Zachary Matthew Khoo Wen Kai
Twelfth Night
Brief Synopsis
Twelfth Night is a tragicomedy that weaves two plots into a single romantic tapestry: the
gulling of Malvolio (sub-plot) and the havoc wreaked by Viola’s disguise. The first issue
that arises is the love triangle formed among Olivia, Orsino and Viola. The merrymakers
Sir Toby and Sir Andrew are the main devices of comic relief, introducing themes of
revelry and debauchery with Andrew the manipulated fool often being the butt of the joke.
These two are joined by Maria and Fabian in their endeavours to revenge against Malvolio,
a priggish and overambitious Puritan. Meanwhile, the lookalikes, Cesario and Sebastian,
stir up much chaos. The dilemmas of the play are all resolved matrimonially following a
confrontation between the two but gives rise to a problematic ending where Maria is
rewarded for her cruel plot with marriage by Sir Toby.
Themes:
 Love
 Deception
 Revenge
 Mistaken Identity, Disguise
 Entertainment
 Madness
 Masters & Servants, Social Hierarchy
Theme
Love
Deception
Madness
Social Hierarchy
Miscellaneous
Pages
2-6
7-11
11-13
13
13-14
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Love
How is love portrayed to us?
 Folly of lovers (passions override reasons)
 Unrequited
 To be superficial/ have a transactional nature
 Self-indulgent/self-absorbed
 Blurring lines between love and service
Debilitative effects of love; a foolish
and agonising love that defies the logic
of self-preservation
Folly of Lovers
Orsino
Quote (Act 2.4): “tailor make thy doublet of changeable taffeta, for thy/mind is a very opal.”
Point: Love is shown as unpredictable/volatile/fickle
How is this shown: Clothing imagery and metaphor
 The Fool suggests that Orsino clads himself in iridescent garment that represents
his opal-like character: he contradicts his own statements about love. Orsino
critiques that women “lack retention./ Alas, their love may be called appetite,/ No motion
of the liver, but the palate”. Here, he accuses women of being insincere and shallow
in love. Yet, his opinion of women earlier on was that they are the foothold of
men’s fancies, which “are more giddy and unfirm…sooner lost and worn”. He fails to
adhere to one viewpoint on romance. This is an affirmation of Feste’s mocking exit
speech, “and the tailor make thy doublet of changeable taffeta”.
 Feste’s parting words to Orsino in this scene satirize his capricious/mercurial
behavior and deflate his pretense of “true love” for Olivia. Feste concludes by
alluding Orsino’s fluidity in love to an opal, a gem which often abruptly changes
colours.
 A comically inconstant character such as Orsino serves to accentuate the volatility
of love and the many conflicting angles one may see it from.
Quote (Act 1.1): “If music be the food of love, play on. / Give me excess of it, that
surfeiting…Enough, no more. / ‘Tis not so sweet now as it was before.”
 Here, the Duke pouts about unrequited love. He indulges in sentimental music,
declaring that if “If music be the food of love, play on. / Give me excess of it”. Orsino is
determined to rid himself of his lovesickness by relishing melancholic melodies.
However, seconds later, he impetuously grows tired of it and abruptly demands it
be halted. He complains, “Tis not so sweet now as it was before”, ironically, moments
after it had started playing. This reveals that he was keen on listening to music for
its musical beauty to feed his passions, not to get sick of it. The juxtaposition of
such contradictory behaviour meters the audience’s expectations of Orsino for the
rest of the play.
 His flowery and unnecessarily dramatic language is also presented through phrases
such as “surfeiting” and “dying fall”. Such affected gestures and extravagant manner
of speech ridicule the convention of the Petrarchan lover who loves the fanciful
idea of love more than his partner, producing much humor and fun.
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Selfless, Sacrificial Love:
Olivia and Cesario
Quote (Act 1.5): “Write loyal cantons of contemned love/ And sing them loud even in the dead
of night;/ Hallow your (Olivia’s) name to the reverberate hills”
Point: Love is portrayed mostly to be selfless and sacrificial beyond logic of self-preservation.
 Recall the allusion to Echo, a spurned nymph who lay longing for the exceedingly
handsome Narcissus. Meanwhile, Narcissus was busy admiring his reflection in a
stream and lay there too, turning a deaf ear to Echo’s calls.
 Both lay there until their bones wasted away.
 This Greek myth aptly presents the romantic struggle between Olivia and Cesario.
In Act 1.5, Cesario declares he would, in melancholy pining, “Write loyal cantons of
condemned love / And sing them loud even in the dead of night”. He would waste away
until only his voice remains as he continues to “Hallow your (Olivia’s) name”. All the
while, Olivia would be too self-indulgent to notice or care.
 Both characters lose themselves fixated on aimless love, showing how passion often
overrides reason
Between Orsino and Cesario
Quote (Act 2.4): “Let concealment, like a worm i’ th’ bud/ Feed on her damask cheek” “sat like
patience on a monument”
Point: Unrequited love that is concealed shows to be self-destructive and largely irrational.
 Orsino tells Viola that women don’t know anything about what it is to love. Viola
responds with a story brimming with dramatic irony. She tells of a woman who
forbearingly hid her love for a man to the point where the emotional suffering
gnawed away at her, giving her “a green and yellow melancholy”.
 The metaphor that surfaces here likens this scenario to a worm devouring a rose
bud (young lady).
 The poor damsel in this story is actually Viola, who showcases her undying loyalty
to an unknowing Orsino in this scene as she is letting “concealment, like a worm in a
bud”, destroy her gradually, while she waits like “patience on a monument”
 Even when Orsino himself is unaware of it, Viola continues to care deeply for him,
making sure not to snatch away his love for Olivia by professing her own, enduring
the agony of keeping her love a secret, all the more when she knows that his love
might not be sincere and heartfelt.
Unrequited Love
Orsino is spurned by Olivia
Quote (Act 1.1): “If music be the food of love, play on. / Give me excess of it, that surfeiting, /
The appetite may sicken and so die.”
Point: Love is presented in an unrequited fashion that has debilitative effects on characters.
 In this scene, a languid Duke Orsino laments unrequited love. He is restless and
enamoured of Olivia. An excess of music, he hopes, will abate his amorous desires
and allow him to rise above this rejection.
