Twelfth Night or What you Will first lecture
- Slides: 12
Twelfth Night, or What you Will first lecture “Dost thou think because thou art virtuous, there shall be no more cakes and ale? ”
“Shakespeare in Love” • Having successfully brought off R & J, but lost Viola de Lessip, “Shakespeare” sits down to write his greatest romantic comedy. • It will concern a lady whose spirit is “greater than the sea. ” • The sole survivor of a shipwreck. • And he begins to write Act 1, scene 2.
“So full of shapes is fancy. . . ” • In fact the play was written six or seven years later. • Viola, fortunately, isn’t the sole survivor of the shipwreck. Captain, sailors, Sebastian. • And besides, Shakespeare didn’t have as much hair as Joseph Fiennes!
The title and occasion • “Twelfth Night” the feast of the Epiphany, January 6, the last day of the Christmas season. • A time of festivity, merriment, cakes and ale, “what you will. ” • On Jan. 6, 1601, Virginio Orsino, Duke of Bracciano, was entertained by Elizabeth. • He saw a play that he described as “a mingled comedy, with pieces of music and dances. ” • Was this Twelfth Night? • Play written around 1601. • But possibly performed at Middle Temple for Twelfth Night celebrations in 1602.
The play • Shakespeare’s last romantic comedy. • Heroine disguised as boy, as in As You Like It, Merchant. • Mistaken identity of twins, as in Comedy of Errors. • New type of clown: Will Kempe retired in 1599. Robert Armin joined Lord Chambelain’s men. • Armin was known for his voice and musical ability. • Melancholy?
Clip from Trevor Nunn film of TW
Shakespeare’s most genderbending play? • Obviously Trevor Nunn wrote in the scene that Shakespeare unaccountably failed to give us. • But the scene supplies us with something of the fun of twins so unaccountably alike that, apart from their dress, they can’t be distinguished. • Officially, notice, there may be nothing too outrageous about the gender-bending. • Olivia falls in love with “Cesario, ” not Viola. • Orsino doesn’t really fall in love with Cesario – after all, he’s ready to kill “him” at V, 1, 123 ff. • Only after he’s learned the truth, does he offer himself to her, ll. 320 ff.
Gender-bending • But what are we to make of Olivia’s falling in love with a woman-boy? • And with Orsino’s apparent love for what he takes for a boy? • Not to mention Antonio’s warmly expressed love for Sebastian: II, 1, 31; III, 3, 4 ff. ; III, 4, 350 ff. • Elizabethan cult of friendship: “homosocial” bonding. • Does cult of fiendship explain it?
Cross dressing • Grounding in theatrical practice of Elizabethan stage. • Thomas Coryat’s reaction to Venetian theater: women playing women? not very convincing. • But cross dressing was also seen as deeply troubling to anti-theatricalists. • Deuteronomy 22: 5: "A woman shall not wear that which pertaineth unto a man, neither shall a man put on a woman's garments: for all that do so are abominations unto the LORD, thy God. " • Shakespeare plays right into these fears. • Cross-dressing doesn’t have boys as boys, but something more complex.
Boy actors on Elizabethan stage • • Very high level of acting skill. Visually persuasive. Orsino’s judgment of Viola: 1, 4, 30 ff. Eventually played male parts, or older women.
The lady Olivia • Valentine’s report in I, 1: she has vowed seven years of mourning for her dead brother. • Feste “proves” her a fool for this, I, 5, 52 ff. • She’s independent of male authority, rules her own house. • Viola/Cesario calls her “too proud” (I, 5, 251). • But is there some justification in her rejection of Orsino? • Is her falling in love with Viola/Cesario “punishment” for her independence? • What does she love in Viola/Cesario?
Orsino • What do we make of his first speech? • Or of his wooing of Olivia by proxy? • His self-characterization of men’s desires: II, 4, 32 ff. • And Feste’s response to him: 72 ff. • His opinion of his love for Olivia: 88 ff. • And his threatened violence when he believes himself crossed by Cesario: V, 1, 117 ff.
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