0:03 hello and welcome to the next part of
0:15 scene I've sort of jumped ahead of
0:18 myself and here we are and I've also
0:20 forgotten to highlight hang on with the
0:21 magic of the
0:24 internet there we go there you go act
0:26 two scene two so without further Ado
0:30 let's jump into it but don't forget to
0:33 like subscribe notification Bell watch
0:36 my other videos etc etc you know all
0:41 that good stuff so let's carry on so
0:43 it's another pretty short scene actually
0:45 but we' got Vier and
0:48 malvolio and remember that we've got
0:51 Olivia has sent malvolio in pursuit of
0:54 Viola and it always gets really
0:57 complicated doing these summaries Violet
1:00 obviously has been adopting the disguise of
1:01 of
1:06 Cesario and Olivia has fallen in love
1:09 with who she thinks is a man Cesario
1:12 who's actually a woman who is working
1:16 for the for the count or jke ofo who is
1:19 in love with Olivia himself and he sent
1:22 her to pass his messages on anyway who
1:26 yeah it's confusing this play it's not
1:31 so much a love triangle it's more a love
1:34 love not or tangle anyway sorry about
1:36 the strange noises
1:38 outside but anyway it's the wind blowing
1:42 anyway so again we've got Shakespeare
1:44 starting in the middle of things media R
1:46 again at the start of the scene malvolio
1:50 has pursued via who he also thinks is
1:52 Cesario as
1:55 well and she returns this ring to you
1:58 sir now you may remember of course that
2:01 this is actually more artifice as in
2:04 more cunning more deceit from Olivia
2:05 this kind of nice deceit she's not
2:07 trying to be horrible about it but this
2:10 is an excuse to get Cesario to return to
2:14 her so she's pretended that Cesario has
2:17 thrown a ring at her of giving her a
2:18 ring and she'd refused it and Olivia had
2:20 refused the
2:23 ring so it actually then fits in with
2:25 this whole theme of Deceit disguise is
2:27 part of that in itself but look out for
2:30 other characters doing similar things
2:32 so we
2:34 have and one more thing you never be so
2:36 hardy to come again in these Affairs
2:38 unless it be so to report your Lord's
2:42 taking of this so again with the idea of
2:44 looking at a sense of pragmatics as an
2:47 implication the implied meaning
2:50 here the audience again is a sense of
2:52 dramatic irony as well because the
2:54 audience know
2:58 that Viola didn't leave this ring and
3:00 also the audience are privy to the
3:03 information that Olivia is in love with
3:04 Cesario and this is just an excuse to
3:07 get him to come back or I say him the
3:11 perceived him to come back she took the
3:13 ring of me all none of it come so youly
3:15 threw it to her and her will is that it
3:18 should be so returned so this is all
3:19 artificial this is a completely artificial
3:21 artificial
3:23 scenario if you be worth stooping for
3:25 there it lies in your ey not be it his
3:29 that finds it so malvolio leaves
3:31 thinking he's doing his what he is doing
3:32 his mistress's
3:36 bidding but the whole scenario that he's
3:39 been told isn't actually real at
3:42 all it's very performative and so that's
3:44 another theme of the play as well isn't
3:47 it we've talked about that in the past
3:50 so Viola has an important Soliloquy here
3:52 and we've said about soliloquies before
3:54 I think you probably know what are but
3:57 it's always worth mentioning it we can
3:59 take what the character says at total
4:01 face value
4:04 via is essentially or Shakespeare's got
4:07 via articulating her inner thoughts for
4:09 the benefit of the audience it's not
4:11 quite the same as a monologue because a
4:12 monologue can be delivered with other
4:14 characters on the stage a monologue can
4:17 be still delivered to an audience but a
4:19 character may not actually be telling
4:21 the truth in a monologue so Soliloquy is
4:23 different it's part of the conventions
4:26 of the theater of Shakespeare's
4:31 time and we have a nice bit
4:34 of personification here with Fortune
4:36 forbid my outside had have not Charmed
4:40 her so the idea of Fortune as in like
4:42 you know Lady Luck that's still a phrase
4:44 you may hear I often say these things
4:46 and people go I've never heard of that
4:48 before but Lady Luck as an
4:51 embodiment of luck
