Literary articles - William Shakespeare 2024

Directing As you like it: from conception to performance

David Bruce Mackay

ABSTRACT

As You Like It is regarded as one of Shakespeare's mature comedies in that he combines both serious and comic subject matter. Hired by Bard on the Beach Shakespeare Festival in Vancouver, Canada, I was granted permission by Temple University to submit this production as my thesis. Approaching the play from an objective perspective proved initially difficult due to the vast multitude of research materials and my personal experience of having twice performed in the play. However, by analyzing Shakespeare's text, and approaching the play from the ending first, I was able to discover my unique conceit on directing the play. Set during the English Civil War, I was able to establish the necessary two worlds of the play, a Puritan Court and an English Cavalier Forest of Arden. Through a series of six chapters I explain my process from conception to production, as well, I also evaluate my growth as a director during this artistic achievement. A Director's Script, Costume Sketches, an early Set Design and Reviews support my journey to Opening Night of As You Like It.

CHAPTER 1.

THE DIRECTOR'S VISION

Cleansing the Palate

One of the most intimate relationships in the theatre is the director's connection to the script. This is not to “fetishize” the text, but rather, to emphasize that a director's thorough knowledge of the script is the foundation for his or her vision of the play. The director's vision is the most important agent in any production because it addresses the question, “What is the story we want to tell with this play?” Also, this personal connection is the basis for the many collaborative relationships required in the theatre. The director will constantly need to configure, calibrate and conjure this vision for the actors, the designers, as well as the marketing and publicity team, with the communal objective of crafting a compelling and unified theatrical representation of the play for an audience. The relationship between the director and the script needs to be a strong bond to endure the incredibly stressful journey from first read to opening night. The director's vision begins to percolate with the first reading of the play. But like any new relationship, the director must be careful not to impose too many selfish ideals during this first encounter. The key is to make sure and listen to text with objectivity, rather than subjectivity.

“Read the play”, is an obvious, initiative maxim for a director in mounting any production. However, when constructing a theatrical story telling of William Shakespeare's As You Like It, a director could easily be over-inundated by a multitude of resource materials. The weight and force of four hundred years plus of cumulative

critical research, literary analysis and performance history risk obscuring a clear­headed preparation of any Shakespeare production. Also, layered into this cultural clatter that comes with Shakespeare's plays, is my personal experience with the text. My first read of As You Like It was not so much a first date, but rather a rekindling of a troubled relationship. I have performed in the play twice before, once in the roles of Silvius and Le Beau, and more recently as Touchstone. Both productions contained admirable elements that embraced the play differently. The Silvius production was darker, and set in Russia with a Chekhovian flavor that respected the autumnal imagery of the text. However, the marriages at the end of the play were enacted in a Russian Orthodox wedding ceremony, which seemed to rigidly dampen the revelry Rosalind ignites in the text with her disguise as a man. For all her self-discovery, Rosalind was regimented back into a strict culture before even exiting the Forest of Arden. The Touchstone production succeeded at acknowledging the rejuvenating quality of the Forest. Unfortunately, this rendition failed to generate an incrementally developed relationship between Rosalind and Orlando that best suits Jacques imparting epitaph, “You to a love that your true faith doth merit” (AYLI 5.4.172). As meritorious as both productions were, each failed to contain, in my opinion, the entirety of the play's breadth.

As You Like It is a unique mixture of sorrow and bliss, both loss and recovery, serious and trivial, which illuminates us with the vast spectrum of human nature. As well, the play is exceptionally difficult because, for all its gravitas at the beginning of the play, it is a comedy. Negotiating a muscular and effective between darker subject matter and the comic themes in the play something that I had already had on my

directorial radar, prior to reading the play with an eye on creating a new production. Yet, in early days of preparation, I was making myself more aware of what I did not want to do with the play, as opposed to concentrating on what exactly I was going to do. Not only was I familiar with the play, but I also realized that I had many self- referential connections to previous productions.

Accomplishing an unadulterated reading of the play would be impossible, as my familiarity permeated the text with line readings of actors and visual recollections of having watched the play in performance. Cleansing my play palate in order to approach the creation of my own production with objectivity was proving to be my greatest preliminary challenge. However, David Ball's book Backwards & Forwards, would assist me in arriving at the text with fresh eyes, or at the very least, a better set of analytical skills.

As David Ball's subtitle implies, A Technical Manual for Reading Plays, I was in dire need to approach As You Like It with a deductive reasoning rather than a subjective presupposition. I began my examination of Shakespeare's text by scrutinizing the end of the play. Ball's essential theory is that one can best observe the chronological action of a play by studying it in reverse: from the end of the play back to the beginning, “Sequential analysis of actions is most useful when done backwards: from end of the play back to the start. It is your best insurance that you understand why everything happens” (Ball 18).

With this simple tactic, I began to dissect where the characters end up in the final moments of the story. At the play's finale, four couples are married (Rosalind and Orlando, Celia and Oliver, Touchstone and Audrey, and lastly Silvius and

Phoebe). Also of note, is that the wedding ceremony is presided over by the Greek deity Hymen, god of weddings, or more succinctly, of the wedding hymn to be sung by the train of the bride as she is taken to the house of the groom. It is a common conceit in many productions for Corin, the old shepherd and a native of Arden, to serve as Hymen in the form of a rustic elder who officiates over the four weddings. In this instance, Corin rarely possesses any sense of divinity. However, for me, this became my first conscious production decision, which was to bring the divine Hymen on stage. Uncertain of what our definition of Hymen would be for our production, I researched into the mythology of Hymen. (Note to future directors, when doing an Internet search of Hymen via images, make sure you preface Hymen with Greek God, or the visual gallery of a mere ‘hymen' will startle you.) Solving this presence this character as a bona fide deity would involve enlisting the help of the costume designer Mara Gottler and the set designer Kevin McAllister. As a result, this initial directorial conceit became a major building block in my production. The wedding would be presided over by a Greek deity based upon our initial investigation.

Also near the play's conclusion, an elder brother is reinstated as the rightful leader of his dukedom (Duke Senior) unceremoniously taken from him by his younger brother (Duke Fredrick). As well, another set of younger brothers is reunited (Orlando and Oliver). What particularly intrigues me about the reunion of brothers is that each pair speaks of a brother experiencing a spiritual conversion. Duke Fredrick, initially sent his army forward into Arden to seek out his banished brother, but his plan is thwarted:

…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. (5.4.141-146) Oliver is also converted, and retells of his transformation with mythic overtones. When admitting that he is the brother of Orlando, Celia and Rosalind query his integrity, to which he replies; “ 'Twas I, but 'tis not I. I do not shame/To tell you what I was, since my conversion/ So sweetly tastes, being the thing I am” (4.3.130-133). The four concluding wedding ceremonies and two conversions would serve as a key starting block for the foundation of my approach to story telling. Two brothers recounting mysterious conversions and a God materializing in the moment to preside over the wedding ceremony both strongly suggested to me there actually was something virtually ‘sacred' being served by the end of the play.

Creating The Two Worlds Of The Play

Having directed The Comedy of Errors in the summer of 2009, I have always relished Shakespeare's ability to layer his plot with extravagance. A set of twins will not suffice, when two sets of twins can rouse up the intrigue to an ecstatic level. For that production, I embraced the play as having been written by a young playwright. Shakespeare was presumably in his mid to late twenties when he penned The Comedy of Errors, and the play exudes a youthful brashness and male bravado that the cast and I welcomed wholly with unequivocal delight. Shakespeare is much more mature when writing As You Like It. Hamlet was soon to appear in the canon, as were his other great tragedies and the wonderful comedy Twelfth Night, which I also directed in 2008. As You Like It may appear to have his signature theatrical brazenness with four weddings merrily capping the plot. But how does a production qualify the discontented Jacques who, at the end of the play, sets out to find the converted Duke Fredrick; “To him will I: out of these convertites/ There is much matter to be heard and learned” (5.4.167-168). The journey to end of this play is dissimilar than most of his other comedies. There's a weight of hardship at the beginning. The beginning of Twelfth Night also contains a heavy beginning with Viola believing she's lost her twin brother during a shipwreck. But there's no fraternal malice or corruption associated with the fate of Viola and Sebastian. As well, Viola adorns her male countenance much sooner than Rosalind dons her ‘doublet and hose.' With As You Like It, there's an acknowledgement of injustice, unfairness, and a view of life that appears helpless. By examining the end of the play, and acknowledging a sense of sacredness, reunification, and ceremony, I began to investigate the given circumstances at the beginning of the play.

Similar to most of Shakespeare's comedies, many different factions of characters need to be introduced as the play opens. In A Midsummer Night's Dream, Shakespeare introduces the Court of Theseus that contains the Lover's plot, which is essentially the most dramatic in dealing with the repercussions of children disobeying their parents. However, the other groupings of characters, Oberon and the Fairy kingdom, and Bottom's and his Mechanical cohorts, suggest stakes less involved in darker turmoil. Although, the Changeling Boy that Oberon demands from Titania bears dramatic tension, we are aware that this not of mortal concern, literally. And, the introduction of the Mechanicals is, in most productions, universally played with pure comedic stakes; whereas, As You Like It acquaints us with the three major character groupings with meager offerings of out-and-out comedy. Even though the clown, Touchstone, presents a humorous riff on ‘a certain Knight' and ‘honour' (1.2.50-65) which he relays into a gibe against Duke Fredrick, he is quickly reprimanded by Celia who threatens; “Enough! Speak no more of him; you'll be whipped for taxation one of these days” (1.2.66-67). Humor, it would seem, risks being out of characters. Examining the three factions of As You Like It, Orlando and Oliver's household, Rosalind and Celia in the Court, and Duke Senior and his banished lords in the Forest of Arden, a director is confronted by two major decisions in constructing the vision of the play; how to effectively balance the comedic and dramatic tone of the production, and effectively convey the distinction between the Court and Arden. I began this exploration of the three groupings and worlds of the play by defining the Court.

When I saw the production of As You Like It in February 2010, at the BAM Harvey Theatre as part of director Sam Mendes ambitious Bridge Project, I felt ultimately that the world of the Court was generically ‘evil'. Duke Fredrick was a ruthless dictator of a nameless totalitarian government, barking orders to submissive subordinates who obeyed without question. Researching recent productions of the play continually presented Duke Fredrick as a bad guy, often with an eye patch and or a baldhead to instill the audience's mistrust. (As was our Duke Fredrick in the

production at Bard on the Beach where I played Touchstone.) Director James MacDonald in his April 2010 production at the Citadel Theatre in Edmonton, Canada, set his Court in Nazi occupied France, with Arden being inhabited by the French Resistance. But, even this attempt to put Duke Fredrick in a real historical political context does little to investigate Duke Fredrick above the status of comic book villainy. To quote a line from Tracey Letts Pulitzer Prize winning, August: Osage County, “Who doesn't fucking hate Nazis” (Letts 100).

Examining the text directly related to the Court, one finds very little information as to just how inciting insurrection actually took place, which eventually led to Duke Fredrick usurping the public authority of his older brother, Duke Senior. Whatever transpired between the two brothers takes place before the action of the play. Kenneth Branagh, in his 2006 HBO Film of As You Like It reimagined his Court in a European colony in late 19th century Japan. Branagh also invented a new prologue, in which a team of stealth ninja warriors attacks Duke Senior and his family while they watch a performance of Kabuki Theater. Personally, this additional insight as to the insurgence did little to define Duke Fredrick. The greatest clue in the text about the Court is the unease with which Duke Fredrick seems to hold his seat of power. While on stage, the Duke repeatedly emits flashes of temper that indicate a man who truly does not feel secure, and needs to consistently reinforce his power. The list of Shakespeare's ruthless leaders who possess a similar tenable grasp of their power over their subjects and rivals includes Macbeth, Richard III, Claudius, and Coriolanus to name a few. In 1993, I had the good fortune of seeing Simon Russell Beale play Richard III at the Royal Shakespeare Company in Stratford-Upon-Avon,

under the direction of Sam Mendes. The key to Beale's Richard was not to play the bad guy. Even though, the character says directly to the audience, “I am determined to prove a villain” (Richard III 1.1.30) to play him simply evil would be a deathly boring choice. The fun of Beale's performance was to witness him show a frail, hurt­bird face to his fellow characters on stage, and then suddenly turn deliciously malevolent when speaking to the audience. Duke Fredrick is nowhere near as developed a character as Richard, nor does he have the stage time to create a detailed portrait. However, taking the notion that Duke Fredrick does not consider himself doing ill, I began to consider who, or what faction, might consider an insurrection as necessary, because of a perceived ineptness of Duke Senior's Court. I examined personal events to search for a viable Duke Fredrick quality.

As a Canadian citizen studying in the US, I only needed to look at present day American politics. The religious right wing of the Republican Party (or even one more step to the right with the Tea Party) contrasted against the liberal left wing of the Democrat Party. Even in my home country, the Conservatives (the Canadian equivalent of the Republican Party) is heatedly contested against the Liberal Party (the Democratic equivalent) A Duke Fredrick that religiously and morally opposed the government of Duke Senior galvanized my justification of a high and mighty Duke Fredrick. The rise of Christian religious beliefs mixed into a political agenda has been on the rise definitely in the United States, but also in Canada. In a country renowned for it's progressive social policies, Canada in the past ten years has nationally legalized gay marriage, refrained from joining the coalition to go to war with Iraq, and opened Insite, North America's first legal safe injection site for drug

users in Vancouver. However, each of these new 21^st century new freedoms face severe opposition from Stephen Harper, the Prime Minister of Canada. As he stated his opinion about gay marriage, “I've always been clear, I support the traditional definition of marriage” (Gledhill Enterprises)

Based upon the rise in ‘puritanical' values in modern politics, I came up with an idea for staging a brief prologue prior to the start of the play. I wanted to create a short reenactment of the Puritan's closing of London's theatres in 1642. Adding further to the idea, I thought of the Puritan army interrupting the final scene of Shakespeare's The Taming of the Shrew done in period, which would require males playing the female roles. I thought this would be an interesting take for the beginning of the play that would invite the audience into the world of the play. The process of constructing this prologue took little effort, as I was able to excise lines, and found the actual transcript, which announced the closing of the theatres on September 2^nd, 1642.

With this insight, and a personal inability to validate setting the play in present day, I looked to the English Civil War between the English Puritan's and the English Cavaliers. The English Civil War happened twenty-five years after Shakespeare's lifetime, yet the playwright was all too familiar with Puritanism. In Twelfth Night, Malvolio, servant to Olivia is traditionally portrayed as an uptight Puritan, who endures a series of merciless and cruel practical jokes put upon him. It is hard for me to remember or concoct the “Eureka Moment” that led me to conceive of a Puritan Court and a Cavalier Arden, but the following research into the period, in connection

of the play, was ultimately the impetus for my vision. I had discovered the twin worlds of my approach to the play.

Orlando's Given Circumstances

As You Like It introduces Orlando and Rosalind separately, and each is held within the confines of oppressive given circumstances. Orlando is helpless against his brother Oliver's mishandling of their deceased father's will, and Rosalind, who cannot shake off her melancholic disposition initiated by her uncle usurping her father's dukedom, and banishing Duke Senior to the Forest of Arden. Like the beginning of any play, disguising expositional information is not an easy challenge, but in As You Like It, Shakespeare introduces Orlando in mid-conversation speaking heatedly to Adam, an elderly servant in the de Boys household. His brother, Oliver is depriving Orlando of his proper station in life by denying him an education and the money bequeathed to him by his father. Helpless against his elder brother's unjust treatment, Orlando's dialogue parallels his frustration over his familial conditions that appear impossible for him overcome:

This is it, Adam, that grieves me; and the spirit of my father, which I think is within me, begins to mutiny against this servitude: I will no longer endure it, though yet I know no wise remedy how to avoid it. (1.1.16-19)

Throughout Act I and into Act II, Orlando's fate does not reward his decent nature. He is consistently between a rock and a hard place, and his good actions cannot overturn his persistently dire circumstances. Oliver, underhandedly, stokes Charles

the wrestler's malicious instinct to fight Orlando with intent to do serious bodily harm; “Therefore use thy discretion: I had as lief thou didst break his neck as his finger” (1.1.114-115). Against these odds, Orlando succeeds in beating Charles in the wresting match, only to be met with scorn and derision by Duke Fredrick upon finding out Orlando's surname and lineage. Subsequently, Le Beau frantically warns Orlando of Duke Fredrick's mercurial temperament and urges him to leave the court: 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 misconstrues all that you have done. (1.2.213-217)

The text surrounding Orlando in Act I and II of the play reveals an essential ingredient that would contribute towards my vision of the production. Orlando's given circumstances are invariably in direct contrast to his good nature. He is never rewarded for his good deeds. Both Le Beau and Duke Fredrick recognize his honorable merit in wrestling, which has earned him ‘High commendation', but he is punished for his noble actions. Shakespeare best exemplifies this disparity of good actions failing to be honored in Adam's text when Orlando returns home after beating Charles. Adam speaks frenetically, and almost nonsensically, as he accuses Orlando's good nature as being a fault:

Why, what make you here?

Why are you virtuous? Why do people love you? And wherefore are you gentle, strong and valiant?

Why would you be so fond to overcome

The bonny prizer of the humorous Duke?

Your praise is come too swiftly home before you.

Know you not, master, to some kind of men

Their graces serve them but as enemies?

No more do yours: your virtues, gentle master,

Are sanctified and holy traitors to you.

O, what a world is this, when what is comely

Envenoms him that bears it! (2.3.6-15)

In the process of analyzing these seemingly senile ramblings of an old man, I was able to piece together the world of the play at the beginning of the action. If the play ends with ceremony, reunion, reunification and spiritual conversion, then the chaotic discord of the Court society is best represented in Orlando's given circumstances.

There are many references in the play to ‘the golden world'. Charles updating Oliver of Duke Senior's banishment makes the first mention of it in reference to noble lords opting for voluntary expulsion to Arden:

They say he is already in the Forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England: they say many young gentlemen flock to him every day, and fleet the time carelessly, as they did in the golden world. (1.1.91-95)

From this idyllic glimpse of Duke Senior's new habitat, a director might easily get the notion that Arden is a haven offering solace in an otherwise cruel world. And that

even though a production may present a dour, oppressive Court, once we transport the audience to Arden, we can revel in an atmosphere more acquiescent to a comedic romp. After all, it's right there in the text. One production I saw at Shakespeare on the Saskatchewan in 1991, directed by Henry Woolf (Harold Pinter's longtime friend and collaborator) brought on the world of Arden with Duke Senior arriving in a VW Van. The fully operational vehicle screeched to a halt, the side panel door opened, spewing a huge waft of smoke that strongly indicated the reference behind Duke Senior's ‘merry men'. In fact, numerous productions have embraced the 60's era as a way of deliberating between an uppity conservative court, and a ‘groovy' Arden. In 2005, the Stratford Shakespeare Festival presented a hippie-influenced production directed by Antoni Cimolino, which was scored by the Canadian pop band Barenaked Ladies intent to recreate pseudo-psychedelic music reminiscent of late 1960's. This does seem like a lot of fun, but our present day collective cultural reference to hippies tends to view ‘the summer of love' with a sarcastic sneer. Duke Senior risks being perceived as an inept stoner, rather than a beguiled leader capable of earning the love of those noble lords who voluntarily chose to follow him into Arden. For me, it was not about getting seduced by Arden's potential as a ‘golden world', but instead, I researched into the other end of the spectrum, the Duke Fredrick's Court as an “Iron Age.”

Unraveling The Essential Beauty

Shakespeare, well versed in Greek writings especially Ovid's Metamorphoses, must have also been aware of Hesiod's 832 line epic poem, Works and Days. (Trans.

H.G. Evelyn-White) Both classical writers offer accounts of “The Ages of Man”, which articulate the stages of human existence on Earth according to Greek Mythology. Ovid delineates the ‘Age's into four epochs of time, whereas, Hesiod divides them into five. With each successive age, there is a degradation of the human condition that over time is denoted allegorically to metals of sequentially decreasing value. Beginning with the “Golden Age”, a bygone era, in which humans enjoyed a divine-like existence and continuing to Hesiod's own time, branded as the “Iron Age”, in which people endure a life of multitudinous sufferings and evils. Orlando is a victim of the Iron Age. As Hesiod articulates in his conditions of the fifth and final epoch of time:

The father will not agree with his children, nor the children with their father, nor guest with his host, nor comrade with comrade; nor will brother be dear to brother as aforetime. Men will dishonour their parents as they grow quickly old, and will carp at them, chiding them with bitter words, hard-hearted they, not knowing the fear of the gods. They will not repay their aged parents the cost their nurture, for might shall be their right: and one man will sack another's city. There will be no favour for the man who keeps his oath or for the just or for the good; but rather men will praise the evil-doer and his violent dealing. Strength will be right and reverence will cease to be; and the wicked will hurt the worthy man, speaking false words against him, and will swear an oath upon them. Envy, foul­mouthed, delighting in evil, with scowling face, will go along with wretched men one and all. (Works and Days 185-200)

Hesiod description of the Iron Age corresponds directly with much of the given circumstances in Duke Fredrick's Court. The examples Hesiod provide serves as a checklist for the conditions of the characters at the start of the play. Orlando's existence is one of toil and misery. Children dishonor their parents, (Oliver's denial of Orlando's education in accordance to their father's will), brother fights with brother (again, Oliver and Orlando, as well as, Duke Fredrick and Duke Senior.) Hesoid states that during this age ‘might makes right', as manifested in Duke Fredrick usurping the Court. The blood sport of Charles brutally injuring three opponents is another model of flagrant ‘might'. And finally, “the wicked will hurt the worthy man, speaking false words against him, and will swear an oath upon them.” Oliver purposely misconstrues Orlando's good nature before Charles, and portrays him as a brute:

…[Orlando] will practice against thee by poison, entrap thee by some treacherous device, and never leave thee till he hath ta'en thy life by some indirect means or other. For I assure thee — and almost with tears I speak it — there is not one so young and so villainous this day living. (1.1.117-121)

Also, Duke Fredrick tarnishes Rosalind's character in the eyes of his daughter Celia, as a means of justifying his banishing Rosalind from the Court:

[Rosalind] 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. (1.3.67-72)

The character assassination in both these speeches clearly attests to the level of enviousness in both characters. Duke Fredrick and Oliver cannot understand how others adore Rosalind and Orlando. Like Duke Fredrick, Oliver can only find fault in his brother's good qualities:

…for my soul— yet I know not why, hates

nothing more than [Orlando]. Yet he's gentle, never schooled and yet learned, full of noble device, of all sorts enchantingly beloved, and indeed so much in the heart of the world, and especially of my own people, who best know him, that I am altogether misprized. (1.1.128-132)

Their world vision is corrupted by their love of power. Neither Duke Fredrick nor Oliver can acknowledge the power of love. From this distorted ‘iron age' perspective possessed by Oliver and Duke Fredrick, I derived my essential beauty for the production. I must also concede to Doug Wager's insightful condensing of thought that assisted me in constructing the essential beauty. In As You Like It, the love of power is conquered by the power of love. That's the core of the play. The four wedding finale and double conversion near the end of the play needs a Shakespearean arc to travel and arrive at such a virtuous ending. Therefore, by searching through the text, I was able to glean an “Iron Age” beginning. A topsy-turvy world in which wrong is right and good is bad would serve as a dynamic starting place. Within this vastly differing beginning and ending, I needed an agent in my story telling that

would guide us through the play. Rosalind is very much the play's motivational agent. She even fits into the upside down world of the beginning by having to don a man's attire whereby women become men. But Rosalind's despondent condition from the beginning of the play to her joyful union with her husband, Orlando and father, Duke Fredrick is dependent on a reversal of fortune.

Rosalind's Given Circumstances

If Orlando inhabits a morally inverted world then Rosalind's world is similarly upside down as well, but in her given circumstances, she is in essence, hanging from the bottom of the Wheel of Fortune. The Wheel of Fortune, also known as the Rota Fortunae, refers to an ancient philosophical conceit that acknowledges Fate as being fickle in nature. This concept, highly popular during medieval times, denotes that the wheel belongs to the goddess Fortuna She would spin her wheel at random and thereby changing the positions of the people clinging to the wheel. Wherever the wheel would land would determine which people would suffer great misfortune while others would profit huge windfalls. Fortuna is often depicted as a blindfolded woman commandeering the wheel. When we first encounter Rosalind and Celia, they discuss Fortune by way of a verbal game:

ROSALIND What shall be our sport, then?

CELIA Let us sit and mock the good housewife Fortune from her wheel, that her gifts may henceforth be bestowed equally.

ROSALIND 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. (1.2.24-29)

Rosalind's begins at the lowest ebb of Fortune's wheel, in that her father has been banished, and with the exception of her loving cousin, Celia, she is essentially alone in the Court. What is interesting about her condition is that the only other person she recognizes similar to her state is Orlando. When trying to dissuade him out of wrestling Charles, there is a definite connection between the two of them when Orlando describes his joyless existence:

ORLANDO I beseech you, punish me not with your hard thoughts, wherein I confess me much guilty to deny so fair and excellent ladies any thing. 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 was 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. (1.2.145-154)

In some productions, Orlando and Rosalind are directed to fall in love during this speech. In the production in which I played the role of Touchstone, Rosalind and Orlando recognized an instant sexual attraction in this moment, which acted as a motivational force for Orlando as he stepped into the ring to wrestle Charles. In turn, the wrestling match was comical, in that Orlando flirtatiously demonstrated his manly strength for Rosalind to swoon and behold his prowess as he proceeded to beat Charles. However, I decided this moment was one of recognition of a kindred spirit

on Rosalind's part. That in a world where people seem to have forgotten her father, Duke Senior's reign, here was someone also deeply discontented with his circumstances. In directing this moment, I had Rosalind, turn away from Orlando to face the audience so that we could read that she has heard someone speak her inner dialogue. Orlando, with his mind focused on the wrestling match, is oblivious to Rosalind's connection. By delaying the moment with which Rosalind and Orlando connect sexually, I was able to choreograph the fight, (under the guidance of Nicholas Harrison, Fight Choreographer) as a much more brutal contest. Charles, under direct instruction from Oliver, fights dirty. Orlando's win over Charles becomes symbolic of his quest to ‘wrestle' his fate away from those in charge who try to control people with malice and envy.

Rosalind becoming Ganymede initiates her reversal of fortune. Banished from Duke Fredrick's Court, Celia and Rosalind concoct the delicious adventure to seek Duke Senior in the Forest of Arden. The tried and true device of Shakespeare's woman-disguised-as-a-man is implemented because Rosalind greatly fears two women going off on their own. “Alas, what danger will it be to us/ (Maids as we are) to travel forth so far?/ Beauty provoketh thieves sooner than gold” (1.3. 98-100). Again, the decision to disguise her self is not just for comic revelry but one of circumstantial necessity. She needs her male armor against the class of men that inhabit an Iron Age.

