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Steve Sohmer

Suppose I could convince you that William Shakespeare wrote Twelfth Night for a performance before Queen Elizabeth I on Twelfth Night, 6 January 1601/02? Suppose I demonstrated that Shakespeare laced his play with anagrams because the Queen loved word-games, and anagrams were all the rage at Court? What if I persuaded you that Thomas Nashe

in Reading Shakespeare’s mind
Steve Sohmer

This chapter examines two aspects of Twelfth Night which support my suggestion that Shakespeare wrote the play for performance before the Queen. One is his repeated intrusion of anagrams; the word-game was popular at Court, and the Queen herself known to play at it. The second is the previously unrecognized subject of Feste’s ‘gracious fooling

in Reading Shakespeare’s mind
Author:

This book will come as a revelation to Shakespeare scholars everywhere. It reveals the identity of the playwright and Shakespeare’s colleague behind the mask of Jaques in As You Like It. It pinpoints the true first night of Twelfth Night and reveals why the play’s performance at the Inns of Court was a momentous occasion for shakespeare. It also the identities Quinapalus, the Vapians, Pigrogromitus and Feste, as well as the ‘Dark Lady’ of the Sonnets and the inspiration for Jessica in The Merchant of Venice. And it solves Shakespeare’s greatest riddle: the meaning of M.O.A.I. in Twelfth Night. In sum, this book reveals William Shakespeare as a far more personal writer than we have ever imagined.

Steve Sohmer

In his lectures on Twelfth Night Emrys Jones insisted that ‘the whole play drives toward the moment of the twins’ reunion’. Indeed, reunion – better yet, resurrection – is (to use Molly Mahood’s choice words) the principal ‘governing idea’ of the play. I will show that there is a link between reunion-resurrection, Candlemas, and William

in Reading Shakespeare’s mind
Steve Sohmer

: INT. WILL’S ROOM. DAY. A blank page. A hand is writing: TWELFTH NIGHT. We see WILL sitting at his table.     WILL (VO) My story starts at sea ... a perilous voyage to an unknown land ... a shipwreck EXT. UNDERWATER. DAY. Two figures plunge into the water.     WILL (VO) the wild waters roar and heave ... the brave

in Reading Shakespeare’s mind
Steve Sohmer

In Twelfth Night 2.5, the billet-doux which gulls Malvolio proclaims, I may command where I adore, but silence like a Lucresse knife: With bloodlesse stroke my heart doth gore, M.O.A.I. doth sway my life. (100

in Reading Shakespeare’s mind
Steve Sohmer

I’ve suggested that in As You Like It Shakespeare etched into Touchstone an effigy of Thomas Nashe. I will show that in Twelfth Night Shakespeare produced another, more highly developed portrait of Nashe as Feste – and thrust him back into conflict with his real-life nemesis Gabriel Harvey, whom Shakespeare cast as Malvolio – ‘He who

in Reading Shakespeare’s mind
Shakespeare, Harington, Reynolds and the metamorphosis of scatology
Peter J. Smith

I Act II, scene v, the ‘box-tree scene’, is the comic climax of Twelfth Night , yet, despite its usually rapturous reception in the theatre, it contains a number of textual cruxes which, so far, have eluded satisfactory explanation. In the scene, the posturing Malvolio stumbles across the love-letter (forged by Maria) and, overlooked by

in Between two stools
Abstract only
Indira Ghose

disciplined by the plot. The shift in the type of humour he purveyed is best exemplified in his last romantic comedy, Twelfth Night , and in his creation of the wise fool as a stage character. The stage fool The Erasmian notion of Folly may well have been influential in shaping the role of the wise fools in Shakespeare. 7 But there are other

in Shakespeare and laughter
R. S. White

unbroken theatrical tradition leading back at least to Shakespeare’s Twelfth Night , As You Like It , and The Merchant of Venice , needing no overt acknowledgement to establish the influence. The ways in which disguise is handled in at least some films suggests the device is unlikely to have come out of the blue into the new medium, and they are so reminiscent of Shakespeare’s practice in his

in Shakespeare’s cinema of love