Feel free to respond to others and engage in some Shakespearean discourse.
23 comments:
Anonymous
said...
Act 1, Scene 1, Lines 40-41- Ends on a rhyme. "flowers- bowers"
Act 1, Scene 4, Lines 41-42- Ends on a rhyme. "strife-wife"4
At first i thought this was a coincidence but through extra research (ie. reading another play) i see that this has become Shakespeare's M.O. in a sort of sense. It surprised me because i've never seen this technique in other play-writes besides shakespeare. Very Interesting way of ending a scene.
My favorite moment of this portion is the very beginning of Act 1, Scene 4. In a style very similar to how he begins the play, Shakespeare alludes to events that have occurred in the past by giving the reader a few small hints in the text.
In lines 1-4 of Act 1, Scene 4, Valentine says: "If the Duke continue these favours towards you, Cesario, you are like to be much advanced: he hath known you but three days, and already you are no stranger."
In just four lines, Shakespeare manages to say so much: he introduces a new name for a character, recounts the events of the past three days, gives a description of the current situation, and makes a prediction for the future. I was impressed by how much four lines can convey.
Act 1, Scene 2, Lines 47-49 "There is a fair behavior in thee, Captain; And though that nature with a wall beauteous Doth oft close in pollution"
These few lines have confused me because it seems to me that Shakespeare is openly contradicting himself. In the first line, Viola says that the Captain is an honest man with a humble appearance. This alone makes sense but she continues to say that although this nature is beautiful, it is pollution. I may very well be wrong in interpreting Shakespeare's words because I have no idea what "Doth oft" means but this contradiction struck me as odd and so I wrote about it.
Act 1, Scene 3, lines 58-59 "An' your par so, mistress, I would I might never draw a sword again." This line is quite confusing because of my uncertainty towards the use of " I would I might never." Is Shakespeare using an old middle english double negative so that he is actually saying he will draw a sword again?
Firstly, I agree with Ross' comment, he does have a gift for making a lot of information available to the audience in very few words.
Also, in Act 1 Scene 4, lines 16 and 28, Orsino says, "Be not denied access, stand at her doors" and "Than in a nuncio's of more grave aspect", respectively. In the definitions and explanations in the margins, it says that the pronunciations of both 'access' and 'aspect' put the emphasis on the second syllable, and I am unsure whether or not this has any significance, and if so what is it? Or is it merely to keep the cadence of the language.
The other paragraph that caught my eye is Act 1 Scene 3 lines 111-118. This entire passage is metaphor after metaphor, and each is unrelated to the last. Yet somehow they work together as not only entertaining but also shine light onto the Sir Toby/ Sir Andrew relationship. It seems that Toby has the quick wit and likes to poke fun at Andrew, and Andrew has little trouble rolling with the punches. Once again, we are given a lot of information and insight through not a lot of words.
In Orsino’s first monologue, Shakespeare’s description of the experience of love is both important in interpreting Orsino’s character and generally interesting. His comparison between love and a sea suggests that love is vast and difficult to comprehend. Orsino believes that all things become insignificant when compared to its greatness. This also suggests that Orsino could be swallowed up by the very love that hungers for. Earlier in the monologue, he is unstable and moody, quickly transitioning between wanting music and dismissing it. Orsino is lost in his emotions, unable to think logically. I also like the last sentence, “So full… high fantastical.” This statement, to me, says that love is a great source for inspiration and causes you to do imaginative new things.
1.4.13-14
I think it is interesting that Orsino reveals how Cesario knows the inner depths of his secret soul after only three days of being in Orsino’s court. Although Orsino, in his state of infatuation, would probably confess his love to anybody, the fact that he entrusts Cesario with the task of being his messenger shows that Orsino has definitely taken to the boy. This shows not only how rapid their friendship has emerged, but how valued Cesario is in Orsino’s eyes.
Dashon, I think what you were talking about are called rhymed couplets. I particularly liked this one:
Act 1, Scene 2, Lines 62-63: Be you his eunuch, and your mute I'll be: When my tongue blabs, then let mine eyes not see.
Simple, but it just sounds so nice.
Right before this (Lines 47-61) Viola speaks of her plans to cross-dress and serve Orsino. However, I couldn't figure out why exactly she decided on this plan... Is it because she suspected she could easily become a go-between for Olivia and Orsino? Was she already interested in him herself? Something else?
