Festivity in Shakespeare’s Twelfth Night

   In most Shakespearean romantic comedies, there is a character that plays the part of a truth-teller.  And in William Shakespeare's Twelfth Night it is no different. Feste, a clown, through his mixed up words and songs enlightens the other characters whilst playing the role of the truth-teller.  Through aiding the Duke with his patience, helping Viola with her love problems, and having a major role in Malvolio's downfall, Feste holds one of the primary parts of the play.

She’s the Man is a modern adaptation and interpretation of The Twelfth Night but the

The only reference to Twelfth Night during Shakespeare’s own lifetime is to a performance on February 2, 1602. A law student named John Manningham wrote in his diary about a feast he attended at the Middle Temple in London where he was a law student and where “we had a play called Twelfth Night; Or, What You Will." This was likely to have been an early performance since it is generally agreed that the play was probably written in 1601. In 1954 Sir Leslie Hotson’s book, The First Night of Twelfth Night, sought to identify the exact date of the first performance of Twelfth Night. He used the evidence of old records to suggest that Queen Elizabeth asked for a new play for the last night of the Christmas 1600-01 season, the Feast of the

The fantasy of Olivia he supposedly unconditionally loves is not about Olivia, but all about himself. Not only this, but Orsino is easily convinced to return the deep affection of Viola, possibly because the Duke focuses entirely on his success and desires in love rather than genuine affection. Perhaps, Orsino only developed these feelings for Olivia because he wanted more luxurious things in life. Orsino had great food, servants, and a giant castle. The one thing he lacked in was love. Therefore, the Duke wished to have the most beautiful countess in all of the land: Olivia, to continue owning more and more luxurious things. Through this, Shakespeare conveys that an egotist and wealthy man cannot genuinely love if he does not fixate the gain of love on himself. Not only this, but it also continues the previous message that one might be irrationally obsessed with the idea of love rather than a person due to all of the pleasures there are to

"It would bow to me, for every one of these letters are in my name!"

One can observe Orsino's love for Olivia as obsessive. Orsino’s first words “If music be the food of love, play on,” introduce him as a love-sick character whose mind revolves around a woman who does not return his feelings (I.i.1). Olivia constantly populates his mind and he does not cease his pursuit for her love, even after she expresses distaste towards him. Shakespeare mocks love-sick individuals for acting like fools and putting themselves through misery. After learning of Olivia’s marriage, Orsino realizes he has lost her and lashes out at Cesario. He threatens him by stating “I’ll sacrifice the lamb I do love to spite a raven’s heart within a dove”(V.i.33-34). Shakespeare uses Orsino’s love for Olivia to differentiate between good and bad love. Unrequited love can cause an individual to pursue violent actions in blind rage. Orsino shows how love is consuming, crippling, and hinders the ability to live out life.Orsino believes his love for Olivia is true, but he is actually in love with the idea of love, and believes he can only obtain it from Olivia. Shakespeare tries to inform the audiences that they could mistakenly believe they are in

Another aspect of the play that can easily relate to modern audiences is, William Shakespeare’s use of mistaken identities and true-life experiences especially mourning for the loss of family and love obsessions, are among the main focuses of the play. Many people in the audience of today would most likely be able to relate to Olivia’s intense mourning of her brother, since people’s feelings and actions at the time of loss don’t change just the periods of times that they occur do. Love is commonly used in many forms of works of entertainment because it is an unsolved mystery that everyone usual enjoys watching or reading. The infatuation that the Duke has for Olivia is comical throughout the play and forces the Duke to say

Much of the first half of the Twelfth Night is about disguised identities and general misconceptions about who is actually who. The play opens on a note of melancholy and death, Orsino grieving because Olivia refuses to love him and Viola and Olivia mourning the deaths of their brothers. It is following a shipwreck that Viola disguises herself as a male, ensuring that confusion will be part of the plot. The idea of masquerading as a member of the opposite sex is a familiar device and the “complications, artificial as they may appear, are an essential part of the play’s complete development.” (Travers 308) It is interesting to note that unlike other comedies such as “The Tempest”, Shakespeare does not create an older generation who prevent the young lovers from being together; instead it is the perplexity about gender and that keeps them apart. Sebastian, Viola’s identical twin, is the solution to all of the problems, though his appearance does add to it for a short while. Viola, dressed as Cesario, is mistaken for Sebastian by Antonio, and is asked for the money that he gave to Sebastian. However, this type of confusion adds to the comic nature of the plot as the audience is aware of the concealed identities. Order eventually comes from the chaos, disguises are shed and identities are revealed. The appearance of Sebastian ensures that the marriage will be possible for the main characters; Viola is free to marry Orsino and Olivia marries Sebastian, although she

