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Aspects of love in shakespeare
Aspects of love in shakespeare
The theme of love in Shakespeare's plays
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In the Twelfth Night, Shakespeare presents two opposing types of love through the ironic relationship of Duke Orsino and Viola. More specifically, act 2 scene 4 demonstrates an example of what love should be through Viola and what love should not be through Orsino. The conversation between Duke Orsino and Viola illustrates different kinds of love; Orsino loves egotistically, while Viola loves humbly. Duke Orsino is a self-absorbed lover; he fixates upon a narrow view of his own love. He states, “my love, no more noble than the world” (II.4.81). Orsino is under the impression that his love is benevolent and he alone is capable of this grand, majestic love. He disregards Olivia’s feelings, or rather, lack of feelings, by stating, “no woman’s …show more content…
She connects to him through a sense of male comradery and offers a thinly veiled example of a woman’s love through her father’s hypothetical daughter. She states, “Too well what love women to men may owe./ In faith, they are as true of heart as we (II.4.105-106). She hints at her own feelings for him, “As it might be perhaps, were I a woman,/ I should your lordship” (II.4.108-109). Orsino is in disbelief; he is incredulous that anyone could possibly match his love, yet he allows Viola to continue, because he values their …show more content…
She states, “We men may say more, swear more, but indeed/ Our shows are more than will, for still we prove/ Much in our vows, but little in our love” (II.4.116-118). Viola criticizes Orsino’s claim about women’s love, “Alas, their love may be called appetite,/ No motion of the liver but the palate,/ That suffers surfeit, cloyment, and revolt;/ But mine is all as hungry as the sea/ And can digest as much.” (II.4.97-100). She is unwilling to let Orsino keep his egocentric idea of love, thus, she counters his point logically. Furthermore, Orsino is the representation of selfish love, obnoxiously proclaiming his love, yet never willing to take action. Viola not only proclaims that women “are as true of heart” as men but she is implicitly showing how women can love better than men (II.4.106). Āla D.Amir (2008), states in his article, “Dramatic Irony in William Shakespeare's Twelfth Night” that “Viola's love is pure and sincere. She painfully sacrifices her love for the sake of Orsino's happiness and tries her best to convince Olivia of Orsino's love and worth, using her sincere emotions that are motivated by the purest motives of love of her bosom.” Thus, Viola portrays the adverse love of Orsino’s, showing that a woman’s love can exceed a man’s
Viola and Beatrice both take on men's roles, Viola that of a manservant and Beatrice that of the perpetual bachelor and the clown: "I was born to speak all mirth and no matter," she says to Don Pedro [II.i.343-4]. They appear to be actors and manipulators, much more so than their female predecessors, who are mostly reactive and manipulated, such as Hermia, Helena, Titania, and Gertrude. None of these women seemed in charge of her own destiny, but tricked by the schemes of men and later scorned or humiliated as a result of male machinations. Viola and Beatrice, although they both seem fiercely independent and comfortable in a man's world, reveal themselves to have only the trappings of manhood, and not its full capacity for action. They are undone by unrequited love, made desperately unhappy by their inability to woo the man of their choosing. In the end, it is only coincidence and the plotting of other characters that bring the true nature of their affections into the open and thus force the plays to their respective matrimonial conclusions.
Naturally, one of the most reoccurring themes in Shakespeare is romantic love. It is perhaps not a coincidence that he put so much emphasis on this elusive and enigmatic emotion. In the Elizabethan age when he was writing, the arts were being explored more fervently, and thus raw human emotions began to surface in the mainstream culture. In Twelfth Night, love is a confusing and fickle thing, as demonstrated in the relationships between Duke Orsino and Olivia; Olivia and Viola/Curio; Malvolio and Olivia (she certainly has an effect on men doesn't she?); Duke Orsino and Viola/Curio. 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.
In Twelfth Night, by William Shakespeare, gender identity and alternative sexualities are highlighted through the depiction of different characters and personalities. In the play, Viola disguises herself as a man thereby raising a merry-go-around of relationships that are actually based on a lie rather than actual fact. Viola attracts the attention of Olivia since she thinks that Viola is a man but even more fascinating is the fact that Orsino is attracted to Viola although he thinks that she is a man. In another twist Viola is attracted to Orsino and has fell in love with him although their love cannot exist since Orsino thinks that Viola is a man.
