The Description of Figure Characteristic in William Shakespeare’s Drama Twelfth Night

THE DESCRIPTION OF FIGURE CHARACTERISTIC IN WILLIAM SHAKESPEARE’S DRAMA TWELFTH NIGHT

A PAPER

WRITTEN BY

ROCKY GOKLAS S REG.NO: 112202034

DIPLOMA-III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDIES

UNIVERSITY OF SUMATERA UTARA MEDAN

It has been proved by Supervisor,

NIP: 19511013197902 2 001

Dra. Syahyar Hanum, DPFE.

Submitted to Faculty of Cultural Study, University of Sumatera Utara in partial fulfillment of the requirements for Diploma-III in English Study Program

Approved by

Head of English Diploma Study Program,

NIP: 19521126198112 1 001 Dr. Matius C.A. Sembiring, M.A.

Approved by the Diploma-III of English Study Program Faculty of Cultural Study, University of Sumatera Utara as a Paper for the Diploma-III Examination.

Accepted by the Board of Examiner in partial of the requirements for the D-III Examination of the Diploma-III of English Study Program, Faculty of Culture Study, University of Sumatera Utara.

The Examination is held on June 2014

Faculty of Cultural Study University of Sumatera Utara

Dean,

NIP: 19511013197603 1 001 Dr. Syahron Lubis, MA

Board of Examiners:

1. Dr. Matius C.A. Sembiring, M.A. __________

2. Dra. Syahyar Hanum, DPFE. __________

AUTHOR’S DECLARATION

I, ROCKY GOKLAS S, declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.

No other person’s work has been used without due acknowledgement in the maintext of this paper. This paper has not been submitted for the award of another degree in any tertiary education.

Signed :

COPYRIGHT DECLARATION

Name : ROCKY GOKLAS S

Title of paper : THE DECRIPTION OF FIGURE CHARACTERISTIC IN WILLIAM SHAKESPEARE’S DRAMA TWELFTH NIGHT

Qualification : D-III/ Ahli Madya Study Program : English

I am willing that my paper should be available for reproduction at the reproduction at the discretion of the Librarian of the Diploma III English Faculty of Culture University of North Sumatera the understanding that users are made aware of their obligation under law of the Republic of Indonesia.

Signed :

ABSTRACT

This paper that has a title “The Description of Figure Characteristic in William Shakespeare’s Drama Twelfth Night” discuss about the main characters which exist in the Twelfth Night drama by William Shakespeare. Those main characters have kind of different characteristics and also have different behavior. In composing this paper, the writer uses the library research by reading some books that relevant to this title or as a source to get some information that can support this title and also by searching on internet. And finally, all characteristics and behaviors from each main character of this drama can be described.

ABSTRAK

Kertaskarya yang berjudul “The Description of Figure Characteristic in William Shakespeare’s Drama Twelfth Night” inimembahastentangtokoh-tokohutama yang terdapat di dalam drama Twelfth Nightkarya William Shakespeare. Tokoh-tokoh utama tersebut memiliki ciri-ciri yang berbeda dan memiliki sifat yang berbeda juga. Dalam penyusunan kertas karya ini penulis menggunakan metode penelitian kepustakaan (library research) dengan membaca beberapa buku yang berhubungan dengan judul ini dan sebagai sumber untuk mendapatkan beberapa informasi yang bisa mendukung judul ini juga penelusuran dari internet. Sehingga didapatlah ciri-ciri dan sifat dari masing-masing tokoh utama yang terdapat dalam drama tersebut.

ACKNOWLEDMENTS

First of all, I would like to thank and praise to the Almighty God for blessing and giving health, strength and ease to accomplish this paper as one of the requirements to get the Diploma III certificate from English Study program Faculty of culture study, University of Sumatera Utara.

I would like to express a deep gratitude, love, appreciation and thanks to my lovely parents, Popar Simanjuntak, S.IP and Ratna Simamora.Thank you for all your supports, advices, prays, and loves. I present this paper for you.

Thank you Dr. Matius C.A. Sembiring, M.A. as the head of Diploma-III English Study Program, who gives me a lot of knowledge.

Thank you Dra. Syahyar Hanum, DPFE.as my supervisor. Thank you for the valuable time in giving me the correction and constructive critics in completing this paper. You are my inspiration.

Thank you Dr. Syahron Lubis, M.A. as the Dean of Faculty of Culture Studies, University of Sumatera Utara.

Thanks for all lectures in Diploma-III English Study Program for giving me valuable knowledge.

Thanks formy best friends in SOLIDASRumada Pane, M.Rezki Siregar, Bazzar Abid Harahap, Eka Wardhana, Febrilatussakdiyah Hrp, Dika Pratiwi, and Aviandani Aulia Nstfor your supports, care and other things that help me to complete this paper. Thank you for the nice friendship during our study, I’m going to miss you all.

Thanks for my juniors in SOLIDAS 2013, Ruth Silviana Surbakti,

Dinda, Maria, Vio, and Marysfor nice friendship during my last year in University of Sumatera Utara.

Thanks for all my friends in SOLIDAS2011 and alumnus in SOLIDAS

for your kindness to me, I’m going to miss you all.

Medan, 2014

The writer

Reg. No: 112202034 Rocky Goklas S

TABLE OF CONTENTS

AUTHOR’S DECLARATION………i

COPYRIGHT DECLARATION………ii

ABSTRACT………iii

ABSTRAK……….. iv

ACKNOWLEDMENT………....v

TABLE OF CONTENTS………..vii

1. INTRODUCTION 1.1Background of the Study………1

1.2Problem of the Study……….. 4

1.3Scope of the Study……….. 4

1.4Purpose of the Study………... 4

1.5Method of the Study………4

2. REVIEW OF RELATED LITERATURE 2.1Drama………... 5

2.1.1 Drama and Performance………...5

2.1.2 Actors………... 5

2.1.3 Costumes and Makeup………. 6

2.1.4 The Director and Producer………... 6

2.1.5 The Stage………..6

2.1.6 Lighting……… 7

2.1.7 The Audience………... 7

2.2Types of Drama………9

2.2.1 Comedy……… 9

2.2.2 Tragedy……….. 10

2.3Basic Elements of Drama………... 10

2.3.1 Plot and Conflict……… 10

2.3.2 Character……… 11

2.3.3 Point of View………. 13

2.3.4 Setting or Scenery……….. 14

2.3.5 Dictionary, Imagery, Style, and Language……….15

2.3.7 Symbolism and Allegory………... 17

2.3.8 Subject and Theme………. 17

3. THE CHARACTERISTIC DESCRIPTION 3.1Orsino………... 19

3.2Olivia………. 20

3.3Viola……….. 21

3.4Sebastian……….... 23

3.5Malvolio………... 23

4. CONCLUSION AND SUGGESTION 4.1Conclusion………. 25

4.2Suggestion……….... ..26

REFERENCES………. 27

ABSTRACT

This paper that has a title “The Description of Figure Characteristic in William Shakespeare’s Drama Twelfth Night” discuss about the main characters which exist in the Twelfth Night drama by William Shakespeare. Those main characters have kind of different characteristics and also have different behavior. In composing this paper, the writer uses the library research by reading some books that relevant to this title or as a source to get some information that can support this title and also by searching on internet. And finally, all characteristics and behaviors from each main character of this drama can be described.

