TWELFTH NIGHT
ACT V
SCENE i
Feste "fools" with Orsino, saying that friends "praise me, and make an
ass of me. Now my foes tell me plainly I am an ass; so that by my foes,
sir, I profit in the knowledge of myself" (V.i.17-20). The arrested
Antonio is brought before Orsino and things look grim for him. Olivia
arrives and mistakes Viola for Sebastian, whom she just married. Orsino
pitches a fit and it seems as if he intends to kill Cesario. "Orsino, not
previously high in the audience's esteem, is a criminal madman if he
means this, and Viola is a masochistic ninny if she is serious. Why does
Shakespeare push us to this perplexity? Would zaniness cross the border
into pathology if Sebastian did not suddenly appear ...?" (Bloom 234).
Sir Andrew arrives and complains that Cesario broke his and Sir Toby's
heads. Sir Toby arrives with broken head but Feste says that the local
doctor is drunk. Sir Toby remarks, "I hate a drunken rogue" (V.i.201).
When Sir Andrew is sympathetic, Sir Toby viciously turns on him: "Will
you help?--an ass-head and a coxcomb and a knave, a thin-fac'd knave, a
gull!" (V.i.206-207). Thus he proves a poor sport after all.
Another side note: there's a perspective on the ending of Chaucer's
The Miller's Tale I've never seen in print, the response that when
the old cuckold thinks Noah's flood has come again and ends up crashing
down to the barn floor, breaking his arm, that it's not really all that
funny. If he had simply fallen on his ass, it could be a laugh riot. But
Chaucer adds that he broke his arm -- not a slapstick classic. It's as if
the joke has gone too far and crossed over into nastiness. So too,
Shakespeare may be conveying that notion here. Seeing someone getting
bonked on the head is good fun, but Sir Toby and Sir Andrew enter the
scene with bleeding head wounds.
Orsino refers to "A natural perspective" (V.i.217);
Feste enters with a letter from Malvolio and starts reading it in an
insane voice. Olivia gives it to Fabian instead, and we hear Malvolio's
attempt to muster some dignity. Malvolio enters, protesting his having
been wronged. "At this point Twelfth Night almost moves beyond
the bounds of comedy and toward another kind of accountability, another
kind of moral inquiry" (Garber 533). Olivia seems sympathetic: "He hath
been most notoriously abus'd" (V.i.379). The odd news emerges from Fabian
that "Maria writ / The letter at Sir Toby's great importance, / In recompense
whereof he hath married her" (V.i.362-364)! But Feste drives home a point by
reminding Malvolio of the moment (in Act I) he insulted Feste, adding,
"And thus the whirligig of time brings in his revenges" (V.i.376-377).
"A 'whirligig' is a top, a child's spinning toy. The modern cliché
would be 'What goes around, comes around'" (Garber 534).
Malvolio exits, vowing, "I'll be reveng'd on the whole pack of you"
(V.i.378). "To be sure, Olivia expresses her sympathy again after he
leaves and the Duke sends after to have him pacified and brought back,
but that last line stands" (Asimov 593). There remains a loose end of
the captain being imprisoned, and Malvolio holds the key to that peculiar
irresolution, as the Duke notes. So that remains a puzzle. And "Malvolio
remains himself even though the fool has put the means of self-knowledge
within his grasp" (Wells 184). "He has learned nothing. He excludes
himself from the Christmas miracle, and from the comic circle of
accommodation and love" (Garber 534). Yet, "It is to the credit of the
dramatist that he is never malicious in his characterization of Malvolio;
while he plays around the edges of ridicule, he does not make the man
contemptible or altogether absurd" (Ogburn and Ogburn 286).
The final perspective grows distant and stilted. The lovers don't speak
directly to each other exactly, and both Viola and Sebastian have nothing
to say any longer. "Probably the most disappointing thing about
Twelfth Night to most readers is the fact that such a rare girl as
Viola should have fallen in love with such a spineless creature as the
Duke. And Sebastian seems too good for Olivia" (Goddard, I 304).
Does all this suggest that the roles of the restricted selves have been
adopted, that the formality of marriage ends the interplay between
individuals discovering and defining themselves -- that in a sense
Malvolio did win? or Illyria? And what does it mean that unlike her
cross-dressing couunterparts in other Shakespeare plays, Viola "never
gets to reappear as a woman. When the play closes she is still dressed
as the boy 'Cesario'" (Garber 518)?
In any case, the play ends with Feste's song: "With a hey ho, the wind
and the rain." "To please you 'every day,' to make every day a holiday,
is in some sense the role of drama, and especially of dramatic comedy"
(Garber 534).
