As an alternative Viola decides to live as a man under the protection of
Viola liking duke Orsino but duke Orsino liked liked Olivia and Olivia liked Sebastian. Nobody seemed to like the right person until the
This leads her down a path of defiance and rebellion because she decides to marry Romeo, which will ultimately have consequences. At the beginning
Viola’s aspirations are not to go against the social order as she is not a real servant but the play allows her to transgress and glide through the class mobility. She epitomizes social fluidity, transgressing the boundaries of specific roles in society. However her flexibility is asserted on her higher social status with which she begins the play. This once again proves that although the boundaries can be broken, only the elite bourgeoisie can truly permeate them completely. Malvolio remains ‘mad’ for admitting his love while Viola moves upwards to gain marriage.
This scene begins with Antonio which is a sea captain, and Sebastian who is Viola’s twin brother. Antonio and Sebastian discuss why he is so sad, it is because he thinks his twin sister Viola is dead. Sebastian also tells Antonio, that if it was not for him rescuing him from the ocean he would have drowned just like his sister did. Antonio apologizes to Sebastian for not being able to better comfort him. Then Sebastian apologizes to Antonio for burdening him with his troubles.
Shakespeare does this as he tries to make Orsino different to any other role play duke and by doing this he not only had the 17th century audience hooked but now in the 21st century we are just as hooked in by Shakespeare as they would’ve been. Orsino has seen Olivia once, and the very sight of her has fascinated him to such an extent that his romantic imagination allows him to believe that he will perish if Olivia does not agree to be his wife. Therefore, this romantic, melancholy indulgence is the crux of the play because the duke uses Cesario (Viola) as his bait to get Olivia to be his. He claims he is a true lover, yet he knows nothing or has any experience in the presence of being in love, so also deluded. He has no idea that viola is in love with him even though she has subtly been dropping hints at Orsino.
The question of why Olivia, after dramatically declaring her affections for Cesario, would so quickly jump to Sebastian after finding Viola’s true identity, is likely answered by the societal norms of the Elizabethan era. Cesario and Viola are two halves of one whole; by loving Cesario, Olivia loves Viola too. Upon meeting “him,” Olivia says “Thy tongue, thy face, thy limbs, actions and spirit/ Do give thee five-fold blazon” (1.5.297-298). She is attracted not just to Cesario’s mannerisms, but to Viola’s beauty, which shines through her male bravado. The “actions and spirit” which Olivia refers to are Viola’s ability to converse with Olivia woman-to-woman, unbeknownst to the countess.
Vanity, one of Twelfth Night 's major concerns, is displayed throughout the play by characters who are plagued with emotional conditions which prevent them from loving others. The lives of Illyria 's Duke Orsino and Countess Olivia, for example, remain circumscribed by vanity and narcissism. Similarly, Olivia 's steward, Malvolio, remains encumbered by vanity and narcissism, while Olivia 's Uncle Toby shows himself to be selfish, and his drinking partner, Sir Andrew, stands as a caricature of vanity. In contrast, Viola, an outsider shipwrecked upon Illyria 's shore, suffers solely from grief for her sea-drowned twin brother. In further contrast, Olivia 's lady-in-waiting, Maria, displays none of these characteristics, but instead operates as the play
For a woman to show interests in current affairs, express opinions, write literature was unladylike. Viola, fending for herself, in distant land, disguises herself as a boy named Cesario. Cross-dressing, in Elizabethan society, was seen as highly immoral. Viola 's male disguise “allows her to escape the confinement of a single perspective and a single voice by momentarily unfixing sexual stereotypes (184)”(Melchoir). Furthermore, Viola’s situation in Twelfth Night is not typical of an Elizabethan woman because she proves herself to be capable and intelligent.
In the story it shows a love triangle between Orsino, Cesario (Viola), and Olivia. Cesario falls in love with Orsino, Viola is in love with Cesario, and Orsino is still in love with Olivia. The characters in the story all show happiness and joy throughout because it’s a story that ends in love unlike Romeo and Juliet where it ends in a tragedy. As said in Twelfth Night, “Its central plot concerns a love triangle between the Illyrian nobleman Orsino, his beloved but unattainable Olivia, and the shipwrecked Viola.” (Lee
In Twelfth Night, Viola and Olivia are the central characters to the play’s plot. Each are young women that take approaches to dealing with the people around them, which are mainly men. There is much trickery that goes on in Twelfth Night, but the ending is for the most part happy. Viola marries Orsino and Olivia marries Sebastian, but the events leading up to this are more or less chaotic. Ultimately, I argue that while Olivia uses her higher social status in order to maintain control of herself and others, Viola resorts to trickery in order to bring about her desires.
As he states that all lovers are, “Unstaid and skittish in all motions else / Save in the constant image of the creature / That is beloved.” (2.4, 20-22). This demonstrates Orsino’s misunderstanding of the concept of love, as it seems that true love means fickle and erratic according to his definition. Furthermore, in disguise as Cesario, Viola also unintentionally exposes the passionate nature beneath the courtly manner and mourning veil of the “virtuous maid” (1.2, 32), as she causes Olivia to fall in desperate love with Cesario.
Shakespeare’s novel “Macbeth” demonstrates the many ways in which love can factor into a play. Through the connections built between characters, and the relationship Macbeth holds with power, the ways in which love are perceived through “Macbeth” are evident. In Shakespeare’s play “Macbeth,” there is a strong relationship between Lady Macbeth and Macbeth, the relationship between the two characters is known as the most obvious - yet this relationship challenges traditional perceptions of love. The attitude Lady Macbeth and Macbeth have towards each other constantly changes, thus making it hard to form a clear-cut opinion of their relationship.
Shakespeare uses Viola (Cesario) as an example of a mechanism that can throw internal conflicts into temporary chaos. Viola willingly faces whatever comes in her way. Her love for Duke Orsino seems too constant and true, unlike the other characters in the play. The temporary chaos of the play is when Viola falls in love with Orsino, who falls in love with Olivia, who on the other hand falls in love with Viola’s disguise, Cesario. This love triangle is very complicated as none of them realize that Cesario is a woman, making this an internal conflict for Viola, as she cannot ‘truly’ love whom she wants.