ABSTRAK

Kertaskarya yang berjudul “The Description of Figure Characteristic in William Shakespeare’s Drama Twelfth Night” inimembahastentangtokoh-tokohutama yang terdapat di dalam drama Twelfth Nightkarya William Shakespeare. Tokoh-tokoh utama tersebut memiliki ciri-ciri yang berbeda dan memiliki sifat yang berbeda juga. Dalam penyusunan kertas karya ini penulis menggunakan metode penelitian kepustakaan (library research) dengan membaca beberapa buku yang berhubungan dengan judul ini dan sebagai sumber untuk mendapatkan beberapa informasi yang bisa mendukung judul ini juga penelusuran dari internet. Sehingga didapatlah ciri-ciri dan sifat dari masing-masing tokoh utama yang terdapat dalam drama tersebut.

1.

INTRODUCTION

1.1 Background of the Study

Twelfth Night is a drama by William Shakespeare, believed to have been written around 1601for the close of the Christmas season. The play centers on the twins Viola andSebastian, who are separated in a shipwreck. The play focuses on the Countess Olivia falling in love with Viola who is disguised as a boy, and Sebastian in turn falling in love with Olivia. The play expanded on the musical interludes and riotous disorder expected of the occasion.

In this paper, the writer has chosen Twelfth Night by William Shakespeare as the subject of this paper. The writer is interested in describing the characteristic of figures in the drama because all the main figures have different characteristic in performing the drama. Perhaps the characteristic of the main figures still exist in our real life. This drama is also interested to read since it contains comedy that makes reader laughing.

A play or drama is one of classical literary form that has continued to evolve over the years. It generally comprises chiefly dialogue between characters, and usually aims at dramatic or theatrical performance rather than at reading. During the 18th and 19th centuries, opera developed as a combination of poetry, drama, and music. Nearly all drama took verse form until comparatively recently. Shakespeare could be considered drama. Romeo and Juliet, for example, is a classic romantic drama generally accepted as literature.

Edgar and Henry (1995:1) say that Literature refers to composition that tell stories, dramatize situations, express emotion, and analyze and advocate

ideas.Before the invasion of writing, literary works were necessarily spoken or sung, and were retained only as long as living people performed them. They also say that literature helps us grow, both personally an intellectually. It provides an objective base for knowledge and understanding. It links us with the broader cultural, philosophic, and religious world of which we are a part. It enables us to recognize human dreams and struggles in different places and times that we would never otherwise know. It helps us develop mature sensibility and compassion for the condition of all living things like human, animal, and vegetable. It gives us the knowledge and perception to appreciate the beauty of order and arrangement, just as well-structured song or a beautifully painted canvas can.

About literature, Raymond (1982:2) says “if language is the most advanced form of communication, literature maybe seen as a special use of language, and perhaps as the highest use to which language can be put”. We do not have to learn a new language in order to find the maximum appreciation of literature. What we have to do is to develop new ways of receiving the language and understanding what it is capable of doing. Literature, like the other arts, can give us new ways of looking at the world and finding significance which the daily use of language in its more common place way has concealed.

However, all of the ideas which have been described by the linguists have relation each other, that literature generally is a mirror of human life that portrays the human feeling, thought, imagination, and perception can be viewed based on personal judgment.

Based on Robert and Jacob in their book about Literature: an introduction to reading and writing (1995:2) say, “Literature is classified into four genres: prose fiction, poetry, drama, and non-fiction prose.

Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning “action” which _{is derived from the verb}

meaning “to do” or “to act”. The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure_{, unlike other forms}

of literature, is directly influenced by this collaborative production and collective reception.

Drama makes events and emotionscome to life before the eyes of the audience. More than any other literary form, drama is visual experience. Whether we read it or see it onstage, a play leaves pictures in our minds. These pictures, along with the echoes of the characters’ words, create the emotions and ideas that together make up that play’s themes (Judith, 1941:67)

Edgar and Henry say that drama is literature designed to be performed by actors. Like fiction, drama focus on a single character or a small number of characters, and it enacts fictional events as if they were happening in the present, to be witnessed by an audience. Although most modern plays use prose dialogue, in the belief that dramatic speech should be as lifelike as possible, many plays from the past, like those of ancient Greece and Renaissance England, are in poetic form.

1.2 Problem of the Study

Based on the background of the study, the problem of the study may be recognized as follows:

1) How is the characteristic description of main figures in the drama? 2) Does the characteristic exist in our real life?

1.3 Scope of the Study

There are some basic elements in Drama that can be discussed; they are plot, character, point of view, setting, language, tone, symbolism, and theme. However, the writer is only focused on the characteristic of main figure and the existence of the characteristic in our real life which is found in the drama.

1.4 Purpose of the Study

In writing this paper, the purpose of the study is to describe about the characteristic of the main figure in Twelfth Night drama and to find out the existence of the characteristic in our real life.

1.5 Method of the Study

The writer uses descriptive qualitative method. The first step is the writer read and understood the story in Twelfth Night drama. Then writer read and collected literary books especially books that relevant to the topic that can support the analysis and as reference in finishing this paper. The writer also searched and collected data from internet to enrich the data. Finally, the writer described and analyzed the data and made the conclusion.

2.

REVIEW OF RELATED LITERARTURE

2.1 Drama

The word drama is derived from the Greek word dran, which means “to do” or “to act,” and doing and acting have always been drama’s major characteristics. Although the word sometimes refers to a single plays, it may also refer to a group of playsor to all plays. A person who writes plays is dramatist or playwright. (Playwright is a word combining play with wright).

