Laughs abound in Shakespeare's Twelfth Night. Is it unusual that these laughs are at the expense of bent social barriers and sometimes-severe misunderstandings? The Microsoft Encarta Encyclopedia 2003 writes, "comic entertainment is controlled by social conventions that define the boundaries of acceptable humor and topics that are taboo or off-limits for humor" (comedy). The Oxford English Dictionary defines comedy as "A stage-play of a light and amusing character, with a happy conclusion to its plot" (1). These explanations could have been based on Shakespeare's Twelfth Night, in which paradoxes abound and mistaken identity soon becomes the norm, all ending in merriment that is nonetheless believable for the precise character traits that drew the actors into such a mess in the first place. In Act 3 Scene 4 alone, there are many examples of the identity confusion, paradoxes and foolery that have made Twelfth Night enjoyable for three and a half centuries.
             Identity serves many purposes in Twelfth Night. By establishing the characters' identities, Shakespeare justifies the actions and motives of the other players. When identity is mistaken, comic confusion ensues as characters act differently than expected. This is very prominent when Malvolio approaches Olivia and Maria wearing yellow stockings and cross-garters. Just prior to his entrance, Olivia remarks, "He is sad and civil, And suits well for a servant" (3.4.5-6). The OED defines civil to mean "Having proper public or social order; well-ordered, orderly, well-governed" (7). When Olivia remarks that Malvolio is civil, she means that he behaves according to the social standards of his rank as servant. Ironically, just then he enters defying that rank. Civil can also be taken to mean "Educated; well-bred" (OED 9). This is how Malvolio sees himself and wishes to be seen by others. Here, his puritan perso...