tag:blogger.com,1999:blog-73092184880403829972024-03-01T08:39:35.959+03:00Romance Lover blogEnglish Literature poetry analysis Blog the more exclusive with the right info about romantic Literature English Literature and English in General with its branches Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.comBlogger184125tag:blogger.com,1999:blog-7309218488040382997.post-9563146534368980662013-08-11T20:19:00.001+03:002013-08-11T20:19:53.895+03:00شرح ارسال رسائل تسجيل صوتية خلال تطبيق Whatsapp مع التحميل<div dir="rtl" style="text-align: right;" trbidi="on"><a href="http://www.road-t.com/vb/road-t339/#.UgfHmflZVVM.blogger">شرح ارسال رسائل تسجيل صوتية خلال تطبيق Whatsapp مع التحميل</a></div>Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com2tag:blogger.com,1999:blog-7309218488040382997.post-66471133320642432772013-07-19T14:11:00.004+03:002013-07-19T14:11:33.892+03:00Different Types of Drama <div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: center;">
<span style="color: red; font-size: large;"><b>Different Types of Drama</b></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnWVDN3StlSMAWQAcE4EFlQyh1qf8Lje7iBnbGMYQ_rPrGpEJ6JvyH3hKx8igFWWwAFnq_nW1UUuvfk3tRgcJlAiCnMFLrHpI3omwcj5-Q0cMpCfmy0ASkpMXUwOeIgV3QD_pVTWpnU0o/s1600/Types+of+drama.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnWVDN3StlSMAWQAcE4EFlQyh1qf8Lje7iBnbGMYQ_rPrGpEJ6JvyH3hKx8igFWWwAFnq_nW1UUuvfk3tRgcJlAiCnMFLrHpI3omwcj5-Q0cMpCfmy0ASkpMXUwOeIgV3QD_pVTWpnU0o/s320/Types+of+drama.jpg" width="320" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<span style="color: #ffd966;">You'll discover many types of drama when studying drama and theater. The symbol of drama, the laughing and weeping masks, represent the two main types of drama, comedy and tragedy. Within those categories lie the many forms of drama that entertain people today.</span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<span style="color: #b45f06; font-size: large;">Comedy</span></div>
<div style="text-align: left;">
<span style="color: #6aa84f;">When we talk about comedy, we usually refer to plays that are light in tone, and that typically have happy endings. The intent of a comedic play is to make the audience laugh. In modern theater, there are many different styles of comedy, ranging from realistic stories, where the humor is derived from real-life situations, to outrageous slapstick humor.</span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<span style="color: #cc0000; font-size: large;"><b>Tragedy</b></span></div>
<div style="text-align: left;">
<span style="color: #45818e;">Tragedy is one of the oldest forms of drama; however, its meaning has changed since the earliest days of staged plays. In ancient times, a tragedy was often an historical dramas featuring the downfall of a great man. In modern theater, the definition is a bit looser. Tragedy usually involves serious subject matter and the death of one or more main characters. These plays rarely have a happy ending.</span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<span style="color: red; font-size: large;"><b>Farce</b></span></div>
<div style="text-align: left;">
<span style="color: #3d85c6;">Farce is a sub-category of comedy, characterized by greatly exaggerated characters and situations. Characters tend to be one-dimensional and often follow stereotypical behavior. Farces typically involve mistaken identities, lots of physical comedy and outrageous plot twists.</span></div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: lime; font-size: large;"><b>Melodrama</b></span></div>
<div style="text-align: left;">
<span style="color: #d9d2e9;">Melodrama is another type of exaggerated drama. As in farce, the characters tend to be simplified and one-dimensional. The formulaic storyline of the classic melodrama typically involves a villain a heroine, and a hero who must rescue the heroine from the villain.</span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<span style="color: #ffd966; font-size: large;"><b>Musical</b></span></div>
<div style="text-align: left;">
<span style="color: #b6d7a8;">In musical theater, the story is told not only through dialogue and acting but through music and dance. Musicals are often comedic, although many do involve serious subject matter. Most involve a large cast and lavish sets and costumes.</span></div>
<div style="text-align: left;">
<span style="color: #ea9999;">As a student of drama it is important to be able recognize these different types of drama. Be aware that in modern theater, the lines between these types of drama are often quite blurred, with elements of comedy, drama and tragedy residing in the same play.</span></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com2tag:blogger.com,1999:blog-7309218488040382997.post-35590922773085662102013-07-19T14:03:00.000+03:002013-07-19T14:03:04.415+03:00David Copperfield by Charles Dickens summary<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="direction: ltr; text-align: center;">
David Copperfield by Charles Dickens</div>
<div style="direction: ltr; text-align: center;">
<br /></div>
<div style="direction: ltr; text-align: center;">
<b style="text-align: left;"><span style="color: red; font-size: large;">Summary</span></b></div>
<div style="direction: ltr; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsRcXOXdARCmh9Q-mq5uKhyjFY1tQNSChU9fK9QhG_uBaNsGICba-sBHZ8latf6F0_SLfEgSn8TiduqQ9o483VFjJT2Tit5Cmhb_wY3JTa8INsg8_R8arlxQ6hQmekeTpR_iEOq4h3vQ4/s1600/romanticlover93.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsRcXOXdARCmh9Q-mq5uKhyjFY1tQNSChU9fK9QhG_uBaNsGICba-sBHZ8latf6F0_SLfEgSn8TiduqQ9o483VFjJT2Tit5Cmhb_wY3JTa8INsg8_R8arlxQ6hQmekeTpR_iEOq4h3vQ4/s320/romanticlover93.jpg" width="207" /></a></div>
<div style="direction: ltr; text-align: center;">
<br /></div>
<div style="direction: ltr; text-align: center;">
<br /></div>
<div style="direction: ltr; text-align: center;">
<br /></div>
<div style="direction: ltr; text-align: left;">
<b><span style="color: yellow;">David Copperfield is the common name of the eighth novel by Charles Dickens, first published as a novel in 1850. Its full title is The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to Publish on Any Account). Like most of his works, it originally appeared in serial form during the two preceding years. Many elements of the novel follow events in Dickens' own life, and it is probably the most autobiographical of his novels. In the preface to the 1867 edition, Dickens wrote, "...like many fond parents, I have in my heart of hearts a favourite child. And his name is David Copperfield."</span></b></div>
<div style="direction: ltr; text-align: left;">
<br /></div>
<div style="direction: ltr; text-align: left;">
<b><span style="color: red; font-size: large;">Summary:</span></b></div>
<div style="direction: ltr; text-align: left;">
<br /></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">Now a grown man, David Copperfield tells the story of his youth. As a young boy, he lives happily with his mother and his nurse, Peggotty. His father died before he was born. During David’s early childhood, his mother marries the violent Mr. Murdstone, who brings his strict sister, Miss Murdstone, into the house. The Murdstones treat David cruelly, and David bites Mr. Murdstone’s hand during one beating. The Murdstones send David away to school.</span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">Peggotty takes David to visit her family in Yarmouth, where David meets Peggotty’s brother, Mr. Peggotty, and his two adopted children, Ham and Little Em’ly. Mr. Peggotty’s family lives in a boat turned upside down—a space they share with Mrs. Gummidge, the widowed wife of Mr. Peggotty’s brother. After this visit, David attends school at Salem House, which is run by a man named Mr. Creakle. David befriends and idolizes an egotistical young man named James Steerforth. David also befriends Tommy Traddles, an unfortunate, fat young boy who is beaten more than the others.</span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">David’s mother dies, and David returns home, where the Murdstones neglect him. He works at Mr. Murdstone’s wine-bottling business and moves in with Mr. Micawber, who mismanages his finances. When Mr. Micawber leaves London to escape his creditors, David decides to search for his father’s sister, Miss Betsey Trotwood—his only living relative. He walks a long distance to Miss Betsey’s home, and she takes him in on the advice of her mentally unstable friend, Mr. Dick.</span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">Miss Betsey sends David to a school run by a man named Doctor Strong. David moves in with Mr. Wickfield and his daughter, Agnes, while he attends school. Agnes and David become best friends. Among Wickfield’s boarders is Uriah Heep, a snakelike young man who often involves himself in matters that are none of his business. David graduates and goes to Yarmouth to visit Peggotty, who is now married to Mr. Barkis, the carrier. David reflects on what profession he should pursue.</span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">On his way to Yarmouth, David encounters James Steerforth, and they take a detour to visit Steerforth’s mother. They arrive in Yarmouth, where Steerforth and the Peggottys become fond of one another. When they return from Yarmouth, Miss Betsey persuades David to pursue a career as a proctor, a kind of lawyer. David apprentices himself at the London firm of Spenlow and Jorkins and takes up lodgings with a woman named Mrs. Crupp. Mr. Spenlow invites David to his house for a weekend. There, David meets Spenlow’s daughter, Dora, and quickly falls in love with her.</span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">In London, David is reunited with Tommy Traddles and Mr. Micawber. Word reaches David, through Steerforth, that Mr. Barkis is terminally ill. David journeys to Yarmouth to visit Peggotty in her hour of need. Little Em’ly and Ham, now engaged, are to be married upon Mr. Barkis’s death. David, however, finds Little Em’ly upset over her impending marriage. When Mr. Barkis dies, Little Em’ly runs off with Steerforth, who she believes will make her a lady. Mr. Peggotty is devastated but vows to find Little Em’ly and bring her home.</span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">Miss Betsey visits London to inform David that her financial security has been ruined because Mr. Wickfield has joined into a partnership with Uriah Heep. David, who has become increasingly infatuated with Dora, vows to work as hard as he can to make their life together possible. Mr. Spenlow, however, forbids Dora from marrying David. Mr. Spenlow dies in a carriage accident that night, and Dora goes to live with her two aunts. Meanwhile, Uriah Heep informs Doctor Strong that he suspects Doctor Strong’s wife, Annie, of having an affair with her young cousin, Jack Maldon.</span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">Dora and David marry, and Dora proves a terrible housewife, incompetent in her chores. David loves her anyway and is generally happy. Mr. Dick facilitates a reconciliation between Doctor Strong and Annie, who was not, in fact, cheating on her husband. Miss Dartle, Mrs. Steerforth’s ward, summons David and informs him that Steerforth has left Little Em’ly. Miss Dartle adds that Steerforth’s servant, Littimer, has proposed to her and that Little Em’ly has run away. David and Mr. Peggotty enlist the help of Little Em’ly’s childhood friend Martha, who locates Little Em’ly and brings Mr. Peggotty to her. Little Em’ly and Mr. Peggotty decide to move to Australia, as do the Micawbers, who first save the day for Agnes and Miss Betsey by exposing Uriah Heep’s fraud against Mr. Wickfield.</span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; text-align: left;">
<span style="color: #e69138; font-family: Arial, Helvetica, sans-serif;">A powerful storm hits Yarmouth and kills Ham while he attempts to rescue a shipwrecked sailor. The sailor turns out to be Steerforth. Meanwhile, Dora falls ill and dies. David leaves the country to travel abroad. His love for Agnes grows. When David returns, he and Agnes, who has long harbored a secret love for him, get married and have several children. David pursues his writing career with increasing commercial success.</span></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com1tag:blogger.com,1999:blog-7309218488040382997.post-70451229633433332512013-05-04T07:47:00.000+03:002013-05-04T07:47:57.509+03:00Twelfth night or what you will 1998 مترجم<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: center;">
<span style="color: red; font-size: x-large;"><b>Twelfth night or what you will 1998 25 fps </b></span></div>
<div style="text-align: center;">
<span style="color: red; font-size: x-large;"><b>Arabic Subtitle file Exclusive !</b></span></div>
<div style="text-align: center;">
<span style="color: orange; font-size: x-large;"><b>مترجم حصرياً 2013 أدونيس انيس</b></span></div>
<div style="text-align: left;">
<span style="font-size: x-large;"><b><span style="color: orange;"> Now you can download the </span><span style="color: lime;">subtitle Arabic file</span><span style="color: orange;"> for the film of the Play </span><span style="color: blue;">Twelfth night</span><span style="color: orange;"> By </span><span style="color: magenta;">Shakespeare </span><span style="color: orange;">separated for each ACT and </span></b></span></div>
<div style="text-align: left;">
<span style="font-size: x-large;"><b><span style="color: orange;">Scene for Education purposes only </span></b></span></div>
<div style="text-align: left;">
<div style="text-align: center;">
<span style="font-size: x-large;"><b><span style="color: orange;"><br /></span></b></span></div>
<div style="text-align: center;">
<img alt="twelfthnightsubtitle.jpg (300×300)" src="http://img28.imageshack.us/img28/13/twelfthnightsubtitle.jpg" /></div>
</div>
<div style="text-align: left;">
<div style="text-align: center;">
<span style="font-size: x-large;"><b><span style="color: orange;"><br /></span></b></span></div>
<div style="text-align: center;">
<span style="font-size: x-large;"><b><span style="color: orange;"><br /></span></b></span></div>
<div style="text-align: center;">
<span style="font-size: x-large;"><b><a href="http://www.imdb.com/title/tt0117991/?ref_=fn_al_tt_1" rel="nofollow"><span style="color: orange;">IMDB </span><span style="color: red;">Here</span></a></b></span></div>
<div style="text-align: center;">
<span style="font-size: x-large;"><b><span style="color: orange;"><br /></span></b></span></div>
<div style="text-align: left;">
<span style="font-size: x-large;"><b><span style="color: orange;"><br /></span></b></span></div>
<div style="text-align: center;">
</div>
<div itemprop="description" style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; margin-bottom: 0.75em; margin-top: 0.5em; padding: 0px; text-align: left;">
Shakespeare's comedy of gender confusion, in which a girl disguises herself as a man to be near the count she adores, only to be pursued by the woman he loves.</div>
<div style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 13px; line-height: 18px; margin-bottom: 0.75em; margin-top: 0.5em; padding: 0px; text-align: start;">
</div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 13px; margin: 0.35em 7px 0.35em 0px; text-align: left;">
<h4 class="inline" style="color: #666666; display: inline; margin: 0.35em 0px 0.25em; padding: 0px 0.5em 0px 0px;">
<br /></h4>
</div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; font-family: Verdana, Arial, sans-serif; margin: 0.35em 7px 0.35em 0px; text-align: justify;">
<span style="font-size: large;"><b>مسرحية شكسبير التي تروي الإرباك والتوهم في هيئة وجنسية الشخصيات , فتاة تنكرت بزي رجل لتكون قريبة من الدوق وتصل الى غايتها لتتزوجهُ مستخدمة الحيلة لكسب قلبه عن طريق المرأة التي يحب</b></span></div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 13px; margin: 0.35em 7px 0.35em 0px; text-align: left;">
<h4 class="inline" style="color: #666666; display: inline; margin: 0.35em 0px 0.25em; padding: 0px 0.5em 0px 0px;">
<br /></h4>
</div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 13px; margin: 0.35em 7px 0.35em 0px; text-align: left;">
<h4 class="inline" style="color: #666666; display: inline; margin: 0.35em 0px 0.25em; padding: 0px 0.5em 0px 0px;">
<br /></h4>
</div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; margin: 0.35em 7px 0.35em 0px; text-align: center;">
<span style="font-size: large;"><h4 class="inline" style="color: #666666; display: inline; margin: 0.35em 0px 0.25em; padding: 0px 0.5em 0px 0px;">
المخرج:</h4>
Trevor Nunn</span></div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 13px; margin: 0.35em 7px 0.35em 0px; text-align: center;">
<br /></div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; font-family: Verdana, Arial, sans-serif; margin: 0.35em 7px 0.35em 0px; text-align: center;">
<span style="color: red; font-size: large;"><b>للأديب وليم شكسبير</b></span></div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; font-family: Verdana, Arial, sans-serif; margin: 0.35em 7px 0.35em 0px; text-align: center;">
<span style="color: red; font-size: large;"><b><br /></b></span></div>
<div class="txt-block" itemprop="director" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; font-family: Verdana, Arial, sans-serif; margin: 0.35em 7px 0.35em 0px; text-align: center;">
<span style="color: red; font-size: large;"><b>أتمنى لكم متابعة ممتعة</b></span></div>
<div class="txt-block" itemprop="creator" itemscope="" itemtype="http://schema.org/Person" style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 13px; margin: 0.35em 7px 0.35em 0px; text-align: left;">
<br /></div>
<br /><br />
<div style="text-align: center;">
<span style="font-size: x-large;"><b><span style="color: orange;"><a href="http://www.mediafire.com/?9k40ra82311dwlj" rel="nofollow">حمل الترجمة من هنا </a></span></b></span></div>
<div style="text-align: left;">
<span style="font-size: x-large;"><b><span style="color: orange;"><br /></span></b></span></div>
<div style="text-align: center;">
<span style="font-size: x-large;"><b><span style="color: orange;"><br /></span></b></span></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-10285229147649990872013-05-01T16:46:00.000+03:002013-05-01T16:46:39.208+03:00Forget Not Yet by sir thomas wyatt line by line analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<br />
<h2 class="title" itemprop="name" style="margin: 42px 0px 12px;">
</h2>
<h2 class="title" itemprop="name" style="margin: 42px 0px 12px; text-align: left;">
</h2>
<h2 class="title" itemprop="name" style="margin: 42px 0px 12px; text-align: center;">
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; text-align: left; unicode-bidi: embed;">
</div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Georgia","serif"; font-size: 19.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Forget
Not Yet</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: red; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";"> Summary of the poem </span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">By</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<span style="color: lime; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Sir Thomas Wyatt</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Text of the poem</span></b><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">1 Forget not yet the tried intent<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">2 Of such a truth as I have meant;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">3 My great travail so gladly spent,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">4 Forget not yet.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">5 Forget not yet when first began<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">6 The weary life ye know, since whan<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">7 The suit, the service, none tell can;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">8 Forget not yet.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">9 Forget not yet the great assays,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">10 The cruel wrong, the scornful ways;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">11 The painful patience in denays,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">12 Forget not yet.<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">13 Forget not yet, forget not this,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">14 How long ago hath been and is<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">15 The mind that never meant amiss;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">16 Forget not yet.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">17 Forget not then thine own approved,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">18 The which so long hath thee so loved,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">19 Whose steadfast faith yet never moved;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">20 Forget not this.<o:p></o:p></span></b></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">The poem is written as five quatrains, with a
rhyming tercet followed by a fourth line repeated as a refrain throughout the
song.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Lines 1-4</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">1 Forget not yet the tried intent<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">2 Of such a truth as I have meant;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">3 My great travail so gladly spent,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">4 Forget not yet.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">In the first four lines, the poet asks for the
audience not to overlook his intention to reach meaning and truth, and to
consider the great efforts he has willingly made. The fourth line refrain
