AS YOU LIKE IT TEXT PDF
for your love, I would be loath to foil him, as I must, for my own honour, if he come in: therefore, out of my love to you, I came hither to acquaint you withal, that. This text was downloaded from resourceone.info, where you can also .. O, a god wish vpon you: you will trie in time in [Page ]As you like it. Download AS YOU LIKE IT free in PDF & EPUB format. Download William Shakespeare.'s AS YOU LIKE IT for your kindle, tablet, IPAD, PC or.
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As You Like It by William Shakespeare. No cover available. Download Plain Text UTF-8, //resourceone.info, kB. More Files. I have no fear of the text because I've wallowed in it for years, and I have some wonderful The Forest of Arden plays an important role in As You Like It and. As You Like It, like Twelfth Night and A Midsummer Night's Dream, is one of . Touchstone has engaged a vicar, Sir Oliver Mar-text, to wed him and Audrey in.
When the young man rushes on with his drawn sword shouting for food. He only says that he recognizes the penalty of Adam. Nor is the virtue that he makes of dispossession entirely victorious. On the contrary. They are doing their best. The contraries: Under the shade of melancholy boughs.
He is. Which brings us to the lovers. A boar-spear in my hand. As many other mannish cowards have That do outface it with their semblances. I broke my sword upon a stone. Were it not better. That I did suit me all points like a man? A gallant curtle—axe upon my thigh.. I remember when I was in love.
Because that I am more than common tall. Existence in Arden 29 While the veteran refugees are thinking of many matters. The meeting precipitates the process of self-discovery which the comic device in Act II. She can discover not only.
Rosalind discovers nature.
Index of /doc/AYL_M/scene/1.1
For if Orlando discovers culture—sonnets and banquets—in the forest. She is in control. But this is the last time Rosalind is inattentive or absent-minded.. She is master-mistress of the situation.
At which time would I. Indeed it is her presence of mind which dominates and characterizes the middle acts. She is invisible. When she says to Celia: Ganymede releases in Rosalind her best powers of improvisation.
I have a doublet and hose in my disposition? One inch of delay more is a South-sea of discovery. It is a superbly audacious idea. Upon which she sagely replies. Existence in Arden 31 what he is like.
As you like it.pdf
Her double role is a triumph of characterization through impersonation. I will laugh like a hyen. I will be more jealous of thee than a Barbary cock-pigeon over his hen. Julia and Viola. It is no wonder the gaiety of this twinned character is infectious.
What would you say to me now. But it cannot be sounded. She provokes preposterously. I will weep for nothing. But what is sexual solidarity to her is to her chameleon cousin sexual solipsism and she will have none of it. And if mine eyes can wound..
Now counterfeit to swound. Lie not. Or if thou canst not. And even that is not all. Should be called tyrants. Life itself is validated. That eyes. Now I do frown on thee with all my heart.
Free to fantasize. I think she means to tangle my eyes too! Your bugle eyeballs. You foolish shepherd. Phebe is. You are a thousand times a properer man Than she a woman. But it is also not strictly accurate. Like foggy south. Sell when you can. She has merely suggested to Orlando that they meet again. Existence in Arden 33 Rosalind.
And thank heaven. For I must tell you friendly in your ear. What it leaves out is the fun.. And out of you she sees her self more proper Than any of her lineaments can show her. Berry accounts. If she is still Ganymede in the epilogue.
Phebe And I for Ganymede. Rosalind And I for no woman. Orlando And I for Rosalind. A remedy for deadlock. She is thus drawing the audience. The arrival of Oliver. The exhaustion of the comic device is neatly dramatized by the emotional collapse of Rosalind at the sight of the bloodied handkerchief.
But if she is dressed as Rosalind. This is the ironic voice which ends the play with the classic plea for applause in the epilogue. Ganymede has in his face that which Phebe would feign call master. A protuberance is a protuberance. But he is by nature a solitary and continues his travels. All is immaterially interchangeable: But what though?
