Twelfth Night: A Review
William Shakespeare’s “Twelfth Night, or What You Will” is widely celebrated as one of his most enchanting and enduring comedies. Written around 1601–1602, it delves into themes of love, identity, and festive misrule, blending humor with elements of melancholy and reflection. It is a play that has transcended centuries, captivating audiences with its clever plot twists, memorable characters, and lyrical language. In this review, we will explore the play’s plot, themes, characters, notable performances, and its most famous lines, providing a comprehensive analysis of why Twelfth Night continues to be a beloved masterpiece.
Plot Overview
Twelfth Night opens with a shipwreck off the coast of Illyria, leaving Viola, a noblewoman, stranded and believing her twin brother, Sebastian, to be dead. Viola disguises herself as a young man named Cesario and enters the service of Duke Orsino. Orsino is hopelessly in love with the beautiful Countess Olivia, who is in mourning and refuses his advances.
Viola, as Cesario, becomes Orsino’s trusted confidant and is sent to woo Olivia on his behalf. However, Olivia unexpectedly falls in love with Cesario, unaware of Viola’s true identity. Meanwhile, Viola herself harbors secret feelings for Orsino, creating a love triangle ripe with tension and confusion.
Parallel to the main plot, there is a subplot involving Olivia’s household. Her pompous steward, Malvolio, becomes the target of a cruel prank orchestrated by Sir Toby Belch (Olivia’s drunken uncle), Maria (Olivia’s maid), and others. They trick Malvolio into believing Olivia is in love with him, leading to his public humiliation.
The play concludes with the arrival of Sebastian, alive and well, whose striking resemblance to Viola untangles much of the confusion. Revelations follow, true identities are uncovered, and the play ends in multiple marriages and reconciliations, albeit tinged with lingering questions about identity and belonging.
Major Themes
1. Identity and Disguise
One of the central themes of Twelfth Night is the fluidity of identity. Viola’s disguise as Cesario blurs the lines between gender and social roles, raising questions about the nature of selfhood. Through mistaken identities and role reversals, Shakespeare explores how appearances can deceive and how true identity often lies beneath the surface.
The theme is encapsulated in Viola’s reflection:
“Disguise, I see, thou art a wickedness / Wherein the pregnant enemy does much.” (Act II, Scene II)
Viola acknowledges that her disguise, while necessary, creates unintended consequences and moral dilemmas.
2. Love in Its Many Forms
Love in Twelfth Night is multifaceted—romantic, selfless, self-indulgent, and even absurd. Orsino’s overwrought melancholy contrasts sharply with Olivia’s impulsive affection for Cesario. Viola’s steady, self-sacrificing love for Orsino stands as a sincere counterpoint.
The play opens with Orsino’s famous line:
“If music be the food of love, play on, / Give me excess of it.” (Act I, Scene I)
This sets the tone for the exploration of love’s excesses and follies throughout the narrative.
3. Festivity and Foolery
The title Twelfth Night refers to the traditional festival marking the end of the Christmas season, known for its revelry and role reversals. True to this spirit, the play is filled with bawdy humor, pranks, and the antics of fools—especially embodied in Feste, Olivia’s witty jester, who delivers sharp commentary cloaked in merriment.
One of Feste’s most memorable lines captures his wisdom beneath the fool’s cap:
“Better a witty fool than a foolish wit.” (Act I, Scene V)
Key Characters and Performances
Viola/Cesario
Viola is the heart of Twelfth Night. Her intelligence, resilience, and emotional depth make her one of Shakespeare’s most beloved heroines. Many productions highlight her vulnerability and strength, particularly as she navigates love, loss, and her precarious position disguised as a man.
Actors portraying Viola often balance humor with sincerity. A notable performance is that of Imogen Stubbs in Trevor Nunn’s 1996 film adaptation, where she brings both warmth and wit to the role, making Viola’s internal struggles palpable.
Duke Orsino
Orsino is the quintessential Shakespearean melancholic lover—passionate yet somewhat self-absorbed. His infatuation with the idea of love often blinds him to the genuine affection Viola holds for him.
