William Shakespeare - The Complete Works/William Shakespeare - The Complete Works on CD-ROM.iso/library/text/tn/introp.txt

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TWELFTH NIGHT

Commentary

Act 1

Scene 1
In his rich ducal palace the young Orsino seems bored and depressed;
he calls for music, but is immediately tired of the tune. Other
members of his company try to amuse him ù this is, after all, their
job. They are not really OrsinoÆs friends but courtiers, attendant lords
like Curio who must address their master with respect as ômy lordö,
smile at his wit in the word-play on ôhartö and ôheartö, and show
admiration for the clever way in which he compares himself to
Actaeon (the hunter in Greek mythology who was turned into a stag
and pursued by his own hounds). Orsino fancies that he is in love
with Olivia, and his passion increases when he hears, once again, that
she has refused to entertain his messenger.
    The atmosphere of the short scene seems overheated. Orsino
talks most, and his tones are languid and meditative. He leaves the
stage in search of ôsweet beds of flowersö where he can lie and
indulge his day-dreams.

Scene 2
The next scene brings a breath of fresh salt sea air as the characters ù
Viola and those who have escaped with her from a shipwreck ù
speak with urgency: they have just escaped death by drowning, and
must now make plans for their survival. ViolaÆs first thought is for
her brother; he is still missing but Viola refuses to believe that he is
dead. The Captain tries to encourage her hope, and helps her to plot
her immediate future in this foreign country. She makes a vigorous
start towards a new life: ôLead me onö.

Scene 3
The first two scenes contrasted, through the movement of the verse,
the ineffectual languor of OrsinoÆs court and the realistic energy with
which Viola reacts to the loneliness of her new situation. A change to
prose in the third scene heralds comedy, as Sir Toby Belch discusses
with Maria the accomplishments of his friend, Sir Andrew
Aguecheek, who is being presented as a suitor for Olivia. Maria has a
sharp answer to every one of Sir TobyÆs remarks in praise of his
friend, and when Sir Andrew appears on the scene we are prepared to
find ôa very fool and a prodigalö. Sir Andrew does not disappoint our
expectations, making a clumsy attempt ù prompted by Sir Toby ù
to flirt with Maria. He is himself, however, dissatisfied with OliviaÆs
rejection of him, and threatens to leave Illyria ù to Sir TobyÆs
dismay. Sir Toby, we realize, has been glad to have Sir AndrewÆs
presence, because he has been drinking at the thin knightÆs expense
and cannot afford to lose him now! With gross flattery, he persuades
Sir Andrew that Olivia must love him for his accomplishments; and
the scene ends as the two knights caper around the stage in a parody
of all the most elegant Elizabethan dances.
    These first three scenes have introduced us to the three main
situations in the play: to the love-sick depression of Orsino in his
ducal palace; to the loneliness of Viola, cast ashore on a foreign
coast; and to the jollity of OliviaÆs house (although this is not shared
by its owner, who is still unknown). After these introductions, the
action of the play is ready to begin.

Scene 4
Disguised as a boy, and calling herself Cesario, Viola has won the
trust and respect of her master, who has confided in her all the secrets
of his love for Olivia. Now Viola is to be his go ù between and
messenger to the two parties. But there is a major complication, for
Viola finds that there is a terrible conflict between her duty to her
master and her own desires: she is sent to court Olivia on OrsinoÆs
behalf ù ôa barful strife! WhoeÆer I woo, myself would be his wifeö.

