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Critical overview of the play twelfth night by WILLIAM SHAKESPEARE
Critical overview of the play twelfth night by WILLIAM SHAKESPEARE
Essay question of character of twelfth night by William Shakespeare
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The Character of Sebastian in Shakespeare's Twelfth Night:
Sebastian's presence in William Shakespeare's Twelfth Night: or What You Will is a vexation. More pointedly, it is his sudden marriage to Olivia which troubles me so. Was he written in to give a parallel storyline between Olivia and Viola? Was he a convenient way to have a double wedding, which Shakespeare seemed to prefer for his happy endings? Or, could there be some other meaning to Sebastian?
The last day of the Christmas season is January 6, the feast of the Epiphany, when Christ was revealed to the world in the personage of the Magi. The evening before is called Twelfth Night, the most "riotous" holiday of the year for Elizabethans (Singman 61). Supposedly, the classes changed places for the day. Servants lorded over their masters; higher order clergy served the lowly priests; children were free of rules. Shakespeare wrote Twelfth Night probably in 1600, and performed it on January 6, 1601 for Queen Elizabeth and her guests, one of which was Don Virginio Orsino, Duke of Bracciano (Halliday 154). F. E. Halliday believes it possible that Shakespeare changed the name of the Duke of Illyria to Orsino in tribute to Don Orsino (155).
Twelfth Night was based on Barnabe Riche's story of Apollonius and Silla. Silla falls in love with Apollonius and follows him back to Constantinople. She is shipwrecked, and is saved by clinging to a chest containing the lecherous captain's clothing. For safety, since her servant, Pedro, has drowned, she dons the men's clothing; calls herself Silvio after her twin brother; and goes into the service of Apollonius. Apollonius asks her to woo Julina for him, but Julina falls in love with Sill...
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...tic, Golden Comedies.
WORKS CITED
Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead Books-Penguin Putnam, 1998.
Halliday, F.E. Shakespeare. New York: Thomas Yoseloff, 1961.
Riche, Barnabe. "Apollonius and Silla." Riche: His Farewell to Military Profession. 1581. William Shakespeare: Four Comedies. Ed. David Bevington. Toronto: Bantam-Scott, Foresman and
Company, 1988. 524-546.
Shakespeare, William. The Merchant of Venice. Ed. David Bevington. Toronto: Bantam-Scott, Foresman and Company, 1988. 283-377.
Twelfth Night. Ed. David Bennington. Toronto: Bantam-Scott, Foresman and Company, 1998. 427-517.
Singman, Jeffrey L. Daily Life in Elizabethan England. Greenwood Press. "Daily Life Through History" series. Westport, CT: Greenwood Press, 1995.
In William Shakespeare’s Twelfth Night, Malvolio is considered an outcast by almost everyone in the play. He doesn’t act the same way that any of the other characters act, in that he doesn’t participate in any of their activities, he enforces rules that the others could care less about, and he is just overall a socially awkward guy. Malvolio not only claims to adhere to the rules of the household himself, but uses his relations with Olivia to try and help make the others follow the rules as well. This upsets certain characters more than others. For instance Sir Toby, Sir Andrew and Maria find his behavior particularly detestable. But Malvolio’s strict coherence to the rules allows him to have a rather high position in Olivia’s household. While Malvolio may be considered a social outcast to most of the characters in the play, Olivia considers Malvolio to be a very trusted steward of her household. For these reasons Malvolio is not only a social outcast, but an outcast that Shakespeare uses to keep people interested in his play.
In Shakespeare's play Romeo and Juliet, Friar Laurence has a major role. Friar Laurence’s role as a member of the Order of St. Francis, a group of wise and generous priests, Romeo and Juliet trusted Friar Laurence completely, turning to him for advice. He was there throughout Romeo and Juliet's lives, he married them, came up with a plan to keep them together, and was a friend throughout their tragedies. However it was his rashness, short-sightedness, poorly thought out plans and desperate measures that led to Romeo and Juliet's ultimate tragedy. Today I am going to prove to you that Friar Laurence is the one ultimately responsible for the death of Romeo and Juliet. Nevertheless, to prove that Friar Laurence is ultimately responsible for their
In this essay I will be examining how Act 1 Scene 5 of “Macbeth” would
Shakespeare, William. Macbeth. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press New Folger Edition, 1992
Macbeth’s heroic deeds at the beginning of the play soon seem insignificant next to the primary event in the Act: the revelation of the witches’ prophecy. Their insightful proclamation that he will be king someday is both shocking and pleasing to Macbeth. Without this occurrence, this play might not have traveled a road of ambition and death, but instead one of calm acceptance and enjoyment of an already-elegant lifestyle. The seeds of desire were here planted, however, eliciting what became a bloody ordeal. The spark ignited, and a plan began to take shape.
