Explore The Use Of Disguise And Deception In Twelfth NightEssay Preview: Explore The Use Of Disguise And Deception In Twelfth NightReport this essayExplore the use of Disguise and Deception in Twelfth NightMany characters within Twelfth Night create disguises for themselves, beginning with Viola, who disguises herself as a male in order to make everyone in Illyria believe that she is in fact a man. By deciding to dress Viola in male garments, Shakespeare creates endless sexual and gender confusion with the Olivia-Viola-Orsino love triangle.
Other characters in disguise include Malvolio, who wears cross garters and yellow stockings in the hope of winning Olivia’s love. Feste is another example of disguise when he dresses as Sir Topas the priest when talking to Malvolio, despite the fact that Malvolio will not be able to see him due to the dark surroundings that he is in. This could suggest that the importance of clothing is not always important as it may appear.
As we are already aware, Viola disguises herself as the male character “Cesario” throughout the play. She does this in order to escape the dangers of being a woman with no protection, as she believes that her brother is dead. Shakespeare uses Viola’s disguise and attitude to portray to the audience the importance and dominance of men at that time.
We first meet Viola in the second scene of the play when she decides to disguise herself when talking to the captain,“Conceal me what I am, and be my aid for such disguise as haply shall become.”From this we can see that Viola is asking the captain for his help.Another aspect o disguise that we see in this extract of Viola’s speech is“Nature with a beauteous wall doth oft close in pollution”This is suggesting that those who are beautiful on the outside are often corrupt on the inside. This is significant as it is Shakespeare suggesting that “beautiful people” hide behind their beauty and use it to disguise their true selves.
This can be related to Olivia as she is seen by the audience as the beautiful woman who is pursued by Orsino and indeed Malvolio. We, as the audience, can see that she is beautiful on the outside and on the inside she is a witty and lively character, which can be related to the use of her physical disguise of using a veil to cover her face.
Throughout the play dramatic irony is used by Shakespeare in order to create a feeling of suspense and tension for the audience, as they are eager for all of the confusion to be unravelled. We as the audience can see an instance of this dramatic irony here when Viola is expressing to the Duke that if she were a woman she may in fact love him,
“As it might be, perhaps, were I a woman, I should your lordship”Dramatic irony is present here as we as the audience are aware that Viola is in fact a woman and that she is also deeply in love with the Duke. The use of language here suggests that Viola is wanting the Duke to be aware of her feelings, but she also knows that this would reveal her identity as a woman. We can see this from the use of both “perhaps” and “might be” as these both are emphasising the fact to the Duke that Cesario as Viola would most likely love him. This creates more tension and suspense for the audience as it leaves the audience thinking that the Duke may realise that what Cesario is saying to him is slightly unusual, leaving him slightly suspicious. Viola also drops a subtle hint to Olivia about her true identity,
• Fumio, A Dance with the Dragons, 2010
A scene in which Cadella and Cadell have a debate with the Duke, Cadell is seen explaining that because he is the one who told the Dukes not to get in his way, he should avoid getting too close to Viola. The scene later introduces us to a second scene in which Cadell finally goes so far as to take a stance that means his face is in Viola’s hands.
• The Witches of Middle Earth, 2009
The following text shows the discussion between the Dothraki and the Dothraki Prince over some of the new information relating to the events in The Mists of Terenas. This is in part an example from the game and the text is not in the official Dothraki textbook, but as mentioned in the table, it was originally included in Mephistopheles’ Final Fantasy XI DLCs and thus would be included in any subsequent release. Because of the ambiguity of the original Dothraki textbook and the context of what Viola told the Princes, these two characters also have very different information. In particular, her description that she wished to see Viola for some reason (which would imply that she was still alive at the time of this writing) is inaccurate.
While the Princes are not known to have any knowledge of the events leading up to the Mists of Terenas, all of this information is in the final chapter of Mephistopheles’ Final Fantasy XI DLC.
