Write an essay which productively compares and/or contrasts ONE of the undermentioned ( a-d ) with a scene or dramatic sequence ( a ‘sequence ‘ means that it must dwell of a back-to-back series of events from within a scene or across scenes ) that you select from a different semester 2 drama. You should do an statement in your essay by paying attending to the dramatic contexts of the transitions you are sing.
Despite being from two different genres, ‘As You Like It’ and ‘Henry IV, Part 1’ , a comedy and a history drama severally, have a figure of unexpected similarities. The selected transition in ‘As You Like it’ is situated between Act III, Scene I, l.1 and Act III, Scene II, l. 268 and uses a conflict of humor to debate the high quality of tribunal life poetries state life. The chosen transition besides highlights the mind of female characters such as Rosalind who smartly manipulates state of affairss with her usage of linguistic communication and camouflage. Similarly in ‘Henry IV, Part I’ , in Act II, Scene V, Hal and Falstaff’s ‘play-within-a-play’ joking condemns tavern life and glorifies the male monarch and castle, therefore once more debating the high quality of life inside the royal tribunal verses the life of those on the outskirts of society. Furthermore, the play’s deficiency of adult females is a blunt contrast with the strong female lead portrayed in ‘As You Like It’ . We besides see that Hal portions Rosalind’s ability to pull strings others through linguistic communication as he performs the character of both himself and his male parent and ulterior implies that he has been deceiving Falstaff with his friendly relationship. These similarities, hence, raise a figure of inquiries as to the perceptual experience of female mind in Shakespeare’s plants and the usage of comedic characters within the two dramas.
The most noticeable similarity between the two transitions is Shakespeare’s usage of comedic characters and conflicts of humor. In ‘As You Like It’ , Shakespeare uses the characters of Touchstone and Corin as both a amusing back-and-forth every bit good as to foreground the relevant issue of tribunal life poetries state life. The exchange is blithe, nevertheless, Touchstone is markedly more aggressive with his sentiments, ensuing in Corin finally giving in: “You have excessively courtly a humor for me: I’ll rest” ( 3.2.60 ) , underscoring that despite the fact Corin makes relevant points, he is no lucifer for Touchstone’s intelligence and speedy humor. However, this scene besides shows Touchstone to be hypocritical as he chides Corin for ne’er holding been to tribunal, claiming that “if thou ne’er wast at tribunal, 1000 ne’er sawest good manners [ … ] so thy manners must be wicked” ( 3.2.35-37 ) . The audience, nevertheless, sees the exact opposite traits in these two characters ; whilst Corin respectfully refers to Touchstone as “Master Touchstone” ( 3.2.12 ) , Touchstone belittles Corin and refers to him as “shepherd” ( 3.2.13 ) . Touchstone’s deficiency of regard towards Corin likens him to his amusing opposite number, Falstaff, in ‘Henry IV’ : despite the fact Falstaff is a common “Ruffian” ( 2.5.414 ) and is even referred to by Hal as a “whoremaster” ( 2.5.428 ) , Touchstone’s behaviour towards Corin is that which 1 might anticipate from Falstaff instead than a tribunal “fool” ( 3.2.87 ) . We can besides compare the exchange between Corin and Touchstone to that of Hal and Falstaff, who besides engage in conflicts of humor and though their ‘play-within-a-play’ , in which Hal portrays both himself and his male parent King Henry IV. Their public presentation is besides evocative of Corin and Touchstone’s argument on tribunal life poetries state life as Falstaff mocks the male monarch by utilizing a “dagger” ( 2.5.345 ) as a “sceptre” ( 2.5.345 ) and a “cushion” ( 2.5.345 ) as a “crown” ( 2.5.345 ) , before jestingly reprobating “how [ Hal ] art accompanied” ( 2.5.365 ) , before Hal abuses said company ; “That nefarious, detestable misleader of young person, Falstaff” ( 2.5.421 ) .
Despite them both being amusing and slightly disrespectful characters, Touchstone and Falstaff differ greatly. While Standard is a adult male of the tribunal and looks down on those who are non: “Truly, thou art damned like an ill-roasted egg” ( 3.2.32 ) , Falstaff, on the other manus is precisely the type of character Touchstone assumes all those outside of the tribunal to be like. Despite his hapless manners towards Corin, Touchstone is basically an honorable character, as proven by his attach toing Celia and Rosalind in to the “Forest of Ardenne” . This depicts Touchstone as a loyal character, which contrasts radically with the cowardliness of Falstaff in the concluding scene of the drama in which he fakes his ain decease. This raises inquiries as to the type of comedic characters they are: while Touchstone is a tribunal “fool” or fool, Falstaff is merely a petroleum but witty character whom audiences both laugh at and with, exposing his flake and loud features through petroleum wordplaies ; Touchstone, as a tribunal fool, is educated and his temper is more conservative. This difference in character would hold made Falstaff a much more gratifying character for the audience, who would be able to understand his gags and happen his tavern life slightly relatable. The fact that both Corin and Falstaff are common and relatable characters made their comparings to and arguments about tribunal and state life with Touchstone and Hal really relevant to a modern-day audience. Standard, nevertheless, is a reminder of a typical tribunal life which would hold been out of the ‘groundlings’ range and perchance even understanding. A farther difference between these two transitions is that unlike Touchstone and Corin, Hal and Falstaff are absolutely matched in footings of humor, which arguably creates a more amusing scene than the comedy play itself. Whilst Hal and Falstaff are able to seamlessly interact and execute their witty and amusive drama, even effortlessly exchanging functions midway though, Corin is unable to maintain up with Touchstone’s speedy head and crisp lingua, despite holding legion good points to do.
