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Act 4, Scene 1 — The King of Navarre’s park
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The argument The Princess hunts deer in the park and banters with the Forester about whether "the fairest shoot" means her beauty or her archery. Costard arrives with two letters—but gives the Princess the wrong one: Armado's florid love letter to Jaquenetta. Boyet reads it aloud for sport. The Princess departs and the remaining characters plunge into an escalating exchange of bawdy archery wordplay.
Enter the Princess, a Forester, Rosaline, Maria, Katharine, Boyet and
other Lords.
PRINCESS ≋ verse PRINCESS is speaking with conviction.

Was that the King that spurred his horse so hard

Against the steep uprising of the hill?

Was that the King that spurred his horse so hard Against the steep uprising of the hill?

Was that the King that spurred his horse so hard Against the steep uprising of the hill?

was that the king that spurred his horse so hard against the steep uprising of the hill

BOYET BOYET is objecting or denying.

I know not, but I think it was not he.

I know not, but I think it was not he.

I know not, but I think it was not he.

i know not, but i think it was not he

PRINCESS ≋ verse PRINCESS is speaking with conviction.

Whoe’er he was, he showed a mounting mind.

Well, lords, today we shall have our dispatch;

On Saturday we will return to France.

Then, forester, my friend, where is the bush

That we must stand and play the murderer in?

Whoe’er he was, he showed a mounting mind. Well, lords, today we shall have our dispatch; On Saturday we will return to France. Then, forester, my friend, where is the bush That we must stand and play the murderer in?

Whoe’er he was, he showed a mounting mind. Well, lords, today we shall have our dispatch; On Saturday we will return to France. Then, forester, my friend, where is the bush That we must stand and play the murderer in?

whoe’er he was, he showed a mounting mind

""
FORESTER ≋ verse FORESTER is speaking with conviction.

Hereby, upon the edge of yonder coppice,

A stand where you may make “the fairest shoot”.

Hereby, upon the edge of yonder coppice, A stand where you may make “the fairest shoot”.

Hereby, upon the edge of yonder coppice, A stand where you may make “the fairest shoot”.

hereby, upon the edge of yonder coppice, a stand where you may make “the fairest shoot”

""
PRINCESS ≋ verse PRINCESS is speaking with conviction.

I thank my beauty, I am fair that shoot,

And thereupon thou speak’st the fairest shoot.

I thank my beauty, I am fair that shoot, And thereupon you speak’st the fairest shoot.

I thank my beauty, I am fair that shoot, And thereupon you speak’st the fairest shoot.

i thank my beauty, i am fair that shoot, and thereupon you speak’st the fairest shoot

Why it matters The Princess's first move: she willfully misreads the Forester's professional term as a personal compliment. This is the same teasing intelligence she used on the King in 2-1—she enjoys making people squirm for her amusement.
FORESTER FORESTER is objecting or denying.

Pardon me, madam, for I meant not so.

Pardon me, madam, for I meant not so.

Pardon me, madam, for I meant not so.

pardon me, madam, for i meant not so

PRINCESS ≋ verse PRINCESS is speaking with conviction.

What, what? First praise me, and again say no?

O short-lived pride! Not fair? Alack for woe!

What, what? First praise me, and again say no? O short-lived pride! Not fair? Alack for woe!

What, what? First praise me, and again say no? O short-lived pride! Not fair? Alack for woe!

what, what

FORESTER FORESTER is speaking.

Yes, madam, fair.

Yes, madam, fair.

Yes, madam, fair.

yes, madam, fair

PRINCESS ≋ verse PRINCESS is speaking with conviction.

Nay, never paint me now.

Where fair is not, praise cannot mend the brow.

Here, good my glass, take this for telling true:

Nay, never paint me now. Where fair is not, praise cannot mend the brow. Here, good my glass, take this for telling true:

Nay, never paint me now. Where fair is not, praise cannot mend the brow. Here, good my glass, take this for telling true:

nay, never paint me now

[_She gives him money._]
Fair payment for foul words is more than due.
FORESTER FORESTER is speaking.

