as you like it essay questions and answers

As You Like It

By william shakespeare, as you like it essay questions.

What is the play's outlook on love?

As You Like It, like many of Shakespeare's comedies, features love, desire, and romantic pursuit as one of its central themes. In many ways, the concept of love is presented ironically in the play, especially through the character of Orlando: his hyperbolic declarations of love for Rosalind satirize the Petrarchan tradition that preceded Shakespeare's work (and Shakespeare himself satirizes this tradition in his Sonnets). However, despite the playful mocking of Orlando, the play ultimately suggests that love is powerful enough to inspire the foolishness and ridiculous he seems to display. Thus, it is not altogether critical of the concept of love; instead, it delights in the entertainment value that love can produce.

Whom or what does Shakespeare satirize through Orlando's character?

Throughout the play, Orlando uses hyperbolic expressions of love to convey his feelings for Rosalind. At one point, he asserts that seeing her frown would be enough to kill him. These over-the-top declarations are part of Shakespeare's satirization of the Petrarchan literary tradition – that is, the poetic style pioneered by Italian poet Francesco Petrarca, in which the speaker often laments that unrequited love causes him physical distress. This tradition mostly preceded Shakespeare, but overlapped with his early literary career. Through Orlando, the play playfully mocks these conventions but, at the same time, establishes the extent to which Shakespeare and his contemporaries were indebted to the sixteenth-century Petrarchan poets.

What does Rosalind's disguise suggest about gender norms?

At the beginning of the play, Rosalind and Orlando both retreat into the Forest of Arden for their own reasons. There, Rosalind disguises herself as a boy named Ganymede. Later, when she runs into Orlando in the forest, she offers to help him practice his wooing for Rosalind, ultimately allowing her to get closer to him. Rosalind's disguise is portrayed as a type of freedom – ironically, it is only as a man that she can fully indulge in her feelings for Orlando and vice versa. Her disguise suggests a more fluid understanding of gender and sexuality, while also providing meta-theatrical commentary on the performance itself (as the part of Rosalind would have been played by a boy or young man).

How is the Forest of Arden portrayed compared to the French court?

Generally speaking, when characters in a comedy desert the city for the countryside or the woods, the performance sees a radical shift in tone. In A Midsummer Night's Dream , for example, the woods in which the characters find themselves are portrayed as enchanted and magical, complete with fairies and other mystical energy. In As You Like It , there is no supernatural phenomena at work. However, the Forest of Arden appears in stark contrast to the French court from which the characters originated: the forest is freeing, allowing characters to take on new identities (see: Rosalind), while the court is full of anxiety, social pressure, and feuds over power and inheritance. Thus, the play presents its primary setting (the forest) as an escape or refuge from the constraints of urban or courtly life.

What elements of As You Like It make it a comedy?

As You Like It falls into the genre of comedy for a number of reasons. First, the play features a retreat from the court to a more natural setting – something that rarely happens in early modern tragedies, which tend to focus on drama within the court or noble families. Second, the play relies on dramatic irony for a large portion of its plot, in that Orlando has no idea that the woman he loves is dressed up as his newfound companion, Ganymede. Finally, comedies generally conclude with at least one marriage, and this play ends with four of them: the conflicts that dominated the majority of the play are resolved, evil-doers are transformed, and lovers are united as their true selves.

As You Like It Questions and Answers

The Question and Answer section for As You Like It is a great resource to ask questions, find answers, and discuss the novel.

What elements of drama were used?

As You Like It by William Shakespeare, like many of his plays, incorporates various elements of drama. Here are unique examples of how certain factors are used inside the play to set the scene, in addition to the story, define characters, and...

Describe the life of the old Duke in the Forest of Arden.

Duke Senior inhabits a cave in the forest of Ardenne where he spends time with other noblemen who have joined him. He is described as living like Robin Hood with his band of men.

Explain how Duke Ferderick had come to this position?

Duke Frederick is the younger brother of Duke Senior, he usurped (stole) his position and banished his brother.

Study Guide for As You Like It

As You Like It study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About As You Like It
• As You Like It Summary
• Character List

Essays for As You Like It

As You Like It literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of As You Like It.

• Relations On the Stage Between Older and Younger Men in 1 Henry IV and As You Like It
• Which Side of the Fence? Questioning Sexuality in As You Like It
• As Rosalind Likes It
• Call Me Rosalind: Gender and Gender Stereotyping in As You Like It
• Colliding Worlds: Green World Theory vs. Marxist Theory

Lesson Plan for As You Like It

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to As You Like It
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• As You Like It Bibliography

E-Text of As You Like It

As You Like It E-Text contains the full text of As You Like It

• List of Characters
• List of Scenes

Wikipedia Entries for As You Like It

• Introduction
• Date and text

• As You Like It

William Shakespeare

• Literature Notes
• Essay Questions
• Play Summary
• Character List
• Summary and Analysis
• Act I: Scene 1
• Act I: Scene 2
• Act I: Scene 3
• Act II: Scene 1
• Act II: Scene 2
• Act II: Scene 3
• Act II: Scene 4
• Act II: Scene 5
• Act II: Scene 6
• Act II: Scene 7
• Act III: Scene 1
• Act III: Scene 2
• Act III: Scene 3
• Act III: Scene 4
• Act III: Scene 5
• Act IV: Scene 1
• Act IV: Scene 2
• Act IV: Scene 3
• Act V: Scene 1
• Act V: Scene 2
• Act V: Scene 3
• Act V: Scene 4
• Act V: Epilogue
• Character Analysis
• William Shakespeare Biography
• Critical Essay
• The Natural and the Artificial in As You Like It
• Cite this Literature Note

Study Help Essay Questions

1. List the "town" characters in the play, enumerate their attributes, and discuss how they reflect town life. Use the same format for the "country" characters.

2. There are four pairs of lovers in the play. Characterize each couple and discuss the concept of love that they represent.

3. Give several examples showing how Shakespeare uses language to indicate class differences among the characters.

4. There are many words in the play that have changed in their meanings since Shakespeare's time. Make a list of those significant words that are germane to a thorough understanding the play. Discuss how only a present-day meaning of the words can bring about a misunderstanding of the play.

5. What purpose does Rosalind's disguise serve in the play?

6. Discuss the advantages of "town life" over that of "country life." Reverse the situation. How does Shakespeare resolve this debate?

7. Of different types of love shown in the play, which does Shakespeare seem to favor? In which characters does this evince itself and to what extent?

8. Discuss the various types of humor in the play. Compare or contrast the wit of Touchstone with that of Jaques; with Corin; and with Rosalind.

9. Why is it necessary for the main characters to meet climactically in the Forest of Arden?

10. The Forest of Arden has been said to be, in actuality, the Forest of the Ardennes on the Meuse River in Europe. Yet, there is a Forest of Arden in England. Where do you think it is located? Why?

11. List the masque-like elements in the play.

12. What stage conventions were popular with Elizabethan audiences? Give specific references from the play to support your answers.

13. What use does Shakespeare make of shifting his scenes — that is, from a courtly scene to a pastoral scene, etc.?

14. Where is the dramatic climax in the play? Where is the literary climax in the play?

15. How do the characters reflect the time in which Shakespeare wrote?

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As You Like It

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Welcome to the LitCharts study guide on William Shakespeare's As You Like It . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

As You Like It: Introduction

As you like it: plot summary, as you like it: detailed summary & analysis, as you like it: themes, as you like it: quotes, as you like it: characters, as you like it: symbols, as you like it: literary devices, as you like it: quizzes, as you like it: theme wheel, brief biography of william shakespeare.

