Twelfth Night. Or What You Will. Synopsis

Transcription

1 Twelfth Night Or What You Will Synopsis Illyria, the setting of Twelfth Night, is important to the play's romantic atmosphere. It is an ancient region on the eastern coast of the Adriatic Sea covering parts of modern Croatia, Montenegro and Albania. Illyria is mentioned in one of the source plays for Twelfth Night, Plautus's Menoechmi, as a place where, as in Twelfth Night, a twin went looking for his brother. Shakespeare himself mentioned it previously, in Henry VI, Part II, noting its reputation for pirates. Like so many of Shakespeare s comedies, this one centres on mistaken identity. The leading character, Viola, is shipwrecked on the shores of Illyria during the opening scenes. She loses contact with her twin brother, Sebastian, whom she believes dead. Dressed as a man and masquerading as a young page under the name Cesario, she enters the service of Duke Orsino. Orsino is in love with the bereaved Lady Olivia, whose brother has recently died, and decides to use "Cesario" as an intermediary. Olivia, believing Viola to be a man, falls in love with this handsome and eloquent messenger. Viola, in turn, has fallen in love with the Duke, who also believes Viola is a man, and who regards her as his confidant. When Sebastian arrives on the scene, confusion ensues. Mistaking him for Viola, Olivia asks him to marry her, and they are secretly married by a priest. Finally, when the twins appear in the presence of both Olivia and the Duke, there is more wonder and awe at their similarity, at which point Viola reveals she is really a female and that Sebastian is her lost twin brother. The play ends in a declaration of marriage between the Duke and Viola, Toby and Maria, and Olivia and Sebastian, though their marriages are never actually seen. Much of the play is taken up with the comic subplot, in which several characters conspire to make Olivia's pompous head steward, Malvolio, believe that his lady Olivia wishes to marry him. It involves Olivia's uncle, Sir Toby Belch; her would-be suitor, a silly squire named Sir Andrew Ague-Cheek; her servants Maria and Fabian; and her father's favourite fool, Feste. Sir Toby and Sir Andrew disturb the peace of their lady's house by keeping late hours and perpetually singing catches at the very top of their voices. Maria, Sir Toby, Sir Andrew Ague-Cheek and company convince Malvolio that Olivia is secretly in love with him, and write a letter in Olivia's hand, asking Malvolio to wear yellow stockings cross-gartered, be rude to the rest of the servants, and to smile in all circumstances. Olivia, saddened by Viola's attitude to her, asks for her chief steward, and is shocked by a Malvolio who has seemingly lost his mind. She leaves him to the contrivances of his tormentors. He is locked up in a room, with a slit for light. Feste visits him to mock his "insanity", once disguised as the priest, and again as himself. At the end of the play Malvolio learns of their conspiracy and storms off promising revenge, but the Duke despatches someone (probably Fabian) to pacify him.

2 Characters Orsino - Duke of Illyria Valentine - Gentleman attending on Orsino Curio - Gentleman attending on Orsino First Officer Second Officer ***** Viola - A Shipwrecked Lady, later disguised as Cesario Sebastian - Her twin Brother Captain - of the wrecked ship Antonio - another Sea Captain ***** Olivia - A Countess Maria - her waiting gentlewoman Sir Toby Belch - her Uncle Sir Andrew Ague-Cheek - Sir Toby s Protégée Malvolio - Olivia s Steward Fabian - a member of her household Feste - her Jester A Priest A Servant Musicians, Lords, Sailors, Attendants