Twelfth Night is a romantic comedy, and romantic love is the play’s main focus. Despite the fact that the play offers a happy ending, in which the various lovers find one another and achieve wedded bliss, Shakespeare shows that love can cause pain. Many of the characters seem to view love as a kind of curse, a feeling that attacks its victims suddenly and disruptively. Various characters claim to suffer painfully from being in love, or, rather, from the pangs of unrequited love. At one point, Orsino depicts love dolefully as an “appetite” that he wants to satisfy and cannot, at another point; he calls his desires “fell and cruel hounds”. Olivia more bluntly describes love as a

Yet he still continues to get a “yes” from Olivia. He grows rambunctious and upset when he says.” O’ she hath the heart of a fine frame, to pay the debt of love but to a dead brother” ( Shakespeare page 11 33-34) He lacks sympathy towards Olivia for her problems, but he has time to listen to his own desires. Nonetheless rather grieving with her, he goes and gives her his words of love. Duke Orsino knows that Olivia is unsure and this is an act of selfishness. Furthermore, he craves something he can’t have, Olivia’s love. Love is to crave to the extreme, it’s hunger that lovers hope they can never fully

himself just to suit his outlook on the situation. For example, the play he twists Olivia's words around to make it seem like she likes his yellow cross-gartered tights when in reality she dislikes them. Sir Toby just considers himself and no one else, not even his companions. He ignores Maria's notification about drinking into the night, and he continues to push Sir Andrew and Olivia to court. Even though he believes that Sir Andrew doesn't have a chance. Olivia considers the all-inclusive community around her, yet she furthermore assumes that no man is meriting her brilliance. She assumes that she is "all that," and that no one can organize her. For Shakespeare to incorporate this sort of just a single was most likely to demonstrate that Malvolio who thinks excessively of himself isn't right about Olivia cherishing him.

Shakespeare presents Orsino as furious and irritated at Olivia’s constant refusal of his love and starts noticing how Olivia is not the perfect woman he claims she is while discreetly implying a shift of his romantic feelings for someone else (Cesario/Viola).

In William Shakespeare's comedy Twelfth Night, it is ironic how many times the fool is said to be dishonest, when, in fact, his role proves entirely opposite. Though sometimes the characters do not realize his hidden messages, the reader can instantly comprehend Feste's figurative language, which is evident in every scene in which the fool appears. Whether he is singing to Orsino, arguing with Malvolio, or playing around with Viola, Feste always manages to sneak in a few symbolic foretokens before his exit. His keen eye and fast wit help him to actively partake in the portrayal of the story, however, the fool is merely present to express that which cannot be fully expressed through the

Our group proposed, presented, and directing the stage performance for the Twelfth Night. In the beginning of the semester I had no clue of what to expect from this course, and reading the syllabus made Shakespeare’s Plays seem complex. I am somewhat familiar with William Shakespeare’s plays stemming from a Shakespeare course that I had taken at Harold Washington (City College of Chicago). My professor (Hader) informed the class that if we were looking to go on to a four-year university as an English major that we will have to take another course, and it will be taught from a different perspective or angle—quite frightening. As a person who had not connected or have read anything that the playwright had ever written, I was afraid that I

In the opening scenes, Shakespeare displays to his audience the affluent society of Illyria, where aristocracy is its major component, festivity is the social norm, and leisure is the way of life. Orsino and Olivia, elegant and wealthy members of the nobility, are at the center of people’s discussion—they seek love; Sir Toby and Sir Andrew, the rich knights ranked high in the social hierarchy, “care not for good life” (II.iii.34)—they seek pleasure. However, the Illyrian society of aristocratic customs and sense of licence is established upon the laborious work of those who are excluded from the indulgence in festivity, and whose financial ability and social status do not afford this social liberation.