Twelfth Night William Shakespeare

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Period: TABLE OF CONTENTS

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Packet Section

1 2 3 4 5

Background, Summary, Theme and Setting Characters Sociogram Glossary and Pre-Reading Vocabulary Questions: Act One, Two, Three, Four, Five

6 7 8 9 10

Literary Devices Stereotypes Soliloquies Definitions from Glossary and Pre-Reading Vocabulary Student Summaries of each Act and Responses to Questions Student responses to Stereotype questions

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Student Responsibility Read, review and highlight key points Complete relationships on the lines Read and define. Include at back of packet Summarize each Act; Respond to questions. Include at back of packet Read and fill in info on lines Respond to questions. Included in packet Fill in as you read Definitions will be included here Summarize each Act and respond carefully to questions Respond carefully to the questions

Twelfth Night Background Although fifteenth-century England had been a time of grave civil unrest and violence, by the time Shakespeare achieved prominence during Elizabeth and James’ reigns it was enjoying a period of sociopolitical security and respect for the arts. Queen Elizabeth’s reign extended from 1558 until 1603, when she was succeeded by the Scottish King James. Shakespeare received the patronage of both monarchs during his career as a playwright. Elizabeth’s reign was not without its tensions. There was an intense religious climate in which the Queen had to act decisively. The religious tensions that existed during Elizabeth’s reign continued during James’ reign, when he was pitted against the Puritans. England had gone to war with Spain. In other foreign affairs, the Queen was moderate, practicing a prudent diplomatic neutrality. There were, however, several plots on her life. There was also evidence of progress. The nation experienced a commercial revolution. Elizabeth’s government instituted two important social measures: “the Statute of Artificers” and the “Poor Laws,” both of which were aimed at helping the people displaced and hurt by changing conditions. Laws were passed to regulate the economy. Explorers started to venture into the unknown for riches and land. The machinery of government was transformed. The administrative style of government replaced the household form of leadership. The Elizabethan Age was an age that made a great writer like Shakespeare and his contemporaries possible. It produced excellent drama; Marlowe’s Tamburlaine and Jonson’s Every Man in His Humour are two examples. Sir Philip Sidney and Edmund Spenser produced masterpieces during Elizabeth’s reign. Shakespeare was in good company. Shakespeare was well suited to the English Renaissance, with its new-found faith in the dignity and worth of the individual. Shakespeare profoundly understood human nature and provided us with some of the most imaginative character studies in drama. Shakespeare wrote for his company of players, known as the Lord Chamberlain’s Men. He achieved considerable prosperity as a playwright. In addition to his artistic brilliance, Shakespeare wrote under the influence of the philosophy and effervescent spirit of the Elizabethan Age. Notably, we find the presence of the “Great Chain of Being,” a view of life that started with Plato and Aristotle, in some of his plays. Furthermore, other ideas and social structures established in the Middle Ages still held sway during the early seventeenth century. Shakespeare could display his universality and penetration in the public theater for his audience. His work, largely free of didactic and political motives, proved very entertaining. The date of the composition of Twelfth Night is fixed around 1600. In using his creative powers on original sources, such as the Plautine Gl’Ingannati and Barnabe Rich’s “Of Apolonius and Silla,” Shakespeare was following a Renaissance tradition of working creatively with original situations. Shakespeare thus enjoyed artistic freedom and encouragement to produce a play like Twelfth Night for his audience, knowing that it would entertain viewers of all ages and status.

