Importance of Costumes in As You Like It, Twelfth Night, and Henry IV, Part One
The Jewish holiday Purim celebrates the rescue of the ancient Jews of Persia from certain destruction at the hands of Haman. The fair queen Ester tricks the villain, and Haman betrays himself before the king. Each year the story is read aloud amidst great celebration. The children, and even the adults, dress up as their favorite character in the story. Each time Haman’s name is uttered, everyone makes as much noise as they can to blot out his evil name. According to Jewish tradition, the adults should become so intoxicated on Purim that they can not distinguish Haman from the heroes, Mordechai and Ester. (This is one of the few times that overindulging of this sort is condoned.)
On the eve of Purim Jews dress up as part of the holiday celebration. Being in costume gives a certain freedom of action because one is not “himself.” This same freedom prevails in William Shakespeare’s As You Like It. Rosalind dresses up as the male character Ganymede. Hidden behind the costume of Ganymede, she speaks freely with Orlando as she would not be able to in her female role, and Orlando loses his shyness and lack of words. Similarly in Henry IV, Part One Falstaff and Prince Henry play the part of the king. They are putting on a mini-play within a play and are filling roles that are not their own.
In order to enter the holiday spirit, people must leave their everyday selves and put on a costume. In the modern world, people have their working and studying attitudes and their free-time costume. The costume may not be literal, although it could be in the case of a costume party, but these attitudes are easily put on and taken off to fit the occasion. Prince Henry, after a discussion with Poins about the great jest they will play on Falstaff, changes his speech pattern from prose to blank verse. Hal speaks to himself about when he will eventually become a serious man and “when this loose behavior I throw off/And pay the debt I never promised” (I.ii.205-6). He very easily switches from the free pattern of prose to the more serious blank verse.
Ester's tricking Haman was more serious than a mere practical joke.
A significant aspect of the play is the acting and wardrobe, because it helps demonstrate the personalities of the characters.
Precise definition of a festive comedy is best outlined in the distinctive depictions if merry in the tone, exhibition of Elizabethan holidays, satire depiction in the composition to mockery which is to a greater extent natural. The same is resonated in depictions of comic faith wherein what matter most is the rather satirical and happy depiction of events in the hope of a greater cause such as religion and love. In structuring up the play ‘A Midsummer’s Night Dream,’ there is clear mapped outline that makes reference to the ideal of it being regarded as a festive comedy but notions of the same are heavily transcended in the different sections of the play coupled with the ideal of comic faith as well. What is followed
Open in London in 1599, William Shakespeare’s Globe theatre grew to be recognized as the most popular playhouse in the region and home to some of the greatest players in England. The King’s Men, previously the Lord Chamberlain’s Men, were a playing company for whom Shakespeare was a member of for most of his career. They frequently performed in the Globe and staged many of Shakespeare’s works. Nevertheless, the lack of stagecraft information provided from these XVI century texts has made it hard to interpret how Shakespeare originally intended his plays to be performed in the Globe. In particular, the famous tragedy of Romeo and Juliet suggests that there are many alternative staging options for each scene. However, from a close reading of the play-text as a manual for performance, it is possible to describe how the play may have been staged, specifically in Act 2, Scene 1, by analysing elements such as the acting measures, the costume design and the stage setting.
At some point in every teenager’s life, they begin to rebel and distance themselves from their family in order to find their true self and begin transitioning into adulthood. In the short story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates, the main character, Connie, is a stereotypical and self-centered teenage girl, who appears to care about nothing but herself. Connie thought everything was perfect and great, but little did she know things would soon take a turn for the worst when a mysterious man named Arnold Friend appears. In “Where Are You Going, Where Have You Been?” Oates uses the symbolism of Connie’s home, the author’s
This line of text from the story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates gives a brief overview into the life of Connie and Arnold. A charming yet mysterious man named Arnold Friend preys on a young girls gift of beauty, her feelings of seclusion and her desires. This passage highlights the moral and psychological issues young girls face.
It’s December of 1801 and the whole town is decorating, dancing, singing, and laughing as they get ready for a near holiday: Christmas. All but one pessimistic, obdurate cripple of a man. His name is Ebenezer Scrooge, an undermined old male swathed in dark clothing. He is typically found strolling the streets on Victorian London with poor posture, eyes locked on the cracked sidewalk beneath the soles of his shoes. Slumping along, carolers cease to sing near him and nobody speaks when in his presence. Scrooge is a prejudging business man who hurries to be left alone and disregards cheer. He is obdurate and blind to the consequences of his actions. Sudden wealth brings a snobbiness when his business partner dies, and as a result, his one true love divorces him, sending him into a state of hatred and regret. With this evidence to back it up, Scrooge can be perceived as a negative, crippling man with little tolerance to change. However, things are bound to change with the visitation of the wraiths: the Spirits of Christmas Past, Present, and Yet to Come, an inevitable change that be...
