[[caption-width-right:350: Why, this is very midsummer madness!]]

->''"If music be the food of love, play on."''
-->-- '''Orsino''', who is InLoveWithLove, music, and, ostensibly, the Countess Olivia. And bad puns. (''Twelfth Night'' I.i.1)

''Twelfth Night, [[EitherOrTitle or What You Will]]'' is a comedic play by Creator/WilliamShakespeare.

A woman gets shipwrecked, loses her HalfIdenticalTwin, dresses as a boy to get a job, and gets involved in a bizarre LoveDodecahedron. A subplot involves yellow stockings.

Actually, that sums up Creator/WilliamShakespeare's play pretty well. Viola has been shipwrecked in Illyria, and the captain tells her that the wreck carried off her twin brother as well. Being a gentlewoman, Viola is bereft of skills aside from singing and other musical arts ([[InformedAbility at which she says she is proficient]]), and so decides to dress up as a young eunuch so she might find employment under the Duke Orsino (see above), of whom she has heard good things. (She would rather serve the Countess Olivia, but the lady, heartbroken by the loss of her father and brother, has sworn off male company and presumably is not hiring.)

After a mere three days in Orsino's service, the Duke is so charmed with the "boy" Cesario that he sends him off to woo the Countess on Orsino's behalf (citing how [[strike: suspiciously]] innocently feminine he is). Olivia is not pleased to see Cesario as she has grown sick of Orsino's wooing, and answers sarcastically to the Duke's sentimental verses. Viola, however, can hold her own on the field of [[DeadpanSnarker snarking]], and refuses to see Orsino's suit so answered (in case one has not inferred, she has fallen hard for Orsino.) She banters with and challenges Olivia, who finds herself falling in love with the spirited "chap." When Viola's HalfIdenticalTwin brother Sebastian shows up, the fun just gets started...

Now the subplot:
[deep breath] Olivia has given over the management of her household to her Puritan steward Malvolio, whose new position causes him to look down on Olivia's uncle, Sir Toby Belch. Sir Toby is taking advantage of a [[UpperClassTwit brainless rich boy]] named Andrew Aguecheek, by convincing the hapless Sir Andrew that Olivia would like to marry him. However, Olivia has no intention of the kind, and Sir Toby simply likes to use Andrew's money to fund his drinking and revelry. Malvolio comes down hard on Sir Toby, who, along with Olivia's handmaid Maria, decides to play a little trick on the lecherous social climber Malvolio...

Meanwhile, Feste, Olivia's father's jester, has returned to seek employment, and is tasked by Olivia to watch over Toby, but wanders here and there, watches everyone, and laughs in his sleeve and out of it.

All in all one of Shakespeare's lighter, sillier plays (albeit one with quite a dark undertone), but a classic of English literature nonetheless. It's been adapted as a movie twice--a silent version in 1910 and, more notably, Trevor Nunn's [[AdaptationDistillation entertaining 1996 version]] which transported the characters into a setting reminiscent of Victorian England and/or Wilhelmine Germany. The plot was also the basis for the 2006 teen comedy ''Film/ShesTheMan''.

!!Tropes in ''Twelfth Night'':
* ActuallyThatsMyAssistant: Olivia puts a veil over her face and pretends to be one of her maidservants to greet Cesario.
* AdaptedOut: Fabian, a ''lot'', even in some stage versions. When this happens, his lines are usually given to Feste.
* AerithAndBob: Viola, Cesario, Sebastian, Orsino, Olivia, Malvolio, Feste, Curio, Fabian, Antonio...''Andrew and Toby''.
* AlcoholHic: Toby Belch, when he shows up drunk at Olivia's house:
-->'''Feste''': Here comes one of thy kin has a most weak ''pia mater''.\\
'''Olivia''': By mine honor, half drunk. What is he at the gate, cousin?\\
'''Toby Belch''': A gentleman.\\
'''Olivia''': A gentleman! What gentleman?\\
'''Toby Belch''': 'Tis a gentleman here-- a plague o' these pickle herring!
