The most loyal character in the play, and she never performs the loyalty — she just enacts it. Her observations are devastatingly accurate and delivered so naturally they barely register. Watch for how often she's right about things before anyone else is.
I pray thee, Rosalind, sweet my coz, be merry.
I'm asking you, Rosalind, my dear cousin, please be cheerful.
Come on, Rosalind, lighten up a little.
please be happy.
Her first instinct is to reframe pain as a game — grief becomes sport, longing becomes philosophy. When that strategy collapses (as it does the moment she meets Orlando), she goes quiet. Watch for the moments where her wit fails her: that's where she's most honest.
Dear Celia, I show more mirth than I am mistress of, and would you yet
I were merrier? Unless you could teach me to forget a banished father,
you must not learn me how to remember any extraordinary pleasure.
Dear Celia, I'm showing more cheerfulness than I actually feel, and would you rather I felt even more joyful? Unless you can teach me how to forget that my father has been banished, you shouldn't try to teach me how to feel any extraordinary happiness.
Celia, I'm already faking being happier than I am. You want me to be even more cheerful? Look, unless you can make me forget my father's been exiled, you can't teach me to be happy about anything.
i'm already pretending.
unless you can make me forget dad,
i can't be happy.
Herein I see thou lov’st me not with the full weight that I love thee.
If my uncle, thy banished father, had banished thy uncle, the Duke my
father, so thou hadst been still with me, I could have taught my love
to take thy father for mine. So wouldst thou, if the truth of thy love
to me were so righteously tempered as mine is to thee.
I see from this that you don't love me with the full strength that I love you. If my uncle, your banished father, had banished my uncle—your father, my father—so that you could stay with me, I would have learned to accept your father as my own. You would do the same if your love for me were as pure and balanced as mine is for you.
You're telling me something I already know—you don't love me as much as I love you. Look, if the positions were reversed, if my uncle had exiled my father instead, I would have adopted your dad as mine just to keep you with me. You'd do the same if you loved me as much as I love you.
you don't love me as much as i love you.
if the situation were reversed,
i'd give anything to keep you.
Well, I will forget the condition of my estate to rejoice in yours.
All right, I will stop grieving over my own situation and be happy about how well things are going for you.
Okay, okay. I'll put aside my own problems and just be glad that you're doing well.
fine.
i'll be happy for you.
You know my father hath no child but I, nor none is like to have; and
truly, when he dies thou shalt be his heir, for what he hath taken away
from thy father perforce, I will render thee again in affection. By
mine honour I will! And when I break that oath, let me turn monster.
Therefore, my sweet Rose, my dear Rose, be merry.
You know my father has no other child besides me, and it's unlikely he ever will. And truly, when he dies, you will inherit from him—what he took away from your father through force, I will give back to you again through love. By my honor I will! And when I break that oath, let me turn into a monster. So, my sweet Rose, my dear Rose, please be happy.
Look, my father doesn't have anyone else but me, and he's not going to. So when he dies, you're going to inherit everything. I'm going to give you back everything he took from your father—I swear by my honor. And if I break that promise, I'll turn into something monstrous. So please, Rose, be happy for me.
when dad dies, you inherit.
i'll give you back everything.
i swear it.
please be happy.
From henceforth I will, coz, and devise sports. Let me see—what think
you of falling in love?
From now on, cousin, I will—and let's create some entertainments for ourselves. So, what do you think about falling in love?
All right, from now on I'm going to be happy. Let's find some fun things to do. What about falling in love—does that sound like a game we could play?
okay.
let's have some fun.
what about love?
Marry, I prithee do, to make sport withal; but love no man in good
earnest, nor no further in sport neither than with safety of a pure
blush thou mayst in honour come off again.
Yes, please do, to amuse yourself with—but don't actually love any man seriously, and don't flirt any further than you could still blush modestly and come away with your honor intact.
Sure, play around with love for fun—but don't actually fall in love with anybody, and don't flirt so much that you can't still come away innocent.
play with it, sure.
but not seriously.
stay safe.
What shall be our sport, then?
So what will our entertainment be, then?
Okay, what game should we actually play?
what game then.
Let us sit and mock the good housewife Fortune from her wheel, that her
gifts may henceforth be bestowed equally.
Let's sit down and mock Fortune as if she were a good housewife, criticizing her from her wheel so that her gifts might finally be distributed fairly from now on.
Let's just sit here and make fun of Fortune—you know, the woman with the spinning wheel—and point out how badly she's doing her job. Maybe if we criticize her enough, she'll start distributing her gifts more fairly.
let's mock fortune.
criticize her.
make her distribute gifts fairly.
I would we could do so, for her benefits are mightily misplaced, and
the bountiful blind woman doth most mistake in her gifts to women.
