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Twelfth Night by William Shakespeare | Twelfth Night | What You Will | William Shakespeare | Plot | Characters | Themes | Style | Historical Context | Critical Overview | Free PDF Download – Easy Literary Lessons

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Twelfth Night

William Shakespeare likely wrote “Twelfth Night” around 1601. The first known performance was on February 2, 1602, at the Middle Temple. It was written after the comedies “Much Ado about Nothing” and “As You Like It”, but before the famous tragedies “Hamlet”, “Macbeth”, and “King Lear”. Over the years, “Twelfth Night” has been praised for its excellent structure and comedic style. Harley Granville-Barker, a 20th-century director and critic, called “Twelfth Night” the final play of Shakespeare’s golden era.

“Twelfth Night” is often admired by critics for its comedic structure and artistic unity. Its interconnected themes are complex and fascinating, leading to many different and controversial theories. Some see it as Shakespeare’s farewell to comedy, noting that its sad undertone hints at his upcoming tragedies. However, most modern critics agree that celebration and Saturnalian activities are central to this play.

“Twelfth Night” explores a range of themes and issues. The main theme of celebration was common in all of Shakespeare’s sources. The conflict between how things appear and their reality is highlighted by the elements of role-playing and disguise. Also, the use of language to deceive and the characters’ inability to communicate honestly or effectively are also topics that critics and students of the play often discuss and debate.

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Plot

Act 1, Scene 1:

“Twelfth Night” starts with Orsino, the Duke of Illyria, who is in love with Olivia and has been trying to win her over. He enjoys music that stirs up his emotions. When his servant, Curio, suggests that hunting might cheer him up, he says he’d rather pursue Olivia. Another servant, Valentine, brings news that Olivia is turning away suitors because she’s mourning her brother’s death for seven years. During this time, she won’t see anyone or think about marriage. Orsino isn’t put off by this and talks about how a woman with such a caring and faithful heart would be a loving partner.

Act 1, Scene 2:

Meanwhile, a young noblewoman named Viola lands on Illyria’s shore after a shipwreck, thinking her twin brother, Sebastian, has drowned. The captain who rescues her says he saw Sebastian tying himself to a mast to survive the storm. Viola is unsure whether to hope for his survival. Now alone, she needs to find a way to support herself. The captain, who grew up in Illyria, tells Viola about Orsino. She remembers hearing about him and that he was single. The captain tells her that Orsino is still unmarried but is very much in love with Olivia. He also tells Viola about Olivia’s brother’s death and her long mourning period. When Viola says she’d like to work for Olivia and be isolated from the world (so she can also mourn her brother), the captain tells her that Olivia isn’t likely to hire anyone new because she refuses to see anyone. Viola decides to disguise herself as a eunuch named Cesario to work for Orsino, where she’ll sing, play music, and win the duke’s favor. The captain agrees to help.

Act 1, Scene 3:

At Olivia’s house, her maid, Maria, scolds Olivia’s uncle, Sir Toby, who lives with her. She tells him that Olivia doesn’t like his drinking and that she’s heard that Sir Toby has brought a reckless friend, Sir Andrew Aguecheek, to woo Olivia. Maria has heard that Sir Andrew is nothing more than a gambling, loud-mouthed drunk. But Sir Toby insists that Sir Andrew is rich and well-educated, making him a good match for his niece. However, Sir Andrew makes a bad first impression when he messes up Maria’s name. When Maria leaves, Sir Andrew admits that he doesn’t think Olivia likes him at all and that it might be best if he left her to Orsino. Sir Toby dismisses this idea, convincing Sir Andrew that he’s a much better match for her. He flatters Sir Andrew to persuade him to stay.

Act 1, Scene 4:

After just three days of working for Orsino, Viola, who is disguised as Cesario, has gained his trust. When Viola enters, Orsino sends the other servants away so they can talk privately. Viola agrees to woo Olivia for him, but secretly she wants to be his wife. Even though Viola tries to tell Orsino that it’s not the right time to court Olivia, Orsino thinks that with a messenger as charming as Viola, Olivia is sure to notice. In fact, Orsino asks Viola to act as if she admires Olivia as much as he does.

