CSEC English B Exam Prep || Twelfth Night Analysis (Part 1 of 4)

Summary

This is the first part of a four-part analysis of Shakespeare's "Twelfth Night," aimed at preparing students for the CSEC English B exam. The play is dissected scene by scene, exploring its complex themes, distinctive character dynamics, and the intricate web of mistaken identities and love triangles. Each act and scene are discussed in depth, focusing on how Shakespeare uses various literary devices to portray themes of love, identity, and the absurdity of social hierarchies. From the comedic antics of Malvolio to the love entanglements of Viola, Orsino, and Olivia, this analysis provides a comprehensive guide to understanding this classic text.

Highlights

• Orsino's dramatic love for Olivia is more performance than genuine affection 🎭.
• Viola's disguise causes a web of confusion and unintended attraction 😲.
• Malvolio's comedic humiliation highlights themes of pride and ambition 🙈.
• Olivia’s sudden affection for Sebastian shows the absurdity of love at first sight 😍.
• Fest, the fool, is paradoxically the wisest, revealing profound truths through comedy 🤡.

Key Takeaways

• "Twelfth Night" is a complex play with themes of love, identity, and deception 🎭.
• Character dynamics are intricate, involving mistaken identities and love triangles 🔄.
• Orsino's melodrama is a critique of performative love and romantic idealism 💔.
• Viola's disguise as Cesario drives much of the comedic and dramatic irony 😂.
• Malvolio's downfall serves as a satire on social ambition and self-deception 💡.

Overview

In the opening scenes of "Twelfth Night," Shakespeare introduces us to a world of comedic confusion and theatrical love stories. Duke Orsino is hopelessly in love with Olivia, but his affection seems more like a performance than true passion. At the same time, Viola, who disguises herself as a man named Cesario, earns Orsino's trust and unwittingly attracts Olivia's affection, setting up a classic love triangle fraught with dramatic irony.

The subplot featuring the puritanical Malvolio provides critical commentary on social climbing and self-deception. His downfall, orchestrated by the clever Maria, Sir Toby, and others, is both comic and cautionary, emphasizing the play's theme of appearances versus reality. Malvolio's delusions highlight the absurdity and danger of blind ambition and pride.

Sebastian's arrival in Illyria further complicates the narrative, as mistaken identities lead to unexpected unions. Fest, the jester, navigates these comedic mazes with wit, often acting as a voice of reason amidst the chaos. Shakespeare cleverly uses Fest to underline the serious undertones of love and identity beneath the play's comedic surface. Overall, "Twelfth Night" masterfully blends humor with poignant observations on human nature.

Chapters

• 00:00 - 01:00: Introduction and Overview The chapter titled 'Introduction and Overview' begins by comparing the complexity of '12 Night' to 'Nancy.' It points out that '12 Night,' even when translated into modern English, presents more challenges in terms of character management and language complexity. Despite these challenges, the chapter highlights that '12 Night' contains a greater degree of comedy compared to 'Nancy.'
• 01:00 - 60:00: Scene Analysis: Act 1 The chapter presents a discussion on the tonal differences between 'A Nancy' and 'Twelfth Night', highlighting how 'A Nancy' is more serious with moments of humor, whereas 'Twelfth Night' is more comical with moments of seriousness. It then transitions to a focus on the first act of 'Twelfth Night', particularly appealing to those interested in light-hearted romance and relationship stories. The speaker reads the first page of Act 1, Scene 1, and plans to involve volunteers for subsequent readings.
• 60:00 - 120:00: Scene Analysis: Act 2 In the chapter 'Scene Analysis: Act 2,' the discussion focuses on analyzing scenes one by one. The approach is more straightforward compared to non-linear storytelling methods such as those found in Nancy, where narratives switch between multiple settings. Instead, this chapter adheres to a more traditional, linear format. Act one, scene one, includes screen captures from a play rendition available on YouTube to aid in the guide writing process.
• 120:00 - 180:00: Scene Analysis: Act 3 The chapter 'Scene Analysis: Act 3' begins with a reflection by the narrator on their experience after writing a guide on the play. They mention watching different versions of the play available on YouTube, appreciating the variety, and how imagery enhances the guide's depth. The chapter then starts to delve into Act one, scene one of the play. While current discussions focus on themes and characterization similar to previous analyses (like of a character named Nancy), it hints at a deeper exploration in future sections.
• 180:00 - 220:00: Scene Analysis: Act 4 In Act 4, Duke Orsino, located in his palace in Ireland, delves into the dual nature of love, expressing both its joys and sorrows. He requests music to accompany his musings but soon dismisses it, likening love to a vast ocean that absorbs everything and shifts like dreams or illusions. This introduces the recurring theme of love as a mutable and illusionary concept.
• 220:00 - 233:20: Conclusion and Wrap-Up In the Conclusion and Wrap-Up chapter, the complexity and confusion of love are emphasized. The chapter starts by highlighting how love is not something easily understood or clearly seen. It's described as being perplexing and challenging to grasp. Orsino, accompanied by his servants, expresses his feelings of lovesickness through dramatic and clichéd metaphors, equating love to madness. One of Orsino's attendants, Curio, invites him to partake in a heart hunt, symbolically linking hunting with the pursuit of love.

CSEC English B Exam Prep || Twelfth Night Analysis (Part 1 of 4) Transcription

• 00:00 - 00:30 It is a little bit more difficult than a Nancy. It is more complex. Um, the characters are a bit more difficult to keep track of. The language is also a bit more difficult. Even with the modern English translation, it's still a little bit more difficult than with a Nancy. But I also think there is there's more more comedy in 12 Night, you know, comparing it to a Nancy. I
• 00:30 - 01:00 think it's it's probably a more fun read. A Nancy is a more serious read with bits of humor, whereas 12 Night is a more humorous read with bits of seriousness. All right. So, if you prefer the lighter side of things, if you if you like romance and relationship stories, then 12 Night is going to be an interesting read for you. So, act one, scene one, I'll read this first page, but from from the second page onward, I'll ask volunteers to pitch in. So,
• 01:00 - 01:30 we'll just take on a page and then we'll have a little bit of discussion um about that scene. We're going scene by scene, not like a Nancy where we have to jump back and forth between two settings. Here it's just um more regular um format. Right. All right. Act one, scene one. And I managed to get some some screenshots from um one of the renditions of the play available on YouTube. So while writing the guide, you
• 01:30 - 02:00 know, after writing the guide, I watched through that play, took some maybe some of you guys have watched this particular one on YouTube. There are two or three good ones. I got some nice images and I think that just adds a nice little touch of of imagery to the guide. Right. All right. Here we go. Act one, scene one. Um, just as with a Nancy, we can touch on themes and characterization for now, but we're going to go more in depth on that stuff later. We can touch on it now, but we can go more in depth later when we actually get to that section of
• 02:00 - 02:30 the guide. Duke Orsino in his palace in Ireland expresses both joy and sorrow over the complexities of love. He asks for music but quickly stops it, comparing love to an ocean that consumes all and constantly changes like a dream or illusion. This is actually touching on a theme that we're going to see more of, right? Love being this kind of changing illusory thing that we can't
• 02:30 - 03:00 really grasp and we can't really see clearly and we can't really understand. Right? Love is not painted as this straightforward thing. It is seen as something very confusing, something very difficult to grasp. Orsino, attended by his servants, indulges in his feelings of loves sickness, making dramatic statements and using clichéed metaphors that compare love to madness. Curio, one of Arseno's attendants, enters and asks if Arseno will join him to hunt a heart,
• 03:00 - 03:30 which is the male deer. Orsino responds by comparing himself to a hunted heart. pursued by his own desires ever since he first saw Olivia. Valentine, another servant, returns from Olivia's palace with news that she's mourning the recent death of her brother. Olivia plans to live like a nun for 7 years, secluded and grieving to honor her brother's memory. Instead of being discouraged, Orsino becomes even more passionate
• 03:30 - 04:00 after hearing this. He believed that if Olivia can love her brother so intensely in death, she will love him even more once her romantic affections are steered. All right. And I have a key quote that we'll get into in a little in a little bit. For each scene, I tried to select maybe the most important quote that I want you to actually memorize. And of course, I have um some notes on the meaning of that quote, why we can um why we need to remember it and how we
• 04:00 - 04:30 could probably quote it in an essay. So, as we look at kind of my summary of act one, scene one, what are some big ideas that are coming up? What are some some interesting things that we we're already beginning to learn about our first main character, Duke Orsino? What do we know about Orsino? And here we're looking at the actual act. He's lovesick. He's lovesick. What do you mean by lovesick? He wants love but doesn't have it. Sorry. Suffering from unrequited love.
• 04:30 - 05:00 Oh, I like that. Unrequited love. Love that you give to someone but that they don't return to you. Is that all we see about um Orino? There there there's some interesting things that are beginning to surface about him even at the beginning here. It should seem that love has blinded him to the fact that um Lady Olivia is currently grieving but he does he's blinded by his well by his extreme love for them. Well, he takes that grief
• 05:00 - 05:30 as a challenge. He's saying, well, this woman is grieving. If she loves her brother so much that she's going to grieve him for 7 years, imagine how much she's going to love me when she gets to know me. So it's delusional. Yes, Zahara. One more time, please. Um, I was saying he's more delusional. Yeah, I think there's definitely an element of delusion here that we're able to see right at the beginning. Because if you can look at a woman who is grieving, who
• 05:30 - 06:00 is cutting herself off from romance right now, and you're going to say, "Okay, challenge accepted. This means you're going to love me even more." There's a lack of awareness, isn't there? Sorry, Kasa. Go ahead. Go again please. Sir, maybe the love has made him mentally sick. Interesting. Mentally sick, love sick, delusional. These are some descriptors that are coming up. Let's look at this quote. If music be the food of love, play on. Give me
• 06:00 - 06:30 excess of it that surfing the appetite may sicken and so die. What is the meaning of this? This is a is an important and quite a famous quote from this play. And I can just imagine this being like the the prompt for a casc question. There are so many things that we might be asked to talk about where this quote is is is concerned. What does this tell us about Orino, his character, and his view of love? Just this one line right here. And this is when he's he's
• 06:30 - 07:00 basically talking to this guy, right, who is playing playing for him on the guitar, right? If music be the food of love. Yes, male. Go ahead. Sir, he's saying that he wants to be given love until he doesn't want it anymore. Give me excess. Give me too much so that I will even lose my appetite. What an interesting guy. He asks for music, right? And then he asks for the music. He asks for the musician to stop playing. He compares love to an to an
• 07:00 - 07:30 ocean, right? His servant says, "Hey, let's go hunt." And he turns that invitation into a conversation about the nature of love and how he is being hunted. He looks at Olivia who is in mourning and say, "This morning that you're mourning, I'm going to relate it to love and make that the point." So, it seems as if Orsino is a is quite a dramatic character, right? A character who isn't quite grounded in reality, but is more he's living in his head. He's living in his own mind, in his own
• 07:30 - 08:00 thoughts, his own little world and delusion where he is the star of this movie he's in, right? He's the Disney prince or the Disney princess in his movie. And it it seems that even from this very first act, from this very scene, and from this very quote, even though it's just a couple of words, or seems to be more in love with love than he is with anyone, right? He just wants to be lovesick. He wants to be the
• 08:00 - 08:30 sympathetic romantic knight, right? He's just trying to play that character and have that feeling. We're going to notice as we go on, and we're just at the beginning, so we're not seeing everything clearly yet, but as we go on, we're going to notice two distinct um philosophies of love, two different ideas of love, two different worlds of love. This play gives us two different casts of characters who have their own plots running. So maybe after all it's not so different from a Nancy that gives
• 08:30 - 09:00 us the forest and the ship. Right? In this play we have the high characters, the nobility. We have the Orino, the Olivia, these guys who are the rich people. But we also have some low characters, some commoners, the Malvolio and Maria. And Toby is kind of a commoner, right? So, we have these two sets of characters who are going through their own exploration of love at the same time. And from time to time, their paths cross. And what we're going to notice is the high characters have a
• 09:00 - 09:30 very different approach to love, a very different view of love from the low characters. But we're going to get there as we proceed. We're going to start to notice um a distinct contrast between the two types of love. the love portrayed or the love pursued by the higher the upper class versus how the lower class deals with love. We're going to notice that Orsena is setting the stage. He's this melodramatic guy who exaggerates everything. He makes poetry
• 09:30 - 10:00 out of everything. He when he's sad, he wants the violinist to come and play the sad song to accentuate how sad he is. He wants to be on display. He wants his heart to be shown to the world, right? It's more of a show. Look how romantic I am. Come play that sad song so people can see me cry. Right. It kind of reminds me of, nothing against anyone who wants to be an influencer, but it reminds me of this wave of mainly Tik Tockers, but also Instagrammers and YouTubers who every emotional experience
• 10:00 - 10:30 in their life, they find the time to set up a tripod and film it and and and post it and get views, right? Somebody grandmother die and it's a big video with a nice thumbnail and tears running. It's like no nothing is it makes you question the authenticity of everything, doesn't it? I mean, we're we're being real. Yes, sir. We're being real. There's one doctor, nurse, I'm not sure. A young lady, maybe a maybe a doctor or a nurse, I don't
• 10:30 - 11:00 know. And she went viral for a reason. Maybe she think it's she thinks it's a good reason because any attention is good attention when you're an influencer, right? And you would see her in her Tik Toks all melodramatic. Oh, just lost a patient today and she's crying in the hospital room and she it's like she can't even realize how jarring this is. Like what what are what's the behind the scenes like? Someone just dies. You're a patient and you're like, "Okay, hold a minute. Let me not cry yet. Let me get my tripod and set up. Is
• 11:00 - 11:30 this the right angle? Are my tears showing? Is the lighting good?" Or is this kind of guy, right? His feelings must be curated and be on display. He He wants the music. He wants the poetry. And so we have to wonder, is this a genuine kind of love or is this more of a show? Is he be just being a showman? Look at how he's dressed, right? Is he just kind of showing? And is he just in it for the game of it, for the pursuit, and for the u for for the feeling of it?
