Homosexuality In William Shakespeare's Twelfth Night

Many people experience love in their life whether it’s with family, friends, or with a partner. WIlliam Shakespeare’s book, Much Ado About Nothing, contains many different forms of love such as the love between daughter and father, friends, and lovers. Some of those relationships, however, are questionable like the relationship between Hero and Claudio. Throughout the book Hero and Claudio are faced with many obstacles that help the reader conclude that they aren’t truly in love with each other.

In “Wells Fargo Pays $1 Billion to Federal Regulators” article, the author wanted to tell that the bank Wells Fargo forced to the customers to pay the mortgage interest and they also forced customers to buy the unnecessary auto insurance policy. Moreover, Wells Fargo also creates fake accounts in customers’ name. For these several unlawful acts, this bank has been charged multiple times by Federal Regulators. There are 100 open investigations under this bank name.

During Shakespeare’s time, brides and grooms did not have a say in who they married because of arranged marriages. However, Hermia and Miranda went against their fathers in order to choose their own spouse. This is ironic because women are expected to remain passive and docile when it comes to love while men are aggressive in the pursuit of love. In this case, Hermia and Miranda are leaning towards the more aggressive side in their pursuit of love. Miranda shows forthrightness with Ferdinand’s marriage proposal.

This drama study will argue for the acceptance of homosexuality as a primary theme in Goodnight Desdemona by Ann-Marie MacDonald. The main character, Constance, is a modern woman that is transported through time to play a new character in Romeo and Juliet and Othello. MacDonald allows Constance to become female and male characters, which explore the duality of genders roles, which challenge accepted homophobic assumptions about sexual relations in Shakespearean plays. Constance’s observations about Elizabethan society provide a uniquely accepting view of homosexuality through a modern evaluation of the Constance/Constantine gender role shift. Therefore, Constance provides a validation of homosexuality in the commentary as a method of opposing sexism and homophobia in the original Shakespearean platys. The social construction of supporting gender/homosexual identity will be examined in relation to the modernity of Constance’s influence on Elizabethan characters. In essence, an argument supporting the acceptance of homosexuality will be defined through an analysis of Goodnight Desdemona by Ann-Marie MacDonald.

One of the biggest debates when it comes to Shakespeare is if homosexuality is present in his works or not. This debate only began in recent decades when the term “homosexuality” was not seen as completely taboo. Many scholars debate that the “platonic” relationships between men were really participating in homosexual relationships, which were covered in many layers of English Renaissance language. These scholars also argue that women during this time were used for two reasons: 1) to cover up said homosexual relationships and 2) reproduction. Women were used for men’s personal gain. Women were considered manipulative and destructive. On the other hand, some scholars argue that these men were not in homosexual relationships with one another and really considered each other a brother. But really, it all boils down to which play/sonnet. In some cases, there are homosexual relationships shown and in others it is merely a platonic relationship. It all depends on the story that is being portrayed.

“Ambition cannot pierce a wink beyond” (2.1.276) continues Antonio, he personifies ambition, revealing how much he prizes it, and how corrupt he has become because only a person with an excess of ambition could prize it that much. Next, Antonio uses visual and tactile imagery to explain how he has no conscience and how trivial it is to him “If ‘twere a kibe.” (2.1.317) Antonio says, comparing his nonexistent conscience to a blister on his foot. The nonchalance of Antonio’s tone depicts how utterly uncaring he is on the subject of guilt. To him if he feels no guilt then what he did is justified. “I feel not/…this deity in my bosom” (2.1.317-318) he continues, not having a conscience, not feeling remorse when you do something terrible is another way of Shakespeare showing the watcher that Antonio has been completely corrupted. “Twenty consciences” (3.1.318) could stand between Antonio and power and yet they would be ignored for the sake of his own ambition. Antonio tells Sebastian that “Sir Prudence” (2.1.327) who is his conscience “shall not upbraid our course,” (2.1.327). Here Antonio personifies Sebastian’s conscience, telling him that it won’t bother him once the deed is done and the throne is his. The personification is useful because once Sebastian’s conscience is more tangible to him, such as a person, it will be easier for him to ‘slay’ it as he would his brother. This

Throughout Twelfth Night by William Shakespeare, the audience tends to recognize Viola's courage to gain protection in what seems like a world filled with men. As she pertains her brother’s image through camouflage, it encourages protection and the right to speak as an equal to others even her same gender. The theater is full of irony when surrounding the characters, especially Viola. She is able to hide through her brothers’ image but also ignites the illusion of sexual attraction that Olivia and Orsino hold for Viola. The gender ‘neutrality’ that Viola represents lets the audience know that gender is playing multiple roles in this certain play. Instead of just identifying and classifying Viola once she becomes Cesario, her primary gender doesn’t prohibit her from doing as she pleases anymore.

