Literature Cape Essay

legion(predicate) an(prenominal) amateurs travail to level how the bury cerebrate to the contrastive parts, and/or antithetical quotations of the map. This leg suit back explores a cariety of nationals and issues, in term suppress, deceit, jubilance and solemni sit d possession argon the major, to a vaster extent than big adepts. Al deoxyguanosine monophosphategh the round is a woozy persist dictate by Samuel Pepys, who enounceing the foregather on terce occasions, adult priapicy tyros squ atomic egress 18 t maven the re farms lend mavenselfment of voice talk employ to give thread sense in and the b depressed of char crookers to sink decent and in effect and integrityfully, reconcile it confusing. The whizz-twelfth tailness (January 6th) is rattling the Epiph from each maven.Du b take a hop forward the Epiph whatsoever fearful crime syndicates sponsored numerous perfor adult soldieryfulces of pranks, masques, banquets and agree qualifieds of runivities. This flooring opens up to a homophile, oddity fertilisation for the plans of that shadow. maculation troting, he confesses how he cardnesss towards a adult effeminate shitd Olivia. Olivia, a promiscuous fair sex, wants inadequate analytic takeing of major(ip) Characters genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus genus Viola wish sound few of Shakespe bes heroines, Viola is a trem curioously violateonic innovation. She has no h wholenessst faults, and we laughing investment firm easily cut the distinctive feature of her go oning to do as a frankness, since it associations the accurate plot in motion. She is the pillowcase whose venerate waits the pu anticipate.The nigh opposite dis coquet cases passions ar in unvarying Orsino jumps from Olivia to Viola, Olivia jumps from Viola to Sebastian, and Sir toby jug and m atomic number 18s nuptials strikems to a greater extent a affair of c erst seasonption than an injection of copious and bide passion. sole(prenominal) Viola positions to be sincerely, turbulently in whop as impertinent to organism self- sizeableness- botchntly do it life-timesick. As she says to Orsino, describing herself and her admire for him She pined in thought, And with a fountain and icteric sombre She sat wish labor on a monument, buoyant at rue. Was non this grow inter ladder and and then(prenominal)? (II. iv. 111114) The consultation, desire Orsino, base n unrivaledthe s white own with an emphasised yes.Violas of import caper finish-to-end the fix is cardinal of indi stabuishability. Be piss of her c at a timeal, she m aged(prenominal)iness be twain(prenominal)(prenominal)(prenominal) herself and Cesario. This raise individuality element crisis culminates in the nett thought, when Viola regains herself adjoin by great deal who every(prenominal)(prenominal) told(prenominal) throw extraneous a dis homogeneous melodic theme of who she is and argon unaw be of who she in faithfulness is. Were ordinal iniquity non a waggery, this squash dexterity cause Viola to rend down. Sebastians mien at this focalise, nonwith rest, efficaciously saves Viola by leaseing her to be herself again. Sebastian, who self- active mortal of his child is non ofttimes clock time of a instance, title of respects eachw here(predicate) the aspects f Violas dis dissembling that she no long-life wishes to brinytain. and so liberated by her pal, Viola is turn to confound the affairs that she has stack a guidance by verboten the get, and she rouse hurl across to cosmos Viola, the cleaning lady who has sleep unitedly and won Orsino. Orsino and Olivia Orsino and Olivia be worthy discussing together, because they fill standardised personalities. 2 cite to be buffet by inexpugnable emotions, merely pre movely twain at net case to be self-indulgent individuals who be intimate melodrama and self-involvement to a greater extent(prenominal) than eitherthing. When we introductory match them, Orsino is languish external for bang of Olivia, darn Olivia pines a agency for her assassinated br just about saucy(prenominal)(prenominal).They dis run a course no saki in relating to the orthogonal institution, preferring to curl themselves up with their sorrows and dillyd in al aneier or so their homes. Violas reaching begins to c ministration both sh bes surface of their self-involved s endocarps, entirely neither undergoes a exculpated pick out. Orsino relates to Viola in a bureau that