Objectives

• Analyse how Shakespeare uses the court-versus-forest opposition in Acts I and II to expose social inequality and the corruption of power.
• Explain how Rosalind's disguise as Ganymede in Acts III and IV destabilises fixed ideas of gender and identity, using close reference to specific exchanges with Orlando.
• Analyse the rhetorical structure and thematic function of Jaques's 'seven ages of man' speech (Act II, Scene 7) as a commentary on performance and identity.
• Identify and evaluate Shakespeare's parody of Petrarchan conventions through the Silvius–Phebe–Ganymede triangle in Acts III–IV, supporting claims with precise quotation.
• Write a sustained, evidenced analytical essay that constructs a clear argument about a named aspect of the play, selecting and embedding quotations accurately.
• Evaluate how context — including Elizabethan pastoral conventions, Lodge's Rosalynde, and the political climate of 1599–1600 — shapes the play's treatment of exile, identity, and power.

The sequence

1. Lesson 1: Court vs. Forest: Power, Exile, and the World Turned Upside Down (Acts I–II)

   60 min · ch. 1, 2

   Do now

   Without opening the play, take a blank page and draw two columns. In one column, write down five words that come to mind when you think of 'a royal court.' In the other column, jot down five words that you associate with 'a forest.' Be prepared to discuss one contrast between the two. You have four minutes — hold off on any discussion for now.

   Teacher input

   Model a close reading of Duke Senior's opening speech in Act II, Scene 1, starting from 'Now, my co-mates and brothers in exile…' and ending with '…finds tongues in trees, books in the running brooks, / Sermons in stones, and good in every thing.' Highlight how Shakespeare employs the rhetorical list — 'tongues in trees, books in the running brooks, sermons in stones' — to challenge the court's traditional hierarchy of knowledge, suggesting that wisdom is not exclusive to the powerful but is instead found in nature. Focus on the term 'sermons,' which shifts moral authority away from the church and court and into the landscape itself. Note the slight irregularity in the iambic pentameter at 'Sermons in stones,' which adds emphasis to that line. In contrast, examine Duke Frederick's brief, commanding prose in Act I, Scene 2 ('Mistress, dispatch you with your safest haste / And get you from our court'), illustrating how the use of prose versus verse highlights the difference between political oppression and philosophical thought.

   Independent task

   Students are tasked with writing a comparative paragraph (at least 150 words) in response to the following question: How does Shakespeare use language to depict the Forest of Arden as a moral alternative to Duke Frederick's court in Acts I and II? They should include quotes from at least two moments in Act I: one from Orlando's confrontation with Oliver in Act I, Scene 1, and another from Duke Frederick's banishment of Rosalind in Act I, Scene 3. Additionally, students must reference at least one moment from Duke Senior's speech in Act II, Scene 1. The paragraph should start with a clear claim, seamlessly integrate quotations with analysis, and conclude with a sentence that connects the contrast to the play's larger theme of justice. Students will write this in their exercise books, underlining all embedded quotations.

   Exit ticket

   On a sticky note or the back of your page, write one sentence explaining why Shakespeare gives Duke Senior verse and Duke Frederick prose in their respective speeches of authority — what does this formal choice tell an audience about the nature of each man's power?

2. Lesson 2: Rosalind as Ganymede: Disguise, Gender, and the Performance of Identity (Acts III–IV)

   60 min · ch. 3, 4

   Do now

   Read Act III, Scene 2, lines 149–163, where Rosalind (as Ganymede) first speaks to Orlando after he has been posting love poems on the trees. Without any notes, write two sentences: what does Rosalind hope to achieve from this conversation, and what does she put at stake by engaging in it? You have five minutes.

   Teacher input

   Model an analysis of Act III, Scene 2, starting from Rosalind's line 'I am he that is so love-shaked' and ending with '…I will speak to him like a saucy lackey, and under that habit play the knave with him.' Pay special attention to the word 'habit'—which refers to both her costume and her customary behavior—to illustrate how Shakespeare blurs the lines between Rosalind's appearance and her identity. Highlight how the prose rhythm is quick and stichomythic, allowing Rosalind to control the flow of conversation in a way that wouldn't be possible for her at court. Emphasize that she doesn't merely impersonate a man; instead, she presents a version of herself ('I will cure you of your love') that becomes feasible only because her disguise offers her a unique freedom. Relate this to the Elizabethan context, where boy actors took on female roles, creating a scenario where the audience sees a boy portraying a woman who is pretending to be a man—a complex performance that the term 'habit' subtly recognizes.

   Independent task

   Students are tasked with writing two analytical paragraphs (at least 200 words in total) in response to the question: How does Shakespeare use Rosalind's disguise as Ganymede to challenge Elizabethan views on gender and power in Act III, Scene 2 and Act IV, Scene 1? The first paragraph should focus on the language used in the 'cure' game — particularly Rosalind's lines in Act IV, Scene 1 that begin with 'Come, woo me, woo me; for now I am in a holiday humour' — and explain what this mock-wooing allows her to do that she couldn't achieve as herself. The second paragraph should discuss the moment in Act IV, Scene 1 when Rosalind states 'I will weep for nothing, like Diana in the fountain' and explain how this classical reference positions her as both in control of and vulnerable to her emotions. Students must underline their topic sentences and circle any literary terminology they have used.

