AS you like it act 4 scene 2

7/29/2019 AS you like it act 4 scene 2

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Act 4, Scene 2

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Enter JAQUES and LORDS, like forestersJAQUES enters with LORDS, dressed like

foresters.

JAQUES Which is he that killed the deer?

JAQUES Which one of you killed the deer?

FIRST LORD Sir, it was I. FIRST LORD It was me, sir.

JAQUES Let’s present him to the duke like a Romanconqueror. And it would do well to set the deer’s

horns upon his head for a branch of victory. — Have you no song, forester, for this purpose?

JAQUES Let’s bring this man to the duk e, like a

triumphant Roman conqueror. Put the deer’s

horns on his head, like a victory branch. Do youhave a song, forester, for this occasion?

SECOND LORD Yes, sir.

SECOND LORD Yes, sir.

JAQUES Sing it. 'Tis no matter how it be in tune, so it make

noise enough.

JAQUES Then sing it. It doesn’t matter if it’s in tune so

long as it’s loud enough.

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SECOND LORD (sings)

What shall he have that killed the deer?

His leather skin and horns to wear.

Then sing him home.

(The rest shall bear this burden.)

Take thou no scorn to wear the horn.

It was a crest ere thou wast born.

Thy father’s father wore it,

And thy father bore it. The horn, the horn, the lusty horn

Is not a thing to laugh to scorn.

SECOND LORD (sings)

What should we give to the man who killed this

deer?

Give him the hide and the horns to wear.

Then sing this song to send him home

(The other LORDS pick up the deer)

Don’t be ashamed to wear the horns.

They’ve been worn since before you were born.

Your father’s father wore it,

And your father endured it. The horn, the horn, the lustful horn Is not to be laughed at or scorned.

Exeunt They all exit.

Act 4, Scene 2, Page 2


Enter ROSALIND and CELIA ROSALIND and CELIA enter.

ROSALIND How say you now? Is it not past two

o'clock? And here much Orlando.

ROSALIND What do you say now? Isn’t it past two o'clock? And I see a lot

Orlando here.

CELIA I warrant you, with pure love and troubled

brain he hath ta'en his bow and arrowsand is gone forth to sleep.

CELIA I’m telling you, he’s taken his bow and arrows and, with a pureand a worried brain, has gone to take a nap.

Enter SILVIUS SILVIUS enters.

25 Look who comes here. Look who’s coming.

SILVIUS

(to ROSALIND) My errand is to you, fair

SILVIUS

(to ROSALIND) I’ve been sent to find you, young man. My lo



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youth.

My gentle Phoebe did bid me give you

this.I know not the contents, but as I guess

By the stern brow and waspish action

Which she did use as she was writing of it,

It bears an angry tenor. Pardon me.

I am but as a guiltless messenger.

(Gives the letter)

Phoebe told me to give you this letter. I don’t know what’s in itguessing from her stern expression and her wasp-like demeanor

she was writing it, I bet she’s angry. You’ll have to excuse me,

I’m just the messenger.

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ROSALIND (Examines the letter) (as Ganymede)

Patience herself would startle at this letterAnd play the swaggerer. Bear this, bear

all.

She says I am not fair, that I lack

manners.She calls me proud, and that she could not

love me

Were man as rare as phoenix. 'Od’s my

will,Her love is not the hare that I do hunt.

Why writes she so to me? Well, shepherd,

well,This is a letter of your own device.

ROSALIND (reading the letter as Ganymede) Patience herself would be shoby this letter and become feisty. If I can take this, I can take

anything. She says I’m not handsome and have no manners. Shsays I’m arrogant and that she couldn’t love me even if men we

rare as the mythical phoenix. Honestly! I’m not hunting after h

love. Why would she write this way to me? Tell the truth, shephyou wrote this letter.

SILVIUS No, I protest, I know not the contents.Phoebe did write it.

SILVIUS No, I swear, I don’t even know what’s in it. Phoebe wrote it.



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ROSALIND Come, come, you are a fool,

And turned into the extremity of love.I saw her hand. She has a leathern hand,

A freestone-colored hand. I verily did

think

That her old gloves were on, but ’twasher hands.

She has a huswife’s hand—but that’s nomatter.I say she never did invent this letter.

This is a man’s invention, and his hand.

