Father and daughter are separated by Duke Frederick, Rosalind’s uncle, who has banished Duke Senior and forced them to live apart. Rosalind has been allowed to stay at court but her position and safety have changed dramatically without her father nearby, although she clearly misses him and struggles to forget what has happened.

'I show more mirth than I am mistress of; and would you yet I were merrier? Unless you could teach me to forget a banished father, you must not learn me how to remember any extraordinary pleasure.' (Rosalind, 1:2)

Rosalind does not go immediately to her father when she and Celia arrive in the Forest of Arden, and they are only reunited in the final scene when she reveals who she is to both her father and Orlando. While there are lots of reveals and reunions, it is clear that father and daughter are happy to see each other.

'If there be truth in sight, you are my daughter.' (Duke Senior, 5:4)

'I'll have no father, if you be not he' (Rosalind, 5:4)

Celia and Rosalind are incredibly close. Although Rosalind’s position at court is difficult, her uncle has allowed her to stay because of her relationship with Celia. They spend a lot of time talking about the world around them and supporting each other, although Celia will not play games with Rosalind about ‘love’.

'never two ladies loved as they do.' (Charles the Wrestler, 1:1)

When Rosalind is sent away by Duke Senior, Celia tells Rosalind that she will go with her. Together, they form a plan to run into the forest and disguise themselves. While Rosalind seems afraid of banishment at first, with Celia’s help they both start to see running away as a chance to find ‘liberty’.

'And do not seek to take your change upon you, / To bear your griefs yourself and leave me out; / For, by this heaven, now at our sorrows pale, / Say what thou canst, I'll go along with thee.' (Celia, 1:3)

'Now go we in content / To liberty and not to banishment.' (Celia, 1:3)

Once Rosalind has reunited with Orlando in the Forest of Arden, Celia says a lot less. At first they laugh together at the poetry Orlando has written but as Celia witnesses Rosalind playing games with Orlando, she doesn’t seem to approve of the lies her friend is telling and the deception.

'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.' (Celia, 4:1)

As Celia meets and falls in love with Oliver, the friends become even more distant. Rosalind feels as though she is the only one who can’t openly talk about her feelings because of her disguise and talks to Orlando wistfully about how quickly Oliver and Celia have been able to fall in love.

'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' (Rosalind, 5:2)

Once they have revealed their true identities and can be happy with Oliver and Orlando, Celia and Rosalind appear to be close again. Both of them marry in the final scenes of the play although Celia has very few lines and they don’t directly address each other.

'Proceed, proceed: we will begin these rites, / As we do trust they'll end, in true delights.' (Duke Senior, 5:4)

Orlando and Rosalind fall for each other at the wrestling match in Act 1 Scene 2 with Orlando calling her a ‘fair princess’. She gives him her necklace.

'Wear this for me, one out of suits with fortune, / That could give more, but that her hand lacks means.' (Rosalind, 1:2)

'What passion hangs these weights upon my tongue? / I cannot speak to her, yet she urged conference. / O poor Orlando, thou art overthrown! '(Orlando, 1:2)

Orlando’s love for Rosalind grows when he is in the forest and he wanders around writing poetry for her and carving her name on the trees, unable to forget her. At first, she does not know who the poems have been written by but is excited to find out it is Orlando.

'Run, run, Orlando; carve on every tree / The fair, the chaste and unexpressive she.' (Orlando, 3:2)

'It may well be called Jove's tree, when it drops / forth such fruit.' (Rosalind, 3:2)

In her disguise as ‘Ganymede’ Rosalind tells Orlando that ‘love is merely a madness’ (3:2) and she offers to cure him and teach him what love really is, but is really disappointed when he is late for his appointment with her and does not take their ‘lesson’ seriously.

'Nay, an you be so tardy, come no more in my sight: I had as lief be wooed of a snail' (Rosalind, 4:1)

Their relationship strengthens as Ganymede and Orlando become closer. Rosalind discovers that the wounded Orlando sent Oliver looking for Ganymede to explain why he had broken his promise to meet.