2.1.1 Drama and Performance

The text of a play consists of dialogue, monologue, and stage directions.

Dialogue is the conversation of two or more characters. A monologue is spoken by a single character that is usually alone on stage. Stage directions are the playwright’s instructions about vocal expression, “body language,” stage appearance, lighting, and similar matters.

Although drama shares many characteristics with fiction and poetry, the most important difference is that plays are written to be presented by actors on a stage before an audience. The actors perform the various actions and also mimic

or imitate the emotions of the major characters, in order to create a maximum impact on the audience. It is performance that creates the movement, immediacy, and excitement of drama.

2.1.2 Actors

Actors bring the characters and the dialogue to life—loving or hating, strutting or cringing, shouting or whispering, laughing or crying, or inspiring or deceiving. Actors give their bodies and emotions to the characters, providing

vocal quality and inflection, gestures, and facial expressions. They move about the stage according to patterns called blocking. They also engage in stage business— gestures or movements that keep the production active, dynamic, and often funny.

2.1.3 Costumes and Makeup

Actors also make the play vivid by wearing costumes and using makeup, which help the audience understand the time period, occupation, mentality, and social status of the characters. Costumes may be used realistically (a king in rich robes, a salesman in a rumpled business suit) or symbolically (the use of black clothing for a character suffering depression). Makeup usually enhances an actor’s facial features, but it also may help fix the illusion of youth or age or emphasize a character’s joy or sorrow.

2.1.4 The Director and Producer

In theater, all aspects of performance are controlled by the director, the person who plans the production in association with the producer, who takes responsibility for financing and arranging the physical aspects of the production. The director tells the actors to move, speak, and act in ways that are consistent with his or her vision of the play. When a play calls for special effects, as in Molière’s love is the doctor, the director and producer work with specialists such as musicians, choreographers, and sound technicians to enhance and enliven the performance.

2.1.5 The Stage

acting area that is surrounded by the audience). Regardless of the kind of stage, the modern theater is likely to provide scenery and properties (or props), which locate the action in place and time, and which underscore the ideas of the director. The sets (the appurtenances for a particular scene) may change a number of times during a performance, as in Hamlet, or a single set may be used throughout, as in

Oedipus the King.

2.1.6 Lighting

Today’s theater relies heavily on lighting. Until the seventeenth century, however, lights were not used in the theater. Before then, plays were performed during the day and under the sky, in inn yards and in courtyard-like theaters like the Globe Theater, in which many of Shakespeare’s plays were first performed. Because open-air performances depended on favorable weather, plays were eventually taken indoors, and theaters then relied on candles, and later gaslight, for lighting effects (yes, some theaters burned down). The development of electric lights in the late nineteenth century revolutionized dramatic productions. For today’s performances, producer may use spotlights, filters, dimmers, and other lighting technology to emphasize various parts of the stage, to shape the mood of a scene, and to highlight individual characters. In productions of plays like The Glass Menagerie and death of a Salesman, lighting is even used to indicate changes in time or place.

2.1.7 The Audience

The audience plays a significant role in a theatrical performance. The reactions of spectators to the onstage action provide instant feedback to the actors,

and thus continually influence the delivery and pace of the performance. Similarly, the audience, sitting together in a darkened auditorium, offers a communal response to the play. Thus, drama in the theater is the most immediate and accessible to the literary arts. There is no in prose fiction, and no speaker, as in poetry.

The basic forms of drama are full-length plays and short plays, just as in fiction the basic forms are novels and short stories. Full-length play, also sometimes called regular plays, may consist of three, four, or five separate acts (A Doll House, Hamlet), a long series of separate scenes (Oedipus the King and The Glass Menagerie), or two long acts (Death of a Salesman). Such plays are designed for a full performance of three or more hours (with intermissions); they provide for complete and in-depth development of character, conflict, and idea. Full-length plays containing separate acts, like A Midsummer Night’s Dream, are also subdivided. These subdivisions, or scenes, are not always noted in the text, but often they are given formal scene numbers. Characteristic of scenes are a coherent action, a unified setting, and a fixed group of characters, much like sections and chapters in novels.

Short plays, usually consisting of one act, do not permit extensive development and subdivision. They are not commercially self-sustaining unless two or three of them are put together for an entire evening in the theater. However, one-act plays may be used for studio and classroom performance, or, for that matter, for adaptation as hour- or half-hour performances for film or

smoothly from beginning to end without a break. On the other hand, somewhat longer short plays, like Love Is the Doctor and Am I blue, may contain formal scene and act divisions. Love Is the Doctor is unique because it features French scenes, in which a new scene begins each time a character enters or leaves the stage.

2.2 Types of Drama

In our times we do not even have to go to the theater to have drama at our fingertips. We can find virtually everything on the television screen. Some representative samples are situation comedies, continuous narrative dramas including soap operas, made-for-TV films, short skits on comedy shows, and many other types. All these various genres ultimately spring from the drama that was developed originally in ancient Greece twenty-five hundred years ago. Although the centuries have produced many variations, the types the Greeks created are still as important today as they were then. They are tragedy and

comedy.

2.2.1 Comedy

Comedy is a play written in a kindly or humorous, perhaps bitter or satiric vein, in which the problems or difficulties of the characters are resolved satisfactorily, if not for all characters, at least from the point of view of the audience. Low characters as opposed to noble; characters not always changed by the action of the play; based upon observation of life. Comedy and tragedy are concerned more with character, whereas farce and melodrama are concerned more with plot.

2.2.2 Tragedy

Tragedyis a play written in a serious, sometimes impressive or elevated style, in which things go wrong and cannot be set right except at great cost or sacrifice. Aristotle said that tragedy should purge our emotions by evoking pity and fear (or compassion and awe) in us, the spectators.

2.3 Basic Elements of Drama

The basic elements of drama are plot, character, point of view, setting,

language, tone, symbolism, and theme or meaning. Poetic drama, such as Shakespeare’s Hamlet and A Midsummer’s Dream, add poetic elements such as

meter and rhyme. All these elements have remained relatively constant throughout the history of drama.

2.3.1 Plot and Conflict

Plot, in drama as in fiction, is an ordered chain of physical, emotional, or intellectual events that ties the action together. It is a planned sequence of interrelated actions that begins in a state of imbalance, grows out of conflict, reaches a peak of complication, and resolves into some new situation. It is easy to oversimplify the idea of plot in a play. Dramatic plots are often more complicated than a single movement toward a single solution or resolution. Some plays have double plots (two different but related lines of action going on at the same time). Other plays offer a main plot, together with a subplot that comments, either directly or indirectly, on the main plot. In A midsummer Night’s Dream, four separate plots are woven together to form a single story.

