Early in Shakespeare’s play Twelfth Night it becomes apparent that Shakespeare shows blatant favoritism towards the three female characters featured in this play. The play includes Viola, a young woman who after being shipwrecked and believing her twin brother, Sebastian, to be dead, she dresses as a man going by the name Cesario to try and survive in Illyria. Through this, though she falls in love with Duke Orsino who is in love with Countess Olivia who falls in love with Cesario, creating a true love triangle. The third female and final female character in the Twelfth Night is Maria, who is the servant of Olivia and although the favoritism she is shown is perhaps not as blatant as what Viola or Olivia is shown, she is nonetheless shown …show more content…
However, Shakespeare continues to push the boundaries even further with how he has the Duke Orsino speak to Viola after they have become engaged at the end of the play and she has informed him that she cannot go and change into more womanly clothes because the captain still has them and he is still being kept prisoner by Malvolio. Orsino proceeds to tell her “We will not part from hence. Cesario, come- For so you shall be, while you are a man; But when in other habits you are seen, Orsino’s mistress and his fancy’s queen” (5.1. 362-365). This brings the question to light of who is Orsino in love with Cesario or Viola? He seems far too comfortable with the idea of being with Viola while she is dressed as Cesario to not be harboring some feelings for Cesario. This idea is encouraged by his rather observant description of Cesario “That say thou art a man: Diana’s lip Is not more smooth and rubious; thy small pipe Is as the maiden’s organ, shrill and sound, And all is semblative a woman’s part” (1.4. 29-32). Here Orsino gives a rather observant description of Cesario’s feminine looks comparing him to a goddess and talking of how soft and red his lips are, which seems rather strange since most would take offense to basically being told that they look like a woman, however, …show more content…
Later in the play, she can even come across as no more than a lovesick woman obsessed with Cesario who she has fallen for. However, often it is not taken into consideration how strong her character is because she is a woman who seems to be running an entire estate on her own, which would not have been common during Shakespeare’s time if it was even allowed at all. Still, Olivia’s character is shown great favoritism by Shakespeare as even though she is unintentionally tricked she ends up marrying a man who she is at least attracted too since Viola and Sebastian are twins. However, this does bring into question what love actually means in this play. Since everyone in it seems to only fall in love with physical appearances, with the exception of Sir Toby who falls for Maria’s skills as a trickster. Olivia seemingly has no problem with the fact that she is not married to the man who she thought she was married too, in fact there seem to be no lines that show any kind of anger or discord after she learns that she married Sebastian and not Cesario. Even when she first sees them both together all she can say is “Most wonderful!” (5.1. 210) Showing that she is mainly enamored by their looks, however, I do believe that she initially fell for Cesario’s charm, how little she is
Orsino's reaction to Cesario's true identity and the fact that Olivia has married another man is surprising. When he discovers the truth, it is evident that Orsino's love is for love itself and not for Olivia, as he is willing to replace her with Viola. He does not react with shock or even disappointment. He says instead, "... And since you have called me master for so long, here is my hand. You shall from this time be your master's mistress." This sudden
All throughout Illyria, there is romance, passion, royalty, and an immense amount of gender stereotypes. William Shakespeare imagines the kingdom of Illyria to have very traditional norms for both women and men in his play Twelfth Night. In Scene 2 of Act 1, Viola, recently rescued from a shipwreck, hears about a duke named Orsino and instantly comes up with a plan to get closer to him. Her plan is to disguise herself as a boy who she will name Cesario and become one of Orsino's’ attendants. Right off the bat, we begin to see gender stereotypes. Why must Viola become a man in order to work for the duke? Elizabethan society “molded women into the form of the dutiful wife and mother” (Elizabethan Women). Viola could not have served duke Orsino as a woman because as a woman she was expected to work at home and be either a “dutiful wife [or a] mother”. Scene two prepares the audience for the idea of gender throughout the rest of the play. Shakespeare's Twelfth Night is very traditional play due to its ideas of gender stereotypes in Elizabethan society.
Even Though she pretended to be a man and is practically is a nobody in Illyria, she desires to win Orsino’s heart. In Act 1, Scene 4, Viola tells her true feelings for Cesario by saying, "yet a barful strife! Whoe'er I woo, myself would be his wife (1.440-42). " This statement becomes correct when she reveals her true identity. Cesario (Viola) and Orsino have a very good friendship, therefore, making the switch from friend to a wife was easy.
The play opens with Orsino, the Duke of Illyria, expressing his deep love for the Countess Olivia. Meanwhile, the shipwrecked Viola disguises herself as a man and endeavors to enter the Duke’s service. Although she has rejected his suit, the Duke then employs Viola, who takes the name of Cesario, to woo Olivia for him. As the
Twelfth Night is a very feminist play once readers have been reading it. The story’s protagonist is a woman, Viola. Viola displays herself as a rational, strong, witting woman, who has to disguise herself as a man to be able to become a faithful attendant of Orsino. With Viola doing this it creates a big sexual mess as Viola falls in love with Orsino but cannot tell him since he still thinks she is a man. While Olivia, who is the object of Orsino’s affection, falls for Cesario, the disguise for Viola. Once Viola’s true identity is revealed Orsino declares his love for Viola which suggest that he may really just loved the masculinity she possessed. Orsino says to Viola, even after seeing her true identity, “Cesario, come; For so you shall be, while you are a man; But when in other habits you are seen, Orsino's mistress and his fancy's queen” (Shakespeare, Twelfth Night 5.1.2599-26001). After everything has been reveled Orsino still calls Viola by her disguise name…her boy name, Cesario. The readers can only wonder is Orsino truly loved Viola for her or if he was in love with the male persona she gave.
