Remarks on As You Like It
Like all of Shakespeare's comedies, As You Like It begins with a serious quarrel that may seem beyond resolution. Actually, this play begins with several such quarrels, differences, or injustices.
Orlando is the younger son of the deceased Sir Rowland de Bois. His older brother, Oliver, inherited his father's estates and income owing to the English practice of primogeniture, passing all the wealth and land to the eldest son-- a practice outlawed in the U.S. Constitution to prevent the growth of a noble class in our country. Normally the English practice assumes the elder son would "look after" his younger siblings."Looking after" might mean buying a brother an army commission or a church parish either of which would provide a permanent though not necessarily substantial income. For a sister, older or younger, "looking after" would usually involve the payment of a dowry to a man whom the eldest son thought suitable to marry his sister.
As we can see here, Oliver, has taken a much tighter position with Orlando who is receiving very little if anything from him. As always in Shakespeare, one jumps directly into the middle of the action and clearly there is no sibling affection shared by the two brothers. Have they always been at odds, or has this mutual antagonism only developed since Oliver withdrew his financial support for Orlando's schooling? As I read this first scene I question if the two brothers ever got along well. Near the end of the scene Oliver confesses his frustration and resentment. Orlando is stronger, more clever, and perhaps worst of all, better liked than Oliver, who now plans his revenge through Charles the wrestler.
The scene and time now change, although typically, Shakespeare does not indicate "a day later" in his stage notes. We must figure that out ourselves. In contrast to the animosity in the first scene, we now meet two women who are very close and fond of each other. Rosalind, the heroine in this play is the daughter of the banished Duke Senior. Celia is the daughter of the banisher, Duke Frederick; nevertheless, despite their father's differences, the two women could hardly be closer. Celia dismisses the court politics by promising that when she inherits her father's ill gotten Dukedom; she will give it all back to Rosalind. Problem solved. Let's get back to having fun."Let us sit and mock the good housewife, Fortune, from her wheel, that her gifts may henceforth be bestowed equally." So Rosalind proposes to change the subject to love. Touchstone, the clown, enters and we are off to more witty exchanges until Monsieur Le Beau enters to announce a wrestling match between Orlando and Charles, the Duke's wrestler.
Both Celia and Rosalind find Orlando attractive and worry for his safety wrestling the champion, Charles, who is older, more experienced, and apparently stronger. But surprisingly, Orlando throws Charles, who has to be carted off unconscious. I must say that it is difficult to understand this unexpected outcome to the wrestling match. Perhaps Charles was more braggart than wrestler, but most of the build up came from others and not Charles himself. Oliver had even promised Charles a payment if he could kill Orlando during the match and warned Charles, that Orlando was devious and treacherous. Nevertheless, Charles is defeated, the Duke very unhappy his man was defeated, and Rosalind is smitten. Orlando is also in love."O poor Orlando! Thou art overthrown."
The course of love is not destined to go smoothly. Rosalind hears from Duke Frederick before she can hear from Orlando. Frederick comes in to announce that she is banished from court and must be at least twenty miles away within ten days or she will be killed upon sight. Again the audience must be struck by this swift turn of events. Frederick's only reason for this action is "I trust thee not." Celia again comes to Rosalind's rescue stating that she will accompany her into exile. But where to go? Celia suggests the forest of Ardenne, where they will try to find her uncle. Celia will dress as an impoverished woman, but Rosalind will dress like a man and call herself Ganymede. Note the editor's footnote on this name: "The name of a beautiful young man who, according to classical mythology, was so beloved by Jove (king of the gods) that Jove carried him off to heaven and made him his cupbearer. Also a slang term for a young man who sold his sexual services to or was kept by and older man." However, these meanings do not seem to resonate during the play. In other editions of the play which I have on my bookshelf, Ganymede is simply identified as Jove's cupbearer and known for his beauty. Why would Rosalind select the name of a gay prostitute for herself? She is intelligent, independent, resourceful, and quick witted. It would seem that Shakespeare has selected a mythological name for its exotic associations with beauty rather than its more specific meaning discovered by our editor. But who can say for certain. The introduction for this play (pp.1615-1622) makes a strong case for a more homosexual association with the name, Ganymede, not only by Shakespeare but Shakespeare's audience as well.
