Twelfth NightTwelfth Night by William by William ShakespeareShakespeare

ComedyComedy Definition – a comedic play has at least one humorous Definition – a comedic play has at least one humorous

character, and a successful or happy ending.character, and a successful or happy ending. Characteristics of …Characteristics of …

The main action is about The main action is about lovelove. . The would-be lovers must The would-be lovers must overcome obstaclesovercome obstacles and and

misunderstandings before misunderstandings before being united in harmonious unionbeing united in harmonious union. . The ending frequently involves a parade of couples to the altar and The ending frequently involves a parade of couples to the altar and a festive mood or actual celebration (expressed in dance, song, a festive mood or actual celebration (expressed in dance, song, feast, etc.)  feast, etc.)  Twelfth NightTwelfth Night has three such couples. has three such couples.

Frequently (but not always), it contains elements of Frequently (but not always), it contains elements of the the improbable, the fantastic, the supernatural, or the improbable, the fantastic, the supernatural, or the miraculousmiraculous, e.g. unbelievable coincidences, improbable scenes of , e.g. unbelievable coincidences, improbable scenes of recognition/lack of recognition, willful disregard of the social order recognition/lack of recognition, willful disregard of the social order (nobles marrying commoners, beggars changed to lords), (nobles marrying commoners, beggars changed to lords), instantaneous conversions (the wicked repent), enchanted or instantaneous conversions (the wicked repent), enchanted or idealized settings, supernatural beings (witches, fairies, Gods and idealized settings, supernatural beings (witches, fairies, Gods and Goddesses). The happy ending may be brought about through Goddesses). The happy ending may be brought about through supernatural or divine intervention (comparable to the supernatural or divine intervention (comparable to the deus ex deus ex machinamachina in classical comedy, where a God appears to resolve the in classical comedy, where a God appears to resolve the conflict) or may merely involve improbable turns of events. conflict) or may merely involve improbable turns of events.

In the best of the mature comedies, there is frequently a In the best of the mature comedies, there is frequently a philosophical aspectphilosophical aspect involving weightier issues and themes: involving weightier issues and themes: personal identity; the importance of love in human existence; the personal identity; the importance of love in human existence; the power of language to help or hinder communication; the power of language to help or hinder communication; the transforming power of poetry and art; the disjunction between transforming power of poetry and art; the disjunction between appearance and reality; the power of dreams and illusions). appearance and reality; the power of dreams and illusions).

Twelfth NightTwelfth Night: What does the : What does the title refer to?title refer to?

The play was written as a Christmas season The play was written as a Christmas season production for presentation on Epiphany – production for presentation on Epiphany – the twelfth night after Christmas, when, the twelfth night after Christmas, when, according to religious tradition, Jesus was according to religious tradition, Jesus was introduced to the world.introduced to the world.

It is a time for celebrating, gifts are It is a time for celebrating, gifts are exchanged, and parties and other exchanged, and parties and other celebrations occur. celebrations occur.

The full title of the play is The full title of the play is Twelfth Night, or, Twelfth Night, or, What You WillWhat You Will – i.e. “Call it anything you – i.e. “Call it anything you choose.”choose.”

Twelfth Night Twelfth Night Type of work: play (Shakespeare also wrote: Type of work: play (Shakespeare also wrote:

poetry)poetry) Genre: comedyGenre: comedy Time written: between 1600-1602Time written: between 1600-1602 Place written: EnglandPlace written: England Tone: Light, cheerful, comic; occasionally frantic and Tone: Light, cheerful, comic; occasionally frantic and

melodramatic, especially in the speeches of Orsino melodramatic, especially in the speeches of Orsino and Olivia.and Olivia.

Tense: Present (the entire story is told through Tense: Present (the entire story is told through dialogue)dialogue)

Setting (time): UnknownSetting (time): Unknown Setting (place): The mythical land of Illyria (Illyria is a Setting (place): The mythical land of Illyria (Illyria is a

real place, corresponding to the coast of present-day real place, corresponding to the coast of present-day Yugoslavia, but Yugoslavia, but Twelfth NightTwelfth Night is clearly set in a is clearly set in a fictional kingdom rather than a real one.)fictional kingdom rather than a real one.)

