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Education of the republic of uzbekistan samarkand state institute of foreign languages chair of english philology
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| bet | 9/10 | | Sana | 04.06.2023 | | Hajmi | 44.77 Kb. | | #69657 |
Bog'liq Komila Kurs ishi TO\'MA 222 Ismoilova Mohina davomi, HMTT(BOBUR), Alisherov Aminjon diskret, 2023-yil Yo\'l xaritasi 11-DMTT, kreativ fikir, 3 kriptografiya xaqida, Tashkiliy tuzilma, portal.guldu.uz-Shaxsiy sug‘urtaning mazmuni va turlari, Python dasturlash tili, 1701370462, bernulli tenglamasi, KUNLIK CHEKLIST, Rostlagichlarni tanlash, Jarayonlarni loyihalash uchun asosiy meyoriy hujjatlarCONCLUSION
The overall point of view of Twelfth Night is dramatic, but it follows certain characters more than others, encouraging the audience to sympathize with their particular perspective and sensibility. In Twelfth Night, the most privileged characters are Viola and Feste. Viola and Feste possess the greatest insight into themselves and other characters. The play is partial to these two perspectives because they form the sensible and sober anchors of an otherwise raucous free-for-all. We get the least insight into Malvolio’s point of view, so we enjoy the jokes and pranks the other characters play on him. Malvolio is separated from the others both by his Puritanism and his disapproval of the songs, drinking, and frivolity the others value. If Malvolio is the play’s outsider, Viola and Feste are the insiders of the play, providing a consistent point of reference while also instilling a dose of sanity into the madness of Twelfth Night’s universe.
In many ways, Viola is uniquely placed within the play. Until the final act, she is the only character who shares the dramatic irony of Cesario’s double identity with the audience. At several points Viola speaks directly to the audience, such as when she reveals her secret desire to marry the Duke: Furthermore, Viola has the advantage of witnessing the inner workings of both Orsino’s and Olivia’s courts. Because of her cunning, she comes across as one of the more intelligent figures in the play. And the consistency of her motivations makes her one of the most stable and willful; unlike Olivia and Orsino, Viola knows what she wants and doesn’t deviate from her goal. The fact that she begins the play believing she just lost her beloved twin brother makes her sympathetic to the audience, and makes us want to see her joined with another character. Accordingly, the audience is biased toward Viola’s point of view. She serves as a reliable touchstone, and is closely aligned with what we, as audience members, already know and see.
. Perhaps the most overt references to homoeroticism in Twelfth Night come from the relationship between Sebastian and Antonio. While Sebastian doesn’t indicate that he has romantic feelings for Antonio, Antonio often expresses his adoration and love for Sebastian. The intensity of his feelings seems to imply erotic interest, as when he tells Sebastian “I could not stay behind you. My desire, More sharp than filed steel, did spur me forth.” However, audiences in Shakespeare’s day might have read Antonio’s declaration differently, as close male friendships were not unusual in Elizabethan England. In fact, in Shakespeare’s day women were thought to be intellectually and emotionally inferior to men, so a bond between two men would have been a bond between equals. Just as we can’t know how Shakespeare intended audiences to interpret Olivia and Orsino’s love for Cesario, we can’t know if he wants us to understand Antonio’s feelings as sexual desire, or passionate friendship. Regardless, Twelfth Night presents us with many versions of love, and suggests love, in all its forms, is an overwhelmingly powerful force that characters are helpless to resist.
Many people in Twelfth Night assume a disguise of one kind or another. The most obvious example is Viola, who puts on the clothing of a man and makes everyone believe that she is a male. This disguise causes great sexual confusion, as a bizarre love triangle results in which Viola is in love with Orsino, who loves Olivia—who loves Cesario, the male identity that Viola assumes. Thus, by dressing his protagonist in male garments, Shakespeare shows how malleable and self-delusional human romantic attraction can be.
Another character in disguise is Malvolio, who dresses oddly (in crossed garters and yellow stockings) in the hope of winning Olivia. In his case, the change of clothing suggests his belief that altering his wardrobe can lead to an alteration of his social status. When he dreams of being Olivia’s husband, he imagines himself above all in a different set of clothes, suggesting that class and clothing are inextricably linked. Later, after Malvolio has been declared mad and has been confined to a dark room, Feste, pretending to be the fictional priest Sir Topas in order to deceive Malvolio, puts on a disguise—even though Malvolio will not be able to see him since the room is so dark. This scene is particularly suggestive: Feste’s desire to wear a disguise even though his victim won’t see it implies that the link between clothes and reality goes deeper than mere appearances. For Feste, at least, the disguise makes the man—in order to be Sir Topas, he must look like Sir Topas. Ultimately, then, Shakespeare raises questions about human identity and whether such classifications as gender and class status are fixed entities or can be changed with a simple shift of wardrobe.
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