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As You Like It

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ACT III  SCENE II The forest. 
[Enter ORLANDO, with a paper]
ORLANDOHang there, my verse, in witness of my love:
And thou, thrice-crowned queen of night, survey
With thy chaste eye, from thy pale sphere above,
Thy huntress' name that my full life doth sway.
O Rosalind! these trees shall be my books5
And in their barks my thoughts I'll character;
That every eye which in this forest looks
Shall see thy virtue witness'd every where.
Run, run, Orlando; carve on every tree
The fair, the chaste and unexpressive she.
[Exit]
[Enter CORIN and TOUCHSTONE]
CORINAnd how like you this shepherd's life, Master Touchstone?12
TOUCHSTONETruly, shepherd, in respect of itself, it is a good
life, but in respect that it is a shepherd's life,
it is naught. In respect that it is solitary, I
like it very well; but in respect that it is
private, it is a very vile life. Now, in respect it
is in the fields, it pleaseth me well; but in
respect it is not in the court, it is tedious. As
is it a spare life, look you, it fits my humour well;
but as there is no more plenty in it, it goes much20
against my stomach. Hast any philosophy in thee, shepherd?
CORINNo more but that I know the more one sickens the
worse at ease he is; and that he that wants money,
means and content is without three good friends;
that the property of rain is to wet and fire to
burn; that good pasture makes fat sheep, and that a
great cause of the night is lack of the sun; that
he that hath learned no wit by nature nor art may
complain of good breeding or comes of a very dull kindred.
TOUCHSTONESuch a one is a natural philosopher. Wast ever in30
court, shepherd?
CORINNo, truly.
TOUCHSTONEThen thou art damned.
CORINNay, I hope.
TOUCHSTONETruly, thou art damned like an ill-roasted egg, all
on one side.
CORINFor not being at court? Your reason.
TOUCHSTONEWhy, if thou never wast at court, thou never sawest
good manners; if thou never sawest good manners,
then thy manners must be wicked; and wickedness is40
sin, and sin is damnation. Thou art in a parlous
state, shepherd.
CORINNot a whit, Touchstone: those that are good manners
at the court are as ridiculous in the country as the
behavior of the country is most mockable at the
court. You told me you salute not at the court, but
you kiss your hands: that courtesy would be
uncleanly, if courtiers were shepherds.
TOUCHSTONEInstance, briefly; come, instance.
CORINWhy, we are still handling our ewes, and their50
fells, you know, are greasy.
TOUCHSTONEWhy, do not your courtier's hands sweat? and is not
the grease of a mutton as wholesome as the sweat of
a man? Shallow, shallow. A better instance, I say; come.
CORINBesides, our hands are hard.
TOUCHSTONEYour lips will feel them the sooner. Shallow again.
A more sounder instance, come.
CORINAnd they are often tarred over with the surgery of
our sheep: and would you have us kiss tar? The
courtier's hands are perfumed with civet.61
TOUCHSTONEMost shallow man! thou worms-meat, in respect of a
good piece of flesh indeed! Learn of the wise, and
perpend: civet is of a baser birth than tar, the
very uncleanly flux of a cat. Mend the instance, shepherd.
CORINYou have too courtly a wit for me: I'll rest.
TOUCHSTONEWilt thou rest damned? God help thee, shallow man!
God make incision in thee! thou art raw.70
CORINSir, I am a true labourer: I earn that I eat, get
that I wear, owe no man hate, envy no man's
happiness, glad of other men's good, content with my
harm, and the greatest of my pride is to see my ewes
graze and my lambs suck.
TOUCHSTONEThat is another simple sin in you, to bring the ewes
and the rams together and to offer to get your
living by the copulation of cattle; to be bawd to a