The scene now changes to the Forest Ardenne. This is a famous forest in northern France spreading into Belgium and Luxembourg and the scene of horrific fighting during both world wars of the last century. Americans are more acquainted with the Battle of the Bulge in World War II which was fought in the Ardennnes. Shakespeare's use of this forest is for far more peaceful purposes. Most editions of the play, including the First Folio, identify the forest as Arden, a smaller forest in central England near Shakespeare's birthplace. Arden is also the maiden name of Shakespeare's mother. In discussing the settings for other Shakespeare plays I comment on the ambiguous use of these settings. Particularly in his comedies, Shakespeare seems to look for a distant or removed setting where another culture or even a different world vision may be imagined. The Tempest is an excellent example of what we might characterize as a near fairly land existence. Of course the people in these settings remain very English, and the issues they deal with are also not only human problems but often very English problems.
Most of As You Like It is set in the forest which Shakespeare shapes into a pastoral as well as forest landscape. Shakespeare does not unduly idealize the pastoral as some writers did. It is not necessarily a place of infinite abundance, natural justice, and uncontested harmony. But it is way better than the climate of court intrigue from which our exiles have recently fled. Duke Senior, Rosalind's father, sets the tone at the beginning of Act II in his "Sweet are the uses of adversity" speech. Yes, life in the forest is without the creature comforts of the court, but it is more genuine and one feels more alive here than surrounded by the artifice of a stately palace. In this opening scene of II we see some of the common attractions of the pastoral laid out for us: quiet, sweetness, contemplation, free from crowds, and "good in everything."
Back at court Duke Frederick now realizes his daughter has fled, and he demands she be found and returned to court. It is pointed out that Orlando is also missing, thus an all points bulletin goes out for each. His old servant, Adam, warns Orlando of that he is now on Frederick's most wanted list, urges him to flee, and says he will meet up with him later. So the stage is now set for Orlando and Rosalind to meet and continue their friendship. Of course upon arriving in Ardenne Rosalind is now Ganymede, and in Shakespeare's theater cannot be or will not be recognized by Orlando despite Rosalind's frequent and broad hints of her identity. She and Celia accompanied by Touchstone soon meet Corin, an older shepherd and Sylvius, a youth in love. But Corin points out that all is not idyllic in this idyllic scene. The pasture is for sale and soon he and Sylvius may be without a job. Rosalind believes money is the answer to this problem and gladly expresses her willingness to supply funds for the purchase of the pasture, cottage, and all livestock. (Where the funds are to come from is not entirely clear; but as we are in a semi-fairyland, it probably makes no difference.)
Elsewhere in the forest/pasture the other band of jolly woodsmen are singing and discoursing, and we are introduced to one of the most interesting characters in the play, Jacques, a melancholy courtier who seems consumed in self pity bordering on depression. We also get a glimpse of old Adam and Orlando who have now also entered the forest. And yet elsewhere we find Duke Senior with his group who have been looking for Jacques and now come upon him. Jacques expresses his desire to become a fool who can speak his mind on any matters without fear of being censored or worse by his master. Fools and clowns are nearly ubiquitous characters in Shakespeare. We think of the fool in King Lear, the clown in Twelfth Night. There are other characters that play the roles of fools--Falstaff is a prime example. A good fool is quick witted with an agile mind and is unafraid to humorously offend. Fools were very popular in plays during an era of pointed censorship, sickening flattery, and autocratic domination at all levels of life. Jacques is interrupted in his ruminations on foolery by a distressed and very hungry Orlando. He is cautioned that there is plenty of food in the forest, so Orlando leaves to find his servant, Adam that he might eat with Orlando. This interruption gives Jacques the opportunity to comment on the ages of man and the stages through with a man will pass during his life. In II,7 lines 138-165 is the most famous speech in As You Like It and certainly one of the most famous speeches in all of Shakespeare's works. It is not the only place where a character will reflect on life and the stage, but it is possibly the most penetrating and memorable instance.
