Jos Emilio Garca HLV Final Essay The Fool, the Fooler and the Fooled Throughout History

most societies have had dominant and dominated classes. Generally, the dominant classes are the ones that develop literature, and the values that their literature conveys are those that they hold to e true. !any times, ho"ever, the dominated classes have #ound a voice in this literature that seems to relegate them. Today, postmodernism is very much concerned a out the dominated classes$ speech, a out the %others&' nevertheless, "e can still #ind that these classes have played a (uite important role in previous times. )hich is the role the characters #rom the dominated classes play in the literature that the dominant classes created* )hat can these characters say and to "hat purpose* +n many ,ha-espeare$s plays the lo" class has had its place. "e can read "hat servants, shepherds, tradesmen, citi/ens and even murderers say and thin-. The (uestion is still the same. "hich is their role in the play* +n this essay + "ill concentrate on 0ust t"o characters o# the lo"er class. + "ill #irst analy/e a very interesting character that, although he is part o# the courtly li#e, he is not a mem er o# the higher class1 he is a servant a#ter all. the Fool. The lac- o# seriousness in his art#ul use o# language certainly provo-es laughter, ut is there any other meaning or intention in his "ords* )hat is his relation "ith the higher class* +s he really a #ool* 2et, he is not the only interesting character o# the lo"er class' there is another one that also stands out ecause o# his clever manipulation o# language. + "ill also "rite a out this character "hose "it is similar to the #ool$s ut "hich he uses #or di##erent purposes. + "ill call this character the Fooler 1#or the sa-e o# the title o# the essay, though + -no" that "ord does not e3ist. 4nd i# there is a Fooler, the one "ho #ools other people, there must e a Fooled' thus, #inally, + "ill also "rite a out him. +s the Fooled al"ays, in contrast "ith the Fooler and the Fool, part o# the higher class* )hy is he #ooled, and ho"* )hich is his role in the play* +n order to analy/e these characters + "ill compare ,ha-espeare$s As You Like It and Twelfth Night "ith Jonson$s Volpone, and !oli5re$s El burgus gentilhombre.

The common #ool "as not a person "hose main characteristic "as his #ine "it, in #act %the #ool "as -no"n #or "hat he "as, moc-ed& 6. The #igure o# the Fool in ,ha-espeare$s plays, ho"ever, is not li-e this' he is not a stupid or a mentally retarded that has to e protected. 7uite the contrary, the Fool is the one "ho moc-s other people$s stupidity. 8ne o# the main characteristics o# the Fool is that he is a le to manage language in order to do "hat he "ants and1 eing a #ool1 the #irst thing he "ants is to laugh at others.
If a hart do lack a hind ! Let him seek out "osalind#! If the cat will after kind ! $o be sure will "osalind#! %inter&d garments must be lin&d !$o must $lender "osalind#! The' that reap must sheaf and bind ! Then to cart with "osalind#! $weetest nut hath sourest rind ! $uch a nut is "osalind#! (e that sweetest rose will find ! )ust find lo*e&s prick and "osalind#9

+n this case Touchstone is moc-ing 8rlando$s ad verse and, o# course, :osalind. The song is an immediate ans"er, and it sho"s ho" (uic-ly Touchstone$s mind can "or-. +n Twelfth Night, Feste, another Fool, sho"s the same #ondness to moc- people. %God less thee, Lady; +li*ia. Ta-e the #ool a"ay. ,lown. <o you not hear, #ello"s* Ta-e a"ay the lady.= 4nd again, the (uic-ly and "itty ans"er Feste delivers is prove o# his a ility to manage language. The Fool$s moc-ery provo-es laughter, oth in the reader and in some o# the characters, ut this is not the only "ay he accomplishes this central part o# his character 1to ma-e people laugh1, he also uses "ord games that have no particular target, simple nonsense that amuses us. %Horns* Even so. >oor men alone* ?o, no. The no lest deer hath them as huge as the rascal. +s the single man there#ore lessed* ?o. 4s a "alled to"n is more "orthier than a village, so is the #orehead o# a married man more honoura le than the are ro" o# a achelor'& @ 4nd even i# the speech is 0ust meant to ma-e us laugh he does t"o things. #irst it sho"s ho" the Fool$s "it can use a concise logical reasoning. ,econd, he is so good at his 0o that he can even ma-e the melancholic Ja(ues laugh immensely. %)hen + did hearA The motley #ool thus moral on

