As You Like It - Wikipedia

11/10/2020 As You Like It - Wikipedia
As You Like It
As You Like It is a pastoral comedy by William Shakespeare
believed to have been written in 1599 and first published in the
First Folio in 1623. The play's first performance is uncertain,
though a performance at Wilton House in 1603 has been
suggested as a possibility.
As You Like It follows its heroine Rosalind as she flees

persecution in her uncle's court, accompanied by her cousin Celia
to find safety and, eventually, love, in the Forest of Arden. In the
forest, they encounter a variety of memorable characters, notably
the melancholy traveller Jaques who speaks many of
Shakespeare's most famous speeches (such as "All the world's a
stage", "too much of a good thing" and "A fool! A fool! I met a fool
in the forest"). Jaques provides a sharp contrast to the other
characters in the play, always observing and disputing the
hardships of life in the country.
Historically, critical response has varied, with some critics finding

the play a work of great merit and some finding it to be of lesser
quality than other Shakespearean works. The play remains a First page of As You Like It from the
favourite among audiences and has been adapted for radio, film, First Folio of Shakespeare's plays,
and musical theatre. The piece has been a favourite of famous published in 1623
actors on stage and screen, notably Vanessa Redgrave, Juliet
Stevenson, Maggie Smith, Rebecca Hall, Helen Mirren, and Patti
LuPone in the role of Rosalind and Alan Rickman, Stephen Spinella, Kevin Kline, Stephen Dillane,
and Ellen Burstyn in the role of Jaques.
Contents
Characters
Synopsis
Date and text
External evidence
Internal evidence
Analysis and criticism
Setting
Themes
Love
Gender
Usurpation and injustice
Forgiveness
Court life and country life
Religious allegory
Music and songs
Language
https://en.wikipedia.org/wiki/As_You_Like_It 1/12
Use of prose
All the world's a stage
Pastoral mode
Performance history
Adaptations
Music
Radio
Film
Other musical work
References
External links
Characters
Main characters:
Court of Duke Frederick:
Duke Frederick, Duke Senior's younger brother and his usurper, also Celia's father
Rosalind, Duke Senior's daughter
Celia, Duke Frederick's daughter and Rosalind's cousin
Touchstone, a court fool or jester
Le Beau, a courtier
Charles, a wrestler
Lords and ladies in Duke Frederick's court
Household of the deceased Sir Rowland de Boys:
Oliver de Boys, the eldest son and heir

Jacques de Boys, the second son
Orlando de Boys, the youngest son
Adam, a faithful old servant who follows Orlando into exile
Dennis, Oliver's servant who called Charles
Exiled court of Duke Senior in the Forest of Arden:
Duke Senior, Duke Frederick's older brother and Rosalind's father

Jaques, a discontented, melancholic lord
Amiens, an attending lord and musician
Lords in Duke Senior's forest court
Country folk in the Forest of Arden:
Phebe, a proud shepherdess

Silvius, a shepherd
Audrey, a country girl
Corin, an elderly shepherd
William, a country man
Sir Oliver Martext, a curate
Other characters:
Hymen, officiates over the weddings in the end; God of marriage, as appearing in a masque
Pages and musicians
Synopsis
The play is set in a duchy in France, but most of the
action takes place in a location called the Forest of
Arden. This may be intended as the Ardennes, a
forested region covering an area located in southeast
Belgium, western Luxembourg and northeastern
France, or Arden, Warwickshire, near Shakespeare's
home town, which was the ancestral origin of his
mother's family—whose surname was Arden.
Frederick has usurped the duchy and exiled his older