As horns are odious. Wickedness has burst. Jaques is unassimilated. But not all Jacks have their Jills. There is also unaccommodated William at the marriage feast.
Jaques gives him two months V. I submit. It is said..
Poor men alone? To Touchstone. Julia and Hippolyta. In this matter she can give as good as she gets. At the end of As You Like It dukes are restored to their dukedoms. Existence in Arden 35 power. Harold Jenkins. XXI XLIX Shakespeare is not done with the wayward and unruly erotic passions. Sypher continues. He is too Ecclesiastes-wise. Nor will he be. He is not a merry fool. Shakespeare Studies. But his romantic comedy treatment of them does come to an end with his next play Twelfth Night.
Touchstone is a professional jester. They have left Theseus far behind. Shakespeare Quarterly. Maura Slattery Kuhn. Chicago University Press. Pastoral London: Peter V. Towards a Psychology of Being New York: Van Nostrand Reinhold. Wylie Sypher. Richard Levin. Abraham H. Existence in Arden 37 5.
University of California Press. Shakespearean Comedy London: The transmission of paternal heritage. The father—son motif. Her talking circles around Orlando seems sufficient proof of her complete triumph.
In the earlier play. The exiles in the forest can indulge in the pleasures of melancholy because the play can amply satisfy the need for true versions of debased human relationship: We relish the platitude of this general rule in order to appreciate the magic of the exceptions. Orlando is educated twice: My point is not that As You Like It is a history play in disguise or that there are no differences between genres.
Concentration on Rosalind to the neglect of other issues distorts the overall design of As You Like It.
Male friendship. Orlando is never made to confront a paternal fault. The masques of the Muscovites and of the Nine Worthies are farcical artistic performances that precipitate discord. But the question still remains: And an exclusive focus on Rosalind prevents our asking it. Unlike Henry V. But even Jaques generously acknowledges the validity of love when he gives his blessing to Orlando.
Berowne comments explicitly on the absence of marriage and closure. As You Like It creates a context in which the efficaciousness of art is affirmed rather than denied. Unpleasing to a married ear! I bar confusion. The songs act as a conspicuously inadequate substitute for the consummation that has failed to occur among the main characters.
Rosalind has explored the limits of the magic that her male. Rosalind has brought Hymen. I have.
That reason wonder may diminish How thus we met. The character of Rosalind. It recapitulates but does not relieve the humiliation of men as helpless victims of female caprice. In presenting Rosalind undisguised. Whiles a wedlock-hymn we sing. This gratifying happy ending is convincing. Feed yourselves with questioning. The alternative presented by the songs twits the anxiety it ostensibly seeks to mitigate by invoking the larger perspective of the natural cycle: The cuckoo then on every tree Mocks married men.
Nor do the companion songs of the cuckoo and the owl dispel the awkward atmosphere. The static quality of this relationship leaves too little room for interplay between the worlds and leads directly to the stalemate of the conclusion.
While useful. From this perspective. As You Like It dramatically expands the contrast and the possibilities for interaction between the two worlds of court and forest. Hence it becomes imperative to look at the plays from the perspective of sexual politics. Like Prospero. The sharply differentiated landscapes unfold in sequence. How do we account for the difference between the two endings? How is the resolution of As You Like It achieved?
The play sets up a contrast between two worlds: Falling in love is experienced as incapacitation: My better parts Are all thrown down. There is. Again like the four lords. Her response to Phebe and Silvius is an attack on sonnet convention that implicitly involves a self-education for Rosalind. Like them. And I to live and die her slave. Heaven would that she these gifts should have.
In upbraiding the two for their enactment of the stereotype of female scorn and male abasement. The encounter between Rosalind and Jaques at the beginning of act 4. The idea of the male disguise originates as a strategy for avoiding the normal vulnerability to male force: Before entering the forest of Arden. Observing this dynamic at work in another relation alerts her to the potential Phebe in herself. She is more impressive because more complex and more humane.
