Speeches (Lines) for (stage directions)
in "As You Like It"

Total: 64

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# Act, Scene, Line
(Click to see in context)
Speech text

1

I,1,1

(beginning of scene)

(stage directions). Enter ORLANDO and ADAM


2

I,1,22

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, 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 manage, and to that end riders dearly
hir'd; but I, his brother, gain nothing under him 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
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.

(stage directions). [Enter OLIVER]


3

I,1,26

Orlando. Go apart, Adam, and thou shalt hear how he will shake me
up.

(stage directions). [ADAM retires]


4

I,1,76

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!

(stage directions). Enter DENNIS


5

I,1,83

Oliver. Call him in. [Exit DENNIS] 'Twill be a good way; and
to-morrow the wrestling is.

(stage directions). Enter CHARLES


6

I,2,145

(beginning of scene)

(stage directions). Enter ROSALIND and CELIA


7

I,2,182

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.

(stage directions). Enter TOUCHSTONE


8

I,2,221

Celia. By my troth, thou sayest true; for since the little wit that
fools have was silenced, the little foolery that wise men have
makes a great show. Here comes Monsieur Le Beau.

(stage directions). Enter LE BEAU


9

I,2,266

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

(stage directions). Flourish. Enter DUKE FREDERICK, LORDS, ORLANDO,


10

I,2,267

(stage directions). Flourish. Enter DUKE FREDERICK, LORDS, ORLANDO,

(stage directions). CHARLES, and ATTENDANTS


11

I,2,325

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

(stage directions). [CHARLES is thrown. Shout]


12

I,2,340

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 pleas'd me with this deed,
Hadst thou descended from another house.
But fare thee well; thou art a gallant youth;
I would thou hadst told me of another father.

(stage directions). Exeunt DUKE, train, and LE BEAU


13

I,2,371

Rosalind. Have with you. Fare you well.

(stage directions). Exeunt ROSALIND and CELIA


14

I,2,376

Orlando. What passion hangs these weights upon my tongue?
I cannot speak to her, yet she urg'd conference.
O poor Orlando, thou art overthrown!
Or Charles or something weaker masters thee.

(stage directions). Re-enter LE BEAU


15

I,3,407

(beginning of scene)

(stage directions). Enter CELIA and ROSALIND


16

I,3,437

Celia. Why should I not? Doth he not deserve well?

(stage directions). Enter DUKE FREDERICK, with LORDS


17

I,3,494

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.

(stage directions). Exeunt DUKE and LORDS


18

II,1,547

(beginning of scene)

(stage directions). Enter DUKE SENIOR, AMIENS, and two or three LORDS, like foresters


19

II,2,621

(beginning of scene)

(stage directions). Enter DUKE FREDERICK, with LORDS


20

II,3,643

(beginning of scene)

(stage directions). Enter ORLANDO and ADAM, meeting


21

II,4,721

(beginning of scene)

(stage directions). Enter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias


22

II,4,722

(stage directions). Enter ROSALIND for GANYMEDE, CELIA for ALIENA, and CLOWN alias

(stage directions). TOUCHSTONE


23

II,4,736

Touchstone. Ay, now am I in Arden; the more fool I; when I was at
home I was in a better place; but travellers must be content.

(stage directions). Enter CORIN and SILVIUS


24

II,5,819

(beginning of scene)

(stage directions). Enter AMIENS, JAQUES, and OTHERS


25

II,5,877

Amiens. And I'll go seek the Duke; his banquet is prepar'd.

(stage directions). Exeunt severally


26

II,6,878

(beginning of scene)

(stage directions). Enter ORLANDO and ADAM


27

II,7,893

(beginning of scene)

(stage directions). A table set out. Enter DUKE SENIOR, AMIENS, and LORDS, like outlaws


28

II,7,901

Duke. If he, compact of jars, grow musical,
We shall have shortly discord in the spheres.
Go seek him; tell him I would speak with him.

(stage directions). Enter JAQUES


29

II,7,983

Jaques (lord). Why, who cries out on pride
That can therein tax any private party?
Doth it not flow as hugely as the sea,
Till that the wearer's very means do ebb?
What woman in the city do I name
When that I say the city-woman bears
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 on my cost,
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 wrong'd him: if it do him right,
Then he hath wrong'd himself; if he be free,
Why then my taxing like a wild-goose flies,
Unclaim'd of any man. But who comes here?

(stage directions). Enter ORLANDO with his sword drawn


30

II,7,1065

Jaques (lord). All the world's a stage,
And all the men and women merely players;
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;
Then the whining school-boy, with his satchel
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,
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 lin'd,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper'd pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well sav'd, a world too wide
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;
Sans teeth, sans eyes, sans taste, sans every thing.

