باز هم جا به جا شدن شخصيت ها با هم! كم كم دارم به اين نتيجه مى رسم كه شكسپير فقط همين يك ايده رو براى نمايش كمدى داشته و توى همه ى نمايش هاى كمدى ش از همين ايده استفاده كرده.

Twelfth Night; or, What You Will, William Shakespeare

Twelfth Night, or What You Will is a comedy by William Shakespeare, believed to have been written around 1601–02 as a Twelfth Night's entertainment for the close of the Christmas season.

The play centers on the twins Viola and Sebastian, who are separated in a shipwreck. Viola (who is disguised as Cesario) falls in love with Duke Orsino, who in turn is in love with the Countess Olivia. Upon meeting Viola, Countess Olivia falls in love with her thinking she is a man.

The play expanded on the musical interludes and riotous disorder expected of the occasion, with plot elements drawn from the short story "Of Apollonius and Silla" by Barnabe Rich, based on a story by Matteo Bandello.

The first recorded performance was on 2 February 1602, at Candlemas, the formal end of Christmastide in the year's calendar. The play was not published until its inclusion in the 1623 First Folio.

تاریخ نخستین خوانش: دوازدهم ماه ژانویه سال 1989میلادی

عنوان: ن‍م‍ای‍ش‍ن‍ام‍ه‌ خ‍ن‍ده ‌آور ش‍ب‌ دوازده‍م،‌ ی‍ا «ه‍ر چ‍ه‌ ب‍خ‍واه‍ی»"؛ اث‍ر وی‍ل‍ی‍ام‌ ش‍ک‍س‍پ‍ی‍ر؛ مت‍رج‍م‌ ع‍لاء ال‍دی‍ن‌ پ‍ازارگ‍ادی‌؛ ت‍ه‍ران : بنگاه ترجمه و نشر کتاب‏‫، سال1354؛ در 189ص؛ موضوع نمایشنامه های نویسندگان بریتانیا - سده 17م

عنوان: شب دوازدهم یا آنچه شما بخواهید؛ اثر ویلیام شکسپیر؛ مترجم افضل وثوقی؛ تهران، رادیو تلویزیون ملی ایران، 1354، در 110ص؛

عنوان: شب دوازدهم نمایشنامه؛ اثر ویلیام شکسپیر؛ مترجم حمید الیاسی؛ تهران، روشنگران، 1368، در 197ص؛ چاپ دیگر 1390، در 238ص، شابک9789646751521؛

عنوان: شب دوازدهم نمایشنامه؛ اثر ویلیام شکسپیر؛ مترجم رحیم اصلانی؛ تبریز، گهواره؛ 1397؛ در 64ص؛ شابک9786229972588؛

عنوان: شب دوازدهم؛ ویلیام شکسپیر؛ مترجم میلاد میناکار؛ تهران: بنگاه ترجمه و نشر کتاب پارسه، ‏‫1398؛ در 190ص؛ شابک9786002533708؛

عنوان: شب دوازدهم شکسپیر؛ بازنگاری اندرو متیوز؛ تصویرگر تونی راس؛ مترجم بیژن اوشیدری؛ تهران: نشر مرکز، کتاب مریم، ‏‫1393؛ شابک9789642131648؛

این نمایش، در پنج پرده، تدوین شده؛ و دارای چهارده شخصیت؛ و تعدادی سیاهی لشکر است؛ شخصیت‌های اصلی نمایش عبارتند از «اورسینو، دوک احساساتی ایلیریا، انسانی نیک»؛ «اولیویا، کنتسی ثروتمند، همسایه اورسینو، در نهایت زیبایی»؛ «ویولا، قاصد اورسینو؛ مخفی در لباس پسران و با نام واقعی سزاریو (هرگز عشق را به زبان نمی‌آورد…؛)»؛ «سباستین، برادر دوقلوی ویولا»؛ «سر توبی بلچ، دایی اولیویا که در خانه او لنگر انداخته»؛ «ماریا، ندیمه اولیویا، یک سوسک کوچولو ولی زنده دل»؛ «سر آندرو اگوچیک، شوالیه‌ ای احمق»؛ «فست، دلقک اجازه سر خود اولیویا»؛ «مال ولیو»؛ «فابیان»؛ «آنتونیو»؛ «یک کاپیتان»؛ «والنتین»؛ «کوریو»؛ «لردها»، «یک کشیش»، «افسران»، «ملاحان»، «نوازندگان» و «خدمتکاران»؛

