Wheres the Honor in Honors Kids?(cheating habits of students) :: social issues

Where's the Honor in Honor's Kids?(cheating habits of students) Contrary to popular belief, honors students cheat just as much or more than students in regular classes do. Honors students are assumed to be hardworking, responsible, and honest. Yet these â€Å"above average† students are frequently taking part in the same dishonest conduct of the ordinary students, performing the task better and getting away with it more than the regular students. Explaining why honors students are better at cheating is difficult because every cheating student follows the same unwritten process to guide him to victory. The process is simple. First a cheater decides how he is going to cheat. He has many options including inscribing answers on various body parts (hand, thigh, etc.), creating pocket-sized notes, asking an earlier class for the answers, and plagiarizing. He can also place his hand upon his face (next to his eyes) angled away from the teacher while turning his head slightly in the opposite direction of the teacher and look at his neighbor’s paper. The following tactics are risky and are reserved for the more adventurous kids. They are snatching the teacher’s answer key, asking for assistance with a question while peeking at the answer key (at a teacher’s desk), hacking into a teacher’s computer for grade adjustments, and opening a textbook on the ground while taking a test. One of the most creative strat egies I’ve heard of is peeling the wrapping from a clear water bottle off to write the answers on the blank side; then taping the wrapping back onto the bottle exposing the answers when one looks through the clear bottle. Of course some regular students have been known to try these conniving techniques, they have been mastered by the honors students. The second step in the cheating process is when a student realistically imagines himself using the technique he chose in the first step. This is a planning stage that requires a student to pretend and prepare his developing plan of cheating. The better the student can imagine himself cheating, the more likely he is to succeed. After all, practice makes perfect. For example, if a student wanted to write answers on the inside of his band-aid, he needs to picture himself taking the test and slyly pulling off the band-aid when the teacher’s back is turned to reveal the answers. There is no wrong way to accomplish this step, but many prefer to ask themselves questions to prepare themselves.

Banquo as the Victim of Shakespeares Macbeth :: Macbeth essays

Banquo as the Victim of Macbeth      Ã‚   The reader finds in Shakespeare's Macbeth that the cunning and machinations of evilly inclined people do not pay off. On the other hand, the progeny of the honest will rule the kingdom. This paper is the story of Banquo the innocent.    Blanche Coles states in Shakespeare's Four Giants that Banquo is "a man to be feared" by Macbeth:    Besides Lady Macbeth, the one who knows how much Macbeth is acting is Banquo. In the scene where Banquo is starting for his afternoon ride, the conversation between the new King and his "chief guest" is artificial on both sides. In pretending that he is about to seek advice from Banquo, Macbeth [. . .] is relying on the security of his office to prevent a contradiction from Banquo. A few lines farther on he says that his fears in Banquo sink deep. In the long soliloquy, beginning "To be thus is nothing," he reflects that Banquo would dare a great deal, and yet his daring is accompanied by a certain wisdom that would guide him to act safely. So he is a man to be feared. (56-57)    In Everybody's Shakespeare: Reflections Chiefly on the Tragedies, Maynard Mack explains how the Bard upgraded the Holinshed version of Banquo:    His [King James] family, the Stuarts, claimed descent from Banquo, and it is perhaps on this account that Shakespeare departs from Holinshed, in whose narrative Banquo is Macbeth's accomplice in the assassination of Duncan, to insist on his "royalty of nature" and the "dauntless temper of his mind" (3.1.50). Many critics see a notable compliment to James in the dumb show of kings descending from Banquo ("What, will the line stretch out to th' crack of doom?" (186)    Clark and Wright in their Introduction to The Complete Works of William Shakespeare comment that Banquo is a force of good in the play, set in opposition to Macbeth:    Banquo, the loyal soldier, praying for restraint against evil thoughts which enter his mind as they had entered Macbeth's, but which work no evil there, is set over against Macbeth, as virtue is set over against disloyalty.   (792)    In Fools of Time: Studies in Shakespearean Tragedy, Northrop Frye explains the rationale behind Banquo's ghost in this play:    Except for the episode of Hercules leaving Antony, where mysterious music is heard again, there is nothing really supernatural in Shakespeare's tragedies that is not connected with the murder of the order-figures. Banquo as the Victim of Shakespeare's Macbeth :: Macbeth essays Banquo as the Victim of Macbeth      Ã‚   The reader finds in Shakespeare's Macbeth that the cunning and machinations of evilly inclined people do not pay off. On the other hand, the progeny of the honest will rule the kingdom. This paper is the story of Banquo the innocent.    Blanche Coles states in Shakespeare's Four Giants that Banquo is "a man to be feared" by Macbeth:    Besides Lady Macbeth, the one who knows how much Macbeth is acting is Banquo. In the scene where Banquo is starting for his afternoon ride, the conversation between the new King and his "chief guest" is artificial on both sides. In pretending that he is about to seek advice from Banquo, Macbeth [. . .] is relying on the security of his office to prevent a contradiction from Banquo. A few lines farther on he says that his fears in Banquo sink deep. In the long soliloquy, beginning "To be thus is nothing," he reflects that Banquo would dare a great deal, and yet his daring is accompanied by a certain wisdom that would guide him to act safely. So he is a man to be feared. (56-57)    In Everybody's Shakespeare: Reflections Chiefly on the Tragedies, Maynard Mack explains how the Bard upgraded the Holinshed version of Banquo:    His [King James] family, the Stuarts, claimed descent from Banquo, and it is perhaps on this account that Shakespeare departs from Holinshed, in whose narrative Banquo is Macbeth's accomplice in the assassination of Duncan, to insist on his "royalty of nature" and the "dauntless temper of his mind" (3.1.50). Many critics see a notable compliment to James in the dumb show of kings descending from Banquo ("What, will the line stretch out to th' crack of doom?" (186)    Clark and Wright in their Introduction to The Complete Works of William Shakespeare comment that Banquo is a force of good in the play, set in opposition to Macbeth:    Banquo, the loyal soldier, praying for restraint against evil thoughts which enter his mind as they had entered Macbeth's, but which work no evil there, is set over against Macbeth, as virtue is set over against disloyalty.   (792)    In Fools of Time: Studies in Shakespearean Tragedy, Northrop Frye explains the rationale behind Banquo's ghost in this play:    Except for the episode of Hercules leaving Antony, where mysterious music is heard again, there is nothing really supernatural in Shakespeare's tragedies that is not connected with the murder of the order-figures.

