—Act I, scene i, lines 36-38

This is a reference to the famous parable of the prodigal son in the Gospel of St. Luke (see page II-368).

The two brothers nearly come to blows and Orlando demands the small sum coming to him so that he might leave. Oliver agrees, with ill grace, but it is in his mind to be rid of Orlando forever and without paying him any money either. 

Charles, a wrestler at the court of the Duke, is there to speak to Oliver, and it is this wrestler who is to be the means whereby Oliver will carry out his plan. Charles, asked after court news, says:

—Act I, scene i, lines 96-98

Who these dukes might be, and over what region they might rule, Shakespeare does not say and, certainly, does not care. In Lodge's pastoral romance, the dead father of the young hero was called Sir John of Bordeaux. That would make the scene the southwestern section of France. And indeed, the wrestler (here called Charles) is, in the source romance, serving at the court of Torismund, King of France. There was once a Toris-mund, who ruled the Germanic tribe of the Visigoths in 451, and that tribe did, indeed, control at that time southwestern France.

In Shakespeare's version, the father of Oliver and Orlando is Rowland de Boys. "Rowland" is a form of "Roland" and that name is best known as that of a Frankish warrior who died at the Battle of Roncesvalles in 778, which was fought in the Pyrenees about 130 miles south of Bordeaux. This is reminiscent of the time and place of Torismund.

That, however, is as far as it goes. The King of France is changed by Shakespeare into a Duke who is not further characterized or even named. (He is called Duke Senior in the play.) The usurping younger brother is named Frederick.

Charles goes on to say of the exiled Duke:

—Act I, scene i, lines 111-15

If we imagine a French setting, the Forest of Arden would be the wooded region of Ardennes, straddling the modern boundary between France and southern Belgium. There is, however, an actual Forest of Arden just north of Shakespeare's birthplace, Stratford-on-Avon, and the dramatist must surely have had this at least partly in mind.

In the Forest of Arden, Duke Senior and his men are living the life of happy outlaws, in the midst of nature, eating the game they capture and not having a care in the world. This is the bucolic bliss that is conventional in pastorals, for it is common for people trapped in the hurly-burly of the crowded haunts of men to imagine (wrongly) that there is some special delight in a simple life that existed in the "good old days."

This vain imagining even made its way into many mythologies. The early Greek poet Hesiod pictured the human race as having degenerated through successive ages, each worse than the one before. The first period was the "golden age," in which men lived without care, eating acorns, honey, and milk, free of hunger and pain; to these men death was only a falling asleep. It is to this that Charles refers as "the golden world."

To the English audience, the best-known example of happy outlaws in the forest was that of Robin Hood and his band of merry men. He was originally a peasant outlaw fighting against the Norman overlords, but with time he was polished up and made more acceptable to the aristocracy. By Shakespeare's time he had been transmuted into a Norman nobleman, Robert, Earl of Huntingdon, who was unjustly dispossessed and outlawed. The resemblance between this version of Robin Hood and the case of Duke Senior makes Charles's reference a natural one.

Charles has come to warn Oliver that it is rumored his youngest brother, Orlando, will try to wrestle him. Charles gives troubled warning that he will be forced to hurt Orlando. Oliver, however, callously urges Charles to kill Orlando rather than merely hurt him.

The scene then shifts to the court, where we find the two charming young cousins, Rosalind and Celia. Rosalind is the daughter of the exiled Duke, and Celia the daughter of the usurping one. Rosalind is kept at court, despite her father's exile, because Celia loves her so.

Celia endeavors to keep her cousin cheerful and in this is helped by the court fool, who is named Touchstone. This is a particularly significant name, for a touchstone is a hard, flinty rock upon which a soft metal like gold will leave a rubbed-off mark if drawn across it. Pure gold and gold alloyed with varying amounts of copper can be used to make reference marks of different shades of yellow, orange, and red. If an unknown gold alloy is then rubbed across the touchstone, the mark it leaves, when compared with the standards, will reveal the amount of the copper content. As a result, "touchstone" has come to mean any criterion or standard against which the qualities of something may be tested.

To have a fool named Touchstone, then, is to indicate that it is by the encounter with the wit of a fool that the wisdom of a man may be judged.

Thus, when cautioned about the too great freedom of his remarks, Touchstone says to the girls:

—Act I, scene ii, lines 83-84

To this, Celia responds:

—Act I, scene ii, lines 85-87

This remark has nothing to do with anything in the play and it would seem that Shakespeare was seizing the opportunity to make a cutting reference to some contemporary event. The satiric writing of Elizabethan times had grown more and more scurrilous until those jabbed at by it managed to push the government into banning such satires on June 1, 1599. Censorship, nevertheless, is almost invariably a greater evil than those it tries to cure, and Shakespeare expresses his disapproval of it here.

The young ladies learn of the wrestling matches and of the apparent invincibility of Charles. Orlando is now there to take his turn at the wrestling, and both girls, but especially Rosalind, are greatly taken with his youth and good looks.

All try to persuade Orlando not to wrestle, but he insists, and to everyone's surprise throws Charles and badly hurts him. Duke Frederick wants to know the young victor's name and is put out to find he is a son of Sir Rowland de Boys, an old enemy of his.