genus Viola is puzzled by the kick the bucket of a ring which she did not give to Olivia in the setoff place. Viola is perhaps considering that the ring is a gift to her (as "Cesario") from Olivia. In any case, she intelligibly concludes that Olivia is strongly attracted to her as "Cesario," and this thought upsets her profoundly. It is an absurdly hilarious situation, certainly, with such pretense and illusion dominating the scene, besides it is also a breeding ground for the kind of calamity which comes from human beings lying to one another and to themselves. Nothing of a truly tragic nature occurs in Twelfth Night, notwithstanding it is nevertheless a fact that this speech by Viola presents in a nighwhat serious way at least the potential for tragedy.
Viola in the play is presented as a role who is more a truth-teller, more trustworthy with others and with herself, than most other characters. This fact makes her position both more amusing and more troublesome. She is pretending, to be sure, but she is doing so with " well behaved intentions." The point, clearly, is that once one begins to deceive---even with good intentions---there go forth be awe and problems which were not desired or foreseen. Viola feels sorry for Olivia: "If it be so [that Olivia loves Viola as Cesario], as `tis,/ Poor lady, she w
Viola sees that there is a reservoir of evil in conceal, and that she has inadvertently participated in that evil through and through her desire to help both the Duke and Olivia while at the aforementioned(prenominal) time remaining hidden from others and from life while acquire from what she believes to be the death of her brother (just as her brother is grieve what he believes to be the death of Viola by drowning).
We use up of the "cunning" of Olivia's "passion," but we know that almost every character in the play---certainly those enmeshed in complex romances---is eventually tossed directionless on the swells of love. Human beings only believe that they or others are cunning in love; ultimately, love will prove the more cunning.
The "churlish messenger" Malvolio is symbolic of the tools that love uses to set out about its desired results, even though such messengers ability have no idea what their purpose is in the machinations of love.
The outlet of the ring and the suggestion of Olivia that Viola return with password of how the Duke took the intelligence activity of Olivia's rejection are signs that Viola is correct about Olivia having been charmed by her (as Cesario). After all, there was no ring that we know of from the Duke, and wherefore would Olivia care how the Duke took the news of Olivia's rejection of him?---unless Olivia actually wanted not the news but the return of Viola/Cesario as carrier of that news.
Although Shakespeare clearly does not mean the play to be tragic, he does forego a dark side to the goings-on when he has Viola declare the devil into the events. Again, Viola is one character who does have some self-knowledge and who is suitable to recognize the truth of what is occurring around her. Still, even she is able to do little to control those events, although she does see the damage that disguise and deception can do.
Shakespeare, William. Twelfth Night. New York: Signet, l987.
The implication, again, is that the deepest commitment of the will can be easily and quickly destroyed by the introd
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