For my textual analysis, I chose to do a close reading of a piece of dialogue from Act 1, scene 3, wherein Rosalind has been banished by her uncle and Celia insists that she has been banished as well. I chose this particular section because it begins the curiosity toward Rosalind’s and Celia’s relationship. Upon insisting that the king has also banished Celia, Rosalind responds that he has not, he only banished Rosalind. Celia replies with, “No, hath not? Rosalind then lacks the love Which teacheth thee that thou and I am one. Shall we be sundered? Shall we part, sweet girl? No, let my father seek another heir. Therefore devise with me how we may fly, Whither to go, and what to bear with us. And do not seek to take your change upon you, to bear your griefs yourself and leave me out; For, by this heaven, now at your sorrows pale, Say what thou canst, I’ll go along with thee” (ln. 94-103). Almost immediately, Celia is expressing a very meaningful relationship with Rosalind, one in which Celia is ready to give up her lifestyle and her position as an heir to a high social status in order to be with Rosalind, whom she feels has been wrongly banished. In sections prior to this, their relationship has already been developed as one of almost a sisterly-bond. However, this speech implies much stronger feelings, if only on Celia’s part.
Textual Analysis


I also chose the speech by Duke Senior in Act 2, scene 1. Here, Duke Senior is addressing his men, men who were banished like him to the forest. Duke Senior discusses the difference between life at court and life in the forest and provides a very stark contrast between the two when he says things such as “Are not these woods More free from peril than the envious court?” One line in particular, “Sweet are the uses of adversity, Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head; And this our life, exempt from public haunt Finds tongues in trees, books in the running brooks, Sermons in stones, and good in everything” (ln. 12-17), really establishes the court as a strict setting where there are expectations and rules of how to behave that are so restricting that the former Duke refers to them as “venomous”. In contrast, the woods are a place of fluidity, nature, and in general, freedom from those strictures that control social life. That fluidity and freedom just as easily carries over into the societal expectations on gender and sexuality.
The last selection that I wanted to address is Rosalind’s epilogue. She begins by saying that “it is not the fashion to see the lady the epilogue…” (ln. 1), directly addressing the idea of what is “the fashion” among the genders. The intriguing aspect of Rosalind’s epilogue, thinking about the concept of gender, is that she does not only speak to the female readers/viewers, but also to the men. She encourages an equality between the genders rather than only encouraging strength in women. Perhaps as a result of her time disguised as Ganymede and the fluidity of her gender while wearing that disguise, she has a better perspective of both genders. Another fascinating aspect of her epilogue comes in the very last line: “If I were a woman I would kiss as many of you as had beards…” (ln.16). This could be interpreted in a number of ways. The footnote in Bevington’s The Necessary Shakespeare states: “Women’s parts on the Elizabethan stage were played by boys in feminine costume”. So, is the speech supposed to be presented as the actor? If it is intended to remain in character with Rosalind then this could signify something completely different: that she was not actually a woman. Or, keeping with the idea that Rosalind and Celia were in a romantic relationship, it is possible that she would not see herself as the woman of the relationship because of Celia’s feminine qualities and Rosalind’s fluidity. Whatever the case, the fact that Rosalind closes the play with this epilogue presents an idea shared by many scholar’s, that this is Rosalind’s play.




Screenshot taken from Internet Shakespeare Editions (Facsimile of the First Folio - New South Wales)
Unknown Artist, "Ada Rehan and John Drew as Rosalind and Orlando...", 1898?, Folger Digital Collection.
(Left) Byron Company, "As You Like It...", 1898, part of "3 Photographs of a Production at Wallack's Theatre, NY", Folger Digital Collection.
Screenshot taken from Internet Shakespeare Editions (Folio of 1623)
Screenshot taken from Internet Shakespeare Editions (Folio of 1623)
Screenshot taken from Internet Shakespeare Editions (Folio of 1623)