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Twelfth Night Critical Essays

William Shakespeare


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Critical Overview and Evaluation

(Critical Survey of Literature for Students)

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William Shakespeare wrote Twelfth Night apparently to be performed on the twelfth feast day, the joyous climax of the Renaissance Christmas season; however, the feast day itself otherwise has nothing to do with the substance of the play. The play’s subtitle suggests that it is a festive bagatelle to be lightly, but artfully, tossed off. Indeed, Shakespeare may have written the play earlier and revised it for the Christmas festival, for it contains many signs of revision.

The tone of Twelfth Night is consistently appropriate to high merriment. With nine comedies behind him when he wrote it, Shakespeare was at the height of his comic powers and in an exalted mood to which he never returned. Chronologically, the play immediately precedes Shakespeare’s great tragedies and problem plays. Twelfth Night recombines many elements and devices from earlier plays—particularly The Two Gentlemen of Verona (c. 1594-1595) and The Comedy of Errors (pr. c. 1592-1594, pb. 1623)—into a new triumph, unsurpassed in its deft execution.

It is a brilliant irony that Shakespeare’s most joyous play should be compounded out of the sadnesses of its principal characters. However, the sadnesses are, for the most part, those mannered sadnesses that the Elizabethans savored. Orsino, for example, particularly revels in a sweet melancholy reminiscent of that which afflicts Antonio at the beginning of The Merchant of Venice (pr. c. 1596-1597, pb. 1600). Orsino’s opening speech—which has often been taken overly seriously—is not a grief-stricken condemnation of love but rather owes much more to the Italian poet Petrarch. Orsino revels in the longings of love and in the bittersweet satiety of his romantic self-indulgence. He is in love with love.

On the other side of the city is the household of Olivia, which balances Orsino and his establishment. Although Olivia’s sadness at her brother’s death initially seems more substantial than Orsino’s airy romantic fantasies, she, too, is a Renaissance melancholic who is wringing the last ounce of enjoyment out of her grief. Her plan to isolate herself for seven years of mourning is an excess but one that provides an excellent counterbalance to Orsino’s fancy; it also sets the plot in motion, since Orsino’s love-longing is frustrated by Olivia’s decision to be a recluse.

The point of contact between Orsino and Olivia—ferrying back and forth between the two—is Viola. As Cesario, she also is sad, but her sadness, like the rest of her behavior, is more direct and human. The sweet beauty that shines through her male disguise is elevated beyond a vulgar joke by Olivia’s immediate, though circumstantially ridiculous, response to her human appeal. Viola’s grief is not stylized and her love is for human beings rather than for abstractions. She seems destined to unite the two melancholy dreamers, but what the play instead accomplishes is that Viola, in her own person and in that of her alter ego, her brother, becomes part of both households. The ultimate outcome is a glorious resolution. It is, of course, immaterial to the dreamy Orsino that he gets Viola instead of Olivia—the romantic emotion is more important to him than is the specific person. Olivia, already drawn out of her seclusion by the disguised Viola, gets what is even better for her, Sebastian.

The glittering plot is reinforced by some of Shakespeare’s best and most delicate dramatic poetry. Moreover, the drama is suffused with bittersweet music, and the idyllic setting in Illyria blends with language and imagery to create a most delightful atmosphere wholly appropriate to the celebration of love and to the enjoyment of this world.

The one notable briar in the story’s rose garden is Malvolio; however, he is easily the play’s most interesting character. He is called a Puritan, but although he is not a type, he does betray the characteristics then associated with that austere Anglican sect. He is a self-important, serious-minded person with high ideals who cannot bear the thought of others being happy. As Sir Toby puts it to him, “Dost thou think because thou art virtuous, there shall be no more cakes and ale?” Malvolio suffers within a joyous world; it is against his will that he becomes part of the fun when he is duped and made to appear ridiculous. As a character, he represents a historical group, then growing in power, whose earnestness threatens to take the joy out of life (and, incidentally, to close England’s theaters). Yet, Shakespeare does not indulge in a satire on Puritanism. He uses the critical powers of comedy in indirect ways.

Malvolio is ridiculous, but so are the cavaliers who surround him. The absurd Sir Andrew Aguecheek and the usually drunken Sir Toby Belch are the representatives, on the political level, of the old order that Malvolio’s counterparts in the real world are soon to topple. While these characters are flawed, they are certainly more engaging than the inflated Malvolio. Shakespeare does not set up the contrast as a political allegory, with right on one side and wrong on the other. Nevertheless, Malvolio is an intrusion into the otherwise idyllic world of the play. He cannot love; his desire for the hand of Olivia is grounded in an earnest will to get ahead. He cannot celebrate; he is too pious and self-involved. Nothing is left for him but to be the butt of a joke—his role in the celebration. Some critics have suggested that Malvolio is treated too harshly, but a Renaissance audience would have understood how ludicrous and indecorous it was for a man of his class to think, even for a moment, of courting Countess Olivia. His pompous and blustery language is the key to how alien he is to this festive context. When he does his bit, Olivia casually mentions that perhaps he is put upon, but this is the only sympathetic gesture he deserves. He is the force that threatens to destroy the celebration of all that is good and refined and joyful in Elizabethan society.

