Defining the Concept of Voice Through an Assessment of Shakespeares “Twelfth Night” Essay

Defining the Concept of Voice Through an Assessment of Shakespeares one-twelfth NightIntroduction Literary give tongue to is a multifaceted subject that involves two linguistic and stylistic aspects. The readers and editors often signifi send packingtly demand the involvement of originality and creativity. The level of creativity is required in the development of lasting and satisfactory understanding of the development of the enunciate. According to Hunter College Reading/Writing Center common geniusistics of voice is Distinct from the terms persona, narrator and tone, voice is associated with the underlying vision of a writer, her general attitude toward the world. This paper is a fervently artistic creationiculates the definition of voice through with(predicate) the linguistic choices of Shakespeares in his famed play Twelfth Night in evident through his passion for drama and poetry. The voice when applied in rhetoric it demonstrates the clarity of the visions and thoughts of the writer. Voice is circumstantial to every individual more artistically conveyed in the meshs of writers. The drollness of every piece of writing as a piece of artistic work is subject to the distinct figurative role or a alone(p) commentary of the creator writer. Plays are composed of literal and allegorically unique to develop individuality for the play that is meaningful and captivate. Voice is defined as the distinctive tone or style identifiable of literary work or author. Twelfth Night demonstrates a tonal play written out to sound like a poem, w present there is rhythmic balance in the pronunciation of the lines. Most importantly, the content reflects a unique commentary that speaks beyond what is given in the play. Any individual who is accustomed to the work of William Shakespeare would be able quickly to detect that Twelfth Night is one of Shakespeares works through his techniques of writing. Shakespeare uses a unique combination of writing techniques such as twisted iambic pentameter and soliloquies. At the start of Twelfth Night, Orsino, a Duke, demands if music creates love, then Give me scanty of it, that, surfeiting (1.1.2). 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 oer my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odour Enough no more By utilise iambic pentameter, Shakespeare defines Orsinos character to be various from those of different social class. Here, Shakespeare uses iambic pentameter in a distinct focusing by switching the tones around to create a different tonal pattern. Instead of the stiff iambus of one stressed and one unstressed beat (ba-BUM) for ten syllables straight, he makes a modification to some syllables in order to emphasize genuine words.SIR TOBY BELCH Approach, Sir Andrew not to be abed aftermidnight is to be up betimes and diluculosurgere, t hou knowst, In act 2 scene 3, The sentence structure and the preceding semicolon on the first line direct the stress on give at the beginning, entirely the resulting pattern is choppy and al intimately dactylic in its meter. He often uses this technique on characters that had a higher social status in his plays. On the contrary, those characters of a lower status were deemed not to guard the leisure to experiment with literature speaking in regular prose or verse. For example, Malvolio, a butler, attempts prose in the beginning but changes to speak in verse like, twenty-four hour period and champain discovers not more this is open. I will be proud I will read politic authors, (2.5.155-157). Iambic pentameter shows control and yet the emphasis here is on the instability and the intensity of class difference. Thus, Shakespeares manipulation of regular iambic pentameter to create differential approach to the field of play each character has. This inherently configures a reflection of his unique voice, and this leads readers to think that, in literature, voice is distinct and unique to develop a persona. Another literary device that ordinarily found in Shakespeares Twelfth Night is soliloquy, which involves a character speaking his or her thoughts aloud. The estimations conveyed by the actor are a way providing nurture from Shakespeare own point view on certain situations. In 2.2 of Twelfth Night, Viola, disguised as Cesario, conveys her realization of the mistakes she caused due to her disguise Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much. How easy is it for the proper-false In womens waxen hearts to pitch their forms Alas, our fraility is the cause, not we, For such as we are made of, such we be. How will this fadge? My master loves her dearly,And I, poor monster, fond as much on him,And she, mistaken, seems to dote on me.What will become of this? As I am man,My reconcile is desperate for my masters love.As I am woman, no w, alas the day,What thriftless sighs shall poor Olivia breathe (2.2.2638) This soliloquy serves a purpose of developing context international of the