6 9

,ha-espeare )illiam. As You Like It, p. lv Ibid#, +++, ii, BB C 66D. = ,ha-espeare )illiam, Twelfth Night, +, v, =@ C =E. @ ,ha-espeare )illiam, As You Like It, +++, iii, FD C FF.

the time,A !y lungs egan to cro" li-e chanticleer,A That #ools should e so deepG contemplative'A 4nd + did laugh, sans intermission, A4n hour y his dial. 8 no le #ool;&F 8ther uses #or the Fool$s "it are to #lirt "ith girls, li-e Touchstone does "ith 4udrey, or to save his 0o , li-e Feste does "ith 8livia a#ter eing a long time a sent. Ho" do the Fools achieve their goals* Through language. +t is their a ility to manipulate it at his "ill that they o tain "hat they "ant. 2et, the "ay in "hich they use language is (uite peculiar. For e3ample, Feste does not as- #or #orgiveness (uoting the Hi le' he uses language to #ind a "ay to e accepted y 8livia once more.
+li*ia. Go to, y$are a dry #ool. +$ll no more o# you. Hesides, you gro" dishonest. ,lown. T"o #aults, !adonna, that drin- and good counsel "ill amend. #or give the dry #ool drin-, then is the #ool not dry. id the dishonest man mend himsel#, i# he mend, he is not longer dishonest' i# he cannot, let the otcher mend him. 4nything that$s mended is ut patched'I

8n the one hand, the Fool sho"s 1again1 the capacity to use a logical chain o# thought, li-e a Latin orator, and he even #inishes his speech "ith "hat could e considered a philosophical stance. that everything that changes does not completely change ut it is only patched. 8n the other hand, the Fool does not loose the play#ul tone that characteri/es his speech, and plays "ith the meaning o# the "ords dr' and mend in order to sustain the logical chain o# thought o# his speech. )hat these things prove is that the Fool 1given his management o# language, is no #ool at all. +# the Fool is "itty, "hy does he only use his "it to moc- at others, to say nonsense, or to ma-e people laugh* )hy doesn$t the Fool use his "it to achieve a superior goal* Those are the -ind o# (uestions that Ja(ues might as-, since he recogni/es Touchstone$s intelligence ut considers that he does not ma-e a good use o# it. %8 -no"ledge illGinha ited&E is "hat Ja(ues says "hen he sees Touchstone using re#erences to 8vid 0ust to #lirt "ith 4udrey. Hut is it true that, though the Fool is "itty, he misuses that gi#t* Viola and :osalind 1"ho do not lac- o# intelligence at all1 also recogni/e the Fool$s "it, ut :osalind seems to -eep in mind that the Fool is 0ust a #ool, and that is "hy she tells Touchstone. %Thou spea-$st "iser that thou art "are o#.& J +s it really true that Touchstone is not a"are o# his "it* ?ot so. Hoth Feste and Touchstone
F I

,ha-espeare )illiam, As You Like It, ++, vii, 9J C ==. ,ha-espeare )illiam, Twelfth Night, +, v, =J C @F. E ,ha-espeare )illiam, As You Like It, +++, iii, E. J Ibid#, ++, iv, F@.

are conscious o# their a ility, ut they -no" ho" to use it. For e3ample, "hat could e interpreted as a mere 0o-e reveals a glimpse o# another use #or the Fool$s "it. to critici/e the vices o# the higher class.
,elia. )here learned you that oath, #ool* Touch. 8# a certain -night, that s"ore y his honour they "ere good panca-es, and s"ore y his honour the mustard "as naught. ?o", +$ll stand to it, the panca-es "ere naught and the mustard "as good, and yet "as not the -night #ors"orn. KLM Hut i# you s"ear y that that is not, you are not #ors"orn. ?o more "as this -night, s"earing y his honour, #or he had never had any' or i# he had, he had s"orn it a"ayL B

,ince the Fool is no more than a #ool, he is allo"ed to say almost anything, even i# it is moc-ing the vices o# the aristocracy1 li-e this -night "ho had a special #ondness to s"ear y his honour "hen he had none. The Fool is #ree to say almost anything, and o# course he uses it to ma-e people laugh, ut he also ta-es advantage o# it in order to say "hat other people cannot, in this case the no lemen$s "rongs. 4nd even "hen the Fool is "arned a out not pointing out these vices, he is (uite a"are o# the use he can give to his speech. %The more pity that #ools may not spea- "isely "hat "isemen do #oolishly.&6D +n order to secure his #reedom o# speech the Fool pretends to e a #ool. He is a le to critici/e the aristocracy ut #rom a secure position ecause a #ool is not supposed to e ta-en seriously, so no one can lame him #or saying "hat he "ants. The Fool can say "hat other people are #or idden to say, and that is ecause he is intelligent enough to -no" in "hich position he has to put himsel# in order to use his mastery o# language "ithout punishment. +n this sense, the attitude that the Fool adopts is very much related "ith one o# ,ha-espeare$s themes. the disguises, his concern a out truth and appearances. :osalind and Viola might use a physical disguise, ut the Fool$s disguise is a psychological one. He situates himsel# in a social position that allo"s him to e3ercise his "it and intelligence at the e3tend he pre#ers. The Fool disguises as a mere entertainer, ut to e a #ool is 0ust a disguise ta-en y a clever person. Thus, i# "e "ere to classi#y the Fool, "e "ould need to place them ne3t to Hal and :ichard +++, another t"o o# ,ha-espeare$s characters that use a psychological and not a physical disguise.

6D

,ha-espeare )illiam, As You Like It, +, ii, FJ C I=, ED C E=. Ibid#, +, iii, JD C J6.

)hat is the -ind o# relation the Fool has "ith other characters* !any times he is introduced to moc- them ut, as "e have seen, he is also used to comment on other$s ehavior. For e3ample Viola, in contrast "ith :osalind, recogni/es Feste$s "it and the "ay he handles it. %This #ello" is "ise enough to play the #ool KLM This is a practiceA 4s #ull o# la our as a "ise man$s art.A For #olly that he "isely sho"s is #it'A Hut "ise men, #ollyG#all$n, (uite taint their "it.&66 +n this case, it is not the Fool himsel# ut his ehavior "hich is used to ma-e a sharp comment on the attitude o# the supposedly %normal& or %"ise& people. )hat could have een a etter criticism than saying these people are more #ool that a #ool* The same idea is repeated "ith Feste, ,ir 4ndre", and ,ir To y. ,ha-espeare introduces a really stupid character that is actually more #ool that the Fool, ,ir 4ndre". He is contrasted "ith Feste to sho" "ho is truly a #ool and "ho 0ust disguises himsel# as one. This situation is (uite clear "hen Feste meets them. % $ir And. Here comes the #ool, iN#aith. ,lown. Ho" no", my hearts* <id you never see the picture o# O"e three$*&69 4nd then later. %,lown. Heshre" me, the -night$s in admira le #ooling. $ir And. 4y, he does "ell enough, i# he e disposed, and so do + too. he does it "ith etter grace, ut + do it more natural.& 6= 4gain, the Fool is portrayed as no #ool, and he is the one in charge o# pointing out other$s #oolery. 4nother central #eature o# the Fool is his easygoingness. 4s "e have seen, he al"ays plays "ith language1 even "hen he is trying not to e #ired, "hich could e a very serious matter1, and he seems to care too much a out nothing. 2et, he is no #ool. 4re these #eatures incompati le "ith each other* 8ne the one hand, his management o# language proves that he is not stupid at all, and he also sho"s that he can give his "it a di##erent use than 0ust moc-ing other people "hen he comments on the aristocracy$s vices. 8n the other hand, this moc-ing and lac- o# seriousness is also very important since it represents the liss#ul part o# li#e. The Fool reminds us that li#e has a lot to e en0oyed, and that a intelligent character does not need to e melancholic, li-e Ja(ues, "ho uses his -no"ledge to lament on everything he can' #or e3ample, in the %4ll the "orld$s a stage& speech he demonstrates his -no"ledge a out li#e, ho"ever, he uses it to mourn. 8n the other hand, the uncommon "it that the Fool possesses is used to ta-e
66 69

,ha-espeare )illiam, Twelfth Night, +++, i, I6, II C IB. Ibid#, ++, iii, 6F C 6E. 6= Ibid#, ++, iii, J6 C J@.

some seriousness out o# li#e, to #orget responsi ility sorro" and pain, and em race 0oy and pleasure. This liss#ul part o# li#e must not e #orgotten or else one "ill have to pay the conse(uences. )hat -ind o# conse(uences* )e "ill see that "hen "e tal- a out the Fooled. The other character o# the lo" class that + "ill tal- a out is the Fooler, the one "ho #ools other people1 not the one that is more #ool. He has a lot in common "ith the Fool, and their peculiar relation "ith the aristocracy is one o# the #eatures they share. 4 good e3ample o# the Fooler in ,ha-espeare$s plays is !aria #rom Twelfth Night. 8ne main #eature o# this character is that, 0ust as the Fool, she sho"s a developed mastery o# language. For e3ample, she is a le to ans"er "ittily to ,ir To y$s praise o# ,ir 4ndre".
$ir To. Fie, that you$ll say so; he plays o$ th$ violGdeGgam oys, and spea-s three or #our languages "ord #or "ord "ithout oo-, and hath all the good gi#ts o# nature. )aria. He hath indeed all, most natural. #or esides that he$s a #ool, he$s a great (uarreler' and ut that he hath the gi#t o# a co"ard to allay the gust he hath in (uarrelling, Otis thought among the prudent he "ould (uic-ly have the gi#t o# a grave.6@

4nd later, 0ust as a Fool "ould have done, she uses "ordplay that the true #ool does not understand. %$ir And. Fair lady, do you thin- you have #ools in hand* )aria. ,ir, + have not you y th$ hand. KLM $ir And. )here#ore, s"eetheart* )hat$s your metaphor* )aria. +t$s dry sir. $ir And# )hy, + thin- so' + am not such an ass ut + can -eep my hand dry. Hut "hat$s your 0est*& 6F +n this "ay, the Fooler also ma-es the reader laugh, ut in a di##erent "ay than the Fool, since this Fooler does not use his "it to prove nonsense, ut the truth. Ho"ever, using his "it to tell the truth is not "hat characteri/es the Fooler, and a per#ect e3ample is !osca #rom Volpone. He is also (uite intelligent, ut he uses his talent in a di##erent "ay. For e3ample, to please his master and adapting himsel# to the situation. %Volpone ?o", very very pretty; !osca, thisA )as thy invention* Mosca +# it please my patron,A ?ot else. Volpone +t doth, good !osca. Mosca Then it "as, sir.&6I 8r to avoid a reproach.
Bonario 4y' ans"er me, is not thy slothA ,u##icient argument* thy #lattery*A Thy means o# #eeding* KLM Mosca Otis true that, s"ayed y strong necessity,A + am en#orced to eat my care#ul readA )ith too much o se(uy' Otis true, esideA That + am #ain to spin mine o"n poor rairmentA 8ut o# my mere o servance, eing not
6@ 6F

,ha-espeare )illiam, Twelfth Night, +, iii, 9F C ==. Ibid#, +, iii, I= C IF, ED C E@. 6I Jonson Hen, Volpone, +, ii, I= C IJ.

ornA To a #ortune. ut that + have doneA Hase o##ices, in rendering #riends asunder,A <ividing #amilies, etraying counsels, A)hispering #alse lies, or mining men "ith praises,A Trained their credulity "ith per0uries,A Porrupted chastity, or am in loveA )ith mine o"n tender ease, ut "ould not ratherA >rove the most rugged and la orious courseA That might redeem my present estimation,A Let me here perish in all hope o# goodness.6E

This speech is tremendously important

ecause in it !osca sho"s his mastery o#

language y using it in a discourse that success#ully convinces Honario that he is not a man ad man, ut only a poor an illG#ated one. Furthermore, in this speech not only does !osca sho"s his cunning use o# language, he is also tremendously ironic since the reader -no"s the true nature o# this Fooler. he corrupts chastity, divides #amilies, says #alse praises, and does all those other sin#ul things he mentions' in short, he is a master in deceiving other people. )hile the Fool 0ust laughs at others, the Fooler can also deceive them, and oth o# them do it y means o# their language. Hoth the Fool and the Fooler can use their a ility "ith language to achieve their purposes, and sometimes the purpose is the same. For e3ample, Feste uses his "itty talto please the <u-e and o tain some money. %-uke. Just the contrary. the etter #or thy #riends. ,lown. ?o sir, the "orse KLM they praise me, and ma-e an ass o# me. ?o" my #oes tell me plainly + am an ass. so that y my #oes, sir, + pro#it in the -no"ledge o# mysel#, and y my #riends + am a used KLM -uke. )hy this is e3cellent KLM Thou shalt not e the "orse #or me. there$s a gold.& 6J 4nd !osca also uses his s-illed language to ma-e Volpone give him money.
!osca 4nd esides, sir,A 2ou are not li-e the thresher that doth standA )ith a huge #lail, "atching a heap o# corn,A 4nd, hungry, dares not to taste the smallest grain,A Hut #eeds on mallo"s and such itter her s'A ?or li-e the merchant "ho hath #illed his vaultsA )ith :omagnia and rich Panadian "ines,A 2et drin-s the lees o# Lom ard$s vinegar. KLM 2ou -no" the use o# riches, and dare give no"A From that right heap, to me. 6B

