"I could find it 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... (II.IV.4-7).
The insinuation that clothing "ought" to behave in a certain manner certainly poses the question of whether gender "does not exist unless it is being done" and is nothing more than "an act that has been going on long before one arrived on the scene (Diamond 4). However, the passage begins by designating crying, and the broader concept of the feminine as weak and highly emotion, as an impulse of Rosalind's heart. This link internalizes the aforementioned feminine stereotypes, attaching them to Rosalind's body and insinuating weakness and a lack of emotional may constitute a "true feminine nature" Diamond's discussion of gender performances as contingent rejects.
As Rosalind encounters more inhabitants of the woods, her masculine performance is repeatedly questioned. While reflecting on Ganymede, who has just given her a thorough censuring for failing to appreciate the love of Silvius, Phoebe notes "Betwixt the constant red and mingled damask/There be some woman..."(III.V.133-4). Upon initially approaching Celia, Oliver notes that he has been told to look for a boy "....fair/Of female flavor, and bestows himself/like a ripe sister...," suggesting Oliver, or perhaps other members of the camp, regard both Rosalind's appearance and behavior as feminine(IV.III.89-91). It is certainly possible that the failure of these characters to regard Rosalind (as Ganymede) as masculine is due to her inability to perform masculinity in a manner incorporating all of the cultural nuances folded into this "role." Yet again, the fact that both of these moments of suspicion focus on a physical feature brings again to mind the conception that man and woman are fundamentally different, and, as a result perform differently on the basis of true natures which are at odds.
As Rosalind (as Ganymede) swoons and Act 4 comes to a close, Oliver provides the most direct critique of her performance of masculinity, stating "...You, a man? You lack a man's heart"(IV.III.174). Again, feminine weakness is tethered to Rosalind's heart, the symbolic spirit or center of being. Her masculinity is deemed "counterfeit," a term which Rosalind attempts to re-appropriate to describe her feminine swoon. Oliver does not bite, and there is room for readers to similarly reject this gender performance as the ridiculous or impossible rather than read it as a progressive commentary of social norms.
Works Cited
Shakespeare, William. As You like It;. New York. Folger Shakespeare Library. 2009. Print.
Diamond, Elin. "Performance and Cultural Politics." London. Routledge. 1996. Print.
2 comments:
I definitely agree that Rosalind's performance seems to be more ridiculous than progressive. Another place in the performance where this can be seen is Act III scene 2. Celia and Rosalind blatantly talk about the stereotypes that women face, but with comfort instead of contempt, which is the emotion you would expect from a progressive gender performance.
Yeah it is difficult to sort out. She is such a strong female character, essentially driving the whole resolution of the play but she does not necessarily seem upset by the fact that she probably could not exercise this level of power without dressing up as a man.
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