Free Essays on Terrorism: Bomb The Bastards Back to the Stone Age :: September 11 Terrorism Essays

Bomb The Bastards Back to the Stone Age The terrorists groups Hamas and al-Qaida have their foundations in Islam. Both of these organizations have interpreted the teachings of Islam in a violent manner. Al-Qaida calls for the founding of a "pan-Islamic Caliphate" to overthrow and expel Westerners". Hamas views any attempts at peace as turning over control to "non-believers", and they refuse to take part in any efforts for peace. Bill Clinton's previous inaction on embassy bombings and terrorists' threats has never prevented further violent action by either one of these groups. The United States must realize the enemy this country is now facing. The philosophy in the Middle East is one of retaliation and the appearance of strength. The members of both al-Qaida and Hamas are willing to die for their cause. Suicidal attacks are common, and they will not back down or look weak. America's course of action has always been to attempt diplomacy and peace talks. Any loss of American lives proves to be unacceptable to this country. Pulling out of a country where fellow countrymen are put at risk seems completely logical to Americans, but this action appears weak and cowardly to these terrorist organizations. The worst possible course of action that the United States could take would be to pull out of the Middle East. Because of the militant philosophy of both of these religious groups, inaction will not bring peace. Although pulling out would make sense from the American point of view, it would be seen as weakness from the point of view of al-Qaida and Hamas. These groups would take this failure to retaliate as a victory and simply continue their attacks more aggressively. A strong showing is the only language these terrorists will understand.

Research paper budgeting Essay

The research project is the opportunity to demonstrate your understanding of the readings as well as think critically about budgeting and budgeting processes. This is a five to seven page paper (double spaced, 12 point, Times New Roman). You will need a thesis statement, background and supporting information, and a conclusion. The paper is an analysis on your topic choice and may include a mix of theory and practice from one or more government examples. The paper requires at least five sources with citations (APA format) – at least three of which must be â€Å"high-quality academic† sources. (To find appropriate resources, use http://library.nau.edu/research.html – JSTOR and SAGE Journals Online are good options. Your textbooks are also acceptable.) You will be graded on both the quality of the ideas and the quality of your work product. Topics Choices †¢Public budgeting and ethics †¢Innovative and/or new revenue sources for government †¢History and trends of budget expenditures †¢International budgeting models †¢Public engagement in budgeting (outreach to the public, providing information, etc.) †¢Innovation in budgeting models and approaches †¢Public budgeting and the impact on the economy †¢The differences between public budgeting and corporate budgeting practices †¢Evolution of public budgeting in the Internet era †¢The politics and impact of a major budget change (e.g., Social Security, World War II) †¢Public policy implications of public budget constraints †¢Pros/cons of alternative budgeting processes †¢Alternative topic choices must be submitted for approval Presentation You will make a five minute presentation to the class on your research project on the final day of class. You will also be expected to answer a few questions. This presentation must include a one-page outline or summary handout of your comments. Grades will be based on the quality of ideas, handout material and presentation. To receive full credit, presentations must highlight key information about the project, including a broad overview of the topic, important details and significant findings; handout material must be well-crafted with minimal errors; and presentations must be the required length (give or take 30 seconds) and professional with complete thoughts.

