“Twelfth Night”: Subversion of Societal Expectations and Gender Norms

 

Shakespeare's "Twelfth Night" is a comedic masterpiece, with an intricate plot, witty dialogue, and a rich tapestry of complex characters. Within this comedic framework lies hidden power dynamics and subversion of societal expectations present throughout the play particularly through Viola's transformative disguise as Cesario, Olivia’s subversion of societal expectations of marriage, and the societal implications of love and ambition. Shakespeare’s manipulation of these themes adds depth to the play and invites audiences to examine the complexities of identity, desire, and societal roles to reveal the underlying commentary on authority, gender, and social structure. Specifically challenging established notions of gender roles, suggesting that identity is fluid and not bound by traditional expectations, critiquing the patriarchal structures that govern marriage, advocating for individual agency and autonomy in matters of love, and delving into the complexities of ambition and the pursuit of love, the play reveals the consequences of unchecked desires and societal pressures. By dissecting these themes, “Twelfth Night” offers an insightful commentary on authority, gender, and social structure, inviting viewers to reflect on the limitations of societal conventions and the continuing relevance of these issues in contemporary society.

 

“Twelfth Night” challenges traditional notions of masculinity and femininity from the beginning, as evidenced by the character of Viola. Viola disguises herself as Cesario, assuming a male identity to safely navigate a world dominated by men on her own. While speaking to the captain she says, “I prithee (and I’ll pay thee bounteously) Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent. I’ll serve this duke. Thou shalt present me as a eunuch to him.” (Act 1, Scene 2) Viola's decision to disguise herself as Cesario becomes a focal point for the play, emphasizing the fluidity of gender identity and challenging established notions of traditional gender roles, suggesting that identity is not fixed but rather flexible and influenced by social constructs. A.D.  Nuttal states, “ Shakespeare must have known that the idea of identical twins of opposite sexes is a biological nonsense.” (Nuttall 245), However, although the audience also acknowledges the truth to this statement, it works in this situation because Viola and Sebastian are portrayed to be so similar. Nuttall continues, “ This is because of her beauty, a beauty possessed in equal measure by her brother. This intersexual beauty has a Platonic flavor.”, meaning that the beauty that the twins possess is neither very masculine nor very feminine standard. Viola’s decision to disguise herself as a man also allows her to sidestep the limitations placed on young, unmarried women in that period. This choice also disputes the notion that certain behaviors or roles are exclusive to one gender and invites audiences to reflect on the limitations of traditional social conventions regarding social structure and gender  As Cesario, Viola displays her ingenuity and confronts societal norms. She travels unaccompanied as the duke’s messenger and defies the limitations placed on women in the play. She can conceal herself brilliantly, as Bloom States “ Her diction has the widest range in the play, since she varies her language according to the vagaries of others’ speech.” (Bloom 232) Viola can effortlessly adapt to her surroundings and interact with those around her in a way that shows she reads others well, showing that her voice is ever-changing.  As she navigates her new identity, Viola reflects upon the fluidity of gender, remarking, "I am the man. If it be so, as 'tis, poor lady, / She were better love a dream" (Shakespeare 2.2.26-27). This self-awareness underscores Viola's acknowledgment of the composed nature of gender and the performative aspects of identity. Her ability to seamlessly embody both masculine and feminine characteristics defies the binary understanding of gender, inviting audiences to reconsider the limitations of societal conventions. Viola’s disguise acts as an emotional reflection on the navigation of identity in the face of societal expectations and offers a window into the complexities of gender identity formation and the subversion of traditional gender norms. Viola's journey resonates with modern discourses on gender identity and fluidity, prompting audiences to reflect on the prevailing relevance of these themes in modern society. In an era marked by increasing awareness of diverse gender identities and expressions, Viola's portrayal is a reminder of the complexities inherent in navigating societal norms. Through her transformative disguise, Viola dares viewers to reconsider the rigidity of gender roles and embrace the idea of fluid and evolving identities.

