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samanthaardenlockheart's reviews
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Twelfth Night by William Shakespeare
2.0
There are spoilers in this review. Proceed with caution. ♥️
Had to read this for English class. Here is the essay I wrote for it.
In his 1623 romantic comedy, Twelfth Night (or What You Will) by William Shakespeare, the theme of identity is a primary topic. Shakespeare demonstrates how people can be deceptive in their aims to control how others view them. As it comes to be seen, the central plot of this play is centred around two twin characters named Viola and Sebastian, who are separated in a shipwreck at the beginning, leaving Viola alone and in a new land without her brother. From a psychological standpoint, this can have both benign and manipulative results. The main character named Viola disguised herself as a man named Cesario to gain entry into Duke Orsino’s palace, and this event serves as the catalyst for interesting events to unfold as the play develops. Olivia falls in love with Cesario’s honesty and passion, but “his” identity is not what it actually seems to be on the surface. These events show great irony, as the audience of the play knows information about the characters that the characters do not know about one another. In his 1623 romantic comedy, Twelfth Night (or What You Will), Shakespeare intellectually crafted the concept of human identity to demonstrate the importance of self-discovery in relation to others.
To start, in these components of Scene 1 and Scene 2 from the play, both Orsino and Viola express themselves in specific outward ways that reveal who they are and how their behavior affects interactions with others—Orsino with his passion for Olivia, and Viola with her disguise. Duke Orsino is the first character introduced in Twelfth Night, and he is found by the audience singing a passionate song, indicating that he is someone who has depth inside his soul. Orsino’s attitude is ostensibly wrought with melancholy as he sings the words, “If music be the food of love, play on, / Give me excess of it, that surfeiting, / The appetite may sicken, and so die. / That strain again, it had a dying fall” (lines 1-4, Act I, Scene 1). In this song, he is expressing his love for Countess Olivia in a musical form that is evocative. He is shameless in the way he expresses his love, so much so that he comes off as melodramatic in our modern times. Next, the concealment of her identity in Act I, Scene 2 shows Viola from Illyria disguising herself as a eunuch; Viola’s behavior in this scene indicates that she is a very intelligent character with immense tenacity. Shakespeare states, “Conceal me what I am, and be my aid / For such disguise as haply shall become / The form of my intent. I'll serve this Duke, / Thou shall present me as a eunuch to him:” (lines 54-57, Act I, Scene 2). She does this so she would become able to gain entry into Duke Orsino’s court since she would not be allowed to enter as a woman. Soon, she takes hold of Cesario as her identity, who is a man, and Viola feels that this level of deception was acceptable since she would be able to sing still, express herself, and impress Orsino in a socially acceptable way while hiding behind a façade that is not her true self. Women during this time period were restricted in what they were allowed to wear, say, and do.
Next, Shakespeare reveals some internal motivations of the characters through the ways they interact—particularly Olivia and Viola (Cesario). At the beginning of Scene 5 in Act I, Shakespeare writes, “Olivia: Are you a comedian? Viola: No, my profound heart. And yet (by the very fangs of malice I swear) I am not that I play. Are you the lady of the house?” (lines 170-173, Act 1, Scene 5). Countess Olivia and Viola are interacting, but one must remember that Viola is masquerading as her male disguise, Cesario. This certainly changes the dynamic between the characters as Olivia is under the impression she is interacting with a man (while she is definitely not); this will affect the way events play out later on in this play. Additionally, in Act II, Scene 4 of Twelfth Night, the text reads, “Then let thy love be younger than thyself, / Or thy affection cannot hold the bent. / For women are roses, whose fair flower / Being once displayed, doth fall that very hour. / And so they are. Alas that they are so. / To die, even when they to perfection grow” (lines 35-40, Act II, Scene 4). This quotation, spoken by Orsino, is reminiscent of Beauty and the Beast with its comparison to flowers, and there is also a sentiment of temporality—this notion that time is very fleeting and limited for the characters. These words are a reminder of the passionate man he is and reveals, once more, his love for Olivia.
