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Facsimile of the first page of As You Like It from the First Folio, published in 1623.

As You Like It is a pastoral comedy by William Shakespeare believed to have been written in 1599 or early 1600 and first published in the folio of 1623. The work was based upon the early prose romance Rosalynde by Thomas Lodge. The play's first performance is uncertain, though a performance at Wilton House in 1603 has been suggested as a possibility. As You Like It follows its heroine Rosalind as she flees persecution in her uncle's court, accompanied by her cousin Celia and Touchstone the court jester, to find safety and eventually love in the Forest of Arden. Historically, critical response has varied, with some critics finding the work of lesser quality than other Shakespearean works and some finding the play a work of great merit.

The play features one of Shakespeare's most famous and oft-quoted speeches, "All the world's a stage," and is the origin of the phrase "too much of a good thing." The play remains a favorite among audiences and has been adapted for radio, film, and musical theatre.



The Court of Duke Frederick:

  • Duke Frederick, Duke Senior's younger brother and his usurper, Celia's father
  • Rosalind, Duke Senior's daughter
  • Celia, Duke Frederick's daughter and Rosalind's cousin
  • Touchstone, a court fool
  • Le Beau, a courtier
  • Charles, a wrestler

The Exiled Court of Duke Senior in the Forest of Arden:

  • Duke Senior, Duke Frederick's older brother and Rosalind's father
  • Jaques, a discontented, melancholy lord
  • Amiens, an attending lord and musician

The Household of the deceased Sir Roland de Boys:

  • Oliver, the eldest son and heir
  • Jacques, the second son briefly appearing at the end of the play
  • Orlando, youngest son
  • Adam, a faithful old servant who follows Orlando into exile
  • Dennis, Oliver's servant

Country folk in the Forest of Arden:

  • Phebe, a shepherdess
  • Silvius, a shepherd
  • Audrey, a country girl
  • Corin, an elderly shepherd
  • William, a country man
  • Sir Oliver Martext, a curate

Other characters:

  • Lords and ladies in Duke Frederick's court
  • Lords in Duke Senior's forest court
  • Pages and musicians
  • Hymen, a character appearing in a play-within-the-play


Scene from As You Like It, Francis Hayman, c. 1750.

The play is set in a duchy in France, but most of the action takes place in a location called the 'Forest of Arden.'

Frederick has usurped the Duchy and exiled his older brother, Duke Senior. The Duke's daughter Rosalind has been permitted to remain at court because she is the closest friend and cousin of Frederick's only child, Celia. Orlando, a young gentleman of the kingdom who has fallen in love at first sight of Rosalind, is forced to flee his home after being persecuted by his older brother, Oliver. Frederick becomes angry and banishes Rosalind from court. Celia and Rosalind decide to flee together accompanied by the jester Touchstone, with Rosalind disguised as a young man.

Rosalind, now disguised as Ganymede ("Jove's own page"), and Celia, now disguised as Aliena (Latin for "stranger"), arrive in the Arcadian Forest of Arden, where the exiled Duke now lives with some supporters, including "the melancholy Jaques," who is introduced to us weeping over the slaughter of a deer. "Ganymede" and "Aliena" do not immediately encounter the Duke and his companions, as they meet up with Corin, an impoverished tenant, and offer to buy his master's rude cottage.

Orlando and his servant Adam (a role possibly played by Shakespeare himself, though this story is apocryphal),[1] meanwhile, find the Duke and his men and are soon living with them and posting simplistic love poems for Rosalind on the trees. Rosalind, also in love with Orlando, meets him as Ganymede and pretends to counsel him to cure him of being in love. Ganymede says "he" will take Rosalind's place and "he" and Orlando can act out their relationship.

Meanwhile, the shepherdess Phebe, with whom Silvius is in love, has fallen in love with Ganymede (actually Rosalind), though "Ganymede" continually shows that "he" is not interested in Phebe. The cynical Touchstone has also made amorous advances towards the dull-witted goat-herd girl Audrey, and attempts to marry her before his plans are thwarted by the intrusive Jaques.

