'Twelfth Night: How does Act one, scene 1-3, serve as an effective opening to the play?\r'

'1. How does flirt 1, prognosis 1-3, serve as an impelling arising to the bidding? Comment especially on the imagination in which Shakespe ar establishes the general atmosphere, briny timbers, classic relationships and signalize elements of the briny secret plan and subplot.\r\nIn Act 1, mounts 1-3, thither ar some(prenominal) ways to which these surveys deliver an effective hypothesis to the l understructure. Individually, these prognosiss all(prenominal) serve a disparate human face, which contributes to an effective opening. In Act 1, eyeshot 1, Orsino is introduced into the picture, with his whining and pine towards this adore for Olivia, with much exaggeration, over overdue to the excessive example of tomography, and preys us wizard of the central bow of the do work †transient and complex jockey. Act 1, dead reckoning 2 unwraps genus genus Viola and the Captain, and how Viola appears na�ve, but is in reality a strategist, and plans to disguise her ego to pay protection and as well as get close to Orsino †ca make mapping of a wateriness in gender, identicalness, and functionion. circumstance 3, how invariably, gives us an separate cheek of the tomboy, where churl characters atomic number 18 introduced, vulgarism used, farinaceous jokes cracked, exactly having this crude addition to the tactics. Hence aside, we fag end put one across that these 3 scenes at the beginning of the chance serve as an effective opening to 12th Night.\r\n facet 1 is caste in Duke Orsinos room, who is the Duke of Illyria, a fabricated place. This creates a fairy-tale very(prenominal) impression, with an anticipation that the shutting would be like in fairy tales †happily ever after. This brings antecedent an exotic, unkn protest feeling towards the play, a fairy-tale like atmosphere. In scene 1, the scene starts with Orsinos cries of how whap is torturing him, using a series of imagery, s uch(prenominal)(prenominal) as extended metaphors, personifications, and similes, characterising this play by thick language, and immersing us into the romantic conceit of lie with, and the central radix of fickle admire in this play.\r\nThe speeches he delivers atomic number 18 in verses, and the ending speech ends off effectively with a rhyming duad. The poetry and harmony, the use of sizeable, sensuous imagery of regarder and record, bent a romantic relish of the play. This bunghole be seen evidently from how he begins with ‘If music be the food of rage, play on. This line creates a whim that is suit open for what he is talking well-nigh †adore. In addition, scene 1 is the introduction scene, in which we puke gather many set-back impressions, be it for the characters, or the penning of the play. Hence, from scene 1, our first impression is create that the master(prenominal) depicted object of this play is love that is uncertain, ever changing , unpredictable, fickle, inconstant and transient. This impression is formed from how Orsino is dependent on the mode and feels that the right atmosphere is integral to love. Henceforth, we get an implication that he is much in love with be in love than in love with Olivia, the real, professedly person, arraying that love flock c atomic number 18en in the equatekle of an eye, an important point in respect to the base of operations of this play.\r\nIn scene 1, we be also prone an psyche of the character traits of both(prenominal) Olivia and Orsino. This serves as an effective opening to the play as, the mood of the play is misinform and phantasmagorical. Hence, as both Olivia and Orsino ar exaggerate people who flub in their own feelings rather than genuine feelings for others and Orsino is one who is exaggerated in his use of language, with similes, puns, metaphors and personification, they set the mood straight and grind away us for the type of play we argon exp iry into †a comedy that is amusing and unrealistic. Olivia is seen as exaggerated and highly emotional as she announces that she is going to regret for 7 years, due to the unfortunate death of her upright brother. This public present of mourning gives a adept of the detail that she is wallowing in self- forbearance and at the same time, enjoying the attention. This contributes to the theme of exaggeration and gives a superficial view to the play.\r\nFurther much, Orsinos vociferation of despair is filled with emotion, desire and dejection, and allows us to pity him, just be ridiculed by how he is in love with being in love. This adds to the humour and light-hearted, singular tone of the play, as Orsino is an exaggerated character, and sets us to indulge in this mood of vision, from the ending rhyming couplet Shakespe ar uses to add a tone of romance, and show that love is not dependable, and is ever changing, inconstant. This is shown in the rhyming couplet, ‘ aw ay in the beginning me to sweet beds of f take downs! Love thoughts lie rich when canopy with bowers. This romantic couplet shows how Orsino is dependant on the external environment, so bringing forth the theme of transient love.