Kylee Emert

Dr. Valk
English 332
May 3, 2013

The element of opposition, or furthermore, opposition juxtaposed beside one

another, is a common Shakespearean motif. In William Shakespeares As You Like It,
this element is demonstrated through the use of two principal settings. Following
the thematic disposition of Shakespearean comedies, the play is a story of two
contrasting worlds structured in such a way as to implicitly display the similar
concerns of opposing societies. By constructing the two opposing worlds beside one
another, Shakespeare not only demonstrates their opposition, but more
importantly, he illustrates the need for the two worlds to somehow coexist. What
distinguishes this play from others, however, is the focus on the role of the
individual within the contrasting worlds. Unlike his other works, Shakespeare
structures his plot around multiple, individual characters as opposed to a single
male protagonist (seen in Hamlet) or restraints placed on society by the governing
elite (Romeo and Juliet and Midsummer Nights Dream). In this play, society does not
manipulate the individuals, but rather the individual has the capability to
manipulate society. Shakespeare creates, or more or less, invents, psychologically
complex characters in order to demonstrate individual worth and the ability for
those individuals capacities to develop and grow. In quintessential fashion,

Shakespeares As You Like It is a play of originality and opulence-not for the fashion
of these times (2.3.59).
The play begins set in a jaded 16th century French Court. Duke Frederick has
recently usurped his ruling brother Duke Senior and taken control while two
brothers, Orlando and Oliver, are at arms with one another following their fathers
recent death. Shakespeares depiction of chaos in an aristocratic, hierarchical
society is used to present and propel the characters in the direction of individual
growth. This motif first materializes through the character of Orlando in the
opening act of the play. Orlando expresses animosity towards his brothers
impudence directly but seemingly implies his distaste for the world of the
Elizabethan court itself:
I will no longer endure it,
though yet I know no wise remedy how to avoid it. (1.1.23-24)
It is then demonstrated by a confrontation between the brothers where
Oliver strikes Orlando who then seizes Oliver by the throat (1.1.50-52). The intense
image of hostile audacity between the two brothers shows the true nature of the
civilized world: a world where ones brother is the enemy, a secret and villainous
contriver (1.1.136-137). Shakespeare uses the physical altercation between the
brothers to express the psychologically complex relationship between them as well
as to illustrate the depth of their individual characters. In this world, brothers kill
brothers and the desire for wealth and power overthrows any sense of kinship or
integrity.
OLIVER

I hope I shall see an end of

Him; for my soul, yet I know not why, hates nothing

More than he. (1.1.155-157)
Through Shakespeares unique entanglement of multiple characters, he creates a
complex so that the audience can understand the relationships between the
characters as well as develop an attitude towards the individuals. The characters
on the other hand are oblivious to any sort of circumstantial culpability. That is to
say, individually, the characters do not possess any type of justification or even
rationality behind their progression to the Forest of Arden. They are seemingly
unaware of humanitys fallen condition as a whole, but individually grasp that they
must escape. While it could be argued that the action in the opening act
demonstrates the power of an elitist informed hierarchy, societal power itself does
not manipulate the characters. The envious court (2.1.4) of Duke Frederick is
governed by inherent yet undefined rules of a class-conscious society and the
characters.
The tension between uncivilized actions in a civilized setting drives the
characters out of the court and into the Forest of Arden, the second principle setting
of the play. Flustered by the court, the characters separately flee to the safety of the
Forest of Arden, which embodies a kind of Arcadian utopia, more free from peril
(2.1.4) and exempt from public haunt (2.1.15). This journey to a more natural yet
uncivilized world emphasizes the bullheadedness of the characters. Shakespeare
creates the Forest of Arden solely to contrast with the world of the court.
Rosalind, the daughter of banished Duke Senior flees to the Forest of Arden
to liberty and not to banishment (1.3.135) disguised as a male character. By

assuming the role of a man, Rosalind is given the respect of the civilized world in the
setting of the natural and uncivilized world. In the setting of the court, Duke
Frederick diminishes her:
Her very silence, and her patience
Speak to the people, and they pity her.
Thou art a fool. She robs thee of thy name. (1.3. 76-78)
But dressed as Ganymede, the characters in the Forest are unaware of her natural
sex. By disguising Rosalind as a man, Shakespeare once again uses dramatic irony
to further establish the dynamic relationship between the audience and the
characters. This, in tern minimizes the idea that society has control over the
individual and further emphasizes the development of the individual.
My way is to conjure you,
And ill begin with the women. I charge you, O
Women, for the love you bear to men, to like as much
Of this play as you please; and I charge you, O men,
For the love you bear to women- as I perceive by your
Simpering, none of you hates them- that between
You and women the play must please. (Epilogue. 10-16)

Works Cited
Shakespeare, William. As You Like It. The Necessary Shakespeare, 3rd Edition, Ed.
David Bevington. New York: Pearson Education Inc., 2009. 150-189.