Book Reviews and Analysis

CROSS-DRESSING - As with Transvestite comedies, the concept of cross-dressing is seminal to it in such that it is a physical manifestation of the disorder from which comedies thrive. As well as this it allows characters, such as Viola, to liberate themselves from the conformity and oppression of their sex. By pretending to be the dominant sex during the era she can express not only her sexual but social desires with relative freedom. Contrarily this pretence has its limitations and in some cases becomes the character’s hindrance as she cannot reveal her love or engage in courtship. Other characters such as Maria and Olivia also show perhaps the lack of necessity for this disguise as they have already exercised control in their own lives, which amounts to an almost synonymous power to that of a man without cross-dressing. This usage of cross-dress also allows Viola freedom of expression of not only sexual desires but also allows her to understand and get to know Orsino on a more personal and commensurate level; exploring their attraction as she otherwise wouldn’t have been able to as it was the parents who conducted the marital organisations. 

 

Despite the opportunity for homoeroticism through this medium, as comic convention dictates, heteronormative society must be resumed along with the new world so as to pacify even the most conservative of audiences. 

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GENDER RESTRICTIONS - Due to constrictive nature of the Renaissance period, many preferred to live out that which they desired; freedom to express opinions, lucidity or even homosexuality through the medium of plays, with neither party socially shunned afterwards, living vicariously through the actors.Through her disguise as a Eunuch, she can more freely and brazenly express her thoughts and opinions without the same repercussions as would be associated with this form of dalliance if it was a woman partaking in it. She flirtatiously alludes to her love for a woman matching Orsino's description to his face, a licentious act that, had she been discovered as a woman, would most likely resulted in a public scandal and her being considered libidinous, but her complete dismissal of this shows the confidence to act that this costume has granted her.  Reversely, other protagonists could be thought to be utilising Viola’s genetically ambiguous character to subconsciously validate their own homoerotic desires (i.e. Olivia/Orsino)

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INVERSION OF GENDER TROPES - The complete subversion of gender sanctions is played out in this comedy, allowing Viola to accomplish a standing in society unrivalled by any held by a woman. Furthermore, Viola, as Cesario, can dominate not only the stage but the conversations she holds.  Another instance of this self-sufficiency is shown through her ability to respond quickly and easily to Feste’s sage yet cryptic riddles, not confounded by his wit or reserved due to her gender and instead shows herself to not be a fool.

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POWERFUL FEMALE PROTAGONISTS - Other female protagonists helping to orchestrate and control the plot do not seem to require the extra assistance in the form of cross-dressing, instead dominating solely as women. Olivia appears to be liberated and powerful already; expressing her desires and enacting her will freely without inhibition. Malvolio’s subservience and veneration of Olivia directly portrays the impact of her power. She also has inadvertently managed to have men fall in love with her, both Orsino and Malvolio without the need for disguise perhaps showing the artificiality of Viola and Orsino’s love. However the length of Olivia’s speech is consistently lengthy throughout, even after Viola is silenced, showing the disparity of strength and power between the two, suggesting Viola's empowerment is temporary and dependent on disguise. 

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In addition, the character Maria known as the lady of misrule, manages to compose an entire stratagem to humiliate the antagonist, Malvolio, as a woman and without the need for assistance from her counterpart Lord of Misrule, Sir Toby. Maria actively devises a cruel plan to enact this revenge for his enmity, all without the need for a disguise for any kind. 

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EFFETE TRAITS/LEVELS OF MASCULINITY - Shakespeare has portrayed Viola as a eunuch instead of a more masculine figure; by choosing the supposedly lowest form of masculinity she has not fully transitioned into a man. Yet she is no longer a woman therefore occupies a liminal space, a 'nothing', a non-entity which grants her further freedom and demonstrates further how ordinary limitations are nonexistent in the greenworld. 

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