Feste encounters Sebastian at the beginning of the fourth act. The fool thinks that Sebastian is Cesario and tells him that the Countess Olivia wishes to speak with him. Of course, Sebastian has no idea what Feste is talking about and tells him to go “vent thy folly somewhere else” (8). Sebastian is telling Feste to go speak his nonsense elsewhere. Feste, however, thinks that Sebastian is deliberately being stubborn or willful. One of the problematic lines in the dialogue that is open to interpretation occurs when Feste responds …
Vent my folly – I am afraid this great lubber the world will prove a cockney. (11-12)
The word lubber (coming from Middle English lob) means a clod, a lout, or an oaf. Although today the word cockney means a lower-class native of the East End of London (or the dialect they speak), during the Renaissance the word meant a pampered child or a city dweller. Literally, the word is derived from the Middle English cokenei (cock's egg): coken is a blend of cock (cok) and chicken. And ei is another medieval term for egg. Thus, a cock’s egg not only suggests someone who is immature but someone who is strange or unnatural. After all, cocks do not lay eggs: chickens do. So, Feste is implying that the world will someday reveal that Cesario (Sebastian) is a very strange oaf. This interpretation makes sense given the line that follows. Feste tells Sebastian to “ungird thy strangeness” (13). Feste is asking Sebastian to stop pretending that he does not know him.
The case of mistaken identity continues when Sir Andrew and Sir Toby appear. They also think that Sebastian is the timid Cesario and attack him. Sebastian has no idea why he is being attacked and he cannot help but ask himself this: “Are all the people mad?” (24). Of course, Sebastian is a man who is capable of fighting, and he defends himself. Both Sir Toby and Sebastian have drawn their swords when the Countess Olivia appears. She stops the fight and orders Sir Toby to go away.
Like the others, Olivia also thinks that Sebastian is Cesario and speaks affectionately to him. Although Sebastian had never seen Olivia before, this madness is most pleasing to him. He believes that either “I am mad, or else this is a dream” (57). And if it is a dream, then he does not wish to awaken because he is immediately attracted to Olivia.
Maria and the others have locked Malvolio in a dark room or closet which is off stage. Maria encourages Feste to pretend to be Sir Topas the Curate and speak with the steward. A curate is a clergyman or minister. The name of Topas is also symbolic. Geoffrey Chaucer created a comical hero in his poem The Rime of Sir Topas. Thus, Renaissance audiences would associate the name with any comical minister. The topaz is a gemstone that comes in a variety of colors (and some are even colorless). During the Renaissance there was a superstitious belief that a topaz could cure insanity. Since Malvolio is supposedly mad, he thus requires the services of a topaz, or Topas.
Feste puts on a false beard and curate’s outfit in order to become Sir Topas. However, the costume is really unnecessary because Malvolio is in a dark room without any windows. Malvolio cannot see Feste. On the other hand, amusing costumes do contribute to the carnival-like atmosphere of the play. Putting on his costume, Feste makes the following statement:
I would I were the first that ever dissembled in such a gown. (5)
Feste, although he is about to play a light-hearted trick on Malvolio, makes a serious criticism about life. The word would means wish, and the word dissemble means both (1) conceal and (2) deceive.
Feste is commenting that many real curates and ministers are dishonest and deceive and cheat the people that they are supposed to minister to.
Feste teases and taunts Malvolio by referring to the steward as a madman. Malvolio protests that he is sane and asks Sir Topas to test his sanity. The following dialogue then takes place:
FESTE What is the opinion of Pythagoras concerning wildfowl?
MALVOLIO That the soul of our grandam might haply inhabit a bird.
FESTE What thinkest thou of his opinion?
MALVOLIO I think nobly of the soul, and no way approve his opinion.
FESTE … Thou shalt hold th’opinion of Pythagoras ere I will allow of thy wits, and fear to kill a woodcock lest thou dispossess the soul of thy grandma.
(44-53)
Pythagoras was a Greek philosopher and mathematician (during the 6th century BC) who believed in reincarnation. Malvolio’s response is thus a correct one: according to Pythagoras, the soul of his grandmother could inhabit the body of a bird in a later life. Of course, Malvolio is a Christian (as should be Sir Topas) who believes that a soul rises to heaven or descends into hell in the afterlife. Christians do not believe in reincarnation.
However, Feste simply wants to taunt Malvolio. So the fool tells the steward that unless he accepts the opinion of Pythagoras regarding reincarnation, he (Feste as Sir Topas) will not believe that Malvolio is sane. The word woodcock refers to a bird that was frequently hunted in England. But the word wood meant both (1) of the woods or forest and
(2) crazy or mad. Thus, Feste is suggesting that Malvolio is a “crazy bird” who is possessed of the soul of his grandmother. To put it simply, Sir Topas refuses to believe Malvolio when he declares that he is not mad.
Feste continues to tease Malvolio further. Feste, using his own voice rather than the fake voice of Sir Topas, then speaks to Malvolio. Feste enjoys hearing Malvolio beg him for help. Feste then once again speaks in the fake voice of Sir Topas, who warns Feste not to speak any further with the steward. Although Feste taunts Malvolio, the clown does promise to bring the steward a candle, some paper, and some ink so that Malvolio can write a letter requesting help.
Sebastian still cannot believe his amazing but “mad” luck in having the Countess desire him so strongly even though he had never seen her before. He wonders if perhaps there is some elaborate deception being played upon him. In an opening soliloquy, Sebastian does worry about the missing Antonio. However, the wild and crazy situation involving the Countess Olivia takes up most of his thoughts. He wonders if he is mad:
For though my soul disputes well with my sense That this may be some error but no madness, Yet doth this accident and flood of fortune
So far exceed all instance, all discourse, That I am ready to distrust mine eyes
And wrangle with my reason that persuades me To any other trust but that I am mad. (9-15)
The soul, a gift from God, is the seat or source of reason, according the Christian belief. The word sense refers to the physical senses, especially hearing and seeing. The expression “disputes well” in this instance means to be in agreement or accord. Essentially, Sebastian is saying that his thoughts, his reason, suggest that what he is seeing (Olivia) and hearing (her words of love to him) is not a delusion. It is not madness. His reason is telling him that it is an error, a mistake. And Sebastian is right. Olivia mistakenly believes Sebastian to be Cesario.
However, the mistake or “accident” is just too fortunate. Sebastian describes it as a “flood of fortune,” an immense amount of good luck, that exceeds anything he had ever heard about before. An expression or maxim that became popular during the nineteenth century applies to Sebastian’s situation: too good to be true. Sebastian cannot accept that what is happening can possibly be true. So, he cannot accept what his reason indicates. Therefore, he thinks that he must be mad.
After the speech, Olivia enters with a priest. She asks Sebastian to announce formally his engagement to her (suggested by “full assurance of your faith” at line 26). She also promises to keep the engagement a secret until Sebastian is ready to reveal the news, and they will get married.
Sebastian readily submits to the madness and promises to be a “true” and faithful husband. If it is madness, Sebastian is ready to be mad.