Twelfth Night

( 46 )

Overview

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 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 ...
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Twelfth Night

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Overview

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 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.

Illyria, the setting of Twelfth Night, is important to the play's romantic atmosphere. Illyria was an ancient region of the Western Balkans whose coast (the eastern coast of the Adriatic Sea which is the only part of ancient Illyria which is relevant to the play) covered (from north to south) the coasts of modern day Slovenia, Croatia, Montenegro and Albania. It included the city state of the Republic of Ragusa which has been proposed as the setting. Illyria may have been suggested by the Roman comedy Menaechmi, the plot of which also involves twins who are mistaken for each other. Illyria is also referred to as a site of pirates in Shakespeare's earlier play, Henry VI, Part 2. The names of most of the characters are Italian but some of the comic characters have English names. Oddly the "Illyrian" lady Olivia has an English uncle, Sir Toby Belch. It has been noted that the play's setting also has other English allusions such as Viola's use of "Westward ho!", a typical cry of 16th-century London boatmen, and also Antonio's recommendation to Sebastian of "The Elephant" as where it is best to lodge in Illyria; The Elephant was a pub not far from the Globe Theatre.

Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a captain. She loses contact with her twin brother, Sebastian, whom she believes to be dead. 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 rescues her. Orsino has convinced himself that he is in love with Olivia, whose father and brother have recently died, and who refuses to see any suitor until seven years have passed, the Duke included. Orsino then uses 'Cesario' as an intermediary to profess his passionate love before Olivia. Olivia however, forgetting about the seven years in his case, falls in love with 'Cesario', as she does not realise 'he' is Viola in disguise. In the meantime, Viola has fallen in love with the Duke.

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Editorial Reviews

Library Journal

This must be a case of opposites attracting, as Yale releases another duo in its ongoing annotated Shakespeare series. Here the Bard's heaviest drama is paired with one of his lightest comedies. These also include textual notes, essays by Harold Bloom, and other extras. Great for the price.


—Michael Rogers
From the Publisher

Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.

The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.

Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.

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Product Details

  • ISBN-13: 9781496045676
  • Publisher: CreateSpace Independent Publishing Platform
  • Publication date: 2/22/2014
  • Pages: 124
  • Product dimensions: 6.14 (w) x 9.21 (h) x 0.26 (d)

Meet the Author

WILLIAM SHAKESPEARE (26 April 1564 (baptized) – 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon”. His extant works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, two epitaphs on a man named John Combe, one epitaph on Elias James, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.

CHARLY CHEUNG was born and grew up in Singapore, and studied illustration at London University of the Arts at St Martins College. The Real Reads Shakespeare series is her first major commission.

HELEN STREET grew up in Yorkshire in the north of England, and while living in York became involved in theatre and education, regularly working with children on productions of Shakespeare’s best-known plays. She now divides her time between England and France, where she is renovating a semi-derelict farmhouse.

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Read an Excerpt

Twelfth Night


By William Shakespeare

Sagebrush Education Resources

Copyright © 2002 William Shakespeare
All right reserved.

ISBN: 9780613527330

Shakespeare's Life

Surviving documents that give us glimpses into the life of William Shakespeare show us a playwright, poet, and actor who grew up in the market town of Stratford-upon-Avon, spent his professional life in London, and returned to Stratford a wealthy landowner. He was born in April 1564, died in April 1616, and is buried inside the chancel of Holy Trinity Church in Stratford.

We wish we could know more about the life of the world's greatest dramatist. His plays and poems are testaments to his wide reading -- especially to his knowledge of Virgil, Ovid, Plutarch, Holinshed's Chronicles, and the Bible -- and to his mastery of the English language, but we can only speculate about his education. We know that the King's New School in Stratford-upon-Avon was considered excellent. The school was one of the English "grammar schools" established to educate young men, primarily in Latin grammar and literature. As in other schools of the time, students began their studies at the age of four or five in the attached "petty school," and there learned to read and write in English, studying primarily the catechism from the Book of Common Prayer. After two years in the petty school, students entered the lower form (grade) of thegrammar school, where they began the serious study of Latin grammar and Latin texts that would occupy most of the remainder of their school days. (Several Latin texts that Shakespeare used repeatedly in writing his plays and poems were texts that schoolboys memorized and recited.) Latin comedies were introduced early in the lower form; in the upper form, which the boys entered at age ten or eleven, students wrote their own Latin orations and declamations, studied Latin historians and rhetoricians, and began the study of Greek using the Greek New Testament.

