As You Like It

Rosalind by Robert Walker Macbeth

As You Like It was entered into the Register of the Stationers' Company on 4 August 1600 as a work which was "to be stayed", i.e., not published till the Stationers' Company were satisfied that the publisher in whose name the work was entered was the undisputed owner of the copyright. Thomas Morley's First Book of Ayres, published in London in 1600 contains a musical setting for the song "It was a lover and his lass" from As You Like It. This evidence implies that the play was in existence in some shape or other before 1600.

It seems likely this play was written after 1598, since Francis Meres did not mention it in his Palladis Tamia. Although twelve plays are listed in Palladis Tamia, it was an incomplete inventory of Shakespeare's plays to that date (1598). The new Globe Theatre opened some time in the summer of 1599, and tradition has it that the new playhouse's motto was Totus mundus agit histrionem—"all the Globe's a stage"—an echo of Jaques' famous line "All the world's a stage" (II.7).[8] This evidence posits September 1598 to September 1599 as the time frame within which the play was likely written.

In act III, vi, Phebe refers to the famous line "Whoever loved that loved not at first sight" taken from Marlowe's Hero and Leander, which was published in 1598.[9] This line, however, dates from 1593 when Marlowe was killed, and the poem was likely circulated in unfinished form before being completed by George Chapman. It is suggested in Michael Wood's In Search of Shakespeare that the words of Touchstone, "When a man's verses cannot be understood, nor a man's good wit seconded with the forward child understanding, it strikes a man more dead than a great reckoning in a little room", allude to Marlowe's assassination. According to the inquest into his death, Marlowe had been killed in a brawl following an argument over the "reckoning" of a bill in a room in a house in Deptford, owned by the widow Eleanor Bull in 1593. The 1598 posthumous publication of Hero and Leander would have revived interest in his work and the circumstances of his death. These words in act IV, i, in Rosalind's speech, "I will weep for nothing, like Diana in the fountain", may refer to an alabaster image of Diana which was set up in Cheapside in 1598. However, it should be remembered Diana is mentioned by Shakespeare in at least ten other plays, and is often depicted in myth and art as at her bath. Diana was a literary epithet for Queen Elizabeth I during her reign, along with Cynthia, Phoebe, Astraea, and the Virgin Mary. Certain anachronisms exist as well, such as the minor character Sir Oliver Martext's possible reference to the Marprelate Controversy which transpired between 1588 and 1589. On the basis of these references, it seems that As You Like It may have been composed in 1599–1600, but it remains impossible to say with any certainty.

1889 etching of the Forest of Arden, created by John Macpherson for a series by Frederick Gard Fleay

Arden is the name of a large forest which conceptually incorporated Shakespeare's home town of Stratford-upon-Avon and a large area besides currently roughly corresponding to the modern West Midlands.

Shakespeare likely also had in mind the French Arden Wood, featured in Orlando Innamorato, especially since the two Orlando epics, Orlando Innamorato and Orlando Furioso, have other connections with the play.

In the Orlando mythos, Arden Wood is the location of Merlin's Fountain, a magic fountain causing anyone who drinks from it to fall out of love. Many editions keep Shakespeare's "Arden" spelling, partly because that the pastoral mode depicts a fantastical world in which geographical details are irrelevant, and also because Shakespeare wrote in a time of non-standardised spelling.

The Oxford Shakespeare edition proceeds on the basis that there is confusion between the two Ardens, and assums that "Arden" is an anglicisation of the forested Ardennes region of France, where Lodge set his tale,[10] and alters the spelling to reflect this.

The Arden edition of Shakespeare makes the suggestion that the name "Arden" comes from a combination of the classical region of Arcadia and the biblical garden of Eden, as there is a strong interplay of classical and Christian belief systems and philosophies within the play.[11] Arden was also the maiden name of Shakespeare's mother and her family home is located within the Forest of Arden.

Act III, scene 2, 1902 painting by Frederick William Davis, Warwick Shire Hall

The play begins in a courtly setting, where fighting, usurpation, betrayal and general disharmony are exhibited.

Most of the play is then a celebration of life in the country, where after intensifying disorder, harmony is recovered.