Historical Context of As You Like It

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• Full Title: As You Like It
• When Written: 1598-1600
• Where Written: Stratford, England
• When Published: 1623, First Folio
• Literary Period: The Renaissance (1500-1600)
• Genre: Comedy
• Setting: French Court and the Forest of Arden
• Climax: Rosalind, dressed as Ganymede, sets the terms for the marriages of all the characters that surround her, assuring Orlando that she will use her magic to bring Rosalind to him, promising Phebe that “he” will marry her if “he” ever marries a woman, and making Phebe promise that she will otherwise marry Silvius

Extra Credit for As You Like It

Shakespeare or Not? There are some who believe Shakespeare wasn't educated enough to write the plays attributed to him. The most common anti-Shakespeare theory is that Edward de Vere, the Earl of Oxford, wrote the plays and used Shakespeare as a front man because aristocrats were not supposed to write plays. Yet the evidence supporting Shakespeare's authorship far outweighs any evidence against. So until further notice, Shakespeare is still the most influential writer in the English language.

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• As You Like It

Background of the Play

According to modern critics, As You Like It is a play written for the audience of the twenty-first century. Though it is placed in Elizabethan culture and uses its aesthetic, political, social, and literary culture. It is a finger placed on the pulse of the future. It is an escape from the world of troubles, worries, and corruption to a world of enchantments and mythology.

Critics often describe it as a satire on the pastoral ideal; and a celebration of the pastoral spirit that cannot be bound. The audience loves some scenes, particularly in the forest of Arden, where love-oriented and cheerful banter dominates. In comparison to scenes at Fredrick’s court and Oliver’s home, which are dominated by gloom and battle-filled air.

Though there is no record available about the performance of this play, scholars speculate it was written probably in 1598, and first performed in 1599. It was part of First Folio, published in 1623. The time of its preparation was Shakespeare’s culmination period.

It is much different from other comedies because it mixes different cultures, traditions, and people from different classes. Christian, Pagan, and classical traditions are mixed into each other. It contains elements of a fairytale as well as rudiments of Italian romances. It contains traces of magic as well. It shows an oscillation from prose to verse.

This play gives some most profound human feelings in their most original form, which touches the hearts of the audience. This place is also important because of some references; one of foremost importance is the forest of Arden (Arden Woods). It refers to Ardennes as well forest near Shakespeare’s residence. This clarifies the historical existence of Shakespeare.

Its plot is derived from Rosalynde , which was based on a fourteenth-century poem The Tale of Gamelyn. Though Shakespeare took the plot from another work, he improved characters like Rosalind, Jacques, and Touchstone. The poem was more action-oriented, while Shakespeare made the play more reflection oriented, changing the role of philosophers. It is placed beautifully between Shakespeare’s post-tragic romances and comedies.

Pastorals were a familiar genre in that period, so it overlaps with other Pastoral works like Philip Sidney’s The Lady of May and Spenser’s The Shepheardes Calender . We can conclude that it is a romantic comedy which encapsulates world affairs ranging from the grave to amorous ones.

As You Like It Summary

Act i: scene i.

In the opening scene, Orlando is shown talking to his servant Adam. He is complaining about his brother’s behavior and maltreatment. He is weary of him that how he is an obstacle in his advancement and doesn’t let him be a part of the sophisticated, cultured class. This all is heard by Oliver and gets angry with his younger brother’s complaints. He blames him that either he wants education or the property that his father has bequeathed. Oliver tries to calm Orlando while the servant is scolded. Orlando’s status is established as the play’s hero when he describes himself having the virtues his father had.

Oliver calls for Charles, the court wrestler, and he tells the news regarding duke’s court. The elder duke has been ousted by his younger brother from his court and now stays in Arden like ‘Robin Hood.’ While his daughter, Rosalind, remains at court because she is favored by the younger Duke’s daughter, Celia. Charles brings the news that Duke has announced wrestling matches, and Orlando wants to fight against him in disguise. He warns that if he did so, he would be harmed. Oliver responds by telling him to do as much harm as he can do him; this clarifies his position as the villain. He despises him because he is the most beloved and benevolent of the three brothers.

Act I: Scene II

In this scene, Rosalind and Celia make their first appearance. Rosalind mourns her father’s disappearance while Celia tries to console her. Rosalind wants to fall in love, which will occupy her mind, and this will let her get rid of distracting thoughts. Then the court fool Touchstone comes, and they greet him. He tries to cheer them up with his jokes. In a few whiles, a courtier Monsieur La Beau comes and informs them regarding the wrestling match.

A shift from prose to blank verse is noticed, and Duke Fredrick enters, gravity pervades. He asks the ladies to entreat the young man (Orlando) to quit the competition because it may have grave consequences. But he insists and wants to test him at this competition. He surprises all and defeats Charles, and asks for a second competition but is not possible because Charles is taken away. His victory pleases the ladies, and Rosalind gives him her chain. When Fredrick asks about his name, he is astonished because he is his old enemy’s son. Orlando is charmed by Rosalind’s beauty.

Act I: Scene III

Rosalind talking to Celia confesses her love for Orlando and even refers to him as her ‘child’s father.’ Fredrick, infuriated at her previous behavior, comes and tells her that she has to leave the palace within ten days. And if she didn’t leave, she will be killed for this crime to appear within the premises of the court. She pleads to revise his decision because she is not a traitor. But Duke refuses to do so. Rosalind and Celia vow never to separate from each other and decide to leave the palace together. They decide to take the court jester Touchstone along with them. They fear to leave the court in their original identity, so they decide to leave disguised. Celia disguises herself as a woman named Aliena, while Rosalind disguises herself as a man named Ganymede. They gather the jewels they will take along with them to Arden.

Act II: Scene I

In the second act, Duke is shown in the forest extolling the beauties of pastoral life. He praises the brooks, trees, stones, and all other things that are there in the forest. He tells his company to learn from the wonders which lie scattered in the forest. He expresses his regret at the harm caused to animals in the forest due to their hunt. He is informed that Jacques is sentimental because of the wounded deer and laments its injuries. He asks to be led to the place where Jacques is because it gives him pleasure to talk to Jacques. They leave to search for him.

Act II: Scene II

Duke Fredrick is informed that Rosalind, Celia, and Touchstone are missing. He is told that they were praising Orlando and talked about being in love with him. They suspect that they may be with him. Oliver is summoned to court to be investigated regarding the probe.

Act II: Scene III

In this scene, Adam and Orlando meet. Adam tells him that Oliver is planning to kill him; he has plotted against him in the fight and had convinced Charles to kill him. He informs Orlando that he is still persistent and will kill him, whatever the method. He warns him to leave home as soon as possible because, at his success in the wrestling match, Oliver is jealous. At this, Orlando tells him that he will face his brother now to get his due share in the property. He will leave his home if he can help him make proper arrangements and stays by his side. Both of them agree and leave together for the forest of Arden.

Act II: Scene IV

Touchstone, Rosalind, and Celia have reached the forest of Arden. They are much tired, and Touchstone shows somewhat regret at leaving the court. Their mood is softened by woodland shepherds Corin and Silvius, who speak of love. Silvius accuses Corin that he has never been a true lover himself. He says that he admires Phebe. This reminds Rosalind of Orlando, while Touchstone recalls his love when he was a young man. Touchstone calls Corin, and Rosalind asks him about food and lodgings, which are arranged. They purchase a cottage to live while a flock of sheep to get them something to feed.

