GROUP_7

William Shakespeare's __//Twelfth Night //__ __// "Some are born great, some achieve greatness, and some have greatness thrust upon 'em." //__  //Twelfth Night//, or //What You Will//, was written by William Shakespeare between the year 1601 and 1602. It's earliest known performance was in February 1602 (“Twelfth Night” www.folger.edu). It was printed in his 1623 folio, commonly known as the First Folio (xlvii). 'Twelfth Night' refers to the twelfth day after Christmas, the last day of the Christmas celebration, and the day between the holiday feasting and the return to the business of real life (“Twelfth Night”).

//Twelfth Night// is a comedy that is centered around the main character of Viola, who is shipwrecked in a foreign country after a storm kills everyone else aboard. Believing her twin brother to have drowned, Viola disguises herself as the eunuch Cesario and places herself in the service of Lord Orsino. Orsino is in love with Lady Olivia, who has forsworn all suitors as part of mourning the death of her brother. Orsino gets Cesario to plead his case to Olivia, to woo her in his stead, and Olivia falls in love with Cesario. Meanwhile Viola, as Cesario, has fallen in love with Orsino, but is unable to express her love because of her disguise.

Meanwhile, Olivia's cousin Sir Toby and his friend Andrew Aguecheek are trying to continue their drunken merriment without any interruption. Andrew, a blundering fool, thinks he is there to woo Olivia, but Toby is really keeping him around in order to use his money for wine and food. Olivia's servant Malvolio, a strict Puritan, hates all merriment and frivolity, and is continually trying to get Toby and Andrew mend their ways. So Toby, Andrew, and Olivia's maid, Maria, all plot against Malovlio. They deliver to him a false love letter from Olivia, which contains instructions that play up Malvolio's sense of self-importance which make him appear a fool in front of Olivia.

Eventually, all comes to a head and all the disguises are revealed. Unfortunately, the revenge against Malvolio becomes surprisingly harsh. The conspirators pretend to know nothing of Malvolio's odd behavior and accuse him of being mad. He is thrown into a dark cell where he is left blind and without a means of communication, vainly trying to prove his sanity to Feste the fool, who has been disguised as a helpful priest as part of the trio's plot.

Eventually the truth comes out, about everyone. Sebastian, Viola’s twin brother, actually survived the shipwreck and married Olivia when she mistook him for Cesario. Viola reveals her true identity and her love for Orsino, who then marries her for her faithful service and devotion as Cesario. As with all traditional comedies, the play concludes with everyone getting married. However, as is typical of many of Shakespeare’s plays, all is not resolved harmoniously: the play ends right before Orsino and Viola actually wed. Viola's woman’s clothes are unable to be located and she is stuck in the costume and identity of Cesario, her marriage to Orsino put on hold until her "woman's weeds" can be located (something which seems unlikely ever to happen as the Captain from the ship hid them and is nowhere to be found) (5.1.267).

The //She's The Man// Trailer-- A close approximation of the plot of //Twelfth Night// media type="youtube" key="D4OhwrMidSU" height="385" width="640"

//**William Shakespeare's Life** By Norma Delgado // []

William Shakespeare is known of by all, the young and old, the intellectuals and those who are not scholarly. HIs influenced on the English language is beyond the influence of any other writer. Unfortunately, despite the impact he's made on literature and theater, so much of his life continues to be unknown. Very little of Shakespeare because we have only his plays and church documents such as his baptism and marriage papers in our possession. What we do know of him is of his parents and his hometown. William Shakespeare was born in Stratford, England to John Shakespeare and Mary Arden. The interesting thing is that even his birthdate is merely a scholarly guess: April 23, 1564. (Pressley, biography) Even his education is a mystery for scholars say he attended a "free grammar school in Stratford", because of the family’s humble finances, however in regards to which one, they are not sure of. Shakespeare went on to marry Anne Hathaway in 1582 at the young age of 18, because she was pregnant with their daughter Susanna. Quickly following the birth of his twins in 1585, he does not show up on record till 1592 when several of his plays were already printed and he had participated in a few plays in the city of London. This period is famously known as the “Lost years,” for his existence is absolutely ambiguous, there is no concrete knowledge of where he is, who he is with and what he was doing. Scholars guess that he had to have arrived in London earlier in the year 1588, because he had already made a name for himself. At that point in life, we are aware of his membership in the infamous drama group, The Lord Chamberlain’s Men, which later became, The King’s Men, named after James I. His status only increased as he became part owner of the great Globe theater (Pressley, biography)

William Shakespeare’s influence is great because of the unique way in which he wrote. His work captivated people in his own time: “Never before had a playwright enjoyed sufficient acclaim to see his works published and sold as popular literature in the midst of his career.” (Pressley, biography) And his works continue to captivate people today, four-hundred years later. Ben Johnson, another famous writer once said of Shakespeare, “He was not of an age, but for all time,” Johnson is on point when he speaks of Shakespeare beecause his work will forever remain relative. It is with good reason that he is credited with the title "The Bard of Avon" because his "wit and imagination" will continue to be admired for centuries.

The style and structure in which Shakespeare wrote his plays is part of the reason why he is acknowledged as being one of the top masters of the theater. He efficiently used both Prose and Verse in his works, including in his tragicomedy, //Twelfth Night//.

In terms of Prose, the reader or audience will find that the characters of Sir Toby, Maria and Sir Andrew all speak in prose. This has to do with the fact, most of the time, although not always, the characters whose status was of low social rank were given this style of speech. Prose is deemed more appropriate to such characters because it has no poetic structure whatsoever. It is "absent of rhythm, meter or distinguishable pattern of stresses." It is therefore a representation of the speech of characters of common rank, for they don’t have the education required to speak in a more beautiful manner.

Characters that were of nobility or, "placed high on the class structure" were the ones who Shakespeare put time into making them creative individuals. He gave them beautiful and elegant speech, which was written in verse. Most of Shakespeare’s plays were written in verse, which sometimes rhymed. A good example of this metrical verse is Feste, the clown's, songs. However, verse did not have to rhyme and was then called "blank verse." Many of the characters in //Twelfth Night//, especially Duke Orsino, speak in iambic pentameter. Iambic Pentameter is written in a way that is beneficial to the Playwright, the characters and the audience. For Shakespeare, it was beneficial to use iambic pentameter because its ten syllables (five stressed, and five unstressed) allowed him to stress the important words of a scene or line. Iambic pentameter also made it easier for the actors to memorize the lines and helped the audience to understand what was going on in the play regardless of limitations in hearing ("there were no microphones in Shakespeare's day"). There are many more style and forms that Shakespeare wrote in, such as various things as other meters, imagery and metaphors, however, he is most famous for his ability to use prose and verse in his plays, specifically iambic pentameter.

