The character of Rosalind in As You Like It view that enlightens the reader on the prejudices of gender roles in society. . The need for Rosalind to play the role of Ganymede defines her with a perverse but rational will, because instead of speaking abstractly as Celia does and "sitting and laughing" (I.ii.ln.31) . as gifts are unequally given to men and women, Rosalind physically assumes the duty of “the generous blind woman [who] errs most in her gifts to women” (I.ii.ln.35). She is truly a “blind woman,” not knowing what she will encounter, and forced to become literally blind to a society whose leader, Duke Frederick, has made her ill-favored at court. As Célia says, “those whom [Fortune] makes honest, she makes very unfavorable” (I.ii.ln.37). And yet, it is not Fortune's action, but society's relentless decision to banish Rosalind that forces Rosalind to disguise herself as Ganymede and, in doing so, dishonestly represent her true gender. Appearances are certainly deceiving, for even destiny is shaped to fit what society deems appropriate, thus establishing a most unnatural hierarchical order. It is for this reason that Rosalind remains immortal as a character, because by doing Fortune's work and physically moving to the natural forest of Ardennes, she is able to take on an unnatural but liberating gender role. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayCelia serves to perpetuate society's influence on Rosalind, thereby undermining Rosalind's unique sense and emphasizing the image that Celia constantly tries to project onto Rosalind a woman with appropriate and socially acceptable behavior. Before her banishment, Rosalind is thus trapped as a woman of traditional identity within the very walls of the play's text, confined by the outward appearance of the social conventions that dictate her life. Rosalind simply acts in the appropriate manner expected of a woman in her position, but fails to truly portray the emotions of a sincerely affected person. Celia introduces Rosalind to the text with an emotional plea for her cousin's happiness, "...sweet my cousin, be merry" (I.ii.ln1), but in doing so, the reader's reality regarding Rosalind in the context of the Courage is filtered by the melancholy that Célia immediately attracts the reader's attention. As a young woman whose father has been banished, Rosalind must now take on the role of a saddened daughter, and yet it is clear after a few lines that Rosalind would actually prefer to "be cheerful", as Celia compassionately asks her to do. 'be. to remain in the “state [of attractiveness]” (I.ii.ln15) as is expected of her. The irony lies in the fact that although Celia seemingly tries to comfort Rosalind, it is she herself who reinforces Rosalind's pitiful behavior. Simply by addressing Rosalind as if something were to happen, Celia forces Rosalind to defend herself, and Rosalind is unwittingly forced to express the reason for her sadness as being her father's banishment, whether or not there is a basis for this assertion. . It is exactly this coercive social force of Celia that Rosalind must give in to, as Rosalind deliberately only says what is necessary to avoid social criticism and publicly defend the values that are politically and socially correct for her. Rosalind immediately and repeatedly attempts to alleviate the distressed tone of the scene bycircumventing Celia's negative sensitivities in a way that still doesn't make her seem carefree and uncaring. She quite deliberately says "...would you be even more joyful? Unless you can teach me to forget a banished father...(I.ii.ln.4)", where almost as an afterthought, she addresses her father's banishment. In doing so, Rosalind confirms Celia's reasoning in assuming that she must be sad, even though the true root of her melancholy cannot be precisely defined at this point. She simply cites a socially acceptable reason for her sadness and, in doing so, quickly walks away to avoid conversation about the real stimulus for her depressed tone. Rosalind makes a call to "forget the state of [her] estate" (I.ii.ln.15), then another to "invent sports" (I.ii.ln.24) as a way of changing the subject of life. conversation, but it is Celia who sets the tone for Rosalind's performance, which succeeds in her continued effort to dwell on what society expects Rosalind to be sad about, thus allowing the true emotions to be further subjugated by Rosalind. Rosalind opposes the conventional order by refusing to expose herself as emotionally vulnerable to Celia, as this would result in complete conformity between the two and further demolish any sense of unique self that Rosalind struggles to maintain. Although the great court considers the love between Celia and Rosalind to be "dearer than the natural bond between sisters" (I.ii.ln.276), Celia does not seem particularly adept at resenting Rosalind's desire to talk about something other than the banishment of his father. . In trying to spark an emotional upsurge in Rosalind, Celia attempts to further strengthen the bond between the two cousins, but Rosalind resists the urge to become the traditional emotional woman whose sensitivity is so predictable. In the continued coupling of the characters Celia and Rosalind, Celia manages to drive a wedge between herself and the protagonist, for