Insanity In Twelfth Night

In Twelfth Night, Shakespeare constantly alludes to the contrast between darkness and light by the use of secrets, mistaken identities and the contrast between sanity and insanity. With this motif Shakespeare shows us that if we act on first impressions without the true knowledge of the entity of the situation or character, then the misinformed motives will surely be in vain; and our efforts futile. Creating much dysfunction within the play, Viola’s manly disguise as Cesario creates confusion between Olivia, whom is in love with Viola’s disguise, along with Orsino, who is unable to explain his infatuation with Cesario. When we are first introduced to Olivia, she refuses to be courted by the Duke Orsino or Sir Andrew Aguecheek, claiming to
Calling Orsino’s love a “heresy” as Viola delivers a message from the Duke seems ironic because of the fact that Olivia actually falls in love with the woman carrying the message (1.5.205). This prime example of mistaken identity causes Olivia’s attempts at winning Cesario’s love seem feeble and ignorant, especially as she sends off Malvolio to deliver a ring to her new found love. With every time Viola declines Olivia’s love, Olivia’s affection only grows stronger and more determined toward Cesario, only stoking the already blazing fire of smoldering misunderstanding, causing the heavy plume of chaos and dysfunction to climb higher and higher into the sky of the human psyche until the situation’s melting point is reached and the truth alone is left. Just as the reader feels the awkwardness of Olivia’s love for Cesario, the feeling is just as potent for Orsino’s love for Viola. Although it is perfectly natural for Orsino to have the feelings he does for Viola, the reader experiences awkwardness equal to that of Olivia’s feelings
Yet, in Orsino’s case, the reader feels sympathy for the poor guy, as though he is being tricked into doubting and second-guessing his instincts by Viola. While the ones around her suffer from being kept in the dark, Viola is certainly not immune to the effects of her deception. Along with keeping her safe, Viola’s disguise also hinders her from bringing her affection for Orsino into light. This inability to portray her true emotions only thickens the broth of the plot stew that Shakespeare has been concocting since “If music be the food of love, play on” (1.1.1.). After being plagued by darkness and deception for most of the play, the revelation of Viola’s true identity douses the fire of misconstruction and single-handedly overthrows the terrible tyranny of misconception that so violently ruled these humble people for far too many acts. Once her true identity is out in the open for everyone to gaze upon, Orsino wastes no time in having her hand in marriage. Although he knows her true gender, Cesario says to Viola “Boy, thou hast said to me a thousand times / Thou never should’st love woman like to me” (5.1.260–261). This resolution would seemingly leave Olivia in the dumps, yet the joyous light cast by Viola’s ability to muster up the strength to shine calls