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Role Playing in Shakespeare`s Comedy

Role-Playing in Shakespeare’s ComedyIn Shakespeare’s comedies, there are women who put on physical disguises and pretend to be someone other than themselves. Rosalind in As You Like It and Portia in The Merchant of Venice disguise themselves as men and play one of the important roles in the play. Rosalind and Portia do good jobs on their role-playing, both as men and women. They act like men when they are with people who do not know that they are women and they come back to their own self when they are with people who know what they are doing. It is true that Rosalind and Portia’s playing male roles are important. However, things are completed when they come back to their own self as women.First of all, Rosalind in As You Like It is aware of her parts as male and female. When Rosalind, disguised as Ganymede, goes to see a young shepherd Silvius’ lover Phoebe, Rosalind plays her role as man deliberately that Phoebe falls in love with Rosalind. Phoebe describes her love toward Rosalind t your bright eyneHave power to raise such love in mine,Alack, in me what strange effectWould they work in mild aspect?Whiles you chid me, I did love. (4. 3, 52-56)Rosalind manly chastises and mocks Phoebe of her fooling and despising Silvius’ love, Phoebe has a crush on Rosalind. This notes that Rosalind plays her role as man sufficiently. Nevertheless, Rosalind expresses her feelings as woman when she is with Celia, Rosalind’s cousin who knows Rosalind’s disguise. When Orlando, Rosalind’s lover breaks the promise with Rosalind, she reveals her femaleness by saying: “Never talk to me. I will weep” (3. 4, 1). Rosalind plays a role of woman as Ganymede only when she is with Celia. Rosalind hides her femininity when she meets people other than Celia but discloses womanly feelings to Celia; Rosalind well handles her roles.In addition, Portia appears to be both man and woman according to the situation she is in. When Portia in The Merchant of Venice, takes a role as a Doctor of Laws, even halize that who he is talking with is his wife and Bassanio gives his wedding ring to Portia as gratitude for saving his dearest friend Antonio’s life: “Go, Gratiano, run and overtake him; / Give him the ring, and bring him if thou canst / Unto Antonio’s house. Away, make haste!” (4. 1, 451-453). Bassanio is fooled by disguised Portia and gives his ring as ransom to Portia. Portia deceives people around her so that they may believe that she is a man. However, when Portia is with Nerissa, her waiting woman who also disguise as man, she mentions word “husband” which indicates that she is a woman: “Inquire the Jew’s house out, give him this deed, / And let him sign it. We’ll away tonight / And be a day before our husbands home” (4. 2, 1-3). When Portia speaks above lines, she is only with Nerissa that she does not hesitate to use word that signifies that she is a woman.It is true that Rosalind and Portia play their roles effectively. However, things will be solved when they come back to thhe tangled problems among lovers in As You Like It is untangled through Rosalind’s coming back to her original self. Rosalind sates:I have promised to make all this matter evenKeep you your word, O duke, to give your daughter –You yours, Orlando, to receive his daughter. –Keep you your word, Phoebe, that you’ll marry me,Or else, refusing me, to wed this shepherd. –Keep your word Silvius, that you’ll marry herIf she refuse me. And from hence I goTo make these doubts all even. (5. 4, 18-26)Above passage would be straightened when Rosalind goes back to herself as women. If Rosalind stays still as Ganymede, she is not allow to marry Orlando and Phoebe would not give up on Rosalind (Ganymede.)Likewise, after Portia saves Antonio’s life, she goes back to her house to greet her husband. However, there is a problem which is that Bassanio gives his wedding ring to the Doctor of Laws. This problem also would be solved when Portia takes man’s clothes off and wears her own dress so that she can ex back to her husband:It is almost morning,And yet I am sure you are not satisfiedOf these events at full. Let us go in,And charge us there upon inter’gatories,And we will answer all things faithfully. (5. 1, 295-299)After Portia tells the truth to her husband that it was she who was wearing the Doctor of Law’s clothes, things become clear and the wedding ring is back to her husband. Moreover, the play ends in happy ending.Rosalind and Portia do their job according to the roles that they are playing; they know when to play male and female roles. Moreover, as disguised as men, they boldly chastise and speak to people around them. However, the plays end when the characters come back to their original identity. Things that are separated come together, lovers in As You Like It come together at the end, and the truth is revealed in The Merchant of Venice that Portia tells the truth to her husband of her disguise and gives the ring back. The plays end with happy ending as Rosalind and Portia men.

독후감/창작| 2010.12.18| 4페이지| 1,500원| 조회(122)

셰익스피어, as you like it, 코메디, role playing, 역활..

