威廉·莎士比亚的《第十二夜》是一部探讨人类对爱情的本能欲望的丰富喜剧。莎士比亚把这些人物仅仅当作更深入地了解整个社会的工具。没有人想要他们能真正拥有的，而是他们不能得到的。莎士比亚笔下的人物都是受虐狂，他对爱情进行了隐晦的描写，并展示了爱情是如何盲目地、冲动地去满足一种内在的需求。该剧以《三个婚礼》结尾，雪梨发出了“爱情无国界”的评论。当读者第一次被介绍给奥林索公爵时，他正在回忆第一次见到奥利维亚夫人的情景。公爵用语言表达了一种爱，他希望这种爱能充满而消逝，“如果音乐是爱的食粮，那就演奏吧，给我过量的音乐，这样，过量的欲望就会生病，就会死去”(第一、一、三幕)。Dukes的情况似乎是自我放纵，从过度戏剧化中获得乐趣。从该剧的片场开始，他给人的印象是，他知道自己永远也得不到奥利维亚的爱，但他喜欢沉湎于自怜之中，也喜欢鼓励别人同情他的处境。在另一场演讲中，公爵称他对奥利维亚的欲望为“我的欲望，就像堕落而残忍的猎犬，永远不会再追逐我(第一幕，第一幕，20-24)。”对他来说，爱情或浪漫似乎是一场游戏，而不是一种需要认真对待的情感。在接下来的剧情中，他对奥莉维亚的追求从未停止，甚至一度威胁要杀死自己的仆人凯撒里奥，因为奥莉维亚误以为凯撒里奥就是她刚刚嫁给的那个男人。有了公爵的威胁，这部喜剧可能会变成悲剧。公爵从来没有说过他对奥莉薇娅更美好的感情，他只是在表面上渴望她，如果奥莉薇娅屈服于他的坚持，公爵就会得到一个花瓶妻子，只是一个好看的人。只有当凯撒里奥陶醉于自己是一个女人的时候，维奥拉，公爵才表现出爱一个人的能力，他和这个人有着比外表更深的关系。这结束了他爱一个永远不会爱他的人的自虐方式，但这并没有说明公爵有时明显的情感。
澳洲悉尼论文代写:第十二夜
William Shakespeare’s Twelfth Night, is a rich comedy delving into the innate human desire for love. Shakespeare uses these characters merely as vessels for a larger insight into society as a whole. No person wants what they can truly have, but rather, what they cannot. Shakespeare conveys a cryptic portrayal of romance where his characters are masochists and shows how love can blind and act so impulsively to satisfy an innate need. By ending of the play with three weddings Shakes pear sends the comments that love has no boundaries.When the reader is first introduced to Duke Orinso, he is accounting the first time he laid eyes upon the lady Olivia. Through the use of language, the Duke speaks of a love that he wishes he could be full of and die away, “If music be the food of love, play on Give me excess of it, that, surfeiting The appetite may sicken, and so die” (Act I, I, 1-3). The Dukes case seems to be self indulgent, and gains enjoyment from being overdramatic. From the on set of the play, he gives off the impression that he knows he will never obtain the love of Olivia, but he enjoys wallowing in self pity, and encouraging others to be sympathetic to his situation as well. In a separate speech, the Duke refers to his desires for Olivia as “my desires, like fell and cruel hounds, E’er since pursue me (Act I, I, 20-24). It seems as though love or romance for him is a game, rather than an emotion to be taken seriously. Throughout the rest of the play, his pursuance of Olivia never ceases, and at one point the even threatens to kill his own servant Cesario because of Olivia’s mistaken thinking that Cesario was the man she had just married. With that threat from the Duke, this comedy could have potentially been turned to tragedy. The Duke never once elaborates on the finer feelings for Olivia, he merely pines over her in a superficial way, and had Olivia given in to his persistence, the Duke would have gained a trophy wife, just someone pretty to look at. Only when Cesario revels himself as a woman, Viola, does the Duke show the capacity to love someone he has had a deeper relationship with than just looks. With this ends his masochistic ways of loving someone who will never love him back, but it says nothing for the sometimes transparent emotions the Duke has.
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