He sighed profoundly, and flung himself--there was a passion in his movements which deserves the word--on the earth at the foot of the oak tree. He loved, beneath all this summer transiency, to feel the earth's spine beneath him; for such he took the hard root of the oak tree to be; or, for image followed image, it was the back of a great horse that he was riding, or the deck of a tumbling ship--it was anything indeed, so long as it was hard, for he felt the need of something which he could attach his floating heart to; the heart that tugged at his side; the heart that seemed filled with spiced and amorous gales every evening about this time when he walked out. To the oak tree he tied it and as he lay there, gradually the flutter in and about him stilled itself; the little leaves hung, the deer stopped; the pale summer clouds stayed; his limbs grew heavy on the ground; and he lay so still that by degrees the deer stepped nearer and the rooks wheeled round him and the swallows dipped and circled and the dragonflies shot past, as if all the fertility and amorous activity of a summer's evening were woven web-like about his body. (1.6)
Orlando gives his heart to nature and, just possibly, ties his life to nature. Perhaps this explains the longevity of his life. More on this under Symbols, Imagery, and Allegory.
But Orlando paused. Memory still held before him the image of a shabby man with big, bright eyes. Still he looked, still he paused. It is these pauses that are our undoing. It is then that sedition enters the fortress and our troops rise in insurrection. Once before he had paused, and love with its horrid rout, its shawms, its cymbals, and its heads with gory locks torn from the shoulders had burst in. From love he had suffered the tortures of the damned. Now, again, he paused, and into the breach thus made, leapt Ambition, the harridan, and Poetry, the witch, and Desire of Fame, the strumpet; all joined hands and made of his heart their dancing ground. (1.12)
Orlando’s life in literature is drawn as a parallel to his love life.
Thus, at the age of thirty, or thereabouts, this young Nobleman had not only had every experience that life has to offer, but had seen the worthlessness of them all. Love and ambition, women and poets were all equally vain. Literature was a farce. (2.33)
Here we go in Orlando’s depressed stage again, when he gives up on love and life. Cross-reference this passage, for example, with the passage directly preceding Orlando’s first encounter with Shel.
They filled themselves, moreover, with the strangest variety of objects. For not only did he find himself confronted by problems which have puzzled the wisest of men, such as What is love? What friendship? What truth? but directly he came to think about them, his whole past, which seemed to him of extreme length and variety, rushed into the falling second, swelled it a dozen times its natural size, coloured it a thousand tints, and filled it with all the odds and ends in the universe. (2.36)
Orlando likes to tackle tough questions – for example, the nature of love – but he doesn’t get any closer to answering the question, nor is he capable of infusing the question with his own memories of the past.
For Love, to which we may now return, has two faces; one white, the other black; two bodies; one smooth, the other hairy. It has two hands, two feet, two nails, two, indeed, of every member and each one is the exact opposite of the other. Yet, so strictly are they joined together that you cannot separate them. In this case, Orlando's love began her flight towards him with her white face turned, and her smooth and lovely body outwards. Nearer and nearer she came wafting before her airs of pure delight. All of a sudden (at the sight of the Archduchess presumably) she wheeled about, turned the other way round; showed herself black, hairy, brutish; and it was Lust the vulture, not Love, the Bird of Paradise, that flopped, foully and disgustingly, upon his shoulders. (2.68)
This passage carries the interesting implication that you cannot have lust without love or love without lust.
The Archduchess (but she must in future be known as the Archduke) told his story--that he was a man and always had been one; that he had seen a portrait of Orlando and fallen hopelessly in love with him; that to compass his ends, he had dressed as a woman and lodged at the Baker's shop; that he was desolated when he fled to Turkey; that he had heard of her change and hastened to offer his services (here he teed and heed intolerably). For to him, said the Archduke Harry, she was and would ever be the Pink, the Pearl, the Perfection of her sex. The three p's would have been more persuasive if they had not been interspersed with tee-hees and haw-haws of the strangest kind. 'If this is love,' said Orlando to herself, looking at the Archduke on the other side of the fender, and now from the woman's point of view, 'there is something highly ridiculous about it.' (4.34)
Harry’s relationship with Orlando is markedly different than Orlando’s relationships with Sasha and Shel – namely, it’s useful as comic relief whereas the Sasha/Shel relationships are both quite serious.
'I have sought happiness through many ages and not found it; fame and missed it; love and not known it; life--and behold, death is better.’ (5.33)
Orlando admits she has never known love, throwing into question her whole relationship with Sasha.
But Orlando was a woman--Lord Palmerston had just proved it. And when we are writing the life of a woman, we may, it is agreed, waive our demand for action, and substitute love instead. Love, the poet has said, is woman's whole existence. […] Must it then be admitted that Orlando was one of those monsters of iniquity who do not love? She was kind to dogs, faithful to friends, generosity itself to a dozen starving poets, had a passion for poetry. But love--as the male novelists define it--and who, after all, speak with greater authority?--has nothing whatever to do with kindness, fidelity, generosity, or poetry. Love is slipping off one's petticoat and--But we all know what love is. Did Orlando do that? Truth compels us to say no, she did not. If then, the subject of one's biography will neither love nor kill, but will only think and imagine, we may conclude that he or she is no better than a corpse and so leave her. (6.14)
Here the biographer skillfully deconstructs traditional notions of how women occupy themselves.