In this speech Viola uses two similes to stress her torment. She sees herself as personifying the virtue, Patience. She metaphorically compares her cheek and her womanhood to the red of a ‘damask’ (rose) in full bloom but through concealment is now dying from grief. She is also comparing concealment to the worm that will destroy the rose. The image recalls the Duke’s words and Viola’s answer on lines 34 - 39.
Viola/Cesario
Viola is the daughter of a noble and well-known man, Sebastian of Messaline. She is on a voyage away from Messaline, but the ship becomes wrecked, she loses her brother and fears him dead.
She is rescued by a sea captain and is taken to Illyria - an exotic location in the minds of Elizabethans but also thwart with danger from the perception of piracy - she decides to dress up as a man (Cesario) so that she can fend for herself (as she would be vulnerable as a lone woman, and it was not seen as becoming for a woman to be without a man (either a family member or a courtier)).
As Cesario she gains the favour of the Duke of Illyria (Orsino) and, in the space of three days, she is entrusted with the task of wooing Olivia for him, even though she falls in love with Duke Orsino herself. Loyal to her master, she goes to Olivia to woo her for Orsino, but becomes the unwitting (and unwilling!) target of Olivia’s affections.
Viola is an intelligent, determined, resourceful young woman. She is practical and makes the best out of each situation, her brother dies and she feels sad about her brother’s death but doesn’t go to the extremes of Olivia (mourning for seven years). She is also described as speaking ‘very shrewishly’ (cleverly) and enjoys a ‘battle of wits’ with Feste (the fool).
Viola is also the most important character in the play; she affects all of the characters, even though she does not speak to all of them. Without her, Sebastian would have never married Olivia, nor would Sir Andrew have attacked him. Whereas, Olivia would have no doubt stuck to her vow to mourn her brother’s death for seven years.
She is both the heroine and main character in the play. Viola is one of the most charming of the romantic heroines of Shakespeare’s comedies. Of the three major characters she is the most endearing to the audience, as her plight wins the audience’s sympathy to a far greater extent than that of the other characters in the play.
Themes
The main themes of ‘Twelfth Night’ are love, loyalty and revenge. The theme of love is shown in the love triangle between Orsino, Olivia and Viola and also in the relationship between Maria and Sir Toby. Shakespeare shows all the different views of love and how preposterous they can be (for example, Orsino immediately switching his affections from Olivia to Viola, and Olivia marrying Sebastian without getting to know him, for although he may have looked exactly like ‘Cesario’ we all have our own personality and that is what makes us different).
The theme of loyalty is shown when Antonio risks his life for Viola and Sebastian, and also when Viola tries to woo Olivia for Orsino, despite her feelings towards him.
The theme of revenge unfolds during the Malvolio sub-plot, where Sir Toby, Maria, Sir Andrew, Fabian and Feste reap their revenge upon Malvolio by getting him locked up as a mad man and tormenting him. Shakespeare played on the reverence that a priest then held (during the Elizabethan period) during the scene where Feste (disguised as a priest) assures Malvolio that the room he is in is not dark but is actually light, and that he is clearly delusional (Act ?, Scene ?). I am sure that if such a stunt was performed today it would not work quite as well as it did because priests are no longer held in such reverence.
This play has many facets. One could simply skim the surface, attending as a social gathering with others, deriving very little other than the light humour, or by contrast, one could go away and reflect upon the different scenes, deriving much insight into relationships, religion and society. Whilst it is quite easy to laugh at some of the scenarios - including Act 5 Scene 1 where Feste reads Malvolio’s letter madly and in Act 3 Scene 4 during the duel between Viola/Cesario and Sir Andrew where Sir Andrew is told that ‘Fabian can scarce hold him [Viola/Cesario] yonder’, when in actual fact Fabian is having to hold Viola/Cesario upright because she is quivering, crippled with fear - others by contrast give the audience much to think about.
The play is also known by the title ‘ What you will’ for good reason, we can take from this play what we want (light entertainment or perhaps reflection on our own misgiving as humans, warts and all). This is unmistakably Shakespeare’s best play as it has plenty to reflect on … Feste reminds us that youth is fleeting; Orsino and Olivia encapsulate how quickly we can change our allegiances when we pledge our undying love; Viola demonstrates the absurdity of ‘love at first sight’ upon seeing Orsino; Malvolio and Sir Andrew reveal the torment and vulnerability of our desire for love, when it is unrequited; Malvolio’s ego never diminishes, despite being pushed towards madness his ego is inflamed as he vows to reap revenge against his tormentors.
Shakespeare was no-doubt unaware of the significance this scenario has to Eastern philosophical teachings (Taoism and Buddhism), with regards to the ego. Although the lesson is clear and can be extracted from his play; Malvolio’s illusion of self-importance and his unwillingness to change, his lost opportunity of reflection during his incarceration and the result of a bruised ego which lead to vent his anger with a threat to his tormentors. Initially I found disfavour with Malvolio’s pompous, egotistical manner and revelled in his incarceration, but like Maria, eventually though that his punishment went too far.
Conclusion
‘Twelfth Night’ both entertains and provokes insight; its themes are as relevant today as during Shakespeare’s time. The play uses an array of language, images and irony to great effect. The scenarios are enlightening and thought provoking, reflecting Shakespeare’s views of relationships, religion and society during his epoch.
Although not much has changed with regard to relationships, the dogma associated with religion has eroded which in itself has had a ‘knock-on effect’ upon society. Thankfully for choristers, the practise of castrating the males to retain a high voice has ceased and I do not believe that anyone in their right mind would wish to become a eunuch.
On the whole ‘Twelfth Night’ is deserves its praise, however it leaves unanswered questions:
For Viola and Sebastian to look so alike they must have been no older than sixteen, otherwise Sebastian would have been distinctly more masculine than his sister, with an Adam’s apple, broader shoulders, taller and hairier. Yet Viola excused her high voice by stating that she had been castrated, but if Viola and her twin (Sebastian) were so young, then a male of their age would not have necessarily developed a deep voice. So why did Viola say she was castrated?
Did Shakespeare merely pen the end scene to reflect that Malvolio was angered by his tormentors? Or, was Shakespeare commenting on the injustices served upon prisoners and the insane during his era?
