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Class started with a new definition of tragedy.
"Tragic playwrights teach that the arrogant self can become the abject Other; that failure to bend, to negotiate, inevitably results in terrible fracture; that, because we are only human, our knowledge is merely knowingness, our vision partial rather than whole, and we must tread carefully in the world…" (Mendelson).
From such a definition, we found that comedy is defined as the ability "to bend, to negotiate."
Other - Edward Said
"Orientalism"
Fleshing out the Quote:
The Other is an outsider. However, society eventually reaches out to the Other, but only if he or she accepts their terms. An outsider must fulfill their stereotypes in order to exist and have a place in society. The Others are forced to become something that they are not and ultimately reinforce stereotypes.
Abject - retched to the self, vile to others
Tragedy is when a potential hero finds themselves destroyed by the very society, which they refuse to cooperate with.
Most tragic heroes try to construct a world that simply doesn't exist. They want it all and do not realize humanity's inherently imperfect nature.
MacBeth serves as an example of a tragic character. MacBeth's arrogant self makes him the abject Other at the end of the play.
Creon, Hamlet and The Emperor, also support this definition of tragedy.
Comedy is the opposite: the arrogant self sheds arrogance and frees him or herself from abject Othering. Comedy is the celebration of the removal of arrogance.
Midsummer Night's Dream - Shakespeare uses Hippolyta, Oberon, Titania, and Bottom to bend and negotiate— to create comedy. For example, Bottom turns into an ass and runs with it just as he does when Titania declares her love for him.
Egeus epitomizes the tragedy of the A Midsummer Night's Dream and is the arrogant self who experiences the Othering.
Twelfth Night:
Act 1 - Scene 1 - Orsino is indulging in the music and then stops quickly, underscoring Orsino's indulgent nature, but also his impatience. This opening scene foreshadows Orsino's love for Olivia and hints that Orsino will not love Olivia in the future.
Olivia mourns for her brother and plans to veil her face. Olivia is absurd, declaring that she will be sad for seven years. Orsino meets this inflexibility with his own.
Viola - an instrument that is not the lead in the orchestra. The viola is the most flexible instrument. As the name suggests, Viola asks many questions in Act 1 Scene 2 and epitomizes a survivor, a problem-solver, not a mourner. Viola doesn't cry for help while she is a shipwrecked female with no protection. She doesn't trust anyone, even as a wealthy, noble-class woman. She immediately goes on the offensive, appealing to the captain, and quickly protecting herself. She accepts a low position in order to save herself from her vulnerability.
After reading Act I, Scene I, I could immediately get a sense of the amount of emotion this play is going to portray and the romance, desire, and denial that accompanies love plays. By starting the play right in the thick of things with Orsino mourning over his love for Lady Olivia, Shakespeare sets up the play in such a way to create an opening for future drama that will inevitably unfold in the later Acts. In describing his love for Olivia as “these sovereign thrones, are all supplied, and filled her sweet perfections with one self King!…Love thoughts lie rich when canopied with bowers,” Orsino is completely submissive in his love for Olivia and holds nothing back when emotionally describing his undying love for her (I.i.40,43). By using this sort of foreshadow in the first scene, Shakespeare immediately catches the audience’s attention. When I read this first act, the complexity of the language served as a ‘hook’ to draw me into the greater meaning of the emotional frustration of the main characters.
Another interesting part I found that we had gone over partly in class was Viola’s strong headedness and willingness to never give up after being rescued while shipwrecked. In displaying her bravery to do whatever it takes to reach her goal of becoming Olivia’s servant and living her life alone just like Lady Olivia, Viola creates a disguise for herself as a teenage boy. By including gender complications into the play, Shakespeare sets the scene for future drama to unfold in the following acts.
Chris- I completely agree with your reading on Viola in 1.2. During the scene, Viola is presented as a very likable character who is easy to work with and flexible. After being washed up on a foreign shore, the character would be expected to flip out and give up. Instead of doing so, Viola asks numerous questions exemplifying her desire to problem solve. Even after her brother, Sebastian, has disappeared, she is able to put that aside to survive in this new community. Once Viola’s father and brother are no longer there to protect her with their family name, she adapts to the situation and doesn’t become the “arrogant self” asking the captain, “What will you do for me?” Instead, she pays the captain gold because she sees her dire situation and needs his protection. To me, Viola’s actions in this scene are remarkable seeing as though she is in a difficult situation. She is even willing to take a low position as a servant boy for Duke Orsino just to blend into society. Her disguise takes away her gender and social standing all for the sake of safety.