• 11:30 - 12:00 Is it is it real? Go again, Varys. So I said, I didn't mean to jump here. But what I was trying to say was that he's kind of fulfilling a stereotype in a sense. He's he's being a character in his own show, right? And so we're going to notice that when the lower characters deal with love, they're much more grounded, right? And they're how they navigate it is a bit closer to how anyone in real life would would would
• 12:00 - 12:30 navigate um love. All right, let's um take a closer look at this particular quote because I wanted to remember it. If music be the food of love, play on. Give me excess of it that surfing the um the appetite may sicken and so die. The play begins with Duke Orsino lamenting about love using dramatic and exaggerated language that sets the tone um for the theme of excess. Excess is an important theme too much. We're going to notice that that comes up. Orsino seems to enjoy performing. Performance is
• 12:30 - 13:00 another very important performance. The performative aspect of love. We're going to flash forward. We're going to we're going to see Olivia and how she she she does her own play within a play to express her own love, right? It's all performative at that level, right? Orsino seems to be to enjoy performing the role of the heartbroken lover, even asking for music to be played as he wallows in his own dramatic desire. His
• 13:00 - 13:30 understanding of love appears shallow and performative, highlighting the idea that he is more in love with the idea of love and truly experiencing. But sir when me sad me play sad music sir when me upset me play um don't know that sir but listen to music according to me mood but there's a big difference here when you are sad do you call your friend who plays piano I'm sad come and play a sad song for me come set up this lighting
• 13:30 - 14:00 and blah blah blah what is doing is is is more performative you know when you're listening to a sad song in in your own private space, that's still a personal experience. You're not performing for anybody, right? If you set up a tripod now and you start a live stream to cry to your followers and show how sad you are, then that becomes questionable. Now, I have to wonder, is this person really sad or is this person cloud chasing? Does this person um really feel
• 14:00 - 14:30 anything or are they just performing their feelings? Right? So this idea of of performing and being a character, being in a role is is one of the critical considerations of 12th Night. And guess what? There's an interesting idea that is kind of attributed to to to Shakespeare's work. That big idea of we are all just actors on this stage called life. It's a bigger idea than the play itself. And I think Shakespeare is the one who is kind of credited with I don't know if a particular quote or just the
• 14:30 - 15:00 idea of all human beings you say we're just playing roles right you have a different costumes you have a different masks and we perform until we die and that particular idea is really um made lucid in 12 night where we see characters going out of their way to perform and to be someone or something that they're not and to create certain impressions that might not necessarily be true even to the point of literally turning into other people through disguise. Right?
• 15:00 - 15:30 So, let's keep those points in mind. All right. Act one, scene two. Act one, scene two. Viola, a young noble woman along with a captain and several several sailors arrives on the coast after a shipwreck. She asks where they are and the captain tells her they are in Ira. Riola, believing her brother Sebastian had drowned, mourns his loss. But the captain offers hope, saying he last saw
• 15:30 - 16:00 Sebastian alive, holding on to the ship ship's mask. Viola's brief expression of grief contrasts with Orsino's elaborate speeches from the previous scene, highlighting the sincerity of her sorrow. The captain knows explain that explains that Duke Orsino rules the land. Orino is a bachelor who is in love with Olivia, a noble woman who out of
• 16:00 - 16:30 her out of love for her deceased brother has sworn not to marry for 7 years. Viola becomes interested in working for Olivia, but learns that Oliv Olivia is refusing to see anyone. Instead, Viola decides to serve or she asked the captain to help her disguise herself as a man to work for him. And he he agrees to help her carry out her plan. Key quote, "Conceal me what I am, and my aid
• 16:30 - 17:00 for such disguise, and happily shall become the form of thy intent." Significance. Viola asked for help to disguise hers as a man, setting the stage for the theme of mistaken identity and hidden truths that drive the plot. It reflects her adaptability in navigating a male dominated world. Thank you. So, we have a very interesting character being introduced by Yola.
• 17:00 - 17:30 She's a noble woman, but she's not in the upper echelon of of nobility, right? She's still kind of in the middle of the pack. She is concerned about her brother, right? She believes her brother Sebastian has grown. But the captain, the captain is like, "Hold up. Hold up. Let's not jump the gun. This guy might still be alive." And what is Viola willing to do? Clinging to that hope that her brother might still be alive. Well, could it be that she dressed up as a man's way to find an occupation? Cuz
• 17:30 - 18:00 if I remember back in the days um I guess the rule well no not rule but w no gender roles back then are quite different from nowadays men are the working but the fe women don't work back in the days as so so she's dressing up as a man to to find greater opportunity but what is that she wants opportunity to do she asks who rules here who governs here the captain answers a duke a noble duke what's his name or Cino.
• 18:00 - 18:30 And then she decides, okay, I've I've heard of this guy. Um eventually she decides that she's going to dress up and work for him. But why? Why really? Excuse me, sir. Yes. Yeah. Um she originally wanted to work for Olivia. Mhm. And then um when she when he when the captain told her that, you know, she wasn't seeing anybody, um she was like, "Okay, it maybe I should work for the king instead." Because before um in the modern version, oh I wish I could serve
• 18:30 - 19:00 that lady. Then I wouldn't have to reveal myself to the world until I was ready to identify find my place in society. So she um that's what I was saying um she doesn't want to have to reveal her place in society as yet because um she's having hope that her brother is still alive. Okay. So make the connection for Mia. What is the connection between not revealing her place, working for Osino, and hoping that that her brother is still alive?
• 19:00 - 19:30 How does all of this um make sense? Um perhaps um it's not good for like a woman to be um like alone cuz how um how they making it look that happen in like other family except your brother. So probably it's not good for a woman to be alone because she wouldn't be able to fend for herself or something of the sort. And like I don't know, probably there's some shame or like some other weight that comes down with losing the brother. H is this about fending for
• 19:30 - 20:00 herself? I I think that she um she dresses up as a man because in Elizabethan times to uh a woman would not have been allowed to uh access jobs. one, two, the level of safety you you would have she would have had with her brother being alive would have provided her um with the opportunity to continue life as is. But she's very resourceful and she's knowledgeable about the fact that men have a more have a different
• 20:00 - 20:30 freedom to women of of that time. So one of the ways is disguise yourself like a man and and it's considerate of the captain also to have been able to recognize that this is the only way somebody like her is going to have um a way to protect herself to keep herself occupied one. Yes. But that level of safety and the freedom that men got at that time disguising herself as a man would have suited that purpose
• 20:30 - 21:00 perfectly. We know that Viola is a very resourceful person. She's very smart. She can even manipulate people. And so she re she's very selfaware. She knows that okay as it is as a woman in this in in in this place I'm not necessarily going to be able to fight my brother or do anything to save him if he's still out there. I'm going to become a man. I'm going to make connections with people who matter and perhaps a way will emerge. Right? This, I think, is Viola's mindset for getting into the disguise
• 21:00 - 21:30 and trying to immediately connect with somebody who has poor, right? Remember that Viola loves her brother, right? So, we have to imagine that at least one reason why she's doing all of this, you know, connects back to the brother she misses and and and hopes is still alive. Yeah. Um, it's it's still quite early, but we can already see some contrasts between Viola and her love for her brother and what's his name? Or Cino and his love for Olivia. But we're going to
• 21:30 - 22:00 get into those contrast when they when they start to make themselves a little bit more obvious. But keep that in mind. That's something we'll be able to to come back, right? All right. So, conceal me what I am and be my aid for such disguise as happily shall become the form of my intent. Right. Viola, she wants to disguise herself as a man. And this is where the whole confusion really starts. Everybody disguising, putting on masks and different clothes, right? But her idea to wear a disguise, it
• 22:00 - 22:30 definitely shows a part of her character. It shows that she's she's a quick thinker. She's able to problem solve. She's able to to make do in whatever situation she's is if she's in, right? And that um continues to hold true for Viola. She's that kind of character. She's a little bit of a Nancy in her. Remember when a Nancy dressed up as that girl to trick her? Yeah. Viola is doing something that's not entirely different. She's dressing up as a man to
• 22:30 - 23:00 kind of get ahead. All right, let's see what's happening in act three. In this first uh scene three, in the first couple of scenes, so in in all of act one, we're slowly being introduced to the cast, the different characters. So, we might notice that the scenes don't seem to to really just follow one continuous story, but we're we're getting little introductions and everything will start to to converge and make sense by the end of the act. All right, another volunteer. Take us through scene three, please. At Olivia's
• 23:00 - 23:30 palace, her uncle Toby Belch returns from a night of drinking. Olivia's servant Maria flirtatiously schos him for his behavior and for bringing the foolish knight sir Andrew. Andrew Agugustic is that house? Aucha. Okay. Auch to Olivia. Sir Toby defends Sir Andrew noting his wealth and height. But
• 23:30 - 24:00 Maria dismisses these qualities as unimportant. Sir Toby and Maria's flirtation along with Sir Toby's practical view of suitors focusing on wealth contrast with the more noble romanticized idea of love seen in original character. Sir Andrew arise and Sir Toby encourages him to accost Maria leading to a series of crude pretentious word play. Maria easily outwits Sir Andrew, showing her sharp wit before she
• 24:00 - 24:30 exits. Sir Andrew, frustrated that Olivia shows no interest in him, decides he will leave the next day. However, Sher Toby convinces him to stay for another month, persuading him that there's still hope. Key quote, I would I had bestowed that time in the towns that I have in fencing, dancing, and beer baiting. Oh, had I follow followed the arts? Significant. Sir Angela mens on
• 24:30 - 25:00 not studying the arts believing is it would have helped him win Olivia his dramatic regret. However, it is itself a performance echoing the place beam of love as a performative. All right, so we have some new characters. Thank you very much. We have some new characters on the table. We have Toby, Maria, and kind of the the idiot character, the butt of the joke, and Andrew. Andrew, argued cheek. Even as we look at the names of these
• 25:00 - 25:30 characters, we we we can start to pin some some characteristics to them, right? like Toby Belch. That's quite a vulgar name, right? He's a vulgar guy, right? Um I guess he belches a lot and quite loudly, right? Agitic is a funny name. It's a weird name that they make fun of later on and he's a funny silly guy, right? And so we have these guys with the with the strange names that kind of suit them quite a bit. Um we have Toby, Olivia's uncle, and Toby's
• 25:30 - 26:00 friend. Um, what do you think of Toby and Andrew's friendship? What What do you think of um their interactions? Especially with how Toby kind of sets him up in trying to interact with someone who he knows is going to outwit and embarrass him. Toby knows this guy can't handle Maria, but Toby kind of sends him out and talk to her. Talk to her. What What do you think of their interaction, Toby and Akichi? anything
• 26:00 - 26:30 interesting about Tony and Sir Aguic? Toby and Sir Aguic. So I think that um Sir Toby and Sir Andrew Arguic are from a different class to Maria. And as you mentioned pretty early on when we started um the way the higher class thinks of love and pursuit is very different to how the lower class considers love and pursuit because Maria is almost instantaneously
• 26:30 - 27:00 um she dismisses him and his attempts at her. Um again showing that she's not concerned about how wealthy they are. So she's quite she can see through their fickleness and their um and and she could see fools in a distance. That's what's happening here, you know. So I think the way love is looked at from the lower class as opposed to the higher class. It's it's not a performative one. she could dismiss you easily and as you
• 27:00 - 27:30 know I mean when you go through the the play you'll see her doing that quite often and she's able to make a fool of the people who trying to think that uh she would be the first to fall for their uh their little antics again performatives. Mhm. Mhm. Yeah. Um, so Maria seems to be quite quite grounded, quite sensible. And even Toby, even though he's kind of making a mockery of the situation for his own amusement, he too has a somewhat of a more realistic
• 27:30 - 28:00 take on, you know, yeah, marry this man, he's rich, take his money. I mean, that's not necessarily good, but it's at least a grounded reason to to get with somebody. You know, what can he get out of it? as opposed to Orsino who is just in the his head in the clouds. He's just in love with love. It's like there's no rhyme or meaning behind Orsena's love other than the aspect of look at how heartbroken I am. I am chasing after love. Love is chasing after me. I'm so sad. It's really about, you know, the
• 28:00 - 28:30 performance of it. Uh yeah. And we notice that Sir Toby doesn't really respect Andrew. He I don't know if he likes Andrew. He makes fun of him. Um Tony uh Toby I keep saying Tony. Toby is a very crass character. He makes a lot of crude jokes. And we know one thing about Andrew. He's stupid but he's rich. He has money cuz he's a knight and he he has been well paid. And so it's it
• 28:30 - 29:00 becomes obvious. It's not obvious yet but it becomes obvious that Tony's Toby is keeping Andrew around so he can leech off Andrew's money. Yes, Tia. Sir, I was just about to say that Andrew seems like he's easily manipulated and Toby realizes that and keeps him that using that to his own advantage. Yes, definitely. Um to Toby is quite an interesting character. Look at how Toby kind of sets up Andrew for failure because Tony knows Maria and Toby knows
• 29:00 - 29:30 and um Andrew. He knows that Andrew isn't going to have any success with Maria. He's just going to be be embarrassed, right? So Toby is play to Toby is playing the wingman here. He's as he's as tall a man as in his in in Irea. What's that to the purpose? So this is my friend. I'm trying to set up my friend. Set you up with my friend. Look how tall he is. So what if he's tall? How does that relate to anything? What's the point? Right? Quite a good question. Why? All right. So the height won't catch you. All right. I talk about
• 29:30 - 30:00 money. He has 3,000 dual cats a year. Rich guy. I but he'll have but a year in all those ducats. He's a fool and a prodigal. You know the saying, a fool and his money shall soon depart. Yes, he has money, but you know, if he's not sensible, that money is going to be blown in one year. And then Toby continues to kind of give backhanded backhanded compliments. So, he's trying to say, "Hey, this is a good guy, Maria. This guy is is everything you need." But he's not really giving compliments,
• 30:00 - 30:30 right? He's actually mocking Andrew in a way that Andrew will not be able to recognize, but Maria might be able to pick up. It's like a Nancy kind of mocking or insulting Tiger, but Tiger can't recognize that, right? He hath indeed almost natural for besides that he's a fool. He's a great quarreler, and but that he hath the gift of a coward to allay the gust heath in quarreling. It is thought among the prudent, he would quickly have the gift of a grave. Right. What do you think that means? Mhm. He
• 30:30 - 31:00 love to quarrel and pick fights. Um but um if we didn't have the what coward's gift, we didn't have the courage gift um he would have he would have died already. Right. So the the real So Mario is saying these are the gifts this guy has. He likes to argue apparently with women as well. And he's a coward. These are the only qualities this guy has. The only reason why he's still alive right now is because he runs away from fights. He's not even a real man. Right. They add that um they they that add moreover
• 31:00 - 31:30 is drug nightly in your company. So he's hanging out with you drinking. What good is a man like that? So we have here Maria who seems to be very um very realistic in her assessment of you know a a love candidate. She's able to able to pick Andra Park and really discuss points about him that she doesn't like. Whereas we're going to see with Olivia and Orsino, they're not able to do that. they're too caught up in this idea of
• 31:30 - 32:00 this romance story that they're not really realistically looking at the details of the people they're chasing down. Right. So that's a big difference between Maria and you know the people up top who claim to be love. That interesting difference is something we look at later on. Yes. Um so is that what you were saying about like the poor in love and the rich in love? Because as you can see, it's not really easy for Maria to be booed and to fall air quotes fall in love um with um Sir Andrew
• 32:00 - 32:30 because of his money and his wealth and all the so-called skills he possess and she's actually rationalizing it and reasoning out. Whereas for um everybody else that we've seen so far, when they hear about the person, they're like, "Ooh, ah, I want that person. Be that person." Yeah. So, it's really two different approaches, right? You have a more rational, grounded approach and then you have a more earheaded approach, right? Maria is is a more rational
• 32:30 - 33:00 person. She's giving a more rational approach. Whereas Orsino and Olivia, they're so blinded by the infatuation that they're not really doing any character assessment, right? They're just kind of playing a role and pretty much fall in love head over head over heels so quickly, so easily. And then what becomes um ironic as well, we haven't gotten there yet. I don't want to get too much ahead of myself, but Orino, you're a duke, you're a rich man, you're you have means. If you're so in
• 33:00 - 33:30 love with Olivia, ride your your best horse or take your best chariot and go to Olivia and talk to her. You're so in love with this woman and you're sending messengers to talk to her. So indirect, right? It it's just such a performance. It's like the more characters he can have in his love story, the better. Why are you sending people to go and talk to Olivia? Is that a show of how genuine the love is, or is it a show of of how indirect you are and how vague you are in what you really feel? Let's see if we can get through the rest of this act.
