As You Like It Study Guide

Act I, Scene 3

A room in the palace

Scene Summary

Rosalind confesses to Celia that her silence stems from her sudden love for Orlando, not solely grief for her banished father. Their playful exchange is interrupted by Duke Frederick, who orders Rosalind to leave the court within ten days on pain of death, citing distrust rooted in her parentage. Rosalind defends herself eloquently, and Celia pleads passionately for her cousin, but the Duke remains unmoved and exits.

Left alone, Celia refuses to be parted from Rosalind and proposes they flee together to find Duke Senior in the Forest of Arden. The two devise a plan: they will disguise themselves in humble clothes, Rosalind dressing as a young man and taking the name Ganymede, while Celia becomes Aliena. They resolve to bring Touchstone with them and depart in a spirit of adventure, reframing banishment as liberty.

Translation Style
✨ Character Voice Translations PREMIUM
Original Text
[Enter CELIA and ROSALIND] CELIA Why, cousin! why, Rosalind! Cupid have mercy! not a word? ROSALIND Not one to throw at a dog. CELIA No, thy words are too precious to be cast away upon curs; throw some of them at me; come, lame me with reasons. ROSALIND Then there were two cousins laid up; when the one should be lamed with reasons and the other mad without any. CELIA But is all this for your father? ROSALIND No, some of it is for my child's father. O, how full of briers is this working-day world! CELIA They are but burs, cousin, thrown upon thee in holiday foolery: if we walk not in the trodden paths our very petticoats will catch them. ROSALIND I could shake them off my coat: these burs are in my heart. CELIA Hem them away. ROSALIND I would try, if I could cry 'hem' and have him. CELIA Come, come, wrestle with thy affections. ROSALIND O, they take the part of a better wrestler than myself! CELIA O, a good wish upon you! you will try in time, in despite of a fall. But, turning these jests out of service, let us talk in good earnest: is it possible, on such a sudden, you should fall into so strong a liking with old Sir Rowland's youngest son? ROSALIND The duke my father loved his father dearly. CELIA Doth it therefore ensue that you should love his son dearly? By this kind of chase, I should hate him, for my father hated his father dearly; yet I hate not Orlando. ROSALIND No, faith, hate him not, for my sake. CELIA Why should I not? doth he not deserve well? ROSALIND Let me love him for that, and do you love him because I do. Look, here comes the duke. CELIA With his eyes full of anger. [Enter DUKE FREDERICK, with Lords] DUKE FREDERICK Mistress, dispatch you with your safest haste And get you from our court. ROSALIND Me, uncle? DUKE FREDERICK You, cousin Within these ten days if that thou be'st found So near our public court as twenty miles, Thou diest for it. ROSALIND I do beseech your grace, Let me the knowledge of my fault bear with me: If with myself I hold intelligence Or have acquaintance with mine own desires, If that I do not dream or be not frantic,-- As I do trust I am not--then, dear uncle, Never so much as in a thought unborn Did I offend your highness. DUKE FREDERICK Thus do all traitors: If their purgation did consist in words, They are as innocent as grace itself: Let it suffice thee that I trust thee not. ROSALIND Yet your mistrust cannot make me a traitor: Tell me whereon the likelihood depends. DUKE FREDERICK Thou art thy father's daughter; there's enough. ROSALIND So was I when your highness took his dukedom; So was I when your highness banish'd him: Treason is not inherited, my lord; Or, if we did derive it from our friends, What's that to me? my father was no traitor: Then, good my liege, mistake me not so much To think my poverty is treacherous. CELIA Dear sovereign, hear me speak. DUKE FREDERICK Ay, Celia; we stay'd her for your sake, Else had she with her father ranged along. CELIA I did not then entreat to have her stay; It was your pleasure and your own remorse: I was too young that time to value her; But now I know her: if she be a traitor, Why so am I; we still have slept together, Rose at an instant, learn'd, play'd, eat together, And wheresoever we went, like Juno's swans, Still we went coupled and inseparable. DUKE FREDERICK She is too subtle for thee; and her smoothness, Her very silence and her patience Speak to the people, and they pity her. Thou art a fool: she robs thee of thy name; And thou wilt show more bright and seem more virtuous When she is gone. Then open not thy lips: Firm and irrevocable is my doom Which I have pass'd upon her; she is banish'd. CELIA Pronounce that sentence then on me, my liege: I cannot live out of her company. DUKE FREDERICK You are a fool. You, niece, provide yourself: If you outstay the time, upon mine honour, And in the greatness of my word, you die. [Exeunt DUKE FREDERICK and Lords] CELIA O my poor Rosalind, whither wilt thou go? Wilt thou change fathers? I will give thee mine. I charge thee, be not thou more grieved than I am. ROSALIND I have more cause. CELIA Thou hast not, cousin; Prithee be cheerful: know'st thou not, the duke Hath banish'd me, his daughter? ROSALIND That he hath not. CELIA No, hath not? Rosalind lacks then the love Which teacheth thee that thou and I am one: Shall we be sunder'd? shall we part, sweet girl? No: let my father seek another heir. Therefore devise with me how we may fly, Whither to go and what to bear with us; And do not seek to take your change upon you, To bear your griefs yourself and leave me out; For, by this heaven, now at our sorrows pale, Say what thou canst, I'll go along with thee. ROSALIND Why, whither shall we go? CELIA To seek my uncle in the forest of Arden. ROSALIND Alas, what danger will it be to us, Maids as we are, to travel forth so far! Beauty provoketh thieves sooner than gold. CELIA I'll put myself in poor and mean attire And with a kind of umber smirch my face; The like do you: so shall we pass along And never stir assailants. ROSALIND Were it not better, Because that I am more than common tall, That I did suit me all points like a man? A gallant curtle-axe upon my thigh, A boar-spear in my hand; and--in my heart Lie there what hidden woman's fear there will-- We'll have a swashing and a martial outside, As many other mannish cowards have That do outface it with their semblances. CELIA What shall I call thee when thou art a man? ROSALIND I'll have no worse a name than Jove's own page; And therefore look you call me Ganymede. But what will you be call'd? CELIA Something that hath a reference to my state No longer Celia, but Aliena. ROSALIND But, cousin, what if we assay'd to steal The clownish fool out of your father's court? Would he not be a comfort to our travel? CELIA He'll go along o'er the wide world with me; Leave me alone to woo him. Let's away, And get our jewels and our wealth together, Devise the fittest time and safest way To hide us from pursuit that will be made After my flight. Now go we in content To liberty and not to banishment. [Exeunt]
Modern English
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This scene functions as the pivotal inciting incident that propels the play's main action from the court to the forest. Duke Frederick's expulsion of Rosalind crystallises the play's central opposition between tyranny and natural affection: his justification — "Thou art thy father's daughter; there's enough" — reduces identity to hereditary guilt and exposes the arbitrary, self-serving nature of courtly power. Shakespeare invites the audience to measure the Duke's logic against Rosalind's measured, legally precise rebuttal ("Treason is not inherited, my lord"), making her the moral and rhetorical victor even as she loses politically.

