In this case text surrounds the image of Rosalind. Although the speech heading dangles with ivy-like charm outside the text, the image in fact interpellates Rosalind as thoroughly within her epilogue at the end of the comedy as do various critical readings. Within her especially rich version of the crossdressed Shakespearean heroine, Rosalind's ambivalent acknowledgment of the boy-actress underlying her femininity--especially as praised in the nineteen-century--inflects and contains here character. And like Kenny Meadows' illustration, our critical readings could be illustrated to underscore that point.
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