although Rosalind expresses neither a strong sentimental attachment to her father nor any apparent guilt over his fate, her emotions are simply exploited by what Celia, a representative of the natural customs of society, supposes them to be. Thus, it is as a model of social order and conventional values that Celia and the society at large that she represents are initially portrayed, but both fail to show a deeper understanding of Rosalind's need for s express and a unique identity that cannot be defined. by the company at court. Rosalind's emotions are piqued by Orlando's similar fate, and her desire to be with him is thus based on the fact that the two share commonalities. Superficial passions are not supreme, because Rosalind needs someone with whom she can both identify and preserve her own identity. While it may be Orlando's muscles that initially pique Rosalind's interest, it's not his wit or charm that makes her fall for him. The moment she approves of her family, Orlando suddenly becomes a viable option for marriage, and Rosalind becomes seduced, as is made clear when she says, "If [she] had only known [her ancestry] before...[ she] should have given him tears for supplications, before he should have thus ventured (I.ii.ln.237) "In saying this, she already assumes the role of a wife, serving to warn and protect Orlando Rosalind is no longer as concerned about what is expected of her, because by shedding the Duke's expectations of her, she freely continues to praise Orlando. a chain as a symbol of their mutual affection, but by establishing a physical link with Orlando, she reveals, almost in spite of herself, thesource of his melancholy at the beginning of the play. Orlando is in the same situation as Rosalind, as her scheming brother has affected her own fortunes. Likewise, she cannot help but admit that "[her] pride [also] fell with her [own] fortune (I.ii.ln.252)." By being able to identify with Orlando, she is able to isolate her own desire to be proud of herself and identify her need to find a way to improve her own sense of dignity and self-worth . Rosalind thus falls into the role of a woman in love, but manages to recognize her feelings for Orlando as both insensitive but honestly intentioned. This distinction sets her apart from other idealistic and romantic figures in Shakespeare's plays, because while Rosalind recognizes Orlando's affect on her, instead of waiting for him to save her, she is able to maximize his effects on her by moving contentedly "Toward freedom, not banishment (I.iii.ln.138)", literally releasing her own sense of self-confidence and bringing about a change in the role she plays in her own life. Rosalind's growing attachment to Orlando parallels her own increased awareness that she is in fact alone and, unless she takes quick action, has social authority and general control over her own personal rights. , which are rapidly diminishing, will soon disappear completely At the beginning of the third scene, Celia asks if Rosalind is still thoughtful about her father, but Rosalind replies: "Part of it is for the father of my child (I.iii.ln. 11) » Rosalind's response is more selfish and distant than before, because while society treats her like a child whose concerns should, in turn, only concern her absent father, Rosalind slowly evolves into more. autonomy, as can be seen when she is asked "But is it all [worrying] about your father?" (I.iii.ln.10) and Rosalind bluntly says "No..." ( I.iii.ln.11). Rosalind enters her life as a woman to realize that she has "not a single [word]" (I.iii.ln.3) for Celia, the typical representative of the traditional behavior of a restrictive courtly society. “They’re just rubbish, cousin, thrown at you during the holidays” (I.iii.ln.13). Celia says, but Rosalind is now less able to maintain the same politically and socially correct manner in which she was able to so effectively meet Celia's expectations in the previous scene. In this scene, act I, scene ii, Celia offers her inheritance to Rosalind saying "You know that my father has no children except me, and none is ready to have any; and truly when he dies , thou [Rosalind] shall be his heir” (I.ii.ln.17), but this only strengthens the mutual identity of the two cousins and undermines Rosalind's independent social status. It is therefore a common bond with Orlando that makes Rosalind confident in her own image and able to identify with him without replacing her own self-esteem with his character. By trying to regain the “pride” that was lost to her, she forges a new identity for Celia, but one more faithful to her inner self: Ganymede. Rosalind literally passes “from the office of Fortune to that of Nature” (I.ii.ln.40). by changing his natural sex to reap the rewards that Fortune has bestowed upon him, rewards such as inherent intelligence, energy, and attractiveness, all virtues that society has thus far prevented him from benefitting from. Acting like Ganymede, Rosalind has the freedom to assert herself in the presence of others, to act as an equal among men, and even to initiate a courtship as Ganymede successfully does with Orlando. This kind of freedom is unknown to women, especially Rosalind who, as we can see before her banishment, is restricted by society's expectations of a woman in her.