Rosalind's Use Of Time In Arden

When Rosalind arrives in the Forest of Arden in her male disguise that not only does her fortune change for the better, but also the play's tone shifts from the darkly dramatic into a much more celebratory comical world. But the comedy of the play goes much deeper than the superficial gag of a gal in drag. Rosalind's male countenance when she's with Orlando serves as a mask through which she only educates Orlando on the mercurial and mysterious ways of women, but more importantly, a mask through which she can safely be her true self as the youthful Ganymede, playing at being Rosalind. Shakespeare's theatrical genius in the wonderful creation of Rosalind is that by being disguised she is able to teach Orlando to love Rosalind as a real living breathing person. Orlando gains knowledge of a Rosalind who is filled with unpredictable and often contradictory moods, desires and emotions as opposed to idolizing an idealized infatuated version of his lover. Orlando, in the opening speech of the play, is arguing that Oliver has deprived him of an education. Rosalind, in disguise, attempts to educate him to become a proper mate that will serve her as a faithful and mature loving husband and life partner within the sacred bonds of a strong marital union. However, what makes Rosalind's education of Orlando truly unique is that in her male garb she gains permission to operate outside the normal constrictions of time. Time is constantly referenced to in As You Like It.

The most famous speech from the play, “All the world's a stage…” (2.7.139) dissects life's journey into ‘seven acts' of time with which we ‘play our parts' before fading into ‘mere oblivion.' The melancholy Jacques frequently references time, usually as a mortal and finite deficit to humanity, but this changes for him when he fortuitously meets the “fool in the forest”, Touchstone. Upon a chance encounter with

Touchstone in the forest he recounts how he, “… railed on Lady Fortune in good terms” (2.7.16). Jacques is temporarily liberated out of his melancholic disposition into a giggling fool:

Thus we may see, ‘quoth he, ‘how the world wags:

‘Tis but an hour ago since it was nine,

And after one hour more 'twill be eleven;

And so, from hour to hour, we ripe and ripe,

And then, from hour to hour, we rot and rot, And thereby hangs a tale.' When I did hear The motley fool thus moral on the time, My lungs began to crow like Chanticleer That fools should be so deep-contemplative. (2.7.23-31)

Jacques can barely contain his excitement that Touchstone can manipulate the subject of time passing, and our natural progression towards death, and turn it into a joke, while simultaneously infuse it with something so ‘deep-contemplative'. This comical and philosophical juxtaposition of time acts as an elixir to Jacques melancholy. He craves to be a ‘motley fool.' Humor in relation to the discussion of time also occurs in the play when Rosalind, as Ganymede, first encounter's Orlando in Arden:

ROSALIND I will speak to him like a saucy lackey, and under that habit play the knave with him. [To ORLANDO] Do you hear, forester?

ORLANDO Very well. What would you?

ROSALIND I pray you, what is't o'clock?

ORLANDO You should ask me what time o' day: there's no clock in the

forest. (3.3.250-255)

Rosalind's first attempt to be ‘a saucy lackey' backfires as she fumblingly asks for the time. It's a great comic introduction to Rosalind's male semblance to Orlando's male self. But, also on another level, Orlando's line launches a new and playful notion of of time, which is its relative timelessness. As there are no clocks literally in Arden, Rosalind allows her countenance to take on a new dimension. She is essentially discovers that she is now, for a time, free of her submissive female role and is allowed to guide her mate toward a better understanding of her true nature. After the wrestling match, Orlando is vocally stymied by Rosalind's gift of her necklace, and he is unable to partake even in idle conversation. (The moment where Rosalind puts her necklace around Orlando's neck is the moment I directed for the initial stirrings between the two lovers.) So the originally tongue-tied Orlando is free to be a ‘guy's guy' in the presence of this mysterious young man . In turn, Rosalind is able to chip away at the fantasy version of herself that Orlando has carved into his infatuated heart , exemplified by his obsessively prolific yet lessthanstellar production of love poetry. Rosalind immediately discovers the advantages of her new male guise as she proceeds to lecture Orlando on the nature of ‘Time'”

ROSALIND Then there is no true lover in the forest, else sighing every minute and groaning every hour would detect the lazy foot of Time as well as a clock.

ORLANDO And why not the swift foot of Time? Had not that been as proper?

ROSALIND By no means, sir. Time travels in diverse paces with diverse

persons. I'll tell you who Time ambles withal, who Time trots withal, who Time gallops withal and who he stands still withal. (3.3. 256-263)

The following exchange acts as the latchkey for Rosalind to educate Orlando on who she truly is as a person. Again, Shakespeare's brilliant theatrical device is that Rosalind, masked, unmasks herself right before Orlando's love-struck eyes. During early readings of the play, I realized that Rosalind does not originally set out to educate Orlando, as I had been repeatedly mislead in my thinking having done the play two times and viewed in numerous times. The key word she chooses is ‘cure'; she will attempt to cure Orlando of his amorous illusions, for once he discovers how petty, selfish and moody she really is, Orlando will be ‘cured' and no longer love her:

ROSALIND Love is merely a madness and, I tell you, deserves as well a dark house and a whip as madmen do; and the reason why they are not so punished and cured is, that the lunacy is so ordinary that the whippers are in love too. Yet I profess curing it by counsel.

ORLANDO Did you ever cure any so?

ROSALIND Yes, one, and in this manner. He was to imagine me his love, his mistress; and I set him every day to woo me. At which time would I, being but a moonish youth, grieve, be effeminate, change­able, longing and liking, proud, fantastical, apish, shallow, incon­stant, full of tears, full of smiles, for every passion something, and for no passion truly anything, as boys and women are, for the most part, cattle of this colour; would now like him, now loathe him; then

entertain him, then forswear him; now weep for him, then spit at him; that I drave my suitor from his mad humour of love to a living humour of madness, which was to forswear the full stream of the world and to live in a nook merely monastic. And thus I cured him, and this way will I take upon me to wash your liver as clean as a sound sheep's heart, that there shall not be one spot of love in't. (3.3.331-348)

The actress should plays this speech, gut wrenchingly truthful, in that she is admitting to all her faults, upfront, giving her possible future life partner the chance to just walk away. Rosalind gives Orlando an escape clause just before either of them agrees to invest any further in their relationship. As well, she is testing the depth of his love, to glean if he is merely infatuated with her. In the guise of a youthful shepherd, Orlando is free to dismiss the virtual Rosalind as too much work for his effort. However, his response is what makes Rosalind's coaching of Orlando a labor of love. After her tirade of a woman's poor qualities, in which she stipulates Orlando would be left no other choice than be celibate, he responds, “I would not be cured, youth.” ((3.3.349). Orlando's reply is the verbal contract that Rosalind needs to hear for her to desire to cultivate Orlando as her husband.

CHAPTER 2.

PREPARING THE SCRIPT

The first Shakespeare I directed was Troilus and Cressida for Bard on the Beach in 2006. This cynical retelling of the Trojan War runs at 3505 lines, making it the third longest play in the canon. One of the unspoken rules for directors with Western Canada's largest Shakespeare festival is that your production has to come under the three-hour mark. The North American attention span, or buttock resilience cannot endure theatrical entertainment going past eleven o'clock. Shows in New York may elude this magic marker, but in Vancouver, any performance that goes over that time restriction will inevitably make it into the review, and usually with an unfavorably mention. With Troilus and Cressida, I believe my final script was reduced by1000 lines, and the final running time came to two hours and forty minutes. My experience with Shakespeare is that a 1000 lines of text corresponds to an hour's worth of stage time. As You Like It, is 2884 lines. But when one considers the amount of songs in the play, I recognized from the start that my cutting shears would be quite busy. While Twelfth Night is considered the most musical of Shakespeare's plays, As You Like It is peppered with songs sung by Amiens in the Forest of Arden. Like Troilus and Cressida, I was aiming for As You Like It coming in well under three hours.

In preparing a script, I perform a labor-intensive procedure that allows me to become very familiar with the text. I download a copy of the play from the website: http://shakespeare.mit.edu/. The site has all of Shakespeare's plays, but the

punctuation is poor in comparison to other sources. I put the downloaded play into a word document, and then I went through the entire script and layer in the punctuation from the Cambridge University Press, Updated Edition of the play. This allows me to go through each line in great detail. As well, I was more able to absorb the meaning of each line through this detailed process.

Also, I like to manually break down the play into French scenes. For each scene that begins and ends with an actor's entrance or exit, I assign a number to it, and also attach a brief line to give the scene a title. For example, the first scene in As You Like It begins with the entrance of Orlando and Adam, which I denoted as:

1.“My father charged you in his will to give me good education

Oliver's entrance follows quickly after these two come on, so I included it as part of my Scene 1. The line that I choose to title each French scene is meant to emphasis the major issue dealt within that particular section of text. What I also find beneficial of the French scene style is that, during rehearsal, you are able to make better use of the actors' time. The stage manager calls for only the actors specifically used in that allotted section, as opposed to the whole scene that Shakespeare had denoted. My script of As You Like It is comprised of a total of forty-eight scenes.

During this process, I also made my cuts. Working in tandem with the Cambridge University Press' Shakespeare in Production, As You Like It (Edited by Cynthia Marshall), I poured over the various productions of the play, and examine the cuts and alterations that have been made previously. This series is a highly effective and useful tool. I'm glad that I researched the play extensively, prior to having made my cuts. I was able to make educated choices, rather than allow myself to get seduced by other director's cuts and interpretations.

The script creation process often takes weeks, but I find that by the end of it, I am incredibly familiar with the scenes, the lines, and the meaning of the text. This extensive knowledge of the text has consistently proven to be an asset when working with the actor's in rehearsal, scheduling with the stage management team, and also when I am in discussion with designers.

CHAPTER 3.

PREPRODUCTION

“Totus mundus agit histrionem”

The road to a Puritan Court version of As You Like It began appropriately on Thanksgiving 2009. At that time, I had no idea the English Civil war would the setting of this production. But, that was the date when the official offer came from Christopher Gaze, the Artistic Director of Bard on the Beach, in regards to me directing the 2011 production of As You Like It. Prior to accepting, I had run the idea of directing in Vancouver with Doug Wager, Head of the Graduate Directing Program at Temple University. Under his guidance, he suggested that this would make for an excellent thesis project, and the fact that it was a paying gig in my hometown was a definite added bonus.

I have directed previously for the company on three occasions, Troilus and Cressida (2006), Twelfth Night (2008) and The Comedy of Errors (2009). As well, as an actor I have been associated with the company since 1993, on and off, as an actor for a total of eighteen Shakespeare plays including two productions of As You Like It. Bard on the Beach is Western Canada's largest Shakespeare Festival. The company runs four Shakespeare plays during the summer months in two large tents. In Canada, there is an unwritten rule about summer that is if it's a sunny day, you must be outside. Vancouver is no exception, although the city does not have the blistering cold winters experienced by most of the country during the winter months. Going to see theatre outdoors in a tent with a view of English Bay and the North Shore mountains makes Bard on the Beach one of North America's most successful non­

profit theatre organizations. Annual attendance for the past six years has exceeded 95%. This is unheard of in the theatre world. In 2007, they boasted a 100% attendance record.

It really was not until the summer of 2010 that the initial consultation of production began. Earlier that season, Bard on the Beach had experienced a near financially crippling event. The company had to postpone the opening of its first show due to a structural problem with its MainStage tent. During a routine inspection, a "deformation" had been found, and the entire structure has to be taken down and repaired. The delay of opening the season cost Bard on the Beach $200,000. Immediately, following this drawback, the company began developing a capital campaign to buy a new tent for the following season. By September 2010, the company announced on their website through a Media Release about their new venue: Our new Mainstage Theatre tent accommodates 220 seats more than our old tent (for a new total of 740 seats) and it also encompasses the walkways that used to wrap around the outside of the old tent. The new BMO Mainstage has a thrust design, created by longtime Bard designer Kevin McAllister to suit our productions. The increased seating incline will improve sightlines. There will be theatre seats with arm rests, cup holders and flip^ up seats for easier aisle access. The tent will also provide improved acoustics, greater variety in lighting alternatives, the option to include on^ stage trap doors and better entrance points for the actors onstage and through the audience through theatrical vomitoria (tunnels).

(Barr, Media Release, September 10, 2010)

As You Like It would be the inaugural production in this new venue.

Understandably, with this huge undertaking, the Artistic Director was looking at every aspect involved in producing a successful first season in the new tent. And traditionally, at Bard on the Beach, one of Shakespeare's comedies opens the season. Christopher Gaze phoned me, to question whether this play in particular would be best suited to open the season. Up until now, the play had been bouncing around in my head without a clear vision, but I trusted I still had plenty of fruition time to ruminate on a production. However being questioned on the spot as to whether or not to do this play, I distinctly remembered that now was the moment to confirm the decision to do this play. I had already begun my research into the play, and I told him that in 1599, when the original Globe Theatre opened, the motto over the venue read; “Totus mundus agit histrionem” meaning “the whole world is a playhouse.” With an obvious reference to Jacques famous speech, I felt that As You Like It would be fitting to open our new stage. With the season opener solidified in a new venue, I was enthralled and nervous, perhaps even a little more than usual when beginning a new creative endeavor.

Casting Considerations

Early discussion of possible ‘Rosalind' candidates began being tossed around by emails between Christopher and myself. I was reluctant to go with Christopher's choice of Lois Anderson, although she's a fantastic actress whom I knew very well. I cast Lois as my Viola in Twelfth Night, performed with her on stage in other venues in Vancouver, and also went through a BFA Acting training program with her at our

Alma Mater, University of British Columbia. As stellar as a performer, I consider Lois to be, I was concerned that she may read to old for the part. Much discussion, and argument was exchanged between Christopher and myself in relation to Lois. I went home in August of 2010, and during that time I was able to see the four productions in performance that summer at the Bard Festival. As well, we held auditions with a few women for the role of Rosalind from the company, and the Vancouver theatre community. Unfortunately, no one had the kind of audition that as a director you are looking for, the one where every one in the room unanimously agrees that the actress lives and breathes the character. Rosalind would require more auditions, although Christopher held steadfast to his belief that Lois Anderson was his first choice, and an actress would have to surmount her ability to land the role.

However, both Christopher and I agreed that Touchstone should offered to Ryan Beil, one of Vancouver's funniest actors, I had hired Ryan to play Aguecheek in my 1920's stylized production of Twelfth Night. Having played a number of Shakespeare's comic characters myself, I considered Touchstone, along with Feste to be one of those latter clown roles that Shakespeare seems to have written out of a mild spite towards comedic actors. He lays out his clown condemnation in his ‘advice to the player's speech:

…And let those that play your clowns

speak no more than is set down for them, for there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too, though in the meantime some necessary question of the play be then to be considered. (Hamlet 3.2.31-35)

What Shakespeare has ‘set down' for Touchstone can challenge the acting chops of even the most rubber faced, verbally dexterous and physically manipulative interpretations. I had full trust in Ryan's comic ability, and also knew his intelligence would be an asset in his creation of the character. When I performed Touchstone in 2005, the director had decided to cut the ‘Seventh Cause' speech. The comic business is considered by most directors to be a bit of comic business to cover the time it takes for Rosalind and Celia to get out of their Arden attire and into their wedding gowns.

The original Touchstone in Shakespeare's time is thought to be Robert Armin, for whom Shakespeare created some of his most notorious comic characters. As M.C. Bradbook relates in her book, Shakespeare, the Craftsmen, Armin was a master of extemporization. Armin joined the Chamberlain's Men, the acting troupe with which Shakespeare was associated with, in 1599. This is the same year Shakespeare was writing As You Like It. He replaced Will Kempe, the previous comic lead, and Armin is listed as one of “Principall Actors” in the Folio edition of Shakespeare's plays. Scholars consider that Touchstone was written especially for Armin. The fools and clowns that Shakespeare wrote for Armin tend to be sharp-tongued and wiser than even some of the more noble characters in plays.

Touchstone's wit is often cross-referenced with his intelligence, “Thou speak'st wiser than thou art ware of.” as Rosalind remarks. Armin's unique verbal skill suggested to me that he was more than likely an actor who improvised during performance as well. With this in mind, I gave Ryan a certain ‘fool's' privilege in rehearsal. Ryan loves to ad lib when on stage, often including the audience in his racing thoughts or observation. It's as if his actor's third eye (an actor's silent

technical monitoring of his or her performance) is turned on speakerphone. On stage, Ryan engages the audience with witty improvised comments that titillate the crowd with an actor peeking out from behind the fourth wall. I gave Ryan the grace to explore this and include it in performance. I consider that quite possibly this was what Shakespeare, or whoever directed his initial productions, might have allowed Armin to do. Or perhaps, Armin may have added this commentary during performance. This freedom of ad-libbing may have been the eventual source of Hamlet's reprimand to comic actors in performance.

I flew home to Vancouver during the American Thanksgiving 2010, (Canada's celebrates Thanksgiving in mid-October) for the Bard on the Beach auditions. Four days to see close to two hundred actors for four shows. A total of thirty actors would be hired, which was divided into two companies of fifteen actors each. The 2011 season would be As You Like It and The Merchant Of Venice in the new BMO (Bank of Montreal) Mainstage tent, and in the Douglas Campbell Studio Tent would perform Henry VI: War of the Roses (a new adaptation of Henry VI, Parts I, II & III, by the director Christopher Weddell), and finally Richard III.

Casting four shows in four days is a tasking and grueling affair. In the past, I like to meet with the other director I'll be sharing the cast and designers with, and discuss what each of us is looking for in the shape of our casting needs. I spoke with Rachel Ditor, director of The Merchant of Venice via Skype prior to returning to Vancouver. Rachel and I have a working relationship and friendship that goes back over ten years, so our communication was open and honest. She was leaning towards a production that emphasized a substantial age difference between the Bassanio and

Antonio relationship. I stressed that I was in the market for a strong Rosalind, and from there other roles would be cast. If I went with an older Rosalind, I would need to adjust the casting of Orlando, Celia and Oliver.

Casting at Bard is not only arduous, but a fine balancing act of honoring recurring seasonal performers, acknowledging respected Vancouver actors new to the company, and nurturing recent graduates from the various acting programs around Vancouver. For an actor, a season at Bard is a twenty-three week working contract. Making this contract, the longest stage employment in Vancouver. The company is in a precarious position, as those people who have acted with the company for years are growing more and more out of the age range of a number of Shakespeare's leading roles. This is the case more so for women, whereas Shakespeare's plays continue to have more roles to offer men in wider range of ages. The usual break down of an acting company for each tent is anywhere from ten to eleven male roles compared to four or five female roles. The demands of Rachel's show only required three female performers, while As You Like It has four great roles for women. Rachel agreed to cast a female in a smaller, essentially non-speaking role. We discussed that this might be ideal for whomever I end up casting as Rosalind, as that would allow the actress to have an easier load in the other show against the demands of playing Rosalind. Added into this casting mixture is the company's mandate to hire two non-Equity actors for each tent. Ideally, I aim to cast the two non-Equity roles as men, in order to maintain as many full Equity opportunities for women, considering the male to female ratio in a typical Bard season.

The auditions required two sessions, four days in late November and another

session just before Christmas. After seeing all the possible actors for the season, the casting discussion begins. Four directors, the artistic director, two vocal and text instructors, a movement coach, and an administrator from Bard on the Beach sit in front of two billboards which lists the required characters in the play. To the side of the charts are about a hundred sticky notes with the names of various actors. For the larger roles quite often the group discusses the actor in terms of their audition, vocal quality, handling of the text, and other factors that in connection with the role. Directors go up to the boards and slot their first, second and third acting choice. The final process often takes hours, and does not necessarily finish that day, but rather over the course of weeks, as directors contemplate the necessities of casting 15 actors for their show.

Lois Anderson, who came in twice during the audition, earned the role of Rosalind. I expressed my concern about her age, but could not deny that she had proven to be the best candidate. She earned the role for two reasons. A consummate professional, Lois was not only completely off book and engaged with her scene partner, but she also had the best well-rounded interpretation on a very demanding role. She was funny, intelligent and clear in her thought process. I happily, more so than reluctantly, agreed that Christopher had been right all along, and Lois was our Rosalind.

I decided to go older with Orlando, in order to match appropriately with Rosalind. I hired Todd Thomson, a local actor who auditioned wonderfully with Lois. The role of Jacques was taken with the great skill and talent of John Murphy. His audition garnered him the role instantly. I was also excited by a new addition to the

company, Lindsey Angell, who I cast as Phoebe. I had enjoyed her work while she was an acting student. Her audition charmingly balanced the nature of Phoebe as being self-centered, but thrown off her game by her instant sexual attraction to Ganymede. Kayvon Khoshkam was cast to play Silvius. He brought a wonderful physicality to his audition, which spoke directly to my sense of humor. Thankfully, casting the two shows between Rachel and myself went remarkably smooth. We were both pleased and excited by our company of actors.

Directorial Design

Having already decided that I was not interested in an idyllic Arden, I began thinking in terms of designing the production. I developed the concept of the timeline of the play following the cycle of seasons beginning in fall, and ending the play with a summer wedding celebration. Introducing Arden in a cold winter scenario would accent Duke Senior's character as he builds up the morale of his men with his words against the blustery elements. Some productions opt for a much more happier, brighter Arden, but the text verifies the time of year:

Here feel we but the penalty of Adam,

The seasons' difference, as the icy fang And churlish chiding of the winter's wind – Which, when it bites and blows upon my body Even till I shrink with cold, I smile and say, 'This is no flattery' – these are counselors That feelingly persuade me what I am. (2.1.5-10)

Thinking in terms of a year's cycle, I developed the notion of putting the intermission at the end of Shakespeare's Act II Scene VII. We would end the act with a cold winter scene, but only Orlando had found a brief respite of food and shelter as he joins Duke Senior and his loyal lords and foresters.

In researching various productions, I had read that in the 1986 of As You Like It production at the Oregon Shakespeare Festival that they had the character of Adam die at the end of this scene. I was very intrigued by this idea. I have been to see plays down at the OSF for many years, and always appreciated the quality of their productions and the richness of their story telling. And this plot element appealed me a great deal. It would allow for a death that is equated with winter's harshness before the renewal and rebirth of spring. After intermission, the play could start with the fecundity of spring. According to OSF production, in the second half of their show there was dirt pile with daisies springing up from it where Adam had passed. I thought this was a little too on the nose for my liking. But, when I ventured to BAM in Brooklyn to see Sam Mendes production of As You Like It, he too had Adam pass away, and it proved to be very moving. Borrowing this production concept, I decided that the actor playing Adam would also play Hymen, as a symbol of rebirth during the wedding ceremony. Framing the progress of the play with the four seasons took a quick shape in my thoughts towards defining design elements.

I had already determined that I wanted to end the play with a large celebratory summer wedding. So, I decided to move the song, A Lover and His Lass, from Act V Scene III to just after Jacques' final exit. Duke Senior, in the last lines of the play, implies there is a song, “Proceed, proceed. – We will begin these rites/As we do trust

they'll end, in true delights.” And, in many productions there is a dance of revelry. In other productions the play shifts directly into the epilogue where Rosalind steps in front of her audience. However, I began to examine the epilogue, which essentially deals with the conceit that traditionally Rosalind would have been played by a young man dressed as a woman. I questioned the necessity of it with our production having a female Rosalind. I considered the story arc of my production. My prologue was to show an all-male cast of Taming of the Shrew, generally considered to have a misogynistic ending and end the play with a joyous dance that celebrated Rosalind's ingenuity of bringing all these characters together. I decided to cut the epilogue in order to bookend the male-dominated event that is abruptly ended by a violent court order with an ending that celebrates the restoration of virtue and harmony conjured by a woman's creativity.

During the fall semester of 2011 at Temple University, I took a course entitled Visual History, instructed by Jenny Jacobs. I found this course to be greatly beneficial toward developing my rapport with my designers. I was able to infuse my final course project by working toward the twin goals of both designing my production and deepening my knowledge of the world of the play. Each student constructed a visual dramaturgical bible of a specific play by researching the elements of Lighting, Set Design, Costumes, Props, Past Productions and Thematic Images. The extensive catalogue that I had assembled was a highly specialized tool in negotiating the world of the play with my designers from a historical, cultural, and philosophical context.

Costume, Set and Sound Design

Designing the production over Skype proved to be a very 21^st century experience. I was fortunate in that I had worked with every one of my members on the design team. Mara Gottler, who has designed costumes for Bard since the inception of the company in 1990, is also a dear friend. I've had a working relationship dating back to my time at the University of British Columbia when I was a BFA Acting student. During my numerous costumes discussion with Mara, I was also luckily taking a Costume Design course as part of my MFA training with Marie Anne Chiment. This proved to be highly advantageous as one of my final course projects was to design costumes for five of the characters in As You Like It.

By investigating paintings from the period, I became greatly informed about the apparel. Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England during the time of Charles I. His paintings proved invaluable in my understanding of the costumes. As well, I researched the armor and battle wear of the English Civil War. The final assignment in Marie's class was instrumental in familiarizing me with the two distinct worlds of the play, the Puritan Court and the English Cavalier Forest of Arden. Contrasting Oliver Cromwell and his Roundheads with King Charles I and his Royal family, I realized how distinct Rosalind would stick out in an essentially black, dour dressed court. Her presence in a costume modeled after the wife of Charles I, Henrietta, added a visual element to Duke Fredrick's resentment of having kept Rosalind in his court after usurping her father. The course also educated me on how to articulate more clearly and speak concisely with a costume designer about the texture and quality I was looking for in costuming the characters. In particular, while designing Touchstone, Mara and I

discussed the necessity of him being of both worlds that is of the Court, but also have elements that allow him to blend into Arden. As a Fool, he speaks to the rustics as well as the lords.

Working with my Set Designer, Kevin McAllister, was an exciting collaborative experience. Kevin was responsible for much of the development of the new tent, and especially the design of the new stage. Through discussions with Bard on the Beach, Kevin constructed a playing space modeled off of Tanya Moisevitch's thrust stage, internationally recognized at Stratford Shakespeare Festival in Ontario, Canada. In considering the new playing space, I spoke with Kevin about designing minimal set pieces. In considering the Bard audience arriving to the new venue, I wanted the stage to take a special presence in the spectator's viewing of the play. The new space deserved a clean palate with which the actors could explore the venue.

Although, I was well researched in my visual knowledge of the world 1642, I was not interested in the set being geographically or historically accurate. I was comfortable in allowing the costumes to honor the historical elements of the visual world. I was more interested in exploring a unique set design. After much discussion, Kevin emailed me some photographs of sculptures created by Finnish environmental artist Jaakko Pernu. He is a sculptor and land artist who makes remarkably intricate yet monumental constructions using wood. In Pernu's extraordinary constructions slender willow members are joined using the simplest of techniques in order create lattice-like arrangements that have a curious delicacy, despite their huge scale. Kevin and I decided that three trees based loosely on his design. Kevin further elaborated that the trees should be wheels, allowing them to be moved by actors. I instantly

became attached to the various locations within the Forest of Arden being easily concocted by these movable set pieces. Kevin also proposed raised platform divided into three sections that would serve as the stage for the prologue Taming of the Shrew performance, and as an arena for the wrestling match. I also imagined that a section could sever as a table during the feast scene at the end of Act II Scene VII. This slightly abstract forest and multi-functional playing deck was perfect for transforming scenes with minimal effort and time consumption. Shakespeare plays are long, so you like to get in and out of scenes quickly.