In addition, Shakespeare’s creation of deep emotion and love for his characters should not be understated as this advances the plot and shows some more of Orsino’s identity, given his professedly unfaltering romance and passion for Countess Olivia. Unfortunately, Duke Orsino is cautioned against his passion by Viola (Cesario) who realises she, too, is in love with Olivia. This is expanded upon in Act II, Scene 4 as follows: “Viola: Say that some lady, as perhaps there is, / Hath for your love as great a pang of heart / As you have for Olivia. You cannot love her. / You must tell her so. Must she then not be answered” (lines 86-90, Act II, Scene 4). (Nota bene, this particular quotation is between Viola and Duke Orsino). She has seen the way Olivia deeply loved, and wished to feel that for herself as well. “Cesario” was attempting to pull Orsino away from Olivia in this scene by essentially claiming, “You can not love her.” This can be viewed as problematic because, despite Viola’s tenacity and intelligence, she is utilising deception and lies to get something that she wants and control the narrative happening around her, especially taking into account her disguise.
Furthermore, music is a very important aspect of this play because of how it reveals the inner emotions and longings of the characters in a great way, and this is visualised in Feste the Clown’s song in the next act and beginning scene. In class, we listened to Dave William’s adaptation of the song Come Away from Twelfth Night. The mood of this song feels particularly sad; there is an underlying hint of profound yearning. Here, Shakespeare writes, “Come away, come away death, / And in sad cypress let me be laid. / Fly away, fly away breath, / I am slain by a fair cruel maid” (lines 50-53, Act II, Scene 4) and “My poor corpse, where my bones shall be thrown. / A thousand sighs to save, / Lay me, O where / Sad true lover never find my grave, / To weep there.” (lines 61-65, Act II, Scene 4). Some feelings articulated here include sadness, depression, pity, regret, melancholy, poignant bittersweetness, and sorrowfulness. The idea of death itself is treated like a more physical object; it is very present. Feste wants to sit with his feelings and his longing, and to me, there is something very dramatic yet poignant about him speaking to death in the absence of love. Even in modern times, death and longing are parts of life since they are a deep part of the human condition that our identities can not escape, no matter how hard we try to disguise ourselves—and especially—no matter how much we may love another human being.
Next, Sebastian’s internal condition of feeling madly in love with Olivia, along with Olivia’s desire to marry Sebastian, advances this play’s theme of passion through the zealous interactions of the characters. Shakespeare writes, “This is the air, that is the glorious sun, / This pearl she gave me, I do feel’t and see’t / And through 'tis wonder that enwraps me thus, / Yet 'tis not madness” (lines 1-4, Act VI, Scene 3). These words here indicated that what Sebastian is feeling in this scene is wonder—not madness. He grounds himself in reality and accepts that his emotions are not something to feel so much trepidation and anxiety over—and feeling “mad” could most certainly bring about such uncomfortable emotions. Sebastian feels so much depth and reckless love for Olivia that it is as if it was consuming him altogether. Additionally, the pearl between Sebastian and Olivia symbolizes an exchange of romance, especially since that man is seeing something so radiant within Olivia. Olivia’s action of going to the priest and requesting to wed Sebastian is indicative of her not thinking rationally and her quest towards something for which her heart yearns. The play reads, “Blame not this haste of mine. If you mean well / Now go with me and with this holy man / Into the chantry by. There before him, / And underneath that consecrated roof, / Plight me the full assurance of your faith, / Plight me the full assurance of your faith, / That my most jealous and too doubtful soul / May live at peace” (lines 22-28, Act VI, Scene 3). Both of these scenes (indicated through the textual evidence) are quite humorous since Sebastian knew full well the actions he was taking, but Olivia barely knew him and was pining over him nevertheless. This is a situation of irony that the audience can understand. It can be reckoned that Countess Olivia’s method of going about marriage is rather unconventional in this scene, and it is a testament to the lengths to which someone will go for something they dearly wish to obtain. Consequentially, the internal desires of Sebastian’s and Olivia’s souls are both unique to their identities and personalities, and the same idea can be applied to the other characters of this play, those not part of this specific scene.
