What 'tis to love

Act 5 Scene 2 – Key Scene

In this scene, the various lovers declare their love for each other, and Rosalind puts together a plan to ensure that the right couples end up together.

Take a look at an extract from this scene and watch it in performance here. Using the following steps, remember to look at it line by line and if you’re looking at the scene for the first time, don’t worry if you don’t understand everything at once.

• Look

  Take a look at the scene. Who has the most lines? Are they using prose or verse? Actors at the RSC often put the language into their own words to help them understand what they are saying. We’ve added some definitions (in green), questions (in red) and paraphrased some sections (in blue) to help with this. You can click on the text that is highlighted for extra guidance.

  Close

  Rosalind

  Look, here comes a lover of mine and a lover of hers.

  Phoebe

  Youth, you have done me much ungentleness,
  To show the letter that I writ to you.

  Close

  Harshness, discourtesy.

  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.

  Close

  Purpose, intention.

  Close

  Cruel, scornful.

  Phoebe

  Good shepherd, tell this youth what ’tis to love.

  Close

  It is.

  Silvius

  It is to be all made of sighs and tears,
  And so am I for Phoebe.

  Phoebe

  And I for Ganymede.

  Orlando

  And I for Rosalind.

  Rosalind

  And I for no woman.

  Close

  What is the effect of the repeated words in this scene? How does Shakespeare use repetition to create comedy here?

  Silvius

  It is to be all made of faith and service,
  And so am I for Phoebe.

  Close

  Devotion.

  Phoebe

  And I for Ganymede.

  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 observance,
  And so am I for Phoebe.

  Close

  Look at Silvius’ choice of words here. What kind of love is he describing? Do you think he is describing true love, or that his idea of love is idealistic?

  Phoebe

  And so am I for Ganymede.

  Orlando

  And so am I for Rosalind.

  Rosalind

  And so am I for no woman.

  Phoebe

  [To Rosalind] If this be so, why blame you me to love you?

  Silvius

  [To Phoebe] 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?’

  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.—
  [To all] 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.

  Close

  Please.

  Close

  Rosalind is saying that Orlando’s lovesick ‘howling’ for someone who is not here is as hard to listen to and as pointless as the howling of wolves at the moon they can never reach.

  Close

  Why do you think that Rosalind changes from verse to prose in this speech?

  Silvius

  I’ll not fail, if I live.

  Phoebe

  Nor I.

  Orlando

  Nor I.

  Exeunt
• Listen

  Read the scene aloud. Are there any words or lines that really stand out? How can you best bring out the humour in this scene?
• Watch

  Take a look at the actors performing this scene. How do the characters come across in this version? Some of the words have been changed in this production - can you spot the differences? Why do you think some of these changes have been made?

  

  Play Scene in performance
• Imagine

  Explore some images from past versions of As You Like It at the RSC. Which sets and staging choices for the scene feel right to you?