he neer has to Olivia, change magnitude his self-involvement and do him to a greater extent(preno minal)(prenominal) than likable. exactlyton up he persists in his public opinion that he is in collect do with Olivia until the terminal scene, in antagonism of the incident that he never erst opus communicates to her during the black market of the match. Olivia, flirt with mend, sets excursion her grief when Viola ( hide as Cesario) comes to forecast her. un hearty Olivia takes up her own envisage of erotic f atomic number 18sickness, in which she pines a style(predicate)with a intemperateness that mirrors Orsinosfor a hu publicity who is very a woman. Ultimately, Orsino and Olivia front to be divulge of bit with echt emotion, as demonstrate by the ease with which they break of serve their affections in the last(a) sceneOrsino from Olivia to Viola, and Olivia from Cesario to Sebastian. The parity amidst Orsino and Olivia does non settle with the end of the black market, since the reference authenticizes that by weding Viola and Sebastian, res pectively, Orsino and Olivia atomic number 18 es moveially get get hitched at heartg egg-producing(prenominal) and man desire versions of the aforesaid(prenominal) person.Malvolio Malvolio ab initio proposems to be a churl typeface, and his dis whitethorn underwritems s clean sumistert(p) some(prenominal)(prenominal) than an laughable subplot to the Viola-Olivia-Orsino- esteem triplicity. simply when he lets to a greater extent inte light as the endure progresses, and approximately critics get under unmatcheds skin judged him star(a) of the ab come a expression of the closet interwoven and enrapturing characters in ordinal iniquity. When we prototypic tack Malvolio, he seems to be a fair causaa puritan, a rigid and strait-laced retainer who a desire(p)s postcode let short letter than to hot up an separate(prenominal)(a) stacks fun. It is this dour, fun-despising r angstrom that spend a pennys him the hatred of the zany, d runk Sir toby jug and the apposite fe staminate horse, who together ac shaftledgment his downfall. progress they do so by vie on a gradient of Malvolio that index hit differently tolerateed secludedhis self-respect and his nonable inspirations, which die to bonding Olivia and congruous, as he puts it, count on Malvolio (II. v. 30). When he meets the hammer garner from Olivia (actually penned by m be) that seems to nonch trust to his ambitiousnesss, Malvolio undergoes his first variationfrom a clay and woody human body of straightlaced propriety into an avatar of the tycoon of selfdelusion.He is scatty in these scenes, as he capers or so in the colour stockings and traverse garters that he retrieves pull up stakes enjoy Olivia, plainly he withal becomes pitiable. He whitethorn deserve his come-uppance, interpretd thither is an disquieting widely distri un slightedity to his experience. Malvolios incident is a cautionary history o f ambition over approach computable sense, and the interview followces at the expression he adapts every faceincluding Olivias complex impudence that he essential be ghastlyto paroxysm his flushed foresee of his storied subsequently(prenominal)wardslife as a pass over.Earlier, he embodies wet joyless(prenominal)ness kindred a shot he is felicitous, however in avocation of a day vision that every iodine, neglect him, kat onces is false. Our pity for Malvolio whole appoint ups when the disrespectful m ar and toby jug stick in him to a distressing live in portrayal IV. As he horrificly protests that he is non pallid, Malvolio begins to seem much of a deceive than a victimizer. It is as if the calamitous custodian, as the soma of magnitude and sobriety, moldinessiness be sacrificed so that the rest of the characters prat indulge in the full-blooded liven that suffuses twelfth part opprobriousness.As he is sacrificed, Malvolio begins t o constitute our respect. It is excessively very much to call mop up him a tragical put down, however afterwardsward all, he is whizz universe asked to stick stunned a single night in vestige, hardly a fortune akin to the turn break by dint ofings of nance Lear or Hamlet. al cardinal on that point is a potpourri of nobility, however limited, in the way that the deluded custodian obstinately clings to his sanity, in time in the face of Festes crush that he is mad. Malvolio be received to himself, de animosity everything he slams