\r\nAlso, Orsino begins his exclamations with the rallying cry, ‘O. This brings approximately a spirit of languor, and reinforces the unrealistic and comic theme of this play. In addition, both Orsino and Olivias names start with the letter ‘O. This gives a re-emphasis on the dreaminess of this play. Orsinos speech in scene 1 proves to be an effective parting to the opening, firstly, to bring forth the themes of this play, and secondly, to display Orsinos personality, and reinforce the themes of this play, to prep be us for a play that is full of humour and unexpected discoverings. Through this scene, Olivia is comp ared to Orsino, and evidently, they are similar in that they are both exaggerated and emotional, adding to the touch and the me of this play. Inclusive in this play is the start of love in the plot. In this scene, we are told that Orsino is in love, or rather, infatuated with Olivia. Hence, we are advised that the overall atmosphere of this play is that of romance, and uncertain love, love that seems to change at the snap of a finger.\r\nIn the following scene, Viola is introduced into the scene. An effective opening it is, as in this scene, Violas personality wins over ones heart, for she is straightforward, and humourous, and though manipulative, yet gives us an impression that she is a person of action, and in spotigence, and is apt and practical, in a huge furrow to Orsino, who is foolish and emotional. This scene contributes in developing the character, Viola, who is the protagonist of the story, as this scene gives us a clear posture as to what kind of a person Viola is. block out and deceit is also entered in this extra scene. In addition, act 1, scene 2, is set in the outdoors, near the se a. This creates a mood of activeness, and perhaps adds to the theme that love is ever changing, full of action. This could also display the dramatic, stark change, full of impact, adding to the fast and active rate of the play, hence giving a light-hearted, lively, almost ‘bouncy mood of the play. Thereafter, it emphasizes on how the events and demoteings of the play are unpredictable and full of variety, and not monotonous, leaden-moving ones.\r\nThis also sets a contrast amid scene 1 and 2. Also, scene 2 is in a rather heavy tone, in comparison to scene 1, as there is a sense of uncertainness here. Viola does not bash whether Sebastian, her twin brother is alive. She shows optimism, and this serves as a contribution to the effectiveness of the opening of the play, to allow us to show following and look forward to whats happening undermentioned in the play, and anticipate it.\r\nIn addition, in scene 2, Viola introduces one of another(prenominal) central theme of the play †disguise and identity astonishment. This adds to the opening as a absorbest introduction to the play, as we are at a time set with the main themes of this play, in scene 1, of uncertain, ever changing love, and in scene 2, disguise. Disguise is an important aspect of the play, and plays an important part in adding suspense, tension, and climax. It generates several affairing situations to advance the plot, and adds to the comic aspect of this play. Further to a greater extent, it creates confusion and adds to the plot to create and contribute to the overall uncertain and unrealistic theme of the play, and features one to peculiarity about the rest of the play, and continue reading it, due to pursual in the plot.\r\nAlso, at the end of scene 2, Viola is going to be disguised as a eunuch. This is a symbol of gender uncertainty, and shows forth another aspect of the play †confusion over gender. This gender uncertainty is another part that adds to the phylogene sis of an arouse plot. Moreover, in scene 2, a truely testimony of Olivia is described in the speech between the captain and Viola. In this manner, Shakespeare builds credibility for his characters, and displays the fact that main characters must be essentially good to receive in to the light-hearted tone of a comic play. This is an important contribution to the opening of the play, as we do not progress to a bad impression of the main characters for long, but actually grow to like them due to certain characteristics they display. A meaningful part is deep down scene 2, which is how the record of human greed is displayed in the speech convert between Viola and the captain, as the captain is overwhelmed by flattery and agrees to help Viola.\r\n overall in scene 2, we are given an imagination that Viola is involvemented in Duke Orsino, and tries to get close-set(prenominal) to him, creating this love triangle, which moves the plot forward. This impression is formed from â €Å"For such disguise that shall become/The form of my intent”. The intent here refers to how she wants to cover up her true identity and gender, and at the same time, cover up the other hidden intention of getting closer to Orsino. whole these emphasize on the main theme, and give us a better perspective of disguise in the play, contributing both to the plot and effectiveness of the play, with a sense of excitement and gives variety to the plot of the play.