THE TWELFTH NIGHT-Shakespeare Analysis - ACT 1 & ACT 2

Characters, Traits, Settings, Key plot points, Theme(s), Motifs, Etc

VIOLA/CESARIO (the adaptable, lonely gentlewomen who falls in love with her employer)

Viola is a young gentlewoman who has been shipwrecked in a country called Illyria. She was on the ship with her twin brother, Sebastian and believes he did not survive the shipwreck. Her father died when she was thirteen and she believes she is now alone with no family. She disguises herself as a boy and serves in the court of the governor of Illyria, Duke Orsino. Orsino takes a liking to his new servant ‘Cesario’ and sends him with messages of love to the Countess Olivia. Olivia, however, falls in love with ‘Cesario’ instead. Important to note Viola is in love with the duke

Facts we have learned

-is the play’s protagonist

• She has a twin brother called Sebastian who she believes drowned in the shipwreck she herself survived.

• The captain helps her to disguise herself as a young man called ‘Cesario’ and get a job in Orsino’s house.

• She is resilient and resourceful.

• She falls in love with Orsino.

OLIVIA (The mourning women who falls for a pretend eunuch viola)

Countess Olivia is a wealthy woman of high social status. She is in mourning for her father and brother who have both died within the last year. Without any close family, she is in charge of her household and can decide for herself who she marries. She rejects messages of love from Duke Orsino and instead falls in love with his servant Cesario, not knowing that Cesario is Viola in disguise as a young man. Her only family is Sir Toby Belch, who is often drunk and she does not have much respect for him.

Olivia is courted by Orsino and Sir Andrew Aguecheek, but to each of them she insists that she is in mourning for her brother, who has recently died, and will not marry for seven years. She and Orsino are similar characters in that each seems to enjoy wallowing in his or her own misery. Viola’s arrival in the masculine guise of Cesario enables Olivia to break free of her self-indulgent melancholy.

Facts we have learned

• She is a wealthy heiress whose father and brother have died in the last year.

• She does not love Orsino.

• She trusts her steward Malvolio and her maid Maria and is fond of her jester Feste.

• She has little respect for Sir Toby Belch or his friend Sir Andrew.

• She is very attracted to Cesario.

ORSINO (the lovesick, obsessive duke)

Duke Orsino is a wealthy man who governs the country of Illyria. He is in love with his neighbour, the Countess Olivia and sends messages of love to her, refusing to be put off by her answers that she is in mourning for the loss of her father and brother and is not interested in him. Orsino enjoys music and quickly becomes fond of his new servant Cesario.

A powerful nobleman in the country of Illyria. Orsino is lovesick for the beautiful Lady Olivia, but becomes more and more fond of his handsome new page boy, Cesario, who is actually a woman—Viola. Orsino is a vehicle through which the play explores the absurdity of love: a supreme egotist, Orsino mopes around complaining how heartsick he is over Olivia, when it is clear that he is chiefly in love with the idea of being in love and enjoys making a spectacle of himself. His attraction to the ostensibly male Cesario injects sexual ambiguity into his character.

Facts we have learned

• He governs Illyria.

• He wants to marry Olivia.

• He enjoys listening to music
  

SIR TOBY BELCH (The drunken glutton)

Sir Toby Belch is related to Olivia and lives in her house. He spends a lot of his time drunk, and Olivia has little respect for him. Sir Toby has invited his friend Sir Andrew to stay and encourages Sir Andrew to think that Olivia wants to marry him. Sir Toby knows Olivia has no interest in Sir Andrew, but the deception allows him to con money from Sir Andrew. Sir Toby resents being reprimanded for his drunken behaviour by Malvolio and, with Maria’s help, plays a cruel trick on Malvolio.

Olivia’s uncle. Olivia lets Sir Toby Belch live with her, but she does not approve of his rowdy behavior, practical jokes, heavy drinking, late-night carousing, or friends (specifically the idiotic Sir Andrew). Sir Toby also earns the ire of Malvolio. But Sir Toby has an ally, and eventually a mate, in Olivia’s sharp-witted waiting-gentlewoman, Maria. Together they bring about the triumph of chaotic spirit, which Sir Toby embodies, and the ruin of the controlling, self-righteous Malvolio.