Twelfth NightTwelfth Night Characters: Characters:

Viola (a.k.a. Viola (a.k.a. Cesario)Cesario)

Duke OrsinoDuke Orsino OliviaOlivia SebastianSebastian MalvolioMalvolio FesteFeste

Sir Toby BelchSir Toby Belch MariaMaria Sir Andrew Sir Andrew

AguecheekAguecheek AntonioAntonio

1. Viola1. Viola

A young ___________ of aristocratic birth. A young ___________ of aristocratic birth. Washes up on the shore of Illyria when her Washes up on the shore of Illyria when her ship is ___________ in a storm, she decides ship is ___________ in a storm, she decides to maker her own way in the world. She to maker her own way in the world. She disguises herself as a _______, calling disguises herself as a _______, calling herself “Cesario,” and becomes a page to herself “Cesario,” and becomes a page to Duke Orsino. She ends up ___________ with Duke Orsino. She ends up ___________ with Orsino, while the woman Orsino loves, falls Orsino, while the woman Orsino loves, falls in love with Cesario. Now she finds herself in love with Cesario. Now she finds herself trapped: she cannot tell Orsino that she trapped: she cannot tell Orsino that she loves him and she cannot tell Olivia why loves him and she cannot tell Olivia why she, as Cesario, cannot lover her. Her she, as Cesario, cannot lover her. Her dilemma is the central conflict to the play.dilemma is the central conflict to the play.

woman

wrecked

man

falling in love

2. Duke Orsino2. Duke Orsino

A __________ nobleman in the country of A __________ nobleman in the country of __________. He is lovesick for the beautiful __________. He is lovesick for the beautiful Lady Olivia, but finds herself more and Lady Olivia, but finds herself more and more fond of his handsome new page, more fond of his handsome new page, Cesario, who is actually a __________ - Cesario, who is actually a __________ - Viola. He mopes around complaining how Viola. He mopes around complaining how heartsick he is over Olivia, when it is clear heartsick he is over Olivia, when it is clear that he is chiefly in love with the _________ that he is chiefly in love with the _________ of _______________ and enjoys making a of _______________ and enjoys making a spectacle of himself.spectacle of himself.

romantic

Illyria

woman

idea being in love

3. Olivia3. Olivia

A _____________, beautiful, and noble Illyrian lady, A _____________, beautiful, and noble Illyrian lady, she is __________ by Orsino and Sir Andrew she is __________ by Orsino and Sir Andrew Aguecheeck, but to each of them she insists that Aguecheeck, but to each of them she insists that she is in __________ for her __________, who has she is in __________ for her __________, who has recently __________ and will not __________ for _____ recently __________ and will not __________ for _____ years. She and Orsino are similar characters in that years. She and Orsino are similar characters in that each seems to enjoy wallowing in his or her own each seems to enjoy wallowing in his or her own __________. Viola’s arrival in the masculine disguise __________. Viola’s arrival in the masculine disguise of Cesario enables Olivia to break free of her self-of Cesario enables Olivia to break free of her self-indulgent melancholy. Olivia seems to have no indulgent melancholy. Olivia seems to have no difficulty transferring her affections from one difficulty transferring her affections from one _______________ to the next, however, suggesting _______________ to the next, however, suggesting that her romantic feelings – like most emotions in that her romantic feelings – like most emotions in the play – do not run terribly deep.the play – do not run terribly deep.

witty/intelligentdisgusted

mourning

brotherdied marry 7

misery

love interest

4. Sebastian4. Sebastian

Viola’s lost ____________. When he Viola’s lost ____________. When he arrives in Illyria, traveling with arrives in Illyria, traveling with Antonio, his close friend and Antonio, his close friend and protector, he discovers how many protector, he discovers how many people seem to think that they people seem to think that they ____________. Furthermore, the ____________. Furthermore, the beautiful Lady Olivia, whom he has beautiful Lady Olivia, whom he has never met, wants to ____________. never met, wants to ____________.

twin brother

know him

marry him

5. Malvolio5. Malvolio

The straitlaced head servant in the household The straitlaced head servant in the household of Lady Olivia. He is very efficient but also of Lady Olivia. He is very efficient but also very ____________, and he has a poor opinion very ____________, and he has a poor opinion of drinking, __________, and __________. His of drinking, __________, and __________. His haughty attitude earn him the enemies of Sir haughty attitude earn him the enemies of Sir Toby, Sir Andrew, and Maria who play a cruel Toby, Sir Andrew, and Maria who play a cruel __________ on him, making believe that Olivia __________ on him, making believe that Olivia __________________. In his dreams about __________________. In his dreams about marrying his mistress, he reveals a powerful marrying his mistress, he reveals a powerful ambition to rise above his _________________.ambition to rise above his _________________.

self-righteous

singing

joking

trick

is in love with him

social standing

6. Feste6. Feste

The _________ or __________ of Olivia’s The _________ or __________ of Olivia’s household; he moves between Olivia’s household; he moves between Olivia’s and Orsino’s homes. He and Orsino’s homes. He ________________ by making pointed ________________ by making pointed jokes, singing old songs, being generally jokes, singing old songs, being generally witty, and offering ___________ cloaked witty, and offering ___________ cloaked under a layer of __________. In spite of under a layer of __________. In spite of being a professional __________, he often being a professional __________, he often seems the wisest character in the play.seems the wisest character in the play.

