“Fools Tell All They Know” or The Wisdom of Feste in Shakespeare’s Twelfth Night

Practically the entirety of Shakespeare's plays have a comedian character. Jokesters were well known and diverting, and were basic characters that the lower class crowd individuals could identify with, in the midst of all the regal individuals plays were populated with. Be that as it may, the jokesters in Shakespeare's plays filled a double need. Not exclusively were they wellsprings of parody, yet in addition wellsprings of truth. Insight and exhortation are conferred through the lines of these figures of fun. The comedians mirrored the genuine nature or aims of the other, more â€Å"noble characters. They likewise portend coming occasions. One of the most striking instances of this sort of jokester is the character of Feste in Twelfth Night. Feste administers guidance and opens realities to the greater part of the significant characters of the play. In spite of the fact that he is just a dolt, he is by all accounts the main character in the play that genuinely has his brains about him. Feste reflects every one of the fundamental characters, uncovering aspects of their individual auras. He frequently shares information about different characters of which they didn't know. For instance, Feste is most firmly identified with Olivia. She is his supporter and calls upon him to entertain her. In any case, Feste doesn't engage in the standard method of a comedian. He understands that Olivia isn't in charge of her feelings with regards to cherish, and that she needs command over her subordinates. He says, in an aside, â€Å"Wit, an't be thy will, put me into great tricking! Those brains that think they have thee do very oft demonstrate fools Furthermore, I that am certain I need thee may go for an insightful man. For what state Quinapalus? - ‘Better a clever numb-skull than a stupid wit.†' (1.5.29-31) Feste comprehends what is new with Olivia's issue with Orsino, yet at the same time acts dumb. He communicates his sentiments of misgiving for Olivia and her alleged shrewdness. Feste believes Olivia's activities are senseless, and isn't hesitant to advise her so in backhanded manners. When Olivia becomes weary of Feste's dark guidance, she discloses to her orderlies to remove the nitwit, and Feste returns, â€Å"The woman bade remove the imbecile, in this way I state once more/remove her . . . I wear not diverse in my cerebrum/great madonna give me leave to demonstrate you a fool† (1.5.45-6, 49-51). He proceeds by asking Olivia for what good reason she grieves for the loss of her sibling. In the event that she accepts his spirits to be in paradise, as she does, at that point there is no purpose behind distress. Feste utilizes a kind of idiosyncratic sober mindedness to attempt to show Olivia how senseless she is by and large, yet is doesn't work, on the grounds that Olivia wo n't think about his recommendation as anything other than the ramblings of a bonehead. In spite of the fact that Feste appears, here and there, to be instructed nobody pays attention to his recommendations. Feste is the main character in the play that crosses into each world. He is aware of the privileged insights of Countess Olivia, he sings to and foresees the destiny of Orsino, he directs Viola and Sebastian, Feste likewise wanders into the bar universe of Sir Toby, Sir Andrew, Fabian and Maria. Olivia offers him to enter this world by requesting that he take care of her brother, Sir Toby, who is a â€Å"drowned man,† that is to state, suffocated with drink. Feste takes a lighter perspective on Sir Toby detail of psyche by saying he is distraught with drink asserting, â€Å"He is nevertheless frantic yet, Madonna, and the bonehead will look to the lunatic. With regards to the play, Sir Toby has more the impact of the exemplary nitwit than Feste. He is simply a comic figure without any profundity to him than that of the stock lush. Feste is the virtuoso of the play, yet isn't honorable, thus doesn't generally fit in anyplace. Sir Toby and Sir Andrew treat Feste as both a compa nion and a worker, paying him to sing, yet mentioning his organization and help in their useful jokes. Feste uncovers his foresight about occasions to come in his tune to Sir Toby, O escort mine, where are you wandering? O remain and hear, your genuine affection's coming That can sing both high and low Outing no further pretty sweeting Excursion's end in Lover's gathering Each savvy man's child doth know.