not yield
blossoms to the gardener (Adam) who is taking so much care of it.
        But, poor old man, to what end you are trimming the rotten tree
(Orlando).
V) What do Orlando and the old man finally decide to do?
        The two of them finally decide to leave from the Boys’ ancestral home
to escape the malice of Oliver which has grown into such dangerous
proportion of late.


5. Context: Adam: Master, go on, and I will follow thee
To the last gasp with truth and loyalty.
For seventeen years till now almost fourscore
Here lived I, but now live here no more.
At seventeen years many their fortunes seek;
But at fourscore it is too late a week:
Yet fortune can not recompense me better
Than to die well and not my master’s debtor.
[Meaning: Master go on, and I shall follow you to my last breath, with
true devotion. From seventeen years till now when I am almost eighty,
I lived here, but I am leaving the place for ever. At seventeen many
begin their life, but at eighty it is too late in the day. Yet the
best thing that can happen to me is to die in your service,
discharging my debt to my master.]
i) State why Adam does not want to ‘live here no more’. *How long has
he been serving in the family?
        Adam makes up his mind to leave Oliver’s house for ever as he finds
him, unlike his noble father, a scheming and utterly wicked fellow.
Besides, when he sees Oliver plotting against his own brother’s life,
he (Adam) is compelled to abandon the house where he has spent almost
63 years of his life serving the Boys’ family, and the place which has
become almost his own home.
        *He has been serving the family for about 63 years.
ii) Besides giving money and gold, what else does Adam offer to
Orlando?
        Adam not only offers to accompany Orlando to an uncertain destination
but also expresses his wish to serve him ‘to the last gasp with truth
and loyalty’. The way he does this ignoring his age wins a glowing
compliment from Orlando.
iii) Give me the meaning of:
a) To the last gasp with truth and loyalty.
        I shall follow you to my last breath, with true devotion.
b) Yet fortune can not recompense me better.
        Yet the best thing that can happen to me is to die in your service,
discharging my debt to my master.
iv) How can you conclude from the extract that Adam was honest and
loyal?
        Adam’s decision to follow Orlando into an uncertain future at the age
of eighty because he thinks that dying in his young master’s service
will be a tribute to his former master, Sir Rowland de Boys, proves
his unquestioned honesty and loyalty to the family which has given him
food and shelter for more than six decades.
v) ***What role does Adam play in the progress of the story?
        Adam’s informing Orlando about Oliver’s evil designs on his youngest
brother makes Orlando to decide to flee his own house. It is this
action of Adam that propels the story forward to enable the later
actions of the drama to take place in the Forest of Arden.