clown fool

makes his money

good advice

sarcasm

fool

7. Sir Toby Belch7. Sir Toby Belch

Olivia’s __________. Olivia lets ___________ Olivia’s __________. Olivia lets ___________ Belch lives with her, but she does not Belch lives with her, but she does not __________ of his rowdy behavior, __________, __________ of his rowdy behavior, __________, heavy drinking, late-night carousing, or heavy drinking, late-night carousing, or friends (specifically the idiotic Sir Andrew). friends (specifically the idiotic Sir Andrew). He also earns the anger of Malvolio, but he He also earns the anger of Malvolio, but he has an ally, and eventually a __________, in has an ally, and eventually a __________, in Olivia’s __________ serving-woman Maria. Olivia’s __________ serving-woman Maria. Together they bring about the __________ of Together they bring about the __________ of the controlling, self-righteous Malvolio.the controlling, self-righteous Malvolio.

uncle Sir Toby

approve dancing/singing

mate

witty

demise/downfall

8. Maria8. Maria

Olivia’s __________, __________, young Olivia’s __________, __________, young serving-woman. She is remarkably serving-woman. She is remarkably similar to her antagonist, Malvolio, similar to her antagonist, Malvolio, who harbors aspirations of who harbors aspirations of _______________ through __________. _______________ through __________. She succeeds where Malvolio fails.She succeeds where Malvolio fails.

loyal witty

rising in social class

marriage

9. Sir Andrew Aguecheek9. Sir Andrew Aguecheek

A __________ of Sir Toby’s. He A __________ of Sir Toby’s. He attempts to __________ Olivia but he attempts to __________ Olivia but he doesn’t _______________. He thinks he doesn’t _______________. He thinks he is witty, __________, __________, and is witty, __________, __________, and good at languages and __________, good at languages and __________, but he is actually an __________.but he is actually an __________.

“friend”court

stand a chance

strong smart

dancing

idiot

10. Antonio10. Antonio

A man who rescues Sebastian after A man who rescues Sebastian after Sebastian’s __________. He is very Sebastian’s __________. He is very fond of Sebastian, caring for him, fond of Sebastian, caring for him, accompanying him to Illyria, and accompanying him to Illyria, and furnishing him with __________. He is furnishing him with __________. He is also an enemy of Duke Orsino.also an enemy of Duke Orsino.

shipwreck

money

Other characters…Other characters…

Fabian – servant to Olivia; friend to Maria, Sir Fabian – servant to Olivia; friend to Maria, Sir Toby, and Andrew. Assists in the practical Toby, and Andrew. Assists in the practical joke on Malvolio.joke on Malvolio.

Valentine – gentleman attending to the DukeValentine – gentleman attending to the Duke Curio – gentleman attending to the DukeCurio – gentleman attending to the Duke Priest - (named Sir Topas); he marries Olivia Priest - (named Sir Topas); he marries Olivia

to “Cesario;” he is impersonated by Feste.to “Cesario;” he is impersonated by Feste. Captain (sea captain) – assists Viola (helps Captain (sea captain) – assists Viola (helps

disguise Viola as Cesario)disguise Viola as Cesario)

A Closer Look at the play…A Closer Look at the play…

Plot Summary: In Twelfth Night, as in most of his works, Shakespeare has several different plot-lines going on at the same time. He expertly weaves these separate stories together throughout the play. As the play begins to move towards its conclusion the different stories begin to converge until they all come together for a resolution in the final scenes.

Dramatic StructureDramatic Structure Major Conflict (__________): Viola is in love with Major Conflict (__________): Viola is in love with

Orsino, who is in love with Olivia, who is in love Orsino, who is in love with Olivia, who is in love with Viola’s male disguise, Cesario. This with Viola’s male disguise, Cesario. This __________ is complicated by the fact that neither __________ is complicated by the fact that neither Orsino nor Olivia knows that Cesario is really a Orsino nor Olivia knows that Cesario is really a __________ (Viola).__________ (Viola).

_____________: The mounting __________, _____________: The mounting __________, ___________________, and _______________, leading ___________________, and _______________, leading up to Act V.up to Act V.

__________: __________ and ________ are ________, __________: __________ and ________ are ________, and everyone realizes that and everyone realizes that CesarioCesario is a woman. is a woman.

___________: Viola _______________ Orsino; Malvolio ___________: Viola _______________ Orsino; Malvolio is freed and _______________.is freed and _______________.

