**December 31, 2017 review**

My return to the world of William Shakespeare and my favorite play, Twelfth Night, was a wonderful experience. Although I find Hamlet and Much Ado About Nothing to be superior dramatically, neither are as romantic or riotously funny as this. It brought me back to my first reread on Goodreads. Work on my novel had ground to a halt several weeks ago at the halfway mark, and I wanted to return to a couple of texts that remind me of why I'm a writer. I also noticed that as of December 30, I was one book short of my 2017 reading challenge, so hopefully, this report ties up a few loose ends.

My system for reviewing plays is to watch a production first and then read the play. I was in for a treat with Twelfth Night. I located a bootleg of the 1998 production by Lincoln Center Theater, directed by Nicholas Hytner and starring film and television veterans such as Helen Hunt (Viola), Paul Rudd (Duke Orsino), Philip Bosco (Malvolio), Kyra Sedgwick (Olivia), Brian Murray (Sir Toby Belch), and David Patrick Kelly (Feste). This production is visually resplendent, and being able to hear a live audience reaction adds tremendously to the viewing experience of a musical comedy, something that British TV productions of Shakespeare do not offer.

The draw of Twelfth Night for me might be my discovery and delight that most of the sitcoms I grew up on, especially Three's Company, are just a variation on this 17th-century play. The themes of mistaken identity, sexual confusion, and eavesdropping gone wrong lead to comedy nirvana. The woman who carries herself as a man and the furor this leaves in her wake, shaking up the status quo, is a theme that appeals to me. Additionally, the portrayal of a great comic drunk, with Sir Toby Belch knocking down perceptions of propriety like bowling pins every time he enters a scene, is also very entertaining. And, of course, it's fuckin' funny.

**Act three, Scene 1**

Olivia's garden. Viola and Feste, who is carrying a small drum, enter.

Viola Greetings, friend, and your music too. Do you live by drumming?
Feste No, sir. I live by the church.
Viola Are you a cleric?
Feste Not at all, sir. I live by the church because I live at my house, and my house is near the church.
Viola So you could just as well say "The king lives by begging" if a beggar lives near him. Or that the church is near your drum if the drum happens to be near the church.
Feste You've said it, sir! Such are the times! A sentence is just a kid glove to a quick-witted man. It can easily be turned inside out!
Viola Yes, that's true. Those who play about with words can quickly give them indecent meanings.
Feste Therefore I wish my sister had no name, sir.
Viola Why, man?
Feste Why, sir, her name is a word, and to play about with that word might make my sister indecent. But indeed, words truly become rascals since they were disgraced with being bonds.
Viola Your reason, man?
Feste Goodness, sir. I can't give you one without using words, and words have become so unreliable I'm reluctant to use them to prove a reason.
Viola You're a happy-go-lucky fellow. I'll be bound, and you care about nothing.
Feste Not at all, sir. I do care for something. But upon my conscience, sir, I don't care for you. If that's caring about nothing, sir, I wish it would make you invisible.
Viola Aren't you the Lady Olivia's fool?
Feste No indeed, sir. Lady Olivia does not go in for entertainment. She won't have a fool till she's married; and fools are like husbands as sardines are to herrings--the husband's the bigger. Indeed I am not her fool. I'm her corrupter of words.

**Other observations on this viewing/reread of the comedy**

- Viola is the liberated woman of Shakespeare's plays. She is neither a royal personage nor a loyal daughter. She is bound to no one and is personified instead by her education and skills set. Shipwrecked in Illyria, she quickly gets a job as the emissary of the lovesick bachelor Duke Orsino, confident that she can "sing and speak to him in music." Viola is also fluent in French and is able to pass herself off as a boy, Cesario, likely due to her observations of men. Of course, Viola does not account for falling in love with her boss, whose only expectation of Cesario is that the boy woo the Lady Olivia for him. Hijinks ensue.
- Do you like fools? Shakespearean fools? Those characters whose jesting allows them to speak the truth without their heads ending up on a chopping block? Twelfth Night offers up three classic examples: Feste, the professional fool, willing to sing any song or provide any insight at any hour if there's a purse involved. Sir Toby Belch, the rascal and drunkard, pushing the generosity of his cousin, the Lady Olivia, as far as it will go in the pursuit of a good time. Sir Andrew Aguecheek, a rich dandy who seeks to woo Olivia, carouses with both Sir Toby and Feste, his romantic ineptitude and cowardice providing extensive comic relief.
- In the 1998 Lincoln Center Theater production, David Patrick Kelly and Max Wright played Feste and Sir Andrew and got some of the biggest applause and laughs in the play. As much as I light up when Sir Toby bursts onto the scene, he wouldn't be as compelling in soliloquy. These two characters are invaluable when it comes to demonstrating what a Good Time Charlie that his character is.
- Impossible Love, like the kind immortalized in Romeo and Juliet, and which is sometimes impossible for good reason, isn't to be found in this play, thank god. Instead, Shakespeare seems to be exploring the Possible Love that would exist if characters would take a minute to get it together and drop their facades. Viola must pose as a man to keep her job. Olivia must pose as grief-stricken to honor her dead brother. I find Possible Love to be much more compelling because of how close I think most people come in real life to experiencing passion and happiness with the right person.

