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Was ihr wollt / Twelfth Night Or, What You Will - Zweisprachige Ausgabe (Deutsch-Englisch): Bilingual edition (German-English)

Was ihr wollt / Twelfth Night Or, What You Will - Zweisprachige Ausgabe (Deutsch-Englisch): Bilingual edition (German-English)

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Was ihr wollt / Twelfth Night Or, What You Will - Zweisprachige Ausgabe (Deutsch-Englisch): Bilingual edition (German-English)

ratings:
4/5 (28 ratings)
Length:
277 pages
2 hours
Publisher:
Released:
May 18, 2014
ISBN:
9788026809593
Format:
Book

Description

Dieses eBook: "Was ihr wollt / Twelfth Night Or, What You Will - Zweisprachige Ausgabe (Deutsch-Englisch) / Bilingual edition (German-English)" ist mit einem detaillierten und dynamischen Inhaltsverzeichnis versehen und wurde sorgfältig korrekturgelesen.
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This carefully crafted ebook: "Was ihr wollt / Twelfth Night Or, What You Will - Zweisprachige Ausgabe (Deutsch-Englisch) / Bilingual edition (German-English)" is formatted for your eReader with a functional and detailed table of contents.
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Diese Zweisprachige Shakespeare Ausgabe hilft dem Leser Shakespeare besser zu verstehen und zu interpretieren, ist praktisch beim Nachschlagen und sehr nützlich um Englisch / Deutsch als Fremdsprache zu Lernen oder zu Lehren.
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This bilingual Shakespeare edition helps the reader to understand and to interpret Shakespeare better, is practical for looking up text passages and very useful for learning and teaching german / english language through classic literature.
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Die Komödie "Was ihr wollt" wurde von William Shakespeare um das Jahr 1601 verfasst. Der Originaltitel Twelfth Night ist eine Anspielung auf die Epiphaniasnacht als Abschluss der zwölf Rauhnächte. Zu Shakespeares Zeiten wurde dieser Beginn der Karnevalszeit bereits mit Maskenspielen gefeiert, in denen die Menschen durch Verkleidung vorübergehend ihre Identität wechseln.
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Twelfth Night; or, What You Will is a comedy by William Shakespeare, believed to have been written around 1601-02 as a Twelfth Night's entertainment for the close of the Christmas season. The play expanded on the musical interludes and riotous disorder expected of the occasion.
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William Shakespeare (1564-1616) war ein englischer Dramatiker, Lyriker und Schauspieler.
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William Shakespeare (1564-1616) was an English poet, playwright and actor.
Publisher:
Released:
May 18, 2014
ISBN:
9788026809593
Format:
Book

About the author

William Shakespeare was an English poet, playwright, and actor. He is widely regarded as the greatest dramatist in the English language. Shakespeare is often called England’s national poet and the “Bard of Avon.”  


Book Preview

Was ihr wollt / Twelfth Night Or, What You Will - Zweisprachige Ausgabe (Deutsch-Englisch) - William Shakespeare

(englisch)

Englisch

WAS IHR WOLLT

(german)

Inhaltsverzeichnis

Inhalt

PERSONEN

ERSTER AUFZUG

ERSTE SCENE

ZWEYTE SCENE

DRITTE SCENE

VIERTE SCENE

FÜNFTE SCENE

SECHSTE SCENE

SIEBENDE SCENE

ACHTE SCENE

NEUNTE SCENE

ZWEYTER AUFZUG

ERSTE SCENE

ZWEYTE SCENE

DRITTE SCENE

VIERTE SCENE

FÜNFTE SCENE

SECHSTE SCENE

SIEBENDE, ACHTE UND NEUNTE SCENE

DRITTER AUFZUG

ERSTE SCENE

ZWEYTE SCENE

DRITTE SCENE

VIERTE SCENE

FÜNFTE SCENE

SECHSTE SCENE

SIEBENDE SCENE

ACHTE SCENE

NEUNTE SCENE

ZEHNTE SCENE

EILFTE SCENE

ZWÖLFTE UND DREYZEHNTE SCENE

VIERZEHNTE SCENE

VIERTER AUFZUG

ERSTE SCENE

ZWEYTEN SCENE

DRITTE SCENE

VIERTEN SCENE

FÜNFTE SCENE

FÜNFTER AUFZUG

ERSTE SCENE

ZWEYTE SCENE

DRITTEN SCENE

VIERTEN SCENE

FÜNFTEN SCENE

SECHSTEN

SIEBENTEN SCENE

Englisch

PERSONEN

Inhaltsverzeichnis

Orsino , Herzog von Illyrien.

