Perhaps the motives that forced him to adopt this disguise no longer exist and he proposes soon to resume his proper attire: that I cannot say; it is a fact, however, that Rosalind delivered certain sentences with a significant intonation and emphasized in a very marked way all those passages in her part which were of ambiguous meaning and could be twisted in that direction.
In the scene of the rendezvous, from the moment when she reproaches Orlando for not having arrived two hours earlier, as becomes a genuine lover, but two hours after, to the dolorous sigh she utters, terrified at the extent of her passion, as she throws herself into Aliena's arms: "O coz, coz, coz, my pretty little coz, that thou didst know how many fathoms deep I am in love!" she displayed miraculous talent. There was an irresistible mixture of tenderness, melancholy, and love; her voice trembled with emotion, and behind the laugh one could feel that the most violent love was ready to explode; add to this all the piquancy and peculiarity of the transposition, and the novelty of seeing a young man pay court to his mistress, whom he takes for a man and who has every appearance of being one.
Expressions which would have seemed ordinary and commonplace enough under other circumstances, assumed peculiar significance then, and all the small change of similes and amorous protestations, which is current on the stage, seemed to have been recoined with new dies; indeed if the thoughts, instead of being unique and charming as they are, had been as threadbare as a judge's gown or the saddle-cloth of a hired donkey, the way in which they were expressed would have made them seem wonderfully keen and bright and in the best possible taste.
I have forgotten to tell you that Rosette, after declining the rôle of Rosalind, had good-humoredly undertaken the secondary rôle of Phœbe; Phœbe is a shepherdess in the forest of Arden, madly loved by the shepherd Sylvius, whom she cannot endure and whom she treats with consistent and crushing cruelty. Phœbe is as cold as the moon for whom she is named; she has a heart of snow that does not melt in the fire of the most ardent sighs, but whose frozen crust grows thicker and thicker and becomes as hard as the diamond; but she has no sooner seen Rosalind in the costume of the comely page, Ganymede, than all that ice dissolves in tears and the diamond becomes softer than wax. The haughty Phœbe, who laughed at love, is in love herself; she suffers now the torments she had inflicted on others. Her pride humbles itself so far as to make all the advances, and she sends to Rosalind, by poor Sylvius, a burning letter which contains a declaration of her passion in most humble and suppliant terms. Rosalind, moved to pity for Sylvius, and having, moreover, most excellent reasons for not responding to Phœbe's love, subjects her to the most cruel treatment and makes sport of her with unparalleled mercilessness and ferocity. Phœbe prefers these insults, however, to the most touching and most passionate flattery of her unhappy shepherd; she follows the fair stranger everywhere and with all her importunity succeeds in extorting from him nothing but the promise that if he ever marries a woman she shall surely be the one; meanwhile he urges her to treat Sylvius kindly and not depend upon a too flattering hope.
Rosette acted her part with a melancholy and caressing grace, a sorrowful, resigned tone that went to the heart;—and when Rosalind said to her: "I would love you, if I could," the tears were ready to overflow, and she could hardly hold them back, for Phœbe's story is her own, as Orlando's is mine, with this difference, that everything turns out happily for Orlando, and that Phœbe, disappointed in her love, is compelled to marry Sylvius instead of the charming ideal she longed to embrace. Such is life: that which affords happiness to one necessarily causes another unhappiness. It is very fortunate for me that Théodore is a woman, it is very unfortunate for Rosette that he is not a man, and she is now wallowing in the slough of amorous impossibilities in which I recently went astray.
At the end of the play Rosalind lays aside the doublet of the page Ganymede for the garments of her own sex, is recognized by her father as his daughter, by Orlando as his mistress: the god Hymen arrives with his saffron-colored livery and his legitimate torches.—Three weddings take place.—Orlando marries Rosalind, Phœbe Sylvius, and the clown Touchstone the artless Audrey.—Then the epilogue has its say and the curtain falls.
All this has interested us exceedingly and engrossed our minds; there was, in a certain sense, a play within the play, a drama invisible to the other spectators and unsuspected by them, which we played for ourselves alone, and which, in symbolic phrases, summed up our whole lives and expressed our most secret desires.—Except for Rosalind's strange prescription I should be sicker than ever, having not even a distant hope of cure, and I should have continued to wander sadly through the winding paths of the dark forest.
And yet I have only a moral certainty; I lack proofs and I can remain no longer in this state of uncertainty; I absolutely must speak to Théodore in more definite terms. I have approached him twenty times with a sentence ready on my lips, but have not succeeded in saying it to him—I dare not; I have many opportunities to speak to him alone, either in the park or in my room, or in his, for he comes to see me and I go to see him, but I let them pass without profiting by them, although the next moment I feel a mortal regret and fly into a terrible rage with myself. I open my mouth, and in spite of all I can do, other words take the places of the words I intended to say; instead of declaring my love, I discourse upon the rain, the fine weather or some other similarly stupid subject. And the season is drawing to a close and soon we shall return to the town; the facilities which present themselves according to my wishes here will be renewed nowhere else:—perhaps we shall lose sight of each other and opposite currents will carry us in opposite directions, I doubt not.
The free and easy life of the country is such a delightful and convenient thing! the trees, even though the foliage is not quite so dense in the autumn, afford such delicious shade for the reveries of nascent love! it is difficult to resist the lovely natural surroundings! the birds sing so languorously, the flowers give forth such intoxicating odors, the turf is so soft and so golden on the hillsides! Solitude inspires countless voluptuous thoughts which the hurly-burly of the world would have scattered here and there, and the instinctive impulse of two creatures who hear their hearts beat in the silence of a deserted country-side, is to entwine their arms more tightly and to cleave to each other as if they were in truth the only living creatures in the world.
I took a walk this morning; the air was soft and damp, not the slightest particle of blue sky could be seen, and yet it was neither dark nor threatening. Two or three different shades of pearl-gray, harmoniously blended, enveloped the sky from horizon to horizon, and against that vaporous background fleecy clouds floated slowly like great pieces of wadding; they were impelled by the dying breath of a light breeze, hardly strong enough to move the tops of the most restless aspens: patches of mist rose between the tall chestnuts and indicated the course of the stream in the distance. When the breeze took breath once more, a few dry red leaves blew excitedly about and ran along the path before me like swarms of timid sparrows; then as the breeze fell, they subsided a few steps farther on: a true image of those winds that one mistakes for birds flying freely with wings outspread, but which are, after all, naught but leaves withered by the morning frost, which the slightest passing breeze takes for its plaything and its sport.