How Shakespeare uses Love To Create Interest in “Twelfth Night
Win Mar Kyi 11a/Pa
How Shakespeare uses Love
To Create Interest in "Twelfth Night"
Twelfth Night is one of the many comedies by Shakespeare. The name is given to the feast of Epiphany, which is celebrated on the sixth of January, which is commemorative of the three kings. Shakespeare's play was thought to entertain the Queen and her court. Twelfth Night is a comedy where the humour ranges from farce to sarcasm and irony. It can allow the satisfaction of knowing that Viola's courage is rewarded by Orsino, the man she loves. There is love in the plot: a romantic love, Eros, shared between Orsino and Viola at the end of the play, there is the family bond, Storgé, shared between Sebastian and Viola. Agape, an example of self-sacrificing love is the selfless acts of Viola. She is willing to serve Orsino by sacrificing the love she has for him in order for him to be happy. For example, when she discovers Olivia's love for "Cesario" she tries to compliment Orsino to try and turn Olivia. Orsino's love for Olivia is hopeless because he knows that she will never really love him, in the way that he loves her. However his feelings are evident in the first scene.
Orsino begins the play with the opening line, "if music be the food of love, play on". The first part of his speech is metaphorical relating food and music. Orsino links music and food and compares too much music to overeating. He acts as though he wishes his need for love was killed by the music. He is entertained by the music at first, comparing it to the "sweet sound" that picks up the smell of flowers. Orsino continues to contrast love and the sea. I can visualise him doing so in a drunken manner, alcohol possibly providing him with a false contentment then bringing him into a depression. He repeatedly leads the conversation back to the topic of love; for example, Curio asks him if he will go hunt a hart. Orsino replies by referring to his heart, playing on words to create the pun. He then compares himself to the mythological hunter, Actaeon, who was changed into a stag then killed by his own dogs, "that instant was I turned into a hart and my desires, like fell and cruel hounds". Orsino's language indicates that he is capable of strong feelings. It also proves of his urgency and his determination in pursuing Olivia shows that he is vacillating. It is most likely that these qualities, his determination or his passion, are what leads Viola to Orsino.
Viola, in order to form a friendship with Orsino, acquires a job in his court. Valentine congratulates Viola for being in Orsino's court for only three days and forming a strong bond in such a short time. It is possible that Orsino feels totally unthreatened by Viola, who said she was going to disguise herself as a eunuch. This could be why he has accepted her in such a brief period. Orsino himself mentions how close they have become; "I have unclasp'd to thee the book even of my secret soul", using the metaphor of an unclasped book ...
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Viola, in order to form a friendship with Orsino, acquires a job in his court. Valentine congratulates Viola for being in Orsino's court for only three days and forming a strong bond in such a short time. It is possible that Orsino feels totally unthreatened by Viola, who said she was going to disguise herself as a eunuch. This could be why he has accepted her in such a brief period. Orsino himself mentions how close they have become; "I have unclasp'd to thee the book even of my secret soul", using the metaphor of an unclasped book to represent their personal relations. Orsino then takes Viola aside to speak to her in confidence showing the mutual trust shared between them. He opens up to Viola about his feelings for Olivia and sends Viola to her with a message.
In act 1 scene 5, Viola goes to Olivia with her message from Orsino. As Viola speaks, Olivia is intrigued by this young messenger. "Not yet old enough for a man, nor young enough for a boy", Malvolio is also amazed by the willpower of this boy who wishes to speak to the lady of the house. "Cesario" charms his way into the home of Olivia where he compliments Orsino to persuade her to love him. Viola takes on the role very well; she is probably very different to any messenger that Olivia has encountered before. She asks about parentage deciding whether "Cesario" is fir for marrying. After Viola leaves, Olivia asks Malvolio to take her ring to Viola.
Malvolio follows Viola into act 2 scene 2, where Viola notes the irony that is effortless in her situation. It takes a while for her to realise that that Olivia is in love with Cesario, who the audience know to be Viola. This is an example of dramatic irony that will cause confusion throughout the play but viola sees how her disguise will cause problems also in her relationship with Orsino and will hold her back from expressing her true feelings for him. She notes this inconvenient contradiction, "as I am man, my state is desperate for my master's love", but, "as I am woman, what thriftless sighs shall poor Olivia breathe?" Viola also knows that Olivia could fall in love with Cesario so easily, she compares women's hearts to wax that sets in moulds, "In women's waxen hearts to set their form!" This is an appropriate metaphor and observes how easily the "proper false" leaves an impression in women's hearts. Viola seems to be predicting a confrontation, perhaps, between Orsino and Olivia about her true identity and I feel that she seems reluctant to disappoint either of them.
Viola now has the knowledge that Olivia loves her. In act 3 scene 1, Viola makes her way to Olivia's house to confront her. Viola tries in vain, to cool Olivia's love, even hinting at her secret just as she did with Orsino at the end of act 2. But Olivia does not pick up on Viola's hidden meanings. Olivia steers the conversation to personal topics but Viola avoids it by adopting a formal tone. Olivia asks, "What is your name?" which she addresses informally, however, Viola replies formally, "Cesario, is your servant's name, fair princess". Olivia seems disappointed by this response. Olivia's questions are all diverted back to the issue of Orsino by Viola taking on the tone of a servant speaking to someone of a higher rank. Her formal responses seem to make Olivia more determined. All dignity is lost when she confesses her affection for "Cesario" and begs to know if Viola feels the same way.
Olivia's language contrasts sharply with Viola's in the scene, revealing the true intensity of Olivia's passion. Viola's replies are short and plain while Olivia speaks in poetic verse. She shares the urgency of her feelings with her, "honour at the stake, and baited", recalling the practice of bear baiting. When Olivia becomes inspired by Viola's anger, her speech takes up the structure of rhyming couplets, which, in my view, seem to only be used when there is great emotion or passion. "Love's night is noon", Olivia uses irony again and Viola finally drops her formal tone in favour of speech that mirrors Olivia's own. Viola begins to use the rhyming verse as well in her reply to Olivia's plea, recognising Olivia's passion, but still making a polite refusal.
Both Olivia and Orsino are changed considerably by their separate relationships with Viola. Her directness is what helps them to discard their characteristics such as their mannered language. In scene 1, Orsino speaks poetically but his love for Olivia is portrayed as false or artificial because of his language. After meeting Viola, he becomes more passionate and opens up about the true level of his love.
Olivia's encounter with Viola results in the smug displays of mourning being dropped. Both leave aside their formalities to deal with Viola using wit and plain speech.
All the confusion comes to a head in act 5. Orsino's angry and emotional statement identifying Antonio also indicates he has an even more passionate and surprising anger towards Viola. When Olivia admits her love for "Cesario", Orsino immediately accuse Viola of betrayal and acts cruelly to his confidante, "I'll sacrifice the lamb that I love", he says of Viola even when she admits that she loves him. I find it interesting that Orsino has admitted that he loves Viola though she is still "Cesario" and she has not yet been revealed as a woman. "After him I love more than my life, more than ever I shall love wife", Viola also declaring her love for Orsino, however this seems to introduce the issue of homosexuality. Orsino is in love with Viola, thinking that she is a boy "Cesario", and Viola is in love with Orsino. Again, I find it interesting that these declarations are not treated like they are unusual or scandalous. Maybe the quick sequence of action means that the characters and the audience do not have time to dwell on the issue. Orsino's feelings are revealed when Viola's identity is revealed, he proposes.
There is a great amount of dramatic irony in the scene. It is used cleverly to add tension to Olivia's bombshell about her marriage and of the reunion of the twins. The audience are aware that Olivia has married Sebastian and that both twins are alive and well though there is still some suspense as they wait for the characters to find out the truth for themselves.
Shakespeare uses the dramatic irony of this scene to provide some humour while at the same time drawing deep emotions from the characters. Viola casts off Olivia, which then leads to the claim that Olivia and Viola are married. This is amusing because of the strangeness of the situation and the fact that the audience already know what has happened. Viola is confused by Olivia's persistence and by Orsino's anger. The actions are dramatic as far as the characters are concerned but funny for the audience. It is a great skill of Shakespeare's that prevents the elements of a tragedy and a comedy from clashing.