Sebastiano , ein junger Edelmann, Bruder der Viola.

Antonio , ein Schiff-Capitain.

Valentin und Curio , Hofleute des Orsino.

Sir Tobias Rülps , Olivia's Oheim.

Sir Andreas Fieberwange , sein Zechbruder.

Ein Schiffhauptmann, Viola's Freund.

Fabian , Diener der Olivia.

Malvolio , ihr Hausmeister.

Hans Wurst.

Olivia , eine Dame von grosser Schönheit, Stand und Reichthum, in die Orsino verliebt ist.

Viola , in den Herzog verliebt.

Maria , Olivia's Kammer-Jungfer.

Ein Priester, Matrosen, Offizianten und andre stumme Personen.

Die Scene, eine Stadt an der Küste von Illyrien.

Englisch

ERSTER AUFZUG

Inhaltsverzeichnis

ERSTE SCENE

Inhaltsverzeichnis

Der Pallast.

Der Herzog, Curio, und etliche Herren vom Hofe treten auf.

Herzog.

Wenn Musik die Nahrung der Liebe ist, so spielt fort; stopft mich voll damit, ob vielleicht meine Liebe von Ueberfüllung krank werden, und so sterben mag – – Dieses Passage noch einmal; – – es hat einen so sterbenden Fall: O, es schlüpfte über mein Ohr hin, wie ein sanfter Südwind, der Gerüche gebend und stehlend über ein Violen-Bette hinsäuselt. – – Genug! nichts mehr! Es ist nicht mehr so anmuthig, als es vorhin war. O Geist der Liebe, wie sprudelnd und launisch bist du! weit und unersättlich wie die See, aber auch darinn ihr ähnlich, daß nichts da hineinkömmt, von so hohem Werth es auch immer sey, das nicht in einer Minute von seinem Werth herab und zu Boden sinke – –

Curio.

Wollt ihr jagen gehen, Gnädigster Herr?

Herzog.

Was?

Curio.

Den Hirsch.

Herzog.

– – Wie? das wäre das edelste was ich habe: O, wie ich Olivia zum erstenmal sah, däuchte mich, sie reinigte die Luft von einem giftigen Nebel; von diesem Augenblik an ward' ich in einen Hirsch verwandelt, und meine Begierden, gleich wilden, hungrigen Hunden, verfolgen mich seither – –

Valentin tritt auf.

Nun, was für eine Zeitung bringt ihr mir von ihr?

Valentin.

Gnädigster Herr, ich wurde nicht vorgelassen; alles was ich statt einer Antwort erhalten konnte, war, daß ihr Kammer-Mädchen mir sagte, die Luft selbst sollte in den nächsten sieben Jahren ihr Gesicht nicht bloß zu sehen kriegen; sondern gleich einer Kloster-Frau will sie in einem Schleyer herum gehen, und alle Tage ein mal ihr Zimmer rund herum mit Thränen begiessen: Alles diß aus Liebe zu einem verstorbenen Bruder, dessen Andenken sie immer frisch und lebendig in ihrem Herzen erhalten will.

Herzog.

O, Sie, die ein so fühlendes Herz hat, daß sie einen Bruder so sehr zu lieben fähig ist; wie wird sie lieben, wenn Amors goldner Pfeil die ganze Heerde aller andern Zuneigungen, ausser einer einzigen, in ihrer Brust getödtet hat? Wenn Leber, Gehirn und Herz, drey unumschränkte Thronen, alle von Einem (o entzükende Vorstellung) von Einem und demselben König besezt und ausgefüllt sind! Folget mir in den Garten – – Verliebte Gedanken ligen nirgends schöner, als unter einem grünen Thron-Himmel, auf Polstern von Blumen.

(Sie gehen ab.)

Englisch

ZWEYTE SCENE

Inhaltsverzeichnis

Die Strasse.

Viola, ein Schiffs-Capitain, und etliche Matrosen.

Viola.

In was für einem Lande sind wir, meine Freunde.

Capitain.

In Illyrien, Gnädiges Fräulein.

Viola.

Und was soll ich in Illyrien machen, da mein Bruder im Elysium ist? – – Doch vielleicht ist er nicht umgekommen; was meynt ihr, meine Freunde?

Capitain.

Es ist ein blosses Glük, daß ihr selbst gerettet worden seyd.

Viola.

O mein armer Bruder! – – aber, hätt' er dieses Glük nicht auch haben können?

Capitain.

