Malvolio and Parolles both appear as relatively unlikable characters due to their inflated egos and convince themselves that they are socially greater than they actually are. In Twelfth Night, Malvolio, a simple administrator, behaves with complete contempt and haughtiness towards the nobles whose conduct he tries to regulate. But correct behavior is not his main concern. One critic writes that Malvolio's only goal is to "advance himself to the position of authority" that Olivia's husband would hold (MacCary, 189). Another critic notes that in this quest for power, his arrogance also extends to his use of Jupiter to denote God (Mangan, 239). Although these traits make Malvolio somewhat despicable, he never resorts to deception in an attempt to achieve his goal, unlike the other characters in the play. Furthermore, in his constant pursuit of social improvement, he attempts to instill order in an environment that threatens to descend into complete chaos. Similarly, in All's Well That Ends Well, Parolles' dishonorable behavior, including his empty boasts and outright lies, are at times frustrating. But he positively influences his environment by lightening the mood through his unfounded opinions and threats. As each show progresses, the harmlessness and humanity of each character emerges, allowing the audience to overcome their own pretentiousness and sympathize with their bold personalities. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Malvolio's first words are spoken to criticize Feste, the fool whose company provides Olivia with intellectual stimulation. Olivia thinks he has become a better fool and good-naturedly asks Malvolio what he thinks of Feste's abilities. Unamused, Malvolio haughtily comments that Feste has simply become more stupid as his wisdom continues to decay. He goes on to express his disapproving wonder that the landlady "delights in such a barren scoundrel" (1.5.82) and accuses Feste of being useless as a clown unless people provide him with constant laughter and openings for humble jokes. . He is promptly reprimanded by Olivia, who comments that her administrator is "sick of self-love" (1.5.90). This pompous attitude becomes more vividly manifest in the next act, when Malvolio pursues Cesario to give him a ring in Olivia's name. He manages to reach Cesario and offers him the ring, which Malvolio believes has been left behind. But before conveying his lady's message, he thinks of his own interests and laments, "you could have spared me my troubles, taken it from me yourself" (2.2.5-7). When Cesario refuses to take the ring, Malvolio, without the deference expected of a steward, impatiently insists that Cesario "angrily throw it" (2.2.13) at Olivia, and take it back. But not wanting to waste any more precious time and energy, Malvolio throws the ring to the ground, inviting Cesario to bend down and pick it up if he believes the ring is worth it. His arrogant impatience is exercised once again when Sir Toby and Sir Andrew drinks loudly late into the night. After briefly acknowledging that he is in fact socially inferior to Sir Toby and Sir Andrew by addressing them as his masters, he immediately quashes this recognition of reality by indignantly asking, "Are you mad?" (2.3.86) Not content with this insult, he rebukes every aspect of their character, furious: "You have no wit, no manners, no honesty, but you babble like tinkers at this time of night? Make a beer hall of my lady's house , Thatyou pull out the fasteners of your underwear without attenuation or remorse of voice. Is there no respect for place, people, nor time in you? (2.3.87-92) After some melodious revelry with Feste, Sir Toby confronts Malvolio, asking, "Are you anything more than a steward? Do you think that because you are virtuous, there will be no cake and ale?" (2.3 .116-118) Then, ignoring Malvolio's rude appeals, he asks for another glass of wine and invites Malvolio to go away and polish his steward's chain, a reminder of his humble social status. When Sir Andrew proposes to challenge Malvolio to a duel, Maria suggests that the steward would be defeated more effectively by exploiting his personality. Assessing his character, Maria states: "The devil is a puritan, or anything else but a pleasure of the time, an affectionate ass, who speaks of the state without books, and pronounces it with great words; the most convinced of himself, so full (as he thinks) of excellences, that it is his reason for faith that all who look upon him love him and upon that vice in him my vengeance will find notable cause to operate" (2.3.147-153). Mary feels she understands Like this Malvolio's claims are good that his plan will certainly succeed. His predictions prove correct as the plan unfolds, deluding the socially low but emotionally elevated administrator into believing that the Countess is in love with him. It is with great satisfaction that Sir Toby and Sir Andrew witness Malvolio's seagull in Olivia's garden. The manager makes himself the perfect object of their contempt even before finding the forged letter, practicing his good manners at length with his own shadow and recalling evidence of the possibility that Olivia might like him, quoting her words and the "exalted respect" (2.5. 