{"id":200,"date":"2019-06-18T13:04:08","date_gmt":"2019-06-18T13:04:08","guid":{"rendered":"https:\/\/opentextbc.ca\/provincialenglish\/chapter\/twelfth-night-study-guide\/"},"modified":"2023-12-06T22:22:19","modified_gmt":"2023-12-06T22:22:19","slug":"twelfth-night-study-guide","status":"publish","type":"chapter","link":"https:\/\/opentextbc.ca\/provincialenglish\/chapter\/twelfth-night-study-guide\/","title":{"raw":"Twelfth Night: Study Guide","rendered":"Twelfth Night: Study Guide"},"content":{"raw":"To paraphrase the French critic and philosopher Henri Bergson, comedy depicts the triumph of the vital characters (those on the side of life, fertility) over mechanical characters (those given to rote, mechanical, predictable behaviour). Comedy is concerned with the social norm. Aberrant individualism must be checked, and all must be brought back within the social fold. Usually romantic comedies end in marriage(s). One etymology of comedy is Greek Komoidia<\/em> (revel song). The title, Twelfth Night<\/em> (January 5), is an allusion to an important feast day of the Christian calendar, namely the eve of the 12th day after Xmas, or Feast of the Epiphany, (January 6), which is a time of much merrymaking. This feast derives from the ancient Roman Saturnalia, held at the same season. The play was probably so named because it was written for performance at the Twelfth Night revels (ca. 1600\u20131601).[footnote]\u201cTwelfth Night\u201d. Brewer\u2019s Dictionary of Phrase and Fable<\/em>, Centenary Edition, 1109.[\/footnote] Typically at Saturnalia, a prototype of later English Christmas feasts or celebrations, a Lord of Misrule presided over the Festus Fatuorum (Feast of Fools).\r\n\r\nOf course, the Christian calendar marks Mardi Gras <\/strong>(Fat Tuesday<\/strong>) or Carnival<\/strong> (Latin carne<\/strong> + vale<\/strong>). Think of some modern English words with the root carn<\/em> (carn<\/strong>al, incarn<\/strong>ation) and vale<\/strong>dictory (a saying good-bye). So Carnival = farewell to the flesh, a time of excess, which is followed by Lent. As Feste says, \u201cpleasure will be paid, one time or another.\u201d (TN<\/em> 2.4.957)\r\n\r\nIts origins aside, the spirit of comedy celebrates life and the flesh. In romantic comedy<\/strong>, the young lovers encounter impediments to their eventual marriage and eventual reproduction. Sometimes the impediments are external (blocking parents or members of the older generation), but often the impediment is internal (self-indulgence or pride). The typical comic plot begins with exposition, moves to complication, then to release or liberation.\r\n\r\nThe subtitle is significant, too: \u201cWhat You Will<\/strong>.\u201d Look up the word \u201cwill\u201d in the Oxford English Dictionalry or any other good dictionary. (One suggested meaning is \u201cTo desire, wish for, want.\u201d) It also had the sense of \u201cto get lost, go astray.\u201d Perhaps this obsolete meaning is relevant to theme.\r\n

Themes<\/h1>\r\nThe play\u2019s main plot<\/strong> (the love plot: Orsino-Viola-Olivia-Sebastian) and the subplot<\/strong> (the revellers\u2019 gulling of Malvolio) intersect thematically around the theme of pride<\/strong> or self-indulgence.<\/strong> Most of the characters must have their self-indulgence removed. Which characters are self-indulgent?\r\n

Self-indulgent characters in the main plot<\/h2>\r\nI would suggest that Orsino is self-indulgent. He confuses wallowing in conventional attitudes of love with the real thing. He confuses sentimentality and imaginary love with the real thing.\u00a0 Next, Olivia is guilty of indulgently playing the chaste, scornful lady, one who abjures the sight of men for seven years. Thus, she tries too hard to show her own love for a dead brother, all the while perversely contradicting her own loving nature. Unlike Orsino, however, she does not adhere too long to the role she plays (scornful mistress of Petrarchan convention). Instead, she follows her natural, spontaneous loving tendency as Cesario. Neither Viola nor Feste is self-indulgent. Both observe others, and Viola is often selfless.\r\n

