Note: As You Like It is a conventional comedy where love and virtue are destined to prevail. Consequently, the play is populated with archetypal characters. While each principal character is unique and none, except for the relatively minor Charles the wrestler, is entirely one-dimensional, the characters in As You Like It lack the complexity seen in Shakespeare's Hamlet or Lady Macbeth. The notable exceptions are Rosalind and Jaques, who represent the play's "optimism/pessimism" dichotomy.

Celia, the daughter of Duke Frederick, resides in the palace. After her father expels Duke Senior, Duke Senior's daughter, Rosalind, who is also Celia's cousin, comes to live with her. The two appear to be very close, much like schoolgirls sharing witty remarks about everything they observe in their somewhat protected environment. Celia actively participates in the clever exchanges with Le Beau, where she, Rosalind, and Touchstone indulge in endless wordplay. Together with her cousin, she tries to persuade Orlando that he will be harmed if he wrestles with Charles. During the match, Celia cheers Orlando on. Afterward, Celia and Rosalind make puns on wrestling terms like "fall" and "throw," using them in the context of love to discuss Rosalind's crush on Orlando. Celia is thrilled for her cousin but spends much of her energy distancing herself from her father's actions, particularly his banishment of Orlando after the wrestling match.

When Duke Frederick abruptly orders Rosalind to leave his household, Celia doesn't hesitate; she chooses to share Rosalind's fate and accompany her to the Forest of Arden. To navigate the often perilous Elizabethan underworld, the two adopt disguises. Celia takes on the role of a woman being escorted by "Ganymede," Rosalind's male persona, which is significant since Celia is the less dominant of the two. Also notable is Celia's choice of the name "Aliena." This name reflects her alienation from her father and the world of Duke Frederick's court. In another sense, it signifies her alienation from herself; in the Forest of Arden, she appears different from the carefree adolescent seen in earlier scenes. She transforms into a woman of means, purchasing the cottage of Corin's master and establishing a household. In the pastoral world of Arden, she fades into the background, serving mainly as a mediator between Rosalind and Orlando. Her relationship with Oliver is described to the audience rather than shown. Of the two female friends in the play, Rosalind is clearly the more dynamic, while Celia offers modern audiences a glimpse into another facet of female identity in Elizabethan England.

Duke Frederick, the younger sibling of Duke Senior, has somehow amassed enough influence to exile him from the court. He seizes the properties of the noblemen who have joined Duke Senior in his banishment. Duke Frederick appears capricious and arbitrary when he exiles Rosalind, but her exile is likely due to the hostility between him and Duke Senior. After all, she is Duke Senior's daughter, and Duke Frederick has only kept her to placate his own daughter, Celia. It's also possible that he has noticed or heard about Rosalind's affection for Orlando and her gift of a necklace to him, and he is displeased with her for befriending the son of Sir Rowland de Boys, his sworn enemy. This enmity likely stems from the conflict between Duke Frederick and Duke Senior, who had a strong fondness for Sir Rowland. Duke Frederick has already banished Orlando because of his lineage and will eventually banish Oliver for the same reason, after Oliver fails to capture and punish Orlando as Duke Frederick demands. Alarmed by the popularity his older brother enjoys in the forest, Duke Frederick plans to remove Duke Senior and his followers by force. However, he is persuaded against this course of action and experiences a miraculous conversion to a contemplative life by a religious figure in the Forest of Arden.

The rift between Duke Frederick and Duke Senior mirrors the conflict between Oliver and Orlando, although in the latter case, the virtuous brother is younger, while in the former, he is older. Fraternal envy and discord are recurring themes in several of Shakespeare's plays (such as Hamlet and The Tempest), often evoking the Biblical story of Cain and Abel. For Shakespeare, reconciling these fraternal disputes is crucial to restoring social order. This need to restore order likely explains Duke Frederick's sudden conversion by the religious hermit in Arden, a place where the negative effects of desire and ambition are temporarily suspended.

