Twelfth Night(Or What You Will)

William Shakespeare

Will iam Shakespeare

Born in 1564 (exact date unknown). Died on 23rd of April,

1616.

Entire body of work consists of 38 plays and 154 sonnets, as

well as several poems

Began his career in London as an actor, writer, and part

owner of a play company, Lord Chamberlain’s men

Influential – expanded potential of characterization, plot,

genre (from comedy to tragedy), and even language in drama

Signifi cance Of The Title

The Twelfth Night after Christmas

The Eve of The Feast of Epiphany

A time of revelry, celebration

Servants would dress up as their masters, men

would dress up as women

The cultural origin of the play’s confusion

TWELFTH NIGHT CHARACTERS

Orsino, Duke of Illyria: The ruler of Illyria. Powerful and a

gentleman, he is obsessed with gaining the hand in marriage of the fair Lady Olivia,

unaware that he himself has a secret admirer.

Lady Olivia: A countess of high social standing and great beauty, her hand in

marriage is desired by Orsino. She has resigned herself to seven years solitude

following the loss of first her father and then her much loved brother. Spurning

love in all its forms, she shuns Orsino's romantic overtures, but at the sight of

Cesario, falls deeply in love, causing many problems for Cesario (really Viola). She

later marries Sebastian, who looking exactly like Cesario, also steals Lady Olivia's

heart.

Viola and disguised as a man, Cesario: The secret admirer of Orsino, Viola comes to work

for Orsino when having been shipwrecked; she disguises herself as a man, and works for the

Duke. Much favored by the Duke, Viola is entrusted to convey the Duke's love to Countess

Olivia. This later causes problems for Viola, who serves her master faithfully, despite desiring

Orsino for herself and being the unwitting (and unwilling!) target of Countess Olivia's

affections. Viola has a brother, called Sebastian who is identical to her male appearance as

Cesario; she fears that he died when their ship broke up at the beginning of the play.

Sebastian: Viola's twin brother. When the ship he and Viola were traveling on sinks, he fears

his sister dead, as her sister does of him. Frequently mistaken for Cesario, Sebastian

eventually is reunited with his sister, earlier taking the hand the willing Countess Olivia as

his wife.

Antonio: A Sea Captain by trade, Antonio is a man with many enemies in the Duke Orsino's

court. Nonetheless he accompanies Sebastian in his travels. Memorable for the expression,

"That danger shall seem sport...." (Act II, Scene I).

Sir Toby Belch, Uncle to Olivia: As Olivia's uncle, Sir Toby passes away his time drinking

in Olivia's house with fellow drinker Sir Andrew Aguecheek, much to the displeasure of

Olivia, her servant Maria and Olivia's uptight and humorless steward Malvolio. A great

schemer of practical jokes, Sir Toby enjoys playing tricks on Malvolio, his friend Sir Andrew

and anyone else who captures his fleeting attention.

Sir Andrew Aguecheek: The drinking partner of Sir Toby, he too pushes Lady Olivia's

patience and hospitality with his continuously loud and lewd behavior. Described by Sir

Toby as being "as tall a man as any's in Illyria", Sir Andrew is not overly intelligent, Sir

Andrew like Sir Toby having little love for the annoying Malvolio and is party to a practical

joke against him. Sir Andrew however is greatly valued by Sir Toby since he is rich, earning

some "three thousand ducats a year." Unwittingly, Sir Andrew is also the pawn in Sir Toby's

plot making. Naive by nature, he is manipulated by Sir Toby into pursuing Lady Olivia since

this will maintain Sir Toby's drinking lifestyle. Later Sir Andrew is manipulated into

challenging Cesario, who becomes a threat to Sir Toby's plans.

Malvolio: As Lady Olivia's steward, Malvolio sees himself in a somewhat grandiose

light, imagining Olivia to love him and wishing to be more than his current rank. This

and his continuous disapproval of Sir Toby and Sir Andrew's drinking, earn him their

hatred and he quickly becomes their pawn in a complex romantic ruse.

Maria: Lady Olivia's woman, she is patient and tactful where Malvolio is brash and

insulting. She too, disapproves of Sir Toby and company's drinking but tries tactfully

to subdue their boisterous spirits. Her dislike of Malvolio leads her to create an

elaborate romantic trick on Malvolio, which she also uses to calm down Sir Toby and

company, who are now enthusiastic conspirator's in Malvolio's humiliation.

Feste: Referred to in the text as "The Clown" and a servant to Olivia, Feste like so

many of Shakespeare's fools, speaks the truth from the source of recognized

foolishness. He is much appreciated by Sir Toby, who spends many hours with him.

Fabian: A servant of Lady Olivia's, he too dislikes Malvolio, and

also participates enthusiastically in Malvolio's downfall.

Valentine and Curio: Gentlemen attending Orsino at the start of

the play.

A Sea Captain: A friend to Viola, he helps her to disguise herself

as Cesario. He initially reports Sebastian dead.

Summary

Begins with the separation of Viola and Sebastian

by shipwreck. Both fear for the other’s death, but

they aren’t sure.

Viola enters the service of Orsino, her disguise

being a male eunuch servant, Cesario.