Self-indulgent characters in subplot<\/h2>\r\nFirst: Sir Toby Belch. He insists on play, and like the eternal child, he refuses to deal with time and responsibility. He insists on ignoring the clock (\u201cNot to be abed after midnight is to be up betimes\u201d [early] (TN 2.3.701)), and staying outside time, insisting on holiday. His names both suggest drink\u2014Toby jug and belching.\r\n\r\nSecond: Andrew Aguecheek. He is a fool, who, like Absalom in Chaucer\u2019s \u201cMiller\u2019s Tale,\u201d deludes himself that he could be worthy of a young, lusty, quick-witted woman. His lank hair and sallow complexion (ague is a flu-like disease) suggest the opposite of fertility. Belch bilks him shamelessly, perpetuating the laughable idea that Aguecheek is a worthy suitor (see especially the vulgar joke at TN 1.3.214).\r\n\r\nThird, Malvolio (Mal <\/strong>and Voglio\u2014Ital. \u201cI wish\u201d\u2014suggest ill-will and bad volition. Contrast to Benvolio, the good-hearted friend of Romeo in Romeo and Juliet<\/em>). Malvolio\u2019s will is indeed diseased. He is malevolent. Like Aguecheek, he indulgently thinks himself worthy of Olivia. A thoroughgoing materialist, he is only interested in Olivia\u2019s status and wealth. One aspect of Shakespeare\u2019s satire on Puritanism is Malvolio\u2019s social climbing and extreme interest in increasing his wealth. If Aguecheek woos Olivia in part to try to convince himself of his own virility, Malvolio woos her chiefly to rise in station and wealth. See his daydream about the servant who married into the nobility, i.e., a yeoman of the wardrobe married the Lady Strachy (TN 2.5.1055).\r\n

Act Notes<\/h1>\r\n

Act 1 (Illyria, The Duke\u2019s Palace)<\/h2>\r\nDuke Orsino\u2019s first speech introduces the motif of excess,<\/strong> metaphorically suggested by a reference to overeating. He suggests that his love for Olivia is all-consuming. Pay close attention to Orsino\u2019s insistence on \u201cfancy\u201d or imagination. Fancy means \u201clove\u201d [verb: to fancy; noun \u201cfancy,\u201d love] but also \u201cto imagine.\u201d He then compares himself to the mythological Actaeon, a hunter who, after seeing Diana bathing, was transformed into a stag (hart) and torn to pieces\u2014an emblem of intemperance.\r\n\r\nPainting: Diana and Actaeon by Titian (1559) Oil on canvas<\/span><\/a>\r\n\r\nWhat key fact do we discover about Olivia, object of Orsino\u2019s unrequited love (TN 1.1.25\u201334) in the first reference to her? The duke\u2019s reply is important: affections (TN 1.1.42) are emotions. What kind of love does Orsino wish for from Olivia? In Renaissance psychology, the liver was held to be the seat of sexual passion, the brain, the seat of reason, and the heart, emotion.\r\n

Act 1<\/h2>\r\n

Act 1, Scene 2 (Illyria)<\/h3>\r\nViola, shipwrecked, finds herself in Illyria. The captain who rescued her gives her hope that Sebastian, her brother, might also not have drowned. The captain, a native of these parts, offers to be her guide. He tells her of the noble duke (Orsino) who governs the area and tells of Olivia\u2019s vow to forego suitors for seven years in honour of her dead brother.\r\n\r\nWhy do you think Viola decides to serve Olivia at this point? Why does she adopt the disguise of a eunuch?\r\n\r\nWhat does Viola mean, \u201cTo time I will commit\u201d (TN 1.2.112)?\r\n\r\nNotice that Viola\u2019s name is a virtual anagram of Olivia. They have many similarities; for example, both are noble born, and both have seemingly lost brothers. What is their key difference in attitudes to love? It\u2019s too early to tell, but keep this question in mind.\r\n