__//**Religious Beliefs, Practices, and Identity** By: Jackie Pinkowitz //__ The majority of religion in //Twelfth Night// comes in the form of Shakespeare’s (and the other characters’) criticism of Malvolio, who embodies the prudish sensibilities of a Puritan. Puritans were a sect of Protestants within the Church of England who were so named for their desire to “purify” the church. They called for simplicity in religious services and placed an emphasis on prayer, grace, and an adherence to the Word of the bible (Wilson). Puritans also called for a simplicity of lifestyle: they stressed modest clothing, religious devotion and a lack of entertainment and other secular distraction. Suffice it to say, they were strictly opposed to the theaters of Shakespeare’s England. It is therefore perhaps unsurprising that Shakespeare saw fit to criticize these prudish figures in his plays, most prominently //Twelfth Night//.

The character of Malvolio is infamous for his Puritan associations and the trick played on him by Maria, Sir Toby, and Andrew Aguecheek. Malvolio, the fun-killing “time-pleaser,” criticizes Toby and Andrew for their drunken and frivolous behavior and reports them to Olivia (2.3.146). The trio then plots their revenge, placing in Malvolio’s path “obscure epistles of love” that will play on his sense of self-importance and his self-love by tricking him into thinking that Olivia, the lady of the house, is in love with him (2.3.154-5). The three watch breathlessly as he falls brilliantly into their trap, hilariously attempting to make sense of the nonsense letters “M. O. A. I.” and fantasizing about the jewels he will have when he is married to Olivia and how he will be able to order Toby and Andrew around ( 2.5.110). This joke is funny because of how well Malvolio plays up his part: he pompously fantasizes himself as Olivia’s husband before he even finds the letter. The false love letter instructs Malvolio to wear yellow stockings cross-gartered, to be oppositional and quarrelsome with kinsmen and servants, and to demonstrate his devotion to Olivia by always smiling. Of course, all of these instructions have been strategically implemented by Maria for the negative impact they will have on Olivia. And it is Malvolio’s faithful adherence to the words of the letter, Puritan figure that he is, that makes the joke so funny.

Scholar J. L. Timmons writes that Puritans were disliked and criticized in Elizabethan England not solely for their strict adherence to the scripture of the Bible, but because such faith was often coupled with manipulative interpretations that would support whatever personal beliefs the Puritan already held; instead of finding divine meaning in the authority of the Bible, Puritans (it was believed) used that same proclaimed authority to support whatever personal ideas and values they needed authorized (181-2). In such a way is Malvolio a classic Puritan figure. Instead of legitimately trying to decipher the ridiculous letter, he zealously interprets it in such a way as to match the fantasies and delusions of grandeur that he was already having. “If I could make that/ resemble something in me!” he tells himself upon trying to puzzle out the meaningless letters M. O. A. I. (2.5.124).

Plus, marrying above one’s social class, as Malvolio is imagining himself doing, was particularly unacceptable to the socially stratified England of Shakespeare’s day. Also, his fantasies of social ascension get at the real threat of Puritanism to Elizabethan England: marrying the lady of the house and “controlling newly acquired kinsmen like Sir Toby, would be to overturn the foundation of order in the microcosm of Olivia’s household” and would symbolically represent the “overthrow[ing of] the hierarchy” that Church of Englanders would have feared from Puritans (Simmons 186). Malvolio cements this Puritan threat of power-seizing by saying to himself that, should he marry Olivia, he would use his new-gained power to, among other things, make Toby “amend [his] drunkenness” (2.5.73). This is a classic Puritan value, one of many, that were just as abhorrent to Sir Toby as they were to the majority of England and indeed, to Shakespeare himself.

However, hindsight being 20/20, the Puritans really did get the last laugh. Increasingly frustrated with the lack of reform being initiated by the Stuart kings, the Puritans finally fought back. A civil war broke out in 1642 known as the Puritan Revolution and, led by Oliver Cromwell, the Puritans gained control of the government in 1649 (Weber). On September 6, 1642 all of the theaters were officially closed and soon after, all actors were declared “rogues and vagabonds” and subject to lawful discipline and imprisonment (Baker). Theatrical play and production was outlawed in England until the end of the Puritan rule, which came with the death of Oliver Cromwell in 1658 (Weber). In 1660, Charles II returned to the English throne from exile in Europe and reopened all of the theaters in an act which became known as The Restoration (Weber). Malvolio presenting himself cross-gartered in yellow stockings to Olivia as he was instructed to in Maria, Sir Toby, and Andrew Aguecheek's phony love letter.

Malvolio reads the letter planted by Maria, Toby and Andrew, demonstrating his Puritan traits of self-love and a manipulation of the evidence to fit his own personally-desired meanings. From Trevor Nunn's 1996 film //Twelfth Night//. media type="youtube" key="6uq2A8NfEns" height="385" width="480" align="center"

//**Clothing and Identity** By: Haley Knight //

Sumptuary Laws
In theater of any time period, clothing and costumes are imperative forces in serving a wide variety of purposes. They have the unique ability to transport the audience to the time period in which the play is set, and they create another medium in which the different characters may distinguish themselves from one another in terms of class, country of origin, and occupation. In “Some Principles of Elizabethan Stage Costume,” an article from the //Journal of the Warburg and Courtauld Institutes//, Hal H. Smith points to various essays and works of art in order to not only examine the origins of these costumes, but also to distinguish certain ways in which they serve as an integral part in identifying the roles of each character within a play.

During Elizabethan times, dress for men and women as well as proper behavior was strictly regulated by guidelines that were called Sumptuary Laws, in order to clearly distinguish the formal class structure system of the time. Sumptuary Laws were originally established by King Henry VIII, and carried on and further amended by his daughter Elizabeth I, and were used as a way for the monarchy to maintain order and control over the people. Queen Elizabeth I actually composed the specific section of these laws concerning clothing, and they were published on June 15, 1574, and titled the "Statutes of Apparel." There were harsh penalties for violating them, and they served as a fairly simple method for one to distinguish the social class and standing of another simply by looking at them. The laws even went so far as to dictate the color of clothing a particular person was permitted to wear. This method of personal distinction was carried onto the stage as a way of further creating and establishing character’s identity’s for playwrights such as Shakespeare who relied largely on language…prose vs. rhyme, etc…to help define a character’s role in society, and wrote plays that were meant to be seen, not merely read.

Men
In terms of their clothing, men had it much easier during Elizabethan times. While their outfits were, admittedly, more complex than those worn by men today, they held no comparison to all of the layers and garments worn by women of their time. In terms of their underclothes, men wore an undershirt, stockings or hose, a codpiece, and on occasion, a corset as well. For outerwear, men donned a doublet (a tight-fitting, button down jacket), separate sleeves, breeches, a belt, a ruff (a type of decorative collar), a cloak, shoes, and a hat. In today’s standards, this would be considered far too much for a man to wear on a daily basis, but in these times it was custom and expected.