Summary Set in the seaport of Illyria, this comedy features a main plot and various subplot, all skillfully interwoven and ultimately coming together for a masterful final scene. The main plot centers around the nobility of Illyria. Duke Orsino vows his love for the Countess Olivia, who rejects his overtures of love. Lovely young Viola, recently shipwrecked with her twin brother Sebastian, disguises herself as Cesario and enters Orsino’s employ as a page. Orsino sends Cesario (Viola) to plead his case before Olivia; however, the lady again rejects Orsino and falls in love with the page Cesario (Viola). This triangle produces various complications, especially when Cesario (Viola) falls in love with Orsino. The primary subplot revolves around a group of pranksters. This group includes Sir Toby Belch, Lady Olivia’s uncle; his friend Sir Andrew Aguecheek; Maria, Olivia’s waiting woman; Fabian, another of Olivia’s servants; and Feste, the Clown. Sir Andrew’s desire to woo Olivia heightens the comedy of the main plot. This group devises a scheme to humiliate Malvolio, Olivia’s pompous, puritanical steward, who also fantasizes about Olivia’s love. In the final scene, Sebastian, whom Viola presumed drowned, reappears and marries Olivia’ Viola reveals her true identity and marries Orsino; Sir Toby marries Maria. Fabian confesses the scheme against Malvolio, who leaves vowing revenge. The Clown concludes the scene with a reflective song about man’s development from birth to death. Theme The thematic material for the primary plot is romantic love, which must work its way through a series of complications, including several cases of mistaken identity, to a happy ending. The main plot might be considered two plots in one: Orsino’s wooing of Olivia and Olivia’s complicated situation involving Viola and Sebastian. The theme of the subplot is trickery and disgrace: a group of trickers seek to dupe and disgrace a pompous, self-righteous man. Shakespeare employs disguise, mistaken identity, self-deception, trickery, and confusion to attain his comedic goal. Setting Illyria: possibly based on the word illusion. Although such a place existed on the Adriatic coast, the setting for Twelfth Night apparently is imaginary and is designed to create the image of a faraway place of romantic appeal. The comedy itself is a series of mirages and reflections between what is real and what is unreal. Portions of the play also occur on the seacoast near Illyria. The play covers a period of three months.

Twelfth Night Characters Orsino— Orsino is the Duke of Illyria. As the comedy opens, he is professing his deep love for Lady Olivia. He has a very sentimental nature, which is reflected in his effusive, emotional feelings about love and music. He is melancholic because of his unrequited love for Olivia. Although he considers himself to be an ardent lover and the ideal match for her, Olivia spurns his avowal of love. He is a man who is more “in love with love” rather than the object of his pursuit, Olivia. He employs Cesario (Viola in disguise) to woo Olivia for him. Lady Olivia—Olivia is a wealthy countess. At her first appearance, she vows to mourn her brother’s death for seven years. However, when she meets Orsino’s intermediary Cesario (actually Viola), she falls in love with “him” and foregoes her mourning period. Olivia is a derivation of the word olive, the symbol of peace. [Note: 1.5.209, when Cesario holds an olive in his hand to give to Olivia]. Viola/Cesario—The true heroine. She is of noble birth. On a voyage to Illyria, she and her twin brother, Sebastian, were shipwrecked and separated. Thinking he is dead, she wishes to take on employment as a gentlewoman to Olivia. She is informed that Olivia is taking no one into her house. She then decides to be presented to the Duke as a eunuch and becomes employed by him. She carries messages of love to Olivia from Orsino. From this arrangement, a love triangle is formed. Sebastian—Viola’s twin brother and look-alike, who was thought to be dead. He is rescued by Antonio and brought to Illyria. He is a minor character whose main importance is that of bringing about a resolution to the plot. He meets Olivia, who thinks he is Cesario, immediately falls in love with her, and the two secretly marry. Sir Toby Belch—One of the main character’s of the subplot. He supplies much of the humor due to his jolly nature. He enjoys the “good” life. He is Olivia’s uncle who lives with her. He is noted for his drinking sprees and his delight in playing tricks on other people. Note the play on words with Sir Toby’s last name, Belch, symbolizing his delight in food and drink and his obese stature. Maria—Olivia’s lady-in-waiting. She is secretly in love with Sir Toby. She instigates a scheme for revenge on Malvolio. Sir Andrew Aguecheek—Sir Andrew is a wealthy knight who, because of Sir Toby’s urgings, comes to woo Lady Olivia. Sir Toby encourages the courtship because as long as Andrew believes he has a chance with Olivia, he will supply the money for his and Toby’s nightly drinking binges. He is a feeble-minded individual who does not realize that he is being taken advantage of. Fabian and Feste (the Clown)—Fabian and Feste are Olivia’s servants. In his role as jester, or clown, Feste presents truths and insights about other characters with clever wit and an excellent command of words. His wisdom is hidden behind foolish jests, actually another type of façade. His songs range from cheerful to sad and establish the mood of different scenes. His name is closely aligned with festivity. Malvolio—Lady Olivia’s steward, or manager, of Olivia’s household. He is pompous and puritanical and is opposed to Sir Toby’s and Andrew’s carousing. He is extremely vain; he mistakenly feels that his dress and mannerisms serve to charm Olivia. He fantasizes that Lady Olivia will marry him some day, and this