Since the records of the Stratford "grammar school" do not survive, we cannot prove that William Shakespeare attended the school; however, every indication (his father's position as an alderman and bailiff of Stratford, the playwright's own knowledge of the Latin classics, scenes in the plays that recall grammar-school experiences -- for example, The Merry Wives of Windsor, 4.1) suggests that he did. We also lack generally accepted documentation about Shakespeare's life after his schooling ended and his professional life in London began. His marriage in 1582 (at age eighteen) to Anne Hathaway and the subsequent births of his daughter Susanna (1583) and the twins Judith and Hamnet (1585) are recorded, but how he supported himself and where he lived are not known. Nor do we know when and why he left Stratford for the London theatrical world, nor how he rose to be the important figure in that world that he had become by the early 1590s.

We do know that by 1592 he had achieved some prominence in London as both an actor and a playwright. In that year was published a book by the playwright Robert Greene attacking an actor who had the audacity to write blank-verse drama and who was "in his own conceit [i.e., opinion] the only Shake-scene in a country." Since Greene's attack includes a parody of a line from one of Shakespeare's early plays, there is little doubt that it is Shakespeare to whom he refers, a "Shake-scene" who had aroused Greene's fury by successfully competing with university-educated dramatists like Greene himself. It was in 1593 that Shakespeare became a published poet. In that year he published his long narrative poem Venus and Adonis; in 1594, he followed it with The Rape of Lucrece. Both poems were dedicated to the young earl of Southampton (Henry Wriothesley), who may have become Shakespeare's patron.

It seems no coincidence that Shakespeare wrote these narrative poems at a time when the theaters were closed because of the plague, a contagious epidemic disease that devastated the population of London. When the theaters reopened in 1594, Shakespeare apparently resumed his double career of actor and playwright and began his long (and seemingly profitable) service as an acting-company shareholder. Records for December of 1594 show him to be a leading member of the Lord Chamberlain's Men. It was this company of actors, later named the King's Men, for whom he would be a principal actor, dramatist, and shareholder for the rest of his career.

So far as we can tell, that career spanned about twenty years. In the 1590s, he wrote his plays on English history as well as several comedies and at least two tragedies (Titus Andronicus and Romeo and Juliet). These histories, comedies, and tragedies are the plays credited to him in 1598 in a work, Palladis Tamia, that in one chapter compares English writers with "Greek, Latin, and Italian Poets." There the author, Francis Meres, claims that Shakespeare is comparable to the Latin dramatists Seneca for tragedy and Plautus for comedy, and calls him "the most excellent in both kinds for the stage." He also names him "Mellifluous and honey-tongued Shakespeare": "I say," writes Meres, "that the Muses would speak with Shakespeare's fine filed phrase, if they would speak English." Since Meres also mentions Shakespeare's "sugared sonnets among his private friends," it is assumed that many of Shakespeare's sonnets (not published until 1609) were also written in the 1590s.

In 1599, Shakespeare's company built a theater for themselves across the river from London, naming it the Globe. The plays that are considered by many to be Shakespeare's major tragedies (Hamlet, Othello, King Lear, and Macbeth) were written while the company was resident in this theater, as were such comedies as Twelfth Night and Measure for Measure. Many of Shakespeare's plays were performed at court (both for Queen Elizabeth I and, after her death in 1603, for King James I), some were presented at the Inns of Court (the residences of London's legal societies), and some were doubtless performed in other towns, at the universities, and at great houses when the King's Men went on tour; otherwise, his plays from 1599 to 1608 were, so far as we know, performed only at the Globe. Between 1608 and 1612, Shakespeare wrote several plays -- among them The Winter's Tale and The Tempest -- presumably for the company's new indoor Blackfriars theater, though the plays seem to have been performed also at the Globe and at court. Surviving documents describe a performance of The Winter's Tale in 1611 at the Globe, for example, and performances of The Tempest in 1611 and 1613 at the royal palace of Whitehall.