Shakespeare concludes the concept of identity and self-discovery in the last act and scenes where all events are tied together as Sebastian (Viola’s twin brother) and Olivia get married, and Duke Orsino and Viola get married. Shakespeare shows that there is a silver lining to the many chaotic and questionable events that have thus occurred in this play, especially with how Orsino and Viola were interacting. Many of the characters endured confusion and hurt feelings with the range of love affairs that were simultaneously taking place. In Act V, Scene 1, Twelfth Night reads, “After him I love / More than I love these eyes, more than my life, / More, by all mores, than I e’er I shall love wife. / If I do feign, you witness above / Punish my life for tainting of my love” (lines 128-132, Act V, Scene I). This quotation from this scene illuminates the relationship between Orsino and Cesario (Viola). Their love goes deeper than the disguise she is wearing despite the seeming hiddenness of someone’s identity, which is a rather important lesson to take away from this play. While it is still a bit ambiguous as to whether Duke Orsino loved Cesario or Viola, the main message taken away is a sense of passion that is not merely surface-level. There is a very satisfying resolution to this play, with everything being made right. Sebastian, who was Viola’s twin brother, ends up marrying Countess Olivia.
To conclude, in the writing of his 1623 romantic comedy play, Twelfth Night (or What You Will), it is evident that Shakespeare effectively used various literary techniques, themes, and a wide range of characters to demonstrate the concept of human identity and how it impacts self-discovery in relation to other people. His use of blank verse within the dialogues of his characters was also a tool that helped readers and/or the audience better understands the characters on an emotional, internal level. In addition, topics such as outward appearance, internal motivation, longing, and identity are all equally instrumental in driving this plot towards understanding the profundity of the human heart. This is made clear through the characters’ use of dialogue and song within this play. All of the characters—Viola, Orsino, Sebastian, Olivia, and Feste—are deeply imperfect, and this reminds the audience and readers of this play about what it means to truly be human.
Had to read this for English class. Here is the essay I wrote for it.
In his 1623 romantic comedy, Twelfth Night (or What You Will) by William Shakespeare, the theme of identity is a primary topic. Shakespeare demonstrates how people can be deceptive in their aims to control how others view them. As it comes to be seen, the central plot of this play is centred around two twin characters named Viola and Sebastian, who are separated in a shipwreck at the beginning, leaving Viola alone and in a new land without her brother. From a psychological standpoint, this can have both benign and manipulative results. The main character named Viola disguised herself as a man named Cesario to gain entry into Duke Orsino’s palace, and this event serves as the catalyst for interesting events to unfold as the play develops. Olivia falls in love with Cesario’s honesty and passion, but “his” identity is not what it actually seems to be on the surface. These events show great irony, as the audience of the play knows information about the characters that the characters do not know about one another. In his 1623 romantic comedy, Twelfth Night (or What You Will), Shakespeare intellectually crafted the concept of human identity to demonstrate the importance of self-discovery in relation to others.
To start, in these components of Scene 1 and Scene 2 from the play, both Orsino and Viola express themselves in specific outward ways that reveal who they are and how their behavior affects interactions with others—Orsino with his passion for Olivia, and Viola with her disguise. Duke Orsino is the first character introduced in Twelfth Night, and he is found by the audience singing a passionate song, indicating that he is someone who has depth inside his soul. Orsino’s attitude is ostensibly wrought with melancholy as he sings the words, “If music be the food of love, play on, / Give me excess of it, that surfeiting, / The appetite may sicken, and so die. / That strain again, it had a dying fall” (lines 1-4, Act I, Scene 1). In this song, he is expressing his love for Countess Olivia in a musical form that is evocative. He is shameless in the way he expresses his love, so much so that he comes off as melodramatic in our modern times. Next, the concealment of her identity in Act I, Scene 2 shows Viola from Illyria disguising herself as a eunuch; Viola’s behavior in this scene indicates that she is a very intelligent character with immense tenacity. Shakespeare states, “Conceal me what I am, and be my aid / For such disguise as haply shall become / The form of my intent. I'll serve this Duke, / Thou shall present me as a eunuch to him:” (lines 54-57, Act I, Scene 2). She does this so she would become able to gain entry into Duke Orsino’s court since she would not be allowed to enter as a woman. Soon, she takes hold of Cesario as her identity, who is a man, and Viola feels that this level of deception was acceptable since she would be able to sing still, express herself, and impress Orsino in a socially acceptable way while hiding behind a façade that is not her true self. Women during this time period were restricted in what they were allowed to wear, say, and do.