Orsino tasks her with wooing the countess Olivia.

Love triangle sets in.

Love Is In The Air

Orsino

ViolaOlivia

Sebastian

AntonioMalvolio

Summary

Sebastian ends up in Orsino’s land, and is quickly

mistaken for Viola/Cesario.

Confusion ensues, ending with the discovery of the

twins, and the reuniting of Viola and Sebastian.

Olivia loves Sebastian, Orsino loves Viola, nobody

loves Malvolio.

Twelfth Night

Act by Act Breakdown

ACT 1, SCENE 1

Duke Orsino’s Palace

The scene opens at the court of the Duke Orsino who is the leader

of Illyria. Other lords surround him, and music plays in the

background.

As his musicians play, the Duke speaks of love and says if music is

the food that sustains love he wants to hear enough to make him sick

of it, so he will no longer want to hear any and no longer be in love.

He talks to a lord named Curio about his passionate love of the

countess Olivia. Olivia's brother, whom she was extremely close

with, recently died and she was in mourning.

The duke's gentleman, Valentine, tells him that the countess is in

mourning and will not accept any proposals. Orsino is saddened by

this, but will not give up his chase of her.

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 o’er 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.

Q U O T A T I O N

If it’s true that music makes

people more in love, keep playing.

Give me too much of it, so I’ll get

sick of it and stop loving. Play

that part again! It sounded sad.

Oh, it sounded like a sweet

breeze blowing gently over a

bank of violets, taking their scent

with it. That’s enough. Stop. It

doesn’t sound as sweet as it did

before.

[Music ceases]

O spirit of love, how quick and fresh

art thou

That, notwithstanding thy capacity

Receiveth as the sea, naught enters

there,

Of what validity and pitch so e’er,

But falls into abatement and low price

Even in a minute! So full of shapes is

fancy

That it alone is high fantastical. (I.i.1–

15)

Oh, love is so restless! It

makes you want everything,

but it makes you sick of

things a minute later, no

matter how good they are.

Love is so vivid and

fantastical that nothing

compares to it.

(Duke Orsino)

E X P L A N AT I O N

The play’s opening speech includes one of its most famous lines, as the unhappy, lovesick

Orsino tells his servants and musicians, “If music be the food of love, play on.”

Orsino asks for the musicians to give him so much musical love-food that he will overdose

(“surfeit”) and cease to desire love any longer.

Through these words, Shakespeare introduces the image of love as something unwanted,

something that comes upon people unexpectedly and that is not easily avoided.

This image is complicated by Orsino’s comment about the relationship between romance

and imagination: “So full of shapes is fancy / That it alone is high fantastical,” he

says, relating the idea of overpowering love (“fancy”) to that of imagination (that

which is “fantastical”).

Through this connection, the play raises the question of whether romantic love has more

to do with the reality of the person who is loved or with the lover’s own imagination. For

Orsino and Olivia, both of whom are willing to switch lovers at a moment’s notice,

imagination often seems more powerful than reality.

Q U O TAT I O N

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 kill'd the flock of all affections else

That live in her (1.1.4)

EXPLANATION

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 isn't

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

Olivia's capacity for "love," but he mistakenly believes that she will somehow

channel all of her energy into a relationship with him.

EXPLANATION

It's 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 Cupid's arrow or, "golden shaft"). 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 and also where Olivia compares herself to an animal, or "prey"

(3.1.8).

ACT 1, SCENE 2

The sea-coast

The woman Viola who is traveling with her brother

is shipwrecked on Illyria.

Viola's brother is missing from the shipwreck but

they think he may be in dead.

While talking to the captain of the ship who tells

her about the country, Viola decides to become a

servant in the Duke's household. The captain agrees

to help her and keep her identity a secret.

Q U O TAT I O N

Be you his eunuch, and your mute I'll be:

... When my tongue blabs, then let mine eyes not see. (1.2.10)

EXPLANATION

Viola's 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

he'll be Viola's "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 Viola's secret, which is that she never has been castrated.

ACT 1, SCENE 3

Olivia’s house

In the house of Countess Olivia, her kinsmen Sir

Toby talks to Olivia's handmaiden, Maria, about his

living habits.

The Lady Olivia is not happy about the way he is

living, or about his friend Sir Andrew who he brought

in to court her. Sir Andrew then enters and Maria

subtly makes fun of him, though he does not catch it.

She leaves, and Toby talks with Andrew about

courting Olivia. Andrew does not think he has much

of a chance but Toby presses the suit.

Q U O TAT I O N

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)

EXPLANATION

As Viola determines to disguise her identity by cross-dressing as a boy

servant ("Cesario"), she considers the sea captain's trustworthiness. This

passage is interesting for the way Viola describes the way some people

can seem "fair" in their outward behaviour and demeanour while

concealing, like a "beauteous wall," an inner nature that may be

"pollut[ed]." Viola's speech sets the tone for a play intent on thinking

about whether or not what's outside matches what's on the inside.

ACT 1, SCENE 4

Duke Orsino’s Palace

Viola, dressed as a boy Cesario, has become trusted

servant for Orsino. She is talking to Valentine about

her position when Orsino comes in and asks her to go

to the house of Lady Olivia to woo her for him. Viola

thinks that it is futile, but agrees to go.

