Misperception and Deception in Twelfth Night
Twelfth Night is likely one of Shakespeare’s most entertaining and complete comedy. This romance explores a generous wealth of themes and issues. The most recurrent theme is the relationship between misperception and deception. As a result of their environment and immediate circumstances, men are forced into misperceptions. Paradoxically, they are completely trapped by these illusions. Between the bad fortune they encounter and the bad fortune they themselves generate, they become caught between a rock and a hard place; they are victims of deceit as well as their own folly.
The relationship between misperception and deception has numerous effects: it gives way to ironic humor; it is used to explore characters and relationships; it develops a strong connection between the main plot (with Viola, Orsino, Olivia, and the others) and the sub-plot (involving Sir Andrew, Sir Toby, Malvolio, and Maria). The following piece from Twelfth Night proves how Shakespeare successfully communicates these elements. The scene involving Viola and Olivia outlines this; the essence of the play.
('I prithee, tell me what thoust think'st of me.')
'That you do not think you are not what you are.'
'If I think so, I think the same of you.'
'Then think you right: I am not what I am.'
Through the course of the play much confusion occurs because of misperception and deception as the following brief outline of the plot shows. Towards the end of the play, Viola is blamed for a number of things. She is charged ...
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...ne own self be true.'
Works Cited and Consulted:
Bloom, Harold, ed. William Shakespeare's Twelfth Night. New York: Chelsea House Publishers, 1987.
Grief, Karen. "Plays and Playing in Twelfth Night". Bloom (47-60).
Nevo, Ruth. Comic Transformations in Shakespeare. London: Methuen & Co., 1980.
Osborne, Laurie E. The Trick of Singularity: Twelfth Night and the Performance Editions. Iowa City: U of Iowa P, 1996.
Shakespeare, William. The Arden Edition of the Works of William Shakespeare: Twelfth Night. Ed. J. M. Lothian and T.W. Craik. UK: Methuen & Co., 1975.
Thatcher, David. Begging to Differ: Modes of Discrepancy in Shakespeare. New York: Peter Lang, 1999.
Vickers, Brian. Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven: Yale U P, 1993
William, Shakespeare Twelfth Night. The Norton Anthology of English Literature, Volume B. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 1079-1139.
Illness was treated in many ways but the main goal was to achieve a sense of balance and harmony.(p82). Applications of herbs and roots, spiritual intervention, and community wide ritual and ceremonies were all therapeutic practices.(p71). “It was the healer who held the keys to the supernatural and natural worlds and who interpreted signs, diagnosed disease and provided medicines from the grassland, woodland, and parkland pharmacopoeia.”(p18). The healers knowledge of herbs and roots and ways to administer and diagnose had been passed down from generation to generation.(p85). Healers stood as an advantage for the Aboriginal people. “Trust and a personal relationships would naturally build between the patient and the healer.”(p77). This must have ...
People are not always whom they appear to be. Whether it’s that fierce tattooed muscle man or that sweet elderly lady smiling from a few seats away, what is perceived is not always what is true. Shakespeare’s Twelfth Night portrays many a character whose identities do not align with their inner character. Olivia’s polite ladylike demeanour, Sir Toby’s guise of nobility, and Feste’s job as a fool all demonstrate how social identities don’t always align with inner character.
The liminality in performing Twelfth Night lies in sexual ambiguity on the stage. It enables a boy actor to play viola's role and disguised as a boy who is wooing another boy who plays a female role . The audience sees no more than a p...
Night." eNotes to Twelfth Night. Seattle: Enotes.com LLC, October 2002. Ed. Penny Satoris. 20 February 2005 .
Thatcher, David. Begging to Differ: Modes of Discrepancy in Shakespeare. New York: Peter Lang, 1999.
Doesn't everyone want someone to love, someone to care for you as much as you care for him or her. Someone who will keep you company in lonely times or who will act as if your brains are tuned into the same wavelength. Share an inseparable bond and grow old with. Love is a very powerful emotion and can be misused because it is thrown around too casually, and be swept up in it very quickly like Viola is with Orsino when she says,” Thy tongue, thy face, thy limbs, actions and spirit, Do give thee five-fold blazon: not too fast: soft, soft! Unless the master were the man. How now! Even so quickly may one catch the plague?” (1.5.48).
Shakespeare's theatrical comedy ‘Twelfth night’ follows a plot full of tricks and lies leading it to effectively represent the theme of trickery in many ways. This is an important theme in this play as most of the action revolves around trickery and its outcomes. There are three main characters that represent the theme of trickery and its many forms; Malvolio - who shows how trickery can lead to madness, Maria - who exemplifies the art of lies and deception, and Viola - who demonstrates how some are unaware of the amount of confusion their tricks can cause. Through these three characters, we can see how trickery is a dominant theme in ‘Twelfth Night” and how it remains relevant, even today.
