However when Sebastian arrives. 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.
Later on, Sebastian and Andrew do get involved in a scuffle, for which Viola is unjustly blamed. Even once everything is revealed, Orsino continues to address Viola by her male name.
In addition to making the play less interesting, the disguise is also necessary to develop the storyline involving Sebastian, and the confusion that his return creates.
Without it, the main theme of the play would be the gulling of Malvolio. 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.
Antonio is in a more difficult situation, as social norms do not allow for the gratification of his apparently sexual attraction to Sebastian. We can thus only wonder whether Orsino is truly in love with Viola, or if he is more enamoured of her male persona.
More disorder is created when Olivia, who Orsino is hopelessly in love with, falls for Cesario, who is secretly in love with Orsino. That same spirit is alive in Illyria: The Uncertainty of Gender Gender is one of the most obvious and much-discussed topics in the play.
There is a clear homoerotic subtext here: These metaphors contain an element of violence, further painting the love-struck as victims of some random force in the universe. However when all of the truth has been told, Orsino realizes what has happened and agrees to marry Viola, with Olivia marrying Sebastian, the next best thing to Cesario.
Sir Andrew believes that the woman of his desires, Olivia, is spending too much time with Cesario, and challenges him to a duel. Many of the characters seem to view love as a kind of curse, a feeling that attacks its victims suddenly and disruptively.
Love is also exclusionary: Without this important element, the action in the play would slow down dramatically, making the story much less intriguing.
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.
This latent homoeroticism finds an explicit echo in the minor character of Antonio, who is clearly in love with his male friend, Sebastian.Twelfth Night is a romantic comedy, and romantic love is the play’s main focus.
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. The Function of Disguise in Twelfth Night by William Shakespeare William Shakespeare's play, Twelfth Night is based around disguise and deception, both mental and physical.
As in most comedies, William Shakespeare’s Twelfth Night extensively uses disguises, masks and mistaken identities to add to the comical nature of the play. Viola’s disguise as Orsino’s page, Cesario, becomes crucial to the action in the play.
Twelfth Night by William Shakespeare Twelfth night is a comedy play written by William Shakespeare. The entire play revolves around love and ideas of love. The very first line of the play tells us that love will be the main feature: ‘If music be the food of love, play on’.
Disguise in Twelfth Night Emine ASLAN Critics have argued that the identity and gender trouble produced by Viola's disguise is largely undermined by her ultimately heterosexual aim; after all, the object of her desire is Orsino.
Butler herself warns that heterosexuality can increase its hegemony through the denaturalization of cross-dressing.
Function of Disguise in Twelfth Night by William Shakespeare William Shakespeare's Twelfth Night is a play based around disguise in the form of deception and becoming someone different. In Twelfth Night, disguise takes many different shapes from physical disguise to mental disguise.Download