twelfth night mistaken identity essay

Mistaken Identity in Twelfth Night

Shakespeare is wont to employ the tool of mistaken identity in his plays. Twelfth Night is one of his plays that best embody the effective use of mistaken identity. In the play, Sebastian was constantly being mistaken for his twin sister Viola who was pretending to be a man. The main mechanism by which mistaken identity was performed in the play was through the use of disguises involving the cross-dressing of characters, or of Viola to be specific. Cross-dressing gives Viola’s character the range of choices and actions available to a man.

At the same time, cross-dressing is also the reason for the case of mistaken identity that ensues at the latter part of the play. The setting of Twelfth Night is in the early days of English history. This is a time when men and women have strict dress codes. Men wear pants and women wear dresses or variations thereof. Any switching between the garments of the two is considered socially unacceptable. The garment one wears often bespeaks the powers one has in society. This is shown when Viola says, “Conceal me what I am; and be my aid for such disguise as, haply, shall become the form of my intent.

” (1. 2) Cross-dressing allows Viola to hide her identity as a woman and also allows her to take on the roles of a man in society. She needs the captain to help her because as a man, the captain will now what is customarily worn by males especially in Illyria. She then declares that the disguise is also the “form of my intent”. This means that by a change of clothing, Viola has taken on a new persona and gender. The act of cross-changing has allowed her to take on a different set of plans and a different course of action than that which was available to her as the woman, Viola.

Viola’s transformation from a woman to a man simply by a change of clothing was made possible by the fact that she looked like her twin brother. Sebastian affirms this when he states, “A lady, sir, though it was said she much resembled me” (2. 1) Because of the great similarity between Sebastian and Viola’s looks, cross-dressing transforms Viola into a man who very much resembles Sebastian. This is also confirmed when Viola states she imitated Sebastian’s way of dressing when she decided to cross-dress.

She remarks of her brother,“he went still in this ashion, colour, ornament, for him I imitate. ” (3. 4) Cross-changing also allowed Viola access to jobs only men would be able to fill in. “I’ll serve this duke; Thou shalt present me as an eunuch to him” By allowing herself to be presented as a eunuch, she allows herself to be perceived and treated as a man – something already affirmed by her wardrobe. Only in this presentation of herself as a male would she be able to carry through her plans of serving the duke. A different set of clothes even transforms Viola in the eyes of women.

Olivia, who has sworn not to entertain any of those trying to woo her, quickly develops feelings for Viola who is pretending to be Cesario. Even aftet their first meeting, Olivia notes, “Thy tongue, thy face, thy limbs, actions, and spirit, Do give thee five-fold blazon. ” (1. 5) “O what a deal of scorn looks beautiful in the contempt and anger of his lip! ” (3. 1) She admires Viola’s attributes even though these are attributes of a woman. She even begins to experience emotions of love for Olivia. Had Olivia met Viola in a dress instead of the attire of a man, she would not have considered Viola remarkable.

The change in dress effectively disguised Viola and allowed her to be assessed by others differently. Viola’s transformation into a man with the use of a change in clothes is proven effective when Antonio mistakes her to be Sebastian. The scene where Antonio meets Viola is the first scene of mistaken identity in the play. Antonio rushes in to defend Viola, who is disguised as Cesario, in a duel. (3. 4) Even Viola is surprised by Antonio’s mistaken perception. She puzzles over the incidence and exclaims, “That I, dear brother, be now ta’en for you! ” (3. 4)

Sebastian, whose fashion style Viola imitated, is the one who experiences the most consequences from the case of mistaken identity. Viola, who pretended to be the man Cesario, caused a series of events to transpire in Illyria which affected Sebastian. Sebastian becomes entangled in the events simply because he resembles Cesario, or Viola in man’s clothes. Sebastian is mistakenly taken to be Cesario by the clown, by Sir Andrew, Sir Toby, and Fabian, and by Olivia. This results in Sebastian having to fight the duel meant for Cesario and even marrying Olivia who was supposedly in love with Cesario.

(5. 1; 5. 3) By a simple feat of cross-dressing, Viola has caused a ruckus in Illyria. With Sebastian’s arrival in the same land, numerous cases of mistaken identity occur. Viola is mistakenly accused by Olivia to be her husband and by Sir Andrew and Sir Toby to be the one they encountered in a duel even though it was Sebastian who did all these things. The entire first part of Act 5 becomes a case of finger-pointing, denial and accusations because both Sebastian and Viola have been mistaken for each other. This only emphasizes the important feature of cross-dressing in the story.

Simply by donning clothes that Sebastian would use, Viola was able to convince everyone she was a man. Even to the point of confusing people who had already seen the actual Sebastian. Even when Sebastian and Viola are seen together, she is still accepted to be a man. Antonio exclaims, “How have you made division of yourself? – An apple, cleft in two, is not more twin than these two creatures. Which is Sebastian? ” (5. 1) Viola’s transformation from woman to man was so complete that the people in Illyria could not tell her apart from Sebastian even when Sebastian, himself, was physically present.