makes him an easy object for the ridicule and tricks of Toby and others. His name possibly is based on the prefix “mal” (ill, badly); for example, a malevolent person is full of ill will. A Sea Captain—Appearing in only one scene, he helps Viola disguise herself as Cesario. In the denouement, Viola reveals that this sea captain has been imprisoned by Malvolio on an unknown legal charge (5.1.275-276). Antonio—A sea captain who helps and protects Sebastian and accompanies him to Illyria. He is presented as a dramatic device to account for Sebastian’s rescue and presence in Illyria. In a classic case of mistaken identity, he becomes angry with Viola (thinking she is Sebastian) when she will not return his purse). She, of course, knows nothing about what he is asking. Curio and Valentine —Gentlemen attending the Duke who try to help lighten his melancholy. First Officer—officer in the service of the Duke. Second Officer—also in the service of the Duke. A Priest—marries Sebastian and Olivia. Musicians—playing for Duke. Sailors—come ashore with the Captain and Viola. Lords, Attendants ********************************************************************************************

Twelfth Night Sociogram On the lines, write a few words to describe the relationships between characters – follow the arrows. Include page numbers for your own reference during discussion. (The first one has been done for you)

Orsino

Oliva doesn’t love Orsino and avoids him (page___)

Olivia

Orsino loves Olivia and is sad because it is unrequited.

Viola (Cesario)

Toby

Maria

GLOSSARY Directions: On a separate piece of paper (which will be attached to the back of this packet) you will define the words below… both in the glossary and in the “Pre-Reading Vocabulary by Act” Act Allusion Antagonist Aside Blank verse Bowdlerize Comedy Complication

Climax Conflict Denouement Drama Farce Fate Folio Foreshadowing

Genre Iambic pentameter Illusion Irony Metaphor Oxymoron Personification Plot

Prose Protagonist Scene Setting Simile Soliloquy Theme Universality

PRE-READING VOCABULARY BY ACT ACT ONE

ACT TWO

ACT THREE

ACT FOUR

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

1. 2. 3. 4. 5. 6. 7. 8.

1. 2. 3.

surfeiting abatement hart purged cloistress Elysium eunuch troth shrew syllogism motley leasing lethargy feigned nonpareil

sooth mellifluous dulcet knave knight caterwauling mitigation cloyment melancholy niggardly rogue prerogative cudgel

courtier whet upbraid laudable presage pedant acquit implacable

curate requite plight

ACT FIVE 1. 2. 3. 4. 5. 6. 7.

anon jocund beguiled dissembling usurped semblance peruse

Twelfth Night – ACT ONE QUESTIONS ACT ONE On a separate piece of paper attached to the back of this packet, first, briefly summarize what happens in Act One, and then respond to the following questions: QUESTIONS: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

11. 12. 13. 14. 15. 16. 17. 18.

19. 20. 21.

How does Duke Orsino characterize love? How does Olivia veil herself and avoid society? Why does Duke Orsino suppose that Olivia is capable of great passion? How does the Captain give Viola hope that her brother did not perish in the shipwreck? Why does Viola choose to serve the Duke? Why does she assume a disguise? How do Maria and Sir Toby disagree about the character of Sir Andrew Aguecheek? Why does Maria try to ridicule Sir Andrew? Why do you think the play begins with the Duke’s monologue about love? Why do you think Sir Toby wants the company of Sir Andrew and presses him to court Olivia? What views about matrimony are expressed in these scenes? Which characters seem to hold an idealistic view of courtship and marriage? Which seem to debase or cheapen the value of love? In your opinion, which events seem plausible and which seem to be fantastical or implausible? What task does the Duke give Viola, disguised as Cesario? Why does the Duke trust Viola? Why does Viola pretend not to recognize Olivia as the lady of the house? In what subtle way does Viola show contempt for the Duke’s manner of courting Olivia? What does Olivia reveal when she says, “Even so quickly may one catch the plague?” What does Olivia believe about love and destiny? How do you think the audience of Shakespeare’s time would have responded to the Duke’s instructions to Viola: “It shall become thee well to act my woes?” Remember that a boy would have played the part of Viola, so that the scene involves a boy playing a girl playing a boy. Why do you suppose that Olivia is drawn to Viola in her disguise as Cesario? What qualities does the page seem to embody? How do the antics of the Clown and Sir Toby reflect upon the seriousness of Duke Orsino and the lady Olivia? Do you think that a person’s future is determined by fate, self-determination, or a combination of both?