* AllLoveIsUnrequited:
** Viola loves Orsino, who loves Olivia, who loves Cesario, who ''is'' Viola. Eventually they get it all sorted out happily, though.
** Depending on your interpretation, this is permanent for Antonio.
* AllThereInTheScript: Viola doesn't get named in the play itself -- as opposed to the stage directions -- until the very last scene. It doesn't hurt that she spends most of the play as "Cesario"...
** Similarly, Feste has exactly one use of his name in the show, and that over halfway through.
* AmbiguouslyBi: Both Viola and Olivia. Viola's definitely into Orsino, but some of her interactions with Olivia could ''very'' easily be read as her having feelings for her, as well, and most modern productions ramp up the subtext. Olivia, meanwhile, canonically falls in love with Viola. Granted, she thinks Viola is a man, but it's her ''personality'' that she fell for; Viola turning out to be female doesn't actually change anything Olivia was attracted to.
* AmbiguouslyGay: Antonio.
* AngstySurvivingTwin: The premise, though, not the conclusion.
* ArtifactTitle: ''Twelfth Night'' refers to its first performance.
* YouFailGeographyForever: Downplayed. Illyria is what balkanized into modern day Croatia, Slovenia and Bosnia. However, the play is set during summertime, so, if we accept the title as indicative, it should be in the Southern Hemisphere[[note]]In the Northern Hemisphere, Twelfth Night would be a winter holiday, not a summer holiday[[/note]]. Admittedly, there's no confirmation that the events of the play are happening during the Twelfth Night festivities, which are only referenced in the title and briefly in a song by Sir Toby.
* {{Bifauxnen}}: Viola
* BigFun: Sir Toby Belch, who likes to spend quite a bit of his spare time (as well as a sizable portion of Andrew's salary) eating and drinking, as contrasted to his {{foil}}, Malvolio, who tries to keep order in Olivia's household.
* BittersweetEnding: Feste's melancholic ending song aside, most everyone got a happy ending, except for Antonio, Sir Andrew Aguecheek and Malvolio.
* BoisterousWeakling: Sir Andrew.
--> '''Maria:''' ...besides that he's a fool he's a great quarreler, and but that he had the gift of a coward to allay the gust he hath in quarreling, 'tis thought among the prudent he would quickly have the gift of a grave.
* BreakTheHaughty:
** Maria, Feste, and a few other rabblerousers agree to take the arrogant steward Malvolio down a peg, and they arrange a fake letter to fall his way, saying his employer, Olivia, is in love with him. Under this delusion, he behaves and dresses like a lovesick loon, all the while thinking this is exactly what she wants, and ends up being locked in a dungeon for lunacy, before being released and told the letter was a sham. It started out funny, but by the end, even the rabblerousers aren't laughing.
** Olivia herself goes through a downplayed version of this. At the beginning, she is stately, composed, and implacable, and, yes, very proud. But by the time the play is ended she has fallen head over heels in love, and has almost completely lost her dignity on account of it.
* ButtMonkey: Malvolio and Andrew Aguecheek.
* CompressedHair: Not universal, but very common for Viola.
* ConvenientlyAnOrphan: All we know about Viola and Sebastian's family is that their father is dead. By the sounds of it, they're all that each other has in the world.
* TheCoverChangesTheMeaning: Feste's song at the end. Trevor Nunn's version makes it a fairly jubilant little number, but other versions range from bittersweet to plain sorrowful.
* CovertPervert: Despite his Puritanical tendencies, Malvolio's imagination is pretty deep in the gutter as regards Olivia: the letters he notices in her handwriting are "C's, U's, and T's" (try saying that aloud), and he daydreams about being married to her. The Trevor Nunn film has Malvolio wearing yellow stockings to sleep before he gets the fraudulent letter, treating yellow stockings as a kind of odd Illyrian kink.