**April 9, 2014 review**

My game plan for revisiting Shakespeare was to stream video of a staging of the play, listening and watching while reading along to as much of the original text as was incorporated by the staging. Later, I read the entire play in the modern English version.

The staging I found on YouTube was amazing. ITV Saturday Night Theatre: Twelfth Night aired on January 6, 1969. It features Alec Guinness as Malvolio, Ralph Richardson as Sir Toby Belch, Joan Plowright as Viola/Sebastian, and Adrienne Corri as Olivia. Each of them has appeared in some of my favorite movies.

Scholars believe the play was first performed on January 6, 1601, as an entertainment for Queen Elizabeth as she hosted an Italian nobleman, Don Virginio Orsino. The date of the staging, 12 nights after Christmas, accounts for the title of the play, which has no bearing on the story.

Twelfth Night is set in Illyria, where the ruling Duke Orsino, "a noble duke, in nature and in name," is lovesick over the Countess Olivia, who mourns for a dead brother and has spurned all suitors. The play's protagonist, Viola, comes ashore with a great opening line: "What country, friends, is this?" A survivor of a shipwreck, she fears her twin brother Sebastian has drowned. Viola needs a job while she plots her next move, and the sea captain who rescued her explains Olivia's pursuit by the Duke. Olivia isn't hiring, but Viola sees an opportunity to work for the Duke by disguising herself as a eunuch.

One of my favorite characters in Shakespeare makes his entrance. Sir Toby Belch is Olivia's uncle, a drunken rascal who romances Olivia's whip-smart maid Maria, makes enemies of his niece's pompous steward Malvolio, and profits from one of her rejected suitors, a knight named Sir Andrew Aguecheek who has more money than brains. Sir Toby exists to eat, drink, and play pranks, and his misdemeanors create much of the havoc in the play. In addition, Olivia is served by a fool, Feste, who possesses greater insight and sobriety than Sir Toby but joins him and Maria in their revelry, as well as singing several songs.

The Duke dispatches Viola (going by the name Cesario) to the court of Olivia to woo her on his behalf, but believing the messenger to be a persuasive young man, Olivia falls in love with Viola. This complicates the feelings Viola has developed for the Duke. Meanwhile, Malvolio throws such a wet blanket on Sir Toby's fun that Olivia's uncle and maid play a trick on him, writing a love letter in Olivia's hand expressing her undying love for the steward if he dresses in yellow stockings and cross-garters (a fashion which Olivia despises) and harasses her servants. Malvolio falls for the trick and comes on like such a lunatic that Olivia orders him locked in a basement.

Not content, Sir Toby plots a trick on Viola and Sir Andrew by making both fear the other wishes to engage in a duel. Sir Toby is confident that Viola is just as timid with a sword as Sir Andrew, but doesn't factor in her twin brother Sebastian arriving in Illyria. After being mistaken for his sister and challenged to a fight, Sebastian wallops both Sir Toby and Sir Andrew. When brought before Olivia for his apology, he is stunned to find the countess express her love for him. They marry in secret, which poses great problems for Viola when the Duke discovers "she" has married the countess.

Reading this play, it occurred to me that every episode of Three's Company was ripping off Shakespeare. Janet leaves Jack and Chrissy alone in the apartment and fears Jack will make a move on Chrissy, so advises her to play down her attractiveness by dressing in frumpy clothes. Jack instead is more attracted to Chrissy. Then Janet returns to the apartment to find the leftovers of a romantic dinner and Chrissy upset. Janet gets the wrong idea when in fact, Chrissy is upset that Jack didn't make a move! Cue the laugh track.