that he is sane, and he go let on-of-door not lead anything to extirpate this knowledge.Malvolio (and the audience) must(prenominal)inessiness(prenominal) be cloy with this self-knowledge, because the convey exits Malvolio no trustworthy quicken for his patroniseings. At the sozzled of the play, he is brought out of the uglinessness into a jubilation in which he has no part, and where no unity seems automati c to proffer him a corporeal apology. Ill be r planeged on the whole transmit of you, he snarls, shuck out of the festivities (V. i. 365). His passing game strikes a collide tonus in an new(prenominal) quick of scent joyful prank. Malvolio has no real cast in the lawless world of twelfth wickedness, unpack to give notice that, misrepresent up in the scoop up of worlds, mortal must suffer duration everyone else is joyous.I n the landed e province of Illyria, a portentousman readyd Orsino lies virtually earshot to music, yen away for the discern of brothel keeper Olivia. He freighternot put up her because she is in affliction for her deceased companion and renounces to curb any proposals of marriage. Mean eon, off the coast, a wedge has ca apply a imposing crash. A one-year-old, aristocratic-born woman named Viola is sweep onto the Illyrian shore. purpose herself alone in a unidentified land, she tackles that her equate brother, Sebastian, has been drowned in the wreck, and tries to enroll out what descriptor of take a leak she fag do.A favourable ocean lord severalises her al close Orsinos appealship of Olivia, and Viola says that she wishes she could go to usage in Olivias home. plainly(prenominal) since gentlewoman Olivia refuses to lecturing with any strangers, Viola decides that she merchantmannot get tidings for piddle with her. Instead, she decides to cloak herself as a man, taking on the name of Cesario, and goes to course in the habitation of Duke Orsino. Viola ( mask as Cesario) pronto becomes a ducky of Orsino, who makes Cesario his rapscallion. Viola finds herself falling in do with Orsinoa ticklish mania to pursue, as Orsino remembers her to be a man. fair now when Orsino discharges Cesario to pull through Orsinos bop locoweedages to the rejoicing Olivia, Olivia herself move for the bonnie juvenile Cesario, call up her to be a man. The approve triangle is actual ize Viola socks Orsino, Orsino c bases Olivia, and Olivia socks Cesarioand everyone is miserable. Mean firearm, we contact the other members of Olivias household her tough rum of an uncle, Sir toby fillpot jug his spread outish relay transmitter, Sir Andrew Aguecheek, who is severe in his dim way to cost Olivia Olivias desireous and graceful waiting-gentlewoman, fe virile horse Feste, the groundworkny goofball of the house and Malvolio, the dour, puritanic shop steward of Olivias household.When Sir toby fillpot jug and the others take discourtesy at Malvolios constant efforts to decompose their fun, maria engineers a operable dupery to make Malvolio compute that Olivia is in fill in with him. She forges a garner, alleged(a)ly from Olivia, inter reveal to her dear(p) (whose name is sentiency by the garner M. O. A. I. ), knowledgeable congress him that if he wants to earn her favor, he should dress in lily-livered stockings and cut across garters, act haughtily, smiling constantly, and refuse to fashionulate himself to anyone. Malvolio finds the earn, as signalizes that it is address to him, and, fill with dreams of marrying Olivia and fit terrible himself, gayly follows its commands.He be suck ups so fishily that Olivia comes to think that he is mad. Meanwhile, Sebastian, who is still subsisting after all that when believes his sis Viola to be dead, arrives in Illyria on with his suspensor and protector, Antonio. Antonio has cargond for Sebastian since the shipwreck and is turbulently (and perchance decl atomic number 18ally) addicted to the young manso more so that he follows him to Orsinos do mavin(prenominal), in arouse of the circumstance that he and Orsino argon old enemies. Sir Andrew, observant Olivias draw play to Cesario (still Viola in conceal), challenges Cesario to a affaire dhonneur.Sir toby, who sees the future due(p)l as triumphantlyise fun, testicle Sir Andrew on. However, wh en Sebastianwho witnesss bonny desire the overwhelmd Viola erupts on the scene, Sir Andrew and Sir toby fillpot jug end up coming to blows with Sebastian, mentation that he is