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Analysis of Major Characters
Rosalind
Rosalind dominates As You Like It. So fully realized is she in the complexity of her emotions, the subtlety of her thought, and the fullness of her character that no one else in the play matches up to her. Orlando is handsome, strong, and an affectionate, if unskilled, poet, yet still we feel that Rosalind settles for someone slightly less magnificent when she chooses him as her mate. Similarly, the observations of Touchstone and Jaques, who might shine more brightly in another play, seem rather dull whenever Rosalind takes the stage.
The endless appeal of watching Rosalind has much to do with her success as a knowledgeable and charming critic of herself and others. But unlike Jaques, who refuses to participate wholly in life but has much to say about the foolishness of those who surround him, Rosalind gives herself over fully to circumstance. She chastises Silvius for his irrational devotion to Phoebe, and she challenges Orlando’s thoughtless equation of Rosalind with a Platonic ideal, but still she comes undone by her lover’s inconsequential tardiness and faints at the sight of his blood. That Rosalind can play both sides of any field makes her identifiable to nearly everyone, and so, irresistible.
Rosalind is a particular favorite among feminist critics, who admire her ability to subvert the limitations that society imposes on her as a woman. With boldness and imagination, she disguises herself as a young man for the majority of the play in order to woo the man she loves and instruct him in how to be a more accomplished, attentive lover—a tutorship that would not be welcome from a woman. There is endless comic appeal in Rosalind’s lampooning of the conventions of both male and female behavior, but an Elizabethan audience might have felt a certain amount of anxiety regarding her behavior. After all, the structure of a male-dominated society depends upon both men and women acting in their assigned roles. Thus, in the end, Rosalind dispenses with the charade of her own character. Her emergence as an actor in the Epilogue assures that theatergoers, like the Ardenne foresters, are about to exit a somewhat enchanted realm and return to the familiar world they left behind. But because they leave having learned the same lessons from Rosalind, they do so with the same potential to make that world a less punishing place.
Orlando
According to his brother, Oliver, Orlando is of noble character, unschooled yet somehow learned, full of noble purposes, and loved by people of all ranks as if he had enchanted them (I.i.141–144). Although this description comes from the one character who hates Orlando and wishes him harm, it is an apt and generous picture of the hero of As You Like It. Orlando has a brave and generous spirit, though he does not possess Rosalind’s wit and insight. As his love tutorial shows, he relies on commonplace clichés in matters of love, declaring that without the fair Rosalind, he would die. He does have a decent wit, however, as he demonstrates when he argues with Jaques, suggesting that Jaques should seek out a fool who wanders about the forest: “He is drowned in the brook. Look but in, and you shall see him,” meaning that Jaques will see a fool in his own reflection (III.ii.262–263). But next to Rosalind, Orlando’s imagination burns a bit less bright. This upstaging is no fault of Orlando’s, given the fullness of Rosalind’s character; Shakespeare clearly intends his audience to delight in the match. Time and again, Orlando performs tasks that reveal his nobility and demonstrate why he is so well-loved: he travels with the ancient Adam and makes a fool out of himself to secure the old man food; he risks his life to save the brother who has plotted against him; he cannot help but violate the many trees of Ardenne with testaments of his love for Rosalind. In the beginning of the play, he laments that his brother has denied him the schooling deserved by a gentleman, but by the end, he has proven himself a gentleman without the formality of that education.
Jaques
Jaques delights in being sad—a disparate role in a play that so delights in happiness. Jaques believes that his melancholy makes him the perfect candidate to be Duke Senior’s fool. Such a position, he claims, will “Give me leave / To speak my mind,” and the criticism that flows forth will “Cleanse the foul body of th’infected world” (II.vii.58–60). Duke Senior is rightly cautious about installing Jaques as the fool, fearing that Jaques would do little more than excoriate the sins that Jaques himself has committed. Indeed, Jaques lacks the keenness of insight of Shakespeare’s most accomplished jesters: he is not as penetrating as Twelfth Night’s Feste or King Lear’s fool. In fact, he is more like an aspiring fool than a professional one. When Jaques philosophizes on the seven stages of human life, for instance, his musings strike us as banal. His “All the world’s a stage” speech is famous today, but the play itself casts doubt on the ideas expressed in this speech (II.vii.138). No sooner does Jaques insist that man spends the final stages of his life in “mere oblivion, / Sans teeth, sans eyes, sans taste, sans everything” than Orlando’s aged servant, Adam, enters, bearing with him his loyalty, his incomparable service, and his undiminished integrity (II.vii.164–165).
Jaques’s own faculties as a critic of the goings-on around him are considerably diminished in comparison to Rosalind, who understands so much more and conveys her understanding with superior grace and charm. Rosalind criticizes in order to transform the world—to make Orlando a more reasonable husband and Phoebe a less disdainful lover—whereas Jaques is content to stew in his own melancholy. It is appropriate that Jaques decides not to return to court. While the other characters merrily revel, Jaques determines that he will follow the reformed Duke Frederick into the monastery, where he believes the converts have much to teach him. Jaques’s refusal to resume life in the dukedom not only confirms our impression of his character, but also resonates with larger issues in the play. Here, the play makes good on the promise of its title: everyone gets just what he or she wants. It also betrays a small but inevitable crack in the community that dances through the forest. In a world as complex and full of so many competing forces as the one portrayed in As You Like It, the absolute best one can hope for is consensus, but never complete unanimity.