The inhabitants of Duke Frederick's court suffer the perils of arbitrary injustice and even threats of death; the courtiers who followed the old duke into forced exile in the "desert city" of the forest are, by contrast, experiencing liberty but at the expense of some easily borne discomfort. (Act II, i). A passage between Touchstone, the court jester, and shepherd Corin establishes the contentment to be found in country life, compared with the perfumed, mannered life at court. (Act III, I). At the end of the play the usurping duke and the exiled courtier Jaques both elect to remain within the forest.[12]

Usurpation and injustice are significant themes of this play. The new Duke Frederick usurps his older brother Duke Senior, while Oliver parallels this behavior by treating his younger brother Orlando so ungenerously as to compel him to seek his fortune elsewhere. Both Duke Senior and Orlando take refuge in the forest, where justice is restored "through nature".[13]

The ultimate recovery of harmony is marked with four weddings and a dance of harmony[14][15] for eight presided over by Hymen,[16] before most of the exiled court are able to return to the court and their previous stations are recovered.

Love is the central theme of As You Like It, like other romantic comedies of Shakespeare. Following the tradition of a romantic comedy, As You Like It is a tale of love manifested in its varied forms. In many of the love-stories, it is love at first sight. This principle of "love at first sight" is seen in the love-stories of Rosalind and Orlando, Celia and Oliver, as well as Phebe and Ganymede. The love-story of Audrey and Touchstone is a parody of romantic love. Another form of love is between women, as in Rosalind and Celia's deep bond.[17]

The play highlights the theme of usurpation and injustice on the property of others. However, it ends happily with reconciliation and forgiveness. Duke Frederick is converted by a hermit and he restores the dukedom to Duke Senior who, in his turn, restores the forest to the deer. Oliver also undergoes a change of heart and learns to love Orlando. Thus, the play ends on a note of rejoicing and merry-making.

In this play, the universal globe, inhabited by ordinary mortals, is shown at the end as the audience liked it: happy and reconciled by love. However, the text can be seen as a pretext. “This wide and universal theatre present more woeful pageants” (II, vii, 137–138). The comedy in fact establishes a respite from the so-called War Stage.[18] “Are not these woods more free from peril than the envious court?” (II, i, 3–4).

From Oliver's description (IV, iii, 98–120), a golden green snake is instead seen by Orlando threateningly approaching the open mouth of “a wretched ragged man”, tightening around his neck, “but suddenly seeing Orlando, it unlinked itself and with glides did slip away into a bush” (IV, iii, 106, 110–113). It can be deduced that with the appearance of the actor on stage, envy suddenly disappears. He who had fought like a Hercules, a hero not by chance invoked by Rosalind (“Now Hercules be thy speed”, I, ii, 204–210), just before the challenge with “Charles, the wrestler”, in allusion to the figure of the insign of Globe Theatre, which accompanied the presumed inscription: "Totus Mundus Agit Histrionem".[19]

Gender poses as one of the play's integral themes. While disguised as Ganymede, Rosalind also presents a calculated perception of affection that is "disruptive of [the] social norms" and "independent of conventional gender signs" that dictate women's behavior as irrational. In her book As She Likes It: Shakespeare's Unruly Women,[20] Penny Gay analyzes Rosalind's character in the framework of these gender conventions that ascribe femininity with qualities such as "graciousness, warmth ... [and] tenderness". However, Rosalind's demanding tone in her expression of emotions towards Orlando contradicts these conventions. Her disobedience to these features of femininity proves a "deconstruction of gender roles", since Rosalind believes that "the wiser [the woman is], the waywarder" she is.[20][21] By claiming that women who are wild are smarter than those who are not, Rosalind refutes the perception of women as passive in their pursuit of men

Illustration by Émile Bayard (1837–1891): "Rosalind gives Orlando a chain"

University of Wisconsin professor Richard Knowles, the editor of the 1977 New Variorum edition of this play, in his article "Myth and Type in As You Like It",[22] pointed out that the play contains mythological references in particular to Eden and to Hercules.