ROSALIND Come on, you’re a fool, and driven to extreme measures by love

I sawher hands: they were as rough as leather and just as brown; I

thought

she was wearing old gloves, but they were, in fact, her hands.These

are the hands of a hard-working housewife, but that’s not the

point.The point is that she didn’t write this letter. These are a man’swords,

and his handwriting.

SILVIUS Sure it is hers.

SILVIUS I’m telling you, it’s hers.

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ROSALIND Why, ’tis a boisterous and a cruel style,

A style for challengers. Why, she defies

me

Like Turk to Christian. Women’s gentle

ROSALIND Well, it’s written in a boisterous and rude style— someone is up

for

a fight. Why, she challenges me like a Muslim would challenge

Christian. No, a woman’s gentle brain could never have come up



brain

Could not drop forth such giant-rude

invention,Such Ethiop words, blacker in their

effect

Than in their countenance. Will you hearthe letter?

with such crude expressions and even harsher meanings. Do you

want

to hear what she says?

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SILVIUS

So please you, for I never heard it yet,Yet heard too much of Phoebe’s cruelty.

SILVIUS If you want to read it, as I haven’t heard it yet, though I’ve heard

too

much of Phoebe’s cruelty.

ROSALIND She Phoebes me. Mark how the tyrant

writes.

(reads) Art thou god to shepherd turned,

That a maiden’s heart hath burned?

Can a woman rail thus?

ROSALIND She’s Phoebe-ing me. Listen to what the tyrant says. (reading)

“Areyou a god disguised as a shepherd, that you know so expertly

how to

burn my heart?” Now, honestly, would a woman rant like this?

65SILVIUS Call you this railing?

SILVIUS You call that ranting?

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ROSALIND (reads)

Why, thy godhead laid apart,

Warr’st thou with a woman’s heart?

Did you ever hear such railing?

Whiles the eye of man did woo me,That could do no vengeance to me.

Meaning me a beast.

ROSALIND (reading) “Why have you set aside your divine nature just tobattle

with a woman’s affections?” Did you ever hear such ranting?

(reading) “When other men have wooed me, they didn’t hurt

me.” In other words, she thinks I’m not a man, but an animal.



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If the scorn of your bright eyne

Have power to raise such love in mine,

Alack, in me what strange effectWould they work in mild aspect?

Whiles you chid me, I did love.

How then might your prayers move?

He that brings this love to theeLittle knows this love in me,

And by him seal up thy mind

Whether that thy youth and kind

Will the faithful offer takeOf me, and all that I can make,

Or else by him my love deny,

And then I’ll study how to die.

(reading) “If the scorn in your bright eyes canmake me fall so deeply in love, can you imagine

what power they might have if they looked at me

more kindly? While you sneered at me, I lovedyou. Consider what effect kind prayers might

have. The man that brings you this letter doesn’t

know how I feel about you. Send me youranswer via him. Tell me via him whether you

will accept my faithful offer of myself and all

that I can do. Or tell him you will deny my love,

in which case I’ll figure out how to die.”

SILVIUS Call you this chiding?

SILVIUS You call this sneering?

CELIA CELIA



(as Aliena) Alas, poor shepherd. (as Aliena) Oh, you poor shepherd!

ROSALIND Do you pity him? No, he deserves no pity. — Wilt

thou love such a woman? What, to make thee an

instrument and play false strains upon thee? Not

to be endured. Well, go your way to her, for I seelove hath made thee a tame snake, and say this to

her: that if she love me, I charge her to love thee;

if she will not, I will never have her unless thouentreat for her. If you be a true lover, hence and

not a word, for here comes more company.

ROSALIND Why do you pity him? He doesn’t deserve anypity. (to SILVIUS) Why would you love such a

woman? So she can turn you into an instrument

and play lousy tunes on you? It’s unbearable.

Well, go back to her —I can tell she’s turned youinto a perfectly tame snake — and tell her this: if

she loves me, I command her to love you. And if

she won’t love you, tell her I’ll never take her

unless you beg me to. If you’re a true lover, getout of here. No, don’t say another word, because

here comes more company.

Exit SILVIUS SILVIUS exits.

Enter OLIVER OLIVER enters.

OLIVER Good morrow, fair ones. Pray you, if you know,

Where in the purlieus of this forest standsA sheepcote fenced about with olive trees?

OLIVER Good morning, pretty ones. Tell me, if you

know: where in this forest is there a shepherd’scottage surrounded by olive trees?



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CELIA (as Aliena) West of this place, down in the neighbor

bottom,

The rank of osiers by the murmuring stream

Left on your right hand brings you to the place.

