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THE CHANGING ROLE IN VIOLA/CESARIO INThe Twelfth Night
In Shakespeare's "Twelfth Night", it is clearly evident
that the fluctuation in attitude to the dual role and
situation and tribulations imposed upon the character of
Viola/Cesario ends up in a better understanding of both
sexes, and thus, allows Viola to have a better understanding
for Orsino. Near the opening of the play, when Viola is
adopting her male identity, she creates another self, like
two masks and may decide to wear one or the other while
swinging between the two identities in emotion and in
character. She decides to take on this identity because she
has more freedom in society in her Cesario mask, which is
evident when she is readily accepted by Orsino, whereas, in
her female identity she would not be. Thus, a customary
role in society and to the outlooks of others is portrayed.
Orsino sees Cesario, as a young squire just starting out
in the world, much like himself as a young, spry lad, so he
has a tendency to be more willing to unload onto her with
his troubles and sorrows, seeking a companion with which to
share and to teach. Thus, Viola grows in her male disguise
to get a better feeling for his inner self, not the self
that he shows to the public, or would reveal and share with
Viola in her true female self, but rather his secret self,
as he believes he shares with a peer. So, she grows to love
him. But, Orsino's motivation is actually not love for
Viola, but rather he seems to be in love with love itself.
His entire world is filled with love but he knows that there
might be a turning point for him, like when 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. (I,I,I-III)
This quote shows that he knows that he is so caught up in
"love", that he hopes his appetite for love may simmer when
he takes more than he can handle.
1. Shakespeare, William. Twelfth Night. Longman's Canada
Limited, Don Mills, Ontario, 1961. All subsequent quotes
are from this edition.
Near the end of the play, when all tricks and
treacheries are revealed and all masks are lifted, Orsino
"falls" in love with Viola. He first forgives her/him of
her/his duty to him, the master; then says that she shall
now be her master's mistress:
Your master quits you; and for your service
done him, so much against the mettle of your
sex, so far beneath your soft and tender
breeding, and since you call'd me master for
so long, here is my hand. You shall from
this time be your master's mistress. (V,I,322-327)
This is sort of a switching love as he thought he was in
love with Olivia in the beginning, but, he readily switches
his love to Viola, as he feels he knows her personality
well.
As for Viola, she declares her love for Orsino many
times, as if by saying that she would love him if she were a
lady. When Orsino first sends Cesario to act as a messenger
and send Orsino's love to Olivia, Cesario proclaims:
I'll do my best to woo your lady; [aside]
yet, a barful strife! Whoe'er I woo,
myself would be his wife. (I,IV, 40-42)
This shows that Viola knows what a difficult situation that
she is in, and that she might try to woo her out of loving
Orsino, so that she might have him for herself; except there
is a slight, unexpected twist of fate...
After Cesario leaves from Olivia's, she declares:
"What is your parentage?" "Above my fortunes,
yet my state is well; I am a gentleman." I'll
be sworn thou art. Thy tongue, thy face, thy
limbs, and spirit, do give thee five-fold blazon.
Not too fast: soft, soft! Unless the master were
the man. How now! Even so quickly may one catch
the plague? Methinks I feel this youth's per-
fections with an invisible and subtle stealth to
creep in at mine eyes. Well, let it be. What
ho, Malvolio! (I,V, 289-298)
Olivia, is thinking back to her question to Cesario, and his
response to it. Then she replies to Cesario's response, to
herself, thinking about him. She agrees with his response,
then goes over his many delightful features, and wonders how
she so quickly has caught the plague of love for young
Cesario. She decides that it is her feeling towards his
youthful perfections that creep into her heart and to her
eyes. Then she agrees with her decision, and sends for
Malvolio, in hope that he may recall Cesario, so that she
may talk with him again. Olivia feels a strong passionate
love for Cesario, even though it was love at first sight for
her. Cesario presented (himself) very magnificently and
left a lasting impression in Olivia's mind.
The next time that Cesario came by, Olivia declared:
Cesario, by the roses of the spring, by maid-
hood, honour, truth and everything, I love
thee so, that, maugre all thy pride, nor wit
nor reason can my passion hide. (III,I,145-148)
This verifies that Olivia is profoundly in love with
Cesario, despite all his pride. But, Cesario does not
possess the same sentiments for Olivia as he says:
By innocence I swear, and by my youth, I have
one heart, one bosom and one truth, And that
no woman has; nor never none shall mistress
be of it, save I alone. And so adieu, good
madam. (III,I,153-157)
Here, Viola tells Olivia that she could never love her, nor
any other woman because she only has one love (to Orsino)
and is loyal. But, Olivia is still in love, and requests
that Cesario return.
Overall, Viola learns that in the role of Cesario she
had to be quick on her feet, and defend the probing
questions and statements as to her love and others love for
her. As well she acquired the skill to bide her time, until
the time was right, lest she reveal her true self or
intentions.
