Act 3 begins with an interesting conversation between Viola (Cesario) and Fool (Feste). In The Twelfth Night‚ Feste is portrayed as a clown who is skilled at wordplay. In the conversation‚ however‚ Viola figured out that Feste is not just a folly clown and his behavior is based on the deep wisdom. Viola says of him “This fellow’s wise enough to play the fool; And‚ to do that well‚ craves a kind of wit: He must observe their mood on whom he jests‚ The quality of persons‚ and the time; And‚ like the
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confusion‚ misunderstanding‚ and ultimately – love. Almost all of the characters in this play either carry out some sort of identity deception‚ or are deceived by someone else doing much the same thing. Primarily we have the play’s protagonist‚ Viola‚ who resorts to gender deception in order to get a job in what is essentially a male dominated society. It is noteworthy to mention that in Shakespeare’s time‚ female roles were played by males‚ and the idea of a male playing a female who disguises
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Shakespeare’s Twelfth Night is a play completely focused on the notions of performance‚ disguise‚ and deception. The characters are all acting in roles to meet their own goals‚ performing for the on-stage audience and deceiving everyone but the live audience off the stage. The use of dramatic irony is prevalent in order to engage and involve the audience‚ making them part of the play. Dramatic irony is a literary device wherein the audience is aware of pivotal information that the characters in
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film emanates ideas‚ values and attitudes that resonate with modern audiences. The film‚ a romantic comedy‚ concerns the great writer‚ William Shakespeare and how he overcomes his writer’s block through his love affair with the wealthy and radiant Viola de Lesseps. However‚ due to differences of class‚ status as well as the position of women‚ ironically during the ‘golden reign’ of Elizabeth I‚ this glorious love is transformed into a forbidden one and is duly terminated for reasons of economic expediency
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normally symbolised by marriage.’ How far would you agree with this statement when looking at Act 5 in ’Twelfth Night’? Shakespeare’s comedy ’Twelfth Night’ is mainly comedic due to the dramatic irony which is consistent throughout the play due to Viola‚ Sebastian’s twin‚ pretending to be a man named Cesario. This is evident in Act 1 Scene 4 when Orsino is praising Cesario for how much of a woman ’he’ looks. ’Diana’s lip/Is not more smooth and rubious’ would be highly entertaining to the Shakespearean
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bar to be drugged and then out into a waiting car and boat for transportation to mainland or island bordellos.”( Flocco) Another case involves a young girl Viola‚ who was 13 and from Albania. Viola started dating a 21 year old man Dilin from Italy. They started to get serious‚ and when Dilin asked to marry her‚ they moved to Italy where Viola wanted to go. They had their life basically planed out; he told her that he could get a job from his cousins. Everything seemed perfect until she realized what
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with all the different characters. Duke Orsino loves Olivia who loves Viola who really is the main character Viola‚ who has a thing for the Duke. This conflict of lovers is unrealistic‚ and makes for an exciting conflict. This unrealistic chain of events is related to the realistic ideas of people falling in love with a persons personality‚ and also relates that people are more comfortable talking with the same gender as Viola spends time as a guy with Duke. Love is an interesting concept and with
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themselves as males. Though both Viola and Rosalind help their less-than-ideal beloveds woo their own objects of desire‚ and both disguises emerge party from the loss of a male familial figure‚ the women inhabit their male facades in drastically different ways. In both plays‚ though‚ Shakespeare provides constant reminders of Viola and Rosalind’s femininity‚ never straying too far from established gender tropes. One of the clearest similarities between Rosalind and Viola lies in that they disguise themselves
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pretending to be a man and is virtually unknown in Illyria‚ she hopes to win the Duke’s heart. In act 1‚ scene 4‚ Viola let’s out her true feelings for Cesario‚ "yet a barful strife! Whoe’er I woo‚ myself would be his wife (1)." That statement becomes true when Viola reveals her true identity. Viola and Orsino had a very good friendship‚ and making the switch to husband and wife was easy. Viola was caught up in another true love scenario‚ only this time she was on the receiving end‚ and things didn’t
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In the end‚ both stories teach us the same lesson‚ no matter how different they are. One similarity between the play Twelfth Night and She’s The Man would be the characters personalities. Viola in Twelfth Night is rough‚ very adventurous and outgoing‚ so is viola in She’s The Man. Both Violas actually have the guts to dress up as a man and do all these things women can’t do‚ se a different perspective. Both productions have the same settings. In Twelfth Night‚ the kingdom is called
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