Although Viola’s actions are incredibly brave and show her ability to adapt to difficult situations, her disguise will be hard to maintain. Her identity will constantly be shifting as she pretends to be a male servant and conceal her own individuality as Viola (a young boy playing a girl disguised as a man). This could lead to some pretty funny mix-ups in the future of the play.
That's an interesting description of Viola, Mackenzie, as it epitomizes the definition of comedy we discussed in class. She is constantly giving up what she wants in order to get what she needs, and shows no sign of pride or arrogance. She is compromising perfectly throughout the play so far. And yet, despite being the spitting image of what we agreed set comedy apart from tragedy, she feels like one of the less comedic characters in the play. Perhaps that is just my opinion, but I'm finding myself entertained much more by Count Orsino than Viola. His ridiculously over-the-top character and ill-fated and uncompromising pursuit of Olivia seem much more humorous than the actions of Viola, who resolves most of her smaller conflicts. Orsino kind of reminds me of the character I played in the musical, though of course much more retro. I feel like I would make this addition to our definition of comedy: That it is not enough for the character to not be stubborn and to compromise some of what they want, but they must initially be disposed to being inflexible. That transformation from being stubborn and/or arrogant to eventually compromising near the end of the play is what makes it truly humorous, and knowing that is the direction the play is heading in allows us to laugh at the characters' own pride or obnoxiousness. Maybe this transformation was implied by our definition already, but this idea helped clarify the term for me.
Today's class consisted of answer the following question: Who is the best suitor for Olivia? Of the characters viewed thus far, the four potential candidates included Orsino, Viola (Cesario), Sir Andrew, and Malvoilio. The pros and cons of each character were weighed and discussed as follows.
The pros for Orsino included the fact that he is a powerful duke and he strongly vocalizes his love for Olivia. However, Orsino does not visit her himself, nor does he respect her grief of her brother's death. Furthermore, Orsino hints at taking advantage of Olivia's grief in order to win her love when he states that "love thoughts lie rich when canopied with bowers" (I.i.44). Bowers, while present at weddings, are also present at funerals, and thereby mark his intent to woo Olivia in the midst of her brother's death.
Act 1 Scene 5 contains the brunt of positive support for Viola as Olivia's suitor. First, Viola's persistence and refusal to leave underscores her desire to meet with Olivia. Within the meeting itself, Viola uses eloquent language that stirs Olivia's heart. From her description of Olivia as "most radiant, exquisite, and unmatchable beauty" to her description of how she would woo Olivia, Viola's words resonate stronger with Olivia than any of Orsino's previous advances (I.V.168). Furthermore, Viola's words reflect her knowledge of what women like to hear from suitors and make her words more potent than Orsino's. The main conflict, however, rests in the fact that Viola is a girl whose end goal is to seek protection in Orsino's court.
Sir Andrew did not leave a strong impression on our class as a suitable suitor for Olivia. Some early causes of concern focused on how he spends his money frivolously and is "drunk nightly in [Toby's] company" (I.iii.36-37). Through his interactions with Maria, it quickly become apparent that Sir Andrew is not apt with word play or wooing women. He does not understand the meaning of the word accost, nor could he make witty puns when he attempted to flirt with Maria. Another concerning fact focused on his lack of confidence. Rather than try to see Olivia, he dismisses the idea by saying "your niece will not be seen, or if she be, it's four to one she'll none of me" (I.iii.104-105). Lastly, Sir Andrew was seen as a push over due to the fact that Toby easily influences Sir Andrew's actions. It is Toby who convinces Sir Andrew to stay another month to try and win Olivia and also orders for Sir Andrew to dance.
The last suitor considered by the class was Malvolio. It was quickly made apparent that Malvolio is a loyal steward to Olivia, following her every word, and he always stands by her side. However, the manner in which he describes Cesario was one cause of concern. Rather than providing a unbiased opinion, Malvolio criticizes Cesario's youth and compares him to how "a squash is before 'tis a peascod" (I.v.156-157). Malvolio's word choice appears to be meant to make Cesario appear lower than himself, which he would do in order to preserve Olivia's view of him. Therefore, our class decided we must be wary of Malvolio becoming more involved as a suitor as the play progresses.