Facts we have learned

• He is related to Olivia. He refers to her as his niece^.

• He is often drunk and disorderly.

• He encourages Sir Andrew to believe he has a chance of marrying Olivia.

• He gets on well with Maria.

• He does not get on with Malvolio.

MALVOLIO (The stuck-up, old-man who dreams of marrying olivia)

Malvolio runs Olivia’s household as her senior servant, her steward^?. Malvolio, however, secretly hopes to improve his social position and one day rule the household as Olivia’s husband. Malvolio insults several characters in the play, including Sir Toby , Feste and Maria who get their revenge by playing a trick to make him think Olivia loves him. They then lock him up in a dark room as a madman.

The straitlaced steward—or head servant—in the household of Lady Olivia. Malvolio is very efficient but also very self-righteous, and he has a poor opinion of drinking, singing, and fun. His priggishness and haughty attitude earn him the enmity of Sir Toby, Sir Andrew, and Maria, who play a cruel trick on him, making him believe that Olivia is in love with him. In his fantasies about marrying his mistress, he reveals a powerful ambition to rise above his social class.

Facts we have learned

• Olivia trusts and respects him as her steward.

• He dreams of marrying Olivia.

• He is disliked by others of Olivia’s household.

SiR ANDREW (Feste 2.0 but 10x dumber)

Sir Andrew is visiting his friend Sir Toby and staying in Olivia’s house. Sir Andrew believes that Sir Toby is helping him in his bid to marry Olivia but Sir Toby is taking money from Sir Andrew and using him for entertainment. Sir Andrew is generally regarded as foolish.

A friend of Sir Toby’s. Sir Andrew Aguecheek attempts to court Olivia, but he doesn’t stand a chance. He thinks that he is witty, brave, young, and good at languages and dancing, but he is actually an idiot.

What we have learned

• He hopes to marry Olivia.

• He believes Sir Toby is his friend and is helping him to get the attention of Olivia.

• He enjoys drinking and dancing

MARIA (The clever, observant maiden)

Maria is Olivia’s maid. She gets on well with Sir Toby and plans a clever trick against Malvolio which helps Sir Toby get revenge on Malvolio for insulting him. Maria also gets on well with Feste.

Olivia’s clever, daring young waiting-gentlewoman. Maria is remarkably similar to her antagonist, Malvolio, who harbors aspirations of rising in the world through marriage. But Maria succeeds where Malvolio fails—perhaps because she is a woman.

Facts we have learned

• She is witty.

• She wants to please Sir Toby.

• She dislikes Malvolio.

• She can imitate Olivia’s handwriting.

FESTE (The clever fool)

Feste is a jester who used to work for Olivia’s father. He has returned to Olivia’s house after some time away, and although she is at first angry with him for his absence, she soon forgives him and is pleased to see him. Feste makes a living as a musician and from his witty remarks, for both of which he receives money from characters of a higher social position. He seems to be based in Olivia’s house but also sings for Orsino.

The clown, or fool, of Olivia’s household, Feste moves between Olivia’s and Orsino’s homes. He earns his living by making pointed jokes, singing old songs, being generally witty, and offering good advice cloaked under a layer of foolishness. In spite of being a professional fool, Feste often seems the wisest character in the play.

Facts we have learned

• He has returned to Olivia’s house after some time away.

• He is an accomplished singer and is very witty.

• Malvolio does not approve of him but he seems generally well liked by the other characters.

SEBASTIAN (Viola’s lost twin)

Sebastian is Viola’s twin brother, separated from her during the shipwreck which happens before the play begins. Sebastian was rescued by a sea captain called Antonio. After three months with Antonio, Sebastian decides to set out to the court of Orsino. Once in Illyria, Sebastian is mistaken for ‘Cesario’ (Viola disguised as a boy).

