As You Like It

Act 4, Scene 1

Enter ROSALIND, CELIA, and JAQUES

ROSALIND, CELIA, and JAQUES enter.

JAQUES

I prithee, pretty youth, let me be better acquainted with thee.

JAQUES

Please, pretty young man, I’d like to get to know you better.

ROSALIND

They say you are a melancholy fellow.

ROSALIND

They say you are a melancholy fellow.

JAQUES

I am so. I do love it better than laughing.

JAQUES

I am. I like it better than laughing.

ROSALIND

Those that are in extremity of either are abominable fellows and betray themselves to every modern censure worse than drunkards.

ROSALIND

People who are either too serious or too silly are awful. They make themselves targets for ridicule even faster than drunks do.

JAQUES

Why, ’tis good to be sad and say nothing.

JAQUES

Well, I think it’s good to be serious and keep quiet.

ROSALIND

Why then, ’tis good to be a post.

ROSALIND

In that case it’s good to be a post.

JAQUES

I have neither the scholar’s melancholy, which is emulation; nor the musician’s, which is fantastical; nor the courtier’s, which is proud; nor the soldier’s, which is ambitious; nor the lawyer’s, which is politic; nor the lady’s, which is nice; nor the lover’s, which is all these, but it is a melancholy of mine own, compounded of many simples, extracted from many objects, and indeed the sundry contemplation of my travels, in which my often rumination wraps me in a most humorous sadness.

JAQUES

I’m not a scholar’s kind of melancholy, which is all about impressing one’s peers, or a musician’s, which comes from his passion for his art. I don’t have the proud melancholy of a courtier or the ambitious melancholy of a soldier or the calculated melancholy of a lawyer. My melancholy is not like a lady’s—which is nothing more than an affectation—nor like a lover’s, which combines all of these qualities. My melancholy is purely my own—a compound made from many ingredients. I’m serious because I’ve traveled so much. When I think about all the things I’ve seen, I sink into deep thoughts.

ROSALIND

A traveler. By my faith, you have great reason to be sad. I fear you have sold your own lands to see other men’s. Then to have seen much and to have nothing is to have rich eyes and poor hands.

ROSALIND

You’re a traveler. Well then, you have good reason to be sad. I’m afraid you’ve sold your own land to see other men’s. To have seen much but own nothing is to have rich eyes and poor hands.

JAQUES

Yes, I have gained my experience.

JAQUES

Not true. I gained my experience.

ROSALIND

And your experience makes you sad. I had rather have a fool to make me merry than experience to make me sad— and to travel for it, too.

ROSALIND

And your experience makes you sad. I’d rather have a jester to make me happy than experience to make me sad—and to travel for all that trouble, no less!

Enter ORLANDO

ORLANDO enters.

ORLANDO

Good day and happiness, dear Rosalind.

ORLANDO

Good day and happiness to you, darling Rosalind.

JAQUES

Nay then, God be wi’ you, an you talk in blank verse.

JAQUES

No—I’ll say goodbye if you’re going to talk in blank verse.

ROSALIND

Farewell, Monsieur Traveler. Look you lisp and wear strange suits, disable all the benefits of your own country, be out of love with your nativity, and almost chide God for making you that countenance you are, or I will scarce think you have swam in a gondola.

ROSALIND

Goodbye, Mr. Traveler. Make sure to keep up your foreign accent, wear strange clothes, belittle all the benefits you receive from your native land and fall out of love with it, and nearly curse God for making you look like the Englishman you are, or else I’ll never believe you’ve paddled in a gondola in a Venetian canal, as you say you have.

Exit JAQUES

JAQUES exits.

(as Ganymede pretending to be ROSALIND) Why, how now, Orlando, where have you been all this while? You a lover? An you serve me such another trick, never come in my sight more.

(as Ganymede pretending to be ROSALIND) What’s going on, Orlando? Where have you been all this time? And you call yourself a lover? If you ever insult me like this again, don’t bother coming around here again.

ORLANDO

My fair Rosalind, I come within an hour of my promise.

ORLANDO

My beautiful Rosalind, I’m only an hour late.

ROSALIND

Break an hour’s promise in love? He that will divide a minute into a thousand parts and break but a part of the thousand part of a minute in the affairs of love, it may be said of him that Cupid hath clapped him o’ th’ shoulder, but I’ll warrant him heart-whole.

ROSALIND

You’d break a date with your beloved by a whole hour? A man who will dare to meet his lover even a thousandth part of a minute late—well, it’s possible he likes her, but I doubt he really loves the woman.

ORLANDO

Pardon me, dear Rosalind.

ORLANDO

Forgive me, darling Rosalind.

ROSALIND

Nay, an you be so tardy, come no more in my sight. I had as lief be wooed of a snail.

