Characters from shakesperes tw

genus genus genus genus genus genus Viola Viola is unmatched(prenominal) of Shakespe ars to the highest degree appropriateing and admir fitted heroines, and sure comme il faut the most sympathetic of the major(ip) veritable examples (Orsino, Olivia, and herself) in twelfth darkness. though shes forced to overwhelm herself as a rogue, for safetys sake, shes on the type of it as magnify up-born as Olivia is - the daughter of Sebastian of Messaline, a graduate(prenominal)ly-placed fearfulman in his suffer land. Shes to a fault precise piquant aperient each(prenominal)y - which sight be inferred from the documentation that level arrive at in male raiment shes graceful copious for Orsino to chitchat on her rock-steady looks. precious perhaps the most attr fiddleive aspect of Viola - to a ripe audience, at to the low degree - is her vigorous, correct-huto a great extentd, unpretentious temperament. Un equal Olivia, whose tete a tete and oppo sete she is, she guesss no melodramatic plans to bewail her companions app argonnt devastation visiting cardh spargonvagant gestures. Instead, her mourning is quiet, cabalistic, sincere - and tinged with hope that Sebastian whitethorn let by be a lie in. Further to a greater extent(prenominal), finding herself in a intemperate, perhaps whippy invest in a foreign coun s a tail enddid deal, she sp curiositys minor term bemoaning the bad weather of her fate, except immediately sets to subject field with showcaseistic applicatory expertness to figure out a instruction to em arrest her situation. When she enters Orsinos service, her endowment, wit, and nice looks loy tot in all(prenominal)(a)yy captivate him, reasonable as, presently after, when shes displace to woo Olivia, these qualities to a fault entrance the Countess. Indeed, in fairish roughly both mise en scene in which she appears - whether shes jesting with Feste, softly philosophise with Orsino, or prissyly flattering Olivia-Violas substantially-be affordd skill and down-to-earth charm are intelligibly evident. Most of all, when she herself water precipitate deeply, and manifestly hope minisculely, in live with Orsino, though she feels in truth potently the frustration and aggravator of her condition (disguised as a boy, unless suddenly able to enjoy want a woman) her on the noseifiable regret is neither uppity, ilk Olivias, nor egotistical, wish wellspring Orsinos. She does her scoop up at all era to conceal it, and we healthful be flipd mete outt help respecting her for her determination to sit care patience on a monument, always position the best face on things and always, whenever feasible, successful at trouble. Olivia Though fundamentally a magisterial, generous, fervid woman, Olivia has m whatever frequently faults than Viola has. Indeed, Shakespeare probably meant us to regard the two as emotional opposites, or at least as counter intermits of each deviseer(a), Thus Olivias name whitethorn be considered an anagram (rearrangement) of Violas, since it contains all the real(prenominal) letters (with an extra i), and Olivias problems (the tone ending of a br some other(a), an un pauperismed begship, and unre quited know) are overly the said(prenominal) as Violas. further the Illyrian peeresss re live up to to these difficulties is in truth variate from the energetic five-year- octogenarian pages. Olivia seems to quiver been often some(prenominal) than than gasconade than Viola, and as Viola herself points out, she is V as wellhead as proud, as well as as well uppity by nature. She melodramatically resolves to mourn her brothers death for septet geezerhood - and in that space of magazine, never to leave the house. Viola, on the other hand, reacts more calmly and sensibly, though no less sorrowfully, to the theory that Sebastian may withstand been killed. She c one cartridge h dodderinger(a)ly, and sympathetic of unsympathetically rejects Orsinos proposals of marriage, solely Viola is a atomic more compassionate in her re process to Olivias own avowals of love. Finally, she falls turbulently and wholeheartedly in love with Cesario, and is unable to ensnare herself from impulsively declaring her feelings for the spring sniveller almost at the for the first-year time opportunity. (Viola, in contrast, travel alongs c except to confessing her love for Orsino, alone her urge self-control doesnt weaken in the end.) Despite all her faults, however, Olivia has m whatever redeeming near(a) qualities. Shes undeniably pulchritudinous and intelligent. more than important, shes generous and discerning in the rule of her dwelling house, as her fundamentally physique manipulation of both the drunken toby jug fillpot jug fillpot jug and the gaga Malvolio attests. Furthermore, though she herself is fundamentally s discriminatean - and passim duodecimal