Act 1, Scene 5:

Meanwhile, at Olivia’s house, Maria and Feste, the jester, talk about Feste’s recent unexplained absence. Maria warns Feste that Olivia might fire him, but he still won’t tell Maria where he’s been. Olivia arrives with her steward, Malvolio, and when she orders the servants to throw Feste out, he uses his wit to cheer her up. Feste also asks Olivia about her mourning, and she explains that her brother has died. Feste tries to comfort her by reminding her that if her brother is in heaven, there’s no need to mourn. Malvolio questions Olivia’s decision to keep someone like Feste in her house, but Olivia defends her decision. When Viola arrives to see Olivia, Malvolio tries to send her away. However, Olivia changes her mind and meets Viola after hearing how handsome and gentle he seems. Viola starts to woo Olivia by deviating from her rehearsed speech. Olivia is intrigued and sends her servants away as Viola eloquently delivers Orsino’s message. But Olivia becomes more interested in the messenger than the message, asking Viola about his background and family. When she learns that he comes from a noble family, she is impressed. Olivia ultimately sends Viola back to Orsino with the message that she can’t love him, but also with an invitation for Viola to visit again. To make sure Viola returns, she sends Malvolio after her with a ring she claims Viola left behind.

Act 2, Scene 1:

On the coast, a man named Antonio has been taking care of Sebastian, who Viola thought was lost at sea. Sebastian had initially used a fake name with Antonio, but now that he’s recovered, he tells Antonio his real name and about his sister. Sebastian tells Antonio that Viola drowned in the sea, where he would have also died if Antonio hadn’t saved him. Sebastian talks about Viola’s beauty and intelligence, and wonders if it would have been better if he had died with her. Antonio decides to leave Sebastian alone with his sadness. Like Viola, Sebastian feels alone and plans to wander aimlessly for a while. Antonio has grown fond of Sebastian and wants to travel with him, but Sebastian is worried that it might be too dangerous because Antonio has enemies in Orsino’s court. Sebastian leaves for Orsino’s court, but Antonio stays behind because of his enemies there. However, he eventually decides to risk the dangers of the court and follow his friend.

Act 2, Scene 2:

Back at Olivia’s house, Malvolio runs after Viola, who is disguised as Cesario, with the ring Olivia sent. He is arrogant and scolds the young man for being so careless, telling him not to come back on Orsino’s behalf. Malvolio throws the ring at Viola’s feet after she insists that Olivia keep it, playing along with the trick. Viola starts to realize the problems her disguise has caused. After Malvolio leaves, she picks up the ring and wonders if it means Olivia loves Cesario. She feels sorry for Olivia, who doesn’t know she’s fallen in love with another woman. She says it would be better for Olivia to love a dream. In just a few days, Viola finds herself in the middle of a strange love triangle.

Act 2, Scene 3:

Meanwhile, Sir Toby and Sir Andrew have been up late drinking. They’re loudly singing and talking, and they start discussing logic and academic topics, which is just nonsense. Feste finds the two and joins in their drunken fun. When Feste sings for the noisy Sir Toby and Sir Andrew (who has been asked to bring more wine), Maria warns them to be quieter or Olivia will have Malvolio throw them out of the house. Malvolio arrives to quiet them down but is made fun of by the partygoers. He is shocked to hear such talk in Olivia’s house, and he tries to shame Maria for joining in the fun. As Malvolio rushes off to tell Olivia what’s happening, the trio plot revenge against him. Maria comes up with the idea to take advantage of Malvolio’s inflated ego by writing letters as if they were from Olivia; the letters will speak highly and lovingly of Malvolio so that he will believe his mistress is in love with him. The three are eager to see Malvolio made a fool, and Sir Toby and Sir Andrew will spy to see Malvolio’s reaction.

Act 2, Scene 4:

The next day, Orsino talks about love with Viola, who is disguised as Cesario, and realizes that she is in love. Viola admits that Orsino is right and when asked about the person she loves, says that the person is similar to Orsino. Unaware, Orsino advises Viola to give her love to a younger woman who can hold a man’s changing heart for longer. Orsino then calls for Feste, who entertains at both Olivia’s and Orsino’s homes. After Feste sings a sad love song, Orsino insists that Viola go to Olivia again and tell her about Orsino’s deep love for her. Speaking in a hidden way, Viola tries to convince Orsino that Olivia is no more interested in him than he would be in a woman he did not love. To make a point, Viola tells a story about his father’s daughter (who Orsino assumes to be Cesario’s sister), who was in love with a man but never told him, and died as a result. Still passionate about Olivia, Orsino sends Viola with a jewel to give to Olivia on his visit.

Act 2, Scene 5:

Back in Olivia’s garden, Maria, Sir Toby, Sir Andrew, and another servant, Fabian, are ready to play a practical joke on Malvolio. Maria drops a letter where he will find it and runs away. The other three hide in the bushes to watch what happens. Surprisingly, Malvolio walks up and is thinking aloud about what life would be like as Olivia’s husband, enjoying all the power in the household. Just then, he finds the letter and identifies Olivia as the writer. The letter is about her love for someone whose identity she cannot reveal, but it gives the following hint: MOAI. Malvolio concludes that it must be him because all the letters are in his name. The letter goes on to say that Olivia wants to give power and status to her beloved. When he reads that Olivia wishes her secret love to confirm his love for her by wearing cross-gartered and yellow stockings, being rude to Sir Toby and the servants, and smiling constantly, Malvolio assumes she is writing to him and plans to do everything she asks. Malvolio leaves, and the men come out of their hiding place. Sir Toby is delighted with Maria’s work, and when she returns, they all laugh. They are particularly amused to learn that all of the things that Malvolio plans to do are things that Olivia hates.