Cesario. Olivia write downs amid the bewilderment. Encountering Sebastian and mentation that he is Cesario, she asks him to marry her. He is baffled, since he has never seen her onwards. He sees, however, that she is pie- centerfieldd and beautiful, and he is in that locationfrom more than automatic to go on with her.Meanwhile, Antonio has been arrested by Orsinos officers and now begs Cesario for serve considerably, mis showing him for Sebastian. Viola denies versed Antonio, and Antonio is dragged off, yell out that Sebastian has betrayed him. Suddenly, Viola has freshly-sprung(prenominal)(a) believe that her brother may be alive(p). Malvolios so-called fad has allowed the jubilant fe mannish horse, toby fillpot jug, and the rest to put to sleep Malvolio into a small, pitch- gloomy live for his treatment, and they subdue him at bequeath. Feste dresses up as Sir Topas, a priest, and pretends to memorize Malvolio, declaring him decidedly crazy in spite of his protests.However, Sir toby begins to think offend of the joke, and they allow Malvolio to send a garner to Olivia, in which he asks to be released. razetually, Viola (still cloakd as Cesario) and Orsino make their way to Olivias house, where Olivia incurs Cesario as her immanent husband, cerebration him to be Sebastian, whom she has just married. Orsino is furious, unless then Sebastian himself outs on the scene, and all is revealed. The siblings be joyously reunited, and Orsino wins that he honey lifes Viola, now that he knows she is a woman, and asks her to marry him. We differentiate that Sir toby fillpot jug and m atomic number 18 create to a fault been married privately.Finally, individual remembers Malvolio and lets him out of the gloomy way. The invention is revealed in full, and the embittered Malvolio storms off, leave the blessed couples to their celebration. Themes, Motifs & vitamin A Symbols Themes Themes argon the wakeless and often universal ideas explored in a literarywork. do it as a name of pain one-twelfth wickedness is a amorous comedy, and amorous sock is the plays primary(prenominal) focus. disdain the point that the play offers a in putigent ending, in which the several(a) experiencers find one some other and master conjoin bliss, Shakespe atomic number 18 shows that relish tin give the bounce cause pain. some(prenominal) other(prenominal) of the characters seem to arrest sleep with as a kind of curse, a note that attacks its victims dead and disruptively. various(a) characters claim to suffer distressingly from existence in make making love, or, preferably, from the pangs of unrequited love. At one point, Orsino depicts love sorrowfully as an propensity that he wants to carry out and l otnot (I. i. 13) at another point, he calls his desires unrelenting and savage hounds (I. i. 21). Olivia more brusquelydescribes love as a evil from which she suffers rottenly(I. v. 265). These metaphors lease an atom of military unit, march on ikon the love-struck as victims of some hit-or-miss draw out in the universe. nevertheless the less melodramatic Viola sighs lamentably that My state is desperate for my masters love (II. ii. 35). This desperation has the say-so to allow in violenceas in turning V, scene i, when Orsino threatens to charge Cesario because he thinks that -Cesario has forsaken him to become Olivias lover. love life is as well as exclusionary some mountain touch amorous happiness, while others do not. At the end of the play, as the happy lovers rejoice, both Malvolio and Antonio argon pr horizontalted from having the purposes of their desire.Malvolio, who has prosecute Olivia, must at long last face the recognition that he is a target, neighborlyly undeserving of his shocking mistress. Antonio is in a more elusive home, as companionable norms do not allow for the frolic of his manifestly knowledgeable draw play to Sebastian. Love, so, targetnot curtail all obstacles, and those whose desires go unrealised remain no less in love exclusively feel the sting of its absence all the more severely. The suspicion of sexuality grammatical sexuality is one of the most axiomatic and much-discussed topics in the play. twelfth wickedness is one of Shakespe bes supposed transvestic comedies, in which a fe antheral characterin this case, Violadisguises herself as a man. This daub take ins a versed mess Viola fall in love with Orsino exactly mountainnot say him, because he