Twelfth Night Coursework Assignment

5. cover what I am Explore the discipline of bury and double-dealing in 12th NightWilliam Shakespe argons Twelfth Night is based erect about secrete in the form of trick. In Twelfth Night, disguise wipe outs manhoody an(prenominal) divers(prenominal) shapes from physical to manpowertal disguise. One of the major motives of Twelfth Night is too misperception and joke. Yet, paradoxic altogethery along the focus t here(predicate) atomic number 18 many problems, finesses and illusions, providing a comment on charit competent behaviour and creating uprisedy. In Twelfth Night, Shakespeare explores and illustrates the stem turn of illusion and disguise with precise detail.In Twelfth Night, it is evident that the fluctuation in attitude to the dual role and bureau and tribulations imposed upon the character of genus genus Viola ends up in a better chthonianstand of both sexes, and thus, tout ensembleows Viola to cast off a better infrastanding for Orsino.Stand y ou for a while aloof. Cesario,Thou receivest no less nonwithstanding all I charter unclaspdTo thee the check even of my secret soul. here(predicate) it is discernible that after very little sequence Viola has won the trust of Orsino through and through her disguise and he seems to stupefy inflexible that he shadower divulge much(prenominal) in Viola than in anyone else.She decides to take on this identity be motility she has more than familiarity in society in her Cesario mask, which is unambiguous when Orsino readily accepts her. Orsino confides in Cesario the mop up to internal feelings of his secret soul and grows accustomed to Cesario very supplely, whereas, in her female identity, it is hand that she would non know such freedom.I besides work out this is signifi adviset, as Shakespeare is conveying the impression that because Viola has clothed herself as a eunuch she has more autonomy and less constraints I come screening Shakespeares underlying and implicit message is that sometimes it is beneficial for women to dress as men to achieve freedom therefore presume a disguise is necessary.The theme of deception is similarly evident immediately in the foregather. A supposedly noble Duke Orsino is suffering out-of-pocket to his unrequited cacoethes for the Lady Olivia. If harmony be the food of hump, play on,Give me glut of it, that, surfeiting,The appetite may sicken, and so die. in that location is a touch of unreality and deception here about Orsinos distress, as if he unconsciously enjoying the locating he is in and so the consultation is left to conclude whether or non Orsino is in self-deception.Shakespeare hints here that Orsinos get along for Olivia is a hyperbolic, abstract love and one of self-indulgence as it is high-fantastical and so he encourages the audience to look more intimately and sympathize Orsinos spirit of love as one of self-delusion.Orsino constantly reiterates how immense his love is for Ol ivia, provided it is easily seen as empty rhetoric. He is infatuated with the nonion of love, and himself as the great, contemporaneous lover rather like Romeo from Shakespeares Romeo and Juliet. in providetation plays a role here because it is pass by Orsinos conception of himself is misplaced and so he is self-deceiving and in addition this highlights his egotistical nature.Shakespeare as well uses iambic pentameter here and this defines Orsinos character to a authoritative degree. Iambic pentameter shows control and yet the fury here is on the instability and the force of his love for Olivia. This leads us to believe he is in love with the nonion of universe in love.This oration by Orsino to a fault tells us something about his character and backbone of humor he is in love, simply if this does not bring him happiness, rather a leaden melancholy.His computer address then turns to images of disease and ending and it is excessively evident here that Orsino is dece ptive himself.ExcesssurfeitingsickendiedyingOrsino, here, has dramatised his heating system and love for Olivia so much that he thinks he allow die if she does not love him. It is brighten he is deceiving himself and his mail service drive out be interpreted as him organism preoccupied with the sensation of love itself, feeding his senses with music and elaborate poetical imagery. Shakespeare conveys Orsinos love-thoughts emotions for Olivia as passive, self-regarding and melancholic and Orsino as atypical of his verit satisfactory feelings.Shakespeare invites the audience to interpret Orsinos love-thoughts, which pursue him as artificial ones because of the way Orsino is portrayed.Be not amazd right noble is his blood.If this be so, as yet the glass seems on-key,I shall have share in this most blissful wreck.Orsino here demonstrates a rapid separation from Olivia and instead switches his attentions to Viola. This extremely quick smorgasbord of love from Olivia to Viola c onfirms his superficiality and self-deceit.The theme of disguise and deception is again present in the next scene where Olivia is in loving sorrow for her fellow who shortly died. However, it is also put across that Olivia herself is in self-deceit. Her way of regreting involves her hiding behind a befog or disguising herself from the truth and ref utilise male fellowship which is illustrated when she says like a cloistress she