3 Date and Text Twelfth Night was probably finished between 1600 and 1601; the name of its male lead, Orsino, was likely suggested by Orsini, Duke of Bracciano, an Italian nobleman who visited London in the winter of 1600 to The play was not printed until its inclusion in the First Folio of Performance The earliest known performance took place at Middle Temple Hall, one of the Inns of Court, on Candlemas night, 2 nd February 1602.It may have been performed earlier as well, before the Court at Whitehall Palace on Twelfth Night of Twelfth Night was also performed at Court on Easter Monday, 6 th April 1618, and again at Candlemas in The play was also one of the earliest Shakespearean works acted at the start of the Restoration; Sir William Davenant s adaptation was staged in 1661, with Thomas Betterton in the role of Sir Toby Belch. Samuel Pepys thought it "a silly play", but saw it three times anyway during the period of his diary (on 11 th September 1661, 6 th January 1663, and 20 th January 1669). Another adaptation, Love Betray'd, or, The Agreeable Disappointment, was acted at Lincoln s Inn Fields in After holding the stage only in the adaptations in the late 17th and early 18th centuries, the original Shakespearean text of Twelfth Night was revived in 1741, in a production at Drury Lane. In 1820 an operatic version by Frederic Reynolds was staged, with music composed by Henry Bishop. Influential productions were staged in 1912, by Harley Granville-Barker, and in 1916, at the Old Vic. When the play was first performed, all female parts were played by men or boys, but it has been the practice for some centuries now to cast women or girls in the female parts in all plays. The company of Shakespeare s Globe, London, has produced many notable, highly popular all-male performances, and a highlight of their 2002 season was Twelfth Night, with the Globe's artistic director Mark Rylance playing the part of Olivia. This season was preceded, in February, by a performance of the play by the same company at Middle Temple Hall, to celebrate the 400th anniversary of the play's premiere, at the same venue. Lilian Baylis reopened the long-dormant Saddler s Wells Theatre in 1931 with a notable production of the play starring Ralph Richardson as Sir Toby and John Gielgud as Malvolio. The Old Vic Theatre was reopened in 1950 (after suffering severe damage in the London Blitz in 1941) with a memorable production starring Peggy Ashcroft as Viola. Gielgud directed a production at the Shakespeare Memorial Theatre with Laurence Olivier as Malvolio and Vivian Leigh playing both Viola and Sebastian in The longest running Broadway production by far was Margaret Webster s, starring Maurice Evans as Malvolio and Helen Hayes as Viola. It ran for 129 performances, more than twice as long as any other Broadway production.

4 Themes Twelfth Night is a romantic comedy (see Literary Terms), an Elizabethan style of play that Shakespeare developed with great success. Such a play usually concerns the love of an idealised couple who, after a series of misadventures, and confusions, are finally united. Disguised characters and a remote setting are also typical features of the romantic comedy. (see also As You Like It). However, although the play is termed a 'comedy' its themes are essentially serious, and Shakespeare uses the form to examine different aspects of human love, from its most absurd and deluded manifestations to its most authentic expression. In doing this he exploits to the full all the elements of the comic mode - from hilarious farce to sophisticated word-play. Love The play's opening lines sound its major theme, 'If music be the food of love, play on', and some form of love, real or imagined, dominates the emotions of all the main and some of the minor characters. Firstly we are shown the idealised love of Orsino fo Olivia whom he loves at a distance and through the messages he sends with Viola (Cesario). Such a lover is not dismayed by the fact that its object cannot respond; on the contrary, Orsino sees Olivia s decision to mourn her brother s death and live like a nun as proof of her sweet-perfections (1.1.39). Orsino s love is self-regarding and egotistical; he sees himself as typical of all true lovers and refuses to accept rejection. He is prone to generalisations on the nature of love while unaware of how close he is to genuine feeling when he talks to Viola dressed as Cesario in Act II Scene 4. Such deluded aspects of love are echoed in the love Olivia feels for Cesario. But here the deception is based on physical appearance. Olivia falls rapidly in love with this youth s perfections and yet fears that her eye has misled her into love ( ). The deluded lover is paranoid in the sub-plot (see Literary Terms) through the figure of Malvolio who believes unquestioningly that his beautiful mistress loves him. Both Orsino and Malvolio are in different ways governed by the self-love which Olivia accuses Malvolio of at the end of Act I Scene 5 (line 89) and the play s treatment of love seems to propose a distinction between love that is based on vanity or ambition, and love that is genuine and selfless. Viola s love for Orsino is an example of the latter. She endures with patience the barful strife of her situation, wooing another woman for the man she secretly loves, and only able to express her feelings indirectly. Another example of selfless love is in the loyalty and care with which Antonio treats Sebastian.

