Also, Orsino’s love for Olivia is materialistic. This is shown from, “I hold as giddily as fortune/…miracle and queen of gems/That Nature pranks her in, attracts my soul”. From the words, “fortune” and “queen of gems”, referring to wealth, and “Nature” referring to Olivia’s beauty, we can see that he values Olivia as much as his wealth, and loves her for her beauty given by nature. Thus, we can infer that this love displayed is materialistic, superficial and on the surface.
In addition, his love is stubborn, and blind. This is seen from how when Viola tries to open up his mind towards new things, with, “But if she cannot love you, sir?”, he stubbornly replies, “I cannot be so answered”. Also, this can be inferred from how he compares his love to be, “as hungry as the sea”, not remembering at some time before, in Act 1 Scene 1, he referred the sea to be, “Receiveth as the sea, nought enters there”, meaning that nothing enters the sea. This shows that he blindly philosophies about his love for Olivia, blindly and not really understanding himself fully, and indirectly, states that his love for Olivia is inconstant as the sea. From all these, we can hence comprehend that Orsino’s idea of love, and portrayal of love, is that of being superficial, blind, surface, materialistic, temporal, fickle and transient.
From the above-discussed characteristics of Orsino’s ‘love’ towards Olivia, we can also infer that his feelings are just a product of a selfish, self-centred, and self-deluding infatuation. This is suggested by how his love for Olivia is evidently unstable, superficial and temporal, driven by emotions, and led by appearances. It is also displayed through powerful and descriptive language and excessive actions. All these are seen in Orsino’s love for Olivia. Hence, we can imply that Orsino is more infatuated than in love with Olivia.
Also, his ‘love’ for Olivia is unrequited, and hence, it could also induce a kind of sympathy in the audience towards this character would is unfortunate in his pursue for love. Therefore, his sentimental and self-dramatising attitude is satirized, with Shakespeare’s crafty use of wit and sarcasm to display Orsino’s infatuation or over-whelming ‘love’ for Olivia. This henceforth allows the audience to accept Shakespeare’s ideas more easily as it is not as direct, but rather entertaining, and thus would unknowingly influence the audience, rather than directly portraying Shakespeare’s ideas.
Hence, Shakespeare uses Orsino to present a kind of love that is thus, speaking out to the audience, and allowing them to think for themselves whether this love is something that applies to them. This can also be a kind of entertainment to them, to see the irony between Orsino’s superficial love, and his self-proclaimed true love, as the audience would be ridiculed by how Orsino can philosophise yet not see for himself how his love for Olivia is actually transient and insincere. At the same time, they might also sympathise and feel sorry for his plight, as in the end; Orsino does not get his love. Through this series of events, the audience can hence continue to be interested as to what Orsino’s kind of love would bring him to.
In contrast to Orsino’s superficial love for Olivia, Viola’s kind of love for Orsino goes beyond herself, and hence, is vastly different from Orsino’s kind and idea of love. Viola’s love for Orsino is not shallow, but has depth, is selfless, sacrificial, other-centred, strong, and long-suffering.
When Viola serves Orsino, she has to bear with Orsino’s constant whining about his love for Orsino. Moreover, Orsino indulges in self-pity and remains in his state of melancholy, evident from how Feste says, “Now the melancholy god protect thee”. Hence, Viola has to live within Orsino’s painful cries for another woman. This shows her big-heartedness and sacrificial kind of love, uncomplaining, patient, generous and selfless. She does not indulge or pity herself, but rather, thinks more about Orsino, in contrast to how Orsino indulges in his own emotions, wallowing in self-pity.
Also, she willingly serves Orsino, although she struggles with her true emotions within her. Due to her deep and true love for Orsino, she is willing to restrain her pain within, and fulfil Orsino’s need. This can be seen from, “Yet, a barful strife!/Whoe’er I woo, myself would be his wife.” This implies that helping Orsino woo Olivia is a hard task, difficult to accomplish. However, she still sets her heart to do it, constraining her overwhelming emotions for Orsino, and doing her best to serve Orsino, the love of her life. From hence, it suggests that Viola’s love for Orsino is selfless, full of Orsino and none of herself. Thus, it is noble and not self-seeking, greatly in contrast with Orsino’s self-centred and superficial kind of love.