Despite the change in clothes and the continued ploy of pretending to be a man, it is clear that Viola is still very much a woman. When asked by the Duke Orsino to woo Olivia for him, Viola comments on the side, “Yet, a barful strife! Whoe’er I woo, myself would be his wife. ” (2. 4) This shows that she has developed feelings for the Duke. She plans on making herself the Duke Orsino’s wife. In an exchange with the Duke regarding the one Viola loves she hints to him that it is in fact he. DUKE: What kind of woman is’t? VIOLA: Of your complexion. DUKE: She is not worth thee, then. What years, i’ faith?

VIOLA: About your years, my lord. (2. 4) This affirms that Viola has fallen in love with the Duke despite the fact that she is dressed and acting like a man when with him. She is still a woman who maintains attractions for the opposite sex despite the change in attire and demeanor. Although she has hidden her womanhood, she still has all the emotional aspects of a woman. Twelfth night and its very strong theme of mistaken identity is clearly founded on the utilization of cross-dressing. Cross-dressing established the new identity of Viola which also led to the confusion between her and her twin brother Sebastian.

A change in costume not only served to feed the fuel of mistaken identity but also allowed its resolution. With Viola’s promise to change back to her womanly garb, the Duke allows himself to love her and Olivia accepts her marriage to Sebastian. Even though cross-dressing did not change Viola’s personality and her treatment of those around her, it influenced those same people’s perception of her. Indeed, it leaves one to wonder whether the Duke and Olivia truly love Viola/Cesario or whether they were simply reacting to the man Viola’s costume projected.

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Further Reading: Twelfth Night

Barber, C. L. “Testing Courtesy and Humanity in Twelfth Night .” In Shakespeare’s Festive Comedy , pp. 240–61. Princeton: Princeton University Press, 1959.

Barber’s well-known essay treats the festive spirit implied in the play’s title. Malvolio’s presence is appropriate in this sense, for he acts as a foreign body that must be expelled by laughter. By moving the audience through release to clarification, the play explores the powers in human nature that make good the risks of social courtesy and liberty displayed in Viola’s character.

Belsey, Catherine. “Disrupting Sexual Difference: Meaning and Gender in the Comedies.” In Alternative Shakespeares, edited by John Drakakis, pp. 166–90. London: Methuen, 1985.

By disrupting the difference between masculine and feminine, Shakespeare’s comedies radically challenge patriarchal values. As one instance, Belsey pursues the way Twelfth Night unfixes gender distinctions toward comic, romantic ends. Twelfth Night ’s ending depends on the closing off of “glimpsed transgression” and the reinstatement of a clearly defined sexual distinction. But, as Belsey reminds us, “plays are more than their endings.”

Brown, John Russell. “Directions for Twelfth Night, or What You Will. ” In Shakespeare’s Plays in Performance, pp. 207–19. New York: St. Martin’s, 1967.

For Brown, Twelfth Night poses a greater challenge to the theatrical practitioner than most plays. Exploring possible solutions that will answer the demands of both the text and the modern stage, Brown imagines a production that would bring together the varied elements of the Illyrian world, a world alternately—and often simultaneously—“gay, quiet, strained, solemn, dignified, elegant, easy, complicated, precarious, hearty, [and] homely. . . .”

Everett, Barbara. “Or What You Will.” Essays in Criticism 35 (1985): 294–314.

Everett explores musicality, characterization, verbal style, the significance of the play’s subtitle, and the role of Feste in response to what, for Everett, is the primary question posed by Twelfth Night and Shakespeare’s earlier comedies: “Why do we take them seriously? Or how, rather, best to explore the ways in which it is hard not to take them seriously—the sense that at their best they achieve a lightness as far as possible from triviality.”

Greenblatt, Stephen. “Fiction and Friction.” In Shakespearean Negotiations, pp. 66–93. Berkeley: University of California Press, 1988.

Exploring his sense that Twelfth Night forever skirts illicit, homosexual desire, Greenblatt traces the course of the “swerving” necessary to avert social, theological, and legal disaster. By historicizing the sexual nature of Shakespeare’s work within other social discourses of the body, Greenblatt establishes that, since women were understood to be inverted mirror images of men, there would be an inherent homoeroticism in all sexuality, although consummation of desire could be licitly figured only in the love of a man and a woman. It is this “mobility of desire” upon which the “delicious confusions of Twelfth Night depend. . . .”

Hartman, Geoffrey H. “Shakespeare’s Poetical Character in Twelfth Night.” In Shakespeare and the Question of Theory, edited by Geoffrey Hartman and Patricia Parker, pp. 37–53. London: Methuen, 1985.

Analyzing the ways Shakespeare’s language, especially punning and wordplay, relates to character, Hartman examines the flux of language between real consequence—as in Malvolio’s desperate pleas for release—and mere quibbling. Twelfth Night hints at moments of clarification (“Good madam, let me see your face”) but defers pure revelation because the text, sustained by wit, keeps turning. According to Hartman, “There is always more to say.”

Howard, Jean E. “Crossdressing, the Theatre, and Gender Struggle in Early Modern England.” Shakespeare Quarterly 39 (1988): 418–40.