Kevin and I also discussed a large classical statue of a naked body or bodies in Act I Scene III as part of the world of the Court. I wanted a nude statue that had the genitals chiseled off by the new Puritan government. This measure of censorship, combined with the banning of stage plays to be enacted in the prologue, would serve as Duke Fredrick's puritanical reign over his subjects. As well the male dominated court that enacted control over human behavior would serve as a firm contrast to Arden. In Arden, Rosalind's inventiveness and spontaneous exploration of love would demonstrate a much more liberated human spirit.

One of my favorite theatre collaborators is Murray Price, Sound Designer. This would be the third show I have worked on with Murray, and I always enjoy going to his studio and listening to the various compositions and sound effects he has generated. Murray is an award winning sound composer and producer with Koko Productions in Vancouver. His contributions in time and talent to my shows have been invaluable. Murray took the new venue as an opportunity to really delineate between the Court and Arden. Duke Fredrick's oppressive court would be comprised

of formal, rigid music contrasted with the pagan music of Arden's exiles and their simple folksongs song around a fire. As Murray stated about the seasonal changes: “As the seasons shift, the almost static, minor modality of winter yields to the frenetic and airy strains of spring.” Perhaps, the most wonderful contribution to the soundscape was Murray capitalizing on the use of rounds, repetitive melodies surrounding us with live music. The endless cycle of birth, life and death, eloquently spoken by Jacques is supported musically by these rounds, and in the annual cycle of the four seasons.

“And I'll Sleep”

Rounding out my design team was Melissa Young, Choreographer. Melissa would be responsible for two important dances. The celebratory dance to A Lover and His Lass, and the dream sequence involved with The Lusty Horn.

The Lusty Horn is positioned in a very tricky position in the arc of the play. Often directors and producers of the play consider this short scene as just another diversion; an entertaining song and dance interlude. Watching a production, one might feel a slight respite in the action of the play. But, considering that the key motivational factor in Act II is Rosalind's education of Orlando, the song can often casually go by as an ‘hmm', and then the viewer reconnects with the play. I wanted to invest more in this curious song.

I was interested in exploring Celia's relationship to Rosalind as a deep infatuation that bordered on sexual attraction. She loved her cousin, and part of her story was negotiating the change in Rosalind as she fell in love with Orlando. In the

course of the play, the song happens after Ganymede, standing in for ‘Rosalind', pretends to be bride to Orlando's groom in a faux marriage. Celia, reluctantly, presides over the ceremony. After Orlando leaves the scene, Celia, immediately, condemns Rosalind for her behavior. Rosalind oblivious to Celia's reprimand, can only acknowledge how much in love she is with Orlando:

ROSALIND O coz, coz, coz, my pretty little coz, that thou didst know how many fathom deep I am in love! But it cannot be sounded: my affection hath an unknown bottom, like the Bay of Portugal.

CELIA Or rather bottomless, that as fast as you pour affection in, it runs out.

ROSALIND No, that same wicked bastard of Venus that was begot of thought, conceived of spleen and born of madness, that blind rascally boy that abuses everyone's eyes because his own are out, let him be judge how deep I am in love. I'll tell thee, Aliena, I cannot be out of the sight of Orlando. I'll go find a shadow and sigh till he come.

Exit ROSALIND

CELIA And I'll sleep. (4.1.165-176)

The Rosalind Celia knows and loves is gone. Celia is no longer the essential relationship in her life, for now she belongs to Orlando.

Their friendship has diminished because Rosalind is in love with a man. This theme is played in many of Shakespeare's plays, as Marjorie Garber observes in her

book, Shakespeare After All. While discussing the friendship between Proteus and Valentine from The Two Gentlemen of Verona, Garber observes:

The childhood bond between the two young men is described as a time in which their psychological identifications with each other were so close that they seemed in a way to be versions of the same person… From the beginning of Shakespeare's career to the end, with both pairs or male and pairs of female friends, this model of ideal and indivisible youthful friendship is presented as something that will be disrupted by heterosexuality, or, more accurately, by romantic love and a desire to marry. (Garber 44) Celia bears witness to Rosalind's heart now in the full throngs of love for a man. Again, based upon David Ball's Backwards and Forwards, the next time we encounter Celia, after she sleeps, she falls instantly and deeply in love with Oliver. After a brief exchange with Rosalind, Oliver and Celia introduce a kind of love that appears as if it was fated from the beginning. The love between the two is rapturous enough to warrant a wedding immediately following their initial contact

Following this scene of instant mutual attraction between Celia and the newly converted Oliver, Celia has no more lines in the play. For me, I was curious in the leap from Celia's broken heartedness of losing Rosalind into falling in love with Oliver with a depth equal to Rosalind's for Orlando. As Rosalind observes:

…For your brother

and my sister no sooner met but they looked; no sooner looked, but they loved; no sooner loved but they sighed; no sooner sighed, but they asked one another the reason; no sooner knew the reason,

but they sought the remedy; and in these degrees have they made a pair of stairs to marriage, which they will climb incontinent – or else be incontinent before marriage. They are in the very wrath of love, and they will together – clubs cannot part them. (5.2.26-33) In a brilliant piece of writing, Rosalind is now the jealous one of the two women. For Celia will be married to the man she loves tomorrow. Rosalind has placed herself in a precarious dilemma with which she cannot reveal Rosalind beneath her Ganymede guise. She has created a timeless limbo with which she cannot act upon her passions, or play the game with Orlando any longer, as he rebuts Ganymede's offer to meet by saying, “I can live no longer by thinking.”

With all this in mind, I examined The Lusty Horn as a possible erotic nightmare to awaken Celia's sexual appetite. Working with Melissa, we designed a dance with three foresters, and Jacques watching, as they evoke Celia's sexuality. Initially the men force her to participate in the dance, but then she willingly joins in. Luisa Jojic who plays Celia was interested in this take on her character and she regularly commented how it helped define her character's arc. With Murray's evocative music, this ended up in being one of my favorite sequences in the play.

CHAPTER 4.

REHEARSAL

Early Days

Following the regulations set by Canadian Actor's Equity Association, a company can rehearse actors six days a week for an eight hour time period each day. In order to accommodate rehearsing two show in repertory, Bard usually assigns three days a week for each director. The first day of rehearsal for As You Like It was held in the Vancouver Playhouse rehearsal hall, April 22^nd 2011. The company invites the administrative staff, as well as board members, and the cast sits around a large table for the first read of the play.

I don't like to very speak long prior to the first reading. Coming from an actor's background, I know that even a low-key setting of the first reading of the play can be nerve-wracking. I take into account that listening to me pour out the intricacies of the world of the production can easily get lost in actor's jitters. I try to keep my first speech to a maximum of ten minutes, before the designers get up and show costume renderings, a maquette of the set, and various other design elements.

Also on the first day, Amber Emory, an undergrad theater student from Temple University presented her dramaturgical package. Amber had been assigned to be my dramaturge through an arrangement with Temple University. At one of our first meetings in November 2010, I mentioned that it would interesting if she was able to join is in Vancouver for a couple weeks of rehearsal. To Amber's credit, she applied for grants, made the necessary arrangements with her spring session

professors, and was able to join me for the entire rehearsal period. Bard on the Beach had never before had the resources of a dramaturge which is something I think the company should seriously consider budgeting in the future, in particular with the historical, interpretive and textual demands of producing fully realized professional productions of Shakespeare. Amber created an in-house webpage that the actors could resource. People could freely add to the webpage content with discoveries they had made with their individual resources. The actors were duly impressed with the opportunity to have regular access to this knowledge base.

For the first read of a play, I always stipulate to the actors that I ask for nothing, other than that you speak loud enough for everyone in the room to hear. “This one's for free,” I said, “And since it's Good Friday, if you screw up, you can always rectify yourself by Sunday.” I always enjoy the first day. This was a great group of artists and designers. The actors immediately took to the idea of beginning the play with hard luck circumstances and the discovery the journey that takes us to the four wedding celebratory ending. Even with six weeks to accommodate two plays rehearsing, I knew we would be tight for time in order to investigate the necessary acting challenges and text of the play. We spent only a day and a half with table work before continuing exploration on our feet.

Overall, the rehearsal period went smoothly. When I was not the primary show rehearsing, I would use actors who were not called for The Merchant of Venice rehearsals and work on the text. I focused primarily on the scenes with Rosalind and Orlando, and Celia and Rosalind. As I mentioned before, I have always been disappointed with the journey charted between Rosalind and Orlando. These scenes

make up for most of Acts III and IV, and without a dramatic drive, as well as chemistry between the players, the action of the play risks being over before the final act. We concentrated on the text to discover the verbal games the characters play that, in turn, allow for their love to blossom.

Adrian Noble's book How to Do Shakespeare became especially helpful during these smaller, intimate rehearsals. Noble uses the first time Ganymede (Rosalind) and Orlando meet as an excellent example of Shakespeare verbal gamesmanship. Orlando challenges the youthful boy on his analogy of time. To me this is a very male competitive action, and layering the excitement Ganymede has of discovering how boys play was exciting to watch in rehearsal. Thankfully, Lois and I worked extremely well together, and we were on the same page for Rosalind's first steps into exploring her masked personae, and talk to Orlando as a ‘saucy lackey.'

The largess of the play became evident as the play progressed. Many actors commented on the size and complexity of the play. Past experience has told me that three of the most difficult things in life are, breaking up a long-term love relationship, studying advanced trigonometry, and blocking an Act V of a Shakespeare play. What I stressed during the course of undertaking multiple rehearsal passes was that an actor never gets ahead of your character. The moments tend to be moving slower than you think, because the stakes remain incredibly high. In order for the power of love to override the love of power the minute-to-minute detail exploration must be invested with incredible knowledge and awareness of extremely detailed given circumstances. The old theatrical adage, ‘Don't play the end of the scene through the scene' becomes even more important.

Tent Chaos

As we prepared to move our show out of the rehearsal hall and into the new tent, I warned the cast that our job would be more than usually difficult. Daily reports from the Production Manager expressed multiple delays in the building and preparation of the tent. Poor weather conditions (the coldest April and May on record in Vancouver), as well as the newness of constructing the tent, gave me strong indication that a lot of things would not be ready as we transferred to the playing venue. I stressed the need for the cast to stay focused and acknowledge that the environment down on the site would be nothing less than a circus. I prepared them that very probably our concentration on raising the play to performance level would be challenged by the venue. The tent would prove to be a huge challenge to the show and my nerves. It was difficult struggle to negotiate production values without compromising the directorial vision.

The atmosphere on the site was chaotic. Having done many seasons with Bard, I could tell that the crew was not only behind, but also working extremely hard to catch up, and risked exhausting themselves in the process. ‘Sparky' Lawrence is the Production Manager at Bard. We have worked together on three projects, and our working relationship, while at time challenging, has been extremely respectful. What became evident when we arrived on site, was that the crew was not only behind on constructing the venue, but also building the necessary infrastructure to accommodate the administrative offices, the back stage area, the green room, the box office, and the amenities to offer patrons which include food, beverages and a gift shop. And because this is a seasonal festival, all of these facilities are in tents or temporary

structures. Also, because the new tent was much larger and required more park space, all the patron facilities had to be increased in size to accommodate the 200 plus additional audience members that would be arriving prior to the show and seek refreshments during intermission of the play.

I do not believe the company had budgeted the necessary allotted time to coordinate the monumental changes that this new tent would present. Needles to say, because the crew was so far behind with the venue, they were also behind with my set and props. In the days that followed, Kevin, the Set Designer, grew impatient, as promised set pieces were not showing up. The statue for the court did not arrive until two days before opening. With all the frantic energy going around the tent, I decided not to lose my temper. Although, I was angry and frustrated, I recognized that that would not contribute to the set being built and more quickly. Instead, I chose to focus my energy on the areas I could control, which were the acting and the story telling of the play.

The first day on stage, I like to do a run of the play. However, because the playing space in foreign to the actors, they must rehearse all the physical business on stage. This pre-run rehearsal includes all stage fighting, shoving, and all the dances in the show. I like to throw a run at the cast, so that they can think on their feet in the new environment. The tent was huge. Already, I could predict issues with acoustics, but I refrained from getting on the cast, demanding them to speak louder and with better diction. Similar to first day of rehearsal when I let the cast have one read, I believe it is highly informative for them to have one run of the show on stage for free.

I know they are absorbing into their performances the necessary information of playing on the stage and connecting with the audience in the venue.

Our second day on stage was scheduled so that actors could work with the costumes. Traditionally, this early quasi-dress rehearsal is set in order to work through any quick costume changes. Thankfully, Mara and her crew had worked hard, and were able to present nearly all the costumes and pieces for the cast. They all looked fantastic. The men as women for the Taming prologue were slightly heightened, but not so far as to detract from the scene. The Puritan Court was magnificent, and offered a clear contrast with the English Cavalier Forest of Arden. Touchstone looked hilarious with a frizzy wig and slightly foppish attire. Rosalind's royal blue dress was exquisite. The hint of red in Celia's puritanical dress suggested a passion underneath her oppressive father's household.

The wigs were also successful. I expressed to Mara my concern with this period being heavily wigged, and then I was concerned in particular with the men's wigs. She worked diligently with Christine Hackman, the Wig Mistress, and we were able to have a trial wig session during rehearsal. I was relieved that the wigs would create a natural look on the actors, while evoking the period. Everyone looked fantastic. But still, there was little set for them to work with.

After a day off, we were gearing up for our first invited Dress rehearsal. The time went very quickly, and now we were faced with an audience. Albeit, tonight's audience would comprise of Bard volunteers, board members and those people associated with the company. As an audience, they tend to be a little lackluster, but that did not bother me. I kept my focus on the continual development of the

production. We rehearsed in the day, working on scenes, adding new blocking to accommodate the thrust stage and sight lines.

Since arriving to the venue, rehearsals had felt frantic. The tent seemed huge and the space did not feel like a theatre. Prior to the end of rehearsal before that evening's invited dress, I told the cast that for dress run that they only concentrate on telling the story. “Fuck the tent,” I said, with the intention for them to take control of the harried situation. I told them to concentrate on their given circumstances, and listen to your scene partner. I also, reminded them of a Declan Donnellan's quote from his brilliant interview, “Directing Shakespeare's Comedies: In Conversation with Peter Holland.” I quoted him on the first day of rehearsing, saying, “When we speak, we speak to change the world; we don't speak to give expression to our feelings” (Donnellan 143). Donnellan is an acclaimed British director, who's all male version of As You Like It with his company Cheek by Jowel is considered to be one of the most influential productions in the past twenty years. This was a good group of actors and rather than get wrapped up in the challenge this new venue provided, I asked them to play with one another and listen.

CHAPTER 5.

DRESS, PREVIEW AND OPENING

Digging Deeper

Doug Wager arrived from Philadelphia, and came directly from the airport to the tent in time for the first dress rehearsal. Many set pieces and props were still missing for the invited dress rehearsal, including the statue. In its place was an A- frame ladder. Sparky had given me no strong indication when the statue may arrive, and I was again picked up that the Production crew was on the cusp of stress and burnout. After my show, they were still responsible for three more shows to open. During his pre-show speech, Christopher forewarned the crowd that things were behind, but that there was still time.

The actors did a fantastic job. They concentrated on the acting values, and listened to one another. And while I knew there was still work to do on getting the show to a higher level of performance, they told the story. Also, the greatest achievement of the evening was that they lifted the venue out of being a cavern-like tent, and turned it into a theatre. That was very exciting.

The feedback from Christopher was extremely positive, but he did question the Prologue. He was uncertain to as where it fit into the story, but he also confided that his concern as to how it contributed to the running time. The play was running close to three hours. On the drive home, Doug questioned the prologue, and suggested we meet early the next morning for notes.

Doug's notes were excellent. He advised me to stay on the story. He explained that this was a crucial point in the rehearsal process, as the show moves into previews and gears up towards opening. A director, at this juncture, may be seduced by an audience's enjoyment of the show, and rather than delve deeper into the play's story telling, he or she may rehearse only concentrating on cosmetic changes. As Doug put it, this is the time that separates good direction from great direction.

Time was limited, and I had to use the rehearsal period with clear and concise directing. I had the actors for five hours a day, followed by an evening performance that night. My training at Temple would be put into full effect, as I was prepared to take this show to the next level. The next few days that Doug was involved in mentoring me during rehearsal were some of the most artistically taxing times I've experienced as a director, but also some of the most creatively rewarding.

Doug asked hard questions, and pressed me to qualify some of my choices including the Prologue and the death of Adam at the end of Act I. Examining Adam's death, Doug did not understand why I had blocked it so that Orlando was led off stage oblivious to his servant's passing. I told him that I wanted Duke Senior and his Lords to be quietly guiding Orlando away from the death. Doug considered this a poor choice and that if I was to keep this death, Orlando must acknowledge Adam dying. With Doug's guidance we reopened the scene and involved Jacques and Orlando more in the scene. The result was a much more dynamic presentation of Adam's death.

As well, Doug was of great assistance in the dramatic build up towards the end of the play. I knew from an early part of the directorial process that I wanted the

ending to have a spiritual resolve; based upon the two converted brothers, and the arrival of Hymen. Doug was able to address the hallowed ending from a specific line of Rosalind's, “Believe then, if you please, that I can do strange things. I have, since I was three year old, conversed with a magician, most profound in his art, and yet not damnable” (5.2.47-49). Doug encouraged me to burrow into the ‘magic' that leads up to the arrival of Hymen. The cast worked diligently towards exploring the reality of the entrance of Hymen. Just prior to his arrival, Rosalind enters with Celia exposing to Orlando and her father, Ganymede's true identity. As an audience member, we are privy to this secret, but enjoy Orlando's discovery of his bride. However, under Doug's mentorship, if the characters treat the arrival of Hymen as unexpected, then everyone including the audience experiences another revelation above and beyond Rosalind's disclosure. Theatrically, Shakespeare continues to raise the stakes, after the climax of the play. The unexpected arrival of a deity for the characters serves as a revelation for the audience as well.

Unfortunately, supporting this choice of Hymen's entrance technically with was minimal. The Production team was still focused primarily on the tent in preparation of audience services including the safety issues surrounding the patrons Fortunately, the strongest entrance for characters is up the back staircase cresting center stage with the magnificent view of the North Shore mountains. Combined with Murray's fantastic musical underscore, the arrival of Hymen did prove to be magical.

Story versus Affinity: Tough Choice

Much of the remainder of my rehearsal time leading up to Opening Night

involved re-blocking scenes. The sight lines for the new theatre proved to be a great challenge. I positioned Amber on one extreme audience side and myself on the other side of the stage and reexamined many scenes. The process was demanding and finding blocking that would accommodate the entire audience was difficult. Yet there remained one large White Elephant in the tent.

Doug and Christopher continued to question my Prologue. Doug expressed concern that the Prologue was asking the audience to invest in a beginning that did not connect to the play, whereas Christopher was mainly concerned with the four and a half minutes the Prologue was adding to the running time. Rehearsal time was running out, as The Merchant of Venice would begin rehearsing in the day while As You Like It would continue to preview. If I were to cut the Prologue, I would have to do it on the Sunday before our Thursday opening.

Finding the time to clear my head and review the pros and cons of the Prologue was difficult. The time in the tent was becoming invaluable as we continued to work blocking, scenes, acoustics, character stakes and story telling. These were long exhausting days, and I greatly appreciated Doug being there and continue to question my story telling choices. For me this was a huge learning curve in getting a show ready for opening.

On the final rehearsal on Sunday morning, I called the entire cast into the tent with an announcement. After debriefing Stephen Courtenay, my Stage Manager, I had decided to cut the Prologue. The decision ultimately came down to me feeling that we were asking the audience to invest in a story that, by itself was interesting and evocative, but did not successfully link up with the beginning of the play proper.

Even though I had made the decision, I dreaded telling the cast. I had warned all the designers earlier that morning prior to the rehearsal. A lot of time, creativity and money went into the Prologue, and part of you wonders if you should keep it in the play because it cost so much to put into place. But, ultimately, with theatre, and thanks to my training at Temple, an evening of theatre has to be about story telling. And the Prologue was not telling the story of As You Like It.

I told the cast that this was the most difficult artistic decision I have had to make in my career as a director. Also, inside, I knew I had to be firm in telling them. I was concerned that there may be a rebuttal because actors, understandably, can be protective of their work. To my surprise, everyone accepted my decision. Duncan Fraser, a Vancouver stage veteran, and a bit of a curmudgeon, spoke first and said that I had demonstrated excellent directorial skills in acknowledging something that wasn't working as I had intended. Others followed in applauding my decision, and making it at such a critical time in the production's process. I felt relieved. Doug, who had told me he would join rehearsal later in the afternoon, was not apprised of my decision. When I told him, he shook my hand, and I felt another sigh of relief. We quickly made the necessary changes to begin the show with Adam and Orlando coming on stage. As I watched the show that evening, ultimately I knew my decision was right, however, as a director, I did miss a little bit of my affinity at the beginning of a play. I drove Doug to the airport the next day, and he told me the show was looking good. That was good news to hear.

The last three shows leading up to Opening proved frustrating in that Act I would be strong and then Act II would be sluggish, or the reverse would happen the

next show. Getting all the elements of the performances to function for an entire show was tricky. Note sessions addressed the stakes and volume issues. Finally, on the day of Opening we met, did and line run of the play sitting on the stage, and I gave the cast my parting words, and handed the reigns of the show over the Stephen Courtenay, the Stage Manager.

Opening could not have gone better. Everyone was on his or her ‘A' game. And during the reception that followed the performance, the comments from the patrons were very complimentary on many levels. Colleagues in the community spoke very highly of my direction and ability to take this new venue and tell As You Like It. People appreciated that we honored the somber beginning of the play and brought the story into revelry at the end. I felt good, and glad my work was done. Like the production, it was a long arduous process to a wonderful celebratory evening.

CHAPTER 6.

EVALUATION

I am not a religious person. In fact, as a lapsed Catholic, (more out of boredom than rebellion), I pride myself in not being easily fooled by spiritual bunk. However, I do find something spiritually redemptive in working on a Shakespeare play. His ability to express our motivations with such insightful psychology, and reveal an unfathomable breadth of the human condition while expressing it all through amazingly condensed poetry, never ceases to enlighten me, and appeal to my creative desires.

As a younger actor, I approached Shakespeare aspiring to dust off the archaic flavor of the language and express it with a modern comportment. With an arrogance typically reserved for a green performer, I wanted the audience to get Shakespeare through my take on him. Usually playing small comic roles, I was successful in making the language sound fresh, and spontaneous, and was rewarded with an audience's laughter.

It really was not until 2002 when I played Aguecheek in a production of Twelfth Night when I was getting laughs on lines that I really had not invested in thoroughly in rehearsal. As I would discover that summer, Shakespeare, in his own words, is a very funny guy. From that season on, I began to investigate the text voraciously as an actor, finding not only the meaning of the words, but also analyzing the structural design of a line. I had been taught many of Shakespeare's literary devises during my training as an acting student, However, given the opportunity to

perform his words in front of an audience over a four month performance period was educating me beyond theory, but through practice.

Turning to directing in the summer of 2006, I knew I would honor one distinct rule as an actor cum director. I would not direct how I would perform the character. I have worked with such director's and nothing kills your creative instincts more than spending an entire rehearsal period trying to mimic a director's take on a role. Yet, as I continued to direct Shakespeare with Bard on the Beach, I recognized that I needed to study the craft of directing. Ultimately, that is what brought me to Temple University. I wanted to learn the craft of directing, particularly if I wanted to upkeep my growing connection with Shakespeare.

And now, two years later, on the cusp of graduating with my MFA, I need to evaluate my thesis project, as well as my time invested as a student of directing. As synchronicity would have it, as I was formulating my written thesis I was also preparing a class presentation on John Hirsch. Hirsch was a Hungarian born director who came to Canada as a Jewish refugee after World War II, and eventually would serve as Artistic Director for the Stratford Shakespeare Festival in Ontario. As described in his chapter from Arthur Bartow's book, The Director's Voice: Twenty One Interviews, Hirsch expresses his deep connection to Prospero from The Tempest. Hirsch's relates Prosper to the Duke in Measure for Measure and Duke Senior in As You Like It in following passage.

I think it's crucial that to the play that Prospero is not ninety, but some­where around forty-five. It's clear, you know, that you're dealing with a man who has had a major midlife crisis and run away. He couldn't

bear the pressures and madness of the city, of living in society, of running the state – an on going theme in Shakespeare… Shakespeare says if you want to regain your sanity, you have to run away from society. It's an essential for your spiritual well-being. But it's a paradoxical self-exile and flight because it is also the duty of the ruler to stick with it, and you cannot co-opt your responsibility. What is good for your soul, finally, must be of benefit to the society in which you live. …What Shakespeare's saying is that anyone in a responsible position, anyone who rules, must constantly dry-clean himself of his acquired image. (Bartow 165)

As a middle age student, this ‘dry-cleaning' process spoke directly to my learning curve at Temple. I ran away from my respectful position in the Vancouver theatre community, to become a student again. The learning process culminated with my return to Vancouver to direct As You Like It for my thesis production.

This passage is very similar to Joseph Campbell's, ‘hero's journey' with which we studied in his book, The Power of Myth. In a very brief explanation, one has to leave society, learn through ordeals in the forest, which usually involve overcoming one's fears by conquering a monster, and then return to the society, bearing the spiritual insight with which the hero has learned by this journey.

I admire Hirsch for recognizing Shakespeare with a spiritual connection. I've always considered directing Shakespeare, a responsibility in leadership. That is to guide a group of artists and designers into something not necessarily larger than life, but rather embedded in ourselves that may not get exposure because of emotional fear, lack of strength or confusion.

In directing this play, I consistently had to coax the actors to truly understand the maxim I had learned at Temple, “These are extraordinary people, under extraordinary circumstances, doing extraordinary things.” My time away from the Vancouver professional theatre scene was hugely beneficial in this process. I returned to work with friends and colleagues, yet my ‘voluntary exile' in conjunction with my training, gave me a newer set of observation skills.

I arrived for this rehearsal process with a strong directorial vision, and I could tell the room was excited from the first day. And often during the course of the rehearsal, I would appeal to their artist's desire to be the best, and understand what was technically required in achieving that, whether it require a stronger emotional connection to the given circumstances, or getting firmly off book. Before as a director, I would be quick to judge an actor's process because it was not similar to mine, but now I have a deeper understanding of the unique development each actor must go through to arrive at performance energy. I appreciated the work in the room, and I asked for more work to be done at home.

When it came time to for me to say to the cast I was cutting the Prologue, I was nervous, but I knew I couldn't show that. I had to demonstrate that my decision was ‘firm and irrevocable'. People saw my struggle, knew my passion towards this project, and trusted my decision. One of the biggest rewards for me in this process was that I had a cast that held my artistic trust, and through their own contribution made the vision of the play belong to them. I had demonstrated passion, patience, intelligence, and at certain times the ability to say, “I don't know what it means, let's look at it, and figure it out together.”