Twelfth Night – ACT TWO QUESTIONS

ACT TWO On a separate piece of paper attached to the back of this packet, first, briefly summarize what happens in Act Two, and then respond to the following questions: QUESTIONS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

Why does Sebastian send Antonio away? Why does Sebastian reproach Antonio for saving his life? Why does Viola refer to herself as a poor monster? Why doesn’t Viola simply tell Malvolio that she never gave Olivia a ring? What does this behavior reveal about Viola? What is the message in the clown’s song in Act II, scene iii? Why does Feste the Clown suddenly begin to speak nonsense such as “impeticos thy gratillity?” How does Maria plan to punish Malvolio for his pride and conceit? What clues does Viola give the Duke as to her true identity? What convinces Malvolio that Olivia is truly the author of the letter? How will obeying the instructions in the letter cause Malvolio to appear foolish and vain? What do you think this play reveals about the connection between romantic love and disguise? Why do you think Maria and the courtiers were eager to see Malvolio make a fool of himself? Does he deserve this humiliation? Why do you think the clown sings of death to the Duke in contrast to the song he sang to Sir Toby and Sir Andrew? What view of love does each song reflect? What view of love does Maria suggest in her letter in the guise of Olivia to Malvolio?

Twelfth Night – ACT THREE QUESTIONS

ACT THREE On a separate piece of paper attached to the back of this packet, first, briefly summarize what happens in Act Three, and then respond to the following questions: QUESTIONS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

How do the clown’s observations about language reflect Viola’s situation? Why does Viola admire Feste? What can she learn from the clown’s art? How does Sir Toby advise Sir Andrew to win Olivia’s love? How does Maria’s letter affect Malvolio? Why does Antonio insist on watching over Sebastian? Why must Antonio conceal his presence in Illyria? How does Olivia react to Malvolio’s romantic attentions? Why does Sir Toby encourage the duel between Sir Andrew and Viola/Cesario? Why does Antonio prevent the duel? What happens as a result of his intervention? What does Viola realize after Antonio accuses her of being an ungrateful friend? Under what circumstances might people fool themselves into believing the improbable?

12. Have you ever succumbed to flattery? Under what circumstances are people most vulnerable? Why were Malvolio and Sir Andrew vulnerable? 13. In what way does Viola’s statement, “I am not what I am,” restate an important theme of Twelfth Night? 14. At what point in Sir Toby an Maria’s activities does mischief turn to cruelty? 15. In Act III, scene iv, Fabian says, “If this were played upon a stage now, I could condemn it as an improbable fiction.” What do you think Shakespeare intends by this commentary?

Twelfth Night – ACT FOUR QUESTIONS

ACT FOUR On a separate piece of paper attached to the back of this packet, first, briefly summarize what happens in Act Four, and then respond to the following questions: QUESTIONS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Why is Feste exasperated when he first meets Sebastian? What does Feste mean when he says, “Nothing that is so is so?” Why does Sebastian assume he is dreaming or everyone in Illyria is mad? Why does Feste disguise himself as Sir Topas, the curate? How does Sir Topas try to convince Malvolio that he is mad? Why does Sebastian wonder if Olivia is mad? Why does Olivia propose marriage? In this confusing interplay among characters and coincidental events, what separates sanity from madness? Do you think the playwright expected to gain sympathy for Malvolio? Do you feel sympathy for his plight? Are Olivia’s hopes for Viola/Cesario/Sebastian’s love any more rational than Malvolio’s hope for Olivia’s love? Why do you think audiences are willing to accept and enjoy the many instances of coincidence and mistaken identity in this play? How do you think each of the cases of mistaken identity will be resolved?

Twelfth Night – ACT FIVE QUESTIONS

ACT FIVE On a separate piece of paper attached to the back of this packet, first, briefly summarize what happens in Act Five, and then respond to the following questions: QUESTIONS 1. 2. 3. 4. 5.