Shakespeare’s piece, as an immeasurable ravine, would always be inaccessible for me to read due to the ancient English and the ancient background under which all the story had token place. I remember the first time of reading Macbeth was when I was in 8 grades. I was too young to appreciate the tragical theme; thus, my first impression of Macbeth was barely left, except knowing its short length. When I was watching the actual Shakespeare playing on the stage, my memory of my earlier reading suddenly was retrieved. However, in the end, Macbeth still left lots of questions for me to concern.
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
---. “Twelfth Night, or What You Will.” The Norton Anthology of English Literature, edited by
As prescient and insightful as this evaluation may seem after considering the outcome of Twelfth Night’s romantic pairings, it reads as a very shallow perspective rather than any sort of wisdom – to the Duke, love is never permanent, lasting, or constant (just like the nature of the tides, it always changes). Duke Orsino has no concern whatsoever for Olivia’s feelings of grief after the loss of her brother – she is merely an object of his desires at the moment, and as his eventual courtship with Viola proves, he is extremely fickle in his affections. (Even before Viola’s disguise became apparent, Orsino showed some signs of attraction to the male Cesario – this raises a few questions about exactly how far his romantic indecisiveness
Macbeth is a play revolving around many key ideas observed in Shakespeare’s time with various messages communicated to the audience successfully, despite the lack of the cinematic effects present in today’s literature entertainment. The interweaved themes of immoral ambition and corruption are displayed throughout the text, unveiling the corruptive nature of one’s excessive greed for supremacy, affecting both themselves and others. This idea in Macbeth is successfully conveyed to the audience in Shakespeare’s time through the literary devices of characterisation, soliloquy and plot.
The suffering of Macbeth throughout the play is a disconsolate process. Throughout the stages of his grievous downfall essential truths about humanity are dubiously displayed. Macbeth’s ordeal reveals the ev...
Trevor Nunn’s (1996) adaptation of Twelfth Night illustrates the complexity of Feste’s character and how important he is to the overall play. Ben Kingsley, the actor, presents Feste as sympathetic and gentle choric figure. It is Feste who allows the audience to see the films respect for the original play, and the existing issues within it. This includes the defencelessness of women, and the attractive, but dangerous, qualities of altering one’s true sexual identity. Interestingly, unlike the original script, Nunn opens his first scene with Feste observing Viola struggle to shore after the shipwreck she has experienced. In this context, Kingsley’s Feste is revealed for the first time. He is shown as a mysterious and isolated individual, who stands afar, waiting and observing, high up among the towering cliffs. He only chuckles and hums a tune, as he silently watches Viola mourn. He holds no facial expression, neither teary nor auspicious and his physical appearance does not represent a common Jester in Elizabethan times. In view of Feste’s silent observation of Viola, one is able to speculate some sort of connection between the two characters. Given that he is a compassionate man, he is not taken aback by what the world has evolved to nor does he accept its change. He shows interest in the obstacles Viola faces as a woman stranded on unfamiliar soil, and wonders about her ability to remain strong after witnessing the brutal loss of her brother. However, what seems to captivate his attention is her ability to maintain the role of a man in a country at war. The true question running through his mind is can she do it? It is through this that one is able to see Feste’s knowledge of women’s ability to achieve higher than their limited p...
Twelfth Night consists of a large number of love triangles, however many characters are too indulged in love that they are blind to the untrue, and the weakness of their relationship, they are deceived by themselves and many people around them ( ex. Malvolio is tricked by Sir Andrew, Feste ,Sir Toby and Maria),but there are certain incidents where the love is true and two characters feel very strongly about one another. In the play, Viola and Orsino have the most significant relationship. The way they interact with each other causes the complexity on which the play is all about, their relationship turns from strangers to friends then lovers .In the First Act Viola is not honest with Orsino because she disguises herself as a male servant named Cesario in order to get closer to the duke. Orsino. Orsino quickly trusts Cesario and sends him to Olivia to declare Orsinos Love for her, the girl he most dearly loves. This quick bond is the fast example of their relationship. At the beginning of the play, Viola thinks her brother (Sebastian) is dead (after they’re deadly boat crash, where they get separated) when actually he is alive and thinks she is dead, Viola always seems to have a part missing from her which shows her bond with Sebastian is strong, and a part of her but in a brotherly/sisterly way rather than a proper relationship like viola and orsino, At the end of the play they meet and both fall in love , Viola with Orsino and Sebastian with Olivia.
Throughout Twelfth Night, disguise and mistaken identity works as a catalyst for confusion and disorder which consistently contributes towards the dramatic comic genre of the play. Many characters in Twelfth Night assume disguises, beginning with Viola, who disguises herself as a man in order to serve Orsino, the Duke. By dressing his protagonist in male garments, Shakespeare creates ongoing sexual confusion with characters, which include Olivia, Viola and Orsino, who create a ‘love triangle’ between them. Implicitly, there is homoerotic subtext here: Olivia is in love with a woman, despite believing her to be a man, and Orsino often comments on Cesario’s beauty, which implies that he is attracted to Viola even before her male disguise is removed. However, even subsequent to the revealing of Viola’s true identity, Orsino’s declares his love to Viola implying that he enjoys lengthening the pretence of Vio...