The Delta

Volume 2 Issue 1 Article 12

Spring 2007

Resolution, or Lack Thereof in Twelfth Night

Rachel Shulman '07 Illinois Wesleyan University

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Recommended Citation Shulman '07, Rachel (2007) "Resolution, or Lack Thereof in Twelfth Night," The Delta: Vol. 2 : Iss. 1 , Article 12. Available at: https://digitalcommons.iwu.edu/delta/vol2/iss1/12

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Resolution, or Lack Thereof in Twelfth Night partner, even more so because he Rachel Shulman ]n the final scene after Viola and: stage, Antonio remains onstage, V' ]n Shakespeare's canon, Twelfth Night is considered one of he is ignored. Shakespeare insteac his great comedies. According to formalist critic Milton Crane, rendering Antonio's fate unimpor "The great comedies such as Twelfth Night show ... Reducing him to a mute and unim Shakespeare working effectively within the tradition of troubling and uncertain fate with; classical comedy and enlarging it to encompass a rich and Like Antonio, Malvolio is ani harmonious development of fundamentally comic matter" without a decisive conclusion to h (Crane 8). However, Crane's conclusion is problematic in that it situation in which Malvolio finds does not reconcile individual's romantic fulfillment with an comedic: he endures cruelty and r: overarching resolution for the play. Antonio, Malvolio, and Maria, Sir Toby, and to a lesser df Feste are three prominent characters in this comedy who are not are an important element in cornel comic. Antonio's love for Sebastian leads him into danger, and Olivia to Malvolio is at first humc the audience never knows his final fate. The trick played on because the audience is encourage Malvolio is initially amusing, but quickly it becomes unsavory deserves such treatment for his po mistreatment. Feste, the clown of the play, is rarely funny in a Maria describes him as "The devil traditional sense, instead performing a melancholic truth-telling anything constantly, but a time-pl. role. It is not only these characters who contribute to the (2.3.146-7). He is a killjoy, and sa problematic ending: the three marriages are also inherently puritanical authority figure acting unstable. The cases of mistaken and hidden identities create futile attempt to please Olivia. Th. romantic pairings based on a troubling foundation ofdeception. adds a great deal to the comedy in Despite its comedic elements, the ambiguous ending of Twelfth tricksters go too far in their plan tc Night is not decisive or satisfying due to a lack of resolution in confine him in prison and send Fe: the case ofcharacters such as Antonio, Malvolio, and Feste, and confuse Malvolio and tell him tha1 due to underlying problems in the three marriages. Toby even recognizes that they ha Antonio, an experienced sea captain and fighter, is serious of human decency: "] would we w and passionate throughout the play. He is not a comedic (4.2.67-8). The extent to which thf character, instead embodying the role of protector and devoted trick in prison invokes sympathy I: servant to Sebastian. His profession oflove for Sebastian so notoriously abused" (4.2.87-8). evinces, at the least, homosocial desire: "] could not stay behind parts of the tricksters serves to hig. you. My desire, / More sharp than filed steel, did spur me forth" cruelty; if the irrepressible Sir ToI: (3.3.4-5). Antonio simultaneously talks of desire and love, and Andrew without guilt) wishes to b his sole focus in the play is Sebastian, for whom he risks his life evident that the trick has progress\: upon entering lIIyria. He only thinks of Sebastian and is distastefulness. heartbroken when he thinks that he was betrayed by the boy he Malvolio does secure his relea entrusted with his purse and his devotion. When describing his his mistreatment, but Olivia's rem; decision to follow Sebastian, Antonio states, "My willing love, have they baffled thee!" (5.1.369), / The rather by these arguments of fear, / Set forth in your ofcondescension toward Malvoli() pursuit" (3.3 .11-13). He loves Sebastian, but this love is never sympathetic toward him, yet they [ equally reciprocated. ]n Twelfth Night Antonio is one ofthe the offenders, thereby implicitly cc characters left out ofthe romantic resolution; he is