The mainspring of plot in a play is conflict, which can be physical, psychological, social, or all three. It can involve a character’s struggle against another person, against the environment, or against himself or herself. Most commonly, the conflict in a play is a combination of these general types. In Albee’s The Sandbox, for example, Grandma is in conflict with her family, society, and death. Similarly, the hero in Hamlet is in conflict with himself, his enemy, and his society at the same time. Conflict in drama can be more explicit than in prose fiction because we actually see the clash of wills and characters on stage or on the page.

2.3.2 Character

A character is a person created by the playwright to carry the actions, languages, ideas, and emotions of the play. Many of the types of characters that populate prose fiction are also found in drama. In drama as in fiction, for example, we find both round and flat characters. A round character, like Shakespeare’s

Hamlet and Ibsen’s Nora, undergoes a change or development as the play progresses. On the other hand, a flat character, like Molière’s Lisette, is undeveloped, even though she or he may be interesting, vital, and amusing. As in fiction, dramatic characters can also be considered static (fixed and unchanging) or dynamic (growing and developing).

Because drama, like fiction, depends on conflict, we also find protagonists and antagonists in plays. The protagonist is usually the central character in the action. The antagonist opposes the protagonist and is often a villain. A classic opposition type may be seen in Hamlet, in which Prince Hamlet is the protagonist

while his uncle King Claudius is the antagonist. The play develops as Hamlet the protagonist tries first to confirm, and then to punish, the villainy of his uncle the antagonist.

There are also characters that set off or highlight the protagonist, and other who are peripheral. The first of these types, the foil, is somewhat like the protagonist, but with contrasting qualities. In Hamlet, for example, both Laertes and Fortinbras are foils to Hamlet. The second type, called a choric figure, is rooted in the choruses of Greek tragedy, and is usually played by a single character, often a friend or confidant of the protagonist, such as Horation in

Hamlet. If this type of character provides commentary about the play’s major issues and actions, he or she is called a raisonneur (the French word meaning

reasoner) or commentator.

Dramatic character may be realistic, nonrealistic, symbolic, and stereo-typed or stock. Realistic characters are normally accurate imitations of individualized men and women; they are given background, personalities, desires, motivations, and thoughts. Nonrealistic characters are usually stripped of such individualizing touches and they are often undeveloped and symbolic. All of the characters in The Sandbox are nonrealistic. Symbolic characters represent an idea, a way of life, moral values, or some other abstraction. The two women in Tea Party symbolize the agonized loneliness of old age, while Dr. Fillpocket in Love is the Doctor symbolizes cynicism, greed, charlatanism, and the misuse of responsibility.

Stereotyped or stock characters have been used in drama throughout the ages. In effect they serve as a shortcut in characterization. The general types developed in classical and Renaissance drama are the bumpkin, the braggart, the

trickster, the victim, the stubborn father, the shrewish wife, the lusty youth, and the prodigal son. Modern drama continues these stereotypes, and it has also invented many of its own, such as the hardboiled detective, the loner cowboy, the

honest policeman, and the whore with a heart of gold.

The major difference between characters in fiction or poetry and characters in drama is the way they are revealed. Playwrights do not have the fiction writer’s freedom to describe a character directly. We therefore must listen to the words of characters, watch and interpret their actions, heed what other characters say about them, and observe what other characters do to them.

2.3.3 Point of View

Point of view in drama is strikingly different from the comparable element in fiction and poetry. With the exception of works like Tennessee Williams’s The Glass Menagerie, plays rarely have narrators, and it is difficult for a playwright to sustain a perspective that is exclusively first person-protagonist or third-person-omniscient. Instead, playwrights employ the dramatic point of view, whereby the playwright gives us the objective raw materials (the actions and the words) but arranges them in such a way that we ourselves must draw all the conclusions.

Within these limits, playwrights do have techniques to lead an audience to see things from a specific character’s perspective. In O’Neill’s Before Breakfast, the entire play is a monologue spoken by Mrs. Rowland. Another commonly used

device is the soliloquy, in which a character reveals his or her thoughts directly to the audience. In plays from the sixteenth and seventeenth-century, soliloquies are common, and in the twentieth century, soliloquies have again become an important element in experimental and nonrealistic drama. Another device, called the aside, allows a character to address brief remarks to the audience which the other characters do not hear.

2.3.4 Setting or Scenery

A play’s scenery or setting is what we first see on the stage, and it brings the written directions to life through backdrops, furnishings, properties, and lighting. The function of scenery is to establish plays in specific places and times and also to determine the level of reality.

Like characters, the setting may be realistic or nonrealistic. A realistic setting requires extensive construction and properties, for the object is to create as lifelike a stage as possible. In Trifles, for example, the setting is a realistic copy of an early twentieth-century Midwestern farm kitchen. A nonrealistic setting is nonrepresentational and often symbolic, as in The Sandbox, where the scenery consists of a sandbox and a number of chairs. Often such scenery is produced in a unit setsuch asa series of platforms, rooms, stairs, and exits that form the locations for all the play’s actions, as in Death of a Salesman.

Generally, one-act plays rely on a single setting and a short imagined time of action, as with The Bear, Trifles, Tea Party, and Before Breakfast. Many full-length plays also confine the action to a single setting and a short time of action,

imagined time before the royal palace in ancient Thebes. Other longer plays may extend imagined time while being set in the same location, as in The Glass Menagerie, in which all the action takes place, in a rather long imagined time, in the apartment home of the Wingfields. Some full-length plays change setting frequently just as they also stretch out imagined time. Hamlet takes place in a number of different locations, including battlements, a throne room, bed chambers, castle halls, and a graveyard.

2.3.5 Dictionary, Imagery, Style, and Language

Most of what we learn about characters, relationships, and conflict is conveyed through dramatic language. Characters tell us what they think, hope, fear, and desire. Their dialogue may reflect the details of their daily lives or their deepest thoughts about life and death. Their words must fit the circumstances, the time, and the place of the play. Thus it would be as wrong for Miller’s Willy Loman to speak in Elizabethan blank verse as it would be for Shakespeare’s Hamlet to speak in modern American English.

