Character Analysis Malvolio

Malvolio's function in this comedy is more difficult to evaluate. Certainly, on a basic

level, he functions as a contrast to the merrymakers, Sir Toby and Sir Andrew; he is a
somber shadow of the aristocratic world and a sober reminder to Feste that the world is
a serious place. While the other characters are almost always happy, Malvolio is grave.
He emphasizes the importance of dignity, decency, decorum and "good order"; yet
when he thinks he sees a chance for advancement with Olivia, he abandons all such
proper conduct and behaves like an utter fool.
Early in the play, Maria characterizes him as a puritan. He is always dressed in the
black, puritanical costume of the puritan of that time — a person whom most people in
this play would despise. Yet he is respected by Olivia, and she does wish to retain his
good services.
It is Malvolio's ultimate egotism which makes him an easy prey for the pranksters.
Before they leave the forged, fake letter from Olivia for him, he is walking in the garden,
daydreaming about the pleasures and the powers he would have if he were married to
Olivia. Thus, his own sense of conceit makes him an easy dupe for the trick that is
played upon him. Even though the ruse is rather harsh, the audience dislikes anyone so
opposed to having a good time.
Malvolio in Twelfth Night serves as a complex character whose strict
demeanor, social aspirations, and ultimate humiliation add a darker layer to
the play’s comedy. He stands in stark contrast to the festive spirit embodied
by Sir Toby, Sir Andrew, and Feste, acting as a “somber shadow” of the noble
world. While most of the characters embrace enjoyment and revelry,
Malvolio emphasizes dignity, decorum, and restraint, making him a symbol of
sober propriety amidst the play’s joyful chaos.

Malvolio’s character traits make him an antagonist to the merrymakers. His

Puritan-like seriousness and disdain for levity set him apart, and Maria even
describes him as a “Puritan” — someone who disapproves of the playfulness
that defines much of the world of Twelfth Night. Dressed in black and rigid in
his behavior, Malvolio is respected by Olivia for his reliability and loyalty, and
she values his service. However, his rigid adherence to order and propriety
alienates him from other characters and the audience, who find his lack of
humor and judgmental nature off-putting.

A key element of Malvolio’s character is his ambition. Though he is a

steward, he harbors dreams of marrying Olivia and rising in status. This
ambition leads him to indulge in fantasies of power, imagining the privileges
he would have as Olivia’s husband. It is this overblown sense of self-
importance that makes him vulnerable to the trick played by Maria, Sir Toby,
and others. When Malvolio finds the forged letter supposedly from Olivia, his
vanity blinds him, and he abandons his usual prudence and decorum,
behaving in foolish and outlandish ways to please her.

The prank against Malvolio may seem cruel, but his own conceit and disdain
for others invite the audience’s schadenfreude. By undermining his somber,
self-righteous attitude, the prank reveals his hypocrisy: Malvolio, who
preaches dignity and self-restraint, is all too eager to cast those values aside
for a chance at status and romance. However, the play’s treatment of
Malvolio also raises questions about the cost of such humor. Though his flaws
make him an easy target, the harshness of his punishment — being locked
up as mad — creates a sense of discomfort and prompts reflection on the
limits of comedy.

In essence, Malvolio is a character who embodies the tension between self-

discipline and human folly. His pride and self-importance make him
vulnerable to ridicule, and while the other characters revel in festivity and
love, Malvolio’s rigid nature isolates him. Through his downfall, Shakespeare
explores the themes of social ambition, pride, and the consequences of
taking oneself too seriously, all while challenging the audience to consider
the fine line between comedy and cruelty.

Malvolio’s character in Twelfth Night develops from a haughty, self-righteous

steward into a humiliated figure, serving as a critique of excessive pride and
ambition. His journey through the play highlights his flaws, particularly his
self-importance and disdain for others, ultimately transforming him into a
more complex figure whose fate invites both laughter and sympathy. Here’s
an analysis of his development through key scenes:

Act I, Scene V: Malvolio’s Severity and Self-Righteousness

At the beginning of the play, Malvolio is portrayed as Olivia’s serious and

self-important steward, maintaining an air of moral superiority. His
interactions with Feste reveal his lack of humor and his disdain for frivolity.
When Feste jokes with Olivia, Malvolio criticizes him, saying, “I marvel your
ladyship takes delight in such a barren rascal” (I.v.82-83). This remark
highlights Malvolio’s intolerance for the playfulness around him, setting him
up as a figure who is opposed to the merrymaking spirit of the other
characters.