Scene 5
Again, the change to prose signals a more relaxed attitude, although
the wit is now intellectual, demanding quicker responses from the
audience than the early comic capers of Sir Toby and Sir Andrew.
Maria is trying to force a confession from Feste, but she is no match
for the professional jester. Feste next proceeds to demonstrate his
skill before Olivia, using the syllogistic arguments beloved of
Elizabethan scholars. With a daring parody of the catechism of the
Church of England, he proves that it is his mistress, and not himself,
who is the real fool. His wit, however, does not amuse Malvolio, who
as OliviaÆs steward is responsible for the proper conduct of her
household. It is a position of importance, and one which inevitably
creates enemies amongst those who must be disciplined. But even
Olivia finds that the steward is somewhat too strict, over-reacting to
any supposed affront to his dignity: ôO you are sick of self-love,
Malvolio, and taste with a distempered appetiteö. When Malvolio has
left the stage, however, she warns Feste that some people dislike his
fooling ù but he seems to place himself under her protection, and
helps her to handle the drunken Sir Toby.
    Malvolio returns to the stage to describe, with disdain, the
persistence of the latest ambassador from Orsino. Intrigued by such
determination, Olivia agrees to allow him access ù but tries to
deceive him by appearing, like Maria, in a veil.
    Viola/Cesario starts her wooing with a most elegant speech ù
but after only the first line her common sense asserts itself and she
insists upon knowing the identity of her listeners, being reluctant to
ôcast awayö on a waiting-woman the speech that she has so carefully
composed and taken so much trouble to learn by heart. Having
resisted MariaÆs attempt to force her departure, it is Viola who
succeeds in dismissing both Maria and all the attendants, so that she
is left alone with Olivia. The veil is drawn, and Viola looks on
OliviaÆs beauty. Her comments do not seem forced and exaggerated
(as we would expect from OrsinoÆs praise); Viola looks for traces of
cosmetics ù which the Elizabethans deplored ù and when she can
find no evidence of such painting, she speaks to Olivia with candour:

    ÆTis beauty truly blent, whose red and white
    NatureÆs own sweet and cunning hand laid on.

Olivia is surprised, but retaliates with a spirited fancifulness and
pretends that her beauty is to be sold at an auction. When Viola
describes how she would demonstrate her love, it is clear that Olivia
is much attracted to OrsinoÆs messenger, and ViolaÆs scorn when she
is offered payment makes her still more attractive. The device of the
ring declares OliviaÆs passion even more plainly than her confused
words at the end of the scene.

Act 2

Scene 1
Just as the plot begins to get tangled, Shakespeare gives us an
indication that all will end happily; somehow, Sebastian will save the
situation. He is not dead, but alive and in Illyria. This very careful
prose scene makes us sure of his identity ù and throughout the rest
of the play we can laugh with confidence at the problems of the other
characters because we know that there will be a happy resolution for
them.
    Sebastian has found a true friend in Antonio, the sea-captain
who rescued him from the shipwreck. Although he is a very minor
figure in the play, Antonio is a much-valued character for the
unselfish generosity and humility with which he follows the fortunes
of his young master.

Scene 2
Quite unlike the sea-captain is Malvolio, OliviaÆs steward, who now
shows his self-esteem and arrogance in the contempt with which he
tries to give his mistressÆs ring to Viola. After he has flounced off the
stage, Viola meditates on the meaning of the ring; she interprets
correctly, and neatly summarizes the confusions caused by love and
her own disguise:

As I am man,
My state is desperate for my masterÆs love:
As I am woman (now, alas the day!)
What thriftless sighs shall poor Olivia breathe?

Any momentary pathos evoked by this predicament is immediately
forgotten in the noisy laughter of the next scene.

Scene 3
Sir Toby and Sir Andrew have been drinking, and although it is well
after midnight they persuade Feste to sing for them and then all join
in a noisy chorus, ignoring MariaÆs warnings. They even scoff at
Malvolio, who has been sent by Olivia to silence their riotous
behaviour and who, when they will not obey, returns to his mistress
to report on their contempt. The guilty merrymakers (perhaps a little
afraid and subdued at MalvolioÆs words) plan to make a fool of the
steward in revenge for his scolding. And Sir Toby asks Sir Andrew
for still more money. The knights go off for another drink, having
decided that it is ôtoo late to go to bed nowö.

