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“Am not I your Rosalind?”:Negotiating Ovidian Identity and Transformation in Shakespeare’s
 As You Like It 
 Aileen Young Liu A thesis submitted to the Department of English for HonorsDuke University Durham, North Carolina1 December 2008
 
 
TABLE OF CONTENTS Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iiiPreface / A Writer’s Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v  A Note on Translations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ixIntroduction / To Change is Human (and Divine)Carnival of the Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 A Pause for Consideration: What It Means To Be Ovidian . . . . . . . . . . . . . . . . . .17Chapter 1 / Reconsidering the Voice and the Body in Ovid’s
 Metamorphoses 
  A Critical Engagement: Lynn Enterline and Stephen Greenblatt . . . . . . . . . . . . . . 22The Hunter Loses His Voice: The Tale of Actaeon . . . . . . . . . . . . . . . . . . . . . . . .26The Poet Loses His Head: The Tale of Orpheus . . . . . . . . . . . . . . . . . . . . . . . . . .28Identity in Ovid’s
 Metamorphoses 
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Chapter 2 / Language as Recovery and Transformation in
 As You Like It 
Ovidian Transformation in
 As You Like It 
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36The Love Triangle, or, Recovering Celia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42Orlando: The Romeo of 
 As You Like It 
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48Love at First Sight: Rosalind and Orlando. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56Chapter 3 / Becoming Ganymed: Playacting in
 As You Like It 
 Playacting and the Imagination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66Becoming Ganymed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Disguise vs. Playacting: The Power Structures of Play . . . . . . . . . . . . . . . . . . . . . 78Viola and Cesario: Disguise in
Twelfth Night 
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 87Chapter 4 / Becoming Rosalind: Identity (Re)Constitution in
 As You Like It 
 Hal and “Hal”: The Self Masquerade in
1 Henry IV 
. . . . . . . . . . . . . . . . . . . . . . .93Becoming “Rosalind” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98Lesson Plans: The Education of Orlando and Rosalind. . . . . . . . . . . . . . . . . . . 104Becoming Rosalind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Conclusion / MetamorphosisOvidian Identity, Shakespearean Transformation . . . . . . . . . . . . . . . . . . . . . . . 116 Appendix 1: Paintings and Sculptures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 Appendix 2: Abbreviated List of Mythological Characters . . . . . . . . . . . . . . . . . . . . . . . . 129Primary Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131Secondary Bibliography: Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
 
iii / Acknowledgments ACKNOWLEDGMENTSFirst, I must thank Professor Joseph A. Porter. It is not an exaggeration to say that I wrote this essay for him and because of him. The paper that I wrote in his ShakespeareBefore 1600 course in the fall of 2007 (“‘I like this place’: The Borderlands of 
 As You Like It 
”) kindled my desire to know more; the writing that you hold in your hands was guided,refined, and strengthened by his marginalia, his praise and his criticism during our weekly meetings, his smiles and his frowns; on long nights in Bostock and Perkins Libraries, my hope to hear him say “Good, Aileen!” and “Excellent, just excellent” was what fueled methrough the hours. I thank Professor Porter for his generosity, his kindness, his devotion toteaching, and his infectious love of Shakespeare.Next, I thank the English professors and graduate students in the department whohave taught me, in my seven semesters at Duke, how to read carefully and critically and how to write clearly and persuasively. At one of our recent meetings, Professor Porter asked me,“Where did you learn to write?” It was a rhetorical question, but here I reveal my sources:my Writing 20 Professor Lena Hill, for transitioning me into college-level writing; ProfessorMelissa Malouf and Professor Christina Askounis, who taught me how to read like a writerand write like a reader; Professor Chris Kennedy, who showed me the mystery and delight inpoetry; Professor Victor Strandberg, who taught me to be cautious of overly theoretical andabstruse writing; Professor Jane Gaines (in the Literature department), who taught me how to examine texts by teaching me how to examine films as texts; (visiting) Professor RuthNisse, who taught me about love in Middle Ages literature; Professor Rebecca Walsh, whotaught me how to read critically and synthesize multiple sources, and whose survey course
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