Outline for the Study of As You Like It
I. Preparation
As You Like It differs greatly from The Merchant of Venice and Macbeth in its appeal to the mind. To the lover of literature it is one of the most delightful of all Shakespeare's plays; but its interest is primarily æsthetic, not intellectual. For this reason it is extremely difficult to devise any satisfactory plan of study. The enthusiastic teacher will find ways of imparting enthusiasm to his pupils, but he cannot tell how he does it.
If this is not the first of Shakespeare's plays for the class to study, a review of what they have previously learned about the author and his work will make a good beginning; otherwise the best introduction is the reading of the play.
II. First Reading
As You Like It is one of the plays that best repays oral reading, therefore the finest passages, at least, should be read aloud. But the chief purpose of the first reading is to get a clear idea of the development of the story. To this end the student should understand the purpose of each act and the relation of the scenes to one another.
III. Second Reading and Study
Attention should now be given to the explanation of unusual words and constructions, to the interpretation of important passages, to the study of plot and character, and to memorizing the best passages.
IV. Study of the Play as a Whole
Setting and Situation.—What sort of place is the Forest of Arden? Does it seem attractive? Why? Describe the life that the natives lead.
Contrast the life of the Duke, Rosalind, Celia, and their friends in the forest with the life at court.
What chances had Shakespeare had to observe the different kinds of life portrayed here?
Plot.—Show the steps of the plot from its beginning in I, 2 to its climax in III, 2, and from the climax to the conclusion.
Compare this play with The Merchant of Venice in respect to tragic features and to simplicity.
Why are the minor love stories introduced?
Characters.—Contrast Orlando and Oliver as they are first presented.
What is there to give us a good impression of Orlando before he does anything to earn it? Show how our good opinion of him is strengthened by his actions in I, 2; II, 6; IV, 3, etc.
What first prejudices us in favor of Rosalind? How does the author use Celia to make us like Rosalind the more? What characteristics are brought out to give us further admiration for Rosalind in II, 4; III, 2; III, 4; IV, 3; V, 2, etc.?
What is the chief characteristic of Jacques that distinguishes him from his companions? How is his view of life made to add to our appreciation of the life in the forest? Note how many of the fine passages of the play Shakespeare has put in the mouth of Jacques. Why do you suppose he did this?
Contrast the two dukes. Are they conventional characters, or do they have distinct personalities? Compare Touchstone with Wamba in Ivanhoe.
Form.—What is the normal meter?
Show how Shakespeare varies the normal line by changing the number of the syllables; the relative position of the accented and the unaccented syllables; and the position of the pauses.
What characters always speak in prose? There is no accepted theory to account for Shakespeare's use of prose, but can you see any difference in the importance of the thought or in the depth of feeling between scenes altogether in prose and those altogether in verse?
The Life and Character of the Author.—See outline for the study of The Merchant of Venice, p. 72.