'now he fainted / And cried, in fainting, upon Rosalind. / Brief, I recover'd him, bound up his wound; / And, after some small space, being strong at heart, / He sent me hither, stranger as I am, / To tell this story, that you might excuse / His broken promise' (Oliver, 4:3)

Their relationship is at its strongest towards the end of the play when ‘Ganymede’ promises to produce Rosalind so that they can be married on the same day as Oliver and Celia. Shortly after, Orlando learns that Ganymede is Rosalind and the pair marry.

'If you do love Rosalind so near the heart as your gesture cries it out, when your brother marries Aliena, shall you marry her' (Rosalind, 5:2)

Their relationship does not get off to a good start when Rosalind tells Phoebe off for insulting Silvius and rejecting his advances. Rosalind also says that she has ‘no beauty’.

'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' (Rosalind, 3:5)

Phoebe immediately falls for Ganymede declaring that she would rather hear Ganymede ‘chide’ than Silvius ‘woo’. As Ganymede, Rosalind warns Phoebe not to fall in love with her, but Phoebe does not listen.

'I pray you, do not fall in love with me, / For I am falser than vows made in wine:' (Rosalind, 3:5)

'Sweet youth, I pray you, chide a year together: / I had rather hear you chide than this man woo.' (Phoebe, 3:5)

Phoebe is desperate for ‘Ganymede’ to understand how she feels, sending her a letter describing ‘this love in me’. Silvius faithfully carries the messages for her.

'Patience herself would startle at this letter / And play the swaggerer; bear this, bear all: / She says I am not fair, that I lack manners; / She calls me proud, and that she could not love me' (Rosalind, 4:3)

'If the scorn of your bright eyne / Have power to raise such love in mine, / Alack, in me what strange effect / Would they work in mild aspect!' (From Phoebe’s letter, 4:3)

Phoebe changes her mind about her feelings for ‘Ganymede’ when she discovers that ‘he’ showed her letter to Silvius and she tells Ganymede off for his ‘ungentleness’. Rosalind uses this to try and convince Phoebe to love Silvius instead.

'Youth, you have done me much ungentleness, / To show the letter that I writ to you.' (Phoebe, 5:2)

'I care not if I have: it is my study / To seem despiteful and ungentle to you: / You are there followed by a faithful shepherd; / Look upon him, love him; he worships you.' (Rosalind, 5:2)

The duke’s relationship with his daughter is reasonably strong early in the play. Although Frederick banished Rosalind’s father, he kept Rosalind at court for Celia’s sake as they are so close and he seems to value his only child.

'Celia; we stay'd her for your sake, / Else had she with her father ranged along.' (Duke Frederick, 1:3)

'You know my father hath no child but I, nor none is like to have' (Celia, 1:2)

When the Duke banishes his niece Rosalind and tells her to ‘dispatch’ with ‘haste’ (1:3), Celia begs her father to let Rosalind stay. He refuses to listen to her pleas and Celia chooses loyalty to her cousin over obeying her father.

'Pronounce that sentence then on me, my liege: / I cannot live out of her company.' (Celia, 1:3)

'Shall we be sunder'd? shall we part, sweet girl? / No: let my father seek another heir.' (Celia, 1:3)

We do not hear from Celia or Duke Frederick at the end of the play. However, Duke Senior is pleased to see Celia and the text suggests that he will treat her like his daughter, now that Duke Frederick has given him back the dukedom. It is not clear if this means that Celia and her father will be reunited but it does offer a hopeful conclusion.

'O my dear niece, welcome thou art to me! / Even daughter, welcome, in no less degree' (Duke Senior, 5:4)

Celia and Rosalind are incredibly close. Although Rosalind’s position at court is difficult, her uncle has allowed her to stay because of her relationship with Celia. They spend a lot of time talking about the world around them and supporting each other, although Celia will not play games with Rosalind about ‘love’.