I wish we could do that. But her benefits are seriously misplaced, and the generous blind woman makes a terrible mistake specifically in the gifts she gives to women.
I wish we could. But look at how badly she messes up—especially when it comes to what she gives women. She's all confused about it.
i wish we could.
her gifts to women are all wrong.
’Tis true, for those that she makes fair she scarce makes honest, and
those that she makes honest she makes very ill-favouredly.
That's true. She makes women fair but rarely makes them honest, and the women she makes honest, she makes very ugly.
Exactly. She makes women beautiful but not virtuous, and when she makes a woman virtuous, she makes her hideous.
fair but not honest.
honest but not beautiful.
fortune fails at both.
Nay, now thou goest from Fortune’s office to Nature’s. Fortune reigns
in gifts of the world, not in the lineaments of Nature.
No, wait—you're crossing over from Fortune's responsibility into Nature's. Fortune rules over the gifts of the world, not over the features Nature gives us.
Hold on, you're mixing things up. Fortune gives out money and stuff, but Nature gives out faces and bodies. They're different things.
fortune gives wealth.
nature gives beauty.
they're different.
No? When Nature hath made a fair creature, may she not by Fortune fall
into the fire? Though Nature hath given us wit to flout at Fortune,
hath not Fortune sent in this fool to cut off the argument?
Really? When Nature has made someone beautiful, can't Fortune throw them into a fire anyway? And though Nature gave us wit to laugh at Fortune, hasn't Fortune sent this fool here to stop our argument?
Really? So when Nature makes someone beautiful, Fortune can't destroy them? And even though we have the brains to make fun of Fortune, Fortune sent this jester to interrupt us before we get to the good part.
fortune can still destroy beauty.
and fortune sent touchstone.
to silence us.
Indeed, there is Fortune too hard for Nature, when Fortune makes
Nature’s natural the cutter-off of Nature’s wit.
You're right—Fortune is too powerful for Nature when Fortune makes the naturally foolish person the one who stops our natural wit.
True. Fortune wins because she's managed to make a natural fool the one who stops people with brains from talking.
fortune always wins.
she uses fools against wit.
Peradventure this is not Fortune’s work neither, but Nature’s, who
perceiveth our natural wits too dull to reason of such goddesses, and
hath sent this natural for our whetstone; for always the dullness of
the fool is the whetstone of the wits.—How now, wit, whither wander
you?
Maybe this isn't Fortune's work at all, but Nature's doing—she knows our natural wits are too dull to understand goddesses, so she's sent us this natural fool as a sharpening stone. Because the fool's stupidity always sharpens a wise person's wit. So tell me, wit, where are you wandering?
Wait—maybe this isn't Fortune at all. Maybe it's Nature saying: your brains are too dumb to figure out what goddesses are about, so here's a natural fool to use as a whetstone. Because fools are basically there to make smart people sharper. So wit, what are you doing now?
nature sends fools.
to sharpen wit.
wit, where are you going.
Speaks in elaborate logical paradoxes — he takes a trivial premise and follows it to an absurd but internally consistent conclusion. The pancake speech is his calling card. Watch for how he uses nonsense to say the truest things in the play.
Mistress, you must come away to your father.
Madam, you have to come away to your father.
Ladies, you need to go to your father.
your father wants you.
Were you made the messenger?
Did he ask you to come for us specifically?
Did he tell you to fetch us?
did he send you.
No, by mine honour, but I was bid to come for you.
No, by my honor, but I was told to come and fetch you.
No, but I was told to come get you.
i was told to get you.
Where learned you that oath, fool?
Where did you learn to swear like that, fool?
Where'd you pick up that oath, fool?
where'd you learn that.
Of a certain knight that swore by his honour they were good pancakes,
and swore by his honour the mustard was naught. Now, I’ll stand to it,
the pancakes were naught and the mustard was good, and yet was not the
knight forsworn.
From a certain knight who swore on his honor that some pancakes were excellent, and also swore on his honor that the mustard was terrible. Now, I will argue this: the pancakes were actually terrible and the mustard was actually good—and yet the knight never broke his oath.
From this knight I knew. He swore up and down that the pancakes were great, and he also swore up and down that the mustard was awful. But here's the thing: the pancakes were actually terrible and the mustard was actually good. So how did the knight not perjure himself?
a knight swore the pancakes were good.
he swore the mustard was bad.
but the pancakes were bad.
and the mustard was good.
yet he didn't lie.
How prove you that in the great heap of your knowledge?
How do you prove that from your vast collection of knowledge?
Go ahead. Show me how you prove that from your big pile of wisdom.
prove it then.
Ay, marry, now unmuzzle your wisdom.
