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

screen and deception bestow significant roles in Shakespeares ro earthtic recognizedy Twelfth Night. Shakespeare places emphasis on these or so wickedness (A2 S2 L26) traits to somehow create a traditional romantic comedy where despite the negative ideas of bury and dissembling play a prominent role, love blossoms and a happy ending prevails.The tireless utilization of these ideas in different grades and guises, which endure through step to the fore the whole play highlights the themes of love, madness and appearance versus pragmatism where dissemble and deceit both take credit for possessing a major responsibility in providing twists, turns and pettishness in the main and sub-plots. Orsino is the first character introduced to the play. He is the Duke of Illyria and at that placefore the most powerful character implemented into Shakespeares play. Upon his r separatelying to the story, he immediately disguises his ignorance of love by speaking in poetics form to deceive the audience and the characters close to him. If music be the food of love, play on (A1 S1 L1) is promptly contrasted in line 7 Enough, no more Tis not so sweet as it was before. This contradiction implicates his ignorance of what love is really about. His mental lexicon and rhetorical language, both influenced by poetic speech does well to fool everyone that he is not what he regardms. People would see Orsino as a likeable character that carries the aura that he can hit anything he is a self-absorbed man who thinks very highly of himself.What is the difference among a figurative and a literal analogy?But this is obviously not the case as Orsino has been sh declare to be on the dot like everyone else, even boardh his power in Illyria, Orsino has his flaws too. Feste to a fault uses his language to disguise views of his character. However, contrasting the stance of Orsino, Feste shows his wit and prehensile by smugly play on words and with the medium of music. An example of Festes clever play on words was during the conversation he had with Viola who was at the time disguised as Cesario embark 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 contend Cesarios true identity. Feste himself does not describe himself as Olivias fool merely her corruptor of words (A3 S1 L37). Indeed it can be viewed that he is only paid to be the fool, to act like a madman with wit and in actual fact he is the most sane character and intelligent in the play. He shows his intelligent by irrelevantly expressing his words in another(prenominal) language, cucus, non facit monachum (A1 S5 L53).Feste is the only character wrapped up in all the plots yet keeps an outside perspective of each by showing no emotion in his speech or actions. But in light of this, his emotions are brought to the surface when he entertains people with his music. The acknowledgment tha t Feste is has the most knowledge 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 banks that everything will work out okay when you fall in love, Feste believes that the future is always uncertain Whats to come is still unsure (A2 S3 L50).He also concretes his perspective that love should not wait as we will not be schoolgirlish 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 to Feste than meets the eye. Festes past(a) is shrouded in mystery, and elements of his past still live in his music. And well strive to please you everyday (A5 S1 L 407) ends the play. no matter of his past that he disguises through music, Feste feels that his work now is to make people laugh.He expresses wi th this idea that our duty in life is to be happy and to make others happy, something he harassed Olivia about in Act1 as she mourned her chum salmons death. 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 clown around who provides humor and entertainment for the audience. Sir Topas the curate, who comes to visit Malvolio the lunatic (A4 S2 L22). Upon learning of Sir toby fillpot jug and Marias gulling of Malvolio, Feste decides to join in the fun.He does this by pretending to be someone else when visiting Malvolio, to further his torture and suffering. Malvolio and Festes turbulent past had been briefly put down when in Act 1 Malvolio distinguishs I marvel your ladyship takes glamour in such a costless rascal (A1 S5 L81). Its interesting to take into account that Feste is supposed to be the fool of the play, but he doesnt frame-up the humorous gullin g of Malvolio and fails to provide the entertainment and humor Sir Toby Belch and Sir Andrew Aguecheek bring to the play.Instead Feste takes part 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 redact to serve Orsino, For such disguise as haply shall become The form of my intent (A1 S3 L54).In doing so she deceives everyone else in the play, with the exception of Feste, and as a result causes confusion among and between the characters and mayhem in the overall play. As a result of her disguise, Olivia and her brother Seabastian, get married as she musical theme that Sebastian was Cesario, would thoudst be ruld by me (A4 S2 L63). Thats an example of confusion re sulting from Violas disguise. Mayhem is caused when the desirous Sir Andrew Aguecheek attacks the tough and skilled 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 focus between characters like Olivia and Sir Toby Belch, Where manners neer were preachd Out of my sight (A4 S1 48). These are just devil 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 curiousness (A4 S1 L15) and when Antonio thought he was backstabbed by Sebastian, but was in reality talking to a clues Viola, Thou hast, Sebastian, through with(p) good feature shame (A3 S4 L375).The many outcomes of Violas disguise bring entertainment and humor to the audience to add comedy to the dally. In disguising herself as Cesario, Viola falls in love with Orsino to bring the romance as pect 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 cause the humor, and the unspoken love from Viola to Orsino bringing out the romance. Viola is like Feste in the sense that they both 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), often 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 formerly, Aside thought I would not have it grow on my chin (A3 S1 L47). In countering in a struggle of wits, she riddles to Feste that she is in fact a woman. Violas brother Sebastian also manages to have a role in the deceit over his short period of time in the play.His only relati onship that occurs passim 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 part 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 purpose of enhancing the romantic conclusion to the play. Olivia herself is in self-deceit. The mourning over her brothers death is very gamboltic, 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 mournin g 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, promised that no man would see her face till seven years heat (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 tidings 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 behind 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 percentage, all is fortune (A2 S5 L23), this being his initial belief that Olivia loves him, even before reading the letter from Maria. Malvolio disguises his true colours by being the unappealing 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 inte lligent 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 behind 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 twain get married. Looking at their relationship throughout the play, Maria is the mother figure who takes care and guides Sir Toby Belch, Ay, but you must confine 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 thought-provoking Cesario to a fight for his own personal entertainment, as both Aguecheek and Cesario are seen as cowards thus Sir Tovy creating his own sub-plot. Sir Andrew Aguecheek is as a clumsy coward of a cavalry. 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 God have pity 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 Tobys instruction manual and the direction Sir Toby leads him into. The play as a whole is one big disguise. An improbable legend (A3 S4 L127) is what Fabien describes the play to be. He acts as if the real life situati on is like a play, and in centre of attention 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 basically just a play. You are now out of your text but we will draw the pallium 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 picayune subtexts to regularly remind the audience that the play is fictional. All these subtexts are disguised within the context in which the 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 th e 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.