Introduction
William Shakespeare’s Twelfth Night, or What You Will (c. 1601-1602) stands as one of his most celebrated comedies, renowned for its intricate web of mistaken identities, romantic entanglements, and festive spirit. Set in the fictional realm of Illyria, the play explores themes of love, disguise, and social order through the adventures of twins Viola and Sebastian, who are separated by a shipwreck. The ending, particularly Act 5, serves as a pivotal moment where the chaos of deception unravels, leading to revelations and resolutions that typify Shakespearean comic structure. This essay provides a critical appreciation of the play’s conclusion, examining how it resolves confusions through identity revelations, restores social harmony via marriages, yet introduces a note of discord with Malvolio’s exit and concludes with a reflective song. By drawing on scholarly interpretations, the analysis will highlight the ending’s blend of joy and melancholy, arguing that while it achieves comic closure, it also offers a mature commentary on human folly and impermanence. This perspective aligns with the play’s festive title, derived from the Twelfth Night holiday, yet underscores Shakespeare’s nuanced approach to comedy (Garber, 1988).
Resolution of Mistaken Identities and Confusions
The ending of Twelfth Night masterfully untangles the play’s central confusions, primarily rooted in mistaken identities, which drive much of the comedic tension. Viola, disguised as the page Cesario, has navigated Illyria’s courtly world, fostering romantic misunderstandings with Duke Orsino and Countess Olivia. In Act 5, Scene 1, the revelation of Viola’s true identity marks a climactic turning point. As Sebastian appears, the siblings’ reunion exposes the disguises: “One face, one voice, one habit, and two persons! / A natural perspective, that is and is not!” (Shakespeare, 1602, 5.1.208-209). This moment, often described as a “recognition scene,” echoes Aristotelian dramatic principles, where anagnorisis leads to resolution (Leggatt, 1974). Critically, this resolution is appreciated for its efficiency; Shakespeare compresses the unraveling into a single scene, allowing the audience to experience the relief of clarity after prolonged deception.
However, the appreciation is not without critique. Some scholars argue that the swiftness borders on contrived, potentially undermining the emotional depth built earlier. For instance, the twins’ separation and reunion, while joyous, glosses over the psychological toll of their ordeals. Viola’s cross-dressing, a device that explores gender fluidity, is resolved neatly, with Orsino shifting his affections from Olivia to Viola almost instantaneously: “Cesario, come— / For so you shall be while you are a man; / But when in other habits you are seen, / Orsino’s mistress, and his fancy’s queen” (Shakespeare, 1602, 5.1.372-375). This transition, arguably, reflects the play’s carnivalesque inversion of norms, where identities are fluid and ultimately realigned to societal expectations (Bloom, 1998). Indeed, the resolution reinforces heteronormative pairings, yet it invites reflection on the performative nature of gender, a theme that resonates with modern queer theory interpretations. Overall, this section of the ending demonstrates Shakespeare’s skill in balancing plot mechanics with thematic depth, providing a satisfying comic payoff while hinting at broader human complexities.
The Marriages and Restoration of Social Harmony
A hallmark of Shakespearean comedy is the restoration of social order through marriages, and Twelfth Night‘s ending exemplifies this convention. Following the identity revelations, the play culminates in multiple unions: Orsino proposes to Viola, Olivia remains wed to Sebastian (whom she mistook for Cesario), and even the subplot characters, Sir Toby Belch and Maria, seal their alliance in matrimony. These pairings restore harmony to Illyria’s disrupted society, symbolizing a return to stability after the festive chaos. As Leggatt (1974) notes, such endings draw from classical New Comedy traditions, where obstacles to love are overcome, leading to communal celebration. The marriages arguably represent a microcosm of social reconciliation; Olivia’s household, fraught with pranks and rivalries, finds equilibrium, while Orsino’s unrequited love transforms into mutual affection.
Critically appreciating this aspect reveals both strengths and limitations. On one hand, the unions inject optimism, aligning with the play’s subtitle “What You Will,” which suggests a whimsical acceptance of fate’s twists. Sir Toby’s marriage to Maria, for example, rewards her cleverness in the Malvolio subplot, adding a layer of class commentary—Maria, a servant, ascends socially through wit (Garber, 1988). Furthermore, Sebastian’s integration into Olivia’s world resolves the twin motif, emphasizing themes of doubling and wholeness. However, the restoration is not entirely unproblematic. The haste of these pairings—Orsino’s pivot to Viola occurs mere moments after his pursuit of Olivia—can seem superficial, prompting questions about the authenticity of the emotions involved. Bloom (1998) critiques this as a “forced felicity,” where comic exigency overrides psychological realism. Typically, in Shakespeare’s comedies like A Midsummer Night’s Dream, marriages signify renewal, but here, they also underscore the illusory nature of desire, as characters pair off based on appearances rather than deep connection. Therefore, while the marriages achieve a surface-level harmony, they invite a critical lens on the fragility of romantic resolutions, enhancing the ending’s layered appeal for undergraduate analysis.