 Olivia presents an intriguing study of the limitations placed upon women. In "Twelfth Night”, Olivia, who is portrayed as a grieving lady, is the character that subverts gender norms the most, through subtle, not necessarily over-the-top, public ways. Olivia's journey through mourning and her love for Cesario acts as an exploration of identity and gender dynamics, challenging entrenched notions of gender roles and societal expectations surrounding marriage. In the Elizabethan era, women were often expected to adhere to strict mourning rituals, and their emotions were sometimes confined to predefined expressions of grief. Olivia's mourning, therefore, becomes a lens through which the play critiques the limitations imposed on women's emotional expression. Shakespeare, The Oxford Guide states “Many feminist critics have argued that in the middle portion of his comedies, Shakespeare offers a ‘world upside down’ in which women have powers not usually granted to them in the ‘real world ‘ of Elizabethan England.” (Wells 414) This is evident when Olivia uses her mourning as a means of empowerment instead of succumbing to grief and withdrawing from society. Olivia uses the mourning of her brother to refuse all suitors,  allowing her to stay single for seven years if she chooses. This is to Olivia’s benefit because she can keep control of her own household and fortune while she is not married. Olivia’s decision to reject Duke Orsino defies the traditional role of women in courtship where women were expected to be passive in courtship. Women were often viewed as the pursued rather than the pursuers in romantic relationships, with their role primarily limited to accepting or rejecting suitors based on the desires of their male counterparts or their families. This expectation was deeply rooted in patriarchal norms that positioned men as the active agents in courtship. At the same time, women were seen as the object of desire or the prize to be won without their individuality or needs being taken into consideration and expected to maintain modesty, chastity, and obedience. Often in traditional courtship, women’s agency is conceded in the search of the man’s interest. In "Twelfth Night," Olivia's defiance of this expectation is particularly striking. Olivia takes on an additional layer of complexity when she becomes attracted to Viola, who is disguised as Cesario. "Thy tongue, thy face, thy limbs, actions, and spirit, do give thee five-fold blazon. Not too fast! Soft, soft! Unless the master were the man. How now? Even so quickly may one catch the plague?" (Act 1, Scene 5) This plot twist introduces a dynamic that blurs traditional gender boundaries. Olivia's desire for Cesario, unaware of Viola's true identity, can be seen as a form of liberation from traditional gender norms, suggesting that love can transcend societal expectations and disrupt the conventional heterosexual narrative. Olivia falling for Viola as Cesario could mean that she does not want a partner that could be seen to physically overpower her or be as a traditional man would be in the relationship. Olivia’s actions display significant autonomy for the time period, Olivia takes agency in pursuing her desires, actively courting Cesario despite societal conventions dictating otherwise. As she expresses her affection for Cesario, Olivia boldly declares, "I love thee so, that, maugre all thy pride, / Nor wit nor reason can my passion hide" (Shakespeare 3.1.144-145). Her boldness confronts traditional gender roles and disrupts the power dynamics inherent in courtship, where men typically hold the upper hand. Olivia's assertiveness not only subverts societal expectations but also asserts her own agency in matters of love and desire. Olivia's actions reflect a departure from the passive role normally given to women in courtship, emphasizing the complexity of gender dynamics in Shakespeare's society. Her willingness to express her desires openly and to actively pursue Cesario tests the notion that women must wait passively for men to court them. Instead, Olivia's agency in courtship serves as a powerful commentary on the limitations of societal conventions and the importance of women asserting their autonomy. however, Olivia's agency is not absolute. Her freedom is restricted, and her decisions are influenced by the patriarchal norms of the time. Despite her refusal of Duke Orsino's advances, she marries Sebastion/Cesario (Viola) at the play's conclusion. This outcome recognizes both her moments of resistance and the constraints imposed by the patriarchal structures of the time. In current society, where discussions surrounding gender equality and autonomy continue to evolve, Olivia's story resonates as a powerful reminder of the ongoing struggle against restrictive norms and the importance of asserting individual agency in defining one's identity and desires.

Furthermore, Olivia's character invites reflection on the intersectionality of gender and power dynamics, as her agency is influenced by factors such as her social status and familial obligations. This intersectionality resonates with present-day discussions surrounding privilege, inequality, and the ways in which societal structures shape individual agency and opportunities.

"Twelfth Night" shows the intricate power dynamics of desire and the objectification of women within romantic pursuits. In the beginning of the play, Duke Orsino exemplifies the patriarchal authority and objectification of women prevalent in the play's society. In fact, his opening lines .objectify love and romantic pursuits altogether,, "If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die." (Shakespeare 1.1.1-3).Orsino compares love to food, suggesting that it is essential for him just as food is necessary to live, however, Orsino also suggests that he wants to consume so much love that he becomes sick of it. He is overwhelmed by his unfulfilled desires. His persistent pursuit of Olivia reflects a sense of entitlement and control, as he sees her primarily as an object of his desire rather than as a fully realized individual. However, the introduction of Viola, disguised as Cesario, disrupts Orsino's assumptions about desire and gender. Despite believing Cesario to be a man, Orsino finds himself confiding in him, sharing intimate thoughts and emotions that he would not typically express to another man. This suggests that Orsino's attraction to Cesario transcends traditional gender boundaries, blurring the lines between friendship, admiration, and romantic desires Cesario, Viola exhibits traits traditionally associated with masculinity, such as assertiveness, courage, and loyalty. Yet, at the same time, she retains her inherent femininity, as evidenced by her emotional vulnerability and empathy. Orsino's growing affection for Cesario forces him to confront the limitations of societal norms and the fluidity of gender identity. He begins to question whether his attraction to Cesario invalidates his feelings for Olivia or if it reflects a deeper understanding of desire beyond superficial appearances. Viola’s presence disputes traditional gender roles and expectations, as she navigates the complexities of identity while caught in a web of mistaken identities and unrequited love. Viola/Cesario's role as the object of affection for both Duke Orsino and Olivia illustrates the ways in which women are often reduced to passive objects of desire, their autonomy and individuality overshadowed by male-driven narratives. Through various characters, the play emphasizes the autonomy of women in making romantic choices and complexities power dynamics inherent in romantic pursuits. Viola/Cesario becomes the recipient of affection for both Duke Orsino and Olivia, accentuating the exploration of love and its influence on gender relations within the play. Viola's struggle to navigate her own feelings while maintaining her disguise adds a layer of emotional complexity to the triangle, underscoring the fluidity of desire and the limitations of societal expectations. The play explores unconventional desires, particularly Olivia's attraction to Viola in her Cesario disguise. Olivia finds herself drawn to Viola's sincerity and charm, regardless of Cesario's outward appearance. Olivia's declaration of love to Viola, "Cesario, by the roses of the spring, / By maidhood, honor, truth, and everything, / I love thee so, that, maugre all thy pride, / Nor wit nor reason can my passion hide" (Shakespeare 3.1.139-142), calls attention to the depth of her feelings and the fluidity of desire beyond traditional gender boundaries. This storyline counters established notions of gender roles and offers insightful commentary on authority, gender, and social structure.  It also opposes heteronormative expectations and suggests that love can transcend traditional gender roles. It introduces a more inclusive and diverse perspective on romantic relationships. Olivia's rejection of Orsino's advances and her eventual choice to marry Sebastian/Viola (Cesario) at the end of the play reflects a departure from the idea that women should passively accept proposals. This autonomy aligns with modern feminist principles of women having agency in their personal lives. the exploration of mistaken identities and the fluidity of desire challenge traditional notions of gender and sexuality, reflecting ongoing discussions surrounding LGBTQ+ identities and relationships. Olivia's attraction to Viola/Cesario, despite her initial belief that Cesario is a man, gives prominence to the fluidity of attraction beyond traditional gender boundaries, a concept increasingly acknowledged and celebrated in modern society. Moreover, Viola's struggle to navigate her feelings while maintaining her disguise speaks to the broader theme of authenticity and self-expression, which are highly valued in today’s culture.

