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Twelfth night summary in bengali pdf

Continue This article is about Shakespeare's play. For the holiday, see (holiday). For other purposes, see Twelfth Night (disambigation). 's play courts a stunned , while Mary embraces her entertainment, in an engraving by R. Staines after a painting by Daniel McLeese. Twelfth Night, or What You'll Be a Romantic Comedy by William Shakespeare, is believed to have been written circa 1601-1602 as the entertainment of the twelfth night for the closing of the Christmas season. The play focuses on the twins and Sebastian, who are separated in a shipwreck. Viola (who is disguised as Cesario) falls in love with the Duke of , who in turn is in love with Countess Olivia. After meeting Viola Countess Olivia falls in love with her, thinking that she is a man. The performance expanded into musical interludes and exuberant unrest expected from the event, with elements of the plot taken from the story of Apollonia and Sylla Barnabe Rich, based on the story of . The first public appearance was on February 2, 1602, in Candlelight, the official end of Christmastide in the calendar of the year. The play was not published until it was included in the First Folio of 1623. Characters scene from Twelfth Night, Frances Wheatley (1771-72) Viola - shipwrecked young woman, which masquerades as a page named Cesario Sebastian - Viola's twin brother Duke Ordino - Duke of Olivia - rich Countess Malvolio - steward in the house of Olivia - gentle woman Olivia - Uncle O - friend of Sir jester Fabian - a servant in the family of Olivia Antonio - sea captain and friend of Sebastian Valentin and Curio - gentlemen attending the Duke's Servant Olivia Marine Captain - friend Viola Sinopsis Image of Olivia Edmund Leighton The graphic gallery of Shakespeare's heroines Viola was shipwrecked on the coast of Illyria, and she comes ashore with the help of a captain. She lost contact with her twin brother Sebastian, whom she considers drowned, and with the help of the captain, she disguises himself as a young man named Cesario and enters the service of the Duke of Ordino. The Duke of Ordyno convinced himself that he was in love with Olivia, who was mourning the recent death of her father and brother. She refuses to see entertainment, be in the company of men, or accept love or marriage offers from anyone, duke included until seven years have passed. The Duke of Orsino then uses Cesario as an intermediary to profess his passionate love for Olivia. Olivia, however, falls in love with Cesario, setting her at odds with her professed duty. Mean course, Viola fell in love with the Duke of Orsino, creating a love triangle: Viola loves the Duke of Orsino, The Duke of Orsino loves Olivia, and Olivia loves masquerading as Cesario. Sir Toby Belch comes to the rescue of Sir Andrew Aguecheek, Arthur Boyd Houghton, c. 1854. In the comic plot, several characters conspire to make Olivia's pompous steward, Malvolio, believe that Olivia fell in love with him. This includes Olivia's exuberant uncle, Sir Toby Belch; the other may be the groom, a stupid squire named Sir Andrew Aguecheek; her servants Mary and Fabian; and her witty fool, . Sir Toby and Sir Andrew engaged in drinking and fun, thereby disturbing the peace of Olivia's family late into the night, prompting Malvolio to punish them. Sir Toby famously objects: Think, because you are a virtuous art, there should be more cakes and ale? (Act II, Scene III). A lithography depicting Act II Scene III by Sir Toby, Sir Andrew and Mary plan to avenge Malvolio. They convince Malvolio that Olivia is secretly in love with him, planting a love letter written by Maria in Olivia's handwriting. He asks Malvolio to wear yellow cross-garter stockings -color and fashion that Olivia actually hates - to be rude to the rest of the servants, and to constantly smile in the presence of Olivia. Malvolio finds the letter and reacts with surprise delight. He begins to act out of the contents of the letter to show Olivia his positive response. Olivia is appalled by the changes in Malvolio and agrees that he seems crazy, leaves him to take care of his tormentors. Pretending that Malvolio is insane, he is locked in a dark cell. Fest visits him to mock his madness, both disguised as a priest and himself. Meanwhile, Viola's twin, Sebastian, was rescued by Antonio, a sea captain who had previously fought against Orsino but who accompanies Sebastian to Illyria despite the danger, because of his admiration for Sebastian. Sebastian's appearance adds to the