The Gulling of Malvolio

Act 2 Scene 5 – Key Scene

In this scene Maria puts into practice her plan to make a fool of Malvolio. She has written a letter, imitating Olivia’s handwriting to make Malvolio believe the letter is expressing Olivia’s love for him. She leaves the letter in the garden where Malvolio will find it and tells Sir Toby, Sir Andrew and Fabian to hide where they can watch Malvolio’s responses. The audience watch Malvolio talking aloud about his dreams of marrying Olivia and then finding the letter that she seems to have written. The audience also watch the reactions of Sir Toby, Sir Andrew and Fabian as they watch Malvolio.

Take a look at an extract from this scene. Using the following steps, remember to look at it line by line and if you’re looking at the scene for the first time don’t worry if you don’t understand everything at once.
  • Look

    Take a look at the scene. Why do you think this whole scene is in prose?

    Actors at the RSC often paraphrase or put the language into their own words to help them understand what they are saying. We’ve added some definitions (in green), questions (in red) and paraphrased some sections (in blue) to help with this. You can click on the text that is highlighted for extra guidance.

    Malvolio
    Having been three months married to her, sitting in my state…
    Calling my officers about me, in my branched velvet gown, having come from a day-bed,
    where I have left Olivia sleeping…

    Chair for a person of power

    Embroidered

    Sir Toby
    Fire and brimstone!
    Fabian
    Peace, peace!
    Malvolio
    And then to have the humour of state; and after a demure travel of regard –
    telling them I know my place, as I would they should do theirs – to ask for my
    kinsman Toby

    Enjoying the power of my position (as Count Malvolio), and after solemnly looking at everyone in the room -

    Why do you think Malvolio calls him ‘Toby’? not ‘Sir Toby’? How do you think Sir Toby feels about this?

    Sir Toby
    Bolts and shackles!
    Fabian
    Now, now!
    Malvolio
    Seven of my people, with an obedient start, make out for him. I frown the
    while, and perchance wind up my watch, or play with my… some rich
    jewel. Toby approaches, curtsies there to me…

    Seven servants are so keen to please me that they jump up and go to bring Toby to me.

    Sir Toby
    Shall this fellow live?
    Malvolio
    I extend my hand to him thus – quenching my familiar smile with an austere
    regard of control . . .
    Sir Toby
    And does not Toby take you a blow on the lips then?
    Malvolio
    Saying, ‘Cousin Toby, my fortunes having cast me on your niece give me this
    prerogative of speech’ –

    What do Malvolio’s description of his fantasy and Sir Toby’s reactions to it suggest about them?

    Sir Toby
    What, what?
    Malvolio
    ‘You must amend your drunkenness.’
    Sir Toby
    Out, scab!
    Malvolio
    Besides, you waste the treasure of your time with a foolish knight...
    Sir Andrew
    That’s me, I warrant you.
    Malvolio
    One Sir Andrew.
    Sir Andrew
    I knew ’twas I, for many do call me fool.
    Malvolio
    (Picking up the letter) What employment have we here?
    Fabian
    Now is the woodcock near the gin.

    A wading bird thought of as stupid.

    A trap.

    (Text edited for rehearsal by Christopher Luscombe)
    In the 2017 production of Twelfth Night , Fabian was amended to Fabia
  • Listen

    Read the scene aloud, and consider:
    What are the cultural references (things that would have made sense to an Elizabethan audience but not to a modern day audience) in this scene that actors need to help an audience to understand?
    How does the use of prose help the humour of the scene?
    What is the relationship between each of the characters and the audience?

  • Watch
    Take a look at the actors performing this scene. How do the characters come across in this version and how has the comedy been brought to life?

    Play the Scene in Performance

  • Imagine
    Explore some images from past versions of Twelfth Night at the RSC. Which sets and staging choices for the scene feel right to you? Which feel like they would be most comic?
    Malvolio inspects a letter while standing at the bottom of a tree in formal dress. He is watched by Sir Toby, Sir Andrew and Fabian who are all sitting in the branches of the tree in the 1983 production of Twelfth Night.

    Malvolio is watched by Sir Toby, Sir Andrew and Fabian in the 1983 production of Twelfth Night. 

    Photo by Reg Wilson. Browse and license our images
    Malvolio sits on the edge of a stone flower bed in a conservatory wearing a butler's uniform. He is watched by Sir Toby, Sir Andrew and Fabia who all hide behind old and damaged statues in the 2017 production of Twelfth Night.

    Malvolio is watched by Sir Toby, Sir Andrew and Fabia in the 2017 production of Twelfth Night. 

    Photo by Manuel Harlan. Browse and license our images
    Malvolio is dressed in black with a chain round his neck and reading a letter while standing. He is watched by Sir Toby, Sir Andrew, Maria and Fabian who are all crouched behind a small garden table behind him in the 1955 production of Twelfth Night.

    Malvolio is watched by Sir Toby, Sir Andrew, Maria and Fabian in the 1955 production of Twelfth Night. 

    Photo by Angus McBean. Browse and license our images
    Malvolio sits cross legged in a garden chair reading a letter while dressed all in black with a large chain round his neck. He is watched by Sir Toby, Sir Andrew and Fabian who are hiding behind a large hedge in the 1969 production of Twelfth Night.

    Malvolio is watched by Sir Toby, Sir Andrew and Fabian in the 1969 production of Twelfth Night. 

    Photo by Reg Wilson. Browse and license our images
    Sir Toby, Sir Andrew and Fabian hide from Malvolio behind an old bar, holding up objects in front of their faces in the 2012 production of Twelfth Night.

    Sir Toby, Sir Andrew and Fabian in the 2012 production of Twelfth Night. 

    Photo by Keith Pattison. Browse and license our images
    Malvolio reads a letter while dressed in a dark doublet and white ruff. He is watched by Sir Toby, Sir Andrew and Fabian who hide behind small plat pots in the 1960 production of Twelfth Night.

    Malvolio is watched by Sir Toby, Sir Andrew and Fabian in the 1960 production of Twelfth Night. 

    Photo by Angus McBean. Browse and license our images
    Malvolio sits on a bench dressed in black and is watched by Sir Toby and Sir Andrew who hide behind bushes behind him in the 1966 production of Twelfth Night.

    Malvolio is watched by Sir Toby and Sir Andrew in the 1966 production of Twelfth Night. 

    Photo by Reg Wilson. Browse and license our images
    Malvolio paces up and down wearing a long plain coat and is watched by Sir Toby, Sir Andrew and Fabian who are hiding in some branches at the back of the stage in the 1979 production of Twelfth Night.

    Malvolio is watched by Sir Toby, Sir Andrew and Fabian in the 1979 production of Twelfth Night. 

    Photo by Reg Wilson. Browse and license our images
    Malvolio stands and reads a letter in front of a large tree, wearing all black. He is watched by Sir Toby, Sir Andrew and Fabian who are all on top of the tress, looking down at him in the 2009 production of Twelfth Night.

    Malvolio is watched by Sir Toby, Sir Andrew and Fabian in the 2009 production of Twelfth Night. 

    Photo by Ellie Kurttz. Browse and license our images
    Malvolio sits on a bench wearing all black and reading a letter and is watched by Sir Toby, Sir Andrew and Maria from above in the 1945 production of Twelfth Night.

    Malvolio is watched by Sir Toby, Sir Andrew and Maria in the 1945 production of Twelfth Night. 

    Shakespeare Birthplace TrustTom Holte Browse and license our images