1. The Topic:
William
Shakespeare
Easier - William Shakespeare was born in 1564 into a middle-class family.
His father was a glove maker in the small market-town of Stratford-upon-
Avon. In 1590, the young actor and writer moved to London. He became the
most famous playwright of his time for his poetry and more than 37 plays,
including tragedies, comedies, and history.
Harder - William Shakespeare (1564-1616) is known as the greatest
dramatist the world has ever known, the finest poet who wrote in the English
language, and the world's most popular author. His poetry and plays remain
in print today in numerous languages and his dramatic works continue to be
performed around the world.
People analyze Shakespeare's life and works to understand his long-lasting
and broad appeal. Many Shakespeare scholars credit his continued appeal
and fame to two related characteristics; his deep understanding of human
nature and a broad knowledge base that encompassed varied interests and
fields of study. Both of these attributes contributed to his development of
vivid and varied characters from many walks of life and his creative use of
language. Shakespeare's knowledge included music, law, the Bible, military
science, politics, the sea, history, hunting, woodcraft, sports, and theater. In
his literary works, he wrote of Kings, drunkards, generals, pickpockets,
shepherds, hired killers and thugs, and philosophers. His understanding of
people and their nature enabled him to create dramatic characters whose
struggles and often failures extended beyond the setting of his plays.
1

2. Shakespeare was buried in the chancel of the Holy Trinity Church
two days after his death. The epitaph carved into the stone slab
covering his grave includes a curse against moving his bones,
which was carefully avoided during restoration of the church in
2008:
Shakespeare's grave.
Good frend for Iesvs sake forbeare,
To digg the dvst encloased heare.
Bleste be ye man yt spares thes stones,
And cvrst be he yt moves my bones.
Modern spelling:
"Good friend, for Jesus' sake forbear,"
"To dig the dust enclosed here."
"Blessed be the man that spares these stones,"
"And cursed be he who moves my bones."
Sometime before 1623, a funerary monument was erected in his
memory on the north wall, with a half-effigy of him in the act of
writing. Its plaque compares him to Nestor, Socrates, and Virgil. In
1623, in conjunction with the publication of the First Folio, the
Droeshout engraving was published.
Shakespeare has been commemorated in many statues and
memorials around the world, including funeral monuments in
Southwark Cathedral and Poets' Corner in Westminster Abbey.
2

3. All that glisters is not gold
Prince of Morocco:
"All that glisters is not gold."
The Merchant of Venice (II, vii)
Portia is a beautiful, virtuous, wealthy woman who is being wooed
by numerous suitors. She is not free to decide on her own whom
she will marry because her late father stipulated in his will that she
must marry the man who correctly picks the one casket (out of
three) that contains her picture. One casket is gold, another is
silver, and the third is made of lead. The Prince of Morocco is one
in a long line of suitors who tries to win Portia's hand, and he
decides that it would demean Portia to have her picture in anything
other than a gold casket, and so he chooses that one. As he unlocks
it, he is dismayed to find a picture, not of Portia but of Death, with
a message written in its hollow eye: "All that glisters is not gold; /
Often have you heard that told. / Many a man his life hath sold /
But my outside to behold. / Gilded tombs do worms enfold." With
a grieving heart the Prince takes hasty leave of Portia, who is happy
to see him go, saying, "A gentle riddance."
Themes: courtship
Speakers: Prince of Morocco
3

4. Duke Orsino:
If music be the food of love, play on,
Give me excess of it; that surfeiting,
The appetite may sicken, and so die.
Twelfth Night Act 1, scene 1, 1–3
Duke Orsino of Illyria, presiding over the merry, mixed-up world
of Twelfth Night, opens the play with these festive sentiments,
soured though they be by the affected airs of the melancholic lover.
He has convinced himself that he's insanely in love with a wealthy
and resistant lady, who is in mourning for her brother and only
annoyed by Orsino's inappropriate attentions. The duke's idea of a
cure for his disease is to stuff himself sick with his own passions.
Orsino's brand of self-indulgent pouting comes in for much ribbing
here and elsewhere in Shakespeare, most vividly in As You Like It
and Much Ado about Nothing. For melancholic poseurs like
Orsino, who are actually expected to make spectacles of
themselves, affecting gestures are more important than sincere
emotions.
Themes: music, romance, unrequited love
Speakers: Duke Orsino
4

5. The fault, dear Brutus, is not in our stars
Cassius:
"The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings."
Julius Caesar (I, ii, 140-141)
Cassius, a nobleman, is speaking with his friend, Brutus, and trying
to persuade him that, in the best interests of the public, Julius
Caesar must be stopped from becoming monarch of Rome. Brutus
is aware of Caesar's intentions, and is torn between his love of his
friend Caesar and his duty to the republic. Cassius continues by
reminding Brutus that Caesar is just a man, not a god, and that they
are equal men to Caesar. They were all born equally free, and so
why would they suddenly have to bow to another man? On another
level this phrase has been interpreted to mean that fate is not what
drives men to their decisions and actions, but rather the human
condition.
Themes: fate and fortune, deception, loyalty, friendship
Speakers: Cassius
5