Act II: Scene V

Jacques, Amiens, and other lords are enjoying the forest. Amiens sings while the rest of the courtiers sing in chorus with him, Jacques tells them to continue it. They praise the forest because it is a serene place, and there are no enemies except ‘winter and rough weather.’ Some of the men are told to prepare the meal. Jacques says that he tries to avoid Duke senior because he thinks of him as ‘too disputable.’

Act II: Scene VI

Adam and Orlando are seen walking in the forest, stumbling. In stark contrast to the last scene where meals were arranged for both the parties, the characters in this scene are starved. Orlando and Adam are hungry but can’t find a meal. Adam stumbles while Orlando supports him, saying that he will find him food and shelter.

Act II: Scene VII

In this scene, Duke senior is seen searching for Jacques. He reaches where Jacques is sitting; the meal is prepared. He is asked by Jacques to join him in the meal. Jacques tells him that he has seen Touchstone, the jester, and wishes to wear a motley coat like him. He expresses his desire to blow air at people’s faces for their follies. Duke knows that he can’t do so because he has spent and amorous, libertine past. Suddenly Orlando arrives with a bare sword in his hand and orders them not to take a single morsel before he comes back. But when he sees Duke senior, he apologizes and is warmly greeted. He leaves to take back Adam with him. At this, Jacques gives a philosophical account of the life of man; he describes seven stages of life. He calls life a stage while men are mere actors. These life stages include the infancy, schoolboy age, lover age, soldier age justice age, absentminded-old age, and the senile age. Jacques is cynic of human beings and expresses his disgust for them. As Jacques finishes, Adam sings a song. Then enter Adam and Orlando, Duke expresses his joy at the coming of his old friend’s son and welcomes them. The duke holds Adam’s hand, and the whole company leaves happily.

Act III: Scene I

Oliver is summoned to Duke’s court, and Fredrick orders him to bring Orlando, alive or dead, to his court within twelve months. If he didn’t bring him to court within the mentioned period of time, he would lose all his property as well as the right to live in this territory. He responds by saying that he never loved his brother and will fetch him soon. The Duke scorns him for his vile nature and not loving his brother. He asks his men to take him out of court.

Act III: Scene II Summary

Orlando is wandering in the forest and is lovesick for Rosalind. He sticks love poems for her throughout the forest and carves Rosalind’s name on trees throughout. While he is doing so, Touchstone and Corin enter discussing the merits of living in the countryside in comparison to life at court. Rosalind enters disguised as Ganymede and reads a poem. Touchstone shows his disgust for the poem because it, according to him, is jagged. Then they ask the men to leave them alone. Celia tells Rosalind that she knows the man who stuck the poems to trees, and reveals that he was wearing Orlando’s chain. This agitates her mind, and when she comes to know that it was Rosalind, romantic feelings overcome her. Orlando and Jacques are seen coming towards them; they hide. Orlando tells Jacques of his love for Rosalind and is questioned by him, which he satisfactorily answers.

When Jacques goes, and Orlando is left alone, disguised Rosalind approaches him. She wants to conceal her original identity. She tells him that she can cure his illness, the condition for it would be to focus his affection towards her and to call her Rosalind. Though Orlando is skeptic of doing this, he agrees, and they leave for her cottage.

Act III: Scene III

Touchstone and Audrey, a countrywoman, are courting. The couple is incongruous because the wench is an unsophisticated, uncultured, and simpleton woman, almost opposite of Touchstone. The jester asks her to accompany him to a church vicar to get them married. According to him, this will legitimatize their love. They are watched by Jacques when they are going to the house of Sir Oliver Mar-text. Jacques thinks of them not befitting to each other. He leads them away from Sir Oliver’s and tells them to find them a better person.

Act III: Scene IV

Rosalind is seen anxiously waiting for Orlando, but he doesn’t come. She discusses him emotionally with Celia. Celia expresses her doubt about his love. Rosalind tells her that she met her father in disguise; he couldn’t recognize her. She doesn’t bother about her father’s presence; Orlando’s presence worries her. To their relief, Corin and Silvius come and change the topic.

Act III: Scene V

Silvius is seen pleading Phebe for her favor while she warns him not to come near her. Celia, Rosalind secretly watch him. At this rejection, Phebe is told that she will come to know the pain when she is in love. While Phebe responds that men aren’t emotionally hurt. At this, Rosalind comes and joins them. She rebukes Phebe for her stubbornness. She tells her to take anything that is offered and be grateful for it.

Phebe is charmed by Ganymede’s (Rosalind) appearance and praises ‘his’ (her) appearance and talk. As Rosalind leaves, she talks about her and is now happy with Silvius because he talks of love. She tells Silvius that she will love her but as a neighbor.

Act IV: Scene I

Jacques and Rosalind (still disguised) are seen bantering about melancholy. Jacques tells her that he is melancholy because he has traveled much. Rosalind replies that she prefers that talk of a jester to the silence of a sage. At Orlando’s entrance, Jacques leaves, and they are left alone. They talk about love and flirt with each other. She reprimands him for not keeping his promise and compares him to a snail. They talk about kissing; later, she adds that no man has ever died for love. When Rosalind tells her that her talk is lamenting, she gets cheerful, and they talk about marriage. They engage in a mock wedding ceremony. Then she talks about life after her marriage that if her husband isn’t caring, she will go for somebody else. Later Orlando leaves for the duke’s residence to attend the dinner he has arranged and promises to come back in two hours. Rosalind tells him that if he didn’t come back, he wouldn’t be given any favor anymore.

Act IV: Scene II

Jacques and lords are busy hunting, and a deer is caught. Last time he was grieving the wounds of the deer, but this time he is cheerful and wants to present it to the duke. They merrily sing songs. He says that he will present it to duke the way a trophy was presented to a Roman conqueror.

Act IV: Scene III

Orlando has again failed to come in time. Rosalind and Celia wonder about the reasons for his being late. Silvius comes and hands her a letter from Phebe. It has love contents, and she reads it aloud, jesting with Silvius. A few whiles later, she sends Silvius away.

Oliver arrives at their cottage in search of Rosalind. He tells her that a snake had coiled around his neck, and his brother protected him from it, but a lioness attacked him then. Orlando killed the lioness but was injured. After that, he discovered that he wrongly hated his brother. Both of them then left for Duke senior’s residence, and from there, he asked him to bring Ganymede this handkerchief. Though disguised as Ganymede, Rosalind swoons. She is sure that Oliver will tell his brother that this fainting was a pretense.

Act V: Scene I

Audrey and Touchstone converse about their marriage. Audrey tells him that Sir Mar-text was good to wed them, but he tries to postpone this issue to a later time. He tells her that there is a youth in the forest who is in love with her. While they converse, a rustic youth William comes. Touchstone asks him that if he is wise, he responds in affirmative. At this Touchstone replies: the fool doth think he is wise and embarrasses him. He warns the youth not to come near to Audrey. Corin comes and informs him that Ganymede and Aliena want him to come.

Act V: Scene II

Oliver has fallen in love with Aliena and confesses it to his brother Orlando. He says that he will leave all that his father has left, to Orlando and will lead his life like a shepherd. She has agreed to marry him, and they will get married soon. Ganymede enters and talks about Aliena and Oliver’s love at first sight. Orlando expresses his grief because Rosalind is not there. Ganymede tells him that if he comes to his (Rosalind’s, she is disguised) house, he will make him get her through magic. But before that, Oliver and Aliena need to get married.

Phebe and Silvius enter. Phebe expresses her love for Ganymede, which she denies to requite because he doesn’t love ‘any woman.’

Act V: Scene III

Touchstone is happy and tells Audrey that the next day they will get married. Duke’s two pages are with them. They sing while the couple enjoys their songs. Touchstone is cynical of the time that he has wasted before and praises the pages for their songs.