• 33:30 - 34:00 All right. Who's going to touch on scene four for us? Uh, act one, scene four. Viola, now disguised as Cesario, speaks with Valentine at Osin's palace. Valentine informs Cesario that Osin has quickly drawn grown to trust him deeply despite it only being 3 days since he entered Osino's service. Viola's appearance as Cesario sets the stage for the gender confusion and mistaken
• 34:00 - 34:30 identities that will unfold throughout the play. Osino enters and confides in Cesario, instructing him to visit Olivia and use his youthful feminine appearance to persuade her to give Osu an audience. Despite Olivio's vows to see no one, after receiving his instructions, Viola privately laments her situation. She must plead Osino's case to Olivia,
• 34:30 - 35:00 though she has already fallen in love with Osinu herself. Viola's love for Osu is complex as her male disguise prevents her from openly expressing her feelings, contrasting with Osenu's more melodramatic expressions of love for Olivia. Kikot, better a witty fool than a foolish wit. The significance fest reflects that it is better to be a witty
• 35:00 - 35:30 fool than a foolish person who lacks width. This comment emphasizes the unique role of the fool in Shakespeare's plays where the fool often acts as a voice of reason and insight despite being a justest. Fest's ability to move freely between social classes allows him to observe the foolishness of others, particularly in matters of love. In 12th Night, he highlights how love often
• 35:30 - 36:00 makes people act foolishly, preferring his role as a witty fool who can mock these actions without getting caught up in them. Thank you so much. Yes, that's a nice reading. And it seems as if the key quote doesn't have much to do with um what's discussed here, but it does it does connect because Fest is is probably the only character who has a bird's eyee view of everything that's happening. He's a character that knows everybody. He goes around and he he can get away
• 36:00 - 36:30 with asking anything and saying anything because a part of his job is just being candid and being silly. But the audience quickly recognizes that the fool is quite wise. is you have to actually be very very wise and very witty to play the fool, right? You have to be it's like standup comedy. You know, comedians might seem like comics or clowns, but how witty do you have to be to stand up for hours and say things that make people laugh and, you know, respond off
• 36:30 - 37:00 the top of your head and make jokes? It seems silly on the you, you know, as that's a job. probably just stand up and make jokes, but you have to be clever in order to really manipulate one's emotions to the point where you can make them laugh. So, the fool is not foolish at all. But back to Viola, the love triangle is starting to form, right? We have Viola who has now fallen in love with Orino. Or who, as you know, is in love with Olivia. And the triangle will
• 37:00 - 37:30 soon be complete when Olivia falls in love with Viola. So, we have two lines from the triangle already completed, right? We have Viola in love with um what's his name? Or is in love with uh Oh, no. We have the same letter. That's not good. Okay. Olivia is in love with Oh, wait, wait, wait, wait, wait. Viola is in love with Orino, but Orsino is in love with Olivia. And Olivia will soon fall in love with Viola. And Viola is also Cesari. Zarya is her this guy's name.
• 37:30 - 38:00 Most of the play will kind of center on on this love triangle. How is Viola going to you know get the love of her life or Cino? I have Orion on here. Or no. And how is Orsino going to get the love of his life Olivia? And how is Olivia going to get the love of her life Cesaria who is actually Viola. Right. We start to see some ironies coming up as well. some dramatic irony especially because we the audience we know that
• 38:00 - 38:30 Viola is Cesario but nobody else knows that and that is what's creating all this confusion that's what's creating the confusion right you know so we could see that it could it's a type of dramatic irony yeah definitely dramatic irony because we are aware of the this disguise situation but the other characters they are tricked by it and that you know they're tricked and they're you know they're being tricked is what motiv motivates their own foolishness because they don't know what's happening. And even Viola herself is trapped by her own trickery because
• 38:30 - 39:00 she she prevents herself from being able to confess her love to Orsino. So now I you know I meaning speaking from Viola's point of view, I'm going to have to go to this woman and tell her how much my boss loves her. But I don't want to do that because I love my boss. What a difficult position she's found herself in. So we see that the disguise which is meant to trick everybody else is also you know tricking Viola in that sense.
• 39:00 - 39:30 Um who wants to take on this one's a little longer can do page by page. In Olivia's house Maria schos the clown for his recent absence but he responds by teasing her about her portations with Sir Toby Belch. Maria exits morning first day to keep quiet about Olivia enters in morning attire with her steward mal malvolio. She initially
• 39:30 - 40:00 dismisses first day but he cheers her up by joking that mourning for her brother in heaven is foolish. Olivia is pleased but Malvolio disapproved calling Fest a fool. Olivia criticizes Malvolio for taking himself too seriously. Maria returns announcing a woman at the gate who insists on seeing Olivia. Olivia assumes he is another messenger from Arizona from Orsena. Malvolia is sent to
• 40:00 - 40:30 dismiss him but the messenger refuses to leave. Olivia becomes intrigued when Malvolia describes the messenger as androgynous and andro androgynous and she agrees to see him asking for a veil to cover her face. Cesario Viola in disguise enters and delivers an elaborate speech praising Olivia's beauty. Olivia refuses to enter into the formal speech and ask to be
• 40:30 - 41:00 straightforward despite Olivia's protest. Chesaria persists presses and insists on a private audience with him. Key quote, "Oh, you are sick of self-love." Malvolia and taste with a distempered appetite. In this quote, Olivia criticizes Malvolia for being sick of self-love and having a distempered selfobsession skew his judgment. Oh uh a disterate appetite meaning that his excessive pride and
• 41:00 - 41:30 selfobsession skew his judgment. Olivia is pointing out pointing out that Marvolia's arrogance clouds his perception of reality making him pompous and difficult to deal with. This is especially ironic given that Malvolia is her steward. someone who should serve humbly, but instead he is full of self-importance. This moment foreshadows Malvolia's downfall later in the play as
• 41:30 - 42:00 his in inflated sense of self leads him to believe that Olivia could love him. All right, just finish up this please. The rest of act one. Olivia Olivia intrigued dismisses the attendance and converses privately with Cesario. Cesario reveals that the words come from Orsena, but Olivia remains uninterested even as Cesaria describes Orsena's deep affection for her. Cesaria's earest plea
• 42:00 - 42:30 impresses Olivia, but she maintains her refusal to love Orsino. Cesaria cleverly remarks that if in Orsena's place, he would persist in his courtship by waiting outside Olivia's gate and continuing to express his love until she felt pity for him. This passionate poetic statement captures Olivia's attention. Olivia inquires about Cesar's background and Cesaria reveals that he is a gentleman, though his current
• 42:30 - 43:00 circumstances have reduced him. Olivia dismisses Cesaria with instruction to tell Orsena she cannot love him, but suddenly hints that Cesaria should return. Once alone, Olivia admits her growing attraction to Cesario. She sends Malvolia after him with a ring, lying that Cesaria led it behind to ensure that he will return the next day. Olivia realizes her attraction is based on Tesaria's looks and lament her irrational behavior, but she feels
• 43:00 - 43:30 unable to resist her feelings. Thank you. Thank you so much. There's a lot to unpack in in scene five here. It's a long scene and that's why it requires two pages of analysis, right? We'll get to Malvolio next time. We have Malvolia in the picture now, but we won't deal with him, right? What we want to deal with instead is Cesario, which we know that's Viola. She finally reaches Olivia's house. And she's just reeling with all this poetry, this rehearsed
• 43:30 - 44:00 poetry that um Duke Orsino is forcing her to or him, whatever you want to call her, whatever you want to call that person, forcing them to to uh to relate to Olivia. But Olivia is tired of his nonsense. Oh, this guy's sending somebody else with poems and compliments. Ah, I'm so over it. But she seems interested in the messenger, which is very interesting. And so, the love triangle is kind of complete now where
• 44:00 - 44:30 Olivia is catching some feelings for the page boy. Right. What I find interesting is just as Orsino predicted, Cesaria's feminine appearance attracts Olivia, but it attracts Olivia even more than Orsino would have thought, right? So Olivia, who I guess eventually plans to marry a man after the seven years of morning pass, is attracted to a man because he looks kind of like a woman. It's a little bit interesting, but this
• 44:30 - 45:00 man who is really a woman doesn't return that feeling. And so what we have here is we have a triangle of unrequited love. It's only at the end of the play does that triangle kind of work itself out. And that that working out of the triangle is also very strange because looking at how this triangle persists for almost the entire play all of a sudden when the disguises are dropped or suddenly returns Viola's love. this person who you were seeing as a man the
• 45:00 - 45:30 whole time as as soon as she looks like a woman. Oh, I'm in love with you now. That's a little weird. How genuine is any of that? We're going to lead up to an interesting ending, right? But we can look at the end. We can foreshadow the ending because we've already played so it's not a spoiler, right? The extent to which this is a happy ending is something I'd like to question. Is this a happy ending? Do people really get what they want? Yes, Viola is in love with Orsino the whole time. But isn't it funny how at the very end, as soon as he
• 45:30 - 46:00 realizes, oh, you're a woman. Okay, I love you now. Where did that come from? We know that Orsino would have been fond of fond of Cesario. But being fond of someone as a servant and you know trusting them is very different from having romantic feelings. Yes. Yes. Yes. Justice, cheer me up. The first part was um you wanted love. He wanted it till he wanted no more. Then maybe he didn't love um Olivia, but actually just wanted
• 46:00 - 46:30 to be loved. And maybe that's why when she revealed she was a woman, was she her name? Viola. Yes. When Viola revealed that she's an actual woman, he loves her instead. Maybe. Yeah. It does go back to the point that he's just chasing after this idea of of of of love. And what I think I think the reason he went after Olivia in the first place is because he knew that Olivia wasn't going to return his love. So he decided to fight a losing
• 46:30 - 47:00 battle so that he could be the sympathetic, heartbroken hero. He wanted to play that character. And so he he goes after a love he knows won't be returned so that he can have the violence playing for him and have everybody saying, "Oh, what a character." He wanted to play that role. And that is why he went for the only woman that he couldn't get. He's a rich duke. He could get anybody. Who does he go after? The woman who says, "I
• 47:00 - 47:30 don't want to see a man for the next seven years." That's a candidate. That's the one woman in all the in the whole country that you're going to pursue. Clearly he wants this pursuit, right? But at the end perhaps he's tired of the pursuit. You know, he finally gets his request in in the beginning. He says, "If if if food if music is the food of love, give me enough that I don't even want it anymore." Maybe he doesn't want that anymore at the end. And so he says, "All right, this person has been in love with me. Let me just switch gears and
• 47:30 - 48:00 get with that person and stop the foolish chasing." Right? So perhaps at the end there is some some change of mentality about love or you could you could interpret it as there's no way Orsino could love Viola all of a sudden just because he now finds out she's a woman right and before she even changes into the womanly clothes at the end he's already accepting her as a partner while she's still looking kind of like a man so is it that whoever just works I don't
• 48:00 - 48:30 know I don't know what is is really about his price, sir. I don't know who he's desperate and delusional at the same time. And I mean, you would think that a duke would have no need to be desperate and delusional, right? That's what you would think, but here we have it. Um, so yeah, we have the love triangle um fully formed now. Everybody is chasing after the lover they can't get pretty much and deliver it in. And we'll see some more about Fester that we can get into another time. Anything else to touch on here? One thing I think
• 48:30 - 49:00 though, sir, um I think needs to be more than a jester. What do you mean? He's wise. He has sense. He can act. He never refuses. He needs to be more than a jester in my opinion. That's why he's the jester. Cuz you you need to be the smartest man in the room to play the fool. That is that is kind of the idea behind Fester. If you're an actual fool, you can't you can't you can't play the fool. You're just going to be like a cheek. That's that's an actual fool. No.