bell-wether, and to betray a she-lamb of a
twelvemonth to a crooked-pated, old, cuckoldly ram,
out of all reasonable match. If thou beest not
damned for this, the devil himself will have no
shepherds; I cannot see else how thou shouldst
'scape.
CORINHere comes young Master Ganymede, my new mistress's brother.
[Enter ROSALIND, with a paper, reading]
ROSALINDFrom the east to western Ind,
No jewel is like Rosalind.
Her worth, being mounted on the wind,
Through all the world bears Rosalind.80
All the pictures fairest lined
Are but black to Rosalind.
Let no fair be kept in mind
But the fair of Rosalind.
TOUCHSTONEI'll rhyme you so eight years together, dinners and
suppers and sleeping-hours excepted: it is the
right butter-women's rank to market.
ROSALINDOut, fool!
TOUCHSTONEFor a taste:
If a hart do lack a hind,
Let him seek out Rosalind.
If the cat will after kind,
So be sure will Rosalind.
Winter garments must be lined,
So must slender Rosalind.
They that reap must sheaf and bind;
Then to cart with Rosalind.
Sweetest nut hath sourest rind,
Such a nut is Rosalind.
He that sweetest rose will find
Must find love's prick and Rosalind.
This is the very false gallop of verses: why do you
infect yourself with them?
ROSALINDPeace, you dull fool! I found them on a tree.90
TOUCHSTONETruly, the tree yields bad fruit.
ROSALINDI'll graff it with you, and then I shall graff it
with a medlar: then it will be the earliest fruit
i' the country; for you'll be rotten ere you be half
ripe, and that's the right virtue of the medlar.
TOUCHSTONEYou have said; but whether wisely or no, let the
forest judge.
[Enter CELIA, with a writing]
ROSALINDPeace! Here comes my sister, reading: stand aside.
CELIA[Reads]
Why should this a desert be?
For it is unpeopled? No:
Tongues I'll hang on every tree,
That shall civil sayings show:
Some, how brief the life of man
Runs his erring pilgrimage,
That the stretching of a span
Buckles in his sum of age;
Some, of violated vows
'Twixt the souls of friend and friend:110
But upon the fairest boughs,
Or at every sentence end,
Will I Rosalinda write,
Teaching all that read to know
The quintessence of every sprite
Heaven would in little show.
Therefore Heaven Nature charged
That one body should be fill'd
With all graces wide-enlarged:
Nature presently distill'd120
Helen's cheek, but not her heart,
Cleopatra's majesty,
Atalanta's better part,
Sad Lucretia's modesty.
Thus Rosalind of many parts
By heavenly synod was devised,
Of many faces, eyes and hearts,
To have the touches dearest prized.
Heaven would that she these gifts should have,
And I to live and die her slave.130
ROSALINDO most gentle pulpiter! what tedious homily of love
have you wearied your parishioners withal, and never
cried 'Have patience, good people!'
CELIAHow now! back, friends! Shepherd, go off a little.
Go with him, sirrah.
TOUCHSTONECome, shepherd, let us make an honourable retreat;
though not with bag and baggage, yet with scrip and scrippage.
[Exeunt CORIN and TOUCHSTONE]
CELIADidst thou hear these verses?
ROSALINDO, yes, I heard them all, and more too; for some of
them had in them more feet than the verses would bear.142
CELIAThat's no matter: the feet might bear the verses.
ROSALINDAy, but the feet were lame and could not bear
themselves without the verse and therefore stood
lamely in the verse.
CELIABut didst thou hear without wondering how thy name
should be hanged and carved upon these trees?
ROSALINDI was seven of the nine days out of the wonder
before you came; for look here what I found on a
palm-tree. I was never so be-rhymed since
Pythagoras' time, that I was an Irish rat, which I
can hardly remember.
CELIATrow you who hath done this?
ROSALINDIs it a man?
CELIAAnd a chain, that you once wore, about his neck.156
Change you colour?
ROSALINDI prithee, who?
CELIAO Lord, Lord! it is a hard matter for friends to
meet; but mountains may be removed with earthquakes
and so encounter.
ROSALINDNay, but who is it?
CELIAIs it possible?
ROSALINDNay, I prithee now with most petitionary vehemence,
tell me who it is.
CELIAO wonderful, wonderful, and most wonderful
wonderful! and yet again wonderful, and after that,
out of all hooping!167
ROSALINDGood my complexion! dost thou think, though I am
caparisoned like a man, I have a doublet and hose in
my disposition? One inch of delay more is a
South-sea of discovery; I prithee, tell me who is it
quickly, and speak apace. I would thou couldst
stammer, that thou mightst pour this concealed man
out of thy mouth, as wine comes out of a narrow-
mouthed bottle, either too much at once, or none at
all. I prithee, take the cork out of thy mouth that
may drink thy tidings.
CELIASo you may put a man in your belly.
ROSALINDIs he of God's making? What manner of man? Is his
head worth a hat, or his chin worth a beard?178