confusion of the comedy's erroneous identity. Taking Sebastian to Cesario, Olivia asks him to marry her and they are secretly married in church. Finally, when Cesario and Sebastian appear in the presence of Olivia and Orsino, there is more surprise and confusion in their physical coming-off. At this point Viola reveals her identity and reunites with his twin brother. The play ends with a marriage statement between the Duke of Ordino and Viola, and it became known that Sir Toby married Mary. Malvolio vows to take revenge on his tormentors and stems, but Orsino sends Fabian to calm him down. Installation of Illyria, the exotic setting of Twelfth Night, is essential to the romantic atmosphere of the game. Illyria was an ancient region of the Western Balkans, whose coast (the eastern coast of the Adriatic Sea, which is the only part of ancient Illyria that is related to the play) covered (from north to south) the coasts of present-day Slovenia, Croatia, Bosnia and Herzegovina, Montenegro and Albania. It included a city-state Ragusa, which was proposed as a setting. Illyria may have been offered by the Roman comedy Menaechmi, whose plot also includes twins who mistaken each other. Illyria is also mentioned as the place of pirates in Shakespeare's previous play, Henry VI, Part 2. The names of most of the characters are Italian, but some of the comic characters have English names. Oddly enough, the Illyrian lady Olivia has an English uncle, Sir Toby Belch. It was noted that there are other English allusions in the play's production, such as Viola Westward ho!, a typical cry from 16th-century London boaters, and a recommendation to Antonio Sebastian of the Elephant, where it is best to settle in Illyria (The Elephant was a pub near the Globe Theatre). Sources of the play are believed to have been widely drawn on the Italian production of Gl'ingannati (or The Beguivasto), collectively written by the Academy degli Intronati in 1531. It is assumed that the name of his male lead, Orsino, was proposed by Virginio Orsini, Duke of Bracciano, an Italian nobleman who visited London in the winter of 1600-1601. Another source story, Apollonia and Silla, appeared in the collection of Barnaby Rischet, Riche his Farewell to The Militarie Profession conteining Verie pleasaunt discourses suitable for peaceful tyme (1581), which in turn comes from the story of Matteo Bandello. Twelfth Night is a reference to the twelfth night after Christmas, called on the eve of Epiphany. Originally it was a Catholic holiday and, therefore, like other Christian holidays, an occasion for fun. Servants often dress as their masters, men as women and so on. This story of a festive ritual and carnival reversal, based on the ancient Roman festival of Saturnalia at the same time of year (characterized by drunken fun and inversion of public order; the masters became slaves for one day, and vice versa), is the cultural origin of the plot of the play, based on gender confusion. The actual Elizabethan festival of Twelfth Night will include the antics of Lord Misrul, who, before leaving his temporary position of power, will call for entertainment, songs and mummies; The play was seen as preserving this festive and traditional atmosphere of licensed disorder. This leads to a general inversion of the order of things, primarily gender roles. The embittered and isolated Malvolio can be seen as an opponent of festive enjoyment and community, led by Sir Toby Belichick, vice-regent of cakes and ales and his partner in a comic sewage duo, simple and constantly exploited by Sir Andrew Agecek. Date and text The title page of Twelfth Night with the First Folio 1623 The full title of the play Twelfth Night, or What You Will Be. Subtitles for plays were fashionable in the Elizabethan era, Although some editors place the Merchant of Venice's alternative title, the Jew of Venice, as subtitle, this is the only Shakespearean play to carry one when first published. The play was probably finished between 1600 and 1601, a period proposed by the play's references to the events that occurred during that time. Law student John Manningham, who studied at the Middle Temple in London, described a speech on February 2, 1602 (Candlemas), which took place in the Middle Temple Hall at the official end of the Christmas tide in the calendar of the year, and to which students were invited. It was the first recorded public performance of the play. The play was not published until its inclusion in the First Folio in 1623. Gender Viola themes are not alone among Shakespeare's heroines; At