Technically, I have a greater skill set to analyze a play, develop a concept and put it into practice through rehearsal and the collaboration of actors and directors. I have a deeper understanding the craft of directing, which was a major motivational factor for me to come to grad school. I no longer feel like an actor in a director's guise. I am a director.

Now, I have to infuse all my learning into a deeper spiritual understanding of the text in connection with myself. The fault in the production was that because I cut the Prologue, which was the right decision, I felt I had not nurtured a healthy affinity to put my stamp on this production. I question whether the Puritan Court is presented as firmly as I had originally intended. I do believe it is a strong production, but without being clever or witty, I would liked to have infused a little more of my soul into the presentation. But, I trust that this will come.

After submerging myself into two years of learning, I absorbed an incredible amount of useful information. Now it has to settle, and ingrain itself into my sense of humor, and understanding of life. Big thoughts, but isn't the objective to create Big Art? As You Like It is a tough play, or more precisely, a tough comedy. I take great pride in my appreciation and understanding of comedy, and I approached this play with a desire to flesh out the darker overtones in the piece. I look forward to directing As You Like It again, perhaps in five to ten years. I also look forward to knowing what kind of director I will be at that time.

REFERENCES CITED

As You Like It. By William Shakespeare. Dir. Robert McQueen. Perf. David Mackay and Lara Gilchrist. Bard on the Beach Shakespeare Festival, Vancouver. 2005

As You Like It. By William Shakespeare. Dir. Sam Mendes. Perf. Juliet Rylance. Produced. BAM, The Old Vic & Neal Street Productions. 07 Feb. 2010

As You Like It. By William Shakespeare. Dir. Henry Woolfe. Shakespeare on the Saskatchewan, 1991

As You Like It. By William Shakespeare. Dir. Miles Potter. Perf. David Mackay and Jane Perry. Bard on the Beach Shakespeare Festival, Vancouver. 1998

As You Like It. Dir. Kenneth Branagh. Perf. Bryce Dallas Howard and Brian Blessed. HBO Films, 2006. DVD.

Atsma, Aaron J. "HYMENAEUS : Greek God of Weddings & the Bridal Hymn | Mythology, Hymen Hymenaios, W/ Pictures." THEOI GREEK MYTHOLOGY, Exploring Mythology & the Greek Gods in Classical Literature & Art. Web. 16 July 2011. <http://www.theoi.com/Ouranios/ErosHymenaios.html>.

Ball, David. Backwards and Forwards: a Technical Manual for Reading Plays. Carbondale: Southern Illinois UP, 1983. Print.

Barr, Robert. "Bard on the Beach - Bard Presents New Venue Plans to Vancouver Park Board." Bard On The Beach. ThornleyHAYNE Creative Communications, 10 Sept. 2010. Web. 16 July 2011. <http://www.bardonthebeach.org/>.

Bartow, Arthur. "John Hirsch." The Director's Voice: Twenty-one Interviews. New York, NY: Theatre Communications Group, 1988. Print.

Bradbrook, M. C. Shakespeare, the Craftsman,. New York: Barnes & Noble, 1969. Print.

Campbell, Joseph, Bill D. Moyers, and Betty S. Flowers. The Power of Myth. New York: Anchor, 1991. Print.

"Classical E-Text: HESIOD, WORKS AND DAYS." THEOI GREEK MYTHOLOGY, Exploring Mythology & the Greek Gods in Classical Literature & Art. Trans. H. G. Evelyn -White. Web. 16 July 2011.

<http://www.theoi.com/Text/HesiodWorksDays.html>.

REFERENCES CITED (CON'T)

Donnellan, Declan. "Directing Shakespeare's Comedies: In Conversation with Peter Holland." Shakespeare Survey Volume 56: Shakespeare and Comedy. Ed. Peter Holland. Cambridge University Press, 2003. Cambridge Collections Online. Cambridge University Press. 12 July 2011

Garber, Marjorie B. Shakespeare after All. New York: Pantheon, 2004. 44. Print.

Letts, Tracy. August-- Osage County. New York: Dramatist's Play Service, 2009. Print.

Nichols, Liz. “As You Like It Veers Between Extremes.” Rev. of As You Like It. Citadel Theatre. Edmonton Journal. 24 April 2010

Noble, Adrian. "Chapter 11: Dialogue Actions and Reactions." How to Do Shakespeare. New York, NY: Routledge, 2010. 184-89. Print.

Ouzounian, Richard “As You Like It”. Rev. of As You Like It., Stratford Festival of Canada. Variety Magazine.13 June 2005

Richard III. By William Shakespeare. Dir. Sam Mendes. Perf. Simon Russell Beale. Royal Shakespeare Company, Stratford-Upon-Avon, UK. Mar. 1993

Shakespeare, William, and Janis Lull. King Richard III. Cambridge: Cambridge Univ., 2009. Print.

Shakespeare, William, and Michael Hattaway. As You like It. Cambridge, UK: Cambridge UP, 2009. Print.

Shakespeare, William, and Philip Edwards. Hamlet, Prince of Denmark. Cambridge [Cambridgeshire: Cambridge UP, 1985. Print.

Shakespeare, William, and R. A. Foakes. A Midsummer Night's Dream / Edited by R.A. Foakes. Cambridge: Cambridge UP, 2006. Print.

Shakespeare, William, and Jeremy Hylton. The Complete Works of William Shakespeare. The Tech. Web. 16 July 2011. <http://shakespeare.mit.edu/>.

Shakespeare, William, Cynthia Marshall, and Jacqueline S. Bratton. Shakespeare in Production. Cambridge [u.a.: Cambridge Univ., 2004. Print.

"Stephen Harper." 1-Love-Quotes.com. Gledhill Enterprises, 2011.

Tue Jul 19 11:58:55 2011. http://www.1-love-quotes.com/quote/877205

APPENDIX A.

THE DIRECTOR'S SCRIPT

by William Shakespeare

2011

Mainstage

Directed by

David Mackay

Dramatis Personae

THE DE BOYS HOUSEHOLD

OLIVER, oldest son of Sir Roland de Boys

JAQUES DE BOYS , second son of Sir Roland (spoken of , but not seen in production) ORLANDO, third son of Sir Roland

ADAM, servant to the de Boys household

DENIS, servant to OLIVER

THE COURT OF THE USURPING DUKE

DUKE FREDRICK, younger brother to DUKE SENIOR

CELIA, his daughter

ROSALIND, daughter to DUKE SENIOR

LE BEAU, a courtier

CHARLES, a wrestler

TOUCHSTONE, clown

THE COURT IN EXILE

DUKE SENIOR, older brother to DUKE FREDRICK

AMIENS, a lord attendant

JAQUES, a melancholic traveler

THE GREENWOOD

CORIN, a shepherd

PHOEBE, a shepherdess

SILVIUS, a shepherd

WILLIAM, a countryman

AUDREY, a country girl

SIR OLIVER MARTEXT, a vicar

HYMEN, god of marriage

LORD, PAGES, FORESTERS, and ATTENDANTS

TIME: 1640's Full Year

Act I Autumn

Act II Winter

Act III Spring

Act V sc v Summer

PLACE: England, with a hint of France.

ATMOSPHERE: (In brief) The incoming government (DUKE FREDRICK) is in power after a swift, but bloody insurrection. The time alludes to the lead up of the English Civil War (1642­1649) but we are not going for a chronological re-enactment. Rather, DUKE FREDRICK is in charge of a religious, moral and conservative governing order. The Court should have an atmosphere of Puritanical repression. Contrasted against an English Cavalier inhabited, Forest of Arden. The Forest of Arden is more liberal-mnded. What should be interesting is our exploring the dual nature in both the Court and Arden. We should resist any desire to present Good and Bad places only.

Script Legend

1.2. Duke Fredrick's Court = Shakespeare's scene delineation

1.“My father charged you in his will to give me good education” = Our scene delineation. Used for rehearsal call times.

IT WAS A LOVER AND HIS LASS = Song or sung text [bucket] = word substitute

PROLOGUE: September 1642 – On a small makeshift stage.

[Male actors play all the characters in ‘The Taming of The Shrew'.]

PETRUCHIO Nay, I will win my wager better yet

And show more sign of her obedience – Her new-built virtue and obedience.

See where she comes and brings your froward wives As prisoners to her womanly persuasion.

Re-enter KATHARINA, with BIANCA and WIDOW

Katharina, that cap of yours becomes you not: Off with that bauble – throw it under-foot.

[BIANCA]     Lord, let me never have a cause to sigh,

Till I be brought to such a silly pass.

BIANCA       Fie, what a foolish duty call you this?

LUCENTIO  I would your duty were as foolish too:

The wisdom of your duty, fair Bianca, Hath cost me an hundred crowns since supper-time.

BIANCA       The more fool you, for laying on my duty.

PETRUCHIO

I say she shall: ‘and first begin with her'.

KATHARINA Fie, fie, unknit that threatening unkind brow, And dart not scornful glances from those eyes. To wound thy lord, thy king, thy governor. It blots thy beauty as frosts do bite the meads, Confounds thy fame as whirlwinds shake fair buds, And in no sense is meet or amiable. A woman moved is like a fountain troubled, Muddy, ill-seeming, thick, bereft of beauty And while it is so, none so dry or thirsty Will deign to sip or touch one drop of it. Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labour both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe. And craves no other tribute at thy hands But love, fair looks and true obedience –

Too little payment for so great a debt. Such duty as the subject owes the prince Even such a woman oweth to her husband; And when she is froward, peevish, sullen, sour, And not obedient to his honest will, What is she but a foul contending rebel And graceless traitor to her loving lord? I am ashamed that women are so simple To offer war where they should kneel for peace, Or seek for rule, supremacy and sway, When they are bound to serve, love and obey. Why are our bodies soft and weak and smooth, Unapt to toil and trouble in the world, But that our soft conditions and our hearts Should well agree with our external parts? Come, come, you froward and unable worms, My mind hath been as big as one of yours, My heart as great, my reason haply more, To bandy word for word and frown for frown. But now I see our lances are but straws, Our strength as weak, our weakness past compare, That seeming to be most which we indeed least are. Then vail your stomachs, for it is no boot, And place your hands below your husband's foot: In token of which duty, if he please, My hand is ready; may it do him ease.

PETRUCHIO Why, there's a wench! Come on, and kiss me, Kate.

[Military drums, alarums and entrance of DUKE FREDRICK, LEBEAU and SOLDIERS. The soldiers push the actors aside and begin taking down the stage.]

LEBEAU Whereas the distracted Estate of England, threatened with a Cloud of Civil War, calls for all possible Means to appease and avert the Wrath of God, it is therefore thought fit, that, while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease, and be forbidden. Instead of which are recommended to the People of this Land the profitable and seasonable considerations of Repentance, Reconciliation, and Peace with God, which probably may produce outward Peace and Prosperity, and bring again Times of Joy and Gladness to our Nation.

[Segue into - ]

1.1.  Orchard of Oliver's house.

AUTUMN

1.“My father charged you in his will to give me good education”

Enter ORLANDO and ADAM

ORLANDO As I remember, Adam, it was upon this fashion bequeathed me by will but poor a thousand crowns and, as thou say'st, charged my brother, on his blessing, to breed me well: and there begins my sadness. My brother Jaques he keeps at school, and report speaks goldenly of his profit. For my part, he keeps me rustically at home                                                                                      5

or, to speak more properly, stays me here at home unkept – for call you that ‘keeping' for a gentleman of my birth, that differs not from the stalling of an ox? His horses are bred better for, besides that they are fair with their feeding, they are taught their manège, and to that end riders dearly hired. But I, his brother, gain nothing under him                                                                                          10

but growth – for the which his animals on his dunghills are as much bound to him as I. Besides this nothing that he so plentifully gives me, the something that nature gave me his countenance seems to take from me: he lets me feed with his hinds, bars me the place of a brother, and, as much as in him lies, mines my gentility with my                                                                                          15

education. This is it, Adam, that grieves me; and the spirit of my father, which I think is within me, begins to mutiny against this servitude: I will no longer endure it, though yet I know no wise remedy how to avoid it.

Enter OLIVER

ADAM Yonder comes my master, your brother. 20

ORLANDO Go apart, Adam, and thou shalt hear how he will shake me

up.

ADAM withdraws

OLIVER Now, sir! what make you here?

ORLANDO Nothing: I am not taught to make any thing.

OLIVER What mar you then, sir? 25

ORLANDO Marry, sir, I am helping you to mar that which God made,

a poor unworthy brother of yours, with idleness.

OLIVER Marry, sir, be better employed, and be naught awhile.

ORLANDO Shall I keep your hogs and eat husks with them? What

prodigal portion have I spent, that I should come to such penury?                                                                                          30

OLIVER Know you where your are, sir?

ORLANDO O, sir, very well; here in your orchard.

OLIVER Know you before whom, sir?

ORLANDO Ay, better than him I am before knows me. I know you are

my eldest brother; and, in the gentle condition of blood, you should                                                                                          35

so know me. The courtesy of nations allows you my better, in that you are the first-born; but the same tradition takes not away my blood, were there twenty brothers betwixt us: I have as much of my father in me as you; albeit, I confess, your coming before me is nearer to his reverence.

OLIVER [Raising his hand] What, boy!                                                                                          40

ORLANDO [Seizing his brother] Come, come, elder brother, you are too young in this.

OLIVER Wilt thou lay hands on me, villain?

ORLANDO I am no villain; I am the youngest son of Sir Rowland de Boys;                                                                                          45

he was my father, and he is thrice a villain that says such a father begot villeins. Wert thou not my brother, I would not take this hand from thy throat till this other had pulled out thy tongue for saying so: thou hast railed on thyself.

ADAM [Coming forward] Sweet masters, be patient: for, your father's                                                                                          50

remembrance, be at accord.

OLIVER Let me go, I say.

ORLANDO I will not, till I please. You shall hear me. you have trained me like

a peasant, obscuring and hiding from me all gentleman-like qualities.                                                                                          55

The spirit of my father grows strong in me, - and I will no longer endure it. Therefore allow me such exercises as may become a gentleman, or give me the poor allottery my father left me by testament: with that I will go buy my fortunes.

[He releases OLIVER]

OLIVER And what wilt thou do? Beg, when that is spent? Well, sir, get                                                                                          60

you in. I will not long be troubled with you: you shall have some part of your ‘will'; I pray you, leave me.

ORLANDO I will no further offend you than becomes me for my good.

OLIVER Get you with him, you old dog.

ADAM Is 'old dog' my reward? Most true, I have lost my teeth in your                                                                                          65

service. God be with my old master: he would not have spoke such a word.

Exeunt ORLANDO and ADAM

OLIVER Is it even so, begin you to grow upon me? I will physic your rankness, and yet give no thousand crowns neither. – Holla, Dennis!

2.  “I had as lief thou didst break his neck as his finger”

Enter DENNIS

DENNIS Calls your worship?

OLIVER Was not Charles, the Duke's wrestler, here to speak with me?

DENNIS So please you, he is here at the door and importunes access to you.

OLIVER Call him in.

'Twill be a good way, and tomorrow the wrestling is.

Enter CHARLES

CHARLES Good morrow to your worship.

OLIVER Good Monsieur Charles, what's the new news at the new court?

CHARLES There's no news at the court, sir, but the old news: that is, the old Duke is banished by his younger brother the new Duke, and three or four loving lords have put themselves into voluntary exile with him, whose lands and revenues enrich the new Duke; therefore he gives them good leave to wander.

OLIVER Can you tell if Rosalind, the Duke's daughter, be banished with her father?

CHARLES O, no; for the Duke's daughter, her cousin, so loves her, being ever from their cradles bred together, that she would have followed her exile or have died to stay behind her; she is at the court, and no less beloved of her uncle than his own daughter; and never two ladies loved as they do.

OLIVER Where will the old Duke live?

CHARLES They say he is already in the Forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England: they say many young gentlemen flock to him every day, and fleet the time carelessly, as they did in the golden world.

OLIVER What, you wrestle tomorrow before the new Duke?

CHARLES Marry, do I, sir; and I came to acquaint you with a matter. I am given, sir, secretly to understand that your younger brother Orlando hath a disposition to come in, disguised, against me to try a fall. Tomorrow, sir, I wrestle for my credit; and he that escapes me without some broken limb shall acquit him well. Your brother is but young and tender, and for your love, I would be loath to foil him, as I must, for my own honour, if he come in; therefore, out of my love to you, I came hither to acquaint you withal, that either you might

Exit DENNIS

75

80

85

90

95

100

stay him from his intendment, or brook such disgrace well as he                                                                                        105

shall run into, in that it is a thing of his own search and altogether against my will.

OLIVER Charles, I thank thee for thy love to me, which thou shalt find

I will most kindly requite. I had myself notice of my brother's purpose herein and have by underhand means laboured to dissuade                                                                                        110

him from it — but he is resolute. I'll tell thee, Charles, it is the stubbornest young fellow of France, full of ambition, an envious emulator of every man's good parts, a secret and villanous contriver against me his natural brother. Therefore use thy discretion: I had as lief thou didst break his neck as his finger. And thou wert best                                                                                        115

look to't — for if thou dost him any slight disgrace or if he do not mightily grace himself on thee, he will practice against thee by poison, entrap thee by some treacherous device, and never leave thee till he hath ta'en thy life by some indirect means or other. For

I assure thee — and almost with tears I speak it — there is not one so                                                                                        120

young and so villainous this day living. I speak but brotherly of him, but should I anatomize him to thee as he is, I must blush and weep, and thou must look pale and wonder.

CHARLES I am heartily glad I came hither to you. If he come tomorrow,

I'll give him his payment; if ever he go alone again, I'll never wrestle                                                                                        125

for prize more — and so God keep your worship.

Exit CHARLES

OLIVER Farewell, good Charles. — Now will I stir this gamester. I hope

I shall see an end of him, for my soul— yet I know not why, hates nothing more than he. Yet he's gentle, never schooled and yet learned, full of noble device, of all sorts enchantingly beloved, and                                                                                        130

indeed so much in the heart of the world, and especially of my own people, who best know him, that I am altogether misprized. But it shall not be so long this wrestler shall clear all: nothing remains but that I kindle the boy thither; which now I'll go about.

Exit OLIVER

1.2.  Duke Fredrick's Court.

3,  “I will forget the condition of my estate, to rejoice in yours.”

Enter CELIA and ROSALIND

CELIA I pray thee, Rosalind, sweet my coz, be merry.

ROSALIND 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. 5

CELIA Herein I see thou lovest me not with the full weight that I love

Thee; iIf 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                                                                                          10

thee.

ROSALIND Well, I will forget the condition of my estate, to rejoice in

yours.

CELIA 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                                                                                          15

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.

ROSALIND From henceforth I will coz, and devise sports. Let me see,

what think you of falling in love?                                                                                          20

CELIA 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.

ROSALIND What shall be our sport, then?

CELIA Let us sit and mock the good housewife Fortune from her wheel, 25 that her gifts may henceforth be bestowed equally.

ROSALIND 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.

CELIA 'Tis true; for those that she makes fair she scarce makes honest,                                                                                          30

and those that she makes honest she makes very ill-favouredly.

ROSALIND Nay, now thou goest from Fortune's office to Nature's:

Fortune reigns in gifts of the world, not in the lineaments of Nature.

4.  “the little foolery that wise men have makes a great show”

Enter TOUCHSTONE

CELIA No? When Nature hath made a fair creature, may she not by 35

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?

ROSALIND Indeed there is Fortune too hard for Nature, when Fortune makes Nature's natural the cutter-off of Nature's wit.                                                                                    40

CELIA 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? 45

TOUCHSTONE Mistress, you must come away to your father.

CELIA Were you made the messenger?

TOUCHSTONE No, by mine honour, but I was bid to come for you.

ROSALIND Where learned you that oath, fool?

TOUCHSTONE Of a certain knight that swore by his honour they were 50 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.

CELIA How prove you that, in the great heap of your knowledge?

ROSALIND Ay, marry, now unmuzzle your wisdom. 55

TOUCHSTONE Stand you both forth now. Stroke your chins and swear,

by your beards, that I am a knave.

CELIA By our beards – if we had them – thou art.

TOUCHSTONE 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                                                                                          60

knight swearing by his honour, for he never had any; or if he had, he had sworn it away before ever he saw those pancakes or that mustard.

CELIA Prithee, who is't that thou mean'st?

TOUCHSTONE One that old Frederick, your father, loves.                                                                                          65

CELIA 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.

TOUCHSTONE The more pity that fools may not speak wisely what wise men do foolishly.

CELIA By my troth, thou say'st true: for, since the little wit that fools                                                                                          70

have was silenced, the little foolery that wise men have makes a great show – Here comes ‘Monsieur Le Beau'.

Enter LE BEAU

5.  “Shall we see this wrestling, cousin?”

ROSALIND With his mouth full of news.

CELIA Which he will put on us as pigeons feed their young.

ROSALIND Then shall we be news-crammed.

CELIA All the better: we shall be the more marketable. – Bonjour,

Monsieur Le Beau, what's the news?

LE BEAU Fair princess, you have lost much good sport.

CELIA ‘Sport': of what colour?

LE BEAU ‘What colour', madam? How shall I answer you?

ROSALIND As wit and fortune will.

TOUCHSTONE [Imitating Le Beau] Or as the Destinies decree.

CELIA Well said: that was laid on with a trowel.

TOUCHSTONE Nay, if I keep not my rank –

ROSALIND Thou loosest thy old smell.

LE BEAU You amaze me, ladies! I would have told you of good wrestling

which you have lost the sight of.

ROSALIND Yet tell us the manner of the wrestling.

LE BEAU 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.

CELIA Well, the beginning that is dead and buried.

LE BEAU There comes an old man and his three sons –

CELIA I could match this beginning with an old tale.

LE BEAU Three proper young men, of excellent growth and presence –

ROSALIND With bills on their necks: ‘Be it known unto all men by these presents.'

LE BEAU 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.

ROSALIND Alas!

80

85

90

95

TOUCHSTONE But what is the sport, monsieur, that the ladies have                                                                                        105

lost?

LE BEAU Why, this that I speak of.

TOUCHSTONE Thus men may grow wiser every day. It is the first time that ever I heard breaking of ribs was sport for ladies.

CELIA Or I, I promise thee.

ROSALIND 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?

LE BEAU You must, if you stay, here; for here is the place appointed for the wrestling and they are ready to perform it.                                                                                  115

CELIA Yonder, sure, they are coming. Let us now stay and see it.

Flourish. Enter DUKE FREDERICK, ORLANDO, and CHARLES and LORDS

6.  “I would thou hadst been son to some man else”

DUKE FREDERICK Come on; since the youth will not be entreated, his own peril on his forwardness.

ROSALIND Is yonder the man?

LE BEAU Even he, madam.

CELIA Alas, he is too young; yet he looks successfully.                                                                                        120

DUKE FREDERICK How now, daughter – and cousin: are you crept hither to see the wrestling?

ROSALIND Ay, my liege, so please you give us leave.

DUKE FREDERICK You will take little delight in it, I can tell you: there                                                                                        125

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.

CELIA Call him hither, good Monsieur Le Beau.

DUKE FREDERICK Do so; I'll not be by.

[The DUKE stands aside]

LE BEAU Monsieur the challenger, the princesses call for you.

ORLANDO I attend them with all respect and duty.

ROSALIND Young man, have you challenged Charles the wrestler?

ORLANDO No, fair princess, he is the general challenger. I come but in

130

CELIA 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 judgment, 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.

ROSALIND Do, young sir; your reputation shall not therefore be Misprised. We will make it our suit to the Duke that the wrestling might not go forward.

ORLANDO I beseech you, punish me not with your hard thoughts, wherein I confess me much guilty to deny so fair and excellent ladies any thing. 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 was 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.

ROSALIND The little strength that I have, I would it were with you.

CELIA And mine, to eke out hers.

ROSALIND Fare you well: pray heaven I be deceived in you.

CELIA Your heart's desires be with you.

CHARLES Come, where is this young gallant that is so desirous to lie with his mother earth?

ORLANDO Ready, sir, but his will hath in it a more modest working.

DUKE FREDERICK You shall try but one fall.

CHARLES No, I warrant your grace, you shall not entreat him to a second, that have so mightily persuaded him from a first.

ORLANDO You mean to mock me after: you should not have mocked me Before. But come your ways.

ROSALIND Now Hercules be thy speed, young man.

CELIA I would I were invisible, to catch the strong fellow by the leg.

[CHARLES and ORLANDO wrestle]

ROSALIND O excellent young man.

CELIA If I had a thunderbolt in mine eye, I can tell who should down.

[CHARLES is thrown to the ground. Shout]

140

145

150

155

160

165

DUKE FREDERICK No more, no more!

ORLANDO Yes, I beseech your grace, I am not yet well breathed. 170

DUKE FREDERICK How dost thou, Charles?

LE BEAU He cannot speak, my lord.

DUKE FREDERICK Bear him away.

[CHARLES is carried out] What is thy name, young man?

ORLANDO Orlando, my liege, the youngest son of Sir Rowland de Boys.                                                                                        175

DUKE FREDERICK I would thou hadst been son to some man else;

The world esteem'd 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.                                                                                        180

But fare thee well. Thou art a gallant youth:

I would thou hadst told me of another father.

Exeunt DUKE FREDERICK, LE BEAU and LORDS

7A. “You have wrestled well and overthrown More than your enemies.”

CELIA Were I my father, coz, would I do this?

ORLANDO  I am more proud to be Sir Rowland's son,

His youngest son – and would not change that calling                                                                                        185

To be adopted heir to Frederick.

ROSALIND  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 190 Ere he should thus have ventured.

CELIA                                                   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 all promise, Your mistress shall be happy.

195

ROSALIND

Gentleman,

[Giving him a chain from her neck]

Wear this for me: one out of suits with Fortune,

That could give more, but that her hand lacks means. – Shall we go, coz?

Exeunt ROSALIND and CELIA

7B. “From tyrant duke unto a tyrant brother”

ORLANDO

Will suddenly break forth. Sir, fare you well,                                                                                        235

Hereafter, in a better world than this,

I shall desire more love and knowledge of you.

I rest much bounden to you: fare you well.

Exit LE BEAU

Thus must I from the smoke into the smother,

From tyrant duke unto a tyrant brother. 240 But heavenly Rosalind!

Exit

1.3 Enter CELIA and ROSALIND

8.  “Let me love him for that, and do you love him because I do”

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                                                                                            5

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 briars is this working-day world!

CELIA They are but burs, cousin, thrown upon thee in holy-day foolery:                                                                                          10

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.                                                                                          15

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                                                                                    20

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. 25

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.                                                                                          30

9.  “Her very silence, and her patience Speak to the people and they pity her.”

Enter DUKE FREDERICK, with LORDS

CELIA Dear sovereign, hear me speak.

DUKE FRED. Aye, 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                                                                                          60

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, learned, played, eat together,

And wheresoe'er we went, like Juno's swans,                                                                                          65

Still we went coupled and inseparable.

DUKE FRED. 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                                                                                          70

And thou wilt show more bright and seem more virtuous When she is gone.

[CELIA starts to speak]

Then open not thy lips!