‘Forget not yet’ emphasizes this request.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Lines 5-8
<br />
<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></span></b><b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">5 Forget not yet when first began<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">6 The weary life ye know, since whan<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">7 The suit, the service, none tell can;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">8 Forget not yet.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">The request here is for the audience not to
forget when they first began this tired life of service and courtship, which no
one really understands. The refrain in line 8 is a repetition of line 4.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Lines 9-12</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><br />
<br />
</span></b><b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">9 Forget not yet
the great assays,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">10 The cruel wrong, the scornful ways;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">11 The painful patience in denays,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">12 Forget not yet.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Here the audience is asked not to overlook the
big criticisms, the mean injustices, the cruel treatment and the pain of
waiting through delays in decision-making. Line 12 is a repetition of line 4
again, and this serves to build up the negative issues, which the narrator is
attempting to highlight.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Lines 13-16<br />
<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></span></b><b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">13 Forget not yet, forget not this,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">14 How long ago hath been and is<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">15 The mind that never meant amiss;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">16 Forget not yet.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">The appeal here is to not ignore how long ago
it was (and is) that the mind never meant any harm. The repeated refrain of
line 4 is used for the last time here.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Lines 17-20<br />
<br />
</span></b><b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">17 Forget not then
thine own approved,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">18 The which so long hath thee so loved,<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">19 Whose steadfast faith yet never moved;<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin-bottom: 0.0001pt; text-align: center; unicode-bidi: embed;">
<b><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">20 Forget not this.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; text-align: center; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">The final quatrain requests that the reader
consider those who were approved, who have loved the audience for so long and
who have remained faithful. The final line of the quatrain is a variation of
the refrain used through the rest of the poem. The line becomes ‘Forget not
This!’</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">Analysis</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">The song is composed of the three line rhyme,
or tercet, followed by a fourth line which is repeated, forming a refrain. The
intention is to emphasize the connected point of each tercet with a repeated
request to ‘forget not’ forming the final quatrain, or four line verse. The use
of the negative, ‘forget not’, rather than ‘remember’ accentuates the tone of
melancholy and regret.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">The first verse stresses the honesty and truth
with which the song is composed. By beginning with this assertion, the audience
is compelled to see the following sentiments and observations as sincere. There
has been considerable effort – ‘great travail’ – put in to this message; not
just in the formal structure of the verse, but in the diplomacy with which a
difficult and dangerous sentiment is phrased and expressed.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 31.5pt 0cm 9pt; unicode-bidi: embed;">
<b><span style="color: #f88000; font-family: "Times New Roman","serif"; font-size: 19.0pt; mso-fareast-font-family: "Times New Roman";">By the second verse the poet highlights the
life within the court, how exhausting it is for audience and narrator, and how
clandestine the affairs of court are. It is certain that in the young court of
King Henry VIII, who was a monarch at 17 and surrounded himself with the young,
the witty and the beautiful.</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="RTL">
<br /></div>
</h2>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-78797054703234225092013-05-01T11:27:00.001+03:002013-05-01T11:28:03.866+03:00How and When use the Verb Forms ?<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal" style="text-align: center;">
<div style="text-align: center;">
<b><u><span style="color: red;">VERB FORMS</span></u></b></div>
</div>
<div class="MsoNormal" style="text-align: center;">
<div style="text-align: center;">
<b><u><br /></u></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><u><br /></u></b></div>
</div>
<div class="MsoNormal" style="text-align: center;">
<div style="text-align: center;">
<b><u><span style="color: blue;">? WHEN
DO YOU USE THAT ONE<o:p></o:p></span></u></b></div>
</div>
<div class="MsoNormal" style="text-align: center;">
<div style="text-align: center;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><span style="color: yellow;"><u>When you use the
base form:</u> <u>Examples<o:p></o:p></u></span></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">1. As basic present
in 1<sup>st</sup> and 2<sup>nd</sup> person I
<i>work</i> You
<i>work</i> <o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">2. As a second verb after “do” or modals I didn’t <i>go</i>
She will <i>go</i><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">3. In imperatives
(commands) <i>Turn</i> right <i>Stand</i> up<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">4. As a second verb
in causatives (make, let, help, have) I
made her <i>do</i> it Let me <i>go</i><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">5. As a second verb
after suggest, recommend, insist, demand I
<i>insist</i> that she <i>be</i> there.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><u><span style="color: yellow;">When you use the
–s form:<o:p></o:p></span></u></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">1. As a first verb
only She
<i>works</i> She
<i>doesn’t</i> work<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">2. In all present
tenses when<o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<div style="text-align: left;">
<span style="color: #f6b26b;"> the subject is 3<sup>rd</sup> person singular That store <i>sells</i> good stuff.<o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<div style="text-align: left;">
<span style="color: #f6b26b;"> The
bird <i>is</i> singing right now.<o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<div style="text-align: left;">
<span style="color: #f6b26b;"> My
son <i>has</i> gone to the store.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><u><span style="color: yellow;">When you use the
present participle/gerund/-ing form<o:p></o:p></span></u></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">1. As a second verb
only I
am <i>talking</i> She likes <i>cooking</i><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">2. In a progressive
tenses after “be” I was <i>driving</i> when I heard it.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">3. When the meaning
is “in process” I
saw it <i>falling</i><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">4. As a noun subject
or object – name of activity Writing
is hard. My hobby is sewing.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">5. After certain verbs:
admit, avoid, can’t stand, consider, deny, dislike, enjoy, feel like, finish,
give up, imagine, keep (continue), mind (object to), miss, practice, prevent,
prohibit, quit, recommend, resent, risk.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><u><span style="color: yellow;">When you use the
past form:<o:p></o:p></span></u></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #e69138;">1. As a first verb
only I
<i>didn’t</i> go She <i>liked</i> to swim<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #e69138;">2. When you mean a
past finished event I
<i>worked</i> yesterday<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><u><span style="color: yellow;">When you use the
past participle form:<o:p></o:p></span></u></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">1. As a second verb
only<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">2. In present perfect
tense after “have” I
have <i>eaten</i> I haven’t <i>done</i> it yet<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">3. As an adjective The
<i>broken</i> window<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">4. In passive voice
after “be” I
was <i>born</i> My car was <i>stolen</i><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">5. In past and future
perfect after “have” I
had <i>finished</i> I will have <i>eaten</i><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><u><span style="color: yellow;">When you use the
infinitive form:<o:p></o:p></span></u></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #e69138;">1. As a second verb
only I
plan <i>to go</i> I learned <i>to swim</i><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #e69138;">2. When you tell why
(“infinitive of purpose”) Why
did you go? <i>To see</i> the doctor.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #e69138;">3. As the name of the
verb The
verb “<i>to be</i>” is very difficult.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #e69138;">4. As a noun subject
or object <i>To eat</i> right is very important.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #e69138;"> My
fear is <i>to die</i> alone.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #e69138;">5. After verbs:
agree, ask, arrange, can’t afford, can’t wait, choose, decide, deserve, expect,
fail, hesitate, hope, intend, learn, manage, mean, need, offer, plan, prefer,
prepare, pretend, promise, refuse, seem, want, </span>wish, would like<o:p></o:p></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><span style="color: red; font-size: large;">EXCEPTIONS<o:p></o:p></span></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><span style="color: red; font-size: large;"><br /></span></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b><span style="color: #f6b26b; font-size: large;"><br /></span></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">Note: there are a few
verbs that can be followed by either a gerund or infinitive with no major
change in meaning. These are: begin, continue, like, love, hate, start
and try.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">I like cooking, I like to cook. I start studying, I start to study.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">A few verbs change meaning when you change from gerund to infinitive:<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">forget, remember, stop<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;">Example: I stop
smoking (no more) I stop to
smoke (I take a break and go smoke)<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;"> I remember
locking the door (I did it and can remember it still.) <o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<div style="text-align: left;">
<span style="color: #f6b26b;">I remember to lock the door (I
think about it before I leave, so I always do it)<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;"> I forgot
locking the door (I did it, but didn’t remember that I did)<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="color: #f6b26b;"> I forgot to
lock the door (I forgot first, so I didn’t lock it.<o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com1tag:blogger.com,1999:blog-7309218488040382997.post-78557737485864448992013-05-01T11:16:00.002+03:002013-05-01T11:16:41.099+03:00The Street Before Olivia's House Act 5 Scene 1 Enter Feste And Fabian<div dir="rtl" style="text-align: right;" trbidi="on">
<br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<b><span style="color: blue; font-size: large;">Act 5 Scene 1</span></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: lime; font-size: large;"><b>The Street Before Olivia's House </b></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: red; font-size: large;"><b>Enter Feste And Fabian</b></span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<span style="color: red; font-size: large;"><b>Summary</b></span></div>
<div style="text-align: left;">
<span style="color: #f6b26b; font-size: large;"><b><br /></b></span></div>
<div style="text-align: left;">
<span style="color: #f6b26b; font-size: large;"><b><br /></b></span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">This last act, which consists of only a single scene, takes place on a street in front of Olivia's house. Feste is reluctantly carrying Malvolio's letter to Olivia (pleading Malvolio's sanity), but Fabian is trying to discourage him from reading it. Feste, needless to say, is in no great hurry to deliver it.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Duke Orsino, Cesario (Viola), Curio, and others enter, and Orsino has a few words with Feste; he is pleased with Feste's quick wit and gives him a gold coin and tells him to announce to Olivia that he is here to speak with her and, furthermore, to "bring her along"; if he does, there may be more gold coins for Feste.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Cesario (Viola) sees Antonio approaching with several officers and tells Orsino that this is the man who rescued him from Sir Andrew earlier. (Antonio, of course, is still under arrest). Orsino remembers Antonio well; when he last saw Antonio, the sea captain's face was "besmeared / As black as Vulcan in the smoke of war." Antonio was the captain of a pirate ship then and did great damage to Orsino's fleet. Yet despite their past differences, Orsino remembers Antonio as being a brave and honorable opponent.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">When he is asked to explain how he happened to be in Illyria, Antonio explains to Orsino that he is the victim of "witchcraft" — that is, he saved Cesario's life, and then this "most ingrateful boy" would not return the purse of money which he lent him earlier.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">At this instant, Olivia makes a grand entrance with her attendants. When Orsino sees Olivia entering, he says that "heaven walks on earth." He tells himself that "this youth" (Cesario) "hash tended" him for three months; Antonio's words, of course, are impossible.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Olivia's ire is rankled. She asks Orsino what he wants — other than what he can't have — and she accuses Cesario of breaking an appointment with her. Frustrated to the point of madness himself, Orsino turns on Cesario: it is all his fault that Olivia has rejected him, and he will have his revenge. He knows that Olivia loves Cesario, and he is ready to "tear out [Cesario from Olivia's] cruel eye" for bestowing all her loving glances at Cesario. He orders Cesario to come with him for his "thoughts are ripe in mischief." Even though he values Cesario very much, yet he will "sacrifice the lamb . . . to spite a raven's heart." Olivia is appalled: where is the haughty Orsino taking her new husband? Cesario replies that he goes with Orsino willingly; he would, for Orsino, "a thousand deaths die." He says that he loves Orsino "more than I love these eyes, more than my life . . . [and] all the more, than e'er I shall love wife."</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Olivia is thunderstruck: "Me, detested! how am I beguiled!" She calls for the priest who married her to Cesario (in fact, to Sebastian), and the priest enters and attests to the fact that a marriage did indeed take place between these two young people.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Now it is Orsino who is furious. This "proxy," this young messenger whom he hired to carry letters of love to Olivia, hoodwinked him and married Olivia himself. He turns to this "dissembling cub" and tells him to "take her; but direct thy feet / Where thou and I henceforth may never meet." Cesario (Viola) attempts to protest, but Olivia hushes him: "Oh, do not fear . . . thou hast too much fear."</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Suddenly, Sir Andrew enters, crying loudly for a surgeon; Sir Toby also needs one. They say that they have been wounded by Cesario (Sebastian), and Sir Andrew's head is broken and Sir Toby has a "bloody coxcomb." They point their finger to Cesario (Viola): "Here he is!" Cesario (Viola) protests once more. He has hurt no one; yet it is true that Sir Andrew drew his sword and challenged him once to a duel, but certainly Cesario (Viola) never harmed Sir Andrew.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">It seems that the surgeon is drunk and cannot come, and although Olivia tries to find out who is responsible for this bloody business, she cannot, for confusion reigns as Sir Toby and Sir Andrew help one another off to bed.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">The key to the solution of all of this confusion now enters: it is Sebastian. He apologizes to Olivia for having injured Sir Toby. Orsino is the first to express astonishment at the identical appearance of Sebastian and Cesario. It is almost impossible to distinguish between them, except by the colors of their clothes. Sebastian then reminds Olivia of the words which they exchanged only a short time ago, and he calls her his "sweet one." He joyfully recognizes Antonio and confesses how "the hours [have] racked and tortured" him since he lost him. Like Orsino, Antonio is amazed. He compares Cesario and Sebastian to "an apple, cleft in two." Viola (Cesario) begins to speak then; she tells Sebastian that he is very much like a twin brother who she fears perished in a "watery tomb." Her father was Sebastian; he had a mole on one brow — and at this point, Sebastian interrupts her: so did his father. Moreover, both agree that this man died when they were thirteen years old.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Viola then reveals that her real identity is hidden by "masculine usurp'd attire"; she is Sebastian's lost twin sister, and she can prove it by taking them to the home of a sea captain who knows of her disguise and is keeping her women's clothes for her; however, they must produce Malvolio because he has been holding the sea captain imprisoned.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Sebastian turns to Olivia and tells her that she has been "mistook." Had she married Cesario (Viola), she would "have been contracted to a maid." But he gives her good news also. As her husband, he is a bit of a "maid" himself — that is, he is a virgin ("both maid and man"). Olivia calls immediately for Malvolio; she wants to hear why he has had this sea captain imprisoned, and she asks that he be specifically brought before her, even though "they say, poor gentleman, he's much distract."</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">At this point, Feste enters with Malvolio's letter, written as proof of his sanity. Olivia tells him to read it aloud, and he does, in an affected voice that makes everyone laugh. Olivia then gives the letter to Fabian to read. She is not truly convinced that Malvolio is all that mad. When he enters, he brings Maria's "love note" with him. Olivia instantly recognizes the handwriting as being Maria's. Thus she begins to reconstruct the intricacies of the practical joke that her servants have played on Malvolio. She declares that Malvolio shall be both plaintiff and judge of his own case against the pranksters.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Recounting all of the secret plottings which have taken place, Fabian confesses his and Sir Toby's roles in their attempt to take revenge on Malvolio. He also confesses that it was Sir Toby who persuaded Maria to write the forged love note, and that, "in recompense," he has married her. Olivia expresses pity for Malvolio; he has been "most notoriously abused," and then in lines of stately blank verse, Count Orsino ends the play by turning to Viola and telling her that while she seemed very dear to him once as a man, she is now his "mistress and fancy queen." Everyone exits, and Feste is left onstage.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">He sings one last song, one of the most philosophical jester's songs in all of Shakespeare's plays. It tells of the development of men, focusing on the various stages of their lives, and putting all of the serious matters of the life of men into the dramatic context of this comedy — whose purpose is, after all, only to "please."</span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b><span style="color: red; font-size: large;">Analysis</span></b></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<span style="color: #f6b26b;"><br /></span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Unlike the earlier acts, which were divided into several individual scenes, this final act has only one scene, which gives a heightened sense of unity because most of the diverse plots, themes, complications, and mistaken identities must be unraveled and resolved. However, there are a few minor details that are left unresolved. For example, Antonio had earlier feared that he would be arrested, and we are never to know why. In this scene, Antonio is also accused of being a pirate and a sea thief and also as someone who attacked Duke Orsino's fleet, causing great damage; yet Antonio denies he was ever a thief or a pirate, and even those accusing him (Orsino, for example) admit that he has always conducted himself in honorable and heroic fashion. Whatever the cause of the conflict between Antonio and Orsino, it is left unclear. Likewise, why Malvolio has Viola's sea captain imprisoned and awaiting trial is a total mystery; this is a matter which is also left unresolved.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">The first interchange of wit in the first part of the act between Duke Orsino and Feste the Clown introduces the first resolution of the various complications in the play; Feste is on his way to Olivia with a letter from Malvolio which will clear up the plot concerning the gulling and "imprisoning" of Malvolio. With the entrance of the arrested Antonio, however, confusion mounts to a higher crescendo as Cesario (Viola) is first accused of bewitching and then betraying Antonio; then there is an accusation made of his alienating Olivia's affections from Orsino; and third, Cesario (Viola) is accused of betraying the bond of marriage entered into with Olivia and attested to by the priest.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Cesario (Viola) is left speechless, of course, when these accusations are made. Antonio's charge is denied by Orsino; he knows for a fact that Cesario has been in his service for three months (events have transpired so fast that Shakespeare realized that his audience might not be aware that three months have really elapsed; thus he has Orsino point out the fact here).</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">The priest's testimony discredits Cesario's relationship with Orsino; thus Orsino threatens to play the role of the tyrant; that is, he will punish Olivia by putting her love, Cesario, to death — in spite of his own strong attraction to the youth. The sudden appearance of Sir Andrew, followed by Sir Toby, creates another diversion. They enter wounded, calling loudly for a "surgeon," and accuse Cesario of having beaten them violently; clearly, we can see that they have indeed been beaten by someone. But the description of their assailant as a very fierce devil scarcely fits our knowledge of the character of the gentle young Cesario (Viola), even though their bleeding heads confirm a beating.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">When Sebastian enters, the final solution of the puzzle is now at hand. The most striking thing about him is his close physical resemblance to Cesario; remember that he and his sister are both dressed as men; it is almost impossible to distinguish between them, except by the colors of their clothes. But because Viola recognizes her brother, the attention of this final scene is on Sebastian, who gradually comes to recognize that the youth dressed as Cesario is really Viola. In this recognition scene, then, all parties are happily joined to each other, even though we do not see Sir Toby and Maria, who have just been married, according to Feste.</span></div>
