Twelfth Night Shmoop Literature Guide

Literature
Twelfth Night
by William Shakespeare
Twelfth Night Shmoop Learning Guide
About this Learning Guide
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Table of Contents
Introduction ...........................................................1 In a Nutshell ..........................................................1 Why Should I Care? .....................................................2 Summary .............................................................2 Book Summary ........................................................2 Act 1, Scene 1 .........................................................6 Act 1, Scene 2 .........................................................7 Act 1, Scene 3 .........................................................8 Act 1, Scene 4 .........................................................9 Act 1, Scene 5 .........................................................9 Act 2, Scene 1 ........................................................11 Act 2, Scene 2 ........................................................11 Act 2, Scene 3 ........................................................12 Act 2, Scene 4 ........................................................13 Act 2, Scene 5 ........................................................14 Act 3, Scene 1 ........................................................15 Act 3, Scene 2 ........................................................15 Act 3, Scene 3 ........................................................16 Act 3, Scene 4 ........................................................16 Act 4, Scene 1 ........................................................18 Act 4, Scene 2 ........................................................19 Act 4, Scene 3 ........................................................20 Act 5, Scene 1 ........................................................20 Themes .............................................................22 Theme of Art and Culture ................................................22 Questions About Art and Culture ............................................23 Chew on Art and Culture .................................................23 Theme of Love .......................................................23 Questions About Love ..................................................23 Chew on Love ........................................................24 Theme of Gender ......................................................24 Questions About Gender .................................................24 Chew on Gender ......................................................25 Theme of Language and Communication ......................................25 Questions About Language and Communication .................................25 Chew on Language and Communication ......................................25 Theme of Society and Class ..............................................26 Questions About Society and Class ..........................................26 Chew on Society and Class ...............................................26 Theme of Rules and Order ...............................................26
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Questions About Rules and Order ...........................................27 Chew on Rules and Order ................................................27 Theme of Lies and Deceit ................................................27 Questions About Lies and Deceit ...........................................27 Chew on Lies and Deceit .................................................28 Theme of Foolishness and Folly ............................................28 Questions About Foolishness and Folly .......................................28 Chew on Foolishness and Folly ............................................28
Quotes ..............................................................29 Art and Culture Quotes ..................................................29 Love Quotes .........................................................33 Gender Quotes .......................................................38 Language and Communication Quotes .......................................41 Society and Class Quotes ................................................45 Rules and Order Quotes .................................................49 Lies and Deceit Quotes ..................................................52 Foolishness and Folly Quotes .............................................55 Plot Analysis .........................................................59 Classic Plot Analysis ...................................................59 Booker's Seven Basic Plots Analysis: Comedy ..................................61 Three Act Plot Analysis ..................................................61 Study Questions ......................................................62 Characters ...........................................................63 All Characters ........................................................63 Viola (Cesario) Character Analysis ..........................................63 Viola (Cesario) Timeline and Summary ........................................64 Duke Orsino Character Analysis ............................................65 Duke Orsino Timeline and Summary .........................................68 Countess Olivia Character Analysis ..........................................69 Countess Olivia Timeline and Summary .......................................71 Malvolio Character Analysis ...............................................72 Sir Toby Belch Character Analysis ...........................................73 Feste Character Analysis ................................................73 Maria Character Analysis ................................................74 Sir Andrew Aguecheek Character Analysis .....................................75 Sebastian Character Analysis .............................................75 Antonio Character Analysis ...............................................76 Character Roles ......................................................76 Character Clues ......................................................77 Literary Devices ......................................................79 Symbols, Imagery, Allegory ...............................................79 Setting .............................................................84 Genre .............................................................85
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II
Tone ..............................................................87 Writing Style .........................................................87 What's Up with the Title? .................................................89 What's Up with the Ending? ...............................................90
Did You Know? .......................................................91 Trivia ..............................................................91 Steaminess Rating .....................................................92 Allusions and Cultural References ...........................................93 Best of the Web .......................................................95 Websites ...........................................................95 Movie or TV Productions .................................................96 Video ..............................................................97 Audio ..............................................................97 Historical Documents ...................................................97 Images .............................................................98
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III
Introduction
In a Nutshell
William Shakespeares Twelfth Night, or What You Will is a comedy about a cross-dressing, ship-wreck surviving, poetry-loving girl who finds herself at the center of a not-so-average love triangle. Written between 1601 and 1602 (right around the same time Shakespeare wrote Hamlet and Troilus and Cressida), the play is most famous today for being a so-called "Transvestite Comedy" (which just means its a comedy with one or more cross-dressing characters). In Elizabethan London, all stage plays were performed by male actors who cross-dressed in order to play the parts of women. Twelfth Night is particularly provocative and interesting, since the role of its heroine, Viola, would have been played by a boy actor, who was cross-dressed as a female character, who cross-dresses as a boy. The story line has inspired plenty of remakes and adaptations, including the popular teen flick Shes the Man , starring Amanda Bynes. Violas cross-dressing may be no big moral whoop for audiences today, but, for 16th century Puritans, it was a big no-no. Theater critics argued that cross-dressing was sinful, "wicked," and "monstrous." They argued that it promoted sexual "deviance" and turned women into hermaphrodites. Today, however, Twelfth Night is one of the most popular and beloved of Shakespeare comedies perhaps because of its rebellious portrayal of gender ambiguity. It was popular back in Shakespeares day, too, but perhaps for different reasons. We know from 17th-century law student John Manninghams diary that Twelfth Night was performed at the Middle Temple (a London law school) on February 2, 1602. Check out what he had to say: At our feast we had a play called "Twelfth Night, or What You Will," much like "The Comedy of Errors" []A good practice in it to make a Steward believe his Lady Widow was in love with him, by counterfeiting a letter [] Its interesting that Manninghams diary entry focuses on the Malvolio sub-plot, which isnt necessarily what contemporary readers think of when they reflect on the play. Manninghams entry suggests that, at least for him, the plays ridicule of the social-climbing Puritan figure, Malvolio, was the most interesting and entertaining part of the performance. Several decades later, King Charles I (b. 1600-1649) may have thought the same thing. In his copy of Shakespeares works, he crossed out the title Twelfth Night and wrote in Malvolio! as a replacement. Guess old Charlie didnt like social climbers and Puritans either. Of course, Queen Elizabeth I sat on the throne when Twelfth Night was penned. We wonder what she thought of the play. If she ever saw it, that is. Critics arent sure. Check out " Whats Up with the Title?" for more on the debate.
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Why Should I Care?