Finally, Silvius, Phebe, Ganymede, and Orlando are brought together in an argument with each other over who will get whom. Ganymede says he will solve the problem, having Orlando promise to marry Rosalind, and Phebe promise to marry Silvius if she cannot marry Ganymede. The next day, Ganymede reveals himself to be Rosalind, and since Phebe has found her love to be false, she ends up with Silvius.

Orlando sees Oliver in the forest and rescues him from a lioness, causing Oliver to repent for mistreating Orlando (some directors treat this as a tale, rather than reality). Oliver meets Aliena (Celia's false identity) and falls in love with her, and they agree to marry. Orlando and Rosalind, Oliver and Celia, Silvius and Phebe, and Touchstone and Audrey all are married in the final scene, after which they discover that Frederick has also repented his faults, deciding to restore his legitimate brother to the dukedom and adopt a religious life. Jaques, ever melancholy, declines their invitation to stay in the forest with them and also decides to adopt a religious life.

Date and text

The play was entered into the Register of the Stationers Company on August 4, 1600; but it was not printed until its inclusion in the First Folio in 1623.


Arden is most likely a toponym for a forest close to Shakespeare's home town of Stratford-upon-Avon. The Oxford Shakespeare edition rationalises this geographical discrepancy by assuming that 'Arden' is an anglicisation of the forested Ardennes region of France (where Lodge set his tale[2]) and alters the spelling to reflect this. Other editions keep Shakespeare's 'Arden' spelling, since it can be argued that the pastoral mode depicts a fantastical world in which geographical details are irrelevant. The Arden edition of Shakespeare makes the suggestion that the name 'Arden' comes from a combination of the classical region of Arcadia and the biblical garden of Eden, as there is a strong interplay of classical and Christian belief systems and philosophies within the play. Furthermore, Shakespeare's mother's name was Mary Arden, and the name of the forest may also be a pun on that.[citation needed]


There is no certain record of any performance before the Restoration. There is one possible performance, however, at Wilton House in Wiltshire, the country seat of the Earls of Pembroke. William Herbert, 3rd Earl of Pembroke hosted James I and his Court at Wilton House from October to December 1603, while Jacobean London was suffering an epidemic of bubonic plague. The King's Men were paid £30 to come to Wilton House and perform for the King and Court on December 2, 1603. A Herbert family tradition holds that the play acted that night was As You Like It.[3]

During the English Restoration, the King's Company was assigned the play by royal warrant in 1669. It is known to have been acted at Drury Lane in 1723, in an adapted form called Love in a Forest; Colley Cibber played Jaques. Another Drury Lane production seventeen years later returned to the Shakespearean text (1740).[4]

Notable recent productions of As You Like It include the 1936 Old Vic Theatre production starring Edith Evans and the 1961 Shakespeare Memorial Theatre production starring Vanessa Redgrave. The longest running Broadway production starred Katharine Hepburn as Rosalind, Cloris Leachman as Celia, William Prince as Orlando, and Ernest Thesiger as Jacques, and was directed by Michael Benthall. It ran for 145 performances in 1950. Another notable production was at the 2005 Stratford Festival in Stratford, Ontario, which was set in the 1960s and featured Shakespeare's lyrics set to music written by Barenaked Ladies.

Critical response

Scholars have long disagreed about the merits of the play. Critics from Samuel Johnson to George Bernard Shaw have complained that As You Like It is lacking in the high artistry of which Shakespeare was capable. Shaw liked to think that Shakespeare wrote the play as a mere crowdpleaser, and signalled his own middling opinion of the work by calling it As You Like It — as if the playwright did not agree. Tolstoy objected to the immorality of the characters, and Touchstone's constant clowning. Other critics have found great literary value in the work. Harold Bloom has written that Rosalind is among Shakespeare's greatest and most fully realised female characters. Despite critical disputes, the play remains one of Shakespeare's most frequently performed comedies.

