Sex and Gender in Twelfth Night

Sex and Desire The connexion of sex, want and sexuality have long been a source of wide interest, but no more so than in the plays of William Shakespe be. Specifically, in their solvekey production and for some time afterwards, common practice dictated authoritative types for wo workforce and men. Analysis of these berths yields interesting insights regarding the value of women and how the relative devaluing of women shaped sexual desire and normal sex activity lineaments. In this paper, I will attempt to get with several features of Shakespeargons twelfth part nighttime that have bearing on hu objet dart desire.Before identifying significant features of Shakespeares plays in general and Twelfth Night in particular that have bearing on the question of gender roles and the shaping of desire, it will important to remind ourselves about the cultural limitations for women of 16th century England. Callaghan reminds us that woman had no public life. Even in the home, they c ould rarely manifest characteristics that are non consistent with the virtues obedience, silence, sexual chastity, piety, humility, constancy, and patience. Those virtues taught women to not telephone for their selves, to not be agents in their world.In fact, breedingalists in this time state that women were too cognitively limited to get a full education and too likely to be led by their own emotions than to think rationally. Tears were called womens weapons, notwithstanding, in the right situation, it was perfectly acceptable for men to cry. However, it is interesting to note that in a lot of Shakespeares plays involvek mens insecurities about women. It shows that men fear losing control. In closely of the heroines of his comedies, while they might have turned to their feminine roles in the end, they achieved a type of empowerment.In general it appears clear that womens roles were severely limited inwardly and outside the home. How is this domestication of women revealed i n Shakespearian theatre? In the Twelfth Night? First, what is the significance of Shakespearian practice of allo captivateg men to play the roles of women? In her criticism, Callaghan argues that Shakespeare is mocking women in Twelfth Night. She argues that Shakespeare specifically inserted a transvestite role to show that no matter what women do, they will eventually submit to a man. However, in my view, Shakespeare had none of this in mind when he placed that role in his play.He uses plot of gender confusion to cause chaos for his characters through have it awaymaking triangles, paederasticity, and role flip outing. Second, how are we to understand Shakespeares plot twists that problematize gender roles? For examples, Viola washes up in Illyria after a ship ruin that she thinks took her brothers life. She discovers Orsino is the authority in the land. After this discovery, she says to the captain cloak me what I am, and be my aid. For such disguise as haply shall bring a bout the form of my intent. Ill serve this duke. Thou shalt present me as an castrate to him.It may be worth thy pains, for I can sing and serve up to him in m each sorts of music (1. 2, 51-56) She is saying that she wants the captain to help her pass as a man. However, she knows that she cannot fully pass as a man so she must at least pass as a eunuch. This sets off a series of events that throws the characters into multiple love triangles and gender switching. For a while Orsino has been apostrophizeing Olivia by sending her notes, tokens, and sonnets. His subjects see him as flighty, soft, and sparingly feminine. However, it seems like Curio is trying to turn it into a manly enlivened by referring to it as a hunt (1. , 16). This is relevant because usually the theatrics are reserved for the women and their women weapons. Some time after this, when Viola has been introduced as Cesario, Orsino sends him (her) to, yet again, try to woo Olivia. However, none of them saw Olivia falling in love with Violas masculine character. Olivia experiences a gender switch when she move into the usually masculine role of wooer in attempt to win Cesarios heart. Perhaps the biggest thing that would have upset a tralatitious structure is the fact that Olivia might actually be in love with a women.Of course, Shakespeare tries to make an excuse for this by having Olivia ignorant to Viola/Cesarios real gender. However, in Olivias first encounter with Viola/Cesario she remarks upon the emblematic feminine qualities. In Act three, scene one Olivia says O, what a deal of scorn looks beautiful in the contempt and anger of his lip A murderous guilt shows not itself more soon than love that would seem hid. Loves night is noon- These words allow the audience to wary but not assume that she knows of Violas true gender but chooses to love her anyway.In fact, her talk of guilt has the audience questioning whether or not she is feeling guilty of her homosexual feelings for another woman. Even though Shakespeare does not openly express the plot as a homosexual scenario, there is much evidence to back up that it is the case. For example, Olivia says I woo when addressing Viola as Cesario. The way she speaks to Cesario mimics the contemporary traditions perfectly. The audience may see a man dressed as a girl that is make-believe to be a man as Shakespeare mocking woman However, this is not so.The fact that Viola can successfully pull off the switch is tribute to that. It cant be simple to pretend to be a man, even one that is a eunuch. It shows that she is a strong female person character. All of these examples show that the play is full of strong female characters who are able to successfully switch roles. Even though Olivias role is switched back with the appearance of Violas twin brother, Sebastian, she is still left wing with a feeling of empowerment by the experience. Shakespeare never really solves any of these issues. Rather, he lets them open and ends the play with humor, rather than confusion. Mistal