16. Athenaeum, 8 February 1851, quoted in Marshall, As You Like It, p. 29.
17. Observer, 2 March 1845, quoted in Marshall, As You Like It, p. 30; Tire-sias in Greek mythology was the blind prophet of Thebes transformed into a woman for seven years.
18. Jeanette Gilder, The Critic, New York, Vol. 141, No. 51, 16 December 1882, p. 348.
19. Pall Mall Gazette, 24 January 1885, quoted in Marshall, As You Like It, p. 34.
20. Marshall, As You Like It, p. 34.
21. Theatre, 2 March 1885, quoted in Marshall, As You Like It, p. 35.
22. Mary Anderson, A Few Memories: With Portraits (London: 1896), p. 199.
23. Jeanette Gilder, The Critic, New York, Vol. 12, No. 313, 28 December 1889, p. 329.
24. Ibid.
25. George Bernard Shaw, Shaw on Shakespeare: An Anthology of Bernard Shaw’s Writings on the Plays and Production of Shakespeare, ed. Edwin Wilson (1961, reprinted 1971), pp. 23–35.
26. Marshall, As You Like It, p. 49.
27. Ibid., p. 51.
28. Oscar Asche, Oscar Asche (1929), p. 120.
29. Marshall, As You Like It, p. 55.
30. Ibid., p. 53.
31. Ibid.
32. The Times (London), 23 April 1919.
33. Manchester Guardian, 23 April 1919.
34. Related in Sally Beauman, “The New Chairman,” in The Royal Shakespeare Company: A History of Ten Decades (1982), pp. 47–67.
35. J. C. Trewin, Shakespeare on the Stage, 1900–1964: A Survey of Productions (1964), pp. 127–98.
36. Brooks Atkinson, New York Times, 27 January 1950.
37. The Times (London), 30 April 1952.
38. Muriel St. Clare Byrne, Shakespeare Quarterly, Vol. 8, Autumn 1957, pp. 461–92.
39. H. Granville-Barker, Plays and Players, Vol. 4, No. 8, May 1957, p. 13.
40. Marshall, As You Like It, p. 64.
41. Ibid., p. 67.
42. Ibid., p. 68.
43. Ibid.
44. Ibid.
45. Ibid., p. 69.
46. Ibid.
47. Ibid., p. 81.
48. Irving Wardle, The Times (London), 4 October 1967.
49. Dana Adams Schmidt, New York Times, 6 October 1967.
50. Wardle, The Times (London), 4 October 1967.
51. Martin Gottfried, “British Theater: ‘As You Like It,’ ” in his Opening Nights: Theater Criticism of the Sixties (1969), pp. 284–87.
52. Wardle, The Times (London), 4 October 1967.
53. Colin Chambers (RSC Literary Manager at the time) quoted in Marshall, As You Like It, p. 33.
54. Glenn Loney, “Shakespeare, the Canadian,” Christian Century, Vol. 94, No. 31, 5 October 1977, pp. 882–84.
55. Roger Warren, Shakespeare Survey, Vol. 33, 1980, pp. 169–80.
56. Marshall, As You Like It, p. 60.
57. Ibid., p. 69.
58. Independent, 4 January 1995.
59. City Limits, 12 December 1991.
60. Jonathan Bate and Russell Jackson, eds, Shakespeare: An Illustrated Stage History (1996), p. 6.
61. Robert Brustein, New Republic, Vol. 221, No. 14, 4 October 1999, pp. 35–36.
62. Lois Potter, Shakespeare Quarterly, Vol. 50, No. 1, Spring 1999, pp. 76–77.
63. Potter, Shakespeare Quarterly.
64. Marshall, As You Like It, p. 65.
65. Ibid., p. 86.
66. Amelia Marriette, “Urban Dystopias: Reapproaching Christine Edzard’s As You Like It,” in Shakespeare, Film, Fin de Siècle, ed. Mark Thornton Burnett and Ramona Wray (2000), pp. 73–88.
67. Marshall, As You Like It, p. 86.
68. Ibid.
69. Richard David, “Reality and Artifice,” in Shakespeare in the Theatre (1978).
70. Bamber Gascoigne, Spectator, Vol. 207, No. 6943, 14 July 1961.
71. J. W. Lambert, Sunday Times, 9 July 1961.
72. Marshall, As You Like It.
73. Penny Gay, As She Likes It: Shakespeare’s Unruly Women (1994).
74. Roger Warren, Shakespeare Quarterly, vol. 37, no. 1, Spring 1986.
75. Benedict Nightingale, New Statesman, vol. 99, no. 2560, 11 April 1980.
76. Irving Wardle, The Times (London), 5 April 1980.
77. John Bowe, “Orlando,” in Players of Shakespeare, ed. Philip Brockbank (1985).
78. Nicholas de Jongh, Guardian, 19 December 1985.
79. Ibid.
80. Marshall, As You Like It.
81. Gregory Doran on his idea for the setting of As You Like It, 2000, interviewed by Nigel Cliff, The Times (London), 22 March 2000.