__________________: Everyone goes off to celebrate.__________________: Everyone goes off to celebrate.

Problem

love triangle

womanRising Action confusion

mistaken identities

professions of love

Climax Sebastian Viola reunited

Falling Action prepares to marryvows revenge

Denouement/Resolution

ThemesThemes

__________ as a cause of ___________________ as a cause of _________The uncertainty of genderThe uncertainty of genderThe _____ of __________The _____ of __________

Love suffering

folly ambition

As you read the play, explore the As you read the play, explore the Common Common MotifsMotifs (Patterns in Shakespeare’s plays) (Patterns in Shakespeare’s plays)

1.1. Contrasting worldsContrasting worlds2.2. Rise of one person at the expense of anotherRise of one person at the expense of another3.3. Disguise and deceptionsDisguise and deceptions4.4. The supernaturalThe supernatural5.5. Redemption / reconciliationRedemption / reconciliation6.6. Disorder yields to orderDisorder yields to order7.7. Comic relief sceneComic relief scene8.8. Parallel characters / foilsParallel characters / foils9.9. EavesdroppingEavesdropping

Explore how each device occurs in the play?Explore how each device occurs in the play? What significance does it have in the overall plot or to the What significance does it have in the overall plot or to the

overall theme?overall theme?

Shakespeare’s LanguageShakespeare’s Language

The language Shakespeare used is an early The language Shakespeare used is an early form of Modern English that is different form of Modern English that is different from today’s English in a variety of ways. from today’s English in a variety of ways. The following list, with examples from The following list, with examples from Twelfth NightTwelfth Night, describes some , describes some characteristics of Shakespeare’s English. characteristics of Shakespeare’s English. Whereas some of the following practices Whereas some of the following practices were observed in everyday speech, others were observed in everyday speech, others were poetic conventions. Shakespeare were poetic conventions. Shakespeare often used contractions or omitted syllables often used contractions or omitted syllables in order to maintain the meter.in order to maintain the meter.

Shakespeare’s Language Shakespeare’s Language cont’d.cont’d.

1. 1. Shakespeare frequently made contractions of words that Shakespeare frequently made contractions of words that we write separately today. He also dropped letters, we write separately today. He also dropped letters, particularly vowels, at the ends of words and in the particularly vowels, at the ends of words and in the ending –est.ending –est.

Orsino: ’Tis [it is] not so sweet now as it was before. (1.1.8)Orsino: ’Tis [it is] not so sweet now as it was before. (1.1.8)

Toby: She’ll none o’ [of] th’ [the] Count. (1.3.104)Toby: She’ll none o’ [of] th’ [the] Count. (1.3.104)

Toby: O knight, thou lack’st [lackest] a cup of canary! (1.3.79)Toby: O knight, thou lack’st [lackest] a cup of canary! (1.3.79)

Andrew: And you love me, let’s do’t [do it]. I am dog at a Andrew: And you love me, let’s do’t [do it]. I am dog at a catch. (2.3.61)catch. (2.3.61)

* Remember: if you see the apostrophe ( ’ ), then something has * Remember: if you see the apostrophe ( ’ ), then something has been omitted. been omitted.

Shakespeare’s Language Shakespeare’s Language cont’d.cont’d.

2.2. Shakespeare omitted entire unstressed Shakespeare omitted entire unstressed syllables or consonants from the syllables or consonants from the beginning or middle of words.beginning or middle of words.

Viola: Whoe’er [whoever] I woo, myself Viola: Whoe’er [whoever] I woo, myself would be his wife. (1.4.42)would be his wife. (1.4.42)

Malvolio: Were not ev’n [even] now with Malvolio: Were not ev’n [even] now with the Countess Olivia? (2.2.1)the Countess Olivia? (2.2.1)

Shakespeare’s Language Shakespeare’s Language cont’d.cont’d.

3. 3. Shakespeare used many words (such as the Shakespeare used many words (such as the adverbsadverbs hence, thence, whence, hither, thither, hence, thence, whence, hither, thither, and and whither whither and the pronouns and the pronouns thy, thou, thee, thy, thou, thee, and and thinethine) ) that we no longer or rarely use today. Words that that we no longer or rarely use today. Words that have dropped out of the language are called have dropped out of the language are called archaicarchaic..

Olivia: Whence [from what place] came you, Olivia: Whence [from what place] came you, sir? sir? (1.5.175)(1.5.175)

Duke: Then let thy [your] love be younger than Duke: Then let thy [your] love be younger than thyself thyself [yourself], ([yourself], ( 2.4.36)2.4.36)

[hence – from now; thence – from that time or place; whence – [hence – from now; thence – from that time or place; whence – from what place?; hither – to this place, nearer, from here; from what place?; hither – to this place, nearer, from here; thither – there; whither – from where?] [thy –your; thou – you; thither – there; whither – from where?] [thy –your; thou – you; thee – you; thine – yours; prithee – please; Ay – yes; ho – look thee – you; thine – yours; prithee – please; Ay – yes; ho – look there]there]

Shakespeare’s Language Shakespeare’s Language cont’d.cont’d.