CELIANay, he hath but a little beard.
ROSALINDWhy, God will send more, if the man will be
thankful: let me stay the growth of his beard, if
thou delay me not the knowledge of his chin.
CELIAIt is young Orlando, that tripped up the wrestler's
heels and your heart both in an instant.
ROSALINDNay, but the devil take mocking: speak, sad brow and
true maid.
CELIAI' faith, coz, 'tis he.
ROSALINDOrlando?
CELIAOrlando.
ROSALINDAlas the day! what shall I do with my doublet and
hose? What did he when thou sawest him? What said
he? How looked he? Wherein went he? What makes
him here? Did he ask for me? Where remains he?
How parted he with thee? and when shalt thou see
him again? Answer me in one word.195
CELIAYou must borrow me Gargantua's mouth first: 'tis a
word too great for any mouth of this age's size. To
say ay and no to these particulars is more than to
answer in a catechism.
ROSALINDBut doth he know that I am in this forest and in
man's apparel? Looks he as freshly as he did the
day he wrestled?
CELIAIt is as easy to count atomies as to resolve the
propositions of a lover; but take a taste of my
finding him, and relish it with good observance.
I found him under a tree, like a dropped acorn.206
ROSALINDIt may well be called Jove's tree, when it drops
forth such fruit.
CELIAGive me audience, good madam.
ROSALINDProceed.
CELIAThere lay he, stretched along, like a wounded knight.
ROSALINDThough it be pity to see such a sight, it well
becomes the ground.
CELIACry 'holla' to thy tongue, I prithee; it curvets
unseasonably. He was furnished like a hunter.216
ROSALINDO, ominous! he comes to kill my heart.
CELIAI would sing my song without a burden: thou bringest
me out of tune.
ROSALINDDo you not know I am a woman? when I think, I must
speak. Sweet, say on.221
CELIAYou bring me out. Soft! comes he not here?
[Enter ORLANDO and JAQUES]
ROSALIND'Tis he: slink by, and note him.
JAQUESI thank you for your company; but, good faith, I had
as lief have been myself alone.
ORLANDOAnd so had I; but yet, for fashion sake, I thank you
too for your society.
JAQUESGod be wi' you: let's meet as little as we can.
ORLANDOI do desire we may be better strangers.
JAQUESI pray you, mar no more trees with writing
love-songs in their barks.231
ORLANDOI pray you, mar no more of my verses with reading
them ill-favouredly.
JAQUESRosalind is your love's name?
ORLANDOYes, just.
JAQUESI do not like her name.
ORLANDOThere was no thought of pleasing you when she was
christened.
JAQUESWhat stature is she of?
ORLANDOJust as high as my heart.
JAQUESYou are full of pretty answers. Have you not been
acquainted with goldsmiths' wives, and conned them
out of rings?
ORLANDONot so; but I answer you right painted cloth, from
whence you have studied your questions.
JAQUESYou have a nimble wit: I think 'twas made of
Atalanta's heels. Will you sit down with me? and
we two will rail against our mistress the world and
all our misery.
ORLANDOI will chide no breather in the world but myself,
against whom I know most faults.251
JAQUESThe worst fault you have is to be in love.
ORLANDO'Tis a fault I will not change for your best virtue.
I am weary of you.
JAQUESBy my troth, I was seeking for a fool when I found
you.
ORLANDOHe is drowned in the brook: look but in, and you
shall see him.
JAQUESThere I shall see mine own figure.
ORLANDOWhich I take to be either a fool or a cipher.260
JAQUESI'll tarry no longer with you: farewell, good
Signior Love.
ORLANDOI am glad of your departure: adieu, good Monsieur
Melancholy.
[Exit JAQUES]
ROSALIND[Aside to CELIA] I will speak to him, like a saucy
lackey and under that habit play the knave with him.
Do you hear, forester?
ORLANDOVery well: what would you?
ROSALINDI pray you, what is't o'clock?
ORLANDOYou should ask me what time o' day: there's no clock271
in the forest.
ROSALINDThen there is no true lover in the forest; else
sighing every minute and groaning every hour would
detect the lazy foot of Time as well as a clock.
ORLANDOAnd why not the swift foot of Time? had not that
been as proper?
ROSALINDBy no means, sir: Time travels in divers paces with
divers persons. I'll tell you who Time ambles
withal, who Time trots withal, who Time gallops
withal and who he stands still withal.280
ORLANDOI prithee, who doth he trot withal?
ROSALINDMarry, he trots hard with a young maid between the
contract of her marriage and the day it is
solemnized: if the interim be but a se'nnight,
Time's pace is so hard that it seems the length of
seven year.
ORLANDOWho ambles Time withal?
ROSALINDWith a priest that lacks Latin and a rich man that
hath not the gout, for the one sleeps easily because
he cannot study, and the other lives merrily because
he feels no pain, the one lacking the burden of lean
