When I started reading the complete works of Shakespeare this year, I was more eager to write about the plays than read them. Now, almost a year later, a few mere plays and a handful of poems from the end, I am putting off writing to read.
The year is almost over and I am still behind schedule, so, yes, I have some work to do if I am to claim I’ve read all of Shakespeare in 2016. That the end is in sight? Like the final sprint of a race, this certainly picks up my speed.
And while in themselves I wouldn’t say the plays get easier to read, Shakespeare’s landscape has become much more familiar, the terrain easier to negotiate. (It better have, damnit.) I enjoy inhabiting Shakespeare’s world. I look forward to escaping into it, especially in these trying political times. But when I cross back into my own world, I’ve been finding it more and more difficult to write about my experiences in light of Shakespeare.
“I’m stuck. I’m not sure what to say,” I’ll complain to my wife as I make my eighth cup of tea in a robe at 3:30pm on a Sunday. This is a script she’s gotten quite used to.
“Are you sure you want to be doing this? You always sound like you’re in agony,” she answers.
When I stare into this question, when I’m brave enough to look hard into its self-exposing eyes, I know my fear is fraud.
Sometimes it takes work to tease out meaningful connections between the Bard and me, particularly without mapping yet another argument with my wife onto whatever play I last finished. Sometimes I have to suppress content, too. I trust, dear reader, you are not interested in my digestive system (very active) and sex life (not as active). And I still want my friends and family to, you know, actually like me after all this.
But I know lurking underneath my writer’s block is the gut-hollowing question I’d rather not confront: Why? I mean, who cares, really, about how Shakespeare relates to my boring life? (I know, I haven’t even gotten to Hamlet yet.) When I stare into this question, when I’m brave enough to look hard into its self-exposing eyes, I know my fear is fraud.
I feel like an impostor. And you know who knows a thing or two about impostors?
In Twelfth Night, Or What You Will, Shakespeare goes full meta: The comedy features a young man dressed up as a young woman who dresses up as a young man. Female roles, we’ll recall of Elizabethan theater, were played by adolescent boys, a tension which Shakespeare much milked in his body of work, both for comedic effect and in his obsessive exploration of identity. But in Twelfth Night, Shakespeare especially heightens the tension of imposture.
This is one those plays that’s not quick to sum up, thanks to the Bard’s many twists and turns:
In the play, Orsino, the Duke of Illyria, has fallen in love with a countess, Olivia, who has isolated herself to mourn the death of her brother. Then, a lady, Viola, shipwrecks off the coast of the city, believing her own brother – twin brother, at that – died in the accident. Thanks to Olivia’s withdrawal, the stranded Viola disguises herself as a young page, Cesario, to serve the duke. (She, in classic Shakespeare fashion, both immediately gets the job and falls in love with him). The duke puts Cesario straight to work to help him woo Olivia, but the plan backfires: Olivia falls in love with Cesario, who is really Viola, who is in love with Orsino. (Oh boy.)
Next, we discover Viola’s twin brother, Sebastian, has actually survived. He ends up crossing paths with Olivia, who think he’s Cesario, and the two instantly agree to marry. (When it comes to love and marriage, Shakespeare’s characters don’t mess around. Badda bing, badda boom.) The ensuing confusion, ultimately, prompts the Big Reveal: The estranged twins reunite, Viola discloses her true identity, Olivia weds Sebastian, and Viola marries Orsino.
But Shakespeare isn’t done. (Of course there’s a parallel B-plot to thicken the theme.) While all the Viola-Olivia-Orsino shenanigans is going on, Sir Toby Belch, Olivia’s relative, his friend Sir Andrew Aguecheek, and Olivia’s waiting-woman, Maria, have been playing pranks on Olivia’s butler, Malvolio. He’s a puritanical party-pooper who scolds Toby and Andrew’s drinking and merriment. The three trick Malvolio into believing Olivia is secretly in love with him, which compels him towards all sorts of comic self-humiliation – including dressing up in some ridiculously gaudy clothes completely uncharacteristic of the austere Malvolio. Yellow stockings and cross garters? For Shakespeare, those are knee-slappers.
“And what do you do?” she asked.
Over all the chatter, cheer, and Christmas music at the fancy hotel bar, I tried: “I, uh, I write.”
“Oh. What do you write about?” She was the sister of the husband to my wife’s colleague. We were all out on the town for a Christmas celebration.
In my mental script, my interlocutor would grab my tumbler out of my hand, polish it off in one, bold sip, slam the empty glass on the table, and then deliver a much-deserved slap across my smug face.
“Popular language topics. Shakespeare.” I took a big sip of my Negroni, which cost about one-tenth of my last freelance paycheck. I wondered how many words each sip was worth. Forty, forty-five? Then I remembered I didn’t pick up this round. The Campari lingered bitterly on the back of my tongue.
It took me some time to get comfortable saying those words. I had to go through the Five Stages of Telling Someone You’re Trying to Be A Writer (Without Feeling Too Much Like an Epic Douchebag).
First there was denial. I avoided talking about it because I thought it sounded supremely pretentious. I write about Shakespeare, he says as he tips back his hipster-appropriated cocktail in blithe disregard of all the nine-to-fivers, nay, eight-to-sixers, who drag themselves in and out office each day. In my mental script, my interlocutor would grab my tumbler out of my hand, polish it off in one, bold sip, slam the empty glass on the table, and then deliver a much-deserved slap across my smug face.
