Disorder of Society in Twelfth Night
The Twelfth Night bears elements that define the disorder of society, and the inevitable chaos that follows from a seemingly innocent act. The abundant carnivalesque elements within the play contribute to the notion that nothing is as it seems, building on the age old notion that there is more than meets the eye. In a type of social commentary, Shakespeare illustrates the idea that order is nothing more than a façade in the way that it pertains to gender and social roles.
With Queen Elizabeth I on the throne providing a new model for women, gender roles became immersed in a cloud of chaos and confusion. "Your lord does know my mind; I cannot love him; Yet I suppose him virtuous, know him noble, of great estate, of fresh and stainless youth; in voices well divulged, free, learned, and valiant; and in dimension and the shape of nature a gracious person; but yet I cannot love him (Greenblatt, 1.5.234-239)." Olivia defies the classic role of women- marriage. A marriage to the count would be most prosperous to her, as she will have the higher status and respect of being a married woman. He is a man most women would love to belong to, and yet, she continually refuses his attempts to win her over. She is a literary foil, in many respects, for the queen, who also refused claims of love and adoration. Olivia did not want to be ruled. After the death of her male relations, she found a new sort of freedom in the realization that she could make it on her own. Her social rank allowed her the chance to remain single and maintain a high standard of living. However, her position was not one that all women could claim for themselves. Single women of the time were the ones who were "singled" out as witches, and held as suspicious in the event of strange occurrences.
Acts of desperation ensue in the maintenance of independence in a world dominated by men. In an attempt to gain the love of Cesario, who is in reality Viola, Olivia says to him, "By maidenhood, honour, truth, and
With Queen Elizabeth I on the throne providing a new model for women, gender roles became immersed in a cloud of chaos and confusion. "Your lord does know my mind; I cannot love him; Yet I suppose him virtuous, know him noble, of great estate, of fresh and stainless youth; in voices well divulged, free, learned, and valiant; and in dimension and the shape of nature a gracious person; but yet I cannot love him (Greenblatt, 1.5.234-239)." Olivia defies the classic role of women- marriage. A marriage to the count would be most prosperous to her, as she will have the higher status and respect of being a married woman. He is a man most women would love to belong to, and yet, she continually refuses his attempts to win her over. She is a literary foil, in many respects, for the queen, who also refused claims of love and adoration. Olivia did not want to be ruled. After the death of her male relations, she found a new sort of freedom in the realization that she could make it on her own. Her social rank allowed her the chance to remain single and maintain a high standard of living. However, her position was not one that all women could claim for themselves. Single women of the time were the ones who were "singled" out as witches, and held as suspicious in the event of strange occurrences.
Acts of desperation ensue in the maintenance of independence in a world dominated by men. In an attempt to gain the love of Cesario, who is in reality Viola, Olivia says to him, "By maidenhood, honour, truth, and