SparkNotes: Twelfth Night: Plot Overview Twelfth Night Context Character List In the kingdom of Illyria, a nobleman named Orsino lies around listening to music, pining away for the love of Lady Olivia. He cannot have her because she is in mourning for her dead brother and refuses to entertain any proposals of marriage. Meanwhile, off the coast, a storm has caused a terrible shipwreck. A young, aristocratic-born woman named Viola is swept onto the Illyrian shore. Finding herself alone in a strange land, she assumes that her twin brother, Sebastian, has been drowned in the wreck, and tries to figure out what sort of work she can do. A friendly sea captain tells her about Orsino’s courtship of Olivia, and Viola says that she wishes she could go to work in Olivia’s home. But since Lady Olivia refuses to talk with any strangers, Viola decides that she cannot look for work with her. Instead, she decides to disguise herself as a man, taking on the name of Cesario, and goes to work in the household of Duke Orsino. Viola (disguised as Cesario) quickly becomes a favorite of Orsino, who makes Cesario his page.

Viola finds herself falling in love with Orsino—a difficult love to pursue, as Orsino believes her to be a man. But when Orsino sends Cesario to deliver Orsino’s love messages to the disdainful Olivia, Olivia herself falls for the beautiful young Cesario, believing her to be a man. The love triangle is complete: Viola loves Orsino, Orsino loves Olivia, and Olivia loves Cesario—and everyone is miserable. Meanwhile, we meet the other members of Olivia’s household: her rowdy drunkard of an uncle, Sir Toby; his foolish friend, Sir Andrew Aguecheek, who is trying in his hopeless way to court Olivia; Olivia’s witty and pretty waiting-gentlewoman, Maria; Feste, the clever clown of the house; and Malvolio, the dour, prudish steward of Olivia’s household. When Sir Toby and the others take offense at Malvolio’s constant efforts to spoil their fun, Maria engineers a practical joke to make Malvolio think that Olivia is in love with him.

She forges a letter, supposedly from Olivia, addressed to her beloved (whose name is signified by the letters M.O.A.I.), telling him that if he wants to earn her favor, he should dress in yellow stockings and crossed garters, act haughtily, smile constantly, and refuse to explain himself to anyone. Malvolio finds the letter, assumes that it is addressed to him, and, filled with dreams of marrying Olivia and becoming noble himself, happily follows its commands. He behaves so strangely that Olivia comes to think that he is mad. Meanwhile, Sebastian, who is still alive after all but believes his sister Viola to be dead, arrives in Illyria along with his friend and protector, Antonio. Antonio has cared for Sebastian since the shipwreck and is passionately (and perhaps sexually) attached to the young man—so much so that he follows him to Orsino’s domain, in spite of the fact that he and Orsino are old enemies. Sir Andrew, observing Olivia’s attraction to Cesario (still Viola in disguise), challenges Cesario to a duel. Sir Toby, who sees the prospective duel as entertaining fun, eggs Sir Andrew on.

However, when Sebastian—who looks just like the disguised Viola—appears on the scene, Sir Andrew and Sir Toby end up coming to blows with Sebastian, thinking that he is Cesario. Olivia enters amid the confusion. Encountering Sebastian and thinking that he is Cesario, she asks him to marry her. He is baffled, since he has never seen her before. He sees, however, that she is wealthy and beautiful, and he is therefore more than willing to go along with her. Meanwhile, Antonio has been arrested by Orsino’s officers and now begs Cesario for help, mistaking him for Sebastian. Viola denies knowing Antonio, and Antonio is dragged off, crying out that Sebastian has betrayed him. Suddenly, Viola has newfound hope that her brother may be alive. Malvolio’s supposed madness has allowed the gleeful Maria, Toby, and the rest to lock Malvolio into a small, dark room for his treatment, and they torment him at will. Feste dresses up as "Sir Topas," a priest, and pretends to examine Malvolio, declaring him definitely insane in spite of his protests.

However, Sir Toby begins to think better of the joke, and they allow Malvolio to send a letter to Olivia, in which he asks to be released. Eventually, Viola (still disguised as Cesario) and Orsino make their way to Olivia’s house, where Olivia welcomes Cesario as her new husband, thinking him to be Sebastian, whom she has just married. Orsino is furious, but then Sebastian himself appears on the scene, and all is revealed. The siblings are joyfully reunited, and Orsino realizes that he loves Viola, now that he knows she is a woman, and asks her to marry him. We discover that Sir Toby and Maria have also been married privately. Finally, someone remembers Malvolio and lets him out of the dark room. The trick is revealed in full, and the embittered Malvolio storms off, leaving the happy couples to their celebration.

More Help Twelfth Night by William Shakespeare: Character Summary Orsino: Duke of Illyria who unsuccessfully woos Olivia only to find his true love in Viola Sebastian: Viola's twin sibling (brother) who, mistaken for Cesario, Olivia marries Antonio: Sebastian's friend who saves Sebastian from drowning Sea Captain: the captain whose ship brings Viola to the coast of Illyria and who helps Viola disguise herself as Cesario Valentine and Curio: gentlemen attending on the Duke Sir Toby Belch: Olivia's uncle, he is a chronic drunkard and troublemaker Sir Andrew Aguecheek: Sir Toby's friend who isn't particularly bright or brave Malvolio: Olivia's steward whose sanctimonious piety rubs most people the wrong way Feste: Olivia's deceased father's personal jester who Olivia has inherited and who is valued by many for his wit and entertaining ways Fabian: Olivia's servant who is one of the principle schemers in making Malvolio look like a fool Olivia: a rich countess who falls in love with Cesario, unware that he is really Viola, a she Viola: Sebastian's twin sibling (sister) who loves Orsino but is compelled to plea for Olivia

's love on behalf of Orsino Maria: Olivia's gentlewoman who forges a letter in her lady's handwriting to fool Malvolio Twelfth Night | Colorado Shakespeare Festival Colorado Shakespeare Festival June 1 1994 directed by Joel G.