Twelfth Night develops its theme on two levels. The main plot, written mostly in blank verse, shows the nobility in pursuit of love. The subplot features lower characters, who speak in prose and pursue drunkenness and mischief.

In the main plot, the twins Viola and Sebastian are shipwrecked on the Illyrian coast and separated; each presumes the other dead. Disguised as a young man, Viola joins the court of Duke Orsino, falls in love with him, and becomes his favorite. Orsino loves the lady Olivia, who refuses his attentions because she still mourns her dead brother. When Orsino sends Viola to woo Olivia for him, Olivia falls in love with Viola.

In the subplot, Sir Toby Belch, Olivia’s uncle, and Sir Andrew Aguecheek, a ridiculous suitor to Olivia, fall out with Malvolio, Olivia’s puritanical steward, who condemns their revels. With the help of Maria and Fabian, Olivia’s servants, they trick the self-serving Malvolio into thinking Olivia loves him, then they confine him for insanity. Sir Toby also persuades Sir Andrew to challenge Viola to a duel.

These plots untangle when Sebastian appears, marries Olivia, and whips Sir Andrew and Sir Toby. Viola throws off her disguise and accepts Orsino’s proposal of marriage. Freed, Malvolio stomps out vowing revenge on them all.

Symbolically opposed to Malvolio is Feste, the wise clown. He fools Olivia out of her mourning and Orsino out of his lovesickness–both self-indulgent, sterile behaviors, like Malvolio’s self-love. Shakespeare implies that people should open themselves to celebration and love, even if it makes them appear foolish, since it is truly foolish to deny these life forces.

Bibliography:

Berry, Ralph. Shakespeare’s Comedies: Explorations in Form. Princeton, N.J.: Princeton University Press, 1972. A discussion of Shakespeare’s comedies in which each chapter is devoted to a specific play. In the chapter “The Messages of Twelfth Night,” Barry discusses the deceits and illusions in the play and concludes that it calls the very nature of reality into question.

Levin, Richard A. Love and Society in Shakespearean Comedy. Newark: University of Delaware Press, 1985. A critical study of three of Shakespeare’s romantic comedies. Two chapters deal with Twelfth Night: “Household Politics in Illyria” discusses the acceptance of the various characters into society, while “Feste and the Antiromantic Twelfth Night” focuses on the discordant elements of the play.

Lloyd Evans, Gareth. The Upstart Crow: An Introduction to Shakespeare’s Plays. London: J. M. Dent and Sons, 1982. Focuses mainly on critical reviews of Shakespeare’s plays, as well as discussing sources and historical context and background.

Muir, Kenneth, ed. Shakespeare—The Comedies: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1965. An anthology of essays that discuss Shakespeare’s comedies from various points of view. Harold Jenkins compares Twelfth Night with earlier plays by Shakespeare and others and concludes that it is the greatest of Shakespeare’s romantic comedies.

Shakespeare, William. Twelfth Night. Edited by J. M. Lothian and T. W. Craik. London: Methuen, 1975. Includes more than eighty pages of introductory material and critical analysis, as well as the text of the play itself.

Next:The Image and Metaphor…


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Twelfth Night Homework Help Questions

  • Why does Shakespeare give Malvolio an ambiguous ending in Twelfth Night?

    I am glad you have identified that the ending of this excellent play is not entirely the “happy ending” that we would expect of a Shakesperian comedy. It is vitally important to consider how the…

  • What is the significance of Shakespeare’s title Twelfth Night, and how did the title come into use?

    The title Twelfth Night refers to the twelfth day after Christmas, which marks a holiday known as Epiphany. Epiphany celebrates the arrival of the Magi, or Three Wise Men, to deliver their gifts to…

  • Of Twelfth Night by Shakespeare, Joseph Pequigney writes “Olivia ends up engaged to marry a…

    In the play, Olivia falls in love with Cesario (who is really Viola in disguise). She rejects Duke Orsino even though he pines away for her. Olivia eventually marries Sebastian, Viola’s twin…

  • What dramatic techniques does Shakespeare use in Twelfth Night?