Also, in her soliloquy, we can tell that she really loves Orsino, and at the same while, can comprehend Olivia’s plight, as Olivia is in love with herself, Viola. This can be seen from, “And I, poor monster, fond as much on him” and “What thriftless sighs shall poor Olivia breathe!” From the former, we can see that she is in a great dilemma, being in disguise, she is in love with Orsino, yet cannot publicly display this love. In the latter, we can infer that she emphasises with Olivia, understands her difficulty. From thus, we can see that Viola’s love for Orsino is indeed true and deep.
Furthermore, even Orsino notices the depth in Viola, with “My life upon’t, young though thou art, thine eye/Hath stayed upon some favour that it loves”. He notices that Viola is in love or was in love with someone. In the exchange shared between Viola and Orsino in Act 2 Scene 4, we can infer that Viola’s emotions and love for Orsino is overwhelming and too strong for her to control. She gradually and subconsciously reveals to Orsino indirectly about who she really loves and how she loves him. Of course, Orsino, blinded by his love for Olivia, cannot tell and comprehend Viola’s speech.
From, “And so they are. Alas, that they are so,/To die, even when they to perfection grow.”, we can see her despair and deep desire for Orsino to notice her love for him, and how she does not hold high hopes that Orsino would return the affections she has for him. This is suggested in the quote above, as she reveals that a woman’s love would never bear fruit, though its growing in strength, and that she would well die from the growing love within her. From hence, we can feel for Viola, and comprehend her dilemma, and also, her true and growing love for Orsino, being gradually displayed.
Her overwhelming emotions for Orsino is also displayed from, “My father had a daughter loved a man, … were I a woman, I should your lordship”, as she gets closer and closer to revealing her true feelings for Orsino. In the shown instance above, she is trying to imply to Orsino that she would love him deeply too, if she was (of course she is) a woman. This is also evident from, “Ay, but I know –“ From the pause, we can see she hesitates, and hence, shows that she was about to profess her love for Orsino, but stopped herself in time.
Next, when she starts telling the story of her father’s daughter loving a man, (obviously referring to herself), she conceals yet reveals her love for Orsino. From, her answer of “A blank…” to Orsino’s question of, “what’s her history?”, we can see that she knows that loving Orsino is a risk, an uncertainty. Yet, she continues loving Orsino. This suggests that her love for Orsino is indeed selfless, not demanding and true. Her love is not swayed by circumstances, but remains constant. Moreover, from “But let concealment, like a worm i’th’bud,/Feed on her damask cheek”, we can see that her love is long-suffering, silent, sacrificial, and beyond what most can comprehend. From “feed on her damask cheek”, we can see that she feels that his love is deadly, killing and torturing her. Thus, we can infer that Viola’s love for Orsino is truly sacrificial.
In addition, from, “She sat like Patience on a monument”, we can infer how Viola’s love is faithful, loyal, stable and constant. This is suggested in the personification by Viola. “Patience on a monument” gives a deep impression of patience and faithfulness, as monument gives a sense of perpetual waiting, as does not move, but patiently waits, and “Patience”, beginning with a capital “P” refers to Viola, and further emphasizes on the idea of “patience”. Thus, we can see that Viola’s love is indeed patient and loyal.
Finally, we can see that she is indeed overwhelmed by her depth of love for Orsino, from, “I am all the daughters of my father’s house,/And all the brothers too; … Sir, shall I to this lady?”. This suggests that Viola is carried away, and hence nearly gives away her true identity with “I am all the daughters of my father’s house”. Fortunately, she thinks fast on her feet, and manages to slip past it. Moreover, she tries to change the subject quickly, “Sir, shall I to this lady?”, as she realises that she is really getting out of hand, and she can no longer constrain herself. From all these, we can truly see that Viola’s love for Orsino is beyond infatuation, but implies true, sincere love.
This is further proven by how she says, “To do you rest, a thousand deaths would die”. From hence, we can indeed see her devotion, and her sacrificial love and willingness to give out anything for Orsino. The intensity of her love is indeed what Orsino cannot understand, and none of the characters in this play can measure up to.
Also, when she goes off to woo Olivia for Orsino, she subconsciously displays her love for Orsino, with “If I did love you in my master’s flame,/With such a suff’ring, such a deadly life/In your denial I would find no sense”. From this, we can furthermore see that Viola’s kind of love is of depth, and shows devotion and faithfulness.