This traditional image has been resent all along. It is clear to the audience. Rosalind does have access to both male and female attributes. Her own insistence on the metaphor of exterior male and interior female keeps the categories distinct and separable.
AS YOU LIKE IT
Rosalind must reveal herself directly to Orlando. This loss of control signals that Rosalind can no longer deny her inner feminine self. By virtue of the costume. As the disguise begins to break down before its official removal. Rosalind is shown working out in advance the terms of her return. Though it gives her freedom of action and empowers her to take the initiative with Orlando.
The liberation that Rosalind experiences in the forest has built into it the conservative countermovement by which. Yet the costume is problematic. Still protected by her disguise yet allowing herself to come closer to the decisive moment. In order to love.
Neither Rosalind nor the play questions the conventional categories of masculine and feminine.
But in giving up the disguise. Her humor has the effect of exorcising and renouncing her potential weapon. The expected negative meaning of horns as the sign of a cuckold is transformed into a positive image of phallic potency that unites men.
She accedes to the process by which. Unlike Cordelia. To each of the two men in her life she declares: Jaques replaces his earlier lament 2. Her previous wit notwithstanding. Her exuberance and control collapse in fears of his betrayal: She is the architect of a resolution that phases out the control she has wielded and prepares the way for the patriarchal status quo.
Rosalind submits not only to two individual men but also to the patriarchal society that they embody. Yet Rosalind is not really in charge here because the potential hostility between the younger and older man has already been negotiated in the forest in act 2. Changing the style of his literary response to deer killing. Patriarchy is not a slogan smuggled in from the twentieth century and imposed on the play but an exact term for the social structure that close reading reveals within the play.
Her casting herself in the role of male possession is all the more charming because she does not have to be forced to adopt it: She is once again consigned to anxious waiting for her tardy man: Orlando makes it clear. Rosalind is aware. The interim is reserved for his other.
The forest of Arden includes a strong parental presence: Orlando asserts the paternal bond: The sequence of these projects is an indication of priority. Both Rosalind and Orlando acknowledge Duke Senior. Although interpretations of As You Like It often stress youthful love.
Fraternal spirit is not equivalent to democracy. Upon entering the forest. Rosalind and Orlando approach the forest in strikingly different ways. In the case of As You Like It.
Freed from the constraints of courtly decorum. Unexpectedly finding a benevolent father figure. This transaction concludes the scene: What is thy name. Yet aggression is the epitome of a rigid masculinity that Shakespeare characteristically condemns as too narrow a basis for identity. Orlando is accompanied by Adam. In act 2. Orlando effects as gracefully as possible a transition from toughness to tenderness: As it turns out. I will either be food for it. Be truly welcome hither. Orlando carries Adam on his back.
The men take over the traditional female prerogative of maternal nurturance. DUKE S.. Just as there is an unlimited supply of food in this scene. Love is expressed in terms of food. Virgilian piety. True is it that we have seen better days. Jaques excepted. We now see that it is the male feast. And you say you will have her. In the end. The male community of act 2. That would I. Responding with a kindness that can be traced back to his meeting with Duke Senior.
The power of male pity extends beyond this scene to include the evil Oliver. You will bestow her on Orlando here? DUKE S. Rosalind plays her part by rehearsing the men in their political roles: The motif of eating here creates a negative image that might disturb the comfortable pastoral banquet. Orlando rescues his brother: You say. In the liberal opening out into the forest of Arden.
In an ironic demonstration of the consuming nature of evil. It is Orlando. This selective androgyny demands an ambivalent response: Just as Rosalind gains access to the traditional masculine attributes of strength and control through her costume.
III C. Her possession of the male costume and of the power it symbolizes is only temporary.
