As Your Like It Shakespeare

Front 1

...hath heard your praises, and this night he means to burn th lodging where you use to lie. with you in it [I overheard him]do not enter the house.

Back 1

Adam revealing to Orlando the plot of Oliver to Kill him. As you like it.

Front 2

I have 500 crowns. under you father. I saved for old age. Take that and he that doth the ravens feed, yea providently caters for the sparrow. here is gold i will give to you. For in my youth I never did apply Hot and rebellious liquors in my blood...therefor my age is as a lusty winter. Frostily but kindly. Let me go with you.

Back 2

Adam trying to convince Orlando of oliver's plot. Shows Adam is worthy servant.

Front 3

I thank it, more. I can suck melancholy out of a song as a weasel sucks eggs. More..

Back 3

Jaques and his perpetual melancholy.

Front 4

It may come to pass, that a man turn his ass, leaving his wealth and ease A stubborn will to please, Ducdame, ducdame, ducdame.

Back 4

Jaques wrote this song. word "ducame' is unknown. maybe "come hither" or "i foretell"

Front 5

speak you so gently? Pardon me, I pray you. I thought that all things had been savage here, and there fore put I on the countenance of stern commandment. But whatever you are.

Back 5

Orlando as he storms Duke Senior's camp search for food for Adam.

Front 6

After a voyage, he hath strange places crammed with observation, the which he vents in mangled forms.

Back 6

Jaques in As you like. Referring to touchstone the fool. Shakspear's forms are Platonic. a false stability in them.

Front 7

Of my revenge, thou present. But look to it: Find out thy brother wherever he is. Dead or living

Back 7

Duke Frederick to Oliver in As you like it. The duke chastises him for his failure and commands him to find Orlando within a year’s time or else forfeit the whole of his property. Frederick turns Oliver out to search for Orlando and seizes his lands and worldly goods until Orlando is delivered to court.

Front 8

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 not 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 counsellors
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,
Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything.
(II.i.1–17)

Back 8

These lines, spoken by Duke Senior upon his introduction in Act II, scene i, establish the pastoral mode of the play. With great economy, Shakespeare draws a dividing line between the “painted pomp” of court—with perils great enough to drive the duke and his followers into exile—and the safe and restorative Forest of Ardenne (II.i.3). The woods are romanticized, as they typically are in pastoral literature, and the mood is set for the remainder of the play. Although perils may present themselves, they remain distant, and, in the end, there truly is “good in everything” (II.i.17). This passage, more than any other in the play, presents the conceits of the pastoral mode. Here, the corruptions of life at court are left behind in order to learn the simple and valuable lessons of the country. Shakespeare highlights the educational, edifying, and enlightening nature of this foray into the woods by employing language that invokes the classroom, the library, and the church: in the trees, brooks, and stones surrounding him, the duke finds tongues, books, and sermons. As is his wont, Shakespeare goes on to complicate the literary conventions upon which he depends. His shepherds and shepherdesses, for instance, ultimately prove too lovesick or dim-witted to dole out the kind of wisdom the pastoral form demands of them, but for now Shakespeare merely sets up the opposition between city and country that provides the necessary tension to drive his story forward.

Front 9

. As I do live by food, I met a fool,
Who laid him down and basked him in the sun,
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,
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.
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.’
(II.vii.14–28)

Back 9

n Act II, scene vii, melancholy Jaques displays an uncharacteristic burst of delight. While wandering through the forest, he relates, he met a fool, who entertained him with rather nihilistic musings on the passage of time and man’s life. According to Touchstone, time ensures nothing other than man’s own decay: “from hour to hour we rot and rot” (II.vii.27). That this speech appeals to Jaques says much about his character: he delights not only in the depressing, but also in the rancid. Practically all of Touchstone’s lines contain some bawdy innuendo, and these are no exception. Here, by punning the word “hour” with “whore,” he transforms the general notion of man’s decay into the unpleasant specifics of a man dying from venereal disease. Touchstone appropriately, if distastefully, confirms this hidden meaning by ending his speech with the words “thereby hangs a tale,” for tale was Elizabethan slang for penis (II.vii.28).

