Darby 1

Drew B Darby

Mr. M. Dixon

Honors English 10-31

May 5th, 2012

Feste: His Role and Significance

A dry fool and a dishonest, barren rascal. These words seem hardly fitting for

character who is one of the most significant in all of Shakespeare. However, these are

words used to describe Twelfth Night’s Feste. From his amusing introduction to his final

solemn song Feste is always present during the key events of the play. However, to some,

he may seem like a mere embellishment, a character thrown into the mix to provide a few

snippets of insight and to add a few humorous moments. On the contrary, this essay

seeks to prove the importance of Feste’s role and his lasting significance in the play

through three distinct questions. First of all, why did Shakespeare include Feste (and in

general, fools) at all? Second of all, why was Feste specifically created as he was?

Finally, how does Feste fit with and add to the themes that pervade the rest of the play?

Shakespearean comedies are filled with comical characters and circumstances; in

fact, a “fool is conventional in Shakespearean comedy” (Downer 97). The classic

Shakespearean fools, such as Touchstone or Launcelot, permeate Shakespeare with their

jokes, puns, and general snide commentary. Touchstone was not merely a great wit, but

he also was both “sane and wise”; throughout the course of his play, the audience “laughs

both at him and with him” (Downer 96). Feste is at times such as fool, poking fun at

those around him through his words; he does not, however, play the role of the

laughingstock that some fools do. The fool’s role in a comedy is very loosely defined, but

Darby 2

in general most are similar. Fools play upon the tragedy and conflicts of those around

them, as does most comedy at its most basic level. Consider the humorous moments of

Twelfth Night: mistaken identity can be very serious for those involved, but the readers

find it hilarious. We enjoy this sort of comedy because of the general acceptance of

others’ misfortune as comedy. However, conflict can be had without a fool to instigate it.

The fool is normally the one, however, who initially recognizes what is occurring and

plays off of it. Without a character assuming the mantle of the fool, there is less comedic

value to events and consequently a much flatter plot line. The fool also can be an addition

to the dimension of the play. In the process of writing, it is important to create a “three-

dimensional” setting and cast of characters. Fools can be part of either grouping, both of

which are equally essential to the success of a literary work. The fool does play a role

outside of his usual “foolery”, though; in fact, it is in this role that a fool can truly

become essential to a play. Fools tell the truth “like it is”, not how those around them

prefer it to be heard. “The more pity that fools may not speak wisely what wise men do

foolishly” says Touchstone in Act 1 of As You Like It (I, ii). He means that it is a pity

fools do not speak wise words of truth to the foolish men around them. This can create

conflict, but it also reveals much about surrounding characters to those who are reading.

Fools also can be significant because of what they symbolize, which will be analyzed

later on.

Concluding from the previous paragraph, fools are a necessary and an important

part of any comedy. However, merely by reading the play through once it is obvious that

Feste is different from other fools. He is part of an interesting paradox, that of the “wise”

fool, and the reader never “never laugh[s] at him”(Bradley). He is one of “the merriest of

Darby 3

Shakespeare’s fools, and the loneliest” (Downer). He is not bouncing around, throwing

jokes out to all who turn an ear to his foolery; at times he seems almost solemn when

conversing with others. His words and actions have great effects on the other characters

around him, which in turn brings out different “sides” and attitudes from the cast. He also

is a symbol for many things that Shakespeare embeds in the play.

An essential part of any literary work is symbolism, both that which the author

initially intended and that that can be seen through the rest of the work. Examples of both

can be seen through the character and actions of Feste. To put it simply, Feste is “in many

ways the symbol of Twelfth Night’s meanings” (Downer 98). When referring to Feste

and his symbolism, it is common to first look at his elgaic ending song. He continually

repeats, “For the rain it raineth every day”, a very odd line but nonetheless fitting for the

song (V, i). When one typically thinks of rain, it is as an inhibiter. For example, when it

rains, events are canceled. Feste speaks of the rain in a similar sense; it seems that in this

song the rain represents that which prevents dreams from being fulfilled. He speaks of

growing up in a serious life, where “a foolish thing was but a toy”(V, i); his tone toward

the subject matter is filled with negative words. He finishes with a simple sentence that

probably would fit better in an advertisement than in Shakespeare: “We’ll strive to please

you every day”(V,i). This sounds like words of a broken man, a figure hollowed by life

and giving in to the expectations of those around him. This is fitting for the song,

however, as it closes the book on what we can assume to be Feste’s hopes and dreams.

