Twelfth Night

Words: 607
Pages: 3

Twelfth Night, by William Shakespeare, is a play rife with inversions and role reversals. Additionally, the bulk of these inversions and reversals is the result of a dissonance between either sight and reality or listening and reality. Thus, one of the most remarkable passages of the play is Act 3.1.1-25. In this passage, Viola and the Clown have an acute discussion about perception and reality, which seems to comment not only on their current predicaments, but the play as a whole. For example, the scene opens with a stage direction indicating that Viola and the Clown are playing the tabor. Understand, that a “tarbor” is essentially a drum—or musical instrument. Viola appears enthralled by the Clown’s musical acumen according to her dialogue: “Save thee, friend, and thy music. Dost thou live by thy tabour?” (3.1.1-2). The Clown responds to Viola’s question by stating that he “lives by the church.” In other words, the Clown has a literal understanding of Viola’s question. Both characters display a misunderstanding, or their perceptions don’t align with reality. …show more content…
Certainly, to make a living with an instrument, one must demonstrate an adeptness while playing it. Nevertheless, Viola is mistaken. Her eyes and ears conclude that the Clown is a musician, but this is not reality. Shakespeare uses stage directions and dialogue to illustrate yet another misunderstanding in a play of misunderstandings, and that is why this passage is so meaningful. The Clown’s ability with the tabor fools the eyes, much like Viola’s disguise as Cesario fools Orsino, and the ears, much like Sir Andrew’s embellished version of Sir Toby’s challenge fools