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Character Transformation in Shakespeare's As You Like It
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.
Celia and Rosalind are fairly happy in the court of Celia’s father, Duke Frederick. However, much to her surprise, the Duke banishes Rosalind from his court because of his dislike for her. Celia, not allowing her beloved cousin to "go it alone", decides to accompany her to where ever she may roam. They decide to search out Rosalind’s father, Duke Senior, in the forest of Arden. Before they depart, Rosalind decides that the forest, being a treacherous place full of danger, demands that she dresses as a man, while Celia remained a woman.
"Were it not better, Because that I am more than common tall,
That I did suit me all points like a man? A gallant curtal ax upon my thigh,
A boar spear in my hand, and- in my hear Lie there what hidden woman’s fear there will-
We’ll have a swashing and a martial outside, As many other mannish cowards have
That do outface it with their semblances.” (1:3 ll. 112-120)
At first glance, this transformation is a mere change of clothes and the addition of weapons, but it goes much deeper. To Rosalind, the taking on of a man’s appearance requires certain things. She believes that while dressed as a man, she cannot bring shame to the image of men. A good example of this is in Act 2, Scene 4, where she says, "I could find in my heart to disgrace my man’s apparel and to cry like a woman; but I must comfort the weaker vessel, as doublet and hose ought to show itself courageous to petticoat. (ll. 4-7). This is not the only time she mentions a doublet and hose. It seems almost that the doublet and hose are the actual source of strength for a man, as in the next example when Rosalind is begging Celia for an answer, saying, "Good my complexion! Dost thou think, / though I am caparisoned like a man, I have a Doublet and hose in my disposition?
In the time of William Shakespeare where courtship and romance were often overshadowed by the need to marry for social betterment and to ensure inheritance, emerges a couple from Much Ado About Nothing, Hero and Claudio, who must not only grow as a couple, who faces deception and slander, but as individuals. Out of the couple, Claudio, a brave soldier respected by some of the highest ranked men during his time, Prince Don Pedro and the Governor of Messina, Leonato, has the most growing to do. Throughout the play, Claudio’s transformation from an immature, love-struck boy who believes gossip and allows himself to easily be manipulated is seen when he blossoms into a mature young man who admits to his mistakes and actually has the capacity to love the girl he has longed for.
and in her bosom I’ll unclasp my heart. and take her hearing prisoner with the force. and strong encounters of my amorous tale. Then, to her father, will I break? and the conclusion is, she shall be thine.’
Macbeth a play written by William Shakespeare in the 17th century shows the unexpected happens when it is least expected. In the beginning of Macbeth, Lady Macbeth is stronger and more ruthless then her husband Macbeth because her only interested in gaining power. She plans and executes a death with little remorse. Macbeth is soft, kind, loyal and initially has a conscience. Over time, Macbeth's character takes a turn for the worse. He goes from the scared man that he first was into an evil man. Both Macbeth and Lady Macbeth become the people that the reader least expects them to be. In the beginning of the play Lady Macbeth is much more ruthless but throughout the play this changes and Macbeth becomes even more ruthless then Lady Macbeth.
changing attitudes toward life and the other characters in the play, particularly the women; and his reflection on the
Macbeth, the main character in the tragedy of Macbeth, undergoes a series of character changes throughout the play. His transformation occurs in three major stages. First comes his attitude at the beginning of Macbeth where it is very positive and powerful. Subsequently he endures a change with the murder of king Duncan that reduces him from his moral and good status. Finally, he becomes wicked in his ways and develops into a tyrant and a butcher. This series of changes are evident as one reads the tragic play of Macbeth.
From “the fatal loins” (Prologue.5) of Lord and Lady Capulet, protagonist Juliet is born in Shakespeare’s play Romeo and Juliet. Early on in the play Juliet is portrayed as a very dutiful daughter to her family. After her encounter with Romeo however, she begins a rapid transformation from a naive young girl into a woman. By the end of the play Juliet’s transformation evolves her from a dutiful daughter, into a faithful wife that is willing to desert her family in the name of love.
In Shakespeare's As You Like It loyalty is dominant theme. Each character possesses either a loyalty or disloyalty towards another. These disloyalties and loyalties are most apparent in the relationships of Celia and Rosalind, Celia and Duke Fredrick, Orlando and Rosalind, Adam and Orlando, and Oliver and Orlando. In these relationships, a conflict of loyalties causes characters to change homes, jobs, identities and families.
Love is the central theme in the play ‘As You Like It’ by William Shakespeare, the author expressed many types of love in the play. Some of them are, brotherly love, lust for love, loyal, friendship love, unrequited love, but of course, romantic love is the focus of this play.
It is easy enough to discount the presence of conflict within As You Like It, swept away as we are by the sparkling wit of the play, its numerous songs, and the use of stage spectacle (such as the masque of Hymen). But precisely what enables Arden to have such a profound effect on the visitors (Rosalind, Orlando, Duke Senior et al.) is the fact that it is a retreat from the "painted pomp" of the "envious court". The twisted morality of the court, where Duke Frederick hates Rosalind for her virtue, is very much necessary for the purpose of the drama of the play; it is only through the disparity between the court and the Forest of Arden that there is dramatic significance in the movement to Arden and the play of Arden. So while the world of As You Like It is one of reduced intensity (even while the cynic Jacques is loved by the Duke Senior, who loves to "cope him in his sullen fits"), it would be too glib to dismiss conflict from the play.
A cynic's cynic might declare Jaques no better than the guy who lurks in corners at a cocktail party, lobbing witty barbs at anyone unlucky enough to catch his eye. But this assessment robs Shakespeare's comedy of its sociological depth; what might be pleasant fluff about young people in love is enhanced by Jaques's ability to make stern judgments about the world, yet still respect the people who comprise it.
Many remakes have been made of Shakespeare’s originals, with many modern day versions to express new views and interpretations on the story. Romeo is a persistent romancer and flirt rather than a lover faithful until death. Hamlet is an uncertain over thinker, and Lady Macbeth, in the public press, is an ambitious female politician who will stop at nothing to gain her own ends. However, these appropriate changes to the characters and stories, put an interesting interpretation on the modern life.
The essentially healthy emotional intelligence of Rosalind and Orlando and their suitability for each other emerge from their separate encounters with Jaques (in some editions Jacques), the melancholy ex-courtier who is part of Duke Senior's troupe in the forest. Both Rosalind and Orlando take an instant dislike to Jaques (which is mutual). And in that dislike we are invited to see something vitally right about the two of them.
Shakespeare, William. As You Like It. Comp. Folger Shakespeare Library. New York, NY: Simon & Schuster Paperbacks, 2009. Print.
"The androgynous woman literally incorporates the independence that the male was designed to exemplify prior to the introduction of woman, but the male who depends on a woman becomes effeminate and is perceived as missing something in the outline of maleness," (Rose, 25). While in the forest of Ardenne, Rosalind is dressing in and taking on the male persona.
Gender issues and social commentary are especially relevant in published criticism of Shakespeare's As You Like It since the beginning of the 1990's, as evidenced by the number of articles published in scholarly journals during the past twelve years. Janet Gupton's review in Theatre Journal, published in 2001as well as Louise Schleiner's article in the Shakespeare Quarterly in the fall of 1999, both deal with the treatment of gender-subjectivity.