 However, this turns out to be unsuccessful as Orsino finds the tunes to be “not so
sweet now as it was before”. He maintains his melancholic posturing, preserving the
woeful atmosphere by evoking metaphors of the sea. The oceans are vast, as is the
Duke’s capacity for love (supposedly), but it is also “full of shapes” and causes
anything “Of what validity and pitch so’er” to “fall into abatement and low price”. The
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perpetually shifting mien of love upsets Orsino as it does not allow him to satiate
his desires.
 Throughout most of the play, he drifts in such stasis: pining hopelessly for Olivia,
and upon rejection, descending into sorrow and even spite. Then, he recuperates
and the process repeats. Unrequited love entraps him in such a vicious cycle, taking
a toll on his emotional wellbeing and preventing any positive character
development. This is evident near the end of the play where he threatens Olivia,
his alleged love object, with death: “Why should I not…kill what I love? ~A savage
jealousy/ That sometimes savours nobly”. His mental decline is apparent; to the point
where his destructive and possessive nature spurs him towards murder as a form of
vengeance.
Olivia is rejected by Cesario
Quote (Act 1.5): “Love make his heart of flint that you shall love, / And let your fervor, like my
master's, be / Placed in contempt.”
Quote (Act 3.1): “I have one heart, one bosom, and one truth, / And that no woman has, nor
never none / Shall mistress be of it, save I alone”
Point: Love, in an unrequited manner, causes conflict internally and between characters.
 In Act 1.5, a disguised Viola visits Olivia’s household to, once again, profess
Orsino’s love for her. Unfortunately, her showers of compliments and articulate
speeches are met with another brisk rejection. Cesario, in his undying loyalty, feels
anguish for Orsino. He curses Olivia before making a brusque exit, hoping that
“Love make his heart of flint that you (Olivia) shall love, / And let your (Olivia’s) fervor, like
my master's, be / Placed in contempt.” Olivia does not take offense at such a scolding,
even from a lowly servant, only because she is infatuated with him.
 Surprisingly, Cesario’s vexing words come true in Act 3.1, where he spurns Olivia.
The countess professes her love for him in a simple manner: “I love thee so”. In return,
Cesario declares that “I have (He has) one heart, one bosom, and one truth, / And that no
woman has, nor never none / Shall mistress be of it, save I (him) alone” This dramatically
reveals that under the disguise of Cesario hides a lady, but Olivia is too upset by
rejection to notice.
 Clearly, the pains of unrequited love have given rise to tension between characters.
Following this chain of events, too, is the formation of a difficult love triangle
where Viola, Orsino and Olivia all experience unreciprocated love and pine for one
another. This, in turn, creates internal conflict within Viola, who must help her
love object, Orsino, pursue another woman, while she painstakingly hides her love
for him.
Superficial, Transactional Nature
Olivia
Quote (Act 3.4): “For youth is bought more oft than begg’d or borrow’d”
Quote (Act 3.4): “Here, wear this jewel for me, 'tis my picture…And I beseech you come again tomorrow”
Point: Love is portrayed to have a salient transactional nature.
 Olivia is the play’s main proponent of transactional love. In Act 3.4, she makes
plans to entertain Cesario and, to avoid debasing her social status, produces a
jewelled necklace as a gift in the belief that “youth is bought more oft than begg’d or
borrow’d”. Here, the recurring idea of purchasing one’s love surfaces.
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 Later, just before Cesario departs, Olivia offers him that ornament: “Here, wear this
jewel for me, 'tis my picture…And I beseech you come again to-morrow”. This also falls in
line with her ploy in Act 2.2, where she delivered a ring to Cesario in the hopes
that he would return to her.
 It is important to note that instead of using rationale and debate to try persuading
Cesario to revisit her, Olivia resorts to gifts without a second thought. Hence, her
withdrawal into the transactional nature of love is plainly shown through the two
aforementioned events. Unfortunately, Cesario’s unconditional servitude for
Orsino is not moved by such materialism.
Self-indulgence
Orsino
Quote (Act 1.1): “She purged the air of pestilence”
Quote (Act 1.1): “And my desires, like fell and cruel hounds, / E’er since pursue me”
Point: Orsino portrays himself to be exceedingly self-absorbed/vain OR Love is shown through
comical self-indulgence.
 In this scene, Orsino rhapsodizes about his love object, Olivia. He is lost in highsounding hyperboles, claiming that “She purged the air of pestilence”. Olivia is likened
to a gorgeous, chaste goddess who is so pure that she cleansed the air of disease
and dirtiness. Then, Orsino’s train of thought abruptly ends. He stops exalting
Olivia and suddenly raises similes of Greek mythology. Forcing himself back under
the limelight, he sighs, “And my desires, like fell and cruel hounds, / E’er since pursue
me”.
 It is obvious that Orsino alludes to the hunter Actaeon only to bring himself to the
centre of attention once again. In fact, his metaphor is symbolic of his desires that
destroy him in time to come. This is because, if only he dropped his egocentric
indulgence, he would have been able to properly devote time and energy to wooing
Olivia instead of glorifying himself every other minute.
Quote (Act 2.4): “There is no woman’s sides / Can bide the beating of so strong a passion / As
love doth give my heart.”
Quote (Act 2.4): “Of your complexion” “About your years”
Possible Point: Orsino exhibits a certain immaturity in his behaviour.
 In a colloquy between Orsino and Cesario, they discuss love and eventually touch
upon the topic of Olivia rejecting Orsino. Out of desperation and bitterness, the
Duke addresses women scornfully: “There is no woman’s sides / Can bide the beating
of so strong a passion / As love doth give my heart.” It becomes obvious how despaired
Orsino feels, as he was completely oblivious to Cesario’s overt hints at “his” love
for him; when he inquired about Cesario’s love object, Cesario told him that she
was “of your (his) complexion” and “about your (his) years”.
 There was barely any reason for Orsino to be as upset as he was. Interestingly, he
was actually unable to accept that the woman he adores refuses to reciprocate his
love. He adamantly believes that a love “of so strong a passion” as his would engulf
any woman. This, in fact, is a show of his childish character. Orsino displays such
a level of ignorance and obstinance that connotes immaturity.
