The Limitations Of Frye 's ' Green World '

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What are the limitations of Frye’s ‘Green World’ model as applied to ‘Twelfth Night’ by William Shakespeare? Twelfth Night was thought to be written in 1600-1. The play – known for adhering to a genre of romantic comedy by utilising pathos combined with humour – is listed under comedies in the First Folio of 1623 with another of Shakespeare’s works As You Like It. Twelfth Night adheres to Frye’s theory to some extent. The old world, one of repression, is conveyed through the puritanical beliefs of Malvolio; the green world is conveyed through the theories of disguise and confusion; and a new world is established through the restoration of order and the marriages in Act 5. However, the continuous adherence to the old world through Malvolio and a lack of clear structure when transgressing the worlds limits the extent of Frye’s theory. The flexible structure is perhaps more indicative of Berger’s ‘second’ world theory. My aim is to explore the limitations of the green world within the play Twelfth Night. Music permeates Twelfth Night immediately in Act 1 Scene 2 with Orsino’s opening declaration of love ‘ If music be the food of love, play on’ (lines 1-2), through this he is established and characterised as an extravagant lover, indulging in his hyperbolic passion for a woman who does not return his love. His language is full of romantic clichés such as ‘…was I turn’d into a hart’ (line 21), this metaphor allows Shakespeare to not only intensify the exploration of the genre of
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