The Healing Power of Nature in
William Shakespeare’s Pastoral Comedy As
You Like It
Sonu Kumar Mehta,
Assistant Professor,
Department of English,
A. S. College, Deoghar,
Jharkhand,
India.
Abstract:
The research article analyses the power
of nature to reform ties between the natural world and human relations in
William Shakespeare’s pastoral comedy As You Like It. Thorough study of this
play a major factor comes out on surface that the Forest of Arden plays a
pivotal function not just as a setting of the play but as an unforeseen force
that brings in substantial transformation in the understanding of a character
and amends human relationships. The research traces out the important role in
healing breaking social rules, revealing true selves, encouraging deep thought
and creating real love. Focusing on the theory of ecocriticism and the value of
nature in Renaissance literature, this study reveals how the depiction of
pastoral world creates a godly sphere in which characters give up the human
made social limitations and realize their true identity. The difference between
court and forest works as a major platform which enables Shakespeare to explore
the themes of nature against artificial world, reality against performance and
corruption against renewal. This paper discuses that As You Like It
demonstrates a refined ecological understanding that refers to contemporary
ecological psychology by proposing that wellbeing of human psychology and
social symphony are linked together with the natural world.
Keywords: Forest of Arden,
Nature, Healing, Ecocriticism, Renaissance Ecology
Introduction:
William
Shakespeare’s comedy As You Like It presents
one of his most intense explorations of the mutual relationship among human
world and the natural world. The major shifting of play from the immoral court
to the healing Arden’s natural surrounding establishes a parallel which helps
Shakespeare to examine how natural world amends human point of view, personal
identity and kinships. Besides serving as a setting or metaphorical device, the
Forest of Arden serves as an essential healing factor that accelerates
significant changes in the growth of characters and their relationships. This
paper analyses the multidimensional representations of nature healing capacity
throughout the play. It focuses especially on how the natural environment
nurtures the realization of self and valid human relations. This paper
discovers commonness in Shakespeare’s use of nature as a healing force and
studies their dramatic and philosophical significances by keeping in view the
basic scholarship in Shakespearean ecocriticism and the ecological approaches
to Renaissance literature.
This
paper has undergone an interdisciplinary approach that mingles detailed textual
analysis with theoretical models taken from ecocriticism, Renaissance studies
and performance theory. Initial study focuses on the text of As You Like It, with special attention
to scenes describing the initial encounter of the characters with forest, their
adjustment with the natural world and the healing process they go through
during their stay in the serene ecology of Arden. Secondary sources consist of
analyses of Renaissance pastoral cultures and contemporary ecocritical outlook,
thus bringing together a balance perspective that places this play within its
historical context alongside acknowledging its existing relevance to modern
ecocriticism.
Main Argument:
The
Forest of Arden in As You Like It plays
a role of a healing space between different situations of an individual where
social norms are debarred and healing experience takes place. This healing
experience is inspired from the term ‘Communitas’, which according to the
anthropologist Victor Turner is a phase in which preexisting differences
between characters temporary vanish and a new type of community and identity
takes place. The change of setting from king’s court to forest signifies the
beginning of this healing experience. William Shakespeare lays down a clear
difference between these two spaces- on one hand the court of Duke Frederick is
replete with treacherous, pushy and hypocrites, on another hand the natural
setting of Arden foster the quality of honesty, empathy and genuineness. Duke
senior feels this difference after his arrival to the serene world of Arden, he
admits this difference when he says,
“Hath not old custom made this life more
sweet
Than that of painted pomp? Are not these
woods
More free from peril than the envious
court?” (Shakespeare 22)
This
process of healing in the natural environment disrupts preexisting social power
structure. In the Forest of Arden, Duke Senior and his acolytes constitute a
temporary brotherhood community and Duke refers to his people, “my co-mates and
brothers in exile” (Shakespeare 22).
The
healing qualities of forest reach to temporal experience. The characters in the
wilderness of Arden live ‘forest time’- a life that is out of worldly
businesses. Jaques explains this totally different temporal experience in his
famous speech, seven ages of man:
All the world’s a stage,
And all the men and women merely
players;
They have their exits and their
entrances,
And one man in his time plays many parts,
His acts being seven ages… (Shakespeare 38)
He places forest dwellers within a circular
conception of time. This temporal transformation enables characters to reject
their normal life and reestablish their identities and mutual relationships.
Shakespeare’s portrayal of the natural environment of Arden as a healing space
is more than what medieval and Renaissance conventions call “green world”. The
untainted setting of Arden is different from absolute pastoral setting, it also
contains dangerous side with “the icy fang/ And churlish chiding of the
winter’s wind” (Shakespeare 22) and the fear of wild animals. This blending
shows Shakespeare’s deep understanding of nature as both nurturing as well as
challenging space, it provides a complex setting that fortifies the healing or
transformative power of nature similar to a mother who nurtures a child with
both love and often mild castigation. The transformative power of the natural
setting of Arden creates a suitable condition for human transformation by provisionally
suspending the limits of the ascribed identities of court. C.L. Barber rightly
observes that Shakespeare’s natural world enables characters to “recover or
discover themselves” (Barber 8). It does so by eliminating the characters from
the artificiality of human world and bringing them in affinity to the natural
setting of the Forest of Arden.