Shakespeare's Theatre, the convention dictated that teenage boys play the roles of female characters, creating humor in the plurality of disguises found in a female character who for a time pretended to be masculinity. Heha-cross-dressing allows Viola to perform usually male roles, such as the role of messenger between Orsino and Olivia, as well as to be a confidant of Orsino. She does not, however, use her disguise to allow her to intervene directly in the plot (unlike other Shakespearean heroines such as Rosalind in As You Like It and Portia in merchant of Venice), remaining the one who allows time to unravel the plot. Viola's persistence in transvestism through her engaged relationship in the final scene of the play often generates discussion of the possibly homoerotic relationship between Viola and Orsino. As the very nature of Twelfth Night explores gender identity and sex drive, Viola's male acting reinforces the impression of androgyny and sexual ambiguity. Some modern scholars believe that Twelfth Night, with the added confusion of male actors and Viola's deception, solves gender issues with special spontaneity. They also recognize that the depiction of sex in the Twelfth Night stems from the widespread scientific theory of the era that women are simply imperfect males. This belief explains the almost indistinguishable differences between the sexes reflected in the casting and the characters of Twelfth Night. Metatheatrician At Olivia's first meeting with Cesario (Viola) in Act I, Scene V she asks her: Are you a comedian? (Elizabethan term for actor). Viola's answer: I'm not what I play, epitomizing her acceptance of the role of Cesario (Viola), is seen as one of several references to theatrics and game in the play. The plot against Malvolio revolves around these ideas, and Fabian notes in Act III, Scene iv: If it were a play'd on stage now, I could denounce it as an incredible fiction. In Act IV, Scene ii, Feste (The Fool) plays both parts in the game for benefit, alternating between taking the voice of a local priest, Sir Topas, and his own voice. He ends by likening himself to an old vice of English morality playing. Other influences of the English folk tradition can be seen in Feste's songs and dialogue, such as his latest song in Act V. And we will strive to please you every day, is a direct echo of similar lines from several English folk pieces. The story of the performance during and immediately after the life of Shakespeare's Twelfth Night, or What You Will (to give the play its full title) was probably commissioned for performance as part of the celebration of the twelfth night, held by queen Elizabeth I at Whitehall Palace on January 6, 1601, to mark the end of the embassy of the Italian diplomat, the Duke of Orsino. It was performed again at court on Easter Monday in 1618 and on the night of the Candles in 1623. The earliest public appearance took place at Middle Temple Hall, one of the court hotels, On February 2 (Candlemas Night) in 1602 recorded in the diary of lawyer John Manningham, who wrote: On our holiday we had a play called Twelve Nights, or What You Will Be, just like Comedy of Errors or Menaechmi in Plautus , but most like and next to this in Italian called Inganni. Good practice in him is to make the steward believe that his lady-widow was in love with him, forging a letter like from his ladies, in general terms telling him that she loved most of all in him and prescribing his gesture in a smile, his clothes, etc., and then when he came to practice, making him believe that they had taken him for crazy. Apparently, Manningem liked Malvolio's story the most, and he noted the play's resemblance to Shakespeare's earlier play, as well as its relationship with one of its sources, Ingnani's plays. Restoration in the 20th century Scene from william Shakespeare's Twelfth Night: Act V, Scene I (William Hamilton, c. 1797). The play was also one of the earliest Shakespearean works that were in place at the beginning of the Restoration; The adaptation of Sir William Davenant was staged in 1661 with Thomas Betterton as Sir Toby Belch. Samuel Pepys considered it a stupid play but saw it three times in any case during his diary on September 11, 1661, January 6, 1663, and January 20, 1669. Another adaptation, Love Betray'd, or, Pleasant Disappointment, was filed at the Lincoln Inn Fields in 1703. After holding the scene only in adaptations in the late 17th and early 18th century, the original Shakespearean text of Twelfth Night was revived in 1741, in a production in Drury Lane. In 