4. Archaic words include forms of 4. Archaic words include forms of verbs with endings such as verbs with endings such as –th–th and and ––stst, as well as irregular verb forms , as well as irregular verb forms such as such as spakespake (spoke). (spoke).

Olivia: Why, how dost [do] thou, Olivia: Why, how dost [do] thou, man? What is the matter with man? What is the matter with thee? (3.4.24-25)thee? (3.4.24-25)

Shakespeare’s Language Shakespeare’s Language cont’d.cont’d.

5. Shakespeare freely used words as 5. Shakespeare freely used words as different parts of speech, sometimes different parts of speech, sometimes inventing words in the process.inventing words in the process.

The following slides are words and The following slides are words and phrases credited to Shakespeare…phrases credited to Shakespeare…

The human condition can be difficult to capture through words, especially when the The human condition can be difficult to capture through words, especially when the English language is limited. In Shakespeare’s time, there simply wasn't a single word for English language is limited. In Shakespeare’s time, there simply wasn't a single word for

"lonely" or "generous." "lonely" or "generous." So Shakespeare did what any person in search of the right word does in times of crisis: So Shakespeare did what any person in search of the right word does in times of crisis:

He made them up.He made them up. He is credited for making up over 3,000 words. Here are some words He is credited for making up over 3,000 words. Here are some words that Shakespeare is credited with inventing:that Shakespeare is credited with inventing:

daunting daunting dawn dawn deafening deafening demure demure discontent discontent dishearten dishearten dislocate dislocate dwindle dwindle educate educate elbow elbow entomb entomb epileptic epileptic equivocal equivocal excitement excitement exposure exposure eyeball eyeball fashionable fashionable fixture fixture flawed flawed frugal frugal generous generous gloomy gloomy gnarled gnarled gossip gossip gust gust hint hint hobnob hobnob hoodwink hoodwink hurried hurried hurry hurry

accused accused addiction addiction advertising advertising aerial aerial alligator alligator amazement amazement arouse arouse articulate articulate assassination assassination bandit bandit beached beached bedroom bedroom befriend befriend besmirch besmirch birthplace birthplace blanket blanket blushing blushing bloodstained bloodstained bump bump buzzer buzzer caked caked cater cater champion champion circumstantial circumstantial cold-blooded cold-blooded compromise compromise countless countless courtship courtship critic critic critical critical

impartial impartial impede impede investment investment invulnerable invulnerable jaded jaded label label lackluster lackluster lapse lapse laughable laughable leapfrog leapfrog lonely lonely lower lower luggage luggage majestic majestic marketable marketable metamorphize metamorphize mimic mimic misplaced misplaced monumental monumental moonbeam moonbeam mountaineer mountaineer negotiate negotiate noiseless noiseless numb numb obscene obscene obsequious obsequious ode ode olympian olympian outbreak outbreak

pander pander pedant pedant premeditated premeditated radiance radiance rant rant remorseless remorseless savagery savagery scuffle scuffle secure secure submerge submerge summit summit swagger swagger torture torture tranquil tranquil trickling trickling undress undress unreal unreal varied varied vaulting vaulting wappened wappened worthless worthless zany zany

Shakespeare also spent many of his hours trying to come up with that almost agonizingly Shakespeare also spent many of his hours trying to come up with that almost agonizingly appropriate phrase for some of his thoughts. After all, what are words but minds at play? appropriate phrase for some of his thoughts. After all, what are words but minds at play?

Below is a long laundry list of the common phrases Shakespeare is credited with Below is a long laundry list of the common phrases Shakespeare is credited with inventing (yes, he invented inventing (yes, he invented everyevery phrase he wrote, but these are the ones that have phrase he wrote, but these are the ones that have

lasted into current slang/prose/language):lasted into current slang/prose/language):

all corners of the worldall corners of the world All that glitters is not goldAll that glitters is not gold as ____ as the day is longas ____ as the day is long as luck would have itas luck would have it band of brothersband of brothers blinking idiotblinking idiot budge an inch (or not) budge an inch (or not) catch coldcatch cold charmed lifecharmed life dead as a doornaildead as a doornail devil incarnatedevil incarnate didn't sleep a winkdidn't sleep a wink eat me out of house and homeeat me out of house and home fair playfair play fancy freefancy free flaming youthflaming youth fool's paradisefool's paradise forever and a dayforever and a day for goodness' sakefor goodness' sake foul playfoul play give the devil his duegive the devil his due good riddancegood riddance green-eyed jealousygreen-eyed jealousy high timehigh time hoist by your own petardhoist by your own petard household wordhousehold word in a picklein a pickle in stitchesin stitches in the twinkle of an eyein the twinkle of an eye into thin airinto thin air It's Greek to meIt's Greek to me laughing stocklaughing stock love is blindlove is blind