82. Donald Baker, Cahiers Elisabethains, No. 18, October 1980.
83. John Elsom, Listener, Vol. 98, No. 2526, 15 September 1977.
84. B. A. Young, Financial Times, 9 November 1977.
85. Sunday Times, 11 November 1977.
86. Robert Speaight, Shakespeare Quarterly, Vol. 24, No. 4, Autumn 1973.
87. Jeremy Kingston, Punch, 20 June 1973.
88. B. A. Young, Financial Times, 13 June 1973.
89. Marshall, As You Like It, quoting from the Financial Times’ review, 13 June 1973.
90. Katharine Duncan-Jones, “The Play in Performance,” in William Shakespeare: As You Like It, ed. H. J. Oliver (2005).
91. Bernard Levin in a review of “As You Like It,” in Royal Shakespeare Theatre Company 1960–1963, ed. John Goodwin (1964).
92. Gascoigne, Spectator, 14 July 1961.
93. J. W. Lambert, Sunday Times, 9 July 1961, quoted in Gay, As She Likes It.
94. Noel Witts, Plays and Players, Vol. 25, No. 2, November 1977.
95. Nicholas de Jongh, Evening Standard, 23 April 1992.
96. Fiona Shaw and Juliet Stevenson, “Celia and Rosalind in As You Like It,” in Players of Shakespeare 2, ed. Russell Jackson and Robert Smallwood (1988).
97. Benedict Nightingale, New Statesman.
98. Michael Billington, Guardian, 19 August 2005.
99. Suzie Mackenzie, Time Out, 2 January 1986.
100. Warren, Shakespeare Quarterly.
101. Michael Billington, Guardian, 13 June 1973.
102. Ibid., 30 April 1996.
103. Paul Taylor, Independent, 22 August 2005.
104. Peter Holland, English Shakespeares (1997), quoting from the Times Literary Supplement, 8 May 1992.
105. Benedict Nightingale, The Times (London), 12 April 1990.
106. David, “Reality and Artifice.”
107. Irving Wardle, The Times (London), 5 April 1980.
108. Stanley Wells, Shakespeare: The Poet and His Plays (1997).
109. Young, Financial Times, 9 November 1977.
110. David Tennant, “Touchstone,” in Players of Shakespeare 4, ed. Robert Small wood (1998).
111. Christopher Edwards, Spectator, Vol. 254, No. 8184, 18 May 1985.
112. Susan Irvine, Sunday Telegraph, 21 August 2005.
113. Charles Spencer, Daily Telegraph, 19 August 2005.
114. Billington, Guardian, 19 August 2005.
115. David, “Reality and Artifice.”
116. Ibid.
117. J. W. Lambert, Sunday Times, 17 June 1973.
118. The Times (London), 5 July 1961.
119. Wardle, The Times (London), 5 April 1980.
120. Duncan-Jones, “The Play in Performance.”
121. Peter Holland, Shakespeare Survey, Vol. 44, 1991.
122. Robert Smallwood, Shakespeare Quarterly, Vol. 41, No. 4, Winter 1990.
123. John Peter, Sunday Times, 26 April 1992.
124. John Mullan, Times Literary Supplement, 17 May 1996.
125. Billington, Guardian, 30 April 1996.
126. Gay, As She Likes It.
ACKNOWLEDGMENTS AND
PICTURE CREDITS
Preparation of “As You Like It in Performance” was assisted by a generous grant from the CAPITAL Centre (Creativity and Performance in Teaching and Learning) of the University of Warwick for research in the RSC archive at the Shakes
peare Birthplace Trust. The Arts and Humanities Research Council (AHRC) funded a term’s research leave that enabled Jonathan Bate to work on “The Director’s Cut.”
The interview with Naomi Frederick is adapted from her rehearsal blog on playing Rosalind at Shakespeare’s Globe in the summer of 2009, with her generous permission and that of the Shakespeare Globe Trust.
Picture research by Michelle Morton. Grateful acknowledgment is made to the Shakespeare Birthplace Trust for assistance with reproduction fees and picture research (special thanks to Helen Hargest).
Images of RSC productions are supplied by the Shakespeare Centre Library and Archive, Stratford-upon-Avon. This library, maintained by the Shakespeare Birthplace Trust, holds the most important collection of Shakespeare material in the UK, including the Royal Shakespeare Company’s official archive. It is open to the public free of charge.
For more information see www.shakespeare.org.uk.