After reviewing the themes we saw in the first act (wordplay, folly, gender disguise, love/pain, [mis]communication), we discussed the question, who is the best suitor for Olivia? The suitors we could choose from so far were Orsino, Viola (Cesario), Sir Andrew, Feste the Fool, and Malvolio, though we decided that Feste was not enough of a viable suitor to discuss. We did not conclude who was the best, but compiled a chart that described the worthy and unworthy traits of each suitor.
1) Orsino: clearly loves Olivia -> "when mine eyes did see Olivia…" This important line about his love at first sight demonstrates Orsino's great love for Olivia. Yet he is unsympathetic to her dead brother, evidenced in the line containing "canopy with bowers". Orsino is an opportunist, yet does not visit Olivia himself (this causes the emergence of the miscommunication theme). As a duke, his status may be an attractive feature because he is powerful and wealthy
2) Viola (Cesario): speaks elegantly, can express love -> "most radiant, exquisite, and unmatchable beauty" (37). She demonstrates persistence, in being "fortified against any denial". She is crafty with language, playing on Olivia's use of "usurp myself" (37). Viola has feminine qualities and doesn't care about money.
This lead us into a conversation about Viola's need for protection. She wants to join the court because her bro is dead, she doesn't know what to do, and is vulnerable because any man could pose the threat of rape. She gives the captain gold when she first appears, demonstrating her attempt to be resourceful and use her money to better her position.
3) Sir Andrew: wealthy, earns 3000 ducats/year, but spends it foolishly according to Maria. He is not apt with wordplay, missing the cue for "accost" and mistaking puns ("dry"). Sir Andrew lacks confidence, not believing in his ability to woo Olivia. He also dances, but when he demonstrates this ability, we took him for somewhat of a tool/pushover who does what other people ask him to do without thought.
4) Malvolio: he is loyal to Olivia. also polite and respectful and vouches for Olivia. He uses the technique we saw in Midsummer, saying "what manner of man is he?". By questioning Cesario, he is making himself look better with underhanded language. Malvolio also has a bad name, as "Mal" means bad in Latin. Shakespeare suggests through his name that he is a bad character.
In Act I Scene 3, Shakespeare’s language appears to hint at a connection between Sir Andrew and Bottom the weaver. Sir Andrew’s banter with Maria closely mirrors Bottom’s conversations with Titania’s servants. Upon meeting her, Sir Andrew cries, “Good Mistress Accost, I desire better acquaintance” (I.3.54 12th Night). The cadence and language of this exclamation are almost identical to Bottom’s declaration that, “I shall desire you of more acquaintance, good Master Cobweb” (III.3.187 Midsummer). Two pages later, Sir Andrew makes another reference to Bottom, vowing that “I am not such an ass but I/can keep my hands dry…” (I.3.74-75, 12th night). His assertion echoes Bottom’s pronouncement that he will not allow the other actors to, “make an ass of [him]” (III.1.122-123, Midsummer).
In class today, we asserted that Bottom is the character in A Midsummer Night’s Dream who perhaps most closely embodies our concept of comedy as the anti-definition of tragedy. He is constantly willing to “bend” to his situation; as he converts from mere tradesman to actor, to half donkey, and back again, he takes each transformation in stride and quickly adapts to his situation. Sir Andrew demonstrates a similar malleability in Act 1. Although he initially comes with Sir Toby to court Olivia, he soon changes his attention to her maid, Maria, calling her “sweetheart” and offering her his hand (I.3.71). He eagerly breaks into dance and song. Like Bottom, he is the most carefree and easily excited of the characters introduced thus far.
If Sir Andrew and Bottom are indeed meant to represent a similar character or sentiment, then Sir Andrew may play a crucial role in the comic evolution of Twelfth Night. Bottom and the actors initially appear to play minor supporting roles in A Midsummer Night’s Dream. However, as the play develops, Shakespeare adds increasing depth to Bottom, while the lovers remain superficial. Only Bottom regards his journey through the woods as anything more than an inconsequential fantasy. Will these parallels persist as Twelfth Night continues?
While I agree with a comparison to Bottom, I believe the two characters are only similar in their foolishness. Bottom's overwhelming arrogance and lack of skill is what makes him appear foolish to the audience. However, Sir Andrew is bashful as he thinks that "sometimes he has no more wit than a Christian or an ordinary man" and that "it's four to one" that Olivia will not like him (1.3.84,104). This self consciousness is rightly paired with Andrew's lack of cleverness as he struggles to make puns and follow conversation (1.3.55, 75). Andrew is painfully aware of his own foolishness as when Malvolio says that Toby “wastes his time with a foolish knight” Andrew interjects “that’s me I warrant you… I knew’twas for many do call me a fool” (2.5.77-82). While Bottom's foolishness stems from his arrogance, Andrew's foolishness stems from his complete lack of confidance, but both are regarded as sources of comedy and imbecility in the play.
