Analyse and show how Shakespeare shapes the audience's perception of Olivia's steward, Malvolio.
Analyse and show how Shakespeare shapes the audience's perception of Olivia's steward, Malvolio. Twelfth Night was a play written by William Shakespeare, first performed in 1602, February 2nd. In comedies Shakespeare loved to use mistaken identity and tricks, and in Twelfth Night he uses a lot of it. The key figure un the comic subplot is Malvolio, Olivia's steward, who strongly disapproves of the other members of her household - her uncle Sir Toby Belch, his friend Sir Andrew Aguecheek and the jester Feste. Together with Maria, Olivia's waiting-woman, these three plot Malvolio's downfall. The content of this essay is about how Shakespeare shapes the audience's response to Malvolio as the target of the joke and how this changes as the trick progresses. I will also discuss the techniques that Shakespeare uses to get these responses. In Malvolio's first scene the audience dislike him before he speaks because he is a Puritan. Many directors therefore will dress him in black, and will have him with black hair. Later on Maria reinforces this in Act II, Scene III, Line 119; "Marry, sir, sometimes he is a kind of puritan" Puritan was the name given in the 16th century to the more extreme Protestants within the Church of England who thought the English Reformation had not gone far enough in reforming the principles and structure of the church; they wanted to purify their
Which is the most important aspect of love demonstrated in the play Twelfth Night?
Which is the most important aspect of love demonstrated in the play Twelfth Night? In the play Twelfth Night, by William Shakespeare, there are many different types of love conveyed; courtly, unrequited, sibling, plutonic, romantic and self love. All of these different aspects help build up the structure of the play as they are highlighted by at least one pair of characters. Out of the numerous types, self love and unrequited love are the two expressed the most, in the comedy side as well as the romantic. Self love is slightly more important because, in most cases, self love needs to be in existence for unrequited to be initiated. Self love is defined as "selfishness, self-indulgence". Two excellent examples of this are Orsino and Olivia. Although Orsino's can be closely connected with courtly and unrequited, there is more of a self love aspect to it. Orsino's self love is conveyed to the audience by showing him lounging around with lots of servants going about, running his errands for him. He is very opinionated about his love for Olivia claming "Mine is as hungry as the sea, and can digest as much". He is also very chauvinistic believing a man's love to be stronger than a woman's "As love doth give my heart; no woman's heart so big, could hold so much; they lack attention". Another example of self love is Olivia. Olivia is so wrapped up in herself that, for
The main theme of the play is mistaken identities. The three main characters are Orsino, a Duke, Olivia, a countess, and Viola, a woman who dresses as a man so she can be a servant to Orsino
Twelfth Night: Critical Evaluation of Literature by Paula O'Brien The play I read is called "Twelfth Night", and was written by William Shakespeare. William Shakespeare is known for his brilliant playwriting skills, "Twelfth Night" is no exception. "Twelfth Night" was branded as a comedy when it was written in the 1600s, I am writing this essay to see if "Twelfth Night" can still be classed as a comedy in the twenty-first century, or if the humour is too old fashioned for modern tastes. The main theme of the play is mistaken identities. The three main characters are Orsino, a Duke, Olivia, a countess, and Viola, a woman who dresses as a man so she can be a servant to Orsino. During the play Viola's twin brother, Sebastian turns up and everyone thinks he is Viola, as she is dressing as a man. Viola is in love with Orsino but Orsino is in love with Olivia and Olivia is in love with Viola, this creates a love triangle. Also in the play there are servants and two knights who produce a lot of humour. In conjunction to the love triangle there are three additional plot lines in the play, they involve Malvolio, a servant, finding a love letter, a duel between Viola and Sir Andrew Aguecheek and Olivia proposing to Sebastian, as she thinks he is Viola. I will discuss these to see if they have any humour among them. Malvolio is a servant who thinks he is more superior than he
Twelfth Night Coursework