Act V: Scene IV

In the last scene, Duke senior, Rosalind, and Celia (still disguised), Jacques, Orlando, Oliver, Silvius, and Phebe are all together. Rosalind confirms that couples will get married. Rosalind and Celia leave, while Duke senior and Orlando comment that he looks like Rosalind.

Touchstone and Audrey arrive there; he is seen commending himself for marriage to Audrey, calling it a noble deed. Jacques praises his wit. He then describes seven levels of a lie.

Rosalind and Celia are led by the Greek god of marriage, Hymen. Hymen speaks in blank verse. He proceeds to marry each of the four couples, which are Audrey and Touchstone, Celia and Oliver, Silvius and Phebe, Rosalind, and Orlando. A wedlock hymn is sung. Jacques de Boys, Orlando, and Oliver’s brother arrive, bringing the news that Duke Fredrick has changed by the charm of a religious man. He has decided to return the dukedom back to his brother. All are happy at this news, while Jacques, the philosopher, announces to leave their company. The scene ends in dancing.

Rosalind speaks the epilogue. She hopes that all would have enjoyed the play who bids farewell to the audience.

As You Like It Characters Analysis

Adam is the aged servant of De Boys. He encourages Orlando, calling him the true heir of his father. He is the one who suffers with him on the journey and stays by his side all along.

Amiens is Duke senior’s courtier. He has left court with him for Arden.

Audrey is a simpleton shepherdess. She marries Touchstone. She is an ignorant person and the dullest of Shakespearean female characters. She doesn’t even understand Touchstone’s ridicule.

Celia is Rosalind’s cousin and Duke Fredrick’s daughter. She is Rosalind’s confidante and stays by her throughout the play, bearing the hardships. She is the reason behind Rosalind’s falling in love. Because she had told her to go and congratulate Orlando. She is later disguised as Aliena and marries Oliver. Celia is a stronger woman than her cousin. Because when Rosalind assumes male disguise, she shows contempt for women while she reproves her for that.

Charles is a court wrestler. He is used by Oliver to kill Orlando but gets defeated.

Corin is a shepherd and defends pastoral life. He befriends Rosalind, Celia, and Touchstone. Though Touchstone abuses him for being simpleton, he defends himself successfully.

J acques de Boys

Jacques de Boys is Orlando and Oliver’s brother. He brings the news of Fredrick’s conversion into a good man. He can be called a mediator between good and evil forces.

Duke Fredrick

Fredrick has usurped the throne from his elder brother. He is Celia’s father. He is a one-dimensional villain and can be called a type. His character is almost irrelevant and doesn’t make an appearance after a religious conversion.

Duke Senior

He is the exiled duke from whom his younger brother has taken all his property. He lives in the forest of Arden. He is a benevolent patriarchal figure in the forest and rules his loyal subjects there. His dialogue closes the play, and he is the one who opens the scene in the forest. He is in love with natural life and praises the beauties of pastoral life, comparing it to the perilous air of court.

Hymen is the Greek god of marriage. He appears in the last scene and leads the wedding ceremony of the couples. His presence confirms that this forest is something away from the worries of the world.

Jacques is a philosopher and a lord in attendance to Duke senior. He is a melancholy person. He is considered as Touchstone’s foil because both are witty, who reflect on the misery, beauty, and irony of the world. He looks a misanthrope and is a different character in the forest. He considers all human beings as usurpers laying into ruins the beauty of the world. He can be seen as the earliest environmentalist in literature.

Le Beau is Fredrick’s courtier. He brings the news of duke’s displeasure at the ladies’ bold step to approach Orlando.

Sir Oliver Mar-text

He is a vicar and is about to officiate the marriage ceremony of Touchstone and Audrey but is interrupted by Jacques.

Oliver is Orlando’s elder brother and has usurped Orlando’s properties. Initially, he plays the role of a villain. He evolves later, changes into a good man, and vows to lead a life like a shepherd. He is jealous of his brother, who is well-loved by people, and he is paid no proper attention. He hates Orlando and plans to kill him. He falls in love with Celia and gets married to her in the end.

Orlando is the principal male protagonist of this play and son of Sir Roland de Boys. He is not given proper value at his home, and by showing discontent leads to his miseries. His brother hates him, and he plans to kill him. He leaves his home for the forest. He falls in love with Rosalind and she with him. He is a modest person and without boasting defeats Charles and looks shy when Rosalind and Celia approach him. His name is an anagram of his father’s name, and his servant calls him the true image of his father. This shows his abilities and competence. In the forest, it is noticed that he doesn’t assert himself much, and this shows his abilities to reconcile to the feminine gender. He is a gentle person and shows his gentle upbringing in the initial scenes in the forest. He combines passion and aggression in himself. He shows himself the most competent character in the play. He marries Rosalind in the end.

Phebe is a shepherdess who is loved by Silvius. She is indifferent towards him and falls in love with Ganymede. But in the end, he agrees to meet Silvius. She is the most ignorant of Shakespearean female characters.

Rosalind is Duke Senior’s daughter and resides with her uncle Fredrick at his palace. She is exiled because she has approached Orlando, son of duke’s old enemy. She falls in love with Orlando and leaves the palace with her cousin Celia.

She later disguises as Ganymede and, in the end, marries Orlando. She is the play’s central character. She speaks most of the dialogues and brings the play to an end. She has become melancholy because her father has been ousted from the court, and along with that, Orlando is away from her. She can’t stand this men’s apparel (disguise) but successfully maintains it until the time comes to throw it away.

She is deeply in love with Orlando and is in need of a man figure in her life, which she gets in the form of Orlando. Though she shows her sovereignty when disguised as a man but becomes subservient when it comes to her original and marries Orlando.

He is a shepherd and deeply in love with Phebe. She scorns him but eventually is able to marry her.

Touchstone is a court jester at Fredrick’s court. He leaves court with Celia and Rosalind for the forest. He is a witty person, and his name fits him well. He discloses the realities of other characters when they talk to him. He is a foil for Jacques and is a philosopher as well a worldly man. He is out of place in the forest and constantly makes the audience feel that he is not happy there.

He falls in love with Audrey and, in the end, marries her. He looks at things from a different angle. He criticizes Orlando’s poetry and calls it pedantic. He criticizes Corin for not having learned court manners. He considers himself something between a fool and a wise man. His role in this play is there as relief from comic realism. His dialogues preempt laughter as well as thoughts in the audience.

William is a person from the countryside and is in love with Audrey. Touchstone threatens him, never to be seen near her.

Themes in As You Like It

Pastoral life.

As You Like It shows Shakespeare’s partiality towards rural life. He shows his contempt for court life in this play through the mouth of different characters. He, through the court’s disorder and deterioration, shows the political decline. He depicts the movement towards the gradual meanness of human beings in court life. He has shown how materialistic competition leads to conflict between brothers. Duke senior introduces this life by saying that in this life, there is no danger except winter. In pastoral life, there is no property and social position, which is the secret of the serenity of this life.

Though the journey to the forest is difficult, it is a blessing for those who successfully reach there. This life is a liberation from oppression and strips human beings from the evils they have acquired in court life. It is a morally pure realm and has transforming capabilities.

Fortune versus Nature

In this play, there is a conflict between fortune and nature. Fortune represents the materialistic forces, while nature represents the purifying forces. Here this competition is shown when the audience comes to know that Fredrick was benefited over duke senior by fortune and led to the usurpation of power.