The
raw nature of Arden plays a crucial role in disclosing real selves that were
either hidden or suppressed within the artificiality of court life. This disclosure
of true selves takes place in various modes, for example physical loss that
tatters hypocrisy and exposure to natural world that requires genuine
responses. The exposure to the natural world healed Orlando the most. In the
court life, his innocence and lack of understanding makes him a prey to his
brother’s conspiracy, but in the forest his virtuous qualities flourish.
Orlando’s true nature is observed by Adam when he utters: “O, what a world is
this, when what is comely / Envenoms him that bears it!”(Shakespeare 25), his
speech suggests that his real self could not be duly appreciated within an immoral
court life. After his arrival to the natural world of Arden, his qualities
shine and he becomes a compassionate good leader and a creative poet. Likewise,
Rosalind in the disguise of Ganymede ironically expresses her true self in the
natural forest life. Her male identity, in disguise, liberates her to cross the
confining gender expectations of court life. In the forest, she enjoys a life
that was quite impossible in court- “I’ll have no worse a name than Jove’s own
page, / And therefore look you call me Ganymede” (Shakespeare 21). Her identity
that she experienced in the forest life enables her to become more direct,
witty and emotionally intelligent, the qualities which were earlier curbed in
the artificial life of court.
The
most explicit transformation was observed in Duke Senior after his lively
experience in the natural world of Arden. The way he acknowledges the teachings
of mother-nature shows how exposure to the natural world facilitates real
self-knowledge:
“And this our life, exempt from public
haunt,
Finds tongues in trees, books in the running
brooks,
Sermons in stones, and good in everything”
(Shakespeare 22).
The
way Shakespeare reveals identity of his characters through nature reflects the
humanism culture of Renaissance that distinguishes appearance and reality, and
between social performance and authentic being. There is no performance
pressure in forest, which is quite contrary to court life, and hence it allows
authentic identity to emerge. Modern psychological concept of “ecological self”
(Naes 1995) was already available in the characters of Shakespeare who could
experience their true identity through exposure to the natural world, Arne Naes
explains that human identity comes into existence partly through connection
with natural environment. Shakespeare, through the transformation of his
characters, intends to say that one cannot properly know themselves without
experiencing the transformative nature of the natural world. This concept
continues to exist in the modern environmental psychology.
The
Forest of Arden is not just a forest, it provides an aura which stimulates
characters’ psyche. Characters experience extraordinary philosophical growth
after their exposure to the natural world, which they had never experienced in
the court life. After exposure to the natural world the characters throughout
the play delve in deep contemplation about time, justice, morality and human
nature. The major philosophical voice is reflected in the character of Jaques,
his melancholic character and insightful observations are triggered by forest
experiences. His philosophical insight lightens up after his encounter with the
wounded deer which shows nature’s cruelty and human hypocrisy. The natural
environment of forest gives philosophical wisdom to Duke Senior too. He says,
“This is no flattery. These are counselors / That feelingly persuade me what I
am” (Shakespeare 22) - in this utterance he compares the authenticity of
natural life to court life that manifests the intellectual clarity provided by
the natural world is quite rare to see in the corrupt court life. The
counselors in the court were flatterers while in the forest they were harsh but
real, which helps Duke Senior in true understanding and moral development.
The
major attention of Orlando was on romantic love, but his interaction with the
natural world Arden fills him with philosophical ideas. Initially he threats
the company of Duke Senior “Forbear, and eat no more!” (Shakespeare 36), but
later a sense of humanity arises within him and he asserts,
“I thought all things had been savage
here,
And therefore put I on the countenance
Of stern commandment” (Shakespeare 37).
This
change in the attitude of Orlando from a stern to a compassionate being
demonstrates the healing capacity of nature to stimulate moral development.
Nature as a philosophical catalyst depicted by Shakespeare is drawn from
Renaissance humanist traditions that observed the natural environment as a
source of wisdom outside academic teachings. According to Robert Watson
Shakespeare’s pastoral world often functions as unconventional academics in
which characters learn from first-hand experience, which is contrary to
institutional learning. The learning earned through real life experience plays
better role in transformation in comparison to formal education, as
aforementioned in Orlando’s moral development. This philosophical learning
earned in the serenity of Arden finally crosses the boundary of forest as well,
the characters transfer these learnings to the court society. The Restoration
of Duke Senior assures governance inspired by the forest environment which
suggests that the philosophical influence of nature transcends individual
enlightenment to a positive social change. Modern environmental philosophy also
asserts that understanding of the natural world promotes sustainable and fair
social systems.
The
healing power of nature in As You Like It
is in its most significant form is seen in authentic human connections,
especially romantic love. Shakespeare consistently portrays the natural world
of forest as important to the growth of genuine relationships that was
impossible in the court society. The romantic relationship between Orlando and
Rosalind prospers after their arrival to the Forest of Arden. Although their
initial love begins at court but their relationship flourishes in the forest
environment. The forest environment provided Rosalind freedom to be disguised
as Ganymede and offered her opportunity for liberated communication that was
not possible in the usual courtship ritual. Her communication with Orlando
justifies the forest as an essential space for the development of their
relationship where she says, “you shall tell me where in the forest you live.
