...Niccole Soriano Shakespeare Professor McParland October 28, 2015 Comparison of Much Ado about Nothing and Twelfth Night Shakespeare often employed a usage of posturing, or misleading, within his comedies that attribute to the confusion that serves as driving forces within the plays. I found this especially true in his play Twelfth Night, a plot dictated by multiple deceptions. After viewing the play Twelfth Night, I immediately considered the similarities found between that play and Much Ado about Nothing, which also contained numerous deceptions and guises. The presence of deception in both plays contribute to the conflicts caused by what appear to be, more so than actual physical disguise, and functions as a preeminent theme. In regards to...
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...The film adaptation of Twelfth Night is a light hearted comedy of love, exuberance, drunkenness, deception and mistaken identity. According to Stephen Hitching “...twelfth nights plot is delightfully absured, the acting brilliant and the directing superb. The contrast between the proud and proper Malovlio and the drunken, stupor of Sir Toby Belch creates much laughter along; with the switch from the original script where the Duke opens the play to the sound of Fest’s voice certainly makes the film adaptation a riveting experience. It is the sort of comedy you can watch over and over again. Both Nunn and Shakespeare displayed effective use of technique through the use of non-verbal elements such as costuming and verbal elements such as language, respectively .Shakespeare’s mastery of imagery and Nunn’s use of visual and auditory appeal reinforce the timelessness of themes such as Love and Deception. Costuming is the vehicle through which the theme of deception is revealed. Trevor Nunn’s interpretation of disguise gave the audience a sense of understanding of his idea into the cross dressing process by using Visual Imagery which is seen through the Decepetor herself Viola .She presented herself as man or by her transformation name ‘Cesario’ by getting rid of her feminine garments, cutting her hair, banding her breast, putting on trousers with suspenders, a white shirt and jacket accessorising the complete look with a moustache. However with Viola developing a friendship...
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...Twelfth Night is a magnificent comedy written by famous writer William Shakespeare. Twelfth Night or What you will was probably written for performance on the Twelfth Night i.e. the last night of the Christmas holiday ,January 6th in the year 1601.it is also likely that it was first presented before queen Elizabeth I in a great hall of her palace of Whitchali ,just outside London. the play would suit such an occasion since it’s a delightful ,lighthearted comedy ,full of love and laughter ,and with only a cloud or two to pass across the happy sunshine. But what about the social background of the play? For many centuries Christian communities have celebrated the feast of Epiphany-the time when the infant Jesus was first presented to the Magi (wise men) twelve days after his birth on Christmas day .in Shakespeare’s time; this whole period from 25th December to 6th January was given over to ‘Yuletide revels’-a time of feasting and celebration which probably dates back to Roman Satumalin. During this extended partying, it was traditional to play tricks on people, and it was understood that, for a while the usual master-servant relationship were turned on their heads. Twelfth Night was a period of carnival in which typically: a. People might give away to bodily pleasures of all kinds (drinking too much, indulging in sex, over eating and many more). b. Language itself seemed to run riot (with jokes, nonsense and wit). c. The traditional hierarchies (the lord and lady ‘at the top’...
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...later meets with Beatrice and interprets her rudeness as concealed affection (Mullan). There is a tremendous amount of humor along with misconceptions. The gossip continues and the trickery doesn't end as they arrive at the masked ball. We also see the deception he creates with two brothers, Don Pedro and Don John when it comes to Claudio's love for Hero . Don Pedro embraces the fun of disguise with honest intentions while Don John is very skeptical of it describing himself as a "Plain dealing villain". Claudio and Hero's love will encounter its own challenges with others interfering with their love and happiness. Claudio is led to believe that Hero was unfaithful after he see's a woman resembling her making love to another man while wearing her scarf. It has been said that "We tend to tell home truths under cover of masks, and truth is misread as deception, you know me well, I am he"(Varney). After all the disruptions and twists and turns, these characters will eventually fall in love and marry. Shakespeare makes no attempt to hide the presence of a male playing the female role, demonstrating more gender identity and disguise. These plays put strong emphasis on the difference between disguise and deception for our entertainment at the same time developing a strong connection to the plot. He makes his scenes very plausible for the audience to mistrust what they might see and it is noted that, " the characters repeatedly get things wrong, seeing trickery where there...
