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Emotion and "Twelfth Night", 2008.
This paper looks at the overabundance of emotion in Shakespeare's work 'Twelfth Night'.
1,274 words (approx. 5.1 pages), 1 source, MLA, £ 29.95
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Abstract
In this article, the writer points out that many scholarly articles and studies of 'Twelfth Night' tend to downplay the literary importance of the play by categorizing it as a genial and charming play. The writer maintains that there is not anything inherently abominable about being either genial or charming, but these two words do not do justice to Shakespeare's deceptively "light" play. 'Twelfth Night' is not a tragedy, but this does not prevent Shakespeare from exploring, through comedy, several fundamental themes of human existence: love, grief, and desire. This paper analyzes Shakespeare's exploration of these existential themes as they appear in 'Twelfth Night' and argues that the playwright, through comedy, unveils the ludicrousness and inappropriateness of extravagant and sentimental emotion.
From the Paper
"The question and the man who asks it barely register in Orsino's mind, but he is quick to pull out his readily available stock of conventional wisdom as soon as he breaks his reverie, and responds to Curio's question with a trite metaphor on love and hunting. No wonder, then, that the servants show signs of impatience and restlessness: their master is luxuriating in a state of complete self-absorption, and the outside world (or the beings that inhabit it) have ceased to exist. Of course, this matters not at all to the extravagant Orsino, as he is completely clueless as to what transpires around him and simply lacks the energy (in the manner of all love-sick gentleman) to engage in hunting or other depleting physical activities.
"Olivia, too, embodies these same characteristics, and it is perhaps unfortunate that the two do not make their own happy ending. Similarly to her determined pursuer, Olivia's emotional "disorder" reveals itself through her conversations with Cesario. The reader knows, before even encountering Olivia, that she is in mourning for a beloved brother. "
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Madness in "King Lear" and "Twelfth Night", 2002.
Examines the multiple levels of the theme of madness in two plays by William Shakespeare, "King Lear" and "Twelfth Night".
2,150 words (approx. 8.6 pages), 6 sources, £ 53.95
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Abstract
Madness in Shakespearean plays has distinct and multiple meanings and purposes. On one level, the madness of insanity is clearly felt in the tragedies like "Lear". On another, madness is also felt in the frenetic pace of impossible situations and comedic errors in judgment as is found in "Twelfth Night". Madness is, then, both tragic and comedic. But, it is much more than that. Madness represents a loss of control, of being borne by unnatural impulses, drivesa nd, perhaps, voices. Being mad is to not be yourself, it is to have lost touch with humanity, with life and with reality. The mad are excused from the rules of man and at the same time, tragically bound by them. For some, in madness is found freedom. Lear is wrapped, tightly, within a horrible prison created by his inability to see through the duplicitous daughters and embrace the one person in his life that loves him enough to refuse him. His madness, in the end, is what sets him free of the binds that his daughters and his pride had him in. The madness, however, is like the release from an intense and long-term drug addiction, it is horrible to watch, but leaves Lear in a better state afterward, free of poisons. Madness also allows otherwise straight-laced, bound by social rules (which were oppressive in Elizabethan England), to freely express inner passions, make mistakes and be fools in the eyes of others without fear of recourse, as is the case with nearly every character in "Twelfth Night". It is the purpose of this paper to examine the nature of madness in the Shakespearean context, how it plays out in both King Lear and Twelfth Night, and the meaning behind the madness in both works.
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?Twelfth Night?, a Comedy of Incest, 2004.
A look at the ambiguities of gender and the ambivalence of desire in William Shakespeare's "Twelfth Night".
3,048 words (approx. 12.2 pages), 6 sources, MLA, £ 60.95
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Abstract
This paper argues that contemporary critical perspectives on the sexual politics of Shakespeare's "Twelfth Night" can be expanded by exploring the theme of incest in the play. Although there is no literal incest in the play, erotically charged relationships between brothers and sisters structure the themes and plot of the play and remain unresolved at its end. Using the work of Freud, Judith Butler, and Marjorie Garber, the paper argues that "Twelfth Night" suggests a revision of the psychoanalytic theories of incest.
From the Paper
"Arguments about the destabilization of desire and identity through cross-dressing are important ones. I would like to add to this discourse, however, by proposing that the sexual politics of Twelfth Night might be much more radical than has been widely recognized by queerly-inclined critics. Twelfth Night is a play that begins with two women consumed, excessively, by grief for their dead brothers, a play whose most touching and ?believable? representation of love is that between brother and sister, a play whose desires can only be channeled into normative heterosexual order through an intricate reassigning of positions and replacement of a sister by a brother and a sexual love by a (supposedly) familial one: in short, it is a play structured and driven by incest."
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"The Twelfth Night"., 2002.