The elaborate gender reversals in the story are of particular interest to modern critics interested in gender studies. Through four acts of the play, Rosalind — who in Shakespeare's day would have been played by a boy — finds it necessary to disguise herself as a boy, whereupon the rustic Phebe (also played by a boy), becomes infatuated with this "Ganymede," a name with homoerotic overtones. In fact, the epilogue, spoken by Rosalind to the audience, states rather explicitly that she (or at least the actor playing her) is not a woman.


Religious allegory

Illustration for Shakespeare's As You Like It by Émile Bayard (1837-1891). "Rosalind gives Orlando a chain."

University of Wisconsin professor Richard Knowles, the editor of the 1977 New Variorum edition of this play, described in his article "Myth and Type in As You Like It"[5] how the play contains mythological references in particular to Eden, to Hercules and to Christ. However, he was unable to determine any sustained allegorical meaning and concluded therefore that it could not be an allegorical play. Other scholars, however, have argued that the play indeed contains a consistent allegorical meaning and that this can be translated into production.


Act II, Scene 7, features one of Shakespeare's most famous monologues, which states:

"All the world's a stage
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages."

This famous monologue is spoken by Jaques. It contains arresting imagery and figures of speech to develop the central metaphor: a person's lifespan being a play in seven acts. These acts, "seven ages," begin with "the infant/Mewling and puking in the nurse's arms" and work through six further vivid verbal sketches, culminating in "second childishness and mere oblivion,/Sans teeth, sans eyes, sans taste, sans everything."

Pastoral mode

Walter Deverell, The Mock Marriage of Orlando and Rosalind, 1853

The theme of pastoral comedy is love in all its guises in a rustic setting, the genuine love embodied by Rosalind contrasted with the sentimentalised affectations of Orlando, and the improbable happenings that set the urban courtiers wandering to find exile, solace or freedom in a woodland setting are no more unrealistic than the string of chance encounters in the forest, provoking witty banter, which require no subtleties of plotting and character development. The main action of the first act is no more than a wrestling match, and the action throughout is often interrupted by a song. At the end, Hymen himself arrives to bless the wedding festivities.

William Shakespeare’s play As You Like It clearly falls into the Pastoral Romance genre; but Shakespeare does not merely use the genre, he develops it. Shakespeare also used the Pastoral genre in As You Like It to ‘cast a critical eye on social practices that produce injustice and unhappiness, and to make fun of anti-social, foolish and self-destructive behaviour’, most obviously through the theme of love, culminating in a rejection of the notion of the traditional Petrarchan lovers.[6]

The stock characters in conventional situations were familiar material for Shakespeare and his audience; it is the light repartee and the breadth of the subjects that provide texts for wit that put a fresh stamp on the proceedings. At the centre the optimism of Rosalind is contrasted with the misogynistic melancholy of Jaques. Shakespeare would take up some of the themes more seriously later: the usurper Duke and the Duke in exile provide themes for Measure for Measure and The Tempest.

A play which turns upon chance encounters in the forest and several entangled love affairs, all in a serene pastoral setting has been found, by many directors, to be especially effective staged outdoors in a park or similar site.



Rosalind and Celia by Hugh Thomson

Donovan set "Under The Greenwood Tree" to music and recorded it for A Gift from a Flower to a Garden in 1968.

Thomas Morley (c. 1557-1602) composed music for "It was a Lover and His Lass"; he lived in the same parish as Shakespeare, and at times composed music for Shakespeare plays.


According to the history of radio station WCAL in the U.S. state of Minnesota, As You Like It may have been the first play ever broadcast. It went over the air in 1922.


As You Like It was Laurence Olivier's first Shakespeare film, though he only acted in it, rather than producing and directing. Made in the UK and released in 1936, the film also starred director Paul Czinner's wife Elizabeth Bergner, who played Rosalind with a thick German accent. Although it is much less "Hollywoody" than the versions of A Midsummer Night's Dream and Romeo and Juliet made at about the same time, and although its cast was made up entirely of Shakespearean actors, it was not considered a success by either Olivier or the critics.

