Academic: Gender Roles in Shakespeare’s As You Like It
Haley Floyd
Chris Gazzara
LIT - 319
February 19th 29, 2019
Gender Roles in Shakespeare’s As You Like It
The idea of gender and the roles they play in society has been an idea that has persisted for thousands of years. According to Amy M. Blackstone,
Gender roles are based on the different expectations that individuals, groups, and societies have of individuals based on their sex and based on each society's values and beliefs about gender. Gender roles are the product of the interactions between individuals and their environments, and they give individuals cues about what sort of behavior is believed to be appropriate for what sex. Appropriate gender roles are defined according to a society's beliefs about differences between the sexes.(Blackstone)
Through every era, every century, and every culture there have been changing standards and ideas as to how gender relates to society. This is no different in the case of the Elizabethan era. When it comes to the idea of gender roles, the Elizabethan era seemed to be rather straight forward with its ideas, and remained a rather strict time period for these roles because of it. In the Elizabethan era, gender served as a role descriptor, and determined where a person stood and what they were meant to be doing. Men were to act as the breadwinners of the family and women the housekeepers. In fact, during the Elizabethan times “Almost all Elizabethans considered women to be inferior to men. Except in special circumstances, women could not inherit the family property. They were expected to obey their male relatives and had few rights,” ("Daily Life in the Elizabethan Era.”). There was high pressure to maintain social and cultural standards and these standards also applied to gender relation in turn. Even men were held to a high standard, with certain behaviors and actions expected of them, such as serious and logical behavior and the need to be married regardless of how one may feel about such marriages. This where As You Like It comes heavily into play as Shakespeare aggressively resists the general expectations associated with gender roles. In this play, nothing is truly as it seems and very few apply themselves to the “appropriate” role they would have in Elizabethan society, Women acting as the dominant force, men putting their hearts on their sleeves, and a mixing of stereotypes coming together to form one large human existence. Ambiguity masks the characters from society and what is to be considered “standard” for the time and allows more freedom in the exploration of roles outside of that which has been granted to them for each character. Gender roles is a theme utilized by Shakespeare in As You Like It that remains relevant in contemporary society due to its representation of the complexity of gender stigmas, making it a lasting topic of debate through centuries as roles and common beliefs continue to experience change.
There is a certain displayed within As You Like It that encourages the audience of the piece to consider whether this piece was ahead of its time. Gender roles are a heavily reoccurring idea in Shakespeare’s plays and never seem to play out the same as the theme is expressed between pieces. This is no different when it comes to As You Like It. Gender roles manage to step out of their stereotypical homes as they are subjected to twists and turns not familiar within an Elizabethan context. As previously stated, gender served as the descriptor for ones responsibilities during the Elizabethan period. However, it was one of Shakespeare’s goals in this play to divert these expectations entirely. The primary representation of this diversion lies in the character Rosalind. Being a woman, the common expectation would be for Rosalind to be a rather emotional and submissive sort. However, rather than acting as the submissive in her relationship with other males, Rosalind instead takes charge of her life and pursues life in the way she sees fit. Such a pursuit is in Rosalind’s eventual marriage to Orlando. Never once was she commanded to do so or pursue this union. Rather, Rosalind chose this pursuit of her own accord, and in the end “Rosalind’s marriage to Orlando is motivated not by her father’s wishes but by her own long-standing desire” (Rackin). In using Rosalind as a representation of a rebellious member of a strict culture and social structure, Shakespeare effectively created a rift in gender role expectations. However, this is far from the only example, as Rosalind is far deeper than her independent nature, and far from the only character who steps out of her assigned role.
