Studied by 6 people
‘If music be the food of love, play on, give me excess of it, that surfeiting the appetite may sicken and so die’
Orsino
Act 1 Scene 1
His obsession with excess
Petrachan lover
Personification of love - importance
Metaphor
Gustatory imagery
‘O spirit of love’
Orsino
Act 1 Scene 1
Personification - importance
Apostrophe - overly dramatic
‘Receiveth as the sea’
Orsino
Act 1 Scene 1
Nautical imagery
Link to 2.4
‘methought she purged the air of pestilence; that instant was I turned into a hart’
Orsino
Act 1 Scene 1
Plosive alliteration
Motif of disease
Reference to Diane
‘And water once a day her chamber round with eye-offending brine’
Valentine
Act 1 Scene 1
Nautical imagery
Olivia is over-reacting (?)
‘like Arion on the dolphins back’
Captain
Act 1 Scene 2
Heroic and romantic figure - poet and musician - escape from death
‘beauteous wall doth oft close in pollution’
Viola
Act 1 Scene 2
Disease motif
Deception + appearance theme
Looks vs. disposition
‘What a plague means my niece to take the death of her brother thus?’
Sir Toby
Act 1 Scene 3
Theme of disease
Introduction of humour, pleasure over grief
Insensitive- cruelty
‘bring your hand to th’buttery-bar… it’s dry sir’
Maria
Act 1 Scene 3
Sexual innuendo that Sir Andrew is unaware of - inexperienced
Humour
Infertility
‘What is ‘pourquoi’?’
Sir Andrew
Act 1 Scene 3
Irony - supposed talent at language
Mocking of Sir Andrew
‘I have unclasped to thee the book even of my secret soul’
Orsino
Act 1 Scene 4
Book metaphor - old style valuables - Bible
First of several references to Orsino and books
Suggestion of homoeroticism
Fast forming relationship
‘leap all civil bounds rather than make unprofited return’
Orsino
Act 1 Scene 4
Dramatic - go even further
No respect for Olivia and her opinion
Transactional love
Comment on courtly love, women are something to be won
‘Diana’s lip is not more smooth and rubious’
Orsino
Act 1 Scene 4
Reference to Ceasario’s ‘lip’
Challenging gender norms - Sonnet 130
Motif of disguise
‘Yet a barful strife: whoe’er I woo, myself would be his wife’
Viola
Act 1 Scene 4
Dramatic irony
Selfish as she has chosen to put herself in this situation - created this strife
‘He that is well hanged in this world needs fear no colour’
Feste
Act 1 Scene 5
First line, shows him as someone willing to undermine authority - topsy turvy
Double entendre - death or sexual
Nihilism and fatalism
‘better a witty fool than a foolish wit’
Feste
Act 1 Scene 5
Antimtabole - subverting expectations
Questioning of reality
‘cucullus no facit monachum’ (the hood does not make the man)
Feste
Act 1 Scene 5
Irony, Viola’s costume and disguise
Suggestion of stereotypical gender roles
‘make me a willow cabin at your gate and call upon my soul within the house’
Viola
Act 1 Scene 5
Actually addressed to Orsino
Willow is a symbol of sad love
Theme of pity, Olivia later
Devotion
Iambic pentameter - like a sonnet
‘Even so quickly may one catch the plague?’
Olivia
Act 1 Scene 5
Motif of disease
Painful and damaging effect
Real love?
‘Fate, show thy force’
Olivia
Act 1 Scene 5
Theme of ‘what you will”
Motif of fate (Viola 2.2)
‘My stars shine darkly over me, the malignancy of my fate my perhaps distemper yours’
Sebastian
Act 2 Scene 1
Oxymoron
Metaphor
Motif of disease
Theme of fate, which both him and Olivia believe in, they are married by fate?
Astrology importance
‘though I seem to drown her remembrance again with more’
Sebastian
Act 2 Scene 1
Link to ‘eye-offending brine’
Sensitive and loving disposition
‘If you will not murder me for my love, let me be your servant’
Antonio
Act 2 Scene 1
Erotic servitude
Hyperbolic
Reminiscent of Orsino’s courtly love
Gender non-conforming love
‘die of a broken heart’
‘I do adore thee so that danger shall seem sport, and I will go’
Antonio
Act 2 Scene 1
Adore only used elsewhere in romance
Motif of hunting
Religious worship
‘Fortune forbid my outside have not charmed her’
Viola
Act 2 Scene 2
Realisation and disbelief
Fate
Magic and deception
Difference in delivery, sarcastic or shocked
‘I am the man’
Viola
Act 2 Scene 2
Realisation of how the disguise has transformed her
Deception
Again can be played cooly or disappointed
‘disguise, I see thou art a wickedness’
Viola
Act 2 Scene 2
Apostrophe
Personification
Irony - she is the disguise, separate?