Act 1, scene 3, lines 91-92 "Excellent, it hangs like flax on a distaff; and I hope to see a housewife take thee between her legs, and spin it off."
There is a lot of banter going on in scene 3, but theses lines stood out to me because they were just so overtly sexual. Shakespeare's plays are so often thought of as having these deep complex meanings and metaphors and yet his comedies are often full of this kind low brow bawdy humor. Besides the shock and comedy, I also like the realism of Orsino's lines. I can totally imagine two guys about to go out for drinks and making inappropriate jokes about each other.
Act 1, Scene 4, Line17: "And tell them, there thy fixed foot shall grown, till thou have audience"
Now using the definitions provided on the left side of the page the line is: "And tell the servants at the doors, there thy firmly planted foot shall grow till thou have audience." This line just confused because i didn't understand his interpretation of the meaning of the words he used. This is also interesting of how shakespeare is not straightforward in writing. He "goes around the bush" before making his point which in fact makes his writing abstract. Yet there's a duality to that style making his writing hard to interpret.
Act 1, Scene 2, Line's 15-17 "Where, like Arion on the dolphin's back, I saw him hold acquaintance with the waves So long as I could see"
Instead of simply saying "he floated", Shakespeare first has his character compares Viola's brother to someone else who survived the ocean and then uses a very abstract way of describing Sebastian staying afloat. He often uses this multi-step method of description instead of simply saying what he means.
Act 1, Scene 3 lines 60-61
To add to what Sarah and Dashon said: "What else may hap, to time I will commit; Only shape thou silence to my wit"
This is the line before the one Sarah pointed out, and I agree with Sarah, that it sounds nice when he ends with these rhymes.
Like Cara, I was drawn to Act 1, Scene 2, Line's 15-17: "Where, like Arion on the dolphin's back, I saw him hold acquaintance with the waves So long as I could see"
While I sometimes found myself drifting as I read these four scenes, lines like these that referenced other stories drew me back in. I think the Arion story is a beautiful story of good fortune and the brief allusion to it creates a stronger feeling of hope for Sebastian than if Shakespeare had, like Cara mentioned, just said "he floated".
Act 1, Scene 4, Lines 42-43 "Yet, a barful strife! Whoe'er I woo, myself would be his wife!" I thought these lines sounded pretty due to the rhyme couplets originally noted by Dashon, but I was confused by what these lines meant. I read the scene commentary at the beginning of the book and it said Viola has a conflict between her duty to Orsino and her desires, but that only confused me more. What is she saying in those lines?
Something that has always confused me about this portion of the play is Act 1, Scene 2, Lines 25-27, where, after Viola has asked the Sea Captain who the ruler of the area is, and he responds, "A noble duke, in nature as in name.", with the name being Orsino. Viola understands from these two lines that Orsino loves music (later in the scene she talks about how she can serve him because she can sing and talk about music to him, when the Sea Captain has told her nothing about the Duke's love of music), but I don't know how she knows. Is this is musical reference I don't understand, or is it just because the name Orsino sounds musical?
I also liked the poetry of scene 4, between Orsino and Viola. They finish each other's lines to have the right amount of syllables (either 10 or 11) and I really like that Shakespeare uses the very structure of their words and lines to show how similar the two characters are, mostly in the way that they think: very romantic and serious. This is especially in contrast to scene 3, which is not in verse, and the characters aren't as serious. I like how Shakespeare uses verse to show the characters' dispositions.
Like Amalie, I also really noticed the use of verse to signify a difference in mood or formality.
1.4.42-43 "Yet, a barful strife! Whoe'er I woo, myself would be his wife!"
I was drawn to these lines for much the same reason that Ross was drawn to his. With these lines, (and here's what I think the answer to your question is, Grace) Shakespeare tells us that Viola has actually fallen for the Duke in the three days that she's known him! This huge plot twist is a great scene closer, and sets up most of the drama that will ensue throughout the rest of the play.
1.1.19-20 "O, when mine eyes did see Olivia first Methought she purg'd the air of pestilence"
I think this line is just really beautiful and poetic. It both pleases the ear, with its alliteration and overall image, and shows Orsino's character as hopelessly romantic. It also is the first time Orsino mentions Olivia; it brings his ramblings about love from the abstract to reality.