Es ist wahr; und wenn die Hoffnung eines glüklichen Vielleicht Eu. Gnaden beruhigen kan, so versichre ich euch, wie unser Schiff strandete, und ihr und diese wenigen, die mit euch gerettet wurden, an unserm Boot hiengen, da sah ich euern Bruder, selbst in dieser äussersten Gefahr, Muth und Vorsicht nicht verliehrend, sich selbst an einen starken Mast binden, der auf der See umhertrieb; und auf diese Art schwamm er, wie Arion auf dem Rüken des Delphins, durch die Wellen fort, bis ich ihn endlich aus den Augen verlohr.

Viola.

Hier ist Gold für diese gute Nachricht. Meine eigne Rettung läßt mich auch die seinige hoffen, und dein Bericht bestärkt mich hierinn. Bist du in dieser Gegend bekannt?

Capitain.

Ja, Madam, sehr wohl; der Ort wo ich gebohren und erzogen wurde, ist nicht drey Stunden Wegs von hier entfernt.

Viola.

Wer regiert hier?

Capitain.

Ein edler Herzog, den Eigenschaften und dem Namen nach.

Viola.

Wie nennt er sich?

Capitain.

Orsino.

Viola.

Orsino? Ich erinnre mich, daß ich von meinem Vater ihn nennen hörte; er war damals noch unvermählt.

Capitain.

Er ist's auch noch, oder war's doch vor kurzem; denn es ist nicht über einen Monat, daß ich von her abreisete, und damals murmelte man nur einander in die Ohren, (ihr wißt, wie gerne die Kleinern von dem, was die Grossen thun, schwazen,) daß er sich um die Liebe der schönen Olivia bewerbe.

Viola.

Wer ist diese Olivia?

Capitain.

Eine junge Dame von grossen Eigenschaften, die Tochter eines Grafen, der vor ungefehr einem Jahr starb, und sie unter dem Schuz seines Sohns, ihres Bruders, hinterließ; aber auch diesen hat sie erst kürzlich durch den Tod verlohren; und man sagt, sie sey so betrübt darüber, daß sie die Gesellschaft, ja so gar den blossen Anblik der Menschen verschworen habe.

Viola.

Wenn ich nur ein Mittel wißte, in die Dienste dieser Dame zu kommen, ohne eher in der Welt für das was ich bin bekannt zu werden, als ich es selbst meinen Absichten verträglich finden werde.

Capitain.

Das wird schwer halten; denn sie läßt schlechterdings niemand vor sich, sogar den Herzog nicht.

Viola.

Du hast das Ansehen eines rechtschaffnen Manns, Capitain; und obgleich die Natur manchmal den häßlichsten Unrath mit einer schönen Mauer einfaßt, so will ich doch von dir glauben, daß dein Gemüth mit diesem feinen äusserlichen Schein übereinstimme: Ich bitte dich also, (und ich will deine Mühe reichlich belohnen,) verheele was ich bin, und verhilf mir zu einer Verkleidung, die meinen Absichten beförderlich seyn mag. Ich will mich in die Dienste dieses Herzogs begeben; stelle mich ihm als einen Castraten vor; es kan deiner Mühe werth seyn; ich kan singen, ich spiele verschiedene Instrumente, und bin also nicht ungeschikt ihm die Zeit zu verkürzen; was weiter begegnen kan, will ich der Zeit überlassen; nur beobachte du auf deiner Seite ein gänzliches Stillschweigen über mein Geheimniß.

Capitain.

Seyd ihr sein Castrat, ich will euer Stummer seyn. Verlaßt euch auf meine Redlichkeit.

Viola.

Ich danke dir; führe mich weiter.

(Sie gehen ab.)

Englisch

DRITTE SCENE

Inhaltsverzeichnis

Verwandelt sich in ein Zimmer in Olivias Hause.

Sir Tobias und Maria treten auf.

Englisch

VIERTE SCENE

Inhaltsverzeichnis

Sir Andreas zu den Vorigen.

Der Character des Sir Tobias und seines Freundes gehört in die unterste Tiefe des niedrigen Comischen; ein paar mäßige, lüderliche, rauschichte Schlingels, deren platte Scherze, Wortspiele und tolle Einfälle nirgends als auf einem Engländischen Theater, und auch da nur die Freunde des Ostadischen Geschmaks und den Pöbel belustigen können. Wir lassen also diese Zwischen-Scenen um so mehr weg, als wir der häuffigen Wortspiele wegen, öfters Lüken machen müßten. Alles was in diesen beyden Scenen einigen Zusammenhang mit unserm Stüke hat, ist dieses, daß Sir Tobias seinen Zechbruder, Sir Andreas, als einen Liebhaber der schönen Olivia ins Haus einführt und ganz ernsthaft der Meynung ist, daß sie ein recht artiges wohlzusammengegattetes Paar ausmachen würden; und daß Jungfer Maria den würdigen Oheim ihrer Dame höflich ersucht, um seiner Gesundheit willen sich weniger zu besauffen; und um der Ehre des Hauses willen, seine Bacchanalien nicht so tief in die Nacht hinein zu verlängern.