2301 Twelfth Night Coursework. How does Shakespeare make act 2 scene 5 of Twelfth Night particularly dramatic? Twelfth Night, written by Shakespeare in the early 17th century, is a romantic comedy containing several sub-plots and one main plot. The main plot is the complex love triangle between Orsino, Olivia and Viola/Cesario. This is seen as extremely strange as Viola, a woman, is dressing up as a man to work for Orsino. She then attracts the attention of a wealthy woman named Olivia - Viola then doesn't know how to react as Olivia is blind to the fact that Viola is actually a woman. When the audience first learn this - it is in Act 1 Scene 2 - Shakespeare uses a technique called dramatic irony. This is where the audience knows something a certain actor doesn't. In this case, the audience knows that Viola is actually a woman and the other characters are aware of this - it becomes very humorous. One of the main sub-plots is when Sir Toby Belch, Sir Andrew Aguecheek, Feste and Maria devise a trick to play on Malvolio. Throughout the play Malvolio is described as a Puritan. This was a word mainly used in Shakespearian times and it suggests a person that sticks to strict principles and avoids life's simple pleasures. This was a clever move of Shakespeare as he realised the audience would take an instant dislike towards Malvolio due to his Puritan beliefs being put
Twelfth Night character analysis
Coursework English Literature, Shakespeare, Twelfth Night English Literature, Shakespeare, Twelfth Night At the start of the play, Orsino, the Duke of Illyria is shown as a noble man. Shakespeare's audience knew this or has noticed this by the way Orsino speaks. Orsino speaks in an elaborate and very sophisticated way. He does this by comparing music with food and love with appetite when he says, "If music be the food of love, play on, give me excess of it". Also, Orsino uses sibilance, which is a repeated's' that creates a soft dramatic and gentle mood and he also speaks in verses (iambic pentameter, and with rhythm). However, Orsino is in love with the idea of being in love because he only thinks about love but not the love to Olivia, a Countess whose father and brother have died. Olivia's name is not mentioned until Act 1, Scene 1, line 18. Orsino also uses a paradox "Stealing and giving" which he says that the pleasant odor has left and compares love with the sea, as it can be very strong and devastating and if something falls inside it, it will lower its value. This, however, is not the only thing we know about Orsino. He uses a pun, when his servant Curio asks him if he wants to hunt the "Hart" which was a sort of deer, and Orsino makes it sound as if he wants to go and hunt Olivia's heart, which shows us his way of avoiding Curio's attempt to change the
Analysis of Comedy in Act 3 Scene 4 of Twelfth Night
Analyse the comedy in Act 3 Scene 4 of 'Twelfth Night' Shakespeare's romantic comedy 'Twelfth Night' involves deception, trickery and love, typical themes in Elizabethan drama. This theme of romance intertwined with comedy is suggested by the title which implies that a play set in the Christmas season is going to be full of love, happiness and celebration. The literary tradition of an Elizabethan comedy would involve many techniques to make the audience laugh, such as a convoluted plot, mistaken identity, disguise, comic characters and verbal humour. 'Twelfth Night' is no exception to this. Its main theme is love but the path to true love is not simple for any of the characters and involves certain 'love triangles', where Orsino thinks he loves Olivia, who loves Cesario (Viola), who is in love with Orsino. Added to all this is the complication of Sir Andrew Aguecheek being spurred on by Sir Toby to woo Olivia and Malvolio having a trick played on him which makes him believe that his mistress, Olivia loves him. Many of these plots and sub-plots come to a head in Act3 Scene 4 in a very comic manner. Malvolio provides much of the visual humour in this scene. Olivia sends for him on a serious matter, saying: 'Where's Malvolio? He is sad and civil, And suits well for a servant with my fortunes:' The audience would be full of anticipation at this point as Malvolio has been
How do your feelings change towards Malvolio during the course of the play?
How do your feelings change towards Malvolio during the course of the play? Malvolio was a very important member in Olivia's household. Being the steward he was responsible for a lot of things in the house. He was a conscientious and efficient steward who Olivia cared much about. '' I would not have him miscarry for the half of my dowry '' ( Act 3, Scene 4, Line 62-62 ) Malvolio's service and his judgement were valued by Olivia. '' if it be a suit from the Count, I'm sick, or not at home - what you will do dismiss it '' ( Act 1, Scene 5, Line 98 ) We first met Malvolio in Act 1, Scene 5 when Feste was trying to prove to Olivia that she was the fool for mourning for her brother when she knew that his soul was in heaven. Olivia asked for Malvolio's opinion on Feste. Malvolio was critical, bitter and sarcastic in his response. He replied as if he was looking forward to Feste's death. '' Yes, and shall do till the pangs of death shake him '' ( Act 1, Scene 5, Line 67 ) He referred Feste as a ' barren rascal ' and totally put him down. He didn't actually speak directly to Feste, he talked bad of Feste right in front of him, as if he didn't existed. Malvolio's comments on him were scornful. He said Feste needed an audience or he'd have nothing to say. This in fact is very true, actors need audience to complete their performance or their act would be totally
To what extent does Shakespeare provide his audience with a satisfying ending to twelfth night.