From the difference in character and personality between Viola and Orsino, we can see that Viola is displayed as a rational, witty, yet manipulative woman, who loves deeply and sincerely. This is shown from, “If I did love you in my master’s flame/With such a suff’ring/such a deadly life”, as it implies that Viola’s love towards Orsino, is true, and has depth, and other-centred. This is in comparison to Orsino’s love towards Olivia, displayed in his portrayal of love towards her. This can be seen from, “With adorations, fertile tears/With
He is one who is supposedly love-struck from the elegant and beautiful Olivia, yet she does not feel the same way. Instead, someone else feels the same regarding Duke Orsino: Viola (Cesario). Throughout the play, it is clear Duke Orsino is all about himself, as he places himself at the center of all situations, constantly repeating personal pronouns (Me, my, I) This complicated love triangle egotist Orsino encounters with his lavish lifestyle makes him a perfect form of communication for Shakespeare to share ideas about love and marriage. Some simple themes that Shakespeare communicates are that love is indeed something that occurs first sight, as with Viola, Orsino, and Olivia, but also that it is something one must learn that they cannot control. Viola, Orsino, and Olivia all realize this to a degree, and Orsino ends up changing his love for Olivia to love for Viola (other factors contribute as
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
“[ Act 1, Sc 4, Lines 32, 35-37] When Orsino discovers that Cesario is actually a woman in disguise, he immediately jumps at the chance to marry her- although he continues to refer to her in a masculine sense, continuing to call her Cesario until the end of the play. This suggests that Orsino was attracted to the masculine and the feminine qualities of viola, or perhaps that he did not mind the gender of Cesario/ Viola, the person that they were was ultimately the same to him. Orsino and Viola’s pairing is the last of the play’s pairings, following Sebastian and Olivia’s marriage. The marriage of Orsino and Viola seems almost too perfect, a quick way to tie up loose ends and to return of socially accepted norms (although, Viola never changes back into women’s clothing and is referred to as Cesario, even after exposing the truth.) [ Act 5, Sc.1 , 403-411].
Despite knowing that Orsino “loves” Olivia, Viola almost immediately falls in love with Orsino. And because Viola is disguised as a man, she cannot show her true feelings for Orsino. After Orsino asks Viola to speak with Olivia and professes his love to her, Viola lets the reader know what she is truly feeling by saying “Yet a barful strife! Whoe’er I woo, myself would be his wife” (Act 1, Scene 4, Line 40). This shows that even though she is willing to help Orsino pursue Olivia, Viola ultimately wants to marry Orsino. Viola’s love for Orsino is revealed again at the end of Act 2, Scene 4. Orsino is asking Viola to try harder in the quest for Olivia and he basically says that there is no love more noble or great as his, so she must love him. Viola then proceeds to say that maybe Olivia doesn’t love him; however, there is “someone” out there that does. She says:
Viola, one of the main protagonists, experiences suffering when she falls in love with Orsino, whom she cannot pursue or express her true feelings for. After a shipwreck, Viola finds herself stranded in the country of Illyria. In order to work for the Duke Orsino, she disguises herself as a man named Cesario, which makes romance with the duke impossible. After spending three days with him, she falls in love. Not only does she have to repress her feelings toward Orsino, but to add to her pain, Orsino assigns her to spend her time trying to persuade Lady Olivia to marry him. Viola says to the audience, “whoe’er I woo, myself would be his wife” (1.4.42), because she wishes to marry Orsino.
Shakespear portrays the women as fragile, with the way they act, and the way others act towards them, Viola is seen as a very emotional woman, who is in mourning for the death of her brother in (1.2.4) "My brother he is in Elysium", but at the same time falls in love with duke Orsino as shown in (5.1.130-131) when she says: "After him I love/More than I love these eyes, more than my life,". While Viola is in love with Orsino, Olivia falls in love with Viola who, while masquerading as a man is charged with delivering massages of love to Olivia. Olivia's love becomes obvious when in (2.2.21) Olivia, desperate to spend more time with Cesario/Viola sends Malvolio to return a ring to Cesario/Viola which had never been his/hers to begin with. Viola quickly
A key interaction occurs between Orsino and Viola regarding the capacity of a woman's love. Orsino speaks to Viola (who is currently disguised as Cesario):
Although he avoids denying the Elizabethan romantic conventions with an openly homosexual plot, Shakespeare does upset the norm by having Olivia act as suitor and having the "man" act as the object of desire. This role reversal is not hidden since Olivia plainly says "I woo"(145) as she addresses Cesario. The way in which she speaks to Cesario mimics the contemporary traditions perfectly. Cesario's refusal sets up the classic situation of the beloved as an object of unattainable perfection for the lover to praise. Olivia's speech is in rhymed couplets separating it, along with Viola's response, from the typical blank verse of the rest of the play
Viola sacrificed who she was and expressing her love to Orsino so that she could create her voice in the world and be accepted in a dominate male society. Act one, scene two, lines 53 and 54, Viola says, “Conceal me what I am, and be my aid for such disguise as haply shall become.” She portrays her courage when she decides to disguise herself as a young man. She does not have to mask her inner bravery while dressed as a man, because it’s acceptable for a male to be openly courageous constantly, while Desdemona showed moments of her strength which I will discuss. Viola becomes “Cesario” and Olivia becomes infatuated with him because he is unlike any other man she has encountered. Act one, scene five, lines 296-298, Olivia speaks to herself after Cesario has exited, “Methinks I feel this youth’s perfections with an invisible and subtle stealth to creep in at mine eyes. Well, let it be.” Cesario acts as a close female friend would, because he is actually a female. He listens, cares, and makes Olivia a priority. I believe that this is Shakespeare’s way of convincing or proving to 1600’s men in the audience that if they show compassion and understanding toward women, young ladies will fall in love with them easier.