There is much literature about Shakespeare today, exploring many facettes of "As you like it" and discovering many more all the time. This paper focuses on the main points I think relevant for the particular scene 3.5., put in the context of the play.
[…] A pageant truly played
between the pale complexion of true love
And the red glow of scorn and proud disdain […] (As you like it: 3.4.47-49)
As such describes Corin the following scene 3.5., in which a madly in love Silvius hopelessly woos his beloved Phoebe, a ”proud disdainful shepherdess,” (3.4.45). The scene is a play within a play and Rosalind herself decides to “prove a busy actor” (3.4.55) in this play. The scene is central to As you like it and seems to incorporate many of the images and ideas generally portrayed throughout the play.
To start off, the paper gives a broad overview of critical reception and performance history. Both of these points will be illustrated by focusing on a few examples of the main critical voices and performances. Next, we will specifically look at scene 3.5., critically analysing it under the heading of the following ideas.
One of the main themes underlying this sequence is the use and mocking of literary pastoral, along with various representations of love and mimetic desire. Phoebe’s sudden eruption of feeling for Rosalind/ Ganymede also leads to the necessary consideration of the heroine’s disguise and its roots and effects on the different levels of acting.
In a last step then, the paper brings this theoretical analysis to a more practical level and looks at ways in which the ideas worked out in chapter 4. could be visualised on stage.
Table of Contents
1. Introduction
2. Critical Reception
3. Performance History
4. Close critical Analysis of scene 3.5.
4.1. The Pastoral
4.2. Mimetic desire and transformation
4.3. Gendered desire
5. Performance as Interpretation: two contrasting production ideas
5.1. Classroom production: Comparing the concepts of pastoral and talk-show
5.2. The abyss of mimetic desire
6. Conclusion
Research Objectives and Core Themes
The paper examines Shakespeare's scene 3.5. from "As you like it" by contextualizing it within literary criticism, performance history, and modern reinterpretations, specifically focusing on the intersection of pastoral conventions, mimetic desire, and gender performance.
- The mockery and use of the literary pastoral convention.
- Representations of love and mimetic desire between characters.
- The impact of gender-bending and disguise on theatrical performance.
- Modern stage interpretations and their effectiveness in maintaining Shakespearean intent.
Excerpt from the Book
4. Close critical Analysis of scene 3.5.
At the end of scene 3.4., Celia/ Aliena, Rosalind/ Ganymede and the shepherd Corin meet he introduces what follows in scene 3.5. as “a pageant truly played” (3.4.47). They hide to watch, and Silvius and Phoebe enter. A typical pastoral scene begins, as the young shepherd pleads with his love to at least pity him if she cannot bring herself to love him. But Phoebe seems to have had it with this ‘fool in love’:
And if mine eyes can wound, now let them kill you
Now counterfeit to swoon, why now fall down;
Or if thou canst not, O, for shame, for shame,
Lie not, to say mine eyes are murderers. (3.5.16-19)
Silvius says she will understand the invisible wounds her eyes can make in his heart “if ever - as that ever may be near […]” (3.5.29) she should fall in love herself. Rosalind/ Ganymede enters and scolds Phoebe for being so harsh, telling her she is ugly and “not for all markets” (3.5.61). Ironically this leads to the shepherdess falling in love with the disguised heroine on the spot. Rosalind/ Ganymede leaves after trying to bring the two together and warning Phoebe not to fall in love with her. Silvius continues his wooing, but Phoebe seems very distracted. She weighs Rosalind/ Ganymede’s qualities and tries to come to terms with this new feeling inside her. She then dissolves to write her object of desire a “very taunting” (3.5.135) letter and have Silvius bear it.
Summary of Chapters
1. Introduction: The chapter sets the stage for analyzing scene 3.5. by introducing the play's core themes and the paper's intent to explore them through critical and practical lenses.
2. Critical Reception: This section reviews academic discourse surrounding Shakespeare's treatment of Lodge's "Rosalynde" and the varying interpretations of how the pastoral mode is used or mocked in the play.
3. Performance History: The author traces the evolution of staging "As you like it," highlighting the shift from 18th-century "archness" to 20th-century experiments with gender and minimalist settings.
4. Close critical Analysis of scene 3.5.: A detailed breakdown of the scene's linguistic and structural elements, focusing on pastoral conventions, the psychological dynamics of mimetic desire, and the implications of gender performance.
5. Performance as Interpretation: two contrasting production ideas: The author proposes two modern interpretations: a talk-show setting to update the pastoral media critique, and a sadistic-masochistic setting to visualize mimetic dependence.
6. Conclusion: The paper concludes that scene 3.5. is a structural core of the comedy, and that contemporary performance benefits from exploring these themes through gender studies and modern media analogies.
Keywords
As you like it, Shakespeare, Pastoral, Mimetic Desire, Gender, Performance, Rosalind, Silvius, Phoebe, Disguise, Theatre, Talk-show, Renè Girard, Literary Criticism, Elizabethan Drama
Frequently Asked Questions
What is the primary focus of this paper?
The paper primarily focuses on an in-depth analysis of scene 3.5. in Shakespeare's "As you like it," exploring its structural importance and its thematic engagement with pastoral literature and desire.
What are the central themes discussed?
The central themes include the artificiality of the pastoral, the mechanism of mimetic desire between lovers, and the complexity of gender performance and sexual identity on the Renaissance stage.
What is the research goal of the author?
The goal is to bridge the gap between academic textual analysis and practical performance, showing how specific interpretative choices can modernize Shakespearean themes for contemporary audiences.
Which scientific or critical methods are applied?
The author employs literary criticism, performance analysis, and elements of gender studies, while also integrating theoretical frameworks such as René Girard's concept of mimetic desire.
What does the main body of the work cover?
The main body examines historical critical reception, details the linguistic nuances of scene 3.5., and presents two distinct, experimental production concepts designed to visualize the play's internal conflicts.
Which keywords define the work?
The work is defined by keywords such as pastoral, mimetic desire, gender performance, Rosalind, Shakespeare, and theatrical interpretation.
How does the author interpret the talk-show production concept?
The author sees the talk-show as a modern equivalent to the Renaissance pastoral, both serving as mediums that rely on scripted artificiality and audience engagement to offer an escape from reality.
What is the significance of the sadistic-masochistic production idea?
This concept is designed to visualize the intensity of mimetic desire and the psychological bondage between characters like Silvius and Phoebe, grounding abstract desires in visceral, physical performance.
- Quote paper
- Jule Schaffer (Author), 2006, "A Pageant truly played" - Scene 3.5 of 'As you like it' put into context, Munich, GRIN Verlag, https://www.grin.com/document/73784