<div style="text-align: left;">
<span style="color: #f6b26b;">Malvolio is the only person left disgruntled. There is no humor, no charity, and no forgiveness in him, and after his departure, the play ends on a happy note, with the promise of happiness for almost everyone.</span></div>
<div style="text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com1tag:blogger.com,1999:blog-7309218488040382997.post-37426236764338406222013-05-01T11:10:00.000+03:002013-05-01T11:10:02.435+03:00Olivia's Garden Enter Sebastian Act 4 Scene 3<div dir="rtl" style="text-align: right;" trbidi="on">
<br />
<h1 style="background: white; margin-bottom: .0001pt; margin: 0cm; mso-line-height-alt: .75pt; text-align: justify;">
</h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"><br /></span></h1>
<div>
<span style="font-family: Arial, sans-serif; font-size: medium;"><br /></span></div>
<div style="text-align: center;">
<h1 style="margin: 0cm 0cm 0.0001pt;">
<span style="color: blue; font-family: Arial, sans-serif; font-size: medium;">Act 4 Scene 3</span></h1>
<div>
<span style="color: blue; font-family: Arial, sans-serif; font-size: medium;"><br /></span></div>
</div>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: center;">
<span style="color: lime; font-family: Georgia, Times New Roman, serif; font-size: large;">Olivia's Garden </span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: center;">
<span style="font-family: Arial, sans-serif; font-size: medium;"><br /></span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: center;">
<span style="color: red; font-family: Arial, sans-serif; font-size: medium;">Enter Sebastian </span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: center;">
<span style="font-family: Arial, sans-serif; font-size: medium;"><br /></span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: center;">
<br /></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"><br /></span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"> </span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="color: red; font-family: Arial, sans-serif; font-size: medium;">Summary</span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="color: #e69138; font-family: Arial, sans-serif; font-size: medium;"><br /></span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="color: #e69138; font-family: Arial, sans-serif; font-size: medium;">Sitting in Olivia's garden, Sebastian is enjoying the bliss of being loved by a beautiful and rich countess, although he is still thoroughly confused about why all this has happened to him. As he sits alone, he admires the lovely pearl which Olivia has given to him, and he wonders why Antonio did not meet him at The Elephant Inn, where they had agreed to meet. All of this seems truly like a dream; yet, looking at the pearl, he holds tangible proof that this is not a dream at all. He wishes that Antonio were with him to advise him; he heard that the sea captain did stay at the inn. Yet where is he now? And he wonders if the beautiful Olivia is mad — and, of course, there is another possibility: perhaps he himself is mad.</span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="color: #e69138; font-family: Arial, sans-serif; font-size: medium;">Olivia enters with a priest and tells Sebastian that she wants him to accompany her and the priest "into the chantry" (a private chapel). There, "before him / And underneath that consecrated roof," Sebastian will "plight [Olivia] the fullest assurance of [his] faith." Sebastian agrees to marry Olivia; the marriage will be kept secret until later, when they will have a splendid, public ceremony, befitting Olivia's rank. They exit, arm in arm, for the private ceremony, as the fourth act comes to a close.</span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"><br /></span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="color: blue; font-family: Arial, sans-serif; font-size: medium;">Analysis</span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="color: #f6b26b; font-family: Arial, sans-serif; font-size: medium;"><br /></span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="color: #f6b26b; font-family: Arial, sans-serif; font-size: medium;">The audience can readily sympathize with Sebastian's confusion and astonishment over the course of events that have taken place, and at the same time they can vicariously experience the great bliss of being loved. Sebastian tries to question reality, but he looks at the pearl that has been given him, and we must remember that Olivia is a person of great beauty; one could easily fall in love with her on first sight. For some modern critics, Sebastian's love for Olivia might strain one's belief, but we must remember that this is a romantic comedy, set in faraway Illyria, and Sebastian himself questions the plausibility of the events. The mistaken identities are, of course, a stock element of romantic comedies, and the forthcoming marriage between Olivia and Sebastian will provide the basis for all of the complications that will be unraveled in the next act.</span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"><br /></span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"> </span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"> </span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"> </span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: medium;"> </span></h1>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-26125575076841646592013-05-01T11:03:00.002+03:002013-05-01T11:03:38.731+03:00A Room in Olivia's House Act 4 Scene 2 Feste and Maria<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
</div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<div style="text-align: center;">
<b><span lang="AR-IQ" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p> Act 4 Scene 2</o:p></span></b></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: center;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
</div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<div style="text-align: center;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">A Room in Olivia's House </span></b></div>
<div style="text-align: center;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div style="text-align: center;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Feste and Maria </span></b></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">In order to fully appreciate this scene, you should
recall that Olivia gave Sir Toby and the household staff orders to take care of
Malvolio and the "midsummer madness" that turned him into a grinning
zany, tightly cross-gartered, and garbed in yellow stockings. They locked him
in a dark room, and now Maria and Feste prepare to pull a few more pranks on
the supercilious, overbearing Malvolio. Feste disguises himself as a parson and
plans to make a "mercy call" on the "poor mad prisoner." He
will assume the role of Sir Topas, the curate. The interview is a masterpiece
of low, broad comedy.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Feste, as Sir Topas, knows just enough Latin phrases to
lace them into his interview, along with pedantic nonsense and
pseudo-metaphysical drivel concerning the philosophy of existence. The
imprisoned steward, of course, is extremely relieved to hear what he believes
to be the parson's voice, for he fondly imagines that his deliverance from this
darkened room of a prison is near. This is not the case, however; he will "remain
in his darkness" for some time to come.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">When Feste slips out for a moment, Sir Toby suggests that
Feste use his natural voice to speak with Malvolio; things have taken a turn
for the worse, and he wants to release Malvolio and end this charade. He is afraid
that Olivia might turn him out of the house, and he "cannot pursue with
any safety this sport to the upshot."<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Feste is having too much fun, though, to pay much
attention to Toby's fears; he enters Malvolio's room, assumes his
ecclesiastical voice, and tries to convince the steward that there are two
visitors in the room instead of one. Malvolio pleads that he is not insane, and
finally Feste is persuaded to bring Malvolio some ink, a pen, and some writing
paper so that he can "set down to [his] lady" proof of his sanity.<o:p></o:p></span></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Once again, disguise is used to create comic effect. This
time, Feste disguises himself as a parson and appears before Malvolio. The
disguise utilizes a black gown, the same type of gown that Malvolio had worn
earlier. The comedy is multifold: Malvolio thinks that with the appearance of
the parson some light will be shed upon his insanity, but actually, Malvolio
will have to remain in darkness for some time to come. As Feste says:
"There is no darkness but ignorance," and certainly Malvolio was
ignorant to think that Olivia could ever be attracted to him. <o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; direction: ltr; margin-bottom: 0.0001pt; text-align: left; unicode-bidi: embed;">
<div style="text-align: left;">
<br /></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-59850980707789523472013-05-01T10:58:00.000+03:002013-05-01T10:58:03.806+03:00Act 4 Scene 1 The Street Before Olivia's House Enter Sebastian and Feste<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
</div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"> </span></b><b><span lang="AR-IQ" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<div style="text-align: center;">
<span style="color: blue; font-size: large;"><b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;">Act 4 Scene 1</span></b><b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></b></span></div>
</div>
<div class="litnotetextheading" style="background-color: white; margin: 12pt 0cm; text-align: center;">
<div style="text-align: center;">
<span style="color: red; font-family: Verdana, sans-serif; font-size: large;"><span style="line-height: 21px;"><b> The Street Before Olivia's House</b></span></span></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The scene opens on the street in front of Olivia's house.
Sebastian and Feste are talking, and we realize that Feste has mistaken
Sebastian for Cesario. Feste insists that his mistress has sent Feste to him,
meaning Cesario. Sebastian is annoyed at the jester's persistence; "Thou
art a foolish fellow," he says, and gives him a generous tip to send him
on his way — or else he will give Feste "worse payment," meaning a
kick in the rump if he doesn't leave him in peace.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sir Andrew, Sir Toby, and Fabian enter, and Sir Andrew
assumes that Sebastian is the "cowardly" Cesario; Sir Andrew strikes
him, whereupon Sebastian promptly beats Sir Andrew, asking, "Are all the
people mad?" Feste says that he is going to report to Olivia all that has
happened, and she will not be pleased to learn that her favorite suitor, the
reluctant Cesario, has quarreled with Olivia's uncle and with Sir Andrew. Sir
Toby, meanwhile, decides that it is time for him to act; he grabs the young
upstart (Sebastian) by the hand in an effort to save Sir Andrew from greater
injury.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Olivia arrives, assumes that Sebastian is Cesario, and
pleads with him to go into the house. She severely reprimands Sir Toby and
sends him away, out of her sight, and he exits, taking the other two with him.
She apologizes for the "pranks of [these] ruffians," and while she is
talking, Sebastian is speechless. He cannot believe what is happening: he is
being wooed in the most ardent of terms by a beautiful young countess; if this
be a dream, he says, "let fancy still my sense in Lethe . . . let me
sleep." Olivia is insistent: "Come, I prithee," she says, and
begs him to marry her. Without hesitation, Sebastian accepts: "Madame, I
will," he says, and off they dash to look for a priest to perform the
ceremony.<o:p></o:p></span></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">This scene begins by re-emphasizing the comic
ramifications inherent in the various mistaken identities and disguises. Feste
has been sent by Olivia to Cesario (Viola) to deliver a message, but he delivers
it to Sebastian, because Viola's twin brother looks exactly like her. Thus this
is the first case of a very natural and very understandable case of mistaken
identity; the comedy here lies in the fact that Sebastian does not know what
Feste is talking about, and Feste feels that "Nothing that is so is
so." They talk at cross purposes, and we (the audience) know why. This is
yet another case of dramatic irony used for a delightful comic effect.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Even more comic,
however, is the fact that Sir Andrew, an innate coward, is convinced that
Cesario (Viola) is frightened of him — which is actually true. However,<span class="apple-converted-space"> </span><i>this</i><span class="apple-converted-space"> </span>man is Sebastian, and thus this is a
completely different matter. Consequently, when Sir Andrew begins striking
Sebastian, Sebastian returns the blows double-fold until Sir Toby has to
restrain Sebastian. Again, the comedy here derives in large part from the stage
action coupled with the comedy of mistaken identities — a theme that is now
almost absurd.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">When Olivia arrives and discovers her uncle physically
"man handling Sebastian, whom she thinks is Cesario, her anger at her
uncle will affect the comic subplot against Malvolio because Sir Toby will be
out of favor with his niece and will no longer feel the freedom to torment her
steward.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">By the time that Sebastian has been mistaken by Feste,
then beaten by Sir Andrew, then restrained by Sir Toby, and then addressed in
terms of soothing and passionate love by a beautiful noble lady, whom he has
never seen, the youth is ready to believe that he is in the strangest country
of the world, or else he has gone mad. In contrast, Olivia is delighted at the
sudden turn of events; she believes that Cesario (Viola) finally loves her.<o:p></o:p></span></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-40196055766798738292013-05-01T07:51:00.002+03:002013-05-01T07:51:42.784+03:00Act 3 Scene 4 Olivia's Garden Enter Olivia and Maria summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
</div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;">Act 3 Scene 4<o:p></o:p></span></b></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<b style="color: blue; font-family: Verdana, sans-serif;"><span style="font-size: large;">Olivia's Garden, Enter, Olivia and Maria</span></b></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><b><span style="color: blue;"><br /></span></b></span></div>
<div class="litnotetextheading" style="background-color: white; margin: 12pt 0cm; text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif;"><span style="font-size: 14px; line-height: 21px;"><b>Act 3 Scene 4, Olivia's Garden, Enter, Olivia and Maria, summary and analysis,Twelfth Night,shakespeare twelfth night,twelfth night summary,twelfth night characters,</b></span></span></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Olivia and Maria are in the garden, and Olivia is making
plans to entertain Cesario; she sent him an invitation, and he has promised to
come to visit her. She is very excited at the prospect and wonders how to treat
him, how to "feast him." She is afraid that he will think that she is
trying to "buy" him. Where is Malvolio, she wonders; he is usually
grave and polite and can be counted on to calm her nerves.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Smiling foolishly, Malvolio enters. His whole appearance
has changed since we last saw him; his dark clothes are gone, as is his dour
appearance. Maria's forged love note has changed him from being "sad and
civil" into being a merrily smiling fabrication of a courtier; he
complains a bit about the cross-gartering causing "some obstruction in the
blood," but he suffers gladly — if it will please Olivia. Smiling again
and again, he kisses his hand and blows his kisses toward Olivia. She is
dumbfounded by his unexplainable, incongruous dress and behavior, but Malvolio
doesn't seem to notice. He prances before her, quoting various lines of the
letter which he supposes that Olivia wrote to him, and in particular, he dwells
on the "greatness" passage. Olivia tries to interrupt what he is
saying, but to no avail; he rambles on and on until she is convinced that he
must be suffering from "midsummer madness."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">A servant announces the arrival of Cesario, and Olivia
places the "mad" Malvolio in Maria's charge; in fact, she suggests
that the whole household staff should look after him. Meanwhile, Malvolio,
remembering the orders which Maria inserted into the letter, spurns Maria, is
hostile to Sir Toby, and is insulting to Fabian. He finally drives them all to
exasperation and fury, and when he leaves, they make plans to lock him up in a
dark room, a common solution for handling a lunatic in Elizabethan days. Olivia
won't mind, says Sir Toby: "My niece is already in the belief that he's
mad."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sir Andrew enters, and he carries a copy of his challenge
to Cesario. He is exceedingly proud of the language, which, we discover as Sir
Toby reads it aloud, is exceedingly stilted and obtuse and, in short, is
exceedingly ridiculous. Sir Andrew's spirits are high, and Maria decides that
the time is ripe for more fun: she tells him that Cesario is inside with
Olivia. Sir Toby adds that now is the time to corner the lad and as soon as he
sees him, he should draw his sword and "swear horrible." According to
Sir Toby, "a terrible oath, with a swaggering accent sharply twanged off,
gives manhood." Offering his services, Sir Toby says that he will deliver
Sir Andrew's challenge "by word of mouth." He is sure that Cesario,
clever young man that he is, will instantly see the harmless humor in the
absurdly worded challenge; it couldn't possibly "breed . . . terror in the
youth." And thus the practical jokers exit — just as Olivia and Cesario
enter.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">This scene-within-a-scene is very much like ones we have
already witnessed: Cesario pleads that his master, Duke Orsino, should be
considered a serious suitor, and Olivia changes the subject to Cesario himself,
as she gives him a diamond brooch containing a miniature portrait of herself.