With a deeper understanding of typical gender relations in Elizabethan culture displayed, take a closer look at the play and how this piece handles the idea of gender. First thing is first: everything seems to be rather backwards in this piece. Not only is there a sense of ambiguity because of the disguises and crossdressing displayed in the play, but there is also a switch up of traits commonly associated with the male and female genders in general. This point is proved to be especially true through the use of Rosalind and Orlando as characters. As an example, even before entering disguise, Rosalind proves to be much more than a simple minded young woman driven by the ideas of emotion and illogical thought often associated with women at the time. Instead, Rosalind shows to be independent from the world around her, and acts in a manner that few would have associated with a woman during this time period because of it. She proves to be aggressive in her purists as a person rather than the reserved daughter many might associate with a maid during this time. As Peter Erickson puts it, she is “witty, strong and manipulative as she uses her superior wit…to disabuse Orlando of his stock notions of male and female roles in love.” (Erickson) Her actions enforced a strong idea of rationality and logic while still appealing to the human nature of her own idealism. This idea is only furthered after Rosalind puts on her disguise and enters the world of man as a man as, “dressed as a man, a nubile woman can go places and do things she couldn’t do otherwise,” (Park 108). Taking on the mantle of Ganymede in order to escape the dangers presented to a woman in such a place, such as thieves and rapists, Rosalind effectively masks her gender, blending her personality with that which would be expected of the gender of her mask all the while creating a face of ambiguity while doing it. In doing this, Rosalind entered a very unique level in the gender spectrum, acting as a woman whom acted as a man while also acting as a woman, merging herself into somewhat of an anomaly in the process. It is this process, however, that allows her to take control of her life and herself as she progresses through the story. In sharp contrast, Orlando is often seen letting his heart be his guide in many situations, and proves to be a very emotionally driven character. He writes poetry, a hobby one may consider feminine of nature at the time, and often speaks in dramatics, such as when he says “I would not have my right Rosalind of this / mind, for I protest her frown might kill me,” (Shakespeare 4.1.14-15). Even Rosalind appears to call Orlando out on his dramatics, stating “Men have died from time to time, and worms have / eaten them, but not for love, (Shakespeare 4.1.112-113)” when Orlando insists he would perish if Rosalind did not love him, further proving Orlando’s dramatics while insinuating just how level headed Rosalind is as a woman. As a whole, it can be said that “it is Rosalind who intelligently and realistically speaks from the head as when she tells Phebe, "Sell when you can: you are not for all markets" (III. iv. 60). And it is Orlando, the man, who speaks from the heart, responding to Ganymede's realism with "I would not be cured, youth" (III. ii. 444).” (Beckman 47; Shakespeare). Orlando speaks with a skip in his step and his heart of his sleeve, and is not afraid to let the world know that, even if he’s a man, he, as a human, has feelings as well. This fact is something of an anomaly in Elizabethan literature, as women were rarely associated with being the brains of the world, and men rarely were known to wear their heart on their sleeves. However, it is not to say that the pair could not have both, as both genders have a tendency to display traits shared by the opposite.
When put together, these two characters manage to defy most every stereotype in the book due to their rather uncharacteristic actions. However, the pair also do not hesitate to show weaker sides of themselves, displaying traits still applied to their own gender, making them into the complex humans they are. While Rosalind may prove to be a level headed and intelligent woman, she is not above the occasional emotional outburst. Such an example is Rosalind’s emotional outburst when she discovers Orlando’s poetry about her, saying “Alas the day! what shall I do with my doublet /and hose? What did he when thou saw'st him? What / said he? How looked he? Wherein went he? What / makes him here? Did he ask for me? Where remains / he? How parted he with thee? And when shalt thou / see him again? Answer me in one word.” (Shakespeare 3.2.223-228) As for Orlando? Well he may be in touch with his emotions, but this makes him not less brave or outspoken as a man, standing up for his father in the face of Duke Frederick, stating “I am more proud to be Sir Rowland's son, / His youngest son, and would not change that calling / To be adopted heir to Frederick. (Shakespeare 1.2.228-230). Both characters manage to exhibit traits associated with the opposite gender, but still manage to exist within their own. It’s important to understand why this is so vital to the idea of this theme however, by exploring the fact that this idea of gender applied to not just black and white male and female roles, but to roles as humanity in real and true culture of the time.