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Malvolio
Quote (Act 3.4): “go to bed” “To bed! ay, sweet-heart, and I'll come to thee”
Quote (Act 3.4): “nightingales answer daws.”
Quote (Act 3.4): “fellow! not Malvolio, nor after my degree, but fellow”
Quote (Act 3.4): “are idle shallow things; I am / not of your element”
Point: Self-love/self-indulgence is depicted as leading to excessive levels of delusion and ignorance.
 In Act 3.4, Malvolio attempts to actualise his heady dreams of being “Count
Malvolio”. He indulges in self-perceived greatness and is so deluded that he
deliberately misinterprets others’ words to suit his fancy and puts himself above his
fellow servants and even Sirs Toby and Andrew.
 When Olivia advises Malvolio to “go to bed” and rest, he lewdly interprets this as a
sexual invitation to “go to bed” with Olivia. He responds while smiling madly, “ay,
sweet-heart, and I’ll come to thee”. This likely evoked laughter from the audience as
the other characters grew more disconcerted by Malvolio’s unusually foolish
manner. Another show of Malvolio’s disillusion appears when Olivia addresses
him as a “fellow”. Although she was referring to him as a common servant, he
exclaims, “fellow! not Malvolio, nor after my degree, but fellow”. Perhaps, he interprets
“fellow” as “friend”.
 To add to the delirium, Malvolio cannot wait to realise his social ambition and acts
out of place. When Maria greets him, he scoffs condescendingly that “nightingales
answer daws”. All of a sudden, Malvolio is an elegant Nightingale in his eyes while
Maria is a graceless, croaking daw even though they are of equal social status. His
inflated self-importance only grows disproportionately from this point. Later on,
he even chides aristocrats. He says that Sir Toby and Andrew “are idle shallow
things” and that he is “not of your (their) element”. The recurring idea of selfdeception surfaces once more here.
Blurred boundaries between love and service
Quote (Act 5.1): “sacrifice the lamb” “To do you rest, a thousand deaths would die” “After him I
love…more than my life”
Point: The boundaries between love and service are blurred, especially towards the later Acts.
 In Act 5.1, just when matters were settling down, Olivia recalls proof of Cesario’s
marriage with her, and confusion mounts to a higher crescendo. Cesario is accused
of alienating Olivia’s affections from Orsino. Upon hearing this, the Duke flies into
a rage, shown by his rave on how in his “spite”, he would “sacrifice the lamb” that he
loves just to wreak vengeance upon Olivia.
 Even through this, Cesario’s servility is undeterred. “He” affirms Orsino that he
would bear “a thousand deaths” if it could ease Orsino’s pain, revealing “his”
selflessness in his servitude. Cesario simply wishes for the best for Orsino, and after
all he’s done, he would give up her life and any opportunity to marry him just to
bring him peace. This exemplifies how Cesario puts Orsino’s interests far above his
own.
 Despite being wrongly accused, Viola still declares that she loves Orsino “more than
my (her) life”. This unbelievable level of loyalty is obviously bordering on love. As
a servant, Cesario is only bound to Orsino’s instructions and “his” duty stretches
no further. Yet “he” would go as far as to sacrifice his life for the fickle Orsino’s
momentary happiness.
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Deception
What forms does Deception take?
 Self
 Revenge
 Disguise, Mistaken Identity
 Entertainment
Self
Malvolio
(Reuse point on self-indulgent love as: self-deception)
Revenge
Malvolio
Quote (Act 2.5): “To be Count Malvolio!”
Quote (Act 2.5): “Be opposite with a kinsman, surly with servants” “Remember…thy yellow
stockings” “See thee cross-gartered”
Quote (Act 2.5): “I do not now fool myself, to let imagination jade me”
Quote (Act 2.5): “afraid of greatness” “steward still”
Point: Deception is presented as a means to execute revenge.
 Twelfth Night’s comic subplot revolves around the duping of Malvolio. It opens
with a cunning episode of deception in Act 2.5. Here, Malvolio is preoccupied with
self-interest and aspires to gain authority through social inversion just so he can rile
others as “Count Malvolio” without retribution. Such a preoccupation leaves him
vulnerable to manipulation in pursuit of his desires. Thus, Maria’s ploy spins into
action as he walks right upon her “love note”.
 Maria’s familiarity with Olivia’s mannerisms, dislikes and even handwriting allows
her to craft a convincing letter. Along with this, Malvolio’s conceit about himself
makes it easy to tempt him into ridiculous behaviour. The letter instructs him not
to be “afraid of greatness” (which he dearly craves) and that, to achieve greatness, he
must “Be opposite with a kinsman, surly with servants”. Such acts of misrule contradict
Malvolio’s puritanical convention, but he is so wrapped up in his secret desire for
social advancement that he complies anyway.
 Moreover, he is advised to don “thy (his) yellow stockings” or be thought of as no
more than a “steward still”. Such an obvious device would never have succeeded if
not for Malvolio’s excessive power-hungriness. The fact of the matter is that Olivia
detests the colour yellow, which was also an Elizabethan symbol of jealousy. She
also abhors cross-gartering, a fashion of dress meant only for the lowest menials.
To add to the humour here, Malvolio ironically thinks he can woo a countess in
such an outrageous costume!
 There is even a certain irony when he exclaims in joy, “I do not now fool myself, to let
imagination jade me” for this is very much a product of his fantasies.
 Hence, Maria displays exquisite shrewdness in forging a letter of apologetic
modesty, with tones of anonymous, tender love that stir up Malvolio’s egotism. He
is the most at odds with the comic spirit of the play, so Maria and friends make full
use of deception to attain their revenge and humiliate him.
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Malvolio & Feste
Quote (Act 5.1): “I’ll be revenged on the whole pack of you”
Quote (Act 5.1): “The whirligig of time brings in his revenges”
Point: Revenge is shown to have a cyclical nature.
 Disliking Malvolio’s sour disposition and officious nature, Maria and company






seek to humiliate him, manipulating his ego since “the vice in him” gives the device
a “notable cause to work”.
