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" Though Viola never reveals that her brother is her twin until she is mistaken for him, Sebastian begins his existence in the play as a twin and, just as importantly, as a displaced twin.

His lament for lost simultaneity is followed in the next scene by Viola's response to her own emotional quandary: "O time, thou must untangle this, not I, / It is too hard a knot for me t'untie" (2.2.39-40).

Before Viola leaves the Duke to woo Olivia on his behalf, Valentine, noting how fond the Duke has become of his new page, draws her attention to the fact that "he [the Duke] hath known you but three days" (1.4.2-3).

In the middle of the conversation between Viola and Olivia which immediately follows, after she parts company with Olivia in act 1, scene 5 and before she receives from Malvolio the ring Olivia has sent after her in act 2, scene 2, Sebastian lands in Illyria with Antonio.

This loss of simultaneity is set against the way relationships in Illyria are figured in terms of varying, and even sometimes contradictory, time frames.Sebastian's lament for lost simultaneity is made literal in the context of the major differences between the twins' experiences: Viola becomes enamored of Orsino in three days, and Sebastian becomes the beloved of Antonio in three months.This temporal disjunction provokes interesting responses from both critics and producers of the play.Both resolutions of the double date within Twelfth Night are quite revealing, but the ease with which Valentine's reference to three days can be dropped shows how arbitrary the reference is from the start.Twelfth Night shows an attention to time which rivals that in As You Like It, ranging from the sea captain's assertion that he was "bred and born / Not three hours' travel from this very place" (1.2.22-23) to the priest who has married Olivia and Sebastian "since when, my watch hath told me, toward my grave /I have travell'd but two hours" (5.1.160-61).