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Honor in Shakespeare

Honor in ShakespeareHonor is one of the important subjects in the historical writings of Shakespeare. Some people think of honor as participating in war and fighting fiercely for country regardless of their death but some think of honor as nothing important. There is no definite definition for honor. Shakespeare, in his historical play “Henry IV, Part One,” both glorifies and satirizes “honor.” He does not give an exact answer to what honor is but by sending contradictory messages, Shakespeare reveals that honor is defined differently according to one’s personality, characteristics and value. Shakespeare shows this through characters such as Hotspur, a hot-tempered young man, Harry, a confident and thoughtful young man and Falstaff, a lighthearted and thoughtless old man. Through comparing these characters’ value of honor, Shakespeare describes one’s trait.First of all, Shakespeare glorifies honor through Hotspur, a son of Earl of Northumberland who is quick-tempered and military-minded night, or sink, or swim! / Send danger from the east unto the west, / So honor cross it from the north to south, / And let them grapple. O, the blood more stirs / To rouse a lion than a start a hare!” (1.3., 192-196). Hotspur wants danger and challenge to come to be glorified and to be honored. Moreover, the speech reveals that he does not want to lose to anybody; he would like to defend his reputation: “And if the devil come and roar for them, / I will not send them. I will after straight / And tell him so, for I will ease my heart, / Albeit I make a hazard of my head” (1.3., 123-126). When King Henry IV asks Hotspur for his prisoners, this is the speech he gives to his father and uncle. He says although he would be beheaded, he would not give his prisoners to the King. Hotspur thinks of his reputation as more important than his life. Hotspur thinks honor is keeping his reputation and being victorious in the battle field. He is young, brave and has desire to be recognized.Secondly, .I will redeem all this on Percy’s head / And, in the closing of some glorious day, / Be bold to tell you that I am your son, / When I will wear a garment all of blood, / And stain my favors in a bloody mask, / Which washed away, shall scour my shame with it. / And that shall be the day, whene’er it lights, / That this same child of honor and renown, / This gallant Hotspur, this all-praised knight, / And your unthought-of Harry change to meet. / For every honor sitting on his helm, / Would they were multitudes, and on my head / My shames redoubled! (3.2, 132-144)Harry loses his honor by living a riotous life with thieves. However, above speech which Harry gives to his father Henry IV states that Harry can achieve honor at his will, killing Hotspur, making his father proud and being glorified by his people. Harry is certain that he will be honored and renowned when he wears “a garment all of blood, / And stain my favors in a bloody mask,” when he fights for country and for his goal. Harur and Harry, Shakespeare satirizes honor through Falstaff who does not consider honor important but describes it as a “word” which does not include action.Well, ’tis no matter; honor / pricks me on. Yea, but how if honor prick me off / when I come on? How then? Can honour set-to a leg? / No. Or an arm? No. Or take away the grief of a / wound? No. Honour hath no skill in surgery, then? / No. What is honour? A word. What is in that word / honor? What is that honor? Air. A trim reckon- / ing! Who hath it? He that died a Wednesday. Doth / he feel it? No. Doth he hear it? No. ’Tis insensible / then? Yea, to the dead. But will it not live with the / living? No. Why? Detraction will not suffer it. / Therefore I’ll none of it. Honour is a mere scotch- / eon - and so ends my catechism (5.1, 129–139).Falstaff emphasizes that the “honor pricks [him] on” which means that he wants to participate in the battle for honor. Then, he thinks again about the honor which cannot cure his wound that he getseld honorably does not feel the honor since they do not live any longer: “Doth he feel it? No. Doth he hear it? No.” Falstaff makes fun of those people who die in the battle field for honor but who cannot feel or hear their honor. Falstaff claims that honor is no longer important when you do not have life. Falstaff believes that honor is not worthy enough for him to fight in the battle risking his life. He defends his life more than the glory that comes from honor in the battle.Shakespeare both exalts and mocks honor by illustrating honor in different ways by developing different personalities of characters in the play. This shows that honor can be defined by one’s own perspective and belief. Hotspur considers honor as him holding reputation and fighting in the battle bravely by risking his life, Harry sees honor as respecting and doing the will of father and people for the country by killing his enemy Hotspur, and Falstaff judges honor as a “word” that cannot save you from death in thgly.