• 49:00 - 49:30 So if you want to contrast characters, you can look at Andrew Aguic versus Bestie. Someone who is what was that quote? Uh um Andrew Aguchi is someone who is um a foolish wit, right? Yeah. Foolish wit. Someone who thinks they're sensible, but they're actually stupid. Whereas Fest is a witty fool. He's a fool by profession. That's what he pretends to be. But he's actually witty just like Anancy. He he can manipulate with language. He knows how to maneuver
• 49:30 - 50:00 the world and he's well traveled because as a fool fool being his job description not his personality just his job as a fool he has to travel from place to place and he basically gets commissioned to make people laugh to make people's lives interesting. So he goes around, he knows what's happening, right? So not only is he wise, but he's quite knowledgeable. He in in current affairs and we we get to analyzing Festy a little bit more, especially when we get
• 50:00 - 50:30 to character analysis. We'll take a look at just how wise Fest is and some of the the lessons we can learn as we look at Fest. Are we able to see a comic strip? Yes, sir. All right. Nice. I want two readers to help me out. I want one reader from my class and one reader from Miss Williamson's class. And I want you guys to just alternate reading the pages. You have five pages to read. All right. So, Tia, you'll start from page one. Who from my class will um do page
• 50:30 - 51:00 two? Short comic strip. Just a little bit of dialogue. Come on, guys. Can I do page two? All right. Thank you, Isaac. All right. So, go ahead. Page one. Let's read with some um expression. Yeah. Okay. If music be the food of love, play on. Give me excess of it. Okay, that's enough, guys. Cut it out. Oh, Olivia. Olivia. All I do is mope around all day thinking about how much I love her. Alas, alas. Cheer up, sir. Don't
• 51:00 - 51:30 interrupt me while I'm being selfindul indulgently tragic. Curio. My lord, the lady Olivia, what news from her? She is mourning her brother's death and refuses to be seen for 7 years. Sorry. Wow. If she loved her brother that much, just imagine how much she love her future husband, aka me. Um, oops. Time for me to wander in the garden while lamenting about being in love. Come on. Ah, thank
• 51:30 - 52:00 you. All right, next page. Sorry about that whole shipwreck accident incident. Here we are in dryland. What country friends is this? This is Illyria. Do you think my brother might have supplied the shipwreck? Um, I saw him tie himself to a mast as the ship went down, but I wouldn't hold your breath. I guess I'm stuck in Iria. Can you give me some useful plot exposition, Captain? Well, according to the recent issue of the Iria Tatler, the Duke Orsino wants to
• 52:00 - 52:30 marry the countless Olivia, but she is in mourning for her dead brother and won't see anyone. Hold on. Hold on. I'm about to get a brilliant idea. Got it. Captain, will you help me dress up as a boy and present me to Osuna as a singing? What was this word? You knock. As a singing uno, so I can serve them. Hello, Captain. Sorry, I was waiting for the brilliant idea. That was the brilliant idea. Oh. Um, yes, I can do that.
• 52:30 - 53:00 Nice. I love the voice. The voice changing. Love it. Yeah. Very nice. Very nice. So, we're not lost, right? We know what's happening in these two scenes so far. Yeah. Yes, sir. We have our our boy or Cena being all melodramatic and then we switch over to um Viola who is try just getting that idea going that you know, let me dress up as a man. Basically, the captain is going to help her out with that. All right, back to Tia. You're seeing um is that Hick? I
• 53:00 - 53:30 can't really see it. Yeah, maybe that's Hick. Whatever it is. Okay. Oh my head. Sir Toby, you must stop staying up so late drinking. P. She's such a stick in Oh, it's all other way around. Okay. Your niece Olivia has been complaining about you. P. She's such a stick in the mud. And what's this about you bringing a nice year to woo her? You know she's in mourning. What? Sir Andrew Aguchi very? He's very rich. He's an idiot.
• 53:30 - 54:00 Okay. The two things are not mutually ex exclusive. And here he comes. Welcome, sir Andrew. Hello there, Sir Toby. May I introduce you to Maria? My niece is chambermaid. Oh, bless you, fair shrew. You are an idiot. That went as well as could be expected. Sir Toby, I'm leaving. Your niece won't even see me. Oh, come on. It'll be fine. Trust me. I'll stay a month longer. That's the spirit. Let's get a drink. You're buying. Haha. Okay, nice.
• 54:00 - 54:30 Wow, Cesario, you only been here 3 days and already are you are Osenu's favorite companion. Oh, shooks. Ah, Cesario, just a man I was living before. I told you to go over to Olivia's household. Her from me when her love for me, but she's still in mourning. She'll never see me. Nonsense. She won't be able to refuse such a freshfaced young boy as you. I mean, just look at you. You can hardly even be called a man. Your face is so
• 54:30 - 55:00 smooth. Your voice is so high. In fact, one might also think that you are that you actually actually uh uh No, that's too silly. Go off and Olivia for me now. There's a good boy. What? What? But but I love you. Ah, you know. All right. T back to you. Team five part one. Come to your upstage. Best, where have you been? My lady Olivia will be furious that you've been
• 55:00 - 55:30 gone for so long. Oh, don't worry. I can walk my way out of anything. Look out here. Look out. Here she comes. God bless thee, lady. Take this fool away. Um, that's right. Take away the lady, sir. I bid them away. You give me give me leave to prove you a fool. Lady, sigh. Whatever. Fine. Lady, why mournest thou? Good fool for my brother's death. I think his soul is in hell, lady. I
• 55:30 - 56:00 know his soul is in heaven, fool. The more fool, the more fool you to mourn for your brother's soul being in heaven. Take away the fool. Badum bumish. Bumish. What? Thank you, Mvolio. What was that supposed to be? A joke? Anyone who has anyone who has to actually say bad when they tell a joke is clearly not very funny. Yeah, this was written a little strangely, right? But nice job.
• 56:00 - 56:30 Um, I guess that they're imitating that kind of sarcastic drum roll for when something isn't quite funny to indicate that was supposed to be a joke. Yeah. Ex. Exactly. So you have to kind of read read out the songs. So if G was set before him before he knew. Yeah, pretty much. Yeah. So we're dealing this is fool. And who is fool talking to here? Olivia, right? Remember that fool
• 56:30 - 57:00 is our wise guy pretending to be like this kind of stupid character, but he's actually quite wise. He's like a jester, right? And the higherups will hire him out to cheer them up and to entertain them. Just we have Olivia being entertained by the fool, but the fool is actually being being quite wise. You know, why are you mourning your brother if you say he's in heaven? Isn't he in a good place? You must be foolish for mourning someone being in par. And as we go back to here, the page that Isaiah
• 57:00 - 57:30 read, we're looking at Cesario and what's his name? Orino. The love triangle is starting to form, right? Orino is sending Cesario to help him get Olivia. But Cesaria actually loves Orsino. But of course, she/ can't admit that because she's dressed up as a man pretending to be somebody she's not. All right, Isaiah. Part two of scene five. Madam, there's a young man at the gate who wants to speak
• 57:30 - 58:00 with you. Sir Toby is with him. Oh no, not Toby. Mio, go see what he wants. If he comes from Orsino, tell him to get lost. Yes, ma'am. Oh, there you are, Uncle Tom. Who is at the gate? It's a a plague of these pickled hearing. I'm hearing. How on earth are you drunk already? It's not even lunchtime. Oh, never mind. Go lie down or something, madam. The youth insists on seeing you. I couldn't get him to go away. What sort of man is he? Not old enough for a man,
• 58:00 - 58:30 nor young enough for a boy. He's quite pretty and has a very shill voice. One would think his mother's milk was scarce out of him. In fact, one might also think that he actually was actually that he was actually actually a no. What a s what an absurd idea. Send him in. Thank you. Yeah, nice reading indeed. And this comic is of course it's not word for word what's in the text. It's kind of giving us an even stronger
• 58:30 - 59:00 hint that the characters are almost able to realize that something is off, something is strange with this scario, but they can't quite put their finger on it, right? So, that point is not made so clear in the actual text. So, this might be a a bit of a stretch, you know, like he's actually he could be, but this might be what the characters might be thinking as they see Cesario, but they're not quite sure, you know, that this guys is still good enough to hold
• 59:00 - 59:30 up. Back to Tia. Let's run part three of scene five. Now, where's this saucy messenger boy from the Duke or Zen? Most sweet lady, my lord loves you. Ooh, I cannot love him. He might have took his answer long ago. What if I did love you in my master's flame? Why? What would you make me a willow cabin at your gate and call upon my soul within the house?
• 59:30 - 60:00 Hollow your name to the reverberate hilts and make the babbling gossip of the air cry out Olivia. You might do much. Um, go back to Orsino and tell him I Orino and tell him I cannot love him. Let him send Let him send to me no more. Farewell for your cruelty. Unless you come again. That is What is happening to me? Malvolio. Malvolio. Yes, madame.
• 60:00 - 60:30 That obstite left Orsena's ring with me. I'll none of it. Return it to him. What am I doing? Thank you. Thank you. Thank you. Yes. And at the end there, this ring thing is just just a ploy. We know that he did not actually leave a ring. She's just trying to find a way, an excuse um to get that young man back here so she can talk to him. All right. So, this is scene two. So, we'll stop there with the comics and we'll use the comics again later on to recap scene two, act two,
• 60:30 - 61:00 scene one. We're going to meet some new characters now. All right. We've been dealing with the love triangle and also with Toby and his foolishness. Now we have two new characters to um to to to handle. So act two, scene one. Antonio tries to convince Sebastian to stay with him. Moved by Antonio's concern. Sebastian reveals his true identity and shares his grief over his twin sister's death. So we have these two new characters, right? We have Antonio and
• 61:00 - 61:30 Sebastian. Um who is Sebastian really? Who is Sebastian? twin. Who's whose twin? Okay. So, Viola's brother, right? And what does he think about Viola? That she's dead, right? She drowned. So, they both siblings think that the other is dead or has drowned, right? So, very interesting. More dramatic irony. We're going to look at devices at the end, but we're going to see that dramatic irony comes up a lot where the characters have
• 61:30 - 62:00 one idea which is incorrect, but the audience know what's actually happening and that adds to the humor because we get to watch all of these confused people fumble around not having a clue what's really going on. Despite his own danger at Orsino's court, because Antonio is basically wanted, Antonio decides to follow Sebastian out of devotion, hinting at a deeper emotional bond between the two, right? So, we have another kind of relationship forming
• 62:00 - 62:30 here, though, Antonio Sebastian. And we can interpret this in one of two ways. Either Antonio is just being a really good loyal friend willing to risk his life to to help his friend or there's some deeper more romantic bond kind of brewing on Antonio's head and we'll be able to choose which interpretation we think is more correct as we read. Um a key quote from this scene here but come what may I do I do adore thee so that
• 62:30 - 63:00 danger shall seem sport and I will go. Yeah, I adore you so much, right? I am so loyal to you that any kind of danger I face, that's nothing. I can handle it. So, in this quote spoken by Anton in act two, he expresses his deep affection and loyalty to Sebastian, who we know is Viola's twin brother. Antonio declares that no matter what happens, his love for Sebastian is so strong that he will
• 63:00 - 63:30 willingly face danger for him, making it seem as insignificant as a game or sport. Despite knowing that he risks his life by going to Irea Yria, Antonio is willing to follow Sebastian out of devotion. This moment highlights Antonia's selfless and unwavering love which very importantly contrasts with the more superficial and performative expressions of love by other characters. So we have some more characters. We've met these two and immediately even though they haven't gotten that much
• 63:30 - 64:00 screen time yet just in this scene we notice that their bond seems much more genuine than this this hanky panky foolishness with with Orina and and and Olivia. They can't even talk to each other directly, sending messengers back and forth, all this performative stuff, playing on instruments and you know this melancholy. This is all madness, foolishness. But then we see two people who are who are a show of true devotion. You know, whether you want to see it as true friendship or something deeper. So
• 64:00 - 64:30 again, we have some characters who are kind of showing up um or Cino and Olivia. Lots of different contrasts. So this scene basically introduces these two characters. Remember Viola is searching. Who is Viola searching for? What is her main aim? Viola dressed up as Cesario to find her brother. Good, right? She wants to find Sebastian, right? So we can start to anticipate how these pair characters are going to meet
• 64:30 - 65:00 up with Viola and and you know her set of people. Viola is looking for Sebastian. Sebastian is looking for Viola. So, we know that Shakespeare is going to find some interesting, confusing, comedic way for the characters to meet up. One of the things that Shakespeare is really good at doing is he gives us a few plots, a few character sets that seem disconnected at first, but then he finds some way for them to all meet up in one piece of
• 65:00 - 65:30 confusion and chaos. Nobody knows who is who, so we can look forward to that confusion happening. Yeah. All right. We jump down to scene two. A volunteer take us through scene two. May I try, sir? Yes, Paris. Back to scene two. Malvolio delivers a ring from Olivia to Cesario, claiming Olivia has nothing more to say to Osino. Although confused, Cesario plays along and Malvolio angrily throws the ring and leaves. Mal Turk Viola
• 65:30 - 66:00 realizes Olivia is in love with her male disguise Cesario. This creates a complex love triangle. Osino loves Olivia. Olivia loves Cesario or Viola and Viola loves Osino. Viola reflects on the complications caused by her disguise and concludes that only time can resolve this tangled situation. He quote
• 66:00 - 66:30 disguise I see thou art a wickedness wherein the pregnant enemy does not does does much significance in this quote from act two scene two. Viola disguised as Cesario reflects on the complications and confusion of her disguise has disguise has caused. She realizes that her disguise is deceptive and leads to
• 66:30 - 67:00 unt to unintended consequences as Olivia has fallen in love with Cesario not knowing that he is actually Viola in disguise. The pregnant enemy refers to the potential for deception that disguises carry, allowing misunderstandings and emotional turmoil to flourish. Thank you. Um, Viola is the most selfaware character, right? She's
• 67:00 - 67:30 the the character who who can quickly recognize the situation she's in. She's the only one so far who is is really understanding. Okay. Things are confusing. Things are chaotic. Misunderstandings are a foot because it's being caused by her own disguise. Right. Let's see if we can pick out a few um a few pieces of this scene. Act two, scene two. Right. So, this is her little monologue here. Viola. In this monologue, she recognizes that her disguise is creating problems. She
• 67:30 - 68:00 recognizes that Olivia is falling in love with not quite her, but the person who she's pretending to be, which doesn't exist, right? And we can see her working it out in her head. Working it out in her head, figuring out what's happening. And this is actually helping the audience to figure out what's happening too for those who are not quick enough to figure it out on their own because Viola is thinking aloud. I left no ring with her. What means this lady? So she knows that this ring thing is some kind of ploy, some kind of plan
• 68:00 - 68:30 or trick. What does it mean? 14 forbid my outside have not charmed her. I hope she doesn't like how I look. I hope that's not what's happening here. My outside. What is the outside? My outside. Her appearance or her disguise as a man. Exactly. So I'm hoping she doesn't see this outward appearance and is, you know, is smitten by it. She made good view of me indeed so much that indeed so much that sure thought her
• 68:30 - 69:00 eyes had lost her tongue for she did speak in stance distractedly. So he's recognizing oh man this woman was probably there falling in love with my disguise based on how she was looking at me based on how you know she was lost for words and she had this this distracted look. What have I done? So Viola is recognizing the problems that her disguise is about to create and this is really making things interesting for the audience. Yeah. All right. Let's jump on to scene three. All right.
