Apperences vs. Reality in Twelfth Night Essay

Orsino's love, however, is a courtly love. He claims to be in love with Olivia but seems rather to be in love with the idea of love and the behavior of a lover. Orsino is a Petrachan lover who chooses an object that will not return his love. Because he is not ready for commitment, he courts Olivia in a formal way. By sending his messengers to her house instead of going himself, he does not have to speak to her directly. Early in the play, Viola realises that Orsino's love for Olivia is denied and that she would also reject all men for a period of seven years. Viola believes that Orsino might not be rejected if he visited Olivia himself and says to him: "I think not so, my lord," but Orsino, not wanting to see Olivia himself and wanting to keep up the role of the disappointed lover, insists that Cesario woo her.

My group and I chose to perform Act 3 scene 3 from Twelfth Night, a relatively short scene involving Antonio and Sebastian. We chose the scene because it would require us to “gender-bend” because we would be playing men. The scene provides insight into Antonio’s dark past. When they walk into town, Sebastian is excited and thrilled to simply be alive, but Antonio does not want to be seen in the town. Antonio used to be a pirate at one point in his life, and it seems that he is on many a hit-list, especially Orsino’s. Earlier, Sebastian had gotten in a shipwreck, and Antonio saved him from the raging depths of the sea. Ultimately, they wash up in Illyria. Finally, it shows a different side of both characters that may not necessarily be shown in the rest of the play.

In studying William Shakespeare’s Twelfth Night, or What You Will, it becomes clear that the theme of “Inside/Outside” is visible at many different levels. One of the comedic methods applied is the mistaken identity of Viola and Sebastian. Another case is Malvolio’s sudden change of character and clothes. Furthermore, Feste, who acts as a professional fool in the play, turns out to be a bright and wise character, against the expectations of the readers. Without these important elements where the characters show to be entirely different on the outside than on the inside, the play would be less intriguing, and moreover, they are essential to develop major scenes.

Another example of deception is when Maria, Olivia's servant writes a letter to Malvolio, Olivia's head servant and Maria's coworker. Maria deceives Malvolio by writing in Olivia's handwriting. In the letter she says that Olivia loves men in yellow stockings. "Remember who commended thy yellow stockings, and wished to see thee ever cross-gartered" (2.5. 143-145). Maria knows that Malvolio will follow this ridiculous deed because of this love for his lady Olivia. Sir Toby Belch says, "He shall think by the letters that thou wilt drop that they come from my niece, and that she's in love with him" (2.3. 154-156). Maria places the letter in her garden where Malvolio will definitely find it. Thinking Olivia will fall in love with him because of his clothing, Malvolio dress up in yellow stockings and goes to see Olivia. When Olivia sees Malvolio and the way he is acting, she isolates him for fear that he is insane.

Other characters in the play strongly dislike Malvolio. When Olivia isn’t around he thinks and acts like he’s the king and that Olivia is his lady. Malvolio had stated, “ My lady bade me tell you, that… she’s nothing allied to your disorder” about Sir Toby (W.S 23). Even when he comes into the scene with other characters, he decides to say, “Besides, she uses me with a more exalted respect than any one else that follows her”(W.S 30).With that he’s saying that Olivia treats him like a king and puts him over top of everyone. The only reason why Olivia had to deal with him is because he is her steward. A reason why I think she only puts up with Malvolio is that he will do anything the she commands. For when Cesario was outside she had said to Malvolio “ Go you, Malvolio: if it be a suit from the count, iam sick, or not at home; what you

In A Midsummer Night’s Dream, Shakespeare easily blurs the lines of reality by inviting the audience into a dream. He seamlessly toys with the boundaries between fantasy and reality. Among the patterns within the play, one is controlled and ordered by a series of contrasts: the conflict of the sleeping and waking states, the interchange of reality and illusion, and the mirrored worlds of Fairy and Human. A Midsummer Night's Dream gives us insight into man's conflict with characteristics of human behavior.

