And what should I do in Illyria?

My brother, he is in Elysium.(1.2.2-3)Viola relys that her brother has drowned during the storm that wrecked the ship. She asks what is to become of her immediately that her brother is no longer alive to foster her. Elysium, the classical classic equivalent to heaven represents a prepare of peace and eternal joy. The coincidence in the sounds of the names seems to link Illyria with Elysium, suggesting a place of security and happiness. The induction is that Illyria will eventually provide the healing that Viola needs after(prenominal) the (apparent) loss of her brother. (Go to the inverted comma in theThere is a fair doings in thee, captainAnd though that nature with a beauteous hem inDoth oft close in pollution, yet of theeI well believe thou hast a mind that suitsWith this thy fair 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 fair and contourly o ut-of-door place approximatelytimes conceal a corrupt soul, she believes that the Captains nature is as true and loyal as his awaitance suggests. This being so she intends to effrontery 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 aid in achieving this. (Go to the quote in the text of the play)Did you never see the picture of we three?(2.3.15-16)This is a local reference to the caption of contemporary seventeenth-century trick pictures of two fools or clowns, in which the sweetheart of the picture then becomes the third fool. An anonymous mental picture of two fools, peradventure the well-known jesters Tom Derry and Archie Armstrong, exists by this title WeeThree Logerhds and it is possible that Shakespeare has something like this painting in mind when he wrote this line. Other versions are known to lose existed as inn signs, in which the two fools were depicted as asses, which may explain Sir Tobys greeting to Feste Welcome, ass (2.3. 17). (Go to the quote in theWhy, thou hast present him in such a dream that when the image of it leaves him, he mustiness run mad.(2.5.186-188)The image of cut wavering about between envisage and madness is another of the plays needs. Maria is referring to the dream that Malvolio is experiencing of Olivia being in love with him through with(predicate) the trick played by Sir Toby, Sir Andrew and Fabian. She suggests that once Malvolio realises it is a trick and that Olivia is not in love with him, the knowledge will drive him mad. Compare these lines with Sebastians lines in map 4, scene 1 and his soliloquy at the beginning of Act 4, scene 3. Olivia has declared that she is in love with him, and he has never seen her before. In 4.1 he initially decides that this is a dream/If it be thus to dream, pipe down let me sleep (4.1.60-62). The dreamlike state continues and in 4.3 he is desperately trying to seek some kind of explanati on for the situation he finds himself in. He tries to convince himself that tis not madness (4.3.4), and this may be some error but no madness (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 butt claim Olivia as his wife. However Malvolios experience in the phantom folk turns his dream into a living nightmare in which his protestations of sanity are unattended and he is humiliated and humbled. (Go to the quote in theCome, well have him in a dark room and bound. My niece is already in the belief that hes mad.(3.4.130-1)Sir Tobys injunction continues the motif of madness, but introduces a darker and more troublesome side to the play. Whilst love can induce a kind of madness that can create the kind of melancholy suffered by Orsino, Sir Toby is refers here to mental insanity. The common bring to for insanit y during this period was to imprison the patient in a dark room in the belief that the darkness would drive out the abomination spirits from the patients body. This cruel and often violent practice that continued for numerous years. Sir Tobys proposal 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 cryptograph that is so, is so.(4.1.8)This line, more than any other perhaps, encompasses one of the dominant themes of Twelfth nighttime, that of delusory appearances. Within the world of the play almost everything is deceptive appearances, love, even death. Feste is oration this line to Sebastian, whom he believes to be Cesario. Yet Cesario is not who he seems to be either. The play is dominated by a man who seems to be in love with a woman who does not return his l ove, 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 capture the fickle spirit of the world of Illyria. Shakespeare has endowed Illyria with a kind of magical timberland that allows these inversions of normal behaviour and situations. It is tho in Illyria that the festival of Twelfth Night can be carried on permanently by Sir Toby and his associates moreover in Illyria in which girls can masquerade 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 too is not as it seems to be. It is a make-believe world of illusion and fantasy comparable with Shakespeares other created, magical worlds the plant of Arden in As You Like It, and Ephesusthe fifteenth and sixteenth century, masques, disguisings and the Feast of Fools (an chur chman festival which involved an inversion of social hierarchy as members of the lesser clergy dressed up as their superiors to ridicule and mock the routine practices of the church) were closely associated with Twelfth Night. It is this carnival spirit which presides over Shakespeares comedy as grammatical gender becomes a masquerade in Violas transformation into Cesario, aristocrats fall in love with servants (and vise versa), and stewards entertain absurd delusions of grandeur. The audience is asked to suspend their disbelief in this Discovery Age theme park where fraternal twins appear identical, love at first sight is not an uncommon occurrence, and a narcissistic duke agrees to accept as his fancys queen a woman who only five minutes before functioned as his male page.3 As bang asserts, Twelfth Night is a highly deliberate outrage.