will veil walk around with eye-offending brine. The mourning over her brothers cobblers last is very hammy, but she just lives the judgement of mourning as she feels that this would do the last of her brother justice. She attempts to disguise all this under a veil, but to no contentment as her trustworthy personality shone through.Olivia as part of her mourning vowed that no man would see her face till septenary years heat. But regardless of this, travel in love with Cesario which shows that her resolution is pass(a) and the audience is left to question her sincerity.Unless, perchance, you come to me againTo tell me how he takes it.Olivia is disguising her flirtatiousness towards Cesario by pretending that she only wants him to come back to bear news of Orsinos reaction to her rejection. To make headway disguise her feelings, and deceive Malvolio, she tells a continuant lie to him, pretending Cesario left a ring behind him.She returns this ring to you, sir you mightiness have savedMe my pains, to have taken it away yourself.Olivia uses deception to further her cause with Cesario and it is made inherent to him that she has fallen in love with his outward, disguised appearance. excessively deception features here as, ironi call offy, Olivias advance is just as deceitful as Violas untarnished presence.It is clear to the audience that Olivia is deluding herself that she will be in deep mourning for her brother for 7 years. Her first appearance, which ends with her falling for the disguised Viola, shows the superfici ality of her real feelings of anguish. When Olivia, who is taken in by Cesarios youths sodding(a)ions, falls in love with Cesario she instantly forgets about mourning.Olivias elaborate, melancholy-stricken gestures towards her dead brother are examples of dramatised and overly exaggerated displays of emotion. Her ruefulness may well be genuine but her extravagant vow to mourn him for seven years, sprinkling her chamber with part and wearing a veil are quite simply empty gestures.On tight-fittingr inspection one can also infer that Olivia is perhaps using her brothers death to conceal her aspirations for Cesario to remain close to her.I bade you never mouth again of himBut, would you undertake another suit,I had rather hear you than solicit thatThan music from the spheres.It is made explicit to Cesario that she wants to be courted by him, which is comical to the audience as they know about Cesarios masquerade, and this is another example of the way Cesario deceives through dis guise.Olivia has just lost her family, but her display of sorrow is very theatrical performance and self-deluding and seems to be full of barren gestures which say nothing about her align grief but moreover disguise her true feelings and serve to self-deceive.Another character that is fineable of self-deception is Olivias consideration Malvolio. A scene, which prepares us for dramatic irony, is when Maria writes the garner to Malvolio, under the pretence that it is from Olivia. As the audience is confident(predicate) of this deception it sets up the dramatic irony, because Malvolio himself is not aware of it when he finds and reads the garner.Malvolio in his egotistical role presents the possibilities of a very plane and critical existence, however when drugged with the mere possibilities of conceit, believing himself superior to others, he becomes the most absurd of all the characters and he reveals to us his disguised feelings.Go, hang yourselves all You are idle shallow thingsI am not of your element you shall know more hereafter.Malvolio has extreme ambitions and aspirations to advance in cordial class by marrying Olivia which the audience can clearly interpret as self-delusional.Marias letter is only able to convince him that Olivia loves him because that is what he wants to believe. When the letter tells him to act proud and haughty, it only builds him permission to show how he already feels, as it appeals to his vanity.This trick would not have worked if the letter had not been disguised as Olivias, however, it is also important to include that Malvolios disguised feelings and self-deception convince him of its authenticity. It is his capacity for self-deception and it is unfeignedly Malvolios dressing table which makes him easy to trick.Malvolio is also in disguise in the class system. He dresses in black and never laughs.My masters, are you mad? Or what are you? keep upyou no wit, manners or honesty,This however, is merely a disguise th at he assumes, that allows him to bump others. Under this disguise Malvolio is full of egotism he is also self-absorbed and extremely vain. He conceals his puritan personality during this gulling episode and puts on yellow stockings and behaves uncharacteristically boldly. When he is on his profess he reveals he frequently day breathing ins of ruling a thrifty and dire household while he plays with some rich jewel, and that Olivia will marry him and as a result he will become Count Malvolio her equal. This shows his embedded self-deception. It is also ironic that Malvolio is more successful at fooling himself than he is at deceiving others.Malvolio is sure that some accident of luck has caused a man as fine as him to be born a servant rather than a master and that batch will eventually correct that mistake.all that look on him love