The Role of Malvolio and the Disruptive Element
Amid the celebratory resolutions, Malvolio’s angry exit introduces a discordant note, challenging the notion of unmitigated comic joy. The steward, tricked into believing Olivia loves him, endures humiliation and imprisonment, only to be released in the final scene. His parting words—”I’ll be revenged on the whole pack of you” (Shakespeare, 1602, 5.1.368)—cast a shadow over the festivities, refusing the forgiveness that might fully restore harmony. This element is critically appreciated for adding complexity; unlike purely harmonious endings in other comedies, Twelfth Night acknowledges the human cost of revelry (Leggatt, 1974). Malvolio embodies puritanical restraint amidst Illyria’s excess, and his mistreatment critiques the cruelty inherent in comedy, where laughter often stems from others’ misfortune.
Scholars like Garber (1988) interpret this as a deliberate subversion, highlighting Shakespeare’s mature evolution in the genre. The character’s name, meaning “ill will,” underscores his role as an outsider, yet his unresolved grudge prevents a tidy closure, prompting audiences to reflect on social exclusion. Arguably, this disrupts the typical comic formula, where antagonists are either reformed or banished humorously. Instead, Malvolio’s vow of revenge lingers, suggesting potential future discord and mirroring real-world resentments that persist beyond apparent resolutions. In performance, this moment can shift the tone from mirth to unease, as seen in various adaptations. Thus, while the ending largely restores order, Malvolio’s presence ensures a bittersweet quality, enriching the play’s thematic depth and inviting critical debate on justice and empathy in comedy.
The Final Song and Mature Reflection
The play concludes not with dialogue but with Feste’s song, a poignant reflection that tempers the comic resolution with melancholy. Sung by the clown, the lyrics—”When that I was and a little tiny boy, / With hey, ho, the wind and the rain”—trace life’s cycles from innocence to experience, ending on a note of resignation: “For the rain it raineth every day” (Shakespeare, 1602, 5.1.376-395). This coda is critically lauded for its maturity, shifting from festive chaos to philosophical introspection (Bloom, 1998). It encapsulates the play’s blend of joy and sorrow, reminding audiences that happiness is transient amid life’s adversities.
Appreciating this element reveals Shakespeare’s innovation; unlike abrupt endings in earlier works, the song provides a meta-commentary, with Feste as a chorus-like figure. Garber (1988) argues it underscores themes of time and mutability, aligning with the Twelfth Night festival’s end-of-holidays melancholy. However, some critiques note its detachment—Feste’s outsider status may distance the reflection from the main characters’ resolutions. Nevertheless, it adds emotional resonance, inviting viewers to ponder the impermanence of the play’s harmonies. In essence, the song elevates the ending beyond mere comedy, offering a reflective lens on human existence.
Conclusion
In summary, the ending of Twelfth Night adeptly resolves the play’s confusions through identity revelations and marriages, restoring social harmony in a classically comic fashion. Yet, Malvolio’s embittered departure and Feste’s reflective song introduce elements of discord and maturity, complicating the joy and prompting deeper critical engagement. This blend underscores Shakespeare’s skill in crafting comedies that entertain while probing human complexities, with implications for understanding themes of identity, love, and exclusion. Ultimately, the ending’s critical appreciation lies in its ability to balance festivity with realism, making Twelfth Night a timeless study in the nuances of comic form. For students of English literature, this invites ongoing analysis of how Shakespeare subverts expectations to reflect broader societal truths.
References
- Bloom, H. (1998) Shakespeare: The Invention of the Human. Riverhead Books.
- Garber, M. (1988) Coming of Age in Shakespeare. Methuen.
- Leggatt, A. (1974) Shakespeare’s Comedy of Love. Methuen.
- Shakespeare, W. (1602) Twelfth Night, or What You Will. [Original publication date; modern editions vary, e.g., Oxford University Press].
