Abstract In this article, the writer discusses and compares William Shakespeare's use of disguise in his comedies with Ben Jonson's use of disguise in "Volpone". The writer first notes that, in Elizabethan comedy, characters in plays use disguises and alter identities to overturn Elizabethan society norms; particularly norms concerning power relations between parent and child, male and female, and morality and immorality. However, this turn from societal order to disorder is only temporary. The disguises cannot sustain a character for more than four acts, and their true identity must be revealed to reinstate order in society. The writer then looks at how Shakespeare's comedies follow this formula exactly, while Jonson's 'Volpone' changes the formula. The writer explains that, instead of introducing order in his play as a collection of societal norms in need of reversing, 'Volpone' overturns societal norms at the outset. The writer concludes that both playwrights challenge Elizabethan societal constraints and norms using disguise. Yet as Shakespeare's reversal of the societal norm is temporary, Jonson's reconfiguration of the classic Christo-Elizabethan theme of morality versus immorality is permanent.
From the Paper "A societal norm overturned in Shakespearian comedy is the constraint of a patriarchal system placed upon women in Elizabethan England. In this sense, a patriarchal dominated system represents order and the disintegration of this system, when women are no longer constrained by their sex, represents disorder. Shakespeare uses disguise to overturn patriarchal domination to the female characters' favor. The societal constraints placed upon women are released as the environment of the play turns from order to disorder. With the dissolution of societal standards, the women of Shakespeare's comedies gain a power once denied to them, and in effect create their own system of domination within the play. This domination takes the form of romantic pursuit of another character. The once male dominated act of wooing is now attainable to women. However, the female characters do not replace males in this act of wooing, but rather their power exists alongside the male characters' power. This creates a tension that may only be resolved with an utter breakdown of the original dominating gender, the male gender, or with the return to order by the reinstating of the patriarchy. Shakespeare always ends his comedies with a return to order, and so disguises are lifted and, subsequently, so too is the power it provided to the female characters."
Abstract This paper looks at how the play "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden, utilize disguise as the key to romance and intrigue. It looks at how "Shakespeare in Love" displays the theme of disguise as an equal response to the trickery and guise found in "Romeo and Juliet" and how in "Romeo and Juliet" the theme of disguise through the masquerade ball is important in Romeo realizing his love for Juliet.
Abstract In this paper, the use of disguise in Twelfth Night and King Lear are similar in their usage of various behaviors, costumes, and gender roles that are exchanged to discover the real truth through hidden identity. The paper discusses The Earl of Kent's use of disguise of Caius; contrasting with elements of disguise in Twelfth Night that offer a comedic gender role reversal for the men and women involved in love intrigue.
From the Paper "In this drama study one can compare and contrast the various uses of disguise that arise within Shakespeare's Twelfth Night and King Lear. By realizing the depth and scope of romantic love within the comedic Twelfth Night, Shakespeare intertwines various aspects of relationships that are disguised through gender roles. In contrast to Shakespeare's comedies, King Lear offers a tragic point of view through disguise, which involves the role of power and leadership, which drives King Lear to madness. In essence, by comparing and contrasting the theme of disguise in both tragedy and comedy, one can evaluate how Shakespeare enacts these crucial factors within a textual analysis."
Abstract This paper attempts to answer why the characters in "King Lear" use disguises and what this need for disguises says about the world in which they live. The paper discusses the disguise of each of the main characters in the play and then explains the purpose each of those disguises.
From the Paper "William Shakespeare, in his tragedy "King Lear" describes the story of King Lear who intends to divide his kingdom among his three daughters in accordance with the love that they could profess for him. It was also his intent to retain all the powers of the king while absolving himself of the duties and functions, which has to be performed by a ruling king. But as the fate had decided King Lear divides the whole kingdom into almost two equal portions and gives them to his two cunning elder daughters. The youngest innocent and gentle daughter, whom he loved most and about whom it was expected that she would get the biggest share from the kingdom, is denied her legal rights and nothing is given to her. As soon as the two elder daughters take full command of the situation, they start mistreating their father and the King takes refuge in a jungle."
Abstract This paper examines how a study of the significance of Richard Burton's disguise in his "Personal Narrative of A Pilgrimage to al-Medina and Meccah" has implications for both an assessment of his success in his examination of the people he encounters and of his ability to use this disguise as a means of learning by complete immersion. It looks at how his eagerness to perfect this "cultural transvestism" which he had employed previously in his travels was partly fuelled by his desire to examine and map for the Western reader. It also discusses how the objectivity which Burton's disguise affords him is undermined by his fundamental colonial superiority.
From the Paper "Burton's disguise affords him an omnipotence which lends itself to an reaffirmation of his assumed Western superiority over the natives. Firstly, he presupposes, with no moral reservations, a right to imitate the Arabs, to deceive them in order to infiltrate their most revered pilgrimage, and to accept their help and friendship. Secondly, he takes advantage of his ingrained superiority in the very act of "going native" and receiving wisdom from his experience with the Arabs. An Arab would never be able to enjoy the same kind of teaching from a European, learning through living on a European level. Indeed, the Arab could not "go civilised" in direct opposition to the European ?going native.? Burton is able to gain a measure of knowledge of the Arabs which they would not be able to match in terms of knowledge of the Europeans."