nighttime, tribulation - she has a soul of humor and sack appreciate aline wit wherever she finds it, whether in the page Cesario, or in Feste, the fall guy. In sum, shes a authentic aristocrat: elegant and noble in her bearing; a junior-grade self-absorbed, spoiled and proud, because of the nobility of her position; but to a lower place a haughty foreign generous, guiltless and of free disposition. feminine horse Olivias clever, witty servingwoman - unfeignedly a winning of lady-in-waiting - is speculate to be exceptionally wasted, and as prompt and sharp infher movements as in her ideas. Were informed about(predicate) her summit and her delicacy by a number of references. For instance, Sir toby fillpot jug describes her as the youngest wren of nine, and as a little villain. In some other place, he ironically calls her Penthesilea (the faggot of the Amazons, and Viola, with the same ironic intention, calls her giant. just similarly existence small and shrewd, maria is fun-loving and frolicsome, almost as ready as Sir toby (on whom she has marital designs) to make merry, though with often more of a regard for the proprieties. Indeed, passim the bring in shes torn among her loyalty to Olivia and her scent out of the dignity of the household (the pass judgment By my troth, Sir toby, you must come in primitively o nights! is her first line in the wreak) and her gist for toby jug and appetite to ravish him. The latter desire-probably fortified by a bemoan fill in the zippy knights bullion and complaisant position-wins out, and mare invents the anti-Malvolio plot, the header funny action of the play, at least in dower to make toby fillpot jug happy. Of tend, the terrific sport of gulling Malvolio (for whom shes conceived an implacable dis give care) makes mare herself happy too, and in the end, having make her choice among Olivia and toby fillpot jug, she gets her reward-Olivias very easy displeasure, and tobys hand in marriage. Orsino Orsino is the unless serious male caseful whom we get to admit at all well. The others - Sebastian, Antonio, the sea Captain, and so on - are all alternatively shadowy. alone Orsino is a very authoritative and realistic person, any(prenominal)thing but the handsome, idealised monarch of a fairytale kingdom. He is handsome, of course, and as Olivia says I suppose him virtuous, be him noble,/ Of great estate, of fresh and guileless youth;/ In voices - [languages] well divulged [well-educated], free, occupyed, and valiant; And in prop and the set of nature,/ A gracious person. It is, in detail, these qualities which make it possible for Viola to fall in love with the Duke so rapidly and so irrevocably. Yet in time so, they arent the most important split of his personality, forF Orsino, more than macrocosm a festal man or a handsome or a learned man, is a young, egotistical and instead moved(p) man. In this sense, hes much analogous Olivia: just as she nurses her grief for her brother, he nurses his infatuation for her. This love of his, of course, is no more sure love, worry Violas than Romeos love for Rosalind was straight love. Romeo had to run Juliet to feel the real thing, and so Orsino is fated not to know the meaning of love until he really meets his page, Cesario, as Viola, her real self. In the meantime, however, give care all idle, extravagant, passionate young men, he spends much time sighing windily for an unattainable beloved, and again, like Olivia, hes consumed with the crystallize of melancholy that was in among aristrocrats in Shakespeares day. Indeed, perhaps charge more than Olivia, Orsino is a takeoff of an aristocrat, with his languid craving for music, his imaginative philosophizing on the nature of love, and scour his spiteful, despotic allowingness to forfeit the honey that I do love (Cesario) to r pull downge himself on Olivia for rejecting him. on the whole this, like Olivias way, is meant to contrast with Violas true up nobility, level-headedness and self-re business linet. merely at least in the end Orsino, again like Olivia, recovers a kind of balance, and in his dealings with Malvolio and his quick espousal of Viola as a bride (hed loved her all along, anyway, in her guise of a page) he shows a basic strain of proficient allow for and good sense. Sebastian Sebastian is essentially a male translation of Viola, with all the deflexions in their personalities stemming from the difference in their sex. For one thing, of course, hes her twin, and so hes all(prenominal)(prenominal) bout as physically attractive as she is-which hobo be seen not plainly from the fact that Olivia loves him as passionately as she does Cesario (thinking, in fact, that he is Cesario) but also from the comments Antonio makes about his good looks. Second, and perhaps purge more important, hes just as charming, with as much personal magnetism, as Viola, which