by Isaac Asimov
… born under Taurus
The next scene is in the house of Olivia, the unresponsive object of Orsino's affection.
In the house we meet Sir Toby Belch, Olivia's uncle, who sponges off her and off anyone else he can find. "Toby" is a diminutive of "Tobias" and "Belch" is descriptive of his tippling habits. With him is Maria, one of Olivia's women, and entering the scene almost immediately is Sir Andrew Aguecheek. (The name indicates his cheek has the habit of trembling, as though with ague or chills, but actually out of fear.) He is there because Sir Toby is encouraging him to court Olivia, meanwhile helping himself to the money the poor fellow has.
Toby makes merciless fun of Sir Andrew, who never penetrates any mockery at his own expense. Thus, when Andrew boasts of his dancing ability, Toby encourages him to caper about, saying:
What shall we do else?
Were we not born under Taurus?
—Act I, scene iii, lines 134-35
This is a reference to the zodiac, so important to the pseudo science of astrology. There are twelve signs (constellations or star configurations) in the zodiac, which girdles the sky, and the sun spends one month in each of them.
Apparently Sir Toby and Sir Andrew were both born in the month (April 20 to May 21) when the sun was in Taurus the Bull and were therefore born "under Taurus." Each sign is supposed to have a vast number of significances and is, as an example, supposed to govern a particular part of the body. When Andrew suggests that Taurus presides over sides and heart, Toby says:
No, sir; it is legs and thighs.
Let me see thee caper.
—Act I, scene iii, lines 137-38
Naturally, if Taurus presides over legs and thighs, those born under Taurus must be great dancers.
… what says Quinapalus…
Also at Olivia's house is a Clown named Feste, which is very much like the Italian word for "holiday" and may be an oblique reference to the fact that the play was written to celebrate a holiday.
He has been absent without leave, and he is warned by Maria that he may be discharged. The Clown must therefore win over Olivia and he muses over methods for doing so, saying to himself:
For what says Quinapalus?
"Better a witty fool than a foolish wit."
—Act I, scene v, lines 34-35
It is useless to try to find Quinapalus in a reference book; the name is invented. The Clown apparently has had an education and it is his particular comic device to speak in pseudo-learned jargon. (This would appeal particularly to the lawyers who had commissioned the play.)
… such a barren rascal
The Clown does indeed amuse Olivia and win her forgiveness, but one member of her staff remains untouched. He is Malvolio (his name means "ill will," the opposite of Benvolio, see page I-477, in Romeo and Juliet), who is Olivia's capable steward and hard-working business manager.
Malvolio is humorless, austere, proud, and easily angered. The Clown's wit does not amuse him; it merely offends. He says:
I marvel your ladyship
takes delight in such a barren rascal.
—Act I, scene v, lines 82-83
Malvolio is Shakespeare's notion of a Puritan, and, indeed, he is referred to as one later in the play.
The Protestant Reformation, which began to affect England in the reign of Henry VIII (see page II-783), settled down at last into a typical English compromise under Elizabeth I. There remained those men of Protestant persuasion, however, who were dissatisfied with the compromise and demanded that the English church be purified of those remnants of Catholicism which it possessed.
These demanders of purification came to be called Puritans, and they grew more prominent throughout Elizabeth's reign, although she remained strong enough to refuse to give in to them even when they gained control of Parliament.
The Puritans were self-consciously virtuous men who were equally conscious of the vices of those who disagreed with them. Stalwartly against serious forms of immorality, vice, and crime, Puritans tended to be just as stalwartly against trivial forms of these same things. By wasting their efforts on inconsequentials, they antagonized many who would have been willing to join the assault on important issues. Furthermore, then- pride in virtue was such that anyone was delighted when a Puritan was caught in sin, and it became easy to equate Puritanism with cant and hypocrisy.
Indeed, Olivia's retort to Malvolio's complaint about the Clown is a reflection of the common attitude toward the Puritan. She says:
O, you are sick of self-love, Malvolio,
and taste with a dis tempered appetite.
—Act I, scene v, lines 90-91
Shakespeare, as a professional dramatist and actor, had a specific grudge against Puritans, since they denounced the theater as a haunt of sin and vice and an encouragement to idleness. It was their intention to close down the theaters if they could, and a professional dramatist and actor like Shakespeare could scarcely be expected to show Puritanism anything but hostility in consequence.
… Sebastian of Messaline. ..
Meanwhile Viola has taken employment with Orsino under the name of Cesario and promptly falls in love with the Duke. As for Orsino, he takes a liking to the "young man" and uses him to carry a message to Olivia.
Viola/Cesario carries the message to Olivia but in such a way as to make the Duke something less than impressive. Olivia is, however, favorably impressed with the "young man" and begins to show an affection which Viola/Cesario naturally finds horrifying.
