The Meaning of Twelfth Night
What does the title of the play, Twelfth Night, mean? Twelfth Night is the twelfth day after Christmas, or January 6. This is the traditional day of The Epiphany, the day on which the three Wise Men (Magi) visit Jesus soon after he is born. During medieval times, Christmas was celebrated for twelve days (there is a famous song titled “The Twelve Days of Christmas”), and the last day was the most festive.
A group of lawyers paid Shakespeare to write a play that was set to open on January 6, 1601, but there is nothing about this holiday in the play.
Shakespeare gives another title to his play, a sub-title, called What You Will. “Will,” in this case, means “desire.” So the play’s subtitle means, whatever you desire. Like some of his other comedies, Much Ado About Nothing and As You Like It, the titles suggest trivial things, unimportant stories made for entertainment. “Whatever you desire.”
Shakespeare work can be divided into three different types of plays: tragedy, comedy, and history plays. Each of these different types or classifications are called “genres,” and help us to understand how the play is structured and what we can expect to find in each specific genre.
In each genre, you expect to see certain features. For example, if you go to see an old Western movie, you expect to find a good guy, a bad guy, and perhaps a gunfight of some kind. Or if you go to see a teenage slasher movie, you expect to find a character in a mask with a long knife chasing after young teens trying to kill them. If the killer dies in the end, you can be assured that somehow he doesn’t really die but will live again to come back and haunt people in the sequel, or many sequels that follow. If you watch a detective film, the lead character follows clues that lead him to the person who committed the crime.
Audiences tend to know what is expected whenever they go to see a film or play. Shakespeare was a master at mixing some of the genres and coming up with new ways to create drama. Shakespeare wrote one of the best types of comedies that are often called “romantic comedy.”
Each Romantic Comedy shares certain characteristics. First of all, the story will always be centered on love. Second, both lovers often must overcome some obstacle or misunderstanding that prevents them from getting together at the end of the play. Third, the plays almost always end with a celebration of some kind, usually a marriage. Fourth, the clown or other characters in the play often satirize the main theme of love. Fifth, often there are elements of magic or the spiritual or supernatural world involved (as in A Midsummer Night’s Dream). Finally, there is frequently a philosophical aspect involving more serious issues such as personal identity or the differences between appearance and reality. Shakespeare perfected the art of the Romantic Comedy andTwelfth Night is one of his best comedies.
The translation team discussed several ways to invent sign names for the characters. Sometimes Shakespeare gives his characters names that have specific meanings. For example, the character S-i-r A-n-d-r-e-w, A-g-u-e-c-h-e-e-k. Shakespeare gives us a clue about his character by giving him this last name. An “a-g-u-e” was a form of shaking or trembling, usually from a cold or sickness. So the character’s name means “quivering cheek,” so we named him (sign-name for Sir Andrew). The name S-i-r T-o-b-y B-e-l-c-h is also obvious, but instead of signing his name as “belch”, we signed it as this (sign name for Belch).
The steward named M-a-l-v-o-l-I-o is always criticizing people, thinking he is above them or better than they are. His name comes from Italian. M-a-l means “bad,” and v-o-l-I-o means “want” or “desire.” So his name means “ill desire” or “ill will.” In the play Romeo and Juliet, there is a character with the opposite name—Benvolio, which means “good will.” When researching the play, the translation team found paintings of the characters and used the one you see here as the idea for giving him the sign name Malvolio.
Duke of Illyria
Brother to Viola
A sea captain, friend to Sebastian
Uncle to Olivia
Steward to Olivia
Servant to Olivia
A clown, servant to Olivia
A rich countess
Sister to Sebastian, in disguise as Cesario
The play opens with the Duke, Orsino, who is desperately in love with a countess named Olivia. She is in mourning for her brother’s death, and vows not to love anyone for seven years. He is melancholy about his love for her, and talks of a love so strong, it might kill him.