without a puritanical Malvolio. Fabian and F Published98 by Digital Commons @ IWU, 2007 1 The Delta, Vol. 2 [2007], Iss. 1, Art. 12 llck Thereof in Twelfth Night partner, even more so because he has lost Sebastian to Olivia. In the final scene after Viola and Sebastian both appear on ache1 Shulman stage, Antonio remains onstage, with no directions to exit, yet he is ignored. Shakespeare instead focuses on the couples, lon, Twelfth Night is considered one of rendering Antonio's fate unimportant and leaving it unresolved. Irding to formalist critic Milton Crane, Reducing him to a mute and unimportant bystander creates a h as Twelfth Night show ... troubling and uncertain fate with absolutely no resolution. 'ectively within the tradition of Like Antonio, Malvolio is another unpaired character larging it to encompass a rich and without a decisive conclusion to his role in the play. The t of fundamentally comic matter" situation in which Malvolio finds himself is ultimately not lI1e's conclusion is problematic in that it comedic: he endures cruelty and mistreatment at the hands of dual's romantic fulfillment with an Maria, Sir Toby, and to a lesser degree Feste and Fabian. Tricks lr the play. Antonio, Malvolio, and are an important element in comedy, and the false letter from It characters in this comedy who are not Olivia to Malvolio is at first humorous. This is especially true )r Sebastian leads him into danger, and because the audience is encouraged to think that Malvolio IS his final fate. The trick played on deserves such treatment for his pompous and arrogant attitude. Ising, but quickly it becomes unsavory Maria describes him as "The devil a puritan that he is, or clown ofthe play, is rarely funny in a anything constantly, but a time-pleaser; an affectioned ass" Iperforming a melancholic truth-telling (2.3.146-7). He is a killjoy, and so it is amusing to see such a characters who contribute to the puritanical authority figure acting and dressing ridiculously in a three marriages are also inherently futile attempt to please Olivia. The trick played on Malvolio listaken and hidden identities create adds a great deal to the comedy in the play, but only until the on a troubling foundation of deception. tricksters go too far in their plan to humiliate Malvolio. They nents, the ambiguous ending of Twelfth confine him in prison and send Feste as Sir Topas to further satisfYing due to a lack of resolution in confuse Malvolio and tell him that he is a lunatic. However, Sir lch as Antonio, Malvolio, and Feste, and Toby even recognizes that they have overstepped the boundary ~ms in the three marriages. of human decency: "I would we were well rid ofthis knavery" :nced sea captain and fighter, is serious (4.2.67-8). The extent to which they go in order to continue the lUt the play. He is not a comedic trick in prison invokes sympathy because "there was never man dying the role of protector and devoted so notoriously abused" (4.2.87-8). The regret expressed on the s profession oflove for Sebastian . parts of the tricksters serves to highlight the extent ofthe nosocial desire: "I could not stay behmd cruelty; ifthe irrepressible Sir Toby (who fleeces his friend Sir sharp than filed steel, did spur me forth" Andrew without guilt) wishes to be rid ofthe situation, it is Itaneously talks ofdesire and love, and evident that the trick has progressed beyond humor to y is Sebastian, for whom he risks his life distastefulness. e only thinks of Sebastian and is Malvolio does secure his release from prison and reveals inks that he was betrayed by the boy he his mistreatment, but Olivia's remark, "Alas poor fool, how :and his devotion. When describing his have they baffled thee!" (5.1.369), displays the general attitude stian, Antonio states, "My willing love, ofcondescension toward Malvolio. Olivia and Orsino are ~uments of fear, / Set forth in your ~ . sympathetic toward him, yet they never mention punishment for ~ loves Sebastian, but this love IS never the offenders, thereby implicitly condoning the trick on the . Twelfth Night Antonio is one ofthe puritanical Malvolio. Fabian and Feste confess their roles, but ~ romantic resolution; he is without a https://digitalcommons.iwu.edu/delta/vol2/iss1/12 299 - Shulman '07: Resolution, or Lack Thereof in Twelfth Night