Disgust
‘In women’s waxen hearts’
Viola
Act 2 Scene 2
Impressionable
Attracted to a false form
Misogyny similar to Orsino in 2.4
‘O time, thou must untangle this, not I. It is too hard a knot for me t’untie’
Viola
Act 2 Scene 2
Leaving her future up to fate
Link to Gordion Knot, must be looked at differently
‘Do ye make an ale house of my lady’s house?’
Malvolio
Act 2 Scene 3
Malvolio is of a much lower social standing
Piety due to Puritanism
Perhaps hoping he will be rewarded for his devotion to Olivia
‘Art any more than a steward?’
Sir Toby
Act 2 Scene 3
Taunting Malvolio
Summarises the tensions of the play
Toby turns cruel - tone
Doesn’t use “thou” lack of respect
‘If ever thou shalt love, in the sweet pangs of it remember me’
Orsino
Act 2 Scene 4
Ironic as she loves him
Oxymoron
How does he know the notions of love - he has not truly felt it
‘For women are as roses, whose fair flower being once displayed doth fall that very hour’
Orsino
Act 2 Scene 4
Metaphor
Beauty and love don’t last
Misogyny
Sonnet 130 - unrealistic expectations of women
‘changeable taffeta… thy mind is a very opal’
Feste
Act 2 Scene 4
Snide comment from Feste - power over houses and ability to see all
Orsino’s changeable nature
‘they lack retention. Alas, their love may be called appetite’
Orsino
Act 2 Scene 4
Motif of consumption (Recieveth as the sea)
Ironic, he does not understand love
Physical not emotional love
‘he brought me out o’ favor with my lady about a bearbaiting‘
Fabian
Act 2 Scene 5
Malvolio’s influence
Theme of hunting
Disrupts the fun of others
‘practicing behavior to his own shadow this half hour’
Maria
Act 2 Scene 5
Malvolio’s ‘self love’
Desire to be higher in status
‘branched velvet gown’
Malvolio
Act 2 Scene 5
Defying sumptuary laws of the period
Greed and desire for riches - above his status
‘having come from a day-bed where I have left Olivia sleeping’
Malvolio
Act 2 Scene 5
Purity? Defying Puritanical image
Laziness - no desire for action
‘these be her very C's, her U's and her T's’
Malvolio
Act 2 Scene 5
Sexual joke
Suggests that the nature of his interest in Olivia may be for sex as well as power
Unwitting, sexually inexperienced, like Andrew who asks ‘why that?’
‘A sentence is but a cheverel glove to a good wit: how quickly the wrong side may be turned outward’
Feste
Act 3 Scene 1
Feste’s manipulation of language
How humour can be taken the wrong way/changed
‘she will keep no fool, sir, til she be married… I am indeed not her fool but her corrupter of words’
Feste
Act 3 Scene 1
Suggests that all men are fools
Feste sees his manipulation of language and foolery as above others
He holds power in the play in his ability to do this
‘now Jove in his next commodity of hair send thee a beard’
Feste
Act 3 Scene 1
Suggestion either of Viola’s youth or her gender
Feste as above the other characters in the play: seeing through disguise
Double entendre
‘this fellow is wise enough to play the fool’
Viola
Act 3 Scene 1
Shows her intellect in recognising this
Topsy turvy nature of the play
Suggests respect between the characters - understanding as only they can move between houses
‘have you not set mine honour at the stake, and baited it with all th’unmuzzled thoughtd that tyrannous heart can think?’
Olivia
Act 3 Scene 1
Hunting metaphor/motif
Reference to predator v. prey, like Orsino, both describe themselves as prey
Desires and fantasises about Cesario set free
‘that’s a degree to love’
Olivia
Act 3 Scene 1
Doesn’t understand love
Falls in love from willow cabin speech
Desperation
‘I am not what I am’
Viola
Act 3 Scene 1
Irony
Hinting at identity
Double meaning
Note 
Flashcard (60)