Kaiser Wilhelm II and The First World War Essay

The British postcard illustrates Kaiser Wilhelm II in a bath, where he is about to grab a bar of soap labelled â€Å"Europe†, with a caption quoting â€Å"He won’t be happy till he gets it.† This suggests he is willing to use force to capture Europe. Wilhelm is wearing a military helmet and has a greedy expression on his face, which gives us the impression he is willing to fight for what he wants. Sources B and C both differ, but both of them agree that Wilhelm’s attitude towards the war was very violent. In source B, Wilhelm’s speech seems to be taken over by his emotions: anger, aggression, passion and lots of determination. He refers to certain phrases such as â€Å"take no prisoners†, â€Å"must be destroyed† and â€Å"ruthless violence.† Words such as these show us that he wants trouble. However in source C, there is more talk of peace. It seems to be a more subdued and more thoughtful speech. â€Å"I was always a supporter of peace.† But then he goes on to say how peace â€Å"has its limits.† And he can â€Å"no longer just look on, but must draw the sword!† This giving the final conclusion that Kaisers attitude towards the war has not changed since 1900 although he has become more diplomatic. This postcard may be biased, as the British whom were about to go to war with him produced it. Britain wanted to portray him in as much negative light as possible, therefore this postcard might not be truthful. But using my own knowledge, I know that Kaiser Wilhelm II was an aggressive man who came from an aggressive country and to control Europe was his sole ambition. Also, Britain was aware of Wilhelm’s objectives and to some extent holds him responsible for the Moroccan Crises. They therefore have a good reason to portray him in this way. â€Å"The Kaiser was a warmonger and caused the Great War.† The evidence given in the sources supports this statement and also disagrees with it. Source A clearly supports this view. The cartoon shows Wilhelm greedily snatching Europe, along with the war helmet, which indicates war. Source B backs this statement too. There is no sign of peaceful man in his speech. In this he says he wants Germans to acquire a similar reputation as Attila’s Huns did in the fifth century. Attila was the King of the German tribe the Huns who ravaged Eastern Europe. But there is talk of peace in his later speech (1913), although this hopeful thought is dampened by the indications of war â€Å"Must draw the sword.† However, using my own knowledge I know that the Great War was not only the fault of Wilhelm’s, there was many other reasons. In my opinion, rivalries were the main factor, which brought about the First World War. Without rivalries, no one would have a cause to start a war. There were many rivalries; Britain and Germany; France and Germany; Austria-Hungary and Russia and Serbia and Austria. These rivalries helped to cause war between the powers of Europe because they all wanted to fight for one reason or another. Another factor was alliances. With alliances, everyone was dragged into war, whether they liked it or not. In this case, it couldn’t be avoided. And lastly, the assassination of Franz Ferdinand was the catalyst. This gave Austria a perfect opportunity to declare war on Serbia. With this, Austria and Serbia were at war along with their allies. It caused great destruction as most countries were involved. This is proof that the Kaiser did not cause the Great War, as you need two countries to have a war. Cause the war he did not, but a warmonger he may be.

Everybody Needs Somebody Essay

Many people vacillate to commit themselves to marriage because of the responsibilities involved, but what does the word â€Å"marriage†, that so many desist from means. It’s the state of being united; body, soul and mind to a person of the opposite sex as husband or wife consensual and contractual relationship recognized by both the Lord and the law. Moreover, pledging your allegiance, promising to be there† for better or for worse, in sickness and in health†¦..till death do us path†. A lot of individuals make the decision never to marry; there may be certain circumstances why they may feel that way. For example they may have had awful relationships in their past and of the opinion that their significant other will never be found or plainly the bulk just don’t want that type of commitment. Marriage has its advantages by the bountiful, so if you are in love and sure that you want to subsist the rest of your life with him/her, then unquestionably go ahead and walk down the aisle. I confidently disagree that being single is far more advantageous than being married. Marriage offers companionship. In a healthy marriage, you are never alone. Your spouse will always be there to lend a sympathetic ear. Sometimes, of course, your spouse might not be â€Å"actually† listening to you but it is better to talk to someone than being alone. Additionally, it’s satisfying to have someone you trust completely and love unconditionally to have stimulating conversation with. For instance to discuss ideas, major financial matters and practice your humor and simply want o be consoled at the end of the day. In the period 2008, research done in the USA showed that expressing your feeling, merely talking to your spouse and letting them know how you feel, reduces your chance of divorce, dishonesty and senseless arguments. As well, companionship offers support and can be particularly important at times of misfortune. Thus, the companionship that marriage offer beats being single any day. Marriage opens the gates to a rich social life. Basically by having a partner with you, you can have a social life that is not so readily or easily available for a single person. You can visit romantic places together or holiday together. You can spend meaningful quality time with each other also relaxing without any interruptions for a single person; it may be difficult because usually social life is geared around â€Å"couples†. Hence a single person can often be left out or sometimes just not invited. Although it may be true at times, that having children might seem to encumber your social life but really it brings a pulsating change in your social life also much of that life involves being with your children. Marriage puts a stamp of tolerability in society. Research reveals that married men/women have longer lifespan compared to single individuals. This can result in three points 1. Marriage stabilizers men and women this is so because, the need for multiple partners aren’t considered necessary when you are married besides you can be confident that your trustworthy spouse isn’t going to be adulterous 2. In the case of reducing stress, take for example raising a child, although many single parents do raise children successfully. It seems the stress is less when the tasks are shared with a partner.3. The point of being pleased. Many men/women get satisfied sexually by being married. This is so because by being intimate with someone you pledged your life to and love, you are contented both physically and mentally. Consequently, by having sexual relations when single your mate is random. This type of intimacy is fabricated and has no symbolic meaning. At such times having a marriage has its rewards over being single. As stated above marriage has its advantages, the ones mentioned are just a few to start with. Each marriage is of course different, but the connection that is shared among two married persons who have unexplained love, intimacy and forever commitment is extremely sacred. Being married, said by many people is about accepting a person for who they are, faults include. To be so dedicated and honorable that together you can overcome any type of ordeal life throws also learning to grow from those hardships. It’s about making sacrifices and putting your complete trust in your spouse. Knowing, they would refrain from temptation and be honest when it is needed. There are so many types of definitions that could be used to describe what marriage is nevertheless the one that really carries the most sentimental value is the one shared among married couples. It is forlorn that single people choose to remain unmarried, they may not the joy marriage brings to a person, but marriage is a privilege so why not make use of it.