Women


= = Women, however, wore many more garments, mostly pieces that would never be seen by another person but for cosmetic purposes underneath their outerwear. Their underclothes consisted of a smock or shift (type of under-dress), stockings or hose, a corset, a hooped skirt, a roll (pads worn around the hips in order to make their skirts fuller), a stomacher (to add extra detail to a dress, often worn showing), a petticoat, a kirtle (similar to a tunic), a forepart (also worn simply for decoation), and a partlet (a small yoke worn to cover square necklines). Due to the complexity of the undergarments worn by women of the Elizabethan time, their outerwear was allowed to be much simpler. They wore a gown, separate sleeves, a ruff, a cloak, shoes, and a hat. The many layers that it took to complete an outfit guaranteed a lengthy period of time needed before a woman was ready to leave the house. =**<span style="display: block; font-family: Arial,Helvetica,sans-serif; font-size: 90%; text-align: center;">Clothing in Twelfth Night **=



Malvolio She did commend my yellow stockings of late, she did praise my leg being cross-gartered; and in this she manifests herself to my love, and with a kind of injunction drives me to these habits of her liking. I thank my stars I am happy. I will be strange, stout, in yellow stockings, and cross-gartered, even with the swiftness of putting on. Jove and my stars be praise <span style="font-family: 'Times New Roman',Times,serif; font-size: 132%;">Clothing plays a significant role in contributing to the plot of the play. Viola's decision to cross dress when she disguises herself as a man in order to get closer to Duke Orsino, is what sets the premise for the entire play and the confusion that inevitably follows. It also contributes to the humor in the play, as Malvolio is tricked by Sir Toby, Andrew, and Maria into wearing yellow socks with his garters crossed, in order to please Lady Olivia. She, however, happens to despise when these garments are worn in this way, and is repulsed by both Malvolio's wardrobe choices as well as his nutty behavior.

//<span style="background-color: #008080; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 160%; text-align: center; vertical-align: super;">**Women and Their Identity** By: Leslie Bautista //



<span style="font-family: Arial,Helvetica,sans-serif;">There is no doubt that the position of women in society has changed tremendously throughout the decades. Women have always had this constant struggle against the dominant patriarchal view of society. Most of the challenges that women face are clearly caused by societies universal understandings of the accepted behaviors and characteristics that are associated with males and females. These social expectations are what perpetuate the traditions that we have come to follow throughout history.

Elizabethan women had to succumb to many of these ideas, which ultimately denied them their liberty to express themselves independently from their male counterparts. Women of this time period were predominately subservient to males, “Girls are to be under the strict authority of their fathers at all times, and must obey them implicitly, even in matters of marriage” (Camden, 39). They had to depend on male figures for financial support as well as decision-making. Educated women were not very common, unless, they came from a wealthy family and even then their education didn’t really focus on obtaining a grasp of important subjects. Instead, they had to master subjects that made them more marketable for future suitors and potential husbands. Even though a woman ran England for several years and attitudes towards the importance of females did improve slightly, many preconceived notions didn’t really change. The positions that women occupied were mostly those within the home, rarely were they seen holding high ranked careers. They were not seen as being capable to fill several positions; professions for females were very limited. Even in the theater actual women did not play women roles, “for women’s roles were normally given to young male apprentices called play-boys” (Shapiro). Women were not given the chance to be actors, they had to witness male actors portray them. “England preserved its all-male acting companies as a way of containing female sexuality, a force felt to be more threatening than male homosexuality.” England at that particular time had a very close minded view when it came to females and their societal roles.

William Shakespeare is known for exploring as well as pushing the envelope when it came to socially constructed ideas in regards to gender. He played around with these particular sets of roles that men and women had to follow. Some female characters presented in Shakespeare’s plays seem to challenge pre-established gender as well as societal norms. “Shakespeare used cross—dressed heroines to explore power relation between the sexes; //Twelfth Night// strips “female crossdressing…of nearly all of its subversive resonances, present in the culture at large” (Shapiro). The fact that a female character transformed or disguised herself as a male is imperative to the understating of the how both males and females were seen.

Olivia and Viola are the leading women in //Twelfth Night//, at the beginning of the story we see how these women are distraught at the recent catastrophes in their lives and how they are dealing with mourning the deaths of their male caretakers. Olivia is left alone to take the lead role as head of the household and Viola believes that her twin brother, Sebastian has been killed in the shipwreck. She later devises a plan with Antonio to dress up as a young Paige in order to earn a livelihood without being casted off, since she clearly lacked a male guardian. Throughout the entire play we see how Violas’s hidden identity brings a lot of confusion not only to her personally, but also to the other characters. Due to Viola’s cross-dressing both Olivia and Orsino fall for her. Olivia fell in love with Cesario, something that only happened because of Viola’s disguise. The same thing happened with Orsino since he started to fall for Cesario due to the close relationship they developed through their deep and self-revealing conversations about love and life.

The audience witnesses one these specific conversations in Act 2 Scene 4**;**

There is no woman's sides Can bide the beating of so strong a passion As love doth give my heart; no woman's heart So big, to hold so much; they lack retention Alas, their love may be call'd appetite, No motion of the liver, but the palate, That suffer surfeit, cloyment and revolt; But mine is all as hungry as the sea, And can digest as much: make no compare Between that love a woman can bear me And that I owe Olivia.
 * DUKE ORSINO**

Ay, but I know--
 * VIOLA**

What dost thou know?
 * DUKE ORSINO**

Too well what love women to men may owe: In faith, they are as true of heart as we. My father had a daughter loved a man, As it might be, perhaps, were I a woman, I should your lordship.
 * VIOLA**

Lines 92-109

Cesario and Orsino talk about how females are much more fickle when it comes to love and have no sort of depth to them, thus they cannot achieve such a high level of love as males do. Women were also thought to be inferior to men due to their supposedly fickle disposition and were even reprimanded for being smart and witty. Orsino claims that his love and specifically the love of men is much more powerful, since females tend to "lack retention" and do not hold enough substance to achieve this sort of commitment. Shakespeare has his character Viola explain to Orsino how his view of women is completely wrong; “Too well what love women to men may owe: In faith, they are as true of heart as we” II.iv.105-106. Viola explains her personal situation to Orsino as an example to show him proof that females are capable of love in the same way that men are.

William Shakespeare was able to dive into the feelings of all these characters by expressing many of their deepest emotions; this is what helps the audience relate to some of the characters at a more personal level. By using a cross-dressed female heroine he gives himself more literary freedom in achieving and expressing the female side through a male character. Without this plot Viola’s feelings and thus the validation of women through Cesario would not have been achieved.



<span style="background-color: #008080; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 160%; text-align: center; vertical-align: super;">//**Law, Crime, Punishment, and Identity** By: Anna Lilia Perez//

Literary texts are a great way to represent legal rhetoric. It is easy to analyze the subject as “Law in Literature”. Literature is a good resource to find more about the legal proceedings of a certain era, since it can be viewed as a literary representation of conventionalities of a particular time frame.

In terms of theater, as we have today, there were laws that protected writers from being plagiarized, but overall there were mostly poor laws and usually not reinforced. The law didn’t act in favor of the theater, specially with actors. At first, Actors where looked suspiciously since they where constantly traveling for work, their status was barely above of a thief. It was until the theater became popular among the nobles that a license was decreed to legitimize Acting Troupes. This helped actors from being accused of criminal activities and being punished by having them branded with irons.

Law and Twelfth Night

 * Crime and Punishment**

Being a beggar was a serious offense during elizabethan period. As a result from asking for money, beggars would be beaten until they reached the city’s boundaries and left. If they continued doing this practice, they were most likely hanged. in the play, there is a scene where Viola tries to pay Feste for his singing to which he replies that he does it for pleasure and not for money, later on, they discuss beggars who live near the church and they have a discussion about mythology and the beggar Cressida.