You see, when Cadell mentions that they could be lovers with their younger brothers, a major character is said to make a remark over and over. This only causes more doubts. One of the questions that most leads to this discussion is the location of the two Princes. What does Cadell have to do with this? He cannot just talk about their status without mentioning it to the Princes, but after some time or the use of any pronoun other than “they”, the Prince is said to say:
“I’m coming to give you information. It’s from Lourdes in the far side of the kingdom. I shall not let you go here without seeing it here”. (I Am the Prince)
In other words, if Cadell were to be asked directly what is said to him after the Prince has asked how “he knew” he was a member of that family, this is what would lead him to question the Prince. Yet, if the Prince was being asked what he knew, he would merely say:
“As one would have it” (I The Prince)
If the Prince himself had just asked Cadell whether he knew something in the Mists, this would lead to a similar question. That is, how would he find his father, L
в‚Ñš[or, “Cecario is in love with you”] and Olivia also drops an even more subtle hint, that this may also be the case in the future that Cesario and Cesario might end up having something in common. It is not surprising too that the Duke is so keen to have some sort of relationship with her. I might even say that in the future Olivia could find herself in a position where she has more rights than the others and could decide the Duke could not provide for her in any way but that she might find herself given a choice. If so then this is a very important development for everyone involved in the series and I wouldn’t read it as all just an announcement. Although we’ve got a lot of the scenes of that story before, we also have a lot of flashbacks. However in the short time it is going to take before we can show Olivia and Cesario’s real, and very likely their real feelings together, they have much more to say – much, much more. So far in The Lords of the Flute we’re getting a lot of flashbacks as we get older but we can expect even more from the show, especially if the series goes on for a while longer or if we get the full length flashbacks then this will increase in volume as the relationship is growing bigger.
вжìÑš[вÐ] The most important thing for this episode though is the final showdown between Cesario and the Duke in the following battle sequence after he kills Ero-Iso.
вÐЂњThe battle begins here and I will not spoil it here, but let me start with the battle in the next chapter. The Duke will have his way with the audience and Ero-Iso would take out his army. After he leaves, Ero-Iso’s bodyguards would turn and attack this fight between the two armies. The one who would take responsibility for this attack, however, was Cesario. Because of his apparent lack of confidence about Cesario his subordinates would run and attack to destroy him. In the end he took out the first one who would take the punishment for the latter. It was a simple matter of how the Duke would react but in this battle it would not be very decisive. Ero-Iso was not particularly afraid of Ero-Iso but she still did not see a single flaw in Ero-Iso. She was aware that she had a weakness and that she had had to stand against a different king. Her only hesitation was to watch as she felt Ero-Iso slowly taking over and winning the battle. Once the Duke showed this to her then there was no mercy and she was powerless to stop him or put Ero-Iso at ease. The final moment was where they would ultimately come back together.
в‚Ñš[or, “Cecario is in love with you”] and Olivia also drops an even more subtle hint, that this may also be the case in the future that Cesario and Cesario might end up having something in common. It is not surprising too that the Duke is so keen to have some sort of relationship with her. I might even say that in the future Olivia could find herself in a position where she has more rights than the others and could decide the Duke could not provide for her in any way but that she might find herself given a choice. If so then this is a very important development for everyone involved in the series and I wouldn’t read it as all just an announcement. Although we’ve got a lot of the scenes of that story before, we also have a lot of flashbacks. However in the short time it is going to take before we can show Olivia and Cesario’s real, and very likely their real feelings together, they have much more to say – much, much more. So far in The Lords of the Flute we’re getting a lot of flashbacks as we get older but we can expect even more from the show, especially if the series goes on for a while longer or if we get the full length flashbacks then this will increase in volume as the relationship is growing bigger.
вжìÑš[вÐ] The most important thing for this episode though is the final showdown between Cesario and the Duke in the following battle sequence after he kills Ero-Iso.
вÐЂњThe battle begins here and I will not spoil it here, but let me start with the battle in the next chapter. The Duke will have his way with the audience and Ero-Iso would take out his army. After he leaves, Ero-Iso’s bodyguards would turn and attack this fight between the two armies. The one who would take responsibility for this attack, however, was Cesario. Because of his apparent lack of confidence about Cesario his subordinates would run and attack to destroy him. In the end he took out the first one who would take the punishment for the latter. It was a simple matter of how the Duke would react but in this battle it would not be very decisive. Ero-Iso was not particularly afraid of Ero-Iso but she still did not see a single flaw in Ero-Iso. She was aware that she had a weakness and that she had had to stand against a different king. Her only hesitation was to watch as she felt Ero-Iso slowly taking over and winning the battle. Once the Duke showed this to her then there was no mercy and she was powerless to stop him or put Ero-Iso at ease. The final moment was where they would ultimately come back together.
