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Fulfillment in As You Like It1 1 5for the rich man is implicitly contrasted with the maid impatient to be married.This contrast may remind us of the moment when Rosalind goes to“sigh” until Orlando comes, while Celia, still content with the old friendship,is ready to sleep (4.1.216–18). One may conclude that the joy to be gainedfrom a deep attachment ultimately outweighs its pains by some way, sincesuffering is greatly reduced in a mature marriage, where loyalty is assuredand sexual desire no longer dominates, although the constant need to maintainsympathy will still mean that one frequently has to sacrifice one’s ownpleasures, as we have seen.The last part of the play is used for a more detailed examination of theways in which moderation and spiritedness can contribute to The Good Life.In the short scene in which Jaques accompanies his fellow lords as they maketheir triumphant return to the duke after a successful deer hunt, the hunters’song seems to endorse Touchstone and Jaques’s suspicion that cuckoldry is aninevitable byproduct of our animal nature:Take thou no sin to wear the horn,It was a crest ere thou wast born;Thy father’s father wore itAnd thy father bore it.(4.2.13–16)There is clearly some truth in this sentiment, but it was Jaques who suggestedthat this song be sung, and Shakespeare chooses this moment to remind usthat the latter is extremely unmusical through his comment that it need notmatter whether the song “be in tune, so it makes noise enough” (4.2.8–9).Here, as elsewhere, Jaques seems unaware of the power of self-restraint tocreate harmonious relationships. As ever, Touchstone is contrasted to Jaquesin the way he controls his ambition, his sexual desire, and even his wit inorder to become a loyal and humble lover, but it is the shepherd Silvius whocomes to the fore towards the end of the play, declaring that to loveis to be all made of fantasy,All made of passion, and all made of wishes,All adoration, duty, and observance,All humbleness, all patience and impatience,All purity, all trial, all observance.(5.2.94–98)Silvius’s apparently contradictory list shows how the immoderate lover mustprogress towards moderation in order to achieve his goals. His idea of love iscontrasted with that expressed in the song of the two pages in the next scene,