Firm and irrevocable is my doom

Which I have pass'd upon her: she is banished.

CELIA Pronounce that sentence then on me, my liege, 75

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

10.  “Therefore devise with me how we may fly”

CELIA O my poor Rosalind, whither wilt thou go? 80

Wilt thou change fathers? I will give thee mine!

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 banished me, his daughter?

ROSALIND                                                 That he hath not.                                                             85

CELIA No? Hath not? Rosalind lacks then the love

Which teacheth thee that thou and I am one;

Shall we be sundered, shall we part, sweet girl?

No, let my father seek another heir!

Therefore devise with me how we may fly,                                                                                          90

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.                                                                                          95

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.                                                                                        100

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,                                                                                        105

That I did suit me all points like a man,

A gallant curtal-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                                                                                        110

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'.                                                                                        115

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 assayed to steal

The clownish fool out of your father's court: 120 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 125 To hide us from pursuit that will be made

After my flight. Now go we in content

To liberty, and not to banishment.

Exeunt

[2.3 Before OLIVER'S house.]

11. “Thou art not for the fashion of these times,”

Enter ORLANDO and ADAM, meeting ORLANDO Who's there?

ADAM What, my young master! O, my gentle master, O my sweet master, O you memory Of old Sir Rowland! why, what make you here? Why are you virtuous? Why do people love you? And wherefore are you gentle, strong and valiant? Why would you be so fond to overcome The bonny prizer of the humorous Duke?

Your praise is come too swiftly home before you. Know you not, master, to some kind of men Their graces serve them but as enemies? No more do yours: your virtues, gentle master, Are sanctified and holy traitors to you.

O, what a world is this, when what is comely Envenoms him that bears it!

10

15

ORLANDO   Why, what's the matter?

ADAM

O unhappy youth,

Come not within these doors: within this roof The enemy of all your graces lives Your brother – no, no brother – yet the son – Yet not the son, I will not call him son Of him I was about to call his father – Hath heard your praises, and this night he means To burn the lodging where you use to lie And you within it. If he fail of that, He will have other means to cut you off: I overheard him and his practises.

This is no place, this house is but a butchery: Abhor it, fear it, do not enter it.

20

25

ORLANDO Why whither, Adam, wouldst thou have me go?

ADAM No matter whither, so you come not here.

30

ORLANDO

What, wouldst thou have me go and beg my food, Or with a base and boisterous sword enforce A thievish living on the common road?

This I must do or know not what to do;

Yet this I will not do, do how I can.

I rather will subject me to the malice Of a diverted blood and bloody brother.

35

ADAM

But do not so: I have five hundred crowns, The thrifty hire I saved under your father, Which I did store to be my foster-nurse When service should in my old limbs lie lame

40

And unregarded age in corners thrown;

Take that, and He that doth the ravens feed,

Yea, providently caters for the sparrow,

Be comfort to my age. Here is the gold:                                                                                          45

And all this I give you; let me be your servant –

Though I look old, yet I am strong and lusty;

For in my youth I never did apply

Hot and rebellious liquors in my blood,

Nor did not with unbashful forehead woo                                                                                          50

The means of weakness and debility;

Therefore my age is as a lusty winter,

Frosty, but kindly. Let me go with you:

I'll do the service of a younger man

In all your business and necessities.                                                                                          55

ORLANDO  O good old man, how well in thee appears

The constant service of the antique world, When service sweat for duty not for meed. Thou art not for the fashion of these times Where none will sweat but for promotion                                                                                          60

And, having that, do choke their service up Even with the having. It is not so with thee;

But, poor old man, thou prun'st a rotten tree,

That cannot so much as a blossom yield,

In lieu of all thy pains and husbandry. 65 But come thy ways: well go along together, And, ere we have thy youthful wages spent, We'll light upon some settled low content.

ADAM Master, go on, and I will follow thee

To the last gasp, with truth and loyalty.                                                                                          70

From seventeen years till now almost fourscore

Here lived I, but now live here no more.

At seventeen years many their fortunes seek;

But at fourscore it is too late a week;

Yet Fortune cannot recompense me better                                                                                          75

Than to die well and not my master's debtor.

Exeunt

ACT 2.1. The Forest of Arden.

WINTER

12._ “translate the stubbornness of fortune Into so quiet and so sweet a style.”

Enter DUKE SENIOR, AMIENS, and two or three LORDS, dressed as foresters

DUKE SENIOR Now, my co-mates and brothers in exile,

Hath not old custom made this life more sweet

Than that of painted pomp? Are not these woods

More free from peril than the envious court?

Here feel we but the penalty of Adam,                                                                                            5

The seasons' difference, as the icy fang

And churlish chiding of the winter's wind –

Which, when it bites and blows upon my body

Even till I shrink with cold, I smile and say,

'This is no flattery' – these are counselors 10 That feelingly persuade me what I am.

Sweet are the uses of adversity

Which like the toad, ugly and venomous,

Wears yet a precious jewel in his head,

And this our life exempt from public haunt                                                                                          15

Finds tongues in trees, books in the running brooks, Sermons in stones, and good in every thing.

AMIENS      I would not change it; happy is your grace,

That can translate the stubbornness of Fortune

Into so quiet and so sweet a style.                                                                                          20

DUKE SENIOR Come, shall we go and kill us venison?

And yet it irks me the poor dappled fools,

Being native burghers of this desert city,

Should, in their own confines with forked heads

Have their round haunches gored.

1 LORD                                                        Indeed, my lord.                                                                25

The melancholy ‘Jaques' grieves at that,

And in that kind swears you do more usurp

Than doth your brother that hath banished you.

Today my lord of Amiens and myself

Did steal behind him as he lay along                                                                                          30

Under an oak, whose antique root peeps out

Upon the brook that brawls along this wood,

To the which place a poor sequestered stag,

That from the hunter's aim had ta'en a hurt,

Did come to languish; and indeed, my lord,                                                                                          35

The wretched animal heaved forth such groans

That their discharge did stretch his leathern coat

Almost to bursting, and the big round tears

Coursed one another down his innocent nose

In piteous chase; and thus the hairy fool,                                                                                          40

Much markèd of the melancholy Jaques,

Stood on the extremest verge of the swift brook,

Augmenting it with tears.

DUKE SENIOR But what said Jaques?

Did he not moralize this spectacle?

1 LORD      O, yes, into a thousand similes.                      45

First, for his weeping into the needless stream: 'Poor deer,' quoth he, 'thou makest a testament As worldlings do, giving thy sum of more To that which had too much.' Then, being there alone, Left and abandoned of his velvet friend:                                                                                          50

''Tis right:' quoth he; 'thus misery doth part The flux of company.' Anon a careless herd, Full of the pasture, jumps along by him And never stays to greet him. 'Aye' quoth Jaques, 'Sweep on, you fat and greasy citizens,                                                                                          55

'Tis just the fashion: wherefore do you look Upon that poor and broken bankrupt there?' Thus most invectively he pierceth through The body of the country, city, court,

Yea, and of this our life, swearing that we 60 Are mere usurpers, tyrants and what's worse, To fright the animals and to kill them up In their assign'd and native dwelling-place.

DUKE SENIOR And did you leave him in this contemplation?

2 LORD      We did, my lord, weeping and commenting 65

Upon the sobbing deer.

DUKE SENIOR                   Show me the place;

I love to cope him in these sullen fits,

For then he's full of matter.

1 LORD                                             I'll bring you to him straight.

Exeunt

[2.2. A room in the palace.]

13.“It cannot be:”

Enter DUKE FREDERICK, LE BEAU and LORD

DUKE FRED. Can it be possible that no man saw them?

It cannot be: some villeins of my court

Are of consent and sufferance in this.

LE BEAU    I cannot hear of any that did see her.

The ladies, her attendants of her chamber, 5

Saw her abed and, in the morning early,

They found the bed untreasured of their mistress.

LORD My lord, the roynish clown, at whom so oft

Your grace was wont to laugh, is also missing.

Hisperia, the princess' gentlewoman,                                                                                          10

Confesses that she secretly o'erheard

Your daughter and her cousin much commend

The parts and graces of the wrestler

That did but lately foil the sinewy Charles;

And she believes, wherever they are gone, 15

That youth is surely in their company.

DUKE FRED. Send to his brother:‘Fetch that gallant hither.'

If he be absent, bring his brother to me –

I'll make him find him. Do this suddenly,

And let not search and inquisition quail 20

To bring again these foolish runaways.

Exeunt

2.4.  The Forest of Arden.

14A. “Well, this is the Forest of Arden.”

Enter ROSALIND [in man's attire as] GANYMEDE, CELIA [as a shepherdess] ALIENA, and TOUCHSTONE

ROSALIND O Jupiter, how weary are my spirits!

TOUCHSTONE I care not for my spirits, if my legs were not weary.

ROSALIND [Aside] I could find in my heart to disgrace my man's apparel and to cry like a woman; but I must comfort the weaker vessel, as doublet and hose ought to show itself courageous to petticoat;                                                                                      5

therefore – courage, good Aliena!

CELIA I pray you bear with me, I cannot go no further.

TOUCHSTONE For my part, I had rather bear with you than bear you;

yet I should bear no cross if I did bear you, for I think you have no money in your purse. 10

ROSALIND Well, this is the Forest of Arden.

TOUCHSTONE Aye, now am I in Arden, the more fool I; when I was at home I was in a better place; but travelers must be content.

Enter CORIN and SILVIUS

ROSALIND  Ay, be so, good Touchstone Look you, who comes here;

a young man and an old in solemn talk.                                                                                          15

14B. “Thou hast not loved.”

Or if thou hast not sat as I do now,

Wearying thy hearer in thy mistress' praise, Thou hast not loved.

Or if thou hast not broke from company

Abruptly as my passion now makes me,                                                                                          35

Thou hast not loved.

O Phoebe, Phoebe, Phoebe!

Exit

15.  “if that love or gold Can in this desert place buy entertainment”

ROSALIND Alas, poor shepherd, searching of thy wound,

I have by hard adventure found mine own.

TOUCHSTONE And I mine: I remember, when I was in love, I broke my                                                                                          40

sword upon a stone and bid him take that for coming a-night to Jane Smile; and I remember the kissing of her [bucket] and the cow's dugs that her pretty chapped hands had milked; and I remember the wooing of a peascod instead of her, from whom I took two cods and, giving her them again, said with weeping tears 'Wear these for                                                                                          45

my sake.' We that are true lovers run into strange capers; but as all is mortal in Nature, so is all nature in love mortal in folly.

ROSALIND Thou speak'st wiser than thou art ware of.

TOUCHSTONE Nay, I shall ne'er be ware of mine own wit till I break my shins against it. 50

ROSALIND Jove, Jove, this shepherd's passion

Is much upon my fashion.

TOUCHSTONE And mine; but it grows something stale with me.

CELIA I pray you, one of you question yond man

If he for gold will give us any food:                                                                                          55

I faint almost to death.

TOUCHSTONE Holla, you clown!

ROSALIND Peace, fool; he's not thy kinsman.

CORIN Who calls?                                                                                          60

TOUCHSTONE Your betters, sir.

CORIN Else are they very wretched.

ROSALIND [To Touchstone] Peace, I say. -- Good even to you, friend.

CORIN        And to you, gentle sir, and to you all.

ROSALIND I prithee, shepherd, if that love or gold

Can in this desert place buy entertainment,                                                                                          65

Bring us where we may rest ourselves and feed.

Here's a young maid with travel much oppressed

And faints for succor.

CORIN                             Fair sir, I pity her

And wish, for her sake more than for mine own,

My fortunes were more able to relieve her;                                                                                          70

But I am shepherd to another man,

And do not shear the fleeces that I graze.

My master is of churlish disposition

And little recks to find the way to heaven

By doing deeds of hospitality.                                                                                          75

Besides, his cot, his flocks, and bounds of feed

Are now on sale, and at our sheepcote now

By reason of his absence there is nothing

That you will feed on. But what is, come see,

And in my voice most welcome shall you be. 80

ROSALIND What is he that shall buy his flock and pasture?

CORIN That young swain that you saw here but erewhile,

That little cares for buying any thing.

ROSALIND I pray thee, if it stand with honesty,

Buy thou the cottage, pasture, and the flock,                                                                                          85

And thou shalt have to pay for it of us.

CELIA And we will mend thy wages. I like this place

And willingly could waste my time in it.

CORIN Assuredly the thing is to be sold.

Go with me. If you like upon report

The soil, the profit and this kind of life,                                                                                          90

I will your very faithful feeder be,

And buy it with your gold right suddenly.

Exeunt

2.5.  The Forest.

16.  “More, I prithee, more”

Enter AMIENS, JAQUES, and LORDS [as foresters]

AMIENS                 UNDER THE GREENWOOD TREE,

WHO LOVES TO LIE WITH ME

AND TURN HIS MERRY NOTE UNTO THE SWEET BIRD'S THROAT:

COME HITHER, COME HITHER, COME HITHER:                                                                                            5

HERE SHALL HE SEE NO ENEMY BUT WINTER AND ROUGH WEATHER.

JAQUES More, more, I prithee, more.

AMIENS It will make you melancholy, Monsieur Jaques.                                                                                          10

JAQUES I thank it. More, I prithee, more: I can suck melancholy out of

a song, as a weasel sucks eggs. More, I prithee, more.

AMIENS My voice is ragged: I know I cannot please you.

JAQUES I do not desire you to please me, I do desire you to sing. Come, more; another stanzo – call you 'em ‘stanzos'? 15

AMIENS What you will, Monsieur Jaques.

JAQUES Nay, I care not for their names; they owe me nothing. Will you sing?

AMIENS More at your request than to please myself.

JAQUES Well then, if ever I thank any man, I'll thank you; but that they                                                                                          20

call ‘compliment' is like the encounter of two dog-apes. And when a man thanks me heartily, methinks I have given him a penny and he renders me the beggarly thanks. Come, sing; and you that will not, hold your tongues.

AMIENS Well, I'll end the song. – Sirs, cover the while; the Duke will                                                                                          25

drink under this tree. – He hath been all this day to look you.

JAQUES And I have been all this day to avoid him: he is too disputable

for my company: I think of as many matters as he, but I give heaven thanks and make no boast of them. Come, warble, come.

All together here.

WHO DOTH AMBITION SHUN                                                                                          30

AND LOVES TO LIVE I' THE SUN;

SEEKING THE FOOD HE EATS

AND PLEASED WITH WHAT HE GETS:

COME HITHER, COME HITHER, COME HITHER:

HERE SHALL HE SEE                                                                                          35

NO ENEMY BUT WINTER AND ROUGH WEATHER.

JAQUES I'll give you a verse to this note that I made yesterday in despite of my invention.

AMIENS And I'll sing it.                                                                                          40

JAQUES Thus it goes:--

IF IT DO COME TO PASS THAT ANY MAN TURN ASS, LEAVING HIS WEALTH AND EASE,

A STUBBORN WILL TO PLEASE,                                                                                          45

DUCDAME, DUCDAME, DUCDAME:

HERE SHALL HE SEE

GROSS FOOLS AS HE, AND IF HE WILL COME TO ME.

AMIENS What's that 'ducdame'?                                                                                          50

JAQUES 'Tis a Greek invocation, to call fools into a circle. I'll go sleep if

I can: if I cannot, I'll rail against all the first-born of Egypt.

AMIENS And I'll go seek the Duke: his banquet is prepared.

Exeunt

2.6. The forest.

17. “hold death awhile at the arm's end”

Enter ORLANDO and ADAM

ADAM Dear master, I can go no further. O, I die for food. Here lie I down and measure out my grave. Farewell, kind master.

ORLANDO Why, how now, Adam! no greater heart in thee? Livea little, comfort a little, cheer thyself a little. If this uncouth forest yield anything savage, I will either be food for it or bring it for food to                                                                                      5

thee. Thy conceit is nearer death than thy powers. For my sake be comfortable; hold death awhile at the arm's end. I will here be with thee presently, and if I bring thee not something to eat, I will give thee leave to die; but if thou diest before I come, thou art a mocker of my labour. Well said, thou lookest cheerly, and I'll be with thee                                                                                          10

quickly. Yet thou liest in the bleak air. Come, I will bear thee to some shelter, and thou shalt not die for lack of a dinner, if there live anything in this desert. Cheerly, good Adam.

Exeunt

2.7.  The forest.

18.  “Most mischievous foul sin in chiding sin”

Enter DUKE SENIOR, [AMIENS], and LORDS like outlaws [who set out a banquet]

DUKE SENIOR I think he be transformed into a beast,

For I can no where find him like a man.

AMIENS My lord, he is but even now gone hence;

Here was he merry, hearing of a song.

DUKE SENIOR If he, compact of jars, grow musical,                                                                                            5

We shall have shortly discord in the spheres.

Go, seek him; tell him I would speak with him.

Enter JAQUES

AMIENS      He saves my labour by his own approach.

DUKE SENIOR Why, how now, monsieur, what a life is this,

That your poor friends must woo your company? 10 What, you look merrily?

JAQUES     A fool, a fool: I met a fool i' th' forest,

A motley fool – a miserable world –

As I do live by food, I met a fool

Who laid him down and basked him in the sun 15 And railed on Lady Fortune in good terms, In good set terms and yet a motley fool.

'Good morrow, fool,' quoth I. 'No, sir,' quoth he, 'Call me not fool till heaven hath sent me fortune:'

And then he drew a dial from his poke                                                                                          20

And looking on it with lack-lustre eye, Says very wisely, 'It is ten o'clock. Thus we may see,' quoth he, 'how the world wags: 'Tis but an hour ago since it was nine,

And after one hour more 'twill be eleven; 25

And so, from hour to hour, we ripe and ripe,

And then, from hour to hour, we rot and rot, And thereby hangs a tale.' When I did hear The motley fool thus moral on the time, My lungs began to crow like Chanticleer                                                                                          30

That fools should be so deep-contemplative;

And I did laugh, sans intermission,

An hour by his dial. O noble fool,

O worthy fool: motley's the only wear.

DUKE SENIOR What fool is this?                                                                                          35

JAQUES     A worthy fool: one that hath been a courtier

And says, ‘If ladies be but young and fair, They have the gift to know it'; and in his brain, Which is as dry as the remainder biscuit

After a voyage, he hath strange places crammed

With observation, the which he vents In mangled forms. O that I were a fool! I am ambitious for a motley coat.

DUKE SENIOR Thou shalt have one.

JAQUES It is my only suit,

Provided that you weed your better judgments                                                                                          45

Of all opinion that grows rank in them

That I am wise. I must have liberty Withal, as large a charter as the wind, To blow on whom I please: for so fools have.

And they that are most galled with my folly,                                                                                          50

They most must laugh. And why, sir, must they so?

The why is plain as way to parish church:

He that a fool doth very wisely hit,

Doth very foolishly, although he smart,

Not to seem senseless of the bob. If not,                                                                                          55

The wise man's folly is anatomized

Even by the squand'ring glances of the fool.

Invest me in my motley; give me leave

To speak my mind, and I will through and through

Cleanse the foul body of th' infected world,                                                                                          60

If they will patiently receive my medicine.

DUKE SENIOR Fie on thee! I can tell what thou wouldst do.

JAQUES     What, for a counter, would I do but good?

DUKE SENIOR Most mischievous foul sin in chiding sin:

For thou thyself hast been a libertine,                                                                                          65

As sensual as the brutish sting itself,

And all the embossed sores and headed evils

That thou with licence of free foot hast caught

Wouldst thou disgorge into the general world.

JAQUES     Why, who cries out on pride                      70

That can therein tax any private party?

Doth it not flow as hugely as the sea

Till that the weary very means do ebb?

What woman in the city do I name

When that I say the city-woman bears 75 The cost of princes on unworthy shoulders?

Who can come in and say that I mean her, When such a one as she, such is her neighbour? Or what is he of basest function

That says his bravery is not of my cost,                                                                                          80

Thinking that I mean him, but therein suits

His folly to the mettle of my speech?

There then! How then? What then? Let me see wherein

My tongue hath wronged him. If it do him right,

Then he hath wronged himself; if he be free, 85 Why then my taxing like a wild-goose flies Unclaimed of any man. But who comes here?

19.  “He dies that touches any of this fruit Till I and my affairs are answered”

Enter ORLANDO, [with his sword drawn]

ORLANDO Forbear, and eat no more!

JAQUES Why, I have eat none yet.

ORLANDO Nor shalt not, till necessity be served. 90

JAQUES Of what kind should this cock come of?

DUKE SENIOR Art thou thus bolden'd, man, by thy distress,

Or else a rude despiser of good manners

That in civility thou seem'st so empty?

ORLANDO  You touched my vein at first: the thorny point             95

Of bare distress hath ta'en from me the show

Of smooth civility; yet am I inland bred And know some nurture. But forbear, I say;

He dies that touches any of this fruit

Till I and my affairs are answerèd.                                                                                        100

JAQUES     And you will not be answerèd with reason, I must die.

DUKE SENIOR What would you have? Your gentleness shall force

More than your force move us to gentleness.

ORLANDO  I almost die for food, and let me have it.

DUKE SENIOR Sit down and feed, and welcome to our table.                                                                                        105

ORLANDO  Speak you so gently? Pardon me, I pray you:

I thought that all things had been savage here And therefore put I on the countenance Of stern commandment. But whate'er you are That in this desert inaccessible, 110 Under the shade of melancholy boughs, Lose and neglect the creeping hours of time – If ever you have looked on better days, If ever been where bells have knolled to church,

If ever sat at any good man's feast,                                                                                        115

If ever from your eyelids wiped a tear, And know what 'tis to pity and be pitied, Let gentleness my strong enforcement be, In the which hope, I blush, and hide my sword.

DUKE SENIOR True is it that we have seen better days,                                                                                        120

And have with holy bell been knolled to church,

And sat at good men's feasts, and wiped our eyes

Of drops that sacred pity hath engendered:

And therefore sit you down in gentleness

And take upon command what help we have                                                                                        125

That to your wanting may be ministered.

ORLANDO  Then but forbear your food a little while

Whiles, like a doe, I go to find my fawn

And give it food. There is an old poor man

Who after me hath many a weary step                                                                                        130

Limped in pure love. Till he be first sufficed, Oppressed with two weak evils, age and hunger, I will not touch a bit.

DUKE SENIOR                          Go find him out,

And we will nothing waste till you return.

ORLANDO I thank ye, and be blest for your good comfort.                                                                                        135

Exit

20.  “And one man in his time plays many parts”

DUKE SENIOR Thou seest we are not all alone unhappy:

This wide and universal theatre

Presents more woeful pageants than the scene

Wherein we play in.

JAQUES                                    All the world's a stage

And all the men and women merely players:                                                                                        140

They have their exits and their entrances

And one man in his time plays many parts, His acts being seven ages. At first the infant, Mewling and puking in the nurse's arms;

And then the whining schoolboy with his satchel                                                                                        145

And shining morning face, creeping like snail Unwillingly to school; and then the lover, Sighing like furnace, with a woeful ballad

Made to his mistress' eyebrow. Then a soldier,

Full of strange oaths and bearded like the pard,                                                                                        150

Jealous in honour, sudden, and quick in quarrel,

Seeking the bubble ‘reputation'

Even in the cannon's mouth; and then the justice,

In fair round belly with good capon lined,

With eyes severe and beard of formal cut,                                                                                        155

Full of wise saws and modern instances –

And so he plays his part; the sixth age shifts Into the lean and slippered pantaloon, With spectacles on nose and pouch on side, His youthful hose, well saved – a world too wide                                                                                        160

For his shrunk shank – and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound; last scene of all, That ends this strange eventful history

Is second childishness and mere oblivion,                                                                                        165

Sans teeth, sans eyes, sans taste, sans everything.

21.  “Most friendship is feigning, most loving mere folly”

Re-enter ORLANDO, with ADAM [on his back]

DUKE SENIOR Welcome. Set down your venerable burthen,

And let him feed.

ORLANDO I thank you most for him.

ADAM So had you need: I scarce can speak

To thank you for myself.                                                                                        175

DUKE SENIOR Welcome; fall to: I will not trouble you

As yet, to question you about your fortunes.

Give us some music, and, good cousin, sing.

AMIENS                 BLOW, BLOW, THOU WINTER WIND.

THOU ART NOT SO UNKIND

AS MAN'S INGRATITUDE;

THY TOOTH IS NOT SO KEEN, BECAUSE THOU ART NOT SEEN, ALTHOUGH THY BREATH BE RUDE.

HEIGH-HO, SING, HEIGH-HO 180 UNTO THE GREEN HOLLY, MOST FRIENDSHIP IS FEIGNING, MOST LOVING MERE FOLLY.

THE, HEIGH-HO, THE HOLLY,

THIS LIFE IS MOST JOLLY. 185

FREEZE, FREEZE, THOU BITTER SKY,

THAT DOST NOT BITE SO NIGH

AS BENEFITS FORGOT;

THOUGH THOU THE WATERS WARP,

THY STING IS NOT SO SHARP 190

AS FRIEND REMEMBERED NOT.

HEIGH-HO, SING, HEIGH-HO UNTO THE GREEN HOLLY, MOST FRIENDSHIP IS FEIGNING, MOST LOVING MERE FOLLY.                                                                                        195

THE, HEIGH-HO, THE HOLLY, THIS LIFE IS MOST JOLLY.

[During the song ADAM has passed, unbeknownst to ORLANDO. As the DUKE'S MEN tend to the body, DUKE SENIOR steers ORLANDO away from his servant]

DUKE SENIOR If that you were the good Sir Rowland's son,

As you have whispered faithfully you were,

And as mine eye doth his effigies witness 200 Most truly limned and living in your face,

Be truly welcome hither. I am the Duke

That loved your father. The residue of your fortune,

Go to my cave and tell me. – Good old man,

Thou art right welcome as thy master is. –                                                                                        205

[To ORLANDO] Support him by the arm. [To ADAM]Give me your hand,

And let me all your fortunes understand.

[DUKE SENIOR guides ORLANDO off, who is still unaware of ADAM's demise. By now, AMIENS and the LORDS have lay ADAM down and covered him in a white sheet. They too exit. JAQUES sits down beside the body.]

END OF ACT I

INTERMISSION

ACT 3.1. A room in the palace.

22.  “Sir, sir, that cannot be”

Enter DUKE FREDERICK, LORDS, and OLIVER

DUKE FRED. ‘Not see him since?' Sir, sir, that cannot be!

But were I not the better part made mercy, I should not seek an absent argument Of my revenge, thou present. But look to it: Find out thy brother, wheresoe'er he is; Seek him with candle; bring him dead or living Within this twelvemonth, or turn thou no more To seek a living in our territory.

Thy lands and all things that thou dost call thine Worth seizure, do we seize into our hands Till thou canst quit thee by thy brother's mouth Of what we think against thee.

OLIVER      O that your highness knew my heart in this:

I never loved my brother in my life.

DUKE FRED. More villain thou. [To LORDS] Well, push him out of Doors

And let my officers of such a nature Make an extent upon his house and lands. Do this expediently and turn him going.