Howard uses preachers’ and polemicists’ attacks on cross dressing during the 1580–1620 period as signals of a sex-gender system under pressure to argue that cross dressing threatened the normative social order of hierarchy. But Howard argues that, in Twelfth Night, the cross-dressed Viola fails to challenge this social order, while Olivia powerfully challenges it.

Kermode, Frank. “The Mature Comedies.” In Early Shakespeare, edited by John Russell Brown and Bernard Harris, pp. 211–27. Stratford-upon-Avon Studies 3. London: Edward Arnold, 1961.

Shakespeare’s preoccupation with the comedy of mistaken identity takes subtlest form, for Kermode, in Twelfth Night, where the inability certainly to distinguish between what is meant and what is said, between things as they are and things as they appear to be, develops “a peculiar relevance to life itself.” Kermode terms the play a “comedy of identity, set on the borders of wonder and madness.”

Novy, Marianne. “ ‘An You Smile Not, He’s Gagged’: Mutuality in Shakespeare’s Comedy.” In Love’s Argument: Gender Relations in Shakespeare, pp. 21–44. Chapel Hill: University of North Carolina Press, 1984.

Novy follows the linguistic implications of “mutuality”: the mutual dependence of romantic couples in Shakespeare’s comic world. Marking the similarities of the suppliant lover and court jester—both depend for success upon a response of acceptance—Novy reads both wooing speeches and jokes as attempts to establish relationships. Shakespeare’s most interesting comic lovers depend upon these verbal modes of interplay to develop their relationships. In this way, Shakespeare departs from both classical Roman comedy and the Petrarchan tradition in which “the focus is on the man, the initiator.”

Rackin, Phyllis. “Androgyny, Mimesis, and the Marriage of the Boy Heroine on the English Renaissance Stages.” PMLA 102 (1987): 29–47.

Rackin explores the changing conceptions of gender and theatrical mimesis through transvestite heroines in five English Renaissance plays, including Twelfth Night. Topics include the sexual ambiguity of the boy heroine in association with the problematic relationship between the male actor and the female character he plays, the dramatic action and the reality it imitates, and the play and the audience that watches it. The increasingly rigid gender distinctions and the devaluation of the feminine are associated with a rejection of fantasy and a deepening anxiety about theatrical representation.

Summers, Joseph. “The Masks of Twelfth Night.” In Shakespeare: Modern Essays in Criticism, edited by Leonard F. Dean, pp. 134–43. Rev. ed. New York: Oxford University Press, 1967.

Noting that in Twelfth Night the usual Shakespearean barrier to romantic fulfillment—a “responsible” older generation—has been abolished, Summers examines why the inhabitants of Illyria discover that they are anything but free. Summers removes the mask of each character, determining that most of them know “neither themselves, nor others, nor their social worlds.” Within comedy, “we laugh with the characters who know the role they are playing and we laugh at those who do not.” Summers divides the cast into those two broad categories but points out that the professional fool, Feste, “never makes the amateur’s mistake of confusing his personality with his mask. . . .”

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Home — Essay Samples — Literature — Twelfth Night — Love and Mistaken Identities in Twelfth Night, a Play by William Shakespeare

Love and Mistaken Identities in Twelfth Night, a Play by William Shakespeare

• Categories: Twelfth Night William Shakespeare

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Words: 885 |

Published: Oct 31, 2018

Words: 885 | Pages: 2 | 5 min read

Works Cited

• Greenblatt, S. (2014). Will in the World: How Shakespeare Became Shakespeare. W. W. Norton & Company.
• Holland, P. (1999). The Oxford Shakespeare: Twelfth Night, or What You Will. Oxford University Press.
• Kiernan, V. (2018). Filming Shakespeare's Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook, Akira Kurosawa, and Kenneth Branagh. McFarland.
• Loomba, A. (2005). Shakespeare, Race, and Colonialism. Oxford University Press.
• Nevo, R. (2009). Shakespeare's Universe of Discourse: Language-Games in the Comedies. University of Toronto Press.
• Orgel, S. (2012). Impersonations: The Performance of Gender in Shakespeare's England. Cambridge University Press.
• Shakespeare, W. (2016). Twelfth Night. Simon & Schuster.
• Smith, I. (2002). Shakespeare's Twelfth Night: CliffsNotes. Houghton Mifflin Harcourt.
• Thompson, A. R., & Taylor, N. (2006). William Shakespeare, 'Twelfth Night'. Manchester University Press.
• Wells, S., & Orlin, L. C. (2003). Shakespeare: An Oxford Guide. Oxford University Press.

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• Twelfth Night

William Shakespeare

• Literature Notes
• Essay Questions
• Play Summary
• Character List
• Summary and Analysis
• Act I: Scene 1
• Act I: Scene 2
• Act I: Scene 3
• Act I: Scene 4
• Act I: Scene 5
• Act II: Scene 1
• Act II: Scene 2
• Act II: Scene 3
• Act II: Scene 4
• Act II: Scene 5
• Act III: Scene 1
• Act III: Scene 2
• Act III: Scene 3
• Act III: Scene 4
• Act IV: Scene 1
• Act IV: Scene 2
• Act IV: Scene 3
• Act V: Scene 1
• Character Analysis
• Duke Orsino
• Sir Toby Belch, Sir Andrew Aguecheek, and Maria
• Critical Essays
• Major Themes
• Major Symbols and Motifs
• William Shakespeare Biography
• Famous Quotes
• Film Versions
• Cite this Literature Note

Study Help Essay Questions

1. Twelfth Night is based on a series of mistaken identities and disguises of one sort or another. Identify as many of the disguises as you can, and explain how each of them functions in the plot development.