1. Ada Rehan as Rosalind (1889) Reproduced by permission of the Royal Shakespeare Company
2. Directed by Glen Byam Shaw (1957) Angus McBean © Royal Shakespeare Company
3. Directed by Terry Hands (1980) Joe Cocks Studio Collection © Shakespeare Birthplace Trust
4. Directed by Michael Elliot (1961) Angus McBean © Royal Shakespeare Company
5. Directed by Steven Pimlott (1996) Malcolm Davies © Shakespeare Birthplace Trust
6. Directed by Dominic Cooke (2005) Keith Pattison © Royal Shakespeare Company
7. Directed by Michael Boyd (2009) Ellie Kurttz © Royal Shakespeare Company
8. Directed by Thea Sharrock (2009) © Donald Cooper/photostage.co.uk
9. Reconstructed Elizabethan Playhouse © Charcoalblue
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Act 1 Scene 1
1.1 Location: the whereabouts of Oliver’s household is unspecified
1 Adam name evocative of the biblical first man
2 poor only
2 crowns gold coins
3 charged order was given to
3 breed bring up
5 keeps at school maintains at university
7 stays detains
7 unkept poorly maintained
9 stalling stall accommodation
10 fair in fine condition
11 manage trained movements
11 riders horse trainers
11 dearly at great cost
13 bound indebted
15 countenance behavior/attitude to me/support
16 hinds servants/farmworkers
17 as … lies to the best of his ability
17 mines my gentility undermines my status as a gentleman
18 grieves vexes
21 avoid put an end to
23 Go apart stand aside
24 shake me up abuse/scold me
25 make do (Orlando picks up on the sense of “create”)
27 mar ruin
28 Marry by the Virgin Mary (perhaps plays on mar)
30 be naught awhile i.e. be gone
33 prodigal portion biblical allusion to the prodigal (wastefully lavish) son, who, having spent all his money, had to look after pigs and eat their scraps
36 orchard garden
38 knows is aware of/acknowledges the claims of
39 in … blood because of our noble breeding
40 courtesy of nations established custom of civilized society (i.e. rights of inheritance)
42 tradition custom/surrender (of privilege)
42 blood nobility/kinship/anger
44 is … reverence accords you more of the respect that was due to him
48 young immature/inexperienced
49 villain scoundrel (Orlando plays up the sense of “low-born person”)
51 de Bois “of the woods” (French, though probably anglicized to pronunciation “boys”)
52 begot conceived
55 railed on insulted
56 father’s remembrance the sake of your father’s memory
62 qualities accomplishments
64 exercises activities/skills
64 become suit
65 allottery share, allocation
65 testament will
69 will (father’s) bequest/(your)wish
70 offend vex/assail
76 grow upon trouble/take liberties with
77 physic cure
77 rankness insolence/overgrowth/disease
78 neither either
78 Holla a shout to catch attention
82 So if it
82 importunes asks insistently for
86 morrow morning
91 loving i.e. loyal
93 good leave full permission
98 ever constantly
99 to stay by staying
101 loved i.e. one other
103 Forest of Arden the Forêt des Ardennes in France; Shakespeare would have also known the Forest of Arden near Stratford-upon-Avon
105 Robin Hood popular English outlaw who lived in a forest and robbed the rich to feed the poor
106 fleet pass
106 carelessly in a carefree way
107 golden world in classical mythology, the earliest of ages, when life was idyllic
112 fall (wrestling) bout
113 credit reputation
114 tender inexperienced
115 foil defeat
117 withal with this
118 stay … intendment keep him from carrying out his intention
118 brook endure
119 search seeking
122 kindly requite fittingly/graciously reward
123 underhand secret
126 envious emul
ator malicious disparager
127 parts qualities
128 lief willingly
130 look to’t beware
131 grace … thee gain honor at your expense
131 practise scheme
132 device stratagem
136 anatomize dissect, reveal
140 payment punishment
140 go alone walk unaided
144 gamester sportsman
145 gentle wellborn/honorable/kind
146 device ingenuity/intention/witty expression/conversation
147 sorts social classes/types of people
149 misprised despised/undervalued
150 clear settle
151 kindle … thither encourage Orlando to go to the wrestling match
Act 1 Scene 2
1.2 Location: the whereabouts of the court is unspecified
1 coz short for “cousin”
3 would wish
4 learn teach
8 so provided that
11 righteously tempered correctly constituted/properly tuned
12 estate fortune
15 like likely
16 perforce of necessity
20 sports pastimes
22 make sport have fun (plays on the sense of “have sex”)
22 withal with (perhaps with play on “with all”)
23 neither … again without being able to escape virtuously with no more than an innocent blush (come off plays on the sense of “have an orgasm”)
27 housewife mistress of the household/hussy
31 bountiful blind woman i.e. Fortune, traditionally depicted as a blind woman turning a wheel
33 fair beautiful
34 honest chaste/virtuous
35 ill-favouredly ugly
36 office role
38 lineaments features
38.1 Touchstone stone used to test the quality or genuineness of gold and silver alloys
40 fall … fire i.e. come to disaster (by being burned and disfigured, by losing her virginity, or by contracting venereal disease)
41 wit intelligence
41 flout at mock
42 fool i.e. Touchstone
44 natural idiot
46 Peradventure perhaps
48 whetstone stone used for sharpening tools
50 wit … you “Wit, whither wilt thou?” (i.e. proverbial; refers to one with “wandering” wits)
52 messenger bearer of news/official employed to apprehend state prisoners
56 pancakes these could also have savory fillings
57 naught worthless
57 stand to maintain, insist upon
59 forsworn perjured
As You Like It Page 21