What lesson does the Clown teach Duke Orsino about self-knowledge? Why does Antonio accuse Viola of ingratitude? What does Duke Orsino mean when he says, “I’ll sacrifice the lamb I do love/To spite a raven’s heart within a dove?” Why is Olivia confused in Viola’s presence? What is Sebastian confused in Viola’s presence?

6. 7. 8. 9. 10. 11. 12.

How does Olivia become the Duke’s sister? What excuse does Antonio make to the Duke? At the end of Twelfth Night which couples are married or engaged? Why must Viola put on a dress in order to prove that she is a woman? Why dod you suppose this change of costume takes place off stage? Do you think Maria should have been punished for the forger of her letter to Malvolio? Why do you think the playwright presented no punishment for Maria or Sir Toby? Why do you imagine the play ends with Feste’s song? By the end of the play, do you think any of the romantic liaisons were reasonable and well-grounded?

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Twelfth Night – LITERARY DEVICES A.

Allusion – Allusion in literature is a reference to a famous, historical, mythological, biblical, or familiar person, place, or event. For example:

Captain:

I saw your brother, Most provident in peril, bind himself To a strong mast that lived upon the sea Where, like Arion on the dolphin’s back, I saw him hold acquaintance with the waves So long as I could see.

How does this allusion to Arion, an ancient Greek poet saved from drowning at sea by friendly dolphins, dramatize the events the Captain describes? ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ B.

Pun

– a pun is a play on words. For example, when Curio asks the Duke if he will go hunting

for the “hart,” the Duke replies, “Why, so I do, the noblest that I have. O when mine eyes did see Olivia first…” What is the implied play on words? ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Notice the many puns within the conversation between Sir Toby and Maria. What do you think Sir Andrew’s lack of understanding of pun reveals about him? ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________

C.

Dramatic Irony – Dramatic irony refers to certain complications of plot that occur because some of the characters do not understand the significance of an event. For instance:

Duke:

Dear lad, believe it; For they shall yet belie thy happy years That say thou art a man. Diana’s lip Is not more smooth and rubious; thy small pipe Is as the maiden’s organ, shrill and sound, And all is semblative a woman’s part.

How does the Duke’s failure to see through Viola’s disguise complicate the plot and create dramatic irony? ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ D.

Hyperbole – Hyperbole is a figure of speech in which exaggeration is used deliberately for dramatic or comic effect. For example:

Olivia: Viola:

How does he love me? With adorations, with fertile tears, With groans that thunder love, with sighs of fire

What humorous effect results from Viola’s use of hyperbole to portray the Duke’s love? ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________

Twelfth Night – STEREOT YP ES Directions – After a full understanding of the definition, answer the thought questions posed ON A SEPARATE PIECE OF PAPER ATTACHED TO THIS PACKET. Definition: Stereotype – A conventional and usually oversimplified conception or belief; one considered typical of an unvarying pattern or manner. 1. In Twelfth Night there are characters who are stereotypes. Refer to Act 1. Can you find characters who are stereotypes? Explain. 2. Some television shows have their basis in stereotyping. Give some stereotypes that are present in these shows and other popular shows and/or movies. Can you name some TV shows or serials based on stereotyped characters?

3. If stereotyping is a popular device used by the media, why is it often viewed negatively and as a posture to avoid? 4. Have you ever been viewed as a stereotype? Was such a characterization justified? 5. What purpose does a stereotyped character serve in a play such as Twelfth Night? In a TV show? *****************************************************************************

Twelfth Night – SOL ILOQUIES Directions: As you read Twelfth Night, complete the following chart of the soliloquies used in the play.

Speaker

Act, Scene, Lines

1. Olivia 2. Antonio 3. Viola

1.5, 315-318 1.1, 43-47 2.2, 17-41

4. Malvolio

2.5

5. Viola

3.1

6. Malvolio

3.4

7. Toby

3.4

8. Clown

4.2

9. Sebastian

4.3

What is revealed by the speaker?

Her intuition of what is to come His plans and his reasons

First, attach your definitions from the Glossary and Pre-Reading Vocabulary found in Section #4 to the back of this packet Next, you will attach your summaries of each act and responses to all questions found in Section 5 of this packet Finally, you will attach your responses to the Stereotype questions found in Section 7 of this packet