His torture is extremely ruthless, only targeting this crippling weakness, repeatedly
mocking him as a “madman” and a “foul collier”, showing how hellbent the trio are
on exacting revenge, bombarding Malvolio to exploit his emotional vulnerability.
Upon discovering the plot against him, Malvolio also becomes engulfed in rage,
announcing to the party that he would be “revenged on the whole pack” of them
The abruptness of his exit brings a sense of continuity to his words, showing how
even after the event, revenge will continue.
Malvolio even neglects the presence of nobles, including Olivia, the woman he had
so desired to marry, and speaks disrespectfully and rashly, showing how he holds
much weight to his words.
This is pointed out by Feste, stating that this revenge had been brought by the
“whirligig of time”, suggesting that the cycle of revenge is never-ending, and will
continue as surely as time goes round.
Such a cyclical nature even proves to be ironic, as Malvolio’s bitterness and conceit
is what got him into such a spot in the first place. Yet, he retains this posturing
throughout the play and refuses to see why he is detested so.
Disguise
Viola
Quote (Act 1.2): “Conceal me what I am” “mind that suits… thy fair and outward character.”
Quote (Act 1.2): “What else may hap to time I will commit”
Quote (Act 1.4): “Yet, a barful strife / Whoe'er I woo, myself would be his wife.”
Quote (Act 2.2): “Disguise, I see thou art a wickedness, / Wherein the pregnant enemy does much”
Point: Deception, in the form of disguise, turns out to be a necessary evil for the play to progress.
 Shipwrecked on a mysterious island, Viola must “conceal me (her) what I am (she
is)”. This was especially important in Elizabethan times, where the highly
misogynistic social hierarchy, “Great Chain of Being”, dictated that women were
inferior to men in every rank. Moreover, female peasants were considered to be the
least of people, just above animals. If Viola wanted to secure her future, she needed
to pose as a man to avoid social alienation as a virgin maiden. Furthermore, she
was headed to serve under Duke Orsino, who is often seen holding a demeaning
attitude towards women; he treats them “as roses”: there is nothing to them other
than their fleeting beauty.
 It is interesting to note that, in Act 1.2, Viola first trusts the Sea Captain because
he is not disguised; she believes his “fair behaviour” is a sign of his “mind that suits…
thy (his) fair and outward character.” This implies that a lack of disguise is trustworthy
and that disguise is therefore possibly treacherous. Here, Shakespeare establishes
the paradox of Viola’s position: disguise suggests dishonesty, yet she gains access
to Illyrian society through disguise.
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 The dicey consequences of disguise emerge later, when Viola is placed in an
emotionally agonising situation. She realises that “Whoe'er I (she) woo(s), myself
(herself) would be his (Orsino’s) wife.” Although she dearly loves Orsino, her
empathetic nature and servility causes her to continue helping her love object
pursue another woman. Then, when Viola realises that Olivia in turn pines for her,
she “see(s) thou art (disguise) a wickedness”, as her male persona completes a
difficult love triangle between her, Orsino and Olivia.
 Thus, while disguise is absolutely necessary for Viola, it also proves problematic
for her in various ways.
Mistaken Identity
Overarching Point: Mistaken Identity is used to enhance dramatic irony for comedic
effect.
Antonio & Cesario
Quote (Act 3.4): “If this young gentleman / Have done offence, I take the fault on me”
Quote (Act 3.4): “What will you do, now my necessity / Makes me ask you for my purse?”
Quote (Act 3.4): “What money, sir?”
Quote (Act 3.4): “I know of none, nor know I you by voice or any feature”.
Point: Disguise inadvertently causes conflict through mistaken identity.
 Both Antonio and Cesario become disoriented in one of many scenes of mistaken
identity here. Cesario must have been giddy with emotion: first, “he” was forcefully
challenged by Sir Andrew to a duel. “He” was petrified that his female identity
would be compromised, as the noblewoman in disguise knew nothing of
swordsmanship or combat as an Elizabethan gentleman should.
 Then, relief washes over him as Antonio intervenes, declaring that “If this young
gentleman / Have done offence, I take the fault on me”. Alas, this relief is replaced by
confusion as Antonio, who is a stranger to Cesario, turns him and asks, “What will
you do, now my necessity / Makes me ask you for my purse?”. Naturally, Cesario
responds in incertitude: “What money, sir?” This perceived ingratitude enrages
Antonio, who believes he is talking to Sebastian. He denounces Cesario’s disloyal
attitude, while ‘he’ remains in denial as ‘he’ “know(s) of none, nor know I you (Cesario
Antonio) by voice or any feature”. Such disarray escalates until Antonio is escorted
away by two officers of Orsino.
 Thus, an unfortunate incident of mistaken identity ended up in Antonio feeling
betrayed, Cesario’s reputation tainted and the friendship between Antonio and
Sebastian strained.
Sebastian versus the entire Cast
Quote (Act 4.1): “Nothing that is so, is so.”
Quote (Act 4.1): “foolish Greek” “vent thy folly somewhere else” “this great lubber, the world,
will prove a cockney”
Quote (Act 4.1): “Ungracious wretch, / Fit for the mountains and barbarous caves”
Quote (Act 4.1): “He started one poor heart of mine, in thee”
Point: Disguise stirs up chaos through mistaken identity.
 Sebastian’s world descends into pandemonium as he is bombarded by nearly every
character in the play. From invitations to Olivia’s household to physical assault to
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
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
proposals of marriage, he lives through multitudes of madness in a matter of
minutes.
This scene brims with the comedy of mistaken identity, which is aptly summed up
by Feste: “Nothing that is so, is so”. First, Feste beckons to Sebastian to follow him
back to Olivia’s palace, under the impression that he’s speaking to Cesario.
Sebastian shakes the stranger off, asking the “foolish Greek” to “vent thy (his) folly
somewhere else”. Incensed by “Cesario’s” sudden dismissiveness, Feste rants how
“This great lubber, the world, will prove a cockney”.