2. Describe the nature and type of love to which Duke Orsino is an easy prey.

3. Why does Duke Orsino use Cesario (Viola) to woo Olivia? Why doesn't he court her himself? Is it significant that Orsino and Olivia meet only once in the play and that this meeting is at the very end of the comedy? If so, why?

4. What qualities does Duke Orsino possess that allow Viola to fall in love with him?

5. Discuss Viola's use of her disguise.

6. Discuss the various changes that Lady Olivia undergoes during the course of the play. How can these changes be accounted for?

7. Relate the comic subplots dealing with Sir Andrew's and Malvolio's love for Lady Olivia to the main romantic plots.

8. How many separate plots are there? How can each be related to the other?

9. How does music function in this comedy?

10. How is Feste the Clown related to both the comic and the romantic plots?

Previous Film Versions

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• Twelfth Night

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Mistaken Identity in Twelfth Night Essay

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Throughout “ Twelfth Night ” there is much foolery, fantasy and mistaken identity. These incidents have made the play more fun, interesting and surprising and have certainly given the play a few twists.

Olivia and Viola-Cesario (I, v)

The first and most important case of mistaken identity in my opinion, began in Act 1, scene 5, in Olivia’s household. Viola-Cesario was sent by Orsino to try and “woo” Olivia for him but Viola, in love with Orsino herself, knew that she would not want to do this: “I’ll do my best to woo your lady. [Aside] Yet a barful strife! Whoe’er I woo, myself would be his wife.” (I, iv, l. 39-41). The two got on well although there was much verbal fencing, but by the time Viola-Cesario had left, Olivia feared she had fallen in love with “him”. We learn this from Olivia’s words after Viola-Cesario’s departure:

“Even so quickly may one catch the plague?

Methinks I feel this youth’s perfections

With an invisible and subtle stealth

To creep in mine eyes. Well, let it be.” (I, v, l. 250-3)

So, complications were forming already in just the first act: Olivia had fallen in love with the disguised woman, viola; Viola was in love with Orsino, who believed her to be a man; and Orsino was in love with Olivia, who despised him. A love triangle full of complications, lies and mistaken identity had formed.

This incident leads to become the main source of many problems (and humour) to come. Some of which include the duel between Sir Andrew and Viola-Cesario and the marriage of Olivia and Sebastian, Viola’s twin brother.

Overall, this case of mistaken identity leads to many humorous predicaments and in my opinion it is the most important one: it complicates and adds twists to the plot throughout the play, not to mention the humour it brings.

Malvolio and Olivia (II, V)

A rather amusing case of mistaken identity began in Olivia’s garden. Sir Toby, Sir Andrew, Fabian and Maria had written a letter made to look like it was from Olivia, declaring love for someone and saying she liked a list of things that in reality Olivia hated. They placed it where Malvolio would pick it up, knowing he would believe it to be about him, and watched from behind a bush as Malvolio read it aloud. The letter is very clever and Shakespeare even managed to include a crude joke:

“By my life, this is my lady’s hand: these be her c’s, her u’s, and her t’s, and thus makes she her great P’s.” (II, v, l. 72-3).

Malvolio read on to discover that Olivia “liked” yellow stockings (a colour she hated) with cross-gartering. He was also told to treat his fellow workers as inferiors to him and to smile jokily all day, a mood that Olivia was not in with the death of her brother.

Malvolio then doing as “Olivia” had said, came before her looking ridiculous and hinting that he knew of the letter: “this cross-gartering… If it please the eye of one, it’s with me… I think we do know the sweet Roman hand.” (III, iv, l. 20-6). Malvolio continued to hint and recite quotes from her letter for some time, making a complete fool out of himself.

When Sir Toby entered, Malvolio was rude to him as the letter instructed, but he was accused of being possessed and was told he was mad: “La you, and you speak ill of the devil, how he takes it at the heart! Pray God he be not bewitched!” (III, iv, l. 87-8). Later, Malvolio was imprisoned and tormented by the mocking Sir Toby and Feste as if he were mad.

Overall, this instance of mistaken identity includes many scenes of comedy and supplies good entertainment for the audience. It was not fun for poor Malvolio, but he was none the wiser of the joke being played on him and I think it was quite satisfying as a reader or viewer of the play to see him make a fool out of himself.

Viola and Antonio (III, iv)

Another interesting case of mistaken identity began in the middle of Sir Andrew and Viola-Cesario’s duel – a branch from the Olivia and Viola mistaken identity.

Sir Andrew was on the verge of leaving Illyria because his desire to “woo” Olivia was not getting anywhere as she was paying more attention to Viola-Cesario. So, with some persuasion from Sir Toby he challenged Viola-Cesario to a duel and so win Olivia’s affection by his bravery. Of course Sir Toby took over and exaggerated the facts so when the duel came neither of them wanted to fight and they were both terrified of one another. Sir Andrew even tried to bribe Viola: “Let him let the matter slip, and I’ll give him my horse, Grey Capilet.” (III, iv, l. 242).

