LOVE'S LABOUR'S LOST Scheme of Actions AN ACTION-DRAMA Main Humour Action: The Celibate Scheme disconcerted by the French Embassy: rises in complication out of the initial situation and self-resolved.-Falls into two phases: Artificial attitude of Celibates to one another-breaks down (iv. iii) and abandoned. Artificial attitude of Celibates to ladies: gradually abandoned (from iv. iii). Underplot. Two Character-Groups: (a) Armado: set off by Moth, Custard, Jaquenetta, &c. [Euphuism.] (b) Holofernes: set off by Nathaniel and Dull. [Pedantry.] Out of which rise two Sub-Actions: (A) Intrigue Sub-Action of Armado and Jaquenetta-setting off first phase of main Action and Complications. (B) Farcical Sub-Action: Pageant of the Worthies-setting off second phase of the Main Action and Resolution. Enveloping Motive Action: The king of France's illness [generating the Complication] and Death [bringing about a Further Resolution]. Economy Common Envelopment. The Underplot and Main by Dependence. Movement Action-Movement of Complication and Resolution [with Further Resolution by a turn in the Enveloping Action: page 297-8]. -Similar Motion between Main and Underplot. Motive Force: The whole movement comes from the Initial Motive Situation (page 395): this from the Enveloping Action in conflict with the Complicating Circumstance of the Vow of Celibacy.— The Further Resolution motived by the Enveloping Action. Turning-points Centre of Plot: The Discovery Scene (iv. iii). See page 378 note. Catastrophe: v. ii. 522: the Representatives of conventionality join in ridiculing their own pageant. Further Resolution: v. ii. 723: Entrance of Mercade with news of the king of France's death. AS YOU LIKE IT AN ACTION-DRAMA Scheme of Actions Frame: A System of Enveloping Actions, one within another (pages 363-5): Outer Enveloping Action: Civil War of the Dukes. Inner Enveloping Action: Feud in the De Boys family. These form a setting to Main Plot: A System of Four Love Actions: 1. Love and (Genuine) Humour: Orlando and Rosalind: initiated in complication out of the Enveloping Action and self-resolved. 2. Love at first sight: Oliver and Celia: initiated out of the Frame and consummated. 3. Conventional Pastoral Love: Silvius and Phoebe rises out of the Frame, complicated and resolved by No. I. 4. Love and (Professional) Humour: initiated out of the Frame Actions and consummated. [Half-developed Character Sub-Action: Adam-ignored after second act.] Economy Actions united by Common Envelopment and Movement. Movement Action-Movement: with Convergent Motion between separate Actions up to a common Culmination: dropping of Rosalind's disguise. Interference of the three Humour Actions with the rest and with one another. [Pages 307, 309.] Motive Force. (1) The Frame Actions initiate the Actions of the Main system, assisting their complication and [arrival of Oliver] resolution: then are self-destroyed coincidently with consummation of the Main System. [Pages 364-5.] (2) Rosalind serves as further Motive Personage. Turning-points Centre of Plot: iii. ii. 313: Orlando and the disguised Rosalind meet for the first time. Catastrophe: v. iv. 113: Rosalind drops her disguise. Further Resolution: v. iv. 156: Entrance of Jaques de Boys with news. |