Q U O TAT I O NDear lad, believe it;

For they shall yet belie ... thy happy years,

That say thou art a man: Diana's lip

Is not more smooth and rubious; thy small pipe

Is as the maiden's organ, shrill and sound,

And all is semblative a woman's part. (1.4.5)

EXPLANATION

Orsino's sensual description of "Cesario's" mouth ("lip") throat ("small

pipe"), and voice ("maiden's 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. Orsino nicely captures the gender confusion in an unintentionally

ironic description of his young page. In other words, Orsino isn't exactly

aware of it, but his description reveals that "Cesario's" sex appeal is a

combination of both masculine and feminine characteristics.

Q U O TAT I O N

I'll do my best

To woo your lady:

... Aside

yet, a barful strife!

Whoe'er I woo, myself would be his wife. (1.4.7)

EXPLANATION

Viola's sudden announcement that she's smitten with Duke Orsino may come

as a shock. How could Viola fall for Orsino so quickly when she's 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. It's easy to

dismiss the question by saying that Viola's love for Orsino is totally unrealistic

but is nevertheless important to the plot. Does Viola fall for Orsino because

he's a kind of passionate poet? Does this make her just as silly and foolish as

Orsino, Olivia, and Malvolio? Viola's a sharp girl. Does the play seem to

suggest that love and desire transform even the brightest and shrewdest

people into sappy fools?

ACT 1, SCENE 5

Olivia’s house

The jester, Feste, in Lady Olivia's house enters, and Maria

inquires where he has been. She also tells him that he should

beware of being late because it displeases his mistress.

Lady Olivia enters with Malvolio and dismisses the fool, but

Feste refuses to go calling her the fool. He explains that she should

not be mourning her dead brother because he is in heaven.

She asks Malvolio his opinion and he says she should not listen to

the fool. She laughs at the opinions of the fool when Maria enters

and tells her a young man is there to see her from Count Orsino.

Sir Toby however is blocking the gate and she sends Malvolio to

handle the situation. Toby enters drunk and then leaves. Olivia,

upset with her cousin, sends the fool to take care of him.

Malvolio returns saying that the young man refuses to leave until he

speaks with Olivia. After many questions, Olivia agrees to speak with

him.

Viola enters dressed of course as Cesario, and begins to give a

speech about her beauty. Lady Olivia is not interested in hearing it,

and Viola asks to speak with her in private. She concedes, and the

servants exit. Viola then tells her of her master's love, but Lady Olivia

states that she can and will not love him back. She tells Viola who she

is, and the girl dodges the question.

When Viola leaves, the Lady Olivia ponders who he is. Malvolio

enters again, and she tells him to go after the departed messenger

and tell him to come back the next day if he wants reasons for why

she cannot love the count. She also gives him a ring and tells him to

return it to the young man, because he left it there.

Q U O TAT I O N

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)

EXPLANATION

Here, Malvolio implies that "Cesario" isn't 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 "Cesario's"

androgynous good looks. Here, Malvolio attributes "Cesario's" seemingly

undeveloped body to prepubescent youthfulness.

Q U O TAT I O N

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)

EXPLANATION

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, Olivia's comparison of falling in love to catching the bubonic

"plague" is not unlike other passages we've seen that align desire with

illness and injury. (There's also a bawdy reference to venereal disease,

which was rampant in Shakespeare's London.)

Q U O TAT I O N

Methinks I feel this youth's perfections

With an invisible ... and subtle stealth

To creep in at mine eyes. Well, let it be. (1.5.48)

EXPLANATION

Olivia's 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 Viola's deceptive disguise plays an important

role in Olivia's physical attraction to "Cesario's" "tongue, face, limbs,"

etc., which gives new meaning to the concept of "Cesario's" "stealth," or

underhandedness.

ACT 2, SCENE 1

The sea-coast

Viola's brother Sebastian is saved by a sailor named

Antonio.

Sebastian is devastated because he thinks his

beloved twin has drowned.

He tells Antonio that he plans to go to Orsino's

court, and Antonio offers to be his servant, but

Sebastian refuses him.

ACT 2, SCENE 2

A street

Malvolio finds Cesario and gives him the message

and the ring.

Viola is confused because she never gave the

Countess a ring, but takes it anyway.

She figures out that Lady Olivia has fallen in love

with her while she, herself, has fallen for Orsino.

She does not know how to undo the "love knots"

which have become tangled, and she curses her

disguise for causing such problems.

Q U O TAT I O N

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)

EXPLANATION

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

Olivia's attraction to her.

ACT 2, SCENE 3

Olivia’s house

Sir Toby, Sir Andrew, and the Fool are having a late night

party. Maria enters and tries to make them be quiet,.

Malvolio comes and threatens to kick them out if they do

not behave better.

In defense to Malvolio's attitude, Maria decides to forge a

letter from Olivia telling Malvolio that she loves him. Toby,

Andrew, and Feste think it is a wonderful idea, and she

leaves to put her plan into action.

Sir Andrew reveals his bad financial state to Sir Toby,

saying that he has to marry Olivia or he will be completely

broke.