'never two ladies loved as they do.' (Charles the Wrestler, 1:1)

When Rosalind is sent away by Duke Senior, Celia tells Rosalind that she will go with her. Together, they form a plan to run into the forest and disguise themselves. While Rosalind seems afraid of banishment at first, with Celia’s help they both start to see running away as a chance to find ‘liberty’.

'And do not seek to take your change upon you, / To bear your griefs yourself and leave me out; / For, by this heaven, now at our sorrows pale, / Say what thou canst, I'll go along with thee.' (Celia, 1:3)

'Now go we in content / To liberty and not to banishment.' (Celia, 1:3)

Once Rosalind has reunited with Orlando in the Forest of Arden, Celia says a lot less. At first they laugh together at the poetry Orlando has written but as Celia witnesses Rosalind playing games with Orlando, she doesn’t seem to approve of the lies her friend is telling and the deception.

'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.' (Celia, 4:1)

As Celia meets and falls in love with Oliver, the friends become even more distant. Rosalind feels as though she is the only one who can’t openly talk about her feelings because of her disguise and talks to Orlando wistfully about how quickly Oliver and Celia have been able to fall in love.

'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' (Rosalind, 5:2)

Once they have revealed their true identities and can be happy with Oliver and Orlando, Celia and Rosalind appear to be close again. Both of them marry in the final scenes of the play although Celia has very few lines and they don’t directly address each other.

'Proceed, proceed: we will begin these rites, / As we do trust they'll end, in true delights.' (Duke Senior, 5:4)

Oliver encounters Celia in her disguise as ‘Aliena’ in the woods, immediately calling her ‘fair’ and taking a liking to her (4:3).

’Good morrow, fair ones’ (Oliver, 4:3)

Even though they have only just met, Oliver is passionate about Aliena, telling Orlando ‘I love her’ and declaring that he will happily give up his inheritance and live in the forest if he can marry Aliena.

'say with me, / I love Aliena; say with her that she loves me; / consent with both that we may enjoy each other' (Oliver, 5:2)

Celia and Oliver marry at the end of the play, along with Rosalind and Orlando, Phoebe and Silvius, Audrey and Touchstone.

'They shall be married tomorrow, and I will bid the duke to the nuptial.' (Orlando, 5:2)

Oliver and Orlando have a difficult relationship at the start of the play. Their father has died but had asked his eldest son Oliver to provide for both his brothers. However, Oliver treats Orlando badly and forces him to live like an animal, saying ‘his horses are bred better’ (1:1).

'My father charged you in his will to give me good education: you have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my father grows strong in me, and I will no longer endure it' (Orlando, 1:1)

When Orlando objects to how he is being treated, Oliver plots to destroy Orlando and have him killed. He acknowledges that his brother is ‘noble’ and although he hasn’t had an education, he thinks Orlando is ‘learned’ but that his soul hates him.

' I hope I shall see an end of him; for my soul, yet I know not why, hates nothing more than he.' (Oliver, 1:1)

Orlando returns home after he has won the wrestling match and been sent away by Duke Frederick. As he returns, the family servant Adam warns him to run away and not trust Oliver, saying Oliver will kill him and calls the house a ‘butchery’.

'Hath heard your praises, and this night he means / To burn the lodging where you use to lie / And you within it: if he fail of that, / He will have other means to cut you off.' (Adam, 2:3)

Oliver is charged with going into the forest to find and kill his brother by Duke Frederick. Oliver accepts this challenge and is willing to hunt his own brother to gain favour.

'Find out thy brother, wheresoe'er he is; / Seek him with candle; bring him dead or living / Within this twelvemonth, or turn thou no more / To seek a living in our territory.' (Duke Frederick, 3:1)

'O that your highness knew my heart in this! / I never loved my brother in my life.' (Oliver, 3:1)

Oliver and Orlando’s relationship becomes close and strong when Orlando saves Oliver’s life fighting off a lioness in the woods. Oliver admits that Orlando is full of ‘kindness’ (4.3) and his feelings towards his brother have changed.

