Character Of Malvolio In Twelfth Night Essays - Malvolio

Character Of Malvolio In Twelfth Night In William Shakespeares Twelfth Night we encounter several interesting characters. The character I found to be most interesting and most different from the others was Malvolio. Malvolio is the servant of Olivia. Although he belongs to the servant class, he believes strongly that he is better than the individuals that he serves. Malvolio often takes it upon himself to try to discipline others when Olivia is not around. For example he even takes it upon himself to discipline Sir Toby, his social superior. Malvolio appears to be a dedicated worker. Most of the time Olivia seems to appreciate the solemn dignity with which he carries out his duties, however, the others find him arrogant and regard him as an enemy. Malvolio, like Rosalind in As You Like It is in disguise. He pretends to be a Puritan. He dresses in black and never laughs. Throughout the movie we never see a smile on his face. This however, is merely a disguise that he assumes, that allows him to criticize others. Under his black garments, lies a heart filled with vanity. He often daydreams that Olivia will marry him and as a result he will become her equal. He imagines himself wearing fine clothes and jewelry. He would then have command of the household, and he would then be able to get revenge on those who havent treated him respectfully. I find it ironic that Malvolio is more successful at fooling himself than he is at deceiving others. The other members of the household see through Malvolios hypocritical nature. Even Olivia, who seems to value Malvolio as a servant, says he is sick of self love, Act 1, Scene I, line 92). Though others can see through him, Malvolio fools himself completely. Maria says, he believes that all that look on him love him(Act II, sc.iii, l.152). He is sure that some accident of luck has caused a man as fine as him to be born a servant rather than a master. He believes that fortune will eventually correct that mistake. Malvolio's self deception makes him the perfect target for Maria and Sir Toby's joke. Maria's letter is only able to convince him that Olivia loves him because that's what he wants to believe. When the letter tells him to act proud and haughty, it only gives him permission to show how he already feels. His own pride causes him to act as foolishly as he does. Malvolio's real downfall however, is not caused by foolishness. Nearly everybody in this play is foolish at one time or another. Unlike the others, however, Malvolio simply cannot laugh at himself, cannot recognize his faults. Therefore, he has no part in the healing that occurs at the end of the play. While the others are all laughing at themselves and forgiving each other, Malvolio clings to his anger. When he makes his final exit, he vows to take revenge on everybody. In Conclusion, from viewing the play I had a better understanding of the plot. I did however notice when trying to follow the movie with the play itself, that it was a little off. They first scene in the play is not acted until ten minutes into the movie. In the beginning of the play I felt like I was watching a remake of Titanic because everyone was jumping into the water. I also noticed that while I understood the purpose of Violas disguise, she didnt look too masculine to me. I thought the power struggle between Malvolio and Sir Toby was very entertaining. It was portrayed in a light, flimsy manner. Overall the film wasnt too bad to watch and I thought Helene Bonham Carter was fabulous in her role as Olivia. Shakespeare Essays

Modern Drama and the Diminution of Dreams essays

Modern Drama and the Diminution of Dreams essays The Aristotelian view of drama required an imitation of life, but his heroes were invariably members of the noble class. He regarded Sophocles Oedipus Rex as the perfect play. Given this viewpoint, and given the stranglehold that Aristotle had over Europe over the next sixteen centuries, it is no wonder that most drama from the Greeks through until the renaissance were designed with this in mind. Dramatic heroes needed to be elevated so that their plunge into darkness would be all the more extreme. The Renaissance began a process which allowed a re-examination of drama. No longer was a protagonist required to be a king. Now it was possible for lesser mortals to experience the devastation formerly reserved for nobility. By the 19th century Naturalism and Humanism had made it possible for plays to be written about prostitutes as protagonists, such as The Lady of the Camillias in 1849, which eventually degenerated into Eugene ONeils Anna Christie. By 1902 Maxim Gorky was writing plays about the dregs of society, the lower class, as in The Lower Depths. Realism allowed playwrights a chance to write about real people. Ibsen wrote about women smothered by society, as in A Dolls House, or The Wild Duck. ONeil wrote plays about dysfunctional families, such as A Long Days Journey into Night, or plays about the destruction of lower class men, such as The Emperor Jones and The Hairy Ape. None of these protagonists were noble in class, and yet their falls often resulted in death, and the act of their falls left audiences as drained as the Athenians who watched a king plummet from grace. Along with this de-emphasis on the stature of the protagonist has come a shift in the tragedy that surrounds them. Aristotle stressed the natural, as he said in his discussion of plot, in that it should follow the rule of what is possible according to the law of probability or necessity. ...