She has not, like Rosalind, a saucy enjoyment in her own incognito; her disguise does not sit so easily upon her; her heart does not beat freely under it. The duke is described by Olivia as noble, learned, valiant and gracious, among other things. They will cheat, steal, lie, and even give up their life. Lie thou there; for here comes the trout that must be caught with tickling. She goes to Olivia a number of times when she knows nothing will make Olivia love the Duke Orsino. Act two Scene four She pined in thought. Quite by accident, Sebastian comes across Olivia, and is taken for Cesario; she proposes, and they are quickly married, despite Sebastian not knowing who she is.
Like Orsino who affects the tropes of love-sickness, Olivia plays the role of melancholy. In the next animus development stage, he is pictured in the form of a man of deeds - a hunter, a battle hero, Ernest Hemingway, a Bob-the-Builder, or a Mr. Despite her own developing feelings for him, Viola remains loyal to Orsino's interests and attempts to fulfill her duties as his attendant. Also, there can be two interpretations in which this can be said. Charming-Convinces captain to help her disguise, charms the duke and earns trust as Cesario , charms Olivia disguised as Cesario and makes her fall in love with Cesario which is really her Practical-Able to assess situations. Rather than hop-scotch from one romantic interest to the next Olivia, we're talking about you , Viola's devotion is rock-steady and perhaps even a bit self-destructive.
But, in Twelfth Night, Feste travels freely and know everything, such as the shipwreck, when Viola landed on the shores of Illyria with the captain. In Act one, when we first meet the. Johnson that they are better than his tragedies; nor do we like them half so well. There are other passages of not less impassioned sweetness. These qualities will help her obtain her position with Duke Orsino, and they are also the same qualities which cause Lady Olivia to immediately fall in love with her. Toby has offended Olivia so many times that he cannot continue on doing bad things. This intense passion part of Viola is the soul of her love for the Duke and her brother.
It is likely that Shakespeare used Malvolio, a generally unlikeable character, to show how love can be cruel and unforgiving and to remind his audience that the difficult realities of a class structure remain intact despite the happy ending for the nobles. Everyone else around her, from her brother Sebastian, to Orsino and Olivia, is somewhat flighty, and in Olivia's case, moves from mourning to flirtation all in one fell swoop. This metaphor reveals why he would risk his life in order to help Sebastian with his quest: he is full of desire and in love with the man. This jargon elevates the fool to the educational status of the nobility with whom he interacts. Hence his plays contain down-to-earth characters that appeal to the working classes, side-by-side with complexities of plot, which would satisfy the appetites of the aristocrats among the audience. She changes it to one of spontaneous elegance and persistence when Olivia unveils, creating extended metaphors regarding portraiture. This is not love that Orsino is feeling.
Olivia, who mistakes Sebastian for Viola, asks Sebastian if he would marry her and he obliges. Orsino sees Cesario, as a young squire just starting out in the world, much like himself as a young, spry lad, so he has a tendency to be more willing to unload onto her with his troubles and sorrows, seeking a companion with which to share and to teach. She immediately realizes that she must provide a living for herself and masquerades as a man, Cesario, so that she can work in Duke Orsino's household. Not a flower, not a flower sweet, On my black coffin let there be strown; Not a friend, not a friend greet My poor corse, where my bones shall be thrown: A thousand thousand sighs to save, Lay me, O, where Sad true lover never find my grave, To weep there! And they both switch their love at the drop of a hat or frock, if you prefer when Viola's identity is revealed. The Duke Orsino, who mopes around his home thinking of Olivia, is not very aggressively passionate. Enough; no more: 'Tis not so sweet now as it was before. However, notice that it occurs within a humorous drunken conversation rather than one of substance.
Antonio Another sea-captain; he saves Sebastian's life, and appears to be benevolent in his intentions toward Sebastian. Prefers moping around his home. He earns his living by making pointed jokes, singing old songs, being generally witty, and offering good advice cloaked under a layer of foolishness. Olivia seems to have no difficulty transferring her affections from one love interest to the next, however, suggesting that her romantic feelings—like most emotions in the play—do not run deep. Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away, breath; I am slain by a fair cruel maid. As a result, Viola feels sorry for Olivia. Viola falls in love with Duke Orsino while doing so.
A Sea-Captain He rescues Viola from drowning, and helps her transform herself into Cesario and become Orsino's page. It has little satire, and no spleen. To be count Malvolio;— Sir Toby. Malvolio, once he's been set up, directly makes a pass at Olivia. Near the opening of the play, when Viola is adopting her male identity, she creates another self, like two masks and may decide to wear one or the other while swinging between the two identities in emotion and in character.
A letter is written by Maria and left for Malvolio to find, suggesting that Olivia loves him. Compare his pursuit of Olivia to most other relationships in the play. She spends a great deal of time during the play masquerading as a page named Cesario. This demonstrates that Viola is courageous but, like all of us, fears embarrassment. Orsino is lovesick for the beautiful Lady Olivia, but becomes more and more fond of his handsome new page boy, Cesario, who is actually a woman—Viola. The play begins when Viola is shipwrecked far from home in the land of Illyria.
Olivia, however, is consumed with grief for her brother, and rebuffs Orsino's attempts to woo her. Easily Diverted: The appearance of Cesario lifts him from his extreme state of melancholy. Olivia A noblewoman, Countess of Illyria. He causes his own madness. Wherefore have these gifts a curtain before them? Absurdity has every encouragement afforded it; and nonsense has room to flourish in. Malvolio Olivia's steward, a man who is supposedly good at his job, but is stern and hates merrymaking.
Having been three months married to her, sitting in my chair of state,— Sir Toby. Curio accompanies Orsino on his visit to Olivia's in the last act, though he says nothing; their basic purpose is to wait on Orsino as best they can, but they are not as close to him or as important in the action as Viola is. In an art of mastery, he portrayed Viola, the protagonist as a transvestite. Sebastian himself is saved by Antonio, and the two become fast friends. I found this play to be the most entertaining of those I have read because of the fact that it is completely different from that of any other Shakespeare play.