Andrew, sir Sir Andrew Aguecheek is a buddy of Sir Toby. He looks to be an intriguing individual, yet he is the polar opposite of what he promises. He has a tendency to misinterpret whatever Sir Toby says and is arrogant. He thrives on picking battles. He also wants to marry Olivia and challenges Cesario to a battle. Finally, Sir Toby assists Andrew in recognizing his shortcomings.
This article offers a list of the characters in William Shakespeare's play Twelfth Night. A synopsis of the narrative and several data about the play may be found at Twelfth Night by William Shakespeare. William Shakespeare's timeless works include a plethora of well-known and beloved characters. His plays' character descriptions generate vivid images that allow the spectator to fully grasp the storylines. The cast of characters ranges from the comical to the sorrowful. William Shakespeare's character designs bring historical figures to life. The following is a list of characters from Twelfth Night. Twelfth Night Characters Duke OrsinoOlivia
Aguecheek, Sir Andrew
Sir Andrew Aguecheek (alternative spelling: Ague-cheek) is a humorous character from William Shakespeare's Twelfth Night, or What You Will. Sir Andrew, one of the central characters, is a stereotyped idiot who is coerced into imprudent duelling with Cesario and is gradually robbed of his money by Sir Toby Belch. He is a dimwitted, egotistical, and clownish individual. His character in the play is humorous not only because of his pitiful circumstances and lengthy speech, but also because of his distinctive, long-faced look and flamboyant clothing sense. Alec Guinness, Christopher Plummer, Paul Scofield, and Roger Rees have all starred in the part.
Lieutenant, Second Lieutenant These two individuals identify Antonio as the perpetrator of crimes against Orsino and arrest him. They imprison Antonio in the last act, reminding Orsino of the crime committed by Antonio. Viola A young lady who is shipwrecked after the death of her twin brother Sebastian and ends herself in Illyria entirely by chance; she tries to make the most of her position by being accepted into Orsino's service as a young eunuch called Cesario. Viola swiftly earns Orsino's trust, and he confides in her all of his heart's secrets; she is tasked with courting Olivia, despite the fact that Olivia falls for Viola as Cesario. Viola is in love with Orsino, but she is unable to accept it; she does, however, succeed in winning his affections and convincing him to be a more honest, less self-centered person.
Sir Andrew Role In Twelfth Night
Sir Andrew Aguecheek is Malvolio's counterpart and hence also a representation of the title. Sir Andrew is shown to be stupid and dumb, and maybe a touch dim-witted, as seen by his insistence on believing "accost" is Maria's surname: SIR ANDREW: I want to make a closer acquaintance with you, Mistress Accost.
Twelfth Night was composed about 1600 âat a time before a woman's place was envisaged as a distinct realm, since women were seen as akin to other social inferiors in a hierarchical society throughout the Renaissance (Malcolmson 161). England was experiencing a period of sociopolitical stability and an appreciation for the arts during this time period. Regrettably, Elizabethan culture was a patriarchal society in which women had a little role. Females were inferior to males in Elizabethan culture not just because to their unpredictability, but also due to their nature as the "gentler sex." A woman was deemed qualified for homemaking if she had the following characteristics.
Notable appearances [adjust] Sir Andrew has been attributed to the Elizabethan actor John Sinklo. [9] Alec Guinness, Paul Scofield, Juan Garibay, Christopher Plummer, and Richard E. Grant are among the actors who have excelled in the character of Sir Andrew. Grant starred in Trevor Nunn's film rendition of Twelfth Night, performing horribly in front of Mel Smith's Sir Toby, getting his sword hooked in a tree limb, and being kicked in the crotch during his duel with "Cesario" (Imogen Stubbs). [reference required] When Maria (Imelda Staunton) dupes Malvolio (Nigel Hawthorne) into wearing yellow stockings, she informs her other conspirators that "that is a color [my lady Olivia] despises." They next focus their attention on Sir Andrew, who is dressed in a yellow waistcoat, tie, and stockings. At the film's conclusion, he is granted some dignity by kissing Olivia's (Helena Bonham Carter) hand and leaving her estate with his head held high.
Shakespeare uses Feste's ability to juggle words to demonstrate the distinction between Feste and other fools, since fools are typically thought to be uneducated buffoons who entertain via jokes and juggling items. Feste, on the other hand, demonstrates his understanding into the people around him while also expressing his opinion on which destructive state he would rather be in, "many a good hanging stops a horrible marriage." He is implying here that a horrible marriage may occur and that death is preferable than living in misery. Feste is not as devoted to his mistress as Malvolio and Viola are to Orsino, since he moves among the many courts in pursuit of favor and money. In Orsino's court, he sings about love and how it may kill, "I am murdered by a lovely terrible woman," man's stupidity, and man's deceptive nature, but in Olivia's court, he sings more joyous and carefree songs while still commenting on the characters' behavior.