Jaques, a nobleman accompanying the exiled Duke Senior, is less enthusiastic about the simplicity of life in the Forest of Arden compared to the other characters. However, he doesn't completely dampen their spirits. Instead, Duke Senior and his followers find his pessimism amusing in contrast to their celebration of the forest's unpretentious environment, which allows them to be authentic. For instance, they are particularly entertained when Jaques empathizes with a deer wounded by one of them, mourning its pain and loss. Duke Senior and his followers see the killing as unfortunate but necessary for survival and part of the natural order. Jaques's sympathy for the deer highlights the unique perspective he brings throughout the play.

Jaques's alternative viewpoint helps the audience recognize the duplicity that exists even in the Forest of Arden. He criticizes Duke Senior and his followers for claiming the forest, which rightfully belongs to the deer as its natural inhabitants. While Duke Senior regrets harming the deer, he doesn't acknowledge, as Jaques does, that his control over the animals mirrors the "right by power" philosophy he thought he had escaped by leaving the court. Additionally, Jaques sees through Touchstone's relationship with Audrey. Touchstone believes he can pretend to care for Audrey and blend in "amongst the rest of the country copulatives" (V.iv.55-6), but Jaques perceives the relationship as mere lust and a degradation of marriage.

In his "Seven Ages of Man" speech (II.vii.139-66), Jaques declares, "All the world's a stage, / And all the men and women merely players" (II.vii.139-40). He appears to find no lasting value in life since these players come and go, suggesting that one is as good as another. Regarding the stages of human life, he offers a bleak view: infants are "mewling" and "puking"; schoolboys are "whining"; lovers sigh dramatically; soldiers fight for trivial things like reputation; judges are fat and indulgent; old men shrink in their clothes and wheeze; and near death, men revert to a childlike state, losing teeth, eyesight, and appetite. Jaques's pessimism tempers the optimism expressed by Duke Senior and his followers.

Despite his cynicism, Jaques is not immune to the transformative power of the Forest of Arden. Once a libertine chasing his desires and ambitions, the forest has made him contemplative and regretful of his past. Fittingly, at the play's conclusion, he announces his intention to explore the contemplative religious life adopted by Duke Frederick, choosing to forgo the group weddings and communal celebrations that end the play.

Oliver, Orlando's older brother, assumes the duty of raising him. However, he harbors such animosity towards Orlando that during a quarrel, he strikes him and subsequently orders him to leave the house. Oliver even goes as far as to assure Duke Frederick that he despises Orlando just as much as the duke does, fully aware that the duke plans to capture and punish Orlando.

As the eldest son of Sir Rowland de Boys, Oliver inherits the entire estate. The play doesn’t clarify why he sends their second brother, Jaques, to school but neglects Orlando’s education. Some critics suggest that Oliver is deeply envious of Orlando's talents, generosity, and noble tendencies, and wishes to eliminate him as a competitor. This interpretation of Oliver's actions remains speculative. It is probable, though, that Shakespeare uses Oliver, similar to Duke Frederick, to highlight the social turmoil caused by sibling rivalry. Like Duke Frederick, Oliver experiences a sudden and almost implausible change of heart towards his brother. Since social harmony is symbolically restored only when brothers reconcile, Shakespeare might sometimes force this reconciliation, even if it seems unrealistic within the storyline. In As You Like It, reuniting the feuding brothers takes precedence over maintaining consistent and believable character development.

Oliver undergoes a significant transformation upon entering the Forest of Arden, much like many other characters. His attitude towards Orlando softens, and his emotional capacity seems to expand. Although his engagement to Celia happens rather quickly, his feelings for her appear sincere. Equally important is Celia's affection for Oliver. While Oliver hails from an aristocratic family, Celia is the daughter of a duke, belonging to the nobility. This scenario exemplifies the forest’s transformative power, where arbitrary social distinctions are dissolved. The forest setting allows Oliver's true nature to emerge, demonstrating his suitability to marry a noblewoman, mirroring Orlando's experience.