Viola’s lost twin brother. When he arrives in Illyria, traveling with Antonio, his close friend and protector, Sebastian discovers that many people think that they know him. Furthermore, the beautiful Lady Olivia, whom he has never met, wants to marry him. Sebastian is not as well rounded a character as his sister. He seems to exist to take on the role that Viola fills while disguised as Cesario—namely, the mate for Olivia.

Facts we have learned

• He is Viola’s twin brother.

• He was rescued from drowning by Antonio.

• He is presumed by all the characters he meets in Illyria to be Cesario.

ANTONIO (Sebastian’s savior & admirer)

Antonio found Sebastian half drowned on the shore and rescued him. He quickly grows fond of Sebastian and stays with him, even following him to Illyria despite how dangerous this might be for him. Antonio was once in a sea battle against Orsino’s ships and knows he could be arrested for piracy if he is caught in Illyria.

A man who rescues Sebastian after his shipwreck. Antonio has become very fond of Sebastian, caring for him, accompanying him to Illyria, and furnishing him with money—all because of a love so strong that it seems to be romantic in nature. Antonio’s attraction to Sebastian, however, never bears fruit. Despite the ambiguous and shifting gender roles in the play, Twelfth Night remains a romantic comedy in which the characters are destined for marriage. In such a world, homoerotic attraction cannot be fulfilled.

What we have learned

• He is a sea captain.

• He rescued Sebastian from drowning and has been with him for the three months since then.

• He once attacked Orsino’s ships and is in danger if he is recognised in Illyria.
  

THE CAPTAIN (Viola’s helper and rescuer in the making of her disguise)

The captain of Viola and Sebastian’s sunken ship. After they reach land, the captain assures Viola that Sebastian was still alive when they were separated. He also helps her establish a new life in Illyria by informing her about Orsino and Olivia as well as disguising her as Cesario.

Not much has been revealed about him so far

Where is the twelfth night set

Shakespeare's Twelfth Night is set in the fictional kingdom of Illyria, a place that is both exotic and remote, with a mild climate. Illyria is described as having a coastline and a ruling class with servants, creating a distinct social hierarchy. The play also takes place during a period of revelry and social inversion, similar to the traditional Twelfth Night celebrations.

Two Main Households:

The play revolves around the households of Duke Orsino and Countess Olivia, each with its own distinct character and setting. 

Social Inversion:

The setting is reminiscent of the Twelfth Night celebrations, where social norms are temporarily suspended, and characters can cross social boundaries. 

Cross-dressing:

The play's plot heavily relies on cross-dressing, making it relevant to the Elizabethan stage practice of boys playing women. 

Why is the play called the twelfth night?

The title "Twelfth Night" alludes to the traditional English celebration held on the eve of Epiphany, the twelfth night after Christmas. This holiday is associated with revelry, the temporary inversion of social order, and a spirit of merriment, which aligns with the play's themes and atmosphere. The play's title also suggests a period of revelry and disguise, which is reflected in the characters' actions and interactions, especially those of characters like Sir Toby Belch and Maria who embody a "Lord/Lady of Misrule" role

When does the play take place?

The play Twelfth Night takes place in the fictional land of Illyria, which is often associated with the period of the late 16th century during the reign of Elizabeth I in England. The play itself was written and first performed in 1602, during the early Jacobean period. 

MAJOR PLOT POINTS and their significance

Viola, shipwrecked and disguised as a boy named Cesario, serves Duke Orsino, who loves the Countess Olivia, who is in mourning for her brother.

Reveals viola’s cleverness & adaptability to harsh situations

Viola, in turn, falls in love with Orsino, while Olivia falls for Cesario/Viola.

Love triangle forms, viola has a minor inner conflict about if pretending to be Cesario was really the right choice.

the arrival of Viola's twin brother Sebastian, leading to mistaken identity and a series of comedic situations.

Ultimately, the twins are reunited, and everyone finds their true love and a happy ending

THEME OF TWELFTH NIGHT

THEMES: LOVE, LOSS, IDENTITY AND THE SEA

Even though it is a comedy, based on a day of partying, Twelfth Night still deals with some serious themes. Romantic love, family love and even the love of love are all presented, as is the question of appearance and reality.

