Bennett, Robert B. "The Reform of a Malcontent: Jaques and the Meaning of As You Like It." Shakespeare Studies IX (1976): 183-204.

Regards Jaques as an essentially benign character whose presence in Arden provides both a needed balance in the forest-court debate and a cynicism to counter the preciousness of the pastoral setting.

Brissenden, Alan. "The Dance in As You Like It and Twelfth Night." Cahiers Elisabethains Ho. 13 (April 1978): 25-34.

Examines Shakespeare's use of dance in As You Like It. Noticing the combination of joy and solemnity following the marriages in Act V, scene iv, Brissenden posits the likelihood of the couples dancing a patterned and harmonious pavan.

Brooks, Charles. "Shakespeare's Heroine-Actresses." Shakespeare Jahrbuch 60 (1960): 134-44.

Focuses on Rosalind's disguise role, and realates this device to Shakespeare's concern with themes of identity, self-knowledge, reality, and illusion.

Brown, John Russell. "As You Like It." In Shakespeare's Dramatic Style, pp. 72-103. London: Heinemann, 1970.

Investigation of stagecraft in As You Like It that focuses on selected scenes in the play for purposes of analyzing language and elements of dramaturgy.

Carroll, William C. '"Forget to Be a Woman'." In The Metamorphoses of Shakespearean Comedy, pp. 103-37. Princeton: Princeton University Press, 1985.

Includes a discussion of "real and apparent" transformations in As You Like It based upon the direct and indirect influence of Ovid's Metamorphoses.

Cole, Howard C. "The Moral Vision of As You Like It." College Literature III, No. 1 (Winter 1975): 17-32.

Argues that in As You Like It Shakespeare portrays the complexities of debates and oppositions without taking sides, and tests the conventions of the romance and pastoral genres.

Daley, A. Stuart. "Where Are the Woods in As You Like It?" Shakespeare Quarterly 34, No. 2 (Summer 1983): 172-80.

Warns that exaggerating the sylvan quality of As You Like It makes it difficult to understand the play as it was understood by its Elizabethan audience. Daley distinguishes between two Arden settings, one dark and perilous, the other characterized by sunny fields and a murmuring stream.

Doran, Madeleine. '"Yet am I inland Bred'." Shakespeare Quarterly 15, No. 2 (Spring 1964): 99-114.

Examines the theme of civilized man in As You Like It, allowing that Shakespeare presents a complex social picture in the play that does not favor any of the terms nature, art, or nurture to the expense of the others.

Draper, John W. "Country and Court in Shakespeare's Plays." In Stratford to Dogberry: Studies in Shakespeare's Earlier Plays, pp. 1-10. Pittsburgh: University of Pittsburgh Press, 1961.

Discusses As You Like It and other plays by Shakespeare in their historical contexts, particularly in the contrast between urban and rural life in Elizabethan England.

Forker, Charles R. "All the World's a Stage: Multiple Perspectives in Arden." Iowa State Journal of Research 54, No. 4 (May 1980): 421-30.

Describes tensions in As You Like It in terms of "Nature versus Grace, Life versus Art, Time versus Timelessness, and Subjectivity versus Objectivity"; arguing that, though these remain unresolved in the play, they reach a synthesis in the character of Rosalind.

Fortin, René E. '"Tongues in Trees': Symbolic Patterns in As You Like It." Texas Studies in Literature and Language XIV, No. 4 (Winter 1973): 569-82.

Focusing on Act II, scene i and Act IV, scene iii, Fortin claims that Shakespeare has subtly transformed his sources to introduce classical and Christian images "that charge these key scenes with symbolic significance."

Hieatt, Charles W. "The Quality of Pastoral in As You Like It." Genre VII, No. 2 (June 1974): 164-82.

Identifies a variety of combinations of pastoral conventions in As You Like It, especially those involving the hero/shepherd motif, and determines that the irony of the Arden scenes is "alien to the pastoral mid-section of romance."

Kelly, Thomas. "Shakespeare's Romantic Heroes: Orlando Reconsidered." Shakespeare Quarterly XXIV, No. 1 (Winter 1973): 12-24.

Considers Orlando "a breed apart" from Shakespeare's usual romantic heroes, whom we are inclined to regard as peculiarly inept and slightly ridiculous.

Kuhn, Maura Slattery. "Much Virtue in If." Shakespeare Quarterly 28, No. 1 (Winter 1977): 40-50.

Close analysis of the staging, decorum, text, and dramatic recognition of Act V, scene iv of As You Like It.

Mares, F. H. "Viola and Other Transvestist Heroines in Shakespeare's Comedies." In Stratford Papers, 1965-67, edited by B. A. W. Jackson, pp. 96-109. Hamilton, Ontario: McMaster University Press, 1969.

Briefly compares Rosalind's empowering guise as a man in As You Like It to Viola's embarrassment and humiliation while disguised in Twelfth Night.

Martz, William J. "Rosalind and Incremental Development of Character in Comedy." In Shakespeare's Universe of Comedy, pp. 84-99. New York: David Lewis, 1971.

Traces the evolution of Rosalind's experience from romantic to imaginative love, to loneliness and longing, to the wooing process as self-discovery, to the "lyric wonder of love," and finally to love as an earnest passion.

Nevo, Ruth. "Existence in Arden." In Comic Transformations in Shakespeare, pp. 180-99. London and New York: Methuen & Co., 1980.

Treats As You Like It as a "meta-comedy," in which the underlying principles of Shakespearean practice "are drawn out for all to see and turned into the comic material itself."

Traci, Philip. "As You Like It: Homosexuality in Shakespeare's Play." CLA Journal XXV, No. 1 (September 1981): 91-105.

Maintains that Rosalind's multiple identities—reinforced and enlarged by the fact that her original portrayal on stage was by a young, probably effeminate, boy—suggests that homosexuality and pederasty are among the diverse sexual preferences that Shakespeare explores in As You Like It.

Turner, Frederick. "As You Like It: 'Subjective', 'Objective', and 'Natural' Time." In Shakespeare and the Nature of Time: Moral and Philosophical Themes in Some Plays and Poems of William Shakespeare, pp. 28-44. London: Oxford University Press, 1971.

Comments on the subject of time in As You Like It, examining varied presentations of social time, historical time, and the timelessness of nature, along with their relation to the theme of love.

Wilson, Rawdon. "The Way to Arden: Attitudes Toward Time in As You Like It." Shakespeare Quarterly XXVI, No. 1 (Winter 1975): 16-24.

Discusses concepts of Aristotelian time in As You Like It, concluding that "the consciousness of time continues but is transferred to the interiority of the mind's aperception," causing the concern for "objective, public time" to be lost.