Celia, in a dialogue, says that the fortune she has will be equally divided between her and Rosalind. Thus ending the injustice, thus challenging the goddess of fortune. Goddess nature was considered as blind, while nature was considered to be controlling people’s innately good values and promotes virtues. In Duke senior, we can see that he has given up the fortune and is now living a virtuous life. We can conclude that the plays come to enjoy the virtues of nature when they give up their fortune.

If we compare time in court contrasted with time in the forest, we can see that in the former, it’s a threat while in the latter, it’s a blessing. In court, whenever the time is mentioned, we can see that there are deadlines and characters are threatened.

There are threats of executions, exile, and arrest. In the forest, there are no such events, and time is shown without intervals. It is shown in a dialogue between Touchstone and Jacques as a vast eternity in which the characters gradually diminish. Jacques further elucidates it as the seven ages of men, excluding violence from it.

As stated earlier that there are no artificialities in the forest, time is not measured by clocks rather by the passing of the day. In short, time in the forest is subjective, not objective; each character sees it from his own novel perspective. Thus it is not a misery rather a benefaction.

Sexual Identity

In As You Like It , sexual identity is thoroughly examined. This is done through the character of Rosalind. She is disguised as Ganymede and remains so throughout. She can throw away the disguise when she enters the forest, but she doesn’t do so. Critics agree that she does so to get rid of the submissive role she has to play due to being female. She reverts the roles when courting Orlando and is in control of the further movement. In those days, female roles were played by young male actors, so it adds to the beauty of the play to transform a single male actor to perform different roles dexterously.

Acting and the Stage

In this play, we can see there are numerous references made to stage, acting, play, and characters. Firstly, it is evident in the case of Rosalind, who is disguised as Ganymede and asks him to ‘play the knave with him.’ She can say much about the role of the lover as well the role of man, and she successfully plays the role of a man. She points out that he doesn’t play a proper lover because he is tidy and not disheveled.

Jacques draws an analogy between seven ages of man and between acts of a play. Duke senior refers to the world as a stage at the arrival of Orlando. He calls this life both a tragedy and a comedy. ‘All the world is a stage’ is the most evidence of this fact. It strengthens this Shakespearean belief of the world as a stage. He believes in the inability of actors to bring any change to the script or their roles and uses befitting metaphors for this purpose.

Familial Relationships

Like some other Shakespearean plays, familial relationships are also the focus in this play. Conflicts are going on between brothers for property, money, or leading role. This is shown in the case of Orlando and Oliver as well in the case of Duke senior and Fredrick. It is excellently portrayed how fortune ruins relationships, and nature mends them.

As You Like It Literary Analysis

In Shakespearean plays, we see elements in binaries, and these binaries are shown in contrast. We can see that there is a tension between natural and artificial, love and hatred, rustic and court life, serenity and conflict, gentle and pastoral characters. This is shown very well using the forest, court, imagery, and the witty dialogues of the sage characters. Virtue and evil are shown using the conflict going on in court life. Language and style are usefully employed by the playwright to add a realistic touch to the pastoral idealism. It is an idyllic utopia woven using the philosophical dialogues and some dystopian scenes.

Historical Context

Like other comedies, the historical context is mixed to alienate the audience. Shakespeare has used the forest of Arden as the setting while the court’s location is not mentioned. This way, the playwright has put forth the evils prevalent in court and those usually seen in the city life. Thus the audience doesn’t take it as an offense and realize the importance of rural life. This historical context also helps challenge gender roles.

Lyrical Interludes

Using songs and poems, Shakespeare has emphasized the romantic and pastoral aspects of this play. Five songs are performed, more than any other play. Different forms of verse are used in this play, which adds to its pastoral beauty. Half of the play is written in prose, while the sudden interludes signify the romantic outbursts in rustic life. Using a lyrical interlude, the chorus affirms that nature is the safest place for human beings. To shortly state, these lyrical interludes present nature’s rhythm.

The Pastoral

Pastoral is a poem describing shepherds and describing their rustic life. This may include some artificial elements like eloquence. Pastoralism impacted English life from 1550 to 1750. Shakespeare treated the pastoral somewhat ambiguously and has used it to create comedy. On one side, Orlando is shown leaving everything back in the palace and sticking poems to trees while Jacques is a philosopher shown in the forest. In the end, when everything is fine, all except Jacques leave for court, this shows it may be an endorsement or satire on the pastorals, the choice is readers’! As You Like It !

Similes are also prevalent, like other figurative uses of language like imagery, setting, wordplay, etc. Certain similes were familiar for the London audience then, like the analogy of weeping to the fountain of Diana. This is a reference to the statue of the aforementioned goddess in Cheapside London. Some similes mentioning animals can also be seen in this play.

Orlando refers to himself like a doe in search of her fawn; Jacques likens himself to weasel and rooster. Like these other objects are also used to describe the features relevant to them. Thus the befitting use of similes adds to the meaning of dialogues. The use of all these, along with the romances excellently employed, make it a successful romantic comedy.

Marginalization of Plot

In contrast to other Shakespearean plays, in this play, there can be a clear marginalization of plot noticed. Some scholars even blame him for neglect. As we can see that there is a sudden conversion of villains from evil to good for which he is usually criticized. Shakespeare has dealt with the plot summarily, and that reflects his intention not to make it the essence of the play. Thus limiting the plot has led to the strengthening of characters.

Gender Roles

Gender roles are not only important in the play’s technical context rather in historical context as well. These depict the widespread sexism in the Elizabethan era as well as the subordinate role in that hierarchical society. This was the undisputed division of society that women didn’t question, but Shakespeare, through the character of Rosalind, has questioned. Roles were fixed, and nobody could rebel against them. This has bound not only women but men as well. An instance of it is Rosalind disguised as Ganymede when she swoons at the news of Orlando’s injury. Oliver says, ‘You a man! You lack a man’s heart.’

Celia and Rosalind, in a conversation, say that women are marketable and have a quantifiable value. Thus the forest of Arden is free from the curse of dowry like other curses. Shakespeare softens the perception of masculine than hardening that of the feminine.

London, at that time, had a population of about two lacs and was different from country life in many respects. Thus the people coming from these two backgrounds were foreigners to each other. Shakespeare brings them together, and with the use of rural characters like Audrey and William, produce a comic effect. Though the playwright focuses primarily on the love stories still there is depiction of rural life and its values.

There are many allusions in this play. Some of them are Hymen, the Greek goddess of marriage, Arden, which refers to the Arden woods as well as Ardennes in France. In a dialogue, Celia, referring to fools, suggests the banishment of satire through a royal order.

More From William Shakespeare

• A Midsummer Night’s Dream
• The Merchant of Venice
• Twelfth Night
• The Taming of the Shrew
• Much Ado About Nothing
• The Comedy of Errors

‘As You Like It’ – Questions and Answers (L.A.Q.), Class 11, WBCHSE

1)How was the banished Duke’s life in the Forest of Arden? [5] [Annual Exam. Class 11 = 2015]

Ans. The banished Duke lived a happy life in the Forest of Arden with his followers. They got accustomed to a lazy life in the forest. They felt more relaxing than the life of a court. In summer they took shelter under the shed of trees and watched the playful sports of the deer. In winter they suffered from the cold winds but the Duke realized that they were the true counsellors. They did not flatter like men. The Duke learnt how to use the adversities of the forest like medicine extracted from the head of a poisonous toad. He got lessons from nature – he found tongues in trees, books in streams, sermons in stones and good in everything.

2) Who was the banished Duke? How did he and his followers live in the Forest of Arden? [1+4 = 4] [Annual Exam. Class 11 = 2022]

Ans. The banished Duke was the father of Rosalind and brother of Duke Fredrick.

