Shakespeare's Power of Clothes

Clothes have the power to symbolize a person’s identity, class, and public impressions. Clothes can alter stance, mannerisms, ambition, and even the frame of one’s mind. The proper wardrobe can enable one to gain confidence, be more productive, and coordinate effectively. Whereas, poor attire can affect one’s public appearance by categorizing one among the inferiors which can further build negative labels that affect the character. Clothes have always had an influence on how individuals regard people and their level in society. Individuals make rapid judgments regarding one another primarily on one’s appearance due to one's garment selections. However, one’s own garment selection has a personal impact on how one views one’s own self, regardless of how others may perceive them. In Shakespeare’s time, disguises and clothes were used in stage production as a symbolization of character development that builds their public representations. In Twelfth Night, Viola changes her feminine identity with masculine disguise which changes her appearance in others’ perception permitting her to voyage around Illyria with courage, youth, and capturing attention. Malvolio also changes his professional working attire due to the influence of a fraud letter which immediately alters his appearance with yellow stocking labeling him a lovesick fool, not only in the perception of other characters but the readers as well. Whereas, Feste disguises himself as a priest permitting him to gain elevated honour and significance to provide command and authority over Malvolio. In Shakespeare’s Twelfth Night, the alteration of clothing performed by Viola, Malvolio, and Feste reveals the power and significance of clothing in society permitting characters to explore social hierarchies; Viola explores masculinity, Feste explores priesthood, while Malvolio uses his yellow stockings to lure his master. Thus, in this case, the Renaissance era can be best used to display the differences in clothing that categorizes people in social hierarchies, offering men and priests more power and advantage than women and stewards.

To begin with, with the alteration of clothes, Viola is permitted to explore the status of a nobleman from a feminine perspective. Understanding the immense empowerment and advantage of being a man, Viola abandons her feminine attire and disguises herself under a masculine identity which offers her freedom of movement, prestige, and name. In the Renaissance era, “women wore gowns comprised of a tight-fitting bodice and a fuller skirt that would hang down to the ankles” while men would be clad in shirts and “hoses on their legs” where the upper would be puffier than the bottom. (Hanson 2010). If these attires were not attributed to one’s character and status, then “punishment for violation” was fined. (Hanson 2010). Feminine gowns symbolized a woman’s position in society, that is being caged as an entity of their male guardian’s authority and household. Unwedded girls were forbidden to live independently, they needed to stay under the guardianship of a close male relative. (Italian Renaissance (1330-1550), n.d). For instance, with the death of her father and brother, Olivia was bound to stay with her “half-drunk” (Shakespeare 1.5.115) uncle Toby who she seemed not to admire. Malvolia discloses to Sir Toby, “My lady/ bade me tell you that, though she harbors you as her/ kinsman, she’s nothing allied to your disorder.” (Shakespeare 2.3.95-97) Although she is a rich noblewoman in Illyria, she is bound by culture to stay with her uncle since he is the closest male relative after her late brother and father. Not only that, she also uses a “veil” (Shakespeare 1.5.164) to conceal her face when she goes to meet an outsider, Cesario, at her doorstep revealing that even her elevated level in society as a noblewoman is constricted. Nevertheless, women were also forbidden to participate in political or public matters which were rather performed by men, revealing their active empowerment in society than women (Italian Renaissance (1330-1550), n.d). Feminine long gowns represented women’s powerlessness and constricted freedom to travel and participate in the outside world while men’s short attire in comparison to women symbolized their vast freedom and participation in outdoor activities. In Twelfth Night, Viola alters her identity by disguising herself as a man which enables her to participate in Orsino’s court with nobility and freedom. Before disguising herself, she tells the Captain that she will “serve this Duke” (Shakespeare 1.2. 58) since she “can sing/ and speak to him in many sorts of music/ that will allow [her] very worth his service.” (Shakespeare 1.2.60-62). Since women were deemed powerless and had no right to serve political leaders or participate in their congregation, Viola had to enter his court in disguise, to participate in his assembly of men in order to prove to the governing Duke that women are also equally talented just like men. This also enables her to move around the region which is revealed when she embarks to visit Olivia with freedom and without an escort. Orsino instructs Cesario, “Be not denied access, stand at her doors” (Shakespeare 1.4. 17) and also “Be clamorous, and leap all civil bounds.” (Shakespeare 1.4. 23). By claiming a masculine identity, she is permitted freedom to go anywhere to the extent that she can get away with obnoxiousness and incivility. The menfolk in the play reveal to act freely with boundless emotions and privileges while women are constricted under their male guardianship in their long gowns and veils which are deemed appropriate for their gender in the Rennaisance period.

