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How was disguise used in twelfth night play
How was disguise used in twelfth night play
Shakespeare use of disguise in
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Shakespeare uses disguise in his play, Twelfth Night, to cause confusion and internal conflict between his characters and it is this confusion and conflict that appeal to the audience.
It keeps them wondering how many more of these situations will arise, and in the end, how will this confusion and conflict be resolved?
The first time that this is evident is in Act I, Scene IV, where Cesario, really Viola is sent by her master, Orsino, to win the love of Countess Olivia for him. At first it seems as if nothing is out of the ordinary, but Cesario throws a spin on things with his last words of the scene. Cesario indicates that he will do his best to win over the lady, but then in an aside says
“Whoo’er I woo, myself would be his wife.” (I. IV.41)
This makes things much more difficult. What will happen when a messenger who loves his master is sent to win over the love of the one his master desires? This is a case where
Shakespeare’s use of disguise has left the audience in suspense. The audience is left waiting to see how this matter will play itself out. Little do they know, that disguise will play another important role, in muddling this problem even further.
In the next scene, Act I, Scene V, Cesario will arrive at the home of Countess Olivia, and after some difficulty, will eventually be granted an audience with the Countess. Cesario is very eloquent, almost relentless, in expressing what love that the Duke Orsino has for Olivia, but
Olivia rejects the Dukes offer, saying that she cannot return his love. This is where things really get perplexing.
Once Cesario exits, Olivia reviews what Cesario has said, and begins to think of the messenger. At this point, the audience realizes what has happened, Olivia has fallen for the messenger. Even this comes as a surprise to her, she says “Even so quickly may one catch the plague?”(I. IV.281)
To stand back and see what has arisen, all because of Viola’s disguise, is overwhelming and quite hard to explain without sounding redundant. To me this is the main conflict in the play. Viola is a young woman who has disguised herself as a eunuch in order to gain the employment of the Duke Orsino and falls in love with him. The Duke, who is unaware that
Cesario is really Viola, or that she has these feelings for him at all, sends Cesario to win over the
...volio declares revenge on the lot before exiting, giving the floor to Orsino. He speaks to Viola, before Feste, Olivia’s Jester, sings to signal the ending. “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.”
Viola and Beatrice both take on men's roles, Viola that of a manservant and Beatrice that of the perpetual bachelor and the clown: "I was born to speak all mirth and no matter," she says to Don Pedro [II.i.343-4]. They appear to be actors and manipulators, much more so than their female predecessors, who are mostly reactive and manipulated, such as Hermia, Helena, Titania, and Gertrude. None of these women seemed in charge of her own destiny, but tricked by the schemes of men and later scorned or humiliated as a result of male machinations. Viola and Beatrice, although they both seem fiercely independent and comfortable in a man's world, reveal themselves to have only the trappings of manhood, and not its full capacity for action. They are undone by unrequited love, made desperately unhappy by their inability to woo the man of their choosing. In the end, it is only coincidence and the plotting of other characters that bring the true nature of their affections into the open and thus force the plays to their respective matrimonial conclusions.
When the Count urges her, Viola agrees to try persuading Olivia of his love for her, but it is evident that she has feelings for Orsino herself when she says: "I'll do my best to woo your lady: [Aside] yet, a barful strife! Whoe'er I woo, myself would be his wife." This shows her devotion to him as she wants him to be happy, even if it is not with her. Viola's love is selfless and her feelings for Orsino are so strong that she will not leave when Olivia's servants tell her to. She is more determined than Orsino's previous messengers: "Make me a willow cabin at your gate and call upon my soul within the house, write loyal cantons of contemned love and sing them loud even in the dead of night...."
Viola, as Cesario, manages to win the favour of Orsino He truly believes that she is a he. Orsino, still convinced of my majesty, believes that he can win the love of a woman, via a proxy. By having Viola merely read the words he has prepared, he thinks that Olivia will fall immediately in love with him. But while Orsino had his head in the clouds about his love, Viola is attempting to conceal from him, her love for him.
to get involved in a scuffle, for which Viola is unjustly blamed. Finally Sebastian and Viola are reunited, but only after they have already caused a large amount of chaos and confused everyone. It is only then that everyone begins to discover the extent of Viola's trickery. More disorder is created when Olivia, who Orsino is hopelessly in love with. with, falls for Cesario, who is secretly in love with Orsino.
Viola as Cesario faced the most challenges in the play. It almost seems that fate never leaves her alone, as her difficulties start as soon as we are introduced to her, washed up upon the shores of illyria having barely survived a shipwreck. Alone in a foreign land with her only kin, her twin brother Sebastian believed to be dead, she is left to fend for herself for, or so it seemed, the remainder of her days.
In Shakespeare’s comedy Twelfth Night the great bard uses humor and mistaken identity not only to poke fun at romantic stories of “perfect love” and the foolish behavior of the aristocrats, but also to reveal man’s anxieties surrounding courtship, gender performance, and love as a whole. The portion of the play I have chosen to analyze are lines 188-256 in Act 5 scene one when Sebastian enters the stage and discovers Viola alive. The siblings give information about themselves to determine each other’s identity before Viola finally reveals herself to be female, allowing the farce to come to an end and the characters to return to their normal roles. Viola then declares her love for Orsino and he accepts her affections. While this scene is certainly
that Olivia has emotional power of nobleman Orsino when in Act I Scene I he declares, "O, she
Viola's situation is precarious due to the liminality she has experienced throughout the play . She could live freely away from the society's authority behind her transformation, but the liminality she faced caused her troubles in expressing her true feelings. She is in between her femininity and her twin brother adopted masculinity. But soon as her disguised is discarded, she returns to her proper situation voluntarily accepting the role that the society imposes on her: the role of a wife.
