As You Like It
Summary
“As You Like It” is a pastoral comedy by William Shakespeare, believed to have been written around 1599 and first published in the First Folio in 1623. While the exact date of the first public performance of As You Like It remains shrouded in some mystery, the most widely accepted theory places it at the opening of the Globe Theatre London in 1599. Another possibility is a performance at Wilton House, a country estate in Wiltshire, England, in December 1603. This is documented in a letter written by Robert Cecil, a prominent figure at the time, mentioning a play called “As You Like It” being performed there. But most scholars consider the Globe opening the more likely debut.
Shakespeare’s comedy “As You Like It” is seen as both a celebration of simple, innocent country life (pastoral romance) and a satire of it. Audiences usually enjoy the light-hearted, love-focused banter in the Forest of Arden more than the serious, battle-filled scenes at Oliver’s home and Duke Frederick’s court. The forest could be a reference to the Arden woodlands near Shakespeare’s hometown and the Ardennes region in northeast France, where the play is set. The peaceful forest charms its visitors, who mostly think about love once they have food and shelter. The non-romantic plotlines from the first act mostly resolve themselves in the final scenes, largely because the forest seems to charm the antagonists too. The play’s magical nature becomes real when Hymen, the Greek god of marriage, appears to officiate at the weddings that end the play.
The last three acts let the audience experience how time seems to amble for those with lots of free time and no responsibilities, like the main characters. Even though Rosalind probably needs to disguise herself for safety, nothing really threatens her relationship with Orlando; they’re mutually infatuated from their first meeting. So, most of the play’s tension comes from the witty exchanges, not the original plotlines picked up only during the scene at the duke’s palace at the start of the third act. Touchstone and Jaques add to the play not through love affairs but through philosophical reflection, which the quiet pastoral setting encourages.
Shakespeare got the plot of “As You Like It” directly from Thomas Lodge’s 1590 novel “Rosalynde, or Euphues’ Golden Legacy,” which was itself based on a more action-filled 14th-century poem called “The Tale of Gamelyn.” Shakespeare didn’t change much from Lodge’s straightforward pastoral story, but he did strengthen the character of Rosalind and add his two philosophers, Jaques and Touchstone, giving the cast as a whole more opportunity for reflection.
Critics can’t agree on whether “As You Like It” should be read as a satire or a celebration of the pastoral ideal, but readers can enjoy the play’s festive atmosphere and various love affairs. “As You Like It” is one of Shakespeare’s most popular and best-loved comedies.
Plot
Act 1, Scene 1:
In the beginning of “As You Like It,” Orlando confides in his family servant, Adam, about his dissatisfaction with how his brother Oliver is managing their family’s wealth and treating him. Orlando feels neglected, as he is not being educated and worries about his future prospects. His speech establishes a strong connection with his father’s spirit, positioning him as the hero in both a romantic and moral sense.
When Oliver enters, Orlando outsmarts him with clever remarks and then proves his strength, demanding the share of inheritance their late father intended for him. Oliver, seeking to appease Orlando, curses Adam. However, Adam reveals his fond memories of their father, Sir Rowland de Boys, aligning himself with Orlando.
Alone, Oliver summons Charles, a wrestler from the court, who shares news about the ducal court. The elder Duke Senior has been banished by his younger brother Frederick. Rosalind, the daughter of the banished Duke, remains at court due to her close relationship with her cousin Celia. Meanwhile, Duke Senior and his loyal followers have settled in the picturesque Forest of Arden, where they pass time carelessly.
Charles mentions that he will wrestle with a disguised Orlando the next day, and Oliver encourages him to harm Orlando as much as possible. Oliver’s closing monologue reveals his villainous nature, as he despises Orlando solely because he is benevolent and well-liked among the brothers.
Act 1, Scene 2:
When Rosalind and Celia first appear in the play, Rosalind is sad about her father’s absence. Celia tries to cheer her up by focusing on their friendship. Rosalind thinks that falling in love might help her forget her sadness. Celia agrees, but warns against falling too deeply in love. After discussing the goddesses Fortune and Nature, they meet Touchstone, the court jester, who makes a joke about knightly honor. Then, Monsieur Le Beau arrives to tell them about an upcoming wrestling match.
Duke Frederick enters and asks the ladies to convince the young challenger to back down from the match. But they can’t argue against Orlando’s reasons for fighting – he feels he has nothing to lose and wants to test his strength. Orlando ends up defeating the champion, Charles, much to Rosalind’s delight. However, Frederick is disappointed because he didn’t like Orlando’s father. On the other hand, Rosalind’s father, Duke Senior, had great respect for Sir Rowland de Boys, Orlando’s father. The ladies praise Orlando, and Rosalind gives him a chain from around her neck. They leave, and Orlando is left stunned by his growing feelings for Rosalind. Le Beau returns, warning Orlando to leave the dukedom as he has angered Frederick. He also reveals the identities of Rosalind and Celia.