10

15

Exeunt

3.2. The forest.

SPRING

23.  “Thy huntress' name that my full life doth sway”

Enter ORLANDO, with a paper

ORLANDO Hang there, my verse, in witness of my love;

And thou, thrice-crownèd queen of night, survey With thy chaste eye, from thy pale sphere above, Thy huntress' name that my full life doth sway. O Rosalind, these trees shall be my books, And in their barks my thoughts I'll character That every eye which in this forest looks Shall see thy virtue witnessed every where. Run, run, Orlando; carve on every tree The fair, the chaste and unexpressive she.

Exit

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3.3.  The Forest of Arden

24.  “Such a one is a natural philosopher”

Enter CORIN and TOUCHSTONE

CORIN And how like you this shepherd's life, Master Touchstone?

TOUCHSTONE Truly, shepherd, in respect of itself, it is a good life; but in respect that it is a shepherd's life, it is naught. In respect that it is solitary, I like it very well; but in respect that it is private, it is a very vile life. Now, in respect it is in the fields, it pleaseth me well;                                                                                      5

but in respect it is not in the court, it is tedious. As is it a spare life, look you, it fits my humour well; but as there is no more plenty in it, it goes much against my stomach. Hast any philosophy in thee, shepherd?

CORIN No more but that I know the more one sickens, the worse at ease                                                                                          10

he is; and that he that wants money, means, and content is without three good friends; that the property of rain is to wet and fire to burn; that good pasture makes fat sheep; and that a great cause of the night is lack of the sun; that he that hath learned no wit by nature nor art may complain of good breeding, or comes of a very                                                                                          15

dull kindred.

TOUCHSTONE Such a one is a natural philosopher. — Wast ever in court, shepherd?

CORIN No, truly.

TOUCHSTONE Then thou art damned. 20

CORIN Nay, I hope.

TOUCHSTONE Truly, thou art damned: like an ill-roasted egg, all on one side.

CORIN For not being at court? Your reason.

TOUCHSTONE Why, if thou never wast at court, thou never saw'st good 25 manners; if thou never saw'st good manners, then thy manners must be wicked, and wickedness is sin, and sin is damnation. Thou art in a parlous state, shepherd.

CORIN Not a whit, Touchstone: those that are good manners at the court are as ridiculous in the country as the behavior of the coun-                                                                                    30

try is most mockable at the court. You told me you salute not at the court but you kiss your hands: that courtesy would be uncleanly if courtiers were shepherds.

TOUCHSTONE Instance, briefly; come, instance.

CORIN Why, we are still handling our ewes, and their fells, you know,                                                                                          35

are greasy.

TOUCHSTONE Why, do not your courtier's hands sweat, and is not the grease of a mutton as wholesome as the sweat of a man? Shallow, shallow. A better instance, I say – come.

CORIN Besides, our hands are hard.                                                                                          40

TOUCHSTONE Your lips will feel them the sooner. Shallow again: a more sounder instance, come.

CORIN And they are often tarred over with the surgery of our sheep, and would you have us kiss tar? The courtier's hands are perfumed with civet. 45

TOUCHSTONE Most shallow man! Thou worms' meat, in respect of a good piece of flesh indeed! Learn of the wise, and perpend: civet is of a baser birth than tar, the very uncleanly flux of a cat. Mend the instance, shepherd.

CORIN You have too courtly a wit for me; I'll rest.                                                                                          50

TOUCHSTONE Wilt thou rest damned? God help thee, shallow man.

God make incision in thee, thou art raw.

CORIN Sir, I am a true labourer: I earn that I eat, get that I wear, owe no man hate, envy no man's happiness, glad of other men's good, content with my harm; and the greatest of my pride is to see my                                                                                    55

ewes graze and my lambs suck.

TOUCHSTONE That is another simple sin in you: to bring the ewes and the rams together and to offer to get your living by the copulation of cattle; to be bawd to a bell-wether and to betray a she-lamb of a twelvemonth to a crooked-pated, old cuckoldly ram out of all rea-                                                                                    60

sonable match. If thou be'st not damned for this, the devil himself will have no shepherds; I cannot see else how thou shouldst 'scape.

CORIN Here comes young Master Ganymede, my new mistress's brother.

25a. “Truly, the tree yields bad fruit.”

Enter ROSALIND

ROSALIND [with a paper, reading]

‘From the east to western Inde                                                                                          65

No jewel is like Rosalind;

Her worth, being mounted on the wind, Through all the world bears Rosalind.

All the pictures fairest lined

Are but black to Rosalind; 70 Let no fair be kept in mind

But the fair of Rosalind.'

TOUCHSTONE I'll rhyme you so eight years together, dinners and sup­pers and sleeping-hours excepted. It is the right butter-women's rank to market. 75

ROSALIND Out, fool!

TOUCHSTONE For a taste: If a hart do lack a hind, Let him seek out Rosalind;

If the cat will after kind,                                                                                          80

So be sure will Rosalind;

Winter garments must be lined,

So must slender Rosalind. They that reap must sheaf and bind,

Then to cart with Rosalind;                                                                                          85

Sweetest nut hath sourest rind,

Such a nut is Rosalind;

He that sweetest rose will find

Must find love's prick— and Rosalind.

This is the very false gallop of verses: why do you infect yourself                                                                                          90

with them?

ROSALIND Peace, you dull fool. I found them on a tree.

TOUCHSTONE Truly, the tree yields bad fruit.

ROSALIND I'll graft it with you, and then I shall graft it with a medlar;

then it will be the earliest fruit i' the country; for you'll be rotten ere                                                                                          95

you be half ripe, and that's the right virtue of the medlar.

TOUCHSTONE You have said – but whether wisely or no, let the forest judge.

25b. “what tedious homily of love have you wearied your parishioners withal”

Enter CELIA, with a writing

ROSALIND Peace, here comes my sister, reading. Stand aside.

CELIA ‘Why should this a desert be?                                                                                        100

For it is unpeopled? No:

Tongues I'll hang on every tree,

That shall civil sayings show: Some, how brief the life of man

Runs his erring pilgrimage,                                                                                        105

That the stretching of a span

Buckles in his sum of age; Some, of violated vows

'Twixt the souls of friend and friend;

But upon the fairest boughs,                                                                                        110

Or at every sentence end,

Will I “Rosalinda” write, Teaching all that read to know

The quintessence of every sprite Heaven would in little show.                                                                                  115

Therefore Heaven Nature charged

That one body should be filled With all graces wide-enlarged;

Nature presently distill'd

Helen's cheek but not her heart,                                                                                        120

Cleopatra's majesty,

Atalanta's better part,

Sad Lucretia's modesty.

Thus Rosalind of many parts

By heavenly synod was devised, 125

Of many faces, eyes and hearts,

To have the touches dearest prized.

Heaven would that she these gifts should have,

And I to live and die her slave.'

ROSALIND [Coming forward] O most gentle Jupiter, what tedious 130 homily of love have you wearied your parishioners withal, and never cried 'Have patience, good people!'

CELIA How now? Backfriends? – Shepherd, go off a little. – Go with him, sirrah.

TOUCHSTONE Come, shepherd, let us make an honourable retreat,                                                                                        135

though not with bag and baggage, yet with scrip and scrippage.

Exeunt TOUCHSTONE and CORIN

26. “But doth he know that I am in this forest and in man's apparel?”

CELIA Didst thou hear these verses?

ROSALIND O yes, I heard them all, and more too, for some of them had

in them more feet than the verses would bear.

CELIA That's no matter: the feet might bear the verses.                                                                                        140

ROSALIND Aye, but the feet were lame and could not bear themselves without the verse, and therefore stood lamely in the verse.

CELIA But didst thou hear without wondering how thy name should be hanged and carved upon these trees?

ROSALIND I was seven of the nine days out of the wonder before you                                                                                        145

came, for look here what I found on a palm-tree. I was never so berhymed since Pythagoras' time that I was an Irish rat – which I can hardly remember.

CELIA Trow you who hath done this?

ROSALIND Is it a man? 150

CELIA And a chain that you once wore, about his neck? Change you colour?

ROSALIND I prithee, who?

CELIA O Lord, Lord, it is a hard matter for friends to meet, but moun­tains may be removed with earthquakes and so encounter.                                                                                  155

ROSALIND Nay, but who is it?

CELIA Is it possible?

ROSALIND Nay, I prithee now, with most petitionary vehemence, tell me who it is.

CELIA O wonderful, wonderful, and most wonderful wonderful, and yet                                                                                        160

again wonderful, and after that out of all hooping.

ROSALIND Good my complexion, dost thou think, though I am caparisoned like a man, I have a doublet and hose in my disposition? One inch of delay more is a South Sea of discovery. I prithee, tell me who is it – quickly, and speak apace. I would thou couldst stammer                                                                                  165

that thou mightst pour this concealed man out of thy mouth as wine comes out of a narrow-mouthed bottle: either too much at once or none at all. I prithee, take the cork out of thy mouth that I may drink thy tidings.

CELIA So you may put a man in your belly.                                                                                        170

ROSALIND Is he of God's making? What manner of man? Is his head worth a hat or his chin worth a beard?

CELIA Nay, he hath but a little beard.

ROSALIND Why, God will send more, if the man will be thankful. Let me stay the growth of his beard, if thou delay me not the knowledge                                                                                  175

of his chin.

CELIA It is young Orlando, that tripped up the wrestler's heels and your heart both in an instant.

ROSALIND Nay, but the devil take mocking! Speak sad brow and true maid.

CELIA I' faith, coz, 'tis he.

ROSALIND Orlando?

CELIA Orlando.

ROSALIND Alas the day, what shall I do with my doublet and hose?

What did he when thou saw'st him? What said he? How looked he? 185 Wherein went he? What makes him here? Did he ask for me? Where remains he? How parted he with thee? and when shalt thou see him again? Answer me in one word.

CELIA You must borrow me Gargantua's mouth first: 'tis a word too great for any mouth of this age's size. To say ‘aye' and ‘no' to these                                                                                  190

particulars is more than to answer in a catechism.

ROSALIND But doth he know that I am in this forest and in man's apparel? Looks he as freshly as he did the day he wrestled?

CELIA It is as easy to count atomies as to resolve the propositions of a

180

lover; but take a taste of my finding him, and relish it with good observance. I found him under a tree like a dropped acorn.

ROSALIND [Aside] It may well be called Jove's tree, when it drops forth such fruit.

CELIA Give me audience, good madam.

ROSALIND Proceed.

CELIA There lay he stretched along like a wounded knight.

ROSALIND Though it be pity to see such a sight, it well becomes the ground.

CELIA Cry 'holla' to thy tongue, I prithee; it curvets unseasonably. He was furnished like a hunter.

ROSALIND O ominous: he comes to kill my heart.

CELIA I would sing my song without a burden; thou bring'st me out of tune.

ROSALIND Do you not know I am a woman? When I think, I must speak. Sweet, say on.

CELIA You bring me out. – Soft, comes he not here?

27. “The worst fault you have is to be in love”

Enter ORLANDO and JAQUES

ROSALIND 'Tis he. Slink by, and note him.

[ROSALIND and CELIA stand aside]

JAQUES I thank you for your company, but, good faith, I had as lief have been myself alone.

ORLANDO And so had I. But yet, for fashion sake, I thank you too for your society.

JAQUES God buy you. Let's meet as little as we can.

ORLANDO I do desire we may be better strangers.

JAQUES I pray you mar no more trees with writing love-songs in their barks.

ORLANDO I pray you, mar no more of my verses with reading them ill- favouredly.

JAQUES ‘Rosalind' is your love's name?

ORLANDO Yes, just.

200

205

210

215

220

JAQUES I do not like her name.

225

ORLANDO There was no thought of pleasing you when she was christened.

JAQUES What stature is she of?

ORLANDO Just as high as my heart.

JAQUES You are full of pretty answers: have you not been acquainted with goldsmiths' wives, and conned them out of rings?

ORLANDO Not so; but I answer you right painted cloth, from whence you have studied your questions.

JAQUES You have a nimble wit; I think 'twas made of Atalanta's heels. Will you sit down with me? And we two will rail against our mistress the world and all our misery.

ORLANDO I will chide no breather in the world but myself, against whom I know most faults.

JAQUES The worst fault you have is to be in love.

ORLANDO 'Tis a fault I will not change for your best virtue: I am weary of you.

JAQUES By my troth, I was seeking for a fool, when I found you.

ORLANDO He is drowned in the brook: look but in, and you shall see him.

JAQUES There I shall see mine own figure.

ORLANDO Which I take to be either a fool or a cipher.

JAQUES I'll tarry no longer with you. Farewell, good Signior Love.

ORLANDO I am glad of your departure. Adieu, good Monsieur Melancholy.

230

235

240

245

Exit JAQUES

28a. “Time travels in diverse paces with diverse persons”  ROSALIND I will speak to him like a saucy lackey, and under that habit

play the knave with him. [To ORLANDO] Do you hear, forester? ORLANDO Very well. What would you? ROSALIND I pray you, what is't o'clock?

ORLANDO You should ask me what time o' day: there's no clock in the forest.

250

255

ROSALIND Then there is no true lover in the forest, else sighing every minute and groaning every hour would detect the lazy foot of Time as well as a clock.

ORLANDO And why not the swift foot of Time? Had not that been as proper?

ROSALIND By no means, sir. Time travels in diverse paces with diverse persons. I'll tell you who Time ambleswithal, who Time trots withal, who Time gallops withal and who he stands still withal.

ORLANDO I prithee, who doth he trot withal?

ROSALIND Marry, he trots hard with a young maid between the con­tract of her marriage and the day it is solemnized: if the interim be but a seven night, Time's pace is so hard that it seems the length of seven year.

ORLANDO Who ambles Time withal?

ROSALIND With a priest that lacks Latin and a rich man that hath not the gout; for the one sleeps easily because he cannot study, and the other lives merrily because he feels no pain; the one lacking the burden of lean and wasteful learning, the other knowing no burden of heavy tedious penury; these Time ambles withal.

ORLANDO Who doth he gallop withal?

ROSALIND With a thief to the gallows; for though he go as softly as foot can fall, he thinks himself too soon there.

ORLANDO Who stays it still withal?

ROSALIND With lawyers in the vacation; for they sleep between term and term and then they perceive not how Time moves.

28b. “Yes, one, and in this manner”

ORLANDO Where dwell you, pretty youth?

ROSALIND With this shepherdess, my sister, here in the skirts of the forest, like fringe upon a petticoat.

ORLANDO Are you native of this place?

ROSALIND As the cony that you see dwell where she is kindled.

ORLANDO Your accent is something finer than you could purchase in so removed a dwelling.

ROSALIND I have been told so of many; but indeed an old religious uncle of mine taught me to speak, who was in his youth an inland man, one that knew courtship too well, for there he fell in love. I have heard him read many lectures against it, and I thank God I am not a woman to be touched with so many giddy offences as he hath generally taxed their whole sex withal.

265

270

275

280

285

290

ORLANDO Can you remember any of the principal evils that he laid to the charge of women?

ROSALIND There were none principal; they were all like one another as half-pence are, every one fault seemingmonstrous till his fellow­fault came to match it.

ORLANDO I prithee recount some of them.

ROSALIND No. I will not cast away my physic but on those that are sick. There is a man haunts the forest that abuses our young plants with carving 'Rosalind' on their barks; hangs odes upon hawthorns and elegies on brambles; all, forsooth, deifying the name of Rosalind. If I could meet that fancy-monger, I would give him some good counsel, for he seems to have the quotidian of love upon him.

ORLANDO I am he that is so love-shaked. I pray you tell me your remedy.

ROSALIND There is none of my uncle's marks upon you. He taught me how to know a man in love, in which cage of rushes I am sure you are not prisoner.

ORLANDO What were his marks?

ROSALIND A lean cheek, which you have not; a blue eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not – but I pardon you for that, for simply, your having in beard is a younger brother's revenue. Then your hose should be ungartered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied and everything about you demonstrating a careless desolation. But you are no such man; you are rather point-device in your accoutrements, as loving yourself than seeming the lover of any other.

ORLANDO Fair youth, I would I could make thee believe I love.

ROSALIND Me believe it? You may as soon make her that you love believe it, which I warrant, she is apter to do than to confess she does. That is one of the points in the which women still give the lie to their consciences. But, in good sooth, are you he that hangs the verses on the trees wherein Rosalind is so admired?

ORLANDO I swear to thee, youth, by the white hand of Rosalind, I am that he, that unfortunate he.

ROSALIND But are you so much in love as your rhymes speak?

ORLANDO Neither rhyme nor reason can express how much.

ROSALIND Love is merely a madness and, I tell you, deserves as well a dark house and a whip as madmen do; and the reason why they are not so punished and cured is, that the lunacy is so ordinary that the whippers are in love too. Yet I profess curing it by counsel.

300

305

310

315

320

325

330

ORLANDO Did you ever cure any so?

335

ROSALIND Yes, one, and in this manner. He was to imagine me his love, his mistress; and I set him every day to woo me. At which time would I, being but a moonish youth, grieve, be effeminate, change­able, longing and liking, proud, fantastical, apish, shallow, incon­stant, full of tears, full of smiles, for every passion something, and                                                                                  340

for no passion truly anything, as boys and women are, for the most part, cattle of this colour; would now like him, now loathe him; then entertain him, then forswear him; now weep for him, then spit at him; that I drave my suitor from his mad humour of love to a living humour of madness, which was to forswear the full stream of the 345 world and to live in a nook merely monastic. And thus I cured him, and this way will I take upon me to wash your liver as clean as a sound sheep's heart, that there shall not be one spot of love in't.

ORLANDO I would not be cured, youth.

ROSALIND I would cure you if you would but call me Rosalind and                                                                                        350

come every day to my cot and woo me.

ORLANDO

Now, by the faith of my love, I will. Tell me where it is.

ROSALIND Go with me to it and I'll show it you and by the way you shall tell me where in the forest you live. Will you go?

ORLANDO With all my heart, good youth. 355

ROSALIND Nay you must call me ‘Rosalind'.— Come, sister, will you go?

Exeunt

3.4.  The forest.

29.“am I the man yet?”

Enter TOUCHSTONE and AUDREY; JAQUES [behind, watching them]

TOUCHSTONE Come apace, good Audrey; I will fetch up your goats, Audrey. And how, Audrey, am I the man yet? Doth my simple feature content you?

AUDREY Your features, Lord warrant us – what features?

TOUCHSTONE I am here with thee and thy goats, as the most capricious                                                                                            5

poet, honest Ovid, was among the Goths.

JAQUES [Aside] O knowledge ill-inhabited, worse than Jove in a thatched house!

TOUCHSTONE When a man's verses cannot be understood, nor a man's

good wit seconded with the forward child, understanding, it strikes

a man more dead than a great reckoning in a little room. Truly, I                                                                                          10

would the gods had made thee poetical.

AUDREY I do not know what 'poetical' is. Is it honest in deed and word?

Is it a true thing?

TOUCHSTONE No, truly; for the truest poetry is the most feigning, and

lovers are given to poetry; and what they swear in poetry may be                                                                                          15

said as lovers they do feign.

AUDREY Do you wish then that the gods had made me poetical?

TOUCHSTONE I do, truly; for thou swear'st to me thou art honest. Now

if thou wert a poet, I might have some hope thou didst feign.

AUDREY Would you not have me honest?                                                                                          20

TOUCHSTONE No, truly, unless thou wert hard-favoured: for honesty coupled to beauty is to have honey a sauce to sugar.

JAQUES [Aside] A material fool.

AUDREY Well, I am not fair, and therefore I pray the gods make me

honest. 25

TOUCHSTONE Truly, and to cast away honesty upon a foul slut were to

put good meat into an unclean dish.

AUDREY I am not a slut, though I thank the gods I am foul.

TOUCHSTONE Well, praised be the gods for thy foulness: sluttishness

may come hereafter. But be it as it may be, I will marry thee, and to                                                                                          30

that end I have been with Sir Oliver Martext, the vicar of the next village, who hath promised to meet me in this place of the forest and to couple us.

JAQUES [Aside] I would fain see this meeting.

AUDREY Well, the gods give us joy.                                                                                          35

TOUCHSTONE Amen. A man may, if he were of a fearful heart, stagger

in this attempt; for here we have no temple but the wood, no assembly but horn-beasts. But what though? Courage! As horns are odious, they are necessary. It is said, 'many a man knows no end of his goods:' Right: many a man has good horns, and knows no end of                                                                                          40

them. Well, that is the dowry of his wife; 'tis none of his own getting. Horns? Even so. Poor men alone? No, no; the noblest deer hath them as huge as the rascal. Is the single man therefore blessed? No: as a walled town is more worthier than a village, so is the forehead of a married man more honourable than the bare brow                                                                                          45

of a bachelor; and by how much defence is better than no skill, by so much is a horn more precious than to want.

30.  “Go thou with me, and let me counsel thee.”

Enter SIR OLIVER MARTEXT

Here comes Sir Oliver. – Sir Oliver Martext, you are well met. Will you dispatch us here under this tree, or shall we go with you to your chapel? 50

SIR OLIVER MARTEXT Is there none here to give the woman?

TOUCHSTONE I will not take her on gift of any man.

SIR OLIVER MARTEXT Truly, she must be given, or the marriage is not lawful.

JAQUES [Coming forward] Proceed, proceed I'll give her.

TOUCHSTONE Good – even, good Monsier What-Ye-Call't. How do                                                                                          55

you, sir? You are very well met. God'ild you for your last company, I am very glad to see you. Even a toy in hand here, sir.

[JAQUES removes his hat]

Nay, pray be covered.

JAQUES Will you be married, Motley?

TOUCHSTONE As the ox hath his bow, sir, the horse his curb, and the                                                                                          60

falcon her bells, so man hath his desires, and as pigeons bill, so wedlock would be nibbling.

JAQUES And will you, being a man of your breeding, be married under

a bush like a beggar? [Line moved] This fellow will but join you together 65 as they join wainscot; then one of you will prove a shrunk panel and, like green timber, warp, warp.

TOUCHSTONE [Aside] I am not in the mind but I were better to be married of him than of another, for he is not like to marry me well and, not

being well married, it will be a good excuse for me hereafter to leave my wife.

JAQUES Go thou with me, and let me counsel thee. [Get you to church, and have a good priest ]that can tell you what marriage is

TOUCHSTONE Come, sweet Audrey, we must be married or we must live in bawdry. – Farewell, good Master Oliver. Not

O SWEET OLIVER, O BRAVE OLIVER,

LEAVE ME NOT BEHIND THEE;

but

WIND AWAY, BEGONE, I SAY,

I WILL NOT TO WEDDING WITH THEE.

SIR OLIVER MARTEXT [Aside] 'Tis no matter; ne'er a fantastical knave of them all shall flout me out of my calling.

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80

Exeunt

3.5.  The forest.

31.“Not true in love?”

Enter ROSALIND and CELIA

ROSALIND Never talk to me; I will weep.

CELIA Do, I prithee; but yet have the grace to consider that tears do not become a man.

ROSALIND But have I not cause to weep?

CELIA As good cause as one would desire: therefore weep.                                                                                            5

ROSALIND His very hair is of the dissembling colour.

CELIA Something browner than Judas's: marry, his kisses are Judas's own children.

ROSALIND I' faith, his hair is of a good colour.                                                                                          10

CELIA An excellent colour: your chestnut was ever the only colour.

ROSALIND And his kissing is as full of sanctity as the touch of holy bread.

CELIA He hath bought a pair of cast lips of Diana. A nun of winter's sisterhood kisses not more religiously: the very ice of chastity is in them. 15

ROSALIND But why did he swear he would come this morning and comes not?

CELIA Nay, certainly, there is no truth in him.

ROSALIND Do you think so?

CELIA Yes, I think he is not a pick-purse nor ahorse-stealer but, for his                                                                                          20

verity in love, I do think him as concave as a covered goblet or a worm-eaten nut.

ROSALIND Not true in love?

CELIA Yes, when he is in; but I think he is not in.

ROSALIND You have heard him swear downright he was. 25

CELIA ‘Was' is not 'is:'; besides, the oath of a lover is no stronger than the word of a tapster: they are both the confirmer of false reckon­ings. He attends here in the forest on the Duke your father.

ROSALIND I met the Duke yesterday and had much question with him;

he asked me of what parentage I was. I told him of as good as he: so 30

he laughed and let me go. But what talk we of fathers when there is such a man as Orlando?

CELIA O that's a brave man: he writes brave verses, speaks brave words, swears brave oaths and breaks them bravely, quite traverse, athwart the heart of his lover as a puny tilter that spurs his horse but on one                                                                                    35

side, breaks his staff like a noble goose. But all's brave that youth mounts and folly guides. – Who comes here?

31b. “If you will see a pageant truly play'd”

Enter CORIN

CORIN Mistress and master, you have oft inquired

After the shepherd that complained of love

Who you saw sitting by me on the turf,                                                                                          40

Praising the proud disdainful shepherdess

That was his mistress.

CELIA Well, and what of him?

CORIN If you will see a pageant truly played,

Between the pale complexion of true love

And the red glow of scorn and proud disdain,                                                                                          45

Go hence a little, and I shall conduct you,

If you will mark it.

ROSALIND                            O come, let us remove,

The sight of lovers feedeth those in love. –

Bring us to this sight, and you shall say

I'll prove a busy actor in their play. 50

Exeunt

3.6. Another part of the forest.

32. “Then shall you know the wounds invisible”

Enter SILVIUS and PHOEBE

SILVIUS      Sweet Phoebe, do not scorn me, do not, Phoebe.

Say that you love me not, but say not so In bitterness. The common executioner, Whose heart th' accustomed sight of death makes hard, Falls not the axe upon the humbled neck But first begs pardon. Will you sterner be Than he that dies and lives by bloody drops?

Enter ROSALIND, CELIA, and CORIN [; they stand aside]

PHOEBE     I would not be thy executioner;

I fly thee for I would not injure thee.

Thou tell'st me there is murder in mine eye: 'Tis pretty, sure, and very probable That eyes, that are the frail'st and softest things, Who shut their coward gates on atomies, Should be called tyrants, butchers, murderers! Now I do frown on thee with all my heart; And if mine eyes can wound, now let them kill thee. Now counterfeit to swoon, why, now fall down Or if thou canst not, O for shame, for shame, Lie not to say mine eyes are murderers. Now show the wound mine eye hath made in thee. Scratch thee but with a pin, and there remains Some scar of it; lean but upon a rush, The cicatrice and capable impressure Thy palm some moment keeps. But now mine eyes, Which I have darted at thee, hurt thee not, Nor I am sure, there is no force in eyes That can do hurt.

SILVIUS O dear Phoebe,

If ever – as that ever may be near –

You meet in some fresh cheek the power of fancy, Then shall you know the wounds invisible That love's keen arrows make.

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30

PHOEBE But till that time Come not thou near me; and, when that time comes, Afflict me with thy mocks, pity me not, As till that time I shall not pity thee.

ROSALIND [Coming forward] And why, I pray you? Who might be

your mother                                                                                          35

That you insult, exult, and all at once

Over the wretched? What though you have no beauty,

As, by my faith, I see no more in you

Than without candle may go dark to bed,

Must you be therefore proud and pitiless? 40

Why, what means this? Why do you look on me?

