"A Pageant Truly Played" - Scene 3.5 of 'As You Like It' Put Into Context
GRIN Verlag, 2007 - 28 pages
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Cologne (English Seminar), course: Einfuhrungsseminar Literaturwissenschaft Teil B, language: English, abstract: 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."
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akademische Texte artificiality attire audience boy actors Brissenden 1998 classroom production context GRIN Corin critics disguise dominatrix dressed Elizabethan enhancing enters and scolds explores face mask fall in love feeling feminine fool in love fresh cheek Ganymede enters gender homoerotic desire homoeroticism ironic effects Jule Schaffer look LOV’PH LOV’PHOEBE love and mimetic lover mimetic desire mimetic spiral mocking the pastoral moderator modernised narcissism Orlando Pageant truly played Phoebe’s character Phoebe’s desire portrayed position pretty redness production ideas proud put into context role Rosalind/Ganymede Schaffer A Pageant scolds Phoebe scornful second performance idea sexual sexual identity Shakespeare shame shepherd shepherdess short commercial break Silvius and Phoebe Silvius is introduced speaks them pleases specifically speech spiral of mimetic stage stereotypes surprise guest Sweet Phoebe take a short talk-show setting television theatre thee tonight Traub typical pastoral convention UNL PH UNL PHOEBE UNL’PH unloving whip wooing words wounds her eyes
Page 4 - The Epilogue playfully invites this question. That it does so suggests something about the contradictory nature of the theater as a site of ideological production, an institution that can circulate recuperative fables of cross-dressing, reinscribing sexual difference and gender hierarchy, and at the same time can make visible on the level of theatrical practice the contamination of sexual kinds.
Page 3 - Silvius is the faithful abject lover who finds disdain in his fair shepherdess's eye and sighs "upon a midnight pillow"— Shakespeare always fixes on a detail in which a whole situation is epitomized. There are of course many other lovers in the play, but the story of Silvius and Phebe is of the pure pastoral world, the familiar literary norm against which all the others may be measured. First against Silvius and Phebe are set Rosalind and Orlando, and the immediate result of this is that Rosalind...
Page 3 - Rackin describes what happens as a "complicated layering on of disguise to render Rosalind's sexual identity thoroughly ambivalent,