The devil a puritan that he is, or

anything constantly, but a time-

pleaser; an affectioned ass that

cons state without book and utters

it by great swarths; the best

persuaded of himself, so crammed,

as he thinks, with excellencies,

that it is his grounds of faith that

all that look on him love him. And

on that vice in him will my revenge

find notable cause to work.

M a r i a ’ s d e s c r i p t i o n o f M a l v o l i o ( 2 . 3 . 1 4 6 - 1 5 3 )

He isn’t really that pure and

good. He’s just a conceited

flatterer. He’s a pretentious

guy who aspires to speak and

act like nobility. He’s proud,

and he thinks he’s so stuffed

full of wonderful qualities

that everyone loves him.

That’s the weakness I’ll use

to get revenge on him.

Q U O TAT I O N

I will drop in his way some obscure epistles of

love; (2.3.8)

EXPLANATION

Maria's plan to forge a love letter (in order to trick Malvolio into

believing Olivia loves him) furthers the play's notion that "epistles of love"

are not to be trusted. Maria's forged letter is not so different from Duke

Orsino's messages for Olivia (which aren't necessarily forged but are

contrived nonetheless).

I will drop in his way some obscure

epistles of love, wherein by the color of

his beard, the shape of his leg, the

manner of his gait, the expressure of

his eye, forehead, and complexion,he

shall find himself most feelingly

personated.

I can write very like my lady your niece:

on a forgotten matter we can hardly

make distinction of our hands.

…

Sport royal, I warrant you. I know my

physic will work with him. I will plant

you two, and let the fool make a third,

where he shall find the letter. Observe

his construction of it.

M a r i a ’ s P l a n

I’ll drop some mysterious love letters in

his path. He’ll think they’re addressed

to him, because they’ll describe the

color of his beard, the shape of his legs,

the way he walks, and the expression

on his face. I can make my handwriting

look just like Lady Olivia’s: she and I

can’t tell the difference between each

other’s handwriting.

…

It’s going to be fun, I promise. I know

my medicine will work on him. I’ll have

you two hide—and the fool too—right

where he’ll find the letter. Watch his

reaction.

FOOL:

Now, the melancholy god protect

thee, and the tailor make thy

doublet of changeable taffeta, for

thy mind is a very opal. I would

have men of such constancy put

to sea, that their business might

be everything and their intent

everywhere, for that’s it that

always makes a good voyage of

nothing.

D u k e O r s i n o ’ s C h a r a c t e r d e l i n e a t e d t h r o u g h m e t a p h o r :( 2 . 4 . 7 3 - 7 9 )

I’ll pray for the god of sadness to protect

you, sir. And I hope your tailor will make

you an outfit out of fabric that changes

color, because your mind is like an opal

that changes colors constantly. Men as

wonderfully changeable as you are should

all go drifting on the sea, where they can

do whatever comes their way, and go

wherever the current takes them. Those

are the men whose trips are always

successful.

Too old by heaven. Let still the woman

take

An elder than herself. So wears she to him,

So sways she level in her husband’s heart.

For, boy, however we do praise ourselves,

Our fancies are more giddy and unfirm,

More longing, wavering, sooner lost and

worn,

Than women’s are. . . .

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 displayed, doth fall that very

hour. (2.4.29-34 )

D u k e c o n t r a d i c t s h i m s e l f a n d c o n fi r m s t h e F o o l ’ s a s s e s s m e n t o f h i m : ( 2 . 4 . 2 9 - 3 4 & 9 4 - 1 0 4 )

That’s definitely too old. A woman should

always pick an older man. That way she’ll

adjust herself to what her husband wants,

and the husband will be happy and faithful to

her. Because however much we like to brag,

boy, the truth is that we men change our

minds a lot more than women do, and our

desires come and go a lot faster than theirs.

…

So find someone younger to love, or you

won’t be able to maintain your feelings.

Women are like roses: the moment their

beauty is in full bloom, it’s about to decay.

There is no woman’s sides

Can bide the beating of so strong a passion

As love doth give my heart. No woman’s

heart

So big, to hold so much. They lack

retention.

Alas, their love may be called appetite,

No motion of the liver, but the palate,

That suffer surfeit, cloyment, and revolt;

But mine is all as hungry as the sea,

And can digest as much. Make no compare

Between that love a woman can bear me

And that I owe Olivia. (2.4.94-104 )

D u k e c o n t r a d i c t s h i m s e l f a n d c o n fi r m s t h e F o o l ’ s a s s e s s m e n t o f h i m : ( 2 . 4 . 2 9 - 3 4 & 9 4 - 1 0 4 )

No woman is strong enough to put up with

the kind of intense passion I feel. No

woman’s heart is big enough to hold all my

love. Women don’t feel love like that—love is

as shallow as appetite for them. It has

nothing to do with their hearts, just their

sense of taste. They eat too much and get

indigestion and nausea. But my love’s

different. It’s as all-consuming and insatiable

as the sea, and it can swallow as much as the

sea can. Don’t compare a woman’s love for a

man with my love for Olivia.