5 Disguise Nothing that is so, is so (IV.1.8-9) Women s parts were played by boy actors in Shakespeare s day, so the original Elizabethan audience would have found a special sophistication in Viol s part: a boy dressed up as a woman who, in the play, disguises herself as a man. Viola s disguise, in fact, is central to the plot. It enables the audience to know more of the true situation when Olivia and Orsino are on stage and it is the cause of many of the dramatic complications and confusions which make up the story. Many forms of disguise feature in the play. Emotions and intentions are disguised behind an outer appearance, a pretence, or an attitude. Olivia s pretence at mourning is quickly discarded when she meets Cesario. Orsino s love for Olivia can been seen as an elaborate pretence when it gives way to murderous anger in Act V, before he rapidly transfers his affections to Viola. Feste adopts a disguise to torment Malvolio in Act IV. Sir Toby Belch disguises his real motives behind his show of friendship for Sir Andrew Aguecheek. And even Malvolio s yellow stockings and cross garters are a kind of masquerade. The play abounds in references to these different forms of disguise, to the gap between what appears to be true and what really is. Viola can disguise a wickedness/wherein the pregnant enemy does much (II ) when she realises that Olivia has fallen in love with her persona as Cesario. In the play s moral scheme, disguise or self-deception create frustration and confusion. Antonio, for example, in Act III Scene 4, regrets the devotion which Sebastian s handsome features had inspired in him (lines 374-8). Ironically, though, he is mistaken; yet his generalisations on the nature of virtue are relevant to the play as a whole. Disguised characters were a stock convention of comedy, but Shakespeare uses the device to give it wider significance. The play makes us consider what our beliefs about ourselves and others are based upon. The action of the play brings the true natures of Olivia, Orsino and Malvolio to the surface and only Malvolio at the end seems unable to recognise himself, blinded as he is by pride and self-righteousness.

6 The Festive Spirit The importance of pleasure, tolerance and generosity are emphasised in Twelfth Night, as befits a play written to be performed during the Christmas season. The Twelfth Night festivities, held on 6 January, were celebrated by Queen Elizabeth and her court with a great banquet followed by an entertainment. If the play was indeed written for such an occasion, then we have no difficulty accounting for its mixture of impossible romance, slapstick comedy and satire. These ingredients would have been the order of the day in a festival which descended from the ancient Roman Saturnalia and the medieval Feast of Fools. The characters can be divided between those who have a straightforward commitment to pleasure and the good life and those who don t. The former group are led by Sir Toby, and his opening lines provide a clear statement of his philosophy: he deplores his young niece s vow to spend seven years in mourning - I am sure care s an enemy to life (I.3.2-3). The melancholic atmosphere in Olivia s house is in opposition to the carefree values of Sir Toby and when Malvolio is sent to stop the carousing in Act II Scene 3 the conflict between the pleasure and its denial is brought to a head. Dost thou think because thou art virtuous there shall be no more cakes and ale? (II ) - Sir Toby s blunt question to Malvolio sums up the anti-puritan values which are shared by Feste, Sir Andrew and Maria. It is as much for this puritanism, as his conceit and arrogance, that Malvolio will be punished by the revellers. A carpe diem (see Literary Terms) theme runs through the play. This is the invitation to enjoy youth and life quickly, in the present, for it will soon pass. Feste s song (Act II Scene 3) expresses his plea: What is love? Tis not hereafter,/present mirth hath present laughter:/what s to come is still unsure (lines ). Both Olivia and Orsino are failing to seize the day in their respective attitudes of nun and passive lover. In his role as commentator on the folly of his superiors, Feste alludes to the fact that Olivia s sorrow will quickly pass: As there is no true cuckold but calamity, so beauty s a flower (I ). He is suggesting that Olivia s mourning is foolish and she that should be giving her young life to love. Sebastian, Antonio, Viola, and even finally Olivia, embody the values of generosity which the play evokes. Sebastian, in Act III Scene 3, is concerned to reward Antonio for his devotion - uncurrent pay (mere thanks) is not enough, he fears. And Antonio himself has displayed selfless giving in his loyalty to Sebastian, not least through providing him with money and protection in a strange land. When Viola first meets Olivia she accuses her of keeping the gifts of beauty which nature has given her to herself: Lady, you are the cruell st she alive/if you will lead these graces to the grave/and leave the world no copy (I ). Viola has a frank, loving nature. Her eloquent call to love in the scene arouses Olivia s feelings, even though ironically they are directed at Cesario. Olivia speaks for the virtues of generous loving when she criticises Malvolio for his lack of a free disposition (I.5.91) - his lack of magnanimity, and when, in Act III Scene 1, she tells Viola that Love sought is good, but given unsought is better (line 158).

