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Twelfth Night ASF Study Materials for by William Shakespeare Study Materials written by Susan Willis ASF Dramaturg [email protected] Contact ASF: 1.800.841.4273, www.asf.net 1 by William Shakespeare Welcome to Twelfth Night Shakespeare usually lets the subplot provide a key image for the action of his plays, Display and Hooking the Prey and that is certainly true for Twelfth Night. With Sir Toby typecast as a Lord of Misrule, revelry rules the house, Characters much as Malvolio tries to stem the In Illyria: tide of booze. Instead, that tide carries Duke Orsino, ruler of Illyria even the staunch steward to heights Valentine attendants (or depths) of giddy aspiration in the Curio to Orsino name of love, enticed by a drunken } prank and his own egotistic fantasy. Olivia, a countess So what is the image for love in this Maria, her gentlewoman play—without doubt, it's intoxication! Malvolio, Olivia's steward Love is the bubbly; it packs a punch; it Feste, a professional fool can send you silly or sobbing; and the Fabian, Olivia's servant recovery can be a sobering surprise. Sir Toby Belch, Olivia's Shakespeare knows everyone kinsman loves a party, and no one throws a party like he does. In fact, the title itself Sir Andrew Aguecheek, a tells us to expect a wild and raucous foolish wooer of Olivia Mardi Gras-style entertainment, A priest and the play certainly lives up to its billing. Widely considered to be From the sea: the last and perhaps the greatest of Order becomes disordered by dreams of love Viola, a shipwrecked Shakespeare's romantic comedies, the Bard in both the main plot and subplot of the play. Here gentlewoman, later looks at love one more time and at the glorious the subplot characters scheme and spy to skewer foolishness of being in its clutches. Both his wit Malvolio's pride with a fake love letter in H. C. Selous's disguised as Cesario 1830s illustration. Sebastian, her twin brother, and his wisdom abound in Twelfth Night—that also shipwrecked state of intoxicating confusion through which true love eventually finds its way. How the Comedy Works Antonio, a merchant-sailor who saves Sebastian Shakespeare's comedies begin in crisis, the traditional comic "separation," and work A Sea Captain, who saves "There's something in 't Viola through increasing complications and love trials That is deceivable." until they reach the reunion, reconciliation, or —Sebastian, 4.3 resolution that ends a comedy. Setting: Illyria Twelfth Night opens with unrequited love— (in the Renaissance, Illyria always a problem in a romantic plot—and a was the region we know Contents of this Study Guide shipwreck in which Viola believes she lost her as the former Yugoslavia; Information that can be adapted to any twin brother, Sebastian. Such an opening seems Shakespeare may imply grade level includes: more tragic than comic, but once we learn a more imaginary/fantasy • structure, plus an act-by-act analysis Sebastian is alive and mourning his drowned realm) • the play's themes, characters, and twin sister, comic resolution becomes possible, imagery especially to resolve the love triangle beset with • the cultural/historical context of ideas mistaken identity that has developed in Illyria. • courtly love rhetoric and comparable The comic subplot reflects the giddy and Renaissance sonnets/poetry impulsive emotion of love in the main plot • relevant Renaissance theatre practices with its own booze-driven gratifications, more • discussion topics and activities (in blue) focused on indulgence and revenge than loving resolution. 2 by William Shakespeare Twelfth Night Fact Sheet Genre: Romantic comedy— Plot: In Illyria, Duke Orsino loves Shakespeare's last in this genre the Countess Olivia, who has pledged to mourn the recent deaths of her father and Date of composition: circa 1600, just brother for seven years. On the shore of after the move to the Globe, about the Illyria appears Viola, survivor of a shipwreck same time as Hamlet which claimed her twin brother. Needing a refuge, she disguises herself as a boy to Sources: Several Renaissance Italian become a page, Cesario, at Orsino's court. comedies known as Gl'Ingannati She promptly falls in love with him—only or Gl'Inganni [to deceive or trick] to have him send her to woo Olivia for are comparable to Shakespeare's him. Olivia hears her impassioned plea for main plot confusions, and the Orsino and immediately falls in love with preface to one includes a Malevolti. the young page. Shakespeare also likely knew the Also wooing Olivia is Sir Andrew adapted tale of "Apollonius and Aguecheek under the inebriated guidance Silla," comparable to the main plot of Olivia's kinsman, Sir Toby Belch, who is but