Act 1, Scene 3<\/h3>\r\nToby is the Lord of Misrule figure, and he believes that \u201ccare is an enemy to life.\u201d Toby is anything but serious (and so, is Malvolio\u2019s opposite). Toby stands for holiday, whereas Malvolio seemingly stands for work. Toby loves humour; Malvolio is humourless. Of the seven deadly sins, foremost in Toby are gluttony, sloth, and lechery; Malvolio\u2019s besetting sins are pride, avarice, and envy, with a touch of wrath (see TN 5.1.2549).\r\n\r\nNotice that Aguecheek is a \u201cfoolish knight\u201d; he is Sir<\/strong> Andrew Aguecheek. (Look up the term \u201cMerry Andrew\u201d in a good dictionary. Is his first name appropriate? Is his surname apt? Explain.)\r\n\r\nWhat is Toby\u2019s purpose in introducing Sir Andrew to his niece\u2019s household? (TN 1.140). Later, pay close attention to Toby\u2019s \u201cShe\u2019ll (i.e., Olivia) none o\u2019 the Count\u2026\" (TN 1.3.219). What do you make of Toby\u2019s lines here? One aspect of Aguecheek\u2019s character might seem out of place: see TN 1.3.147. Now look up \u201croaring boy.\u201d\r\n\r\nLink this aspect of Aguecheek\u2019s character to the duelling scene (TN 3.4 and especially 4.1). Notice that Aguecheek is being proudly self-indulgent in that he pretends to be what he is not: a linguist, a macho-man\/swordsman, dueller, a good dancer, etc. This trait heightens the appearance vs. reality theme.\r\n

Act 1, Scene 4<\/h3>\r\nNote that Viola has now adopted the disguise of Cesario (a eunuch). How long has Cesario\/Viola been at the duke Orsino\u2019s court? How does Orsino treat Cesario? Given the length of time Orsino has known Cesario, what does this tell you about Orsino? By the way, if you were madly in love with someone, would you send an intermediary to do your wooing for you? Further, what conventional aspect of the duke\u2019s role-playing personality is heightened in lines 288\u2013289?\r\n\r\nWhat does Viola\/Cesario say in the scene\u2019s last line (TN l.293\u2013294) that complicates the plot?\r\n