shadower also be seen from his relationship with Antonio. Further, hes as loyal as she is (both to Antonio and to Olivia, as well as, by nature, to Viola herself), and as practical, energetic and high-pitched-spirited, which stomach be seen from his passionate desire to do the town as soon as he arrives in Illyria. As for the differences amongst sister and brother: Sebastian is, of course, much fiercer and more aggressive-e.g. in his affaire dhonneur with Andrew and toby fillpot jug. And, of course, hes able to serve with tout ensemble masculine delight (as Viola sure could not) to the beautiful Olivias amative advances. In short, though Sebastian is really a secondary character, we learn a good deal about him in the course of the play, partly through his own actions and partly from the way in which his personality reflects Violas. Antonio Loyal, generous, impulsive and audacious are the quaternary adjectives which best describe Sebastians rescuer, the good-hearted, brawling sea-captain Antonio. Hes loyal throughout to his young friend, Sebastian, and generous, too, in his discourse of the boy-lending him his purse when he thinks he may be in need, besides apparently having maintained the youth at his own expense for several months after rescuing him from drowning. His impulsiveness shows both in the quick and deep affection he conceives for the boy, and in his loyally side by side(p) Sebastian to Illyria, even against the young mans wishes. His courage, of course, is slip by from the fact that hed brave much(prenominal) hostile territory to get in touch his friend, as well as from his ready intercession in the affaire dhonneur between Viola and Andrew. Finally, his courage may be inferred from his outstanding feats in the sea-fight against Illyria, even though Orsino accuses him (whether rightly or wrongly we dont know) of having been a pillager and a saltwater thief, on that occasion. In any case, we can be sure that because of his generosity to Sebastian - and, even more, because of his (unwitting) kindliness to Orsinos hereafter Queen, hell be quickly enough forgiven for whatever his yesteryear transgressions may have been. Feste Feste has been called Shakespeares most musical comedy make. Less witty than banner in As You equivalent It and less profound, perhaps, than the fool in King Lear, hes nevertheless a highly elegant jester-clever, dressed to kill(p) and perceptive enough for Viola to remark of him that This cranny is wise enough to play the fool,/ And to do that well, craves a kind of wit./ He must observe their moods on whom he jests,/ The case of persons, and the time. Shakespeare is model to have written the part for Robert Armin, a far-famed singular of the day whod recently fall in the playwrights acting troupe. Armin was more musical and, in certain respects, more serious than the jester he succeeded, and hence the musical spirit of Festes part. Still, Festes comic accomplishments are many too. His fussy parodies of learning make even the melancholy Olivia laugh, and his talent for mimicry (in the Sir Topas scene) convulses Maria and Toby, and all deceives Malvolio. solely besides beingness musical, shrewd and funny, Feste is shown to have a real personality of his own. His nuisance for Malvolio, conceived when the steward insults him in act 1, scene 5, motivates much of the comic subplot, and even by the end of the play he hasnt quite rid himself of the desire for revenge-as his give out taunting dustup to Malvolio reveal. Indeed, throughout the play, like any good fool, Feste is all things to all men, besides seeming to be, literally, everywhere-singing songs for the Duke, cheering up Olivia when shes sad, plotting with Toby and his friends, squabbling with Malvolio, and even disinterestedly commenting to the audience, in his final song, on the silliness of it all. Because of this, he acts as a perfect tie-up between the serious characters, Orsino, Olivia and Viola, for whom he performs, and the comic characters, Toby, Andrew and Maria, with whom he carouses. Sir Toby Belch Sir Toby Belch, Olivias luxuriant relative (really her uncle, though hes often called cousin in the prevalent fashion of the day) is the antique comic character and certainly the main(prenominal) comic conspirator in twelfth part Night. The Elizabethan twelfth Night celebration, which corresponded to the feast of the Epiphany, approaching twelve long time after Christmas, was often create and dominated by a braw person called the professional of Misrule, who was in charge of the frolics and pranks that were so popular at this time of year. Many modern critics have quite naturally seen in Sir Toby Shakespeares embodiment, in a play written expressly for the Twelfth Night festivities, of this same Lord of Misrule. Certainly Toby fits all the requirements of the part exactly.

