1

Hana Hu
English R1A
November 14th, 2007

Analytical Essay: The Importance of Minor Characters in Twelfth Night

Unlike many other Shakespeare’s romantic comedies, where the minor

characters make up a third of the plot, Twelfth Night mainly involves major

characters. However, if the major figures attempt to accomplish liveliness of the

play without assistance, the dramatic action would be thoroughly confused.1

Dennis R. Preston asserts that the importance of the minor characters does not lie

in a single section of the play, rather in the reoccurrence throughout the work,

fulfilling simple functions, building contrasts and furthering action.

Preston continues to elaborate on his belief through comparing Valentine

and Curio. Unlike Curio, whose sole obligation is to Orsino and who often speaks

his lines before any plot has developed, Valentine is usually called upon to explain

the turn of action (p.170). Also, Valentine’s speech, unlike Curio’s former lines, is

one of the four poetic units which make up the first scene. Another example

Preston points out is Curio’s later speech when he is sent to summon Feste. The

speech shows nothing further about his character, whereas Valentine’s gossipy

remarks to Viola are significant:

1
Preston, Dennis. "The Minor Characters in Twelfth Night." Shakespeare Quarterly 21.2 (Spring 1970), pp. 167-
176.
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Val. If the Duke continue these favors toward you, Cesario, you are like to
be much advanced. He hath known you but three days, and already you are
no stranger.
Vio. You either fear his humor or my negligence that you call in question the
continuance of his love. Is he inconstant, sir, in his favors?
Val. No, believe me. (I.iv.1-8)

The lines above create a potential for ambiguity. As Preston would have it,

Valentine’s magnanimity to Viola, without apparent motive, makes him seem too

good for this world, for very few of us actually rejoice to be replaced by others.

However, the lines above happen in the beginning of scene four and nothing has

happened to indicate that someone has been chosen to supplant Valentine. He is

probably only indulging in court talk with Viola. She misunderstands his remark

and is uncertain of her new position, questions Valentine about the constancy of

the Count’s affections.

Another unlikely candidate for discussion, Preston believes, is the Priest

who marries Olivia and Sebastian; the absurdity of his lines during the ceremony

fits perfectly with this excellent comedy of romance:

A contract of eternal bond of love,

Confirmed by mutual joinder of your hands,
Attested by the holy close of lips,
Strengthened by the interchangement of your rings.
And all the ceremony of this compact
Sealed in my function, by my testimony;
Since when, my watch hath told me, toward my grave
I have traveled but two hours. (V.i.164-172)
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It is wrong to believe, however, that the Priest is a comic relief for the potential

dangerous situation on stage (p.171). The real basis of a romance comedy lies in

the different levels of awareness, mistaken identities and misunderstandings. These

obtrusive lines are delivered unremarkably to set off the basic elements of a

romantic comedy rather than creating one.

Another important minor character Preston goes in depth in looking at its

function is Antonio, who serves as a reappearing aid in the pace of the drama.

Antonio’s decision in following Sebastian to dangerous ground is formulated

within the framework of a strong friendship. His language alone when talking

about Sebastian shows his devotion to him and does more than help define his

character. Though his love towards Sebastian “might have drawn one to a longer

voyage”; Sebastian, when pulled “from the rude sea’s enraged and foamy mouth”,

was, like a ship in peril, “a wreck past hope” (p.173). Antonio adds a distinct

character to the already overflowing lists of Twelfth Night and brings with him a

note of honesty to the play. His presence on stage, especially in the last act,

indicates the probable outcome of the confusion and takes control over the world

of Twelfth Night. Although his faith in Sebastian has been shattered, his

truthfulness and courage undoes the knot Viola has found too difficult to untie

(p.173).
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Each of Twelfth Night’s minor figures has been carefully employed just

enough not to crowd the play unnecessarily; they all perform essential services.

Without the use of minor characters, major figurers wouldn’t have been fully

developed and much confusion would arise.