Scene 4
The action sobers again in this scene as Orsino bids ôgood morrow,
friendsö and calls for his kind of music; Feste again will be the singer
when the raucous drinking-songs change to tender love-lyrics. But
before he arrives from OliviaÆs house, Orsino and Viola begin their
debate on the nature of love which is the central subject of this scene.
Orsino speaks for all romantic lovers: Viola is a realist. She takes this
opportunity, however, of declaring her love for the duke; the audience
understands the real meaning of her words, although Orsino (who
believes himself to be addressing his page, Cesario) is deceived by
the references to the pageÆs ôsisterö whose history is ôA blankö and
who ônever told her loveö. In this scene the actress who plays the part
of Viola sometimes presents the character as though she were asking
for our sympathy ù pity for the plight of a lonely orphan, with no
protective brother or friends, hopelessly in love with a man to whom
she cannot reveal her secret passion. But this is not Viola as I
understand the character. I see a resolute young woman who faces the
difficulties of her situation with energy and wit, refusing to be a
victim of circumstances and even determined ù from the very
beginning of the play ù that Orsino is the man who can help her: on
first hearing his name (in Scene 2) her reaction suggests a plan:

Orsino! I have heard my father name him:
He was a bachelor then.

Viola is not a simple character; like all ShakespeareÆs best creations,
she is a mixture of different, even contradictory, qualities ù just like
most real human beings!
    As soon as it has aroused OrsinoÆs interest, the pathetic little
story of CesarioÆs ôsisterö ends ù with a riddle which is plain enough
to the spectators of the play but puzzling to Orsino; and even
Viola/Cesario does not know the full meaning of her words:

I am all the daughters of my fatherÆs house,
And all the brothers too; and yet I know not . . .

    When Viola speaks of love she does not use the extravagant
language that characterizes OrsinoÆs passion: her words are simple,
direct and sincere. We could almost forget ù for the moment ù that
we are watching a play.

Scene 5
Now the action changes into a comedy which is highly theatrical,
where we are expected to believe that this is OliviaÆs garden and that
the two knights (with their friend Fabian) are hidden in the thick bush
of the box-tree. Yet though they are concealed from MalvolioÆs view,
their words and actions are evident to the audience, who must
remember that Sir Andrew himself has aspirations to OliviaÆs hand,
whilst they cannot forget that Malvolio (despite his proud self-
righteousness) is merely OliviaÆs steward and not her social equal.
    The comedy starts with MalvolioÆs day-dreaming ù and the
comments of the onlookers. It is not love for Olivia that motivates his
actions, but the ambition ôTo be Count Malvolioö and show disdain
for ômy kinsman Tobyö. These characteristics are demonstrated
before Malvolio finds the forged letter ù preparing the audience for
his attempts to decipher its message to suit his own wishes. MariaÆs
device succeeds; and when she returns at the end of the scene it is to
lead us all ù the audience as well as the spectators behind the box-
hedge ù on to the next episode when Malvolio will appear before
Olivia

in yellow stockings, and Ætis a colour she abhors; and cross-
gartered, a fashion she detests; and he will smile upon her,
which will now be so unsuitable to her disposition . . .

Act 3

Scene 1
Now Shakespeare begins to interweave his different plots,
introducing Viola/Cesario to the two knights. She is already familiar
with Feste, whom she encountered briefly at OrsinoÆs court. Here she
speaks directly to the jester, showing a wit that is almost a match for
his professional talents. This is a new aspect of ViolaÆs character: the
shipwrecked ôdamsel in distressö could not have joked in this light-
hearted manner, and it would have been inappropriate ù even
impertinent ù for ôCesarioö to talk like this in OrsinoÆs presence.
Feste cleverly begs for money, which is readily given because it has
been earned by the foolÆs talent. ViolaÆs words, when she is alone,
show her respect for the professional skill of the clown and for the
ôfolly which he wisely showsö ù which is quite different from the
stupidity of some apparently ôwise menö ù i.e. men who claim to be
sensible and who would scorn a fool.
    Such a man now appears, when Sir Andrew attempts to create a
good impression with his French greeting. He seems to be
disconcerted by ViolaÆs quick retort (probably spoken with a better
French accent than his own), and his admiration increases when the
DukeÆs page addresses Olivia in words that Sir Andrew could never
have found for himself. It is only a brief encounter ù just long
enough for Sir Andrew to realize that he now has a rival.
    The more serious business of the scene follows when Olivia is
left alone with the person whom she knows as ôCesarioö and to
whom she now declares her love. The situation is embarrassing for
both characters ù for Olivia because she must speak of love to a
ômanö who is socially inferior to her, and for Viola because she must
hear these sentiments and react to them as though she were indeed a
man. She manages to handle the interview with an elegant dignity,
always remaining loyal to her master, Orsino, and speaking frankly to
Olivia (ôyou do think you are not what you areö). She hints at a
mystery (ôI am not what I amö), and departs with grace and sincerity
in her voice (ôBy innocence I swear, and by my youthö).