ACT 2, SCENE 4

Duke Orsino’s Palace

Viola, Orsino, and Curio are at the court of Orsino

when he requests a love song by Feste the jester.

While someone fetches the fool, Orsino asks

Cesario if he has ever been in love. Cesario says he

has, and when Orsino asks for details, Cesario tells

him that his love is like him.

Feste comes and sings a sad love song for them

and Orsino is very pleased. He bade everyone but

Cesario exit, and then he tells the young man to go

back to Olivia.

Cesario tells him again that Olivia cannot love him,

but he will not believe it. The young girl-boy then

asks what he would do if he found out that another

woman loved him as much as he loved Olivia.

The count thought that was impossible, but

Cesario gave him an illustration made up of his

lovesick sister (really herself).

The count gives him a jewel to take to Olivia and

sends him off.

Q U O TAT I O N

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 display'd, doth fall that very hour. (2.4.8)

EXPLANATION

Here, Orsino tells "Cesario" to marry a young woman, because a

woman's beauty (like a flower) fades just as quickly as a husband's sexual

desire for his wife (especially once he's "deflowered" or, slept with her).

Q U O TAT I O N

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)

EXPLANATION

In this passage "Cesario" speaks to Duke Orsino of "his" "father's

daughter" (Viola), who kept her love a secret. "Cesario's" 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 play's portrayal of the

relationship between love and food and love and disease or injury.

Q U O TAT I O N

There is no woman's sides

Can bide the beating ... of so strong a passion

As love doth give my heart; no woman's heart

So big, to hold so much; they lack retention (2.4.16)

EXPLANATION

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. Women were thought of as "leaky vessels" in the

16th century. Here, Orsino's use of the term "retention" not only implies that

Olivia is incontinent (can't control her bladder) but also suggests that she

can't hold or "retain" any passionate feeling because it would seep or spill out

of her, like urine.

Viola

How easy is it for the proper false

In women’s waxen hearts to set their forms!

Alas, our frailty is the cause, not we,

For such as we are made of, such we be. (2.2.29-

32)

Orsino

Too old by heaven. Let still the woman take

An elder than herself. So wears she to him,

So sways she level in her husband’s heart.

For, boy, however we do praise ourselves,

Our fancies are more giddy and unfirm,

More longing, wavering, sooner lost and worn,

Than women’s are. (2.4.29-34)

T h e m e : W h a t i s s u g g e s t e d a b o u t m e n , w o m e n , a n d l o v e i n t h e s e t w o s p e e c h e s ?

It’s so easy for a good-looking but deceitful man to

make women fall in love with him.

It’s not our fault—we women are weak.

That’s definitely too old. A woman should always pick

an older man. That way she’ll adjust herself

to what her husband wants,

and the husband will be happy and faithful to her.

Because however much we like to brag, boy,

the truth is that we men change our minds

a lot more than women do,

and our desires come and go a lot faster than theirs.

ACT 2, SCENE 5

Olivia’s garden

Maria plants the letter meant for Malvolio, and Sir Toby, Sir

Andrew, and their friend Fabian wait hidden to see him find it.

Malvolio comes along praising himself aloud when he finds

the letter. He reads it, sure that the writer meant for him.

The letter gives him certain directions to follow to win his

lady's love. It tells him to be mean to Sir Toby and the

servants, wear yellow stocking cross-gartered, and walk

around constantly smiling.

Malvolio, delighted by the fact, goes to prepare himself, and

the others prepare to watch his downfall as he tries to woo

Lady Olivia.

Q U O TAT I O N

Daylight and champaign discovers not more. This is open. I

will be proud, I will read politic authors, I will baffle Sir Toby, I

will wash off gross acquaintance, I will be point-device the

very man. I do not now fool myself, to let imagination jade me;

for every reason excites to this, that my lady loves me. She did

commend my yellow stockings of late, she did praise my leg,

being cross-gartered, and in this she manifests herself to my

love, and with a kind of injunction drives to these habits of

her liking. I thank my stars, I am happy. I will be strange,

stout, in yellow stockings, and cross-gartered, even with the

swiftness of putting on. Jove and my stars be praised.

(II.v.140–150)

EXPLANATION

Malvolio speaks these words after he finds the letter written by Maria

that seems to reveal that Olivia is in love with him. Until this point,

Malvolio has seemed a straitlaced prig with no enthusiasms or desires

beyond decorum and an orderly house. Here we see his puritanical

exterior is only a veneer, covering powerful ambitions. Malvolio dreams of

being loved by Olivia and of rising in the world to become a nobleman—

both of these dreams seem to be fulfilled by the letter. For the audience,

this scene is tremendously comic, since we can easily anticipate that

Malvolio will make a fool of himself when he follows the letter’s

instructions and puts on yellow stockings and crossed garters. But there

is also a hint of pathos in Malvolio’s situation, since we know that his

grand ambitions will come crashing down. Our pity for him increases in

later scenes, when Sir Toby and Maria use his preposterous behavior to

lock him away as a madman. Malvolio is not exactly a tragic figure; he is

too absurd for that. But there is something at least pitiable in the way the

vanity he displays in this speech leads to his undoing.