Act 3, Scene 1:

Viola, who is disguised as Cesario, returns to Olivia’s house as Orsino asked. She meets Feste outside the house, and they share some friendly jokes. Feste goes into the house to announce Viola’s arrival. While waiting, Viola thinks about how complex it is to play the fool. Then she meets Sir Toby and Sir Andrew, who are drunk as usual. Olivia comes into the garden and sends everyone else away so she can talk to Viola alone. Olivia asks her not to bring any more love messages from Orsino. She boldly says that she is actually in love with Viola. When Viola responds that she cannot love her or any other woman, she also tells her that she cannot come back to her house. Olivia begs her to visit again, suggesting that she thinks Viola might change her mind or that she might be convinced to change her mind about Orsino. She is desperate for any reason to see Viola again.

Act 3, Scene 2:

Upset that Olivia has shown more favor to Viola than to him, Sir Andrew decides it’s time for him to leave. Not wanting Sir Andrew to leave, Fabian and Sir Toby persuade him to challenge Viola to a duel to prove his love. They make him believe that Olivia might just be trying to make him jealous. Sir Andrew agrees to challenge Viola, and Sir Toby and Fabian volunteer to deliver the challenge. When Sir Andrew leaves to write the letter, Sir Toby and Fabian laugh at the prank they have set up. Maria interrupts them with news of Malvolio being seen wearing yellow stockings and cross-garters. He is making a complete fool of himself and doesn’t know it. They rush off to see the spectacle.

Act 3, Scene 3:

In Illyria, Antonio catches up with Sebastian, offering to travel with him for protection, and asks Sebastian to hold his money for him. The reader learns that the reason Antonio is not safe in Orsino’s court is that there was a sea battle in which Antonio caused significant damage to Orsino’s forces. Sebastian agrees to travel with Antonio, who then goes to arrange their stay at a nearby inn. They agree to meet in an hour, and Sebastian heads into town on his own.

Act 3, Scene 4:

Meanwhile, Olivia sends a servant to bring Cesario back to her. As she waits and plans how she will entertain him, she calls for Malvolio because she needs someone sensible to help her make a plan. When Olivia and Maria see Malvolio in his strange clothes, smiling non-stop, and talking nonsense (actually, quotes from the letter), Olivia thinks he has gone crazy and calls for Sir Toby and Maria to look after him. She has heard that Cesario has returned, and she is eager to see him. Despite Olivia’s reaction, Malvolio still believes in the words of the letter. Sir Toby, Maria, and Fabian arrive to take care of him and pretend to be sure that he is possessed and decide to lock him in a dark room as treatment. Sir Toby takes advantage of the fact that Olivia thinks Malvolio has lost his mind and won’t care what happens to him. Sir Andrew arrives with a written challenge for Viola/Cesario. Sir Toby promises to deliver it, but instead he decides to deliver his own spoken version of the challenge. He goes between the two, telling each that the other is angry, violent, and scary. Neither really wants to fight the other at all, but they reluctantly start to fight. Suddenly Antonio enters, and thinking Viola/Cesario is Sebastian, steps in to defend him. Antonio wants to fight in Sebastian’s place but is recognized and arrested. When this happens, he asks Viola/Cesario for his money to pay bail, but Viola/Cesario does not know him. Antonio responds by calling Viola/Cesario ungrateful after Antonio saved his life, and she realizes as Antonio is being taken away that he has mistaken her for her twin, Sebastian, who must still be alive. Immediately, Viola/Cesario runs off in search of her brother, much to the confusion of Sir Andrew and Sir Toby.

Act 4, Scene 1:

Outside Olivia’s house, Feste meets Sebastian, thinking he is Viola/Cesario. Sebastian is understandably confused when Feste claims to know him and tries to get him to return to Olivia’s house. Sir Toby and Sir Andrew arrive, and Sir Andrew immediately attacks Sebastian because he thinks he is the man who just ran away from the duel. Sir Andrew hits Sebastian to continue the duel, but is surprised by Sebastian’s skillful swordsmanship. Unlike Viola, Sebastian is not afraid to fight and starts hitting Sir Andrew with his dagger. Sir Andrew responds by crying and begging for mercy. Feste threatens to tell Olivia that her new favorite is mistreating her uncle and her suitor. Sebastian has no idea what is going on around him and tries to leave, but Sir Toby stops him. After exchanging insults with one another, they draw their weapons. Olivia approaches them, thinking that Sir Toby is about to fight the man she loves. She orders everyone away, apologizes to Sebastian for their behavior, and takes him inside.

