Concealment in the Twelfth Night

British Literature Concealment in Twelfth night clock time Throughout Twelfth Night, secrecy influences each images brio because its essential to depict how falsehood can be queer or agonizing before they can discover their identity in life. Therefore, the concept of concealment not only affects the characters pret finaleed identities and abilities to extinguish lawful bop, plainly it gives the tosh comedic and entertaining qualities.Furthermore, concealment portrayed throughout this story makes each character develop an identity with either showing smarting or madness, while it also makes each character realize the principles towards obtaining cacoethes and truth. For instance, genus Violas veil as Cesario and Festes costume as Sir Topas shows that they atomic number 18 two clever and amusing which causes characters to experience feigning and confusion until their identities are revea take.With this in mind, concealment not only deludes characters from reality, sc arcely it exposes the abundance of authorized beloved among Viola, Orsino, Olivia, Sebastian, Maria and Sir Toby, which leads to three marriages within the story. Nevertheless, concealment causes the quite a little to experience deceptions and illusions, but also provides humor concerning the morality of hu bit behavior. Moreover, the first example of concealment during the Twelfth Night is Violas secrete as Cesario.Violas concealment is key to the plot because it is clearly evident that the fluctuation in perspective to the triple government agency and the situations and tribulations imposed upon the character Viola/Cesario, ends up creating a meliorate soul of both sexes and thus, exclusivelyows Viola to have a better understanding of Orsino. For instance, at the end of the story when Orsino finally realizes who Cesario is, he professes his love to Viola by saying When that is known, and golden time convents, A solemn conclave shall be make Of our dear souls.Meantime, sweet sister, We will not reference from hence. Cesario, come- For so you shall be, while you are a man But when in other habits you are seen, Orsinos mistress and his fancys fay (5. 1. 352-358). Consequently, Viola learns that in the role of Cesario, she had to be quick on her feet and halt the probing questions and statements as to her love and others love for her. Also, she acquired the skill to bide her time, until the time was right, in case she reveal her true self or intentions.The disguise also prevents Viola from expressing her love for Orsino, it contributes to the dramatic ironies by causing complications of mistaken identity. Moreover, Viola cannot show her love for Orsino, the only way she can express them is in her soliloquies to the reader, this contributes to the dramatic ironies. For example, when Viola conveys to Orsino what Olivia told her concerning love by saying A blank, my lord. She never told her love, But let concealment, like a worm i the bud, leave on her damask cheek. She pined in thought, And with a green and yellow melancholyShe sit down like patience on a monument, Smiling at grief. Was not this love indeed? We men may say more, swear more, but indeed Our shows are more than will, for still we prove Much in our vows, but little in our love (2. 4. 108-115). There are many a(prenominal) examples of concealment concerning Viola alone, which enables her to work for Orsino as a messenger it causes Olivia to pin in love with her and it causes both of them to disguise their feelings from each other until Orsino becomes alive(predicate) that Cesario is Viola. Concealment also causes mistaken identity.For example, Sir Andrew goes looking for Cesario, strikes him, finds out later it is, Sebastian. Sebastian hits him in return, but sevenfold, and Sebastian having been in Illyria only a few days is proposed to by a beautiful lady and is hit by a man he had never seen before, Why, theres for thee, and there, and there Are all the p eople mad? (4. 1. 16-17). This is a funny series of events started by the disguise of one single woman. It is evident therefore, that the disguises of Viola / Cesario as an example are very important and central to the plot.Also, it portrays how some characters are deceived about their true nature. An example of this is when Orsino sees himself becoming Olivias sweet perfections, fulfilling her sexual desire, thought and feeling. He naively believes that he is in love with Olivia when he has never in reality spoken with her. Another example is Olivia adopting the pretence of mourning and the puritanical Malvolio is tricked into the role of Olivias suitor and becomes a smiling courtier. As a result, oncealment contributes to most of the funniness because there is the occasion when Feste dresses up as Sir Topas and Sir Toby brings the joke to an end out of self interest than any concern for Malvolio.Feste uses a downcast parsons gown, which is, ironically, the color normally associ ated with Malvolio, who in contrast is dressed in opaline colors. This reversal provides a visible symbol of just how thoroughly his arrogance has been humiliated. Feste says, There is no darkness but ignorance and Malvolios ignorance has been ruthlessly exposed, although he was unintentional to think that Olivia loved him in the first place (4. . 33). It is the verbal and character comedy of Sir Topas, showing how humor comes from the rapid switching of roles and, if rather uneasily, from the deception of Malvolio. There are also more subtle examples of concealment in the Twelfth Night, the nature of characters as well as their identities are disguised. In the letter to Malvolio, Sir Toby Belch disguises his real motives behind his show of fellowship for Sir Andrew. Illyria could also be a disguised England, not many people had traveled in Shakespeares day and so perhaps he made up Illyria to be a fantasy England.This place could be where all stereotypes of English people get u p to a variety of things, creating well-known(prenominal) stereotypes in a slightly different setting. Perhaps also, Shakespeare wishes to show his earreach how ready humans are to disguise themselves Orsino and Olivia are both disguising their feelings, Malvolios conceit and illusions about himself and his mistress help in his humiliation. The irony is that Orsino and Olivia are led to face reality by the characters Viola and Sebastian, who are at the totality of the confusion over identity.Disguised characters were a stock convention of comedy, but Shakespeare uses the bend to give it wider significance. The play makes us consider what our beliefs are about ourselves and others establish upon. Therefore, in conclusion, it can be seen how very important and significant the matter of concealment is. Many forms of concealment featured in the play portray howemotions and intentions are disguised behind an outer appearance, pretence or an attitude in which the characters possess within each situation.Concealment connects the story, the characters and the different scenes in the play. However, if there wasnt concealment in the Twelfth Night, there wouldnt be any humor reflecting the conflicts or problems, which influences the characters lives with understanding the truth about love and what causes illusion/deception.Bibliography Shakespeare, William. Twelfth Night. The Longman Anthology of British Literature. Ed. David Damrosch et al. 4th ed. New York Longman, 2009. Vol. 1B. pp. 1217-1272.