Shakespeare uses Viola, the protagonist of the play to bring out the nobility of love that impresses the audience, and allow the audience to stand in awe of her sacrificial and selfless love, that most would not be able to acquire. Shakespeare could be using this, to bring out the message of how true and long-suffering love would indeed bring one happiness in the end (Viola ends up with Orsino), despite of all the sufferings and pains she had to go through before finally being returned the same affections she has for Orsino, from him.
In comparison, Olivia’s love towards Cesario (Viola), is that of love at first sight. Within a few questions about Cesario, Olivia gains interest in this messenger of Orsino. The kind of questions she asks implies the kind of love she would portray. “What kind o’man is he?”, “What manner of man?”, “Of what personage and years is he?”, we can see that she looks on the surface, and emphasizes on the person’s age and looks. This hence shows that the love she could give would be superficial and on the surface. When Cesario finally gains entry, Olivia thrusts her with questions about Cesario, “Whence came you, sir?”, “What is your parentage” and other questions. Olivia gradually turns her short interest into overwhelming love for Cesario. From, “You might do much”, which implies that she feels that Cesario is too intense, and is overwhelming her, we can see that Olivia is growing in her intensifying affections for Cesario.
Also, in her soliloquy, she repeats to herself, her questions towards Cesario, and Cesario’s answers. Moreover, from “Thy tongue (wit), thy face (looks), thy limbs (body), actions (behaviour) and spirit (passion)/Do give thee fivefold blazon. Not too fast! Soft soft –“ From thus, we can see that she has already fallen in love with Cesario. From, “Not too fast! Soft soft –“ we can also infer that she is now in a dilemma, as she is supposedly in mourning for her dead brother, yet she is falling in love with Cesario. Finally, she decides, “Well, let it be!”, and shows that she is indeed attracted to Cesario. This love portrayed is rather superficial, as she is dependent on the looks and outer appearance and falls in love with Cesario at first sight.
Furthermore, she implies in her own soliloquy, “Mine eye too great a flatterer for my mind”, suggesting that she is led by what she sees, which thus further emphasizes on how her love is superficial.
Shakespeare, in this case, uses Olivia to display a love, comparable to Orsino’s kind of love – exaggerative, superficial, and transient. There is a hint of irony between them, as they both display the same kind of love, towards different persons, in their own individual ways. Shakespeare could hence be trying to allow the audience to think of superficial love in different ways.
Lastly, there is romantic love found between Sir Toby and Maria, who get married in the end. When the audience is first introduced to these 2 characters, they are at loggerheads, or rather, they apply word play on each other, playing along with each other using their individual wit. When Sir Toby insists that Sir Andrew “hath all the good gifts of nature”, Maria returns it with, “He hath indeed all, most natural;” From hence, we can see the witty nature in both of them, and how they can match well in their word play.
Also, when Maria crafts a wonderful plot against Malvolio, we can see the change in Sir Toby, as he starts to support and respect Maria. When Maria describes her plot to Sir Toby and Sir Andrew, Sir Toby can understand her plot quickly, “Excellent! I smell a device.” This shows that they already share a bond. He also calls Maria, “Penthesilea”, meaning that she is brave, and has fighting spirit. Moreover, he continues with, “She’s a beagle, true bred and one that adores me.” From thus, we can see his growing respect and admiration towards Maria. In addition, he also calls her, “my metal of India”, which is an endearing call, a call of his affections for her. This can thus imply that their shared bond is growing, and hence, it is not surprising when in the end, they get married.
Shakespeare suggests, in Sir Toby and Maria’s case, a kind of love that does not need excessive actions or emotions to be poured out. Rather, this love grows subconsciously, and gradually, with growing respect, admiration and bond.
Another kind of love introduced in the play would be platonic love. This is displayed between Antonio and Sebastian, Orsino and Viola, and Sir Toby, Maria, Sir Andrew and Feste.
Firstly, between Orsino and Viola, is a bond that grows, and eventually, they get married. Initially, when Viola first began serving Orsino, she already gains favour quickly. This is evident from, “He hath known you but three days, and already you are no stranger”, and “Thou know’st no less but all. I have unclasped/To thee the book even of my secret soul”, and “Who saw Cesario (Viola), ho?”. From “Thou know’st no less but all. I have unclasped/To thee the book even of my secret soul”, we can clearly infer that Viola gains Orsino’s trust very quickly, and Orsino is already treating Viola as his confidant, and telling her all his secrets. From “Who saw Cesario, ho?”, we can also see that Viola is now the only one he trusts, and looks for. From thus, we can imply that right from the beginning, Viola and Orsino start sharing a love between confidants, and friends, one that would be platonic love.
