day 1 Twelfth Night

2. AGENDA
Review:
Teams
Lecture:
 Shakespeare: the man
 Twelfth Night
Discussion
Discussion Questions
QHQs

3. AT THE END OF EACH CLASS, YOU WILL
TURN IN A POINT SHEET WITH THE
NAMES OF EVERYONE IN YOUR GROUP
(FIRST NAME, LAST INITIAL) AND YOUR
ACCUMULATED POINTS FOR THE DAY.
IT IS YOUR RESPONSIBILITY TO MAKE
THE SHEET, TRACK THE POINTS, AND
TURN IT IN.
Sit near your team
members in class to
facilitate ease of group
discussions
Billy R III
Lan N IIII
Jose S III
Christine L II
13 points

4. WILLIAM SHAKESPEARE

5. THE EARLY YEARS
Born in Stratford-Upon-
Avon, England on or near
April 23, 1564
Son of John Shakespeare, a
glove-maker and leather
merchant, and Mary
Arden.
Received a good education
with heavy focus on
grammar and literature

6. WILLIAM SHAKESPEARE
MARRIAGE, FAMILY, AND THE LOST YEARS
 On November 28, 1582, Shakespeare married Anne
Hathaway. William was 18 at the time, and Anne was 26 –
and pregnant.
 Their first daughter, Susanna, was born on May 26, 1583.
The couple later had twins, Hamnet and Judith, born
February 2, 1585. Hamnet died at age 11.
 For seven years, William Shakespeare disappeared from
all records, turning up in London circa 1592. These are
sometimes called “The lost years.”

7.  Shakespeare lived in London in the late
1500’s.
 England was a rich and powerful nation under
the leadership of Queen Elizabeth I, and the
theater was thriving, yet acting was not a well-
respected profession at this time.
 Shakespeare joined a theater company called
the Lord Chamberlain’s Men (which King
James I later called the King's Men) and was
successful as an actor, poet, and a playwright.
 By 1594, he was not only acting and writing
for the company but was a managing partner.

8. William Shakespeare
allegedly died on his
birthday, April 23, 1616.
This is probably more of a
romantic myth than
reality, but Shakespeare
was buried at Holy Trinity
in Stratford on April 25,
1616.
Shakespeare was a well-
loved writer in his lifetime;
and now, 400 years later,
he is the most produced
playwright in the world.

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

11. TWELFTH NIGHT
In medieval England the “Twelfth
Night” marked the end of a winter
festival that started on All
Hallows Eve — now more
commonly known as Halloween.
On this day the King and all those
who were high-born would
become the peasants and vice
versa.
During Twelfth Night everything was
to be “topsy-turvy” or reversed.
Midnight signaled the end of their
reign, and the world would return
to normal.
The play has many elements that
are reversed, in the tradition of
Twelfth Night, such as a woman
dressing as a man, and a servant
imagining that he can become a
nobleman.

12. CHARACTERS AND PLOT
Let me
ask you!
Who is in this play?
What is going on?

13. CHARACTERS
Viola, castaway, disguised
as a man called Cesario,
in service to Orsino
Orsino, Duke of Illyria,
wooing Olivia
Olivia, a countess,
resisting Orsino's
wooing
Sebastian, castaway, twin
brother to Viola, thought
dead
Malvolio, steward (sort of
a head butler) to Olivia,
imagines himself equal to
his lady.
Maria, a Lady in waiting in
Olivia's household
Sir Toby Belch, Olivia's
drunken uncle
Sir Andrew Aguecheek, a
simple- minded
companion of Sir Toby's,
wooing Olivia
Feste, Olivia's jester

14. THE PLOT
Viola and her twin brother Sebastian are
shipwrecked on the coast of Illyria.
She swims ashore, but she loses
contact with Sebastian, whom she
believes to have drowned.
Disguising herself as a young man
under the name Cesario, she enters
the service of Duke Orsino through
the help of the sea captain who
rescued her.
Orsino has convinced himself that he is
in love with Olivia, whose father and
brother have recently died, and who
does not wish to see any suitor till
seven years, the Duke included.
Orsino uses Cesario as a messenger to
profess his passionate love before
Olivia.
Olivia, believing Viola to be a man, falls
in love with this handsome and
eloquent messenger, while Viola has
fallen in love with the Duke who
regards her as his close friend.

