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Twelfth Night
- Language
- EN
- Format
- EPUB
- Size
- 321 KB
Description
This play is a comedy written in the late Elizabethan and early Jacobean period, characterised by its use of mistaken identities, romantic misunderstandings, and humorous subplots. It employs dialogue, soliloquies, and theatrical devices typical of stage works of the early 17th century, structured in multiple interconnected plots involving love, deception, and social satire. The narrative revolves around Viola, who, after a shipwreck separates her from her twin brother Sebastian, disguises herself as a young man and gains employment in Duke Orsino's household. The romantic complications arise from Viola’s love for Orsino, Olivia’s mourning and subsequent attraction to Viola’s male disguise, and the humorous revenge plots against Olivia’s steward, Malvolio.
Set during a fictionalised version of Italy, the play reflects themes of gender disguise, unrequited love, and social folly. Its witty language and complex character interactions exemplify the theatrical style and cultural sensibilities of early 17th-century English drama. The work is attributed to William Shakespeare and provides insight into the theatrical conventions and societal views of its period.
Set during a fictionalised version of Italy, the play reflects themes of gender disguise, unrequited love, and social folly. Its witty language and complex character interactions exemplify the theatrical style and cultural sensibilities of early 17th-century English drama. The work is attributed to William Shakespeare and provides insight into the theatrical conventions and societal views of its period.
From the opening pages
Enter Orsino, Duke of Illyria, Curio, and other Lords; Musicians attending. DUKE. If music be the food of love, play on, Give me excess of it; that, surfeiting, The appetite may sicken and so die. That strain again, it had a dying fall; O, it came o’er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odour. Enough; no more; ’Tis not so sweet now as it was before. O spirit of love, how quick and fresh art thou, That notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soever, But falls into abatement and low price Even in a minute! So full of shapes is fancy, That it alone is high fantastical. CURIO. Will you go hunt, my lord? DUKE. What, Curio? CURIO. The hart. DUKE. Why so I do, the noblest that I have. O, when mine eyes did see Olivia first, Methought she purg’d the air of pestilence; That instant was I turn’d into a hart, And my desires, like fell and cruel hounds, E’er since pursue me. How now? what news from her? Enter Valentine . VALENTINE. So please my lord, I might not be admitted, But from her handmaid do return this answer: The element itself, till seven years’ heat, Shall not behold her face at ample view; But like a cloistress she will veiled walk, And water once a day her chamber round With eye-offending brine: all this to season A brother’s dead love, which she would keep fresh And lasting in her sad remembrance. DUKE. O, she that hath a heart of that fine frame To pay this debt of love but to a brother, How will she love, when the rich golden shaft Hath kill’d the flock of all affections else That live in her; when liver, brain, and heart, These sovereign thrones, are all supplied and fill’d Her sweet perfections with one self king! Away before me to sweet beds of flowers, Love-thoughts lie rich when canopied with bowers. [ Exeunt. ] Enter Viola, a Captain and Sailors. VIOLA. What country, friends, is this? CAPTAIN. This is Illyria, lady. VIOLA. And what should I do in Illyria? My brother he is in Elysium. Perchance he is not drown’d. What think you, sailors? CAPTAIN. It is perchance that you yourself were sav’d. VIOLA.
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