Shakespeare wrote very little after 1612, the year in which he probably wrote King Henry VIII. (It was at a performance of Henry VIII in 1613 that the Globe caught fire and burned to the ground.) Sometime between 1610 and 1613 he seems to have returned to live in Stratford-upon-Avon, where he owned a large house and considerable property, and where his wife and his two daughters and their husbands lived. (His son Hamnet had died in 1596.) During his professional years in London, Shakespeare had presumably derived income from the acting company's profits as well as from his own career as an actor, from the sale of his play manuscripts to the acting company, and, after 1599, from his shares as an owner of the Globe. It was presumably that income, carefully invested in land and other property, which made him the wealthy man that surviving documents show him to have become. It is also assumed that William Shakespeare's growing wealth and reputation played some part in inclining the crown, in 1596, to grant John Shakespeare, William's father, the coat of arms that he had so long sought. William Shakespeare died in Stratford on April 23, 1616 (according to the epitaph carved under his bust in Holy Trinity Church) and was buried on April 25. Seven years after his death, his collected plays were published as Mr. William Shakespeares Comedies, Histories, & Tragedies (the work now known as the First Folio).

The years in which Shakespeare wrote were among the most exciting in English history. Intellectually, the discovery, translation, and printing of Greek and Roman classics were making available a set of works and worldviews that interacted complexly with Christian texts and beliefs. The result was a questioning, a vital intellectual ferment, that provided energy for the period's amazing dramatic and literary output and that fed directly into Shakespeare's plays. The Ghost in Hamlet, for example, is wonderfully complicated in part because he is a figure from Roman tragedy -- the spirit of the dead returning to seek revenge -- who at the same time inhabits a Christian hell (or purgatory); Hamlet's description of humankind reflects at one moment the Neoplatonic wonderment at mankind ("What a piece of work is a man!") and, at the next, the Christian disparagement of human sinners ("And yet, to me, what is this quintessence of dust?").

As intellectual horizons expanded, so also did geographical and cosmological horizons. New worlds -- both North and South America -- were explored, and in them were found human beings who lived and worshiped in ways radically different from those of Renaissance Europeans and Englishmen. The universe during these years also seemed to shift and expand. Copernicus had earlier theorized that the earth was not the center of the cosmos but revolved as a planet around the sun. Galileo's telescope, created in 1609, allowed scientists to see that Copernicus had been correct; the universe was not organized with the earth at the center, nor was it so nicely circumscribed as people had, until that time, thought. In terms of expanding horizons, the impact of these discoveries on people's beliefs -- religious, scientific, and philosophical -- cannot be overstated.

London, too, rapidly expanded and changed during the years (from the early 1590s to around 1610) that Shakespeare lived there. London -- the center of England's government, its economy, its royal court, its overseas trade -- was, during these years, becoming an exciting metropolis, drawing to it thousands of new citizens every year. Troubled by overcrowding, by poverty, by recurring epidemics of the plague, London was also a mecca for the wealthy and the aristocratic, and for those who sought advancement at court, or power in government or finance or trade. One hears in Shakespeare's plays the voices of London -- the struggles for power, the fear of venereal disease, the language of buying and selling. One hears as well the voices of Stratford-upon-Avon -- references to the nearby Forest of Arden, to sheepherding, to small-town gossip, to village fairs and markets. Part of the richness of Shakespeare's work is the influence felt there of the various worlds in which he lived: the world of metropolitan London, the world of small-town and rural England, the world of the theater, and the worlds of craftsmen and shepherds.