brother, Duke Senior. Duke Senior's daughter, Wrestling scene from As You Like It, Francis
Hayman, c. 1750
Rosalind, has been permitted to remain at court
because she is the closest friend of Frederick's only
child, Celia. Orlando, a young gentleman of the
kingdom who at first sight has fallen in love with Rosalind, is forced to flee his home after being
persecuted by his older brother, Oliver. Frederick becomes angry and banishes Rosalind from court.
Celia and Rosalind decide to flee together accompanied by the court fool, Touchstone, with Rosalind
disguised as a young man and Celia disguised as a poor lady.
Rosalind, now disguised as Ganymede ("Jove's own page"), and Celia, now disguised as Aliena (Latin
for "stranger"), arrive in the Arcadian Forest of Arden, where the exiled Duke now lives with some
supporters, including "the melancholy Jaques", a malcontent figure, who is introduced weeping over
the slaughter of a deer. "Ganymede" and "Aliena" do not immediately encounter the Duke and his
companions. Instead, they meet Corin, an impoverished tenant, and offer to buy his master's crude
cottage.
Orlando and his servant Adam, meanwhile, find the Duke and his men and are
soon living with them and posting simplistic love poems for Rosalind on the
trees. (The role of Adam may have been played by Shakespeare, though this
story is said to be apocryphal.)[1] Rosalind, also in love with Orlando, meets
him as Ganymede and pretends to counsel him to cure him of being in love.
Ganymede says that "he" will take Rosalind's place and that "he" and Orlando
can act out their relationship.
The shepherdess, Phebe, with whom Silvius is in love, has fallen in love with
Ganymede (Rosalind in disguise), though "Ganymede" continually shows that
"he" is not interested in Phebe. Touchstone, meanwhile, has fallen in love with
Audrey by Philip the dull-witted shepherdess, Audrey, and tries to woo her, but eventually is
Richard Morris forced to be married first. William, another shepherd, attempts to marry
Audrey as well, but is stopped by Touchstone, who threatens to kill him "a
hundred and fifty ways".
Finally, Silvius, Phebe, Ganymede, and Orlando are brought together in an argument with each other
over who will get whom. Ganymede says he will solve the problem, having Orlando promise to marry
Rosalind, and Phebe promise to marry Silvius if she cannot marry Ganymede.
Orlando sees Oliver in the forest and rescues him from a lioness, causing Oliver to repent for
mistreating Orlando. Oliver meets Aliena (Celia's false identity) and falls in love with her, and they
agree to marry. Orlando and Rosalind, Oliver and Celia, Silvius and Phebe, and Touchstone and
Audrey all are married in the final scene, after which they discover that Frederick also has repented
his faults, deciding to restore his legitimate brother to the dukedom and adopt a religious life. Jaques,
ever melancholic, declines their invitation to return to the court, preferring to stay in the forest and to
adopt a religious life as well. Rosalind speaks an epilogue to the audience, commending the play to
both men and women in the audience.
Date and text

The direct and immediate source of As You Like It is Thomas Lodge's Rosalynde, Euphues Golden
Legacie, written 1586–87 and first published in 1590.[2] Lodge's story is based upon "The Tale of
Gamelyn".[3]
As You Like It was first printed in the collected edition of

Shakespeare's plays, known as the First Folio, during 1623. No
copy of it in Quarto exists, for the play is mentioned by the
printers of the First Folio among those which "are not formerly
entered to other men". By means of evidences, external and
internal, the date of composition of the play has been
approximately fixed at a period between the end of 1598 and the
middle of 1599.
External evidence
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 Watercolor illustration: Orlando pins
undisputed owner of the copyright. Thomas Morley's First Book love poems on the trees of the
of Ayres, published in London in 1600 contains a musical setting forest of Arden.
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).[4] This evidence posits
September 1598 and September 1599 as the time frame within which the play was likely written.
Internal evidence
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.[5] 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.
Analysis and criticism

Though the play is consistently one of Shakespeare's most frequently
performed comedies, scholars have long disputed over its merits. George
Bernard Shaw complained that As You Like It is lacking in the high
artistry of which Shakespeare was capable. Shaw liked to think that
Shakespeare wrote the play as a mere crowdpleaser, and signalled his
own middling opinion of the work by calling it As You Like It—as if the
playwright did not agree. Tolstoy objected to the immorality of the
characters and Touchstone's constant clowning. Other critics have found
great literary value in the work. Harold Bloom has written that Rosalind
is among Shakespeare's greatest and most fully realised female
characters.
Rosalind by Robert Walker
The elaborate gender reversals in the story are of particular interest to
Macbeth
modern critics interested in gender studies. Through four acts of the
play, Rosalind, who in Shakespeare's day would have been played by a
boy, finds it necessary to disguise herself as a boy, whereupon the rustic
Phebe, also played by a boy, becomes infatuated with this "Ganymede", a name with homoerotic
overtones. In fact, the epilogue, spoken by Rosalind to the audience, states rather explicitly that she
(or at least the actor playing her) is not a woman. In several scenes, "Ganymede" impersonates
Rosalind so a boy actor would have been playing a girl disguised as a boy impersonating a girl.
Setting
Arden is the name of a forest located close to Shakespeare's home

