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Capitalization was fixed from Tearjerker.Twelfth Night to TearJerker.Twelfth Night. Null edit to update page. Page may need a mojibake cleanup after the fact
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Changed line(s) 20 (click to see context) from:
* Depending on interpretation, Olivia's eventual fate can be this too-- having fallen for Cesario's humour and wit, she finds herself married to Sebastian, who has none of it. Notably she only has one line on the subject after the revelation ("A sister! You are she.") and after that point only talks about Malvolio's situation, not saying a word to her new husband.
to:
* Depending on interpretation, Olivia's eventual fate can be this too-- having fallen for Cesario's humour and wit, she finds herself married to Sebastian, who has none of it. Notably she only has one line on the subject after the revelation ("A sister! You are she.") and after that point only talks about Malvolio's situation, not saying a word to her new husband.husband.
* Antonio, who went to Illyria to be with Sebastian despite knowing the danger, is arrested by Orsino's men, and [[WhatHappenedToTheMouse it's never stated that he's freed]].
* Antonio, who went to Illyria to be with Sebastian despite knowing the danger, is arrested by Orsino's men, and [[WhatHappenedToTheMouse it's never stated that he's freed]].
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Changed line(s) 19 (click to see context) from:
** Richard E. Grant plays up the tragic aspects of Sir Andrew excellently as well, particularly in the scene where a drunk Sir Toby finally tells him what he really thinks of him and how Sir Andrew has been "a gull" and a pawn in his financial schemes. Particularly heartbreaking is the way Andrew just walks sadly away and Viola stares after him while everyone else moves on.
to:
** Richard E. Grant plays up the tragic aspects of Sir Andrew excellently as well, particularly in the scene where a drunk Sir Toby finally tells him what he really thinks of him and how Sir Andrew has been "a gull" and a pawn in his financial schemes. Particularly heartbreaking is the way Andrew just walks sadly away and Viola stares after him while everyone else moves on.on.
* Depending on interpretation, Olivia's eventual fate can be this too-- having fallen for Cesario's humour and wit, she finds herself married to Sebastian, who has none of it. Notably she only has one line on the subject after the revelation ("A sister! You are she.") and after that point only talks about Malvolio's situation, not saying a word to her new husband.
* Depending on interpretation, Olivia's eventual fate can be this too-- having fallen for Cesario's humour and wit, she finds herself married to Sebastian, who has none of it. Notably she only has one line on the subject after the revelation ("A sister! You are she.") and after that point only talks about Malvolio's situation, not saying a word to her new husband.
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Changed line(s) 12,13 (click to see context) from:
* In the 1996 Trevor Nunn version, Viola believes Sebastian is dead from the start, and starts sobbing "Oh, my poor brother!" and tries to throw herself into the sea while screaming his name. The captain has to pull her into a CooldownHug.
* This adaption really puts emphasis on the sad aspects of the play, and very successfully so:
* This adaption really puts emphasis on the sad aspects of the play, and very successfully so:
to:
* In the The 1996 Trevor Nunn version, film adaption ''really'' puts emphasis on the sad aspects of the play, and very successfully so:
** Viola believes Sebastian is dead from the start, and starts sobbing "Oh, my poor brother!" and tries to throw herself into the sea (and possibly drown herself) while screaming his name. The captain of the wrecked ship has to pull her into aCooldownHug.
* This adaption really puts emphasis on the sad aspects of the play, and very successfully so:CooldownHug.
** Viola believes Sebastian is dead from the start, and starts sobbing "Oh, my poor brother!" and tries to throw herself into the sea (and possibly drown herself) while screaming his name. The captain of the wrecked ship has to pull her into a
* This adaption really puts emphasis on the sad aspects of the play, and very successfully so:
Changed line(s) 15,16 (click to see context) from:
** Maria is less jolly and bawdy but seems to be quite a melancholic, middle-aged woman who drowns her sorrows in drink and seems to feel genuinely guilty during Malvolio's breakdown.
** Feste, although comical, has elements of a tragic clown and is often sad and poetic
** Feste, although comical, has elements of a tragic clown and is often sad and poetic
to:
** Maria is less jolly and bawdy but seems bawdy, seeming to be quite a melancholic, middle-aged woman who drowns her sorrows in drink drink, and seems appears to feel genuinely guilty during Malvolio's breakdown.
** Feste, although comical, has elements of a tragic clown and is often sad andpoeticpoetic.
** Feste, although comical, has elements of a tragic clown and is often sad and
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Changed line(s) 18 (click to see context) from:
** Viola being unable to confess her feelings to Orsino, and loyally helping him try to woo Olivia.
to:
** Viola being unable to confess her feelings to Orsino, and loyally helping him try to woo Olivia.Olivia (see the page quote).
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Changed line(s) 12 (click to see context) from:
* In the 1996 Trevor Nunn version, Viola believes Sebastian is dead from the start, and starts sobbing "Oh, my poor brother!" and tries to throw herself into the sea while screaming his name. The captain has to pull her into a CooldownHug.
to:
* In the 1996 Trevor Nunn version, Viola believes Sebastian is dead from the start, and starts sobbing "Oh, my poor brother!" and tries to throw herself into the sea while screaming his name. The captain has to pull her into a CooldownHug.CooldownHug.