But at this hour the house doth keep itself.There’s none within.

CELIA West of here, in the valley next to us. Passing by on your

row of willows. Follow them straight to the cottage. But

house is keeping to itself — there’s no one home.

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OLIVER If that an eye may profit by a tongue,Then should I know you by description.

Such garments, and such years. “The boy is

fair,Of female favor, and bestows himself

Like a ripe sister; the woman low

And browner than her brother.” Are not you

The owner of the house I did inquire for?

OLIVER I think I recognize you from a description I was given of

and age: “The boy is pretty and feminine, and carries himblooming young woman. The woman is short, with a dar

than her brother.” Aren’t you the owners of the house I wabout?

CELIA It is no boast, being asked, to say we are.

CELIA Since you asked, I suppose it’s not bragging to say that w

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OLIVER Orlando doth commend him to you both,And to that youth he calls his Rosalind

He sends this bloody napkin. Are you he?

OLIVER Orlando sends his regards to you both, and he sends this

handkerchief to the boy he calls “his Rosalind.” Is that y

ROSALIND (as Ganymede) I am. What must we understandby this?

ROSALIND It is. What does this mean?

OLIVER OLIVER



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Some of my shame, if you will know of me

What man I am, and how, and why, and where

This handkercher was stained.

It’s a story that involves some shame on my part. It’s abohow, why, and where this handkerchief was stained.

CELIA I pray you, tell it.

CELIA Please, tell us.

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OLIVER

When last the young Orlando parted from you,

He left a promise to return again

Within an hour, and pacing through the forest,Chewing the food of sweet and bitter fancy,

Lo, what befell. He threw his eye aside —

And mark what object did present itself:

Under an old oak, whose boughs were mossed with ageAnd high top bald with dry antiquity,

A wretched, ragged man, o'ergrown with hair,

Lay sleeping on his back. About his neck A green and gilded snake had wreathed itself,

Who with her head, nimble in threats, approached

The opening of his mouth. But suddenly,

Seeing Orlando, it unlinked itself And, with indented glides, did slip away

Into a bush, under which bush’s shade

A lioness, with udders all drawn dry,Lay couching, head on ground, with catlike watchWhen that the sleeping man should stir — f or ’tis

The royal disposition of that beast

To prey on nothing that doth seem as dead.This seen, Orlando did approach the man

And found it was his brother, his elder brother.

OLIVER When young Orlando left you last, he promised to return within an hour. He was pacing through the

forest, thinking bittersweet thoughts of love, and listen what happened! He looked to the side, and pay

attention to what he saw then: under an oak tree — whose lower branches were mossy with age and top

branches ancient and brittle — he saw a wretched beggar, with overgrown hair and beard, asleep on his

back. A green and gold snake had wound itself around this man’s neck and was slowly making its way

toward the man’s mouth. However, when it saw Orlando, it unwound itself and slunk away into a

bush. But there happened to be a lioness crouching under that bush. Her cubs had nursed from her

until she was dry, so she was ravenously hungry, and she was lying with her head on the ground,watching the man as cats do and waiting to see if he would wake up —a lion won’t prey on anythingthat seems dead. Seeing the lioness, Orlando approached the sleeping man. He discovered that the man

was his older brother.

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CELIA Oh, I have heard him speak of that same brother,

And he did render him the most unnatural

That lived amongst men.



CELIA Oh, I’ve heard him talk about that brother, and he described him as the most inhumane man alive.

OLIVER And well he might so do,

For well I know he was unnatural.

OLIVER And he was right. I know exactly how inhumane he was.

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ROSALIND But to Orlando: did he leave him there,

Food to the sucked and hungry lioness?

ROSALIND But, back to Orlando, did he leave his brother there, to be food for the hungry mother-lioness?



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OLIVER Twice did he turn his back and purposed so,

But kindness, nobler ever than revenge,

And nature, stronger than his just occasion,Made him give battle to the lioness,

Who quickly fell before him; in which hurtling,

From miserable slumber I awaked.

OLIVER He turned away twice and almost left him there.

But his kindness was nobler than even his desirefor revenge, his natural goodness was stronger

than his need to give his brother what he

deserved. He fought the lioness and quicklydefeated her. I woke from my miserable sleep

when I heard the noise of their struggle.

CELIA Are you his brother?

CELIA Are you his brother?

ROSALIND Was ’t you he rescued?