One of his reflective moments reveals his romantic idealism:
“So full of shapes is fancy / That it alone is high fantastical.” (Act I, Scene I)
Olivia
Olivia starts as a grieving noblewoman, resistant to love, yet quickly becomes smitten by Cesario. Her transformation highlights the unpredictability of emotions. In many productions, Olivia’s earnestness and impulsiveness provide comedic relief, especially when juxtaposed with Viola’s composed demeanor.
Malvolio
Malvolio’s subplot is both humorous and dark, serving as a critique of self-righteousness and social ambition. His downfall, spurred by the forged letter urging him to behave absurdly, is a reminder of the cruelty that can arise from unchecked jest.
Malvolio’s chilling line at the play’s end underscores his sense of betrayal:
“I’ll be revenged on the whole pack of you.” (Act V, Scene I)
Feste
As the licensed fool, Feste wields truth disguised as jest. His songs and quips often reflect deeper truths about human nature, and his final song, “When that I was and a little tiny boy,” offers a bittersweet close to the revels, hinting at life’s cyclical nature and inevitable sorrows.
Famous Lines from Twelfth Night
Shakespeare’s linguistic brilliance shines in Twelfth Night. Here are some of the play’s most quoted lines:
-
“If music be the food of love, play on.” (Act I, Scene I)
– Orsino’s opening line encapsulates the play’s preoccupation with the pleasures and pains of love. -
“Better a witty fool than a foolish wit.” (Act I, Scene V)
– Feste’s clever observation about wisdom and foolishness. -
“Some are born great, some achieve greatness, and some have greatness thrust upon ’em.” (Act II, Scene V)
– Malvolio reads this in the forged letter, and it has since become one of Shakespeare’s most famous lines. -
“Disguise, I see, thou art a wickedness.” (Act II, Scene II)
– Viola reflects on the complications her disguise has created. -
“Journeys end in lovers meeting.” (Act II, Scene III)
– Sung by Feste, this line foreshadows the play’s romantic resolution. -
“Thus the whirligig of time brings in his revenges.” (Act V, Scene I)
– Feste’s closing comment serves as a reminder of life’s turning fortunes.
Notable Adaptations
Twelfth Night has been adapted countless times across different media. Among the most acclaimed adaptations is Trevor Nunn’s 1996 film, starring Helena Bonham Carter, Imogen Stubbs, and Ben Kingsley as Feste. Nunn’s interpretation remains faithful to the text while adding visual richness and emotional resonance.
Modern stagings frequently explore gender fluidity and contemporary parallels, making the play highly relevant in today’s discourse on identity. Productions such as The National Theatre’s 2017 version, featuring Tamsin Greig as a gender-swapped Malvolia, highlight how Shakespeare’s themes adapt to modern sensibilities.
Critique and Analysis
While Twelfth Night is often celebrated for its humor and romantic entanglements, it is not without its shadows. Malvolio’s humiliation, for example, raises ethical questions about the cost of comedy and the boundary between jest and cruelty. Some critics argue that the play’s resolution leaves certain threads unresolved, particularly regarding Malvolio’s bitter exit and Antonio’s unrequited affection for Sebastian.
Nevertheless, the play’s rich language, memorable characters, and exploration of love in all its guises have ensured its longevity. Shakespeare masterfully balances light-hearted chaos with poignant moments, crafting a narrative that resonates with audiences across time.
Conclusion
Twelfth Night remains a testament to Shakespeare’s genius in capturing the complexities of human emotion. With its clever interplay of mistaken identities, its profound reflections on love, and its festive spirit, the play invites us to question the masks we wear and the roles we play in life and love.
The enduring popularity of lines like:
“Some are born great, some achieve greatness, and some have greatness thrust upon ’em.”
serves as a reminder of Shakespeare’s unmatched ability to craft words that echo through the ages. Whether viewed as a light-hearted romantic comedy or a deeper commentary on the nature of identity and social order, Twelfth Night continues to enchant, challenge, and inspire.
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