As You Like It Study Guide

Act V, Scene 4

The forest

Scene Summary

In the forest, Duke Senior and Orlando await Rosalind's promised resolution. Rosalind, still disguised as Ganymede, extracts binding vows from the Duke, Orlando, Phebe, and Silvius before departing. Touchstone arrives with Audrey, entertaining Jaques and the Duke with a mock-scholarly account of the seven degrees of the lie. Hymen then enters with Rosalind and Celia, now in their true identities, and presides over four marriages: Rosalind to Orlando, Celia to Oliver, Phebe to Silvius, and Audrey to Touchstone.

Jaques de Boys arrives to announce that Duke Frederick, marching to destroy his brother, was converted by a religious hermit and has surrendered his crown and restored all lands. Duke Senior prepares to return to court, distributing rewards. Jaques, preferring the converted Duke's company to festivity, bids farewell and exits alone. The scene closes with a dance, followed by Rosalind's Epilogue, in which she steps out of character to charm the audience directly.

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Original Text
[Enter DUKE SENIOR, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA] DUKE SENIOR Dost thou believe, Orlando, that the boy Can do all this that he hath promised? ORLANDO I sometimes do believe, and sometimes do not; As those that fear they hope, and know they fear. [Enter ROSALIND, SILVIUS, and PHEBE] ROSALIND Patience once more, whiles our compact is urged: You say, if I bring in your Rosalind, You will bestow her on Orlando here? DUKE SENIOR That would I, had I kingdoms to give with her. ROSALIND And you say, you will have her, when I bring her? ORLANDO That would I, were I of all kingdoms king. ROSALIND You say, you'll marry me, if I be willing? PHEBE That will I, should I die the hour after. ROSALIND But if you do refuse to marry me, You'll give yourself to this most faithful shepherd? PHEBE So is the bargain. ROSALIND You say, that you'll have Phebe, if she will? SILVIUS Though to have her and death were both one thing. ROSALIND I have promised to make all this matter even. Keep you your word, O duke, to give your daughter; You yours, Orlando, to receive his daughter: Keep your word, Phebe, that you'll marry me, Or else refusing me, to wed this shepherd: Keep your word, Silvius, that you'll marry her. If she refuse me: and from hence I go, To make these doubts all even. [Exeunt ROSALIND and CELIA] DUKE SENIOR I do remember in this shepherd boy Some lively touches of my daughter's favour. ORLANDO My lord, the first time that I ever saw him Methought he was a brother to your daughter: But, my good lord, this boy is forest-born, And hath been tutor'd in the rudiments Of many desperate studies by his uncle, Whom he reports to be a great magician, Obscured in the circle of this forest. [Enter TOUCHSTONE and AUDREY] JAQUES There is, sure, another flood toward, and these couples are coming to the ark. Here comes a pair of very strange beasts, which in all tongues are called fools. TOUCHSTONE Salutation and greeting to you all! JAQUES Good my lord, bid him welcome: this is the motley-minded gentleman that I have so often met in the forest: he hath been a courtier, he swears. TOUCHSTONE If any man doubt that, let him put me to my purgation. I have trod a measure; I have flattered a lady; I have been politic with my friend, smooth with mine enemy; I have undone three tailors; I have had four quarrels, and like to have fought one. JAQUES And how was that ta'en up? TOUCHSTONE Faith, we met, and found the quarrel was upon the seventh cause. JAQUES How seventh cause? Good my lord, like this fellow. DUKE SENIOR I like him very well. TOUCHSTONE God 'ild you, sir; I desire you of the like. I press in here, sir, amongst the rest of the country copulatives, to swear and to forswear: according as marriage binds and blood breaks: a poor virgin, sir, an ill-favoured thing, sir, but mine own; a poor humour of mine, sir, to take that that no man else will: rich honesty dwells like a miser, sir, in a poor house; as your pearl in your foul oyster. DUKE SENIOR By my faith, he is very swift and sententious. TOUCHSTONE According to the fool's bolt, sir, and such dulcet diseases. JAQUES But, for the seventh cause; how did you find the quarrel on the seventh cause? TOUCHSTONE Upon a lie seven times removed:--bear your body more seeming, Audrey:--as thus, sir. I did dislike the cut of a certain courtier's beard: he sent me word, if I said his beard was not cut well, he was in the mind it was: this is called the Retort Courteous. If I sent him word again 'it was not well cut,' he would send me word, he cut it to please himself: this is called the Quip Modest. If again 'it was not well cut,' he disabled my judgment: this is called the Reply Churlish. If again 'it was not well cut,' he would answer, I spake not true: this is called the Reproof Valiant. If again 'it was not well cut,' he would say I lied: this is called the Counter-cheque Quarrelsome: and so to the Lie Circumstantial and the Lie Direct. JAQUES And how oft did you say his beard was not well cut? TOUCHSTONE I durst go no further than the Lie Circumstantial, nor he durst not give me the Lie Direct; and so we measured swords and parted. JAQUES Can you nominate in order now the degrees of the lie? TOUCHSTONE 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 Countercheque 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. JAQUES Is not this a rare fellow, my lord? he's as good at any thing and yet a fool. DUKE SENIOR He uses his folly like a stalking-horse and under the presentation of that he shoots his wit. [Enter HYMEN, ROSALIND, and CELIA] [Still Music] HYMEN Then is there mirth in heaven, When earthly things made even Atone together. Good duke, receive thy daughter Hymen from heaven brought her, Yea, brought her hither, That thou mightst join her hand