She is a young woman of Messaline.
Despite the fact that the play offers a happy ending, in which the various lovers find one another and achieve wedded bliss, Shakespeare shows that love can cause pain.
Many of the characters seem to view love as a kind of curse, a feeling that attacks its victims suddenly and disruptively. Various characters claim to suffer painfully from being in love, or, rather, from the pangs of unrequited love. These metaphors contain an element of violence, further painting the love-struck as victims of some random force in the universe.
Love is also exclusionary: At the end of the play, as the happy lovers rejoice, both Malvolio and Antonio are prevented from having the objects of their desire.
Malvolio, who has pursued Olivia, must ultimately face the realization that he is a fool, socially unworthy of his noble mistress.
Antonio is in a more difficult situation, as social norms do not allow for the gratification of his apparently sexual attraction to Sebastian.
Love, thus, cannot conquer all obstacles, and those whose desires go unfulfilled remain no less in love but feel the sting of its absence all the more severely. The Uncertainty of Gender Gender is one of the most obvious and much-discussed topics in the play. This situation creates a sexual mess: There is a clear homoerotic subtext here: This latent homoeroticism finds an explicit echo in the minor character of Antonio, who is clearly in love with his male friend, Sebastian.
Even once everything is revealed, Orsino continues to address Viola by her male name. We can thus only wonder whether Orsino is truly in love with Viola, or if he is more enamoured of her male persona. 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.
Maria plays on these ambitions when she forges a letter from Olivia that makes Malvolio believe that Olivia is in love with him and wishes to marry him. The feast of Twelfth Night, from which the play takes its name, was a time when social hierarchies were turned upside down.
That same spirit is alive in Illyria:Twelfth Night: Top Ten Quotes, Free Study Guides and book notes including comprehensive chapter analysis, complete summary analysis, author biography information, character profiles, theme analysis, metaphor analysis, and top ten quotes on classic literature.
Self knowledge is perhaps the most significant theme in so-called joyous comedy (begins with music and ends with a song) of William Shakespeare, Twelfth Night. At the start of the play only Feste, a singing fool and Viola, disguised as a page, for her master, the Duke Orsino have a reasonable degree of Self knowledge.
Orsino believes he in love with Olivia, but the falsity of this belief is. Twelfth Night- The name of the play is a holiday in which things are said to be turned upside down.
Because of the nature of the plot of the play, this seems fitting. Music- The opening line in the play shows that music is an important metaphor for love. In Twelfth Night, Feste plays the role of a humble clown employed by Olivia's father playing the licensed fool of their household.
We learn this in Olivia's statement stating that Feste is "an allowed fool"(I.v) meaning he is licensed, privileged critic to speak the truth of the people around him. In the Elizabethan period, 'Twelfth Night' was a festival celebrated with music, masked balls, misrule and general revelry. Michael Dobson considers the place of festivity and disguise in Shakespeare's .
In conclusion in Twelfth Night Shakespeare’s commentary on love and romance is that most times it is transparent, that people have their own agendas for their feelings, whether it be beauty, power, or social advancement.