But when the duel came, Antonio, mistaking Viola for her twin brother Sebastian, intervened: “Put up your sword! If this young gentleman have done offence, I take the fault on me.” (III, iv, l. 264-5). This of course baffled everyone, especially Viola as she had never seen the man before. But at this point two officers arrived to arrest Antonio for his doings at sea and he asked “Sebastian” for the money he had lent him. Viola said that she had no idea who he was and Antonio, still believing her to be Sebastian, rightfully got very angry and upset:

“Will you deny me now?

Is’t possible that my deserts to you

Can lack persuasion? Do not tempt my misery.”

(III, iv, l. 298-300).

And later: “Thou hast, Sebastian, done good feature shame.

In nature there’s no blemish but the mind:

None can be called deformed but the unkind.”

(III, iv, l. 317-9).

This case of mistaken identity caused hurt feelings and confusion to those involved. Unlike the other cases, it is not humorous and few events branch from it. The incident is an interesting and more serious part of the play, which involves another mistake over Viola’s identity.

As a final summary, I think mistaken identity is a very important aspect of Twelfth Night: it provides humour, complications and interesting twists to the play. As a reader or viewer of Twelfth Night it is very enjoyable to know the thoughts of each character while they go around not knowing the truth and making mistakes. In some ways Twelfth Night is almost like a pantomime: the mistaken identity supplies a fantastical, foolish and humorous mood to the play.

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How does William Shakespeare use the concept of appearance vs. reality in Twelfth Night

Table of Contents

In William Shakespeare’s comedy “Twelfth Night,” the theme of appearance versus reality is skillfully explored through various characters and situations. This theme highlights the discrepancy between how things appear on the surface and their true nature, revealing the deceptions, misunderstandings, and hidden truths that lie beneath. Through the use of disguise, mistaken identities, and the contrast between appearance and reality, Shakespeare effectively presents the complex nature of human perception and the consequences that arise from misjudgment.

Concept of appearance vs. reality in Twelfth Night:- One of the primary instances where the theme of appearance versus reality is evident in “Twelfth Night” is through the character of Viola. Viola, after surviving a shipwreck, disguises herself as a man named Cesario and enters the service of Duke Orsino.

By assuming this disguise, Viola is able to observe the inner workings of the court and the various characters, while remaining concealed herself. Her appearance as Cesario allows her to navigate the world of Illyria more freely, but it also creates a web of misunderstandings and complicates the relationships between characters.

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Concept of appearance vs. reality in Twelfth Night:- Viola’s disguise creates a case of mistaken identity when Olivia, the countess of Illyria, falls in love with her. Olivia, who has sworn to mourn her brother’s death for seven years and reject any suitors, is captivated by the outward appearance of Cesario. She sends Malvolio, her steward, to deliver a ring to Cesario as a token of her affection. Viola, who is secretly in love with Duke Orsino, becomes the intermediary between Olivia and the Duke. This situation sets the stage for a series of misunderstandings and misinterpreted affections.

The discrepancy between appearance and reality becomes even more complex when Sebastian, Viola’s twin brother presumed dead in the shipwreck, arrives in Illyria. Olivia mistakes Sebastian for Cesario and promptly marries him. This mistaken identity not only confuses Olivia but also adds another layer of confusion to the relationships in the play. When Viola and Sebastian are finally reunited, the true identities are revealed, and the characters are forced to confront the consequences of their mistaken judgments.

Concept of appearance vs. reality in Twelfth Night:- Shakespeare also employs the theme of appearance versus reality through the character of Malvolio. Malvolio, a steward in Olivia’s household, is a strict and puritanical figure who presents himself as serious and moralistic.

However, he becomes the victim of a cruel prank when Maria, Olivia’s maid, forges a letter in Olivia’s handwriting, suggesting that Olivia is in love with him and desires him to wear ridiculous clothing and behave out of character. Malvolio, unaware that the letter is a fabrication, follows the instructions and makes a fool of himself in front of Olivia. This subplot serves as a cautionary tale about the dangers of misinterpreting appearances and the potential consequences of misplaced trust.

Concept of appearance vs. reality in Twelfth Night:- Furthermore, the character of Feste, the fool, embodies the theme of appearance versus reality in “Twelfth Night.” Feste uses his wit and wordplay to challenge the assumptions and pretenses of the other characters, often through his songs and jests. While he appears to be merely an entertainer, Feste’s role extends beyond that of a fool. He possesses a keen perception of the world around him and uses his wit to expose the truth beneath the surface. Feste’s interactions with the other characters serve as a reminder that appearances can be deceiving and that reality is often more complex than it initially seems.

Also Read:- William Shakespeare Biography and Works

The concept of appearance versus reality is also explored through the contrast between the revelry of the Twelfth Night festivities and the underlying emotions and tensions that exist within the characters. The celebrations and disguises that take place during the holiday create an atmosphere of merriment and chaos.