Another offense that it discussed by Feste’s character is in the first scene in which he first appears and Maria tries to scold him. His offense was leaving without permission and in the fifteenth and sixteenth century, this was also an offense. In order to be able to travel, people needed a license. This law was to prevent the spread of plagues and containing deceases, as well as making sure that the poor didn’t go from village to village. Since Shakespeare moved to London, he must have gone to great lengths to get one of these licenses.

Insanity is a recurrent devise Shakespeare used in order to have freedom in saying what he wanted. In twelfth Night, this is used through the prank that Sir Toby plays on Malvolio. Madness was treated as a desease that should be contained and literally, this was the common practice. locking a person who was mentally ill was common and it is the fate thae Malvolio suffers after lady Olivia asks that he is “taken cared for”.


 * Elizabethan Sumptuary Statutes**

The Sumptuary laws were laws concerning the way people would dress and the garments that you were supposed to wear, according to your status in society. These laws were meant to prevent people of misappropriating their money, and to protect their fortunes. the idea was that the money spent to show off in frivolities, could be spent rather in useful things that would help to the families estate. It was also believed that it would prevent moral decline, since people would dress according to their status, you could easily tale apart a countess from a maid.

These laws were more of a formality that people just followed. The authorities didn’t imprison people who would dress in a way that wasn’t according to their status, instead they would fine them and it was only after hearing the complaint from a neighbor or someone near the person. In court, wearing an extravagant ruffle, or dressing out of place would mean that the queen would make fun of it and it would have repercussions in their careers.




 * Courtship, Marriage, and Love**

Another important law that must be addressed is the matter of marriage. During the Elizabethan period, the ideas that we have about marriage were very different to the concept we have nowadays. Although writers portrayed marriage as a “duty”, it was far from it. Although for a woman, it was the most important day of her life, and it was a custom to have arranged marriages for women, it was very different for men. People had a very different opinion on marriage depending on gender. I will focus on the views of marriage for men.

A bachelor was perceived as better than a married man because he had the opportunity to think of things with a higher regard than the common interest of women. An unmarried man was considered to be a better friend, master, and servant. These three roles we see played out between Orsino and Viola: Through their relationship, we can clearly see an unusual disposition from each other to be of help, and although Orsino is the one trying to win the love of Olivia, It is Viola disguised as Cesario. We can see this disposition also in lines 130-135 as viola says:

”After him I love More than I love these eyes, more than my life, More by all mores than e’er I shall love wife. If I do feign, you witnesses above, Punish my lie for tainting my love.”

Although, as an audience, taking things in context, we know that Viola refers to a romantic love, it was not out of place for Cesario to express such devotion for his master. Which leads me to Orsino and his role as master. Although he has no luck in affairs of love, his men at arms hold him in a very high regard. It was believed that wives and family were an impediment, and were a distraction and Orsino is portrayed as an exemplary master to his servants.

Marriage, like in the Sumptuary Laws, was and other area of law that had a social criteria to be met that was outmost importance. before being married, the couple should have expresses “earnest love” for each other and there should have been much more than a mere physical attraction between the two. //Twelfth Night// is a comedy about courtship and mistaken identities and very accurately describes the way people viewed it.

A courtship was an “experimental venture” and it didn’t necessarily meant that the advances would lead to the altar. Shakespeare, overall shows this in the play as a whole since Viola must venture out to Olivia in order to have her fall for Orsino. also, throughout the play, various characters act impulsive and do things to proclaim their love without any formal intention to lead a formal relationship. Some examples include the letter that Malvolio finds, and thinks Olivia has written to him, his use of yellow stockings to impress her, and lastly, Viola’s unrequited love for Orsino. In the play, love is several times the subject of discussion as a topic of philosophy, and marriage is portrayed as something much more practical.

The only exception there is to this view of love and marriage, is the duke. Orsino is a romantic and his intention with lady Olivia is marriage and makes no distinction between his affection and his intention to marry her.



//<span style="background-color: #008080; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 160%; text-align: center; vertical-align: super;">**Professions and Occupations** By: Catherine Lewis // <span style="font-family: 'Times New Roman',Times,serif; font-size: 130%;">Twelfth Night by William Shakespeare is an interpersonal comedy that explores human nature through schemes involving love, trickery,and vanity. The characters are Dukes, countesses, servants, stewards, gentlemen, and captains - subsequently, their personalities, words, and actions are varied according to social status and occupation. In exploring the occupations of Elizabethan and Jacobian England, one can understand how they influenced those who lived within the social ranking system of the period. Because rank and livelihood were closely interwoven, professions offered something of a personality script to their employees.

A myriad of positions were held by the lower, middle and upper classes in Elizabethan and Jacobian England. The less wealthy could be found in households functioning as servants such as cooks or housemaids (Emerson 1996). Most housekeepers and laundresses were women, cooks men. Their wages, board, lodging and clothing all came from the household for whom they were employed. As an extension of a household, domestic servants were forced to assume the interest of the family they worked for. The dealings of households became the dealings of the domestic servant. Therefore, domestic servants were limited in interest to what they readily observed and were trained to deal with.

The Twelve Great Livery Companies of London were the Mercers, the Grovers, the Drapers, the Fishmongers, the Goldsmiths, the Skinners, the Merchant Tailors, the Haberdashers, the Salters, the Vintners and the Dyers (Emerson 1996). These guilds also functioned on a local level; in various communities, certain occupations were more common and lucrative than others. Those who worked for the Twelve Great Livery Companies were fortunate in that they were able to work in various branches of lucrative business. Workers who were not in guilds were referred to by several derogatory names such as "chapmen" and "hawkers". These workers were usually poor, and engaged in such occupations as spinning, lacemaking, buttonmaking and knitting.

Women were restricted in many ways in what professions they could assume. For example, woman were forbidden to weave worsteds (as it was though they weren't physically capable of performing the task correctly), though a widow could take over her husband's business in certain circumstances (Emerson 1996). Other female endeavors included washing clothes, tailoring garments and working in silk. There are also documented instances of woman working as alekeepers, cooks, and innkeepers.

Apprentices functioned under established workers of a trade to learn the craft from first hand experience. Apprenticeship usually began at fourteen and lasted for a term of seven years. During these years, the apprentice could not ge married, go to alehouses, or gamble (Emerson 1996). Sons of gentleman were swayed towards apprenticeships, meaning it had a noble, worthy connotation.

Other lucrative trades included tobacco, mining and manufacturing. By 1615 there were as many Tobacco shops as alehouses. Zinc and copper mining arose in the 1500s; in 1620, the ironworks force was supported by a labor force of eighty. A technological spike allowed for the use of coal furnaces for the production of glass and bricks in the late 1500s.

The persons of Twelfth Night are as different from one another in their occupations and social standings as they are in their personalities. Notable characters, such as Viola, Orsino, Malvolio, Olivia, Feste, and Sir Toby Belch can be analyzed in terms of their occupations and subsequent rankings. The inherent superiority of some characters causes others to respond to them in an attentive or subservient manner. Inversely, the inherent inferiority of other characters causes them to be shunned, pranked, or admonished.