Act 1, Scene 3:
Rosalind talks to Celia about her feelings for Orlando, jokingly referring to him as the potential father of her child. Duke Frederick interrupts the scene, reverting to blank verse, and decides to banish Rosalind, distrusting her intentions. Frederick dislikes her silence and patience, believing it elicits pity from the people. He also tries to convince Celia to see Rosalind as a rival. The two women decide to go to the Forest of Arden disguised as peasants. Rosalind, who is taller, will pretend to be a man named Ganymede, and Celia will pretend to be a woman named Aliena. They gather their jewels, wealth, and the jester Touchstone, and set off.
Act 2, Scene 1:
The second act transitions from the court to the forest. The first scene is in Arden, the second at court, the third at Oliver’s place, and all subsequent scenes are in the forest. Duke Senior, the main figure in the forest, is introduced. He praises the forest but regrets having to kill deer for food. One lord mentions that Jaques, who was seen mourning a dying deer, is particularly upset by their intrusion on nature. Duke Senior and his lords leave to find Jaques for a chat.
Act 2, Scene 2:
In a short scene at the court, Duke Frederick finds out that both his niece and his daughter are missing. He also learns about their fondness for Orlando, who might have gone with them. After learning this, Duke Frederick calls for Oliver.
Act 2, Scene 3:
At Oliver’s house, Adam encounters Orlando and commends his many good qualities, lovingly calling him a “memory / of old Sir Rowland”. He then alerts Orlando that Oliver is plotting to kill him, either by setting a fire or by some other method. Realizing that he couldn’t live as a dishonest thief, Orlando decides to confront his brother. However, Adam steps in and offers his life savings and his services to help Orlando find a safe place and supplies. Together, they leave the house.
Act 2, Scene 4:
Rosalind, Celia, and Touchstone arrive in the Forest of Arden, extremely tired from their journey. Touchstone, the jester, wishes he hadn’t left the court. Then, the shepherds of the forest, Corin and Silvius, show up. They lighten the atmosphere by talking about love. Silvius shares his love for Phebe and accuses Corin, who is older, of never truly being in love because he doesn’t remember any foolish things he did for love.
This makes Rosalind think about her own love for Orlando, and Touchstone thinks back on a love from his past. Touchstone then calls for Corin, and Rosalind asks about a place to stay and food. With Corin’s help, they manage to buy a small house and a group of sheep.
Act 2, Scene 5:
Amiens and Jaques sing songs about the peacefulness of the forest, where the only enemies are “winter and rough weather”. Jaques expresses his dislike for men, especially their lack of manners, and says he has been avoiding Duke Senior because he finds him “too disputable”.
Act 2, Scene 6:
Adam and Orlando enter the Forest of Arden. When Adam collapses, Orlando goes to find help for him.
Act 2, Scene 7:
Jaques and Duke Senior have a meeting where Jaques shares his previous interaction with Touchstone. During that interaction, Touchstone made some clever remarks about time passing. Duke Senior questions the validity of Jaques’s opinions because of his complicated history.
Orlando shows up next, threatening to assault them and steal their food. However, Duke Senior, being a gentleman, willingly offers him the food. As Orlando leaves to go back to Adam, Duke Senior and Jaques reflect on the drama of life. Jaques delivers the well-known “seven ages” speech, stating that a man experiences seven stages or acts in his life. He says, “All the world’s a stage / And all the men and women merely players.”
Amiens commemorates the meal with a song, “Blow, blow, thou winter wind.” Duke Senior is delighted to meet the son of his dear, late friend Sir Rowland de Boys.
Act 3, Scene 1:
In his palace, Duke Frederick gives Oliver an ultimatum: bring his brother to the court within a year or face exile himself. As Oliver pleads, Duke Frederick criticizes him for being a villain because he never showed love for his own brother.
Act 3, Scene 2:
Orlando is in the forest, hanging love poems for Rosalind on trees and singing about her. When Touchstone, the jester, and Corin, a shepherd, enter, the play changes to a normal conversation. Touchstone asks Corin why he prefers living in the countryside instead of the court. Touchstone gives his own reasons for liking the court, which confuses Corin.