The words and rhetorical devices of a play delineate character, emotion, and theme, much as they do in fiction and poetry. Dramatists may employ words that have wide-ranging connotations or that acquire many layers of meaning. Such is the case with the words trifle and knot in Glaspell’s play Trifles. Similarly, playwrights may have their characters speak in similes or metaphors that contribute significantly to the play’s meaning and impact. Again in Trifles, one of the characters compares another to a bird, and this simile grows to become one of the play’s central symbols.

Dramatists may also employ accents, dialects, idiom, jargon, and cliché to indicate character traits. The characters in The Sandbox, for example, speak in cliché that mark their limitations and shortcomings. The gravedigger in Hamlet

speaks in an Elizabethan dialect which distinguishes him from the aristocratic persons in the play. Most of the characters in The Glass menagerie speak in dialect, complete with slang expressions, that locates them in the Southern United States.

2.3.6 Tone and Atmosphere

Tonein drama, as in fiction and poetry, signifies the way moods and attitudes are created and presented. In plays, tone may be conveyed directly to the spectator through voice and through the stage gestures that accompany dialogue, such as rolling one’s eyes, throwing up one’s hands, shaking one’s head, jumping for joy, and staggering in grief. Even silence can be an effective device for creating tone and mood.

Whereas voice and movement establish tone on the stage, we have no such exacting guides while reading a play. Sometimes a playwright indicates the tone of specific lines through stage directions. In The Sandbox, for example, Albee prefaces many speeches with directions such as whining, vaguely, impatiently, and

mocking. These cues to tone are intended for the actors, but they also help readers. When such directions are lacking, the diction, tempo, imagery, and context all become clues to the tone of specific speeches and whole plays.

2.3.7 Symbolism and Allegory

In drama, as in fiction and poetry, the meaning of symbolsextends beyond the apparent meaning of the symbol itself. Dramatic symbols, which may be characters, settings, objects, actions, situations, or statements, may be both universal and private. Cultural or universal symbolssuch as crosses, flags, snakes, flowers are generally understood by the audience or reader regardless of the context in which their appear. In act V of Hamlet, for example, we recognize Yorick’s skull as a symbol of death. Contextual or private symbols develop their impact only within the context of a specific play or even a particular scene. We often don’t realize at first that such objects or actions are symbolic; they acquire symbolic meaning only through context and continued action. The Sandbox, for example, opens with a “large child’s sandbox with a toy pail and shovel” on stage. Initially, these objects seem to have little significance. As the play goes on, however, we realize that the sandbox symbolize a lifetime of ease, advancing senility, the waste products of life, and, finally, death and the grave.

2.3.8 Subject and Theme

Although most playwrights do not seek primarily to persuade or propagandize their audience, they do write their plays to dramatize ideas about the human condition. The aspects of humanity a playwright explores constitute the play’s subject. Plays may be about love, religion, hatred, war, ambition, death, envy, or anything else that is part of the human condition.

The ideas that the play dramatizes about its subject make up the play’s theme or meaning. Thus, a play might explore the idea that love will always find a

way or that marriage may be destructive, that pride always lead to disaster, or that grief can be conquered through strength and commitment to life. The theme is the end result of all the other elements of drama, and for this reason it is often difficult to isolate and identify. Even short plays may have complex themes, as in Molière’s Love Is the Doctor, which farcically explores the themes that freedom seeks way out of suppression, that love is one of the most powerfully inventive human emotions, and that deceit is thoroughly infused within the human spirit and may be as strong as life itself.

3.

THE CHARACTERISTIC DESCRIPTION

3.1 Orsino

Orsino is basically characterized by the first line that he utters "If music be the food of love, play on". He is the most melancholy characters that Shakespeare ever created. His entire opening speech is filled with words such as “excess,” “surfeiting,” “appetite,” “sickening,” and “dying fall,” words which show Orsino to be sentimentally in love with love. He has seen Olivia, and the very sight of her has fascinated him to such an extent that his romantic imagination convinces him that he will perish if she does not consent to be his wife. Thus, this romantic, melancholy indulgence is the crux of the play because the duke uses Cesario (Viola) as his emissary to court Olivia.

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.

(Act 1, scene 1)

Orsino, however, is as changeable as the "sea" and as inconsistent as "an opal in the sunlight." His languid craving for music is equated by his languid reclining upon an opulent couch and his requesting attention, and then suddenly becoming bored by what he has just requested. It is, however, Orsino's changeable nature which allows us to believe that he can immediately switch his love for Olivia to Viola at the end of the play.

According to Olivia and others, Orsino is a perfect gentleman. He is handsome, brave, courtly, virtuous, noble, wealthy, gracious, loyal and devoted. In short, he is everything a young lady could wish for in a husband. This is ultimately what makes it believable that Viola does fall in love with him immediately.

3.2 Olivia

Olivia is a beautiful woman with strong emotional reactions and no male guidance. She is not married and no longer has a father or brother. Several of the men in the play feel Olivia needs a man to help her manage her life and fortune, but she is too overcome with emotions to give them a chance at pursuing her.

At times, Olivia can be emotional and dramatic. Olivia mourns the recent loss of her brother. Instead of expressing interest in others she drowns herself in her sorrows. She mourns in a dramatic way by dressing in black. When she cries, her tears are compared to 'a brine' that 'seasons' her 'brother's dead love.'

So please my lord, I might not be admitted, But from her handmaid do return this answer: The element itself, till seven years hence, Shall not behold her face at ample view; But like a cloistress she will veiled walk, And water once a day her chamber round With eye-offending brine: all this to season

A brother’s dead love, which she would keep fresh And lasting, in her sad remembrance

(Act 1, scene 1)

At times it seems that Olivia uses her grief as a way to ignore the advances of men (such as Orsino) who desire her affection. It is not until Olivia meets a man she is interested in, Cesario, that she starts to move on with her life

him attractive. She states, 'they tongue, thy face, thy limbs, actions and spirit. Do give thee five-fold blazon.

‘What is your parentage?’

‘above my fortunes, yet my state is well: I am a gentleman’. I’ll be sworn thou art:

Thy tongue, thy face, thy limbs, actions, and spirit, Do give thee five-fold blazon. Not too fast: soft, soft! Unless the master were the man. – How now? Even so quickly may one catch the plague? Methinks I feel this youth’s perfections With an invisible and subtle stealth To creep in at mine eyes. Well, let it be. What, ho, Malvolio!