Viola, the bold and clever female protagonist, is a noblewoman who assumes the identity of a male servant, whom she names Ceasario. In order to grow closer to Orsino, Viola humbles herself a great deal. Despite the adjustment, Viola does not lose any essential pieces of her identity; she simply encrypts them. Viola uses her wit, charm and intelligence, cultivated from her noble upbringing, and combines them with the essential qualities of a servant. While serving Orsino, Viola acts strictly upon his commands, offers advice, and always keeps an ear open. Though Viola's identity is sculpted by her temporal occupation, it is not maimed, or disfigured by any persuasion.

Orsino, the duke of Illyria, is very much a product of his social role and occupation. His zest for expressing himself in a dramatic, emotional manner and self-centered nature are surely congruent with his given power, authority, and wealth. Orsino's conviction that he will obtain the love of Olivia, whom he has never seen before nor she him, is based only partially on his sentiments. Moreover, it arises from Orsino's desire to further inflate himself as a public spectacle.

Malvolio is a character whose occupation affects his identity, and subsequent perception in an interesting manner. A steward and servant to Olivia, Malvolio is of low rank. Perhaps because such activities are unavailable to him, he holds in contempt drinking, singing, and engaging in other forms of rowdy behavior. Malvolio is self-righteous, which can also be contributed (in contrast) to the glamour-less position he assumes. Because of his pompousness, however, other characters scheme against him to rid the pretension from his identity.

Feste, who entertain' Olivia's household as a clown, has a personality nearly synonymous with his profession. As an entertainer, Feste has free reign to tell jokes, sing songs, voice his opinion, and in general, exude mirth and levity. Though he is treated as a buffoon, Feste is clearly a clever individual, whose jokes are wrought from the ignorance, hardheadedness and flawed human nature of those around him. Feste obtains a part of his identity from others in this manner; the less seriously he is taken, the more insults made against him, the more inspiration and material he acquires.

Sir Toby Belch, one of Olivia's kinsman, expresses himself to the fullest capacity that he is enabled as nobleman. Because of his wealth ad status, Sir Toby acts in an entitled, careless manner. He is loud, boisterous, and pleasure-seeking. He enjoys drinking, and engaging in merriment through the night. Sir Toby's confidence causes him to scheme against Malvolio, more for sheer thrill than anything else.

//<span style="background-color: #008080; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 170%; text-align: center;">Visual Shakespeare //

Since Shakespeare meant his plays to be seen and not read, we have included several snippets from different versions of the play, both from theater and from film, so that Shakespeare can be enjoyed the way it was meant to be.

PBS' "Live from Lincoln Center" 1998, starring Kya Sedgwick and Helen Hunt as Viola. This is an excerpt from Act I. media type="youtube" key="CpwaTBtlhA0" height="385" width="480" align="center"

Trevor Nunn's 1996 film //Twelfth Night//, starring Imogen Stubbs as Viola and Helena Bonham Carter as Olivia. This snippet is from the last part of Act I Scene 5. media type="youtube" key="Q9hkU5mnWC4" height="385" width="480" align="center"

<span style="background-color: #008080; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 180%; text-align: center;">//**Twelfth Night "Missing Passage"**// //[Enter// ORSINO, VIOLA, //and// ANTONIO]

hid my woman’s weeds, concealed them for Cesario’s protection. God save him, for his aid!
 * VIOLA** Search high and low, dear friends, for the Captain must somewhere be. ‘Twas he who

These quiv’ring ones under young Cupid’s bow, Have plights to unravel offense’s cloth.
 * ORSINO** O now that time has turned to halting stone
 * 5** It seems thine traveled comrades must, Dear Heart,
 * Speak what the ocean has instructed thou, **
 * It having wagered sweet and careless youth **
 * So to combat its icy cold visage//.// **

Were, at once, nullified by a private quarry against which I hid myself and my instincts, I could Speak O’er the murmur of the waves, so long as to inform you of my travels from peak to peak. But alas! that quiet from the rushing of past and future oceans will not subside but for a minute. //[aside]// And yearns my heart for he that I do love.
 * 10 ANTONIO** Perhaps, had my ropes led me to a blott’d abode by the rocks, and the ocean

Far better than us wand’ring souls are now, Locating he, the Captain, and the clothes. //[Enter// Captain, FESTE, SEBASTIAN, //and// OLIVIA]
 * 15** **ORSINO** Perhaps Olivia is having luck

Triplet who, with casual grace, approaches The man who holds the answer to our prayers.
 * VIOLA** It cannot be! Look who is amongs’t the
 * 20** Us o’er the great green waves of your grand estate:

Captain, who has been eagerly inquiring on behalf of Viola, Sebastian and Antonio, dear friends Whom the storm blew back in the shade of its antagonism.
 * OLIVIA** Amazing, is it not? Miraculous, I stumbled upon your long traveled companion, this

Seemed to grieve! It brings me joy that cannot Surface in words to see that you are well!
 * 25 VIOLA** Dearest friend for whom, before, destiny

Fortune, encountering the fair Olivia who, in her mercy, reunited us here.
 * CAPTAIN** I have preserved myself in the duration since our departure and have fallen into

This woman’s weeds we seek to find, buried ‘Mongs’t rock and briny water, sand and plant. Thou shalt assist me whilst I turn o’er rock And grain of sand to find the gold that will O, ‘tis my true desire that our two souls Connect, and this heart’s love be requited.
 * 30 ORSINO** How dost thou, good captain? Assist us please:
 * 35** Allow mine heart at last to be made whole.


 * VIOLA** And in thine own heart find the courage to help us succeed!


 * CAPTAIN** Indeed. Good sir and lady, follow me. Together we shall uncover the robes that
 * 40** Will unite thee.

Converging in true love! How dost the sun Rise upward in the blackest sky! How dost The lake run o’er the shore for want of light, Remains the same. And thou, Cesario And Orsino, shall have your will fulfilled Much as Sebastian and I have had so.
 * OLIVIA** How fortunate we find ourselves, our paths
 * 45** Like clockwork it flows! O, I pray our love


 * CAPTAIN** Beyond that rock, I point with truth, the weeds await your finding.

My heart it yearns, it breaks, it cries. For I knew them to be around here upon the time of my Departure. Be it so long ago, almost a lifetime it feels, that I and Sebastian, my brother, both By chance saved by the hand of the Captain and his sailors. Thus led all to this path.
 * VIOLA** //[looking under rock]//
 * 50** Good sir, a mistake thou must have made! For nothing hides behind here.

