Genre Defense of Shakespeares As You Like It Essay Example for Free

Genre Defense of Shakespeargons As You Like It Es interpretAs You Like It represents, together with Much Ado About Nothing and one-twelfth Night, the summation of Shakespeares achievement in festive, happy comedy during the years 1598-1601, proclaims David Bevington his The Complete Works of Shakespeare (288). Bevington is obviously not the first editor to have categorized Shakespeares contributes. In feature, part of the plays popularity might be based upon the fact that audiences know what to expect when they begin viewing the productions. For example, As You Like Its title hints that audiences should expect the play to give up happily. This plays name is not, however, all that helps classify it as a comedy. Every element of the play drips with comedic elements, as Shakespeare characteristically critiques love, while highlighting the pastoral motif.The theme of the play is an obvious remark on its classification. Shakespeare exploits literary blueprint by mocking the fooli shness love generates in us all. Kenneth Muir, in Shakespeares Comic Sequence, declares, His Shakespeares lovers-Rosalind, Orlando, Celia, Oliver and Phoebe-would all win answer to Marlowes question Who ever loved that loved not at first sight? with a chorus of No one.(88) Each of the characters do and say impulsive things based solely on emotion. The Forest of Arden gives the characters freedom to act in such silly manners. Once their love relationships have been certainized in marriage, the couples can prepare to return to the order, and presumably reason, of the judicatory.The spot of As You Like It centers on the love relationships of four couples. Made up of the lovers stories and the story of the overthrown Duke Senior, who has fled into the Forest of Arden, the temporary hookup is quite complex. It centers on the movement of the characters from the court to the forest and whence readying themselves to return to court. The play begins with the instantaneous falling in lo ve of Rosalind and Orlando at court and the nearly simultaneous retreat of each into the Forest of Arden, due to Duke Fredericks sudden disdain for Rosalind and Olivers intention to kill Orlando. The plotline continues with Rosalind disguised as Ganymede, a boy, blocking Rosalind and Orlandos love. The plot moves from disorder to order, though, and the play concludes with a typical comic ending a marriage ceremony.The marriage masque further solidifies the plays comedic classification. Helen Gardner notes in her article that the masque of hymen returns order as it is able to end the whole with courtly grace and dignity. This is an image of civility and true society, for Hymen is a god of cities (59). A pains sung at the wedding feast declares Hymens dominion over townsTis Hymen peoples every town / High wedlock then be noteed. / Honor, high honor and renown / To Hymen, god of every town (Shakespeare, V. iv. 142-145).Furthermore, the scene accounts for all of the characters happy state Rosalind and Orlando have finally overcome all obstacles to be united Oliver and Celia are able to immediately marry and Oliver has changed his ways Silvius finally obtains Phoebes love Touchstone and Audrey are married and Duke Frederick has repented and joined a monastery, leaving Duke Senior to assume his just throne. All problems have been resolved, which leaves no room for arguing that the play is a comedy.The characters too prove that the play has been appropriately classified. The different lovers demonstrate stereotypical kinds of love. reader Kenneth Muir remarks, In As You Like It different kinds of love are examined-the lust of Touchstone, the self-love of Jacques, the pride and vanity of Phoebe, and the sentimental idealism of Orlando-and all are set in motion wanting (91). The central relationship is between Rosalind and Orlando, whom Bertrand Evans describes as the brightest of Shakespeares bright heroines and the least conscious of his unconscious heroes (92 ).Orlando seems a typical jock. He wrestles Charles in the court and then falls hopelessly in love with Rosalind-so hopelessly in love that he, despite being a poor poet, carves Rosalinds name and poems about her into tree trunks. Although Oliver has denied him a gentlemans education, he is a noble character, who is loyal to his servant Adam, brave enough to fight Charles, and loving when speaking about his beloved Rosalind. Nonetheless, Orlando must have well-nigh naivet in order for Rosalind to continue fooling him. Evans expounds,Despite the deserved praise which Oliver heaps upon Orlando , Orlando is exposed repeatedly in situations of which the truth eludes him. His abrupt disposal of Charles the matman his first tongue-tied meeting with Rosalind