Cesario accepts it politely and courteously, and Olivia exits.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sir Toby and Fabian enter and stop Cesario before he can
leave for Orsino's palace. Sir Toby tells Cesario that Sir Andrew, his
"interceptor," is waiting for him and is ready to challenge him to a
sword fight. Cesario panics (remember that he is Viola, who knows nothing of
violence and dueling). Sir Toby continues: Sir Andrew is a "devil in a
private brawl," for he has killed three men already ("souls and
bodies hath he divorced three"). Cesario, says Sir Toby, can do only one
thing to defend himself against Sir Andrew: "strip your sword stark
naked." Such advice is alarming. Cesario begs Sir Toby to seek out this
knight and find out what offense he has committed, and so Sir Toby exits,
ostensibly to go on his assigned errand, leaving Cesario in the company of
Signior, a title Sir Toby impromptly bestowed on Fabian, all in the spirit of
their practical joking. These two exit then, just as Sir Toby and Sir Andrew
enter.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sir Toby describes in vivid, violent language Cesario's
fierceness. Sir Andrew quakes: "I'll not meddle with him"; he is even
willing to give Cesario his horse, "grey Capilet," to avoid the duel.
Fabian and Cesario return, and Sir Toby taunts both Cesario and Sir Andrew into
drawing their swords, all the while assuring them that no real harm will come
to either of them.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">At this point, a true swordsman enters. It is Antonio,
and mistaking young Cesario for Sebastian, he tells Sir Andrew to put up his
sword unless he wants to fight Antonio. Sir Toby draws his sword and is ready
to take on Antonio when a troop of officers enters. Antonio has been recognized
on the streets, and Orsino has sent out his men to arrest him. Dejectedly,
Antonio turns to Cesario (who he believes to be Sebastian). He asks him for his
purse back, and when Cesario naturally denies having ever received it, the sea
captain is both saddened and enraged by this apparent ingratitude. He denounces
this youth, "this god," whom he "snatched . . . out of the jaws
of death . . . [and offered the] sanctity of love." "Sebastian,"
he tells Cesario, "thou . . . virtue is beauty, but the beauteous-evil /
Are empty trunks o'erflourished by the devil."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">As the officers lead
Antonio away, Viola is almost ready to believe what<span class="apple-converted-space"> </span><i>may</i><span class="apple-converted-space"> </span>be possible: Sebastian<span class="apple-converted-space"> </span><i>may</i>be alive! It is possible
that this man saved her twin brother, Sebastian, and Antonio may have just now
confused her with Sebastian because of her disguise. Breathlessly, she prays
that "imagination [should] prove true / That I, dear brother, be now ta'en
for you." Viola exits, and unwilling to miss their fun, Sir Toby and
Fabian easily convince old Sir Andrew that Cesario is a coward, and the three
of them set out after Orsino's page.<o:p></o:p></span></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">This scene is not only the longest scene in the entire
play, it is also longer than the entirety of Act IV and the entirety of Act V.
Likewise, there are many divisions within this scene in terms of several
different groupings of characters on the stage and several uses of mistaken
identities. Malvolio is mistaken for a madman by Olivia, Olivia is mistaken for
a true love by Malvolio, Viola is mistaken for a man who allegedly insulted Sir
Andrew, Viola is mistaken for a man with a "heart of stone" by Lady
Olivia, and Viola is mistaken for her brother Sebastian by Antonio.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Before Malvolio
arrives, Maria warns Olivia (and the audience) that Malvolio is
"possessed," that he is out of his mind and that his sanity has been
taken over (possessed) by devils. When Malvolio does appear, we are not
disappointed. As in other scenes in<span class="apple-converted-space"> </span><i>Twelfth
Night</i>, the staging is an extremely important part of the total effect. As
Maria goes out and returns, ushering in Malvolio, the change in the steward is
dramatic. Instead of being "sad and civil," he smiles broadly and
continually; he kisses his hand to the Lady Olivia, and instead of being
dressed in sober black, he is in yellow stockings with tight cross-garters in a
contrasting color. Malvolio keeps on referring to various lines of the letter
which he supposes that Olivia wrote to him, but since Olivia did not write the
letter, she has no idea what he is talking about. Furthermore, Olivia does not
realize that Malvolio is<span class="apple-converted-space"> </span><i>quoting</i>;
she assumes his talk to be the ravings of a madman, and she wishes that he
would leave her sight and be treated for his madness.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Meanwhile, on the stage, the only one present who does
know what Malvolio is referring to is Maria, who is probably behind Malvolio
laughing uproariously. Knowing the contents of the letter (since she wrote it),
Maria very cunningly asks Malvolio some questions that cause him to continue
quoting from the letter; this, of course, heightens the impression that he is
raving.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">As Malvolio insists on quoting line by line from the
letter, and as he returns time after time to the "greatness" passage,
Olivia becomes more and more confused, for she thinks that he is madly
rambling. Finally, feeling compassion for her steward, she thinks that "this
is very midsummer madness."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sir Toby's delight in practical jokes is again
illustrated as he plans some good sport between Sir Andrew and Cesario (Viola).
He is, of course, working always under the assumption that no harm will come to
either party since the challenge and his arrangements will "so fright them
both that they will kill one another by the look, like cockatrices." Sir
Toby, of course, is right. The duel between Sir Andrew Aguecheek and Cesario
(Viola) is one of the high points of the comedy of this play. Equally absurd is
the fact that the pretended duel is fought over Lady Olivia, whom Cesario
(Viola) has rejected and who is not even aware of the foolish Sir Andrew's
intentions. In fact, part of the high comedy involves the egotistical absurdity
of Malvolio's thinking that the high-born Lady Olivia would stoop to love him
and, in addition, the foolishness of Sir Andrew's thinking that he has enough
of a romantic chance with this lady to enter into a duel upon her behalf. The
absurdity of Sir Andrew's and Cesario's dueling for the love of Olivia is one
of the most ludicrous duels in the history of the stage. Then to add to the
absurdity, Antonio comes on stage to defend "Sebastian" (Viola
disguised as Cesario) and finds himself dueling with the fat, belching Sir
Toby.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The various elements of the plot are slowly being brought
together. Viola now realizes that she has been mistaken for her brother,
thereby preparing the way for Sebastian to be mistaken for her by the Lady
Olivia.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-81797295145471546272013-05-01T07:47:00.002+03:002013-05-01T07:47:46.549+03:00Act 3 Scene 3 A Street Enter Sebastian and Antonio Summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
</div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
</div>
<div align="center" class="MsoNormal" dir="RTL">
<span style="color: red; font-size: large;"><b><span dir="LTR" style="font-family: Arial, sans-serif; line-height: 115%;">Act 3 Scene 3</span></b><b><span lang="AR-IQ" style="font-family: Arial, sans-serif; line-height: 115%;"><o:p></o:p></span></b></span></div>
<br />
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<b><span style="font-family: Verdana, sans-serif;"><span style="color: blue; font-size: large;">A Street </span></span></b></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<b><span style="font-family: Verdana, sans-serif;"><span style="color: blue; font-size: large;">Enter Sebastian, and Antonio</span></span></b></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<br /></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
</div>
<div class="MsoNormal" dir="RTL" style="line-height: normal; text-align: left;">
<br /></div>
<div class="MsoNormal" dir="RTL" style="line-height: normal; text-align: left;">
<span style="color: red; font-size: large;"><span style="font-family: Arial, sans-serif;"><span style="line-height: 20px;"><b>Act 3 Scene 3 A Street Enter Sebastian and Antonio Summary and analysis,Twelfth Night,shakespeare twelfth night,twelfth night summary,twelfth night characters,</b></span></span><b><span dir="LTR" style="font-family: Arial, sans-serif; line-height: 27px;"><o:p> </o:p></span></b></span></div>
<div>
<span style="color: red; font-size: large;"><b><span dir="LTR" style="font-family: Arial, sans-serif; line-height: 27px;"><o:p><br /></o:p></span></b></span></div>
<br />
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<br /></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<br /></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sebastian, Viola's twin brother, and Antonio, the sea
captain, enter. They are strolling down a street not far from Duke Orsino's
palace, and Antonio is explaining that because of his fondness and concern for
Sebastian, he simply could not let him wander around Illyria alone, even though
he knows that it is risky for him to accompany Sebastian. He knows that he is
likely to be arrested on sight if he is recognized, but he had no choice: he
likes Sebastian so much that he cannot bear to think of any harm coming to him.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sebastian is very grateful for the risk which Antonio is
taking, and Antonio tells him that it is best that already he should be taking
precautions. He asks to be excused so that he can take cover. He gives
Sebastian his purse, and they arrange to meet in an hour at a tavern called The
Elephant. Thus Sebastian, with a purse full of money in hand, goes off to see the
sights of the town.<o:p></o:p></span></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">In a comedy dealing essentially with romantic love, this
scene continues to investigate another type of love — the manly love that
Antonio feels for young Sebastian; he loves young Sebastian enough to follow
him into the enemy's country, where he himself is in danger of being arrested
and severely punished if he is discovered. But it is not merely love that
Antonio feels for Sebastian; it is also jealousy, for Antonio says:<o:p></o:p></span></div>
<div class="litnoteindent" style="background: white; line-height: 15.75pt; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">And not all love to see you, though so much<br />
As might have drawn one to a longer voyage,<span class="apple-converted-space"> </span><br />
But jealousy what might befall your travel. (6-8)<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The trust and affection that Antonio has for Sebastian is
also seen at the end of the scene when Antonio gives his purse of money to
Sebastian in case the young man wants to purchase something. This gift of money
will later become an important part of the plot when Viola, dressed as Cesario,
is mistaken by Antonio for Sebastian. Thus, another purpose of the scene is to
bring Sebastian into the same city where Viola is, thus setting the stage for
further complications involving mistaken identities. The plot is rapidly
reaching the point of complication where Shakespeare will have to begin
unraveling it.<o:p></o:p></span></div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-35965049828828251872013-05-01T07:43:00.000+03:002013-05-01T07:43:22.944+03:00Twelfth night Act 3 Scene 2 A Room in Olivia's House summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<br /><div style="text-align: left;">
</div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<b><span lang="AR-IQ" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p><span style="color: red;"> Act 3 Scene 2</span></o:p></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<b><span style="font-family: Verdana, sans-serif;"><span style="color: blue; font-size: large;">A Room in Olivia's House </span></span></b></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<b><span style="font-family: Verdana, sans-serif;"><span style="color: blue; font-size: large;">Enter Sir Toby Belch, Sir Andrew Aguecheek, and Fabian</span></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetextheading" style="background-color: white; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: 14px; line-height: 21px;"><b></b></span></span></div>
<div class="litnotetextheading" style="margin: 12pt 0cm;">
<span style="font-family: Verdana, sans-serif;"><b><br /></b></span></div>
<div class="litnotetextheading" style="margin: 12pt 0cm;">
<span style="font-family: Verdana, sans-serif;"><b>Act 3 Scene 2,A Room in Olivia's House,Enter Sir Toby Belch, Sir Andrew Aguecheek, and Fabian,Twelfth Night,shakespeare famous,shakespeare twelfth night,twelfth night summary,shakespeare taming,viola twelfth night,twelfth night viola</b></span></div>
<br />
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">At Olivia's house, Sir Andrew is becoming angry and
frustrated. He is making absolutely no progress in winning the affections of
Olivia; he is convinced that she bestows more favors on "the count's
serving man" (Cesario) than she does on Sir Andrew. He tells Sir Toby and
Fabian that he saw Olivia and Cesario in the orchard, and it was plain to him
that Olivia is in love with Cesario. Fabian disagrees; he argues that Olivia is
only using Cesario as a ploy to disguise her love for Sir Andrew and thereby
make Sir Andrew jealous. Fabian thinks that Sir Andrew should have challenged
Cesario on the spot and "banged the youth into dumbness." He laments
the fact that Sir Andrew has lost his chance to prove his valor before Olivia's
eyes. Now Sir Andrew will "hang like an icicle on a Dutchman's beard"
unless he redeems himself by some great and glorious deed. Sir Toby agrees. He
proposes that Sir Andrew challenge Cesario to a duel. They themselves will
deliver the challenge. Sir Andrew agrees to the plan and goes off to find a pen
and some paper, and while he is gone, Sir Toby and Fabian chuckle over the
practical joke they have just arranged. They are sure that neither Sir Andrew
nor Cesario will actually provoke the other into a real duel.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Maria arrives onstage with the news that Malvolio
"does obey every point of the letter." He is sporting yellow
stockings; he is cross-gartered, and he "does smile his face into more
lines than is in the new map . . . of the Indies."<o:p></o:p></span></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Essentially, this scene serves to advance the subplot,
which will culminate when the cowardly Sir Andrew will try to engage Cesario in
an actual duel. The first part of this scene reveals that Olivia's love for
Cesario is even apparent to someone as dense as Sir Andrew. The mere fact that
he has made no progress in his courtship with Olivia does not surprise us. What
is astonishing, however, is that he still thinks that he has a chance to win
the affection of Olivia. She is obviously far too sensitive and intelligent for
this foolish and zany knight, but Sir Andrew is nevertheless jealous of the
favors which he has observed Olivia giving to Cesario. To add unity to the
scene, we hear that Malvolio is completely following the instructions in the
forged letter. Thus, if Sir Andrew is foolish in his belief that he will obtain
Olivia's hand, then Malvolio is extremely egotistical to also think so. And as
we will see by his dress and demeanor, he will ultimately be revealed as being
as foolish as Sir Andrew.<o:p></o:p></span></div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span lang="AR-IQ" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p><br /></o:p></span></b></div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span lang="AR-IQ" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p><br /></o:p></span></b></div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-5697761467203406462013-05-01T07:06:00.002+03:002013-05-01T07:06:46.942+03:00DERRIDA’S Structure, Sign and Play in the Discourse of the Human Sciences<div dir="rtl" style="text-align: right;" trbidi="on">
<br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
DERRIDA’S Structure, Sign and Play in the Discourse of the Human Sciences </div>
<div style="text-align: left;">
Derrida, in his “Structure, Sign and Play in the Discourse of the Human Sciences,” talks about a certain “event” or the “rupture” in the history of thought. I believe this event has reference to the series of deconstruction pioneered by thinkers like Nietzsche, Freud and Heidegger. They were criticizing the concept of a “center” in the philosophical systems of the West, the center which assures theunity of a discourse. I could speak a little about Martin Heidegger since I read a few things about him. Heidegger was critical of metaphysics, whose source of unity or “center” was the concept ofessence. For example, when Heidegger spoke about “truth,” his language was no longer of “connaturality” between the mind and the objective real things, but rather of the mind’s encounter with the unfolding of the thing’s Being. There was no longer a presupposition of an objective essence of a thing that could measure the truthfulness or falsity of an idea. Rather, Heidegger says that truth is the projection of a thing’s Being to an observer’s mind. In effect, truth is but the mind’s determination about the present state of an outside reality. Truth is one’s interpretation or consciousness of a thing or reality. </div>
<div style="text-align: left;">
Heidegger’s criticism against metaphysics counts among the events which Derrida refers to when he spoke about the rupture. Derrida was well aware that there are emerging philosophical thoughts that question the existence of a “center” which in the history of metaphysics was equated with essence and presence. Derrida even says, and I think Heidegger has also said the same, that the center or essence has received several names in the history of metaphysics. It was once called as arche, telos, energeia, ousia, consciousness, trascendentality, God or the Spirit. The rupture was basically the moment or event when these previously held cornerstones of metaphysical – or philosophical – thinking are stripped of their previously held privileged status. </div>
<div style="text-align: left;">
The talk about the strong center is a basic requirement for a durable building. Carpenters have their so-calledcornerstone which holds the entire structure, and without which the entire structure collapses. In our mention of structuralism in our past lectures for example, the meaning of a story rests on a kind of structure or unity that can actually be discerned even in seemingly varied plots of novels or stories. The structure remains more or less the same even if the details are changed. </div>
<div style="text-align: left;">
Yet, with the rupture that Derrida talks about, thedurability and even thepossibili ty of a center is questioned. Derrida, taking his cue from Strauss contends about theillusionary character and even theimpossibility of the center. Derrida noted Strauss’ mythological studies that point out the weaknesses of the epistemological search for unity of a structure. Derrida observes that Strauss’ work criticizes structuralism as it becomes the critique of itself. He cited for example Strauss’ work on The Raw and the Cooked where Strauss uses the concept of a “reference myth.” This “reference myth,” the Bororo myth, is supposedly the center of the structure of his mythology. However, Derrida observes that theBororo myth deserves no more than any other myth its referential privilege. Then, he surmises that the </div>
<div style="text-align: left;">
Bororo myth was favored by Strauss not because of its special character but rather by its </div>
<div style="text-align: left;">
irregular position in the midst of a group of myths. This is in itself a criticism of the concept of a structure for in the search of a center, it was shown that there is no valid basis for choosing a particular center. The choice of a center is ultimately still an arbitrary choice. </div>
