Twelfth Night, written between 1598 and 1600, is regarded as the last of the 'happy' comedies. Shakespeare soon转向 to write Hamlet and the great tragedies.

Twelfth Night is indeed a comedy with a contented ending and no deaths. However, it contains numerous references to violence, death, and loss, hinting at a darker world throughout the play.

The play features female characters dressing as men, which was a tempting device for Elizabethan and Jacobean authors. There is a theory that the play was altered, as Viola's singing is not fully developed.

The sudden appearance of Fabian is also anomalous. One possible explanation is that the actor playing Viola lost his singing voice before a performance.

The play is often described as a 'festive comedy', written for performance on Twelfth Night. The comic sub-plot shows a clash between those who support feasting and those who advocate abstemiousness.

Malvolio is humiliated, but the others are also punished. Shakespeare seems to not fully support either viewpoint.

Self-knowledge is a major theme in the play. Only Feste and Viola have a degree of self-awareness at the start. Orsino and Olivia are deluded about their feelings.

Malvolio's lack of self-knowledge leads to his downfall. Viola's disguise causes complications in her relationships. Feste, the most perceptive character, is condemned to be the 'Fool'.

Romantic comedy is a unique Shakespearean genre, different from classical comedy. It defies the classical unities and is set in Shakespeare's imagined worlds.

Twelfth Night is the loveliest of his comedies, maintaining the unity of place. The play was written for the festive season and displays a spirit of hilarity and entertainment.

In fact, John Masefield has called it the best English Comedy. So, give it a try and you might just fall in love.

YouTube kanalımda Shakespeare'in hayatı, mutlaka okunması gereken kitapları ve kronolojik okuma sırası hakkında bilgi edinebilirsiniz: https://youtu.be/rGxh2RVjmNU

Edebiyatın Nazar Boncukları

I don't like the concept of a lucky charm at all, because there is no such thing as a charm in luck. But in literature, there are some works that we can sit and discuss for hours in a socially distanced environment. For example, Dostoyevsky's The Wife of a Man Who Was Dead, Marquez's No One Writes to the Colonel, the stories in Zweig's Street of the Canon, and Pushkin's tragedies that he struggled to write about every subject. These works, in my opinion, are the lucky charms of literature. For instance, Dostoyevsky was right to write The Wife of a Man Who Was Dead, because thanks to this small-scale work, we can better understand the greatness of his masterpieces. Think about it like that.

In Shakespeare's Twelfth Night, there is no wit at all. That is, I don't think it would have made any difference if I hadn't read it. Because there was no aspect that was different from the 20 or so books I had read before Shakespeare. In fact, even as I am writing this review, I have forgotten what happened and what ended in the book. The book was so far from being impressive and being able to convey emotions to the reader that I decided that this book was a lucky charm among Shakespeare's books. Besides, Shakespeare's tragedies are more impressive, and this work is a comedy that ends well.

If you ever think about reading Shakespeare, I don't think you will lose anything by not reading Twelfth Night. This is of course just my opinion. Because rather than reading all the books of a man who has written 40 or so books, it seems better for you to read 10-15 books that will provide you with essential contributions and not waste your time. And that's where I come in and say that you don't have to read this book to avoid wasting your time. Because there is no such thing as an event, you understand, there is no such thing as Hamlet's rebellions, there is no such thing as the era when the man in The Taming of the Shrew tries to establish dominance over the woman, there is no such thing as the way the powers seem to defeat each other and establish dominance as if it were a natural selection process in Shakespeare's historical plays, there is no such thing as the maniac Jew Shylock in The Merchant of Venice, there is no such thing as the overly funny character Falstaff in The Merry Wives of Windsor, there is no such thing as the magical realist elements in A Midsummer Night's Dream, there is no such thing as a conspiracy like in Julius Caesar, there is no such thing as the resemblance of Coriolanus to the Heaven Neighborhood series, there is no such thing as the overly realistic scenes of violence in Titus Andronicus, and there is no such thing as Romeo and Juliet trying to live a love together with their families fighting.

Probably after listing the above things, the Shakespeare book that I will remember the most for not liking will be Twelfth Night. Although I read the book a week ago, I can hardly remember a single event from it. Although I didn't like Dostoyevsky's The Wife of a Man Who Was Dead at all, I still remember things like the man hiding under the bed, but I have to say and I have said that Twelfth Night is a lucky charm that I have determined for Shakespeare.