شخصیت «صوفی» در این نمایش‌نامه، به «شاه عباس صفوی» اشاره دارد؛ محل رخداد رویدادهای نمایش��امه «شهری در ایلیریا (کشوری باستانی در ساحل دریای آدریاتیک) و اسکله مجاور آن»؛

چکیده نمایشنامه: «اورسینیو» دوک محبوب «ایلیریا»، از فرط سیری، و پول و جاه، با بازی کردن نقش افتادن در دام عشق؛ دل بیمار و روح احساساتی خود را، تا سرحد حالت جذبه و نشوه، برانگیخته‌ است؛ معشوقه ی او البته کسی جز «کنتس اولیویای» زیبای شهر نیست، که قصری در همسایگی کاخ «دوک» دارد؛ «اورسینو» به منظور ابراز عشق، و شروع خواستگاری، پیام و هدیه‌ ای، توسط قاصد جدید خود، «سزاریو»ی جوان، برای «کنتس» می‌فرستد؛ اما نمی‌داند «سزاریو»، که به تازگی، به خدمت او درآمده، در واقع دختری، در لباس پسران است، با نام واقعی «ویولا»؛ او از روزهای اول دیدن «دوک»، عاشق «دوک» شده، و اکنون، بیش از همیشه، غمزده‌ است؛ در سوی دیگر «کنتس اولیویا» نیز، در قصر خود، همانند «دوک» احساساتی برانگیخته دارد، ولی آکنده از اندوه و تاسف است؛ «کنتس» زیبا، به تازگی تنها برادر عزیزش را، از دست داده، و از پذیرفتن، و ابراز عشق، و حتی همدمی با هر مردی، خودداری می‌کند؛ اما اینهمه باعث نمی‌شود، که در نخستین دیدار، با قاصد «دوک (ویولا در لباس مبدل)» به دریای عشق پرتلاطم او نیفتد…؛

تاریخ بهنگام رسانی 21/11/1399هجری خورشیدی؛ 06/07/1400هجری خورشیدی؛ ا. شربیانی

As a person named Olivia, I wish I enjoyed this comedy more.

25.Haziran.2024 Özdemir Nutku çevirisi için; ⭐⭐⭐⭐
İlk okumamda hem çeviri hem de Shakespeare cahilliğimin kurbanı olup oyunu beğenmediğimi yazmıştım. Bu yıl Shakespeare grubum için tekrar ele almam gerekti. Dipnot açıklamalı İngilizce versiyonu Twelfth Night: or, What You Will okumaya çalışıp başıma ağrılar girince Özdemir Nutku çevirisine sığındım. Açıklayıcı bir önsöz ve yine ders niteliğinde dipnotlarla mükemmel bir çalışmaya imza atmış kendisi. Orijinalindeki şiirsellik tam anlamıyla verilmiş diyemem ama dilimizin imkanları ile harika bir iş çıkarılmış bence.

Viola, Beatrice ve Rosalind ile birlikte şairin hem duygulandıran hem güldüren en içten kadın karakteri olarak kabul ediliyor. Malvolio karakteri üzerinden neşe ve sevgi düşmanı puritanlardan intikam alınmasını okumak zevkliydi. Ve oyundaki en bilge kişi olan soytarı Feste sayesinde nitelikli alayın nasıl zeka işi olduğunu görüyoruz.

Benim için Shakespeare'in dünyasını temsil eden oyunlardan. Birilerine şairi anlatmak isteseydim bu metni temel alırdım. Kurguda, diyaloglarda, karakterlerde, olaylarda denge; cinsiyet rollerinin sorgulanması, alaylar, kelime oyunları, sosyal ve siyasal olaylara göndermeler ile aşina olduğum bir diyarda dolaşmak gibiydi bu oyunu okumak.

