View the video to catch things you might have otherwise missed, to review, and to gain additional insights that will help you with the questions below.
Read Act 3 in Twelfth Night Navigator so that you can better use and understand the original language. As needed, consult No Fear Shakespeare.
1. What does Feste mean when he says he is Olivia's "corrupter of words" (line 35)? Consider that it was common for nobility to be flattered by those who worked for them. Oftentimes, the nobility honoured any flattery by paying the people a tip (so disguising words in nice "clothing" brought a profit!); however, some nobility were aware that people would simply tell them whatever they thought they wanted to hear and were paranoid that they were being lied to (words wearing a false, deceptive disguise, hiding perhaps some ugly truth).
2. What is Feste trying to accomplish when he alludes to (verb form of allusion) Cressida, Troilus, and Pandarus (lines 52-56)?
3. What is Viola/Cesario saying about Feste in 3.1.60-68? What is she saying about the nature of wisdom versus folly or foolishness? You are encouraged to review the whole dialogue from 3.1.1-59 and notice how both Viola and Feste engage in pun after pun, demonstrating very sharp, intelligent humour and mastery of language.
4. What happens when Olivia meets Viola/Cesario (3.1.92-161)? Does Olivia understand who this person really is who says "I am not what I am" (line 138)? Note also that this is a twist on the allusion to God speaking to Moses declaring, "I am that I am." The line suggests not only that Viola/Cesario is putting forth a false identity, but that there is something demonic about it as well. In previous passages, there are also references to "the enemy" and being a "monster" that support such a reading.
5. In lines 115-122, Olivia expresses her concerns about sending the ring to "bait" Cesario. To what is she alluding (see the Navigator notes on the side)? What are her concerns?
6. In Line 124, Cesario says I pity you to Olivia. What initiates this line? Why would Cesario feel pity for Olivia? Recall and consider the ways that Shakespeare juxtaposes Viola and Olivia by making them and their stories similar and different in significant ways.
7. How does Cesario respond to Olivia's continued advances and bids/hopes of his love (3.1.123-164)?
8. How does Olivia try to find the bright side of things and also make a case for Cesario to love her back? Discuss especially lines 126-129 (and notice the use of apostrophe to "the world" and the metaphor about predator and prey that we've seen before in Orsino's discussion of love and desire) and lines 150-156 (and notice her roundabout way of using reason alongside passion).
9. What does Cesario reveal about himself in his declaration in lines 157-160?
Notice the use of rhyming couplets and iambic pentameter from lines 145-164. Iambic pentameter was meant to simulate the sound and rhythm of "normal" conversational speech in English. As such, it gives a smooth flow to the lines. As for the couplets, not only does this add a level of sophistication and flow to these lines, but rhymes make lines more memorable (which is also why songs are easier to remember!). Rhyming couplets tend to highlight important speeches and make them more memorable to the audience, plus they are lovely to hear being read aloud with the actors' emotions!
1. Why is Sir Andrew leaving (3.2.1-7)?
2. How do Sir Toby and Fabian convince Andrew to stay (3.2.8-39)?
3. What will Sir Andrew do instead of leaving (see Toby's instructions 3.2.42-50)? Note that we are seeing here another parallelism: just as Maria's note for Malvolio was meant to gull him into a ruthless practical joke, so it seems Toby and Fabian mean to gull Andrew into this ridiculous fight by means of a letter built on false presumptions.
4. What does Maria tell them to come and see (3.2.68-83)?
5. Identify the literary devices Maria uses in the lines referenced above. This includes, in order, metonymy, analogy, simile, simile, and hyperbole/imagery. Discuss how each literary device contributes to the humour in these lines and/or our understanding of Malvolio.
1. What primary reasons does Antonio give for following Sebastian into town (3.3.4-14)? Note, as mentioned in the previous Act, that this does not seem to support a homoerotic reading, as suggested by Mr. Bruff and others, but does give us another kind of love to consider in contrast to that of other characters.
2. Why doesn't Antonio join Sebastian in touring the town (3.3.24-37)?
3. What does Antonio give Sebastian and why (3.3.38-46)?
This final scene in Act 3 is very important in tying together and further complicating the various subplots that have been developing over Acts 1 and 2.
The Malvolio Subplot
1. How does Maria describe Malvolio's mental state to Olivia (3.4.8-9, 11-13)? Why doesn't this concern Olivia (3.4.14-15)?
2. What does Malvolio look like when he enters? What does he think he is saying from lines 39-55? Does he expect Olivia to recognize the statements? Does she recognize them? How does she diagnose what is wrong with Malvolio (3.4.56)?
3. Does Malvolio realize that anything is wrong? Should he respond as he does in 3.4.89-125? Notice in line 124 that Malvolio claims he is of a different (higher) element than the other servants and even Toby. How does this affect the Chain of Being and order of the universe?
4. What is the effect of Fabian's statement at 3.4.127-128? Consider how it is a reflection of the current situation for the characters, but also a kind of nod to the audience by the actor (a breaking of the fourth wall, as it were). Consider how this prompts the audience to reflect on the nature of theatre itself, which requires real people with their own identities (actors) to disguise themselves and assume another identity and appearance (characters). Not only is this idea explored in the themes of the play, but it is also highlighted in the creation of any theatrical production. Additionally, in Shakespeare's day, all actors were male: female characters would have been played by younger, clean-shaven male actors wearing makeup and costumed appropriately. Not only would Olivia and Maria both been male actors disguised as women, but Viola's male disguise, Cesario, would have reflected her truer identity as the male actor portraying her. What?! An improbable fiction indeed!
5. Sir Toby, Fabian, and Maria suggest to Malvolio that the nature of his madness is rooted in demonic possession. How do they propose to treat it? (See 3.4.135; this is the normal treatment at the time for madness.)
6. Maria’s letter has worked perfectly in manipulating Malvolio. Do you feel sorry for Malvolio? Why or why not? Is Maria truly evil? Why or why not?
The Sir Andrew-Cesario Subplot
7. How good is Sir Andrew's challenge (3.4.147-172) according to Fabian and Toby's feedback?
8. How does Sir Toby actually feel about the letter and what is his plan for the duel (3.4.184-196)?
The Olivia-Cesario Subplot
9. How is Olivia's suit to Viola/Cesario going (3.4.201-218)?
Back to the Sir Andrew-Cesario Subplot
10. Read the "duel" mini-scene carefully (3.4.219-311). How eager are Viola/Cesario and Sir Andrew to fight? How are Fabian and Sir Toby helping matters along? Is the scene funny?
Tie in the Antonio-Sebastian Subplot
11. What happens when Antonio appears (3.4.312-318)?
12. What happens when the Officers appear? What plot complication now needs to be resolved?
13. What happens when Antonio asks for his purse at line 335? What should Viola learn from what Antonio says in lines 359-370? Does she learn anything? (See lines 372-384.)
14. What conclusions do Sir Toby and Fabian come to in light of the situation (3.4.385-390)?
15. What is Sir Andrew going to do next (3.4.391)?
The quiz will consist of: