In the face of this powerlessness, he will, deliberately or subconsciously, assume the mask of folly in order to protect himself from the world. For us, he is a man slipping on the beliefs of society, one always at odds with the standards it maintains: It may be that in a world where misfortune is the common lot of man, and where the Shylocks and the Capulets are always out for revenge, it is simpler to whistle trouble away than to face it.
The pose is, however, merely a pose. But I will not stir from this place, do what they can: Secure though he may be for the moment, the time will come when he must face the realities symbolised, later, by the skull of Yorick. Who with dagger of lath, In his rage and his wrath, Cries "Ah ha" to the devil.
Lancelot Gobbo similarly plays games both with himself and his father in The Merchant of Venice, and he reacts to the threats of Shylock in the same way as, earlier, Moth had done to Armado. I am all these three [three faces of love] Moth: Love cannot be controlled; instead, it controls people.
The key to this presentation is that the fool is being studied from the outside. But this is because, like Launce, he is a child.
With mirth and laughter let old wrinkles come. Jaques is in something of the same position. But when I came, alas, to wive, With hey, ho, the wind and the rain, By swaggering could I never thrive, For the rain, it raineth every day. In a comic play filled with ridiculous characters, Malvolio is serious and sour, with a distaste for amusement and laughter of any kind, as we see in his reaction to Feste.
They do not use the right words; or if they have the right words, they lack the ability to string them together into meaningful sentences. Consequently, they react to a person who acts on assumptions other than theirs, rooted in the logic of his own being, by dismissing him contemptuously as a fool—treating him as an outsider, and denying him all personality.
Relationship of the kind he looks for is clearly not to be found with a dog. We might think of Bottom and Touchstone as descended from one side of the family, and Jaques and Feste from the other. Yet it is clear that what Theseus does for the play symbolically, as it were, Bottom does for it by his participation in the various levels of the action.
I will walk up and down, and I will sing, that they shall hear I am not afraid. He resorts to all kinds of pressure—flat contradictions, flattery, and so on—to persuade Bottom to stay in line.
He is baying at the moon.
The agony is the greater because the fool sees that the labels society has pinned upon him fit just as well upon society itself, and that it is all merely a matter of perspective.
Their childlike absorption in their own world-view is total. At its simplest, as in the case of Restoration drama, it depends on his having taken on uncritically all the prejudices of his audience.
In the plays of Shakespeare, however, where the action of protagonists who exist in a firmly detailed social structure is of primary importance, no such opportunity is given to the fool to reveal himself, except in Hamlet. Folly is, however, symptomatic of something deeper than itself, and it is clear even in the mature comedies that the corrupt world, as represented by Shylock or the usurping Duke Frederic, can only be done away with in the magic forests or by the perpetration on it of some holy deceit.
It is worth noticing in this connection how largely he takes his cue from the attitudes of other people. Consider the fools in Restoration drama, for instance: For this reason we welcome him among us, and tolerate the sharp satire which he uses to relieve his feelings because we know he can do nothing about us.
Like Mercutio, the fool has considerable verbal fluency, a device that stretches, as we have seen, all the way back to the early comedies: But they are at Sidcup, and we know he will never get them. The clowns and prostitutes whom he so often makes his subjects embody a consciousness of life at odds with the rest of society: But he is not at home, all the same, and his position is very much that of the fool—acted upon, unsure how to act himself.In Shakespeare's Twelfth Night, Feste's role in this Illyrian comedy is significant because "Illyria is a country permeated with the spirit of the Feast of Fools, where identities are confused, 'uncivil rule' applauded and no harm is done".
Into this category critics place Shakespeare's intellectual or "wise-fools," notably Touchstone of As You Like It, Feste of Twelfth Night, and King Lear's unnamed Fool. In Twelfth Night, Feste, Maria and Sir Toby are the fools that make the comedy work in many senses.
They create the confusion through humor and it all works out in the end to make William Shakespeare's Twelfth Night a really funny Elizabethan play. The Shakespearean an analysis of fools in twelfth night a play by william shakespeare fool is a recurring character type An analysis of the sonnet ozymandias by percy bysshe shelley in the works of William an analysis of fools in twelfth night a play by william shakespeare Shakespeare.
Twelfth Night by William Shakespeare is a romantic comedy set in Illyria during the Christmas season. The article analysis is a critique on the elements of folly and foolery in Shakespeare’s twelfth night. A summary of Act I, scene v in William Shakespeare's Twelfth Night.
Learn exactly what happened in this chapter, scene, or section of Twelfth Night and what it means. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans.Download