† (2.3.36-40) Feste uncovers to these two lushes the plot of the whole play. Obviously, they don't comprehend and essentially acclaim Feste's singing capacity, in any case, in any case, he has uncovered his shrewdness and information about different characters. Later in the play, they demand that Feste take on the appearance of a savvy man to trick Malvolio into intuition he has lost his brains. Feste unassumingly obliges and does as such, filling the role enthusiastically and well. Shakespeare's characters love to camouflage themselves; this subject is frequently essential to the plot of his comedies, however for this situation, the mask takes an unexpected turn. Feste, in taking on the appearance of an insightful man, uncovers his actual nature as opposed to hiding it. In spite of the fact that this scene is intended to be played for bare comedic esteem, the crowd gets a brief look at the genuine idea of the comedian. Genuinely, however, Feste doesn't appear to be exceptionally inspired by the t orment of Malvolio, and eventually furnishes him with intends to determine his unjustifiable pickle. â€Å"Look then to be all around enlightened when the imbecile conveys the madman,† Feste says as he peruses the letter that prompts Malvolio's discharge from imprisonment. Feste is additionally mindful of the destiny that will occur for Orsino. He is welcome3d to the music-cherishing court at Orsino's home, maybe on the grounds that he has a place with Olivia, and along these lines, in any event, Orsino can feel he has a type of relationship with her. Feste rapidly observes through Orsino's despairing and wishes, Presently the despairing god secure thee, and the tailor make thy doublet of alterable fabric, for thy mind is a very opal. I would have men of such consistency put to the ocean, that their business may be everything, and their purpose all over the place, for that is it that consistently makes a decent journey of nothing.† (2.4.72-6) Feste knows precisely what Orsino is feeling, how his relationship with Olivia is getting down to business, and what his conclusive outcome will be. Orsino is whimsical and shallow and Feste knows it. When Orsino and Feste meet again later in the play, Feste is angry of his support, wishing â€Å"the more regrettable for his friends,† then calling Orsino his companion (5.1.10,22). Unmistakably, similar to the crowd, Feste couldn't care less for the Duke Orsino. Feste uncovers his knowledge most unmistakably in his discussions with Viola. Despite the fact that he alludes to her as â€Å"sir,† he does as such in a mocking manner, as though he knows her mystery. Viola likewise powers Feste to think about his own conditions, and he contemplates, â€Å"A sentence is nevertheless a chev'ril glove to a decent mind how rapidly an inappropriate side might be turned outward,† and Viola counters with, â€Å"Nay, that is sure. They that dillydally pleasantly with words may rapidly make them wanton,† (3.1.10-14). Since Feste is an on-screen character, Shakespeare is playing with the importance of these lines in one of his preferred ways, by reminding the crowd they are watching a play. These two are absolutely the most beguiling characters of the play and their discourse uncovers so a lot. Both know a little about the other's actual nature, and are not hesitant to impart their insight to one another. Feste lean towards Viola (as Cesario) to Orsino as an admirer for his fancy woman, thus attempts to help win her, and erroneously, Sebastian, to Olivia's kindness. Feste appears to become burnt out on his imbecile's job in the play. By Act three he pronounces, â€Å"Words are developed so bogus, I am lost to make reason with them,† (3.1.22-3). He has a quality of renunciation in his lines towards the finish of the play, eventually paving the way to his last epilog. This melody narratives his life, in a despairing way, finishing with, † But that is each of the one, our play is done/And we'll endeavor to satisfy you each day.† Feste's last words are loaded with despairing; he is bound to consistently act dumb, to never be liberated from the imperatives of the play. As a bonehead, Feste has all the essential characteristics: singing, pantomime, joke-telling. Be that as it may, as a character, he is substantially more than a buffoon. He is the way to Twelfth Night. He gives the play profundity and substance that different comedies don't contain. He weaves all the universes of the play along with clever words and despairing anthems. Feste is the coupling component in an in any case thought up and customary play.