Literature Cape Essay

Many critics attempt to show how the disguise relate to the different parts, and/or different characters of the play. This story explores a cariety of themes and issues, however disguise, deceit, celebration and festivity are the major, more prominent ones. Although the play is a â€Å"silly play† said by Samuel Pepys, who saw the play on three occasions, many critics feel the play’s use of language used to deceive and the failure of characters to communicate properly and effectively and truthfully, made it confusing. The Twelfth Night (January 6th) is actually the Epiphany. During the Epiphany noble households sponsored numerous performances of plays, masques, banquets and kinds of activities. This story opens up to a man, Curio dressing for the plans of that night. While dressing, he confesses how he feels towards a woman named Olivia. Olivia, a well-to-do woman, wants little Analysis of Major Characters Viola Like most of Shakespeare’s heroines, Viola is a tremendously likable figure. She has no serious faults, and we can easily discount the peculiarity of her decision to dress as a man, since it sets the entire plot in motion. She is the character whose love seems the purest. The other characters’ passions are fickle: Orsino jumps from Olivia to Viola, Olivia jumps from Viola to Sebastian, and Sir Toby and Maria’s marriage seems more a matter of whim than an expression of deep and abiding passion. Only Viola seems to be truly, passionately in love as opposed to being self-indulgently lovesick. As she says to Orsino, describing herself and her love for him: She pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief. Was not this love indeed? (II. iv. 111–114) The audience, like Orsino, can only answer with an emphatic yes. Viola’s chief problem throughout the play is one of identity. Because of her disguise, she must be both herself and Cesario. This mounting identity crisis culminates in the final scene, when Viola finds herself surrounded by people who each have a different idea of who she is and are unaware of who she actually is. Were Twelfth Night not a comedy, this pressure might cause Viola to break down. Sebastian’s appearance at this point, however, effectively saves Viola by allowing her to be herself again. Sebastian, who independent of his sister is not much of a character, takes over the aspects f Viola’s disguise that she no longer wishes to maintain. Thus liberated by her brother, Viola is free to shed the roles that she has accumulated throughout the play, and she can return to being Viola, the woman who has loved and won Orsino. Orsino and Olivia Orsino and Olivia are worth discussing together, because they have similar personalities. Both claim to be buffeted by s trong emotions, but both ultimately seem to be self-indulgent individuals who enjoy melodrama and self-involvement more than anything. When we first meet them, Orsino is pining away for love of Olivia, while Olivia pines away for her dead brother. They show no interest in relating to the outside world, preferring to lock themselves up with their sorrows and mope around their homes. Viola’s arrival begins to break both characters out of their self-involved shells, but neither undergoes a clear-cut change. Orsino relates to Viola in a way that he never has to Olivia, diminishing his self-involvement and making him more likable. Yet he persists in his belief that he is in love with Olivia until the final scene, in spite of the fact that he never once speaks to her during the course of the play. Olivia, meanwhile, sets aside her grief when Viola (disguised as Cesario) comes to see her. But Olivia takes up her own fantasy of lovesickness, in which she pines away—with a self-indulgence that mirrors Orsino’s—for a man who is really a woman. Ultimately, Orsino and Olivia seem to be out of touch with real emotion, as demonstrated by the ease with which they shift their affections in the final scene—Orsino from Olivia to Viola, and Olivia from Cesario to Sebastian. The similarity between Orsino and Olivia does not diminish with the end of the play, since the audience realizes that by marrying Viola and Sebastian, respectively, Orsino and Olivia are essentially marrying female and male versions of the same person. Malvolio Malvolio initially seems to be a minor character, and his humiliation seems little more than an amusing subplot to the Viola-Olivia-Orsino- love triangle. But he becomes more interesting as the play progresses, and most critics have judged him one of the most complex and fascinating characters in Twelfth Night. When we first meet Malvolio, he seems to be a simple type—a puritan, a stiff and proper servant who likes nothing better than to spoil other people’s fun. It is this dour, fun-despising side that earns him the enmity of the zany, drunken Sir Toby and the clever Maria, who together engineer his downfall. But they do so by playing on a side of Malvolio that might have otherwise remained hidden—his self-regard and his remarkable ambitions, which extend to marrying Olivia and becoming, as he puts it, â€Å"Count Malvolio† (II. v. 30). When he finds the forged letter from Olivia (actually penned by Maria) that seems to offer hope to his ambitions, Malvolio undergoes his first transformation—from a stiff and wooden embodiment of priggish propriety into an personification of the power of self–delusion. He is ridiculous in these scenes, as he capers around in the yellow stockings and crossed garters that he thinks will please