Other factors, such as anonymity allowed through concealment of identification, by the use of mask and costume often lead to actions that we would usually prevent outside a carnivalesque setting – such as Viola’s actions while disguised as Cesario (a woman working a mans place in court). We see this in Twelfth Night and The Purge. This is supported by Ulrich von Hutten’s Letters of Obscure Men, which Bristol quotes in Carnival and Theatre stating; There should be a difference between Jews and doctors; it is a distortion of sacred theology … There’s no reason that a Jew who’s a traitor and an enemy of God should walk like a doctor of holy theology.

To Conclude, it would be highly plausible through my research and analysis of the above material that Carnival is a temporary anarchistic celebration that displays itself in many forms. Throughout Mankind, and other morality plays addressed, the Carnivalesque is used as a brief outbreak of evil to teach and reform the viewers, reinstating the status quo very simply and promoting an authoritarian structure. In Twelfth Night, the haphazard and topsy-turvy events of metaphorical and literal abuse and torture all come to a perfect ‘ happy end ‘ devaluing the meaning of any politically subversive viewpoints; ending in marriage and unity among the characters, returning to the norms of society. The arguments of Bristol and Rosario state that the simple shock of the Carnivalesque is enough to keep society under control. Thus Carnival would reinstate and retain the status quo.