<div style="text-align: left;">
1 </div>
<div style="text-align: left;">
Pointing out the origins of the critique or denial of a center, Derrida also realizes that words are but mere signifiers void of any real content. The sign is denied of a presence. Language could no longer demand for a unifying center. As already mentioned, the center becomes an impossibility not just because of the breadth of the reality that it tries to signify, but rather also because of the language’sfreeplay character. Signs are polysemic or not just polysemic, but its signification is unlimited or undefined. It is the nature of language to defy pre- defined signification. Once the message is out, it becomes susceptible to infinite interpretation. </div>
<div style="text-align: left;">
Hence, here is the entry of post-structuralism. Derrida drags the name of Strauss in order to show that structural analysis of reality is already under investigation and is already facing a possible criticism. </div>
<div style="text-align: left;">
Practically, we can inquire as to why structures undergo strong criticisms in our time. Poststructuralism can be said to be a reaction or even a hoped corrective to the weaknesses inherent in structuralism. First, structuralism cannot deny the fact, that the structures it imposes are arbitrary structures. It can even be noted that even the “center” as authority that is operational in our ordinary dealings are not really objectively present in reality but rather are alsoconstructions and in themselves can even betyrannical and offensive to </div>
<div style="text-align: left;">
human persons’ freedom. I remember one heated debate among my co-teachers who were </div>
<div style="text-align: left;">
discussing about the need for a textbook in a classroom instruction. The pro-textbook teachers are structuralist in their belief about the textbook as an assurance for a quality instruction. At least, they argue, a textbook assures us that the teacher is telling the students the things that the students need to know. The textbook somehow assures that the lessons are in line with the demands for orthodoxy. However, the unbelievers of textbooks find the imposition of the use of textbooks offensive to their academic freedom. The textbook limits the teacher. The textbook dictates to the teacher. The textbook diminishes the interest for research. It kills the teachers’ eagerness to update their lessons. The structure, in this case, has become both arbitrary and tyrannical. </div>
<div style="text-align: left;">
Another example is the implementation of the U-turn slots in our main avenues. The structuralist agendum behind this is the smooth flow of the metropolitan traffic. But for taxi drivers, the structure is a disservice for them. It requires them to burn more gas as they take extra meters just to reach the next turn. They complained that in the past, they could just simply cross the street and save more gas in the process. Of the taxi drivers I consulted about the value of the U-turn slots, majority of them claimed that these structures did less help than to reduce their much needed income. </div>
<div style="text-align: left;">
I also remember a friend of mine who is a Secondary School teacher. Their school is currently applying for an accreditation and hence several structures were implemented. They have weekly meetings, they are asked to regularly submit several reports, and they are required to attend several other activities. These are structures that are thought to be assurances of the quality of education that the school would offer. But on the part of the teachers, these structures are arbitrary (for one, they were unsure whether the implementation of auniform improves their performance in class). The structures are arbitrarily imposed, and in effect, have also become tyrannical. </div>
<div style="text-align: left;">
2 </div>
<div style="text-align: left;">
With these growingcriticisms against structures, many people have begun to shy away from it. Many people, for example, hate the structure that implements the use of IDs. These IDs are rather perceived as means for a more efficient control and manipulation. Structures for all their value, are oftentimes arbitrarily implemented and they can oppress the people. Hence, oftentimes, structures are criticized. </div>
<div style="text-align: left;">
Derrida warns us about these problems of structures, and he suspects that the potential consequence of oppressive structures is the total rejection of it. He saw the birth of poststructuralism that denies any center and any form of control. Though, he calls this growing phenomenon as a birthing of a monstrosity, he recognizes that poststructuralism is something that can hardly be prevented or avoided. </div>
<div style="text-align: left;">
In this so-called manifesto, Derrida tries to show to us that indeed the denial of our structures is coming. It comes from the perspective of freeing people from the tyranny of structures. It liberates those who were once excluded because of structures. Poststructuralism is a liberation for those whom the structures regard as abnormal, as insane, as sick, as sinful, as weak, as ugly, and many other pejorative categories. With the denial of structures, the lesser members of the old society are freed of their old stigma, and so they would welcome the coming of a freer society. In this free society everything is possible. Hence, Derrida calls itfreeplay. Everything is acceptable. Anything can be done. A poststructuralist criticizes a basketball game saying: why should these idiots fight for just one ball when they could get a ball for each? Why should they limit themselves to that rectangular court when in fact there are wider spaces at the sides? For poststructuralists, there is freedom in not limiting oneself to structures. The more a person adheres to structure, the more a person limits himself, and hence, the more he loses his opportunity to grow and perfect himself. </div>
<div style="text-align: left;">
Derrida believes that there is no way to prevent this increasing appreciation of a non- structured existence. It would come regardless of the vehement objections of big institutions and authorities. Freeplay is growing, and it has become the more acceptable paradigm or rule (if we are allowed to use these terms in poststructuralism) in our contemporary time. </div>
<div style="text-align: left;">
However, Derrida is also worried about the possible outcome that freeplay would bring. If poststructuralism is an undeniable force, it remains to be seen as to what kind of a community an absolute freeplay would bring. If a basketball game would no longer be played in the way it’s done today, and should there come a time when anyone who wills to play could just simply enter the court, bring his/her own basketball and play his/her own undefined game, what kind of basketball games would we then have? If every driver could simply drive in our streets in an absolute freeplay that is, disregarding the structures we set through our traffic rules, what kind of traffic would we have? </div>
<div style="text-align: left;">
Derrida is aware that poststructuralism or the denial of structures is coming. But should this denial of structures become absolute, what kind of civilization would we have? Derrida could hardly find any better description than to call it amonstrosity. </div>
<div style="text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-45883378583112256132013-04-30T18:59:00.002+03:002013-04-30T18:59:40.917+03:00 Doll’s House By Henrik Ibsen critical theory part 1<div dir="rtl" style="text-align: right;" trbidi="on">
<br />
<div class="MsoNormal" dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; direction: ltr; margin: 0cm -52.7pt 0.0001pt -54pt; text-align: left; unicode-bidi: embed;">
</div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 0cm -52.7pt 0.0001pt -54pt; text-align: center; unicode-bidi: embed;">
</div>
<div class="MsoNormal" dir="LTR" style="direction: ltr; margin: 0cm -52.7pt 0.0001pt -54pt; text-align: center; unicode-bidi: embed;">
</div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<span style="color: red; font-size: large;"><b><span dir="RTL"></span><span dir="RTL"></span><span style="font-family: Helvetica, sans-serif;"><span dir="RTL"></span><span dir="RTL"></span> </span><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif;">A Doll’s House</span><span lang="AR-IQ" style="font-family: Helvetica, sans-serif;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<b><span lang="AR-IQ" style="font-family: Helvetica, sans-serif; font-size: 14pt;"> By</span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<i><span style="font-size: large;"><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif;">Henrik Ibsen</span></b><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif;"><o:p></o:p></span></b></span></i></div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<br /></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Context</span></b><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">HENRIK IBSEN, considered by many to be the
father of modern prose drama, was born in Skien, Norway, on March 20, 1828. He
was the second of six children. Ibsen’s father was a prominent merchant, but he
went bankrupt when Ibsen was eight years old, so Ibsen spent much of his early
life living in poverty. From 1851 to 1864, he worked in theaters in Bergen and
in what is now Oslo (then called Christiania). At age twenty-one, Ibsen wrote
his first play, a five-act tragedy called Catiline. Like much of his early
work, Catiline was written in verse</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">In 1858, Ibsen married Suzannah Thoreson, and
eventually had one son with her. Ibsen felt that, rather than merely live
together, husband and wife should live as equals, free to become their own
human beings. (This belief can be seen clearly in A Doll’s House.)
Consequently, Ibsen’s critics attacked him for failing to respect the
institution of marriage. Like his private life, Ibsen’s writing tended to stir
up sensitive social issues, and some corners of Norwegian society frowned upon
his work. Sensing criticism in Oslo about not only his work but also his
private life, Ibsen moved to Italy in 1864 with the support of a traveling
grant and a stipend from the Norwegian government. He spent the next
twenty-seven years living abroad, mostly in Italy and Germany</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.<o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Ibsen’s early years as a playwright were not
lucrative, but he did gain valuable experience during this time. In 1866, Ibsen
published his first major theatrical success, a lyric drama called Brand. He
followed it with another well-received verse play, Peer Gynt. These two works
helped solidify Ibsen’s reputation as one of the premier Norwegian dramatists
of his era. In 1879, while living in Italy, Ibsen published his masterpiece, A
Doll’s House. Unlike Peer Gynt and Brand, A Doll’s House was written in prose.
It is widely considered a landmark in the development of what soon became a
highly prevalent genre of theater—realism, which strives to portray life
accurately and shuns idealized visions of it. In A Doll’s House, Ibsen employs
the themes and structures of classical tragedy while writing in prose about
everyday, unexceptional people. A Doll’s House also manifests Ibsen’s concern
for women’s rights, and for human rights in general</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Ibsen followed A Doll’s House with two
additional plays written in an innovative, realistic mode: Ghosts, in 1881, and
An Enemy of the People, in 1882. Both were successes. Ibsen began to gain
international recognition, and his works were produced across Europe and
translated into many different languages</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">In his later work, Ibsen moved away from
realistic drama to tackle questions of a psychological and subconscious nature.
Accordingly, symbols began to gain prominence in his plays. Among the works he
wrote in this symbolist period are The Wild Duck (1884) and Hedda Gabler (1890).
Hedda Gabler was the last play Ibsen wrote while living abroad. In 1891, he
returned to Oslo. His later dramas include The Master Builder (1892) and Little
Eyolf (1896). Eventually, a crippling sickness afflicted Ibsen and prevented
him from writing. He died on May 23, 1906</span></b><b><span dir="LTR" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Plot Overview<o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">A DOLL’S HOUSE opens on Christmas Eve. Nora
Helmer enters her well-furnished living room—the setting of the entire
play—carrying several packages. Torvald Helmer, Nora’s husband, comes out of
his study when he hears her arrive. He greets her playfully and affectionately,
but then chides her for spending so much money on Christmas gifts. Their
conversation reveals that the Helmers have had to be careful with money for
many years, but that Torvald has recently obtained a new position at the bank
where he works that will afford them a more comfortable lifestyle</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Helene, the maid, announces that the Helmers’
dear friend Dr. Rank has come to visit. At the same time, another visitor has
arrived, this one unknown. To Nora’s great surprise, Kristine Linde, a former
school friend, comes into the room. The two have not seen each other for years,
but Nora mentions having read that Mrs. Linde’s husband passed away a few years
earlier. Mrs. Linde tells Nora that when her husband died, she was left with no
money and no children. Nora tells Mrs. Linde about her first year of marriage
to Torvald. She explains that they were very poor and both had to work long
hours. Torvald became sick, she adds, and the couple had to travel to Italy so
that Torvald could recover<o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Nora inquires further about Mrs. Linde’s
life, and Mrs. Linde explains that for years she had to care for her sick
mother and her two younger brothers. She states that her mother has passed
away, though, and that the brothers are too old to need her. Instead of feeling
relief, Mrs. Linde says she feels empty because she has no occupation; she
hopes that Torvald may be able to help her obtain employment. Nora promises to
speak to Torvald and then reveals a great secret to Mrs. Linde—without
Torvald’s knowledge, Nora illegally borrowed money for the trip that she and
Torvald took to Italy; she told Torvald that the money had come from her
father. For years, Nora reveals, she has worked and saved in secret, slowly
repaying the debt, and soon it will be fully repaid</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Krogstad, a low-level employee at the bank
where Torvald works, arrives and proceeds into Torvald’s study. Nora reacts
uneasily to Krogstad’s presence, and Dr. Rank, coming out of the study, says
Krogstad is “morally sick.” Once he has finished meeting with Krogstad, Torvald
comes into the living room and says that he can probably hire Mrs. Linde at the
bank. Dr. Rank, Torvald, and Mrs. Linde then depart, leaving Nora by herself.
Nora’s children return with their nanny, Anne-Marie, and Nora plays with them
until she notices Krogstad’s presence in the room. The two converse, and
Krogstad is revealed to be the source of Nora’s secret loan</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Krogstad states that Torvald wants to fire
him from his position at the bank and alludes to his own poor reputation. He
asks Nora to use her influence to ensure that his position remains secure. When
she refuses, Krogstad points out that he has in his possession a contract that
contains Nora’s forgery of her father’s signature. Krogstad blackmails Nora,
threatening to reveal her crime and to bring shame and disgrace on both Nora
and her husband if she does not prevent Torvald from firing him. Krogstad
leaves, and when Torvald returns, Nora tries to convince him not to fire
Krogstad, but Torvald will hear nothing of it. He declares Krogstad an immoral
man and states that he feels physically ill in the presence of such people</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Act Two opens on the following day,
Christmas. Alone, Nora paces her living room, filled with anxiety. Mrs. Linde
arrives and helps sew Nora’s costume for the ball that Nora will be attending
at her neighbors’ home the following evening. Nora tells Mrs. Linde that Dr.
Rank has a mortal illness that he inherited from his father. Nora’s suspicious
behavior leads Mrs. Linde to guess that Dr. Rank is the source of Nora’s loan.
Nora denies Mrs. Linde’s charge but refuses to reveal the source of her
distress. Torvald arrives, and Nora again begs him to keep Krogstad employed at
the bank, but again Torvald refuses. When Nora presses him, he admits that
Krogstad’s moral behavior isn’t all that bothers him—he dislikes Krogstad’s
overly familiar attitude. Torvald and Nora argue until Torvald sends the maid
to deliver Krogstad’s letter of dismissal</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>. </span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Torvald leaves. Dr. Rank arrives and tells
Nora that he knows he is close to death. She attempts to cheer him up and
begins to flirt with him. She seems to be preparing to ask him to intervene on
her behalf in her struggle with Torvald. Suddenly, Dr. Rank reveals to Nora
that he is in love with her. In light of this revelation, Nora refuses to ask
Dr. Rank for anything</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Once Dr. Rank leaves, Krogstad arrives and
demands an explanation for his dismissal. He wants respectability and has
changed the terms of the blackmail: he now insists to Nora that not only that
he be rehired at the bank but that he be rehired in a higher position. He then
puts a letter detailing Nora’s debt and forgery in the -Helmers’ letterbox. In
a panic, Nora tells Mrs. Linde everything, and Mrs. Linde instructs Nora to delay
Torvald from opening the letter as long as possible while she goes to speak
with Krogstad. In order to distract Torvald from the letterbox, Nora begins to
practice the tarantella she will perform at that evening’s costume party. In
her agitated emotional state, she dances wildly and violently, displeasing
Torvald. Nora manages to make Torvald promise not to open his mail until after
she performs at the party. Mrs. Linde soon returns and says that she has left
Krogstad a note but that he will be gone until the following evening</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">The next night, as the costume party takes
place upstairs, Krogstad meets Mrs. Linde in the Helmers’ living room. Their
conversation reveals that the two had once deeply in love, but Mrs. Linde left
Krogstad for a wealthier man who would enable her to support her family. She
tells Krogstad that now that she is free of her own familial obligations and
wishes to be with Krogstad and care for his children. Krogstad is overjoyed and
says he will demand his letter back before Torvald can read it and learn Nora’s
secret. Mrs. Linde, however, insists he leave the letter, because she believes
both Torvald and Nora will be better off once the truth has been revealed</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Soon after Krogstad’s departure, Nora and
Torvald enter, back from the costume ball. After saying goodnight to Mrs.
Linde, Torvald tells Nora how desirable she looked as she danced. Dr. Rank, who
was also at the party and has come to say goodnight, promptly interrupts
Torvald’s advances on Nora. After Dr. Rank leaves, Torvald finds in his
letterbox two of Dr. Rank’s visiting cards, each with a black cross above the
name. Nora knows Dr. Rank’s cards constitute his announcement that he will soon
die, and she informs Torvald of this fact. She then insists that Torvald read
Krogstad’s letter</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<div align="right" class="MsoNormal" dir="RTL" style="text-align: left;">
<b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Torvald reads the letter and is outraged. He
calls Nora a hypocrite and a liar and complains that she has ruined his
happiness. He declares that she will not be allowed to raise their children.