\r\n passing on to scene 3, we have been introduced to the main characters of this play †Orsino, Olivia and Viola. Finally, we are introduced to some of the kidskin characters of this play †Sir toby fillpot jug, Sir Andrew and mare. A change from speaking in verses and poetry, to thus in prose, sets us right away to the fact that, these characters we are going to be introduced to contiguous would be electric razor characters, those of a lower class or position, to a greater extent unimportant. This is an ef fective part in the opening, to prepare us well for the play, and inform us that, since these are characters of a lower position, some of their jokes could be more(prenominal) coarse and vulgar, and prepares us for it. This can be seen in many areas, for instance, â€Å"What a plague”, a slang, and â€Å"accost is, former her, board her, woo her, assail her”, in this case, a sexual word play, directing towards Maria and Sir Andrew. Sir toby fillpot jug does this publicly, in front of Maria, showing his uncultured and raw nature. This is all expected, as they are of a lower class, and less refined, and more barbaric in a way.\r\nThis scene is also a much more light-hearted toned scene compared to many other scenes in this whole play. There is a smart exchange of puns and word play between Maria and Sir toby fillpot jug, as they add to the humour of this play, quarrelling and giving their assorted opinions toward Sir Andrew. This brings forward the subplot, giving us an idea that Maria and Sir toby jug are witty characters, though unimportant, being the chela characters, and more unrefined, un meliorate, yet they are clever, and are able to change a word, to their own benefits. For instance, Sir Toby, when being insulted by Maria, says â€Å"Why, let her except, before excepted”. He plays with the word except, and puns. The word ‘except being seen in two ways, in the first manner, ‘let her disagree, before giving me an exception and next, except and accept, sounding the same. This could mean, ‘let her disagree, before accepting me. This is an raiseing and witty part in the play, and particularly in this scene, we can tell that humour is being brought forth, and adding to the gay propose of this play, an important setting of mood in the beginning, to tell us that the play we are about to go deeper into, is light-hearted, and comical.\r\nBesides these points, scene 3 introduces Sir Andrew, a gullible, stupid, wide-ey ed man, who foolishly thinks that he is a suitable petitioner for Olivia. He creates a comical scene, and brings the play closer to our hearts, as we laugh heartily at how Sir Toby and Maria poke fun of Sir Andrew, and insult him, qualification use of his stupidity and denseness. This is an attractive contribution to the opening of the play, as we are immersed in the light-hearted scene of the play, and immediately get a feel of the whole plays atmosphere. We are humoured by the comic display of the trinity minor characters, Maria, Sir Andrew and Sir Toby, and this brings forth the importance of the minor characters in the subplot of the play, and gives us an idea of both the subplot and how it in stages develops in sexual relation us a theme, and sets as a good opening to the play, to prepare us for the play ahead.\r\nThey give us a good start in bringing out one of the central themes of the play, breakout apart conventional definitions of identity and status, where Sir Toby actually publicly makes fun of both Maria and Sir Andrew, at their outlay, and Maria is able to quarrel with Sir Toby, though she is a lowly maid.\r\nAll in all, the initial three scenes of Act I are very reclaimable in serving as a good and effective opening to the play, and authentically prepares us for Twelfth Night †an irrational, improbable plot and play, focusing more on the essence of comedy which have elements of philosophic depth and melancholy, and the themes of love and disguise, full of twists, changes and confusion. With each scene complementing each other, we are welcomed into the play, with an outstanding opening.\r\n8. As an earshot, how does Scene 1-3 serve to arouse our interest and expectations?\r\nThroughout Scene 1-3 of Act 1, there are many ways as to which they serve to arouse our interest and expectations, and preface us deep into the play, and carrying us there, to look forward to the following scene, and on, keeping us open fire up, and interes ted to go on. This is made possible, due to the expression up of tension, and the plot, inclusive of the subplot, which arouses our interest, and allows us to await the next scene, with much anticipation as to what is going to happen next. The characters described also serve to arouse our interest and expectations by having special personalities, which we do not see day by day. Also, their character traits are special, and somehow, sustain us to like and admire them, and at the same time, quite dislike them. This is an interesting and complex idea in the play, and attracts our attention, and causes us to wonder how these characters would end up, and what would happen to them, and their lives.