Context to Consider: Patriarchal Power Within As You Like It

In her introduction to “Performance and Cultural Politics”, Diamond describes performance as “a doing and thing done” drifting “between presence and absence, consciousness and memory”(1).  This characterization highlights an important truth we have already discussed in class, that performances never take place in a vacuum, or a space of “unmediated real” (Diamond 1).  While working through Act 1 of Shakespeare’s As You Like It, I found myself repeatedly considering the context which must be considered when reading the work, particularly in relation to the commentary made about the patriarchal societal system in which the play unfolds.  Clearly the meaning of the play is contingent on the history of patriarchal systems of power, among other things, but whether it fair to assert the work serves as a critique of patriarchy is certainly debatable.

As the play begins, both Orlando and Rosalind have been ousted from the societal stations dictated to them by tradition and express contempt for their forced performance of alternate social roles.  Though Orlando clearly is invested in the patriarchal societal order making his brother the head of the household, acknowledging Adam was more loved by his father in the lines “…I/confess your coming before me is nearer to his/reverence….,” Orlando asserts Adam’s relegation of him to a lowly role in the family home “differs not from the stalling of an ox”( I.ii.49-51. I.i.10). Though Orlando’s plea for what he is traditionally entitled to as the second born does not necessarily read as a grand critique of the patriarchal societal system, the fact that this young man can easily be considered more charming, fair, and impressive than his elder brother has the potential to be read as a condemnation of this system of arbitrary entitlements.  Adam describes Orlando as

 “…gentle, never

schooled and yet learned full of noble device, of all

sorts enchantingly beloved, and indeed so much in

the heart of the world…”(I.ii.163-6)

begrudgingly acknowledging his brother’s strength of character.  Adam’s attempt to repress the development of his brother’s talents make it clear he likely considers Orlando a greater man than himself and a threat to his authority.  The patriarchal system is illuminated as unnatural through the characterization of these brothers, revealing these societal roles are performances rather than “an external representation of an interior truth”(Diamond 5).  The suggestion is effectively made that the complex ordering of society according to patriarchal rules is a baseless performance detached from any notion of quality leadership or entitlement in ownership.  Duke Frederick’s recent usurping of his brother’s rightful position as Duke further illuminates the fragility of this social system.

                I am by no means insinuating the critique of patriarchy is a clear, overarching theme in the work. Though I won’t spoil the ending for those unfamiliar with the work, there is certainly the potential to read the work in its entirety as redemption of patriarchal systems.  The incredible importance of the history of patriarchal systems of order to the work is hard to deny, as the fact that the two characters denied their rightful societal positions feel they are being forced to act out roles that are unnatural insinuates the performance of all character’s hinges on their identity in relation to this power system. 

Works Cited

Shakespeare, William. As You like It;. New York. Folger Shakespeare Library. 2009. Print.

Diamond, Elin. "Performance and Cultural Politics." London. Routledge. 1996. Print.