While that happens, Viola's twin brother, Sebastian, turns out to have survived the wreck after all. He has clung to the mast till picked up by another ship, whose captain, Antonio, takes a strong liking to the young man. Antonio's attitude is, in fact, even more marked than that of the other Antonio (in The Merchant of Venice) toward Bassanio, and is more clearly homosexual.
Once both are on the Illyrian coast, Sebastian abandons a pseudonym he has been using (why, we are not told) and identifies himself, saying:
You must know of me then, Antonio,
my name is Sebastian, which I called Roderigo.
My father was that Sebastian of Messaline
whom I know you have heard of.
—Act II, scene i, lines 16-19
It is useless to search for Messaline. There is no such place. Either Shakespeare negligently made up a name or else, more likely, it is a printer's error that has been preserved ever since (because actually it makes no difference).
If it is a misprint there are two possibilities for what the place may have been. It may have been Messene, a Greek city in the southwestern Peloponnesus, about 360 miles southeast of the Illyrian coast; or Messina in Sicily, an almost equal distance southwest of it, and the scene of the action in Much Ado About Nothing (see page I-545).
Sebastian takes his leave of Antonio, for he is bound for Orsino's court, where (unknown to him) his sister is. The court is dangerous for Antonio, who has gained the Duke's enmity, but his affection for Sebastian is so strong that he follows him anyway.
… the four elements
The scene shifts to Olivia's house again, where late at night Sir Toby and his friends are having a rousing time. Sir Toby engages in mock-scholarly arguments with the foolish Sir Andrew, saying:
Does not our lives
consist of the four elements?
—Act II, scene iii, lines 9-10
The ancient Greek philosophers sought to find out the basic substance ("element") out of which the earth was constructed. Different philosophers had different candidates for the post, and Empedocles of Acragas finally suggested, about 450 B.C., that there was more than one. Four, altogether, were named: earth, water, air, and fire, and out of these all the earth was constructed. A century later Aristotle adopted this view and fixed it in human thought for two thousand years.
The view did not begin to go out of fashion till half a century after Shakespeare's death, and we still today speak of the "raging of the elements" when we talk of wind and water being las
hed to fury by a storm over the ocean.
Malvolio comes in at length, to scold them for the noise they are making, and Sir Toby answers him with spirit, in the fashion that all fun-loving, but not really wicked, people might use to counter the self-righteous. He says to Malvolio:
Dost thou think, because thou art virtuous,
there shall be no cakes and ale?
—Act II, scene iii, lines 114-15
It is after he leaves that Maria says of him:
Marry, sir, sometimes he is a kind of Puritan.
—Act II, scene iii, line 140
… Penthesilea
Maria describes the most prominent component of Malvolio's character to be a monstrous self-pride and suggests that they work up a plan to take advantage of that. She will imitate Olivia's handwriting and drop notes in places where he can find them so that he will be misled into thinking Olivia is in love with him. He will then, Maria is sure, promptly make a most enormous ass of himself.
Toby is absolutely delighted, and when she leaves, he calls after her:
Good night, Penthesilea.
—Act II, scene iii, line 177
Penthesilea in the Greek legends was an Amazon. According to some of the tales, she was the younger sister of Hippolyta, whom Theseus had married (see page I-18). It was Penthesilea who killed Hippolyta in the Amazonian war of revenge against Theseus, and afterward she joined the Trojans in their war against the Greeks and was killed in turn by Achilles.
Clearly, an Amazon is bound to be a large and muscular woman, and Penthesilea particularly so, since she fought with credit against Achilles himself. But Maria, it is clear in several places in the play, is a particularly small girl, which gives Toby's remark its humor.
… green and yellow melancholy
Duke Orsino, who intends to continue to use Viola/Cesario as his messenger to Olivia, talks of love to the "young man." Viola/Cesario sadly tells her love to Orsino, pretending it is her sister she is speaking of, and saying:
She never told her love,
But let concealment, like a worm i'th'bud,
Feed on her damask cheek. She pined in thought,
And, with a green and yellow melancholy,
She sat like Patience on a monument,
Smiling at grief.
—Act II, scene iv, lines 111-16
There is a glancing reference here to the doctrine of the four humors, first advanced by the school of Greek physicians who followed the famous Hippocrates of Cos (of the fifth century b.c.).
They believed that there were four fluids, or "humors," in the body: phlegm, blood (sanguis in Latin), bile (chole in Greek), and black bile (melanchole in Greek).
Bile is the secretion of the liver and there is only one variety, a greenish-yellow fluid. On standing, it grows much darker and becomes almost black; hence the distinction between bile and black bile.
The Greek physicians elaborated the theory that the predominance of one fluid over the other resulted in a particular type of temperament or "humor" (see page II-424). There were people who were phlegmatic, sanguine, choleric, or melancholic.
The expression "green and yellow melancholy" refers to the fact that bile was supposedly predominant in the melancholic, though Shakespeare is thinking of ordinary bile, rather than black bile.
… a bearbaiting. ..