Rosalind comes in reading an anonymous poem about her. Touchstone makes fun of the poem for being boring and makes up his own funny rhymes. Celia arrives with a longer poem that Rosalind finds boring. The women send the men away so they can talk. Rosalind criticizes the poet’s skills. Celia tells Rosalind that she saw the poet hanging up one of the poems and that he was wearing Rosalind’s necklace. Rosalind blushes but doesn’t realize that the man is Orlando. Celia describes him and then reveals his identity, which makes Rosalind very excited.
Orlando comes in talking with Jaques, and the women hide. Orlando talks about his love for Rosalind and answers Jaques’s questions with clever responses. When Jaques leaves, Rosalind, pretending to be Ganymede, comes forward to talk with Orlando. She has a deep conversation about how different people experience time. The conversation is difficult because Rosalind is trying to hide her identity. She says she’s glad she’s not a woman and criticizes Orlando for letting himself fall in love. She sees this more in his poems than in him. Rosalind says she can cure Orlando of his love if he pretends she (Ganymede) is Rosalind. He’s doubtful but agrees, and they go to the women’s cottage.
Act 3, Scene 3:
In the forest, Touchstone and Audrey are in the middle of a romantic relationship, while Jaques observes them secretly. Audrey shows that she doesn’t understand the concept of being “poetical”, while Touchstone shows off his cleverness and doesn’t hide his wish to simply have a physical relationship with Audrey, who is a goatherd.
Touchstone mentions that he has brought a local priest to perform a wedding ceremony to make their relationship official. He talks a lot about animals and men and their horns, keeping up the sexual innuendos. When Sir Oliver Mar-text starts the wedding ceremony, Jaques offers to give the bride away. He then persuades Touchstone that such a boring wedding wouldn’t suit a gentleman like him. Finally, Jaques takes the couple away.
Act 3, Scene 4:
In the morning at their cottage, Rosalind is eagerly waiting for Orlando. She talks to Celia about his hair color and admires his clear innocence. Celia confesses that she’s not sure if his love is genuine, which makes Rosalind ask more questions. Rosalind also says that she met her father the previous day and was able to keep up her disguise.
When Corin comes to take them to see Silvius trying to woo Phebe, the text changes to blank verse. This is the first time such a change is used for a commoner. Rosalind comments that she might end up playing a big role in their drama.
Act 3, Scene 5:
Silvius pleads with Phebe for even a small sign of affection. Rosalind, Celia, and Corin arrive and watch this. Phebe turns Silvius down, saying that no man should be truly hurt by emotional disappointment. As Silvius loses hope, Rosalind steps in. She first teases Phebe about her looks and then suggests to Silvius that he might be better off finding someone else. She even suggests that they could get together, even if it might result in “ill-favored children” (53).
However, Phebe immediately takes a liking to Ganymede, perhaps because of his assertiveness. When Silvius and Phebe are left alone again, Phebe agrees to love Silvius, but not in a romantic way. She also agrees to hire him. Then, she asks about Ganymede and talks about how attractive she finds his gentler qualities. Finally, remembering Ganymede’s harshness and claiming to be upset by him, Phebe asks Silvius to deliver a letter to Ganymede that she will write.
Act 4, Scene 1:
Jaques is having a conversation with Rosalind and Celia, who are disguised. He justifies his melancholy, partly blaming it on his travels. Rosalind says that she prefers the amusement of a fool to the sadness brought on by experience. When Orlando appears, Jaques leaves, allowing Rosalind to scold Orlando for being late to a meeting with someone he supposedly loves. After unfavorably comparing him to a snail, which at least has a home and horns on its head, Rosalind urges Orlando to try and woo her. They joke about kissing and chastity, then Rosalind repeats Phebe’s earlier remarks about no man having ever truly died from love.
When Orlando objects to Rosalind’s lamenting tone, she becomes more pleasant, and they engage in a mock wedding ceremony. However, she again becomes negative, listing ways in which she would disappoint Orlando as a wife. She ultimately asserts that above all, she would not abandon her wit, and if her husband tried to dismiss her, she would simply turn to another man. Orlando then leaves to join the duke at dinner, promising that he will return in two hours. Rosalind remarks that if he breaks that promise, he will be thoroughly out of favor. Celia then scolds Rosalind for her disparaging remarks about women, to which Rosalind responds only by celebrating the depth of her love for Orlando.
Act 4, Scene 2:
Jaques and a few lords are found celebrating their successful deer hunt, even though Jaques had earlier mourned the death of a hunted deer. One of the lords offers a song ritualizing the wearing of the deer’s horns, which are portrayed as almost sacred.