Like Tennessee, 1.1.20 has always been one of my favorites but I have never understood or cared to notice the next three lines until now. 1.1.21-23 After Orsino's monologue that opens the play, Curio asks about hunting. This has always seemed like such a non sequitur and I still don't understand why it is said unless Curio just hasn't been listening to Orsino. Anyways, in lines 21-23 Orsino takes the hunting reference and brings it back to his point in a seamless and beautiful metaphor. The pun with hart and heart is obvious but the next two lines were what caught my attention: "And my desires, like fell and cruel hounds, E'er since pursue me." To me, this is what most illustrates Orsino's deep and almost painful love and longing for Olivia. Although he is being melodramatic, the emotion seems real.
1.2.15-17 Like Cara, I love that Shakespeare describes such simple things that we would just state, like "he floated." This is what makes his writing artful - nothing is just passed over unintentionally, everything is thought through. In contrast, he can also say so much in only a few lines, like in 1.4.1-4. As Ross pointed out, he fully describes the situation of Viola, her new name and her relationship with Orsino in only four carefully crafted lines: this is why I love Shakespeare!!!!!!
I absolutely love the way Shakespeare introduces Aguecheek. Not only is his name so ridiculous ('Ague' literally translates to plague or fever) but Toby also introduces him as Andrew Agueface.
Immediately, Sir Andrew's character is established through a ridiculous series of dialogue based on an incorrect interpretation of a single word. Having read the play before, looking back, these lines epitomize Sir Andrew. As seen in earlier scenes, Shakespeare is a master of introducing both new characters and scenes in succinct, clever ways.
Lines 58-72 were especially intriguing to me because at first glance I thought that Maria and Sir Andrew were discussing marriage because Sir Andrew says,
"Marry, but you shall have, and here's my hand." However, after reading the side commentary, I realized that their conversation is blatantly sexual and not at all what I was expecting to read in Shakespeare. Also, there is a reference to Maria's barrenness, is this a lack of emotion or is she legitimately unable to have children?
In contrast, in Act 1 Scene 4, Orsino says.
"O then unfold the passion of my love, Surprise her with discourse of my dear faith; It shall become thee well to act my woes: She will attend it better in thy youth, Than in a nuncio's of more grave aspect."
This passage shows a different set of emotions, whether it be humbleness or cunning that causes Orsino to seek Viola's assistance in approaching Olivia. Also, as opposed to the playful sexual references, this seems to be a true confession of his love, rather than just moping around and ranting. He also asks Viola to surprise Olivia, implying that she does not know he genuinely cares for her. Maybe he really loves her and isn't just in it for the challenge/money/kicks and giggles.
One of my favorite parts was near the end of scene 4, on lines 31-34: "They say thou art a man: Diana's lip Is not more smooth and rubious; thy small pipe is as the maiden's organ, shrill and sound; And all is semblative of a woman's part."
In one sentence, Shakespeare is able to allude to how the count views Viola.
SPOILER ALERT
Shakespeare lays the ground work for the future as it shows that Orcino is attracted to Viola, although he believes her a man, through his compliments of her/him. For example "Diana's Lip" is referring to the goddess of love, whose lips Orcino says Viola equals or passes. It gives the audience its first idea of a future relationship between Orcino and Viola and helps to explain why Viola and Orcino marry so quickly in the end of the play.
Eric Slamovich Act 1 Scene 3 Lines 51-52: "Your mistake, knight. "Accost" is front her, board her, woo her, assail her"
In these lines Shakespeare displays sexual connotations very metaphorically. Prior towards reading this, I never thought Shakespeare had many sexual phrases. However when he writes "woo her, assail her", it means to sexually excite Maria and to pregnant her. Also, Shakespeare displays that men are superior to women, "front her, board her", showing the action of forcefully taking advantage of Maria without her consent and say.
Act 1, Scene rubious ne 4 Lines 31-34: "Diana's lip is not more smooth and; thy small pipe is as the maiden's organ, shrill and sound; and all is semblative a woman's part"
I am very confused when reading these lines because isn't Shakespeare repeating himself when saying Diana's lip represents the speech of a maiden; yet isn't Diana a woman? Also, I am confused why Shakespeare compares Diana's lips like a "woman's part". Diana is obviously a woman so why does Shakespeare have to compare her to things in a tone signaling that she is not female?