An analysis of the concepts of gender and gender roles in Shakespeare's "Twelfth Night".
1,650 words (approx. 6.6 pages), 1 source, £ 41.95
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Abstract
"The Twelfth Night" is an example of how a play can function both as theatrical performance, and as literature. The Twelfth Night is a play based on gender impersonation and openly mocks the assumptions about feminine and masculine behaviour or expectation. This paper focuses on Viola, and Olivia, as they are so clearly designed to complement and contradict (even through the names, which are different arrangements of the same letters.) As Viola impersonates the young man with whom Olivia has fallen in love, the differences in how Viola manages to speak as a man are as varied as Olivia's relations for speaking as a woman in relation to men.
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Disguises in "Twelfth Night" and "King Lear", 2005.
An analysis of the use of disguises in Shakespeare's "Twelfth Night" and "King Lear".
1,350 words (approx. 5.4 pages), 2 sources, £ 35.95
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Abstract
In this paper, the use of disguise in Twelfth Night and King Lear are similar in their usage of various behaviors, costumes, and gender roles that are exchanged to discover the real truth through hidden identity. The paper discusses The Earl of Kent's use of disguise of Caius; contrasting with elements of disguise in Twelfth Night that offer a comedic gender role reversal for the men and women involved in love intrigue.
From the Paper
"In this drama study one can compare and contrast the various uses of disguise that arise within Shakespeare's Twelfth Night and King Lear. By realizing the depth and scope of romantic love within the comedic Twelfth Night, Shakespeare intertwines various aspects of relationships that are disguised through gender roles. In contrast to Shakespeare's comedies, King Lear offers a tragic point of view through disguise, which involves the role of power and leadership, which drives King Lear to madness. In essence, by comparing and contrasting the theme of disguise in both tragedy and comedy, one can evaluate how Shakespeare enacts these crucial factors within a textual analysis."
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Revenge on Malvolio in "Twelfth Night", 2002.
An analysis of the action taken by the servants of Olivia against the manservant Malvolio in William Shakespeare's "Twelfth Night".
2,137 words (approx. 8.5 pages), 0 sources, £ 44.95
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Abstract
This paper examines William Shakespeare's comedy "Twelfth Night" and comments on the social context of Elizabethan society and the degree to which revenge is taken upon Malvolio. It looks at how Shakespeare makes fun of the Puritans, whose Christianity opposed the festivities so loved in Elizabethan society in "Twelfth Night" through Malvolio, the stuck-up steward that is totally opposed to fun as festivity. It analyzes the various forms of revenge as devised by Maria, Olivia and Sir Toby and discusses whether their actions do indeed go too far.
From the Paper
"Madness is a continuing theme throughout the play of Twelfth Night. Maria, Sir Toby and Fabian try to trap Malvolio in madness by acting in such a way as to convince him that they are right. Olivia, already distressed by Malvolio's actions towards her, believes that this might be true. In Elizabethan times, it was thought that to cure a mad person, they should be shut in a dark room until their sanity returned to them, and this is exactly what the plotters do in Act 4, scene 2. They treat Malvolio as though he is actually mad, and Feste joins the scheme, disguising himself as curate Sir Topas to torment Malvolio with his quick-witted tongue."
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Intransigence in the World of Shakespeare's "Twelfth Night", 2003.
Examines the character Malvolio in William Shakespeare's "Twelfth Night" and his inability to adapt to new situations.
1,113 words (approx. 4.5 pages), 1 source, MLA, £ 25.95
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Abstract
This paper examines the purpose of mankind in William Shakespeare's time, looking specifically at the character of Malvolio ("Twelfth Night"),in order to emphasize the importance of character flexibility in the changing world. The paper examines how the character of Malvolio shifts from a man who holds the respect of others to a comic figure, but his downfall occurs because he follows his societal role too strictly and cannot learn to shift mindset and attitude, a characteristic that marks the successful protagonists, Viola, Olivia, and Orsino. The paper shows that in "Twelfth Night", Malvolio is set in his decision to win Olivia?s hand, but he fails due to his inability to adapt to new situations, revealing Shakespeare?s view that a man who cannot alter himself to fit new situations will not be able to succeed.
