adding only such characters as would, while making the play more
interesting, not materially change the already familiar story.

By condensation and omission Shakespeare shortened the time of the
action, which is several months in the romance, to about ten days in
the play. This he accomplished by omitting all the preliminary
narrative of the death of Sir John of Bordeaux, and the old knight's
will; and by shortening the time that elapses in the romance between
the brother's quarrel and the wrestling, which he makes occur on
successive days. A similar shortening occurs in the matter of
Rosader's flight from home. In the play the hero, being warned by
Adam, leaves immediately after the wrestling, instead of staying to
play his part in the rowdyism at Oliver's (Saladyne's) castle. The
effect of this compression is to make the love plot more prominent.
The meeting of the two brothers in Arden is also managed somewhat
differently. Orlando is hurt in rescuing his brother from wild beasts,
instead of being wounded, as in the romance, by rescuing Aliena from a
band of robbers. The play ends differently from the romance, as befits
a comedy, the usurping duke being converted instead of being killed in
battle.

It was, however, in the characterization that Shakespeare departed
most widely from the romance. The most obvious change was in the names
of the characters. Rosader appears as Orlando, Saladyne as Oliver,
Torismond as Duke Frederick, Gerismond as the banished Duke, Alinda as
Celia, Montanus as Silvius, and Corydon is shortened to Corin. Of much
greater significance than the changes in the names of the characters
are the additions and changes in the list of _dramatis personae_. Nine
characters are added outright--Dennis, Le Beau, Amiens, the First
Lord, Sir Oliver Martext, William, Audrey, Touchstone, and Jaques. The