Shakespeare Review Vol.48 No.4 759-791
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(Twelfth Night)
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(Christiana Malcolmson 31-32).
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*
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760
” (A Midsummer Night’s Dream) (
408).
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(Malvoli)
(Hawkes
407). (Orsino) (Olivia)
(Viola)
(Sebastian)
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(Sir Toby) . “ ( ) ,
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156). . ( (
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68).
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317).
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761
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96). .
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72).
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, (Malcolmnson 32-33). . . “
” (La Volonté de Savoir 207). .
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(Deleuze)
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(“La
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Conception de la Difference chez Bergson”, 93). , . . . ‘
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Signes, 55-56) . . (
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763
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(becoming)
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(60-61).
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764
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(Charney
77). 3
4
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”(revealing disguise)
(Beiner 228). . . . ‘
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765
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“ !”(To be Count Malvolio!)(2.5.35)
. . : “ ”(Calling my officers about me, in my branched velvet gown having come from my day-bed where I left Olivia)(2.5.46-48) . . .
(Grief
59). . , (Osborne 144). . . , .
(Maria) . M.O.A.I.
766
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. O, ho, do you come near me now? NO worse man / than Sir Toby to look to me! This concurs directly / with the letter: she sends him on purpose, that I / may appear stubborn to him; for she incites me to that in that letter. ‘Cast thy humble slough,’ says / she; ‘be opposite with a kinsman, surly with / servants, let thy tongue tang arguments of state, put / thyself into the trick of singularity’: and consequently / sets down the manner how: as a sad face, a / reverend carriage, a slow tongue, in the habit of / some sir of note, and so forth. I have limed her, / but it is Jove’s doing, and Jove make me thankful! (3.4.64-78)
(Karen Robertson) ‘
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(Feste) .
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767
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The devil a Puritan that he is, or anything / constantly, but a time-pleaser, an affectioned / ass, that cons state without book, and utters it / by great swarths: the persuaded of himself, / so crammed (as he thinks) with excellencies, that it is his grounds of faith all that look on / him love him : and on that vice in him will my revenge find notable cause to work. (2.3.146-53)
. . . . M.O.A.I.
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768
. . , . (Brown 189-90). . . . . , . : “
”(I will do everything
thou will have me)(2.5.179).
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769
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(Gilles Deleuze/ Felix Guattari 443). . . . “ ”
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37). (Yachnin 784).
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770
. . . . (Topas)
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. . . . : “ , ”(Why have you suffer’d me to be imprison’d, / Kept in a dark house, visited by the priest / And made the most notorious geck and gull / That e’er invention play’d on? Tell me, why?) (5.1.340-43) .
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Alas, Malvolio, this is not my writing, / Though I confess much like the character: / But, out of question, ’tis Maria’s hand. / And now I do bethink me, it was she / First told me thou wast mad ; then cam’st in smiling, / And in such forms which here were presuppos’d / Upon thee in the letter. Prithee, be content; / This practice hath most shrewdly pass'd upon thee. (5.1.344-51)
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device against Malvolio here, / Upon some stubborn and uncourteous parts / We had conceiv’d against him)(5.1.358-61). .
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772
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44).
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773
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. . O, when mine eyes did see Olivia first, / Methought she purg’d the air of pestilence; / That instant was I turn’d into a hart, / And my desires, like fell and cruel hounds, / E'er since pursue me. (1.1.19-23)
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If music be the food of love, play on, / Give me excess of it, that,
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surfeiting, / The appetite my sicken, and 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. (1.1.1-8)
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(Mathew 337). , . .