Abstract Ben Jonson's "Volpone", first performed in London in 1605, was a highly successful play centering on the theme of greed. The paper shows that "Volpone" is particularly notable for Jonson's characters? use of disguise, costume and role playing both to advance the action of the story and to visually express Jonson's ethical beliefs to educate his audience. The paper analyzes the different methods of disguise througout the play.
From the Paper "Beyond the clues offered by their names, the characters in Volpone engage in role playing throughout the play. None shifts personality and character more influentially than the title character. Driven by his greed and by his love for trickery, Volpone chooses to play his game not with easily-duped victims, but rather with others like himself. Thus, while pretending to be ill for several years, with the community's knowledge that he has no heir, Volpone accepts the good wishes and gifts of his colleagues, who offer these in the hope that they will gain Volpone's goodwill for the giver. Mosca's task is to convince Volpone's acquaintances that, upon his supposedly-imminent demise, the Fox will leave all of his wealth to one or another of these would-be friends. Voltore, Corbaccio and Corvino in turn are all convinced that Volpone has named each of them as his sole heir."
Abstract This paper explains that, in two great works, Shakespeare's "Twelfth Night", and Milton's "Paradise Lost", the differences in subject, approach, language, and style contrast greatly, but both stories depict the consequences of the disruption of order and balance in the world and incorporate elements of disguise and character consequences. The author points out that carefully crafted humor in both pieces distinguishes them to be works that are timeless and relevant in any society. The paper relates that "Twelfth Night" takes place on the island of Illyria and serves as Shakespeare's idea of utopia; similarly, the main setting for Milton's work is the utopian Garden of Eden.
Table of Contents
Comparison of the Two Works
Element of Disguise Theme of World Order and Balance
The Use of Setting and its Representation of Paradise
Conclusion
From the Paper "Shakespeare uses the element of illusion and reality through the means of mistaken identities, disguises and deception. The characters create a false "reality" by disguising the truth about themselves. Examples of this are demonstrated with Malvolio as a man obsessed with the illusion of power; Maria as the author of "Olivia"s? love letter to Malvolio; Olivia as the mourning daughter and sister and who cannot love because of grief; Orsino as the lovesick nobleman who inhabits a fantasy world of music and solitude. It is Viola, however, who sets things in motion by disguising herself as Cesario."
From the Paper While a major character in As You Like It parades as a member of the opposite sex, the motif of disguise in the play exists mainly on less apparent, thematic levels. Simply speaking, the world of As You Like It--until Jaques de Boys appears in the last act, announcing Duke Senior's recovery of his dominions--is a world in disguise, a world confused by those motivated by jealousy and outright malevolence to usurp the natural order. The action of the play--ending in a quadruple marriage, a festival of union and order--moves to restore proper order to a topsy-turvy world. This is the direction of comedy, and As You Like It perfectly illustrates the comic mode by intruding itself into a rejuvenating pastoral world (the Forest of Arden) in order to remake an unwholesome everyday (court) world.
Abstract This assignment is three papers together. These papers discuss the following subjects in relation to marketing: retailers, the advertisements of Apple for the new iMac and disguises in advertising by marketers. Using course criteria, the papers discuss the new approaches to marketing, the reinvention of old products and the new emergence of the Internet for business.
From the Paper "The advertising for the new iMac computer from Apple brings a new "voice" to Apple Computers that takes the company away from the idea that Apple is an antique in the computer industry. It is apparent that Apple is trying to focus the consumer on a new image for Apple Computers through the new iMac, ("iMac", 2005, p.1). In the advertising shown on the website, Apple discusses how the new iMac is streamlined, and that it contains an immense amount of memory for such a small computer. The pictures also correlate with the discussion that is taking place throughout the computer to show the images of a thin, lightweight, and technologically advanced piece of equipment. This is not at all the mental picture one has when thinking of Apple computers and the commercial does the company justice by updating its image into the twenty-first century."
Abstract This paper discusses the way in which Shakespearean Comedy has been formulated by elements of plot that are viewed as typical. It provides a brief outline of Shakespearean Comedy and explores the plot elements of the green world, multiple intertwined plots, disguise, mistaken identity and the conventional young lovers. It shows how many plot sequences, seen as typical to comedy, are demonstrated through Shakespeare's various stock characters. The paper then demonstrates how Shakespeare's "Much Ado About Nothing" is one of his plays that presents slight deviations from this typical structure.
From the Paper "Since its origin, Shakespearian Comedy has developed having specific and identifiable elements viewed as typical, in regards to plot. Much Ado About Nothing contrasts the other comedies. The setting is not in the magical green world and there are two plots. The young lovers do not demand and obtain the role most interesting to the reader and the 'placing of the comic initiative in the hands of its vivacious heroine Beatrice' not a servant. Beatrice and Benedick appear to captivate the comic progression of the play and other than Dogberry present most of the absurd, wit and humour. The basic foundations of Much Ado About Nothing centre on the typical progression from of conflict to a happy resolution that ends with two marriages not just one. Don Pedro, the disturbingly sinister character for a comedy, is expelled, all is forgiven and society is restored to its festive note. 'Strike up, pipers.'"