make hastemake haste method to one's madnessmethod to one's madness neither here nor thereneither here nor there no rhyme or reasonno rhyme or reason off with his head!off with his head! Oh woe is meOh woe is me one fell swoopone fell swoop play fast and looseplay fast and loose primrose pathprimrose path rotten to the corerotten to the core seen better daysseen better days send one packingsend one packing short shriftshort shrift sink or swimsink or swim Some are born great, some achieve greatness, and Some are born great, some achieve greatness, and

some have greatness thrust upon themsome have greatness thrust upon them sorry sightsorry sight sweets to the sweetsweets to the sweet the game is afootthe game is afoot the game is upthe game is up the long and short of itthe long and short of it there's the rubthere's the rub tongue tiedtongue tied too much of a good thingtoo much of a good thing tower of strengthtower of strength Tut, tut!Tut, tut! under the weatherunder the weather Uneasy lies the head that wears the crownUneasy lies the head that wears the crown What a piece of work is manWhat a piece of work is man What is past is prologueWhat is past is prologue what the dickenswhat the dickens wild goose chasewild goose chase your own flesh and bloodyour own flesh and blood

Shakespeare’s Language Shakespeare’s Language cont’d.cont’d.

6. Shakespeare also inverted his sentences (that is, he rearranged 6. Shakespeare also inverted his sentences (that is, he rearranged the parts of a sentence). Presently, the normal sentence structure the parts of a sentence). Presently, the normal sentence structure is Subject + Predicate [Subject + verb + complements].is Subject + Predicate [Subject + verb + complements].Shakespeare rearranged the parts of the sentence (i.e. by placing Shakespeare rearranged the parts of the sentence (i.e. by placing the complements before the subject or verb) in order to meet the the complements before the subject or verb) in order to meet the meter or to emphasize one word or part of the sentence over meter or to emphasize one word or part of the sentence over another [also it was common practice in his day].another [also it was common practice in his day].

For example:For example:Olivia (Shakespeare): Under your hard construction must I sit, / To Olivia (Shakespeare): Under your hard construction must I sit, / To force that on you in a shameful cunning / Which you knew none of force that on you in a shameful cunning / Which you knew none of yours. – 3.1.117-119yours. – 3.1.117-119Olivia (Rearranged): “I must sit under your hard construction Olivia (Rearranged): “I must sit under your hard construction [harsh interpretation] to force that on you in a shameful cunning [harsh interpretation] to force that on you in a shameful cunning which you knew none of yours.”which you knew none of yours.”

[Modern translation: You probably think poorly of me after I forced [Modern translation: You probably think poorly of me after I forced that [ring] on you with such outrageous trickery.]that [ring] on you with such outrageous trickery.]

Let’s practice translating Let’s practice translating Shakespeare’s Language to today’s Shakespeare’s Language to today’s

English…English…Rewrite these lines from Othello in today’s English, replacing Rewrite these lines from Othello in today’s English, replacing

the italicized, archaic words and spellings with more the italicized, archaic words and spellings with more modern forms.modern forms.

1. Andrew: By my troth, the fool has an excellent breast. ... 1. Andrew: By my troth, the fool has an excellent breast. ... ’Twas very good i’ faith. I sent thee sixpence for thy leman. ’Twas very good i’ faith. I sent thee sixpence for thy leman. Hadst it? (2.3.19-26) Hadst it? (2.3.19-26)

2. Toby: Th’ art i’ th’ right. (2.3.118)2. Toby: Th’ art i’ th’ right. (2.3.118)

3. Olivia: I prithee tell me what thou think’st of me. (3.1.140)3. Olivia: I prithee tell me what thou think’st of me. (3.1.140)

4. Clown: Nay, I’ll ne’er believe a madman till I see his brains. 4. Clown: Nay, I’ll ne’er believe a madman till I see his brains. (4.2.119-120)(4.2.119-120)

5. Sebastian: Fear’st thou that, Antonio? (5.1.222)5. Sebastian: Fear’st thou that, Antonio? (5.1.222)

By my truth (I swear), the fool as an excellent breast…It was very good in faith. I sent you sixpence for your leman. Did you have/get it?

You are in the right.

Please tell me what you think of me,

No, I will never believe a madman until I see his brains.

Do you fear that, Antonio?

Tools for The Text: Paraphrase

Reading a Shakespeare play can be a daunting task. Shakespeare's language can make it difficult to lose yourself within its pages. However, there are a few tools you can use to help break down the text into something more understandable and enjoyable.