and wasteful learning, the other knowing no burden
of heavy tedious penury; these Time ambles withal.296
ORLANDOWho doth he gallop withal?
ROSALINDWith a thief to the gallows, for though he go as
softly as foot can fall, he thinks himself too soon there.
ORLANDOWho stays it still withal?
ROSALINDWith lawyers in the vacation, for they sleep between
term and term and then they perceive not how Time moves.
ORLANDOWhere dwell you, pretty youth?
ROSALINDWith this shepherdess, my sister; here in the
skirts of the forest, like fringe upon a petticoat.
ORLANDOAre you native of this place?
ROSALINDAs the cony that you see dwell where she is kindled.
ORLANDOYour accent is something finer than you could
purchase in so removed a dwelling.
ROSALINDI have been told so of many: but indeed an old
religious uncle of mine taught me to speak, who was
in his youth an inland man; one that knew courtship
too well, for there he fell in love. I have heard
him read many lectures against it, and I thank God
I am not a woman, to be touched with so many
giddy offences as he hath generally taxed their
whole sex withal.
ORLANDOCan you remember any of the principal evils that he
laid to the charge of women?
ROSALINDThere were none principal; they were all like one
another as half-pence are, every one fault seeming
monstrous till his fellow fault came to match it.320
ORLANDOI prithee, recount some of them.
ROSALINDNo, I will not cast away my physic but on those that
are sick. There is a man haunts the forest, that
abuses our young plants with carving 'Rosalind' on
their barks; hangs odes upon hawthorns and elegies
on brambles, all, forsooth, deifying the name of
Rosalind: if I could meet that fancy-monger I would
give him some good counsel, for he seems to have the
quotidian of love upon him.
ORLANDOI am he that is so love-shaked: I pray you tell me
your remedy.
ROSALINDThere is none of my uncle's marks upon you: he332
taught me how to know a man in love; in which cage
of rushes I am sure you are not prisoner.
ORLANDOWhat were his marks?
ROSALINDA lean cheek, which you have not, a blue eye and
sunken, which you have not, an unquestionable
spirit, which you have not, a beard neglected,
which you have not; but I pardon you for that, for
simply your having in beard is a younger brother's
revenue: then your hose should be ungartered, your
bonnet unbanded, your sleeve unbuttoned, your shoe
untied and every thing about you demonstrating a
careless desolation; but you are no such man; you
are rather point-device in your accoutrements as
loving yourself than seeming the lover of any other.346
ORLANDOFair youth, I would I could make thee believe I love.
ROSALINDMe believe it! you may as soon make her that you
love believe it; which, I warrant, she is apter to
do than to confess she does: that is one of the
points in the which women still give the lie to
their consciences. But, in good sooth, are you he
that hangs the verses on the trees, wherein Rosalind
is so admired?
ORLANDOI swear to thee, youth, by the white hand of
Rosalind, I am that he, that unfortunate he.356
ROSALINDBut are you so much in love as your rhymes speak?
ORLANDONeither rhyme nor reason can express how much.
ROSALINDLove is merely a madness, and, I tell you, deserves
as well a dark house and a whip as madmen do: and
the reason why they are not so punished and cured
is, that the lunacy is so ordinary that the whippers
are in love too. Yet I profess curing it by counsel.
ORLANDODid you ever cure any so?365
ROSALINDYes, one, and in this manner. He was to imagine me
his love, his mistress; and I set him every day to
woo me: at which time would I, being but a moonish
youth, grieve, be effeminate, changeable, longing
and liking, proud, fantastical, apish, shallow,
inconstant, full of tears, full of smiles, for every
passion something and for no passion truly any
thing, as boys and women are for the most part
cattle of this colour; would now like him, now loathe
him; then entertain him, then forswear him; now weep
for him, then spit at him; that I drave my suitor
from his mad humour of love to a living humour of
madness; which was, to forswear the full stream of
the world, and to live in a nook merely monastic.
And thus I cured him; and this way will I take upon
me to wash your liver as clean as a sound sheep's
heart, that there shall not be one spot of love in't.381
ORLANDOI would not be cured, youth.
ROSALINDI would cure you, if you would but call me Rosalind
and come every day to my cote and woo me.
ORLANDONow, by the faith of my love, I will: tell me
where it is.
ROSALINDGo with me to it and I'll show it you and by the way
you shall tell me where in the forest you live.
Will you go?
ORLANDOWith all my heart, good youth.
ROSALINDNay you must call me Rosalind. Come, sister, will you go?
[Exeunt]

