Twelfth Night
Or What You Will
Synopsis
Illyria, the setting of Twelfth Night, is important to the play's romantic atmosphere. It is an
ancient region on the eastern coast of the Adriatic Sea covering parts of modern Croatia,
Montenegro and Albania. Illyria is mentioned in one of the source plays for Twelfth Night,
Plautus's Menoechmi, as a place where, as in Twelfth Night, a twin went looking for his brother.
Shakespeare himself mentioned it previously, in Henry VI, Part II, noting its reputation for
pirates.
Like so many of Shakespeare’s comedies, this one centres on mistaken identity. The leading
character, Viola, is shipwrecked on the shores of Illyria during the opening scenes. She loses
contact with her twin brother, Sebastian, whom she believes dead. Dressed as a man and
masquerading as a young page under the name Cesario, she enters the service of Duke
Orsino. Orsino is in love with the bereaved Lady Olivia, whose brother has recently died, and
decides to use "Cesario" as an intermediary. Olivia, believing Viola to be a man, falls in love
with this handsome and eloquent messenger. Viola, in turn, has fallen in love with the Duke,
who also believes Viola is a man, and who regards her as his confidant.
When Sebastian arrives on the scene, confusion ensues. Mistaking him for Viola, Olivia asks
him to marry her, and they are secretly married by a priest. Finally, when the twins appear in the
presence of both Olivia and the Duke, there is more wonder and awe at their similarity, at which
point Viola reveals she is really a female and that Sebastian is her lost twin brother. The play
ends in a declaration of marriage between the Duke and Viola, Toby and Maria, and Olivia and
Sebastian, though their marriages are never actually seen.
Much of the play is taken up with the comic subplot, in which several characters conspire to
make Olivia's pompous head steward, Malvolio, believe that his lady Olivia wishes to marry him.
It involves Olivia's uncle, Sir Toby Belch; her would-be suitor, a silly squire named Sir Andrew
Ague-Cheek; her servants Maria and Fabian; and her father's favourite fool, Feste. Sir Toby and
Sir Andrew disturb the peace of their lady's house by keeping late hours and perpetually singing
catches at the very top of their voices.
Maria, Sir Toby, Sir Andrew Ague-Cheek and company convince Malvolio that Olivia is secretly
in love with him, and write a letter in Olivia's hand, asking Malvolio to wear yellow stockings
cross-gartered, be rude to the rest of the servants, and to smile in all circumstances. Olivia,
saddened by Viola's attitude to her, asks for her chief steward, and is shocked by a Malvolio
who has seemingly lost his mind. She leaves him to the contrivances of his tormentors.
He is locked up in a room, with a slit for light. Feste visits him to mock his "insanity", once
disguised as the priest, and again as himself. At the end of the play Malvolio learns of their
conspiracy and storms off promising revenge, but the Duke despatches someone (probably
Fabian) to pacify him.
Characters
Orsino - Duke of Illyria
Valentine - Gentleman attending on Orsino
Curio - Gentleman attending on Orsino
First Officer
Second Officer
*****
Viola - A Shipwrecked Lady, later disguised as Cesario
Sebastian - Her twin Brother
Captain - of the wrecked ship
Antonio - another Sea Captain
*****
Olivia - A Countess
Maria - her waiting gentlewoman
Sir Toby Belch - her Uncle
Sir Andrew Ague-Cheek - Sir Toby’s Protégée
Malvolio - Olivia’s Steward
Fabian - a member of her household
Feste - her Jester
A Priest
A Servant
Musicians, Lords, Sailors, Attendants
Date and Text
Twelfth Night was probably finished between 1600 and 1601; the name of its male lead,
Orsino, was likely suggested by Orsini, Duke of Bracciano, an Italian nobleman who
visited London in the winter of 1600 to 1601.
The play was not printed until its inclusion in the First Folio of 1623.
Performance
The earliest known performance took place at Middle Temple Hall, one of the Inns of Court, on
Candlemas night, 2nd February 1602.It may have been performed earlier as well, before the
Court at Whitehall Palace on Twelfth Night of 1601. Twelfth Night was also performed at Court
on Easter Monday, 6th April 1618, and again at Candlemas in 1623.
The play was also one of the earliest Shakespearean works acted at the start of the
Restoration; Sir William Davenant’s adaptation was staged in 1661, with Thomas Betterton in
the role of Sir Toby Belch. Samuel Pepys thought it "a silly play", but saw it three times anyway
during the period of his diary (on 11th September 1661, 6th January 1663, and 20th January
1669). Another adaptation, Love Betray'd, or, The Agreeable Disappointment, was acted at
Lincoln’s Inn Fields in 1703.
