in their natures. The action set going by Oliver in sc. i.
is consummated in the wrestling match, but with a result different
from that hoped for by Oliver, thus leaving Oliver's hatred still
present as a cause of action. Out of the wrestling match what further
passional and emotional causes of action are set up? Duke Frederick's
hatred for Orlando is aroused because he learns he is the son of a man
he had considered his enemy, and action against him is the immediate
result. Orlando is warned by Le Beau that he is not safe at the court.
The Duke's hatred of his brother bears further fruit in its extension
to Rosalind. The meeting of Rosalind and Orlando brought about by the
wrestling match gives rise to a fresh emotional force in their budding
love for each other. In Sc. iii., the state of Rosalind's heart as to
Orlando, hinted at in sc. ii., is fully revealed; the Duke's hatred
takes shape in his sentence of banishment or death, giving rise to a
new direction for action, and the emotion of Celia's love for Rosalind
bears fruit in her determination to go with Rosalind into banishment.

II

LIFE IN THE FOREST OF ARDEN

In Act II. how are the elements of action, character delineation and
emotion intermingled?

Sc. i. gives us a picture of the banished Duke and his followers in
the Forest of Arden, already prepared for in Act I., introduces us to
the personality of the Duke, and in the conversation with the lords
prepares us for coming delights in the personality of Jaques. It does
not advance the action, at all. In sc. ii., the result of Celia's act
in going with Rosalind is shown in the bad Duke's consternation, who
determines that they shall be found, thus starting another thread of
action to be developed later. Sc. iii. the passional cause of action
in Oliver's hatred of Orlando reaches a crisis; Orlando is obliged to
flee to save himself from death. Sc. iv. shows Celia and Rosalind
arrived at their journey's end in the Forest of Arden, and making
arrangements with a shepherd for a comfortable little house to
rusticate in; thus is closed the thread of action started by the Duke
in banishing Rosalind. In the conversation of their new companions,
Corin and Silvius, we learn of the love of Silvius for the scornful
Phebe, which is another emotional impulse to action, later blending
itself with the plot. In sc. v. we meet Jaques, already mentioned, and
get another glimpse of the pleasant company in the forest, but th