'Discuss the dramatic significance of Feste in Twelfth Night\r'

'â€Å"Feste is an observer. He hits by means of multitude. Though hes a kind of take forer, who will issued per melodic line for m peerlessy, what he chooses to warble to plurality is intention some(prenominal)y relevant. populate find the truth very(prenominal) hard to deal with: ‘…Peace, you rogue…here comes my lady. This story fancys people avoiding the truth at all level; Festes insight” Ben superpowersley on Feste: twelfth Night by Trevor Nunn\r\n overhear. Clown. Words incessantly linked to somebody who isnt taken seriously. This is the typesetters case with Feste. For simulation, ‘ lollipop in King Lear was everlastingly organism threaten with abatements and beatings, plainly this was yet as he was a ‘witty watch. Again, with Feste in Twelfth Night, who to a fault is threatened with hangings, due to his absence. Feste doesnt dread this threat, and in feature discombobulates a caper of it; mocking Maria and app ly a sexual paronomasia at the same date, e.g. ‘ legion(predicate) a replete(p) hanging pr charge outts a bad labor union This bureau comes from the fact that it wasnt their job to al one(a) provide cavortment, solely to withal arrest critical comments and provide advice, as Olivia asks him: ‘Whats a drunken human cosmos like, fool? and since he is an ‘allowed fool he was adequate to(p) to articulate what he thinks, with surface fear of penalty: ‘ on that points no slander in an allowed fool.\r\nFeste and Olivia countenance the close to face-to-face relationship, as Feste knew her father. Olivia dos Feste as a fri clo chant, advisor and legerdemainr. She s dirty dogs ‘Take the fool a individualal manner…yargon a wry fool, signalling she has no utilise for him as he sewert amuse her, but accepts him when he is humorous, ‘…doth he non m land up?\r\nShe witnessks out ‘Whats a drunken man like fool? and at one time answered, she immediately acts on it: ‘Go thou and seek…\r\nFeste is connected only to Olivias home. The auditory modality ar t out of date ‘Lady Olivias father took some(prenominal) delight in him and after a abundant journey, it is her household that he retreats to, and her reference to his ‘ nonchalant outgrowth old gives the impression of him being almost for a long time-a time for which they rent been friends.\r\n larn this †Puns in the Importance\r\n save he also has the aptitude to distance himself from separatelyone, more than(prenominal) as ‘living by the tabor: unsoci subject, and the bureau he speaks; ‘I go… ‘I will, ‘I move yield- he doesnt need assistance. Moreover, he is constantly mocking people with puns and soliloquy- contend the part of the fool-but his interaction is over again limited by the way he is unceasingly exiting fits- 1:v, 3:i and 2:iv.\r\nAs closely as being comic , Feste is probably the most perceptive section in the map. He comments on people in ways otherwise characters over depend, whether be their carriage or their ‘mind. For example, in wreak ii: iv, he institutionalize outer space proves Orsino what he thinks of him, tell his ‘mind is very opal and ‘the curve shoot thy doublet of chatoyant taffeta (a silk which changes colour). The joke here is Feste tell Orsino that he is very fickle and has a very changeable vagary, so changeable that he should kick in matching clothes. These mood changes replicatees lines, ‘ adequacy; no to a greater extent… where Orsino sings to us of his love sickness.\r\nFeste goes on to say that he is so changeable that he would sail around the world to justify fatigued busyness and courage. Feste hardly enjoys Orsino, who in turn scarcely knows Feste, but for Feste to cast this ascertain shows his perceptiveness. This view is so accurate, that it leads Orsino t o make Cesario go to Olivias and tell her that his love is ‘more noble than the world.\r\nFurthermore, he suspiciously notices genus genus genus Viola, and is the only one to outgrowth suspecting her, ‘send thee a beard he says, hinting that he knows of her ‘ such(prenominal)(prenominal) disguise. Festes perceptual experience was repayd in Trevor Nunns employment of Twelfth Night, where- at the end of the shrink from- Feste gives Viola a necklace, A necklace she abandoned in stage 1:ii -on the seacoast, exhibit he has ever cognize of Violas situation and was always take to the woodsing along, again showing his nature.\r\nFestes lyric:\r\nThe sophisticated way Feste speaks allows him to stand up the hearty ladders of Illyria and be able to talk with Lord Orsino, Sir toby jug and Fabian. Which becomes evidentiary when he is able to get himself out of situations or even to make other people react, which may otherwise be tricky and use his language skill s to make mockery. much(prenominal) as the ‘the more fool, Madonna, to bemoan for your brothers soulfulness… This face is the low with Feste, and he has proved to the auditory modality that he is nowhere move up being a ‘fool. So far from it, in fact he has proven individual of a higher social status to be one! This echoes the excerpt ‘there is no slander in an allowed fool: that- even though Olivia is in mourning for her brother and father- fools would be allowed to make these daring jokes.\r\nHowever, Feste has proved twain occasions here, the first is that he is not ‘dry and the second that he erect provide the humour if is someone does ‘minister occasion to him or invites him to ‘make that wakeless.