After holding the stage only in the adaptations in the late 17th and early 18th centuries, the
original Shakespearean text of Twelfth Night was revived in 1741, in a production at Drury Lane.
In 1820 an operatic version by Frederic Reynolds was staged, with music composed by Henry
Bishop. Influential productions were staged in 1912, by Harley Granville-Barker, and in 1916, at
the Old Vic.
When the play was first performed, all female parts were played by men or boys, but it has been
the practice for some centuries now to cast women or girls in the female parts in all plays. The
company of Shakespeare’s Globe, London, has produced many notable, highly popular all-male
performances, and a highlight of their 2002 season was Twelfth Night, with the Globe's artistic
director Mark Rylance playing the part of Olivia. This season was preceded, in February, by a
performance of the play by the same company at Middle Temple Hall, to celebrate the 400th
anniversary of the play's premiere, at the same venue.
Lilian Baylis reopened the long-dormant Saddler’s Wells Theatre in 1931 with a notable
production of the play starring Ralph Richardson as Sir Toby and John Gielgud as Malvolio. The
Old Vic Theatre was reopened in 1950 (after suffering severe damage in the London Blitz in
1941) with a memorable production starring Peggy Ashcroft as Viola. Gielgud directed a
production at the Shakespeare Memorial Theatre with Laurence Olivier as Malvolio and Vivian
Leigh playing both Viola and Sebastian in 1955. The longest running Broadway production by
far was Margaret Webster’s, starring Maurice Evans as Malvolio and Helen Hayes as Viola. It
ran for 129 performances, more than twice as long as any other Broadway production.
Themes
Twelfth Night is a romantic comedy (see Literary Terms),
an Elizabethan style of play that Shakespeare developed
with great success. Such a play usually concerns the love
of an idealised couple who, after a series of misadventures,
and confusions, are finally united. Disguised characters
and a remote setting are also typical features of the
romantic comedy. (see also As You Like It). However,
although the play is termed a 'comedy' its themes are
essentially serious, and Shakespeare uses the form to examine different aspects of human
love, from its most absurd and deluded manifestations to its most authentic expression. In
doing this he exploits to the full all the elements of the comic mode - from hilarious farce to
sophisticated word-play.
Love
The play's opening lines sound its major theme, 'If music be the food of love, play on', and some
form of love, real or imagined, dominates the emotions of all the main and some of the minor
characters.
Firstly we are shown the idealised love of Orsino fo Olivia whom he loves at a distance and
through the messages he sends with Viola (Cesario). Such a lover is not dismayed by the fact
that its object cannot respond; on the contrary, Orsino sees Olivia’s decision to mourn her
brother’s death and live like a nun as proof of her ‘sweet-perfections’ (1.1.39). Orsino’s love is
self-regarding and egotistical; he sees himself as typical of all true lovers and refuses to accept
rejection. He is prone to generalisations on the nature of love while unaware of how close he is
to genuine feeling when he talks to Viola dressed as Cesario in Act II Scene 4.
Such deluded aspects of love are echoed in the love Olivia feels for Cesario. But here the
deception is based on physical appearance. Olivia falls rapidly in love with ‘this youth’s
perfections’ and yet fears that her ‘eye’ has misled her into love (1.5.302). The deluded lover is
paranoid in the sub-plot (see Literary Terms) through the figure of Malvolio who believes
unquestioningly that his beautiful mistress loves him.
Both Orsino and Malvolio are in different ways governed by the ‘self-love’ which Olivia accuses
Malvolio of at the end of Act I Scene 5 (line 89) and the play’s treatment of love seems to
propose a distinction between love that is based on vanity or ambition, and love that is genuine
and selfless. Viola’s love for Orsino is an example of the latter. She endures with patience the
‘barful strife’ of her situation, wooing another woman for the man she secretly loves, and only
able to express her feelings indirectly. Another example of selfless love is in the loyalty and
care with which Antonio treats Sebastian.
Disguise
‘Nothing that is so, is so’ (IV.1.8-9)
Women’s parts were played by boy actors in
Shakespeare’s day, so the original Elizabethan audience
would have found a special sophistication in Viol’s part: a
boy dressed up as a woman who, in the play, disguises
herself as a man. Viola’s disguise, in fact, is central to
the plot. It enables the audience to know more of the
true situation when Olivia and Orsino are on stage and it
is the cause of many of the dramatic complications and
confusions which make up the story.
