Twelfth Night revolves heavily around the shipwreck plot device to split apart the siblings Viola and Sebastian, leading to the development of a bizarre love-triangle and a case of mistaken identity. Besides the rather literal importance of the sea as the driving force for the play’s plot, water appears to resonate as a recurring theme throughout many scenes; specifically, it becomes a living representation for the emotional status of various characters, and woven within the ebb and flow of the tides, qualities such as fate, grief, death (imagined or real), and reflection churn amongst the brackish waters of the play’s symbolic ocean. Of course, because Twelfth Night fails to meet definition of a tragedy outright, these elements will not lead …show more content…
As prescient and insightful as this evaluation may seem after considering the outcome of Twelfth Night’s romantic pairings, it reads as a very shallow perspective rather than any sort of wisdom – to the Duke, love is never permanent, lasting, or constant (just like the nature of the tides, it always changes). Duke Orsino has no concern whatsoever for Olivia’s feelings of grief after the loss of her brother – she is merely an object of his desires at the moment, and as his eventual courtship with Viola proves, he is extremely fickle in his affections. (Even before Viola’s disguise became apparent, Orsino showed some signs of attraction to the male Cesario – this raises a few questions about exactly how far his romantic indecisiveness …show more content…
Antonio originally requests to accompany Sebastian, but Sebastian declines on the grounds that his ill fate might negatively affect his companions. Sebastian regards himself as cursed by the shipwreck itself and the assumed loss of his sister – he wishes to have died alongside her, and he indicates that his voyage is “mere extravagancy (2.1.11)” without having a particular destination in mind. “She is drowned already, sir, with salt water, though I seem to drown her remembrance again with more (2.1.26-27)” provides the second example of a direct comparison being made between tears and salt water – for Sebastian, the sea represents the misfortune of loss, and perhaps, a representation of his cursed fate. For Viola, the sea represents uncertainty and hope – despite all evidence pointing towards her brother’s demise, she appears willing to at least entertain the notion that her brother remains
The characters in Twelfth Night each play an important and specific role, especially when it comes to interfering or setting fate for romantic interests. Not all characters get a happy ending, and a particular character’s husband turned out to be someone much different than who she believed to be marrying. Through dishonesty, confusion, and chicanery, each character had a helping hand in dishing out each other’s fate, but nonetheless, the relationships that resulted in a law binding marriage beat destiny and overcame every hardship standing in the way of love and happiness.
To start the play off, readers and viewers are introduced to a stranded Viola, who has lost her brother during their journey and presumes him dead. Alone in a foreign land, the girl is shaken and unsure what to do. Seeking council, Viola exchanges words with her ship’s captain, who explains to her,
Naturally, one of the most reoccurring themes in Shakespeare is romantic love. It is perhaps not a coincidence that he put so much emphasis on this elusive and enigmatic emotion. In the Elizabethan age when he was writing, the arts were being explored more fervently, and thus raw human emotions began to surface in the mainstream culture. In Twelfth Night, love is a confusing and fickle thing, as demonstrated in the relationships between Duke Orsino and Olivia; Olivia and Viola/Curio; Malvolio and Olivia (she certainly has an effect on men doesn't she?); Duke Orsino and Viola/Curio. However, the characters seem to have a love-hate relationship with Cupid. Within the first line of the play, it is glorified: "If music be the food of love, play on..." (Duke Orsino, I:I). And while Olivia is annoyed with Orsino's affection, she craves Curio's.
Many different symbols were utilized in Kate Chopin's The Awakening to illustrate the underlying themes and internal conflict of the characters. One constant and re-emerging symbol is the sea.
The plot deepens as Cesario proceeds to woo Olivia for the Duke. It is only the second time that Cesario appears at Olivia’s home when Olivia openly declares her love for Cesario. Throughout this time, Sir Andrew has been nursing a hope to win Olivia’s love. When he plans to give up hope of her love, Sir Toby suggests that Sir Andrew fight with Cesario to impress Olivia. Cesario, however, refuses to fight. At the same time, Viola’s brother, Sebastian, who is also shipwrecked, makes his way to safe lodging in Illyria with Antonio the sea captain. After the fight between Cesario and Sir Andrew begins, Antonio intervenes to save Cesario, whom he takes for Sebastian. But the Duke’s officers promptly arrest Antonio for a past offense. Then, Olivia later comes upon Sir Andrew and Sebastian bickering at her home. Olivia, thinking Sebastian is Cesario, leads Sebastian to marriage in a nearby chapel. Finally, Cesario inevitably reveals that he is Viola and Sebastian recognizes her as his sister. The Duke reciprocates Viola’s love offerings and proposes to her. Olivia assures Malvolio...