* DeadpanSnarker:
** Feste. "Corrupter of words" ''indeed''.
** Not to mention Olivia. Her first appearance.
--->'''Olivia:''' Give us the place alone: we will hear this [[SarcasmMode divinity]]. Now, sir, what is your text? \\
'''Viola:''' Most sweet lady-- \\
'''Olivia:''' A comfortable doctrine, and much may be said of it. Where lies your text? \\
'''Viola:''' In Orsino's bosom. \\
'''Olivia:''' In his bosom! In what chapter of his bosom? \\
'''Viola:''' To answer by the method, in the first of his heart. \\
'''Olivia:''' Oh, I have read it: it is heresy...
* DefrostingIceQueen: Olivia, who thaws out pretty quickly.
* DirtyCoward: Andrew Aguecheek, who resorts to attacking Sebastian, whom he mistakes for Cesario[=/=]Viola (with Cesario denying Antonio's acquaintance), only for Andrew to get beaten and bruised by Sebastian.
* DirtyOldMan: Malvolio chases after a woman twenty years his junior.
* DiseasedName: Andrew Aguecheek has a name that evokes feverish ill-health ("ague" being an Elizabethan word for fever with shivering and chills). It would just mean numbed as an adjective, suggesting a slight facial impairment, as if Sir Andrew has had a stroke: one side of his face being without motion, which explains some of his speech.
* DispenseWithThePleasantries: Olivia will not allow Viola to continue with Orsino's declaration of love to her.
-->'''Viola:''' Most sweet lady...\\
'''Olivia:''' ... a comfortable doctrine, and much may be said of it.
* DisproportionateRetribution: Feste, Sir Toby Belch, and Fabian have Malvolio locked up in a small, completely darkened room with no candle or food or water, because he's a presumptuous stick-in-the-mud who hates parties.
** Feste gets bonus points here. Sir Toby has a rational reason to act against Malvolio (Malvolio hates him, and is trying to cut him off from Olivia, who is both his niece and his source of support) - even so, by the end of the play, Toby has had his fun and wants to let Malvolio go and move on. Feste, by contrast, is spiteful and mocking even then... and while Toby only arranged for Malvolio to be publically mocked and imprisoned for a time, Feste made the poor man think he was to be ''executed''. So, what did Malvolio do to make Feste hate him so much? He ''doesn't like Feste's jokes''. That is truly the only reason given.
*** Keep in mind that as Olivia's fool, or [[InsistentTerminology "corrupter of words"]], telling jokes was basically Feste's job. If Feste stopped telling jokes, as Malvolio desired, he'd have no reason to be in Olivia's employ, and possibly been kicked out onto the streets. Feste wanted to keep his income just as much as Toby did.
* TheDitz: Sir Andrew. Fortunately for him, he's too stupid to realize how little everyone thinks of him until Sir Toby makes it explicit at the very end.
* DoggedNiceGuy: Orsino believes that Olivia owes him a return of his feelings because he's so persistent and passionate. Viola dutifully makes Orsino's case, but eventually she gets fed up and tells her master that no, you can't force someone to love you just because you love them.
* DoubleEntendre: When Malvolio repeats the line "some have greatness ''thrust'' upon them!" to Olivia after he turns up in the yellow cross-gartered stockings.
* DrivenToVillainy: After getting yanked around the entire play, Malvolio loses it at the happy ending and vows revenge on the whole lot of them.
* DroppingTheBombshell: When Olivia calls Cesario/Viola "husband" in the last scene.
* DueToTheDead: Olivia even overdoes it.
* TheDulcineaEffect: How well Orsino actually ''knows'' Olivia is questionable.
* EitherOrTitle: Played with, as the alternate title is ''What You Will'' -- meaning it's left up to the director if s/he wants to call it something other than ''Twelfth Night.''
* EndOfAnAge: The theme of the play, as evidenced by the BittersweetEnding.
* EveryoneIsBi: Averted, but just barely. With all the (misaimed?) crushes going on, the audience is definitely invited to wonder.
* ExcessiveMourning: Orsino argues that Olivia should resort to new means to remember her family. Like, having children.
* {{Foil}}: Malvolio, to Feste, Toby Belch, Andrew Aguecheek, Maria and Fabian. See also MeaningfulName
* ForgedLetter: Maria writes a letter ambiguously making it seem that Olivia is in love with Malvolio, to trick him.