Helen Mirren starred as Rosalind in the 1978 BBC videotaped version of As You Like It, directed by Basil Coleman.[7]

In 1992, Christine Edzard made another film adaptation of the play. It features James Fox, Cyril Cusack, Andrew Tiernan, Griff Rhys Jones and Ewen Bremner. The action is transposed to a modern and bleak urban world.

A version of As You Like It, set in 19th Century Japan, was released in 2006, directed by Kenneth Branagh. It stars Bryce Dallas Howard, David Oyelowo, Romola Garai, Alfred Molina, Kevin Kline, and Brian Blessed. Although it was actually made for cinemas, it was released to theatres only in Europe, and had its U.S. premiere on HBO in 2007.

Musical theatre

Daniel Aquisito and Sammy Buck adapted this play into an 80's themed musical entitled "Like You Like It." [8]

Graphic novel

A manga-style graphic novel was released in January 2009, by Self-Made Hero publishers, where the setting of the Forest of Arden has been transposed to modern-day China. The story has been adapted by Richard Appignanesi and features the illustrations of Chie Kutsuwada.


  1. ^ Dolan, Frances E. "Introduction" in Shakespeare, As You Like It. New York: Penguin Books, 2000.
  2. ^ Bate, Jonathan (2008). Soul of the Age: the life, mind and world of William Shakespeare. London: Viking. p. 37. ISBN 978-0-670-91482-1. 
  3. ^ F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; p. 531.
  4. ^ Halliday,Shakespeare Companion, p. 40.
  5. ^ ELH , volume 33, March (1966) pp 1-22
  6. ^ Sarah Clough. "As You Like It: Pastoral Comedy, The Roots and History of Pastoral Romance". Sheffield Theatres. Retrieved 2008-08-10. 
  7. ^ As You Like It (1978) at the Internet Movie Database,
  8. ^ "Sammy Buck". Sammy Buck. 2007-05-29. Retrieved 2009-04-23. 

External links


Up to date as of January 14, 2010

From Wikiquote

Can one desire too much of a good thing?
The little foolery that wise men have makes a great show.

As You Like It is a pastoral comedy by William Shakespeare, believed to have been written in 1599 or 1600.


Act I

  • Celia: Let us sit and mock the good housewife Fortune from her wheel, that her gifts may henceforth be bestowed equally.
    Rosalind: I would we could do so; for her benefits are mightily misplaced: and the bountiful blind woman doth most mistake in her gifts to women.
    Celia: 'Tis true; for those that she makes fair, she scarce makes honest; and those that she makes honest, she makes very ill-favouredly.
    Rosalind: Nay; now thou goest from Fortune's office to Nature's: Fortune reigns in gifts of the world, not in the lineaments of Nature.
    Celia: No? When Nature hath made a fair creature, may she not by Fortune fall into the fire? — Though Nature hath given us wit to flout at Fortune, hath not Fortune sent in this fool to cut off the argument?
    • Scene ii
  • How now, wit! whither wander you?
    • Celia, scene ii
  • The little foolery that wise men have makes a great show.
    • Celia, scene ii
  • Well said: that was laid on with a trowel.
    • Celia, scene ii
  • Your heart’s desires be with you!
    • Celia, scene ii
  • One out of suits with fortune.
    • Rosalind, scene ii
  • My pride fell with my fortunes.
    • Rosalind, scene ii
  • Hereafter, in a better world than this,
    I shall desire more love and knowledge of you.
    • Le Beau, scene ii
  • Celia: Not a word?
    Rosalind: Not one to throw at a dog.
    • Scene iii
  • O, how full of briars is this working-day world!
    • Rosalind, scene iii
  • Beauty provoketh thieves sooner than gold.
    • Rosalind, scene iii
  • We’ll have a swashing and a martial outside,
    As many other mannish cowards have.
    • Rosalind, scene iii

