The Common Elements Of

The Common Elements Of & # 8220 ; Twelfth Night & # 8221 ; And & # 8220 ; Shakespeare In Love & # 8221 ; Essay, Research Paper

The Common Elements of & # 8220 ; Twelfth Night & # 8221 ; and & # 8220 ; Shakespeare in Love & # 8221 ;

William Shakespeare & # 8217 ; s Twelfth Night and John Madden & # 8217 ; s Shakespeare in Love are two romantic comedies that both convey a calamity. The reader is able to associate both Twelfth Night and Shakespeare in Love with a common secret plan, subject, and character treatment.

The secret plan of both plants produces a situational comedy. The comedy is expressed through the happenstance of love and unwelcome love. The chief actresses in both Shakespeare in Love and Twelfth Night are required to dress themselves as males. Both plants are climatic: their subjects have many different waies and their declarations & # 8212 ; despite being hard to determine beforehand & # 8212 ; command the overall subject.

In Twelfth Night, a love trigon develops that stages a humourous secret plan with helter-skelter struggle. The lead character in this drama, Viola, ( coincidently the same name as the chief character in Shakespeare in Love ) dresses as a male child, Cesario ; who is in love with a adult male, Duke Orsinio ; who is in love with a adult female, Olivia ; who is in love with a the miss, Viola ; believing she is the male child, Cesario. Viola is presented as a rattlebrained, agitated and baffled character, therefore adding to the wit of the drama.

In Shakespeare in Love, there is non so much of a trigon, but instead a which includes Lord Wessex in vain seeking to take Viola & # 8217 ; s manus in matrimony. Viola, who is non in love with Wessex in the least spot, has fallen frantically in love with Will, unhappily, merely to be taken from Lord Wessex in the terminal.

Twelfth Night has many little calamities intertwined within the secret plan. Each work contains a scoundrel. The scoundrel characterized in Twelfth Night is Malvolio. Malvolio has the self-respect of a pantryman and the personality of a knave. Therefore, Malvolio has warranted himself a practical gag. What seemed slightly amusing in the beginning turns into a cruel and

tasteless gag, in an attempt—by the other characters—to deceive this sap. This adds a note of melancholy and resentment to the inevitable happy stoping.

The scoundrel in Shakespeare in Love is Lord Wessex. It is to this adult male that Viola & # 8217 ; s affluent male parent has betrothed her to be married. Quote This secret plan easy transforms from a comedy-drama & # 8212 ; with Viola confronted with the agreement of matrimony with Lord Wessex & # 8212 ; to a tragedy-drama. The carefreeness of the film is suddenly ended one time it is realized that Viola will so go to the Americas with Lord Wessex. As in Twelfth Night, Viola is required to dress as a male child. In this instance, it is so that she can execute in the all-male dramatis personae of Will & # 8217 ; s Romeo and Juliet. As the narrative unfolds, Viola & # 8217 ; s love for Will deepens. This confidant relationship is disclosed to none of the other characters. The narrative line of Shakespeare is Love concludes with Viola being forced to go forth Will in order to populate with Lord Wessex in the America & # 8217 ; s. At this point Will declares in a narrative that he will now give every drama that he writes to his love, Viola, and it is implied that the first drama written in this dedication is Twelfth Night.

In both plants, Twelfth Night and Shakespeare in Love, a common subject can sum up both of these plants. The similarities and differences between the sexes are stressed. By dressing the & # 8220 ; Violas & # 8221 ; as work forces, this establishes an chance to research through one character the different manners and motivations in which work forces and adult females approach the same state of affairs, particularly if it involves love. The dramas besides address the obliquity of judging visual aspect. Sing visual aspect, particularly as it relates to placing the character, is an of import component of composing. By embracing these different points of positions, leting similar conflicting secret plans, and making a common intent and significance to the subject, the spectator can set up the relation between a comedy and calamity, in both & # 8220 ; Twelfth Night & # 8221 ; and & # 8220 ; Shakespeare in Love & # 8221 ; .