* FourthDateMarriage: Even for an Elizabethan comedy, in which this trope was expected, Twelfth Night stands out: Orsino proposes to Viola the instant he learns that she is a woman, and more ridiculously still, Sebastian marries Olivia, a woman he has literally just met, ''without even telling her his real name''. Most productions will try to mitigate this this by blocking Orsino and Viola's scenes to show obvious physical chemistry they're trying to ignore, but there's not much to be done with Sebastian and Olivia.
* FreudianSlip: When Orsino finds out that Olivia loves Cesario, he threatens to murder Cesario, comparing himself to an Egyptian thief who murdered his own lover to keep her from being tortured. He's inadvertently revealing that Cesario is the one he's in love with.
* {{Gaslighting}}: Feste, Toby and Maria try to pull this on Malvolio during his mock-exorcism.
* GenderBender: You better believe it. (On top of everything else, all stage roles in Shakespeare's day were played by men ... so Cesario, for example, would be a man dressed up as a woman dressed up as a man. Your basic Shakespearean RecursiveCrossdressing. Got it?)
* GirlsWithMoustaches: In many productions, Viola dons a fake moustache as part of her Cesario disguise.
* GoneHorriblyRight: Sir Toby and Fabian's plan to set Sir Andrew and Cesario up for a duel (and negotiate a settlement very amusing and profitable to themselves) falls to pieces when they accidentally find ''Sebastian'', who is perfectly happy to hit back.
* GreenEyedEpiphany: Orsino has one as regards Cesario.
* HalfIdenticalTwins: Viola and Sebastian seems to be this since many characters mistake them for one another when Viola masquerades as Cesario.
* HappyHarlequinHat: Feste wears one in some versions.
* HelloSailor: Antonio, a former pirate, has some pretty strong feelings for young Sebastian.
* HeterosexualLifePartners: Antonio and Sebastian, although not necessarily heterosexual on Antonio's part, depending on the presentation.
** At the end of the play, Antonio mentions:
--->'''Antonio''': Today, my lord, and for three months before, No interim, not a minute’s vacancy, Both day and night did we keep company.
** Make of that [[TitleDrop what you will]].
* HilarityEnsues: It's Shakespeare. It always does.
* HourglassPlot: Antonio saved Sebastian's life after a horrific storm, when they were both mired in a strange country. Antonio grew very close to Sebastian, and even got into a duel in Sebastian's defense. When Antonio was placed under arrest by Orsino, his old rival, he expected that Sebastian would help him out — only for Sebastian to act like he's never met Antonio before. Fortunately, that wasn't actually Sebastian.
* HypocriticalHumor
--> '''Sir Toby''': I hate a drunken rogue.
* IfICantHaveYou: Orsino's reaction when he figures out that Olivia is in love with Cesario, more or less:
-->Come, boy, with me; my thoughts are ripe in mischief:\\
I'll sacrifice the lamb that I do love,\\
To spite a raven's heart within a dove.
* IfIWereARichMan: Malvolio, in a daydream that he reveals to the audience.
* IHaveThisFriend: An interesting variant, in that Viola says a bunch of things that are literally true, but meant to be taken this way:
-->My father had a daughter loved a man,\\
As it might be, perhaps, were I a woman,\\
I should your lordship.
* InLoveWithLove: The Duke Orsino doesn't pay much attention to the messages he's actually getting from Olivia and seems to enjoy the misery of his hopeless suit.
* IncrediblyLamePun: They're all over the place, along with some not-so-lame puns as well.
-->'''Viola''' (asking Feste if he makes a living playing music): Dost though live by thy tabor?\\
'''Feste''': No, sir, I live by the church.\\
'''Viola''': Art thou a churchman?\\
'''Feste''': [[InsaneTrollLogic No such matter, sir. I do live by the church, for I do live at my house,]] [[LiteralistSnarking and my house doth stand by the church.]]