Olivia, but he also becomes pitiable. He may deserve his come-uppance, but there is an uncomfortable universality to his experience. Malvolio’s misfortune is a cautionary tale of ambition overcoming good sense, and the audience winces at the way he adapts every event—including Olivia’s confused assumption that he must be mad—to fit his rosy picture of his glorious future as a nobleman. Earlier, he embodies stiff joylessness; now he is joyful, but in pursuit of a dream that everyone, except him, knows is false. Our pity for Malvolio only increases when the vindictive Maria and Toby confine him to a dark room in Act IV. As he desperately protests that he is not mad, Malvolio begins to seem more of a victim than a victimizer. It is as if the unfortunate steward, as the embodiment of order and sobriety, must be sacrificed so that the rest of the characters can indulge in the hearty spirit that suffuses Twelfth Night. As he is sacrificed, Malvolio begins to earn our respect. It is too much to call him a tragic figure, however—after all, he is only being asked to endure a single night in darkness, hardly a fate comparable to the sufferings of King Lear or Hamlet. But there is a kind of nobility, however limited, in the way that the deluded steward stubbornly clings to his sanity, even in the face of Feste’s insistence that he is mad. Malvolio remains true to himself, despite everything: he knows that he is sane, and he will not allow anything to destroy this knowledge. Malvolio (and the audience) must be content with this self-knowledge, because the play allows Malvolio no real recompense for his sufferings. At the close of the play, he is brought out of the darkness into a celebration in which he has no part, and where no one seems willing to offer him a real apology. â€Å"I’ll be revenged on the whole pack of you,† he snarls, stalking out of the festivities (V. i. 365). His exit strikes a jarring note in an otherwise joyful comedy. Malvolio has no real place in the anarchic world of Twelfth Night, except to suggest that, even in the best of worlds, someone must suffer while everyone else is happy. I n the kingdom of Illyria, a nobleman named Orsino lies around listening to music, pining away for the love of Lady Olivia. He cannot have her because she is in mourning for her dead brother and refuses to entertain any proposals of marriage. Meanwhile, off the coast, a storm has caused a terrible shipwreck. A young, aristocratic-born woman named Viola is swept onto the Illyrian shore. Finding herself alone in a strange land, she assumes that her twin brother, Sebastian, has been drowned in the wreck, and tries to figure out what sort of work she can do. A friendly sea captain tells her about Orsino’s courtship of Olivia, and Viola says that she wishes she could go to work in Olivia’s home. But since Lady Olivia refuses to talk with any strangers, Viola decides that she cannot look for work with her. Instead, she decides to disguise herself as a man, taking on the name of Cesario, and goes to work in the household of Duke Orsino. Viola (disguised as Cesario) quickly becomes a favorite of Orsino, who makes Cesario his page. Viola finds herself falling in love with Orsino—a difficult love to pursue, as Orsino believes her to be a man. But when Orsino sends Cesario to deliver Orsino’s love messages to the disdainful Olivia, Olivia herself falls for the beautiful young Cesario, believing her to be a man. The love triangle is complete: Viola loves Orsino, Orsino loves Olivia, and Olivia loves Cesario—and everyone is miserable. Meanwhile, we meet the other members of Olivia’s household: her rowdy drunkard of an uncle, Sir Toby; his foolish friend, Sir Andrew Aguecheek, who is trying in his hopeless way to court Olivia; Olivia’s witty and pretty waiting-gentlewoman, Maria; Feste, the clever clown of the house; and Malvolio, the dour, prudish steward of Olivia’s household. When Sir Toby and the others take offense at Malvolio’s constant efforts to spoil their fun, Maria engineers a practical joke to make Malvolio think that Olivia is in love with him. She forges a letter, supposedly from Olivia, addressed to her beloved (whose name is signified by the letters M. O. A. I. ), telling him that if he wants to earn her favor, he should dress in yellow stockings and crossed garters, act haughtily, smile constantly, and refuse to explain himself to anyone. Malvolio finds the letter, assumes that it is addressed to him, and, filled with dreams of marrying Olivia and becoming noble himself, happily follows its commands. He behaves so strangely that Olivia comes to think that he is mad. Meanwhile, Sebastian, who is still alive after all but believes his sister Viola to be dead, arrives in Illyria along with his friend and protector, Antonio. Antonio has cared for Sebastian since the shipwreck and is passionately (and perhaps sexually) attached to the young man—so much so that he follows him to Orsino’s domain, in spite of the fact that he and Orsino are old enemies. Sir Andrew, observing Olivia’s attraction to Cesario (still Viola in disguise), challenges Cesario to a duel. Sir Toby, who sees the prospective duel as entertaining fun, eggs Sir Andrew on. However, when Sebastian—who looks just like the disguised Viola—appears on the scene, Sir Andrew and Sir Toby end up coming to blows with Sebastian, thinking that he is Cesario. Olivia enters amid the confusion. Encountering Sebastian and thinking that he is Cesario, she asks him to marry her. He is baffled, since he has