Act 4, Scene 3:
Celia and Rosalind are wondering why Orlando hasn’t returned on time when Silvius shows up. He gives Rosalind, who is still pretending to be Ganymede, a letter from Phebe that is supposed to be harsh. However, the letter is actually full of love. Rosalind teases Silvius by first saying that a man, probably him, must have written the harsh words in the letter. She then reads the letter out loud, revealing its true loving message. In the end, she sends Silvius away, even though he is deeply in love with Phebe.
Then, Oliver comes looking for the cottage and the women who are in disguise. He has a blood-stained handkerchief with him. He tells them how Orlando found a man sleeping under a tree with a snake around his neck and a lioness hiding nearby. The snake slithered away, and Orlando realized that the man was his older brother, Oliver. After some hesitation, Orlando scared away the lioness, saving Oliver’s life. When they reached the safety of Duke Senior’s territory, Orlando collapsed from a wound he had. He asked Oliver to give the handkerchief to Rosalind as a sign. Hearing this, Rosalind faints, which makes Oliver doubt her disguise as a man. She hopes that Oliver will tell Orlando that she only pretended to faint.
Act 5, Scene 1:
Audrey and Touchstone are having a conversation. Audrey expresses regret that they weren’t married earlier by a proper priest. She then acknowledges that William “lays claim to” her but “has no interest in” her. Touchstone gets ready to mock him with his cleverness. After a meaningless conversation, Touchstone, playing the fool, ends by warning the unfortunate William that he could face death if he tries to continue his relationship with Audrey.
Act 5, Scene 2:
Oliver talks to Orlando about his newfound love for Celia, who is disguised as Aliena. He also tells Orlando that he plans to stay in the forest and live as a simple shepherd. If he does this, Orlando will inherit their father’s property.
When Rosalind arrives, Orlando talks about the “greater wonders” (27) his brother told him about, which might mean he knows about Rosalind’s disguise. He’s upset that his brother gets to be with his love right now. Orlando says he “can live no longer by thinking” (50), meaning he can’t stand being away from his love. Rosalind, pretending to be Ganymede, tells him that she has been talking to a magician for a long time. She promises to bring the real Rosalind the next day.
Silvius and Phebe come in next. Silvius declares his love for Phebe, but she says she loves Ganymede. Orlando once again declares his love for Rosalind. Rosalind promises to solve all their love problems the next day. She presents the expected outcome in such a clever way that everyone is happy.
Act 5, Scene 3:
Touchstone and Audrey are excited about their upcoming wedding. Two of Duke Senior’s pages come and sing a song for everyone about love and the spring season. After the song, Touchstone makes some sarcastic comments about how he just wasted his time.
Act 5, Scene 4:
In the final scene, Duke Senior, Jaques, Orlando, Oliver, Silvius, Phebe, Celia, and Rosalind gather. Rosalind, still disguised, gets everyone’s agreement to the proposed marriages. The two disguised women then leave, and Duke Senior and Orlando comment on Ganymede’s resemblance to Rosalind.
Touchstone and Audrey then arrive, and Jaques praises Touchstone’s wit. Touchstone presents his acceptance of Audrey as a noble act, then recounts a quarrel he had, naming all the comebacks and criticisms according to the rules of rhetoric. Jaques is interested enough to ask for an explanation of the “seven degrees of the lie”.
Finally, Rosalind and Celia arrive undisguised, led by Hymen, the Greek god of marriage, who speaks in blank verse with three or four feet per line, unlike Shakespeare’s usual iambic pentameter, which has five feet. After Duke Senior and Orlando express their joy at seeing Rosalind, Hymen proceeds to marry the four couples: Orlando and Rosalind, Oliver and Celia, Silvius and Phebe, and Touchstone and Audrey. After a “wedding hymn”, Jaques de Boys, the middle brother between Oliver and Orlando, arrives to announce news: Duke Frederick, who had gone on a military expedition into the forest to find the banished Duke Senior, was converted to goodness by “an old religious man” and gave back the crown and all his land to his brother. Duke Senior encourages everyone to fully enjoy the “rustic revelry” before returning to court life. The philosophical Jaques then says goodbye to the group, listing the good fortunes that all the men have come upon, to join the converted Duke Frederick, from whom he expects “there is much matter to be heard and learned”. The play ends with dancing.
Epilogue
The character of Rosalind ends the play by saying goodbye to the audience. She hopes that both women and men enjoyed the play. Since a man played Rosalind in Shakespeare’s time, he mentions that if he were a woman, he would have even kissed some of the men in the audience. Instead, he just asks them to say goodbye to him.
Characters
Adam:
An old servant in the de Boys household. He supports Orlando’s claim to his father’s legacy and accompanies him into exile, even offering his life savings to help Orlando survive.
Aliena:
This is an alias used by Celia.