OK, most of us have no idea what it would be like to lose a twin sibling in a ship-wreck before cross-dressing as a singing eunuch, only to discover that we are in love with a man, who is in love with a woman, who is in love with our disguise. But, anyone who has ever been a teenager (yep, thats everybody over the age of twelve) knows a little something about being in love. Were betting you know exactly what its like to try to keep that love a secret, too. If you think about it, this is what Viola in Twelfth Night deals with. Check out how she describes her secret crush to the guy of her dreams without revealing to him that hes the object of her affection: She never told her love, But let concealment, like a worm i the bud, Feed on her damask cheek: she pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief. Was not this love indeed? We dont run around talking like this in our day-to-day lives (it might be fun, though), but Violas speech captures perfectly that gut-wrenching, sickly "yellow and green" feeling that makes your cheeks flush red ("damask") and literally seems to eat away at your insides ("like a worm in the bud") when youre too afraid to do anything about it and you dont want anyone to know your secret, because youre afraid they wont love you back if they know who you really are. Yep. Thats it exactly. Secret crushes are brutal, especially when youre trying to figure out who you are and youre afraid that what people see on the outside doesnt match what you feel like on the inside. So, the next time you think nobody could possibly have a clue about what youre going through, crack open your copy of Twelfth Night and tell it to Uncle Shakespeare. He totally gets you.
Summary
Book Summary
The play opens at the Illyrian court, where the love-sick Duke Orsino enjoys some live tunes while fantasizing about the luscious Countess Olivia. Too bad Olivia cant be bothered with the
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Duke or any other living man. Valentine reports that Olivias brother has recently died (shortly after her old passed away), so Olivias decided to lock herself up at home while she mourns for the next seven years. Olivias grief over her dead bro doesnt bother Orsino one bit. In fact, he tells us that, if Olivia can love a dead sibling this much, just imagine what shell be like with a living, breathing man. Meanwhile, Viola and a crew of sailors wash up on the Illyrian shore after their ship sinks, separating Viola from her twin brother Sebastian, who may have drowned. Viola doesnt quite know what to do next. So, she decides, what the heck? Why not dress up like a boy and get a job as one of Duke Orsinos servants? The sea captain is happy to help her transform from Viola to "Cesario," a young "boy" with a great singing voice, luscious lips, and a can-do attitude. Over at Olivias pad (where everyone is supposed to be sad since the lady of the house is mourning her dead brother), Olivias free-loading uncle, Sir Toby Belch, and his drinking buddy, Sir Andrew Aguecheek, party like its 1599. Olivias trusty lady in waiting, Maria, gives Toby and Andrew a piece of her mind they ought to be ashamed of themselves, carousing around at all hours before stumbling home drunk and noisy when Olivia is trying to focus on her love for her dead brother. Aguecheek reveals that hes hoping to get lucky with Olivia, who is, after all, a smokin hot, single heiress. Even though its pretty clear that Olivias not into Aguecheek, her greedy uncle Toby convinces him to stick around and take another run at the Countess. If Aguecheek marries Olivia, Toby can mooch off his drinking buddy and party like a rock star for ever and ever without having to worry that Olivia will kick his sorry self to the curb. Before we know it, Viola (as "Cesario") has a job at the Dukes court and has become Orsinos favorite page. "Cesario" and the Duke have become quite cozy ever since the Duke decided to share all his intimate thoughts with "Cesario" were talking secret diary kinds of things. "Cesarios" first task as Orsinos best boy is to march on over to Olivias house and convince the Countess that the Duke is a really swell guy if Olivia knows whats good for her, shell ditch the black mourning veil and get ready for some romance, Orsino-style. Viola (disguised as "Cesario") confesses to the audience that she is totally into Duke Orsino. Uh-oh. Now Viola has to convince some other girl, Olivia, that Orsinos a great guy when she, Viola, wants the Duke all to herself. This is getting really juicy. Over at Olivias pad, Feste the "licensed Fool" (hes literally licensed to say whatever he wants) entertains Olivia and Maria with his witty word play and clever insults. Malvolio, Olivias snobby Steward (head servant), bags on Feste and tries to convince Olivia to get rid of him. Olivia tells Malvolio to zip it hes the fool if he cant appreciate the brilliance of Festes clowning. When "Cesario" is granted access to Olivias pad and tries to deliver the Dukes gooey love message, Olivia doesnt cooperate the Dukes an OK guy and all, but Olivias just not into him. Plus, shes super busy wearing her black veil and thinking about her brother. "Cesario,"
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however, keeps talking and, before we know it, Olivia is all interested in Duke Orsinos "boy" servant. When "Cesario" leaves, Olivia admits shes totally crushing on "him." (Olivia has no idea "Cesario" is a girl wearing a disguise.) So, Olivia fibs to Malvolio and says that "Cesario" left behind a ring Malvolio should return the ring and invite the luscious boy back to Olivias pad so they can continue their discussion about how she will never love Duke Orsino. Meanwhile, on a sea coast near Illyria, Violas twin brother Sebastian (turns out hes alive after all hooray!) attempts to extract himself from the company of Antonio, a clingy sea captain who fished Sebastian out of the ocean and saved his life. Sebastians not in the mood to hang out with Antonio any more hes bummed because he thinks his sister is dead and says hes headed to Duke Orsinos court, without Antonio (who doesnt seem to get the hint). Back in Illyria, Malvolio catches up with "Cesario" and "returns" Olivias ring. Viola plays it cool with Malvolio but shes no dummy she realizes that poor Olivia is in love with "Cesario," which makes Viola feel really bad about all the trouble her "wicked" disguise is causing. Viola calls herself a "monster," but doesnt reveal her true identity. Later that night, Sir Toby Belch, Sir Andrew Aguecheek, and Feste get rowdy over at Olivias pad singing songs and drinking way too much. Malvolio the party-pooper comes in and wags his finger at the rowdy crew. He also criticizes Maria for failing to keep Toby in check. We interrupt this program for a history snack: Malvolio is compared to a Puritan. Elizabethan Puritans were a radical Protestant sect known for their beef with the Catholic Church and harsh criticisms of the theater, festivals like Twelfth Night, and just about every other form of entertainment. Malvolio is compared to a "Puritan" in the play because he disapproves of everything Festes clowning, Tobys partying, etc. Maria is totally fed up with Malvolio, so she hatches an evil genius plan to punish Malvolio for being so judgmental. The scheme: Maria will forge a love letter and drop it where Malvolio can find it. Malvolio will think that Olivia wrote the letter to him and will make a complete fool out of himself trying to impress Olivia. (By wearing a crazy outfit, being rude to everyone, and smiling constantly.) Later, over at Orsinos place, the Duke and "Cesario" talk about love. "Cesario" admits "he" is in love, but doesnt reveal the object of "his" desire (Duke Orsino). Orsino doesnt appear to recognize that "Cesario" is talking about him. (At least he doesnt let on.) Hiding behind a tree in Olivias garden, Toby, Aguecheek, and Fabian overhear Malvolio fantasizing about hooking up with Olivia (a ludicrous idea since Malvolio is a high-level servant, but a servant nonetheless). When Malvolio finds the forged letter on the ground, he convinces himself that Olivia is madly in love with him and wants him to dress in a crazy costume, be rude to her family and the other servants, and plaster a silly grin to his face even though Olivia is in a sad mood.
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"Cesario" returns to Olivias pad to deliver a love trinket from Orsino. Olivia fesses up that shes totally hot for "Cesario," even though "he" says hes not interested. Sir Andrew Aguecheek is upset about this and says hes going home, but Toby and Fabian convince him that Olivia is just trying to make him jealous she really wants Aguecheek to pick a fight with "Cesario" to prove that he loves her. The not-so-bright Aguecheek agrees to write a letter to "Cesario," challenging him to a duel. Meanwhile, Sebastian has arrived in Illyria and Antonio has followed him like a puppy. Antonio reveals that, if he gets caught in Illyria, hes in deep dog-doo, because hes a pirate who stole from Duke Orsino. Antonio decides to hide out at the motel, but gives Sebastian some money so his friend can go sight-seeing and buy himself something pretty. Back at Olivias pad, the Countess encounters Malvolio, who is wearing yellow stockings (Olivia hates yellow stockings) and being snobby with Olivias people. He also slobbers all over Olivias hand, grins like a loon, and quotes from the forged letter. Olivia, who has no idea about Maria and Tobys prank, thinks Malvolio is crazy and runs off to find "Cesario." When Olivia catches up with her favorite "boy," she tries once again to seduce "him." "Cesario" says "he" isnt into older women, or any other women for that matter. Olivia acknowledges that Cesario is a little too young for her and says shell back off. Soon after, Toby Belch tricks Sir Andrew Aguecheek and "Cesario" into drawing their swords and preparing for a duel, but neither Aguecheek nor "Cesario" want to fight. "Cesario" cracks a joke about not having a penis, but nobody knows what "he" is talking about. Antonio shows up and thinks that "Cesario" is Sebastian. (Remember, Viola and Sebastian are fraternal twins. Apparently, Viola looks just like her bro when shes dressed like a boy.) Antonio threatens to beat up Aguecheek, but, just then, the cops show up and arrest Antonio for being a pirate. Thinking "Cesario" is Sebastian, Antonio asks "him" to return the spending money he gave "him" earlier. "Cesario" has no idea what Antonio is talking about, but, being a nice person, gives Antonio some spare change anyway. Antonio thinks hes been used by his beloved Sebastian. Now that Sebastian is on the scene in Illyria, everyone mistakes him for "Cesario," including Olivia, Toby, and Aguecheek. Aguecheek slaps Sebastian, thinking he is the wimpy "Cesario." But, Sebastians not a wimp and is about to pummel both Toby and Aguecheek when Olivia runs out and breaks up the fight. Olivia fawns over Sebastian, who is stoked to be getting so much attention from the rich, beautiful Countess he wonders if hes dreaming or has gone batty. Olivia proposes (thinking Sebastian is "Cesario") and Sebastian jumps at the chance. Inside Olivias house, Malvolio has been locked up in a dark room and is treated like a madman/victim of demonic possession. Feste, disguised as a clergyman, holds a mock-exorcism while Malvolio begs for help. Feste finally agrees to let Malvolio write a letter to Olivia. Meanwhile, Olivia drags a real clergyman into her garden and tells Sebastian (who she
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still thinks is "Cesario") shes a jealous woman they better get married ASAP. Sebastian is happy to oblige. Later on, Duke Orsino and "Cesario" hang out in front of Olivias house. When the cops walk by with Antonio, Antonio sees "Cesario" and flips out, ranting and raving about how Sebastian did him wrong. (Antonio still mistakes "Cesario" for Sebastian.) Then, Olivia shows up and yells at "Cesario" because she thinks her new husband is already neglecting her. She accuses "Cesario" of being a bad husband. Then Aguecheek and Toby Belch run out and say that "Cesario" beat them up. Poor Viola (as "Cesario") is in quite a jam, until Sebastian shows up and everyone realizes that Sebastian is the one who married Olivia and beat up Aguecheek and Toby. Sebastian says hes sorry for beating down Olivias uncle, but he would most definitely do it again if given the chance. Then Viola admits that shes not really "Cesario" shes Sebastians un-dead sister. Orsino proposes to Viola, but still calls her "boy" and reminds Viola of all the times "Cesario" confessed "his" love to him. Malvolio interrupts when he comes out and yells at Olivia for writing a letter and making him believe that she wanted him to act like an idiot to prove his love for her. Olivia denies writing the letter and explains that Maria must have forged the note to trick Malvolio. Malvolio swears revenge and runs away. Orsino says that hes going to marry Viola, just as soon as she changes out of her boy clothes. (She cant yet because the sea captain has her dress and Malvolio is holding the captain prisoner.) Oh well, until Viola can get her clothes back, Orsino says she will just have to "be" "Cesario." In the meantime, they should all party inside Olivias house. Feste is left on stage to sing a song to the audience.
Act 1, Scene 1
Hanging out in his court in Illyria, the moody Duke Orsino listens to the live band he keeps around on retainer and talks about love. At first, he says he cant get enough of music because it really puts him in the mood for lovin. But, in the very next breath, Orsino tells the musicians to get lost hes sick of music and doesnt want to hear it anymore. When Curio asks the Duke if he wants to go hunting for hart (deer) instead of lounging around, Orsino gushes that the thought of killing Bambi reminds him of the time he first laid eyes on Olivia. Valentine enters the room with bad news he wasnt able to deliver Orsinos love note to Olivia because, when he showed up at the Countesss place, her handmaid told him to get lost. Olivias also sent the Duke a little message shes really bummed about her dead brother, so shes decided to mourn for the next seven years. (Yep, you read that right. Shes going to mourn for seven years.) This will involve traipsing around her place in an all black getup, complete with a dark veil and big, salty tears that will splash all over the ground.
When the clueless Orsino hears this, he says he admires Olivias devotion to her family and thinks that, if shes this devoted to her dead brother, then shes really going to be a great lover when Cupids arrow makes her fall for a living man. Orsino announces he wants to loll around on "sweet beds of flowers" while he thinks about love. (Were not making this up. Orsino really runs around talking like this.)
Act 1, Scene 2
The scene opens after a terrible ship wreck. Viola, a few sailors, and a (sea) captain arrive on shore and Viola asks where they are. The captain says theyre in Illyria. (Violas name isnt revealed to the play-going audience until Act 5. Readers of the play, however, know her name because its in the script and marks the beginning of each of her lines.) Viola is bummed that shes in Illyria and says her brother is probably in heaven, but shes holding onto hope that he is alive. The captain tries to comfort Viola and says that, after the ship sank, he saw her brother tie himself to the mast, which had somehow managed to stay afloat. The captains description of Sebastian clinging to the ships mast also reveals to the audience what went down at sea. (Thank goodness for that, because, until this moment, were as confused as Viola. Shakespeare is so crafty that way.) Apparently, when the ship split in two and the passengers and crew went into the water, Viola, being a very scrappy girl, avoided drowning by hanging on to the side of a life boat. Viola gives him some gold for being a nice guy and for cheering her up. The captain, who grew up three hours away from Illyria, tells Viola about the country and dishes a little dirt about its local celebs. The beloved Duke Orsino is a bachelor whos been trying to hook up with the Countess Olivia. But, Olivias so not into him. Her dad died about a year ago and then her brother died shortly after, so shes sworn off the company of men while she grieves. Viola responds to the gossip by wishing she could disguise her identity and social class for a while by working as Olivias servant at least until she gets her bearings and figures out what to do next. The captain explains why thats just not going to happen: Olivia isnt seeing any visitors, not even the Duke. Viola tells the captain that he seems like a trusty fellow, so shes going to pay him a ton of dough to dress her up like a boy and not tell anyone about it. Since shes got such a great singing voice, she wants the captain to introduce her to the Duke as a eunuch. The idea is that parading around as a eunuch will guard Viola from suspicion that shes a woman, while allowing her singing talents to earn her some props in the Dukes court. (We interrupt this program for a little history snack: Back in the day as early as 400 A.D. choir boys were frequently castrated before they hit puberty to preserve their extraordinary singing voices. Castration = no testosterone = a nice soprano, or more
accurately, a castrato. We know that castrati sang in the choir at the Sistine Chapel in the 1550s around the same time that Will Shakespeare wrote Twelfth Night. Also, in Italy, castrations for the, um, listening pleasure of choir buffs werent outlawed until 1870. Yikes.) The captain agrees to keep his lips zipped while Viola dresses up like a boy and plays "Im a singing eunuch" at Orsinos court.
Act 1, Scene 3
Meanwhile, back at Olivias pad, Sir Toby Belch (who has been drinking all night) complains that his niece, Olivia, needs to snap out it shes mourned for her dead brother long enough and now its time to party. Maria lays into Toby and warns him to come home at a more reasonable hour, because Olivias sick and tired of him staying out late. Toby says thats just too bad hes gotta fight for his right to party. Having given Toby Belch a little piece of her mind, Maria starts in on Tobys guest and drinking buddy, Sir Andrew Aguecheek. When Toby brags that Aguecheeks super rich, Maria scoffs that hell probably burn through his cash within the year because hes an idiot who does nothing but drink. Toby defends his good buddy and says Aguecheek speaks three or four languages and plays a musical instrument, too. Marias not impressed and points out that Aguecheeks a drunken fool and likes to pick fights that he cant win. Hes a coward and will probably get himself killed, she insists. Tobys feeling blissfully belligerent and explains why Aguecheeks always drunk because hes always drinking toasts to Olivias good health, of course. Toby, who is clearly still wasted from partying all night, then brags that hell beat the heck out of any man that refuses to drink a toast to Olivia. Just then, Sir Andrew Aguecheek shows up. He says, "Whats up?" to his pal Toby and introduces himself to Maria, who proceeds to rag on him. Toby gives his boy a hard time for letting a woman clown him like that. The two then proceed to talk smack and fall into what seems to be a familiar pattern of drunken banter. Sir Andrew Aguecheek says hes had a swell time partying with Toby, but its time for him to get home, especially since it seems Olivias not interested in marrying him. (Remember, Olivia has sworn off men, including Duke Orsino.) Nonsense, Toby says, theres no way Olivia will get with Duke Orsino, so Aguecheek should hang in there a bit longer. Aguecheek says he might as well stick around for another month or so. Why not? Theres always a great party to go to. The two talk a little more trash and then run off.
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Act 1, Scene 4
Back at Duke Orsinos pad, Valentine gives props to "Cesario" (Viola in disguise) for making a name for "himself" in such a short time in the Dukes service. Viola (as "Cesario"), who has clearly spent a lot of time with Orsino in the past three days, asks Valentine if the Duke has mood swings. Just then, Orsino enters looking for "Cesario" he wants his boy to trot on over to Olivias place to chat her up for him. Orsino says that "Cesario" is the man for the job since "he" already knows how Orsino feels about Olivia (apparently theyve had a heart-to-heart) and that "he" shouldnt take no for an answer if Olivias servants try to shoo "him" away. "Cesario" is skeptical since it sounds like Olivia is really upset about her dead brother. Orsino tells "Cesario" to do whatever it takes to get the job done, even if he has to cause a big scene at Olivias house. OK, fine, agrees "Cesario," who asks what "he" is supposed to do if "he" actually makes it inside Olivias pad. Duke Orsino seems to think that Olivia will be so moved by "Cesarios" youth and girlish beauty that shell want to hook up with the Duke. Orsino then proceeds to describe "Cesarios" luscious ruby red lips and high pitched voice, all of which he believes will get Olivia in the mood for some lovin. Viola (as "Cesario) agrees to do this but then she drops a bombshell on the audience: its going to be brutal for her to be Orsinos wingman because she (Viola) is falling for the Duke. The situation stinks because she (Viola) wants to be the Dukes wife, but now she has to try to convince Olivia to marry the Duke.
Act 1, Scene 5
Over at Olivias place, Maria and Feste the Clown goof around, talking trash. Feste makes a dirty joke about how "well hung" he is when Maria tells him that Olivia will literally hang him (as in tie a noose around his neck and let him dangle in the air until he stops breathing) because he hasnt shown up to work in such a long time. (Festes job as Olivias "fool" is to be an entertaining smart-aleck. Imagine paying Dave Chappell or Will Ferrell to follow you around, crack jokes, insult you, sing some songs, and run your errands.) Olivia enters and orders her servants to "Take the fool away." Feste responds by saying something like "Hey didnt you hear Olivia say take the fool away? Take her away already." Olivia is totally amused, but pretends shes not, so Feste will have to convince her that he should be allowed to stay and make her laugh. Then Feste makes a crack about why Olivia really is a fool shes wasting her time mourning for a dead brother whos in a better place (heaven), while she mopes around in her crazy, all black get-up. Malvolio enters the room and asks Olivia why she lets Feste hang around. Malvolio claims
that Feste isnt really that funny and, besides, he saw some other comedian totally clown him the other day. Olivia tells Malvolio to beat it hes a bitter jerk if he doesnt see how great Feste is. Maria enters then with news that theres some dumb kid at the gate who wants to talk to Olivia. Hes not taking "no" for an answer and Maria doesnt know what to do. Olivia tells Malvolio to go to the gate and say shes sick or busy or whatever. The kid should hit the road ASAP because shes not in the mood to talk. Feste makes a random joke about how brainless Sir Toby Belch is, just as Olivias uncle enters the room. Olivia then takes Toby to task for being a drunk and spending all his time partying. She also asks him about whos at the gate. Malvolio reenters the room and confirms that, yep, theres an annoying kid at the gate who says hes not going anywhere until he sees Olivia. Olivia asks what the messenger is like and Malvolio says that he doesnt seem old enough to be a man or young enough to be a boy. The kid also speaks like a "shrew." (Thats code for mouthy woman.) Intrigued, Olivia lets the kid inside, but not before she covers her face with her black veil. "Cesario" enters the room and asks which one of the lovely ladies is Olivia "hes" got to deliver a message from the Duke. Olivias not interested in the Duke, but the kid is intriguing so she chats him up. "Cesario" says "hes" got this whole message memorized, so Olivia should just please pipe down and let "him" deliver it. Olivias not interested in Duke Orsinos clich attempts to sweet talk her, so she toys with "Cesario" for a while and asks why he was so lippy when he was out at the gate. "Cesario" insists that "he" needs to speak to Olivia alone so he can deliver his private message. "Cesario" tries to deliver the memorized speech again, but Olivia cuts "him" off and mocks the Dukes little love letter. "Cesario" asks to see Olivias face and Olivia removes her veil. "Cesario" says that Olivia is gorgeous she should get married and have some good looking kids with Orsino. Exasperated, Olivia says that the Duke already knows shes not into him. Hes nice and all, and rich, and handsome, but he needs to learn to take "no" for an answer. "Cesario" says that doesnt make any sense. Then Olivia asks "Cesario" what he would do if he loved her (Olivia) and "Cesario" says "he" would stand at Olivias gate and sing love poetry until Olivia took pity on "him." Olivia is totally smitten when she hears this and she asks "Cesario" about his parentage, to which "Cesario" replies that "he" is well-born. Olivia tells "Cesario" to go back to Orsino and tell him to quit bothering her. Then Cesario should come back and tell Olivia what the Duke has to say about that. Olivia tries to give "Cesario" a few coins for his trouble, but "Cesario" tells her to keep her money. When "Cesario" leaves, Olivia says "Cesario" is a total dream-boat. Malvolio enters the room and Olivia lies and says that "Cesario" gave her a ring from the Duke. She says she doesnt want it so Malvolio should run after "Cesario" and return the trinket, ASAP.
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Olivia has apparently forgotten about her quest to mourn for her dead brother. She tells us that "fate" has brought "Cesario" to her, so shell let whatever happens happen.
Act 2, Scene 1
On a sea coast (near Illyria) Antonio the sea captain asks Sebastian why hes leaving. Antonio also wants to know why he cant go with Sebastian. (We sort of stumble upon these two in mid-conversation. Apparently, Sebastians trying to get out of town and needs to untangle himself from a very clingy Antonio. At first, its not clear who these guys are and why they must part, but, as the dialogue unfolds, it reveals everything to the audience.) Sebastian says something like, "Sorry man. Its not you, its me. Im in a really bad mood and I dont want to bum you out, so I think its best for both of us if we go our separate ways. I would be a total jerk if I explained why Im acting this way and unloaded all my problems on you you dont deserve that so" Antonio cuts in and begs Sebastian to tell him where and why hes going away. (If youre thinking that this sounds a little like a break-up, youre totally right.) The cryptic Sebastian says that he cant do it, and where hes going isnt important anyway. But, Antonios such a great guy that hell reveal his true identity. His name is "Sebastian," not "Roderigo," and hes really sad because he thinks his twin sister is dead. He also says that he would be dead too if Antonio hadnt scooped him up out of the ocean two hours after his ship sank and his sister drowned. (See what we mean when we say the details unfold?) Antonio says thats just awful and Sebastian replies that he doesnt want to stress out Antonio with his problems. Antonio begs Sebastian to let him be his servant, but Sebastian brushes him off and tells Antonio to forget he ever existed. Then Antonio says he doesnt want to cry like his mother always does, so he needs to be on his way to Duke Orsinos court. (Note: At this point, we know a heck of a lot more than Sebastian does. Its obvious that hes Violas lost twin brother, but neither of the sibs knows the other is alive. This means that Sebastian has no idea his twin sister is parading around as a boy at Duke Orsinos court. Hmm. We wonder what will happen next)
Act 2, Scene 2
Meanwhile, on a street outside Olivias place, Malvolio catches up with Viola ("Cesario") and asks "him" if he was the brat that was just at Olivias place chatting her up about the Duke. Malvolio is all snobby and haughty when he whines about having to run after "Cesario" to
give him back the Dukes ring Olivia doesnt want it. (Remember when Olivia lied to Malvolio and claimed that "Cesario" gave her the little trinket on behalf of the Duke?) Then Malvolio says to "Cesario" that Olivia wants nothing to do with Duke Orsino. And another thing, she doesnt want you back at her house unless you return to say that the Duke took his ring back. Viola ("Cesario") goes along with this in front of Malvolio and says something like: "Im not taking back the ring Olivia took it from me so its hers." Malvolio says whatever, kid, take the ring back and get lost. Left alone on the street, Viola ("Cesario") wonders what the heck Olivia is up to since she never gave Olivia a ring from the Duke. Then Viola ("Cesario") realizes that Olivia has a crush on "Cesario" and remembers how Olivia seemed distracted and stuttered a lot when they spoke. Then Viola ("Cesario") launches into a monologue about how she really feels sorry for poor Olivia, because women are weak and "frail." No wonder Olivias been duped by Violas disguise. Oh dear, what will happen now that Olivias in love with Viola/"Cesario," whose in love with Orsino, whose in love with Olivia?
Act 2, Scene 3
Toby Belch and Andrew Aguecheek have just returned to Olivias pad from another all-night party. Toby says that, since its after midnight and theyre awake, theyre just like a couple of healthy people who like to wake up early. A skeptical Aguecheek says he doesnt know about all that, but Toby insists that he and Aguecheek are not only awake at an "early" morning hour, but they also go to bed after midnight, which means they also go to bed "early." Sir Andrew pipes up that all he and Toby ever really do is eat and drink, so Toby calls for another round of booze. Then Feste shows up and they greet each other by saying stuff like "Welcome, ass!" Aguecheek gives Feste props for the great performance he delivered that night. Festes got a great set of pipes and the crowd enjoyed themselves on dance floor. They also dug his stand-up comic routine and hope he got the money they left him as a tip. Toby and Aguecheek give Feste a few more coins and demand a love song, which Feste obliges. The trio continue to fool around, singing and talking trash (much of it nonsense) when Maria enters and tells them to pipe down before Olivia kicks them out. Marias chiding doesnt do any good, so Malvolio runs in to lecture them. Dont they have any sense of propriety? Are they crazy? Acting like a bunch of drunken commoners in a rowdy bar. Geesh. Toby blows off Malvolio, who threatens that Olivias going to give them the boot if they keep it up. Toby, Maria, Feste, and Aguecheek bag on Malvolio for being a steward (head servant). Who does Malvolio think he is? Old Toby and company will keep partying.
Malvolio yells at Maria then and accuses her of tolerating and egging on the rowdy men. Maria tells him to "go shake [his] ears" which is another way of saying "get lost." When Malvolio leaves, Maria asks Toby and crew to take it easy tonight since Olivias been all bent out of shape ever since she talked with "Cesario" (Viola in disguise). Maria knows Olivias worked up over the visit, but its not clear if she knows that Olivia has a crush on "Cesario." Maria promises to plan an elaborate prank to punish Malvolio for being such a haughty party pooper and acting like a "kind of Puritan" (a member of a Protestant sect that had beef with the Catholic Church and had a reputation for disapproving of all forms of fun). Aguecheek says hed beat Malvolio "like a dog" if he really was a Puritan. Maria calls Malvolio a kiss-up and a poser with secret social ambition. Marias going to forge a love letter and drop it where Malvolio will find it. When he reads the note, hell be convinced that Olivia is in love with him. Oh goody. Toby and Aguecheek cant wait to mess with Malvolio. When Maria goes to bed, Toby brags to his buddy that Marias into him and wants to be Mrs. Toby Belch. Toby then tells Aguecheek hed better send home for some more money since hes almost out. Aguecheek whines that Olivia will never love him and worries that hes spending all his money for no good reason. Oh, well, he decides. Then he and Toby agree that its way too late to go to bed now. They might as well stay up and drink some more beer.
Act 2, Scene 4
Back at Orsinos court, the Duke orders his band to play a song he heard the night before. Curio says sorry, but Festes not here to sing it. He must be over at Olivias house because he used to work for Olivias dad when he was alive. Duke Orsino tells Curio to find Feste, who happens to be roaming around somewhere in the Dukes pad. Orsino then turns to "Cesario" and gives "him" some friendly advice, man-to-man, about love. Orsino says if "Cesario" ever falls in love, he should think of the Duke, a "true" lover. Orsino suspects that "Cesario" (Viola) is in love and "Cesario" admits that yes, "he" is in love with someone who looks like the Duke and is about the same age. Orsino assumes (or pretends to assume) "Cesarios" in love with an older woman, so he tells "Cesario" its not a good idea for men to marry older women. "Cesario" should marry a sweet young thing because women age fast, which makes them less attractive to their husbands. Women are also not as attractive after theyre no longer virgins. (Dont get mad at us. We know Orsinos being awful here.) Violas sad response tells us that she worries about aging and becoming less attractive to a potential husband.
Feste enters and sings a song for the Duke about a man who is "slain" by a "cruel maid." Orsino gives Feste some money for his trouble and says its late he wants to go to bed. Feste makes a crack about how moody the Dukes behavior is before telling "Cesario" that Olivias looking for "him." Speaking of Olivia, Orsino brags that no woman can resist his romantic ways. Furthermore, no woman is capable of being so in love as the Duke his love is like the ocean, etc., etc. "Cesario" disagrees and says that women are just as capable of love as men. "He" tells the story of his "fathers daughter" who once loved a man and says that, if "he" were a woman, hed love the Duke just as much. (Note: "Cesario"/Viola is being cryptic. The audience knows that Viola is her "fathers daughter" and that she does, in fact, love the Duke.) When Orsino asks what happened to the woman, "Cesario" says she pined away in misery while her unrequited love ate away at her insides, like worms. When Orsino asks if "Cesarios" sister died, "Cesario" cryptically replies that "he" is the only daughter and the only son in "his" fathers house. (Note: Its likely that Orsino thinks "Cesarios" sister is dead. Its also possible that Orsino suspects "Cesario" is a woman in disguise. Most directors stage the scene with an ignorant Orsino. But, weve also seen productions where it seems that Orsino knows "Cesario" is not really a boy. The play can go either way. Orsino gives "Cesario" a jewel to give to Olivia as a token of his love.
Act 2, Scene 5
In Olivias garden, Toby and Aguecheek hang out with Fabian, who worries that hell get in trouble again if he helps them trick Malvolio, who got him in trouble earlier for holding a bear-baiting contest at Olivias place. (Bear-baiting was a popular Elizabethan blood sport, where bears were tied up to a stake and forced to fight unleashed dogs.) Toby Belch says not to worry theyll make Malvolio pay for being such a drag. Maria enters and tells the men to hide behind a tree because Malvolio is coming. Then she throws the forged letter on the ground for Malvolio to find. Malvolio enters the garden talking to himself. First he says he thinks Maria wants him and then he fantasizes about being married to Olivia, which would make him a Count who could boss around Sir Toby and his raucous little crew. Toby and Aguecheek can hardly contain their laughter and their anger at Malvolios audacity. The fantasy continues as Malvolio daydreams about fondling some expensive jewels and lecturing Toby for his drunkenness. Malvolio finds the letter and thinks right away that its written in Olivias handwriting. He thinks the letter is meant for him because it spells out M-A-O-I, all letters that appear in the name Malvolio. (Boy, thats some cracker-jack detective work.) The letter instructs Malvolio to pick fights with Toby and company, wear yellow stockings with cross-garters, and smile at everything, even when Olivias in a sad mood. Malvolio is
all over this and runs off to change his clothes. Toby is psyched Marias plot is so clever that hes tempted to marry her. Maria enters and gloats about her evil genius plan. Malvolio is sure to make a fool of himself while annoying Olivia to no end.
Act 3, Scene 1
In Olivias garden, "Cesario" and Feste shoot the breeze. Feste claims that he is not a fool, but a "corrupter of words." "Cesario" gives him some spare change and, when Feste implies "Cesario" should give him some more money to fetch Olivia, "Cesario" obliges. "Cesario" tells us how brilliant Feste is and notes that being a Fool takes a lot of talent and an ability to read people. Feste is a "wise" guy. Sir Toby and Sir Andrew enter the garden and say "hey" to "Cesario" before Olivia enters. Alone in the garden, Olivia holds "Cesarios" hand and flirts it up. "Cesario" tries to give Olivia the brush off, but Olivia confesses her lust for "Cesario." "Cesario" says that he feels sorry for Olivia. Then Olivia says fine, I wont force you, but some day, when youre older and have gone through puberty, some girl is going to be very lucky to have you. Olivia asks "Cesario" to tell her what "he" thinks of her. "Cesario" gets all cryptic and says stuff like "I am not what I am." Olivia throws herself at "Cesario" and begs "him" to love her. "Cesario" says "his" heart belongs to "no woman" and never will. The audience gets it but Olivia doesnt. When its time for "Cesario" to go, Olivia says feel free to come back and see me any time.
Act 3, Scene 2
Back at Olivias pad, Sir Andrew Aguecheek tells Fabian and Sir Toby Belch that hes out of there Olivias never going to marry him so he should just go home. In fact, Olivia seems to be after Duke Orsinos serving boy, "Cesario." Fabian tells Aguecheek that Olivias just pretending to be into "Cesario" because she wants to make him jealous. Toby says Aguecheek should pick a sword fight with "Cesario" and kick "his" butt if he wants Olivia to respect him. Toby tells Aguecheek to write a mean and nasty note to "Cesario" so he can deliver the challenge to the "boy." He tells his pal to make it really mean and scary. Aguecheek runs off to write the letter and Fabian and Toby laugh at what a chump he is. Toby says hes been using Sir Andrew Aguecheek to fund his partying.
Toby also says hes not going to deliver the letter because it wouldnt do any good both "Cesario" and Aguecheek are wimps and neither one of them likes to fight. Hes got a better plan. Maria enters and tells them to come quick: Malvolios wearing yellow stockings and smiling like a fool (just like the forged letter instructed him to do). Olivias going to think hes gone crazy. They run off to watch what happens.
Act 3, Scene 3
Meanwhile, Sebastian has rolled up in Illyria and stands in a street chatting with Antonio, who, apparently, has insisted on following his beloved Sebastian. Antonio says his desire (like sharp "steel") drove him to follow Sebastian to Illyria, even though hes afraid of the dangers that he might face. (We dont quite know what these dangers are yet.) Antonio says something like, "Gee, thanks. Should we catch the sights?" Antonio doesnt want to play tourist and suggests that they go back to the motel, but Sebastians not having any of that and wants to do some sightseeing. Antonio reveals that hes not really supposed to be in Illyria since hes kind of a pirate and helped steal some money from Duke Orsino. He also doesnt have enough money to pay off the authorities if hes caught in Illyria. Sebastian asks if Antonio killed a bunch of men and Antonio says no, but the skirmish cost the Duke a lot of money. Then Antonio gives Sebastian a little money and tells him to buy himself something nice, Antonios treat. Sebastian takes the money and says hes going to shop for about an hour and then hell meet Antonio back at the Inn (the Elephant).
Act 3, Scene 4
In her garden, Olivia frets about whether or not "Cesario" will come back for a little visit. Then she asks Maria where Malvolio is. Maria tells Olivia that Malvolios on his way, but hes acting like hes possessed by demons hes been smiling a lot and for no good reason. When Malvolio enters in a ridiculous get-up (yellow stockings with cross-garters) and a silly grin on his face, Olivia asks what the hecks wrong with him. She wants to know why hes smiling like an idiot when shes in such a sad mood. Malvolio continues to act like a fool slobbering on Olivias hand, talking nonsense, and insulting Maria. When Malvolio quotes lines from the forged letter, Olivia has no idea what hes talking about and thinks hes totally lost his mind.
Malvolio presses on and asks Olivia if she remembers telling him to wear yellow stockings and cross-garters. When a servant enters and announces that "Cesario" has arrived, Olivia tells Maria to fetch Toby and company to look after Malvolio so she can rush off to greet "Cesario." Malvolios left alone and tells us that he thinks Olivia is totally into him he cant wait to carry out the instructions of the letter by being rude to Sir Toby. Sir Toby and Fabian enter and pretend to think Malvolios possessed and needs an exorcism. Malvolio tells them to get lost (he wants to continue his fantasy in private), but Maria says, see guys, I told you his bodys been taken over by a devil. Malvolio is totally confused by the crews behavior, especially when Fabian suggests they get a urine sample (so the local witch can examine it, of course) and make Malvolio say his prayers. Malvolio tells them to get lost and runs away, leaving the crew to comment about how delicious their prank is. They decide to chase after Malvolio and lock him up in a dark room that will make Malvolio go crazy. Just then, Sir Andrew Aguecheek enters with the letter he has written to challenge "Cesario" to a duel. Toby reads the hilariously insulting letter aloud and assures Aguecheek that hell deliver the note to "Cesario." In the meantime, Aguecheek should go hide in the orchard. When "Cesario" shows up, Aguecheek should jump out from behind a tree, draw his sword, and say something scary to "Cesario." Aguecheek runs off to the orchard and Toby tells Fabian and Maria that hes not going to deliver Aguecheeks silly letter. Instead, Tobys going to deliver a verbal message to "Cesario." Since both "Cesario" and Aguecheek are wimps, theyll both be shaking in their boots at the thought of fighting each other. Olivia and "Cesario" enter just then, but Toby and crew run off to work out the details of their plan before confronting "Cesario." This gives Olivia a chance to be alone with the luscious "boy." Olivia says she knows "Cesario" isnt into her, but she just cant help herself. She accuses "Cesario" of having a "heart of stone." "Cesario" replies that Duke Orsino feels just as sad as Olivia does unrequited love sucks for everyone and Orsino is still wants Olivia. Olivia begs "Cesario" to wear her miniature (a piece of jewelry with a tiny portrait of Olivia painted on it) and to come back to Olivias place tomorrow so Olivia can try to seduce "him" again. After Olivia leaves, Toby Belch and Fabian enter again and tell "Cesario" that someones in the garden waiting to beat him into a pulp. "Cesarios" terrified and insists that "he" isnt a fighter. Too bad, says Toby, whip out your sword! "Cesario" asks Fabian for help. Fabian lies and says hell try to help smooth things over so "Cesario" doesnt get a beat down. Meanwhile, Sir Toby goes into the orchard and tells Aguecheek that "Cesario" is crazy and
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cant wait to fight him. Aguecheek is terrified and tries to back out but Toby tells him its too late he better get ready to rumble because "Cesario" is ready to go. Sir Andrew tells Toby to tell "Cesario" that Sir Andrew will give him his horse if "Cesario" doesnt beat him up. OK, says, Toby, who runs over to "Cesario" and says Sir Andrews ready to mop the floor with him. Toby forces "Cesario" and Aguecheek together and the two draw their swords. Just then, Antonio enters and thinks that "Cesario" is his boy, Sebastian. (Viola looks a lot like her twin brother and apparently the two look identical now that Viola is disguised as "Cesario.") Antonios scared for his boy "Sebastian" and tries to break up the fight. He and Toby trade insults and draw their swords. "Cesario" and Aguecheek put their swords away and Aguecheek promises "Cesario" his horse. Then, the cops show up to arrest Antonio, who has been recognized as one of the pirates who stole from the Duke. Since Antonio thinks that "Cesario" is Sebastian, he asks "him" to return the money he gave him earlier so he can buy his way out of jail. "Cesario" has no idea what Antonios talking about but, being a nice person, "Cesario" gives him some money anyway. Antonio is hurt because he thinks Sebastian has hung him out to dry. He cant believe Sebastian would screw him over like this, after everything Antonios done for him. He goes off about how he saved Sebastian from drowning, has been a devoted and loving friend, and then calls Sebastian (who is actually "Cesario") a devil. The cops couldnt care less about any of this drama and they haul Antonio off to the clink. Meanwhile, it finally occurs to Viola (disguised as "Cesario") that Antonio has mistaken her for her twin brother, Sebastian, since the siblings look so much alike. This gives Viola some hope that Sebastian is still alive and didnt drown at sea after all. For some reason, Viola keeps this info to herself. After "Cesario" runs off stage, Toby, Fabian, and the cowardly Aguecheek hang back and talk trash about what a wimp "Cesario" has turned out to be. Aguecheek pretends like he wasnt shaking in his boots two minutes ago and says he ought to run after "Cesario" and beat him down. Toby Belch eggs on Aguecheek and they run off after "Cesario."
Act 4, Scene 1
Meanwhile, outside of Olivias house, Feste has stumbled across Sebastian (Violas un-dead brother) and has mistaken him for "Cesario" (Violas disguise). Feste says to Sebastian that Olivias looking for him but Sebastian tells him to beat it hes not in the mood for Festes screwing around. Besides, Sebastian has no idea who
this "Cesario" person is. Festes pretty insistent, so Sebastian gives him some money to go away and threatens to give him a knuckle sandwich if he doesnt scram. Feste responds with a smart aleck comment. Just then, Sir Andrew Aguecheek, Sir Toby Belch, and Fabian show up looking for "Cesario." Aguecheek and Toby try to punk Sebastian (they think hes "Cesario") and Aguecheek gives Sebastian a little slap. Feste runs inside Olivias house to tattle. Sebastian is about to go ape on Toby and Andrew when Olivia runs outside and breaks up the fight. Olivia tells her uncle Toby to get out of her sight and apologizes to Sebastian, who she thinks is her "Cesario." Sebastian wonders if hes dreaming or has lost his mind, but he clearly thinks Olivia is pretty hot because he says that if he is dreaming, he doesnt want to wake up. Olivia says something like "Come with me, big boy," and Sebastian is all over that as the two run off together.
Act 4, Scene 2
Inside Olivias house, Maria makes Feste wear a disguise and pretend hes a clergyman named Sir Topas, who has come to visit Malvolio. (Malvolio is now locked up like a prisoner in a dark room in Olivias house. Remember, Olivia told Maria, Toby, and crew to take care of him when it seemed that Malvolio had gone mad. Maria and Toby are pretending to believe that Malvolio is "possessed" and needs an exorcism.) Feste makes a crack about how hes not the first fraud to wear a clergymans outfit. Then he approaches Malvolio and pretends to be "Sir Topas." "Sir Topas" says that hes come to visit "Malvolio the lunatic." Malvolio begs "Sir Topas" to fetch Olivia so the whole mess can be straightened out. "Sir Topas" says Malvolios been possessed by a sex-crazed devil and proceeds with the mock exorcism. Malvolio cries out and complains about the darkness of the room while "Sir Topas" leaves. Maria comments that Feste could have pulled off the prank without the physical costume since the whole joke depends more on Festes ability to disguise his voice, not his looks. Toby tells Feste to go back to Malvolio and play himself and Sir Topas. Feste obliges. Feste returns to Malvolio and sings one of his catchy little songs. Malvolio recognizes Festes voice and begs the Fool to fetch him a pen, paper, and a light so he can write a letter that will exonerate him. Feste treats Malvolio like a madman and Malvolio tries to explain that Toby and crew have locked him up and sent an exorcist in order to make him go crazy. Feste uses his "Sir Topas" voice and advises Malvolio to get some sleep. Then Feste pretends to have a conversation with Sir Topas about Malvolios condition.
Malvolio begs Feste for pen and paper again and claims he is as sane as anybody else in Illyria. Feste asks him if hes faking the whole thing and finally promises to fetch some paper and a pen. Feste skips off singing while Malvolio remains locked up.
Act 4, Scene 3
In Olivias garden, Sebastian cant believe his good fortune Olivia, who he has just met, is totally into him and recently gave him a pearl as a token of her love. (Sebastian doesnt know that Olivia thinks hes "Cesario.") Sebastian wonders aloud where Antonio is he sure wishes he could find his trusty pal because Antonio might be able to tell him if the rich, gorgeous Olivia is a dream or reality. Sebastian says that if he isnt crazy, its possible Olivia is. Olivia enters the garden with a priest in tow. She still thinks Sebastian is "Cesario," who now appears to be in love with her. She tells Sebastian they should get hitched ASAP before her man changes his mind. Best to nail down this whole deal before he runs off with some other woman. Sebastian thinks this is a terrific idea and says hell go along with whatever Olivia says.
Act 5, Scene 1
In front of Olivias house, Fabian and Feste argue about a letter that Feste wont show Fabian. Duke Orsino, "Cesario," Curio, and some Lords show up looking for Olivia. Feste makes some clever comments and jokes and Orsino gives him some money for being so entertaining. Feste then convinces Orsino to give him some more gold. Orsino tells Feste to fetch Olivia and the clown runs off. Just then, Antonio and the cops happen to walk by and Orsino recognizes Antonio as a sea captain that once caused him and his fleet of ships a lot of grief. "Cesario" says Antonios the guy who stood up for "him" when Aguecheek and Toby tried to beat "him" up, but Orsino doesnt care. He cant believe Antonio has the nerve to show his face in Illyria when hes a wanted man. Antonio says hes not a pirate, even though hes Orsinos enemy. Then he points at "Cesario" (who he thinks is Sebastian) and whines about the way Sebastian treated him. Antonio says that, even though he saved Sebastians life, has been a loving and devoted companion, and has followed Sebastian to Illyria, where he saved his life again, Sebastian has betrayed by pretending not to know him and by refusing to give him back the money he needs to buy his way out of jail. "Cesario" is dumbfounded.
Orsino says Antonios story isnt possible because "Cesario" has been in Illyria for three months, not one day, so Antonio must be lying. Olivia and her attendants come outside and Duke Orsino tries to lay some smooth moves on her, but Olivias not having any of it. She yells at "Cesario" for neglecting her so soon after their marriage. (Olivia has married Sebastian off-stage but she thinks she married "Cesario.") When Orsino hears that his trusty page "Cesario" married the woman of his dreams, hes furious. He yells at Olivia and "Cesario" before he runs off in a huff. "Cesario" goes running after Orsino and swears "his" love and allegiance to him, which bums out Olivia, who thinks that "Cesario" has married her and then run off to be with Orsino. Olivia commands "Cesario" to stay, but "Cesario" doesnt know what shes talking about because "he" never married her. (Sebastian did.) The priest enters and says that yep, he just married Olivia to "Cesario." (The priest thinks "Cesario" is Sebastian, too.) Orsino says he never wants to see "Cesario" again. To make matters worse, Aguecheek runs out and says that "Cesario" just beat him up. He beat up Toby, too. (The audience knows that it was Sebastian, not "Cesario.") "Cesario" denies everything, but Toby runs out and corroborates Aguecheeks story. Both men are bleeding and, when Toby asks if anyone has seen the local doctor, Feste informs him that the doctor has been drunk since eight oclock in the morning hes not going to come. This infuriates Toby, who announces that he hates all drunks before yelling at Aguecheek and running off to lick his wounds and guzzle some more beer. Finally, Sebastian saunters in and says hes sorry to Olivia for beating up her uncle Toby. Everyone is shocked and amazed that there seems to be two "Cesarios" standing on stage. Sebastian recognizes Antonio (who is still in handcuffs) and is overjoyed to see his bosom friend. Antonio is amazed. He asks Sebastian if hes split himself in two. Sebastian notices "Cesario" standing nearby and says he cant believe theres a guy out there who looks just like him. He wants to know who "Cesarios" parents are and where "Cesario" comes from. Instead of coming out and saying, "Hey, Im Viola, your sister," Viola is cryptic and says her fathers name is Sebastian. Thats her brothers name too, but hes drowned and dead. Sebastian still hasnt figured it out. He says that if "Cesario" were a woman, he would look just like his long lost sister Viola, who is dead. Viola then says her father had a mole on his face and Sebastian says gee, my dad had a mole on his face, too. When Viola announces that her dad died on her thirteenth birthday, Sebastian finally understands that "Cesario" is in fact his sister, Viola. Finally, Viola says what she should have said long before "Im Viola dressed as a boy. Id put my girl clothes back on now but I left them with the sea captain who fished me out
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of the ocean so Ill have to stay in these clothes." Sebastian looks at Olivia and says its lucky for her that she married him instead of "Cesario." Otherwise, Olivia would be married to a woman. Orsino tells Olivia not to worry about it, because Sebastian comes from noble blood, which means Olivia hasnt just married a servant boy ("Cesario") after all. Orsino turns to Viola, and calls her "boy" (even though he knows shes a girl) and reminds Viola of all the times "Cesario" told him "he" loved him. Viola confirms that yes, she is totally in love with Orsino. Orsino grabs her hand and says he wants to see her in her "womans weeds" (her dress). Viola says she cant do it because the sea captains got her clothes and Malvolio is holding the sea captain prisoner. Olivia calls for Malvolio and Feste gives her the letter Malvolio wrote while imprisoned in the dark room. Feste says Malvolios possessed by the devil, but, when he reads the letter aloud to Olivia, Olivia knows somethings up. Orsino turns to Viola and says she doesnt have to be his servant anymore lucky girl, she gets to be his wife now. Fabian trots out Malvolio, who says that he did everything in Olivias letter (smiling, wearing wacky clothes, arguing with everyone) so she shouldnt have locked him in prison for doing what she asked. Olivia figures out that Maria forged the letter and that Toby and company having been playing a mean joke on Malvolio. She promises Malvolio that shell fix things, but Malvolio runs off and swears hell get revenge. Olivia says that poor Malvolio really got the raw end of the deal, but nobody really seems to care about Malvolios feelings. Duke Orsino says that Viola will "be" Cesario until she changes out of her boys clothes. But, when she puts her dress back on, shell be his woman. Feste sings a song and everybody lives happily ever after (except for Malvolio).
Themes
Theme of Art and Culture
In Twelfth Night, Shakespeare explores the workings of the theater and other related forms of artistic performance licensed "Fooling," music, and singing, which also happen to be forms of revelry associated with the Twelfth Night festivities for which the play is named. The play also meditates on the relationship between performance art and other forms of entertainment like bear-baiting, a popular Elizabethan blood-sport that was often lumped into the same "low-brow" category as the theater. Its important to note that Twelfth Nights self-referential (or "meta-theatrical") portrayals of the transvestite stage (all actors were male in Elizabethan theater) allow Shakespeare to address (and mostly mock) concerns raised by Puritan theater
critics. As in all of Shakespeares work, Twelfth Nights interest in performance allows him to critique traditional notions of gender, sexuality, class identity, and morality.
Questions About Art and Culture

1. Are there events in Twelfth Night that draw our attention to the fact that we are an audience to Shakespeares play? What are they? Whats their function? 2. How does Festes singing (and other forms of music) help set the plays tone at various moments in Twelfth Night? 3. Does knowing that Shakespeares plays were originally performed by all-male acting companies change the way you think about Twelfth Night and performance (as opposed to merely reading the play)? 4. If you were a director, would you cast a man or a woman in the role of "Viola"? Why? Why should this question even matter? 5. What does Fabian say is the reason for his absence from his friends at Olivias court?
Chew on Art and Culture

Twelfth Nights self-conscious references to artistic performance forces audiences to think about the workings of the theater and the controversies surrounding "low-brow" entertainment. On the one hand, Twelfth Nights inside jokes about the bubonic plague being spread at theater houses acknowledges the dangers of play-going. Yet, Festes delightful and "heal[ing]" humor points to the stage as a very necessary and therapeutic space.
Theme of Love
"Love" is a term that characters in Twelfth Night like to bandy about, and the play takes them to task for it as it exposes and explores the folly of misdirected desire. Characters that claim to be in the throes of passion are often exposed as self-absorbed, foolish, and/or misguided, as they fall victim to the trappings found in bad love poetry. Twelfth Night, of course, is famous for its consideration of the relationship between erotic desire and gender, as both male and female characters find themselves drawn to the androgynous "Cesario." Even as it steadily works its way toward an ending of sanctioned heterosexual couplings and marriage, the play also examines more overt same-sex desire in the Sebastian/Antonio sub-plot.
Questions About Love

1. Orsino spends a whole lot of time and energy professing his "love" for Olivia. Is he really as smitten with her as he says he is? Why or why not? 2. Olivia falls head over heels for "Cesario." What is it about "Cesario" that Olivia finds so attractive? What textual evidence would you use to back up your claim? Does the play ever
reconcile Olivias desire for "Cesario"? If so, how? If not, why not? 3. At the plays end, Viola reveals her true identity, which frees her up to marry Duke Orsino. But, Viola remains in her "Cesario" disguise because the sea captain is keeping her "maiden weeds" for her. What is Orsinos response to this? How does the situation influence our interpretation of their relationship? 4. How does the play treat same-sex desire? Does same-sex desire preclude attraction for members of the opposite sex? Why or why not? What evidence would you use to support your ideas?
Chew on Love
In Twelfth Night, love is often aligned with foolishness, injury, and disease, which suggests that the pursuit of romantic relationships is more harmful than good. Olivia and Orsinos responses to "Cesario" show that men and women can both be attracted to androgynous ("masculine" and "feminine") features in a romantic partner.
Theme of Gender
Gender is a biggie in Twelfth Night, and the play brilliantly demonstrates how gender, a socially constructed identity, can be "performed" and impersonated with the use of voice, costume, and mannerisms. The theme is largely explored in relation to Shakespeares profession as an actor and writer for a transvestite stage (in Elizabethan times, all-male acting companies performed the roles of women). The relationship between gender and performance is particularly complex in Twelfth Night because the part of Viola is played by a boy actor, who is cross-dressed as a female character, who disguises herself as a young man. Of course, the text also meditates on the relationship between gender and desire as it explores the erotics of androgyny.
Questions About Gender

1. Why does Viola disguise herself as a boy? How does Violas gender-bending "Cesario" disguise create comedic situations in the play? What is Violas response to the way other characters treat and respond to "Cesario"? 2. We know that Shakespeare wrote for an all-male stage, which means that Violas role was played by a boy actor who had to convince the audience that he was a woman who disguised herself as a man. How does this complicate or challenge our notions about "masculinity" and "femininity"? Is it possible for a person to have both characteristics? Why or why not? 3. What does Duke Orsino say about womens capacity to love? Is there evidence in the play to support or disprove Orsinos opinion? 4. Why does Sir Toby Belch convince Sir Andrew Aguecheek to challenge "Cesario" to a duel? What does this suggest about Tobys ideas about what it means to be a man?
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Chew on Gender
Twelfth Nights representation of cross-dressing suggests that gender is a fluid social category rather than a fixed identity. When Sir Andrew Aguecheek challenges "Cesario" to a duel, the comedic situation that ensues suggests that bravery has nothing to do with being anatomically male, which challenges traditional ideas about men and masculinity.
Theme of Language and Communication

Letters and love poetry circulate throughout Twelfth Night as the play reflects on the value and hidden dangers of written words. Shakespeare exposes the way poetry can lose all meaning and credibility when it follows formulaic patterns. There are plenty of self-conscious moments where Shakespeare reminds us of his position as a writer, especially when he draws our attention to the follies of conventional poetry even as he participates in the tradition. Yet, at various moments, Twelfth Night reminds us that, when verse is composed spontaneously and sincerely, poetry can have more power over human beings than anything else. Letters, too, can be both deceptive and freeing, depending on the writer. Even when words are "corrupted" by figures like Feste, they very often prove to be the best tools for revealing truth and wisdom.
Questions About Language and Communication

1. What kinds of letters and messages circulate throughout the play? 2. What is Olivias response to Duke Orsinos love messages? What does she say about memorized poetry? 3. How, exactly, does Malvolio come to believe that Countess Olivia is in love with him? 4. What is the plays overall attitude toward written language? Is it a good thing? A bad thing? What evidence would you use to support your claims?
Chew on Language and Communication

Even though Twelfth Night warns against the dangers of written language, it also suggests that language has the power to reveal the truth. Several characters in Twelfth Night compose and recite love poetry, which gives the play an opportunity to comment on the conventions of romantic verse.
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Theme of Society and Class

For modern audiences, its easy to forget about issues of "class" in Shakespeares famously gender-bending play. Yet, crossing gender boundaries is not the only kind of social transgression at work in Twelfth Night. The play is very much concerned with social ambition, especially as it relates to marrying above or below ones "estate" (rank). The issue is largely explored in the Malvolio plot, where the play takes particular pleasure in ridiculing Malvolios social-climbing fantasies. Of course, Shakespeare himself was not born into a noble or even wealthy family, and famously purchased his "Gentleman" title after a lucrative theater career, which may be of interest in relation to Festes status. While drunken fools like Sir Toby Belch eat, drink, and spend their way through life, the brilliant performer and "licensed fool," Feste, works for spare change and is often treated like a common servant.
Questions About Society and Class

1. Why does Sir Andrew Aguecheek decide to stay on as a guest of Toby at Olivias place? Why is he there to begin with? To party? Something else? 2. Why do Maria, Toby, Fabian, and Feste decide to play such a cruel prank on Malvolio? 3. Is Malvolio really in love with Olivia? If not, why does he fantasize about marrying her? 4. Why does Orsino say that Sebastians blood is "right noble"? Why should it matter?
Chew on Society and Class

Malvolios elaborate fantasies about marrying Olivia are less about love than they are about his social ambition and desire for power and prestige. While Twelfth Night seems to celebrate social upheaval like riotous partying and cross-dressing, it also ridicules ambitious attempts to cross class boundaries, which makes us question its ideas about social order.
Theme of Rules and Order

Twelfth Night takes its name from the Carnival-like festivities surrounding the Christian feast of the Epiphany. (Go to "Whats Up with the Title? " for more on this.) Like the Mardi Gras festival, Twelfth Night is a religious holiday and an opportunity to invert social order while indulging in unruly and riotous behavior. The play is also chock-full of drinking, carousing, eating, over-indulging, and other spirited activity. Yet, the rebellious spirit of Twelfth Night is not limited to overt "partying." Gender-bending, misguided pursuits of love, clowning, and the humiliation of the plays resident "Puritan" figure also embody the spirit of festival in the play.
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Questions About Rules and Order

1. Is the title of Twelfth Night, or What You Will an appropriate name for the play? Why or, why not? 2. How does Sir Toby Belch spend his time in the play? Why do other characters object to his behavior? 3. Aside from the obvious depictions of drinking, eating, and over-indulging, what other kinds of social unruliness does Twelfth Night portray? 4. We know that Twelfth Night refers to the Christian feast of the Epiphany. ("Epiphany" literally means "appearance" or "manifestation.") Does the concept of revelation ever appear in the play? If so, what is it that is revealed?
Chew on Rules and Order

Twelfth Night is a play that celebrates the unruly spirit of festivity and carnival-like activities. In addition to the rowdy partying associated with Twelfth Night festivities, the plays rebellious spirit is also apparent in its portrayal of a gender-bending, cross-dressing woman who breaks the laws of social decorum.
Theme of Lies and Deceit

The theme of deception is an important component of Twelfth Night. Physical disguises, forged documents, and blatant lies allow the play to think about the relationship between appearances and reality. In the case of physical disguises, costume, voice, and demeanor all forge ones social identity, but dont necessarily reveal ones inner nature. Words (both spoken and written) are also associated with deception, and leave characters vulnerable to trickery, especially when gullible figures already suffer from self-delusion.
Questions About Lies and Deceit

1. Who dons physical disguises in the play? Why do they do it? What are other characters responses to their costume changes? 2. Aside from physical disguises, are there other forms of deception in Twelfth Night? If so, what are they? 3. Malvolio is easily tricked by Marias letter. Why do you think that is? Is there something about him that makes Malvolio susceptible to the prank? If so, whats your evidence? 4. At one point, Viola says her disguise is "wicked." What is the plays overall attitude toward Violas deceptive clothes?
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Chew on Lies and Deceit

Twelfth Night is concerned with the possibility that outside appearances do not always match or align with inner character. In Twelfth Night, outward identity is not the only thing that can be disguised written letters and professions of love can also be concealed and associated with deception.
Theme of Foolishness and Folly

Twelfth Night goes to great lengths to expose the folly of human behavior. It takes shots at love-sickness, mourning, social ambition, and even moral propriety. Throughout the play, foolish behavior is often confused with "madness" or "lunacy." Yet, it would be a mistake to call the mostly light-hearted play mean spirited, perhaps because it makes fun of its own status as a "foolish" play. Because it reveals how theatrical performance can both expose and participate in foolery, the theme is closely related to "Art and Culture." Of course, "Foolishness and Folly" is a major part of the plays festive and subversive spirit, so be sure to think about the themes relationship to "Rules and Order" as well.
Questions About Foolishness and Folly

1. Why does Feste say Duke Orsinos mind is very "opal"? Does the description seem accurate? Why or why not? 2. What is Festes job in Twelfth Night? What do the other characters think of him? 3. Toby and Aguecheek are often called "fools" for their excessive drinking and partying. Is this the only kind of foolish behavior we see in the play? What are some other forms of foolery? 4. Why does Olivia refer to Malvolio as a "poor fool" when she learns about the prank?
Chew on Foolishness and Folly

While Festes antics are often associated with "foolishness," the play suggests that he is in fact the wisest character in the play. Twelfth Night playfully exposes the foolishness and folly of turning common human behaviors (like eating, drinking, loving, and mourning) into excessive and over-indulgent habits.
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Quotes
Art and Culture Quotes
VIOLA And what should I do in Illyria? My brother he is in Elysium. Perchance he is not drownd: what think you, sailors? (1.2.2) Thought: Twelfth Night is full of literary references, including allusions to Shakespeares own dramatic works. For example, the plays shipwreck plot involving the separation of twins echoes the plot of Shakespeares earlier play, The Comedy of Errors, in which the identical Antipholus brothers are separated at sea and eventually reunited. This idea, however, was borrowed from other writers like Plautus. Does this mean you cant understand or enjoy Twelfth Night if you havent read all this other stuff? No way you can totally master the play without being a Plautus expert. Its just good to keep in mind that Shakespeare is working within, borrowing from, and constantly revising a pretty rich literary tradition.
VIOLA prithee, and Ill pay thee bounteously, Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent. Ill serve this duke: Thou shall present me as an eunuch to him: It may be worth thy pains; for I can sing And speak to him in many sorts of music That will allow me very worth his service. (1.2.10) Thought: Violas disguise draws our attention to the circumstances of Shakespeares transvestite stage. "Violas" role was played by a boy actor, cross-dressed as a young woman, who disguises herself as a boy, "Cesario." We can never know how each member of Shakespeares audience responded to this, but we can certainly think about how we interpret this transvestite comedy, which challenges us to rethink our ideas about what it means to be "feminine" or "masculine."
VIOLA Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much. [] How will this fadge? my master loves her dearly; And I, poor monster, fond as much on him; (2.2.3)
Thought: When Viola learns that Olivia is in love with "Cesario," she blames her "disguise," as though the act of cross-dressing is solely to blame for Olivias attraction to her. Its a bit peculiar that Shakespeare (whose livelihood as a theatrical professional depends on the conventions of a transvestite stage) would put such words in the mouth of his heroine. Its especially peculiar given that harsh critics of the theater claimed that cross-dressing was a wicked and dangerous activity because it made it impossible to distinguish between men and women. Does Violas speech mean the play is apologetic for portraying cross-dressed performances? Well, even though Viola might feel bad about the problems her disguise causes Olivia, were leaning toward "no," especially given the fact that play goes out of its way to leave Viola on stage in her man-clothes at the end of the play. History Snack: Under "Historical Documents," weve provided you with a link to Philip Stubbess anti-theater rant in The Anatomy of Abuses (1583), but, just for fun, we thought wed give you a little sneak preview of what 16th century Puritans thought about cross-dressing. Note Stubbess use of the term "monster," which Viola echoes in her speech (above): "Our apparel was given as a sign distinctive, to discern betwixt sex and sex, and therefore one to wear the apparel of another sex, is [] to adulterate the verity of his own kind [] these women [who cross-dress] may not improperly be calledHermaphroditi, that is Monsters of both kinds, half women, half men." Where does Stubbes get this idea? From Deuteronomy 22:5. Heres the passage from the 1560 Geneva Bible: "The woman shal not weare that which perteineth unto the man, nether shal a man put on womans raiment: for all that do so, are abominacion unto the Lord thy God."
SIR ANDREW A mellifluous voice, as I am true knight. SIR TOBY BELCH A contagious breath. SIR ANDREW Very sweet and contagious, i faith. Thought: When Toby and Aguecheek say Festes voice is "contagious," they mean it as a compliment because Festes voice and his song are "catchy." ("Catch" also means "song.") We notice that Sir Andrew and Sir Toby Belch repeat some form of the word "contagious" three times in their response to Festes performance of a song. Whats up with that? To answer, we think its time for a little history snack. Theres a bit of an inside joke at work here. In 16th century England, the bubonic plague was a bit of a problem, it being so contagious and deadly and all. Critics of the theater and other forms of public entertainment where large groups of people gathered in tight quarters worried about the spread of disease. Elizabethans thought the plague was contracted by breathing in strong odors. (We can imagine what a crowded playhouse smelled like it being inhabited by those with questionable hygiene routines and no access to deodorant.) The plague was such a problem in Elizabethan England that theaters were often closed down during periods when the plagues death count got too high. Feste, a
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professional performer, is aligned with and somewhat representative of theatrical entertainment in the play. So, its pretty funny that hes associated with the plague in this passage. The big joke, of course, is that if Feste was sick with the plague, then his "breath" and singing really would be contagious.
FABIAN I would exult, man: you know, he brought me out o favour with my lady about a bear-baiting here. SIR TOBY BELCH To anger him well have the bear again; and we will fool him black and blue: shall we not, Sir Andrew? (2.5.2) Thought: Here, Fabian and Toby discuss the elaborate and cruel prank they play on Malvolio. Toby compares the prank to a bear-baiting contest that promises to injure Malvolio, or make him "black and blue." (Bear-baiting is a cruel Elizabethan blood-sport that involves chaining a bear to an object before setting a pack of dogs upon it. It was a very popular form of "entertainment" that was held in the same districts as Shakespeares plays. Both were associated with crude, lower-class patrons and critics of the theater often lumped the two activities together under one shameful umbrella.) OK. So what? Well, Tobys right to compare the prank on Malvolio to a bear-baiting contest. Malvolio escapes without serious physical injury, but the joke, as Olivia points out in Act 5, is incredibly cruel so much so that it casts a bit of a dark shadow over the "happy ending" of the play. On the other hand, theres also a sense of justice at work here since the judgmental Malvolio criticizes all forms of entertainment bear-baiting, theatrical performances, revels, etc. The fact that the prank turns Malvolio into an unknowing participant in spectacle and foolery that is not unlike the theater (remember, Malvolio is tricked into wearing a costume and playing the "role" of suitor to Olivia) and is part of what makes the joke so fitting and delicious.
VIOLA This fellow is wise enough to play the fool; And to do that well craves a kind of wit: He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, cheque at every feather That comes before his eye. This is a practise As full of labour as a wise mans art For folly that he wisely shows is fit; But wise men, folly-falln, quite taint their wit. (3.1.14)
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Thought: Here, Viola gives Feste (and Professional Fools everywhere) props for his artistic virtuosity. Despite being called "fool," Feste is a highly skilled performer, comedian, and musician with an incredible command of language and a shrewd mind. In fact, most critics say that Feste is the only "wise" person in the entire play, especially since he has a knack for sizing up the other characters and exposing the folly of their actions.
FABIAN If this were played upon a stage now, I could condemn it as an improbable fiction. SIR TOBY BELCH His very genius hath taken the infection of the device, man. MARIA Nay, pursue him now, lest the device take air and taint. (3.4.4) Thought: We love this passage for several reasons. First, Fabian acknowledges that the Malvolio prank (and just about every other plot devise in the play) is not realistic it is an "improbable fiction." He also draws our attention to the fact that the prank actually is being "played upon a stage" for Shakespeares audience. We can take Fabians comments as a sly reminder that, despite the "improbable" or unrealistic events in Twelfth Night (the dramatic ship wreck, the survival and reunification of the twins, etc.), part of enjoying any play is the process of suspending disbelief and giving in to the workings of the theater. Also, you might want to compare Tobys use of the term "infection" here to the joke about plague being spread in theaters in 2.3.8 (discussed above).
MARIA Thou mightst have done this without thy beard and gown: he sees thee not. (4.2.2) Thought: Marias comment that Feste neednt have bothered wearing a physical disguise when pretending to be a priest (Sir Topas) is pretty accurate. Malvolio has been locked in a very dark room and cant see anything. The prank depends more on Festes ability to alter his voice (think Robin Williams in Aladdin) than anything else. So, why does Feste bother donning a physical costume if it doesnt matter if he looks like a priest? There are lots of possible answers but heres our best guess. Festes "Sir Topas" costume isnt so much for Malvolio as it is for the visual pleasure of Shakespeares audience. Everybody likes silly disguises, right? The truth is that lots of people really enjoy watching the playful mockery of authority figures and Shakespeare gives us exactly what we want.
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ORSINO You can fool no more money out of me at this throw: if you will let your lady know I am here to speak with her, and bring her along with you, it may awake my bounty further. (5.1.19) Thought: As a professional Fool, Festes duties lie in his talents as licensed entertainer (comedian, musician, master of language and repartee, etc.). Here, he also seems to be a bit of a con man, as he is pretty skilled at getting people to loosen their purse-strings kind of like some playwrights we know who were also very skilled at getting audiences to pay for entertainment.
FESTE But thats all one, our play is done, And well strive to please you every day. (5.1.18) Thought: In the plays final moment, Feste closes the production with one last song, a reminder of the way music sets the tone for much of Twelfth Night, a play that also begins with music. This passage also raises interesting questions regarding the audiences relationship to the performers. Throughout the play, Feste is quite flippant and often seems not to care one way or the other if he "please[s]" anyone. On the one hand, his success and livelihood depends on his audiences positive responses. Audiences, as Feste often points out, are often foolish and dont know whats good for them. So, what do we make of Festes final lines? Are they sincere? Flippant? Something else? Some combination of both? What do you think?
Love Quotes
ORSINO If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die. (1.1.1) Thought: When Orsino speaks of feeding his "love" for Olivia with music in the plays famous opening lines, the Duke aligns erotic desire with a kind of gluttonous craving for food. Desire isnt something to be fulfilled or satiated in a healthy, loving way. Rather, the Duke says he must kill off his "appetite" for love by bingeing and "sickening." Yuck. This not only alerts us to Orsinos disturbing (and somewhat ridiculous) ideas about love, but also shows us how erotic desire is linked to violence and self-indulgence in Twelfth Night.
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ORSINO O, when mine eyes did see Olivia first, Methought she purged the air of pestilence! That instant was I turnd into a hart; And my desires, like fell and cruel hounds, Eer since pursue me. (1.1.2) Thought: Critics often note that this is one of the most telling speeches Orsino delivers in the play. When a servant invites the Duke to go hunting, Orsino responds with a speech about the way he felt when he first laid eyes on Olivia. Orsino plays off of Curios invitation to hunt for "hart" (male deer) and also draws on the myth of Acteon, a hunter who was transformed into a deer when he stumbled across Diana bathing. According to the myth, Diana further punished Acteon by setting the hunters own hounds upon him. OK, so what? Well, its important to note that in the Dukes version of the Acteon myth, he becomes the hunted "hart" (a pun on "heart") and his desires are like the "cruel hounds" that chase him/his heart. Notice anything weird about this scenario? Basically, Duke Orsino reveals that he (or his desire) chases after himself in this bizarre little fantasy that has absolutely nothing to do with Olivia (the woman he claims to love). Olivia is pretty much an irrelevant excuse for Duke Orsino to listening to moody music and conjuring up erotic fantasies about himself. What to make of this? Well, aside from the fact that Orsino is totally self-absorbed, this is good evidence that the Duke isnt so much in love with Olivia as he is in love with the idea of love.
ORSINO O, she that hath a heart of that fine frame To pay this debt of love but to a brother, How will she love, when the rich golden shaft Hath killd the flock of all affections else That live in her (1.1.4) Thought: Here again, Orsino reveals a skewed vision of desire. The first thing to note is that Orsino has a hard time wrapping his brain around the idea that Olivia isnt interested in him. He is also completely dismissive of the notion that Olivia could love so intensely a (dead) brother. Of course, Orsino does recognize Olivias capacity for "love," but he mistakenly believes that she will somehow channel all of her energy into a relationship with him. Its also interesting to note that the Duke uses another violent metaphor to describe the act of falling in love as a kind of violent piercing of the flesh (by Cupids arrow or, "golden shaft"). Just for fun, we can also compare this passage to other moments in the play where love is associated with hunting, which can also involve the use of arrows. See 1.1.2 (discussed above) and also where Olivia compares herself to an animal, or "prey" (3.1.8).
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VIOLA Ill do my best To woo your lady: Aside yet, a barful strife! Whoeer I woo, myself would be his wife. (1.4.7) Thought: For first-time readers or play-goers, Violas sudden announcement that shes smitten with Duke Orsino may come as a shock. (We know we were surprised by this the first time we read Twelfth Night.) How could Viola fall for Orsino so quickly when shes only been working for him for three days? Also, what does Viola see in this guy anyway? After all, Orsino comes off as a moody, self-centered guy who lounges around and spouts off about deer hunting metaphors and flowers all day. Its easy to dismiss the question by saying that Violas love for Orsino is totally unrealistic but is nevertheless important to the plot. But we think we can do much better than this. Does Viola fall for Orsino because hes a kind of passionate poet? Does this make her just as silly and foolish as Orsino, Olivia, and Malvolio? Violas a sharp girl. Does the play seem to suggest that love and desire transform even the brightest and shrewdest people into sappy fools? What do you think?
OLIVIA Thy tongue, thy face, thy limbs, actions and spirit, Do give thee five-fold blazon: not too fast: soft, soft! Unless the master were the man. How now! Even so quickly may one catch the plague? (1.5.48) Thought: Olivia seems surprised that she has fallen in love with "Cesario," who has been sent to woo her on behalf of Duke Orsino. (Remember, she has sworn off men for seven years while she mourns for her dead brother.) Here, Olivias comparison of falling in love to catching the bubonic "plague" (a serious problem in 16th-century England) is not unlike other passages weve seen that align desire with illness and injury. (Theres also a bawdy reference to venereal disease, which was rampant in Shakespeares London.) Note: The Bubonic Plague is also associated with the theater in Twelfth Night, so be sure to check out "Quotes" for "Art and Culture" if you want to think about this some more.
ANTONIO I could not stay behind you: my desire, More sharp than filed steel, did spur me forth;
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And not all love to see you, though so much As might have drawn one to a longer voyage, But jealousy what might befall your travel, Being skilless in these parts; which to a stranger, Unguided and unfriended, often prove Rough and unhospitable: my willing love, The rather by these arguments of fear, Set forth in your pursuit. (3.3.1) Thought: Theres no denying the intimacy of the relationship between Antonio and Sebastian, particularly when Antonio proclaims his devotion and willingness to risk his life to be with his beloved friend. Antonio says that he is driven by "desire," "jealousy," and "love" to follow Sebastian to Illyria, where Antonio is a wanted man. Just as Duke Orsino compares the experience of erotic love to a physically piercing "shaft" (see 1.1.4 above), Antonio suggests that his desire for Sebastian is "more sharp than filed steel" (an arrow, spear, sword whatever). This language not only gets at the sense that Antonios love causes him physical suffering and heartache, but it also consistent with the imagery of sexual penetration we see elsewhere. While its not clear if Antonio and Sebastian are lovers or just very close friends (though, one doesnt necessarily preclude the other), Antonios affection is consistent with the kinds of erotic (both hetero- and homoerotic) desire we see throughout Twelfth Night. Note: "Homoerotic" just refers to erotic emotions that are directed toward a person of the same sex. It can be helpful to note that homoerotic relationships and strong male friendships are quite common in Shakespeares work. See especially the relationship between Antonio and Bassanio in The Merchant of Venice and the relationship between the Poet and the young man in the Sonnets. History Snack: Elizabethans didnt see sexual orientation in black and white terms. While plenty of people (especially 16th-century Puritans) were opposed to same-sex couplings, the concept of "homosexual" identity vs. "heterosexual" identity didnt even exist. Nor did it play a role in forming ones identity in the way that sexual orientation does today. In Impersonations: The Performance of Gender in Shakespeares England , Stephen Orgel writes the following: "As proliferating studies in the history of sexuality have shown, the binary division between of sexual appetites into normative heterosexual and deviant homosexual is a very recent invention; neither homosexuality nor heterosexuality existed as categories for the Renaissance mind" (59).
SEBASTIAN This is the air; that is the glorious sun; This pearl she gave me, I do feelt and seet; And though tis wonder that enwraps me thus, Yet tis not madness. Wheres Antonio, then? I could not find him at the Elephant:
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Yet there he was; and there I found this credit, That he did range the town to seek me out. His counsel now might do me golden service; (4.3.1) Thought: Weve seen how deeply devoted Antonio is to Sebastian. Here, however, its pretty clear that Sebastian doesnt feel as strongly about Antonio. (Prior to this scene, Sebastian tries to ditch Antonio before travelling to Illyria and then jumps at the chance to hook up with Olivia.) Here, as Sebastian muses about the strangeness of Olivias love for him, Antonio is quite literally an afterthought. Sebastians question, "Wheres Antonio, then?" seems to be pinned on at the very end of a lengthy thought about Olivia and merits only half a line. Whats worse, Sebastian only wonders where Antonio is (the poor guy was arrested back in Act 3, Scene 4) because he wants someone to give him some advice about his new girlfriend. Ouch.
MALVOLIO To be Count Malvolio! [] Calling my officers about me, in my branched velvet gown; having come from a day-bed, where I have left Olivia sleeping,-[] And then to have the humour of state; and after a demure travel of regard, telling them I know my place as I would they should do theirs (2.5.2) Thought: Malvolios unrealistic fantasy about marrying Olivia is not so much about erotic desire as it is about Malvolios social aspirations. Here, he imagines himself leaving Olivias bed, not being in it for any length of time. He also seems to get excited about the idea of wearing fancy clothes and bossing around his servants and Sir Toby. Hmmthis seems to make him just as self-absorbed as, say, Duke Orsino. For more on Malvolios attempts at social climbing, check out "Society and Class." You know you want to.
ORSINO "Cesario", come; For so you shall be, while you are a man; But when in other habits you are seen, Orsinos mistress and his fancys queen. (5.1.30) Thought: Its pretty striking that Duke Orsino calls Viola "Cesario," even after they are engaged and Violas identity is revealed. Clearly, the Duke is not quite used to the idea that his "boy" is actually a girl. This passage also raises the question of whether or not Orsino is attracted to "Cesario" or "Viola" or both.
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FABIAN Maria writ The letter at Sir Tobys great importance; In recompense whereof he hath married her. (5.1.5) Thought: Wow. This play is really interested in pairing off heterosexual couples, including Sir Toby Belch and Maria. The announcement seems to come out of nowhere, but if we think about it, it makes sense. Toby and Maria constantly engage in sexually-charged banter and Toby more than once tells us that he thinks Marias wit and shrewdness are attractive.
Gender Quotes
CAPTAIN Be you his eunuch, and your mute Ill be: When my tongue blabs, then let mine eyes not see. (1.2.10) Thought: Violas high-pitched voice could potentially expose her as a woman when she disguises herself as a boy. The solution? Pretend to be a singing eunuch (a castrated man if the genitals are removed before puberty, the voice remains high-pitched, which was pleasing to many 16th-century music lovers). What really interests us about this passage, however, is the way the sea captain plays with the idea of bodily mutilation when he says hell be Violas "mute" (one who is unable to "blab" if his tongue has been removed). He also implies that his eyes should be put out as punishment if he exposes Violas secret, which is that she never has been castrated.
ORSINO Dear lad, believe it; For they shall yet belie thy happy years, That say thou art a man: Dianas lip Is not more smooth and rubious; thy small pipe Is as the maidens organ, shrill and sound, And all is semblative a womans part. (1.4.5) Thought: Orsinos sensual description of "Cesarios" mouth ("lip") throat ("small pipe"), and voice ("maidens organ") is made even more provocative because the Duke describes a very attractive and androgynous boy actor, who is playing the role of a young woman, who is cross-dressed as a boy. The passage is also an erotic description of the anatomical features of female genitalia. In a famous book called Shakespearean Negotiations, Stephen Greenblatt points to this
passage as evidence that "Orsino nicely captures the gender confusion in an unintentionally ironic description of his young page." In other words, Orsino isnt exactly aware of it, but his description reveals that "Cesarios" sex appeal is a combination of both masculine and feminine characteristics. The point? Androgyny is attractive.
MALVOLIO Not yet old enough for a man, nor young enough for a boy; as a squash is before tis a peascod, or a cooling when tis almost an apple: tis with him in standing water, between boy and man. (1.5.7) Thought: This is one of our favorite quotes. Here, Malvolio implies that "Cesario" isnt quite ripe enough to be a "man." He compares "him" to a "squash" (an undeveloped peapod) and a "codling" (an unripe apple) in his attempt to explain away "Cesarios" androgynous good looks. Here, Malvolio attributes "Cesarios" seemingly undeveloped body to prepubescent youthfulness. History Snack: Elizabethans often lumped young boys into the same category as girls and women. In fact, boys wore dresses until "breeching" age, when they were allowed to wear breeches (pants), go to school, and talk shop with their fathers and older boys.
ORSINO Then let thy love be younger than thyself, Or thy affection cannot hold the bent; For women are as roses, whose fair flower Being once displayd, doth fall that very hour. (2.4.8) Thought: Here, he tells "Cesario" to marry a young woman, because a womans beauty (like a flower) fades just as quickly as a husbands sexual desire for his wife (especially once hes "deflowered" or, slept with her).
VIOLA Alas, our frailty is the cause, not we! For such as we are made of, such we be. (2.2.3) Thought: Here, Viola blames Olivias desire for "Cesario" on womens "frailty." The idea is that women are emotionally and morally "frail" because their soft bodies (what they "are made of") are also "frail." We dont know about you, but this doesnt seem to square with the plays women characters.
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Saucy Maria, who comes up with the genius plan to trick Malvolio certainly isnt "frail." Neither is Olivia, who sees what she wants and goes after it. As for Viola, shes sharp, witty, and resourceful.
ORSINO There is no womans sides Can bide the beating of so strong a passion As love doth give my heart; no womans heart So big, to hold so much; they lack retention (2.4.16) Thought: Throughout the play, Duke Orsino makes several contradictory speeches about the way women love. Here, he claims that women are incapable of "passion." In fact, he implies that women are physically incapable of love their bodies are too weak to sustain the "beating" of a heart and they are also too small to contain big love. Critic Gail Kern Paster (the queen of Shakespeare and bodily functions) has shown that women were thought of as "leaky vessels" in the 16th century. (Youll know what that means in a second.) Here, Orsinos use of the term "retention" not only implies that Olivia is incontinent (cant control her bladder) but also suggests that she cant hold or "retain" any passionate feeling because it would seep or spill out of her, like urine. TMI? Sorry. Shakespeare wrote it, not us.
VIOLA Too well what love women to men may owe: In faith, they are as true of heart as we. My father had a daughter loved a man, As it might be, perhaps, were I a woman, I should your lordship. (2.4.10) Thought: OK, now this is more like it. Here, Viola defends the ladies to Orsinos claim that women are incapable of love and depth of feeling. We also like the crafty way Viola reveals her love to the Duke without him knowing that 1) shes in love with him and 2) shes her "fathers daughter." Clever girl. Seems like women are capable of "retention" after all (see discussion of 2.4.16 above).
SIR TOBY BELCH Go, Sir Andrew: scout me for him at the corner the orchard like a bum-baily: so soon as ever thou seest him, draw; and, as thou drawest swear horrible; for it comes to pass oft that a terrible oath, with a
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swaggering accent sharply twanged off, gives manhood more approbation than ever proof itself would have earned him. Away! (3.4.15) Thought: When Toby tricks Sir Andrew into picking a fight with "Cesario" to impress Olivia, he gives voice to the notion that "manhood" is synonymous with "swaggering" and fighting. (Its so not. Keep reading.)
VIOLA [Aside] Pray God defend me! A little thing would make me tell them how much I lack of a man. (3.4.12) Thought: When "Cesario" (Viola in disguise) prays that she doesnt get pummeled in the duel with Sir Andrew, she makes a joke about what she "lack[s]." Read alone, this passage would seem to suggest that being born with a penis somehow predisposes one to picking and winning a fight. However, given the fact that Sir Andrew was born with a penis and is a total coward, it seems that the play is pointing out that ones sex doesnt necessarily determine whether or not someone will be brave.
OLIVIA Blame not this haste of mine. If you mean well, Now go with me and with this holy man Into the chantry by: there, before him, And underneath that consecrated roof, Plight me the full assurance of your faith; (4.3.1) Thought: As readers we tend to focus on all the ways Violas behavior challenges notions of gender and what it means to act "like a woman." When Olivia steps into the traditionally male role and proposes marriage to Sebastian, were reminded of just how bold Olivia is. We might think Olivia is weak at the plays outset (when we learn that shes in seclusion over her brothers death), but by the time Olivia sets out to seduce "Cesario," we understand that Olivia is just as untraditional as Viola. Both women break out of traditional gender roles assigned to Elizabethan women (quiet, submissive, "pure," wearing a dress, etc.).
Language and Communication Quotes

ORSINO Stand you a while aloof, "Cesario", Thou knowst no less but all; I have unclaspd To thee the book even of my secret soul: Therefore, good youth, address thy gait unto her; (1.4.2)
Thought: Here, we learn that Duke Orsino has shared some private thoughts about his passion for Olivia with his page, "Cesario." Its not surprising that Orsino should align his feelings of desire ("the book of his secret soul") with a text because the Duke sees himself as a kind of poet. We see him regurgitating clichs from famous books of love throughout the play and in Act 1, Scene 5, we learn that Orsino sends "Cesario" to Olivia to recite a love poem/letter before the Countess.
VIOLA Alas, I took great pains to study it, and tis poetical. OLIVIA It is the more like to be feigned: I pray you, keep it in. (1.5.6) Thought: Olivia quickly shoots down "Cesarios" attempts to recite Orsinos love musings, but why? Viola is certainly impressed by the Dukes passion so why doesnt Olivia think Orsinos great? The obvious answer is that Olivias just not attracted to the Duke. But, here, we also see that Olivia thinks that carefully written or studied poetry is fake and insincere.
VIOLA Most sweet lady,-OLIVIA A comfortable doctrine, and much may be said of it. Where lies your text? VIOLA In Orsinos bosom. OLIVIA In his bosom! In what chapter of his bosom? VIOLA To answer by the method, in the first of his heart. OLIVIA O, I have read it: it is heresy. Have you no more to say? (1.5.10) Thought: This passage picks up and develops the idea that ones passionate feelings are like a "book." (Compare this to 1.4.2 above.) When "Cesario" tries again to recite Orsinos message to Olivia, the Countess calls him out and says shes "read it" all before. This not only reveals that Olivia really has read Orsinos love musings before, but it also suggests that Orsinos lines are unoriginal and can be found in just about every book of love poetry there is.
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VIOLA Make me a willow cabin at your gate, And call upon my soul within the house; Write loyal cantons of contemned love And sing them loud even in the dead of night; Halloo your name to the reverberate hills And make the babbling gossip of the air Cry out Olivia! O, You should not rest Between the elements of air and earth, But you should pity me! (1.5.19) Thought: Here, "Cesario" breaks away from reciting Orsinos poem/letter and explains how "he" ("Cesario") would go about winning Olivias heart in an impassioned and spontaneous speech. This poetic passage is famous for being cited by critics as evidence that Olivia falls in love with "Cesario" because "he" is able to compose poetry off the cuff, which Olivia thinks is more sincere than carefully planned verse. Of course, every reader knows that "Cesarios" speech is actually a very carefully penned passage (by Shakespeare).
VIOLA Lady, you are the cruellst she alive, If you will lead these graces to the grave And leave the world no copy. (1.5.15) Thought: When "Cesario" accuses Olivia of being "cruel" if she refuses to marry and have a child that looks like his/her mother (a "copy" of Olivia), "Cesario" suggests that Olivia is a kind of book that can be copied or reprinted. As weve seen, this idea that people are like texts is all over Twelfth Night. Such printing/reproduction metaphors are pretty common in other 16th-century literature. (Makes sense the printing press was pretty new and the greatest thing since sliced bread.) In fact, Shakespeare uses the same idea in his book of Sonnets. In sonnets 1-17, Shakespeare argues that the world will be a better place if his young male friend would marry and have a child. Its fun to compare "Cesarios" lines to the excerpt below: She [your mother] carvd thee for her seal, and meant thereby, Thou shouldst print more, not let that copy die. (From Sonnet # 17)
OLIVIA O, sir, I will not be so hard-hearted; I will give out divers schedules of my beauty: it shall be inventoried, and every particle and utensil labelled to my will: as, item, two lips, indifferent red; item, two grey eyes, with lids to
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them; item, one neck, one chin, and so forth. Were you sent hither to praise me? (1.5.15) Thought: After "Cesario" urges Olivia to marry Orsino and have a child (see previous discussion above), Olivia continues to make fun of the traditional conventions of love poetry, which tended to catalogue a womans beauty by comparing each of her body parts to yummy things in nature lips like berries, breasts like melons, eyes like stars, etc. Olivia totally mocks and disses the tradition when she describes herself as having "indifferent red lips," "two grey eyes with lids," etc. Shakespeare seems to be having a bit of fun here. Hes bagging on other poets, sure, but hes also making fun of himself since he also participates in the tradition. For fun, you can go to Shmoops discussion of Shakespeares Sonnet 130 ("My mistress eyes are nothing like the sun") but come right back.
MARIA I will drop in his way some obscure epistles of love; (2.3.8) Thought: Marias plan to forge a love letter (in order to trick Malvolio into believing Olivia loves him) furthers the plays notion that "epistles of love" are not to be trusted. Marias forged letter is not so different from Duke Orsinos messages for Olivia (which arent necessarily forged but are contrived nonetheless).
FESTE A sentence is but a cheveril glove to a good wit: how quickly the wrong side may be turned outward! (3.1.3) Thought: Festes claim that sayings are like kidskin ("cheveril") gloves suggests that words are easily twisted or turned inside out. Festes right, of course, and hes a master of witty wordplay, punning, etc. His remarks about language (and his spirited twisting of words throughout the play) are in keeping with the spirit of Twelfth Night festivities, where the world is temporarily "turned upside down" and inside out.
VIOLA Nay, thats certain; they that dally nicely with words may quickly make them wanton. FESTE I would, therefore, my sister had had no name, sir. VIOLA Why, man?
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FESTE Why, sir, her names a word; and to dally with that word might make my sister wanton. But indeed words are very rascals since bonds disgraced them. (3.1.4) Thought: Here, Feste demonstrates perfectly how words can be rebelliously twisted and turned inside out (compare to 3.1.3 above). The clown picks up on Violas use of the term "dally nicely" (play subtly) and makes a joke about a "wanton" woman (a woman who "dallies" or sleeps with a lot of men). OK, so what? Well, we could argue that Feste implies that language and wordplay can be dangerous or seedy, like a "wanton" or "disgraced" woman. Or, we could argue that Festes wordplay suggests that screwing around with words (Shakespeares job as a professional playwright and poet) is just as entertaining as literally screwing around. An even better answer? The passage holds both meanings simultaneously.
FESTE I am indeed not her fool, but her corrupter of words. (3.1.8) Thought: Festes assertion sums up nicely his relationship with Olivia. His job as a licensed fool not only involves entertaining the Countess, but also pointing out when Olivias behavior or speech is silly or foolish. (Like when Olivia calls him a "fool" and Feste shows her that Olivia is the real "fool" if she continues to mourn for her brother instead of engaging with the world around her.) Also, Festes use of the term "corruptor" recalls his association of wordplay with "wanton" women. (See 3.1.4 above.)
MALVOLIO Good fool, as ever thou wilt deserve well at my hand, help me to a candle, and pen, ink and paper: as I am a gentleman, I will live to be thankful to thee fort. (4.2.11) Thought: Its somewhat ironic that the imprisoned Malvolio begs for pen and paper to write a letter to Olivia. (Remember that a forged letter is the very thing that landed Malvolio in the dark room he seeks to escape.) This seems to be in keeping with the plays notion that written words can be both dangerous and liberating.
Society and Class Quotes
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VIOLA O that I served that lady And might not be delivered to the world, Till I had made mine own occasion mellow, What my estate is! (1.2.9) Thought: This passage reminds us that its not just her gender that Viola hides when she cross-dresses as "Cesario." She also disguises her "estate" (meaning her "general condition" and also her "social rank"). Violas assumed identity as "Cesario," then, suggests that both gender and class are not stable identities. Rather, they can be performed, disguised, and impersonated by just about anyone.
MARIA Ay, but hell have but a year in all these ducats: hes a very fool and a prodigal. (1.3.6) Thought: Even though Sir Andrew Aguecheek is a wealthy nobleman, Maria predicts that his foolish ways and excessive spending will drain his wealth within a year. This, perhaps, is why its so important for him to marry the wealthy heiress, Olivia.
SIR ANDREW Shell none o the count: shell not match above her degree, neither in estate, years, nor wit; I have heard her sweart. Tut, theres life int, man. (1.3.21) Thought: Sir Toby is preoccupied with marrying his frenemy, Sir Andrew Aguecheek, to his kinsman, Olivia. To encourage his pal, Toby insists that Olivia will not "match" (marry) above her "degree," which means her social rank ("estate"), her age ("years"), and her general intelligence ("wit"). In other words, Toby says Olivia wont marry the Duke, who is higher ranking, older, and smarter than Olivia. (We know better Olivias just not into him.) History Snack: These comments echo a common Elizabethan idea that nuptials among "equals" made for happier marriages. In 1568 Edward Tilney, one of Queen Elizabeths courtiers, wrote a famous book called The Flower of Friendship. Check out this excerpt from Tilneys book on marriage it sounds a lot like what Sir Toby says about Olivia: "equality is principally to be considered in [] matrimonial amity [friendship], as well as years, as are the gifts of nature, and fortune. For equalness herein, makes friendliness." Of course, even though Toby Belch argues for Olivia to marry a social "equal," hes clearly not at all concerned with his nieces happiness. Toby wants Aguecheek to marry Olivia for selfish
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reasons. Our theory? If Aguecheek marries Olivia, hell control Olivias wealth. Since Aguecheek pretty much does whatever Toby says, Toby would be able to access and to some degree, control Olivias fortune through Aguecheek. Olivias situation as an unmarried heiress with a dead father places her in a situation thats similar to that of Portia in The Merchant of Venice. Portia and Olivia are both powerful women with a lot of money and no husband to tell them what to do until Shakespeare marries them off, that is.
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 ladys house, that ye squeak out your coziers catches without any mitigation or remorse of voice? Is there no respect of place, persons, nor time in you? (2.3.1) Thought: When Toby and Aguecheek get rowdy at Olivias house, Malvolio is disgusted by their riotous behavior. By suggesting they have turned Olivias house into an "alehouse" (a bar), and by comparing their singing to the clanging sounds of "tinkers" (tradesmen who mended household metal goods like cups and spoons), Malvolio suggests that Sir Toby and Sir Andrew are acting like unmannered commoners instead of members of the nobility. Toby is not only rude, says Malvolio, hes also breaking rules of social decorum.
SIR TOBY BELCH Thourt i the right. Go, sir, rub your chain with crumbs. A stoup of wine, Maria! (2.3.18) Thought: When Malvolio chides Sir Toby and crew for their bad behavior, Toby tells him to "go rub" his stewards "chain" of office (a chain worn to symbolize Malvolios status as head servant, or "steward"). Here, Toby conveys that Malvolio has no right to scold his social betters. The dismissal is especially demeaning, as it suggests that Malvolio should go "rub" off.
MALVOLIO There is example fort; the lady of the Strachy married the yeoman of the wardrobe. (2.5.2) Thought: We learn of Malvolios secret social aspirations when Toby and company eavesdrop on his private thoughts. The fact that we eavesdrop right along with Tobys crew and know all about Marias forged letter seems to implicate us, as an audience, in the elaborate prank. In this way, our knowledge places us in cahoots with the mean-spirited jest.
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SIR ANDREW Marry, I saw your niece do more favours to the counts serving-man than ever she bestowed upon me; I sawt i the orchard. (3.2.2) Thought: Sir Andrew is clearly annoyed that Olivia isnt interested in marrying him. Here, it also seems that Olivias apparent desire for a mere "serving-man" ("Cesario") is also something that rubs Andrew the wrong way. This may partially explain why Andrews so easily convinced to challenge "Cesario" to a duel.
ORSINOYou can fool no more money out of me at this throw: if you will let your lady know I am here to speak with her, and bring her along with you, it may awake my bounty further. (5.1.9) Thought: Feste is quite good at getting people to empty their pockets. Here, hes appreciated for his comedic and linguistic chops but he is also treated like an errand boy who might get a nice tip if he fetches Olivia. Its hard for us to imagine that someone like, say, the brilliant Will Ferrell would be forced to run errands for chump change, but thats exactly what happens in this play. Some critics suggest that passages like this one self-consciously point to the way entertainers and performers (like Shakespeare and his colleagues) were regarded as mere servants or worse. (Note: In the movie Shakespeare in Love, the scene where Lord Wessex nearly runs down a group of performers with his horse perfectly captures this attitude.)
ORSINO Be not amazed; right noble is his blood. If this be so, as yet the glass seems true, I shall have share in this most happy wreck. (5.1.25) Thought: Its not entirely clear why Duke Orsino says this to Olivia after the Countess learns that she has married Sebastian and not "Cesario." It seems that Orsinos just as concerned with marriages between social equals as Toby Belch. (See our discussion of 1.3.21 above.) Is Orsino saying that Olivia shouldnt feel bad about marrying the wrong person because Sebastian is a member of the nobility, like her? Is a marriage among social equals really so important to the Duke? And why does Orsino immediately follow the assertion by saying "if this be true" hes going to marry Viola? Does this suggest that the only thing holding back Orsino from hooking up with "Cesario" was "Cesarios" status as a servant? Lots of questions and lots of possible answers. Have at it.
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FESTE Why, some are born great, some achieve greatness, and some have greatness thrown upon them. (5.1.18) Thought: Here, Feste mocks Malvolio, who earlier quoted these lines from Marias forged letter. We often think of the Malvolio sub-plot as being secondary to other issues in the play. Theres historical evidence, however, to support the idea that many of Shakespeares contemporaries found Malvolios aspirations for social domination or "greatness" (via marriage to Olivia) to be the plays most central issue. What do you think? Is Malvolio the plays central figure? History snack: In his copy of the Second Folio of Shakespeares work, King Charles I (b.1600-1649) crossed out the title of Twelfth Night and wrote in Malvolio! as a replacement. (Note: The play was written around 1601-1602, when Elizabeth I ruled England. Still, its cool to know that Charles read the play and thought enough about it, or himself, to change the title.)
Rules and Order Quotes

MARIA Ay, but you must confine yourself within the modest limits of order. SIR TOBY BELCH Confine! Ill confine myself no finer than I am: these clothes are good enough to drink in; and so be these boots too: an they be not, let them hang themselves in their own straps. (1.3.2) Thought: Tobys rebellious behavior and refusal to obey "the limits of order" renders him a kind of "Lord of Misrule" (a figure appointed to be in charge of festivities during holiday celebrations like Twelfth Night). Toby acts as the ring leader throughout the play, orchestrating entertainment and causing mischief (like the elaborate prank on Malvolio).
MARIA That quaffing and drinking will undo you: I heard my lady talk of it yesterday; and of a foolish knight that you brought in one night here to be her wooer. (1.3.3) Thought: Here, Maria accuses Toby of excessive "drinking" and "quaffing" (downing large amounts of liquid quickly). Critics note that Toby Belch (as his name suggests) is pretty nearly synonymous with the bodily excesses in which he indulges.
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SIR TOBY BELCH What a plague means my niece, to take the death of her brother thus? I am sure cares an enemy to life. MARIA By my troth, Sir Toby, you must come in earlier o nights: your cousin, my lady, takes great exceptions to your ill hours. (1.3.1) Thought: We know that Toby lives each day of his life as though it is a 24/7 party. While his excessive lifestyle is in keeping with the plays festive atmosphere, his behavior also seems grotesque in light of the fact that he carries on while Olivia is in mourning. On the other hand, we could say that Tobys partying draws attention to the excessiveness of Olivias sad demeanor, which is completely out of place in this play.
SIR TOBY BELCH O knight thou lackest a cup of canary: when did I see thee so put down? Thought: When Toby teases Sir Andrew Aguecheek for allowing Maria to bag on him and make him look silly, he emphasizes the way Maria too is aligned with the plays festive atmosphere (despite her half-hearted attempts to control Tobys behavior). Not only does Maria fool around with Toby and the guys when shes supposed to be keeping Olivia happy, shes also an unruly figure because shes a woman who talks back to men. As the mastermind behind the prank on Malvolio (Marias the one who forges the letter), Maria is placed in direct opposition to Puritanical figures like Malvolio.
SIR ANDREW Ill stay a month longer. I am a fellow o the strangest mind i the world; I delight in masques and revels sometimes altogether. (1.3.18) Thought: When Sir Andrew Aguecheek mentions that he enjoys "masques and revels," he reminds us that Twelfth Night not only depicts a carnival-like atmosphere, but is just the kind of play that Elizabethans would have enjoyed during the winter festival season. Note: We dont know for sure if it was written for or even performed on Twelfth Night. You can check out " Whats Up with the Title? " for more on this.
OLIVIA What think you of this fool, Malvolio? doth he not mend? (1.5.9)
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Thought: Here, Olivia compliments Feste the Clown, whose fooling and performance seems to embody the spirit of the play and the Twelfth Night festival. (He sings, dances, tells great jokes, and entertains audiences with his wit and humor, etc.) Its significant that Olivia uses the term "mend" because she not only implies that laughter is the best medicine for a sad mood, but she also alludes to the idea that plays and sanctioned celebrations like Twelfth Night and Mardi Gras are necessary for the health of the community they allow everyday folks to let loose, forget about their worries, and have a bit of cathartic fun.
SIR TOBY BELCH Out o tune, sir: ye lie. Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale? (2.3.17) Thought: Here, Toby upbraids Malvolio for having the audacity to criticize his social betters. Malvolio, after all, is Olivias "steward," not a member of the upper class. Toby refers to "cakes and ale," popular treats served during Twelfth Night festivities. (As every kid in Louisiana knows, "king cakes" are also popular during Mardi Gras.)
MARIA Marry, sir, sometimes he is a kind of puritan. SIR ANDREW O, if I thought that Id beat him like a dog! (2.3.6) Thought: Here, Maria sums up why Malvolio is so disliked by Toby and company he acts like a "kind of puritan," a member of a religious sect in 16th-century England that was opposed to the raucous festivities of Twelfth Night and other winter festivals. Humiliating Malvolio becomes important not merely as a petty act of revenge, but also as a larger way to challenge moral authority.
SIR TOBY BELCH Come, come, Ill go burn some sack; tis too late to go to bed now: come, knight; come, knight. (2.3.29) Thought: Sir Toby and Sir Andrew always manage to find an excuse to stay up all hours drinking "sack" (ale). (In fact, they go to dramatic lengths to convince themselves that being awake at, say, two oclock in the morning is just as healthy as waking up early.) Their determination to never let the party end, however, reminds us that Twelfth Night marks the end of the Christmas celebrations. Like all good things, even a spirited party season must come to an end and order must be restored. Yet, Shakespeare also seems a bit reluctant to return to the status quo. At the end of the play, he appears to restore social order (identities are revealed and
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heterosexual partners are paired up). He does, however, leave Viola in her "Cesario" disguise, which suggests that Shakespeare, like Toby and Andrew, doesnt really want to call it a night either.
ORSINO One face, one voice, one habit, and two persons, A natural perspective, that is and is not! Thought: Its easy to forget that Shakespeares play is named after a religious holiday, but in this passage Duke Orsinos response to the moment just before Viola reveals her identity we are reminded that Twelfth Night, or the Feast of the Epiphany, celebrates the birth and "revelation" of the Christ child. Critics often point to the connection between the plays many unveilings (Olivias removal of her mourning veil, Malvolios realization of the truth about the forged letter, the twins discovery that their siblings are alive, and Violas revelation that "Cesario" is a woman) echo revelations.
Lies and Deceit Quotes

VIOLA There is a fair behavior in thee, captain; And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe thou hast a mind that suits With this thy fair and outward character. (1.2.10) Thought: As Viola determines to disguise her identity by cross-dressing as a boy servant ("Cesario"), she considers the sea captains trustworthiness. This passage is interesting for the way Viola describes the way some people can seem "fair" in their outward behavior and demeanor while concealing, like a "beauteous wall," an inner nature that may be "pollut[ed]." Violas speech sets the tone for a play intent on thinking about whether or not whats outside matches whats on the inside.
OLIVIA Methinks I feel this youths perfections With an invisible and subtle stealth To creep in at mine eyes. Well, let it be. (1.5.48) Thought: Olivias use of the term "stealth" (the action of theft, plunder, or underhanded deception) is interesting because it suggests that falling in love makes one a kind of victim. In this way, Olivia suggests that "Cesario" has robbed her of something (her heart, her well being, etc.). The audience is also aware that Violas deceptive disguise plays an important role in
Olivias physical attraction to "Cesarios" "tongue, face, limbs," etc., which gives new meaning to the concept of "Cesarios" "stealth," or underhandedness.
SEBASTIAN But I perceive in you so excellent a touch of modesty, that you will not extort from me what I am willing to keep in; therefore it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian, which I called Roderigo. (2.1.2) Thought: Here, we learn that Sebastian has kept his name and personal background hidden from his new friend, Antonio. Its not exactly clear why Sebastian would lie to the man who saved his life by calling himself "Roderigo." Sebastians language in this passage suggests that he thinks of his identity as a very personal and intimate secret that is to be guarded and protected from those who would "extort" it from him. But why? Is it a defense mechanism that allows Sebastian to keep his fears about his lost twin a secret? Something else? What do you think?
VIOLA A blank, my lord. She never told her love, But let concealment, like a worm i the bud, Feed on her damask cheek: she pined in thought, And with a green and yellow melancholy She sat like patience on a monument (2.4.11) Thought: In this passage "Cesario" speaks to Duke Orsino of "his" "fathers daughter" (Viola), who kept her love a secret. "Cesarios" language is interesting here, as "he" suggests that secrets can eat away at, or "feed on," the person who keeps them hidden. The simile (a secret is like a worm eating a flower bud) also resonates with the plays portrayal of the relationship between love and food and love and disease or injury. Check out our thoughts on the theme of "Love" if you want to make some comparisons.
VIOLA I am not what I am. (3.1.29) Thought: "Cesarios" cryptic statement to Olivia, who has fallen in love with "him," is both revealing and concealing. Olivia has no idea that "Cesario" is really Viola in disguise. The audience, however, knows that "Cesario" is not what "he" appears to be. "Cesario" suggests that "he" is neither a boy nor an appropriate object for Olivia to love.
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VIOLA By innocence I swear, and by my youth I have one heart, one bosom and one truth, And that no woman has; nor never none Shall mistress be of it, save I alone. (3.1.32) Thought: "Cesarios" insistence on singularity "he" has " one heart, one bosom and one truth" ("hes" in love with and devoted to Orsino only) is striking in this passage, especially given the fact that "Cesarios" cryptic words hold double meaning. This, of course, also draws out attention to the doubleness of Violas disguised identity.
FESTE Well, Ill put it on, and I will dissemble myself int; and I would I were the first that ever dissembled in such a gown. (4.2.1) Thought: Festes light-hearted crack about wearing a curates costume to trick Malvolio suggests that, like everyone else, clergymen and other moral officials can be fraudulent. The point is that putting on an official costume doesnt necessarily make one virtuous.
FESTE Maintain no words with him, good fellow. Who, I, sir? not I, sir. God be wi you, good Sir Topas. Merry, amen. I will, sir, I will. (4.2. ) Thought: This scene can sometimes be confusing for readers because its hard to tell from the play script that Feste switches back and forth between his own voice and the voice of "Sir Topas" during the prank on Malvolio. Festes ability to "do voices" (like Robin Williams or Jim Carey) requires a ton of skill. Disguising ones voice is never easy but carrying on a dialogue singlehandedly requires even more artistic chops. Want more than our appreciation of this character? OK. Festes "Sir Topas" dialogue demonstrates that spoken language is not unlike costume when it comes to disguising ones identity. How we dress, pose and speak all play a role in how other people perceive us.
OLIVIA O, welcome, father! Father, I charge thee, by thy reverence, Here to unfold, though lately we intended
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To keep in darkness what occasion now Reveals before tis ripe, what thou dost know Hath newly passd between this youth and me. Thought: Here, Olivia asks the priest to confirm her marriage to the person she believes she married. (She has married Sebastian but thinks she wed "Cesario.") What interests us here is the language Olivia uses to describe the secret wedding that wasnt supposed to be revealed until later. She speaks of the secret as though it is an "[un]ripe" fruit or vegetable that must come to light prematurely. We cant help but notice that Olivia uses the same concept of ripeness as she did back in Act 3, Scene 1, when she promised not to sleep with the too young "Cesario" because his "youth" had not yet "come to harvest" (he had not yet reached puberty). You can also compare this passage to our discussion of 1.5.7 (under the theme of "Gender"), where Malvolio compares "Cesario" to an unripe peapod.
OLIVIA Alas, Malvolio, this is not my writing, Though, I confess, much like the character But out of question tis Marias hand. (5.1.28) Thought: Malvolio is easily duped into believing Marias forged letter was penned by Olivia. Here, Olivias revelation that the letter is a forgery alerts us to the fact that Malvolio is a bad reader. He not only fails to recognize the writing is not Olivias, he also reads into the letter when he interprets it to be about him, despite the fact that his name is never mentioned.
Foolishness and Folly Quotes

VALENTINE So please my lord, I might not be admitted; But from her handmaid do return this answer: The element itself, till seven years heat, Shall not behold her face at ample view; But, like a cloistress, she will veiled walk And water once a day her chamber round With eye-offending brine: all this to season A brothers dead love, which she would keep fresh And lasting in her sad remembrance. (1.1.1) Thought: Valentines message for Duke Orsino (that Olivia has sworn off the company of men to mourn for seven years) is somewhat comedic. Here, Valentine says that Olivias salty tears are a kind of "brine" that will preserve her dead brothers memory. This suggests that Olivias dead brother is, well, like a pickle (a cucumber preserved through the process of brining). Yuck! Olivias situation is sad, sure, but Shakespeare also pokes fun of Olivia when he compares her
to a pickle-maker the implication being that Olivia should find a better use of her time. Like falling in love with a living person.
SIR ANDREW An you part so, mistress, I would I might never draw sword again. Fair lady, do you think you have fools in hand? MARIA Sir, I have not you by the hand. SIR ANDREW Marry, but you shall have; and heres my hand. (1.3.7) Thought: Sir Andrew Aguecheeks not the brightest bulb, as Maria mocks him without Aguecheek realizing whats happening. (By taking his hand, Maria calls Andrew a "fool.") Aguecheek is also gullible when Sir Toby tricks him into challenging "Cesario" to a duel in order to win Olivia. This places Aguecheek in the same group as all the other silly characters that pursue unrealistic romantic partners.
SIR ANDREW What is Pourquoi? do or not do? I would I had bestowed that time in the tongues that I have in fencing, dancing and bear-baiting: O, had I but followed the arts! (1.3.14) Thought: Sir Andrew Aguecheek is not serious when he claims he wishes he had spent more time studying foreign languages and less time fooling around. Like Aguecheek, the play often mocks the serious pursuit of all things serious. On the other hand, Aguecheeks excessive foolery also seems to make him the plays poster child for how not to live ones life.
OLIVIA Go thou and seek the crowner, and let him sit o my coz; for hes in the third degree of drink, hes drowned: go, look after him. FESTE He is but mad yet, madonna; and the fool shall look to the madman. (1.5.20) Thought: Here, Feste points out that foolishness is a relative term when Olivia asks her "Fool" to look after the drunken and passed out Sir Toby Belch.
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OLIVIA Take the fool away. FESTE Do you not hear, fellows? Take away the lady. [] Good madonna, why mournest thou? OLIVIA Good fool, for my brothers death. FESTE I think his soul is in hell, madonna. OLIVIA I know his soul is in heaven, fool. FESTE The more fool, madonna, to mourn for your brothers soul being in heaven. Take away the fool, gentlemen. (1.5.1) Thought: Its true that Feste is a professional Fool, but the play seems pretty intent on demonstrating that he is also the wisest figure in the play. Here, he deftly shows Olivia why she, not him, is irrational in her love for a dead brother.
FESTE Now, the melancholy god protect thee; and the tailor make thy doublet of changeable taffeta, for thy mind is a very opal. (2.4.4) Thought: When Feste says Orsino ought to wear a "taffeta" doublet, he gives voice to the idea that Orsino is moody, fickle, and silly. (Taffeta is a fabric woven of various colored threads, which gives it an iridescent quality that changes color depending on the angle at which its viewed.) If Orsino were to wear a taffeta coat, his costume would match his "changeable" mind, which has been made "melancholy" by the Dukes obsession with love. Shakespeare beats us over the head with the idea that love, especially the Dukes self-love, is utterly ridiculous.
MALVOLIO Besides, you waste the treasure of your time with a foolish knight,-SIR ANDREW Thats me, I warrant you. MALVOLIO One Sir Andrew,-SIR ANDREW I knew twas I; for many do call me fool. (2.5.10)
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Thought: We love this moment in the play, especially because Aguecheek is proud of the fact that he guesses correctly that Malvolio is talking about him when M refers to a "foolish knight." Aguecheek knows enough to recognize when hes being slandered but he isnt smart enough to be mad at the insult.
FESTE I will help you tot. But tell me true, are you not mad indeed? or do you but counterfeit? (4.2.24) Thought: When Feste asks Malvolio if hes faking his madness, were reminded that madness is often synonymous with foolishness and folly in the play. Feste knows that Malvolio is neither insane nor pretending. In fact, Feste has just returned to Malvolios dark prison in his disguise as "Sir Topas," the priest who conducts a mock exorcism to rid Malvolio of his supposed "demons." Still, Malvolios ridiculous behavior and silly costume cause others (like Olivia) to think hes a "lunatic." Fun tip: Shakespeare will later return to the idea of madness as demonic possession in King Lear (c. 1603-1606) when Edgar, disguised as "Poor Tom," pretends to be a lunatic possessed by the devil.
ANTONIO That most ingrateful boy there by your side, From the rude seas enraged and foamy mouth Did I redeem; a wreck past hope he was: His life I gave him and did thereto add My love, without retention or restraint, All his in dedication; for his sake Did I expose myself, pure for his love, Into the danger of this adverse town (5.1.1) Thought: The plays notion of folly is not limited to the silly antics of characters like Aguecheek and Feste. Here, Antonio mistakes "Cesario" for Sebastian and accuses "Cesario" of cruelty and dishonesty. Though we know "Cesario" is innocent, this passage reminds us that Antonio has foolishly pursued Sebastian, who does not return Antonios love.
OLIVIA Alas, poor fool, how have they baffled thee! (5.1.29) Thought: Olivias sympathetic response to the revelation that Malvolio has been duped seems to be the only voice of compassion directed at Malvolios folly. How do you respond to the prank on Malvolio? Do you read it as a funny situation that shouldnt be taken seriously? Or, do you respond to it as a dark, disturbing element in an otherwise light-hearted play? Something
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else?
FESTE O, hes drunk, Sir Toby, an hour agone; his eyes were set at eight i the morning. (5.1.12) Thought: When Toby asks for "Dick" the surgeon after Sebastian bloodies his face, Feste informs him that the doctor is unavailable. In any other play, the lack of available medical help for a wounded man would be tragic. In Twelfth Night, however, the situation is comedic. In a play where just about everyone engages in outlandish behavior, even the doctor is too drunk to function.
Plot Analysis
Classic Plot Analysis
Initial Situation Viola survives a shipwreck and disguises herself as "Cesario." When Viola arrives on the shores of Illyria after her ship sinks and she is separated from her twin brother (Sebastian), she decides to dress as a boy and get a job working for Duke Orsino, who thinks hes in love with the Countess Olivia. We dont know if Sebastian is alive or dead, especially given the fact that Olivia, too, is mourning the loss of her brother, who is most definitely dead. Conflict Viola loves Orsino, who loves Olivia, who loves "Cesario" (Viola in disguise). This aint your everyday, run-of-the-mill love triangle. Since Viola is secretly cross-dressed as a boy, "Cesario," and is supposed to be wooing Olivia on behalf of "his" boss, Duke Orsino, things get a bit messy. Poor Violas life gets super-complicated when she realizes shes totally smitten with Orsino, who thinks shes just a pretty boy who happens to have luscious lips and a girly voice. To makes matters worse, Olivia falls in love with "Cesario" and has no idea that shes trying to sink her claws into the disguised Viola. Complication Sebastian is alive! Too bad everybody thinks hes "Cesario." Were glad Sebastians not dead, but when he decides to head over to Illyria, he causes a few problems because everybody thinks hes "Cesario" (who is actually his sister, Viola). In Illyria, Sebastian gets in a little dust up with Toby and Aguecheek and also marries Olivia, who is under the impression that she has successfully seduced Orsinos young page. When Viola
(disguised as "Cesario") is confronted about Sebastians actions, "he" denies everything, which makes Orsino and Olivia very unhappy. Climax Viola (dressed as "Cesario") comes face to face with Sebastian. Just when we think Viola is up a creek without a paddle, she comes face to face with her un-dead brother, Sebastian. This is awesome because the confusion about the whole "Cesario"/Sebastian mix-up becomes clear to everyone. But, Viola takes her sweet time revealing that shes not really "Cesario," which makes the climactic moment seem to drag on forever. When Viola finally reveals who she is, Sebastian is happy that his twin sister isnt at the bottom of the ocean. Its also now OK for Olivia to have been chasing "Cesario" because she can channel all of her passion into a relationship with Sebastian. Orsino is also free to hook up with the girl he thought was his pretty-boy page. Orsino and Viola will marry just as soon as Viola changes out of her "Cesario" get-up. Suspense Malvolio is let loose from the dark room. Uh-oh. Things were going so well that we almost forgot about Malvolio, who has been locked up in a dark room and treated as though hes a lunatic and possessed by demons. (Hes not hes really just an annoying and judgmental party-pooper who has been tricked by Maria and Toby.) Malvolio, however, is not a happy camper and fails to see the humor of the situation. Denouement Fabian fesses up. Fabian confesses to Olivia that he, Toby, and Maria are responsible for the elaborate prank on Malvolio that tricked him into acting like a madman. This isnt really news for the audience, but it clears things up for Olivia and Malvolio. When Malvolio vows to seek revenge on the whole lot of characters, we begin to worry and feel kind of bad for the poor guybut only for a couple of seconds. Conclusion Time to party, but Viola is still dressed as a boy. OK, we know for sure that Viola and Orsino will eventually get married and consummate their love. In the meantime, Shakespeare leaves the ending a little ambiguous (kind of like "Cesarios" gender). You see, Viola cant change out of her boy clothes just yet, because her dress is being held for her by the sea captain, who is temporarily unavailable. (Malvolio is holding him captive somewhere.) Orsino says that, as long as Viola is dressed as a boy, shell "be" "Cesario." Its not entirely clear what he means by this, but Shakespeare seems to invite us to make of it "what we will." You can check out "Whats Up with the Ending? " and "Whats Up with the Title?" if you want to read more about this.
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Booker's Seven Basic Plots Analysis: Comedy

Shadow of Darkness Violas separated from her brother during a shipwreck; Orsino pursues Olivia; Olivia mourns the death of her brother Viola survives a dramatic ship wreck (off-stage) and doesnt know if her twin brother, Sebastian, has survived. She disguises herself as "Cesario" and gets a job as Duke Orsinos page. Duke Orsino believes hes in love with Olivia and relentlessly pursues her. Olivia, who mourns her brothers death, has sworn off romantic relationships and cloisters herself in her room. Pressure of Darkness Violas "Cesario" disguise triggers a dramatic love triangle; Sebastian is mistaken for "Cesario" Disguised as "Cesario," Viola falls in love with her boss, Orsino, who loves Olivia. When Olivia meets "Cesario," she falls in love with the "boy," who doesnt return her favors. Olivia then marries Sebastian (Violas twin brother), thinking she has married "Cesario." When the Duke hears "Cesario" has married Olivia, hes devastated and disowns "him." Meanwhile, Malvolio has been tricked into thinking that Olivia loves him. His erratic behavior lands him in a dark room, where Toby and company hold him captive and let others believe Malvolio is crazy. Everything Comes To Light Sebastian and "Cesario" come face to face; Malvolio is released from the dark room When Sebastian and "Cesario" finally meet and the case of mistaken identities is cleared up, Olivia and Sebastian can go about their lives as man and wife. Viola then reveals her identity and gets engaged to Duke Orsino. The truth about Malvolios odd behavior and imprisonment are brought to light when Malvolio is freed from the dark room and confronts Olivia, who explains she never loved him. Malvolio swears revenge but, as Booker points out, hes never much of a threat to begin with. Everyone (except for Malvolio) is pleased as punch and Violas wedding to Orsino is imminent pending her change of wardrobe, that is.
Three Act Plot Analysis

Act I After surviving a shipwreck and being separated from her twin brother (Sebastian), Viola arrives in Illyria, where she dresses up as a boy named "Cesario" and becomes Duke Orsinos page. Her first job as "Cesario" is to play go-between. Shell have to convince Olivia (who has sworn off all men while she mourns the death of her brother) to marry Duke Orsino. Act II While trying to convince Olivia to hook up with the Duke, Viola (disguised as "Cesario") realizes that Olivia has a crush on "Cesario." (Guess Olivias no longer torn up about her dead brother.)
Plus, Viola admits that she (Viola) is totally in love with her boss, Duke Orsino, who has no idea that shes really a girl. Meanwhile, Violas twin brother isnt dead after all and has arrived in Illyria, where he gets into a fight and marries Olivia, who thinks he is "Cesario." Viola (still disguised as "Cesario") is in hot water when shes accused of beating up Toby and Aguecheek, marrying Olivia, and being a traitor to Duke Orsino. Act III When Viola comes face to face with Sebastian, everyone realizes that "Cesario" isnt the one who got into a street fight and married Olivia. Viola (still disguised as "Cesario") then reveals that that she is Sebastians twin sister, which means that she can marry Duke Orsino and live happily ever after. Orsino and Viola get engaged, but Viola cant change out of her man-clothes because the sea captain is holding her dress for her. Orsino says thats OK hell just continue to call Viola "boy" and "Cesario" until Viola looks more like a girl. So, while the play promises its audience a very tidy heterosexual union, were left with a homoerotic image of Orsino and "Cesario."
Study Questions
1. What are the possible meanings of the plays second title, What You Will? Do they have anything to do with the content of the play? If so, how might they relate to the themes and content of Twelfth Night? 2. How does Twelfth Night portray love? Are there different kinds of love? What are they? Are some forms of love better than others? Why or why not? 3. What is the effect of all the music and singing in Twelfth Night? Why do Feste and the others sing so many songs? Why doesnt "Cesario" sing? (After all, "he" is supposed to be a singing eunuch.) 4. Why does the play go out of its way to leave Viola in her "Cesario" disguise at the plays end? What are the implications of Viola getting engaged to Duke Orsino while still dressed as a boy? 5. We know that Twelfth Night was performed on Shakespeares all-male stage. What would the play look like if it were performed by a troupe of all female actors? (We think we smell a high school theater project)
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Characters
All Characters
Viola (Cesario) Character Analysis
Viola is Twelfth Nights gender-bending heroine. The survivor of a ship-wreck that separates her from her twin brother, Viola washes up on shore in Illyria, where she decides to cross-dress as a boy and take a job at Duke Orsinos court. As the boy servant, "Cesario," Viola quickly becomes Orsinos favorite page and is given the task of wooing Olivia on Orsinos behalf. As "Cesario," Violas a little too good at her job and she finds herself in the middle of a messy love triangle when Olivia falls in love with "Cesario," who cant return the Countesss favors because Viola is in love with the Duke. Got that? OK, good. So, why does Viola cross-dress as a boy? She says she wants to disguise her identity as a way to buy some time, to figure some stuff out. But why? Whats the motivation here? Well, the answer isnt quite clear. On the one hand, we could say that Viola disguises her identity because shes not capable of facing a world without her brother. This would align Viola with the likes of Olivia, who cloisters herself like a nun to mourn the death of her dead brother. On the other hand, Violas decision to cross-dress is proactive, which makes her defiant and bold, as she willingly faces whatever comes her way. While were asking questions, lets talk about why Viola falls in love with Duke Orsino, because its a bit baffling. Some critics argue that theres really no good reason for Viola to love Orsino a guy who is self-absorbed, moody, and obnoxious. This, they argue, makes Viola just as silly as all the other characters that fall for inappropriate partners (Olivia, Malvolio, and so on). Another answer to this question is that Viola falls for Orsino because hes passionate and poetic. (He may be a bad poet, but hes a poet nonetheless.) Whatever the reason, one thing is certain: Violas love, unlike the passions of other characters in the play, is constant and true. Rather than hop-scotch from one romantic interest to the next (Olivia, were talking about you), Violas devotion is rock-steady and perhaps even a bit self-destructive. (Why else would she agree to deliver love letters from the man she loves to another woman? Come on. Thats just brutal.) Anyway, Violas love for the Duke is the one thing that seems to pull the guy out of his self-absorbed world and into a relationship with another human being (rather than the relationship he seems to have with himself). Similarly, Viola or "Cesario" is also the magnetic figure that draws Olivia from her cloistered state of "mourning" into the land of the living. Even though Olivia doesnt wind up with "Cesario," she does transfer her desire from "Cesario" to Sebastian. Without Viola, then, Olivia and Orsino would remain locked into their self-absorbed
states. OK, so what? Were glad you asked. Lets think about the big picture for a moment. As a comedy that works toward the consummation of heterosexual desire (check out our discussion of "Genre"), Twelfth Night uses Viola/"Cesario" as the mechanism that throws the world into temporary chaos (her cross-dressing causes most of the mix-ups in the play) and then as the figure that restores order to the "topsy-turvy" world. So, what is it thats so appealing about Viola/"Cesario" anyway? Well, lets ask Olivia and Orsino, who are always talking about how luscious and sexy "Cesarios" androgynous features can be. (Androgynous just means "masculine" and "feminine.") Viola/"Cesario" just goes to show that androgynous features can be really attractive. Violas "Cesario" disguise also does a pretty good job of blurring the boundaries of gender, which just goes to show that gender can be impersonated or acted, like any kind of theatrical or social role.
Viola (Cesario) Timeline and Summary
1.2.1: Viola washes up on the coast of Illyria after surviving a shipwreck and being separated from her brother. 1.2.7: Viola learns about Duke Orsino and Olivia and decides to dress as a boy and get a job at the Dukes court. 1.4.1: After only a few days at Orsinos court, Viola (now disguised as "Cesario") is Orsinos favorite page. 1.4.7: After Orsino gives an erotic description of "Cesario," "Cesario" agrees to woo the Countess on Orsinos behalf. 1.4.7: Viola confesses to the audience that she is in love with Duke Orsino. 1.5.1: "Cesario" gains access to Olivia after being saucy with Olivias servants. "He" tries to deliver Orsinos love message but Olivia interrupts several times. 1.5.19: After being bullied by Olivia, "Cesario" spontaneously describes how "he" would woo Olivia if "he" was Duke Orsino. Olivia is very impressed by all this. 2.2.3 After leaving Olivias house, Malvolio catches up with "Cesario" and gives "him" a ring from Olivia. 2.2.3 "Cesario" now knows Olivia has a crush on "him" and feels bad for tricking the Countess. 2.4.3: When Duke Orsino asks "Cesario" if "he" is in love, "Cesario" admits that "he" is in love with someone who looks like the Duke and is about the same age. 2.4.5: "Cesario" is crushed when Duke Orsino says that womens beauty fades fast. 2.4.9: After the Duke says women are incapable of love, "Cesario" disagrees and says women can love just as much as men do. Then "Cesario" tells the story of how his "fathers daughter" kept her great love for a man a secret for so long she pined away. "Cesario" cryptically says that "he" is "all the daughters" and "all the sons" of his fathers
house. 3.1.1: "Cesario" returns to Olivias and meets Feste, after which "Cesario" says Feste is wise. 3.1.22: When "Cesario" has a private meeting with Olivia, who tries to seduce "him," "Cesario" rejects the Countesss love. 3.1.32: "Cesario" says "I am not what I am" and assures Olivia "he" doesnt love her or any other woman. 3.4.2: "Cesario" receives a jewel from Olivia, but reminds the Countess of the Dukes love. 3.4.5: "Cesario" is confronted by Toby, who says "Cesario" is about to get beat up. "Cesario" tries to run away, but its too late. 3.4.13: "Cesario" draws "his" sword against Sir Andrew Aguecheek against "his" will. Before anything happens, Antonio shows up and mistakes "Cesario" for Sebastian. 3.4.15: The cops show up and arrest Antonio for being a pirate and, when Antonio asks "Cesario" for the money he supposedly loaned "him," "Cesario" is confused. 3.4.17: "Cesario" suspects that Antonio has mistaken "him" for Sebastian but doesnt say anything about it. 5.1.1: "Cesario" is standing outside Olivias place with Orsino when Antonio and the cops walk by. Antonio accuses "Cesario" of being a disloyal friend and pretending not to know him. "Cesario" has no idea what Antonio is talking about. 5.1.4: Olivia shows up and yells at "Cesario" for being a neglectful husband so soon after their marriage vows. "Cesario" doesnt know what Olivias talking about and professes "his" love for the Duke. 5.1.11: Aguecheek and Toby Belch run out and say that "Cesario" just beat them up. 5.1.12: Sebastian shows up and "Cesario" comes face to face with him. Everybody figures out that they have mistaken Sebastian for "Cesario." Finally, "Cesario" reveals that "he" is really Viola, Sebastians lost twin sister. 5.1.17: Viola agrees to marry the Duke when he proposes but says she cant change her dress because the sea captain has it. The Duke says theyll get married when Viola changes her clothes. In the meantime, Viola and the Duke go inside Olivias house to celebrate.
Duke Orsino Character Analysis

Orsino is the powerful Duke of Illyria hes a bachelor and the object of Violas affection but hes trying to woo the inaccessible Olivia. The plays opening scene gives us our first gander at the Duke and we think this opening passage tells us a whole lot about his character. Its a bit lengthy, but hang in there because its worth it: If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die.
That strain again! it had a dying fall: O, it came oer my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odour! Enough; no more: Tis not so sweet now as it was before. (1.1.1) Orsinos Moodiness Here, Orsino commands his musicians to "play on" because music feeds his desires. But, he never lets the musicians finish as he interrupts by proclaiming, "Enough; no more; / Tis not so sweet now as it was before." What does this suggest about the Duke? Well, hes powerful, passionate, self-centered, and just a tad moody. (Notice how the nifty end-rhyme, "no more" / "before," works to highlight Orsinos fickleness.) Later in the play Feste pretty much nails Orsinos erratic moods when he says the Dukes "mind is very opal" (2.4.4). An opal gemstone, as we know, shimmers and shifts colors. This is not a compliment Feste implies that Orsino is temperamental and unstable. This reminds us of the tone of the overall play, which swings from highs to lows and everything else in between. (For more, see our discussion of "Tone," but come right back, or else.) So, if the Dukes moody and kind of silly and the plays mood shifts around a lot, does that make the play kind of silly too? You bet. Fool for Love We know from the opening scene (above) that Orsino is a passionate guy and we soon learn that hes set his sights on Olivia. But, when Orsino says hes in love with the Countess, should we believe him? Theres lots of evidence that says we shouldnt. For example, when Duke Orsino shares one of his erotic fantasies with us, we can see that it really has nothing to do with the Countess. Heres the Dukes description of the first time he saw Olivia: That instant was I turnd into a hart; And my desires, like fell and cruel hounds, Eer since pursue me. (1.1.3, our emphasis) Orsino says he was turned into a "hart" (a male deer and also a play on the word "heart") and that he was chased or hunted by his own desires, which were like "hounds." So, Orsino doesnt imagine his pursuit of Olivia so much as he fixates on his pursuit of himself in a fantasy that is all about him. (Shakespeare all but invites us to imagine Orsino alone his bed or on a bed of Violets, which he is also fond of "pursuing.") Notice the repeated use of personal pronouns, "me," "my," and "I." Orsino is all about Orsino, not Olivia. Orsino and Poetry Like we said, Orsino likes his metaphors and similes, which makes him a kind of poet. To be fair, the cadence or rhythm of the guys language is pretty nice, musical even, as we can see from the opening passage. So, props for that, but Orsino really needs to work on the content of
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his love musings, which consist of lots and lots of clichs. (Love is like insatiable hunger, music is the food that fuels passion, love is like the ocean, etc. We better stop there because our gag reflexes are kicking in.) Were not the only ones who think the Dukes a little over the top when "Cesario" tries to deliver the Dukes love message to the Countess, Olivia mockingly refers to the Dukes "hideous matter," a "heresy" that shes heard and "read" many times before (1.5.10). Its fun to make fun of Orsino (trust us, Shakespeare wants us to), but theres at least one character who takes him seriously and thats Viola. We often wonder what it is Viola sees in Orsino. As weve said before, our best guess is that she digs his fiery passion and poetic musings. (Feel free to disagree.) When Orsino reminds "Cesario" (Viola in disguise) that he has "unclaspd [] the book even of [his] secret soul," the audience knows that Orsino has shared with Viola/"Cesario" very intimate details of his oh-so-steamy passion. The fact that he compares his intimate thoughts to a "book" aligns Orsino with a volume of love poetry, which Viola is totally into. But wait! Isnt Shakespeare also a love poet? Why would he bag on love poetry when hes written an entire volume of it ( The Sonnets)? What can we tell you? The guys got a great sense of humor and isnt afraid to make fun of himself and his profession. He also seems interested in separating the good, the bad, and the ugly when it comes to poetry. You can check out more details about this by going to "Language and Communication," but be sure to get back here because were not done. Orsino and "Cesario" When Orsino learns that his trusty boy page "Cesario" is really a girl, Viola, he jumps at the chance to get engaged. Where did that come from? We thought he wanted to marry Olivia. The easy answer is that Twelfth Night is a comedy (see our discussion of "Genre"), so everybody has to get married at the end. OK, sure, but we think we can do better than that. Theres evidence in the play that Orsino has been attracted to "Cesario" all along, so its not so surprising that he would want to marry Viola when her identity is revealed. Remember how we said earlier that "Cesario" and Orsino share some pretty intimate moments that seem to cause Viola to fall for the Duke? Well, these moments also trigger Orsinos fondness for "Cesario," a figure he can confide in and trust. Also, the Duke thinks "Cesario" is pretty attractive. When "Cesario" says "aw, shucks" after the Duke says "Cesario" is youthful and attractive, heres what Orsino says: Dear lad, believe it; [] Dianas lip Is not more smooth and rubious; thy small pipe Is as the maidens organ, shrill and sound, And all is semblative a womans part. (1.4.5) Orsinos description of "Cesarios" luscious mouth and sweet voice is pretty steamy. (You can
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check out a more detailed discussion of this quote by going to "Love.") Even though Orsino thinks "Cesario" is a boy, hes clearly attracted to his pages "girlish" features. Does this mean that Orsino is only attracted to "Cesario" because "he" is girly looking? Not necessarily. Even after Orsino knows the truth about Viola, he still calls her "boy" and "Cesario," as the two get cozy and prepare to celebrate their upcoming nuptials. This suggests that the Duke is also attracted to Violas "boyish" charm. Part of Duke Orsinos function in the play, it seems, is to demonstrate how a person can be attracted to anothers "feminine" and "masculine" features.
Duke Orsino Timeline and Summary
1.1.1: Duke Orsino listens to music and talks about love. 1.1.2: When Curio asks Orsino if hes like to go hunting, Orsino tells us how he felt the first time he laid eyes on Olivia. 1.1.3: When Valentine informs the Duke that Olivia is mourning for her dead brother, Orsino says Olivia will be a great lover once she falls in love. 1.4.2: Orsino says that since hes shared secrets with "Cesario," his boy page should be the one to woo Olivia on his behalf. 1.4.5: Orsino describes "Cesarios" luscious mouth, voice, and throat before sending "him" off to Olivias. 2.4.1: The Duke discusses love with "Cesario." He warns "Cesario" to marry a younger woman and says that womens beauty fades, just like mens interest in them. Then he says that women are incapable of love and listens to "Cesario" tell a story about a woman who kept her great love a secret. He sends "Cesario" back to Olivias house. 5.1.1: Duke Orsino talks with Feste in front of Olivias house. 5.1.12: When Antonio is brought by in handcuffs and accuses "Cesario" of being deceitful, Orsino defends "Cesario. Orsino recognizes Antonio as a pirate who stole from him. 5.1.15: When Olivia returns home, Orsino hits on her but is rebuffed. 5.1.17: Orsino blows up when he thinks that "Cesario" has hooked up with Olivia. He storms off and "Cesario" chases him. 5.1.19: When Olivia claims to have married "Cesario," Orsino is devastated. 5.1.24: When Orsino sees Sebastian and "Cesario" together, hes amazed and cant believe his eyes. 5.1.26: Orsino is excited to see Viola in her dress once he learns that she has been disguising herself as "Cesario." 5.1.30: Viola cant change into her dress just yet the sea captain has her clothes. So, Duke Orsino says hell marry Viola after she changes. Until then, hell call her "Cesario."
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Countess Olivia Character Analysis

Countess Olivia is the gorgeous heiress with no father, brother (theyre both dead), or husband to tell her what to do or how to balance her checkbook. Characters like Duke Orsino, Sir Andrew Aguecheek, and the social climbing Malvolio are thinking that we cant have beautiful, rich, single women running around the play with all that power and wealth. Olivia needs to be married off, ASAP. These guys are all looking to bag Olivia, not because they love her, but because shes a target who seems to have been made just for them to wed and bed. If she can make them rich and/or increase their social status along the way, so much the better. Even Olivias opportunistic uncle, Sir Toby Belch, is really concerned about whether or not his nieces future marriage will be advantageous for him. (Tasty inter-textual tidbit: In this way, Olivias a lot like the heiress, Portia, in The Merchant of Venice. Bassanio initially goes after her for her money and its really important that she marries a suitable man instead of remaining single, especially since her father is dead. So important, in fact, that Portias father arranges her marriage from beyond the grave. Want more? Youll have to read about it in Shmoops The Merchant of Venice analysis. But save that for later because were not done here.) The point were trying to make is that Olivias status as a potential meal ticket for men places her at the center of the plays concern with the relationship between marriage and social status. (Check out more on this by going to "Society and Class.") Pickle-Making and Mourning When the play opens, Olivia is in deep mourning for her dead brother. How does she grieve? By cloistering herself like a nun, wearing a black veil, and sloshing her salty tears all over the ground. In the real world (or even a tragedy), we would probably feel sorry for Olivia, but Shakespeare makes it pretty clear that her behavior is just a smidge ridiculous. Not because she wont give Orsino, Aguecheek, or Malvolio the time of day, but because shes locked herself into a very silly lifestyle. In fact, when we first hear about her from Valentine, Olivias tears are compared to a "brine" that "seasons" her "brothers dead love" (1.1.1). Cue the uncomfortable laughter Olivias tears are compared to pickle juice, folks thats the salty stuff that preserves cucumbers. This makes her something like a pickle-maker, which in turn makes her dead brother something like a pickled cucumber. Pretty gross and pretty absurd, right? Even Feste the Clown, who we happen to think is the wisest cat in the whole play, goes out of his way to demonstrate the folly of Olivias behavior when he says that she, not Feste, is the real "fool" for spending all her time mourning instead of living her life. Her somber demeanor is also jarring in contrast to plays festive atmosphere, which is pretty conspicuous in light of the fact that Olivias house guests (Toby and Aguecheek) party all night while she traipses around her chamber weeping.
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OK, Olivias ridiculous. So what? Critics point out that her excessive mourning is not so different from Duke Orsinos self-absorbed ways. (Remember, Orsino claims that hes in love with Olivia, but we learn that he spends most of his time daydreaming about himself and the idea of love as he wallows around his couch all day.) Olivia, like the Duke, spends all of her time at home instead of engaging with the world around her. Shes also preoccupied with her own feelings of grief, which makes her just as self-involved as Orsino. The plays point? Love (when its directed at living, breathing beings that can reciprocate or want to reciprocate) is great. Being self-involved? Not so much. Olivia in Love Olivia, however, is not completely hopeless. Shes sassy, wry, and smart enough to recognize Orsinos ridiculous love messages for what they are a series of insincere clichs. In fact, Olivia becomes the plays mouthpiece for critiquing the conventions of love poetry when she bags on the Dukes attempts to woo her with the kind of cheesy lines that have been around for centuries. It seems that Olivia just needs the right person to bring her out of her bad mood. Enter "Cesario," the Dukes boy page who is really a girl, Viola, in disguise. When "Cesario" delivers a message from the Duke, Olivia turns from a pickle-making mourner into an obsessed woman who wants to sink her claws into "Cesario." So, what is it, exactly, that makes Olivia go for "Cesario"? Lets ask Olivia: Thy tongue, thy face, thy limbs, actions and spirit, Do give thee five-fold blazon (1.5.48) From the sound of it, Olivia thinks that everything about Cesario is attractive. Lets start with looks. "Cesarios" "face" and "limbs" are so delicious that "he" seems to be a walking, talking "blazon" (a love poem that describes women by comparing them to yummy things in nature lips like cherries, hair like silk, eyes like stars, and so on). "Cesario," it seems, is attractive to Olivia because "hes" both masculine and feminine looking. Olivias also attracted to "Cesarios" "spirit" and "tongue," meaning she likes "Cesarios" saucy demeanor and way with words (Cesario turns out to be quite the love poet). We can see from this passage that Olivias desire for "Cesario" does some pretty important work in Twelfth Night. In a play thats obsessed with showing us that gender is a slippery concept, Olivias attraction to "Cesario" demonstrates that androgyny can be attractive. Were also reminded that Olivia acts as the plays built-in barometer for good love poetry Orsinos scripted verses are lame, but "Cesarios" off-the-cuff musings are sincere and alluring. Rebellious Olivia Rather than sit around dreaming of sexy "Cesario," Olivia goes after "him." Now seems like a good time to remember that, according to traditional Elizabethan notions of gender, the "ideal" woman is supposed to be silent, chaste, and obedient. Olivia not only breaks out of the
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stereotypical role shes been assigned to when she proposes to the man she thinks is "Cesario" (Sebastian), but she also breaks from the idea that she should marry a man of the same age and social status when she pursues a young servant. All of this makes Olivia just as unruly and rebellious as figures like Toby Belch and Feste. Her behavior, then, is a significant part of the plays "topsy-turvy" spirit. We dont know about you, but we think this is pretty cool. Marriage to Sebastian OK, we know what youre thinking. Olivias still pretty silly because shes easily able to transfer all of her passion for "Cesario" into a relationship with Sebastian when she marries Violas look-alike brother. We admit that this is a little too convenient. But we also happen to think that theres something important to take away from the situation. Olivias marriage to Sebastian points to the conventions of Shakespearean comedy, a genre that always, always, always ends in marriage and heterosexual couplings as a way to reestablish order in the world. For all of Olivias unruliness, her marriage to a man ultimately helps to restore order in a chaotic and topsy-turvy world. For all of Olivias unruliness and unconventional behavior, her marriage to Sebastian helps to reestablish the plays sense of social order. Youre thinking this is a total drag, right? Check out "Whats Up with the Ending? " if you want to know how Shakespeare resists conforming to social and generic conventions by leaving Viola on stage in her "Cesario" get-up. Trust us. Youll like it.
Countess Olivia Timeline and Summary
1.1.1: We learn that Olivia has sent word to Orsino that shes not interested in marriage shes too busy mourning the death of her brother, which will go on for seven years. 1.5.1: Olivia pretends to be mad at her hired fool, Feste, but allows him to cheer her up by insulting her. Olivia tells Malvolio that hes a jerk if he doesnt love Feste. 1.5.32: Olivia meets with "Cesario" and bags on Orsinos lame attempts at love poetry, but finds herself smitten with the messenger. 1.5.48: Olivia sends "Cesario" a ring (by way of Malvolio) to let the page know shes in love with "him." 3.1.1: Olivia meets with "Cesario" in her garden and professes her love. Her seduction attempt fails. 3.4.15: Olivia thinks Malvolio has lost his mind when he capers around her place in yellow stockings and speaks nonsense. 3.4.18: Olivia tries again to seduce "Cesario," who rejects her. She gives "Cesario" a piece of jewelry with her tiny portrait painted on it. 4.1.1: Olivia interrupts a fight between Toby and Sebastian, who she believes is "Cesario." 4.1.3: Olivia seduces Sebastian, thinking hes "Cesario." 4.3.1: Olivia brings a priest to her garden and proposes to Sebastian (who she still believes is "Cesario." They run off to get hitched. 5.1.1: Olivia yells at "Cesario" for being a neglectful husband so soon after their marriage
vows. 5.1.7: Olivia thinks her husband is in love with Duke Orsino when "Cesario" chases after the Duke. 5.1.16: Olivia is psyched when Sebastian shows up and she realizes that she has married Violas twin brother and not "Cesario." 5.1.27: Olivia learns that Maria and Toby have been playing a joke on Malvolio. She explains to Malvolio that she never wrote him a love letter. When Malvolio runs off and swears revenge, Olivia is the only one to express regret for what has happened to her steward. Still, she parties with the others because shes newly married and Viola is engaged.
Malvolio Character Analysis

Malvolio is the steward (head servant) to Lady Olivia. Hes a big time hater and criticizes just about everything Tobys partying lifestyle, Festes licensed fooling, and all other forms of fun. His party-pooper ways and constant tattle-telling place a big giant bulls-eye on his back hes just asking for trouble. And thats exactly what he gets when hes duped into behaving like a "madman" to win the favor of Lady Olivia. Maria says that "sometimes he is a kind of puritan" (2.3.6), which aligns Malvolio with the religious group despised for its opposition to the theater, winter festivals, and other forms of entertainment (just about everything Twelfth Night celebrates). Malvolios not a Puritan, per se, but the fact that the play aligns him with the sect and goes out of its way to stage his humiliation makes Malvolios disgrace an important part of the plays rebellious, nose-thumbing spirit. Puritans were also accused of being power hungry and Malvolios secret social ambitions fit the bill. When we catch Malvolio daydreaming about marrying Countess Olivia, we learn that his desire has less to do with love than it has to do with his aspirations for social power. What does Malvolios power fantasy look like? Well, it involves wearing fancy clothes, bossing around the servants, and playing moral cop to Sir Tobys bad guy. Malvolio seems to be punished as much for his moral haughtiness as for his social climbing fantasies, which makes him central to the plays concern with the dangers of social ambition. Modern audiences often find Malvolio to be a sympathetic figure. Sure, hes annoying and he gets what he deserves when Toby and company lock him up in a dark room and perform a mock exorcism, but Malvolios circumstances make us uncomfortably aware of the sheer cruelty of treating a person like a madman for a few laughs. In fact, the play raises the point that the trick is like a bear-baiting, an Elizabethan blood-sport that involved chaining a bear to a post and setting a pack of dogs on it. In this sense, Malvolios comeuppance is a bit like what happens to Christopher Sly in The Taming of the Shrew. Malvolio and Sly are both abused for the entertainment of others including Shakespeares audience, which finds itself in cahoots
with the pranksters.
Sir Toby Belch Character Analysis

Toby Belch is Olivias free-loading uncle and the ring leader of a raucous little crew of party animals. He whoops it up 24/7, drinking, eating, belching, singing, dancing, and trash-talking his way through Twelfth Night. The only thing Toby doesnt do is sleep. Toby Belch, like his name, is pretty disgusting. But, his obnoxious ways are what make him such a significant figure in the play. His gluttony and rebellious attitude embody the spirit of Twelfth Night festivities, which were all about over-indulgence and the inversion of social order. For more on this, go to " Whats Up with the Title? " and come right back. Sure, Tobys lots of fun to hang out with at parties, but hes also kind of a jerk. He totally uses his drinking buddy, Sir Andrew Aguecheek, who supports Tobys extravagant lifestyle. He even plays a mean trick on Aguecheek when he convinces him to pick a fight with "Cesario" and then calls Aguecheek a wimp behind his back. He also doesnt give a flying rat if his late night carousing disturbs his niece while she grieves for her dead brother. Toby thinks its time for Olivia to snap out of it and get married. (In a way, hes right, but hes still a jerk.) In fact, Toby tries his best to broker a marriage between Olivia and Aguecheek so he can secure his extravagant lifestyle. His (failed) attempts at playing match-maker reveal his selfishness, sure, but Tobys attempts to marry Olivia to someone from the same social rank also gives voice to the plays concern with social ambition. For Toby, the thought of Olivia marrying a man outside of her "class" is pretty threatening. (Check out more on this by going to "Society and Class.") This is part of the reason why Toby goes berserk when he learns that Malvolio is a social climber with fantasies of marrying Olivia. Of course, Toby mostly hates Malvolio because hes a major party-pooper who disapproves of Tobys lifestyle.
Feste Character Analysis