ROSALIND

No, if you’re ever late like this again, I’ll refuse to see you. I’d rather be wooed by a snail.

ORLANDO

Of a snail?

ORLANDO

A snail?

ROSALIND

Ay, of a snail, for though he comes slowly, he carries his house on his head—a better jointure, I think, than you make a woman. Besides, he brings his destiny with him.

ROSALIND

Yes, a snail. Because even though he’s slow, he carries his house on his head—a better offer than you can make a woman, I think. Besides, he brings his fate with him.

ORLANDO

What’s that?

ORLANDO

What fate is that?

ROSALIND

Why, horns, which such as you are fain to be beholding to your wives for. But he comes armed in his fortune and prevents the slander of his wife.

ROSALIND

Why, his cuckold’s horns, of course—the kind you men are always blaming on your wives. See, the snail already has its horns, which prevents nasty rumors from spreading about his wife’s infidelity.

ORLANDO

Virtue is no hornmaker, and my Rosalind is virtuous.

ORLANDO

A virtuous woman won’t give her husband horns, and my Rosalind is definitely virtuous.

ROSALIND

And I am your Rosalind.

ROSALIND

And I am your Rosalind.

CELIA

(as Aliena) It pleases him to call you so, but he hath a

Rosalind of a better leer than you.

CELIA

(as Aliena) He likes calling you that, but he’s got another Rosalind out there with a prettier face.

ROSALIND

Come, woo me, woo me, for now I am in a holiday humor, and like enough to consent. What would you say to me now, an I were your very, very Rosalind?

ROSALIND

Come on, woo me, woo me. I’m in a good mood now and likely to give you what you want. What would you say to me now if I really were your precious little Rosalind?

ORLANDO

I would kiss before I spoke.

ORLANDO

I’d kiss you before I spoke.

ROSALIND

Nay, you were better speak first, and when you were graveled for lack of matter, you might take occasion to kiss. Very good orators, when they are out, they will spit; and for lovers lacking—God warn us—matter, the cleanliest shift is to kiss.

ROSALIND

No, it would be better to speak first and kiss only after you’ve run out of things to say. When good orators finish talking, they spit; when lovers do (God help us if they ever do), they kiss.

ORLANDO

How if the kiss be denied?

ORLANDO

What if she won’t kiss me?

ROSALIND

Then she puts you to entreaty, and there begins new matter.

ROSALIND

Then she’s making you beg, and that gives you a whole new set of things to talk about.

ORLANDO

Who could be out, being before his beloved mistress?

ORLANDO

Who could be out of things to say if he were with the girl he loves?

ROSALIND

Marry, that should you if I were your mistress, or I should think my honesty ranker than my wit.

ROSALIND

Indeed, you would be out if I were your mistress—if my chastity is worth as much as my wit.

ORLANDO

What, of my suit?

ORLANDO

Would I be out of my suit?

ROSALIND

Not out of your apparel, and yet out of your suit. Am not I your Rosalind?

ROSALIND

No, you’d still have your clothes on—but, yes, I wouldn’t think much of you. Aren’t I your Rosalind?

ORLANDO

I take some joy to say you are because I would be talking of her.

ORLANDO

I like to pretend you are, because then it’s almost like actually talking to her.

ROSALIND

Well, in her person I say I will not have you.

ROSALIND

Well, on behalf of Rosalind, I’ll tell you I don’t want you.

ORLANDO

Then, in mine own person I die.

ORLANDO

Then, on behalf of myself, I’ll tell you I’ll die.

ROSALIND

No, faith, die by attorney. The poor world is almost six thousand years old, and in all this time there was not any man died in his own person, videlicet, in a love cause. Troilus had his brains dashed out with a Grecian club, yet he did what he could to die before, and he is one of the patterns of love. Leander, he would have lived many a fair year though Hero had turned nun if it had not been for a hot midsummer night, for, good youth, he went but forth to wash him in the Hellespont and, being taken with the cramp, was drowned; and the foolish chroniclers of that age found it was Hero of Sestos. But these are all lies. Men have died from time to time, and worms have eaten them, but not for love.

ROSALIND

No, you won’t die yourself, but only by proxy. This world is almost six thousand years old, and in all this time not one man has ever actually died from love. Troilus may have wanted to die from love, and he’s now considered one of the great, tragic love heroes, but, in fact, a Greek with a club beat his brains out. It had nothing to do with love. Leander would have lived many more years if it hadn’t been for a particularly hot summer night, when he went swimming in the Hellespont, got a cramp, and drowned. The foolish poets of the time insisted he died for love, but they’re lying. All the love stories are lies. Men have died from time to time, and worms have eaten them, but not because of love.

ORLANDO

I would not have my right Rosalind of this mind, for I protest her frown might kill me.

ORLANDO

I hope Rosalind doesn’t feel as you do. Her frown alone would kill me.

