Significance of

Twelfth Night
 Significance of Twelfth Night
• Named for the twelfth night after Christmas, the end
of the Christmas season.

• The title of Twelfth Night refers to the twelfth night of

Christmas, also referred to as the eve of Epiphany, a
day that commemorates the visit of the Magi to the
baby Jesus and is often celebrated with a temporary
suspension of rules and social orders.
 Significance of Twelfth Night
As in the play, Twelfth Night revels in the
overturning of convention and general
merriment. In the Church of England, the Twelfth
Night (or the eve of the Epiphany) was celebrated
on January 5th, when celebrants sang songs,
defaced doors with chalk, and ate Three Kings’ or
Twelfth Night cake.
One of the most
popular Twelfth Night
traditions was to hide
a pea and a bean
within the cake. The
man who discovered
the bean would be
proclaimed Lord or
King of Misrule, while
the lady who found
the pea would be
Lady or Queen of
Misrule.
The Lord of Misrule was
usually a peasant or
commoner who led the
drinking and debauchery, as
Twelfth Night was one of
the few times of the year
where servants were
allowed to mix with their
masters, sometimes even
switching roles through
disguises or by virtue of the
coveted bean.
Characterization
in Twelfth Night
Characters Role
Viola A young woman of aristocratic birth,
and the play’s protagonist. Washed
up on the shore of Illyria when her
ship is wrecked in a storm, Viola
decides to make her own way in the
world. She disguises herself as a
young man, calling herself "Cesario,"
and becomes a page to Duke Orsino.
She ends up falling in love with Orsino
—even as Olivia, the woman Orsino is
courting, falls in love with Cesario.
Thus, Viola finds that her clever
disguise has entrapped her: she
cannot tell Orsino that she loves him,
and she cannot tell Olivia why she, as
Cesario, cannot love her. Her poignant
plight is the central conflict in the
play.
Analysis
Like most of Shakespeare’s heroines,
Viola is a tremendously likable figure.
She has no serious faults, and we can
easily discount the peculiarity of her
decision to dress as a man, since it
sets the entire plot in motion. She is
the character whose love seems the
purest. The other characters’ passions
are fickle: Orsino jumps from Olivia to
Viola, Olivia jumps from Viola to
Sebastian, and Sir Toby and Maria’s
marriage seems more a matter of
whim than an expression of deep and
abiding passion. Only Viola seems to
be truly, passionately in love as
opposed to being self-indulgently
lovesick. As she says to Orsino,
describing herself and her love for
him:
Characters Role
Orsino and Olivia Orsino and Olivia are worth discussing
together, because they have similar
personalities. Both claim to be
buffeted by strong emotions, but both
ultimately seem to be self-indulgent
individuals who enjoy melodrama and
self-involvement more than anything.
When we first meet them, Orsino is
pining away for love of Olivia, while
Olivia pines away for her dead
brother. They show no interest in
relating to the outside world,
preferring to lock themselves up with
their sorrows and mope around their
homes.
Analysis
Viola’s arrival begins to break both
characters out of their self-involved
shells, but neither undergoes a clear-
cut change. Orsino relates to Viola in
a way that he never has to Olivia,
diminishing his self-involvement and
making him more likable. Yet he
persists in his belief that he is in love
with Olivia until the final scene, in
spite of the fact that he never once
speaks to her during the course of the
play.
Characters Role Analysis

