Twelfth Night Essay, Research PaperTris WarkentinShakespearian ComedyTwelfth Night, inquiry 312/17/99Shakespeare? s Twelfth Night has many different word pictures for the many different characters in the drama ; Orsino and Olivia represent the Renaissance and the dangers confronting it, Viola represents the excess of the Renaissance and the Puritan minimal art represented by Malvolio, the lunatic. While the other characters represent changeless images throughout the drama, Malvolio alterations.
He goes from being a bleak and field Puritan to a colourful and raving lunatic, set to court his kept woman, Olivia. The missive placed by Maria to lead on him into capturing Olivia is a turning point in the drama. At this point, Malvolio shifts from his Puritan ego to a royal poinciana, insane, and decidedly non-Puritan character type.
When sing Malvolio? s character, we must see three factors that define Malvolio? s behaviour through the class of the secret plan. These inside informations are ; his Puritan ego, his excessive ego, and the overruling cause of his lunacy.At the beginning of the drama, Malvolio has many of the features of a Puritan. This is seeable in many different ways ; his attitude towards music, his attitude towards nutrient, and his enunciation. When Malvolio hears music he reacts in a negative mode, one reflected by all of the & # 8220 ; evil & # 8221 ; characters in Shakespearian literature:& # 8220 ; My Masterss, are you huffy? or what are you? Have yeno humor, manners, nor honestness, but to chatter liketinkers at this clip of dark? Do ye do analehouse of my lady & # 8217 ; s house, that ye whine out yourcoziers & # 8217 ; gimmicks without any extenuation or compunctionof voice? Is at that place no regard of topographic point, individuals, norclip in you? & # 8221 ; ( II, iii,87-93 )The same drab position about music is reflected in Malvolio the Puritan? s positions on nutrient. When the jolly characters of Maria and Sir Toby are observing, Malvolio once more reveals his Puritan positions, when Toby calls for a strong draft of vino ; & # 8220 ; Mistress Mary, if you prized my lady & # 8217 ; s favor at any/ thing more than disdain, you would non give means/ for this rude rule.
& # 8221 ; ( II, iii,123-125 ) This minimalist Puritan position is besides reflected in Malvolio? s enunciation. The really first words out of Malvolio? s oral cavity are Puritan so. Olivia is speaking about how reasonably the buffoon is, and asks Malvolio if he agrees that the buffoon is gratifying to watch. Malvolio replies that & # 8220 ; frailty, that decays the wise, doth of all time make the/ better fool. & # 8221 ; ( I, v,77-78 )Malvolio subsequently receives a missive, which he believes is from his kept woman, Olivia. This note, crafted by Maria, led Malvolio to believe that Olivia lusted after him, much in the same mode that he in secret lusted after her. From the point that he reads the missive frontward, His positions and enunciation are for good changed.
The first words we hear from his oral cavity after he opens the missive speak of emotion, something that Malvolio ne’er spoke of before the missive: “Sweet lady, Ho, Ho? /” ( III, iv,19 ) And we see a function reversal ; Malvolio, who is normally drab, becomes the joyful one, and Olivia is the one inquiring “Smilest 1000? / I sent for thee upon a sad occasion.” ( III, iv,20-21 ) From this point on, Malvolio seems to hold a new position about the universe ; he talks about his emotions, and his desires, something he ne’er talked about before he received “Olivia? s” missive. Before the missive, he was simply interested in functioning the involvements of others, and seemed to hold no ability to ground for himself, even when it came to his love for Olivia: ‘Tis but luck ; all is fortune. Maria one time told/ me she did impact me: and I have heard herself come/ therefore near, that, should she visualize, it should be one/ of my complexion.” ( II, v,22-25 ) But after the missive, he seems absolutely capable to do his ain determinations, and asserts his emotions: “I think we do cognize the sweet Roman/ hand.” ( III, iv,31-32 ) Olivia thinks him brainsick, and asks if he wants to travel to bed to rest, and Malvolio answers, taking the enterprise to court her: “To bed? Ay, sweet-heart, and I’ll come to thee.” ( III, four, ,34 ) For the first clip, we see Malvolio take action, instead than merely moving as a cut-and-dried stodgy Puritan.
Although Malvolio undergoes a rapid transmutation, there is one character trait that decidedly stays ingrained throughout the drama ; Malvolio? s self-importance. Throughout the drama, Malvolio sees himself as a powerful character, one who has the possibility to lift to the really top rank of society. We can see this in his presuming to be able to court Olivia. He dreams of & # 8220 ; Naming my officers about me, in my bifurcate velvet/ gown ; holding come from a day-bed, where I have left/ Olivia sleeping, & # 8211 ; & # 8221 ; ( II, v,45-47 ) In the class of the drama, Malvolio is besides accused of being insane, and is finally sent to the refuge for it. This lunacy and self-importance makes him willing to even abandon his Puritan ways and give himself to the chase of Olivia. Therefore, he truly is brainsick, but it is non for being Puritan, nor is it for being showy in his efforts to court Olivia. Rather, his insanity stems from his overpowering self-importance, and his unblushing amour propre. This self-importance drives both his unlogical Puritan actions, every bit good as his unlogical non-Puritan actions.
In amount, Malvolio undergoes a great displacement in character. While he shifts from Puritan to radical, it is a entire inspection and repair of his idea procedures and his attitude. However, one underlying factor did non alteration between the first and the 2nd Malvolio ; they were both egoists. This self-importance drives Malvolio to constantly transgress his bounds, and drives Olivia to cry: & # 8220 ; O, you are ill of amour propre, Malvolio, and taste/ with a distempered appetite. & # 8221 ; ( I, v,92-93 )