Act II

  • 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 every thing.
    • Duke Senior, scene i
  • The big round tears
    Coursed one another down his innocent nose
    In piteous chase.
    • First Lord, scene i
  • Poor deer, quoth he, thou makest a testament
    As worldlings do, giving thy sum of more
    To that which had too much.
    • First Lord, scene i
    • Quoting Jaques
  • Sweep on, you fat and greasy citizens.
    • First Lord, scene i
    • Quoting Jaques
  • And He that doth the ravens feed,
    Yea, providently caters for the sparrow,
    Be comfort to my age!
    • Adam, scene iii
  • For in my youth I never did apply
    Hot and rebellious liquors in my blood.
    • Adam, scene iii
  • Therefore my age is as a lusty winter,
    Frosty, but kindly.
    • Adam, scene iii
  • O, good old man, how well in thee appears
    The constant service of the antique world,
    When service sweat for duty, not for meed!
    Thou art not for the fashion of these times,
    Where none will sweat but for promotion.
    • Orlando, scene iii
  • Ay, now am I in Arden: the more fool I. When I was at home, I was in a better place; but travellers must be content.
    • Touchstone, scene iv
  • If thou remember’st not the slightest folly
    That ever love did make thee run into,
    Thou hast not lov’d.
    • Silvius, scene iv
  • I shall ne’er be 'ware of mine own wit, till I break my shins against it.
    • Touchstone, scene iv
  • Under the greenwood tree
    Who loves to lie with me,
    And tune his merry note
    Unto the sweet bird's throat —
    Come hither, come hither, come hither!
    Here shall he see
    No enemy
    But winter and rough weather.
    • Amiens, scene v
  • Live a little; comfort a little; cheer thyself a little.
    • Orlando, scene vi
  • I met a fool i’ the forest,
    A motley fool.
    • Jaques, scene vii
  • And rail’d on Lady Fortune in good terms,
    In good set terms.
    • Jaques, scene vii
  • And then he drew a dial from his poke,
    And looking on it with lack-lustre eye,
    Says very wisely, It is ten o’clock:
    Thus we may see,
    quoth he, how the world wags.
    • Jaques, scene vii
  • And so, from hour to hour, we ripe and ripe,
    And then, from hour to hour, we rot and rot;
    And thereby hangs a tale.
    • Jaques, scene vii
  • My lungs began to crow like chanticleer,
    That fools should be so deep-contemplative;
    And I did laugh, sans intermission
    An hour by his dial.
    • Jaques, scene vii
  • Motley ’s the only wear.
    • Jaques, scene vii
  • If ladies be but young and fair,
    They have the gift to know it; and in his brain,
    Which is as dry as the remainder biscuit
    After a voyage, he hath strange places cramm’d
    With observation, the which he vents
    In mangled forms.
    • Jaques, scene vii
  • I am ambitious for a motley coat.
    • Jaques, scene vii
  • I must have liberty
    Withal, as large a charter as the wind,
    To blow on whom I please.
    • Jaques, scene vii
  • The why is plain as way to parish church.
    • Jaques, scene vii
  • Whate'er you are,
    That in this desert inaccessible,
    Under the shade of melancholy boughs,
    Lose and neglect the creeping hours of time;
    If ever you have look’d on better days,
    If ever been where bells have knoll’d to church,
    If ever sat at any good man’s feast,
    If ever from your eyelids wip'd a tear,
    And know what 'tis to pity and be pitied —
    Let gentleness my strong enforcement be.
    • Orlando, scene vii
  • True is it that we have seen better days.
    • Duke Senior, scene vii
  • And wip'd our eyes
    Of drops that sacred pity hath engender’d.
    • Duke Senior, scene vii
  • Oppress’d with two weak evils, age and hunger.
    • Orlando, scene vii
  • All the world's a stage,
    And all the men and women merely players:
    They have their exits and their entrances;
    And one man in his time plays many parts,
    His acts being seven ages. At first the infant,
    Mewling and puking in the nurse’s arms:
    And then the whining school-boy, with his satchel
    And shining morning face, creeping like snail
    Unwillingly to school. And then the lover,
    Sighing like furnace, with a woeful ballad
    Made to his mistress’ eyebrow. Then a soldier,
    Full of strange oaths, and bearded like the pard;
    Jealous in honour, sudden, and quick in quarrel,
    Seeking the bubble reputation
    Even in the cannon’s mouth. And then the justice,
    In fair round belly with good capon lin'd,
    With eyes severe and beard of formal cut,
    Full of wise saws and modern instances;
    And so he plays his part. The sixth age shifts
    Into the lean and slipper’d pantaloon,
    With spectacles on nose and pouch on side;
    His youthful hose, well sav'd, a world too wide
    For his shrunk shank; and his big manly voice,
    Turning again toward childish treble, pipes
    And whistles in his sound. Last scene of all,
    That ends this strange eventful history,
    Is second childishness, and mere oblivion,
    Sans teeth, sans eyes, sans taste, sans everything.
    • Jaques, scene vii
  • Blow, blow, thou winter wind,
    Thou art not so unkind
    As man's ingratitude;
    Thy tooth is not so keen
    Because thou art not seen,
    Although thy breath be rude.
    • Amiens, scene vii