In Shakespeare's "Twelfth Night", it is clearly evident
that the fluctuation in attitude to the dual role and
situation and tribulations imposed upon the character of
Viola/Cesario ends up in a better understanding of both
sexes, and thus, allows Viola to have a better understanding
for Orsino. Near the opening of the play, when Viola is
adopting her male identity, she creates another self, like
two masks and may decide to wear one or the other while
swinging between the two identities in emotion and in
character. She decides to take on this identity because she
has more freedom in society in her Cesario mask, which is
evident when she is readily accepted by Orsino, whereas, in
her female identity she would not be. Thus, a customary
role in society and to the outlooks of others is portrayed.
Orsino sees Cesario, as a young squire just starting out
in the world, much like himself as a young, spry lad, so he
has a tendency to be more willing to unload onto her with
his troubles and sorrows, seeking a companion with which to
share and to teach. Thus, Viola grows in her male disguise
to get a better feeling for his inner self, not the self
that he shows to the public, or would reveal and share with
Viola in her true female self, but rather his secret self,
as he believes he shares with a peer. So, she grows to love
him. But, Orsino's motivation is actually not love for
Viola, but rather he seems to be in love with love itself.
His entire world is filled with love but he knows that there
might be a turning point for him, like when 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. (I,I,I-III)
This quote shows that he knows that he is so caught up in
"love", that he hopes his appetite for love may simmer when
he takes more than he can handle.
1. Shakespeare, William. Twelfth Night. Longman's Canada
Limited, Don Mills, Ontario, 1961. All subsequent quotes
are from this edition.
Near the end of the play, when all tricks and
treacheries are revealed and all masks are lifted, Orsino
"falls" in love with Viola. He first forgives her/him of
her/his duty to him, the master; then says that she shall
now be her master's mistress:
Your master quits you; and for your service
done him, so much against the mettle of your
sex, so far beneath your soft and tender
breeding, and since you call'd me master for
so long, here is my hand. You shall from
this time be your master's mistress. (V,I,322-327)
This is sort of a switching love as he thought he was in
love with Olivia in the beginning, but, he readily switches
his love to Viola, as he feels he knows her personality
well.
As for Viola, she declares her love for Orsino many
times, as if by saying that she would love him if she were a
lady. When Orsino first sends Cesario to act as a messenger
and send Orsino's love to Olivia, Cesario proclaims:
I'll do my best to woo your lady; [aside]
yet, a barful strife! Whoe'er I woo,
myself would be his wife. (I,IV, 40-42)
This shows that Viola knows what a difficult situation that
she is in, and that she might try to woo her out of loving
Orsino, so that she might have him for herself; except there
is a slight, unexpected twist of fate...
After Cesario leaves from Olivia's, she declares:
"What is your parentage?" "Above my fortunes,
yet my state is well; I am a gentleman." I'll
be sworn thou art. Thy tongue, thy face, thy
limbs, and spirit, do give thee five-fold blazon.
Not too fast: soft, soft! Unless the master were
the man. How now! Even so quickly may one catch
the plague? Methinks I feel this youth's per-
fections with an invisible and subtle stealth to
creep in at mine eyes. Well, let it be. What
ho, Malvolio! (I,V, 289-298)
Olivia, is thinking back to her question to Cesario, and his
response to it. Then she replies to Cesario's response, to
herself, thinking about him. She agrees with his response,
then goes over his many delightful features, and wonders how
she so quickly has caught the plague of love for young
Cesario. She decides that it is her feeling towards his
youthful perfections that creep into her heart and to her
eyes. Then she agrees with her decision, and sends for
Malvolio, in hope that he may recall Cesario, so that she
may talk with him again. Olivia feels a strong passionate
love for Cesario, even though it was love at first sight for
her. Cesario presented (himself) very magnificently and
left a lasting impression in Olivia's mind.
The next time that Cesario came by, Olivia declared:
Cesario, by the roses of the spring, by maid-
hood, honour, truth and everything, I love
thee so, that, maugre all thy pride, nor wit
nor reason can my passion hide. (III,I,145-148)
This verifies that Olivia is profoundly in love with
Cesario, despite all his pride. But, Cesario does not
possess the same sentiments for Olivia as he says:
By innocence I swear, and by my youth, I have
one heart, one bosom and one truth, And that
no woman has; nor never none shall mistress
be of it, save I alone. And so adieu, good
madam. (III,I,153-157)
Here, Viola tells Olivia that she could never love her, nor
any other woman because she only has one love (to Orsino)
and is loyal. But, Olivia is still in love, and requests
that Cesario return.
Overall, Viola learns that in the role of Cesario she
had to be quick on her feet, and defend the probing
questions and statements as to her love and others love for
her. As well she acquired the skill to bide her time, until
the time was right, lest she reveal her true self or
intentions.