As You Like It Act 3, Scene 2

 

As You Like It Act 3, Scene 2

Summary

Act 3, Scene 2 is a pivotal, extended scene that drives the central romantic plot forward in the Forest of Arden.

·        Orlando's Poems: The scene opens with Orlando carving love poems to Rosalind on the trees, establishing his lovesick, Petrarchan devotion.

·        Pastoral Debate: Touchstone and Corin engage in a comic debate about the merits of the shepherd's life versus court life. Touchstone uses twisted logic to mock both, while Corin defends his simple, honest contentment.

·        Discovery: Rosalind (as Ganymede) and Celia (as Aliena) discover Orlando's poems. After much playful teasing, Celia reveals the poet is Orlando. Rosalind is overcome with a flurry of excited questions.

·        Jaques' Interruption: Orlando enters, briefly conversing with the melancholic Jaques. Their exchange is a clash of worldviews: the earnest lover versus the cynical philosopher. Jaques departs, disliking both love and company.

·        "The Cure": Rosalind, in her Ganymede disguise, approaches Orlando. She teasingly lectures him on the nature of time and love, then claims she can cure his lovesickness. Her method: he must pretend that Ganymede is Rosalind, and visit daily to "woo" him. Orlando, intrigued and desperate, agrees. The scene ends with him promising to court "Ganymede" as his stand-in Rosalind.

Analysis

1.     The Many Faces of Love:

o   Orlando's Love: His tree-carving represents conventional, literary, and idealized love. It is passionate but somewhat naive and performative.

o   Rosalind's Love: Her reaction (the rapid-fire questions to Celia) reveals a deep, personal, and impatient love. Her decision to "cure" Orlando is brilliant; it allows her to engage with his love directly, test its sincerity, and educate him—all while shielded by her disguise.

o   Touchstone's "Love": His crude, pun-filled parody of the love poems reduces romance to physicality and rustic humor, providing a bawdy counterpoint to Orlando's lofty verses.

2.     Disguise as Empowerment and Exploration:

o   This scene is the masterpiece of Rosalind's disguise. As Ganymede, she gains the freedom to:

§  Critique romantic conventions ("Love is merely a madness").

§  Interview her own suitor.

§  Control the terms of their courtship.

§  Teach Orlando about the real, changeable, sometimes foolish nature of women (and by extension, of love itself).

o   The "play-within-a-play" structure (Orlando wooing Ganymede as Rosalind) creates layers of irony and psychological complexity, allowing both characters to explore their feelings with a unique blend of honesty and artifice.

3.     Reality vs. Idealism (Pastoral & Romantic):

o   The Touchstone-Corin debate continues the play's examination of the pastoral ideal. Corin's defense of his honest labor ("I earn that I eat... owe no man hate") presents a practical, moral virtue in country life, contrasting with both Touchstone's courtly pretensions and the exiles' philosophical retreat.

o   Similarly, Rosalind (as Ganymede) challenges the romantic ideal. She insists lovers don't look the part ("lean cheek... blue eye... beard neglected") and argues love is a form of madness that needs pragmatic "curing." She brings the reality of human behavior to bear on Orlando's poetic idealism.

4.     Key Themes & Speeches:

o   "Time travels in divers paces...": Rosalind's brilliant speech grounds the abstract concept of time in human experience and emotion (e.g., galloping for a thief, standing still for a lawyer). It shows her keen insight and contrasts with Jaques' abstract, universalizing melancholy.

o   The Satire of Love: The scene is filled with satire—from Touchstone's parody to Jaques' disdain to Rosalind's own diagnosis. Yet, this satire is not destructive; it's purgative and enlightening, meant to forge a stronger, more conscious love.

o   Performance and Identity: Everyone is performing a role: Orlando the despairing lover, Ganymede the wise physician, Jaques the melancholic. The forest becomes a stage where identities are tried on and truths are discovered through play.

In essence, Act 3, Scene 2 shifts the play from a story of exile to a comedy of courtship and education. Rosalind, through her disguise, seizes the active role. By orchestrating the "cure," she ensures that her relationship with Orlando will be built on witty dialogue, tested emotions, and mutual discovery rather than mere romantic posturing. The scene brilliantly uses the conventions of love and pastoral life as material to be examined, mocked, and ultimately redeemed through intelligence and self-awareness.

 

Location: United States

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