Act 1, Scene 5<\/h3>\r\nHere Feste, the Fool or jester, is introduced. Notice his name and its connotations. Notice that, as usual, Maria (Olivia\u2019s lady-in-waiting, more than a maid) holds her own in the verbal play with Feste. With Olivia, his employer, Feste jokes his way out of trouble for his recent unexcused absence. How does he prove Olivia a fool? Like Toby, Feste feels that Olivia\u2019s mourning is excessive.\r\n\r\nWhat aspect of Malvolio\u2019s character is immediately apparent in his discussion of the Fool? Notice Olivia\u2019s reproach: \u201cO, you are sick of self-love, Malvolio\u201d (TN 1.5.383). He is certainly hostile to comic fooling, ever the serious-minded man. He wants to appear the wise counsellor and frequently \u201creproves\u201d or scolds.\r\n\r\nDuring Viola\/Cesario\u2019s first encounter with Olivia, notice that Olivia pointedly asks for her veil, an item of mourning.\r\n\r\nViola\u2019s speech, she realizes, is artificial, and so she may consciously parody herself. Might the actress playing Viola deliver the lines in an exaggerated, ironic way? Note \u201ccomedian\u201d (TN l.476) means \u201cactor.\u201d But Olivia is equally play acting, isn\u2019t she?\r\n\r\nNote the dramatic irony in Viola\u2019s lines, \u201cI am not that I play\u201d (TN 479). This line could easily apply to several of the characters: Aguecheek, Orsino, Olivia, the Fool. Pay close attention to Viola\u2019s lines at 481\u2013482\u2014a thematic crux.\r\n\r\nIs Olivia being vain when she asks, \u201cIs it not well done?\u201d (TN 526) What is ironic about Olivia\u2019s line, \u201cTwill endure wind and weather\u201d (TN 529)? Briefly, what is the gist of Viola\u2019s reproach in lines, \u201cLady, you are the cruelest she alive\/If you will lead these graces to the grave\/And leave the world no copy\u201d (TN 532\u2013534)? How do they relate to Shakespeare\u2019s sonnets quoted above?\r\n\r\nOlivia\u2019s lines (TN 537\u2013540) refer to the Petrarchan convention known as a blazon. See Shakespeare\u2019s Sonnet 130 for a parodic treatment of this convention. See also Spenser, \u201cLong while I sought.\u201d Then look at Olivia\u2019s lines, \u201cThy tongue, they face\u2026fivefold blazon\u201d (TN 588). Now go online for further discussion of Sonnet 130<\/a> if you wish. Note also that Viola refers to Olivia as the typical cruel maiden of the Renaissance sonnet tradition, calling on behalf of Orsino for \u201cpity\u201d (TN l.569). Notice the dramatic irony<\/strong> in Olivia\u2019s response, \u201cYou<\/strong> might do much\u201d (TN 570).\r\n\r\nAct 1 ends with Olivia in love with a woman dressed as a man. So we have seen exposition <\/strong>(necessary background business), followed by some complication<\/strong>. The complication will increase and later be followed by resolution. <\/strong>Thus the 3-part structure of comedy: Act 1, exposition; Acts 2 and 3, complication; Act 3, Scene 4, climax; Acts 4 and 5, resolution.\r\n

Act 2<\/h2>\r\n

Act 2, Scene 1<\/h3>\r\nThe scenes with Sebastian (Viola\u2019s twin brother) and Antonio\u2014the man who saved him from drowning and befriended him after the shipwreck\u2014help develop the plot and the theme of love. Notice that Antonio willingly serves his friend out of love for him and even exposes himself to danger in Illyria.\r\n

Act 2, Scene 2<\/h3>\r\nShort connecting scene. The invented story of the ring suggests to Viola that Olivia loves her\/him. \u201cI am the man\u201d (TN 681). Both Olivia and Viola realize that only time can unravel the complexities.\r\n

Act 2, Scene 3<\/h3>\r\nThe three revellers\u2014Toby, Andrew, and Feste\u2014engage in much noisy foolery and song, with \u201cO Mistress Mine\u201d introducing the carpe diem<\/em> theme mentioned above. Maria, the voice of reason, urges them to be quiet, but Malvolio is awakened. Malvolio threatens Toby with dismissal if he does not mend his ways and continues in \u201cthis uncivil rule\u201d (2.3.818.) At this point, Maria reveals her desire to gull (trick) Malvolio to teach him a lesson (828\u2013831).\r\n\r\nAnalyze Maria\u2019s speech about Malvolio\u2014\u201cThe devil a Puritan\u201d (839). What does Maria take to be the vice in Malvolio that will prove to be his undoing? Look now at the section on Puritanism in Shakespeare\u2019s Life and Times<\/em><\/a> by the University of Victoria. Pay most attention to the section \u201cSatirical attacks on Puritanism.\u201d\r\n\r\nAfter Maria tells Toby and Andrew of her plan to trick Malvolio, Belch finally decides it is bedtime. What exactly does Andrew mean in the next lines, \u201cIf I cannot recover\u2026\u201d (875)?\r\n