Twelfth Night consists of a large number of love triangles, however many characters are too indulged in love that they are blind to the untrue, and the weakness of their relationship, they are deceived by themselves and many people around them ( ex. Malvolio is tricked by Sir Andrew, Feste ,Sir Toby and Maria),but there are certain incidents where the love is true and two characters feel very strongly about one another. In the play, Viola and Orsino have the most significant relationship. The way they interact with each other causes the complexity on which the play is all about, their relationship turns from strangers to friends then lovers .In the First Act Viola is not honest with Orsino because she disguises herself as a male servant named Cesario in order to get closer to the duke. Orsino. Orsino quickly trusts Cesario and sends him to Olivia to declare Orsinos Love for her, the girl he most dearly loves. This quick bond is the fast example of their relationship. At the beginning of the play, Viola thinks her brother (Sebastian) is dead (after they’re deadly boat crash, where they get separated) when actually he is alive and thinks she is dead, Viola always seems to have a part missing from her which shows her bond with Sebastian is strong, and a part of her but in a brotherly/sisterly way rather than a proper relationship like viola and orsino, At the end of the play they meet and both fall in love , Viola with Orsino and Sebastian with Olivia.
After Duke Orsino asks Cesario (disguised Viola) to make Olivia love him, although she had stated that she would not marry for seven years due to her sadness from her brother’s death, Cesario tells him “I’ll do my best to woo your lady.” Then Viola tells the audience “(Aside) yet, a barful strife—Whoe'er I woo, myself would be his wife,” meaning that she has to convince another woman to love the man she loves. The exchange of words in this scene exemplifies dramatic irony since the reader now knows that a love road that connects Duke Orsino, Viola, and Olivia has formed while Orsino is clueless about the situation. Situational irony can also be withdrawn from this conversation because it is shocking that Viola is in love with Orsino. Viola’s sudden love for Orsino illustrates a universal truth about life that sometimes people fall in love too quickly without thinking far ahead.
Although Viola might be able to relate to Olivia's grief at first, her love for Orsino is so great that she cannot understand why Olivia would deny him. When Olivia expresses affectio...
The clearest parallel within the realm of nature between the two plays is the spectacle and grandeur of a tempest. In each case, the occurrence of a mighty storm is a pivotal plot-mover, as well as a symbol for transformation. In The Tempest, the storm provides for the arrival of the King of Naples, the usurping D...
...h the idea of being in love and enjoys making a spectacle of himself. His attraction to the ostensibly male Cesario injects sexual ambiguity into his character, and reveals that genuine love does exist within his character because he allows himself for that brief scene to be exposed and vulnerable. Olivia, like Orsino likes to wallow I her own misery, and also acts absurdly by falling for Cesario within a matter of a few moments of dialogue. Olivia seems to have no difficulty transporting her affections from one love interest to the next, however, suggesting that her romantic feelings, like most emotions in the play, are not profound. In all, Shakespeare used Twelfth Night to reveal that love can be found in unlikely places; in order for love to be a genuine act it must be a selfless; and love undoubtedly requires patience and endurance through times of absurdity,.
Shakespeare’s play Twelfth Night revolves around a love triangle that continually makes twists and turns like a rollercoaster, throwing emotions here and there. The characters love each another, but the common love is absent throughout the play. Then, another character enters the scene and not only confuses everyone, bringing with him chaos that presents many different themes throughout the play. Along, with the emotional turmoil, each character has their own issues and difficulties that they must take care of, but that also affect other characters at same time. Richard Henze refers to the play as a “vindication of romance, a depreciation of romance…a ‘subtle portrayal of the psychology of love,’ a play about ‘unrequital in love’…a moral comedy about the surfeiting of the appetite…” (Henze 4) On the other hand, L. G. Salingar questions all of the remarks about Twelfth Night, asking if the remarks about the play are actually true. Shakespeare touches on the theme of love, but emphases the pain and suffering it causes a person, showing a dark and dismal side to a usually happy thought.
