Shakespeare Quarterly, Vol.9, No.2 (Spring, 1959), pp117-139. Schwartz, Elias. Twelfth Night and the Meaning of Shakespearean Comedy. College English. Vol.28, No.7 (April 1967) pp508-519.
The reality of Cesario's gender, the active role Olivia takes in pursuing him/her, and the duality of word meanings in this passage threaten to turn the traditional patriarchal concept of courtship upside down, or as Olivia says turn "night to noon" (139). Perhaps the biggest upset to the traditional structure is the possibility that Olivia may be in love with a woman. Shakespeare allows his audience to excuse this by having Olivia be unaware that Cesario is actually female. Yet, Olivia's attraction seems to stem exactly from the more feminine characteristics like Cesario's "beautiful scorn" and "angry lip" (136-137). Olivia's words allow an audience, particularly a modern one, to perhaps read her as suspecting or even knowing that Cesario is female, yet choosing to love him/her anyway.
London: Methuen & Co., 1980. Osborne, Laurie E. The Trick of Singularity: Twelfth Night and the Performance Editions. Iowa City: U of Iowa P, 1996. Shakespeare, William. The Arden Edition of the Works of William Shakespeare: Twelfth Night.
However, the characters seem to have a love-hate relationship with Cupid. Within the first line of the play, it is glorified: "If music be the food of love, play on..." (Duke Orsino, I:I). And while Olivia is annoyed with Orsino's affection, she craves Curio's. However, Shakespeare also picks on love. Not only did Malvolio's confusion about his and Olivia's relationship prove to add to the comedy, but it rather showed how one can play with love, and use it for another's harm.
April 20th –30th, 1999 Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Harold Bloom. New York: Chelsea House Publishers, 1987. Freud, Sigmund. Some Character-types Met With In Psycho-analytical Work: “Shakespeare: Macbeth-Freud on the Macbeths.” The Ng SiblNgs hMepage. November 11, 2008. http://web.singnet.com.sg/~yisheng/notes/shakespeare/mbeth_f.htm.
New York : Avenel Books, 1978. Shakespeare, William. As You Like It. Eds., Louis B. Wright and Virginia A. LaMar. New York : Washington Square Press, 1960.
Cesario had actually come to the countess to bring message of Orsino’s love for her, but upon encountering Cesario, Olivia fell instantly in love herself thus finishing the final corner of this love triangle. I think the main point that should be taken into account when reading Olivia’s passage is the obvious presence of guilt and love, two very opposing emotions, which she appears to be having an internal conflict with. In her aside, she was immediately stricken with love for the boy Cesario that she had only just met. Just before the speech Olivia made, Cesario was rather uncivil to her. Considering Olivia’s place as a rich countess, Cesario stepped out of line when speaking to her with his subtle disrespectfulness.
Lukeman, Noah, and William Shakespeare. The Tragedy of Macbeth. New York: Pegasus, 2008. Print. Shakespeare, William, and Peter Holland.