ROSALIND

By this hand, it will not kill a fly. But come; now I will be your Rosalind in a more coming-on disposition, and ask me what you will, I will grant it.

ROSALIND

No, her frown wouldn’t kill a fly. But come on, now I’ll play your Rosalind, and in a more friendly state of mind. Whatever you ask for, I’ll give.

ORLANDO

Then love me, Rosalind.

ORLANDO

Then love me, Rosalind.

ROSALIND

Yes, faith, will I, Fridays and Saturdays and all.

ROSALIND

Okay, I will—on Fridays and Saturdays, and the rest.

ORLANDO

And wilt thou have me?

ORLANDO

And will you have me?

ROSALIND

Ay, and twenty such.

ROSALIND

Sure, and twenty others just like you.

ORLANDO

What sayest thou?

ORLANDO

What’s that?

ROSALIND

Are you not good?

ROSALIND

Well, aren’t you a good man?

ORLANDO

I hope so.

ORLANDO

I hope so.

ROSALIND

Why then, can one desire too much of a good thing?— Come, sister, you shall be the priest and marry us.—Give me your hand, Orlando.—What do you say, sister?

ROSALIND

And can a person ever have too much of a good thing?—Come on, sister, you can be the priest and marry us.—Give me your hand, Orlando.—What do you say, sister?

ORLANDO

Pray thee, marry us.

ORLANDO

Please, marry us.

CELIA

I cannot say the words.

CELIA

I can’t say the words.

ROSALIND

You must begin “Will you, Orlando—”

ROSALIND

You just have to say, “Do you, Orlando—”

CELIA

Go to.—Will you, Orlando, have to wife this Rosalind?

CELIA

Oh, stop it.—Do you, Orlando, take Rosalind to be your lawfully wedded wife?

ORLANDO

I will.

ORLANDO

I do.

ROSALIND

Ay, but when?

ROSALIND

Okay, but when?

ORLANDO

Why, now, as fast as she can marry us.

ORLANDO

Right now; as fast as she can say the vows.

ROSALIND

Then you must say “I take thee, Rosalind, for wife.”

ROSALIND

Then you have to say, “I take you, Rosalind, to be my lawfully wedded wife.”

ORLANDO

I take thee, Rosalind, for wife.

ORLANDO

I take you, Rosalind, to be my lawfully wedded wife.

ROSALIND

I might ask you for your commission, but I do take thee, Orlando, for my husband. There’s a girl goes before the priest, and certainly a woman’s thought runs before her actions.

ROSALIND

Maybe I should ask you what right you have to take me, but I’ll take you, Orlando, to be my husband. Look, I’ve sped ahead of the priest and answered the question before he even asked. A woman’s thoughts are always running ahead of her actions.

ORLANDO

So do all thoughts. They are winged.

ORLANDO

So do all thoughts. They have wings.

ROSALIND

Now tell me how long you would have her after you have possessed her.

ROSALIND

Now tell me how long you intend to keep her.

ORLANDO

Forever and a day.

ORLANDO

Forever and a day.

ROSALIND

Say “a day” without the “ever.” No, no, Orlando, men are April when they woo, December when they wed. Maids are May when they are maids, but the sky changes when they are wives. I will be more jealous of thee than a Barbary cock- pigeon over his hen, more clamorous than a parrot against rain, more newfangled than an ape, more giddy in my desires than a monkey. I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry. I will laugh like a hyena, and that when thou art inclined to sleep.

ROSALIND

You might as well just say for “a day,” and forget the “ever” part. No, Orlando, men are like April when they’re wooing a girl—young, and passionate—but like December once they’re married and their passions have cooled. Women are as sweet and temperate as springtime when they’re single, but the climate changes once they’re married. I’ll be more jealous of you than a wild rooster over his hen; more noisy than a parrot chattering about the rain; more fond of new things than an ape; more giddy about getting what I want than a monkey. I’ll cry at nothing, and I’ll always do it when you’re in a good mood. And when you want to go to sleep, I’ll be up laughing like a hyena.

ORLANDO

But will my Rosalind do so?

ORLANDO

But will my Rosalind do this, too?

ROSALIND

By my life, she will do as I do.

ROSALIND

Indeed, she’ll act just like me.

ORLANDO

Oh, but she is wise.

ORLANDO

But she is wise.

ROSALIND

Or else she could not have the wit to do this. The wiser, the waywarder. Make the doors upon a woman’s wit, and it will out at the casement. Shut that, and ’twill out at the keyhole. Stop that, ’twill fly with the smoke out at the chimney.

ROSALIND

Right. If she weren’t wise, she wouldn’t be smart enough to behave badly. The wiser the woman, the wilder. If you close the doors on a woman’s wit, it’ll fly out the window. If you shut the windows, it will pour out the keyhole. If you stop up the keyhole, it will escape from the chimney along with the smoke.

