the latter's evil designs, also journeys to this forest to join the banished Duke. ACT III On the day of the wrestling-match, Orlando had fallen in love with Rosalind and he now spends much of his time writing verses about her and fastening them to the trees. Rosalind and Celia find some of these, and Rosalind, remembering how she is dressed, is distressed to think Orlando is so near. But she soon recovers her light spirits and decides to talk to him as youth to youth and find out how much he really cares for her. She invites him to visit her and to talk to her as he would like to talk to Rosalind. Orlando gladly accepts this offer. ACT IV Orlando's brother Oliver follows Orlando to the forest to do him harm. He is discovered by the younger man, sleeping under an oak-tree and in two-fold danger of his life by a snake and by a lioness. Orlando is tempted to leave his brother to his fate, but the good in him triumphs over this evil thought and he saves Oliver's life. But in so doing he himself is wounded by the lioness. He sends Oliver, who has repented of his treatment of him, to tell Rosalind of his injury. Rosalind swoons at the news, but pretends that the faint was only counterfeit. ACT V Oliver has fallen in love with Celia, and she returns his affection. They decide to be married very shortly, and Rosalind, still in male disguise, promises Orlando that he shall marry his lady-love at the same time and that she will find a way to bring the lady to him. Rosalind finds her father and obtains his permisssion for his daughter to marry Orlando. Then she and Celia retire and return in their proper dress. The Duke and Orlando are delighted at the transformation. The weddings take place imme diately, and instead of just two couples, there are four, for the clown who had accompanied the ladies to the forest had met and loved a country-lass, and the fourth couple are a shepherd and his sweetheart. The joy of the wedding party is increased by the news which comes to them of Duke Frederick. While on his way to the forest to capture his brother and put him to the sword, he had met "with an old religious man," and "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 that were with him exiled." AS YOU LIKE IT ACT FIRST SCENE I Orchard of Oliver's house. Enter Orlando and Adam. Orl. As I remember, Adam, it was upon this fashion: bequeathed me by will but poor a thousand crowns, and, as thou sayest, 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, or, to speak more properly, stays me here at home un 1. "it was upon this fashion: bequeathed," &c. The Folio does not place a stop at "fashion," but makes "bequeathed" a past participle; the words "charged" "on his blessing" presuppose "he" or "my father"; the nominative, may, however, be easily supplied from the context, or possibly, but doubtfully, "a" (=“he”) has been omitted before "charged." There is very much to be said in favor of the Folio reading; a slight confusion of two constructions seems to have produced the difficulty. Warburton, Hanmer, and Capell proposed to insert "my father" before "bequeathed." Others punctuate in the same way as in the present text, but read "he bequeathed" or "my father bequeathed"; the Cambridge editors hold that the subject of the sentence is intentionally omitted. -I. G. kept; for call you that keeping for a gentle- 10 Adam. Yonder comes my master, your brother. 30 he will shake me up. Enter Oliver. Oli. Now, sir! what make you here? Orl. Nothing: I am not taught to make any thing. 33. "what make you here"; that is, what do you here? See The Merry Wives of Windsor, Act. ii. sc. 1, and Act iv. sc. 2.-H. N. H. |