One of my favorite parts which is similar to Ross's was Act 1 Scene 3 when Shakespeare uses Sir Toby and Maria to introduce Sir Andrew. I chose these lines because i was astonished by the word choice Shakespeare uses and how a simple conversation can mean so much.
Throughout the whole entire conversation, Shakespeare finds a way to make each line significant in giving you an idea of who Sir Andrew could be. This conversation between the two foreshadows the trouble that could be caused by the man coming in.
My Favorite Shakespearean dialogue came in Act 1 Scene 4 Lines 24-28.
O then unfold the passion of my love, Surprise her with the discourse of my dear faith; It shall become thee well to act my woes: She will attend it better in thy youth, Than in a nuncio's of more grave aspect".
These simple lines that Orsino says displays so much brilliance in Shakespeare. It shows the extreme passion that Orsino obtains. but at the same time reveals much more of an egotistical side of Orsino that we saw early on. The way in which Shakespeare can make simple words have so many separate meanings is a talent that most authors don't have. He makes it open for interpretation by the audience which is great for any reader because they can take it the way they want to.
These lines are significant because they provide first instance where one of the main characters in the play is described. Here, Valentine tells Orsino about the grief stricken Olivia (based on what he has heard from Olivia's maid). Valentine says that Olivia has decided to stay in her quarters for "seven years' heat" (Page 2, Line 26) and walks around her chambers in "sad remembrance" (2, 32). This passage provides both the first description of Olivia as well as Orsino with a challenge, as he is extremely vain and wants what he cannot have. Because Orsino is a duke, he feels that he has the right to do whatever he pleases. This entitlement leads him to want Olivia (a countess). However, as soon as Olivia rejects Orsino, he becomes consumed by the chase to make her his wife.
Act 1 Scene 4 Lines 21-22 These lines demonstrate the lack of confidence possessed by Duke Orsino. In this specific passage, Duko Orsino asks Cesario (Olivia in disguise) to go to Olivia and "address thy gait unto her" (12, 15).Olivia obliges, and Orsino tells her to "be clamorous and leap all civil bounds" (12, 21). Orsino wants his servants to convey his love to Olivia because he is afraid of rejection. If Orsino were to show up at Olivia's doors, he would immediately be told to leave the premises by Olivia's servants. Orsino cannot handle this type of rejection (because of his extreme vanity) caused in part by his high position. This fear keeps Orsino in his palace, instructing his servants to send his messages of love to Olivia.
This line jumped out at me because of the use of the word "metaphor." I know that Shakespeare is known for using a countless number of metaphors in his plays, but it was odd to see Sir Andrew confused by Maria's metaphor. I have always thought the characters of Shakespeare's plays to understand metaphors more easily than what we would call "normal speech", but here, it seems that Sir Andrew is as confused with the use of a metaphor as many readers might be. It might just be because Sir Andrew is confused by just about anything, but it was still interesting.
Act 1, Scene 4, Lines 24-25: "O then unfold the passion of my love, Surprise her with discourse of my dear faith"
It seems like Orsino is trying to get Viola/Cesario to convey his love for Olivia for him, as if he cannot do it himself. If he loves he that much, why doesn't he go to Olivia and try to prove his love in person and do whatever it takes to get her to see him? I don't know how Viola/Cesario could express Orsino's "passion" that Orsino could not and I think that if he truly loved Olivia, he would not trust someone else with the important task of convincing Olivia of his affections.
I love these lines, and really this entire monologue by Malvolio, because, like Kyle and Dashon, I think it's completely out of the blue. Before this scene, we see Malvolio as a stern, apathetic servant of Olivia's, but in reality, he is in love with her as well! What's more is that he is willing to make an absolute fool of himself and do all the crazy things in the letter just to earn her love in return. This really complicates Malvolio's character and makes him so much more fun to act.
I don't think I'm really like any character in Twelfth Night, but if I had to choose one, it'd probably be Feste. I do tend to laugh at others for their foolishness and many people do mistake me for a fool sometimes.
