Language is a slippery vehicle...

there is no font called sarcasm. you have to be able to tell when the writer is being literal or not. it is also hard for the writer to really portray what they mean, because it can mean something in their head and then the reader translates it completely different. also knowing your audience shapes the style one writes. some type of language may be appropriate for one piece, like a poem or anything creative, while other words are more scientific and used for stating facts. but i still think the most dangerous part of language is whether or not the other person will understand what you mean. it is easy to go off on a tangent. and if you dig yourself too deep, no one will know that you mean.

Deception in Twelfth Night

Deception, lies, disguises; all of these words are themes of Shakespeare’s play, The Twelfth Night. Many of the characters have shady personalities, which can be described by those terms, although they seem to be normal in their own little world of chaos. Possibly the most intricate strand of this theme however is self-deception, and not following the wise words “to thine own self be true”.

One may use Malvolio as an example. In the beginning of the play, this man personified all that is appropriate, and tried to maintain order while appearing to stay calm, cool and collected. But under the surface, there was a mad, lovesick and unstable mortal who was beginning to crack through, just like all of the other players.

In the beginning of the play, Malvolio plays the loyal-steward-who-actually-thinks-he-is-better-than-the-noblemen-of-the-house. He can also be described as straitlaced and does not look up to those who create fun through drunken singing and shenanigans. Unlike Sir Toby Belch, he takes so enjoyment out of the Fool’s riddles and fooling. In Act 1 Scene 5 line 75, he argues “…look you now, he’s out of his guard already…unless you laugh and minister occasion to him, he is gagged.” And then he continues on to insult the kinsman of his Lady Olivia, pronouncing, “ I protest I take these wise men that crow so at these set kind of fools no better than the fools’ zanies.” This “act” he puts on leads many of his peers to believe that he has a powerful wish to live above his current social class.

What makes Malvolio like all the others is his deep dark secret, to become the lord to Olivia’s lady. His plan to spoil all the fun can be translated into a grumpiness that he is taking out on everyone else because he can’t have his way. However, in Act 2 Scene 5, all of his dreams seem to be coming true when he finds a letter from his beloved. What he does not know, or refuses to believe, is that the letter was not from Olivia, but forged by her maid, Maria, as part of a scheme between her and the subject of Malvolio’s disgust, Sir Toby. This is where the real depth of his self-deception is plainly and obviously visible. At first Malvolio thinks that he recognizes Olivia’s handwriting, that “…these be here very C’s, her U’s and her T’s…” (line 78). However, the letter never directly mentions to whom this lady’s love is directed. The only clue is the letters “M.O.A.I”, which he makes out to believe is meant to symbolize the letters of his name- “M – Malvolio. M – why, that begins my name.” (line 115). And then, even when there are flaws in his dream come true, that the letters of his name are not in the order that is written in the letter, he goes to manipulate the paper to help deceive himself into believing he sees what is not there. Line 125, “M.O.A.I., this simulation is not as the former, and yet to crush this a little, it would bow to me, for every one of these letters are him my name.”, just goes to show that if one tries hard enough, they can trick their own mind into believing even the most obvious of disguises.

This is a very similar story as one of Shakespeare’s sonnets, which could even been seen as being said by Malvolio himself in the very scene described above. Sonnet CXXXVIII opens with the lines “When my love swears that she is made of truth; I do believe her, though I know she lies, that she think me some untutor’d youth, unlearned in the world's false subtleties.” This is for the most part completely describing the relationship Malvolio has with Olivia, that even when he knows the words from her are a lie, such as the bogus letter, he still believes them, hoping that she will think him to be someone he is not, like a young man naïve to the world’s cruel tricks. He fools himself into accept the lies as truth, even though deep down he must know that they are false. What the sonnet further explores is the potential relationship between Olivia and him, making it believable that he might at some point say this. It may just be coincidence that Malvolio is older in the play than Olivia, but it is convenient that Shakespeare, through the sonnet discusses “although she knows my days are past the best, simply I credit her false speaking tongue; on both sides thus is simple truth suppressed.” meaning that he is willing to look past all of her lies and deceit if she can accept that he wishes to think himself young, and believes that he is still in his prime years. Basically, they both accept each other’s faults so that “I lie with her, and she with me, and in our faults by lies we flattered be”.

synonyms

green:

fresh, new, unworn, rookie, clean, pure, ecological, untainted, envy, emerald, inexperienced, iguanas, nausea, jealousy

society:

neighborhood, culture, people, generation, group, whole, suite, club, gathering, community, class, family, order, following

Concordance Data

thematic strand: disguise, veil, secrets, lies

Act 2, Scene 4

Clown Now, the melancholy god protect thee; and the tailor make thy doublet of changeable taffeta, for thy mind is a very opal. I would have men of such constancy put to sea, that their business might be every thing and their intent every where; for that's it that always makes a good voyage of nothing. Farewell.