The first tool is called Paraphrasing. This is when you take the text and put it into your own words. This is not only a useful tool for reading the language, but it is the primary method of deconstructing the text by the Shakespeare Festival's artists. Although the words used 400 years ago are similar, their meaning was quite different.

Examine the following lines from the very beginning of Twelfth Night, when Duke Orsino demands more music, hoping it will cure his lovesickness.

If music be the food of love, play on,Give me excess of it, that, surfeiting,The appetite may sicken, and so die.That strain again. It had a dying fall;O, it came o'er my ear like the sweet soundThat breathes upon a bank of violets,Stealing and giving odor. Enough, no more.'Tis not so sweet now as it was before.

One possible paraphrase might read: If it's true that music is the food of love, keep playing. Give me too much so I'll be stuffed and I

won't want it any more. Play that bit again! It definitely had the right sound to make my appetite die. It sounded as sweet as a breeze that blows across a patch of violets. Taking their scent and giving it to me. Stop, that's enough. It's not as sweet as it was before.

Tools for the Text: Imagery

Another great tool to further and deepen your understanding of Shakespeare is imagery. These are the pictures that Shakespeare paints with specific words. Just as pictures go through your mind when you read a book, Shakespeare used even more profound words to create very powerful images.

Let's look at Duke Orsino's monologue again:If music be the food of love, play on,Give me excess of it, that, surfeiting,The appetite may sicken, and so die.That strain again. It had a dying fall;O, it came o'er my ear like the sweet soundThat breathes upon a bank of violets,

Take a look at the words in bold. Step one is to write down the first few images that come into your mind:

Food:___________________________________________________________ Love:___________________________________________________________ Excess:_________________________________________________________ Sicken:_________________________________________________________ Dying:_________________________________________________________ Sweet:_________________________________________________________ Breathes:_______________________________________________________ Violets:_________________________________________________________

Now ask yourself what those images mean to you. How do they make you feel? What kind of actions do they make you want to do? What words effect you most?

Now that you've found some personal connection to these words, say the monologue out loud and allow those images to fill your mind. Allow them to effect you and your audience as you speak.

Tools for the Text: Iambic Pentameter

Take a look at the monologue we used in the previous two examples. Did you notice a rhythm to the lines when you said them? Did you notice that the first letter of every line is capitalized? This is because Shakespeare chose to write much of his text in Iambic Pentameter. You'll find many explanations for what this means, but one simple way is to say that each line has 10 syllables - 5 stressed and 5 unstressed. Here is an example: If music be the food of love, play on,

Count the syllables. You can see that it has 10 syllables. Now we will break the line up into smaller sections that have two syllables. These sections are called feet: If mu sic be the food of love, play on,

Watch out when breaking a line into feet. You'll notice that sometimes a word can be broken up (like mu-sic). Now, within each foot there is usually one stressed and one unstressed syllable. In Iambic Pentameter, the second syllable in a foot usually gets the strong stress. If mu sic be the food of love, play on,

Tools for the Text: Iambic Pentameter cont’d.

One easy way to remember how the stresses work in Iambic Pentameter is that is sounds like you were to say "eye-am" five times. Try it:

I am I am I am I am I am There are several reasons why Shakespeare used this form for his writing.

One was because of it's beautiful sound and the strong rhythm which is similar to the beating of the human heart. Another was that Iambic Pentameter is very close to the normal rhythm of every day conversation. This helped the actors memorize their lines since, 400 years ago, they only had a few days of rehearsal before performing a play. Another was that it gives the actor the choice as to which words are more important. When an actor goes through his/her script to mark the feet and decide what syllables get the stresses it is called scanning the script. Try it:

If mu sic be the food of love, play on, Give me ex cess of it, that, sur feit ing, The app et ite may sick en, and so die. That strain ag ain. It had a dy ing fall;

Did you make every other syllable strong? Or did you decide that some syllables were more important than others? This is one thing that makes acting Shakespeare so unique. The actor gets to choose what words and phrases are important.

Tools for the Text: Variations to Iambic Lines

Not all Shakespeare lines are alike! He loved to break the rules in order to give instruction to the actors or make the lines more interesting. Sometimes you'll find line of text that has less than 10 syllables. If you look closely you might find a line right after it that is short as well. When you combine them, do they make 10 syllables? Here is an example where Olivia confesses her love to Viola.

Viola: I pity you.Olivia: That's a degree to love.

This is an example of a shared line. The combination of the syllables suggests to the actors that these two lines really work as one. Therefore the actor knows the stage direction is that the actor playing Olivia should speak right away after Viola's line without pausing- she should "jump her cue".

But what about a line with more than 10 syllables?Viola: I am all the daughters of my father's house.

A line with 11 syllables contains what we call a feminine ending. This suggests that the character is in such a heightened emotional state that they are trying to cram extra words into their line.