That Shakespeare inhabited such worlds we know from surviving London and Stratford documents, as well as from the evidence of the plays and poems themselves. From such records we can sketch the dramatist's life. We know from his works that he was a voracious reader. We know from legal and business documents that he was a multifaceted theater man who became a wealthy landowner. We know a bit about his family life and a fair amount about his legal and financial dealings. Most scholars today depend upon such evidence as they draw their picture of the world's greatest playwright. Such, however, has not always been the case. Until the late eighteenth century, the William Shakespeare who lived in most biographies was the creation of legend and tradition. This was the Shakespeare who was supposedly caught poaching deer at Charlecote, the estate of Sir Thomas Lucy close by Stratford; this was the Shakespeare who fled from Sir Thomas's vengeance and made his way in London by taking care of horses outside a playhouse; this was the Shakespeare who reportedly could barely read but whose natural gifts were extraordinary, whose father was a butcher who allowed his gifted son sometimes to help in the butcher shop, where William supposedly killed calves "in a high style," making a speech for the occasion. It was this legendary William Shakespeare whose Falstaff (in 1 and 2 Henry IV) so pleased Queen Elizabeth that she demanded a play about Falstaff in love, and demanded that it be written in fourteen days (hence the existence of The Merry Wives of Windsor). It was this legendary Shakespeare who reached the top of his acting career in the roles of the Ghost in Hamlet and old Adam in As You Like It -- and who died of a fever contracted by drinking too hard at "a merry meeting" with the poets Michael Drayton and Ben Jonson. This legendary Shakespeare is a rambunctious, undisciplined man, as attractively "wild" as his plays were seen by earlier generations to be. Unfortunately, there is no trace of evidence to support these wonderful stories.

Perhaps in response to the disreputable Shakespeare of legend -- or perhaps in response to the fragmentary and, for some, all-too-ordinary Shakespeare documented by surviving records -- some people since the mid-nineteenth century have argued that William Shakespeare could not have written the plays that bear his name. These persons have put forward some dozen names as more likely authors, among them Queen Elizabeth, Sir Francis Bacon, Edward de Vere (earl of Oxford), and Christopher Marlowe. Such attempts to find what for these people is a more believable author of the plays is a tribute to the regard in which the plays are held. Unfortunately for their claims, the documents that exist that provide evidence for the facts of Shakespeare's life tie him inextricably to the body of plays and poems that bear his name. Unlikely as it seems to those who want the works to have been written by an aristocrat, a university graduate, or an "important" person, the plays and poems seem clearly to have been produced by a man from Stratford-upon-Avon with a very good "grammar-school" education and a life of experience in London and in the world of the London theater. How this particular man produced the works that dominate the cultures of much of the world almost four hundred years after his death is one of life's mysteries -- and one that will continue to tease our imaginations as we continue to delight in his plays and poems.

Copyright © 2003 by The Folger Shakespeare Library





Continues...


Excerpted from Twelfth Night by William Shakespeare Copyright © 2002 by William Shakespeare. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Introduction

About the Play

Leading Characters in the Play

Synopsis

Twelfth Night; Commentary

Source, Text and Date

Shakespeare's Verse

Characters in the Play

Twelfth Night 1

The Songs in Twelfth Night 102

Background 103

England in 1600 103

Government 103

Religion 103

Education 104

Language 104

Drama 104

Theatre 105

William Shakespeare, 1564-1616 106

Approximate Dates of Composition of Shakespeare's Works 108

Exploring Twelfth Night in the Classroom 109

Ways into the Play 109

Setting the Scene 110

Keeping Track of the Action 111

Characters 112

Themes 113

Shakespeare's Language 114

Exploring with Drama 115

Writing about Twelfth Night 116

Further Reading and Resources 117

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Customer Reviews

Average Rating 4
( 46 )
Rating Distribution

5 Star

(20)

4 Star

(13)

3 Star

(8)

2 Star

(1)

1 Star

(4)

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See All Sort by: Showing 1 – 20 of 48 Customer Reviews
  • Posted March 10, 2009

    Great!

    Every B&N Shakespeare has been awesome and this is no exception. Nice, clear text, helpful notations, and interesting articles. Highly recommended.

    3 out of 3 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 21, 2007

    Confusing Comedy Aided by Excellent Extras

    I used this copy of Twelfth Night for my Shakespeare class, and it was far superior to the edition the professor had chosen. The text is printed on the right page and notes appear on the left. The trade paperback provides room for a decent sized font and room for notes in the margins. The notes themselves are invaluable to understanding the play, and the extended notes and commentary in the back (illustrations of the stage, notes on modernization of text...) are interesting as well as informative. This rivals texts that are twice the price.