He does suggest in the final stanza, though that the “whole world has grown old [and so

has it’s pattern], not merely himself” (Downer 97). Earlier in the play, Feste also sings

another song, commonly referred to as “O Mistress Mine”. At first glance it seems like a

Darby 4

typical love ballad, full of colorful language. But when the situation in which it is sung is

considered, the song takes on a whole new meaning. In the scene before, Olivia has just

met Viola, and has immediately fallen in love with Viola’s disguised personality. Feste

seems to be speaking directly to her when he says “where are you roaming?/your true

love’s coming” (I,iii). He also says “Youth’s a stuff will not endure” (I, iii); this suggests

a call to indulge in the present before one grows too old for the game of love. Olivia has

been hiding herself away from men in mourning, and this seems to be calling her out of

thateven as her attraction to Cesario pull her in that direction. In Act I, Feste has an

interesting comment to make about fools. When he is sent to attend to a drunken Sir

Toby, Feste says, “He [Toby] is but mad yet…the fool shall look to the madman” (I, iii).

In curious fashion, he places himself lower than a madman; this may be trying to convey

something that Feste has noticed about fools in general and how they are not always what

they are supposed to be.

As is important for a main supporting character, Feste proves himself an excellent

contrast to the rest of the characters in the play. The reason he excels so well in this duty

is because he is serious, yet loose enough to throw others off their guard with a quick

word. “He remains mostly outside the action, not taking part in it” but he provides an

essential extra perspective (Henze 148). No single contrast is more evident than that of

Feste and Malvolio, the rigid puritan. Malvolio denounces Feste immediately upon

meeting him, calling him a “barren rascal” and claiming that even infirmity makes a

better fool. Feste quickly spins his words back at him, turning him into the fool.

Throughout the play the contrast becomes even more apparent, as Feste prospers and

enjoys himself and Malvolio is caught up in his own self-love and foolishness. The

Darby 5

characters of the play begin similarly to Malvolio: they take what they want whether it is

given to them or not, especially in relation to love. This is universal except for Feste and

Viola. Over the course of the plot a gradual transition is made from taking without leave

to graciously accepting what is given. “As the characters become more like Viola and

Feste and less like Malvolio, they acquire generosity, graciousness and true

civility”(Henze). In fact, the state of actually desiring that which is given is the “true

festivity Feste tends to symbolize in the play” (Henze). Sir Toby provides a distinct

contrast to the true festivity that is embodied by Feste. Toby is a drunkard and a glutton,

looked down on by everyone; the play implies, in a roundabout way, that his festivity is

not that which should be desired, but it should be that of Feste. Feste ends solemnly, but

the reader has grown to like him over the course of the play so much that his fate is much

more desirable than that of the drunkard Sir Toby.

Feste is often referred to as a “wise fool”; at first glance that statement appears to

be a contradiction. However, upon closer examination Feste truly can be seen as a Wise

Fool. When Feste first appears in the play in Act 1, Scene 5, he immediately makes an

impression with his wordplay. He asks Olivia why she mourns, and she answers that her

brother has died. Feste says that her brother’s soul must be in hell, but Olivia

immediately replies that she “knows his soul is in heaven, fool”(I, v). Feste then calls her

a fool for mourning if her brother is in heaven, which is the simple end to the deductive

syllogism. He then finishes by telling her attendants to “Take away the fool” (I,v). This is

not only clever wordplay, put it also imparts a very true message to Olivia which she

accepts gratefully. This is merely one example of Feste’s intellectual syllogisms. Viola,

likewise, is immediately impressed with Feste and recognizes that he “is wise enough to

Darby 6

play the fool” (Act III, Scene I). Feste is not content with merely taking all the praise,

however. In reference to the ability to fool “well”, he says “Those wits, that think they

have thee, do very oft prove fools; and I, that am sure I lack thee, may pass for a wise

man”. This confusing statement, which seems to poke fun at his intelligence, instead

conveys his true wisdom. He sees through those who claim to be wise and he calls them

out as frauds; he also proves himself to be his best critic. Another element of Feste’s

wisdom is his lack of self-embarrassing humor. Too often does the fool make a fool of

himself (as previously explained) in a slapstick or similar style. As A.C. Bradley says,

“We [the reader] never laugh at Feste.” Feste’s fooling is much more a wise and

intelligent style that makes educated readers appreciate his work all the more. However,

he does not always remain aloof with his wisdom at his side. “Feste shows himself

throughout the play to be a master of every convention of fooling”, not merely that which

is philosophical in nature (Hollander).

