Don't Judge A Book By It's Cover

1) What thematic strand have you located?
disguise...conceal...veil...hide...taffeta...beard...trick

2) Where is the data you retrieved found? What is happening in context when Shakespeare employs this particular theme or image?
The data is found in various sections all throughout the play. Whenever disguises or concealments are mentioned, it is explaining how the person is disguising themselves and why. For instance, in earlier parts of the play, the establishing of the plot occurs in Viola's disguising herself as Cesario. Not much later, Olivia hides beneath her veil. As the play continues, the things being hidden/disguised become more conceptual than tangible (more towards hiding emotions and true feelings than hiding physical appearances, although that is still occurring).

3) How does the data you retrieved support your first thoughts on Shakespeare's obsessive use of a particular image? What can you argue about Shakespeare's figuration?
Many words in the strand were found multiple times throughout the play, which makes sense since the entire show is basically laid on the groundwork of Viola's disguise as Cesario. There would be no foundation for the rest of the play without this central deception. The figurations seem to be used to highlight the fact that things aren't what they seem and that appearances can be deceptive. The audience and Shakespeare have more knowledge than the characters (with Feste being the exception) in regard to who's who. It's almost as though a larger joke is being played by Shakespeare on the rest of the characters (in disguising so many people/emotions/motives). Interestingly, Shakespeare never uses the word "identity", even though it could be related to disguises (hiding one's true identity). I'm not sure why this is yet, but I'm working on it =)

"What is love? 'tis not hereafter"

1) Viola: "I am the man." (II.ii.25)
This is strange because Viola is not a man at all. She is a woman disguised as a man. This quote is another instance of mistaken identity. Viola realizes that Olivia has mistaken her for a man and is beginning to recognize Olivia's crush on her. This is sort of the beginning of the real foundation of the forbidden love triangle that is a fundamental element to the play. Viola realizes that only time can solve this, so she will continue to carry on with her disguise, even though it is a "wickedness". Things in Illyria are getting more and more crazy as more people are fooled by Viola's disguise as a man.



2) Malvolio: "...and yet to crush it a little, it would bow to me..." (II.v.143-145)
Malvolio explains that the letters in the note seemingly left by Olivia (M.O.A.I.) are all in his name, and to rearrange them ("crush it a little") would spell out his name ("bow to me"), with the exception of a few letters. Malvolio, who is predisposed to loving Olivia, wants to find any way possible to make this love letter pertain to him.



3) Viola: "Then think you right. I am not what I am."
Olivia: "I would you were as I would have you be." (III.i.148-9)
Here, Viola is trying to convey that she is not what she appears to be. Olivia's response is that she wants Viola/Cesario to be exactly as she (Olivia) desires. Viola subtly exposes herself and her true identity to Olivia, but Olivia, because she is so caught up in her love for Cesario (and also because she has no reason to question this phrasing, since she has absolutely no idea about any disguises), completely misses the hint.

In-Class Freewrite

In II.iii.170, Maria calls her manipulation of Malvolio "sport royal..." What do you make of this?

Maria knows that she will be playing games with Malvolio's emotions. She is under the impression that she can trick him (which she does succeed in doing), even though he is technically of a higher class than she is. Maria, along with Toby and Andrew, anticipates that she will enjoy watching this trickery unfold. By using the phrase "sport royal", Maria is emphasizing the fact that fooling Malvolio, a member of a higher class ("royal"), will be nothing more than fun and games to her ("sport"), despite the rather drastic outcome of this fabrication.

"Some are born great, some achieve greatness, and others have greatness thrust upon 'em."

Malvolio:
"'M.O.A.I.' This simulation is not as the former, and yet to crush this a little, it would bow to me, for every one of these letters are in my name. Soft, here follows prose." (II.v.143-6)

(How is M.O.A.I. a code for Malvolio? The letters are not in order. Why would he assume it's him?)

Here, Malvolio is reacting to a particular selection from the note from Olivia that he found. Because of the content of the note, believes that Olivia is in love with him. Malvolio is ecstatic. However, this particular part of the note causes him concern...temporarily, at least.
He recognizes that the letters in the note (M.O.A.I.), although part of his name, are out of order. Nevertheless, Malovlio convinces himself that this letter is addressed to him. Malvolio, now under the impression that Olivia loves him, discovers his own mutual love for Olivia. When he sees the letters M.O.A.I., he ignores that they are out of order ("the simulation is not as the former") and tells himself that with some simple rearranging ("crush this"), these letters clearly spell out part of his name (the letters "would bow to [him]", giving him what he wants - evidence of Olivia's love). It's more like wishful thinking - Malvolio REALLY wants this love to be true, so he will look for any way possible for these letters to be related to his name.

