Describe the different forms of disguise and deception that feature in the Twelfth Night

Disguise and deception function signifi basisistert roles in Shakespe ars wild-eyed begetdy Twelfth Night. Shakespe ar places emphasis on these somewhat evilness (A2 S2 L26) traits to somehow create a traditional romantic comedy where disdain the negative ideas of screen and deceit summercater a prominent role, kip down blossoms and a happy block offing prevails.The tireless use of these ideas in varied forms and guises, which endure throughout the whole shrink from highlights the themes of kip down, madness and appearance versus populace where cover and deceit twain take credit for possessing a major responsibility in providing twists, turns and sense of humour in the main and sub- dapples. Orsino is the first feature introduced to the play. He is the Duke of Illyria and in that locationfore the most powerful source implemented into Shakespeares play. Upon his arrival to the story, he immediately secretes his ignorance of manage by speaking in poetics form t o deceive the reference and the book of positionss around him. If music be the food of rage, play on (A1 S1 L1) is promptly contrasted in line 7 Enough, no much Tis non so sweet as it was before. This contradiction implicates his ignorance of what enjoy is solidly about. His vocabulary and figurative language, two(prenominal) influenced by poetic barbarism does well to fool e very(prenominal) nonpareil that he is not what he go overms. People would see Orsino as a standardisedable shell that carries the aura that he can achieve anything he is a self-absorbed man who thinks very exceedingly of himself.What is the difference amongst a figurative and a literal coincidence?But this is obviously not the case as Orsino has been shown to be proficient like everyone else, up to now with his power in Illyria, Orsino has his flaws too. Feste similarly uses his language to disguise aspects of his character. However, contrasting the stance of Orsino, Feste shows his wit and well-grounded by smugly acting on oral communication and with the medium of music. An example of Festes clever play on terminology was du hedge the conversation he had with genus Viola who was at the time mask as Cesario send thee a beard (A3 S1 L45).Although everyone had been fooled by Viola in convincing them that the Cesario character is real, Feste (who is the fool) hints that he may k flat Cesarios certain identity. Feste himself does not describe himself as Olivias fool scarce her corruptor of words (A3 S1 L37). Indeed it can be viewed that he is solitary(prenominal) paid to be the fool, to act like a madman with wit and in actual circumstance he is the most sane character and in revealigent in the play. He shows his intelligent by irrelevantly expressing his words in an different language, cucus, non facit monachum (A1 S5 L53).Feste is the only character wrapped up in completely the p dowrys yet keeps an outside perspective of each by showing no emotion in his t ongue or actions. But in light of this, his emotions are brought to the surface when he entertains people with his music. The realization that Feste is has the most hunch overledge of love, or what real love is, begin to seep through as he sings. What is love? Tis not hereafter, Present mirth hath present laughter (A2 S3 L48). Unlike Orsino who believes that everything will pass away out okay when you fall in love, Feste believes that the future is always indistinct Whats to come is still unsure (A2 S3 L50).He alike concretes his perspective that love should not wait as we will not be early forever Youths a stuff will not endure (A2 S3 L53). Although his character does not show emotions whilst playing his role in each plot his music, which varies from melancholy ballads to contemplative, express that there is much more(prenominal) to Feste than meets the eye. Festes past is shrouded in mystery, and elements of his past still live in his music. And well strive to please you no rmal (A5 S1 L 407) ends the play. Regardless of his past that he disguises through music, Feste feels that his duty now is to make people laugh.He expresses with this idea that our duty in biography is to be happy and to make others happy, something he harassed Olivia about in Act1 as she mourned her brothers decease. Despite many features of Festes character that show his has much more depth than what we are led to believe he also uses disguise and deceit to concrete his role as a fool, a goose who raises humor and entertainment for the audition. Sir Topas the curate, who comes to visit Malvolio the lunatic (A4 S2 L22). Upon occupying of Sir toby and marias gulling of Malvolio, Feste decides to marriage in the fun.He does this by pretending to be someone else when tour Malvolio, to further his torture and suffering. Malvolio and Festes turbulent past had been briefly documented when in Act 1 Malvolio says I marvel your ladyship takes delight in much(prenominal) a barren ra scal (A1 S5 L81). Its interesting to take into account that Feste is divinatory to be the fool of the play, only if he doesnt setup the humorous gulling of Malvolio and fails to countenance the entertainment and humor