(Act 1, Scene 5)

Olivia is also determined to get what she wants. Instead of waiting for Cesario to pursue her, Olivia pursues him. She proposes to the man she believes is Cesario despite traditional Elizabethan custom, which states that women are to be silent and to be pursued by a man.

Olivia obsesses over her love for Cesario until she learns Cesario is really a woman and then she falls in love with a man named Sebastian, who is Viola's twin brother. Once Olivia gets over her grief and stops being obsessive about her emotions, she is able to fall in love.

3.3 Viola

Viola is one of the most delightful and beloved figure from the play. Surrounded by characters who express the extremes of emotionalism and melancholy because she is caught between Orsino's extreme melancholy and Olivia's aggressive emotionalism, yet she represents the norm of behavior in this strange world of Illyria.

As a shipwrecked who has no one to protect her, she must resort to some means whereby her safety is assured. She knows that a single woman unattended in a foreign land would be in an extremely dangerous position. Consequently, she evaluates the sea captain's character, finds it suitable, and wisely places her trust in him, then she disguises herself as a boy so that she will be safe and have a man's freedom to move about without protection. Consequently, Viola is immediately seen to be quick-witted enough to evaluate and to recognize the captain's integrity, resourceful enough to conceive of the disguise, and practical enough to carry out this design.

Viola also has a native intelligence, an engaging wit, and an immense amount of charm. These qualities will help her obtain her position with Duke Orsino, and they are also the same qualities which cause Lady Olivia to immediately fall in love with her. It was her charming personality, we should remember, which won her the sea captain's loyalty, without whose help her disguise would have never succeeded. And within a short three days' time, her wit, charm, loyalty, and her skill in music and conversation won for her the complete trust of Duke Orsino. Although she is in love with the duke, she is loyal in her missions when she tries to win Lady Olivia's love for him.

Viola's charm lies in her simple, straightforward, good-humored personality. She could have used her disguise for all sorts of conniving, yet she is forthright and honest in all of her dealings with Lady Olivia and with Duke Orsino. Perhaps the most surprising thing about Viola is that a young lady in

possession of so many attributes falls in love with someone who is as moody and changeable as Orsino.

3.4 Sebastian

Sebastian is Viola's twin brother who has been lost at sea. He is separated from Viola at but survives the shipwreck by clinging to the ship's mast. Eventually, he is fished out of the ocean by a sailor, Antonio, who falls in love with him.

We don't see much of Sebastian in the play, but his character is significant in Twelfth Night. Once Sebastian travels to Illyria, he's mistaken by all for "Cesario" and quickly hooks up with Olivia. Sebastian's unlikely marriage to Olivia allows her to redirect her desire for "Cesario" into a sanctioned heterosexual relationship. As we've seen before, Twelfth Night is a comedy and, as such, it works its way toward marriage and the reunification of families.

Sebastian clearly has a close relationship with Antonio, who may or may not be a lover. In this way, Sebastian's relationship allows the play to study, briefly, the erotic of male bonds.Antonio's relationship with Sebastian recalls

of

male friendship are explored in much more depth and detail.

3.5 Malvolio

Malvolio is the steward to Lady Olivia. He's a big time hater and criticizes just about everything such as Toby's partying lifestyle, Feste's licensed fooling, and all other forms of fun. He's often asking for trouble, and that's exactly what he

gets when he's duped into behaving like a "madman" to win the favor of Lady Olivia.

Maria says that sometimes Malvolio is a kind of puritan, which aligns him with the religious group despised for its opposition to the theater, winter festivals, and other forms of entertainment. Malvolio's not a Puritan, but the fact that the play aligns him with the sect and goes out of its way to stage his humiliation makes Malvolio's disgrace an important part of the play's rebellious, nose-thumbing spirit.

Puritans were also accused of being power hungry and Malvolio's secret social ambitions fit the bill. When we catch Malvolio daydreaming about marrying Countess Olivia, we learn that his desire has less to do with love than it has to do with his aspirations for social power. Malvolio seems to be punished as much for his moral haughtiness as for his social climbing fantasies, which makes him central to the play's concern with the dangers of social ambition.

Audiences often find Malvolio to be a sympathetic figure. Sure, he's annoying and he gets what he deserves when Toby and his friends lock him up in a dark room and perform a mock exorcism, but Malvolio's circumstances make us uncomfortably aware of the sheer cruelty of treating a person like a madman for a few laughs. In fact, the play raises the point that the trick is like a bear-baiting, an Elizabethan blood-sport that involved chaining a bear to a post and setting a pack of dogs on it. In this sense, Malvolio's punishment is a bit like what happens

4.

CONCLUSION AND SUGGESTION

4.1 Conclusion

After describing the characters of Twelfth Night in this paper, it can be concluded that characters is one of important elements in drama besides Theme, Plot, Point of View, Setting, Language, Tone, and Symbolism.

Characters are the persons of presented in works of narrative who convey their personal qualities through dialogues and action by which the reader or audience understand their through, feelings, intentions, and motives.

Characters can affect the reader and give positive or negative impacts. They may learn and be better from the experience or may miss the point and be unchanged.

In Twelfth Night, there are five main characters. They are Orsino, Olivia, Viola, Sebastian, and Malvolio.Twelfth Night is a drama with the theme of love. It tells that love can be a cause of suffering. William Shakespeare, author of the drama was an English writer in the

By doing hard efforts and working hard in understanding the topic discussion, the writer has been able to complete this paper as one of the requirements to acquire English D-III certificate at University of Sumatera Utara.

4.2 Suggestion

At the end of this paper, the writer hopes that this paper will make the readers understand more about characters in Twelfth Night and will be interested in watching the Drama.

This paper can give a clear explanation about characterization to the readers. This paper also can be used as guidance to the other students in describing drama, especially the main characters. The writer hopes that other students can study other elements of literary works: Theme, Plot, Point of View, Setting, Language, Tone, Symbolism, and especially characters of Twelfth Night.

REFERENCES

Allshop and Hunt. 1967. Using Better English, book 5. Australia: Bridge Printer PTY LTD

Baker, S., Peter. 2007. Introduction to Old English. Australia: Blackwell Publishing Ltd

Chapman, Raymond. 1982. The Language of English Literature. London: EdwardArnold Ltd.

Edgar and Henry.1995. Literature, an Introduction to Reading and Writing.

United States of America: Prentice-Hall, Inc.

Gill, Richard. 1985. Mastering English Literature. London: Macmillan Education LTD.