It ab initio appears as though Hal has no opposite number in ‘As You Like It’ as the lead male character in ‘As You Like It’ , Orlando, is far from the craft, decisive and weather one Hal proves himself to be and is alternatively a cliched Petrarchan lover. Hal has far more in common with the play’s supporter, Rosalind. Rosalind’s ability to utilize linguistic communication in a persuasive and effectual mode gives her a control over her ain individuality and class of life that is normally merely found in Shakespearian work forces. Both Hal and Rosalind portion the ability to switch between different characters in order to achieve or accomplish what they want every bit good as to lead on whomever they want. Hal is able to seamlessly switch from portraying himself, to portraying his male parent ; at the same clip as lead oning all those around him into believing he is an boisterous prince in order to emerge a hero at the terminal of the drama. He even fools his ‘close friend’ Falstaff while they are moving out the scene between Hal and his male parent: Falstaff begs ‘the King’ ( Hal ) “Banish non him thy Harry ‘s company, Banish plump Jack, and ostracize all the world” ( 2.5.436-438 ) , to which ‘the King’ ( Hal ) responds with a prefiguration of ulterior events: “I do ; I will” ( 2.5.439 ) . Throughout the ‘play-within-a-play” in Act II, Scene V, Hal is able to talk his true feelings under the pretense of playing the King, even naming his ‘friend’ “that nefarious, detestable misleader of young person, Falstaff ; that’s old white-bearded Satan” ( 2.5.421-422 ) . Similarly, Rosalind is able to promote Orlando and larn his true feelings for her though her male pretense in ‘As You Like It.’
One can reason that as a adult female, Rosalind’s intelligence and ability to command and pull strings other characters is far more impressive than a male character executing the same effort. However, it is of import to analyze the gravitation of both state of affairss ; Hal’s use is for a far greater cause than Rosalind’s chase of love. In Act II, Scene V, prior to Hal and Falstaff’s public presentation, Hal is informed of the rebellion against his male parent. The audience has already learned from Act I, Scene II that Hal has “smother [ erectile dysfunction ] up his beauty from the world” ( 1.2.177 ) in order to demo himself as a valiant and redeemed prince “when work forces think least [ he ] will” ( 1.2.195 ) . The information about the rebellion makes this concealed individuality even more important as it finally knocks Hotspur off-guard in conflict, leting Hal’s triumph. The theatrical production of this scene is important as it can be left to the manager or histrion to make up one’s mind how much Falstaff knows and how serious Hal is. In the 2010 Globe production of the drama, it appears as though Falstaff is blissfully incognizant of the existent purpose behind Hal’s words and the sudden alteration in tone when Hal says “I do ; I will” is chilling. In other productions, nevertheless, one might portray Falstaff as good cognizant that when Hal becomes male monarch, Falstaff will no longer be appropriate company for him and hence Falstaff uses his function playing of King Henry as an chance to emphasize his ‘good character’ and therefore urge Hal non to interrupt ties: “there is virtuousness in that Falstaff” ( 2.5.391 ) .
Rosalind’s impressive portraiture of a adult male and wit equal to that of Prince Hal is merely one of the many gender functions explored by ‘As You Like It’ . One of the most interesting facets of ‘As You Like It’ , as a whole, is the issue of gender and Act III, Scene II is possibly cardinal in foregrounding this. The very nature of Rosalind’s courting Orlando whilst dressed as a adult male challenges the conventions of traditional relationships as does her chase of him instead than the other manner around. The nature of cross-dressing within this drama becomes really intricate and confusing, particularly if one considers the fact that every bit at the clip it was foremost written, there would hold been a boy histrion playing a adult female ( Rosalind ) , who is dressed as a adult male ( Ganymede ) pretense to be a adult female ( Rosalind ) as the ‘real’ Rosalind efforts to tribunal Orlando. ‘Cheek by Jowl’s 1991 production of ‘As You Like It’ chose to utilize the traditional casting of a male histrion ( Adrian Lester ) playing Rosalind in order to portray the full extent of gender confusion within the drama. The drama raises inquiries as to Rosalind’s ‘true’ individuality: is she interrupting free from the restraints of being a adult female when she escapes from tribunal and becomes a adult male? Is her true individuality that of a masculine character? It seems unusual that Rosalind would take to follow the character of a adult male: we know from Celia’s transmutation in to Aliena that Rosalind could besides hold chosen a female character. However, we subsequently see that this male character becomes really utile and allows Rosalind to hold a place of control and the audience must therefore inquiry whether Rosalind is in fact merely really intelligent in gaining that she would be able to accomplish far more while portraying a adult male.
