The Sea-coast Act II Scene 1 summary and analysis

Act II: Scene 1

The Sea-coast 

the sea coast 12th night

Summary

The second act begins on the seacoast of Illyria. Viola's twin brother, Sebastian, was not drowned after all. He survived the shipwreck and enters on stage talking with Antonio, a sea captain (not the same sea captain who managed to reach shore with Viola). Sebastian, like his sister Viola, is deeply grieved; he is sure that Viola was lost at sea and perished in the storm. He blames the stars and "the malignancy of [his] fate" for his dark mood and his misfortune. He turns to the sea captain, and, feeling that he can be straightforward with him because of what they have both just experienced, he tells the captain that he wants to be alone. He needs solitude because of his terrible grief; his troubles are many, and he fears that they will spread like an illness and "distemper" the sea captain's mood. He cares too much for the captain to unburden his woes on him.

Antonio, however, will not leave Sebastian; his friendship for the young man is strong enough to withstand Sebastian's emotionalism. Sebastian's composure suddenly breaks, and he bewails his lot; if Antonio had not saved him, he would now be dead at the bottom of the sea, alongside his beloved sister. "If the heavens had been pleased," his fate would have been the same as his sister's. He then recalls his sister's beauty, and he remembers her keen mind, a mind that was extraordinary and enviable. At this point, Antonio protests. Sebastian was correct when he spoke earlier of his dark moodiness being able to "distemper" Antonio's temperament. The sea captain says that Sebastian's lamentations are "bad entertainment," a fact that Sebastian quickly realizes and quickly apologizes for.

Antonio changes the subject to matters more practical and more immediate. He asks Sebastian if he can be the young man's servant. That single favor would please him immensely. That single favor, however, Sebastian cannot grant him, for as much as he would like to do so, he dare not take Antonio with him. His destination is Duke Orsino's court and Antonio has "many enemies" in Orsino's court. Yet "come what may," Antonio says that he will always treasure his friendship with Sebastian. Thus, he will go with Sebastian. Antonio's devotion to Sebastian is admirable; he recognizes the dangers ahead if he follows Sebastian to Orsino's palace, but after the horrors of the shipwreck, future "danger shall seem sport."

Analysis

This scene takes us away from the regal households and out to the seashore on another part of the coast of Illyria. The two new characters who are introduced, Sebastian and Antonio, form the third plot line of the comedy. Sebastian is Viola's twin brother whom she believes was probably drowned at sea, and this fact will create comic complications, which will be resolved in the fifth act. Like his sister, Sebastian is kind and good-looking. When Sebastian describes his sister as a lady "though it was said she much resembled me, was yet of many accounted beautiful," we are being prepared for the confusion later in the play when Sebastian will be mistaken for Cesario (Viola), and Viola (as Cesario) will be mistaken for Sebastian by Antonio, the sea captain.

Sebastian will appear throughout the rest of the comedy as more impulsive and more emotional than his twin sister; for example, he will consent to marry a woman (Olivia) whom he has just met — an act of extreme impetuosity. But yet we must assume that Sebastian possesses many good qualities to have attracted the loyalty of such a stalwart man as the sea captain, who decides to risk his life to accompany the handsome young lad to Duke Orsino's court.

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Twelfth Night Act 2 Scene 1 Summary and Analysis

Act II: Scene 1

Summary

The second act begins on the seacoast of Illyria. Viola's twin brother, Sebastian, was not drowned after all. He survived the shipwreck and enters on stage talking with Antonio, a sea captain (not the same sea captain who managed to reach shore with Viola). Sebastian, like his sister Viola, is deeply grieved; he is sure that Viola was lost at sea and perished in the storm. He blames the stars and "the malignancy of [his] fate" for his dark mood and his misfortune. He turns to the sea captain, and, feeling that he can be straightforward with him because of what they have both just experienced, he tells the captain that he wants to be alone. He needs solitude because of his terrible grief; his troubles are many, and he fears that they will spread like an illness and "distemper" the sea captain's mood. He cares too much for the captain to unburden his woes on him.