• 69:00 - 69:30 Another volunteer for scene three. Let's run it. Should I go? Yes. Run it, please. Sir, sir Toby, Sir Andrew, and Fest are up late drinking and singing loudly in Olivia's house. Maria warns them to be quiet or Olivia will have Malvolio throw them out. But Sir Toby dismisses the concern. Malvolia enters furious at the noisy behavior and berates berates the group for treating Olivia's house like a tavern. He
• 69:30 - 70:00 threatens to tell Olivia and storms off. While Maria tries to calm the situation, mentioning Olivia's distress over Cesaria. Maria devises a prank to trick Malvolia by forging a love letter from Olivia. Knowing Malvolio's vanity will lead him to believe the letter is for him. Sir Toby and Sir Andrew and Fisty will watch Malvolio's reaction. After Maria leaves, Sir Toby and Sir Andrew comment on their
• 70:00 - 70:30 cleverness while Sir Andrew worries about running out of money, but is reassured by Sir Toby that he still has a chance with Olivia. What is love? This not here after present mirth has present the laughter. Wow, tongue twister significant. In this quote from Octory, fested clown sings a song that reflects on the fleeting nature of love, life and love. The song suggests that
• 70:30 - 71:00 love is not something guaranteed in the future but something that should be enjoyed in the present. True. Present mirth hath present laughter means that we should embrace joy and laughter in the moment rather than worrying about what is to come. Tell that to adults. All right. A lot happens in this scene, right? It's a very it's a very active scene where we see we see a lot see a lot going on. Uh we see a number of characters kind of doing some stuff.
• 71:00 - 71:30 Malvolio, he starts to take center stage a little bit. his own the beginning of his downfall, but he doesn't know it yet. So, we learn about Malvolia's um personality. What do we learn about his personality here? He's quite prideful, sir. Quite prideful. Yes, very vain. Vain. Prideful. He thinks he's better than everybody else. He thinks that Yes. Go ahead. He's strict. He's strict, too, but that strictness is coming from the fact that he thinks he's the big boss.
• 71:30 - 72:00 Oh, be quiet. Be quiet. This is the marketplace. Quiet down. He's acting like he's the boss. He's kind of the boss of them both to be honest. And he thinks that he's actually not in the lower class, which he is. Or he thinks he doesn't belong there. So he's I mean we we've met people like like like these right who act like they're better than everybody else. Act like they're in charge when they're not really in charge. They act like, you know, they're the best of the best. Sir, you know, interestingly, I met few person like
• 72:00 - 72:30 that and they never seem to work on me. Like I just I just have a natural immunity for them, sir. Well, I'm telling you that immunity, we're going to see that same immunity in these characters, Maria and Toby, because what they do with Malvolia, Malvolia is going to wish he never got involved with them. So, the plan begins. All right, this guy's acting all all cocky, all confident, all prideful, all egotistical. He wants to
• 72:30 - 73:00 show us up like we're nobody's. We're going to get him. And they devis this plan. We're going to write this love letter. We're going to forge Olivia's handwriting cuz he loves Olivia. And he would what he would love the most is for Olivia to say, "Come by my my sweet Malvolio, marry me and and and you know, be my husband. Join the upper ranks officially." That's what he wants to hear cuz in one of his daydreaming he actually said that and he tell the author described what he's going to do
• 73:00 - 73:30 it. So let's say it in his words when he meet his dream. Mhm. So they know his dream and they're going to use that against him, his own ambition, right? All right, we're going to write this letter, trick him and just watch him play the fool. Watch him get all excited. Watch him, you know, boast about it. And then the climax is going to be when he faces Olivia who has no idea about this madness and it's going to be so embarrassing and so they leave it at that planning plan in motion. All right, scene four. Give me another
• 73:30 - 74:00 reader. Orino lounges in his palace as usual surrounded by Cesario Curio and other attendants. He asks for music and requests Fester to sing a love song. Cesaria admits he is in love, but when Orsino asks about the woman, Cesaria describes the describes someone very similar to Orsino himself. Or Cena, oblivious to Cesaria's hints, dismisses the idea of love from women, claiming
• 74:00 - 74:30 men love more deeply and should marry younger women because their beauty fades quickly. Best arrives and sings a melancholic love song. Afterward, Orsino gives him coins and dismisses everyone except Cesaria. Orsina sends Cesaria to woo Olivia again on his behalf. Cesaria subtly suggest Orsena should give up, hinting that unrequised love is painful and tells a disguised story of her own
• 74:30 - 75:00 love for Orsena. Orina brushes this off and sends Cesario to Olivia with Jewel once again focusing on his own desires. Key quote, key quote, "Then let thy love be younger than thyself, or thy affection cannot hold the belt." Significance. In this quote from act two, scene four, Duke Orsino advises Cesario Biola in disguise about love and marriage. Garcina suggests that a man
• 75:00 - 75:30 should marry a woman younger than himself, believing that only then can love last. He argues that men's affection can changeably and more in are changeably and more intense than women's, implying that a younger woman would have a better chance of keeping up with the man's fluctuating desires. This advice reveals our Cena's tradition and traditional and somewhat self-centered view of love. Focus more on control and sustaining affection than unusual
• 75:30 - 76:00 connection. Thank you, Tia. So, we're getting more of um Orido's character and point of view. And it's like the more we know of him, the less likable he seems as a character. He's not quite a villain, but he's he's also not not super likable, is he? And we're noticing that he's he's also very he's very oblivious. He's one of those oblivious characters who can't really see what's happening around him. He can't take a hint. And that creates some frustration
• 76:00 - 76:30 for the audience. As the audience is saying, open your eyes, man. Don't you see that Viola is basically confessing her love for you? How can you not see? What are you talking about? Right. He needs to like slap him slap real like he needs a wake up slap. He's not seem like And also would it say that he's trying to date a younger woman? I mean, I guess Olivia is younger than himself because that's his philosophy, you know. He's saying, you know, only young only
• 76:30 - 77:00 young women can keep up with the intense and changeable love of a man. But it's interesting how he how, you know, cuz changeable is that really a very positive aspect of love? No. And um in the sense that he's learn to look a younger woman, would that make him head up? I mean, Olivia isn't a child, so I wouldn't go that far. I wouldn't go that far, but it it it it could suggest at a kind of emotional
• 77:00 - 77:30 immaturity where perhaps even though he's spinning it in his own, he has his own explanation, but the reality could be that a more mature woman who is more experienced, maybe would be a bit too much for him to handle because he's still in his love struck Disney prince kind of phase. That could be one interpretation. Or it could just be that he's just more attractive to younger women, but he wants to justify that with some deep philosophical reasoning that
• 77:30 - 78:00 doesn't really add up. That could also be See if we can find some interesting quotes here. So yeah, this is where he can't quite take a hint, right? Let's look at the modern English for for this section. You fallen in love with a woman before, am I right, boy? So Olivia Orsina talking to Viola a little bit, sir. Of course, Viola is thinking about not a woman, but Orsena because she's in love with him. What kind of woman is she? She looks something like you. That's a big hint. The audience is seeing it, but he's too caught up in his
• 78:00 - 78:30 own mind to recognize that Viola is actually talking about him. She's not worthy of you then. How old is she about your age, my lord? It's getting more obvious, but not to ours. She's too old by heaven. A woman should be with a man older than she is so that she can adapt herself to her husband and keep his love constant. We men praise ourselves boy. But in reality we are more fickle and inconstant in love than women are. Is he talking about men or is he talking about himself? Speak for himself. You speak
• 78:30 - 79:00 for yourself man. Don't get me involved. I mean don't describe don't don't get me involved. What do you know about me? All right. Because we know that he's quite fickle and inconstant. you know, his love changes with the weather. It's all about whatever emotion he's able to feel at the in the moment. And you see that at the end of the play where all of a sudden his affection switches to Viola because she becomes the available one pretty much. Mhm. Yeah. Very interesting. Yeah. Those are the most interesting points of this scene here.
• 79:00 - 79:30 The last scene here. One more read and then we wrap up with the comics again. Act two, scene five. Sir Toby and Sir Andrew and Fabian hide in Olivia's garden while Maria informs them that in Ma Mavio is coming. They prepare to watch as the pranks unfold. As a prank unfolds, Malivia Mavio, sorry, enters daydreaming aloud about marrying Olivia and becoming a count. The hidden
• 79:30 - 80:00 onlookers struggle to contain their laughter as Mal Mavio spots the fake letter Ma Maria planted. Mavio plays a letter allegedly from Olivia hinting at her love for someone who is whose name counts contains M m o a i. He concludes it to refer to him and continues to read the instructions to be surely to be surely wear yellow stockings cross his
• 80:00 - 80:30 garters and smile constantly to show his to show he returns her affection. Overjoyed Malivio solves the follow resolves to follow the letter's instructions believing that it will win him Olivia's love. He exits excited by his delusion. Sir Toby is so impressed with M Maria's prank that he expresses his interest in marrying her and they rush off to witness Molio make a fool of
• 80:30 - 81:00 himself. Key quote be not afraid of greatness for some are born great some achieve greatness and some have greatness thrust upon them. significance. In this famous quote from act two, scene five, Malvolio reads a letter from a letter he believes is written from Olivia but which is actually a prank set up by Maria. This letter include includes the above about above the line of about greatness.
• 81:00 - 81:30 Malvolio interprets this line as a sign that he can achieve greatness by marrying Olivia who is who was born great. This moment reveals how easily Marolio's arrogance and ambition can be manipulated as he begins to believe in the possibility of rising above his social class. This code also highlights how love and social ambition become tools for manipulation in 12 night. Thank you, Ayana. Excellent reading. And
• 81:30 - 82:00 so we're we're getting some more focus on this prank that's about to be pulled off. And it's going to be a prank of epic proportions, right? When this hits, we get some details. They've written up the letter and the instructions in the letter are so ridiculous. This is all the madness is going to be doing. He's going to wear yellow stockings already. Crazy. Cross is got to smile constantly. So you can imagine how stupid he's going to look doing all of this. But Marvol is going to be doing it. so pridefully
• 82:00 - 82:30 thinking he's playing into Olivia's interest in him, right? What a prank. Devious, devious prank. Interestingly, Toby recognizes Maria's genius and expresses interest in marrying her. What do you think of this this little fact? He's almost like, Maloria, in the sense that he wants to become greater than he is. What is this about him wanting to be great? That's what I'm wondering. He wants to seize the greatness. Wy, you think Toby cares about greatness, sir?
• 82:30 - 83:00 Maybe he's greedy. Greedy? Greed? Yes, mister. Yes, I'm not too sure if I'm saying this correctly, but is it the fact that they both have similar qualities? Like she likes the he likes the sense of humor? You mean Toby and Maria? Yes, sir. So what does that say about remember we're looking at as we go through the play how the lower characters view love versus how the higher characters view love. What is interesting about Toby's interest in Maria after seeing how
• 83:00 - 83:30 brilliant she is. He gets straight to the point. That's one part which is important but I wanted to get to the more important point. Talk to me. Talk to me. Talk to me. Let me try to find the lines. Was it that Sir Toby married Maria because he was impressed by her wit and intelligence? So how is that different from V I want to get V in Orenos and Olivia's view of love? Well,
• 83:30 - 84:00 their view of love is too ridiculous and silly as opposed to Maria. He has wit and wisdom and cleverness. But let's look at it from the perspective of Toby, the one falling in love with Maria, right? Toby, go ahead. He just got straight to the point. He be what he was going. And he noting he's not saying songs. He's not behaving stupidly. He to the point.