This inconsistency is embodied in the Twelfth Night when Orsino is irrational in his pursuit of beautiful Countess Olivia, yet he cedes her without regret or uncertainty. The duke then falls instantly in love with Viola, who was formerly known to him as a man named “Cesario.” Moreover, it almost seems as if Orsino enjoys the pain and suffering that comes with romance. He continues to engage himself in the quarrels of love while he states that it is an undying appetite, yet he can say that love “is so vivid and fantastical, nothing compares to it," implying that love is obsessive and bittersweet. Through this sudden change and obsession of love even through pain, Shakespeare communicates that love is something fantastic, pleasing and passionate, and our desires for these things lead our love lives to be obsessive, incoherent, excessive and unexpectedly

Throughout history there has been a general understanding that appearances can be deceiving. A person may go through life without anyone understanding the true reality of their character. William Shakespeare, one of the greatest writers of all time, understood the relationship between appearance and reality and often gave characters two sides to their personality.

Malvolio is a social climber, he feels that if Olivia would love him his status would be higher. But because of

In William Shakespeare’s Twelfth Night, Malvolio is considered an outcast by almost everyone in the play. He doesn’t act the same way that any of the other characters act, in that he doesn’t participate in any of their activities, he enforces rules that the others could care less about, and he is just overall a socially awkward guy. Malvolio not only claims to adhere to the rules of the household himself, but uses his relations with Olivia to try and help make the others follow the rules as well. This upsets certain characters more than others. For instance Sir Toby, Sir Andrew and Maria find his behavior particularly detestable. But Malvolio’s strict coherence to the rules allows him to have a rather high position in Olivia’s household.

True love is extremely different then lust, and was also present through out the play. True love is obviously one of the strongest forms of love and is an extremely powerful emotion that one would perhaps do many things for. Shakespeare showed various forms of true love in twelfth night especially through Viola (Cesario) and Orsino. Even though Orsino did not know it, Olivia was falling in love with him. She saw qualities in him that she appreciated and liked. Unlike lust, true love is usually developed, and grows stronger as you get to know and understand the person better. In this case, Viola only began to like Orsino after she had gotten to know him. It grew more and more and finally in the end when her true identity was revealed she married him. Another example of true love was with Sir. Toby and Maria. When you are in love you would always try to do things for the best interest?s for that person, and would try to protect them from harm. Throughout the play there are numerous times where Maria tries to warn and protect Sir Toby from Malvolio and Olivia, so that he would not get in trouble. If you care for someone that much to keep them out of harms way, then that is a strong sing of true love. True love was also present when you will forgive or

According to The English Review, Duke Orsino has “full of devotion to an ideal of love.” He does not understand that love is not straightforward, and if you love someone, they might not love you back. Orsino loves Olivia, but Olivia loves Cesario who is really Viola. Olivia’s love is complicated. She decides to confess her love to Cesario by saying “Would thou ’dst be ruled by me!” (4.1.68). The confusing part of this encounter is that Olivia really says this to Sebastian, Viola’s twin brother, not Cesario. Olivia’s confusion is most likely not commonly found in the everyday world. However, her complex relationship shows how love is not simple. Olivia thought she loved Cesario/Viola, but in the end, she loved Sebastian. Now, Viola’s character shows the pain and complication of a silenced love. She loved Orsino the whole time she was pretending to be Cesario. She says that she would marry Orsino in the beginning of the play when she says “myself would be his wife” (1.4.46). However, she couldn’t act upon this love until her true identity could be revealed. Sounds very simple and easy does it

A person's desires for love is so powerful that they want the loved one all to themselves. This is an act of selfishness seen through Duke Orsino he tells Curio and Valentine his messengers that he was the first one who had fallen in love with Olivia, and that Olivia is refusing him only because of her dead

48) without the ability to look beyond what he sees. The notion of fantasy versus reality is not limited only to the fairies, however; Shakespeare makes his audience aware of supernatural elements in other characters as well by his use of different styles of verse. Furthermore, by comparing the play-within-a-play, and the royals’ response to it, to the larger narrative, Shakespeare gives further warning against literalising the effects of the play. Metaphor pervades the play and the play should likewise be read as metaphor.

Shakespeare examines the theme of appearance and reality in his book-Hamlet. The dilemma of what is "real" is established at the very beginning of the play. Hamlet doesn’t know what to believe and devises a plan to find out. The old king Hamlet appears to be bitten by a snake, but in reality he was poisoned, the ghost appears as an apparition, but it’s actually real, and the play-with-in-a-play strongly depicts the theme of appearance vs. reality.