Amiens:
A courtier who is with Duke Senior in exile.
Audrey:
A simple country girl who herds goats and marries Touchstone. She doesn’t understand Touchstone’s mockery of her.
Celia:
Duke Frederick’s daughter and Rosalind’s cousin. She shares a strong bond with Rosalind and willingly goes into exile with her. She serves as a catalyst for some of Rosalind’s actions. After Orlando’s victory, she suggests they thank and encourage him. When Rosalind is banished, Celia suggests they go to seek her uncle in the Forest of Arden and wear disguises. Celia poses as a peasant woman named Aliena.
Charles:
Duke Frederick’s wrestler who fights Orlando in Act 1, Scene 2. Oliver tricks Charles into believing that Orlando is a villain and that Charles should harm Orlando as much as possible. However, Charles is defeated by Orlando.
Corin:
An old shepherd who befriends Rosalind, Celia, and Touchstone. Despite Touchstone’s mockery, Corin defends his simple pastoral life.
Jaques de Boys:
The middle son of Sir Rowland de Boys and brother to Oliver and Orlando. He delivers the news of Duke Frederick’s conversion and serves as a neutral mediator between the good and evil forces of the play.
Duke Frederick:
Duke Senior’s younger brother who usurps his throne. He is also Celia’s father and Rosalind’s uncle. Duke Frederick is a fairly one-dimensional villain throughout most of the play. His base nature is summed up by Le Beau. He does not appear after being converted by an “old religious man” in the forest.
Duke Senior:
The exiled elder brother of Duke Frederick and father of Rosalind. Duke Senior serves as the benevolent patriarchal figure of the Forest of Arden. He introduces the forest as a superior setting and also addresses its drawbacks. He delights in the physical sensation of being cold, which makes him feel more alive than the “painted pomp” of the court.
Ganymede:
This is an alias used by Rosalind.
Hymen:
The Greek god of marriage, Hymen, appears in the final scene to marry all the couples. His presence adds a sense of otherworldliness to the forest.
Jaques:
Jaques is a melancholic lord attending Duke Senior in exile. He provides commentary on the play’s various issues from a different perspective. Jaques’s dislike for humanity initially casts a dark shadow over the events in the Forest of Arden. While Duke Senior expresses regret at killing the deer, Jaques weeps at the sight of a wounded deer. He goes so far as to criticize not only Duke Senior but also all the men who have invaded the forest as usurpers. Jaques is seen as something of an environmentalist. However, the audience does not develop a favorable impression of Jaques. His cynical statements are rebuked time and again by Rosalind, Orlando, Touchstone, and Duke Senior. In the end, Jaques refuses to take part in the wedding celebration. He intends to join the newly religious Duke Frederick, indicating his devotion to the ideal of the pastoral world.
Le Beau:
One of Duke Frederick’s courtiers, Le Beau acts as a go-between for Duke Frederick and his daughter and niece. He informs the two women about the wrestling match and also about the duke’s bad mood after its conclusion.
Sir Oliver Mar-text:
Sir Oliver is a vicar whose marriage of Touchstone and Audrey is interrupted by Jaques.
Oliver:
Oliver is the oldest son of Sir Rowland de Boys. He is openly villainous, expressing his dislike for Orlando because Orlando is virtuous and well-liked. This animosity mirrors Duke Frederick’s hostility towards the late Sir Rowland de Boys, showing how both men are antagonized by virtue. In the end, Orlando’s kindness towards Oliver inspires Oliver to give Sir Rowland’s estate to Orlando. Oliver then marries Celia.
Orlando:
Orlando is the youngest son of Sir Rowland de Boys and the play’s romantic male hero, who eventually marries Rosalind. Orlando’s appearances in the first act establish his moral virtue. He desires only to engage in activities befitting a gentleman, including a good education. Oliver, the oldest de Boys brother, professes to despise Orlando because Orlando is well-liked and respected. Orlando goes on to defeat Charles, a Goliath-like figure, in a wrestling match without boasting or bravado, and he even shows humble shyness when Rosalind addresses him afterward.
Much attention is given to Orlando’s ties to his father, Rowland. Their last name, de Boys, comes from “bois”, which means “forest” in French. When Orlando claims, “The spirit of my father grows strong in me”, the audience understands that Orlando, not Oliver, is the true heir to the virtuous natural world signified by their last name.