Meanwhile, during a violent storm at sea, twin sister and brother, Viola and Sebastian, are separated from each other when their ship is wrecked. Viola is rescued by the ship’s captain on the shores of the kingdom of Illyria. She fears the worst—the possibility her twin brother Sebastian has drown. Young girls in this time never traveled alone, so for safety, Viola decides to disguise herself as a boy called Cesario. She convinces the sea captain to keep her disguise a secret and to help her find work as the page, or assistant Duke Orsino.
Viola now dressed in her new identity as “Cesario” soon becomes one of the Duke’s trusted confidantes, and is sent on a very important mission: to court (woo or romance) the Countess Olivia, in the Duke’s name. Olivia’s household contains many people:
- Malvolio, a rigidly puritanical butler;
- Maria, Olivia’s shrewd serving woman;
- Sir Toby Belch, a drunken and messy cousin;
- Feste, the household clown or entertainer.
- Sir Andrew Aguecheek, a wealthy, but simple-minded companion to Sir Toby. Sir Toby has convinced the naive Sir Andrew to try to court (woo) the countess Olivia.
Viola comes to woo Olivia with speeches of love from the Duke, but Olivia is fascinated by this young pageboy and falls madly in love with her, thinking she is a boy. This all happens just as Viola feels the same kind of undying love for the Duke, thus establishing the love triangle: Orsino loves Olivia, Olivia loves “Cesario” (Viola), and Viola loves the Duke.
Viola’s twin brother, Sebastian, appears on the outskirts of Illyria. He was saved by a sailor named Antonio. Sebastian too fears his sister is drowned and sets off for Illyria, alone. Antonio has a bad reputation in the town and decides not to go with Sebastian, but later changes his mind and follows him.
At Olivia’s house, Sir Toby, Sir Andrew, Feste, and Maria are having a drunken, boisterous gathering one night when straight-laced Malvolio is awakened from his sleep and reprimands them for their festivities. The four of them despise Malvolio and decide to play a joke on him for revenge. Maria plans to forge a love letter from Olivia to Malvolio.
At Orsino’s house, the Duke asks Feste, the clown, to sing a song about unrequited love. The song leads Orsino to send Viola once again to court the Countess Olivia.
In the garden of Olivia’s house, Malvolio is on a walk. From behind the shrubbery, Maria, Fabian, Sir Toby, and Sir Andrew, spy on the stiff butler. Malvolio then spots the forged letter that Maria has written in Olivia’s handwriting. He is immediately fooled into believing that the letter is about him, even though his name appears nowhere on the letter at all. The letter contains simple directions that Malvolio believes will make Olivia love him. He has taken the bait.
Viola goes once more to Olivia’s house to meet with her. Olivia now confesses her love to Viola (Cesario) who tries to rebuff Olivia.
Sir Andrew sees that Olivia is attracted more to Cesario (Viola) than himself, and decides to return to his own home. But Sir Toby and Fabian instead convince him to write a letter to the young Cesario, challenging him to a duel. Maria enters and joyously informs the others that Malvolio has followed every detail of the fake love letter. They leave to watch Malvolio make a fool of himself.
Sebastian and Antonio finally arrive in Illyria. Antonio gives Sebastian some money so that he can explore the town and buy something for himself. They part company, agreeing to meet later at an inn.
Malvolio, following directions superbly, enters the scene in a ridiculous costume and begins flirting with Olivia, frightening her. Olivia concludes he has gone mad and chooses Sir Toby of all people to look after him. Sir Toby and the other pranksters pretend Malvolio has gone crazy and have him locked away in a dark room.
Sir Toby encourages both Sir Andrew and the young Viola/Cesario to duel, though both of them are frightened to death. In the middle of their fight, Antonio enters and, thinking he sees Sebastian in trouble, defends him. Antonio is detained by two officers, but before he leaves, he asks Viola to return the money he lent to the real Sebastian earlier. Viola denies knowing Antonio and anything about the money. Antonio feels betrayed and calls Viola “Sebastian” as he is taken away. Viola now has hope that her brother is alive.
