To what extent does Shakespeare provide his audience Essay Example

confessing her love for Orsino. Unaware of her true identity, Orsino advises "him" to love someone younger. However, at the end of the play, Orsino realizes that he has developed feelings for a woman and "falls in love" with her.

'You shall from now on be the mistress of your masters' mistress' (A1S2L304-305).'

Despite the cross-dressing and confusion, Viola ultimately achieves a satisfying resolution, which would please both audiences. In Elizabethan theatre, it would have been a man portraying the woman who pretends to be a man.

Viola encounters her ultimate challenge when Olivia confesses her love for Cessario.

'Love that is desired is good, but love that is given without being asked for is even better.' (A3S1L141)

Viola faces difficulties in refusing Olivia's advances without exposing her true self. The situation becomes even more perplexing when, after marrying Sebastian, Olivia refers to Viola as her 'husband' (using the name Cessario). Eventually, the true identities are unveiled and Viola is relieved to find out that her brother is actually the one married to Olivia.'

Throughout the play, Orsino's main problem revolves around his love for Olivia and her continuous rejection. Orsino is infatuated with the concept of love, as seen in his famous line, "If music be the food of love, play on" (A1S1L1), and he harbors courtly love for Olivia. His solution to win her over is to send Cessario to court her on his behalf. However, this only worsens the situation as Olivia develops feelings for Cessario. Towards the end of the play, Olivia becomes even more distant and rejects Orsino once again.

Orsino threatens to kill Cessario despite his growing fondness for him, purely to spite Olivia. Orsino

describes his fondness for Cessario by saying, 'It is as fat and fulsome to mine ear As howling after music' (A5S1L98-99).

'I will offer up the lamb which I truly adore, to show my disdain for a heart filled with deceit hiding within an innocent dove' (A5S1L119-120). When Viola discloses her true identity, Orsino develops romantic feelings for her instead.

'I shall have a part in this incredibly fortunate event' (A5S1L250). This might please an audience from the Elizabethan era because instant true love was often depicted in plays. However, a contemporary audience might be more doubtful of Orsino's fickleness, as he quickly changes his opinion from 'Here comes the countess, now heaven walks on earth' (A5S1L86) to 'But when in other disguises you are seen, Orsino's mistress and his fancy's queen' (A5S1L364-365) all in one scene.

Orsino's confusion over his feelings for Cessario is resolved, as it is possible that Orsino has only agreed to 'love' Viola.

Olivia is facing several challenges, with the first one being her grieving over the loss of her brother.

'Till seven years' heat' (A1S2L26) and 'A brother's dead love,' (A1S2L31) are references made by Olivia. Olivia utilizes this '7 years mourning' as a defensive mechanism to reject Orsino's advances, stating that she is incapable of tolerating the presence of men.

'(They say) she has renounced the presence
And company of men.' (A1S2L40-41)

However, while still mourning, Olivia develops feelings for Cessario and abandons her mourning.

Olivia stops wearing her black dress and hints at her love for Cessario, which leads me to believe that it is time for her to smile again (A3S1L111).

Although Olivia is being fickle, this unsatisfying ending to the problem may be relatable

to Elizabethan audiences, particularly those of the higher classes. Women during that time were frequently forced into marriages they did not desire, and the excuse of 'mourning' would have been a clever way to avoid unwanted unions.

Olivia is faced with another issue- Cessario's refusal to love her.

Cessario asserts that no woman other than himself has his heart, indicating his true identity. Olivia disagrees and continues to pursue him. Olivia proposes marriage to Sebastian, mistaking him for Cessario. She is humiliated when the truth is revealed, having been engaged to both a woman and a man, but ultimately relieved that she ended up marrying the man.

'Nature in her bias drew that.' (A5S1L244) signifies that it was destiny for her to marry a man rather than being deceived.

This would please and amuse the Elizabethan audience. They would find it humorous when Olivia becomes confused upon discovering that the person dressed as a man (Viola/Cessario) is actually a woman.

Olivia's ultimate challenge involves Orsino, Sir Andrew, and Malvolio, who all strive to win her affections. Orsino repeatedly faces rejection, while Sir Andrew's foolish antics fail to capture Olivia's attention, despite his unwavering confidence in his ability to win her heart. In contrast, Malvolio, convinced that Olivia loves him, approaches her in a state of madness, donning yellow cross-gartered attire and yellow stockings.

"Wilt thou go to bed Malvolio?"

"To bed? Ay, sweetheart, and I'll come to thee"

"God comfort thee! Why does thou smile so and kiss thy hand so oft?"' (A3S4L27-30)

Olivia thinks that Malvolio is either sick or insane and instructs him to go rest. However, Malvolio misinterprets this as an invitation to join her in bed. Olivia calls for

someone to take care of him.

