And what should I do in Illyria?

My chum, he is in Elysium.(1.2.2-3)Viola deliberates that her brother has drowned during the surprise that wrecked the ship. She asks what is to become of her now that her brother is no longer alive to treasure her. Elysium, the classical Greek equivalent to enlightenment represents a arse of peace and incessant joy. The similarity in the sounds of the names seems to bear on Illyria with Elysium, suggesting a place of security and happiness. The conclusion is that Illyria will eventually provide the improve that Viola needs after the (apparent) passing play of her brother. (Go to the abduce in theThere is a medium behaviour in thee, skipperAnd though that character with a cognisely wallDoth oft close in pollution, yet of theeI well believe thou hast a bear in mind that suitsWith this thy beauteous and outward character.(1.2.43-47)Viola confides her plans for disguising herself as a boy to the Sea-Captain who has saved her from the storm. She comments that although a f air and kindly exterior brush off neartimes c at a timeal a corrupt soul, she believes that the Captains nature is as true and loyal as his appearance suggests. This being so she intends to deposit him with her secret plan of dressing herself as a boy to protect herself whilst she is in Illyria, and will even ask the Captains countenance in achieving this. (Go to the quote in the text edition of the play)Did you never see the picture of we three?(2.3.15-16)This is a topical reference to the caption of coeval seventeenth-century trick pictures of two fools or clowns, in which the ravisher of the picture then becomes the third fool. An anonymous painting of two fools, possibly the long-familiar jesters Tom Derry and Archie Armstrong, exists by this title WeeThree Logerhds and it is attainable that Shakespeare has something like this painting in mind when he wrote this line. Other versions are cognize to throw off existed as inn signs, in which the two fools were depicted as asses, which whitethorn explain Sir Tobys greeting to Feste Welcome, ass (2.3. 17). (Go to the quote in theWhy, thou hast put him in such a woolgather that when the fancy of it leaves him, he essential run harebrained.(2.5.186-188)The painting of eff wavering closely among dreaming and vehemence is a nonher of the plays motifs. female horse is referring to the dream that Malvolio is experiencing of Olivia being in love with him by the trick played by Sir Toby, Sir Andrew and Fabian. She suggests that once Malvolio realises it is a trick and that Olivia is non in love with him, the knowledge will produce him mad. Compare these lines with Sebastians lines in Act 4, throw outdidate 1 and his soliloquy at the start-off of Act 4, scene 3. Olivia has declared that she is in love with him, and he has never seen her in front. In 4.1 he initially decides that this is a dream/If it be thus to dream, still let me sleep (4.1.60-62). The dreamlike state continues and in 4.3 he i s desperately trying to look some kind of explanation for the spot he finds himself in. He tries to convince himself that tis not vehemence (4.3.4), and this may be some error but no derangement (4.3.10), but is finally forced to conclude that I am mad,/Or else the ladys mad (4.3.15-16). Sebastians dream is temporary in that the apparent madness is dispelled when the identity of the twins is finally revealed and he can claim Olivia as his wife. all the same Malvolios experience in the dark hearth turns his dream into a living nightmare in which his protestations of sanity are ignored and he is humiliated and humbled. (Go to the quote in theCome, well hasten him in a dark inhabit and bound. My niece is already in the teaching that hes mad.(3.4.130-1)Sir Tobys cease and desist order continues the motif of madness, but introduces a darker and to a greater extent troublesome ramp to the play. Whilst love can induce a kind of madness that can create the kind of grief suffered by Orsino, Sir Toby is refers here to genial insanity. The common cure for insanity during this power point was to imprison the patient in a dark room in the belief that the darkness would drive out the annoyance spirits from the patients body. This cruel and often fiery practice that continued for many years. Sir Tobys project to subject Malvolio to this cure when he knows that the madness is not real indicates a dark side to Sir Tobys character. (cf Dr Pinchs proposed treatment for Antipholus and Dromio of Ephesus in The Comedy of Errors They must be bound and laid in some dark room 4.4.95 nada that is so, is so.(4.1.8)This line, more than any other perhaps, encompasses unrivalled of the dominant themes of one-twelfth Night, that of jerry-built appearances. in spite of appearance the world of the play almost everything is deceptive appearances, love, even death. Feste is speaking this line to Sebastian, whom he believes to be Cesario. Yet Cesario is not who he seems to be e ither. The play is dominated by a man who seems to be in love with a charwoman who does not return his love, and this woman herself is in love with a woman who seems to be a man. Violas brother seems to be drowned, and Sebastian believes his sister to have died during the shipwreck.These images of deceptive reality also beget the mercurial spirit of the world of Illyria. Shakespeare has invest Illyria with a kind of magical property that allows these evertings of normal behaviour and situations. It is exactly in Illyria that the festival of Twelfth Night can be carried on permanently by Sir Toby and his associates only in Illyria in which girls can disguise as boys only in Illyria where dead siblings can be resurrected. Illyria seems like a real place with a sea-coast, storms and ruling dukes, but it alike is not as it seems to be. It is a make believe world of illusion and fantasy corresponding with Shakespeares other created, magical worlds the forest of Arden in As You Li ke It, and Ephesusthe fifteenth and sixteenth century, masques, disguisings and the run of Fools (an ecclesiastic festival which involved an inversion of social hierarchy as members of the lesser clergy dressed up as their superiors to mockery and mock the routine practices of the church) were closely associated with Twelfth Night. It is this carnival spirit which presides over Shakespeares funniness as gender becomes a masquerade in Violas transformation into Cesario, aristocrats fall in love with servants (and vise versa), and stewards entertain comic delusions of grandeur. The audience is asked to suspend their disbelief in this Discovery Age theme parking lot where fraternal twins appear identical, love at first sight is not an uncommon occurrence, and a narcissistic duke agrees to swallow as his fancys queen a woman who only five minutes before functioned as his male page.3 As florescence asserts, Twelfth Night is a passing deliberate outrage.