This is an e3ample that oth the Fooler and the Fool can give their language many di##erent purposes, and that their goals are not very di##erent #rom each other. They oth can ma-e us laugh at others and, as in this case, they can also use their s-ill to get money.
6E 6J

Jonson Hen, +p# ,it#, +++, ii, 6J C =@. ,ha-espeare )illiam, Twelfth Night, V, i, 6= C6@, 6I C 6J, 9=, 9I. 6B Jonson Hen, +p# ,it#, +, i, F= C FB, I9 C I=.

Just li-e the Fool, the Fooler can also critici/e the supposedly superiority o# some important people li-e a -night, as "hen !aria moc-s ,ir 4ndre", or a layer, "hen !osca is ironic a out Voltore$s pro#ession.
%Mosca He KVolponeM ever li-ed your course, sir' KLM + o#t have heard him say ho" he admiredA !en o# your large pro#ession, that could spea-A To every cause, and things mere contraries,A Till they "ere hoarse again, yet all e la"' That "ith most (uic- agility could turnA 4nd return' ma-e -nots, and undo them'A Give #or-5d counsel' ta-e provo-ing goldA 8n either hand, and put it up. KLM he thought he should e lessedA To have his heir o# such a su##ering spiritA ,o "ise, so grave, o# so perple3ed a tongue,&9D

+n this "ay, oth the Fooler and the Fool are the ones that can point out the vices and #aults o# the aristocracy or reverenced #igures, "hich had, as one o# their central #eatures, to e morally superior and, thus, should have een an e3ample to the common people.This passage is also use#ul ecause it is an e3ample o# the main characteristic o# the Fooler. he ta-es control over the events o# the play y creating a plot. +n the passage a ove, !osca plays "ith Voltore$s hopes o# ecoming Volpone$s heir, and does e3actly the same thing "ith Por accio and Porvino. %Hut am + sole heir* Mosca )ithout a partner, sir' con#irmed this morning.A The "a3 is "arm yet, and the in- scarce dry& 96 and also. %Mosca KLM they "ere so many,A 4ll gaping here #or legacies' ut +,A Ta-ing the vantage o# his naming you,A $ignor ,or*ino, $ignor ,or*ino, too-A >aper and pen and in-, and there + as-ed himA )hom he "ould have his heir* ,or*ino. )hoA ,hould e e3ecutor ,or*ino.&99 +n #act, Volpone 0ust #eigns his sic-ness, "hile the one "ho really deceives the other characters is !osca. The Fooler is clever enough to recogni/e the other character$s "ea-nesses and to use them to his ene#it. He is the one "ho manages a great part o# the action o# the play, and the one "ho, than-s to his cleverness, plans and manipulates the entire plot. +n Twelfth Night, !aria does not manage all the events in the play, ut she is the dominant character in the su plot. ,he is the one "ho plans to deceive !alvolio. %For !onsieur !alvolio, let me alone "ith him. +# + do not gull him into a nay"ord, and ma-e him a common recreation, do not thin- + have "it enough to lie straight in my

9D 96

Jonson Hen, +p# ,it#, +, iii, F6 C FB, I6 C I=. Ibid#, +, iii, @@ C @I. 99 Ibid#, +, v, 9E C ==.

ed. + -no" + can do it.&9= ,he, as the Fool and Fooler, is 0ust a servant, ut she is "itty enough to ans"er ,ir To y and Feste, and cunning enough to plan and e3ecute the plot against !alvolio. The Fooler -no"s ho" to read people, and !aria proves this since she -no"s (uite "ell !alvolio$s "ea-ness. %#or + -no" this letter "ill ma-e a contemplative idiot o# him&9@, and e3ploits it #or her cruel 0o-e. The Fooler&s intelligence, "hich mani#ests itsel# in his "it and cunning, compensates to a certain e3tend his lac- o# money or social position, and "e can see this in !aria, !osca, and also in Heaumarchais$ Figaro, "ho has to employ all his "it and cunning in order to save his ride #rom the Pount 4lmaviva. )hen Figaro thin-s she has accepted the Pount$s proposal, he gives his #amous speech.
>or(ue sois un gran seQor, os tenis por un genio. no le/a, #ortuna, rango, posiciRnL, todo eso envanece tanto. S2 (u ha is hecho para merecer todos esos ienes* 8s ha is tomado la molestia de nacerL, y ya estT todo' por lo demTs, sois un hom re de lo mTs vulgar. 2o, en cam io, U7u diantre;, o scurecido entre la ple e, tuve (ue derrochar, para vivir apenas, mTs ciencia y mTs cTlculo (ue se emplean en go ernar a EspaQa cien aQos.9F