6. To sleep, perchance to dream
Hamlet:
"To sleep, perchance to dream-
ay, there's the rub."
Hamlet (III, i, 65-68)
This is part of Hamlet's famous soliloquy which begins "To be or
not to be", and it reveals his thoughts of suicide. He has learned
that his uncle killed his father, the late King, and married the king's
wife, his mother. This foul deed has driven Hamlet nearly mad, and
he seeks both revenge and the escape of death. He has been
disconsolate since learning of the murder, from the ghost of his
dead father. In this scene, he ponders suicide, "To die, to sleep-/No
more." But he is tortured with the fear that there might not be peace
even in death. "For in that sleep of death what dreams may come, /
When we have shuffled off this mortal coil, /Must give us pause."
Hamlet's moral and mental anguish is at its height in this soliloquy,
which is the emotional centerpiece of the play.
Themes: death and sickness, suicide, dreams
Speakers: Hamlet
6

7. Hamlet
The Tragical History of Hamlet, Prince of Denmark, or more
simply Hamlet, is a tragedy by William Shakespeare, believed to
have been written between 1599 and 1601. The play, set in the
Kingdom of Denmark, recounts how Prince Hamlet exacts revenge
on his uncle Claudius for murdering the old King Hamlet,
Claudius's brother and Prince Hamlet's father, and then succeeding
to the throne and marrying Gertrude, the King Hamlet's widow and
mother of Prince Hamlet. The play vividly portrays real and
feigned madness—from overwhelming grief to seething rage—and
explores themes of treachery, revenge, incest, and moral
corruption.
Three different early versions of the play have survived: these are
known as the First Quarto (Q1), the Second Quarto (Q2) and the
First Folio (F1). Each has lines, and even scenes, that are missing
from the others. Shakespeare based Hamlet on the legend of
Amleth, preserved by 13th-century chronicler Saxo Grammaticus
in his Gesta Danorum as subsequently retold by 16th-century
scholar François de Belleforest. He may have also drawn on, or
perhaps written, an earlier (hypothetical) Elizabethan play known
today as the Ur-Hamlet.
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8. TO BE OR NOT TO BE
Hamlet:
To be, or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep, perchance to dream—ay, there's the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there's the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
Th'oppressor's wrong, the proud man's contumely,
The pangs of dispriz'd love, the law's delay,
The insolence of office, and the spurns
That patient merit of th'unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovere'd country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pitch and moment
With this regard their currents turn awry
And lose the name of action.
Hamlet Act 3, scene 1, 55–87 [Italics mine]
8

9. So wise so young, they say do never live long
Richard:
"So wise so young, they say do never live long."
King Richard III (III, i, 79)
In one of the most moving scenes in this play, the evil Richard is
planning the most foul act in his plot to make himself king of
England. He has already had his brother Clarence murdered. His
other brother, King Edward, is dead, and Richard has been made
Lord Protector of Edwards's two young sons: Edward, Prince of
Wales (and next in line as king) and Richard, Duke of York. The
two boys have arrived in London for the Crown Prince's
coronation. Until now, Richard's murders have been of adults, but
here he shows that he is just as capable of dispatching children.
Richard tells the Crown Prince that he and his brother will reside in
the Tower until the coronation, a suggestion that Prince Edward
dislikes but agrees to. In an aside, Richard declares "So wise so
young, they say do never live long." The Crown Prince asks "What
say you, uncle?" Richard replies, "Without characters, fame lives
long." The brothers, of course, will be murdered in the tower after
Richard usurps the crown for himself.
Themes: death and sickness, murder and assassination, evil, plots
Speakers: Richard
9

10. Juliet:
"What's in a name? That which we call a rose
By any other name would smell as sweet."
Romeo and Juliet (II, ii, 1-2)
Romeo Montague and Juliet Capulet meet and fall in love in
Shakespeare's lyrical tale of "star-cross'd" lovers. They are doomed
from the start as members of two warring families. Here Juliet tells
Romeo that a name is an artificial and meaningless convention, and
that she loves the person who is called "Montague", not the
Montague name and not the Montague family. Romeo, out of his
passion for Juliet, rejects his family name and vows, as Juliet asks,
to "deny (his) father" and instead be "new baptized" as Juliet's
lover. This one short line encapsulates the central struggle and
tragedy of the play.
Themes: love, family, beauty
Speakers: Juliet
10