Sir Toby Belch and Sir Andrew Aguecheek bring to the play.Instead Feste takes office of the humor only with revenge on his mind and not to provide humor, and relies only on quick plays on words to supply humor. This could be Feste disguising that he is not comfortable with his role in life as the fool. Violas role in the play is purely based on the ideas of disguise and deceit. She initially deceives everyone by disguising herself as a man, Cesario, in order to allot Orsino, For such(prenominal) disguise as haply shall become The form of my role (A1 S3 L54).In doing so she deceives everyone else in the play, with the exception of Feste, and as a ending causes confusion among and between the characters and mayhem in the overall play. As a contribute of her disgu ise, Olivia and her brother Seabastian, get married as she thought that Sebastian was Cesario, would thoudst be ruld by me (A4 S2 L63). Thats an example of confusion resulting from Violas disguise. Mayhem is caused when the jealous Sir Andrew Aguecheek attacks the tough and ball-hawking Sebastian, assuming he was the soft and timid Cesario.As a result of this attack, Sebastian beats down Sir Andrew Aguecheek and causes mayhem and tension between characters like Olivia and Sir Toby Belch, Where manners neer were preachd Out of my sight (A4 S1 48). These are just deuce examples of confusion and mayhem instigated by Violas disguise. Other examples include the conversation between Sebastian and Feste, when the latter thought Sebastian was Cesario, ungrid thy strangeness (A4 S1 L15) and when Antonio thought he was plump forstabbed by Sebastian, but was in earth talking to a clues Viola, Thou hast, Sebastian, done honest feature shame (A3 S4 L375).The many outcomes of Violas disgui se bring entertainment and humor to the hearing to add comedy to the romance. In disguising herself as Cesario, Viola falls in love with Orsino to bring the romance aspect to the play, Whooer I woo, myself would be his wife (A1 S5 L42). This deceit also intertwines humor and romance, with Olivia falling in love with Cesario causing the humor, and the unspoken love from Viola to Orsino bringing out the romance. Viola is like Feste in the sense that they twain play on words both doing so as a way of showing that there is more to them than what meets the eye.She almost cries out to Orsino by telling giving hints as to her true identity, I am all the daughters of my fathers house, And all the brothers too (A2 S5 L121), a good deal speaking in riddle. She also has an encounter with Feste where she counters his play on words that he may know her identity by saying, I am sick for once, Aside thought I would not nurture it grow on my chin (A3 S1 L47). In countering in a war of wits, sh e riddles to Feste that she is in fact a adult female. Violas brother Sebastian also manages to take hold a role in the deceit over his short period of time in the play.His only relationship that occurs throughout the play is with Antonio, the man who saved his life. There are suggestions that Antonio has repressed homosexual feelings for Sebastian that he disguises by pretending to only be his close friend, If you will not murder me for your love, let me be your servant (A2 S1 L34). Sebastian himself lives firearm of the play in deceit by pretending to know what is going on when he enters the plot when he has no idea. He asks Are all the people mad? (A4 S1 L26).Nevertheless, even though he believes everyone to be mad, he plays along with Olivia who believes he is Cesario, and living in this dream, Sabastian marries her. This serves of the single-valued function of enhancing the romantic conclusion to the play. Olivia herself is in self-deceit. The plaint over her brothers de ath is very loosenesstic, but she just lives the idea of mourning as she feels that this would do the death of her brother justice. However, this mourning does not last long. Feste manages to entertain a mourning Olivia, much to Malvolios chagrin, I marvel your ladyship takes delight in such a barren rascal (A1 S5 L81).She attempts to disguise all this under a veil, but to no avail as her real personality shone through. Olivia as part of her mourning, prevised that no man would see her face till seven years fire up (A1 S1 L26). But regardless of this, falls in love with Cesario, Unless, perchance, you come to me again,To tell me how he takes it (A1 S5 L285). Olivia is disguising her flirtatious movements towards Cesario by pretending that she only wants her to come back to bear news of Orsinos reaction to her rejection.To further disguise her feelings, and deceive her promise and herself even more, she tells a blatant lie to Malvolio, he left this ring bottom of the inning him, (A1 S5 L305). Her deceit shows that an esteemed virtuous maid like herself also has flaws. It also provides a lot of humor for the audience, as a woman falling in love with another woman dressed as a man provides entertainment for the audience. I marvel your ladyship takes delight in such a barren rascal (A1 S5 L81). This quote has a lot of deceit attached to it. Malvolio is jealous that Feste can entertain Olivia even when she is mourning.This is because he has feelings