Act 4, Scene 2:

Meanwhile, Maria and Sir Toby dress up Feste as a priest named Sir Topas to tease Malvolio, who is being kept in a dark room. “Sir Topas” talks in a disguised voice and uses enough Latin phrases and philosophical comments to sound believable. Malvolio begs to be let out and insists that he is completely sane, but “Sir Topas” pretends to misunderstand, and he lies to Malvolio about the room to try to convince him that he really is mad. But Malvolio knows he is sane and asks “Sir Topas” to ask questions to prove it. In response, “Sir Topas” asks silly questions and plays with the answers. When Feste returns to his friends, they all have a good laugh, but Sir Toby gets tired of the game. He is worried that if Olivia finds out how mean they were being to Malvolio, she will make him leave her house. He decides to end Malvolio’s torment, and Feste returns to Malvolio, using his own voice and the one he used as Sir Topas so that it sounds as if they are having a conversation. Feste respects Malvolio’s request for paper and pen so that he can write to Olivia.

Act 4, Scene 3:

Although he is happy in Olivia’s house, Sebastian wishes he could find Antonio to ask him for advice. He mentions that Antonio was not at the inn where they were supposed to meet. Olivia keeps giving him gifts and expressing her love for him. He doesn’t understand why this rich and beautiful noblewoman is attracted to him, and he keeps wondering if it is all a dream. Holding a pearl, however, gives him solid proof that he is awake. He decides to go ahead and marry her when she shows up with a priest. They agree to have a more grand ceremony later, as would be expected of someone of Olivia’s social status. But for now, they are happy to get married in secret.

Act 5, Scene 1:

Orsino and Viola, who is disguised as Cesario, arrive in front of Olivia’s house just as the duke’s officers bring Antonio. Viola tells Orsino that it was Antonio who saved her from the earlier duel. Orsino remembers him and asks why he came to a place he knew would be risky. Antonio tells the whole story of taking care of Sebastian and becoming close friends with him, only to have him betray him in Illyria. Angry, he accuses Viola of abandoning him and keeping his money. Orsino dismisses it because Viola has been working for him for three months. Olivia then arrives and mistakes Viola for Sebastian, her new husband. Orsino, thinking that Olivia has married his servant, first wants to kill Olivia. He then decides to sacrifice his servant, who willingly agrees to die if it would give the duke peace, and confesses her love for him. Feeling betrayed, Olivia calls for the priest to confirm Viola’s promise, who confirms it. Just as the duke decides to banish Viola and Olivia, Sir Andrew comes in, accusing Viola of hurting him and Sir Toby. Viola, however, insists that she was nowhere near the fight. Sir Andrew and Sir Toby leave to find a doctor. Sebastian enters. He apologizes for his rough treatment of Sir Toby and Sir Andrew, and he is happy to see Antonio. As everyone looks at Viola and Sebastian, the twins recognize each other. After a series of questions to confirm that they are each other’s twin, Viola asks Sebastian to wait while she changes back into her woman’s clothes. At that point, the onlookers understand that Cesario is actually a woman in disguise. Olivia realizes it is not Viola but Sebastian to whom she is married, and the duke happily gives Olivia to him. Orsino realizes that Cesario is really a woman—Viola—who will happily marry him. He remembers their conversations and understands that all along, Viola has told him that she loved him. Orsino is eager to see Viola dressed as a woman, when suddenly everyone remembers Malvolio. Feste and Fabian earlier arrived with his letter, which is read aloud to the entire group. After hearing the contents of the letter, Olivia does not believe that he is mad and calls for him to be brought to her. When he is presented to her, he shows her the letter Maria wrote, and Olivia recognizes the handwriting. She quickly figures out the prank played on Malvolio and promises to give justice to the wronged Malvolio, but he storms out promising revenge. Fabian explains why the trick was played, and an announcement is made that Sir Toby has married Maria for her wit, as he suggested he might do earlier in the play. Orsino announces the upcoming double wedding (he and Viola will get married, along with Sebastian and Olivia), and Feste is the last one on the stage. He sings a song about growing old, and the play ends.

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MEDIA ADAPTATIONS

Perhaps the earliest media adaptation of Twelfth Night was the 1910 film by Vitagraph. It was a silent film directed by Eugene Mullins and Charles Kent.