Q U O TAT I O N

"Be not afraid of greatness: some are born great, some achieve

greatness, and

some have greatness thrust upon 'em.“ (2, 5, 156-159)

EXPLANATION

In this scene, the comic plot (as opposed to the romantic plot) unfolds

when Malvolio, Countess Olivia's priggish steward, comes upon a letter

that the merrymakers in the play have left for him to find. One night as

Sir Toby, Andrew, Maria and Feste are carousing, Malvolio bursts in to

scold them for their behavior. His egotism and condescending manner so

offends them that they decide to play a practical joke by arranging for

him to find a love letter that he will believe is from Olivia to himself. The

writer of this anonymous letter suggests that he can become "great" by

doing certain things, each of which is more absurd than the next.

Malvolio, in his ambitious and pretentious egotism, never questions the

validity of the letter, nor the author, whom he firmly believes is Olivia.

Later, as he carries out the ridiculous instructions in the letter, Olivia

thinks her steward has gone mad and has him locked up.

Q U O TAT I O N

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)

EXPLANATION

Malvolio's unrealistic fantasy about marrying Olivia is not so much about

erotic desire as it is about Malvolio's social aspirations. Here, he imagines

himself leaving Olivia's 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. This seems to make him just as self-

absorbed as, Duke Orsino.

ACT 3, SCENE 1

Olivia’s garden

Viola travels back to the estate of the Lady Olivia.

On her way, she encounters the fool, Sir Toby, and

Sir Andrew..

Olivia then appears with Maria, and dismisses

everyone so she can talk to Cesario alone.

Once alone, Olivia declares her love to Cesario, but

she of course refuses the Lady. She then presses with

Orsino's suit, but is again rejected. They part.

Q U O TAT I O N

I am not what I am. (3.1.29)

EXPLANATION

"Cesario's" 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.

Q U O TAT I O N

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)

EXPLANATION

"Cesario's" insistence on singularity – "he" has "one heart, one bosom

and one truth" ("he's" in love with and devoted to Orsino only) is striking

in this passage, especially given the fact that "Cesario's" cryptic words

hold double meaning. This, of course, also draws out attention to the

doubleness of Viola's disguised identity.

Olivia: Stay, I prithee, tell me what

thou thinkest of me.

Viola: That you do think you are not

what you are.

Oliva: If I think so, I think the same of

you.

Viola: Then think you right: I am not

what I am.

Oliva: I would you were as I would

have you be!

(3.1.140-144)

E x p l a i n t h e i r o n y :

Olivia: Stay, Please, tell me what you

think of me.

Viola: I think you’re denying what you

really are.

Olinia: If that’s true, I think the same

thing about you.

Viola: You’re right. I am not what I am.

Oliva: I wish you were what I wanted

you to be!

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.

(3.1.160-163)

E x p l a i n t h e i r o n y :

Viola:

And I swear by my youth

and innocence

that I’ve only got one heart

and one love to give,

and that I’ve never given

them

to a woman and never will.

ACT 3, SCENE 2

Olivia’s house

Sir Andrew is convinced that Olivia will never accept

his suit, but Sir Toby presses him to stay. He tells him

to challenge the young Cesario to a duel for the

woman's hand, and Sir Andrew agrees.

The knight leaves to write a letter to Cesario

proposing the duel when Maria enters.

She says that Malvolio has followed the directions

giving in the mysterious letter and is about to present

himself the Lady Olivia who will hate every thing he

has done.

Q U O TAT I O N

Marry, I saw your niece do more favours ... to the

count's serving-man than ever she bestowed upon me;

I saw't i' the orchard. (3.2.2)

EXPLANATION

Sir Andrew is clearly annoyed that Olivia isn't interested in marrying

him. Here, it also seems that Olivia's apparent desire for a mere

"serving-man" ("Cesario") is also something that rubs Andrew the wrong

way. This may partially explain why Andrew's so easily convinced to

challenge "Cesario" to a duel.

This was looked for at your hand,

and this was balked.

The double gilt of this opportunity you

let time wash off,

and you are now sailed into the north

of my lady’s opinion,

where you will hang like an icicle on a

Dutchman’s beard,

unless you do redeem it by some

laudable attempt

either of valor or policy.

(3.2.27-28)

E x p l a i n F a b i a n ’ s s i m i l e

That’s what she was expecting,

and you let her down.

You wasted a golden opportunity,

and now my lady thinks badly of you.

You can only raise her opinion of you

with some impressive act of courage

or complicated intrigue.

This simile seems to suggest that Sir Andrew

will be compared to a lump of elongated ice,

frozen out and looking rather like a useless

appendage on a foreigner's beard! Fantastic

image! Unless he acts (and challenges a youth

who had been shown favour by Olivia to a duel,

so proving his valour to the lady he loves).

ACT 3, SCENE 3

A street

Sebastian is now in Orsino's city and he realizes

that the sailor, Antonio has followed him.

Sebastian wants to go sight seeing, but Antonio

tells him that the city is dangerous for him because

he has a past with Orsino.

Sebastian understands the threat to Antonio, and

dismisses him to find them lodging. They agree to

meet at a hotel later, and Antonio gives Sebastian

money for anything he may want to buy.

