Tämä sivusto käyttää evästeitä palvelujen toimittamiseen, toiminnan parantamiseen, analytiikkaan ja (jos et ole kirjautunut sisään) mainostamiseen. Käyttämällä LibraryThingiä ilmaiset, että olet lukenut ja ymmärtänyt käyttöehdot ja yksityisyydensuojakäytännöt. Sivujen ja palveluiden käytön tulee olla näiden ehtojen ja käytäntöjen mukaista.
Another case of mistaken identity from the king of the plot twist, Twelfth Night tells the tale of the beautiful young Viola who is separated from her twin brother, Sebastian, when their ship is lost at sea. Believing Sebastian to be dead Viol poses as a man and enters service with the Duke Orisino. When Olivia, the woman that Orisino loves, falls for his messenger "boy" Viola and she in turn falls for the Duke the stage is set for a classic Shakespearean love triangle.
I'm rarely let down by an Arden edition, but this one is almost the exception. No, that's being too cruel, but...
As always, the quality of the text, the depth of the notes, the discussion of editorial issues, and the bibliography are immaculate. You couldn't ask for a greater scholarly resource and overall "cheat sheet" to one of the Bard's works. At the same time, the introduction is a rare letdown for this series. Overall, the Ardens inhabit an awkward gray area between scholarly pursuits - reading in to every line, letter, and semi-colon - and general accessibility. Inevitably when examining a work at this level of detail, academia will rear its ugly head. At the same time, the Arden editors have wisely made each introduction an overall analysis, leaving the more scholarly notes for the bibliography. After all, this kind of opaque discussion is more the purview of scholarly articles and papers rather than published editions of the play. The massive bibliographies are vital, and they lead those of us with scholarly minds down that path. Unfortunately, this work is dry and hermeneutic from page one. (This might seem like a silly complaint, but when these introductions clock in at 150 dense pages, it's important they work well.)
So, I can't complain about the high standard of the text, but unfortunately I'll be seeking out alternative "Twelfth Night" editions for an overview. ( )
This one was for Book Duo, and I thoroughly enjoyed it. Still not sure what I think of all of the Shakespeare conspiracy theories, but this whoever wrote this play was having fun. I particularly like how the theme of rising above one's station plays into the idea of Twelfth Night being a time when the social norms were turned upside down (may have just learned that from some notes I read on Twelfth Night.) Viola remains my favorite Shakespeare female character, even though she never gets to change out of her man clothes. Maybe Shakespeare didn't like Hallmark Cinderella moments, either.
*Shout out to my review readers: Roz, Peter, and Jewel. Your faithful likes keep me tap-tapping the keys with opinions. ( )
This is a truly funny comedy. First, I although Shakespeare is allegedly difficult for the modern reader, I have never had difficulty understanding it; everything is better in iambic pentameter.
In Twelfth Night, Viola disguises herself as a boy after being rescued from a shipwreck and enters the service of Duke Orsino as a eunuch. The Duke sends her to convey his love to Countess Olivia, who will have none of him. But Olivia falls in love with Viola's male persona and invites him to return. Meanwhile, Viola falls in love with the Duke. Viola also has a twin brother, Sebastian, whom she hopes was also saved from the shipwreck, but he doesn't appear until late in the play.
Part of the humor of the play is Viola's frequent speeches in which she subtly admits to being a woman in disguise, which only the reader/watcher recognizes as truth. For example, "My father had a daughter loved a man, as it might be perhaps, were I a woman, I should love your lordship. ... [But died thy sister of her love, my boy, asks the Duke]. I am all the daughters of my father's house, and all the brothers too, and yet I know not."
Another example: Olivia: I prithee tell me what thou think'st of me. Viola: That you think you are not what you are. Olivia: If I think so, I think the same of you. Viola: Then think you right; I am not what I am ... Viola: By innocence I swear, and by my youth, | I have one heart, one bosom, and one truth, | and that no woman has; nor never none | shall mistress be of it, save I alone.
The play is also the source of the quotes, "Some are born great, some achieve greatness, and some have greatness thrust upon them" and "if music be the food of love, play on." ( )
The play is both delightful and readable. Unfortunately, this e-book edition of the work was atrocious. Most of the additional material that come with the e-book Folger editions was missing. In particular, the footnotes were missing. Worst of all, the formatting of the text made it very difficult to read. Take a careful look at the edition before purchasing this. ( )
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
If music be the food of love, play on,
Give me excess of it; that, surfeiting,
The appetite may sicken, and so die.
Feste the Clown: Come away, come away, death, And in sad cypress let me be laid; Fly away, fl y away, breath; I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O, prepare it! My part of death, no one so true Did share it.
Sitaatit
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die.
That strain again! it had a dying fall: O, it came o'er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odour!
what says Quinapalus? “Better a witty fool, than a foolish wit.”
If this were played upon a stage now, I could condemn it as an improbable fiction.
Be not afraid of greatness: some men are born great, some achieve greatness and some have greatness thrust upon them.
Viimeiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
A great while ago the world begun, With hey, ho, the wind and the rain, But that's all one, our play is done, And we'll strive to please you every day.
When that I was and a little tiny boy, With hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day. But when I came to man’s estate, With hey, ho, the wind and the rain, Against knaves and thieves men shut their gate, For the rain it raineth every day. But when I came, alas! to wive, With hey, ho, the wind and the rain, By swaggering could I never thrive, For the rain it raineth every day. But when I came unto my beds, With hey, ho, the wind and the rain, With toss-pots still had drunken heads, For the rain it raineth every day. A great while ago the world begun, With hey, ho, the wind and the rain, But that’s all one, our play is done, And we’ll strive to please you every day.
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
This work is for the complete Twelfth Night only. Do not combine this work with abridgements, adaptations or "simplifications" (such as "Shakespeare Made Easy"), Cliffs Notes or similar study guides, or anything else that does not contain the full text. Do not include any video recordings. Additionally, do not combine this with other plays.
Julkaisutoimittajat
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
Another case of mistaken identity from the king of the plot twist, Twelfth Night tells the tale of the beautiful young Viola who is separated from her twin brother, Sebastian, when their ship is lost at sea. Believing Sebastian to be dead Viol poses as a man and enters service with the Duke Orisino. When Olivia, the woman that Orisino loves, falls for his messenger "boy" Viola and she in turn falls for the Duke the stage is set for a classic Shakespearean love triangle.
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Google Books — Ladataan...
(3.97)
some words about the Comic Character Malvolio in Twelfth Night
1
As always, the quality of the text, the depth of the notes, the discussion of editorial issues, and the bibliography are immaculate. You couldn't ask for a greater scholarly resource and overall "cheat sheet" to one of the Bard's works. At the same time, the introduction is a rare letdown for this series. Overall, the Ardens inhabit an awkward gray area between scholarly pursuits - reading in to every line, letter, and semi-colon - and general accessibility. Inevitably when examining a work at this level of detail, academia will rear its ugly head. At the same time, the Arden editors have wisely made each introduction an overall analysis, leaving the more scholarly notes for the bibliography. After all, this kind of opaque discussion is more the purview of scholarly articles and papers rather than published editions of the play. The massive bibliographies are vital, and they lead those of us with scholarly minds down that path. Unfortunately, this work is dry and hermeneutic from page one. (This might seem like a silly complaint, but when these introductions clock in at 150 dense pages, it's important they work well.)
So, I can't complain about the high standard of the text, but unfortunately I'll be seeking out alternative "Twelfth Night" editions for an overview. (