11. ROMEO AND JULIET
INTRODUCTION
The tragedy of Romeo and Juliet is one of the most famous love stories of all
time. It was known and told as prose, poetry, and drama many times before
Shakespeare wrote his play, and there have been many versions since.
The reasons for the success of the basic story are that it spans so many of the
essential elements in human life-falling in love, conflict, death; it includes
many characters with whom we can identify-the young lovers, the helpful
Nurse, the villain, the dominant father; it raise our basic human emotions-
laughter, fear, joy, anger, sorrow.
Shakespeare’s working of the story makes a masterpiece from an already
successful basis. We become deeply involved in what is happening, not only
because of the way in which the plot is presented, but also because of the
skilful development of characters and because Shakespeare has used the
story to present us with complex insights into the nature of love, conflict,
death and fate.
The plot is one of constant action, erupting on to the stage with an exciting
fight, then straight away involving us in the plight of the lovers and how they
are drawn together. The scene where Romeo first meets Juliet is delicately
and sensitively handled , as in the balcony scene where they exchange love
vows. Almost immediately they are married, and thereafter the love story
turns into a tragedy which we – but not the lovers- know cannot be stopped.
The intended marriage to Paris leads Juliet’s horrific drinking of the potion,
and one mishap after another leads to the final act of the tragedy. The climax,
the double suicide, stirs emotion in a way that few another dramatic endings
can.
The characters presented here also add to our involvement in the play. The
young, innocent lovers raise our sympathy for their youth and tragic end.
Tybalt, the villain, is a constant threat. The support of the Nurse and the Friar
is a source of comfort-until it goes wrong. Juliet’s parents stir our resentment
and we love the bright energy of Mercutio, feeling his loss as Romeo does.
We see many different aspects of love: romantic, bawdy, maternal, material.
We see conflict examined through the family feud, the conflict of
generations, the personal conflict between individuals. All these elements-the
plot, the people involved and the themes examined-are presented by
Shakespeare in a form that increases the effect of the drama on us.
11

12. Love looks not with the eyes but with the mind
Helena:
"Love looks not with the eyes but with the mind."
A Midsummer Night's Dream (I, i, 234)
In this soliloquy, Helena ponders the transforming power of love,
noting that Cupid is blind. The lovesick Helena has been
abandoned by her beloved Demetrius, because he loves the more
attractive Hermia. Helena, while tall and fair, is not as lovely as
Hermia. Helena finds it unfair that Demetrius dotes on Hermia's
beauty, and she wishes appearances were contagious the way a
sickness is so that she might look just like Hermia and win back
Demetrius. The connection of love to eyesight and vision are
matters of vital importance in this play about love and the
confusion it sometimes brings.
Themes: love, beauty
Speakers: Helena
12

13. Macbeth:
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
Macbeth Act 5, scene 5, 19–28
After hearing that his wife has died, Macbeth takes stock of his
own indifference to the event. Death—our return to dust—seems to
him merely the last act of a very bad play, an idiot's tale full of
bombast and melodrama ("sound and fury"), but without meaning
("signifying nothing"). Murdering King Duncan and seizing his
throne in retrospect seem like scenes of a script Macbeth was never
suited to play. The idea that "all the world's a stage" is occasionally
very depressing to Shakespeare's heroes.
"To-morrow, and to-morrow, and to-morrow"—along with the
other phrases culled from this lode of Bardisms—conveys the
mechanical beat of time as it carries this poor player-king from
scene to scene. "The last syllable of recorded time"—what Macbeth
earlier called "the crack of doom" [see p. 25]—casts time as a
sequence of words, as in a script; history becomes a dramatic
record. If life is like a bad play, it is thus an illusion, a mere
shadow cast by a "brief candle." The candle is perhaps the soul, and
the prospects for Macbeth's are grim.
Themes: war, fate and fortune, suicide, time
Speakers: Macbeth
13

14. Othello Summary
Othello Summary provides a quick review of the play's plot
including every important action in the play. Othello Summary is
divided by the five acts of the play and is an an ideal introduction
before reading the original text.
Act I.
Shakespeare's famous play of love turned bad by unfounded jealousy,
begins in Venice with Iago, a soldier under Othello's command
arguing with Roderigo, a wealthy Venetian. Roderigo has paid Iago a
considerable sum of money to spy on Othello for him, since he wishes
to take Othello's girlfriend, Desdemona as his own.
Roderigo fears that Iago has not been telling him enough about
Desdemona and that this proves Iago's real loyalty is to Othello not
him.
Iago explains his hatred of Othello for choosing Cassio as his officer
or lieutenant and not him as he expected.
To regain Roderigo's trust, Iago and Roderigo inform Brabantio,
Desdemona's father of her relationship with Othello, the "Moor"
which enrages Brabantio into sending parties out at night to apprehend
Othello for what must obviously be in Brabantio's eyes, an abuse of
his daughter by Othello...
Iago lies that Roderigo and not himself, was responsible for angering
Brabantio against Othello, Iago telling Othello that he should watch
out for Brabantio's men who are looking for him.
Othello decides not to hide, since he believes his good name will stand
him in good stead.
We learn that Othello has married Desdemona. Brabantio and
Roderigo arrive, Brabantio accusing Othello of using magic on his
daughter.
Othello stops a fight before it can happen but Othello is called away to
discuss a crisis in Cypress, much to the anger of Brabantio who wants
14