Act 2, Scene 4<\/h3>\r\nAs Duke Orsino continues to call for melancholy music and to play the role of the unrequited lover, notice the dramatic irony<\/strong> in the exchange between him and Viola\/Cesario, (907\u2013915, also 999\u20131010).\r\n\r\nComment on Feste\u2019s speech re the Duke Orsino: \u201cNow the melancholy god protect thee\u2026changeable taffeta\u2026\u201d (959\u2013960). What exactly does Feste mean? What does the sea traditionally symbolize? Note that the god Proteus<\/a> was associated with the sea. What does \u201cprotean\u201d mean?\r\n\r\nComment on the conventional nature of the love song, \u201cCome Away, Death\u201d (sung by Feste, 941\u2013952).\r\n\r\nLastly, notice that Orsino does not offer a jewel to Olivia until the end of Act 2.4 (\u201cGive her this jewel\u201d, 1.1013).\r\n

Act 2, Scene 5<\/h3>\r\nOlivia\u2019s servant Fabian, like Feste, has some reason to be hostile to Malvolio. What is it?\r\n\r\nWhy were Puritans against bearbaiting<\/a>? How does bearbaiting become a symbol and to whom does it apply?\r\n\r\nMaria\u2019s Bait<\/strong>: Maria throws into Malvolio\u2019s way a forged letter (ostensibly from Olivia, but Maria has copied her mistress\u2019s hand and composed this letter). Notice how his own \u201ccontemplation\u201d (1046) and \u201cimagination\u201d (1057) [cf. Fancy<\/strong>] lead to his gulling. Olivia\u2019s special seal on her signet ring is an image of Lucrece. Clarify this allusion. Why is it apt that Olivia is linked to Lucrece? This scene is one of the most popular in the play. Describe what makes this scene (from Malvolio\u2019s entrance at 1049) so amusing.\r\n\r\nNotice Toby\u2019s grateful line, \u201cI could marry this wench for this device\u201d (1184). How is this prophetic?\r\n

Act 3<\/h2>\r\n

Act 3, Scene 1<\/h3>\r\nViola, outside Olivia\u2019s garden, encounters Feste as she prepares to woo Olivia again by proxy for Orsino. Although the puns are a bit forced, both characters reveal their linguistic abilities and their wit. Contrast their verbal dexterity with Andrew\u2019s verbal ham-handedness. Both Feste and Viola observe that foolish behaviour (folly) is everywhere (3.1.1251). As with the Duke, Feste succeeds in getting a tip through his verbal dexterity. Note the dramatic irony in Viola\u2019s lines (1258\u201359). What does she mean here? She also praises Feste\u2019s ability to show people their folly (thus a fitting act), whereas wise men who fall into folly betray their common sense (1276\u201380).\r\n\r\nThe encounter between Viola and Olivia playfully satirizes euphemistic or courtly language, the inflated language of the court, after hearing Viola\u2019s cloyingly artificial, courtly praise of Olivia: \u201cMost excellent accomplished lady, the heavens rain odors on you\u201d (1297\u201398). Andrew is impressed by Viola\u2019s courtly diction: \u201cThat youth\u2019s a rare courtier\u201d (1299). Compare this courtly language to that of Osric in Act 5 of Hamlet<\/em>\u2014or, to that of Absalom as he woos Alison in Chaucer\u2019s \u201cThe Miller\u2019s Tale.\u201d\r\n\r\nNow read the following: Backgrounds to Romance: \"Courtly Love\"<\/a>\r\n\r\nMeanwhile, Andrew is most impressed with courtly language and vows to copy such phrases (1302). Notice the many references to the lover as \u201cservant,\u201d and how Viola offers (Orsino) as Olivia\u2019s servant (1313). Olivia indirectly tries to indicate her interest in Cesario\/Viola. Interestingly, just like Orsino, Olivia accuses Cesario of cruelty (1331\u201333), but unlike the traditional cruel mistress of poetic convention, Cesario\/Viola responds, \u201cI pity you\u201d (1336).\r\n\r\nAgain, dramatic irony can be seen in line 1354: Viola: \u201cThat you do think you are not what you are\u201d \u2026 later, \u201cI am not what I am\u201d (1356).\r\n\r\nThe scene ends with a direct avowal of love from Olivia to Viola\/Cesario, thus heightening the complication.\r\n

