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Twelfth Night, or What You Will is a romantic comedy by William Shakespeare, believed to have been written around 1601–1602 as a Twelfth Night entertainment for the close of the Christmas season. The play centres on the twins Viola and Sebastian , who are separated in a shipwreck.
Sir Andrew Aguecheek is a fictional character in William Shakespeare's play Twelfth Night, or What You Will. One of the supporting characters, Sir Andrew is a stereotypical fool, who is goaded into unwisely duelling with Cesario and who is slowly having his money pilfered by Sir Toby Belch. He is dim-witted, vain and clownish.
An adaption of the play Twelfth Night by William Shakespeare, it stars Madhuri Devi, Anjali Devi and S. A. Natarajan. The film revolves around the twins Adithan and Chandrika, who are separated in a shipwreck. Chandrika (who is disguised as a man) falls in love with Prince Vasanthakumar, who in turn is in love with Megala Devi.
O Mistress Mine is an Elizabethan song which appears in Shakespeare's play Twelfth Night. It is sung by the character Feste, who is asked to sing a love song by Sir Andrew Aguecheek and Sir Toby Belch. The words of the song are addressed to the singer/poet's lover.
Sir Toby is an ambiguous mix of high spirits and low cunning. He first appears in the play's third scene, when he storms onto the stage the morning after a hard night out, complaining about the sombre melancholy that hangs over his niece's household.
Malvolio is a fictional character in William Shakespeare's comedy Twelfth Night, or What You Will. His name means "ill will" in Italian, referencing his disagreeable nature. [1] He is the vain, pompous, authoritarian steward of Olivia's household.
Characters in Twelfth Night (9 P) W. Works based on Twelfth Night (2 C, 2 P) Pages in category "Twelfth Night" The following 3 pages are in this category, out of 3 total.
Twelfth Night is an 1815 satirical cartoon by the British caricaturist George Cruikshank. [1] It was published in January 1815, between the first defeat of Napoleon and his return for the Waterloo Campaign. It focuses on the ongoing Congress of Vienna which Cruikshank depicts as the "Theatre Royal, Europe". [2]