1820, an opera version of Frederick Reynolds was staged with music composed by Henry Bishop. The 20th and 21st century Influential Productions were staged in 1912, by Harley Granville-Barker, and in 1916, at the Old Vic. Poster promotional performances Twelfth Night in Ele Dramatic Association, New Haven, Connecticut, 1921 Lillian Baylis reopened the long-sleeping Sadler's Wells Theatre in 1931 with a notable staging of the play starring Ralph Richardson as Sir Toby and John Gielgud as Malvolio. The Old Vic Theatre was reopened in 1950 (after serious damage in the London Blitz in 1941) with a memorable production with Peggy Ashcroft as Viola. Gielgud staged a production at Shakespeare's Memorial Theatre with Laurence Olivier as Malvolio and Vivien Leigh, playing Viola and Sebastian in 1955. The longest Broadway production to date was Margaret Webster's 1940 production with Maurice Evans as Malvolio and Helen Hayes as Viola. He ran for 129 performances, more than twice as many as any other Broadway production. Director Liviu Siusley's memorable production at the Guthrie Theatre in Minneapolis, October-November 1984, was set in the context of the archetypal circus world, emphasizing its festive, carnival tone. When the play was first performed, all women's parties were played by men or boys, but for several centuries it has been practiced to play women or girls in female roles in all plays. Shakespeare's Globe Company, London, has produced many notable, very popular all-male performances, and the highlight of their 2002 season was Twelfth Night, with Globe artistic director Mark Rylance playing the role of Olivia. This season was preceded by a performance by the same company at Middle Temple Hall to celebrate the 400th anniversary of the premiere of the play at the same venue. The same production was revived in 2012-13 and was sold out in the West End and Broadway. Stephen Fry played Malvolio. He worked in the repertoire with Richard III. Interpretations of Viola's role were given by many famous actresses in the second half of the 20th century, and were interpreted in light of how far they allow viewers to experience violations of stereotypical gender roles. This sometimes correlates with how far the play's productions go to confirming a sense of unification, such as a 1947 production focused on showing the community after World War II reunited at the end of the play, led by a reliable hero/heroine in Viola, played by Beatrix Lehmann, then 44. The 1966 Royal Shakespeare Company's staging played on gender issues more evident, with Diana Rigg as Viola shows far more physical attraction to the Duke than previously seen, and the court as a whole is a more physically defiant place, especially between men. John Barton's 1969 production starred Donald Sinden as Malvolio and Judi Dench as Viola; their performances were highly praised and the production as a whole was commented on as showing a dying society collapsing in Malvolio is a popular choice of characters among stage actors; others who have attended include Ian Holm many times, Simon Russell Beale (Donmar Warehouse, 2002), Richard Cordery in 2005, Patrick Stewart, in Chichester, in 2007, Derek Jacobi (Donmar Warehouse) in 2009, Richard Wilson in 2009 and Stephen Fry at the Globe in 2012. In March 2017, the royal national theatre's Twelfth Night production changed some male-to-female roles, including Festa, Fabian (who became Fabia), and, most importantly, Malvolio, who became Malvolia, played by Tamsin Greig, to largely positive reviews. As a result, the production played with both sexuality and gender. In 2017/18, the Royal Shakespeare Company staged Twelfth Night, directed by Christopher Lascombe. Adrian Edmondson played Malvolio and Cara Tointon as Olivia. Adaptations of stage musicals due to the themes of young women seeking independence in the world of men, gender bending and same-sex attraction (albeit in a roundabout way) were somewhat reworked for the stage, especially in musical theater, including (1968), (1977), (2005), All Shook Up (2005), Play On! (1997), the last two musicals with music by Elvis Presley and Duke Ellington, respectively. Another adaptation is Illyria, by composer Pete Mills. (2002), which continues to perform regularly throughout the United States. In 2018, the Public Theatre premiered the musical adaptation of Twelfth Night with original music by Shayna Taub, who also played the role of Feste. In 1999, the play was adapted as Epiphany by Reverend Takarazuka, adding a more clear comment on the role of the theater and actors, as