Fink Viola and Sebastian, twin brother and sister, are separated during a shipwreck, and each believes the other has died. Cast upon the shores of Illyria, Viola disguises herself as a man and is employed as Duke Orsino's personal attendant, Cesario. Orsino is in love with the Countess Olivia. Olivia, in mourning over the death of her brother, refuses to consider any suitors, including Orsino. Orsino, impressed with Viola/Cesario's youthful good looks and charm, decides to use Cesario as his spokesperson to win Olivia. At the same time, Olivia's gentlewoman, Maria, keeps company with Olivia's drunken uncle, Sir Toby Belch, as well as Feste, her "fool," and Sir Andrew Aguecheek, an elderly nobleman who wishes to woo Olivia. Malvolio, Olivia's steward, scorns the tomfoolery of Maria, Sir Toby, Feste and Sir Andrew, and they determine to get revenge on him. Cesario arrives at Olivia's house and so eloquently delivers Orsino's message of love that Olivia falls in love with Cesario.

Further tangling this "knot," Cesario/Viola has fallen in love with Orsino. Meanwhile, Maria, Sir Toby, Feste and Sir Andrew proceed with their plan to get revenge on Malvolio. Maria devises a plan in which Malvolio will find a note, supposedly written by Olivia, in which Olivia confesses her secret love for Malvolio and asks him to wear absurd clothes and to smile continuously in her presence. Malvolio finds the note and is beside himself with joy over what he believes to be Olivia's secret declaration of love. To please Olivia, Malvolio arrives smiling and wearing yellow stockings. Olivia, surprised by Malvolio's peculiar behavior, decides he has lost his wits and confines him to a dark room. Sebastian, Viola's brother, has been rescued by Antonio, a sailor. When Sebastian decides to visit Illyria he is mistaken for Viola/Cesario and a complicated "comedy of errors" follows. Sir Andrew, still determined to woo Olivia, becomes aware that Olivia loves Cesario, and he challenges Cesario to a dual. Unfortunately, Sir Andrew ends up fighting Sebastian instead. As disguises are dropped and misunderstandings resolved, Sebastian and Viola are reunited.

With Sebastian married to Olivia, and Viola engaged to Orsino, Twelfth Night concludes with a song by Feste. The steward, Malvolio, will not join in the festivities and exits with a pledge to be revenged on them all. As Shakespeare wrote, the course of true love never runs smooth, and in life, "the rain it raineth every day." Date Further Reading Twelfth Night, one of Shakespeare's later comedies, is a play filled with unlikely happenings and coincidences. It begins with the premise that Viola and Sebastian, twins of different sexes, are mirror images of one another and that it is impossible to tell them apart. As the play develops, characters fall in love with one another at first sight, blind to the gender and true identity of the objects of their desire. Viola and Sebastian, twin brother and sister, are separated during a shipwreck, and each believes the other has died. Cast upon the shores of Illyria, Viola disguises herself as a man and is employed as Duke Orsino's personal attendant, Cesario. Orsino is in love with the Countess Olivia.

Olivia, in mourning over the death of her brother, refuses to consider any suitors, including Orsino. Orsino, impressed with Viola/Cesario's youthful good looks and charm, decides to use Cesario as his spokesperson to win Olivia. At the same time, Olivia's gentlewoman, Maria, keeps company with Olivia's drunken uncle, Sir Toby Belch, as well as Feste, her "fool," and Sir Andrew Aguecheek, an elderly nobleman who wishes to woo Olivia. Malvolio, Olivia's steward, scorns the tomfoolery of Maria, Sir Toby, Feste and Sir Andrew, and they determine to get revenge on him. Cesario arrives at Olivia's house and so eloquently delivers Orsino's message of love that Olivia falls in love with Cesario. Further tangling this "knot," Cesario/Viola has fallen in love with Orsino. Meanwhile, Maria, Sir Toby, Feste and Sir Andrew proceed with their plan to get revenge on Malvolio.

Maria devises a plan in which Malvolio will find a note, supposedly written by Olivia, in which Olivia confesses her secret love for Malvolio and asks him to wear absurd clothes and to smile continuously in her presence. Malvolio finds the note and is beside himself with joy over what he believes to be Olivia's secret declaration of love. To please Olivia, Malvolio arrives smiling and wearing yellow stockings. Olivia, surprised by Malvolio's peculiar behavior, decides he has lost his wits and confines him to a dark room. Sebastian, Viola's brother, has been rescued by Antonio, a sailor. When Sebastian decides to visit Illyria he is mistaken for Viola/Cesario and a complicated "comedy of errors" follows. Sir Andrew, still determined to woo Olivia, becomes aware that Olivia loves Cesario, and he challenges Cesario to a dual. Unfortunately, Sir Andrew ends up fighting Sebastian instead. As disguises are dropped and misunderstandings resolved, Sebastian and Viola are reunited. With Sebastian married to Olivia, and Viola engaged to Orsino, Twelfth Night concludes with a song by Feste.

The steward, Malvolio, will not join in the festivities and exits with a pledge to be revenged on them all. As Shakespeare wrote, the course of true love never runs smooth, and in life, "the rain it raineth every day." The theater critic Michael Billington tells us that "to realize Twelfth Night's complexities and contradictions requires five years' study or a repeated return to its problems in a succession of productions." Against these odds, Twelfth Night has enjoyed success as one of the most popular Shakespearean comedies, beginning with the first recorded performance on February 2, 1602. After Shakespeare's death in 1616, a performance at court by the King's Men took place on April 6, 1618 and on February 2, 1623 under the title Malvolio. After the Restoration, Twelfth Night was rewritten and rearranged by Sir William Davenant. This version was described by Samuel Pepys's as "[b]ut a silly play and not at all related to the name of that day"(Billington, xi). It wasn't until 1741 that Twelfth Night was again performed in something close to its original form.

Since then the play has achieved continued popularity. In 1912 the Savoy theatre was graced with Granville-Barker's legendary production. With an understated set which combined beauty with intimacy, Granville-Barker mounted a production that got rid of three centuries of accrued interpretation and focused on the essential truth of character. In describing the production, Billington notes: . . . the women characters were never once allowed to drop to the dreamy and emotional; they were always high, clear and ringing, coming out of a passionate mood. Malvolio was a Puritan prig who flamed up in fury on "I'll be revenged on the whole pack of you." Feste was cast not as a young, sprightly court jester, but as a sad, mature man who exhibited that vein of irony which is so often the mark of one of life's self-acknowledged failures. Since Granville-Barker's production a variety of directors have wielded their vision over the play. Time and time again, one finds one aspect of the play emphasized at the expense of another: usually prankish comedy at the expense of delicate melancholy.