4:54 basically so you also have this is
4:57 another technique again which you well
4:59 you'll know the word but this is a bit
5:00 of a strange way
5:03 you can cite this as an example of
5:07 apostrophe but it's not apostrophe in
5:09 the sense of what I always refer to as
5:10 the hovering
5:12 tadpole which is the normal apostrophe
5:14 that everybody knows and the hovering
5:16 tadpole I've always thought would make a
5:19 great name for a pub actually but
5:22 anyway in terms of what apostrophe is in
5:24 this case it's a different form of it's
5:25 the same word I can't do anything about
5:28 that I'm sorry but it's when a character
5:32 invokes God God or gods or in this case
5:35 the embodiment of something the
5:37 embodiment the spirit of something and
5:39 you invoke it particularly in this kind
5:42 of speech actually so yeah it's the same
5:44 spelling as apostrophe the normal one
5:47 you know it's just one of those weird
5:50 little quirks there is a good reason for
5:52 it but I'm not going to go off on that
5:56 right now so we will leave it there then
5:58 you've got via's self-realization of she
6:01 loves me sure
6:03 she actually realizes that Olivia has
6:05 fallen in love with her as well I love
6:06 the word
6:09 Jurish it's a word that's archaic now
6:11 but means rude
6:13 effectively why he sent her none of my
6:16 lords Rings why he sent her none
6:19 so obviously V is Shakespeare is also
6:20 making this clear to the audience what's
6:22 happened as well in case you missed it
6:24 in case in Shakespeare's time people
6:26 would Mill about particularly in the
6:28 cheaper area of it you the Groundlings
6:30 where they could just walk around and
6:31 stuff so they might have gone off to get
6:33 some nuts or gone and had a chat with a
6:35 friend or something so Shakespeare
6:38 actually does make it clear that just to
6:40 make sure that you listen to this squ
6:41 this is an important bit it's an
6:43 important character saying important
6:46 things and just to make it clear that
6:50 the ring wasn't given to Olivia by Vier
6:53 as Cesario right so this is clear so it
6:56 does help reemphasize that but in terms
6:58 of the character significant line here
7:01 for if you're looking at a of identity I
7:06 am the man so via realizes that her
7:09 masculine identity has been
7:13 completely accepted completely believed
7:16 completely credible in all of these
7:20 aspects and so much so that Olivia has
7:24 fallen in love with who she thinks is
7:26 Cesario and you can really unpack this
7:29 you can you can go it might depend on
7:33 how different Productions portray vus
7:36 Cesario so you can read this into lots
7:39 of different ways you can say that the
7:41 reason Olivia has fallen in love with
7:44 Cesario is because Cesario is actually a
7:46 woman and that's why she's fall in love
7:47 with you can you can have a reading of
7:48 it like that
7:51 completely it also would connect
7:55 to Antonio's love for Sebastian we
7:57 talked about in the previous scene as
7:59 well which again it's all open to
8:01 interpretation this is why it's so much
8:02 fun and what's even better is you're
8:04 allowed to have your own opinion you
8:06 don't have to agree with everything that
8:08 I'm saying and I don't even expect you
8:11 to I don't want you to sounds rude now
8:13 doesn't it anyway let's carry on then I
8:15 am the man great line she would better
8:17 love a she would better love a dream
8:19 this even better disguise I see that art
8:21 of wickedness wherein the pregnant enemy
8:23 does so much and of course what's this
8:25 another example of rhetorical question
8:27 time no it's not rhetorical question
8:28 that's me doing a rhetorical question
8:30 stop confusing the L this is another
8:34 example of apostrophe so disguise I see
8:37 thou art a wickedness so again Vier is
8:39 invoking the spirit of Disguise here is
8:41 another example of
8:43 apostrophe wherein the pregnant enemy does
8:44 does
8:47 much so there is a real sense of wisdom
8:50 here in this Soliloquy as well Vier as a
8:53 character has a heightened awareness of
8:56 gender her
8:58 experience of living as a man and being
9:01 perceived as a a man and obviously
9:02 living as a woman being perceived as a
9:04 woman she's she's got heightened
