136 lines
7.3 KiB
Plaintext
136 lines
7.3 KiB
Plaintext
ÜÜÜÜÜÜÜÜÜÜÜÜÜ ÜÜÜ ÜÜÜÜ
|
|
ÜÛÛÛÛÛÛÛÛßÛßßßßßÛÛÜ ÜÜßßßßÜÜÜÜ ÜÛÜ ÜÛÛÛÛÛÛÛÛÜÜÜÜÜÛßß ßÛÛ
|
|
ßÛÛÛÛÛÛÛÛÛÛÛÛÛÛÜ ßÛÛ ÜÛÛÛÜÛÛÜÜÜ ßÛÛÛÛÜ ßÛÛÛÛÛÛÛÜÛÛÜÜÜÛÛÝ Ûß
|
|
ßßßÛÛÛÛÛÛÛÛÛÛÜ ÞÝ ÛÛÛÛÛÛÛÛÛÛÛßßÛÜÞÛÛÛ ÛÛÛÛÛÜ ßßÛÛÛÞß
|
|
Mo.iMP ÜÛÛÜ ßÛÛÛÛÛÛÛÝÛ ÞÛÛÛÛÛÛÛÛÛ ÞÛÛÛÛ ÞÛÛÛÛÛÝ ßÛß
|
|
ÜÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÝ ÞÛÛÛÛÛÛÛÛÝ ÛÛÛ ÛÛÛÛÛÛ
|
|
ÜÛÛÛÛÛÛÛÝ ÞÛÛÛÛÛÛÛÛ ÞÛÛÛÛÛÛÛÛ ß ÞÛÛÛÛÛÛÜ ÜÛ
|
|
ÜÛÛÛÛÛÛÛÝ ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÝ ÞÞÛÛÛÛÛÛÛÛÛß
|
|
ÜÛßÛÛÛÛÛÛ ÜÜ ÛÛÛÛÛÛÛÛÝ ÛÛÞÛÛÛÛÛÝ ÞÛÛÛÛÛÛßß
|
|
ÜÛßÛÛÛÛÛÛÜÛÛÛÛÜÞÛÛÛÛÛÛÛÛ ÞÛ ßÛÛÛÛÛ Ü ÛÝÛÛÛÛÛ Ü
|
|
ÜÛ ÞÛÛÛÛÛÛÛÛÛÛß ÛÛÛÛÛÛÛÛÛ ßÛÜ ßÛÛÛÜÜ ÜÜÛÛÛß ÞÛ ÞÛÛÛÝ ÜÜÛÛ
|
|
ÛÛ ÛÛÛÛÛÛÛÛß ÛÛÛÛÛÛÛÛÛÛÜ ßÛÜ ßßÛÛÛÛÛÛÛÛÛß ÜÜÜß ÛÛÛÛÜÜÜÜÜÜÜÛÛÛÛÛß
|
|
ßÛÜ ÜÛÛÛß ßÛÛÛÛÛÛÛÛÛÛÜ ßßÜÜ ßßÜÛÛßß ßÛÛÜ ßßßÛßÛÛÛÛÛÛÛßß
|
|
ßßßßß ßßÛÛß ßßßßß ßßßßßßßßßßßßß
|
|
ARRoGANT CoURiERS WiTH ESSaYS
|
|
|
|
Grade Level: Type of Work Subject/Topic is on:
|
|
[ ]6-8 [ ]Class Notes [A characterization on ]
|
|
[ ]9-10 [ ]Cliff Notes [changes that occur ]
|
|
[ ]11-12 [x]Essay/Report [in Viola in Twelfth ]
|
|
[x]College [ ]Misc [Night. ]
|
|
|
|
Dizzed: 07/94 # of Words:1024 School: ? State: ?
|
|
ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>Chop Here>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ
|
|
|
|
THE CHANGING ROLE IN VIOLA/CESARIO IN THE TWELFTH NIGHT
|
|
|
|
In Shakespeare's "Twelfth Night", it is clearly evident that the
|
|
fluctuation in attitude to the dual role and situation and tribulations
|
|
imposed upon the character of Viola/Cesario ends up in a better
|
|
understanding of both sexes, and thus, allows Viola to have a better
|
|
understanding for Orsino. Near the opening of the play, when Viola is
|
|
adopting her male identity, she creates another self, like two masks and
|
|
may decide to wear one or the other while swinging between the two
|
|
identities in emotion and in character. She decides to take on this
|
|
identity because she has more freedom in society in her Cesario mask, which
|
|
is evident when she is readily accepted by Orsino, whereas, in her female
|
|
identity she would not be. Thus, a customary role in society and to the
|
|
outlooks of others is portrayed.