Orlando is the youngest son of the late Sir Rowland de Boys and the brother of Oliver. He resents the harsh treatment from Oliver and complains about being denied a proper education. Orlando feels as if he is being "kept" like livestock, growing physically but not intellectually or socially. Despite this neglect, his talents and aristocratic nature shine through. Although he has no formal training in wrestling, Orlando manages to defeat a professional wrestler. Witnessing this match, Rosalind becomes attracted to him and gives him her necklace.

After fleeing to the Forest of Arden, Orlando encounters Rosalind, who is disguised as Ganymede. Even though he lacks formal education in poetry, Orlando instinctively writes verses to express his feelings for Rosalind. Rosalind and Touchstone find his poetry stiff and awkward, yet his inclination to write poetry underscores his noble character. Believing Ganymede to be a young man well-versed in relationships, Orlando allows himself to be taught the finer points of courtship.

In a humorous scene, Jaques and Orlando meet as strangers and engage in polite conversation. Both express a preference for solitude and agree to meet less often. The politeness of their speech contrasts with the content of their conversation. This interaction highlights their differences—Jaques is a pessimistic and brooding character, while Orlando is an optimistic individual eager to experience life fully.

Orlando's virtuous nature is further demonstrated in his treatment of Adam. As they journey to the Forest of Arden, the trip becomes too strenuous for the elderly servant. When Adam can no longer continue, Orlando is prepared to fight Duke Senior and his lords to obtain food for him. When Jaques cynically questions the value of human life, Orlando's actions—carrying Adam into the company of exiles—serve as a silent testament to the importance of mutual respect and support among people.

As an underprivileged younger brother, Orlando would have garnered sympathy from much of Shakespeare's audience. Under the system of primogeniture, the eldest male child inherited the entire estate, leaving younger sons to forge their own paths. These younger brothers often had to learn a trade and apprentice themselves to master craftsmen in London. Shakespeare's professional theater was a major source of entertainment for these young apprentices, who likely identified with Orlando's predicament to some extent.

Although Orlando's intelligence might appear questionable due to his inability to recognize Rosalind in her disguise as Ganymede in the Forest of Arden, this oversight and his susceptibility to her manipulation are more accurately attributed to his desire to make up for his lack of education and learn the formal art of courtship. He demonstrates that he is a diligent student by successfully passing the tests Rosalind sets to evaluate his loyalty and devotion. In the final act, Rosalind reveals her true identity, and she and Orlando are married.

Rosalind, the daughter of Duke Senior, is also Celia's cousin. After her father is exiled by Duke Frederick, Celia's father, Rosalind stays with Celia. However, when Duke Frederick banishes Rosalind as well, she adopts a male disguise for safety during her journey with Celia and Touchstone to the Forest of Arden. She takes on the name "Ganymede," a significant choice since, in Greek mythology, Ganymede was an androgynous youth taken by Zeus. Despite reaching the safety of Arden, Rosalind continues to maintain her male disguise.

When Celia discovers Orlando's poems dedicated to Rosalind on the tree trunks, she reveals the poet's identity to Rosalind. Initially, it appears that Rosalind keeps her disguise to playfully interact with Orlando. As the story unfolds, Rosalind realizes that her male persona grants her a unique power she lacks as a woman. She can manipulate Orlando and draw out his deepest feelings about her. In her male guise, she also holds sway over other characters, such as Phebe, and can influence her relationship with Silvius.

Like her father, Duke Senior, Rosalind is a commanding presence in the play. She often mediates the contradictions the play presents. For instance, Orlando desires to follow traditional courtship rituals, but such formalities are irrelevant in Arden, where conventions hold no sway. Rosalind teaches him that faithfulness and devotion are more critical in romantic love than following any set courtship rules. Orlando succeeds in this lesson and is rewarded with Rosalind's love in return. Confronted with Phebe's mistreatment of Silvius, Rosalind imparts a lesson on the importance of empathy and considering others' suffering.

