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　　第十二夜
　　又名：各遂所愿
　　剧中人物 奥西诺 伊利里业公爵
　　西巴斯辛 薇奥拉之兄
　　安东尼奥 船长，西巴斯辛之友
　　另一船长 薇奥拉之友
　　凡伦丁
　　丘里奥 公爵侍臣
　　托比·培尔契爵士 奥丽维娅的叔父
　　安德鲁·艾古契克爵士
　　马伏里奥 奥丽维娅的管家
　　费边
　　费斯特 小丑 奥丽维娅之仆
　　奥丽维娅 富有的伯爵小姐
　　薇奥拉 热恋公爵者
　　玛利娅 奥丽维娅的侍女
　　群臣、牧师、水手、警吏、乐工及其他侍从等

　　地点

　　伊利里亚某城及其附近海滨

　　第一幕
　　第一场　公爵府中一室
　　公爵、丘里奥、众臣同上；乐工随侍。
　　公爵 假如音乐是爱情的食粮，那么奏下去吧；尽量地奏下去，好让爱情因过饱噎塞而死。又奏起这个调子来了！它有一种渐渐消沉下去的节奏。啊！它经过我的耳畔，就像微风吹拂一丛紫罗兰，发出轻柔的声音，一面把花香偷走，一面又把花香分送。够了！别再奏下去了！它现在已经不像原来那样甜蜜了。爱情的精灵呀！你是多么敏感而活泼；虽然你有海—样的容量，可是无论怎样高贵超越的事物，一进了你的范围，便会在顷刻间失去了它的价值。爱情是这样充满了意象，在一切事物中是最富于幻想的。
　　丘里奥 殿下，您要不要去打猎？
　　公爵 什么，丘里奥？
　　丘里奥 去打鹿。
　　公爵 啊，一点不错，我的心就像是一头鹿。唉！当我第一眼瞧见奥丽维娅的时候，我觉得好像空气给她澄清了。那时我就变成了一头鹿；从此我的情欲像凶暴残酷的猎犬一样，永远追逐着我。
　　凡伦丁上。
　　公爵 怎样！她那边有什么消息？
　　凡伦丁 启禀殿下，他们不让我进去，只从她的侍女嘴里传来了这一个答复：除非再过七个寒暑，就是青天也不能窥见她的全貌；她要像一个尼姑一样，蒙着面幕而行，每天用辛酸的眼泪浇洒她的卧室：这一切都是为着纪念对于一个死去的哥哥的爱，她要把对哥哥的爱永远活生生地保留在她悲伤的记忆里。
　　公爵 唉！她有这么一颗优美的心，对于她的哥哥也会挚爱到这等地步。假如爱神那枝有力的金箭把她心里一切其他的感情一齐射死；假如只有一个唯一的君王占据着她的心肝头脑——这些尊严的御座，这些珍美的财宝——那时她将要怎样恋爱着啊！　　　　给我引道到芬芳的花丛；　　　　相思在花荫下格外情浓。（同下。）

　　第二场　海　滨
　　薇奥拉、船长及水手等上。
　　薇奥拉 朋友们，这儿是什么国土？
　　船长 这儿是伊利里亚，姑娘。
　　薇奥拉 我在伊利里亚干什么呢？我的哥哥已经到极乐世界里去了。也许他侥幸没有淹死。水手们，你们以为怎样？
　　船长 您也是侥幸才保全了性命的。
　　薇奥拉 唉，我的可怜的哥哥！但愿他也侥幸无恙！
　　船长 不错，姑娘，您可以用侥幸的希望来宽慰您自己。我告诉您，我们的船撞破了之后，您和那几个跟您一同脱险的人紧攀着我们那只给风涛所颠摇的小船，那时我瞧见您的哥哥很有急智地把他自己捆在一根浮在海面的桅樯上，勇敢和希望教给了他这个计策；我见他像阿里翁①骑在海豚背上似的浮沉在波浪之间，直到我的眼睛望不见他。
　　薇奥拉 你的话使我很高兴，请收下这点钱，聊表谢意。由于我自己脱险，使我抱着他也能够同样脱险的希望；你的话更把我的希望证实了几分。你知道这国土吗？
　　船长 是的，姑娘，很熟悉；因为我就是在离这儿不到三小时旅程的地方生长的。
　　薇奥拉 谁统治着这地方？
　　船长 一位名实相符的高贵的公爵。
　　薇奥拉 他叫什么名字？
　　船长 奥西诺。
　　薇奥拉 奥西诺！我曾经听见我父亲说起过他；那时他还没有娶亲。
　　船长 现在他还是这样，至少在最近我还不曾听见他娶亲的消息；因为只一个月之前我从这儿出发，那时刚刚有一种新鲜的风传——您知道大人物的一举一动，都会被一般人纷纷议论着的——说他在向美貌的奥丽维娅求爱。

Twelfth Night, Or What You Will is a comedy by William Shakespeare, based on the short story "Of Apolonius and Silla" by Barnabe Rich, which in turn was based on a story by Matteo Bandello. It is named after the Twelfth Night holiday of the Christmas season. It was written around 1601 and first performed in front of an audience on 2. February 1602. The play was not published before the First Folio in 1623 seven years after the playwright's death. The main title is believed to be an afterthought, created after John Marston premiered a play titled What You Will during the course of the writing.
Illyria, the setting of Twelfth Night, is important to the play's romantic atmosphere. It is an ancient region on the eastern coast of the Adriatic Sea covering parts of modern Croatia, Montenegro and Albania, but, in the context of allegory, is thought to be an imaginary place. Illyria is mentioned in one of the source plays for Twelfth Night, Plautus's Menæchmi, as a place where, as in Twelfth Night, a twin went looking for his brother. Shakespeare himself mentioned it previously, in Henry VI, Part II, noting its reputation for pirates. It has been noted that the play's setting also has English characteristics such as Viola's use of "Westward ho!", a typical cry of 16th century London boatmen, and also Antonio's recommendation to Sebastian of "the Elephant" as where it is "best to lodge" in Illyria; the Elephant was a pub not far from the Globe theatre.[1]

