Julie Tagg| Think and Write for CSEC English A and B

In literature, motifs are recurring structures, contrasts, or literary devices that help to develop and inform the major themes of a text. In Twelfth Night, there are several motifs present that contribute to the play’s themes. The use of letters, messages, and tokens is one such motif. Characters in the play use these means of communication to convey important information, but they also create the potential for miscommunication and confusion. This motif is used to great effect throughout the play, with characters like Maria and Sir Toby manipulating information for their own purposes.

Another motif in Twelfth Night is that of madness. Although no one is genuinely insane in the play, several characters are accused of being mad. The theme of madness runs through the play, contributing to the general atmosphere of the play, in which normal life is thrown topsy-turvy, and everyone must confront a fractured reality.

Disguises are also a recurring motif in Twelfth Night. Many characters in the play, including Viola, Malvolio, and Feste, assume disguises at different points in the play. The use of disguise raises questions about what constitutes one’s identity and whether things like gender and class are immutable or can be changed with a simple alteration of clothing.

Mistaken identity is another motif in the play. Instances of mistaken identity are related to the prevalence of disguises, as Viola’s male clothing leads to her being mistaken for her brother, Sebastian, and vice versa. These cases of mistaken identity create a tangled situation that can only be resolved when Viola and Sebastian appear together.

Letters, Messages, and Tokens

The motif of letters, messages, and tokens is used to great effect in Twelfth Night. Characters in the play use these means of communication to convey important information, but they also create the potential for miscommunication and confusion. The use of letters is seen throughout the play, with characters like Maria and Sir Toby manipulating information for their own purposes. Maria’s letter to Malvolio, pretending to be from Olivia, is a successful attempt to trick the steward. On the other hand, Sir Andrew’s letter demanding a duel with Cesario is meant seriously but never delivered due to its stupidity. Malvolio’s letter, sent through Feste from the dark room in which he is imprisoned, ultimately frees him from his imprisonment and clears up the confusion caused by Maria’s forged letter.

However, letters are not the only means of communication. Individuals can be employed in place of written communication, such as Orsino repeatedly sending Cesario to deliver messages to Olivia. Objects can also function as messages between people. Olivia sends Malvolio after Cesario with a ring, which symbolizes her romantic attachment to him.

Madness

The motif of madness runs throughout the play and contributes to the general atmosphere of the play, in which normal life is thrown topsy-turvy, and everyone must confront a fractured reality. Although no one is genuinely insane in the play, several characters are accused of being mad. After Sir Toby and Maria dupe Malvolio into thinking that Olivia loves him, his bizarre behavior lands him in a dark room, and he is assumed to be mad. However, Malvolio himself knows that he is sane and accuses everyone else around him of being mad. When Antonio encounters Viola (disguised as Cesario), he mistakes her for Sebastian, and his angry insistence that she recognize him leads people to assume that he is mad.

Disguises

The motif of disguises is another recurring element in the play. Several characters in Twelfth Night assume disguises, starting with Viola, who dresses as a man and fools everyone into thinking that she is one. The use of male attire for the female protagonist creates endless sexual confusion with the Olivia-Viola-Orsino love triangle. Other characters in disguise include Malvolio, who wears crossed garters and yellow stockings in the hopes of winning Olivia, and Feste, who dresses up as a priest named Sir Topas when speaking to Malvolio after his confinement. Feste puts on the disguise even though Malvolio will not be able to see him, suggesting that the importance of clothing is not just in the eye of the beholder. Through these disguises, the play raises questions about what constitutes one’s identity and whether things like gender and class are immutable or can be changed with a simple alteration of clothing.

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Mistaken Identity

Instances of mistaken identity in the play are related to the prevalence of disguises. Viola’s male clothing leads to her being mistaken for her brother, Sebastian, and vice versa. Sir Toby and Sir Andrew mistake Sebastian for Viola (or rather, Cesario), and Olivia marries Sebastian after mistaking him for Cesario. Meanwhile, Antonio mistakes Viola for Sebastian and thinks his friend has betrayed him when Viola claims to not know him. These cases of mistaken identity create a tangled situation that can only be resolved when Viola and Sebastian appear together. The motif of mistaken identity is used to great effect in the play, creating confusion and miscommunication that ultimately lead to a satisfying resolution