    Before you can answer this, you must know what the term “dramatic techniques” encompasses. Dramatic techniques are tools the playwright uses to create theatrical, dramatic effects in a theater…

  • What is the significance of the final song Feste sings in Act 5, Scene 1 in Twelfth Night, and…

    As the title Twelfth Night suggests, the play was written for an Epiphany celebration held at one of the Inns of Court in 1602. Epiphany is celebrated as the moment when the Magi, or three wise…

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Critical Analysis of Shakespeare’s Twelfth Night

Critical Analysis of Shakespeare’s Twelfth Night

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William Shakespeare ’s Twelfth Night is a comedy, first published in 1623. Love is a key aspect of Shakespeare’s comedies in which self-identity is found through the development of love from infatuation to acknowledgement of character. Orsino is the epitome of Shakespeare’s transformation of self. In the beginning of the play, Orsino is self-absorbed and head-over-heels for Olivia. In this stage of love we see Orsino’s infatuation and selfishness in his feelings of love. As the play moves on, Viola comes into Orsino’s life and we see glimpses of Orsino’s understanding of what love is and how a person should feel with love.

By the end of the play, Orsino realizes his self worth through his love for Olivia and how love really feels to care about a person’s heart and soul. At first, Orsino is in a self-centered infatuation with Olivia. We can tell that he wants to be in love, but his notions of love are all about his thoughts of love, not the person of his love interest. “So full of shapes is fancy/That it alone is high fantastical” (1. 1, 14-15), this explains that Orsino finds love fantastic and nothing can compare with love, or in his case infatuation. Orsino also shows his fascination with love itself when he states,

If ever thou shalt love, In the sweet pangs of it remember me; For such as I am all true lovers are, Unstaid and skittish in all motions else Save the constant image of the creature That is beloved (2. 4, 15-20). In this passage Orsino doesn’t even speak of the one he loves, he just states that he is the epitome of one in love. Another quality we find in Orsino’s love is that it is purely by the attractiveness of the one he is in love with. The first thing Orsino says about Olivia is, “O, when mine eyes did see Olivia first,/Methought she purged the air of pestilence” (1. , 20-21). We later see Orsino again speaking of attractiveness of women, “For women are as roses, whose fair flow’r,/Being once displayed, doth fall that very hour” (2. 4, 38-39). Orsino even states that Olivia is cruel, Get thee to yond same sovereign cruelty. Tell her my love, more noble than the world,… ‘tis that miracle and queen of gems That nature pranks her in attracts my soul (2. 4, 81-87). In this quote, Orsino clearly states that Olivia is cruel to him, yet his love for her is because of her beauty.

Critical Analysis of Shakespeare’s Twelfth Night

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When Viola comes into Orsino’s life, we can begin to see a small shift in Orsino’s thoughts of love as Viola tells him her views. Orsino fully trusts Viola/Cesario as he tells her to go to Olivia and pursue her for him. Orsino states, “I have unclasped/To thee the book even of my secret soul” (1. 4, 13-14), showing the reader that they have a close bond and trust between the two of them. When Orsino says, “Make no compare/Between that love a woman can bear me/And that I owe Olivia” (2. 4, 102-104), Viola contradicts him and states, “In faith, they are as true of heart as we” (2. 4, 107).

Though Orsino doesn’t reply, it seems that Orsino believes Viola. There’s also a glimpse, almost a foreshadowing, of Orsino’s realization that Cesario is Viola when he states, “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” (1. 4, 32-34). In Act five, Orsino finds himself, his realization of true love comes out as he realizes Cesario is Viola, a woman, and they are a perfect match together. In the beginning of act five, it seems that the conversation between Feste and Orsino foreshadows Orsino’s realization.

When Feste states that friends aren’t as good for him as enemies, Orsino replies, “Just the contrary: the better for thy friends” (5. 1, 14). With this, Orsino realizes that people are better in themselves because of the people they are friends with. After the truth comes out about Viola being a woman, Orsino seems not too surprised as he states, “Be not amazed; right noble is his blood. /If this be so, as yet the glass seems true,/I shall have share in this most happy wrack” (5. 1, 264-266). Orsino realizes that he is lucky in the whole situation and he will come out with the love of his best friend, Viola. Need Help
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He then realizes that, “Boy, thou hast said to me a thousand/times/Thou never shouldst love woman like to me” (5. 1, 267-269), this shows that Orsino puts together the fact that Viola had given him clues all along that she was a woman and that she was in love with him. Orsino also realizes that woman can truly love as men do, if not more, when he says, Your master quits you; and for your service done him, So much against the mettle of your sex, So far beneath your soft and tender breeding, And since you called me master for so long, Here is my hand; you shall from this time be

Your master’s mistress (5. 1, 323-328). Orsino is the epitome of Shakespeare’s comedic process of realization of substance in a lover and self identity. He changes from infatuated and self interested to truly finding love and knowing his lover on a higher level than attraction. He marries his best friend, and realizes, while doing so, that women can love like men; that they are equal to men in passion. Orsino also realizes about himself that he never really knew true love and that his life will forever be changed because of the recent events that have happened.

Brandon Johnson
Author: Brandon Johnson

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