In his suggestions of the repeated frustrations and failures consequent
upon mortal folly he may remind us too of the intelligence and
understanding -- such as those of Viola -- that are needed rightly to
use and control the less rational elements of our natures, that we cannot
hope to be fully in control of our destiny but must see ourselves against
the backdrop of that great expanse of time that has passed since 'the world
begun'. So he may suggest too, as the play has suggested, that by submitting
ourselves to chance, by opening our imaginations to experience even if it
does seem partly foolish, we may receive the blessings of fortune. (Wells
184-185)
FINAL PERSPECTIVE
The play is weird, and difficult to dismiss as mere comedy. Bloom says,
"The play is decentered; there is almost no significant action, perhaps
because nearly everyone behaves involuntarily" (Bloom 228). But he also
insists that "Shakespeare's acute sense that all sexual love is arbitrary
in its origins but overdetermined in its teleology is at the center of
Twelfth Night" (Bloom 235). "The double nature of all human beings,
the fact that men and women all have something 'masculine' and something
'feminine' about them" is something Shakespeare considers elsewhere too
(Garber 519).
Agonizing cognitively about this play, I asked my Shakespearean e-mail
friend Mary what she thought about it. She responded, "What do you mean?
This is just a simple love story: self love, mistaken love, same sex (and
therefore mistaken) love, love of brothers, obsessive love. What more
could you ask for? Besides, it's funny to watch Viola maneuver her way
through these relationships without giving herself away."
My next parry: "Simple love story? Maybe for love. And who cares about
that crap? I meant the confusing investigation into identity and the
thematic matter of things being turned inside-out so that most of these
Illyrians are hollow with artificially adopted constructs serving as
identity and only Viola and maybe Malvolio have any consistent sense of
themselves so that Malvolio in the dark house is the inside-out of most
of the other characters (as Antonio at one point accidentally describes
them) and one extreme is Sir Andrew who, in not knowing what 'pourquoi'
means, assumes Sir Toby was saying 'Do or do not' -- that is, that he is
being instructed automatically, which he is in the dancing and repetition
of Toby's words without understanding and recognizing that Malvolio is
speaking of him because he's often referred to as a fool. The Ghost of
Christmas Past in the Bill Murray movie Scrooged accuses: 'You
don't know who you are, you don't know what you want [what you will!],
and you don't know what's going on.' And that's the premise of this play
too, right? Viola tries (in a weird way) to withdraw after an emotional
blow, and (odd again) passively recognizes that only time can fix things,
not acts of will. Well, nice Epiphany, I think."
The theme of excess can lead to some productive interpretive analysis.
Goddard says that most of the characters here are at extreme points
from excesses of various things and are therefore about to be converted
into something else. "Excessive revelry and excessive sentimental love,
the poet seems to be saying, are just opposite forms of the same
infection" (Goddard, I 301). This works on the general level too,
since this play is sometimes seen as a partial farewell to comedy, at
least of the standard sort, by Shakespeare, with later "comedies" really
being bizarre or dark or "problem plays." I think Shakespeare bid good-bye
to comedy with The Merchant of Venice, and this either leads up to
that or maybe goes a little beyond that point, at least the revision we
have. At what point does comedy go too far? Must comedy always come at
the expense of someone else?
The most intriguing theme to me is that of the explored identity crisis.
Orsino, whom Olivia wishes would be a blank instead of a person filled
with thoughts of her, arbitrarily adopts a persona, the Petrarchan lover.
Olivia arbitrarily adopts the role of sequestered mourner for seven
years. These are characters whose identity comes from outside, much like
the odd possibility that "greatness" could be "thrust upon" one. Viola
loses the male side of herself, her twin brother, and adopts that "self"
by wearing it on the outside, which just causes chaos. By contrast,
Malvolio retains his identity, however perverse, within the dark house.
So he is surrounded by darkness or "blank" whereas the others are blanks
cloaked in arbitrary façades. I'm convinced this is all represented
by the letter "O" -- and possibly "I" -- and our attention is drawn to
mixing letters about through the fake letter with the M.O.A.I. (But
that's another enigma.) The entire play is about severings and
reintegrations, and a recurring, deceptively throwaway line is "That's
all one" (e.g., V.i.196, 373).
he means the kind of perspective painting that Shakespeare will use as
a telling comparison in other plays, like Richard II and Antony
and Cleopatra: a picture constructed so as to produce a fantastic
effect, seeming distorted except from one particular point of view, or
appearing different from different vantage points. (Garber 518)
Sebastian arrives and all are baffled. Antonio asks, "How have you made
division of yourself?" (V.i.222). Dawn breaks on marblehead as brother
and sister quiz each other and reunite. Sebastian perceives Olivia's
close call: "You would have been contracted to a maid" (V.i.261). Turning
new attentions to Viola, the Duke announces, "I shall have share in this
most happy wrack" (V.i.266). "The love of brother and sister creates a
radiance in which other people's problems are solved; as they discover
their true identities by each acknowledging the identity of the other,
so Sebastian, Orsino, and Olivia achieve a sense of integrity, of
achieved self" (Wells 183).
Feste's song at the end ... puts the keystone in place and sums it all
up. The thing that this society of pleasure-seekers has forgotten is the
wind and the rain. It's all right to play with toys while we are
children, and later we may thrive for a little time by swaggering or
crime. But knaves and thieves are soon barred out. There is such a
thing as coming to a man's estate, such a hard reality.... (Goddard,
I 305)