well as on the gender issues applied to the stage (more layered due to the fact that all the roles in this production were played by women). The Grottesco Theatre, based on Ante Fe, New Mexico, created a modern version of the play from the perspective of servants working for Duke Orsino and Lady Olivia entitled 12th Night (2008). Adaptation takes a much deeper look at issues of classism, and society without leadership. In New York, Turn to Flesh Productions (TTF), a theatre company that specializes in creating new Shakespeare shows, has developed two plays focused on Malvolio: The Heirs Comedy, or the impostors of the poetic playwright Emily K. A. Snyder, who imagined the disgraced Malvolio, pursuing two pairs of female twins in Syracuse and Ephesus, and Malvolio, both plays were originally written to represent the American Shakespeare Center's play in conversation with bard as part of Shakespeare's New Contemporaries. See also: Shakespeare on Screen: Twelfth Night in 1910, Vitagraph Studios has released a quiet, short adaptation of Twelfth Night starring actors Florence Turner, Julia Swain Gordon and Marin Sais. There was a 1985 film directed by Lisa Gottlieb called Just One Of the Guys, starring Joyce Heiser. There was an Australian film from 1986. The 1996 film, adapted and directed by Trevor Nann and shot in the 19th century, stars Imogen Stubbs as Viola, Helena Bonham Carter as Olivia and Toby Stevens as the Duke of Ordino. The film also features Mel Smith as Sir Toby, Richard E. Grant as Sir Andrew, Ben Kingsley as Feste, Imelda Staunton as Mary and Nigel Hawthorne as Malvolio. Much of the comic material was downplayed in simple drama, and the film received some criticism for it. In 2001, Disney Channel Original Motocross film sets the story in the world of motocross. In the 2004 film Wicker Park, Rose Byrne's character Alex plays Viola in an amateur production of Twelfth Night. In the 2006 film She's a Man modernizes the story as a modern teen comedy (like the 10 things I hate about you made with The Taming of the Shrew). It is located in the illyria preparatory school and includes the names of the main characters of the play. For example, Orsino, The Duke of Illyrian, becomes simply the Duke of Orsino (The Duke is his name). The story was changed to revolve around the idea of football rivalry, but the twisted novel character remained the same as the original. Viola, the main character, pretends to be his brother Sebastian, and a girl named Olivia falls in love with Viola as Sebastian. She also goes to a restaurant called Cesario's. Two of Duke's football teammates are Andrew and Toby. The nod is given to a omitted sub-plot, naming Malvolio's briefly on-screen tarantula. Sebastian Monique's ex-girlfriend was given the surname Valentine, and the intervention malcolm got the surname Festes. Shakespeare in love contains several references to the Twelfth Night. Towards the end of the film Elizabeth I (Judi Dench) asks Shakespeare (Joseph Fiennes) to write a comedy for the holiday of Twelfth Night. Shakespeare's love interest in the film Viola (Gwyneth Paltrow) - the daughter of a wealthy merchant who masquerades as a boy to become an actor; while Shakespeare, a financially struggling playwright plagued by a writer's block, tries to write Romeo and Juliet. She is presented in the final scene of the film as the true inspiration of William Shakespeare for the heroine of Twelfth Night. In a nod to the shipwreck of Shakespeare's Twelfth Night, the film includes a scene where Viola's character, separated from his love by arranged marriage and linked to American colonies, survives a shipwreck and comes ashore in Virginia. Television on 14 May 1937 THE BBC Television Service in London broadcast a thirty-minute the first known copy of Shakespeare's work on television. Produced for the new George More O'Ferrall medium, the production is also notable for having featured a young actress who would later go on to win an Oscar - Greer Garson. Since the performance was broadcast live from the Bbc's studio to Alexandra Palace and the technology to record television programmes did not exist at the time, no visual recording survives other than still photography. The entire play was produced for television in 1939 by director Michel Saint-Denis and starring another future Oscar winner, Peggy Ashcroft. The role of Sir Toby Belch took the young George Devine. In 1957, another adaptation of the play was presented by NBC to the American Television Hallmark Hall of Fame, with Maurice Evans recreating his performance as