Question — Essay-type
Is Malvolio an anatomy of self-love? Support your answer with suitable illustrations.
Introduction
Olivia’s puritanical steward, Malvolio is possibly the most complex and certainly the most famous character in Shakespeare’s ‘Twelfth Night’. He may originally have been conceived as the typical gull of comedy, but he is so far above the conventional gull that, according to Lamb, he is not ‘essentially ludicrous’. Though not ‘essentially ludicrous’, he is the most comical and most ridiculous character in the play. His puritanism, his austere manners, and his over-stretched morality are especially misplaced in Illyria, but they would have made a fool of him in any society in the world. The truth about him is that he lacks self-criticism and a sense of humour. It is his ‘self-love’ which makes him a butt of ridicule.
Malvolio as a Man of Self-love
The man who even while he is notoriously abused and kept in darkness and chains can think clearly and speak unfalteringly, is certainly not a mere buffoon and should not be identified with the eternal low steward of comedy. When the same man is misled by self-love, it is not difficult to ‘make him a common recreation’. It is significant that Olivia, who values him as man and as steward, and Maria, who detests him, agree in their diagnosis of his malady. Olivia says to his face that he is sick of ‘self-love’. Maria calls him ”an affectioned ass that cons state without book and utters it by great swarths; the best persuaded of himself, so crammed, as he thinks, with excellencies, that it is his grounds of faith that all that look on him love him.” The man who does not know how to criticize himself is liable to be purged by other of ‘self-love’.
Malvolio’s Duty as a Steward in Olivia’s House
In Olivia’s house Malvolio is charged with the duty of keeping order. He is a great stickler for propriety of behaviour. He is, to use the words of a critic, a lofty moralist. In Illyria which is devoted to levity and mirth, there is not much room for a character like Malvolio and in his attempts to be correct and conscientious he makes enemies. Olivia gives him credit for being sad, civil and being just the kind of person suited to her mood. As a steward he behaves in a very trustworthy, responsible and respectable way. While strictness is one of his virtues, self-conceit and self-righteousness are conspicuously his faults. Lacking all sense of humour he himself is intolerant of the clown and is very unsympathetic towards anything that savours of levity and mirth. Hence he is at loggerheads with the clown and regrets very much that her ladyship Olivia should show so much indulgence to barren rascals like the fool. He discharges his duty as guardian of peace and order with refreshing, frankness, straightforwardness and courage. Thus, in spite of conceit and unmeaning hostility, he has some sterling qualities.
Malvolio with His Puritanic Bias
Malvolio carries his puritanic bias to absurd lengths. It is Malvolio’s view that because he keeps out of fun, does not relish humour, and does not care for festivals, he expects the whole world to deny itself all pleasure and enjoyment. Whatever is outside the range of his code or taste has no business to exist in this world. Sir Toby makes a very strong protest against the self-righteous Malvolio in his immortal rebuke, “Dost thou think, because thou art virtuous, there shall be no more cakes and ale?”
Practical Jokes upon Malvolio Due to His Excessive Self-love
Malvolio is upto the throat in self-love. This makes it easy for his enemies to play a heartless practical joke upon him. In the inimitable love-letter it is quite patent that there is a lurking self-esteem on the part of Malvolio. Malvolio comes into Olivia’s presence in the great garden scene with smilies which show that the letters ‘M.O.A.I.’ swayed all his life. It is rather daring on the part of the steward to fancy that Olivia is in love with him.
Malvolio’s Gaining His Lost Dignity
In the mad-house, indeed, Malvolio regains his lost dignity. He bears his persecution with great restraint and urges proof of his sanity with great insight. Even his enemies feel that the cruel joke has been carried to excess and feel the need for relenting. The Duke considers Malvolio to be such a good and noble person as to be conciliated; Olivia has no doubt whatever that Malvolio has been grievously and notoriously wronged. Hence Malvolio is lifted for a little while from the plane of comedy to the sphere of tragedy, awakening pity and sympathy. Really he is more sinned against than sinning.
It is thus clear that vanity is the besetting sin of Malvolio. From a vain man it is easy to pass into a mad man. His pardonable self-conceit requires to be cured, but the way in which the cure is tried on him does not help to suit him or reform him, but serves only to emitter him all the more against society in general. If Malvolio had even a grain of humour he would not have been such a gross egoist.
Conclusion
Malvolio’s character is all of a piece. It is the same man who in different situations and under different impulses becomes severe, puritanically dignified, respectable, self-complacent and ridiculous. The key to his character is ‘self-love’. Really, Shakespeare presents in him the anatomy of ‘self-love’.
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