독후감/창작| 2010.12.18| 3페이지| 1,000원| 조회(93)

셰익스피어, 명예, 헨리 4세, Hoor, Henry IV

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Love Becomes Completed in Faith

Love Becomes Completed in FaithPeople search and yearn for romantic love. They sometimes fall in love at first sight or friends become lovers, but some people think that it will be unrealistic to yearn for romantic love for it seems idealistic. However, romantic love becomes real when there is faith between lovers; the relationship breaks when the faith breaks. William Shakespeare in As You Like It makes fun of romantic love while giving love its due value at the same time. In Rosalind’s speech, she uses metaphors, repetitions, and rhetorical schemes called gradation to show the ideal and the value of romantic love. In this way, the speech delves into the play’s treatment of romantic love and finally shows how characters tie the knot, the ultimate sign of love.First of all, Rosalind, as Ganymede, explains to Orlando how her cousin Celia and Oliver fall in love so quickly and how they plan to be married. Her speech is in prose since Rosalind is like a friend to Orlando rather than his llow their desire to mate and become attached. Furthermore, Julius Caesar’s sudden military victory is metaphoric in that it describes the swift action of Celia and Oliver’s love, and their reason for marriage. Caesar conquers Asian Minor pretty quickly while he was a consul of Rome that he describes in three clauses, “I came, I saw, I conquered” (5.2.33). Celia and Oliver fall in love suddenly and hastily just how Caesar wins the war.Secondly, the repetition of the language emphasizes the immediate love between Celia and Oliver:For your brother and my sister no sooner met but they looked, no sooner looked but theyloved, no sooner loved but they sighed, no sooner sighed but they asked one another thereason, no sooner knew the reason but they sought the remedy; and in these degrees havethey made a pair of stairs to marriage, which they will climb incontinent, or else beincontinent before marriage (5.2.33-41).By repeating “no sooner…but,” the sudden love is enhanced and shown how quickly It is true that they fell in love suddenly and they might lose affection later on. However, their love is passionate and faithful now so that they will be together and will end up getting married. As they marry, not even “Clubs [can] part them” (5.2.42-3). The words, “wrath” and “clubs” are used in describing the extreme love between Celia and Oliver. They are held by love very intensely and strongly that no clubs can divide them or interfere with them. The love between Celia and Oliver is impulsive but passionate, which makes their love strong. Moreover, their love, although sudden, progresses and is completed when they marry; they are faithful to each other.The treatment of romantic love is shown throughout the play by the unions of characters. Moreover, ideal love and the value of love are expressed simultaneously. These are shown through the couples in the play, Orlando and Rosalind, Silvius and Phoebe, and Touchstone and Audrey. Romantic love, which is an idealistic love, is mockthought he was a brother to your daughter” (5.4.29-30). Orlando could not tell who Ganymede really was. However, this phrase reveals that Orlando thinks about Rosalind because he thought about Rosalind when he first saw Ganymede. Here is Rosalind in Orlando’s heart. Although Orlando’s love is mocked, he is still faithful to Rosalind and loves her: “I cannot live no longer by thinking” (5.2.53). In this quote, Orlando reveals that he can no longer be happy pretending with Ganymede. He wants to meet Rosalind and marry her rather than only thinking about her. Eventually, his earnest and faithful heart is paid off by marrying Rosalind.Secondly, Touchstone makes fun of Silvius’ idealistic love toward Phoebe. Silvius says, “O, thou didst then never love so heartily. / If thou rememb’rest not the slightest folly / That ever love did make thee run into, / Thou hast not loved” (2.4.32-5). Silvius thinks that when a person is in love, that person has to do some silly and foolish things for one’s asks Touchstone to have a wedding in a church, Touchstone refuses and wants to get married in shrubs like a beggar; he does not think of marriage as important but only as pleasurable. However, towards the end of the play, when Touchstone meets William, who loves Audrey, he makes fun of William to protect his love and marriage: “He, sir, that must marry this woman. Therefore, you clown, abandon – which is in the vulgar “leave” – the society…abandon the society of this female” (5.1.46-50). Touchstone’s protecting his lover is especially important because he is the one who mocks the other couples in previous acts. However, Touchstone eventually converse and becomes a lover who guards Audrey from the one who tries to take her away. Touchstone makes fun of love. However, he faithfully and boldly tells William that he is the one who will marry Audrey. Touchstone eagerly protects Audrey and shows his love by marrying her.Rosalind’s speech describes idealistic love and the importance of that ve.