'he led me to the gentle duke, / Who gave me fresh array and entertainment, / Committing me unto my brother's love; / Who led me instantly unto his cave' (Oliver, 4:3)

Orlando and Rosalind fall for each other at the wrestling match in Act 1 Scene 2 with Orlando calling her a ‘fair princess’. She gives him her necklace.

'Wear this for me, one out of suits with fortune, / That could give more, but that her hand lacks means.' (Rosalind, 1:2)

'What passion hangs these weights upon my tongue? / I cannot speak to her, yet she urged conference. / O poor Orlando, thou art overthrown! '(Orlando, 1:2)

Orlando’s love for Rosalind grows when he is in the forest and he wanders around writing poetry for her and carving her name on the trees, unable to forget her. At first, she does not know who the poems have been written by but is excited to find out it is Orlando.

'Run, run, Orlando; carve on every tree / The fair, the chaste and unexpressive she.' (Orlando, 3:2)

'It may well be called Jove's tree, when it drops / forth such fruit.' (Rosalind, 3:2)

In her disguise as ‘Ganymede’ Rosalind tells Orlando that ‘love is merely a madness’ (3:2) and she offers to cure him and teach him what love really is, but is really disappointed when he is late for his appointment with her and does not take their ‘lesson’ seriously.

'Nay, an you be so tardy, come no more in my sight: I had as lief be wooed of a snail' (Rosalind, 4:1)

Their relationship strengthens as Ganymede and Orlando become closer. Rosalind discovers that the wounded Orlando sent Oliver looking for Ganymede to explain why he had broken his promise to meet.

'now he fainted / And cried, in fainting, upon Rosalind. / Brief, I recover'd him, bound up his wound; / And, after some small space, being strong at heart, / He sent me hither, stranger as I am, / To tell this story, that you might excuse / His broken promise' (Oliver, 4:3)

Their relationship is at its strongest towards the end of the play when ‘Ganymede’ promises to produce Rosalind so that they can be married on the same day as Oliver and Celia. Shortly after, Orlando learns that Ganymede is Rosalind and the pair marry.

'If you do love Rosalind so near the heart as your gesture cries it out, when your brother marries Aliena, shall you marry her' (Rosalind, 5:2)

Oliver and Orlando have a difficult relationship at the start of the play. Their father has died but had asked his eldest son Oliver to provide for both his brothers. However, Oliver treats Orlando badly and forces him to live like an animal, saying ‘his horses are bred better’ (1:1).

'My father charged you in his will to give me good education: you have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my father grows strong in me, and I will no longer endure it' (Orlando, 1:1)

When Orlando objects to how he is being treated, Oliver plots to destroy Orlando and have him killed. He acknowledges that his brother is ‘noble’ and although he hasn’t had an education, he thinks Orlando is ‘learned’ but that his soul hates him.

' I hope I shall see an end of him; for my soul, yet I know not why, hates nothing more than he.' (Oliver, 1:1)

Orlando returns home after he has won the wrestling match and been sent away by Duke Frederick. As he returns, the family servant Adam warns him to run away and not trust Oliver, saying Oliver will kill him and calls the house a ‘butchery’.

'Hath heard your praises, and this night he means / To burn the lodging where you use to lie / And you within it: if he fail of that, / He will have other means to cut you off.' (Adam, 2:3)

Oliver is charged with going into the forest to find and kill his brother by Duke Frederick. Oliver accepts this challenge and is willing to hunt his own brother to gain favour.