Sir Andrew Character Traits In Twelfth Night
AntonioAntonio is an enigmatic figure. He is also kind in that he does not abandon Sebastian after the shipwreck and stays with him in the court of Orsino. Antonio is very certainly in love with Sebastian, yet he never portrays or expresses this affection. He did, however, show genuine concern for Sebastian and took care of his financial requirements. Antonio and Sebastian's relationship may be described as one of devotion, sincere friendship, and affection.
So what? We're delighted you inquired. Consider the larger picture for a minute. As a comedy aimed at the fulfillment of heterosexual desire (see our discussion of "Genre"), Twelfth Night employs Viola/"Cesario" as the mechanism that throws the world into temporary disarray (her cross-dressing causes the majority of the play's confusion) and then as the figure that restores order to the "topsy-turvy" world. So, what is it about Viola/"Cesario" that is so endearing? Ask Olivia and Orsino, who are always extolling the beauty and sexiness of "Cesario's" androgynous looks. (Androgynous is a colloquial term for "masculine" and "feminine.") Viola/"Cesario" demonstrates that androgynous characteristics may be rather appealing. Viola's "Cesario" disguise also performs an admirable job of dissolving gender lines, demonstrating that gender, like any other theatrical or social position, may be impersonated or portrayed.
Illyria's Duke and ruler. Orsino begins the play consumed with his unrequited love for Olivia. However, when Orsino realizes that Cesario is really the lady, Viola âand that Olivia has already married Viola's twin brother, Sebastian âhe hastily proposes to Viola. Because Orsino's vocabulary and actions while discussing love are so theatrical, and because he alternates between Olivia and Viola so often, Orsino seems to be more in love with the concept of love and his own position as a rejected lover than with being in love. His frequent self-indulgent whining about his lovesickness demonstrates his severe self-centeredness as well. Additionally, some have remarked that he seems to be drawn to Cesario in his masculine character in the closing scene.
This is amusing to Sir Toby and the rest of the group, since Malvolio not only has an unpleasant demeanor, but he also lacks nobility in his blood. In Shakespeare's day, no lady of nobility would marry a man beneath her, for fear of tarnishing her reputation. Now, the âTwelfth Nightâ was a period when societal structures, at least momentarily, ceased to exist. Maria marries Sir Toby because she succumbs to the feast's wild, anarchic mood. Malvolio, on the other hand, is incapable of entering the mind of the rebel; he is only interested in bending the laws to his own advantage.
What Is Sir Andrew'S Primary Character Motivation In Twelfth Night
21, 2. but what of it, but that is irrelevant. 22, 3. If it pleases... all, if it pleases the eyes of her whom it is intended to please, that is sufficient for me; for, as the ballad states, by pleasing her, I please all whom I wish to please; Please one... all is the title and burden of an old ballad, which can be found in its entirety in Staunton's Shakespeare.
Maria is another side character. She is Olivia's vibrant, intelligent, and naughty maid. She is sprung from a Shakespearean tradition of servants who are wittier and more astute than their masters. Thus, she will be seen as being considerably more clever than Sir Andrew Aguecheek, and he will become the target of her many jokes and puns, but he will never comprehend to what degree Maria mocks him. Sir Andrew Aguecheek is crucial for the story primarily because he earns three thousand ducats each year, and Sir Toby wishes to maintain a cordial relationship with him in order to benefit from the eccentric knight's beneficence. As a result, he is always plotting methods to convince the knight that Olivia is actually open to the tall, skinny, comical knight's amorous advances. Now we know that two radically different individuals, Duke Orsino and Sir Andrew Aguecheek, are both vying for the Lady Olivia's hand in marriage. Malvolio will later become a third "suitor" as a result of a hoax orchestrated by Maria and her companions.
18. A extreme view of ethics indicates that researchers are free to do anything they choose. It is critical to use checklists of ethical behaviors. Institutional Review Boards' authority should be bolstered. Ethics should be self-reflective. d: Ethics should be self-reflective. 19. Ethical issues might develop while doing Internet research due to the following: Everyone has access to digital media. Respondents may attempt to conceal their identity. Researchers may attempt to conceal their identity. Internet research must be discrete. b: Respondents may fabricate their identities.
Viola reveals here that she fashioned Cesario after her brother Sebastian's appearance and conduct. As Joan Woodward discusses in an academic article, Viola may have done this to compensate for the death of her brother; this is a logical approach for Viola to cope with her sorrow, as well as a brilliant narrative device.
