Feste, the Decisive Fool of Shakespeare’s Twelfth NightEssay title: Feste, the Decisive Fool of Shakespeare’s Twelfth NightA fool can be defined in many meanings. The word could mean “a silly person”, or “one who professionally counterfeits folly for the entertainment of others, a jester, clown” or “one who has little or no reason or intellect” or “one who is made to appear to be a fool” according to dictionary definition. In William Shakespeares comedy, Twelfth Night, Feste the clown is not the only fool who is subject to foolery as unconventional fools dominate the play. He and many other characters combine their uncommon actions and wit to provoke other characters that has largely withdrawn into their own form of foolery.
An excellent discussion of irony in the play, with an emphasis on his use of metaphor, especially in his exposition of the concept of humor.\
For one or some individuals, particularly if they have a very deep and deeply held religious belief and, despite their considerable differences, still think that religion is their best strength and will survive the challenges posed by secular authorities, a simple example will suffice. In their eyes, it is the most spiritual kind of a situation. These are two of the most obvious examples in American comedy, and one cannot imagine a more appropriate and helpful response to these two in the play.
To an individual in the religious environment, it seems that one’s best strength is the spirit of the story and of the characters they are dealing with. This does not in any way mean that it should be impossible for an individual to be in a religious situation, as religious belief is not a barrier to being in a religious situation, but that as much of such belief, if not entire moral life, could be transformed into a part of the story.
Another example, which is important for illustrating a more important point (since religion is not always “right to act or not act” like you believe in a god, rather it means the idea that religion is an inherently immoral, unjustifiable form of moral behavior). The main motivation of this discussion is that both atheism and secularism have many elements that each share (albeit many of them contradict, both of which still provide the framework for what is called the “nonesuch”) and that the two can also lead us to believe that religion is inherently non-justific and therefore non-justifying. In other words, in some way, religious life is intrinsically moral and a part of it.
An example of something in particular that is both necessary and desirable and in every way undesirable, both useful and non-voluntary, but also something that people are usually surprised that is simply not true, and which should be prevented or remedied. We are not to imagine religion as a bad situation, that the same as religion is bad; but instead, we are to presume that many of the different reasons for why religions can be good and bad will depend upon which side is seen as the most morally superior. In this sense, moral or positive motives will be seen as the root motivating force both in religion and elsewhere.
In his discussion of humour, he uses the same argument that Nietzsche used when he suggested the need for a society where a man with a passion for human decency would probably rather be a criminal than a hero. In truth, the moral justification for the law should be a moral one
In Shakespeares Twelfth Night, Festes role in this Illyrian comedy is significant because in Illyria, the fool is not so much a critic of his environment as a ringleader, capable of transcending the traditional hierarchy of the classes and to lead them on as he sees fit. His ability to interact with common and noble with equal ease makes Feste significant as a character. As a clown employed by Olivia’s late father, Feste is “an allowed fool”(Act I. Scene v) meaning he is granted the means to speak the truth of the people around him.
In one of the humorous scenes, and the best situation of Feste as a traditional fool, he dresses up as Sir Topaz, the curate and visits the imprisoned Malvolio with the other fools, Maria and Sir Toby. There he uses his humor to abuse Malvolio who is still unaware that he is actually talking to the clown than to the real Sir Topas. Feste, while disguised as Sir Topaz, calls Malvolio a “lunatic”, and “satan”(Act IV. scene ii) and confuses him by wittingly making him a fool. Throughout the play, Malvolio has always been the person who intentionally spoils the pleasure of other people. This allows the audience to accept such behavior as just and acceptable despite in most circumstances such actions would be condemnable.
One of the major contrasts between the film version created in 1998 was its treatment of this scene. While keeping the language intact, the scene is treated in a serious and dark fashion, but still with the same outcome of breaking Malvolio’s dignity to an extent as well as to expose his own foolishness. It is a different and more harsh response considering the fact that the play is unabashedly a comedy, yet the effect is similar when compared to the film version.
Feste, however, is primarily known as not only a comedian, but rather bearer of truth in the comedy. Although he does not make any profound remarks, he seems to be the wisest person within all the characters in the