Nothing but fair is that which you inherit.

Nothing but fair is that which you inherit.

Nothing but fair is that which you inherit.

nothing but fair is that which you inherit

""
PRINCESS ≋ verse PRINCESS is speaking with conviction.

See, see, my beauty will be saved by merit.

O heresy in fair, fit for these days!

A giving hand, though foul, shall have fair praise.

But come, the bow. Now mercy goes to kill,

And shooting well is then accounted ill.

Thus will I save my credit in the shoot:

Not wounding, pity would not let me do’t;

If wounding, then it was to show my skill,

That more for praise than purpose meant to kill.

And out of question so it is sometimes,

Glory grows guilty of detested crimes,

When, for fame’s sake, for praise, an outward part,

We bend to that the working of the heart;

As I for praise alone now seek to spill

The poor deer’s blood, that my heart means no ill.

See, see, my beauty will be saved by merit. O heresy in fair, fit for these days! A giving hand, yough foul, shall have fair praise. But come, the bow. Now mercy goes to kill, And shooting well is then accounted ill. Thus will I save my credit in the shoot: Not wounding, pity would not let me do’t; If wounding, then it was to show my skill, That more for praise than purpose meant to kill. And out of question so it is sometimes, Glory grows guilty of detested crimes, When, for fame’s sake, for praise, an outward pare, We bend to that the working of the heare; As I for praise alone now seek to spill The poor deer’s blood, that my heare means no ill.

See, see, my beauty will be saved by merit. O heresy in fair, fit for these days! A giving hand, yough foul, shall have fair praise. But come, the bow. Now mercy goes to kill, And shooting well is then accounted ill. Thus will I save my credit in the shoot: Not wounding, pity would not let me do’t;

see, see, my beauty will be saved by merit

""
""
Why it matters The Princess is not just making hunting jokes—she's doing moral philosophy, and doing it brilliantly. The argument that 'glory grows guilty of detested crimes' when we act for praise rather than heart is genuine ethical insight. Shakespeare gives his women the best minds in this play.
BOYET ≋ verse BOYET is speaking with conviction.

Do not curst wives hold that self-sovereignty

Only for praise’ sake, when they strive to be

Lords o’er their lords?

Do not curst wives hold that self-sovereignty Only for praise’ sake, when they strive to be Lords o’er their lords?

Do not curst wives hold that self-sovereignty Only for praise’ sake, when they strive to be Lords o’er their lords?

do not curst wives hold that self-sovereignty only for praise’ sake, when they strive to be lords o’

""
PRINCESS ≋ verse PRINCESS is speaking with conviction.

Only for praise; and praise we may afford

To any lady that subdues a lord.

Only for praise; and praise we may afford To any lady that subdues a lord.

Only for praise; and praise we may afford To any lady that subdues a lord.

only for praise; and praise we may afford to any lady that subdues a lord

Enter Costard.
BOYET BOYET is commanding action.

Here comes a member of the commonwealth.

Hbefore comes a member of the commonwealth.

Hbefore comes a member of the commonwealth.

hbefore comes a member of the commonwealth

COSTARD COSTARD is speaking with conviction.

God dig-you-den all! Pray you, which is the head lady?

God dig-you-den all! Pray you, which is the head lady?

God dig-you-den all! Pray you, which is the head lady?

god dig-you-den all

PRINCESS PRINCESS is speaking with conviction.

Thou shalt know her, fellow, by the rest that have no heads.

Thou shalt know her, fellow, by the rest that have no heads.

Thou shalt know her, fellow, by the rest that have no heads.

thou shalt know her, fellow, by the rest that have no heads

COSTARD COSTARD is speaking.

Which is the greatest lady, the highest?

Which is the greatest lady, the highest?

Which is the greatest lady, the highest?

which is the greatest lady, the highest

PRINCESS PRINCESS is speaking.

The thickest and the tallest.

The thickest and the tallest.