town of Stratford-upon-Avon, but Shakespeare probably 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. The Oxford Shakespeare edition rationalises the
confusion between the two Ardens by assuming that "Arden" is an An 1889 etching of the Forest of
anglicisation of the forested Ardennes region of France, where Arden, created by John Macpherson
[6]
Lodge set his tale) and alters the spelling to reflect this. Other for a series by Frederick Gard Fleay
editions keep Shakespeare's "Arden" spelling, since it can be
argued that the pastoral mode depicts a fantastical world in which
geographical details are irrelevant. 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.[7] Arden was also the maiden name of Shakespeare's mother and her family home is located
within the Forest of Arden.
Themes
Love
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.[8]
Gender
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,[9] 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.[9][10] 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.
Usurpation and injustice
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".[11]
Forgiveness
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.
Court life and country life
Most of the play is a celebration of life in the country. 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]
Religious allegory
University of Wisconsin professor

Richard Knowles, the editor of the
An 1870 print of Act II, Scene iv: 1977 New Variorum edition of this
Rosalind and Celia in the forest with play, in his article "Myth and Type in
Touchstone As You Like It",[13] pointed out that
the play contains mythological
references in particular to Eden and
to Hercules.
Music and songs
As You Like It is known as a musical comedy because of the number of

songs in the play. Indeed, there are more songs in it than in any other Illustration by Émile Bayard
(1837–1891): "Rosalind
play of Shakespeare. These songs and music are incorporated in the
gives Orlando a chain"
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.
Language
Use of prose
Shakespeare uses prose for about 55% of the text, with the remainder in verse.[14] Shaw explains 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.[15] 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.[14] 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).[16] 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. Indeed, 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).[17] The
defiance of convention is continued when the epilogue is given in prose.
Act II, Scene VII, features one of Shakespeare's most famous monologues, spoken by Jaques, which
begins:

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".
Pastoral mode
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.
Walter Deverell, The Mock

William Shakespeare's play As You Like It clearly falls into
Marriage of Orlando and
the Pastoral Romance genre; but Shakespeare does not Rosalind, 1853
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.[18]
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.
Performance history
There is no certain record of any performance before the Restoration. Evidence suggests that the
premiere may have taken place at Richmond Palace on 20 Feb 1599, enacted by the Lord
Chamberlain's Men.[19] Another possible performance may have taken place at Wilton House in
Wiltshire, the country seat of the Earls of Pembroke. William Herbert, 3rd Earl of Pembroke hosted
James I and his Court at Wilton House from October to December 1603, while Jacobean London was
suffering an epidemic of bubonic plague. The King's Men were paid £30 to come to Wilton House and
perform for the King and Court on 2 December 1603. A Herbert family tradition holds that the play
acted that night was As You Like It.[20]
During the English Restoration, the King's Company was assigned the play by royal warrant in 1669.
It is known to have been acted at Drury Lane in 1723, in an adapted form called Love in a Forest
Colley Cibber played Jaques. Another Drury Lane production seventeen years later returned to the
Shakespearean text (1740).[21]
Notable recent productions of As You Like It include the 1936 Old Vic Theatre production starring
Edith Evans and the 1961 Shakespeare Memorial Theatre production starring Vanessa Redgrave. The
longest-running Broadway production starred Katharine Hepburn as Rosalind, Cloris Leachman as
Celia, William Prince as Orlando, and Ernest Thesiger as Jaques, and was directed by Michael
Benthall. It ran for 145 performances in 1950. Another notable production was at the 2005 Stratford
Festival in Stratford, Ontario, which was set in the 1960s and featured Shakespeare's lyrics set to
music written by Barenaked Ladies. In 2014, theatre critic Michael Billington said his favourite
production of the play was Cheek by Jowl's 1991 production, directed by Declan Donnellan.[22]
Adaptations
Music
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
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". Rosalind and Celia by Hugh
Thomson
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.[23]
John Rutter composed a setting of "Blow, Blow, Thou Winter Wind" for chorus in 1992.
Michael John Trotta composed a setting of "Blow, Blow, Thou Winter Wind" for choir in 2013.[24]
Meg Sturiano and Benji Goldsmith added original songs to their 2019 production.
Radio
According to the history of radio station WCAL in the US state of Minnesota, As You Like It may have
been the first play ever broadcast. It went over the air in 1922.
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.[25] 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.
Film
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. 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.
Helen Mirren starred as Rosalind in the 1978 BBC videotaped version of As You Like It, directed by
Basil Coleman.[26]
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.[27]
Other musical work
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.
References
1. Dolan, Frances E. "Introduction" in Shakespeare, As You Like It. New York: Penguin Books, 2000.
2. The Oxford Companion to English Literature, edited by Dinah Birch, Oxford University Press,
2009
3. Dusinberre 2006, p. .
4. Henry V, New Cambridge Shakespeare, Cambridge University Press, page 4, 2005
5. Act III, Sc. 6, 80f. Michael Hattaway (Ed.): William Shakespeare: As You Like It. The New
Cambridge Shakespeare. Cambridge University Press, Cambridge 2009, p. 174.
6. Bate, Jonathan (2008). Soul of the Age: the life, mind and world of William Shakespeare. London:
Viking. p. 37. ISBN 978-0-670-91482-1.
7. Dusinberre 2006, Introduction, p. 2.
8. Freedman, Penelope (2007). Power and Passion in Shakespeare's Pronouns. Aldershot,