    3 out of 3 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted May 20, 2009

    more from this reviewer

    I Also Recommend:

    Tragically overshadowed

    Of all of Shakespeare's comedies, A Midsummer Night's Dream and Much Ado About Nothing get all the credit. They are both great plays, but Twelfth Night takes the cake!! It's a brilliant plot with the perfect amount of confusion. And the ending isn't obvious!! In most plays, what happens to all the characters is blatantly obvious!!!!

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted July 19, 2008

    One of Shakespeare's Most Brilliant.

    Fantastic, fantastic play. The format of this book is very manageable, and one would most likely find the translation most beneficial. 'Twelfth Night' doesn't get the credit it deserves.

    1 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 12, 2014

    Rainstar

    Hehe. Should we advertise?

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 5, 2014

    Frostpaw

    Returned from a jurney. Snowkit raced to her and nuzzled her.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 3, 2014

    Difinitypaw

    Got a Clan. Gtg. Bbl.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 3, 2014

    Raven

    He growls and slaps bloodnights nuzzle, hen slashes his forehead blinding her with her own blood. "Shut up you mouse brain. Your lucky. We'll be back!" He swears and pads out after xalling his patrol.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 2, 2014

    ?

    ?

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  • Anonymous

    Posted March 2, 2014

    Coalpaw to Rainstar

    [Two questions: 1)who's my mentor(sorry, I forgot) 2)can you look at my question? You'll have to scroll down a bit to find it though]

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 10, 2014

    Leafpelt

    Ikr

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 3, 2014

    Buemoon

    She ran away back to her cl befiretheh did that.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 11, 2014

    It sucked

    It sucked

    Was this review helpful? Yes  No   Report this review
  • Posted October 12, 2013

    Loved it!

    My son took Shakespeare his senior year of high school and had been recommending this to me. I have a rule that I read one classic for every other book I read. This was a fun read. Bravo!

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted June 6, 2013

    A great version of the text. The images from various films help

    A great version of the text. The images from various films help students to think about the play as performance. Gayle Gaskill's additions are particularly beneficial and interesting. Best option for Twelfth Night!

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  • Anonymous

    Posted January 11, 2013

    Nice

    Good.

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  • Anonymous

    Posted September 22, 2012

    Yay!

    Save money on school books. Buy B&N.

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  • Posted September 7, 2012

    Highly recommended for the serious Shakespearean student

    I esp. liked being able to read 2 pages side-by-side on my NookColor.
    The detailed introduction was extremely helpful, and the selected modern wordage beside the Elizabethan words in each scene added considerable clarity to the play.
    I've been to the Folger Library in D.C., and recognize the skill and accuracy used in their publications. I will order other plays in the series with confidence.

    Was this review helpful? Yes  No   Report this review
  • Posted February 15, 2012

    Well.

    Although some of the interpretations were >>interesting<< (to say the least) and Orsino hardly ever wears a shirt (oh wait... he NEVER wears a shirt) it's very good. The play is probably one of my favorite Shakespeare plays, so I had high expectations and they weren't disappointed. Watch out for the cleavage though. It might stick you in the eye or something.

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  • Anonymous

    Posted December 12, 2005

    A true scapegoat we should pay attention to

    This comedy written by William Shakespeare has a connotation which has a wide range of meaning. Who is sacrificed through out play misunderstood as a person who has a hypocrite personalities and unacceptable disposition among the characters of Twelfth Night. In superficial level, we as a reader easy to make a conclusion that he is a man should be penalized, and not only characters within the Twelfth Night mocking at him but also we the readers sardonic at his eccentric behaviors after read the Olivia's letter which is the counterfeit. Thus, we consider the punishment that Malvolio received is something justified and axiomatically accepted one. However, that sort of point of view is not rightful judgement. We should aware that people who made this clandestine of fake letter to make fun of Malvolio is truly a undiscovered villain. There's a lesson implied on the play that we as a human being should always pay attention to minors who overwhelmed by huge mainstream.

    Was this review helpful? Yes  No   Report this review
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