Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Humor in twelfth night
Humor in twelfth night
Significance of Viola's disguise in Twelfth Night
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Humor in twelfth night
The Effects that Arise in Shakespeare's Twelfth Night From Viola's Disguising Herself as Cesario
A large amount of the plot of Twelfth Night results from Viola's
disguise and it has great number of unforeseen consequences. The first
and possibly the most crucial of these is Olivia's sudden attraction
to Viola when she disguises herself as Cesario. This begins when
Olivia sees Viola for the first time. As she comes to declare the
Duke's love for Olivia in Act 1 Scene 5. At the start of the scene
Viola does not realise that she is speaking to Olivia, instead
thinking she is addressing a servant. However, it is because of this
that Viola says the first thing that may have attracted Olivia to her.
She calls Olivia, '…most radiant, exquisite and unmatched beauty.'
This is not part of a prepared speech and seemingly directed to a mere
servant. It may be this phrase that first softens Olivia's heart
towards the boyish Cesario. The probable reason for Viola using this
phrasing is that she is trying to charm her way into see Olivia and as
girl, knows exactly how they like to addressed.
In this scene one of the most prominent effects of Viola's disguise is
that it seems that the Boy Cesario can think like a woman. To Olivia,
having forsaken men whilst morning her brothers death Viola comes
across as extraordinarily sensitive. When Viola confesses Orsino's
love for Olivia she uses phrases such as, 'Halloo your name to the
reverberate hills.' Olivia is instantly moved by such language and
asks, 'What is your parentage?' I feel this is the first question,
which shows Olivia's interest in Viola. This is because due to the
social hierarchy of th...
... middle of paper ...
...The fact that Sebastian has never met her
before adds to the ridiculousness of the scene. Shakespeare relies
heavily on the audience's suspension of disbelief in order to create a
marriage of questionable morals. In my opinion his main reason for
doing this is to produce a happy to the play, several marriages.
Overall, Viola's disguise is used for a vast number of comic devices
and is probably the singularly important device in the plot.
Shakespeare uses it to create a comedy that however has a number of
moral references as well as some questionable ethics. The audience is
constantly reminded that they are watching a play and a lot of staging
opportunity is provided by the cross dressing Viola. Finally, it goes
to provide the happy ending required by a comedy and is a constant
source of amusement throughout the play.
Act 1 scene 3 and Act 3 scene 5 of William Shakespeare's Romeo and Juliet
The play Twelfth Night, or What You Will by William Shakespeare is a 1601 comedy that has proven to be the source of experimentation in gender casting in the early twenty-first century due to its portrayal of gender in love and identity. The play centrally revolves around the love triangle between Orsino, Olivia, and Viola. However, Olivia and Orsino both believe Viola is a boy named Cesario. Ironically, only male actors were on the stage in Shakespeare’s time. This means that Olivia, Viola, and other female characters were played by young boys who still had voices at higher pitches than older males.
can be seen when she says to John 'Give me a word, John. A s...
The Manipulation of Gender Roles in Shakespeare’s Othello. Of Shakespeare’s great tragedies, the story of the rise and fall of the Moor of Venice arguably elicits the most intensely personal and emotional responses from its English-speaking audiences over the centuries. Treating the subject of personal human relationships, the tragedy, which should have been a love story, speaks to both reading and viewing audiences by exploring the archetypal dramatic values of love and betrayal. The final source of the tragic action in Shakespeare’s
In Twelfth Night, by William Shakespeare, gender identity and alternative sexualities are highlighted through the depiction of different characters and personalities. In the play, Viola disguises herself as a man thereby raising a merry-go-around of relationships that are actually based on a lie rather than actual fact. Viola attracts the attention of Olivia since she thinks that Viola is a man but even more fascinating is the fact that Orsino is attracted to Viola although he thinks that she is a man. In another twist Viola is attracted to Orsino and has fell in love with him although their love cannot exist since Orsino thinks that Viola is a man.
Viola, Orsino and Olivia in First Two Scenes of The Twelfth Night by William Shakespeare
When Romeo meets Juliet for the first time in Act 1, scene 5 at the
Wells, Stanley, and Gary Taylor, eds. "Measure for Measure". William Shakespeare: The Complete Works. Oxford: Clarendon P, 1998.
Summary: Duke wants to restore the strictness of fornication/adultery laws. He sets up Angelo to do it, while he feigns that he will be away. Instead he remains to check up on Angelo and the town (Vienna). Angelo goes ahead and closes down Overdone's brothel and the others, and puts Claudio in jail, condemned to die the morrow, for impregnating Juliet.
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
As in most comedies, William Shakespeare's Twelfth Night extensively. uses disguises, masks and mistaken identities to add to the comical nature of. the play. Viola's disguise as Orsino's page, Cesario, becomes crucial to the action in the play. Without this important element, the action in the play would slow down dramatically, making the story much less intriguing.
The play twelfth night, though largely a comedy, has it's fair share of challenges and obstacles which it's characters face throughout the plot. These revolve around love, honour and the death and loss of loved ones. However one character stands out to me as having faced the most difficult and trying of challenges, yet emerged with her pride and dignity intact. She coped well with all the problems that were thrown at her with a quiet resilience far beyond her years, and is worthy of our admiration.
Examining the relationship between speech, public space and authority for Viola's Character in Twelfth Night
From the beginning of the play the Duke shows his fascination with the art of disguise. He has Lord Angelo takes his place and he in turn becomes a friar in disguise. Throughout the play this notion of false identity and exchange of identity plays an important role for the Duke and also for the characters in the play.
Mistaken identity and disguise are important aspects of comedy in Twelfth Night that stand at the forefront of the play’s comedy. Not only are mistaken identities and disguise evident within the main plot of the play but also in various other situations. Sexual confusion amongst characters, subversion of gender roles and farcical elements through stagecraft all effectively contribute to the dramatic comedy genre. However, it can be suggested that certain elements of Twelfth Night are not interpreted to be purely comedic; Shakespeare has incorporated serious and controversial subjects such as the idea of genuine love, the patriarchy of the time and the cruel gulling of Malvolio. Therefore, disguise and mistaken identity are not solely for the purpose of comedy and it could be inferred that it even borders on the genre of tragedy.