Twelfth Night Characters. - ppt video online download
In Twelfth Night the relationships are anything but romantic. Shakespeare writes from the male point of view which implies an un-easy split between love and. and find homework help for other Twelfth Night questions at eNotes. Thus it is that we are introduced in Act I scene i to the Duke Orsino, who is swift to irony of Viola dressed as Cesario being forced to take messages of love from her master to Olivia So, three characters, each involved in a crazy tangled up relationship. Shakespeare's comedy Twelfth Night with notes and analysis. [Enter DUKE ORSINO, VIOLA, CURIO, and Lords]. DUKE ORSINO, Belong you to the Lady.Twelfth Night Extract
The jokester role in Shakespeare's Twelfth Night is definitely filled by the character of Maria. In the comic play, Maria is a central figure in Lady Olivia's household. She teams up with other characters to play jokes on Malvolio, and at the end of the play, she gets her own happy ending.
The theme of Desire and Love in Twelfth Night from LitCharts | The creators of SparkNotes
Pretty nice conclusion for the practical joker of the group! Character Traits Maria is loyal to her mistress, Lady Olivia. However, she uses that trust and loyalty to copy Olivia's handwriting to play a trick on Malvolio, the steward of Olivia's household. In the fourth scene, Olivia is again the central subject of discussion.
Thus, we hear a great deal about this important lady before we actually meet her. Other than the melodramatic pose that Olivia is assuming at the beginning of the play we know it to be false because she is willing to immediately forget it in order to flirt with CesarioOlivia is presented as being essentially an intelligent woman with a number of good qualities.
Her intelligence is constantly seen in the many household matters that she has to attend to. She has to contend with her drunken uncle, Sir Toby Belch When Malvolio presents himself in his mad garb, she feels compassion for her foolish steward. Yet, earlier when Feste made fun of Malvolio, the over-serious steward, Olivia was fully capable of appreciating the clown's joke. She is much more aggressive in the pursuit of her love than is Duke Orsino in his pursuit of Olivia.
While she recognizes the duke's good qualities and acknowledges them, she is adamant in her refusals, and, thus, it is part of the comedy that the lady who has no sympathy for the duke falls so irrationally in love with a young girl disguised as a young boy. When she discovers that she has actually married young Sebastian, Viola's twin, she quickly transfers her love to him, just as Duke Orsino is able to transfer his love to Viola.
Twelfth Night Characters.
Both claim to have strong emotions, but both ultimately seem to be self-indulgent individuals who enjoy melodrama and self-involvement more than anything. When we first meet them, Orsino is pining away for love of Olivia, while Olivia pines away for her dead brother. They show no interest in relating to the outside world, preferring to lock themselves up with their sorrows and mope around their homes.
Ultimately, Orsino and Olivia seem to be out of touch with real emotion, as demonstrated by the ease with which they shift their affections in the final scene.
The similarity between Orsino and Olivia does not diminish with the end of the play, since the audience realizes that by marrying Viola and Sebastian, respectively, Orsino and Olivia are essentially marrying female and male versions of the same person.
Washed up on the shore of Illyria when her ship is wrecked in a storm, Viola decides to make her own way in the world. She disguises herself as a young man, calling herself "Cesario," and becomes a page to Duke Orsino. She ends up falling in love with Orsino—even as Olivia, the woman Orsino is courting, falls in love with Cesario.
Viola finds that her clever disguise has entrapped her: Her poignant plight is the central conflict in the play. Viola also has a native intelligence, an engaging wit, and an immense amount of charm 14 Viola 15 Viola Due to her circumstances, she is, first of all, a very practical and resourceful person.
As a shipwrecked orphan who has no one to protect her, she must resort to some means whereby her safety is assured.
She knows that a single woman unattended in a foreign land would be in an extremely dangerous position. She disguises herself as a boy so that she will be safe and have a man's freedom to move about without protection. Consequently, Viola is immediately seen to be quick-witted enough to evaluate her situation, of sound enough judgment to recognize the captain's integrity, resourceful enough to conceive of the disguise, and practical enough to carry out this design.
She has no serious faults, and we can easily discount the peculiarity of her decision to dress as a man, since it sets the entire plot in motion.
She is the character whose love seems the purest. Because of her disguise, she must be both herself and Cesario. Thus liberated by her brother, Viola is free to shed the roles that she has accumulated throughout the play, and she can return to being Viola, the woman who has loved and won Orsino. On the outer most layer, obvious comparisons can be formulated. Both characters are strong females who hold true to their convictions. They are not easily influenced by other characters and pursue what they wish to within their boundaries.
In keeping with society, however, both women maintain their limits and know them well. Viola falls in love with Duke Orsino, but does not pursue his love as she is in disguise.
Maria in Twelfth Night: Character Traits & Analysis
She knows better than to act on her impulses because ulterior forces are at hand. Viola demonstrates her inner strength when taking the job as Orsino's workman. She is determined to keep on with her life despite the problems she has previously experienced. Within the same theme, Olivia also displays her strength as a woman in a society driven by men.
Whatever your pleasure may be, provided it is an action that is not unworthy of you. Why should I not, if only I could bring myself to do it, kill what is dearest to me in the world?
Theobald has shown that this is a reference to the story of Theagenes and Chariclea in the Ethiopica of Heliodorus, of which a translation existed in Shakespeare's time. The Egyptian thief i. Being himself shortly afterwards overpowered by a stronger body of robbers, he had her shut up in a cave with his treasure.
But seeing no hope of escape and being determined that no one else should marry Chariclea, he called to her to come out, and being answered by a voice which he took to be hers, plunged his dagger into the heart of the person issuing forth. I tender dearly, I hold in tenderest regard; cp. The question of appeal in the two previous lines is equivalent to 'you will be a monster of deceit by the time you come to your full growth,' and the Duke goes on 'but perhaps you will never live to reach that full growth, for your precocious endeavour to trip up others may result in your own destruction, you may be caught in your own snare,' "hoist with your own petard" Haml.
Hold little faith, i. The count's gentleman, i. God's little lives, a petty form of oath; cp.
Middleton, Blurt, Master Constable, ii. That's all one, that does not much matter: Dick surgeon, Dick Richard the surgeon.
Twelfth Night - Duke Orsino declares a double wedding
Hawkins, 'differing little from the action of walking' ; the 'pavin,' or 'pavan,' was a grave and stately dance, often mentioned by our early writers according to Sir J. Hawkins, from pavo, a peacock, according to Italian authors, from Paduana ; and the passinge measure Pavyon occurs in a list of dances printed from an old MS. Ben Jonson, Middleton, and Dekker all speak of "the Spanish pavin.