   Exit ticket

   Write one sentence — no more, no less — that completes this claim without using the word 'disguise': 'Shakespeare uses Rosalind's identity as Ganymede to show that gender in As You Like It is…'

3. Lesson 3: 'All the World's a Stage': Jaques, Performance, and the Seven Ages (Act II)

   60 min · ch. 2

   Do now

   Read Jaques's "seven ages of man" speech (Act II, Scene 7, lines 139–166) silently. Number each of the seven ages in the margin. After that, without consulting any notes, determine which age Jaques expresses the most contempt for and which he describes in the greatest detail. Write one sentence for each choice and be prepared to justify your answers.

   Teacher input

   Model a close reading of the fifth and sixth ages—the justice ("In fair round belly with good capon lined...") and the lean and slippered pantaloon. Focus on how Shakespeare's use of physical imagery emphasizes human dignity as tied to appetite and decay. Highlight how the justice is portrayed entirely through his consumption ("capon lined," "eyes severe," "beard of formal cut")—each detail serves as a social performance rather than reflecting true inner qualities.

   Next, shift to the sixth age, where the term "shrunk" is introduced and the voice shifts back to a "childish treble." This creates a circular structure: the speech almost returns to its starting point in infancy, suggesting that human life consists of diminishing performances rather than a linear progression. Encourage students to think about what Jaques's cynicism reveals about his own character—after all, he is embodying the role of a melancholic philosopher.

   Independent task

   Students are tasked with writing a focused analytical paragraph (at least 150 words) that responds to the question: How does Shakespeare use the structural and linguistic elements of Jaques's 'seven ages of man' speech to depict human life as a performance rather than a journey of progress? In their analysis, students must reference at least two of the seven ages by name, quote and analyze at least two specific phrases from the speech, and include a sentence that links Jaques's speech to the broader theme of identity as something that is performed rather than something fixed. Additionally, students should indicate in the margin of their paragraph whether they believe Shakespeare supports or challenges Jaques's perspective, along with one sentence justifying their stance.

   Exit ticket

   In two sentences, explain how the circular structure of the 'seven ages' speech — moving from infancy back to a 'second childishness' — supports or complicates the idea that Shakespeare presents identity as something that can be chosen or constructed.

4. Lesson 4: Parody and Pastoral: Silvius, Phebe, and the Mockery of Petrarchan Love (Acts III–IV)

   60 min · ch. 3, 4

   Do now

   Read Act III, Scene 5, lines 1–27, where Phebe turns down Silvius ('I would not be thy executioner…'). Without any notes, jot down: one thing Phebe says that comes off as harsh, one thing that seems fair, and one word or phrase that feels over-the-top or dramatic. You have four minutes.

   Teacher input

   Model a close reading of Phebe's speech in Act III, Scene 5, specifically from "Think not I love him, though I invite him…" to "…'Tis pretty, sure, and very probable / That eyes, that are the frail'st and softest things…". Highlight how Phebe's language embodies the Petrarchan style—she engages in the blazon convention by cataloging a lover's features while insisting she isn't in love. This creates a humorous contradiction, as Shakespeare cleverly illustrates that she is enacting the very genre she believes she is rejecting. Next, examine how Rosalind, disguised as Ganymede, disrupts this Petrarchan illusion with her blunt and informal speech: "Who might be your mother? / That you insult, exult, and all at once / Over the wretched?" This intervention reveals the superficiality of Silvius's affection and Phebe's scorn. Finally, relate these moments to the play's overarching parody of pastoral romance tropes that it inherits from Lodge's Rosalynde.

   Independent task

   Students are tasked with composing two analytical paragraphs (totaling at least 200 words) in response to this question: How does Shakespeare use the Silvius–Phebe–Ganymede triangle in Act III, Scene 5 to parody Petrarchan and pastoral conventions? In the first paragraph, students should concentrate on Phebe's language when she rejects Silvius, highlighting how her use of Petrarchan imagery ironically demonstrates that she is already embodying the role of a Petrarchan lover. The second paragraph should analyze Rosalind-as-Ganymede's speech that begins with "Who might be your mother?" and discuss how its prose style and direct address to Phebe reveal the artificial nature of the pastoral love-game. Students need to correctly use the term 'Petrarchan' at least once and include a sentence that explains what the parody indicates about the play's perspective on idealized romantic love.

   Exit ticket

   Write one sentence explaining why it matters that Phebe falls in love with Ganymede — a woman in disguise — rather than with any of the male characters available in the Forest of Arden. What does this comic irony suggest about the nature of desire in the play?