Love as a Cause of Suffering

Twelfth Night is a romantic comedy, and romantic love is the play’s main focus. Despite the fact that the play offers a happy ending, in which the various lovers find one another and achieve wedded bliss, Shakespeare shows that love can cause pain. Many of the characters seem to view love as a kind of curse, a feeling that attacks its victims suddenly and disruptively. Various characters claim to suffer painfully from being in love, or, rather, from the pangs of unrequited love. At one point, Orsino depicts love dolefully as an “appetite” that he wants to satisfy and cannot (I.i.1–3); at another point, he calls his desires “fell and cruel hounds” (I.i.21). Olivia more bluntly describes love as a “plague” from which she suffers terribly (I.v.265). Even the less melodramatic Viola sighs unhappily that “My state is desperate for my master’s love” (II.ii.35)

The Uncertainty of Gender

Gender is one of the most obvious and much-discussed topics in the play. Twelfth Night, as with many of Shakespeare's comedies, employs cross-dressing as a narrative technique. When Viola disguises her identity, the situation creates a sexual mess: she falls in love with Orsino but cannot tell him, because he thinks she is a man, while Olivia, the object of Orsino’s affection, falls for Viola in her guise as Cesario. There is a clear homoerotic subtext here: Olivia is in love with a woman, even if she thinks he is a man, and Orsino often remarks on Cesario’s beauty, suggesting that he is attracted to Viola even before her male disguise is removed. This latent homoeroticism finds an explicit echo in the minor character of Antonio, who is clearly in love with his male friend, Sebastian. But Antonio’s desires cannot be satisfied, while Orsino and Olivia both find tidy heterosexual gratification once the sexual ambiguities and deceptions are straightened out.

THE FOLLY OF AMBITION

The problem of social ambition works itself out largely through the character of Malvolio, the steward, who seems to be a competent servant, if prudish and dour, but proves to be, in fact, a supreme egotist, with tremendous ambitions to rise out of his social class by becoming a count. Maria plays on these ambitions when she forges a letter from Olivia that makes Malvolio believe that Olivia is in love with him and wishes to marry him. Sir Toby and the others find this fantasy hysterically funny, of course—not only because of Malvolio’s unattractive personality but also because Malvolio is not of noble blood. In the class system of Shakespeare’s time, a noblewoman would generally not sully her reputation by marrying a man of lower social status.

LOVE AND DESIRE

Love and desire function as powerful drivers of plot because they seem to strike suddenly and unpredictably, and because they render characters helpless to change their feelings. Olivia is startled and somewhat dismayed to recognize the desire she feels in response to Cesario. Viola echoes this sentiment when, finding herself trapped in a love triangle with Olivia and Orsino, she says that “It is too hard a knot for me to untie” (2.2.). When Malvolio starts to believe that Olivia is in love with him, he reasons that “Tis but fortune, all is fortune” (2.5.). Even though it seems surprising that a high-ranking woman like Olivia would be romantically interested in her own employee, Malvolio believes that Olivia’s love for him is a step toward his true destiny. Likewise, Sebastian doesn’t seek a logical explanation for Olivia’s strange behavior, trusting that their relationship is an “accident and flood of fortune” (4.3.). For most of the characters, with the notable exception of Malvolio, this strategy works well, since by the end of the play, everyone has found a partner they are happy with.

DISGUISE AND DECEPTION

When she first finds herself stranded in Ilyria, Viola decides to “conceal me what I am” (1.2.), entrusting only the Captain with her secret. As a young woman who could be vulnerable to attack or sexual assault, she is also much safer if she is disguised as a man. However, Viola quickly learns the cost of maintaining a disguise. Her intentions and actions are constantly misinterpreted, and she cannot correct these mistakes without betraying her secret. While disguise and deception cause serious difficulties for Viola, and even threaten her life when Orsino falsely believes that Cesario has stolen Olivia away from him, the play also suggests that disguise can serve a positive purpose as well. In a time when women were expected to follow strict rules of social decorum, Viola’s masculine disguise gives her the chance to speak her mind much more freely. This shift is most apparent in the scene where Orsino and the disguised Viola argue about how men and women behave in love. Viola stands up for women, arguing that “In faith, they are as true of heart as we” (2.4.).