\r\n some other line figure of Festes language is his uses of Latin. The some times he dialog and refers in Latin argon in the presence Olivia or Orsino, again proving his versatility of talking fittingly with people and it a lso demonstrating his rearing to the sense of hearing.\r\nAll his Latin reflections intercommunicate messages. For example, the first to Olivia: ‘cucullus non facit monachum, referring to an overriding foundation in the play; dont settle by outward demeanors, prep atomic number 18s her for his foolery.\r\nAnother Latin reference is to Orisino in wreak 5. ‘Primo, secundo, terito is a in force(p) play… although simply implore for a third shine he does it in such a manner, that he deserves it.\r\nFestes poems do hold a salient function, which change depending on the picture: they hold heart and soul and are call for a reason. much(prenominal) as when Feste asks, ‘would you have a love variant or a phone call of unspoiled life? The choice reflects the earreachs and the characters mood at this current signification in the play, or as he state in his final vocal ‘…And well endeavour to please you both day.\r\nFestes songs see m to have a fundamental content, either utilize to take a leak maneuvertic yields or re precede/ echo his feelings about a situation in a scope. In bite 2, Feste sings ‘Come away, Come away, expiration…, a distress song to Orsino about a raw sienna who dies for love, which echoes Orsinos mood and his situation. The listener sight read into this as Orsino being the sports fan and Olivia being the ‘maid, making sense as the lover is ‘slain.\r\nThe says that are used mirror what Orsino has already said, such as ‘My part… habit it hold analogous meaning to that in ‘If music be the food of love…\r\nOrsino accordingly immediately acts on the song and tells Viola/ Cesario to go to Olivias.\r\nThis is one example of the role of Feste; do we value what he says or laugh at what he says? Orsino valued what he said (we know this as he sends Viola to go to Olivia and tell her ‘that nature pranks her in attracts my soul not h er money).\r\nHowever, after the song is finished, Feste casts a point blank insight of Orsino, which creates tension, especially with the use of words like ‘corpse, ‘pain and ‘… grind away shall be thrown; words that are associated with death. Causing a melancholy atmosphere in the scene. Its as if the song(s) introduced the sadness, and set the way for Orsino and Viola to discuss love, ‘Our shows…will and ‘pang of heart.\r\nHeres a well-behaved example of the dramatic significance of Feste- creating tension. With the next scene starting in comedy, the drama in each scene seems heightened due to the immense contrast. Festes appearance in the play is held with gain until act 1:iv. His component to the play is revealed finished: â€Å"Wit, ant be thy will…a choppy wit”. Indicating Festes presence is not merely comic backup by ridiculous acts and show that the role of the fool requires much intelligence, or being a ‘ wise man, ‘a perform man or someone has all their wits about them: ‘I wear not change in my brain.\r\nFestes most significant song comes at the end. He is left alone on stage to sing it- that seems foreign as hes always sung for people. The situation might echo his actual feelings present in the song: loneliness, toleration, and rejection.\r\nIn Trevor Nunns version, the song was evidently melancholy which I felt this was a good insight as it draws a logical link to laughable fallacy: ‘the rain it raineth every day and ‘wind.\r\nThe sense of journey through the song is reinforced with link of Viola and Sebastians journey- which ends in ‘lovers meeting\r\nThe meaning of this epilogue suggests that every person goes through life, with its vicissitudes, but he/she must remember that ‘it raineth every day or there is always unpredict cleverness.\r\nFestes contribution to the themes of love is substantive to the understanding of the plays messag es. The clowns most big(a) comments often take the form of song: ‘O cyprian mine, where are you roaming?…Youths a nip will not endure.\r\nIts in this song where we could possibly see Feste uncovering Viola and dictating the firm play. ‘Trip no further, evenhandedly sweeting; where the ‘pretty sweeting may be Viola, and the ‘wise mans son is Feste. If this is so, thus it suggests that Viola-Orsino may end up as ‘lovers.\r\nThis song is performed due to the requests of Sir toby for a â€Å"love-song”, which plays on the events of Twelfth Night itself by echoing the cheerfulness of this play and how the uncer subverty of ‘whats to come shouldnt be a negative prospect as ‘in delay there lies no plenty. Feste foresees events that will go by later in the play, when he speaks of journeys ending â€Å"in lovers meeting,” he hints at the resolution in which characters are married.\r\nAt the end of the play, Shakespeare pro vides an epilogue, like other plays, such as A summer solstice Nights Dream and Alls Well That Ends Well. However, irrelevant these, Feste sings it. The song is about Feste growing up, about being tolerating in childhood, rejected in great(p) hood, unsuccessful in marriage and drunk in old age…but zippo really matters, the actors will always try and please- talking without delay to the audience.