Essay / The character of Rosalind in As You Like It view that enlightens the reader on the prejudices of gender roles in society. . The need for Rosalind to play the role of Ganymede defines her with a perverse but rational will, because instead of speaking abstractly as Celia does and "sitting and laughing" (I.ii.ln.31) . as gifts are unequally given to men and women, Rosalind physically assumes the duty of “the generous blind woman [who] errs most in her gifts to women” (I.ii.ln.35). She is truly a “blind woman,” not knowing what she will encounter, and forced to become literally blind to a society whose leader, Duke Frederick, has made her ill-favored at court. As Célia says, “those whom [Fortune] makes honest, she makes very unfavorable” (I.ii.ln.37). And yet, it is not Fortune's action, but society's relentless decision to banish Rosalind that forces Rosalind to disguise herself as Ganymede and, in doing so, dishonestly represent her true gender. Appearances are certainly deceiving, for even destiny is shaped to fit what society deems appropriate, thus establishing a most unnatural hierarchical order. It is for this reason that Rosalind remains immortal as a character, because by doing Fortune's work and physically moving to the natural forest of Ardennes, she is able to take on an unnatural but liberating gender role. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayCelia serves to perpetuate society's influence on Rosalind, thereby undermining Rosalind's unique sense and emphasizing the image that Celia constantly tries to project onto Rosalind a woman with appropriate and socially acceptable behavior. Before her banishment, Rosalind is thus trapped as a woman of traditional identity within the very walls of the play's text, confined by the outward appearance of the social conventions that dictate her life. Rosalind simply acts in the appropriate manner expected of a woman in her position, but fails to truly portray the emotions of a sincerely affected person. Celia introduces Rosalind to the text with an emotional plea for her cousin's happiness, "...sweet my cousin, be merry" (I.ii.ln1), but in doing so, the reader's reality regarding Rosalind in the context of the Courage is filtered by the melancholy that Célia immediately attracts the reader's attention. As a young woman whose father has been banished, Rosalind must now take on the role of a saddened daughter, and yet it is clear after a few lines that Rosalind would actually prefer to "be cheerful", as Celia compassionately asks her to do. 'be. to remain in the “state [of attractiveness]” (I.ii.ln15) as is expected of her. The irony lies in the fact that although Celia seemingly tries to comfort Rosalind, it is she herself who reinforces Rosalind's pitiful behavior. Simply by addressing Rosalind as if something were to happen, Celia forces Rosalind to defend herself, and Rosalind is unwittingly forced to express the reason for her sadness as being her father's banishment, whether or not there is a basis for this assertion. . It is exactly this coercive social force of Celia that Rosalind must give in to, as Rosalind deliberately only says what is necessary to avoid social criticism and publicly defend the values that are politically and socially correct for her. Rosalind immediately and repeatedly attempts to alleviate the distressed tone of the scene bycircumventing Celia's negative sensitivities in a way that still doesn't make her seem carefree and uncaring. She quite deliberately says "...would you be even more joyful? Unless you can teach me to forget a banished father...(I.ii.ln.4)", where almost as an afterthought, she addresses her father's banishment. In doing so, Rosalind confirms Celia's reasoning in assuming that she must be sad, even though the true root of her melancholy cannot be precisely defined at this point. She simply cites a socially acceptable reason for her sadness and, in doing so, quickly walks away to avoid conversation about the real stimulus for her depressed tone. Rosalind makes a call to "forget the state of [her] estate" (I.ii.ln.15), then another to "invent sports" (I.ii.ln.24) as a way of changing the subject of life. conversation, but it is Celia who sets the tone for Rosalind's performance, which succeeds in her continued effort to dwell on what society expects Rosalind to be sad about, thus allowing the true emotions to be further subjugated by Rosalind. Rosalind opposes the conventional order by refusing to expose herself as emotionally vulnerable to Celia, as this would result in complete conformity between the two and further demolish any sense of unique self that Rosalind struggles to maintain. Although the great court considers the love between Celia and Rosalind to be "dearer than the natural bond between sisters" (I.ii.ln.276), Celia does not seem particularly adept at resenting Rosalind's desire to talk about something other than the banishment of his father. . In trying to spark an emotional upsurge in Rosalind, Celia attempts to further strengthen the bond between the two cousins, but Rosalind resists the urge to become the traditional emotional woman whose sensitivity is so predictable. In the continued coupling of the characters Celia and Rosalind, Celia manages to drive a wedge between herself and the protagonist, for although