Gender Identity and Roles Twelfth Night
Gender identity and roles are a common theme found in William Shakespeare’s seventeenth century writing, Twelfth Night. The city of Illyria’s upper class society is greatly impacted by both the noble Olivia as well as the lower class Viola’s resistance of customary gender expectations. Both women thus serve as vital components in the disarray of the already chaotic city.
The play opens with Viola pleading to the sea captain to “’conceal [her] what [she is]’” and “’present [her] as an eunuch’” so that she may serve on the duke’s court (Shakespeare 4). This first introduction of Viola reveals she would rather appear as a male to establish a new life than that of her born sex. As her new persona, Cesario, she proceeds with her plan and gains a position on the duke’s court. This occupation would not otherwise be available for her as a woman and is the beginning of her impact on Illycian society.
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In Act I, Scene V, Viola as Cesario is introduced to the duke.
Orsino describes the young “boy” in an almost erotic manner from his “’small pipe… [like or similar to] a woman’s part’” to his “lip [that is] smooth and rubious’” (Shakespeare 9). In Act II, Scene V, Viola hints to the duke she may have developed romantic feelings towards him, stating “’…perhaps, were I a woman, I should [love a man]…’” (Shakespeare 28). With this information revealed, the duke further question his own identity as he might yearn for the young Cesario. This internal conflict might not have otherwise been elaborated on without Viola’s presence. As the duke struggles with this issue, it also influences his behavior and thus impacts the wealthy society as a
whole. While she does not change her gender identity like Viola, Olivia does defy her society’s gender roles. The typical woman in this time period was thought to be quiet and a “follower” dependent on a man. Olivia blatantly rebels against this notion as strong, determined female noble. She holds a position of power over her household and initially states she will remain unmarried and celibate “’till seven years’ heat…’” in remembrance of her deceased brother (Shakespeare 2). By refusing any suitors for such a period of time, it is clear Olivia does not require a husband’s guidance or presence in maintaining a household despite the Illycian gender roles. Another example of Olivia’s differing take on gender roles can be found in her interactions with male characters. In her first encounter with Feste, she demands her servants “’[t]ake the fool away’” with no hesitation or regard for the clown’s emotions (Shakespeare 10). A similar circumstance involves Olivia’s first interaction with the disguised Viola. When Viola, as Cesario, attempts to relay the duke’s message, Olivia cuts him off asking, “’Where lies your text? ’” (Shakespeare 15). In both situations, Olivia has little respect towards the men and is all but cautious in addressing them. Many women in this society are thought to be hesitant in speaking out against men as it goes against the social code yet Olivia is not. This defiance ultimately impacts the entire upper class society as she lusts after Cesario. Viola and Olivia, while vastly different in social status, greatly impact their Illycian society. Both women challenge the expectations and roles set forth by this culture and serve as key components in Shakespeare’s Twelfth Night.
The play Twelfth Night, or What You Will by William Shakespeare is a 1601 comedy that has proven to be the source of experimentation in gender casting in the early twenty-first century due to its portrayal of gender in love and identity. The play centrally revolves around the love triangle between Orsino, Olivia, and Viola. However, Olivia and Orsino both believe Viola is a boy named Cesario. Ironically, only male actors were on the stage in Shakespeare’s time. This means that Olivia, Viola, and other female characters were played by young boys who still had voices at higher pitches than older males.
In William Shakespeare’s play Twelfth Night, the use of mistaken identity and role reversal communicates that gender roles and social class are constructed illusions that trick people into having unrealistic expectations about how they are supposed behave.Viola crossdressing as Cesario in the play challenges traditional views of how a woman of her status should act.The differences between the accepted clothing for an individual emphasizes gender roles and social hierarchy in society. During the Renaissance, “ the idea of two genders, one subordinate to the other, provided a key element in its hierarchical view of the social order and to buttress its gendered division of labor” (Howard 423).
Callaghan, Dympna. Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage. New York, Routledge. 2000
This paper will look at the different conceptions highlighted by Bulman in his article through the use of different methods used by the actors in the play. Twelfth Night, by William Shakespeare captures the different conceptions of gender identity and different sexualities within the Elizabethan period.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
William Shakespeare is known to be the greatest writer in the English language, and till this day Shakespeare upholds the title of being the start of English literature. Something every reader has possibly observed is how Shakespeare portrays women. The majority of William Shakespeare’s plays objectifies women and in some ways shows his underline feelings towards women, and their roles in society. This is clearly shown through out Shakespeare’s play ‘Othello’. The society of Othello is completely controlled by men who are the military and political leaders of their homeland. Furthermore women are seen as powerless second-class citizens, who are in place for nothing more than to serve their men. But the horrendous actions and intense downfall of the men in Othello show how men are not nearly as authoritative and powerful as they seem. The boldness of the female characters proves that they are much more capable of just serving. Furthermore, by the end of the play, I admit the men of Othello are not the ones who perform courage and power instead; this title is given to the women in the play.
