Mel et sal. Suavité et sévérité de la voix dans Twelfth Night
In Twelfth Night, the characters’ voices, now acerbic, now suave, turn language into a real chamber of echoes when the sounds and songs of carnival, charivari, buffoonery and folly are alternately heard besides the sweet musical strains. Shakespeare’s comedy thus presents itself like an acoustic maz...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2013-06-01
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| Series: | Sillages Critiques |
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| Online Access: | https://journals.openedition.org/sillagescritiques/2868 |
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| author | François Laroque |
| author_facet | François Laroque |
| author_sort | François Laroque |
| collection | DOAJ |
| description | In Twelfth Night, the characters’ voices, now acerbic, now suave, turn language into a real chamber of echoes when the sounds and songs of carnival, charivari, buffoonery and folly are alternately heard besides the sweet musical strains. Shakespeare’s comedy thus presents itself like an acoustic maze where identities and genres get blurred. Letter games such as the M.O.A.I. riddle in the letter supposedly written by Olivia are playing on sounds as well as with existential issues and they raise laughter at the expense of the Puritan steward Malvolio. The voices in the play alternate from mellifluous sweetness to discordant fooling in verbal fireworks that prove as ferocious as they are funny and festive. |
| format | Article |
| id | doaj-art-d0a4e7c9e9714b3cac1943015a985a42 |
| institution | Kabale University |
| issn | 1272-3819 1969-6302 |
| language | English |
| publishDate | 2013-06-01 |
| publisher | Centre de Recherche "Texte et Critique de Texte" |
| record_format | Article |
| series | Sillages Critiques |
| spelling | doaj-art-d0a4e7c9e9714b3cac1943015a985a422025-01-30T13:46:46ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022013-06-011610.4000/sillagescritiques.2868Mel et sal. Suavité et sévérité de la voix dans Twelfth NightFrançois LaroqueIn Twelfth Night, the characters’ voices, now acerbic, now suave, turn language into a real chamber of echoes when the sounds and songs of carnival, charivari, buffoonery and folly are alternately heard besides the sweet musical strains. Shakespeare’s comedy thus presents itself like an acoustic maze where identities and genres get blurred. Letter games such as the M.O.A.I. riddle in the letter supposedly written by Olivia are playing on sounds as well as with existential issues and they raise laughter at the expense of the Puritan steward Malvolio. The voices in the play alternate from mellifluous sweetness to discordant fooling in verbal fireworks that prove as ferocious as they are funny and festive.https://journals.openedition.org/sillagescritiques/2868MelsalacerbicsuaveironicalActaeon |
| spellingShingle | François Laroque Mel et sal. Suavité et sévérité de la voix dans Twelfth Night Sillages Critiques Mel sal acerbic suave ironical Actaeon |
| title | Mel et sal. Suavité et sévérité de la voix dans Twelfth Night |
| title_full | Mel et sal. Suavité et sévérité de la voix dans Twelfth Night |
| title_fullStr | Mel et sal. Suavité et sévérité de la voix dans Twelfth Night |
| title_full_unstemmed | Mel et sal. Suavité et sévérité de la voix dans Twelfth Night |
| title_short | Mel et sal. Suavité et sévérité de la voix dans Twelfth Night |
| title_sort | mel et sal suavite et severite de la voix dans twelfth night |
| topic | Mel sal acerbic suave ironical Actaeon |
| url | https://journals.openedition.org/sillagescritiques/2868 |
| work_keys_str_mv | AT francoislaroque meletsalsuaviteetseveritedelavoixdanstwelfthnight |