Feste, Sir Andrew and Sir Toby all confront the real Sebastian, thinking he is Cesario. Sebastian is about to fight them when Olivia enters and reprimands Sir Toby. Olivia invites Sebastian indoors and he follows her willingly, and with confusion.
Maria and Sir Toby convince Feste to disguise himself as a clergyman called “Sir Topas” and go to Malvolio who is still imprisoned. Feste torments Malvolio, insisting he has gone mad. When the joke goes too far, Feste returns to Malovlio as himself and gives him paper and pen to write Olivia a letter.
Sebastian enters, finding himself almost in a dream, both loved by and in love with a beautiful young countess. Olivia takes advantage of Sebastian’s affection and proposes marriage. Sebastian, ready to believe the dream, agrees to the match, mcu to Olivia’s delight.
Duke Orsino, with Viola, goes to Olivia to court her in person. Olivia appears and eventually makes reference to Viola as her husband. While Viola denies this claim, Orsino is furious and plans to banish Viola for marrying Olivia behind his back. Olivia calls for the priest who testifies that he indeed married Viola and Olivia moments earlier. Sir Toby and Sir Andrew enter the scene followed closely behind by Sebastian. Sebastian and Viola begin to celebrate their reunion at first sight while everyone else is left to bewilderment.
Duke Orsino decides to follow the events by marrying Viola. Olivia is relieved to know that her marriage is indeed real. Olivia then remembers Malvolio in the prison and sends for him. He returns and shows Olivia the original forged letter and she immediately is able to identify the handwriting as Maria’s. Fabian explains that the joke was Sir Toby’s idea and then goes on to say that Sir Toby and Maria have also married. Malvolio, disgraced in front of the entire ensemble, promises revenge and exits. The remaining group looks to arrange two weddings and exit the stage leaving Feste to sing the final song.
What is a theme? A theme is an idea or image that occurs many times in a novel, poem, play, even a movie. Because this is a comedy, and more specifically a romantic comedy, love is definitely one of the themes. But as you will see, love is displayed in many different ways. Some of the themes in Twelfth Night include:
1. THE THEME OF DISGUISE
Several characters disguise their identity throughout the play, including Viola, her brother Sebastian, and Feste the clown.
Unrequited love–love that is given, but not returned
Self-love—Malvolio is more in love with social class and status, more in love with himself than real love
In many of Shakespeare’s plays, characters fall in love immediately. Probably the most famous love story of all time in English is Shakespeare’s Romeo and Juliet. In Twelfth Night, Olivia falls in love with Cesario (who is really Viola disguised as a boy) after their first meeting. Watch this soliloquy where Olivia recounts her meeting with Cesario and role-plays her recent conversation with him.
Act 1, scene 5, lines 187-193
‘What is your parentage?’
‘Above my fortunes, yet my state is well:
I am a gentleman.’ I’ll be sworn thou art;
Thy tongue, thy face, thy limbs, actions and spirit,
Do give thee five-fold blazon: not too fast: soft, soft!
Unless the master were a man. How now!
Even so quickly may one catch the plague?
Well, let it be. What ho, Malvolio!
O MISTRESS MINE
Act 2, scene 3 lines 32-35
O mistress mine, where are you roaming?
O, stay and hear; your true love’s coming,
That can sing both high and low:
Trip no further, pretty sweeting;
Journeys end in lovers meeting,
Every wise man’s son doth know.
What is love? ’tis not hereafter;
Present mirth hath present laughter;
What’s to come is still unsure:
In delay there lies no plenty;
Then come kiss me, sweet and twenty,
Youth’s a stuff will not endure.
Viola is a girl disguised as a boy. Remember that during Shakespeare’s time, all girls parts were played by boys. So for Shakespeare’e audiences, they would have seen a boy actor, playing a girl, disguised as a boy. It’s very confusing for modern audiences to think about that.
