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Sunday, August 11, 2013
Friday, July 19, 2013
Different Types of Drama
Different Types of Drama
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.
Comedy
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.
Tragedy
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.
Farce
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.
Melodrama
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.
Musical
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.
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.
David Copperfield by Charles Dickens summary
David Copperfield by Charles Dickens
Summary
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."
Summary:
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.
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.
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.
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.
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.
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.
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.
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.
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.
Saturday, May 4, 2013
Twelfth night or what you will 1998 مترجم
Twelfth night or what you will 1998 25 fps
Arabic Subtitle file Exclusive !
مترجم حصرياً 2013 أدونيس انيس
Now you can download the subtitle Arabic file for the film of the Play Twelfth night By Shakespeare separated for each ACT and
Scene for Education purposes only
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.
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
المخرج:
Trevor Nunn
للأديب وليم شكسبير
أتمنى لكم متابعة ممتعة
Wednesday, May 1, 2013
Forget Not Yet by sir thomas wyatt line by line analysis
Forget
Not Yet
Sir Thomas Wyatt
Text of the poem
1 Forget not yet the tried intent
5 Forget not yet when first began
9 Forget not yet the great assays,
17 Forget not then thine own approved,
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.
Lines 5-8
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.
9 Forget not yet
the great assays,
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.
17 Forget not then
thine own approved,
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!’
9 Forget not yet the great assays,
17 Forget not then thine own approved,
How and When use the Verb Forms ?
VERB FORMS
? WHEN
DO YOU USE THAT ONE
When you use the
base form: Examples
1. As basic present
in 1st and 2nd person I
work You
work
2. As a second verb after “do” or modals I didn’t go
She will go
3. In imperatives
(commands) Turn right Stand up
4. As a second verb
in causatives (make, let, help, have) I
made her do it Let me go
5. As a second verb
after suggest, recommend, insist, demand I
insist that she be there.
When you use the
–s form:
1. As a first verb
only She
works She
doesn’t work
2. In all present
tenses when
the subject is 3rd person singular That store sells good stuff.
The
bird is singing right now.
My
son has gone to the store.
When you use the
present participle/gerund/-ing form
1. As a second verb
only I
am talking She likes cooking
2. In a progressive
tenses after “be” I was driving when I heard it.
3. When the meaning
is “in process” I
saw it falling
4. As a noun subject
or object – name of activity Writing
is hard. My hobby is sewing.
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.
When you use the
past form:
1. As a first verb
only I
didn’t go She liked to swim
2. When you mean a
past finished event I
worked yesterday
When you use the
past participle form:
1. As a second verb
only
2. In present perfect
tense after “have” I
have eaten I haven’t done it yet
3. As an adjective The
broken window
4. In passive voice
after “be” I
was born My car was stolen
5. In past and future
perfect after “have” I
had finished I will have eaten
When you use the
infinitive form:
1. As a second verb
only I
plan to go I learned to swim
2. When you tell why
(“infinitive of purpose”) Why
did you go? To see the doctor.
3. As the name of the
verb The
verb “to be” is very difficult.
4. As a noun subject
or object To eat right is very important.
My
fear is to die alone.
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, wish, would like
EXCEPTIONS
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.
I like cooking, I like to cook. I start studying, I start to study.
A few verbs change meaning when you change from gerund to infinitive:
forget, remember, stop
Example: I stop
smoking (no more) I stop to
smoke (I take a break and go smoke)
I remember
locking the door (I did it and can remember it still.)
I remember to lock the door (I
think about it before I leave, so I always do it)
I forgot
locking the door (I did it, but didn’t remember that I did)
I forgot to
lock the door (I forgot first, so I didn’t lock it.
The Street Before Olivia's House Act 5 Scene 1 Enter Feste And Fabian
Act 5 Scene 1
The Street Before Olivia's House
Enter Feste And Fabian
Summary
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.
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.
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.
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.
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.
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."
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.
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."
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.
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.
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.
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.
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."
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.
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.
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."
Analysis
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.
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.
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).
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.
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.
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.
Olivia's Garden Enter Sebastian Act 4 Scene 3
Act 4 Scene 3
Olivia's Garden
Enter Sebastian
Summary
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.
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.
Analysis
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.
A Room in Olivia's House Act 4 Scene 2 Feste and Maria
A Room in Olivia's House
Feste and Maria
Summary
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.
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.
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."
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.
Analysis
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.
Act 4 Scene 1 The Street Before Olivia's House Enter Sebastian and Feste
Act 4 Scene 1
The Street Before Olivia's House
Summary
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.
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.
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.
Analysis
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.
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, this 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.
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.
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.