The British Broadcasting Company (BBC) released a 1980 production as part of its ‘‘Shakespeare Plays’’ series (distributed by Ambrose Video Publishing) that continues to earn the respect of critics and viewers. It was directed by John Gorrie and starred Felicity Kendal as Viola, Michael Thomas as Sebastian, Sinead Cusack as Olivia, and Clive Arrindell as Duke Orsino.

A 1996 film adapted and directed by Trevor Nunn and produced by Renaissance Films starred Helena Bonham Carter as Olivia, Ben Kingsley as Feste, and Imogen Stubbs as Viola. Nunn adapted the original to a setting in the eighteenth century.

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CHARACTERS

Duke Orsino

Orsino is the Duke of Illyria. He’s deeply in love with Olivia and is trying hard to make her like him. Just like Olivia, he is ruled by his strong feelings, and he lives in a world of too much emotion. In the beginning, he’s really sad and yearns for Olivia, but later, he easily moves on when he finds out that Cesario is actually Viola, who loves him. Orsino often gets caught up in his own emotional drama, which is actually not very deep. It’s ironic because he talks to Cesario about how men’s feelings are deeper than women’s. In the end, he loves the person who admires him the most. Despite being emotional and impulsive, Orsino is also considered a brave and honourable gentleman. His respect for honour is clear in how he remembers Antonio; even though they’re enemies, he acknowledges Antonio’s honourable behaviour in battle.

Olivia

Olivia is a wealthy and attractive countess. Instead of accepting Orsino’s romantic interest, she chooses Cesario. She ends up marrying Cesario’s twin brother, Sebastian, thinking he is the pageboy she loves. Olivia easily turns down Sir Andrew’s advances, as she doesn’t take his courtship seriously. Initially, Olivia is deeply mournful for seven years after her brother’s death. Later, she becomes passionately infatuated with Cesario. Olivia lacks understanding of others’ needs and feelings, preferring her court to cater to her every whim. Despite her flaws, Olivia is not one-dimensional. Despite her extreme sentimentality, she genuinely feels compassion and pity. She allows her uncle, Sir Toby, to live with her, even though he is not a perfect guest. Olivia also shows pity for Malvolio in the final scene when she realizes he has been pranked. She not only calls for his release but also promises to make things right. Olivia demonstrates wisdom in managing her household and handling her occasionally unruly servants and guests.

Viola

Viola and Sebastian are twins. Viola pretends to be a pageboy named ‘Cesario’ and tries to woo Olivia for the duke. However, the plan fails when Olivia falls for Cesario instead.

To understand the characters better, let’s talk about Viola and Olivia’s relationship. They first meet in Act 1, scene 5. Viola, also known as Cesario, impresses Olivia with her wit and bold style. Despite Olivia knowing Orsino’s message, she is intrigued by Viola/Cesario. Viola/Cesario advises Olivia not to waste her beauty and encourages her to embrace love while she’s young. As Olivia asks questions, it becomes clear that her focus has shifted from refusing Orsino to learning about the eloquent page.

In Act 2, scene 2, Viola/Cesario receives a ring from Malvolio that Olivia claims to have left. Viola realizes the complexity of the love triangle she created with her disguise. Olivia pursues Viola/Cesario, and Viola deflects her attentions. Olivia, mistaking Sebastian for Cesario, quickly plans to marry him. When Viola/Cesario reappears in the final act, Viola confesses her love for the duke, and Olivia, feeling betrayed, brings out the priest to validate their vows. The confusion resolves when Sebastian arrives, and Olivia discovers her true betrothal. Viola is freed from her disguise and engaged to marry the Duke.

Critics often debate the comparison between Viola and Olivia. Both, with names as anagrams, share similarities but differ in behaviour. Olivia mourns, while Viola continues living, hopeful for her brother’s well-being. Some argue that Viola sees past others’ masks and encourages Olivia to embrace love. Viola’s insights are crucial in Illyria, impacting the lovesick duke and the stubborn Olivia. Viola becomes interchangeable with Olivia to the duke, who accepts her as a wife instead of Olivia.

Sebastian

Sebastian is Viola’s identical twin. People in Illyria think he is Cesario, and this confusion results in him getting engaged to Olivia.

Maria

Maria is Olivia’s gentlewoman. She comes up with a plan to embarrass Malvolio and ends up marrying Sir Toby, who is higher in social status. Maria cares about her mistress and wants to keep things in order at the house. However, she’s enough of a rebel to get involved in the plot against Malvolio. She’s not just going along with it—she’s the one who comes up with the plan and writes the letter. Her cleverness and sharp sense of humor impress Sir Toby. Together, Maria and Sir Toby stand out in sharp contrast to the seriousness and ego of Malvolio.