Moleong, lexy, j. 1993. Metodologi penelitian Kualitatif. Bandung: Remaja Rosdakarya.

Peck, John, and Martin Coyle. 1984. Literary Term and Critism. London: Macmillan Education LTD.

Purba , Parlindungan.2010. Writing Steps for Diploma. Medan.

Sembiring, Matius C.A. 2014. Buku Pedoman Program D-3 Studi Bahasa inggris. Medan: University of Sumatera Utara

Shakespeare, William. 1993. Twelfth Night. London: Wordsworth Classics Ltd Stanford, A. Judith. 1941. Responding to Literature: Stories, Poems, Plays,

andEssays. New York: The McGraw-Hill Companies, Inc.

Suryabrata, Smadi. 2002. Metode Penelitian. Jakarta: Raja Grapindo Persada. Taylor, Richard. 1981. Understanding the Element of Literature. Hong Kong:

Macmillan Company

Warsito, Hermawan. 1992. Pengantar Metodologi Penelitian. Jakarta: Gramedia Pustaka Utama.

APPENDICES

SUMMARRY OF THE DRAMA

In the kingdom of Illyria, a nobleman named Orsino lies around listening to music, pining away for the love of Lady Olivia. He cannot have her because she is in mourning for her dead brother and refuses to entertain any proposals of marriage. Meanwhile, off the coast, a storm has caused a terrible shipwreck. A young, aristocratic-born woman named Viola is swept onto the Illyrian shore. Finding herself alone in a strange land, she assumes that her twin brother, Sebastian, has been drowned in the wreck, and tries to figure out what sort of work she can do. A friendly sea captain tells her about Orsino’s courtship of Olivia, and Viola says that she wishes she could go to work in Olivia’s home. But since Lady Olivia refuses to talk with any strangers, Viola decides that she cannot look for work with her. Instead, she decides to disguise herself as a man, taking on the name of Cesario, and goes to work in the household of Duke Orsino.

Viola or Cesario quickly becomes a favorite of Orsino, who makes Cesario his page. Viola finds herself falling in love with Orsino a difficult love to pursue, as Orsino believes her to be a man. But when Orsino sends Cesario to deliver Orsino’s love messages to the disdainful Olivia, Olivia herself falls for the beautiful young Cesario, believing her to be a man. The love triangle is complete: Viola loves Orsino, Orsino loves Olivia, and Olivia loves Cesario and everyone is miserable.

trying in his hopeless way to court Olivia; Olivia’s witty and pretty waiting-gentlewoman, Maria; Feste, the clever clown of the house; and Malvolio, the dour, prudish steward of Olivia’s household. When Sir Toby and the others take offense at Malvolio’s constant efforts to spoil their fun, Maria engineers a practical joke to make Malvolio think that Olivia is in love with him. She forges a letter, supposedly from Olivia, addressed to her beloved, telling him that if he wants to earn her favor, he should dress in yellow stockings and crossed garters, act haughtily, smile constantly, and refuse to explain himself to anyone. Malvolio finds the letter, assumes that it is addressed to him, and, filled with dreams of marrying Olivia and becoming noble himself, and happily follows its commands. He behaves so strangely that Olivia comes to think that he is mad.

Meanwhile, Sebastian, who is still alive after all but believes his sister Viola to be dead, arrives in Illyria along with his friend and protector, Antonio. Antonio has cared for Sebastian since the shipwreck and is passionately attached to the young man so much so that he follows him to Orsino’s domain, in spite of the fact that he and Orsino are old enemies.

Sir Andrew, observing Olivia’s attraction to Cesario, challenges Cesario to a duel. Sir Toby, who sees the prospective duel as entertaining fun, eggs Sir Andrew on. However, when Sebastian who looks just like the disguised Viola appears on the scene, Sir Andrew and Sir Toby end up coming to blows with Sebastian, thinking that he is Cesario. Olivia enters amid the confusion. Encountering Sebastian and thinking that he is Cesario, she asks him to marry her. He is baffled, since he has never seen her before. He sees, however, that she is

wealthy and beautiful, and he is therefore more than willing to go along with her. Meanwhile, Antonio has been arrested by Orsino’s officers and now begs Cesario for help, mistaking him for Sebastian. Viola denies knowing Antonio, and Antonio is dragged off, crying out that Sebastian has betrayed him. Suddenly, Viola has newfound hope that her brother may be alive.

Malvolio’s supposed madness has allowed the gleeful Maria, Toby, and the rest to lock Malvolio into a small, dark room for his treatment, and they torment him at will. Feste dresses up as "Sir Topas," a priest, and pretends to examine Malvolio, declaring him definitely insane in spite of his protests. However, Sir Toby begins to think better of the joke, and they allow Malvolio to send a letter to Olivia, in which he asks to be released.

Eventually, Viola and Orsino make their way to Olivia’s house, where Olivia welcomes Cesario as her new husband, thinking him to be Sebastian, whom she has just married. Orsino is furious, but then Sebastian himself appears on the scene, and all is revealed. The siblings are joyfully reunited, and Orsino realizes that he loves Viola, now that he knows she is a woman, and asks her to marry him. Finally, someone remembers Malvolio and lets him out of the dark room. The trick is revealed in full, and the embittered Malvolio storms off, leaving the happy couples to their celebration.

BIOGRAPHY OF THE AUTHOR

William Shakespeare (26 April 1564) – 23 April 1616) was an English the England's some plays have been translated into every major more often than those of any other playwright.

Shakespeare was born and brought up in of 18, he married and twins career in London as an actor, writer, and part-owner of a the retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as

Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly regarded as some the best work produced in these genres even today. He then wrote mainly a last phase, he wrote tragicomedies, also known as with other playwrights.

Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, friends and fellow actors of Shakespeare, published the edition of his dramatic works that included all but two of the plays now recognized as Shakespeare's. It was prefaced with a poem by which Shakespeare is hailed, presciently, as "not of an age, but for all time."

Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the 19th century. The in particular, acclaimed Shakespeare's genius, and the Shakespeare with a reverence that the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed, and reinterpreted in diverse cultural and political contexts throughout the world.

REFERENCES

Allshop and Hunt. 1967. Using Better English, book 5. Australia: Bridge Printer PTY LTD

Baker, S., Peter. 2007. Introduction to Old English. Australia: Blackwell Publishing Ltd

Chapman, Raymond. 1982. The Language of English Literature. London: EdwardArnold Ltd.

Edgar and Henry.1995. Literature, an Introduction to Reading and Writing.