Feste the Clown is Olivias licensed fool, which means he literally has a license to say whatever he wants. (Bet youd like to know where you can get your hands on one of those.) Festes job is to entertain by singing, dancing, cracking jokes, and bagging on everyone around him. As literary critics often point out, he seems to embody the spirit of Twelfth Night festivities, which are all about having a good time and flipping the bird to authority figures. (Check out "Whats Up with the Title?" for more on this.) Feste is a genius with words and has a knack for punning, word play, and witty repartee, which he puts to use throughout Twelfth Night. As "Cesario" points out, even though Feste is a "fool," hes the wisest cat in Illyria:
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This fellow is wise enough to play the fool; And to do that well craves a kind of wit: (3.1.14) Festes penchant for accurately sizing up situations and other characters puts him in a position to point out the folly of those around him, while earning a laugh and a couple of bucks at the same time. He points out that Olivias excessive mourning is over-indulgent and "foolish" and notes Duke Orsinos extreme moodiness when he compares Orsinos mind to an "opal" that changes color. Even while he clowns around with the rowdy Sir Toby, he also provides some shrewd commentary about Tobys excessive and dangerous behavior. So what? Well, this seems to place Feste both inside and outside the play. Hes very much a part of Twelfth Nights rowdy activity, but hes also able to stand outside the world of Illyria, looking in. In this way, Feste seems to break down the barrier between the audience and the characters on stage.
Maria Character Analysis

Maria is Olivias lady in waiting or, her "chambermaid" (but not the kind of chambermaid who scrubs toilets and changes sheets). Though we never see Olivia and Maria giggling about boys and painting each others toenails, we know that Maria is very close to Olivia close enough to know her ladys handwriting and close enough to forge it convincingly. Thats exactly what Maria does when she writes a letter that brings about Malvolios downfall. Why does she do it? As Olivias lady in waiting, its her job to keep Toby Belch and company from being too rowdy while Olivia mourns for her dead brother. At the same time, Marias a girl who likes to have a bit of fun herself. Shes saucy, sharp-tongued, witty, and knows how to put the drunken noblemen in their places. She also knows how to tell a dirty joke. So, when she gets fed up with Malvolios constant criticism, nagging, and judgmental ways, she masterminds a plot to teach him a lesson. Her scheme to humiliate and punish Malvolio is so clever that Toby Belch falls in love with her and the two get hitched (off-stage) by the plays end. We sort of see this coming, since Tobys always bragging to his drinking buddies that hes got a little somethin going on the side with Maria. Theres some debate about whether or not Maria is a social climber. Some study guides will tell you that Marias got her sights set on marrying up in the world. Were not sure if thats true, but the idea likely has to do with the fact that Toby says, "I could marry this wench for this device [] And ask no other dowry with her but such another jest" (2.5.23). In other words, Toby suggests hed marry Maria in a heartbeat and would forgo a dowry if she could come up with another great prank. OK, this may suggest that Maria doesnt have much of a dowry, and we know shes not as high ranking as Toby, but that doesnt really make her a gold-digger now does it? That said, we do think the play is awfully concerned with social ambition, which you can read more about by going to "Society and Class."
Marias not a big drinker or a rowdy party girl but she is one of the plays unruliest figures. Along with the rest of the zany crew (Toby, Aguecheek, Fabian, and Feste), Maria helps establish the plays festive and rebellious spirit.
Sir Andrew Aguecheek Character Analysis

Sir Andrew Aguecheek is Toby Belchs super-wealthy drinking buddy. Like Toby, Aguecheek is always down for some fun and spends most of his time drinking, singing, and dancing, which helps create the plays festive atmosphere. Aguecheek is Tobys out of town guest and hes hoping to make Olivia "Mrs. Andrew Aguecheek." He doesnt have a chance, of course, but Toby convinces him to stick around and have another go at the Countess in between beer guzzling sessions. Aguecheek is happy to stay and play, but when he complains that Olivia seems more interested in "Cesario," Toby convinces him to pick a sword fight to prove his "manhood" and his love to the Countess. Not being very bright, Sir Andrew falls for Tobys line and immediately begins to posture. Toby even gives Aguecheek some pointers about how to act like a "swearing," "swaggering," sword-drawing brawler. Sir Andrew gets into the role but immediately backs down when he thinks "Cesario" is ready to rumble. The scene is hilarious, of course, and most of Aguecheeks job is to be a comedic figure. We can also see that he aborted duel scene between "Cesario" and Aguecheek is an important moment in for the way it comments on the ambiguity of masculinity. Like "Cesarios" costume, Sir Andrews impersonation of "manhood" demonstrates that "manliness" can be performed and faked, just like any other social role.
Sebastian Character Analysis

Sebastian is Violas twin brother who has been lost at sea. Off-stage, hes separated from Viola at but survives the ship wreck by clinging to the ships mast. Eventually, hes fished out of the ocean by a sailor, Antonio, who falls in love with him. We dont see much of Sebastian in the play, but his character is significant in Twelfth Night. Once Sebastian travels to Illyria, hes mistaken by all for "Cesario" and quickly hooks up with the Countess. Sebastians unlikely marriage to Olivia allows her to redirect her desire for "Cesario" into a sanctioned heterosexual relationship. As weve seen before, Twelfth Night is a comedy and, as such, it works its way toward marriage and the reunification of families. That said, Sebastian clearly has a close relationship with Antonio, who may or may not be a lover. In this way, Sebastians relationship allows the play to study, briefly, the erotics of male
bonds. (You can go to "Quotes" for the theme of "Love" if you want to read about this in more detail.) Antonios relationship with Sebastian recalls that of Antonio and Bassanio in The Merchant of Venice, where homoerotics and male friendship are explored in much more depth and detail.
Antonio Character Analysis

Antonio is the sea captain who fishes Sebastian out of the ocean and saves his life. Hes a relatively minor character in the play, but his relationship with Sebastian is fascinating for the way it dramatizes male bonds. Critics argue about whether or not Antonio is a close friend to Sebastian or a lover (its possible that hes both). Theres no way to know for sure, but we explore Antonios erotic desire for Sebastian in detail in our discussion of the theme of "Love," which you can read more about under "Quotes."
Character Roles
Protagonist Viola ("Cesario") When Viola (who disguises herself as "Cesario") washes up on shore after being saved from a harrowing ship-wreck thats separated her from her twin brother, its pretty clear the play is interested in putting Violas life back together again. Even when Viola engages in some very self-destructive behavior (falling for a moody, self-centered Duke and then agreeing to deliver the guys love notes to another woman), we cant help but cheer her on. Antagonist Malvolio The "ill-willed" Malvolio, who rains on everybodys parade, is definitely the villain of our play. Hes haughty and likes to tattle on everybody. He also somehow manages to imprison the sea captain, who is holding Violas "maiden weeds" (her dress). This is a bit of a problem, since Duke Orsino says he wants to marry Viola after she changes clothes and starts to look more like a girl. We never really worry that Malvolio will actually ruin Violas chances for happiness the minor costume glitch is more of a delay than a permanent problem. Still, Malvolio is a total pain and he never really goes away. In fact, as he runs off stage, he promises to get revenge for the mean prank that made him look so foolish. Guide/Mentor Feste As a "licensed Fool," Feste is literally licensed to criticize and mock the people around him without getting into trouble. Feste doesnt just bag on people though hes a pretty wise cat who has a knack for showing others the folly of their ways while making them laugh at the same
time. Most of the characters in Twelfth Night appreciate Festes talents and recognize his genius. Malvolios the only one who doesnt get it, which is the biggest sign that Malvolio is a complete tool. Foil Olivia to Viola Before Olivia falls in love with Viola as "Cesario," the play sets her up as a kind of foil to Viola. Let us explain. When we hear about Olivia, we learn that shes mourning the death of her brother. So, when Viola appears on the coast of Illyria and worries that her brother has drowned in a recent ship wreck, we cant help but compare the two figures. Whereas Olivia decides to swear off men and don a black veil for seven whole years, Viola deals with her grief in a more proactive way. It may not make sense to us when Viola decides to dress like a boy and get a job at Duke Orsinos court, but at least she does something. Violas determination to forge ahead despite her sadness seems to highlight Olivias initial silliness and self-indulgence. Olivias whole "foil to Viola" gig doesnt last long, though, because Olivia falls head over heels in love with "Cesario," who literally and metaphorically gets Olivia to ditch the veil and reenter the land of the living. Romantic Interest Duke Orsino Duke Orsino, who rules over Illyria, is the object of Violas affection. He also claims to be in love with the Countess Olivia. (Hes not really in love with Olivia he just thinks he is. Hes also in love with the idea of being in love.) Orsino doesnt know (or pretends not to know) that Viola is disguised as his boy servant, "Cesario." Even though Orsino thinks "Cesario" is super-cute and loyal and all, he doesnt really entertain the idea of "Cesario" being a serious love interest. But when Orsino learns that "Cesario" is really a woman, he jumps on the chance to marry Viola.
Character Clues
Names Whats in a name? A whole lot. Sir Toby Belch, the beer-guzzling party guy, is named after the noisy expulsion of gas from the body through the mouth. Gross or, hilarious, depending on your personality. In fact, Toby is kind of like a great, big, walking belch hes noisy, explosive, obnoxious, and associated with excessive drinking and eating. Tobys drinking buddy, Sir Andrew Aguecheek is also associated with bodily excess. "Ague" means "violent fever," which implies that Andrews face or "cheek" is super red. At one point, Toby even makes a crack about the way Aguecheeks face is always flushed (because hes drinking 24/7). Our girl Viola shares her name with the stringed instrument. The name is fitting, given that
Violas got a great set of pipes and disguises herself as a singing eunuch (a castrated man with a high-pitched voice). Its funny, though, because we never do hear Viola sing. Whats up with that? Valentines name is also pretty appropriate given that hes Duke Orsinos original love messenger, the one who delivers sappy notes to Olivia before "Cesario" is given the job. We sort of love it that the first time we see Valentine in Act 1, Scene 1, hes delivering some not-so-loving news to Orsino Olivias not interested in the Duke, at all. Speaking of unloving, lets talk about the name "Malvolio," which literally translates to "ill will." This pretty much sums up the way the character rides through life on a high-horse, criticizing just about everyone around him and raining on the plays parade. Sex and Love A persons love life can reveal some pretty significant information. In Twelfth Night, erotic desire is one of the most important tools we have for assessing character. But, before we go any further, its important to note that Elizabethans didnt view sexual identity in black and white terms (homosexual vs. heterosexual), as is often the case today. The fact that characters like Duke Orsino and Olivia are both attracted to "Cesario" (a boy actor, cross-dressed as a female character, who is disguised as a young boy) doesnt necessarily imply that the characters are gay or straight or even gullible, for that matter. Critics of Twelfth Night have shown that Elizabethans would have seen the male and female characters attraction to the androgynous "Cesario" as completely normal. For more on this, check out our section on the theme of "Love." OK, now that were clear on that, lets get to the juicy details. Duke Orsino claims to be totally into Olivia. But, when Orsino shares one of his erotic fantasies in the first act, we quickly learn the Duke is really into himself and loves the idea of being in love. The point? Orsino is self-centered and foolish. Malvolios also an interesting figure because he too fantasizes about hooking up with Olivia. The fact that Malvolio wants to marry the Countess as a way to climb the social ladder (not because he loves or lust after her) reveals his ambition for power. In fact, it seems that Malvolio is not interested in sex at all, which speaks to his prudish attitude and his aversion to bodily pleasure (sex, food, drink, etc.). So, what about the ladies? Olivias sort of another ridiculous case in the beginning. When we first meet her, shes in love with her dead brothers memory and has sworn off living men for seven years. Lots of critics compare this behavior to that of Malvolio and Duke Orsino. Olivia, they say, is just as self-involved as the men who claim to love her. But, as soon as Olivia sees "Cesario," she forgets all about her state of mourning and tries to sink her claws into the Dukes young page. Her boldness and willingness to propose to the man she believes is "Cesario" (remember when she drags the more than willing Sebastian to the altar?) make it clear that
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Olivias not so weak and silly after all. She just needed a little nudge. This brings us to Viola, who is kind of a "pleaser." You see, Viola is smitten with Orsino. In fact, she loves him so much that she continues to deliver his love messages to another woman, even though it kills her. Violas also sympathetic toward Olivia when the Countess falls in love with her (as "Cesario"). What does this say about Viola? Well, shes a caring person who is more concerned about the feelings of others than she is concerned for herself. Shes also like a magnet, as she draws Olivia and Orsino from their self-involved states and moves them toward loving relationships with living, breathing partners. Actions In Twelfth Night, characters actions are pretty revealing. Take, for example, Sir Toby and Sir Andrew, who spend all of their time drinking, eating, carousing, and seeking out entertainment (plays, masques, bear-baitings, cruel pranks, you name it). Whats more, they never sleep and dont give a rats behind if they wake up Olivias sleeping household when they return home drunk. What does this say about them? Theyre self-indulgent, gluttonous, obnoxious, rebellious, and kind of mean-spirited. How does Olivia spend her time? Well, at the beginning of the play, shes in the middle of a seven year stretch of mourning for her dead brother. She roams around her house, wearing a black veil, and shedding tears all over the ground. Sound excessive? It is and the play makes fun of her for being ridiculous and self-absorbed. It screams, "Hey, Olivia. Get outside and start living your life!" Good thing Olivia does just that. When she falls for "Cesario" she pulls out all the stops sending him jewelry, professing her love, proposing marriage (to the guy she thinks is "Cesario" anyway). Olivia turns out to be aggressive. What about Orsino? Its funny you should ask because we never really see him doing "Duke-ish" things, like running his dukedom. The guy lolls around his house, daydreaming about love and reciting clichd poetry about a woman (Olivia) who doesnt give him the time of day. Hes also pretty annoying when he orders around his musicians. "Play something!" "No, stop. I dont want to hear it anymore!" "No, wait. Play another song." The guy is fickle, self-absorbed, and moody.
Literary Devices
Symbols, Imagery, Allegory
Letters Somebody forgot to tell the characters in Twelfth Night that its rude to pass notes in class. Yes, were aware this joke may not hold the same meaning for you as it does for those of us who experienced junior high without unlimited text-messaging. But seriously, whats up with all the
love letters? Duke Orsino makes "Cesario" memorize one so "he" can recite it to Olivia, Maria forges a love note in order to convince Malvolio that Olivia is in love with him, and Malvolio writes one to the Countess when hes imprisoned in the dark room. (OK, that last one is less a love letter than it is a hate note accusing Olivia of being a tease, but you get what were saying here.) So what? Well, it seems to us that all of these letters have one thing in common. Aside from their status as messages of love, theyre all associated with deception and dishonesty. First, Olivia totally rejects Orsinos love note as a contrived and insincere declaration of passion, and shes absolutely right. Orsino doesnt mean any of it (not about her anyway). The letter Maria forges to trick Malvolio, of course, is completely deceptive, and Malvolios letter to Olivia is utterly misinformed. Written words, it seems, are just not to be trusted, especially when theyre contrived. Hmm. Thats an awfully funny message for a wordsmith like Shakespeare to send his audience. Coins This one gives theater prop departments everywhere a run for their money (silly pun intended). Seriously, we dare you to count the number of times coins are exchanged in the play, because it seems like everyone is always passing around the scrilla. So, whats up with that? Well, lets think about this in terms of who has money, who hands out money, who loses or doesnt have money. The first time we see coinage circulating on the stage is when Viola gives the sea captain a few coins for cheering her up about her (possibly dead) brother in Act 1. For Viola, who also gives money to Feste and poor Antonio as hes carted off to jail, money is a symbol of her generous spirit. For someone like Sir Andrew Aguecheek, who burns through money like theres no tomorrow, excessive spending and the wasting of ducats is a symbol of his foolishness and excess. (Come on. The guys got to write home for more money before were halfway through the play.) For Antonio, who gives Sebastian his purse (dont laugh, every guy had one back then), money seems to represent Antonios willingness to give himself (in friendship, love, etc.) to Sebastian, who thinks nothing of taking it but gives nothing back in return. This is made even more apparent when Antonio is carted off to jail and desperately needs his cash to buy his way out of the jam. Meanwhile, Sebastian is off spending Antonios money and hooking up with Olivia. We know what youre thinking: what about Feste? Someone is always giving that guy money in the play. Youre right. Feste is a professional performer who works hard for his money. (Unlike Sir Toby, who sponges off everyone else.) Festes really clever (a bit of a con man, actually) when it comes to getting people to empty their pockets for a few jokes. At other times, Feste is paid to run errands, which reduces him to the status of a menial servant. In these moments, the exchange of coins between Feste and the upper-class characters seems to highlight the class
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difference between "lowly" entertainers and those with power and wealth. Jewels Theres a lot of bling going around in Twelfth Night. Come to think of it, Olivias the one who seems to be always handing it out. First, she gives a ring to "Cesario" (which is a secret signal that Olivias has a crush on "him"). Then, she gives "Cesario" a miniature (a piece of jewelry with Olivias tiny portrait on it). Duke Orsino also gives "Cesario" a jewel to pass along to Olivia. In these cases, the unwanted trinkets are emblematic of the givers love, which is ultimately rejected. Finally, though, when Olivia gives a pearl to Sebastian, Sebastian is pleased as punch, a pretty clear signal that he loves Olivia back. Too bad Olivia thinks shes given "Cesario" the pearl. By this time, love trinkets seem to have lost all meaning because everybodys just giving the stuff away like nothing. Rather than being a cherished symbol, jewels and hearts (the metaphorical kind, not the ones beating in our chests) become just another thing to be given carelessly and foolishly. Malvolios fantasy of fondling "some rich jewel" is a bit different. For Malvolio, a servant who desperately wants to marry up so he can boss people around, jewels signify power, not love. Consider this passage where Malvolio daydreams about what it would be like to have more authority than Sir Toby if he married the Countess Olivia: Seven of my people, with an obedient start, make out for him: I frown the while; and perchance wind up watch, or play with my some rich jewel. Toby approaches; courtesies there to me, (2.5.7) Here, Malvolio is about to say that he would act disinterested in Toby by "play[ing]" with his stewards chain (a chain worn by stewards to signify their status as head servant) while Toby bows before him. (We know that Malvolio walks around fondling his stewards chain because Sir Toby tells him to "go rub" it with "crumbs" in Act 2, Scene 3. You can read more about this quote under the theme of "Society and Class.") But, in his fantasy, Malvolio quickly corrects himself if he was married to Olivia, he wouldnt be wearing a menial stewards chain. So, Malvolio replaces the chain with "some rich jewel," a much more appropriate symbol of his status in this fantasy. Of course, the text also implies that Malvolios constant "rub[bing]" and "play[ing]" with his chain and the make-believe jewel suggests that Malvolio is more excited about power more than anything else. Costume (Malvolios Crazy Get-Up and Violas Disguise) Poor Malvolio. When he decides to wear a crazy get-up that involves yellow stockings (hosiery for men) with cross-garters, his silly costume becomes a glaring symbol of his social ambition and foolish desire for power. His yellow stockings are a lot like the "rich jewel" he fantasizes about stroking in Act 2, Scene 5 (see "Jewels" above). Huh? Let us explain.
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Malvolio, as we know, is duped into wearing the completely inappropriate and unfashionable duds when he reads Marias forged letter. The letter tricks Malvolio into believing that Olivia likes yellow stockings and that, by wearing them, Malvolio will be able to win Olivias hand in marriage, which would launch Malvolio from servant to nobleman. When Malvolio turns up in his silly outfit, Olivia thinks hes gone crazy. It also doesnt help that Malvolio is smiling like a loon and slobbering all over Olivias hand, which the letter also instructed him to do. The point is that Malvolio is Olivias servant and, according to Elizabethan attitudes about class and social rank, Malvolio would have to be crazy to think he had a chance with her. History Snack: There were actually rules (called "Sumptuary Laws") that governed choices in dress. One of our favorite literary critics, Lisa Jardine, shows that fabric, color, and style of costume were all symbols meant to distinguish and separate gender and class identities. It was a big no-no to wear something inappropriate to your social rank. That goes for wannabes like Malvolio and cross-dressers like Viola. Its funny, though, that Violas cross-dressing is not punished. Her temporary disguise as "Cesario" actually helps her land a husband. Its also responsible for Olivias marriage to Sebastian and the plays overall "happy ending." Perhaps this is because Viola is not a social climber like Malvolio. As Duke Orsino points out in Act 5, Scene 1, Violas "blood" is "right noble." Still, theres more to say about Violas "Cesario" disguise. The fact that Viola is so convincing as a pretty boy servant tells us that gender and class identity can be impersonated and performed. (It happened just about every day on the Elizabethan stage, after all.) While Malvolios inappropriate costume change is unsuccessful, Shakespeare goes out of his way to leave Viola on stage at the plays end in her male attire. Check out " Whats Up with the Ending?" for more on this. Dark Room After Maria, Toby, and their crew trick Malvolio into thinking Olivia loves him and wants him to behave foolishly, they lock him in a dark room and hold him prisoner. (They get away with it because Malvolios behavior leads Olivia to believe hes insane and possessed by demons.) Once Malvolios bound in the dark room, Feste pretends the room is as bright as day and says Malvolios "mad" or "ignorant" if he believes the room is dark. Darkness, then, becomes synonymous with Malvolios supposed insanity. Of course, the dark room is only temporary. Malvolio is eventually released and let out into the "light," where he learns the truth about the phony letter and Olivias true feelings. Its important to note that Malvolios revelation comes immediately after Viola and Sebastian come face to face and Viola reveals her identity. This seems to invite the audience to see Violas "Cesario" disguise as a kind of darkness that covers the truth throughout the play.
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Insanity Characters are always accusing others of being crazy. "Youre a lunatic!" "No, youre a nutcase!" and so forth. Madness or insanity is mostly code for wacky, silly, or zany, which is exactly how one can describe the hard partying of Toby and Aguecheek, the elaborate prank Maria devises to punish Malvolio, and the various misguided pursuits of love in Twelfth Night. We discuss this in more detail under "Foolishness and Folly," so be sure to check that out. Fluids The Ocean Like many other Shakespeare plays (The Comedy of Errors, Pericles, etc.), Twelfth Night is full of images and allusions to the sea. Its the place where the twins, Viola and Sebastian, are literally separated when their ship "splits" and sinks, which is the driving force of the plot. While the ocean is a wide and dangerous place where families can be destroyed and lives can be lost, the play offers a hopeful point of view. In one of the first vivid allusions to the ocean, the sea captain offers a stunning image: I saw your brother, Most provident in peril, bind himself, Courage and hope both teaching him the practise, To a strong mast that lived upon the sea; Where, like Arion on the dolphins back, I saw him hold acquaintance with the waves So long as I could see. (1.2.3) In this vivid description of Sebastians elegance and bravery in the face of a pretty harrowing experience, the ocean becomes a "sink or swim" metaphor for life. In tough situations, one can either drown or ride out stormy moments with the ease of "Arion" moving through "waves" on a "dolphins back." (Did that just come from the mouth of a sailor? You see, this is why we love Shakespeare. Instead of cursing, this sailor sounds like an eloquent handbook for lifes difficult moments.) Salty Tears Before we get too sentimental, we have to acknowledge some other, less gorgeous allusions to the ocean. In Act 1, Scene 1, Valentine calls Olivias tears (shed for her dead brother) "eye offending brine." Brine, of course, is a salty fluid thats synonymous with tears and, you guessed it, the ocean. Heres the gross part. Valentine also says that Olivias salty tears keep her dead brothers memory alive and "fresh," which sort of creates an image of Olivia preserving or, pickling her dead brother. Hungry as the Sea So, youre probably wondering how you can connect the plays representation of the ocean to food imagery. Heres an idea. Why not think about the way Duke Orsino compares his appetite for love to the ocean? When Orsino claims that women arent capable of passion, he says that
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his love "is all as hungry as the sea, / And can digest as much" (2.4.16). Here, the ocean becomes a simile for the Dukes voracious and insatiable erotic "appetite." This is funny and also a little scary we get the sense that Orsinos passion could swallow a person whole.
Food Food shows up everywhere in Twelfth Night, so weve broken it down into a couple of categories below. (Be sure to check out the relationship between "Food" and "Fluids" above.) Cakes and Ale When Malvolio criticizes Sir Toby Belch and company for their partying ways and lack of propriety Toby asks "Dost thou think, because thou art / virtuous, there shall be no more cakes and ale?" (2.3.17). In other words, Toby and his pals arent about to change their ways just because Malvolio disapproves. "Cakes and ale" were popular treats associated with Carnival-like festivities such as Twelfth Night. In the play, they become a symbol of the festival atmosphere and bodily excess. Love and Gluttony Youve probably already guessed that Tobys "cakes and ale" are related to other food imagery in the play. In the opening scene, for example, Duke Orsino calls for more music, which he refers to as "food" that fuels his excessive appetite for "love." Orsinos gluttonous addiction to "love," then, is linked to Tobys partying, which involves lots and lots of eating and drinking. Both the Duke and Toby are bingers and, while the play is all for fun and love, it seems to warn against over-indulgence.
Setting
Illyria Twelfth Night is set in the imaginary Dukedom of Illyria. Illyria happens to correspond to a place on the Adriatic coast, a place most Elizabethans knew nothing about and where most Londoners had never been. This distant and mysterious sounding place makes it a perfect setting for Shakespeare to stage his play. In some ways, Illyria sounds a lot like Hollywood its full of celebrities (like the famous bachelor, Duke Orsino, and the beautiful and single heiress, Lady Olivia) whose personal tragedies and love lives are aired like dirty laundry for all the world to see. In fact, some juicy bits of gossip about these local celebs prompt Viola to cross-dress and head to the court where she gets a job as a boy servant sounds like the ultimate acting gig if you ask us. Our point? The thing that draws Viola to Illyria is the same thing that draws in the audience
the promise of mystery, romance, and all that good stuff we associate with dreamy, far-off places. So, what do we actually find when we follow Viola to Illyria? Well, a world thats kind of out of whack. Over at Olivias, Toby and Sir Andrew have turned the Countesss pad into something like an English "alehouse," where Toby and his crew party 24/7. Even though were in the land of the nobility, Olivias place often looks more like the streets of New Orleans during Mardi Gras than it does the household of a Countess. In this unlikely setting, the mood is festive, zany, and rebellious like the streets of London would have been during Twelfth Night festivities. (For more on the festive spirit of the play, go to "Whats Up with the Title? ") Meanwhile, on the other side of the house, Olivia locks herself up in a room (like a cloistered nun) to somberly mourn the death of her brother. Weve never been in the home of a Countess, but were pretty sure its not supposed to look like a rowdy Elizabethan tavern or a nunnery. Thats just the point, right? The wonky setting helps to convey that the world has been "turned upside down." Toby and his crew are out of control and Olivias behavior is ridiculous. When we swing over to Duke Orsinos pad, we find another strange setting. Duke Orsinos live band plays at Orsinos whim while the Duke lolls around on the couch daydreaming about being in love. As we follow Viola from the sea coast to the Illyrian court at the plays outset, we might expect something out of our favorite book of fairy tales. When we get there, the furniture looks right, but the characters and their behavior are just a tad off.
Genre
Comedy Twelfth Night fits rather snuggly into the generic category of Shakespearean "Comedy." But what the heck does that mean anyway? That its funny? Something else? Well, the play is pretty hilarious, but "Comedy" involves a whole lot more than humor. The genre has a few basic rules to follow so lets look at our handy-dandy checklist and see if Twelfth Night fits: Light, humorous tone: Check. If Twelfth Night had a slogan it would be "Let the Good Times Roll." Theres plenty of humor and foolery in the play and, while Twelfth Night also thinks about some pretty weighty and controversial issues like sex, gender, love, social ambition it does so with a light, irreverent hand. (Sometimes, this can be the most effective way to explore heavy topics. Think of Jon Stewarts treatment of politics in The Daily Show. Its silly and light but also pretty shrewd.
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Clever Dialogue and Witty Banter: Check. Even when characters are drunk and on the verge of passing out, they somehow manage to blow us away with their snappy wordplay and witty repartee.
Deception and Disguise: Check. Viola cross-dresses as a boy ("Cesario"), her brother Sebastian pretends to be some guy named "Roderigo," and Maria and Toby trick Malvolio into believing Olivia loves him. Sounds like "deception and disguise" to us.
Mistaken Identity: Check. When Viola cross-dresses as "Cesario," she looks a whole lot like her fraternal twin bro, Sebastian. So, when Sebastian rolls up into Illyria, marries Olivia, and beats the heck out of Toby and Aguecheek, everybody blames "Cesario" for his actions and Viola finds herself in quite a jam.
Love Overcomes Obstacles: Check. Viola wants to marry Duke Orsino, but she cant because Orsino is in lust with Olivia. Plus, Orsino thinks Viola is a boy, "Cesario." Also, Olivia wants "Cesario," but she cant have "him" because "Cesario" is Viola, who loves Orsino. We could go on, but you get the picture. Everyones in love, but things are a mess. Thats the "obstacle" part. Heres how love "overcomes" obstacles. When Sebastian shows up, Olivia has no problem transferring her lust for "Cesario" to Violas look-alike brother. (Yeah, its ridiculous but so what?) Sebastians a bachelor so, hey, why not marry Olivia? Now that Viola knows her brothers alive, she can reveal her identity, which is a good thing because now the Duke can marry her. That was easy.
Family Drama: Check. Its pretty clear from the beginning that theres some family drama up in this play. Olivias brother is dead he died soon after Olivias father passed away, which is why Olivias in mourning for the first part of the play. Also, Viola and Sebastian were separated at sea when their ship sank. Bummer.
Multiple Plots with Twists and Turns: If youve been paying attention to our checklist so far, this ones self-explanatory. So, check.
(Re)unification of Families: Check. We couldnt help it. We snuck a peek at the plays ending. Even though Olivias dad and brother dont return from the dead, Viola and Sebastian are reunited after Sebastian randomly decides to travel to Illyria, where he finds his little sis has been parading around as a boy.
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Marriage: Check. This is a biggie. Even though the play taunts us with the possibility of some unconventional couplings (like "Cesario" might be mauled by Olivia), Twelfth Night, ends in the marriage and/or heterosexual pairings. This is a way for order to be restored to the Elizabethan universe (they were very big on nuptials). By the end, Olivia hooks up with Sebastian in a secret ceremony, Toby and Maria get hitched (off-stage) and Viola and Orsino get engaged. But! Shakespeare isnt so conventional. Violas marriage to Orsino is delayed (temporarily but its a delay nonetheless), because she doesnt have a change of clothes. This would be a good time for you to read "Whats Up with the Ending? " because were at the end of our checklist.
Tone
Moody (as in Unstable and Erratic) Festive, dark, you name it. Like the moody Duke Orsino (who you can read all about in our analysis of "Characters"), this play fluctuates between highs and lows in a matter of seconds. Were not complaining we love emotional roller coasters. OK, now we hate them. No wait, now we love them again, especially when they oscillate (your SAT study word of the day) between the rebellious partying of Toby Belch, the mournful longing of Countess Olivia, the festive antics of the licensed Fool, and the hopelessly romantic musings of Viola. Who knew a play could have mood swings?
Writing Style
Poetic, Musical, Sometimes Bawdy Critics like to say that Twelfth Night is one of Shakespeares most poetical and musical plays. What the heck does that mean? Well, it means that Big Willy puts some gorgeous lines in the mouths of characters like Viola, Olivia, and Orsino, who often sound more like skillful poets than the average lovelorn character. Dont be put off or intimidated by this. Some of the most eloquent moments in the play are often the places where Shakespeare makes fun of the shallowness of love poetry, even as he knocks our socks off with his own skill as a writer. Consider the nice little rhymed couplet that marks the end of one of Duke Orsinos musings on love. Note: a "couplet" is simply two (a couple) lines of verse with the same "meter" (rhythm). A "rhymed couplet," then, is two lines of verse with rhymed endings like flowers and bowers below: Away before me to sweet beds of flowers:
Love-thoughts lie rich when canopied with bowers.(1.1.4) Sounds nice, right? It sure is. But, theres also something kind of silly about the whole thing. Duke Orsino announces hes off to loll around on a "sweet bed" of flowers, which, apparently, is more comfortable than a couch and more conducive to day-dreaming about love. Of course, Shakespeare knows this is silly and clich and he invites the audience to laugh at Orsinos over-the-top musings even while they enjoy the sound of his poetry. Theres also plenty of singing in the play. Its difficult to tell which song lyrics are original to Shakespeare and which are borrowed or adapted from popular tunes. Most critics agree that "O Mistress Mine," performed by Feste is Shakespeares invention: O mistress mine, where are you roaming? O, stay and hear; your true loves coming, That can sing both high and low: Trip no further, pretty sweeting; Journeys end in lovers meeting, Every wise mans son doth know. (2.3.4) Of course, not all songs are this complete or coherent. Toby and Andrew often belt out little bits and pieces of popular tunes during their drunken carousing. In a nod to "The Twelve Days of Christmas," Tobys rowdy singing is interrupted when Maria tells him to pipe down: SIR TOBY BELCH [Sings] O, the twelfth day of December,-MARIA For the love o God, peace! Of course, Twelfth Night wouldnt be a Shakespeare play if it wasnt full of dirty jokes and bawdy word play. Check out this clever conversation between Maria and Feste: MARIA my lady will hang thee for thy absence. FESTE Let her hang me: he that is well hanged in this world needs to fear no colours. [] MARIA Yet you will be hanged for being so long absent; or, to be turned away, is not that as good as a hanging to you? FESTE Many a good hanging prevents a bad marriage; and,
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for turning away, let summer bear it out. (1.5.1) When Maria warns Feste that Olivia will "hang" him with a noose or fire him for playing hooky from work, Feste turns the comment into a joke about the size of his penis. His quip that "many a hanging prevents a bad marriage," has a double meaning. First, he suggests that in romantic relationships, its often a good thing when a woman "turns away" a man because it prevents couples from entering into lousy marriages. Shakespeares second implication is that a "well-hung" man can "prevent" a bad marriage by pleasing his wife in bed. Festes word play is definitely entertaining, but it also reveals something important about the plays ideas about language and authority. Feste is rebellious and makes a joke out of a warning that hes in trouble with his "lady" (the woman he serves). Besides being fun, language plays an important role in subverting (overturning) authority, which is what the "festive" play is all about.
What's Up with the Title?