Moreover, in Act 2 Scene 4, when Orsino asks Viola about her sister who is love-sick (referring, of course to Viola herself), he starts to sympathise and pity Viola’s sister, and temporarily forget about his love for Olivia. In fact, he continued questioning Viola about her sister, from “But died thy sister of her love, my boy?”. Viola has to his attention back to Olivia with, “Sir, shall I do to this lady?”. From thus, we can clearly see the bond building up between them, a very deep friendship, with an emotional bond building up strongly. Hence, we can see another form of love, platonic love being portrayed in Twelfth Night.
Next, is the platonic love shared between Antonio and Sebastian. Antonio shows strong longing and concern for Sebastian, wishing to protect him, and is even willing to serve him as a servant, displayed in “If you will not murder me for my love, let me be your servant.” He shows a sense of sincerity and loyalty, being truly sacrificial and submissive towards Sebastian, displaying a special devotion and love.
Moreover, although Antonio “(has) many enemies in Orsino’s court,/Else would I very shortly see thee there.” There is a further portrayal or true platonic love, sincere friendship shown in, “But come what may, I do adore thee so/That danger shall seem sport, and I shall go!” In his soliloquy, Antonio wishes Sebastian the all the best, “The gentleness of all the gods go with thee!”. From hence, we can sense his true love and friendship towards Sebastian. Sebastian, on the other hand, is thoughtful, and concerned about Antonio’s safety, and does not want him to go with him, and suffer with him. This is displayed in “The malignancy of my fate might perhaps distemper yours”. He does not wish that his bad luck to pass unto Antonio, and hence does not wish for him to follow him any longer. Thus, Sebastian also shows a sacrificial and selfless nature, emphasizing on their selfless sacrifice towards each other in the way of friendship love.
Of course, this can also be interpreted as an intense love bordering on homosexual love, and an extreme adoration towards a member of the same gender. From thus, we can see that Shakespeare is one who goes ahead of his times, portraying a kind of love, that could possibly not be very prominent and known during his time, and boldly displaying this idea in his play.
There is also a friendship love between Sir Toby, Sir Andrew, Maria and Feste. They share a bond, which when they gather together, the atmosphere of light-heartedness and happiness is there. They greet each other in endearing names, “Welcome, ass!” and “Did you never see the picture of We Three?” All these prove that they share a close relationship. Also, Maria warns them in a kindly and playful way, “Go shake you ears.”, and not in any strict and fierce manner. This furthermore displays the close friendship love they share. From hence, we can see that they enjoy times shared together, and thus, their bond is strong and evidently, their platonic love is true and strong, built on the firm foundation of friendship.
Another kind of love would be the love shared between siblings. This is portrayed between Sebastian and Viola. Sebastian and Viola show a strong love and bond between them, as when both of them get unto safe grounds, they immediately think about each other. In Viola’s case, she asks about his brother’s chances of being alive, “Perchance, he is not drowned. What think you, sailors?” This can show her optimism and hope that her brother would still be alive. Also, from, “perchance may he be”, we can see that she is not self-absorbed, and shows sincerity in what she says. This is in comparison to Olivia’s display of her ‘love’ for her brother, “With eye-offending brine; all this to season/A brother’s dead love, which she would keep fresh/And lasting, in her sad remembrance”. From this, we can see that Olivia’s way of showing her love is rather exaggerated, and superficial. Seemingly, she wants to bask in the attention of others, instead of truly mourning for her dead brother. Hence, in comparison, we can indeed see that Viola’s love towards Sebastian, her twin brother, is true and deep, sincere.
On the other hand, Sebastian shows the same longing and sincerity towards her twin sister, “both born in an hour”. He shows a keen sense of admiration for this twin sister of his, “yet thus far I will boldly publish/her: she bored a mind that envy could not but call fair”, loving her for her intelligent mind. Also, he misses her intently, shown in, “I seem to drown her remembrance again with more (salt water)”, salt water referring to tears. Henceforth, we can infer that the love between brother and sister is strong, and beyond death can bring.
Finally, there is a kind of love, which can be found within many of the characters in Twelfth Night. Self-love can be seen in characters like, Malvolio, Sir Toby, Sir Andrew, Olivia and Orsino.