Antonio, however, will not leave Sebastian; his friendship for the young man is strong enough to withstand Sebastian's emotionalism. Sebastian's composure suddenly breaks, and he bewails his lot; if Antonio had not saved him, he would now be dead at the bottom of the sea, alongside his beloved sister. "If the heavens had been pleased," his fate would have been the same as his sister's. He then recalls his sister's beauty, and he remembers her keen mind, a mind that was extraordinary and enviable. At this point, Antonio protests. Sebastian was correct when he spoke earlier of his dark moodiness being able to "distemper" Antonio's temperament. The sea captain says that Sebastian's lamentations are "bad entertainment," a fact that Sebastian quickly realizes and quickly apologizes for.

Antonio changes the subject to matters more practical and more immediate. He asks Sebastian if he can be the young man's servant. That single favor would please him immensely. That single favor, however, Sebastian cannot grant him, for as much as he would like to do so, he dare not take Antonio with him. His destination is Duke Orsino's court and Antonio has "many enemies" in Orsino's court. Yet "come what may," Antonio says that he will always treasure his friendship with Sebastian. Thus, he will go with Sebastian. Antonio's devotion to Sebastian is admirable; he recognizes the dangers ahead if he follows Sebastian to Orsino's palace, but after the horrors of the shipwreck, future "danger shall seem sport."

 

Analysis

This scene takes us away from the regal households and out to the seashore on another part of the coast of Illyria. The two new characters who are introduced, Sebastian and Antonio, form the third plot line of the comedy. Sebastian is Viola's twin brother whom she believes was probably drowned at sea, and this fact will create comic complications, which will be resolved in the fifth act. Like his sister, Sebastian is kind and good-looking. When Sebastian describes his sister as a lady "though it was said she much resembled me, was yet of many accounted beautiful," we are being prepared for the confusion later in the play when Sebastian will be mistaken for Cesario (Viola), and Viola (as Cesario) will be mistaken for Sebastian by Antonio, the sea captain.

Sebastian will appear throughout the rest of the comedy as more impulsive and more emotional than his twin sister; for example, he will consent to marry a woman (Olivia) whom he has just met — an act of extreme impetuosity. But yet we must assume that Sebastian possesses many good qualities to have attracted the loyalty of such a stalwart man as the sea captain, who decides to risk his life to accompany the handsome young lad to Duke Orsino's court.

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Twelfth Night Act 1 Scene 4 Summary and Analysis

Act I: Scene 4

Summary

In Duke Orsino's palace, one of his pages, Valentine, enters, accompanied by Viola, disguised as a young eunuch, Cesario. By their conversation, we realize that after only three days, Cesario has already become a great favorite with the duke. In fact, Viola has won Orsino's confidence and favor so thoroughly that when "Cesario" enters, Orsino sends the others away so that he and Cesario might be alone. He asks Cesario to do him a very special, very personal favor. Cesario is to be the duke's messenger, his proxy, and carry notes of love from Orsino to Olivia. Cesario is to explain in detail the passion which Orsino has for Olivia and, in addition, Cesario is to enact Orsino's "woes." Furthermore, because Cesario himself is so beautifully handsome, Orsino believes that his avowals of love will be all the better received. His reasoning is that his love messages will entice the fair Olivia favorably because they will be presented in such a handsome package, as it were. Orsino also says that if Cesario is successful, he will be well rewarded; he will "live as freely as thy lord / To call his fortune thine."

Cesario is reluctant; in an aside, he reveals that "he" (Viola in disguise) has fallen in love with Orsino. Ironically, as Cesario, Viola will be doing some wooing for a man whom she would gladly have as a husband herself.

Analysis

This scene shows us that Viola has been completely successful in carrying out her plan to become a member of Duke Orsino's household. Within a period of only three days she has completely captivated the duke, who has taken a fancy to her and is now not only employing her as his personal messenger, but he has also confided his innermost thoughts to her — that is, he has confided them to "Cesario."