In completing the de Boys family reunion. In talking about male power in As You Like It. Driven by greed. But Orlando does not have to give up the emotional enlargement he has experienced in the forest. The image of three de Boys sons reestablishes the proper generational sequence. In order to assess the sense of an ending. The second. There is no relief from the fear that dominant women inspire in a patriarchal sensibility.
But in her case paternal power is vigorously represented by Duke Senior and by the line of patriarchal authority established when Senior makes Orlando his heir. But of course this patriarchal tyranny is a caricature and therefore harmless.
To describe it. Her essential power remains intact. Festive celebration is now possible because a dependable. In contrast to good men. As You Like It achieves marital closure not by eliminating male ties but rather by strengthening them. Unlike Rosalind. Like the princess. A benevolent patriarchy still requires women to be subordinate. Oliver and Frederick are exaggerated fairy-tale villains whose hardened characters are unable to withstand the wholesome atmosphere of the forest and instantly dissolve 4.
A further twist of logic defuses and reduces the threat of female power: Rosalind is no one to be frightened of since. In the particular case of As You Like It. The boy-actor convention makes it possible for males to explore the female other I use the term other here in the sense given by Simone de Beauvoir in The Second Sex of woman as the other.
This theatrical dimension reinforces the conservative effect of male androgyny within the play. Vicariously taking on the female role enables male spectators to make an experimental contact with what otherwise might remain unknown. Once the tenor of the metaphor has been attained. Acknowledgment of the feminine within the male is one thing.
In revealing the self-sufficient male acting company. Orlando never tries. Shakespeare allowing himself to have it both ways. Fear of women can be encountered in the relatively safe environment of the theater. The Epilogue is heterosexual in its bringing together of men and women: This explicit breaking of theatrical illusion forces us to reckon with the fact of an all-male cast. O men. In the boy-actor motif. It is as though asserting the priority of relations between men over relations between men and women is not enough.
Yet the effect of the play is to separate them by transferring their allegiance to husbands. Not only are women to be subordinate. The social structure of As You Like It. The Epilogue is. Is he taking an ironic and critical stance toward the patriarchal solution of his characters. Rosalind is of course allowed to devise an escape from the pressure of this undesirable entanglement. A comparable prohibition is not announced against male friendship. Rosalind and Celia are initially inseparable: Men originally divided are reunited as in the instance of Oliver and Orlando.
Celia ceases to be a speaking character at the end of act 4. The two plays are also connected by their treatment of mothers. Shakespeare is here thoroughly engaged and endorses the idealization. The occasional allusions to becoming pregnant 1. Rosalind contributes to this effect because she lacks sexual maturity: This defense against encroachment by the maternal through virtual exclusion of it serves to link As You Like It with Henry V. We have too easily accepted the formulation that says that Shakespeare in the mature history plays concentrates on masculine development whereas in the mature festive comedies he gives women their due by allowing them to play the central role.
Both plays deal with the problem of the mother simply by excluding it. French pursues her thesis that each genre has its own gender to a formulaic. Barber works too hard to create this festive closure. Princeton University Press. Tragic Men: Stanford University Press. After completing my work on the play. I borrow this phrase from T. My essay on As You Like It.
Social Process and Comic Form. I am heavily indebted to the festive concept of dramatic action. Brown employs this passage in his own celebration of the horn: The Merchant of Venice breaks the stalemate in a different way. Adrienne Rich provides a critique of the conservative use of the concept androgyny and a summary of recent writing on the subject in Of Woman Born: Motherhood as Experience and Institution New York: Carolyn Ruth Swift Lenz.
See Clara Park. Jove's tree: that is the oak which was sacred to Jupiter. Celia is an expert tease and knows how to keep Rosalind in suspense. Why is Jaques interested in Orlando?
Orlando's retorts are as good as those of his impertinent questioner. Note that Rosalind has a chance to listen and make sure of Orlando's love. Compare the last scene of "The Merchant of Venice," a paltry ring With what a fine dignity does Orlando say this line to Jaques, the mocker. Imagine the satirical bows which they exchange. Note how quickly Rosalind reaches the subject of love. She has caught his interest.