독후감/창작| 2010.12.18| 7페이지| 3,000원| 조회(107)

사랑, 셰익스피어, 믿음, as you like it, Romantic love, 첫눈에 반함

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켄터베리 이야기 여장부 서시와 이야기

A Question on Chaucer’s “Wife of Bath’s Prologue”One of the interesting stories in Geoffrey Chaucer’s Canterbury Tale is “The Wife of Bath’s Prologue.” Chaucer opens a new chapter in literature by presenting a woman “The Wife of Bath,” who seems to be a feminist, as a narrator and a main character of the story. Then, as a reader, here comes a question: Chaucer writes “The Wife of Bath’s Prologue.” Is he supportive or critical of women being feminists? It is true that The Wife of Bath is portrayed as a strong and tenacious woman who holds authority over men which indicates feminism. However, Chaucer seems to confirm anti-feminism because he, rather than illustrating The Wife of Bath’s role as intellectual, spiritual or faithful, describes it as unintelligent, materialistic, and unfaithful; Chaucer degrades women through the portrayal of The Wife of Bath’s marriage experiences.First of all, Chaucer reveals The Wife of Bath’s lack of knowledge from the beginning of the prologue. “The Wife to interpret the Bible according to her own philosophy.Thus saide he certain.What that he mente therby I can nat sayn,But that I axe why the fifthe manWas noon housbonde to the Samaritan? (19-22)When Jesus tells the Samaritan woman that the husbands that she married are not her true husbands, The Wife of Bath who also married five times does not understand the meaning of the words; it seems to be that she does not want to understand the meaning of it. The Wife of Bath does not agree with whatever scriptures that do not fit her philosophy. However, she values the words that fits her viewpoints and interprets it according to her own understanding.Men may divine and glosen up and down,But wel I woot, expres, withouten lie,God bad us for to wexe and multiplye:That gentil text can I wel understonde.……………………………………....But of no nombre mencion made he –Of bigamy or of octogamye:Why sholde men thane speke of it vilainye? (26-34)It is true that God has told men to be fruitful and multiply and i the ignorance of women.Secondly, The Wife of Bath is described as a “gold-digger,” which supports an idea that women are selfish and that they are materialists. The Wife of Bath’s appreciation of her marriage is based on materialism; she mentions that good husbands are those who are old and rich.But sith I hadde hem hoolly in myn hand,And sith that they hadde yiven me al hir land,What sholde I take keep hem for to plese,But it were for my profit and myn ese? (217-220)The Wife of Bath marries three old men because she is interested in their money rather than their love or their companionship. She sees no reason to make her husbands happy since she already has their possessions in her hand; she pleases her husband when she receives profit or goods from the act.I wolde no lenger in the bed abideIf that I felte his arm over my side,Til he hadde maad his raunson unto me;Thanne wolde I suffer him do his niceteeAnd therefore every man this tale I telle:Winne whoso may, for al is for to sellend; she gives all her possessions to her husband but regrets it and gets them back again. All things considered, Chaucer appears to disgrace women’s attachment to the earthly things rather than spiritual things such as love and companionship.Finally, Chaucer indirectly discredits women’s faithfulness throughout the prologue. It is funny to read The Wife of Bath’s self-degrading reliance on women. She proudly states how she revealed her husband’s secret to her friends and shows intentions that she will talk about her husband’s secrets to her friends again.To hire biwrayed I my conseil al,For hadde myn housbonde pissed on a wal,Or doon a thing that sholde han cost his lif,To hire, and to another worthy wif,And to my nece which I loved weel,I wolde han told his conseil everydeel; (539-544)The lines above show how unfaithful women are; they gossip and disclose secrets that their husbands tell them. It is ironical because The Wife of Bath pleases in revealing secrets; she does not feel guilher husband. One of the stories is about Samson and his lover. Samson loses his eyes because of his lover’s betrayal: “Tho redde he me how Sampson loste his heres: / Sleeping his lemman kitte it with hir sheres, / Thurgh which treson loste he both his yen” (727-729). Samson’s lover deceives and abandons him for money; she is disloyal to Samson, her lover. It also discloses once again of women’s materialism. Briefly, Chaucer gives the impression of making fun of women’s boasting of their dishonesty.Some people might claim that Chaucer upholds women through The Wife of Bath’s Prologue since it is The Wife of Bath who controls and governs her husbands. It is true that she gets what she wants but not with good methods. Chaucer seems to play a role of belittling women by illustrating The Wife of Bath’s confession of her marriage; she tries to validate her beliefs with unfounded and unclear sources, has a money-oriented marriage, and is self-mocked by telling the audience of her disclosing h06.

독후감/창작| 2010.12.18| 4페이지| 2,000원| 조회(337)

초서, Chaucer, Canterbury Tales, 켄터베리이야기, Wife..