never seen her before. He sees, however, that she is wealthy and beautiful, and he is therefore more than willing to go along with her. Meanwhile, Antonio has been arrested by Orsino’s officers and now begs Cesario for help, mistaking him for Sebastian. Viola denies knowing Antonio, and Antonio is dragged off, crying out that Sebastian has betrayed him. Suddenly, Viola has newfound hope that her brother may be alive. Malvolio’s supposed madness has allowed the gleeful Maria, Toby, and the rest to lock Malvolio into a small, dark room for his treatment, and they torment him at will. Feste dresses up as â€Å"Sir Topas,† a priest, and pretends to examine Malvolio, declaring him definitely insane in spite of his protests. However, Sir Toby begins to think better of the joke, and they allow Malvolio to send a letter to Olivia, in which he asks to be released. Eventually, Viola (still disguised as Cesario) and Orsino make their way to Olivia’s house, where Olivia welcomes Cesario as her new husband, thinking him to be Sebastian, whom she has just married. Orsino is furious, but then Sebastian himself appears on the scene, and all is revealed. The siblings are joyfully reunited, and Orsino realizes that he loves Viola, now that he knows she is a woman, and asks her to marry him. We discover that Sir Toby and Maria have also been married privately. Finally, someone remembers Malvolio and lets him out of the dark room. The trick is revealed in full, and the embittered Malvolio storms off, leaving the happy couples to their celebration. Themes, Motifs & Symbols Themes Themes are the fundamental and often universal ideas explored in a literary  work. Love as a Cause of Suffering Twelfth Night is a romantic comedy, and romantic love is the play’s main focus. Despite the fact that the play offers a happy ending, in which the various lovers find one another and achieve wedded bliss, Shakespeare shows that love can cause pain. Many of the characters seem to view love as a kind of curse, a feeling that attacks its victims suddenly and disruptively. Various characters claim to suffer painfully from being in love, or, rather, from the pangs of unrequited love. At one point, Orsino depicts love dolefully as an â€Å"appetite† that he wants to satisfy and cannot (I. i. 1–3); at another point, he calls his desires â€Å"fell and cruel hounds† (I. i. 21). Olivia more bluntly  describes love as a â€Å"plague† from which she suffers terribly  (I. v. 265). These metaphors contain an element of violence, further painting the love-struck as victims of some random force in the universe. Even the less melodramatic Viola sighs unhappily that â€Å"My state is desperate for my master’s love† (II. ii. 35). This desperation has the potential to result in violence—as in Act V, scene i, when Orsino threatens to kill Cesario because he thinks that -Cesario has forsaken him to become Olivia’s lover. Love is also exclusionary: some people achieve romantic happiness, while others do not. At the end of the play, as the happy lovers rejoice, both Malvolio and Antonio are prevented from having the objects of their desire. Malvolio, who has pursued Olivia, must ultimately face the realization that he is a fool, socially unworthy of his noble mistress. Antonio is in a more difficult situation, as social norms do not allow for the gratification of his apparently sexual attraction to Sebastian. Love, thus, cannot conquer all obstacles, and those whose desires go unfulfilled remain no less in love but feel the sting of its absence all the more severely. The Uncertainty of Gender Gender is one of the most obvious and much-discussed topics in the play. Twelfth Night is one of Shakespeare’s so-called transvestite comedies, in which a female character—in this case, Viola—disguises herself as a man. This situation creates a sexual mess: Viola falls in love with Orsino but cannot tell him, because he thinks she is a man, while Olivia, the object of Orsino’s affection, falls for Viola in her guise as Cesario. There is a clear homoerotic subtext here: Olivia is in love with a woman, even if she thinks he is a man, and Orsino often remarks on Cesario’s beauty, suggesting that he is attracted to Viola even before her male disguise is removed. This latent homoeroticism finds an explicit echo in the minor character of Antonio, who is clearly in love with his male friend, Sebastian. But Antonio’s desires cannot be satisfied, while Orsino and Olivia both find tidy heterosexual gratification once the sexual ambiguities and deceptions are straightened out. Yet, even at the play’s close, Shakespeare leaves things somewhat murky, especially in the Orsino-Viola relationship. Orsino’s declaration of love to Viola suggests that he enjoys prolonging the pretense of Viola’s masculinity. Even after he knows that Viola is a woman, Orsino says to her, â€Å"Boy, thou hast said to me a thousand times / Thou never should’st love woman like to me† (V. i. 260–261). Similarly, in his last lines, Orsino declares, â€Å"Cesario, come— / For so you shall be while you are a man; / But when in other habits you are seen, / Orsino’s mistress, and his fancy’s queen† (V. i. 372–375). Even once everything is revealed, Orsino continues to address Viola by her male name. We can thus only wonder whether Orsino is truly in love with Viola, or if he is more enamoured of her male persona. The Folly of Ambition The problem of social ambition works itself out largely through the character of Malvolio, the steward, who seems to be a competent