As You Like It is known as a musical comedy because of the number of songs in the play. There are more songs in it than in any other play of Shakespeare. These songs and music are incorporated in the action that takes place in the forest of Arden, as shown below:

• "Under the Greenwood tree": It summarises the views of Duke Senior on the advantages of country life over the amenities of the court. Amiens sings this song.
• "Blow, blow, thou winter wind": This song is sung by Amiens. It states that physical suffering caused by frost and winter winds is preferable to the inner suffering caused by man's ingratitude.
• "What shall he have that killed the deer": It is another song which adds a lively spectacle and some forest-colouring to contrast with love-talk in the adjoining scenes. it highlights the pastoral atmosphere.
• "It was a lover and his lass": It serves as a prelude to the wedding ceremony. It praises spring time and is intended to announce the rebirth of nature and the theme of moral regeneration in human life. Thomas Morley is known to have set the lyrics of this song to music in the form of a lute song.[23]

Shakespeare uses prose for about 55% of the text, with the remainder in verse.[24] Shaw affirms that as used here the prose, "brief [and] sure", drives the meaning and is part of the play's appeal, whereas some of its verse he regards only as ornament.[25] The dramatic convention of the time required the courtly characters to use verse, and the country characters prose, but in As You Like It this convention is deliberately overturned.[24] For example, Rosalind, although the daughter of a Duke and thinking and behaving in high poetic style, actually speaks in prose as this is the "natural and suitable" way of expressing the directness of her character, and the love scenes between Rosalind and Orlando are in prose (III, ii, 277).[26] In a deliberate contrast, Silvius describes his love for Phebe in verse (II, iv, 20). As a mood of a character changes, he or she may change from one form of expression to the other in mid-scene. In a metafictional touch, Jaques cuts off a prose dialogue with Rosalind because Orlando enters, using verse: "Nay then, God be wi' you, an you talk in blank verse" (IV, i, 29).[27] The defiance of convention is continued when the epilogue is given in prose.

Act II, Scene VII, Line 139, features one of Shakespeare's most famous monologues, spoken by Jaques, which begins:

All the world's a stage
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts

The arresting imagery and figures of speech in the monologue develop the central metaphor: a person's lifespan is a play in seven acts. These acts, or "seven ages", begin with "the infant/Mewling and puking in the nurse's arms" and work through six further vivid verbal sketches, culminating in "second childishness and mere oblivion,/Sans teeth, sans eyes, sans taste, sans everything".

Walter Deverell, The Mock Marriage of Orlando and Rosalind, 1853

The main theme of pastoral comedy is love in all its guises in a rustic setting, the genuine love embodied by Rosalind contrasted with the sentimentalised affectations of Orlando, and the improbable happenings that set the urban courtiers wandering to find exile, solace or freedom in a woodland setting are no more unrealistic than the string of chance encounters in the forest which provoke witty banter and which require no subtleties of plotting and character development. The main action of the first act is no more than a wrestling match, and the action throughout is often interrupted by a song. At the end, Hymen himself arrives to bless the wedding festivities.

William Shakespeare's play As You Like It clearly falls into the Pastoral Romance genre; but Shakespeare does not merely use the genre, he develops it. Shakespeare also used the Pastoral genre in As You Like It to 'cast a critical eye on social practices that produce injustice and unhappiness, and to make fun of anti-social, foolish and self-destructive behaviour', most obviously through the theme of love, culminating in a rejection of the notion of the traditional Petrarchan lovers.[28]

The stock characters in conventional situations were familiar material for Shakespeare and his audience; it is the light repartee and the breadth of the subjects that provide opportunities for wit that put a fresh stamp on the proceedings. At the centre the optimism of Rosalind is contrasted with the misogynistic melancholy of Jaques. Shakespeare would take up some of the themes more seriously later: the usurper Duke and the Duke in exile provide themes for Measure for Measure and The Tempest.

The play, turning upon chance encounters in the forest and several entangled love affairs in a serene pastoral setting, has been found, by many directors, to be especially effective staged outdoors in a park or similar site.

Rosalind and Celia by Hugh Thomson

Thomas Morley (c. 1557–1602) composed music for "It was a lover and his lass"; he lived in the same parish as Shakespeare, and at times composed music for Shakespeare's plays.