In the Forest of Arden, the audience’s impression of Orlando shifts somewhat, as Rosalind, disguised as Ganymede, appears to control the interactions between the destined pair. The audience may feel that Orlando’s inability to direct their conversations reflects a lack of masculine assertiveness. Yet, one of Orlando’s virtues may be his ability to reconcile himself to more feminine qualities. Upon reaching the forest realm of Duke Senior, Orlando first adopts an aggressive stance; however, once he realizes he is being kindly received, he remarks, “Let gentleness my strong enforcement be”. With Duke Senior serving as a surrogate father figure to Orlando, this scene might be viewed from a Freudian perspective as a resolution of the hostility toward the father associated with the Oedipus complex. Orlando taps into his nurturing side, noting, “like a doe, I go to find my fawn”.
Ultimately, Orlando is confirmed as the foremost authority figure in both his relationship with Rosalind and in the play as a whole. The possession of Rosalind in a literal sense passes from Duke Senior to Orlando. When Duke Senior is restored as the head of the dukedom, his possessions will pass not to his daughter but to the husband of his daughter, meaning that Orlando will inherit the entire land. Thus, festive celebration is now possible because a dependable, that is, patriarchal, social order is securely in place.
Phebe:
Phebe is a shepherdess who is indifferent to Silvius, who is trying to court her. She falls in love with Ganymede instead. Eventually, she agrees to marry Silvius.
Rosalind:
Rosalind is the daughter of the exiled Duke Senior and the niece of Duke Frederick. She is the main character of the play, having the most lines and driving much of the play’s resolution. She starts off feeling down because her father has been exiled, and only perks up when her heart is “overthrown”. When she is banished from the court, she disguises herself as a man, Ganymede, to appear less vulnerable. In this disguise, she uses her wit to guide conversations, particularly with Orlando. She arranges for Orlando to dote on her, as if she were Rosalind, ensuring a sustained connection with him. She later lectures Orlando on the appearances and actions of someone who is truly in love. Despite the freedom her disguise gives her in terms of her attitude towards Orlando, Rosalind feels constrained by it. When she, Celia, and Touchstone enter the forest, she expresses a desire to “disgrace my man’s apparel, and to cry like a woman”. Similarly, when she faints at the news of Orlando’s serious wound, she first says, “I would I were at home”, then denies her emotional state, claiming she had faked the faint. The audience is left to decide whether such denials are positive steps for a woman of that era to take. Regardless of how much Rosalind enjoys her man’s disguise, the play’s closure is very much a return to a state of female subservience. Indeed, from the outset, Rosalind is understood to be depressed largely because of the absence of any male figure in her life: her father has been exiled, and the fact that she only becomes animated upon meeting Orlando sheds light on her earlier suggestion that they divert themselves by “falling in love”. Before revealing her identity, Rosalind refers to herself in speaking to her father as “your Rosalind” and requests confirmation that he will “bestow her on Orlando”. Regarding Rosalind’s return to her womanhood, Peter B. Erickson notes, “A benevolent patriarchy still requires women to be subordinate, and Rosalind’s final performance is her enactment of this subordination”. Erickson also notes that the epilogue, in which the male actor playing Rosalind reveals himself as male, presents a “further phasing out of Rosalind”.
Silvius:
Silvius is a shepherd who remains in love with the shepherdess Phebe despite her constant rejection. He eventually marries her.
Touchstone:
Touchstone is a fool who first serves Oliver, then Rosalind and Celia. He acts as a touchstone, testing the qualities of the other characters both at Duke Frederick’s court and in the forest. He also conveys bits and pieces of philosophy to the audience, whether they be genuine or ironic. Many commentators have noted that Touchstone differs from the fools in Shakespeare’s preceding plays largely because the playwright shaped the part to a different actor: Robert Armin. Armin, who himself wrote a work on the varying natures of court fools, was perhaps fit to play a jester of greater sophistication than the man he replaced within the Lord Chamberlain’s Men, Will Kempe, who had proven successful playing strictly comic roles. In fact, Armin may have joined the company midway through Shakespeare’s writing of As You Like It, which would account for the difference in Touchstone’s temperament in the first act as compared to the later acts. Touchstone is perhaps more out of place in the Forest of Arden than any other character in the play. While Touchstone marries Audrey at the end, the audience understands that he does so merely to enjoy the associated conjugal rights. Otherwise, throughout much of the play Touchstone remarks not on the merrier aspects of the forest but on what the forest lacks as compared to the court. In general, Touchstone looks at every situation from an oblique angle and speaks in a caustic voice. He sees Orlando’s poetry not as charming but pedantic; he insists that Corin is a sinner for having never learned court manners; and rather than enjoying their song, he condemns the pages as being off time. He even refuses to acknowledge himself as either witty or a fool. Touchstone’s presence within the pastoral romance is a concession to our sense of comic realism and protects the play from corrosive criticism.