I must tell you friendly in your ear, —
Sell while you can; you are not for all markets.
  • The fair, the chaste, and unexpressive she.
    • Orlando, scene ii
  • It goes much against my stomach. Hast any philosophy in thee, shepherd?
    • Touchstone, scene ii
  • He that wants money, means, and content, is without three good friends.
    • Corin, scene ii
  • This is the very false gallop of verses.
    • Touchstone, scene ii
  • Let us make an honourable retreat.
    • Touchstone, scene ii
  • With bag and baggage.
    • Touchstone, scene ii
  • O, wonderful, wonderful, and most wonderful wonderful! and yet again wonderful, and after that, out of all whooping.
    • Celia, scene ii
  • Answer me in one word.
    • Rosalind, scene ii
  • I do desire we may be better strangers.
    • Orlando, scene ii
  • Time travels in divers paces with divers persons. I’ll tell you who Time ambles withal, who Time trots withal, who Time gallops withal, and who he stands still withal.
    • Rosalind, scene ii
  • Every one fault seeming monstrous, till his fellow fault came to match it.
    • Rosalind, scene ii
  • Neither rhyme nor reason can express how much.
    • Orlando, scene ii
  • I would the gods had made thee poetical.
    • Touchstone, scene iii
  • But mistress, know yourself; down on your knees,
    And thank Heaven, fasting, for a good man’s love:
    For I must tell you friendly in your ear, —
    Sell while you can; you are not for all markets.
    • Rosalind, scene v

Act IV

  • It is a melancholy of mine own, compounded of many simples, extracted from many objects, and, indeed, the sundry contemplation of my travels, which, by often rumination, wraps me in a most humorous sadness.
    • Jaques, scene i
  • I have gained my experience.
    • Jaques, scene i
  • I had rather have a fool to make me merry than experience to make me sad.
    • Rosalind, scene i
  • I will scarce think you have swam in a gondola.
    • Rosalind, scene i
  • I warrant him heart-whole.
    • Rosalind, scene i
  • Very good orators, when they are out, they will spit; and for lovers, lacking (God warn us!) matter, the cleanliest shift is to kiss.
    • Rosalind, scene i
  • Men have died from time to time, and worms have eaten them, but not for love.
    • Rosalind, scene i
  • Can one desire too much of a good thing?
    • Rosalind, scene i
  • For ever and a day.
    • Orlando, scene ii
  • Men are April when they woo, December when they wed: maids are May when they are maids, but the sky changes when they are wives.
    • Rosalind, scene i
  • The horn, the horn, the lusty horn,
    Is not a thing to laugh to scorn.
    • First Lord, scene ii
  • Chewing the cud of sweet and bitter fancy.
    • Oliver, scene iii

