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For his sin in eating the forbidden fruit, Adam was expelled from the Garden of Eden, where food was always at hand, and was condemned to work for his bread: "In the sweat of thy face shalt thou eat bread" (Genesis 3:19). Here in the Forest of Arden, however, Duke Senior and his men are living on the bounty of the earth and the Garden of Eden (another version of Charles the wrestler's "golden world") is returned.

… like the toad…

Duke Senior finds that the cruel fate of exile has turned to good, and says:

Sweet are the uses of adversity, Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head;

—Act II, scene i, lines 12-14

Toads are ugly indeed, though beneficial (rather than venomous) insofar as they eat insects and help keep the numbers of those creatures under control. There existed a legend, however, that there were stony concretions in toads' heads that could be used to warn against the presence of poison if set in a ring. They did so by changing color. Such a "toad-stone" was also thought to reduce the pain and decrease the swelling that followed the bite or sting of a poisonous animal. Needless to say, despite Shakespeare, there is no such thing as a toadstone.

… caters for the sparrow

But if Duke Senior is contented, poor Orlando certainly is not. Having been warned away from court, he arrives back home only to discover that his oldest brother, Oliver, plans to kill him outright. The warning is brought to Orlando by old Adam, who urges him to leave and offers him his own life savings of five hundred crowns. Adam (who, according to tradition, was played on the stage by Shakespeare himself) says:

Take that, and he that doth the ravens feed, Yea, providently caters for the sparrow, Be comfort to my age.

—Act II, scene iii, lines 43-45

This is a reference to Jesus' statements "Are not five sparrows sold for two farthings, and not one of them is forgotten before God?" (Luke 12:6) and "Consider the ravens: for they neither sow nor reap; which neither have storehouse nor barn; and God feedeth them" (Luke 12:24).

But Orlando will not abandon old Adam and together they leave home and wander off toward the forest, as earlier Rosalind, Celia, and Touchstone had done.

… the first-born of Egypt

Not everyone in Arden is enamored of the life. One of the Duke Senior's entourage is Jaques, whose affectation it is to be melancholy and to be cynical about everything. He sneers at a beautiful song sung by his fellow courtier Amiens, then says:

I'll go sleep, if I can; if I cannot, I'll rail against all the first born of Egypt.

—Act II, scene v, lines 54-55

A possible meaning for Jaques' remark rests in the fact that the firstborn of Egypt were the victims of the tenth plague brought down upon them by God through Moses. "And it came to pass, that at midnight the Lord smote all the firstborn in the land of Egypt, from the firstborn of Pharaoh that sat on his throne unto the firstborn of the captive that was in the dungeon; and all the firstborn of cattle" (Exodus 12:29).

It was after this climactic visitation that the Hebrew slaves were finally allowed to leave the country and to make their way into the wilderness. It could be that Jaques is using the phrase "all the first-born of Egypt" to symbolize the events that led to the exile of Duke Senior, and it is this against which he intends to rail.

… the lean and slippered pantaloon

Orlando suddenly bursts in on Duke Senior, Jaques, and the others in wild desperation. Old Adam is too weak with hunger to go farther and Orlando demands food with sword drawn.

Duke Senior speaks to him gently, and Orlando, realizing he is with friends, goes off to get Adam. When the Duke uses this event to show that there are more tragic scenes on earth than their own, Jaques falls to moralizing on the general uselessness of life and of man's pilgrimage in it. Life, he says, is in seven stages that end in nothing. By the sixth, man is well advanced in age:

… The sixth age shifts Into the lean and slippered pantaloon, With spectacles on nose…

—Act II, scene vii, lines 157-59

In Shakespeare's time there had arisen the custom in Italy of having traveling bands of actors give plays in different towns. These bands developed stock characters in standard masks and costumes, and one of the most popular of the stock characters was called Pantaleone.

The name means "all lion," signifying great bravery (and is Pantaloon in its English version). Naturally it would seem funny to have "all lion," a lecherous, miserly coward, always being outwitted by the young lovers. His characteristic appearance was sufficiently well known to make it unnecessary for Jaques to do more than mention the name.

Pantaloon was always dressed in baggy trousers, by the way, which came to be called pantaloons in their turn, or, for short, "pants."

Atalanta's better part

The pastoral life in the Forest of Arden now engulfs our various characters. Touchstone matches wits with the shepherd, Corin, and easily wins. Orlando, with time now to think of the love he has conceived for Rosalind on the occasion of his wrestling match, writes verses concerning her and hangs them on the trees in approved pastoral fashion.

Rosalind in her disguise as Ganymede finds them. Celia finds them too and is reading one which describes Rosalind as made up of:

Helen's cheek, but not her heart, Cleopatra's majesty, A talanta's better part, Sad Lucretia's modesty.

—Act III, scene ii, lines 145-48

Three of these four ladies are subjects of Shakespearean plays or poems: Helen in Troilus and Cressida, Cleopatra in Antony and Cleopatra and Lucretia in The Rape of Lucrece.

As for Atalanta, she was a beautiful girl whose hand was sought by many but who had vowed to live a virgin. She therefore insisted that no one marry her unless he beat her in a foot race and that if he was himself beaten his head was to be chopped off. This frightened many, and the few who risked the race were beaten by the fleet-footed Atalanta and were killed.

Finally, a youth named Hippomenes prayed to Aphrodite and was given three golden apples. He raced Atalanta and each time she began to forge ahead he threw one of the golden apples before her. Being a woman, each time she paused to pick it up and, thanks to the time she lost, Hippomenes won.

The reference in the poem, then, is that Rosalind has Atalanta's "better part," the beauty which drew so many to court her, but not the cruelty which killed those who wooed and failed to beat her. Atalanta was a byword for fleetness. Thus, later on Jaques speaks scornfully of Orlando's retorts to his own ill-natured remarks, saying: