ENG1D Twelfth Night Characterisation Storyboard (Part 2)
Updated: 6/21/2020
ENG1D Twelfth Night Characterisation Storyboard (Part 2)
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Storyboard Text

  • Act 3, Scene 1, Pages 1 - 3
  • I would play Lord Pandarus of Phrygia, sir, to bring a Cressida to this Troilus.
  • I understand you, sir. 'Tis wellbegged.
  • Act 3, Scene 1, Pages 4 - 8
  • And he is yours, and his must needs be yours: Your servant’s servant is your servant, madam.
  • Cesario is your servant’s name, fair princess.
  • My servant, sir! 'Twas never merry world since lowly feigning was call’d compliment. You’re servant to the Count Orsino, youth.
  • What is your name?
  • Act 3, Scene 2, Pages 1 - 3
  • Why, then, build me thy fortunes upon the basis of valor. Challenge me the count’s youth to fight with him. Hurt him in eleven places. My niece shall take note of it, and assure thyself, there is no love-broker in the world can more prevail in man’s commendation with woman than report of valor.
  • She did show favor to the youth in your sight only to exasperate you, to awake your dormouse valor, to put fire in your heart and brimstone in your liver. You should then have accosted her, and with some excellent jests, fire-new from the mint, you should have banged the youth into dumbness.
  • During their quarrel in the earlier parts of the scene, Viola and Feste display a significant degree of intelligence (through their use of aphorisms and words) and Viola notes that she is being tantalized with the fact that she can never be with a man as long as she is dressed as one; this is an allusion to the opprobrious and discriminatory rejection of the LGBTQ community that was present during Shakespeare's time. Shortly after, Viola compliments Feste and gives money to him as he is sent off to alert Olivia that she is in her garden. Viola then soliloquizes in the garden and acknowledges Feste's intelligence, stating and stipulating that it takes a mature sensitivity and versatility to adapt to the varying behaviours & caprices of one's superiors while attempting to amuse them.
  • Viola plays word games with Olivia and remarks that because she is Orsino's servant she is also Olivia's servant as he implies that he believes that she will eventually love him. In other words, throughout the course of this scene (of which not all its content is shown) Viola makes clever and astute evasions of Olivia's questions and twists their meanings to interpret other messages that confuse or tantalize her. Shortly after, Viola then makes ambiguous and nuanced implications about her true identity as a female and not a male on Illyria; she discreetly gives light to the significance of the inversion of the current state of Illyria.
  • After Sir Andrew threatens to leave Illyria (due to a diminished morale for his conquest of a romantic relationship with Olivia), Sir Toby & Fabian manipulate him into thinking that he still has a chance with her with the ruse that she was expecting him to eloquently and passionately interrupt her during her flirtations with Viola and that in order to make up for this mistake he should challenge Cesario to a duel to show a sense of bravery to impress her. This scene shows just how avaricious and manipulative both Toby and Fabian are, as well as how gullible, cowardly and foolish Sir Andrew is.
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