Though the Pount 4lmaviva is a rich no leman, he is no #ool at all, so Figaro has to ma-e many plots and manage the entire play 0ust to prevent the Pount #rom achieving his o"n purposes. This management o# language and o# the action is "hat distinguishes the Fooler #rom the rest o# the characters. 4part #rom sho"ing that he is (uite a"are o# his talent, this speech is also another criticism to the role o# the aristocracy, "hich, as "e have seen, is pretty much moc-ed and censured y the Fooler and also y the Fool. +n !oli5re$s El burgus gentilhombre, Povielle is the servant o# Pleonte, a young man in love "ith !. Jourdain$s daughter. The pro lem is that !. Jourdain, a "ealthy ourgeois, tries to ecome part o# the aristocracy and, thus, he "ants his daughter to marry a no leman and re0ects Pleonte, "ho also has a lot o# money ut is not an aristocrat. Povielle, as the other Foolers, can ma-es us laugh' #or e3ample "hen he seems to e supporting his master$s opinions "ith his o"n su##ering.
Pleonte.1U<espus de tantos ardientes sacri#icios, suspiros y tri utos (ue he rendido a sus encantos; Povielle.1U<espus de tan asiduos homena0es, a#anes y servicios (ue la he prestado en su cocina; Pleonte.1UTantas lTgrimas vertidas a sus pies; Povielle.1UTantos cu os de agua (ue he sacado del po/o por ella;
9= 9@

,ha-espeare )illiam, Twelfth Night, ++, iii, 6=@ C6=J. Ibid#, ++, v, 6B C 9D. 9F .eaumarchais /# A# ,aron de El casamiento de F0garo p# 123

Pleonte.1UTantos ardores con (ue la he amado mTs (ue a m mismo; Povielle1 UTantos calores como he padecido dando vueltas al asador en su lugar; 9I

The contrast et"een Pleonte$s elevated speech and Povielle$s simple and do"n to earth lines is (uite #unny, yet, to a certain e3tend, Povielle is also moc-ing "hat his master says. 4s !aria, Povielle is the one "ho plans an entire plot, in this case to deceive !. Jourdain. %Pleonte.1S<e (u te res* Povielle.1<e una idea (ue se me ocurre a #in de urlar a nuestro hom re y haceros o tener lo (ue deseTis. KLM :epresentRse ha poco cierta mascarada (ue viene de perlas a(u y (ue yo me propongo repetir en una urla (ue (uiero gastar a nuestro ridculo seQor Jourdain.&9E Povielle is very cunning and -no"s ho" to read other people. He -no"s !. Jourdain$s pretensions and uses this "ea-ness to #ool him.
Jourdain.1U!i seQor padre; Povielle.1,. Era un muy honrado gentilhom re. Jourdain.1U7u me decs; Povielle.1<igo (ue era un muy honrado gentilhom re. Jourdain.1S!i padre* KLM Hay ciertas personas (ue dicen (ue mi padre era mercader. Povielle.1U!ercader; KLM ?unca lo #ue. Lo (ue pasa a era (ue, siendo hom re muy servicial y o#icioso, y asa/ entendido en telas, las i a a escoger por todas partes, las lleva a a su casa y las regala a a sus amigos a cam io de dinero.9J