with his Whose heart within his bosom is. ROSALIND [To DUKE SENIOR] To you I give myself, for I am yours. [To ORLANDO] To you I give myself, for I am yours. DUKE SENIOR If there be truth in sight, you are my daughter. ORLANDO If there be truth in sight, you are my Rosalind. PHEBE If sight and shape be true, Why then, my love adieu! ROSALIND I'll have no father, if you be not he: I'll have no husband, if you be not he: Nor ne'er wed woman, if you be not she. HYMEN Peace, ho! I bar confusion: 'Tis I must make conclusion Of these most strange events: Here's eight that must take hands To join in Hymen's bands, If truth holds true contents. You and you no cross shall part: You and you are heart in heart You to his love must accord, Or have a woman to your lord: You and you are sure together, As the winter to foul weather. Whiles a wedlock-hymn we sing, Feed yourselves with questioning; That reason wonder may diminish, How thus we met, and these things finish. SONG. Wedding is great Juno's crown: O blessed bond of board and bed! 'Tis Hymen peoples every town; High wedlock then be honoured: Honour, high honour and renown, To Hymen, god of every town! DUKE SENIOR O my dear niece, welcome thou art to me! Even daughter, welcome, in no less degree. PHEBE I will not eat my word, now thou art mine; Thy faith my fancy to thee doth combine. [Enter JAQUES DE BOYS] JAQUES DE BOYS Let me have audience for a word or two: I am the second son of old Sir Rowland, That bring these tidings to this fair assembly. Duke Frederick, hearing how that every day Men of great worth resorted to this forest, Address'd a mighty power; which were on foot, In his own conduct, purposely to take His brother here and put him to the sword: And to the skirts of this wild wood he came; Where meeting with an old religious man, After some question with him, was converted Both from his enterprise and from the world, His crown bequeathing to his banish'd brother, And all their lands restored to them again That were with him exiled. This to be true, I do engage my life. DUKE SENIOR Welcome, young man; Thou offer'st fairly to thy brothers' wedding: To one his lands withheld, and to the other A land itself at large, a potent dukedom. First, in this forest, let us do those ends That here were well begun and well begot: And after, every of this happy number That have endured shrewd days and nights with us Shall share the good of our returned fortune, According to the measure of their states. Meantime, forget this new-fall'n dignity And fall into our rustic revelry. Play, music! And you, brides and bridegrooms all, With measure heap'd in joy, to the measures fall. JAQUES Sir, by your patience. If I heard you rightly, The duke hath put on a religious life And thrown into neglect the pompous court? JAQUES DE BOYS He hath. JAQUES To him will I : out of these convertites There is much matter to be heard and learn'd. [To DUKE SENIOR] You to your former honour I bequeath; Your patience and your virtue well deserves it: [To ORLANDO] You to a love that your true faith doth merit: [To OLIVER] You to your land and love and great allies: [To SILVIUS] You to a long and well-deserved bed: [To TOUCHSTONE] And you to wrangling; for thy loving voyage Is but for two months victuall'd. So, to your pleasures: I am for other than for dancing measures. DUKE SENIOR Stay, Jaques, stay. JAQUES To see no pastime I what you would have I'll stay to know at your abandon'd cave. [Exit] DUKE SENIOR Proceed, proceed: we will begin these rites, As we do trust they'll end, in true delights. [A dance] [Epilogue, spoken by ROSALIND] ROSALIND 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. [Exeunt]
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Act V, Scene 4 functions as the play's grand comic resolution, orchestrating the convergence of every plot strand into a single ceremonial space. Shakespeare structures the scene around a series of formal, almost ritualistic vow-exchanges, each introduced by Rosalind's repeated formula "You say…" The anaphoric repetition creates a quasi-legal contract that simultaneously parodies courtly betrothal conventions and underscores Rosalind's extraordinary agency: she alone holds the threads of every romantic plot and controls their untangling. Her authority is so complete that she effectively functions as a surrogate playwright within the play itself.The arrival of Hymen, the classical god of marriage, elevates the scene into the register of pastoral romance and masque. Hymen's song frames marriage as a cosmic ordering principle — "earthly things made even" — linking the personal unions to a broader restoration of harmony. The word "even" (echoing Rosalind's earlier "make all this matter even") becomes a structural keyword: it connotes fairness, resolution, and the levelling of social and emotional disorder. The masque-like quality also distances the audience just enough to appreciate the artifice, a self-consciousness the Epilogue will make fully explicit.Touchstone's interlude on the seven degrees of the lie is more than comic relief; it constitutes a sustained...

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"I sometimes do believe, and sometimes do not; As those that fear they hope, and know they fear." — Orlando (5.4)

"much virtue in If." — Touchstone (5.4)

"He uses his folly like a stalking-horse and under the presentation of that he shoots his wit." — Duke Senior (5.4)

"To you I give myself, for I am yours." — Rosalind (5.4)

"rich honesty dwells like a miser, sir, in a poor house; as your pearl in your foul oyster." — Touchstone (5.4)

"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." — Rosalind (5.4)

"Then is there mirth in heaven, When earthly things made even Atone together." — Hymen (5.4)

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Mr. Shifflett
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