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45 pages 1 hour read

William Shakespeare

Twelfth Night

Fiction | Play | Adult | Published in 1602

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Act IChapter Summaries & Analyses

Act I Summary

Twelfth Night begins at the court of Count Orsino, the Duke of Illyria, where he expresses his love for the Lady Olivia. A messenger, Valentine, enters and tells Orsino that Olivia is mourning the death of her brother and plans to stay hidden from view for the next seven years, but Orsino vows to win her love regardless.

 

The second scene takes place on the coast of the Adriatic Sea in Illyria, where Viola has been saved from a shipwreck with the ship’s captain and some sailors. She believes that her brother has drowned in the shipwreck, but the captain tells her that he saw Viola’s brother “bind himself/ […] To a strong mast that lived upon the sea” and “hold acquaintance with the waves/ So long as I could see” (I.2.13-18).

 

Viola asks the captain about Illyria and he tells her about Orsino, a bachelor who “seek[s] the love of fair Olivia” (I.2.35), who “abjured the sight/ And company of men” (I.2.41-42). Viola thinks it would be a good idea to serve Olivia until she’s ready to reveal her own high social class, but the Captain says Olivia will not allow anyone to see her, not even Orsino’s messengers. Instead, Viola asks the Captain to help her dress as a man and introduce her to the duke, whom she’ll serve as a eunuch. The Captain agrees and says he won’t reveal her deception: “Be you his eunuch, and your mute I’ll be.” (I.2.65).

 

Over at Olivia’s estate, Sir Toby, Olivia’s uncle, and Olivia’s chambermaid Maria enter, as Maria tells Toby that Olivia demands he “confine [himself] within the modest limits of order” (I.3.8-9). Maria chastises Toby for his friendship with the “foolish knight” Sir Andrew Aguecheek (I.3.15-16). Andrew enters and tells Toby that he plans to leave tomorrow because he cannot win Olivia’s love. Toby protests, telling him that “there’s life” in Andrew’s quest for Olivia’s love, and Andrew agrees to stay another month. The two exit to go party and drink.

 

Back at Orsino’s court, Viola has disguised herself as the male Cesario, and has quickly gained the duke’s trust. “He hath known you three days, and already you are no stranger,” Valentine, one of Orsino’s attendants, tells Cesario (I.4.2-4). Orsino asks Cesario to go to Olivia’s estate and to “unfold the passion of [Orsino’s] love” for her (I.4.26). Orsino believes that Cesario should go because of his youth, saying that Cesario’s features are “semblative of a woman’s part” and thus “right apt / For this affair” (I.4.37-39). Cesario says he will do his best to persuade Olivia, but in an aside, Viola expresses her own love for Orsino: “Whoe’er I woo, myself would be his wife” (I.4.46).

 

The final scene of Act I takes place at Olivia’s estate, where Maria and Olivia verbally spar with her fool Feste, a witty jester who has just returned to the estate after an absence. Olivia’s servant Malvolio insults the Fool and Olivia stands up for him, telling Malvolio he is “sick of self-love” and “taste with a distempered appetite” (I.5.89-90). Maria tells Olivia that there is a young man (Cesario) who has come to speak with her. Olivia tells Malvolio to dismiss him, but Malvolio says that he refuses to go away without seeing Olivia. Olivia tells Malvolio to let him in and then tells Maria to cover her face with a veil. Cesario enters, asking which one is Olivia. Olivia refuses to reveal herself to Cesario, and Cesario implores to give the speech prepared for Olivia.

 

Olivia waves away her servants and is alone with Cesario, who tells her that he has bearing a text from “Orsino’s bosom” (I.5.223). Olivia removes her veil and Cesario flatters Olivia by praising her beauty while emphasizing how much Orsino loves her. Olivia says that she cannot love Orsino, though she knows he has many good qualities (I.5.259). Cesario gives a speech about the anguish he would feel if he was in love with Olivia and she did not feel the same. Olivia responds by asking Cesario about his social class; he responds that he is a “gentleman” (I.5.283).

 

Olivia tells Cesario to tell Orsino that she cannot love him and not to send any more messengers, “unless perchance you come to me again / To tell me how he takes it” (I.5.286-287). Cesario leaves and Olivia realizes that she has fallen in love with him. Olivia calls in Malvolio and tells him to deliver a ring to Cesario on his way out, which she claims he left there, as well as to tell Cesario to come back to her again tomorrow.

Act I Analysis

The first act of Twelfth Night sets up much of the romantic action of the play: Viola disguises herself as a man, enters Orsino’s court, and realizes she loves him. In turn, Olivia falls in love with Viola disguised as Cesario. Meanwhile, Cesario and Orsino share a close relationship that is homoerotic in appearance, but ultimately heterosexual, since Cesario is actually a woman. That Orsino and Viola will end up together at the end of the play is foreshadowed when Orsino emphasizes the close bond he has with Cesario, telling them that he has “unclasped / To thee the book even of my secret soul” (I.4.14-15).

 

Other subplots are set in motion as well. While Sebastian does not appear until the second act, his arrival is foreshadowed when the captain tells Viola that her brother may have survived the shipwreck. Sir Toby and his group are also introduced here as drunken revelers, and though Malvolio’s biggest scenes are later in the play, his narcissistic and haughty nature is introduced with his first appearance. “You are sick of self-love, Malvolio, and taste with a distempered appetite,” Olivia tells him (I.5.89-90).

 

The first act immediately establishes Twelfth Night’s theme of love as being a source of suffering. Orsino says this with his opening monologue, which paints love as something restless, powerful, and destructive. Orsino’s pursuit of Olivia may be more of an obsession, or a love of being in love, than an authentic emotion. After all, how can Orsino love Oliva if she won’t even see him? Viola’s love for Orsino, too, is immediately complicated, as she reveals it directly after agreeing to help Orsino win the love of someone else.

 

There are other undercurrents of stress and sadness beneath the play’s romantic and comic tones. Viola believes that her twin brother is dead and dressing as a man may be a way for her to keep his memory alive. She will later say: “I my brother know / Yet living in my glass” (III.4.384-404). In other words, when she is dressed as Cesario and looks in the mirror, she sees her brother. In addition, Olivia is mourning her own brother’s death and has cut herself off from society (Valentine tells Orsino that even the sky “shall not behold [Olivia’s] face at ample view” for seven years [I.1.29])—though she still runs her household efficiently.  

 

The first act also immediately sets out the play’s themes of deception and disguise. In addition to Viola disguising herself as Cesario, Olivia also conceals her identity by covering herself with a veil when Cesario first visits her. “Speak to me. I shall answer for her,” Olivia says when Cesario first arrives and asks who the lady of the house is (I.5.167). Sir Toby, too, immediately establishes his penchant for trickery when he convinces Andrew that he should keep vying for Olivia, but the truth is that he is more after Andrew’s money. When Maria asks Toby about Andrew and his “purpose” to Toby, Toby responds, “Why, he has three thousand ducats a year!” (I.3.22). As the act ends, Olivia is engaging in another act of deception, as she pretends that Cesario has left a ring with her as a scheme to get him to return to see her.

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