Many forms of disguise feature in the play. Emotions and
intentions are disguised behind an outer appearance, a
pretence, or an attitude. Olivia’s pretence at mourning is
quickly discarded when she meets Cesario. Orsino’s love
for Olivia can been seen as an elaborate pretence when it
gives way to murderous anger in Act V, before he rapidly
transfers his affections to Viola. Feste adopts a disguise to torment Malvolio in Act IV. Sir Toby
Belch disguises his real motives behind his show of friendship for Sir Andrew Aguecheek. And
even Malvolio’s yellow stockings and cross garters are a kind of masquerade.
The play abounds in references to these different forms of disguise, to the gap between what
appears to be true and what really is. Viola can disguise a’ wickedness/Wherein the pregnant
enemy does much’ (II.2.26-7) when she realises that Olivia has fallen in love with her persona
as Cesario. In the play’s moral scheme, disguise or self-deception create frustration and
confusion.
Antonio, for example, in Act III Scene 4, regrets the ‘devotion’ which Sebastian’s handsome
features had inspired in him (lines 374-8). Ironically, though, he is mistaken; yet his
generalisations on the nature of virtue are relevant to the play as a whole.
Disguised characters were a stock convention of comedy, but Shakespeare uses the device to
give it wider significance. The play makes us consider what our beliefs about ourselves and
others are based upon. The action of the play brings the true natures of Olivia, Orsino and
Malvolio to the surface and only Malvolio at the end seems unable to recognise himself, blinded
as he is by pride and self-righteousness.
The Festive Spirit
The importance of pleasure, tolerance and generosity are
emphasised in Twelfth Night, as befits a play written to be
performed during the Christmas season. The ‘Twelfth Night’
festivities, held on 6 January, were celebrated by Queen
Elizabeth and her court with a great banquet followed by an
entertainment. If the play was indeed written for such an
occasion, then we have no difficulty accounting for its mixture
of impossible romance, slapstick comedy and satire. These
ingredients would have been the order of the day in a festival
which descended from the ancient Roman ‘Saturnalia’ and the
medieval ‘Feast of Fools’. The characters can be divided
between those who have a straightforward commitment to
pleasure and the ‘good life’ and those who don’t.
The former group are led by Sir Toby, and his opening lines provide a clear statement of his
philosophy: he deplores his young niece’s vow to spend seven years in mourning - ‘I am sure
care’s an enemy to life’ (I.3.2-3). The melancholic atmosphere in Olivia’s house is in opposition
to the carefree values of Sir Toby and when Malvolio is sent to stop the carousing in Act II
Scene 3 the conflict between the pleasure and its denial is brought to a head. ‘Dost thou think
because thou art virtuous there shall be no more cakes and ale?’ (II.3.114-5) - Sir Toby’s blunt
question to Malvolio sums up the anti-puritan values which are shared by Feste, Sir Andrew and
Maria. It is as much for this puritanism, as his conceit and arrogance, that Malvolio will be
punished by the revellers.
A carpe diem (see Literary Terms) theme runs through the play. This is the invitation to enjoy
youth and life quickly, in the present, for it will soon pass. Feste’s song (Act II Scene 3)
expresses his plea: ‘What is love? ‘Tis not hereafter,/Present mirth hath present
laughter:/What’s to come is still unsure’ (lines 474-50). Both Olivia and Orsino are failing to
‘seize the day’ in their respective attitudes of nun and passive lover. In his role as commentator
on the ‘folly’ of his superiors, Feste alludes to the fact that Olivia’s sorrow will quickly pass: ‘As
there is no true cuckold but calamity, so beauty’s a flower’ (I.5.49-50). He is suggesting that
Olivia’s mourning is foolish and she that should be giving her young life to love.
Sebastian, Antonio, Viola, and even finally Olivia, embody the values of generosity which the
play evokes. Sebastian, in Act III Scene 3, is concerned to reward Antonio for his devotion ‘uncurrent pay’ (mere thanks) is not enough, he fears. And Antonio himself has displayed
selfless giving in his loyalty to Sebastian, not least through providing him with money and
protection in a strange land. When Viola first meets Olivia she accuses her of keeping the gifts
of beauty which nature has given her to herself: ‘Lady, you are the cruell’st she alive/If you will
lead these graces to the grave/And leave the world no
copy’ (I.5.245-6). Viola has a frank, loving nature. Her
eloquent call to love in the scene arouses Olivia’s
feelings, even though ironically they are directed at
‘Cesario’. Olivia ‘speaks for the virtues of generous
loving’ when she criticises Malvolio for his lack of a ‘free
disposition’ (I.5.91) - his lack of magnanimity, and when,
in Act III Scene 1, she tells Viola that ‘Love sought is
good, but given unsought is better’ (line 158).
