Feste In Shakespeare's Twelfth Night
In Shakespeare’s Twelfth Night, Shakespeare plays with the idea of being and not being, specifically during the interaction between Feste the Fool and Olivia during Act 1, Scene 5. Although a comical character, Feste often inserts genuine wit and cunning into his role, which would not immediately be associated with a fool; he is a foolish wit.
Feste’s dual intelligence and humor are established as he is first introduced to Olivia. Immediately after Olivia enters the scene and orders Feste’s removal, he rebuts with his first line, “Do you not hear, fellows? Take away the Lady” (5.1.37). Feste is straightaway established as comical and ludicrous. But he is also somehow almost prescient, predicting Olivia’s “foolishness” with a sort of logic. Feste inquires as to why Olivia is sad, and after finding out it is due to her brother’s death and ascension, he responds with, “The more, fool, madonna, to mourn for your brother’s soul, being in heaven. Take away the fool, gentlemen” (5.1.68-70). Feste is jesting, however he has a twisted point. Additionally, Olivia seems to find his jest therapeutic with regards to her sadness, inquiring, “... Doth he not mend?” (5.1.71-72), and later defending him against …show more content…
The prime example in Twelfth Night of duality is more obviously Viola/Cesario’s simultaneous and ultimately unresolved male-female role. Another example of duality in Shakespeare’s writing is Prince Hamlet’s feigned or perhaps actual insanity in his self-titled play, Hamlet. In my view, these dualities are put into his works not simply to confuse the reader, or add comedic effect, especially in the parts less humorous than Feste’s. Shakespeare inserts dualities not as artifices, but as bait to make his audience question intents—from the most Fool-ish, to the most
Feste’s dual intelligence and humor are established as he is first introduced to Olivia. Immediately after Olivia enters the scene and orders Feste’s removal, he rebuts with his first line, “Do you not hear, fellows? Take away the Lady” (5.1.37). Feste is straightaway established as comical and ludicrous. But he is also somehow almost prescient, predicting Olivia’s “foolishness” with a sort of logic. Feste inquires as to why Olivia is sad, and after finding out it is due to her brother’s death and ascension, he responds with, “The more, fool, madonna, to mourn for your brother’s soul, being in heaven. Take away the fool, gentlemen” (5.1.68-70). Feste is jesting, however he has a twisted point. Additionally, Olivia seems to find his jest therapeutic with regards to her sadness, inquiring, “... Doth he not mend?” (5.1.71-72), and later defending him against …show more content…
The prime example in Twelfth Night of duality is more obviously Viola/Cesario’s simultaneous and ultimately unresolved male-female role. Another example of duality in Shakespeare’s writing is Prince Hamlet’s feigned or perhaps actual insanity in his self-titled play, Hamlet. In my view, these dualities are put into his works not simply to confuse the reader, or add comedic effect, especially in the parts less humorous than Feste’s. Shakespeare inserts dualities not as artifices, but as bait to make his audience question intents—from the most Fool-ish, to the most