15. justice for what he believes Othello has done to his fair Desdemona.
The Duke is in council with several senators discussing their enemy,
the Turks (Turkish people). Brabantio complains to the Duke that
Othello bewitched his daughter and had intimate relations with her.
Desdemona is brought in to settle the matter, Othello meanwhile
explains how he and Desdemona fell in love. Desdemona confirms
this and the Duke advises Brabantio that he would be better off
accepting the marriage than complaining and changing nothing.
The Duke orders Othello to Cypress to fight the Turks, with
Desdemona to follow, accompanied by the trusted Iago.
Roderigo despairs that his quest for Desdemona is over now that she is
married, but Iago tells him not to give up and earn money instead;
soon Desdemona will bore of Othello.
Alone, Iago reveals his intention to continue using Roderigo for
money and his hatred of Othello (Othello picked Cassio and not Iago
for his lieutenant).
Iago explains that his plan is avenge Othello is to suggest to Othello
that Cassio is sleeping with Desdemona (Othello's wife).
Act II.
Several weeks later in Cypress, Montano and several others are
awaiting Othello's arrival by bark or ship. We learn that a terrible
storm has largely battered and destroyed the Turkish fleet, which no
longer poses a threat to Cypress. Unfortunately there are fears that this
same storm drowned Othello as well.
Montano reveals his high praise of Othello, which is shared by many.
Cassio, who has arrived, sings Desdemona's praises. A ship is spotted
but it is Desdemona and Iago's not Othello's. Iago suspects that Cassio
loves Desdemona and slyly uses it to his advantage.
Iago tells Roderigo that he still has a chance with Desdemona but
Cassio whom Desdemona could love is in the way. Killing Cassio
(who became Othello's lieutenant instead of Iago) will leave
15

16. Desdemona to Roderigo, Iago slyly explains.
Othello finally arrives to everyone's great relief. Iago decides to tell
Othello that Cassio is having an affair with Desdemona's so Iago will
be rewarded whilst Cassio will be punished.
A Herald announces celebration that "our noble general Othello!" has
defeated the Turkish fleet, calling on all to celebrate this great triumph
and also to celebrate Othello's "nuptial" or wedding to the fair
Desdemona.
Iago learns more of Cassio's high regard for Desdemona and Iago
manipulates Cassio into drinking too much since he is certain Cassio
will do something he will regret.
With Cassio gone, Iago tells Montano of Cassio's drinking problem
turning Montano's high regard for Cassio into dust. Iago also tells
Roderigo to attack Cassio. This happens, and Cassio wounds Roderigo
and then Montano who was trying to break up the fight.
Othello is now awake and Cassio's name ruined.
Othello though he loves Cassio, has no choice but to demote him from
his position as his lieutenant. Next Iago comforts Cassio by suggesting
he speak with Desdemona who could put in a good word for him with
Othello.
Iago comforts a wounded Roderigo, telling him he has won by ruining
Cassio's name. Iago has his wife Emilia ensure Desdemona and Cassio
will talk so Othello can see his wife talking with Cassio, allowing Iago
to convince Othello that Desdemona is being unfaithful...
Act III.
Cassio tells Iago that he has arranged to meet Desdemona, Iago
helping Cassio to do this.
Iago's wife, Emilia, tells Cassio that Othello would like to reinstate
him as his lieutenant but the fact that Cassio's fight is public news,
prevents Othello from doing this immediately.
16

17. Emilia tells Cassio that she can arrange a meeting with Desdemona.
Some time later, Cassio speaks with a very sympathetic Desdemona
who assures him that Othello still very much loves Cassio.
Furthermore, Desdemona resolves to keep putting in a good word for
Cassio until he is again Othello's lieutenant.
At a distance, Iago manipulates Othello by first suggesting shock and
then hiding his outbursts from Othello. This guarantees Othello's
attention, as Iago plants seeds of doubt in Othello's mind about
Desdemona's fidelity especially where Cassio is concerned.
Iago leaves Othello almost convinced that his wife is having an affair
with Cassio.
Othello now complains of a headache to Desdemona, which results in
her dropping a strawberry patterned handkerchief, Othello's first gift
to her. Emilia picks this up gives it to Iago who decides the
handkerchief could help his manipulation if he ensures Cassio receives
it.
Iago arranges to place the handkerchief near Cassio's lodgings or
home where he is certain to find it and take it as his own, unaware that
it is Othello's gift to Desdemona.
A furious Othello returns to Iago, certain his wife is faithful and
demanding proof from Iago of Desdemona's infidelity.
Reluctantly and hesitantly, Iago tells Othello he saw Cassio wipe his
brow with Desdemona's handkerchief. Othello is convinced, cursing
his wife and telling Iago who is now promoted to lieutenant to kill
Cassio. Othello will deal with Desdemona...
Desdemona worries about her missing handkerchief and comments
that if she lost it, it could lead Othello doubting her fidelity. Emilia
when asked about Desdemona's lost handkerchief, lies, denying
having seen the handkerchief she picked up and gave to Iago.
Othello enters; asking Desdemona for the very same handkerchief and
Desdemona assures him that the handkerchief is not lost and will be
17

