A literary analysis of the twelfth night by william shakespeare

Develop and organize arguments 5. Write the introduction 6. Write the body paragraphs 7. Write the conclusion 1.

A literary analysis of the twelfth night by william shakespeare

One such extreme is the impressionism of a critic like A. Bradley, when he tries to hold together, synoptically, Feste the fool and Shakespeare himself, both as actor and magical author. Bradley notes that the Fool in Lear has a song not dissimilar to the one that concludes Twelfth Night1 and leaves Feste at the finish-line.

It aims to convey a general, unified impression of a myriad-minded artist. Shakespearean interpreters have a problem with summing up. Today's ideological critics would probably purge this portrait of everything but Shakespeare's representation of power-relations and hierarchy.

Such critics might note that the portrait's final question serves only to emphasize the artist's marginality, his loneliness or apartness, as if by a secret law of fate being an artist excluded Shakespeare from social power in the very world he addresses.

Especially so in the case of Shakespeare, of whose life we know so little. Can we abide Shakespeare's question?

A literary analysis of the twelfth night by william shakespeare

Unlike Eliot, say, or Tolstoy, Murry has no body of creative writing to back up the importance of his interpretive engagements. There is, nevertheless, a sense that the critic's identity is formed by his selfless encounters with artists of Shakespeare's stature.

The art of criticism is rigorous; impressions are merely its raw material; the life-blood of its activity is in the process of ordonnance of aesthetic impressions. For Murry it meant comparing Christian and post-Shakespearean especially romantic ways of annihilating selfhood.

Blake becomes even more crucial for such a formulation than Keats. Knight also joins this quest. Other rigorous escape routes, that lead through impressionism beyond it, make Shakespeare's language the main character of his plays, the everything and nothing.

Rigor consists in having the local reading undo an established symmetry.

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Another form of rigor, historical scholarship, can be outrageously speculative. The trend was always there in the work of editors who unscrambled perplexing expressions or normalized daring ones. One might escape the Shakespearean vortex by discovering a firm historical emplacement for the plays, by clarifying their occasion as well as the characters in them.

The quest for the identity of W. It is as intriguing as anything ventured by newfangled intertextualists. Hotson claims in The First Night of Twelfth Night that the figure of Malvolio is a daring take-off of a high official in Elizabeth's court: Here it explicitly pleases or shames the ears of a court-centered audience.

Yet this shaming or delighting is not necessarily in the service of good sense or the status quo, for it can subvert as well as mock and purge. The one thing it does, as in the case of the Controller, is to acknowledge the law of gender—of generation and succession—which, as Erasmus saw, compels us to play the fool.

Such allowed slander, whether or not reinforced by Elizabethan festivities, by periods of compulsory license, also penetrates Shakespearean tragedy: Even he, the father of gods and king of men, who shakes all heaven by a nod, is obliged to lay aside his three-pronged thunder and that Titanic aspect by which, when he pleases, he scares all the gods, and assume another character in the slavish manner of an actor, if he wishes to do what he never refrains from doing, that is to say, to beget children.

So it is that from this brisk and silly little game of mine come forth the haughty philosophers. Yet, as Erasmus's Folly hints, the very category of the trivial is overturned by these forces.

It quickens even as it exhausts our wit. It points to a relentless need for devices—words, stratagems. As Bakhtin remarks of another great writer, Rabelais, there are crownings and uncrownings at every level.

The vicissitudes of Folly and Fortuna go hand in hand. Yet no conclusions are drawn; and it does not matter what class of person is involved—a Falstaff, a Harry, a King Henry; a clown, a count, a lady; a usurper, a porter. What happens happens across the board, and can therefore settle expressively in a language with a character of its own—apart from the decorum that fits it to the character of the person represented.

Yet there is never an objective correlative that sops up the action or organizes all the excrescent motives and verbal implications. The scene, through the solecisms and mispronunciations of Fluellen, his butchery of English, makes us aware of what is involved in the larger world of combat, to which he is marginal.

An end penetrates the middle of the drama; the grimace if only linguistic of death begins to show through. Yet even here, as the action hits a dangerous juncture, as decisions become hasty and bloody, this verbally excessive interlude slows things down to a moment of humorous discrimination.

Harry's transformation into King Henry, and Fluellen's comparison in his favor—that Harry's bloodthirsty anger is more justified than Alexander's—appear like a jesting in the throat of death, a vain distinction already undone by the battlefield context that levels all things, as by an earthy vernacular, or quasi-vernacular, that can slander all things in perfect good humor.

It seems impossible, then, to describe the poetical character of Shakespeare without raising certain questions. One concerns the character of the critic choices to be made in reading so strong and productive a writer ; another what happens to language as it nurtures a vernacular ideal that still dominates English literature.

A third, related question is whether what that language does to character and to us can be summed up or unified by methodical inquiry.A short William Shakespeare biography describes William Shakespeare's life, times, and work.

Also explains the historical and literary context that influenced Twelfth Night. Literary analysis involves examining all the parts of a novel, play, short story, or poem—elements such as character, setting, tone, and imagery—and thinking about how the author uses those elements to create certain effects.

Twelfth Night Literary Criticism (Vol. 85) - Essay - initiativeblog.com

Critics call Twelfth Night one of William Shakespeare’s most poetic and musical plays. Shakespeare writes poetic lines for the major characters, Viola, Orsino, and Olivia, and gives the Fool, and other minor characters, songs to sing throughout the play.

Critics call Twelfth Night one of William Shakespeare’s most poetic and musical plays. Shakespeare writes poetic lines for the major characters, Viola, Orsino, and Olivia, and gives the Fool, and other minor characters, songs to sing throughout the play.

William Shakespeare’s Twelfth Night is a comedy, first published in Love is a key aspect of Shakespeare’s comedies in which self-identity is found through the development of love from infatuation to acknowledgement of character. If you enjoyed these facts about Shakespeare’s Twelfth Night, continue to explore the interesting side to the Bard’s plays with our similar posts about A Midsummer Night’s Dream, Romeo and Juliet, and Cymbeline.

Twelfth Night Characters - initiativeblog.com