Twelfth Night is downright riotous. The comedy comes from the cascade of doublespeak and near misunderstandings, with one character playing the fool to another. Being able to penetrate the language or read the play with asides detailing which character is being made an ass of helps the humor find its mark to a modern idiot like me. The play starts slow, but the laughs continue to build and reach a crescendo when Sebastian enters, mistaken for his twin sister by the various jokers of the play, who end up being played for fools.

I'm thinking this is a play all about how deceitful appearances can be and how we can never judge true character based on someone's outward looks.

In this play, it becomes abundantly clear that just about everyone is not who they seem, claim, or appear to be. The characters put on masks, presenting false personas to the world.

There are those who seem kind and gentle on the surface but are actually filled with malice and hidden motives. Others may appear strong and confident, yet beneath that exterior lies a world of insecurities and fears.

It serves as a powerful reminder that we should not be too quick to judge others based solely on what we see. True character is often hidden beneath the surface, and it is only through careful observation and getting to know someone on a deeper level that we can truly understand who they are.

This play challenges our preconceived notions and forces us to look beyond the façade and see the real people behind the masks.

It seems as if Shakespeare was truly infatuated with Rosalind, so much so that he endeavored to fashion another iteration of her for this play. Viola, like Rosalind, is a female who masquerades as a man to accomplish her goals. Gender disguise plays a significant role as a plot device, with Shakespeare once again applying his wisdom to the concept of sexual identity.

There are also other new renditions of some of his previous characters. The inebriated Sir Tony Belch exudes a Falstaffian atmosphere. Antonio, with his hopeless homoerotic longings, mirrors the Antonio in The Merchant of Venice. The vacuous, self-admiring Count Orsino, with a hint of misogyny but ultimately achieving apotheosis, is a familiar male peacock. The ambitious social climber Malvolio is a new character and the most intricate. Shakespeare makes us chuckle at the sado-masochistic cruelty he endures. It's an uneasy experience as we're laughing at an act of bullying, discrimination, and exclusion. Shakespeare transforms us into a member of a thoughtless mob. Finally, Feste is one of Shakespeare's finest fools. This is a zany play yet abundant in poetry and prophecy.

Overall, Shakespeare's exploration of gender, identity, and character in this play is both captivating and thought-provoking, inviting us to reflect on the complex nature of human relationships and the power of disguise.

The only reason this play gets four stars instead of five is that we are rating it on a very high scale, comparing it to the works of Shakespeare himself. And I do think that there is a certain awkwardness in this play, especially when it comes to the conclusion. The way everyone goes and how they reach that final point seems a bit off. There are also some rather flimsy plot devices that really annoy me.

However, despite these flaws, I truly love this play. I had the opportunity to play Mariah in it during my high school days, and it was one of the most enjoyable experiences I've ever had. This play has the flexibility to be presented in different ways. It can be played for laughs, creating a light-hearted and humorous atmosphere. Or it can explore the darker side, delving into deeper emotions and themes. The movie version that I own leans towards the dark and depressive side, while the production I was a part of was mostly slapstick comedy. Personally, I prefer a combination of the two. I enjoy it when it starts off as slapstick, and then suddenly a completely discordant note is struck, like with the Fool or Malvolio. In that regard, I think it can be quite striking and engaging.

All in all, this play is definitely one of my favorites among the comedies. It has its imperfections, but it also has a charm and appeal that keeps me coming back to it time and time again.

I'm not sure if it's due to the fact that I witnessed an exceptionally outstanding performance of this play at RADA in London. However, "Twelfth Night" is indeed my favorite among Shakespeare's comedies.

I have always had a tendency to prefer the tragedies and histories over the comedies. Nevertheless, this particular production completely changed my perspective.

The actors demonstrated remarkable skills in presenting the jokes in a manner that a 21st-century audience could truly appreciate. Their comedic timing was impeccable, and as a result, I found myself laughing out loud on numerous occasions.

It was truly a memorable experience that made me realize the enduring魅力 and relevance of Shakespeare's works, even in the modern era.

I look forward to seeing more productions of "Twelfth Night" and other Shakespearean plays in the future, hoping to be equally entertained and enlightened.

A fun play indeed! However, I couldn't quite sense the profoundness within it.

It was merely an enjoyable and comedic piece to read, but it didn't evoke any specific emotions in me.

While studying it, I'm aware that we can delve deeply into the aspects of gender and sexuality. Nevertheless, it simply failed to grip my attention.

I believe this play is likely to shine more brightly on stage during a performance rather than when being read.

One aspect that did manage to entertain me was the presence of a character named Olivia.

