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analysis of twelfth night
explore the ways shakespeare presents gender roles in twelfth night
explore the ways shakespeare presents gender roles in twelfth night
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Examining Viola's Character in Twelfth Night "I may not be a lion, but I am a lion's cub, and I have a lion's heart" . These words are said by one of the most celebrated and authoritative women in the 16th century Elizabeth I. Even though the authority was at woman's hands at that time, a dominant woman was unnatural in the society itself. The presence of such a powerful female figure creates an interesting situation for dramatists and playwrights in terms of depicting women's status at that time. By using the psychological concept ,liminality; I am going to examine Viola's character with referring to her two main parts in her life: her private life as Viola and her public life as Ceaserio , her speech in both two parts and the authority of the society. The liminality it can be defined as a psychological states when a character wavers between two worlds. The character's life is both destructive and creative while one identity dies and another is born. Thomas Coryat , English traveller , wrote in his Coryat's Crudities in 1611, a travelogue ,about his experience in Venice "I saw women acte, a thing that I never saw before, though I have heard that it hath beene sometimes used in London". In the 16th century, women were not allowed to act on the stage. If they have done so, they would have been scorned by society and considered to be lewd and immoral. Women at court ;however, performing in private performances for Elizabeth and her guests. Therefore, in such a public space like a theater boys or young men acted the women's parts. The uncertainty of the sexual identity was one of Elizabethan stereotypes. Thus, performing twelfth night could double the humor by letting a boy play viola's role disguised as a boy as we... ... middle of paper ... ...o serve her "lord" the duke Despite of her being in love with him ;and as Viola she expresses her love to him throughout multi-gendered speech. Although the crossed dressed Viola experiences the freedom behind her disguise, She finds herself between fear and hope - fear to express her true feelings to the duke and reveal her true indinitity and get punished and hope that the duke somehow decipher her words and reciprocate her love . Out of this liminality, Viola develops a multi-gendered speech in order to express her love to the duke when he was debating about the nature of love. In act 2, scene 4 Viola expresses her love through Ceasrio by saying " My father had a daughter loved a man , As it might perhaps, were I a woman, I should your Lordship. " As the duke's servant, Viola has the freedom to speak about love , but as Viola she couldn't expose this love.
Gender roles are undeniably a fundamental topic of critique in literature, particularly since expected gender roles have evolved in recent years. More importantly, the transcendence of these gender expectations indicates the possibility for transformation and increasing liberation in society. History explores many different stages for the sexes and their respective roles, from traditional anti-feminist times in which certain roles were strictly enforced, to more modern beliefs entailing free will and a lack of restrictions. In spite of this progress, there are always those who expedite the process while there are others that hinder development from occurring, even when it is necessary. Literary works in particular serve as a showcase for the progression of gender roles, but nonetheless reveal that through time certain elements remain consistent. Two authors who wrote in radically different time periods, William Shakespeare and Lorraine Hansberry, wrote plays that pose a threat to expected and traditional gender roles. The Taming of the Shrew (1623) is an example of an earlier work, which involves characters that manage to defeat their expected roles by acting out of the ordinary. A shrew, which is literally defined as either a small rodent-like animal or a woman with a harsh and nagging temperament (American Heritage Dictionary 1285), is used in reference to Katherine, the daughter of Baptista, who counters the expectation of women to act submissive by being loud and outspoken. In the end, even though Katherine seems to have submitted herself to society’s expectation of women, she is really only conforming in order to benefit her social role, since she realizes that accepting her role in society will be easier than counteri...
`Plays and Poetry by early modern women are primarily concerned with negotiating a position from which women could speak. A concern for ideas of gender, language and silence is, therefore, central, though its expression is sometimes open, sometimes covert.' Discuss with reference to Aemilia Lanyer and / or Elizabeth Cary.
when he gets bored of it then he tells him to stop, just like that.
upon her. She knew she had fallen in love with Duke Orsino and had the
Viola's situation is precarious due to the liminality she has experienced throughout the play . She could live freely away from the society's authority behind her transformation, but the liminality she faced caused her troubles in expressing her true feelings. She is in between her femininity and her twin brother adopted masculinity. But soon as her disguised is discarded, she returns to her proper situation voluntarily accepting the role that the society imposes on her: the role of a wife.
There is much to find in the play to makes us smile with lots of songs
How would you feel if you were a woman in the Elizabethan Era and you could not act in the playhouse plays? In Elizabethan Theater there where many things that were very un-proper. This paper will everything readers would ever want to know and learn about an Elizabethan Era.
Not only did Viola’s disguise cause a sort of chaos with Orsino, it affected others in Illyria, mainly Countess Olivia. Though Viola’s original purpose for the ruse was to gain knowledge aiding her in her search for Sebastian, she has added other functions to the midst. One function is her job with Orsino acting as a mediator between him and Olivia. Viola never thought she would become a messenger. She was far too consumed with the thoughts and concern for her missing brother. It seems that fate intervened bring Viola to Orsino.
Orsino describes the young “boy” in an almost erotic manner from his “’small pipe… [like or similar to] a woman’s part’” to his “lip [that is] smooth and rubious’” (Shakespeare 9). In Act II, Scene V, Viola hints to the duke she may have developed romantic feelings towards him, stating “’…perhaps, were I a woman, I should [love a man]…’” (Shakespeare 28). With this information revealed, the duke further question his own identity as he might yearn for the young Cesario. This internal conflict might not have otherwise been elaborated on without Viola’s presence. As the duke struggles with this issue, it also influences his behavior and thus impacts the wealthy society as a
Complications also arose when viola fell in love with her master, duke orsino, while at the same time had the love interest of orsino, the countess Olivia, trying to woo her. This placed viola in an extremely difficult and complex situation on one hand, she loved the duke and would have liked to do all she could to win his heart. But because she was his servant, she was obliged to serve him and help him win the hand of Olivia. What was a poor girl to do ?
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.
William Shakespeare's, Twelfth Night has many themes, but appearance vs. reality is the theme that illustrates a different picture from two perspectives, there are many characters behind their masks and disguises. Some are hiding love behind these disguises and some are trying to show their love through a different disguise. They both still being servants are using disguise differently. Malvolio, servant of Olivia, falls in love with the trap (the letter) thinking his lady likes him, and to show his love he uses a different appearance to express it. Viola, servant of Orsino, falls in love with him, but secretly, not wanting to express her love for him, because of her disguise as her barrier for that case. Viola/Ceasario is wearing a disguise and secretly loves Orsino. Malvolio, on the other hand, is also a servant but still changes his appearance to express love for the great lady Olivia. This essay will prove that disguises and appearances are symbolic of the characters named Viola and Malvolio and are differently used for both.
Viola: “Too well what love women to men may owe. In faith, they are as true of heart as we. My father had a daughter loved a man, As it might be, perhaps, were I a woman,I should your lordship” (Act 2, Scene 4, Lines 102-107).
Situational irony and the love triangle give big laughs to the viewers. The audience becomes engrossed as they observe Violas transformation into Cesario, the Duke’s servant. Suspense is built as Viola begins to realize that she is falling in love with Duke Orisno, but in order for her to survive; she has to keep pretending to be a man and is unable to reveal her love. The irony settles in when Orisno, asks his close servant Cesario to go to Olivia and make her understand how deeply he loves her. Shakespeare shows her helplessness in this situation because she has to help her love, try to woo someone else. The irony builds into a love triangle as Olivia begins to fall in love with Cesario as “he” loved Orisno. Olivia’s love is confirmed when she says “Yet come again, for thou perhaps mayst move that heart, which now abhors, to like his love” (III.i.153).
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.