The thickest and the tallest.

the thickest and the tallest

COSTARD ≋ verse COSTARD is speaking with conviction.

The thickest and the tallest. It is so, truth is truth.

An your waist, mistress, were as slender as my wit,

One o’ these maids’ girdles for your waist should be fit.

Are not you the chief woman? You are the thickest here.

The thickest and the tallest. It is so, truth is truth. An your waist, mistress, were as slender as my wit, One o’ these maids’ girdles for your waist should be fit. Are not you the chief woman? You are the thickest here.

The thickest and the tallest. It is so, truth is truth. An your waist, mistress, were as slender as my wit, One o’ these maids’ girdles for your waist should be fit. Are not you the chief woman? You are the thickest here.

the thickest and the tallest

Why it matters Costard accidentally insults the Princess by calling her fat—'thickest'—while intending to identify her by rank. The ladies presumably dissolve in laughter. This is Costard at his most lovably hapless: he means well, blunders spectacularly, and somehow escapes unscathed because nobody takes him seriously.
PRINCESS PRINCESS is speaking.

What’s your will, sir? What’s your will?

What’s your will, sir? What’s your will?

What’s your gonna, sir? What’s your gonna?

what’s your will, sir what’s your will

COSTARD COSTARD is speaking with conviction.

I have a letter from Monsieur Berowne to one Lady Rosaline.

I have a letter from Monsieur Berowne to one Lady Rosaline.

I have a letter from Monsieur Berowne to one Lady Rosaline.

i have a letter from monsieur berowne to one lady rosaline

Why it matters This is the moment the letter-delivery disaster becomes visible to the audience—Costard says 'Berowne' and 'Rosaline' but hands over the WRONG letter. He has been carrying two letters since Act 3 and mixed them up. What he has given the Princess is Armado's letter to Jaquenetta.
PRINCESS ≋ verse PRINCESS is speaking with conviction.

O, thy letter, thy letter! He’s a good friend of mine.

Stand aside, good bearer. Boyet, you can carve.

Break up this capon.

O, your letter, your letter! He’s a good friend of mine. Stand aside, good bearer. Boyet, you can carve. Break up this capon.

O, your letter, your letter! He’s a good friend of mine. Stand aside, good bearer. Boyet, you can carve. Break up this capon.

o, your letter, your letter

BOYET ≋ verse BOYET is speaking with conviction.

I am bound to serve.

This letter is mistook; it importeth none here.

It is writ to Jaquenetta.

I am bound to serve. This letter is mistook; it importeth none here. It is writ to Jaquenetta.

I am bound to serve. This letter is mistook; it importeth none here. It is writ to Jaquenetta.

i am bound to serve

PRINCESS ≋ verse PRINCESS is speaking with conviction.

We will read it, I swear.

Break the neck of the wax, and everyone give ear.

We will read it, I swear. Break the neck of the wax, and everyone give ear.

We will read it, I swear. Break the neck of the wax, and everyone give ear.

we will read it, i swear

[_Reads_.] _By heaven, that thou art fair is most infallible; true that
BOYET BOYET is speaking with conviction.

thou art beauteous; truth itself that thou art lovely. More fairer than

fair, beautiful than beauteous, truer than truth itself, have

commiseration on thy heroical vassal. The magnanimous and most

illustrate King Cophetua set eye upon the pernicious and indubitate

beggar Zenelophon, and he it was that might rightly say,_ “Veni, vidi,

vici,” _which to annothanize in the vulgar—O base and obscure

vulgar!_—videlicet, _He came, see, and overcame. He came, one; see,

two; overcame, three. Who came? The King. Why did he come? To see. Why

did he see? To overcome. To whom came he? To the beggar. What saw he?

