Twelfth Night

Andy Fickman updated Shakespeare’s Twelfth Night to explore the key idea of hidden identity through his characterisation of Viola from She’s The Man. In She’s The Man, an example of hidden identity in relation to Viola is Viola purporting to be a guy (Sebastian) to play soccer. While Viola is playing soccer as Sebastian she got hit in the crotch and says,“Oh. Right. OWW! OH, FOR THE LOVE OF GOD! IT BURNS!”. This quotes has used dramatic irony by letting the audience know that Viola is a female mimicking Sebastian’s appearance. Viola’s has no reaction to getting hit in the crotch but realises she is trying to portray Sebastian so she fakes that she feels the pain. This shows the use of hidden identity through Viola pretending to be Sebastian.

I am not what I am” (38). Obviously, Olivia doesn’t understand what is meant by that, but Viola herself knows what she means. Her understanding of who she really is developing. “Viola, a center in this hurricane, cannot act” (French 80). Struggle as she might, Viola is unable to do anything to help without revealing her true identity, which she is not yet willing to risk. Viola, in the hurricane of confusion of who is who, and who she needs to be, has no idea what is really going on. Then, Sebastian reveals himself, and Viola, with some relief, admits who she truly is, “If nothing lets to make us happy both But this my masculine unsurp’d attire. Do not embrace me till each circumstance of place, time fortune, do cohere and jump, That I am Viola” (67). She can finally cast off her burden of being both a man outwardly, and a woman internally, and just become

Maybe we do not want to see them for who they truly are, or maybe the truth seems impossible. Likewise, mistaken identity is a dominant theme in the play. Someone can be something completely different on the inside than they appear to be on the outside. Viola’s disguise establishes mistaken identity creating trouble affecting the lives of Antonio, Sebastian and Olivia.

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“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”. Viola sought to serve someone of significance and power. By dressing as a male and acting the part, she is able to secure a position as Duke Orsino’s servant and messenger. Now fitting in to society, Viola, or “Cesario”, runs into another conflict.

Shakespeare 's Twelfth Night is a critical Elizabethan-era work that explores attraction and sexuality within the relationship between Viola (as Cesario) and Duke Orsino. Her role is one of steadfast love towards Orsino; she willingly courts Olivia on his behalf as Cesario, burying her feelings for him because she cares that he is happy. There is a rigid dichotomy between Viola and Orsino’s passion; where Viola is steady, Orsino is inconsistent. Feste states directly to Orsino that his “mind is a very opal” (2.4.71) which implies he is constantly changing what he wants and is more in love with the idea of love rather than Olivia. Duke Orsino’s evolution from a typical Petrarchan lover to passionate love, through trials of gender confusion

Fools, ever since their inception these figures have been well known to be able to spread laughter like a plague in the 14th century through 'blissful ignorance.' A fool, however, is not always a fool, for in Shakespeare's Twelfth Night, the fool is the mastermind. Feste, the court jester, plays a pivotal role in the play, so far as breaking the stereotype of the average buffoon and actually portraying a man with a razor sharp wit, through his skillful word play, unsolicited yet wise advice, and good ole humor.

Viola may refer that she is not who she is, but the other characters in the play have already shaped their perspectives of her. For example, to Olivia, Viola is the man she is starting to adore. Olivia does not detect Viola’s tricks because Viola is clothed as a man and so, from her appearance, she must be one. The shaping of identity by appearance and perspective only proves to be misleading when Viola’s brother Sebastian enters the scene. Unbeknownst to Viola, Sebastian survived the shipwreck and is now in Illyria. As Sebastian adjusts to this new land, other characters confuse him as Viola. It is not until the two twin are on stage together that the Duke addresses the concept of identity and perspective, “One face, one voice, one habit, and two persons – a natural perspective that is and is not” (V.1. 211). Before seeing the two twins together, the characters in the play saw Viola and Sebastian as one person, Cesario. They looked alike in appearance and could pass

Viola’s chief problem throughout the play is one of identity. Because of her disguise, she must be both herself and Cesario. This mounting identity crisis culminates in the final scene, when Viola finds herself surrounded by people who each have a different idea of who she is and are unaware of who she actually is. Were Twelfth Night not a comedy, this pressure might cause Viola to break down. Sebastian’s appearance at this point, however, effectively saves Viola by allowing her to be herself again. Sebastian, who independent of his sister is not much of a character, takes over the aspects of Viola’s disguise that she no longer wishes to maintain. Thus liberated by her brother, Viola is free to shed the roles that she has accumulated throughout the play, and she can return to being Viola, the woman who has loved and won Orsino.

When Viola said, “Find me the right disguise so I can look the way I want.” Viola is going to disguise as her lost brother, Sebastian who she thought was dead. People do not know if Sebastian is dead or who he really is. Later in the story, Sebastian comes back and thought Viola was his brother. He did not believe it was Viola because she looked exactly like Sebastian, so Viola had to prove to Sebastian it was really her.

A center motif in Twelfth Night, Is Identity and Mistaken Identity(Deceived identity). Shakespeare relays use of mistaken identities to show people are not always what they are initially perceived to look like (that is if you are an attractive man, it doesn’t mean you are careful or sensitive or helpful in situations, but some people are perceived as being handsome--trustworthy--helpful). Viola shows this point by discussing the fantasy of appearances in the first scene of Twelfth Night, when we first meet her/hear from her/read her first lines. In act i, scene ii, Viola reflects that the character of the sea captain who rescued her is just as a good, as his looks are standard, as apparently he is perceived as a somewhat sexy man. Viola contrasts

In response to the statement above, my answer is that Feste could sometimes be considered the actual fool whereas sometimes people think of him as the ‘paid fool’. Malvolio could be the hidden fool in Twelfth Night as he is the butt of most of the characters jokes and is there for the audience's entertainment in my eyes. So in response I agree to an extent with the statement ‘Malvolio is the real fool of Twelfth Night’. The word fool has many meanings.

In the novel “Slaughterhouse Five”, Kurt Vonnegut illustrates the over-sexualization and negative qualities women are associated with. Vonnegut published his novel at the start of the second wave of feminism where women’s rights were finally beginning to get recognition (Napikoski, "Feminism in 1969”). However, the main character in Slaughterhouse Five, Billy Pilgrim, reinforces the idea that all women match a certain unjust category. Vonnegut has received much praise for his novel Slaughterhouse Five, however upon further analysis, his portrayal of female characters fit flawed stereotypes.   Notably, perhaps the most baffling character Billy Pilgrim belittles is his wife Valencia Merble.

Viola, the main character, disguises herself as Cesario. She decides to disguise herself in order to gain entrance into the Duke Orsino’s house. Viola pleads to the ship captain: “Conceal me what I am, and be my aid/ for such disguise as happy shall become/ the form of my intent. I’ll serve this Duke” (I.ii. 56-58).

“Nothing is Hopeless; We must hope for everything.” This quote is made by Mrs.Who in Euripides. If I had to choose to watch or read the story again, I would choose the Book. My opinion on why the book is better is because the tessering concept easier to understand, the twins were in the book and not the movie and the beasts were not in the movie and in the book.