Rosalind's dual nature bridges the pastoral world of Arden and the structured world of the court. Nature is often seen as feminine—"Mother Nature"—which fosters growth and diversity. In contrast, the masculine world is governed by time, rules, and regulations to ensure order and conformity. Rosalind, as Ganymede, experiences life as both a man and a woman, giving her insight into the conflicts between the masculine and feminine realms, the court, and the Forest of Arden. This dual perspective empowers her to navigate these conflicts effectively. It is this enhanced power from Rosalind's dual gender that sets her apart from Celia, who, despite their initial similarities, remains confined by her unchanging identity.

Rosalind, much like Phebe, symbolizes an aspect of Queen Elizabeth, who often spoke of her "two bodies"—her delicate female body and her body politic, the masculine identity she assumed as England's ruler. The Queen famously donned masculine attire at Tilbury to inspire her English soldiers as they prepared for a Spanish invasion. This kind of gender ambiguity was well-known to Elizabethan audiences, making it almost certain they would interpret Rosalind as a nod to the Queen—both feminine and powerful.

Rosalind serves as the moral core of As You Like It, garnering our sympathies and providing the perspective through which we interpret the play's events and characters. Initially, she is an innocent victim of her uncle's suspicion, with no actions or words to justify Duke Frederick's harsh treatment of her. Despite this, Rosalind endures; and while disguised as Ganymede, she often controls situations by possessing knowledge—such as her true identity—that others (Orlando, Phebe, her father Duke Senior) lack. Rosalind can be assertive, as seen in her dismissal of Jaques and her handling of Phebe, but she ultimately embodies positive Christian values and social harmony. Indeed, Rosalind is struck by Cupid's arrow and quickly falls for Orlando. However, it is evident that Orlando is a suitable match for her, and her intuitive choice proves wise in the end.

Touchstone is a jester, or fool, in Duke Frederick's court. Although he may not be a robust character, he is still a man, and Celia and Rosalind decide to bring him along for added protection on their journey to the Forest of Arden. Upon arriving in the forest, his familiarity with courtly language and customs impresses the simple shepherds and goatherds. He leverages this to pursue his lustful intentions towards Audrey, eventually marrying her in what is often described as a mockery of romantic love and marriage.

In Elizabethan times, the term "clown" could refer to any simple country person. The term "fool" described a court jester, often dressed in motley, a type of multi-colored and outlandish clothing. These fools were frequently "naturals," simple-minded individuals who entertained courtiers with their naiveté or misunderstandings. In Shakespeare's plays, fools often serve as the conscience of a noble but misguided character (as in King Lear) or as a means to deflate and expose the arrogance of characters who exceed their proper roles (as in Twelfth Night). Additionally, Shakespeare's fools entertain with their complex logic and clever wordplay. In As You Like It, although Touchstone amuses with his wit, he serves a somewhat different role.

A "touchstone" was originally a stone used to test the purity of precious metals. When gold or silver was rubbed against it, the stone would leave a distinct mark. Over time, "touchstone" has come to mean anything that tests and reveals virtue or worth. This is the role Touchstone plays in the story. When he interacts with other characters, he brings out their true virtues. For instance, his debate with Corin highlights the genuine value of Corin's simple philosophy against Touchstone's argumentation for its own sake. Corin's pastoral life appears substantial, not just a life of witticisms and conventional language. In another instance, Touchstone's discussion with Jaques about the "lie circumstantial" reveals Jaques's preference for social convention over the simple life he attempts to emulate.

Jaques, who is highly entertained by Touchstone, recounts that the clown produced a timepiece during their encounter in the forest. Touchstone has brought this "dial" from Duke Frederick's court, where such a device was perhaps necessary. In the timeless environment of the Forest of Arden, the watch highlights the contrasting values the two realms place on the concept of time. The timepiece is as out of place in the forest as Touchstone himself.