Firstly, Malvolio, who is possibly the most obnoxious of all the characters, is like what Olivia suggested, “sick of self-love, and taste with a distempered appetite”. He does not fit into the play, as Twelfth Night is a play of comedy, but Malvolio is a “puritan”, who is too serious to fit into the essence of comedy. Being a steward of Olivia’s household, he misuses his authority, and takes his work too seriously, wishing to earn Olivia’s favour. This causes him to be disliked by the other characters, and a plot against him arises. He insults them, and is sarcastic towards Sir Toby, Sir Andrew, Feste and Maria, due to the fact that they are of lower authority than him, “My masters, are you mad? … Have you not wit, manners, nor honest, but to gabble/like tinkers at this time of night?”. From “masters”, we can see that he is being sarcastic and insulting, calling them masters when evidently, he is of higher ranking than any of them. He then goes on to kill their fun, and puts them into place. This shows forth the presence of self-love in him.
Also, Malvolio claims himself as a wise man, who would not laugh at fools like Feste, “I protest I take these wise men, that crow so at these/set kind of fools, no better than the fools’ zanies.” In this, Malvolio implies that he is different, better, wiser, smarter, and would never stoop so low to laugh at a fool like Feste. This shows that he is indeed full of self-love, and is arrogant, high and mighty. He is critical of others, and yet does not notice his own weaknesses, scolding Feste a “barren rascal” and putting him down as one who “has no more brain than a stone”. These insults are thrust at Feste without a thought or care in the world. We can hence infer that Malvolio is indeed selfish and mean-spirited. Moreover, he is condescending, arrogant and acts superior to others of lower class or authority than him. He is also a boot-licker, who treats authority with respect, only wishing to gain favour. All these show that he thinks himself as the best, and the only one worthy of Olivia’s love. This shows that he is too much in love with himself to face reality.
He wishes to marry Olivia, not because she loves her, but rather, wants to be “calling my officers about me, and be “in my branched velvet gown”, “where I left Olivia sleeping…”, “telling them I know my place as I would they should do theirs”. From these quotes, we can see that he is firstly authoritative, and wants to rule over others, and have others serve him. He is also materialistic, and cares only about his own comfort and well-being. From “where I left Olivia sleeping…” we can see that he is indeed not regarding Olivia as his wife whom she loves, but rather, one whom he can gain what he has always dreamt of getting – material gains, being served. Due to vanity and foolish ambition, self-love from Malvolio is born, from pure pride and conceit. Also because of that, he is not well liked at all in the play, in fact, an outcast.
From all these, we can see that what Olivia says of him is indeed true, “sick of self-love”. Shakespeare uses Malvolio to portray and emphasize on how someone, who is too much in love with himself, and only thinking about his own welfare, would not have a good end. As seen in the ending of Twelfth Night, everyone seems to have a happy ending, except for Malvolio, who has been tricked by Maria’s plot, and when let out, vows revenge, “I’ll be revenged on the whole pack of you.”
Sir Toby is also guilty of self-love, in this play. He manipulates Sir Andrew, who is rather dim-witted, and makes use of his stupidity to get his money. Sir Toby tricks Sir Andrew into believing that he has a chance of earning Olivia’s love, “Tut, there’s life in’t, man.” Sir Andrew believes Sir Toby, “I’ll stay a month longer” and hence, Sir Toby gains what he wants – money for social pleasure. Sir Andrew suggests to Sir Toby what he really wants, “I delight in masques and revels sometimes altogether”. From thus, we can see that Sir Toby is manipulative and makes use of Sir Andrew to get what he wants. Due to the fact that he loves himself, he becomes selfish and does not bother to think about how Sir Andrew would feel if he actually found out that he was being made use of.
Hence, we can see that his love for Sir Andrew (friendship) is selfish and careless about Sir Andrew’s feelings or welfare, but rather, his own. This is also shown in “Thou hadst need send for more money”, saying this to Sir Andrew. He continues asking Sir Andrew for money, without a care in the world. He also does not regard authority as much of anything, doing what he likes, at anywhere, at any time of the day. Maria has to remind him, “you must come in earlier o’nights”. However he does not take it seriously, and counters all that Maria says with word play, turning all to his own benefit. This shows that he cares only about how he feels, and not what others feel, (example: Olivia). Hence we can see that he is guilty of self-love and selfish love.