Then, Sir Toby and Andrew arrive. Sir Andrew mistakes Sebastian for Cesario, of
course, lunging at him in a show of bravery. Sebastian is taken aback at having
been attacked by a stranger, exclaiming, “Are all the people mad?”. Being a true
swordsman, he returns Sir Andrew’s blows ruthlessly. Sir Toby swiftly intervenes,
restraining him from further injuring the whimpering Sir Andrew. The two struggle
until Olivia arrives.
This opens yet another episode of anarchy, as the Countess berates Sir Toby for
acting rashly towards “Cesario”. At long last, her true colours come to light as she
calls Belch an “Ungracious wretch, / Fit for the mountains and barbarous caves”. Next,
the noblewoman turns to Sebastian and, to his shock, starts flirting with him, “He
(Belch) started one poor heart of mine (Olivia) in thee (Sebastian)”. At this point,
Sebastian’s doubt of his own sanity is understandable.
Hence, the main characters of the play become extremely puzzled at “Cesario’s”
shunning of them, while Sebastian witnesses lunacy take place as strangers on a
mysterious island insist that they know him.
Entertainment
Sir Andrew
Quote (Act 3.2): “dear venom”
Quote (Act 3.2): “unless you do redeem it by some laudable attempt either of valour or policy.”
“no way but this”
Quote (Act 3.2): “though thou write with a goose-pen” “a dear manikin to you”
Point: Deception is shown to be used as a cruel form of entertainment.
 In Act 3.2, Sir Toby and Fabian collaborate to gull Sir Andrew simply for their
amusement. They goad him into a swordfight, and their words are riddled with
sarcasm that the laughably slow-witted Andrew fails to pick up on. While
seemingly showering him with praise, Belch and Fabian’s compliments take sly
digs at Sir Andrew’s cowardice and naïveté. The most humor comes from the fact
that Andrew is genuinely spurred on by their lauding, oblivious to their hidden
meanings.
 To get the ball rolling, Sir Toby calls him “dear venom”, a seemingly flattering name.
However, it is actually a sarcastic gibe at Sir Andrew’s infirmity and lack of courage.
While venom connotes something poisonous, potent and effectively lethal, the
audience is aware that Sir Andrew is the exact opposite of this, creating much irony
and humor.
 It is important to note that, up until this point, Sir Andrew was struggling to win
the affections of Olivia. Fabian exploits this desperation by suggesting that he
“redeem it (her love) by some laudable attempt either of valour or policy”. This is where the
scheme to humiliate Sir Andrew culminates. Sir Toby and Fabian even disillusion
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him into believing that challenging Cesario to a duel is his only avenue to winning
Olivia’s heart by declaring that there is “no way but this”. It is clear that Sir Andrew
is being sorely manipulated and deceived by his “friends” for their enjoyment. He
is also very foolish to think that Olivia would fall for someone as unattractive and,
as he says himself, uneducated in the arts.
 Along the way, more taunts are sneaked into the dialogue between the three. Sir
Toby edges Sir Andrew on to write an aggressive letter to Cesario “though thou (he)
write with a goose-pen”. It is an implicit insult towards Sir Andrew, as the goose was
largely seen as a symbol of cowardice. Still, such depreciation goes undetected by
Sir Andrew who thinks that they continue to praise him and persists in his
daydreams of Olivia.
“Madness”
What causes Madness to appear in Twelfth Night?
 Conflicting or mistaken perceptions
 Passions overriding reason
 Uproarious, unbridled ribaldry and revelry
Purpose of Madness (Additional Context):
With Twelfth Night comes a brief celebratory period of social inversion, brimming
with rowdy merrymaking and feasting that marks the coming of the Epiphany. On this
special eve, the world is thrown topsy-turvy, and the people seem to enjoy the chaos that
comes with reversal of social hierarchy. Many got to live as royalty for a day, no matter
their actual social status.
As people were euphoric and places were rife with confusion and incongruity, there
was bound to be a certain madness coursing through the masses. This madness is
exaggerated and hence very much present in Twelfth Night. It is important to note that
“madness” here does not signify mental illness, but rather the tossing out of civility. Such
partying may be seen as senseless and hence mad.
Madness also has several uses throughout the play. It is mainly used entertainingly;
to make a fool of characters and produce comic effect.
Clashing Perceptions
May refer to point of Mistaken Identity on Sebastian for additional point.
Orsino & Antonio
Quote (Act 5.1): “I saved my life and gave him my love”
Quote (Act 5.1): “Today, my lord, and for three months before… did we keep company”
Quote (Act 5.1): “Fellow, thy words are madness”
Point: Madness appears to arise from clashing perspectives of the same issue.
 Here, an infuriated Antonio storms into the Duke’s palace, though restrained by
several Officers. He lambasts Cesario who stands stupefied by Orsino’s side,
claiming that “I (he) saved my (Cesario’s) life and gave him my (Cesario his) love”.
Antonio also complains that “for three months before…did we (him and Cesario) keep
company” before Cesario betrayed him. Of course, Orsino is astonished that his
loyal servant, having never left the palace except to deliver messages, has somehow
been travelling alongside an infamous pirate all this while.
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 However, what Orsino fails to realise is that Antonio is referring to Sebastian in the
past and Cesario at present, while Orsino believes that he is only talking about
Cesario. He decides that, as Cesario has mostly been by his side these three months,
Antonio’s tales are nonsense. Before dismissing Antonio, Orsino turns to him and
quite brusquely says, “Fellow, thy words are madness”.
 Orsino thinks of Antonio as spewing madness. On the other hand, Antonio has
given quite an accurate report on his dealings with Sebastian and Viola in her role
as Cesario. Both are simply mistaken as to what the other is talking about.
 Thus, two conflicting viewpoints of the same matter lead to an illusory sense of
madness, as two characters claim that vastly different and hence contradictory
events transpired at the same time.
Passions Overriding Reason
Orsino
Quote (Act 5.1): “to the Egyptian thief at point of death, / Kill what I love?”
Quote (Act 5.1): “savage jealousy”
Quote (Act 5.1): “thine own trip shall be thine overthrow”
Point: Madness seems to surface when characters allow their romantic passions to overcome all
sense of reason.
 In this scene, Orsino believes that Cesario, who is well aware of his love for Olivia,
hoodwinked him and married the Countess himself. Confusion surmounts here, as
it is in fact Sebastian who vowed to Olivia matrimonially; Orsino is unaware of
this. Cesario, in turn, is stunned by Olivia’s claims and Orsino’s fury.