literal play. In real life, people dont typically speak their thoughts aloud when alone. Shakespeares use of soliloquy is a active version of what the audience does not yet understood. Thus, the conscious choice to use a soliloquy is exemplification of Shakespeares voice because, it develops Shakespeares style of presenting mental or non-visible information to become visible to the audience. Soliloquy adequately conveys the strength of Shakespeare to back audience into the scene of play through understanding of the event. Secondly, it develops in a way where Cesario is aware of the whole plot and takes on a role in knowledge as an audience. Furthermore, this foreshadows of how there will be a conclusion to tease this lie, and chaos Viola has created through her disguise. These complex ideas are voices for Shakespeares readers to no tice through his voice beyond the literal sound of the play. A complex idea beyond the authentic voice of the play also develops the style that is distinct to Shakespeare. In the same scene, Shakespeare also personifies the concept of a disguise to render a style of narration. Shakespeare uses apostrophe, and aside or address inanimate objects as though they are alive. For example Cesario concludes that Time, which she addresses as a character, must unravel this madness, as she cannot untie Olivias confusion, O, Time, thou must unravel this, not I (2.2.39). In this soliloquy, Caesario highlights the weakness of women, the subjectivity of love and the conflicts presented by appearance versus reality. The use of monologue, apostrophe and iambic pentameter in combination create Shakespeares voice. It sets his writing apart from other writers who present a similar plot. For example, Ewon Leslies Shes the Man incorporates scenarios from Twelfth Night but is written in an entire differen t voice and style. Both presenting a story plot of a woman in disguise of men creating a chaotic love web, Shes the Man, is different as the literal voice was of modern English. Which does not use poetry, soliloquy, nor personification. Through examining Shakespeares use of personification and soliloquy, audiences can see that idea of voice is unique on its own and cannot be imitated. In fact, it is not only a unique concept to developing a figurative voice for Shakespeare, but also a voice in writing. It is one of the last of the Elizabethan comediesreflecting the anxieties and uncertainties of its historical moment, and first seventeenth century comedy, and is in many ways a beginning -of-century play, inaugurating a new poetics some commentators have been it as the first of the dark comedies (Elam 2). This explained through his scene, which prepares us for dramatic irony when Maria, Sir Andrew, and Sir Toby write the letter to Malvolio, under the pretence of Olivia. Maria I will drop in his way some obscure epistles of love wherein, by the colour of his beard, the shape of his leg, the manner of his gait, the expressure of his eye, forehead, and complexion, he shall find himself most feelingly personated. I can write very like my lady your niece on a forgotten matter we can hardly make distinction of our hands. As we, the audiences are aware of the deception, because Malvolio himself is not aware of it when he finds and reads the letter during Act 2, stage setting 5. Presuming the letter is for him, and from Olivia, he proceeds to embarrass himself. This structure of the voice develops as Shakespeare style in dramatic irony where the audience becomes important to the play. Voice here holds a distinct figurative role to incorporate audience into understanding voice of Shakespeare. A further technique that is commonly used by Shakespeare and is, therefore, representative of his voice concerns the way in which he incorporates the audience into play. Accordin g to Keir Elam, Twelfth Night, pleasures and trials of spectatorship (Elam 3). By having spectatorship and asking audience for appraisal, establishes the use of dramatic irony. Audience is present and lunacy in the same space as the characters through the lines Sir An. Here comes the cosh, i faith. Look, here comes a fool. Fes. How now, my hearts Did you never see the picture of We Three? Hello, my friends What a pretty picture, three fools all together. Sir To. Welcome, ass. Now lets have a catch. (2.3.12-17) Taking this even further, Shakespeare typically uses a fool to breaks the fourth wall. The fool is present in this piece as he is in many of Shakespeares plays for example, Puck in A Midsummer Nights trance invites the audience to be with them. This analysis of the way Shakespeare uses tone, mood, style and figurative techniques through the fool to demonstrate his thinking and logic provides further insights reflecting his personality and ability to curb what is perceived. However, in Shes the Man, a movie that relate only to the plot of the work, the poetry and character being all his own (Hudson 8), the fool is the audience (not a character). The story presented in Shes the