MOM 2006 journal for pdf.pmd - University of Michigan-Flint

When Celia appears again in the forest in Act 3.2, she isn’t wearing either the school uniform
or the layers of thick clothes. Instead, Celia’s costume is more expressive and now consists of a
colorful pink plaid dress with matching plaid converse shoes, resembles the dress of a little girl.
Yet, Cimoloni carefully selects the dress to act as the transition stage between girlhood and
womanhood, and it is here in the forest where Celia finally notices her need for love and
companionship. Although she begins to change, Celia remains a nonsexual, gawky girl and in Act
4.1 carries a big book, reading it as Orlando and Rosalind converse. At this stage, Celia is like a
giddy, middle school girl that sexually starved but excited and intrigued by sexual topics.
Through this curiosity to learn, Celia begins to develop her mature self. After Celia enters Act 3.2
reading Orlando’s poem and meets Rosalind, she becomes excited and teases Rosalind about the
identity of the poem’s author. Like a middle school girl, she skips around Rosalind with a huge
grin on her face and not after pestering her cousin for a while does she reveal Orlando’s identity.
Since she is sheltered, Celia has never encountered a romantic atmosphere, let alone interacted
with young men. Thus, when Rosalind introduces her to Orlando, Celia, hiding downstage,
comes out shyly waves while looking down and retreats to her refuge. Furthermore, as she is
exposed to romantic scenes of Orlando and Rosalind, Celia with curious and wide-eyes watches
the couple. But when Rosalind invites Orlando to their cottage “go with me to it, and I’ll show it
you” (3.2.381), Celia expresses her shock by putting her hand on her mouth before coming out
and behind Orlando’s back trying to signal her objection to Rosalind’s invitation. Celia is scared
and uncertain about the invitation since she has never before experienced a similar situation.
In Act 4.1, Celia takes another step to maturity by stepping out of Rosalind’s shadow and
speaking her own opinion. After Rosalind converses about the flaw of women, Celia reproaches
her by saying that she has wronged and for that they must strip and expose her. “You have simply
misused our sex in your love prate. We must have your doublet and hose plucked over your head
and show the world what the bird hath done to her own nest” (4.1.174-7) Though no action is
taken, the words are strong. Then, for the first time Celia doesn’t follow Rosalind, but instead
retires, saying “and I’ll sleep” (4.1.190).
As Act 4.3, Celia appears wearing a shorter, light green dress. However, Cimoloni retains her
glasses and pink tennis shoes, revealing that although Celia has developed a great deal, she is not
fully mature. Nonetheless, aware that Rosalind will soon leave her, Celia commences to search
for companionship. Not only that, but her blocking relative to others becomes closer as she
develops into a more social and caring person. As Silvius sits in upstage and mourns his failure to
win Phoebe’s love, Rosalind interestingly stands downstage, instead of her usual upstage
position, and insults Silvius. Celia stands upstage and frowns upon her cousin and with a caring
manner, characteristic of a mother rather than an immature girl, tries to comfort Silvius, “Oh, you
poor shepherd!” (4.2.66). To assure her words have reached the grieving shepherd, Celia runs
over to Silvius and touches his shoulder, an act only expressed to Rosalind in previous scenes.
Suddenly, Oliver enters the scene and by his mere presence provides the last piece of hay to break
the camel of Celia’s immaturity. Celia stands enthralled by his looks before quickly taking off her
glasses and hiding them. After Rosalind faints, Celia is the one to invite Oliver to their cottage
this time, for experience and past observation put Celia at ease. “Good sir, go with us” (4.3.178).
Hand in hand, Celia and Oliver prance away.
Meeting of Minds 2006 86