Orsino and Olivia Olivia, meanwhile, sets aside her grief

when Viola (disguised as Cesario)
comes to see her. But Olivia takes up
her own fantasy of lovesickness, in
which she pines away—with a self-
indulgence that mirrors Orsino’s—for
a man who is really a woman.
Ultimately, Orsino and Olivia seem to
be out of touch with real emotion, as
demonstrated by the ease with which
they shift their affections in the final
scene—Orsino from Olivia to Viola,
and Olivia from Cesario to Sebastian.
The similarity between Orsino and
Olivia does not diminish with the end
of the play, since the audience
realizes that by marrying Viola and
Sebastian, respectively, Orsino and
Olivia are essentially marrying female
and male versions of the same
person.
Characters Role
Malvolio The straitlaced steward—or head
servant—in the household of Lady
Olivia. Malvolio is very efficient
but also very self-righteous, and
he has a poor opinion of drinking,
singing, and fun. His priggishness
and haughty attitude earn him
the enmity of Sir Toby, Sir Andrew,
and Maria, who play a cruel trick
on him, making him believe that
Olivia is in love with him. In his
fantasies about marrying his
mistress, he reveals a powerful
ambition to rise above his social
class. (Grinch who stole
Christmas)
Analysis
Malvolio initially seems to be a
minor character, and his
humiliation seems little more than
an amusing subplot to the Viola-
Olivia-Orsino love triangle. But he
becomes more interesting as the
play progresses, and most critics
have judged him one of the most
complex and fascinating
characters in Twelfth Night. When
we first meet Malvolio, he seems
to be a simple type—a puritan, a
stiff and proper servant who likes
nothing better than to spoil other
people’s fun.
Characters Role Analysis

Malvolio It is this dour, fun-despising

side that earns him the
enmity of the zany, drunken
Sir Toby and the clever
Maria, who together
engineer his downfall. But
they do so by playing on a
side of Malvolio that might
have otherwise remained
hidden—his self-regard and
his remarkable ambitions,
which extend to marrying
Olivia and becoming, as he
puts it, “Count Malvolio”
Characters Role
Feste The clown, or fool, of
Olivia’s household, Feste
moves between Olivia’s and
Orsino’s homes. He earns
his living by making pointed
jokes, singing old songs,
being generally witty, and
offering good advice cloaked
under a layer of foolishness.
In spite of being a
professional fool, Feste
often seems the wisest
character in the play.
Analysis
Viola’s comment about feste that allows us
to know he is indeed wise.
VIOLA
This fellow is wise enough to play the
fool, and to do that well you have to
be clever. He has to pay attention to
the mood and status of the person
he's mocking, the time, and must also
pursue every target he sees. This is a
skill that requires just as much work
as any wise man's job, for he plays the
fool very wisely. Wise men, on the
other hand, ruin their reputation for
intelligence when they try to play the
fool.
Characters Role
Sir Toby Olivia’s uncle. Olivia lets Sir Toby
Belch live with her, but she does
not approve of his rowdy
behavior, practical jokes, heavy
drinking, late-night carousing, or
friends (specifically the idiotic Sir
Andrew). Sir Toby also earns the
ire of Malvolio. But Sir Toby has
an ally, and eventually a mate, in
Olivia’s sharp-witted waiting-
gentlewoman, Maria. Together
they bring about the triumph of
chaotic spirit, which Sir Toby
embodies, and the ruin of the
controlling, self-righteous
Malvolio.
Analysis
Sir Toby Belch is Olivia’s
boisterous and disreputable
uncle. With his love of drinking
and practical jokes, he embodies
the revelrous and chaotic spirit
of Twelfth Night. His surname
Belch is indicative of the comical
and often crude role he occupies
within the play; he is as quick to
reference his late-night carousing,
or to burst drunkenly into song, as
he is to engage in the kind of
clever wordplay that is beyond
the understanding of his more
foolish friend Sir Andrew. 
Characters Role
Sir Toby In terms of cleverness, he finds
his match in Maria, and the two
work together to make a mockery
of Malvolio, for whom Sir Toby
acts as a foil. While Malvolio
values rules, rigidity, and order, Sir
Toby values mischief, anarchy, and
disorder. (Lord of Misrule) Olivia
may disapprove of her uncle’s
raucous lifestyle, but it is Malvolio
whose pompous attitude and
sober demeanour contrast with
the play’s chaotic, light-hearted
tone, and so Sir Toby must
triumph over Malvolio to uphold
the play’s adherence to
merriment.
Analysis
Sir Toby is also seeking a match
for Olivia—he makes it clear he’s
looking for someone in a
comparable social position—
which emphasizes the importance
of class, and provides further
context for Sir Toby’s clash with
Malvolio. Malvolio, in Sir Toby’s
view, has the audacity to think
himself worthy of a countess like
his niece, an instance of poor
judgment for which Sir Toby and
Maria soundly punish him.
Characters Role
Maria Olivia’s clever, daring young waiting-
gentlewoman. Maria is remarkably
similar to her antagonist, Malvolio,
who harbors aspirations of rising in
the world through marriage. But
Maria succeeds where Malvolio fails
—perhaps because she is a woman,
but, more likely, because she is more
in tune than Malvolio with the
anarchic, topsy-turvy spirit that
animates the play.
Analysis
Maria is Olivia’s waiting-
gentlewoman. Clever and bold, her
witty repartee and propensity for
practical jokes characterize her as an
embodiment of the play’s tone:
unruly, light-hearted, and irreverent.
She demonstrates her intelligence by
exchanging quips with Sir Toby that go
over the head of Sir Andrew
Aguecheek, and she proves herself to
be mischievous and calculating by
engineering a plot against Malvolio
that feeds into the very egotism it
also punishes him for. 
Maria and Malvolio are not so
different. They are both lower-class
servants in Olivia’s household, and
disapprove of Sir Toby and Sir
Andrew’s disruptive drinking.
Characters Role & Analysis Role & Analysis