Helene then brings in a letter. Torvald opens it and discovers that Krogstad
has returned Nora’s contract (which contains the forged signature). Overjoyed,
Torvald attempts to dismiss his past insults, but his harsh words have
triggered something in Nora. She declares that despite their eight years of marriage,
they do not understand one another. Torvald, Nora asserts, has treated her like
a “doll” to be played with and admired. She decides to leave Torvald, declaring
that she must “make sense of [her]self and everything around her.” She walks
out, slamming the door behind her</span></b><span dir="RTL"></span><span dir="RTL"></span><b><span lang="AR-SA" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><span dir="RTL"></span><span dir="RTL"></span>.</span></b><b><span dir="LTR" lang="EN" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></b></div>
<br />
<br />
<br />
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-49090866798987340262013-04-29T19:26:00.000+03:002013-04-29T19:26:27.920+03:00twelfth night Act 3 Scene 1 Olivia's Garden summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
</div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;">Act III: Scene 1</span></b><b><span lang="AR-IQ" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary <o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Viola, disguised as Cesario,
has come to plead Orsino's case with Olivia and is now sitting in Olivia's
garden, chatting with Feste, Olivia's jester. They play an innocent game of
verbal sparring. Their wit is inconsequential, but Cesario cuts it off
suddenly, for he tells Feste that while it is pleasant to "dally
nicely" with words in harmless punning matches, such duels of wit can
easily turn into games of bawdy, "wanton" double entendres. Cesario
reminds Feste that Feste is, after all, Olivia's "fool" (another term
for jester, but here it is intended to also carry a literal connotation). Feste
easily parries Cesario's gentle reprimand. The Lady Olivia, he tells Cesario,
has no fool; in fact, she will have no fool "till she be married."
Indeed, he is<span class="apple-converted-space"> </span><i>not</i><span class="apple-converted-space"> </span>her fool; he is her "corrupter of
words." Again, he bests Cesario's own keen wit, while being as
"subservient" as possible to the handsome young man; and in this
connection, one should note that in this scene, Feste's etiquette of status is
ever-present; he prefaces almost every verbal parry between the two with the
polite "Sir." Yet there is a good spirit of camaraderie in this scene
between the two people. In fact, Feste would enjoy their sparring even more, he
says, if Cesario were older and wiser and more worldly; he remarks that it is
time that Jove sent Cesario a beard. Viola, forgetting herself momentarily,
confesses that she is "almost sick for one" — and then she realizes
what she was about to say: she is literally almost<span class="apple-converted-space"> </span><i>sick</i><span class="apple-converted-space"> </span>for the love of a man, which of course
she can't hope to have as long as she is disguised as a man herself.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">At this point, Feste
goes in to announce to Olivia that Cesario awaits her in the garden, and while
Feste is gone, Viola soliloquizes on the nature of "playing the
fool." She recognizes Feste's intelligence; it takes a mature sensitivity
to deal with the varying temperaments and moods of one's superiors while
attempting to soothe and entertain them. A jester's wit must be just witty<span class="apple-converted-space"> </span><i>enough</i>; he must tread a thin
nimble-witted line, without overstepping social bounds. "Playing the
fool," being a jester, Viola says, is "a wise man's art."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">While Cesario is waiting, Sir Toby and Sir Andrew enter
and joke with Cesario, but whereas Cesario and Feste entertained the audience
with high comedy, Sir Toby and Sir Andrew indulge in low comedy. Like everyone
else (with the exception of Malvolio), both men are quite impressed with
Cesario, especially Sir Andrew, and much of their joking focuses on their
attempting to mimic Cesario's manners. Summing up Cesario, Sir Andrew comments,
"That youth's a rare courtier."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Olivia and Maria
enter, and Olivia quickly dismisses Maria, Uncle Toby, and Sir Andrew so that
she can be alone with Cesario. Immediately, she asks for Cesario's hand and
then for his name. When he answers her that he is her servant, she protests: he
is Orsino's servant. But, Cesario reminds Olivia, because he is Orsino's
servant, and because his master is<span class="apple-converted-space"> </span><i>her</i><span class="apple-converted-space"> </span>servant (because of his love for her),
therefore, he himself is her servant. Olivia is distracted by such logic and
such talk of Orsino. All of her thoughts are on Cesario, and she would like him
to think only of her; as for Orsino, she would prefer that his mind would be
absolutely blank rather than filled with thoughts of her. She never wants to
hear about Orsino again — or his "suit" (his wooing). She would much
prefer that Cesario would present his own "suit" to her — that is, to
woo her on his own behalf.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">She confesses that the ruse of the forgotten ring and her
sending Malvolio after Cesario was only an excuse; she simply wanted any excuse
to have Cesario return to her. She desperately wants to hear words of love from
him; she begs him to speak. But all Cesario can reply is that he pities her.
Olivia accepts Cesario's rejection with a certain dignity, but she certainly
accepts it with undisguised disappointment. How much better for her, she says,
if her heart had cast her before "a lion" (a nobleman) rather than
before "a wolf" (a servant). She then tells Cesario not to be afraid;
she will not press him any further for love that he cannot give. Yet she cannot
but envy the lucky woman who finally will "harvest" this youth.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Cesario makes ready to go, then he pauses; he asks Olivia
one last time if she has any words for Orsino. She begs Cesario to linger:
"Stay," she entreats him, and "prithee, tell me what thou
think'st of me." Cesario and Olivia both confess ambiguously that they are
not what they seem, and then Olivia can stand no more. She ends Cesario's
adroit evasions of her questions with a passionate declaration of love:<o:p></o:p></span></div>
<div class="litnoteindent" style="background: white; line-height: 15.75pt; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">I love thee, so, that maugre [despite] all
thy pride,<span class="apple-converted-space"> </span><br />
Nor wit nor reason can my passion hide. (148-49)<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Despite this beautiful and spontaneous declaration of
love, Cesario of course cannot encourage Olivia, even as a gesture of
friendship. He must, in order to maintain his disguise, reject her declarations
of love. He tells her, therefore, in the plainest way he can, that he has but
"one heart" and that he has given it to "no woman" — nor
shall any woman be the "mistress" of that heart, "save I
alone." Thus he must bid Olivia adieu; nevermore will he come to speak of
his master's love for her. In desperation, Olivia pleads with Cesario:
"Come again"; perhaps his heart may yet change and perhaps he may yet
come to love her.<o:p></o:p></span></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">This scene continues from Act II, Scene 4, when Duke
Orsino was preparing to send Cesario on another mission to Olivia. We should
still be aware that the scenes have been alternating between the romantic plots
and the subplots concerning the gulling of Malvolio. Thus, after the hilarious
scene at the end of Act II, Act III opens in Olivia's garden, but the scene is
light and jovial because Cesario has just encountered Olivia's clown, Feste.
Together, they delight the audience by turning one another's sentences inside
out, demonstrating that each has a finely honed wit.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">With the entrance of Sir Toby and Sir Andrew, the punning
is continued but, more important, Sir Andrew is able to take note of the manner
in which Cesario (Viola) addresses Olivia, which will later give rise to the
pretended duel between the two.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">After Olivia dismisses everyone in order to be alone with
the young messenger, she immediately and desperately wants to hear words of
love from Cesario, but all that he can say is that he pities her. Olivia then
shows herself to be very much like Duke Orsino — that is, she is as changeable
as the duke is. At first, she tells Cesario, "I will not have you."
Then as Cesario is about to leave, Olivia cannot quite dismiss him before she
finds out what he thinks of her: "Stay, I prithee, tell me what thou
think'st of me." There follows, then, a series of speeches which serve to
remind the audience of the importance and the complications issuing from the
fact that everyone is in some sort of disguise:<o:p></o:p></span></div>
<div class="litnoteindent" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<i><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Viola</span></i><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">: That you do think you are not what you are. [That is,
that you think that you are in love with a man and you are mistaken.]<o:p></o:p></span></div>
<div class="litnoteindent" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<i><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Olivia</span></i><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">: If I think so, I think the same of you. [If I think
lower of myself, I think the same of you; i.e., that you are a nobleman in
disguise.]<o:p></o:p></span></div>
<div class="litnoteindent" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<i><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Viola</span></i><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">: Then think you right: I am not what I am. [She is a
girl, not a boy.]<o:p></o:p></span></div>
<div class="litnoteindent" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<i><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Olivia</span></i><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">: I would you were as I would have you be. [That is, she
wishes that Cesario were a man in love with her.]<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">After further exchanges, Olivia makes a passionate
declaration of love for Cesario:<o:p></o:p></span></div>
<div class="litnoteindent" style="background: white; line-height: 15.75pt; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Cesario, by the roses of the spring,<br />
By maidhood, honour, truth and everything . . .<span class="apple-converted-space"> </span><br />
I love thee so . . .<span class="apple-converted-space"> </span><br />
Nor wit nor reason can my passion hide. (146-49)<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Despite this beautiful and spontaneous (and completely
unsought) declaration of love, Cesario cannot surrender or explain to Olivia
without revealing the disguise; but in refusing her, "he" is guilty
in her eyes of wanton cruelty. Lady Olivia is now reduced to the same state as
Orsino in this scene. She is pleading for love and is rejected.<o:p></o:p></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-53046811792615616822013-04-29T17:51:00.000+03:002013-04-29T17:51:34.177+03:00twelfth night Olivia's Garden Act II Scene 5 summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<br />
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<br /></div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;">Act II: Scene 5</span></b><b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Olivia's Garden</span></b></div>
<div class="litnotetextheading" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sir Toby, Sir Andrew, and Fabian (another of Olivia's
servants) have agreed to meet in Olivia's garden, and as the scene begins, the
three men enter, Sir Toby urging Fabian on. But Fabian, as we quickly realize,
needs no urging; he is more than anxious to relish every minute of their plan
to make a fool of Malvolio. Like Sir Toby and Sir Andrew, Fabian has his own
quarrel with the prudish, sharp-tongued Malvolio. It seems that Malvolio
reported to Olivia that Fabian was "bear-baiting," a popular (if
cruel) Elizabethan sport and one which Fabian enjoys. Sir Toby predicts that
very soon Malvolio will be the "bear," for the bait will soon be set.
They do not have long to wait, for, as Sir Toby points out, "Here comes
the little villain."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Before Malvolio comes onstage, however, Maria rushes in
and makes sure that they are all well concealed in a "box-tree" (a
long hedge trimmed to look like a box). Satisfied, she puts the forged love
letter in the garden path, where Malvolio will be sure to find it. "The
trout" (Malvolio), she vows, will be caught with "tickling"
(having his vanity tickled).<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">When Malvolio enters,
he is greedily weighing the possibility that Olivia may be falling in love with
him. Maria herself, he says, confirmed such a notion, and he himself has heard
Olivia say that if ever she should choose a husband, that man would be someone
very much like Malvolio; also, Malvolio believes that Olivia treats him with
more respect than she does any of her other suitors. The thought of Malvolio's
being "<i>Count<span class="apple-converted-space"> </span></i>Malvolio"
overwhelms him. He conjures up visions of himself — married to Olivia for three
months and lovingly letting her sleep in the morning while he, robed in a
"velvet gown," rises from the bed and calls his officers to him. He
imagines himself reminding his officers to remember their place. Then he would
call for his "Cousin Toby," and while he is waiting, he would
"frown the while," and toy with his watch or with "some rich
jewel." He envisions Sir Toby approaching, curtsying and quaking, as
Malvolio reminds him that because "fortune" has given Malvolio
"this prerogative of speech," he will austerely command his
"kinsman" to "amend [his] drunkenness." He will also inform
Sir Toby that he "wastes the treasure of . . . time with a foolish
knight" — a contemptuous slur at Sir Andrew.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">At this point,
Malvolio spies the "love note." He reads it and is absolutely
convinced that it was written by Olivia. The script and the phraseology are
Olivia's, and the note also has her stamp that she uses for sealing letters. As
he reads the poem of love, Malvolio ponders over its mystery. Olivia confesses
that only "Jove knows" whom she truly loves; her lips cannot say and
"no man must know." The first stanza is unclear, but Malvolio finds
hope in the second stanza that it is indeed<span class="apple-converted-space"> </span><i>he</i><span class="apple-converted-space"> </span>whom Olivia loves, for she writes that
she "may command where I adore." Surely she refers to him; he is her
steward and is at her command. He reads on and finds that the author of the
poem says that because she cannot speak the name of her beloved, that
"silence, like a Lucrece knife / With bloodless stroke my heart doth gore."
Such passion thrills Malvolio, but his emotions are stilled by the poem's
puzzling last line: "M, O, A, I, doth sway my life." He reasons that
"M"<span class="apple-converted-space"> </span><i>could</i><span class="apple-converted-space"> </span>stand for "Malvolio," but it
should logically be followed by "A," and not by "O." And
what of the "I" at the end? Yet the letters could feasibly be pieces
of an anagram of his name because his name does contain all those letters,
albeit in a different sequence.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Then enclosed with the poem, Malvolio discovers a prose
letter, which he reads aloud. The author of the letter says that if this letter
should, by accident, "fall into [her beloved's] hand," he should be
aware that the woman who loves him is, because of the stars (fate)
"above" him (meaning that she is socially superior to him), but she begs
him not to fear her "greatness." She then states words that have been
much-quoted ever since: ". . . some are born great, some achieve
greatness, and some have greatness thrust upon 'em." Maria, despite being
a mere maid, has done a masterful job of composing exquisite, apologetic
modesty, coupled with the tenderness of a love that cannot speak its name.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The author of the love letter continues: Fate beckons to
her beloved; he is urged to cast off his usual garments and, instead, he is
"commended" to wear yellow stockings, cross-gartered. And, in
addition, he should be more "surly with servants"; his tongue should
have a "tang." If he does not do all of these things, he will be
thought of as no more than a "steward still" and "not worthy to
touch Fortune's fingers." The note is signed with a popular Elizabethan
lover's device — an oxymoron: "The Fortunate Unhappy." The
incongruity of combining one mood with its opposite was considered the epitome
of epigrammatic wit.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Malvolio is exultant
after reading the letter. He vows, as he was "commended," to be<span class="apple-converted-space"> </span><i>proud</i><span class="apple-converted-space"> </span>and to<span class="apple-converted-space"> </span><i>baffle</i>Sir Toby. To him, there
can be no doubt that Olivia wrote the love letter, and if she desires him to
wear "yellow stockings . . . cross-gartered," then yellow stockinged
and cross-gartered he shall be. His joy is so rapturous that he almost
overlooks a postscript: the author is sure that her beloved, if he finds her
letter, will recognize himself as her heart's secret treasure; if so, he is to
acknowledge his own affection. He is to smile; she repeats the command three
times: he is to smile and smile and smile. In other words, Maria is going to
make the usually sober and uppity Malvolio look like a grinning fool.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Malvolio exits, and
Sir Toby, Sir Andrew, and Fabian emerge from the hedge, just as Maria enters.
They are all in excellent spirits. Sir Toby is prepared to marry Maria for her
cleverness; he even offers to lie under her and allow her to put her foot upon
his neck in the classical position of the victor and the vanquished. She has
succeeded beyond all their expectations. Maria says that they won't have long
to wait to see the results of their prank. Malvolio is sure to try to see
Olivia as soon as possible, and, Maria says, Olivia<span class="apple-converted-space"> </span><i>detests</i><span class="apple-converted-space"> </span>yellow stockings, and cross-garters
are a fashion which Olivia<span class="apple-converted-space"> </span><i>abhors</i>;
in addition, Olivia is usually so melancholy about the fact that she cannot
choose a husband for herself that Malvolio's endless smiling will drive her
into a fury. So off the pranksters go, arm in arm, eagerly anticipating their
comic revenge on the officious Malvolio.<o:p></o:p></span></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">In contrast to the romantic plot of the preceding scene,
we return now to the comic subplot focusing on the duping of Malvolio. This
gulling of Malvolio is one of the most comic scenes in the entire play. Sir
Toby and Sir Andrew are joined by a new character, Fabian, who has been the
victim of Malvolio's sanctimoniousness when he protested to the Lady Olivia
that Fabian was involved in the cruel game of "bear baiting," a form
of sport in which dogs barked and snapped at a bear chained to a post. As a
moral puritan, Malvolio had reported Fabian for "bear baiting"
because Olivia disapproved of this cruel sport. Now, however, they hope that
this "niggardly rascally sheep-biter" will soon come along, and they
will make Malvolio into the "bear" and will "bait" (tease)
him.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">They intend to fool him "black and blue." Yet,
there is no genuine malevolence in their actions. They resent Malvolio's lack
of human sympathy and his puritanical arrogance towards them, and furthermore
they will use his own arrogant and egotistical nature to play the trick upon
him. If he weren't so self-centered and egotistical, it would be impossible to
play this trick upon him. Because of this, we find it difficult to sympathize
with Malvolio. At this point, Malvolio is like a man who looks down the wrong
end of a telescope and sees everything in the world as being diminished in
stature.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">When Malvolio opens the letter, he thinks that he
recognizes Olivia's handwriting; we know, of course, that it is Maria's
handwriting. As Malvolio recognizes certain letters, he mouths them aloud; this
is a superb comic example of "echo comedy." All through the scene, as
Malvolio tries to decipher the letter, the characters in the box-elder hedge
continue to make humorous and derogatory remarks. When Malvolio reads in the
letter, "If this fall into thy hand, revolve," he turns around on the
stage, evoking roars of laughter from those in the box-hedge.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The instructions in the letter will be the source of
future comedy; we should remember that Maria conceived the letter knowing full
well Lady Olivia's likes and dislikes. Malvolio is instructed to be surly and
distant to the servants, and especially to Olivia's uncle, Sir Toby. Moreover,
Malvolio is to wear yellow stockings, an old fashioned symbol of jealousy,
already a laughable joke and also a symbol of a low-class serving person; in
addition, yellow is a color that Maria knows that the Lady Olivia detests.
