Chapter 41

situation? What important event occurs in this scene iii? Act V. scene i.: Describe how in this scene all the complications are unravelled, and by what means all the characters are brought upon the stage. What do you think of the device to call Malvolio upon the stage? Does it not seem rather clumsy, or do you think it a further humorous touch that Viola should have to depend on Malvolio to find her 'woman's weeds again'?

What becomes evident after tracing the events of the play through in this way? That the interest of the play does not depend so much upon the story itself, as, first, upon the amusing situations resultant from the story, and, second, upon the scenes which introduce the characters in Olivia's household who are really not at all concerned in the development of the plot, but who are the occasion of many added amusing situations.

What constitutes the real interest of the two short scenes between Sebastian and Antonio? Their bearing, mainly, on scene iv. of Act III. By means of them we are shown that Antonio has an enemy in Orsino, and thus his arrest is prepared for, also how Antonio gives his purse to Sebastian, the real purpose of the arrest being to bring about a reason for Antonio's requiring his purse again from Cesario, whom he takes for Sebastian, and so to add complication to the situation arising from the resemblance between the brother and sister.

What are the situations which the story gives Shakespeare a chance to develop? On the one hand, is the Duke pouring out his love for another woman to his supposed page, who is in love with him, and thus giving rise to the series of scenes between the Duke and Viola. On the other hand, is the supposed page pressing his master's suit to a woman who loves the supposed page, and thus giving rise to the series of scenes between Viola and Olivia. Out of this love of Olivia for Viola grows the absurd situation of Viola's being obliged to fight a duel, which is made still more ridiculous through the circumstance of her challenger being a fool. Out of Viola's resemblance to her brother and her disguise grows the absurd situation of Olivia's claiming her as a husband, and that of Sir Andrew taking for his unwilling duellist the all-too-willing Sebastian.

To these situations which naturally result from the story, Shakespeare has added in Olivia's household a set of characters whose personality is such that amusing situations are multiplied. Thus we may say that the play is one of situation rather than of action, since whatever of action there is in it leads to situation, and whatever of character there is in it leads also to situation.

QUERIES FOR DISCUSSION

1. If attention is constantly given to creating humorous situations, will character-development necessarily suffer? 2. Do you agree with the Shakespearian critic Verplanck that this play bears no indication either of an original groundwork of incident, afterwards enriched by the additions of a fuller mind, or of thoughts, situations, and characters accidentally suggested, or growing unexpectedly out of the story, as the author proceeded?

II

THE WHIMSICAL AND OTHER ALLUSIONS IN THE PLAY

Pick out and explain the curious allusions in the play, noticing that these may be classed as geographical, mythological, astrological, or referable to persons or customs of the time, or books of the day. For examples of the latter class, note Sir Toby's 'diluculo surgere' (II. iii.), for 'Saluberrimum est dilucolu surgere,' an adage from Lilly's Grammar, doubtless one of Shakespeare's text-books at the Edward VI. School in Stratford; and Viola's 'Some Mollification for your giant sweet lady' (I. v.),--an allusion to the innumerable romances whose fair ladies are guarded by giants; for Maria, being very small, Viola ironically calls her giant, and asks Olivia to pacify her because she has opposed her message. (For Shakespeare's education and school-books, see Bayne's remarks on this subject in Brit. Encyc. art. Shakespeare.) The whole incident of the 'possession' of Malvolio, and the visit of Sir Topas, probably alludes to a tract published in 1599 by Dr. Harsnett,--'A Discovery of the Fraudulent Practices of John Darrel,'--in which is narrated how the Starkeys' children were possessed by a demon, and how the Puritan minister, Mr. Darrel, was concerned in it. For examples of allusions to contemporary customs, see Sir Toby's mention of dances no longer known,--'Galliard,' 'Coranto,' etc. As an example of allusions to persons of that time, Sir Toby's reference to 'Mistress Mall's picture,'--Mary Frith, born in 1584, died in 1659, a notorious woman who used to go about in man's clothing and was the target for much abuse. Astrological allusions: 'Were we not born under Taurus?' 'That's sides and hearts,' which refers to the medical astrology still preserved in patent-medicine almanacs, where the figure of a man has his various parts named by the signs of the Zodiac. 'Diana's lip' (I. iv.), ('Arion on the Dolphin's back' I. ii.), are examples of mythological allusions. Of the geographical allusions there are two kinds, the real and the sportive,--Illyria, an example of the one, the 'Vapians' and the 'Equinoctial of Queubus,' of the other. Go on through the play classifying and commenting on the allusions. What was a 'catch'? Give an example.

QUERIES FOR DISCUSSION

Are the odd allusions in the play a result of the corrupt text, ignorance, ridicule of learning? Or are they introduced to give a lively and contemporaneous effect?

