Disguise is the source of theatrical appeal in Shakespeare’s Twelfth Night. Discuss the validity of this statement. Michael Pennington describes Twelfth Night as a typical Romantic Comedy with a sublime sense of inconcsequentiality amidst the lyrical nature that plagues its environment. Therefore it is none other than that of a romantic comedy, and by definition, seeks the usage of a most humourous yet vital factor that shapes the events that are to occur; Disguise. Disguise indeed gives rise
a statement of harsh judgment and must make amends, and the comedies usually end in marriage. In Twelfth Night, Orsino, the Duke of Illyria, passes harsh judgment towards Lady Olivia by telling his servant, Cesario, to “be clamorous and leap all civil bounds/
leaves her to question if she will ever find true love. "Yet come again; for thou perhaps mayst move that heart which now abhors, to like his love." Through this ordeal Orsino also becomes confused by his sexuality. He sees past Viola/Cesario clothing and falls in love with her. After a few moments were Viola/Cesario and Orsino are very close he comes to realize that it would not be morally right to have sexual passion for another man. He slowly moves away and begins to question his feelings.
she dealt with them as a woman. This becomes evident due to an incident were she almost kisses Orsino; and she does not make it clear to Olivia why somebody would not want to kiss her, a beautiful woman. Throughout the play Shakespeare enlightens his audience by showing alienation, which occurs when somebody is forced to imitate a person who they are not. Viola/Cesario not only alienates Olivia and Orsino, but she also isolates herself from feelings that are undefeatable. This causes the characters
Antonio), and the ever-asked question of “what is love?”. Love is regarded in extremely different and confusing ways to the various characters of the play, especially Viola, Duke Orsino and Olivia. Focusing on these three main characters, this paper will discuss the problems each character has regarding love
An Exploration of the Contribution of Disguise and Deceit to the Humour of Twelfth Night ‘Twelfth Night’ could be seen as a play with dark and harsh meanings, for example, it could be said that Malvolio’s planned revenge at the end of the play has an uneasy effect on the audience, in a time of general harmony. However I think that although ‘Twelfth Night’ does raise some moral issues, overall it is an enjoyable play. It is a play; designed to be performed in the dark,
Viola’s identity as a character in relation to gender roles and gender itself, and Olivia’s relationship with her. Shakespeare has clearly separated almost all elements of the book into two categories; silliness and seriousness. Viola’s gender and presentation would fit into silliness – at face value, the changes began because of a ridiculously dramatic act of love, and Shakespeare uses many lines of dialogue such as the frivolously dangerous wordplay Viola uses (as described by the Duke in the end,
the Early Modern era, the change served as a revival for the country. With a woman now on England’s throne, the ability to play with the idea of gender was a necessity, and thus influenced society as a whole. Like many aspects of the period, the presentation of gender and sexuality began to change with the rest of England’s Early Modern era. Conversely, gender play, and even cross-dressing, in this era were both considered alternatives that had to be contained for it disrupted England’s to social standards
disguise is dropped in most renaissance plays as part of reassuring a con-ventional audience or as part of the enactment of a process of gender individuation (Greenblatt 92) does not invalidate the insistent metaphor which is the ground of the re-presentation; nor does this kind of claim account for other uses to which poets put the motif during this period. Second, the transvestism of the English renaissance theatre creates a "space of possibility" for "structuring and confounding culture"