* This adaption really puts emphasis on the sad aspects of the play, and very successfully so:
** Olivia puts on a brave face in public and then cries when she is alone with Feste.
** Maria is less jolly and bawdy but seems to be quite a melancholic, middle-aged woman who drowns her sorrows in drink and seems to feel genuinely guilty during Malvolio's breakdown.
** Feste, although comical, has elements of a tragic clown and is often sad and poetic
** Antonio's love for Sebastian and his distress when "Sebastian" refuses to help him.
** Viola being unable to confess her feelings to Orsino, and loyally helping him try to woo Olivia.
** Richard E. Grant plays up the tragic aspects of Sir Andrew excellently as well, particularly in the scene where a drunk Sir Toby finally tells him what he really thinks of him and how Sir Andrew has been "a gull" and a pawn in his financial schemes. Particularly heartbreaking is the way Andrew just walks sadly away and Viola stares after him while everyone else moves on.
* This adaption really puts emphasis on the sad aspects of the play, and very successfully so:
** Olivia puts on a brave face in public and then cries when she is alone with Feste.
** Maria is less jolly and bawdy but seems to be quite a melancholic, middle-aged woman who drowns her sorrows in drink and seems to feel genuinely guilty during Malvolio's breakdown.
** Feste, although comical, has elements of a tragic clown and is often sad and poetic
** Antonio's love for Sebastian and his distress when "Sebastian" refuses to help him.
** Viola being unable to confess her feelings to Orsino, and loyally helping him try to woo Olivia.
** Richard E. Grant plays up the tragic aspects of Sir Andrew excellently as well, particularly in the scene where a drunk Sir Toby finally tells him what he really thinks of him and how Sir Andrew has been "a gull" and a pawn in his financial schemes. Particularly heartbreaking is the way Andrew just walks sadly away and Viola stares after him while everyone else moves on.
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Changed line(s) 11 (click to see context) from:
* The treatment of Malvolio can certainly elicit this from some people.
to:
* The treatment of Malvolio can certainly elicit this from some people.people.
* In the 1996 Trevor Nunn version, Viola believes Sebastian is dead from the start, and starts sobbing "Oh, my poor brother!" and tries to throw herself into the sea while screaming his name. The captain has to pull her into a CooldownHug.
* In the 1996 Trevor Nunn version, Viola believes Sebastian is dead from the start, and starts sobbing "Oh, my poor brother!" and tries to throw herself into the sea while screaming his name. The captain has to pull her into a CooldownHug.
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Changed line(s) 10 (click to see context) from:
-->'''Viola, scene IV'''
to:
-->'''Viola, scene IV'''IV'''
* The treatment of Malvolio can certainly elicit this from some people.
* The treatment of Malvolio can certainly elicit this from some people.
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Changed line(s) 2,9 (click to see context) from:
->But let concealment, like a worm i' the bud,
->Feed on her damask cheek: she pined in thought,
->And with a green and yellow melancholy
->She sat like patience on a monument,
->Smiling at grief. Was not this love indeed?
->We men may say more, swear more: but indeed
->Our shows are more than will; for still we prove
->Much in our vows, but little in our love.''
->Feed on her damask cheek: she pined in thought,
->And with a green and yellow melancholy
->She sat like patience on a monument,
->Smiling at grief. Was not this love indeed?
->We men may say more, swear more: but indeed
->Our shows are more than will; for still we prove
->Much in our vows, but little in our love.''
to:
->Feed
->''Feed on her damask cheek: she pined in
->And
->''And with a green and yellow
->She
->''She sat like patience on a
->Smiling
->''Smiling at grief. Was not this love
->We
->''We men may say more, swear more: but
->Our
->''Our shows are more than will; for still we
->Much
->''Much in our vows, but little in our love.''
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Changed line(s) 1 (click to see context) from:
->''She never told her love,
to:
->''She never told her love,love,''
Changed line(s) 10 (click to see context) from:
-->'''Viola, scehe IV'''
to:
-->'''Viola, scehe scene IV'''
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Added DiffLines:
->''She never told her love,
->But let concealment, like a worm i' the bud,
->Feed on her damask cheek: she pined in thought,
->And with a green and yellow melancholy
->She sat like patience on a monument,
->Smiling at grief. Was not this love indeed?
->We men may say more, swear more: but indeed
->Our shows are more than will; for still we prove
->Much in our vows, but little in our love.''
-->'''Viola, scehe IV'''
->But let concealment, like a worm i' the bud,
->Feed on her damask cheek: she pined in thought,
->And with a green and yellow melancholy
->She sat like patience on a monument,
->Smiling at grief. Was not this love indeed?
->We men may say more, swear more: but indeed
->Our shows are more than will; for still we prove
->Much in our vows, but little in our love.''
-->'''Viola, scehe IV'''
