Introduction
Shakespeare’s “Twelfth Night” examines love and its complexity through the lens of many distinct couples. The cultural standards and expectations surrounding love may make it either a constructive or destructive force (Powell). Indeed, the drama explores the difficulties of social class, gender, and desire, depicting the complexities of human feeling in the face of societal conventions. Twelfth Night’s protagonists are entangled in a web of unrequited love, fighting to overcome barriers of class, gender, and desire. By depicting romantic relationships involving unreciprocated love, “Twelfth Night” highlights the challenges posed by class, gender, and desire, revealing the limitations of societal norms and the complexity of human emotions.
Class
In “Twelfth Night”, social status is a major factor in the couples’ romantic interactions. The drama takes place in the imaginary nation of Illyria, characterized by its strict class structure. When people are treated differently depending on their actual or perceived socioeconomic status, this is known as classism (Choi and Matthew 762). When one social group oppresses another based on social status, this is known as classism.
It is the habit of labeling people differently according to their socioeconomic status (Choi and Matthew 763). One of the play’s main protagonists, Duke Orsino, benefits much from his privileged social standing regarding romantic pursuits. Because he is of similar social standing to Olivia, a wealthy countess, he can pursue her romantically.
Viola, the play’s heroine, confronts class issues aggressively when she pretends to be a male and works as a servant for the Duke. Viola has affection for the Duke but feels she cannot show them to him due to their social status differences. Wilkinson claims that socioeconomic status is a major factor in how same-sex couples are portrayed in punk rock (57). In this case, Viola notes in Act I Scene 5, “No, my profound heart. And yet by the very fangs of malice I swear I am not that I play”, referring to her disguised identity (Shakespeare 37). This sentence emphasizes how social standing is often thought of as fixed and unchangeable.
Wilkinson also draws attention to how the topic of love in punk music is entangled with issues of social class (58). He claims that working-class youth’s experiences and viewpoints influence the way same-sex desire is portrayed in punk music (Wilkinson 59). As a result, the young of the working class turned to this genre to vent their anger at the establishment and to discover new ways to define themselves and connect with others.
Olivia’s rejection of Orsino further highlights the significance of social standing in romantic relationships. Despite his undying love for her, Olivia rejects Orsino due to their vast social differences. Wilkinson argues that there is a nexus between love, class, and culture by analyzing the portrayal of same-sex relationships in punk music (57).
Therefore, Olivia rejects Orsino in The Twelfth Night by saying, “Your lord does know my mind. I cannot love him” (Shakespeare 41). This sentence highlights that social position is an essential consideration in romantic partnerships and that love is often impacted by influences outside the individual. Thus, the interplay between social status, culture, and romantic relationships is a complex and nuanced issue that requires further examination and understanding.
Gender
Gender also plays an essential role in the romantic relationships in “Twelfth Night”. Characters who defy gender norms and expectations are portrayed in the drama, which challenges traditional gender roles. Viola, who disguises herself as a male to secure employment with the Duke, is the most notable example. Eckley observes that O’Brien frequently depicts his female characters as “active participants in sexual relationships, rather than passive objects of male desire” (3). O’Brien’s female characters often exhibit a strong desire for romantic and sexual relationships, which challenges traditional notions of women’s sexuality. The concept applies to Viola, who expresses her romantic sentiments for the Duke without regard to gender norms.
The play also portrays Olivia’s relationship with Viola, who is disguised as Cesario, her servant. Olivia develops a crush on Cesario, and this crush challenges conventional gender roles. Eckley contends that the investigation of power dynamics relates the concept of gender to romantic relationships in O’Brien’s works.
Eckley observes that female characters frequently find themselves in unequal power relationships with male companions, which can lead to conflicts and difficulties in their romantic relationships. This reflects the larger societal power disparities between men and women, especially in intimate relationships. For example, Olivia states in Act III, Scene 1: “I love thee so, that, maugre all thy pride” (Shakespeare 101). This line emphasizes the fluidity of gender roles and the ability of love to transcend societal expectations.
In addition, the play examines the relationship between Maria and Sir Andrew Aguecheek. Sir Andrew belongs to the upper class, whereas Maria is of the inferior class. Eckley contends, based on O’Brien’s writings, that social and cultural expectations placed on women in intimate relationships challenge traditional gender roles and expectations, especially in terms of women’s sexual agency and autonomy (2). This reflects O’Brien’s broader critique of Irish society and culture, which she viewed as oppressive and limiting for women (Eckley 2). The relationship between Sir Andrew and Maria defies gender expectations. Sir Andrew is expected to pursue a woman of the same social standing as him, while Maria is expected to serve those of superior social standing. Their surmounting these expectations and pursuing a relationship demonstrates that love can transcend social norms and expectations.
The arrival of Viola’s twin brother, Sebastian, further complicates the notion of gender. When Olivia mistakes Sebastian for Cesario, she again expresses her love for him, further confusing the already complicated romantic relationships in the play. Initially, Olivia is attracted to Cesario, whom she believes to be a man, but later, she mistakes Sebastian for Cesario and continues expressing her love for him. This leads to a confusion of identity, as Olivia is unaware that Sebastian is a man and not the woman she thought she was in love with.
As a result, the relationship between Olivia and Sebastian is based on something other than true attraction but on Olivia’s mistaken identity. The concept is highlighted in Act 4, Scene 1, where Olivia, mistaking Sebastian for Cesario, says, “Be not offended, dear Cesario,” assuming that Sebastian is Cesario (Shakespeare 145). This confusion of identity emphasizes the challenges that arise when traditional gender norms are challenged in romantic relationships. It also highlights the role of mistaken identity in the play and how it contributes to the theme of unreciprocated love.