With an understanding of how these characters act and what makes them the way they are, it’s important to realize why this is relevant. Shakespeare’s use of these characters was, in many ways, an effective criticism of society at its time. It can be argued that through as you like it, Shakespeare opened a door that allowed the idea of a more ambiguous idea of gender to be unveiled to the public, even if received initially as only comedy and satire. His use of characterization to breathe life into a woman with a mind and a man with a heart helped open a passageway for life to follow suit. This piece takes the idea of gender and forces it far ahead of its time, Shakespeare managing to produce something that enforces a level of ambiguity and equality in the gender spectrum. It displays the theme of gender relations outside of a stereotypical context, and explores gender as something that fluctuates rather than remaining a static set categorized list of stereotypes and traits associated with specific genders, an idea that would continue to be furthered into the future and remain a theme often brought up and fought over when it comes to genders and their given roles. Yet neither of these characters are portrayed as inherently being wrong or outlandish for displaying traits if the opposite or both genders, as Shakespeare takes advantage of the idea of masking the gender influence of various characters in order to continue to provide ambiguity to their emotions and actions All of this reflection upon his own society and time could very well have seemed satirical or comedic at the time to many audiences and critics, yet, in a way, it is likely such a story could have planted the seeds of doubt into the heads of members of the society and culture. At a modern level, “Many critics have been intrigued by Shakespeare's ambiguous depiction of gender issues in As You Like It, observing that the playwright manipulated the Elizabethan theatrical device of cross-dressing boy actors to provide his heroine, Rosalind, with an unprecedented level of control in the comedy.” (Lee) this fact has led to a plethora of speculation when it comes to this story, from the speculation from Stephen J. Lynch that “Shakespeare was merely responding to a rapidly changing early modern culture in which concepts of gender had become radically destabilized,” (Lee; Lynch) to Cynthia Lewis’s belief that “the dramaturgy of As You Like It to demonstrate that it reveals a striking thematic pattern of masculine anxiety about cuckoldry and feminine potency,” (Lee; Lewis). Regardless, there was an overall positive outlook on this piece during it’s time of creation, yet it did not come heavily into the spotlight again until the 18th century, indicating it’s major influences did not come until a date long after it’s initial production. Despite the time it took to come to life, the characterization in this story helped to influence the setting of this story and the world itself by confronting the idea of a man’s world versus a woman’s and creating instead a complex human world.
As You Like It is not the only piece of Shakespeare’s work that deals with the idea of gender roles. Another piece that may often be associated with this theme is the play Twelfth Night. This play also deals heavily with the idea of escaping gender norms through the use of masks and disguises. Much like Rosalind in As You Like It, the character Viola enters a crossdressing disguise in order to better fit into and maneuver about society without the restrictions often applied to females at the time. This grants her a similar level of freedom that Rosalind possessed in As You Like It and gives similar suggestions as to the power and influence of gender during this time period while also expressing a strong female character that manages to go against the grain and come out on top at the end. Not every one of Shakespeare’s displays gender roles in a similar manner, however. Another piece that deals heavily with gender roles is The Taming of the Shrew. In this piece, as opposed to a strong female character taking life into her own hands, the audience is presented with a less favorable woman in Katherine who comes into submission rather than maintaining a level of independence as Rosalind and Viola do. This story presents the theme in a way much more at level with the standards of society at the time, a much different level comparted to As You Like It and Twelfth Night. Overall, Shakespeare takes care to address the theme of gender roles from multiple angles and does so in a way that is comparable not only to his own time, but also that of contemporary society.