Malvolio fantasizes about marrying Olivia who is socially above him. He doesn’t really love her, but he loves the power he will achieve if he marries her.
These are just some of the themes in Twelfth Night. As you watch and read the play you will find others that will help you to better understand the play.
My name is Megg and I recently played the part of Viola, the girl who disguises herself as the boy named Cesario. One of the themes I noticed that occurs again and again is about reading the body like a book. For example, when my master, Orsino, tells me to go woo the lady Olivia, he says: “I have unclasp’d To thee the book even of my secret soul.” And later he says, “O, then unfold the passion of my love.” Then when I go to meet Olivia she asks me, “Where lies your text?”
In Orsino’s bosom.
In his bosom! In what chapter of his bosom?
To answer by the method, in the first of his heart.
Throughout the play, this theme of “reading the body” is important in Shakespeare’s original English. But for the Deaf community, it is not only a theme, it becomes real because we read each other’s bodies everyday in our language and our culture. So this theme is much stronger in ASL than it is in English.
In Twelfth Night, the word “hand” or hands” are mentioned thirty-three times! But hand can mean many different things, so the theme changes throughout the play.
If someone says “Give me your hand,” it can mean “give me your hand in marriage.” Maria uses the word “hand” to mean handwriting, as does Sir Toby Belch. Malvolio uses his raised hand to swear or promise. A “dry” hand, means that someone is not sexually aroused.
Because ASL is a language of the body, face, and of the hands, this theme of “hands” is more clear in ASL than it is in English.
Act 3, scene 4 lines 24-30
Not black in my mind, though yellow in my legs. It did come to his hands, and commands shall be executed: I think we do know the sweet Roman hand.
Wilt thou go to bed, Malvolio?
To bed! ay, sweet-heart, and I’ll come to thee.
God comfort thee! Why dost thou smile so and kiss thy hand so oft?
Act 3 Scene 2 lines 23-34
Sir Toby Belch
Why, then, build me thy fortunes upon the basis of valour. Challenge me the count’s youth to fight with him; hurt him in eleven places: my niece shall take note of it; and assure thyself, there is no love-broker in the world can more prevail in man’s commendation with woman than report of valour.
There is no way but this, Sir Andrew.
Will either of you bear me a challenge to him?
Sir Toby Belch
Go, write it in a martial hand; be curst and brief; it is no matter how witty, so it be eloquent and fun of invention: and as many lies as will lie in thy sheet of paper, although the sheet were big enough for the bed of Ware in England, set ’em down: go, about it.
Medical care during Shakespeare’s time was not very good. People believed that there were four fluids in the body:
These fluids corresponded to the four elements: Air, fire, water, and earth.
But these liquids, or “humours” as they were called, also controlled a person’s characteristics—their physical appearance, their moods, and their morality. The perfect temperament resulted when no one of these humours dominated, if they were equally balanced.
By 1600 it was common to use “humour” as a means of defining someones personality. The play begins with Duke Orsino whose humour is “melancholy”. He is saddened by unrequited love—when his love for Olivia is not returned.
Soliloquies are words spoken by the actor to the audience when there is no one else on the stage. They are really useful because the audience learns the character’s thoughts or feelings about what has happened before or what might happen in the future.
A soliloquy can be delivered to:
Another imagined character
Act 2, Scene 2 lines 14-38
I left no ring with her: what means this lady? Fortune forbid my outside have not charm’d her!
She made good view of me; indeed, so much, That sure methought her eyes had lost her tongue,
For she did speak in starts distractedly.
She loves me, sure; the cunning of her passion
Invites me in this churlish messenger.
None of my lord’s ring! why, he sent her none.
I am the man: if it be so, as ’tis,
Poor lady, she were better love a dream. Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much.
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.