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...performance, is shown partly through the several links to Shakespeare’s plays and through the main motto of the novel ‘what a joy it is to dance and sing’. The novel is structured in five parts, with a first person retrospective narrative, in the same way a Shakespeare play is structured into five acts. The Hazard and Chance families in the novel, including Dora and Nora’s ‘legitimate’ and ‘famous Shakespearian actor of a father,’ Melchior, are all performers. The appearance of twins is a particular link to Shakespeare where this is a common element. This also links to the twins in the Shakespeare play ‘twelfth night’ where Viola dresses as her bother Sebastian producing confusion and comedy for the viewer. This display of deception links to when Dora asks Nora for Nora’s boyfriend for the night and they pretend to be each other and deceive him into thinking he is with Nora. Indeed, deception is a common theme throughout performance: Melchior deceives nearly everyone into thinking that he’s a nice man who’s ‘Our greatest living Shakespearian’ when really, underneath the performance he puts on, he’s really the ‘Prince of players’ and doesn’t really care about his own daughters, only that he’s centre stage. . Dora’s narration makes constant references to performance, music hall and theatre. The opening of the novel ‘welcome to the wrong side of the tracks’ links to performance as it sounds like the standard opening of a play. Also, near the start, we see another link to performance through...
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...In William Shakespeare’s last comedic play Twelfth Night or What You Will the concept of creativity and imagination is an essential element to the plot as it is intertwined with love and identity. Few parts of the play are not in some way affected by imagination and creativity. This Shakespearean play depicts situations of deception, love and most prominently foolery all of which are fueled by the creativity and imagination of the cast. Throughout the play the source of a character’s love for another is challenged by how creativity and imagination play a role in their devotion. Characters use creative ploys to manipulate the imaginations of their targets causing foolery and chaos to ensue. Creativity and imagination spark love, and create clouds of confusion. It is only when events caused by works of creativity and imagination are revealed to all that the play can come to a close. In the opening scene of the play Orsino, detailing the extent of his lovesickness, says “So full of shapes is fancy / That it alone is high fantastical” (1.1.14-15). Orsino speaks of fancy as meaning love and that his love creates intense...
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...‘I am not that I play’ – Twelfth Night and the Comedy of Cross-dressing Dr Pamela Bickley considers the subtleties of gender-swapping in Shakespeare’s play. In Twelfth Night Shakespeare exploits the complexity of the situation to the full; disguise is part of the play’s carnivalesque confusion. Attention is frequently drawn to the falseness of Viola’s disguise. In her first scene with Orsino, she is already ‘Dear lad’ and close confidante: ‘I have unclasp’d To thee the book even of my secret soul.’ Orsino himself comments that Cesario is still physically far from manhood: ‘Diana’s lip Is not more smooth and rubious. Thy small pipe Is as the maiden’s organ, shrill and sound, And all is semblative a woman’s part.’ Act 1 Scene 4 l.31-34 His language (as well as conveying sexual innuendo) emphasises Viola’s androgyny: the attractive young man who resembles a woman. Shakespeare’s ‘Sonnet 20’ praises masculine beauty in similar language: A woman’s face with Nature’s own hand painted Hast thou, the master-mistress of my passion Disguise and the Love Triangle Viola’s situation is unique in two respects: first, she is a twin consciously using her disguise to keep her brother alive: ‘I my brother know Yet living in my glass. Even such and so In favour was my brother, and he went, Still in this fashion, colour, ornament, For him I imitate.’ Act 3 Scene 4 l.370-4 to a maid and man’. Equally, when Orsino claims his ‘share in this most happy wreck’, he still addresses...
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...Liam Gutteridge Twelfth Night – Scene 1 annotations IllyriaDuke Orsino enterswith his lordsOrsino is in love beautiful Lady Olivia. Refuses to hunt and orders musicians to entertain him while he thinks about his desire for Olivia. His servant Valentine reminds him that Olivia does not return his love or even listen to the messages he sends her. We learn from Valentine that Olivia is in mourning for her brother, who has recently died. She wears a dark veil, and she has vowed that no one will see her face for another seven years She refuses to marry anyone until then. Orsino, obsessed with the woman who keeps refusing him, wants only to lie around on beds of flowers, listening to sweet music and dreaming of Olivia. Act I, scene ii Illyrian coast Young noblewoman named Viola speaks with the captain whose crew has just rescued her from a shipwreck. Although Viola was found and rescued, her brother, Sebastian, seems to have vanished in the stormCaptain tells Viola that Sebastian may still be alive. He says that he saw Sebastian trying to keep afloat by tying himself to a broken mastViola does not know whether or not it is worth holding onto hope. In the meantime, however, she needs to find a way to support herself in this strange land. The ship’s captain tells Viola all about Duke Orsino, who rules Illyria. Viola remarks that she has heard of this duke and mentions that he used to be a bachelor. The captain says that Orsino still is a bachelor, but then goes on to tell Viola...
