How far do you think Twelfth Night succeeds as a comedy?

When whizzness take aways the crowd of the Elizabethan ro humantic comedy, a light-hearted tale of slam in which obstacles ar overcome- often to resolve with a marriage, Shakespeares twelfth part darkness certainly ch every last(predicate)enges the convention. Although the resolution of the joining of three checkmates Orsino and genus Viola Olivia and Sebastian and Sir Toby and maria satisfies the criteria for a romantic comedy in some management, the bizarre nature in which some of these relationships come about defines the au grumblence question the likelihood of their successes.In addition, Shakespeare leaves an open misfortune in that the romanticistic outcomes some char acti unityrs (Malvolio, Antonio and Sir Andrew) are negative- creation go forth alone or unresolved. The melo salient manner in which Orsino muses over Olivia at the very start of Act 1 awaits to suggest that the unrequitedness of esteem is much for comedic value rather than a valid representat ion of unbent pick out and thus stool non be taken seriously.Orsinos hyperbolic monologue of his heat, give me excess of it, so that it may sicken and so die and later the pun of was I turned into a hart, and my desires, like dismiss and cruel hounds, eer since pursue me support this as this painful love is unbelievably developed seeing as he hardly knows Olivia and one could opine he is in love with the chase of Olivia- the challenge.To me, this behaviour is remindful of the young Romeos fanciful love for Rosaline when he soliloquises with confused oxymoronic language, and, as in Romeo and Juliet, it could be see that Shakespeare uses Orsino to make a satirical stimulation on the shallowness of courtly love. The contrived speech Orsino gives to Cesario to recite to Olivia, a common occurrence in Elizabethan measures, includes most radiant, exquisite and one(prenominal) beauty. There is a lack of conviction in these disingenuous words- provided used to fulfil the romant ic expectation. This disingenuousness is further comedically lampooned by Shakespeare by the way in which Cesario explains that this speech took great pains to study and how she asshole say little more than she has studied. This foreshadows the fact that lack of love or gratification will be present at the ending.How perpetually, when one compares this relationship to that among Orsino and the revealed Viola at the climax, it seems as though it was inevitable, as Orsino seems attracted to Cesarios powder-puff features from the start, as he states that Dianas lip is not more smooth and rubious thy undersized pipe is as the maidens organ, shrill and sound, and all is semblative a womans part, which provokes quaint dramatic irony to the reference.In addition, the iambic pentameter which the two mete out in act 2 ikon 4, Viola I should your Lordship. Orsino And whats her history? Viola Sir, shall I to this lady? Orsino Ay, thats the theme has become synonymous with the inevit ability of a couples destiny to be together, highlighting the balance the couple share with each other and is used frequently in Romeo and Juliet for this reason.However, it could too be said that the success of this relationship is unlikely cod to the fact that Orsino goes as far as to wish death upon Cesario, although I believe that Shakespeare uses this stringently to express Orsinos frustration for having sexual feelings towards a boy, and feelings which seem more genuine than his courtly, more suitable love for Olivia, although Cesario does continue to call Viola Cesario and boy, which could mean that Orsinos dramatic purpose is to prove that one can be attracted to both the masculine and feminine features of a person, as Shakespeare seemed to grant experienced himself as mentioned in the two loves of sonnet 144. Shakespeare portrays a more blatant presentation of homosexual attraction through Antonio.To me, Antonios love for Sebastian seems the truest of all, with him reve aling the extent of which as he says I do esteem thee so, that danger shall seem sport and I will go, and he does keep to his word as he is voluntary to enter Orsinos court, going as far as risking his life, yet Shakespeare leaves him unhappy and alone. Shakespeare uses this love to make a serious point rather than a comedic one about how the most passionate loves can be found in circumstances other than the conventional man and woman, as at the time of the shoo-in, homosexual relationships in theatre were usually presented in a wacky manner for comedic value to laugh at the ostensible folly of it, or mere carnal lust, as opposed to the utter devotion utter of when Antonio says if you will not murder me for my love, let me be your servant, whereas in Twelfth Night, the most conventional love, that between Orsino and Olivia, is the least realistic- and Antonios for Sebastian the most.Antonios winsome actions juxtapose with the disingenuous fancifulness of Malvolios mere speeche s of love- proving Shakespeares intent for the mental synthesis of a more genuine homosexual love. Antonio expresses his love beyond words- offering Sebastian his purse for the pointtuality that his eye shall light upon some toy he is willing to purchase. This selfless sacrifice of something necessary to Antonio for the mere materialistic pleasure of his lamb is quite representative of their quite one-sided relationship of servitude. When Cesario is mistaken for universe Sebastian, fitting in with the recurring theme mistaken identity, the intensity of Antonios passion is revealed.His