How will this fadge? my master loves her dearly;
And I, poor monster, fond as much on him; And she, mistaken, seems to dote on me. What will become of this? As I am man,
My state is desperate for my master’s love;
As I am woman,–now alas the day!–
What thriftless sighs shall poor Olivia breathe! O time! thou must untangle this, not I;
It is too hard a knot for me to untie!
Act 3, scene 4 lines 134-153
Sir Toby Belch
Gentleman, God save thee.
And you, sir.
Sir Toby Belch
That defence thou hast, betake thee to’t: of what nature the wrongs are thou hast done him, I know not; but thy intercepter, full of despite, bloody as the hunter, attends thee at the orchard-end:
You mistake, sir; I am sure no man hath any quarrel to me:
Sir Toby Belch
You’ll find it otherwise, I assure you:
I pray you, sir, what is he?
Sir Toby Belch
He is knight, dubbed with unhatched rapier and on carpet consideration; but he is a devil in private brawl: souls and bodies hath he divorced three; and his incensement at this moment is so implacable, that satisfaction can be none but by pangs of death and sepulchre. Hob, nob, is his word; give’t or take’t.
Act 3, scene 4 lines 168-172
Sir Toby Belch
Why, man, he’s a very devil; I have not seen such a firago. I had a pass with him, rapier, scabbard and all, and he gives me the stuck in with such a mortal motion, that it is inevitable; and on the answer, he pays you as surely as your feet hit the ground they step on.
Act 2, scene 3 lines 75-93
I’ll stay a month longer. I am a fellow o’ the strangest mind i’ the world; I delight in masques and revels sometimes altogether.
Sir Toby Belch
Art thou good at these kickshawses, knight?
And I think I have the back-trick simply as strong as any man in Illyria.
Sir Toby Belch
Wherefore are these things hid? wherefore have these gifts a curtain before ’em? why dost thou not go to church in a galliard and come home in a coranto? My very walk should be a jig; I would not so much as make water but in a sink-a-pace. What dost thou mean? Is it a world to hide virtues in? I did think, by the excellent constitution of thy leg, it was formed under the star of a galliard.
Ay, ’tis strong, and it does indifferent well in a flame-coloured stock. Shall we set about some revels?
Sir Toby Belch
What shall we do else? were we not born under Taurus?
Taurus! That’s sides and heart.
Sir Toby Belch
No, sir; it is legs and thighs. Let me see the caper; ha! higher: ha, ha! excellent!
Act 1, scene 5 lines 163-172
Make me a willow cabin at your gate,
And call upon my soul within the house;
Write loyal cantons of contemned love
And sing them loud even in the dead of night;
Halloo your name to the reverberate hills
And make the babbling gossip of the air
Cry out ‘Olivia!’ O, You should not rest
Between the elements of air and earth,
But you should pity me!
ACT 2 SCENE 1 LINES 1-23
Will you stay no longer? nor will you not that I go with you?
By your patience, no. My stars shine darkly over me: the malignancy of my fate might perhaps distemper yours; therefore I shall crave of you your leave that I may bear my evils alone: it were a bad recompense for your love, to lay any of them on you.
Let me yet know of you whither you are bound.
No, sooth, sir: my determinate voyage is mere extravagancy. But I perceive in you so excellent a touch of modesty, that you will not extort from me what I am willing to keep in; therefore it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian, which I called Roderigo. My father was that Sebastian of Messaline, whom I know you have heard of. He left behind him myself and a sister, both born in an hour: if the heavens had been pleased, would we had so ended! but you, sir, altered that; for some hour before you took me from the breach of the sea was my sister drowned.
Alas the day!
A lady, sir, though it was said she much resembled me, was yet of many accounted beautiful: but, though I could not with such estimable wonder overfar believe that, yet thus far I will boldly publish her; she bore a mind that envy could not but call fair. She is drowned already, sir, with salt water, though I seem to drown her remembrance again with more.
Pardon me, sir, your bad entertainment.