Malvolio. It was the first color version ever released on TV. Dennis King, Rosemary Harris and Frances Hyland starred. In 1966, an Australian television version was released. Another version for British television was released in 1969 by directors John Seachel and John Dexter. The production stars Joan Plowright as Viola and Sebastian, Alec Guinness as Malvolio, Ralph Richardson as Sir Toby Belch and Tommy Steele as the extraordinarily outstanding Fest. Another television adaptation followed in 1980. This version was part of the BBC Shakespeare series and featured Felicity Kendall as Viola, Sinead Cusack as Olivia, Alec McCowen as Malvolio and Robert Hardy as Sir Toby Belch. In 1988, the production of Kenneth Branagh's play starring Francis Barber as Viola and Richard Briers as Malvolio was adapted for Thames Television. In 1998, Lincoln Center Theater production director Nicholas Hytner was featured on PBS Live From Lincoln Center. The main roles were played by Helen Hunt as Viola, Paul Rudd as Ordino, Keira Sedgwick as Olivia, Philip Bosco as Malvolio, Brian Murray as Sir Toby, Max Wright as Sir Andrew and David Patrick Kelly as Fest. The 2003 TV film, adapted and directed by Tim Supple, is currently set. He has David Troughton as Sir Toby, and is notable for his multi-ethnic cast including Parminder Nagra as Viola and Chiwetel Ejiofor as Orsino. His portrayal of Viola and Sebastian's arrival in Illyria is reminiscent of news footage of asylum seekers. The episode of the British SERIES Skins, entitled Grace, included the main characters playing Twelfth Night, with a love triangle between Frankie, Liv and Matty, who respectively played Viola, Olivia and Ordino. The Radio Adaptation of Kathleen Nesbitt's Twelfth Night for the BBC was the first full Shakespeare play ever broadcast on British radio. This happened on May 28, 1923, when Nesbitt was Viola and Sebastian, and Gerald Lawrence was Orsino. In 1937 CBS Radio Playhouse was adapted with Orson Heles as Orsino and Bankhead - Viola. A year later, Velez played Malvolio in a production with his Mercury Theatre troupe. There have been a few full adaptations on BBC Radio. On BBC Radio 4's 1982 Alec McCowen as Orsino, Wendy Murray as Viola, Norman Rodway as Sir Toby Belch, Andrew Sachs as Sir Andrew Agecek and Bernard Hepton as Malvolio; in 1993, BBC Radio 3 broadcast a version of the play (set on a Caribbean island), with Michael Maloney in Orsino, Eva Matheson as Viola, Ian Cuthbertson as Malvolio and Joss Acland as Sir Toby Belch; this adaptation was re-shown on 6 January 2011 by BBC Radio 7 (now Radio 4 Extra). 1998 saw another adaptation of Radio 3, with Michael Maloney, again as Orsino, Jozette Simon as Olivia and Nicky Henson as Feste. In April 2012, BBC Radio 3 aired a version directed by Sally Avens, starring Paul Ready as Orsino, Naomi Frederick as Viola, David Tennant as Malvolio and Ron Cook as Sir Toby Belch. Podcasts and audio dramas In 2015-2016 educational Shakespearean podcast Chop Bard, hosted by Eren Siegler, expanded its format to provide a fully voiced audio-drama rendition of Twelfth Night, with Matt Gordon as Orsino, Eva Marie Mugar as Viola, Emily K. A. Snyder as Olivia, and Heather Ordor as Maria. Siegler, who played Sir Andrew in several stage productions, voiced the rest of the characters. Music This section needs additional quotes to check. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. (June 2019) (Learn how and when to delete this template message) In 1888, Alexander Campbell McKenzie wrote an overture based on Twelfth Night. Mario Castelnuovo-Tedesco composed an overture based on Twelfth Night. Johann Wagenaar composed an overture based on Twelfth Night. In 1942, Gerald Finzi directed the songs O Mistress Mine (Act II, Scene 3) and Come Away, Come Away, Death (Act II, Scene 4) to music as part of his song cycle on Shakespeare's Let Us Garlands Bring. In 1943, Erich Korngold staged the songs Come Away, Death (Act II, Scene 4), O Mistress Mine (Act II, Scene 3), Adieu, Good Devil (Act IV, Scene 2), Hey, Robin (Act IV, Scene 2), and For Rain, It's Raineth Every Day (Act V, Scene 1) as a song of the cycle called Narrenlieder, Op. In 1957, Gene Sibelius directed Come Away, Come Away, Death (Act II, Scene 4) to music in Swedish translation (Kom nu hit, d'd, Op. 60.) (circular reference) Roger quillter directed O Mistress Mine and Come Away, Come Away, Death in his three Shakespeare songs, Op. 6. Swedish composer Sven-Erik Johanson's song cycle for the mixed choir and piano Fancies I includes a waltz production Mistress