| According to Oliver, what would Orlando bring to a wrestling match with Charles? | Poison, or some other deceitful means of securing victory |
| Why does Oliver inherit the bulk of his father’s estate? | Oliver is the oldest son, and therefore guaranteed the inheritance by law. |
| At what event do Orlando and Rosalind meet? | wrestling match |
| . What name does Rosalind assume for her disguised self? | ganymede |
| Why does Duke Frederick dislike Orlando? | duke and orlando’s fathers were enemies |
| . Upon his introduction in Act II, scene i, Duke Senior gathers his loyal followers in the Forest of Ardenne for what purpose? | to hunt deer |
| How does Duke Frederick plan to find Celia and Rosalind after their departure from court? | He will recruit Oliver to help find Orlando, whom he suspects has teamed up with the women |
| On what topic does Corin attempt to council the young shepherd, Silvius? | love |
| Upon arriving in the Forest of Ardenne, Adam claims that he will soon die. What does he assume the cause of his death will be? | hunger |
| After an eye-opening stroll around the Forest of Ardenne, what profession does Jaques intend to pursue? | a fool |
| How much time does Duke Frederick allow Oliver to find Orlando? | 1 year |
| What does the disguised Rosalind promise to do for Orlando? | help him overcome his love sickness |
| Why does Rosalind doubt that Orlando is truly in love? | Love is a madness, and he does not look like a madman. |
| what does Silvius say of Phoebe’s eyes? | They are so scornful that they will murder him. |
| Why does Rosalind believe that Phoebe should feel lucky? | A man like Silvius loves her, despite her lack of beauty. |
| How does Phoebe respond to Ganymede’s harsh criticism of her? | she writes him a love letter |
| Whom does Orlando save from the attack of a hungry lioness? | oliver |
| What does Rosalind do after learning of Orlando’s injury? | faints |
| How does Rosalind respond to Orlando when he contends that he will die unless she returns his love? | She assures him that no man has ever died for love. |
| What animal do Jaques and the lords of the forest kill? | deer |
| . Which inhabitant of the forest and admirer of Audrey does Touchstone rudely dismiss? | william |
| With whom does Oliver fall in love? | aliena |
| To what does Rosalind compare the declarations of love from Orlando, Silvius, and Phoebe? | howling of irish wolves |
| Why does Duke Frederick abandon his plan to mount an army and attack Duke Senior? | He meets a religious man on his way to the forest who converts him to a peaceful life. |
| who decides not to return to court | jaques |
| This character conspires against his brother: | duke frederick |
| He defeats a champion wrestler, then heads to the forest: | orlando |
| When asks what he will do if rejected, Orlando says “______________” | then in my own person i die |
| When asked how long he will be true to his beloved, Orlando says “_________________” | forever and a day |
| She is told to “sell when you can, you are not for all markets.” | phoebe |
| This shepherd is referred to as a “natural philosopher” | corin |
| Said: “Men have died from time to time, and worms have eaten them, but not for love.” | rosalind |
| This melancholy character said “…from time to time we ripe and ripe/And then from hour to hour we rot and rot…” | jaques |
| who says “suck melancholy out of a song as a weasel sucks eggs”. | jaques |
| who is lying in “bleak of air” | adam |
| who says “all men and women merely players” | jaques |
| who says I would cure you if you would but call me Rosalind and come every day to my cot, and woo me”. | “ganymede” |
| who says “lacks a man’s heart” and to whome | oliver says to ganymede |
| who says “[T]o have is to have,” and why | touchstone says to william to teach him a lesson |
| who says “Irish wolves against the moon” | rosalind in response to everyone howling and professing their love |
| Now, my co-mates and brothers in exile,Hath not old custom made this life more sweetThan that of painted pomp? Are not these woodsMore free from peril than the envious court?Here feel we not the penalty of Adam,The seasons’ difference, as the icy fangAnd churlish chiding of the winter’s wind,Which when it bites and blows upon my bodyEven till I shrink with cold, I smile, and say’This is no flattery. These are counsellorsThat feelingly persuade me what I am.’Sweet are the uses of adversityWhich, 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 upon his introduction in Act II, scene i, establish the pastoral mode of the play. With great economy, Shakespeare draws a dividing line between the “painted pomp” of court—with perils great enough to drive the duke and his followers into exile—and the safe and restorative Forest of Ardenne |