23 comments:
Act 1, Scene 1, Lines 40-41- Ends on a rhyme. "flowers- bowers"
Act 1, Scene 4, Lines 41-42- Ends on a rhyme. "strife-wife"4
At first i thought this was a coincidence but through extra research (ie. reading another play) i see that this has become Shakespeare's M.O. in a sort of sense. It surprised me because i've never seen this technique in other play-writes besides shakespeare. Very Interesting way of ending a scene.
My favorite moment of this portion is the very beginning of Act 1, Scene 4. In a style very similar to how he begins the play, Shakespeare alludes to events that have occurred in the past by giving the reader a few small hints in the text.
In lines 1-4 of Act 1, Scene 4, Valentine says:
"If the Duke continue these favours towards you, Cesario, you are like to be much advanced: he hath known you but three days, and already you are no stranger."
In just four lines, Shakespeare manages to say so much: he introduces a new name for a character, recounts the events of the past three days, gives a description of the current situation, and makes a prediction for the future. I was impressed by how much four lines can convey.
Act 1, Scene 2, Lines 47-49
"There is a fair behavior in thee, Captain;
And though that nature with a wall beauteous
Doth oft close in pollution"
These few lines have confused me because it seems to me that Shakespeare is openly contradicting himself. In the first line, Viola says that the Captain is an honest man with a humble appearance. This alone makes sense but she continues to say that although this nature is beautiful, it is pollution. I may very well be wrong in interpreting Shakespeare's words because I have no idea what "Doth oft" means but this contradiction struck me as odd and so I wrote about it.
Act 1, Scene 3, lines 58-59
"An' your par so, mistress, I would I might never draw a sword again."
This line is quite confusing because of my uncertainty towards the use of " I would I might never." Is Shakespeare using an old middle english double negative so that he is actually saying he will draw a sword again?
Firstly, I agree with Ross' comment, he does have a gift for making a lot of information available to the audience in very few words.
Also, in Act 1 Scene 4, lines 16 and 28, Orsino says, "Be not denied access, stand at her doors" and "Than in a nuncio's of more grave aspect", respectively. In the definitions and explanations in the margins, it says that the pronunciations of both 'access' and 'aspect' put the emphasis on the second syllable, and I am unsure whether or not this has any significance, and if so what is it? Or is it merely to keep the cadence of the language.
The other paragraph that caught my eye is Act 1 Scene 3 lines 111-118. This entire passage is metaphor after metaphor, and each is unrelated to the last. Yet somehow they work together as not only entertaining but also shine light onto the Sir Toby/ Sir Andrew relationship. It seems that Toby has the quick wit and likes to poke fun at Andrew, and Andrew has little trouble rolling with the punches. Once again, we are given a lot of information and insight through not a lot of words.
1.1.9-15
In Orsino’s first monologue, Shakespeare’s description of the experience of love is both important in interpreting Orsino’s character and generally interesting. His comparison between love and a sea suggests that love is vast and difficult to comprehend. Orsino believes that all things become insignificant when compared to its greatness. This also suggests that Orsino could be swallowed up by the very love that hungers for. Earlier in the monologue, he is unstable and moody, quickly transitioning between wanting music and dismissing it. Orsino is lost in his emotions, unable to think logically. I also like the last sentence, “So full… high fantastical.” This statement, to me, says that love is a great source for inspiration and causes you to do imaginative new things.
1.4.13-14
I think it is interesting that Orsino reveals how Cesario knows the inner depths of his secret soul after only three days of being in Orsino’s court. Although Orsino, in his state of infatuation, would probably confess his love to anybody, the fact that he entrusts Cesario with the task of being his messenger shows that Orsino has definitely taken to the boy. This shows not only how rapid their friendship has emerged, but how valued Cesario is in Orsino’s eyes.
Dashon, I think what you were talking about are called rhymed couplets. I particularly liked this one:
Act 1, Scene 2, Lines 62-63:
Be you his eunuch, and your mute I'll be:
When my tongue blabs, then let mine eyes not see.
Simple, but it just sounds so nice.
Right before this (Lines 47-61) Viola speaks of her plans to cross-dress and serve Orsino. However, I couldn't figure out why exactly she decided on this plan... Is it because she suspected she could easily become a go-between for Olivia and Orsino? Was she already interested in him herself? Something else?