Perhaps seeing the play brought to life with the actors' interpretations and the stage dynamics would enhance the overall experience and make me appreciate its deeper layers.

But as it stands, in its written form, it didn't have that captivating power for me.

Maybe I'll have to wait and see it performed to truly understand and enjoy its full potential.

Twelfth Night; or, What You Will, William Shakespeare

Twelfth Night, or What You Will is a renowned comedy penned by William Shakespeare. It is believed to have been composed around 1601–02, specifically as entertainment for Twelfth Night, marking the conclusion of the Christmas season. The play revolves around the twins Viola and Sebastian, who are separated during a shipwreck. Viola, disguised as Cesario, falls in love with Duke Orsino, who himself is in love with the Countess Olivia. Interestingly, upon meeting Viola (as Cesario), Countess Olivia also falls in love, believing her to be a man.

The play incorporates musical interludes and the expected riotous disorder of the occasion. Its plot elements are drawn from the short story "Of Apollonius and Silla" by Barnabe Rich, which is based on a story by Matteo Bandello. The first recorded performance took place on 2 February 1602, at Candlemas, the formal end of Christmastide in the year's calendar. However, the play was not published until its inclusion in the 1623 First Folio.

This play, written in five acts, features fourteen main characters and a host of supporting ones. The main characters include "Orsino, a passionate duke of Illyria", "Olivia, a wealthy countess and Orsino's neighbor, ultimately beautiful", "Viola, Orsino's messenger, disguised as a man with the false name Cesario (who never expresses her love)", "Sebastian, Viola's twin brother", "Sir Toby Belch, Olivia's uncle who lives in her house", "Maria, Olivia's maid, a lively and mischievous girl", "Sir Andrew Aguecheek, a foolish suitor", "Feste, Olivia's jester", "Malvolio", "Fabian", "Antonio", "A captain", "Valentine", "Curio", "Lords", "A priest", "Officers", "Sailors", "Musicians", and "Servants".

The character "Sofi" in this play is said to refer to "Shah Abbas Safavi". The setting of the play's events is "a city in Illyria (an ancient country on the Adriatic coast) and its neighboring isle". The summary of the play is as follows: "Orsino", the duke beloved of "Illyria", due to excessive idleness, wealth, and power, has fallen into the role-playing of being in love; his lovesick heart and emotional spirit have been inflamed to the point of frenzy. His beloved, of course, is none other than the beautiful "Countess Olivia" of the city, who has a palace in the neighborhood of the duke's. "Orsino", in order to express his love and begin his courtship, sends a message and a gift through his new messenger, the young "Cesario", to the "Countess". But he doesn't know that "Cesario", who has recently come into his service, is actually a girl disguised as a man, with the real name "Viola". She has been in love with the "duke" since the first day she saw him and is now more confused than ever. On the other hand, "Countess Olivia" also has emotional turmoil in her palace, but she is overcome with grief and sadness. The beautiful "Countess" has recently lost her only beloved brother and refrains from accepting, expressing love, or even having any sympathy with any man. But this does not prevent her from falling headlong into the sea of love with the duke's messenger (Viola in disguise) at their first meeting...

The story had all sorts of unexpected twists and turns, which initially made it quite engaging. However, the ending completely ruined the overall experience.

Sir Toby, Maria, and the fool were able to maintain the humour throughout most of the story. Their antics and witty remarks provided many laughs. But at a certain point, they took things too far. What they did crossed the line from being funny to being inappropriate and unfunny.

By the way, it's important to note that the quote "some are born with greatness, some achieve greatness and some have greatness thrust upon them" is often misinterpreted and used out of context. People should be more careful when using such quotes to ensure they are using them correctly and not distorting their intended meaning.

Overall, while the story had its moments, the flaws in the ending and the over-the-top humour detracted from its overall quality.

\\"If you be not mad, be gone; if you have reason, be brief.\\" - William Shakespeare, Twelfth Night

I had a somewhat mixed feeling about this work. I liked it, but didn't love it. On the positive side, I have always been a fan of Shakespeare's gender benders. The Bard has a penchant for not presenting characters in a straightforward manner. He doesn't simply offer a typical love story or even a love triangle. Instead, Shakespeare desires to explore all the tangents, the lines, and the angles of love's many geometries. He is truly a great experimenter of the human soul, comparable to the Faraday of romance, never satisfied until he has teased out all the possible attractions and repulsions.