III

THE DUKE AND SEBASTIAN

How does the play set off these two lovers against each other? Which has the more constant nature? Note the evidences of the Duke's restlessness and changeableness; how soon he tires of the music he calls for, of the clown's song (II. iv.). Is his first speech to Viola, on woman's constancy before the song, consistent with his second, after it? Is his own report of himself true,--'Unstaid and skittish in all motions else Save in the constant image of the one beloved'? Is Olivia's unattainableness the main source of her desirableness for him? How is it with Sebastian? Does his loyalty in love seem to be of the sort that suffers impairment when he can win love easily? The Duke craves excess in music in order that his 'appetite may sicken and so die;' Sebastian wishes 'to steep his soul in Lethe.' Do you think Sebastian and Viola alike in more than appearance? Which is the quicker-witted? Is the Duke's amicable acceptance of the inevitable and transference of his love to Viola in keeping with his character? Do you think Viola shows promise of special facility for preventing the moody Duke from tiring of her? Note that he calls her his 'fancy's queen.'

QUERY FOR DISCUSSION

Is the Duke important chiefly as the inspirer of Viola's devoted love?

IV

VIOLA AND OLIVIA

In what respects are the situations of Viola and Olivia alike? When the play opens, both are mourning the loss of a brother, and while this is made to point out the individuality of Olivia, after the first few lines we hear little more of Viola's grief. Can you suggest any reason for this? Does Viola's love for the Duke absorb her any more than Olivia's love absorbs her when she comes to feel the same? Viola and Olivia are also alike in giving their love without solicitation; but Olivia woos directly, Viola, in disguise, implies her love, and though her innuendoes are all understood by the audience, they are unappreciated by the Duke. What justification can be made for the unblushing love-making of Olivia? It could be justified by her rank, which was so much higher than that of the supposed page that advances should come from her. What signs are there that Viola's love was superior to Olivia's? Olivia's seems to have been founded on external liking, else she would not have been as satisfied with Sebastian as with Cesario; while Viola's, though it may have had no deeper foundation, was signalized by unselfishness, for she used every eloquent art of which she was capable to urge her master's suit. Notice in the first scene between Viola and the Duke how she tries to get out of going to Olivia, doubting her own ability, etc. Do you think she really doubted it, or that it was difficult for her on account of her own love for the Duke? Notice in the scene with Olivia her woman's anxiety to see her rival's face. What do you think instigated her remark, 'Excellently done, if God did all.' Was it a sudden touch of jealousy? It was clearly not the proper thing for an ambassador pressing his master's suit to say. How is it with the rest of the interview? Is her sarcastic tone judicious? Does it pique the nonchalant Olivia? Does her eloquence later, when she is assured of Olivia's obstinacy, reflect her own feelings for the Duke? What effect does it have on Olivia? Is it well-calculated to arouse her interest? In Act II. scene iv., which do you think had the right conception of woman's love,--the Duke or Cesario? What do you think of Olivia's saying that 'Love sought is good, but given unsought is better'? Which of the two characters show the more humor? Notice Viola's readiness in parrying questions that trench upon her sex. Olivia, on the other hand, can hold her own in a bout of wit with the fool, but she is perhaps not so quick-witted as Viola. We can imagine Viola at once seeing through Malvolio's attempt at pleasing Olivia, instead of taking him for mad, as Olivia did.

QUERY FOR DISCUSSION

Which is the best lover, the Duke, Sebastian, Olivia, or Viola?

V

SIR TOBY AND MARIA, AND THEIR BUTTS OR DUPES

Show how the droll situations of the play are mainly contrived by some of the characters in order to make others their laughing-stocks. Who are Sir Toby's butts? Is Sir Toby attached to Sir Andrew, or does he only make use of him for profit as well as fun? (See Sir Toby's reply to Fabian (III. iii.)). Other instances to the same effect? Why does Maria join forces with Sir Toby? Is she in fact the leader of the scheme, or is Fabian's story of its origin true? What part does the fool play in the game, and why? Note his private grudge against Malvolio. Is it a dramatic mistake that even the heroine is made the butt of these merry-makers? Trace Fabian's part in the duelling plot against Sir Andrew and Viola. Do these plots recoil in any way against the plotters? Sir Toby and Sir Andrew both get some home-truths from Malvolio while they are eavesdropping, while for Fabian and Maria these thrusts of Malvolio's are just as good fun as that which the knights enjoy better. How does some of the later fun recoil against Toby and Sir Andrew? Are the Puritans made fun of in Malvolio's person?

QUERY FOR DISCUSSION

Are the characters least scathed by the fun for that reason superior to the others?