Sir Andrew Aguecheek A friend of Sir Toby’s.

Sir Andrew
Aguecheek attempts
to court Olivia, but
he doesn’t stand a
chance. He thinks
that he is witty,
brave, young, and
good at languages
and dancing, but he
is actually an idiot.
Characters Role & Analysis
Antonio A man who rescues Sebastian after
his shipwreck. Antonio has become
very fond of Sebastian, caring for him,
accompanying him to Illyria, and
furnishing him with money—all
because of a love so strong that it
seems to be romantic in nature.
Role & Analysis
Antonio is an enigmatic character in
the play who heightens the main
themes. He first appears imploring
Sebastian to either stay with him
longer, or allow him to accompany
the younger man when he leaves.
Antonio is quite dramatic in the
language he uses, imploring, “If you
will not murder me for my love, let
me be your servant” (2.1.).
Additionally, even though it is
dangerous for him to go to Orsino’s
court, Antonio immediately decides
to chase after Sebastian, since “come
what may, I adore thee so / That
danger will seem sport, and I will go”
(2.1.).
Characters Role & Analysis Role & Analysis

Antonio Antonio’s behavior

toward Sebastian seems
Antonio is convinced he
cannot live without one
to echo Orsino’s particular person, even
melodramatic love for though Sebastian seems
Olivia, and Olivia’s to view him simply as a
exaggerated passion for good friend. Antonio’s
Cesario. Like these other emotions echo the
characters, theme of unrequited
love, and the
unpredictable nature of
passion and desire.
 Dramatic
Techniques in
Twelfth Night
Dramatic Irony
Dramatic irony is created when
the audience understands
something about a character’s
Behaviour or an event; however,
the other characters in the play
are not privy to this information.
Dramatic Irony
In what ways is Dramatic
Irony present in Twelfth
Night?
Dramatic Irony
Dramatic irony occurs when audiences
know what characters in a book or play do
not. In act I, we as an audience know that
the "male" "Cesario" is actually Viola, a
woman, something that everyone in the
play but Viola is unaware of. We also
know another fact that the characters do
not, which is that Viola/Cesario is in love
with Duke Orsino.
 Situational Irony
This dramatic irony creates situational irony,
which occurs when a situation is the opposite of
what it seems to be. Viola seems to be a man wooing
 Olivia for the duke. In reality, she is a woman who
wishes she could marry the duke. Ironically,
she is trapped in the situation of trying to succeed in a
task—getting Olivia to marry Orsino—that she hopes
with all her heart will fail.
As Viola/Cesario puts it:
Whoe'er I woo, myself would be his wife.
 ASIDE
An aside is a comment that a
character makes to him or
herself in a play. It represents
their inner thoughts in spoken
form. Other characters can’t
overhear these remarks; they are
meant for the audience alone.
Asides also aid in the creation of
dramatic irony.
 ASIDE: Example
Shakespeare’s comedy Twelfth Night is full of disguises
and intrigue, which make it difficult to keep characters’
intentions clear to the audience. He uses asides to
keep the audience aware of how different people,
namely the protagonist, Viola, feel about different
circumstances. Here, she interrupts her own line
to make an aside:

I'll do my best
To woo your lady:
Aside

yet, a barful strife!

