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45 pages 1 hour read

Twelfth Night

Fiction | Play | Adult | Published in 1602

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Act IIIChapter Summaries & Analyses

Act III Summary

Act III begins as Cesario heads back to see Olivia. He first encounters Feste the Fool, whom he recognizes from his recent appearance at Orsino’s court, and then Sir Toby and Andrew, before Olivia appears. When Olivia and Cesario are alone, Cesario relays Orsino’s message of love, but Olivia refuses it and confesses that she’s in love with Cesario. Cesario tells her that he does not feel the same—instead telling Olivia, “I pity you” (III.1.129)—and the two soon part.

 

At Olivia’s estate, Andrew is resolved to give up his quest to court Olivia. Sir Toby insists that he should stay and tells Andrew to challenge Cesario to a duel in order to impress Olivia and win her love. He tells Andrew to go write a letter to Cesario, but when Andrew leaves, Toby confesses to Fabian that he will not deliver the letter, as he thinks Andrew is cowardly and that “oxen and wainropes cannot hale [Andrew and Cesario] together” for a duel (III.2.58-59). Maria enters and tells the men that Malvolio has obeyed “every point of the letter that I dropped to betray him” (III.2.75-76) and is currently wearing yellow stockings. The men follow her to go find him.

 

Elsewhere in Illyria, Antonio is still following Sebastian. Sebastian tells Antonio that he doesn’t have to stay with him, but Antonio insists, saying that the area can prove “rough and unhospitable” to a stranger, and his “willing love” for Sebastian is what keeps him by his side (III.3.11). Sebastian wants to walk through Illyria, but Antonio refuses, saying that he in the past had a fight with Orsino’s men and thus cannot “without danger walk these streets” (III.3.27). Instead, Antonio gives Sebastian his purse with money in it and says the two should split up and meet later.

 

Back at Olivia’s estate, Olivia sends for Malvolio, saying he’s “sad and civil / And suits well for a servant with my fortunes” (III.4.6-7). Malvolio enters in his yellow, cross-gartered stockings, and smiles at Olivia, behaving strangely as Maria’s letter demanded. Olivia, however, is extremely confused, asking Malvolio, “What is the matter / with thee?” (III.4.26-27). Malvolio tries to reference the letter, saying, “Be not afraid of greatness” and quoting its other lines (III.4.42), but Olivia is bewildered and calls his behavior “very midsummer madness” (III.4.61).

 

A servant enters to tell Olivia that Cesario has arrived, and she tells Maria to send Toby and his friends to look after Malvolio in his strange state. Malvolio, still believing the letter was written by Olivia, believes her reaction is feigned and “concurs directly with the letter” (III.4.71-72). Toby decides to take care of Malvolio by tying him up and locking him in a dark room since Olivia “is already in the belief that he’s mad” (III.4.145-146). Toby says that they’ll continue pretending Malvolio is mad “for our pleasure and his penance,” until they get tired of their “pastime” and “have mercy on him” (III.4.146-148).

 

Sir Andrew enters with his letter challenging Cesario to a duel, which Toby says he’ll deliver to Cesario. When Andrew leaves, though, Toby says that Andrew’s “excellently ignorant” letter will not scare off Cesario and will instead give Cesario the message by “word of mouth,” exaggerating Andrew’s fighting skills so as to give Cesario a “hideous opinion of [Andrew’s] rage, skill, fury, and impetuosity” (III.4.196-202). Cesario and Olivia enter; Olivia gives Cesario a jewel to wear, but Cesario rejects Olivia again, and only wants her “true love for my master” (III.4.221).

 

The two part ways and Toby and Fabian enter, telling Cesario that Andrew is waiting so that they can duel, claiming that the knight is “incensed against” Cesario (III.4.270). “He is […] the most skillful, bloody, and fatal opposite that you could possibly have found in any part of Illyria,” Fabian claims about Andrew (III.4.276-277). Cesario protests, saying he is no fighter. Meanwhile, Toby tells Andrew that Cesario is “a very devil” (III.4.284). Andrew gets scared and protests, but Toby tells Cesario that Andrew wants to fight. As the two reluctantly prepare to duel, Antonio enters. He believes that Cesario is Sebastian—since dressed as a man Viola looks even more like her twin brother than usual—and he draws his sword to protect him.

