As You Like It is “a vital exploration of gender, the male and the female within us all” (Gay 76). And Arden is “a realm where you can dress up and change your gender, change your way of life” (ibid.). I agree with this statement. But before my analysis, I want to elaborate on the relationship between sex and gender identity. Sex is determined by nature, whereas gender is a cultural construct which is influenced by power, ideology, class and ethnicity. To put it differently, women are not confined to be compassionate and submissive and men to be active and dominant just due to their biological differences. However, people in the 16th century were restricted to their traditional gender roles. For example, women were ‘The Angel in the House’ and men exerted control over ‘the weaker vessel’, which refers to women because of Christian traditions and allegedly scientific reasons.
In As You Like It, we will find out the transcendence of restricted gender roles. To prove my thesis, I will first explore Rosalind’s female role playing and male role playing by virtue of the costume. Then Orlando’s acquisition of traditionally labeled feminine attributes is to be analyzed. In the last part of my essay, I will come to a conclusion about sexual politics in As You Like It.
Table of Contents
1. Introduction
2. Rosalind’s Expansion of Sexual Identity
3. Orlando’s Femininity
4. Conclusion
Research Objectives and Themes
This essay explores the fluidity of gender identity and the transcendence of traditional gender roles in William Shakespeare's "As You Like It." By analyzing the character arcs of Rosalind and Orlando, the work examines how costumes and behavioral traits allow these characters to navigate and challenge the rigid patriarchal structures of the 16th century.
- The construction of gender versus biological sex in the context of early modern ideology.
- Rosalind's use of male disguise to manipulate power dynamics and explore masculine and feminine expressions.
- The subversion of traditional masculinity through Orlando's adoption of nurturing and submissive traits.
- The constraints placed on female agency by patriarchal societal norms and marital expectations.
Excerpt from the Book
2. Rosalind’s Expansion of Sexual Identity
In order to avoid “the normal vulnerability to male force” (Erickson 22), Rosalind decides to disguise herself as a male. Even if she achieves masculine strength through arming herself with a ‘curtal-axe’ and ‘boar-spear’, Rosalind still realizes her inner weakness: “Lie there what hidden woman’s fear there will” (Shakespeare 123). She could not overcome the restrictions of her inner feminine self.
After entering the forest of Arden, Rosalind comes across one poem, which reflects deep love towards her. And then she begs Celia “with most petitionary vehemence, tell me who it is” (ibid. 164). She confides to Celia that she is still a woman at her core: “Good my complexion! Dost thou think, though I am caparisoned like a man, I have a doublet and hose in my disposition?” (ibid. 164-65) She keeps asking about Orlando’s situation and interrupts her ‘coz’. Her inconstancy of mind and tendency to be disquieted expose her interior (femininity): “Do you not know I am a woman? When I think, I must speak” (ibid. 167). In comparison with males’ “prescribed ‘correct’ methods of organization, rationalist rules of logic, and linear reasoning” (Tyson 101), Rosalind’s freely associative thinking shadows her disguised male image with femininity.
Under the disguise of the male costume, Rosalind takes the initiative to have access to Orlando and controls him. She seemingly teaches Orlando how to ‘woo’ her, but in the process she paves the way to be a submissive wife. It is on their first date that Orlando comes late. “But why did he swear he would come this morning, and comes not?” (Shakespeare 179) She cannot control herself and gives away her weak affections: “Never talk to me. I will weep” (ibid. 178). Celia instantly points out, “but yet have the grace to consider that tears do not become a man” (ibid.). Even though Rosalind plays a male role, she remains an emotional woman.
Summary of Chapters
1. Introduction: This chapter defines the theoretical framework regarding the distinction between biological sex and gender as a cultural construct, setting the stage for an analysis of gender dynamics in "As You Like It."
2. Rosalind’s Expansion of Sexual Identity: This chapter examines how Rosalind uses male disguise to navigate patriarchal power structures, while ultimately revealing the persistence of her inner feminine identity.
3. Orlando’s Femininity: This chapter analyzes Orlando's character, highlighting how his nurturing capacity, submissiveness, and compassion contrast with traditional Renaissance expectations of masculinity.
4. Conclusion: This chapter synthesizes the findings, arguing that while the characters successfully challenge gender boundaries, they operate within the broader constraints of a patriarchal social order.
Keywords
As You Like It, Shakespeare, Gender Identity, Patriarchal Structure, Rosalind, Orlando, Femininity, Masculinity, Gender Roles, Cultural Construct, Sexual Politics, Social Order, Renaissance England, Subversion, Disguise.
Frequently Asked Questions
What is the primary focus of this academic work?
The work focuses on the exploration and subversion of traditional gender roles in Shakespeare’s "As You Like It," examining how characters navigate their identities within a patriarchal society.
What are the central themes discussed in this essay?
The central themes include the distinction between biological sex and cultural gender constructs, the fluidity of sexual identity through disguise, and the intersection of patriarchal norms with individual behavior.
What is the core research objective?
The objective is to prove that Rosalind and Orlando transcend restrictive gender roles by adopting traits traditionally assigned to the opposite sex, thereby challenging the gender hierarchy of their time.
Which scientific methodology is employed?
The essay utilizes literary analysis and feminist theory to interpret the text, incorporating historical perspectives on the Renaissance and scholarly criticism on Shakespearean drama.
What topics are covered in the main body?
The main body covers Rosalind’s use of male costume to manipulate power and Orlando’s demonstration of feminine attributes such as nurturance and compassion.
Which keywords best characterize this research?
Key terms include Gender Identity, Patriarchal Structure, Rosalind, Orlando, Femininity, Masculinity, and Cultural Construct.
How does Rosalind’s male disguise impact her behavior?
While the disguise allows Rosalind to take initiative and control the situation with Orlando, she struggles to fully suppress her feminine instincts and emotional responses.
Why is Orlando considered to exhibit feminine traits?
Orlando is characterized by feminine traits through his acts of caregiving toward Adam, his submissiveness to Rosalind, and his capacity for compassion and gentleness.
Does the author argue that the characters completely escape patriarchal influence?
No, the author concludes that while the characters challenge these norms, they ultimately conform to the traditional social order by the end of the play, particularly regarding marriage.
- Citar trabajo
- Nan Liu (Autor), 2013, Sexual Politics in "As You Like It" from Shakespeare, Múnich, GRIN Verlag, https://www.grin.com/document/282275