Gender roles are one of the most controversial topics in the history of humanity. Some people approve of them, while others disagree with them. Gender roles are defined as “the behavior learned by a person as appropriate to their gender, determined by the prevailing cultural norms”. There are times throughout history where gender roles were very unfair. However, some individuals still defied them in both open and discreet ways. One of these individuals was the famous literary figure, William Shakespeare. Although Shakespeare may have defied gender roles in some of his other literary works, the scope of this essay will be limited to his stellar play, Macbeth. In Macbeth, Shakespeare mostly uses three characters to defy gender roles: The Three
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
The play opens with Orsino, the Duke of Illyria, expressing his deep love for the Countess Olivia. Meanwhile, the shipwrecked Viola disguises herself as a man and endeavors to enter the Duke’s service. Although she has rejected his suit, the Duke then employs Viola, who takes the name of Cesario, to woo Olivia for him. As the play continues, Cesario falls in love with the Duke, and Olivia falls in love with Cesario, who is really Viola disguised. Maria, Olivia’s servant woman, desires to seek revenge on Malvolio, Olivia’s steward. “To the delight of Sir Toby, Olivia’s uncle, and his friend Sir Andrew, Maria comes up with a plot to drop love letters supposedly written by Olivia in Malvolio’s path. When she does, they observe him, along with Fabian, another servant, as Malvolio falls for the bait. Believing that Olivia loves him, he makes a fool of himself” (Napierkowski 3).
In Twelfth Night, the character Viola, who cross-dresses as a man named Cesario, is used to show how true love is capable of breaking gender barriers. Viola is an amiable character who has no severe faults. The audience can clearly detect that Viola's love is the purest because unlike Orsino and Olivia, her character's love is not narcissistic and does not jump from one person to the next. In other words, her actions are motivated by deep and abiding passion rather than whimsical choices. Viola's main problem, however, throughout the play is one of identity. Because of her costume, she must be both herself and Cesario. Thi...
Complications also arose when viola fell in love with her master, duke orsino, while at the same time had the love interest of orsino, the countess Olivia, trying to woo her. This placed viola in an extremely difficult and complex situation on one hand, she loved the duke and would have liked to do all she could to win his heart. But because she was his servant, she was obliged to serve him and help him win the hand of Olivia. What was a poor girl to do ?
It is also one of the themes in Twelfth Night that the play revolves around as Shakespeare makes it out to be by presenting the character of ‘Caesario’. In Twelfth Night, Shakespeare presents the obvious deception of the play that is Viola. Viola’s role in the play is purely based on the ideas of disguise and deception. She initially deceives everyone by disguising herself as a man, ‘Cesario’, in order to serve Orsino. We can see this from the quote, “For such disguise as haply shall become: The form of my intent”.
One of the most celebrated and authoritative women in the 16th century was Elizabeth I. Even though the authority was at woman's hands at that time, a dominant woman was unnatural in the society itself. The presence of such a powerful female figure creates an interesting situation for dramatists and playwrights in terms of depicting women's status at that time. By using the psychological concept ,liminality; I am going to examine the relationship between Viola's speech , society's authority and her public space which is consists of two main parts: her private life as Viola and her public life as Cesario and how this relationship has a great impact upon her character development.
Situational irony and the love triangle give big laughs to the viewers. The audience becomes engrossed as they observe Violas transformation into Cesario, the Duke’s servant. Suspense is built as Viola begins to realize that she is falling in love with Duke Orisno, but in order for her to survive; she has to keep pretending to be a man and is unable to reveal her love. The irony settles in when Orisno, asks his close servant Cesario to go to Olivia and make her understand how deeply he loves her. Shakespeare shows her helplessness in this situation because she has to help her love, try to woo someone else. The irony builds into a love triangle as Olivia begins to fall in love with Cesario as “he” loved Orisno. Olivia’s love is confirmed when she says “Yet come again, for thou perhaps mayst move that heart, which now abhors, to like his love” (III.i.153).
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...