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symbols in `In the Middle of the Road` and `Benediction

Symbols in “In the Middle of the Road” and “Benediction”Symbols in poem and fiction are used to convey the essential hidden meaning. Authors use symbols to evoke meaning without outright explanation and to lead readers to figure out the meaning behind the symbols. Carlos Drummond De Andrade, in his poem “In The Middle of the Road” and Lu Hsun, in “Benediction,” use several symbols to foreshadow the major meaning and event to the readers. Andrade uses the “stone” as a figure of speech to carry the meaning of unforgettable events. The narrator of “Benediction” has a similar event with a woman that he could not forget. Hsun uses symbols to describe the narrator’s enduring event; he mentions “altar” and “sacrifices” several times to indicate the death of the protagonist Hsiang-lin Sao. Her condition as both a woman and poor makes her a scapegoat that needs to be sacrificed for others, both family and villagers, to be blessed.First of all, Andrade leads the readers to think about their remale of the road there was a stone.In people’s lives, there are many incidents and some of them get erased and some become life-long memories. The poem might sound funny at first. However, the words’ repetition brings the readers to think about their own lasting memories. Andrade illustrates memory with the symbol of the “stone.” Those memories that are in one’s core heart are never forgotten; they stay like a stone. The “stone” can be big or small just like one’s incidents could be either great or small. It is true that the small stones in the middle of the road are not that dangerous. However, whether little or huge, stones are obstacles if they are in the road; they are in one’s way.The narrator of “Benediction” also has a “stone in the middle of the road,” and Hsun uses “sacrifices” such as animals, and refers to an “altar” where people put sacrifices to foreshadow the unfortunate event. The villagers of Lo Ching, where they have ‘New Year prayers-of-blessing’ to ‘the god of benedictdo not have power to stop the killings. Hsiang-lin Sao, just like the animals, is a minority who does not have power to stop her misfortune and being a scapegoat for others. Moreover, she does not have money to buy sacrifices for herself: “Every year it is that way, and the same in every home – except those of the miserable poor who cannot buy either sacrifices or candles or crackers – and this year is like any other” (247). Sao does not have anything to give to the god of benediction but one offering must be killed to receive blessings. Hsiang-lin Sao herself becomes the sacrifices due to her social rank, a poor woman. Moreover, before the death of Hsiang-lin Sao, she is poked and prodded everywhere by her family and the villagers, just how chopsticks are punched into the animals on the altar at all angles. Throughout, Hsun connects the protagonist, Hsiang-lin Sao to the altar to foretell Sao’s death as a sacrifice.Secondly, Hsun leads the readers to predict the death of Hsiang-lin Samarried off to the mountaineers. Sao is exploited as a scapegoat to the family. Sao, knocking her head on the altar, describes that she is a sacrifice for her non-blood-related family; she marries for the family’s sake. Moreover, the image of Sao being dragged seems like an animal being dragged to be killed: “From the beginning she fought like a tigress. She screamed and she cursed, and by the time she reached Hu Village her throat was so raw that she had almost lost her voice” (257). Sao fights like animals struggling before their death to not be married and become a sacrifice. However, she could not help but to be married since she is the minority in society where she becomes the scapegoat.Thirdly, the author links the altar with Hsiang-lin Sao when she comes back after losing everything of hers including her husband and her child. Sao, after losing her precious people and happiness that she gained through them, loses her mind as if she were dead mentally. Sao works at the narrator’so be sacrificed. However, at the end, Sao becomes separated from the narrator’s uncle’s family. When they prepare for the benediction and the sacrifices, Fourth Aunt, the narrator’s aunt, tells Sao not to help prepare the benediction. Moreover, Ah Niu, a new servant brings out the altar in the center: “Fourth Aunt brought out the holy utensils, and Ah Niu carried the altar to the centre of the room” (264). When Sao is about to help them out, Fourth Aunt stops her in helping them: “From that day [Sao] declined rapidly” (264). Sao declines in her physical and mental conditions which foreshadows that her life is almost at the end. Lastly, Sao ends her day as a sacrifice after preparing her death bed.Andrade and Hsun use the symbols, “stone” and “altar,” to show the story line and the hidden meaning behind their figures. The “stone” in Andrade’ poem, “In the Middle of the Road” lets readers remember the events that they faced in the past. The narrator of “Benediction” also brings up his alry.

독후감/창작| 2010.12.15| 4페이지| 1,500원| 조회(105)

시, 단편소설, 상징, 축복의 기도

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