his sword-brandishing, valiant, but frightfully unaware entrance to demand food of Duke Senior-all these are parts of the preparation. (92-3)Orlandos good intentions are mocked somewhat by his actions.Rosalind is also a good person, as is evident in her devotion to Celia, her father, and Orlando. However, Rosalinds disguise leads to some humorous scenes as the (at least, original) audience is aware of the fact that, as Muir describes, when Ganymede is helping Orlando, We have a boy pretending to be a woman, pretending to be a boy, pretending to be a boy, pretending to be a woman, satirising feminine behaviour (90). Her disguise provides numerous incongruities as the audience continues to see the male Ganymede in opposition to Rosalind. Taking on a manly role helps Rosalind to develop inner strength. In fact, Diane Dreher explains in her analysis of androgynous Shakespearean characters that Rosalinds disguise enables her to examine Orlandos motives, allowing her to say and do things that traditional feminine modestly would not permit (121). Despite her depth of character, the audience is constantly aware of her super objective to marry Orlando. This goal in and of itself is a romantic convention that cannot be ignored.While Oliver and Duke Frederick appear as antagonistic characters in the beginning scenes when they are at court, both make a turn around later entering the forest. Shakespeare utilizes a romantic convention, the sudden conversion of a villain, to further illuminate the plays comedic nature. When Orlando rescues Oliver from a lioness, Oliver finds favor in his younger comrade, and the two are reunited. Oliver and Orlandos brother Jacques explains that Duke Frederick has changedAnd to the skirts of this wild wood Duke Frederick came, / Where, meeting with an old religious man, / After some question with him, was converted / Both from his enterprise and from the world, / His crown bequeathing to his banished brother, / And all their lands restored to them again / That were with him exiled. (Shakespeare, V. iv. 158-164). get in the woods leads the characters to become better people.The characters language, although sometimes a bit poetic, is rather common. The plays pastoral elements make prose a more likely language choice. In fact, Dr. Sharron Cassavant, prof of English at Northeastern University has calculated that 54.5 percent of the plays 2, 636 lines are written in prose. The opening scene, exposition in conversation between Orlando and Adam, is entirely prose. Rosalind and Celia also interchange in prose. Prose dominates the dialogue between the lovers. Rhymed verse is generally utilise when Orlando attempts to write poems about his beloved Rosalind. Blank verse, a higher form, is used close to often by Jacques, but Duke Senior also utilizes to proclaim the good that nature has offered him. In this critique of love, blank verse is reserved most often for use by those characters unaffected by love. The language lends itself to the plays love-at-first-sight theme in that the lovers do not have time to organize their thoughts in a collected way, but rather speak whatever first enters their mind.The play appeals to the comedic audience visually an d aurally as well. Most notably, Rosalinds disguise allows the audience, aware of the fact that the boy they see pretending to be a woman is actually the woman he is pretending to be, to laugh at the incongruities of Orlandos pretend love for and Phoebes real love for Ganymede. The disguise also presents funny sounds as Rosalinds voice must change depending on the character she is playing. The other pastoral characters also lend country-bumpkin accents to the plays aural elements, as they are less sophisticated than the courtly characters.As You Like It could not be more comedic. Each of the plays elements presents stereotypical characteristics of comedy. Shakespeare obviously knew the requirements of each musical style and managed to control those requirements while never ceasing to dazzle his audience. His works were all as we like them.Works CitedBevington, David. Introduction to As You Like It. The Complete Works of Shakespeare.By Bevington. NY Addison Wesley Longman, Inc., 199 7. 288-91.Cassavant, Sharron. As You Like It Main page. Introduction to Shakespeare. CourseWebsite. Dept. of English, Northeastern University. 11 December 2004http//www.atsweb.neu.edu/uc/s.cassavant/AYLImain.html.Dreher, Diane Elizabeth. Domination and Defiance Fathers and Daughters inShakespeare. Lexington, KY The University Press of Kentucky, 1986. OBUEvans, Bertrand. Shakespeares Comedies. Oxford The Clarendon Press, 1960. OBUGardner, Helen. As You Like It. Shakespeare the Comedies A Collection of CriticalEssays, Ed. Kenneth Muir. Englewood Cliffs, NJ Prentice-Hall, Inc.,1965.