They do not listen to Viola as she tries to reveal her identity. The cross-dressing of Viola also violates all the rules that can exist in the real Elizabethan world, but in the setting of the play it works perfectly. He claims that no matter how perfectly rhymed is the verse, the one which is spontaneous and full of passion will always defeat it, winning the heart of the audience. Until the early 20th century, the play was staged in a roundly Victorian style. The whole trick with Malvolio proves it perfectly: Malvolio is angered and upset in the end, to the extent that he makes a vow to have revenge, but no one takes it seriously, considering it a perfect end of a lengthy joke. Fearing her brother is dead, and finding herself alone in a strange country, she disguises herself as a man, Cesario, and volunteers to be part of Count Orsino's household. He entrusts her with his hopes and his most intimate errands.
Orsino sets the tone and subject of the play on love and the effects of love. Olivia arrives and we see that Orsino still loves her. The audience can decide how important external dress and performance is. The irony in this line is that Olivia is quite right about her own love but misses all of the deeper meanings in her statement. I can write very like my lady your niece. Sir Toby has manipulated Sir Andrew into pursuing Olivia so Sir Toby can continue benefiting from Sir Andrew's great wealth. Write a letter that you would write to your own child, giving him or her advice about things to look for in a mate.
Sir Toby only cares about himself and no one else, not even his friends. This is because he does not know her at all, but still agrees to marry her, because he can see that she is beautiful and rich. 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. The play opens with Orsino, the Duke of Illyria, expressing his deep love for the Countess Olivia. He turns each idea into a character and the drama and relationships between them help us to understand his thoughts.
Latin and French were taught so that nobles could communicate outside the borders of England. This plan demonstrates how deception and disguise can be used to hurt instead of to help, providing a valuable counterpoint to the disguises already in the play. There is some evidence that the text was amended by Shakespeare himself after his first performance; Viola supposedly had a song in an early version, that was cut and replaced with her story about an imaginary sister, that has bigger emotional impact. Twelfth Night was a popular holiday in Elizabethan times, traditionally marking the end of the Christmas celebrations that had begun on December 24th, and a time for watching plays. Another reference to art is already contained in the play. Orsino is a man who likes earthly pleasures, and at the beginning of the play, he has his heart set on marrying the lovely, aristocratic Olivia. Maria also reveals Olivia's annoyance that Sir Toby has encouraged Sir Andrew Aguecheek to court her.
In Twelfth Night, the author combines the plot twists from The Comedy of Errors where the main characters are two pairs of twins, and the motif of women disguised as men that he uses a number of other comedies. The play incorporates some of the very same devices that are used in modern comedies today, such as topsy-turvy… 1780 Words 8 Pages Shakespeare's Twelfth Night A study of William Shakespeare's Twelfth Night, showing how Shakespeare's choice of form, structure and language shape meaning Wit, and't be thy will, put me into good fooling! Fabian rewrites the history of the abuses they have brought against Malvolio. Despite the genre of the play, and the supposedly happy ending, Shakespeare is quite ambiguous with his thoughts on the subjects of love and infatuation. This recognition is based on their interior knowledge rather than their outward show; therefore it is able to combat the disguise and performance that has clouded identity throughout the play. Orsino may only really know the way of desire and lust.
Orsino barely knows Olivia, but considers her an embodiment of all possible virtues. There are several love triangles, but they all resolve by the end of the play. He alludes to only wanting her because she is what is seen as the most desirable woman around his land. He wonders for a second, if he is crazy, though, but then he gladly accepts the proposal. Shakespeare 's techniques involve mistaken identity to bring comedy, mystery, and complication to the play.
When he approaches her though, she thinks he has gone mad and sends him away to be locked up. This jargon elevates the fool to the educational status of the nobility with whom he interacts. While Orsino symbolizes the love that drives people mad, Olivia is no much better. The Folly of Ambition The problem of social ambition works itself out largely through the character of Malvolio, the steward, who seems to be a competent servant, if prudish and dour, but proves to be, in fact, a supreme egotist, with tremendous ambitions to rise out of his social class. Shakespeare depicts unrequited love through the relationships of Orsino and Olivia, Olivia and Cesario, and Sir Andrew and Olivia. He even had Cesario running his love messages to Olivia. Viola learns from the Sea Captain of their doomed ship that they are now in Illyria, which is ruled by Orsino.
Twelfth Night displays characters that are mad, in love, and desperate for love. Olivia explains that their now secret marriage will be revealed later. Unrequited, melancholic love intensifies this process: it is self-consuming, as Orsino is pursued and consumed by his own desires. The third friendship, and definitely the strangest, is between Sir Toby and Sir Andrew Aguecheek. The ease everyone agrees to marry each other in the end just emphasizes this point.