That is where the similarities end, as Bottom is an agent of change in the play while Andrew is virtually a puppet. When Bottom returns from being with Titania, the members of the play are relieved, demonstrating Bottom's crucial leadership. He is given the main role, and Quince notes how no one else in Athens could play the role of Pyramus but Bottom. Furthermore, Bottom gives specific orders to his actors telling them not to eat garlic, etc. as he continues to develop his role as a leader. Lastly the description of the play that Theseus reads speaks for the actors self-awareness of the comedy of their tragedy, giving some agency and depth to the actors, suggesting Bottom, or the actor that plays Bottom, is purposefully acting foolishly.
However, Andrew is not a similar dominant leader in Twelfth Night. At the end of Act 1 Scene 3 Toby demands Andrew dance the caper and commands “Ha, Higher! Ha, ha, excellent!” (1.3.137-138). Toby is virtually controlling Andrew making him dance higher and higher, and Andrew complies demonstrating his lack of agency. Previously in the scene Toby directs Andrew as he talks to Maria telling him to “front her, board her, woo her” and to not let Maria “part so… would thou might never draw sword again” (1.3.57-61). Andrew merely repeats these words to Maria “an you part so mistress, I would I might never draw sword again” showing his lack of intelligence and initiative (1.3.62-64). While both characters are regarded as foolish, Andrew shows a lack of self-direction, demonstrating that unlike Bottom, he is not a crucial agent of change.
Viola’s apparent desperation to belong and find her place in Illyria is evident in the way that she interacts with the other characters and is central to the theme of a male dominated society. She is anxious to find security and companionship with strong, reliable, trustworthy male figures in Illyria and although she does not immediately confide in them, the safety that she draws from their presence is evident.
Similarities to a Midsummer Nights Dream are evident as Viola is seen as vulnerable when she is without a male companion in the same way that Hermia is. The parallel lies in independent women (Viola and Hermia) doubting their strength and individuality and eventually relying on the companionship of an authoritarian male.
Upon arrival in Illyria, Viola immediately questions her surrounding and is uncomfortable with being alone and defenseless. She asks, “What should I do in Illyria?” and right away is visibly distraught that she has been separated from her “poor brother”(Act 1, Scene 2, Line 3,8). Violas brother provided her with the safety that she needed to feel comfortable and because of his absence she is at once pain stricken and unsure of how to conduct herself without her guiding figure.
I am curious as to why, although consumed by the trauma of loosing her brother, Viola is unable to be comfortable and successful as herself, without depending on others for the assurance that she could very well provide. I think that this speaks volumes to the time and place that the paly was set in and serves as a reminder of the social structure in place in Illyria (and similarly in Athens in a Midsummer Nights Dream).
Because Viola places such energy into gaining Orsino’s favor and acceptance into the court she is seen as concerned about attaining a looked after future. The desperation that she feels is evident as Valentine states that Viola is already “no stranger” although Viola just arrived (Act 1, Scene 4, Line 4). The connections that Viola immediately (and desperately) makes with individuals that she believes she can help her to feel protected are very apparently essential to her well being in Illyria. Viola is willing to do anything to maintain these relations and promise of care and compromises her own standing as a woman and her individuality in order to assure her safety.
I think that, considering the time and place this play is written, Viola actually acts very independently as a woman. Anyone who has just been shipwrecked would naturally feel rather defenseless. This event was obviously a great deviation in the plan, but rather than making a panicked plea or cry to the Captain, she keeps her composure and takes charge of the situation. After asking briefly about her brother, she moves on and masks her fear, rather than dwelling in the despair. She doesn't allow the captain to make the first move and shows no vulnerability, for if she did he might take advantage of her. She asks a series of demanding, intelligent questions, "know'st thou this country?", "who governs here?", "what's his name", "what's she?", and calmly extracts all the information she needs to come up with the idea to "conceal [her] what she is," (I.i.22,25,27,36,56). She thinks on her feet and forms a game plan, rather than slumping to the ground as a damsel in distress, waiting for someone else to tell her what to do.
