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In his comedy, the Twelfth Night, Shakespeare employs the extensive use of irony to stimulate the audience to laugh. As defined in the Oxford Concise dictionary, tragic or dramatic irony refers to a situation where the character’s words communicate a definite significance to the audience. Throughout the Twelfth Night comedy, William Shakespeare depicts what dramatic irony entails, obliterating the 21st century false impression concerning the definition of irony. Dramatic irony is demonstrated by having a character, for instance Viola, who is not aware of the irony, as well as the situation taking place. An excellent illustration of dramatic irony is revealed when the audience would discern that Olivia is in love with Cesario and that, besides; the audience ought to acknowledge that Cesario is essentially Viola. Similar to the audience, Viola is also extremely mindful that camouflaging as a man might lead to obstructions, especially towards realizing a satisfying romance with Orsino. Viola clearly reveals that her status is distracted by her master's love (Gabrielle 1).

A good example is in line sixty two and three in Scene II, where the captain informs Viola that he will facilitate her to mislead the Duke to suppose that she is an Eunuch, and states that if he talks to the public, he might as well go blind. There is the existence of dramatic irony of her cover up; as she fools everybody in Illyria to consider that she is a man. From about line five to line seven in Scene IV, Maria notifies Olivia as well as takes care of Sir Toby with great exception, which essentially implies that she does not like this. Nevertheless, Sir Toby reveals some pun on the word "excepted", indicating that she should go away and leave him alone, as well as that she has taken an adequate amount of exemption to his actions. Subsequently Maria declares that he must lock up himself to a number of limits, nevertheless, then Sir Toby puns on the words “fine” and “confine” affirm that he is smart, but the spectators actually know that he is indisposed to control his appetite for physical contentment (Gabrielle 2).

Another instance is in Scene III, line thirty, where Sir Andrew enters making sir Toby exclaim "Sweet Sir Andrew!". This  reaction makes him look like a friend. However, the audience actually knows that Sir Toby is merely going after and targeting Sir Andrew's money, since he is known to earn over three thousand ducats every year. In line five to eleven of Scene IV, Viola comes in as Cesario, her other name, since she has taken the cover up of an Eunuch, and  neither the Duke nor Valentine realize that she is a woman in reality. Even though the Duke has known Cesario for merely three days, he considers him as his confidant, and he reveales all his secrets.

This study is started when Malvolio  comes across Cesario (Viola) and makes clear that Olivia has sent him a ring that (Viola) has left purportedly. In addition, Malvolio makes its known that Olivia desires Cesario to inform the Duke that she wants nothing to do with him. Viola is bewildered, but eagerly plays along by rejecting to accept the ring, the aftermath of which is that Malvolio impudently allows the ring to fall to the ground and trudge off. Nevertheless, this incredulity is only momentary as Viola rapidly understands the factual reason following this chain of events that has to do with Olivia sending Malvolio to locate her and present her the ring as a gesture of romantic significance. The act of dramatic irony is lost on everybody except Viola, including the audience. Although Viola is a passionate for a man who has no thought she is a woman in fact that incredibly the same man is in love with a lady who is in love with a male who is in reality a woman!

At this moment the soliloquy of Viola is worried about the characteristics of distinctiveness and is a manifestation of the huge number of predicaments that this distinctiveness will cause as the play continues. The important aspect to the commencement of her internal monologue is the perplexity concerning what has occurred. Then, this bewilderment leads to her comprehending the situation In this talk, Viola explains the complicated protests of Shakespeare's scheme; and in so doing, also succeeds in breaking through them and exposing several of the thematic basics applied. Nevertheless, in the most severely practical logic Viola is not truly masked as a male, but what could be known as somebody who is gender unbiased. She could have the outward appearance of a man, but she can be described as an androgyne.

Therefore, what Viola actually puts up with is a disgrace of God's determination, neither an absolute female nor male. The moment she refers to an expectant foe that lives in opposition to humans, this can be analyzed as a reference to the devil, the tempter of the souls of mankind. By now Viola has blighted the iniquity of her masquerade so it is unquestionably no huge step of faith to imagine that she may view herself as a tool for the teaching of Satan. The entire proceedings that are to be resultant through false individuality can, consequently, be seen through a mysterious transparent lens as the achievement of wickedness. This feature is not only relevant to Viola herself, but can also be brought to abide Antonio's likely prohibited affection for a male who declares himself that he has a powerful likeness to his sister Viola. Homosexuality, particularly in the modern puritanical environment, is observed with immense doubt as an illustration of sin, undoubtedly personified by too many. Conceivably, Viola is, in various approaches, an ultimate case of the current mentality prepared to surpass human disappointments in appreciating the effort of the action of all that is believed to be wicked.

However, Viola essentially desires to get married to him, and at this moment, he instructs her to go and talk with Olivia, and make an effort to convince her to get married to him. In Scene IV, lines 25-40, although he does not recognize that she is a female, the Duke declares that Cesario is still so immature that his lips are redder compared to Diana's, the Roman deity of Purity, and that his both voice and body shape look like those of a female, but he does not actually realize that he truly is a female. The Duke assumes that Olivia would rather pay attention to a young envoy, like Cesario, than a mature one like Valentine.

In Scene V, lines 50-60, Olivia reprimands Feste that she will be absent for several days and decline to inform him of her whereabouts. She demands that he should be send away, although he requests her to offer him an opportunity to demonstrate that she has been deceived, and she consents. After that, he says that she continues to grieve for her brother, although she believes he is in paradise, and that she is a dupe for acting that way. Nevertheless, we actually understand that she merely got into this bereavement stage to evade to get married to the Duke, since if she had failed to accomplish it; he could have compelled her to wed him. Hereafter, in line 70, Olivia is overwhelmed by Feste's attentiveness, and requests Malvolio to tell her what he believes. Malvolio responds scaldingly, abusing Feste, and she is astonished at his response. However, we learn that Malvolio is extremely self-centered and abhors Feste, and that Feste detests him too. Later, in line 125, Viola (masquerading as Cesario) comes in and talks to Olivia, although Olivia never realizes that Cesario is a female. In line 122, Viola, in fact, declares that she is not a person what she appears to be (Cindy 45).

In Scene IV, line 225, Olivia tells Cesario that the Duke should not send any additional envoys to her, but that Cesario is received at any moment. Olivia is, in actual fact, deeply in love with Cesario, but she still does not realize that he is a female. Then, in line 245, following the departure of Viola, Olivia informs Malvolio to go after him and to offer his ring back which she tells Malvolio that Cesario has forgotten there. Nevertheless, Malvolio fails to realize that the ring is owned by Olivia, and that she simply sends it to Cesario so he can get it back the following day. In this case,t she can get a possibility to meet him once more (Cindy 50). Hence, it is evident that Shakespeare applied remarkable satire in this play to convert what, otherwise, would have been a drama into a humorous play. He employed this device very efficiently. Shakespeare is undoubtedly one of the best authors that have ever lived.

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