Envoys and Permissions in Twelfth Night

I am struggling to express this articulately, so please challenge me as needed for any clarification.

There are three or four characters that spend the play alternating between speaking on behalf of themselves and speaking on behalf of a patron. What's interesting to track, however, is who does it with permission (such as Feste and Viola) and who does it without permission (lookin' at you, Malvolio). Speaking on behalf of a powerful social figure such as Orsino or Olivia kind of gives these envoys exception to the social order, and the complicated messes that ensue are direct responses to this disruption of power.

For example, Malvolio crosses a line (in the minds of Sir Toby Belch, Maria, Feste, and Sir Andrew Augersomething) in act 2 scene 3 when he interrupts their merrymaking by claiming Olivia's authority.

Malvolio: My masters, are you mad? or what are you? Have ye no wit, manners, nor honesty, but to gabble like tinkers at this time of night? Do ye make an alehouse of my lady's house, that ye squeak out your coziers' catches without any mitigation or remorse of voice? Is there no respect of place, persons, not time in you?

Malvolio: Sir Toby, I must be round with you. May lady bade me tell you, that though she harbours you as her kinsman, she's nothing allied in your disorders. If you can separate yourself and your misdemeanors, you are welcome to the house; if not an it would please you to take leave of her, she is very willing to bid you farewell.
Act 2 scene 3

In return, Sir Toby Belch and company claim Olivia's voice  in order to teach Malvolio a lesson by writing letters in her voice to lead Malvolio into a net made by his own ambition and social offenses.

Viola, acting even more completely as proxy for Orsino, gets herself into trouble as Olivia uses her imagination to create a Cesario that rivals Orsino's vision of Olivia.

Olivia    Here, wear this jewel for me, 'tis my picture;
              Refuse it not; it hath no tongue to vex you;
              And I beseech you come again to-morrow.
              What shall you ask of me that I'll deny,
              That honour saved may upon asking give?
Viola     Nothing but this; your true love for my master.
Act 3 scene 4

Viola     The honourable lady of the house, which is she?
Olivia    Speak to me; I shall answer for her.
              Your will?
Act 1 scene 5

Eventually characters speak on behalf of each other without even realizing it, i.e. Sebastian for Cesario/Viola, Cesario/Viola for Sebastian. Additionally, Sir Toby fabricates on behalf of Olivia, Feste on a priest, etc.

doo doo doo, do do do do do, do do do do do, do do do do do do do do do.

Could you form the tune out of that title? 
That's right, friends: The Office.

This I think will actually be an interesting topic. Today in class, we briefly touched on how a previous paper compared the joker and Iago and how they functioned in their societies-- personifying modern day fears.

I think it may be interesting to do the same thing with another set of characters and values. I brought up how someone mentioned to me at work how a lot of extreme personalities in Shakespeare's plays could be seen in the television show, The Office.  

Particularly, one Dwight K. Schrute: beet farmer, bear enthusiast, battle star Galactica fan. After reading the play for my 291 class last week, I realized that this man just may be Malvolio of Twelfth Night personified.

Like Malvolio, Dwight inserts himself authoritatively where one should not-- always seeking power. (ex: Assist Regional Manager vs. Assistant TO the regional manager). Likewise, Malvolio breaks up the ale and cake scene in the play, managing where it really is Olivia's place to do so.

Malvolio functions a man representing the under dog class of the time: I believe it was the puritans. Dwight similarly represents a socially awkward under dog with alternative interests.

Another quality of overlap for the two is that everyone picks on these characters and no one seems to like them. One in particular picks on both. Jim Halpert for Dwight... and Sir Toby for Malvolio. Both have a female companion: Pam for Jim and Maria for Sir Toby.

Is this worth pursuing???

Should I analyze the relationship between Jim/Dwight vs. Sir Toby/Malvolio?? Or see how Dwight/Malvolio functions in creating social/class breakthrough and struggle? This could be really fun if I can pull it off.


TTFN,

Kara V.