9:06 heightened awareness and if you do if
9:08 you do Classics it reminds me of the uh
9:12 the legend of um tyresius and who was a
9:15 gender switching character say character
9:18 mythological figure who gained great
9:22 wisdom because tyresius lived both as a
9:24 man and as a woman and therefore
9:26 understood human nature better as a
9:28 result so I think there may be a link to
9:30 that I no evidence for it but it just
9:33 reminds me of that particular that
9:35 particular myth look it up it's
9:37 interesting anyway there is a lot more
9:40 to it than I'm saying right
9:43 now also VI realizes that wow it's
9:45 really easy isn't it for men who want to
9:48 deceive women it's actually really easy
9:50 how easy it is for the proper force in
9:51 women's wax and hearts to set their
9:54 forms it's a nice metaphor so the idea
9:56 about wax being malleable and something
9:58 easy to shape like women's Hearts as
10:00 something that easy to shape so the idea
10:05 of being able to mold it so the proper
10:07 Force you know so Cesario so imagine if
10:10 I was a man with Wicked intent I could
10:13 easily deceive a woman like this just
10:16 really really surprising there but such
10:18 we made of of such we be how will this
10:20 fagge always get to laugh that word
10:23 there as well but yeah there may be some
10:24 there may be some sexual connotations to
10:27 it but normally is how is this going to
10:29 how is this going to work out
10:30 Shakespeare has
10:33 Violet offer the summary of the
10:35 situation my master loves her dearly and
10:38 I poor monster fond as much on him and
10:41 she mistaken seems to dot on me I think
10:43 sometimes when I've had students write
10:45 essays about this I think they take that
10:49 line maybe a bit too literally is
10:52 seeing seeing herself as a as a as a
10:54 kind of I don't know almost say a freak
10:55 I don't want to use that word but in
10:57 this case that's how I've seen people
10:59 write about it like that uh I don't see
11:01 it like that I don't think it's being
11:04 used as the same way I think it's more a
11:08 reference to She's In This Very Lial
11:12 space neither quite male or female and
11:14 she's in this unusual
11:18 situation where she's in love with
11:20 someone who's in love with someone else
11:23 and this love is crossing over gender
11:26 boundaries and in the society that
11:30 Shakespeare's writing this play this
11:33 isn't conventional kind of relationships
11:35 but of course it would actually be
11:39 reflecting real people and real emotions
11:41 because those things don't change over
11:42 hundreds of
11:44 years like when I was talking about
11:48 Antonio in the last scene as well so
11:50 again you can explore and expand all of
11:52 this as
11:54 well what will become of this as I am
11:56 man my state is desperate for my
11:59 Master's love As I Am Woman now alas the
12:01 in it so you may as well have a
12:05 dream and I've now lost where that
12:08 is it's there she would better love a
12:12 dream so that's another metaphor so the
12:14 idea what thft this sigh shall poor
12:16 Olivia breathe she's saying she's going
12:19 to be wasting her time sighing in love
12:23 over me because I'm basically there that
12:26 but poor Olivia is in love with just an
12:30 idea and the idea that she's in love
12:32 with is in
12:37 reality a woman in love with
12:39 osino then Shakespeare rounds it off
12:41 with a rhyming coulet as he always will
12:44 with the sililo oh time look at that oh
12:46 look more apostrophe here as well look
12:49 oh time the embodiment of time being
12:50 capitalized there you see that's your
12:53 clue thou must untangle this not I it is
12:57 too hard a not for me to untie so that's
12:59 a nice metaphor there of this
13:01 effectively I think I said at the start
13:02 didn't I I said it was like a not a love
13:04 triangle it's more like a love tangle
13:08 it's a love tangle very complicated and
13:09 it's actually going to get more
13:11 complicated lots of different
13:13 complicated elements all combining
13:17 together here to really you know add to
13:19 the themes of the play so anyway it's
13:20 only a short one that one thank you for
13:22 listening like comment subscribe
13:24 comments hope you enjoy the
13:27 rest and have a great day or night