Act 1, scene 3, lines 91-92 "Excellent, it hangs like flax on a distaff; and I hope to see a housewife take thee between her legs, and spin it off."
There is a lot of banter going on in scene 3, but theses lines stood out to me because they were just so overtly sexual. Shakespeare's plays are so often thought of as having these deep complex meanings and metaphors and yet his comedies are often full of this kind low brow bawdy humor. Besides the shock and comedy, I also like the realism of Orsino's lines. I can totally imagine two guys about to go out for drinks and making inappropriate jokes about each other.
This was a very confusing line to me.
Act 1, Scene 4, Line17:
"And tell them, there thy fixed foot shall grown, till thou have audience"
Now using the definitions provided on the left side of the page the line is: "And tell the servants at the doors, there thy firmly planted foot shall grow till thou have audience." This line just confused because i didn't understand his interpretation of the meaning of the words he used. This is also interesting of how shakespeare is not straightforward in writing. He "goes around the bush" before making his point which in fact makes his writing abstract. Yet there's a duality to that style making his writing hard to interpret.
Act 1, Scene 2, Line's 15-17
"Where, like Arion on the dolphin's back,
I saw him hold acquaintance with the waves
So long as I could see"
Instead of simply saying "he floated", Shakespeare first has his character compares Viola's brother to someone else who survived the ocean and then uses a very abstract way of describing Sebastian staying afloat. He often uses this multi-step method of description instead of simply saying what he means.
Act 1, Scene 3 lines 60-61
To add to what Sarah and Dashon said:
"What else may hap, to time I will commit;
Only shape thou silence to my wit"
This is the line before the one Sarah pointed out, and I agree with Sarah, that it sounds nice when he ends with these rhymes.
Like Cara, I was drawn to Act 1, Scene 2, Line's 15-17:
"Where, like Arion on the dolphin's back,
I saw him hold acquaintance with the waves
So long as I could see"
While I sometimes found myself drifting as I read these four scenes, lines like these that referenced other stories drew me back in. I think the Arion story is a beautiful story of good fortune and the brief allusion to it creates a stronger feeling of hope for Sebastian than if Shakespeare had, like Cara mentioned, just said "he floated".
Act 1, Scene 4, Lines 42-43
"Yet, a barful strife! Whoe'er I woo, myself would be his wife!"
I thought these lines sounded pretty due to the rhyme couplets originally noted by Dashon, but I was confused by what these lines meant. I read the scene commentary at the beginning of the book and it said Viola has a conflict between her duty to Orsino and her desires, but that only confused me more. What is she saying in those lines?
Something that has always confused me about this portion of the play is Act 1, Scene 2, Lines 25-27, where, after Viola has asked the Sea Captain who the ruler of the area is, and he responds, "A noble duke, in nature as in name.", with the name being Orsino. Viola understands from these two lines that Orsino loves music (later in the scene she talks about how she can serve him because she can sing and talk about music to him, when the Sea Captain has told her nothing about the Duke's love of music), but I don't know how she knows. Is this is musical reference I don't understand, or is it just because the name Orsino sounds musical?
I also liked the poetry of scene 4, between Orsino and Viola. They finish each other's lines to have the right amount of syllables (either 10 or 11) and I really like that Shakespeare uses the very structure of their words and lines to show how similar the two characters are, mostly in the way that they think: very romantic and serious. This is especially in contrast to scene 3, which is not in verse, and the characters aren't as serious. I like how Shakespeare uses verse to show the characters' dispositions.
Like Amalie, I also really noticed the use of verse to signify a difference in mood or formality.
1.4.42-43
"Yet, a barful strife! Whoe'er I woo, myself would be his wife!"
I was drawn to these lines for much the same reason that Ross was drawn to his. With these lines, (and here's what I think the answer to your question is, Grace) Shakespeare tells us that Viola has actually fallen for the Duke in the three days that she's known him! This huge plot twist is a great scene closer, and sets up most of the drama that will ensue throughout the rest of the play.
1.1.19-20
"O, when mine eyes did see Olivia first
Methought she purg'd the air of pestilence"
I think this line is just really beautiful and poetic. It both pleases the ear, with its alliteration and overall image, and shows Orsino's character as hopelessly romantic. It also is the first time Orsino mentions Olivia; it brings his ramblings about love from the abstract to reality.