There are a variety of works that prove the validity of the theme of gender roles used by Shakespeare hundreds of years ago. One such example is the children’s book William’s Doll. This story is short and sweet, as with many children’s picture books, yet its theme is enduring and representative in a similar way to As You Like It. The story applies the common ideas of gender roles and what is appropriate versus what is not to the young boy for whom the book is named, William. William finds himself desiring a doll, yet his father attempts to divert the boy at every turn, offering him up “boy” toys in the process. These actions are representative of gender norms and what society believes should be applied to the male gender, categorizing their behavior and hobbies. However, William is representative of a break out of these stereotypes in a similar way to Orlando from As You Like It. Rather than allow the people around him encourage behavior that would seem appropriated by culture, William is adamant about what he wants and is not afraid to go against societal expectations to put his heart on his sleeve and obtain this “toy for girls.” This story further challenges societal standards by applying the idea of the doll and William and comparing it to the relationship between a father and a baby, challenging the social stigma that comes with a toy that represents real life action. This example acts as a modern day representation of gender roles and the ideas that accompany them in an almost identical fashion featuring only a different setting. Both these stories take a person or peoples acting against their social and cultural expectations and being displayed as healthy individuals despite, acting as an important representation for gender ambiguity and freedom. Despite the different story ideas, the representation of ambiguity and stigmas associated with each gender remains the same, representing a constant and lingering problem in society despite the years between them.
Another example of a contemporary text that reflects the theme of gender roles in a contemporary setting is She's the Man. This movie is particularly represented of the theme because of its direct inspiration being drawn from Shakespeare’s Twelfth Night, another of his plays dealing with gender roles and relations. In this movie, much like the play from which it is based and in a similar fashion to Rosalind, our main character, Viola takes on the role and disguise of a male in order to help her brother, but also in an attempt to bypass limits set by to her because of her gender in her attempts to join the boys soccer team. Because of the similarities shared, similar observations posed for Rosalind can also be seen here, referring back to a previous observation by Park that “dressed as a man, a nubile woman can go places and do things she couldn’t do otherwise,” (Park 108). This idea applies heavily to the character of viola here. Because of this, the movie is representative, in a way similar to that of the original Twelfth Night, of the idea of gender ambiguity as norms are thrown out the window by the female protagonist in order to push further in the world, showing just how many traits each gender truly shares with each other. This particular piece acts as a direct representation of the theme originally presented by Shakespeare’s original pieces, despite the more contemporary setting. Underneath more slapstick humor it presents, its ideas still explore the limitations of gender and the roles they are presented with, along with the interactions they share with one another.
Both Williams Doll and Shes the Man take different approaches to addressing the theme of gender roles in comparison to works such as As You Like It or Twelfth Night. Both contemporary pieces address the issue in terms of a much more modern setting and revolve around stigmas more present at their own time period than those of periods belonging to hundreds years passed, applying a much more modern setting and situation. However, there is a level of endurance from these historical pieces due to the lingering issues that still remain present from this time period. Each of these pieces addresses the same issues that have been around for hundreds of years, even if they have been slowly changing in form over time. Despite the changes, the ideas behind these issues remain the same, with expectations still being placed upon genders to the degree of social propriety to this day. While these pieces may represent issues in different ways due to their different setting and situations, they all address the same issues through the use of the challenging of social standards when it comes to the idea of gender roles and relations.