Here Shakespeare, as he so often does in his comedies, borrows from Plautus for the overarching plot - the separated siblings, the twinning (recall his Errors, and the Menaechmi), and the arrival from sea. But he adds so much that it becomes unrecognizable as a Roman comedy. He adds an attractive drunk, Sir Toby, who fleeces a silly aristocrat, Sir Andrew, who perhaps alone in literature knows himself to be silly. (Sir Andrew prides himself on recognizing, "I knew 'twas I, for many do call me fool" II.v.80.) The Bard also adds a parody of Renaissance psychiatry (well, more theology*, but since "psyche" in Greek is both "soul" and "mind," that's fair) practiced on Shakespeare's only American, Malvolio. Instead of the common psyche ward question, "What does 'the grass is always greener on the other side of the fence' mean to you?" Feste as Reverend Psychiatrist asks, "What is the opinion of Pythagoras concerning the soul?" Malvolio gets it right, but Feste keeps him in lockdown anyway. Why?

Herein lies a tale. Malvolio is portrayed as stark raving mad simply because he wants to marry the boss's daughter - or really, the boss herself. A crazy idea, an American idea that would take a couple of centuries and a Revolution to be accepted by anyone at all. Those rejects on the other side of the Atlantic.

Yes, Malvolio is Shakespeare's only American (except possibly Othello?). And he is indeed, as he himself pleads at the play's end, notoriously abused. He vows revenge on the whole pack - which we, as delighted playgoers, cannot support, though justice, and America, are on his side.

Feste the Fool speaks with great wit. When asked how he does, the Fool says, "The better for my foes, and the worse for my friends" (IV.ii.94). The Duke asks, surely, the better for thy friends. Feste explains, "No, they praise me and make an ass of me. My foes tell me plainly I am an ass, so that by my foes, sir, I profit..." The Duke reacts, "Why, this is excellent" as indeed it is. Shakespeare rarely remarks on his own brilliance.

Marriage, a religious ceremony, was forbidden onstage at the time, though all modern film directors ignore that. Other Renaissance ceremonies are abridged, like Olivia's mourning. But tokens and gifts abound, especially rings which commemorate vows. Most in the canon here. Viola/Cesario is given two, one by messenger, one to deliver to Olivia, in the first few scenes, five in all, though Sebastian intercepts two. Gratiano later diminishes his quarrel, and its subject a ring for its simple inscription.

The words may be diminished, but for the audience, the ring cannot: as a token for meaning an offstage marriage. Engagement rings were not necessarily gold; in Roman times, Pliny says they were iron. Diamonds did not feature until centuries later, roughly once DeBeers monopolized them. [See my article, "Early modern Rings and Vows in TN," in Schiffer, "Twelfth Night: New Critical Essays." 2011.]

As always Shakespeare anticipates recent modern insights, such as the "objectification of women." Here Malvolio complains of objectification, "They have propertied me" (IV.ii.94). Yes, Shakespeare once again has the better word for it.

Music takes prominence, too, and ceremonial dance, though the best dancer is shown to be foolish - not sexist, because he's Sir Andrew. The Duke opens the play, "If music be the food of love, play on," and again, "Give me some music.../ Now good Cesario, that piece of song" (II.iv). Viola / Cesario earns her place at court, and as messenger by her singing. She delivers rings and vows, as well as song.

Perhaps Shakespeare invented the Musical, except that aristocratic entertainment at the time featured the Masque, with music throughout, though serious roles for those same aristocrats onstage. The Bard's competitor Ben Jonson wrote many, like the Masque of Blackness, and the Masque of the Queen. The Bard's Tempest includes a brief masque, with goddesses like Iris, of the Rainbow. Not comedies like TN and musicals since Gilbert and Sullivan to Lerner and Lowe.

*Re-reading TN at Easter, '21, I find the Clown/Fool proving Olivia a Fool. He quizzes her, "Why mourns thou?" She, "Good Fool, for my brother's death." He, "I think his soul is in hell, madonna." "I know his soul is in heaven." He, "The more fool, madonna, to mourn for your brother's soul, being in heaven. Take away the fool."

