Marriage: the only possible career for women of the Elizabethan era. Women were raised to entirely depend on men, act solely as a bearer of children and an obedient companion. Twelfth Night, a famous comedic play by Shakespeare, was written during this time, yet one of the female characters in this play is fails to meet this description. The protagonist, Viola, has a mind of her own despite being told that women are inferior. She is one of Shakespeare’s most esteemed creations and the characterization of this young female greatly contrasts with others. In Twelfth Night, Viola is undoubtedly, a strong female character who is resourceful and makes decisions for herself. Foremost, Viola possesses the character traits of resourcefulness and …show more content…
Through her speech she says aside, Viola announces her immediate recognition of Olivia’s feelings for “Cesario” and admits to her own interest in the Duke. Readers learn about the love triangle Viola finds herself in and admires her will that keeps her from breaking under the pressure. She recognizes her vulnerable position and lets time untangle the mess she is thrown in. Moreover, the maintenance of the disguise of “Cesario” is difficult to uphold, making it all the more impressive. In Act III, Scene 1, Olivia is forthright about her love for “Cesario” and Viola finds herself in a complicated situation. Viola’s act leaves readers applauding her intelligence as she responds to Olivia’s statement of Cesario being no servant of hers, saying “And he is yours, and his must needs be yours: Your servant 's servant is your servant, madam” ( 3.1.97-98). With this, Viola establishes her place, and clearly expresses her feelings and what she stands for in one clever sentence. The firmness Viola uses to reject Olivia shows courage. Especially since Olivia is very insistent and keeps pressing the topic. She does not let her lust for the Duke to take over and make foolish decisions. Even when the temptation to reveal herself and potentially win the Duke’s love may be great, she instead reinforces her position and gains trust of Duke Orsino, ensuring her
As an alternative Viola decides to live as a man under the protection of
But there's always one excepting person in this case the school that Viola went to. There after se revealed her true identity the team still accepted her and she is now a student at that school and plays on the soccer team. This movie also had a good love background to it with Viola pretending to be Sebastian is roommates with Duke, Viola slowly falls in love with Duke after spending plenty of time with him. So eventually he starts to act weird around
As many know Shakespeare is a masterful storyteller. Many of his tragic plays such as Macbeth, Romeo and Juliet, and Hamlet have a keen sense of fate versus free will, but it is not just in his tragedies that this is seen. In his comedy, “Twelfth Night”, the theme of fate versus free will reverses the expected gender roles. Although it was written in the Elizabethan days, gender roles are constantly seen. In this play, Shakespeare seems to reverse the role of men and women, making women to be dependent and not reliant on men.
Olivia Lynch Mrs. Butterfield AP Lit 5/1/16 When you are ready to dive into the vast world of Shakespeare, you can begin by using what is known as a critical lens. The lens that may help you understand the background details of one of Shakespeare’s plays would be the Historical lens. Although there are many different lens that you can use to interpret a story, the Historical Lens is a great lens to dive into to find what really influenced the great ideas of William Shakespeare as he wrote Hamlet including the role gender plays, the comparison of Elizabeth Tudor, and the religious incorporation throughout the play. First, we can take the Historical Lens and dive into the idea of how gender roles were highly represented in Hamlet
Hamlet's words, “frailty thy, name is a woman” (1.2.148), forever redefined femininity in literature. Throughout works such as The Great Gatsby and Hamlet women are never treated as equals to their male counterparts and their role is characterized by misogyny, dependency and utter obedience. According to Aristotle, “the courage of a man lies in commanding, a woman's lies in obeying; that 'matter yearns for form, as the female for the male and the ugly for the beautiful”. Hamlet and The Great Gatsby reveal compelling parallels in their portrayal of the role of women. The mistreatment and inequality of women is a predominant issue in each work and is illustrated through the two main female protagonists, Queen Gertrude and Daisy Buchanan.
We also see how in both the film and the dramatic piece Duke asks Viola, disguised as a man, to help him get Olivia, but in both Duke thinks Viola has betrayed him by stealing Olivia from him. All this similarities keep the essence of the play in the
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.
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.
In the play viola uses the name Cesaro, but in the movie she uses her brother's name Sebastian. In the play viola didn't really switch from viola to Cesario, she just stayed as Cesario, but in the movie viola switched from Sebastian to viola a lot. In both Twelfth night and she's the man in the end Duke Orsino and viola fall in love. Olivia and Sebastian also fall in love at the end. In the middle of the play and the movie it was still a crazy love mess.
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
Before this quote, Olivia married Sebastian, thinking he was ‘Cesario’ due to their similar appearance. When it is revealed that the two twins were in Illyria, they realized that they were both alive even though they both thought the other died in a shipwreck. So, in the quote, Sebastian explained the misunderstanding and it was revealed that ‘Cesario’ was actually Viola. The realization of the twins further complicated the situation and the ‘knot’ of lovers. Viola 's disguise impacted the story in very important ways, entangling the knot of suffering lovers by causing Olivia to fall in love with her, hiding her own love for Orsino, and causing many misunderstandings with Sebastian.
Numerous individuals in Twelfth Night expect a mask of some kind. The most evident illustration is Viola, who puts on the attire of a man and makes everybody trust that she is a male. This camouflage causes incredible sexual disarray, as an odd adoration triangle results in which Viola is infatuated with Orsino, who cherishes Olivia—who adores Cesario, the male character that Viola expect. In this manner, by dressing his hero in male pieces of clothing, Shakespeare indicates how pliant and self-preposterous human sentimental fascination can be. Another character in camouflage is Malvolio, who dresses strangely (in crossed straps and yellow tights) in the trust of winning Olivia.
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.
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.
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.