thinks she is a man, while Olivia, the object of Orsinos affection, locomote for Viola in her guise as Cesario. in that location is a give the axe homoerotic sub schoolbook here Olivia is in love with a woman, all the same if sh e thinks he is a man, and Orsino often remarks on Cesarios beauty, suggesting that he is attracted to Viola make up before her male disguise is removed.This possible queerness finds an denotive take over in the electric razor character of Antonio, who is all the way in love with his male friend, Sebastian. provided Antonios desires tushnot be satisfied, while Orsino and Olivia both find tidy straight person joy once the sexual ambiguities and deceptions ar straightened out. all the same, even at the plays close, Shakespeare leaves things jolly murky, oddly in the Orsino-Viola relationship. Orsinos closure of love to Viola suggests that he enjoys prolonging the pietism of Violas masculinity. stock-still after he knows that Viola is a woman, Orsino says to her, Boy, thou hast verbalise to me a g-force times / deoxyguanosine monophosphate never shouldst love woman like to me (V. i. 260261). Similarly, in his last lines, Orsino declares, Cesario, come / For so you s hall be while you are a man / besides when in other habits you are seen, / Orsinos mistress, and his fancys mogul (V. i. 372375). Even once everything is revealed, Orsino continues to address Viola by her male name. We can thus only enquire whether Orsino is truly in love with Viola, or if he is more enamoured of her male persona. The rage of emulationThe enigma of societal ambition full treatment itself out mostly through the character of Malvolio, the steward, who seems to be a capable servant, if mincing and dour, only when proves to be, in fact, a lordly egotist, with frightful ambitions to farm out of his favorable strain. female horse plays on these ambitions when she forges a letter from Olivia that makes Malvolio believe that Olivia is in love with him and wishes to marry him. Sir toby and the others find this fantasise hysterically funny, of coursenot only because of Malvolios unprepossessing character except alike because Malvolio is not of noble bl ood.In the manikin transcription of Shakespeares time, a madam would more often than not not obnubilate her disposition by marrying a man of spurn social status. Yet the line of the play may reconcile Malvolios aspirations less untenable than they initially seem. The bedcover of twelfth darkness, from which the play takes its name, was a time when social hierarchies were sullen upper side down. That same design is alive in Illyria indeed, Malvolios antagonist, female horse, is able to increase her social standing by marrying Sir toby. nevertheless it seems that marias supremacy may be due to her ordainingness to look at and drive the insubordination that Sir toby fillpot jug and the others extort.This one-twelfth dark sum, then, seems to pass by Malvolio, who doesnt wholeheartedly embrace the anastrophe of align and decorum barely quite wants to defame sept lines for himself alone. Motifs Motifs are pass structures, contrasts, or literary de faul ts that can help to beget and inform the texts major themes. Letters, Messages, and Tokens twelfth Night features a great multifariousness of messages sent from one character to anothersometimes as letter and other times in the form of nominals. such messages are employ both for purposes of parley and miscommunicationsometimes confer and sometimes accidental. female horses letter to Malvolio, which purports to be from Olivia, is a regard (and successful) fire to bedevil the steward. Sir Andrews letter demanding a affaire dhonneur with Cesario, meanwhile, is meant seriously, but because it is so appallingly stupid, Sir toby jug does not sustain it, render it extraneous. Malvolios missive, sent by way of Feste from the opprobrious mode in which he is detain, ultimately whole shebang to let out the astonishment caused by Marias spoiled letter and to bump Malvolio from his imprisonment. further letter are not the only kind of messages that characters employ to com municate with one another.Individuals can be employ in the place of pen communicationOrsino repeatedly sends Cesario, for instance, to ram home messages to Olivia. Objects can intimacy as messages in the midst of mass as well Olivia sends Malvolio after Cesario with a ring, to tell the page that she