Observations on Shakespeare's As You Like It


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Observations on As You Like It

 

As You Like It will be for many of you a rather difficult play to appreciate and interpret simply on the basis of a reading. The reasons for this are not difficult to ascertain. The play is, as I have observed, a pastoral comedy, that is, a comedy which involves a traditional literary style of moving sophisticated urban courtiers out into the countryside, where they have to deal with life in a very different manner from that of the aristocratic court. This play, like others in the  Pastoral tradition, freely departs from naturalism, and in As You Like It (certainly by comparison with the History plays) there is little attempt to maintain any consistently naturalistic style.

 

This can create problems for readers unfamiliar with the conventions of pastoral, especially those who find it just too artificial and incredible to grasp imaginatively. After all, how are we to understand the unmotivated family hatreds which launch the action? We are simply not given any sufficiently detailed look at why Oliver hates Orlando (he himself does not understand the reason) or why Duke Frederick hates Duke Senior and turns on Rosalind so suddenly or, what is most surprising of all, why the nasty people whose animosities have given rise to the plot so suddenly and so conveniently convert and become nice people just in time to wind the plot up happily under the supervision of the goddess Hymen, the Greek deity of marriage, who arrives as an unexpected but welcome guest.

 

But these features of the plot which we might find unconvincing if we demand naturalism (that is, if we insist on treating the play as a "Hence" story) are little more than standard plot devices in "And then" stories, common in a genre like pastoral, which makes no claims to naturalistic motivation. Such plotting serves to launch and to conclude the comic confusion. The main point of the play here, after all, is not the working out of a carefully constructed plot, but rather the various encounters which take place in the Forest of Ardenne. In fact, the structure of the play is less a carefully complex and unfolding plot than a series of conversations between characters who happen to run into each other amid the trees.

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You will notice, for example, that most of the central part of As You Like It consists of often random encounters between different characters in the forest. In many cases, they have no particular reason to talk to each other. What these serve to bring out is a series of conversations about life (and particularly about love) in which we witness different attitudes clashing. The effect is to take us through a variety of responses to shared concerns and to get us responding to our own sense of the appropriate ways to deal with experience.

 

To put this another way. The pastoral style of As You Like It does not encourage a deep psychological approach to any of the characters, to the logic of their motivation. If that's what we demand from a story to make it interesting, then this play is not going to satisfy us. We are not in that sort of a world. There is far more direct pressure on us to see in the interactions between characters the exploration of some themes, especially issues concerning love. That is not to say that the characters are not theatrically interesting and worth talking about; it is rather to insist that the characters here are serving thematic purposes more obviously than they are in more psychologically plausible plays. So there's little point in seeking to penetrate deeply into the plausibility of the psychological motivation or of the coincidences.

 

To take one obvious example of a thematic concern, very common in pastoral, we notice in the play a repeated contrast between court and country life. The purpose here is not to provide some naturalistic contrast, for the picture of life in the country is obviously idealized a good deal (although not totally, for there are references to the harsher aspects of life away from the comforts of the court and to the realities of working for an absentee landlord). Nor is the purpose any romantic celebration of the values of country living as somehow more authentic than city life. The pastoral is primarily a vehicle for a (usually) gentle satire on urban values, on some of the corrupting manners of the court (like flattery and excessive attention to clothes or fine language). And we can see this clearly enough in this play. But there is no sense in As You Like It that, given a free choice, any of the principal characters (except Jaques) would actually prefer to live in the country rather than the court.

 

The other great difficulty with As You Like It for inexperienced readers is much of the humour. Here again, what makes little sense on the page (and doesn't come across as very funny) generally works much better in a production. This point is generally true of all comedy, where the physicality of the human interaction (something not always readily apparent from the text of the play alone) is an essential key to understanding and responding to what is going on. That aspect of comedy, especially Shakespearean comedy, is one reason why, in the curriculum of this course, the comedies are underrepresented. The only quick way to overcome this problem is to focus on seeing the play in production (and there's a useful BBC video version available in the college library).

 


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