“O, you are sick of self-love,” Olivia chides Malvolio after he reproves her fool, Feste (1.5.77. Here, of means “with.”)
Then there was anger. I would feel small, like my bank ledger. I would feel illegitimate, not brining in much money. I would feel pathetic, my bylines so limited. I’m writing now, but you know, my last job in the states was as Academic Coordinator for adults with autism. Yeah, I once actually did something that meaningfully contributed to society and helped pay the bills. I’d work in my master’s degree and teaching credential and allude to my time working in inner-city schools, as if in apology or self-defense.
“I am not that I play,” Viola, as Cesario, cleverly and obliquely remarks during her opening exchanges with Olivia. (1.5.164. For that, read “what.”)
Bargaining came along soon enough. Maybe if I mention that I wrote weekly for a blog on Slate, people will take me seriously. Most people, apparently, haven’t heard of Slate.
“How have you made division of yourself? / An apple cleft in two in is not more twin / Than these two creatures,” remarks Antonio, a sailor who befriends Sebastian, when he sees Viola, still disguised as Cesario, next to her brother (5.1.215-217).
Then, I feared whoever I was talking to could see straight through me. Depression. I write, and with those words they can see me: Hunched over my laptop with a yet another cup of instant coffee, wearing a robe over my pajamas because I’m too cheap to turn the heat on while I’m at home by myself during the day, wearing a knit hat because I don’t feel like messing with my hair, getting distracted by Twitter as I make my way from a plot point I didn’t understand to Wikipedia, listening to William Basinski’s Disintegration Loops for the millionth time, picking my nose and passing occasional gas, as my wife rushes out of the house in the rain to catch a train to make a big, fiscal year-end meeting, the front door slamming before I can even answer her “Does this outfit look OK?”, all so that we actually have a roof to sleep under.
“Well, I will be so much a sinner to be a double-dealer,” Orsino says to Feste (5.1.31).
Now, I’ve come to terms with it.
We chatted briefly about Shakespeare himself. And then: “How do you like working from home all day?” my fellow yuletide drinker asked. Working, I noticed. This is a keyword for me. It’s validating. “Do you ever change out of your pajamas? Do you get tempted by the TV? How about naps?”
There is a normalizing comfort in the mundanity of my workday. There is a self-importance in dwelling on one’s feelings of unimportance.
I finished off my Negroni and went for it: “I never write in bed and I never turn on the TV. And I always make sure I put on some kind of trousers or joggers. I’m up at 7, I take the dog out for 20 minutes, write for 4 hours. Then I go for a run and walk the dogs – the other is our friend’s I watch while they’re at work. There’s usually an over-long, afternoon shower. I work for three more hours. Go the grocery shop, make dinner, clean up, write for a few more hours, and then go to bed. There’s lots of online dithering, nail-biting, coffee, incessantly checking my email for a response from an editor or a pitch, and tremendous feelings of angst and privilege. But I never write in bed or turn on the TV.”
“I have taken a few midday naps, though,” I added, sucking the remaining gin off the ice.
Poor lady. She was generous with her ear. But there it was: acceptance.
There is a normalizing comfort in the mundanity of my workday. There is a self-importance in dwelling on one’s feelings of unimportance. I write. I’m self-motivated. I’m disciplined. I actually get paid for some of my work. And damnit, a few people have even said they like the personal connections I make to Shakespeare.
Both Malvolio and Viola pretend to be someone they’re not. But it’s only Malvolio, in his hypocritical and narcissistic sanctimony, who ultimately only deceives himself.
“This fellow is wise enough to play the fool, / And to do that well craves a kind of wit,” Viola observes of the fool, Feste (3.1.53-54).
6 thoughts on “Twelfth Night, Or the Five Stages of Trying Not to Sound Like a Douchebag”
Twelfth Night and Hamlet have always felt tremendously personal, to me. That sense of invitation: Come in, come in, this character is you, or maybe that character. Everyone (said largely) think they’re Hamlet, don’t they? (except for Prufrock). But TN is shifting, ‘giddy and unfirm’. Maybe you’re Olivia, maybe you’re Malvolio, maybe you’re Orsino, maybe in your moments of cruelty or flashes of entitlement you are Toby or maybe in your anxiety to please you’re Sir Andrew. And maybe, too, with that obsession with identity as performance. Putting the robes of a priest on, even if your audience can’t see you. Putting on trousers, even if you’re the only one there. Love the play. Yet to see a definitive production. Maybe that’s the point.
Ah, this is a lovely take – and it makes me want to immediately re-re-read it.
While Hamlet stirs us with his depth of character, TN moves us with its incredible array. There’s something to be said about that – and I think you’ve quite summed it up.
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The variety comes across in the sheer number of parts that could plausibly command the production: Olivia, Viola, Malvolio, Sir Toby, Sir Andrew, Feste. I even saw a TN recently (nattered about here: https://staircasewitsite.com/2017/03/15/musings-on-twelfth-night/) where Orsino raised the most unexpected laughs. Orsino.
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Re: your review below. Very thoughtful, well-written. Loved: “Grieg’s Malvolia is a fairly familiar Welsh-accented prissy control-freak”
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