CRITICISM

Black, James. “The Marriage-Music of Arden.” English Studies in Canada 6, no. 4 (winter 1980): 385-97.

Analyzes the behavior of the major characters of As You Like It and their concerns with romantic love while residing in the Forest of Arden.

Burns, Margie. “Odd and Even in As You Like It.” Allegorica 5, no. 1 (summer 1980): 119-40.

Comments on the movement toward harmony, continuity, community, and the resolution of ambiguity in As You Like It.

Daley, A. Stuart. “To Moralize a Spectacle: As You Like It, Act 2, Scene 1.” Philological Quarterly 62, no. 2 (spring 1986): 147-70.

Interprets the iconographic and metaphorical significance of the First Lord's speech in Act II, scene i of As You Like It, observing its attention to the possibility of a providential restoration of a better and more virtuous world.

Elam, Keir. “‘As They Did in the Golden World’: Romantic Rapture and Semantic Rupture in As You Like It.” Canadian Review of Comparative Literature 18, nos. 2-3 (June-September 1991): 217-32.

Observes Shakespeare's playful and ironic recasting of the pastoral romantic mode in As You Like It.

Fitter, Chris. “The Slain Deer and Political Imperium: As You Like It and Andrew Marvell's “Nymph Complaining for the Death of Her Fawn.” Journal of English and Germanic Philology 98, no. 2 (April 1999): 193-218.

Suggests an analogical link between the aristocratic pastime of deer-hunting and political tyranny in the metaphors of As You Like It and Marvell's poem “The Nymph.”

Hutchings, W. “‘Exits and Entrances’: Ways In and Out of Arden.” Critical Quarterly 21, no. 3 (1979): 3-13.

Stresses the conventionality of As You Like It as an artificial, pastoral comedy, while observing the lurking seriousness of the drama.

Rothwell, Kenneth S. “Shakespeare Goes Digital.” Cineaste 25, no. 3 (June 2000): 50-5.

Includes a brief review of the digitally mastered 1936 film adaptation of As You Like It, directed by Paul Czinner and starring Laurence Olivier and Elisabeth Bergner, in which Rothwell admires the “bubbly” performance of Bergner in the role of Rosalind.

Schleiner, Louise. “Voice, Ideology, and Gendered Subjects: The Case of As You Like It and Two Gentleman.” Shakespeare Quarterly 50, no. 3 (fall 1999): 285-309.

Applies an array of modern theoretical approaches—psychoanalytic, cultural-materialist, deconstructive, and gender—to an understanding of the ideological tensions in As You Like It and The Two Gentlemen of Verona.

Shapiro, Michael. “Layers of Disguise: As You Like It.” In Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages, pp. 119-42. Ann Arbor: University of Michigan Press, 1994.

Notes the patterns of power derived by Rosalind from her gendered disguise in As You Like It, and compares this dramatic technique with that of a number of contemporary theatrical works.

Soule, Lesley Anne. “Subverting Rosalind: Cocky Ros in the Forest of Arden.” New Theatre Quarterly 7, no. 26 (May 1991): 126-36.

Considers the subversion of received ideas relating to masculinity, femininity, and love in As You Like It when one observes that the character of Rosalind was originally portrayed by an adolescent boy.

Stirm, Jan. “‘For solace a twinne-like sister’: Teaching Themes of Sisterhood in As You Like It and Beyond.” Shakespeare Quarterly 47, no. 4 (winter 1996): 374-86.

Offers a feminist, anthropological, and pedagogical approach to As You Like It as an early modern text that employs the trope of sisterhood.

Strout, Nathaniel. “As You Like It, Rosalynde, and Mutuality.” Studies in English Literature, 1500-1900 41, no. 2 (spring 2001): 277-95.

Contrasts the male-centeredness of Shakespeare's source-text, Thomas Lodge's 1590 romance Rosalynde, with the gender mutuality of As You Like It.

Tvordi, Jessica. “Female Alliance and the Construction of Homoeroticism in As You Like It and Twelfth Night.” In Maids and Mistresses, Cousins and Queens: Women's Alliances in Early Modern England, edited by Susan Frye and Karen Robertson, pp. 114-30. New York: Oxford University Press, 1999.

Contends that the erotic attachments between Celia and Rosalind in As You Like It and Maria and Olivia in Twelfth Night challenge the “heterosexual imperatives” of these texts.

Waddington, Raymond B. “Moralizing the Spectacle: Dramatic Emblems in As You Like It.” Shakespeare Quarterly 33, no. 2 (summer 1982): 155-63.

Traces the emblematic features of As You Like It, linking them to the drama's theme of romantic love culminating in marriage.

Whall, Helen M. “As You Like It: The Play of Analogy.” Huntington Library Quarterly 47, no. 1 (winter 1984): 33-46.

Views As You Like It as a highly complex drama in which Shakespeare invites observers to make comparisons and draw analogies as he reworks the conventions of pastoral romance.

Wilson, Richard. “‘Like the Old Robin Hood’: As You Like It and the Enclosure Riots.” Shakespeare Quarterly 43, no. 1 (spring 1992): 1-19.

Topical evaluation of As You Like It that relates the drama to the disruptive social period of 1590s England in its thematic response to disorder.