Yes, come on now—unleash your wisdom.
Yeah, let it out. Show us what you've got.
come on, show us.
Stand you both forth now: stroke your chins, and swear by your beards
that I am a knave.
Now stand forward, both of you. Touch your chins and swear on your beards that I am a dishonest man.
Okay, stand up here. Stroke your chins and swear on your beards that I'm a knave.
swear on your beards.
that i'm a knave.
By our beards, if we had them, thou art.
By our beards, if we had them, you certainly are.
By our beards, which we don't have, you are one.
by our beards, if we had them, you are.
The opening exchange about Fortune and Nature isn't just witty banter — it's a real philosophical debate that was alive in 1599. Fortune was the classical goddess of luck and circumstance: blind, wheel-spinning, entirely arbitrary. Nature was the force that shaped you from inside: your mind, your character, your inherited traits. The Elizabethan question was: which governs more of your life?
For Rosalind, the question is personal. Her father was overthrown by Fortune (a political coup), and she's asking herself whether Nature (her own character, her wit, her worth) can survive that external catastrophe. The debate is her trying to reassure herself that the answer is yes.
Celia's interruption — that Nature can make you brilliant and Fortune can throw you in the fire anyway — is the pessimistic counterpoint. And then Touchstone literally arrives to end the argument, which Celia reads as Fortune proving her point: Fortune sent an idiot to cut off their use of Nature's gift (wit). It's the funniest philosophical joke in the play.
Shakespeare returns to this debate in the Forest of Arden, where characters who've been exiled by Fortune discover what Nature has given them. Keep watching for it.
By my knavery, if I had it, then I were. But if you swear by that that
is not, you are not forsworn. No more was this knight swearing by his
honour, for he never had any; or if he had, he had sworn it away before
ever he saw those pancackes or that mustard.
By my dishonesty, if I had it, then I would be. But if you swear by something that you don't possess, you haven't broken an oath. The same goes for the knight and his honor—he never had any to begin with. Or if he did once have honor, he'd already thrown it away long before he ever saw those pancakes or that mustard.
By my knavery, if I had it, then sure. But here's the thing: if you swear by something you don't have, you can't perjure yourself. Same with the knight and his honor. He never had any. Or if he did, he'd already wasted it before he ever ran into those pancakes or that mustard.
if i swear by knavery i don't have, i'm not breaking an oath.
neither was the knight.
he had no honour to swear by.
Prithee, who is’t that thou mean’st?
Please, who is this person you mean?
Who are you talking about?
who.
One that old Frederick, your father, loves.
Someone your father, the old Duke, is very fond of.
Someone your father is very fond of.
someone your father loves.
My father’s love is enough to honour him. Enough! Speak no more of him.
You’ll be whipped for taxation one of these days.
My father's approval is enough to honor anyone. Enough of that topic. Don't say anything more about him. You'll get whipped one of these days for being a satirist.
My father's love is honor enough for anybody. That's enough. Don't talk about him anymore. You'll get beaten one of these days for your smart remarks.
that's enough.
don't say his name again.
you'll be whipped for this.
The more pity that fools may not speak wisely what wise men do
foolishly.
It's sad, really—fools are not allowed to speak wise things while wise men are busy doing foolish things.
It's a shame that fools aren't allowed to say sensible things while wise men are out there doing stupid things.
fools can't speak wisdom.
while wise men act like fools.
By my troth, thou sayest true. For since the little wit that fools have
was silenced, the little foolery that wise men have makes a great show.
Here comes Monsieur Le Beau.
By my word, you're right. Ever since the small amount of wit that fools have is no longer permitted, the little foolishness that wise men have makes a huge display. Ah, here comes Monsieur Le Beau.
You're right. Since fools aren't allowed to be clever, all the stupid things that wise people do stand out so much more. Oh, here comes Le Beau.
you're right.
when fools can't be wise, wise men's foolishness shows.
here comes le beau.
With his mouth full of news.
His mouth is stuffed with news.
He's bursting with information.
all gossip.
Which he will put on us as pigeons feed their young.
Which he'll feed to us the way pigeons feed their chicks.
He'll dump it all on us like pigeons feeding babies.
regurgitated onto us.
Then shall we be news-crammed.
Then we'll be stuffed with news.
Then we'll be crammed with it.
news-crammed.
All the better; we shall be the more marketable.
_Bonjour_, Monsieur Le Beau. What’s the news?
All the better—then we'll be more attractive on the marriage market. Bonjour, Monsieur Le Beau. What's the news?
Even better—we'll be more desirable that way. Hello, Le Beau. What's happening?
we'll be more marketable.
hello, le beau.
what's the news.