Furthermore, due to the alteration of his clothing, Malvolio’s reputation is demeaned from a professional steward to a lovesick fool. As a serious and trusted steward of Olivia, he shows his credibility of keeping Olivia’s house under control, and as a result, Olivia “uses [him] with a/ more exalted respect than anyone that follows/ her” (Shakespeare 2.5.25-27). His credibility of housekeeping is revealed when Malvolio fearlessly rebukes Sir Toby and Sir Andrew for their constant drinking, “Have you no wits, manners, nor honesty but to/ gabble like tinkers at this time of night? Do you/ make an alehouse of my lady’s house,” (2.3. 88-90). Due to his strict and haughty behaviour, Sir Toby, Sir Andrew, and Maria deceive him with a fraudulent love letter from Olivia as vengeance which causes an immediate emotional and physical change in his life. Although he has served Olivia for quite a while, Malvolio is gullible enough to be deceived by this letter due to his romantic fantasies about her that blindly forces him to follow its instructions. Thus, he instantly alters himself from a strict, black-attired puritan to a fool in yellow stockings and black cross-gartering. Also, due to her severe depression, Olivia

“abhors [yellow], and cross-gartered, a fashion she detests;/ And [since] he’ll smile upon her, which will now/ be unsuitable to her deposition, being addicted/ to melancholy as she is, that it cannot/ but turn him into a notable contempt.” (2.5. 204- 208).

Thus, with the change to a brighter appearance during Olivia’s mourning, he is depicted as a disrespectful and foolish character with his flirtatious smiles. In the Renaissance era, black represented constancy and melancholy, while yellow represented choleric emotions. (Ketchum 2020). Black in Malvolio’s previous uniform represented the regularity in his work while Olivia’s represented her sorrow. Thus, with the replacement with yellow stocking, Malvolio creates an irritable expression of himself in others’ eyes exposing his flirtatious intentions. According to Giese, Malvolio’s yellow stocking represents illicit sexuality or marital betrayal. (Giese, 2015). Since Olivia and Malvolio have high differences in society's hierarchy, it would be considered peculiar for her to marry a steward instead of a Duke. Therefore, betraying the expectations of her marriage requirement, it would be labelled as an illicit relationship which Malvolio fails to consider. His yellow stocking also represents a seducing attitude that crosses the boundaries of work, and a rebellious irregularity of abandoning his black uniform and seriousness during work.

Nonetheless, Feste also transforms himself into a priest which allows him to explore prestigious power and rule Malvolio, his subordinate. Feste, also known as ‘fool’, is displayed as a jester in Olivia’s house who is depicted to entertain the members of her household. Maria and Sir Toby lock Malvolio in the dark to prank him claiming that he had turned mad, and sends in Feste who disguises himself with a “beard/ and gown” (4.2. 67-68) and alters his voice in order to resemble “Sir Topas the curate” (4.2.2). Feste also notes that to be a priest, “an honest man and a good housekeeper goes as/ fairly as to say a careful man and a great scholar.” (4.2.9-10). Taking the role of a priest meant to be a just man, which includes being moral and studious. Also, due to the widespread Christianity being practiced in the Renaissance period, priests took on the role of leadership and guidance for people. They were known to be“directly linked to the life and ministry of Jesus” and they were “vested for life with a divine authority to serve the needs of the church” (Clery, 2018). People also full-heartedly trusted their decision and advice about the struggles and arising matters in their life. Therefore, by wearing the disguise of a priest, he explores the role of a high-classed, serious person in society. According to Sir Toby, Feste “counterfeits well” in his acting expertise (4.2.21). His acting skills are proven well when he rebukes Malvolio, “Fie, thou dishonest Satan! I call thee by the most/ modest terms, for I am one of those gentle ones/ that will use the devil himself with courtesy.” (4.2. 33-35). Instead of interrogating Malvolio, he cleverly pretends to rebuke the demon possessing his soul. Also, like a priest, he exits the darkroom with seriousness and strict dominance claiming that Malvolio would only be able to earn his exit once his sanity returns. However, when Feste enters the room again as himself, a fool, he interrogates him with light humour and also complies with his orders when Malvolio asks for “light and paper and ink” (4.2.123). Considering Feste as a jester and a fool, he comes from a lower status than Malvolio, and thus, perhaps complies with his orders. Although it is a joke, Feste earns the advantage of proving to others that he is a multi-talented character having the ability to play two opposing characters, Feste and Sir Topas, by switching back and forth from his silly persona to strict seriousness.

In conclusion, Viola, Malvolio, and Feste's costume changes in Shakespeare's Twelfth Night demonstrate the potency and importance of clothes in society, allowing characters to examine social hierarchies through disguises. As a result, the Renaissance period may be utilized as the setting to demonstrate the differences and effectiveness of clothes in expressing social hierarchies in that era; with males and clergymen possessing greater strength and privileges than the rest. Viola changes her gender to experience male power and freedom in society; her male disguise and professional attitude gives her honourable title and the freedom of action and movement, allowing her to escape the role of women who are constricted under male dominance. Garments also convey the language of one’s thoughts, personality, and impression. Like Malvolio, his alteration from black garments to yellow stockings conveyed his betrayal in his work which was replaced with an illicit flirtation with his boss. His personal fantasies of being in love with Olivia were reflected out loud through his yellow stocking and flirtatious smiles that could be depicted as his indirect strategy of illicit seduction. Nonetheless, by disguising, Feste also explores the strict, high status of a priest which contradicts his work as a jester. Therefore, the alteration in clothing conveys an impression one desires to convey to others. The choice of clothes provides the confidence to hold positions, class, and attitude it should portray. In Twelfth Night, all characters preach their thoughts, status, and stance with their garments; appropriate clothing boosts the level of one’s status whereas poor clothing ruins one’s position. Thus, the selection of garments in the Renaissance era represented one’s impression, status, and the level of respect one should earn.