You might have guessed that Twelfth Night, or What You Will (William Shakespeares only play with an alternate title) has something to do with the popular song "The Twelve Days of Christmas." Twelfth Night (January 6) marks the Feast of the Epiphany, a holiday in Western Christian theology that celebrates the day that the magi (a.k.a. three wise men) presented gifts to the newborn Jesus. Critics argue about whether or not the play was written specifically for Twelfth Night. Leslie Hotson argues that Twelfth Night was performed for Queen Elizabeth and her guest, Count Don Virginio Orsino, on January 6, 1601. (Orsino, of course, is the name of Violas love interest in the play.) Plenty of scholars disagree and argue that the play was written later, but even those who refute Hotsons argument acknowledge that the world of the play celebrates the spirit of Twelfth Night festivities. Twelfth Night is a religious holiday but it marks the end of a period of major celebration and revelry, and boy did the Elizabethans know how to party. During the Twelfth Night season people ate, danced, and drank themselves silly. Think Mardi Gras, which is another religious holiday associated with the inversion of rules and social disorder. Elizabethan communities often appointed young boys as "Lords of Misrule" to play king for a day and reign over the festivities. (They borrowed this from pagan winter celebrations like the Roman Saturnalia.) Twelfth Night, then, was a way for people to let loose, blow off some steam, and thumb their noses at authority. This attitude can be seen pretty clearly in figures like Sir Toby Belch and Sir Andrew Aguecheek, who party like rock stars 24/7. Festes singing and foolery also embodies the plays festive and rebellious spirit. Check out "Quotes" for "Rules and Order" for more on this.
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The second part of the plays title, What You Will, also seems to get at this celebratory, anything goes attitude captured in the play, where all characters cross social boundaries and engage in foolery (even if theyre unaware of their behavior). Some theorize that the second part of the title was an afterthought. The story goes like this: When someone asked the playwright "Hey Willy Shakespeare, whats the name of the play youre writing?" Shakespeare replied, "Um, Twelfth Night, or what you will" (as in, "I dont know whatever"). Regardless of whether or not Shakespeare was being dismissive or flippant, the second title seems to invite the audience to make "what [we] will" of the play what it means, why it matters (if it matters at all), and so forth. Sounds good to us. Well definitely be taking up Shakespeares invitation to lighten up and open up to all the different interpretive possibilities in Twelfth Night, and so should you.
What's Up with the Ending?

Remember when we said Twelfth Night (all Shakespeare comedies, really) works toward a "tidy" ending where social order is restored and couples are paired off into heterosexual twosies so they can make lots of babies and live happily ever after? Well, did we mention that, after Viola says, "Surprise, everybody! Im not really Cesario, Im a girl!", Shakespeare leaves Viola in her man-pants? We did? OK. Did we mention that even after Duke Orsino and Viola get engaged Orsino still calls Viola "boy" and "Cesario"? We did? OK. Great. Did we talk about what that does to the nice, "tidy" ending? We didnt? Alrighty, were happy to oblige but first, a little recap: DUKE ORSINO Boy, thou hast said to me a thousand times Thou never shouldst love woman like to me. [] Give me thy hand; And let me see thee in thy womans weeds. (5.1.25) OK, clearly Duke Orsino needs some time to adjust to the fact that his trusty "boy" servant, who has been going on and on about how much "he" loves the Duke, is really Viola. This is probably why he calls Viola "boy" and is so anxious to see his soon to be bride in her girl clothes. Problem is, the sea captain (remember him from Act 1?) is holding Violas dress for her and darn it all if that rascally Malvolio isnt keeping the sea captain prisoner. We have no idea why. Maybe Malvolio caught the captain having fun or something. The point is that its an awfully convenient way for Shakespeare to keep his leading lady dressed like a boy on stage. (Fun fact: Viola is the only Shakespeare heroine who never changes out of her man disguise.) So what? Well, we think this is a pretty cool way for Shakespeare to resist the generic conventions of comedy (which say that social order can get scrambled up throughout the play
but must, must, must be put back in its place by the end). Its also a terrific way to resist social conventions. Up until the very end, Shakespeare uses the cross-dressed Viola to point to the slipperiness of gender (what we think of as "masculinity" and "femininity") and to thumb his nose at Puritan critics who insisted that cross-dressing turned people into ambiguous "monsters" who were neither men nor women. (Remember, the play was written for an all-male acting company. Violas role would have been played by a boy actor.) Like it or not, Viola is just going to have stay in her trousers. No problemo, says the Duke. Someone can track down Malvolio and the captain so Viola can change and then get married. Until then, we can still party: Meantime, sweet sister [Olivia] We will not part from hence. Cesario, come; For so you shall be, while you are a man; But when in other habits you are seen, Orsinos mistress and his fancys queen. (5.1.30) Say what? Why does Duke Orsino still call Viola "Cesario"? He knows who she is, even if she still looks like a boy. Whats going on here? Well, there are lots of ways to interpret this passage, but heres what we would say if you asked us. We dont know why Duke Orsino says what he does. (Hes still confused? He doesnt quite want to see "Cesario" to go? Something else?) But, we do think that his speech raises an important question. As Duke Orsino takes his fiance by the hand and says "Cesario, come," the audience is left to wonder if Orsino is attracted to "Cesario" or Viola. The meaning of Duke Orsinos words is just as ambiguous as "Cesario"/ Violas costume and gender. Of course, you can argue either way Orsino loves Viola, or Orsino loves "Cesario." You can argue what you will. For those of you who want to argue that the Duke is attracted to both Viola and "Cesario," we say go for it and, while youre at it, check out an earlier moment from Act 1, Scene 4, where Orsino gives a very erotic and interesting description of the gender ambiguous "Cesario." (We talk about the passage in detail under "Quotes" for the theme of "Love.")
Did You Know?

Trivia
Shakespeare fathered twins, Judith and Hamnet (who died at age 11). This may have fueled his interest in twinning, in plays like Twelfth Night and The Comedy of Errors. ( Source)
All Shook Up, a "jukebox musical" featuring Elvis Presley tunes, is based on the plot of Twelfth Night. (Source)
Steaminess Rating
R Dont get too excited about our "R" rating. Theres no sex on stage. That said, there are plenty of provocative moments. (We cover many of these in our discussion of important "Quotes" for the theme of "Love.") There are also enough dirty jokes and bawdy allusions to bump Twelfth Night from a "PG-13" to an "R." Heres a few examples: 1. "C-U-T" MALVOLIO By my life, this is my ladys hand these be her very Cs, her Us and her Ts and thus makes she her great Ps. It is, in contempt of question, her hand. SIR ANDREW Her Cs, her Us and her Ts: why that? (2.5.13) When Malvolio finds the letter Maria forged to look like it was written by Olivia, hes thrilled because he thinks he recognizes the distinctive scrawl of Olivias handwriting. The joke here is that the prudish and clueless Malvolio spells out the word "Cut," which is slang for female genitals. (In case the audience didnt catch the joke the first time around, Sir Andrew spells it out again.) Last, but certainly not least, the reference to Olivias "great Ps" is a classic potty joke that alludes to Olivia urinating, something that would probably gross out the very uptight Malvolio.
2. "Spinning" SIR ANDREW But it becomes me well enough, doest not? SIR TOBY BELCH Excellent; it hangs like flax on a distaff; and I hope to see a housewife take thee between her legs and spin it off. (1.3.16)
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When Sir Andrew asks for Toby Belchs opinion about his hair, Toby gamely answers that Andrews hair is super-cute, like "flax." (Flax is a popular plant fiber used to make home-spun linen on a tool called a "distaff," which is typically held between the spinners legs for more leverage.) The brilliance of the joke (for those who appreciate Shakespeares sophomoric humor) is that Toby is able to use the simile in order to create a very bawdy image of a housewife grabbing Sir Andrews hair during sex (while she has him "between her legs"). So, there you have it.
3. "Hanged" MARIA my lady will hang thee for thy absence. FESTE Let her hang me: he that is well hanged in this world needs to fear no colours. [] MARIA Yet you will be hanged for being so long absent; or, to be turned away, is not that as good as a hanging to you? FESTE Many a good hanging prevents a bad marriage; and, for turning away, let summer bear it out. (1.5.1) When Maria warns Feste that Olivia will "hang" him with a noose or fire him for playing hooky from work, Feste turns the comment into a joke about the size of his penis. His quip that "many a hanging prevents a bad marriage," has a double meaning. First, he suggests that in romantic relationships, its often a good thing when a woman "turns away" a man because it prevents couples from entering into lousy marriages. The second implication is that a "well-hung" man can "prevent" a bad marriage by pleasing his wife in bed.
Allusions and Cultural References

Major Source Texts for Plot and Characters Barnaby Riche, "Apolonius and Silla" (1.4.7, 1.5.47) Emanuel Ford, Parismus, (1.4.5, 1.5.47) Accademia degli Intronati, Gl Ingannati (The Deceived Ones) (1.2.4, 2.2.1) Niccol Secchio, Gl Inganni (The Deceived) (1.2.4, 2.2.1) Curzio Gonzaga, Gl Inganni (The Deceived) (1.2.4, 2.2.1) Matteo Bandello, Novelle (translated into the French text Histoires Tragiques by Francoise
de Beleforest) Plautus, Menechimi Note: Secchios play (1562) and Gonzagos GlInganni (1592) both draw from GlIngannati (1531). Shakespeare had access to at least one, if not all of these works.
Other Literary Allusions Francis Petrarch, Il Canzoniere (Song Book) a.k.a. Rime Sparse (Scattered Rhymes), see especially Sonnet 190 (1.1.1) and Sonnet 199 (5.1.17) Ovid, Metamorphoses, see especially Book Three, The Transformation of Actaeon (1.1.4) Thomas Wyatt, "Whoso List to Hunt" (1.1.4) Philip Stubbes, The Anatomy of Abuses (2.2.3) Edmund Spenser, Epithalamion (2.4.14) Geoffrey Chaucer, Rime of Sir Topas (4.2.1) Geoffrey Chaucer, Troilus and Cressida (3.1.12) *Note: Shakespeare wrote his own version of the story c. 1602, around the time Twelfth Night was written and performed. Heliodorus, Ethiopica (5.1.15)
Biblical References Matthew 2:1-12 (plays title and traditional Twelfth Night holiday festivities celebrate the biblical account of the three wise men presenting gifts to the Christ child) Matthew 25:14-30 (1.5.11) Deuteronomy 22:5 (2.2.3) 2 Kings 9:30-37 (2.5. 3) Mark 5:8-9 (3.4.1) Exodus 10:21-23 (4.2.8) "Gospels," or New Testament accounts of Christ (5.1.10)
Sometimes Shakespeare Gives Himself Props Shakespeare, The Two Gentlemen of Verona (1.2.4) Shakespeare, The Comedy of Errors (twin siblings separated at sea) Shakespeare, Sonnet 11 (1.5.15) Shakespeare, Sonnet 130 (1.5.47) Shakespeare, Sonnet 20 (5.1.28)
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Historical References William Barentz, Arctic expeditionary c. 1596-7 (3.2.3) Robert Brown, Puritan "Brownist" sect founder c. 1581 (3.2.3) Pythagoras (4.2.9)
Pop Culture References "Peg-a-Ramsey" folk ballad (2.3.10) "There Dwelt a Man in Babylon" ballad (2.3.10) "Hold Thy Peace" catch (song) (2.3.7) " Twelve Days of Christmas" (2.3.11) "Farewell Dear Love" lyrics (2.3.13)
Best of the Web

Websites
MITs "The Complete Works of William Shakespeare" http://shakespeare.mit.edu/twelfth_night/index.html Read Twelfth Night online. Elizabethan History www.elizabethan-era.org.uk/elizabethan-times.htm Great website for historical background. Includes a nifty "Elizabethan dictionary." Shakespeare Concordance http://www.opensourceshakespeare.org/concordance/ Awesome tool for all students to look up words in any of Shakespeares plays and sonnets. Cartoon Shakespeare http://www.canofwormspress.co.uk/cartoonshakespeare1.html Cartoon Shakespeare offers Twelfth Night the comic book by artist John Howard. Pretty cool.
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Movie or TV Productions
Twelfth Night: Or, What You Will http://www.imdb.com/title/tt0117991/ Trevor Nunns popular 1996 film stars Imogen Stubbs (Viola), Helena Bonham Carter (Olivia), and Ben Kingsley (Feste). Awesome cast and super accessible production. Twelfth Night http://www.imdb.com/title/tt0094197/ Neil Armfields 1987 production starring Gillian Jones (Viola), Kerry Walker (Feste), Geoffrey Rush (Sir Andrew Aguecheek). Totally awesome performance by actress Kerry Walker as "Feste," a role usually given to men. Twelfth Night, or What You Will http://www.imdb.com/title/tt0364717/ 2003 made for television movie directed by Tim Supple, starring Parminder Nagra as Viola. This great production is super modern with a bit of "Bollywood" flavor. Its also notable for the way it draws parallels between Violas character and political asylum seekers. 21st Century Bard: The Making of Twelfth Night http://www.imdb.com/title/tt0354265/ Documentary television series (2003) following the made for television 2003 movie Twelfth Night, or What you Will (see above). Twelfth Night, or What You Will http://www.imdb.com/title/tt0171854/ Staged at the Lincoln Center Theatre in New York and televised on PBS in 1998, starring Paul Rudd (Duke Orsino), Helen Hunt (Viola), and Kyra Sedgewick (Olivia). Twelfth Night http://www.imdb.com/title/tt0324342/ Filmed for Thames Television in 1988, Kenneth Branaghs famous Renaissance Theater Companyproduction stars Frances Barber as Viola. High school and college instructors like to show this one in classes. Shes the Man http://www.imdb.com/title/tt0454945/ 2006 flick starring Amanda Bynes as Viola, a teen who decides to cross-dress in order to join the boys soccer team at her rival prep school, "Illyria." Similar to the way 10 Things I Hate About You adapts The Taming of the Shrew for teen audiences. Lost and Delirious http://www.imdb.com/title/tt0245238/ A 2001 adaptation of Susan Swans novel The Wives of Bath. In the film, Paulies character
borrows much from Twelfth Nights Viola as the film explores the relationship between two Canadian boarding school roommates struggling with issues of gender and sexual identity. Paulies attempts to become more "masculine" to impress and attract her roommate echo the complexity of Violas relationship with Olivia. Shakespeare in Love http://www.imdb.com/find?s=all&q=shakespeare+in+love Written by the amazing Tom Stoppard and Marc Norman (1998), this is a must see for anyone, period.Gwyneth Paltrows character, Viola, cross-dresses to become a stage actor in the play Romeo and Juliet and falls in love with Shakespeare (Joseph Fiennes) during rehearsal. In the movie, Paltrows character inspires Shakespeare to write the play Twelfth Night. Play On! http://www.imdb.com/title/tt0250658/releaseinfo 1997 musical set in the Harlem Renaissance and featuring the music of jazz great Duke Ellington. The musical loosely adapts Shakespeares play. PBS aired a filmed version in 2000.
Video
John Lithgow as Malvolio http://www.rsc.org.uk/explore/workspace/2962_3010.htm Malvolio in yellow stockings with cross garters (Act 3, Scene 4), from The Royal Shakespeare Company. Trevor Nunns Twelfth Night http://www.youtube.com/watch?v=Q9hkU5mnWC4 Olivia and Viola (as "Cesario") meet for the first time in this excerpt from Trevor Nunns film production. This is where Olivia falls for Viola. Shes the Man http://www.youtube.com/watch?v=SBlkUMLb7o8 Excerpt from contemporary tween adaptation of Twelfth Night.
Audio
Twelfth Night from Speakthespeech.org http://www.speak-the-speech.org/twelfthnightmain.htm Use Real Player to listen to a performance of the play while you read along.
Historical Documents
John Manninghams Diary http://books.google.com/books?id=2VwJAAAAQAAJ&printsec=frontcover&source=gbs_book_ot her_versions_r&cad=3_1#PPA18,M1 Excerpt from law student (John Manningham) about the performance of Twelfth Night at The
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Middle Temple. This diary entry is just one of the nifty ways historians are able to date the performance of the play and see what people thought of Twelfth Night. (Notice that Manningham compares the play to another Shakespeare play, The Comedy of Errors, and emphasizes the Malvolio plot over all else.) Puritan Attack on the Theater http://www.archive.org/stream/phillipstubbessa000990mbp Excerpt from Philip Stubbess book The Anatomie of Abuses (1583), where he criticizes play-going and the Elizabethan theater (and just about everything else under the sun). Informative and hilarious read this if youre interested in learning more about why Shakespeare likes to make fun of Elizabethan Puritans and why Maria and Toby play their prank on Malvolio.
Images
Lakeshore Players Poster for Twelfth Night http://www.lakeshoreplayersdorval.org/images/poster_twelfth_night.jpg Great poster with double-faced Viola/"Cesario" First Folio image of Twelfth Night http://www.rsc.org.uk/searcharchives/item/image_zoom.jsp?item_id=6863&zoom=2 Image posted on the Royal Shakespeare Companys website. Feste and Olivia http://media.collegepublisher.com/media/paper906/stills/3fa87fec27bd7-11-1.jpg Photo of Feste and Olivia from a college production of Twelfth Night King Cake http://www.coffeeandkingcakes.com/History-of-the-King-Cake-7.html Image of a "king cake" with a brief history, including traditional use in Twelfth Night celebrations.
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Literature

Twelfth Night Shmoop Learning Guide

About this Learning Guide

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Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

2010 Shmoop University, Inc.

Twelfth Night Shmoop Learning Guide

2010 Shmoop University, Inc.

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Why Should I Care?

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Twelfth Night Shmoop Learning Guide

2010 Shmoop University, Inc.

Twelfth Night Shmoop Learning Guide

2010 Shmoop University, Inc.

Twelfth Night Shmoop Learning Guide

2010 Shmoop University, Inc.

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

2010 Shmoop University, Inc.

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

2010 Shmoop University, Inc.

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

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Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

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Twelfth Night Shmoop Learning Guide

Twelfth Night Shmoop Learning Guide

Questions About Art and Culture

Chew on Art and Culture

Questions About Love

Twelfth Night Shmoop Learning Guide

Questions About Gender

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Twelfth Night Shmoop Learning Guide

Theme of Language and Communication

Questions About Language and Communication

Chew on Language and Communication

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Twelfth Night Shmoop Learning Guide

Theme of Society and Class

Questions About Society and Class

Chew on Society and Class

Theme of Rules and Order

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Twelfth Night Shmoop Learning Guide