• 84:00 - 84:30 Yeah, that's definitely um Am I in the wrong? That's definitely a part of it. how he responds to to the emotion. But what I want to get at is do you think that Oh man, I'm at G3 here. Do you think that Toby's love is more justified and more sensible than for example Or is Yeah. Um I think for all love Olivia that she's beautiful and also in
• 84:30 - 85:00 power but Toby on the other hand she just loves Naria because she's smart. She I don't think Mhm. they love him there trying to love for benefits. He's just because he found a trait in a woman that he like. Exactly. That's what I'm trying to get at. Right. We see one person falling in love with the person with the characteristics. Oh man, this woman, she impresses me. I want to marry her. As opposed to this man sitting in
• 85:00 - 85:30 his daydream just having this whole delusional fantasy that is not grounded. He doesn't know anything about Olivia. Right? So there's a big difference in in in in how love is viewed, how love is pursued as well. Right? We have one love grounded in something real. Right? Maria is really a genius. Maria is really funny and smart. So there's something that Toby can be attracted to. Whereas in Orsino's case, there's no interaction for them to know anything about each other. So there's a a very big
• 85:30 - 86:00 difference between, you know, these two approaches to love. Very big difference. Um, all right. Let's wrap up by looking again at the comics. And again, I want two readers. One from my side, one from All right, Justice. Who's going to take it up from my side? David Hilly, come on. Don't be too quiet. Don't let me down. Come on. Let's get it done. Vashy, you're here. Have you been here? Were you here all along? Vashy, I think. All right, Visio.
• 86:00 - 86:30 Varys, start us off and then justice take page two. Okay. Um, I'm not seeing the comment yet. I've just seen the slide. So, all right. Let me switch that up. All right. We should be good. Where am I confirm, sir? Oh, okay. So, I can start now, sir. Mhm. Act two, scene one. Rodrigo must leave me. Let me go with you. I love you. Antonio, you have been kind to me. I shall tell you the truth. I am not Rodrigo. I am actually Sebastian, son of Sebastian Meseline. I
• 86:30 - 87:00 had a twin sister who drowned in the shipwreck from which you saved me. She was beautiful even though she looked exactly like me. Wait, you had an identical twin sister? Everyone knows boy or girl twins are never identical. You see, boy girl twins are disotiggotic whereas identical twins are
• 87:00 - 87:30 mono um monotiz I I mean I'm sorry for your loss. Love you. I'm going to D casino's court in Ayria. Farewell. Alas. I have many enemies in Osino's court. But gosh darn it, but gosh darn it. I love that boy so much. I'll follow him. Don't look at me like that. This is tender devotion. It's It's just looks like stalking. All right. Thank you. Very
• 87:30 - 88:00 entertaining reading. Um the comics here, they take some liberties. They kind of go a little bit o overboard to exaggerate some points, right? We even see him looking at the the audience. You can imagine sometimes characters might look directly at the audience to say something funny, right? One thing we haven't pointed out is the the kind of love we see between these two characters, Antonio Sebastian, is also different from the type of love we see
• 88:00 - 88:30 from Orsino Olivia, right? In that this love is based in action, devotion. I'm willing to do this for you. I'm willing to follow you. I'm willing to risk. Whereas what is Arseno doing? He's sitting in his castle sending people to send me uh to to give messages. He's not doing anything. He's not proving his love. Right? So, we see Shakespeare is really showing us so many different types of love and he's using all of these different loves to criticize the ridiculousness of Orino and and and
• 88:30 - 89:00 Olivia and how they navigate love. All right, Justice, you're up. You there you were just with the contest Olivia, were you not? Yes. Here. She returns your lord's ring to you. Tell him she wants nothing more to do with him. What ring? The ring that you left with her. H. Take it back. I left no ring with her. What mean? This lady. Haha. I hope she hasn't fall in love with me. Uh-oh. Okay. Okay. Let me see if
• 89:00 - 89:30 I've got this thing. I love her, but he thinks I'm a boy, and he thinks I'm in love with who also thinks I'm a boy and is in love with me. whole time though. Once you unt this not I, it's is too hard a knot for me to untie. Nice. Nice. It's too hard a knot for me to untie. I think that's a direct quote from the text. In other words, I've gotten myself into this mess and I don't know how to get out. All right, back to you, Virus.
• 89:30 - 90:00 Act two, scene three, part one. What to past midnight? What? Ah, to go to bed after midnight is to be up early. I don't get it. Look, it's sing us a song, will you? I'll sing you a song of six pence. Oh, mistress mine, where are you booming? Or stay and hear your true love's coming. Beautiful. Such sensitive, ballad,
• 90:00 - 90:30 poant, wasteful. But enough of that. Let's Let's all get stinking drunk and sing out sing loud obnoxious songs at the top of our lungs. Hold thy peace thou alive. Hold thy peace. Hold thy peace. Dum dee dum. Good lord. What is wrong with you? My lady has called her steward Marvio to throw you out. Ha. I'm
• 90:30 - 91:00 her uncle. She would never throw me out. But loyal loyal putrid platoon. He's adored. He's an idiot. He's a uh he's standing right behind me, isn't he? Yes. Maybe this is if you don't start behaving properly. You will be turned out of the house and I won't be sad to see you go either. Who are you to boss me around? Art any more than a sport? Doust thou think because
• 91:00 - 91:30 thou art virtuous there shall be no more h and get lost you loser wait my lady my lady knows my lady shall know of this you sorry sir my lady shall know of this should be sorry barbarian what a beast I'll have half have a mind to challenge him to do and beat him no wait I have a better idea to get back.
• 91:30 - 92:00 He's got such an inflated opinion of himself. I'll write a letter that will appear to be a love letter to him. I'll drop it somewhere where he find it. And my handwriting is very similar of the lady man Olivius. So he think it's my niece who is in love with his king. Brilliant. I'll get right to her. She's amazing. She is indeed. She adores me. But what what's of that? I was adored once too. Damn. Levy is hard. All right. Nice. See
• 92:00 - 92:30 the scheme being set up. I like how Justice has a special voice for Malvolia. Malvolio and Varys has a special voice for Toby. All right. Um, scene four. Varys. That's you. Okay. Who sang that song the other night? Best day my lord. Yes. For send for send for him. Oh, Cesario. Cesario. If you ever love, remember my agony. I am the most tragic
• 92:30 - 93:00 lover in the world. Have you ever been in love, my boy? Uh, a little by your favor. Really? What kind of woman is she? Uh, she looks a little bit like you. She is not worthy. Worthy then. How old is she? Um, about as old as you. Oh dear. Far too old. I bought for a boy
• 93:00 - 93:30 like you. Yeah. Yeah. No. Only men should only take women younger than us than younger than ourselves. For women are as roses whose far we once displayed top four that very hour. And so they are alas that they that they are so to to die even when they to perfection
• 93:30 - 94:00 grow. What was that? Say it. All right. Aha. There is the pool. Come sing us that sad song you sang for me earlier. Come away. Come away. I am slain by a fear. Thanks fool. anytime. Cesario goes one sport Olivia's and tell her how much I love her. But
• 94:00 - 94:30 what if she doesn't love you? I cannot be so it cannot so be answered. What if there is a lady who loves you as much as you love Olivia? Ha. Woman cannot love deeply as and deeply and passionately as we men. That's not true. My father had a daughter who loved that man. And it might be where a woman I should love your lordship. Aha. She never told her love but sat like patients on her monument monument smiling at grief but
• 94:30 - 95:00 died the doubts thy sister of thy love my boy. I am all the great daughters of my father's house. So do you want me to go back to Olivia's? Um yes. Yes I love Olivia a woman. Yes indeed. go to her. Yeah, thank you. Man, this is I'm getting a little bit frustrated with Orino. Look how plain Viola is being. I mean, when I say plain, it's obvious to us, right? My father had a daughter who
• 95:00 - 95:30 loved a man. And then she says here, I am all the daughters of my father's house. I'm the only daughter my father has. So, I must be talking about myself, right? But Rosino isn't paying attention at all. All right. Um, Paris, let's go. Act two, scene five, part one. Okay, we're all ready to get our revenge on that sticker pri Malvolio. Sandre ready. Jung introduced an arguably extricious
• 95:30 - 96:00 comics. Comic sidekick Tabian already quiet. I mean, I'll leave the meta for him to find quiet some conveniently placed shrub over there. convenience. [Music] Yes. Yes. I'm sure my lady Olivia loves me. Yuck. Ew. I mean, why won't she? I'm Mal Marvelous. I'm going to throw. I'm
• 96:00 - 96:30 going to You be Count Malvolio. Yes. Things would be different if I ran this place. I could finally deal with that irritating tubby. That's irritating, sir. Toby, to you. Cuz Toby, I'd say to him, you must amend your drunkenness. Besides, you waste your time with a foolish night. Hey, that's me. I No one, sir. Uh, not Sir Andrew. I
• 96:30 - 97:00 knew it was I. But what have we here, Alita? Here it comes. It is my ladies. These be her very C's and very her very C's her U's and her T's sh that's what's so funny her C's her 's N and T's spells oh never to the unknown beloved a love letter if this should be
• 97:00 - 97:30 to the Mal I may command thee I adore M O A my life. M O A I M O A I M O A I H M O A I Come on. Come on. Wait. All of those letters are in my name. This letter is in for me. Yes, in my stars I am above G but not afraid of greatness. Some are
• 97:30 - 98:00 born great, some achieve greatness, and others have greatness. those upon them. I'll just love it when you wear your sucking cross guarded be just like that again. That's a bit weird, but okay. You must know who I am. If you return my love, show it to me by smiling all the time. My lady loves me. Yay. My lady loves me. I'm happy. I will do everything she says. Haha. Did he fall for it? Hook line and sinker.
• 98:00 - 98:30 The next time he comes to Olivia, he'll be wearing yellow stockings, grinning like a fool. Probably humiliation of social imperial is so funny. Thank you. Hook line and a like a fishing. Yes, that's a fishing idiom. Hook, line, and sinker means that we got it all. You know, this is secure, you know. Did he fall for it? Like he fell for it 100%. you know, hook line sinker is completely
• 98:30 - 99:00 caught. Like when they catch a fish on the hook and it can't escape that's so we've got nvolio. Yes. All right. And then we have act three to look at later on. All right. Back in the guide. So I'll read the first scene and then that that'll give the volunteers enough time to warm themselves up. Here we go. Act three, new act. You need you know each act comes with new plot developments, right? and perhaps new characters. Act
• 99:00 - 99:30 three, scene one. Cesaria arrives at Olivia's palace where Fesa mocks both Olivia and Orsino. Amused, Cesaria gives him coins. Olivia sends everyone away to speak privately with Cesario. All right, she's getting some private love of time with the guy she likes. Cesar declares his servitude to Olivia via Orino but rejects her advances saying he cannot love her and cryptically hints at her
• 99:30 - 100:00 true identity. I am not what I am. We're going to look at that line. Despite the rejection, Olivia encourages Cesario to return. Hopefully, he will eventually love her. So Olivia is really forcing herself onto Cesario and Cesaro is just giving her is just trying to lead her to Oros. Yeah, Olivia can't take a hint in the same way what's his name or can't take a hint. Key quote from this act from this scene. The fellows wise enough
• 100:00 - 100:30 to play the fool and to do that well craves a kind of wit. If you're wise enough to play the fool, then you're not a fool. And who is it that gives this comment? Who is it that is wise enough to see this? Viola. Viola comments on how Fesa's role as a fool requires wit and wisdom. Revealing how appearances can be deceptive. She connects this to her own disguise as Cesario, recognizing that playing a role
• 100:30 - 101:00 can give one the freedom to speak truth. Now, what do you think of this statement here? And playing a role can give one the feed, the freedom to speak the truth. What do you think that means? So, maybe can like you like if you're playing a role then it's like you're a completely different person with different views and it's not like it's going to well it's not like whatever you say is going to affect your actual person that who you actually are. That
• 101:00 - 101:30 is it. That the last part of what you just said is what I'm getting at. And this, even though Shakespeare wrote this so many hundreds of years ago, it's actually very relevant. This little part of it is very relevant today because when we go online and take on some kind of social media avatar, we're not even using a real name. Nobody knows who this person behind the screen is. You can't you're empowered. You can't say anything. You can't do anything because
• 101:30 - 102:00 there will be no real life consequences, right? No one's going to find you in real life to argue with. And so you have a lot of keyboard warriors. I like to call them people who have this bravado behind the keyboard, right? When they're on Twitter or when they're in the comments section of a video, they can say all kinds of things. They're brave things they would never say in real life. So when you're playing a role, when you're hidden behind anonymity, you know, that kind of gives you kind of a false sense of of courage, doesn't it?