which includes a pregnancy and bilking him of money. When their partying is abandonment that he excludes. chastized by the steward Malvolio, they and the gentlewoman Maria conceive a practical Length: With slightly over 2400 lines, it joke to convince Malvolio that Olivia loves is the fourth shortest comedy in the him, which is actually his secret fantasy. Olivia in mourning (above) canon. The play is 61% prose and He falls for their fake letter and obeys it, and (below) Maria chastizes Sir 39% verse—only Merry Wives and appearing to Olivia smiling and wearing Toby for his late night indulgence Much Ado have a higher percentage yellow stockings. Maria says he's mad and (both by Sir John Gilbert) of prose. Olivia, beset by her own love mania, leaves them to deal with him. They do—by locking "I am sure care's an Setting: Illyria, though sometimes called Malvolio up as a madman. enemy to life." a fantasy realm, was on the eastern Then Sebastian, Viola's undrowned —Sir Toby, 1.3 shore of the Adriatic Sea in the area of twin brother, appears in Illyria and is the former Yugoslavia. mistaken for Cesario by the brawling Sir Andrew and Sir Toby and later by Olivia, Longest roles in the play: Sir Toby, to whom he becomes betrothed. When Viola, and Feste Orsino and Cesario appear at Olivia's house, revelations and reunions abound. Words and Imagery: • courtly love imagery: disease: Orsino Things to watch for in production: in 1.1 is lovesick, and when Olivia in • the twinning 1.5 realizes she loves Cesario, she • the mood of Illyria (for instance, which asks "even so quickly may one catch song seems to be the "theme song"— the plague?" the carpe diem "O mistress mine," one the hunt: In 1.1 Orsino uses the of the drinking songs, or the last song, common Petrarchan image of hunting "When that I was and a little tiny boy" the hart, that is, the [beloved's] heart. with its refrain of "The rain it raineth flowers: usually used to describe the every day"?) beloved's beauty, Orsino in 1.1 leaves • the tone of the subplot—innocent fun or to seek a "bed of violets"; he will a bit more malicious? eventually marry Viola. His imagery is far more conventionally Petrarchan than Viola's more individual and heartfelt imagery for love. 3 Studying the Play: Act One—Impulse The five scenes of Act One introduce to disengage but, like Olivia, only finds herself by William Shakespeare the major characters and hurl the action into thrown back into emotional life. Shakespeare complication and adversity. What more could puts the "stinger" at the end of 1.4. We meet one ask of an opening? Viola in her new guise as Cesario and watch her • a young man in love but unrequited receive her first task, wooing Olivia for Orsino; • a shipwreck stranding a young woman and then on leaving she has that aside, "myself apparently drowning her twin brother would be his wife," and the second side of the • an inveterate drinker, the countess's triangle snaps into place. kinsman, who is bilking an inept wooer • the young woman, now disguised as a Sir Toby and the subplot/ 1.3 young page, falls in love with the duke Time to start the subplot, which means s/he serves, who sends her to woo the dealing with inebriation. Maria is a voice of woman he loves order, "You must come in earlier o' nights," Details to Consider • the steward and the returned fool snipe at but Sir Toby's self-indulgence refuses limits, • Compare how Orsino begins each other; then the countess finds herself especially when he can get Sir Andrew to pay 1.1 and how he ends it. How not only listening to the page but falling in for the booze. That response sets the tone and does he take Olivia's "no"? love with him goal for the subplot—no limits! Party on! Until • Viola does not immediately the party's over… and it seems to be ending disguise herself; what does Orsino/ 1.1 and 1.4 now when Sir Andrew says he'll leave, but Sir she really seek? why does It's romantic comedy, so we meet a young Toby talks him out of it. How many things does she think a disguise will man in love, fairly wallowing in its agony and Sir Toby talk Sir Andrew into or out of during this afford her that? the effort to get a response from his beloved. play, overriding Andrew's fledgling good sense • Is Sir Toby just a fun-loving Because he is the local duke and she the local with Toby's unbridled appetites? guy or is he a mischief countess, this looks like the match their fathers maker? Is he really Sir would have made—but there are no fathers in Feste and Malvolio/ 1.5 Andrew's friend? Does he this play, no traditional parental figure to block The first half of 1.5 may introduce us to listen to Maria's counsel? the yearnings of the young.
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