Characters such as Malvolio, Olivia, and Orsino all display foolish behaviour as a reaction of their love, although it could be argued that some of the characters grow mad and act foolishly as a response to their own individual ideas of love rather than true love itself. Orsino is one of the characters in Twelfth Night who does not appear to be overcome by madness in reaction to his love; it could be argued however that Orsino does act foolishly when perusing Olivia. The opening Scene of ‘Twelfth Night’ introduces Orsino; through the use of hyperbole in his monologue he presents his ‘fantastical’ idea of love as something that could be considered humorous, although it could be argued that these descriptions of love echo ideas of courtly romance that were common in the Elizabethan times. “If music be the food of love, play on, give me excess of it”. It could be interpreted that Orsino is considering that an excess of music might cure his obsession with love, in the same way that eating too much might result in a loss of appetite.
From the scene, it is shown that Benvolio is a caring friend and is considerate of Romeo’s feelings. This is implied when Benvolio breaks up the fight going on between Romeo and Mercutio after Mercutio says: “For this driveling love is like a great natural that runs lolling up and down to hide his bauble in a hole”(2.4.93-95). Benvolio stops this argument from continuing due to the likeliness that these words are hurting Romeo. During this scene, it is also implied that Benvolio is a good singer when Mercutio says, “He fights as you sing / prick-song, keeps time, distance, and proportion” (2.4.21-22).While explaining Tybalt’s fencing skills, he brings up Benvolio’s singing ability as a comparison, implying that Benvolio is a talented vocalist. During Act 2, Scene 4 of Romeo and Juliet, Mercutio and Benvolio are characterized
At the start, Mercutio is outwardly wondering where Romeo is, showing that he likes to be in control of his friends. In the Franco Zeffirelli film, Mercutio tries to act indifferently, whereas Baz Luherman’s Mercutio is openly annoyed and concerned. In both film versions Mercutio ignores Romeo by turning and walking away from him, making Romeo follow. In Franco Zeffirelli’s film, Mercutio demonstrates his acting skills by pretending to be an exaggerated old man. The two friends start teasing each other, using puns and sexual innuendos such as “... constrains a man to bow in the hams.” this is hinting that Romeo got a sexually transmitted disease that night, also a pun for curtsey.
Benedick’s “bachelor” attitude that he uses as a form of protection initially dominates his character as maliciously rude, witty and obnoxious, he swears that he “truly” loves “none” as he will die “with anger, with sickness, or with hunger but not with love”. This head-strong act that he shows is, yet again, changed instantly as soon as he is given the idea that he is loved back by Beatrice, he transforms in to a romance ridden fool as he assumed her love “must be requited!”. He doesn’t really question any costs to his reputation as a bachelor because love has altered him up to the point of not caring for other’s opinion…Shakespeare again shows how much love taints personal integrity. On the other hand,
Another possible interpretation of Orsino’s thoughts could be seen as him as not being consumed with love itself, but indulging the idea of it. Therefore, he does not necessarily truly love Olivia, but has heard about love and desires to participate in the feeling. This is an example of courtly love, where only by long devotion and much suffering could a man win his ideal woman, where such love was sexless and idealised. In reality, it usually meant that men like Orsino were in love with the idea of love, rather than love itself. Overall, it is made clear that love will be a main theme of ‘Twelfth Night’ as it presents itself within the
When Benedick says he does not like the dish, he is being disrespectful not only to Beatrice but to the people of the time. He also states that no woman will be let in to his perfectness until the woman is perfect herself. Benedick loves teasing people but will not accept the fact that people tease him. Shakespeare illustrates benedick in more detail which allows the audience to understand what type of character
This miserable situation is making him feel disconnected from the world, and he cannot handle all the strong feelings he has: “O teach me how I should forget to think.” Act 1 Scene 1 Line 225. In this case, Romeo is feeling lustful towards Rosaline, which later on is contrasted with the pure love he feels for Juliet. He shows his stubbornness whilst failing to listen to Benvolio who says that Romeo should see other girls as there are many more beautiful. However Romeo simply replies: “Examine other beauties…thou canst no teach me to forget.” Act 1 Scene 1 Lines 227-236. He is denying the idea completely, thinking that it would just make him realise how beautiful Rosaline really is.
The characters’ likings change in the play is troubling, where Lysander is intensely in love with Hermia at first and with Helena at another point. “Transparent Helena! Nature shows art that through thy bosom makes me see thy heart” (Shakespeare and Foakes Act II). The aim of the play is not to observe the nature of true love but reasonably to mock misunderstandings that love brings. Lysander, Hermia, Demetrius and Helena are destined not to be romantic classics, but somewhat sympathetic figures thrown into perplexing situations of romantic farce.
In Act 2 Scene 3, Don Pedro and Claudio are well aware that Benedick is hiding and listening to the conversation, so they speak poetic blank verse which is suitable for the love obsessed characters which they are pretending to be. The audience may find this funny, and Shakespeare has included this impersonation to create a comedic effect. Until Act 2 Scene 3, Benedick is presented to the audience as a man who is clearly in love, but very much in denial. His apparent misogyny and unwillingness to make a commitment to a woman are almost stereotypes near the beginning of the play. His use of language, especially in his "merry war" with Beatrice, prevents him from being the clichéd male who refuses to commit to a relationship.
Unlike most of the other sonnets which are full of love and praise, Shakespeare’s Sonnet 138 is about a less than perfect relationship which is based on lies and is complicated and difficult, yet “both speakers practice, again and again, a self-deceptive illusion, compulsively complying with it rather than giving it up” (Vendler 294). They continue to flatter each other for the sake of their sexual needs and the persona simply ignores his mistress’s adultery. When we look at the first two lines of the first quatrain, we see that there is a mutual deception. The persona complains that when his lover swears that she is true and faithful to him, he believes her but at the same time knows that she is lying. It is a paradoxical situation and it gets more paradoxical when we see that Shakespeare’s use of the word ‘lie’ perhaps is not a coincidence, as it has both meanings which suit the themes in the sonnet.