• 102:00 - 102:30 See, I have three seed one. Oo, look at this. This fell is wise enough to play the fool. And to do that, well, craves a kind of wit. Remember the word wit from an Yeah, that same wit. He must observe their mood on whom he jests, the quality of persons and the time. And like the haggle, check at every feather that comes before his eye. So he the fool has to be so perceptive. He has to be able to read the room, know which joke to run
• 102:30 - 103:00 and with whom. This is a practice as full of labor as a wise man's art. So being a fool is not any joke job. Ironic as that sounds, it's hard work. It's is hard work just like any other job that a wise man would do. For folly that he wisely shows it fit, but wise men folly fall and quite quaint their wit. Very interesting lines. Yeah. Mhm. Yeah. For folly that he wisely shows it fit. But
• 103:00 - 103:30 wise men folly fallen um quiet taint there with taint there with when you t something you ruin it. So the fool he has a a very unique advantage. Like he's the only one who can say whatever he wants and it doesn't affect his reputation because it's his job. Like yeah interesting. All right. Uh give me a volunteer for scene two. Scene two. Sir Andrew decides to leave after seeing Olivia flirt with Cesarian. Sir Toby convinces him to stay and tell Cesaria
• 103:30 - 104:00 to a deal to impress Olivia. Andrew used to write a challenge letter. Once alone, Titoi admits to Fabian that he's keeping Andrew around just to take advantage of him. Sign to sign. Andrew has a lot of money. Maria arrives and reveals that Marvolio is following the fake letters instructions making a fool of himself. Toby is thrilled at the success of their prom. He quote go write it in a marital
• 104:00 - 104:30 hand be cursed and be and brief. It is no matter how it so it be eloquent and full of invention significance. In this quote, Sir Tobi gives Sir Andre advice on how to write Ashan's letter to Cesario, instructing him to write in a marital hand, meaning in a bold or military style. Sir Toby emphasizes that the letter should be cursed,
• 104:30 - 105:00 pursing it should be sharp and to the point. He dismisses the importance of wit, but insists that the letter should still appear eloquent and inventive. This reveals the obser ab abrasive and performative nature of the dude as sir Toby is more concerned with appearance of toughness than with any real substance. Thank you. So we have more development happening. This drunkard over here sir Toby he is a real trouble starter. He likes to start
• 105:00 - 105:30 problems you know and watch the world burn. He just wants some entertainment. So he's encouraging this idiot Andrew. Why don't you challenge Cesario? See Cesaria flirting with Olivia. Olivia should be yours. Impress Olivia. Go and fight this Cesario person. Of course, Cesar is Viola. Viola is no soldier. But at the same time, Sir Andrew is also a coward, isn't it? Very interesting. And then we have some more development happening um on Malvolio's end of things. Let's see if we find some
• 105:30 - 106:00 interesting lives. Let's get into Malvolia. Let's see what what he's up to. They're talking about um Mvolio here. Let's look at the modern English. If you want to have a laughing fit and really laugh until your sides until you split your sides, then follow me. That gullible Malvolia. Gullible means stupid must have renounced Christianity. For no Christian who intends to go to heaven by faith would ever believe the absurd exaggerating things like we put in that
• 106:00 - 106:30 letter. He's wearing yellow stockings. Remember this was a part of the letter, right? Answer Toby. He's incredulous with craft laces. Yes. And they look awful. Like an unfashionable village school teacher. I've been stalking him like a murderer. And he's followed every instruction I gave in that letter I dropped. He smiles so much that his face has more lines in it than a map of the Indies. You've never seen anything like this. I can hardly keep from throwing things at him. I know my lady will get
• 106:30 - 107:00 so annoyed she'll hit him eventually. And when she does, he'll just smile and imagine that she's flattering him. So, we see here their plan is coming to fruition, right? Malvo is acting a fool. Mhm. We have some interaction with Sebastian and Antonio. Remember those two? Yeah. And here we actually get to see Olivia interact with Malvolia. Now, so Olivia is talking to herself. He's coming, madam. Talking to Olivia, but in a very strange manner. He seems crazy,
• 107:00 - 107:30 madam. Why? What's the matter? Is he talking nonsense? No, mad. He does nothing but smile. It would be best if you had a guard nearby if he comes here. But the man is surely sick in his head. Marvol sick in his head. This must sound strange to Olivia. Go call him here. H sweet lady. Hello. This is Malvolio. Really thinking that Olivia is in love with him. Right. Are you smiling? I sent for you on a sad occasion. Sad my lady. I could be sad. These crossed laces do cut off the circulation in my legs a
• 107:30 - 108:00 bit. But what of it? If a certain person likes them, then it's like that poem says, "Please one, please all so confused. What is this madman talking about? Why? What's going on, man? What's the matter with you? My legs are yellow, but I don't feel blue." The letter came to me, and it's its command must be obeyed. I think I recognize the fancy Italian handwriting. What do you think you ought to go to bed, Malfoy? What do you think of this question here? What a question. What is the meaning? She's suggesting that there's something wrong
• 108:00 - 108:30 with him. Yeah. Are you exhausted? Are you sick? Are you crazy? Get some rest because you're not acting like a normal person. But look at Malvolia's answer to bed. Yes, sweetheart. I'll come to you. Mercy. He has the wrong idea. For God's sake, why are you smiling like that and kissing your hand so often? and Maria acting as if she isn't the one who set this up. Are you a camel volume? You think I'll answer you? Noblemen don't answer servants. So already he's high
• 108:30 - 109:00 and mighty because he thinks he's getting with a with Olivia. Why are you acting with such ridiculous arrogance in front of my lady? Don't be afraid of my greatness. It was well written. But Olivia is confused. What do you mean by that, Malfio? Some are born great. What? Some achieve greatness. What did you say? and some of greatness thrust upon him. May heaven restore your sanity. Remember who it was who complimented your yellow stockings. Your yellow stocking and I have to see you always wearing cross laced going up your legs.
• 109:00 - 109:30 Cross laces. No co. You are assured of becoming a gentleman if you want to be. Am I a gentleman? Olivia is so perplexed. And Mulvolio, he thinks he's on to something. He thinks he's pleasing Olivia, but Olivia is just concerned that this man has gone mad. If not, just keep acting like a server. This is surely insanity. Malvola is quoting the letter, but Olivia thinks she's just talking to him, right? O, what's happening here? Okay, this monologue,
• 109:30 - 110:00 he's just kind of confirming that things are going according to the letter being all pompous. Yeah, that might be the main the main thing in this in this chapter. I don't think we see Malvolia again till the next uh next scene. All right. Uh, there are two more scenes in act three. All right, act three. Give me a volunteer. Act three, scene three. Antonio and Sebastian arrive in Iria. Sebastian tells Antonio he didn't have to come, but Antonio insists he's there
• 110:00 - 110:30 out of love for Sebastian. Sebastian suggests sightseeing, but Antonio explains that he fought against Orino in the past and would be in danger if discovered. Antonio gives Sebastian his purse to buy anything he desires and agrees to meet him at an inn called the elephant in an hour. Antonio's gift given freely contrasts with the manipulative gifts given by Orsino and Olivia highlighting Antonio's genuine devotion. Key quote my willing love the
• 110:30 - 111:00 rather be the rather by these arguments of fear set forth in your pursuit significance. Antonio tells Sebastian that the risks they face only deepen his love and loyalty, showing that fear strengthens his resolve rather than discourages him. Mhm. Thank you. And let's run through act three, scene four. Act three, scene four. Olivia asks Maria for help. Wing to Sario and sends it for
• 111:00 - 111:30 Mau who arrives wearing ridiculous yellow stockings and smelling absurd. Olivia thinks Mauulio has gone mad. Third, Toby, Fabian, and Maria mocks Viola Malvolia's behavior. Continuing the prank, Malvolia remains convinced Olivia loves oblivious to their laughter. Sir Andrew disheartened by Olivia's interest in Tesario decidedly Sir Toby convinced him to challenge
• 111:30 - 112:00 Cesario to a duel instead. Tesario answer and Sir Andrew reluctantly prepared to do but Antonio intervened mistaking Cesario for Sebastian. Officers arrived and arrest Antonio. He asked Cesario for the purse he gave Sebastian. But Cesaria confused denies knowing him. Antonia feels betrayed while Viola realizing Sebastian may be alive rushes off in hope where Andrew
• 112:00 - 112:30 bows to pursue Cesario to pursue Cesario with Sir Toby and Davian F. Key quote, "Go hang yourself all. You are idle shall think. I am not of your element." Significant. In this quote, Malvolio arrogantly dismisses the other serpent, telling them that they are either shallow things and that he is not their element or social club. At this point,
• 112:30 - 113:00 Malvolia, tricked by Maria's fake love letter, believes that Olivia loves him and that he is destined for greatness. His new found sense of security causes him to look down on his fellow servant. Though the irony is that he has been made a fool, literally dressed in ridiculous yellow stockings. Despite this, Marvolio continues to believe he is above everyone else. Further
• 113:00 - 113:30 highlighting his selfdeution and arrogance. Thank you, Shanto. Um, so while we have Malvolio, look at how ridiculous he is. Oh dear. Oh, what? What? What are you doing? So, while we have while we have Maria here acting all shocked and while we have that madness happening, we also have a lot of confusion going on now with uh Antonio and Sebastian. We got to keep up with all of this. Yeah. So Cesaria and Sir Andrew, they are preparing to fight
• 113:30 - 114:00 because remember Andrew that knight that Toby is taking advantage of. He wants to prove how brave and strong he is. So he's going to fight Cesari. And this is Toby's plan to just have, you know, just have some entertainment going. But Antonio comes in. Remember, we have Antonio and Sebastian. Sebastian is Viola's twin brother. So Antonio comes in and when he sees Cesario with Viola, he thinks it's Sebastian because of course Cesario/ Vanola and Sebastian,
• 114:00 - 114:30 they're twins. And apparently apparently the disguise is so good that he made that confusion. And so Cesario and Sir Andrew, yeah, there there we have that and we have that confusion. Officers arrive and arrest Antonio. Remember, Antonio is a wanted man. He shouldn't be in here, right? He shouldn't be anywhere near Orca's um land. He asks Cesario for the purse he gave Sebastia. But Cesario,
• 114:30 - 115:00 remember Cesaria is not Sebastian. He's confused and he says, "I don't know this guy. Who is he?" So Antonio think that Sebastian is betraying him. But Viola, she realizes based on what's happening, my twin brother must be out there creating this confusion. And so she rushes off. she can finally accomplish her original mission. All right, it's a lot. There's a lot happening, but let's try to keep keep up with this web of activity. Before we go to act four, let's draw for those comic strips again
• 115:00 - 115:30 and do a review of act three. All right, give me a reader. Sure. I would like to go three. All right, we have Tia. Who Who will back up Tia? We have Tia. Give me one more reader. Can alternate the pages, sir. All right. Tia and Oh man, don't let me get this wrong again. It's D. Dana. Dana. That spelling is tricky. Dana. Dana. That e. Okay. Dana. All right. So, Dana and Tia will run it. Let
• 115:30 - 116:00 me switch the screens. All right. Tia, give us a start. Save thee friends. Dust thou live thy by thy drum? No, sir. I live by the church. Are you thou churchman? I do live by the church, for I do live at my house, and my house doth stand by the church. That That was a joke. All right, there you are. Now Jove in his Now Jove in his
• 116:00 - 116:30 next commodity of hair, send thee a bit. You have no idea how much I want one, but not on my chin. Aha, there you are. My niece is desirous. You should enter. Oh, here he is. Oh, here she is. Rain outdoor. Oh, most excellent lady. The heavens rain adore adors on you. Rain outdoors. My mother. My mother hath no voice but to your pregnant and bouch
• 116:30 - 117:00 saved air. Scribble scribble. The heavens vouch safe pregnant outdoors on you lady. What? Oh, go away. Let the garden door be shut. Come to Zari. I'm so glad you've come back to me, my darling boy. Madame, I come on behalf of Forsino. Orsino, blah. Never speak of him again to me. Don't you realize I sent you my ring. You know
• 117:00 - 117:30 how I feel. What did you think of me? I pity you. Pity is kind of like love. No. No. I don't love you. Oh, well, I guess that's that. Be not afraid, good youth. I will not have thee. And yet when wit and youth come to harvest, your wife is like to reap a proper man. You have nothing to say to my lord or no. Farewell. Stay. I love you. Please don't. I am not what I am. Stop. You're making a fool of
• 117:30 - 118:00 both of you. Both of us. You're beautiful when you're angry. You know, I have one heart and that no woman has. I'm sorry. I'll never come here on Orino's behalf again. Add you. So, is that a maybe? It's no good, sir. Sorry, Toby. I am going to go home. What? Why? Your niece is not at all interested in me. She was simpering over that boy, Cesario, right there in front of me. Oh, that's just her way of showing how much she loves you. Come on, even I'm not
• 118:00 - 118:30 that stupid. No, no. She was just trying to make you jealous. She was giving you an opportunity to confront Cesario and win her. You've squandered that opportunity, but it's not too late. You can still impress her. I can how? Tell me. Go write a challenge to Cesario. Defeat him in a duel. My niece will adore you for it. I go. Haha. I can't decide if he's your puppet or your piggyback. Sir Toby. Oh, he's both. What
• 118:30 - 119:00 a chump. Come quick. Follow me. Marvolio is in the yellow stockings and is acting like a complete idiot. Oh god, another chop. Surprise, Sebastian. It's me, Antonio. What are you doing here in Iria? Oh, I'm just stalking you. Talking? Not stalking. I just wanted to talk with you. Also, I love you. I mean, um, you don't know Alyria like I do. You
• 119:00 - 119:30 might get into trouble wandering around by yourself. Gosh, thanks Antonio. You are so thoughtful. It's the last least I can do. Least. Well, now that we're here, why don't we go sightseeing for a bit? Oh, I'd better not. A while ago, I was involved in a naval battle with Orino ships. I know I'm kind of an outlaw here. Oh, but you can go ahead. I'll reserve a room at the elephant in and wait for you. Okay. Here, take my purse. I know you don't have much money
• 119:30 - 120:00 and you might want to buy some souvenirs. Gosh, Antonio, you're such a great friend. I love you. Um, I'll be waiting at the elephant. I remember. See you. Did I mention that I love you? Where is Malvolio? He's coming, but he's acting kind of strangely. What do you mean acting strangely? Sweet lady. Ho ho. Good lord, Malvolio. What on earth is the mother with you? Not black in my mind though yellow in my legs and
• 120:00 - 120:30 crossguard ter t ter t ter t ter t ter t ter t ter t ter t ter t ter tid I have done all that you commanded of me will you go to bed molio to to to bed I part I'll come to thee ah some are born great um okay some achieve greatness he's lost his marbles and some have greatness thrusted upon them it all. Madame Orsino, messenger has
• 120:30 - 121:00 returned like you asked him to. Oh, I'm coming. Um, Maria, see that this fellow is looked after. She loves me, man. Like, this is just a play of mad men. Delusion on one mad woman, right, in Olivia. What a crazy thing. How can he get from this interaction that Olivia loves him? Like, that's what he come away with. She's literally pushing him off. He's not noticing the signs. Sir,
• 121:00 - 121:30 at this point, we're all convinced they're delusional. Yeah, it's a play of delusion. Like crazy people doing crazy things. Mad people in a clean clothes, right? And dramatic irony is really is really the most powerful device here because the audience knows everything that's going on. We see everything. We know who is who, but the characters are just so blinded by their own delusions and their own desires. Where is Malvolio? I was told he's mad. Mad? Be
• 121:30 - 122:00 gone, peasants. Maybe he's possessed by the devil. His legs certainly are. Go hang yourselves. I'm above you all now. You shall know more. If this were played upon a stage now, I could condemn it as an improbable fiction. Oh, but we're not done with Malvolio. Let's treat him like a real mad man. Lock him up in a dark room. Why? We shall make him mad indeed. That's okay. I feel like vindictively
• 122:00 - 122:30 tormenting people today. Sir Toby. Sir Toby. Ah, speaking of people to torment. I've done it, Sir Toby. I've written a letter challenging that boy Cesaria to a duel. Let's see. There's vinegar and pepper in it. It's so saucy. That that was a pun because sauy also means impedence and never mind. Sir Andrew, you have written a great letter challenging Cesario. It will terrify him. Listen, why don't you wait over
• 122:30 - 123:00 here? Over there. I'll deliver your challenge for you. Look fierce. Okay, girl. You are going to deliver the letter. No, this is the stupidest letter in the world. I'll challenge Zarya for him. It'll be a lot more fun. Sir Andrew can't do to save his life. But I'll tell the boy that he's an ace with a sword and convince Sir Andrew that the boy is a master duelist and is sure to kill him. They'll both be terrified of each
• 123:00 - 123:30 other. Yes. Sh. Here comes the boy. Come again tomorrow, please. Here, wear my portrait. Look, we've been over this. I can't love you. I'll give you anything. How about love for my master? I've given you my love already. H. So, I'll see you tomorrow, right, young fellow. I hope for your sake you know how to handle a sword. Huh? What? There's a knight over there who is waiting to do with you.