'Find out thy brother, wheresoe'er he is; / Seek him with candle; bring him dead or living / Within this twelvemonth, or turn thou no more / To seek a living in our territory.' (Duke Frederick, 3:1)

'O that your highness knew my heart in this! / I never loved my brother in my life.' (Oliver, 3:1)

Oliver and Orlando’s relationship becomes close and strong when Orlando saves Oliver’s life fighting off a lioness in the woods. Oliver admits that Orlando is full of ‘kindness’ (4.3) and his feelings towards his brother have changed.

'he led me to the gentle duke, / Who gave me fresh array and entertainment, / Committing me unto my brother's love; / Who led me instantly unto his cave' (Oliver, 4:3)

Oliver encounters Celia in her disguise as ‘Aliena’ in the woods, immediately calling her ‘fair’ and taking a liking to her (4:3).

’Good morrow, fair ones’ (Oliver, 4:3)

Even though they have only just met, Oliver is passionate about Aliena, telling Orlando ‘I love her’ and declaring that he will happily give up his inheritance and live in the forest if he can marry Aliena.

'say with me, / I love Aliena; say with her that she loves me; / consent with both that we may enjoy each other' (Oliver, 5:2)

Celia and Oliver marry at the end of the play, along with Rosalind and Orlando, Phoebe and Silvius, Audrey and Touchstone.

'They shall be married tomorrow, and I will bid the duke to the nuptial.' (Orlando, 5:2)

Their relationship does not get off to a good start when Rosalind tells Phoebe off for insulting Silvius and rejecting his advances. Rosalind also says that she has ‘no beauty’.

'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' (Rosalind, 3:5)

Phoebe immediately falls for Ganymede declaring that she would rather hear Ganymede ‘chide’ than Silvius ‘woo’. As Ganymede, Rosalind warns Phoebe not to fall in love with her, but Phoebe does not listen.

'I pray you, do not fall in love with me, / For I am falser than vows made in wine:' (Rosalind, 3:5)

'Sweet youth, I pray you, chide a year together: / I had rather hear you chide than this man woo.' (Phoebe, 3:5)

Phoebe is desperate for ‘Ganymede’ to understand how she feels, sending her a letter describing ‘this love in me’. Silvius faithfully carries the messages for her.

'Patience herself would startle at this letter / And play the swaggerer; bear this, bear all: / She says I am not fair, that I lack manners; / She calls me proud, and that she could not love me' (Rosalind, 4:3)

'If the scorn of your bright eyne / Have power to raise such love in mine, / Alack, in me what strange effect / Would they work in mild aspect!' (From Phoebe’s letter, 4:3)

Phoebe changes her mind about her feelings for ‘Ganymede’ when she discovers that ‘he’ showed her letter to Silvius and she tells Ganymede off for his ‘ungentleness’. Rosalind uses this to try and convince Phoebe to love Silvius instead.

'Youth, you have done me much ungentleness, / To show the letter that I writ to you.' (Phoebe, 5:2)

'I care not if I have: it is my study / To seem despiteful and ungentle to you: / You are there followed by a faithful shepherd; / Look upon him, love him; he worships you.' (Rosalind, 5:2)

Silvius’ love for Phoebe is strong from the start and he exclaims to Corin that he wishes Corin ‘knew’st how I do love her’ and ‘rails’ about how strong his love is.

'Thou hast not loved: / Or if thou hast not broke from company / Abruptly, as my passion now makes me, / Thou hast not loved. / O Phebe, Phebe, Phebe!' (Silvius, 2:4)

Their relationship is not going well when Silvius begs Phoebe to love him instead of ‘scorn’ him, but Phoebe rejects Silvius and implores ‘come not thou near me’ (3:5).

'Sweet Phoebe, do not scorn me; do not, Phoebe; / Say that you love me not, but say not so / In bitterness.' (Silvius, 3:5)

'Come not thou near me:' (Phoebe, 3:5)

Silvius and Phoebe’s relationship is strongest after Phoebe agrees that she will marry Silvius if she does not want Ganymede. After discovering that Ganymede is actually Rosalind she bids ‘adieu’ to her old love and marries the shepherd.