William:
William is a country fellow who loves Audrey and is rudely threatened by Touchstone.
Themes
“As You Like It” by William Shakespeare explores several themes that are woven into the fabric of the play. Some of the prominent themes include:
Pastoral Life:
The contrast between the court and the Forest of Arden highlights the appeal of pastoral life. Arden symbolizes a haven of purity and spiritual order, providing characters with an opportunity for self-discovery and renewal.
Fortune vs. Nature:
The dichotomy between fortune and nature is emphasized, with fortune representing material gain and unpredictable events, while nature is portrayed as a purifying force. Characters in Arden overcome the uncertainties of fortune by drawing on the virtues of nature.
Time:
Time is depicted differently in court scenes and Arden. In the court, time is marked by specific intervals and threats, while in Arden, it becomes subjective and whimsical. The forest’s mythical and romantic aspects are enhanced by this fluid interpretation of time.
Sexual Identity:
Rosalind’s cross-dressing as Ganymede explores themes of sexual identity. The disguise liberates her from traditional gender roles, allowing her to take control of her life and challenge societal norms. The play’s presentation of gender is further emphasized by the use of boys playing female roles on the Elizabethan stage.
Acting and the Stage:
References to acting, role-playing, and the stage are scattered throughout the play, particularly in relation to Rosalind’s posing as Ganymede. The theatrical aspect is accentuated in Jaques’s “Seven Ages of Man” speech, highlighting the performative nature of life and the different stages individuals go through.
Family and Sibling Relationships:
The play explores relationships between siblings, particularly the contrasting dynamics between Orlando and Oliver. Themes of rivalry, betrayal, and reconciliation within families contribute to the overall narrative.
Love and Romance:
Various forms of love are depicted, from romantic relationships like Rosalind and Orlando’s to unconventional courtships like Touchstone and Audrey’s. Love is explored in its different manifestations, adding depth and complexity to the characters and their interactions.
Freedom and Independence:
Characters in the Forest of Arden experience a sense of freedom and independence away from the constraints of the court. The pastoral setting allows for self-discovery and the pursuit of personal desires and aspirations.
Courtly vs. Country Life:
The play contrasts the courtly life with the pastoral life in the countryside. The court is portrayed as a place of disorder, deceit, and envy, while Arden represents a space of simplicity, authenticity, and genuine relationships.
Style
The Pastoral:
The play incorporates elements of the pastoral tradition, which traditionally focuses on shepherds and rustic life. Shakespeare’s treatment of pastoralism in “As You Like It” is ambiguous, oscillating between endorsing and satirizing the literary form. The forest setting, characterized by Duke Senior’s praise for nature, presents an idealized and carefree atmosphere.
Lyrical Interludes:
The play is enriched by songs, poems, and verses, emphasizing its romantic and pastoral aspects. Five different songs and three poems are performed, contributing to the overall atmosphere and thematic development. The use of different forms of verse, including rhyming trimeter, enhances the poetic quality of the Forest of Arden scenes.
Marginalization of Plot:
The plot of “As You Like It” is considered less consequential compared to the character interactions and dialogue. Shakespeare swiftly unfolds the plot in the first act, and the focus shifts to the characters’ experiences in the Forest of Arden. The resolution, involving the conversion of villains and quick marriages, reflects a deliberate choice to prioritize character development over intricate plot details.
Similes:
The play relies heavily on imagery, particularly similes, to convey its themes and evoke vivid mental pictures. Topical similes reference familiar scenes or objects in Elizabethan London, catering to the sophisticated urban audience. Similes involving animals, natural objects, and weather contribute to the play’s emphasis on the natural world and outdoor setting.
Natural Imagery:
The extensive use of animal similes, comparisons to the natural world, and references to weather enhance the play’s connection to nature. Characters frequently employ these images, emphasizing their animal instincts, the changing seasons, and the organic elements of life.
Historical Context
Gender Roles:
Shakespeare’s portrayal of gender roles in “As You Like It” reflects the prevailing sexism of the Elizabethan era. During this time, it was widely accepted that men were considered superior to women. The play highlights these beliefs through characters like Rosalind and Celia, who discuss qualities such as beauty and chastity as the main attributes of women. The dialogue also suggests that women were seen as emotional and that certain behaviors, like crying, were considered inappropriate for men.
Moreover, the play touches on the marketability of women, indicating that they were sometimes viewed as having quantifiable value. This likely relates to the practice of potential brides offering dowries to their suitors, which was a common custom. Marriage in this era was deeply rooted in inheritance and economics, especially among the upper classes, where it served as a means of joining powerful families, consolidating land, and achieving various familial, financial, or political goals.
