Rosalind breaks the fourth wall to deliver the play's epilogue, playfully acknowledging the conventions of theater and gender. She charms the audience by 'conjuring' both the men and women to like the play, using wit and a reference to her own cross-dressing disguise to secure their applause.
ROSALIND: It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, 'tis true that a good play needs no epilogue. Yet to good wine they do use good bushes, and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue nor cannot insinuate with you in the behalf of a good play! I am not furnished like a beggar, therefore to beg will not become me. My way is to conjure you, and I'll begin with the women.
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