Rather than needing to rely on another man, as you suggest Hermia did, she becomes one herself. With this transformation, she becomes an equal, rather than allowing herself to be made to feel inferior. This, in my mind, is a very bold move as it takes her out of a place of vulnerability (a defenseless, shipwrecked woman in a new place) and elevates her status to that of a man's. In reality, she cleverly decieves those around her, forming connections, and creating opportunities for herself, making her a strong, independent woman doing what must be done to ensure her own well-being.
We talked in class today about Olivia's peculiar behavior regarding the death of her brother. It seems quite dramatic that she would set aside seven years where she plans to mourn over the death. Not only is it a very long, drawn out period of time, but it is less personal when she plans to be sad. It is almost as if she is trying to come across as a devastated woman who needs the help of others. Talking about this odd behavior lead me to realize another thing quite noteworthy about Act 1. After we get this background about her brothers death and her planned grieving, it is interesting that she develops feelings for Cesario (Viola). Towards the end of the Act she talks about him saying, "methinks I feel this youth's perfections" (1.5.302). After reading this I developed a deep hatred towards Olivia. She goes to great lengths to make it seem like she can no longer live normally now that her brother his dead, giving herself seven years of mourning and chastity. Now all of a sudden she falls in love with the first guy (who isn't even really a guy) that she sees? She sends her messenger after Cesario with this supposed ring that he dropped, just so she can get him back to talk with her again. It's clear that her initial reaction to her brothers death was all for show. That disgusts me that she would use his death as a way to gain attention. I mean does she even like her brother? She pretends to act like her love for her brother was so much that she cannot stand the thought of losing him, therefore committing herself to love only for her brother for the next seven years and no one else. Then we get Cesario, and that all goes to hell. Olivia doesn't seem to know what she wants- she fluctuates between two different ideas of love. Thus, her character really angers me. Like Midsummer, Shakespeare could be using Olivia to make a point about the effects of love, or better, what people believe love is. I guess I'll have to read on to find out.
Today during class I really enjoyed our conversation about comedy and the advantages and disadvantages of being a fool. The role of the Fool, one could argue, is the catalyst of the whole play (just as Shakespeare is). The Fool brings Olivia out of mourning and thus allows Orsino - and Viola - to begin wooing her. The Fool also allows us to clearly understand the role of Malvolio and his relationship, or lack of one, with Olivia. In Act 1 sc. 5 Olivia and the Fool combat and his comedic timing, as well as his talent to make fun of Olivia without being hurtful, transforms their relationship of playful enemies to teammates against Malvolio. The Fool and Olivia’s conversation about the death of her brother and whether he has gone to heaven or hell could have set up another time for her to break, rather than bend. Had she burst into tears her character would not have developed at all and we would have an unfinished, very boring play. However, she laughs and even yells at Malvolio for taking things too seriously and being so self-centered, thus breaking her mourning period. In this scene she changes from a brittle, breakable character into a more flexible one. I also thought the parallel to the Fool and Shakespeare was an interesting end to the conversation. A Fool needs an audience, as does Shakespeare, to make the jokes come alive. “There is no slander in an allowed Fool, though he do nothing but rail; nor no railing in a known discreet man, though he do nothing but reprove” was the indicator that Shakespeare could be talking about himself. He creates characters that could be very offensive to the audience: lovesick heroes, women disguised as men, the vulgar Maria, Sir Andrews and Sir Toby and his writing could be considered foolish and he a Fool! But with the audience’s acceptance his foolishness transforms into greatness.
I agree with you Katie on your POV and personally feel that it is in fact an interesting statement on the world of comedy that continues today. The fool we meet initially is in grave danger of losing his livelihood, and yet he still gives everything he has to entertain Olivia. To me, this is not that different from many stand-up comedians we today who struggle to make ends meet, but continue to perform out of sheer love for making an audience laugh. Being someone who has been lucky enough to succeed and earn a living as a "fool", I believe Shakespeare takes this moment at the end of 1.5 as almost a show of support to his brethren that those who persevere in this harsh calling will be rewarded and ultimately make a difference (as he does with Olivia). The play sets Feste as a figure the audience should support and root for, especially in his interactions with Malvolio who appears too self-serious to make any positive contribution to the world. Given the collection of overly dramatic, vulgar, and self-involved characters Shakespeare has put forth in the first act, Feste stands out even more and inspires the audience to laugh even more at his jokes, no matter how poor the quality might be.