All affected courtly elegance and delayed delivery — his name literally means 'the beautiful,' which is ironic since he keeps bringing ugly news. By the scene's end, he's risking himself to warn Orlando. Watch for which way his loyalty quietly shifts.
Fair princess, you have lost much good sport.
My beautiful princess, you've missed some excellent entertainment.
Princesses, you missed something really good.
you missed good sport.
Sport! Of what colour?
Sport? What kind of sport?
Entertainment? What kind?
what sport.
What colour, madam? How shall I answer you?
What kind, madam? How should I answer that question?
What kind? How do I answer that?
how do i answer.
As wit and fortune will.
As wit and luck dictate.
However your wit and fortune guide you.
as you see fit.
Or as the destinies decrees.
Or as the fates decree.
Or however destiny decides.
or as destiny wills.
Well said. That was laid on with a trowel.
Well said. That was laid on with a mason's trowel.
Nice. That's nice and thick.
well said.
applied with a trowel.
Nay, if I keep not my rank—
Well, if I don't keep my place—
But if I step out of line—
if i lose my place—
Thou losest thy old smell.
You'll lose your reputation.
You'll lose your standing.
you'll lose it.
You amaze me, ladies. I would have told you of good wrestling, which
you have lost the sight of.
You amaze me, ladies. I was about to tell you about excellent wrestling, which you've missed seeing.
I'm surprised at you, ladies. I was going to tell you about a really good wrestling match you just missed.
you missed something great.
Yet tell us the manner of the wrestling.
Still, tell us what the wrestling was like.
So tell us what happened anyway.
describe it.
I will tell you the beginning and, if it please your ladyships, you may
see the end, for the best is yet to do; and here, where you are, they
are coming to perform it.
I will tell you the beginning, and if it pleases you, ladies, you can watch the end. The best is yet to come, and here is where it will be performed.
I can tell you what happened, but if you want, you can stay and see the rest. The best part is coming up, and it's happening right here.
i'll tell you the start.
but the best is still to come.
it's happening here.
Well, the beginning that is dead and buried.
Well, the beginning is dead and buried.
The past is done and gone.
the past is history.
There comes an old man and his three sons—
There arrives an old man and his three sons—
So there's this old man and his three sons—
once upon a time.
I could match this beginning with an old tale.
I could match this opening with an old fairy tale.
I could pair that story with an old tale myself.
i know that story.
Three proper young men of excellent growth and presence.
Three handsome young men of impressive size and appearance.
Three good-looking young guys, tall and strong-looking.
three big handsome men.
Rosalind gives Orlando her chain on impulse. This is the tell.
A chain or necklace in Elizabethan England was not costume jewelry. It was a significant item of wealth — something given publicly as a mark of favor, often by rulers to servants or nobles to mark important relationships. When a woman gave her chain to a man, it had social meaning that the audience would recognize immediately.
But here's what makes it remarkable: Rosalind doesn't plan it. She starts to speak ('Gentleman—'), falters, and then just takes off her chain and gives it to him while explaining she can't give more because Fortune has left her with little. It's the most honest thing she does in the scene — she has no wit available for this moment, so she acts instead.
For an audience in 1599, the chain would read as a pledge. Not an engagement ring — but a very public token of favor, given impulsively to a stranger by a woman whose entire strategy in the scene has been to keep feelings controlled. Orlando is so stunned he literally cannot say thank you. Shakespeare has just invented love at first sight for the stage, and he's done it by removing language from both of them.
With bills on their necks: “Be it known unto all men by these
presents.”
With public notices on their necks: 'Let it be known to all men by these documents.'
With legal documents on them: 'Be it known to all people by these presents.'
with official notices on them.
The eldest of the three wrestled with Charles, the Duke’s wrestler,
which Charles in a moment threw him and broke three of his ribs, that
there is little hope of life in him. So he served the second, and so
the third. Yonder they lie, the poor old man their father making such
pitiful dole over them that all the beholders take his part with
weeping.
The eldest of the three fought Charles, the Duke's wrestler. In a single moment, Charles threw him and broke three of his ribs—so badly there's almost no hope he'll survive. Then he did the same to the second, and then to the third. There they lie now, and their poor father is weeping over them so pitifully that everyone watching takes his side and weeps with him.
The oldest one wrestled Charles, and Charles threw him so hard he broke three ribs. The guy's almost certainly dying. Then Charles did the same to the second one, and the third. They're lying over there now, and their father is sobbing so hard that everyone who's watching is crying too.
charles broke all three of them.
three ribs each.
they're dying.
their father is weeping.
Alas!
Oh, what a tragedy!
Oh no.
alas.
But what is the sport, monsieur, that the ladies have lost?
But what is the sport, sir, that the ladies have missed?