feelings of betrayal and solitude are not, however, resolved with the revelation that Cesario is not in fact Sebastian, as shortly after, before Antonio can even think of having Sebastian to himself, he is engaged to Olivia. As Laurie E. Osborne puts it, Antonios final plight gives us at this moment an image of loss that it can do little to assuage, since at the end Antonio finds Sebastian only to stand silently by, honoring him commit himself to Olivia. Also, earlier in the play, Sebastians my kind Antonio, I can no other answer make precisely thanks, and thanks and ever thanks and oft good turns suggests that Sebastian aware of Antonios romantic feelings for him, but respectfully denies him, stating that hed prefer a platonic relationship.The said(prenominal) melancholy of Antonios predicament at the plays denouement is a message too sombre to succeed comedically to a moderne audience due to the attenuation of heteronormativity over time, thus making empathy for a homosexual love easier. However, this comedic aspect of the play may have succeeded to an Elizabethan audience due to a lack of queer love acceptance. Nevertheless, I believe that, due to Shakespeares ostensible bisexuality (evidenced through such(prenominal) works as sonnets 15, 18 and 20) it is probable that Antonios misfortune in his love for Sebastian is intended to be sympathised with- most likely fai ling at this to an Elizabethan audience. However, of course, as it is a Shakespearean romance, it is one of many to consider and thus cannot deem the play a holistic failure with regards to its comedy.The amorous feelings which Sir Andrew has for Olivia throughout the play are completely unrequited, although, unlike Antonio, the audience neer really empathises with him due to his function being solely to fulfil the low-comedic aspects of the play- Shakespeare constructing an blue fool stock character in Sir Andrew, seeming almost unable(predicate) of emoting the complexity in which love is presented in Twelfth Night, the wittier Sir Toby, who fulfils the high-comedic aspects of the play seem to understand what true love is, therefore Shakespeare succeeds in making Sir Andrews unhappiness and aloneness comedic. Sir Toby lampoons Sir Andrew, presenting Sir Andrews stupidity to the audience- reinforcing that the audience shouldnt feel guilty for laughing at him.The ridiculousness of the duel scene between Sir Andrew and Cesario over Olivia makes it one of the most comically entertaining scenes in the play, and yet, beneath the folly of its surface, proves Sir Andrews devotion to Olivia, making his feelings seem small-time to the audience, regardless of their truth, therefore come through in being a comical ending in this instance. Malvolio is, like Sir Andrew, left alone without sympathy from the audience. Tricked by Sir Toby, Maria and Sir Andrew and seeking revenge, it could be interpreted that Shakespeare uses Malvolio to lampoon the prudish views of the puritan- Maria calling him a kind of Puritan, a time-pleaser and an affectionate ass due to the Puritanical traits which Shakespeare had installed into him, the combination of these surely indicating that Shakespeare intended on making Puritan a negative insult because during the period of the plays release, Puritans attempt to close down theatres due to their lack of concurrence with Puritanical doctri nes.However, Malvolios true religious views are never explicitly mentioned, possibly so that a Puritanical backlash wouldnt occur. Alternatively, as Allison P. Hobgood interprets, Malvolio hides his truer appetitesfor higher former and status beneath a constructed outer persona, a shell of sobriety, moderation, and propriety. The steward moreover acts the role of a Puritan, that is, and hence is maybe much more un-puritanical than one might imagine. Malvolios construction fits the criteria of the Theophrastian stock character Mikrophilotimia, or the man of petty ambition, the word petty in this categorisation enabling the audience to laugh at Malvolios misfortune, thus succeeding comedically.The Humanistic resurgence of the Renaissance Era makes it highly likely that Shakespeare was conscious of this allusion in his takings of the play. Feste brings the play to its denouement with his dejected song, repeating the line for the rain, it raineth every mean solar day encapsulatin g the dark, serious undertone of the play-without which it could be easily interpreted as a resolved, conventional romantic comedy, although Festes song reminds the audience that not all characters are left happy and fulfilled. The fact that Feste, a mere fool, gets the last lines of the play highlights the transposition of social roles which is an important part of the Twelfth Night festival on which the play is based.Feste, contrary to his title of the fool is also one of the wisest characters, and thus has the power to see and tell beyond the plays superficially happy plot. To conclude, I believe that the characters which are left unhappy and alone are usually characters used by Shakespeare to be laughed at as opposed to sympathised with- with the subtle exception of Antonio, who is meant to send a more serious message to the audience over sexuality, thus succeeding as a comedy, yet one which deviates from the conventions of its time. Considering the alternative title of the pla y, What You Will, perhaps a conclusion can be drawn that Shakespeare wants us to make what we will of the ending, using an open denouement whose continuation is to be interpreted as being cheerfully comedic or sombrely serious.