I agree that Feste’s role as the fool brings him a sense of self worth as well as provides the necessary comic relief for the other characters and the audience. He brings what can be seen thus far as a tragedy (because of the role that death plays) into a more comic light and is not afraid to frankly state his thoughts.
When Feste tells Olivia that he believes her brother’s “soul is in hell,” she is not taken back or grossly offended by his statement (Act 1, Scene 1, Line 65). Instead she responds in a rather composed manner and states that she knows “his soul is in heaven” (Act 1, Scene 1, Line 67). This also gives us insight into Olivia’s personality, and we learn that she is not bothered by the fool’s very personal and direct injection and is not upset. She is confident in herself and does not become enraged or incredibly emotional. Olivia’s resilience coupled with the fool’s frank and opinionated statements reveal the characters intentions and motives; Feste is portrayed as not having a filter on what he says and Olivia is seen as collected and poised in her interactions even with the most uncivilized, un mannerly and insensitive man.
Another instance in which Feste proves himself to be an ignorant fool is when he tells Olivia that he can “prove [her] a fool” (Act 1, Scene 5, Line 55). This moment reveals his lack of reverence for the class structure. Although Feste is several classes below Olivia, he speaks to her as if he is a wise sage and she has much to learn from him. He does not use a tone acceptable for an employee to speak to his boss with and is condescending and implies that Olivia herself is more of a fool than himself. Although Feste appears to be acting without conscious, his witty interjections provide the play the humor that is necessary to contrast the death and misfit that other characters are feeling. He distracts from the central tension of the play and provides a compelling side plot that certainly shifts the overall tone of the play.
I agree wholeheartedly with what Kate, Katie, and Nathan have already written about and I, like them, am impassioned to converse about the role of the Fool. I really enjoyed yesterday’s discussion surrounding Feste the Fool, because it helped me grasp a better understanding of his (or possibly her?) motivation. After reading the dialogue between Maria and the Fool at home, I was slightly foggy on what had transpired between the two of them because they spoke in “wits” and seemed to be challenging each other with their words. In class, we cleared up that Maria is explaining that the Fool is late and Olivia is not in the mood, but the Fool, using his wits and quick thinking, seems to match Maria’s sass and is able to entertain for Olivia. The Fool needs this job because otherwise, he won’t be able to feed himself, so even though he could come off as blasé, in our reading during class, we discovered that there is a sense of urgency in his voice. He’s fighting to speak, to entertain and “hook” Olivia. And yet, he still sounds a little bit as if he couldn’t care less about the conversation. Perhaps that’s part of his act; he’s being paid to be sassy and act without boundaries. He’s being paid to walk the fine line between being too inappropriate and not inappropriate/entertaining enough, which I think is a pretty interesting profession. I think that maybe the reason why fools or jesters had jobs in the royal and noble court is because the royals and nobles actually wanted someone to challenge them and their status. I imagine my life would be boring and a tad bit frustrating if I were surrounded by people that were expected to respect me and felt that they couldn’t be themselves around me. I’d be frustrated by the fakeness and desire someone with which to indulge in wordplay and someone who wouldn’t be afraid to be real with me. I assume it’s refreshing for Olivia to have someone speak to her without that “I’m so sorry for your loss” tone, which is perhaps why she allows him to continue.
I agree with all the observant speculation being made about the role of a fool in Shakespeare's plays. With Feste the Fool, I am particularly interested and impressed with his witty language and understated intelligence in the beginning of this play. Even though he is portrayed as the fool, and he is expected to do foolish things, his language and the content of his speech is witty and smart. He quotes a philosopher that he invents, Quinapalus, and shares his perspective on the situation that is presented to him in a eloquent manner. He draws attention away from himself by claiming that he is merely repeating a quote, even though he is the one that has spoken the wise words. Secondly, Feste sings for Orsino and various other characters in this play in a very appropriate and comforting way. When singing to Orsino, he attempts to comfort him by singing about a mourning lover who knows that his lover would not want him to suffer. His relevant songs demonstrate that Feste is aware of the situations that he is in, and that he cares about Orsino and the situation he is in. In my opinion, Feste is more aware, witty, and intelligent than the other fool we have studied in a Midsummer Night's Dream, Bottom. Bottom did not seem completely aware of the situations he was in, and did not speak with the eloquence and wisdom that Feste speaks with. Overall I think that Feste gives a new meaning to the role of the fool in my eyes, and adds another dimension to this story of entangled love triangles and heart broken lovers.