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."
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."
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."
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."
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."
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. "
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 ."
Abstract Shakespeare often used "excess" to deliberately create a sense of imbalance in the play. While in tragedies excess was employed to intensify the emotions of grief and sorrow, this dramatic tool had a different role to play in comedies. This paper shows how, in most comedies, "Excess" was incorporated in order to generate spontaneous laughter but in "Twelfth Night", the playwright had a different motive for employing "excess". The writer shows how Shakespeare has made use of the element of excess in this play specifically to expose the weaknesses of Elizabethan society of 16th century. The paper closely studies the instances of "excess" in this play and discusses the playwright's purpose in this connection.
From the Paper "THE TWELFTH NIGHT: element of "excess"
"The Twelfth Night" is one of those comedies of William Shakespeare that revolves around the theme of "excess". Excess thus refers to a certain imbalance in the plot which is highlighted though various means including actions, words and emotions. In Twelfth Night, excess has been used intentionally in order to both generate spontaneous laughter and expose the imperfections of English society. Thus we can say that Shakespeare normally uses this dramatic tool to accentuate a particular emotion. In this play, the same intention is present and this time excess has been incorporated to make the play even more hilarious without losing grip on the real purpose. In the very beginning of the play, we notice that the playwright wants his readers to pay attention to the element of excess when his character Orsino says:
?If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.? (Act 1 Scene 1)"
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 This paper examines how several relationships develop and change throughout "Twelfth Night" and how the bond between Viola and Orsino is extremely important to the plot. It looks at how during the play their association takes many forms from being strangers, acquaintances and friends, to allies, enemies, and finally lovers. It also shows how the triangle established among these two and Olivia establishes the foundation for the plot and dramatic tension in the play.
From the Paper "Orsino and Viola's relationship is fundamental to the unfolding of events in Twelfth Night. Orsino's sending Viola to Olivia as his emissary creates the love triangle which is central to the play's plot. The deepening of their feelings for each other establishes both dramatic and comedic tension as the play progresses. This tension heightens when Olivia falls in love with Viola, resulting in Orsino and Viola's becoming simultaneous allies and enemies. Orsino's sending Viola to Olivia ultimately results in Sebastian's marriage to Olivia and thereby the thwarting of Antonio's love for Sebastian. It is upon hearing of this marriage that Malvolio realizes the folly of his hope to marry Olivia. "
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."
Abstract This paper explains that William Shakespeare illustrates in "Twelfth Night" that love is not always joyful but also can cause pain, turmoil and frustration. Orsino, Viola, Malvolio, and Olivia, the author points out, are characters that demonstrate the power and lack of power over love. The paper presents examples from this comedy by which Shakespeare demonstrates the ways that love is complicated and beautiful at the same time.
From the Paper "From this opening scene, we become aware of the tone of the play as well as see what the power of love can do. For instance, Orsino loves love. In fact, he may love the idea of love too much. His feelings for Olivia are over the top - so much so that he seems like a raving lunatic. If he were living today, he might stalk her. His intensity, however, is critical because it allows us to see the influence that love, or what we think to be love, can have over us."
Abstract This review analyzes the different types of love that the characters of "Twelfth Night" undergo in their attempt to find love. The paper relates that the various characters in the story experience or show fabrications of love, lustful infatuations, and true conventional love.
From the Paper "There are various types of love experienced by the characters in Twelfth Night, along with the consequences that are created. The various individuals show fabrications of love, infatuation, as well as conventional love. At the end of the last act, Sebastian and Viola are reunited and their personalities in this scene allow all the puzzle pieces (i.e. mistaken identities) to fit together. The masks and disguises are ultimately removed and the characters can now follow their own identity, gender, and love interests."