Englisch

FÜNFTE SCENE

Inhaltsverzeichnis

Verwandelt sich in den Pallast.

Valentin, und Viola in Mannskleidern, treten auf.

Valentin.

Wenn der Herzog fortfährt euch so zu begegnen wie bisher, Cäsario, so werdet ihr in kurzem einen grossen Weg machen; er kennt euch kaum drey Tage, und er begegnet euch schon, als ob es so viele Jahre wären.

Viola.

Ihr müßt entweder seiner Laune oder meiner Aufführung nicht viel gutes zutrauen, wenn ihr die Fortsezung seiner Gunst in Zweifel ziehet. Ist er denn so unbeständig in seinen Zuneigungen, mein Herr?

Valentin.

Nein, das ist er nicht.

Der Herzog, Curio und Gefolge treten auf.

Viola.

Ich danke euch; hier kommt der Herzog.

Herzog.

Sah keiner von euch den Cäsario, he?

Viola.

Hier ist er, Gnädigster Herr, zu Befehl.

Herzog (zu den andern.)

Geht ihr ein wenig auf die Seite – – Cäsario, du weist bereits nicht weniger als alles; ich habe dir das Innerste meines Herzens entfaltet. Geh also zu ihr, mein guter Junge; laß dich nicht abweisen, postiere dich vor ihrer Thüre, und sag ihr, du werdest da wie eingewurzelt stehen bleiben, bis sie dir Gehör gebe.

Viola.

Gnädigster Herr, wenn sie sich ihrer Betrübniß so sehr überläßt, wie man sagt, so ist nichts gewissers, als daß sie mich nimmermehr vorlassen wird.

Herzog.

Du must ungestüm seyn, schreyen, und eher über alle Höflichkeit und Anständigkeit hinüberspringen, als unverrichteter Sachen zurük kommen.

Viola.

Und gesezt, ich werde vorgelassen, Gnädigster Herr, was soll ich sagen?

Herzog.

O dann entfalte ihr die ganze Heftigkeit meiner Liebe; preise ihr meine ungemeine Treue an; es wird dir wol anstehen, ihr mein Leiden vorzumahlen; sie wird es von einem jungen Menschen, wie du, besser aufnehmen, und mehr darauf Acht geben, als wenn ich einen Unterhändler von ernsthafteren Ansehen gebrauchte.

Viola.

Ich denke ganz anders, Gnädigster Herr.

Herzog.

Glaube mir's, mein lieber Junge; deine Jugend wäre schon genug, diejenigen lügen zu heissen, die dich einen Mann nennten. Dianens Lippen sind nicht sanfter und rubinfarbiger als die deinigen; deine Stimme ist wie eines Mädchens, zart und hell, und dein ganzes Wesen hat etwas weibliches an sich. Ich bin gewiß, du bist unter einer Constellation gebohren, die dich in solchen Unterhandlungen glüklich macht; du wirst meine Sache besser führen, als ich selbst thun könnte. Geh also, sey glüklich in deiner Verrichtung, und du sollst alles was mein ist, dein nennen können.

Viola.

Ich

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Reviews

What people think about Was ihr wollt / Twelfth Night Or, What You Will - Zweisprachige Ausgabe (Deutsch-Englisch)

4.1
28 ratings / 34 Reviews
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Reader reviews

  • (4/5)
    I have read this play after seeing it performed at The Globe on Friday. It's funny and relies on comic tropes such as characters dressing up as the opposite sex, dressing in comedic yellow cross-gartered stockings for effect, and formation of love triangles. The Clown role is probably my favourite character. It's light and insubstantial and often doesn't make a whole lot of sense (e.g. the whole Malvolio sub-plot); indeed at one point Fabian says with ironic self-reference "If this were played upon a stage now, I could condemn it as an improbable fiction".
  • (5/5)
    Here Shakespeare borrows as so often in his comedies, from Plautus for the overarching plot--the separated siblings, the twinning (recall his Errors, and the Menaechmi), the arrival from sea. But he adds so much as to make it unrecognizable as a Roman comedy. He adds an attractive drunk, Sir Toby, who fleeces a silly aristocrat who--perhaps alone in literature-- knows himself to be silly. He adds, for instance, a parody of Renaissance psychiatry (well, more theology, but since "psyche" in Greek is both "soul" and "mind," that's fair) practiced on Shakespeare's only American. Instead of the common psyche ward question, "What does 'the grass is always greener on the other side of the fence' mean to you?" Feste as Reverend Psychiatrist asks, "What is the opinion of Pythagoras concerning the soul?" Remember, you can't get out of the psyche ward unless you answer right. Well, Malvolio DOES get it right, he hits it out of the park, but Feste keeps him in lockdown anyway. Why?Herein lies a tale. Malvolio is portrayed as stark raving mad simply because he wants to marry the boss's daughter--or really, the boss herself. A crazy idea. An American idea, one that would take a couple centuries and a Revolution to be accepted by anybody at all. Those rejects on the other side of the Atlantic.Yes, Malvolio is Shakespeare's only American (except possibly Othello?). And he is indeed, as he himself pleads at plays end, notoriously abused. He vows revenge on the whole pack--which we, as delighted playgoers, cannot support, though justice, and America, are on his side.
  • (3/5)
    Audio performed by Stella Gonet, Gerard Murphy and a full cast