Next: As You Like It, Act 3, Scene 3
___________

Explanatory notes for Act 3, Scene 2
From As You Like It. Ed. Samuel Thurber, Jr. and Louise Wetherbee. Boston: Allyn and Bacon, 1922.
(Line numbers have been altered.)
__________

This scene, the longest in the play, gives us a love-sick Orlando writing sonnets to his love not so impossible an accomplishment even now. Touchstone and Jaques find their respective entertainment and Rosalind finds that her lover is in the forest to be played with as she will.

Line 1. What action here?

2. thrice-crowned queen of night: One of the many proofs that Shakespeare knew his Ovid and Virgil. The epithets triceps, three-headed, and triformis, having three forms, were applied by both poets to Luna, the goddess of the moon, who was worshiped as Diana on earth and as Proserpina in Hades.

3. chaste: pure eye.

4. Diana was the goddess of chastity and Orlando pictures Rosalind as one of her devotees.

5. Are we reminded of Duke Senior?

6. character: write.

10. unexpressive: beyond description. In this curious usage the pronouns he and she are treated like nouns, meaning man and woman. Thus they have no objective case-form and form a plural in s.

16. naught: bad.

16. private: solitary.

21. Touchstone is now the man of the world which was his pose when he first met Corin. You will notice that Corin is very much of a philosopher, perhaps more of one than Touchstone realizes.

28. of good breeding: of lack of good breeding.

30. a natural philosopher: Consider the various meanings of natural, as in this play, I, i, 135; I, 2, 46.

41. parlous: perilous.

46. you salute ... hands: you do not salute without kissing your hands.

51. fells: fleeces.

52. a mutton: a sheep.

64. perpend: weigh carefully in the mind.

69. God ... raw: Raw means ignorant, simple, or as we might say, green. The expression make incision has reference to the ancient practice of blood-letting as a remedy for disease.

73. content ... harm: content when in sorrow.

77. Make all lines in the stanza rhyme with lined and see how it adds to the whimsical expression of Rosalind's face.

81. lined: drawn.

82. black to: black as compared to.

83. fair: beauty.

87. butter women's ... market: the jog-trot of women in a row, one after another.

88. Why is Rosalind irritated?

89. Touchstone, posing as a critic, carries on the metaphor of his previous speech.

90. infect: pollute.

** [The editors have removed the suggestive passage "Must find love's prick and Rosalind" and thus have changed the line extensively in this scene.]

93. graff: As the dictionaries will show you, graff is the original form of the word while graft is the derived form. In Act IV, of "Macbeth," we find Malcolm using the word as follows: "It is myself I mean: in whom I know all the particulars of vice so grafted."

94. then ... fruit: If the medlar was a late or backward fruit in its ripening to what quality in Touchstone must Rosalind's mischievous teasing have reference? The entire tilt between the two is amusing. Note how quickly Touchstone changes to the fool when Rosalind and Celia appear.

101. Upon what are the verses written?

102. for: because.

104. civil sayings: sayings of civilized life.

106. erring: wandering.

108. buckles in: includes.

115. quintessence: Besides the four elements of fire, earth, air, and water, the early alchemists believed that there was a fifth essence, which was the highest. This, then, means the concentrated virtue of the spirit.

116. in little: in miniature.

121. Helen: wife of Menelaus, taken by Paris of Troy because of her beauty. This caused the Trojan War.

122. Cleopatra: the queen of Egypt who fascinated Antony and caused his downfall. Shakespeare makes her the heroine of "Antony and Cleopatra."

123. Atlanta: a beautiful Greek heroine, noted for her grace and fleetness. What is, then, the better part to which Orlando alludes?

124. Lucretia: a beautiful Roman lady dishonored by Tarquin. She is the heroine of Shakespeare's poem, "The Rape of Lucrece."

126. synod: council of the gods.

128. touches: features.

131. Rosalind puts on a delicious air of boredom, but watch her eyes.

137. scrip: a wallet. Touchstone coins scrippage. Do they wish to go?