Twelfth Night “Summary”

“Twelfth Night” is a comedic play written by William Shakespeare, believed to have been written around 1601. It explores themes of love, identity, deception, and the nature of human desire. Set in the fictional country of Illyria, the play follows the story of Viola, a young woman who disguises herself as a man named Cesario and becomes entangled in a web of mistaken identities and romantic pursuits. With its witty dialogue, memorable characters, and complex plot, “Twelfth Night” remains one of Shakespeare’s most beloved comedies.

Concept of appearance vs. reality in Twelfth Night:- The play opens with a shipwreck off the coast of Illyria, which separates Viola from her twin brother, Sebastian. Believing her brother to be dead, Viola decides to disguise herself as a man to protect herself in this unfamiliar land. She assumes the name Cesario and finds employment in the court of Duke Orsino, who is madly in love with the noblewoman Olivia. Duke Orsino sends Cesario to Olivia’s estate to deliver messages of love on his behalf.

Unbeknownst to Viola, she inadvertently becomes the object of Olivia’s affection. Olivia, grieving the recent loss of her brother, vows to avoid any suitors for seven years. However, when she meets Cesario, she is immediately captivated by his charm and wit. Viola, still in her disguise, finds herself falling in love with Duke Orsino, complicating the love triangle further.

Concept of appearance vs. reality in Twelfth Night:- Meanwhile, a subplot emerges involving Olivia’s uncle, Sir Toby Belch, and his companions: Sir Andrew Aguecheek, a wealthy but dim-witted suitor; Maria, Olivia’s witty and clever maid; and Feste, a wise fool or court jester.

They conspire to play a prank on Olivia’s pompous steward, Malvolio, who is known for his strict and puritanical demeanor. Maria forges a love letter, supposedly from Olivia, and plants it where Malvolio will find it. The letter convinces Malvolio that Olivia is in love with him and that she desires him to behave in a foolish manner. Malvolio, driven by his newfound beliefs, embarrasses himself in front of Olivia, leading her to believe he is mad.

In the midst of these romantic entanglements, Viola’s twin brother, Sebastian, arrives in Illyria. He is unaware that his sister is alive and assumes she was lost in the shipwreck. As Sebastian explores the city, he is mistaken for Cesario by Olivia’s household and is pursued by Sir Andrew, who seeks revenge for Cesario’s perceived betrayal of Olivia’s affections. The confusion reaches its peak when Sebastian and Viola come face to face, leading to mistaken identities and mistaken affections.

Concept of appearance vs. reality in Twelfth Night:- Eventually, all misunderstandings are resolved. Viola reveals her true identity to Duke Orsino, who realizes he loves her for herself and not as Cesario. Olivia, upon discovering that she has been wooed by a woman in disguise, transfers her affections to Sebastian and quickly marries him. Malvolio, released from his imprisonment, vows revenge on those who tricked him.

Concept of appearance vs. reality in Twelfth Night:- In the final act, the characters come together, and their true identities are revealed. Viola and Sebastian are joyfully reunited, Duke Orsino marries Viola, and Olivia finds happiness with Sebastian. The subplot involving the prank on Malvolio is exposed, leading to apologies and reconciliations. Feste delivers the play’s epilogue, reminding the audience of the fleeting nature of life’s pleasures and the importance of laughter.

William Shakespeare’s “Twelfth Night” skillfully explores the theme of appearance versus reality through various characters and situations. The play demonstrates the complexity of human perception and the consequences that arise from misjudgment and misunderstanding. Through the use of disguise, mistaken identities, and the contrast between appearance and reality, Shakespeare reveals the deceptive nature of outward appearances and the hidden truths that lie beneath.

The character of Viola, disguised as Cesario, serves as a central figure in exploring the theme. Her disguise allows her to navigate the world of Illyria, but it also leads to misunderstandings and complicated relationships. The mistaken identities between Viola, Olivia, and Sebastian further emphasize the disconnect between appearance and reality, resulting in a web of confusion and misinterpreted affections.

Concept of appearance vs. reality in Twelfth Night:- Malvolio’s character exemplifies the dangers of misinterpreting appearances. His puritanical demeanor hides a gullible nature, leading him to become the victim of a cruel prank. This subplot warns against the consequences of misplaced trust and the potential for misjudgment.

Feste, the fool, challenges assumptions and pretenses through his wit and wordplay. His interactions with the characters serve as a reminder that appearances can be deceiving and that reality is often more intricate than it initially seems.

Concept of appearance vs. reality in Twelfth Night:- Furthermore, the contrast between the revelry of the Twelfth Night festivities and the underlying emotions and tensions within the characters underscores the theme of appearance versus reality. The play’s atmosphere of merriment and chaos masks the internal struggles and unrequited love that the characters experience.

Through these various elements, Shakespeare effectively explores the concept of appearance versus reality in “Twelfth Night.” The play serves as a reminder that things are not always as they appear on the surface, and that true understanding requires looking beyond outward appearances to uncover the hidden truths within.

Q: How does the theme of appearance versus reality manifest in the play “Twelfth Night”?

