Examine the Levels of Deception in Twelfth Night

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Examine the Levels of Deception in Twelfth Night

Twelfth Night is a play that depends on deceptions. Without deception none of the plays major storylines could exist in the way that they do. As might be expected, the deceptions fall into different types of deception, and also many different levels. These can be described as levels of importance- some involving whole plots and some only a few minor events- and levels of how obvious each deception is. The deceptions come in many different guises, including deliberate deception, self-deception and others.

Deliberate deception is crucial to the plot. One aspect of this is the element of disguise. This can be divided into literal disguise, in the form of characters altering their appearance, and the façade which characters present to the world in order to seem different to how they really are.

 Probably the most important and far reaching deception in the play is Viola’s disguise as a man, ‘Cesario’. This has many consequences for herself and others. She first disguises herself for protection in a foreign land, she wishes the sea captain to help her dress as a man so that she can find employment. The consequences of this are central to the play. If Viola had not perpetuated this deception she would not have met Orsino, and similarly Olivia and Sebastian may never have married. Viola’s disguise is of a high level, relating equally to its important consequences, how obvious and comical it is to the audience, and also that it is complicated and difficult to maintain, as Viola not only has to disguise her sex but also her origins of social class.

 Feste disguises himself in order to fool Malvolio, using the comical elements of literal disguise. As Sir Toby Belch says:

    “put on this gown and this beard;

     make him believe thou art Sir Topas the curate”

Apart from the immediately obvious deception seen here, this disguise is interesting in a number of ways. Shakespeare’s use of the name ‘Topas’ is important, as the semi-precious stone topas was renowned for its ability to cure madness. Members of Shakespeare’s audience may have known this, and would find it humorous related to the fact that Malvolio was said to be mad. It is odd that this disguise at first seems unnecessary. Malvolio is locked in a dark room and cannot see Feste. However its purpose is to create comedy for the audience. This disguise is quite cruel in the way that it deceives Malvolio, but it is actually seen as funny by the audience and by other characters. Shakespeare clearly intends this comical aspect with Feste as; living up to the role of ‘licensed fool’, all that he says is designed to be amusing:

     Malvolio: “…good Sir Topas, go to my lady-”

     Feste: “Out, hyperbolical fiend…talkest thou of nothing but ladies?”

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Feste is completely aware of what Malvolio means at this point and throughout the scene, but Shakespeare chooses for him to deliberately misunderstand, resulting in a wonderful comedic situation for the audience.

Many characters in the play disguise their true emotions, personality and ‘identity’ without physically wearing a disguise. A prime example of this is Feste. He is

perceived to be a ‘fool’, which is actually his occupation. Nonetheless throughout the play he shows his intelligence in the comments he makes and his insights. He has some wise thoughts, for example, on the question of virtue:

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