7 Women in Elizabethan England There was no effective birth control so it was pretty much impossible for married women to work full time outside the home. Married women of child-bearing age could expect to have, on average, a baby every two years. Within marriage, husband and wife both worked extremely hard, and both had clearly defined roles. The wife s role was to look after children and the husband s role was to work outside the home. Only boys went to school. Daughters of rich families might be educated at home by a private tutor and could receive very good educations. Girls were not, however, allowed to go to university. Women were not allowed to be doctors or lawyers or join the armed forces. They were not allowed to act upon the stage. They often worked as cooks or domestic servants. Women could not inherit their father s titles with the exception of a queen. They could, however inherit property, but usually the bulk of any inheritance would go to any brothers first. Men were seen to be the head of a marriage, and had the legal right to chastise their wives. Wives were expected to obey their husbands, but that did not mean that all marriages were abusive, and men could be punished by law for being cruel to their wives. Marriage was seen as the proper route for a woman (despite the unmarried queen!) and unmarried older women could be regarded with suspicion. They were the most likely candidates to be accused of witchcraft.

8 Activities Creating Energy through the text Begin by reading the following passage OLIVIA I prithee, tell me what thou think st of me. VIOLA That you do think you are not what you are. OLIVIA If I think so, I think the same of you. VIOLA Then think you right: I am not what I am. OLIVIA I would you were as I would have you be! VIOLA Would it be better, madam, than I am? I wish it might, for now I am your fool. Get into pairs and read the dialogue aloud together. Remember that Viola is dressed as a boy here. Then try repeating the last few words of the previous line before you say your line. For example: OLIVIA: I prithee, tell me what thou think st of me. VIOLA: Think st of you? That you do think you are not what you are. OLIVIA: Not what I am? If I think so, I think the same of you. VIOLA: You think the same of me! Then think you right: I am not what I am.

9 This is a great exercise for listening and can really help you put energy and focus into the lines. When the scene is really focussed, go back to the original text without repetitions but try and maintain the same energy. Try the scene in different moods: Are they making friends? How much higher status is Olivia? How nervous is Viola/Cesario? How predatory is Olivia? Viola (as Cesario) and Olivia Slide show Choose four key moments in a scene or part of a scene. Plan a fixed tableau to present each moment and then present the scenes in succession to the class. Each time you switch positions, call out switch. The audience closes their eyes until the actors call out open. This happens four times in succession creating a visual slide show. A suggested scene for this exercise would be Act III Scene I, where Viola goes to Olivia to woo her on Orsino s behalf. The confusion of the scene and talking at cross purposes would need to be reflected in the pictures. Interview Interview another student who poses as a character in the play, for example, Olivia. It is important to remain in character and respond in ways that most naturally reflect the actions and words of the character in the play. Monologue In character, describe a particular locale in the play. Talk about the best/worst thing about living in this particular place. Talk about your daily life. Describe your relationship to other characters.

10 Preparing the role of Orsino Orsino is the love-sick Duke in the play. He is preoccupied with the sensation of love itself, feeding his emotions with music and elaborate poetic imagery. He is in love with love, but this does not bring him happiness, rather a profound melancholy. This is a character exercise to understand the motives behind a character s actions. Make notes on how you think Orsino should be played in each scene in which he appears. Decide how you think he develops during the play. Record details of any changes of costume and make up needed. Collect examples of the language he uses. How it changes depending on who he is speaking to. Also look at the changes of language he uses when speaking to different characters at different times. Make a list of what he does in the play - actions reveal character. Explore the motives of the character by hot-seating him. One person takes on the role and sits in the hot-seat while others question him about his motives and actions in the play. Some questions to consider during Hot-seating It is usually a good idea to begin with the teacher asking the questions to give pupils a sense of what questions to ask. Who are you in love with? How do you plan to woo Olivia? What do you think of your servant Cesario? Why is your mood so changeable? The above exercises can be applied to any character; they are just here as an example of the character process

11 Understanding the speech Below you will find Duke Orsino s opening speech. We have left enough space underneath each line for you to try and translate it into modern-day speech. It may not always be possible to translate each word. Shakespeare used syntax (the way a line is structured) to help the words he chose fit into the rhythm of the line. You may have to rearrange the line in order for it to make sense. If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die. That strain again! it had a dying fall: O, it came o'er my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odour! Enough; no more: 'Tis not so sweet now as it was before. O spirit of love! how quick and fresh art thou, That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price, Even in a minute: so full of shapes is fancy That it alone is high fantastical. Again, this can apply to any speech you are looking at in class.