In mine own heart burns bright and true for thou Whom all shalt never know. But softly now.
 * ANTONIO** Enough, this nonsense, good friends of mine.
 * 55** For love so true shall flourish, //[to self]// as the love

The true location of my dear heart’s threads Some trickster or some wretched thief them stole? Or be they victims taken by the sea Herself, completely washed way and gone? How will we e’er proceed?
 * ORSINO** Cesario, he pines! This shall not stand!
 * 60** Demand I be procur’d at once. Hath not

Been yet of service have I not. The gentleness of gods have hither left. The lord shall not be Contracted to the man. Upon this sad occasion do I weep.
 * 65 CAPTAIN** It is not worth thy pains; fair lady’s weeds are not to be found. Thou ally I have

It seems that fate decides to taint my love. Not meant to be. So I abus’d myself, My brother, and I fear me, all of you. My love can give no place, no help, no soul. This simulation will deceive no more, Will be a blank, a monument, a grief, That’s writ in stone that lies along the sea.
 * VIOLA** How just cruelty has been bestowed ‘pon me!
 * 70** The object of my true affection seems
 * 75** Fair lady, nor fair lord. My history

I have gained a sister and a husband, but comforting enough would a wife be. //[to ORSINO]// Lord, it would be a great misfortune that if a man, if he truly be a man, Contain’d a love with such mastery flame, with such a suff’ring, such a deadly affair, In your refusal I would find no sense, I would not understand it.
 * OLIVIA** By my life! We will proceed and must, for never was I deceived.
 * 80** For some have been born to greatness, may it be thrust, endured or achieved.

Thou master’s mistress. I, too, will go ‘gainst My mettle, and unbeguil’d I will trail, For ‘tis Cesario with whom I fell, In love, and ‘tis Cesario I’ll wed.
 * ORSINO** Madam do not fear, for I say, as time
 * 85** Again: //[to VIOLA]// gave you my hand I did, and thou art yet

My lord, ever once I were woman, So now profess me I shall be a man. But to be //thy// man, love, shall it be so?
 * 90 VIOLA**

Than show, for still I prove much in my vows,
 * ORSINO** O Boy, I, too profess: my will is more
 * 95** And yet much more will show thee in my love.

Will I be, even if my weeds have fled!
 * VIOLA** My lord, cannot I defy thee. A wife

//[Malvolio appears in distance, carrying Viola’s women’s clothes]//


 * SEBASTIAN** By God! Do I not see the steward to my countess from afar?


 * OLIVIA** But it is Malvolio! What politics my baffled steward attends to now?

The garments which supply the golden key That will unlock my life’s true happiness.
 * 100 VIOLA** Malvolio it is indeed! He holds

The sole reason for which I am exempt O ladyship, if thou doest not command Him to explain himself, I, too shall be At once accused of base and vile madness.
 * ORSINO** //[To Olivia]// O thy servant’s audacity, to be
 * 105** From marrying the one who caught my soul.

//[ORSINO is ready to draw his sword and OLIVIA holds him back]//

//[While walking over Malvolio hides the garments under his shirt// ]
 * OLIVIA** Violence shall not be necessary, for I will hold him to his impudence. Malvolio! Come
 * 110** At once and explain thyself.

Disposition? Does thou have no reason to believe I have suffered enough mistreatment?
 * MALVOLIO** On what grounds does your ladyship hold me deserving of such an angry

Tone however, is rooted in your possession of womanly garments not belonging to thee. Now,
 * OLIVIA** Regarding the mistreatment that you speak of, it was done so unbeknownst to me. My
 * 115** Speak and give your reasons.


 * MALVOLIO** I cannot pretend to understand what thy lady is referring to.

The heart of Olivia, for this act believable is not. I see my weeds showing through thy shirt.
 * VIOLA** A thief and a liar! Yet, thee succeeds in this as much as thee succeeded in winning


 * ORSINO** Give up thy pitiful act and hand over the garments at once! Every second I am not wed
 * 120** I grow in anguish! If thou holds thy life precious, thou shalt make me wait no more.

In love with Cesario who, only out of luck, did turn out to be a woman. The clothes therefore, Shall lead only to a sinful union, and I will not permit it.
 * MALVOLIO** I shall not be made the beholder of immoral character, for it is thee who fell


 * ORSINO** Mad thou is after all! Run, for thy life is endangered!

//[ORSINO draws his sword and// //MALVOLIO runs only to bump into FESTE]//

But trouble to thy lady’s estate. [//Points to Olivia]// Thou pompous airs have hurt thou mistress’ Feelings as well as encroached upon these lovers’ freedom.
 * 125 FESTE [** //FESTE grabs MALVOLIO as he struggles to escape]// Thou hast been nothing

Love that thou professed to me countless times.
 * OLIVIA** I plead to thee, oh sweet Malvolio, please surrender up those garments. Do it for that

Charms. Malvolio hast been severely wronged and sweet revenge shall be his!
 * 130 MALVOLIO** True, I still love thee, my gentle lady, but I will not give in to thy womanly


 * VIOLA ‘** Twas a misunderstanding, Malvolio. Deep inside, Orsino knew it was I: he knew my soul when still he thought me a young lad.

Will I obtain my lover’s woman’s weed’s, And will not rest until thy blood is shed.
 * 135 ORSINO** Enough with pleasantries! Alone myself I will take


 * MARIA** Mean not such travesty! Thou shall soon forget such petty things.

//[FESTE goes into song]// //O Pleasant servant, thy countenance is not an evil one;// //Return the lady’s weed’s and finally be done.// //And if thy lady decides to marry Orisno// //With Cesario’s garments and have them not be shed,// //**145** Shall no shame be hath if Viola and Orsino are wed.//
 * FESTE** Correct! Malvolio is clearly mad! Thou cannot kill a man when he has not power of his
 * 140** Body and senses.

Things as clothes!
 * VIOLA** My love, Orsino, let’s do as Feste suggests and be wed at once. Forget such trivial

//[A bewildered ORSINO takes a few moments to think about the present situation]//

Me first, so now Cesario I’ll wed. Perhaps the fool could say the rights and words?
 * ORSINO** Alright, my love. Cesario did love
 * 150** Come, Cesario! United shall we be!

A two as you//. [he joins their hands]// Forever man and man, A doubled master to each other be.
 * FESTE** ‘Twould be my greatest honor to join such

//[All couples cheer]//

Cesario, to thy family!
 * 155 OLIVIA** Now have I a husband and two brothers gotten on this happy day. Welcome,

Companion be, along with dear Orsino and my belov’d Olivia.
 * SEBASTIAN** Indeed, my sister shall not for some time be seen. Instead Cesario will my

//[To MALVOLIO, about the lump of clothes under his shirt]// Keep them if you will, you
 * VIOLA** Come, away! For now ‘tis time for celebration!
 * 160** time-Pleasing Puritan. They are now no use to me. Perhaps they shall keep thee warm tonight.

Need, come back to Sebastian and I. You would be welcome.
 * OLIVIA** Malvolio, thou hast been misused, but thou are still mistempered. Should you ever

Traps, to once more be so sorely baited and hooked.
 * MALVOLIO** I think not, my Lady. I could not now return to the place of so many horrible


 * 165 OLIVIA** Suit thyself, Malvolio. Thou always makest things difficult.

O Cupid’s bow hath shot us all so dance We shall, and now that love has been return’d, It’s joyful music shall indeed play on!
 * ORSINO** Away, let’s turn, towards golden happy days!

//[Exit ORSINO and CESARIO, OLIVIA and SEBASTIAN, and FESTE]//

Follow him I shall, and be his loyal servant, though never more than brothers will we be. //[To CAPTAIN]// Wilt thou come, Sir?
 * 170 ANTONIO** My love skips thus away, yet here I stand alone.