But what's the entertainment you're talking about?
what sport.
Why, this that I speak of.
Why, that which I've just been describing.
What I just told you about.
what i said.
Thus men may grow wiser every day. It is the first time that ever I
heard breaking of ribs was sport for ladies.
Men grow wiser every day, apparently. It's the first time in my life I've ever heard three men having their ribs broken called sport for ladies.
So people learn something new every day. I've never heard anyone call young guys getting their bones broken 'entertainment for women' before.
breaking ribs is sport now.
for ladies.
Or I, I promise thee.
Neither have I, I promise you.
Me neither.
me neither.
But is there any else longs to see this broken music in his sides? Is
there yet another dotes upon rib-breaking? Shall we see this wrestling,
cousin?
But is there anyone else who longs to watch this broken symphony in his sides? Is there another person who loves the sound of breaking ribs? Cousin, should we actually stay and see this wrestling?
Is there anyone else who wants to hear broken ribs? Who else gets excited about rib-breaking? Should we actually stay and watch this, cousin?
is anyone else eager.
to see broken music.
should we stay.
You must if you stay here, for here is the place appointed for the
wrestling, and they are ready to perform it.
You must, if you stay here. This is the place where the wrestling is scheduled to happen, and they're ready to perform it now.
If you stay, you'll see it. This is where it's going to happen, and they're ready to go.
it's happening here.
now.
Yonder, sure, they are coming. Let us now stay and see it.
I'm sure they're coming now. Let's stay and see it.
They're coming. Let's watch.
let's stay.
Cold, transactional, and entirely self-referential — every line is a command or a calculation. He registers Orlando's name and immediately pivots from patronizing approval to cold dismissal without a flicker of apology. Watch for how he talks past people rather than to them.
Come on. Since the youth will not be entreated, his own peril on his
forwardness.
Come on. Since the young man will not be persuaded, the consequences are his own responsibility.
Fine. The kid won't listen, so whatever happens is on him.
his choice.
his risk.
Is yonder the man?
Is that him over there?
Is that the one?
that's him.
Even he, madam.
Yes, that's the one, my lady.
That's him, ma'am.
yes.
Alas, he is too young. Yet he looks successfully.
Oh, he's too young. But he does look capable.
He's so young. But he looks like he could actually do this.
too young.
but he looks strong.
How now, daughter and cousin? Are you crept hither to see the
wrestling?
Well, well. Daughter and cousin, have you snuck in here to watch the wrestling?
So you two snuck in to watch?
you're here.
Ay, my liege, so please you give us leave.
Yes, my lord, if you please and give us leave.
Yes, Father, if you allow it.
with your permission.
You will take little delight in it, I can tell you, there is such odds
in the man. In pity of the challenger’s youth I would fain dissuade
him, but he will not be entreated. Speak to him, ladies; see if you can
move him.
You will find little to enjoy in this, I can assure you. The match is so one-sided. Out of sympathy for the young man's youth, I would gladly talk him out of it, but he won't listen. Please, speak to him if you can—try to persuade him.
You won't enjoy this—the odds are completely against him. I'd talk him out of it myself, but he won't listen. Can you try to convince him?
you won't enjoy it.
just talk to him please.
Call him hither, good Monsieur Le Beau.
Please call him here, Monsieur Le Beau.
Get him, Le Beau.
call him.
Do so; I’ll not be by.
Do so. I will not stay to watch.
Do it. I won't be here.
i'm leaving.
Monsieur the challenger, the Princess calls for you.
Monsieur the challenger, the Princess is calling for you.
The Princess wants to see you.
the princess calls you.
I attend them with all respect and duty.
I am here to serve them with all respect and duty.
I serve them with complete respect.
i'm here to serve.
Young man, have you challenged Charles the wrestler?
Young man, did you issue a challenge to Charles the wrestler?
Did you challenge Charles?
you challenged him.
No, fair princess. He is the general challenger. I come but in as
others do, to try with him the strength of my youth.
No, fair princess. He is the professional challenger—anyone can try him. I come as others do, simply to test myself.
No, he's the wrestler everyone fights. I'm just here to try like the others do.
he challenges everyone.
i just came to try.
Young gentleman, your spirits are too bold for your years. You have
seen cruel proof of this man’s strength. If you saw yourself with your
eyes or knew yourself with your judgement, the fear of your adventure
would counsel you to a more equal enterprise. We pray you for your own
sake to embrace your own safety and give over this attempt.
Young gentleman, you are too bold for your years. You have seen how viciously Charles fights those before you.
You're too brave for your age. You've seen how hard Charles hits.
you're too young.
you've seen how brutal he is.
