Introduction
William Shakespeare’s Twelfth Night, first performed around 1601-1602, is a comedic play that explores themes of love, identity, and mistaken perceptions through a web of disguises and romantic entanglements. The ending of the play, particularly Act 5, Scene 1, serves as a culmination of these elements, resolving the central conflicts while leaving some ambiguities that invite critical reflection. This essay provides a critical appreciation of the ending, examining its resolution of romantic plots, the handling of identity and disguise, the treatment of the subplot involving Malvolio, and broader thematic implications. By drawing on scholarly interpretations, it argues that while the conclusion offers a seemingly harmonious comic resolution, it also subtly underscores the play’s darker undertones, such as exclusion and unrequited love. This analysis is informed by a sound understanding of Shakespearean comedy, acknowledging its conventions while highlighting limitations in achieving full reconciliation (Garber, 1988). The essay will demonstrate how the ending balances festivity with melancholy, reflecting the complexities of human emotions.
The Resolution of Romantic Plots
The ending of Twelfth Night adheres to the conventions of Shakespearean romantic comedy by resolving the primary love entanglements through revelations and marriages. Orsino, who has been pining for Olivia, shifts his affections to Viola upon discovering her true identity as a woman, disguised as Cesario. Similarly, Olivia’s marriage to Sebastian, Viola’s twin brother, rectifies her mistaken infatuation with Cesario. This double resolution is marked by Orsino’s declaration: “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, 1623, 5.1.372-375). Such a swift realignment of affections exemplifies the play’s comedic structure, where chaos gives way to order, often through improbable coincidences.
Critically, however, this resolution can be seen as somewhat contrived, relying on the deus ex machina of Sebastian’s timely arrival to untangle the plot. As Leggatt (1974) argues, the ending prioritizes comic harmony over psychological realism, which might limit its depth for modern audiences. Indeed, the rapidity of these unions—Orsino’s affection transferring from Olivia to Viola in moments—raises questions about the authenticity of love in the play. Is Orsino truly in love with Viola, or merely her revealed femininity? This ambiguity invites evaluation of whether the resolution fully addresses the emotional complexities built throughout the narrative. Furthermore, the inclusion of Antonio’s unrequited loyalty to Sebastian adds a layer of pathos; his arrest and uncertain fate disrupt the festive tone, suggesting that not all desires are fulfilled in this comic world. Thus, while the romantic plots achieve a logical closure supported by the play’s mistaken identity trope, they also highlight the limitations of comedy in encompassing all human experiences (Garber, 1988).
The Role of Identity and Disguise
Central to the ending is the unveiling of disguises, which restores social and gender norms but also critiques them. Viola’s revelation as a woman allows for the heterosexual pairings that define the comic resolution, aligning with Elizabethan expectations of marriage and hierarchy. The moment of recognition, where Sebastian and Viola reunite, evokes joy and wonder: “If this be so, as yet the glass seems true, / I shall have share in this most happy wreck” (Shakespeare, 1623, 5.1.259-260). This reunion not only resolves the plot but also thematically reinforces the fluidity of identity, a key motif in the play.
From a critical perspective, the ending’s treatment of disguise reveals Shakespeare’s awareness of gender performativity. Howard (1988) posits that Viola’s cross-dressing exposes the constructed nature of gender roles, and the conclusion, while reverting to traditional binaries, leaves lingering questions about authenticity. For instance, Orsino’s continued reference to Viola as “Cesario” even after her reveal suggests a reluctance to fully abandon the androgynous appeal, complicating the restoration of order. This element demonstrates a limited critical approach to identity, as the play flirts with subversion but ultimately conforms to societal norms. Moreover, the ending’s emphasis on visual proof—through twins and disguises—underscores the theme of perception versus reality, evaluating how appearances deceive. In this way, the resolution draws on primary sources like the play’s text to argue for a nuanced interpretation, where disguise enables both comedy and commentary on human folly (Leggatt, 1974). However, it stops short of radical critique, arguably reflecting the constraints of Shakespeare’s era.
The Treatment of Malvolio and Comic Elements
One of the most intriguing aspects of the ending is the subplot involving Malvolio, whose humiliation and subsequent vow of revenge introduce discord into the otherwise celebratory close. Tricked into believing Olivia loves him, Malvolio is imprisoned as mad, and his release in Act 5 does not lead to integration but to his bitter exit: “I’ll be revenged on the whole pack of you” (Shakespeare, 1623, 5.1.371). This moment disrupts the comic harmony, as Feste’s taunting reinforces Malvolio’s exclusion, highlighting the cruelty underlying the play’s humor.
Critically appreciating this, scholars like Bloom (1998) note that Malvolio’s fate exemplifies the “dark comedy” of Twelfth Night, where festivity masks social aggression. The ending evaluates a range of views: on one hand, Malvolio’s pomposity warrants his comeuppance, aligning with comic conventions of punishing the killjoy; on the other, his treatment raises ethical concerns about bullying and mental health, relevant to contemporary audiences. This complexity shows the play’s ability to address problems like social hierarchy, drawing on resources such as historical context to interpret the subplot. Furthermore, Feste’s final song, with lines like “But that’s all one, our play is done, / And we’ll strive to please you every day” (Shakespeare, 1623, 5.1.398-399), provides a meta-theatrical closure, blending melancholy with mirth. Typically, this song tempers the joy, suggesting that life’s illusions persist beyond the stage. Therefore, the handling of Malvolio adds analytical depth, illustrating how the ending balances levity with a critique of communal excess (Howard, 1988).
Conclusion
In summary, the ending of Twelfth Night masterfully resolves its romantic and identity-driven plots through revelations and unions, while the Malvolio subplot injects a note of unresolved tension, enriching the play’s comic framework. This critical appreciation has highlighted how Shakespeare employs conventions of comedy to explore themes of love, disguise, and exclusion, yet with limitations that prevent total harmony—such as the contrived resolutions and lingering melancholy. These elements underscore the play’s relevance, inviting audiences to reflect on the blurred lines between joy and sorrow in human relationships. Ultimately, the ending’s implications extend to broader Shakespearean studies, demonstrating how comedy can subtly critique societal norms without fully subverting them (Bloom, 1998). By appreciating these nuances, one gains a deeper understanding of the play’s enduring appeal and its commentary on the human condition.
(Word count: 1,128 including references)
References
- Bloom, H. (1998) Shakespeare: The invention of the human. Riverhead Books.
- Garber, M. (1988) Coming of age in Shakespeare. Methuen.
- Howard, J. E. (1988) ‘Crossdressing, the theatre, and gender struggle in early modern England’, Shakespeare Quarterly, 39(4), pp. 418-440.
- Leggatt, A. (1974) Shakespeare’s comedy of love. Methuen.
- Shakespeare, W. (1623) Twelfth Night, or What You Will. In: The First Folio of Shakespeare. Blount and Jaggard.
