The central character or protagonist of this comedy is Viola. However, several other characters are, at times in the play, protagonists of minor conflicts.
Duke Orsino is (1) in conflict with himself over his unrequited love, and he is also (2) in conflict with Olivia in his attempts to win her. Perhaps more importantly, though, the Duke is (3) in conflict with fate. He has fallen in love with someone who cannot love him back, and the force of fate is too powerful for man to win in such a conflict.
Similarly, the Countess Olivia becomes (1) in conflict with herself over her emotions and her unrequited love for Cesario, and she is also (2) in direct conflict with Cesario as she attempts to convince him to return that love. And she is also (3) in conflict with fate because she too has fallen in love with someone who cannot love her back.
Thus, the characters of Orsino and Olivia are parallel figures in terms of plot and also theme – the themes concerning unrequited love and fate.
The most amusing conflict of the comedy involves Sir Toby and Maria against the proud Malvolio. Malvolio is an obvious antagonist who threatens not only the protagonists of this minor conflict but also the sheer fun and madness of the play.
Other minor conflicts are also apparent in the play: Feste vs. Malvolio, Sir Andrew vs. Cesario, Antonio vs. Toby and Andrew, and Sebastian vs. Toby and Andrew. All of the numerous conflicts contribute to making the play quick-paced. The audience never has time to think about one conflict because another follows so quickly upon its heels.
Yet, at the heart of the play is Viola. She serves as the connection between the two major locales of the play: the palace of Duke Orsino and the estate of the Countess Olivia. More importantly, she is involved in similar conflicts. She is (1) in conflict with herself because of her unrequited love for the Duke. She is (2a) in conflict with the Duke when she argues with him about the difference between men and women and the levels of their constancy in love. She is (2b) in direct conflict with the Countess as she attempts to argue against the Countess’ love for her. And, most importantly, Viola is (3) in conflict with fate. Fate is responsible for the shipwreck. Fate is responsible for separating her from her brother. And fate is responsible for causing her to fall in love with a man who is deeply and madly in love with someone else. In both her conflict regarding her unrequited love and her conflict with fate, Viola is a passive heroine. She does not actively set out to solve her problems. Rather, she just lets time and fate solve her problems for her. And because this play is a comedy, fate does just that.
The climax – the highest point of tension in the play – occurs just before Sebastian’s arrival in Act V. Orsino is angry at Cesario (Viola) for stealing Olivia away from him, and Sir Toby and Sir Andrew accuse Cesario of beating them violently. A state of massive confusion presides until, as fate would have it, Sebastian arrives (line 200). Then the resolution of the play quickly occurs along with the revelation that Cesario is actually Viola.
All of the other problems and conflicts of the play become quickly disentangled (the denouement) after that point, and the play ends with a cheerful comic song to provide a fitting conclusion to the madcap comedy.