• 123:30 - 124:00 What? Why? He's furious. He's killed three people before, you know. I have no idea what's going on anymore. Wait, you're saying I've somehow angered a furious swordsman who wants to duel me? Yep, but I'm not a fighter. I'm not a fighter. Please go and try to make my peace with him. I'll try. The boy is terrified of Sir Andrew. Time to make Sir Andrew terrified of the boy. Well, I delivered your challenge to
• 124:00 - 124:30 the boy. And And it turns out he's a professional fencer. I'm afraid you're doomed. What? But but but he's just a boy. I didn't think he could actually fight. Get me out of this mess. Nope. It's too late now. I don't want to. Here we are. Let's go. I said let's go. Stop. I will fight on this boy's behalf. Who's this guy? Excuse me, but this is a private matter of honor, and
• 124:30 - 125:00 we don't appreciate you barging in. There's nothing I won't do for my love. Halt in the name of the law and Antonio. You are under arrest for being a notable pirate. A pirate? Sigh. It's a fair cup. I must go with them. Please give me back my money. I'll need it. Um, what money? The money I gave you earlier. You've been kind to me, so I'll lend you some money. But I've never seen you before in my life,
• 125:00 - 125:30 Mr. Pirate. What? I saved your life and then you followed me here at my own risk out of my love for you and now you deny me. Look, are you going to come with us or not? I'll come Sebastian, you are too cruel. Did he say Sebastian? He He did. And I look just like Sebastian. Does that man mean he is possibly alive? Prove true imagination.
• 125:30 - 126:00 Oh, prove true that I dear brother being now taken taken for see the boy's a coward. Go and beat him. Okay. Thank you. So, finally there's a little bit of a a realization happening in all this confusion now, right? That name that he called Sebastian. Okay. So, Sebastian is out there somewhere having this gay friend love after him for some reason.
• 126:00 - 126:30 But yeah, Viola knows now almost for certain that her brother brother is alive. So, let's see how she responds to that. All right, let's jump into act four. Uh, jump into act four. All right, Ka, you want to run this one for us since you've been reading? Okay, so act four. one. It is fest. Fester mistakes Sebastian for Cesario and asked him to see Olivia.
• 126:30 - 127:00 Sebastian confused gives Fester coins to leave him alone. Sir Andrew thinking Sebastian is Cesario punches him. Sebastian retaliates shocked by the madness around him. Olivia intervenes, sending Sir Toby away and apologizing to Cesario. Actually, Sebastian bewildered but attracted to Olivia, Sebastian accepts her invitation to her house, thinking he may be dreaming but not
• 127:00 - 127:30 minding at all. Key quote, "What relish is in this? How runs this dream? Or am I mad? Or else this is a dream? Let fancy still my sense in leech steep. If it be luck, if it be dust to dream, still let me sleep. Significance. In this quote, Sebastian is overwhelmed by the events unfolding around him. Particularly Olivia's unexpected affection for him,
• 127:30 - 128:00 which he mistakes for Cesario. He is confused by the sudden turn of events and wonders whether he is mad or dreaming. Referencing le the river of forgetfulness in Greek mythology. He wishes to let his senses remain clouded if this dreamlike state is real. He concludes that if what he's experiencing is indeed a dream, he would prefer to say stay asleep and enjoy it
• 128:00 - 128:30 rather than waking up to reality. Thank you. Yeah, you can imagine how confused how shocked Sebastian is. He just has all these people interacting with him in these strange ways. Fest talking to him. Who's this Fesa guy? Fes thinks it's Cesaro. This is the first time I see Fest actually making a mistake, right? You know, Sir Andrew punches him because, you know, Sir Andrew wants to fight Cesario. It's like, what? Why is this guy attacking me? And then Olivia,
• 128:30 - 129:00 who is in love with Cesario, he's coming on to Sebastian. But Sebastian doesn't mind. Sebastian is saying, "Woo, this lady is coming at me like this. I'm confused, but if everybody's mad. If I'm dreaming, let me stay dreaming because this is a good dream, right? All this mistaken identity is just creating so much confusion." All right, who will take on scene two? I will, sir. Run it. Ayana. Ayana, you're back. Yes, sir. Um, my electricity is going coming and going, so Oh, no. My apologies. No
• 129:00 - 129:30 problem. Action four, scene two. Maria and Toby lock mavvolio in a dark chamber claiming it will cure his madness. Fest dressed as the scholar Sir Topas and Sir Topas and visits Navolio pretending the dark room is bright. Malvolio tries to prove his sanity by answering Sir Topaz in intellectually intellectual questions
• 129:30 - 130:00 but Fested dismisses his responses and leaves. Cholley enjoys the prank but confides in Maria that they must end it soon to avoid upsetting Olivia further. They leave together. Fest back in his clone persona returns to Malvolio. Navolio begs for writing materials plead his case. Olivia B agrees but first taunting further she goes well I'll put it on and
• 130:00 - 130:30 I will dissemble myself in in it and I would hold on I would I would I were the first that ever dissembled in such a gown significance fest humorously reflects on the act of disguising oneself as he prepares to trick Malvolio His comment underscores a theme of deception and acknowledges the common practice of assuming false identities and both play in and both in
• 130:30 - 131:00 the play and in life. Thank you. Do we feel sorry for Malvolia at this point? You think it's too much? A bit a bit. No. O man. I think they they have gone a little bit too far because now they they're actually convincing this man is mad. this, you know, festive dressed as Sir Topz is saying. What a bright room. Is saying, "This room is bright. It looks dark to me. Maybe I'm actually mad." Gaslighting. Oh my goodness. All right. Scene three. At four. Scene
• 131:00 - 131:30 three. Sebastian, confused by recent events, reflects on whether he or Olivia might be mad. He wishes he could consult Antonio, but he can't find him. Olivia enters with a priest and urges Sebastian to marry her in secret immediately with plans for a larger public ceremony later. Despite his confusion, Sebastian agrees, and they leave to be married. Key quote, "Yet doth this accident and flood of fortune so far exceed all
• 131:30 - 132:00 instance, all discourse that I'm ready to distrust mine eyes." Significance. Sebastian expresses belief at the sudden good fortune he has experienced, particularly Olivia's affection for him. The situation is so incredible that he questions whether he can trust his own eyes. This highlights his bewilderment, his bewilderment at the rapid change in his circumstances. Nice. All right. And that's it for scene four. That's that's pretty much how scene 4 ends. It ends
• 132:00 - 132:30 with these two deciding to get married in secret quickly. So you can imagine being Sebastian in all this. He's just shocked out of his wits. And we only have one scene left. Actually, act five is just one scene. So the last reader will just finish up the play. Only it be. So it's kind of long. Act five, scene one. Fe holds Malvolio's letter as Fabian tries to take it from him. Arsino arrives and sends Fest to inform Olivia
• 132:30 - 133:00 arrival. Antonia is brought in by officers mistaking Cesaria for Sebastian. Antonia explains Peter Sebastian everyone as they try to unravel the situation. Arrive Olivia arrives and accuses Cesaria of raping mar promises. Cesaria proclaims undying loyalty to Sir Oscino. Sir Andrew and Sir Toby enter injured, accusing Cesaria
• 133:00 - 133:30 of attacking them. Sebastian arrives and the confusion clears as he and Viola recognize each other. Olivia realizes she marries Sebastian, not Cesario, while Orsino, Orsino's love shifts from Olivia to Viola, though he continues to address her as Cesaria for the time being. Malvolia's letter is read revealing the prank played on him by Maria and the others. Malvolia Furious storms off vowing revenge. The scene
• 133:30 - 134:00 ends with Orsino and Viola and Olivia and Sebastian preparing for a marriage. The play concludes with Fes singing a melancholy song highlighting the plays under current of life's fleeting joys. Key quote, "Give me thy hand and let me see thee in thy woman's weeds." Orsina's request to see Viola in her woman's weeds after she reveals her true identity highlights the performative nature of his love for Olivia. His
• 134:00 - 134:30 immediate shift of affection towards Viola suggest that his love for Olivia may have been more about performance of being in love than true emotion. Alternatively, Orsena might have already developed feelings for Biola disguised as Cesario because of their close bond and the discovery that she is a woman seals his attraction. The moment also touches on the theme of gender as the fluid as as the fluidity of identity and
• 134:30 - 135:00 attraction challenges conventional ideas of love and desire particularly in the context of Shakespeare's time when male actors played female roles for comedic and thematic complexity. Thank you. Oh, that is it. That is it. That is it. That is it. That's the last scene of the play. What do we think of the ending? ends in a man
• 135:00 - 135:30 and that's the except in my opinion the ending is extremely random like it like it went from such a high point and then it dropped so low I was like what I expected more honestly but at the same time. It's a okay ending. So, I think the end the ending for me just highlighted how bizarre the whole
• 135:30 - 136:00 play was. How on earth did it end like this? It's it's almost as if you know when you're playing there certain ring games like this and in the end you just grab a partner and that's it. Game over. Right. It it it's it's it's quite strange. So, we have Cesario. Well, let's we can call her by her name now. Viola and Orino. That relationship was never built in any romantic way. It was always one-sided. But suddenly at the end, we we have that personally couldn't
• 136:00 - 136:30 see I personally couldn't see that relationship ever forming at no point in time because for I don't understand how they end up getting married. I agree. It's really, it really is confusing like how how did you how did you start from like let's say let's start off with um how um somehow Sebastian um married um Olivia or got
• 136:30 - 137:00 married with Olivia. That that part is kind of confusing because how how do you just just randomly just get married with someone like that or how do you even fall for them like that? I'm confused. Well, for Olivia, it wasn't random because she thought it was Cesaria all along. So, she was like, "Come on, here's my chance." And I guess she was so happy when Sebastian was like, "Okay, let's do this. I'm in a dream." So, all of you thought that Cesario finally returned the love, but it wasn't Cesaria
• 137:00 - 137:30 at all. So, we see so many kind of one-sided feelings being displayed, right? And then yeah, for me, maybe maybe the strangest thing for me was Viola and Orino getting together at the end. Of course, Viola wanted that all along. She's she's always been in love with this mad man Orsino. But then for Orsino to just say, "Oh, you're a woman now." Okay, okay, okay. You're the one I love. That's also a little just a little strange that this sounds like a friends to lovers Watad story, says Montavia.
• 137:30 - 138:00 Any other comments on the ending? I see some hands. Go ahead. Go ahead, sir. This is Dana. I believe um Orino actually had like some love for who he thought was Cesario and because because of that he he would have been like a bit standoffish to it. And when he realized that she was actually a female, it was just like an invitation for him to fully express what he was feeling.
• 138:00 - 138:30 That'sual evidence to it. I'm searching for it right now. That's a good point of view, but it's still a little strange. I mean, I know they were close. And even in how he was telling him to woo Olivia, like you're you're so effeminite and you know, you're you have such a pretty face and blah blah blah. She will listen to you. So, he was showing some some kind of affection. Yes. Go ahead. Continue, sir.
• 138:30 - 139:00 Yeah. I'm saying he was showing some kind of affection to Cesario. But for for that affection to suddenly balloon into let's get married the moment the gender switch happens. I mean that's that's just like Orino. That's very Orino. Yes. Um Akyra sir, I don't understand why Olga gets married to Sebastian because even though they him and Cesario look alike, they don't must have the same personality. Wouldn't she just not like Sebastian? Like what? That
• 139:00 - 139:30 shows how ridiculous how how face value the love is. It shows that okay, you look like the guy I love. That's good enough. What? Strange. Strange. The only real marriage here will be Toby and Maria. Honestly, they're going to divorce real soon. Well, there we have it. That's the plot. That is 12 night. We're going to stop here for today, but when we meet again, we'll be able to get
• 139:30 - 140:00 into some people analysis. We can look at some important characters and really get to know the characters a little bit more, right? Then we look at some themes, desire and love. We have a couple of interesting themes that we'll get into. Then you look at some dramatic techniques, how Shakespeare really, you know, uh, wrote the split in an effective way. So, we're done with the plot. We don't have to do any more reading per se, but we have some analysis to do.