Feste Feste and Malvolio Twelfth Night: AS & A2
Shakespeare Analysis: Malvolio and Feste from Twelfth Night and this is one of the fundamental differences between he and Malvolio; although it was built upon not things that Feste already knew, but by the connection of. The way Shakespeare described him in relation to the other characters, and the In a way I see Feste like a solitary character that enjoys his position as a jester among the nobility . In Act I, Scene V, we see the opinion Malvolio has of Feste. Feste, come together to make Malvolio believe that Olivia is in love with The relationship between Feste and Malvolio is tenuous at best.
My lady will hang thee for they absence.
Let her hang me; he that is well-hanged in thisworld needs fear on colours. He often delivers advice and biting mockery, condescending the power structure of his society while hinting at a greater knowledge of events and people than would otherwise be expected from a man of his station1. He is also the only character to display a potential awareness of the fact that Cesario is not only not the man that he claims to be, but not a man at all. I warrant thou art a merry fellow, and carest for nothing.
Not so, sir; I do care for something; but in my con- science, sir, I do not care for you; if that be to care for nothing, sir, I would it make you invisible. For were he to care for that person, then he would care for nothing at all, because that person doesn't really exist.
It is difficult whether to determine whether or not Feste actually does care for anyone; his acts are selfless and appear to be motivated in a fashion driven towards progressing the action of the story, hence his involvement with the Malvolio love debacle. Aside from consequences of his employment with Olivia, he would appear to have no connections outside of the characters found around Orsino and Olivia.
He does, however, appear to have an inverse affection for Malvolio; Malvolio, being the character representative of that to which Feste is fundamentally opposed, earns the manipulative wrath of Feste, as seen in the final resolution of the play — the scene in which it becomes clear to Malvolio that he was duped in the love Viola bore for him. Feste's apparent neutrality towards all characters is manipulated not by an uncaring, but by a lack of a drive to seek self advancement, and this is one of the fundamental differences between he and Malvolio; although both characters appear to care little for those around them, they do so for very different reasons.
To Feste, it would seem to him that all people, provided their treatment of him is benevolent, are the same and deserving of equal benevolence.
Twelfth Night: AS & A2 York Notes
Malvolio, however, views people as a means to an end; even the culmination of all of his hopes and aspirations, the love of Viola suggested by the letter penned by Maria in Act II, is the object of his desire not because of his love for Olivia, but the love of the power which she holds, and, consequently, may bestow upon him. Malvolio is defined by his reactions to external forces. His actions are governed either by a blind, unthinking pursuit of tradition and regulation, or of the approval of other characters found in the play.
We are first introduced to the character of Malvolio independent of Olivia as he chastises the two knights, Feste and Maria for being loud; Malvolio: My masters, are you mad, or what are you?
Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of night? Do ye make an alehouse of my lady's house, that ye squeak out your coziers' catches without any mitigation or remorse of voice?
Olivia and Malvolio
Is there no respect of place, persons, nor time in you? If you can separate yourself and your misdemeanors, you are welcome to the house; if not, an it would please you to take leave of her, she is very willing to bid you farewell. It also shows that Malvolio is willing to use his position as steward to speak with the voice of Olivia, even going to far as to insinuate that the countess would prefer the two gentlemen to leave — even though she herself never indicates that.
His use of the voice of Olivia in this fashion also suggests how he feels that a lady of her station should perceive the situation in which Malvolio finds himself; with a cold and distant reprobation. Prior to Malvolio's entrance, Feste had been singing with Sir Toby in a drunken and loud fashion. He is foreshadowing the fall of Malvolio; although it is unlikely that Feste has any idea what Maria plans to do concerning a letter at this point in the story, he has probably determined from the nature of Malvolio's character that his pride and avarice will lead to his fall.
Although this thought of Feste's was inspired by Malvolio as one cannot predict the fall of a man without the man to think onit was built upon not things that Feste already knew, but by the connection of character attributes into the construction of an entirely new thought — something that Malvolio is incapable of.
In a sense, Malvolio's fall at the end of the play hints at a concept that seems to pervade Malvolio; do not challenge the status quo. Although he doesn't seem to be particularly liked by any of the characters, he seemed to be comfortable, both socially and financially, in the position of steward. However, due to his overwhelming avarice2 upon reading Maria's letter and immediate acquiescence to its demands, his challenge of his place in the world is punished, and punished in a fashion that would destroy a man as prideful as Malvolio; by humiliating him in front of those he considers inferior to him.
It gave us a picture or as in the video that we saw that he was in the garden, practising his movements and gestures. Fabian joined and gave us another reason for tricking Malvolio because Malvolio had reported Fabian for bear baiting, which was a sport that Puritans disliked. Malvolio was in the right frame of mind to be deceited by the wicked plan. Everything enables the audience reduce their sympathy on Malvolio. We met him again in Act 3, Scene 4.
Maria said he was behaving in a weird way, that he was a bit mad. Olivia was mad too, but mad with love and desire.
Then Malvolio approached ridiculously with what he was wearing: Olivia asked what was the matter with him, and said he should go to bed, but Malvolio thought he was invited to go to bed with her!
Everything Olivia said was misinterpreted by Malvolio.Twelfth night - I am the man scene - Viola - Malvolio - Sebastian
Malvolio was very ready, and convinced of his own desire ability, and he was getting closer to Olivia all the time. He kept quoting from the letter but of course it meant nothing to Olivia. Dramatic irony, pathetic fallacy and humour Essay Malvolio was more sure than ever that Olivia loved him, he was full of himself.
He was thanking Jove all the time but he was only godly when he thought he could get something good of it. Maria, Sir Toby and Fabian were determined that Malvolio should be locked away. Malvolio was treated, as if he really was absolutely mad. We met Malvolio again in Act 4, Scene 2, this was the point our feelings towards Malvolio start to change.
enlolivia / Olivia and Malvolio
Feste was persuaded by Maria to dress up as a priest, Sir Topas. Sir Topas said to Malvolio that he was to remain in the dark room. Feste promised to bring Malvolio ink, pen, and paper in which Malvolio requested so that he could write to his lady and explain everything.
Poor Malvolio was completely hopeless. Though you have put me into darkness and given your drunken cousin rule over me, yet have I the benefit of my senses as well as your ladyship. The things Malvolio said between line to line was very touching, he was saying all the things that he had suffered. Malvolio found out the truth that the letter was written by Maria, and everything was a set up.
Then Feste came up, and explained everything. Feste kept quoting from the forged letter, and revealed that he was Sir Topas. This explained why Feste brought his revenge on Malvolio.