15. IN GROUPS
Discuss
your
answers to
the
homework
questions
and your
QHQs.

16. QUESTIONS
Compare and
contrast the
misidentification
in Twelfth Night
with that from A
Comedy of Errors.

17.  How does the
clown prove that
Olivia is a fool? Is
he correct or
incorrect in his
assessment? (Act I
Scene 5) Explain
your answer with
evidence from the
text.
FOOL Good madonna, give me leave to prove you
a fool.
OLIVIA Can you do it?
FOOL Dexteriously, good madonna.
OLIVIA Make your proof.
FOOL I must catechize you for it, madonna. Good
my
mouse of virtue, answer me.
OLIVIA Well, sir, for want of other idleness, I’ll bide
your proof.
FOOL Good madonna, why mourn’st thou?
OLIVIA Good Fool, for my brother’s death.
FOOL I think his soul is in hell, madonna.
OLIVIA I know his soul is in heaven, Fool.
FOOL The more fool, madonna, to mourn for your
brother’s soul, being in heaven. Take away the
fool,
Gentlemen. (56-70)

18. Consider common
practices of
traditional
wooing. In what
way would they
be different from
Cesario’s
endeavors to woo
Olivia for Duke?
OLIVIA Have you any commission from your lord
to
negotiate with my face? You are now out of your
text. But we will draw the curtain and show you
the
picture. (She removes her veil) Look you, sir,
such a
one I was this present. Is ’t not well done?
VIOLA Excellently done, if God did all.
OLIVIA ’Tis in grain, sir; ’twill endure wind and
weather.
VIOLA ’Tis beauty truly blent, whose red and
white
Nature’s own sweet and cunning hand laid on.
Lady, you are the cruel’st she alive
If you will lead these graces to the grave
And leave the world no copy.
OLIVIA O, sir, I will not be so hard-hearted!

19. In this clip we see the longer dialogue from
the wooing scene. The clip stars Mark
Rylance and Johnny Flynn in 'Twelfth
Night' at 'The Globe' 2012
https://www.youtube.com/watch?v=4qrQBGxQa5c
Act 1, Scene
5, 219-318

20. The soliloquy is a speech in which
a character converses with himself
or herself by expressing thoughts
aloud while alone on stage.

21. Act 2, Scene 2, 17-41
VIOLA
I left no ring with her. What means this
lady?
(She picks up the ring) Fortune forbid my
outside have not charmed her!
She made good view of me, indeed so
much
That methought her eyes had lost her
tongue,
For she did speak in starts distractedly.
She loves me, sure! The cunning of her
passion
Invites me in this churlish messenger.
None of my lord’s ring? Why, he sent her
none!
I am the man. If it be so, as ’tis,
Poor lady, she were better love a dream.
Disguise, I see thou art a wickedness
Wherein the pregnant enemy does much.
How easy is it for the proper false
In women’s waxen hearts to set their
Alas, (our) frailty is the cause, not
we,
For such as we are made editorial
(of) such we be.
How will this fadge? My master
loves her dearly,
And I, poor monster, fond as much
on him,
And she, mistaken, seems to dote
on me.
What will become of this? As I am
man,
My state is desperate for my
master’s love.
As I am woman (now, alas the day!),
What thriftless sighs shall poor Olivia
breathe!
O Time, thou must untangle this, not
I.
It is too hard a knot for me t’ untie.

22. THE SOLILOQUY
This next video is from John Barton's "Playing Shakespeare" video series.
In this clip, Dame Judi Dench showcases an approach to the “ring” speech
from Twelfth Night, where she carefully allows for the shifts in thought by
playing the text as though she needs the words to work through a problem.
Playwrights have to deal with real human issues and emotions, which tend to
be quite personal like hope, desire, mortality and jealousy, in a way which
makes the audience respond sympathetically to those emotions. The
playwright must compress life into a reasonable time period.
The soliloquy opens up the character's soul and speaks the words that are
universally spoken by each and every one us -- words we have been hearing
most of our lives. Shakespeare just does it eloquently, and often. So think of a
soliloquy as an attempt to get past the thin crust of the events and plot into the
truth of how people react and reflect on the world inside of them, as well as
around them.
https://www.youtube.com/watch?v=QxftRZ
_Uzq0