A 1950 production at the Old Vic, directed by Hugh Hunt, was filled with commedia dell'arte dances, clapping of hands, smacking of knees, and a clatter of noises that almost obscured the heartfelt performance by Peggy Ashcroft of Viola. In 1955 Sir John Gielgud directed a production starring Sir Laurence Olivier as Malvolio and Vivien Leigh as Viola. Gielgud himself described the challenges of staging the play, noting: "It is so difficult to combine the romance of the play with the cruelty of the jokes against Malvolio, jokes which are in any case archaic and difficult. The different elements of the play are hard to balance properly" (Billington, xvii). Peter Hall's 1958 production presented Olivia as a pouting, giggling, squealing woman affecting a love for her dead brother that she didn't really feel, and bored to death with acting the role of the great lady. In 1971 John Barton staged a production that presented the characters with all their contradictions intact. He invested Twelfth Night with psychological detail without depriving it of its magic.

In 1987 Bill Alexander's Stratford-upon-Avon production made Malvolio a major focus of the play. Antony Sher's Malvolio was everywhere, spying on everyone and peevishly primping while waiting on Olivia. In the final scenes Malvolio appeared mad, as if he had been driven out of his wits. In the same year Kenneth Branagh directed a production in which a snowflake covered Christmas setting tended to veil the production in prettiness which left some of the darker areas of the play untouched. The 1994 Colorado Shakespeare production is set in the Victorian period at the end of the Christmas season. The dark, repressed sense of the Victorian era is highlighted by the set's theatrical self- consciousness. The Victorian costumes capture the elegance and style of the period, while the musical score combines traditional seasonal songs with more melancholy music. Against this backdrop the production looks at the power of love, the love of power, and at death as the overriding force in Twelfth Night.

The Ambiguous Flavor of Comedy in Twelfth Night by Margery Fernald Critical interpretations of Twelfth Night have exhibited a change over time, shifting from a lighthearted acceptance of its improbabilities to a more serious examination of the play's outlook on humanity. For example, earlier interpretations of the play suggest that we accept the improbabilities which pervade Twelfth Night's imaginary country of Illyria simply because the play is a comedy, a genre which, by its very nature, defies rational explanation. This interpretation is seen in the response of some critics to the surprising love matches and marriages which mark the play's final action. Anne Barton explains: "Olivia and Sebastian, Viola and Orsino confront us at the end less as representatives of a new society than as people who, by the special dispensation of comedy, have been allowed to escape from death and time" (Twelfth Night, Riverside Shakespeare, 407). Other critics who have adopted the "courtly world" interpretation of Twelfth Night tell us that Shakespeare is not interested in moral judgments at the end of the play. Instead, he is presenting and playing with literary conventions of love.

In his introduction to the Pelican edition of Twelfth Night, Charles T. Prouty explains, "of course people fall in love at first sight; they always do in the love poems and romances of the age. Orsino, Viola, and Olivia all behave in thoroughly traditional fashion"(18). Historical reading tells us that the title of Twelfth Night places us at the feast of Epiphany. On January 6, the feast of Epiphany was observed in England and throughout Europe as the last day of the Christmas festivities. This was a boisterous, "mad" celebration in which it was customary to choose a "King" or "Lord of Misrule." The "Lord of Misrule" was often a servant who would act for one day as master of the household and preside at a feast in the great hall. Historians point out that Epiphany was an occasion for toasts, games, mock trials, dancing, processions, feasting and disguises; a perfect setting for the antics of Twelfth Night. Other critics have sought to explain the topsy-turvy world of Illyria by focusing on the idea of metamorphosis, or transformation.

In this interpretation, various powers of metamorphosis govern Illyria: mysterious energies turn two into one and one into two, and strange forces lead people to become actors, donning disguises, willfully turning themselves into what they are not. According to these interpretations, the metamorphoses experienced when Olivia, Orsino and Viola fall in love dominate the play. Recent approaches to Twelfth Night question the accuracy of these lighthearted interpretations of the play. They also examine the earlier traditional position that "marriage in Shakespeare is an image of happiness that ends his comedies almost as invariably as death ends a tragedy. Shakespeare's comic vision is the firm assertion of basic harmony" (Arden, vii). As a result of this shift in perceptions of the play, characters are no longer simply functionaries of a comedy which inevitably ends in happy wedlock; rather they are individuals struggling with the puzzle of life. They have doubts, are vulnerable, want money, hope for love, and fear death. From this viewpoint, Twelfth Night becomes a story which examines and dramatizes realistic human concerns about society, sexuality, love, class struggles, cruelty and death.

Through exploring the characters' motivations in this light, we see that Viola's choice to dress like a man carries more significance than to cause happy confusion on the stage. Viola adopts male dress as a practical means of survival in an alien environment and, perhaps, as a magical means of keeping alive a brother believed drowned. In short, for her, crossdressing is not so much a political act as a psychological haven, a holding place. Ultimately she realizes she must reveal her inner feelings for Orsino if she is to become fully human. Viola's revelation results in marriage with Orsino, but questions remain. When Orsino, who has been blindly and hopelessly in love with Olivia, turns his attention to Viola at the end of the play, his seemingly abrupt change of heart raises questions about the ultimate success of their marriage. The other two marriages at the end of the play raise similar doubts. Olivia and Sebastian are married but neither really knows the other. The third marriage, which we only hear about, occurs between Maria and Sir Toby, because Sir Toby is indebted to Maria for writing the letter deluding Malvolio.