The scene's opening dialogue establishes language and wit as Rosalind's primary mode of self-expression and self-protection. The extended conceit of burs and wrestling — both drawn from the preceding act — allows her to articulate her love for Orlando obliquely, maintaining decorum while revealing vulnerability. The pun on "him" / "hem" is characteristic of Shakespearean wordplay that simultaneously advances character revelation and provides comic relief, preventing the scene from collapsing into pure pathos.

Celia's speech cataloguing their shared life — "we still have slept together, / Rose at an instant, learn'd, play'd, eat together" — is one of the play's most eloquent expressions of female friendship and solidarity. The allusion to "Juno's swans" elevates their bond to a mythological register, suggesting a devotion that rivals or surpasses romantic love. Duke Frederick's response — that Rosalind's very silence and patience "speak to the people" — inadvertently frames her as a figure of passive political power, a threat precisely because of her virtue rather than any action.

The disguise plot hatched in the scene's final movement introduces the play's central gender performance theme. Rosalind's choice of the name Ganymede — Jove's cupbearer and a figure of homoerotic ambiguity in classical mythology — is a densely allusive choice that foreshadows the layers of gender and desire the forest scenes will explore. Her acknowledgement that "in my heart / Lie there what hidden woman's fear there will" is a rare moment of unguarded interiority: the masculine exterior will be a performance, not a transformation.

The scene closes with Celia's reframing of exile as freedom — "Now go we in content / To liberty and not to banishment" — a rhetorical act that anticipates the pastoral world's capacity to reimagine constraint as opportunity. This linguistic reversal is structurally important: it signals that the Forest of Arden will be a space where conventional hierarchies, including those of gender and power, can be playfully inverted. The scene thus accomplishes the double work of closing the court narrative and opening the pastoral one.

"O, how full of briers is this working-day world!" — Rosalind (1.3)

"Thou art thy father's daughter; there's enough." — Duke Frederick (1.3)

"Treason is not inherited, my lord;" — Rosalind (1.3)

"we still have slept together, Rose at an instant, learn'd, play'd, eat together, And wheresoever we went, like Juno's swans, Still we went coupled and inseparable." — Celia (1.3)

"She is too subtle for thee; and her smoothness, Her very silence and her patience Speak to the people, and they pity her." — Duke Frederick (1.3)

"I'll have no worse a name than Jove's own page; And therefore look you call me Ganymede." — Rosalind (1.3)

"Now go we in content To liberty and not to banishment." — Celia (1.3)

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✎ Mr. Shifflett's Note
Mr. Shifflett
Mr. Shifflett
English Teacher · Seoul International School
Hey! I built this study guide and sprinkled my own teaching notes throughout — look for the gold highlights ✎ as you read.

These are the same insights I share with my students in class. I hope they help you see what makes Shakespeare's writing so brilliant. Enjoy!
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