VI

MINOR CHARACTERS

The fun of the play is capped by the presence of a particularly clever fool whose function of making every one the butt of his wit makes one of the least important of the characters represent the special drollery of the whole play. The only grudge he bears is against the man who does not appreciate fun--who calls him a 'barren rascal.' Describe the passages in which he particularly shines. Of the minor characters the fool is minor only through his station and unimportance in the plot; he really occupies much space in the play and in fact pervades it. How is Antonio connected with the plot? What traits of his does the play bring out? Is his fondness for Sebastian unnatural? How is he concerned in the foolery of the play? Is he necessary to the plot? As the fool represents the merry-making spirit of the play, so Malvolio stands for the dupes of it. Does any one sympathize with him? Who shows the clearest understanding of his faults? (I. v.). What signs are there in the play of Malvolio's being a Puritan? Is there any evidence against it? Is Maria right, for example, when she says, 'The Devil a Puritan he is or anything constantly but a time-server,' etc.? That the character of Malvolio was generally taken on the stage as a portrait of the Puritan, and that Shakespeare must have known it would borrow some of its popularity from being so considered, seems not to be denied; on the other hand, it may hardly seem to be proven that Shakespeare thought he was drawing a genuine Puritan. Show Malvolio's character, his connection with the other characters and with the plot and the foolery of the play, and state the argument for and against Shakespeare's meaning to make fun of him as a Puritan.

QUERIES FOR DISCUSSION

Is it a defect in the play that the fool, who has less to do with the plot, is more important than Antonio, who has somewhat more to do with it? Does it show that the main interest of the play is in comic situation rather than in character or dramatic motive?

VII

THE POETIC FIGURES IN THE PLAY

Observe the various figures used throughout the play, as to whether they are drawn from nature or from other sources; for example, the first speech of the Duke bristles with metaphor. Note that he speaks of music as the _food_ of love, and bids the musicians play on that the _appetite_ may have a _surfeit_, images drawn from physical nature; then that the music came o'er his ear _like_ the _sweet sound_ that _breathes_ upon a bank of violets, _stealing_ and _giving_ odor. We should expect here some continuation in the language of sound; but the Duke continues as if he had said _wind_ instead of sound, and then wind is personified, for it _breathes_ instead of _blows_ on the bank of violets, and it steals their odor and gives it to him,--the music is so sweet that it seems as if its sounds came laden with the scent of violets to his ear. Here sound is personified at first as merely breathing, then it takes on moral attributes and steals and gives. Pick out and explain other figures in the same way. Which of the characters use the most beautiful imagery? Are there any who use none at all?

QUERIES FOR DISCUSSION

Is there any special fitness in the imagery used to the character using it? Does the imagery used help you to form an opinion of the characters?

VIII

THE WIT OF THE PLAY

What are the main causes of amusement in the play? The audience, notice, is not kept in the dark one instant about any of the characters. Thus one of the sources of amusement lies in the fact that while the audience occupies somewhat the attitude of omnipotence, it has the pleasure of observing the characters of the play living their lives in the purblind way usual to mortals. Lessing said that a comedy should make us laugh at vices, but the vices must be those of characters who have good qualities also. Does 'Twelfe Night' answer to this description? Analyze the causes why the fun of the play is funny.

QUERIES FOR DISCUSSION

Which of the characters cause amusement as the result of circumstances over which they have no control? How do each of these cause amusement unconsciously? Which of the characters cause amusement through a conscious intention of making fun?

THE TEMPEST

Until a few years ago no one had succeeded in finding the Play or Novel on which the European part of the plot of "The Tempest" was founded.

An early German Play, "The Fair Sidea" had been brought forward on account of some resemblances to "The Tempest." Yet it is obviously not its source but rather an imitation or variant indirectly drawn from a similar foundation story.

Edmund Dorer, a special student of Spanish Literature first called attention (Jan. 31, 1885,) to the story more closely resembling "The Tempest" than any other, as it occurs in a collection of tales by Antonio de Eslava, called _Las Noches de Invierno_, or "Winter Nights," published in Madrid in 1609.

Like other such collections of stories, such as the Italian collection of Bandello, and the French of Belleforest, used by Shakespeare, Eslava's collection was translated, and, in default of the original from one of the later editions, as translated into German in 1683 (_Noches de Invierno Winternachte aus dem Spanischen in die Deutsche sprach versetzet_) a summary of this story was given in English for the first time as a satisfactory source of "The Tempest" in the "First Folio Edition" of the Play (see pp. 85-93 and Introduction; also for an extract and summary of "The Fair Sidea," pp. 94-95).

What may be called the American half of the plot evidently owes suggestions to pamphlet accounts of the storm and wreck and other experiences met with by Sir Thomas Gates, Sir George Sommers and others during their voyage of discovery to the Bermudas in 1610 (see pp. 92, 99, and Notes pp. 114, 125-127, etc., for extracts.)

Gonzalo's speech, too, follows pretty closely a passage in Florio's Montaigue. (For this passage see Note on II. i. 153-160).