Also included in the category of self-love would be Sir Andrew. Although not very prominent, we can see that he takes great notice of when others praise him, and hence, it is easy for Sir Toby to manipulate him, as all he needs is someone like Sir Toby to flatter his ego. This can be seen when he does not seem to notice that he’s making a fool of himself, when Sir Toby praises him, “I did think by the excellent constitution of thy leg it was formed under the star of a galliard”, implying that he can dance very well. Sir Toby continues sarcastically flattering Sir Andrew with, “Let me see thee caper. Ha! Higher! Ha! Ha! Excellent!”. From thus, we can see that Sir Andrew, due to his vanity, makes a fool of himself.
Moreover, we can see that he is selfish, as he only wants to woo and win Olivia, to flatter his ego, and not lose his dignity and pride, “If I cannot recover your niece. I am a foul way out.” This shows that he does not see that all he is pursuing in foolish pride and not true love. This shows that self-adoration can lead to foolish ambition. In addition, Sir Andrew constant puts on a brave front, for instance, “O, if I thought that, I’d beat him like a dog” and “to challenge him the field”. He pretends to be courageous when factually, he is cowardly, and hence, we can see that he tries to put on a brave front to earn attention and make himself look good. Thus, this suggests that he loves himself and does not wish to disgrace himself, and thus wants to appear brave in front of others. From all these, we can hence infer that indeed, Sir Andrew is prideful, and egoistic, despite of his stupidity and gullibility. Shakespeare can thus be trying to bring out this message that self-love can lead to one making a fool of oneself.
Finally, Olivia is also inflicted with self-love. This self-love is displayed in the way she mourns for her brother, mentioned before, above. She displays it excessively, “And water once a day her chamber round/With eye-offending brine all this to season/A brother’s dead love, which she would keep fresh/And lasting, in her sad remembrance”. This shows that she always wants to remember the pain, sadness and feeling of losing a brother. From thus, we can infer that she wants to wallow in self-pity, and indulge in her emotions. This shows that she is self-centred and also full of self-love. This is ironic, as she is the one who reprimands Malvolio for being “sick of self-love”.
Furthermore, she is also vain, and proud. This is seen in, “Were you sent hither to praise me?”. This statement is returned by analytical Viola, “I see you what you are, you are too proud.” From these two statements, we can see that Olivia is self-centred and vain, and her ego needs to be flattered. Feste also sees through Olivia’s vanity and superficial love for her brother. This is seen clearly when Feste asks Olivia, “why mourn’st thou?” at which Olivia answers, “for my brother’s death”, and is then caught in Feste’s trap, when Feste tricks her by telling her that, “his soul is in hell”. Feste reads Olivia well, and knows that she would then counter him with, “his soul is in heaven”.
Hence, Feste sees through her exaggerative nature, and advises her not to waste her youth, “The more fool, Madonna, to mourn for your brother’s soul, being in heaven.” Also, he warns her that, “beauty’s a flower”, and advises her not to waste her youth away, mourning for her brother to gain attention. He also calls Olivia “Madonna” several times in this scene, Act 1 Scene 5. We can infer that it is sarcastic and implies that Olivia is pretentious and fake, for Madonna gives an impression of saintly and holy, and obviously, no one can be holy. Thus, Feste uses the name “Madonna” on Olivia to indirectly insult her pretentious self, seeking for attention and pity. From hence, we can see that she wants to bring attention to herself, and hence is full of self-adoration too.
In this case, Shakespeare inputs this nature of self-love in Olivia, and contrasts it with other characters such as Sir Andrew, Sir Toby, Malvolio and Orsino. We can see a great similarity between Olivia and Orsino. Both have a superficial and surface idea of love, and are often exaggerative and excessive in their ways and actions. Also, they are self-centred in the way that they focus more about their own emotions and feelings, wallowing in self-pity. From hence, we can see the comparison between the two. Also, Shakespeare creates an irony whereby Olivia is the one that says that Malvolio is “sick of self-love”, when she, herself is guilty of the same thing. All in all, Shakespeare gives his audience an idea on how self-love can lead to many unforeseen consequences, and is often born of pure conceit and pride, or self-delusion or just foolish vanity.
In conclusion, Twelfth Night is a play driven by love, with the theme of love recurring through out the play. Shakespeare brings out the different kinds of love in various characters, and implants a unique purpose in each character to emphasize and imply the different kinds of love and ideas he wants to introduce to his audience. Several of the characters are bound in love, be it romantic love, self-love, platonic love, love between siblings, or the greatest love of all (Viola’s in this case), we can see it brought out in each character. All in all, there are different kinds of love presented in Twelfth Night, in the plot and sub-plot, in the main characters and minor characters.