Little ones, and tell them of the sea. Let’s away and follow the happy couples.
 * CAPTAIN** Aye, for any union thus ripe with joy will soon bear fruit. I shall want to meet the

//[Exit ANTONIO and// //CAPTAIN]//

//into the ocean]// Farewell accursed garments, that in brought mischief and out brought naught! You have failed! My Lady’s gone and I am left, alone upon this rock. Though faith yet I have. The world entire Cannot spin so fast as to repeat the madness just now occurred. Patient will I be. Things shall Right themselves in the end.
 * 175 MALVOLIO** [//watches everyone leave and then angrily hurls Viola’s clothes off the cliff//

//[Exit MALVOLIO; Viola’s clothes sink out of sight]//

BY: Catherine Lewis: Lines 1-29 Haley Knight: Lines 30-64 Anna Lilia: Lines: 65-99 Norma Delgado: Lines 100-124 Leslie Bautista: Lines 125-147 Jackie Pinkowitz: Lines 148-178

**//<span style="background-color: #008080; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 150%; line-height: 200%; text-align: center;">Modern Missing Passage //** //[Enter// ORSINO, VIOLA, SEBASTIAN, //and// ANTONIO] pacified, I could speak over the soft murmur of the waves and tell you about my travels. But alas, the rushing from the ocean still plagues me. //[Enter// SAILOR, FESTE //and// OLIVIA] green estate: the man who will help end our search! I am to see that you’re okay! encountering the beautiful Olivia who mercifully reunited us. MALVOLIO ** Yes, I still love you, but I will not give in to your charm. I have been wronged and I will have revenge. // [FESTE goes into song] // // O pleasant employee, you are not evil, // // Return the girl's clothes and finally be done. // // And if she decides to marry Orsino // // In Cesario’s clothes, and not take them off, // // No shame will come of Viola and Orisno's marriage. // //[all couples cheer]// //[To MALVOLIO, about the lump of clothes under his shirt]// Keep those clothes, you prudish Puritan. They aren’t any use to me anymore. Maybe they will keep you warm tonight. //[Exit ORSINO and CESARIO,// //OLIVIA and SEBASTIAN, and FESTE]// CAPTAIN Yes I will, for any couple as happy as this will soon have children. I will want to see the kids and tell them stories about the sea. Let’s go follow the happy couples. //[Exit ANOTNIO and CAPTAIN]// //[Exit MALVOLIO; Viola’s clothes sink out of sight]//
 * ORSINO** Now that we are all calm, due to these romantic matters being settled, it seems that your well-traveled companions, dearest Viola, may have stories to tell form the years they spent wagering their youths on the sea.
 * ANTONIO** Perhaps, had my ropes led me to shelter by the rocks and the ocean were for once
 * VIOLA** It cannot be! Look at who is among the trio that is walking towards us over your great,
 * OLIVIA** Crazy, isn’t it? I amazingly ran into one of your companions, this captain, who has been eagerly asking about Viola, Sebastian and Antonio. He says they are dear friends from whom he was separated in the storm.
 * ANTONIO** Dearest friend whom I thought had died! I can’t express in words how happy
 * CAPTAIN** I have kept myself safe while we have been departed. I fell into the fortune of
 * DUKE** How are you, good captain? We are hoping to find this lady’s clothes hidden somewhere along this beach. Will you please offer me some assistance, as I search everywhere? Because in order for my heart to be make complete, I must find them and return them to Cesario. All I want is to be with my true love, and only then will my heart be whole.
 * VIOLA** Please find the kindness in your heart to help us!
 * CAPTAIN** Well then, follow me, friends. Hopefully, with teamwork, we will find your clothes and you two can be together at last.
 * OLIVIA** How lucky we are that our paths have all come together in the name of love. The sun continues to rise in the sky each day; the waves rush onto the beach, all like clockwork. I hope our love does the same. And then, Orsino and Viola, you will be married and happy just like Sebastian and I!
 * CAPTAIN** Your clothes are over there, behind that rock.
 * VIOLA** Sir, you have made a mistake! There is nothing here! I can feel my heart breaking! I know I left them there when I was last here, but it was so very long ago when both Sebastian and I washed up on this shore after our shipwreck, when we were saved by the Captain and his sailors.
 * ANTONIO** Let’s not waste any more time with stuff that doesn’t matter. If you two are truly in love with each other, then your love with remain, //[aside]// just like my secret love still burns for Sebastian. True love will defeat all and endure.
 * DUKE** My fiancé is crying; this cannot be! I demand to know where Cesario’s clothes are at once! Has someone stolen them? Or have they been washed off by the sea and lost in the waves forever, never to be seen again. What will we do now?
 * CAPTAIN** It’s not worth looking for anymore: the dress is gone. I’m sorry; I thought I could be of help to you, but it seems you can’t get married after all. I’m so sorry for you.
 * VIOLA ** What goes around comes around! I should have known that for doing this kind of mischief I wouldn’t get my love. I used myself, my brother, and I tricked all of you. My disguise will hold up no longer: you both know who I really am now. Without my woman’s clothes, I won’t be able to marry the man I love and so my story will end here, empty of marriage.
 * OLIVIA ** This is ridiculous! We have to have a wedding, no matter what. You never deceived me, even if you were dressed as a man. I now have a husband and a sister-in-law, but even if I had just a brother in you, I would be happy. Some people are dealt greatness, and you have done great in your circumstances. //[to ORSINO]// Lord, I pity this situation if you aren’t man enough to accept him and his arduous love. If you reject Cesario now, I wouldn’t understand it.
 * ORSINO ** Miss, don’t worry, I already said I would marry her. //[to VIOLA]// I, too, will do mischief and do something unorthodox. I fell in love with Cesario, and I will marry him.
 * VIOLA ** My Lord, just as I was once a woman, so now I shall be a man. But do you really want to marry me as a man?
 * ORSINO ** Boy, My love is real and these are not empty words, as my actions will prove. I will take you as a man.
 * VIOLA ** My Lord, I can’t fight with you. Very well, I will be your wife even if I don’t have my women’s clothes to change back into a woman.
 * SEBASTIAN ** Who is that? Is that the steward to my lady Olivia?
 * OLIVIA ** It’s Malvolio! What is he up to now?
 * VIOLA ** It is definitely Malvolio and he has my clothes! I need them if I want my very own happily ever after to take place.
 * ORSINO** He has some nerve to keep me from marrying the girl I love. If you don’t get him to explain himself, you will force me to take care of him myself, and you definitely don’t want that because I will go psycho on him.
 * OLIVIA** Calm down, there is no need for that. I will get him. Malvolio!! Get over here and explain yourself!
 * MALVOLIO** What, my lady, why are you now so mad at me? Why are you yelling at me? Haven’t I already suffered enough today?
 * OLIVIA** Come on, you know I had nothing to do with what happened to you. But ever mind that, what I want to know is why you are carrying woman’s clothes with you; they clearly are’nt yours.
 * MALOLIO** Huh? I have no clue what you are talking about.
 * VIOLA** Wow, not only does he steal, he’s a liar too! Well, you clearly suck at everything because you couldn’t get Olivia to fall in love with you and now you can’t even do this right. I see my clothes through you shirt, idiot.
 * ORSINO** Give it up, punk, no one believes you. If you know what’s good for you, you’ll give me the clothes right now. I am not in the mood for your shenanigans; I just want to get on with my wedding.
 * MALVOLO** Oh please, do not try to make me look bad. I have morals you clearly don’t if you fell in love with a guy. You're just lucky that Cesario turned out to be a girl. I’m helping you out here. This union is clearly bad news, and I am not giving the clothes up.
 * ORSINO** You better start running, because I am going to knock you out.
 * FESTE [ ** //FESTE grabs MALVOLIO as he struggles to escape]// You have been nothing but trouble to your boss and her entire household. Your arrogant ways have hurt her feelings as well as intervened with these lovers’ freedom.
 * OLIVIA** I beg you Malvolio, please give me those clothes. Do it for that love you professed to me many times.**
 * VIOLA ** This was all a misunderstanding, Malvolio. Orsino knew it was me all along. He knew me for who I was even when he thought that I was a young servant boy.
 * ORSINO** Enough sweet talk! I will get my lover's clothes a nd I will not rest until I have killed you.
 * MARIA** You don’t really mean that! You will have forgotten all this stupid stuff before you know it.
 * FESTE ** Yes! Malvolio is crazy. You can't kill someone who is out of his mind.
 * VIOLA** My love, Orsino, let’s do as Feste suggests and let’s get married now. Forget such insignificant things as clothes!
 * DUKE** OK, my love. Since you loved me in the first place, I will marry you now. Come here, Cesario! We will be wed. Perhaps the Fool could preside over the words and ceremonies?
 * FESTE** It would be my greatest honor to join you two in marriage. //[unites their hands]// I now pronounce you man and man, each a husband to the other.
 * OLIVIA** On this happy day I have gained a husband and two brothers! Welcome to your new family, Cesario!
 * SEBASTIAN** It’s true: I won’t be seeing my sister for a while, but I shall have you and Orsino and my beloved Olivia for company.
 * VIOLA** Come on! It’s time to celebrate!
 * OLIVIA** Malvolio, even though you didn’t deserve to have people be so mean to you, you are so hard to be around. However, if you ever need a place to stay, come stay with Sebastian and I. You would be welcome there.
 * MALVOLIO** I don’t think so, my lady. I couldn’t now go back to the place where such mean tricks were played on me.
 * OLIVIA** Suit yourself, Malvolio. You do always make things so difficult on yourself.
 * ORSINO** Come on, let’s move on to happier things! Now that we are all in love, we will dance, and now that love has been requited, let’s keep its music playing.
 * ANTHONY** //[looking after Sebastian]// Now my love is headed away from me and leaves me here alone. I will follow him and be his loyal servant, even though we can never be anything more than brothers. //[to Captain]// Will you come too, Sir?
 * MALVOLIO** [//watches everyone leave and then angrily hurls Viola’s clothes off the cliff into the ocean]// Goodbye, terrible garments that caused so much trouble and yet didn’t fix anything like I had hoped they would. You have failed my plan! My lady has left and I am here alone on this rock. But still, I have faith. Everything that just happened was so crazy that it could not possibly happen again. I will be patient. Everything will work out in the end.