Sir Toby Belch

Sir Toby is Olivia’s uncle. He lives with Olivia and wants her to marry his friend Sir Andrew to keep a place in her home. Sir Toby uses Sir Andrew for money and as a joke partner, and he also uses Olivia to have a place to stay. Even when he’s drunk, Sir Toby is clever and enjoys playing with words. He can be mean in pranks, like when he makes Viola/Cesario and Sir Andrew fight just for fun. He also plays a part in the prank against Malvolio. When he decides the prank has gone too far, it’s not because he feels guilty but because he’s scared Olivia will get mad and kick him out. Sir Toby and Maria are different from the serious and arrogant Malvolio.

Sir Andrew Aguecheek

Sir Andrew is a friend of Sir Toby. Sir Toby tricks him into trying to win Olivia’s love. Sir Andrew, who is easily fooled, ends up challenging Viola/Cesario and later Sebastian to win Olivia’s affection. Sir Andrew is not very smart, and Sir Toby can easily make him believe that Olivia, who is of high status, would want to marry him. Even when Sir Andrew realizes Olivia isn’t interested, Sir Toby manages to convince him to stay and keep pursuing her.

Malvolio

Malvolio works for Olivia as her steward. He is fooled by Sir Toby, Sir Andrew, and Maria into thinking that Olivia loves him. They trick him into wearing yellow stockings with crossed garters, believing Olivia wants him to do so to prove his love. Malvolio’s name means ‘ill-wisher,’ and he first appears with Olivia in act 1, scene 5. Unlike Feste the clown, who softens Olivia with wit, Malvolio remains stern. His insults to Feste make Olivia accuse him of being self-centered. In act 2, scene 3, Malvolio interrupts the revelry, threatening to tell Olivia about the disruption. In revenge, the merrymakers plan to make Malvolio look foolish by exploiting his ego.

In act 2, scene 5, Maria writes a letter pretending to be from Olivia, leading Malvolio to believe Olivia loves him secretly. He eagerly follows the letter’s instructions, appearing in yellow stockings and crossed garters in act 3, scene 4. Olivia thinks he’s mad and seeks help from Sir Toby. In act 4, scene 2, the merrymakers further torment Malvolio, convincing him he’s gone blind. Sir Toby decides to end the game, and Malvolio, given pen and paper, records his grievances for Olivia. In the final act, Olivia promises him a fair hearing, but Malvolio angrily vows revenge.

Critics highlight Malvolio’s contrast to the play’s festive atmosphere. In a society promoting indulgence, Malvolio represents law and order, criticized for his stern stance. Some compare him to Elizabethan Puritans for his serious attitude. Malvolio’s dissimilarity adds tension to the play, serving as a scapegoat for the merrymakers’ pranks. His punishment exploits his vanity, making him appear opposite to his true nature—a serious character dressed as a clown.

Feste

Feste is a clown who works for Olivia, making people laugh with his jokes and songs in Illyria. He often acts foolishly, in contrast to Olivia’s other servant, Malvolio. Feste’s role is to observe and comment on society, pointing out the silly things people do. For example, he tells Olivia not to mourn her brother’s death because his soul is in heaven. He also mocks Orsino’s lovesickness by singing a dramatic song about unrequited love. When disguised as a priest, he tries to convince Malvolio that he’s blind and things are different than he thinks. In the end, Feste sums up the play with a song.

Interestingly, despite being called a fool, Feste is the one who understands the simple truths of the story—how things aren’t always as they seem. Feste himself says, “the way I dress doesn’t define me; even though I may look silly, I’m sharp in the mind.” Viola recognizes his wisdom when she says, “This fellow is wise enough to play the fool, and to do that well, craves a kind of wit,” appreciating that Feste acts foolish but is actually quite smart.

Fabian

Fabian is Olivia’s servant. He joins Sir Toby, Sir Andrew, and Maria in making fun of Malvolio.

Antonio

Antonio is a sea captain and a friend to Sebastian. He saves Sebastian from drowning and leads him to Illyria. There, he risks his own life to protect his friend.

Captain

The captain is Viola’s friend. He saves Olivia from drowning and assists her in disguising herself as a pageboy.

Curio

Curio is one of the duke’s attendants. He and Valentine assist Orsino by sending messages for him.

Valentine

Valentine is one of the duke’s attendants. He and Curio assist Orsino by sending messages for him.

Priest

The priest is a holy man. He conducts the wedding ceremony of Olivia and Sebastian.

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Themes

Celebration and Festivity:

The happy and joyful atmosphere of “Twelfth Night” is perfect for a play that gets its name from the Epiphany, the final night of the twelve days of Christmas. While Christians celebrated January sixth as the Feast of the Magi, the Renaissance celebrations were marked by plays, feasts, and disguises. During this time, cultural norms were reversed, and customary practices were playfully challenged. The roots of this celebration can be traced back to the Roman Saturnalia, a winter solstice festival involving gift-giving and playful mockery of authority figures.

