Transnational Research Associates
Rosalind,
the Gender-Sensitive Fulcrum
Around
Which As You Like it Revolves
Art
Madsen, M.Ed.
It
is generally acknowledged that As You Like It, along with Twelfth Night,
is one of Shakespeare’s two most widely appreciated romantic comedies. It was
written just prior to Shakespeare’s major tragedies, perhaps because he felt
secure in having finally mastered the genre of comedy, and it was officially
registered as a distinct play in 1599. I feel that it features a strong central
female character, Rosalind, who seems to dominate much of the comic action
occurring on stage.
The
story line, based on power politics within the Ducal Palace, commences with the
removal of the Duke, Rosalind’s father, from the throne by his own brother.
With several faithful servants, the Duke, exiled from the palace, hides in the
nearby Forest of Arden, while back in the court Rosalind falls in love with the
handsome orphan, Orlando, and is also eventually thrown out of the palace.
Rosalind
then disguises herself as a man, a very typical variation made famous by
Shakespeare, and takes on the false and ludicrous name of “Ganymede”, harkening
back to the boy cupbearer of the gods with whom Jupiter fell in love. This
underlying homoerotic theme foreshadows the humorous and mistaken girl-girl
love relationship that will briefly occur in the following scenes. Rosalind invites a female friend into the
forest with her for emotional support and with them comes Touchstone, the court
jester, whose purely comic job it is to enter into a fanciful romance with
Ganymede. However, during this superficial playfulness, characterized by
merriment and song, Phebe, a young woman shepherd, really falls in love with Rosalind,
disguised as a boy. A comedy of
gender-based errors ensues; but everyone, as is the case in many other
Shakespearean comedies, eventually gets the proper boy or girl of his or her
dreams. Rosalind ends up with her beloved Orlando and, as the central
character, is responsible for delivering the play’s Epilogue.
The
Epilogue is an important segment because it reveals and encapsulates
Shakespeare’s (and Rosalind’s) intentions in writing and staging the entire
play. The purpose of this play is to
amuse, certainly, but also to inform spectators about the plots and power-plays
of men and women. Certainly, this
behavior is visible on the scale of the Dukes and Power Brokers in this play,
but it is also echoed in the fun and frolic that takes place, at a lower social
level, in the forest, under mistaken gender conditions.
While
the play is intended as amusement, Rosalind, who would easily pass for the
protagonist if this were a novel, communicates, in the Epilogue, to all
female spectators her desire that only as much of this play as they would
actually like to enjoy, in the name of their love for men, should be enjoyed.
“I charge you, O women, for the love you bear to men, to like as much of this play as please you…”
She
then tells her male admirers that they have probably had enough of her as it
is, although (we infer) their attendance at this play should also have amused
the men, and then bows out swiftly. The fact that Rosalind concludes As You
Like It and that she dominated much of the beginning, mid-portion, and
final scenes of this play is indication enough of Shakespeare’s emphasis on the
humor of gender-confusion and demonstrates his concern with the importance of
women, defined in terms of their relationships both with men and with other
women.
References
Neilson,
W. As You Like It, Scott, Foreman and Company, New York City, N.Y., 1919
Traversi,
D. An Approach to Shakespeare, Doubleday-Anchor and Company, Garden
City, 1969.