Than-s to Povielle$s plan and cunning, !. Jourdain is easily #ooled. Hut Povielle$s role does not end there' he plays an active role in the deceit. ,ince Pleonte disguises himsel# as OEl Gran Turco$ and only spea-s gi erish, Povielle is the one "ho really spea-s "ith !. Jourdain, and actually manages the plot, as "hen %translating& Pleonte$s speech. %Pleonte.1HelGmem. Povielle.1<ice (ue vayTis con l para preparar la ceremonia, a #in de ver luego a vuestra hi0a y e0ecutar el matrimonio. Jourdain.1 STantas cosas en dos pala ras* Povielle.1 La lengua turca es as y en pocos trminos dice mucho.&9B 4s "e can see, Povielle is not only cunning, ut he also has "it enough to cope "ith any pro lem that might arise. Pleonte lets his servant ta-e control over the situation' he, li-e Volpone, plays a passive role in the deceit "hile his servant manages all the action. 4nd the #act that the servant appears as the intelligent person "ho has an active role tells us a lot a out the relation et"een he and his master.
9I 9E

!oli5re, El burgus gentilhombre, +++, i3, p. I@. Ibid#, +++, 3iii, p. IJ. 9J Ibid#, +V, iii, p. E@ C EF. 9B Ibid#, +V, iv, p. EI.

)e could e3pect that, i# the Fool and the Fooler are #rom the lo"er class, the Fooled "ould e part o# the aristocracy. This is not the case, ho"ever, neither in Twelfth Night nor in El burgus gentilhombre. +n the #irst play, the Fooled is !alvolio' "e have seen ho" the Fooler, !aria, conceives a plot to deceive him. Hut, "hy is he #ooled so easily* !alvolio is not as stupid as, #or e3ample, ,ir 4ndre". +n #act, he is intelligent' he has secured himsel# a good position in 8livia$s house, and his language sho"s he has certain learning. %+li*ia. 8# "hat personage and years is he* )al*olio. ?ot yet old enough #or a man, nor young enough #or a oy. as a s(uash is e#ore Otis peascod, or a codling "hen Otis almost an apple. OTis "ith him in standing "ater, et"een a oy and a man.&=D 2et, he has a great "ea-ness' according to 8livia. %8, you are sic- o# sel#Glove, !alvolio, and taste "ith a distempered appetite.& =6 +n this "ay, his intelligence is marred y his sel#Glove' it linds him to the point that he simply cannot reali/e he is eing deceived. He is #ooled ecause the Fooler can read him and discover his "ea-ness, his pretensions and sel#Glove.
The devil o# a >uritan that he is, or anything constantly, ut a time pleaser, an a##ectioned ass, that cons "ithout oo-, and utters it y great s"arths. the est persuaded o# himsel#, so crammed Vas he thin-sW "ith e3cellencies, that it is his grounds o# #aith that all that loo- on him love him. and on that vice in him "ill my revenge #ind nota le cause to "or-.=9

The same happens "ith ! Jourdain, "ho pretends to ecome part o# the aristocracy "hen he is nothing more than a "ealthy ourgeois. +t is pretension that allo"s these characters to e #ooled. 4nd, #or e3ample, "hen !. Jourdain tries to ehave as someone di##erent #rom "ho he really is, he inevita ly #alls into ridicule, as his "i#e ac-no"ledges. %,eQora Jourdain.1S4dRnde vais, marido, con esos atuendos* S7ueris urlaros de la gente hacindoos en0ae/ar de ese modo* S?o temis (ue todos se mo#en de vos* KLM hace ya mucho (ue vuestras e3travagancias hacen rer a todos.&== 4nother e3ample o# the Fooled appears in Volpone, he is ,ir >olitic )ouldG e, "ho pretends to have plans #or a lot o# #oul actions in order to get money. He is deceived y >eregrine, "ho -no"s (uite "ell that ,ir >olitic is 0ust pretending and sho"ing o##. Just as !. Jourdain, this Fooled ends up doing ridiculous actions as a
=D =6

,ha-espeare )illiam, Twelfth Night, +, v, 6FE C 6I6. Ibid#, +, v, JB CBD. =9 Ibid#, ++, iii, 6@I C 6F=. == !oli5re, +p# ,it# +++, iii, p. FE