Act V

  • It is meat and drink to me.
    • Touchstone, scene i
  • So-so is good, very good, very excellent good; and yet it is not; it is but so-so.
    • Touchstone, scene i
  • The fool doth think he is wise, but the wise man knows himself to be a fool.
    • Touchstone, scene i
  • I will kill thee a hundred and fifty ways.
    • Touchstone, scene i
  • No sooner met, but they looked; no sooner looked, but they loved; no sooner loved, but they sighed; no sooner sighed, but they asked one another the reason; no sooner knew the reason but they sought the remedy.
    • Rosalind, scene ii
  • How bitter a thing it is to look into happiness through another man’s eyes!
    • Orlando, scene ii
  • It was a lover and his lass,
    With a hey, and a ho, and a hey nonino!
    That o’er the green corn-field did pass
    In the spring time, the only pretty ring time,
    When birds do sing, hey ding a ding, ding:
    Sweet lovers love the Spring.
    • Pages, scene iii
  • Here comes a pair of very strange beasts, which in all tongues are called fools.
    • Jaques, scene iv
  • An ill-favoured thing, sir, but mine own.
    • Touchstone, scene iv
  • Rich honesty dwells like a miser, sir, in a poor house, as your pearl in your foul oyster.
    • Touchstone, scene iv
  • We quarrel in print, by the book, as you have books for good manners: I will name you the degrees. The first, the Retort Courteous; the second, the Quip Modest; the third, the Reply Churlish; the fourth, the Reproof Valiant; the fifth, the Countercheck Quarrelsome; the sixth, the Lie with Circumstance; the seventh, the Lie Direct.
    • Touchstone, scene iv
  • Your If is the only peace-maker; much virtue in If.
    • Touchstone, scene iv
  • Good wine needs no bush.
    • Rosalind, epilogue
  • What a case am I in.
    • Rosalind, epilogue

External links

  • As You Like It quotes analyzed; study guide with themes, literary devices, character analyses, teacher resources
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Source material

Up to date as of January 22, 2010

From Wikisource

As You Like It
by William Shakespeare
William Shakespeare's As You Like It, a pastoral comedy, was listed in the Stationers' Register, the contemporary equivalent of copyright, in August 1600. No printed copy of it is known prior to the publication of the First Folio of Shakespeare's collected works in 1623. Shakespeare drew the story for As You Like It from Thomas Lodge's prose story Rosalynde in the collection Euphues' Golden Legacy (1590).— Excerpted from As You Like It on Wikipedia, the free encyclopedia.

Dramatis Personae:

Facsimile of the first page of As You Like It from the First Folio, published in 1623.

DUKE, living in exile.
FREDERICK, Brother to the Duke, and Usurper of his Dominions.
AMIENS, Lord attending on the Duke in his Banishment.
JAQUES, Lord attending on the Duke in his Banishment.
LE BEAU, a Courtier attending upon Frederick.
CHARLES, his Wrestler.
OLIVER, Son of Sir Rowland de Bois.
JAQUES, Son of Sir Rowland de Bois.
ORLANDO, Son of Sir Rowland de Bois.
ADAM, Servant to Oliver.
DENNIS, Servant to Oliver.
CORIN, Shepherd.
SILVIUS, Shepherd.
WILLIAM, a Country Fellow, in love with Audrey.
A person representing HYMEN.

ROSALIND, Daughter to the banished Duke.
CELIA, Daughter to Frederick.
PHEBE, a Shepherdess.

AUDREY, a Country Wench.

Lords belonging to the two Dukes; Pages, Foresters, and other Attendants.

The SCENE lies first near OLIVER'S house; afterwards partly in the Usurper's court and partly in the Forest of Arden.


PD-icon.svg This work published before January 1, 1923 is in the public domain worldwide because the author died at least 100 years ago.

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