Act 3, Scene 2<\/h3>\r\nAndrew, impatient at getting nowhere with Olivia, vows to leave. How does Toby deflect Andrew\u2019s objections that Olivia seems only to be interested in Viola? In particular, why do Toby and Fabian suggest that Andrew challenge Viola to a duel? This scene and its continuation in the latter part of Act 3.4 parallel the gulling of Malvolio. Here begins the \u201cgulling of Andrew Aguecheek,\u201d and this tributary to the comic subplot continues until Act 4.1, much to Andrew\u2019s discomfiture, both verbal and physical. What do Malvolio and Aguecheek have in common as comic gulls? What does Toby mean when he says of Sir Andrew, \u201cI have been dear to him \u2026some two thousand strong\u201d (3.2.1434)?\r\n

Act 3, Scene 3<\/h3>\r\nThis short scene prepares for the introduction of Sebastian into the main plot as well as into the subplot, and he becomes an instrument in the fusion of both. Because Antonio is afraid to play the tourist in Illyria because of an outstanding warrant for his arrest, issued by the Duke, he begs off a tour of the city and instead lends Sebastian money for lodgings. They agree to meet later at an inn called the Elephant.\r\n

Act 3, Scene 4<\/h3>\r\nThis long comic scene develops the subplot gulling of Malvolio and of Andrew. First, Maria sets up Malvolio\u2019s one-sided verbal lovemaking to Olivia, suggesting that his odd behaviour is evidence of possession by the devil and thereby setting up a necessary exorcism that will serve Malvolio right for his previous ill treatment of Fabian, Feste, as well as Toby and Andrew.\r\n\r\nLove-smitten Olivia opens the scene, wondering what gifts to give Viola\/Cesario in order to win his love. Then she asks for the grave and formal Malvolio, qualities that suit her ill fortunes (3.4.1525\u201327). Dramatic irony governs the humorous dialogue between the amorous Malvolio and the miserable Olivia. His words to Olivia make her believe he is in very \u201cmidsummer madness.\u201d Just before she goes to meet the returned Viola, Olivia instructs Maria look after Malvolio, thereby giving Toby a pretext for tormenting Malvolio by locking him in a dark room (a common treatment for madness). Fabian, Maria, and Toby all pretend to be trying to cure Malvolio, even suggesting that his urine sample be sent to the \u201cwise woman\u201d (1625). Malvolio acts surly to them, thinking that he is following Olivia\u2019s bidding in the love letter (\u201cbe opposite with a kinsman\u201d), and this behaviour leads Toby to lock him in a dark room.\r\n\r\nAt this point, Andrew shows Fabian and Toby the scornful challenge to Viola\/Cesario that he has penned, replete with \u201cthou\u2019s\u201d and \u201cthee\u2019s\u201d\u2014terms of address used by superiors to inferiors, rather than the more polite \u201cyou\u201d pronoun. Toby represses the foolish letter and instead gives a verbal report of the challenge to Viola, who all the while is being reproached by Olivia for cruelty. Viola still insists that she is wooing Olivia on behalf of her master, the Duke Orsino. Toby pretends that Viola is a hot-tempered and formidable fencer, and Andrew immediately tries to chicken out of the challenge, adding, \u201cLet him let the matter slip and I\u2019ll give him my horse, gray Capilet\u201d (1804). Clarify what Toby means: \u201cThis shall end without the perdition of souls. [Aside<\/strong>] Marry I\u2019ll ride your horse as well as I ride you.\u201d Note that an aside is an utterance not heard by anyone else on stage and is the equivalent of a character\u2019s thinking to himself.\r\n\r\nAfter Toby pretends to Viola that Andrew will not be appeased, Viola reluctantly draws her sword only to have Antonio intervene, thinking he is defending Viola\u2019s twin, Sebastian. Toby draws as well, whereupon Antonio is arrested. At this point, Antonio asks Viola for his purse, and the astonished Viola denies him. Antonio naturally upbraids Viola for ingratitude as he is led off to prison (1879 ff.). Viola now hopes that Sebastian may still be alive. Toby reports on Viola\u2019s seeming dishonesty and cowardice in abandoning his friend, so Andrew now regains his bluster: \u201c\u2019Slid, I\u2019ll after him again and beat him\u201d (1912).\r\n\r\nBy the way, notice the curse: \u201c\u2019Slid\u201d (by God\u2019s eyelid). Other common Elizabethan blasphemous oaths were \u201cGadzooks,\u201d and \u201c\u2019Sblood\u201d. Look up \u201cGadzooks\u201d in the Oxford English Dictionary or college dictionary.\r\n

Act 4<\/h2>\r\n

Act 4, Scene 1<\/h3>\r\nWhen Feste approaches Sebastian telling him to report to Olivia, Sebastian is bewildered and pays Feste to leave him alone, whereupon Andrew appears with Toby and strikes Sebastian a blow. Sebastian strikes back at Andrew, and Toby draws on Sebastian. When Olivia arrives, she takes Sebastian\u2019s part, and Sebastian plays along, allowing her to govern him.\r\n

Act 4, Scene 2<\/h3>\r\nFeste, disguised as the curate Sir Topas, further torments Malvolio, who asserts his sanity as Feste retorts, \u201cThere is no madness but ignorance, in which thou art more puzzled than the Egyptians in their fog\u201d (2030). Malvolio succeeds in getting Sir Topas to bring him pen and paper so that he can write to Olivia.\r\n

Act 4, Scene 3<\/h3>\r\nOlivia's garden. Sebastian decides to pledge his troth with Olivia, believing that Olivia must be sane or else she could not command her servants.\r\n

Act 5<\/h2>\r\n

Act 5, Scene 1<\/h3>\r\nThis long scene unravels all the plot complexities. The Duke finally appears at Olivia\u2019s household and encounters Feste, who charms him and receives a tip from Orsino. Orsino appears ready to woo by himself at long last. The Duke and Viola encounter Antonio, who defends his recent actions. Antonio insists that, for the past three months, he and Sebastian have been inseparable. So by this shorthand, the audience learns that three months have passed since the action began. The duke refutes Antonio: \u201cThree months [Viola\/Cesario] has [at]tended upon on me\u201d (2254).\r\n\r\nOne more complication remains\u2014Duke Orsino is again rebuffed by Olivia, and he responds, \u201cStill so cruel?\u201d (2266). Orsino now suspects Viola\/Cesario is the true object of Olivia\u2019s affection and threatens to kill Cesario in spite: \u201cLive you the marble-breasted tyrant still. \/ But \u2026your minion, whom I know you love, \/ And whom\u2026I tender dearly\u2026. I\u2019ll sacrifice a lamb that I do love. \/ To spite a raven\u2019s heart within a dove (2280 ff.).\u201d Incredibly, Viola accepts: \u201cAnd I\u2026a thousand deaths would die\u201d (2289). Olivia tries to persuade Viola\/Cesario to stand up and tell of their marriage: \u201cCesario, husband, stay\u201d (2301). The priest corroborates Olivia\u2019s words that she is married to Viola\/Cesario. The Duke, in disgust, bids Viola farewell.\r\n\r\nAt this juncture, Andrew, nursing a broken head, blames Viola for his wound. Toby, too, complains of a beating at the hands of Viola. With the entry of Sebastian, all confusion ends, and the lovers pair off: Olivia and Sebastian, Orsino and Viola, even Toby and Maria. Three marriages will be celebrated. Only Malvolio remains at the periphery: \u201cI\u2019ll be revenged on the whole pack of you\u201d (2548). So not quite everyone is integrated into the social circle: Malvolio still nurses a grudge. But the Duke urges Malvolio to make peace.\r\n\r\nThe closing song is hard to interpret, but perhaps its first verse suggests that foolishness is only acceptable in the young, but as one matures (verse 2), anti-social behaviour will have consequences\u2014social expulsion (\u201c\u2019gainst knaves and thieves men shut their gates\u201d); verse 3: conducting oneself in an arrogant manner and \u201cswaggering\u201d does not end well (Orsino and Olivia?); verse 4: drunkenness (Toby) will lead to hangovers. Nothing changes\u2014foolishness has negative consequences, so try to be integrated into the social norm.\r\n

