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Shakespeare comedy on twelfth night
Twelfth night by William Shakespeare characters
The twelfth night shakespeare literary
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In Shakespeare’s “Twelfth Night”, Malvolio is a minor character, a household steward, who is portrayed as extremely hostile to merry-making and the festive spirit of the play, his behaviour regarding other characters is seen as being intolerant and evokes antipathy from the audience. However, the most significant aspect of this character’s presentation in the play is Malvolio’s immersion into a sweet illusion of becoming “Count Malvolio”. His pursuit of power and authority, which is a dream, provides a basis for his grim fate as the sub-plot emerges, his gulling, and his own self-delusion, that proceed his downfall. In “Twelfth Night”, Malvolio plays an important role in the household as the countess Olivia’s steward. In Elizabethan times, the steward was the head of the household who was responsible for organising household business. He also could hire and fire other servants such as fools and chambermaids who were a lower class in a household. In Elizabethan times, stewards were often disliked by …show more content…
In Shakespeare times, theatres existed entirely for pleasure to amuse people. As can be expected, much like modern audience, people attended different plays according to their taste. Diversity of scenes in Shakespeare’s “Twelfth Night” reveals his remarkable talent to engage everyone as he wrote for a mixed audience. As can be expected, the gulling of Malvolio could have been seen as fair for Elizabethan audience who were particularly concerned about festive spirit of the play. However, modern audience perhaps would be shocked for such abuse as it would evoke pity for steward Malvolio: “Fool, there was never a man so notoriously abused.” Malvolio perhaps embodies the end of the Twelfth Night celebration, the evening of Epiphany. When the celebration is over, everyone goes about their daily lives and returns to their duties and
Romeo and Juliet is the tragic story of two young, “star-crossed” lovers from feuding families, destined for disaster. The Capulets and the Montagues have an ancient grudge on one another that has been passed down over generations. Unfortunately, Romeo and Juliet end up victims of their families’ vicious loathing. Romeo and Juliet’s story has several intertwining themes such as the aforementioned hatred between the Capulets and Montagues and the revenge Romeo strives for after his friend Mercutio’s death. Also, the love and passion between Romeo and Juliet and the loyalty of Romeo and his friends. Honour and revenge also feature frquently throughout the play including Juliet’s pressure to honour her family, and the revenge Romeo sees as his duty when Tybalt kills Mercutio.
Malvolio’s humiliation mentioned above can be viewed as a subplot in the play. As we discover the few epiphany moments that Malvolio experienced, his character becomes more interesting. Malvolio is first introduced to us as a puritan, more of the simple type. He was known to ruin others fun. In the play, Sir Toby and Maria both play major parts in the disposition of Malvolio. It is because of his need to be strict, he received hostile and opp...
Shakespeare's Twelfth Night examines patterns of love and courtship through a twisting of gender roles. In Act 3, scene 1, Olivia displays the confusion created for both characters and audience as she takes on the traditionally male role of wooer in an attempt to win the disguised Viola, or Cesario. Olivia praises Cesario's beauty and then addresses him with the belief that his "scorn" (3.1.134) only reveals his hidden love. However, Olivia's mistaken interpretation of Cesario's manner is only the surface problem presented by her speech. The reality of Cesario's gender, the active role Olivia takes in pursuing him/her, and the duality of word meanings in this passage threaten to turn the traditional patriarchal concept of courtship upside down, or as Olivia says turn "night to noon" (139).
Malvolio’s dislikeable rigidity nature is shown immediately in his first entrance in the play, in his rude humiliation of Feste, “I marvel your ladyship takes delight in such a barren rascal … unless you laugh and minister occasion to him, he is gagged” (McEachern, 2007). The disapproval towards his rigid humorless attitude immediately follows with Olivia reprimanding her steward’s habit for making a big deal out of everything, “O you are sick of self-love, Malvolio, and taste with a distempered appetite” (McEachern, 2007). Malvolio further manifests his rigid and fun despising personality as he, depicted as a killjoy, spoils the revelry of Sir Toby, Sir Andrew and Feste late in the night “My masters, are you mad? Or what are you? Have you no wit, manner, nor honestly, but to gabble like tinkers at this time of night” (McEachern, 2007). It is exactly this fun despising side, depicted as Malvolio’s “stubborn and uncourteous parts” that earns him the enmity of the revelers. As he thinks, with excellences, that it is his grounds of faith that look on him love him.” Because of Malvolio’s dispositio...
before and during the play. Malvolio is thought to be in love for a small
In act I, scene v, he says to Maria about the fool, “I’m surprised you enjoy the company of this stupid troublemaker. The other day I saw him defeated in a battle of wits by an ordinary jester with no more brains than a rock. Look at him, he’s at a loss for words already. Unless he’s got somebody laughing at him, he can’t think of anything to say. I swear, anyone smart who laughs at these courts jesters is nothing but a jester’s apprentice.” This, along with a few other quotes much like it, clearly shows us how generous Malvolio is with his criticism. In act II, scene ii, Cesario (Violet) comes bearing a ring for Olivia from Orsino and Olivia orders Malvolio to send it back. Rather than sending another servant to do the job, he is generous and searches for Cesario himself and returns the ring: “She’s sending this ring back to you, sir. You should’ve saved me some trouble and taken it away yourself. She wants you to make it very clear to your lord that she wants nothing to do with him, and that you should never come again on his behalf, unless you want to come back to tell her how he reacted to the bad news. Here, take the
William Shakespeare's Twelfth Night In the last act of the play the plot entanglements and confusions are not only sorted out but, also reach their climax. To do this all the plots that have been occurring throughout the play are brought together in one final conclusion. The various plot entanglements are sorted out in what is generally thought to be a happy ending, for instance:- Viola, who is under the mistaken identity of Caesario, finally reveals her true identity because Sebastian has appeared therefore everyone else thinks they are seeing two Ceasario's. By Viola doing this, she can finally reveal to Orsino that she loves him.