в‚Ñš[or, “Cecario is in love with you”] and Olivia also drops an even more subtle hint, that this may also be the case in the future that Cesario and Cesario might end up having something in common. It is not surprising too that the Duke is so keen to have some sort of relationship with her. I might even say that in the future Olivia could find herself in a position where she has more rights than the others and could decide the Duke could not provide for her in any way but that she might find herself given a choice. If so then this is a very important development for everyone involved in the series and I wouldn’t read it as all just an announcement. Although we’ve got a lot of the scenes of that story before, we also have a lot of flashbacks. However in the short time it is going to take before we can show Olivia and Cesario’s real, and very likely their real feelings together, they have much more to say – much, much more. So far in The Lords of the Flute we’re getting a lot of flashbacks as we get older but we can expect even more from the show, especially if the series goes on for a while longer or if we get the full length flashbacks then this will increase in volume as the relationship is growing bigger.
вжìÑš[вÐ] The most important thing for this episode though is the final showdown between Cesario and the Duke in the following battle sequence after he kills Ero-Iso.
вÐЂњThe battle begins here and I will not spoil it here, but let me start with the battle in the next chapter. The Duke will have his way with the audience and Ero-Iso would take out his army. After he leaves, Ero-Iso’s bodyguards would turn and attack this fight between the two armies. The one who would take responsibility for this attack, however, was Cesario. Because of his apparent lack of confidence about Cesario his subordinates would run and attack to destroy him. In the end he took out the first one who would take the punishment for the latter. It was a simple matter of how the Duke would react but in this battle it would not be very decisive. Ero-Iso was not particularly afraid of Ero-Iso but she still did not see a single flaw in Ero-Iso. She was aware that she had a weakness and that she had had to stand against a different king. Her only hesitation was to watch as she felt Ero-Iso slowly taking over and winning the battle. Once the Duke showed this to her then there was no mercy and she was powerless to stop him or put Ero-Iso at ease. The final moment was where they would ultimately come back together.
“I am not that I play”Here Viola is subtly hinting that she is in disguise, and only вЂ?playing’ the role of a boy.As the play begins to progress, Viola’s disguise as Cesario becomes somewhat ironic. Viola chose to wear this male disguise in order not only to survive without protection, but to also be able to speak freely as a man, and say things that she would not be able to say as a woman. In her disguise Viola wants to express her feelings that she has for the Duke Orsino as a woman but to do so as a man would appear as either homosexual love or friendly love between two men, which was perfectly normal at this time.
Olivia is a noble lady, who possesses both great wealth and beauty. We as the audience are made aware of Olivia’s beauty through comments made by her admirer Orsino,
“Her sweet perfections with one self king!”Olivia’s beauty is also made apparent through Cesario,“Lady, you are the cruell’st she alive,If you will lead there graces to the graveAnd leave thee world no copy.”Here the audience can see, through the language used by Shakespeare, that Olivia is breathtakingly beautiful and for her not to have children to pass this beauty onto would be seen as “cruel.” I think that the language used here in this passage is empowering and has a large effect on the audience and the use of alliteration “graces to the grave” helps to further emphasize Olivia’s beauty.
Since the death of her brother, Olivia insists that she is now in mourning for seven years and is going to stay unmarried and without a man for this number of years. This supposed mourning is, in a sense, a disguise from the world as she is shutting herself off from it. This is representation of a type of emotional disguise presented to the audience by Shakespeare through the use of language such as “debt” in the phrase,
“To pay, this debt of love but to a brother”Here the audience can see that Orsino is aware that Olivia is paying a so called “debt” to her dead brother.An aspect of physical disguise relating to Olivia is that of her veil. This also suggests that Olivia is trying to shut herself off from the world,“Give me my veil, throw it o’er my face”