12.Ocak.2022 Sevgi Sanlı çevirisi için; ⭐⭐ "Romeo ve Juliet oyunundan sonra okuduğum ikinci Shakespeare eseri. Daha serbest bir dil var burada. İnce nükteler yerine alaycı bir anlatım ağır basıyor. Çeviri bana fazla yerelleştirilmiş geldi. Dipnotlar gayet yerindeydi."

Read this as part of my Open University studies and I really enjoyed it.

از متفاوت ترین نمایشنامه‌های شکسپیر!
نمایشنامه‌ای که خصیصه‌های انسانی را با حالتی طنز به تحریر درآورده


ترجمه حمید الیاسی
چاپ 1390
223صفحه

ترجمه سخت ادبیاتی بود وبعضی مواقع،ارتباط قطع میشد
ارتباط با شخصیت ها سخت بود وفقط با بطن داستان پیش میرفتم
بهتر است ترجمه دیگری را نیز امتحان کنم

Read aloud with my family this Christmas. So much fun!

I liked the dialogue in this one a lot more than the first one we read for class (A Comedy of Errors). I love the whole "girl poses as a guy in order to trick misogynists into letting her participate in their society" trope, and I just in general loved Olivia and Viola as characters, so I was super into this. My only complaint is that the ending wraps up too swiftly for me and a few of the plotlines were just kinda smooshed into one grand finale, but I was left wanting more.

Not the best Shakespeare I've read (but I mean, NOTHING compares to hamlet), but still an enjoyable read that I didn't dread picking up.

The only reason this gets four and not five stars is that we're rating on the scale of Shakespeare to Shakespeare, and I think that there is some awkwardness in this one in terms of the conclusion; where everyone goes and how they get to it. There are also some very thin plot devices that annoy me.

However, that being said, I love this play. I played Mariah in it in high school, and it was one of the most fun things I've been in. It can be played for laughs, or for the dark side. The movie version I own goes for the dark depression, the one I was in was slapstick comedy, mostly. I prefer a mix of the two. I like it when it's slapstick, and then you strike a completely discordant note with the Fool or Malvolio, for instance. It can be quite striking in that regard, I think.

One of my favorites of the comedies!

And all those sayings will I overswear;
And those swearings keep as true in soul
As doth that orbèd continent the fire
That severs day from night.

All the forbearance unrolled for display. Insomnia rasps and we struggled with Moloch and the gurgle of the deep.
There's nothing original about the reader. This reader.

He cheered for Viola.

The distemper of lad culture tends to rancor as I pondered whether Some Like It Hot or Mrs. Doubtfire will ever resonate with lyrical fire? The pat ending of Twelfth Night couldn't usurp, "Nobody's perfect," but the Bard knew questions unspoke which will greet the other half of the quartet, what was the attraction---really?

That famous phrase

Some are born great, some achieve greatness, and some have greatness thrust upon them

originated from altogether demotivational motives – that is, to trick a silly character into believing himself greater than he really is. Not quite meant as an inspirational slogan.

And

That that is is

The first recorded use of "It is what it is"? :)

Along with Much Ado About Nothing and A Midsummer Night’s Dream, Twelfth Night is up there with my favorite Shakespearean comedies. The characters are absolutely delightful (except Toby, who’s a right bastard!) And I admit, I'm partial to the word "twelfth," because it has "elf" in it.

On adaptations: In the BBC audio version, Malvolio is the star role, played by David Tennant, Scottish angel to my ears. But in the 1996 film, it's the fool, played by Ben Kingsley, who steals the show.