A: The theme of appearance versus reality is evident in various ways throughout the play. It is primarily explored through the use of disguise and mistaken identities. Viola’s disguise as Cesario creates a discrepancy between her outward appearance and her true identity, leading to misunderstandings and complicated relationships. Similarly, the mistaken identities between Viola, Olivia, and Sebastian add to the theme, highlighting the contrast between how characters appear and who they really are.

Q: How does Viola’s disguise contribute to the theme of appearance versus reality?

A: Viola’s disguise as Cesario is a central element in the exploration of appearance versus reality. By assuming a male identity, Viola can move freely through Illyria and observe the characters while remaining concealed herself. This disguise creates a web of misunderstandings and complicates the relationships between characters. It also highlights the disparity between Viola’s appearance as Cesario and her true identity as a woman.

Q: What role does mistaken identity play in portraying the theme of appearance versus reality?

A: Mistaken identity is a significant element in highlighting the theme of appearance versus reality in “Twelfth Night.” Olivia mistaking Viola (disguised as Cesario) for Sebastian and promptly marrying him creates a stark contrast between appearance and reality. The confusion arising from mistaken identities leads to misunderstandings and reveals the consequences of basing judgments on outward appearances.

Q: How does the character of Malvolio exemplify the theme of appearance versus reality?

A: Malvolio’s character embodies the dangers of misinterpreting appearances. He presents himself as a serious and moralistic figure, but his gullibility and misplaced trust lead him to fall victim to a cruel prank. The forged letter, suggesting that Olivia loves him, exposes the gap between Malvolio’s perception of himself and the reality of his situation. This subplot serves as a cautionary tale, emphasizing the consequences of misjudging appearances.

Q: Does Feste, the fool, contribute to the theme of appearance versus reality?

A: Yes, Feste plays a significant role in exploring the theme of appearance versus reality. Through his wit and wordplay, Feste challenges the assumptions and pretenses of the other characters. While he appears as a mere entertainer, Feste possesses keen perception and uses his wit to expose the truth beneath the surface. His interactions with the characters serve as a reminder that appearances can be deceiving and that reality is often more complex than it initially seems.

Q: What does the contrast between the Twelfth Night festivities and the characters’ underlying emotions signify regarding appearance versus reality?

A: The contrast between the festive atmosphere of the Twelfth Night celebrations and the characters’ internal struggles underscores the theme of appearance versus reality. The revelry and disguises during the festivities mask the characters’ true emotions and unrequited love. This contrast highlights the disconnect between appearances and the hidden truths that lie beneath, emphasizing the complexity of human perception and the consequences of misjudgment.

Overall, the theme of appearance versus reality in “Twelfth Night” is explored through the use of disguise, mistaken identities, and the contrast between outward appearances and hidden truths. It reveals the complexities of human perception and the consequences that arise from misjudgment, inviting the audience to consider the discrepancy between how things appear and their true nature.

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Twelfth night-mistaken identity Essay Example

• Pages: 4 (973 words)
• Published: July 16, 2016
• Type: Essay

William Shakespeare, in his well-known comic play, Twelfth Night, creates a plot that revolves around mistaken identity and deception. Mistaken identity, along with disguises, affects the lives of several of the characters. Shakespeare's techniques involve mistaken identity to bring comedy, mystery, and complication to the play. Some characters in this play turn to disguise in order to succeed in life, beginning with Viola in the exposition; who disguises herself as a eunuch and goes by the name of Cesario to be able to work for the Duke. Furthermore, Malvolio who is portrayed as crazy and finally the confusion between the twin characters of Viola and Sebastian which is resolved at the end.

Others may argue that the comedy conventions in Twelfth Night don’t come from the theme of mistaken identity but from

other aspects such as Sir Toby and Andrew’s physical/drunken behaviour, using the medieval comedy convention of bawdy humour the characters of Toby and Andrew create a sense of humiliation towards themselves. This could be supported by the critic Bergson as he says “the comedy is made to humiliate lesser characters” meaning that there is a sense of absurd comedy about it. This type of behaviour is seen as absurd as we don’t expect ‘Sir’s’ to get drunk often and act with bawdy humour.

However, mistaken identity destroys this idea of humiliation as Shakespeare did not want to deliberately humiliate the characters, he simply wanted to create comedy using the conventions of sarcasm , hyperbole and dramatic irony which allow the structure of the play to flow perfectly as this is what every comedy needs. Could talk toby and Andre

– physical humour, medieval - bawdy. Traditional - smile at end – happy ending.

Maria, Olivia’s gentlewoman, also creates confusion and deception to the play, to Olivia’s head servant, Malvolio. Malvolio is a character of a puritan meaning that he is very religious, strict, and serious. Most importantly, he wants to impose his religion on others. This type of character is a good outlet for comedy as most people find it easy to mock those with religious beliefs as we see when Maria says ‘The dev’l a puritan that he is’ (Act 2 Scene 3 line136) Maria says to sir Toby ‘I can write very much like my lady your niece’ (Act 2 Scene 3 Line148-9). This suggests that she wants to write like Olivia to play a joke on Malvolio. In the letter, Maria (as Olivia) mocks Malvolio by telling him to dress in yellow stockings and cross garters.