Mine» (1974). British composer Peter Rasin Fricker staged O Mistress Mine in 1961. O Mistress Mine is set by Peter Warlock, 1924. About My Mistress Dave Matthews, 2014. Leave, Death, set by Jaakko Muntiyarvi, 1984 Influence of the Danish philosopher Seren Kierkegaard opens his book 1844 Philosophical fragments with a quote Better than poorly married, which is a paraphrase of the commentary of Feste to Mary in Act 1, Scene 5: Many good hangs prevents bad marriage. Nietzsche also refers in passing to Twelfth Night (particularly to the suspicion of Sir Andrew Agechek, expressed in Act 1, Scene 3, that his excessive consumption of beef has the opposite effect on his wit) in the third essay of his genealogy of morality. Agatha Christie's mysterious 1940 novel Sad Cypress draws its name from a song in Act II, Scene IV of Twelfth Night. The main characters of Vita Sackville-West's 1930 novel Are named Sebastian and Viola, and brother and sister. Victoria Glendinning comments in her introduction to the novel: Sebastian the heir boy that Vita would like to be ... Viola is very similar to the girl that Vita really is. American playwright Ken Ludwig wrote a play inspired by the details of Twelfth Night, titled Leading Ladies. Cassandra Clare's 2009 novel City of Glass contains titles inspired by quotes by Antonio and Sebastian. Two dogs in the movie Hotel for Dogs twins named Sebastian and Viola. Clive Barker's story Sex, Death and The Elder revolves around the doomed production of Twelfth Night. Irregular Baker Street believe that Sherlock Holmes' birthday will be January 6 due to the fact that Holmes is quoted twice from the twelfth night, while he quotes only once from other Shakespeare plays. The characters Kiddy Grade Viola and Cesario are named after Viola and her alter ego Cesario. The story by Elizabeth Hearn Illyria has a school production of Twelfth Night containing many references to the play, especially the song Feste. One of the penguin Club plays, Twelfth Fish, is a parody of Shakespeare's works. This is the story of a countess, a jester and a bard who catches a fish that talks. As the game ends, they begin to eat the fish. Many lines are parodies of Shakespeare. Sarah Farizan's 2014 young adult novel Tell Me Once Again how a stampede should feel features a high school production play where Saskia's new girlfriend plays Viola/Cesario and attracts the attention of the main character, Leila. References Notes - Thomson, Peter (1983). Shakespeare Theatre. London: Routledge and Kegan Paul. page 94. ISBN 0-7100-9480-9. OCLC 9154553. Shakespeare, having developed theatrical problems to provide Twelfth Night with effective musical interludes, found that his attitude to his material had changed. The episodic story became in his mind a thing of dreams and themes. Torbarina, Josip (June 1964). Settings of Shakespeare's plays. Studio Romanica and Anglican zagrabycia (17-18): 21-59. ISSN 0039-3339. OCLC 760940009. ^ William (2004). Donno, Elizabeth Ayl (twelfth night, or, What You Will Be (Updated ed.). Cambridge University Press. page 7. ISBN 978-0-521-82792-8. OCLC 54824521. Caldecott, Henry Stratford (1896). Our English Homer, or, Bacon-Shakespeare Controversy: Lecture. The Johannesburg Times. Johannesburg. page 9. OCLC 83492745. b Holliday, F.E. (1964). Shakespeare Companion 1564-1964 (First Mr. Harmondsworth: Penguin. 71, 505. OCLC 69117982. Griffin, Alice (1966). Sources of Ten Shakespeare's Plays. OCLC 350534. Laroc the Way, Francois. Shakespeare's festive world: Elizabethan seasonal entertainment and the professional scene. Cambridge University Press, 1991, p. 153. Laroc, page 227. Laroc, page 254. Clayton, Thomas. Shakespeare in Guthrie: Twelfth Night in Shakespeare quarterly 36.3 (autumn 1985), page 354. a b Shakespeare, William; Stephen Greenblatt; Walter Cohen; Gene E. Howard; Katherine Eisaman Mouse; Andrew Gurr (1997). Norton Shakespeare (First New York: W. W. Norton. 