* InformedAbility: Viola tells the captain that she can sing well, and thus she inveigles herself into the court of the music-loving Orsino, but the play never calls for her to demonstrate her ability. Some productions will create opportunities for her; Trevor Nunn's film has her performing for Orsino several times (even rearranging the early scenes to let her be the musician in the "music be the food of love" scene), and the 2009 Shakespeare in the Park production with Anne Hathaway specifically cast singers, had the band Hem compose music for the in-show songs, and in general had so much music that they released a soundtrack album.
** The 2017 Emma Rice Globe staging, meanwhile, is full of song but while the whole cast join in with choruses, Viola never has any kind of solo. It is instead Orsinio, Maria and most of all Feste (played here as bass-baritone drag act Le Gateau Chocolat in a sparkly kaftan) who lead the singing.
* InsistentTerminology: Used humorously by Feste. He's not Olivia's ''fool'', he's her [[PungeonMaster "corrupter of words".]]
* IronicEcho: One of the most memorable ever employed.
--> '''Malvolio:''' I marvel your ladyship takes delight in such a barren rascal: I saw him put down the other day with an ordinary fool that has no more brain than a stone. Look you now, he's out of his guard already; unless you laugh and minister occasion to him, he is gagged...
** In the final scene:
---> '''Feste:''' "By the Lord, fool, I am not mad." But do you remember? "Madam, why laugh you at such a barren rascal? And you smile not, he's gagg'd." And thus the whirligig of time brings in his revenges.
* ItMakesSenseInContext: In Act 2, Scene 3, Toby and Andrew have a brief discussion about going to bed early:
-->'''Toby''': Approach, Sir Andrew: not to be a-bed after midnight is to be up betimes; and ''diluculo surgere'', thou knowest--\\
'''Andrew''': Nay, I know not; but I know, to be up late is to be up late.\\
'''Toby''': A false conclusion: I hate it as an unfilled can. To be up after midnight and to go to bed, then, is early; so that to go to bed after midnight is to go to bed betimes.
** Since the next day starts at midnight, any time after midnight (e.g., 12:05 A.M.) would be considered part of the morrow, which means that any time after midnight would be considered part of the next day, which starts at midnight.
* IWantMyBelovedToBeHappy: A large part of why Viola continues to deliver Orsino's overtures to a woman who doesn't return his love, despite desiring him herself.
* TheJester: Feste is one of Shakespeare's finest takes on this trope.
* KarmicTrickster: Feste the jester embodies this role. He points out the logical flaws in Olivia's mourning, sees through even Viola's clever wordplay, and cuts the pompous, Puritan Malvolio down to size... [[DisproportionateRetribution and then some.]]
* KickTheDog: The severity of Malvolio's imprisonment varies with production, but in general the level of MindScrew that Feste and the others put him through is a little bit [[DisproportionateRetribution excessive]], even if he is a JerkAss.
* KillTheOnesYouLove: Orsino threatens to do this to "Cesario" in the final scene, when he believes "him" to have betrayed him with Olivia.
--> '''Orsino:''' Why should I not, had I the heart to do it, Like to the Egyptian thief at point of death, Kill what I love?
* LeaningOnTheFourthWall: "If this were acted upon the stage I would condemn it as an improbable fiction."
* TheLoad: Sir Toby Belch to Andrew, since he frequently borrows from Andrew's allowance. When Andrew offers Viola his horse Capilet to call off the fight, Toby mentions in an aside:
-->'''Toby Belch''': Marry, I'll ride your horse as well as I ride you.
** Toby is also this to Olivia and Malvolio, whose patience is worn thin by Toby's rowdy pranks, brawls and loud parties.
* LoveDodecahedron: Orsino is pining after Olivia, who's got a thing for "Cesario," his actually-female servant, who invokes the ire of Malvolio, Olivia's steward who dreams of marrying her, meanwhile Cesario-actually-Viola tries to suppress her love for Orsino while dodging challenges from Sir Andrew Aguecheek, who is ''also'' courting the Countess, but who accidentally runs into Viola's twin brother...
