Speech
Arden 3 | 2006

JAQUES
——————–All the world’s a stage, [140]
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; [145]
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, [150]
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 lined, [155]
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 slippered pantaloon,
With spectacles on nose and pouch on side, [160]
His youthful hose well saved, 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, [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Re-enter ORLANDO, with ADAM

Top

Words + Pronunciation
Arden 3 | 2006

Mewling: To cry out or whine (O.E.D). to wail almost like a kitten (Arden)

Ballad: A light song that is typically romantic in nature (O.E.D)

Pard: To be or be like a panther or leopard (Crystal) A leopard (Arden)

Quarrel: some dispute or hostility, a complaint against another person (O.E.D)

Bubble Reputation:  Fame and pride that is as fragile and fleeting as a bubble(No Fear Shakespeare)

Justice: An officer of the court or a Judge (O.E.D)

Fair: Nice or well. In context it means well fed. (No Fear Shakespeare) With Justice or honesty (O.E.D)

Capon: A corrupt justice who takes bribes (O.E.D) A castrated cock, a fat chicken to eat (Arden)

Wise saws: Wise words or phrases (No Fear Shakespeare) Sage sayings (Arden)

Modern instances: Relevant and recent information (No Fear Shakespeare) Recent or new arguments, used in a legal case (Arden)

Lean: Alight, poor and gaunt (Crystal)

Slippered: well worn or shoddy (O.E.D)

Pantaloon: The clothes of an old man (Crystal) Baggy trousers worn by old men over their emaciated legs (Arden)

Pouch: A money bag or purse (Crystal)

Hose: A pair of pants (Crystal)

A World: Much (Arden) by a great deal, infinitely, vastly. (O.E.D)

Shrunk: To wither or shrivel (O.E.D)

Shank: Legs (Crystal)

Treble: Multiplied by three time (Crystal) The high pitched voice of a child (Arden)

Pipes: Voice (Crystal)

Whistles: To become quiet or whisper (Crystal) The indistinct articulation of children (Arden)

Mere: Total (Arden) Undiluted (O.E.D)

Top

Pronunciation+

——————–All the world’s a stage, [140]
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; [145]
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, [150]
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 lined, [155]
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 slippered pantaloon,
With spectacles on nose and pouch on side, [160]
His youthful hose well saved, 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, [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Re-enter ORLANDO, with ADAM

Top

Translation
No Fear Shakespeare

JAQUES
The whole world is a stage, and all the men and women merely actors. They have their exits and their entrances, and in his lifetime a man will play many parts, his life separated into seven acts. In the first act he is an infant, whimpering and puking in his nurse’s arms. Then he’s the whining schoolboy, with a book bag and a bright, young face, creeping like a snail unwillingly to school. Then he becomes a lover, huffing and puffing like a furnace as he writes sad poems about his mistress’s eyebrows. In the fourth act, he’s a soldier, full of foreign curses, with a beard like a panther, eager to defend his honor and quick to fight. On the battlefield, he puts himself in front of the cannon’s mouth, risking his life to seek fame that is as fleeting as a soap bubble. In the fifth act, he is a judge, with a nice fat belly from all the bribes he’s taken. His eyes are stern, and he’s given his beard a respectable cut. He’s full of wise sayings and up-to-the-minute anecdotes: that’s the way he plays his part. In the sixth act, the curtain rises on a skinny old man in slippers, glasses on his nose and a money bag at his side. The stockings he wore in his youth hang loosely on his shriveled legs now, and his bellowing voice has shrunk back down to a childish squeak. In the last scene of our play—the end of this strange, eventful history—our hero, full of forgetfulness, enters his second childhood: without teeth, without eyes, without taste, without everything.

Top

Assonance
Arden 3 | 2006

JAQUES
——————–All the world’s a stage, [140]
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; [145]
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, [150]
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 lined, [155]
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 slippered pantaloon,
With spectacles on nose and pouch on side, [160]
His youthful hose well saved, 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, [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Re-enter ORLANDO, with ADAM

Top

Alliteration
Arden 3 | 2006

JAQUES
——————–All the world’s a stage, [140]
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; [145]
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, [150]
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 lined, [155]
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 slippered pantaloon,
With spectacles on nose and pouch on side, [160]
His youthful hose well saved, 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, [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Re-enter ORLANDO, with ADAM

Top

Consonance
Arden 3 | 2006

JAQUES
——————–All the world’s a stage, [140]
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; [145]
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, [150]
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 lined, [155]
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 slippered pantaloon,
With spectacles on nose and pouch on side, [160]
His youthful hose well saved, 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, [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Re-enter ORLANDO, with ADAM

