The story of “Twelfth Night” (a.k.a. “What You Will”) revolves around several men in the city of Illyria vying for the hand of Olivia, a woman both lovely and wealthy. The problem is Olivia is in the dumps, having lost both her father and her brother (which explains how she ends up head of such prestigious household, given the times.) The only thing that brings her out of her sullen state is her affection for a new arrival to the city named Cesario. The problem is that Cesario is not interested because he is secretly a she – the cross-dressing Viola. This tale might have been counted among the tragedies were it not for the fact that Viola’s brother Sebastian shows up on the scene. Since Sebastion is the spitting image of the cross-dressed Viola (i.e. Cesario) and bears other common traits of sibling experience, Olivia transfers her affections without even realizing it. [Viola and Sebastian had both been laboring under the impression that the other is dead.]
In “Twelfth Night” one sees the plot device of mistaken identity from “Comedy of Errors” replayed in a way that is a bit less believable, though in a sense riper with comedic potential. I say this because while it might be possible to imagine two siblings being confused even (if they are of different gender), when the confusion begins (upon Sebastian’s arrival) we find that he is anything but the boyish character we expected given Cesario, granted the difference between the clever but wimpy Viola and the brave and cocksure Sebastion makes for levity. Notably when Sebastian lays out Sir Andrew Aguecheek with the utmost ease. Granted Aguecheek is a Don Qixote-esque character, though perhaps with incompetence owing more to alcoholism than an addled mind (though his mind may be addled as well as pickled.) Of course, there is the love-triangle plot device common in Shakespearean comedies, though “triangle” seems an inadequate geometry.
I’m a bit fonder of “Comedy of Errors” than “Twelfth Night.” I think more is done with the identity confusion in that one, as well as it having some great lines (many delivered by the Dromios.) That said, “Twelfth Night” has its funny moments, particularly involving the two plotting drunks, Sir Toby Belch (kinsman to Olivia) and Sir Andrew Aguecheek (the aforementioned Quixote-esque knight.)