?If music be the food of dearest, play on?? With these wrangle as the play?s beginning, it comes as no discernment that the correlation amongst be intimate and music turns out to be a significant motif of Twelfth Night, exploited lots by Shakespeare and on several occasions. His incorporation of song and instrumentation in the midst of prose emphasizes the atmosphere of melancholy and comedy that the communion creates, performing off of the action and bailiwicks of the play. This thought certainly holds a airmanship for the music made by the clown Feste in cause II, scene IV. His short rhyme ascertains the painful story of the disconsolate that accompanies unrequited love, which has obvious ties to the love triangle found in the midst of Orsino, Viola and Olivia. Howevera closer analysis of this song may be used to uncover the further accounts that it addresses ? those of disguise and loss. Shakespeare makes these themes more percipient with his use of literary de vices, such as metaphor, oxymoron, and symbolism in the song. It is the employment of these rhetorical figures within the song paired with its tell between love and death that perpetuate the central theme of unrequited love based on disguise. From unrequited love springs death.
This overly dramatic statement serves as the story edge of Feste?s song, mirroring much of the story of Twelfth Night where trine characters become the victims of an unreturned love. The dramatic and extreme metaphor of death that is employed, however, is about closely related to the similarly intense and exaggerated offense of Orsino. His flowe ry words and lamentations concerning his emo! tions, such as when he muses on the ?spirit of love, how quick and fresh art thou? (I.i.9), bring up not to be directed at Olivia but instead love itself, revealing his nature as a do-or-die(a) romantic... If you want to get a full essay, order it on our website:
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