It is not the fashion to see the lady the epilogue; but it is no...View Full Monologue Text
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 furnished 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 simpering none of you hate 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 pleased me, complexions that liked 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.
In this monologue, Rosalind enters as the boy actor who played her, and encourages the men and women in the audience to fall in love.
AuthorName: William Shakespeare
Eras: 1601-1700, 1501-1600
O! I know where you are. Nay, 'tis true: there was never anything so sudden...View Full Monologue Text
O! I know where you are. Nay, 'tis true: there was never anything so sudden but the fight of two rams, Caesar's thrasonical brag of 'I came, saw, and overcame:' for your brother and my sister no sooner met, but they looked; no sooner looked but they loved; no sooner loved but they sighed; no sooner sighed but they asked one another the reason; no sooner knew the reason but they sought the remedy: and in these degrees have they made a pair of stairs to marriage which they will climb incontinent, or else be incontinent before marriage. They are in the very wrath of love, and they will together: clubs cannot part them.
I will weary you then no longer with idle talking. Know of me then,'for now I speak to some purpose,'that I know you are a gentleman of good conceit. I speak not this that you should bear a good opinion of my knowledge, insomuch I say I know you are; neither do I labour for a greater esteem than may in some little measure draw a belief from you, to do yourself good, and not to grace me. Believe then, if you please, that I can do strange things. I have, since I was three years old, conversed with a magician, most profound in his art and yet not damnable. If you do love Rosalind so near the heart as your gesture cries it out, when your brother marries Aliena, shall you marry her. I know into what straits of fortune she is driven; and it is not impossible to me, if it appear not inconvenient to you, to set her before your eyes to-morrow, human as she is, and without any danger.
In this monologue, Rosalind, disguised as the boy, Ganymede, is talking to Orlando, her love. Rosalind/ Ganymede speaks to Orlando of Celia and Oliver's love for each other and their upcoming marriage that will take place tomorrow. She/ he also promises Orlando that he will also be able to marry his love, Rosalind, without any fear of danger.
Age Range: 20s - Early, 20s - Late, 30s - Early
Dialects: Standard American, Standard English
I have been told so of many: but indeed an old religious uncle of mine...View Full Monologue Text
I have been told so of many: but indeed an old religious uncle of mine taught me to speak, who was in his youth an inland man; one that knew courtship too well, for there he fell in love. I have heard him read many lectures against it; and I thank God, I am not a woman, to be touched with so many giddy offences as he hath generally taxed their whole sex withal.
There were none principal; they were all like one another as half-pence are; every one fault seeming monstrous till his fellow fault came to match it.
No, I will not cast away my physic, but on those that are sick. There is a man haunts the forest, that abuses our young plants with carving -Rosalind- on their barks; hangs odes upon hawthorns, and elegies on brambles; all, forsooth, deifying the name of Rosalind: if I could meet that fancy-monger, I would give him some good counsel, for he seems to have the quotidian of love upon him.
There is none of my uncle.s marks upon you: he taught me how to know a man in love; in which cage of rushes I am sure you are not prisoner.
A lean cheek, which you have not; a blue eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not: but I pardon you for that, for, simply, your having in beard is a younger brother's revenue. Then, your hose should be ungartered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied, and everything about you demonstrating a careless desolation. But you are no such man: you are rather point-device in your accoutrements; as loving yourself than seeming the lover of any other.
Me believe it! you may as soon make her that you love believe it; which, I warrant, she is apter to do than to confess she does; that is one of the points in the which women still give the lie to their consciences. But, in good sooth, are you he that hangs the verses on the trees, wherein Rosalind is so admired?
But are you so much in love as your rimes speak?
Love is merely a madness, and, I tell you, deserves as well a dark house and a whip as madmen do; and the reason why they are not so punished and cured is, that the lunacy is so ordinary that the whippers are in love too. Yet I profess curing it by counsel.
Yes, one; and in this manner. He was to imagine me his love, his mistress; and I set him every day to woo me: at which time would I, being but a moonish youth, grieve, be effeminate, changeable, longing and liking; proud, fantastical, apish, shallow, inconstant, full of tears, full of smiles, for every passion something, and for no passion truly anything, as boys and women are, for the most part, cattle of this colour; would now like him, now loathe him; then entertain him, then forswear him; now weep for him, then spit at him; that I drave my suitor from his mad humour of love to a living humour of madness, which was, to forswear the full stream of the world, and to live in a nook merely monastic. And thus I cured him; and this way will I take upon me to wash your liver as clean as a sound sheep's heart, that there shall not be one spot of love in't.
I would cure you, if you would but call me Rosalind, and come every day to my cote and woo me.
Go with me to it and I'll show it you; and by the way you shall tell me where in the forest you live. Will you go?
In this monologue, Rosalind is disguised as the boy, Ganymede. She is speaking to Orlando who has been professing his love for Rosalind all over the forest. Rosalind, as Ganymede, tells Orlando that he is foolish to be so lovesick and tells him that he, Ganymede, can cure him of his lovesickness. Ganymede/Rosalind says that Orlando must pretend that he, Ganymede, is Rosalind and must woo him everyday.
PlayName: As You Like It
Rating: Suitable for all ages
Copyright Status: Public domain
And why, I pray you? Who might be your mother, That you insult, exult, and all...View Full Monologue Text
And why, I pray you? Who might be your mother,
That you insult, exult, and all at once,
Over the wretched? What though you have no beauty,--
As by my faith, I see no more in you
Than without candle may go dark to bed,--
Must you be therefore proud and pitiless?
Why, what means this? Why do you look on me?
I see no more in you than in the ordinary
Of nature's sale-work. Od's my little life!
I think she means to tangle my eyes too.
No, faith, proud mistress, hope not after it:
'Tis not your inky brows, your black silk hair,
Your bugle eyeballs, nor your cheek of cream,
That can entame my spirits to your worship.
You foolish shepherd, wherefore do you follow her,
Like foggy south puffing with wind and rain?
You are a thousand times a properer man
Than she a woman: 'tis such fools as you
That make the world full of ill-favour'd children:
'Tis not her glass, but you, that flatters her;
And out of you she sees herself more proper
Than any of her lineaments can show her.
But, mistress, know yourself: down on your knees,
And thank heaven, fasting, for a good man's love:
For I must tell you friendly in your ear,
Sell when you can; you are not for all markets.
Cry the man mercy; love him; take his offer:
Foul is most foul, being foul to be a scoffer.
So take her to thee, shepherd. Fare you well.
Rosalind, disguised as the boy, Ganymede, has just witnessed Phebe speaking cruelly to Sylvius, who loves her. In this monologue Rosalind/ Ganymede chides Phebe for being such a vile woman. She/ he tells Sylvius that he is a fool for loving her and that Sylvius is much more of a man than she is a woman. She/ he then advises Phebe to love Sylvius, as no one else would want her.