However, on the negative side, I'm not a big fan of Shakespeare's musical comedies. I don't include A Midsummer Night's Dream in this category because I consider that play to be one of Shakespeare's great LYRICAL plays, along with Richard II and Romeo and Juliet. Anytime Shakespeare's actors start singing and dancing, I find myself thinking that I could use that time/space to grab a popcorn or take a bathroom break. It's just not something that appeals to me.

Some of the favorite lines from the work include:

\\"If music be the food of love, play on.\\" (Act 1, Scene 1)

“Better a witty fool, than a foolish wit.” (Act 1, Scene 5)

“Well, God give them wisdom that have it; and those that are fools, let them use their talents.” (Act 1, Scene 5)

“Many a good hanging prevents a bad marriage.” (Act 1, Scene 5)

“Be not afraid of greatness. Some are born great, some achieve greatness, and others have greatness thrust upon them.” (Act 2, Scene 5)

“I say there is no darkness but ignorance.” (Act 4, Scene 2)

I truly believe that I would have an exponentially greater enjoyment of Shakespeare plays if I could actually fathom what this remarkable man was trying to convey. The language he uses can be so complex and archaic that it often leaves me completely baffled.

Initially, I was only inclined to rate it one star due to my utter confusion. However, there were certain aspects that compelled me to add another star. For instance, the concept of genderfluid Viola and Antonio being in love with Sebastian

Markis wrote about a true story of a Colombian sailor, Luis Alejandro Velasco, who hoped to make money by selling his story to the newspaper office where Markis worked. After the sailor lost the spotlight, the championship, and the jackpot, the deal was made and Markis was presented with the manuscript under his name. When it was first published, it was told by the sailor and under his name. Later, Markis decided to republish it, subject to the publishers' request.

He said: "I haven't reread this story for fifteen years, and although it seems to me to have lost a great deal of its dignity, I will publish it. I was not aware of the importance of this publication. If it were to be published today between the pages of a book, it would be because I accepted it without much thought, out of a commitment to a promise. The fact that the publishers are more interested in the name of the signatory than in the value of the text, especially if the writer is (a nobody), is a sad thing for me. But fortunately, there are books that do not belong to the one who writes them, but rather to those who make them possible through their keen experiences, like that poor citizen who suffered for ten days without food or drink on a raft. If my book falls into this category!"

It seems that Markis was the nobody in that period and did not know that he would become a permanent nobody worthy of all times and places. Thank God he accepted the publication of the book without much thought : )

This story was originally a journalistic achievement, but it became a story that tells the life of a sailor who works on the deck of a damaged ship like the Das, which carries some of the war equipment. Unfortunately, the ship seems to have carried some additional loads that were not properly secured, which led to the ship's shaking and the fall of eight sailors from its deck without the ship's crew noticing the missing ones. Also, the government hid the news and announced that the incident was the result of a storm. The truth was only revealed when Markis announced it in his story through the novel, which led to the dictatorial regime taking harsh punishments, including closing the newspaper!

The sailor Luis found himself alone on the deck of a raft. He could not save his comrades and held on with the strength of his will between the glimmer of hope and the fading of the last breath. Alone, he was devoured by thirst and hunger, the horror of the sea, and they were the trees of the Indies and the truth of the sharks all those terrible days in a stormy sea between life and death, which invoked my wonderful memories of Jean Martel's life in Bayeux and also the strength of the will that performs miracles, as happened with Henri Charrière in his prison life and his escape in the novel "Papillon".

Although Markis tells the story of another man, as he did in the story of the death of a known person, he has his tools well and knows how to use them skillfully, making the reader follow his lines and stories. A feature of this book is that it is translated by Youssef, who is a poet and writer, which will surely make you enjoy a delicious reading.

Twelfth Night, being the last comedy of William Shakespeare, is a work that has received both high acclaim and intense criticism in equal measures.

We embark on a journey to peruse and praise his literary genius by delving into his artistic handling of various themes compressed within a single play.

On the surface, the play showcases elements of mistaken identity, deception, lovesickness, melancholy, desire, abundance, gender and sex, as well as the relationship between master and servant. However, when viewed on a broader canvas, the colors become more vivid and glaring, laden with the undercurrent meanings of these themes.

Here, fools are presented as philosophers, while dukes are portrayed as idiotic. The effeminate pageboy of the duke proves to be more appealing to the countess than the duke himself. Drunken dumbheads emerge as predators, and sober generals are forcefully made to appear crazy. Moreover, when a woman dons men's clothing, she is suddenly valued more.

In such a society, Twelfth Night serves as a penance for those who find delight in it as a comedy!!