Rosalind expresses neither a strong sentimental attachment to her father nor any apparent guilt over his fate, her emotions are simply exploited by what Celia, a representative of the natural customs of society, supposes them to be. Thus, it is as a model of social order and conventional values that Celia and the society at large that she represents are initially portrayed, but both fail to show a deeper understanding of Rosalind's need for s express and a unique identity that cannot be defined. by the company at court. Rosalind's emotions are piqued by Orlando's similar fate, and her desire to be with him is thus based on the fact that the two share commonalities. Superficial passions are not supreme, because Rosalind needs someone with whom she can both identify and preserve her own identity. While it may be Orlando's muscles that initially pique Rosalind's interest, it's not his wit or charm that makes her fall for him. The moment she approves of her family, Orlando suddenly becomes a viable option for marriage, and Rosalind becomes seduced, as is made clear when she says, "If [she] had only known [her ancestry] before...[ she] should have given him tears for supplications, before he should have thus ventured (I.ii.ln.237) "In saying this, she already assumes the role of a wife, serving to warn and protect Orlando Rosalind is no longer as concerned about what is expected of her, because by shedding the Duke's expectations of her, she freely continues to praise Orlando. a chain as a symbol of their mutual affection, but by establishing a physical link with Orlando, she reveals, almost in spite of herself, thesource of his melancholy at the beginning of the play. Orlando is in the same situation as Rosalind, as her scheming brother has affected her own fortunes. Likewise, she cannot help but admit that "[her] pride [also] fell with her [own] fortune (I.ii.ln.252)." By being able to identify with Orlando, she is able to isolate her own desire to be proud of herself and identify her need to find a way to improve her own sense of dignity and self-worth . Rosalind thus falls into the role of a woman in love, but manages to recognize her feelings for Orlando as both insensitive but honestly intentioned. This distinction sets her apart from other idealistic and romantic figures in Shakespeare's plays, because while Rosalind recognizes Orlando's affect on her, instead of waiting for him to save her, she is able to maximize his effects on her by moving contentedly "Toward freedom, not banishment (I.iii.ln.138)", literally releasing her own sense of self-confidence and bringing about a change in the role she plays in her own life. Rosalind's growing attachment to Orlando parallels her own increased awareness that she is in fact alone and, unless she takes quick action, has social authority and general control over her own personal rights. , which are rapidly diminishing, will soon disappear completely At the beginning of the third scene, Celia asks if Rosalind is still thoughtful about her father, but Rosalind replies: "Part of it is for the father of my child (I.iii.ln. 11) » Rosalind's response is more selfish and distant than before, because while society treats her like a child whose concerns should, in turn, only concern her absent father, Rosalind slowly evolves into more. autonomy, as can be seen when she is asked "But is it all [worrying] about your father?" (I.iii.ln.10) and Rosalind bluntly says "No..." ( I.iii.ln.11). Rosalind enters her life as a woman to realize that she has "not a single [word]" (I.iii.ln.3) for Celia, the typical representative of the traditional behavior of a restrictive courtly society. “They’re just rubbish, cousin, thrown at you during the holidays” (I.iii.ln.13). Celia says, but Rosalind is now less able to maintain the same politically and socially correct manner in which she was able to so effectively meet Celia's expectations in the previous scene. In this scene, act I, scene ii, Celia offers her inheritance to Rosalind saying "You know that my father has no children except me, and none is ready to have any; and truly when he dies , thou [Rosalind] shall be his heir” (I.ii.ln.17), but this only strengthens the mutual identity of the two cousins and undermines Rosalind's independent social status. It is therefore a common bond with Orlando that makes Rosalind confident in her own image and able to identify with him without replacing her own self-esteem with his character. By trying to regain the “pride” that was lost to her, she forges a new identity for Celia, but one more faithful to her inner self: Ganymede. Rosalind literally passes “from the office of Fortune to that of Nature” (I.ii.ln.40). by changing his natural sex to reap the rewards that Fortune has bestowed upon him, rewards such as inherent intelligence, energy, and attractiveness, all virtues that society has thus far prevented him from benefitting from. Acting like Ganymede, Rosalind has the freedom to assert herself in the presence of others, to act as an equal among men, and even to initiate a courtship as Ganymede successfully does with Orlando. This kind of freedom is unknown to women, especially Rosalind who, as we can see before her banishment, is restricted by society's expectations of a woman in her.

Navigation

« Prev 1 2 3 4 5 Next »

Get In Touch