40, 1090. ISBN 0-393-97087-6. Hobgood, Allison. (autumn 2006). Twelfth Night Notorious abuse Of Malvolio: Shame, Humor, and Early Modern Viewer (PDF). Shakespeare's newsletter. Received on November 17, 2012. Hodgdon, Barbara: Sexual disguise and floor theatre in Cambridge Companion to , edited by Alexander Leggatt. Cambridge University Press, 2002, page 186. And if Charles, Casey. Gender issues in the twelfth night. Theatre magazine. Vol. 49, No 2 (1997): 121-141 (124). Smith, Bruce R. Introduction. Twelfth night. Boston: Bedford/St. Martins, 2001. Lothian and Crake, page 30. Right, Anne. Shakespeare and the idea of the play. Chatto and Windus, 1962, page 130. The rights holder, page 136. Right, page 133. Weimann, Robert. Shakespeare and folk tradition in theatre: research in the social dimension of dramatic form and function, page 41. Johns Hopkins University Press, 1978. Weimann, page 43. Hotson, Leslie (1954). The first night of the twelfth night. OCLC 353282. Shakespeare, William; Smith, Bruce R. (2001). Twelfth Night: Texts and Contexts. Boston: Bedford/St. Martin. page 2. ISBN 0-312-20219-9. The production was detailed by Thomas Clayton, Shakespeare in Guthrie: Twelfth Night for Shakespeare quarterly 36.3 (autumn 1985:353-359). Gay, Penny. How she loves it: Shakespeare's naughty heroines. London: Routledge, 1994, p. 15. Gay, Penny: page 18-20. Gay, Penny, page 30. Gay, Penny, page 34. Costa, Maddie (October 20, 2009). Malvolio - Kill stars love to play. Keeper. Received on November 17, 2012. Costa, Maddie (October 1, 2012). Stephen Fry's Twelfth Night: It's all men's thing not a one-man show. Keeper. Received on July 2, 2012. ^ Night - National Theatre. www.nationaltheatre.org.uk. Clapp, Suzanne (February 26, 2017). Twelfth Night review - on high gender readiness with Tamsin Greig. Keeper. Michael Billington (February 23, 2017). Twelfth Night review - Tamsin Greig is brilliant in a show full of fun. Keeper. Twelfth Night, National Olivier Theatre review: Tamsin Greig shines in a production otherwise at sea. Twelfth Night Theatre review: Tamsin Greig brings a dazzling comic brio to the gender-bending production. About the play - Twelfth night. Royal Shakespeare Company. Considered, for example, in Jami Ake, Glimpsing 'Lesbian' Poetics in Twelfth Night, SEL: Research in English Literature 1500-1900, 43.2, Tudor and Stuart Drama (Spring 2003) p. 375-394. Brantley, Ben (August 19, 2018). Review: In the Blissful Musical Twelfth Night in Central Park, Song of Sympathy. The New York Times. ISSN 0362-4331. Received on December 6, 2019. Epiphany (Star, 1999) Epiphany (Bow Shakespeare series #8). takarazuka-revue.info archive from the original dated December 3, 2010. Received on December 11, 2010. Chen, Ilin (March 2010). Gender and homosexuality in Takarazuk theatre: Twelfth Night and Epiphany. www.ingentaconnect.com received on December 6, 2019. 12th night. Theatre. Received on December 6, 2019. Dalness, Amy. Performance review: 12th night Of Grottesco at the Santa Fe Opera Theatre Stieren Hall. Alibi. Received on December 6, 2019. Knapp, zelda (December 28, 2017). Unfinished work: My favorite theater of 2017. Unfinished work. Received on December 6, 2019. Malvolio's revenge. Revenge of Malvolio's New Exchange game. newplayexchange.org. received on December 6, 2019. Comedy of Heirs New Exchange game . newplayexchange.org. received on December 6, 2019. Twelfth Night: Or What Will You Be (1996). Foster on tape. Received on December 11, 2010. Wahimagi, Thie; British Film Institute (1994). British TV: The Illustrated Guide. Oxford: Oxford University Publishing House. page 8. ISBN 0-19-818336-4. - British Universities Film and Video Council. Received April 19, 2016 - Chop Bard. chopbard.libsyn.com. received on December 6, 2019. Nl:Jean Sibelius - Edwardians, Introduction p. xi, Virago Contemporary Classics, 1983. Donno, Elizabeth Ail (ed.): Twelfth Night (Cambridge, 2003) Mahood, M. M. (ed.) Twelfth Night (Penguin, 1995) Pennington, Michael: Twelfth Night: User Guide (New York, 2000) Mulherin, Jennifer: Twelfth Night (Shakespeare for All) External Links Wikisource has the original text associated with this article: Twelfth Night Commons has media related to twelfth night. Wikiquote has quotes related to: Twelfth Night Twelfth Night on the Internet Broadway database Twelfth Night on the Internet Off-Broadway database Twelfth The navigator includes annotated text, number lines, scene index with stage scene and a search engine. Search twelfth night Etext Unattributed edited version: bare bones, but with a long resume. Twelfth Night at the British Library Twelfth Night in the Gutenberg Twelfth Night public domain audiobook on LibriVox Lesson Plans twelfth night on the English Teacher Twelfth Night study guide and teacher resources - topics, quotes, multimedia, study of questions To analyze the various characters in the twelfth night, can be referred to the essay by Pinaki Roy Epiphany: Rereading Selected Characters in the Twelfth Night of William Shakespeare, published in The Annual Shakespeare - 2012 ISSN 0976-9536 10, April 2012: 53-60. Extracted from the twelfth night summary in bengali pdf

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