23. SUBPLOT IN TWELFTH NIGHT
In the comic subplot several
characters conspire to make
Olivia's pompous steward,
Malvolio, believe that his lady
Olivia has fallen in love with him.
It involves Olivia's uncle, Sir Toby
Belch; another would-be suitor, a
silly squire named Sir Andrew
Aguecheek; her servant Maria;
and her fool, Feste.
They plant a false letter in the
garden for Malvolio to find, which
he, in his vanity, misinterprets as
a love letter from his mistress to
him.

24. ACT 2 SCENE 3 LINES 85- 175
49:30 minutes in the film to 55: 35
In the next clip from the 1996 version of Twelfth Night, staring
Imogen Stubbs, Nigel Hawthorne, and Ben Kingsley, Sir Toby and
Sir Andrew are up late, drinking; Feste joins them, and they request
that he sing a song about love. They proceed to make a great deal
of noise, by singing, drinking, and talking nonsense; Maria tries to
get them to be quiet, but Malvolio is awakened by the noise, and
comes down to berate them for disturbing the household. Once
Malvolio leaves, Maria concocts a plan to make Malvolio look
like a complete fool: since Maria's handwriting is similar to
Olivia's, she will write love letters to Malvolio and make it look
like the letters have come from Olivia.

25.  Analyze Maria’s
speeches in Act
2 scene 3.
Explain carefully
her motive to
entrap Malvolio.
Do you believe
that she is
justified in doing
it?
MARIA The devil a puritan that he is, or anything
constantly but a time-pleaser; an affectioned ass
that cons state without book and utters it by great
swaths; the best persuaded of himself, so crammed,
as he thinks, with excellencies, that it is his grounds
of faith that all that look on him love him. And on
that vice in him will my revenge find notable cause
to work.
TOBY What wilt thou do?
MARIA I will drop in his way some obscure epistles of
love, wherein by the color of his beard, the shape of
his leg, the manner of his gait, the expressure of his
eye, forehead, and complexion, he shall find himself
most feelingly personated. I can write very like my
lady your niece; on a forgotten matter, we can
hardly make distinction of our hands. (145-160)

26. Q: How are women viewed in Shakespeare’s plays? Are women
the main contributors of humor in Shakespeare’s comedies?
Q: Is Shakespeare trying to tell us
Antonio is gay? Could Olivia’s fondness
for Viola (Cesario) be Shakespeare’s
way of saying that we all have a
subconscious attraction to the same
sex–even if we don’t know it?
Q: What purpose does the fool have in
the play? Why is he important?
Wouldn’t mostly everyone in the play be
considered a fool? As it seems as if no
one is yet aware of the trickery
surrounding them

27. Recitation: A Sonnet or Soliloquy 50 points
Each person in class will do one presentation of
either a sonnet or soliloquy, including a written
summary—half a page describing what the
piece is about—and a memorized performance.
You may read the summary aloud either before
or after your recitation. Please be prepared to
turn in an appropriately formatted (MLA) copy of
your summary. You may complete this
assignment beginning week four. A sign up
sheet will be available. Please choose a couple
of sonnets so you have an option if your first
choice has been taken by the time the sheet
gets to you.

28. Read: Twelfth Night: Acts 3 to 5 (to end)
Choose your sonnet
Post #4 Choose one
1. As Olivia is in the process of revealing her feelings for Cesario, she makes use of
metaphors drawn from the animal kingdom— Act III, Scene 1, lines 115-140.
State what these animal metaphors are, and then explain their significance.
How do they illuminate the depth of Olivia’s feelings at the moment?
2. Many characters in Twelfth Night adopt a role or otherwise disguise their
identities. Viola is the most obvious example of this ruse in the play, but why
others can you name? Consider Fester, Orsino, and Olivia among others.
3. Discuss the outcome of the
plot against Malvolio. Is the
yellow garter scene funny or
cruel? Is his fate deserved?
How does his reappearance
affect the end of the play?