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2.3, mad, manners, wit - Class, masters and servants, madness, These rhetorical questions reflect his inner morals. However, his crassness is strange. Sir Toby and Sir Andrew are noble, and he is just a humble servant. As well, he ironically foreshadows his own fate.
My masters, are you mad? Or what are you? Have you no wit, manners or honesty, but to gabble like tinkers at this time of night? (2.3.77-79)
2.3, uncivil. my hand - Class, masters and servants, The imperative at the end, informing Maria he will tell on them, yet again highlights Malvolio’s proud nature. This threat is yet again quite bizarre, as normally ladies-in-waiting were noble, and here he is brazenly attacking her. Perhaps this ill treatment of his superiors is a kind of overcompensation for his lack of class.
Mistress Mary, if you prized prized my lady’s favour at anything more than contempt, you would not give means for this uncivil rule. She shall know of it, by this hand. (2.3.108-110)
2.5, excites, stars - Class, masters and servants, self-deception, self-love, A puffed-up Malvolio seems to lose his puritanical reserve and throw caution to the wind to further his ambition. Which is to rise in the world from servant to nobleman. He is convinced that he is not fooling himself! Oh it’s definitely love, but love of self, for the only one that loves Malvolio is Malvolio. So much so that he cannot separate appearance from reality.
(Malvolio): I do not now fool myself, to let imagination jade me; for every reason excites to this, that my lady loves me. … I thank my stars, I am happy!
2.5, strange - Class, masters and servants, self-deception, His willingness to shed this façade after realising he can get what he wants shows his self-deception. Sibilance emphasises Malvolio’s delusion, the hissing sounds almost like sounds of disapproval against him wearing these, but he has tricked himself so much he ignores them subconsciously.
I will be strange, stout, in yellow stockings, and cross-gartered
3.4, adheres - Madness, self-deception, love and desire, Malvolio’s delusion peaks here, as he tricks himself into thinking that Olivia sending Sir Toby is a hint to the letter. This self-deception shows, quite exceptionally, how love, even self-love, can drive people to madness as they take the slightest actions as signs of reciprocation.
The diacope of scruple → he has to constantly repeat it to himself, as if he has to work hard to convince himself
Why, everything adheres together, that that no dram of a scruple, a scruple of a scruple, no obstacle or unsafe circumstance – what can be said? (3.4.72-76)
5.1, revenge – Unrequited love, Malvolio exits with these words. His unresolved conflict is strange in an otherwise joyful comedy. For Malvolio there is no happy endings. Perhaps, Shakespeare is saying that love can not only end in happiness, but in pain.
I’ll be reveng’d on the whole pack of you! (5.1.365)
3.4, hang, element - Class, masters and servants, self-deception, self-love, Malvolio’s bitter response to the mocking concerns of the ‘lower class’ after Olivia thinks he has gone mad. He talks down to them like they are fools, when he is the one who looks a fool dressed in his yellow stockings Olivia.
Go hang yourselves all. You are idle, shallow things. I am not of your element.
4.2, errest. Egyptians – Madness, In the revellers attempt to trick Malvolio, Feste dresses up as ‘Sir Topas’. He attempts to gaslight Malvolio. Even through the gaslighting, Malvolio digs his feet into the sand, refusing to believe he is mad, further showing how his stubbornness.
Biblical allusion - book of Exodus, egyptian plagues. Emphasises how hard Feste tries to trick Malvolio, even referencing sacred texts
(Feste as Sir Topas): Madman, thou errest. I say there is no darkness but ignorance, in which thou art more puzzled than the Egyptians in their fog.(4.2.39-42)
2.5, count – Love and desire, Both these quotes showcase Malvolio’s delusion. Shakespeare primes us by presenting with a daydreaming steward, then jumps right in as Malvolio makes logical jumps based on a scrap of paper. Yet again, Malvolio’s thirst for a higher position in society posits him for ridicule. He serves as a character to show the desperation that unrequited love can fuel, but also how love can cause you to change who you are just to appease someone else.
To be Count Malvolio!