Scene 2
It appears, however, that there has been a witness of this scene who,
although he could not hear what was spoken, has taken great offence
at what he has seen: ôI saw your niece do more favours to the CountÆs
servingman than ever she bestowed upon meö. Sir Toby flatters Sir
Andrew with a new interpretation of the episode, provoking him to
fight the dukeÆs page (or, at least, to challenge Cesario to a duel). The
scene is written in a fast ù moving prose, packed so densely with
jests that a contemporary audience would not have had time to
breathe between the laughs. Then Maria calls us all to ôlaugh
(y)ourselves into stitchesö at the sight of Malvolio, fooled by the
letter into the costume and conduct that were recommended to him.

Scene 3
But just before the comedy proceeds, Shakespeare inserts another
scene with Sebastian that reassures us, helping the audience to
anticipate the playÆs happy ending. The verse is simple and
straightforward as Antonio explains why he cannot accompany
Sebastian on his sight-seeing tour of the city. The short scene
provides a little interval ù a rest in the laughter ù before the
comedy reaches its height with the complications of
misunderstanding and mistaken identity.

Scene 4
Olivia speaks first, in words that are not intended to be overheard,
wondering how to receive Cesario. She sends for Malvolio and hears
from Maria that the steward is acting very strangely and may even be
ôpossessedö by the devil ù in other words, completely and
dangerously mad. MalvolioÆs appearance confirms this report: he is
strangely dressed and speaks to his mistress with leering hints quite
foreign to his usual formal manners. When he is briefly alone,
MalvolioÆs soliloquy shows the extent to which he flatters himself.
Sir Toby approaches, picking up MariaÆs suggestion that Malvolio is
insane and speaking as if to a child. After Malvolio leaves the stage,
the three conspirators (Fabian has accompanied Sir Toby) comment
on the success of their device with the observation that

If this were played upon a stage now, I could condemn it as an
improbable fiction.

This remark perhaps prevents the theatre audience from voicing the
same idea!
    The treatment ù or punishment ù that is now planned for
Malvolio is the usual Elizabethan prescription for madness; Malvolio
is to be kept in darkness and bound until the devil leaves him.
Another form of insanity ù ôMore matter for a May morningö ù is
introduced when Sir Andrew brings the letter of challenge.
Shakespeare now returns to Viola, marking the transition with a
change from prose to verse which allows for a momentary
seriousness as Olivia declares her love. Another comic
misunderstanding follows (with a return to prose) when Sir Toby
delivers his friendÆs challenge to Viola; and the comedy is redoubled
when he returns to Sir Andrew. But the duel is stopped before it has
started by the sudden and unexpected intervention of Antonio. This is
a brilliant theatrical stroke, all the more effective because, on looking
back at the play, we can see that Shakespeare has in fact prepared us
for this moment, first by introducing Antonio as the friend of
Sebastian (ViolaÆs identical twin), and then by showing us how and
why the two friends have separated from each other.
    But the next episode is a sorrowful one for Antonio, when he is
arrested at Sir TobyÆs command ù and we must remember that he
told Sebastian that Illyria is a dangerous town for him: ôif I be lapsed
in this place, I shall pay dearö (3, 3, 36û7). Even though we
understand the mistake, we must feel great sympathy with him when
Viola cannot return his purse: Antonio is risking his life to help the
boy ù Sebastian ù whom he loves; and it now appears that he is
rejected and refused in his moment of need:

But Oh how vile an idol proves this god!
Thou hast, Sebastian, done good feature shame.