servant, if prudish and dour, but proves to be, in fact, a supreme egotist, with tremendous ambitions to rise out of his social class. Maria plays on these ambitions when she forges a letter from Olivia that makes Malvolio believe that Olivia is in love with him and wishes to marry him. Sir Toby and the others find this fantasy hysterically funny, of course—not only because of Malvolio’s unattractive personality but also because Malvolio is not of noble blood. In the class system of Shakespeare’s time, a noblewoman would generally not sully her reputation by marrying a man of lower social status. Yet the atmosphere of the play may render Malvolio’s aspirations less unreasonable than they initially seem. The feast of Twelfth Night, from which the play takes its name, was a time when social hierarchies were turned upside down. That same spirit is alive in Illyria: indeed, Malvolio’s antagonist, Maria, is able to increase her social standing by marrying Sir Toby. But it seems that Maria’s success may be due to her willingness to accept and promote the anarchy that Sir Toby and the others embrace. This Twelfth Night spirit, then, seems to pass by Malvolio, who doesn’t wholeheartedly embrace the upending of order and decorum but rather wants to blur class lines for himself alone. Motifs Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes. Letters, Messages, and Tokens Twelfth Night features a great variety of messages sent from one character to another—sometimes as letters and other times in the form of tokens. Such messages are used both for purposes of communication and miscommunication—sometimes deliberate and sometimes accidental. Maria’s letter to Malvolio, which purports to be from Olivia, is a deliberate (and successful) attempt to trick the steward. Sir Andrew’s letter demanding a duel with Cesario, meanwhile, is meant seriously, but because it is so appallingly stupid, Sir Toby does not deliver it, rendering it extraneous. Malvolio’s missive, sent by way of Feste from the dark room in which he is imprisoned, ultimately works to undo the confusion caused by Maria’s forged letter and to free Malvolio from his imprisonment. But letters are not the only kind of messages that characters employ to communicate with one another. Individuals can be employed in the place of written communication—Orsino repeatedly sends Cesario, for instance, to deliver messages to Olivia. Objects can function as messages between people as well: Olivia sends Malvolio after Cesario with a ring, to tell the page that she loves him, and follows the ring up with further gifts, which symbolize her romantic attachment. Messages can convey important information, but they also create the potential for miscommunication and confusion—especially with characters like Maria and Sir Toby manipulating the information. Madness No one is truly insane in Twelfth Night, yet a number of characters are accused of being mad, and a current of insanity or zaniness runs through the action of the play. After Sir Toby and Maria dupe Malvolio into believing that Olivia loves him, Malvolio behaves so bizarrely that he is assumed to be mad and is locked away in a dark room. Malvolio himself knows that he is sane, and he accuses everyone around him of being mad. Meanwhile, when Antonio encounters Viola (disguised as Cesario), he mistakes her for Sebastian, and his angry insistence that she recognize him leads people to assume that he is mad. All of these incidents feed into the general atmosphere of the play, in which normal life is thrown topsy-turvy, and everyone must confront a reality that is somehow fractured. Disguises Many characters in Twelfth Night assume disguises, beginning with Viola, who puts on male attire and makes everyone else believe that she is a man. By dressing his protagonist in male garments, Shakespeare creates endless sexual confusion with the Olivia-Viola–Orsino love triangle. Other characters in disguise include Malvolio, who puts on crossed garters and yellow stockings in the hope of winning Olivia, and Feste, who dresses up as a priest—Sir Topas—when he speaks to Malvolio after the steward has been locked in a dark room. Feste puts on the disguise even though Malvolio will not be able to see him, since the room is so dark, suggesting that the importance of clothing is not just in the eye of the beholder. For Feste, the disguise completes his assumption of a new identity—in order to be Sir Topas, he must look like Sir Topas. Viola puts on new clothes and changes her gender, while Feste and Malvolio put on new garments either to impersonate a nobleman (Feste) or in the hopes of becoming a nobleman (Malvolio). Through these disguises, the play raises questions about what makes us who we are, compelling the audience to wonder if things like gender and class are set in stone, or if they can be altered with a change of clothing. Mistaken Identity The instances of mistaken identity are related to the prevalence of disguises in the play, as Viola’s male clothing leads to her being mistaken for her brother, Sebastian, and vice versa. Sebastian is mistaken for Viola (or rather, Cesario) by Sir Toby and Sir Andrew, and then by Olivia, who promptly marries him. Meanwhile, Antonio mistakes Viola for Sebastian, and thinks that his friend has betrayed him when Viola claims to not know him. These cases of mistaken identity, common in Shakespeare’s comedies, create the tangled situation that can be resolved only when Viola and Sebastian appear together, helping everyone to understand