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Disguise in Shakespeare's Measure for Measure and Twelfth Night time Disguise is a gadget Shakespeare employs regularly in both Measure for Measure and Twelfth Night time. It enables a disguised character just like the Duke of Vienna to glean details that could otherwise go unknown, and a character like Viola to take benefit of beneficial circumstances potentially. It gives these characters access to worlds that may be denied otherwise; for the Duke, he is now able to "haunt assemblies / Where youth and cost a witless bravery keeps" (1.4.9-10). For Viola, she might "serve the duke" (1.2.51) and therefore hopefully keep firm with Olivia, who also dropped a brother. Disguise is particularly appropriate in the worlds which exist in both plays: they are seen as a excess and inversion of proper order. In Measure for Measure, the Duke leaves his kingdom in the hands of a deputy unexpectedly; the inversion is continued by the unprecedented harsh enforcement of regulations, something that was not done in fourteen years. In Twelfth Night time, the name itself suggests a final hurrah, the ultimate end of the carnival, and Viola personifies this last wildness by firmly taking on a role contrary in gender to her organic one: she plays a guy. Michael Margan in "Laughter and Elizabethan Culture" glosses Mikhail Bakhtin, stating that the laughter of carnival can be "an ambivalent laughter, celebrating and mocking simultaneously, sympathizing and deriding" (34). Laughter, comedy, and a worldwide world turned upside-straight down characterize Twelfth Night, Or What You shall, and invite Viola to effectively don her "masculine usurped attire" (5.1.248) and earn Olivia's hear...