The idea behind Gender is a theme that has been utilized for centuries and was taken advantage of by Shakespeare due to its representation of the complexity of gender stigmas, and remains relevant in contemporary society for this very reason. One of the largest ideas explored within As You Like It is the idea behind the fact that gender is not something that is set in stone. In fact, a study carried out by Zlatan Krizan, Ethan Zell, and Sabrina Teeter – “found an almost 80 percent overlap for more than 75 percent of the psychological characteristics, such as risk taking, occupational stress and morality. Simply put, our differences are not so profound,” (Hunt). Krizan continued this idea by stating “”…when it comes to most psychological attributes, we are relatively similar to one another as men and women,” Krizan said. “This was true regardless of whether we looked at cognitive domains, such as intelligence; social personality domains, such as personality traits; or at well-being, such as satisfaction with life,””(Krizan; Hunt). Within this story, this very fact is reflected by many characters. Rosalind is a woman, yet applies herself to stigmas attached to both men and women, as does Orlando. This play carefully follows the lines of the fact that, despite any anatomical or outward differences, the mental state of gender and sex is not entirely different from one another. It is ideas like this that put Shakespeare ahead of his own time, and reasons why he and the themes he addresses continue to endure. His addressing of social issues are not limited to those of simply his own time or the expectations of his own society. Rather, Shakespeare takes a rather large step out of the box when dealing with themes and issues, and is not afraid to poke holes in tradition, whether it is for the sake of satire or not. This is what makes his portrayal of such ideas so relevant even in contemporary society. Consider a theme or a problem to be like water. This water, it changes, it moves, it takes forms; if you were to poor water into 10 different shaped ice cube trays, each would come out looking different. But this doesn’t change the fact that it is still just that: water. Consider themes and the issues they address to be similar. These themes change and mutate over time, taking different forms depending on the era and what is relevant at the time. However, despite all these changes, the core elements still reside within that theme. This is what keeps themes from hundreds of years ago still fresh on the plate and young in the mind.
Shakespeare chose to continually address issues which showed a capacity to form change. He began to address subjects which were relevant and debated not simply during his own time, but during time as a whole. Shakespeare managed to subject his audiences to new ideas, experiences and situations, and this included the idea of Gender Roles. Gender roles, being relevant hundreds of years ago, make them liable to remain as such, as they have managed to hundreds of years before even then. It is for this reason that these ideas will likely remain in society through the future. They have the ability to continue changing as culture changes, and the capacity to remain as relevant as they are today and equally as so as they were hundreds of years prior. Shakespeare’s legacy has the capacity to endure because he discussed that which not just currently relevant, but had been so for years on end. Because of this idea, it is very likely that Shakespeare’s ideas will prevail through the test of time, continuing to be relevant in a contemporary society due to their ability to break the mold from which they were born and continue shifting as society continues to take new shapes.
Works Cited
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Blackstone, Amy. 2003. "Gender Roles and Society." Pp 335-338 in Human Ecology: An Encyclopedia of Children, Families, Communities, and Environments, edited by Julia R. Miller, Richard M. Lerner, and Lawrence B. Schiamberg. Santa Barbara, https://digitalcommons.library.umaine.edu/cgi/viewcontent.cgi?article=1000&context=soc_facpub
Beckman, Margaret Boerner. "The Figure of Rosalind in As You Like It." Shakespeare Quarterly 29.1 (1978): 44-51.
"Daily Life in the Elizabethan Era." Elizabethan World Reference Library, edited by Sonia G. Benson and Jennifer York Stock, vol. 1: Almanac, UXL, 2007, pp. 181-194. World History in Context, http://link.galegroup.com.ezproxy.snhu.edu/apps/doc/CX2587000021/WHIC?u=nhc_main&sid=WHIC&xid=b0761fcc. Accessed 15 Jan. 2019.
Erickson, Peter B. “Sexual Politics and the Social Structure in ‘As You like It.’” The Massachusetts Review, vol. 23, no. 1, 1982, pp. 65–83. JSTOR, www.jstor.org/stable/25089244.
Hunt, Angie. “Gender Roles: Men and Women Are Not so Different after All.” RSS, Iowa State University, 29 Jan. 2015, www.news.iastate.edu/news/2015/01/29/genderdifferences.
PARK, CLARA CLAIBORNE. “As We Like It: How a Girl Can Be Smart and Still Popular.” The American Scholar, vol. 42, no. 2, 1973, pp. 262–278. JSTOR, JSTOR, www.jstor.org/stable/41207107.
Rackin, Phyllis. Shakespeare and Women. Oxford University Press, USA, 2005.