For the second part write the answer to Question No. 1

3)Who were the two participants in the wrestling match? Whom did Celia and Rosalind try to dissuade? What was the result? [2+1+2 = 5] [Annual Exam. Class 11 = 2014]

Ans. The two participants of the wrestling match were Orlando and a practised wrestler.

Celia and Rosalind tried to dissuade Orlando from the wrestling match.

Rosalind and Celia tried to change Orlando’s mind from the imminent fight. But Orlando became more determined to prove his valour in front of the ladies. The words of the ladies worked wonder. He defeated his opponent quite surprisingly.

4)How did Rosalind win Orlando’s heart? [5] [Annual Exam. Class 11 = 2017]

Ans. When an uneven wrestling match was arranged between a practised wrestler and an inexperience young man, Celia and Rosalind tried to dissuade the young man from it. During the conversation with Orlando, Rosalind came to know that he had none in this wide world to lament over him. Rosalind felt an inclination towards him and almost fell in love. The words of the ladies worked wonder. Surprising all, he won the bout. When the real identity of Orlando was disclosed that he was the son of Rowland de Boys, her father’s best friend, Rosalind was extremely glad. She consoled him with kind words. She gave a chain from her neck as a token of love. In this way, Rosalind won the heart of Orlando.

5)Why was Oliver proved an unworthy brother? Why did Oliver wish to destroy Orlando? [3+2 = 5] [Annual Exam. Class 11 = 2020]

Ans. At the time of death, Sir Rowland de Boys requested his elder son Oliver to bring up his brother with proper care. But Oliver neglected his responsibilities and did not even educate his brother in a school. So, he proved himself as an unworthy brother.

Oliver was jealous of his brother as Orlando grew up to be a fine man without proper care. That was why Oliver wanted to destroy Orlando. It was Orlando who had arranged for the uneven wrestling match.

6)How did Adam prove his loyalty towards his master? [5] [Annual Exam. Class 11 = 2016]

Ans. Adam was an old and faithful servant of Sir Rowland de Boys. He had a special affection for Orlando as he resembled his father. He overheard that Oliver had devised a plan to burn his brother Orlando at the time of sleep. He instantly warned Orlando of the impending danger and advised him to flee from there. He helped him with gold amounting to five hundred crowns. He also requested him to take him on the journey so that he could serve him. In this way, Adam proved his loyalty towards his master.

Read more about : Collection of M.C.Q. from The previous year Annual Exams from ‘Tales From Shakespeare, Class 11, WBCHSE

Read more about : ‘As You Like It’ – questions and answers(S.A.Q.), Class – 11, WBCHSE

Read more about : ‘As You Like It’ – summary from ‘Tales from Shakespeare’

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As-You-Like-It Long Question Answer

As you like it william shakespeare long questions answers, 1. who was driven from his dominion and where what type of life did the duke and his his followers live in the forest of arden what did the duke say when the cold winds blew upon his body.

Ans: A certain old duke of one of the French provinces was driven from his dominion to the forest of Arden. The duke and his followers lived the life of careless ease, like the old Robin Hood of England. When the cold winds blew upon his body the duke said that they are true counsellors, they do not flatter, but represent truly to him his condition and their sharp bite is not that of unkindness and ingratitude.

2. Who were the two participants in the wrestling match? Whom did Celia and Rosalind try to dissuade? What was the result?

Ans: The two participants in the wrestling match were an experienced court wrestler and Orlando, an inexperienced young man. Celia and Rosalind tried to dissuade the youth, Orlando from taking up such an unequal challenge. In spite of their effort to dissuade the youth, Orlando was determined to prove his valour in front of the fair ladies. So he refused to listen to them. His refusal in a very graceful manner made Celia and Rosalind more concerned for him. The inspiration that Orlando got from ladies worked wonders for him and he emerged victorious.

3. How did Celia and Rosalind set out? Why did Celia and Rosalind think of such an idea? What were names of Celia and Rosalind in disguise? What did they take with themselves?

Ans: Celia and Rosalind set out in disguise by dressing themselves like a young countryman, and a lass. Celia and Rosalind thought of such an idea as it would be safe for them to travel alone in rich attire. So it would be greater protection if one of them was to be dressed like a man. Rosalind would be called Ganymede and Celia chose the name of Aliena. They took money and Jewels to defray their expenses when they set out their long journey.

4. How did Rosalind win Orlando’s heart?

Ans: In “As You like It” Rosalind met Orlando just before the wrestling match in which Orlando stood against a practiced wrestler. At the duke’s suggestion, Rosalind along with Celia tried to resist him from taking up such an unequal challenge. Rosalind’s kind words made Orlando more determined. Orlando made it clear that there was none to lament for him. So Rosalind had a strong inclination towards him because she felt pity for his friendless condition. It seemed that she had almost fallen in love for him. Inspired by the ladies Orlando achieved miraculous victory. After the match when it was discovered that Orlando was the youngest son of her father’s friend, Rosalind was so pleased that she gave him her chain from her neck. Thus Rosalind’s pity transformed into love for Orlando and as a result she won Orlando’s heart.

5. Why was Oliver proved an unworthy brother? Why did Oliver wish to destroy Orlando?

Ans: In “As You Like It” Oliver who was the elder brother of Orlando proved to be an unworthy brother because he did not take the responsibility of his younger brother Orlando properly as directed by his father Rowland de Boys in his death bed. He did not keep the request of his father and did not educate Orlando in a school. He cruelly plotted to burn Orlando alive in his chamber. He hated his brother and was jealous of him. He was an unworthy brother. Orlando grew up to be a fine man without the care and help of his brother. So Oliver hated his brother and wanted to get rid of him. When Oliver heard the victory news of Orlando in the wrestling match, his jealousy knew no bounds. He vowed to burn his brother alive in his chamber while he slept. Thus Oliver wished to destroy Orlando.

6. How did old Adam prove his loyalty towards his master?

Ans: In “As You Like It”, Old Adam showed his loyalty towards his master. He overheard that Oliver vowed to burn his younger brother, Orlando alive in his chamber. He at once warned Orlando about his impending danger. He advised Orlando to leave the place. He knew very well that his younger master, Orlando had no money. So he gave all his savings amounting five hundred crowns to Orlando. He requested Orlando to allow him to be his servant and promised that he would take good care of him. In spite of fatigue and hunger, he accompanied his master in the forest of Arden. Thus he showed faithfulness to his master.

7. How was the banished Duke’s life in the Forest of Arden?

Ans: In the play “As You Like it” the banished Duke spent his life like Robin Hood of England in the Forest of Arden. He spent his life leisurely with many noble youth and his faithful followers. In summer he takes shelter under the shade of trees watching the playful sports of the forest deer. In winter when the cold wind blew, the Duke said that their sharpness was nothing compared to the keenness of unkindness and ingratitude. He drew lessons from nature and he found tongues in trees, books in the flowing streams, sermons in stones and good in every thing.

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• Focus and Precision: How to Write Essays that Answer the Question

About the Author Stephanie Allen read Classics and English at St Hugh’s College, Oxford, and is currently researching a PhD in Early Modern Academic Drama at the University of Fribourg.

We’ve all been there. You’ve handed in an essay and you think it’s pretty great: it shows off all your best ideas, and contains points you’re sure no one else will have thought of.