Someone once said, ‘learn to love with all your heart and accept the faults of others in your life. Remember anyone can love a rose but it takes a great heart to include the thorns.’ This narrates to one of William Shakespeare’s romantic comedy, Twelfth Night. Twelfth Night is a play about a woman named Viola who survives a shipwreck and chooses to live on her own in Illyria. She disguises as a man naming herself “Cesario” to be able to works as a messenger for the Count of Illyria.
Feste is able to prevent any delusions of grandeur by a reminder that foolishness is a condition common to all mankind whether one is king or servant. It is Malvolio's vanity that convinces Feste to take part in the joke played on the steward. As "Sir Topas", and Malvolio's `prosecutor` Feste attempted to help Malvolio realize that there was "no darkness but ignorance".
In William Shakespeare’s Elizabethan comedy, Twelfth Night, the plot “The Love Triangle” consists of three characters who are involved with each other romantically, causing misunderstandings amongst them. The plot “The Love Triangle” starts off with a shipwreck occurring near the coast of Illyria, the setting of Twelfth Night. Viola and Sebastian, who are twins, are separated during a storm that demolished their ship. Viola finds herself with the Captain after this wreck, and with his help she decides to conceal her identity by disguising herself as a man in order to get the opportunity to work for the governor of Illyria, Duke Orsino.
William Shakespeare's, Twelfth Night has many themes, but appearance vs. reality is the theme that illustrates a different picture from two perspectives, there are many characters behind their masks and disguises. Some are hiding love behind these disguises and some are trying to show their love through a different disguise. They both still being servants are using disguise differently. Malvolio, servant of Olivia, falls in love with the trap (the letter) thinking his lady likes him, and to show his love he uses a different appearance to express it. Viola, servant of Orsino, falls in love with him, but secretly, not wanting to express her love for him, because of her disguise as her barrier for that case. Viola/Ceasario is wearing a disguise and secretly loves Orsino. Malvolio, on the other hand, is also a servant but still changes his appearance to express love for the great lady Olivia. This essay will prove that disguises and appearances are symbolic of the characters named Viola and Malvolio and are differently used for both.
In Shakespeare 's well known play Twelfth Night, which takes place somewhere in Illyria, Lady Olivia is an independent, powerful, wealthy but single woman; the sudden deaths of her father and brother has left her in sadness alone in a big castle to herself. She has her relative Sir Toby Belch who was still around and visited her. Orsino, a duke, has a huge crush on her and is trying to have her to himself. Meanwhile, the jealous steward Malvolio who also has a crush on Lady Olivia, is a guy who is full of himself and acts like he 's king, he forgets where his place is sometimes. In Olivia 's house there is the weak and foolish Sir Andrew who has a crush on Olivia and is wishing one day he would get a chance with her. are also these twins,Viola and Sebastian. They have been shipwrecked and isolated from each other, so Viola thinks Sebastian is dead, and Sebastian thinks viola is dead. Later Viola decides to disguise herself as a messenger and call herself Cesario so she can work for Orsino. Since Viola was so pretty and the way she used her words were great, she won Orsino’s trust. Orsino tells Cesario
The song represents the theme of death, as many things in the play come to an end, such as Orsino and Olivia’s search for a lover or Maria’s prank on Malvolio. Maria, Sir Toby Belch and Feste’s game comes to an end when Olivia realizes that Malvolio is not insane and Malvolio’s happy and fantasized world of higher class and relationship with Olivia is destroyed when he realizes that everyone has played a cruel trick on him. In addition, the couple’s relationship at the end is also something to question and consider, since Viola never changes back into a girl and Olivia and Sebastian barely know each other, yet they are married. He explains how he is the most faithful person, yet he has been “slain by a cruel maid” (2.4.54).
... Ironically, a man that is supposed to be cunning, like Volpone, decides to put his trust in his deceptive servant. He does not realize that his desire to play a final trick on people turns him into a fool and gives Mosca the chance to rise above him. The unordinary master-servant relationship between Volpone and Mosca and Volpone’s dependence on his servant’s intelligence motivates Mosca to nourish his dream of power and wealth. Mosca’s attempt to move upward in the society and usurp the privileges of the nobility is threatening those who rank higher than him.
He presides over his own “court” of sycophants, including Maria (Olivia’s gentlewoman), Sir Andrew Aguecheek (his drinking companion), and Fabian (Olivia’s gentleman). We might associate Sir Toby with the good and the bad of unbridled indulgence in the pre-Lenten season. By contrast, Malvolio, Olivia’s lead servant and a paragon of abstinence, disapproves of the merrymaking of Sir Toby and his lot. Tiring of Malvolio's pompous ways, Maria forges a letter, ostensibly written by Olivia, and dupes The Steward into believing that her mistress has designs on him.