    Viola and her twin brother, Sebastian, are separated during a shipwreck. When she arrives on the shores of Illyria, she presumes Sebastian is dead. The ship’s captain helps her disguise herself as a man, and she enters the service of Duke Orsino, with whom she falls in love. Orsino, however, loves the Countess Olivia, who has foresworn any suitors while she mourns the death of her father and brother. Orsino begs Cesario (Viola in disguise) to plead his case with Olivia, but Olivia instead falls in love with Cesario. And so the fun begins.

    I love Shakespeare, and I confess to liking his comedies more than the tragedies or historical dramas. I find it particularly delightful to watch the various mistaken identities, convoluted twists and turns in plot, purposeful obfuscations or pranks, and dawning realizations unfold before my eyes. The scenarios are outlandish and ridiculous to a modern audience, but are still fun and delightful in their execution.

    BUT … I dislike reading plays. I much prefer to see them performed. When I’m reading – especially Shakespeare – I find that I lose the sense of action and can more easily get bogged down in unfamiliar terms or phrases. Listening to this audio performance was a happy compromise. I’ve seen this play on stage and could easily picture the scenarios and shenanigans while listening to this very talented cast audio performance.

    I did also have a text version to supplement the audio experience, and the particular edition I had (Oxford University Press, ISBN 978-0-19-953609-2) includes a long introduction outlining the history of this work, copious footnotes in the play defining terms, an appendix with the music, and an extensive index. It is an edition I would definitely recommend to someone who is studying this play.
  • (4/5)
    The introduction says Shakespeare's "Twelfth Night" is one of his most performed plays, which is funny since I've never heard of it being performed locally (and have seen many others.)It wouldn't surprise me though, as the play is pretty entertaining and uses the often-employed Shakespearean disguise fairly well. The story follows Viola and Sebastian, siblings who are in a shipwreck and each believes the other has died. Meanwhile, the beautiful Olivia is fending off a crew of courting men and antics ensue.Overall, the story is fairly amusing and moves along at a nice pace.
  • (5/5)
    This has always been one of my favorite Shakespeare plays, and it probably always will be. It's just as fun to read the second time, with plenty of humor and lovely lines. Feste, of course, is my favorite.I feel like I could go into a long analysis of it, but... I read it for my English class, and no doubt we're going to dissect it and talk about all the underlying themes. Personally, I say you should just read it and enjoy it and then go see it performed.
  • (5/5)
    The text of the play is mostly a delight, though there are a few toothsome things to mull over after the play is done. Its end of multiple marriages is seemingly tidy, but a few characters are left out in the cold, including Antonio, whose love for Sebastian may be the truest and most steadfast love in the play.
  • (3/5)
    In the words of deuce: "gay, working on gayer". Kind of a shame it never made it to gayer because Viola and the Countess are the most well developed pairing in the play. Also while the Duke's bits where he acts like a self-important tool are funny, they undermine the "happy ending" of Viola marrying him. This could have been fixed by giving him some bits where he displayed more redeeming characteristics, because (unlike the rapist guy in Two Gentleman) nothing he does is unforgivable... it's just that, all we do see of his personality is that he's kind of a douche. The production of it I saw was consistently funny in every scene and I had a great time watching it performed.
  • (5/5)
    My favorite Shakespearean comedy (partially because I portrayed Sir Toby in a high school production) with the perfect mix of witty dialogue, physical humor and characterization.
  • (4/5)
    What can one really say negative about Shakespeare? Any of his writings are simply a classic. However, this would not be my favourite of his works, it's simply a bit too ridiculous for my personal taste - I know Shakespeare's audience would have loved it. Boy loves Girl, another Girl (2) is stranded and decides to cross-dress to be near Boy, Boy sends Girl 2 to persuade Girl 1 of his love who in turn falls in love with cross-dressing Girl 2. Then Girl 2's twin brother shows up and causes chaos and in the end Boy 2 ends up with Girl 1 and Boy 1 with cross-dressing Girl 2, not questioning her cross-dressing for a second
  • (4/5)
    Madcap was 't adventure
    And pleasure finest to read.
    Whilst mirthy with the wordplay.
    Brought forth as Feste's mead.
    Three's Company-esque
    Was allst confusion.
    Which what happened
    By staged amusion.
    Verily, I enjoyed it, by and by.
    What readeth me next, wondereth I?
  • (3/5)
    So there's this girl that's a guy that works for a guy that she loves as a girl but has to send his love to a girl as a guy and that girl loves the girl as a guy but really she's a girl that looks like a guy and this is why Shakespeare's comedies are just weird.
  • (4/5)
    BBC Radio 3 full cast production, first broadcast in 1998, and presented on 2 CDs. I bought this one because of the Blake's 7 interest, as Josette Simon plays Olivia. While it's an enjoyable performance, I would have been hard put to it to follow what was going on without previous knowledge of the plot from seeing the play on stage. Fortunately there's a good synopsis booklet included in the box.
  • (5/5)
    A rightfully popular Shakespeare play, this one has resourcefulness, the audience is in on the fun, yet it works well.
  • (5/5)
    Easily my favorite Shakespeare play.
  • (5/5)
    I reread the play as I'll be appearing in it this summer as Sir Toby Belch. Ah, what fun!