139. Shakespeare does this charming dialogue with so much more insight than does Lodge. In the novel the two girls find the love songs at the same time, but Shakespeare makes the scene more humorous by having Celia follow Rosalind, which naturally leads to the teasing of the one and the elaborate pretense of the other. Orlando's entrance is the climax for which we have been waiting for some time.

141. feet: Note the lively play of words in the next few lines.

149. Rosalind waxes extravagant.

150. a palm tree: an amazing forest indeed.

161. Pythagoras: a Greek philosopher who is said to have originated the doctrine of transmigration of souls.

152. Irish rat: This refers to a superstition that rats could be driven from a house by ceremonies, such as were used in driving out evil spirits. The ceremony was conducted by a duly qualified exorcist, who chanted or hung up about the house rhymed verses bidding the rats depart under threatened pains and penalties. Evidently Shakespeare's contemporaries were much amused by the stories brought from Ireland of ancient belief in magic.

163. trow you: know you.

158. Celia distorts the old proverb: Friends may meet, but mountains never greet, the sense of which yields itself to a little thinking. She hints that a meeting is about to occur which had seemed as unlikely as the encounter of two mountains.

166. out of all hooping: beyond the power of all hooping.

168. Picture Rosalind's action here.

169. caparisoned: Rosalind is again exaggerating.

170. One inch ... discovery: If you delay further, I will drown you with questions.

179. A hint as to his youth?

181. stay: wait for.

185. speak ... maid: speak seriously if you are a true maid.

190. What action here? Note the excitement suggested by the quick, short questions.

196. Gargantua: a giant in Rabelais who swallowed five pilgrims at a mouthful. Shakespeare got his information in a chapbook of the time.

203. atomies: atoms.

207. Jove's tree: that is the oak which was sacred to Jupiter.

215. holla: stop.

218. burden: low accompaniment.

222. bring me out: put me out. Celia is an expert tease and knows how to keep Rosalind in suspense.

232. moe: more. Why is Jaques interested in Orlando? Orlando's retorts are as good as those of his impertinent questioner. Note that Rosalind has a chance to listen and make sure of Orlando's love.

242. conned ... rings: studied the motto or posy inside the ring. Compare the last scene of "The Merchant of Venice," a paltry ring ... whose posy was 'Love me, and leave me not.'

244. painted cloth: This is an allusion to old tapestries having all sorts of figures and pictures upon them.

250. With what a fine dignity does Orlando say this line to Jaques, the mocker.

262. Imagine the satirical bows which they exchange.

272. Note how quickly Rosalind reaches the subject of love.

284. sen'night: a week.

301. She has caught his interest.

305. cony: rabbit.

309. old ... uncle: Rosalind displays a lively imagination, does she not? By religious she means educated.

311. one ... well: That is, one who has had much experience in courts.

325. Odes and elegies are different kinds of poems used here by Rosalind without much thought.

327. fancy-monger: love-dealer.

328. quotidian: a daily attack of chills and fever, supposed to be a symptom of love.

336. blue eye: sunken with blue circles.

337. Unquestionable: silent.

339. your having: your possession.

344. point-device: exact.

361. An accurate description of the treatment of the insane which continued until a comparatively short time ago.

368. moonish: changeable.

391. What has Celia been doing all this time? Is she bored?

QUESTIONS

1. How long have the lovers been in Arden?

2. What do you think of Orlando's verse? Did he differ from any other lover of his time? What person has already answered this question?

3. Contrast the courtesy and philosophy of Corin and Touchstone.

4. Describe all the qualities which Orlando finds in his Rosalind.

5. What action makes the dialogue between Rosalind and Celia amusing and even dramatic?

6. At what point in the scene is Rosalind made happy?

7. Do you think Orlando recognizes Rosalind? Defend your answer.

8. Why does Rosalind's wit sparkle more in this scene?

9. At what point in the dialogue with Rosalind does Orlando become serious? Why?

10. Is Rosalind satisfied at the end of the scene?

11. What point in the plot has been reached in this scene?

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How to cite the explanatory notes:

Shakespeare, William. As You Like It. Eds. Samuel Thurber, Jr. and Louise Wetherbee. Boston: Allyn and Bacon, 1922. Shakespeare Online. 10 Aug. 2010. (date when you accessed the information) < http://www.shakespeare-online.com/plays/asu_3_2.html >.

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