The pancake speech is Touchstone's audition — it establishes the register he'll operate in for the whole play. He takes a trivial premise (a knight swore by his honour about pancakes) and follows the logic to its conclusion with perfect internal consistency.
The argument: the knight swore 'by his honour' that the pancakes were good. But the pancakes were bad. So either (a) his honour was bad too, meaning the oath was sworn by a worthless thing and therefore meaningless, or (b) he had no honour at all and swore by nothing. Either way, you can't 'forswear' (break) an oath sworn by nothing.
This is genuinely valid logic. It's also a devastating commentary on the culture of courtly oath-swearing. Every aristocrat in Shakespeare's England swore oaths by their honour constantly — in legal proceedings, in social agreements, in courtship rituals. Touchstone has just demonstrated, through pancakes, that such oaths are only as good as the honour behind them.
The joke has teeth: Touchstone is implying (carefully, through a fictional knight) that the Duke's court is full of people swearing by an honour they don't possess. Celia's warning that he'll be 'whipped for taxation' — for slander — shows she heard the implication. He has to be careful. He won't always be.
Do, young sir. Your reputation shall not therefore be misprized. We
will make it our suit to the Duke that the wrestling might not go
forward.
Do it, young sir. Your reputation will not suffer. We will make it a point of honor to speak well of you afterward.
Go ahead. Your honor will be safe with us. We'll speak well of you either way.
your honor is safe.
we'll defend you.
I beseech you, punish me not with your hard thoughts, wherein I confess
me much guilty to deny so fair and excellent ladies anything. But let
your fair eyes and gentle wishes go with me to my trial, wherein if I
be foiled there is but one shamed that was never gracious; if killed,
but one dead that is willing to be so. I shall do my friends no wrong,
for I have none to lament me; the world no injury, for in it I have
nothing. Only in the world I fill up a place, which may be better
supplied when I have made it empty.
I beg you, do not judge me harshly in your thoughts. I confess I am greatly afraid, but I cannot turn back now.
Please don't think badly of me. I'm terrified, honestly, but I have to do this.
i'm afraid.
but i can't back out now.
The little strength that I have, I would it were with you.
I would I had the strength to give to you.
I wish I could give you my strength.
i wish i could help.
And mine to eke out hers.
And I will add to hers.
Me too.
and mine.
Fare you well. Pray heaven I be deceived in you.
Goodbye. I pray I am wrong about you.
Good luck. I hope I'm wrong about what happens.
goodbye.
i hope i'm wrong.
Your heart’s desires be with you.
May your heart's desires come true.
I hope you get what you want.
good luck.
Come, where is this young gallant that is so desirous to lie with his
mother earth?
Come on, where is this young gallant who wants to wrestle with his mother earth? I'm going to throw you so hard you'll think you're tumbling back to the womb.
Where's this kid? I'm going to slam you into the ground so hard you'll think you're going back to your mother.
here comes the pain.
you're going down.
Ready, sir; but his will hath in it a more modest working.
I'm ready, sir. But my will is steadier than you might expect.
I'm ready. And I'm more ready than I look.
i'm ready.
You shall try but one fall.
You will have only one fall.
One fall only.
one fall.
No, I warrant your grace you shall not entreat him to a second, that
have so mightily persuaded him from a first.
No, I guarantee you, your grace, he won't want a second. After what I'm about to do to him, he won't be able to stand.
He won't want a second. I'm going to break him so bad he can't get up.
he won't want another round.
You mean to mock me after; you should not have mocked me before. But
come your ways.
You mean to laugh at me after this. You should not have mocked me before. But come—let's begin.
You're going to make fun of me when this is over. You shouldn't have started. Let's do this.
mock me after, not before.
let's go.
Now, Hercules be thy speed, young man!
May Hercules himself give you speed and strength, young man!
God, give him strength!
hercules be with you.
I would I were invisible, to catch the strong fellow by the leg.
I wish I were invisible so I could trip Charles up.
I wish I could trip him up.
if i could trip him.
O excellent young man!
Oh, what an excellent young man!
He's amazing!
he's incredible.
If I had a thunderbolt in mine eye, I can tell who should down.
If I had lightning in my eyes, I would know exactly who should go down.
If I had lightning in my eyes, Charles would be on the ground.
if i had lightning.
he'd be done.
No more, no more.
No more. Stop.
Stop. That's enough.
stop.
Yes, I beseech your grace. I am not yet well breathed.
Yes, I beg your grace. I am not even warmed up yet.
Yes, please. I'm just getting started.
i'm not even warmed up.
How dost thou, Charles?
Charles, how are you?
Charles, are you all right?
charles.
He cannot speak, my lord.
He cannot speak, my lord.
He can't talk, sir.
he can't speak.
Bear him away.
Carry him out.
Get him out of here.
take him away.