While women faced constraints based on societal expectations, men also grappled with perceptions of masculinity. The character Phebe in the play expresses attraction to the more assertive and prouder Ganymede rather than the pitiable Silvius. Interestingly, Shakespeare’s use of male actors playing female roles in the theater allowed for a certain fluidity in imagining gender roles, providing an opportunity for men to transcend narrow ideas of masculinity.
Rural Life:
In the early 17th century, London was a bustling urban center, significantly different from rural life. “As You Like It” explores these differences by contrasting characters from the aristocratic court with simpler woodland folk. The humorous conversations between educated and uneducated characters highlight the distinctions between urban and rural lifestyles. Despite the importance of the setting in the Forest of Arden, the play primarily focuses on love stories rather than the practical aspects of forest life.
English Satirists:
The character Jaques is not only a typical Elizabethan literary figure—a discontented traveler returning home—but also represents a group of satirists of Shakespeare’s time. These satirists, including John Davies, John Harington, Ben Jonson, Thomas Bastard, and John Weaver, used satire to comment on social conditions. An order in 1599 called for the burning of satirical works, and Celia’s line about the silence of wit and foolery is believed to refer to this order.
The English satirists were known for making impersonal and generic claims, avoiding accusations of targeting specific individuals. Jaques in the play expresses a desire to become a fool to comment on society’s ills safely. Shakespeare’s portrayal of Jaques ridicules the moral fervor of these satirists, suggesting that such a temperament is ridiculous and destructive to the comic spirit.
Compare and Contrast
Marriage:
Elizabethan era: Marriages were often arranged for financial, property, or reputation reasons. Brides brought substantial dowries to their husbands, and the consolidation of wealth between two families could shape political alliances. By law, firstborn sons always inherited the estate of the father.
Modern era: Most marriages in Western countries are conducted for the sake of romantic interests. Personal wills, rather than estate laws, govern the passing of property and capital from the deceased to their descendants. However, some people still marry more for the sake of money than for love.
Timekeeping:
Elizabethan era: Portable clocks were large and only accurate to the nearest fifteen minutes. People would not carry timepieces on their person, except sundials. A forested area would truly have no clocks about.
Modern era: Clocks are everywhere and come in all shapes and sizes, both analog and digital. Many people carry watches or use their cell phones to keep track of time, especially in the wilderness to know the nearness of sunset.
Satire and Media:
Elizabethan era: In 1599, by royal order, some satires were removed from circulation and the future publication of satires was banned outright. Consequently, the demolition of London playhouses was ordered.
Modern era: While laws against libel and slander prevent fabricated and hurtful accusations against individuals, honest and biting commentaries are allowed in almost all forms of media. However, the content conveyed to audiences is often regulated by entities other than governmental ones. For example, television programs are largely sponsored by advertisers. The advent of the Internet has both increased and distilled the dissemination of ideas and information.
Critical Analysis
Pastoralism:
The play is often described as a satire on the pastoral ideal and a celebration of the pastoral spirit that cannot be bound. It presents an escape from the world of troubles, worries, and corruption to a world of enchantments and mythology. The Forest of Arden serves as a setting that contrasts with the courtly life, highlighting the romanticized idea of pastoral life.
Romantic Comedy:
“As You Like It” is a romantic comedy that encapsulates world affairs ranging from grave to amorous ones. It contains elements of a fairytale as well as rudiments of Italian romances. It shows an oscillation from prose to verse, giving some of the most profound human feelings in their most original form, which touches the hearts of the audience.
Lyrical Interludes:
The play includes a significant number of songs and poems, emphasizing the romantic, pastoral aspect of the play. These forms of verse are presented in the Forest of Arden, rather than in the court, contrasting the characters’ everyday discourse with their romantic poetic bursts.
Themes:
The play explores themes such as the delights of love, the malleability of the human experience, the performance of gender, and the performance of love3. It breaks with the courtly love tradition by portraying love as a force for happiness and fulfillment and ridicules those who revel in their own suffering.
Characters:
The characters in the play are well-developed, with each having their unique traits and roles. For instance, Rosalind, the play’s central character, brings about much of the play’s resolution. Touchstone, the fool, acts as a touchstone, testing the qualities of the other characters.
Historical Context:
The play reflects the social and political context of the Elizabethan era, including the exploration of gender roles and identities. It also reflects the literary and theatrical conventions of the time, such as the use of disguise and mistaken identity, and the interplay of prose and verse.
Overall, “As You Like It” is a play that beautifully blends romance, comedy, and critical commentary on societal norms and expectations, making it a timeless piece of literature.
