As you know. Twelfth Night is a comedy and comedies are `supposed` to hold happy terminations. Indeed the stoping is rather happy for most of the characters including Orsino. Olivia. Viola. Sevastian. and even Toby and Maria. The stoping is far less happy. nevertheless. for a few of the characters including Antonio. Sir Andrew. and particularly Malvolio. The inquiry is: make you see this as a defect in Shakespeare’s work or possibly a effort possibly cause Shakespeare was seeking to present a more complicated message than the signifier of a typical comedy might let? When replying this inquiry. delight do certain to cite Festes song at the very terminal of the drama and the temper that it creates. And. as usual. delight discourse your response in item.
The beauty of being a author is that you allow your reader to construe your work in a assortment of ways. Bing a reader. we will ne’er genuinely cognize what Shakespeare’s true purpose is when he wrote the drama. But. in this person’s sentiment. Shakespeare was successful in this drama.
Twelfth Night: or. What You Will. is one of Shakespeare’s most popular dramas. It is as if Shakespeare. for his last unadulterated comedy. showed us through a adult female the best manner to love. The state of affairs of the clever. heathen. and disguised Viola callbacks Rosalind from As You Like It. Feste. the buffoon of Twelfth Night. is but another fluctuation of the sap. Standard. in As You Like It. who “speaks sagely what wise work forces make unwisely. ” Here. as in all of Shakespeare’s romantic comedies. adult females get what they want and work forces get what they need.
Even Olivia. has made the error of falling in love with a adult female disguised as a adult male. gets the adult male she wants in the signifier of the cloaked woman’s twin brother. Sebastian. Orsino. who opens the drama with his heart-sick Lamentationss about music and love. gets what he needs: a adult female who is capable through enduring love of conveying him out of his self-indulgent melancholy into the existent universe. in this instance. of comedy. In this sense. one might name Shakespeare rather successful since he is able to convey about really different emotions and fuses them to demo the world of life and the complexness of emotions in relationships involved in mundane life.
On the other manus. Feste’s reasoning vocal Tells about the regretful narrative of those who do non stop up happy or satisfied with their state of affairs in the decision. Along with the indictment of Malvolio are other happy terminations in the signifier of matrimonies. Although these events are delightfully optimistic. Feste’s concluding vocal lessens the hope of a wholly happy stoping.
The chorus of this vocal. which states “the rain it raineth every twenty-four hours. ” insinuates that at any clip the felicity that now occupies the characters in Illyria could at any clip be swept off. It seems that in the signifier of a comedy. Shakespeare still wanted to demo that unhappiness is really apparent and possible in all facets of life. Thus. Feste’s Lamentationss sing life. In this sense. the vocal showcases a really realistic image of how many people go through life. Shakespeare is able to demo that hurting and letdown is portion of life no affair how “up” life may look.
The vocal as a whole seems to demo ripening from artlessness to experience and through this development was a continuum of “the air current and the rain. ” With this vocal. Feste seems to propose that even as a individual goes through life. with its ups and downs. he or she must retrieve that at any clip one can stop up in an unfamiliar topographic point with a wholly different life.
Comedy and romantic cloud nine victory in Twelfth Night. but through characters like Malvolio and Feste. Shakespeare leaves us with a feeling of malaise. Like the banquet that gives the drama its name. Twelfth Night is gay and joyful—but all feast yearss must come to an terminal. the concluding vocal suggests. and give manner to the “wind and the rain” of life. All good things come to an terminal.