Twelfth Night Read online

  Lines 156-295: The encounter between the two women, one veiled and the other disguised, visually reinforces the themes of concealment and identity, as does Viola's claim that "I am not that I play." Viola, as Cesario, begins to deliver Orsino's speech, commenting on how "well penned" it is, thus emphasizing its contrived, conventional nature in comparison with her own passionate extemporized speeches later in the scene. She/he defeats Maria's attempts to throw her out and secures a private interview with Olivia, persuading her to show her face, praising her beauty but condemning her pride. She/he tells her that Orsino loves her "With groans that thunder love, with sighs of fire." Olivia acknowledges Orsino's good qualities: he is "virtuous," "noble," and "gracious," but she "cannot love him." Olivia becomes more interested in the messenger, questioning him about his parentage, and encouraging him to come again. After Cesario leaves, it becomes clear that Olivia has fallen in love with "him," creating a humorous situation of mistaken identity/gender and perhaps commenting on the shallow or arbitrary nature of romantic love. She sends Malvolio after the youth with a ring, pretending it was an unwanted gift from Orsino.

  ACT 2 SCENE 1

  Antonio has cared for Sebastian since rescuing him from "the breach of the sea," but Sebastian decides he must now leave and refuses to allow Antonio to accompany him because the "stars shine darkly" and are an evil influence over his fate. He reveals his true identity and talks of his twin sister, Viola, who he believes is drowned. He describes her, placing particular emphasis on the likeness between them, thus establishing the potential for further complications and confused identities. Sebastian intends to go to "Count Orsino's Court" and, despite having enemies there, Antonio decides to accompany him.

  ACT 2 SCENE 2

  Malvolio returns the ring to Cesario/Viola but she/he does not tell him the truth about it, realizing that Olivia has fallen in love with Cesario. She/he expresses sympathy, claiming that Olivia had "better love a dream," and reiterating the illusory nature of her present identity. She emphasizes the unnatural state of affairs by describing her female-male identity as a "poor monster" and summarizing the problem: as a man, her love for Orsino is hopeless, but as a woman, Olivia's love for her is "thriftless."

  ACT 2 SCENE 3

  Sir Toby and Sir Andrew are drinking late. Feste arrives and his quick-wittedness contrasts with Sir Andrew's genuine foolishness. Feste sings a wistful song that reflects some of the themes and events of the play. They begin singing a "catch" together when Maria interrupts to tell them to be quiet or Olivia will send Malvolio to turn them out. Sir Toby responds with raucous popular songs when Malvolio appears and rebukes them for being drunk and noisy. He pompously tells Sir Toby that despite being Olivia's kinsman he will be thrown out if he does not behave. Sir Toby reminds Malvolio he is only a steward. Feste leaves and Malvolio accuses Maria of encouraging them by allowing them alcohol. After he has gone, Sir Andrew threatens to fight a duel with him but Maria claims she has a better plan: Malvolio is "an affectioned ass" who aspires to high status and she will use this "vice" against him. She plans to drop in his way a letter she has forged in Olivia's handwriting that will convince him his mistress is in love with him.

  ACT 2 SCENE 4

  Orsino, still indulging in his unrequited love, calls for music from Feste, who spends his time in both households. Orsino discusses love with Cesario/Viola, in a conversation that is fraught with ambiguity and dramatic irony, as Viola is forced to discuss love as though she were a man. She/he acknowledges that she/he is in love when prompted, but cannot say with whom. The conversation is charged with erotic undertones, which again raises questions about gender, identity, and the nature of attraction. Feste sings a melancholy love song and Orsino orders Cesario to plead once more with Olivia on his behalf. When Cesario suggests that Orsino should accept that Olivia does not love him, as a woman would have to whom Orsino was unable to love, he declares that there is a difference between men's and women's love. "[N]o woman's sides," he claims, "Can bide the beating of so strong a passion." Cesario relates how his "father had a daughter loved a man," who concealed her love and, as a result, "pined" with a "green and yellow melancholy." When Orsino asks if she "died ... of her love," he receives the ambiguous answer: "I am all the daughters of my father's house, / And all the brothers too."

