Twelfth Night Essay, Research Paper
In Shakespeare & # 8217 ; s & # 8220 ; Twelfth Night & # 8221 ; , it is obvious that the oscillation of attitude, in the double function played by the character of Viola/Cesario, gives her a better apprehension of both sexes. It allows her to embrace a better understanding of the sentiments of the Duke, Orsino. Near the oncoming of the drama, when Viola is presuming her male individuality, she fashions an surrogate ego, giving her two masks. She takes on the & # 8220 ; Cesario & # 8221 ; individuality in order to accomplish more freedom in society. This is apparent when, as Cesario, Orsino readily accepts her ; piece, as Viola, he may non hold. Thus, the customary social mentality on gender is portrayed. She now has the hard undertaking of make up one’s minding which mask to have on as she alternates between her two individualities, both in emotion and in character. Orsino sees Cesario much wish himself as a young person. For that ground, he has a inclination to be more willing to portion his problems and sorrows with him/her. To Orsino, Cesario is slightly of a comrade with whom to portion and to learn. Thus, Viola grows in her male camouflage to derive a better apprehension of Orsino & # 8217 ; s inner egos, non the ego that he shows to the populace, but instead his unrevealed ego, shared merely with an intimate cohort. In the class, nevertheless, she grows to love him, while he seems to be in love with & # 8220 ; love itself. & # 8221 ; His full universe is overruning with love, but he foresees a possible turning point ; evident when he says, & # 8220 ; If music be the nutrient of love, drama on ; give me excess of it, that, cloying, the appetency may disgust, and so die. ? From this quotation mark, the reader perceives Orsino & # 8217 ; s realisation that he is caught up in & # 8220 ; love & # 8221 ; , every bit good as his desire for this hungriness of love to somehow diminish. A assortment of? saps? heighten the amusing entreaty of this drama. Maria, Olivia & # 8217 ; s comrade, is one such & # 8220 ; fool. ? She is enthusiastic in playing buffooneries on others. She employs Feste, Sir Andrew, and Sir Toby to transport out her folly, while she remains quiet and unsuspected. Much of the wit in this drama revolves around Maria & # 8217 ; s buffooneries. They are black and revengeful, utilizing love and power ( position of Olivia ) to prehend Malvolio, who is & # 8220 ; & # 8230 ; . sick of ego Love. & # 8221 ; In this peculiar buffoonery, Maria forges Olivia? s script in a missive converting Malvolio that Olivia is in love with him. This strategy works wholly. Malvolio & # 8217 ; s greed for power is the existent footing for his being locked up and accused of being a & # 8220 ; madman. ? Maria and her confederates acknowledge his desire for power, and accordingly move upon it. Sir Toby Belch, Olivia? s uncle every bit good as another & # 8220 ; sap & # 8221 ; in this drama, is ever ready and willing to help in any game of pretense. He invariably attempts to convert Sir Andrew Aguecheek that he has a
chance of winning the love of Olivia. He, at one point, sets up an altercation between Cesario and Sir Andrew, convincing both parties that the other desires this. He, as well as his friend Sir Andrew Aguecheek, seems to take to drinking a bit too much for their own good. Their evening of joyous drunken singing can actually be blamed for the fake-letter proposal. Malvolio, quite rudely, attempts to end their joyous celebration stating, “My masters, are you mad? Or what are you? Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of night?? This killjoy speech induces its recipients to swear revenge upon him. Feste, the clown, plays the role of the “comic truth speaker.? Although he makes no real philosophical remarks in the play, he seems to be wisest among the bunch. Viola interprets this by saying, “This fellow’s wise enough to play the fool.” Since this somehow licenses him to be a fool, Feste takes to speaking the truth on all matters. Much humor lies in his truthfulness. An example of this is when he proves Olivia to be a true “fool” by asking her what she was mourning about. The point Feste makes is that Olivia is a “fool” to mourn for a person whose soul is in heaven. Adding to the wit of this play, Feste dresses up as Sir Topaz, the curate, and pays a visit to the imprisoned Malvolio. There, he uses his wit to exploit Malvolio, calling him a “lunatic” and “satan.” All the while, Malvolio is completely unaware of who he is actually talking to. Comical is the fact that Olivia, unknowingly, falls in love with another woman. There is such a mix-up of identities in this play, that the reader is never bored or desirous of excitement. Olivia is in love with Viola, while Viola declares her love for Orsino time and again. When Orsino first sends Cesario (Viola) to act as a messenger of his love for Olivia, Viola says, ? I?ll do my best to woo your lady; [aside] yet, a barful strife! Whoe’er I woo, myself would be his wife.? Near the end of the play, when all tricks and treacheries are exposed and masks removed, Orsino transfers his copious love to Viola. He first relieves her from duty to him, and then declares that she shall now be her ?master’s mistress.? Olivia, analogously, winds up inadvertently marrying Viola?s twin brother Sebastian. In short, the ?fools? control the comedy and humor in this play. They lend a hand in the make believe games, and fool around with the characters who dodge reality, or rather apprehend a fantasy world. The roles of Feste, Maria, and Sir Toby are those of ?fools,? and they make the comedy work in many aspects. They create confusion through humor, and it all works out in the end, making William Shakespeare’s Twelfth Night a genuinely humorous play.