I read this entire piece in just one day. Firstly, it was for school requirements. Secondly, I happened to be on a long car ride, which provided me with the perfect opportunity. Moreover, I have a genuine passion for Shakespeare's plays. And this particular one was truly hilarious. It involves twins, which adds an element of confusion and excitement. The love triangle (or rather, a love circle, to be more accurate) is the best I've ever come across in my reading. The way the relationships develop and the misunderstandings that occur make it a truly engaging and entertaining read. I would definitely recommend this to anyone who loves Shakespeare or is looking for a lighthearted and enjoyable story. It's a must-read!

➳ 4 ⋆ ˚｡⋆୨୧˚

My favorite Shakespeare play so far has been an absolute delight. It was filled with so much fun and was truly hilarious!

I had the most wonderful time experiencing this play. I also have a great love for all the adaptations of it, such as "All Shook Up" and others. The romance in the play was captivating and added another layer of charm.

And let's not forget about Feste! He is just amazing. His character brought a unique flavor to the story.

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On İkinci Gece is a comedy play written by William Shakespeare in a time not too far from his death. Just like in his other plays, the comedic elements in this one usually stem from misunderstandings. In our country, its first performance was held on October 21, 2015, within the scope of İBB Şehir Tiyatroları. As of last December, the play started to be staged again. Without wasting any time, I got the text of the play from İş Bankası Kültür Yayınları and read it. Then, one day before I started writing this article, that is, on January 9, 2020, I watched the play.

The plot of On İkinci Gece is rather complex. Viola, who survives a shipwreck, believes that her twin brother Sebastian, who also survived, is dead. Disguised as a man, she enters the service of Orsino, the Duke of Illyria, and falls in love with him. Orsino, on the other hand, is deeply in love with Countess Olivia, who is in mourning for her brother's death. He sends Viola, whom he thinks is Cesario, to Olivia to convey his love and convince her. Now, with Olivia also falling in love with Viola in her male guise, we have a complex love triangle that also includes a woman who has taken on a male identity.

\\n  Doğancan Gedik\\n

Full review: https://kayiprihtim.com/inceleme/on-i...

A charming comedy... Shakespeare wrote here far from tragedies, but he never failed to start it with a masque.
You are always like this, Shakespeare, you will never change...

4/5 stars

2019:

This is my second time reading this play, and it still remains a great one! I have always had a penchant for Shakespeare's comedies, but this particular one strikes me as especially humorous. The witty dialogues, the absurd situations, and the charming characters all contribute to its appeal. It's a joy to revisit and discover new layers of humor each time.


2017:

This play was truly amazing! I had never delved into this particular work of Shakespeare before, and I was thoroughly entertained by the wild antics and chaos that unfolded. One of the aspects I loved was the fact that throughout most of the play, due to the scarcity of female actresses in Shakespeare's time, a boy was dressing up as a girl, who was in turn dressing up as a boy. It was such a clever and humorous device, and Shakespeare executed it masterfully. Additionally, the presence of the lesbian characters added an interesting dimension to the story. Overall, it was just really funny, and it solidified my love for Shakespeare's comedy plays. I can't wait to explore more of his works in the future.

\\n   “Journeys end in lovers meeting.” \\n

Wow, I truly adored this! I was familiar with the play through watching She's the Man, but the original story is far more outrageous! We have a gay pirate, a rather harsh Catfish-like situation, and love triangles so convoluted (thanks to the cross-dressing) that even the characters throw in the towel. Love, just carry on.

At the heart of this story are the twins Viola and Sebastian. Despite a lovesick Duke and a charming Countess, they persistently strive to find each other. I firmly believe Shakespeare drew inspiration from his own twins, and in other aspects, family bonds also shine through.
Why does Sir Toby drink so excessively? Is he attempting to cope with the loss of his dead brother and nephew, just like his niece? And aside from all the plotting, doesn't everyone in Olivia's household band together to keep Orsino at bay?