Will you go?” (Shakespeare 53)Their courtship ritual, in which Orlando woos
Ganymede, displays a fabricated romantic convention generated in the forest
environment. Rosalind’s dialogue, “I would cure you, if you would but call me /
Rosalind, and come every day to my cote, and woo me.” (Shakespeare 53),
suggests that natural environment of forest fosters a lesson of relationship
which is impossible in the constrained life of court society. In a similar way
minor characters also understand romantic relationships in the forest
environment. Silvius and Phebe, and Touchstone and Audrey get their loving
partners in the Forest of Arden. The natural setting of Arden plays a pivotal
role in their love life, in the forest environment they learn to express their
feelings of love to their loving ones. The simultaneous development of love in
these characters demonstrates nature’s healing power to nurture true human love
beyond rigid social codes of court society. Shakespeare’s depiction of nature
as important factor to nourish pure love demonstrates Renaissance pastoral
traditions. This portrayal of nature as a facilitator of authentic love
reflects contemporary studies in environmental psychology, which suggests that
natural environment strengthens human bonds through better empathy and
attention. In the modern context Richard Louv observes that natural setting
often functions as “relationship catalysts” by eliminating all distractions
that hinders genuine love.
After
their life-changing experience in the natural environment of the Forest of
Arden most of the characters return to the court society, but the
transformation in their thought, feelings and understanding remains with them.
Shakespeare’s portrayal of this return implies that the transformative effect
of nature lasts beyond immediate forest experience and it has the potential to
rebuild court society. Duke senior’s restoration ensures better governance
inspired from wisdom gained from forest environment. He would not have
experienced such transformation in his governance abilities without his exile
to the Forest of Arden. Orlando’s return to court as a confident nobleman from
earlier an ignorant disinherited young boy also signifies the healing power of
nature to transform a timid person into a valiant one, from an arrogant to a
compassionate one. Jaques decision to stay with Duke Frederick in seclusion
exemplifies everlasting influence of the impact of live lived in the natural
environment of forest. After experiencing genuine philosophical voice in serene
natural environment he decides to stay with his altered self: “Out of these
convertites / There is much matter to be heard and learned” (Shakespeare 90).
His decision implies that good changes, similar to healing, should be carried
throughout the life.
Shakespeare’s
portrayal of return of the characters from forest to court life is not as
simple as it seems to be. The composite portrayal of resuming to court life
after a short escape to the natural setting of Arden highlights Shakespeare’s
ecological wisdom. Shakespeare does not intend to present forest as a temporary
escape in As You Like It but as a
healing process that undergoes during interaction with the natural environment
of forest and even after return to the court life. This understanding reflects
contemporary environmental psychology of how exposure to the natural
environment still influences human development and social functioning even if
direct contact to the natural environment ends.
Conclusion:
In
the modern world where people are getting disconnected to the natural
environment and human activities are leading to environmental crisis, the
healing power of nature as represented by William Shakespeare plays an
essential role. The healing power of nature in As You Like It reflects “attention restoration theory” (Kaplan
1995), which according to environmental psychologists is the understanding that
interaction with natural environment treats mental fatigue and restore
cognitive ability. For instance, characters like Orlando and Rosalind were
mentally strained in the artificial court society but they experience
intellectual and creative boom in the Forest of Arden. Similarly, Shakespeare’s
portrayal of the forest as facilitator of real identity anticipates modern
concept of “ecological self” (Naess 1995), which means the understanding that
the development of human identity takes place partly through relationship with
natural environment. The modern world is confronting numerous ecological
challenges and Shakespeare’s narration of natural world as a healing agent in As You Like It depicts human nature
harmony and ecological wisdom. His imagination of development of human with
harmonious connection with nature provides hope for better human life and
warning for such people who are continuously getting disconnected from nature’s
healing power.
Works Cited:
Barber, C.L. Shakespeare’s Festive Comedy: A Study of Dramatic Form and its Relation to Scoial Custom. Princeton University Press, 1959.
Kaplan, Stephen. “The Restorative Benefits of Nature: Toward an Integrative Framework.” Journal of Environmental Psychology, vol. 15, no. 3, September 1995, pp. 169-182. https://doi.org/10.1016/0272-4944(95)90001-2.
Louv, Richard. Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder. Algonquin Books, 2005.
Naess, Arne. “Self-Realization: An Ecological Approach to Being in the World.” The Trumpeter, vol. 4, no. 3, July 1987, https://trumpeter.athabascau.ca/index.php/trumpet/article/view/6243.
Shakespeare, William. As You Like It. Peacock Books, 1623.
Turner, Victor. The Ritual Process: Structure and Anti-structure. Aldine Publishing Company, 1969.
Watson, Robert N. Back to Nature: The Green and the Real in the Late Renaissance. University of Pennsylvania Press, 2006.