| “mismatch between how they see themselves and…” | “how the world perceives them” – francis gilbert |
| “it is only characters…” | “from the upper classes that are allowed to be dignified in his plays” – francis gilbert |
| who said women could all to easily “be stereotyped as deceivers”? | kate tyson |
| “viola also conforms…” | “to the idea that women are born deceivers” – kate tyson |
| what did tyson say about viola’s deception? | it “never fails to harm anyone but herself” |
| shakespeare aimed to “challenge the idea of…” | “purely heterosexual relationships” – kate tyson |
| who said fools occupy “their own special worlds” | mikhail bakhtin |
| fools “are life’s maskers, their being coincides with…” | “their role, outside this role they simply do not exist” – mikhail bakhtin |
| who said “viola herself doesn’t appear to relish the empowering opportunities of disguise”? | dr pamela bickeley |
| “[shakespeare] appears to take exception to the idea that all women can be…” | “described in such a uniform way” – alison ferguson |
| in the 16th century who objected to “such kissing… such winking and glancing of wanton eyes”? | phillip stubbes |
| what does lydia forbes call olivia? | an “unresponsive object” |
| “when [viola] trusts someone we are…” | “persuaded that her faith is justified” – lydia forbes |
| who said viola’s “major obstacle” is “fear of losing control”? | lydia forbes |
| the veil “also serves, secondarily, as…” | “a type of disguise” – douglas h parker |
| how did kiernan ryan refer to feste? | as “a linguistic terrorist, a semantic saboteur” |
| mikhail bakhtin said fools belong to what? | “the borderline between life and art” |
| “Many modern readers or spectators feel that…” | “…the treatment of Malvolio becomes distatefully harsh” – cedric watts |
| What does cedric watts call Malvolio’s last cry of revenge? | “The bitter howl of a broken man” |
| “Women are to appear and…” | “…behave as women once again” – judith buchanon on the play’s ending |
| What does cedric call Feste’s final song? | “Obscure, clumsy, and poignant” |
| “The play shows that love can be…” | “…both a benign and malign madness” – Watts |
| According to Watts, where does love “resemble lethal lunacy”? | When orsino goes on a vengeful spree, or is planning to “sacrafice a lamb that i do love,/ to spite a raven’s heart within a dove” |
| What does watts call the entire love polygon? | “Comical and poignant” |
| What does cedric say about the love all being set straight, even as results of misunderstanding (seb and olivia) | “Here, it is not a case if misrule giving way to traditional order; rather, it seems that the eventual order is founded in delusion and chance” |
| What does feste say about foolery? | It “does walk about the orb like the sun: it shines everywhere” |
Twelfth Night AO5
July 28, 2019