United States of America: Prentice-Hall, Inc.

Gill, Richard. 1985. Mastering English Literature. London: Macmillan Education LTD.

Moleong, lexy, j. 1993. Metodologi penelitian Kualitatif. Bandung: Remaja Rosdakarya.

Peck, John, and Martin Coyle. 1984. Literary Term and Critism. London: Macmillan Education LTD.

Purba , Parlindungan.2010. Writing Steps for Diploma. Medan.

Sembiring, Matius C.A. 2014. Buku Pedoman Program D-3 Studi Bahasa inggris. Medan: University of Sumatera Utara

Shakespeare, William. 1993. Twelfth Night. London: Wordsworth Classics Ltd Stanford, A. Judith. 1941. Responding to Literature: Stories, Poems, Plays,

andEssays. New York: The McGraw-Hill Companies, Inc.

Suryabrata, Smadi. 2002. Metode Penelitian. Jakarta: Raja Grapindo Persada. Taylor, Richard. 1981. Understanding the Element of Literature. Hong Kong:

Macmillan Company

Warsito, Hermawan. 1992. Pengantar Metodologi Penelitian. Jakarta: Gramedia Pustaka Utama.

APPENDICES

SUMMARRY OF THE DRAMA

In the kingdom of Illyria, a nobleman named Orsino lies around listening to music, pining away for the love of Lady Olivia. He cannot have her because she is in mourning for her dead brother and refuses to entertain any proposals of marriage. Meanwhile, off the coast, a storm has caused a terrible shipwreck. A young, aristocratic-born woman named Viola is swept onto the Illyrian shore. Finding herself alone in a strange land, she assumes that her twin brother, Sebastian, has been drowned in the wreck, and tries to figure out what sort of work she can do. A friendly sea captain tells her about Orsino’s courtship of Olivia, and Viola says that she wishes she could go to work in Olivia’s home. But since Lady Olivia refuses to talk with any strangers, Viola decides that she cannot look for work with her. Instead, she decides to disguise herself as a man, taking on the name of Cesario, and goes to work in the household of Duke Orsino.

Viola or Cesario quickly becomes a favorite of Orsino, who makes Cesario his page. Viola finds herself falling in love with Orsino a difficult love to pursue, as Orsino believes her to be a man. But when Orsino sends Cesario to deliver Orsino’s love messages to the disdainful Olivia, Olivia herself falls for the beautiful young Cesario, believing her to be a man. The love triangle is complete: Viola loves Orsino, Orsino loves Olivia, and Olivia loves Cesario and everyone is miserable.

Meanwhile, we meet the other members of Olivia’s household: her rowdy drunkard of an uncle, Sir Toby; his foolish friend, Sir Andrew Aguecheek, who is

trying in his hopeless way to court Olivia; Olivia’s witty and pretty waiting-gentlewoman, Maria; Feste, the clever clown of the house; and Malvolio, the dour, prudish steward of Olivia’s household. When Sir Toby and the others take offense at Malvolio’s constant efforts to spoil their fun, Maria engineers a practical joke to make Malvolio think that Olivia is in love with him. She forges a letter, supposedly from Olivia, addressed to her beloved, telling him that if he wants to earn her favor, he should dress in yellow stockings and crossed garters, act haughtily, smile constantly, and refuse to explain himself to anyone. Malvolio finds the letter, assumes that it is addressed to him, and, filled with dreams of marrying Olivia and becoming noble himself, and happily follows its commands. He behaves so strangely that Olivia comes to think that he is mad.

Meanwhile, Sebastian, who is still alive after all but believes his sister Viola to be dead, arrives in Illyria along with his friend and protector, Antonio. Antonio has cared for Sebastian since the shipwreck and is passionately attached to the young man so much so that he follows him to Orsino’s domain, in spite of the fact that he and Orsino are old enemies.

Sir Andrew, observing Olivia’s attraction to Cesario, challenges Cesario to a duel. Sir Toby, who sees the prospective duel as entertaining fun, eggs Sir Andrew on. However, when Sebastian who looks just like the disguised Viola appears on the scene, Sir Andrew and Sir Toby end up coming to blows with Sebastian, thinking that he is Cesario. Olivia enters amid the confusion. Encountering Sebastian and thinking that he is Cesario, she asks him to marry her. He is baffled, since he has never seen her before. He sees, however, that she is

wealthy and beautiful, and he is therefore more than willing to go along with her. Meanwhile, Antonio has been arrested by Orsino’s officers and now begs Cesario for help, mistaking him for Sebastian. Viola denies knowing Antonio, and Antonio is dragged off, crying out that Sebastian has betrayed him. Suddenly, Viola has newfound hope that her brother may be alive.

Malvolio’s supposed madness has allowed the gleeful Maria, Toby, and the rest to lock Malvolio into a small, dark room for his treatment, and they torment him at will. Feste dresses up as "Sir Topas," a priest, and pretends to examine Malvolio, declaring him definitely insane in spite of his protests. However, Sir Toby begins to think better of the joke, and they allow Malvolio to send a letter to Olivia, in which he asks to be released.

Eventually, Viola and Orsino make their way to Olivia’s house, where Olivia welcomes Cesario as her new husband, thinking him to be Sebastian, whom she has just married. Orsino is furious, but then Sebastian himself appears on the scene, and all is revealed. The siblings are joyfully reunited, and Orsino realizes that he loves Viola, now that he knows she is a woman, and asks her to marry him. Finally, someone remembers Malvolio and lets him out of the dark room. The trick is revealed in full, and the embittered Malvolio storms off, leaving the happy couples to their celebration.

BIOGRAPHY OF THE AUTHOR

William Shakespeare (26 April 1564) – 23 April 1616) was an English the England's some plays have been translated into every major more often than those of any other playwright.

Shakespeare was born and brought up in of 18, he married and twins career in London as an actor, writer, and part-owner of a the retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as

Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly regarded as some the best work produced in these genres even today. He then wrote mainly a last phase, he wrote tragicomedies, also known as with other playwrights.

Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, friends and fellow actors of Shakespeare, published the edition of his dramatic works that included all but two of the plays now recognized as Shakespeare's. It was prefaced with a poem by which Shakespeare is hailed, presciently, as "not of an age, but for all time."

Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the 19th century. The in particular, acclaimed Shakespeare's genius, and the Shakespeare with a reverence that the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed, and reinterpreted in diverse cultural and political contexts throughout the world.