Rosalind
Rosalind dominates As You Like It. So fully realized is she in the complexity of her emotions, the subtlety of her thought, and the fullness of her character that no one else in the play matches up to her. Orlando is handsome, strong, and an affectionate, if unskilled, poet, yet still we feel that Rosalind settles for someone slightly less magnificent when she chooses him as her mate. Similarly, the observations of Touchstone and Jaques, who might shine more brightly in another play, seem rather dull whenever Rosalind takes the stage.
The endless appeal of watching Rosalind has much to do with her success as a knowledgeable and charming critic of herself and others. But unlike Jaques, who refuses to participate wholly in life but has much to say about the foolishness of those who surround him, Rosalind gives herself over fully to circumstance. She chastises Silvius for his irrational devotion to Phoebe, and she challenges Orlando’s thoughtless equation of Rosalind with a Platonic ideal, but still she comes undone by her lover’s inconsequential tardiness and faints at the sight of his blood. That Rosalind can play both sides of any field makes her identifiable to nearly everyone, and so, irresistible.
Rosalind is a particular favorite among feminist critics, who admire her ability to subvert the limitations that society imposes on her as a woman. With boldness and imagination, she disguises herself as a young man for the majority of the play in order to woo the man she loves and instruct him in how to be a more accomplished, attentive lover—a tutorship that would not be welcome from a woman. There is endless comic appeal in Rosalind’s lampooning of the conventions of both male and female behavior, but an Elizabethan audience might have felt a certain amount of anxiety regarding her behavior. After all, the structure of a male-dominated society depends upon both men and women acting in their assigned roles. Thus, in the end, Rosalind dispenses with the charade of her own character. Her emergence as an actor in the Epilogue assures that theatergoers, like the Ardenne foresters, are about to exit a somewhat enchanted realm and return to the familiar world they left behind. But because they leave having learned the same lessons from Rosalind, they do so with the same potential to make that world a less punishing place.
Orlando
According to his brother, Oliver, Orlando is of noble character, unschooled yet somehow learned, full of noble purposes, and loved by people of all ranks as if he had enchanted them (I.i.141–144). Although this description comes from the one character who hates Orlando and wishes him harm, it is an apt and generous picture of the hero of As You Like It. Orlando has a brave and generous spirit, though he does not possess Rosalind’s wit and insight. As his love tutorial shows, he relies on commonplace clichés in matters of love, declaring that without the fair Rosalind, he would die. He does have a decent wit, however, as he demonstrates when he argues with Jaques, suggesting that Jaques should seek out a fool who wanders about the forest: “He is drowned in the brook. Look but in, and you shall see him,” meaning that Jaques will see a fool in his own reflection (III.ii.262–263). But next to Rosalind, Orlando’s imagination burns a bit less bright. This upstaging is no fault of Orlando’s, given the fullness of Rosalind’s character; Shakespeare clearly intends his audience to delight in the match. Time and again, Orlando performs tasks that reveal his nobility and demonstrate why he is so well-loved: he travels with the ancient Adam and makes a fool out of himself to secure the old man food; he risks his life to save the brother who has plotted against him; he cannot help but violate the many trees of Ardenne with testaments of his love for Rosalind. In the beginning of the play, he laments that his brother has denied him the schooling deserved by a gentleman, but by the end, he has proven himself a gentleman without the formality of that education.
Jaques
Jaques delights in being sad—a disparate role in a play that so delights in happiness. Jaques believes that his melancholy makes him the perfect candidate to be Duke Senior’s fool. Such a position, he claims, will “Give me leave / To speak my mind,” and the criticism that flows forth will “Cleanse the foul body of th’infected world” (II.vii.58–60). Duke Senior is rightly cautious about installing Jaques as the fool, fearing that Jaques would do little more than excoriate the sins that Jaques himself has committed. Indeed, Jaques lacks the keenness of insight of Shakespeare’s most accomplished jesters: he is not as penetrating as Twelfth Night’s Feste or King Lear’s fool. In fact, he is more like an aspiring fool than a professional one. When Jaques philosophizes on the seven stages of human life, for instance, his musings strike us as banal. His “All the world’s a stage” speech is famous today, but the play itself casts doubt on the ideas expressed in this speech (II.vii.138). No sooner does Jaques insist that man spends the final stages of his life in “mere oblivion, / Sans teeth, sans eyes, sans taste, sans everything” than Orlando’s aged servant, Adam, enters, bearing with him his loyalty, his incomparable service, and his undiminished integrity (II.vii.164–165).
Jaques’s own faculties as a critic of the goings-on around him are considerably diminished in comparison to Rosalind, who understands so much more and conveys her understanding with superior grace and charm. Rosalind criticizes in order to transform the world—to make Orlando a more reasonable husband and Phoebe a less disdainful lover—whereas Jaques is content to stew in his own melancholy. It is appropriate that Jaques decides not to return to court. While the other characters merrily revel, Jaques determines that he will follow the reformed Duke Frederick into the monastery, where he believes the converts have much to teach him. Jaques’s refusal to resume life in the dukedom not only confirms our impression of his character, but also resonates with larger issues in the play. Here, the play makes good on the promise of its title: everyone gets just what he or she wants. It also betrays a small but inevitable crack in the community that dances through the forest. In a world as complex and full of so many competing forces as the one portrayed in As You Like It, the absolute best one can hope for is consensus, but never complete unanimity.