At the opening of the scene, Valentine informs Cesario that he is likely to be advanced in the duke's service. This prompts Cesario to ask if the duke is sometimes "inconstant" in his favors. Viola is hoping that the duke will ultimately be constant to her — and yet she is also hoping that the duke will be inconstant in his affections for Olivia; it is not, however, until the last line of this scene that we discover that in these three days Viola has fallen in love with the duke. Part of the comic situation here involves the dramatic irony that Viola (in disguise) is forced to try to win Olivia for Duke Orsino when in reality, she would like to shed her disguise and be his wife herself.

At the end of the scene, Viola cries out, "Whoe'er I woo, myself would be his wife." This statement aligns Viola then with the other romantic lovers. She differs from them only by the fact that she is in constant touch with reality and can therefore evaluate her position.

Click here for Twelfth Night Act 1 Scene 5 Summary and Analysis 

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Twelfth Night Act 1 Scene 3 Summary and Analysis

Act I: Scene 3

Summary

At Olivia's house, Sir Toby Belch, Olivia's uncle, is criticizing his niece for mourning the death of her brother so profusely. He says to her serving girl, Maria, that his niece is melodramatically overreacting, and he thoroughly disapproves. Maria disapproves of several things herself: she disapproves of Sir Toby's arriving at such a late hour, dressing so slovenly, and drinking so much. Only yesterday, Olivia complained of these things, plus the fact that Sir Toby brought someone who he thinks is the perfect suitor to the house, Sir Andrew Aguecheek. Despite Maria's calling Aguecheek a "fool and a prodigal," Sir Toby is proud of the chap — a fitting suitor for his niece: Aguecheek, he says, receives three thousand ducats a year, plays the violincello, and speaks several languages. Maria is not impressed. To her, the man is reputed to be a gambler, a quarreler, a coward, and a habitual drunkard.

When Sir Andrew joins them, there follows a brief exchange of jests, most of them at Sir Andrew's expense. Maria leaves, and the two men discuss Sir Andrew's chances as a prospective suitor of Olivia. Sir Andrew is discouraged and ready to ride home tomorrow, but Sir Toby persuades him to prolong his visit for another month, especially since Sir Andrew delights in masques and revels and, as Sir Toby points out, Sir Andrew is a superb dancer and an acrobat, as well. Laughing and joking, the two men leave the stage. It is obvious that Sir Toby has a secret and mysterious purpose for wanting to persuade Sir Andrew to stay and woo the fair Olivia.

Analysis

With this scene, we are introduced to still another set of characters: in the modern idiom, we have already met the "upstairs" characters; now we meet the "downstairs" characters. Sir Toby Belch, Sir Andrew Aguecheek, and Maria form the subplot that counterbalances the main plot. Sir Toby Belch, as his name implies, is characterized by his heavy drinking and by his obese, corpulent frame. In an earlier play, Shakespeare created a similar type of character in Sir John Falstaff (See Henry IV, Part I and Part II); this character was extremely popular with Elizabethan audiences, and Sir Toby is reminiscent of the earlier Sir John; both are plump, jolly knights with a penchant for drinking, merrymaking, and foolery of all types. In this play, Sir Toby spends most of his time complimenting Sir Andrew so that the latter will continue to supply him with money for drinking and cavorting. Sir Toby's niece, we discover, is too withdrawn in her melodramatic mourning to be aware of the partying going on in her house, but when she does become aware of it, she disapproves and relies upon her steward, Malvolio, to keep her household in order; thus, Malvolio will soon become the butt of the partymakers' jokes.

Maria, another member of the subplot, is Olivia's vivacious, clever, and mischievous maid. She comes from a Shakespearean tradition of servants who are wittier and cleverer than the people who surround them. Thus, she will be seen to be far more witty than Sir Andrew Aguecheek is, and he will become the object of her many jokes and puns, but he will never realize the extent to which Maria ridicules him.