Roger Quilter set "Blow, Blow, Thou Winter Wind" for voice and piano (1905) in his 3 Shakespeare songs Op. 6

Florence Wickham wrote the music and lyrics for her opera Rosalind, based on As You Like It, which premiered at the open air Rockridge Theater in Carmel, New York, in August 1938.

In 1942, Gerald Finzi included a setting of "It was a lover and his lass" (V, iii) in his song cycle on Shakespearean texts Let Us Garlands Bring.

Cleo Laine sang a jazz setting of "It was a lover and his lass" on her 1964 album "Shakespeare... and all that Jazz". The composer is credited as "Young".

Donovan set "Under the Greenwood Tree" to music and recorded it for A Gift from a Flower to a Garden in 1968.

Hans Werner Henze, in the first part of his sonata Royal Winter Music, which portraits Shakespearean characters, included "Touchstone, Audrey and William" as its 5th movement, in 1976.[37]

John Rutter composed a setting of "Blow, Blow, Thou Winter Wind" for chorus in 1992.

In 2005, the Barenaked Ladies wrote and released a full album for the play. It was recorded for and exclusively released at the Stratford Shakespeare Festival.[38]

Michael John Trotta composed a setting of "Blow, Blow, Thou Winter Wind" for choir in 2013.[39]

Rush's drummer and composer Neil Peart incorporated the passage “All the world’s indeed a stage / And we are merely players / Performers and portrayers / Each another’s audience / Outside the gilded cage” into the lyrics for "Limelight" from their 1981 progressive rock album Moving Pictures.[40]

In 2018 Vancouver's Bard on the Beach introduced a musical adaptation of As You Like It, with songs by The Beatles performed by the cast.[41] The production "broke Bard box office records" and toured several other cities, returning to Vancouver in 2023.[42]

Pakistani-American composer set “Blow, Blow thou Winter Wind” to music for voice, clarinet and piano as the middle song of his ‘Three Songs of Longing”. (1974/2020)

On 1 March 2015, BBC Radio 3 broadcast a new production directed by Sally Avens with music composed by actor and singer Johnny Flynn of the folk rock band Johnny Flynn and The Sussex Wit.[43] The production included Pippa Nixon as Rosalind, Luke Norris as Orlando, Adrian Scarborough as Touchstone, William Houston as Jaques, Ellie Kendrick as Celia and Jude Akuwudike as Corin.

As You Like It was Laurence Olivier's first Shakespeare film. Olivier, however, served only in an acting capacity (performing the role of Orlando), rather than producing or directing the film. J.M. Barrie, author of Peter Pan, wrote the treatment. Made in England and released in 1936, As You Like It also starred director Paul Czinner's wife Elisabeth Bergner, who played Rosalind with a thick German accent. Although it is much less "Hollywoody" than the versions of A Midsummer Night's Dream and Romeo and Juliet made at about the same time, and although its cast was made up entirely of Shakespearean actors, it was not considered a success by either Olivier or the critics. Still, it's a visual delight with eccentric characters in an enchanting forest rife with animals: sheep, goats, peacocks, storks, a huge snake and skulking lioness.

Helen Mirren starred as Rosalind in the 1978 BBC videotaped version of As You Like It, directed by Basil Coleman.[44]

In 1992, Christine Edzard made another film adaptation of the play. It features James Fox, Cyril Cusack, Andrew Tiernan, Griff Rhys Jones, and Ewen Bremner. The action is transposed to a modern and bleak urban world.

A film version of As You Like It, set in 19th-century Japan, was released in 2006, directed by Kenneth Branagh. It stars Bryce Dallas Howard, David Oyelowo, Romola Garai, Alfred Molina, Kevin Kline, and Brian Blessed. Although it was actually made for cinemas, it was released to theatres only in Europe, and had its U.S. premiere on HBO in 2007. Although it was not a made-for-television film, Kevin Kline won a Screen Actors Guild award for Best Performance by a Male Actor in a Television Movie or Miniseries for his performance as Jaques.[45]

In 2022[46] CBBC filmed a version of the play adapted for children.[47]

The Seven Doors of Danny, by Ricky Horscraft and John McCullough is based on the "Seven Ages of Man" element of the "All the world's a stage" speech and was premiered in April 2016.