18. found.
Desdemona now tries to change the subject to Cassio, but Othello
continually stresses the value the handkerchief has to him, this leading
to Othello angrily ordering his wife away.
Cassio arrives, Desdemona telling him that her attempts to help him
are not going well. Iago claims total ignorance to the cause of
Othello's fury.
Cassio gives Othello's handkerchief, which he found, to his suspicious
mistress Bianca who reluctantly starts to copy its patterning
(presumably its strawberry motif / design) for him.
Act IV.
Iago fans the flames of Othello's distrust and fury with Desdemona's
supposed "infidelity" by first suggesting Desdemona shared her bed
with Cassio and then that her giving away the handkerchief is no big
deal when Iago knows exactly how hurtful to Othello, giving away
this sentimental gift is.
Next Iago suggests to Othello that Cassio will "blab" or gloat to others
about his conquest of Desdemona before telling Othello that Cassio
boasted to him that he did indeed sleep with Desdemona.
Meeting later with Cassio, Iago cunningly talks to Cassio about
Cassio's mistress Bianca, each smile and each gesture made by Cassio
infuriating a hidden Othello who thinks Cassio is talking about
sleeping with Desdemona (Othello's wife).
Next Bianca (Cassio's mistress) arrives, angrily giving back the
handkerchief Cassio gave to her.
This infuriates Othello since as Iago puts it, Cassio not only received
Othello's handkerchief from his wife but then gave it away to his
whore (Bianca) as if it were worthless.
Othello decides to kill Desdemona by strangulation in her bed, Iago's
idea. Iago pledges to kill Cassio.
18

19. Lodovico arrives, announcing that Othello is to return home and
Cassio is to be the next Governor of Cypress. Desdemona's joy for
Cassio enrages Othello, leaving Lodovico and Iago to wonder how
much Othello seems to have changed and leaving poor Desdemona to
wonder how she offended the man she truly loves...
Othello questions Emilia as to whether Desdemona was unfaithful to
him. Annoyed that Emilia's answers suggest nothing has happened
between Desdemona and Cassio, Othello dismisses her comments as
those of a simple woman.
Othello meets Desdemona, Desdemona becoming increasingly upset
with her husband's anger towards her, an anger she cannot understand.
Othello eventually reveals to Desdemona that her infidelity is the
source of his anger, Desdemona pleading her innocence on deaf ears.
Emilia and Desdemona discuss Othello's strange behavior. Emilia is
certain some evil fellow has twisted Othello to believe Desdemona has
been unfaithful, not realizing that this evil man is her own husband
Iago.
We learn that Iago has been pocketing Roderigo's gifts to Desdemona,
which never reached her. Fearing Roderigo will learn this, Iago tells
Roderigo that Cassio must die since Iago benefits if ever man dies.
Lodovico tries to calm Othello down. Othello orders Desdemona to
bed to await him later, an order Desdemona dutifully obeys out of love
for Othello.
Emilia notices that Othello is much calmer now and tells Desdemona
her bed has been made with her wedding sheets as requested.
Desdemona asks to be buried in those same sheets should she die
before Emilia, a hint of trouble ahead (Foreshadowing).
Emilia is barred from joining Desdemona in her bedchamber, angering
her. Desdemona, depressed, recalls a song (The Willow Song) of a
maid who was similarly abused by her husband and sings it.
Desdemona and Emilia talk about infidelity. Desdemona would not be
unfaithful to her husband (Othello) for all the world; the more cynical
19

20. and worldly Emilia would for the right price...
Act V.
Iago and Roderigo wait in a street to ambush Cassio. Iago tells
Roderigo how to kill him. Iago does not care which ends up dead.
Iago is worried that about Roderigo's increasing questioning of what
happened to jewels that were given to him to pass on to Desdemona...
Roderigo attacks Cassio but Cassio wounds Roderigo instead. Iago
from behind stabs Cassio, wounding him in the leg. Othello hearing
Cassio's cries is pleased, announcing that he too will soon kill
(Desdemona).
Lodovico and Gratiano and Iago reappear, Iago claiming total
innocence to Cassio's injuries even though he inflicted them.
Seizing Roderigo, Iago stabs and wounds him "in revenge" for
wounding his "friend" Cassio.
Gratiano and Lodovico tend to Cassio's wound. Bianca, Cassio's
mistress arrives, Iago cleverly laying suspicion for Cassio's injuries on
his innocent mistress, making Iago less suspicious...
Othello enters Desdemona's bedchamber (bedroom) trying to convince
himself that he is killing her for her own good. He kisses his still
asleep wife one last time. Desdemona awakens, but Othello will still
kill her, telling her to pray so her soul will not die when she does.
Desdemona again asks what wrong she has committed, Othello telling
her that she gave Cassio his handkerchief, by which he means he
thinks she had an affair with him.
Desdemona pleads her innocence, telling Othello to bring Cassio over
to prove she did not give away her handkerchief. Othello says he
confessed and is dead, Desdemona's fear and surprise prompting
Othello to believe she does care for him.
Othello kills Desdemona.
Emilia banging on the door outside cannot stop this. Later Emilia is let
20

21. in, revealing Iago has killed Roderigo and Desdemona who was
thought dead, murmurs her last breaths but loyally does not say
Othello killed her.
Othello tells Emilia he killed her and Emilia despite Iago's attempts to
remove her reveals the truth about the handkerchief; she found it, and
then gave it to Iago. Iago now in trouble, stabs his wife Emilia and
escapes.
Emilia dies, singing the "Willow Song" before criticizing Othello for
killing his loving wife.
Lodovico, Montano, Cassio and the now captured prisoner Iago soon
appear, Othello stabbing Iago but not killing him before having his
sword removed.
Lodovico is disappointed that Othello, a man so honorable has
reverted to acting like a slave. Othello tries to argue that killing his
wife was a noble action but it falls on deaf ears.
Lodovico learns that Othello and Iago plotted Cassio's death.
Lodovico reveals letters in the dead Roderigo's pocket proving Cassio
was to be killed by Roderigo.
Iago proudly confirms that Cassio did find the handkerchief in his
bedchamber because Iago placed it there to be found.
Othello, realizing what he has done, kills himself with a concealed
weapon and lies himself on top of his wife.
Cassio is placed in charge of Iago and Lodovico leaves to discuss this
sad matter with others abroad...
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22. Twelfth Night Summary
Twelfth Night Summary provides a quick review of the play's plot including every
important action in the play. Twelfth Night Summary is divided by the five acts of
the play and is an ideal introduction before reading the original text.
Act I.
Orsino, The Duke of Illyria reveals his great love for the rich Countess Olivia who we
learn has decided to veil herself for seven years to honor her recently deceased brother's
memory. Profoundly impressed by this, the Duke continues his pursuit of Olivia
undeterred...
Viola is introduced to us as a survivor of a shipwreck. Her brother was lost at sea but may
not be dead. Viola learns from the Sea Captain of their doomed ship that they are now in
Illyria, which is ruled by Orsino. The Sea Captain explains to Viola that The Duke of
Illyria is pursuing the fair Olivia, a woman who like Viola has lost a brother.
Identifying with Olivia's grief, Viola wishes to serve Olivia but when she learns this will
be impossible, Viola instead has the Sea Captain disguise her as a boy so she can serve
Orsino, The Duke of Illyria.
Sir Toby, Olivia's cousin is introduced. We quickly discover that he drinks a great deal,
keeps late hours and is generally rowdy by nature. Maria, Lady Olivia's maid makes this
clear to us in her unsuccessful attempts to quieten Sir Toby down. Maria also reveals
Olivia's annoyance that Sir Toby has encouraged Sir Andrew Aguecheek to court her.
Sir Andrew Aguecheek is now introduced, quickly revealing himself to be rich but rather
dim (unintelligent). Sir Toby has manipulated Sir Andrew into pursuing Olivia so Sir
Toby can continue benefiting from Sir Andrew's great wealth.
Realizing Olivia will not be courted by him, Sir Andrew makes preparations to leave but
Sir Toby convinces Sir Andrew to stay a month longer, no doubt so Sir Toby can use Sir
Andrew and his great wealth further...
Viola has successfully disguised herself as a man named Cesario. Her success with Orsino
has been so great that she is now a favorite with Orsino who believes Viola to be the man
named Cesario. As such, Orsino entrusts Cesario (Viola) to express his love for Olivia.
Cesario, (Viola) deeply divided by her own love for Orsino, nonetheless dutifully
represents Orsino.
Olivia's maid is angry with Feste, Olivia's Clown. Feste redeems himself with Lady Olivia
by telling her she should not mourn her brother since he is in a better place, namely
heaven. Olivia is pleased, but Olivia's uptight steward, Malvolio is not, regarding Feste as
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23. old and lacking in wit.
Olivia gives us an insight into Malvolio's character by saying that he suffers from self-
love or is arrogant and vain.
Cesario (Viola) petitions Lady Olivia, eventually gaining her audience. Olivia is quite
taken by Cesario but tells him, she cannot return Orsino's affections for her.
Olivia would however like to see Cesario (Viola) again, asking him to come back to
report to her how Orsino took the news.
Intrigued by Cesario, Olivia sends Malvolio after him to give back a ring Cesario left
behind as an excuse to express her affection for him...
Act II.
Sebastian, the twin brother Viola feared had died at sea, has also survived the shipwreck.
Like Viola he mourns the loss of his sibling, believing his sister Viola to be dead.
Antonio, the man who saved Sebastian's life is touched by Sebastian's loss and decides to
follow Sebastian to the Duke of Orsino's court even though he has many enemies there.
Sebastian nobly tries to talk Antonio out of this, but Antonio is eventually accepted by