Next, Shakespeare reveals some internal motivations of the characters through the ways they interact—particularly Olivia and Viola (Cesario). At the beginning of Scene 5 in Act I, Shakespeare writes, “Olivia: Are you a comedian? Viola: No, my profound heart. And yet (by the very fangs of malice I swear) I am not that I play. Are you the lady of the house?” (lines 170-173, Act 1, Scene 5). Countess Olivia and Viola are interacting, but one must remember that Viola is masquerading as her male disguise, Cesario. This certainly changes the dynamic between the characters as Olivia is under the impression she is interacting with a man (while she is definitely not); this will affect the way events play out later on in this play. Additionally, in Act II, Scene 4 of Twelfth Night, the text reads, “Then let thy love be younger than thyself, / Or thy affection cannot hold the bent. / For women are roses, whose fair flower / Being once displayed, doth fall that very hour. / And so they are. Alas that they are so. / To die, even when they to perfection grow” (lines 35-40, Act II, Scene 4). This quotation, spoken by Orsino, is reminiscent of Beauty and the Beast with its comparison to flowers, and there is also a sentiment of temporality—this notion that time is very fleeting and limited for the characters. These words are a reminder of the passionate man he is and reveals, once more, his love for Olivia.
In addition, Shakespeare’s creation of deep emotion and love for his characters should not be understated as this advances the plot and shows some more of Orsino’s identity, given his professedly unfaltering romance and passion for Countess Olivia. Unfortunately, Duke Orsino is cautioned against his passion by Viola (Cesario) who realises she, too, is in love with Olivia. This is expanded upon in Act II, Scene 4 as follows: “Viola: Say that some lady, as perhaps there is, / Hath for your love as great a pang of heart / As you have for Olivia. You cannot love her. / You must tell her so. Must she then not be answered” (lines 86-90, Act II, Scene 4). (Nota bene, this particular quotation is between Viola and Duke Orsino). She has seen the way Olivia deeply loved, and wished to feel that for herself as well. “Cesario” was attempting to pull Orsino away from Olivia in this scene by essentially claiming, “You can not love her.” This can be viewed as problematic because, despite Viola’s tenacity and intelligence, she is utilising deception and lies to get something that she wants and control the narrative happening around her, especially taking into account her disguise.
Furthermore, music is a very important aspect of this play because of how it reveals the inner emotions and longings of the characters in a great way, and this is visualised in Feste the Clown’s song in the next act and beginning scene. In class, we listened to Dave William’s adaptation of the song Come Away from Twelfth Night. The mood of this song feels particularly sad; there is an underlying hint of profound yearning. Here, Shakespeare writes, “Come away, come away death, / And in sad cypress let me be laid. / Fly away, fly away breath, / I am slain by a fair cruel maid” (lines 50-53, Act II, Scene 4) and “My poor corpse, where my bones shall be thrown. / A thousand sighs to save, / Lay me, O where / Sad true lover never find my grave, / To weep there.” (lines 61-65, Act II, Scene 4). Some feelings articulated here include sadness, depression, pity, regret, melancholy, poignant bittersweetness, and sorrowfulness. The idea of death itself is treated like a more physical object; it is very present. Feste wants to sit with his feelings and his longing, and to me, there is something very dramatic yet poignant about him speaking to death in the absence of love. Even in modern times, death and longing are parts of life since they are a deep part of the human condition that our identities can not escape, no matter how hard we try to disguise ourselves—and especially—no matter how much we may love another human being.