27) with which she treats him. Taking the fantasy further, he exclaims, “To be Count Malvolio!” (2.5.35) He imagines himself sitting in a "branched velvet robe" (2.5.47-48) ordering his servants to bring Sir Toby before him. He enjoys his thoughts of power, imagining a scenario: "Seven of my people, with an obedient start, kiss for him. For the time being I frown, and perhaps wind the watch, or play with mine - some rich jewel. Toby approaches, and bows before me" (2.5.58-61). Then, to Sir Toby's further disgust, Malvolio imagines using his tenure as Earl to order Sir Toby to sober up, adding an insult to Sir Andrew before he picks up the letter. After these presumptuous fantasies, the fact that Malvolio falls for the plan is no surprise. Before even reading anything that could be construed as evidence, he eagerly speculates, “What if this were you, Malvolio?” (2.5.100-101) As he continues reading, he interprets everything as evidence pointing to him as the object of Olivia's affection and eagerly decides to comply with all of the letter's suggestions. These commands, such as abandoning his humble status, being rude to servants, and speaking loudly, will not be difficult to follow, as they appeal to his self-centered attitude. The final command, for Malvolio to smile in Olivia's presence, is the only one that is unnatural and contributes as much to the merriment of the schemers as it does to the beginning of Malvolio's eventual torment. The sight of the usually serious and austere steward, constantly beaming, along with his references to the letter, lead Olivia to believe that he has "midsummer madness" (3.4.56). Sir Toby takes advantage of this belief to take the game with Malvolio to a drastic new level, intending to have him tied up in a dark, locked room until the schemers find no more pleasure in his incarceration. It is at this point that Malvolio begins to appear as a sympathetic and even courageous character. Although he was confinedjust for one night, he is resistant in the face of further attempts at deception. Feste, disguised as a priest, attempts to persuade Malvolio that the cell is actually full of light and that the darkness the prisoner experiences is that of ignorance. Despite this statement, and the irrelevant and strange questions that Feste asks to drive Malvolio mad, the steward firmly proclaims his sanity, saying, "I tell you that I am as sane as any man in Illyria (4.2.106-107) . At the play's conclusion, the scheme is revealed and Malvolio's sanity is confirmedFabian details the plot, Olivia cries, "Alas, poor fool, how they have baffled you!" his cell, he is no mere fool. Instead, despite his claims to greatness, he is the embodiment of order in an otherwise disorderly world. While his approach may have been abrasive, his goal of curbing Sir Toby and Sir Andrew is totally appropriate to his position as the keeper of the house Furthermore, it is understandable that a rule-abiding person forced to deal with the likes of Sir Toby, a drunk who manipulates the dim-witted Sir Andrew into drinking money, would. develop an exaggerated sense of self-esteem. He would almost have to be extremely serious and proud to counteract the extremely unnecessary cheerfulness of Sir Toby and his friends. Parolles, however, cannot be accused of being too serious and correct. His first appearance in the play occurs while he is engaged in a vulgar conversation with Helena about the worthless nature of virginity. Even before Parolles has opened his mouth, Helena comments: "I love him for his own sake, and yet I know him to be a notorious liar, I think him a great fool, simply a coward; and yet these deep-rooted evils suit him so well." " (1.1.99-102). Despite demonstrating Parolles's pretentious character by attacking his integrity and intellect, Helena admits that his flaws are becoming an integral part of his identity. In doing so, she supports Parolles's description in the dramatis personae as a parasite, but also emphasizes that he is by no means a purely evil and terribly dangerous villain. After Helena calls Parolles a liar, his boasts of military triumph are to be met with great skepticism. Proudly recalling his experiences in wartime, instructs the departing gentlemen: “You will find in the Spinii regiment a Captain Spurius, with his scar, a war emblem, here on his left cheek; it was this very sword that entrenched her" (2.1.41-45). Not content to simply bask in this supposed achievement, he speaks of psychologically spitting out his supposed victim, adding, "Tell him I live, and watch his dealings for me" ( 2.1.45).Just as Parolles feels comfortable making grand declarations about his past glories, he is willing to present himself as eager to gain honor in the present. When Lafew, speaking to Parolles, refers to Bertram as “Your lord and master," (2.3.186) Parolles responds incredulously and takes great offense. He says that Lafew's harsh use of the word could have bloody consequences, essentially challenging Lafew to a duel. But he quickly backtracks, stating, "You're too old, sir; you settle, you are too old" (2.3.196-97). It is quite evident, however, that Parolles is frightened and is not merciful towards his elder, who aggressively criticizes his retreating companion as a speaker of empty words worthy of "the most egregious humiliation" (2.3.216). The empty statements that Parolles makes to Lafew have no tangible consequences, but the next series of such statements is very different,.