The Peculiar Dilemma of Twelfth Night
A Close Reading by Erin L. Hopkins
Viola’s speech in Act 2, Scene 2, Lines 17-41, of William Shakespeare’s Twelfth Night provides the thematic purpose of this fascinating drama. Viola, disguised as Duke Orsino’s gentleman, Cesario, speaks with Countess Olivia, yet again to profess the Duke’s love for her. Olivia, who has no interest in the Duke is instead smitten by Cesario and expresses her interest by trying to return a ring to her that she did not leave behind. Viola realizes she has caught the countess’ eye and speaks of her dilemma in this scene. Literary aspects such as the meter, figurative language, and the tone of Viola’s speech help to set the stage for both the conflict and resolution that drives this classic Shakespearian tale.
To begin, this dramatic verse is written entirely in iambic pentameter which allows for a steady rhythmic flow. The neatness of this rhythm establishes an organization to the events throughout the drama. The play is not at all chaotic but flows naturally from scene to scene. Although it is not necessarily possible to predict any of the events or the outcome of the drama, everything makes sense when the conflict is resolved. There are elisions in 2.2.25 and 2.2.41 as well as the added word “sure” in 2.2.20 to preserve the continuity of this flow (Shakespeare 29). Almost every line is further dramatized by caesuras and end-stops. It seems Shakespeare is trying to emphasize the seriousness of both Viola’s situation and the drama’s overall predicament. The tale is a cycle of drama that has captured at least three of the main characters in its web. While Olivia, who Duke Orsino loves, has fallen in love with Viola, Viola has fallen in love with the duke.
Twelfth Night by William Shakespeare
2.2.17-41
Viola. I left no ring with her. What means this lady? (5 feet)
Fortune forbid my outside have not charmed her. (5 feet)
She made good view of me; indeed, so much (5 feet)
That sure methought her eyes had lost her tongue, (5 feet)
For she did speak in starts distractedly. (5 feet)
She loves me sure; the cunning of her passion (5 feet)
Invites me in this churlish messenger. (5 feet)
None of my lord’s ring? Why, he sent her none. (5 feet)
I am the man. If it be so, as ‘tis, (5 feet)
Poor lady, she were better love a dream. (5 feet)
Disguise, I see thou art a wickedness (5 feet)
Wherein the pregnant enemy does much. (5 feet)
How easy is it for the proper false (5 feet)
In women’s waxen hearts to set their forms! (5 feet)
Alas, our frailty is the cause, not we, (5 feet)
For such as we are made of, such we be. (5 feet)
How will this fadge? My master loves her dearly; (5 feet)
And I (poor monster) fond as much on him; (5 feet)
And she (mistaken) seems to dote on me. (5 feet)
What will become of this? As I am man, (5 feet)
My state is desperate for my master’s love. (5 feet)
As I am woman (now alas the day!), (5 feet)
What thriftless sighs shall poor Olivia breathe? (5 feet)
O Time, thou must untangle this, not I; (5 feet)
It is too hard a knot for me t’ untie. (5 feet)
Rhythm is iambic pentameter