Gender Roles In Twelfth Night

Society has constructed the roles associated with gender, and defined what it means to be masculine and feminine. It has set the expectation that a man and woman will fall in love, get married, and “life happily ever after.” At first glance, Twelfth Night by William Shakespeare seems to be a conventional Shakespearian comedy, in which all conflicts are resolved through marriage and romantic heterosexual pairings. However, further analysis of the novel reveals the implications of homosexuality and underlying messages about the complexity and fluidity of gender. William Shakespeare’s Twelfth Night challenges stereotypical gender-specific behaviours, concepts of masculinity and femininity, and heteronormativity in society, ultimately confronting the idea of gendered identity.

William Shakespeare is quick to present, and then confront gender stereotypes and

misogynistic social views, through characters such as Duke Orsino, Viola, and Olivia.

Duke Orsino describes his views on women in marriage, and warns Cesario to marry a younger woman by saying “Let still the woman take, an elder than herself. So wears she to him, so sways she level in her husband’s heart.” (2.4.28-30). Clearly, Orsino sees women as mere objects to be used by their husbands. He sexually objectifies women, and thinks of them as the inferior sex, as proven when he says, “No woman’s sides can bide the beating so strong a passion as love doth give my heart (2.4.94-96). Orsino’s view on women in marriage seems slightly cynical. In contrast, Viola, in her male disguise as “Cesario”, defends women, and displays the power and potential of women without social barriers. In response to Orsino’s remark about a woman’s capacity to love, “Cesario” says that women are as “true of heart as we,” (2.4.107) and that “We men may say more, swear more, but indeed our shows are more than will.” (2.4.117-118). Because Viola’s true gender is disguised, Orsino can truly consider the idea that women have

the same capacity to love as men do. Viola’s disguise allows her to give her to provide her opinions and contradict Duke Orsino’s views, as well as display all parts of her personality, such as her humor and intellect, without facing judgment or scrutiny based on her gender. Olivia is another character who defies gender stereotypes. Although Olivia is a woman of high status in Illyria, she continuously and assertively refuses Duke Orsino’s courtship. Not only does she pursue the person that she loves, but she is also willing to marry a young male servant beneath her class. She plays a masculine role in her relationship with “Cesario,” as Olivia actively goes after and woos “Cesario” which counteracts the expectation that only a man is supposed to pursue their love for a woman. She defies the expected nature of a woman of status, and is the perfect image of a strong and independent woman. In addition to confronting gender stereotypes, Twelfth Night blurs together the distinction between genders by manipulating appearance and attire.
Viola’s cross-dressing disguise demonstrates the superficial nature of maleness and femaleness. Gender is a social construct, and the distinction between genders often blur together through the manipulation of appearance, especially clothing. Viola asks for the Sea Captain’s assitance to disguise herself as a eunuch to serve Duke Orsino. She says, “Conceal me what I am, and be my aid.” (1.2.50-52).Viola’s wishes are easily granted after she changes her attire to match that of a male’s, tapes down her breasts, and gets a haircut. She is quickly accepted into court as her male personality “Cesario,” with no suspicions about her true identity. It seems almost too simple, and serves to prove how one-dimensional gender can be. In addition, during the final scene of the novel, when Duke Orsino finds out that Viola is a woman, he refuses to call her “Viola,” until she changes her attire and puts on her “woman’s weeds.” This is proven when he says, “Cesario, come, for so you shall be, while you are a man. But when in other habits you are seen, Orsino’s mistress and his fancy’s queen.” (5.1.378-381) Orsino could not truly accept Viola as a woman until she changed her attire, because her clothing was such an important part of Viola’s depiction of her male personality, that he was not able to alter his perception of Viola’s gender until she changed her appearance. This confirms how attire and appearance play a major role in one’s depiction of gender, and in turn, how one can manipulate gender by slightly altering their appearance. While challenging the idea of “maleness” and “femaleness,” William Shakespeare also explores the fluidity of gender identity, homosexuality, and androgyny.
In Twelfth Night, implications of homosexuality, and the exploration of desire towards the androgynous “Cesario,” break down the idea of heteronormativity in society. Heterosexuality should not be seen the only “norm” in society, as gender identity is fluid and complex. The nature of Antonio’s love towards Sebastian seems to exceed the limits of friendship, and displays signs of intimacy and romantic interest. Antonio’s love for Sebastian drives him to put his own life at risk by following Sebastian to Illyria, where he is wanted for criminal acts. This is proven when he says “I could not stay behind you. My desire, More sharp than filèd steel, did spur me forth.”(3.3.4-5) Antonio compares his homoerotic desire towards Sebastian to the sharpness of a “filèd steel,” which suggests that his impossible love for Sebastian causes Antonio a great deal of pain and suffering. Viola’s androgynous persona also introduces aspects of desire from Duke Orsino and Olivia. Olivia says, “Thy tongue, thy face, thy limbs, actions, and spirit, Do give thee fivefold blazon. Not too fast! Soft, soft!” (1.5.266-267) Olivia is very clearly attracted to “Cesario’s” masculine traits, as well as “his” feminine traits. She says that she loves “Cesario’s” body, which is part of Viola’s disguise as a male. However, Olivia is also attracted to Viola’s face and “sensitive soul,” which are undoubtedly some of her feminine traits. In addition, Duke Orsino is very clearly attracted to the androgynous “Cesario.” He loves her feminine characteristics, such as her “smooth and rubious” lips (1.4.32), and “thy small pipe” (1.4.32). However, it is “Cesario’s” male disguise that allows Orsino to willingly reveal so much about himself. He shares his experiences of love and heartbreak, and his thoughts on women in marriage, because he believes that he is accompanied by a man. In the end, Orsino is able to display his love towards “Cesario,” upon finding out that she is a woman, and Olivia finds a man who looks and acts quite similarly to the “man” whom she fell in love with. Both characters are able to express their love and desire without facing social stigma, and the story ends just as any other Shakespearian comedy does: with a happy, heterosexual marriage.
Beneath the surface of the comedic and entertaining novel, William Shakespeare’s Twelfth Night confronts social norms and stereotypes related to gender and sexuality. The novel explores misogynistic social views through characters such as Duke Orsino, Viola, and Olivia. It displays the superficial nature of “maleness” and “femaleness,” as demonstrated by Viola’s cross-dressing disguise, and incorporates sub messages about homosexuality through the Sebastian and Antonio subplot, and explores desire towards the androgynous Cesario. Through Twelfth Night, William Shakespeare depicts progressive views on gender and sexuality, and strives for gender equality in society, a message that remains relevant today.