Malvolio's character arc brings to light the consequences of ambition and societal expectations. From the beginning of the play, Malvolio is portrayed as a character that is driven by an intense desire for social advancement. His firm commitment to upholding the conventions of his social class leads him to adopt a demeanor of self-importance and superiority, believing himself to be deserving of higher status within Olivia's household. His self-deception, fueled by his ambition and desire for status, blinds him to the absurdity of his aspirations and the reality of his social standing. This leads to his eventual downfall underscoring the dimensions of power imbalances among men and women within early modern society. “Be not afraid of greatness. Some are born great, Some achieve greatness, and some have greatness thrust upon ‘em,” (Shakespeare 2.5.138) This quote suggests that greatness can be attained in various ways and reflects the idea that greatness is not solely determined by one’s circumstances at birth, but can also be achieved through effort ambition or unforeseen opportunities. This resonates with Malvolio as he aspires to be more than he is. Malvolio’s character serves as a cautionary tale, stressing the ways in which rigid adherence to societal norms can lead to the marginalization and subjugation of individuals, particularly those who defy traditional gender roles as he did when he willingly followed all the elements of the letter he believed to be from Olivia. As Malvolio's ambition drives him to pursue Olivia's affections, he becomes increasingly isolated from those around him, alienating himself from the other characters through his arrogance and self-righteousness. This isolation ultimately leaves Malvolio vulnerable to manipulation by Sir Toby and Maria, who exploit his vanity and ambition to orchestrate his downfall. The subplot in the play involving Maria’s prank on Malvolio is also another example subverting power dynamics in “Twelfth Night” Malvolio’s status as a steward grants him a degree of authority and privilege, yet his downfall exposes the limitations of his power and the vulnerability of those who oppose societal norms., but Maria, , is a clever and resourceful woman. Bloom  states “Maria, a natural comic, has a dangerous inwardness, and is the one truly malicious character in “Twelfth Night”. She cooly considers whether her stratagems will drive Malvolio Mad and concludes: “The house will be quieter.”” (Bloom 237-238). Maria’s  prank was a blatant sabotage of the traditional household dynamics at a time when household servant hierarchies were rigidly structured and shows a woman taking control of the narrative with a disagreeable person, which could be seen as a form of resistance to the societal structure of the time period that limited women's agency. Her role in planning the prank also contests the stereotype that mischief and control are exclusive to male characters. In today's world, where social media and societal pressures often fuel a relentless pursuit of success and validation, Malvolio serves as a poignant reminder of the pitfalls of prioritizing external validation over personal integrity. His unwavering ambition and desire for social advancement reflect the pressures many individuals face to achieve success and recognition, often at the expense of their own well-being and authenticity. Moreover, Malvolio's eventual downfall at the hands of those who exploit his vulnerabilities speaks to broader issues of power dynamics and manipulation in modern-day society. Instances of manipulation and exploitation, whether in the workplace, politics, or personal relationships, are all too common, bring out the current relevance of Malvolio's story. Additionally, Malvolio's isolation and vulnerability serve as a reminder of the importance of social connections and support networks in navigating life's trials—a theme that remains pertinent in today's increasingly interconnected yet often isolating world.

Within the comedic framework of “Twelfth Night", a rich tapestry of complex characters, an intricate plot, and witty dialogue encourage a nuanced exploration of gender dynamics, power struggles, and societal expectations within early modern society. Specifically challenging established notions of gender roles, suggesting that identity is fluid and not bound by traditional expectations, critiquing the patriarchal structures that govern marriage, advocating for individual agency and autonomy in matters of love, and delving into the complexities of ambition and the pursuit of love, the play reveals the consequences of unchecked desires and societal pressures. Considering the transformative disguise of Viola/Cesario, the subversion of marital and societal expectations by Olivia, and the societal implications of love and ambition and the complexities of love and desire, "Twelfth Night" offers profound insights into the negotiation of gender identity and agency within Shakespeare's world. Shakespeare’s manipulation of these themes adds depth to the play and invites audiences to examine the complexities of identity, desire, and societal roles to reveal the underlying commentary on authority, gender, and social structure. As such, the play continues to resonate with current audiences, inviting ongoing discussions on gender, identity, and societal expectations the limitations of societal conventions, and the enduring relevance of these issues in contemporary society.

 

 

References

Bloom, Harold. Shakespeare The Invention of the Human. New York: Riverhead Books, 1998.

Nuttall, A.D. Shakespeare The Thinker. New Haven: Yale College, 2007.

Shakespeare, William. Twelfth Night. 1623.

Wells, Stanley, Orlin, Lena Cowen. Shakespeare An Oxford Guide. New York: Oxford University Press, 2003.