Like many of Shakespeare's comedies, this one centres on mistaken identity. The leading character, Viola, is shipwrecked on the shores of Illyria during the opening scenes. She loses contact with her twin brother, Sebastian, whom she believes dead. Posing as a boy and masquerading as a young castrato under the name Cesario, she enters the service of Duke Orsino. Orsino is in love with the bereaved Lady Olivia, whose father and brother have recently died, and will having nothing to do with any suitors, the Duke included. Orsino decides to use "Cesario" as an intermediary. Olivia, believing Viola to be a man, falls in love with this handsome and eloquent messenger. Viola, in turn, has fallen in love with the Duke, who also believes Viola is a man, and who regards her as his confidant.

Much of the play is taken up with the comic subplot, in which several characters conspire to make Olivia's pompous head steward, Malvolio, believe that his lady Olivia wishes to marry him. It involves Olivia's uncle, Sir Toby Belch; another would-be suitor, a silly squire named Sir Andrew Aguecheek; her servants Maria and Fabian; and her father's favourite fool, Feste. Sir Toby and Sir Andrew disturb the peace of their lady's house by keeping late hours and perpetually singing catches at the very top of their drunken voices, prompting Malvolio to chastise them. This is the basis for Sir Toby, Sir Andrew, and Maria's revenge on Malvolio.

Maria, Sir Toby, Sir Andrew Aguecheek and company convince Malvolio that Olivia is secretly in love with him, and write a letter in Olivia's hand, asking Malvolio to wear yellow stockings cross-gartered, be rude to the rest of the servants, and to smile in all circumstances. Olivia, saddened by Viola's attitude to her, asks for her chief steward, and is shocked by a Malvolio who has seemingly lost his mind. She leaves him to the contrivances of his tormentors.

Pretending that Malvolio is insane, they lock him up in a dark cellar (a common "treatment" for the mentally ill), with a slit for light. Feste visits him to mock his "insanity", once disguised as a priest, and again as himself. At the end of the play Malvolio learns of their conspiracy and storms off promising revenge, but the Duke dispatches someone (probably Fabian) to pacify him.

Meanwhile Sebastian, Viola's brother, believed deeased, arrives on the scene, sowing confusion. Mistaking him for Viola, Olivia asks him to marry her, and they are secretly united. Finally, when the twins appear in the presence of both Olivia and the Duke, there is more wonder and awe at their similarity, at which point Viola reveals she is really a female and that Sebastian is her lost twin brother. The play ends in a declaration of marriage between the Duke and Viola, and it is learned that Toby has married Maria.

Critical Response

Twelfth Night is noted as one of Shakespeare's most studied and best loved plays: the twin-based comedy of cross-dressing and mistaken identity is accessible to even novice Shakespeare scholars. However, the play has also garnered much critical attention for its nuanced and sometimes elusive treatment of issues of gender, ambition, and love.

The actual Elizabethan festival of Twelfth Night would involve the antics of a Lord of Misrule, who before leaving his temporary position of authority, would call for entertainment; the play has been regarded as preserving this festive atmosphere.[2] This leads to the general inversion of the order of things, most notably gender roles.[3] Malvolio can be regarded as an adversary of festive enjoyment and community.[4]

Viola is not alone among Shakespeare's cross-dressing heroines; in Shakespeare's theater, convention dictated that adolescent boys play the roles of female characters, creating humour in the multiplicity of disguise found in a female character who for a while pretended at masculinity.[5] Her cross dressing enables Viola to fulfil usually male roles, such as acting as a messenger between Orsino and Olivia, as well as being Orsino's confidant. She does not, however, use her disguise to enable her to intervene directly in the plot (unlike other Shakespearean heroines such as Rosalind in As You Like It and Portia in The Merchant of Venice), remaining someone who allows "Time" to untangle the plot.[6] Viola's persistence in transvestism through her betrothal in the final scene of the play often engenders a discussion of the possibly homoerotic relationship between Viola and Orsino. Her impassioned speech to Orsino, in which she describes an imaginary sister who "sat like patience on a monument, / Smiling at grief" for her love, likewise causes many critics to consider Viola's attitude of suffering in her love as a sign of the perceived weakness of the feminine (2.4).

[edit] Metatheatre

At Olivia's first meeting with 'Cesario' (Viola) in Iv she asks her "Are you a comedian?" (ie an Elizabethan term for 'actor'[7]) Viola's reply, "I am not that I play", epitomising her adoption of the role of Cesario, is regarded as one of several references to theatricality and 'playing' within the play.[8] The plot against Malvolio revolves around these ideas, and Fabian remarks in IIIiv: "If this were play'd upon a stage now, I could condemn it as an improbable fiction".[9] In IVii, Feste plays both parts in the 'play' for Malvolio's benefit, alternating between adopting Sir Topas' voice and that of himself. He finishes by likening himself to "the old Vice" of English Morality plays.[10] Other influences of the English folk tradition can be seen in Feste's songs and dialogue, such as his final song in Act Five.[11] The last line of this song, "And I'll strive to please you every day", is a direct echo of similar lines from several English folk plays.