Although “Twelfth Night” is set in the spring with no explicit mention of Epiphany, its lively spirit reflects the Saturnalian festivities associated with the holiday. The young lovers engage in courtship rituals, while the character who opposes celebration, Malvolio, is ridiculed for his commitment to order. Disguise, a significant theme in the play, is evident as Viola dresses as a pageboy, Olivia hides behind mourning attire, Malvolio appears in cross-gartered yellow stockings, and the wise Feste dons a clown’s costume. Yet, beneath the festive exterior of Illyria, there is a darker side, as revealed in episodes like the trick played on Malvolio, suggesting a hidden motive behind the merriment.

Identity:

In “Twelfth Night,” almost every character assumes a role or disguises their identity. Viola disguises herself as a man upon arriving in Illyria, initiating the plot. Feste poses as a priest to visit the imprisoned Malvolio. The intentional use of these disguises contrasts with Olivia and Orsino’s subtle self-deception. Olivia continues mourning her brother long after it is appropriate, and Orsino persists in pursuing Olivia despite her lack of interest. The duping of Malvolio involves outlining a role for him before Olivia, portraying him as a secretly loved servant.

Critics have explored how these disguises relate to the play’s themes, creating an Illyria where appearances cannot be trusted. The disparity between appearances and reality is a central issue, influencing the characters’ ability to find love and happiness.

Language and Communication:

Wordplay is a prominent feature of “Twelfth Night.” Feste’s wit is a clear example, where words with one meaning are cleverly twisted to convey another. Feste asserts that words cannot be trusted, yet he skillfully uses them to his advantage. Viola also demonstrates wordplay in her conversations with Orsino and Olivia, requiring listeners to delve beneath the surface meaning to understand the true intent. Language contributes to the play’s theme of illusion and reality.

Commentators have examined written messages in “Twelfth Night,” showing how they contribute to the theme of language and communication. Orsino and Olivia engage in a continuous exchange of messages that lack genuine emotion. A formal letter deceives Malvolio into thinking Olivia loves him. However, Malvolio’s passionate plea in a letter to Olivia, while he is imprisoned, stands out as true communication, in contrast to the self-indulgent fantasies of Olivia and Orsino.

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Style

Irony:

Viola’s double identity provides ample opportunities for irony. Disguised as Cesario, she secretly loves Orsino. When she talks to him, she hints at her feelings, obvious to the audience but eluding Orsino. Viola shares a story about a ‘father’s daughter’ who loved a man but died because she never confessed. Orsino assumes it’s about his sister, not realizing Viola talks about herself. The irony intensifies as only Viola and the audience know the truth. In the final scene, Orsino understands the irony in their earlier talks about love, grasping the depth of Viola’s love. His emotional shift is ironic, given his earlier claims about men loving more deeply. Malvolio’s attempts to signal Olivia are ironic, as he misinterprets her preferences, pushing himself further away.

Hyperbole:

Love in Illyria is accompanied by exaggerated expressions. Orsino isn’t just in love with Olivia; he’s obsessed with sentimentality. His extravagant love is equaled only by Olivia’s perceived cruelty. Viola, too, uses hyperbole, claiming she’d willingly die ‘a thousand deaths’ for Orsino. Grief is expressed hyperbolically in Twelfth Night. Olivia plans seven years of mourning, hiding her face and avoiding others. Viola desires to join Olivia in solitary mourning upon hearing about her grief. Sebastian takes his grief to the extreme, warning Antonio that he needs to be alone with it. However, Sebastian’s emotional intensity makes Antonio avoid him, showcasing the exaggeration in grief expressions.

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Historical Context

Twelfth Night Celebrations:

Long ago in England, a winter celebration started on Halloween and lasted until the twelfth night after Christmas, which is January 6. During this time, they had a Lord of Misrule overseeing the festivities. The Twelfth Night marked the end of this unusual rule, where things were turned upside down. This tradition originated from the Roman festival of Saturnalia. On Twelfth Night, people would feast and remove Christmas decorations. In France and England, a special king cake was served to remember the Magi’s journey to visit the Christ child. Some Christian traditions considered Christmas Day as the start of the Twelve Holy Days, ending on the Twelfth Night, which falls on January 5, the night before Epiphany.

Twelfth Night Play’s Background:

The play Twelfth Night was probably influenced by an Italian play called Gl’Ingannati (The Deceived Ones), which explores mistaken identity. This Italian play, written in 1531, influenced the story ‘Apolonius and Silla’ by Barnabe Riche in 1581. Shakespeare added elements from this story to his play. Another version of this story is found in Matteo Bandello’s 1554 Novelle, translated into French in 1579. Twelfth Night shares similarities with other plays in Shakespeare’s collection, like ‘The Comedy of Errors’ with identical twins and ‘The Two Gentlemen of Verona’ featuring a girl disguised as a page.

