Richard Hillman
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Love’s Labour’s Lost and As You Like It
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This chapter proposes that the three Shakespearean comedies set in France (Love’s Labour’s Lost, As You Like It, All’s Well That Ends Well) depend for their effect on particular perceptions and forms of knowledge concerning France on the part of contemporary audiences. The focus is on the earlier two plays, since All’s Well has been considered elsewhere. Love’s Labour’s Lost introduces insistent political allusions (mainly through the names of the characters), which nevertheless resist all efforts to detach them from their romantic-comic frame. The consequence is an unresolvable tension between comic and tragic tendencies that is focused in the unconventional conclusion. As You Like It might be supposed to reject the realistic in favour of the romantic by way of its exotic ‘French’ pastoral source – Thomas Lodge’s novel Rosalynde – but Lodge actually presents his setting with an insistence on material realities. Conversely, even as he downplays Lodge’s French specificity in favour of recognisable elements of ‘Englishness’, Shakespeare attaches to the French setting and characters a dimension of romance resulting in a destabilising doubleness: Arden/Ardennes, Robin Hood/Rowland de Boys.

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