His mention of her brotherÆs name raises ViolaÆs hopes at once, and
we can see that her problems will soon be solved. But there are still
more mistakes to come ù and also more comedy.

Act 4

Scene 1
Sebastian is now drawn into one of the playÆs major plots; he
encounters Feste ù and is of course mistaken for Viola/Cesario, who
is completely identical in dress and appearance. But the twins are
clearly distinguished from each other by their manner of speech:
when Viola jested with Feste in Act 3, Scene 1 she spoke to the fool
with a witty sophistication that almost equalled his own, whereas
Sebastian, in the present scene, shows impatience with FesteÆs
fooling. The same impatience characterizes his reactions to Sir
Andrew and Sir Toby ù who also mistake him for ôCesarioö. Finally
Olivia receives Sebastian as though he were the one she loves,
speaking her sincerity in verse. And Sebastian, enchanted, responds
to her: ôIf it be thus to dream, still let me sleepö.

Scene 2
The next scene is not a dream but a nightmare! Most comedy
involves pain of some kind: the spectators laugh, but the person who
is the object of the laughter may not share the enjoyment. Here Maria
and Sir Toby take pleasure in duping Malvolio, and Feste has a
double delight, both exercising his acting skill and taking revenge on
Malvolio. But we begin to feel sorry for the steward, tormented so
expertly by his enemies and powerless to help himself. The clowning
is brilliant ù but it begins to hurt. Already Sir Toby is beginning to
feel uneasy: ôI would we were well rid of this knaveryö. When Feste
sheds his disguise and taunts Malvolio in his own voice, the steward
pleads with the fool, but there is still some dignity in his request ù
and it seems as though Feste will not stop the torture until all
MalvolioÆs pride is gone and he begs for FesteÆs help, promising to
ôrequite it in the highest degreeö.

Scene 3
As Feste sings himself off the stage, a bewildered Sebastian appears,
musing at his sudden good fortune. There is nevertheless a sense of
urgency in the verse, especially when he is joined by Olivia who
intends instant marriage.

Act 5

Scene 1
After a light-hearted battle of wits between Orsino and Feste (in
which Feste cleverly begs two coins from the Duke) the comedy
seems to be threatened with seriousness. Antonio was speaking the
truth when, separating from Sebastian in Act 3, Scene 2, he told the
boy that he would ôpay dearö if he should be arrested in Illyria.
Orsino is stern ù although even in his censure of Antonio he
acknowledges the ôfame and honourö of the captain.
    But confusions, complications and explanations follow fast
upon each other: Viola is claimed as Sebastian, his friend, by Antonio
and as Cesario, her newly-wed husband, by Olivia; she is threatened
as a rival by both Orsino and Sir Andrew; and she is finally
recognized as herself by her brother. The changing moods of the
scene are most strongly marked by the changes from verse to prose;
and the pace varies from the speed with which Sir Toby and Sir
Andrew are dismissed to the slow caution of the verse that reveals the
identities of the shipwrecked twins. Olivia claims her husband, and
Orsino looks to find a wife in his former page, reminding Viola that,
as Cesario, she had said ôa thousand times Thou never shouldst love
woman like to meö. Verse again gives way to prose when Malvolio is
remembered and the facts about his ômadnessö are revealed by Feste
and Fabian, but the comedy ends with a dignified verse speech from
the ill-used steward. The speech declares his presumptuous ambitions
as well as his injuries, and is itself enough to answer his question:
ôTell me why?ö. But Malvolio has not learned the lesson that the
deception was intended to teach him, and he leaves the stage in a bad
temper, determined on revenge. He alone is excluded from the
general happiness which unites the other characters.
    The play ends with a song from Feste which insists on ôthe
wind and the rainö of everyday life, directing the audience away from
the crazy, enchanted realm of Illyria because now ôour play is doneö.
It is time for applause.