Abstract
This paper examines William Shakespeare's comedy "Twelfth Night" and comments on the social context of Elizabethan society and the degree to which revenge is taken upon Malvolio. It looks at how Shakespeare makes fun of the Puritans, whose Christianity opposed the festivities so loved in Elizabethan society in "Twelfth Night" through Malvolio, the stuck-up steward that is totally opposed to fun as festivity. It analyzes the various forms of revenge as devised by Maria, Olivia and Sir Toby and discusses whether their actions do indeed go too far.

From the Paper
"Madness is a continuing theme throughout the play of Twelfth Night. Maria, Sir Toby and Fabian try to trap Malvolio in madness by acting in such a way as to convince him that they are right. Olivia, already distressed by Malvolio's actions towards her, believes that this might be true. In Elizabethan times, it was thought that to cure a mad person, they should be shut in a dark room until their sanity returned to them, and this is exactly what the plotters do in Act 4, scene 2. They treat Malvolio as though he is actually mad, and Feste joins the scheme, disguising himself as curate Sir Topas to torment Malvolio with his quick-witted tongue."

Tags:olivia, sir, toby, maria, revenge, letter, puritan

Abstract
Foolery comes in many shapes and many sizes as William Shakespeare reveals in his play, "Twelfth Night". Malvolio's character represents a type of self-delusional foolery that we can laugh at and learn from. Feste captures the mood of the play perfectly when he says, "Foolery, sir, does walk about the orb like the sun; it shines everywhere" (III.iii.139-40). Some foolery is positive, and some is negative and deserves to be punished. This paper examines the significance behind punishing Malvolio for his foolery through a prank.

From the Paper
"It is obvious that Malvolio's nature becomes a drag for the other characters in the play. Toby responds to Malvolio's abrasive nature with biting honesty, which Malvolio is blind to, when he asks him, "Art any more than a steward, Dost thou think, because thou art virtuous, there shall be no more cakes and ale" (II.iii.110-2). Shakespeare is creating a conflict between Malvolio and the other characters in the play, which prepares us for the upcoming scene in the play."

Tags:Sir, Toby, Olivia

Abstract
This paper analyzes the play, "Twelfth Night" by William Shakespeare and, specifically, discusses the severe treatment of Malvolio in the play. It examines how Malvolio is a servant who desperately hopes to rise above his station in life and how he does not gain the sympathy of those around him because of his haughty and prudish attitude. It argues that, even though Malvolio is not the most congenial character, he does not deserve the severe treatment he receives during the play.

From the Paper
"It is here that the character of Malvolio really begins to flesh out for the audience, and even for the other characters. He is one of the most well rounded characters in the play, and as he struggles to overcome his servant status, he not only becomes more pitiable, he becomes more human. Who has not had some kind of cruel practical joke played on them like this, and who has not hoped to better themselves in life? Malvolio may be obnoxious and disliked, but he is not cruel or evil, and he is treated badly by those around him when he really did little to deserve such treatment. If anything, Malvolio has just shown that he has ambition, and his ambition overshadows his good sense."

Tags:servant, olivia, toby, maria

Abstract
This paper examines the purpose of mankind in William Shakespeare's time, looking specifically at the character of Malvolio ("Twelfth Night"),in order to emphasize the importance of character flexibility in the changing world. The paper examines how the character of Malvolio shifts from a man who holds the respect of others to a comic figure, but his downfall occurs because he follows his societal role too strictly and cannot learn to shift mindset and attitude, a characteristic that marks the successful protagonists, Viola, Olivia, and Orsino. The paper shows that in "Twelfth Night", Malvolio is set in his decision to win Olivia's hand, but he fails due to his inability to adapt to new situations, revealing Shakespeare's view that a man who cannot alter himself to fit new situations will not be able to succeed.

