Until she finds him, she takes the precaution of dressing in men's clothing and disguises herself as Cesario. Thus liberated by her brother, Viola is free to shed the roles that she has accumulated throughout the play, and she can return to being Viola, the woman who has loved and won Orsino. Therefore, the clown reveals how this motif is shown within Olivia. Through changes to appearance and personality, characters disguise themselves to fit in with the opposite gender. Throughout the play, Viola exhibits strength of character, quick wit, and resourcefulness. However by saying this, the Captain is giving Viola some hope to cling on to. Throughout 'The Merchant Of Venice' there is a clear separation between Christians and Jews.
The feast of Twelfth Night, from which the play takes its name, was a time when social hierarchies were turned upside down. It is as if she is trying to create a safe haven for herself to recover in. So what are her attractive qualities. As a result of their environment and immediate circumstances, men are forced into misperceptions. Viola's Wit Viola is a delightful character not because of her physical beauty, she only appears in women's clothes at the very end, but because of her keen wit and verbal reflexes. A Sea-Captain He rescues Viola from drowning, and helps her transform herself into Cesario and become Orsino's page.
She is the character whose love seems the purest. The fact that she is so distraught needs to be emphasised in the staging of the play; I think a girly, vulnerable yelp, as well as almost hysterical tears would be appropriate. That's what is happening to Viola, one of the main characters in William Shakespeare's comedy Twelfth Night. Viola thinks logically, after such an event, in her decision to disguise herself as a eunuch and work for Olivia. The reason I think it should be simple is that so it is realistic; in many productions I have seen the costume that Cesario is wearing is too fancy for a boy and a servant. Perhaps the only part of the play that Shakespeare can take credit for is the Sir Toby, Maria and Malvolio sub-plot, although it has not been proven that.
Grace and good disposition Attend your ladyship! Although Viola is the play's protagonist, her true name is not spoken by any character—including herself—until the final scene of the play Act 5, scene 1. It's almost like she is dying, like Juliet, except that Will, her Romeo, chooses to live instead. . Thus, Viola finds that her clever disguise has entrapped her: she cannot tell Orsino that she loves him, and she cannot tell Olivia why she, as Cesario, cannot love her. Though sometimes the characters do not realize his hidden messages, the reader can instantly comprehend Feste's figurative language, which is evident in every scene in which the fool appears.
Therefore I think Viola chooses to be in disguise so she can mourn alone and in her own way. What beautiful propriety in the distinction drawn between Rosalind and Viola! Viola, when she arrives in Illyria just after. Some mollification for your giant, sweet. I would dress Cesario in a simple costume like one that a servant in the Elizabethan times would wear. He may be a bad poet, but he's a poet nonetheless.
This sexual ambiguity is shown through the fact that after only three days, already Orsino has told Cesario all about his love for Olivia because he has been so impressed by him. Take away this fool,Specifically, the fool is relating how the theme of appearances conflicting with reality is related to Olivia's situation. This is certainly true with Shakespeare's play 'Twelfth Night', as it is merely a plagiarism of another play. Read an Olivia - A wealthy, beautiful, and noble Illyrian lady, Olivia is courted by Orsino and Sir Andrew Aguecheek, but to each of them she insists that she is in mourning for her brother, who has recently died, and will not marry for seven years. The situation and the character of Viola have been censured for their want of consistency and probability; it is therefore worth while to examine how far this criticism is true. The fact that she is so distraught needs to be emphasised in the staging of the play; I think a girly, vulnerable yelp, as well as almost hysterical tears would be appropriate.
Another important aspect of the staging in this scene is how to stage the relationship between Orsino and Cesario. To make it even weirder, that person has a crush on you! Everyone else around her, from her brother Sebastian, to Orsino and Olivia, is somewhat flighty, and in Olivia's case, moves from mourning to flirtation all in one fell swoop. One of the most interesting questions I had about Viola was why she did not go home after the ship wreck. She rebels against her parents—and society at large—by dressing as a man and acting in one of Shakespeare's plays. He is a complete, very dense fool, who can't help but misconstrue every word his friend Sir Toby says.
Washed up on the shore of Illyria when her ship is wrecked in a storm, Viola decides to make her own way in the world. And she can't be an actor because women aren't allowed on the stage. Actually, their hearts are as sensitive and loyal as ours are. Feste is quick-witted and quite skilled at wordplay; but he is also somewhat cruel, as seen in his behavior toward Malvolio. This concept exploits one of the Elizabethan stereotypes which is the uncertainty of the sexual identity. Whether he is singing to Orsino, arguing with Malvolio, or playing around with Viola, Feste always manages to sneak in a few symbolic foretokens before his exit. It is she who resolves to get revenge on Malvolio, after he embarrasses the party; she claims to have handwriting like Olivia's, and will use that gift to trick Malvolio.