To what extent does Shakespeare provide his audience with a satisfying ending to twelfth night. Shakespeare ends twelfth night with a resolution for some characters but others have ending which are less satisfying for the audience. Violas first problem is that she believes her brother is dead. 'My brother, he is in Elysium.' (A1S2L4) Elysium to an Elizabethan audience would mean 'heaven'; a place where the dead go, meaning that Sebastian has died. To a modern audience this may seem to be a different place, e.g. another island, but violas next line 'Perchance he is not drowned: what think you sailors?' (A1S2L5) explains to a modern audience that she believes her brother has died. This is resolved by viola finding her brother alive, 'Of charity, what kin are you to me?' (A5S1L215). This would be satisfying to both Elizabethan and modern audiences although the discovery continues for a prolonged period of time, which may bore some audiences. The second problem is that viola is secretly a woman, disguised as a man to get work in the count Orsino's house. 'Conceal me, what I am' (A1S2L53) 'Thou shalt present me as an eunuch to him' (A1S2L56). Orsino believes her disguise and allows 'him' to work there under the name of 'Cessario', but she is often at risk of being discovered. When viola discovers her brother is alive she reveals that she is a woman. This would not be
Act 2 scene 5 Twelth night - What dramatic devices ensure that this scene is the main focus of comedy within this play?
What dramatic devices ensure that this scene is the main focus of comedy within this play? Act 2 Scene 5 is one of the most humorous and important scenes within Twelfth Night. As well as being humorous it also shows Malvolio's self love and delusion. It also explores one of the main themes of the play; the theme of love. Shakespeare has included many dramatic devices, which ensure that when acted on stage, Elizabethan and modern audiences could understand and enjoy the play. The way in which Shakespeare structures the play heightens the comedy in this scene. Its humorous content is emphasised by its contrast with the seriousness of Scene 4, which is very much about love and illusion, with Viola and Orsino having an intense discussion about their love. Scene 5 itself symbolises Malvolio's self love and is humorous as Malvolio is tricked and hence becomes the victim. The running commentary from the onlookers and their use of plosive words and entertaining language is very amusing to the audience. In comparison the intelligence of Act 3 Scene 1 serves to double the comedy. Feste's and Viola's clever and witty conversation and wordplay in this scene continues the humour, but also emphasises Malvolio's foolishness. Act 2 Scene 3 is where it all begins. The drunken revelry of Sir Toby and his friends is interrupted by Malvolio telling them to be quiet. Malvolio also
Is Twelfth Night Still Funny To A Modern Day Audience?
Amanda Dunnington AS English Literature Coursework Twelfth Night Is Twelfth Night Still Funny To A Modern Day Audience? Comedy should entertain a general audience. It is usually a dramatic work that is light, and often satirical in tone. Horace Walpole once said that "life is like a comedy to those who think, and a tragedy to those who feel." This can be said to be true in as we tend to laugh at comic characters, particularly comic double acts, but "feel" with tragic heroes. The audience at a comedy is likely to feel itself to be slightly superior to, and therefore distant from, the comic figures, even the romantic leads, if it is to laugh at their follies. Comedy can be defined in three main types; visual, verbal and situational. Visual humour is usually accessible images, pictures and the obvious. Verbal humour is the spoken satire, word-play and stories. Situational humour takes place around a plot created by an author. The cynic who stated that "laugh and the world laughs with you, cry and you cry alone" was possibly a theatre fanatic. In Shakespeare's plays, this distinction has the effect of isolating the characters at the end of his tragedies, and uniting them at the end of the comedies. Byron may have been misogynistic when he stated that "all comedies end in marriage" but the ceremony operates as a mark of unification and social harmony in the closure of a