Back at court Duke Frederick is blaming Oliver for Orlando's escape and insists that Oliver find his brother. Now that Orlando's immediate needs are satisfied he can direct all his attention to his infatuation with Rosalind. He is penning her love poems and placing them on trees where she might see them and carving his affections into the trees themselves."Run, run, Orlando; carve on every tree/ The fair, the chaste, and unexpressive she." (III, 2, ll. 9-10) Corin and Touchstone enter and talk about the pastoral life or the life of a shepherd. Touchstone's witty remarks at least partially summarize the urban response to rural life: it is quiet and peaceful, but it is also dull and there is little money in it. Corin replies that the pastoral life is what it is. What you see is what you get, and if one seeks money and means, he is in the wrong place. Their dialogue/argument continues in a humorous manner but is certainly worth studying to review an outline of the pros and cons of a shepherd's life. I like Corin's final summation: " ...and the greatest of my pride is to see my ewes graze and my lambs suck." (III, 2, ll. 65-66) Touchstone, of course, must get in the final word, but it is a flippant and foolish quibble to Corin's heartfelt revelation. Rosalind is now seen reading the love notes scattered about the forest, and when Celia identifies the author as Orlando, Rosalind becomes very excited. Soon Orlando and Jacques wander into view and Celia and Rosalind hide behind some bushes to overhear their conversation, and it is a very strange and desultory. Jacques is his usual pessimistic and depressing self, but Orlando is able to match his wit without humoring him. I think this is a humorous exchange, but most students are not actually holding their sides while reading it. On stage if skillfully acted this scene can be very funny.
There now follow more incidents of love making, as Elizabethans would refer to it. Orlando and Rosalind have a lengthy exchange. Orlando does not recognize Rosalind, but she/he identifies him as the person attaching love poems to bushes and carving her name on trees."There is a man haunts the forest that abuses our young plants with carving Rosalind on their barks; hang odes upon hawthorns and elegies on brambles; all, forsooth deifying the name of Rosalind." (III, 2. ll. 325-27) Touchstone has found his love, Audrey, a woman who herds goats and is as simple and straightforward as Corin. We next meet Silvius, a shepherd, who loves Phoebe, a shepherdess. One would think they are ideally suited for each other, but Phoebe scorns him for she has met Rosalind (as Ganymede) and fallen for him/her. But with all the love making it is time for Jacques to reappear and throw his dark blanket over all in an effort to make everyone feel futile and depressed. Much as he tries Rosalind is having nothing of his depression and makes light humor of his remarks. Notice the way in which she refuses to take seriously his academic parsing of melancholy. When Orlando arrives Jacques exits realizing that he has nothing to say to this happy couple who banter wittily with Rosalind always keeping Orlando on the defensive. Here as elsewhere we may get the sense that Rosalind is overly talkative. She seems to have an answer for everything Orlando, Jacques or anyone else says to her. Perhaps it is a legitimate criticism that "she talks too much." But I think it also worth keeping in mind that the Elizabethans loved to follow these lengthy, witty exchanges. The audience could hardly get enough. They were more language oriented than most Americans today. We are more interested in visual or auditory entertainment particularly in films or television shows. Apart from costuming, Shakespeare had almost no visual effects on stage. Music was by four or five musicians in the gallery and perhaps an occasional vocal number. There were no supper woofers booming in time with strobe lights.
Rosalind/Ganymede easily persuades Orlando that he can counsel him and cure him of his love. That is she will be able to logically argue with him so that he will no longer suffer from love. They arrange a time for this therapy session to take place, but at the appointed time, Orlando does not appear. When he does show up, much to Rosalind's relief, but she roundly chastises him for his tardyness "I had as lief be wooed of a snail." Their banter continues for pages with Rosalind clearly in control. She asks the questions, Orlando gives honest answers, and Rosalind applies her formidable wit to explain why he is wrong:
Rosalind: Now tell me how long you would have her after you have possessed her.
Orlando: For ever and a day.
Rosalind: Say 'a day,' without the 'ever. ' No, no, Orlando; men are April when they woo, December
when they wed. Maids are May when they are maids, but the sky changes when they are wives.
