As You Like It and the Twelfth Night Touchstone vs Feste
Document Type:Research Paper
Subject Area:Literature
Traditionally, the fool represented a court jester, an entertainer in the medieval era who performed exclusively for the elite members of the society or as well in public events. His literal work embraced a witty commoner who outwitted other characters constructed as being from higher social hierarchies. The fool character in Shakespeare’s plays resembled the court jester in the period before his time. The only notable difference was that the court jester was a real person working as an entertainer to the aristocratic households while in Shakespeare; he was a literal character whose roles were exaggerated for theatrical effects. He reworked the character and gave him more roles in the plot and theme developments in his stories. In spite of Touchstone and Feste’s similarities as fools, they possess quite different personal traits especially in regards to their views on society, and specifically their takes on love and marriage.
SIMILARITIES: This section will explore some of the glaring similarities in the two characters. Both Touchstone and Feste are witty, authorized court jesters. They were accorded the freedom to mock others in their circles. Each jester begins with two vital characteristics: freedom of speech and wisdom. The story reveals that he made a terrible choice of a wife in marrying Audrey. He describes her as “a country wench named Audrey. ” Sees love as “libido. ” This was a symbolic representation of the fact that he equates love to sexual desires and it is the only reason to get married. This is an indicated by the subverted view of love that he holds. and I. v. He can confront and fight for his opinion and position. He has a principle which he is willing to defend and as well explain to others that they should adopt it.
At one instance, he called Olivia a fool despite her being from a high social hierarchy. He acts as though he is better than the shepherds. Even in their conversations, one can infer that Feste is less sarcastic unlike Touchstone’s whose wit is often cynical at the expense of others. Feste wanders back and forth between two courts’ Touchstone has free reign in the forest, moving about and interacting with others “Foolery, sir, does walk about the orb like the sun” (p. Another notable difference between the two is the fact that Feste is less dependent on bawdy imagery than Touchstone (Coddon, 325). In his ability to build good relationships, Feste is loyal, whereas Touchstone abandons Duke Ferdinand and neglects his mistress for other pursuits. Feste is objective and witty in making observations.
He can expose the foolishness in others for the amusement of his audiences and fellow beloved characters. In so doing, he embraces the multifaceted nature of his being. In some instances, he plays a Socrates and steers his students into the light. He also acts as a counselor, identify the issues and propose a solution to mental agonies in the case of Olivia. Ironically, Feste proves to be the only one who is not foolish. Foolishness is prevalent in the world, which sometimes makes life harsh, but a real part of human nature. Love is foolish, fickle, and arbitrary. Shakespeare is using a wise fool to prove that man is a fool. Unlike Touchstone, Feste is not blinded by the “disease” of love and is removed from the central conflict. In conclusion, Shakespeare left Feste all alone on the stage to pronounce life’s benediction; “for his heart was a nest of songs whence they rose to whistle with the air of wisdom” (Weiss, ___).
The above shows the intelligent character in Feste and how he was crucial to the plot and theme development. He was featured throughout the scenes and was present even in the closing scene. This was an indication of hi confidence and his critical roles in the play. Feste’s witticisms have a purpose in the play (#2 Wiley). The more fool, Madonna, to mourn for your Brother’s soul, being in heaven. Take away the fool, gentlemen. I. v. The scene thus depicts his sharpness and as well his loyalty in that he remained loyal to Olivia, a daughter of his former master and as well interested in her wellbeing. He sings: What is love? ‘is not hereafter; Present mirth hath present laughter; What’s to come is still unsure: In delay there lies no plenty; Then come kiss me, sweet and twenty, Youth’s a stuff will not endure.
He skillfully crafts his words to pass on the desired message with arousing unnecessary emotions. In such an example, he manages to break Olivia from her melancholy using playful banter. Viola. Dost thou live by thy tabor? Feste. Feste plays an important role in developing the theme/plot in the play. His wit in subtly criticizing others without escalating emotions is depicted throughout the play. At one point, Sir Toby and Sir Andrew referred to him as a fool; he was wise enough to understand the repercussions of talking back to the people ranked higher in the social status ranks. Instead, he referred to a painting of two people and referred to as we three, an indication that even the observer was a part of the fools being referred to (2. He magnifies the theme of illusion and reality by depicting the fact that Viola was aware of the fact that Feste was no fool and as well Feste knew that she understood him as not a fool.
ii. Afterward, he goes on to recite some lines he improvises as a parody. The main theme in the two plays is the fickleness of romantic love. Shakespeare focuses on the masculine perspective and perception of romance. In the play, he asserts that unlike women, males separate physical acts of lovemaking with the emotions. In As You Like It, Touchstone Volume 3 15 Fooling Around: The Court Jesters of Shakespeare reveals his thoughts on marriage by describing it as a duty; “the ox hath his bow, sir, the horse his / curb, and the falcon her balls” (III. iii. Touchstone’s attitude towards love is negative as he seems to criticize it at any opportunity. He depicts contempt for romance and opines that marriage is for sex, not love. Touchstone has a clever reflection on marriage: “A man may, if he were a fearful heart, stagger in this attempt [marriage]; for here we have no temple but the wood, no assembly but horn-beasts.
“For what says Quinapalus?—‘Better a witty fool than a foolish wit’” (I. v. The two characters fulfill their role as court jesters and able to depict a higher level of intelligence as compared to other characters in the play. In playing their roles, Feste’s jokes tend to focus on pointing out the wrong in others while Touchstones’ bring out the positive attributes. The settings in the play are also different as Twelfth Night is a holiday event celebrated in Elizabeth. Thus, the characters can tell that there is a wise person beneath the jokes. He seems to play that character role throughout the play. On the other hand, Touchstone plays a total fool on the jester. His wit nature is only revealed when he is not at the court-at the forest he is a gentleman CONCLUSION Touchstone and Feste play the role of a fool in the As You Like It and the Twelfth Night comedies.
They took the role of a court jester, a traditional medieval time entertainer who worked for the aristocrats and as well entertained the public. Thus, they have some similarities and at the same some distinctive features that allow them to fulfill their obligations in the theme and plot development in each play. Works Cited Barber, C. L. Shakespeare’s Festive Comedy. Princeton, NJ: Princeton UP, 1959. Wise Fools in Shakespeare. East Lansing, MI: Michigan State UP, 1963. Goldsmith, Robert Hillis. “Touchstone: A Critic in Motley. ” PMLA. Ed. Richard H. Perkinson. New York: Scholars' Facsimiles & Reprints, 1941. Jackson, Russell, ed. mala. bc. ca/~johnstoi/eng366/lectures/twelfthnight. htm Kuhn, Maria Slattery. “Much Virtue in If” Shakespeare Quarterly 28. ” Renascence: Essays on Values in Literature 56. Montrose, Louis. “The Place of a Brother in As You Like It: Social Process and Comic Form.
” Shakespeare Quarterly 32. Otto, Beatrice. I Am Not That I Play: Shakespeare's Employment of the Fool," Articulāte: Vol. Article 11. pp. Available at: https://digitalcommons. denison.
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