  ACT 2 SCENE 5

  Sir Toby, Sir Andrew, and Fabian conceal themselves in a "box-tree" to watch Malvolio's response to the forged letter. Malvolio enters, imagining his future life as Count Malvolio, especially the power he would have over Sir Toby. The indignation of his concealed audience creates comedy, as does the dramatic irony of the situation. Malvolio finds the letter Maria has carefully prepared to trick him and recognizes "Olivia's" handwriting. He painstakingly and vainly deduces that it is for/about him and that Olivia is in love with him. The letter urges him to wear yellow stockings and cross-garters, to spurn Sir Toby, and to smile continually in Olivia's presence as a sign of his love, all of which he resolves to do as he exits. The others come forward and Maria arrives, explaining that Olivia hates yellow stockings and cross-garters and is in no mood to be smiled at constantly. They go to watch the effects of the plan.

  ACT 3 SCENE 1

  Cesario/Viola arrives and, after a quick-witted exchange with Feste, gives him money. Sir Andrew admires Cesario's courtly language toward Olivia, who orders all the others to leave. Cesario continues to plead for Orsino but Olivia confesses it is Cesario she loves. She/he responds with pity, swearing that "no woman" will ever be mistress of her heart.

  ACT 3 SCENE 2

  Sir Andrew is leaving since Olivia shows "more favors to the count's servingman" than she does to him. Fabian argues that Olivia intends to make him jealous and wake his "dormouse valour." He claims Sir Andrew has missed an opportunity, and Sir Toby, keen for him to stay so he can continue to spend his money, suggests challenging Cesario to a duel. He instructs Sir Andrew to write a letter with "gall enough in thy ink," emphasizing the difference between crafted words and reality. Maria calls them to have a look at Malvolio, who is obeying "every point of the letter."

  ACT 3 SCENE 3

  Antonio's strong attachment to Sebastian becomes more apparent as he addresses him in potentially homoerotic terms, expressing his "desire" and "willing love," furthering the play's exploration of the possibilities and complexities of same-gender love hinted at in Orsino's language to Cesario. Sebastian intends to explore Illyria but Antonio cannot accompany him because of Orsino's enmity. Instead, he gives Sebastian his purse and arranges to meet him later at an inn.

  ACT 3 SCENE 4

  The fast pace of this scene emphasizes the confusion of the various deceptions that are under way.

  Lines 1-76: Olivia muses how best to woo Cesario, then asks Maria to fetch Malvolio--such a "sad and civil" person will suit her mood. Maria replies that he seems to have gone mad and "does nothing but smile" but goes to call him. Olivia observes that she herself is mad, again drawing a parallel between love and madness. There is dramatic irony in the exchange between Olivia and Malvolio as he quotes lines from the letter he believes is from her. Olivia thinks he must be mad indeed and suggests he goes to bed, which he takes to be an invitation. Cesario's return is announced and Olivia leaves, instructing Maria to ask Sir Toby to look after Malvolio. Determined to read all events as evidence of Olivia's love, Malvolio recalls that the letter instructed him to "be opposite with a kinsman" and decides that she has called for Sir Toby as a test.

  Lines 77-175: Sir Toby, Fabian, and Maria pretend to believe that Malvolio is mad and treat him accordingly until he exits in anger. They are delighted by the results of the plan and, in a moment of meta-theatrical awareness, Fabian declares that if he saw the scene "played upon a stage," he would "condemn it as an improbable fiction." Sir Toby decides they should lock Malvolio in a darkened room, a traditional treatment for madness. Sir Andrew arrives with his challenge to Cesario. Sir Toby reads it and Fabian pretends to approve while revealing the nonsensical natu
re of the letter and the foolishness of its writer. They encourage Sir Andrew to look for Cesario in the orchard. When he has gone, Sir Toby comments that the challenge will "breed no terror in the youth. He will find it comes from a clodpole," so instead of delivering it he will act as a go-between, inciting them against each other.

