As You Like It Study Guide

Act III, Scene 5

Another part of the forest

Scene Summary

Silvius pleads with the disdainful shepherdess Phebe not to treat him cruelly, comparing her scornful gaze to a murderer's weapon. Phebe dismisses his Petrarchan complaints, insisting eyes cannot literally wound. Rosalind, Celia, and Corin observe from behind, and Rosalind steps forward to rebuke Phebe sharply, telling her she is no great beauty and should be grateful for Silvius's love. Rosalind warns Phebe not to fall in love with her disguised self, then exits with Celia and Corin.

Phebe immediately falls in love with the disguised Rosalind, quoting Marlowe on love at first sight. She then engages Silvius in a conversation that reveals her obsession with the youth who scolded her, describing Ganymede's features in elaborate detail while insisting she does not love him. She resolves to write a taunting letter to Ganymede and enlists Silvius to deliver it, and the two exit together.

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Original Text
[Enter SILVIUS and PHEBE] SILVIUS Sweet Phebe, do not scorn me; do not, Phebe; Say that you love me not, but say not so In bitterness. The common executioner, Whose heart the accustom'd sight of death makes hard, Falls not the axe upon the humbled neck But first begs pardon: will you sterner be Than he that dies and lives by bloody drops? [Enter ROSALIND, CELIA, and CORIN, behind] PHEBE I would not be thy executioner: I fly thee, for I would not injure thee. Thou tell'st me there is murder in mine eye: 'Tis pretty, sure, and very probable, That eyes, that are the frail'st and softest things, Who shut their coward gates on atomies, Should be call'd tyrants, butchers, murderers! Now I do frown on thee with all my heart; And if mine eyes can wound, now let them kill thee: Now counterfeit to swoon; why now fall down; Or if thou canst not, O, for shame, for shame, Lie not, to say mine eyes are murderers! Now show the wound mine eye hath made in thee: Scratch thee but with a pin, and there remains Some scar of it; lean but upon a rush, The cicatrice and capable impressure Thy palm some moment keeps; but now mine eyes, Which I have darted at thee, hurt thee not, Nor, I am sure, there is no force in eyes That can do hurt. SILVIUS O dear Phebe, If ever,--as that ever may be near,-- You meet in some fresh cheek the power of fancy, Then shall you know the wounds invisible That love's keen arrows make. PHEBE But till that time Come not thou near me: and when that time comes, Afflict me with thy mocks, pity me not; As till that time I shall not pity thee. ROSALIND And why, I pray you? Who might be your mother, That you insult, exult, and all at once, Over the wretched? What though you have no beauty,-- As, by my faith, I see no more in you Than without candle may go dark to bed-- Must you be therefore proud and pitiless? Why, what means this? Why do you look on me? I see no more in you than in the ordinary Of nature's sale-work. 'Od's my little life, I think she means to tangle my eyes too! No, faith, proud mistress, hope not after it: 'Tis not your inky brows, your black silk hair, Your bugle eyeballs, nor your cheek of cream, That can entame my spirits to your worship. You foolish shepherd, wherefore do you follow her, Like foggy south puffing with wind and rain? You are a thousand times a properer man Than she a woman: 'tis such fools as you That makes the world full of ill-favour'd children: 'Tis not her glass, but you, that flatters her; And out of you she sees herself more proper Than any of her lineaments can show her. But, mistress, know yourself: down on your knees, And thank heaven, fasting, for a good man's love: For I must tell you friendly in your ear, Sell when you can: you are not for all markets: Cry the man mercy; love him; take his offer: Foul is most foul, being foul to be a scoffer. So take her to thee, shepherd: fare you well. PHEBE Sweet youth, I pray you, chide a year together: I had rather hear you chide than this man woo. ROSALIND He's fallen in love with your foulness and she'll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, I'll sauce her with bitter words. Why look you so upon me? PHEBE For no ill will I bear you. ROSALIND I pray you, do not fall in love with me, For I am falser than vows made in wine: Besides, I like you not. If you will know my house, 'Tis at the tuft of olives here hard by. Will you go, sister? Shepherd, ply her hard. Come, sister. Shepherdess, look on him better, And be not proud: though all the world could see, None could be so abused in sight as he. Come, to our flock. [Exeunt ROSALIND, CELIA and CORIN] PHEBE Dead Shepherd, now I find thy saw of might, 'Who ever loved that loved not at first sight?' SILVIUS Sweet Phebe,-- PHEBE Ha, what say'st thou, Silvius? SILVIUS Sweet Phebe, pity me. PHEBE Why, I am sorry for thee, gentle Silvius. SILVIUS