what has happened. Symbols Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts. Olivia’s Gifts When Olivia wants to let Cesario know that she loves him, she sends him a ring by way of Malvolio. Later, when she mistakes Sebastian for Cesario, she gives him a precious pearl. In each case, the jewel serves as a token of her love—a physical symbol of her romantic attachment to a man who is really a woman. The gifts are more than symbols, though. â€Å"Youth is bought more oft than begged or borrowed,† Olivia says at one point, suggesting that the jewels are intended almost as bribes—that she means to buy Cesario’s love if she cannot win it (III. iv. 3). The Darkness of Malvolio’s Prison When Sir Toby and Maria pretend that Malvolio is mad, they confine him in a pitch-black chamber. Darkness becomes a symbol of his supposed insanity, as they tell him that the room is filled with light and his inability to see is a sign of his madness. Malvolio reverses the symbolism. â€Å"I say this house is as dark as ignorance, though ignorance were as dark as hell; and I say there was never man thus abused† (IV. ii. 40–42). In other words, the darkness—meaning madness—is not in the room with him, but outside, with Sir Toby and Feste and Maria, who have unjustly imprisoned him. Changes of Clothing Clothes are powerful in Twelfth Night. They can symbolize changes in gender—Viola puts on male clothes to be taken for a male— as well as class distinctions. When Malvolio fantasizes about becoming a nobleman, he imagines the new clothes that he will have. When Feste impersonates Sir Topas, he puts on a nobleman’s garb, even though Malvolio, whom he is fooling, cannot see him, suggesting that clothes have a power that transcends their physical function. Twelfth Night – Analysis of Fools A fool can be defined in many meanings according to the Oxford English Dictionary On Historical Principles. The word could mean â€Å"a silly person†, or â€Å"one who professionally counterfeits folly for the entertainment of others, a jester, clown† or â€Å"one who has little or no reason or intellect† or â€Å"one who is made to appear to be a fool† (word originated from North Frisian). In english literature, the two main ways which the fool could enter imaginative literature is that â€Å"He could provide a topic, a theme for mediation, or he could turn into a stock character on the stage, a stylized comic figure†. In William Shakespeare’s comedy, Twelfth Night, Feste the clown is not the only fool who is subject to foolery. He and many other characters combine their silly acts and wits to invade other characters that â€Å"evade reality or rather realize a dream†, while â€Å"our sympathies go out to those†. â€Å"It is natural that the fool should be a prominent & attractive figure and make an important contribution to the action† in forming the confusion and the humor in an Elizabethan drama. In Twelfth Night, the clown and the fools are the ones who combine humor ;amp; wit to make the comedy work. Clowns, jesters, and Buffoons are usually regarded as fools. Their differences could be of how they dress, act or portrayed in society. A clown for example, â€Å"was understood to be a country bumpkin or ‘cloun'†. In Elizabethan usage, the word ‘clown’ is ambiguous â€Å"meaning both countryman and principal comedian†. Another meaning given to it in the 1600 is â€Å"a fool or jester†. As for a buffoon, it is defined as â€Å"a man whose profession is to make low jests and antics postures; a clown, jester, fool†. The buffoon is a fool because â€Å"although he exploits his own weaknesses instead of being exploited by others†¦. he resembles other comic fools†. This is similar to the definition of a ‘Jester’ who is also known as a â€Å"buffoon, or a merry andrew. One maintained in a prince’s court or nobleman’s household†. As you can see, the buffoon, jester and the clown are all depicted as fools and are related ;amp; tied to each other in some sort of way. They relatively have the same objectives in their roles but in appearance wise (clothes, physical features) they may be different. In Shakespeare’s Twelfth Night, Feste’s role in this Illyrian comedy is significant because â€Å"Illyria is a country permeated with the spirit of the Feast of Fools, where identities are confused, ‘uncivil rule’ applauded†¦ and no harm is done†. In Illyria therefore the fool is not so much a critic of his environment as a ringleader, a merry-companion, a Lord of Misrule. Being equally welcome above and below stairs.. † makes Feste significant as a character. In Twelfth Night, Feste plays the role of a humble clown employed by Olivia’s father playing the licensed fool of their household. We learn this in Olivia’s statement stating that Feste is â€Å"an allowed fool†(I. v. 93) meaning he is licensed, privileged critic to speak the truth of the people around him. We also learn in a statement by Curio to the Duke that Feste is employed by Olivia’s father. Feste the jester†¦ a fool that the Lady Olivia’s father took much pleasure in†(II. iv. 11). Feste is more of the comic truth of the comedy. Although he does not make any profound remarks, he seems to be the wisest person within all the characters in the comedy. Viola remarks this by saying â€Å"This fellow’s wise enough to play the fool†(III. i. 61). Since Feste is a licensed fool, his main role in Twelfth Night is to speak the truth. This is where the humor lies, his truthfulness. In one example he proves Olivia to be a true fool by asking her what she was mourning about. The point