In Shakepeare’s
Twelfth Night things are made
topsy-turvy in the realms of gender and social order through a love triangle. The
duke Orsino is in love with lady Olivia, but she will not see him or any one
for that matter because she is mourning her brother even though it has been
years since his death. This may seem like the typical beginning of courtly love
but then things get complicated. Viola turns up in Illyria and decides to work
for Orsino disguised as a young man, Cesario. She falls in love with Orsino and
Olivia falls in love with Cesario, which in itself is off the social norm
because Cesario is supposedly of a uch lower class than Olivia. At the same
time, a steward, Malvolio, wants to marry Olivia, mostly to climb up the money ladder
as it shows in act two scene five when he is describing what life will be like
after he marries Olivia, “Having been three months married to her, sitting in
my estate,” (41-42). He pictures his married life being very rewarding,
money-wise and social status wise more than love-wise.
However, at the end of the play order is pretty much restored
because the love triangle resolves itself through the appearance of Viola’s
brother, whom she had thought was dead. Viola finally reveals the truth about
her disguise. Orsino and Viola end up together, Olivia ends up with Viola’s
brother, Sebastian, Malvolio end up alone and remains as the steward. One of
Olivia’s servants, Maria, even ends up marrying Olivia’s kinsmen, Sir Toby,
which was not strange to see in those days. Things seem to be fully restored
and even come out as a happily ever after play, yet some things become unclear
when Orsino continues to address Viola as Cesario. This is not a one time event
where he is getting adjusted to Viola’s actual self, he calls her Orsino up
until the last lines of the play, “ Cesario come/ For you shall be while you
are a man/But when in other habits you are seen/Orsino’s mistress, and his
fancy’s queen,” (V.i. 380-383). Shakespeare seems to play with the audience
even after the play is over because we are left wondering why Orsino still
calls Viola Cesario if he knows Cesario does not exist.
I like the fact that you bring forth the idea as the ending being a cliffhanger because I too, was wondering why Orsino still calls Viola by her male name. The quotes were intact with what you were talking about. Do not forget how to cite them at the end with the Act, scene and line number. In your first paragraph you refer to a quote by Malvolio in act 2 scene 5, at the end of the quote its citation should look like this (2.5.41-42)
ReplyDeleteHaving love triangles and females portraying males wasn’t a social or gender norm in England. Another thing is to address the question was, this the social norm in England during Shakespeare’s time? How does it affect the play? Would it have taken a different course if there was no cross-dressing Viola? Why do you think Shakespeare made Viola the cross dresser and not a male? What do you think?
First paragraph: "In Shakepeare’s Twelfth Night things are made topsy-turvy in the realms of gender and social order through a love triangle." Good point. I didn't totally realize that we find both orders within that triangle, but in actuality they are all on the same level socially, but due to Viola's role, there appears to be lower/upper class relationships going on... even though there isn't! The whole story is written around this love triangle.
ReplyDeleteLast paragraph: "at the end of the play order is pretty much restored because the love triangle resolves itself through the appearance of Viola’s brother." Another good point. The love triangle resolves itself; no one actually seeks to make it all work out, it just happens on its own (much to the relief of most of the characters involved).
I like how this essay is very clear and to the point, but I feel like I would've liked to hear you discuss more of what you think about Prof. Flack's third question: "Does the play serve to critique or uphold the gender and societal norms of Shakespeare’s England?" What do you think Shakespeare was saying about gender and social order? I love your last comment that Shakespeare seems to be playing with the audience, but what's his motive? To make them think about these obvious flaws with the norms of their England? Or just to mess around and have fun driving the audience crazy?!
I'm gonna just give you quote advice so I don't repeat everyone else. Your Malvolio quote needs to be more evil to showcase his "mal"evolence (bad pun joke). My choice:
ReplyDeleteSeven of my people, with an obedient start,
make out for him. I frown the while, and perchance
wind up my watch, or play with my (fingering his
steward's chain of office) – some rich jewel. Toby
approaches, curtsies there to me . . .
(TN II.v.57-61)
explain context and then why this makes him a bad dude, maybe even some traits or lack there of, and boom, you got analysis. From there, you can make claims.
Interesting perspective about Cesario/Viola, by the way!
ReplyDeleteInteresting discussion of Orsino's insistence on calling Viola Cesario throughout the rest of the play. While some would just say he's poking fun at the ridiculous situation and trick he feels may have been played on him, but you may be right in pushing a deeper meaning to his witty banter. Don't leave your analysis here as "we're left wondering." What do you think it means? Your quote from Malvolio would have been even more effective if you hadn't cut it off so abruptly and awkwardly. This really needs to be quoted to the end to give its full impact.
ReplyDelete