Autism is a form of neurodevelopment disorder in the autism spectrum disorders. It is characterized by impaired development in social interactions and communication, both verbal and non-verbal. There is an observed lack of spontaneous acts of communication; both receptive and expressed, as well as speech impairments. A person diagnosed with Autism will also show a limited range of activities and interests, as well as forming and maintain peer relationships. The individuals will display limited interests, which are often very focused and repetitive. He or she is likely to be very routine oriented and may show behavioral symptoms such as hyperactivity, impulsivity, aggressiveness, and self-injurious behaviors.
Viola's male masquerade also calls attention to the more general theme of masking. As Cesario, Viola suggests that things are not always as they seem, that identities are protean, that self-deception rivals self-knowledge and that only Time can untie complicated "knots." Coppelia Kahn points out that the cross-dressing in Twelfth...
Shakespeare’s play Twelfth Night revolves around a love triangle that continually makes twists and turns like a rollercoaster, throwing emotions here and there. The characters love each another, but the common love is absent throughout the play. Then, another character enters the scene and not only confuses everyone, bringing with him chaos that presents many different themes throughout the play. Along, with the emotional turmoil, each character has their own issues and difficulties that they must take care of, but that also affect other characters at same time. Richard Henze refers to the play as a “vindication of romance, a depreciation of romance…a ‘subtle portrayal of the psychology of love,’ a play about ‘unrequital in love’…a moral comedy about the surfeiting of the appetite…” (Henze 4) On the other hand, L. G. Salingar questions all of the remarks about Twelfth Night, asking if the remarks about the play are actually true. Shakespeare touches on the theme of love, but emphases the pain and suffering it causes a person, showing a dark and dismal side to a usually happy thought.
The Dramatic Importance of Act 1 Scenes 1 and 2 of William Shakespeare's Twelfth Night
‘Twelfth Night’ or ‘What You Will’ by Shakespeare is seen as a comedy for various reasons. However, on many occasions, this play is almost categorised as a tragedy because of the different situations that the killjoy figure has to endure, through the use of mockery. Because of this, critics find that there is a very thin line between the categorisation of the novel and therefore see ‘Twelfth Night’ as both comedy and tragedy despite the fact that the audience and Shakespeare call this play a comedy. Furthermore, Mel Brooks says ‘Tragedy is when I cut my finger. Comedy is when you fall down an open sewer and die’. Therefore, this just shows how close the genres of comedy and tragedy really are as they can both lead to similar consequences like those Malvolio faced when he was mocked excessively by Shakespeare throughout all five acts of ‘Twelfth Night’. However, this mockery also shows many social messages as Malvolio was mocked for being a puritan which implies that Elizabethans were against their doings.
Mistaken identity and disguise are important aspects of comedy in Twelfth Night that stand at the forefront of the play’s comedy. Not only are mistaken identities and disguise evident within the main plot of the play but also in various other situations. Sexual confusion amongst characters, subversion of gender roles and farcical elements through stagecraft all effectively contribute to the dramatic comedy genre. However, it can be suggested that certain elements of Twelfth Night are not interpreted to be purely comedic; Shakespeare has incorporated serious and controversial subjects such as the idea of genuine love, the patriarchy of the time and the cruel gulling of Malvolio. Therefore, disguise and mistaken identity are not solely for the purpose of comedy and it could be inferred that it even borders on the genre of tragedy.
Twelfth Night or What You Will is one of Shakespeare’s most famous comedies. It has been performed hundreds of times and adapted into a number of modern films. The main plot of the play follows Viola, a girl who is rescued from a shipwreck and enters into the service of the Duke Orsino disguised as a man. Rising quickly in his estimation, Viola begins delivering messages of love on his behalf to Olivia, a noble woman who has no interest in Orsino’s advances. Over the course of the play Olivia falls in love with the disguised Viola, Viola falls in love with Orsino, and Viola’s twin brother Sebastian, who supposedly died in the shipwreck, returns. Following Sebastian’s return the twins are mistaken for each other, leading to both misunderstanding and marriage in the final scenes of the play. Alongside the main plot of Twelfth Night is an almost equally prominent subplot involving Malvolio, a servant of Olivia, who falls in love with her and who falls prey to a prank planned by the other members of the household who despise his abhorrence of fun. In the article “The Design of Twelfth Night” by L.G. Salingar, Salingar examines the plot and structure of the play and addresses the significance of the subplot. The purpose of this essay is to examine both evidence from the play and articles from other authors, with a focus on Salingar, who have written on the subject in order to determine the purpose of the subplot. In his article, Salingar comes to the conclusion that the purpose of the subplot is to provide a comic mirror of the main plot while amplifying the main themes of delusion, misrule and festivity. Salingar presents a solid argument, however he has neglected another lesser but significant element of the sub-plot which illustrate...