In Shakespeare's play 'The Twelfth Night' the concept of homosexuality as is love As soon as Viola starts working for Orsino, the latter develops a connection. In William Shakespeare's "Twelfth Night" there are several relationships that In the fifth and final act the love between Orsino and Viola is now possible. Viola's arrival begins to break both characters out of their self-involved shells, but neither undergoes a clear-cut change. Orsino relates to Viola in a way that he.
Hath for your love a great pang of heart As you have for Olivia: She seeks to prevent him from being hurt in the only context she understands — that of her own apparently bleak situation. Although love is undeniably a powerful force of change in Twelfth Night, it is not the concealed grief of Viola which is active in crossing the barriers of gender, closed mindsets and convention in her relationship with Orsino.
Only in this situation of confusion can a love such as that which Orsino and Viola develop be realized.
The scene in Act II is therefore crucial, not just to establish the closeness which has developed between the two characters, but also to establish this sense of disorder — the necessary first stage. One of the most significant emblems of anarchy is that of the objectivity of truth which Viola embodies in her disguise. Through this falsity, she is able to show her true feelings, as if her love itself were a blend of truth and imagination, like the loves of Orsino and Olivia. Only in this environment of confused gender, identity and genre can this love be conveyed.
We have never seen such a world. The scene marks the first time in the play the Duke shows real sympathy for the suffering of someone other than himself, although he is unaware that it is actually Viola with whom he is sympathizing.
Orsino (Twelfth Night) - Wikipedia
Almost unbeknownst to one another, the interaction between Viola and Orsino as they discuss a love that transcends gender suggests that a bond has formed between them that is inherently separate from both their relationship as master and servant and the passion which Viola feels for Orsino as a man.
This growing bond proves more powerful than the old myths of love to which the Duke adheres, and the result is a connection of the mind between emotional equals. The irony is that such a relationship would not have been possible had she been free to be his wife — that is, free to be a woman.
From the early lines of the scene, Orsino distinguishes Viola from his retinue as particularly favored. In particular, Orsino wants his page to share in his experience of the song, a medium which he uses in order to further indulge his romantic sorrows. Orsino is only a likeable character because he relates in a much different way to Viola. She brings out his real personality, showing that perhaps he is not quite as self-indulgent as he seems. He only speaks to Olivia through a messenger, and he is afraid to truly get close to a woman.
In the beginning, she is in love with grief, locking herself away from the world to suffer from supposed sorrow. Olivia is as fickle as Orsino, and she quickly sets aside her terrible grief when she meets Cesario. She falls instantly in love with Viola as Cesario, and begins pining away for him, just like Orsino pines away for her.
She compares love to a plague, which is an excellent description of the love in Twelfth Night. It strikes without warning, and infects everyone, leaving pain and madness in its wake. Olivia also quickly shifts allegiance in the end from Viola to Sebastian. Throughout the play, Olivia enjoys wallowing in her grief, first over her brother and then over Cesario.
She likes feeling sorry for herself. Viola, disguised as Cesario, falls in love with Orsino. This presents a conflict, because she is dressed as a man, and Orsino is unaware that she is a woman. Olivia is also in love with Viola as Cesario, which deepens her conflict. She sincerely loves Orsino, and does so throughout the play.
Love as Comedic Energy: Viola and Orsino, Twelfth Night II.iv
Where the rest of the characters love is fickle, hers is steadfast. She is the only one who seems to be genuinely in love. She also loves her brother deeply, and he reciprocates the same love. Orsino and Olivia essentially end up marrying male and female versions of the same person.
He does not love her though; he loves her position of power. He has a strong desire to rise above his social status, and sees Olivia as the way to do it. Malvolio is stuffy, serious, and obviously in love with himself. He is very proud, and though he is only a steward, sets himself high above the rest of the people in the household. He daydreams about running the house, and ordering everyone else around. His pride causes him to be extremely gullible, because he never doubts for a second that Olivia is in love with him.
Malvolio deserves the humiliation that he gets, but his punishment is excessive and does not fit with the crime. He is locked in a dark room and everyone tries to convince him that he is mad.
The audience feels sorry for him, because he is thoroughly mistreated. Malvolio seems to be the character in the play that has to suffer so that everyone else can be joyous; telling us that even fantasy worlds like Illyria are not perfect because there is still someone suffering. The comedians in the play, Maria and Sir Toby strike up a relationship built upon friendly love.