From the Paper
"From the beginning of the story, Malvolio entertains the idea of becoming husband to Olivia, as when he daydreams, ?Maria once/ told me she did affect me; and I have heard herself/ come thus near, that, should she fancy, it should/ be one of my complexion? (II.v.22-6). Malvolio sees himself as a fit suitor for Olivia, and is determined to act in ways that he believes will win her hand. As a Puritan, many of Malvolio?s characteristics are serious and somber, his natural dignity and grave conduct preventing him from joking and outwitting others. Believing Olivia to be a state of honest mourning, he views his similarly serious demeanor to be appropriate to win her trust, and eventually her hand. The first appearance of Malvolio reveals his inflexible nature; after the Clown tries to win back Olivia?s favor, Malvolio insults him and is in turn mocked. Olivia explains to him, ?To be generous,/ guiltless, and of free disposition, is to take those/ things for birdbolts that you deem cannon bullets? (I.v.91-3). Malvolio cannot take any matters touching him lightly, because he is set in his ways and unable to adapt. Rather than dodging criticisms and jokes as Olivia suggests, Malvolio turns to insults and reveals his immovable nature. His somberness is suited to fit Olivia?s state of mourning, but as Olivia moves towards a normal life again, Malvolio?s somber attitude grates on her nerves and a complete outward change is needed to keep her interest."
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"Twelfth Night", 2004.
An analysis of the character of Malvolio from William Shakespeare's "Twelfth Night".
969 words (approx. 3.9 pages), 1 source, MLA, £ 23.95
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Abstract
This paper analyzes the play, "Twelfth Night" by William Shakespeare and, specifically, discusses the severe treatment of Malvolio in the play. It examines how Malvolio is a servant who desperately hopes to rise above his station in life and how he does not gain the sympathy of those around him because of his haughty and prudish attitude. It argues that, even though Malvolio is not the most congenial character, he does not deserve the severe treatment he receives during the play.
From the Paper
"It is here that the character of Malvolio really begins to flesh out for the audience, and even for the other characters. He is one of the most well rounded characters in the play, and as he struggles to overcome his servant status, he not only becomes more pitiable, he becomes more human. Who has not had some kind of cruel practical joke played on them like this, and who has not hoped to better themselves in life? Malvolio may be obnoxious and disliked, but he is not cruel or evil, and he is treated badly by those around him when he really did little to deserve such treatment. If anything, Malvolio has just shown that he has ambition, and his ambition overshadows his good sense."
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Gender in "Twelfth Night", 2008.
This paper explores Shakespeare's gender constructions and cross-dressing in the play "Twelfth Night".
2,016 words (approx. 8.1 pages), 8 sources, MLA, £ 42.95
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Abstract
The paper explores Shakespeare's gender disguise that distorted female identity and investigates early modern constructions of gender as distinct from sexual difference. The paper examines the play "Twelfth Night" in order to show how it was Shakespeare's intention to challenge gender taboos of the Elizabethan age.
From the Paper
"Considered by critics as Shakespeare's best achievement in the comic genre, the play Twelfth Night or, What You Will affords an elaborate exploration of love and power relationships, gender roles and taboos. Identity poses highly confounding problems, as there are numerous layers to the characters' gender roles and their maze-like relationships and (homo) erotic affinities. Through a range of female characters and the implications of (wo)man disguises, Shakespeare exposes gender issues. Several heroines of the comedies appear in disguise on the Renaissance stage, which represents the cultural context of the play."
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Masculinity and Femininity in "Twelfth Night", 2004.
An analysis of how sexuality and gender differences are presented by Shakespeare in "Twelfth Night".
2,179 words (approx. 8.7 pages), 1 source, MLA, £ 45.95
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Abstract
This paper examines how the play "Twelfth Night" by William Shakespeare, is concerned essentially with deception on various levels. It looks at how although deception is often a comic device, in this play it is often a means of deepening the ideas, allowing the audience to explore gender and sexuality, mainly through Orsino and the Viola/Cesario plot.
From the Paper
"With the part of Viola, Shakespeare immediately presents the idea of gender confusion and interchangeability between the sexes. When the play was first performed, the cast would have been entirely male, so by the end of the first scene, the audience is aware that we have a boy playing a girl who is playing a boy on the stage. These levels of ambiguity suggest that gender roles will be important. Shakespeare then continues to explore this throughout the play, through the character of Cesario (Viola in disguise) and his relationships with other major characters such as Orsino and Olivia. Orsino sends Cesario to seduce Olivia on his behalf, and, unfortunately for the duke, Olivia falls in love with Cesario. The reasons for this are dramatised at the end of act one, scene five. Olivia asks Cesario to explain what he himself would do if in Orsino's position of lust towards her, so effectively asking his opinion of Orsino's technique and encouraging him to imagine that he loved her himself."
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Comedy in "Twelfth Night", 2008.
An analysis of the use of comedy as a form of instruction in William Shakespeare's "Twelfth Night".
1,754 words (approx. 7.0 pages), 1 source, MLA, £ 38.95
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Abstract
This paper discusses how "Twelfth Night" is a powerful vehicle for teaching its audiences several important lessons and how the play draws people in because it is an entertaining romantic comedy, complete with cross-dressing and the titillating misunderstandings that derive from the cross-dressing. It argues that the lessons are made more accessible because they are conveyed by characters and actions in a romantic comedy, frequently in a comic way, than they would have been if the lessons were simply stated in a didactic way.