5. Lesson 5: Resolution, Revelation, and the Limits of Comedy: Writing the Argument (Act V)

   60 min · ch. 1, 2, 3, 4, 5

   Do now

   Read Act V, Scene 4, lines 1–34, where Rosalind, still as Ganymede, extracts promises from Orlando, Phebe, and Silvius before the ceremony. Without notes, write two sentences: what does Rosalind gain by making everyone promise before she reveals herself, and what does this moment tell us about how she has used her disguise throughout the play?

   ---

   By securing promises from Orlando, Phebe, and Silvius before revealing her true identity, Rosalind ensures that their commitments are sincere and fosters a sense of accountability among them. This moment highlights her cleverness and control, showing how her disguise has allowed her to navigate complex relationships and orchestrate outcomes that align with her desires throughout the play.

   Teacher input

   Model how to construct and maintain an argument over multiple paragraphs using Act V, Scene 2, lines 82–115, where Rosalind skillfully manages the resolution while still in disguise ('I have promised to make all this matter even…'). Encourage students to begin with a clear, debatable thesis — for example: 'Shakespeare uses Rosalind's disguise not just for comedic effect but as a critical examination of the social constraints that necessitate such a disguise in the first place.'

   Next, illustrate how to choose one quotation from Act I (the banishment), one from Act III (the 'cure' game), and one from Act V (the orchestrated resolution) to create a three-part argument that follows the disguise's evolution from a survival tactic to a tool of power, ultimately leading to a voluntary surrender. Stress that the essay should go beyond merely summarizing the plot: each sentence needs to contribute to the analysis.

   Independent task

   Students are required to write a complete essay of 500–600 words in response to the question: "In As You Like It, Shakespeare uses Rosalind's disguise as Ganymede to expose the arbitrary nature of gender roles in Elizabethan society." To what extent do you agree with this perspective? Your essay should be structured into at least four paragraphs: an introduction that presents a clear and arguable thesis; a paragraph on Act I, Scene 3, which discusses what Rosalind cannot do when she is herself; a paragraph on either Act III, Scene 2 or Act IV, Scene 1 (the 'cure' game with Orlando) that explores how her disguise provides her with agency; and a concluding paragraph that evaluates Act V, Scene 4 (the revelation and the quadruple wedding) and reflects on whether the ending reinforces or challenges traditional gender roles. You need to include and analyze at least four quotations from the play, incorporate at least one piece of contextual knowledge (such as Elizabethan theatrical conventions, Lodge's Rosalynde, or the political climate of 1599–1600), and refrain from summarizing the plot. Essays should be written in full in exercise books or on lined paper, and they will be collected at the end of the lesson for grading.

   Exit ticket

   Before you hand your essay in, write one sentence at the bottom of the final page answering this question: having written your argument, do you think the quadruple wedding at the end of Act V resolves or merely postpones the gender tensions that Rosalind's disguise has exposed throughout the play — and what single word from Act V, Scene 4 most supports your view?

Activities

Assessment

• Lesson 1 exit ticket: students can identify and explain the significance of Shakespeare's choice to give Duke Senior verse and Duke Frederick prose, demonstrating understanding of form as a carrier of meaning.
• Lesson 2 paragraph check: the teacher scans for a clear topic sentence, at least two embedded quotations from Acts III–IV, and commentary that goes beyond paraphrase to address gender and power.
• Lesson 3 exit ticket: students can articulate how the circular structure of the 'seven ages' speech (infancy to second childishness) functions as an argument about identity, not merely a list.
• Lesson 4 paragraph check: students correctly use the term 'Petrarchan' in context and can explain how Phebe's language ironically enacts the convention she appears to resist.
• Lesson 5 pre-essay do-now: teacher checks whether students can identify what Rosalind gains by extracting promises before her revelation, as a proxy for whether they understand the disguise as an instrument of agency rather than just a plot device.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g. where a story is set, how the action is ordered, how the characters are introduced and developed).
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
• W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that interprets a literary text and requires a line of reasoning to defend.
• Figurative Language (FIG-1) — Explain the function of figurative language in a literary text, including metaphor, allusion, and irony.
• Character (CHR-1) — Explain the function of a character, including how characters develop or change and how they contribute to the meaning of the work as a whole.
• Structure (STR-1) — Explain the function of structure in a literary text, including how an author's choices about form and sequence contribute to meaning.
• Narration and Point of View (NAR-1) — Explain the function of point of view and narrative perspective in a literary text.

AQA

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, including Shakespeare's use of language, form, and structure.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including Elizabethan attitudes to gender, pastoral convention, and theatrical practice.
• AO5 — Explore literary texts informed by different interpretations, including critical perspectives on Rosalind as Shakespeare's most fully developed comic heroine.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, with particular attention to Shakespeare's manipulation of verse and prose, genre, and dramatic irony.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including late-Elizabethan pastoral romance and the conventions of the Globe Theatre.
• AO4 — Explore connections across literary texts, including the relationship between As You Like It and its source text, Lodge's Rosalynde.