Q U O TAT I O N

I could not stay behind you: my desire,

More ... sharp than filed steel, did spur me forth;

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)

EXPLANATION

There's 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", 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 Antonio's love causes him physical

suffering and heartache, but it also consistent with the imagery of sexual

penetration we see elsewhere.

While it's not clear if Antonio and Sebastian are lovers or just very close

friends (though, one doesn't necessarily preclude the other), Antonio's

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 Shakespeare's work

ACT 3, SCENE 4

Olivia’s garden

Olivia tells Maria that she has sent after Cesario, and asks to see

Malvolio.

He enters looking ridiculous in his yellow cross-gartered stockings. His

constant smiling makes him appear mad, and he continually quotes the

letter he found.

Olivia, thinking he's gone crazy, tells him to go to Sir Toby to be taken

care of. Thinking it's a ploy to see if he follows the letter, Malvolio is rude

to Sir Toby and leaves. Sir Toby, Maria, and Fabian plan to tie him up in a

dark room for a while so he'll learn his lesson.

Sir Andrew enters with his letter for Cesario, and Sir Toby tells him it's

wonderful. He also offers to deliver it to the boy. Sir Andrew leaves to

prepare for the duel and Sir Toby, with no intention of delivering the

letter, tries to think up some message to give Cesario orally for the

challenge.

Olivia comes in again with Cesario at her side and she asks

him to wear her pin. He again presses Orsino's suit, but the lady

refuses.

She leaves but Toby and Fabian enter to talk to him. They tell

him of Andrew's planned attack in the Orchard, but Cesario

refuses to fight. The men lie about how good of a fighter Andrew

is by saying that he is wonderful. Again Cesario refuses.

They all leave, but Andrew and Toby enter. Toby tells Andrew

that Cesario is mad and cannot wait to fight. Andrew is scared,

and offers to give Cesario his horse if they can just be at peace.

This delights Toby, because he will take the horse.

Fabian and Viola enter, and Toby goes to speak with them. She

still refuses to fight, but when Toby goes back to Sir Andrew, he

says the young man cannot wait.

They take out their swords and are about to begin when Antonio

enters. He offers to take on the battle for Cesario because he

thinks it is Sebastian.

Officers come in to arrest Antonio for his previous crimes, and

he pleads to Cesario but he doesn't know who the man is.

Antonio then refers to him as Sebastian and Viola is happy that

her twin may be alive and in the city. She leaves and the men

think she is dishonest and a coward for leaving her friend. They

decide to go after her.

Q U O TAT I O N

[Aside] Pray God defend me! A little thing would

... make me tell them how much I lack of a man. (3.4.12)

EXPLANATION

When "Cesario" (Viola in disguise) prays that she doesn't 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 one's sex doesn't

necessarily determine whether or not someone will be brave.

ACT 4, SCENE 1

Before Olivia’s house

Lady Olivia sends the Fool to find Cesario, but he runs into

Sebastian first.

Sebastian thinks the Fool is crazy and tries to give him money

so he'll go away.

The men enter and Andrew punches Sebastian. Sebastian

strikes back and a brawl ensues.

The Fool runs to fetch Lady Olivia. She comes, stops what has

turned into a sword fight, and yells at Sir Toby.

The three men exit, and she goes to Sebastian, thinking that

he is Cesario and professes her love again to him. She offers to

have him come back to her house, and he, delighted, agrees.

ACT 4, SCENE 2

Olivia’s house

Maria at Toby's request dresses the Fool up as a

minister and sends him to the dark room in which they

are keeping Malvolio.

The Fool, as the minister, tells him that he is mad,

and leaves him in the dark. The fool, then as himself,

sings and Malvolio recognizes the voice and calls to

him. Feste talks to him in his own voice, but because it

is dark, Malvolio cannot see it was he as the preacher.

Malvolio wants Feste to bring him paper, light, and

ink and Feste leaves him to fetch the things.

ACT 4, SCENE 3

Olivia’s garden

Lady Olivia tells Sebastian of her love for him,

thinking he is Cesario.

Sebastian has fallen madly in love with Olivia, and

is delighted by this.

Lady Olivia, afraid he will change his mind again

(thinking he's Cesario still), proposes a formal

betrothal, and takes him before a priest. They have

the ceremony performed that day.

Q U O TAT I O N

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)

EXPLANATION

As readers we tend to focus on all the ways Viola's behaviour 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,

we're reminded of just how bold Olivia is. We might think Olivia is weak at

the play's outset (when we learn that she's in seclusion over her brother's

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.).

Q U O TAT I O N

This is the air; that is the glorious sun;

... This pearl she gave me, I do feel't and see't;

And though 'tis wonder that enwraps me thus,

Yet 'tis not madness. Where's Antonio, then?

I could not find him at the Elephant:

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)

EXPLANATION

We've seen how deeply devoted Antonio is to Sebastian. Here, however,

it's pretty clear that Sebastian doesn't 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 Olivia's love for him, Antonio is

quite literally an afterthought. Sebastian's question, "Where's Antonio,

then?" seems to be pinned on at the very end of a lengthy thought about

Olivia and merits only half a line. What's 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.