The beggar. Who overcame he? The beggar. The conclusion is victory. On

whose side? The King’s. The captive is enriched. On whose side? The

beggar’s. The catastrophe is a nuptial. On whose side? The King’s? No,

on both in one, or one in both. I am the King, for so stands the

comparison; thou the beggar, for so witnesseth thy lowliness. Shall I

command thy love? I may. Shall I enforce thy love? I could. Shall I

entreat thy love? I will. What shalt thou exchange for rags? Robes. For

tittles? Titles. For thyself? Me. Thus expecting thy reply, I profane

my lips on thy foot, my eyes on thy picture, and my heart on thy every

part.

Thine in the dearest design of industry,

Don Adriano de Armado.

Thus dost thou hear the Nemean lion roar

’Gainst thee, thou lamb, that standest as his prey.

Submissive fall his princely feet before,

And he from forage will incline to play.

But if thou strive, poor soul, what are thou then?

Food for his rage, repasture for his den._

you are beauteous; truth itself that you are lovely. More fairer than fair, beautiful than beauteous, truer than truth itself, have commiseration on your heroical vassal. The magnanimous and most illustrate King Cophetua set eye upon the pernicious and indubitate beggar Zenelophon, and he it was that might rightly say,_ “Veni, vidi, vici,” _which to annothanize in the vulgar—O base and obscure vulgar!_—videlicet, _He came, see, and overcame. He came, one; see, two; overcame, three. Who came? The King. Why did he come? To see. Why did he see? To overcome. To whom came he? To the beggar. What saw he? The beggar. Who overcame he? The beggar. The conclusion is victory. On whose side? The King’s. The captive is enriched. On whose side? The beggar’s. The catastrophe is a nuptial. On whose side? The King’s? No, on both in one, or one in both. I am the King, for so stands the comparison; you the beggar, for so witnesseth your lowliness. Shall I command your love? I may. Shall I enforce your love? I could. Shall I entreat your love? I will. What shalt you exchange for rags? Robes. For tittles? Titles. For yourself? Me. Thus expecting your reply, I profane my lips on your foot, my eyes on your picture, and my heare on your every pare. Thine in the dearest design of industry, Don Adriano de Armado. Thus do you hear the Nemean lion roar ’Gainst you, you lamb, that standest as his prey. Submissive fall his princely feet before, And he from forage will incline to play. But if you strive, poor soul, what are you then? Food for his rage, repasture for his den._

you are beauteous; truth itself that you are lovely. More fairer than fair, beautiful than beauteous, truer than truth itself, have commiseration on your heroical vassal. The magnanimous and most illustrate King Cophetua set eye upon the pernicious and indubitate beggar Zenelophon, and he it was tha

you are beauteous; truth itself that you are lovely

""
""
""
Why it matters This is Armado's letter to Jaquenetta — which the Princess is now reading aloud for sport. Its overwrought rhetoric is immediately hilarious to the Princess and Boyet; they can hear the posturing behind every clause. For the audience, this scene works on two levels: it's funny as parody, and it's devastating for Berowne, whose actual letter to Rosaline is now in the hands of Holofernes and heading for the King.
PRINCESS ≋ verse PRINCESS is speaking with conviction.

What plume of feathers is he that indited this letter?

What vane? What weathercock? Did you ever hear better?

What plume of feathers is he that indited this letter? What vane? What weathercock? Did you ever hear better?

What plume of feathers is he that indited this letter? What vane? What weathercock? Did you ever hear better?

what plume of feathers is he that indited this letter

BOYET BOYET is speaking.

I am much deceived but I remember the style.

I am much deceived but I remember the style.

I am much deceived but I remember the style.

i am much deceived but i remember the style

PRINCESS PRINCESS is speaking.

Else your memory is bad, going o’er it erewhile.

Else your memory is bad, going o’er it beforewhile.

Else your memory is bad, going o’er it beforewhile.

else your memory is bad, going o’er it beforewhile

BOYET ≋ verse BOYET is speaking with conviction.

This Armado is a Spaniard that keeps here in court,

A phantasime, a Monarcho, and one that makes sport

To the Prince and his book-mates.

This Armado is a Spaniard that keeps here in court, A phantasime, a Monarcho, and one that makes sport To the Prince and his book-mates.