If comedy is defined by marriage and resulting harmony, the last scene of Twelfth Night might make us question what Shakespeare was trying to convey about marriage. Rather than resolve the unlikely happenings in Illyria, the unlikely is perpetuated with these three questionable marriages. Shakespeare does not provide solutions. He simply raises questions and issues for us to ponder. Carroll, William C. The Metamorphoses of Shakespearean Comedy. Princeton: Princeton University Press, 1985. Directors' Shakespeare: Approaches to Twelfth Night. ed. Michael Billington. London: Nick Hern, 1990. Girard, Rene. "'Tis Not So Sweet as It Was Before': Orsino and Olivia in Twelfth Night." Stanford Literature Review. 1990, Spring-Fall, v7(1-2): 123-132. Howard, Jean E. "Crossdressing, The Theatre, and Gender Struggle in Early Modern England." Shakespeare Quarterly. 1988 Winter v39(4): 418-440. Leech, Clifford. Twelfth Night and Shakespearian Comedy.

Toronto: University of Toronto Press, 1965. Malcolmson, Cristina. "'What You Will': Social Mobility and Gender in Twelfth Night." The Matter of Difference: Materialist Feminist Criticism of Shakespeare. ed. Valerie Wayne. Ithaca: Cornell University, 1991: 29-57. The Arden Shakespeare: Twelfth Night. Eds. J.M. Lothian and T.W. Craik. London: Routledge, 1991. 2017 Plays Twelfth Night Summary - eNotes.com Twelfth Night Summary William Shakespeare Twelfth Night Summary In Twelfth Night, Orsino attempts to woo the Countess Olivia. The shipwrecked Viola disguises herself as a man, takes on the name Cesario, and enters the Duke’s service. In the end, Viola and the Duke wed, and Olivia marries a man named Sebastian. Twelfth Night summary key points: Viola disguises herself as Cesario and falls in love with the Duke. Olivia falls in love with Cesario.

Maria, Olivia’s servant, plays a trick on Malvolio, Olivia’s steward, by leaving him love letters purportedly written by Olivia. Malvolio makes a fool of himself as he is led to believe that Olivia loves him. The Duke asks Cesario to woo Olivia for him, but Olivia confesses her love for Cesario. Sir Andrew, another of Olivia’s suitors, challenges Cesario to a fight but Cesario declines the invitation. Sebastian, Viola’s twin brother, is also shipwrecked. Olivia mistakes Sebastian for Cesario and leads him to marriage. Cesario is revealed to be Viola. The Duke asks Viola to marry him and Sir Toby marries Maria. Download Study Guide Start Free Trial Start your free trial with eNotes to access more than 30,000 study guides. Get help with any book. link Link Twelfth Night; or What You Will was composed by William Shakespeare in either 1600 or 1601 as the last of his three "mature comedies" (the other two being Much Ado About Nothing and As You Like It).

Like his early comedies, The Comedy of Errors or The Taming of the Shrew for instance, Twelfth Night is essentially a celebration of romantic love and can be viewed as a traditional romantic comedy. The play has many of the elements common to Elizabethan romantic comedy, including the devices of mistaken identity, separated twins, and gender-crossing disguise, and its plot revolves around overcoming obstacles to "true" love. And, like other representatives of the genre, Twelfth Night also features a subplot in which a self-inflated "sour" or "blocking" character, the steward Malvolio, is brought to his knees through a trick orchestrated by a ribald if also self-inflated character in the person of Sir Toby Belch. But unlike his early comedies, Shakespeare also strikes some discordant notes in Twelfth Night, including a conception of love and other themes that are not part of the conventional romantic comedy formula. Thus, for example, the subject of insanity surfaces as a salient theme and as a force within the plot. Indeed, while Twelfth Night concludes with tandem weddings, Shakespeare also speaks about the madness of love.

Synopsis of the Play This is a play about love, placed in a festive atmosphere in which three couples are brought together happily. It opens with Orsino, the Duke of Illyria, expressing his deep love for the Countess Olivia. Meanwhile, the shipwrecked Viola disguises herself as a man and endeavors to enter the Duke’s service. Although she has rejected his suit, the Duke then employs Viola, who takes the name of Cesario, to woo Olivia for him. Ironically, Cesario falls in love with the Duke, and Olivia falls in love with Cesario, who is really Viola disguised. In the midst of this love triangle are the servants of Olivia’s house and her Uncle Toby. The clown provides entertainment for the characters in both houses and speaks irreverently to them. He is the jester of the play. Maria, Olivia’s woman, desires to seek revenge on Malvolio, Olivia’s steward. To the delight of Sir Toby, Olivia’s uncle, and his friend Sir Andrew, Maria comes up with a plot to drop love letters supposedly written by Olivia in Malvolio’s path.

When she does, they observe him, along with Fabian, another servant, as Malvolio falls for the bait. Believing that Olivia loves him, he makes a fool of himself. The love plot moves along as Cesario goes to woo Olivia for the Duke. The second time that Cesario appears at Olivia’s home Olivia openly declares her love for Cesario. All along, Sir Andrew has been nursing a hope to win Olivia’s love. When he plans to give up on her, Sir Toby suggests that Sir Andrew fight with Cesario to impress Olivia. Cesario, however, refuses to fight. In the meantime, Viola’s brother, who is also shipwrecked, makes his way to safe lodging in Illyria with Antonio the sea captain. After the fight between Cesario and Sir Andrew begins, Antonio intervenes to save Cesario, whom he takes for Sebastian. But the Duke’s officers promptly arrest Antonio for a past offense. Olivia later comes upon Sir Andrew and Sebastian wrangling at her house. Olivia, thinking Sebastian is Cesario, leads Sebastian to marriage in a nearby chapel. The complications of identity are unraveled in the fifth act. Cesario finally reveals that he is Viola.

Sebastian recognizes her as his sister. The Duke takes Viola up on her love offerings and proposes to her. Olivia assures Malvolio that she did not write the letter that so disturbed him. Sir Toby marries Maria in appreciation for her humiliating scheme. Estimated Reading Time You can read through Twelfth Night in about three and a half hours. But, when reading Shakespeare, you should plan to re-read at least one more time. When you read more carefully, paying attention to difficult words and Shakespeare’s exquisite use of language, your reading time will necessarily increase. Your more careful reading may take about six hours. link Link Viola and Sebastian, brother and sister twins who closely resemble each other, are separated when the ship on which they are passengers is wrecked during a great storm at sea. Each thinks that the other is dead and sets out alone with no hope of being reunited. The lovely and charming Viola is cast upon the shores of Illyria, where she is befriended by a kind sea captain. They decide to dress Viola in men’s clothing and have her take service as a page in the household of young Duke Orsino.