I see no more in you than in the ordinary Of nature's sale-work – 'Od's my little life, I think she means to tangle my eyes too. – No, faith, proud mistress, hope not after it;                                                                                          45

'Tis not your inky brows, your black silk hair, Your bugle eyeballs, nor your cheek of cream That can entame my spirits to your worship. – You, foolish shepherd, wherefore do you follow her

Like foggy South, puffing with wind and rain?                                                                                          50

You are a thousand times a properer man Than she a woman. 'Tis such fools as you That makes the world full of ill-favoured children. 'Tis not her glass but you that flatters her, And out of you she sees herself more proper                                                                                          55

Than any of her lineaments can show her. – But, mistress, know yourself. Down on your knees,

[PHOEBE kneels to ROSALIND]

And thank heaven, fasting, for a good man's love;

For I must tell you friendly in your ear,

Sell when you can: you are not for all markets.                                                                                          60

Cry the man mercy, love him, take his offer,

Foul is most foul, being foul to be a scoffer. –

So take her to thee, shepherd; fare you well.

PHOEBE     Sweet youth, I pray you, chide a year together;

I had rather hear you chide than this man woo.                                                                                          65

ROSALIND He's fallen in love with your foulness – [To SILVIUS] and she'll fall in love with my anger. If it be so, as fast as she answers thee with frowning looks, I'll sauce her with bitter words. – Why look you so upon me?

PHOEBE For no ill will I bear you.                                                                                          70

ROSALIND I pray you do not fall in love with me

For I am falser than vows made in wine:

Besides, I like you not. [To SILVIUS] If you will know my house,

'Tis at the tuft of olives here hard by.

Will you go, sister? – Shepherd, ply her hard. –                                                                                          75

Come, sister. – Shepherdess, look on him better,

And be not proud, though all the world could see, None could be so abused in sight as he. – Come, to our flock.

Exeunt ROSALIND, CELIA and CORIN

33. “I marvel why I answered not again”

SILVIUS PHOEBE SILVIUS PHOEBE

SILVIUS

PHOEBE SILVIUS

PHOEBE

SILVIUS

PHOEBE

SILVIUS

PHOEBE

Sweet Phoebe, –

Ha, what say'st thou, Silvius?

Sweet Phoebe, pity me.

Why, I am sorry for thee, gentle Silvius.

Wherever sorrow is, relief would be. If you do sorrow at my grief in love, By giving love your sorrow and my grief Were both extermined.

Thou hast my love: is not that neighbourly?

I would have you.

Why, that were covetousness. Silvius, the time was that I hated thee, And yet it is not that I bear thee love; But since that thou canst talk of love so well, Thy company, which erst was irksome to me, I will endure – and I'll employ thee too. But do not look for further recompense Than thine own gladness that thou art employed.

So holy and so perfect is my love, And I in such a poverty of grace That I shall think it a most plenteous crop To glean the broken ears after the man That the main harvest reaps. Loose now and then A scattered smile, and that I'll live upon.

Know'st now the youth that spoke to me erewhile?

Not very well; but I have met him oft And he hath bought the cottage and the bounds That the old carlot once was master of.

Think not I love him, though I ask for him; 'Tis but a peevish boy – yet he talks well. But what care I for words? yet words do well When he that speaks them pleases those that hear. It is a pretty youth – not very pretty;

But sure he's proud – and yet his pride becomes him; He'll make a proper man. The best thing in him Is his complexion; and faster than his tongue Did make offence, his eye did heal it up;

He is not very tall, yet for his years he's tall; His leg is but so – so, and yet 'tis well: There was a pretty redness in his lip, A little riper and more lusty red

Than that mixed in his cheek: 'twas just the difference Between the constant red and mingled damask. There be some women, Silvius, had they marked him In parcels as I did, would have gone near

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120

4.1.  The forest.

34.“in which my often rumination wraps me me most humorous sadness”

Enter ROSALIND, CELIA, and JAQUES

JAQUES I prithee, pretty youth, let me be better acquainted with thee.

ROSALIND They say you are a melancholy fellow.

JAQUES I am so: I do love it better than laughing.

ROSALIND Those that are in extremity of either are abominable

fellows and betray themselves to every modern censure worse than                                                                                            5

drunkards.

JAQUES Why, 'tis good to be sad and say nothing.

ROSALIND Why then, 'tis good to be a post.

JAQUES I have neither the scholar's melancholy, which is emulation;

nor the musician's, which is fantastical; nor the courtier's, which is                                                                                          10

proud; nor the soldier's, which is ambitious; nor the lawyer's, which is politic; nor the lady's, which is nice; nor the lover's, which is all these; but it is a melancholy of mine own, compounded of many simples, extracted from many objects, and indeed the sundry con­templation of my travels, in which my often rumination wraps me                                                                                          15

in a most humorous sadness.

ROSALIND A traveller! By my faith, you have great reason to be sad. I fear you have sold your own lands to see other men's. Then to have seen much and to have nothing is to have rich eyes and poor hands.

JAQUES Yes, I have gained my experience.                                                                                          20

ROSALIND And your experience makes you sad. I had rather have a fool to make me merry than experience to make me sad – and to travel for it too!

35a. “Well in her person I say I will not have you”

Enter ORLANDO

ORLANDO Good day and happiness, dear Rosalind.

JAQUES Nay, then, God buy you, and you talk in blank verse!                                                                                          25

ROSALIND Farewell, Monsieur Traveller. Look you lisp and wear strange suits; disable all the benefits of your own country; be out of love with your nativity, and almost chide God for making you that countenance you are, or I will scarce think you have swam in a gondola. 30

[Exit JAQUES]

Why, how now, Orlando, where have you been all this while? You

a lover? And you serve me such another trick, never come in my sight more.

ORLANDO My fair Rosalind, I come within an hour of my promise.

ROSALIND Break an hour's promise in love? He that will divide a                                                                                          35

minute into a thousand parts and break but a part of the thousand part of a minute in the affairs of love, it may be said of him that Cupid hath clapped him o' the shoulder; but I'll warrant him heart­whole.

ORLANDO Pardon me, dear Rosalind. 40

ROSALIND Nay, an you be so tardy, come no more in my sight – I had as lief be wooed of a snail.

ORLANDO Of a snail?

ROSALIND Aye, of a snail; for though he comes slowly, he carries his house on his head; a better jointure, I think, than you make a                                                                                    45

woman. Besides, he brings his destiny with him.

ORLANDO What's that?

ROSALIND Why, horns; which such as you are fain to be beholden to

your wives for. But he comes armed in his fortune and prevents the slander of his wife.                                                                                          50

ORLANDO Virtue is no horn-maker, and my Rosalind is virtuous.

ROSALIND And I am your Rosalind.

CELIA It pleases him to call you so, but he hath a Rosalind of a better leer than you.

ROSALIND Come, woo me, woo me; for now I am in a holiday humour                                                                                          55

and like enough to consent. What would you say to me now and I were your very, very Rosalind?

ORLANDO I would kiss before I spoke.

ROSALIND Nay, you were better speak first, and when you were grav­elled for lack of matter you might take occasion to kiss. Very good                                                                                    60

orators when they are out, they will spit, and for lovers lacking – God warrant us – matter, the cleanliest shift is to kiss.

ORLANDO How if the kiss be denied?

ROSALIND Then she puts you to entreaty, and there begins new matter.

ORLANDO Who could be out, being before his beloved mistress?                                                                                          65

ROSALIND Marry, that should you if I were your mistress, or I should think my honesty ranker than my wit.

ORLANDO What, of my suit?

ROSALIND Not out of your apparel, and yet out of your suit. Am not I your Rosalind? 70

ORLANDO I take some joy to say you are, because I would be talking of her.

ROSALIND Well in her person I say I will not have you.

ORLANDO Then in mine own person I die.

ROSALIND No, faith, die by attorney. The poor world is almost six                                                                                          75

thousand years old and in all this time there was not any man died in his own person, videlicit, in a love-cause. Troilus had his brains dashed out with a Grecian club, yet he did what he could to die before, and he is one of the patterns of love; Leander, he would have lived many a fair year though Hero had turned nun, if it had not                                                                                          80

been for a hot midsummer night, for, good youth, he went but forth to wash him in the Hellespont and, being taken with the cramp, was drowned and the foolish chroniclers of that age found it was Hero of Sestos. But these are all lies: men have died from time to time – and worms have eaten them – but not for love. 85

ORLANDO I would not have my right Rosalind of this mind, for I protest her frown might kill me.

35b.“By my life, she will do as I do”

ROSALIND By this hand, it will not kill a fly. But come, now I will be your Rosalind in a more coming-on disposition and, ask me what you will, I will grant it.                                                                                    90

ORLANDO Then love me, Rosalind.

ROSALIND Yes, faith, will I, Fridays and Saturdays and all.

ORLANDO And wilt thou have me?

ROSALIND Aye, and twenty such.

ORLANDO What sayest thou?                                                                                          95

ROSALIND Are you not good?

ORLANDO I hope so.

ROSALIND Why then, can one desire too much of a good thing?

Come, sister, you shall be the priest and marry us. – Give me your hand, Orlando. What do you say, sister?                                                                                        100

ORLANDO Pray thee, marry us.

CELIA I cannot say the words.

ROSALIND You must begin, 'Will you, Orlando – '

CELIA Go to. – Will you, Orlando, have to wife this Rosalind?

ORLANDO I will.

105

ROSALIND Ay, but when?

ORLANDO Why now, as fast as she can marry us.

ROSALIND Then you must say 'I take thee, Rosalind, for wife.'

ORLANDO I take thee, Rosalind, for wife.

ROSALIND I might ask you for your commission, but I do take thee, Orlando, for my husband. There's a girl goes before the priest, and certainly a woman's thought runs before her actions.

ORLANDO So do all thoughts: they are winged.

ROSALIND Now, tell me how long you would have her after you have possessed her.

ORLANDO For ever and a day.

ROSALIND Say 'a day,' without the 'ever.' No, no, Orlando: men are April when they woo, December when they wed; maids are May when they are maids, but the sky changes when they are wives. I will be more jealous of thee than a Barbary cock-pigeon over his hen; more clamorous than a parrot against rain, more new-fangled than an ape; more giddy in my desires than a monkey. I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry. I will laugh like a hyena, and that when thou art inclined to sleep.

ORLANDO But will my Rosalind do so?

ROSALIND By my life, she will do as I do.

ORLANDO O, but she is wise.

ROSALIND Or else she could not have the wit to do this: the wiser, the Waywarder. [Bar] the doors upon a woman's wit and it will out at the casement; shut that and 'twill out at the key-hole; stop that, 'twill fly with the smoke out at the chimney.

ORLANDO A man that had a wife with such a wit, he might say 'Wit, whither wilt?'

ROSALIND Nay, you might keep that check for it till you met your wife's wit going to your neighbour's bed.

ORLANDO And what wit could wit have to excuse that?

ROSALIND Marry, to say she came to seek you there. You shall never take her without her answer, unless you take her without her tongue. O, that woman that cannot make her fault her husband's occasion, let her never nurse her child herself, for she will breed it like a fool.

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ORLANDO For these two hours, Rosalind, I will leave thee.

ROSALIND Alas, dear love, I cannot lack thee two hours.

ORLANDO I must attend the Duke at dinner; by two o'clock I will be with thee again.                                                                                  145

ROSALIND Aye, go your ways, go your ways. I knew what you would prove – my friends told me as much, and I thought no less. That flattering tongue of yours won me. 'Tis but one cast away, and so come, Death! Two o'clock is your hour?

ORLANDO Aye, sweet Rosalind.                                                                                        150

ROSALIND By my troth, and in good earnest, and so God mend me, and by all pretty oaths that are not dangerous, if you break one jot of your promise or come one minute behind your hour, I will think you the most pathetical break-promise, and the most hollow lover, and the most unworthy of her you call Rosalind that may be chosen                                                                                  155

out of the gross band of the unfaithful. Therefore beware my censure and keep your promise.

ORLANDO With no less religion than if thou wert indeed my Rosalind. So adieu.

ROSALIND Well, Time is the old justice that examines all such offend-                                                                                        160

ers, and let Time try. Adieu.

Exit ORLANDO

36.“that thou didst know how many fathom deep I am in love”

CELIA You have simply misused our sex in your love-prate. We must have your doublet and hose plucked over your head, and show the world what the bird hath done to her own nest.

ROSALIND O coz, coz, coz, my pretty little coz, that thou didst know                                                                                        165

how many fathom deep I am in love! But it cannot be sounded: my affection hath an unknown bottom, like the Bay of Portugal.

CELIA Or rather bottomless, that as fast as you pour affection in, it runs out.

ROSALIND No, that same wicked bastard of Venus that was begot of 170 thought, conceived of spleen and born of madness, that blind rascally boy that abuses everyone's eyes because his own are out, let him be judge how deep I am in love. I'll tell thee, Aliena, I cannot be out of the sight of Orlando. I'll go find a shadow and sigh till he come. 175

Exit ROSALIND

CELIA And I'll sleep.

[CELIA lays down to sleep:]

4.2.  Celia's Dream

37._ “the lusty horn”_________________________________________

Enter JAQUES, AMIENS, and FORESTERS [bearing the antlers and skin of a deer] JAQUES Which is he that killed the deer?

FORESTER Sir, it was I.

JAQUES Let's present him to the Duke, like a Roman conqueror – and it would do well to set the deer's horns upon his head, for a branch of victory. Have you no song, forester, for this purpose?

AMIENS Yes, sir.

JAQUES Sing it. 'Tis no matter how it be in tune, so it make noise enough.

Music

Song

ALL             WHAT SHALL HE HAVE THAT KILLED THE DEER?

HIS LEATHER SKIN AND HORNS TO WEAR.

THEN SING HIM HOME,

THE REST SHALL BEAR THIS BURDEN

TAKE THOU NO SCORN TO WEAR THE HORN,

IT WAS A CREST ERE THOU WAST BORN;

THY FATHER'S FATHER WORE IT, AND THY FATHER BORE IT;

THE HORN, THE HORN, THE LUSTY HORN IS NOT A THING TO LAUGH TO SCORN.

5

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15

Exeunt

4.3.  The forest.

38.  “Her love is not the hare that I do hunt”

Enter ROSALIND and CELIA

ROSALIND How say you now, is it not past two o'clock? And here much Orlando!

CELIA I warrant you, with pure love and troubled brain he hath ta'en his bow and arrows and is gone forth to sleep. Look, who comes here.

Enter SILVIUS [with letter]

SILVIUS My errand is to you, fair youth; 5

My gentle Phoebe bid me give you this:

I know not the contents but, as I guess

By the stern brow and waspish action

Which she did use as she was writing of it,

It bears an angry tenor. Pardon me,                                                                                          10

I am but as a guiltless messenger.

ROSALIND [After reading the letter] Patience herself would startle at

this letter

And play the swaggerer: bear this, bear all.

She says I am not fair, that I lack manners;

She calls me proud, and that she could not love me                                                                                          15

Were man as rare as phoenix. Od's my will,

Her love is not the hare that I do hunt – Why writes she so to me? Well, shepherd, well? This is a letter of your own device.

SILVIUS      No, I protest, I know not the contents;

Phoebe did write it.

20

ROSALIND                             Come, come, you are a fool

And turned into the extremity of love.

I saw her hand: she has a leathern hand, A freestone-coloured hand. (I verily did think That her old gloves were on, but 'twas her hands.)                                                                                          25

She has a hussif's hand – but that's no matter:

I say she never did invent this letter: This is a man's invention and his hand.

SILVIUS      Sure, it is hers.

ROSALIND  Why, 'tis a boisterous and a cruel style,                       30

A style for-challengers. Why, she defies me Like Turk to Christian. Women's gentle brain Could not drop forth such giant-rude invention, Such Ethiope words, blacker in their effect

Than in their countenance. Will you hear the letter?                                                                                          35

SILVIUS So please you, for I never heard it yet,

Yet heard too much of Phoebe's cruelty.

ROSALIND She Phoebes me. Mark how the tyrant writes: [Reads] ‘Art thou god to shepherd turned, That a maiden's heart hath burned?' Can a woman rail thus?

SILVIUS

Call you this railing?

ROSALIND

[Reads] ‘Why, thy godhead laid apart,

Warr'st thou with a woman's heart?' – Did you ever hear such railing? –

‘Whiles the eye of man did woo me, That could do no vengeance to me.' – Meaning me a beast!'

‘If the scorn of your bright eyne

Have power to raise such love in mine, Alack, in me what strange effect Would they work in mild aspect? Whiles you chid me, I did love;

How then might your prayers move? He that brings this love to thee Little knows this love in me; And by him seal up thy mind, Whether that thy youth and kind Will the faithful offer take Of me and all that I can make, Or else by him my love deny, And then I'll study how to die.'

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SILVIUS

Call you this chiding?

CELIA

Alas, poor shepherd!

ROSALIND  Do you pity him? No, he deserves no pity. – Wilt thou love

such a woman? What, to make thee and instrument and play false strains upon thee? Not to be endured! Well, go your way to her – for I see love hath made thee a tame snake – and say this to her: that if she love me, I charge her to love thee; if she will not, I will never have her, unless thou entreat for her. If you be a true lover, hence, and not a word; for here comes more company.

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Exit SILVIUS

39. “'Twas I, but 'tis not I”

Enter OLIVER

OLIVER Good morrow, fair ones. Pray you, if you know Where in the purlieus of this forest stands A sheepcote fenced about with olive trees?

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CELIA West of this place, down in the neighbour bottom;

The rank of osiers by the murmuring stream, Left on your right hand brings you to the place. But at this hour the house doth keep itself: There's none within.

OLIVER       If that an eye may profit by a tongue,

Then should I know you by description:

Such garments and such years. 'The boy is fair, Of female favour, and bestows himself Like a ripe sister; the woman low And browner than her brother.' Are not you The owner of the house I did inquire for?

CELIA It is no boast, being asked, to say we are.

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OLIVER      Orlando doth commend him to you both,

And to that youth he calls his Rosalind He sends this bloody napkin. Are you he?

ROSALIND I am. What must we understand by this?

OLIVER      Some of my shame, if you will know of me

What man I am, and how, and why, and where This handkerchief was stained.

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CELIA                                             I pray you, tell it.

OLIVER When last the young Orlando parted from you,

He left a promise to return again Within an hour and, pacing through the forest, Chewing the food of sweet and bitter fancy, Lo what befell. He threw his eye aside And mark what object did present itself.

Under an oak whose boughs were mossed with age, And high top bald with dry antiquity, A wretched ragged man, o'ergrown with hair, Lay sleeping on his back: about his neck A green and gilded snake had wreathed itself, Who, with her head nimble in threats, approached The opening of his mouth. But suddenly Seeing Orlando, it unlinked itself And with indented glides did slip away Into a bush; under which bush's shade A lioness, with udders all drawn dry, Lay couching head on ground, with cat-like watch When that the sleeping man should stir – for 'tis The royal disposition of that beast To prey on nothing that doth seem as dead. This seen, Orlando did approach the man And found it was his brother, his elder brother.

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CELIA O I have heard him speak of that same brother. [ROSALIND] And he did render him the most unnatural

That lived amongst men.

OLIVER                                        And well he might so do,

For well I know he was unnatural.

ROSALIND But to Orlando – did he leave him there,

Food to the sucked and hungry lioness?

OLIVER      Twice did he turn his back and purposed so.

But kindness, nobler ever than revenge, And nature, stronger than his just occasion, Made him give battle to the lioness, Who quickly fell before him; in which hurtling From miserable slumber I awaked.

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[ROSALIND]

Are you his brother?

[CELIA]

Was't you he rescued?

[ROSALIND]

Was't you that did so oft contrive to kill him?

OLIVER      'Twas I, but 'tis not I. I do not shame

To tell you what I was, since my conversion So sweetly tastes, being the thing I am.

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ROSALIND

But, for the bloody napkin?

OLIVER By and by.

When from the first to last betwixt us two, Tears our recountments had most kindly bathed – As how I came into that desert place-­In brief, he led me to the gentle Duke Who gave me fresh array and entertainment, Committing me unto my brother's love, Who led me instantly unto his cave;

There stripp'd himself and here, upon his arm, The lioness had torn some flesh away, Which all this while had bled; and now he fainted, And cried in fainting upon Rosalind. Brief, I recover'd him, bound up his wound, And, after some small space, being strong at heart, He sent me hither, stranger as I am, To tell this story that you might excuse His broken promise, and to give this napkin, Dyed in his blood unto the shepherd youth That he in sport doth call his Rosalind.

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[ROSALIND faints]

CELIA Why, how now? Ganymede, sweet Ganymede! OLIVER          Many will swoon when they do look on blood.

CELIA There is more in it. – Cousin! Ganymede! OLIVER Look, he recovers.

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ROSALIND I would I were at home.

CELIA We'll lead you thither. – I pray you, will you take him by the arm? OLIVER Be of good cheer, youth. You a man? You lack a man's heart. ROSALIND I do so, I confess it. Ah, sirrah, a body would think this was

well counterfeited. I pray you, tell your brother how well I counter­feited. Heigh-ho!

OLIVER This was not counterfeit: there is too great testimony in your complexion that it was a passion of earnest.

ROSALIND Counterfeit, I assure you.

OLIVER Well then, take a good heart, and counterfeit to be a man. ROSALIND So I do. But, i' faith, I should have been a woman by right. CELIA Come, you look paler and paler; pray you, draw homewards. –

Good sir, go with us.

OLIVER That will I. For I must bear answer back How you excuse my brother, Rosalind.

ROSALIND I shall devise something. But, I pray you, commend my counterfeiting to him. Will you go?

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Exeunt

5.1. The forest.

40.  “We shall be flouting; we cannot hold”

Enter TOUCHSTONE and AUDREY

TOUCHSTONE We shall find a time, Audrey; patience, gentle Audrey.

AUDREY Faith, the priest was good enough, for all the old gentleman's saying.

TOUCHSTONE A most wicked Sir Oliver, Audrey, a most vile Martext.

But, Audrey, there is a youth here in the forest lays claim to you. 5

AUDREY Aye, I know who 'tis. He hath no interest in me in the world. Here comes the man you mean.

Enter WILLIAM

TOUCHSTONE It is meat and drink to me to see a clown. By my troth, we that have good wits have much to answer for. We shall be flouting; we cannot hold.                                                                                    10

WILLIAM Good ev'n, Audrey.

AUDREY God ye good ev'n, William.

WILLIAM And good ev'n to you, sir.

TOUCHSTONE Good ev'n, gentle friend. Cover thy head, cover thy head. Nay, prithee, be covered. How old are you, friend?                                                                                    15

WILLIAM Five and twenty, sir.

TOUCHSTONE A ripe age. Is thy name William?

WILLIAM William, sir.

TOUCHSTONE A fair name. Wast born i' th' forest here?

WILLIAM Aye, sir, I thank God.                                                                                          20

TOUCHSTONE 'Thank God': a good answer. Art rich?

WILLIAM Faith, sir, so-so.

TOUCHSTONE 'So-so' is good, very good, very excellent good – and yet it is not: it is but so-so. Art thou wise?

WILLIAM Ay, sir, I have a pretty wit.                                                                                          25

TOUCHSTONE Why, thou sayest well. I do now remember a saying:

'The fool doth think he is wise, but the wise man knows himself

to be a fool.'

WILLIAM gapes

The heathen philosopher, when he had a desire to eat a grape, would open his lips when he put it into his mouth, meaning thereby that grapes were made to eat and lips to open. You do love this maid?

WILLIAM I do, sir.

TOUCHSTONE Give me your hand. Art thou learned?

WILLIAM No, sir.

TOUCHSTONE Then learn this of me: to have is to have. For it is a figure in rhetoric that drink, being poured out of a cup into a glass, by filling the one doth empty the other. For all your writers do consent that ‘ipse' is he. Now, you are not ipse, for I am he.

WILLIAM Which he, sir?

TOUCHSTONE He, sir, that must marry this woman. Therefore, you clown, abandon, which is in the vulgar ‘leave', the society, which in the boorish is ‘company', of this female, which in the common is ‘woman: which together is ‘abandon the society of this female'; or, clown, thou perishest or, to thy better understanding, ‘diest', or, to wit, ‘I kill thee', ‘make thee away', ‘translate thy life into death, thy liberty into bondage'! I will deal in poison with thee, or in bastinado, or in steel! I will bandy with thee in faction, I will o'errun thee with policy – I will kill thee a hundred and fifty ways! Therefore, tremble and depart.

AUDREY Do, good William.

WILLIAM God rest you merry, sir.

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Exit

Enter CORIN

CORIN Our master and mistress seeks you. Come, away, away! TOUCHSTONE Trip, Audrey, trip, Audrey – I attend, I attend.

Exeunt

5.2. The forest.

41.  “It shall be to your good”

Enter ORLANDO and OLIVER

ORLANDO Is't possible that on so little acquaintance you should like her, that, but seeing you should love her, and loving, woo, and, wooing, she should grant? And will you persever to enjoy her?

OLIVER Neither call the giddiness of it in question, the poverty of her, the small acquaintance, my sudden wooing, nor her sudden con­senting. But say with me I love Aliena; say with her that she loves me; consent with both that we may enjoy each other. It shall be to your good, for my father's house and all the revenue that was old Sir Rowland's will I estate upon you, and here live and die a shepherd.

ORLANDO You have my consent. Let your wedding be tomorrow; thither will I invite the Duke and all's contented followers. Go you, and prepare Aliena, for look you, here comes my Rosalind.

42.  “Believe then, if you please, that I can do strange things”

Enter ROSALIND

5

10

ROSALIND God save you, brother.

OLIVER And you, fair ‘sister'.

ROSALIND O, my dear Orlando, how it grieves me to see thee wear thy heart in a scarf!

Exit

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ORLANDO It is my arm.

ROSALIND I thought thy heart had been wounded with the claws of a lion.

ORLANDO Wounded it is, but with the eyes of a lady.

ROSALIND Did your brother tell you how I counterfeited to swoon when he showed me your handkerchief?

ORLANDO Aye, and greater wonders than that.

ROSALIND O, I know where you are. Nay, 'tis true, there was never anything so sudden but the fight of two rams, and Caesar's thrasonical brag of 'I came, saw, and overcame.' For your brother and my sister no sooner met but they looked; no sooner looked, but they loved; no sooner loved but they sighed; no sooner sighed, but they asked one another the reason; no sooner knew the reason, but they sought the remedy; and in these degrees have they made a pair of stairs to marriage, which they will climb incontinent – or else

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be incontinent before marriage. They are in the very wrath of love, and they will together – clubs cannot part them.

ORLANDO They shall be married tomorrow and I will bid the Duke to the nuptial. But, O, how bitter a thing it is to look into happiness through another man's eyes. By so much the more shall I tomorrow be at the height of heart-heaviness, by how much I shall think my brother happy in having what he wishes for.

ROSALIND Why then, tomorrow, I cannot serve your turn for Rosalind?

ORLANDO I can live no longer by thinking.

