“If music be the food of love, play on;
Give me excess of it; that, surfeiting,
The appetite may sicken, and so die. —
That strain again; it had a dying fall:
O, it came oer my ear, like the sweet sound
That breathes upon a bank of violets,
Stealing, and giving odour! Enough! No more.
‘Tis not so sweet now as it was before”
– Duke Orsino, Twelfth Night: Act One, Scene One
Without doubt, those are some of the most famous opening lines in the history of English literature. You may recognise them from your school days; from studying Shakespeare in English classes. Twelfth Night is easily my favourite of all the Bard’s plays; it is fun, subversive and full of mistaken identities, game-playing with gender (and thus, to a modern eye, sexualities too), and out-and-out Shakespearean farce.
Far beyond the ‘boring Shakespeare’ many of us encountered at school, methinks…
Written sometime around the turn of the 16th century (dating Shakespeare’s plays is not an exact science), and probably first performed in 1602 at London’s Middle Temple Hall in the Inns of Court as part of that year’s Christmas festivities, the plot of Shakespeare’s Twelfth Night vividly echoes the riotous reversals and noisy fun of the real life medieval Twelfth Night holiday celebrations – in fact, it was written to be (and often still is) performed as part of these Twelfth Night celebrations