 The Duke feels betrayed and, in his anger, murderously threatens “to the Egyptian
thief at point of death, / Kill what I love (he loves)”. This line is doubly ironic and
intriguing as it is perhaps the first time that the audience witnesses Orsino lose his
composure and fly into a rage.
 Earlier on, Orsino labels Antonio derisively as a thief, yet he is now naming himself
the same things. This is the first instance of irony in his statement. Second, his
allusion of himself to a thief undercuts his noble status and self-importance;
something he treasures. Furthermore, he calls such a revenge “a savage jealousy”,
admitting that he has succumbed to employing ignoble and ruffian tactics to get his
way.
 Moreover, he curses Viola that “thine own trip shall be thine overthrow” when he loved
her dearly before.
 Hence, Orsino loses some rationale of thought when he undermines his nobility
and contradicts his earlier statements. He also abruptly switches his melancholic,
fanciful persona to a bloodthirsty one.
 Clearly, his impassioned love has preceded his logic and driven him to the edge of
madness.
Revelry, Ribaldry
Maria & Friends vs Malvolio
Quote (Act 2.3): “Not to be abed after midnight is to be up betimes, and diluculo surgere”
Quote (Act 2.3): “A stoup of wine, Maria!”
Quote (Act 2.3): “My masters, are you mad? Or what are you? Have you no wit, manners, nor
honesty…?’’
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Point: Excessive merrymaking may be perceived as madness to some in the play.
 Here, Maria and the gang have light-hearted, drunken fun, singing to their hearts’
content and debating in inebriated seriousness. However, their festivity will later
come to a halt when Malvolio enters and so much as demeans their sanity for
partying so loudly late into the night.
 Sir Toby claims that “Not to be abed after midnight is to be up betimes, and diluculo
surgere”. He uses the Latin proverb in a rather perverse way; it means that rising
early is healthy. Yet, Sir Toby ironically recalls it to justify not going to bed at all.
This contradictory quarrel over bedtimes goes back and forth between the two
drunken Knights until Sir Toby calls for yet another “stoup of wine”.
 A stoup connotes a very wide flagon to contain drink, rather than a cup or glass.
Therefore, to add to the merrymaking, the crew now drinks uncurbed amounts of
alcohol that throws things even more topsy-turvy on top of it all.
 Then, Malvolio arrives and questions his masters, “are you (they) mad?” Clearly, he
has an aversion to their behaviour and even pompously declares that the group has
“no wit, manners, nor honesty”. Such a blatant insult at their intellect and behaviour
shows that the steward strongly views festivity as madness. Perhaps, the tossing out
of civility in place of ludicrous amounts of festivity may be seen as a step towards
insanity.
 Thus, this is another instance of how characters may view madness in Twelfth
Night.
*One of the subplots of the play concerns Malvolio and the prank played on him.
He is tricked by Maria’s plan to humiliate him and believes that Olivia is in love with him,
and he does what the forged letter says. He creates large amounts of revelry at Olivia’s
party. He shows up dressed like a clown, smiling, and insulting everybody. He acts in such
a way as to seem insane to people not knowing to the plot to humiliate him. The way he
acts ironically pushes Olivia farther and farther away from him. Even when she wants to
get to know him better, the way he acts and the way he dresses at this point in the play
only serves to stop him from achieving his unfounded goal. This insanity is revelry. The
motivation behind Maria appears to be revenge, but everyone else involved in the prank
are in it for the entertainment. Ironically, Malvolio is the strictest of the characters and is
the one trying to shut down all the merrymaking. He gets twisted around to the opposite
of his character during the prank.
Masters and Servants, Social Hierarchy
Comments on this Theme:
 Basis of Twelfth Night is Social Inversion (refer to Madness)
 Malvolio strives to climb the social pyramid
 Masters (Olivia) heed Servants (Cesario) with respect, seen in informal pronouns
 Masters sully their social status by wooing Servants
 Servants selflessly sacrifice for their Masters (refer to Love)
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Character Analyses
*Asterisk-marked traits can already be evidenced from quotation notes
Viola
Character Traits:
Selfless*, Loyal & duty-bound*, Resourceful*, Quick-witted/silver-tongued
Quick-witted: Refer to Viola’s speech from Act 1.5. Emphasize how, her eloquence and
intellect allow her to be discourteous and to transgress lines between master and servant,
yet still be in her masters’ favours. She crafts an impassioned speech that wins Olivia’s
affections, so Olivia forgives that Viola engaged in a somewhat disrespectful, brief verbal
spar with her prior to her speech such that Olivia acknowledges her “courtesy…is so fearful”.
*She flaunts her resourcefulness already in her first entrance in the play, being of
sound judgement to recognize the Captain’s integrity and thus trust him, inventive enough
to create a convincing disguise and practical enough to carry out this disguise, initially for
her own wellbeing. Masculinity is also poked fun at and caricatured through her character
in her assuming her identity as the boy servant/messenger Cesario as seen in her overemphatic courtesies and hyperbolic professions towards Olivia, revealing Orsino’s
courtship as silly and comical.
Orsino
Character traits:
Petrarchan lover/self-indulgent*, fickle*, immature*
Immature: Refer back to Page 5 on how he is unable to accept that a woman is simply not
enamoured by his superficial character and ‘true love’.
*Orsino and Olivia are worth discussing together, because they have similar
personalities. Both claim to be buffeted by strong emotions, but both ultimately seem to
be self-indulgent individuals who enjoy melodrama and self-involvement more than
anything. When we first meet them, Orsino is pining away for love of Olivia, while Olivia
pines away for her dead brother. They show no interest in relating to the outside world,
preferring to lock themselves up with their sorrows and mope around their homes.
Olivia
Character Traits:
Transgressive of social norms, Excessive/ melodramatic, Caring
Transgressive: According to traditional Elizabethan notions of gender, the "ideal" woman
is supposed to be silent, chaste, and obedient. Olivia shatters the stereotypical role she's
been assigned to when she aggressively pursues Cesario’s affections and asks for “Cesario’s”
(Sebastian’s) “full assurance of your (his) faith”, or his hand in marriage. She also breaks
from the idea that she should marry a man of similar age and social status when she
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pursues a young servant. All these controversial decisions make Olivia just as unruly and
rebellious as figures such as Toby Belch and Feste. Her behaviour, then, is a significant
part of the play's topsy-turvy spirit.