2.5, m! - Yet again, Malvolio’s thirst for a higher position in society posits him for ridicule. He serves as a character to show the desperation that unrequited love can fuel, but also how love can cause you to change who you are just to appease someone else.
“M”—Malvolio. “M”—why, that begins my name.
2.3, rub, crumbs - Class, masters and servants, Rubbing crumbs on something was a common way to clean it, but Sir Toby may be referring to a sexual innuendo. However, he also says this to remind him of one thing, the largest contrast they have: he is a steward. That’s all he’ll ever be, and he has to live with that. Perhaps, from this lens, the way Malvolio acts is justified.
Go sir, rub your chain with crumbs.(2.3.106-107)
2.3, any more, virtuous - Class, masters and servants, disguise and deception, It seems that Sir Toby is mocking Malvolio’s previous use of rhetorical questions, ending with a quite literal metaphor. Of course, it’s because of his Puritanical beliefs. One must be modest and restrained, and they are being riotous and loud. However, if he were really above their element, why would he care so much about their behaviour? However, as Viola says, “I am not that I play”, and this applies to Malvolio as well. It seems that his strict façade is just that, a façade. This can be seen later in the play as well, as we see him swap austere celibacy for yellow cross garters.
(To Malvolio): Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale? (2.3.101-103)
2.3, recover, foul - Love and desire, Sir Andrew claims that if he fails to court Olivia, that he will be in financial trouble. Here, Shakespeare shows how love can push people to do so many irresponsible things, including engaging in a foolish duel and jeopardising one’s livelihood. Sir Toby’s refrain shows his incessant badgering and only caring about money, blatantly ignoring Sir Andrew’s troubles.
Sir Toby: Thou hadsnt need send for more money.
Sir Andrew: If I cannot recover your niece, I am a foul way out.
Sir Toby: Send for money, knight. If thou hast her not i' the end, call me “Cut.” (2.3.167)
3.4, slip, Capilet – gender, disguise and deception, Ironically, Sir Andrew is such a coward that he’ll give his horse for Viola to end the duel. What’s ironic, is that whilst Viola worries that her lack of duelling skills will expose her femaleness, Sir Andrew is actually a total coward and the worst possible advertisement for manhood. Again, Shakespeare seems to ask what makes a man a man.
Let him let the matter slip, and I’ll give him my horse, grey Capilet. (3.4.263-264)
1.3, methinks, beef - avowing his own stupidity because of too much beef eating, he says this to Sir Toby Belch. He seems to acknowledge how stupid he is, but refuses to admit perhaps its his own fault.
Methinks sometimes I have no more wit than a Christian or an ordinary man has: but I am a great eater of beef, and I believe that does harm to my wit.
1.3, Illyria, old man – Sir Andrew states that he’s as good at dancing as any man in Illyria. However, he clarifies that he is not as good as those who are better than him, but could never be as good as a professional! These incoherent, superfluous ramblings do not clarify what he is saying at all!
As any man in Illyria, whatsoever he be, under the \n degree of my betters. And yet I will not compare with an old man.
3.1, courtier, odours – Sir Andrew takes notes on Cesario’s exemplary vocabulary, talking to himself in an aside. Again, his stupidity is on full display, perhaps a comment on the gender roles of the time.
(Aside): That youth’s a rare courtier: ‘rain odours’ -- well!
2.5, wench, device - The repetition of the word “this” dehumanises and objectifies Maria down to an object and the sexist and disrespectful connotations around the word wench (a prostitute) further emphasises that even by being noble herself, woman are still treated as less than, giving reason for Viola deciding to be portrayed as a eunuch.
“I could marry this wench for this device”
3.4, between, prospect - The repeated use of the word “can” depicts Malvolio’s desperation for love to the audience but the repeated use of personal pronouns alludes to the fact that Malvolio’s love is selfish love one where he is the one that benefits. Malvolio’s selfish love is further enforced to the audience through the use of the word prospect, the word prospect has denotations of possibilities and opportunities showing the audience this “love” Malvolio has for Olivia is only an opportunity for him to gain higher social status.
“Nothing that can be, can come between me and the full prospect of my hopes.”
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