By religious she means educated. Odes and elegies are different kinds of poems used here by Rosalind without much thought. Unquestionable: silent. An accurate description of the treatment of the insane which continued until a comparatively short time ago. What has Celia been doing all this time? Is she bored? How long have the lovers been in Arden? What do you think of Orlando's verse? Did he differ from any other lover of his time? What person has already answered this question?
Contrast the courtesy and philosophy of Corin and Touchstone. Describe all the qualities which Orlando finds in his Rosalind. What action makes the dialogue between Rosalind and Celia amusing and even dramatic? At what point in the scene is Rosalind made happy? Do you think Orlando recognizes Rosalind? Defend your answer.
Why does Rosalind's wit sparkle more in this scene? At what point in the dialogue with Rosalind does Orlando become serious?
Is Rosalind satisfied at the end of the scene? What point in the plot has been reached in this scene? The cast included some names familiar in British and Irish theatre, film and television — Celia Bannerman, Cyril Cusack, Griff Rhys-Jones, Miriam Margolyes — but apart from Edward Fox, no-one with a high profile in international cinema. Edzard, a partner in Sands Films, had achieved critical success with her adaptation in two parts of Little Dorrit and The Fool and has dedicated herself to working outside the artistic constraints that invariably go with major commercial financing.
Her modern-dress version of the As You Like It, with significant and obvious doubling for many roles, determinedly retained every reference to trees, deer and streams despite its urban wasteland setting.
In this Arden, the weather is never kind, and the exiles live in polythene tents and cardboard boxes like the homeless whose conspicuous appearance on the streets of London was a distinguishing feature of late and post- Thatcherite England. It takes its place alongside the many distinguished films where the elaborate artifice by which quasi-realistic effects are produced takes the viewer into a new kind of hyper-reality, where we take pleasure in the devices themselves.
If we were to consider science-fiction or fantasy films, then the range can be extended to include the Busby Berkeley and Astaire-Rogers musicals, or Metropolis and its more recent descendants, such as Bladerunner or Batman. In the opening scene the Dubois farmyard like the whole film is liberally provided with livestock, and Orlando and Adam are discovered seated at the noon-tide meal with a dozen or so farmhands, but there is no sense of a real rural economy.
The barnyard is well furnished with chickens and other livestock, and in the forest of Arden the grotesquely hirsute Corin and his fleece-wrapped colleagues tend a flock of sheep of a size appropriate for Australia.
Corin even pushes a miniscule handcart which seems designed simply for the transporting of a single fleece at a time — and in fact is only there so Celia can be trundled off in it. Synchronised dialogue might be expected to allow a more satisfactory treatment of the plays on the screen — or perhaps not. Buhler, Shakespeare in the Cinema.
Given that this was a famous element of her appeal as acknowledged by German critics and admirers, the lack of response may well indicate a cultural difference, an English sense of proper restraint. As Stephen M. Peter Pan has got mixed up with something out of Strindberg. Verlag, Berlin-Charlottenburg, , p.
Bergner is the most charming and complete edition of the femme-enfant, and I hope that it will be a long time before we have finished reading her. A child that every man wishes to adopt, but in whom he also thinks — not without a special tenderness — of the woman. And Bergner is a witch, who perhaps she ought to be burned at the stake in good time like her saint Joan; for she is a ghost, a spirit of the air, a Puck, an Ariel, who unsettles and preoccupies a great, earnest, hard-working city, who confuses the minds and even the senses of people — and not only those of the young and the men.Anne Barton.
The static quality of this relationship leaves too little room for interplay between the worlds and leads directly to the stalemate of the conclusion.
Have you no song, forester, for this purpose? But the proliferation of. To consider the various other sorts of comedy which Shakespeare produced around the inception of the period when his main concern became tragedy would require another.
Like Phebe. See above, Ch.
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