And she continues on endlessly. No matter what answers Orlando gives, Rosalind has an answer: "You shall never take her without her answer less you take her without her tongue." Orlando finally takes his leave, but before his exit, Rosalind reminds him to return on time, which. of course, he does not actually do. The matter of time may need some clarification. In the Elizabethan period, clocks were relatively new developments. Pendulum clocks had not yet been invented, but there were spring loaded clocks individually hand made mostly in Germany and France. These clocks were probably not very accurate, but very expensive. There were no watches and time was in rural areas was calculated more by the sun, and sometimes farm animals reactions to it, than by an accurate time piece. We saw references to time in other Shakespearean plays: Falstaff asks Hal what time it is. Richard says he wants things done by such a time, and now Rosalind makes a fuss of Orlando being late. But what was late? She tells him to meet her at 2:00, but who out in the forest can tell when it is two o'clock. She says to be back in two hours, but who knows accurately when two hours have passed. It seems to me that Rosalind is using time just to keep Orlando off balance. No matter when he shows up or returns, Rosalind will accuse him of being late, and how can he argue that no, he is on time? He is not going to show her his watch!
In this particular instance Orlando has good reason not to show up when scheduled. Oliver turns up and eventually tells a story of being rescued from an attack by a lion, and of course it was Orlando who fought off the lions attack. Now I understand that all of you may protest that there were not lions in northern France, much less in central England. I can only remind you that this is something of a fantasy forest, and to not be too critical of the wildlife Shakespeare puts in it. In the meantime, Oliver has redeemed himself and fallen in love with Celia (Aliena) . It all happens very fast. A wedding is planned for the next day and Ganymede promises Orlando that she will have Rosalind present and ready so that he may marry her.
This all happens the next day (though Shakespeare does not supply stage directions saying "Next Day." Act V, scene IV follows the famous song from "As You Like It" sung by two pages who make their one and only appearance to sing and be insulted by Touchstone. Now Rosalind, who has controlled the drama almost like a puppet master, will reveal all. First she appears again as Ganymede to get each of the characters to renew their pledges. Orlando says he will marry Rosalind if she appears. Phebe says she will marry Silvius if she cannot have Ganymede. Duke Senior says he will consent for Rosalind to marry Orlando if Rosalind appears. Now Rosalind and Celia leave, while the Duke and Orlando remark on how close Ganymede resembles Rosalind, and Touchstone and Jaques engage in yet another witty argument to give the two women time to change before reappearing as Rosalind and Celia. Before the wedding is to take place Hymen, the god of marriage, sings a song:
Wedding is great Juno's crown,
O blessed bond of board and bed!
'Tis Hymen peoples every town;
High wedlock then be honored.
Honor, high honor, and renown
To Hymen, god of every town.
What I want to point out here is the pagan nature of this conclusion which comes from the pagan influence of the pastoral theme. Although not all of Shakespeare's comedies are pastorals, all lack a Chrisitan foundation, Christian moral, or any significant Christian references and instead are referential to pagan and Greek gods and goddesses. Hymen is the god of marriage and therefore the god of human propagation. He is a fertility god, or at least human fertility god, and therefore, he would argue, the most important of all gods.
But wait, there is more good news."Duke Frederick, hearing how that every day--
Mon of great worth resorted to this forest,
Addressed a might power, which were on foot
In his own conduct, purposely to take
His brother here to put him to the sword;
And to the skirts of this wild wood he came,
Where, meeting with an old religious man,
After some question with him, was converted
Both from his enterprise and from the world,
His crown bequeathing to his banished brother,
And all their lands resorted to them again
That were with him exiled. This to be true
I do engage my life."
Thus all ends happily. Even Jaques finds a new home with the Duke Frederick, who has become a religious recluse and from whom Jaques believes he can learn much. The play is over but Rosalind remains on stage to recite the epilogue. Notice how long it takes her to get to the subject. She cannot simply say the epilogue, she must first give the conditions under which she comes to give the epilogue. Rosalind must always explain, and must always have the last word.