The story of the love between a high-born maiden—Rosalind—oppressed by the uncle—Duke Frederick—who has usurped his elder brother’s dukedom, and Orlando, the third and youngest son of Duke Frederick’s old enemy Sir Rowland de Bois, himself oppressed by his tyrannical eldest brother Oliver, derives from Thomas Lodge’s Rosalynde, a prose romance interspersed with verses, which first appeared in 1590 and was several times reprinted. There are many indications that Shakespeare thought of the action as taking place in the Ardenne area of France, as in Rosalynde, even though there was also a Forest of Arden in Warwickshire. Like Lodge, Shakespeare counterpoints the developing love between Rosalind—who for much of the action is disguised as a boy, Ganymede—with the idealized pastoral romance of Silvius and Phoebe; he adds the down-to-earth, unromantic affair between the jester Touchstone and Audrey. Once Rosalind and her cousin Celia (also disguised) reach the forest, plot is virtually suspended in favour of a series of scintillating conversations making much use of prose. The sudden flowering of love between Celia and Orlando’s brother Oliver, newly converted to virtue, is based on Rosalynde, but Shakespeare alters the climax of the story, bringing Hymen, the god of marriage, on stage to resolve all complications. As well as Touchstone, Shakespeare added the melancholy courtier Jaques, both of whom act as commentators, though from very different standpoints.

The first performances of Shakespeare’s text after his own time were given in 1740. It rapidly established itself in the theatrical repertoire, and has also been appreciated for its literary qualities. It has usually been played in picturesque settings, often since the late nineteenth century in the open air. Rosalind (written originally, of course, for a boy actor) is the dominant character, but other roles, especially Jaques, Touchstone, Audrey, Corin, and—in his single scene—William, have proved particularly effective when played by performers with a strong sense of their latent individuality.

THE PERSONS OF THE PLAY

DUKE SENIOR, living in banishment

ROSALIND, his daughter, later disguised as Ganymede

TWO PAGES

DUKE FREDERICK

CELIA, his daughter, later disguised as Aliena

LE BEAU, a courtier attending on him

CHARLES, Duke Frederick’s wrestler

TOUCHSTONE, a jester

OLIVER, eldest son of Sir Rowland de Bois

ADAM, a former servant of Sir Rowland

DENIS, Oliver’s servant

SIR OLIVER MARTEXT, a country clergyman

CORIN, an old shepherd

SILVIUS, a young shepherd, in love with Phoebe

PHOEBE, a shepherdess

WILLIAM, a countryman, in love with Audrey

AUDREY, a goatherd, betrothed to Touchstone

HYMEN, god of marriage

Lords, pages, and other attendants

As You Like It

1.1 Enter Orlando and Adam

ORLANDO As I remember, Adam, it was upon this fashion bequeathed me by will but poor a thousand crowns, and, as thou sayst, charged my brother on his blessing to breed me well—and there begins my sadness. My brother Jaques he keeps at school, and report speaks goldenly of his profit. For my part, he keeps me rustically at home—or, to speak more properly, stays me here at home unkept; for call you that keeping for a gentleman of my birth, that differs not from the stalling of an ox? His horses are bred better, for besides that they are fair with their feeding, they are taught their manège, and to that end riders dearly hired. But I, his brother, gain nothing under him but growth, for the which his animals on his dunghills are as much bound to him as I. Besides this nothing that he so plentifully gives me, the something that nature gave me his countenance seems to take from me. He lets me feed with his hinds, bars me the place of a brother, and as much as in him lies, mines my gentility with my education. This is it, Adam, that grieves me; and the spirit of my father, which I think is within me, begins to mutiny against this servitude. I will no longer endure it, though yet I know no wise remedy how to avoid it.

Enter Oliver

ADAM Yonder comes my master, your brother.

ORLANDO Go apart, Adam, and thou shalt hear how he will shake me up.

Adam stands aside

OLIVER Now, sir, what make you here?

ORLANDO Nothing. I am not taught to make anything.

OLIVER What mar you then, sir?

ORLANDO Marry, sir, I am helping you to mar that which God made, a poor unworthy brother of yours, with idleness.

OLIVER Marry, sir, be better employed, and be nought awhile.

ORLANDO Shall I keep your hogs, and eat husks with them? What prodigal portion have I spent, that I should come to such penury?

OLIVER Know you where you are, sir?

ORLANDO O sir, very well; here in your orchard.

OLIVER Know you before whom, sir?

ORLANDO Ay, better than him I am before knows me. I know you are my eldest brother, and in the gentle condition of blood you should so know me. The courtesy of nations allows you my better, in that you are the first-born; but the same tradition takes not away my blood, were there twenty brothers betwixt us. I have as much of my father in me as you, albeit I confess your coming before me is nearer to his reverence.

OLIVER (assailing him) What, boy!

ORLANDO (seizing him by the throat) Come, come, elder brother, you are too young in this.

OLIVER Wilt thou lay hands on me, villain?

ORLANDO I am no villein. I am the youngest son of Sir Rowland de Bois. He was my father, and he is thrice a villain that says such a father begot villeins. Wert thou not my brother, I would not take this hand from thy throat till this other had pulled out thy tongue for saying so. Thou hast railed on thyself.

ADAM (coming forward) Sweet masters, be patient. For your father’s remembrance, be at accord.

OLIVER (to Orlando) Let me go, I say.

ORLANDO I will not till I please. You shall hear me. My father charged you in his will to give me good education. You have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my father grows strong in me, and I will no longer endure it. Therefore allow me such exercises as may become a gentleman, or give me the poor allottery my father left me by testament. With that I will go buy my fortunes.

OLIVER And what wilt thou do—beg when that is spent? Well, sir, get you in. I will not long be troubled with you. You shall have some part of your will. I pray you, leave me.

ORLANDO I will no further offend you than becomes me for my good.

OLIVER (to Adam) Get you with him, you old dog.

ADAM Is ‘old dog’ my reward? Most true, I have lost my teeth in your service. God be with my old master, he would not have spoke such a word.

Exeunt Orlando and Adam

OLIVER Is it even so? Begin you to grow upon me? I will physic your rankness, and yet give no thousand crowns neither. Holla, Denis!