for Olivia which is later exposed in the play, Tis but fortune, all is fortune (A2 S5 L23), this beingness his initial belief that Olivia loves him, even before reading the letter from maria. Malvolio disguises his true colours by being the unlikable Puritan character in the play. In fact, Malvolios true colours show him to be an arrogant, hypocrite who is even more unlikable than his initial Puritan personality. His arrogance provides humor for the audience as he thinks, that all that look on him love him (A2 S3 L151) and makes him looks stupid.He deceives everyone to believing that he is a Puritan character and deceives Olivia into thinking he is a nice person. However in actuality, Feste is the fool who in reality is the most intelligent and sane character of the play, after mocking Feste, we learn that Malvolio is the opposite. He acts as if he is the most intelligent and sane character of the play when hes really the fool of the play, the character who provides the most humor. He believes Olivia is playing along with his game, when he speaks to her at her level and with added sexual connotations, To bed? Ay, sweetheart, and Ill come to thee (A3 S4 L31).This provides the most humor, as he believes that they are disguising their love and deceiving all the other character when in reality, he is the only person being deceived. He looks like the fool, and the gulling of Malvolio in particular gives the audience added satisfaction because he is such an unlikable character. The mastermind behi nd the gulling of Malvolio has also disguised aspects of her personality. The others see Maria as jus the maid of Olivia, but as the play moves on we as an audience, and the characters of the play learn that Maria is cunning and more intelligent than what she lets everyone believe.She deceives everyone by masterminding the gulling of Malvolio. She also has self-deceit along with Sir Toby Belch as both have hidden feelings for each other, which they refuse to acknowledge. We know of this because by the end of the play, the two get married. Looking at their relationship throughout the play, Maria is the amaze figure who takes care and guides Sir Toby Belch, Ay, but you must limit yourself with the modest limits of order (A1 S3 L8). But we gain knowledge that she is not fulfilling the mother role, but more the role of a wife.Sir Toby Belch is also a scheming character within the play as he deceives Sir Andrew Aguecheek into challenging Cesario to a fight for his own personal entertai nment, as both Aguecheek and Cesario are seen as cowards thus Sir Tovy creating his own sub-plot. Sir Andrew Aguecheek is as a unmanageable coward of a knight. However Aguecheeks past is a mystery to the audience, and we have a sense that there is much more depth to Aguecheek than what meets the eye when he says, Someone loved me once too.This shows that Aguecheek has disguised himself to be a clumsy and immature man when in reality he has feelings too, and has a more sensitive side to his character. He also disguises himself to be a brave knight by challenging Cesario to a fight as he feels this would win Olivias heart. However, as seen through his letter, Aguecheek is a coward who couldnt hurt anyone. and deity have mercy on one of our souls He may have mercy on mine, (A3 S4 L167), Aguecheek provides humor by his supposedly threatening letter. The fact he ends this letter by calling Cesario Thu friend (A3 S4 L 169), shows him to be a nice but gullible man.He is gullible to Sir To bys operating instructions and the direction Sir Toby leads him into. The play as a whole is one big disguise. An improbable fiction (A3 S4 L127) is what Fabien describes the play to be. He acts as if the real life situation is like a play, and in essence makes it all a play within a play. The characters share dialogue that expresses what they are trying to say but also has a double meaning, which tells the audience that the play is not real life and is essentially just a play. You are now out of your text but we will get by the curtain and show you the picture (A1 S5 L235).This is an example of subtly letting the audience realize that they should not be fully wrapped up in the play as it is just a play. This idea coincides with what Olivia is saying in the context of the play as she is letting Viola see her face. The play contains a number of little subtexts to regularly remind the audience that the play is fictional. All these subtexts are disguised within the context in which th e character is talking about. There is obviously an inextricable link between both the ideas of deceit and disguise, as when one of the ideas is created, the other promptly follows as is seen in throughout the play.Twelfth Night is situated in the genre of romantic comedy, and both of which have been built upon from the foundations disguise and deceit have created. The two roles define what the play is all about because of the wickedness (A2 S2 L26) behind disguise and deceit, the outcome is both the themes of romance and comedy, which is what the play effectively revolves around. Shakespeare uses both ideas as the foundation to create the whole of the story, emphasizing both the drama and comedy involved.