Man has every potential to be another copy of Twelfth Night because it shares a similar plot. Referencing stories outside set Twelfth Night apart from Shes the Man, such as that Twelfth Nights setting of the play, Illyria , as an exotic and unfamiliar location associated with literary romance, lyricism, and illusion, (Entland, 149). However, the way it is written, its voice, sets it aside from Twelfth Night, which was very much a play written for characters to perform. This leads the audience to form the conclusion that voice is something that is expressed and received by the initiator and a receptor. As such, it was important for Shakespeare to develop a style that was unique to him as, through his writing, he expressed himself his voice was an extension of his thoughts, feelin gs and emotions. Through using a combination of technique and linguistic process, Shakespeares voice conveys his opinions, likes, and interests to set up the mood.In fact, the place cannot be found because it is a myth. Thus, voice become unique in bringing the reader to notice outside information that interests the author. Another interesting concept that is presented through the voice of Twelfth Night is the social classicism good turn around and move to talking about Shakespeares voice of who he is.. In Twelfth Night, the characters fail to adhere to social expectations how community diagnoses madness when a person fails to perform his known identity member of a particular class as well(Schiffer 234). Rise of people who will form the bourgeoisie class matter due to crumbling of aristocrats. The play contains a trick on a set of individuals who think they are exercising power and control. Malvolio, a untarnished butler, perceives himself to be superior to Toby, an alcoholic a ristocrat and Maria, a servant. Toby, though an aristocrat, does not exhibit much power initially, but in the end does have most of the power. Toby and Marias letters ultimately drive Malvolio out of control. This demonstrates the modernist revolution in the arts during the late Renaissance in the service of the avant-garde. And perhaps reflect Shakespeares stance in studies was open to movements such as structuralism and feminism. In addition to the literal elements of Shakespeares voice that are describe in the lines of Act 2 tantrum 2, there are also figurative aspects that set his work apart from that of other playwrights and authors. According to Christine Ashby, a language researcher, the production of voice and its use as a tool are separate from the thinking of the individual. Figurative voice represents the voice of the person expressed through their idea, concept or logic. Twelfth Night is a play about the dramatization of currently fashionable issues such as gender and sexuality (Elam 2). This adheres to the famous recurring plot that is typical of Shakespeares plays as expressed through the idea of a love triangle, star-crossed lovers, where women is deemed to be powerless when it comes to love. For example, Act 2 Scene 2, Viola expresses how women are subjects to love for men. This derives from a larger social commentary outside of the play.Conclusion Through assessing the work of Shakespeare, voice can be both literal and figurative. It reflects the authors thoughts, desires and provides insights into what the author would like the audience to think, or how he or she would like them to receive the play. Shakespeares voice is reflected in his unique style and techniques. The aspects of his work that sets him apart from others work in combination to give his work his voice. Examining Shakespeares work has refined definition of voice as an faithful literal sound of the writer, distinct figurative role, a unique commentary.ReferencesAshby, Christ ine. Whose Voice Is It Anyway? Giving Voice and Qualitative Research Involving Individuals That Type to Communicate. Disability Studies Quarterly. siege of Syracuse University, 2011. Web. 06 Dec. 2014. .Glossary of Literary Terms. HUNTER COLLEGE READING/WRITING CENTER WRITING FOR ENGLISH COURSES. Ed. Anna C. Rockowitz. Hunter College Reading/Writing Center, 1998. Web. 5 Dec. 2014. .Hudson, Henry N., Rev. Shakespeares Twelfth Night Or, What You Will. Boston Ginn, 1895. Print.Schiffer, James. Twelfth Night New Critical Essays. Abingdon, OX Routledge, 2011. Print.Shakespeare, William, and Elizabeth Story Donno. Twelfth Night, Or, What You Will. Cambridge Cambridge UP, 1985. Print.Shakespeare, William, and Keir Elam. Twelfth Night, Or, What You Will. London Arden Shakespeare, 2008. Print.Shakespeare, William. Twelfth Night Or, What You Will. New harbor Yale UP, 1954. Print.Shakespeare, William. Twelfth Night, by William Shakespeare. London J. M. Dent, 1935. Print. The New Temple Shakes peare.Shes the Man. Dir. Andy Fickman. Prod. Lauren Shuler-Donner and Ewan Leslie. By Ewan Leslie. Perf. Amanda Bynes, Channing Tatum, and Laura Ramsey. DreamWorks Distribution LLC, 2006.Voice. Merriam-Webster. Merriam-Webster, n.d. Web. 07 Dec. 2014. .Source document