'My Masters Are You Mad? Essay\r'

'Interestingly, the model of ‘ fury’ can be taken and explored in m some(prenominal) slipway. The tauntishness of matchless’s actions; the whitethornhem or loony bin of a situation; or the intellectual instability of an individual. Shakespe atomic number 18’s twelfth part wickedness mentions ‘madness’ more often than any of his other gyps, steer that madness plays a central role in the maturement of two the plot and the characters. The intention of Malvolio’s pass, although potenti in ally ambiguous, is to suggest to his ‘masters’, Sir toby and Sir Andrew, that they are crazy to be up in the early hours of the morning raise much(prenominal) a noise in Olivia’s tolerate. Through his question Twelfth Night, indirectly, presents many answers that lead us, the reader, to our birth coating about the degree of madness inside each of the characters and the situations they create or take on themselves in. \r\nThe theme of applaud as a cause of madness is unitary that presents itself on a regular basis in Twelfth Night. As the play opens, Orsino talks of how too much mania can coiffure one’s appetite for it ‘sicken and so clear’. He distinguishs how cope can make you want things one minute, and then, in another, make you sick of them, ‘But falls into suspension system and low price Even in a minute.’ Love should be, in theory, a powerful, all consuming feeling of euphory and fulfillment. However, when Orsino describes this violent mix of desires accompanying wonder, he seems to be referring to everybody’s experience of love. He is generalising and assuming, however disruptive and chaotic love is, everybody experiences it in the same way he describes.\r\nAs the play progresses, we are shown that his love for Olivia is unrequited, ‘How will she love, when the rich golden jockey hath killed the flock of all affections […] !â⠂¬â„¢ Unrequited love is impure love, as the rails of the one who love is almost certainly headed for despair. The tinge that much(prenominal) a beautiful sense could result in turbulence and such pain & group A; upset is the suggestion that love, and the journey it takes Orsino on, is mad. The readers are left contemplating that if Orsino knows the path he it taking is unstable, why does he bother continuing when he knows his dowry? Love has left him mad & unhinged and, possibly, incapable of making judicious and thoughtful decisions. Instead he leaves to ‘ pleasant beds of flowers’ to further ponder his emotions.\r\nThe loss of Olivia’s both brother and engender deep down a short space of beat has left her suffer excessively and unnecessarily. Sir toby opens a scene by challenge Olivia’s behavior, ‘What a plague way my niece to take the death of her brother thereof?’ intimating his disapproval. He is the first to be discou rteous plenty to point out the absurdness of her overly-melodramatic grieving, having vowed to hide away for seven years. It is considered captivate to mourn for the loss of a love one for a period of time, but, in Olivia’s case, seven years would unremarkably be considered inordinate. Before Olivia even makes her incoming appearance in Twelfth Night, formed as a self-indulgent and waterlogged character. The theme of madness again presents itself in her self-important view of the world.\r\nThe fact that Olivia is bighearted up seven years of her own life to grieve, shows her desire to play the victim, cover away from the world outside her house and the affections of others. When Viola, in disguise, counts to Olivia on Orsino’s behalf, Olivia plays upon his affections for her, pesky his messenger with her disguise, ‘Give me my veil; come throw it o’er my face.’ If she unfeignedly was wretched from the loss of her brother and father she wo uld not indulge in such frivolous devices to keep others interested. The prolonged grieving she had opened herself up to has been at the outlay of her better-judgment and maturity. She, a ‘master’ of Malvolio, as his question includes, has slipped into instability and silliness, and, if she keeps it up, is not far from the madness that seems to engulf the characters of Twelfth Night.\r\nThe role of the ‘fool’ in Olivia’s household is to peach their mind, having no fear of the possible repercussions they may face from their masters for their honesty. Ironically, but by chance unsurprisingly as this is a work of amazement in Shakespearean proportions, Feste, the clown is by chance the most sane and intoxicating of all the characters. Feste makes a comment to Sir Toby and Sir Andrew, postulation them if they have ever seen ‘the picture of ‘We trinity’?’ The picture he is referring to is that of two fools, with the moti f that the viewed is the third fool. He is suggesting that they either are the fools in the picture, or have both seen it and, therefore, make up the third fool.\r\nHe is the only character inferior to both Sir Toby and Sir Andrew to refer to their drunken and feasting lifestyle as chimerical, showing not only his boldness, but also his keen observations and wit. Later on, when speaking to Viola disguise as Cesario, he comments on her lack of facial hair, ‘Now Jove, in his conterminous commodity of hair, send thee a whiskers!’. Although he may only be commenting on the fact a post-pubescent boy is without a beard, it is also suggested that he is wise to the fact ‘Cesario’ is not the eunuch he appears to be but is, in fact, a girl, Viola. Shakespeare’s introduction of such a minor, and seemingly insignificant, line that holds incredible subtext is enough to suggest that Feste, the fool, is not as foolish or as mad as the other characters percei ve him.\r\nThe many ways in which madness can be interpreted in both the characters perceptions of each other and the reader’s, or listening’s, perception opens Twelfth Night up to the questioning of the sanity and the rationale tin can the motives of the characters. It has never been more true to say of something than it is of this play that madness is in the nerve of the beholder.\r\n'