"More giddy and unfirm,
More longing, wavering, sooner lost and worn"
than woman's; and then, a little further on, he says of his own love—
"There is no woman's sides
Can bide the beating of so strong a passion
As love doth give my heart; no woman's heart
So big to hold so much: they lack retention."
The Countess Olivia forms a pendant to the Duke; she, like him, is full of yearning melancholy. With an ostentatious exaggeration of sisterly love, she has vowed to pass seven whole years veiled like a nun, consecrating her whole life to sorrow for her dead brother. Yet we find in her speeches no trace of this devouring sorrow; she jests with her household, and rules it ably and well, until, at the first sight of the disguised Viola, she flames out into passion, and, careless of the traditional reserve of her sex, takes the most daring steps to win the supposed youth. She is conceived as an unbalanced character, who passes at a bound from exaggerated hatred for all worldly things to total forgetfulness of her never-to-be-forgotten sorrow. Yet she is not comic like Phebe; for Shakespeare has indicated that it is the Sebastian type, foreshadowed in the disguised Viola, which is irresistible to her; and Sebastian, we see, at once requites the love which his sister had to reject. Her utterance of her passion, moreover, is always poetically beautiful.
Yet while she is sighing in vain for Viola, she necessarily appears as though seized with a mild erotic madness, similar to that of the Duke: and the folly of each is parodied in a witty and delightful fashion by Malvolio's entirely ludicrous love for his mistress, and vain confidence that she returns it. Olivia feels and says this herself, where she exclaims (iii. 4)—
"Go call him hither.—I am as mad as he
If sad and merry madness equal be."
Malvolio's figure is drawn in very few strokes, but with incomparable certainty of touch. He is unforgetable in his turkey-like pomposity, and the heartless practical joke which is played off upon him is developed with the richest comic effect. The inimitable love-letter, which Maria indites to him in a handwriting like that of the Countess, brings to light all the lurking vanity in his nature, and makes his self-esteem, which was patent enough before, assume the most extravagant forms. The scene in which he approaches Olivia, and triumphantly quotes the expressions in the letter, "yellow stockings," and "cross-gartered," while every word confirms her in the belief that he is mad, is one of the most effective on the comic stage. Still more irresistible is the scene (iv. 2) in which Malvolio is imprisoned as a madman in a dark room, while the Clown outside now assumes the voice of the Curate, and seeks to exorcise the devil in him, and again, in his own voice, converses with the supposed Curate, sings songs, and promises Malvolio to carry messages for him. We have here a comic jeu de théâtre of the first order.
In harmony with the general tone of the play, the Clown is less witty and more musical than Touchstone in As You Like It. He is keenly alive to the dignity of his calling: "Foolery, sir, does walk about the orb like the sun: it shines everywhere." He has many delightful sayings, as for example, "Many a good hanging prevents a bad marriage," or the following demonstration (v. I) that one is the better for one's foes, and the worse for one's friends:—
"Marry, sir, my friends praise me, and make an ass of me; now, my foes tell me plainly I am an ass: so that by my foes, sir, I profit in the knowledge of myself, and by my friends I am abused: so that, conclusions to be as kisses, if your four negatives make your two affirmatives, why then, the worse for my friends, and the better for my foes."
Shakespeare even departs from his usual practice, and, as though to guard against any misunderstanding on the part of his public, makes Viola expound quite dogmatically that it "craves a kind of wit" to play the fool (iii. I):—