The love Olivia has felt isn’t romantic love, it’s the love for her brother “The element itself, till seven years ' heat,/Shall not behold her face at ample view,/But like a cloistress, she will veiled walk/And water once a day her chamber round/With eye-offending brine—all this to season/A brother’s dead love, which she would keep fresh/And lasting in her sad remembrance.”(1.1.25-31). Olivia’s love for Cesario is her attempt to fill a hole left by the death of her brother whom she loved deeply. She was vulnerable and in mourning, and Cesario was there and he was a gentleman “Thy tongue, thy face, thy limbs, actions, and spirit,/Do give thee fivefold 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 perfections/With an invisible and subtle stealth/To creep in at mine eyes. Well, let it be.—”(1.5.274-280). Her love wasn’t real though, had her love been real she would not have mistakenly married Sebastian. She would have known that Sebastian wasn’t Cesario. Had Olivia’s love been real would it have mattered that Cesario was actually Viola in disguise? They may not have been able to be together because of time and society they lived in, but the feeling would have still been there. In the end Olivia essentially settles for Sebastian, because it wasn’t who she
This shows that femininity and masculinity in itself is an identity, not just physical and biological. This makes Viola’s disguise even more difficult to overcome. Biologically she can relate to a woman’s folly and weaknesses, while being able to exert her newly found masculinity. She is not between these two worlds, they are now glued together and she is right in the middle of it. As a result, she has a heavy crown because of this, and it consists of all of the accumulated deceit. It also puts her in situations where she has to pick between her femininity while she appears to be in a man’s body. She understands that a woman’s heart can be weak and fickle when it comes to finding love, but while she is in a new identity, she finds that some characteristics between the two sexes do not add
Viola/Ceasario's disguise hides most of her past: the shipwreck, her lost brother, and the fact that she is a woman. Her identity now as a man, is to move on in life and get a job. Her love for Orsino is hidden with her original identity, as though she works for him as his servant. She is a very strong character in the play. "I prithee (and I’ll pay thee bounteously)/ Conceal me what I am, and be my aid/ For such disguise as haply shall become/ The form of my intent. I’ll serve this duke." (1.2.52-55). After the shipwreck and the loss of her brother, Viola decides to move on using a disguise as her shield. Viola’s secret love for Orsino is different than the way Olivia loves Ceasario. Olivia is in lo...
...o he loves and he says he loves a woman “of your complexion” (Shakespeare, Twelfth Night 2.4.27). Shakespeare once again uses dramatic irony to show how Cesario loves Orsino; by saying he loves a woman who looks similar to Orsino. In the last scene where the truth is revealed behind Cesario’s identity, she accepts her master’s decision saying “a thousand deaths would die” (Shakespeare, Twelfth Night 5.1.128). Viola truly loves Duke Orsino and implies here she would die a thousand deaths to make him happy. Implied truths are secrets waiting to be revealed.
Love however, is the source of much confusion and complication in another of Shakespeare’s comedies, Twelfth Night. Men and women were seen as very different from each other at the time the play was written, they were therefore also treated in very different ways. Because of this Viola conceals her identity and adopts the role of a man, in order to better her safety whilst being alone on the island, and to get a job at Count Orsino’s court. In the play Shakespeare uses the gender confusion he has created from obscuring characters identities to explore the limits of female power and control within courtship, and their dominance within society. Violas frustration surrounding her inability to express her feelings to the Count because she is a woman is an example of the limiting rules of courtship which were upheld at the time. (Aside) ‘yet, a barful strife! Whoe'er I woo, myself would be his wife.’ Here she is already expressing her anxiety and emotion at being a woman, and having to keep her emotions hidden from those around her. She longs to be able to express her love as a man could, and in her disguise as Cesario she finds an opportunity to vent her feelings for the Count, but concealed as his words and towards Olivia. Viola is unaware of how her words may sound to Olivia because she is aware of their gender boundaries however Olivia isn’t and soon falls for Cesario. Because Olivia is a Lady and head of the household, and especially how she lacks a father figure, she has a lot more freedom in courtship. Duisinberre comments on this saying, ‘...Viola and Beatrice are women set free from their fathers, and their voice is that of the adult world.’ This is seen when Olivia immediately takes the dominant role in her and Cesarios relat...
Throughout Twelfth Night, disguise and mistaken identity works as a catalyst for confusion and disorder which consistently contributes towards the dramatic comic genre of the play. Many characters in Twelfth Night assume disguises, beginning with Viola, who disguises herself as a man in order to serve Orsino, the Duke. By dressing his protagonist in male garments, Shakespeare creates ongoing sexual confusion with characters, which include Olivia, Viola and Orsino, who create a ‘love triangle’ between them. Implicitly, there is homoerotic subtext here: Olivia is in love with a woman, despite believing her to be a man, and Orsino often comments on Cesario’s beauty, which implies that he is attracted to Viola even before her male disguise is removed. However, even subsequent to the revealing of Viola’s true identity, Orsino’s declares his love to Viola implying that he enjoys lengthening the pretence of Vio...