* LovingAShadow: Orsino for Olivia. He even says as much - he says he doesn't care about her fabulous inheritance and wealth, but for her beauty, without a hint of self-consciousness. Well done, dude.
** In the 1996 movie, Orsino seemed to imply that what made him fall in love with Olivia was her dedication to upholding her vow of not loving a man for seven years after. He loves her because he admires her dedication towards NOT loving anyone out of love for her father and brother, and so decided to woo her while she's still mourning. YMMV, but this made him seem very stupid since the whole reason he "loves" her is because she's refusing to love anyone!
** Possibly lampshaded when Maria refers to Malvolio "practicing behavior to his own shadow".
* MakeupIsEvil: Viola, first seeing Olivia's unveiled face, says that she's beautiful if there was no makeup; Olivia assures her that there's none, and it will not wash off.
* MandatoryMotherhood: One argument why Olivia should marry.
* MeaningfulName:
** Malvolio is derived from the term "ill-wisher" and Feste has the same root as "festival". [[TheComicallySerious Guess which roles]] they [[TheFool play in the story]].
** Viola's HalfIdenticalTwin brother Sebastian. In Shakespeare's earlier play ''Theatre/TwoGentlemenOfVerona'', Julia dressed up as a boy and played a highly Viola-like role...and "Sebastian" was the name of her alias.
** "Antonio" may also refer back to Shakespeare's earlier work. ''Theatre/TheMerchantOfVenice'' also has an AmbiguouslyGay Antonio who ends up staking his reputation that Bassanio and Gratiano will never part with their wedding rings again.
** Sir Toby ''Belch.''
* MenAreBetterThanWomen: A belief of Orsino's, not uncommon in Elizabethan England. He's set straight by the end of the play.
* MilesGloriosus: Andrew Aguecheek, who attacks Sebastian after his attempted duel with Cesario[=/=]Viola is interrupted by Antonio, only for Sebastian to kick Andrew's butt to kingdom come.
* MySiblingWillLiveThroughMe: Viola doesn't only disguise herself as a man, she specifically dresses like her brother in memory of him. Needless to say, this makes mistaking them for each other even easier.
* {{Narcissist}}: A running theme. Orsino thinks he's in love with Olivia, but actually he's in love with himself ("my desires, like fell and cruel hounds/E'er since pursue ''me.")'' Viola, hopeless in her love for him because he doesn't know that she's a girl, plays the role of Echo. In the subplot, Malvolio is also this. Even Olivia's excessive mourning is treated as being selfish. One professional production drove the point home by using a gigantic illustration of Narcissus as a backdrop.
* NiceGirl: Viola is a very kind, very loyal, very likable individual; notably, she never uses her disguise to trick or deceive others beyond telling them she's male--she's simply interested in getting on with her life. She's also very sweet to both Olivia and Orsino, and genuinely wants the best for everyone. At least one literary critic has claimed that her straightforwardly good and kind personality is probably why Viola's one of the most well-liked of Shakespeare's leading ladies.
* NoAntagonist: Malvolio, Olivia's well-meaning steward that tries to preserve order in her household, who comes across as a wet blanket killjoy when he strongly objects to the caterwauling of Toby, Andrew, and Feste, soon follows the letter's instructions (written by Maria, unbeknownst to Malvolio) in the hopes of wooing Olivia, and Olivia eventually has him released from the darkened room.
** Sir Andrew Aguecheek, who witnessed Cesario's denial of Antonio's friendship, brawls with Sebastian when he mistakes him for Cesario, is depicted as more of a hopeless suitor that tries to woo Olivia by attempting to display some fighting skills, while Sir Toby has been mooching from his salary.
* NoOneCouldSurviveThat: Shipwreck at sea, according to the old Sea Captain.
* NoPeriodsPeriod: Averted, if only in a minor way. Olivia dismisses "Cesario" by snapping, "'Tis not that time of moon with me to make one in so skipping a dialogue." Cue Olivia's handmaid Maria trying to usher Cesario out: "Will you set sail sir? Here lies your way!"
* NotSoAboveItAll: Malvolio, who turns to the frivolity that he condemns when he believes that it is the way to win over Olivia.
