Explore the ways in which Shakespeare presents gender in The Twelfth Night, giving reference to context and critical readings.
William Shakespeare brilliantly demonstrates the manner in which gender, a socially constructed identity, can be 'performed', subverted and impersonated through the use of voice, costume and mannerism. The confusion unleased by the subversion of gender and subsequent disguise creates a space in which social boundaries are suspended. When identities are obscured, there is an unparalleled freedom for female characters to test the limits of their power in courtship. In Twelfth Night, Shakespeare has complicated the gender roles of the relationship between Viola and Olivia by cloaking Viola as male. Her identity almost throughout is double-gendered, and romantic frustrations she feels as Viola in longing for Count Orsino leak into her audiences with Olivia as Cesario. The respect and friendship she feels for Olivia as a woman fuse with the latent desires of her heart to create in Olivia's eyes the irresistible illusion of an admirer. The fact that she plays both a male and a female part allows Shakespeare to test the limits of the female role in courtship. The theme is largely explored in relation to Shakespeare profession as an actor and writer for a transvestite stage. The relationship between gender and performance is thus complex with Viola originally played by a male actor, cross-dressed as a female character, who disguises herself as a young man. The text also meditates on the relationship between gender and desire as it explores the erotics of androgyny.
The situation of their meeting would not at first seem propitious for an intimacy to form between Viola and Olivia. Olivia is mourning the loss of her dear brother, and as such as presented as a stereotypical female, her mourning and grief is exaggerated with her refusing to emerge until "seven years heat"; Cesario is an emissary from an unwanted suitor, and is only begrudgingly granted admittance. "Most radiant, exquisite and unmatchable beauty-" (I, v, 170) she begins in solemn attention to her text. This praise is contrived and stilted, unlike the free and conversational tone that usually distinguishes Viola's diction. The break signals an abrupt transition into candor, where she reveals she has "taken great pains to con" praise like that above Viola's sharp wit has quickly revealed itself. She attempts to recite the verses that Orsino has entrusted to her, but her embellishments soon distract Olivia's attention from any thoughts of Orsino. Olivia has had too much of the coolly composed love declarations characteristic of the Duke, and Cesario's own remarks make a lively departure from Orsino's verse which mirrors that of a sickly lover, labelling Olivia as "most radiant beauty", objectifying Olivia and seeing only her beauty as opposed to her personality . The use of the adjective "radiant" Viola continues to ad-lib, with the consequence of undermining Orsin...