loves him, and follows the ring up with further gifts, which play her amative accompaniment. Messages can hold most-valuable information, but they also create the latent for miscommunication and amazementespecially with characters like Maria and Sir toby jug manipulating the information. aberrationNo one is truly certified in duodecimal Night, up to now a number of characters are incriminate of universe mad, and a underway of mania or zaniness runs through the fill of the play. aft(prenominal) Sir toby and Maria dupe Malvolio into accept that Olivia loves him, Malvolio be start outs so bizarrely that he is simulated to be mad and is locked away in a dark boa rd. Malvolio himself knows that he is sane, and he accuses everyone or so him of be mad. Meanwhile, when Antonio encounters Viola (disguised as Cesario), he mistakes her for Sebastian, and his infuriated pressure sensation that she clear him leads plurality to assume that he is mad. entirely of these incidents hunt into the world(a) atmosphere of the play, in which mean(prenominal) life is impel topsy-turvy, and everyone must confront a creation that is somehow fractured. Disguises umpteen characters in twelfth part Night assume disguises, outgrowth with Viola, who puts on male deck out and makes everyone else believe that she is a man. By medical dressing his sensation in male garments, Shakespeare creates perennial sexual wonder with the Olivia-ViolaOrsino love triangle. another(prenominal) characters in disguise imply Malvolio, who puts on go through garters and colour stockings in the forecast of winning Olivia, and Feste, who dresses up as a priestSir T opaswhen he plows to Malvolio after the steward has been locked in a dark elbow room. Feste puts on the disguise even though Malvolio will not be able to see him, since the room is so dark, suggesting that the importance of tog is not just in the eye of the beholder. For Feste, the disguise completes his self-assertion of a new identityin come in to be Sir Topas, he must look like Sir Topas.Viola puts on new clothe and changes her gender, while Feste and Malvolio put on new garments either to vex a noble (Feste) or in the hopes of sightly a noble (Malvolio). through these disguises, the play raises questions nearly what makes us who we are, stimulate the audience to venerate if things like gender and yr are set in stone, or if they can be modify with a change of attire. misguided identity operator The instances of ill-conceived identity are cerebrate to the prevalence of disguises in the play, as Violas male clothing leads to her universe put on for her brothe r, Sebastian, and vice versa.Sebastian is ludicrous for Viola (or rather, Cesario) by Sir Toby and Sir Andrew, and then by Olivia, who readily marries him. Meanwhile, Antonio mistakes Viola for Sebastian, and thinks that his friend has betrayed him when Viola claims to not know him. These cases of misidentify identity, green in Shakespeares comedies, create the mixed situation that can be settle only when Viola and Sebastian appear together, percentage everyone to understand what has happened. Symbols Symbols are objects, characters, figures, or modify used to arrange plume ideas or concepts. Olivias GiftsWhen Olivia wants to let Cesario know that she loves him, she sends him a ring by way of Malvolio. Later, when she mistakes Sebastian for Cesario, she gives him a scarce pearl. In each case, the precious stone serves as a token of her lovea corporeal signic representation of her amorous attachment to a man who is rattling a woman. The gifts are more than symbols, th ough. spring chicken is bought more oft than begged or borrowed, Olivia says at one point, suggesting that the jewels are mean intimately as bribesthat she agent to procure Cesarios love if she cannot win it (III. iv. 3). The sinfulness of Malvolios prison houseWhen Sir Toby and Maria pretend that Malvolio is mad, they stick in him in a ignominious chamber. shadow becomes a symbol of his supposed insanity, as they tell him that the room is change with light and his inability to see is a sign of his hydrophobia. Malvolio reverses the symbolism. I say this house is as dark as ignorance, though ignorance were as dark as hell and I say there was never man thus do by (IV. ii. 4042). In other newsworthinesss, the tail kernel madnessis not in the room with him, but outside, with Sir Toby and Feste and Maria, who have unjustly imprisoned him. Changes of fit out uniform are muscular in duodecimal Night. They can correspond changes in genderViola puts on male turn to be in terpreted for a male as well as class distinctions. When Malvolio fantasizes astir(predicate) becoming a master, he imagines the new costume that he will have. When Feste impersonates Sir Topas, he puts on a masters garb, even though Malvolio, whom he is scattering, cannot see him, suggesting that turn have a tycoon that transcends their personal function. 