Whoe'er I woo, myself would be his wife.

Viola, dressed as the male Cesario,

agrees to find Curio a wife. But one
moment later she reminds herself – and the
audience why this is such a difficult feat.
Viola loves Curio, and wishes she could
match him with herself.
 CONTRAST
In literature, contrast is
the juxtaposition of two
strikingly different things
to create a comparison.
Shakespeare consistently
contrasts the behaviour
of Sir Toby to that of
Malvolio.
 CONTRAST
This is especially of Note
in Act 2 Scene 3. In this
scene, the audience
witnesses a belligerent,
light-hearted Sir Toby
juxtaposed to a
controlled, stern and
commanding Malvolio.
Themes in Twelfth
Night
Love and
Desires
Love and desire function as powerful drivers of plot because they seem to
strike suddenly and unpredictably, and because they render characters
helpless to change their feelings. Olivia is startled and somewhat dismayed
to recognize the desire she feels in response to Cesario. Viola echoes this
sentiment when, finding herself trapped in a love triangle with Olivia and
Orsino, she says that “It is too hard a knot for me to untie” (2.2.). When
Malvolio starts to believe that Olivia is in love with him, he reasons that
“Tis but fortune, all is fortune” (2.5.). Even though it seems surprising that
a high-ranking woman like Olivia would be romantically interested in her
own employee, Malvolio believes that Olivia’s love for him is a step
toward his true destiny. Likewise, Sebastian doesn’t seek a logical
explanation for Olivia’s strange behavior, trusting that their relationship is
an “accident and flood of fortune” (4.3.). For most of the characters, with
the notable exception of Malvolio, this strategy works well, since by the
end of the play, everyone has found a partner they are happy with.
• Gender Roles

• Women in
Society
Appearance Vs. Reality/Disguise
When she first finds herself stranded in Ilyria, Viola decides to “conceal
me what I am” (1.2.), entrusting only the Captain with her secret. As a
young woman who could be vulnerable to attack or sexual assault, she is
also much safer if she is disguised as a man. However, Viola quickly
learns the cost of maintaining a disguise. Her intentions and actions are
constantly misinterpreted, and she cannot correct these mistakes without
betraying her secret. While disguise and deception cause serious
difficulties for Viola, and even threaten her life when Orsino falsely
believes that Cesario has stolen Olivia away from him, the play also
suggests that disguise can serve a positive purpose as well. In a time when
women were expected to follow strict rules of social decorum, Viola’s
masculine disguise gives her the chance to speak her mind much more
freely. This shift is most apparent in the scene where Orsino and the
disguised Viola argue about how men and women behave in love. Viola
stands up for women, arguing that “In faith, they are as true of heart as
we” (2.4.).
Read on other themes here:
Twelfth Night Themes | LitCharts

Twelfth Night: Themes | SparkNotes

Planning Your Essay

View the following videos on how to plan

your essays for Drama, Poetry and Prose:
This will give you the best chance of
answering your three (3) questions in the
shortest possible time.
CSEC Exam Prep 2023: How to Write an Engli
sh B Essay for Paper 2 – YouTube

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 Practice Question
Disguise plays an important role in Twelfth Night.
Write an essay in which you briefly describe how
two characters disguised themselves in the play.
In this essay, you must also explain ONE benefit or
ONE complication that resulted from EACH of the
character’s disguises, and comment on
Shakespeare’s use of disguises to explore the
theme of women in society.