* OhMyGods: The characters in the play frequently appeal to or praise Jove.
* OnlySaneMan: Sebastian thinks--not without cause--that everyone around him has gone mad.
* OperationJealousy: It's possible to play Maria, during the scene when she meets Sir Andrew for the first time, as deliberately leading Sir Andrew on to try and make Toby Belch jealous.
* OpportunisticBastard: Toby Belch, who joins Maria, Fabian, and Andrew Aguecheek in a forged letter to get Malvolio to believe Olivia is infatuated with him, in addition to mooching hefty sums of money from Andrew in the hopes that Andrew might woo Olivia, only to desert him when Andrew's plans fall to pieces after Sebastian beats him up, and he ends up marrying Maria instead.
* OrphansOrdeal: A mild example, but Olivia has recently inherited the title of Countess from her dead father and brother, and at the start of the play is deeply mourning them both, and plans to spend the next seven years in mourning.
* PaperThinDisguise: Viola as Cesario, depending on who's cast to play her. But even with a male actor, she's made up in the same way as other female characters.
* PlayingCyrano: Orsino wants "Cesario" to act as such, not because Orsino is bad with words (far from it) but because Olivia might be more receptive to Cesario's [[DudeLooksLikeALady delicacy.]]
* {{Pride}}:
** Viola's first appraisal of Olivia's character is, "I see you what you are, you are too proud." Viola might be speaking out of personal frustration, to see Olivia laughing at the man Viola loves, but the line does open up a suggestion that Olivia's arc from then on becomes a BreakTheHaughty plotline.
** Malvolio's pride is his downfall, starting with his holier-than-thou attitude and presumptuous ambitions.
* RagsToRoyalty: Neither Sebastian nor Viola are stated to be of any great lineage and yet they marry a Duke and a Countess.
* TheReveal: To someone just watching the play, ''sans'' playbill, Viola's ''name'' is not revealed until towards the end of the very last scene.
* ServileSnarker:
** Maria...although she doesn't snark at Olivia, her employer. She ''does'' snark at Olivia's freeloading uncle Toby and his drinking buddy, since she's also stuck working for them ("A stoup of wine, Maria!")
** And, of course, this is The Fool's job.
---> '''Feste''': Lady Olivia has no folly: she will keep no fool, sir, till she be married.
* ShapedLikeItself: Almost to the extent of being a RunningGag.
-->'''Sir Andrew:''' To be up late is to be up late!\\
'''Feste:''' As the old hermit of Prague, that never saw pen and ink, very wittily said to a niece of King Gorboduc, 'That that is is;' so I, being Master Parson, am Master Parson; for, what is 'that' but 'that,' and 'is' but 'is'?\\
'''Olivia''': Tell me what thou think'st of me.\\
'''Viola''' That you do think you are not what you are.\\
'''Olivia:''' If I think so, I think the same of you.\\
'''Viola:''' Then think you right; I am not what I am.\\
'''Olivia:''' I would you were as I would have you be!
* ShooOutTheClowns: Played with when Olivia plans to have Feste kicked out, only for him to buy some time by tossing a bit of clever WordSaladHumor:
-->'''Olivia''': Take the fool away.\\
'''Feste''': Do you not hear, fellows? Take away the lady.\\
'''Olivia''': Go to, you're a dry fool; I'll no more of you: besides, you grow dishonest.\\
'''Feste''': Two faults, madonna, that drink and good counsel will amend: for give the dry fool drink, then is the fool no longer dry; bid the dishonest man mend himself: if he mend, then he is no longer dishonest: if he cannot, let the botcher mend him: anything that's mended is but patched: virtue that transgresses is but patched with sin; and sin that amends is but patched with virtue: if that this simple syllogism will serve, so; if it will not, what remedy? As there is no true cuckold but calamity, so beauty's a flower. -- The lady bade take away the fool; therefore, I say again, take her away.\\
'''Olivia''': Sir, I bade them take away ''you''.