Malvolio is also to wear the stockings "cross gartered" — that is, he
is to wear the garters both above and below the knee, making a cross behind,
another custom practiced only by the lowest menials. The irony is that when
Malvolio is dressed in this outrageous garb, he hopes to woo a countess!
Furthermore, he is to smile continuously at Olivia, and Maria knows that Olivia
cannot countenance smiles because she is in "mourning." This is
doubly ironic because Malvolio has never smiled before; now he will walk around
with a foolish smile constantly upon his face.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">As a final note, the duping is so perfect that Sir Toby
says of Maria: "I could marry this wench for this device" — that is,
because of her plan for the duping. When Maria returns, she tells the others to
wait until Malvolio first appears before Olivia. He will wear and do everything
Olivia detests, and Malvolio's smiling will be so unsuitable to her melancholy
disposition that she will probably have him sent away. The comedy lies in the
audience's anticipation of this forthcoming scene.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<br /></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-11053498299067634792013-04-29T17:46:00.000+03:002013-04-29T17:46:55.742+03:00twelfth night A Room in the Duke's Palace Act II Scene 4 summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
</div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;">Act II: Scene 4</span></b><b><span lang="AR-IQ" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></b></div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">At Orsino's palace, the duke is gathered together with
Cesario (Viola), Curio, and others, and he says that he would like to hear a
song, a certain "old and antique" song that he heard last night; the
song seemed to "relieve [his] passion much." Feste, the jester, is
not there to sing it, however, so Orsino sends Curio out to find him and, while
Curio is gone, Orsino calls Cesario to him. He tells the young lad that
"if ever [Cesario] shalt love," then he should remember how Orsino
suffered while he experienced love's sweet pangs. Orsino tells Cesario that
Orsino himself is the sad epitome of all lovers — "unstaid and
skittish" — except when he recalls "the constant image" of his
beloved. Cesario hints that love has already enthroned itself within him, and Orsino
remarks that he believes that Cesario is indeed correct. He can tell by looking
at the boy that his "eye / Hath stay'd upon some favour that it
loves." Cesario acknowledges that this is true. The duke is intrigued; he
is curious about the woman who has caught Cesario's fancy, and he begins to
question the lad.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Cesario says that the object of his love is a great deal
like Orsino, a confession that makes Orsino scoff: "She is not worth thee,
then," he says. When he learns that Cesario's "beloved" is about
Orsino's own age, he becomes indignant. A woman, he says, should take someone
"elder than herself." He says that women, by nature, are not able to
love with the same intensity as a young man is able to love; women need to find
themselves a steady, doggedly devoted older man whose passions are burned low
and, thus, more equal to hers. Cesario, Orsino suggests, needs to find a very
young virgin, one who has just blossomed, "for women are as a rose [and]
being once displayed, do fall that very hour." Cesario sadly agrees;
women, he says, often "die, even when they to perfection grow."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Curio and Feste enter
then, and Feste is more than happy to sing the song that he sang last night. He
urges Cesario, in particular, to take note of it for although it is "old
and plain," it is a song that is well known. Spinsters sing it, as do
young maidens; its theme concerns the simple truth of love's innocence. The
song begins, "Come away, come away, death . . ." (which is certainly
a melancholy evocation) and goes on to lament unrequited love — of which Orsino
and Viola (and Olivia) all suffer. The lover of the song is a young man who has
been "slain" by "a fair cruel maid," and, his heart broken,
he asks for a shroud of white to encase his body. He wants no flowers strewn on
his black coffin; nor does he want friends nor mourners present when he is
lowered into the grave. In fact, he wants to be buried in a secret place so
that no other "sad true lover" will chance to find his grave and find
reason to weep there. The emphasis here is on the<span class="apple-converted-space"> </span><i>innocence of love</i>, and our
focus is on poor Viola, who has innocently fallen in love with Duke Orsino, who
believes that she is only a handsome young man, to whom he feels "fatherly."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Orsino gives Feste
some money for singing the mournful ballad, and, in return, Feste praises his
good and generous master and then exits. The duke then excuses the others, and
when he and Cesario are alone, he turns to the boy and tells him that he must
return to Olivia and her "sovereign cruelty." He tells Cesario that
he<span class="apple-converted-space"> </span><i>must</i><span class="apple-converted-space"> </span>convince Olivia that Orsino's love is
"more noble than the world." It is not her riches which he seeks (her
"quantity of dirty lands"); instead, he prizes her as a "queen
of gems." It is his soul which loves her. When Cesario asks what he should
say if Olivia protests that she absolutely cannot love Orsino, the duke refuses
to accept such an answer.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Cesario then grows
bold and tells Orsino that perhaps there is "some lady" who has
"as great a pang of heart" for him as he has for Olivia. Orsino
refuses to acknowledge that<span class="apple-converted-space"> </span><i>women</i><span class="apple-converted-space"> </span>can love with the passion that<span class="apple-converted-space"> </span><i>men</i><span class="apple-converted-space"> </span>can:<o:p></o:p></span></div>
<div class="litnoteindent" style="background: white; line-height: 15.75pt; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">. . . no woman's sides<br />
Can bide the beating of so strong a passion<br />
As love doth give my heart; no woman's heart<br />
So big, to hold so much. (92-95)<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">True love, he says, using a typically Elizabethan
analogy, lies in one's liver, and a woman's love lies only on the tip of her
tongue. Women may talk sweetly, but women cannot "suffer surfeit, cloyment
and revolt," pains of the liver which are reserved for only men. He wants
to make it perfectly clear to Cesario that there is "no compare / Between
that love a woman can bear me / And that I owe Olivia."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Cesario now becomes
bolder still and says that women can indeed love with as much passion as men
can. He knows it to be so, for his father had a daughter who loved a man with
as much passion as Cesario himself could love Orsino — that is,<span class="apple-converted-space"> </span><i>if</i><span class="apple-converted-space"> </span>Cesario were a woman. Then Cesario
realizes that perhaps he has said enough on the subject, but when Orsino
inquires further concerning the history of this "sister," Cesario's
imagination is rekindled. He returns to the theme of the unrequited lover and
conjures up a sad tale about his "sister" who loved so purely and so
passionately and so privately that love became "like a worm in the
bud" of her youth and fed "on her damask cheek." Turning to
Orsino, he says, "We men may say more, swear more," but talk is often
empty. His sister died, Cesario sighs, and now he is "all the daughters of
my father's house, / And all the brothers too." With this cryptic
statement in mind, the duke gives Cesario a jewel. He is to present it to
Olivia, and he is to "bide no denay" — that is, he is not to take<span class="apple-converted-space"> </span><i>No</i><span class="apple-converted-space"> </span>for an answer. Orsino is determined to
have Olivia's love.<o:p></o:p></span></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">In contrast to all of the shenanigans involved in the
subplot of the last scene, this scene shifts abruptly back to Duke Orsino's
palace, and, once again, the mood and atmosphere are re-established as the duke
again calls for music. We return to that same languid and indolent duke; now,
he asks for the old and antique song that he heard last night. Later in the
scene, Feste will appear and sing the song "Come away, Come away, death."
The theme of this lyric is the sadness unto death of a young man whose love for
a fair, cruel maid is unrequited. (The duke obviously sees a parallel between
his and Lady Olivia's relationship in the song). The youth in the song dies of
his love, and he hopes that no other sad, true lover shall find his grave for a
similar reason — that is, because of unrequited love. The song is quaint and
filled with conceits. Its melancholy artifice probably appeals to the duke in
his present mood, and it certainly suits the musical atmosphere of the play as
a whole. Ironically, while the theme of the song expresses Duke Orsino's mood,
it also expresses the mood of Olivia (who is unrequited in her love for
Cesario), as well as that of Viola (who is unrequited in her love for Duke
Orsino).<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">At the end of the scene, when Cesario says, "My
father had a daughter loved a man," this statement comes as close as Viola
dares in expressing her love for Duke Orsino. The contrast is between her
tormented, inner anguish and reasoned love and the duke's exaggerated
statements of love. While Viola's passion is less pretentious than the duke's,
it is nevertheless as deep and sincere.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The ending of the
scene furthers the plot since Orsino once more<span class="apple-converted-space"> </span><i>commands</i><span class="apple-converted-space"> </span>Cesario to deliver a love message and a
jewel to Olivia, thus setting up another encounter between the unrequited
Olivia and the inaccessible Cesario (Viola).<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-45529183661397649392013-04-29T17:43:00.000+03:002013-04-29T17:43:14.497+03:00twelfth night Act II Scene 3 A Room in Olivia's House summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
</div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
<div class="MsoNormal" dir="RTL" style="text-align: center;">
<b><span dir="LTR" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;">Act II: Scene 3</span></b><b><span lang="AR-IQ" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></b></div>
<div class="litnotetextheading" style="background-color: white; margin: 12pt 0cm; text-align: center;">
<b><span style="font-family: Verdana, sans-serif;"><span style="font-size: 10.5pt; line-height: 15.75pt;">A Room in </span><span style="font-size: 14px; line-height: 21px;">Olivia's House</span><span style="font-size: 10.5pt; line-height: 15.75pt;"> </span></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary</span></b></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">At Olivia's house, it
is late and Sir Toby and Sir Andrew have been drinking, or
"revelling," as they call it. They are noisily celebrating — reciting
fragments of songs, Latin sayings, and old country proverbs. They play at
logic: Sir Andrew says in all inebriated seriousness that "to be up late
is to be up late." Sir Toby absolutely<span class="apple-converted-space"> </span><i>dis</i>agrees:
"a false conclusion," he pronounces, and a flaw in reasoning, a
vexation which he dislikes as much as he does an empty beer mug. Then he
launches into an involved, implausible, and ridiculous diatribe involving the
hours of the day and of the night and the four elements, and ends by praising
Sir Andrew for being such a superb scholar because Sir Andrew agrees with Sir
Toby's final conclusion — that "life . . . consists of eating and
drinking," which reminds Sir Toby that what they both need is another
drink. Thus he bellows loudly for "Marian" (Maria) to fetch them
"a stoup of wine."<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Feste, the jester, has
not gone to bed and is delighted to come in and discover a party going on. They
all joke uproariously in broad comedy about their all being asses, and then
they attempt to approximate the acerbic flair of high comedy, but their bits
and pieces of joking become so disjointed that it is impossible to know exactly
what they are laughing about, nor is it terribly important. The point is, they
are having manly, goodhearted drunken fun and, therefore, they indulge quite
naturally in some loud singing. Very naturally, one of the first songs is a
love song. It is sung by Feste and begins "O mistress mine" and
concerns men wooing their true loves. The second verse praises the experience
of love: love is an act, to be acted<span class="apple-converted-space"> </span><i>upon</i>;
"tis not hereafter." The future, according to the song, is unsure,
therefore, lovers should kiss for "youth's a stuff [which] will not
endure." The philosophy of the song is agreeable to all, as is Feste's
"mellifluous voice," according to the tipsy Sir Andrew. Sir Toby
criticizes Feste's breath, pondering momentarily on the possibility of one's
being able to hear with one's nose. Then in the next breath, he suggests that
they celebrate so thoroughly that they will "rouse the night-owl" and
make the sky itself (the "welkin") dance. Sir Andrew thinks that this
is a splendid idea: "I am dog at a catch," he cries out, meaning that
he is clever at singing. Yet no sooner do they begin, than their tongues tumble
over the words "knaves" and "knights," two completely
different kinds of men, and they attempt to begin all over again when Maria
comes in. She warns them that their "caterwauling," their wailing
like three sex-starved tomcats, is going to get them thrown out of the place.
If Olivia is awakened, she will have her steward, Malvolio, toss them all out.
Neither Sir Toby nor Sir Andrew pays any attention whatsoever to her; they are
too far gone in their cups, and they call Olivia a "Cataian" (a
bitch) and call Malvolio a "Peg-a-Ramsey." This latter slur is very
insulting, referring to an over-the-hill, henpecked impotent man who woefully
longs for the long-gone days when men sported yellow hose and wooed the village
maids. Sir Toby begins a new song, with the words "On the twelfth day of
December . . ." and suddenly they are all startled to see a figure in the doorway.
It is Malvolio.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">He is haughty and as imperious as Maria warned them that
he would be. He tells them that Olivia has said that either they must quiet
down or else they must leave the house. Sir Toby and Feste mock Malvolio's
edicts with satiric farewells, and Malvolio becomes furious. He is scandalized
to hear such insults in his lady Olivia's house. He turns on Maria and attempts
to shame her for allowing such misbehavior. He shall report her part in all
this "uncivil rule." He warns them that they should make no mistake
about what he plans to do. Their insubordination will be reported immediately!<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Resentful of Malvolio's lordly posings, the drunken
merrymakers loudly applaud Maria's proposed plan to outwit the sharp-tongued,
all-important Malvolio. She will forge a letter in Olivia's handwriting
("some obscure epistles of love") that will contain soulful, sighing
admirations for "the color of [Malvolio's] beard, the shape of his leg,
the manner of his gait, the expression of his eye, forehead, and
complexion" — in short, in a very brief time, Malvolio will mistakenly
believe that Olivia is in love with him. "A sport royal," Maria
predicts. With that, she tells them to hide and eavesdrop on Malvolio when
"he shall find the letter." She then bids them goodnight; the three
men are intoxicated at the thought of what will ensue. Malvolio will be made a
fool of; he has needed such an experience for a long time, and this exciting
prospect, of course, calls for a drink.<o:p></o:p></span></div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Much of the spontaneity of this scene is lost to the
reader of the comedy; however, on the stage, this is a hilarious comic
masterpiece. It is a jovial company; first, Sir Toby and Sir Andrew are
carousing in drunken, noisy celebration and are soon joined by Feste, who will
also provide some songs. Then Maria, complaining at first, finally joins the
celebration. The mood is one of partying and indulgence as Maria keeps a
constant lookout, for she knows that Malvolio would delight to report just such
shenanigans to the Lady Olivia. The rapid, witty exchanges are difficult for
the modern audience, but what emerges of major importance is that Sir Toby is
not just an average drunk; he is indeed a true wit, whose lines addressed to
Sir Andrew establish the fact that the latter is a gull and an ignoramus.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The entrance of
Malvolio is particularly comic. Remember that Malvolio is tall, skinny, and
bald. Traditionally, he appears dressed in his nightgown and night cap, and he
stands above the party makers as a magnificently ridiculous figure carrying a
lit candle in a candlestick. It is difficult to take his authority seriously
since he looks so ridiculous. Sir Toby and Feste dance around this foolish
figure, and finally, when Malvolio reminds Sir Toby that he can be thrown out
of the household, Malvolio has taken a step too far. It should be remembered
that in the Elizabethan stratified society, Malvolio, while he is a steward, is
inferior to Sir Toby in<span class="apple-converted-space"> </span><i>social</i><span class="apple-converted-space"> </span>rank, and whatever limitations Sir
Toby may have, he<span class="apple-converted-space"> </span><i>is</i><span class="apple-converted-space"> </span>a knight and he<span class="apple-converted-space"> </span><i>is</i><span class="apple-converted-space"> </span>Lady Olivia's uncle. Thus after
Malvolio's threat, Sir Toby asks him, "Art any more than a steward?"
Then the essential conflict between the two is stated by Sir Toby: "Dost
thou think, because thou art virtuous, there shall be no more cakes and
ale?" This final statement characterizes perfectly the two types of people
in the world: There are the Malvolios who would have everyone be as austere and
priggish as he is, and then there are the Sir Tobys who will always find
pleasure in life. The term "cakes and ale" has become famous as a
phrase describing pleasure-loving people. After Sir Toby puts Malvolio in his
place, Malvolio turns to Maria to reprimand her, and then he exits.<o:p></o:p></span></div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The remainder of the scene deals with the plot which they
will all concoct in order to get even with Malvolio, using the knowledge that
Malvolio is such an egotist that he would readily believe that a love letter,
ostensibly sent from Olivia, was addressed to him. Thus, as the scene ends, we
are prepared not only for the complicated love triangle, but also for the
duping of the haughty Malvolio. We also see that Sir Toby is aware of an
affection that Maria has for him, and at the end of the comedy, we will learn
that these two are married.<o:p></o:p></span></div>
<div class="MsoNormal" dir="RTL" style="text-align: left;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-71648968899233691742013-04-29T17:36:00.000+03:002013-04-29T17:36:49.109+03:00twelfth night A Street Act 2 Scene 2 summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="direction: ltr; text-align: left;">
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<br /></div>
<div align="center" class="litnotetextheading" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: center;">
<b><span style="background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt;">Act II: Scene 2<o:p></o:p></span></b></div>
<div align="center" class="litnotetextheading" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: center;">
<b><span style="background-position: initial initial; background-repeat: initial initial; color: red; font-family: Arial, sans-serif; font-size: large;">A street </span></b></div>
<div class="litnotetextheading" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<b><span style="background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt;"> </span></b><b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Viola, still in disguise as Cesario, comes on stage and
is followed by Malvolio, who catches up with the lad and asks him if he is
indeed the young man who was with the Countess Olivia only a short time ago.