(stage directions). Re-enter ORLANDO with ADAM


31

III,1,1102

(beginning of scene)

(stage directions). Enter DUKE FREDERICK, OLIVER, and LORDS


32

III,2,1121

(beginning of scene)

(stage directions). Enter ORLANDO, with a paper


33

III,2,1132

Orlando. Hang there, my verse, in witness of my love;
And thou, thrice-crowned 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 witness'd every where.
Run, run, Orlando; carve on every tree,
The fair, the chaste, and unexpressive she. Exit

(stage directions). Enter CORIN and TOUCHSTONE


34

III,2,1198

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

(stage directions). Enter ROSALIND, reading a paper


35

III,2,1274

Touchstone. Come, shepherd, let us make an honourable retreat;
though not with bag and baggage, yet with scrip and scrippage.

(stage directions). Exeunt CORIN and TOUCHSTONE


36

III,2,1351

Celia. You bring me out. Soft! comes he not here?

(stage directions). Enter ORLANDO and JAQUES


37

III,2,1390

Orlando. I am glad of your departure; adieu, good Monsieur
Melancholy.

(stage directions). Exit JAQUES


38

III,3,1505

(beginning of scene)

(stage directions). Enter TOUCHSTONE and AUDREY; JAQUES behind


39

III,4,1594

(beginning of scene)

(stage directions). Enter ROSALIND and CELIA


40

III,4,1634

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

(stage directions). Enter CORIN


41

III,5,1650

(beginning of scene)

(stage directions). Enter SILVIUS and PHEBE


42

III,5,1658

Silvius. Sweet Phebe, do not scorn me; do not, Phebe.
Say that you love me not; but say not so
In bitterness. The common executioner,
Whose heart th' accustom'd 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?

(stage directions). Enter ROSALIND, CELIA, and CORIN, at a distance


43

IV,1,1796

(beginning of scene)

(stage directions). Enter ROSALIND, CELIA, and JAQUES


44

IV,1,1820

Jaques (lord). Yes, I have gain'd my experience.

(stage directions). Enter ORLANDO


45

IV,2,1980

(beginning of scene)

(stage directions). Enter JAQUES and LORDS, in the habit of foresters


46

IV,3,2000

(beginning of scene)

(stage directions). Enter ROSALIND and CELIA


47

IV,3,2006

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.

(stage directions). Enter SILVIUS


48

IV,3,2075

Rosalind. Do you pity him? No, he deserves no pity. Wilt thou love
such a woman? What, to make thee an instrument, and play false
strains upon thee! Not to be endur'd! Well, go your way to her,
for I see love hath made thee 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.

(stage directions). Exit SILVIUS


49

IV,3,2076

(stage directions). Exit SILVIUS

(stage directions). [Enter OLIVER]


50

IV,3,2163

Oliver. By and by.
When from the first to last, betwixt us two,
Tears our recountments had most kindly bath'd,
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,
Dy'd in his blood, unto the shepherd youth
That he in sport doth call his Rosalind.

(stage directions). [ROSALIND swoons]


51

V,1,2188

(beginning of scene)

(stage directions). Enter TOUCHSTONE and AUDREY


52

V,1,2197

Audrey. Ay, I know who 'tis; he hath no interest in me in the
world; here comes the man you mean.

(stage directions). Enter WILLIAM


53

V,1,2244

William. God rest you merry, sir. Exit

(stage directions). Enter CORIN


54

V,1,2247

Touchstone. Trip, Audrey, trip, Audrey. I attend, I attend.

(stage directions). Exeunt


55

V,2,2248

(beginning of scene)

(stage directions). Enter ORLANDO and OLIVER


56

V,2,2263

Orlando. You have my consent. Let your wedding be to-morrow.
Thither will I invite the Duke and all's contented followers. Go
you and prepare Aliena; for, look you, here comes my Rosalind.

(stage directions). Enter ROSALIND


57

V,3,2360

(beginning of scene)

(stage directions). Enter TOUCHSTONE and AUDREY


58

V,3,2366

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. Here come
two of the banish'd Duke's pages.

(stage directions). Enter two PAGES


59

V,4,2401

(beginning of scene)

(stage directions). Enter DUKE SENIOR, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA


60

V,4,2406

Orlando. I sometimes do believe and sometimes do not:
As those that fear they hope, and know they fear.

(stage directions). Enter ROSALIND, SILVIUS, and PHEBE


61

V,4,2428

Rosalind. I have promis'd 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, Phebe, 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.

(stage directions). Exeunt ROSALIND and CELIA


62

V,4,2438

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 tutor'd 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.

(stage directions). Enter TOUCHSTONE and AUDREY


63

V,4,2595

Duke. Proceed, proceed. We will begin these rites,
As we do trust they'll end, in true delights. [A dance] Exeunt EPILOGUE

(stage directions). EPILOGUE.


64

V,4,2614

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 then, that am neither a good epilogue, nor cannot
insinuate with you in the behalf of a good play! I am not
furnish'd 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 charge you, O men, for the love
you bear to women- as I perceive by your simp'ring 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
pleas'd me, complexions that lik'd 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.

(stage directions). THE END


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