Front 10

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 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.
(IV.i.81–92)

Back 10

n Act IV, scene i, Rosalind rejects Orlando’s claim that he would die if Rosalind should fail to return his love. Rosalind’s insistence that “[m]en have died from time to time, and worms have eaten them, but not for love” is one of the most recognizable lines from the play and perhaps the wisest (IV.i.91–92). Here, Rosalind takes on one of the most dominant interpretations of romantic love, an understanding that is sustained by mythology and praised in literature, and insists on its unreality. She holds to the light the stories of Troilus and Leander, both immortal lovers, in order to expose their falsity. Men are, according to Rosalind, much more likely to die by being hit with a club or drowning than in a fatal case of heartbreak. Rosalind does not mean to deny the existence of love. On the contrary, she delights in loving Orlando. Instead, her criticism comes from an unwillingness to let affection cloud or warp her sense of reality. By casting aside the conventions of the standard—and usually tragic—romance, Rosalind advocates a kind of love that belongs and can survive in the real world that she inhabits.

Front 11

--you have too coutly a wit for me. I'll rest.
--wilt thou rest damned? God help thee, shallow man. God make incision in thee, thou at raw.
--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 ot other men's good, content with my harm, and the greatest of my pride is to see my ewes graze and my labs suck

Back 11

Cornin
Touchstone
Cornin
thouschstone is interogatinf Corin for his pastoral style. Corin isnt envious. "est modus in rebus" there is measure in things" natural measure in things not in courtly life. moderation is in nature.

Front 12

...Tounges I'll hang on every tree, that shall civil (civilized) saying show. Some how brief the life of man Runs his erring pilgrimage, that the stretching of a span buckles in his sum of age. Some of violated vows...Will i rosalind write, teaching all that read to know the QUINTESSENCE of every sprite. ...

Back 12

Celia is reading Orlando's letter to Rose. shows world of transience (passing with time).and quick age. the pligrimmage implies a destination. quintessence- he fifth and highest essence after the four elements of earth, air, fire, and water, thought to be the substance of the heavenly bodies and latent in all things.

Front 13

I know you are a gentleman of good conceit. 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 will]set her before your eyes tomorrow, human as she is, and w/o danger.
--speakest thou in sober meanings?
--I am a magician.

Back 13

AS you Like It. Rosalind dressed as Ganymede to Orlando. Shows is cool and calculating-just calculating.

Front 14

Orlando doth commend him to you both, And to that youth he calls his Rosalind. he sends this bloody napkin.

Back 14

Oliver in AS you like it. Oliver enters. He asks for directions to Ganymede and Aliena’s cottage. Then, looking over the pair, who are still in disguise, he asks if they are the brother and sister who own that property. When they admit that they are, Oliver remarks that his brother Orlando’s description of the pair was very accurate. To Ganymede, Oliver delivers a bloody handkerchief on Orlando’s behalf. Rosalind asks what has happened. Oliver tells a lengthy story: soon after leaving Ganymede, Orlando stumbled upon a ragged man asleep in the forest, who was being preyed upon by a “green and gilded snake” (IV.iii.107). Orlando succeeded in scaring the snake away, only to see a hungry lioness emerge from the underbrush. Orlando approached the ragged man, and recognized him as his brother. Orlando’s first impulse was to let Oliver, who treated him so abominably, perish in the lion’s jaws, but his nobler nature would not allow it. He fought off the lion, wounding his shoulder but ultimately saving Oliver’s life. Orlando’s kind and selfless gesture have transformed Oliver into a new man, and the elder brother confesses that he is ashamed of his former self. He continues, saying that he and Orlando made amends and went to see the duke. Orlando finds it hard to believe that Oliver has fallen so quickly and so completely in love with Aliena. Oliver vows that he has and pledges to turn over the entirety of his father’s estate to Orlando once he and Aliena are married. Orlando gives his consent and orders a wedding prepared for the following day. Oliver leaves just as Rosalind, still disguised as Ganymede, arrives. Orlando confesses that though he is happy to see his brother in love, he is also pained to be without his Rosalind.