Feste in "Twelfth Night" The Role of Feste's Music in "Twelfth Night" "Twelfth Night" is a play with multiple characters who do not see themselves clearly. Some just really don't understand who they are or what they really want. Examples of that are Olivia and Orsino Another, Malvolio, adopts postures that are superficial, trying to be something he is not. Still another, Viola, has to don a disguise because of circumstances. One

But if I'm not the same, the next question is 'Who in the world am I?' Ah, that's the great puzzle!" (Carroll, 8) Carroll uses Alice's experiences as a means to persuading his readers to demand similar questions of themselves. At this juncture, we are unclear on Carroll's motives in altering Alice's perspective. However, as she descends deeper into Wonderland, she finds this knowledge is invaluable for recognizing its inherent

Imbalance, even in love, can produce negative and unwanted effects that affect more than two people. The tempest is another Shakespearean play that is set both in the real and fantastic world. The two real are interwoven and deliberately confusing. The action of the play is swinging back and forth in time. Prospero, the Duke of Milan, is recounting for his daughter Miranda the events that led to their living

Shakespearean Social Comedy -- Saturnalian inversion or soulful exploration of social outsiders? Barber's book, Shakespeare's Festive Comedy argues for a socially harmonious interpretation of Shakespeare's comedic plays. In contrast, the scholar Richard A. Levine's Love and Society in Shakespeare's Comedy proposes a socially subversive reading of the Shakespearean comedy, as kind of hidden tragedies of 'outsider' figures, rather than Saturnalian revelry. This contrast between the two authors may orginate in the

" James a.S. McPeek further blames Jonson for this corruption: "No one can read this dainty song to Celia without feeling that Jonson is indecorous in putting it in the mouth of such a thoroughgoing scoundrel as Volpone." Shelburne asserts that the usual view of Jonson's use of the Catullan poem is distorted by an insufficient understanding of Catullus' carmina, which comes from critics' willingness to adhere to a conventional -- yet incorrect