    Shakespeare fact: most directors these days cut Shakespeare's plays down to a reasonable two hours for performance. That will be the case for the production I'm in. I'll miss the double-talk conversations between Sir Toby and the Clown, and some of the "mistaken identity" humor involving male/female twins Sebastian and Viola. Although I can see why the director removed this stuff. In the former case, the invented references to phony experts like "Qeuebus" (God, would I have loved saying "Qeuebus"!) would have been indistinguishable from other archaic references, thereby causing confusion to the average theater goer. In the latter case, the humorous situations are often repetitive.


    Cutting Shakespeare is nothing new. David Garrick, an actor and director who was a friend of Samuel Johnson, used to do it routinely in the 18th century.
  • (5/5)
    I´ve re-read it countless times..My favourite from Shakespeare.
  • (5/5)
    Shakespeare's last great romantic comedy combines the wit of the other great comedies with some rather mean-spirited slapstick more reminiscent of his very first comedies. The first is provided largely by the male-impersonating heroine who finds herself, as an intermediary between lovers, becoming the true object of affection from both lovers. The slapstick is provided by Sir Toby Belch, a small-scale Falstaff, and his idiot friends, who make life miserable for a major domo whose Puritanism does not protect him from vanity and desire. I loved it, despite the bullying.
  • (2/5)
    Honestly, I am not all that into reading plays. However, I am so into gender-bender that I had to read 12th night. The whole idea of a girl dressing up as a boy and fooling everyone is so interesting to me. The thing that put me off from this book was the fact that the emotions that the characters were feeling were not as evident just from reading this play. I mean, it was like saying "I feel that I love you". It is not as moving as if the author had described what the feeling is. For some reason, I loved Julius Cesar, Othello, and sort of liked "As you like it". So maybe I am just not into this story that much.
  • (5/5)
    This is definitely a classic Shakespearean comedy, complete with disguises, intrigue, love, humor, and a lot of fun. In all honesty, I am not generally a big fan of comedies, but this is definitely an example of an exception. As to the edition itself, I found it to be greatly helpful in understanding the action in the play. It has a layout which places each page of the play opposite a page of notes, definitions, explanations, and other things needed to understand that page more thoroughly. While I didn't always need it, I was certainly glad to have it whenever I ran into a turn of language that was unfamiliar, and I definitely appreciated the scene-by-scene summaries. Really, if you want to or need to read Shakespeare, an edition such as this is really the way to go, especially until you get more accustomed to it.
  • (5/5)
    I read this play in high school. I immediately connected with Viola who hid her true identity (and her emotions) from society. Though modern critics look at (and/or analyze) the story's use of homosexuality and gender/sexual politics, I can't break from my initial path of loving the story for Viola's strength in hiding her identity and love.
  • (2/5)
    I listened to this play a year ago and forgot to add to my Library Thing list. So the plot isn't fresh in my mind. I do remember that the plot is quite complicated with numerous mistaken identities, disguises and switching of roles. The plot is so convoluted that I recommend drafting a chart to keep track of the characters and their multiple identities. There is a mean joke played on a Puritan character in the play which was probably funny to 16th Century theater audiences. However, I fou...more I listened to this play a year ago and forgot to add to my Goodreads list. So the plot isn't fresh in my mind. I do remember that the plot is quite complicated with numerous mistaken identities, disguises and switching of roles. The plot is so convoluted that I recommend drafting a chart to keep track of the characters and their multiple identities. There is a mean joke played on a Puritan character in the play which was probably funny to 16th Century theater audiences. However, I found it to be cruel and not very funny. Read in December, 2007
  • (5/5)