England: Ashgate. p. 89. ISBN 978-0-7546-5830-6.
9. Gay, Penny (1994). As She Likes It: Shakespeare's Unruly Women (http://worldcat.org/oclc/92259
5607). Routledge. ISBN 9780415096959. OCLC 922595607 (https://www.worldcat.org/oclc/92259
5607).
10. Act 4, scene 1
11. Williamson, Marilyn L (1986). "The Comedies in Historical Context". In Habicht, Werner; et al.
(eds.). Images of Shakespeare. University of Delaware Press. pp. 189, 193. ISBN 0-87413-329-7.
12. Bloom, Harold (2008). As You Like It. Bloom's Literary Criticism. New York: Infobase. p. 8.
ISBN 978-0-7910-9591-1.
13. ELH, volume 33, March (1966) pp. 1–22
14. Bate, Jonathan; Rasmussen, Eric (2010). As You Like It. Basingstoke, England: Macmillan. p. 10.
ISBN 978-0-230-24380-4. "Reversing dramatic convention, it is the courtly characters who speak
prose and the shepherds who court in verse."
15. Shaw, George Bernard (1897). "Shaw on Shakespear". In Tomarken, Edward (ed.). As You Like It
from 1600 to the Present: Critical Essays. New York: Routledge. pp. 533–534. ISBN 0-8153-1174-
5.
16. Gentleman, Francis (1770). "The dramatic censor; or, critical companion". In Tomarken, Edward
(ed.). As You Like It from 1600 to the Present: Critical Essays. New York: Routledge. p. 232.
ISBN 0-8153-1174-5.
17. Pinciss, Gerald M (2005). "Mixing verse and prose". Why Shakespeare: An Introduction to the
Playwright's Art (https://archive.org/details/whyshakespearein0000pinc). New York: Continuum.
p. 101 (https://archive.org/details/whyshakespearein0000pinc/page/101). ISBN 0-8264-1688-8.
18. Sarah Clough. "As You Like It: Pastoral Comedy, The Roots and History of Pastoral Romance" (ht
tps://web.archive.org/web/20070928061739/http://www.sheffieldtheatres.co.uk/creativedevelopme
ntprogramme/productions/asyoulikeit/comedy.shtml). Sheffield Theatres. Archived from the
original (http://www.sheffieldtheatres.co.uk/creativedevelopmentprogramme/productions/asyoulike
it/comedy.shtml) on 28 September 2007. Retrieved 10 August 2008.
19. Dusinberre 2006, p. 37.
20. F. E. Halliday (1964). A Shakespeare Companion 1564–1964, Baltimore: Penguin, p. 531.
21. Halliday, Shakespeare Companion, p. 40.
22. "Best Shakespeare productions: what's your favourite As You Like It?" (https://www.theguardian.c
om/stage/2014/mar/28/best-shakespeare-productions-favourite-as-you-like-it) by Michael
Billington, The Guardian, 28 March 2014
23. Royal Winter Music – details (https://en.schott-music.com/shop/royal-winter-music-no49480.html),
Schott Music
24. Michael John Trotta's setting of "Blow, Blow, Thou Winter Wind" (https://www.youtube.com/watch?
v=pt21-JrPLp0) on YouTube
25. As You Like It (http://www.bbc.co.uk/programmes/b053zssp), BBC Radio 3
26. As You Like It (1978) (https://www.imdb.com/title/tt0077180/) on IMDb
27. Awards for As You Like It (2006) (https://www.imdb.com/title/tt0450972/awards) on IMDb
Sources
Dusinberre, Juliet, ed. (2006). As You Like It. Arden Shakespeare, third series. Bloomsbury
Publishing. doi:10.5040/9781408160497.00000005 (https://doi.org/10.5040%2F9781408160497.0
0000005). ISBN 978-1-904271-22-2.
External links
Winston Churchill and As You Like It - UK Parliament Living Heritage (https://www.parliament.uk/a
bout/living-heritage/transformingsociety/private-lives/yourcountry/collections/churchillexhibition/ch
urchill-death/herbert-samuel/)
As You Like It (https://www.ibdb.com/broadway-show/1709) at the Internet Broadway Database