|
|
|
|
Orsino sees Cesario, as a young squire just starting out in the world,
|
|
much like himself as a young, spry lad, so he has a tendency to be more
|
|
willing to unload onto her with his troubles and sorrows, seeking a
|
|
companion with which to share and to teach. Thus, Viola grows in her male
|
|
disguise to get a better feeling for his inner self, not the self that he
|
|
shows to the public, or would reveal and share with Viola in her true
|
|
female self, but rather his secret self, as he believes he shares with a
|
|
peer. So, she grows to love him. But, Orsino's motivation is actually not
|
|
love for Viola, but rather he seems to be in love with love itself. His
|
|
entire world is filled with love but he knows that there might be a turning
|
|
point for him, like when he says:
|
|
|
|
|
|
If music be the food of love, play on; give me excess of it, that,
|
|
surfeiting, the appetite may sicken, and so die. 1. (I,I,I-III)
|
|
|
|
This quote shows that he knows that he is so caught up in "love", that he
|
|
hopes his appetite for love may simmer when he takes more than he can
|
|
handle.
|
|
|
|
|
|
|
|
1. Shakespeare, William. Twelfth Night. Longman's Canada Limited, Don
|
|
Mills, Ontario, 1961. All subsequent quotes are from this edition.
|
|
|
|
Near the end of the play, when all tricks and treacheries are revealed
|
|
and all masks are lifted, Orsino "falls" in love with Viola. He first
|
|
forgives her/him of her/his duty to him, the master; then says that she
|
|
shall now be her master's mistress:
|
|
|
|
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 call'd me master for so long, here is my hand. You shall
|
|
from this time be your master's mistress. (V,I,322-327)
|
|
|
|
This is sort of a switching love as he thought he was in love with Olivia
|
|
in the beginning, but, he readily switches his love to Viola, as he feels
|
|
he knows her personality well.
|
|
|
|
As for Viola, she declares her love for Orsino many times, as if by
|
|
saying that she would love him if she were a lady. When Orsino first sends
|
|
Cesario to act as a messenger and send Orsino's love to Olivia, Cesario
|
|
proclaims:
|
|
|
|
I'll do my best to woo your lady; [aside] yet, a barful strife!
|
|
Whoe'er I woo, myself would be his wife. (I,IV, 40-42)
|
|
|
|
This shows that Viola knows what a difficult situation that she is in, and
|
|
that she might try to woo her out of loving Orsino, so that she might have
|
|
him for herself; except there is a slight, unexpected twist of fate...
|
|
|
|
After Cesario leaves from Olivia's, she declares:
|
|
|
|
"What is your parentage?" "Above my fortunes, yet my state is well; I
|
|
am a gentleman." I'll be sworn thou art. Thy tongue, thy face, thy
|
|
limbs, and spirit, do give thee five-fold blazon. Not too fast: soft,
|
|
soft! Unless the master were the man. How now! Even so quickly may
|
|
one catch the plague? Methinks I feel this youth's per- fections with
|
|
an invisible and subtle stealth to creep in at mine eyes. Well, let it
|
|
be. What ho, Malvolio! (I,V, 289-298)
|
|
|
|
Olivia, is thinking back to her question to Cesario, and his response to
|
|
it. Then she replies to Cesario's response, to herself, thinking about
|
|
him. She agrees with his response, then goes over his many delightful
|
|
features, and wonders how she so quickly has caught the plague of love for
|
|
young Cesario. She decides that it is her feeling towards his youthful
|
|
perfections that creep into her heart and to her eyes. Then she agrees
|
|
with her decision, and sends for Malvolio, in hope that he may recall
|
|
Cesario, so that she may talk with him again. Olivia feels a strong
|
|
passionate love for Cesario, even though it was love at first sight for
|
|
her. Cesario presented (himself) very magnificently and left a lasting
|
|
impression in Olivia's mind.
|
|
|
|
The next time that Cesario came by, Olivia declared:
|
|
|
|
Cesario, by the roses of the spring, by maid- hood, honour, truth and
|
|
everything, I love thee so, that, maugre all thy pride, nor wit nor
|
|
reason can my passion hide. (III,I,145-148)
|
|
|
|
This verifies that Olivia is profoundly in love with Cesario, despite all
|
|
his pride. But, Cesario does not possess the same sentiments for Olivia as
|
|
he says:
|
|
|
|
By innocence I swear, and by my youth, I have one heart, one bosom and
|
|
one truth, And that no woman has; nor never none shall mistress be of
|
|
it, save I alone. And so adieu, good madam. (III,I,153-157)
|
|
|
|
Here, Viola tells Olivia that she could never love her, nor any other woman
|
|
because she only has one love (to Orsino) and is loyal. But, Olivia is
|
|
still in love, and requests that Cesario return.
|
|
|
|
Overall, Viola learns that in the role of Cesario she had to be quick
|
|
on her feet, and defend the probing questions and statements as to her love
|
|
and others love for her. As well she acquired the skill to bide her time,
|
|
until the time was right, lest she reveal her true self or intentions.
|