Abstract The paper explores Shakespeare's gender disguise that distorted female identity and investigates early modern constructions of gender as distinct from sexual difference. The paper examines the play "Twelfth Night" in order to show how it was Shakespeare's intention to challenge gender taboos of the Elizabethan age.
From the Paper "Considered by critics as Shakespeare's best achievement in the comic genre, the play Twelfth Night or, What You Will affords an elaborate exploration of love and power relationships, gender roles and taboos. Identity poses highly confounding problems, as there are numerous layers to the characters' gender roles and their maze-like relationships and (homo) erotic affinities. Through a range of female characters and the implications of (wo)man disguises, Shakespeare exposes gender issues. Several heroines of the comedies appear in disguise on the Renaissance stage, which represents the cultural context of the play."
Abstract This paper discusses how the character of Moll Flanders in Daniel Defoe's book by the same name, uses physical disguise to change her identity and behavior as well as mask her feelings of having done wrong in her life. The paper explains that, by putting on the costume of her choice, Moll was capable of stealing money, climbing up the social ladder and reaching a very comfortable economic status. The paper also shows how Defoe uses masquerade in "Moll Flanders" as a means to teach a moral lesson to the reader.
From the Paper "Moll Flanders plays many different roles in different stages of her life by simply putting on different types of clothing. Through clever disguises and changes in her behavior and her tone of voice, Moll is able to act out many identities according to the situation she is in at the time such as a whore, a wife, a thief, a felon, and the ever so remorseful penitent woman. Later on, she pretends she is a beggar, a rich woman, and even plays a man at one point. For Moll, the function of clothes is not merely a way for her to cover herself and keep her warm. In Orlando, Virginia Woolf writes "clothes have more offices than to merely keep us warm. They change our view of the world and the world's view of us" (14). Depending on the clothes being worn, it is possible to conclude what the sex or gender of a person is, what profession they are in, and from what is very clear in Moll Flanders, social status and wealth."
Abstract The paper offers a brief look at Rudyar Kipling himself and at the world into which he was born in order to highlight how his views can neither be explained nor excused by ignorance. The paper discusses how Kipling's poem was published only a few months after the announcement of the U.S.' intention to annex the Philippines as U.S. territory and so politicians used this poem to justify their imperialistic ambitions and intentionally mask their intentions to expand U.S. markets and territory as far has possible. The paper contends that it was these imperialistic motivations, disguised in racist yet benevolent rhetoric, that was the true message of Kipling.
From the Paper "Joseph Rudyard Kipling's infamous poem, "White Man's Burden", sparked an enormous anti-imperialist and anti-racist backlash when it was published in 1899, and has been part of over a century of debate over both race relations and the notion and justification of empire. That the poem is based on the author's belief in the superiority of the white race is hardly debatable. Why, though, was this poem take up by figures, like President Theodore Roosevelt, with such enthusiasm? I posit that it was not the racial overtones of the poem, but the idealization of imperialistic intrigue into a sort of stoic duty to be undertaken that caused it to become so widely cited by proponents of the American empire."
Abstract This paper studies Viola, the protagonist in William Shakespeare's comedy "Twelfth Night". The paper examines Viola's disguise as Cesario, focusing on the themes of self indulgence, disguise, self deception and identity. The paper also looks at how Shakespeare uses the comedic vehicles of disguise and mistaken identity to make Viola an even more intricate character.
From the Paper "Viola is a young woman born into aristocracy whose ship is wrecked in a storm, causing her to wash up on the shore of Illyria. Believing that her brother, Sebastian, is dead, Viola disguises herself as a young man who she names "Cesario" and becomes a page to Duke Orsino. Viola falls in love with Orsino, while Olivia, the woman Orsino is courting, falls in love with Cesario. Hence, Viola finds that her clever disguise has trapped her, as she is unable to tell Orsino that she loves him, and she is also unable to tell Olivia why she, as Cesario, does not and cannot love her. Viola's predicament is the central conflict in the play."
Abstract This paper explores selected themes in Homer's Odyssey. The writer analyzes the use of disguise in the story to conceal identity, and how Penelope finally identifies Odysseus as her husband in spite of his disguise. The writer examines the role of Athena, who also changes her identity repeatedly, as the mythical power behind Odysseus, and the one who transforms him into an old beggar before his return to Ithaca. The writer discusses the paradoxes that arise from concealing and from changing identities in the story, and concludes that, whether disguised or not, Odysseus is always a powerful presence throughout the story.
Outline
ONE: Among the Most Important Scenes in The Odyssey: Penelope and Odysseus
TWO: Theories of Myth and The Odyssey
THREE: Ways in Which Identity is an Important Theme in The Odyssey
From the Paper "This story has within it a lot of imagery and straightforward references about the identity of people, and their changing identities affect the theme of the story. Homer is writing about characters and their identity all though the story; some characters change their identity, some even hide their identity, and it seems as if the symbol of those confusing changes of identity comes down to the poet looking at a common human problem."