Sir Andrew Aguecheek is necessary for the plot mainly because he is in possession of three thousand ducats a year, and Sir Toby is anxious to remain on good terms with him so as to be a recipient of the eccentric knight's beneficence. Consequently, he continually plots ways to make the knight think that Olivia is indeed receptive to the romantic overtures of the tall, skinny, ridiculous knight. Now we know that two vastly different people, Duke Orsino and Sir Andrew Aguecheek, are both seeking the hand of the Lady Olivia. Later, Malvolio will become a third "suitor," by a ruse played upon him by Maria and her cohorts.

Click here for Twelfth Night Act 1 Scene 4 Summary and Analysis 

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Twelfth Night Act 1 Scene 2 Summary and Analysis

Twelfth Night 

Act I: Scene 2

Summary
Viola and a sea captain and several sailors enter. They have been shipwrecked on the seacoast of Illyria and have barely escaped drowning. The captain congratulates Viola on not being drowned, for he tells her that when their ship split in half, he saw her brother, Sebastian, tie himself to a mast; yet even that, he fears, did not save Sebastian, for he saw him and the mast borne away on the waves. According to the captain, there is a slim chance that Sebastian survived, but there is a strong possibility that only the captain, Viola, and these few sailors are the sole survivors. Viola is appreciative of the captain's kind, if cautious, optimism; she gives him some gold coins and asks him if he has any idea where they are. The captain does; he knows Illyria well. He was born and reared here, and he tells Viola that the country is governed by a "noble Duke," Duke Orsino. Viola recognizes the name; her father spoke of him. The duke is a bachelor, she believes.

The captain is not so sure that this fact is still true; he says that according to current gossip, the duke has been seeking the love of "fair Olivia," but he says that Olivia is a virgin and that she is determined to remain so. Following the death of Olivia's father (a year ago) and the death of her brother (just recently), Olivia forswore men altogether.

The story intrigues Viola; she herself is now in mourning for her brother, Sebastian, and nothing would please her more than to serve Olivia. The captain, however, says that such a plan is impossible. Olivia will see no one. For a moment, Viola ponders, then she devises an ingenious scheme. She will disguise herself as a young eunuch, and she will pay the captain handsomely for his aid if he presents her to Duke Orsino. She will sing for the duke, play any number of musical instruments for him and — in short — she will ingratiate herself in his household. The captain agrees, and they exit.

Analysis

With the shift of this scene to the seacoast of Illyria, we meet another principal character in the comedy — Viola — and in meeting her, we hear more about the Lady Olivia, and even though their names are almost perfect anagrams (a rearrangement of the same letters in the names), and even though they are in similar dramatic situations in this play, they are vastly different women. Both of them have recently been orphaned, and, to all outward semblances, both have lost a brother and are therefore alone in the world. But here the similarity ends. Olivia is indulging in her grief, but whereas Viola deeply grieves for her brother, she is still able to function in the practical world. Unlike Olivia, Viola, shipwrecked and alone, does not have time to indulge in her grief. Being a shipwrecked virgin maid on a strange shore and knowing no one, she must use her wit, her intelligence, and her ability to analyze situations and characters. Consequently, Viola decides to disguise herself as a man for a very practical purpose — to assure her own protection in an alien world which would not respect a young virgin maiden. And with the assumption of this disguise, we will have the beginning of a complicated series of disguises which will run throughout the remainder of the comedy.
Viola's uncanny ability to intuit other people's ideas enables her to trust the sea captain; he can help her carry out her plans and keep her identity secret. Without his trust, her plans would fail, and after she has assumed her disguise, she uses it to its fullest potential — that is, she never passes up the opportunity to use her disguise in order to make puns and double entendres for parodies and satires and, ultimately, to comment subtly on the disguised biological difference between herself and the Lady Olivia. In other words, while the disguise provides Viola with security and protection, it also allows her to utilize her wit for her own enjoyment and also for the enjoyment of the audience.

Click here for Twelfth Night Act 1 Scene 3 Summary and Analysis  

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