The letter shows the intelligence of Maria, which shocks Sir Toby and Sir Andrew as they admire Maria’s plan to play a joke on Malvolio for spoiling their late night fun. The complication and theme of mistaken identity comes from Malvolio believing that the letter is, in fact, from Olivia when really it was Maria. We see that Malvolio falls for the joke when he turns up to the place that the letter said to meet dressed in what was suggested from ‘Olivia’ in the letter. This the portrays Malvolio’s mistaken identity plot as funny in many ways. This is intestinally used to create humour as it was uncommon for a woman to disguise themselves as males at this time in society. Others

could interpret this as Viola using the cross-dressing as a form of grieving for her brother, Sebastian. This adds a sense of roman comedy to the play and also supports the critic Lee Jamieson when he says “the plot is often driven by mistaken identity”.

Through Viola's change in identity, this situation of mistaken identity creates conflict throughout the characters and also the audience. Dramatic irony then occurs when Viola falls in love with Orsino. While the love of Orsino, Olivia, falls madly in love with Viola. Olivia is now in love with a woman, and Orsino often remarks on Cesario's beauty, suggesting that he is attracted to Viola even before her male disguise is removed. This adds comedy to the play as it refers to a same sex couple and in the Elizabethan era, this was wrong. However, when seen on stage in a play, it is seen as funny to the audience simply because it is out of the ordinary.

The final theme of mistaken identity, complication and deception is revealed at the end of the play when the true identities of Viola and Sebastian are shown. The reveal explains a lot which has happened in the play including the confusion with Sebastian between Sir Toby and Andrew; we finally find out that Sir Toby and Maria are secretly married meaning that Twelfth Night certainly ends with a happy ending. This is traditionally comic as in the Elizabethan era, a marriage at the end of a play symbolised a happy ending which also follows the Greek comedy convention. The theme of mistaken identity adds a sense of the roman comedy convention

to the play thus contributes to the traditional comedy throughout.

Overall, it can be agreed that Twelfth Night is largely generated by episodes of mistaken identity as without the confusion, there would be no real set out for the play. Additionally without mistaken identity, we wouldn’t have the main plot of ‘the love triangle’ including Cesario, Orsino and Olivia and also we wouldn’t see the confusion between the twins, Viola and Sebastian. However, the other mistaken identity episodes contribute to generate different types of comedy such as Malvolio reading the letter from ‘Olivia’. The play involves the comedy conventions of Roman, Greek and Medieval humour as we see mistaken identity, a marriage and farce situations. Mistaken identity plays a vital part in the play which is made up of several episodes that contribute many elements of comedy to the play which shows the importance of the theme ‘Mistaken Identity’

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Twelfth Night

William shakespeare, ask litcharts ai: the answer to your questions.

In connection with the themes of deception, disguise, and performance, Twelfth Night raises questions about the nature of gender and sexual identity. That Viola has disguised herself as a man, and that her disguise fools Olivia into falling in love with her, is genuinely funny. On a more serious note, however, Viola's transformation into Cesario , and Olivia's impossible love for him/her, also imply that, maybe, distinctions between male/female and heterosexual/homosexual are not as absolutely firm as you might think.

The play stresses the potential ambiguity of gender: there are many instances in which characters refer to Cesario as an effeminate man. Even more radically than this, however, it also suggests that gender is something you can influence, based on how you act, rather than something that you are , based on the sexual organs you were born with. Twelfth Night also shows how gender-switches make the characters' sexual identities unstable. For instance, at times, Olivia seems to be attracted to Cesario because "he" is such a womanly-looking man, while Orsino at the end of the play seems as attracted to Cesario as he is to Viola.

Gender and Sexual Identity ThemeTracker

Gender and Sexual Identity Quotes in Twelfth Night

Twelfth Night

Discuss the role of mistaken identity in twelfth night .who is mistaken for whom,and what do these mix-ups signify.

state characters in the play who were mistaken for people they are not and which characters these were

Shakespeare's use of disguises leads to a number of cases of mistaken identity. Viola is mistaken for her brother because she disguises herself in men's clothing; Sebastian (Viola's brother) is mistaken for Cesario by Sir Toby and Sir Andrew. Olivia also mistakes Sebastian for Cesario and marries him; all while Antonio is busy mistaking Viola for Sebastian.

Shakepeare often uses mistaken identity to create confusion and tangled, love triangles. This keeps his plays fresh and serves to add humor to the entertainment.

Mistaken identity take the form of three categories:handwriting, voice as well as appearance.

1) Viola disguises herself as Cesario and deceives everyone more particularly a) DUKE ORSINO (disguised as a man she falls for a man) b) LADY OLIVIA (a woman falls in love with a woman disguised as a man)

2) Sebastien is mistaken for Cesario (during duel) by a) Feste (the clown) b) Sir. Andrew ad Sir Toby c)Lady Olivia

3) Cesario is mistaken for Sebastien by a) Antonio b)The Priest (Sir Topas) c) Sir. Andrew and Lady Olivia in Act V, who thinks Cesario is the same Cesario in Act IV Scene 1 and 3.

1) The clown Sir Feste, is mistaken for the priest Sir Topas by Malvolio.

HANDWRITING

1)Maria's handwriting is mistaken for Olivia's by Malvolio

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