1. Twelfth Night Act 4

2. Main events: Feste meets Sebastian, mistaking him for Viola/Cesario
Scene 1;
Feste meets Sebastian, mistaking him for Viola/Cesario
Sir Andrew punches Sebastian, also mistaking him for Viola/Cesario; Sir Toby and Sebastian fence.
Olivia rushes in apologising to Sebastian (assuming him Viola/Cesario). Sebastian accepts initiation to Olivia’s Household.
Scene 2;
Maria, Sir Toby and Feste taunt Malvolio in the dark chamber. Feste imitates “Sir Topas”.
Malvolio writes a letter asking for Olivia’s help; Feste promises to deliver it.
Scene 3;
Sebastian is trying to make sense of everything; he wonders where Antonio is.
Olivia enters and asks Sebastian to marry her at once (assuming him Viola/Cesario). Sebastian agrees.

3. Themes
Confusion, disguise, deceit, madness, love, attraction, torment,

4. Quote analysis Sebastian- S1- “Are all the people mad?”
Sebastian S1- speaks of Olivia- “If it be thus to dream, still let me sleep!”

5. Context
Gender- the dramatic irony of the Sebastian/ viola/ Cesario confusion; comical aspects of play enhance by all male cast.
Religion- Puritinism- Malvolio is asked a Puritan related question in his torment by “sir Topas”; it is his indignant answer which prolongs his stay. Almost as though within a play of social fluctuation of identity; the steadfast of religion is disrespected for its remaining un-malleable to the mould of Jacobean society.
Class/ Wealth; Sebastian marries into the wealth of Olivia.

6. Important Questions
I don’t know if we have any! Maybe the importance of the contrast that arises between Sebastian and viola. Sebastian instantly agrees to marry Olivia, not even knowing her. Viola sets her future to fate, only ever indirectly flirting with Orsino.
Suggests the importance of gender?- doesn't only define the opportunities open to individual characters, but moreover affords their exact personalities. Sebastian can afford to be more rash and instantaneous, as he ultimately holds the power of masculinity to enforce the “righteousness” of his will.