Questions are besides raised as to whether fellow characters are cognizant of the flimsy camouflages donned by Celia and, in peculiar, Rosalind in the same manner the audience are or whether, for the intent of the drama, they truly can non see beyond the camouflage. If this is so so the drama has more inexplicit homoerotic intensions of Orlando falling for person whom he truly believes to be another adult male. However, if the characters merely travel along with Rosalind and Celia’s camouflages, it would propose that Orlando knows wholly along that he is wooing Rosalind and non Ganymede. Despite the obvious relationship issues related to traverse dressing, one must turn to the easiness of which Rosalind goes about day-to-day life when dressed as Ganymede, compared to Celia, dressed as Aliena. Rosalind appears to do a reasonably convincing adult male and as a consequence obtains freedom and control ; she is able to rede Orlando under the pretense of being a adult male and is able to originate wooing between herself and Orlando. Aliena’s place, nevertheless, remains really much the same as her camouflage is the same gender. While our heroine proves herself to be a convincing adult male, and emphasises her ability to be masculine through her cross-dressing, she is still biologically female and hence sometimes physically and emotionally weak, for illustration in Act IV, Scene III ; Rosalind swoons when Oliver shows her a napkin “dyed in [ Orlando’s ] blood” ( 4.3.154 ) and is later scolded: “Be of good cheer, young person. You a adult male? You lack a man’s heart” ( 4.3.163-164 ) , to which Rosalind answers “I should hold been a adult female by right” ( 4.3173-174 ) . This conversation implies that while adult females might be every bit as intelligent and quick-witted as their male comrades, they finally retain their feminine qualities that prevent them from responding to situations a masculine manner. ‘As You Like It’ even presents the thought of work forces losing their maleness and control, as shown by Duke Frederick’s intervention of Oliver in Act III, Scene I. Duke Frederick uses his inordinate power to quash any maleness Oliver has left, by demanding the return of Orlando on hurting of ostracism: “Find out thy brother [ … ] bring him, dead or life, within this year, or turn thou no more to seek a life in our territory” ( 3.1.5-7 ) . This scene is portrayed peculiarly accurately in the 2010 Globe production in which Oliver is dragged on phase, bloodied and defenceless. This emphasises that while adult females have the ability to pull upon masculine qualities, male characters have the capacity to be emasculated.
‘Henry IV, Part I’ , features merely three adult females in the full drama, all of whom are minor characters and therefore offers a much narrower mentality on such issues as gender, concentrating about entirely on the importance of maleness. Act II, Scene V features merely one of these adult females, Mistress Quickly, who is the hostess at the Boar ‘s Head Tavern in Eastcheap. As she is the hostess of the tap house, Mistress Quickly associates with reprobates on a day-to-day footing and it is clear that she is non excessively intelligent as subsequently in the drama in Act III, Scene III, she invariably gets lost in conversation: “Say, what thing, what thing? ” ( 3.3.105 ) Furthermore, during Mistress Quickly’s input in to Falstaff and Hal’s play in Act II, Scene V, it is implied that the Queen, Hal’s female parent, is overly emotional and barely of all time present: “For God’s interest, Godheads, convey my tristful Queen, For cryings do halt the floodgates of her eyes” ( 2.5.359-360 ) . The representation of both adult females in this scene is negative and it is clear through King Henry IV’s claim in Act I, Scene I that he envies “that Godhead Northumberland/ Should be the male parent to so blest a son” ( 1.1.78-79 ) that maleness is of import plenty for the male monarch to wish Hotspur was his boy instead than Hal.
Ultimately, there are a figure of similarities that draw these two dramas together, such as the comedic characters of Touchstone and Falstaff, with Falstaff’s scenes doing Henry IV slightly of a comedy instead than a history drama. Furthermore, the talented usage of linguistic communication and use by Hal and Rosalind and their play’s comparably intricate secret plans of misrepresentation unite the two dramas as 1s of great mind and temper. However, there are differences that undeniably distinguish these two dramas. One can non disregard the fact that Hal is being compared to a adult female who is every bit intelligent and impressive at misrepresentation, which arguably makes her character more impressive. However, her frivolous cause of happening love, compared to Hal’s baronial purposes of catching Hotspur and others off-guard in order to turn out himself a valorous prince in conflict, reminds the audience that‘As You Like It’is a comedy and therefore the message is arguably subdued. However, I feel that it must be acknowledged and remembered that ‘Henry IV, Part I’is an highly male oriented drama with merely one adult female looking in the chosen transition and merely three looking in the drama as a whole, ensuing in a deficiency of message at all.
Bibliography:
Primary Beginnings:
Greenblatt, Stephen, Walter Cohen, Jean E. Howard, and Katherine Eisaman Maus. , ( 2008 )The Norton Shakespeare 2neodymiumerectile dysfunction.( New York: W.W. Norton )
Secondary Beginnings:
Gorman, S. E. , ( 2006 )The Theatricality of Transformation: cross-dressing and gender/sexuality spectra on the Elizabethan phase( Keystone state: Pennsylvania University )
Globe Theatre Production ( 2010 )As You Like It
Cheek by Jowl ( 1991 ) As You Like It