GENDER AND SEXUALITY

In the play, gender and sexuality are portrayed as ambiguous, unstable, and sometimes fluid. When Viola disguises herself as a man, she stipulates that “thou shall present me as an eunuch to [the Duke]” (1.2.). In some cultures and historical periods, young men would be castrated in order to enter specific occupations, often as personal servants to high-ranking individuals, or in positions where they would have close contact with women. As a eunuch, Viola would be viewed as not quite a woman, and not quite a man. Both Orsino and Olivia recognize that Viola defies traditional binary gender conventions. Orsino comments about Cesario that “all is semblative a woman’s part” (1.4.) Interestingly, Viola’s ambivalent gender position seems to only make her more attractive. Other storylines also echo the idea of a fluid form of desire not rooted in gender. Orsino’s relationship with Cesario might simply be a close and affectionate friendship, but it also seems to hint at romantic elements, such as when he refers to Cesario as one “…whom, by heaven I swear, I tender dearly” (5.1.). However, while the play introduces elements of fluidity and ambiguity, it closes with a firmly heteronormative conclusion.

Steps to passage analysis

The act of analysis is literally the act of separating a whole into parts in order to understand.

1. Read the passage 

2. Write any basic observations - (anything that you notice) or assertions about the text. Think text to text, text to world, and to a lesser extent text to self, observations 

3. What is the context of the passage - what’s happening during this passage? Who said it and who are they speaking too? 

4. Consider what is said - Considering word choice (Look up unfamiliar words), the ordering of ideas, sentence structure (how it’s being said), audience (who is this information for?).

5. Assess how it is said - Pay attention to literary devices, particularly imagery, allusion, and other literary devices

6. Connect to possible themes - First, create a list of topics, and then turn those topics into themes. Once you have a list of themes, try to connect the theme to the context, word choice, literary devices etc.

Additional Notes

Orsino The Duke of Illyria and its ruler. At the opening of the comedy, he is desperately in love with Lady Olivia, who spurns his romantic overtures in spite of the fact that he is a perfect and ideal gentleman.

Viola/Cesario After being shipwrecked, she disguises herself as a young boy, takes the name of Cesario, and attains a position in Duke Orsino's household because of her wit and charm. As a boy, she is then used as an emissary from the duke to court Lady Olivia. Her twin brother, Sebastian, looks exactly like her.

Lady Olivia She is a rich countess who, at first, plans to mourn her brother's recent death for seven years, but when she meets the emissary from Duke Orsino (Viola disguised as a boy), she immediately falls in love with the youth.

Sebastian The twin brother to Viola who is mistaken for Cesario when he (Sebastian) arrives in town. He meets Olivia and enters immediately into a marriage with her.

Antonio A sea captain who aids and protects Sebastian; his pleas for help are ignored by Viola, who in her disguise looks exactly like her twin brother.

Sir Toby Belch Lady Olivia's uncle who lives with her and who is given to constant drinking bouts; he delights in playing tricks on others.

Sir Andrew Aguecheek A skinny knight who is encouraged by Sir Toby to continue courting Lady Olivia because as long as he courts Lady Olivia, Sir Toby can gull him out of enough money to continue the nightly drinking bouts.

Malvolio Lady Olivia's steward who also has fantasies that Lady Olivia might someday marry him. He is opposed to Sir Toby's drinking bouts, and, thus, he becomes the object of one of Sir Toby's elaborate tricks.

Maria Lady Olivia's waiting woman; she is clever and arranges a superlative trick to be played on Malvolio.

Feste A clown, or "jester," in the employ of Lady Olivia; he has a marvelous way with words and with making a sentence "get up and walk away."

Fabian A servant of some importance in Lady Olivia's house.

Valentine and Curio Two gentlemen who attend Duke Orsino.

A Sea Captain He appears in only one scene. He helps Viola with her disguise.

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