Aryn
O'Connor
This image (above) is a depiction of Rosalind, Celia, and Orlando in Act 1, scene 2 after Orlando defeats Charles in a wrestling match. The image was engraved by William Leney in the year 1800 and was later painted by John Dowman. This piece was commissioned as a piece for the Boydell Shakespeare Gallery, a venture by publisher John Boydell to “promote a school of British history painting and improve the national taste” as well as “create an illustrated scholarly edition” of Shakespeare’s plays. The encouragement of “history painting” can be seen in this image with Leney’s use of columns in the background and in Orlando’s apparel of the laurel wreath on his head. Boydell successfully collected 167 paintings depicting images from Shakespeare’s plays, but was forced to close down the gallery and sell the pieces during the French Revolution when he could no longer export his books and prints.
In this image, Rosalind and Celia, well dressed ladies with jewels and decorated hats, are meeting Orlando for the first time. In the court, the women are expected to be well dressed and genial, which can be seen in their apparel but also in their body language. Celia positions herself coyly behind Rosalind, regarding Orlando without directly looking at him. Rosalind, on the other hand, leans toward Orlando and looks at him directly as she offers him her necklace as a sign of affection. This is an early indicator of Rosalind’s progressive nature. However, she still has the body language of a gentle lady as she keeps one arm close to her body and does not touch Orlando when giving him the necklace. Another indicator of Rosalind’s nature is her hair. Celia’s hair is mostly covered with a hat and is in tight curls that remain close to her head, except for a few that are around her lower neck. Rosalind has a feather, some beads, and what appears to be a shawl or ribbon on her hair; however, her hair appears to be coming loose and is more visible than Celia’s.
Artistic Interpretations
Shelley, Samuel, "Rosalind, Celia, & Orlando in As You Like It...", late 18th/early19th cent., Folger Digital Collection. (Below)
Leney, William Satchwell, "As You Like It, Act I, scene 2, Before the Duke's Palace...", 1800, Shakespeare Gallery, Vol. 1, no. 24, series A, Folger Digital Collection.
A primary element of the pastoral genre is the “green space” and the idea of courtly versus country life. On this page, I would like to present a number of images that exhibit the role of the “green space” as the neutralizer of the social norms dictated by the court. The first image provides the context of the norms set in the characters’ society, while the others explore different aspects of gender, as well as sexuality, through Rosalind/Ganymede and her interactions with other characters.
The next image is another depiction of Rosalind, Celia, and Orlando; however, Rosalind is now disguised as Ganymede for protection in the forest. This piece is an engraving made by Samuel Shelley during the late 18th or early 19th century. The piece includes a section of dialogue from the play. Set during an interaction between Ganymede and Orlando in Act 3, scene 2, the dialogue recorded here exhibits Rosalind’s interest in Orlando and her bravery in expressing such ideas as she is dressed as a man.
Upon deciding to flee from the court and into the forest, Rosalind suggested that she dress as a man under the guise of providing protection for herself and Celia from wanderers in the woods. However, when considering some interpretations of the relationship between Rosalind and Celia as a romantic relationship, perhaps this decision could have been viewed as an even larger act of protection, keeping up appearances that their relationship was of the social norm. Another perspective could consider the idea of relationships between men during Shakespeare’s time. With the common occurrence of sexual relationships between boys prior to marriage and the idea of apprenticeships containing a sexual relationship as well, the attraction between Ganymede and Orlando would be much more acceptable than if it were between the unwed couple of Orlando and Rosalind. Observing the body language between Orlando and Rosalind in this image, both characters have an expression of attraction or flirtation. In this image Rosalind is dressed as a boy but still bears womanly features which coincide with the text when characters refer to her feminine features. Rosalind leans on Celia in this image, perhaps in an attempt to seem more masculine. Interestingly, in the text, Celia is supposed to be in the background observing the conversation between Rosalind and Orlando, but by depicting Rosalind leaning on Celia, Celia is brought to the foreground of the image. Also interesting is the expression on Celia’s face. She is looking at Celia in an almost admiring way. This could again play into the reading of Rosalind’s and Celia’s relationship as one of romantic feelings. Regardless of the feelings of attraction from the other characters, the decision to dress as a man gives Rosalind a type of sexual freedom that she certainly would not have in the court.
Artist Unknown, "Rosalind receiving the intellegence from Oliver of Orlando's encounter with a lioness", late 18th/early 19th cent., Folger Digital Collection.
This next image (above) is an image of Rosalind, Celia, and Oliver, Orlando’s brother. The origin of the piece is unknown. However, based on the style, the Folger Digital Collection pinpoints the date of the piece somewhere in the late 18th or early 19th century.
This image is during Act 4, scene 3 when Oliver is telling the two women about how Orlando saved his brother from a lioness and shows them a bloody rag to prove his story. Rosalind, still disguised as Ganymede, faints. In many images, artists portray Rosalind unconscious on the ground, or even in Celia’s lap. In this image, however, Rosalind is firmly standing up with a hand out towards Oliver and the rag. This provides a very masculine image of Rosalind, despite the look of surprise on her face. Similarly, the depiction of Oliver here is something that could be portrayed differently in other images. In a contrasting image, Oliver may have a look of surprise at the fainting youth. Here Oliver is pointing at the rag and has a facial expression that could be described as challenging, as if Oliver is testing Rosalind’s masculinity. It is possible that following this image, Rosalind faints. However, it is a fascinating view of the alternative reaction from Rosalind and leads the readers to wonder what could have happened if she had not been discovered and continued as Ganymede. Also, Celia is once again present, and once again her attention is focused purely on Rosalind/Ganymede. I will discuss this a little further in the analysis for the next photo.
(Right) Simmons, William Henry, "Rosalind and Celia...", 1870, Folger Digital Collection.
This final image (bottom right) is of Rosalind and Celia, with Touchstone in the background, engraved by William Henry Simmons in 1870 and later painted by Sir John Everett Millais.
The context of this image is in Act 2, scene 4, shortly after the trio begins their journey into the forest and Celia, growing tired, asks for them to rest for a little while. This depiction of the scene immediately caught my eye. In each of the images that I have on this page, Celia is in the photo, even if she is not the primary focus of the scene. This again brings attention to the nature of Rosalind’s and Celia’s relationship. Titled "Rosalind and Celia...", this image truly highlights the two women, removing Touchstone from the forefront. The artist goes even so far as to put Touchstone in the background, only his profile visible. The lighting of the image is focused around Rosalind and Celia, creating almost an angelic image, and the artwork even appears to be different with Rosalind and Celia’s faces depicted in a manner similar to Renaissance artwork of angels. Touchstone’s face is darkly lit and the strokes used to add age lines to his face appear to be different than those used on Rosalind and Celia. Another feature of this image is Celia and Rosalind’s body language. Celia is leaning her body into Rosalind’s and resting her head on Rosalind’s shoulder while Rosalind is holding Celia’s hand to her chest. This is a very intimate position and they are further removing Touchstone from the image as Celia’s body is turned away from him. Furthermore, Touchstone’s body language, his legs folded and hugged tight to his body, isolates him from the two women and his leaning toward them seems to be a movement of longing, perhaps for the closeness that the two women portray. Whether or not the two women have a romantic relationship, their presence in the forest allows them to express the comfort and love that they have for each other without the possible backlash of social norms.