Sebastian to travel with him to the Duke's court.
Malvolio catches up with Cesario (Viola), rudely returning Cesario's ring to him. Cesario
is confused, he left no such ring at Lady Olivia's house. Malvolio also conveys Olivia's
desire that Cesario return to confirm that Orsino has accepted the fact that she does not
love him.
Cesario now realizes that the ring is a ploy by Olivia to express her affections for him.
Realizing she has charmed Olivia, Cesario remarks that Olivia would do better chasing a
dream than a man who really is a woman (Viola) in disguise. Cesario is distressed by this
mess and hopes time will undo this tangled web.
Late at night, Sir Toby, Sir Andrew and later Feste the Clown are enjoying some late
night drinking and singing. This gets Maria's attention who warns all three men to quieten
down lest Malvolio notices.
The three men ignore Maria. Malvolio arrives, warning the men that he will speak to
Olivia about this noise. The three men ignore him as they did Maria and now Malvolio
threatens to make Maria look disrespectful in Olivia's eyes if she does not quieten these
three men down.
Maria, resenting Malvolio's heavy-handed arrogance hatches a plan to write a letter,
which will convince Malvolio that Olivia loves him. This news quietens down all three
men, who each dislikes Malvolio but now are all enthusiastic accomplices in his downfall.
Sir Toby, Sir Andrew and Feste will hide near where Malvolio will discover the letter so
they can all enjoy what in their eyes is Malvolio's rightly deserved humiliation...
Orsino notices that Cesario (Viola) is in love. Cesario describes this person in terms that
precisely describe Orsino but Orsino does not realize this. Cesario warns the Duke that
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24. Lady Olivia may not love him but Orsino refuses to even accept such a possibility.
Cesario (Viola) remarks on the unreliability of men in relationships. Cesario starts to
reveal "his" own past but quickly becomes vague when Orsino becomes too curious.
Orsino sends Cesario once more to Lady Olivia with a large jewel as a token of his love
for her... Maria tells Fabian, Sir Toby and Sir Andrew, all of whom hate Malvolio, that
she has penned the letter that will convince Malvolio that Lady Olivia loves him.
Malvolio, meanwhile having not yet found the letter, starts entertaining the idea that
Olivia could love him and that he could marry her.
Malvolio picks up Maria's counterfeit letter with its instructions that Malvolio be rude to
kinsman like Sir Toby. It also suggests that he wear yellow stockings and be cross-
gartered to win Olivia's love.
Maria explains to Sir Toby and company, that Lady Olivia hates yellow stockings and
cross-gartered fashion and so Malvolio will be humiliated before Lady Olivia.
Act III.
Cesario has another private meeting with Lady Olivia on Duke Orsino's behalf.
Sir Toby and Sir Andrew meet Cesario (Viola) and Sir Toby learns from Cesario that he
will soon speak with Lady Olivia. In private, Lady Olivia admits to Cesario that she used
the ring she sent after him to lure him back to her.
Cesario (Viola) tries to put Olivia off him but she is smitten, ignoring all Cesario's
attempts to diminish her enthusiasm for "him"...
Knowing Lady Olivia will never love him, Sir Andrew prepares to head for home. The
sight of Olivia showing more affection to a youth (Cesario) than him was the last straw.
Fabian and Sir Toby don't deny the affectionate display but argue Olivia did it to spur Sir
Andrew to woo her and regain her respect. Sir Toby and Fabian manipulate Sir Andrew
into writing a challenge to the youth (Cesario) even though they know a fight between
two cowards (Cesario and Sir Andrew) is unlikely.
Maria enters, telling Sir Toby and Fabian to watch the spectacle that is Malvolio wearing
yellow stockings and being cross-gartered.
Sebastian has now reluctantly accepted Antonio as his companion in the streets of Illyria.
Antonio explains that his offence in Illyria, which was theft, was one the rest of his city
have repaid but he has not and so he is still wanted in Illyria. Sebastian decides to look
around, but Antonio fearful of his enemies, decides to head for lodging at a place called
"the Elephant." Antonio gives Sebastian his purse (wallet) and directions to this lodging
and the two part their separate ways...
Olivia makes plans to once more woo Cesario (Viola). Olivia sees Malvolio with yellow
stockings and cross-gartered and considers him mad since he continues to smile no matter
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25. what the situation and makes crude, lustful interpretations of Olivia's words.
Malvolio makes his famous "'Some are born great,'-" speech.
Learning that Cesario has returned, Lady Olivia has Malvolio put into the care of her
servants since in her eyes, Malvolio's behavior is some "midsummer madness."