This concept would elicit laughter from a contemporary audience, but it would have a more profound impact on a Shakespearian audience. The wealthier segment of the audience would find amusement in the scandalous notion of a servant deluding himself into thinking his mistress loves him, while the less fortunate members would derive satisfaction from the idea of underprivileged servants and marginalized family members attaining retribution.

Throughout the play, Malvolio's main problem is his infatuation with Olivia. In the middle of the play, he comes across a note and mistakenly believes it is from Olivia professing her love for him. Taking the note's instructions to heart, he behaves in accordance with its directives: being hostile towards his relatives and brusque with the servants, and even goes as far as wearing yellow stockings and crossing them. He arrives at Olivia's residence with a smile on his face, ready to flaunt his new persona and treat the servants disrespectfully.

Olivia holds the belief that he is insane and thus summons someone to attend to him. However, he manages to persuade himself that she genuinely harbors romantic feelings for him. Consequently, Malvolio gets confined due to his supposed madness and gradually falls under the delusion that he is indeed insane. In due course, Sir Toby decides that they have taken the jest too far and departs, leading Feste to permit Malvolio to pen a letter addressed to Olivia. Once released, Malvolio discovers the deceit and vows vengeance upon all involved:

'I'll be revenged on the whole pack of you!' (A5S1L355)

This outcome would gratify an Elizabethan audience by ensuring that the antagonist receives due retribution. Nevertheless, a contemporary

audience may feel empathy towards Malvolio as a result of his harsh treatment. Moreover, this ending lacks complete closure since it leaves the audience pondering the nature of his revenge.

Sir Toby's initial issue in the play is his excessive consumption of alcohol. He fails to acknowledge it as a problem and, as a result, it remains unresolved. However, this becomes a major source of comedic amusement and would undoubtedly entertain any audience.

'I despise an intoxicated scoundrel' (A5S1L185-186)

The protagonist's subsequent issue is his affection for Maria, which he gradually comprehends throughout the course of the play. Maria and Sir Toby wed, however, this is not gratifying to the audience as they are not afforded the opportunity to witness the nuptials firsthand; instead, they are merely informed of it at the play's conclusion.

'In compensation for this, he has married her.' (A5S1L343) This also suggests that Sir Toby may have only married her to prevent her from getting into trouble for the prank they pulled on Malvolio.

Sir Toby's unresolved debt to Sir Andrew, which remains unpaid throughout the play and is subsequently forgotten, would likely leave audiences unsatisfied.

Sir Andrew is the most foolish character in the play.

'[Reads] Fare thee well, and god have mercy upon one of Our souls! He may have mercy on mine, but my hope is better, And so look to thyself, thy friend, as thou usest him, and thy sworn Enemy, Andrew Aguecheek' (A3S4L140-144 Sir Andrews duel letter to Cessario)' Although his character is slightly developed with the line 'I was adored once too.' He believes he has a chance with Olivia, 'A foolish knight that you brought in one night Here to

be her wooer' (A1S3L12-13), and considers Sir Toby his friend. However, he eventually realizes that he has no hope with Olivia, 'Faith, I’ll home tomorrow, Sirtoby; your niece will not Be seen' (A1S3L86-87), as she consistently ignores him throughout the play. Additionally, Sir Toby finally reveals his true feelings towards him at the end of the play.

'Will you help - an ass-head, and a coxcomb, and a knave, a thin faced knave, a gull? (A5S1L190-191), and Sebastian departs without uttering any further words.

The dissatisfaction is greater for modern audiences compared to Elizabethan audiences. Modern viewers would feel pity for the character and desire to witness a reaction, whereas Elizabethan spectators would find amusement in the foolish man's dismissal but wonder about the absence of a clear resolution as he fades away.

Sebastian arrives in the middle of the play, saved by Antonio and thinking that his sister has died.

'For some time before you pulled me out of the sea, my sister was drowned' (A2S1L14-15).

At Orsino's court, he is frequently mistaken for Cessario. When Olivia also confuses him as Cessario, she asks him to marry her. She says, "Now go with me, and with this holy man, Into the chantry by; there before him, And underneath that consecrated roof, Plight me the full assurance of your faith." (A4S3L23-26).

Sebastian, who is confused, accepts the offer. Later, Cessario is mistaken for Olivia's husband, causing chaos. However, everything is revealed when Sebastian arrives. This would entertain both Shakespearean people and modern audiences, as the chaos and confusion would be amusing to both groups.

Antonio, a fugitive in Illyria, puts his life at risk to ensure the safety of Sebastian.

'I have

numerous foes among the individuals in Orsino's court' (A2S2L33)