We split up our scene whenever there was a change in tone.
Act 4 Scene 1 (lines 35-206)
Line
Tone
Goal
Action
Rosalind: -- Why, how now, Orlando, where have you been all this while? You a lover? An you serve me such another trick, never come in my sight more!
Flirtatiously pouting
Wanting to make Orlando work for her affection and approval
Glances at Orlando up and down as she says these lines, and then looking away dramatically as she says "never come in my sight more!"
Orlando: My fair Rosalind, I come within an hour of my promise.
Guilty and bargaining, in a childlike manner
Seeking forgiveness
Orlando nervously pleas, outstretching his hands as he addresses Rosalind
Rosalind: Break an hour's promise in love? He that will divide a minute into a thousand parts, and break but a part of the thousand part of a minute in the affairs of love, it may be said of him that Cupid hath clapped him o'th'shoulder, but I'll warrant him heart-while.
Matter-of-fact, slightly snarky
Continuing to make Orlando feel guilty
Shoulders back, Rosalind speaks with perfection diction and narrows her eyes as she speaks
Orlando: Pardon me, dear Rosalind.
Rosalind: Nay, an you be so tardy, come no more in my sight. I had as lief be wooed of a snail.
Sarcastic, biting
To insult Orlando
Orlando: Of a snail?
Rosalind: Ay, of a snail, for though he comes slowly he carries his house on his head - a better jointure, I think, than you make a woman. Besides, he brings his destiny with him.
Orlando: What's that?
Rosalind: Why, horns - which such as you are fain to be beholding to your wives for, but he comes armed in him fortune and prevents the slander of his wife.
Rosalind seems to huff and puff as she says this, growing annoyed with Orlando
Orlando: Virtue is no horn-maker and my Rosalind is virtuous.
Rosalind: And I am your Rosalind.
Over-dramatically love-struck
Orlando seeks to flatter Rosalind while Rosalind continues to play her games with him
Rosalind and Orlando hold eye contact even though Celia has entered the scene, they do not notice her as she approaches
Celia: It pleases him to call you so, but he hath a Rosalind of a better leer than you.
Annoyed
Celia is trying to talk some sense into Rosalind
Celia enters the scene from her place on the tree stump, standing closer to Rosalind than to Orlando, speaking with authority
Rosalind: Come, woo me, woo me - for now I am in a holiday humour and like enough to consent. What would you say to me now, an I were you very, very Rosalind?
Teasing and flirtatious
Rosalind pries deeper into her game to receive affirmations
Rosalind ignores Celia's comment, maintaining her eye contact with Orlando and leaning closer to him as she speaks
Orlando: I would kiss before I spoke.
Certain
To once again establish his love for Rosalind
Orlando speaks softer than Rosalind, but is sure of himself in this statement. His words are light and breathy
Rosalind: Nay, you were better speak first, and when you were gravelled for lack of matter you might take occasion to kiss. Very good orators when they are out, they will spit, and for lovers lacking (God warrant us) matter =, the cleaniest shift is to kiss.
Orlando: How if the kiss be denied?
Rosalind: Then she puts you to entreaty and there begins new matter.
Orlando: Who could be out, being before his beloved mistress?
Rosalind: Marry, that should you, if I were your mistress, or I should think my honesty ranker than my wit.
Dramatic, serious
Orlando: What, of my suit?
Rosalind: Not out of your apparel and yet out of your suit, Am not I your Rosalind?
Orlando: I take some your joy to say you are because I would be talking of her.
Rosalind pushes harder for Orlando's thoughts on the matter, and Orlando dramatically recites his feelings
This portion of dialogue is very fluid, the two banter back and forth, voices raising ever so slightly as the tension builds to the end with Orlando saying, "Then, in mine own person, I die."
Rosalind: Well, in her person, I say I will not have you.
Orlando: Then, in mine own person, I die.