Critics call Twelfth Night one of William Shakespeare’s most poetic and musical plays. Shakespeare writes poetic lines for the major characters, Viola, Orsino, and Olivia, and gives the Fool, and other minor characters, songs to sing throughout the play. The particularly romantic lines of the play make it seem as if the characters are professional poets themselves. Shakespeare also uses the music and poetry in Twelfth Night to foreshadow what is going to happen for the rest of the performance and to reveal major themes in the play. Music and poetry become major characters in the play themselves.
Twelfth Night or What You Will is one of Shakespeare’s most famous comedies. It has been performed hundreds of times and adapted into a number of modern films. The main plot of the play follows Viola, a girl who is rescued from a shipwreck and enters into the service of the Duke Orsino disguised as a man. Rising quickly in his estimation, Viola begins delivering messages of love on his behalf to Olivia, a noble woman who has no interest in Orsino’s advances. Over the course of the play Olivia falls in love with the disguised Viola, Viola falls in love with Orsino, and Viola’s twin brother Sebastian, who supposedly died in the shipwreck, returns. Following Sebastian’s return the twins are mistaken for each other, leading to both misunderstanding and marriage in the final scenes of the play. Alongside the main plot of Twelfth Night is an almost equally prominent subplot involving Malvolio, a servant of Olivia, who falls in love with her and who falls prey to a prank planned by the other members of the household who despise his abhorrence of fun. In the article “The Design of Twelfth Night” by L.G. Salingar, Salingar examines the plot and structure of the play and addresses the significance of the subplot. The purpose of this essay is to examine both evidence from the play and articles from other authors, with a focus on Salingar, who have written on the subject in order to determine the purpose of the subplot. In his article, Salingar comes to the conclusion that the purpose of the subplot is to provide a comic mirror of the main plot while amplifying the main themes of delusion, misrule and festivity. Salingar presents a solid argument, however he has neglected another lesser but significant element of the sub-plot which illustrate...
Mistaken identity and disguise are important aspects of comedy in Twelfth Night that stand at the forefront of the play’s comedy. Not only are mistaken identities and disguise evident within the main plot of the play but also in various other situations. Sexual confusion amongst characters, subversion of gender roles and farcical elements through stagecraft all effectively contribute to the dramatic comedy genre. However, it can be suggested that certain elements of Twelfth Night are not interpreted to be purely comedic; Shakespeare has incorporated serious and controversial subjects such as the idea of genuine love, the patriarchy of the time and the cruel gulling of Malvolio. Therefore, disguise and mistaken identity are not solely for the purpose of comedy and it could be inferred that it even borders on the genre of tragedy.
Love however, is the source of much confusion and complication in another of Shakespeare’s comedies, Twelfth Night. Men and women were seen as very different from each other at the time the play was written, they were therefore also treated in very different ways. Because of this Viola conceals her identity and adopts the role of a man, in order to better her safety whilst being alone on the island, and to get a job at Count Orsino’s court. In the play Shakespeare uses the gender confusion he has created from obscuring characters identities to explore the limits of female power and control within courtship, and their dominance within society. Violas frustration surrounding her inability to express her feelings to the Count because she is a woman is an example of the limiting rules of courtship which were upheld at the time. (Aside) ‘yet, a barful strife! Whoe'er I woo, myself would be his wife.’ Here she is already expressing her anxiety and emotion at being a woman, and having to keep her emotions hidden from those around her. She longs to be able to express her love as a man could, and in her disguise as Cesario she finds an opportunity to vent her feelings for the Count, but concealed as his words and towards Olivia. Viola is unaware of how her words may sound to Olivia because she is aware of their gender boundaries however Olivia isn’t and soon falls for Cesario. Because Olivia is a Lady and head of the household, and especially how she lacks a father figure, she has a lot more freedom in courtship. Duisinberre comments on this saying, ‘...Viola and Beatrice are women set free from their fathers, and their voice is that of the adult world.’ This is seen when Olivia immediately takes the dominant role in her and Cesarios relat...