Women in Elizabethan England
There was no effective birth control so it was pretty much
impossible for married women to work full time outside the
home. Married women of child-bearing age could expect to
have, on average, a baby every two years. Within marriage,
husband and wife both worked extremely hard, and both had
clearly defined roles. The wife’s role was to look after
children and the husband’s role was to work outside the
home. Only boys went to school. Daughters of rich families
might be educated at home by a private tutor and could
receive very good educations. Girls were not, however,
allowed to go to university.
Women were not allowed to be doctors or lawyers or join the
armed forces. They were not allowed to act upon the stage.
They often worked as cooks or domestic servants.
Women could not inherit their father’s titles – with the exception of a queen. They could,
however inherit property, but usually the bulk of any inheritance would go to any brothers
first. Men were seen to be the head of a marriage, and had the legal right to chastise
their wives. Wives were expected to obey their husbands, but that did not mean that all
marriages were abusive, and men could be punished by law for being cruel to their
wives.
Marriage was seen as the proper route for a woman (despite the unmarried queen!) and
unmarried older women could be regarded with
suspicion. They were the most likely candidates to
be accused of witchcraft.
Activities
Creating Energy through the text
Begin by reading the following passage
OLIVIA
I prithee, tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be!
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
Get into pairs and read the dialogue aloud together. Remember that Viola
is dressed as a boy here. Then try repeating the last few words of the
previous line before you say your line.
For example:
OLIVIA: I prithee, tell me what thou think’st of me.
VIOLA: Think’st of you? That you do think you are not what you are.
OLIVIA: Not what I am? If I think so, I think the same of you.
VIOLA: You think the same of me! Then think you right: I am not what I am.
This is a great exercise for listening and can really help you put energy and
focus into the lines. When the scene is really focussed, go back to the
original text without repetitions but try and maintain the same energy.
Try the scene in different moods:
Are they making friends?
How much higher status is Olivia?
How nervous is Viola/Cesario?
How predatory is Olivia?
Viola (as Cesario) and Olivia
Slide show
Choose four key moments in a scene or part of a scene. Plan a fixed tableau to present
each moment and then present the scenes in succession to the class. Each time you
switch positions, call out “switch.” The “audience” closes their eyes until the actors call
out “open.” This happens four times in succession creating a visual “slide show.”
A suggested scene for this exercise would be Act III Scene I, where Viola goes to Olivia
to woo her on Orsino’s behalf. The confusion of the scene and talking at cross purposes
would need to be reflected in the pictures.
Interview
Interview another student who poses as a character in the play, for example, Olivia. It is
important to remain in character and respond in ways that most naturally reflect the
actions and words of the character in the play.
Monologue
In character, describe a particular locale in the play. Talk about the best/worst thing
about living in this particular place. Talk about your daily life. Describe your relationship
to other characters.
Preparing the role of Orsino
Orsino is the love-sick Duke in the play. He is preoccupied with the sensation of love
itself, feeding his emotions with music and elaborate poetic imagery. He is in love with
love, but this does not bring him happiness, rather a profound melancholy.
This is a character exercise to understand the motives behind a character’s actions.
Make notes on how you think Orsino should be played in each scene in which he
appears. Decide how you think he develops during the
play.
•
Record details of any changes of costume and make
up needed.
•
Collect examples of the language he uses. How it
changes depending on who he is speaking to. Also
look at the changes of language he uses when
speaking to different characters at different times.
•
Make a list of what he does in the play - actions
reveal character.
•
Explore the motives of the character by ‘hot-seating’
him. One person takes on the role and sits in the
hot-seat while others question him about his motives
and actions in the play.
Some questions to consider during Hot-seating
It is usually a good idea to begin with the teacher asking the questions to give pupils a
sense of what questions to ask.
•
Who are you in love with?
•
How do you plan to woo Olivia?
•
What do you think of your servant Cesario?
•
Why is your mood so changeable?
The above exercises can be applied to any character; they are just here as an example
of the character process
Understanding the speech
Below you will find Duke Orsino’s opening speech. We have left enough space
underneath each line for you to try and translate it into modern-day speech. It may not
always be possible to translate each word. Shakespeare used syntax (the way a line is
structured) to help the words he chose fit into the rhythm of the line. You may have to rearrange the line in order for it to make sense.
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.
.........................................................................
O spirit of love! how quick and fresh art thou,
.........................................................................
That, notwithstanding thy capacity
.........................................................................
Receiveth as the sea, nought enters there,
.........................................................................
Of what validity and pitch soe'er,
.........................................................................
But falls into abatement and low price,
.........................................................................
Even in a minute: so full of shapes is fancy
.........................................................................
That it alone is high fantastical.
.........................................................................
Again, this can apply to any speech you are looking at in class.