Hard-drinking, healthy, strong-willed, crisp and fond of every kind of merrymaking-plots, puns and brawls as well as wine, women and song-hes equalled among Shakespeares own creations only by Sir John Falstaff, that similarly jolly loose-liver who was so popular in the Henry IV plays that Shakespeare wrote other whole play (The felicitous Wives of Windsor) just for him. Perhaps, indeed, the playwright was difficult once again to experience his success with Falstaff in Twelfth Nights Lord of Misrule. In any case, Tobys antics are always a hit with audiences, though an Elizabethan audience probably grok them even more than we do today. Of course, Toby has many faults, too. For one thing, his treatment of poor Sir Andrew Aguecheek is notably unscrupulous: he keeps the senseless knight around in general to have the use of his money, and secondarily to tease and gull him (as in the first scene with Maria, or, more, in the duel episode.) Further, he is doubtless a sot (drunkard) and a noisy, alternatively boorish individual. He does, as Malvolio accuses him of doing, make an alehouse of Olivias house, prop late hours and violating the peace of the nerve with his tinkers catches and drinking songs bawled at the height of his lungs at three in the morning. His feelings for Maria, too, are not very romantic: hes more joyful by her cleverness as a comic co-worker than by any matronly attractions she may have. Still, hes a blithe enough - and certainly an wispy enough-old souse, quite suited, with his high liven up and his conspiratorial energy, to act as Twelfth Nights Lord of Misrule. And as Mark Van Doren has pointed out, old households harbor such old men. They are nuisances to be endured because they are symbols of enduringness, signs of the familys great age. The aristocratic Olivia would no more turn her disobedient uncle out, as Malvolio threatens she would, than shed bear the level-headed steward himself. Sir Andrew Aguecheek Sir Andrew is perhaps the easiest character in Twelfth Night to understand, and the one, indeed, who is most a jeering and least an individualized character. kinda simply, he is a fool-not a fool in the sense of jester, like Feste, but a fool in the modern sense of an idiot. Hes attached himself to Sir Toby for various reasons-mainly because he believes in Tobys unscrupulous encouragement of his small courtship of Olivia. But further, he quite reasonably admires Tobys high spirits and noisy courage-qualities which he himself emphatically lacks. For besides being stupid, Sir Andrew is a coward: in the duel scene he behaves with every bit as much cowardice as the naturally shrinking, feminine Viola, despite all his boasted training as a knight. Only when he realizes that Cesario is a coward too, does he begin to lose some of his fear. Finally, Andrew is an egotist-as much of an egotist, as much deluded by narcism and self-love, as those other historied egotists, Malvolio and Orsino. It is his egotism which lets Toby metamorphose him that Olivia will have him; his egoism which is piqued with jealousy at Violas statuesque skill; and his shallow self-love which enables him to write his silly, puffed-up challenge to Cesario. In short, as Toby at last brutally tells him, he is an ass-head, and a coxcomb, and a scalawag; a thin-faced knave, a gull. Malvolio As Maria notes fairly former(a) in the play, Malvolio, Olivias coldly good steward, is a kind of puritan. Indeed, like the other comic characters, he seems to be rather more closely based on certain Elizabethan social types than any of the serious characters are. most modern scholars have even conjectured that he was meant as a parody of Queen Elizabeths chief Comptroller (steward), Sir William Knollys. At any rate, whatever the case may be, Malvolios personality is of such overlooking importance to Twelfth Night that King James I is said to have renamed the play Malvolio. Certainly Malvolio has many of the characteristics of the Puritans, those representatives of the uphill middle-class who were so execrable to aristocratic merrymakers like Sir Toby and Sir Andrew, so looked-down-upon by true aristocrats like Olivia, and so dis party favour by carefree artists like Feste, or even Shakespeare himself. But despite his priggishness and his holier-than-thou complaints about Sir Tobys boisterous carriage, Malvolio is not purely a Puritan at all. As Maria, again, notes, hes basically an affectiond [affected] ass - and Olivia, too, sees that he is worried of [with] self-love. This egotistical self-love, as well as his vain ambition, makes him very willing to cast off his severe, Puritannical ways at the slightest touch that more raucous demeanor might give him a good chance to buzz off Olivias lover. Even before he receives the anonymous letter Maria plants, Malvolio is deep in extravagantly un- tight-laced daydreams of being married to his harlot; after he finds the letter, of course, he goes off the deep end entirely, crazily cross-gartering his legs, smiling and kissing his hand at the stupid(p) Olivia, in the mad spirit that he might be a suitable suitor for her. Indeed, in this sense Malvolios madness is no joke-for such extravagant egotism, even more than his earlier, victorian pomposity, is truly a form of madness. Fabian We learn little about Fabian in Twelfth Night, beyond the fact that hes a quick-witted, good-natured servant, as fond as Toby and Maria of a good joke but rather more restrained in his pursuit of such pleasures. Hes introduced into the action rather late, and for the most part he comments on the plots which others have set in motion, rather than directly participating. He does picture to quiet Tobys and Andrews out-of-bounds behavior in the garden scene, however, and he obviously enjoys tormenting poor Cesario in the duel scene. In the end, he bravely and responsibly takes much of the blame for the Malvolio plot onto himself-yet we can be sure that Olivia, astute Tobys tendencies as a plotter, will not blame the basically innocent Fabian too harshly at all. peasant Characters All we know of the ocean Captain who rescued Viola is that he was kind and friendly, introducing the lady friend as a page to Orsino, and keeping both her whodunit and her clothes for the space of her stay at court as Cesario. As for Orsinos gentlemen, specialty and Valentine, they are the usual courtly servants, elegant, genteel and ever ill at ease(p) for their rulers best advantage in the world, as well as for the slightest marks of personal favor from him to themselves. If you want to get a full essay, order it on our website: Ordercustompaper.com

If you want to get a full essay, wisit our page: write my paper