By constructing an ideal universe, Shakespeare attributes intricate symbolism of characters within the utopian backdrop to the individual desire of festivity, lust, and enjoyment present in human culture which in excess is not beneficial. Shakespeare “evokes its audience a recognition of the limits of festivity by abolishing such limits in the stage-world of Illyria”(Logan 223).
Referring to the last night of Christmastide celebrations, the title of Twelfth Night in itself deems in its opening scenes Illyria as a world of privilege and leisure. According to Goddard “Illyria is a counterfeit Elysium”(302) where enjoyment evokes pleasure but not happiness and attraction invokes lust but not love. Illyria acts as a playground for revelry and limitless self in...
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...House Pub, 1987.
Delahoyde, Micheal. "Twelfth Night or What You Will." Twelfth Night. Dr. Micheal Delahoyde, n.d. Web. 23 Feb. 2014.
Garber, Marjorie. "Shakespeare as Fetish." Shakespeare Quarterly: n. pag. Print.
Goddard, Harold C. The Meaning of Shakespeare. Vol. 1. N.p.: n.p., n.d. Print.
Logan, Thad Jenkins. "Twelfth Night: The Limits of Festivity." Elizabethan and Jacobean Drama. N.p.: Rice University, 1982. 223-38. Vol. 22 of Studies in English Literature, 1500-1900. Rpt. in Studies in English Literature, 1500-1900. N.p.: n.p., n.d. N. pag. Print.
Shakespeare, William. Twelfth Night. N.p.: n.p., n.d. Print.
Summers, Joseph H. "The Masks of Twelfth Night." University of Kansas City Review 22 (1955): 86-97.
Twelfth Night. Dartmouth, n.d. Web. 23 Feb. 2014.
Wells, Stanley. Shakespeare in the theatre: an anthology of criticism. Oxford University Press, USA, 2000.
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