ACT 5, SCENE 1

Before Olivia’s house

Fabian asks the Fool if he can see the letter Malvolio wrote, but

the Fool refuses to show it to him.

Viola, Orsino, Curio, and other Lords enter and Orsino tells the

Fool to fetch the Lady Olivia.

The officers bring in Antonio and Orsino calls him a pirate. Viola

sticks up for him, saying that he helped her fight Sir Andrew and

Sir Toby.

Antonio calls Cesario an ungrateful boy for not appreciating that

he rescued him from the sea and brought him to the city. He also

says that he has spent the past three months with the boy, but

Orsino protests saying that Cesario has spent the last three

months in his service.

Olivia and her attendants enter, and she greets Cesario as her

betrothed. Orsino declares his love, but she refuses him explaining

that she is going to marry Cesario. Viola refuses her and she is

confused.

To prove that they are betrothed, she brings in the priest and he

swears that they are betrothed. Orsino gets angry with Cesario

because he thinks that he did agree to marry the girl he is in love

with.

Sir Andrew enters bleeding and saying that Cesario beat him up.

Cesario denies it, but Sir Toby comes in bloody as well.

Worried, Olivia sends Andrew, Toby, the Fool, and Fabian exit so

they can fix any cuts they have.

Sebastian then enters apologizing to Olivia for hurting her kinsman.

Everyone is astonished to see Sebastian and Cesario together.

Sebastian greets Antonio as a friend and tells him he was worried

about him.

Sebastian looks at Viola and says that he never had a brother, only a

sister.

Viola thinks that Sebastian is a ghost of her dead brother. Finally,

Viola reveals herself, and Sebastian reveals to Lady Olivia that he loves

her. He also says that Viola refused her because she was a woman.

Orsino is delighted that Cesario is a woman, and asks her to put on

women's clothing because he loves her and wants to marry her. She

tells him that the captain who rescued her has them.

Feste enters with Fabian, carrying the letter that Malvolio

wrote, and gives it to Lady Olivia. She asks Fabian to read it, and

after hearing him, tells him to fetch Malvolio.

While waiting, Olivia talks to Viola (as herself) and when

Malvolio enters, he declares that Olivia has wronged him. He

gives her the letter he found, and she says that the letter was in

Maria's handwriting.

Fabian confesses the prank that they played and Olivia tells

Malvolio it was just a prank. He promises revenge on the

pranksters and leaves.

Orsino plans to marry Viola and takes her off.

The fool closes the play by singing a song.

Q U O TAT I O N

That most ingrateful boy there by your side,

... From the rude sea's 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)

EXPLANATION

The play's 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 Antonio's love.

Q U O TAT I O N

Orsino: If this be so, as yet the glass seems true,

I shall have share in this most happy wrack.

[To Viola] Boy, thou hast said to me a

thousand times

Thou never shouldst love woman like to me.

Viola: And all those sayings will I overswear,

And all those swearings keep as true in soul

As doth that orbèd continent the fire

That severs day from night.

Orsino: Give me thy hand,

And let me see thee in thy woman’s weeds.

(5,1,.258–266)

EXPLANATION

This exchange follows the climax of the play, when Sebastian and Viola

are reunited, and all the misunderstandings are cleared up. Here, Orsino

ushers in a happy ending for his long-suffering Viola by declaring his

willingness to wed her. This quotation thus sets the stage for general

rejoicing—but it is worth noting that even here, the -gender ambiguities

that Viola’s disguise has created still persist. Orsino knows that Viola is a

woman—and a woman, apparently, to- whom he is attracted. Yet he

addresses her as “Boy” in this speech, even as he is accepting her vows

of love. This incident is not isolated: later, Orsino continues to call his

new betrothed “Cesario,” using her male name. This odd mode of

address raises, and leaves un-answered, the question of whether Orsino

is in love with Cesario, the beautiful young man, or with Viola, the

beautiful young woman.

Q U O TAT I O N

"Cesario", come;

For so you shall be, while you ... are a man;

But when in other habits you are seen,

Orsino's mistress and his fancy's queen. (5.1.30)

EXPLANATION

It's pretty striking that Duke Orsino calls Viola "Cesario," even after

they are engaged and Viola's 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.

What is Love? S o m e fi n a l t h o u g h t s

Love to some, is the embodiment of self indulgence: looking for ways to satisfy the flesh, as

is the case for Olivia, mesmerized by the beauty and fairness of the youth Cesario, or

satisfying the mind’s desire for love with the gluttony of ideological visions of love, as is

present in Orsino.

But some choose to conceal their love, some for fear, and others to give another a chance.

Viola loved Orsino to the point that she did his every wish including trying to woo Olivia for

him. This is the envelope of self sacrifice that is mailed to a revered object of love.

These three take on the meaning and behavior of love in people and it is amazing in that it

captivates everyone’s approach toward love.

Twelfth Night marks the end of the celebration of Christ’s birth, and is the festival of

Epiphany. Epiphany can be described as “a moment of sudden revelation or insight”, which

can play on the moment that Viola’s true identity is revealed. Thus Viola is the manifestation

of true love and no matter how difficult it may seem to fight said true love, it will always

prevail.