She makes sure to be very different from her sister and parents. Her immaturity in the beginning while she is out with her friends causes her to fail in seeing the danger of Arnold Friend. Connie is interested in all the mystery that Arnold brings when he first arrives at her home. Connie asks questions about the markings on Arnold's car, she also asks about how he knows the people she is friends with. At first she wants to impress him, to seem older and mature like he is so that he will continue wanting her. Now that she is listening to Arnold talk more she is realizing that she is not as mature as she thought. She believes that love and the way that he is speaking to her is crazy (6). However, at Arnolds age love is not a crazy thought; the only crazy part is to love a fifteen year old. Connie is testing her boundaries and by continuing to talk to Arnold, but she is now realizing that she does not want to be as mature as she pretended to be at first. Arnold is old enough to know how to manipulate Connie in to coming out through the door with him in the end. She believes that she is still doing the mature thing by leaving with him, so that her family is safe, but in reality her immaturity is what got her in to this dangerous
Still maintained is the conflict between the very format of the text, with Hal and Henry’s conversation held in formal verse typical of the court world, in which Hal is now firmly embedded. Falstaff, however, sustains his equally typical prose speech, which indicates to the audience the enduring division between the court and tavern worlds. As soon as the king leaves, Falstaff immediately proclaims his unashamed cowardice, asking Hal to protect him in battle. The prince retorts with an insult to Falstaff’s enormous size, and abruptly bids him farewell. Gone are the jests that would accompany a conversation between these two at the beginning of the play, and Hal’s reactions to Falstaff now represent his moving away from the tavern world, and that he now belongs to the court world.
---. “Twelfth Night, or What You Will.” The Norton Anthology of English Literature, edited by
The most ubiquitous allegory found in the piece is seen in the relationship held between Connie and Arnold Friend, which has a religious nature about it. In the same way that the Devil manipulated and convinced Eve to take the apple, Arnold has a rather cogent way of persuading Connie to leave her house and join him. The “sweet talk” that Arnold employs on Connie is the equivalent to the temptation of the Devil when he lured Eve into taking the apple. Another strong comparison in the aforementioned allegory is the similarities found between the Devil and Arnold. “I know your name and all about you, lots of things” (Oates par. 48). Arnold’s all-knowing perspective of Connie is synonymous to the Devil’s total knowledge of Eve. Oates uses this rather powerful allegory to depict the dangerously unpredictable vulnerability of Connie. By ending the story in the manner in which Oates did, she reveals her resentment for Connie’s vulnerable nature that could have ceased to exist had Connie taken the initiative to establish her
The well known holiday of Christmas today is far from what it was in it’s former being. Many aspects led to the change in Christmas, however Charles Dickens, a Victorian era author was arguably the most influential in the change. There was a time when christmas was not much more important than your average holiday. Without the work of Charles Dickens’ A Christmas Carol, Regency Christmas would not have changed to be the way it is today. As we examine the Regency Christmas, the Christmas events in A Christmas Carol, new Christmas ideas, and today’s new christmas we will form the true Christmas.
Charles Dickens is often credited as the “man who invented Christmas,” and his persistent and well-adapted tale, A Christmas Carol, has proved a valuable addition to literature that uses the Christmas season as a central theme. “Dickens, of course, did not invent Christmas, but he successfully reintegrated earlier traditions and memories of traditions, and repurposed the Christmas season” (Bloom, 16). The combination of Dickens having reached a low point in his personal life and the harsh social and economic conditions in England, led to the birth of the beloved Christmas classic, A Christmas Carol. Dickens’ experiences with Christianity and the class system also work in coloring his depiction of Christmas.
Work Cited Shakespeare, William. "Twelfth Night." Norton's Anthology of English Literature. Ed. Stephen Greenblatt. New York City: W.W. Norton & Co., 2006. Print.
Many characters undergo a change in William Shakespeare’s play, “As You Like It”. Duke Senior goes from being a member of a court to being a member of a forest and Orlando changes from a bitter, younger brother, to a love-struck young man. The most obvious transformation undergone, is undoubtedly that of Rosalind. Her change from a woman to a man, not only alters her mood, candor, and gender, but also allows her to be the master of ceremonies.
Many controversies have arisen nowadays as to whether international law is “natural law”, international law now faces considerable criticism as to its effectiveness as law and doubts as to its actual existence, and its power to bind countries .