Act 1, Scene 5 Summary and Analysis
Scene 5
Scene 5 opens with a witty conversation between Maria and the clown Feste. Maria lightly scolds Feste for being absent from Olivia’s service for too long, and the two enjoy a series of jokes and puns.
Olivia then enters with Malvolio, and Feste demonstrates cleverly that Olivia herself is a fool for mourning her brother’s death to such extremes. If his soul is in heaven, then she has nothing to grieve. Olivia is properly entertained, if not convinced, by Feste’s argument, but Malvolio, her steward, is appalled. Olivia scolds Malvolio, noting that he is “sick of self-love” and tastes the world “with a distemper’d appetite.” He takes himself and his own opinions far too seriously.
Maria comes in bearing the news that a young man is at the gate, and Olivia orders Malvolio to get rid of him. Sir Toby appears, mostly drunk, and then staggers back out. Olivia cannot draw much in the way of sense from her uncle, but she sends Feste to care for him.
Malvolio reenters with the message that the young man at the gate will listen to no excuses; he must speak with Olivia. She gives in, and Maria drapes a veil over Olivia’s face.
The young man is Viola disguised as Cesario, and she delivers the message of praise from the Duke. She also gently taunts Olivia for hiding herself beneath a veil and hints that she, too, is not who she seems to be. Finally, Olivia agrees to a private audience and removes her veil, and Viola compliments her on her beauty but also scolds her for pride and cruelty toward the Duke.
Olivia firmly maintains that she does not and cannot love the Duke, even though she knows he is noble. Viola reiterates her master’s passion and suffering, but Olivia will not budge, even when Viola says that if she had a passion like the Duke’s, she would not move from Olivia’s gate or cease to cry out her name.
However, Olivia is becoming increasingly interested in the “young man” before her. She questions Viola about her parents and position. Viola responds vaguely. Then Olivia sends Viola on her way, telling her she may return with the Duke’s response. Olivia, however, continues to reflect on the fine qualities of the “young man,” and she sends Malvolio after Viola with a ring to “return” to “him.” Viola, of course, has left no ring with Olivia; indeed, the latter is sending her own message.
Analysis
Scene 5 introduces the audience to one of Shakespeare’s most interesting archetypes: the clown or fool. In this case, Feste embodies this role. Clowns or fools are entertainers, but they are much more than their title seems to suggest.
A fool like Feste is often the wisest character in a Shakespearean play, for his role allows him to speak his mind without reserve, even if that means insulting those who occupy higher statuses. Therefore, he provides insights into the characters’ situations and motivations that no one else would dare to express.
Feste does this to Olivia when he calls her a fool. He maintains that her mourning for her brother is excessive, but he does not say so outright. Instead, he draws Olivia to that conclusion by asking her why she mourns. To her response that she mourns for her brother, he calmly states that he thinks his soul is in hell. That gets Olivia’s attention, and she exclaims, “I know his soul is in heaven, fool.” “The more fool, madonna,” Feste replies, “to mourn for your brother’s soul, being in heaven.”
Feste has not only...
(This entire section contains 922 words.)
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made his point, but he has led Olivia to a truth she may not otherwise have realized. Olivia does not admit that Feste’s proposition convinces her, but her behavior does change.
Olivia’s character develops significantly in this scene. She agrees to receive one of the Duke’s messengers, which has never happened before. She speaks with that messenger and even grants a private audience, removing her veil so Viola (as Cesario) can see her face. She verbally spars with Viola, engaging in wordplay.
In response to Viola’s inquiry if she is the lady of the house, Olivia remarks, “If I do not usurp myself, I am.” A few lines later, Olivia carries on an extended witty dialogue about the “doctrine” of the Duke’s heart and then another in which she itemizes her beauty.
By the end of the encounter, Olivia is engrossed with Viola, whom she believes to be a fine young man, to the point that she begins a deception of her own. She sends a ring after Viola and claims to return it when she is trying to lure the “young man” back. Olivia is starting to fall in love.
In her newly infatuated state, Olivia introduces a secondary theme at the end of the scene. “Fate, show thy force,” she declares, “ourselves we do not owe; / What is decreed must be; and be this so.”
Perhaps Olivia wants to give herself an excuse to follow her new course of action—falling in love with Cesario—by calling on fate. She seems to be telling herself that such a relationship is meant to be; it is ordained by fate and must happen.
By this logic, she can safely give up mourning her brother and begin wooing the young man. The last clause, however, reads almost like a prayer.
Expert Q&A
In Twelfth Night, how does the clown prove Olivia is a fool?
In "Twelfth Night," Feste the clown proves Olivia is a fool by pointing out the inconsistency in her mourning. He argues that since Olivia's brother is in heaven, as she believes, mourning is unnecessary and thus foolish. This encounter occurs in Act I, Scene 5, where Feste uses clever wordplay to highlight the folly in Olivia's grief, fulfilling his role as the "artificial" fool who entertains through wit and challenges conventional thinking.
How does Twelfth Night use dramatic, situational, and verbal irony in Act 1 to create conflict?
In act I of Twelfth Night, dramatic irony occurs because the audience knows "Cesario" is a woman, which the characters in the play do not. This creates situational irony, as Viola/Cesario must do the opposite of what she wants. She wishes to marry the duke but must try to persuade Olivia to marry him. Verbal irony occurs when Sir Toby says Sir Andrew's hair looks "excellent" when he really means it looks terrible.