Dressed in man’s garb, Viola calls herself Cesario and becomes the duke’s personal attendant. Impressed by the youth’s good looks and pert but courtly speech, Orsino sends “him” as his envoy of love to woo the Countess Olivia, who is mourning the death of her young brother. The wealthy Olivia lives in a splendid palace with her maid, Maria; her drunken old uncle, Sir Toby Belch; and her steward, Malvolio. Maria and Sir Toby are a happy-go-lucky pair who drink and carouse with Sir Andrew Aguecheek, an ancient nobleman who is much enamored of Olivia. In return for grog supplied by Sir Andrew, Sir Toby is supposed to press Sir Andrew’s suit with Olivia. Actually, however, Sir Toby never stays sober long enough to keep his part of the bargain. All these affairs are observed disapprovingly by Malvolio, Olivia’s ambitious, narrow-minded steward, who cannot tolerate jollity in those about him. When Cesario arrives at the palace, Olivia is instantly attracted to the page—thinking her a man.

She pays close attention to Orsino’s message, but it is not love for Orsino that causes her to listen so carefully. When Cesario leaves, she sends Malvolio after her with a ring. It is a shock for Viola, who hitherto enjoys playing the part of Cesario, to realize that Olivia fell in love with her in her male clothes. Meanwhile, Maria, Sir Toby, and Sir Andrew decide to stop Malvolio’s constant prying into their affairs and devise a scheme whereby Malvolio will find a note, supposedly written by Olivia, in which she confesses her secret love for him and asks him to wear garish yellow stockings tied with cross garters and to smile continually in her presence. Overjoyed to receive this note, Malvolio soon appears in his strange dress, capering and bowing before the startled countess. Olivia decides that Malvolio lost his wits; to the amusement of the three conspirators, she has him confined to a dark room. As the days pass, Viola falls in love with the duke, but the latter has eyes only for Olivia, with whom he presses his page to renew his suit.

When Cesario delivers another message from Orsino to Olivia, the countess openly declares her love for the young page. Cesario insists, however, that his heart can never belong to any woman. So obvious are Olivia’s feelings for Cesario that Sir Andrew becomes jealous. Sir Toby and Maria insist that Sir Andrew’s only course is to fight a duel with the page. Sir Toby delivers Sir Andrew’s blustering challenge, which Cesario reluctantly accepts. While these events unfold, Viola’s twin brother, Sebastian, is being rescued by another sea captain, named Antonio, and the two become close friends. When Sebastian decides to visit the court of Duke Orsino at Illyria, Antonio decides to accompany him, even though he fears that he might be arrested there because he once dueled with the duke. Upon arriving in Illyria, Antonio gives Sebastian his purse for safekeeping, and the two men separate for several hours. While wandering about the city, Antonio chances upon the duel between Cesario and Sir Andrew. Mistaking the disguised page for her brother, Antonio immediately goes to the rescue of his supposed friend. When officers arrive on the scene, one of them recognizes Antonio and arrests him in the name of the duke.

Thinking that Viola is Sebastian, Antonio asks her to return his purse and is surprised and hurt when she disclaims all knowledge of the captain’s money. As Antonio is dragged away, he shouts invectives at “Sebastian” for not returning his purse, thereby alerting Viola to the fact that her brother is still alive. Meanwhile, the real Sebastian is being followed by Sir Andrew, who never dreamed that this young man is not the same Cesario with whom he just dueled. Prodded by Sir Toby and Maria, Sir Andrew engages Sebastian in a new duel and is promptly wounded, along with Sir Toby. Olivia then interferes and has Sebastian taken to her home, thinking that he is Cesario. After sending for a priest, she marries the surprised—but not unwilling—Sebastian. As the officers escort Antonio past Olivia’s house, Orsino—accompanied by Cesario—appears at her gates. Orsino recognizes Antonio instantly and demands to know why the sailor returned to Illyria—a city filled with his enemies. Antonio explains that he rescued and befriended the duke’s present companion, Sebastian, and because of his deep friendship for the lad accompanied him to Illyria despite the danger his visit involves.

Pointing to Cesario, he sorrowfully accuses the person he supposes to be Sebastian of violating their friendship by not returning his purse. The duke is protesting against Antonio’s accusation when Olivia appears and salutes Cesario as her husband. Now the duke also begins to think his page ungrateful, especially since he told Cesario to press his own suit with Olivia. Just then Sir Andrew and Sir Toby arrive, looking for a doctor because Sebastian wounded them. Seeing Cesario, Sir Andrew begins to rail at him for his violence until Olivia dismisses the two old men. The real Sebastian then appears and apologizes for having wounded the old men. Spying Antonio, Sebastian joyfully greets his friend. Antonio and the rest of the amazed group, unable to believe what they see, stare from Cesario to Sebastian. After Viola reveals her true identity and explains how she and her brother became separated, she and Sebastian greet each other warmly. Seeing that the page of whom he grew so fond is a woman, Duke Orsino declares that he will marry her. After Malvolio is summoned, the plot against him is revealed.

As he storms off, vowing revenge, the others begin celebrating the impending marriages of Viola and Orsino and of Sir Toby and Maria. Only Malvolio, unhappy in the happiness of others, remains peevish and disgruntled. The character of Sebastian in Twelfth Night from LitCharts | The creators of SparkNotes Malvolio Viola's twin brother, whom she believes is lost at sea, and who likewise thinks she's dead. Sebastian is noble and capable of strong, deeply felt emotion, just like his sister. The constant powerful love he shows while grieving and when reunited with Viola contrasts Orsino's and Olivia's relatively frivolous emotions. He is also the only major character in the play who never engages in deception. He can be pragmatic, though: when the beautiful, wealthy Olivia proposes to him, he accepts despite the fact that he has never met her before. Get the entire Twelfth Night LitChart as a printable PDF. "My students can't get enough of your charts and their results have gone through the roof." -Graham S. Download it! Sebastian Character Timeline in Twelfth Night The timeline below shows where the character Sebastian appears in Twelfth Night.