Sir Toby, Maria and Fabian plot to have Malvolio placed in a "dark room," so they can
have some fun with him. Sir Andrew arrives with his completed letter challenging
Cesario. Sir Toby decides to verbally scare Cesario and Sir Andrew about their opponents
instead of sending the letter.
Alone with Cesario once more, Lady Olivia makes no progress with Cesario who will not
requit (return) her love. Olivia is undaunted by this. Sir Toby scares both Sir Andrew and
Cesario into drawing their weapons on each other.
Antonio arrives, pledging to fight Sir Andrew on Cesario's (Viola's) behalf who he thinks
is Sebastian since Viola disguised as a man now looks like her twin brother Sebastian.
The fight is stopped but Officers recognizing Antonio, capture him. Antonio asks Cesario
(Viola) for his purse back but Cesario not recognizing him does not oblige.
Antonio thinks Sebastian has betrayed him, not realizing he has asked Cesario (Viola) for
his purse, not Sebastian.
Act IV.
Confusion reigns as Sebastian is now mistaken for Cesario when Feste insists Sebastian
sent for him and Sebastian is certain he did not (Cesario obviously did).
Sir Andrew finds Sebastian and thinking it is Cesario from the earlier "fight" that did not
happen, hits Sebastian. Sebastian unlike Cesario is not afraid to return the favor and a
fight is only stopped by Sir Toby's intervention. Sir Andrew decides to have Sebastian
punished by the law of Illyria despite the fact that he started the fight.
Sir Toby and Sebastian are just about to fight when Olivia screams for her uncle, Sir Toby
to stop. Olivia now scolds Sir Toby, hoping Sebastian, whom she thinks is Cesario
(Viola), will forgive her uncle and not be displeased with her.
Sebastian, amazed that this beautiful woman he does not know, loves him, replies to
Olivia that he will be ruled by her and the two set off to marry immediately...
In Olivia's house, Malvolio in a darkened room is teased mercilessly by Feste who tries
unsuccessfully to convince Malvolio that he is mad.
Sir Toby, fearing that his fight with Cesario (actually Sebastian) has put him on thin ice
with Olivia, wants Feste's teasing of Malvolio to stop. Feste has other ideas but eventually
lets Malvolio write a letter to Olivia proclaiming his sanity...
Sebastian can barely believe his luck, a beautiful woman (Olivia) loves him and has given
him a pearl. Sebastian briefly wonders if he is dreaming before he marries Olivia in a
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26. private chapel. Olivia explains that their now secret marriage will be revealed later...
Act V.
In the final scene, chaos ensues as the identical appearing Cesario (Viola) and Sebastian
are each blamed for the other's actions. First Feste blames Sebastian for beckoning him,
not realizing it was Cesario who called for him.
Cesario spots Antonio the man who saved him from fighting Sir Andrew but was taken
prisoner by Orsino's officers in Act III. Antonio again asks Cesario for his wallet back
thinking he is Sebastian. Cesario (Viola), who does not know Antonio, does not and so
Antonio curses him for his betrayal, not realizing he is talking to Cesario not Sebastian
whom he lent his wallet to.
We learn that Antonio is an enemy of Illyria and especially of Orsino for plundering his
ships as a pirate in the past.
Now a prisoner, Antonio baffles Orsino by telling him that he and Cesario (Viola) have
been together night and day for three weeks when who Antonio is really thinking of is
Sebastian. Orsino cannot believe this; Cesario has been with him for three weeks.
Olivia arrives and we see that Orsino still loves her. The feeling is not mutual... Olivia
scolds Cesario (Viola) for neglecting her, revealing that "he" is her husband.
Cesario (Viola) amazed by this, pleads "his" innocence to Orsino who "he" truly loves and
Orsino thinking his servant betrayed him by taking Olivia for himself, prepares to punish
Cesario.
Olivia meanwhile despairs that her husband Cesario who really is Sebastian, would leave
willingly with Orsino to be punished rather than be with his wife and she too claims
betrayal by Cesario (Viola).
Sebastian arrives, apologizing for attacking Sir Toby and Sir Andrew. Orsino seeing both
Cesario and Sebastian together is amazed that he sees two copies of the same man. Olivia
too is amazed.
Sebastian and Cesario compare notes on how they arrived in Illyria each claiming that
their sibling had drowned.
Eventually they realize that since they knew the same father they are indeed brother and
sister, Cesario revealing "his" real identity as the woman named Viola.
Malvolio storms in and the cruel prank against him is revealed by Fabian who confesses.
Orsino calls Olivia his sister, and Orsino takes Cesario for his mistress and we presume
later his wife with Feste ending the play in song.
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