Excessive: When the play opens, Olivia is in deep mourning for her dead brother. She
grieves “like a cloistress, she will veiled walk”, residing in solitude and weeping every day for
7 years. Shakespeare exaggerates her vows and makes it clear that her behaviour is rather
ridiculous. Perhaps, this mocks her melodramatic nature and the convention of indulgent
Petrarchan love. Moreover, Olivia's tears are compared to a "brine" that "seasons" her
"brother's dead love" Interestingly, Olivia's tears are compared to pickle juice, folks. This
somewhat likens her to a pickle-maker, which in turn makes her late brother a pickled
cucumber. Such a laughable allusion further serves to ridicule her disproportionate vows.
Even Feste goes out of his way to demonstrate the folly of Olivia's behaviour when
he says in an argument that she is “the more fool” to mourn for her brother. Her sombre
demeanour is also jarring in contrast to play's festive atmosphere, which is conspicuous in
light of the fact that Olivia's house guests party all night while she traipses around her
chamber weeping.
Caring: We can see her benign nature in the fact that, despite wanting to reject all society
to mourn, she permits Sir Toby and Sir Andrew to remain as guests. This is in spite of her
strong objection to Sir Toby's drunkenness and rowdiness. Such aversion to their late-night
revelry expressed through Maria who declares to Sir Toby, "By my troth…your cousin, my
lady takes great exceptions to your ill hours”. However, regardless of how much Olivia
disapproves of Sir Toby's persistent behaviour, she continues to tolerate his presence so he
has a place to stay, showing just what a caring and nurturing nature she has. Also, in
response to Malvolio’s sudden madness, she also kindly advises him to “go to bed” and
continues to be somewhat patient with his perturbing behaviour, only wishing that he
recovers fully in time to come.
Malvolio
Character Traits:
Self-loving*, Arrogant*, Hypocritical
Arrogant: Refer to Madness where he calls his masters mad. This highlights his feelings of
superiority over the group, despite him being inferior hierarchically, such that he can be
so discourteous towards them. This also prompts Sir Toby to respond patronisingly to
remind Malvolio that he is not “any more than a steward”.
Hypocritical: Following the inversive nature of the play, Malvolio plays into the
carnivalesque idea of role reversal. The way in which Malvolio’s previously haughty and
abrasive character is transformed into a soft and sycophantic one, constantly begging “Sir
Topas, good Sir Topas” and later, Feste in his own habit, calling him the “good fool” brings
much humor to the subplot. Where Malvolio once scorned and insulted Feste, saying how
he “marvels (Olivia) can take delight in such a fool”, he now begs at the feet of him, showing
how the hegemonic social structure of Illyria has been subverted. There is also a certain
irony in how Malvolio turns out to be the true fool, smiling like a madman and dressing
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incredulously in vain attempts to woo Olivia. He capers around in “yellow stockings” and
his once stiff and joyless demeanour turns merry and idiotic, showing how his social
ambition has overcome his good sense. Indeed, he hypocritically fails to abide by the
principle of order he preaches as long as it is in the name of love.
Maria
Character Traits:
Crafty
Crafty: Maria displays exquisite shrewdness in forging a letter of apologetic modesty, with
tones of anonymous, tender love that stir up Malvolio’s egotism. Her familiarity with
Olivia’s mannerisms, dislikes and even handwriting also allows her to craft a convincing
letter. As expected, Malvolio takes the bait and her ploy spins right into action. It follows
through, and her unilaterally crafted scheme works perfectly in convincing Olivia of
Malvolio’s madness. Sir Toby even claims that he “could marry this wench for this device”,
and indeed he does in the final Act, sullying his social status just to reward Maria for such
an ingenious prank. Moreover, Maria is praised and likened to “Penthesilea”, a mythical
Amazonian queen admired for her wisdom. These instances show how resourceful Maria
is, and her ease in coming up with a masterful plot.
Sir Andrew
Character Traits:
Gullible*, Poorly educated/unsophisticated, Vain
Unsophisticated: (Refer to Madness) Sir Andrew often simply imitates others, repeating the
lines of his “friend”, Sir Toby, or spews nonsense in attempts to participate in discussions.
One example of this is when Sir Toby quotes the Latin proverb, “Diluculo sugere”, to which
Sir Andrew responds, “to be up late is to be up late”. He likely finds Sir Toby’s reference
incomprehensible and tries to make his own intellectual remark by repeating the phrase
“be up late”, ending up saying gibberish. This implies his inability to keep up with the
others and lack of education. Furthermore, when Sir Toby tells him to “accost” Maria, Sir
Andrew addresses her as “Good Mistress Accost”. Such a brainless move early on in the play
sets the tone for Sir Andrew’s stupidity and his tendency to take things literally or
misinterpret them ridiculously. Lastly, Sir Andrew even claims that while Sir Toby’s
foolish behaviour is practiced, folly comes to him “more natural”. This is heavily ironic, as
Sir Andrew unwittingly admits that his foolishness is inborn, and even fails to spot his selfdeprecation.
Vain: Sir Andrew is easily flattered, which also ties in to his naivete. When lamenting
Olivia’s preference for Orsino over him, Sir Toby praises him in a backhanded manner:
“She’ll (Olivia will) not match above her degree, neither in estate, years, nor wit”. In other
words, since she is not eyeing anyone too smart or competent, Sir Andrew has a chance
with her. Such an overt insult is missed by Sir Andrew, and he is wholly pacified by Sir
Toby’s remark.
Sir Toby
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Character Traits:
Manipulative/deceptive*, of Noble birth but boorish; ignoble, Hedonistic
Hedonistic: (Refer to point on Madness for alcoholism) Sir Toby is a glutton and is usually
inebriated whenever he makes an entrance. His surname, Belch, also heavily suggests his
drinking habits since he needs to belch so often. Furthermore, he declares that he will
“drink to her (Olivia) as long as there is passage in my (his) throat”. As mentioned above,
he will even leech money off his unknowing “friend’, Sir Andrew and continually lie to
him in order to preserve his regular indulgence in alcohol which obviously gives him much
pleasure.