conse(uence o# his #alseness' in this case, hiding under a tortoise shell. %Here +$ve a place, sir, to put ac- my legs'A >lease you to lay it on sir. K Lies down while Peregrine places the shell upon himM KLM +$ll lie, sir li-e a tortoise,A Till they are gone.& =@ Evidently, his stupid device is uncovered and every ody laughs at him. +n Volpone, all the characters that pretend are punished. Volpone #or pretending to e on his death ed, !osca #or pretending to e a loyal servant, ,ir >olitic #or pretending to e a cunning man o# the "orld, and Por accio, Porvino, and Voltore #or pretending to love Volpone "hen all that they "anted "as his money. +n ,ha-espeare$s plays, ho"ever, this is not the case. 8livia and Viola disguise themselves, and so the Fools, ut "ith a psychological disguise, ut none o# them is punished. )hy is !alvolio the only one then* Hecause he denies the 0oyous side o# li#e. He ta-es everything to seriously, and al"ays "ants order and manners to prevail' he is a %"et lan-et&, a %party pooper&. For e3ample, he tries ,ir To y and company to stop drin-ing and singing. %!y masters, are you mad* 8r "hat are you* Have you no "it, manners, nor honesty, ut ga le li-e tin-ers at this time o# night* <o ye ma-e and aleGhouse o# my lady$s house, that ye s(uea- out your co/iers$ catches "ithout any mitigation or remorse o# voice*&=F +n this "ay, !alvolio is the opposite o# Feste, "ho is liss#ul and easy going' possi ly this is "hy "e do not #eel pity #or him "hen they play a cruel 0o-e on him, on the contrary, "e are glad that seriousness, #alse solemnity, and so erness1 "hich lead to oredom and sorro"1 had gave "ay to happiness, delight, and the cele ration o# li#e. +n the plays "e have analy/ed, the characters #orm the lo"er class1 the servants in this case, play a (uite important role. 8ne o# these characters is the Fool. 8ne the one hand, he proves to e no #ool at all' he has a developed use o# language and places himsel# in a secure position 1he disguises himsel#1 so he can critici/e "ithout punishment characters #rom the higher class y sho"ing them more #ool than a mere #ool 1that is than himsel#. 8n the other hand, he also uses his "it to other purposes, li-e to #lirt "ith a young "oman, to say nonsense, or to ma-e people laugh. Even though this side o# the Fool does not seem as "orth praising than the other, it is also vital since it represents the 0oyous and care#ree side o# li#e1 "hich must not
=@ =F

Jonson Hen, +p# ,it#, V, iv, FI C ID. ,ha-espeare )illiam, Twelfth Night, ++, iii, JE C B9.

#orgotten. The other character #orm the lo"er class is the Fooler. He is very similar to the Fool' he is very "itty and demonstrates it "ith his use o# language, and he also critici/es the higher class ut in di##erent "ays. y deceiving his superiors, y eing the cunning one, the character that plans an entire plot and ta-es control over the action and events. 4s opposed to his masters, the Fooler is an active character, and -no"s ho" to read people in order to #ool them, and ho" to manage di##erent situations. Evidently, Figaro$s speech is another criticism to the aristocracy. The Fooled does not share so many common #eatures. he can elong to the aristocracy li-e Por accio, ut he can also e a ourgeois li-e !. Jourdain' he can e some"hat intelligent li-e !alvolio, or a complete stupid li-e !. Jourdain. Ho"ever, he is very interesting ecause in him "e can ta-e notice o# many vices. To e pretentious or #alse, and to deny the 0oy o# li#e are the gravest #aults o# the Fooled. +t is also curious to note that oth !alvolio and !. Jourdain represent the rising class o# the ourgeois. ?o", 0ust to #inish the essay, + "ould li-e to (uote a "ise Fool$s song so "e can -eep in our minds that li#e is meant to e en0oyed' he "ho does not ac-no"ledge that is nothing ut a #ool. %hat is lo*e4 &Tis not hereafter /resent mirth hath present laugher5 %hat&s to come is still unsure# In dela' there lies no plent' Then come kiss me sweet and twent'5 Youth&s a stuff will not endure#36

Bibliography Heaumarchais >. 4. Paron de, El casamiento de F0garo, Espasa Palpe 4rgentina ,. 4., 4rgentina, 6B@E. Jonson Hen, Volpone, in 4 rams !.H. and Green latt ,tephen, The Norton Antholog' of English Literature, ?orton Pompany, X,4, 9DDD.
=I

,ha-espeare )illiam, Twelfth Night, ++, iii, @J C F=.

!oli5re, El burgus gentilhombre, Editorial >orrYa, !3ico, 6BBF. ,ha-espeare )illiam, As You Like It, The 4rden ,ha-espeare, Proatia, 9DDF. ,ha-espeare )illiam, Twelfth Night, The 4rden ,ha-espeare, Proatia, 9DD=. Reference Bibliography Ford Horis Ved.W, The Age of $hakespeare, >enguin Hoo-s, X,4, 6BJ=