Finally, Feste is important because of his interaction with the central themes of

Twelfth Night. These themes are by no means in depth, but they capture the spirit of the

play and they pervade every page of text. First of all is the theme of disguise. From the

second scene onwards, deception plays a role in the comedy and the conflict of Twelfth

Night. However, Viola is not the only one disguises herself. “Feste, too, is disguised both

in costume and behavior” (Downer 98). He appears to Malvolio dressed as the priest Sir

Topas, which is a literal disguise that adds to the conflict and the comedy. However, not

all deception occurs on the surface level. Feste is disguised in the role of the fool, and he

hides behind the mask of foolery to great effect. The ignorance that is supposed upon him

by others hides his true wisdom from those who are unaware or unwilling to accept his

Darby 7

intelligence. He uses entertainment and puns to disguise the profound truths that he

imparts to others around him. This whole aurora of disguise allows him to remain in his

position while continuing to speak the truth in situations where no one else does.

Another central theme in Twelfth Night is that of love, both Platonic and

Petrarchan. Feste seems to be the only character that does not become involved in the

game (or struggle) that surrounds the other characters who become romantically involved

with others. This detachment is a blessing in some respects, though. Olivia describes love

as plague, and it is not all-inclusive; some characters achieve romantic happiness and

some do not. While Feste does not fall in love, his fooling can be paralleled with love in a

certain sense. In the initial scene, Orsino says “if music be the food of love, play on…

give me excess…that…the appetite may sicken and so die”(I,i). If one can have an

appetite, the Feste likewise can have an appetite for his fooling that is not unlike love. His

fooling is fed by his desire for truth and wise counsel, and that desire can never be

satisfied, as Orsino laments that his love can never be quenched. Another similarity

comes from the saying “love conquers all”. In the play, Malvolio is left alone despite his

love because it cannot be returned. Feste likewise has all of the skills and talents of a

fool, but they can never save him from the world inside of which he is stuck.

Perhaps the farthest-reaching theme from Twelfth Night is that of revelry. In fact,

the title itself refers to the great feasting time that is the celebration of Epiphany. Revelry

in this time period contains three key elements: feasting, music and love (which was

previously explained). Feste does not seem to partake in the feasting, rather remaining

separated from the action by providing entertainment. Feasting is said to “reveal the true

nature” of someone, which does apply to Feste (Hollander 148). After the party has

Darby 8

ended, Feste is left alone on stage where he performs his most notable song. This song

reveals much about him, a side that had not been seen until that moment. It is only “after

the party is ended can Man face [that which keep you away from your hopes and dream]

without desperation”, which is very true of the song (Hollander 149). More important to

this point, however, is that concerning music. It can be observed that there is no music

outside of that which Feste performs; all the “music and the praise of music comes from

Feste” (Bradley). The spirit of festivity praises what can be seen as the spirit of revelry;

this is oddly fitting for the comedy of Twelfth Night.

One of the most intriguing and complicated figures in Shakespeare’s works is

Feste (known in some versions simply as the Clown). While fools may seem like mere

humorous additions, Feste is a character with a real role and significance in the play

Twelfth Night. He provides a necessary third dimension to both the characters and the

plot, and he adds intelligent humor to the comedy. He also acts as a major symbol of the

play and its meaning, symbolizing true festivity. In addition, he adds much to the themes

that pervade this work, providing new perspectives on disguise, love and festivity. In

conclusion, it can now be said that Feste has a unique and important role and a lasting

significance.

Darby 9

Bibliography

*Asterisk denotes Works Cited

*Bradley, A. C. "Feste the Jester." A Miscellany. Macmillan and Co., Limited, 1929. 207- 217. Rpt. in Shakespearean Criticism. Ed. Laurie Lanzen Harris. Vol. 1. Detroit: Gale Research, 1984. Literature Resource Center. Web. 24 Apr. 2012.

*Downer, Alan S. The Essential Feste: Readings on Twelfth Night. Ed. T. Notkoff. San Diego, CA: Greenhaven Press, 2001. Print

*Henze, Richard. The Theme of Give and Take: Readings on Twelfth Night. Ed. T. Notkoff. San Diego, CA: Greenhaven Press, 2001. Print.

*Hollander, John. Morality Lessons in Twelfth Night: Readings on the Comedies Ed. Bruno Leone. San Diego, CA: Greenhaven Press, 2001. Print.

Hyland, Peter. "Shakespeare's whirligig." The Explicator 66.4 (2008): 209+. Literature Resource Center. Web. 26 Apr. 2012.

Shakespeare, William. The Twelfth Night. New York: Dover, 1996. Print.