From the Paper
"In Shakespeare's time, his plays provided entertainment and often comedy to people who had far less access to entertainment than we do in our time, with our highly commercialized and ubiquitous entertainment industry. His plays were therefore much enjoyed, and any lessons he intended were keenly listened to. This is the first reason why the comic antics portrayed in Twelfth Night would have been likely to communicate the lessons Shakespeare intended - simply because the play would have been so greatly enjoyed. It is a classic romantic comedy, dealing as it does with the never-failingly-interesting topic of romance, and providing the audience with a satisfying happy ending. "
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"Twelfth Night", 2008.
An analysis of William Shakespeare's moralizing throughout his play, "Twelfth Night."
3,440 words (approx. 13.8 pages), 3 sources, MLA, £ 65.95
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Abstract
This paper analyzes William Shakespeare's play "Twelfth Night." It discusses the way in which Shakespeare subtly moralizes throughout the play's plot and how Shakespeare plays with the notion of social mobility to assert that with worthy intentions, a transgression of class can be acceptable. The paper provides examples and quotes from the play to illustrate its points.
From the Paper
"Shakespeare also moralizes by denouncing ill-disguised simulacrums of love and teaches that incompetence, greedy self-gain and a thirst for dominance as motives cannot lead to what is desired. False love is a running motif throughout the play; just as Orsino's "love" for Olivia is more a stage for his self-indulgence, Malvolio's "love" for his mistress is more a gateway to an elevated social status. Never once does he spend time to speak of his alleged love for Olivia, nor does he ever verbally profess any love for her. At most, Malvolio tosses out flimsy comments about dedication to his lady, and the focus of his dreams is clarified when he muses on the power made accessible through a marriage to Olivia. Malvolio's love is only for himself and his inability to think unselfishly about anyone else inevitably marks him as someone to be detested (I.v.73). The other characters comment on his ignorance, that "so crammed (as he thinks) with excellencies, that it is his grounds of faith that all that look on him love him" (II.iii.126-129). Malvolio displays a glaring ignorance for how others feel about him; he is not perceptive or sensitive to the reactions of others, and this indicates, again, that provincial love of self that is to be his downfall. Malvolio never really has a chance to begin with, for from the start of the play, his sour egotism is unabashedly apparent."
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"Twelfth Night", 2002.
A review of William Shakespeare's love story "Twelfth Night".
1,892 words (approx. 7.6 pages), 1 source, MLA, £ 40.95
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Abstract
This paper examines how William Shakespeare's play "Twelfth Night" can be seen as comedic social commentary on love and marriage amidst the backdrop of a renaissance ducal court, such as those that predominated in northern Italy. It discusses how the play, about a young woman who disguises herself as her brother in order to gain favor with the court results in confusion and how by using Viola as a plot device, Shakespeare calls into question traditional conceptualizations of romance, as well as gender relations and the significance of titles. It shows how Shakespeare has a lot of fun playing with this mixed-identity, gender-bending premise. It outline the plot of the play and provides an analysis of the main characters.
From the Paper
"Malvolio is self-involved; full of "self-love," as Olivia noted in Act I; he believes himself to be irresistible to a young woman like Olivia, despite the fact that he is an old servant. Maria, Olivia?s servant, decides to play a trick on him by forging a mock-love letter from Olivia. Before he reads the letter, he entertains a fantasy about being married to Olivia, and getting to strut around Sir Toby and Sir Andrew, due to his imagined rise in station. Malvolio's thinking out loud gets him in trouble; the party decide that Malvolio is being a perfect "turkeycock," which is a good image to describe Malvolio's pride. Maria and Feste, the canny court fool of Olivia, continue to torment Malvolio through the play, as the old servant is somewhat of a running joke who is unable to match wits with Feste."
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Love in "Twelfth Night", 2008.
An analysis of the relationships and love portrayed in William Shakespeare's play, "Twelfth Night."
700 words (approx. 2.8 pages), 1 source, MLA, £ 16.95
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Abstract
This paper discusses the theme of true love, as it is depicted in William Shakespeare's play, "Twelfth Night." It explores the idea of true love and its possibilities and then looks at how much of love is, in fact, an illusion. The paper discusses the plot of the play and the various relationships that exist and also briefly looks at the implications of that love.
From the Paper
"One of the ways this theme is often depicted is in terms of lovers who seem mismatched so that their faithlessness is almost expected. Duke Orsino in this play is a man who has a wandering eye when it comes to women, so it would seem that he is not likely to remain faithful, though he would become apoplectic if his wife were to stray as he does. He proposes to Viola in a less than convincing manner and claims that all women are unfaithful. At this stage, Orsino is doing no more than projecting his own character onto the women he meets, and he does learn a lesson in the course of the play."
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