Like Tennessee, 1.1.20 has always been one of my favorites but I have never understood or cared to notice the next three lines until now.
1.1.21-23
After Orsino's monologue that opens the play, Curio asks about hunting. This has always seemed like such a non sequitur and I still don't understand why it is said unless Curio just hasn't been listening to Orsino. Anyways, in lines 21-23 Orsino takes the hunting reference and brings it back to his point in a seamless and beautiful metaphor. The pun with hart and heart is obvious but the next two lines were what caught my attention:
"And my desires, like fell and cruel hounds,
E'er since pursue me."
To me, this is what most illustrates Orsino's deep and almost painful love and longing for Olivia. Although he is being melodramatic, the emotion seems real.
1.2.15-17
Like Cara, I love that Shakespeare describes such simple things that we would just state, like "he floated." This is what makes his writing artful - nothing is just passed over unintentionally, everything is thought through. In contrast, he can also say so much in only a few lines, like in 1.4.1-4. As Ross pointed out, he fully describes the situation of Viola, her new name and her relationship with Orsino in only four carefully crafted lines: this is why I love Shakespeare!!!!!!
Act 1, Scene 3, 41-55
I absolutely love the way Shakespeare introduces Aguecheek. Not only is his name so ridiculous ('Ague' literally translates to plague or fever) but Toby also introduces him as Andrew Agueface.
Immediately, Sir Andrew's character is established through a ridiculous series of dialogue based on an incorrect interpretation of a single word. Having read the play before, looking back, these lines epitomize Sir Andrew. As seen in earlier scenes, Shakespeare is a master of introducing both new characters and scenes in succinct, clever ways.
Act 1 Scene 3:
Lines 58-72 were especially intriguing to me because at first glance I thought that Maria and Sir Andrew were discussing marriage because Sir Andrew says,
"Marry, but you shall have, and here's my hand." However, after reading the side commentary, I realized that their conversation is blatantly sexual and not at all what I was expecting to read in Shakespeare. Also, there is a reference to Maria's barrenness, is this a lack of emotion or is she legitimately unable to have children?
In contrast, in Act 1 Scene 4, Orsino says.
"O then unfold the passion of my love,
Surprise her with discourse of my dear faith;
It shall become thee well to act my woes:
She will attend it better in thy youth,
Than in a nuncio's of more grave aspect."
This passage shows a different set of emotions, whether it be humbleness or cunning that causes Orsino to seek Viola's assistance in approaching Olivia. Also, as opposed to the playful sexual references, this seems to be a true confession of his love, rather than just moping around and ranting. He also asks Viola to surprise Olivia, implying that she does not know he genuinely cares for her. Maybe he really loves her and isn't just in it for the challenge/money/kicks and giggles.
One of my favorite parts was near the end of scene 4, on lines 31-34: "They say thou art a man: Diana's lip Is not more smooth and rubious; thy small pipe is as the maiden's organ, shrill and sound; And all is semblative of a woman's part."
In one sentence, Shakespeare is able to allude to how the count views Viola.
SPOILER ALERT
Shakespeare lays the ground work for the future as it shows that Orcino is attracted to Viola, although he believes her a man, through his compliments of her/him. For example "Diana's Lip" is referring to the goddess of love, whose lips Orcino says Viola equals or passes. It gives the audience its first idea of a future relationship between Orcino and Viola and helps to explain why Viola and Orcino marry so quickly in the end of the play.
Eric Slamovich
Act 1 Scene 3 Lines 51-52: "Your mistake, knight. "Accost" is front her, board her, woo her, assail her"
In these lines Shakespeare displays sexual connotations very metaphorically. Prior towards reading this, I never thought Shakespeare had many sexual phrases. However when he writes "woo her, assail her", it means to sexually excite Maria and to pregnant her. Also, Shakespeare displays that men are superior to women, "front her, board her", showing the action of forcefully taking advantage of Maria without her consent and say.
Act 1, Scene rubious ne 4 Lines 31-34: "Diana's lip is not more smooth and; thy small pipe is as the maiden's organ, shrill and sound; and all is semblative a woman's part"
I am very confused when reading these lines because isn't Shakespeare repeating himself when saying Diana's lip represents the speech of a maiden; yet isn't Diana a woman? Also, I am confused why Shakespeare compares Diana's lips like a "woman's part". Diana is obviously a woman so why does Shakespeare have to compare her to things in a tone signaling that she is not female?
