BACKGROUND LECTURE ON TWELFTH NIGHT The following information is based upon my taped lecture on this play. Although this text version is not the same as the taped lecture‚ it does contain the same information. All references are based on the Signet paperback edition which you should consult in conjunction with this lecture. Twelfth Night was probably written in 1601 and first performed in January of 1602. We know this because the play is mentioned that year in the diary of a
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Shakespeare’s wit in “Twelfth Night” gets lost in translation with “She’s The Man’s” broad slapstick‚ predictable jokes‚ youth-culture‚ stereotypes and unconvincing plotline. In a sense‚ it may seem the wit of Shakespeare in “Twelfth Night” is lost in translation but the movie “She’s The Man” is adapted to suit the youth of the present day and the wit is rather transformed into humour mostly used by people of the present day. Wit‚ meaning “The talent or quality of using unexpected associations
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Twelfth Night is known for being one of the finest romantic comedies of all time. The play begins with love at first sight‚ which then gradually transitions into a love triangle. However‚ it is kept light with the addition of the subplot. The movie version of the play Twelfth Night is fairly relative to the written version of the play‚ yet it did have some minor differences. As the written version is written by William Shakespeare himself‚ it is most likely the most accurate version of the play‚
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Deception is the cause of many bad things stealing‚ counterfeiting‚ hacking into people’s accounts‚ and stealing money. In some of the books we read deception is something that comes back several points in the stories. In Midsummer Night Oberon uses the flower potion to trick Titania into falling in love with a vile creature so he can have the mortal boy. Oberon also has his servant uses the flower potion to make certain characters fall in love but ends up making the wrong character fall in love
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In Shakespeare’s Twelfth Night‚ we are presented with various characters and plots which supply the play with comedic elements. The comedy of Twelfth Night predominantly stems from the ‘foolish’ characters and the scenarios they are involved in. Traditionally a fool is defined as ‘a person who acts unwisely or imprudently; a silly person’‚ ‘a person who is duped or imposed on’‚ or ‘a jester or clown‚ especially one retained in a royal or noble household’. (1) In Twelfth Night it is clear that at
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Twelfth Night: Analysis of Major Characters Joe Boyce: Grade11 Viola Like most of Shakespeare’s heroines‚ Viola is a tremendously likable figure. She has no serious faults‚ and we can easily discount the peculiarity of her decision to dress as a man‚ since it sets the entire plot in motion. She is the character whose love seems the purest. The other characters’ passions are fickle: Orsino jumps from Olivia to Viola‚ Olivia jumps from
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Twelfth Night is the merriest of Shakespeare’s romantic comedies‚ it is also the saddest. The Christian associations of the title suggests the carpe diem theme which runs through the play. Epiphany‚ according to Christian mythology‚ is the time when the shepherds recognized the birth of Christ. The feast of epiphany is the last festival of the Christmas season‚ after which death takes over. This cycle of life is an extension of the ancient pagan fertility rituals. The mood is similar in Keats’s ‘To
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In Shakespeare’s Twelfth Night‚ Viola gives two different descriptions of women. The first is a soliloquy and takes place after Malvolio has given her Olivia’s ring‚ which is when Viola realizes that Olivia has fallen in love with Viola’s disguise‚ Cesario. Viola’s second description of women is to Orsino‚ when she tells a story about a “sister” of hers who once fell in love as a way of indirectly communicating her love for Orsino. Viola’s two descriptions serve as complements to each other.
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Many of the social issues that were dominant during the Renaissance are present in William Shakespeare’s play Twelfth Night. The relationships between Viola/Cesairo and Olivia‚ Orsino and Viola/Cesairo and Antonio and Sebastian create an immense amount of tension for the characters and audience to deal with because‚ their relationships conflict with the dominant heteronormative ideology of the time. The heteronormative ideology consists of the belief that to be accepted into society a person must
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not dissimilar to the one that concludes Twelfth Night1 and leaves Feste at the finish-line. “But that’s all one‚ our play is done …” After everything has been sorted out‚ and the proper pairings are arranged‚ verbal and structural rhythms converge to frame a sort of closure—though playing is never done‚ as the next and final verse suggests: “And we’ll strive to please you every day.” Bradley‚ having come to the end of an essay on Feste‚ extends Twelfth Night speculatively beyond the fool’s song‚ and
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