"If music be the food of love, play on."

TWELFTH NIGHT ACT I QUESTIONS

1) I know she sort of touches on it later on in the Act, but why exactly does Olivia not want to be in a relationship with Orsino? Is it just because she isn't attracted to him, or is there a deeper reason?

2) Viola disguised as Cesario/Viola is the only attendant of Orsino's that Olivia has allowed into her house. Why? Is it just because there's something about him/her that she likes?

3) What's the purpose of Feste in the play? Is it just comic relief or does his character reveal the truth about each of the other characters?

4) When Olivia allows Orsino's attendant to come and speak to her, why does she hide at first underneath her veil? It seems later on that it doesn't take much for her to reveal her identity, so why hide it in the first place?

5) Olivia changes her responses to Cesario/Viola as the conversation goes on . At first she's short and impatient, and later she's sort of playing with her words in her responses to her visitor. Is this just because she's attracted to him/her or because she just wants to have a little bit of fun for the first time since her brother died?

6) What exactly is Viola's background? She seems to have a lot of money. Is she royalty?

Abstract of Nijhuis's Article

CLAIM
- Although it is somewhat unconventional to conservationists, in order to protect endangerd plant species, such as the Torreya taxifolia, "assisted migration" to climates that better suite the needs of the species might be the only way to save it.

STATEMENT OF CLAIM
- (p. 185) "If rising temperatures and changing weather patterns make restoration difficult or impossible, new brands of meddling may sometimes be the only alternative to extinction."

SUBCLAIMS
- Due to changing climates and the introduction of many man-made things (highways, etc.), the only way to preserve a species of plant may be to physically pick it up and move it.
- Many debates are sparked over whether or not this migration is a good idea, and some fear that these plants might cause severe and unpredicted harm to their new surrounding areas.
- Conservation efforts need to change with the times in order for them to be even slightly effective
- Amateur attempts at reviving this plant species have been, for the most part, successful in climates reaching further to the north.

SUPPORT
- (p. 186) "Moving even federally endangered plants like the Florida torreya to more favorable climates, they wrote, was 'easy, legal, and cheap,' and Torreye taxifolia, prevented by highways, topography, and its own biology from moving on its own, needed immediate help."
- (p. 187) " The Florida torreya is unlikely to become the next kudzu, but the next species on the poleward wagon might very well prove a nasty invasive."
- (p. 187) "In transforming places once thought protected, in violating hard-fought boundaries, climate change is busting the limits of conservation itself."
- (p. 189) "Despite freezes and hurricanes, the Florida torreya has done itself proud in North Carolina: one of the trees at Biltmore, Alexander believes, is the second-largest of the species."

WARRANTS
- Readers are aware of the current on-going climate change taking place on our planet
- Conservation efforts are somewhat known to the majority of people reading this article
- Some of the plants named in here (specifically kudzu) and their effects on the environment are known to most readers

Abstract of Halpern's Article

CLAIM
- New virtual reality simulators can help war veterans with post-traumatic stress disorder who spent time in Iraq recover quicker from their symptoms than traditional therapy can.

STATEMENT OF CLAIM
- "If virtual-reality exposure therapy proves to be clinically validated - only preliminary results are available so far - it may be more than another tool in the therapists' kit: it may encourage those in need to seek help."

SUBCLAIMS
- By re-living the experience multiple times, the patient undergoing the treatment, over time, no longer finds these once-traumatic experiences to be anything out of the ordinary.
- Although it sounds cruel, the process is not harmful psychologically because the sessions are controlled by a trained therapist.
- Because results are so quick and dramatic, patients are motivated to continue the treatment.

SUPPORT
- (p. 119) "The idea is to disconnect the memory from the reactions to the memory, so that although the memory of the traumatic event remains, the everyday things that can trigger fear and panic ... are restored to insignificance."
- (p. 120) "Because the traumatic environment is produced in a computer graphics lab, and its elements are controlled by the therapist, virtual reality can nudge an imagination that is at once overactive and repressed."
- (p. 127) "It treats the core fear, the avoidance and the anxiety that are part of PTSD, in a potent way. VR augments the theraputic process. When the patients start to see results, usually by the fifth session, they turn the corner and get motivated."

WARRANTS
- Most readers are aware of at least the basics of virtual reality video games
- The general effects of PTSD caused by war are somewhat known to the public