At Olivia's house, the plot to catch Malvolio progresses. A new character enters, Fabian. He is another of Olivia's servants and he too has a grudge against Malvolio. He says:
You know he brought me out o'favor
with my lady about a bearbaiting here.
—Act II, scene v, lines 6-7
In bearbaiting, a bear is tied to a stake, and sometimes muzzled. Dogs are then set on it and the "sport" consists in watching the maddened bear slowly tortured to death, usually killing a few dogs on the way. It was very popular in the time of Elizabeth I, and in 1575 thirteen bears were baited with the Queen an interested spectator. This "amusement" was not finally outlawed in England till 1835.
Apparently Fabian had organized a bearbaiting, and Malvolio had complained of it to Olivia, whose soft heart had been touched and who had been angry with Fabian in consequence.
This is a reflection of the fact that the Puritans, to their great credit, strove to have bearbaiting made illegal. (There were, however, not wanting those who said, cynically, that Puritans were against bearbaiting not because it gave pain to the bear but because it gave pleasure to the spectators.)
… Jezebel
Malvolio now enters the trap. The letter has been planted in the garden, and the plotters hide in a tree watching Malvolio. The steward is so lost in self-conceit that he dreams of marriage with Olivia and begins to assume the airs of a great lord. Sir Toby is almost choked with indignation, and Sir Andrew, imitating Toby, cries out:
Fie on him, Jezebel.
—Act II, scene v, line 41
Jezebel was the idolatrous Queen of Israel, wife of wicked King Ahab. She is a byword for pride. When her son (the successor of Ahab) was killed by the revolutionary general Jehu, she met the murderer in her palace as a queen should. Though facing death, she dressed herself like a queen and taunted Jehu with a past revolution that had failed. Or, as the Bible puts it (2 Kings 9:30-31), "And when Jehu was come to Jezreel, Jezebel heard of it, and she painted her face, and tired her head, and looked out at a window. And as Jehu entered in at the gate, she said, Had Zimri peace, who slew his master?"
Of course, Sir Andrew's use of the name is inappropriate from the standpoint of sex; for a man, however proud, can scarcely be a Jezebel; and his simplicity is designed to raise a laugh in the audience.
… the impressure her Lucrece …
Malvolio eventually spies the letter, picks it up, and examines it. The handwriting on the outside seems Olivia's and the seal which closes the fold has Olivia's imprint. Malvolio describes it as:
… the impressure her Lucrece,
with which she uses to seed.
—Act II, scene v, lines 94-95
A person of quality would use a particular stamp (perhaps engraved on a ring) to impress the drop of wax sealing a letter, as further indication of ownership and guard against forgery. Olivia uses a representation of the Roman matron Lucretia, concerning whom (see page I-205) Shakespeare had written The Rape of Lucrece some six or seven years before. Of course, Maria had made use of her mistress' seal.
… from the Sophy
Malvolio interprets the letter exactly as pleases his self-love. It advises him to do just the sort of thing Maria knows Olivia loathes. He is told to smile constantly, to be haughtier and surlier than ever, to talk politics, cultivate eccentricity, wear yellow stockings, and be cross-gartered. He swears to do it all, and when he leaves, Fabian, in the tree, half dead with suppressed laughter, says:
I will not give my part of this sport
for a pension of thousands to be paid from the Sophy.
—Act II, scene v, lines 181-82
The "Sophy" is the title given in England to the Persian Shah (see page I-521). In 1599, not long before Twelfth Night was written, Sir Anthony Shirley came back from Persia, laden with gifts from the Shah for his role in helping reorganize the Persian army. This remark of Fabian's, therefore, is a topical reference.
As for Toby, he is so delighted with the working out of the plan that he offers to follow Maria
To the gates of Tartar, thou
most excellent devil of wit.
—Act II, scene v, lines 207-8
By Tartar is meant Tartarus, the level below Hades where evil souls were tortured for their sins (see page I-13).
Cressida was a beggar
Viola/Cesario has come to Olivia's for another interview on behalf of the Duke. She exchanges wit with the Clown and then gives him a coin. The Clown promptly asks, in literary style, for another:
/ would play Lord Pandarus of Phrygia, sir,
to bring a Cres sida to this Troilus.
—Act III, scene i, l
ines 52-53
This refers to the famous tale Shakespeare was soon to put to use in his own Troilus and Cressida. Viola/Cesario gets the allusion and commends the begging, whereupon the Clown instantly points out that:
Cressida was a beggar.
—Act III, scene i, line 56
A late sequel to the medieval tale explained how Cressida was punished for betraying Troilus. She was stricken with leprosy and became a diseased beggar. Shakespeare did not use this part of the tale in his own treatment (see page I-124), but this line is evidence enough that he knew of it.
… music from the spheres
In the second interview, Olivia is bolder than in the first. She says, when Viola/Cesario speaks of the Duke:
I bade you never speak again of him;
But, would you undertake another suit,
I had rather hear you to solicit that