Sir Toby and Maria are absent. In any case, there is no mention not give us occasion to do so. He of any future punishment. Malvolio vows, "I'll be revenged on rather an unhappy fellow" (Logar: the whole pack of you!" (5.1.378); he blames the entire cast of with the name Feste, he is never f characters, which is indicative of his self-important attitude. Feste's role in the play, as he is tl': Allison Hobgood claims, "When Malvolio attempts to restage should not mourn her brother any himselfin scene five, he exposes not only his fellow characters, song that Feste tells the truth; he i but a complicit audience as well. He betrays not only the underlying issues in a situation ar: shameful natures of Maria, Toby, Feste, and the others but also appropriate song even though the directly implicates the audience in his shame" (10). Malvolio recognize Feste's perceptiveness. may have deserved some humiliation for his pretensions, but I able to penetrate all the masks of agree with Hobgood's argument that audiences would have retaining his own" (261). Viola re identified with Malvolio or experienced shame for being a 'This fellow is wise enough to pI; complicit party to the malicious trick. The ultimate effect of well craves a kind of wit" (3.1.60 holding both cast and audience accountable for the abuse social commentary, but is not the Malvolio suffers is to make the play less comedic. Song is Feste's greatest weapon il This evaluation of Malvolio is in contrast to that of critic meaningless and nonsensical ditti Joseph Summers, who asserts, "[H]e is ridiculous in his his entertainment with a message arrogance to the end, and his threatened revenge, now that he is his songs direct our attention to ~ powerless to effect it, sustains the comedy and the prefer to forget: death, the swift p characterization and prevents the obtrusion of destructive that, on the whole, life is likely t<> pathos" (262). Summers is right to point out that this is in pleasure" (Logan 229). Indeed, at keeping with the characterization of Malvolio. However, the from the romantic sentiment. He I lack of resolution or even punishment in the case of Malvolio's with a song about the wind and til mistreatment detracts from the superficial romantic ending, as appeal to the audience: "our play "after the general unmasking, those without love seem even please you every day" (5.1.407-8: lonelier" (Summers 262). Malvolio storms offstage and the provides no insight into the resoh: audience never learns what becomes of him, which contributes ending as a romantic conclusion c to the unsettling ending. The start of the trick is a great element uneasiness. of comedy, but the progression into accusations of madness The marriages themselves are turns ajoke into a serious crime. Although Malvolio retains his expected from a romantic corned). arrogance and self-love through the end, none ofthe characters degree of inevitability about it, bl: laugh or tease him. Instead, Orsino sends a servant after the without problems. Maria and Sir ~ irate Malvolio to "entreat him to a peace" (5.1.380). Because on stage. Sir Toby returns briefly the main characters of the play take Malvolio seriously, so does absent from the stage. The audien the audience, negating any comic effect of his behavior. secondary sources, and there is nc Throughout the play, Feste the clown also disrupts married for love. Fabian states, "]\I expectations with his melancholy nature. He is supposed to play Toby's great importance, / In recc the fool and entertain through his wit and humor. Feste is married her" (5.1.362-4). Apparer indeed witty, but his jokes, songs and quips are not especially wife in return for her help and gui funny. Instead, Feste reflects the darker aspects 0 fli fe in lllyria. Malvolio. As a result of their "knE Thad Jenkins Logan states, "Fes1e does not often amuse us, or Maria are implicitly cast out from the other characters; we do not often laugh with him-he does marriage is certainly not ideal and