Cesario admits that it was he, and Malvolio holds out a ring to him — seemingly
a ring that Duke Orsino sent to Olivia, one which Cesario left behind by
mistake. Malvolio adds sarcastically that Cesario would have saved Malvolio the
time and trouble of returning it if Cesario had not been so absent-minded.
Scornfully, Malvolio tells Cesario to return to his master, Orsino, and tell
him that Olivia "will none of him," and furthermore he warns Cesario
that he should "never be so hardy to come again in his [Orsino's]
affairs."<o:p></o:p></span></div>
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Cesario is dumbfounded by Malvolio's high-handed manner;
then, matching Malvolio's insolence, he says, "I'll none of it."
Malvolio is incensed at Cesario's haughty manner and flings the ring to the
ground; if Cesario wants it and "if it be worth stooping for, there it
lies." With that, he exits abruptly.<o:p></o:p></span></div>
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Left alone, Viola ponders all that has happened; she is
absolutely certain that she left no ring with Olivia, yet why does Olivia
believe that she did and, moreover, why did she send Malvolio with such urgency
to return it? Then she realizes what may have happened, and she is horrified:
can it be possible that Olivia has fallen in love with Viola's boyish disguise?
She is aghast: "fortune forbid my outside have not charmed her!"
Thinking back on their interview, however, she clearly recalls that Olivia
certainly "made good view of me; indeed, so much / That sure methought her
eyes had lost her tongue."<o:p></o:p></span></div>
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The evidence is clear. Olivia has indeed fallen in love
with Cesario; when she spoke to the young man, she spoke in starts and spurts,
and her manner was vague and distracted. Now "the winning of her
passion" has sent Malvolio after the "boy" whom she believes to
be the object of her love.<o:p></o:p></span></div>
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Viola pities Olivia; it would be better for the poor
Olivia to "love a dream." Viola recognizes that "disguise . . .
art a wickedness." She aptly calls disguise a "pregnant enemy,"
an enemy able to play havoc with "women's waxen hearts." Like Olivia,
Viola too is a woman. She knows the anguish of love: "Our frailty is the
cause, not we," she meditates, "for such are we made of."<o:p></o:p></span></div>
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">This is a dreadfully complicated knot. Viola loves her
master, Orsino, who loves the beautiful but disdainful Olivia, who loves the
handsome Cesario (who is not a man at all, but is Viola, in disguise). Viola
calls on Time to untangle this knot, for she is incapable of doing so herself;
"it is too hard a knot for me to untie."<o:p></o:p></span></div>
<div class="litnotetextheading" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">At the end of Act I,
Olivia sent Malvolio to catch up with Cesario and return a ring that Cesario
did<span class="apple-converted-space"> </span><i>not</i>leave behind. In
this short scene, Malvolio is seen returning the ring in a very scornful,
haughty, and arrogant manner. The scene serves in part to bring out Malvolio's
rudeness and his ill nature. He is extremely insolent to a youth who has caused
him no personal injury. His unwarranted enmity is seen in the manner in which
he delivers the ring. Malvolio's action here again prepares the reader for
delight in the tricks that will later be played on this insolent man who shows
nothing but scorn for any person who is not above him in social status.<o:p></o:p></span></div>
<div class="litnotetext" style="background: white; line-height: 15.75pt; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">While this scene does not advance the plot, it does show
us how intricately Viola is caught up in the entanglement. She suddenly
realizes that Olivia has fallen in love with an exterior facade — and not with
the inner person. This realization allows her to comment on the
"frailty" of women who are constantly deceived by disguises of one
sort or another. When Viola cries out, "Disguise, I see thou art a
wickedness, / Wherein the pregnant enemy does much," she speaks with
allusions about the "wickedness" that arises from a woman's being
constantly deceived by disguises, ever since Eve was first deceived in the
Garden of Eden. Yet, Viola must retain her disguise because, as a girl alone in
a foreign country, she would be powerless to defend herself, as we see later
when the cowardly Sir Aguecheek threatens her.<o:p></o:p></span></div>
<div class="MsoNormal" dir="RTL" style="text-align: justify;">
<br /></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-5454247751896199172013-04-29T17:29:00.000+03:002013-04-29T17:29:23.740+03:00The Sea-coast Act II Scene 1 summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<div style="text-align: left;">
<br /></div>
<div class="litnotetext" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<div style="text-align: center;">
<b><span style="background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 13.5pt;">Act II: Scene 1</span></b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; line-height: 15.75pt; margin: 12pt 0cm; text-align: center;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><b><span style="color: red; font-size: large;">The Sea-coast </span></b></span></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><span id="goog_1392744042"></span><span id="goog_1392744043"></span><br /></span></b></div>
<div style="text-align: left;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="the sea coast twelfth night" src="http://img23.imageshack.us/img23/6057/twelfthnighttheseacoast.jpg" style="-webkit-user-select: none; margin-left: auto; margin-right: auto;" title="the sea coast twelfth night" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the sea coast 12th night</td></tr>
</tbody></table>
</div>
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Summary<o:p></o:p></span></b></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;"><br /></span></b></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">The second act begins on the seacoast of Illyria. Viola's
twin brother, Sebastian, was not drowned after all. He survived the shipwreck
and enters on stage talking with Antonio, a sea captain (not the same sea
captain who managed to reach shore with Viola). Sebastian, like his sister
Viola, is deeply grieved; he is sure that Viola was lost at sea and perished in
the storm. He blames the stars and "the malignancy of [his] fate" for
his dark mood and his misfortune. He turns to the sea captain, and, feeling
that he can be straightforward with him because of what they have both just
experienced, he tells the captain that he wants to be alone. He needs solitude
because of his terrible grief; his troubles are many, and he fears that they
will spread like an illness and "distemper" the sea captain's mood.
He cares too much for the captain to unburden his woes on him.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Antonio, however, will not leave Sebastian; his
friendship for the young man is strong enough to withstand Sebastian's
emotionalism. Sebastian's composure suddenly breaks, and he bewails his lot; if
Antonio had not saved him, he would now be dead at the bottom of the sea,
alongside his beloved sister. "If the heavens had been pleased," his
fate would have been the same as his sister's. He then recalls his sister's
beauty, and he remembers her keen mind, a mind that was extraordinary and
enviable. At this point, Antonio protests. Sebastian was correct when he spoke
earlier of his dark moodiness being able to "distemper" Antonio's
temperament. The sea captain says that Sebastian's lamentations are "bad
entertainment," a fact that Sebastian quickly realizes and quickly
apologizes for.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 0cm 0cm 0.0001pt; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Antonio changes the
subject to matters more practical and more immediate. He asks Sebastian if he
can be the young man's servant. That single favor would please him immensely.
That single favor, however, Sebastian cannot grant him, for as much as he would
like to do so, he dare not take Antonio with him. His destination is Duke
Orsino's court and Antonio has "many enemies" in Orsino's court. Yet
"come what may," Antonio says that he will always treasure his
friendship with Sebastian. Thus, he<span class="apple-converted-space"> </span><i>will</i><span class="apple-converted-space"> </span>go with Sebastian. Antonio's devotion
to Sebastian is admirable; he recognizes the dangers ahead if he follows
Sebastian to Orsino's palace, but after the horrors of the shipwreck, future
"danger shall seem sport."<o:p></o:p></span></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="litnotetextheading" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Analysis<o:p></o:p></span></b></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">This scene takes us away from the regal households and
out to the seashore on another part of the coast of Illyria. The two new
characters who are introduced, Sebastian and Antonio, form the third plot line
of the comedy. Sebastian is Viola's twin brother whom she believes was probably
drowned at sea, and this fact will create comic complications, which will be
resolved in the fifth act. Like his sister, Sebastian is kind and good-looking.
When Sebastian describes his sister as a lady "though it was said she much
resembled me, was yet of many accounted beautiful," we are being prepared
for the confusion later in the play when Sebastian will be mistaken for Cesario
(Viola), and Viola (as Cesario) will be mistaken for Sebastian by Antonio, the
sea captain.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: 10.5pt;">Sebastian will appear throughout the rest of the comedy
as more impulsive and more emotional than his twin sister; for example, he will
consent to marry a woman (Olivia) whom he has just met — an act of extreme
impetuosity. But yet we must assume that Sebastian possesses many good
qualities to have attracted the loyalty of such a stalwart man as the sea
captain, who decides to risk his life to accompany the handsome young lad to
Duke Orsino's court.<o:p></o:p></span></div>
</div>
<div class="litnotetext" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 15.75pt; margin: 12pt 0cm; text-align: left;">
<div style="text-align: left;">
<br /></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-48398461215534021382013-04-29T07:14:00.000+03:002013-04-29T07:14:55.944+03:00MACBETH ACT 2 FULL ACT LECTURE ANALYSIS<div dir="rtl" style="text-align: right;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/fqiugwxDEqM?feature=player_embedded' frameborder='0'></iframe></div>
<br /></div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-45889048154381605942013-04-29T06:52:00.000+03:002013-04-29T06:52:04.403+03:00Macbeth Act 1 Full ACT Lecture analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<b><span style="color: red;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: left;">
<b><span style="color: red;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="color: red;"><br /></span></b></div>
<div style="text-align: left;">
<b><span style="color: red;">Hi this is an analysis for the famous tragic play MACBETH full act analysis complete Lecture scene By scene </span></b></div>
<div style="text-align: left;">
<b><span style="color: red;"><br /></span></b></div>
<div style="text-align: left;">
<b><span style="color: red;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/DxGWDz1Y9qU?feature=player_embedded' frameborder='0'></iframe></span></b></div>
<div style="text-align: left;">
<b><span style="color: red;"><br /></span></b></div>
<div style="text-align: left;">
<b><span style="color: red;"><br /></span></b></div>
<div style="text-align: left;">
<b><span style="color: red;"> Have fun wish you the best always </span></b></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-28348986666624969332013-04-29T06:44:00.001+03:002013-04-29T06:44:19.305+03:00Act V Scene 9 macbeth<div dir="rtl" style="text-align: right;" trbidi="on">
<br />
<div align="center" class="MsoNormal" style="direction: ltr; text-align: center; unicode-bidi: embed;">
<b><span style="font-size: 16.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Act V: Scene 9<o:p></o:p></span></b></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p><br /></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<div style="text-align: center;">
<span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p><img height="667" src="http://img833.imageshack.us/img833/8195/020ip.jpg" style="-webkit-user-select: none;" width="1107" /></o:p></span></div>
</div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p><br /></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<b><span style="font-size: 14.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Summary</span></b><b><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">In the
freshly taken castle of Dunsinane, events move to their natural conclusion.
With the tyrant dead and war honors duly acknowledged, Malcolm is proclaimed by
all the assembled thanes to be the new king of Scotland.<o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<b><span style="font-size: 14.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Analysis</span></b><b><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">This joyous
scene is offset by its poignancy. Malcolm's opening line concerning those
friends whom "we miss" is not only a gracious acknowledgement of what
true loyalty means but also an indication of how he will rule in future, with
the graciousness and humility that was associated with his father, Duncan.</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">A greater
acknowledgement of human self-sacrifice comes in the report of young Siward's
death, made more tragic by the fact that he was young ("He only liv'd but
till he was a man") and that he predeceased his father, Old Siward.
Nevertheless, Old Siward's response is one of great courage and faith. Asking
whether his son was killed by a stroke to the chest or the back (in other
words, whether he was facing or running from his opponent), Siward is told that
he died "like a man," with his wounds "on the front." This
account is enough to satisfy Siward that his son was "God's soldier"
— a fitting and dramatic contrast with Macbeth who embraced the powers of evil
so thoroughly.</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Macduff
enters the castle with the tyrant's decapitated head — like Claudius in Hamlet,
the victim of his own poisoned chalice. The weight of these sad times has been
lifted, and all that remains is for Malcolm to be acclaimed, in stirring
fashion, as "King of Scotland." In his acceptance speech, the
soon-to-be-crowned Malcolm invites his immediate audience to see him crowned at
Scone, the traditional home of Scottish kings. The actions he will undertake as
king will be performed " . . . in measure, time and place." This
sentence carries a deep sense of unity and completion, reinforced by the
rhyming couplet structure of the final four lines. Moreover, Shakespeare leaves
us with the strong impression that the defining feature of future rulers
(including James I of England) will be an acceptance of God's grace.<o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<b><span style="font-size: 14.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Glossary</span></b><b><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">go off (2)
perish<o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">unshrinking
station (8) unyielding position<o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">before (12)
on his chest</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">compassed . .
. pearl (22) surrounded by the elite of Scotland<o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<br /></div>
<div align="center" class="MsoNormal" style="direction: ltr; text-align: center; unicode-bidi: embed;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0tag:blogger.com,1999:blog-7309218488040382997.post-51950091654907365922013-04-29T06:42:00.002+03:002013-04-29T06:42:58.036+03:00Macbeth Act 5, Scene 8: Another part of the field summary and analysis<div dir="rtl" style="text-align: right;" trbidi="on">
<br />
<div align="center" class="MsoNormal" style="direction: ltr; text-align: center; unicode-bidi: embed;">
<b><span style="font-size: 16.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Act V: Scene 8<o:p></o:p></span></b></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;"> </span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;"><br /></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;"><br /></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: center; unicode-bidi: embed;">
<img src="http://img594.imageshack.us/img594/1047/birnamwoodbegantomovesm.jpg" style="-webkit-user-select: none;" /></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<b><span style="font-size: 14.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Summary</span></b><b><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">On another part
of the battlefield, Macbeth and Macduff finally come face to face. Words, then
sword thrusts are exchanged, and Macbeth, the bloody and tyrannical usurper of
the throne of Scotland, meets his predestined end.<o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<b><span style="font-size: 14.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Analysis</span></b><b><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">As Macbeth
ponders whether suicide, at this point, would be his better option, the
avenging Macduff enters the scene with the bold challenge: "Turn,
hell-hound, turn." Macduff's choice of the epithet "Hell-hound,"
recalling his earlier description of Macbeth as a "Hell-kite" (Act
IV, Scene 3), confirms the true nature of the tyrant king. But in an equally
bold rhetorical flourish, Macbeth warns Macduff that he is invulnerable, as
"intrenchant" (uncuttable) as the air itself. Here, he mistakenly
imagines that the words of the apparitions are a protective charm, which can
keep him from physical injury.</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Macduff takes
an opposite view. Words alone, whether those of a ghostly prophecy or those of
Macbeth himself, are nothing compared to his own wordless anger: The true voice
of revenge lies in action, not language. Furthermore, Macbeth should consider
the circumstances of Macduff's birth. Macduff now reveals to Macbeth that he
entered the world by being "untimely ripp'd" from his mother's womb:
He was not, therefore, in the strict sense, "born" of woman. With the
short but powerful sentence "Despair thy charm," Macbeth must know
that his struggle for survival is over. The penultimate prophecy has come true.</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Throughout
the play, Macbeth has wondered about the veracity of the Witches' words: In Act
I, Scene 3, he called them "imperfect speakers" because they had not
told him all he desired to know; now he realizes that they spoke to him of his
own imperfection. In the same scene, he admitted that their supernatural
prophecy "Cannot be ill; cannot be good"; now he knows which was
which. In Act IV, Scene 1, his opinion was that men were "damned . . .
that trust them"; now he is damned by his own words. And in Act V, Scene
5, Macbeth spoke of his doubt concerning the predictions of "the Fiend /
that lies like truth." Now he has no such doubt: "Be these juggling
fiends no more believed / That palter with us in a double sense."</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">It is now
Macduff's turn to mock Macbeth: He calls him "coward" and promises to
have him publicly displayed — "baited with the rabble's curse" with a
sign painted with the words "Here may you see the tyrant."<o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<br /></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<b><span style="font-size: 14.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">Glossary</span></b><b><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">intrenchant
(9) uncuttable</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">the Angel . .
. served (14) i.e. the Devil</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">cow'd (18)
caused me to cower</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">juggling
fiends (19) deceiving devils (or Fates)</span><span dir="RTL" lang="AR-IQ" style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-IQ; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-language: AR-IQ;">palter (20)
toy with<o:p></o:p></span></div>
<div class="MsoNormal" style="direction: ltr; text-align: justify; unicode-bidi: embed;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/09946107118826295910noreply@blogger.com0