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...Comic plays by William Shakespeare. Famous Comic Plays: As You Like It Comedy Of Errors Much Ado About Nothing Loves’ Labour’s Lost Merchant of Venice Two Gentle Men of Verona Taming of Shrew Tempest Twelfth Night Measure of Measure “Professional entertainment consisting of jokes and satirical sketches, intended to make an audience laugh”. Synonyms: light entertainment, comic theater, frace , situation comedy, satire, pantomime ,comic, opera “A movie, play, or broadcast program intended to make an audience laugh.” plural noun: comedies The Tragic and the Comic fade into each other by almost insensible gradations, and the greatest beauty of a poetical work often consists in the harmonious blending of these two elements. Not only in the same drama may both exist in perfect unison, but even in the same character. Great actors generally have a similar quality, and frequently it is hard to tell whether their impersonations be more humorous or more pathetic. Shakespeare seems to have taken a special delight in its employment. No principle of his procedure is better known or more fully appreciated. His tragedies never fail of having their comic interludes; his comedies have, in nearly every case, a serious thread, and sometimes a background with a tragic outlook. Life is not all gloom or all delight; the cloud will...
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...Throughout several of William Shakespeare’s plays, he has a character or characters that dissemble, which according to the Oxford English Dictionary is defined as “to alter or disguise the semblance of (one’s character, a feeling, design, or action) so as to conceal, or deceive as to, its real nature: to give false or feigned semblance to; to cloak or disguise by feigned appearance.” By dissembling or disguising, it allows one to be someone they are not and do things they don’t normally do. In plays such as Twelfth Night, Much Ado About Nothing, Hamlet, and The Merchant of Venice are just some of Shakespeare’s works in which he utilizes the concept of disguise. Shakespeare uses disguise of behavior and dress in his plays Hamlet and The Merchant of Venice. In Hamlet, Hamlet himself feigns madness in order to seek the truth of...
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...Act I, scenes i–ii Summary: Act I, scene i If music be the food of love, play on, . . . O spirit of love, how quick and fresh are thou. . . . In the land of Illyria, Duke Orsino enters, attended by his lords. Orsino is hopelessly in love with the beautiful Lady Olivia and pines away for her. He refuses to hunt and orders musicians to entertain him while he thinks about his desire for Olivia. His servant Valentine reminds him that Olivia does not return his love or even listen to the messages he sends her. We learn from Valentine that Olivia is in mourning for her brother, who has recently died. She wears a dark veil, and she has vowed that no one will see her face for another seven years—and she refuses to marry anyone until then. Orsino, obsessed with the woman who keeps refusing him, wants only to lie around on beds of flowers, listening to sweet music and dreaming of Olivia. Summary: Act I, scene ii Meanwhile, on the Illyrian sea coast, a young noblewoman named Viola speaks with the captain whose crew has just rescued her from a shipwreck. Although Viola was found and rescued, her brother, Sebastian, seems to have vanished in the storm. The captain tells Viola that Sebastian may still be alive. He says that he saw Sebastian trying to keep afloat by tying himself to a broken mast. But Viola does not know whether or not it is worth holding onto hope. In the meantime, however, she needs to find a way to support herself in this strange land. The ship’s captain tells Viola...