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. , . The element itself, till seven years’ heat, / Shall not behold her face at ample view; / But like a cloistress she well 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 / lasting, in her sad remembrance. (1.1.26-32)
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. Not too fast: soft! soft! / Unless the master were the man. How now? / Even so quickly may one catch the plague? / Me thinks I feel this youth's perfections / With an invisible and subtle stealth / To creep in at mine eyes. (1.5.296-302)
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. that maugre all thy pride, / Nor wit nor reason can hide. / Do not extort thy reasons from this clause / For that I woo, thou therefore hast no cause,
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/ But rather reason that thus with reason fetter: / Love sought is good, but given unsought is better. (3.1.152-58)
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(Gilles Deleuze/Felix Guattari:
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778
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!” Those wits that think they have thee, do very oft / prove fools: and I that am sure I lack thee, may pass for a wise man. For what says Quinapalus? / “Better a witty fool than a foolish wit.” God / bless thee, lady! (1.5.31-35)
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Clown: Good madonna, why mourn’st thou? Olivia: Good fool, for my brother’s death. Clown: I think his soul is in hell, madonna. Olivia: I know his soul is in heaven, fool. Clown: The more fool, madonna, to mourn for your / brother's soul, being in heaven. Take away the fool, gentlemen. (1.5.64-70)
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. . . , . . I would I were the first that ever dissembled / in such a gown. I am not tall enough to become the function well, nor lean enough to be thought a good student; but to be said an honest / man and a good housekeeper goes as fairly as to / say a careful man and a great scholar. (4.2.5-10)
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780
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781
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Marry, sir, they praise me, and make an ass of / me. Now foes tell me plainly I am an ass: so that / by my foes, sir, I profit in the knowledge of my / self, and by my friends I am abused. So that, / conclusions to be as kisses, if your four negatives make your two affirmatives, why then the worse for / my friends, and the better for my foes. (5.1.16-22)
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(high comedy) (low comedy)
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782
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(“Body/Power” 314). . . :“ .
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.”(4.2.69-73)(I would we were rid of this knavery. If he may be conveniently delivered, I would he were, for I am now so far in offence with my niece that I cannot pursue with any safety this sport to the upshot.) , . . . . , . . , . ,
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783
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. (Kahn 338). . . . .
(gender)
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784
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. ”(I’ll do my best / To woo your lady: (Aside) yet, a bareful strife! Who’er I woo, myself would be his wife)(1.4.40-42) . .
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? Say that some lady, as perhaps there is, / Hath for your love as great a pang of heart / As you have for Olivia: you cannot love her: / You tell her so. Must she not then answer'd? (2.4.90-93)
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785
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O thou dissembling cub! What wilt thou be / When time hath sow’d a grizzle on thy case? / Or will not else thy craft so quickly grow / That thine own trip shall be thine overthrow? / Farewell, and take her, but direct thy feet / Where thou and I henceforth may never meet. (5.1.162-67)
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”(One face, one voice, one habit, and two persons! / A natural perspective, that is, and is not!)(5.1.214-15)
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(How
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have you made division of yourself? / An apple cleft in two is not more
twin / Than these two creatures. Which is Sebastian?)(5.1.220-22) .
“ ?”(Do I stand there?)(5.1.224) . .
786
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’(unmasking) . .
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, ”(Cesario, come; For so you shall be while you are a
man; But when in other habits you are seen, Orsino’s mistress, and his fancy’s queen)(5.1.384-87)
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787
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60-61)
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Deleuze, difference, emotional movement, desire for power, rise of social status, imitation, becoming, punishment
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. Shakespeare Review 36.2, 205-26.
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:
,
,
. Shakespeare Review 36.3, 407-35.
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”
22.1 (2010): 89-109.
Deleuze, Proust et les signes. PUF 1964, 1970, 1976( . ______.
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, .
:
, 1997). .
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, 2005.
788
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16.3 (2005):
149-78. . “
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9.2 (2009): 125-35.
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28.1,
19-40. . “
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25 . 27-59. :
,” . “
, (2011): 309-28. .” Shakespeare Review 37.4:
883-902. Barber, C. L. Shakespeare’s Festive Comedy: A Study of Dramatic Form and Its Relation to Social Custom. Princeton: Princeton UP, 1959. Beiner, G. Shakespeare’s Agonistic Comedy: Poetics, Analysis, Criticism. Cranbury: Associated UP, 1993. Brown, Wayne. The Rhetoric of Fiction. Chicago: U of Chicago P, 1985. Charney, Maurice. All of Shakespeare. New York: Columbia UP, 1993. Coddon, Karin S. “‘Slander in an Allow’d Fool’: Twelfth Night’s Crisis to the Aristocracy.” SEL 33 (1993): 309-25. Deleuze, Gilles, “La conception de la difference chez Bergson,” Les Etudes Bergsoniennnes, volume 4, Paris, Albin Michel, 1956. 93. Foucault, Michel. Surveiller et Punir: Naissance de la Prison. Paris: Edition Gallimard, 1975. ______. La volonté de savoir, Gallimard, 1976. ______. “Body/Power.” Power/Knowlege. Ed. Colin Gordon, New York: Pantheon Books, 1980. Grief, Karen. “Plays and Playing in Twelfth Night.” William Shakespeare: Modern Critical Interpretation. Ed. Harold Bloom. New York: Chelsea, 1987, 47-60.