Which literary devices are used in this excerpt from Twelfth Night?
"Make me a willow cabin at your gate / And call upon my soul within the house, / Write loyal cantons of contemned love, / And sing them loud even in the dead of night; / Halloo your name to the reverberate hills, / And make the babbling gossip of the air / Cry out ’Olivia!’ O, you should not rest / Between the elements of air and earth / But you should pity me" (I.v.237–245).
In the excerpt from Twelfth Night, the primary literary devices used are metaphor and hyperbole. Cesario's speech features extended metaphors, such as building a willow cabin, to convey emotional closeness. Hyperbole is evident in the exaggerated expressions of love, like proclaiming it loudly. The speech also includes alliteration and appeals to pathos, aiming to elicit sympathy from Olivia.
In Twelfth Night, what does the clown claim he can prove in Act 1, Scene 5?
In Act 1, Scene 5, the clown in "Twelfth Night" claims he can prove Olivia is a fool. He argues that mourning her brother, who is in heaven, is foolish since heaven is a joyful place. Olivia, who is mourning her brother's death, responds good-naturedly to the clown's banter. The clown's role in Shakespearean plays often involves using wit and wordplay to reveal truths or teach lessons, highlighting his wisdom despite his role as a fool.
What comedic devices are used in act 1 of Twelfth Night?
In Act 1 of Twelfth Night, Shakespeare uses comedic devices such as crossdressing, mistaken identity, romantic entanglements, slapstick, and love letters. Viola's disguise as "Cesario" leads to a love triangle involving Orsino and Olivia. These elements create a humorous domino effect, enhanced by music. The comedic devices cater to different audience preferences, from intricate love triangles to physical comedy and Feste's antics.
Is the following dialogue from Shakespeare's Twelfth Night, Act 1, Scene 5, considered a paradox?
CLOWN. Good madonna, why mourn'st thou?
OLIVIA. Good fool, for my brother's death.
CLOWN. I think his soul is in hell, madonna.
OLIVIA. I know his soul is in heaven, fool.
CLOWN. The more fool, madonna, to mourn for your brother's soul
being in heaven. Take away the fool, gentlemen.
This dialogue from Act 1, Scene 5 of Twelfth Night is indeed a paradox. Olivia mourns her brother's death, believing his soul is in heaven, a place of eternal peace. The Clown highlights the contradiction: if her brother is in heaven, mourning seems illogical. Thus, the exchange underscores the paradox of grieving for someone believed to be in a better place, using humor to critique societal behaviors.
What does Olivia put on before speaking with Cesario in Twelfth Night?
Why does Olivia agree to see the messenger in Act 1, Scene 5 of Twelfth Night?
Olivia agrees to see Cesario, the messenger, out of intrigue and curiosity in Act 1, Scene 5. Cesario's persistent refusal to leave, despite being told Olivia is sick or asleep, impresses Olivia. Additionally, Cesario's youthful appearance, described by Malvolio as being between boyhood and manhood, further piques her interest. These factors combined lead Olivia to permit Cesario's entrance, driven by his determination and unusual description.
In Twelfth Night, where does Act 1, Scene 5 shift from prose to poetry or deviate from iambic pentameter?
In Act 1, Scene 5 of "Twelfth Night," the dialogue shifts from prose to verse when Olivia prepares to receive Viola, who brings a message from Orsino. The prose used in Olivia's conversation with Feste reflects their casual wordplay. The switch to verse signals Olivia's formal role as she receives Orsino's envoy. However, Viola reverts to prose when discussing her efforts in crafting the speech, highlighting the tension between artifice and genuine emotion.
What is the dramatic importance of Act 1, Scene 5 in Twelfth Night?
Act 1, Scene 5 of Twelfth Night is crucial for introducing themes and foreshadowing events. It highlights a lack of clear hierarchy as the clown challenges authority, and the exchange of insults between the clown and Malvolio hints at Malvolio's future humiliation. Additionally, Olivia's attraction to the messenger advances the love plot, setting up future tension and comedy. The scene establishes that all characters will be subject to comedic elements.
Why is Olivia and Viola's conversation in Act 1, Scene 5 of Twelfth Night significant?
The conversation between Olivia and Viola in Act 1, Scene 5 of Twelfth Night is significant as it establishes the central love triangle involving Olivia, Viola, and Orsino. Viola, disguised as Cesario, is tasked with courting Olivia for Orsino but inadvertently causes Olivia to fall for her instead. This creates dramatic irony and sets up the play's central conflict, leading to confusion and comedic tension resolved only by the appearance of Viola's brother, Sebastian.
How does Shakespeare make the end of Twelfth Night Act 1 amusing?
Shakespeare makes the end of Act 1 of Twelfth Night amusing by contrasting the antics of comic characters with the absurd behavior of serious ones. Feste's jokes and Sir Toby's drunken antics clash with Malvolio's annoyance, which Olivia dismisses wittily. Olivia's unexpected love for Viola, disguised as Cesario, adds to the humor as the audience knows the truth. This blend of dignity lost and irreverent commentary creates a comedic effect.