'I will not eat my word, now thou art mine; / Thy faith my fancy to thee doth combine.' (Phoebe, 5:4)

The relationship between the two brothers is in a terrible state at the start of the play. Duke Frederick has usurped his older brother Duke Senior and sent the previous duke into exile in the Forest of Arden.

‘the old duke is banished by his younger brother the new duke’ (1:1)

In the final scene of the play it is suggested that their relationship will be restored and resolved. Duke Frederick has heard about what has happened in the Forest of Arden and meets with a religious man who converts him and he decides to reinstate his brother as duke.

'His crown bequeathing to his banish'd brother, / And all their lands restored to them again / That were with him exiled.' (Jaques de Bois, 5:4)

Father and daughter are separated by Duke Frederick, Rosalind’s uncle, who has banished Duke Senior and forced them to live apart. Rosalind has been allowed to stay at court but her position and safety have changed dramatically without her father nearby, although she clearly misses him and struggles to forget what has happened.

'I show more mirth than I am mistress of; and would you yet I were merrier? Unless you could teach me to forget a banished father, you must not learn me how to remember any extraordinary pleasure.' (Rosalind, 1:2)

Rosalind does not go immediately to her father when she and Celia arrive in the Forest of Arden, and they are only reunited in the final scene when she reveals who she is to both her father and Orlando. While there are lots of reveals and reunions, it is clear that father and daughter are happy to see each other.

'If there be truth in sight, you are my daughter.' (Duke Senior, 5:4)

'I'll have no father, if you be not he' (Rosalind, 5:4)

The relationship between the two brothers is in a terrible state at the start of the play. Duke Frederick has usurped his older brother Duke Senior and sent the previous duke into exile in the Forest of Arden.

‘the old duke is banished by his younger brother the new duke’ (1:1)

In the final scene of the play it is suggested that their relationship will be restored and resolved. Duke Frederick has heard about what has happened in the Forest of Arden and meets with a religious man who converts him and he decides to reinstate his brother as duke.

'His crown bequeathing to his banish'd brother, / And all their lands restored to them again / That were with him exiled.' (Jaques de Bois, 5:4)

The duke’s relationship with his daughter is reasonably strong early in the play. Although Frederick banished Rosalind’s father, he kept Rosalind at court for Celia’s sake as they are so close and he seems to value his only child.

'Celia; we stay'd her for your sake, / Else had she with her father ranged along.' (Duke Frederick, 1:3)

'You know my father hath no child but I, nor none is like to have' (Celia, 1:2)

When the Duke banishes his niece Rosalind and tells her to ‘dispatch’ with ‘haste’ (1:3), Celia begs her father to let Rosalind stay. He refuses to listen to her pleas and Celia chooses loyalty to her cousin over obeying her father.

'Pronounce that sentence then on me, my liege: / I cannot live out of her company.' (Celia, 1:3)

'Shall we be sunder'd? shall we part, sweet girl? / No: let my father seek another heir.' (Celia, 1:3)

We do not hear from Celia or Duke Frederick at the end of the play. However, Duke Senior is pleased to see Celia and the text suggests that he will treat her like his daughter, now that Duke Frederick has given him back the dukedom. It is not clear if this means that Celia and her father will be reunited but it does offer a hopeful conclusion.

'O my dear niece, welcome thou art to me! / Even daughter, welcome, in no less degree' (Duke Senior, 5:4)

Touchstone and Audrey’s relationship begins well with him wooing her, calling her ‘good Audrey’ and promising to ‘fetch up’ her goats. She seems to like Touchstone as well, although claims to not really understand poetry and language of love.

