Masks In The Twelfth Night

In Irne, Voltaire wrote, Shakespeare is a savage with sparks of genius which shine in dreadful darkness of night. One of Shakespeares sparks of genius was in his use of masks. These masks put characters in a sort of darkness of night, allowing them to become someone else. They are used for imagery, so one can discover who a person isthe inside of the mask. Masks are used throughout Shakespeares Twelfth Night to reveal characters true emotions, to carry the story and explain things to the reader, and to express the power of raw beauty. Shakespeare uses this imagery of a mask in many of his characters in the play, but mostly in two: Viola and Feste. Throughout the play the masks help the plot along. At the end, all masks are discarded for a great finale.
The perfect example of the use of masking imagery can be seen in Feste the jester. In the play, Feste shows his many personalities in the disguise of masks. Acting as a wise man contrary to his role of the fool, Feste develops one mask. He tries to conceal himself for what he is (I.ii.52) because he knows that if the people realize his intelligence, he will not be called upon to work. These songs Feste sings serve as symbols of a well-formed conscience. People would stop coming to him for this sound advice he gives. Feste demonstrates a strong example of masking imagery because he shows what the play might be without masks. Later, the devil man (IV.ii.122) in him surfaces when talking to Malvolio. This is a mask because not only is Feste intelligent, not only is he a fool, he is also conniving. These masks appear all over the play, developing from scene to scene. Feste plays the role of a chameleon; changing masks to become what the necessary character for the given situation. Feste acts as an ass (V.i.16) for his acquaintances. This pleases the people and allows Shakespeare to say outrageous but true things that no other character would say. Although characters wear masks, their true identities are always revealed. Feste says, Eyes show the days(II.iii.94). He demonstrates that one can remove a mask just as easily as one can put a mask on. Shakespeare develops all these different masks. Some are used only once or twice; others are used for nearly the duration of the play.
Near the opening of the play, when Viola adopts her male identity, she creates another self, like two masks. She may decide to wear one or the other while swinging between the two identities in emotion and in character. She decides to take on this identity because she has more freedom in society in her Cesario mask, which is evident when Orsino accepts her, whereas, in her female identity she would not be. The mask of Cesario develops throughout the play. Violas mask pulls the comedy together. First, Violas mask serves her in getting a job to get back on her feet after nearly drowning. This mask helps other people too. The mask gets Olivia back on her feet. She escapes the mourning of her dead brother. Olivia realizes she has something to live for after seeing Cesarios mask. Falling in love with the male version of Viola works out well. The mask turns out to be a replica of something that does exist. Sebastian is there, married to Olivia, when all masks are removed. The mask, growing on Viola, shows importance all over the play. It continues to develop, and this leaves the reader an even more omniscient point of view. While Olivia, Sir Toby, and Sir Andrew are clueless as to what is going on, we know about the masks. Shakespeare wanted his readers to stand by and laugh. Viola plays the right person at every point in the story to make a happy ending. She removes her mask at the perfect moment. Being both a maid (V.i.267) and a gentleman (V.i.269) makes this plot what it is. She carries out the functions of both genders, and she is judged from both. The masks deceive. Thinking that Viola is a man, even her brother Sebastian is

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