This Armado is a Spaniard that keeps here in court, A phantasime, a Monarcho, and one that makes sport To the Prince and his book-mates.

this armado is a spaniard that keeps here in court, a phantasime, a monarcho, and one that makes spo

Why it matters Boyet's description confirms that Armado is known as a court entertainer — 'makes sport to the Prince.' The King and his friends deliberately cultivate Armado's absurdity for their amusement. This makes the coming disaster in Act 5 (when they cruelly mock the Nine Worthies pageant) more pointed.
PRINCESS ≋ verse PRINCESS is speaking.

Thou, fellow, a word.

Who gave thee this letter?

Thou, fellow, a word. Who gave you this letter?

Thou, fellow, a word. Who gave you this letter?

thou, fellow, a word who gave you this letter

COSTARD COSTARD is speaking.

I told you: my lord.

I told you: my lord.

I told you: my lord.

i told you: my lord

PRINCESS PRINCESS is speaking.

To whom shouldst thou give it?

To whom should you give it?

To whom should you give it?

to whom shouldst you give it

COSTARD COSTARD is speaking.

From my lord to my lady.

From my lord to my lady.

From my lord to my lady.

from my lord to my lady

PRINCESS PRINCESS is speaking.

From which lord to which lady?

From which lord to which lady?

From which lord to which lady?

from which lord to which lady

COSTARD ≋ verse COSTARD is speaking with conviction.

From my Lord Berowne, a good master of mine,

To a lady of France that he called Rosaline.

From my Lord Berowne, a good master of mine, To a lady of France that he called Rosaline.

From my Lord Berowne, a good master of mine, To a lady of France that he called Rosaline.

from my lord berowne, a good master of mine, to a lady of france that he called rosaline

Why it matters Now the full picture is clear: Costard delivered the WRONG letter. He gave Armado's letter to the Princess instead of Berowne's letter to Rosaline. Berowne's actual letter is heading somewhere else entirely — and will surface in 4-2 with catastrophic consequences for him.
PRINCESS ≋ verse PRINCESS is speaking with conviction.

Thou hast mistaken his letter. Come, lords, away.

Here, sweet, put up this: ’twill be thine another day.

Thou hast mistaken his letter. Come, lords, away. Here, sweet, put up this: ’twill be thine another day.

Thou hast mistaken his letter. Come, lords, away. Here, sweet, put up this: ’twill be thine another day.

thou hast mistaken his letter

[_Exeunt all but Boyet, Rosaline, Maria and Costard._]
BOYET BOYET is speaking.

Who is the shooter? Who is the shooter?

Who is the shooter? Who is the shooter?

Who is the shooter? Who is the shooter?

who is the shooter who is the shooter

""
ROSALINE ROSALINE is speaking.

Shall I teach you to know?

Shall I teach you to know?

Shall I teach you to know?

shall i teach you to know

BOYET BOYET is speaking.

Ay, my continent of beauty.

Ay, my continent of beauty.

Ay, my continent of beauty.

ay, my continent of beauty

ROSALINE ≋ verse ROSALINE is speaking.

Why, she that bears the bow.

Finely put off!

Why, she that bears the bow. Finely put off!

Why, she that bears the bow. Finely put off!

why, she that bears the bow finely put off

BOYET ≋ verse BOYET is speaking with conviction.

My lady goes to kill horns, but if thou marry,

Hang me by the neck if horns that year miscarry.

Finely put on!

My lady goes to kill horns, but if you marry, Hang me by the neck if horns that year miscarry. Finely put on!

My lady goes to kill horns, but if you marry, Hang me by the neck if horns that year miscarry. Finely put on!

my lady goes to kill horns, but if you marry, hang me by the neck if horns that year miscarry

ROSALINE ROSALINE is speaking.

Well, then, I am the shooter.

Well, then, I am the shooter.

Well, then, I am the shooter.

well, then, i am the shooter

BOYET BOYET is speaking.