| As I do live by food, I met a fool,Who laid him down and basked him in the sun,And railed on Lady Fortune in good terms,In good set terms, and yet a motley fool.’Good morrow, fool,’ quoth I. ‘No, sir,’ quoth he,’Call me not fool till heaven hath sent me fortune.’And then he drew a dial from his poke,And looking on it with lack-lustre eyeSays very wisely ‘It is ten o’clock.”Thus we may see’, quoth he, ‘how the world wags.’Tis but an hour ago since it was nine,And after one hour more ’twill be eleven.And so from hour to hour we ripe and ripe,And then from hour to hour we rot and rot;And thereby hangs a tale.’ | melancholy Jaques displays an uncharacteristic burst of delight. While wandering through the forest, he relates, he met a fool, who entertained him with rather nihilistic musings on the passage of time and man’s life. According to Touchstone, time ensures nothing other than man’s own decay: “from hour to hour we rot and rot” (II.vii.27). That this speech appeals to Jaques says much about his character: he delights not only in the depressing, but also in the rancid. Practically all of Touchstone’s lines contain some bawdy innuendo, and these are no exception. Here, by punning the word “hour” with “*****,” he transforms the general notion of man’s decay into the unpleasant specifics of a man dying from venereal disease. Touchstone appropriately, if distastefully, confirms this hidden meaning by ending his speech with the words “thereby hangs a tale,” for tale was Elizabethan slang for penis (II.vii.28). |
| 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 rejects Orlando’s claim that he would die if Rosalind should fail to return his love. |
| O sir, we quarrel in print, by the book, as you have books for good manners. I will name you the degrees. The first, the Retort Courteous; the second, the Quip Modest; the third, the Reply Churlish; the fourth, the Reproof Valiant; the fifth, the Countercheck Quarrelsome; the sixth, the Lie with Circumstance; the seventh, the Lie Direct. All these you may avoid but the Lie Direct; and you may avoid that, too, with an ‘if’. I knew when seven justices could not take up a quarrel, but when the parties were met themselves, one of them thought but of an ‘if’, as ‘If you said so, then I said so’, and they shook hands and swore brothers. Your ‘if’ is the only peacemaker; much virtue in ‘if’ | Touchstone delivers an account of a recent argument he has had. His anatomy of the quarrel, as this speech might be called, is a deftly comic moment that skewers all behavior that is “by the book,” whether it be rules for engaging an enemy or a lover (V.iv.81). The end of the speech, in which Touchstone turns his attentions to the powers of the word “if,” is particularly fine and fitting. “If” points to the potential of events in possible worlds. “If” allows slights to be forgiven, wounds to be salved, and promising opportunities to be taken. Notably, within a dozen lines of this speech, Duke Senior, Orlando, and Phoebe each usher in a new stage of life with a simple sentence that begins with that simple word. |
| It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, ’tis true that a good play needs no epilogue. Yet to good wine they do use good bushes, and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue nor cannot insinuate with you in the behalf of a good play! I am not furnished like a beggar, therefore to beg will not become me. My way is to conjure you; and I’ll begin with the women. I charge you, O women, for the love you bear to men, to like as much of this play as please you. And I charge you, O men, for the love you bear to women—as I perceive by your simpering none of you hates them— that between you and the women the play may please. If I were a woman I would kiss as many of you as had beards that pleased me, complexions that liked me, and breaths that I defied not. And I am sure, as many as have good beards, or good faces, or sweet breaths will for my kind offer, when I make curtsy, bid me farewell. | The Epilogue was a standard component of Elizabethan drama. One actor remains onstage after the play has ended to ask the audience for applause. As Rosalind herself notes, it is odd that she has been chosen to deliver the Epilogue, as that task is usually assigned to a male character. By the time she addresses the audience directly, Rosalind has discarded her Ganymede disguise. She is again a woman and has married a man. Although we may think the play of gender has come to an end with the fall of the curtain, we must remember that women were forbidden to perform onstage in Shakespeare’s England. Rosalind would have been played by a man, which further obscures the boundaries of gender. Rosalind emerges as a man who pretends to be a woman who pretends to be a man who pretends to be a woman to win the love of a man. When the actor solicits the approval of the men in the audience, he says, “If I were a woman I would kiss as many of you as had beards that pleased me”— returning us to the dizzying intermingling of homosexual and heterosexual affections that govern life in the Forest of Ardenne (Epilogue, 14-16). The theater, like Ardenne, is an escape from reality where the wonderful, sometimes overwhelmingcomplexities of human life can be witnessed, contemplated, enjoyed, and studied. |
| who says: when I was at home I was at a better place”. | touchstone |
| what does rosalind say when she enters forest? | “ah this is the forest of Arden |
| who say this to who: “because you have not the manners of the court, you are going to be damned” | touchstone says to corin |
| who says this to who? “well the manners of court, would be out of place in the forest, just as my manners my country manners of the forest would be out of place in your court” | corin says in response to touchstone |
| who says: what passion hands 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 matters thee. | orlando after meeting rosalind at wrestling match |
| who says: i would kiss before i spoke | orlando |
| who says: 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 |
| who says: 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 new-fangled 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 hyen, and that when thou are inclined to sleep. | rosalind |
as you like it
July 11, 2019