ay in heThe Merriam Webster dictionary defines love as “a feeling of strong or constant affection for a person” – however, this does not encompass a fraction of the feeling a person has when he or she loves something. Because the sensation differs from one person to the next, there is no possible way to accurately define love. However, it is possible to try to understand love by breaking it down into several categories. Humans have been pondering this idea for centuries, with one of the earliest examples being found in the Christian Bible. Four different types of love are mentioned throughout the Bible; for example, "eros", meaning sensual love. Throughout Twelfth Night, Shakespeare tries to understand love using these early ideas. Humphrey Tonkin explains a quote by Jan Kott when he states, “Jan Kott speaks of the 'erotic delirium' of the play – the merging of types of love, of gender, of love and friendship, 'the metamorphoses of sexless.'” This further supports that love is not one entity but rather many sub-categories that describe its specific meaning. Love is a mysterious and complex force that manifests itself in many different forms based on a person's wants and needs. These material and intangible cravings directly correlate with fitting in or molding to society; whether it be authoritative power, the need for self acceptance, or a desire for passion and love. Shakespeare conveys this through the use of diction and underlying tones.
The desire for self acceptance and acceptance from others is shown through the characterization of two characters in particular – Orsino and Sebastian. By showing how rapidly the characters fall in love, which is merely lust, exposes their vulnerability and desire to mold to the ideal of their society; the marriage between a man and a beautiful woman. This lust is found in Orsino when he states, “If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die” (1.1.1). In this line he compares love to food, a never ending desire and hunger within himself, showing that he craves love, not a specific person. The “love” he feels for Olivia is merely lust, which he mistakes for “love at first sight”. Dr Ronnie Bai explains this well when he states, “Orsino does not even know Olivia as an individual. He has never seen her face, yet his language is full of romantic clichés preoccupied with exquisite masochism of unrequited love.” This idea of lust is revealed in the play when Orsino speaks of Olivia. “O, when mine eyes did see Olivia first, Methought she purged the air of pestilence! That instant was I turn'd into a hart; And my desires, like fell and cruel hounds, E'er since pursue me.” (1.1.2). This reinforces the idea that Orsino is only interested in her physical appearance. This need for an attractive counterpart reveals Orsino's insecurities, however it could also reveal his poor morality, reflecting his more animalistic qualities. This could also explain that he is in love with the concept of being in love, which can further be explained by The Shakespeare Resource Center that states, “It's often said that Orsino isn't so much in love with Olivia as he is with the idea of being in love. Note that although ostensibly it's his fascination with Olivia that sets him in this mood, there is no specific mention of her in this speech.”
Throughout the play, Olivia seems to cast her spell of lust onto not only Orsino, but Sebastian as well. As soon as he lays his eyes upon her, he speaks of her radiant beauty: “Tis beauty truly blent, whose red and white / Nature’s own sweet and cunning hand laid on”(1.5.242–3). The diction used in his speech truly conveys a feeling of lust due to the fact that he is speaking only of her beauty. It is also revealed that he does not care about what kind of person she is; he is solely drawn in by her beauty – “But if you were the devil, you are fair” (255) Even if she was cruel and maleficent like the devil, Sebastian would still be attracted to her. Like Orsino, this exposes his poor morality and animalistic tendencies by showing that they are only interested in Olivias exterior. It also shows that the effort to court a beautiful female is strongly admired in this society.