The character of Malvolio, who serves as Olivia’s steward, also embodies traditional gender roles in the play. He is uptight, strict, and disapproving of the other characters’ playful behavior. In Act 2, Scene 5, he admonishes Sir Toby Belch for his drunken behavior, saying, “You must amend your drunkenness” (Shakespeare 79). Malvolio’s rigid adherence to societal norms highlights how gender roles can limit individuals and their ability to form romantic relationships outside traditional norms.
Desire
The play “Twelfth Night” has desire as a significant subject, and it heavily influences the romantic relationships that are shown in the play. The drama examines the many motivations that may drive humans, such as passion, ambition, and romantic love. These needs often cause relationship problems and disagreements. According to de Chavez, Nancy and Badiou both provide distinctive viewpoints on desire and love that contradict conventional notions of these ideas (71). de Chavez contends that Nancy’s concept of the inoperative community challenges traditional ideas of love and community, often founded on shared ideals or objectives.
On the other hand, Nancy’s concept highlights the significance of desire and how it may unite individuals. Malvolio’s persona illustrates how conflict may arise out of desire in romantic relationships. As a result, desire is not aimed at any specific end or thing but is a basic feature of being human.
Olivia’s servant, Malvolio, aspires to position and power within the family. After other characters in the play write and send him a counterfeit letter, he becomes convinced that Olivia is in love with him. Malvolio is ambitious and desires to rise in society, which leads him to believe that Olivia is in love with him.
However, the other characters in the play trick him, and he ultimately realizes that the day’s events have dashed his desires. In Badiou’s view, an event is a moment of rupture that upends the existing order of things and makes way for novel ways of thinking and doing (de Chavez 75). This highlights how desire can lead to deception and manipulation and blind individuals to the truth. As such, desire is a key component of the event since it motivates people to behave in ways that disrupt the status quo, as shown in the character of Malvolio from Twelfth Night.
The relationship between Sir Toby Belch and Maria also emphasizes the importance of desire in romantic relationships. Malvolio’s desire for power and status led him to believe he had a chance at a romantic relationship with Olivia, ultimately leading to his humiliation and downfall. Sir Toby, who aspires to a life of ease and pleasure, amuses himself by encouraging Maria to trick and fool Malvolio. By highlighting the transformative potential of desire, de Chavez claims that Badiou’s interpretation of the incident offers new insight into desire and love (60). Maria eventually loses faith in Sir Toby because of his lack of drive and recklessness, which finally causes their relationship to fall apart.
The love connection between Orsino and Viola also emphasizes the importance of desire. Orsino falls in love with Viola, posing as Cesario, after originally falling in love with Olivia. This change in desire serves as a reminder that love is unpredictable and subject to evolution (Ake 376). Additionally, the fact that Viola is posing as Cesario and is unable to express her feelings for Orsino openly complicates her desire for him.
Desire is also explored through Viola because she is forced to suppress her own needs in order to survive in a society that restricts women’s agency. Despite her love for Orsino, she must disguise herself as a man to secure a position as his servant. This leads to a complicated dynamic where she is forced to navigate her own wants while also fulfilling her duties to Orsino.
Conclusion
In conclusion, Shakespeare’s “Twelfth Night” examines the complexity of romantic relationships through the lens of unrequited love. Class, gender, and desire stand for the intricacies of human emotions as well as the constraints of social conventions. Throughout the play, the characters struggle with unrequited love, gender identity, and social norms, leading to misunderstandings and complications. Love is central to the play, and Shakespeare presents various types of love, including romantic, unrequited, and self-love. Through the relationships between characters such as Orsino and Olivia, Olivia and Viola, and Malvolio and Olivia, Shakespeare explores the highs and lows of love, including the pain of unreciprocated love.
Gender is also a prominent aspect of the play, as Shakespeare plays with the conventions of gender roles and identity. The character of Viola, who disguises herself as a man, blurs the lines between male and female, challenging traditional gender norms. This leads to confusion and misunderstandings, particularly in the case of Olivia, who falls in love with Viola, mistaking her for a man.
On the other hand, desire is depicted through the various characters’ yearnings and longings for romantic and sexual fulfillment. Orsino’s infatuation with Olivia and Olivia’s desire for Viola both illustrate the all-consuming nature of desire, which leads to unrequited love. Ultimately, the play emphasizes the significance of recognizing the complexity of human emotions and embracing love.
Works Cited
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de Chavez, Jeremy. “Thinking (,)love: on Jean-Luc Nancy and Alain Badiou.” Journal of Comparative Literature and Aesthetics, vol. 39, no. 1-2, 2016, pp. 71-97. Web.
Eckley, Grace. “Edna O’Brien.” Contemporary Literary Criticism, edited by Carolyn Riley and Phyllis Carmel Mendelson, vol. 5, Gale, 1976. Web.
Powell, Alvin. “When Love and Science Double Date”. Academy Press. 2018. Web.
Shakespeare, William. “The Twelfth Night” Folger Shakespeare Library, edited by Barbara A. Mount and Paul Werstine. Web.
Wilkinson, David. “Ever Fallen In Love (With Someone You Shouldn’t Have?): Punk, Politics and Same-Sex Passion.” A Journal of Cultural Materialism, no. 13, 2015, pp. 57–76. Web.