  Lines 176-248: Olivia continues to woo Cesario/Viola, who displays a "heart of stone" and continues to plead for Orsino. When Olivia has gone, Sir Toby and Fabian accost Cesario and pretend that he has enraged Sir Andrew, who is waiting for him in the orchard, "bloody as the hunter." Bewildered, Cesario claims that he has no quarrel with anyone, but they pretend that he must have done something to upset him, describing Sir Andrew's fury and his history as "a devil in private brawl" who has killed three men. Alarmed, Cesario insists that he is no fighter and asks Sir Toby to speak to Sir Andrew on his behalf.

  Lines 249-281: Sir Toby now describes Cesario's anger to Sir Andrew, who regrets challenging him. Sir Toby's aside reveals the pleasure he takes in making a fool of Sir Andrew. Fabian brings Cesario, and Sir Toby assures the two "rivals" that the other insists on fighting but has promised not to draw blood.

  Lines 282-369: Antonio arrives and, mistaking Cesario for Sebastian, offers to fight on his behalf. Sir Toby draws his sword on Antonio but they are interrupted by the officers who arrest Antonio for his previous offenses against Orsino. Turning to Cesario, whom he takes to be Sebastian, he asks for his purse. Confused, Cesario denies all knowledge of it but offers Antonio half of his "coffer." Antonio is heartbroken by his friend's betrayal, claiming "Thou hast, good Sebastian, done good feature shame," before being taken off to prison. Viola realizes that Sebastian may still be alive and rushes off to find him, followed by Sir Andrew who thinks that Cesario is running away from the duel.

  ACT 4 SCENE 1

  Feste, believing Sebastian to be Cesario, is trying to get him to go to Olivia and becoming increasingly angry at Sebastian's claims not to know him. Sir Andrew arrives and, mistaking Sebastian for Cesario, strikes him. Sebastian retaliates and he and Sir Toby draw upon each other as Olivia enters. She orders Sir Toby to "hold" and "be gone," which he does, accompanied by Sir Andrew and Fabian. Olivia begs "dear Cesario" to "Be not offended" and asks him to accompany her back to the house to be told of Sir Toby's many faults and to learn to "smile at this." Sebastian questions whether he is "mad" or whether it is "a dream"--both repeated images of love in the play--as he willingly submits to Olivia's request.

  ACT 4 SCENE 2

  Maria helps Feste to disguise himself as "Sir Topas the curate" and he asks "what is 'that' but 'that' and 'is' but 'is'?"--an ironic question given that very little within the play "is" "that" which it seems to be. Sir Toby takes him to see Malvolio who is locked up. Malvolio begs the "priest" to believe he is not mad, but Feste toys cruelly with him: when Malvolio says that he is in "hideous darkness," Feste tells him that he is in a room full of windows and must be mad. Sir Toby then tells Feste to speak to Malvolio as himself to see if the joke might be ended without trouble as he fears Olivia's reaction. Feste then converses with Malvolio as himself and as "Sir Topas," increasing the confusion of his identity. He agrees to bring light, ink, and paper so that Malvolio can write to Olivia.

  ACT 4 SCENE 3

  Bewildered, Sebastian wonders whether he "Or else the lady's mad," as he contemplates Olivia's love for him. He wonders where Antonio is as he would like to discuss the situation with him, but when Olivia arrives with a priest he agrees to marry her.

  ACT 5 SCENE 1

  Lines 1-97: Fabian wants to read Malvolio's letter, but Feste refuses to let him. Orsino and Cesario ask for Olivia and Feste goes to fetch her. Antonio is brought in by the officers. Cesario tells Orsino that this is the man who rescued him from the duel and the officers explain that it is "that Antonio / That took the Phoenix." Orsino asks what foolish boldness has brought a "Notable pirate" to Illyria. Antonio claims that he "never yet was thief or pirate" and explains that he was drawn there by "witchcraft," enchanted by Sebastian, whom he believes to be standing next to Orsino. He calls Cesario a "most ingrateful boy" and accuses him of "false cunning." Orsino and Cesario are confused, explaining that Cesario has been in Illyria for the last three months.

  Lines 98-152: Olivia arrives and demands to speak to Cesario, believing that she has just married him in secret. Orsino tries to woo her but she flatly rejects his suit and refuses to listen to any more of his wooing, claiming that it is as "fat and fulsome" to her ear "As howling after music." Stung, Orsino threatens to kill Cesario despite the fact that he, too, cares deeply for him. Cesario declares that he would die for Orsino because he loves him, at which point Olivia cries, "Cesario, husband, stay." Cesario denies any knowledge of their "marriage."