Orsino and Olivia were attracted to Viola because of her disguise. This disguise changes reality for the characters as well as for the audience. The audience is will to allow and accept that Olivia is attracted to Cesario as long as Olivia does not find out Cesario is actually a woman (Greenblatt). In another article by Greenblatt, Invisible Bullets, he elaborates on how Viola’s disguise helped to eliminate bias that audience might have concerning the characters. He states that cultural perceptions are easily changed or destroyed with the use of disguise (Greenblatt). The homoerotic nature would have been overlooked with the Elizabethan audience. Greenblatt states the audience is aware that Olivia and Cesario’s relationship is destined to fail. In the time period, a homosexual relationship is impossible. Once Viola’s disguise is removed, all the romantic problem would be solved. However, she is unable to do so until her ultimate goal is fulfilled. Greenblatt presumes that if her disguise is removed too soon, it would hinder the search for
As prescient and insightful as this evaluation may seem after considering the outcome of Twelfth Night’s romantic pairings, it reads as a very shallow perspective rather than any sort of wisdom – to the Duke, love is never permanent, lasting, or constant (just like the nature of the tides, it always changes). Duke Orsino has no concern whatsoever for Olivia’s feelings of grief after the loss of her brother – she is merely an object of his desires at the moment, and as his eventual courtship with Viola proves, he is extremely fickle in his affections. (Even before Viola’s disguise became apparent, Orsino showed some signs of attraction to the male Cesario – this raises a few questions about exactly how far his romantic indecisiveness
Viola, as Cesario, manages to win the favour of Orsino He truly believes that she is a he. Orsino, still convinced of my majesty, believes that he can win the love of a woman, via a proxy. By having Viola merely read the words he has prepared, he thinks that Olivia will fall immediately in love with him. But while Orsino had his head in the clouds about his love, Viola is attempting to conceal from him, her love for him.
We see this exaggerated one-sided love play out in many forms throughout the play. Viola, for example, says in this line, “I’ll do my best To woo your lady: Aside. Yet a barful strife! Whoe 'er I woo, myself would be his wife.” (1.4.44-46) This tells us that Viola, having just met Orsino a few days ago, has a desire to be wed to Orsino. This kind of desire that Viola has for Orsino can only be conjured up from a fairytale due to the sheer passion and irrationality of falling in love with an acquaintance. Shakespeare also uses diction in deceptive forms. This is evident when Orsino uses the word “violets” (1.1.6) in his speech and to display the deception that is played out in the play. The word “violets” comes from the comes from the latin word viola. Some readers would be deceived, as many might not even notice the hint that Orsino gives in his own speech. We know this deception to be true in the form of Viola when she disguises herself as a eunuch to Orsino in his own courts as evidence in this line, “For such disguise as haply shall become The form of my intent. I 'll serve this duke: Thou shall present me as an eunuch to him”
Twelfth Night consists of a large number of love triangles, however many characters are too indulged in love that they are blind to the untrue, and the weakness of their relationship, they are deceived by themselves and many people around them ( ex. Malvolio is tricked by Sir Andrew, Feste ,Sir Toby and Maria),but there are certain incidents where the love is true and two characters feel very strongly about one another. In the play, Viola and Orsino have the most significant relationship. The way they interact with each other causes the complexity on which the play is all about, their relationship turns from strangers to friends then lovers .In the First Act Viola is not honest with Orsino because she disguises herself as a male servant named Cesario in order to get closer to the duke. Orsino. Orsino quickly trusts Cesario and sends him to Olivia to declare Orsinos Love for her, the girl he most dearly loves. This quick bond is the fast example of their relationship. At the beginning of the play, Viola thinks her brother (Sebastian) is dead (after they’re deadly boat crash, where they get separated) when actually he is alive and thinks she is dead, Viola always seems to have a part missing from her which shows her bond with Sebastian is strong, and a part of her but in a brotherly/sisterly way rather than a proper relationship like viola and orsino, At the end of the play they meet and both fall in love , Viola with Orsino and Sebastian with Olivia.
Finally, Olivia officially tells Viola (Caesario) that she loves him after Viola delivers another message to Olivia. Olivia tells Caesario that she has been in love with him ever since she first saw him, and that she cannot hold it anymore. She cares not about what her society would think about her for falling in love with a person not from her class. The reader knows that Viola is not interested at all in Olivia since she is in love with Orsino. Lady Olivia’s love for Caesario illustrates a universal truth about life that when someone is in love, he/she will do whatever it takes to show the other person that they love them. They are willing to sacrifice everything they’ve got for their love. In this case, Olivia is sacrificing her social status and reputation.