Rosalind: No, faith, die by attorney. The poor world is almost six thousand years old, and in all this time there was not any man died in his own person (videlicet, in a love-cause). Troilus had his brains dashed out with a Grecian club, yet he did what he could to die before, and he is one the patterns of love. Leander, he would have lived many a fair year though Hero had turned nun, if it has not been for a hot midsummer night; for, good youth, he went 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 lies. Men have died from time to time and worms have eaten them, but not for love.
Serious, annoyed, and teaching.
Make Orlando realize he is being irrational by saying he will die if Rosalind doesn’t have him. She is using realistic facts to prove he is wrong.
Throw her hands up in annoyance at his ignorance love blind attitude. Walks away from Orlando.
Orlando: I would not have my right Rosalind of this mind, for I protest her frown might kill me.
Joyful and romantic.
Rosalind: By this hand, it will not kill a fly. But come, now I will be your Rosalind in a more coming-on disposition, and ask me what you will, I will grant it.
Orlando: Then love me, Rosalind.
Rosalind: Have Orlando admit to how soon he would be ready to marry Rosalind and if he is really serious about the two of them spending their life together.
Rosalind: Sticks her hand out for Orlando to take and brings him closer to face her.
Rosalind: Yes, faith, will I, Fridays and Saturdays and all.
Orlando: And wilt thou have me?
Rosalind: Ay, and twenty such.
Orlando: What sayst thou?
Rosalind: Are you not good?
Orlando: I hope so.
Rosalind: Why then, can one desire too much of a good thing? Come, sister, you shall be the priest and marry us. Give me your hand, Orlando. What do you say, sister?
Orlando: Acting as if his real Rosalind was there he tries to woo Ganymede (Rosalind) by begging for her love and following through with a makeshift wedding ceremony.
Orlando: Follows Rosalind to other part of the stage and hold her hand, following her lead.
Orlando: Pray thee, marry us.
Celia: I cannot say the words.
Rosalind: You must begin: 'Will you, Orlando-'
Celia: Go to. - Will you, Orlando, have to wife this Rosalind?
Orlando: I will.
Rosalind: Ay, but when?
Orlando: Why now, as fast as she can marry us.
Rosalind: Then you must say: 'I take thee, Rosalind, for wife.'
Celia: Helping Rosalind with her goal.
Celia: Comes to join the couple and uses her handkerchief to tie their hands together similar to older wedding traditions. As soon as she is done talking she goes back to sit on a stump watching the two.
Orlando: I take thee, Rosalind, for wife.
Rosalind: I might ask you for your commission. But I do take thee, Orlando, for my husband. There's a girl goes before the priest, and certainly a woman's thought runs before her actions.
Orlando: So do all thoughts - they are winged.
Rosalind: Now tell me how long you would have her after you have possessed her?
Orlando: For ever and a day.
Rosalind: Say 'a day' without the 'ever'. No, no, Orlando, men are April when they woo, December when they wed. Maids are May when they are maids, but the sky changes when they are wives. I ill be more jealous of thee than a Barbary cock-pigeon over his hen, more clamorous than a parrot against rain, more new-fangled than an ape, more giddy in my desires than a monkey. I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry. I will laugh a hyena, and when thou art inclines to sleep.
Orlando: But will my Rosalind do so?
Rosalind: By my life, she will do as I do.
Orlando: O, but she is wise.
Informing, dramatic
To ensure that he will love her even when she has mood swings and annoys him.
She acts out the emotions as she says them. Her face turns jealous, then giddy, then she pretends to cry and pretends to laugh.
Orlando: Hanging on to her every word
​
Rosalind is ensuring that Orlando is prepared to marry her.
Rosalind winks to the audience as Orlando stares at her.
Rosalind: Or else she could not have the wit to do this - the wiser, the waywarder. Make the doors upon a woman's wit and it will out the casement. Shut that and 'twill out at the keyhole. Stop that, 'twill fly with the smoke out at the chimney.
Explanatory
Showing Orlando how a woman's wit will find a way to express itself.
Waves her arms around as if she is the wit escaping with the smoke.
Rosalind: Serious with a hint of irony
Orlando: A man that had a wife with such a wit, he might say, 'Wit, whither wilt?'
