By William Shakespeare
Shakespeare's As you're keen on it may possibly look brilliant or somber in functionality: a dinner party of language and a pride for comedian actors; or a risk-taking exploration of gender roles. This variation deals an account of what makes the play either blameless and unsafe, mapping the complexities of its surroundings (a no-man's-land concerning either France and England) and giving an plentiful statement on its language and an analytical account of functionality.
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Additional resources for As You Like It (The New Cambridge Shakespeare)
The movement is summed up by Gonzalo at the end of The Tempest: Prospero [found] his dukedom In a poor isle; and all of us, ourselves, When no man was his own. 211-13) In Arden, by analogy, most find their 'selves'. Yet we have to remember that world of pastoral, so closely associated with 'nature', is self-authenticating: pastoral worlds, where 'nature' invokes a myth of political equality, serve to define those elements of 'civilised' life which are 'unnatural', cruel, or concerned with social climbing.
H. Auden, 'Dingley Dell and the Fleet' , The Dyer's Hand and Other Essays, 1962, pp. 407-28. ), Shakespeare: World Views, 1996, pp. 200-13. 3 4 5 6 7 Hobsbawm, Bandits, pp. 14-19. There is a similar band of outlaws in Massinger's The Guardian (1633). For other aspects of hunting symbolism and for an argument that the forest court hunts for survival and not just for sport, see A. St. 21 (1993), 72-95. See Richard Wilson, 'Like the old Robin Hood: As You Like It and the enclosure riots', Will Power, 1993, pp.
There is a similar band of outlaws in Massinger's The Guardian (1633). For other aspects of hunting symbolism and for an argument that the forest court hunts for survival and not just for sport, see A. St. 21 (1993), 72-95. See Richard Wilson, 'Like the old Robin Hood: As You Like It and the enclosure riots', Will Power, 1993, pp. 66-87; Wilson drew upon E. P. Thompson, Whigs and Hunters: The Origin of the Black Act, 1977; for Skimington, see Sharp, In Contempt of All Authority, pp. 100-3; f° r a link between the Blacks and Charles Johnson's adaptation ofAYLI, Love in a Forest (1723), see Stage History, p.