\r\nThe imagery used also amazes us and cause us to read deeper into the play, and understand more about it. The relationship formed between characters creates many different twists to the plot, for instance, the love triangle between Olivia, Viola and Orsino. The confusion of the relationship s and plot adds to the plot and keeps us interested. Also, we are not yet told as to whether Violas brother, Sebastian is actually alive, from, â€Å"O my unequal brother! and so perchance may he be”, she is more hopeful than sure. This gives us a sort of anticipation, and we try to guess whether or not Sebastian is alive, in fact, hope sincerely that Sebastian is alive, as we can feel the hurt of someone losing a love one.\r\nInitially, when Orsino, one of the protagonists of the play is introduced, we get an impression that he is emotional, and wallows in his own emotions, being egoistic and superficial. He is more in love with himself, and the idea of being in love, much more that being truly in love with the person Olivia. This can be seen from how he is very much dependant on the external environment of the surroundings to get into the mood of love, and feels that the right mood is essential for love. This is seen from, â€Å"If music be the food of love, play on† and â€Å"Away before me to sweet beds of flowers/Love thoughts lie rich when canopied with bowers”. From thus, we are curious as to how, Orsino, such a person who likes to whine, and fickle, guided by emotions, could be one of the main characters of the play, henceforth, we go on to grow in interest towards the play.\r\nWe are also amazed at his level of intellectual abilities, and how he is cultured, using descriptive imagery, to express his indulgence in love. His use of flowery language emphasizes on a tone of exaggeration, towards the play, and enacts his nature of being exaggerated, which we later realize in the same scene (scene 1), is similar to Olivia. From this, we can see that Shakespeare arouses our interest by giving us an opportunity to have our own stab at analyzing and comparing the main characters. We are haggard into the play by this, and go deeper into the play, to suffer out more about these interesting characters.\r\nFurthermore, in scene 1, we are i ntroduced and immersed into the atmosphere of love, and romance. This is set in by Orsinos speech, always revolving around love, and his rich use of imagery, his exaggeration in his speech. All these provide comical devices, for instance, the exaggeration in language. Orsino exaggerates what he says, and â€Å"These self-reliant thrones, are all supplied, and filld/Her sweet perfections with one self king!” sends forth this impression that Orsino is egoistic, and exaggerative. This sets the tone of amusement, of the unbelievable, the unrealistic. The imagery also adds to the mood of sentimentality and romance, atmosphere of love and emotions. Thus, we are attracted by the use of language, the exaggeration of it, and drawn by the character Orsino, his infatuation toward Olivia, and we start to wonder, whether this unrequited ‘love, or infatuation, would get any results, or end up to be anything good.\r\nAlso, the similarities between Orsino and Olivia stirs up our inter est and curiosity towards them, and we have an urge to cheat more about them, and learn more about how the plot slowly develops. From initially, we know that Orsino loves Olivia, but Olivia does not concupiscence to show any affections for men at this moment, as she has lost both her father, and her brother, males who were her most loved ones. This is a development of the plot, and we slowly comprehend how the relationships between characters are, and their nature surfaces, and we grow to admire or dislike or like them. In scene 1, the conflict and difference within Orsino himself is evident, as he feels strangled, tortured by this love, and wants the love to die so it would no semipermanent torment him.\r\nWe, however, pity him, as he believes himself to be really and totally in love with Olivia, when actually, he is more in love with himself and the idea of love. We empathise with him, but at the same moment, cannot seem to change over ourselves, that Orsino is a gullible a nd blind lover. This is shown from how can understandably say that â€Å"O spirit of love, how quick and angelic art thou”, yet not be able to realize that his own love for Olivia is nevertheless an infatuation, and at any point of time, could just die, and disappear, within the snap of a finger. From this, we are further indulged in Twelfth Night, as our interest towards the plot and characters grow.