Top

Thoughts
Arden 3 | 2006

JAQUES
1.                                All the world’s a stage,  [140]
And all the men and women merely players.
2. They have their exits and their entrances;
2b. And one man in his time plays many parts,
His acts being seven ages. 3. At first the infant,
Mewling and puking in the nurse’s arms;  [145]
3b. Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; 3c. and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; 3d. then a soldier,  [150]
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; 3e. and then the justice,
In fair round belly with good capon lined,  [155]
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
3f. And so he plays his part. 4. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,  [160]
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. 5. Last scene of all,
That ends this strange eventful history,  [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Re-enter ORLANDO, with ADAM

Top

Thought Count
Arden 3 | 2006

Thoughts |TBD

Short: 2 | 5
Medium: 2 | 5
Long: 2 | 1
Total: 5 | 11

Complex: 2 | 2,6

End-stopped: 2 | 6
Mid-line: 3 | 5

Periods: 5
Exclamations: 0
Questions: 0
Unfinished: 0

Top

Rhythm
Arden 3 | 2006

JAQUES
——————–All the world’s a stage, [140](5)
And all the men and women merely players. (11W)
They have their exits and their entrances; (10R)
And one man in his time plays many parts, (10R | 10)
His acts being seven ages. At first the infant, (12W | 13W | epic?)
Mewling and puking in the nurse’s arms; [145] (10)
Then the whining school-boy, with his satchel (10)
And shining morning face, creeping like snail (10)
Unwillingly to school; and then the lover, (11W)
Sighing like furnace, with a woeful ballad (11W)
Made to his mistress’ eyebrow; then a soldier, [150] (11w)
Full of strange oaths and bearded like the pard, (10)
Jealous in honour, sudden and quick in quarrel, (10 | 11w | 12w)
Seeking the bubble reputatiön (10)
Even in the cannon’s mouth; and then the justice, (11w | 12w | epic?)
In fair round belly with good capon lined, [155](10)
With eyes severe and beard of formal cut, (10R)
Full of wise saws and modern instances; (10)
And so he plays his part. The sixth age shifts (10R | 10)
Into the lean and slippered pantaloon, (10)
With spectacles on nose and pouch on side, [160](10R)
His youthful hose well saved, a world too wide (10R)
For his shrunk shank, and his big manly voice, (10)
Turning again toward childish treble, pipes (10)
And whistles in his sound. Last scene of all, (10)
That ends this strange eventful history, [165](10R)
Is second childishness and mere oblivion,(11W | 12)
Sans teeth, sans eyes, sans taste, sans everything. (10R)

Re-enter ORLANDO, with ADAM

Top

Pacing
Arden 3 | 2006

JAQUES
——————–All the world’s a stage, [140] slowly?
And all the men and women merely players. pause?
They have their exits and their entrances;
And one man in his time plays many parts, slowly?
His acts being seven ages. <epic?> At first the infant,
Mewling and puking in the nurse’s arms; [145] pause?
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, [150]
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; <epic?> and then the justice,
In fair round belly with good capon lined, [155]
With eyes severe and beard of formal cut,
Full of wise saws and modern instances; pause?
And so he plays his part. The sixth age shifts  slowly?
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side, [160]
His youthful hose well saved, a world too wide  slowly?
For his shrunk shank, and his big manly voice, slowly?
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all, | slowly?
That ends this strange eventful history, [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything. slowly?

Re-enter ORLANDO, with ADAM

Top

Beats
Arden 3 | 2006

JAQUES
——————–All the world’s a stage, [140]
And all the men and women merely players.

 

decision?

---

They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages.

discovery? decision? disclosure?

---

—————————At first the infant,
Mewling and puking in the nurse’s arms; [145]
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, [150]
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 lined, [155]
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 slippered pantaloon,
With spectacles on nose and pouch on side, [160]
His youthful hose well saved, 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, [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Re-enter ORLANDO, with ADAM

Top

Rhetoric
Arden 3 | 2006

JAQUES
——————–All the world’s a stage, [140]
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; [145]
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, [150]
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 lined, [155]
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 slippered pantaloon,
With spectacles on nose and pouch on side, [160]
His youthful hose well saved, 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, [165]
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

Re-enter ORLANDO, with ADAM

Top

Scene
Arden 3 | 2006 | 215-233

2.7
Enter Duke Senior, [ Amiens ] and Lords [ dressed ] as outlaws .
DUKE SENIOR

I think he be transformed into a beast,
216
For I can nowhere find him like a man.
1 LORD

My lord, he is but even now gone hence;
Here was he merry, hearing of a song.
DUKE SENIOR

5If he, compact of jars, grow musical,
We shall have shortly discord in the spheres.
Go seek him, tell him I would speak with him.
Enter Jaques.
1 LORD