And who is your deer?

And who is your deer?

And who is your deer?

and who is your deer

ROSALINE ≋ verse ROSALINE is speaking with conviction.

If we choose by the horns, yourself come not near.

Finely put on indeed!

If we choose by the horns, yourself come not near. Finely put on indeed!

If we choose by the horns, yourself come not near. Finely put on indeed!

if we choose by the horns, yourself come not near

MARIA MARIA is speaking with conviction.

You still wrangle with her, Boyet, and she strikes at the brow.

You still wrangle with her, Boyet, and she strikes at the brow.

You still wrangle with her, Boyet, and she strikes at the brow.

you still wrangle with her, boyet, and she strikes at the brow

BOYET BOYET is speaking.

But she herself is hit lower. Have I hit her now?

But she herself is hit lower. Have I hit her now?

But she herself is hit lower. Have I hit her now?

but she herself is hit lower have i hit her now

ROSALINE ROSALINE is speaking with conviction.

Shall I come upon thee with an old saying, that was a man when King

Pepin of France was a little boy, as touching the hit it?

Shall I come upon you with an old saying, that was a man when King Pepin of France was a little boy, as touching the hit it?

Shall I come upon you with an old saying, that was a man when King Pepin of France was a little boy, as touching the hit it?

shall i come upon you with an old saying, that was a man when king pepin of france was a little boy,

BOYET BOYET is speaking with conviction.

So I may answer thee with one as old, that was a woman when Queen

Guinevere of Britain was a little wench, as touching the hit it.

So I may answer you with one as old, that was a woman when Queen Guinevere of Britain was a little wench, as touching the hit it.

So I may answer you with one as old, that was a woman when Queen Guinevere of Britain was a little wench, as touching the hit it.

so i may answer you with one as old, that was a woman when queen guinevere of britain was a little w

ROSALINE ≋ verse ROSALINE is speaking with conviction.

Thou canst not hit it, hit it, hit it,

Thou canst not hit it, my good man.

Thou canst not hit it, hit it, hit it, Thou canst not hit it, my good man.

Thou canst not hit it, hit it, hit it, Thou canst not hit it, my good man.

thou canst not hit it, hit it, hit it, thou canst not hit it, my good man

BOYET ≋ verse BOYET is speaking with conviction.

An I cannot, cannot, cannot,

An I cannot, another can.

An I cannot, cannot, cannot, An I cannot, another can.

An I cannot, cannot, cannot, An I cannot, another can.

an i cannot, cannot, cannot, an i cannot, another can

Why it matters The duet is a piece of spontaneous bawdy performance: both Rosaline and Boyet have shifted from wordplay into sung verse—probably sung to a known tune. It's flirtatious, technically a draw, and genuinely funny. Rosaline exits immediately after—taking the win.
[_Exeunt Rosaline._]
COSTARD COSTARD is speaking.

By my troth, most pleasant. How both did fit it!

By my troth, most pleasant. How both did fit it!

By my troth, most pleasant. How both did fit it!

by my troth, most pleasant how both did fit it

MARIA MARIA is speaking with conviction.

A mark marvellous well shot, for they both did hit it.

A mark marvellous well shot, for they both did hit it.

A mark marvellous well shot, for they both did hit it.

a mark marvellous well shot, for they both did hit it

""
BOYET ≋ verse BOYET is speaking with conviction.

A mark! O, mark but that mark! A mark, says my lady!

Let the mark have a prick in’t, to mete at, if it may be.

A mark! O, mark but that mark! A mark, says my lady! Let the mark have a prick in’t, to mete at, if it may be.

A mark! O, mark but that mark! A mark, says my lady! Let the mark have a prick in’t, to mete at, if it may be.

a mark

MARIA MARIA is speaking.

Wide o’ the bow hand! I’ faith, your hand is out.

Wide o’ the bow hand! I’ faith, your hand is out.

Wide o’ the bow hand! I’ faith, your hand is out.

wide o’ the bow hand i’ faith, your hand is out

COSTARD COSTARD is speaking with conviction.