“Twelfth Night.” //Folger Shakespeare Library//. Folger.edu. Web. 01 Feb. 2010. <span style="color: #800080; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 150%;">**Norma's Sources:** Chambers, E.K. “William Shakespeare: A Study of Facts and Problems Vol I.” Universal Digital Library. N/A. April 2, 2010. <http://www.archive.org/details/williamshakespea017475mbp> ** lliam ** Pressley, J. M. "Shakespeare’s Biography." __Shakespeare Resource Center__, May 2, 2010. May 2, 2010. < [] >. Pressley, J. M. "The Language of Shakespeare." __Shakespeare Resource Center__, May 2, 2010. April 28, 2010. < [] >. West, Gilian. "Lost Humor in the Comedy of Errors and Twelfth Night." //English Studies//, 71.1 (1990): 6-15. <span style="color: #800080; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 150%;">**Jackie's Sources:**
 * //<span style="background-color: #008080; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 210%; text-align: center;">Sources //**<span style="color: #800080; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 150%;">
 * General Sources:**

<span style="font-family: 'Times New Roman',Times,serif;">Baker, Henry Barton. “The Closure of the Theaters by the Puritans.” //English Actors: From Shakespeare// //to Macready.// New York: Henry Holt and Co., 1879. 27-35. Theatredatabase.com. Web. 10 Apr. 2010.

Simmons, J. L. “A Source for Shakespeare’s Malvolio: The Elizabethan Controversy with the Puritans.” //The Huntington Library Quarterly// 36.3 (1973): 181-201. //JSTOR//. Web. 2 Jan. 2010.

Wilson, John F. “Puritans.” laughtergenealogy.com. Web. 10 Apr. 2010.

<span style="color: #800080; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 150%;">**Haley's Sources:**

<span style="font-family: 'Times New Roman',Times,serif; font-size: 90%;">Alchin, L.K. “Elizabethan Sumptuary Laws.” []. Web. 25 March. 2010.

Smith, Hal H. "Some Principles of Elizabethan Stage Costume." Journal of the Warburg and Courtauld Institutes (London, England) 1962 July-Dec; 25 (3-4): 240-257.

Wikipedia contributors. "1550–1600 in fashion." //Wikipedia, The Free Encyclopedia//. Wikipedia, The Free Encyclopedia, 20 Apr. 2010. Web. 5 May. 2010.

<span style="color: #800080; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 150%;">**Leslie's Sources:** <span style="font-family: 'Times New Roman',Times,serif;">Howard, E. Jean. "Cross-dressing, The Theater, and Gender Struggle in Early Modern England". Shakespeare Quarterly, Vol. 39, No. 4 (Winter, 1988), pp. 418-440. Folger Shakespeare Library in association with George Washington University. JSTOR. 14 Feb. 2010

Shapiro, Michael. //Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages//. University of Michigan, 1996. Print.

Camden, Carroll. //The Elizabethan Woman//. The Elsevier Press, 1952. Print. <span style="color: #800080; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 150%;">
 * Anna's Sources:**

Carison, E. “Courtship in Tudor England”. History Today Issues. [|http://historytoday.com/MainArticle.aspx?m=9731&amid=9731 web. April 30 2010]

“Elizabethan Crime and Punishment”.http:// [|www.william-shakespeare.info/elizabethan-crime-punishment.htm]. web. April 30 2010

Schneck, P. “The laws of Fiction: Legal Rhethoric and Literary Evidence”. European Journal of English Studies, 2007 Apr; 11 (1): 47-63. (journal article)

Secara, M. “Elizabethan Sumptuary Laws”. [|www.elizabethan.org/sumptuary/index.html] .Web. April 30 2010


 * Catherine's Sources:**

<span style="font-family: 'Times New Roman',Times,serif;">Emerson, K (1996). The writer's guide to everyday life in renaissance England from 1485-1649. Writer's Digest Books.