As You Like It (http://www.iobdb.org/Search?searchText=As+You+Like+It&searchDomain=Product
ion) at the Internet Off-Broadway Database
List of As You Like It movies on IMDB (https://www.imdb.com/find?q=As+You+Like+It&tt=on)
Modern translation (http://www.swipespeare.com/as-you-like-it.html#.UvpkzmRdXV4)
As You Like It (https://www.gutenberg.org/ebooks/1523) at Project Gutenberg

As You Like It (https://librivox.org/search?title=As+You+Like+It&author=Shakespeare&reader=
&keywords=&genre_id=0&status=all&project_type=either&recorded_language=&sort_order=catal
og_date&search_page=1&search_form=advanced) public domain audiobook at LibriVox
MaximumEdge.com (http://www.maximumedge.com/shakespeare/asyoulikeit.htm) – scene-
indexed, searchable version of the play
Lesson plans for As You Like It (http://webenglishteacher.com/ayli.html) at Web English Teacher
"Variations on a Theme of Love" (http://www.mala.bc.ca/~johnstoi/eng366/lectures/Ayl.htm)
introduction to the play and pastoral comedy as a genre
As You Like It (https://internetshakespeare.uvic.ca/Library/Texts/AYL.html), edited by David
Bevington, as well as original-spelling texts, facsimiles of the 1623 Folio text, and other resources,
internetshakespeare.uvic.ca, University of Victoria
Costume and set designs (https://digital.library.illinois.edu/collections/810eac30-e3fb-012f-c5b6-0
019b9e633c5-e/items?q=as+you+like+it) by the Motley Theatre Design Group for the 1949
production at The Old Vic and the 1957 production at the Royal Shakespeare Theatre – Motley
Collection of Theatre & Costume Design (https://digital.library.illinois.edu/collections/810eac30-e3f
b-012f-c5b6-0019b9e633c5-e)
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11/10/2020 As You Like It - Wikipedia

As You Like It follows its heroine Rosalind as she flees

Historically, critical response has varied, with some critics finding

Court of Duke Frederick:

Household of the deceased Sir Rowland de Boys:

Oliver de Boys, the eldest son and heir

Exiled court of Duke Senior in the Forest of Arden:

Duke Senior, Duke Frederick's older brother and Rosalind's father

Country folk in the Forest of Arden:

Phebe, a proud shepherdess

Sir Oliver Martext, a curate

Frederick has usurped the duchy and exiled his older

Date and text

As You Like It was first printed in the collected edition of

As You Like It was entered into the Register of the Stationers'

Analysis and criticism

Arden is the name of a forest located close to Shakespeare's home

Usurpation and injustice

Court life and country life

shepherd Corin establishes the contentment to be found in

University of Wisconsin professor

Music and songs

As You Like It is known as a musical comedy because of the number of

"Under the Greenwood tree": It summarises the views of Duke

All the world's a stage

All the world's a stage

Walter Deverell, The Mock

Other musical work

8. Freedman, Penelope (2007). Power and Passion in Shakespeare's Pronouns. Aldershot,

As You Like It (https://www.ibdb.com/broadway-show/1709) at the Internet Broadway Database

As You Like It (https://www.gutenberg.org/ebooks/1523) at Project Gutenberg

Retrieved from "https://en.wikipedia.org/w/index.php?title=As_You_Like_It&oldid=979797336"

This page was last edited on 22 September 2020, at 20:58 (UTC).

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