ROSALIND Was it you that he rescued?

160CELIA Was ’t you that did so oft contrive to kill him?

CELIA Was it you that was always plotting to kill him?

OLIVER 'Twas I, but ’tis not I. I do not shame

To tell you what I was, since my conversion

So sweetly tastes, being the thing I am.

OLIVER That was me, but it’s not me— I’m not ashamedto tell you what I once was, since I’m so happy

to have since converted.

ROSALIND But for the bloody napkin?

ROSALIND But what about the bloody handkerchief?

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OLIVER By and by.When from the first to last betwixt us two

Tears our recountments had most kindly

bathed —

As how I came into that desert place — In brief, he led me to the gentle duke,

Who gave me fresh array and entertainment,

Committing me unto my brother’s love, Who led me instantly unto his cave,

There stripped himself, and here upon his arm

OLIVER I’ll get there. When we had told each other our

entire stories and cried, and I’d told him how I’dended up in in the forest — well, he brought me

to the duke, who gave me fresh clothing and

hospitality, and put me in my brother’s care. Mybrother immediately took me to his cave, where

he took off his clothing and there on his arm was

a wound where the lioness had attacked him,ripping off some of his flesh. The wound had

been bleeding the entire time. So, now he



175 The lioness had torn some flesh away,

Which all this while had bled. And now he

fainted,And cried in fainting upon Rosalind.

Brief, I recovered him, bound up his wound,

And after some small space, being strong atheart,

fainted, and as he fainted, he called out,

“Rosalind!” Quickly, I resuscitated him and

bound up his wound. After a brief time — as he isa strong, brave man —



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He sent me hither, stranger as I am,

To tell this story, that you mightexcuse

His broken promise, and to give this

napkin

Dyed in his blood unto the shepherdyouth

That he in sport doth call his

Rosalind.

he sent me out to find you, even though I’m a stranger toyou. He wanted me to tell you this story and beg your

forgiveness for his having broken his promise. He wanted

me to give this handkerchief, soaked in his blood, to theboy that he jokingly calls his Rosalind.

ROSALIND swoons ROSALIND faints.

CELIA Why, how now, Ganymede, sweetGanymede?

CELIA Oh no! Ganymede! Ganymede, sweetheart?

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OLIVER Many will swoon when they do look

on blood.

OLIVER Many people faint when they see blood.

CELIA There is more in it. — Cousin

Ganymede.

CELIA

There’s more to it than that.— Ganymede!

OLIVER Look, he recovers.

OLIVER Look, he’s recovering.

ROSALIND I would I were at home.

ROSALIND I want to go home.

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CELIA We’ll lead you thither.

— I pray you, will you take him bythe arm?

CELIA We’ll take you there. Please, will you take his arm?

OLIVER

Be of good cheer, youth. You a man?You lack a man’s heart.

OLIVER

Buck up, boy! You’re a man? You don’t have a man’scourage.

ROSALIND I do so, I confess it. Ah, sirrah, a

body would think this was well-

counterfeited. I pray you tell yourbrother how well I counterfeited.

Heigh-ho.

ROSALIND It’s true, I confess. Oh, sir, someone would think I was a

good fake. Please tell your brother what a convincing showI put on. Whoo-hoo!

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OLIVER This was not counterfeit. There is too

great testimony in your complexion

OLIVER That was no show. Your cheeks are too flushed for me to

believe that was a fake faint.



that it was a passion of earnest.

ROSALIND Counterfeit, I assure you.

ROSALIND Fak e, I’m telling you.

OLIVER Well then, take a good heart and

counterfeit to be a man.

OLIVER Well, then, be brave and pretend to be a man.



ROSALIND So I do. But i' faith, I should have been a woman

by right.

ROSALIND That’s what I’m doing. But honestly, I shouldhave been a woman.

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CELIA Come, you look paler and paler. Pray you, drawhomewards. — Good sir, go with us.

CELIA Come on, you keep getting paler. Please, let’s gohome. Sir, please come with us.

OLIVER That will I, for I must bear answer back

How you excuse my brother, Rosalind.

OLIVER I’ll do that, because I have to tell my brother

how you forgave him, Rosalind.

ROSALIND I shall devise something. But I pray you

commend my counterfeiting to him. Will yougo?

ROSALIND I’ll think of something. But please, tell him howwell I faked a faint. Will you come with us?

Exeunt They all exit.

AS you like it act 4 scene 2

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