The Greek physicians elaborated the theory that the predominance of one fluid over the other resulted in a particular type of temperament or "humor" (see page II-424). There were people who were phlegmatic, sanguine, choleric, or melancholic.
The expression "green and yellow melancholy" refers to the fact that bile was supposedly predominant in the melancholic, though Shakespeare is thinking of ordinary bile, rather than black bile.
At Olivia's house, the plot to catch Malvolio progresses. A new character enters, Fabian. He is another of Olivia's servants and he too has a grudge against Malvolio. He says:
—Act II, scene v, lines 6-7
In bearbaiting, a bear is tied to a stake, and sometimes muzzled. Dogs are then set on it and the "sport" consists in watching the maddened bear slowly tortured to death, usually killing a few dogs on the way. It was very popular in the time of Elizabeth I, and in 1575 thirteen bears were baited with the Queen an interested spectator. This "amusement" was not finally outlawed in England till 1835.
Apparently Fabian had organized a bearbaiting, and Malvolio had complained of it to Olivia, whose soft heart had been touched and who had been angry with Fabian in consequence.
This is a reflection of the fact that the Puritans, to their great credit, strove to have bearbaiting made illegal. (There were, however, not wanting those who said, cynically, that Puritans were against bearbaiting not because it gave pain to the bear but because it gave pleasure to the spectators.)
Malvolio now enters the trap. The letter has been planted in the garden, and the plotters hide in a tree watching Malvolio. The steward is so lost in self-conceit that he dreams of marriage with Olivia and begins to assume the airs of a great lord. Sir Toby is almost choked with indignation, and Sir Andrew, imitating Toby, cries out:
—Act II, scene v, line 41
Jezebel was the idolatrous Queen of Israel, wife of wicked King Ahab. She is a byword for pride. When her son (the successor of Ahab) was killed by the revolutionary general Jehu, she met the murderer in her palace as a queen should. Though facing death, she dressed herself like a queen and taunted Jehu with a past revolution that had failed. Or, as the Bible puts it (2 Kings 9:30-31), "And when Jehu was come to Jezreel, Jezebel heard of it, and she painted her face, and tired her head, and looked out at a window. And as Jehu entered in at the gate, she said, Had Zimri peace, who slew his master?"
Of course, Sir Andrew's use of the name is inappropriate from the standpoint of sex; for a man, however proud, can scarcely be a Jezebel; and his simplicity is designed to raise a laugh in the audience.
Malvolio eventually spies the letter, picks it up, and examines it. The handwriting on the outside seems Olivia's and the seal which closes the fold has Olivia's imprint. Malvolio describes it as:
—Act II, scene v, lines 94-95
A person of quality would use a particular stamp (perhaps engraved on a ring) to impress the drop of wax sealing a letter, as further indication of ownership and guard against forgery. Olivia uses a representation of the Roman matron Lucretia, concerning whom (see page I-205) Shakespeare had written The Rape of Lucrece some six or seven years before. Of course, Maria had made use of her mistress' seal.
Malvolio interprets the letter exactly as pleases his self-love. It advises him to do just the sort of thing Maria knows Olivia loathes. He is told to smile constantly, to be haughtier and surlier than ever, to talk politics, cultivate eccentricity, wear yellow stockings, and be cross-gartered. He swears to do it all, and when he leaves, Fabian, in the tree, half dead with suppressed laughter, says:
—Act II, scene v, lines 181-82
The "Sophy" is the title given in England to the Persian Shah (see page I-521). In 1599, not long before Twelfth Night was written, Sir Anthony Shirley came back from Persia, laden with gifts from the Shah for his role in helping reorganize the Persian army. This remark of Fabian's, therefore, is a topical reference.
As for Toby, he is so delighted with the working out of the plan that he offers to follow Maria
—Act II, scene v, lines 207-8
By Tartar is meant Tartarus, the level below Hades where evil souls were tortured for their sins (see page I-13).
Viola/Cesario has come to Olivia's for another interview on behalf of the Duke. She exchanges wit with the Clown and then gives him a coin. The Clown promptly asks, in literary style, for another:
—Act III, scene i, lines 52-53
This refers to the famous tale Shakespeare was soon to put to use in his own Troilus and Cressida. Viola/Cesario gets the allusion and commends the begging, whereupon the Clown instantly points out that:
—Act III, scene i, line 56
A late sequel to the medieval tale explained how Cressida was punished for betraying Troilus. She was stricken with leprosy and became a diseased beggar. Shakespeare did not use this part of the tale in his own treatment (see page I-124), but this line is evidence enough that he knew of it.
In the second interview, Olivia is bolder than in the first. She says, when Viola/Cesario speaks of the Duke:
—Act III, scene i, lines 109-12
This is another Shakespearean reference to the Pythagorean doctrine of the music of the spheres (see page I-199). Despite Olivia's invitation to speak for himself, Viola/Cesario has no option but to flee.