Rosalind: Nay, you might keep that check for it till you met your wife's wit going to neighbour's bed.
Orlando: flirty yet questioning
​
Rosalind: playing the role of instructor
Orlando is trying to learn about wives while
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Rosalind is keeping him intrigued
Rosalind points her finger at Orlando as he shrugs his shoulders in confusion
Orlando: And what wit could wit have to excuse that?
Rosalind: Marry, to say she came to seek you there, You shall never take her without her answer unless you take her without her tongue. O, that woman that cannot make her fault her husband's occasion, let her never nurse her child herself, for she will breed it like a fool!
Dramatic
Rosalind is playing games with Orlando and explaining that a good woman will make her faults seem like her husband's faults.
Rosalind grabs his arm to emphasize her point.
Orlando: For these two hours, Rosalind, I will leave thee.
Rosalind: Alas, dear love, I cannot lack thee two hours.
Orlando: resigned and serious
Rosalind: Disappointed
Orlando needs to leave but Rosalind makes him feel bad for deserting her.
Orlando grabs his bag to leave; she drops his arm and moves slightly away to distance herself.
Orlando: I must attend the Duke at dinner. By two o'clock I will be with thee again.
Pleading
He wants to stay in her good graces
Moves closer to her while she doesn't respond
Rosalind: Ay, go your ways, go your ways. I knew what you would prove. My friends told me as much and I thought no less. That flattering tongue of yours won me. 'Tis but one cast away, and so, come death! Two o'clock is your home?
Rosalind: dramatically complaining
Orlando: deeply serious and apologetic
Rosalind is making him feel bad for leaving so that she can gauge his reaction
Rosalind continues to face away from him as he pleads
Orlando: Ay, my sweet Rosalind.
Rosalind: By my troth, and in good earnest, and so God mend me, and by all pretty oaths that are not dangerous, if you break one jot of your promise or come one minute behind your hour, I will think you the most pathetical break-promise and the most hollow lover and be chosen out of the gross band of the unfaithful. Therefore beware my censure and keep your promise.
Loftily teasing
Convince Orlando to stay trustworthy and true and mold him into the perfect husband
Rosalind moves closer to Orlando as she speaks, wagging her finger at him.
Pokes chest at “one jot” and again at “one minute”
Orlando: With no less religion than if thou wert indeed my Rosalind. So adieu.
Rosalind: Well, Time is the old justice that examines all such offenders, and let Time try. Adieu.
Exit [Orlando]
Passionate, desperate
Half-hearted teasing, longing
Convince Ganymede that he can be trusted
Rosalind removes hands, takes out her pocket watch and taps it
Orlando approaches, clasps her hands and kisses them
Impress upon Orlando that he should not break this vow
Celia: You have simply misused our sex in your love-prate! We must have your doublet and hose plucked over your head and show the world what the bird hath done to her own nest.
Scolding in a joking manner
Mock her cousin and express her disapproval of her behavior
Celia walks up to Rosalind, who is gazing after Orlando. She plucks at Rosalind’s clothes
Rosalind: O coz, coz, my pretty little coz, that thou didst known how many fathom deep I am in love! But it cannot be sounded - my affection hath an unknown bottom, like the Bay of Portugal.
Celia: Or rather bottomless, that as fast as you pour affection in, it runs out.
​
Rosalind: No, that same wicked bastard of Venus that was begot of thought, conceived of spleen and born of madness, that blind rascally boy that abuses everyone's eyes because his own are out, let him be judge how deep I am in love. I tell thee, Aliena, I cannot be out of the sight of Orlando. I'll go find a shadow and sigh till he come.
Serious, longing
Express that despite her joking she is falling in love
To mock her cousin’s sudden infatuation
To express her frustration with the madness of love thrust upon her
Rosalind relaxes from a lovestruck stupor and speaks, collapsing onto a nearby stump and placing chin in hands
Joking
Distressed, longing
Celia joins Rosalind on the stump
Rosalind stands and paces
Celia: And I'll sleep.
Exeunt.
Weary and annoyed
Show her annoyance with her cousin’s antics
Stands and follows, sighing