Published100 by Digital Commons @ IWU, 2007 3 The Delta, Vol. 2 [2007], Iss. 1, Art. 12 ent. In any case, there is no mention not give us occasion to do so. He seems to be, on the whole, .1alvolio vows, "I'll be revenged on rather an unhappy fellow" (Logan 229). Despite being a clown 1.378); he blames the entire cast of with the name Feste, he is never festive. Revealing truth is lve ofhis self-important attitude. Feste's role in the play, as he is the one to tell Olivia that she When Malvolio attempts to restage should not mourn her brother any longer. It is mostly through poses not only his fellow characters, song that Feste tells the truth; he innately comprehends the well. He betrays not only the underlying issues in a situation and proceeds to sing an Toby, Feste, and the others but also appropriate song even though the other characters may not ence in his shame" (10). Malvolio recognize Feste's perceptiveness. Summers contends, "Feste is lmiliation for his pretensions, but 1 able to penetrate all the masks of the others, and he succeeds in ment that audiences would have retaining his own" (261). Viola recognizes Feste's abilities: experienced shame for being a "This fellow is wise enough to play the fool, / And to do that ious trick. The ultimate effect of well craves a kind of wit" (3.1.60-1). He uses wit as tool of nce accountable for the abuse social commentary, but is not the traditional fool in a comedy. the play less comedic. Song is Feste's greatest weapon in the play. He refuses to sing volio is in contrast to that of critic meaningless and nonsensical ditties, instead adding weight to rts, "[H]e is ridiculous in his his entertainment with a message versed in song. "All three of is threatened revenge, now that he is his songs direct our attention to aspects of experience we might ins the comedy and the prefer to forget: death, the swift passage oftime, and the fact Its the obtrusion ofdestructive that, on the whole, life is likely to bring us more pain than right to point out that this is in pleasure" (Logan 229). Indeed, at the end Feste's song detracts zation ofMalvolio. However, the from the romantic sentiment. He has the final word in the play unishment in the case of Malvolio's with a song about the wind and the rain, finishing with an the superficial romantic ending, as appeal to the audience: "our play is done, / And we'll strive to 19, those without love seem even please you every day" (5.1.407-8). Feste, the truth-revealer, .1alvolio storms offstage and the provides no insight into the resolution ofthe play, leaving the becomes of him, which contributes ending as a romantic conclusion on the surface with underlying Ie start ofthe trick is a great element uneasiness. ,ion into accusations of madness The marriages themselves are not as satisfYing as is :rime. Although Malvolio retains his expected from a romantic comedy. Each pairing does have a ()ugh the end, none of the characters degree of inevitability about it, but none of the marriages are , Orsino sends a servant after the without problems. Maria and Sir Toby are never seen married im to a peace" (5.1.380). Because on stage. Sir Toby returns briefly in the final act, but Maria is )lay take Malvolio seriously, so does absent from the stage. The audience learns oftheir union from comic effect ofhis behavior. secondary sources, and there is no clear indication that they este the clown also disrupts married for love. Fabian states, "Maria writ / The letter at Sir lcholy nature. He is supposed to play Toby's great importance, / In recompense whereof he hath gh his wit and humor. Feste is married her" (5.1.362-4). Apparently Sir Toby took Maria as a songs and quips are not especially wife in return for her help and guidance in the trick played on ts the darker aspects oflife in lIIyria. Malvolio. As a result of their "knavish" actions, Sir Toby and "Feste does not often amuse us, or Maria are implicitly cast out from Olivia's household. This not often laugh with him-he does marriage is certainly not ideal and is not an essential aspect of

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the conclusion ofthe playas a whole since these two characters (5.1.385-8). Twelfth Night conclUl are absent. and treated as Cesario. Because 0 As for Olivia and Sebastian, they also are married off stage, love and marriage is misconstruec and do not appear together as a married couple until the case of marriage to someone he views as mistaken identities is revealed. However, the most pressing succeed; they are already on intirr: problem inherent in their relationship is the fact that Olivia marriage stronger. But in the play believes Sebastian is Cesario and so this couple does not truly remains present in the relationshiI know each other. This raises the question offuture happiness, among the audience to remove the as Olivia may not be satisfied with Sebastian. He says to his mistaken identities and hidden de! wife about her desire for Cesario, "You would have been The conclusion does not wrar contracted to a maid" (5.1.261). Olivia fell in love with the characters and the questions whicJ disguised Viola, partly due to Cesario's boyish and almost marriages. Within the play situati< feminine appearance and mannerisms. At the moment, amusement, but there is an underl: Sebastian is young and boyish, but he is very clearly masculine Night. Critic Milton Crane states t and will become a man in the near future. Olivia may not like "deserves special consideration be being married to someone so manly: Sebastian proves his complexity of plot structure, and t courage through sword-fighting, and Shakespeare clearly play ...is not comic" (4). Despite t contrasts him with the more timid and intellectual Cesario. romantic conclusion, Twelfth Nigl Thad Jenkins Logan asserts, "In relation to both Antonio and Shakespeare's canon due to the ab Olivia, Sebastian takes a passive, classically feminine role" satisfying comedic resolution. (232). He is the object of both their desires, but Antonio's goes unfulfilled as Sebastian chooses the socially accepted role of husband. So although there is potential for a satisfying relationship, Olivia and Sebastian's marriage is unstable due to its beginning marred by a mistaken identity. Viola and Orsino's relationship is also troubled by a mistaken identity, but it takes a different form in this case. As Cesario, Viola forms an intimate, homosocial relationship with Orsino very quickly. Orsino immediately brings the youth Cesario into his confidence: "I have unclasped / To thee the book even of my secret soul" (1.4.13-4). He feels a strong connection to Cesario which borders on homoerotic desire, a threat to the normal social order which is never resolved in the play. Even after Viola's true identity is revealed, Orsino refuses to call her by her real name until he sees her in women's clothing, which does not occur on stage or even in the course of the final scene. Although it could be argued that Orsino fell in love with the feminine aspects of Cesario, in his speech he seems to embrace the pederastic nature of a relationship with CesariolViola. In his final speech Orsino says, "Cesario, come-­ - / For so you shall be, while you are a man; / But when in other habits you are seen, / Orsino's mistress and his fancy's queen"