The colored dots and icons indicate which themes are associated with that appearance. Act 1, scene 2 ...land of the dead (1.2.4). The Captain reassures her that he last saw her brother, Sebastian, alive, clutching the mast of their ship during the storm. Viola thanks the Captain for... (full context) Act 2, scene 1 Somewhere on the coast of Illyria, two men, Antonio and Sebastian, stand in front of Antonio's house. Antonio begs Sebastian to remain as his guest, but... (full context) Touched by the story, Antonio begs Sebastian to let him remain with him as his servant. Sebastian says that he would prefer... (full context) Act 3, scene 3 Antonio and Sebastian arrive in Illyria. Sebastian says that Antonio didn't have to come, but Antonio insists that... (full context) Sebastian then suggests that they take in the sights of the city, but Antonio explains that... (full context) Act 3, scene 4 ...other and draw swords, terrified. At this instant, Antonio enters. Seeing Cesario—whom he thinks is Sebastian—he says that he will fight in Cesario's place. Sir Toby demands to know who Antonio...

(full context) ...put away their swords. The officers arrest Antonio, who asks Cesario—whom he still mistakes for Sebastian—to return the purse that he lent him. Cesario, confused but grateful for Antonio's help in... (full context) ...saved the life of this boy when he was drowning at sea. He shouts that "Sebastian" should be ashamed of himself. The officers drag Antonio off. Viola, meanwhile, is filled with... (full context) Act 4, scene 1 Near Olivia's house, Feste runs into Sebastian, whom he mistakes for Cesario. Feste asks Sebastian to return and speak with Olivia. Confused,... (full context) ...in, ordering Sir Toby to stop. Olivia sends Toby away, while begging "Cesario" (in fact, Sebastian) not to be offended. Once Sir Toby, Sir Andrew, and Fabian have sulked off, Olivia... (full context) Act 4, scene 3 In another room in Olivia's palace, Sebastian is wandering around, trying to make sense of what has happened. Sebastian wishes that he... (full context) Sebastian's thoughts are interrupted when Olivia enters with a priest. She begs Sebastian to agree to...

(full context) Act 5, scene 1 ...explains that he came to serve the "ingrateful boy" (5.1.72)—Cesario, whom he still mistakes for Sebastian. He says that he saved this "boy" from a shipwreck and, from then on, followed... (full context) ...ever love a wife. Horrified, Olivia fetches the priest who has just married her to Sebastian. The priest confirms that he has sealed an "eternal bond of love" (5.1.151) between Olivia... (full context) At this moment, Sebastian rushes in, apologizing to Olivia, begging her pardon for having hurt her kinsman. Everyone is... (full context) Through a series of questions, Sebastian and Viola identify each other and rejoice: they are reunited! Yet, Viola says to the... (full context) Sebastian turns to Olivia to explain: all that time, she wanted to marry a woman. Orsino... (full context) ...says that when the Captain has given his account, he and Viola and Olivia and Sebastian will be properly married. Aside, he adds that as long as Viola is still dressed...

(full context) Cite This Page Choose citation style: Weigel, Moira. "Twelfth Night Characters: Sebastian." LitCharts. LitCharts LLC, 22 Jul 2013. Web. 19 Jan 2017. Weigel, Moira. "Twelfth Night Characters: Sebastian." LitCharts. LitCharts LLC, 22 Jul 2013. Web. 19 Jan 2017. Weigel, Moira. "Twelfth Night Characters: Sebastian." LitCharts LLC, July 22, 2013. Retrieved January 19, 2017. Weigel, Moira. "Twelfth Night Characters: Sebastian." LitCharts LLC, July 22, 2013. Retrieved January 19, 2017. Copy to Clipboard SparkNotes: Twelfth Night: Act V, scene i Act V, scene i Act IV, scenes i–iii Act V, scene i, page 2 page 1 of 3 (See Important Quotations Explained ) Orsino approaches Olivia’s house, accompanied by Viola (still disguised as Cesario) and his men.

The Illyrian law officers come in looking for Orsino, dragging Antonio. Orsino, who fought against Antonio long ago, recognizes him as an honorable enemy. He asks Antonio what caused him to come into Orsino’s territory, where Antonio knew he would be in danger. Antonio responds by telling the story of how he rescued, befriended, and protected Sebastian, traveling with him to this hostile land. He lashes out at Cesario, whom he continues to mistake for Sebastian, claiming that Sebastian has stolen his purse and denied knowing him. Viola and Orsino are both bewildered, for Viola truly does not know Antonio. Olivia enters and speaks to Cesario, she too believing him to be Sebastian, whom she has just married (at the end of Act IV, scene iii). Orsino, angry at Cesario’s apparent betrayal of him, threatens to carry Cesario off and kill him. Viola, resigned, prepares to go with Orsino to her death and says that she loves only him. Olivia is shocked, believing that her new spouse is betraying her.

She calls in the priest, who, thinking that the young man in front of him is Sebastian, testifies that he has just married Olivia to the young man. Orsino orders Olivia and Cesario to leave together and never to appear in his sight again. Suddenly, Sir Andrew enters, injured and calling for a doctor. He says that he and Sir Toby have just been in a fight with Orsino’s servant, Cesario. Seeing Cesario, Sir Andrew accuses him of the attack, but the confused Viola answers that she is not responsible. Olivia orders Sir Andrew and Sir Toby away for medical attention. Finally, Sebastian appears, apologizing to Olivia for having beaten up Sir Toby and Sir Andrew. Recognizing Antonio, and not yet seeing his sister, Sebastian cries out joyfully how glad he is to see him. Dazed, all the others stare at Sebastian and Viola, who finally see one another. They interrogate one another with a barrage of questions about their birth and family history. Finally, they believe that they have each found their lost sibling. Viola excitedly tells Sebastian to wait until she has put her woman’s clothing back on—and everyone suddenly realizes that Cesario is really a woman.