Some Key Ideas<\/h1>\r\nEarly in the play, Viola counsels Olivia:\r\n\r\n\u201cWhat is yours to bestow is not yours to reserve\u201d (1.5.482\u201383). First, what does this line mean? Who utters it? To whom? Compare this sentiment with the main point of Shakespeare\u2019s Sonnets 1\u201317<\/a>. In this context, Sonnets 1 and 3 are especially relevant.\r\n

SONNET I<\/h2>\r\nFrom fairest creatures we desire increase,\r\nThat thereby beauty's rose might never die,\r\nBut as the riper should by time decease,\r\nHis tender heir might bear his memory:\r\nBut thou, contracted to thine own bright eyes,\u00a05\r\nFeed'st thy light'st flame with self-substantial fuel,\r\nMaking a famine where abundance lies,\r\nThyself thy foe, to thy sweet self too cruel.\r\nThou that art now the world's fresh ornament\r\nAnd only herald to the gaudy spring,\u00a010\r\nWithin thine own bud buriest thy content\r\nAnd, tender churl, makest waste in niggarding.\r\nPity the world, or else this glutton be,\r\nTo eat the world's due, by the grave and thee.\r\n

SONNET III<\/h2>\r\nLook in thy glass, and tell the face thou viewest\r\nNow is the time that face should form another;\r\nWhose fresh repair if now thou not renewest,\r\nThou dost beguile the world, unbless some mother.\r\nFor where is she so fair whose unear'd womb\u00a05<\/strong>\r\nDisdains the tillage of thy husbandry?\r\nOr who is he so fond will be the tomb\r\nOf his self-love, to stop posterity?\r\nThou art thy mother's glass, and she in thee\r\nCalls back the lovely April of her prime:\u00a010<\/strong>\r\nSo thou through windows of thine age shall see\r\nDespite of wrinkles this thy golden time.\r\nBut if thou live, remember'd not to be,\r\nDie single, and thine image dies with thee.\r\n\r\nPerhaps the idea behind Viola\u2019s criticism of Olivia is that, by being foolishly chaste and closed to love, Olivia is committing an offence against nature.\r\n

The Songs of Twelfth Night<\/h2>\r\nEach song in some way is a comment on action or theme.\r\n\r\nBriefly analyze each song\u2019s theme or main point. To which character(s) is each most aptly directed?\r\n
    \r\n \t
  1. \u201cO Mistress Mine\u201d (2.3.740 ff.)<\/li>\r\n \t
  2. \u201cCome Away Death\u201d (2.4.941 ff.)<\/li>\r\n \t
  3. \u201cHey, Robin\u201d (4.2.2057 ff.)<\/li>\r\n \t
  4. \u201cWhen that I was and a little tiny boy\u201d (2559 ff.)<\/li>\r\n<\/ol>\r\n

    Romantic Comedies<\/h2>\r\nCharacteristics of Shakespeare\u2019s Comedies (adapted from Roland Frye, Shakespeare: The Art of the Dramatist<\/em> (1970), pp. 81\u201396):\r\n