'And how, Audrey? am I the man yet? / doth my simple feature content you?' (Touchstone, 3:3)

'Your features! Lord warrant us! what features!' (Audrey, 3:3)

Touchstone tells Audrey he has arranged for them to be married in the woods and seems to be willing to commit to her, which makes Audrey even more enthusiastic about him. However, Jaques’ comments and the language Touchstone uses suggest he is not being ‘honest’ and he really only means to sleep with her.

'Come, sweet Audrey: / We must be married, or we must live in bawdry.' (Touchstone, 3:3)

'Well, the gods give us joy!' (Audrey, 3:3)

Before they get married, Touchstone is keen to scare off William, another of Audrey’s suitors who ‘lays claim’ to her. Touchstone says he will ‘kill’ him unless he goes ‘away’ (5:1), leaving Audrey free to marry Touchstone.

' I will deal in poison with thee, or in bastinado, or in steel; I will bandy with thee in faction; I will o'errun thee with policy; I will kill thee a hundred and fifty ways: therefore tremble and depart.' (Touchstone, 5:1)

Touchstone and Audrey’s relationship is strongest in the play in Act 5 Scene 3 when they rejoice that ‘tomorrow is the joyful day’ that they will be married and Audrey admits that she really wants to get married.

'I do desire it with all my heart; and I hope it is no dishonest desire to desire to be a woman of the world.' (Audrey, 5:3)

Touchstone and Audrey’s relationship begins well with him wooing her, calling her ‘good Audrey’ and promising to ‘fetch up’ her goats. She seems to like Touchstone as well, although claims to not really understand poetry and language of love.

'And how, Audrey? am I the man yet? / doth my simple feature content you?' (Touchstone, 3:3)

'Your features! Lord warrant us! what features!' (Audrey, 3:3)

Touchstone tells Audrey he has arranged for them to be married in the woods and seems to be willing to commit to her, which makes Audrey even more enthusiastic about him. However, Jaques’ comments and the language Touchstone uses suggest he is not being ‘honest’ and he really only means to sleep with her.

'Come, sweet Audrey: / We must be married, or we must live in bawdry.' (Touchstone, 3:3)

'Well, the gods give us joy!' (Audrey, 3:3)

Before they get married, Touchstone is keen to scare off William, another of Audrey’s suitors who ‘lays claim’ to her. Touchstone says he will ‘kill’ him unless he goes ‘away’ (5:1), leaving Audrey free to marry Touchstone.

' I will deal in poison with thee, or in bastinado, or in steel; I will bandy with thee in faction; I will o'errun thee with policy; I will kill thee a hundred and fifty ways: therefore tremble and depart.' (Touchstone, 5:1)

Touchstone and Audrey’s relationship is strongest in the play in Act 5 Scene 3 when they rejoice that ‘tomorrow is the joyful day’ that they will be married and Audrey admits that she really wants to get married.

'I do desire it with all my heart; and I hope it is no dishonest desire to desire to be a woman of the world.' (Audrey, 5:3)

Silvius’ love for Phoebe is strong from the start and he exclaims to Corin that he wishes Corin ‘knew’st how I do love her’ and ‘rails’ about how strong his love is.

'Thou hast not loved: / Or if thou hast not broke from company / Abruptly, as my passion now makes me, / Thou hast not loved. / O Phebe, Phebe, Phebe!' (Silvius, 2:4)

Their relationship is not going well when Silvius begs Phoebe to love him instead of ‘scorn’ him, but Phoebe rejects Silvius and implores ‘come not thou near me’ (3:5).

'Sweet Phoebe, do not scorn me; do not, Phoebe; / Say that you love me not, but say not so / In bitterness.' (Silvius, 3:5)

'Come not thou near me:' (Phoebe, 3:5)

Silvius and Phoebe’s relationship is strongest after Phoebe agrees that she will marry Silvius if she does not want Ganymede. After discovering that Ganymede is actually Rosalind she bids ‘adieu’ to her old love and marries the shepherd.

'I will not eat my word, now thou art mine; / Thy faith my fancy to thee doth combine.' (Phoebe, 5:4)