Next, Sebastian’s internal condition of feeling madly in love with Olivia, along with Olivia’s desire to marry Sebastian, advances this play’s theme of passion through the zealous interactions of the characters. Shakespeare writes, “This is the air, that is the glorious sun, / This pearl she gave me, I do feel’t and see’t / And through 'tis wonder that enwraps me thus, / Yet 'tis not madness” (lines 1-4, Act VI, Scene 3). These words here indicated that what Sebastian is feeling in this scene is wonder—not madness. He grounds himself in reality and accepts that his emotions are not something to feel so much trepidation and anxiety over—and feeling “mad” could most certainly bring about such uncomfortable emotions. Sebastian feels so much depth and reckless love for Olivia that it is as if it was consuming him altogether. Additionally, the pearl between Sebastian and Olivia symbolizes an exchange of romance, especially since that man is seeing something so radiant within Olivia. Olivia’s action of going to the priest and requesting to wed Sebastian is indicative of her not thinking rationally and her quest towards something for which her heart yearns. The play reads, “Blame not this haste of mine. If you mean well / Now go with me and with this holy man / Into the chantry by. There before him, / And underneath that consecrated roof, / Plight me the full assurance of your faith, / Plight me the full assurance of your faith, / That my most jealous and too doubtful soul / May live at peace” (lines 22-28, Act VI, Scene 3). Both of these scenes (indicated through the textual evidence) are quite humorous since Sebastian knew full well the actions he was taking, but Olivia barely knew him and was pining over him nevertheless. This is a situation of irony that the audience can understand. It can be reckoned that Countess Olivia’s method of going about marriage is rather unconventional in this scene, and it is a testament to the lengths to which someone will go for something they dearly wish to obtain. Consequentially, the internal desires of Sebastian’s and Olivia’s souls are both unique to their identities and personalities, and the same idea can be applied to the other characters of this play, those not part of this specific scene.
Shakespeare concludes the concept of identity and self-discovery in the last act and scenes where all events are tied together as Sebastian (Viola’s twin brother) and Olivia get married, and Duke Orsino and Viola get married. Shakespeare shows that there is a silver lining to the many chaotic and questionable events that have thus occurred in this play, especially with how Orsino and Viola were interacting. Many of the characters endured confusion and hurt feelings with the range of love affairs that were simultaneously taking place. In Act V, Scene 1, Twelfth Night reads, “After him I love / More than I love these eyes, more than my life, / More, by all mores, than I e’er I shall love wife. / If I do feign, you witness above / Punish my life for tainting of my love” (lines 128-132, Act V, Scene I). This quotation from this scene illuminates the relationship between Orsino and Cesario (Viola). Their love goes deeper than the disguise she is wearing despite the seeming hiddenness of someone’s identity, which is a rather important lesson to take away from this play. While it is still a bit ambiguous as to whether Duke Orsino loved Cesario or Viola, the main message taken away is a sense of passion that is not merely surface-level. There is a very satisfying resolution to this play, with everything being made right. Sebastian, who was Viola’s twin brother, ends up marrying Countess Olivia.
To conclude, in the writing of his 1623 romantic comedy play, Twelfth Night (or What You Will), it is evident that Shakespeare effectively used various literary techniques, themes, and a wide range of characters to demonstrate the concept of human identity and how it impacts self-discovery in relation to other people. His use of blank verse within the dialogues of his characters was also a tool that helped readers and/or the audience better understands the characters on an emotional, internal level. In addition, topics such as outward appearance, internal motivation, longing, and identity are all equally instrumental in driving this plot towards understanding the profundity of the human heart. This is made clear through the characters’ use of dialogue and song within this play. All of the characters—Viola, Orsino, Sebastian, Olivia, and Feste—are deeply imperfect, and this reminds the audience and readers of this play about what it means to truly be human.
I Am Definitely, Probably Enough (I Think): Revelations on the Journey to Self-Love by Tori Press
5.0
This book is incredibly helpful for me when understanding my worth. It is not a “traditional” book, but is intended to exist for consistent use. I will be coming back to it many times. The drawings are so beautiful, but also cute. Tori Press did an outstanding job on creating this book. I feel very loved and seen for who I am.