Reign of Queen Elizabeth:

Queen Elizabeth, a significant Tudor monarch, ruled England from 1533 to 1603. She brought stability and growth to the country. The daughter of Henry VIII and Anne Boleyn, Elizabeth is considered one of England’s greatest monarchs. Her rule saw the rise of artistic, literary, and naval figures. Elizabeth’s efforts to strengthen England’s naval power connect with Orsino’s vendetta against Antonio, who damaged Orsino’s fleet at sea. Elizabeth faced conflicts, especially in religious matters, establishing the Anglican Church and leading to persecution against Catholics. Elizabeth’s court became a cultural hub, with her patronage extending to artists like Edmund Spenser, Thomas Tallis, and William Byrd. Elizabeth was a lover of theatre, and Shakespeare was one of her favourites.

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Compare and Contrast

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Critical Overview

The play “Twelfth Night” continues to captivate audiences and critics alike due to its dynamic pace, engaging characters, festive ambiance, and intricate plot twists. Harold Bloom, a prominent author and critic, goes so far as to assert in his work “Shakespeare: The Invention of the Human” that “Twelfth Night” is undoubtedly the greatest of all Shakespearean pure comedies. Bloom appreciates the play’s seemingly spontaneous structure, which, upon closer inspection, reveals a highly organized framework that mirrors the eccentricities of its characters. The humor within the play is largely derived from impulsive decisions made by the characters concerning matters of love.

Themes of celebration and festivity, central to the play, draw inspiration from sources such as the Italian play Gl’Ingannati. The incorporation of the Twelfth Night holiday, possibly suggested by Gl’Ingannati’s reference to La Notte di Beffania (the Epiphany), adds depth to the festive atmosphere. However, recent critical analyses have delved beyond the surface joviality, revealing darker undercurrents. Thad Jenkins Logan, in his study for Studies in English Literature, 1500 to 1900, uncovers a more complex narrative, stating that the world depicted in the play is a night world, and festivity has lost its innocence. Logan suggests that the play’s message is cautionary, exploring the possibility that the pursuit of pleasure might be irreconcilable with societal and moral norms of goodness.

The issue of identity emerges as a major theme in “Twelfth Night,” with Viola serving as a poignant embodiment of this ongoing concern in Shakespeare’s works. J. Dennis Huston, in an article for Modern Language Quarterly, argues that Viola’s washed-up arrival on shore symbolizes the sea of lost identity, with her familial ties severed, and her decisions leading to confusion about her own identity, particularly her sexual identity.

Language plays a pivotal role in contributing to the comedic festivity of “Twelfth Night.” Much of the play’s humour hinges on wordplay and the choice of language. Ralph Berry, in “Shakespeare’s Comedies: Explorations in Form,” highlights the central role of communication in the play. Berry emphasizes that the theme of fantasy and reality is conveyed through the medium of messages, with almost all messages being misleading. This comic business, Berry argues, develops the serious concern of the fallibility of human communication.

Malvolio, a character that has intrigued critics for centuries, takes on multifaceted interpretations. In the seventeenth century, Charles I was so taken by Malvolio’s mistreatment that he changed the name of the play in the Second Folio to “Malvolio.” Critics in the nineteenth century debated whether Malvolio represented a Puritan or the emerging bourgeoisie class. David Willbern describes Malvolio as a humourless steward, out of place in the festive world of Illyria. Harold Bloom interprets Malvolio as a stage version of Shakespeare’s rival Ben Jonson, offering a humorous satire upon Jonson’s moralizing tendencies. However, beneath the humour, Malvolio serves a darker purpose, acting as a scapegoat for the antics of other characters. Melvin Seiden suggests that Malvolio undergoes sacrificial comic death so that Shakespeare’s lovers may preserve their romantic illusions. The complexity of Malvolio’s character lies in his fundamental division, maintaining a careful separation between overt behaviour and covert desires.

Feste, another significant character, is often considered Shakespeare’s great creation in the play. Paired with Malvolio as symbolic brothers, Feste serves as a counterbalance to the chaos in Illyria. Critics applaud Feste as the most charming of Shakespeare’s fools, providing an ironic commentary on revelry and contributing to the audience’s understanding of the artificial attitudes of the principal figures.

In conclusion, “Twelfth Night” stands as a multifaceted play that intertwines humour, festive celebration, identity exploration, and social commentary. The characters, with their impulsive decisions and intricate relationships, contribute to the play’s enduring appeal, while the underlying themes of caution, identity, and communication provide rich material for critical analysis.

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