Ignoble: Despite being a member of nobility, Sir Toby proves to be quite ignoble in his
manners. He has no issue offending others and, as aforementioned, is willing to engage in
deceit to get what he wants. Sir Toby also makes crass jokes and is a fervent alcoholic,
which clearly does not put him in a good light, especially in his drunkenness. His crude
behaviour is even hinted to the audience through his use of verse, the casual everyday style
of speech used by menials, instead of the elegant prose that the other aristocrats often speak
in. One example of a sexual innuendo that Sir Toby cracks is in his critiquing of Sir
Andrew’s hair. He claims that “it hangs like flax on a distaff” and he hopes “to see a
housewife take thee (Sir Andrew) between her legs”. This is a vulgar reference to the sexual
disease,
syphilis
and
obviously,
sex.
Miscellaneous Characters:
Sebastian
*Sebastian plays a critical role in first complicating, and then resolving the central conflict,
even though we know little about his feelings or motivations. After surviving the shipwreck
with the help of Antonio, Sebastian has no clear purpose or plan, but decides he is “bound
to the Count Orsino’s court” (2.1.). However, everyone he encounters mistakes him for
Cesario, leading Sebastian to wonder “Are all the people mad?” (4.1.). When Olivia greets
Sebastian warmly, he is confused but also pleased that a beautiful and wealthy woman is
treating him so nicely. As he reflects, “If it be thus to dream, still let me sleep!” (4.1.).
Sebastian passively goes along with the curious circumstances unfolding around him; he
doesn’t seem inclined to ask too many questions. The experience of surviving the
shipwreck seems to have left him open to accepting whatever fate unfolds for him. Once
he has been happily reunited with his sister, there is little left for Sebastian to do. Sebastian
is the catalyst for the play’s resolution but offers very little by way of action to achieve that
resolution.
Antonio
*Antonio is an enigmatic character in the play who heightens the main themes. He first
appears imploring Sebastian to either stay with him longer or allow him to accompany the
younger man when he leaves. Antonio is quite dramatic in the language he uses, imploring,
“If you will not murder me for my love, let me be your servant” (2.1.). Additionally, even
though it is dangerous for him to go to Orsino’s court, Antonio immediately decides to
chase after Sebastian, since “come what may, I adore thee so / That danger will seem
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sport, and I will go” (2.1.). Antonio’s behaviour toward Sebastian seems to echo Orsino’s
melodramatic love for Olivia, and Olivia’s exaggerated passion for Cesario. Like these
other characters, Antonio is convinced he cannot live without one particular person, even
though Sebastian seems to view him simply as a good friend. Antonio’s emotions echo the
theme of unrequited love, and the unpredictable nature of passion and desire.
Antonio is the one character who is authentically experiencing intense feelings for
someone of the same sex. While everyone else eventually finds their way to an appropriate
match, Antonio seems doomed to have his feelings unrequited and unresolved. Like
Orsino, Antonio’s strong attachment to Sebastian leaves him vulnerable when he thinks
he has been betrayed, lamenting that Sebastian’s “false cunning… Taught him to face me
out of his acquaintance” (5.1.). Antonio eventually ends up receiving confirmation of
Sebastian’s affection for him. However, Antonio is also conspicuously left alone at the end
of the play, when almost everyone pairs off. He drops out of the main action without any
clear resolution or statement as to what his fate will be. Despite having showed loyalty,
courage, and love, Antonio’s virtues don’t seem to be rewarded at the end of the play.
Miscellaneous
Feste and the Significance of Songs
What Symbolic Songs does Feste sing?
 O Mistress Mine
 Come Away Come Away Death
 The Wind and the Rain
Feste often sings about universal subject matters. His nuanced songs address the human
condition, and the pains of youth, love, death and time. They often provide much insight
into the behaviour of love and lovers, especially when poking fun at the lovers around him.
 Act 2.3: The song “O mistress mine” bears the spirit of carpe-diem (seize the day)
and reminds us of the ceaselessness of time or the inevitable passing of Time.
Although no-one knows what is to come of the future, nothing, (including true love)
will ever come from delay. Olivia & Viola’s youth will “not endure” the test of time.
Folly of men and women to delay their love affairs.
 Act 2.4: In “Come Away Come Away Death”, Feste sings amidst (and about) selfabsorbed & delusional lovers. The song is a sly dig/ gibe at the lovers’ self- obsessed
behaviour. It is a song of unrequited love; of the speaker who dramatically dies of
spurned love.
 There lives derision and mockery of Orsino’s absurd inability to accept his
beloved’s (Olivia’s) rejection in the song. Orsino is also made out to be a foolish,
delusional lover who, like the speaker in the song, loved hopelessly until death. The
effects of unrequited love create a sense of inertia and stasis in lovers who indulge
in excessive self-indulgence. Their inability to come to terms with reality and
rejection in love leaves them in a sterile and stale state; not being able to move
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
forward, which leads to a: Unattractive/Pessimistic/Negative Portrayal of Lovers
who suffer the effects of unrequited love and waste away their lives
Thus, Feste has a cursory purpose to entertain the nobility and his masters through
witty dialogue & song. However, he is also, to an extent, a harbinger of truth, who
provides much wisdom to budding relationships in the play and whose predictions
turn out accurately. This links to the next minor subtheme:
Feste: The Wise Fool
*Read the KPA Sample Essays for specific examples of his witty quips, erudite showcases
and foresight. It just came out and very likely will not come out again.
**Feste’s name comes from the word “festival”, which goes right along with his
occupation of being a clown. Feste is the source of most of the social commentary and
satire in the play. He constantly tries to point out the foolishness and hilarity of what others
are doing. He points out that it is stupid for Olivia to mourn her brother if he is in heaven
and he played a performance about a lover dying when Orsino asked for a silly song about
love. It is also ironic how Feste, the character who is supposed to be the fool in their society,
is the one who understands the most of what is going on throughout the play.
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