Book contents
- Frontmatter
- Shakespeare and the Protestant Mind
- Divine [ ]sences
- ‘An alien people clutching their Gods’?: Shakespeare’s Ancient Religions
- ‘He drew the Liturgy, and framed the rites’: The Changing Role of Religious Disposition in Shakespeare's Reception
- Jonson, Shakespeare, and the Religion of Players
- The Bard and Ireland: Shakespeare’s Protestantism as Politics in Disguise
- ‘Every Good Gift From Above’ Archbishop Trench’s Tercentenary Sermon
- Anthony Munday and The Merchant of Venice
- Perfect Answers: Religious Inquisition, Falstaffian Wit
- When Suicide Becomes an Act of Honour: Julius Caesar and Hamlet in Late Nineteenth-Century Japan
- Religion in Arden
- A Wedding and Four Funerals: Conjunction and Commemoration in Hamlet
- Between Religion and Ideology: Some Russian Hamlets of the Twentieth Century
- Of Shadows and Stones: Revering and Translating ‘the Word’ Shakespeare in Mexico
- Ministers, Magistrates and the Production of ‘Order’ in Measure for Measure
- The Hebrew Who Turned Christian: The First Translator of Shakespeare into the Holy Tongue
- Shakespeare and English Performance Style: The European Context
- All At Sea: Water, Syntax, and Character Dissolution in Shakespeare
- King John, König Johann: War and Peace
- The Tempest’s Forgotten Exile
- The Old Lady, or All is Not True
- Shakespeare Performances in England, 2000
- Professional Shakespeare Productions in the British Isles January-December 1999
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Religion in Arden
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Shakespeare and the Protestant Mind
- Divine [ ]sences
- ‘An alien people clutching their Gods’?: Shakespeare’s Ancient Religions
- ‘He drew the Liturgy, and framed the rites’: The Changing Role of Religious Disposition in Shakespeare's Reception
- Jonson, Shakespeare, and the Religion of Players
- The Bard and Ireland: Shakespeare’s Protestantism as Politics in Disguise
- ‘Every Good Gift From Above’ Archbishop Trench’s Tercentenary Sermon
- Anthony Munday and The Merchant of Venice
- Perfect Answers: Religious Inquisition, Falstaffian Wit
- When Suicide Becomes an Act of Honour: Julius Caesar and Hamlet in Late Nineteenth-Century Japan
- Religion in Arden
- A Wedding and Four Funerals: Conjunction and Commemoration in Hamlet
- Between Religion and Ideology: Some Russian Hamlets of the Twentieth Century
- Of Shadows and Stones: Revering and Translating ‘the Word’ Shakespeare in Mexico
- Ministers, Magistrates and the Production of ‘Order’ in Measure for Measure
- The Hebrew Who Turned Christian: The First Translator of Shakespeare into the Holy Tongue
- Shakespeare and English Performance Style: The European Context
- All At Sea: Water, Syntax, and Character Dissolution in Shakespeare
- King John, König Johann: War and Peace
- The Tempest’s Forgotten Exile
- The Old Lady, or All is Not True
- Shakespeare Performances in England, 2000
- Professional Shakespeare Productions in the British Isles January-December 1999
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
It is strange how scant is the attention customarily paid to the precise locality of the Forest of Arden in Shakespeare’s As You Like It. Agnes Latham, in her New Arden edition of the play (1975), expresses the general opinion that it is set in ‘the Ardennes on the border of Belgium and Luxemburg’, while allowing that Shakespeare and many in his audience ‘could identify it easily with those parts of Warwickshire still known as Arden’ (p. 8). This identification may be traced back to Edmond Malone, who identified the forest even more precisely as ‘that in French Flanders, lying near the Meuse and between Charlemont and Rocroy’ (quoted in the New Variorum edition of the play, p. 16). If for the source of these statements we go back to Shakespeare’s source, Thomas Lodge’s pastoral romance of Rosalynde, we find that the main setting is what he calls (like Shakespeare) ‘the forest of Arden’, but that the forest he has in mind is not so much that to the North-East of France as a vast unidentified forest between ‘the province of Bordeaux’, from which his hero Rosader (Shakespeare’s Orlando) sets forth with his old servant, and the city of Lyons, to which they make their way. This is evidently to the South of the royal capital of Paris, where the usurping king Torismond has his court (Shakespeare’s duke Frederick).
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- Information
- Shakespeare Survey , pp. 115 - 121Publisher: Cambridge University PressPrint publication year: 2001