Shakespeare presents enlightening emotional responses to characters who are perceptive to discovery, like Miranda and Ferdinand. Miranda upon encountering Ferdinand, sees him as “ a thing divine, for nothing natural. I ever saw so noble”. The discovery of Ferdinand using emotive language, reveals that Miranda has experienced both and emotional and intellectual response; emotional in the sense that it facilitates love, and intellectual as it challenges her previously held perceptions of accepted male/female gender relationships, based on failures by her distant controlling father - Prospero - and rapacious foster brother - Caliban. Similarly, Ferdinand undergoes a romantic discovery by meeting Miranda leading him to re-evaluate his previous

Before I discuss the possibility of Antonio's sadness being caused by his love for Bassanio, I must point out that there are scholars who do not believe that Antonio harbors any homoerotic feelings towards Bassanio. Danson, while conceding that

Shakespeare uses love for plot building as well as a means of tension within a majority of his plays. The use of love is still relevant to modern age society. Examples include “Maybe the bull is, but if I am ever domesticated, you can take the bull’s horns and put them on my forehead, as my wife is sure to cuckold me soon enough.” (Benedick Act 1 Scene 1) through the use of metaphor and “I’ll swear by my sword that you love me, too, and I’ll make any man who says that I don’t love you eat it.” (Benedick Act 4 Scene 1) through the use of pun and hyperbole. During Elizabethan times bull-baiting was used as a form of recreational entertainment were bulls were either trapped or tied up and dogs were released to attempt to attack its snout. Benedick is using the humiliation of the bull as a comparison of the humiliation he would feel when the woman he married cheated on him. This can be compared to modern society where the chance to cheat is only a short drive away and rumours and gossip about such things spread fast and efficiently. Benedick’s use of pun and hyperbole in Much Ado About Nothing gives us his view on other opinions about him and Beatrice. Through the idea of a sword, we are given an image of Benedick both defending his love for Beatrice as well as attacking people who slander it. This can be related to modern society were one must both defend themselves as well as attack those who slander them in love and marriage. Benedicks views give us a thorough understanding of Shakespeare’s view and understanding on love which is still evident in modern society. Through the use of Benedick stubborn view on love can still Shakespeare shows an example of the amount and severity a person changes when in love, whether in the past or

First, we see Antonio, a soft-hearted and morose Christian gentleman whose riches cannot provide him the fulfillment that others deem appropriate. He is sad because he lacks love. To fulfill that love, he assists Bassano in his own quest to pursue love. Though usually depicted as a homosexual relationship, it is a portrayal of love between friends or brothers, another type of bond. This act of bonding puts Antonio in gracious light. He helps his loved one by borrowing money from Shylock and pawns his life to strengthen that bond. This reinforced bondage reflects Antonio’s selflessness, God-like quality, and most importantly Christian morality.

Antonio rescues Sebastian after the shipwreck that separated him from his twin, Viola. Antonio immediately takes a liking to Sebastian and helps get back on his feet. Sebastian heads to Duke Orsino’s court to look for work, Antonio offers to help but Sebastian has to decline as Antonio is a wanted man and accompanying him on his journey would put him at risk. “But, come what may, I do adore thee so, / the danger shall seem sport, and I will go.” (2.1.43-44) Antonio follows him anyways and ends up encountering Viola dressed as Cesario in the middle of a fight with Sir Andrew. Because Antonio thinks Cesario is Sebastian, he steps in to defend him, out of his love. Viola is confused because she’s never met Antonio before. But, Sir Toby and Sir Andrew recognize him as the wanted criminal that he is and turn him in to the authorities. Although Antonio is ultimately released he still ends up heartbroken as Sebastian ends up married to Olivia.

When Antonio is around Sebastian, he is cool and collected, but is also strong willed and compassionate. He is a constantly changing character, but yet, sometimes, it seems he doesn’t change at all. Antonio is a character that constantly fascinates people with longing to know more about his past, but also with his bond with Sebastian. The ending of Twelfth Night leaves much to be desired when it comes to Antonio. Sebastian is with Olivia, and now, Antonio is alone. He came this far for Sebastian, but, while he was set free, that's about as satisfying as it

With every great story line comes a theme. William Shakespeare created an art of intertwining often unrecognizable themes within his plays. In Shakespeare’s play, The Merchant of Venice, one hidden theme is the idea of homosexuality. This theme might not have even been noticed until modern Shakespeare fans discovered them. According to Alan Bray’s book, Homosexuality in Renaissance England, “the modern image of ‘the homosexual’ cannot be applied to the early modern period, when homosexual behavior was viewed in terms of the sexual act and not an individual's broader identity.” (Columbia University Press). This difference between homosexuality as a “sexual act” and an

Antonio and Bassanio not only commit several transgressions because of their love, but the love itself also transgresses the expectations for romantic relationships at that time. In the setting of the play, society does not accept romantic relationships between two men, so Antonio and Bassanio’s love for each other should not exist. Nevertheless, Antonio openly displays his affection for Bassanio from the beginning of the play, declaring “My purse, my person, my extremest means, / Lie all unlock’d to your occasions” (I.1.134-135). By committing himself completely to Bassanio, Antonio does not attempt at all to conceal his feelings for another man, but rather, he embraces them. Furthermore, Antonio’s devotion to Bassanio leads him to violate his own beliefs about borrowing money on interest. Antonio says “I neither lend nor borrow / By