You’re not totally convinced that what you’ve written is relevant to the title you were given – but it’s inventive, original and good. In fact, it might be better than anything that would have responded to the question. But your essay isn’t met with the lavish praise you expected. When it’s tossed back onto your desk, there are huge chunks scored through with red pen, crawling with annotations like little red fire ants: ‘IRRELEVANT’; ‘A bit of a tangent!’; ‘???’; and, right next to your best, most impressive killer point: ‘Right… so?’. The grade your teacher has scrawled at the end is nowhere near what your essay deserves. In fact, it’s pretty average. And the comment at the bottom reads something like, ‘Some good ideas, but you didn’t answer the question!’.

If this has ever happened to you (and it has happened to me, a lot), you’ll know how deeply frustrating it is – and how unfair it can seem. This might just be me, but the exhausting process of researching, having ideas, planning, writing and re-reading makes me steadily more attached to the ideas I have, and the things I’ve managed to put on the page. Each time I scroll back through what I’ve written, or planned, so far, I become steadily more convinced of its brilliance. What started off as a scribbled note in the margin, something extra to think about or to pop in if it could be made to fit the argument, sometimes comes to be backbone of a whole essay – so, when a tutor tells me my inspired paragraph about Ted Hughes’s interpretation of mythology isn’t relevant to my essay on Keats, I fail to see why. Or even if I can see why, the thought of taking it out is wrenching. Who cares if it’s a bit off-topic? It should make my essay stand out, if anything! And an examiner would probably be happy not to read yet another answer that makes exactly the same points. If you recognise yourself in the above, there are two crucial things to realise. The first is that something has to change: because doing well in high school exam or coursework essays is almost totally dependent on being able to pin down and organise lots of ideas so that an examiner can see that they convincingly answer a question. And it’s a real shame to work hard on something, have good ideas, and not get the marks you deserve. Writing a top essay is a very particular and actually quite simple challenge. It’s not actually that important how original you are, how compelling your writing is, how many ideas you get down, or how beautifully you can express yourself (though of course, all these things do have their rightful place). What you’re doing, essentially, is using a limited amount of time and knowledge to really answer a question. It sounds obvious, but a good essay should have the title or question as its focus the whole way through . It should answer it ten times over – in every single paragraph, with every fact or figure. Treat your reader (whether it’s your class teacher or an external examiner) like a child who can’t do any interpretive work of their own; imagine yourself leading them through your essay by the hand, pointing out that you’ve answered the question here , and here , and here. Now, this is all very well, I imagine you objecting, and much easier said than done. But never fear! Structuring an essay that knocks a question on the head is something you can learn to do in a couple of easy steps. In the next few hundred words, I’m going to share with you what I’ve learned through endless, mindless crossings-out, rewordings, rewritings and rethinkings.

Top tips and golden rules

I’ve lost count of the number of times I’ve been told to ‘write the question at the top of every new page’- but for some reason, that trick simply doesn’t work for me. If it doesn’t work for you either, use this three-part process to allow the question to structure your essay:

1)     Work out exactly what you’re being asked

It sounds really obvious, but lots of students have trouble answering questions because they don’t take time to figure out exactly what they’re expected to do – instead, they skim-read and then write the essay they want to write. Sussing out a question is a two-part process, and the first part is easy. It means looking at the directions the question provides as to what sort of essay you’re going to write. I call these ‘command phrases’ and will go into more detail about what they mean below. The second part involves identifying key words and phrases.

2)     Be as explicit as possible

Use forceful, persuasive language to show how the points you’ve made do answer the question. My main focus so far has been on tangential or irrelevant material – but many students lose marks even though they make great points, because they don’t quite impress how relevant those points are. Again, I’ll talk about how you can do this below.

3)     Be brutally honest with yourself about whether a point is relevant before you write it.

It doesn’t matter how impressive, original or interesting it is. It doesn’t matter if you’re panicking, and you can’t think of any points that do answer the question. If a point isn’t relevant, don’t bother with it. It’s a waste of time, and might actually work against you- if you put tangential material in an essay, your reader will struggle to follow the thread of your argument, and lose focus on your really good points.

Put it into action: Step One

Let’s imagine you’re writing an English essay about the role and importance of the three witches in Macbeth . You’re thinking about the different ways in which Shakespeare imagines and presents the witches, how they influence the action of the tragedy, and perhaps the extent to which we’re supposed to believe in them (stay with me – you don’t have to know a single thing about Shakespeare or Macbeth to understand this bit!). Now, you’ll probably have a few good ideas on this topic – and whatever essay you write, you’ll most likely use much of the same material. However, the detail of the phrasing of the question will significantly affect the way you write your essay. You would draw on similar material to address the following questions: Discuss Shakespeare’s representation of the three witches in Macbeth . How does Shakespeare figure the supernatural in Macbeth ?   To what extent are the three witches responsible for Macbeth’s tragic downfall? Evaluate the importance of the three witches in bringing about Macbeth’s ruin. Are we supposed to believe in the three witches in Macbeth ? “Within Macbeth ’s representation of the witches, there is profound ambiguity about the actual significance and power of their malevolent intervention” (Stephen Greenblatt). Discuss.   I’ve organised the examples into three groups, exemplifying the different types of questions you might have to answer in an exam. The first group are pretty open-ended: ‘discuss’- and ‘how’-questions leave you room to set the scope of the essay. You can decide what the focus should be. Beware, though – this doesn’t mean you don’t need a sturdy structure, or a clear argument, both of which should always be present in an essay. The second group are asking you to evaluate, constructing an argument that decides whether, and how far something is true. Good examples of hypotheses (which your essay would set out to prove) for these questions are:

• The witches are the most important cause of tragic action in Macbeth.
• The witches are partially, but not entirely responsible for Macbeth’s downfall, alongside Macbeth’s unbridled ambition, and that of his wife.
• We are not supposed to believe the witches: they are a product of Macbeth’s psyche, and his downfall is his own doing.
• The witches’ role in Macbeth’s downfall is deliberately unclear. Their claim to reality is shaky – finally, their ambiguity is part of an uncertain tragic universe and the great illusion of the theatre. (N.B. It’s fine to conclude that a question can’t be answered in black and white, certain terms – as long as you have a firm structure, and keep referring back to it throughout the essay).

The final question asks you to respond to a quotation. Students tend to find these sorts of questions the most difficult to answer, but once you’ve got the hang of them I think the title does most of the work for you – often implicitly providing you with a structure for your essay. The first step is breaking down the quotation into its constituent parts- the different things it says. I use brackets: ( Within Macbeth ’s representation of the witches, ) ( there is profound ambiguity ) about the ( actual significance ) ( and power ) of ( their malevolent intervention ) Examiners have a nasty habit of picking the most bewildering and terrifying-sounding quotations: but once you break them down, they’re often asking for something very simple. This quotation, for example, is asking exactly the same thing as the other questions. The trick here is making sure you respond to all the different parts. You want to make sure you discuss the following:

• Do you agree that the status of the witches’ ‘malevolent intervention’ is ambiguous?
• What is its significance?
• How powerful is it?

Step Two: Plan

Having worked out exactly what the question is asking, write out a plan (which should be very detailed in a coursework essay, but doesn’t have to be more than a few lines long in an exam context) of the material you’ll use in each paragraph. Make sure your plan contains a sentence at the end of each point about how that point will answer the question. A point from my plan for one of the topics above might look something like this:

To what extent are we supposed to believe in the three witches in Macbeth ?  Hypothesis: The witches’ role in Macbeth’s downfall is deliberately unclear. Their claim to reality is uncertain – finally, they’re part of an uncertain tragic universe and the great illusion of the theatre. Para.1: Context At the time Shakespeare wrote Macbeth , there were many examples of people being burned or drowned as witches There were also people who claimed to be able to exorcise evil demons from people who were ‘possessed’. Catholic Christianity leaves much room for the supernatural to exist This suggests that Shakespeare’s contemporary audience might, more readily than a modern one, have believed that witches were a real phenomenon and did exist.

