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emphasizes the unnatural state of affairs by describing her female–male identity as a “poor monster” and summarizing the problem: as a man, her love for Orsino is hopeless, but as a woman, Olivia’s love for her is “thriftless.”
ACT 2 SCENE 3
    Sir Toby and Sir Andrew are drinking late. Feste arrives and his quick-wittedness contrasts with Sir Andrew’s genuine foolishness. Feste sings a wistful song that reflects some of the themes and events of the play. They begin singing a “catch” together when Maria interrupts to tell them to be quiet or Olivia will send Malvolio to turn them out. Sir Toby responds with raucous popular songs when Malvolio appears and rebukes them for being drunk and noisy. He pompously tells Sir Toby that despite being Olivia’s kinsman he will be thrown out if he does not behave. Sir Toby reminds Malvolio he is only a steward. Feste leaves and Malvolio accuses Maria of encouraging them by allowing them alcohol. After he has gone, Sir Andrewthreatens to fight a duel with him but Maria claims she has a better plan: Malvolio is “an affectioned ass” who aspires to high status and she will use this “vice” against him. She plans to drop in his way a letter she has forged in Olivia’s handwriting that will convince him his mistress is in love with him.
ACT 2 SCENE 4
    Orsino, still indulging in his unrequited love, calls for music from Feste, who spends his time in both households. Orsino discusses love with Cesario/Viola, in a conversation that is fraught with ambiguity and dramatic irony, as Viola is forced to discuss love as though she were a man. She/he acknowledges that she/he is in love when prompted, but cannot say with whom. The conversation is charged with erotic undertones, which again raises questions about gender, identity, and the nature of attraction. Feste sings a melancholy love song and Orsino orders Cesario to plead once more with Olivia on his behalf. When Cesario suggests that Orsino should accept that Olivia does not love him, as a woman would have to whom Orsino was unable to love, he declares that there is a difference between men’s and women’s love. “[N]o woman’s sides,” he claims, “Can bide the beating of so strong a passion.” Cesario relates how his “father had a daughter loved a man,” who concealed her love and, as a result, “pined” with a “green and yellow melancholy.” When Orsino asks if she “died … of her love,” he receives the ambiguous answer: “I am all the daughters of my father’s house, / And all the brothers too.”
ACT 2 SCENE 5
    Sir Toby, Sir Andrew, and Fabian conceal themselves in a “box-tree” to watch Malvolio’s response to the forged letter. Malvolio enters, imagining his future life as Count Malvolio, especially the power he would have over Sir Toby. The indignation of his concealed audience creates comedy, as does the dramatic irony of the situation. Malvolio finds the letter Maria has carefully prepared to trick him and recognizes “Olivia’s” handwriting. He painstakingly and vainly deducesthat it is for/about him and that Olivia is in love with him. The letter urges him to wear yellow stockings and cross-garters, to spurn Sir Toby, and to smile continually in Olivia’s presence as a sign of his love, all of which he resolves to do as he exits. The others come forward and Maria arrives, explaining that Olivia hates yellow stockings and cross-garters and is in no mood to be smiled at constantly. They go to watch the effects of the plan.
ACT 3 SCENE 1
    Cesario/Viola arrives and, after a quick-witted exchange with Feste, gives him money. Sir Andrew admires Cesario’s courtly language toward Olivia, who orders all the others to leave. Cesario continues to plead for Orsino but Olivia confesses it is Cesario she loves. She/he responds with pity, swearing that “no woman” will ever be mistress of her heart.
ACT 3 SCENE 2
    Sir Andrew is leaving since Olivia shows “more favors to the count’s