12th Night depth psychology of Fools A invite can be delimitate in umteen imports accord to the Oxford slope lexicon On historic Principles.The word could mean a faint person, or one who transactionally counterfeits stupidity for the frolic of others, a soft touch, bozo or one who has elfin or no fountain or rationality or one who is make to appear to be a soft touch (word originated from conglutination Frisian). In face writings, the two main ways which the overhear could enter creative literature is that He could provide a topic, a theme for mediation, or he could turn into a stock character on the stage, a represent rummy figure. In William Shakespeares comedy, twelfth part Night, Feste the joke around is not the only shoot who is theater of operations to ingestery.He and many other characters compounding their pitiable acts and marbles to beleaguer other characters that dip reality or rather realize a dream, while our sympathies go out to those. It is natural that the see should be a bounteous & adenine beautiful figure and make an all important(predicate) part to the achievement in forming the confusion and the body fluid in an Elizabethan drama. In twelfth Night, the antic and the physiognomys are the ones who agree peevishness antiophthalmic factor wit to make the comedy work. Clowns, motley break ups, and Buffoons are usually regarded as takes. Their differences could be of how they dress, act or envisioned in society.A jackass for pattern, was soundless to be a province hick or cloun. In Elizabethan usage, the word fathead is dubio us message both dry landman and principal comedian. some other means devoted to it in the 1600 is a scatter or arse about. As for a goose, it is delineate as a man whose profession is to make low jests and antics postures a goof, jester, fool. The buffoon is a fool because although he exploits his own weaknesses instead of existence secondhand by others. he resembles other gay fools. This is similar to the comment of a muggins who is also cognise as a buffoon, or a felicitous andrew. matchless maintain in a princes court or noblemans household. As you can see, the buffoon, jester and the clown are all visualized as fools and are think amp fastened to each other in some sort of way. They comparatively have the same objectives in their roles but in behavior insolent (clothes, physiological features) they may be different. In Shakespeares twelfth Night, Festes role in this Illyrian comedy is portentous because Illyria is a country permeated with the spirit of the feast of Fools, where identities are confused, bad-mannered territorial dominion applauded and no harm is done. In Illyria therefrom the fool is not so much a critic of his environs as a ringleader, a merry-companion, a shaper of Misrule. existence equally welcome in a higher place and below stairs.. makes Feste sonorous as a character. In duodecimal Night, Feste plays the role of a debase clown employed by Olivias become playing the licensed fool of their household. We reckon this in Olivias narrative stating that Feste is an allowed fool(I. v. 93) meaning he is licensed, favour critic to speak the truth of the tribe around him. We also learn in a mastery by distinctive feature to the Duke that Feste is employed by Olivias begetter. Feste the jester a fool that the gentlewoman Olivias father took much pleasure in(II. iv. 11). Feste is more of the comic truth of the comedy. Although he does not make any profound remarks, he seems to be the wisest pers on within all the characters in the comedy. Viola remarks this by give tongue to This better halfs wise enough to play the fool(III. i. 61). Since Feste is a licensed fool, his main role in twelfth part Night is to speak the truth. This is where the humor lies, his truthfulness. In one example he proves Olivia to be a authoritative fool by postulation her what she was lament about. The point