Orlando, my liege, the youngest son of Sir Rowland de Boys.
I am Orlando, my lord, the youngest son of Sir Rowland de Boys.
Orlando, sir. I'm Sir Rowland de Boys's youngest son.
orlando.
sir rowland's son.
I would thou hadst been son to some man else.
The world esteemed thy father honourable,
But I did find him still mine enemy.
Thou shouldst have better pleased me with this deed
Hadst thou descended from another house.
But fare thee well, thou art a gallant youth.
I would thou hadst told me of another father.
I wish you had been born to a different father. The world respected your father as honorable—but he was my enemy. You would have pleased me much more if you came from a different family. Still, you are a gallant young man. I wish your father had been someone else.
I wish you were someone else's son. Everyone loved your father—but he was my enemy. You'd be great if you weren't Rowland's kid. Look, you're excellent—I just wish you had a different father.
i wish you were someone else.
your father was my enemy.
good luck anyway.
Notice the shift in the scene's texture after Duke Frederick's entrance. Before the wrestling, almost everyone speaks in prose — the natural register for comedy, for casual social exchange, for Touchstone's philosophical games. Duke Frederick's seven-line rejection of Orlando is in blank verse.
This is deliberate. Verse in Shakespeare almost always signals heightened stakes — formal occasions, emotional pressure, political authority. Duke Frederick's verse is cold and rhythmically measured, each line dropping its weight like a gavel: 'I would thou hadst been son to some man else.'
Orlando responds in verse: 'I am more proud to be Sir Rowland's son.' He matches the Duke's register, which is itself a form of defiance — he won't be diminished into prose by the man who just dismissed him.
Rosalind and Celia also switch to verse for the exchange that follows. When Rosalind gives Orlando the chain, Shakespeare has given her language a formality and weight that prose couldn't carry. The meter slows everything down, makes every word count. By the time Orlando is left alone with 'But heavenly Rosalind!' the rhythm is gone — he's back to prose fragments, unable to hold a line together.
Verses and prose in this play aren't just style choices. They're emotional thermometers.
Were I my father, coz, would I do this?
If I were my father, cousin, would I act this way?
Do you think I'd do that if I were my father?
would i do that.
I am more proud to be Sir Rowland’s son,
His youngest son, and would not change that calling
To be adopted heir to Frederick.
I am prouder to be Sir Rowland's son—his youngest son—than I would be to be Frederick's adopted heir. I would not trade that calling for anything.
I'm proud to be Rowland's son. His youngest son. I wouldn't trade that for being Frederick's heir.
i'm proud of my father.
i wouldn't trade it.
My father loved Sir Rowland as his soul,
And all the world was of my father’s mind.
Had I before known this young man his son,
I should have given him tears unto entreaties
Ere he should thus have ventured.
My father loved Sir Rowland as his own soul. Everyone in the world agreed with my father. Had I known before that this young man was Sir Rowland's son, I would have begged him not to risk himself this way.
My father loved Rowland like a brother. Everyone respected him. If I'd known this was Rowland's son, I would have asked him not to fight.
if i'd known.
i would have stopped you.
Gentle cousin,
Let us go thank him and encourage him.
My father’s rough and envious disposition
Sticks me at heart.—Sir, you have well deserved.
If you do keep your promises in love
But justly, as you have exceeded promise,
Your mistress shall be happy.
Dear cousin, let's go thank him and give him courage. My father's cruel and jealous nature breaks my heart. Sir, you have earned great honor. If you prove as true to love as you were today in combat, your lady will be blessed.
Come on, let's thank him. My father's meanness is breaking me. You were amazing today. If you're as loyal in love as you were in that ring, your lady's lucky.
let's thank him.
my father shames me.
you deserve happiness.
Gentleman,
Sir,
Sir,
sir,
Ay.—Fare you well, fair gentleman.
Yes. Goodbye, fair gentleman.
Yeah. Take care.
goodbye.
Can I not say, I thank you? My better parts
Are all thrown down, and that which here stands up
Is but a quintain, a mere lifeless block.
Can't I at least say thank you? My better qualities have all been knocked flat, and what stands up here now is just a wooden target—a lifeless block.
Can't I even say thank you? Everything good about me just got destroyed, and what's left standing here is like a wooden puppet—completely lifeless.
i can't even thank you.
everything good in me just got knocked down.
i'm just wood now.
He calls us back. My pride fell with my fortunes.
I’ll ask him what he would.—Did you call, sir?—
Sir, you have wrestled well and overthrown
More than your enemies.
He's calling us back. My pride fell along with my fortune. I'll ask him what he needs. Did you call, sir? Sir, you've wrestled magnificently and defeated more than just your opponents.