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ROSALIND I will weary you then no longer with idle talking. Know of me then – for now I speak to some purpose – that I know you are a gentleman of good conceit. I speak not this that you should bear a good opinion of my knowledge, insomuch, I say I know you are; neither do I labour for a greater esteem than may in some little measure draw a belief from you, to do yourself good, and not to grace me. Believe then, if you please, that I can do strange things. I have, since I was three year old, conversed with a magician, most profound in his art, and yet not damnable. If you do love Rosalind so near the heart as your gesture cries it out, when your brother marries Aliena shall you marry her. I know into what straits of fortune she is driven, and it is not impossible to me, if it appear not inconvenient to you, to set her before your eyes tomorrow, human as she is and without any danger.

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ORLANDO Speak'st thou in sober meanings?

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ROSALIND By my life, I do, which I tender dearly, though I say I am a magician. Therefore, put you in your best array, bid your friends. For if you will be married tomorrow, you shall, and to Rosalind, if you will.

43. “If this be so, why blame you me to love you”

Enter SILVIUS and PHEBE

Look, here comes a lover of mine and a lover of hers.

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PHOEBE

Youth, you have done me much ungentleness To show the letter that I writ to you.

ROSALIND

I care not if I have. It is my study To seem despiteful and ungentle to you.

You are there followed by a faithful shepherd; Look upon him, love him: he worships you.

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PHOEBE

Good shepherd, tell this youth what 'tis to love.

SILVIUS

It is to be all made of sighs and tears, And so am I for Phoebe.

PHOEBE

And I for Ganymede.

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ORLANDO

And I for Rosalind.

ROSALIND

And I for no woman.

SILVIUS

It is to be all made of faith and service, And so am I for Phoebe.

PHEBE

And I for Ganymede.

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ORLANDO

And I for Rosalind.

ROSALIND

And I for no woman.

SILVIUS

It is to be all made of fantasy,

All made of passion, and all made of wishes, All adoration, duty, and observance,

All humbleness, all patience and impatience, All purity, all trial, all obedience, And

so am

I for Phoebe.

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PHOEBE

And

so am

I for Ganymede.

ORLANDO

And

so am

I for Rosalind.

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ROSALIND

And

so am

I for no woman.

PHOEBE

If this be so, why blame you me to love you?

SILVIUS

If this be so, why blame you me to love you?

ORLANDO

If this be so, why blame you me to love you?

ROSALIND

Who do you speak to, 'Why blame you me to love you?'

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ORLANDO

To her that is not here nor doth not hear.

ROSALIND

Pray you no more of this: 'tis like the howling of Irish wolves against the moon. [To SILVIUS] I will help you, if I can. [To PHOEBE] I would love you, if I could. – Tomorrow meet me all together. – [To PHOEBE] I will marry you, if ever I marry woman, and I'll be married tomorrow. [To ORLANDO] I will satisfy you, if ever I satisfied man, and you shall be married tomorrow. [To SILVIUS] I will con­tent you, if what pleases you contents you, and you shall be married tomorrow. [To ORLANDO] As you love Rosalind, meet; [To SILVIUS] as you love Phoebe, meet – and as I love no woman, I'll meet. So fare you well: I have left you commands.

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SILVIUS I'll not fail, if I live.

PHOEBE Nor I.

ORLANDO Nor I.

Exeunt

5.3.  The forest.

44. “It was a lover and his lass”

Enter TOUCHSTONE and AUDREY

TOUCHSTONE Tomorrow is the joyful day, Audrey; tomorrow will we be married.

AUDREY I do desire it with all my heart, and I hope it is no dishonest

desire to desire to be a woman of the world?

Enter TWO PAGES

Here comes two of the banished Duke's pages. 5

1 PAGE Well met, honest gentleman.

TOUCHSTONE By my troth, well met. Come, sit, sit, and a song.

2 PAGE We are for you: sit i' the middle.

1 PAGE Shall we clap into't roundly, without hawking, or spitting, or saying we are hoarse, which are the only prologues to a bad voice?                                                                                    10

2 PAGE Aye,'faith, i'faith, and both in a tune like two gipsies on a horse.

Song.

IT WAS A LOVER AND HIS LASS,

WITH A HEY, AND A HO, AND A HEY NONNY-NO,

THAT O'ER THE GREEN CORN-FIELD DID PASS

IN THE SPRING-TIME,                                                                                          15

THE ONLY PRETTY RING-TIME, WHEN BIRDS DO SING;

HEY DING-A-DING, DING,

SWEET LOVERS LOVE THE SPRING.

BETWEEN THE ACRES OF THE RYE,                                                                                          20

WITH A HEY, AND A HO, AND A HEY NONNY-NO THESE PRETTY COUNTRY FOLKS WOULD LIE,

IN THE SPRING-TIME,

THE ONLY PRETTY RING-TIME,

WHEN BIRDS DO SING; 25

HEY DING-A-DING, DING,

SWEET LOVERS LOVE THE SPRING.

THIS CAROL THEY BEGAN THAT HOUR,

WITH A HEY, AND A HO, AND A HEY NONNY-NO,

HOW THAT A LIFE WAS BUT A FLOWER;                                                                                          30

IN THE SPRING-TIME,

THE ONLY PRETTY RING-TIME,

WHEN BIRDS DO SING;

HEY DING-A-DING, DING,

SWEET LOVERS LOVE THE SPRING.                                                                                          35

AND THEREFORE TAKE THE PRESENT TIME,

WITH A HEY, AND A HO, AND A HEY NONNY-NO,

FOR LOVE IS CROWNÈD WITH THE PRIME

IN THE SPRING-TIME,

THE ONLY PRETTY RING-TIME, 40 WHEN BIRDS DO SING;

HEY DING-A-DING, DING,

SWEET LOVERS LOVE THE SPRING.

TOUCHSTONE Truly, young gentlemen, though there was no great matter in the ditty, yet the note was very untuneable.                                                                                    45

1 PAGE You are deceived, sir: we kept time; we lost not our time.

TOUCHSTONE By my troth, yes: I count it but time lost to hear such a foolish song. God buy you, and God mend your voices. – Come, Audrey.

Exeunt

5.4. The forest.

45. “As those that fear they hope and know they fear”

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 promisèd?

ORLANDO

I sometimes do believe, and sometimes do not; As those that fear they hope, and know they fear.

Enter ROSALIND, SILVIUS, and PHOEBE

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.

10

ROSALIND

You say you'll marry me, if I be willing?

PHOEBE

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?

PHOEBE

So is the bargain.

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5

ROSALIND

SILVIUS

You say that you'll have Phoebe, if she will?

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, Phoebe, 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.

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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 tutored 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.

46.“Your ‘if' is the only peacemaker: much virtue in ‘if'.”

Enter TOUCHSTONE and AUDREY

JAQUES There is sure another flood toward, and these couples are com-                                                                                          35

ing 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                           40

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.                                         45

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.                                                                                          50

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                                                                                    55

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                                                                                          60

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'.                                                                                    65

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 countercheck 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: he first, the retort courteous; the second, the quip modest; the third, the reply churlish; the fourth, the reproof valiant; the fifth, the counter­check 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 anything, and yet a fool.

DUKE SENIOR He uses his folly like a stalking-horse, and under the presentation of that he shoots his wit.

47.  “Here's eight that must take hands”

Still Music. Enter HYMEN [with] ROSALIND, and CELIA [as themselves] 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 might'st 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.

PHOEBE If sight and shape be true, why then, my love adieu!

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ROSALIND [To DUKE SENIOR] I'll have no father, if you be not he. [To ORLANDO] I'll have no husband, if you be not he. [To PHOEBE] 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. [To ORLANDO and ROSALIND] You and you no cross shall part.

[To OLIVER and CELIA] You and you are heart in heart.

[To PHOEBE] You to his love must accord,

Or have a woman to your lord.

[To TOUCHSTONE and AUDREY] 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 HONOURÈD. 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.

PHOEBE     I will not eat my word now thou art mine:

Thy faith my fancy to thee doth combine.

48. “We will begin these rites As we do trust they'll end, in true delights”

Enter [LE BEAU]

[LE BEAU]  Let me have audience for a word or two.

I am the second son of old Sir Rowland, That I bring these tidings to this fair assembly. Duke Frederick, hearing how that every day Men of great worth resorted to this forest, Addressed 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 banished brother, And all their lands restored to them again

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That were with him exiled. This to be true,

I do engage my life.

DUKE SENIOR                       Welcome, [good] man.

Thou offer'st fairly to [these] 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 returnèd 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 heaped in joy, to the measures fall.

JAQUES     Sir, by your patience. If I heard you rightly,

The Duke hath put [off his] religious life And thrown into neglect the pompous court?

[LE BEAU] He hath.

JAQUES     To him will I: out of these convertites

There is much matter to be heard and learned.

[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-deservèd bed.

[To TOUCHSTONE] And you to wrangling, for thy loving voyage 175 s but for two months victualled. – 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.

DUKE SENIOR Proceed, proceed. – We will begin these rites

As we do trust they'll end, in true delights.

Song and dance [from Act V iii].

IT WAS A LOVER AND HIS LASS,

WITH A HEY, AND A HO, AND A HEY NONNY-NO, THAT O'ER THE GREEN CORN-FIELD DID PASS IN THE SPRING-TIME,

THE ONLY PRETTY RING-TIME, WHEN BIRDS DO SING;

155

160

165

170

180

Exit

15

HEY DING-A-DING, DING,

SWEET LOVERS LOVE THE SPRING.

BETWEEN THE ACRES OF THE RYE,                                                                                          20

WITH A HEY, AND A HO, AND A HEY NONNY-NO THESE PRETTY COUNTRY FOLKS WOULD LIE,

IN THE SPRING-TIME,

THE ONLY PRETTY RING-TIME,

WHEN BIRDS DO SING; 25 HEY DING-A-DING, DING,

SWEET LOVERS LOVE THE SPRING.

THIS CAROL THEY BEGAN THAT HOUR, WITH A HEY, AND A HO, AND A HEY NONNY-NO, HOW THAT A LIFE WAS BUT A FLOWER;                                                                                          30

IN THE SPRING-TIME, THE ONLY PRETTY RING-TIME, WHEN BIRDS DO SING;

HEY DING-A-DING, DING,

SWEET LOVERS LOVE THE SPRING.                                                                                          35

AND THEREFORE TAKE THE PRESENT TIME, WITH A HEY, AND A HO, AND A HEY NONNY-NO, FOR LOVE IS CROWNÈD WITH THE PRIME

IN THE SPRING-TIME,

THE ONLY PRETTY RING-TIME,                                                                                          40

WHEN BIRDS DO SING;

HEY DING-A-DING, DING,

SWEET LOVERS LOVE THE SPRING.

[FINIS]

EPILOGUE

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,                                                                                      5

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                                                                                          10

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.

15

FINIS

Exeunt

APPENDIX B.

Rosalind – Costume Design by Mara Gottler

Touchstone – Costume Design by Mara Gottler

Member of the Puritan Court – Costumes design by Mara Gottler

Le Beau – Costume Design by Mara Gottler

APPENDIX C.

PRELIMINARY SET DESIGN

APPENDIX D.

PRODUCTION PHOTOS

Duke Senior (David Marr) with his daughter Rosalind (Lois Anderson).

Orlando (Todd Thomson) and Rosalind (Lois Anderson) are married.

Rosalind (Lois Anderson) congratulates Orlando (Todd Thomson) on his wrestling victory by giving

him her necklace.

Rosalind (Lois Anderson), Celia (Luisa Jojic) and Touchstone (Ryan Beil) in As You Like It.

Le Beau (Duncan Fraser, background) looks on as Charles (Charlie Gallant) fights with Orlando (Todd

Thomson).

Rosalind (Lois Anderson) dressed as a boy named Ganymede arrives in Arden.

Jacques (John Murphy) in the Forest of Arden.

Touchstone (Ryan Beil) woos Audrey (Amber Lewis).

Rosalind (Lois Anderson), Hymen (Richard Newman) and Celia (Luisa Jojic) on their wedding day.

Touchstone (Ryan Beil) in As You Like It.

APPENDIX E.

REVIEWS

GLOBE AND MAIL REVIEW

THE GLOBE AND MAIL

June 10, 2011

Bard on the Beach 2011: Shakespeare, as we like him By MARSHA LEDERMAN

From Saturday's Globe and Mail

Under a bigger (and more comfortable) new tent, Bard on the Beach delivers Shakespeare's As You Like It with a stunning view of English Bay

There's no upstaging Shakespeare, but if ever the Bard's words were to be anticlimactic in Vancouver, it would have been Thursday night, as the Bard on the Beach Shakespeare Festival officially opened its new mainstage tent, with a performance of As You Like It. Yes, the play that gave us "All the world's a stage."

The transformed Bard on the Beach experience is evident even before you get there. Gone is the need to arrive ages ahead of time and line up to snag good seats. With the new tent comes a reserved seating system, and the ability to saunter into the theatre complex and perhaps grab a drink in the airy - but covered - bar area before heading into the theatre.

With its thrust stage, improved lighting and sightlines and comfortable seats, complete with cup-holders and armrests, the new mainstage tent offers an enhanced experience, without sacrificing the all-important Bard tradition of the open-air backdrop with its stunning views of English Bay, and the breeze blowing in off the water.

"It's been a dream of ours for many years to accomplish all this," artistic director Christopher Gaze told the audience - seated in a theatre that now holds 740 people, up from 520 - before the ribbon cutting. And after the grand opening ceremony: "We hope, ladies and gentlemen, this is as you like it."

Indeed, it was. The play lived up to the venue, director David Mackay creating a rich, textured and very funny Arden without forgetting the comedy's important dark side.

Set in England in 1642, during the Puritan era, the action moves from the court of Duke Frederick to the Forest of Arden. When the play opens, Orlando

(Todd Thomson) is complaining about the poor treatment he has received from his older brother (Sebastian Kroon) since the death of their father. Orlando later falls for Rosalind (Lois Anderson), but she is banished from the court, and leaves for Arden, disguised as a man and calling herself Ganymede. She is accompanied by her cousin Celia (Luisa Jojic). When Rosalind as Ganymede encounters a lovelorn Orlando in the forest, (s)he offers to pretend to be Rosalind to help him woo her.

While this dramatic irony makes for a lot of laughs, it would be a mistake to treat the popular Shakespearean story as simply a comedic romance, a fairy tale. It's much more than that, and that is not lost in this production. We are clearly in a world inhabited by melancholy and pessimism, as embodied by Jaques (John Murphy); and a deep sense of injustice, exemplified by the treatment of Orlando by his older brother, and also by a society which does not look beyond birth order.

Under Mackay's direction, the drama and the comedy both build steadily. The play gets better and better, ending the first act on a high note with the poignant handling of the death of Orlando's servant, and upping the comedic ante in the second act.

In the central role of Rosalind, Anderson, too, improved steadily. She was a bit wooden to start, but as soon as she became Ganymede, her performance transformed. Jojic's Celia was a lovely, serene contrast to Rosalind, and proved during the second act that a facial expression can be as effective as a good line of dialogue when it comes to getting a laugh. Thomson was a credible, passionate Orlando, and Murphy was appropriately broody as Jaques.

Ryan Beil as Touchstone, the clown, was an absolute delight. Some of his biggest laughs came from lines Shakespeare did not write, such as "Audrey, please close 'em up; we're in public" and "Calm down, buddy." Purists might not like this, but the audience sure did.

Mackay made excellent use of the new thrust stage, with actors entering and exiting from all points. The set was sparse, but designer Kevin McAllister's sculptured trees were brilliant - colourful curled-up love notes dotting them like flowers; and the trees of Vanier Park behind the stage created a real-life forest feel.

The production also pays attention to the fact that As You Like It is one of Shakespeare's most musical plays, including, here, both (good) live performances and recorded music, as well as some comedy involving musical instruments (what's funnier than a recorder joke?).

The play wasn't perfect - some performances were more three-dimensional

than others - and neither was the venue. Depending on which direction the actor is facing, it can be difficult to hear a line - and there's also the matter of competing with outdoor forces such as airplanes and sirens.

By the time the play ended with (spoiler alert) the quadruple marriage ceremony, it was downright cold in the tent. But the lights of West Vancouver were twinkling across the water, and it was hard to forget that moment during the first act when we could hear - and see - a flock of Canada geese taking off as Le Beau counselled Orlando to leave the court.

Like its season-opening play, Bard on the Beach is a marriage of urban and pastoral, comedy and gravity. And at its heart, it's a serious love story.

As You Like It

Directed by David Mackay

Starring Lois Anderson, Todd Thomson, Luisa Jojic, John Murphy and Ryan Beil

At Bard on the Beach

in Vancouver on Thursday

As You Like It runs until Sept. 24.

VANCOUVER SUN REVIEW

Theatre review: As You Like It: You'll like it

Youthful exuberance drives this delightful new production at Bard on the Beach

By Peter Birnie, Vancouver Sun June 10, 2011

Lois Anderson, Luisa Jojic and Ryan Beil in As You Like It, part of the Bard on the Beach 2011 festival. Photograph by: Handout, Bard on the Beach

As You Like It

To Sept. 24

On the BMO Mainstage at Bard on the Beach

Tickets: $21 to $40, go to bardonthebeach.org or call 604-739-0559

VANCOUVER -- No offence to cast members of my grey-haired vintage, but it's youthful exuberance that drives a delightful new production of As You Like It at Bard on the Beach. Our summertime Shakespeare festival opens its 22nd season with thrilling evidence that the torch has been passed to a new generation of acting talent in the brand-new BMO Mainstage tent beside the seaside.

Lois Anderson and Todd Thomson lead this romp into the Forest of Arden with an infectious gusto. She's the feisty and fast-thinking Rosalind, he's the stubborn nobleman named Orlando, and together these young veterans create a palpable chemistry picked up by all around them.

Anderson is a joy to watch as she bats about with the wit of her beloved character, who must don the guise of a guy to survive being banished to the woods. As the actress nimbly plays along the gender barrier from behind a thin moustache she gets great support from Luisa Jojic as cousin Celia; their physical similarity is matched by an equal appreciation of the fun to be found in buddy comedy.

Thomson opens the show with a roar as Orlando rails against servitude, and never fails to exude a suitable masculinity. The other end of that scale is of course the outrageously out-of-touch Touchstone, here given full foolish flower by Ryan Beil.

Blond beneath a frizzed-out pageboy wig and decked out in the show's only garish costume, Beil gets away with the outlandish asides to the audience we've come to love from this comedic genius, even as director David Mackay (equally famous for nyuking it up in helming such Bard treats as Twelfth Night and The Comedy of Errors), instead takes a gentler tack with the laughs.

While Mackay also takes some interesting liberties with the script (Richard Newman's old Adam gets his own death scene, for instance), toys with a silly teeter-totter and gives us a good old gross-out groaner in the skinning of some fuzzy bunnies, he's clearly toning things down to honour the sweet idyllic spirit of the story. As You Like It is all about love, and Mackay loves highlighting his “kids” as they sort through the spaghetti of the plot.

Even young Beil must yield to such morning-faced talent as Kayvon Khoshkam, recently directed by Anderson in The Graduate, who gives goofy shepherd Silvius a gorgeous sense of self, and is beautifully matched by Lindsey Angell as Phoebe — who with a typically Shakespearean twist loves the disguised Rosalind.

John Murphy is strong as Jaques, although not quite as deliciously depressive as Scott Bellis was in the 2005 Bard production in which Mackay played Touchstone, while David Marr is a touch too sedate in finding Duke Senior's celebrated tongues in trees and sermons in stone.

Sebastian Kroon is likewise too subdued as Orlando's brother, but Charlie Gallant gives his wrestler suitable spunk in an alarmingly realistic grapple with Orlando choreographed by fight director Nicholas Harrison. Luc Roderique has fun making his bumpkin William dumb as a post; add capable comedy by Duncan Fraser as strongly gallic Le Beau and Shawn Macdonald as a rustic old shepherd and everyone is on the same page in doing justice to the tale.

Mara Gottler's costumes and wigs lend literal expression to Mackay's setting of the story in Puritan England, but her royal court's fierce adherence to the black-and-white world of religious repression yields in the forest to a rich array of suedes and leathers, tidy for the townies who have dropped in and rough-hewn for the local peasant set. Their subtle, natural colours (other than all of Touchstone's excesses) are as subdued as the music, which peppers the play in a quiet and charming folk vein.

Murray Price's sound design is able to take advantage of the new tent's ability to bring us some surround-sound effects, but Gerald King's lighting has definitely not yet found its footing in the venue — opening night saw nothing more than an adequate illumination of Arden. Perhaps King is having trouble with the tent's most glaring problem, as the stage is framed by massive walls of plastic in a shade you'll recognize as BMO Blue.

That sponsoring bank has a posh new sign out front, and definitely does not need to be further honoured by what feels like a distracting product placement. Let's put it down to teething pains in this new structure and hope for something smarter down the road.

Sun Theatre Critic

pbirnie@vancouversun.com

© Copyright (c) The Vancouver Sun

VANCOUVER COURIER REVIEW

Bard kicks off with lovable As You Like It

By Jo Ledingham, Special to Vancouver Courier June 17, 2011

Lois Anderson and Todd Thomson star in As You Like It at Bard on the Beach.

Photograph by: submitted, for the Courier

As You Like It

At Bard on the Beach until Sept. 24

Tickets: 604-739-0559, bardonthebeach.org

Like it? We loved it from the new BMO Mainstage, the deeper thrust stage, the more spacious seats and improved leg room. Seats are now assigned so there's no lineup and it all still happens in Vanier Park with the upstage tent wall open to the mountains, sea and sky.

It's Bard's 22nd season and what a success story it is; artistic director Christopher Gaze is deservedly proud. And so it's fitting that Bard's season opens with As You Like It--because we obviously do.

It's a twisted plot involving two estranged brothers: the usurping Duke Frederick (David Marr) and his exiled older brother Duke Senior (Marr, again); and bad Oliver de Boys (Sebastian Kroon) and good

Orlando de Boys (Todd Thomson). When Duke Frederick also banishes his niece Rosalind (Lois Anderson), his own daughter Celia (Luisa Jojic) decides to go with her. Two young women on the lam in the Forest of Arden is not a good idea so Rosalind dresses like a boy, hides her bobbing curls, dons a little mustache and takes the name Ganymede; Celia keeps her ringlets, dresses down and takes the name Aliena. Off they go, into the woods where adventure awaits them.

Out of this, Shakespeare creates one of the best-loved setups in the entire canon. In the forest, Rosalind meets Orlando who is running away from his murderous brother and pining for love of Rosalind, whom, dressed as Ganymede, he does not recognize. She/he offers to cure him of his love sickness but to do so Orlando must pretend to woo her/him.

These scenes are the heart of As You Like It, and Anderson and Thomson are well matched. Thomson vents frustration and bewilderment while Anderson takes such delight in toying with Orlando. Anderson's tomboy charm, her sideways glances and her barely concealed sighs take As You Like It aloft.

It's Shakespeare and so there's a fool--Touchstone--and who better than Ryan Beil to keep us laughing. Costume designer Mara Gottler has him rigged out in gold brocade, turquoise ribbons, bells and peacock feathers, but it's his wig--a platinum crimped affair--that makes him look so ridiculous. He delivers the "how to vanquish a rival" speech with such a straight face, it's hilarious.

Director David Mackay sets the play in 1642, in the midst of the Puritan era, but otherwise sticks fairly closely to Shakespeare's text. He does, however, allow for some ad libs and more contemporary gestures. Beil is masterful at this ("Knock it off," he shouts to an unseen but persistent knocker at the door, for example).

In addition to the Rosalind/Orlando romance, Shakespeare offers a couple of rustic romances: Phoebe (saucily played by Lindsey Angell) and Silvius (Kayvon Khoshkam); and country girl Audrey (Amber Lewis) and Touchstone. There's also a love-at-first sight romance between Celia and repentant Oliver.

Lest all this love and frivolity completely eclipse As You Like It, Mackay wisely casts John Murphy as Jaques, the wanderer. While many productions ridicule Jaques' perpetually pessimistic, antisocial character, Mackay and Murphy make Jaques a sober, thoughtful balance between merriment and melancholy.

It all ends in reveals, reconciliations, multiple marriages and a hey-nonny-nonny. Bard on the Beach has opened. Summer may now begin.

joled@telus.net

© Copyright (c) Vancouver Courier

— Lois Anderson (Rosalind) & Orlando (Todd Thomson) in AS YOU LIKE IT at Bard on the Beach 2011. Photo: David Cooper

AS YOU LIKE IT

by William Shakespeare

Bard on the Beach Shakespeare Festival

Vanier Park June 2-Sept. 24

$21-$40

604-739-0559 or www.bardonthebeach.org

Bard on the Beach opens its 22nd season in a new, bigger tent with reserved seats that are marginally more comfortable and even feature cupholders. It has a new thrust stage with improved backstage facilities for the actors, better access to entrances and exits, and more lighting positions. What's constant is the great view across False Creek to the North Shore mountains through the back of the

stage, an all-Shakespearean season, and a performance style that's clear, straightforward and accessible. You don't want to mess too much with a formula that has proven so hugely successful. So it's fitting that the opening show is solid from top to bottom but without much of a wow-factor.

The last time Bard staged As You Like It, in 2005, David Mackay was its brilliant Touchstone, the play's clown. Here Mackay is back as director—with an altogether better production—and he has cast the key roles wisely. Lois Anderson makes a sprightly Rosalind but really hits her stride as Ganymede, crossdressing as a man in the forest of Arden and teaching lovesick Orlando (Todd Thomson) some profound and funny lessons about love. Ryan Beil, one of the only actors in Vancouver who can rival Mackay in comedy, takes the comic reins here as Touchstone and he doesn't disappoint. Resplendent in golden fool's motley and a braided blond wig (Mara Gottler's costumes and wiggery are consistently striking), his courtly Touchstone hilariously mocks the country bumpkins only to fall for Audrey (Amber Lewis), the most bumpkinish gal of all. The other key role in this play is the melancholy philosopher Jaques, whose Seven Ages of Man speech (“All the world's a stage...”) is always one of its highlights. John Murphy, a rapidly rising star at Bard, looks like an ascetic, hollow­eyed John the Baptist in the wilderness. Murphy avoids the cynicism with which Jaques is often played, offering instead a chillingly depressive view of the proceedings, a masterfully downbeat conclusion to the famous speech, and a rich, dark counterpoint to the play's self-consciously ridiculous romantic ending.

Foremost among the secondary characters, Luisa Jojic is attractive and energetic as Rosalind's friend Celia, Duncan Fraser steals a couple of scenes as the courtier Le Beau and a drunken vicar, and Shawn Macdonald makes the shepherd Corin the liveliest fellow in the fields. He also gets the most gasp­inducing moment in the show, skinning a prop rabbit (don't worry—no real animals are harmed) and revealing its bloody innards.

This is a nice touch, graphically illustrating Shakespeare's point that Arden is not entirely Eden. But it also made me aware of how restrained the rest of the production is. That's not a bad thing, but I could have done with a little more exuberance from a director with Mackay's great comic imagination.

Jerry Wasserman