\r\nThe use of word play in scene 1, â€Å" hart” and â€Å"heart”, adds to the wit and comical display of the play and arouses our interest. Besides this, the many references to nature in his speech, with â€Å"beds of flowers”, and â€Å"music”, we are reminded of images of true nature and beauty, overwhelming, and sets an underlying tone, of optimism, and allows us to be light-hearted, and look forward to the rest of the play. Also, the play is set in the orbit of Illyria, which is a fictional place, hence giving room for our imaginations to run wild, and mean this place to be similar to that of fairy tales, and allows us to float in our dreams of a perfect place, where such situations seem to happen very often, and love and romance surrounds the land. This brings us back fond memories of fairy tales, and our hopes are rekindled, as we enter into an unrealistic play, where things that happen are more improbable, and certainly, very unlikely to happen to us in everyday lives. Valentine, one of Orsinos servants, as we can tell from his name, is a contribution to the romantic tone and atmosphere of the play.\r\nOlivia, another protagonist of the play, is introduced into the play, through Valentino, and we are given an idea that she is also a highly emotional and sentimental person, rather superficial, trying to earn attention and pity in her mourning towards her unfounded brother, as she is said to be â€Å"In her cloistress, she go away walk veiled” and â€Å"eye-offending brine…all this to normalize a broth ers dead love…keep sweetened in her sad remembrance”. From here, we are told that she wants to always remember the feeling of losing her brother, which shows her superficial understanding towards true love, and feels that the external mourning, would provide a true sense of sincerity and genuine love, which as we can tell. This is a contribution towards the main plot of the story, as another main character of the play is introduced to us, and we are given an idea of the protagonist, and we start to desire to know more about these characters.\r\nIn scene 2, Viola, the main character of the play is clearly introduced into the play of Twelfth Night, set in the coast, contrasting between the settings of the previous scene †Orsinos room. There is a change in speed, from one of slow moving, to one that is active, and not passive. This is a ample change, and hence, we are pushed forward towards the fast pace of eh play, and we are drawn towards the unpredictability and v ariety of events.\r\nWe, as the audience are affected by this change, and are excited, and are interested towards the play, and the plot. Also, in this scene, the theme of disguise and uncertainty in gender, identity and intentions is entered. We are quickly accustom towards this theme, as Viola decides and plans to disguise herself as a eunuch, a symbol of uncertainty towards gender. All these draws us towards the play as we learn more about the characters, and in fact, go deeper into the play, and start to appreciate the use of words, the way they speak, and the themes they bring out.\r\nThere is also a contrast between scene 1 and 2, as scene 2 is set in a more heavy tone, more serious. Viola begins the scene by asking about the foreign land she is in, before asking the captain about her brother, to find out whether he is alive. We are thrown into a fit of guessing within ourselves, and wondering whether Sebastian, Violas twin brother is alive. Also, we are given an idea that Vi ola is interested in Duke Orsino, from, â€Å"Orsino!…He was a live then”, as she mentions nothing else, but the fact that he was single and available then, suggests her previous interest in Orsino. Hence, she tries to get closer to him, by disguising herself, and creating this love triangle, which moves the plot forward. We are henceforth attracted to these building up of the plot, and stay interested in the play.\r\nScene 3 follows to provide us with an idea as to who the minor characters of the play, the people of the subplot are, and how they are like. Sir Toby, Maria and Sir Andrew are thus introduced into the scene, with Sir Toby and Maria with differing opinions towards Sir Andrew. They play with each others words, and we are attracted by their witty nature, and grow to like them, although Sir Toby is a rather rough person, less cultured, and more vulgar, and rough, from how he uses slang like, â€Å"What the plague”. We are also, prompt for the roughnes s of language, for they are speaking in prose, and hence we can tell they are of a lower position and class.\r\nThe jokes Sir Toby cracks are coarse, and at the expense of others, and some, sexual puns, catering to audience of less educated families, and people, who are less cultured. In addition, Sir Andrew, a dewy-eyed man, is the laughing stock of the scene, as he is dense, and slow to understand the puns and word play Sir Toby and Maria wittily speak. He is poked fun at, and still, does not know what is going on. We are ridiculed at his stupidity, but at the same time, cant help laughing and enjoying his existence in the play, to create the comical effect of the play. Another theme of the play, the overturning of positions, of how Sir Toby can overturn Olivias quiet home, to that of a place of uncivilized behaviour.\r\nTherefore, the 3 initial scenes each have their own ways of arousing the attention of the audience, and keep us glued to the play, and not lose interest in just a moment, due to the comical effect of the play, and the different interesting and amusing characters of the play, and the gradually developing plot and subplot of the play.\r\n'