Both the Shakespeare play The Twelfth Night (1601–02) and the movie She’s The Man (released 2006) show women breaking social norms and ending up in difficult situations involving love triangles. In She’s The Man, a girl by the name of Viola takes on the persona of her brother Sebastian to prove she is good enough for the boys soccer team. In The Twelfth Night, a young aristocratic woman named Viola is involved in a shipwreck, resulting in the death of her brother. She was left alone on an unknown island and found work at the house of the Duke Orsino, but disguised herself as a man with the name Cesario in order to do that. In both of these stories, feelings emerge between characters and confusing relationships arise due to the fact that the
Similar themes in “Twelfth Night” and “She’s the Man” is comedy, love, relationships and lies. These themes are shown in the love triangle person in both and in the cross-dressing on Viola. Some of the themes that were only included in “Twelfth Night” include society and class. While in “She’s the Man” feminism is strongly portrayed. It can be fascinating to see how a modern, twenty-first century movie can be based on a play written in the early seventeenth century.
Twelfth Night has deception through the entire play. It changes the characters perspective on things, it can change their mind-set, and how they think. Deception occurs often in Twelfth Night, when Viola disguises herself as a man, and deceives everyone she meets. Then, when Malvolio is tricked by Maria, Sir Andrew, Sir Toby, and Fabian into believing Lady Olivia loves him. Lastly, when Malvolio is deceived by Feste into thinking there is a man named Sir Topas in the dark room with him.
The “actions and spirit” which Olivia refers to are Viola’s ability to converse with Olivia woman-to-woman, unbeknownst to the countess. Twelfth Night seems to present gender as a mask to be worn and taken off at will, a fluid concept that changes to suit one’s needs and emotions. By playing Cesario, Viola partly becomes this version of herself, so Olivia, by loving Cesario, has feelings for Viola by extension. When Sebastian makes his reveal, Olivia marries him for two reasons. The first is an external piece of reasoning, being that in Elizabethan comedies such as this, heterosexual pairings must happen for the play to follow the fairly strict expectations of a comedy.
Before Viola reveals the truth, she tries to show her affection towards Orsino. And Orsino even shows attraction towards Viola before she revealing the truth that she is a woman, “ Diana’s lip is not more smooth and rubious. Thy small pipe Is as the maiden’s organ, shrill and sound, And all is
Lillian Faderman systemically conducts the story of the Lesbian Revolution. In contrast to Sex and Sensibility by Arlene Stein, Faderman’s approach in her book Odd Girls and Twilight Lovers takes upon a more subtle approach. She explains the struggles and strains of the revolution in chronological order, a sharp contrast to the chaotic style displayed by Stein. Methodically, her words intertwine the various intersections and phases that the movement endures. Faderman’s retelling of the revolution begins in the late 1800’s.
Valencia, who epitomizes the average housewife, also represents the unexpressed discontentment of many married couples. She loves Billy excessively, but he does not reciprocate this. Billy continues to have the same “so it goes” attitude and is both indifferent and impassive to her death. This emotionless outlook substantiates the fact that he marries her purely for the sake of having a significant other, and does not genuinely love her. Upon thinking about their marriage together
He describes how his writing assignments. According to Villanueva, he’d “gather pen and pad, and stare. Watch an “I Love Lucy” rerun. Stare.” His writing style went against what the class rules
Virginia is enlightened by these conversations because she wholeheartedly cares about the past, present, and future of the world, and she is aware of its impact on her life and destiny. In contrast to the Soul-mate who is dainty and frail, Virginia is almost godly in her physical and mental capacity. She does not hesitate to contradict Mr. Fteley who doubts her capability, “The world is full of leaden slugs like you … You hope that mountain climbers and acrobats fall, that daring bridges collapse” (243). This shows Virginia’s determination to be more than people expect her to be, and does so without feeling compelled to garner others’ approval. Her words imply imagery of acts humanly close to flying, and the act of going where others
Here, Phoebe debunks every stereotypical view on love that was shown in the pastoral age, where lovers loved each other to painful lengths, where the mental pain of not being able to be with one another transformed into physical pain. Phoebe, seeming almost cynical in the way she is dismissing Silvius, simply states she does not believe in the myth of what love feels like. She assures Silvius this is not what he feels, because those feelings could simply not exist, and if that time ever comes, not to “pity” her, because she “shall not pity” him (3.5.34-35).