 

Officers enter and arrest Antonio for his misdeeds against Orsino, and Antonio, still believing Cesario is Sebastian, asks for his money back, but Cesario doesn’t know what he’s talking about. He gives Antonio some money in thanks for defending him in the duel but rightly claims not to know Antonio “by voice or any feature” (III.4.371). Antonio is deeply hurt because he thinks that Sebastian is renouncing him after Antonio saved his life: “[T]hou hast, Sebastian, done good feature shame” (III.4.386). Antonio and the officers depart. Viola, having heard Antonio say her brother’s name, wonders if Sebastian could still be alive. Toby, Fabian, and Andrew remark that Cesario is “a very dishonest, paltry boy” (III.4.405), and Andrew vows to go “after him again and beat him” (III.4.411).

Act III Analysis

Act III is marked by trickery and miscommunication, with the most prominent scene being Malvolio’s comic attempt to woo Olivia. The scene plays out the prank that Toby and Maria schemed, causing the haughty Malvolio to be declared mad by a confused Olivia and ultimately thrown in a dark room. Yet Malvolio, echoing Maria’s earlier suggestion that he is “so crammed, as he thinks with excellencies, that it is his grounds of faith that all that look on him love him” (II.3.148-150), still here is shown to be deluded in his narcissism, believing that his plan has in fact worked out. “Why, everything adheres together […] Nothing that can be can come between me and the full prospect of my hopes,” Malvolio says (III.4.84-89).

 

The other major act of trickery and miscommunication in the third act is the duel between Sir Andrew and Cesario, which Toby arranges despite the fact that neither Andrew nor Cesario actually want to fight. The duel’s purpose is more than comic, however, because it serves as a plot device that propels the play toward its resolution. When Antonio sees who he believes to be Sebastian fighting, it sets the stage for the real Sebastian’s reunion with his sister Viola. Antonio’s love for Sebastian proves to once again be a cause of suffering, as he believes he has been betrayed by the companion he so loves. Antonio’s outburst against Cesario, though, in which he says, “Thou hast, Sebastian, done good feature shame” (III.4.385), is important for Viola, who hears her brother’s name spoken and revives her hope that Sebastian is, in fact, alive. Viola reiterates her resemblance to her brother (which is important for the audience, given that the two actors playing the characters are likely not related). Viola points out that her male disguise as Cesario imitates Sebastian in “fashion, color, [and] ornament” (III.4.402).

 

Act III also makes frequent use of one of the recurring symbols throughout Twelfth Night, which is the use of tokens or jewelry to represent a character’s affection or love for another. Cesario goes to Olivia’s estate to deliver the jewel that Orsino tells Cesario to bring Olivia in Act II. Olivia gives Cesario a jewel of her own, telling Cesario, “Here, wear this jewel for me. ‘Tis my picture,” (III.4.216). Though not a piece of jewelry, Antonio giving Sebastian his purse, in case Sebastian’s “eye shall light upon some toy” (III.4.48), is also a symbolic act that represents Antonio’s love for Sebastian.

 

This last exchange also provides some textual evidence for the complexity of the relationship between Antonio and Sebastian. They have agreed to meet “in the south suburbs, at the Elephant” (III.3.30). The Elephant is an inn (or perhaps a brothel) and references a real inn/brothel in London called the Oliphant; “toy” is also a euphemism for prostitute (Ko, Yu Jin. Mutability and Division on Shakespeare’s Stage. University of Delaware Press, 2004.) In other words, Antonio and Sebastian’s brief scene sets up Sebastian being mistaken for Cesario, and it also demonstrates that the two characters have a close relationship that is at least partly informed by an intimate understanding of one another’s sexual desires.

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