From the Paper
"From the beginning of the story, Malvolio entertains the idea of becoming husband to Olivia, as when he daydreams, "Maria once/ told me she did affect me; and I have heard herself/ come thus near, that, should she fancy, it should/ be one of my complexion" (II.v.22-6). Malvolio sees himself as a fit suitor for Olivia, and is determined to act in ways that he believes will win her hand. As a Puritan, many of Malvolio's characteristics are serious and somber, his natural dignity and grave conduct preventing him from joking and outwitting others. Believing Olivia to be a state of honest mourning, he views his similarly serious demeanor to be appropriate to win her trust, and eventually her hand. The first appearance of Malvolio reveals his inflexible nature; after the Clown tries to win back Olivia's favor, Malvolio insults him and is in turn mocked. Olivia explains to him, "To be generous,/ guiltless, and of free disposition, is to take those/ things for birdbolts that you deem cannon bullets" (I.v.91-3). Malvolio cannot take any matters touching him lightly, because he is set in his ways and unable to adapt. Rather than dodging criticisms and jokes as Olivia suggests, Malvolio turns to insults and reveals his immovable nature. His somberness is suited to fit Olivia's state of mourning, but as Olivia moves towards a normal life again, Malvolio's somber attitude grates on her nerves and a complete outward change is needed to keep her interest."

Tags:Maria, Puritan

Abstract
This paper briefly discusses how Shakespeare uses his character's actions and deeds to portray the message of foolery. It focuses on the character of Malvolio and how he especially represents this aspect. Malvolio's character represents a type of self-delusional foolery that we can laugh at and learn from.

From the Paper
"Malvolio's treatment is a direct result of his own egotism. Malvolio is so wrapped up in his own importance that he cannot see the importance of anyone or anything else around him. Shakespeare cleverly uses Malvolio's situation to prove how such an egotist can terribly misconceive his world and those around him. Malvolio's pride makes him a perfect target of a prank."

Tags:olivia, fool

From the Paper
"Shylock in the Merchant of Venice and Malvolio in Twelfth Night perform the dual role of villain and comic butt. A role is the impersonation of an imaginary character in a story of drama. In drama, the audience must deduce the attributes of these imaginary characters solely by their words and actions. Therefore, when an actor assumes a role, he has the responsibility of making a fictional character credible and vibrantly alive for the audience. Shylock and Malvolio are reprehensible, ridiculous and absurd in their obstinate refusal to harmonize with their social environment. For their failure to conform to the dictates of the world they inhabit, Shylock and Malvolio are punished. However, our alienation from these two characters is modified by the severe treatment they receive from the people around them. Consequently, the roles of Shylock and ... "

Abstract
The paper suggests that Orsinio's speech in William Shakespeare's "Twelfth Night" is an important factor because the disorder in the play must be resolved by the conclusion. The author discusses three major issues in the play--the audience's conflicting feelings about the character of Malvolio, Orsino's feelings towards Olivia, and Orsino's love for Viola who has been dressed as a man to help Orsino Win Olivia's favor--and concludes by explaining how each of these major issues are resolved by the end of the play.

From the Paper
"When the play opens, Malvolio is treated like an antagonist. This is not due to any malevolence on his part, but is actually attributable to the fact that he seems determined to prevent any of the other characters from engaging in any type of revelry. This immediately sets Malvolio up as the antagonist, because the play's title is "Twelfth Night", which would have given an Elizabethan audience the expectation that the play was going to feature a certain amount of Bacchanalian wild abandonment. Malvolio argues for sobriety and temperance. In response, some of the other characters make him the victim of their practical jokes. This ill-will results in a practical problem for Viola. At the play's beginning, she is accompanied by a captain. When she learns that Orsino, whom she does not know, has been unsuccessful in his pursuit of Olivia, Viola decides to dress like a boy and help Orsino press his suit. However, only the captain is privy to Olivia's plans, and Malvolio has had him arrested and imprisoned. Therefore, in order to verify Viola's claims, and to free him, Orsino has to find out where the captain is and why he has been imprisoned. When Malvolio leaves, Olivia notes that he has been abused. (Twelfth Night, V.i., 379). In response, Orsino addresses Olivia, asking her to "Pursue him, and entreat him to a peace; He hath not told us of the captain yet." (Twelfth Night, Vi., 380-381). This line makes the reader understand that, while the main characters may not like Malvolio, they acknowledge that he has been mistreated and that they must make amends to him in order for the play to reach its resolution. "

Tags:play, comedy, malvolio, olivia, viola

Abstract
This paper examines how different kinds of trickery, deception, and mistakings exist in "Twelfth Night" and how audiences respond to and enjoy these in different ways and for various reasons. Specifically, the paper compares the trickery and deception played on Sir Andrew Aguecheek with that played on Malvolio, noting that the motivations behind the tricks employed on these two characters are radically different.

From the Paper
"Toby's motivation toward Andrew in Act I, scene III is selfish. He flatters Andrew's ego and gives him false hope regarding his prospects with Olivia by claiming "she'll none o' the count" (1.3.97), and that "there's life in [the suit], man" (1.3.99-100). Parenthetically, it will also become apparent as the play progresses that Andrew's courting of Olivia is another ridiculous aspect of his character; it should be clear to all that he does not stand a chance. Indeed, Shakespeare pays much more attention to the Orsino/Olivia/Viola love triangle and doesn't give any serious attention to Andrew's love interests. However, we have no reason to suspect that Sir Toby wishes Andrew any serious harm, and simply wants the spirit of festivity, which is a theme of the play, to continue. For that he requires a drinking companion, and preferably one with money to pay the way. "

Tags:Andrew, Aguecheek, Malvolio

Abstract
This paper discusses the many forms of deception that appear in Shakespeare's play "Twelfth Night." The writer explains how Shakespeare's use of language, disguise, and the self deception of his characters all contribute to the energy and subtlety of the play. The writer gives a summary of the play, showing how deception is woven into the plot and how his characters unfold as they deceive others and are themselves deceived. The paper concludes that at the end of the play, by admitting their lies and dropping their masks, all the characters except Malvolio seem to have solved their problems.

From the Paper
"The seeds of deception planted by Viola in the beginning of the play begin to truly bloom when Olivia's admiration of Cesario becomes a public spectacle. Sir Andrew Aguecheek, Olivia's resident courtier, becomes enraged when he witnesses a display of the lady's desperate love of Cesario. A victim of deception and self-delusion, Sir Andrew has been presented to all by Sir Toby as the brilliant, young, and extremely eligible bachelor he believes himself to be, when in reality he is a bumbling moron. Sir Andrew and Sir Toby are the only characters in the story who bear the title, "Sir," implying knighthood. They also happen to be the two most disreputable and foolish of the cast. The irony of the misnomers is a form of deception in and of itself."

Tags:mischief, revenge, tension, gender, comedic, transformation, self-delusion

Abstract
This paper explores and compares the psychology of the Ego and masks that are worn by two of Shakespeare's characters; Malvolio(Twelfth Night) and Angelo(Measure for Measure). Using concepts of the Ego laid down by Freud and Jung the author demonstrates how Shakespeare uses this flaw, of imagining oneself as an ideal persona, in both a comedic, and later, tragic play. The paper cites examples from Shakespeare's plays to demonstrate his points. Also, the author references known critics in the field of literary criticism to further elucidate his meaning. The author concludes that by using the Ego as a flaw, Shakespeare created characters that are easy to relate to and provides valuable insight on how to deal with ones mask.

From the Paper
"In C.G. Jung's book, The Archetypes and the Collective Unconscious, he described what can happen to one who is "possessed" by what Freud would call the Super-ego. This is an idea Shakespeare was well aware of. He used the concept in his writing as a means to bring about both comedy and later to develop a more sophisticated plot, with a more developed conflict. This flaw of imagining oneself as an ideal persona is supported by critiques of Shakespeare's comedies. Richmond, states that Shakespeare's comedies suggest, "that we should test higher sentiments against the implication of facts"(p.2). He argues that Shakespeare finds virtue in what might be called compromised relationships and only destructiveness in single-minded commitment to an ideal. This is not because this harsh world will not tolerate ideals, but because ideals are self-destructive. Through the characters of Malvolio, in Twelfth Night and Angelo in Measure for Measure, Shakespeare explores this character theme, and creates, not only internal conflict, but external as well ."

Tags:comedy, ego, english, flaw, jung, literature, measure, pyschology, shakespeare, tragedy