Act 1, Scene 2

VIOLA There is a fair behavior in thee, captain; And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe thou hast a mind that suits With this thy fair and outward character. I prithee, and I'll pay thee bounteously, Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent. I'll serve this duke: Thou shall present me as an eunuch to him: It may be worth thy pains; for I can sing And speak to him in many sorts of music That will allow me very worth his service. What else may hap to time I will commit; Only shape thou thy silence to my wit.

Act 2, Scene 2

VIOLA I left no ring with her: what means this lady? Fortune forbid my outside have not charm'd her! She made good view of me; indeed, so much, That sure methought her eyes had lost her tongue, For she did speak in starts distractedly. She loves me, sure; the cunning of her passion Invites me in this churlish messenger. None of my lord's ring! why, he sent her none. I am the man: if it be so, as 'tis, Poor lady, she were better love a dream. Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much. How easy is it for the proper-false In women's waxen hearts to set their forms! Alas, our frailty is the cause, not we! For such as we are made of, such we be. How will this fadge? my master loves her dearly; And I, poor monster, fond as much on him; And she, mistaken, seems to dote on me. What will become of this? As I am man, My state is desperate for my master's love; As I am woman,--now alas the day!-- What thriftless sighs shall poor Olivia breathe! O time! thou must untangle this, not I; It is too hard a knot for me to untie!

Act 1, Scene 3

SIR ANDREW And I think I have the back-trick simply as strong as any man in Illyria.

Act 2, Scene 5

MALVOLIO M, O, A, I; this simulation is not as the former: and yet, to crush this a little, it would bow to me, for every one of these letters are in my name. Soft! here follows prose. [Reads] 'If this fall into thy hand, revolve. In my stars I am above thee; but be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon 'em. Thy Fates open their hands; let thy blood and spirit embrace them; and, to inure thyself to what thou art like to be, cast thy humble slough and appear fresh. Be opposite with a kinsman, surly with servants; let thy tongue tang arguments of state; put thyself into the trick of singularity: she thus advises thee that sighs for thee. Remember who commended thy yellow stockings, and wished to see thee ever cross-gartered: I say, remember. Go to, thou art made, if thou desirest to be so; if not, let me see thee a steward still, the fellow of servants, and not worthy to touch Fortune's fingers. Farewell. She that would alter services with thee,

Act 3, Scene 4

MALVOLIO O, ho! do you come near me now? no worse man than Sir Toby to look to me! This concurs directly with the letter: she sends him on purpose, that I may appear stubborn to him; for she incites me to that in the letter. 'Cast thy humble slough,' says she; 'be opposite with a kinsman, surly with servants; let thy tongue tang with arguments of state; put thyself into the trick of singularity;' and consequently sets down the manner how; as, a sad face, a reverend carriage, a slow tongue, in the habit of some sir of note, and so forth. I have limed her; but it is Jove's doing, and Jove make me thankful! And when she went away now, 'Let this fellow be looked to:' fellow! not Malvolio, nor after my degree, but fellow. Why, every thing adheres together, that no dram of a scruple, no scruple of a scruple, no obstacle, no incredulous or unsafe circumstance--What can be said? Nothing that can be can come between me and the full prospect of my hopes. Well, Jove, not I, is the doer of this, and he is to be thanked.

Act 1, Scene 2

VIOLA There is a fair behavior in thee, captain; And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe thou hast a mind that suits With this thy fair and outward character. I prithee, and I'll pay thee bounteously, Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent. I'll serve this duke: Thou shall present me as an eunuch to him: It may be worth thy pains; for I can sing And speak to him in many sorts of music That will allow me very worth his service. What else may hap to time I will commit; Only shape thou thy silence to my wit.

Act 2, Scene 2

VIOLA I left no ring with her: what means this lady? Fortune forbid my outside have not charm'd her! She made good view of me; indeed, so much, That sure methought her eyes had lost her tongue, For she did speak in starts distractedly. She loves me, sure; the cunning of her passion Invites me in this churlish messenger. None of my lord's ring! why, he sent her none. I am the man: if it be so, as 'tis, Poor lady, she were better love a dream. Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much. How easy is it for the proper-false In women's waxen hearts to set their forms! Alas, our frailty is the cause, not we! For such as we are made of, such we be. How will this fadge? my master loves her dearly; And I, poor monster, fond as much on him; And she, mistaken, seems to dote on me. What will become of this? As I am man, My state is desperate for my master's love; As I am woman,--now alas the day!-- What thriftless sighs shall poor Olivia breathe! O time! thou must untangle this, not I; It is too hard a knot for me to untie!

act II scene 3 line 179

maria calls her scheme to manipulate and embarrass malvolio "sport royal...."

well any plan to manipulate and embarrass someone isn't really "sport", in the sense that "sport" takes the meaning to be fair. like being a good sport. and a scheme nonetheless is never usually a good thing. but because malvolio is an evil grump, and has plenty of his own schemes to embarras and manipulate others, possibly even maria herself at some time, to get back at him is sort of evening the score.