  Lines 153-208: The priest arrives and, believing Cesario to be Sebastian, confirms that he is married to Olivia. As Cesario protests, Sir Andrew arrives calling for a surgeon as "the count's gentleman, one Cesario" has broken his head and "given Sir Toby a bloody coxcomb too." Cesario denies this as well and Sir Toby arrives, very drunk. As Olivia orders Sir Toby and Sir Andrew to be removed, Sebastian appears.

  Lines 209-314: Sebastian, not seeing Viola, apologizes to Olivia for injuring her kinsman. Everyone is astonished by the likeness between Cesario and the newcomer, who is delighted to see Antonio. Finally, Sebastian notices Cesario and, astounded by their likeness, demands to know his name and parentage. After mutual questioning, Viola reveals her true identity and Sebastian points out that Olivia "would have been contracted to a maid." Orsino reminds Viola of the number of times she has said that she loves him and asks to see her in her "woman's weeds," which are with the Captain, whom Malvolio has had arrested. Olivia still believes Malvolio to be mad but Fabian reads his letter and Orsino comments that it "savours not much of distraction." Olivia sends Fabian to fetch Malvolio.

  Lines 315-411: Olivia and Orsino make peace and she offers to host the double wedding celebration at her house. He agrees and releases his "page" from service, saying that she is to become instead her "master's mistress," which reinforces the gender confusions of the play, particularly as he continues to call her "Cesario." Fabian brings Malvolio, who shows Olivia the letter and asks why she has treated him so badly. Olivia recognizes the writing as Maria's and Fabian confesses to the plot and explains the reasons behind it, adding that Sir Toby has married Maria as a reward for her wit. Malvolio swears to be revenged "on the whole pack of you," and although Orsino tells Fabian to entreat him to peace, this strikes a discordant note, as does the impossibility of a conclusion to Antonio's love for Sebastian, forgotten as everyone leaves for the "solemn combination" of their "dear souls," a symbol of the restored order. The play concludes with a wistful song from Feste.

  TWELFTH NIGHT

  IN PERFORMANCE:

  THE RSC AND BEYOND

  The best way to understand a Shakespeare play is to see it or ideally to participate in it. By examining a range of productions, we may gain a sense of the extraordinary variety of approaches and interpretations that are possible--a variety that gives Shakespeare his unique capacity to be reinvented and made "our contemporary" four centuries after his death.

  We begin with a brief overview of the play's theatrical and cinematic life, offering historical perspectives on how it has been performed. We then analyze in more detail a series of productions staged over the last half-century by the Royal Shakespeare Company. The sense of dialogue between productions that can only occur when a company is dedicated to the revival and investigation of the Shakespeare canon over a long period, together with the uniquely comprehensive archival resource of promptbooks, program notes, reviews, and interviews held on behalf of the RSC at the Shakespeare Birthplace Trust in Stratford-upon-Avon, allows an "RSC stage history" to become a crucible in which the chemistry of the play can be explored.

  Finally, we go to the horse's mouth. Modern theater is dominated by the figure of the director, who must hold together the whole play, whereas th
e actor must concentrate on his or her part. The director's viewpoint is therefore especially valuable. Shakespeare's plasticity is wonderfully revealed when we hear directors of highly successful productions answering the same questions in very different ways.

  FOUR CENTURIES OF TWELFTH NIGHT: AN OVERVIEW

  The first recorded performance of Twelfth Night was at London's Middle Temple on 2 February (Candlemas) 1602. The student barrister John Manningham noted:

  At our feast we had a play called Twelve Night, or What You Will, much like The Comedy of Errors or Menaechmi in Plautus but most like and near to that in Italian called Inganni. A good practice in it to make the steward believe his lady widow was in love with him, by counterfeiting a letter as from his lady, in general terms telling him what she liked best in him, and prescribing his gesture in smiling, his apparel, etc., and then when he came to practise, making believe they took him to be mad.1