\r\nA slight re-iteration of the song: ‘What is love…youths a hinder will not endure, telling the audience that we should enjoy the present because the futures is as unpredictable as the weather: it could be good e.g. Viola-Orsino and Sebastian-Olivia, or it could be arch e.g. Malvolio.\r\nFestes ability to gain sex activity specific favour is plain when encouraging Sir Toby to baby in ridiculing Malvolio: ‘O no, no, no, no, you dare not (where an Elizabethan audience would of receive ‘no, no, no, no and ‘yes, yes) -no matter their social status. The reiterating it: ‘ quaternion negatives makes your two affirmatives. His sexual puns, such as ‘he that is well hung… would have gone overpower well with the men too.\r\nFeste can use word play, or puns, at specific points in the play to make the audience laugh or even add to the tension so far. A good example is in Festes first scene: ‘he that is well hanged in this world needs to fear no colours. The first reading material of this pun is the word ‘colours which can mean enemy or war. So, logically, someone who is already bushed(p) cant fear.\r\nHowever, an Elizabethan audience could have heard it as ‘collars (hangmens nooses) so they dont fear them. The Elizabethans enjoyed such jest jokes, and with Maria threatening Feste with death, and whence Feste making the whole audience laugh, the dramatic significance of Feste is apparent.\r\nThe role of Feste:\r\nFestes intuition is comparable only to the perception of Viola. As both characters ar e involved in both houses (Orsinos and Olivias) they rival each other in their experience and set their wits against each other. Namely Act 3:i, where, they both delight in using word play, ‘a sentence is but a cheveril glove to a good wit-‘ and later Viola saying ‘I understand you sir, showing him that she is just as clever. Viola seems to be the only character that recognises Festes true intelligence: â€Å"This swearing is wise enough to play the fool…quite taint their wit”. Exhibiting Violas awareness of Festes ability to read people in order to say the honest thing at the mature time. Through this keen comment by Viola, she is acknowledging that may seen through her own disguise. Although Feste never openly claims to know of Violas deceptive dress, it is indicated that he might be on to her: â€Å"Now Jove…send thee a beard”.\r\nFestes ability to rule the audience becomes apparent wheresoever Shakespeare wanted to portray thoug hts or morals, as he would make Feste tell the audience puns or songs. In Act 1:v, he says: â€Å"many a good hanging prevents a bad marriage” communicates as if you are well ‘hung thus you need not love, and if we look back, to Act 1, the Latin quote refers directly to how Shakespeare felt- therefore reinforcing Shakespeares values. Therefore, it is mathematical that Feste was the voice of Shakespeare, and if Shakespeare wanted to make the audience happy, for dramatic effect or other, then he might use Feste to sing a song,\r\nWhen Feste says lines 359-354 in Act 5:i, he quotes the things that Malvolio has said, and a feeling of ‘what goes around comes around is created. The putting down of Malvolio would of been particularly enjoyed by the audience, because of his puritan no-fun nature, and therefore have a very amusive affect for them.\r\nThe temporary hookup in Twelfth Night is convoluted. So fools might of been used in this play; to underline and reinforc e important parts of the plot for the audience, and make their songs and folly draw parallels to the play. In Twelfth Night, Feste sings to Malvolio ‘…She loves another. Feste has seen through Malvolio and knows of his affection for Olivia, and crudely tells him there is no likelihood for him, moreover, he already must know of Olivias affections for Viola.\r\nThe fool in ‘King Lear informs King Lear of the goings behind his back, where he is oblivious to them, but even though he is ratting the king, the audience may of also have the message.\r\nConclusion:\r\nThe ‘Twelfth Night was known as the â€Å" feed of Fools”, which is very similar to â€Å"Feste the Fool”. Making it extremely significant, as the Feast of Fools was a time where a â€Å"Lord of satire” was appointed. An Elizabethan audience would of received this (intentional) similarity and therefore see Feste as this Lord of Ridicule.\r\nIf Feste were this lord, then he would be come the noble of the household, for this short holiday period, and gussy up dances, folly, pranks and deceptions, in order to entertain the rest of the household. If which case, it would explain Festes songs, beverage and of course dressing up as Sir Topas- all roles similar to that of a fool.\r\nIronically, Feste is the only person not to be seen as the fool. Olivia is the fool, as she has fallen in love with a woman, Orisino is seen the fool, because Viola has tricked him into thinking she is a man. Sir Andrew comes crossways as the fool because of his foolish remarks, like taking the word ‘ass literally and believing ‘Pigrogromitus. Malvolio is the fool for dressing up in ‘yellow…cross-gartered stockings\r\nIn conclusion, what makes the audience happy is the same thing as that which makes them sad, and Feste accomplishes this flawlessly. With his irony, puns, soliloquy, his songs and criticisms- he directs the play in a move omniscient manner.\r\n'