ORLANDO

A man that had a wife with such a wit, he might say “Wit, whither wilt?”

ORLANDO

A man with a wife like that might ask, “Hey, wandering wit, where are you off to?”

ROSALIND

Nay, you might keep that check for it, till you met your wife’s wit going to your neighbor’s bed.

ROSALIND

Nah, better save the questions for when you find her in your neighbor’s bed.

ORLANDO

And what wit could wit have to excuse that?

ORLANDO

And what wit could excuse that?

ROSALIND

Marry, to say she came to seek you there. You shall never take her without her answer unless you take her without her tongue. Oh, that woman that cannot make her fault her husband’s occasion, let her never nurse her child herself, for she will breed it like a fool.

ROSALIND

She’ll say she was at the neighbor’s looking for you. You’ll never find her without an answer unless you find her without a tongue. A woman who doesn’t know how to make her own indiscretions look like her husband’s fault is hardly a woman. And she’s hardly fit to be a mother—her child will turn out to be a fool.

ORLANDO

For these two hours, Rosalind, I will leave thee.

ORLANDO

Rosalind, I have to leave you for two hours.

ROSALIND

Alas, dear love, I cannot lack thee two hours.

ROSALIND

Oh, no! Darling, I can’t live without you for two hours.

ORLANDO

I must attend the duke at dinner. By two o’clock I will be with thee again.

ORLANDO

I must join the duke for lunch. I’ll be back here with you by two o’clock.

ROSALIND

Ay, go your ways, go your ways. I knew what you would prove. My friends told me as much, and I thought no less. That flattering tongue of yours won me. ’Tis but one cast away, and so, come, death. Two o’clock is your hour?

ROSALIND

Oh, go, leave me. I knew you’d turn out this way. My friends told me as much, and I knew it, too. But I was won over by your flattering words. I’m just another girl whom you’ve cast aside. So, take me, death! You’ll be back at two o’clock?

ORLANDO

Ay, sweet Rosalind.

ORLANDO

Yes, sweet Rosalind.

ROSALIND

By my troth, and in good earnest, and so God mend me, and by all pretty oaths that are not dangerous, if you break one jot of your promise or come one minute behind your hour, I will think you the most pathetical break-promise and the most hollow lover and the most unworthy of her you call Rosalind that may be chosen out of the gross band of the unfaithful. Therefore beware my censure, and keep your promise.

ROSALIND

Honestly, truly, in God’s name, and by all those little girly oaths that don’t actually have any power, if you break even a little bit of your promise, or if you come even a minute after two o’clock, I’ll think you the most pathetic promise breaker, the most lying lover, and the most unworthy partner for Rosalind that could be found anywhere. So beware of my contempt, and keep your promise.

ORLANDO

With no less religion than if thou wert indeed my Rosalind.

So, adieu.

ORLANDO

I’ll keep my promise just as if you really were Rosalind. So, goodbye.

ROSALIND

Well, time is the old justice that examines all such offenders, and let time try. Adieu.

ROSALIND

Well, time is the old judge that tries your kind of criminal. Time will tell what kind of a man you are. Goodbye.

Exit ORLANDO

ORLANDO exits.

CELIA

You have simply misused our sex in your love-prate. We must have your doublet and hose plucked over your head and show the world what the bird hath done to her own nest.

CELIA

You have absolutely abused our sex in this love talk of yours. We should rip off your man’s clothing and show the world the woman who has represented her own kind so badly.

ROSALIND

O coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love. But it cannot be sounded; my affection hath an unknown bottom, like the Bay of Portugal.

ROSALIND

Oh cousin, cousin, cousin, my sweet little cousin, I wish you knew how deep in love I am. The bottom of my love is so deep it can’t be reached. It’s as deep as the bay of Portugal.

CELIA

Or rather bottomless, that as fast as you pour affection in, it runs out.

CELIA

Or it’s bottomless, at least: pour affection in one end, and it runs out the other.

ROSALIND

No, that same wicked bastard of Venus that was begot of thought, conceived of spleen, and born of madness, that blind rascally boy that abuses everyone’s eyes because his own are out, let him be judge how deep I am in love. I’ll tell thee, Aliena, I cannot be out of the sight of Orlando. I’ll go find a shadow and sigh till he come.

ROSALIND

Cupid—that blind bastard son of Venus, conceived from a thought and anger, born from insanity, that blind, naughty boy who makes everyone else go blind just because he can’t see himself—let Cupid judge how deep my love runs. I’m telling you, Aliena, I can’t stand being apart from Orlando. I’m going to find some shade and sigh until he returns.

CELIA

And I’ll sleep.

CELIA

And I’m going to sleep.

Exeunt

They exit.