Any reader is able to detect the mythological allegory in As You Like It. They are used to add aesthetic and serve as a clever way to foreshadow certain events and themes. In Act I Scene 3, Rosalind and Celia choose their disguises as they plan to flee the court. Rosalind chooses to disguise herself as a man with the name, Ganymede, also known as the beautiful boy in Greek mythology. His level of beauty was considered so intense that Zeus, king of all gods, fell in love with him and kidnapped him to serve as his cupbearer. This allusion is no coincidence; Rosalind dressing as a boy evokes eroticism from women and men alike. Although there were rigid gender roles between men and women in Shakespeare’s time, literature in that time period frequently included homoerotic displays inspired by the homosexual occurrences within Greek and Roman classics. Therefore, Shakespeare uses As You Like It as an example of homoeroticism of which the allusion to Ganymede is used to emphasize the romantic fluidity existing in Shakespearean society.
Rosalind evokes homoerotic desires from Orlando upon when she first meets him [as Ganymede] in Act III, Scene 2. Orlando promptly addresses Ganymede as “pretty youth” and “fair youth,” and seems almost excessively willing to woo him in place of Rosalind. “‘I would not be cured, youth.’ ‘I would cure you if you would but call me Rosalind and come every day to my cote and woo me.’ ‘Now, by the faith of my love, I will. Tell me where it is.’ ‘Go with me to it, and I’ll show it to you; and by the way, you shall tell me where in the forest you live. Will you go?’ ‘With all my heart, good youth.’” (3.2.432-441) Orlando displays no sign of resistance or discomfort when referring to a man as his loved one, but even eagerness. He goes from insisting he would not be cured of his love for Rosalind, to accepting this pretty boy’s offer to cure him of his love, thus confirming Rosalind’s ability to appeal to Orlando as both a man and a woman. Orlando’s attraction to both Rosalind and Ganymede exemplifies how Shakespearean literature often consisted of displays of same-sex romance. Such displays were inspired by his education, which consisted of Greek and Roman texts that often included instances of homosexuality.
In Act I Scene 2, Celia interacts with Rosalind in such a way that makes it unclear whether or not their relationship stems from friendship or romantic feelings. (Although this is technically immoral, the potential romance between two cousins was considered less taboo in the given time period than it would be today.) The average As You Like It reader is able to concur the cousins’ existing close relationship, for both refer to each other with the informal term, “coz,” as well as Celia’s way of addressing Rosalind as “my sweet Rose, my dear Rose.” However, within this passage from lines one to forty-five, their interaction has undertones of romantic love, or at least unrequited love. Celia falls victim of unrequited love as she explicitly states to Rosalind, “Herein I see thou lov’st me not with the full weight that I love thee.” (1.2.7-8) Although it is possible for Celia to express this as a close friend, the intimacy of hers and Rosalind’s relationship suggests that the latter fails to reciprocate the same level of affection as the former. This is implied through the different “you’s” they address each other with Celia declares her intimacy to Rosalind literally as soon as the scene begins, for the very first line is her saying, “I pray thee, Rosalind, sweet my coz, be merry.” (1.2.1) But, the sweet coz rejects the informal singular address, and instead replies with a cold, “Dear Celia, I show more mirth than I am mistress of, and would you yet I were merrier?” (1.2.2-3) It is not enough for Rosalind to indifferently utter what can be paraphrased as, “How on earth can you expect me to be happy?” which to her cousin’s excessively devoted self can be interpreted as, “Your presence does nothing to uplift my spirits,” but she does so while using the formal singular address, “you.” This later leads to Celia exasperating how if her own father was banished, she would still find love in her cousin, thus trying to persuade her cousin to reciprocate her love.
Although this interaction takes place before Rosalind disguises herself as Ganymede, Celia’s romantic interest in her reinforces the idea that she is universally attractive. Rosalind is able to appeal to both Orlando and Celia, therefore breaking any gender boundaries. This is why it is appropriate for Rosalind to choose the name, Ganymede, for herself. Ganymede’s beauty was considered so universal that even Greek god, Zeus, was not immune to it, let alone due to the latter being a man. Therefore, Rosalind’s beauty serves as an allusion to this myth because she is considered attractive amongst everyone, no matter their gender. Rosalind’s appearance further exemplifies the homoerotic interactions within As You Like It as a reflection of the loosely defined romantic orientations within Shakespearean society.
In addition to Celia, Phoebe’s love for Ganymede displayed in Act III, Scene 5, serves as questionable lesbianism. Although Phoebe is technically in love with a man, she phrases such affections with a slightly homoerotic undertone: “He is not very tall–yet for his years he’s tall. His leg is but so-so–and yet ‘tis well. There was a pretty redness in his lip, a little riper and more lusty red than that mixed in his cheek: ‘twas just the difference betwixt the constant red and mingled damask.” (3.5.126-131) Phoebe praises Ganymede in a way that is uncommon for men; she praises him for the most intimate details of his face, but he lacks the features of a man. She considers him attractive in spite of his shortness, another feature that is typical amongst women. This leads to the question of whether Phoebe is attracted to Ganymede for his femininity or his masculinity? Does Phoebe exhibit heteroerotic or homoerotic love for Ganymede? Phoebe credits Ganymede for his feminine features, but she also refers to him as “a pretty youth” a few lines prior. Either way, this display of affection contributes to the Greek allusion of the boy who was considered universally attractive; so attractive that he appealed to a male Greek god. Shakespeare confirms Ganymede’s universal attractiveness when he is referred to as a “pretty youth” by both Orlando and Phoebe: “Where dwell you, pretty youth?” (3.2.340) Orlando asked Ganymede shortly after meeting him for the first time. “It is a pretty youth–not very pretty–but sure he’s proud–and yet his pride becomes him,” (3.5.120-22) Phoebe added (even after enduring his ruthless insults) with much more intimate detail, therefore reinforcing the question of Phoebe’s love for the boy stemming from a lesbian attraction. Rosalind’s ability to appeal to both Phoebe and Orlando when dressing as a man exemplifies subtle and not-so-subtle displays of homoerotic romanticism. Phoebe’s and Orlando’s romantic feelings towards Ganymede also exemplify same-sex romanticism within Shakespearean literature and Shakespearean society.
Shakespeare uses Rosalind’s disguise as Ganymede to allude to the universally attractive boy who was capable of evoking romantic feelings across all genders. Rosalind exemplifies this most explicitly through Orlando’s and Phoebe’s romantic attraction to her (or him). However, another look at Celia’s interaction with Rosalind also raises questions of love that goes beyond their friendship. Rosalind was able to appeal to Celia even before she was dressed as a man, therefore reinforcing the idea that her beauty is universal. Rosalind’s universal beauty once again alludes to Ganymede’s beauty, in spite of Rosalind not being dressed as a man. Orlando exemplifies this because his attraction to Rosalind exists before and after her disguise as a man. Rosalind’s appearance attracting men and women alike show how her beauty knew no gender or boundary, similarly to Ganymede’s beauty from Greek mythology. Rosalind’s beauty alludes to the Greek myth of a boy so beautiful that he even attracted the male attention of a Greek god, thus exemplifying the ever-so-fluid romanticism within As You Like It, and society during Shakespeare’s time.