Orsino, realizing that Olivia has married Sebastian, doesn’t seem terribly unhappy at losing her. Turning back to Viola, he reminds her that, disguised as a boy, she has often vowed her love to him. Viola reaffirms her love, and Orsino asks to see her in female garb. She tells him that her clothes were hidden with a sea captain, who now has taken service with Malvolio. Suddenly, everybody remembers what happened to Malvolio. Feste and Fabian come in with Malvolio’s letter, delivered from his cell. At Olivia’s order, Feste reads it aloud. Malvolio writes that the letter seemingly written to him by Olivia will explain his behavior and prove he is not insane. Realizing that Malvolio’s writing does not seem like that of a crazy man, Olivia orders that he be brought to them. Malvolio is brought in, and he angrily gives Olivia the letter that Maria forged, demanding to know why he has been so ill treated. Olivia, recognizing Maria’s handwriting, denies having written it but understands what must have happened. Fabian interrupts to explain to everyone how—and why—the trick was played. He mentions in passing that Sir Toby has just married Maria.

Malvolio, still furious, vows revenge and leaves abruptly. Orsino sends someone after Malvolio to make peace and find Viola’s female garments. He then announces that the double wedding will be celebrated shortly. Everyone exits except Feste, who sings one last song, an oddly mournful melody about growing up and growing old, and the play ends. 1 Twelfth Night » Department of Theatre Department of Theatre Twelfth Night July 9 - 18th, 2015 A delightfully comic tale of misguided identities, Twelfth Night revolves around the physical likeness between Sebastian and his twin sister, Viola, each of whom, when separated after a shipwreck, believes the other to be dead. The theatrical scramble begins when Viola assumes the identity of Cesario, a page in the household of the Duke of Orsino. The Duke is in love with the Countess Olivia, who rejects him for the newly arrived Cesario. Combine this brilliant and charming romantic comedy with the hysterical characters of Malvolio, Sir Andrew Aquecheek and Sir Toby Belch, and you have one of Shakespeare’s most riotous comedies of mistaken identity! Location: Twelfth Night, by William Shakespeare.

Twelfth Night, by William Shakespeare. New College Gardens, 4th - 15th July 2000 Twelfth Night has long been one of Shakespeare's most popular works. One of his middle comedies, written at the height of his purest comic genius, it is a tale of cross-dressing, confusion, unspoken and unreciprocated love, madness, witty word-play and Tom-foolery. The twelfth night of Christmas looks onto a return to the routine of life and is the climax of this festive season; the play is thus full of the excesses of music, drinking and emotion. Twin brother and sister (Sebastian and Viola) are shipwrecked and brought ashore to Illyria; each thinks the other has drowned. Viola presents herself as the eunuch 'Cesario' to serve Count Orsino (who she falls in love with). A Countess Olivia (whom Count Orsino is trying to woo through 'Cesario') then falls for this disguised Viola. The comic subplot features similar misplaced love, hand in hand with drunken roguery, slapstick and song.

To add further to the mayhem, Sebastian is abruptly landed in the centre of this, being mistaken for 'Cesario'. Don't miss this opportunity to find out how this complicated plot resolves itself. The City of Oxford Theatre Guild, which comprises a mixture of amateurs and professionals from all over Oxfordshire, is a strong company, and was evidently very well directed here by Gerald Gould. The production is overall quite 'straight': the costumes are elaborate but not intrusive and the music, taken from various sources, is simple, folk-like and effective. The professionalism of both performers and direction is refreshing. Lines are well-paced with neither disrespect for nor overindulgence in the text. The most highly commendable performances are those of Abbey Wright, who brings out the uniqueness of Viola amongst Shakespearean females beautifully; Kerry Elkins (Maria, Olivia's waiting-gentlewoman), John O'Connor (the infamous Sir Toby Belch), Rob Reynolds (Sir Andrew Aguecheek) and Nick Quartley (Malvolio), for their superb comic timing; and Dominic Oliver (Feste the jester - a role said to set the mood of the whole play).

One or two perhaps less experienced performers do suffer in comparison with the majority but this doesn't detract from the general high standard. The balanced and contrasting elements of romance, comedy and the cruelty directed against the puritan, Malvolio, are realised very effectively (Elizabethan puritans made several attacks on the theatre and so were a sure target for the playwrights of the time). The Grand Finale that is the last act, once the frolicking is over and all confusions are unravelled, ends with a suitably sobering song: "With hey, ho, the wind and the rain". So take a blanket and winter coat, just in case, and enjoy! Andy McBeth, 4 / 5 / 00 Twelfth Night | Literawiki | Fandom powered by Wikia Plot Act I The play opens in Duke Orsino's palace. Orsino makes a great show of being lovesick for Countess Olivia. A messenger returns and tells Orsino that Olivia will not receive any suitors for the next seven years because she is in mourning for her recently deceased brother. Surprisingly, Orsino is encouraged by this news.

He is impressed that Olivia demonstrates so much love for a brother and is certain that one day she will love him even more. The scene then changes to the sea coast. Following a shipwreck, Viola has become seperated from her twin brother Sebastian and does not know if her brother is dead or alive. The sea captain who is with her tells Viola that she is in Illyria and that the country is governed by Duke Orsino. Viola decides to disguise herself as a youn man and persuades the captain to present her to the duke as a servant. The next scene introduces some other characters who live in Olivia's house: the maidservant Maria, Sir Toby Belch and Sir Andrew Aguecheek. Sir Toby Belch is an older relative of Olivia but their exact relationship is not clear. Sir Toby calls Olivia both his niece and his cousin but the meanings of the words "cousin", "niece" and "uncle" were not as precise in 17th century English as they are now. As his name suggests, Sir Toby Belch is a glutton and a drunkard. There is a hint of a romantic relationship between Maria and Sir Toby.

Sir Andrew Aguecheek has come to visit Sir Toby. He believes himself to be Sir Toby's friend. Sir Toby constantly makes fun of him behind his back but is eager for him to marry Olivia. By his own admission, Sir Andrew is not very intelligent and looks sickly (the word "ague" means "fever"). This painting by Frederick Richard Pickersgill shows the Twelfth Night characters Viola (disguised as the young man Cesario) and the Countess Olivia. The following scene takes place several weeks after the shipwreck. Viola has disguised herself as a young man and is using the name Cesario. Viola has won the confidence of Duke Orsino and is sent to Olivia's house to pass on a message of love. The final scene introduces more servants in Olivia's household: Feste the jester and the steward Malvolio. Feste tells Olivia that she is a greater fool than he is because she is sad even though her brother is in Heaven. Olivia is impressed with Feste's wit but Malvolio does not hide his dislike for Feste and jesters in general. Sir Toby tells Olivia that a messenger from Orsino has come to see her.