My final sentence (highlighted in red) shows how the material discussed in the paragraph answers the question. Writing this out at the planning stage, in addition to clarifying your ideas, is a great test of whether a point is relevant: if you struggle to write the sentence, and make the connection to the question and larger argument, you might have gone off-topic.

Step Three: Paragraph beginnings and endings

The final step to making sure you pick up all the possible marks for ‘answering the question’ in an essay is ensuring that you make it explicit how your material does so. This bit relies upon getting the beginnings and endings of paragraphs just right. To reiterate what I said above, treat your reader like a child: tell them what you’re going to say; tell them how it answers the question; say it, and then tell them how you’ve answered the question. This need not feel clumsy, awkward or repetitive. The first sentence of each new paragraph or point should, without giving too much of your conclusion away, establish what you’re going to discuss, and how it answers the question. The opening sentence from the paragraph I planned above might go something like this:

Early modern political and religious contexts suggest that Shakespeare’s contemporary audience might more readily have believed in witches than his modern readers.

The sentence establishes that I’m going to discuss Jacobean religion and witch-burnings, and also what I’m going to use those contexts to show. I’d then slot in all my facts and examples in the middle of the paragraph. The final sentence (or few sentences) should be strong and decisive, making a clear connection to the question you’ve been asked:

  Contemporary suspicion that witches did exist, testified to by witch-hunts and exorcisms, is crucial to our understanding of the witches in Macbeth.  To the early modern consciousness, witches were a distinctly real and dangerous possibility – and the witches in the play would have seemed all-the-more potent and terrifying as a result.

Step Four: Practice makes perfect

The best way to get really good at making sure you always ‘answer the question’ is to write essay plans rather than whole pieces. Set aside a few hours, choose a couple of essay questions from past papers, and for each:

• Write a hypothesis
• Write a rough plan of what each paragraph will contain
• Write out the first and last sentence of each paragraph

You can get your teacher, or a friend, to look through your plans and give you feedback . If you follow this advice, fingers crossed, next time you hand in an essay, it’ll be free from red-inked comments about irrelevance, and instead showered with praise for the precision with which you handled the topic, and how intently you focused on answering the question. It can seem depressing when your perfect question is just a minor tangent from the question you were actually asked, but trust me – high praise and good marks are all found in answering the question in front of you, not the one you would have liked to see. Teachers do choose the questions they set you with some care, after all; chances are the question you were set is the more illuminating and rewarding one as well.

Image credits: banner ; Keats ; Macbeth ; James I ; witches .

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Panelists Melani Cammett (clockwise from top left), Oded Leshem, Mohammad Kundos, Alon-Lee Green, and Rula Hardal.

Photos by Kris Snibbe/Harvard Staff Photographer

Finding middle way out of Gaza war

Educators, activists explore peacebuilding based on shared desires for ‘freedom and equality and independence’ at Weatherhead panel

Christy DeSmith

Harvard Staff Writer

The world seemed to split in two on Oct. 7, observed political psychologist Oded Leshem .

“You need to be either pro-Israeli and anti-Palestinian or pro-Palestinian and anti-Israeli,” said Leshem, the senior research associate at Hebrew University’s Psychology of Intergroup Conflict and Conciliation Lab. “This is, of course, a huge, huge mistake. And the people who pay the price for that mistake are Israelis and Palestinians.”

The Weatherhead Center for International Affairs convened a fifth conversation in its “Israel/Palestine” series last Wednesday. Previous installments explored history , geopolitics , and civil dialogue , but the educators and activists on this panel spoke to peacebuilding. As divisive political discourse dominates, viewers of the online forum were urged to embrace an alternative.

“There are a lot of common points between the two cultures to focus on,” offered Mohammad Kundos , principal of the Hand in Hand School in Kfar Saba, Israel.

Moderated by Melani Cammett , Weatherhead Center director and Clarence Dillon Professor of International Affairs, the event covered such topics as school integration, coalition-building, and narrative change.

“If we all agree on freedom and equality and independence, the main question we should ask is: ‘Where do we start?’” said Kundos, whose school offers a bilingual Hebrew and Arabic curriculum . “And for me, the first step is education.”

Israeli Jews and Palestinian citizens of Israel traditionally attend separate schools until college. “The idea of Hand in Hand is to start teaching Palestinians and Jewish Israelis together since kindergarten,” he said. “Our goal is to create a common, equal stage for kids to grow up together, to learn about each other, to speak each other’s language fluently — to know each other’s music, food, poetry, history. And by giving them this opportunity, we believe that we’re raising the leaders that in 20, 30 years will be able to come up with a political solution.”

The grassroots Jewish-Arab movement Standing Together operates with full acknowledgement of the conflict’s power differentials, explained national co-director Alon-Lee Green , citing the number of children killed ( nearly 14,000 ) and homes destroyed ( more than 70 percent ) by Israeli military action in Gaza over the past five months.

“We understand the Palestinians are paying a higher price,” said Green, who worked as a political adviser in the Knesset, Israeli’s parliament, before co-founding Standing Together in 2015. “But when we ask ourselves, ‘Does it mean that the Jewish people are benefiting because of this reality? Do we … profit out of occupation? Out of oppression?’ The answer is no.”

Green remembered gathering the Standing Together coalition following Oct. 7, when Hamas killed roughly 1,200 people and took more than 240 hostages . It was supposed to be an outlet for expressing pain.

“And then we understood that there are forces within our society that are wasting no time — not even one second — to drive our society into very dangerous places,” said Green, whose organization calls for an immediate ceasefire and return of all hostages.

“We understood that there’s not only a war waging on Gaza, there’s actually a war over the soul of our society,” he added. “And we started fighting this war, we started organizing, trying to bring people together, trying to speak about basic solidarity, basic empathy.”

The political organization A Land for All advocates for separate Palestinian and Israeli states under a shared confederacy, said political scientist Rula Hardal , the group’s Palestinian CEO as well as a research fellow at the Kogod Center for the Study of Jewish and Contemporary Thought at the Shalom Hartman Institute.

“We encourage a paradigm shift when we speak about the two-state solution, which is based on sharing the same homeland … and partnership instead of separation,” explained Hardal, who emphasized the region’s common climate, economy, and currency.

Hardal offered the European Union as a model when asked by an audience member for clarification of what her group had in mind. That would enable both flexibility and the level of self-determination both Palestinians and Jewish Israelis, on average, say they require.

“If some part of the nonviolent settlers would like to remain where they live now in the West Bank, in the future Palestinian state, they will be able to be residents in the state of Palestine and keep their citizenship in the state of Israel,” Hardal said.

A Land for All’s plan calls for Palestinians to receive automatic citizenship in a Palestinian state. But they could exercise their United Nations-recognized right of return by applying for residency status in Israel.

Leshem, who lectures and writes about hope as a political phenomenon, noted that bilingual education and Jewish-Arab solidarity movements are not mainstream in Israel today. That makes it all the more important to bolster these efforts, he argued, appealing directly to the panel’s American viewership.

In the aftermath of “acute events” like Oct. 7, Leshem said, history tells us the conflict will go in one of two ways. The first possibility would entail perpetuating hostilities.

“But another pathway is what these organizations are trying to do,” he said. “If we are just observers — if we just look and say, ‘Oh, interesting; where will it go?’ — we are not actually doing the right thing. The only right thing is to support these initiatives, to make sure that the future does not go in the direction of escalation and extremism.”

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