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Twelfth night modern interpretation
Twelfth night modern interpretation
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More handpicked essays just for you.
Twelfth night modern interpretation
Twelfth night modern interpretation
Don’t take our word for it - see why 10 million students trust us with their essay needs.
As supported by psychology, it takes more than a single interaction for one to draw a conclusion on the true characteristic of another. For, if one only used that one moment to judge the characteristics of another, then he or she would most likely misjudge how that person truly is. Instead, it is crucial to use a multitude of instances with another to piece together their true intentions and moral values. In The Crucible, a tragedy, by Arthur Miller, scene 2.2 should be included in the play because it adds to the development of character.
High key lighting is used in this scene during the moment where the slaves begin to bathe themselves before being auctioned. McQueen uses this lighting to exhibit the setting they are in. The light highlights there features but does not over enhance their bodies. Rather the lighting is full but drab, in that it does not show contrast or much difference in each of the persons. This use of high fill light allows the viewer to see the area in which they have been put in, but does not provide detail.
The lines 271-279 of Act 1, Scene 5 are spoken by Viola disguised as 'Cesario ' to the Countess Olivia after being sent by Orsino to "woo" Olivia on his behalf. The dialog is exceedingly significant to the overall plot as it establishes Olivia 's love for 'Cesario ' and an inkling to Cesario 's loyalty and love for Orsino. Viola 's description of what she would do if she loved Olivia as Orsino does attracts Olivia attention and affection. Viola 's lines to Olivia of making "a willow cabin" (1.5.271) at the gate and writing songs of "contemned love" (1.5.273) to sing them "in the dead of night" (1.5.274) conveys an agonizingly desperate love that should be pitied.
In his play, Twelfth Night, William Shakespeare has his characters participate in the practice of deception and dishonesty of others - after all, the foundation of Shakespeare’s play resides within a lie. One of the major deceptions in the play is executed by the Illyrian countess, Olivia, as she repeatedly claims to need solitude to mourn her brother’s death in order to avoid Duke Orsino and his obsession towards her. This deception contributes to the meaning of the work as a whole by adding the thematic message, deception and dishonesty is sometimes the better option when it comes to love. From the beginning of the play, Olivia is introduced as the grieving countess that has recently lost a brother.
The two interpretations performed for Richard III Act 4, scene 4, lines 110-147, were one as the universal tragic and the other as comedic. The tragic interpretation of the scene follows the universal perception of the play. Richard is this angry and psychopathic character who seeks to be villainous. The women in the scene are all scared of Richard as they are aware of his deeds. Queen Elizabeth asks Margaret to “teach me how to curse mine enemies” (4.4, 111) because she is scared and wants Richard to pay for his crimes.
5) Although it only seems as background information, the fact that Hamlet is a scholar plays a large role in his thinking in act 2. Due to his desire to believe ideas that can be proven through evidence (similar to Horatio's reaction when had not seen the ghost), the questions Hamlet faces are unusual for him because they involve the supernatural, a non scientific phenomenon. This is due to the influence of the Renaissance. In addition, pride in human potential was also a newly introduced principal. When Guildenstern and Rosencrantz visit, it is his education that allowed him to quickly grasp onto the true reason they have visited and it is the influence of the Renaissance on his knowledge that allowed him to display betrayal in unique way.
He becomes comic but by accident.” (On the character of Malvolio). This is part of the comedy of it. Going back to the train wreck analogy, we know that there is nothing that can prevent what is about to happen. Malvolio is head over heels for Olivia, almost to the point where it’s creepy.
When Olivia is first entertained by the Fool, she recognizes that “[Malvolio] [is] sick of self-love,” revealing Malvolio’s arrogance (Twelfth Night 1.5, 89-92). This arrogance is linked to his Christian self-righteousness when Maria describes him as “a puritan...an affectioned ass…[that] persuaded of himself,...that it is his grounds of faith that all that look on him love him, (TN 2.3, 145-150). Thus, Maria identifies that Malvolio’s self-love is tied up in his piousness, and that he uses his moral superiority as justification for his high opinion of himself. Malvolio takes this pride and sense of superiority further by desiring to be “Count Malvolio,” and imagining Sir Toby “curts[ying]” to him, indicating not only his desire for prestige and power, but his belief that Sir Toby is physically lower than himself because of his “drunkenness,”(TN 2.5, 34, 60-73). Malvolio thus uses his Puritanism as fuel for his actions and desires, imagining himself to be morally superior to Sir Toby and therefore more entitled to a higher social position.
Alan Rudolph, film director, once said, “ It’s part of the general global hypnotism to accept lies as the new truth.” In the play, Twelfth Night by William Shakespeare demonstrates how characters tend to lie to benefit each other or for love. In many events, people are always lying for many reasons which can affect each individual. For example, in the play, Maria said, “ I will drop in his way some obscure epistles of love; wherein, by the colour of his beard, the shape of his leg, the manner of his gait, the expressure of his eye, forehead, and complexion, he shall find himself most feelingly personated.
A cruel prank on Malvolio, a member of Lady Olivia’s household, initiated in Act II, Scene V is a supposed love letter from Lady Olivia. The prank is carried out by Maria, a servant in the household of Lady Olivia, Sir Andrew Aguecheek, a friend of Lady Olivia’s uncle, Sir Toby
In the play Twelfth Night, by William Shakespeare, Feste is a likeable character. First, Feste is consoling. When Viola is mourning the death of her brother, Feste says to her: “The more fool, madonna, to mourn your brother’s soul, being in heaven.” (1.5, 63-64) By improving Viola’s spirit and making her happy, it shows that Feste is a very consoling person.
Twelfth Night seems to present gender as a mask to be worn and taken off at will, a fluid concept that changes to suit one’s needs and emotions. By playing Cesario, Viola partly becomes this version of herself, so Olivia, by loving Cesario, has feelings for Viola by extension. When Sebastian makes his reveal, Olivia marries him for two reasons. The first is an external piece of reasoning, being that in Elizabethan comedies such as this, heterosexual pairings must happen for the play to follow the fairly strict expectations of a comedy. The second falls to Sebastian’s demeanor.
Shakespeare’s renowned play Twelfth Night centers around love, both in platonic and romantic instances. Characters display elements of self, brotherly, amorous, and friendly love towards one another; however, of the relationships portrayed, the strongest ones are those between men. In contrast, relationships between men and women lack depth and sincerity due to the lapse of communication between the opposing genders. Men are able to express their feelings to one another more freely, which gives their bonds strength that heterosexual relationships fail to display.
Mubin Hira PERFORMANCE TREATMENT #1 Going to my first play ever was an experience that I will always remember. Being brand new to the theatre world, I didn’t know what to expect when I walked into the grand Krannert Center. It was a different atmosphere; almost unreal. Attending Twelfth Night, or What You Will in person was an amazing experience.
In the play Twelfth Night, through the depiction of Orsino’s and Viola’s desires for romantic love, Shakespeare portrays how adjustable and self-delusional human romantic attraction can be, especially when blinded by wants and needs. Viola, who puts on the appearance of a man, makes everybody think she is a male. Her disguise becomes a sexual confusion throughout the play for several characters, creating an odd love triangle where Viola loves Duke Orsino, who loves Oliva, which then on the other hand loves Viola, in disguise as Cesario. On the other hand, Malvolio dreams of marrying his beloved Olivia, and gaining authority over his superiors, like Sir Toby. Shakespeare uses disguise in the play to show several confusions and internal conflicts between the characters, proving how malleable and deluded some human attractions can be.