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The different loves in twelfth night
How is romantic love depicted in twelfth night
The different loves in twelfth night
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Doesn't everyone want someone to love, someone to care for you as much as you care for him or her. Someone who will keep you company in lonely times or who will act as if your brains are tuned into the same wavelength. Share an inseparable bond and grow old with. Love is a very powerful emotion and can be misused because it is thrown around too casually, and be swept up in it very quickly like Viola is with Orsino when she says,” Thy tongue, thy face, thy limbs, actions and spirit, Do give thee five-fold blazon: not too fast: soft, soft! Unless the master were the man. How now! Even so quickly may one catch the plague?” (1.5.48). Love can be many things; confusing, happy, and painful. Love isn't always straightforward; lust and love are usually mixed up. Its not always full of joy, it can hurt when love isn't returned like in William Shakespeare’s play Twelfth Night, he expresses that love can be painful because the characters in the play feel as if love is a curse put upon them. He does this through the use of imagery with the ocean being a metaphor of life, symbolism with the clothes and changing in gender, and dramatic irony with everyone falling in love with facades. The ocean seems endless when you look out into it, just as you feel when you're in love. William Shakespeare uses the imagery when explaining the vastness of the ocean. He describes how the ocean is mystical and full of powers and hope. In the novel, Viola and Sebastian get ship wrecked and she later on gains hope that her brother is still alive when mistaken for Sebastian, proving the ocean full of unknown magic. “He named Sebastian. I my brother know yet living in my glass; even such and so In favor was my brother, and he went still in this fashion, color, orn... ... middle of paper ... ...der Trouble in Twelfth Night." Theatre Journal 49.2 (1997): 121-141. Project MUSE. Web. 24 Feb. 2014. . 4. Thad Jenkins Logan. Studies in English Literature, 1500-1900 , Vol. 22, No. 2, Elizabethan and Jacobean Drama (Spring, 1982) , pp. 223-238 5. C. O. GARDNER. Theoria: A Journal of Social and Political Theory , No. 21 (1963) , p.41 6. Paul Dean.The Review of English Studies , New Series, Vol. 52, No. 208 (Nov., 2001) , pp. 500-515 7. Jami Ake. Studies in English Literature, 1500-1900 , Vol. 43, No. 2, Tudor and Stuart Drama (Spring, 2003) , pp. 375-394 8. Laurie E. Osborne. ELH , Vol. 57, No. 1 (Spring, 1990) , pp. 37-61 9. Milton Crane. Shakespeare Quarterly , Vol. 6, No. 1 (Winter, 1955) , pp. 1-8 10. Walter N. King. Studies in English Literature, 1500-1900 , Vol. 8, No. 2, Elizabethan and Jacobean Drama (Spring, 1968) , pp. 283-306
Schlegel, August Wilhelm. Criticism on Shakespeare s Tragedies . A Course of Lectures on Dramatic Art and Literature. London: AMS Press, Inc., 1965.
Warren, Roger. Shakespeare Survey 30. N.p.: n.p., 1977. Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed. England: Oxford University Press, 2000.
Marsden, Jean. I. The Re-Imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary Theory. Lexington, Kentucky: University of Kentucky Press, 1995.
Dutton, R., & Howard, J.E. (2003). A Companion to Shakespeare’s Works.(p. 9) Maiden, MA: Blackwell Pub.
Henze, Richard. "Twelfth Night: Free Disposition on the Sea of Love." The Sewanee Review 83.2 (1975): 267-283. The Johns Hopkins University Press, 11 Jan. 2011. Web. 19 Feb. 2014.
Shakespeare, William. 1Henry IV. In The Norten Anthology of English Literature. Eds. M.H. Abrams et all. 5th Ed. New York: Norton, 1987.
McDonald, Russ. The Bedford Companion to Shakespeare: An Introduction with Documents. New York: Bedford Books of St. Martin's Press, 1996.
To conclude, though Twelfth Night’s main plot revolves around melancholic romance, what truly makes it a comedy is the erratic mood set by sub-plots to recall that of the festival with the same name. In the play, both Maria and Malvolio, servants to Olivia, show great aspirations to rise high above their social classes. However, Maria, being much more in-synch with the offbeat mood of the household, succeeds easily in marrying a nobleman, while Malvolio, stiff and pompous, just fails miserably. The conclusion to the play, which is contrary to what viewers would ever hope to happen in their real lives, succeeds in bringing enjoyment to all the lower-class people who watched it. Although the play includes many clever paradoxes, it is first and foremost a play created to entertain servants on their fun-filled rare day off.
James, D.G. (Excerpt from a series of lectures delivered in 1965 at University College, London.) The Shakespeare Criticism Volume 8. Gale Research Inc., Detroit. 1989: 429-434.
The Elizabethan Stage, 4 vols. Oxford: Oxford University Press, 1923. Clark, Eleanor G., 1941. Ralegh and Marlowe: A Study in Elizabethan Fustian.’ New.
Kermode, Frank, and Hollander, John. The Oxford Anthology of English Literature: 1800 to the Present. Oxford University Press: London, 1973.
William Shakespeare has become landmark in English literature. One must be familiar with the early days of English literature in order to comprehend the foundation of much of more modern literature’s basis. Shakespeare’s modern influence is still seen clearly in many ways. The success of Shakespeare’s works helped to set the example for the development of modern dramas and plays. He is also acknowledged for being one of the first writers to use any modern prose in his writings.
Elizabethan and Jacobean Drama. N.p.: Rice University, 1982. 223-38. Vol.
Schlegel, August Wilhelm. Criticism on Shakespeare s Tragedies . A Course of Lectures on Dramatic Art and Literature. London: AMS Press, Inc., 1995.
Dictionary of Literary Biography, Volume 62: Elizabethan Dramatists. A Bruccoli Clark Layman Book. Edited by Fredson Bowers, University of Virginia. Gale Research, 1987. pp. 267-353.