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Twelfth Night

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Phoebe Ramos

on 22 April 2010

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Transcript of Twelfth Night

Themes Unrequited Love Social Status
Disguise
LOVE
Suffering Love Orsino - Olivia Viola - Orsino
Olivia - Viola Malvolio - Olivia
Structure Characterisation Olivia Viola Sir Toby Orsino Malvolio Feste Sir Andrew Aguecheek Language and Style
Imagery Purest Love Truly passionate Powerful Duke Melodramatic Fool Wise character Courts Olivia Total Idiot Shift in emotions Superficial Puritane Steward Hidden ambitions unruly behavior Olivia: “Even so quickly one might catch the plague Viola: “My state is desperate for my master’s love” Feste: “I am slain by a fair cruel maid” Superficial Love Olivia: “Thy tongue, thy face, thy limb, actions…” (act1, v, 270) Gender “Cesario, come— / For so you shall be while you are a man; / But when in other habits you are seen, / Orsino’s mistress, and his fancy’s queen” (V.i.372–375). Orsino: "Here is my hand; you shall from this time be your master’s mistress” - Viola: “For such disguise as haply…. Present me as an eunuch to him”
- Viola: “Fortune forbid my outside have not charm’d her!”
- Viola: “Then you think right; I am not what I am”.
-Orsino to Viola: “Prosper well in this, and though shalt live as freely as thy lord, to call his fortunes thine”
-Malvolio: “Go hang yourselfs all. You are idle, shallow things; I am not of your element. You shall know more hereafter.” (III, iv, 110)
-Olivia’s “letter” to Malvolio: “not worthy to touch Fortune’s fingers”
-Olivia: “If one should be a prey, how much the better To fall before the lion than the wolf” III, I, 125
Motifs:

1) Tokens:
- Ring: Olivia wants Cesario to know that she loves him, the jewel is a token of her love a physical symbol of her romantic attachment.
“Run after that same peevish messenger
The County’s man. He left this ring behind him” (Act 1, v, 280)
Maria Fabian Antonio
Sebastian
Iambic Pentameter: Malvolio and Orsino Language is used first for the purpose of conveying a difference in feelings or attitudes in different situations. Lady, you have. Pray you, pursue that letter.
You must not now deny that it is in your hand:
Write from it, if you can, in hand or phrase,
Or say 'tis not your seal, not your invention. [Act 5, Scene 1]
If music be the food of love, play on,
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die. [Act 1, Scene 1]

Shakespeare uses prose often to show the common characters and it is also used for the comedy scenes, more relaxed, while verse is used for the more serious and elevated language.
Use of Prose and Verse: Diction The diction Shakespeare gives to his characters contributes to their characterization. He gives characters with more intelligence a large vocabulary, where unintelligent, common characters are more limited. - Feste: “Wit, and't be thy will, put me into good fooling! Those wits that think they have thee do very oft prove fools; and I that am sure I lack thee may pass for a wise man. For what says Quinapalus? 'Better a witty fool than a foolish wit.' God bless thee, lady! [Act 1, Scene 5] - Malvolio: I'll be reveng'd on the whole pack of you! [Act 5, Scene 1]
* ELIZABETHEAN
example:
“Thou know’st no less but all: I have unclasp’d
To thee the book…” (Act 1, v, 15)
Shakespearean language:
Word Play “By my life, this is my lady’s hand: these be very her C’s her U’s and her T’s, and thus makes she her great P’s”. (ACT 2, v, 80) Puns 1) Orsino:
Curio: “Will you go hunt my lord?”
Orsino: What Curio?
Curio: The hart. (deer / heart) – Orsino thinks of it as the heart of love.
Orsino: O, when mine eyes did see Olivia first..”
2) Feste:
“Let her hang me; he that is well hanged in this world needs to fear no colours”
- Colours = the (enemy) flags, makes a pun with Collar (hang mans noose)
Dramatic Irony Cesario, by the roses of the spring,
By maidhood, honour, truth and every thing,
I love thee so, that, maugre all thy pride, .
Nor wit nor reason can my passion hide.
Do not extort thy reasons from this clause,
For that I woo, thou therefore hast no cause,
But rather reason thus with reason fetter,
Love sought is good, but given unsought better. (3. 1. 115-122) Maria: “Get ye all three into the box-tree. Malvolio’s coming down this walk; he has been yonder I’ the sun practicing behavior to his own shadow this half hour. Observe him, for the love of mockery; for I know this letter will make a contemplative idiot of him.”
“Lie thou there, for here comes the trout that must be caught with tickling”.
Farsical Language 1) “By my troth, I would not undertake her in this company. Is that the meaning of ‘accost?
- Sexual connotation, Andrew does not understand – stupid.
2) “An’ you so, mistress, I would I might never draw sword again. Fair lady, do you think you have fools hand?
- Sexual innuendo
3) “It’s dry sir”
Love Poem Foreshadowing a Happy Ending
O mistress mine! where are you roaming?
O! stay and hear; your true love’s coming,
That can sing both high and low:
Trip no further, pretty sweeting;
Journeys end in lovers meeting,
Every wise man’s son doth know. (2. 3. 20)
Feste sings this poem, which has a rhyme scheme of aabccb. Note: roaming and coming constitute eye rhyme but not true rhyme.
SONGS If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die. (1. 1. 3-5)
Come away, come away, death,
And in sad cypress let me be laid;
Fly away, fly away breath;
I am slain by a fair cruel maid. (2. 4. 55)
“I’ll be sworn thou art:
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? (Act 1, v, 275)
“There is no woman’s sides
Can bide the beating of so strong a passion
As love doth give my heart; no woman’s heart
So big, to hold so much. They lack retention.
Alas, their love may be call’d appetite,
No motion of the liver, but the palate,
That suffers surfeit, cloyment, and revolt;
But mine is all hungry as the sea,
And can digest as much. Make no compare
Between that love a woman can bear me
And that I owe Olivia. (Act 2, iv, 91)
“That instant I turn’d into a hart,
And my desires, like fell and cruel hounds,
E’er since pursue me”
A murderous guilt shows not itself more soon
Than love that would seem hid: love’s night is noon. (3. 1. 114-115)
She never told her love,
But let concealment, like a worm i’ the bud,
Feed on her damask cheek: she pined in thought,
And with a green and yellow melancholy
She sat like patience on a monument,
Smiling at grief. Was not this love indeed? (2. 4. 96-101)




Verse / Prose Dramatic structure of a play * What kind of play is it? – romance mixture between tragedy and comedy, appeal a breader audience Love
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