When the Count urges her, Viola agrees to try persuading Olivia of his love for her, but it is evident that she has feelings for Orsino herself when she says: "I'll do my best to woo your lady: [Aside] yet, a barful strife! Whoe'er I woo, myself would be his wife." This shows her devotion to him as she wants him to be happy, even if it is not with her. Viola's love is selfless and her feelings for Orsino are so strong that she will not leave when Olivia's servants tell her to. She is more determined than Orsino's previous messengers: "Make me a willow cabin at your gate and call upon my soul within the house, write loyal cantons of contemned love and sing them loud even in the dead of night...."
In Twelfth Night, the character Viola, who cross-dresses as a man named Cesario, is used to show how true love is capable of breaking gender barriers. Viola is an amiable character who has no severe faults. The audience can clearly detect that Viola's love is the purest because unlike Orsino and Olivia, her character's love is not narcissistic and does not jump from one person to the next. In other words, her actions are motivated by deep and abiding passion rather than whimsical choices. Viola's main problem, however, throughout the play is one of identity. Because of her costume, she must be both herself and Cesario. Thi...
Because of this confusing love triangle, some of the characters seem to view love as a curse. They also claim to suffer painfully from being in love or from the “pangs” of unrequited love. In Act 1 scene 5, Olivia describes love as a “plague” from which she suffers terribly. In Act 1 scene 1, Orsino depicts love dolefully as an “appetite” that he wants to satisfy and cannot. Another example of the characters not “liking” love is in Act 2 scene 2 when Viola says “My state is desperate for my master’s love.” This quote relates to the violence in Act 5 scene 1 when Orsino threatens to kill Cesario because he thin...
Duke Orsino’s repeated usage of poetical verse and poetic devices to describe his woes from love set him apart from other character. By using deep metaphorical language and flowing poetic structure, Shakespeare conveys Orsino’s melodramatic nature. In Orsino’s first speech, he takes a complicated and metaphorical approach to explain his love for Olivia instead of directly stating his desires. Instead of using prose, Orsino speaks in blank verse which is significantly fancier and floral in language. He says, “If music be the food of love, play on; /Give me excess of it, that, surfeiting, /The appetite may sicken, and so die” (1.1 3-5) to compare his love for Olivia to his love of music. Orsino wants the “excess of it”, so that he can become bored of music and therefore his love for Olivia. This also shows that he is excessively wordy throughout his speech and often prolongs sentences with repetitive phrases such as “…,play on/Give me excess of it, that, surfeiting” (1.1.3-4) and “…may sicken, and so die” (1.1.5) that have the same meaning. His long-winded language illustrates the dramatic quality...
Throughout Twelfth Night, disguise and mistaken identity works as a catalyst for confusion and disorder which consistently contributes towards the dramatic comic genre of the play. Many characters in Twelfth Night assume disguises, beginning with Viola, who disguises herself as a man in order to serve Orsino, the Duke. By dressing his protagonist in male garments, Shakespeare creates ongoing sexual confusion with characters, which include Olivia, Viola and Orsino, who create a ‘love triangle’ between them. Implicitly, there is homoerotic subtext here: Olivia is in love with a woman, despite believing her to be a man, and Orsino often comments on Cesario’s beauty, which implies that he is attracted to Viola even before her male disguise is removed. However, even subsequent to the revealing of Viola’s true identity, Orsino’s declares his love to Viola implying that he enjoys lengthening the pretence of Vio...
Love however, is the source of much confusion and complication in another of Shakespeare’s comedies, Twelfth Night. Men and women were seen as very different from each other at the time the play was written, they were therefore also treated in very different ways. Because of this Viola conceals her identity and adopts the role of a man, in order to better her safety whilst being alone on the island, and to get a job at Count Orsino’s court. In the play Shakespeare uses the gender confusion he has created from obscuring characters identities to explore the limits of female power and control within courtship, and their dominance within society. Violas frustration surrounding her inability to express her feelings to the Count because she is a woman is an example of the limiting rules of courtship which were upheld at the time. (Aside) ‘yet, a barful strife! Whoe'er I woo, myself would be his wife.’ Here she is already expressing her anxiety and emotion at being a woman, and having to keep her emotions hidden from those around her. She longs to be able to express her love as a man could, and in her disguise as Cesario she finds an opportunity to vent her feelings for the Count, but concealed as his words and towards Olivia. Viola is unaware of how her words may sound to Olivia because she is aware of their gender boundaries however Olivia isn’t and soon falls for Cesario. Because Olivia is a Lady and head of the household, and especially how she lacks a father figure, she has a lot more freedom in courtship. Duisinberre comments on this saying, ‘...Viola and Beatrice are women set free from their fathers, and their voice is that of the adult world.’ This is seen when Olivia immediately takes the dominant role in her and Cesarios relat...