Shakespeare is known for metaphors and intense figurative language and this play is no different. Wolsey angrily spouts at the court, “And when he thinks, good easy man, full surely His greatness is a-ripening, nips his root” (lines 7-8). Shakespeare uses a metaphor here to portray how Wolsey views himself. It gives an insight to the haughtiness of Wolsey’s character. The comparison to a plant that was close to ripening, shows that Wolsey believes that he was on his way to greatness.
His intention in lampooning was for his audience to enjoy the irony and sarcasm of his work while criticizing the foolish view of the upper class. During the time play’s release, many critics wrote about their opinions of the play. Some critics saw his work as a fantasy, others said it was burlesque, but there were also critics who understood Wilde’s purpose for writing this play (Kohl 272). For instance, Norbert Kohl said, “He is made to laugh at the hollow superficiality hidden behind the mask of earnestness, and to mock the rich facade…” (Kohl 272). Khol clearly understood that Wilde’s purpose of writing The Importance of Being Earnest was to publicly and comically criticize the rich.
BETTER A WITTY FOOL THAN A FOOLISH WIT A CRITICAL EXPLORATION OF FESTE In the view of many who have read and/or watched the play “TWELFTH NIGHT” by Shakespeare Feste is indeed the wittiest, most influential, diverse and misunderstood character in the play. Feste is first portrayed as a fool in both dress and attitude, however, we later discover that he is the wisest man of the lot and foolishness is only his guise. Far from being just a fool, Feste implores the use of erudite English and discernment and thus is able to present the audience with a higher knowledge of the plot than that presented by the other characters in the play. Disguise plays a pivotal role in the development of “TWELFTH NIGHT”, it is used to generate confusion and internal conflict and therefore adds to the audience’s overall enjoyment. My penciled sketch depicts the various manifestations of Feste.
Dramatic irony is based on the fact that the audience knows something that character does not. In this text, the audience knows the fate of Oedipus before he knows himself. Sophocles uses it very effectively to make the audience feel part of the play which forces them to watch in suspense and makes them eager to see how Oedipus reacts. By using this dramatic irony, Sophocles ensures that his plays will be interesting to an audience that already knows the story. Sophocles creates a most prominent character flaw for Oedipus in that he possesses excessive arrogance.
Neil King’s definition of a comedy, “a work which is primarily designed to amuse and entertain, and where, despite alarms along the way, all’s well that ends well for the characters” (King 55) is undoubtedly affirmed by Shakespeare’s use of comedic features such as dramatic irony. Despite the creation of exuberant comedy within the play, principal sub-plots in ‘Twelfth Night’ such as the gulling and confinement of Malvolio, prove that when looked at in more depth, to some extent, the play’s comedy cloaks themes of cruelty and suffering. The very title of the play, ‘Twelfth Night’, directly links to the twelve days of festivity that traditionally took place during the Elizabethan period. During this time, not only were ordinary rules subverted, but the Lord of Misrule reigned supreme and events such as plays and processions took place. Employing this historical background for the ‘Twelfth Night’ creates the opportunity for revelry to happen.
Twelfth Night, does in fact corroborate with the idea that comedy is innately and “ultimately conservative” despite briefly “delighting in a topsy turvy world.” Many do argue that as most dramatic comedies, Twelfth Night, is of a more progressive nature, which as many playwrights constricted by the strict social rules of there time, Shakespeare aimed to critique society behind this guise of comedy. Shakespeare uses Viola as his symbolic green world in Twelfth Night, Thus causing chaos to ensue in Illyria. When dressed as Cesario, Viola holds the power and freedom of speech of a man,leading to her androgynous attractiveness to Olivia and thus catalysing the comedic plotlines of the play. The Topsy Turvy world of Shakespearean Comedy lends more space to create humour, the inversion of expectation and the creation of a subversive comedy in his characterisation and the use of social taboo is what makes Twelfth night’s conservative nature diminish. However “Ultimately” as in the end of the Green World and the play, Twelfth Night’s finale can definitely be seen as “ultimately conservative”.
Iago has solid interests, he has admirations, and his soul exasperates him (Bradely, 1904, p.207). There is the wonderfulness of energy about him. Despite the fact that he is great on-screen character, he favours power to misrepresentation, and in his reality there is no broad fantasy as to his actual nature. Once more, to contrast Iago and the Satan of Paradise Lost appears to be practically silly, so tremendously does Shakespeare's man surpass Milton's Fiend in insidious. However, the title of F.R.Leavis’ critique on Othello itself depicts the entire critique.
S.T Coleridge refers to Shakespeare’s swan song, The Tempest, as a play “for all ages,” and this quote rings true in the light of the fascinating study of the presentation of Prospero, the play’s protagonist. Prospero’s complexity stands out against the binary archetypes of Jacobean drama, and this great wizard not only teaches the audience about accepting humanity, but embracing it. He reveals a reflection of the Bard himself, as well as that of our very being. To quote Gooder, Prospero “could give God a good fight.” The audience instantly gets a sense of the extent of Prospero’s power through the tempest that he casts in Act 1 Scene 1. Ferdinand’s cry of “Hell is empty and all the devils are here” clearly illustrates the psychological destruction that Propsero’s art can carry.
The play therapeutically elucidates the mischief that may theoretically derive from a life of solemnity and thoughtlessness. The play appears to be a simplistic comedy, and indeed it may be, featuring the typical characters and conventions expected. Moreover, Twelfth Night follows the traditional structure and form of a comedy with its pleasant resolution. In contrast, Malvolio assures the audience that the complexity of the play is much greater then what first meets the eye. It promises spectators that the theme of hierarchy is purposefully intertwined in the plot to elevate knowledge of the disturbing reminder of
The play demonstrates to us how great transforms into abhorrent in the mind boggling character of Othello, who ends up being in excess of a casualty of Iago's bad behaviors yet in addition a character who is both good and evil. In Shakespeare's play evil isn't something total. Malicious and or evil exhibits itself as an alternate quality with every person, maybe the moment that a man overlooks moral limits and offers approach to impulses past his or her