Malvolio’s pride is also evident in his interactions with Sir Toby, whom he
criticizes for his drinking and rowdiness. He tells Maria, “Yes, and shall do till
the pangs of death shake him” (I.v.125-126), showing his disdain for Sir
Toby’s lifestyle. At this point, Malvolio sees himself as above others in terms
of decorum, establishing his character as serious, stern, and unsympathetic
to the joys of others.

Act II, Scene III: Malvolio’s Disdain for the Merry Characters

Malvolio’s arrogance and his disapproval of the merrymakers intensify in Act

II, Scene III, where he rebukes Sir Toby, Sir Andrew, and Feste for their late-
night revelry. When he confronts them, he remarks, “My masters, are you
mad? Or what are you?” (II.iii.78), implying that their behavior is irrational
and below his standards. He further says, “Is there no respect of place,
persons, nor time in you?” (II.iii.89-90), emphasizing his obsession with
decorum and hierarchy. His harshness towards the merrymakers
foreshadows the prank they later play on him, revealing his disdain for those
he considers his social inferiors and setting him up for a comeuppance.

Act II, Scene V: Malvolio’s Conceit and Ambition

This scene marks a significant shift in Malvolio’s character, as his latent

ambition and vanity come to the forefront. As he walks alone, he daydreams
about being married to Olivia and having authority over Sir Toby: “To be
Count Malvolio!” (II.v.33). This line reveals his fantasy of rising in social
status, reflecting both his ambition and the extent of his self-deception. He
even imagines scolding Sir Toby as his inferior, saying, “I extend my hand to
him thus, quenching my familiar smile with an austere regard of control”
(II.v.68-70).
When he discovers the forged letter, supposedly from Olivia, his vanity blinds
him to its absurdity. The letter instructs him to wear yellow stockings and
cross-garters, behaviors Olivia despises, yet Malvolio embraces these actions
eagerly. He proclaims, “Some are born great, some achieve greatness, and
some have greatness thrust upon them” (II.v.144-145), a quote that reveals
his inflated sense of self-worth and belief in his own destiny. This scene fully
exposes Malvolio’s susceptibility to flattery and his willingness to abandon
his strict sense of decorum in pursuit of status.

Act III, Scene IV: Malvolio’s Foolish Transformation

In Act III, Scene IV, Malvolio’s transformation reaches its peak as he appears
before Olivia wearing the ridiculous attire mentioned in the letter. Confident
that Olivia loves him, he tells her, “Sweet lady, ho, ho!” (III.iv.27), adopting
an uncharacteristically jovial tone. When Olivia expresses concern for his
sanity, he dismisses it, responding with, “Be not afraid of greatness”
(III.iv.39), again quoting the letter and showing his utter confidence in his
new “greatness.” His absurd behavior here is the result of his own pride and
ambition, making him a comedic figure but also foreshadowing his downfall.

As Olivia becomes increasingly concerned and confused, Malvolio’s

obliviousness to her reactions reveals the depth of his self-deception. His
faith in the letter and his exaggerated sense of importance make him
vulnerable to ridicule, emphasizing how pride and ambition can lead to one’s
own undoing.

Act IV, Scene II: Malvolio’s Humiliation and Realization

In this scene, the prank takes a darker turn as Malvolio is confined in a dark
room, treated as if he is mad. Feste, disguised as “Sir Topas” the curate,
torments him, mocking his plight and questioning his sanity. Here, Malvolio’s
earlier arrogance gives way to desperation. He pleads, “I am not mad, Sir
Topas; I say to you, this house is dark” (IV.ii.34-35), showing a more
vulnerable side as he begins to realize the extent of the deception against
him. His pride is shattered, and he is forced to confront his helplessness,
contrasting sharply with his earlier sense of superiority.

Act V, Scene I: Malvolio’s Bitter Resolution

By the end of the play, Malvolio’s character reaches a point of bitterness and
resentment. When he is finally released, he addresses Olivia with anger and
confusion, saying, “Madam, you have done me wrong, notorious wrong”
(V.i.342). He realizes he was duped and publicly humiliated, and his wounded
pride leads him to reject Olivia’s apologies. His final words, “I’ll be revenged
on the whole pack of you!” (V.i.377), reflect a sense of betrayal and
humiliation that overshadows any chance of redemption or reconciliation.

Malvolio’s ending is unlike that of the other characters who find joy and
resolution. His story concludes with bitterness, emphasizing the
consequences of unchecked pride and ambition. His character arc serves as
a cautionary tale about the dangers of self-importance and the potential for
cruelty in humor. Though he begins the play as an unsympathetic figure, by
the end, Malvolio’s fate evokes a certain sympathy, encouraging the
audience to reflect on the fine line between comedy and cruelty.