Wherever sorrow is, relief would be: If you do sorrow at my grief in love, By giving love your sorrow and my grief Were both extermined. PHEBE Thou hast my love: is not that neighbourly? SILVIUS I would have you. PHEBE Why, that were covetousness. Silvius, the time was that I hated thee, And yet it is not that I bear thee love; But since that thou canst talk of love so well, Thy company, which erst was irksome to me, I will endure, and I'll employ thee too: But do not look for further recompense Than thine own gladness that thou art employ'd. SILVIUS So holy and so perfect is my love, And I in such a poverty of grace, That I shall think it a most plenteous crop To glean the broken ears after the man That the main harvest reaps: loose now and then A scatter'd smile, and that I'll live upon. PHEBE Know'st now the youth that spoke to me erewhile? SILVIUS Not very well, but I have met him oft; And he hath bought the cottage and the bounds That the old carlot once was master of. PHEBE Think not I love him, though I ask for him: 'Tis but a peevish boy; yet he talks well; But what care I for words? yet words do well When he that speaks them pleases those that hear. It is a pretty youth: not very pretty: But, sure, he's proud, and yet his pride becomes him: He'll make a proper man: the best thing in him Is his complexion; and faster than his tongue Did make offence his eye did heal it up. He is not very tall; yet for his years he's tall: His leg is but so so; and yet 'tis well: There was a pretty redness in his lip, A little riper and more lusty red Than that mix'd in his cheek; 'twas just the difference Between the constant red and mingled damask. There be some women, Silvius, had they mark'd him In parcels as I did, would have gone near To fall in love with him; but, for my part, I love him not nor hate him not; and yet I have more cause to hate him than to love him: For what had he to do to chide at me? He said mine eyes were black and my hair black: And, now I am remember'd, scorn'd at me: I marvel why I answer'd not again: But that's all one; omittance is no quittance. I'll write to him a very taunting letter, And thou shalt bear it: wilt thou, Silvius? SILVIUS Phebe, with all my heart. PHEBE I'll write it straight; The matter's in my head and in my heart: I will be bitter with him and passing short. Go with me, Silvius. [Exeunt]
Modern English
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This scene is a masterclass in comic irony generated by Shakespeare's layered disguise plot. The audience watches Phebe fall in love with a woman dressed as a man, while Silvius watches Phebe fall in love with someone other than himself, and Rosalind watches the entire pastoral charade with amused contempt. Each character occupies a different level of knowledge, and Shakespeare exploits these gaps to produce both laughter and a pointed critique of idealised romantic convention.Phebe's opening speech is a sophisticated parody of Petrarchan conceits. By literalising the metaphor of the beloved's eyes as weapons — demanding that Silvius show a physical wound, or faint, or bleed — she exposes the absurdity of the conventions Silvius employs. Yet the scene's irony deepens when Phebe herself immediately succumbs to the very force she has just ridiculed: Ganymede's scolding gaze does what she claimed no eyes could do, wounding her at first sight. Her self-contradiction is the scene's central comic mechanism.Rosalind's intervention is remarkable for its gender and power dynamics. Speaking as Ganymede, she delivers a blunt, almost brutal assessment of Phebe's looks and worth, inverting the pastoral convention in which the shepherdess is an idealised beauty. The speech — "Sell when you...

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"The common executioner, / Whose heart the accustom'd sight of death makes hard, / Falls not the axe upon the humbled neck / But first begs pardon: will you sterner be / Than he that dies and lives by bloody drops?" — Silvius (3.5)

"Now I do frown on thee with all my heart; / And if mine eyes can wound, now let them kill thee: / Now counterfeit to swoon; why now fall down;" — Phebe (3.5)

"Sell when you can: you are not for all markets:" — Rosalind (3.5)

"Dead Shepherd, now I find thy saw of might, / 'Who ever loved that loved not at first sight?'" — Phebe (3.5)

"That I shall think it a most plenteous crop / To glean the broken ears after the man / That the main harvest reaps: loose now and then / A scatter'd smile, and that I'll live upon." — Silvius (3.5)

"It is a pretty youth: not very pretty: / But, sure, he's proud, and yet his pride becomes him:" — Phebe (3.5)

"I pray you, do not fall in love with me, / For I am falser than vows made in wine:" — Rosalind (3.5)

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Mr. Shifflett
Mr. Shifflett
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