    I read this in preparation for going to see an upcoming production of this play put on by "Shakespeare in the Park" that's going to be playing June 1st through the 4th of this year in the Botanical Gardens. Considering the myriad summaries and expositions of this play, I won't recapitulate those here. What I will do, both for my personal use and for the remote possibility that someone else might find some use in them, is post my own thoughts and notes I took as I read it. Hopefully they'll serve as an aide memoire if I ever need one.ACT I: Overall themes: identity (masque?), rejection, and desire. It asks whether or not love is something real, or just another human artifice, much like the music that Count Orsino "feeds" on. Orsino's switch of affection from Olivia to Viola is a hint that he loves the idea of love more than one of the women themselves. He's a parody of the hopeless romantic. Viola's wish to be transformed into a eunuch is indicative of gender liminality - or at least this seems to be a common argument, even though it's readily known that men played all roles in Elizabethan and Jacobean theater (so I'm a little confused by the single-minded focus that much modern scholarship has put on gender in this play). Perhaps this gender ambiguity is a sort of defense mechanism to deal with the uncertainty inherent with being tossed on an unknown island. There has also been some focus on Orsino's shift of affection toward Viola (Cesario) from a platonic friendship to a more romantic one. (Could our more modern emotional coldness associated with masculinity be coloring this reading, too?) Feste is obviously one of the cleverest people in the play. "Cucullus non facit monachum" indeed! As a critique of courtly love, this act accomplishes a lot, and Feste comes out being one of the least foolish people on the stage.ACT II: Malvolio (literally, from the Latin, "ill will"), the only character who takes himself much too seriously, is tricked into the tomfoolery that he himself so deplores, ultimately proving Feste right: it's not just the role of the fool to entertain folly.ACT III: Even though, considering Malvolio's transformation from joy-hating blowhard into romantic lover is a drastic one, that Olivia thinks him mad might be telling. Is there any room here for a sort of Foucauldian discussion of what constitutes "madness and civilization" in Elizabethan England? From the little that I've seen of the scholarly literature, I haven't yet seen any discussions that run along these lines.
  • (3/5)
    Though my text stated that that was his comic masterpiece, I liked As You Like It much better. The only saving grace, for me, was the clown. He saved the best lines of wit and wisdom for that character. I suppose by this point, I am getting a bit put off by all the mistaken identity stuff. Perhaps the Bard was growing weary of the device as well.
  • (5/5)
    I love this play. Shakespeare's comedies are very enjoyable.
  • (4/5)
    Fabulous! Even an eighth grader can read (with a little guidance) and enjoy!
  • (4/5)
    I thought this was a great edition. They have the text on the right side, and the explanation of obscure terms on the left side. I just saw this play done at the Great River Shakespeare Festival in Winona, MN. It's amazing how closely they followed the text. I didn't need to read it to understand everything, but reading did help explain some things.
  • (4/5)
    Shipwrecked siblings, love-struck Dukes and Duchesses, silly servants and misplaced affections. I enjoyed this very much. No one does confusion of identity as well as Shakespeare, and when it's one of his comedies, there is always a happy ending.
  • (3/5)
    My relationship with the Bard’s works began when, at the tender age of six, I went to a Shakespeare in the Park performance of Much Ado About Nothing and had the time of my life. Since then, it’s been up and down at times with me and Will, as I’ve been alternately befuddled, entranced, delighted, disturbed, and moved by his handiwork. It was only last year, however, that I really began reading his plays in earnest—up until then, my exposure had been limited solely to films and live performances. I've been taking them slowly, picking up a play as the inclination strikes, and not following any particular order.Despite the fact that it is critically regarded as one of Shakespeare's best and most advanced comedies, I have to say that so far Twelfth Night is my least favorite of the lot. I’m hoping it’s not because it was assigned for a class, when all the others I picked up of my own volition. Either way, I found I couldn’t connect to any of these characters, neither when I read the play nor when I watched the 1996 Trevor Nunn film (and let me tell you, if Helena Bonham Carter can’t make me feel for Olivia, no one can). They made for an interesting group to observe— not the uninvolved, almost scientific word. There is no Puck or Rosalind or Beatrice or Shylock to give this comedy some sort of heart or animating spirit. Viola and Feste come closest, simply because they are vehicles for some of Shakespeare's best poetry and wordplay—but even then, the language is more interesting than its bearers. Indeed, I would say this play is most interesting when looked at mostly for how it uses language and what it has to say about it.The critics are right in commending Twelfth Night for its clever wordplay and complex social vision, but to my mind Much Ado About Nothing and A Midsummer Night’s Dream are far more entertaining, and The Merchant of Venice deeper.