\\n  \\n    Maria: \\"Will you hoist sail, sir? Here lies your way.\\"
Viola (as Cesario): \\"No, good swabber, I am to hull here a little longer. Some mollification for your giant, sweet lady.” \\n  \\n

So, beneath all the silly antics, love lies at the core of Twelfth Night. It's such a captivating play: undoubtedly a romance and a comedy, yet with some bitter undertones. Just look at Feste, the mysterious and hilarious Feste, whose jokes can be quite cruel (as seen with Sir Topaz).
And what about poor Andrew being toyed with by Sir Toby? Olivia marrying Sebastian too hastily (how will that marriage turn out?) and Antonio, the passionate Antonio, ending up alone.

Oh Illyria, you are a world filled with miracles, music, and a few tears. What an astonishing and multi-faceted play you are. 5 stars, without a doubt.

“Make me a willow cabin at your gate,
And call upon my soul within the house.”

Twelfth Night is a captivating romantic comedy. It is filled with humorous storylines that involve love triangles, mistaken identity, and deception. The romantic elements in this play possess a genuine beauty. Confessions of love are intertwined with motifs of nature and divine intervention. The comedy is highly versatile, reaching beyond the Shakespearean audience. It appeals with its depictions of archaic mocking as well as obscene jokes.

Despite the predominant lighthearted tone, Shakespeare also touches on the downsides of love, the downsides of disguise, and comedy. As the acts progress, the themes of unrequited love, disguise, and madness are gradually revealed. There is a questioning of morality, consequence, and the fluidity of identity. The tone can become unexpectedly emotive, resonating deeply and going beyond what one might initially expect from a comedy.

Twelfth Night offers such refreshing components of humour, captivating declarations of love, and an abundance of the absurd, making it a truly remarkable and engaging play.

You know what? I think this play is the Shakespearean equivalent of Three’s Company. It's a laugh-track comedy filled with goofball characters and preposterous situations that set off a chain of events that are as obvious as the nose on your face.

We're talking about a play where a woman disguises herself as a man, pretty much just for the fun of it. She manages to deceive everyone into believing she's a dude without testicles. Because really, how else can you convince people you're a man when you don't have access to injectable testosterone products other than to pretend you were castrated as a young boy? She even convinces a wealthy countess of her "maleness," accidentally sparking the countess's romantic interests. And of course, this leads to a truly wacky situation because the girl herself is in love with the duke she's working for - the very duke who sent her to the countess in the first place to win the countess's love for him! OMFG!

But this is a five-act play, folks, so the Jack Tripper-like antics don't stop there. The testicle-free girl has a brother - just a brother, no identical twins in this play. And that alone is enough to take the confusion to the extreme. Because of the dual conditions that A) she has a brother and B) she is pretending to be a dude, it must follow that C) she looks exactly like him. And when I say "exactly," I mean precisely. The two are virtually indistinguishable, even without having had Adam's apple reduction surgery. Amazing, right? So now we have a girl being mistaken for her brother, her brother being mistaken for her, and this happening even among people who know the brother well. One person had spent every day of the last three months with this guy and still thought his sister was him! Can't you just picture this whole thing playing out at the Regal Beagle or something? Mr. Furley's wide eyes darting back and forth in surprise, Chrissy scratching her head in disbelief, Jack hiding under the table, Janet watering her plants.

But all joking aside, I actually liked this play. Of course, not as much as Shakespeare's tragedies. I truly believe this particular play leans more towards entertainment value than literary value. But I'm the kind of guy who enjoys a good Three’s Company rerun. Regardless of how believable the situations are or how predictable the plot is, when it's executed well enough, I'm thoroughly entertained.

My mind constantly tells me that I should embark on the journey of reading Shakespeare, yet my heart involuntarily cringes and holds back. This feeling, I am well aware, is a remnant from my high school days.

I vividly remember reading both Romeo and Juliet and Macbeth. At that time, reading them at the pace set by the class was excruciatingly slow. It felt as if we spent weeks just to get through one single play. I recall dozing off quite frequently during those reading sessions.

However, when I contrast that experience with today's encounter with Twelfth Night, it is a completely different story. Twelfth Night was a delightfully silly comedy. It was filled to the brim with witty puns, naughty references, and characters with disguised identities. Amazingly, I was able to devour the entire play in just one evening.

Perhaps, if I were to read a few more of Shakespeare's works, I might be able to gradually overcome my reticence and fully embrace the beauty and depth of his writings.