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,j. /;~~a. The Delta, Vol. 2 [2007], Iss. 1, Art. 12

a whole since these two characters (5.1.385-8). Twelfth Night concludes with Viola still dressed and treated as Cesario. Because Orsino's initial conception of tian, they also are married off stage, love and marriage is misconstrued and rather ridiculous, his s a married couple until the case of marriage to someone he views as a comrade is more likely to :d. However, the most pressing succeed; they are already on intimate terms which will make the ationship is the fact that Olivia marriage stronger. But in the play, the hint of homoerotic desire , and so this couple does not truly remains present in the relationship and causes sufficient unease the question of future happiness, among the audience to remove the comedic element of d with Sebastian. He says to his mistaken identities and hidden desires. ,ario, "You would have been The conclusion does not wrap up the problems of unfunny 51). Olivia fell in love with the characters and the questions which plague the required romantic o Cesario's boyish and almost marriages. Within the play situational comedy provokes mnerisms. At the moment, amusement, but there is an underlying darkness to Twelfth sh, but he is very clearly masculine Night. Critic Milton Crane states that as a comedy the play e near future. Olivia may not like "deserves special consideration because it has the greatest ) manly: Sebastian proves his complexity ofplot structure, and because the net effect of the ting, and Shakespeare clearly play ... is not comic" (4). Despite the superficial appearance ofa timid and intellectual Cesario. romantic conclusion, Twelfth Night is in fact a problem play in "In relation to both Antonio and Shakespeare's canon due to the absence of a decisive and :sive, classically feminine role" satisfying comedic resolution. th their desires, but Antonio's goes )ses the socially accepted role of is potential for a satisfying astian's marriage is unstable due to istaken identity. :ionship is also troubled by a :s a different form in this case. As mate, homosocial relationship with immediately brings the youth "I have unclasped / To thee the "(1.4.13-4). He feels a strong I borders on homoerotic desire, a rder which is never resolved in the : identity is revealed, Orsino refuses until he sees her in women's ~ur on stage or even in the course of could be argued that Orsino fell in ~s ofCesario, in his speech he :lStic nature of a relationship with leech Orsino says, "Cesario, come-­ ~ you are a man; / But when in other ,'s mistress and his fancy's queen"

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Works Cited

Crane, Milton. "Twelfth Night and Shakespearian Comedy." Shakespeare Quarterly 6.1 (Winter 1955): 1-8. Hobgood, Allison. "Twelfth Night's 'Notorious Abuse' of Malvolio: Shame, Humorality, and Early Modem Spectatorship." Shakespeare Bulletin 24.3 (2006): 1-22. Logan, Thad Jenkins. "Twelfth Night: The Limits of Festivity." Studies in English Literature, 1500-190022.2 (Spring 1982): 223-238. Shakespeare, William. Twelfth Night. In The Complete Works ojShakespeare. Ed. David Bevington. New York: Pearson Longman, 2004. Summers, Joseph. "The Masks of Twelfth Night." The University ojKansas City Review 22 (Autumn 1955). Rpt. in Comedy: plays, theory and criticism. Ed. Marvin Felheim. New York: Harcourt, Brace, & World, Inc., 1962. 258-62.

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