FYI: There are many different theories about how Iambic Pentameter should be used. Some scholars believe that there can only be five strong or stressed beats per line. Many classical actors and directors believe that you can scan a line in any way you want and that the only way to tell is by trying it out loud. Basically what scanning comes down to is: What works for you? What makes the most sense to you and gives you the best connection? Hopefully you can use these tricks to help bridge the 400 years between Shakespeare and you.

Modern Translation of Modern Translation of Twelfth Twelfth NightNight

Sparknotes has a modern translation Sparknotes has a modern translation of Shakespeare on-line: of Shakespeare on-line: No Fear No Fear ShakespeareShakespeare..

http://nfs.sparknotes.com/twelfthnight/

It’s a good idea to re-read the sections It’s a good idea to re-read the sections that were read in class using the that were read in class using the Modern translation.Modern translation.

From Act I, Scene 1, it looks like this…From Act I, Scene 1, it looks like this…

OriginalOriginal Modern Modern (paraphrase)(paraphrase)

ORSINOORSINO If it’s true that music makes If it’s true that music makes people more in love, keep playing. people more in love, keep playing. Give me too much of it, so I’ll get Give me too much of it, so I’ll get sick of it and stop loving. Play that sick of it and stop loving. Play that part again! It sounded sad. Oh, it part again! It sounded sad. Oh, it sounded like a sweet breeze sounded like a sweet breeze blowing gently over a bank of blowing gently over a bank of violets, taking their scent with it. violets, taking their scent with it. That’s enough. Stop. It doesn’t That’s enough. Stop. It doesn’t sound as sweet as it did before. sound as sweet as it did before. Oh, love is so restless! It makes Oh, love is so restless! It makes you want everything, but it makes you want everything, but it makes you sick of things a minute later, you sick of things a minute later, no matter how good they are. no matter how good they are. Love is so vivid and fantastical Love is so vivid and fantastical that nothing compares to it.that nothing compares to it.

ORSINOORSINO If music be the food of love, If music be the food of love, play on.play on.Give me excess of it that, surfeiting,Give me excess of it that, surfeiting,The appetite may sicken, and so die.The appetite may sicken, and so die.That strain again, it had a dying fall.That strain again, it had a dying fall.Oh, it came o'er my ear like the Oh, it came o'er my ear like the sweet sound,sweet sound,That breathes upon a bank of That breathes upon a bank of violets,violets,Stealing and giving odor. Enough, no Stealing and giving odor. Enough, no more.more.'Tis not so sweet now as it was 'Tis not so sweet now as it was before.before.O spirit of love, how quick and fresh O spirit of love, how quick and fresh art thou,art thou,That, notwithstanding thy capacityThat, notwithstanding thy capacityReceiveth as the sea, nought enters Receiveth as the sea, nought enters there,there,Of what validity and pitch soe'er,Of what validity and pitch soe'er,But falls into abatement and low But falls into abatement and low pricepriceEven in a minute. So full of shapes is Even in a minute. So full of shapes is fancyfancyThat it alone is high fantastical.That it alone is high fantastical.

Quotations: Who said it?If music be the food of love, play on;Give me excess of it, that, surfeiting,The appetite may sicken, and so die.

So full of shapes is fancyThat it alone is high fantastical.

The element itself, till seven years' heat,Shall not behold her face at ample view;

What country, friends, is this?

Be you his eunuch, and your mute I'll be:When my tongue blabs, then let mine eyes not see.

By my troth, Sir Toby, you must come in earlier o' nights:

Confine! I'll confine myself no finer than I am:these clothes are good enough to drink in;

Whoe'er I woo, myself would be his wife.

Many a good hanging prevents a bad marriage;

The lady bade take away the fool; therefore, I say again, take her away.

I marvel your ladyship takes delight in such a barren rascal:

Make me a willow cabin at your gate,And call upon my soul within the house;

Unless the master were the man. How now!Even so quickly may one catch the plague?

Quotations: Who said it? cont’d.

I left no ring with her: what means this lady?Fortune forbid my outside have not charm'd her!

O time! thou must untangle this, not I;It is too hard a knot for me to untie!

Come hither, boy: if ever thou shalt love,In the sweet pangs of it remember me;

It gives a very echo to the seatWhere Love is throned.

There is no woman's sidesCan bide the beating of so strong a passion

As love doth give my heart;

I am all the daughters of my father's house,And all the brothers too:

Some are born great, some achieve greatness, and somehave greatness thrust upon 'em.

This is the air; that is the glorious sun;This pearl she gave me, I do feel't and see't;

Do I stand there? I never had a brother;

You shall from this time beYour master's mistress.

And thus the whirligig of time brings in his revenges.