him.This reveals his despotic nature and the position that he is self-deceiving. dressing table is evident in many characters of the play, howev er, Malvolios self-love combined with his instinct for social ascent makes it more obtrusive. To conclude, Malvolio is self-deceived before he is deceived. Shakespeare makes this clear by exhibiting Malvolios vain glory just before he finds the forged letter To be Count Malvolio.The physical disguise in Twelfth Night brings to light those who have mental illusions as to who they are. Malvolio for example considers himself to be respected and is the first person to call other characters a fool when in fact the audience think of him as a fool.Deception and disguise also play a major role in the characters of Maria, Sir toby jug and Sir Andrew. Sir Toby often persuades Andrew to give him money or buy him drinks in return for allowing him access to Olivia, in put in to court/woo her.Send for money, knight if thou hast her not i th end, call me Cut.Andrew does not realise that Sir Toby is fooling him and using him to pay for his entertainment and so deception plays a part here because Sir Toby is deliberately deceiving and deluding Sir Andrew to exploit him.It can also be argued that Sir Andrew is self-deceiving because he actually thinks that the make up Sir Toby is his genuine friend, however, it is clear to the audience that his friendship with Sir Toby is feigned.However, it is also clear that if Sir Toby did not encourage and run him, he would never have aspired.No faith, Ill not stay a soupcon longer.This is important because it shows that although Sir Andrew is deceived, and foolish, he is not self-deceived. This also proves that although he is foolish enough to dream of Olivias hand, he is scarcely hopeful which shows that, contrasted Malvolio, he has a greater sense of reality and does not delude himself or disguise that he knows Olivia does not love him.Another form of disguise, Shakespeares use of masks in the play, also contributes much to the disguise and deception in the play. These masks put characters in a form of darkness of night, allowing them to become person else.Shakespeare uses masking imagery throughout the play. The perfect example of this can be seen in Feste the jester. Feste demonstrates masking imagery when he disguises himself as Sir Topas and is sent to judge Malvolios state of mind.Sir Topas, never was man thus wronged. Good SirTopas, do not think I am mad they have laid meHere in hideous darkness.By adopting this disguise, Feste is able to expose Malvolios self-conceit and other faults and therefore he successfully reveals Malvolios hidden feelings by disguising himself. Also Feste, in the guise of the Fool, comes out with flip and intellectual comments contrary to his role.Although characters wear masks, their true identities are always revealed. I interpret this as Shakespeare alluding to the fact that all disguises can be exposed. This statement is reinforced when Feste sayseye show the days.Feste is able to penetrate all the masks of the others, and he succeeds in concealing his own which makes hi m a master and professional of disguise. Feste is an allowed fool a professional jester who has to be quick witted and clever to make jokes and puns. He is not expected to be idiotic or simple-minded.Viola, in her disguise as Cesario, is able to talk to her lover in a way that she could not do as a woman she takes advantage of this situation and schools Orsino on the realities of love.She never told her love,..Feed on her damask cheek.Here Viola counters Orsinos narcism with her own sad story of out of sight love. Shakespeare accentuates Orsinos exaggerated, excessive idea of love, by viewing alongside it the genuine love mat up by Viola and therefore Orsinos speech is undermined, as what he said is ironic. So, although Viola is disguising her feelings for Orsino, she does not deceive him and unreservedly hints that she has suppress feelings for him.Sebastians relationship with Antonio is one of disguise because Antonio implicitly reveals his love for Sebastian but deceives him and perhaps self-deceives as being just friendship, as one can conjecture that he is gay.If you will not murder me for your love, let me be your servant.This suggests that Antonio has repressed homosexual feelings for Sebastian that he disguises by pretending to only be his close friend.The play abounds in references to these different forms of disguise, to the cleft between what appears to be true and what really is. Viola calls disguise a pediculosis/Wherein the pregnant enemy does much when she realises that Olivia has fallen in love with her persona as Cesario.In the plays moral scheme disguise or self-deception creates frustration and confusion. Antonio, for example, regrets the devotion, which Sebastians crowing features had inspired in him.Word- play is also a form of disguise and the legion(predicate) puns in the play reflect this theme on a linguistic level.The dramatic convention of disguise produces ambiguities of meaning and emotion throughout the play. So, to concl ude, I would argue that in Twelfth Night every character conceals and deceives, however, without question Violas concealment of her physical shape as a woman, and emotions for Orsino is essential to the plot and creates the prank and confusion.