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789
Hawkes, Terence. “Comedy, Orality, Duplicity: Twelfth Night.” Shakespeare’s Comedies. Ed. Gary Waller. London and New York: Longman, 1991. 169-74. Kahn, Copelia. “Choosing the Right Mate in Twelth Night. Man’s Estate: Masculine Identity in Shakespeare.” William Shakespeare: Modern Critical Interpretations. Ed. Harold Bloom New York: Chelsea, 1988. 41-46. Malcolmn, Christina. “Twelth Night: The Limits of Festivity.” SEL 212 (1982): 223-38. Mathew William Sung-Thiverge. “What you will": Bibliolatry and Epiphany in Shakespeare’s Twelfth Night. Shakespeare Review 44.2, 333-51. Osborne, Laurie E. The Trick of Singularity: Twelfth Night and the Performance Editions. Iwoa City: U of Iowa P, 1996. Robertson, Karen. “A Revenging Feminine Hand in Twelfth Night.” Reading and Writing in Shakespeare. Ed. David M. Bergeron. Newark: U of Delaware P, 1996. Simmons, J.L. “A Sourse for Shakespeare’s Malvolio: The Elizabethan Controversy with Puritans.” The Huntington Library Quarterley 36.3 (1973): 181-74. Slights, Camille. “The Principle of Recompense in Twelfth Night.” William Shakespeare: Modern Critical Interpretations. Ed. Harold Bloom. New York: Chelsea, 1987. 61-74. Yachnin, Paul. “Reversal of Fortune: Shakespeare, Middleton, and the Puritans.” ELH 70.3 (2003): 757-86.
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Abstract
Jungkun Park
Shakespeare’s Twelfth Night deals with the typical subject of romantic comedy such as fertility, reconciliation and harmony as well as the functional relation between desire for power and sexual desire in human life. Shakespeare tries to show that western society, with the arrival of Renaissance, entered the era in which the structure of economy and social status were changing and faced the fear of social fluidity, and that the relation of men and women changed through the mediation of idealistic marriage. That is to say, many people of middle class standing started to dream the promotion of social status by using the social fluidity of the Renaissance. Two characters can be contrasted in the viewpoint of Deleuze’s ‘difference’ and ‘repetition’ in this work. Malvolio tries to fulfill the desire for power and sex through the coupling with Olivia even in daydream and by using distorted literal translation of the letter. In this process he imitates the images of high class prominence such as Olivia so that he just remains in monotonous repetition of them. Eventually he is forced to be isolated and punished by showing his hidden desire for her, explicated by Sir Toby. Sir Toby, as a deputy of power, strives to punish him into imprisonment, the punishment as Foucault's concept, for which Malvolio announces his revenge to the community. In spite of Olivia’s asking for his understanding and forgiveness, he cannot transfer to good emotion on the border line between reconciliation and revenge. He enters into an ugly situation over the limit of revenge spirit, so that he cannot transfer to good emotions of reconciliation and forgiveness for the community by which he was punished. In contrast, Viola creates the difference by differentiating herself into
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various images through disguise into male person and unmasking as her strategy of survival. In addition, she leads Olivia and Orsino to overcome the sameness and to create the differences through ‘good meeting’ of Deleuze. Accordingly Olivia can escape from excessive sadness from her brother’s death through the meeting with Cesario(Viola) and comes to love Sebastian. Also, Orsino comes to marry Viola by overcoming his narcissism in loving Olivia. Sir Toby overcomes social status to marry Maria and shows mild attitude later about the punishment of Malvolio. In the end, Viola’s ensuing results in marriage with Orsino after her unmasking, by which the form of romantic comedy, endangered by the announcement of revenge, can be maintained even incompletely by restoring the comic vision.
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