He saves my labour by his own approach.
DUKE SENIOR

Why, how now, Monsieur! What a life is this
10That your poor friends must woo your company!
What, you look merrily.
217
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,
15Who 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.’
20And then he drew a dial from his poke,
And looking on it with lack-lustre eye
Says very wisely, ‘It is ten o’clock.
218
Thus we may see’, quoth he, ‘how the world wags.
’Tis but an hour ago since it was nine,
25And 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,
30My lungs began to crow like chanticleer,
That fools should be so deep-contemplative ,
And I did laugh sans intermission
An hour by his dial. O noble fool,
A worthy fool! Motley’s the only wear!
DUKE SENIOR

35What fool is this?
JAQUES

O worthy fool! – One that hath been a courtier,
219
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
40After 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,
220
45Provided that you weed your better judgements
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,
50And they that are most galled with my folly,
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,
55Not to seem senseless of the bob. If not,
The wise man’s folly is anatomized
221
Even by the squandering glances of the fool.
Invest me in my motley. Give me leave
To speak my mind, and I will through and through
60Cleanse the foul body of th’infected world,
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.
65For thou thyself hast been a libertine,
As sensual as the brutish sting itself,
And all th’embossed sores and headed evils
222
That thou with licence of free foot hast caught
Wouldst thou disgorge into the general world.
JAQUES

70Why, who cries out on pride
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,
75When 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?
223
Or what is he of basest function,
80That 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 wronged him. If it do him right,
85Then he hath wronged himself. If he be free,
Why then my taxing like a wild goose flies
Unclaimed of any man. But who comes here?
Enter Orlando [ with sword drawn ].
ORLANDO

Forbear and eat no more!
JAQUES
Why, I have ate none yet.
ORLANDO

90Nor shalt not till necessity be served.
JAQUES
Of what kind should this cock come of?
224
DUKE SENIOR

Art thou thus boldened, man, by thy distress?
Or else a rude despiser of good manners,
That in civility thou seem’st so empty?
ORLANDO

95You touched my vein at first. The thorny point
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
100Till I and my affairs are answered.
JAQUES
An you will not be answered with reason, I must
die.
DUKE SENIOR

What would you have? Your gentleness shall force
More than your force move us to gentleness.
ORLANDO

105I almost die for food – and let me have it.
DUKE SENIOR

Sit down and feed and welcome to our table.
ORLANDO

Speak you so gently? Pardon me, I pray you.
I thought that all things had been savage here
225
And therefore put I on the countenance
110Of stern commandment. But whate’er you are,
That in this desert inaccessible,
Under the shade of melancholy boughs,
Lose and neglect the creeping hours of time –
If ever you have looked on better days,
115If ever been where bells have knolled to church,
If ever sat at any good man’s feast,
If ever from your eyelids wiped a tear,
And know what ’tis to pity and be pitied –
Let gentleness my strong enforcement be,
120In the which hope, I blush and hide my sword.
DUKE SENIOR

True is it that we have seen better days,
226
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;
125And therefore sit you down in gentleness
And take upon command what help we have
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,
130And give it food. There is an old poor man
Who after me hath many a weary step
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,
135And we will nothing waste till you return.
ORLANDO

I thank ye, and be blest for your good comfort.[Exit.]
227
DUKE SENIOR

Thou seest we are not all alone unhappy.
This wide and universal theatre
Presents more woeful pageants than the scene
140Wherein we play in.
JAQUES
140All 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,
228
145Mewling and puking in the nurse’s arms;
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
150Made 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,
155In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
229
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
160With spectacles on nose and pouch on side,
His youthful hose well saved, 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,
165That ends this strange eventful history,
Is second childishness and mere oblivion,
sans teeth, sans eyes, sans taste, sans everything.
Enter Orlando bearing Adam.
DUKE SENIOR

Welcome. Set down your venerable burden
230
And let him feed.
ORLANDO

170I thank you most for him.
ADAM
170So had you need;
I scarce can speak to thank you for myself.
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
Sings.

175Blow, blow, thou winter wind,
Thou art not so unkind
As man’s ingratitude.
Thy tooth is not so keen
231
Because thou art not seen,
180 Although thy breath be rude.
Hey-ho , sing hey-ho, unto the green holly.
Most friendship is feigning , most loving mere folly.
Then hey-ho , the holly!
This life is most jolly.

185Freeze, 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.
Hey-ho , sing hey-ho, unto the green holly.
232
Most friendship is feigning, most loving mere folly.
Then hey-ho, the holly!
This life is most jolly.
DUKE SENIOR

195If that you be the good Sir Rowland’s son,
As you have whispered faithfully you were,
And as mine eye doth his effigies witness,
Most truly limned and living in your face,
Be truly welcome hither. I am the Duke
233
200That 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.
[to Lords ] Support him by the arm.
( [to Orlando ]) Give me your hand
And let me all your fortunes understand.(Exeunt.)

Top