* SmarterThanYouLook: This sums up Feste's entire character; his clowning belies a keen intelligence. In particular, while no other character in the story seems remotely aware that Viola's a woman, Feste sees through her disguise almost instantly. Viola comments on it in an aside.
-->'''Viola:''' This fellow is wise enough to play the fool, and to do that well craves a kind of wit.
* StepfordSmiler: Malvolio, when he follows the letter's instructions, giddily begins to smile unnaturally, which does not please the melancholy Olivia one bit, since she is more accustomed to Malvolio when he is melancholy.
* SuspiciouslyAproposMusic: Feste sings a lot about the passing of time and the complexity of romantic love. No prizes for guessing whether those are notable motifs in the play as a whole…
* SweetOnPollyOliver: Orsino seems to begin viewing Cesario more than platonically during Feste's mournful song.
* SweetPollyOliver: Viola.
* TitleDrop:
--> '''Olivia''': Go you, Malvolio: if it be a suit from the count, I am sick, or not at home; ''what you will'', to dismiss it.
* ToiletHumor: Sir Toby is seized by an attack early on, and everyone flocks around him in concern--and then flee, because it was an attack of gas. (The Bard, everyone.)
* ATragedyOfImpulsiveness: In the later acts, Sir Toby baits on Sir Andrew to attack "Cesario" on sight. This backfires on them when they attack Sebastian, who, unlike [[SweetPollyOliver Cesario,]] is a good fighter. Antonio, who [[HoYay loves Sebastian]], enters the fray, which gets him into trouble with the local Duke, who is the ''real'' Cesario's employer. And the Duke loses his temper when [[GreenEyedMonster he finds out that his beloved, Olivia,]] [[LesYay has married Cesario]]. This being a comedy, however, things work out all right.
* TreeCover: Maria, Toby, and Andrew hide in or behind a box tree according to the stage directions. Given boxwood refers to a small shrubbery or tree, this verges on MobileShrubbery in some productions.
* TriangRelations: A type 2. Viola loves Orsino, who loves Olivia, who loves Cesario, who ''is'' Viola in disguise. Sebastian's main role in the plot is resolving the triangle.
* TrueArtIsAncient: In-Universe; Orsino describes the melancholy song that he has Feste sing as "antique," and he praises it for recalling the innocence of love, "like the old days."
* TrueArtIsAngsty: In-Universe, for the same song, "Come Away, Come Away, Death." Orsino is very pleased when Cesario praises the song highly.
* TwelfthNightAdventure: The TropeNamer.
* TwinThreesomeFantasy: Olivia's cry of "wonderful!" when "Cesario" and Sebastian ''finally'' appear onstage together.[[note]]Archaically the word literally means to inspire wonder, but it wouldn't be Shakespeare without a double meaning...[[/note]]
* UglyGuyHotWife: Sit Toby Belch, who marries Maria at the play's end.
* UncannyFamilyResemblance of the HalfIdenticalTwins variety (Sebastian and Viola)
* TheUnSmile: Malvolio. Puritan fellow. Doesn't smile a lot. If he doesn't give off at least one horrifying grimace by the end of this line, you're doing it wrong.
--> Jove, I thank thee: I will ''smile''; I will do ''everything'' that thou wilt have me!
* UpperClassTwit: Andrew Aguecheek. Though with a name like that...
* WalkOnTheWildSideEpisode: The rigid Puritan Malvolio lets it all hang out by dressing in flamboyant fashions meant for somebody twenty years younger and protests his love for his shocked female employer.
* WhatHappenedToTheMouse: Even the stage directions seem to forget about Antonio by the end. While it's unlikely his love will be requited, we still don't know whether he'll escape punishment for his actions in the war.
* WholesomeCrossdresser: Viola
* WimpFight: Viola vs. Sir Andrew Aguecheek. Then subverted when Andrew's ready for a rematch -- only to meet Viola's actually competent HalfIdenticalTwin brother Sebastian instead.
* WomenAreWiser: In Orsino and "Cesario"'s dialogue, Orsino seems to be much less mature in his love than Viola, who is entirely capable of actually working for her love rather than sitting around and moping.