  • (5/5)
    Quite possibly my favorite play by Shakespeare! Fun story! 
  • (4/5)
    If music be the food of love, play on;Give me excess of it, that, surfeiting,The appetite may sicken, and so die.That strain again! it had a dying fall:O, it came o'er my ear like the sweet sound,That breathes upon a bank of violets,Stealing and giving odour! Enough; no more:'Tis not so sweet now as it was before.O spirit of love! how quick and fresh art thou,That, notwithstanding thy capacityReceiveth as the sea, nought enters there,Of what validity and pitch soe'er,But falls into abatement and low price,Even in a minute: so full of shapes is fancyThat it alone is high fantastical.Act 1, 1.1-15Every major character in Twelfth Night experiences some form of desire or love. Duke Orsino is in love with Olivia. Viola falls in love with Orsino, while disguised as his pageboy, Cesario. Olivia falls in love with Cesario. This love triangle is only resolved when Olivia falls in love with Viola's twin brother, Sebastian, and, at the last minute, Orsino decides that he actually loves Viola. Twelfth Night derives much of its comic force by satirizing these lovers. In the lines that open the play (above), Shakespeare pokes fun at Orsino's flowery love poetry, making it clear that Orsino is more in love with being in love than with his supposed beloveds. At the same time, by showing the details of the intricate rules that govern how nobles engage in courtship, Shakespeare examines how characters play the "game" of love. Viola (as Cesario) has the following lines in Act 1, scene 5:Make me a willow cabin at your gateAnd call upon my soul within the house;Write loyal cantons of contemned loveAnd sing them loud even in the dead of night;Halloo your name to the reverberate hillsAnd make the babbling gossip of the airCry out 'Olivia!' O, You should not restBetween the elements of air and earthBut you should pity me. (251-259)Twelfth Night further mocks the main characters' romantic ideas about love through the escapades of the servants. Malvolio's idiotic behavior, which he believes will win Olivia's heart, serves to underline Orsino's own only-slightly-less silly romantic ideas. Meanwhile, Sir Andrew Aguecheek, Sir Toby Belch, and Maria, are always cracking crass double entendres that make it clear that while the nobles may spout flowery poetry about romantic love, that love is at least partly motivated by desire and sex. Shakespeare further makes fun of romantic love by showing how the devotion that connects siblings (Viola and Sebastian) and servants to masters (Antonio to Sebastian and Maria to Olivia) actually prove more constant than any of the romantic bonds in the play.But there is more than love and desire in this amazing comedy. At the opening when Viola is shipwrecked in Illyria she bemoans that she cannot join her lost twin brother Sebastian in Elysium. Illyria is not Elysium however it reminds those familiar with As You Like It of the Arcadian forest of Arden. In both plays the setting is otherworldly--a place apart from the rest of civilization.There is also melancholy, for several characters in Twelfth Night suffer from some version of love-melancholy. Orsino exhibits many symptoms of the disease (including lethargy, inactivity, and interest in music and poetry). Dressed up as Cesario, Viola describes herself as dying of melancholy, because she is unable to act on her love for Orsino. Olivia also describes Malvolio as melancholy and blames it on his narcissism. It is this melancholy that represents the painful side of love.Perhaps more central to this play in particular are the themes of deception, disguise, and performance. With these themes Twelfth Night raises questions about the nature of gender and sexual identity. That Viola has disguised herself as a man, and that her disguise fools Olivia into falling in love with her, is genuinely funny. On a more serious note, however, Viola's transformation into Cesario, and Olivia's impossible love for him/her, also imply that, maybe, distinctions between male/female and heterosexual/homosexual are not as absolutely firm as you might think. When you recall that the players in Shakespeare's Globe were all men and boys these issues become both more humorous and serious at the same time. You may get a more vivid idea of this theme by viewing clips of the recent all-male production of Twelfth Night starring Mark Rylance.*This play rivals As You Like It for the title of the best of Shakespeare's comedies. While I prefer the former, there are complexities of love and desire mixed with questions of sexual identity that make this comedy a fine way to experience and enjoy Shakespeare.