The Original Rom-Com
17 January 2013

tThere are two reasons why I gave this play such a high rating and one of them is Sir Toby Belch. As a character, this guy, who is pretty much a rude, crude, and perpetual drunked, is simply a classic. He is not an admirable character, and along with the maid Maria, his comrade in arms Sir Andrew, Fabian, and not to forget the clown Feste (who, by the way is played brilliantly by Ben Kingsley in the Trevor Nunn movie, if only because I kept on mistaking him for Patrick Stewart) pretty much form a rather major plot in this particular play, a plot that pretty much wants to make me shake my head at the whole sordid episode.

tInitially I was rather sympathetic towards poor Malvolio. He was only doing the job that a faithful servant would be expected to do, and in a way, when people are making such a racket in the middle of the night, it is the faithful servant that comes to put of stop to it. Basically what we have are a bunch of children that simply want to get back at the parent who seems to spoil their fun. However, when you consider that Malvolio is so dull that he actually believes that a random letter that he finds on the ground was written by his mistress was actually legit, you do have to wonder at the poor guy's sense of reality. In a way, he gets so caught up in this falsified sense of love that he ends up losing all sense of reality. So, when people begin to accuse him of being mad, maybe it is that case that he really is mad.

tNow, before I get into the whole cross gender/androginous aspect, I do want to make a comment about one of the sayings that does come out of the play, and in fact first appears in the letter to Malvolio. Some are born great; some achieve greatness; and some have greatness thrust upon them. This line comes up a number of times, which is rather odd in a play that Samual Pepys pretty much describes as a 'silly play' and others have indicated was written during the period when Shakespeare was pretty much so up himself that he believed that anything that he wrote would be successful (sounds like a few Hollywood directors that are running around now, isn't that right Spielburg?).

tWhen I think about this line, I cannot help applying in to some rather famous Christian characters, though funnily enough, I cannot seem to find a biblical character who actually achieved greatness. In the Bible they were either born great (such as Jesus Christ) or had greatness thrust upon them (such as Moses and King David). If there is one who did achieve greatness, maybe it was Solomon because of his wisdom, but the whole idea of achieving greatness seems to come down to the idea that one can achieve greatness through their own power, while those that are born great tend to have had this stated beforehand, and those who have had greatness thrust upon them (that is such a cool concept, having greatness thrust upon oneself) are those (such as Moses) who have been told by God to go and do something and have had some doubt about whether they could actually do it. However, I suspect that you could put Joseph and Daniel into the category of achieving greatness, even if it only has to do with the fact that they trusted God implicity and as such were elevated to some of the highest positions in their respective lands.

tNow, some of the commentaries on the whole cross dressing aspect of the play seems to reek too much of our modern understanding of society, Okay, the whole idea that love can pretty much transcend the boundaries of gender does has a point, but this type of love is not necessarily the romantic love that we understand (though we must remember that the love that we see in this play is very much romantic love). Shakespeare is not supporting homosexual love, in a sense, because it does come out that the main characters who marry end up being heterosexual, and while Trevor Nunn does suspect some illicit homosexual attraction between Viola and Duke Orsino, this has more to do with the comic aspect of the play, in that the attraction between the two is really heterosexual, but because Orsino does not realise that Viola is in fact a woman, he does not understand the nature of the attraction. However, also remember that Viola is constantly rebuking Olivia's advances, despite the fact that Olivia does not realise that Viola is in fact a woman.

tRemember, in Shakespearian plays, the cross dressing is always, without fail, one way. It is always the woman who is disguising themselves as a man, never the other way around. This is something that is of particular importance in Elizabethan England where we have a woman on the throne who is taking the role of a man. This is all about empowerment for the woman (an in some cases protection because the woman was a lot more vulnerable than a man). Also note that when Viola does get into a fight she simply does not know how to handle herself, and it is only the timely intervention of Antonio that ends up saving her.

tNow, I will not comment on As You Like It here, the second of the three Shakespearian plays that involves cross dressing, namely because I am not as familiar with it as the other play, Merchant of Venice. Once again, the cross dressing has nothing to do with gender, or androginy, but rather it has to do with the woman taking the role of the man so that she may be able to use her superior intellect to save the one she loves. As a woman, she would never have been able to preside over the hearing, but by disguising herself as a man, she was able to do so. This is not a question of destroying the so called gender cage, but rather exposing the inequality that existed at the time. Queen Elizabeth was as effective a monarch as many of the monarchs that came before her, and the fact that she was a woman, only went to prove how the issue of sex had nothing to do with one's ability to perform the job.

tFor those who are interested, I have written a blog post on the play as well, though it has more to do with a recent performance that I saw. However, I do take an opposite view to what I wrote here, considering it to be little more than a soppy romance.