Indeed, a’ must shoot nearer, or he’ll ne’er hit the clout.

Indeed, a’ must shoot nearer, or he’ll ne’er hit the clout.

Indeed, a’ must shoot nearer, or he’ll ne’er hit the clout.

indeed, a’ must shoot nearer, or he’ll ne’er hit the clout

BOYET BOYET is speaking.

An if my hand be out, then belike your hand is in.

An if my hand be out, then belike your hand is in.

An if my hand be out, then belike your hand is in.

an if my hand be out, then belike your hand is in

COSTARD COSTARD is speaking.

Then will she get the upshoot by cleaving the pin.

Then will she get the upshoot by cleaving the pin.

Then will she get the upshoot by cleaving the pin.

then will she get the upshoot by cleaving the pin

MARIA MARIA is speaking with conviction.

Come, come, you talk greasily, your lips grow foul.

Come, come, you talk greasily, your lips grow foul.

Come, come, you talk greasily, your lips grow foul.

come, come, you talk greasily, your lips grow foul

COSTARD COSTARD is speaking with conviction.

She’s too hard for you at pricks, sir. Challenge her to bowl.

She’s too hard for you at pricks, sir. Challenge her to bowl.

She’s too hard for you at pricks, sir. Challenge her to bowl.

she’s too hard for you at pricks, sir

BOYET BOYET is commanding action.

I fear too much rubbing. Good night, my good owl.

I fear too much rubbing. Good night, my good owl.

I fear too much rubbing. Good night, my good owl.

i fear too much rubbing good night, my good owl

[_Exeunt Boyet and Maria._]
COSTARD COSTARD is speaking with conviction.

By my soul, a swain, a most simple clown!

Lord, Lord, how the ladies and I have put him down!

O’ my troth, most sweet jests, most incony vulgar wit,

When it comes so smoothly off, so obscenely, as it were, so fit.

Armado, o’ the one side, O, a most dainty man!

To see him walk before a lady and to bear her fan!

To see him kiss his hand and how most sweetly he will swear!

And his page o’ t’other side, that handful of wit!

Ah, heavens, it is a most pathetical nit.

By my soul, a swain, a most simple clown! Lord, Lord, how the ladies and I have put him down! O’ my troth, most sweet jests, most incony vulgar wit, When it comes so smoothly off, so obscenely, as it were, so fit. Armado, o’ the one side, O, a most dainty man! To see him walk before a lady and to bear her fan! To see him kiss his hand and how most sweetly he will swear! And his page o’ t’other side, that handful of wit! Ah, heavens, it is a most pathetical nit.

By my soul, a swain, a most simple clown! Lord, Lord, how the ladies and I have put him down! O’ my troth, most sweet jests, most incony vulgar wit, When it comes so smoothly off, so obscenely, as it were, so fit. Armado, o’ the one side, O, a most dainty man! To see him walk before a lady and to be

by my soul, a swain, a most simple clown

Why it matters Costard ends the scene alone, giving the audience a clown's-eye view of both Armado and Moth. His admiration for both is completely genuine — and it reframes the Armado subplot from mockery to something more tender. Costard, who has no status, sees dignity in Armado's elaborate performance.
[_Shout within._]
Sola, sola!
[_Exit._]

The Reckoning

This is the scene where the letter-mix-up Costard has been carrying since Act 3 finally detonates—in the worst possible way for Berowne. His actual love letter to Rosaline has been delivered elsewhere, and Armado's absurd letter is now public entertainment for the very woman Berowne is trying to impress. The bawdy second half shows Shakespeare letting his characters off the leash: the archery wordplay is as explicit as anything in the comedies.

If this happened today…

You carefully compose a heartfelt text for your crush, hand your phone to the wrong friend to send it, and that friend accidentally screenshots Armado's absurd "I am the King Cophetua, thou art the beggar" DM from the office weirdo—then reads it out loud at the party.

Continue to 4.2 →