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...Romantic comedy is a popular genre that depicts burgeoning romance in humorous terms and focuses on the foibles of those who are falling in love Title page of the first quarto of Shakespeare's Midsummer Night's Dream (1600) "Comedy", in its Elizabethan usage, had a very different meaning from modern comedy. A Shakespearean comedy is one that has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare's other plays.[13] Comedy (from the Greek: κωμῳδία, kōmōidía), in the contemporary meaning of the term, is any discourse or work generally intended to be humorous or to amuse by inducing laughter, especially in theatre, television, film and stand-up comedy. This sense of the term must be carefully distinguished from its academic one, namely the comic theatre, whose Western origins are found in Ancient Greece. In the Athenian democracy, the public opinion of voters was influenced by the political satire performed by the comic poets at the theaters.[1] The theatrical genre can be simply described as a dramatic performance which pits two societies against each other in an amusing agon or conflict. Northrop Frye famously depicted these two opposing sides as a "Society of Youth" and a "Society of the Old",[2] but this dichotomy is seldom described as an entirely satisfactory explanation. A later view characterizes the essential agon of comedy as a struggle between a relatively powerless youth...
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...to you. We've got a checklist that details all the typical conventions and features of the genre so you can see for yourself: Light, humorous tone: Check. The play features fairy magic (like Oberon's love potion), silly pranks (like the transformation of a guy's head into that of a jackass), and the botched performance of a play-within-the-play by a bunch of wannabe actors. Need we say more? Clever dialogue and witty banter: Check. Shakespeare is a huge fan of punning and snappy wordplay, so naturally, his characters know how to get their witty repartee on. Shakespeare reserves some of the best dialogue for his warring lovers, especially Oberon and Titania, and even the "rude mechanicals" manage to wow us with their clever banter. Deception and disguise: Let's see…Hermia and Lysander try to sneak away from Athens to elope (behind Egeus's back). Also, Titania and the young lovers have no idea they've been drugged by Oberon and his magic love juice. So, check. Mistaken identity: Check. Sort of. In most of Shakespeare's other comedies, someone usually runs around in a disguise to mask his or her identity. (Sometimes, a lover is even tricked into sleeping with the wrong person by mistake.) This isn't necessarily the case in A Midsummer Night's Dream, unless we count the fact that the love juice causes Titania to fall head over heels in love with an "ass." In other words, Titania mistakes Bottom for a creature who is worthy of her love and affection. The same can be said of the...
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...Thought and Structure of Comedy — The Tragic and the Comic fade into each other by almost insensible gradations, and the greatest beauty of a poetical work often consists in the harmonious blending of these two elements. Not only in the same drama may both exist in perfect unison, but even in the same character. Great actors generally have a similar quality, and frequently it is hard to tell whether their impersonations be more humorous or more pathetic. This happy transfusion and interchange of tragic and comic coloring is one of the characteristics of supreme art; it brings the relief along with the pain; it furnishes the reconciliation along with the conflict. Shakespeare seems to have taken a special delight in its employment. No principle of his procedure is better known or more fully appreciated. His tragedies never fail of having their comic interludes; his comedies have, in nearly every case, a serious thread, and sometimes a background with a tragic outlook. Life is not all gloom or all delight; the cloud will obscure the sun, but the sun will illumine the cloud — at least around the edges. Still, the Comic is not the Tragic, however subtle may be their intertwining, and however rapid their interaction. They rest upon diverse, and in some respects opposite, principles. Criticism must seek to explain the difference between them for the understanding, and must not rest content with a vague appeal to the feeling of beauty. Tragic earnestness springs from the deep ethical...
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...INTRODUCTION William Shakespeare’s Romeo and Juliet is an excellent introduction to Shakespearean drama; teenagers can relate to its plot, characters, and themes. The play’s action is easily understood, the character’s motives are clear, and many of the themes are as current today as they were in Shakespeare’s time. Therefore, it can be read on a variety of levels, allowing all students to enjoy it. Less able readers can experience the swash-buckling action and investigate the themes of parent-child conflict, sexuality, friendship, and suicide. Because of the play’s accessibility to teenagers, able readers can view the play from a more literary perspective, examining the themes of hostility ad its effect on the innocent, the use of deception and its consequences, and the effects of faulty decision making. They can study how the characters function within the drama and how Shakespeare uses language to develop plot, characters, and themes. The most able students can develop skills involved in literary criticism by delving into the play’s comic and tragic elements and its classically tragic themes: the role of fate and fortune, the inevitable nature of tragedy, and the isolation of the tragic hero. This teacher’s guide will be divided into several parts: (1) a brief literary overview, including a synopsis and commentary on the play; (2) suggestions for teaching the play, including activities, discussion questions, and essay topics to be used before, during, and...
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