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Sir As you like it as a romantic comedy critical analysis Martext, a curate Other characters: This may be intended as the Ardennesa forested region covering an area located in southeast Belgium, western Luxembourg and northeastern France, or Arden, Warwickshirenear Shakespeare's home town, which was the ancestral origin of his mother's family—who incidentally were called Arden.
Frederick has usurped the duchy and exiled his older brother, Duke Senior. Duke Senior's daughter, Rosalind, has been permitted to remain at court because she is the closest friend and cousin of Frederick's only child, Celia.
Orlando, a young gentleman of the kingdom who at first sight has fallen in love with Rosalind, is forced to flee his home after being persecuted by his older brother, Oliver. Frederick becomes angry and banishes Rosalind from court. Celia and Rosalind decide to flee together accompanied by the court fool, Touchstone, with Rosalind disguised as a young man and Celia disguised as a poor lady.
Rosalind, now disguised as Ganymede " Jove 's own page"and Celia, now disguised as Aliena Latin for "stranger"arrive in the Arcadian Forest of Arden, where the exiled Duke now lives with some supporters, including "the melancholy Jaques", a malcontent figure, who is introduced weeping over the slaughter of a deer.
Instead, they meet Corin, an impoverished tenantand offer to buy his master's crude cottage. Audrey by Philip Richard Morris Orlando and his servant Adam, meanwhile, find the Duke and his men and are soon living with them and posting simplistic love poems for Rosalind on the trees.
The role of Adam may have been played by Shakespeare, though this story is said to be apocryphal. Ganymede says that "he" will take Rosalind's place and that "he" and Orlando can act out their relationship. The shepherdess, Phebe, with whom Silvius is in love, has fallen in love with Ganymede Rosalind in disguisethough "Ganymede" continually shows that "he" is not interested in Phebe.
Touchstone, meanwhile, has fallen in love with the dull-witted shepherdess, Audrey, and tries to woo her, but eventually is forced to be married first. William, another shepherd, attempts to marry Audrey as well, but is stopped by Touchstone, who threatens to kill him "a hundred and fifty ways.
Ganymede says he will solve the problem, having Orlando promise to marry Rosalind, and Phebe promise to marry Silvius if she cannot marry Ganymede.
Orlando sees Oliver in the forest and rescues him from a lioness, causing Oliver to repent for mistreating Orlando. Oliver meets Aliena Celia's false identity and falls in love with her, and they agree to marry.
Orlando and Rosalind, Oliver and Celia, Silvius and Phebe, and Touchstone and Audrey all are married in the final sceneafter which they discover that Frederick also has repented his faults, deciding to restore his legitimate brother to the dukedom and adopt a religious life.
Jaques, ever melancholic, declines their invitation to return to the court, preferring to stay in the forest and to adopt a religious life as well. Rosalind speaks an epilogue to the audience, commending the play to both men and women in the audience.
Orlando pins love poems on the trees of the forest of Arden.
|At a Glance||Oliver enters and a heated argument ensues. When Oliver learns that his brother plans to challenge Charles, Duke Frederick's hulking wrestler, he plots with Charles to break his brother's neck during the match.|
Some have suggested two other minor debts. No copy of it in Quarto exists, for the play is mentioned by the printers of the First Folio among those which "are not formerly entered to other men. External evidence[ edit ] As You Like It was entered into the Register of the Stationers' Company on 4 August as a work which was "to be stayed", i.
This evidence implies that the play was in existence in some shape or other before It seems likely this play was written aftersince Francis Meres did not mention it in his Palladis Tamia. Although twelve plays are listed in Palladis Tamia, it was an incomplete inventory of Shakespeare's plays to that date The new Globe Theatre opened some time in the summer ofand tradition has it that the new playhouse's motto was Totus mundus agit histrionem—"all the Globe's a stage"—an echo of Jaques' famous line "All the world's a stage" II.
Internal evidence[ edit ] In Act III, vi, Phebe refers to the famous line "Whoever loved that loved not at first sight" taken from Marlowe's Hero and Leanderwhich was published in It is suggested in Michael Wood 's In Search of Shakespeare that the words of Touchstone, "When a man's verses cannot be understood, nor a man's good wit seconded with the forward child understanding, it strikes a man more dead than a great reckoning in a little room", allude to Marlowe's assassination.
According to the inquest into his death, Marlowe had been killed in a brawl following an argument over the "reckoning" of a bill in a room in a house in Deptford, owned by the widow Eleanor Bull in The posthumous publication of Hero and Leander would have revived interest in his work and the circumstances of his death.
These words in Act IV, i, in Rosalind's speech, "I will weep for nothing, like Diana in the fountain", may refer to an Alabaster image of Diana which was set up in Cheapside in However, it should be remembered Diana is mentioned by Shakespeare in at least ten other plays, and is often depicted in myth and art as at her bath.
Certain anachronisms exist as well, such as the minor character Sir Oliver Martext's possible reference to the Marprelate Controversy which transpired between and On the basis of these references, it seems that As You Like It may have been composed in —, but it remains impossible to say with any certainty.
Analysis and criticism[ edit ] Rosalind by Robert Walker Macbeth Though the play is consistently one of Shakespeare's most frequently performed comedies, scholars have long disputed over its merits. Shaw liked to think that Shakespeare wrote the play as a mere crowdpleaserand signalled his own middling opinion of the work by calling it As You Like It — as if the playwright did not agree.
Tolstoy objected to the immorality of the characters and Touchstone's constant clowning. Other critics have found great literary value in the work.
Harold Bloom has written that Rosalind is among Shakespeare's greatest and most fully realised female characters. The elaborate gender reversals in the story are of particular interest to modern critics interested in gender studies.How to Critique Romantic Comedy August 4, ~ Jenny I posted a rant about Maureen Dowd’s op ed on romantic comedy over on PopD, and then it was suggested to me that I might want to address it here, without the easy shorthand of “We’ve been critiquing romantic comedy for nine weeks so I don’t have to tell you how to do it.”.
In general, Shakespeare’s As You Like It develops many of the traditional features and concerns of the pastoral genre. This comedy examines the cruelties and corruption of court life and gleefully pokes holes in one of humankind’s greatest artifices: the conventions of romantic love.
Shakespeare is the master artist in creating romantic comedy. With the ushered notes of “Much Ado about nothing,” “Twelfth Night”, his “As you like it” add the beauty to romantic smell.
Our “As you like it” is an amalgam of two strains – romance and comedy.” Shakespeare deals the structure with the love story starting with the notes of frustration ending in happy conclusion.
Shakespeare deals the structure with the love story starting with the notes of frustration ending in happy conclusion.
Oct 10, · Not a whole heck of a lot happens in "Romantic Comedy," but it happens so charmingly, and with such quick spirit and wit, that it's enough. This is the kind of movie Hollywood used to make to exploit the sheer charm of its great stars -- performers like Cary Grant or Katharine Hepburn, who were so wonderful to watch that all you had to do was find something for them to say.3/5.
Essay Critical Analysis of Shakespeare's Twelfth Night. William Shakespeare’s Twelfth Night is a comedy, first published in Love is a key aspect of Shakespeare’s comedies in which self-identity is found through the development of love from infatuation to acknowledgement of character.