The desire for love, rather for the individual themselves, is prevalent through the male figures of the play. In the effort to achieve self satisfaction, Orsino also craves love from others. Shakespeare conveys this idea by creating homosexual undertones and a distinguishable feeling of dominance over Viola once she is revealed to be a woman. Orsino state, “For you shall be, while you are a man; But when in other habits you are seen, Orsino’s mistress and his fancy queen.” This statement shows that Orsino is content with Cesario’s male form rather than the true female form of Viola. Orsino seems to be infatuated with Viola but attracted to Cesario due to familiarity. However, it also communicates homosexual undertones, implying Orsino is sexually and mentally attracted to Cesario. In his endeavor to obtain love, Orsino would be willing to morph and change his sexuality. Mario DiGangi also notices this sexual tension and writes, “Yet it would appear that both Olivia and Orsino are attracted to “Cesario” as an effeminate young man, a pretty but subservient youth whom this domineering aristocrats would find an appropriate partner.” Orsino also insinuates that he is dominant over Viola through the use of diction. When Orsino uses the word “mistress”, it shows he feels he is superior to Viola. Mario DiGangi explains this in his book as well when he states, “Moreover, the play explicitly calls into question Orsino’s love for Viola qua Viola. Orsino renders his marriage proposal to Viola in the contractual terms of service between a master and page.” Orsino seems to treat the marriage proposal as the ownership of another rather than a bonding of two people.
Antonio’s love for Sebastian is a pure and innocent type of love, untainted by greed. This is due to the fact that Antonio only wants the affection of Sebastian. This idea is conveyed through the use of diction in Antonio’s dialogue to Sebastian, “I could not stay behind you: my desire, More sharp than filed steel, did spur me forth;And not all love to see you, though so much As might have drawn one to a longer voyage,” (3.3.1) Although not stated directly, romantic undertones are revealed in Antonio’s speech. The bond between the two men is strong and pure, which is unlike the other bonds between the characters of Twelfth Night. “According to Renaissance theory, friendship occurs between male equals, usually either aristocrats or gentlemen; it is superior to male-female erotic relationships because it is a product of moral choice which finds pleasure in souls, not bodies, and superior also to marriage.” (NANCY LINDHEIM)
The most common type of love found in the antagonists of a story would be the love of absolute power. As soon as the name Malvolio is uttered, it is safe to assume he is the antagonist of the text just by analyzing his name, which means ill-willed. The character Malvolio is pompous and conservative, wanting only what is best for himself. While he has a strong love for power, he is also in love with himself. Textual evidence includes, “O, you are sick with self love cries Olivia to him”. This statement is blunt and straight-forward, proving even Olivia notices Malvolio’s narcissistic behavior. Olivia acknowledges that he truly is not in love with anyone but himself, including her. Harold Bloom accedes when he states, “Shakespeare looking steadily at Malvolio with his self love and his intolerance, contrives that he will be covered with ridicule, but never regards him as a comic figure.” By setting up this false love for Olivia, Malvolio conceals the true reason for his affection; to gain power.
Malvolio’s distinguishable love for absolute power is revealed in his fantasies about “Olivia” once they are wed. “To be Count Malvolio! […] Calling my officers about me, in my branched velvet gown; having come from a day-bed, where I have left Olivia sleeping,– […] And then to have the humour of state; and after a demure travel of regard, telling them I know my place as I would they should do theirs” (2.5.2) By giving the luxuries such as the branched velvet gown superiority over Olivia shows he is obsessed with possessing these material things rather than Olivia. The mentioning of leaving Olivia from a day-bed draws a conclusion that he is not sexually or mentally attracted to her, due to the fact that he wants to leave her and their bed. Malvolio’s last statement also has authoritative and egotistic undertones. He implies that he knows all and should not be questioned about where he stands compared to those lesser than him.
Love is a concept people have been pondering for centuries. Although it is a difficult concept to grasp, it could be easier to understand through the aid of subcategories. Shakespeare uses this method to describe that love is based on one’s present needs whether they be tangible or intangible. Theses cravings that drive the characters love include authoritative power, the need for self acceptance, or a desire for passion and love. Shakespeare uses specific diction, and exposing undertones to convey this message. Morris P. Tilley tries to explain the use of love in Twelfth night when he states, “There is no agreement among Shakespeare critics with the regard to the organic unity of Twelfth night. Schlegel is representative of a group of critics that believe that ‘Love regarded as an affair of the imagination rather than the heart, is a fundamental theme running through all variations of the play.’” People create an idealistic picture of love based on their current situations rather than just loving one another. Love cannot be studied due to the fact that it is individualized and non-specific, differing from one person to the next.