Concealment in the Twelfth Night

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British Literature: Concealment in Twelfth Night
Throughout Twelfth Night, concealment influences each character’s life because it’s essential to portray how falsehood can be amusing or agonizing before they can discover their identity in life. Therefore, the concept of concealment not only affects the characters’ mistaken identities and abilities to express true love, but it gives the story comedic and entertaining qualities. Furthermore, concealment portrayed throughout this story makes each character develop an identity with either showing cleverness or madness, while it also makes each character realize the principles towards obtaining love and truth. For instance, Viola's disguise as Cesario and Feste’s costume as Sir Topas shows that they are both clever and amusing which causes characters to experience deception and confusion until their identities are revealed. With this in mind, concealment not only deludes characters from reality, but it exposes the abundance of true love among Viola, Orsino, Olivia, Sebastian, Maria and Sir Toby, which leads to three marriages within the story. Nevertheless, concealment causes the people to experience deceptions and illusions, but also provides humor concerning the morality of human behavior. Moreover, the first example of concealment during the Twelfth Night is Viola's disguise as Cesario. Viola’s concealment is central to the plot because it is clearly evident that the fluctuation in attitude to the dual role and the situations and tribulations imposed upon the character Viola/Cesario, ends up creating a better understanding of both sexes and thus, allows Viola to have a better understanding of Orsino. For instance, at the end of the story when Orsino finally realizes who Cesario is, he professes his love to Viola by saying: “When that is known, and golden time convents,

A solemn combination shall be made Of our dear souls.
Meantime, sweet sister, We will not part from hence.
Cesario, come-...
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