Olivia agrees to see the messenger, at first she and Maria, both wearing veils, speak to Viola who does not know which one is the real Olivia. However, Olivia is instantly smitten with the handsome "Cesario". After Viola leaves, Olivia tells Malvolio that the messenger left a ring behind and tells him to return it. Act II 1838 depiction of the British comic actor George Bartley (1782-1858) as Sir Toby Belch. The beginning of Act II reveals that Sebastian is still alive. He has been living for several months with another sea captain called Antonio who is wanted for piracy by Duke Orsino. In the following scene, Malvolio catches up with Viola and tries to return the ring. Viola will not take the ring because she did not leave it behind. Malvolio throws it to the ground and declares that whoever wants it can take it. Viola realises that Olivia has fallen in love with her and says, "Poor lady, she were better love a dream." The next scene shows Sir Toby and Sir Andrew returning to Olivias house drunk very late at night.

They continue their drunken party in the house and are joined by Feste and Maria. The party ends abruptly when Malvolio appears and scolds them all. Maria begins to hatch a plot to take revenge on Malvolio. She says that her handwriting is very similar to Olivia's and she will write a letter that will make Malvolio believe the countess is in love with him. The scene which follows takes place in Orsino's palace. Feste is brought over to sing a sad love song for the duke. Viola tells Orsino that she is in love with someone who looks similar to him and is about his age. Orsino does not understand the true meaning of this and advises "Cesario" to court a younger woman. The final scene of Act II begins with Sir Toby, Sir Andrew and a male servant of Olivia's named Fabian secretly watching Malvolio find the letter they have left for him. Malvolio finds the letter whic he believes is from Olivia. He reads that Olivia would like to see him wearing yellow stockings and cross-garters (a style that was already old-fashioned in Shakespeare's time). After he leaves, Maria arrives.

She is told that Malvolio has fallen for their trick and she reveals that Olivia hates cross-garters and the color yellow. Act III Viola is sent again to Olivia's house. She attempts to pass on Orsino's message of love and to discourage the countess from taking a romantic interest in her. In the next scene, Sir Andrew Aguecheek declares that he is leaving because Olivia is more interested in "Cesario" than in him. Sir Toby and Fabian tell him to challenge "Cesario" to a duel. Malvolio appears before Olivia wearing cross-gartered yellow stockings. This image is based on a painting by Daniel Maclise (1811-1870). The following scene shows Sebastian and Antonio. Antonio lends Sebastian some money and they agree to meet up at an inn later. The final scene of Act III begins with Maria warning Olivia that Malvolio has gone mad. He enters wearing yellow stockings and cross-garters and quotes the love letter which he believes Olivia sent to him. Olivia believes that Malvolio has become a dangerous madman.

Viola is challenged to a duel by Sir Andrew but their fight is interrupted by Antonio who mistakes Viola for her twin brother Sebastian. Some officers arrive and arrest Antonio for piracy. Antonio asks Viola for the money that he lent to Sebastian. When Viola is unable to return the money, he accuses "Sebastian" of being an ungrateful false friend. This 1771 illustration by Francis Wheatley shows Viola, on the left with Fabian, and Sir Andrew Aguecheek, on the right with Sir Toby Belch, preparing for their duel. After Antonio is taken away, Viola realises that he called her "Sebastian" and that her brother may still be alive. The act ends with Fabian, Sir Toby and Sir Andrew complaining about "Cesario's" cowardice and vowing to beat him later. Act IV Sir Andrew and Sir Toby see Sebastian, mistake him for "Cesario" and begin to beat him. Sebastian is better at fighting than his attackers but the fight is stopped by Olivia. Sebastian, uncertain if he is awake or dreaming, agrees to be Olivia's lover.

The following scene shows Feste putting on a robe and a false beard to disguise himself as a priest called Sir Topas (a name taken from Geoffrey Chaucer's The Canterbury Tales ) and preparing to visit Malvolio to further taunt him. Malvolio has been locked in a dark room. As Sir Topas, Feste mocks Malvolio by telling him that the room has large wndows and is full of light. Feste then reappears as himself and asks Malvolio if he is mad. Malvolio replies that he is just as sane as Feste. The jester taunts him for saying that he is as sane as a fool but agrees to fetch him a light, paper and ink so that he can write an explanatory letter to Olivia. The act ends with a priest arriving to marry Sebastian and Olivia. Act V Antonio is brought before Orsino and Viola. Orsino tells Antonio that he is wrong to say that he lived with "Cesario" for many months because during that time "Cesario" was a servant in the duke's house.

The priest tells Orsino that he has married Olivia to "Cesario" in this painting by William Hamilton (1751-1801). Olivia arrives and calls Viola "husband". Viola denies having married Olivia but the priest is called for and says that he married them just two hours earlier. An angry Orsino is about to leave, saying that he never wants to see the deceptive "Cesario" again. Sir Andrew and Sir Toby arrive and complain about how "Cesario" has beaten them. They are sent away and Sir Toby finally reveals to Sir Andrew what he really thinks about him, calling him a fool and a "thin faced knave". Sebastian arrives, causing Orsino to say, "One face, one voice, one habit and two persons". Sebastian and Viola slowly recognize each other as being the twin that they each thought had been dead for several months and Viola reveals that she is really a woman. Orsino suddenly becomes aware of Viola's true feelings for him and wants to see her in woman's clothing. Viola says that her woman's clothes are in the posession of the sea captain who rescued her but Malvolio has had the captain arrested.

The letter which Malvolio has written is read. Orsino comments that it does not sound like the letter of a madman. Malvolio is released from the dark room and the plot against him is revealed. Malvolio cries, "I'll be revenged on the whole pack of you!" before leaving. Orsino sends some servants after Malvolio to find out about the sea captain and says, "Cesario come:

Question: Who is the twin sister of Sebastian in William Shakespeare's 'Twelfth Night'?
Answer: Viola