He's calling us back. I lost my pride along with everything else. Let me see what he wants. Did you say something, sir? You wrestled well—you defeated more than just Charles today.
he called us back.
my pride fell with my fortune.
you defeated more than charles.
Will you go, coz?
Are we going, cousin?
Come on, let's go.
let's go.
Have with you.—Fare you well.
I'm coming with you. Goodbye.
Coming. Bye.
bye.
What passion hangs 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 masters thee.
What heaviness is pressing down my tongue? I cannot speak to her, and yet she encouraged me to talk. Poor Orlando, you're defeated. Either Charles or something weaker has defeated you.
What's keeping me from speaking? She's the one who said we should talk, and I can't say a word. I'm done for. Something worse than Charles just took me down.
i can't speak.
she encouraged me to talk.
but i can't.
i'm destroyed.
Good sir, I do in friendship counsel you
To leave this place. Albeit you have deserved
High commendation, true applause, and love,
Yet such is now the Duke’s condition
That he misconsters all that you have done.
The Duke is humorous; what he is indeed
More suits you to conceive than I to speak of.
Sir, I give you this friendly advice: leave this place. Even though you've earned high praise, genuine applause, and affection, the Duke is now in a condition where he misinterprets everything you've done. He's temperamental. What he's truly like would be better for you to figure out than for me to describe.
Sir, I'm telling you as a friend: get out of here. You've done great—everyone's applauding you, you've earned real respect—but the Duke is in a mood now where he's seeing everything you did as wrong. He's unpredictable. You'd be better off figuring out what he's actually like than hearing me try to explain it.
leave this place.
the duke's in a mood.
he's misinterpreting everything.
go.
I thank you, sir; and pray you tell me this:
Which of the two was daughter of the Duke
That here was at the wrestling?
I thank you, sir. And please, tell me this: which of those two women was the Duke's daughter—the one who was here watching the wrestling?
Thank you. Hey, quick question: which one of those two women was the Duke's actual daughter—the one watching the match?
which one was the duke's daughter.
Neither his daughter, if we judge by manners,
But yet indeed the smaller is his daughter.
The other is daughter to the banished Duke,
And here detained by her usurping uncle
To keep his daughter company, whose loves
Are dearer than the natural bond of sisters.
But I can tell you that of late this Duke
Hath ta’en displeasure ’gainst his gentle niece,
Grounded upon no other argument
But that the people praise her for her virtues
And pity her for her good father’s sake;
And, on my life, his malice ’gainst the lady
Will suddenly break forth. Sir, fare you well.
Hereafter, in a better world than this,
I shall desire more love and knowledge of you.
Neither of them appears to be his daughter if we judge by how they act, but the smaller one is indeed his daughter. The other is the daughter of the banished Duke and is being kept here by her uncle to keep his daughter company. Their love for each other is deeper than the natural bond between sisters. But I should tell you: the Duke has recently developed a hatred toward his gentle niece—for no reason except that the people praise her for her goodness and pity her because of her good father. And I assure you, his cruelty toward her will suddenly break out in the open. Sir, goodbye. In a better world than this, I'd like to know you better and have more friendship with you.
Honestly, neither one acts like his daughter, but the shorter one actually is. The other girl is the exiled Duke's daughter—he's keeping her here with his own daughter. Those two love each other more than most sisters do. But the thing is, he's started to hate his niece—for no good reason except that everyone loves her and feels bad for her about her father. And trust me, that anger is going to blow up soon. Get out of here while you can. If things were different, I'd want to be your friend, but right now you need to go.
the smaller one is his daughter.
the other is the exiled duke's daughter.
he hates her now.
he's about to hurt her.
you need to leave.
I rest much bounden to you; fare you well!
I'm very grateful to you. Goodbye.
I owe you one. Take care.
thank you.
The Reckoning
The philosophical wordplay at the opening is a delay tactic — two young women turning jokes on Fortune because that's easier than grieving her. Then Orlando walks in, risks his life with the quiet calm of someone who doesn't much care whether he survives, and wins. Rosalind takes off her chain and gives it to him without thinking. They both know something has happened. Neither of them has the words for it yet.
If this happened today…
Imagine a county fair, and a friend group only half-watching an exhibition fight they got dragged to. Then the underdog — twenty-two, clearly brilliant, clearly broke, openly indifferent to whether he gets hurt — defeats the defending champion on his first attempt. Your friend takes off her necklace and walks over and hands it to him. The whole group goes quiet. That's the scene. The county fair is a royal court, the exhibition fight is a wrestling tournament where the previous three challengers ended up with broken ribs, and the necklace is a chain worth a year's wages. Also everyone's parents have been exiled from the country by a usurper. It's a normal afternoon.