One of my favorite parts which is similar to Ross's was Act 1 Scene 3 when Shakespeare uses Sir Toby and Maria to introduce Sir Andrew. I chose these lines because i was astonished by the word choice Shakespeare uses and how a simple conversation can mean so much.
Throughout the whole entire conversation, Shakespeare finds a way to make each line significant in giving you an idea of who Sir Andrew could be. This conversation between the two foreshadows the trouble that could be caused by the man coming in.
My Favorite Shakespearean dialogue came in Act 1 Scene 4 Lines 24-28.
O then unfold the passion of my love, Surprise her with the discourse of my dear faith; It shall become thee well to act my woes: She will attend it better in thy youth, Than in a nuncio's of more grave aspect".
These simple lines that Orsino says displays so much brilliance in Shakespeare. It shows the extreme passion that Orsino obtains. but at the same time reveals much more of an egotistical side of Orsino that we saw early on. The way in which Shakespeare can make simple words have so many separate meanings is a talent that most authors don't have. He makes it open for interpretation by the audience which is great for any reader because they can take it the way they want to.
Act 1 Scene 1 Lines 26-32
These lines are significant because they provide first instance where one of the main characters in the play is described. Here, Valentine tells Orsino about the grief stricken Olivia (based on what he has heard from Olivia's maid). Valentine says that Olivia has decided to stay in her quarters for "seven years' heat" (Page 2, Line 26) and walks around her chambers in "sad remembrance" (2, 32). This passage provides both the first description of Olivia as well as Orsino with a challenge, as he is extremely vain and wants what he cannot have. Because Orsino is a duke, he feels that he has the right to do whatever he pleases. This entitlement leads him to want Olivia (a countess). However, as soon as Olivia rejects Orsino, he becomes consumed by the chase to make her his wife.
Act 1 Scene 4 Lines 21-22
These lines demonstrate the lack of confidence possessed by Duke Orsino. In this specific passage, Duko Orsino asks Cesario (Olivia in disguise) to go to Olivia and "address thy gait unto her" (12, 15).Olivia obliges, and Orsino tells her to "be clamorous and leap all civil bounds" (12, 21). Orsino wants his servants to convey his love to Olivia because he is afraid of rejection. If Orsino were to show up at Olivia's doors, he would immediately be told to leave the premises by Olivia's servants. Orsino cannot handle this type of rejection (because of his extreme vanity) caused in part by his high position. This fear keeps Orsino in his palace, instructing his servants to send his messages of love to Olivia.
Act 1, Scene 3, Line 65: "What's your metaphor?"
This line jumped out at me because of the use of the word "metaphor." I know that Shakespeare is known for using a countless number of metaphors in his plays, but it was odd to see Sir Andrew confused by Maria's metaphor. I have always thought the characters of Shakespeare's plays to understand metaphors more easily than what we would call "normal speech", but here, it seems that Sir Andrew is as confused with the use of a metaphor as many readers might be. It might just be because Sir Andrew is confused by just about anything, but it was still interesting.
Act 1, Scene 4, Lines 24-25: "O then unfold the passion of my love, Surprise her with discourse of my dear faith"
It seems like Orsino is trying to get Viola/Cesario to convey his love for Olivia for him, as if he cannot do it himself. If he loves he that much, why doesn't he go to Olivia and try to prove his love in person and do whatever it takes to get her to see him? I don't know how Viola/Cesario could express Orsino's "passion" that Orsino could not and I think that if he truly loved Olivia, he would not trust someone else with the important task of convincing Olivia of his affections.
2.4.157-160
I love these lines, and really this entire monologue by Malvolio, because, like Kyle and Dashon, I think it's completely out of the blue. Before this scene, we see Malvolio as a stern, apathetic servant of Olivia's, but in reality, he is in love with her as well! What's more is that he is willing to make an absolute fool of himself and do all the crazy things in the letter just to earn her love in return. This really complicates Malvolio's character and makes him so much more fun to act.
I don't think I'm really like any character in Twelfth Night, but if I had to choose one, it'd probably be Feste. I do tend to laugh at others for their foolishness and many people do mistake me for a fool sometimes.
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