CHARACTERS
Viola
AO1 Quotes AO5 Quotes/Ideas AO5 Production
A1S2
“What country, friends, is this?” “the character of Viola proves to be the strongest Godwin 2017 - A1S2 is set in a hospital, which could be
● Pragmatic and resourceful, composed after chaos, through character in the whole play” (Monami) symbolic of Viola’s rebirth into a new life without Sebastian. This
concealing her grief she projects herself as a man, - Suppresses grief for Sebastian in order to survive transition is completed when she dons Sebastian’s jacket, which
masculine exterior enables her to gain true autonomy - Woos despite her love for Orsino, allowing may represent how her disguise is a protective barrier against the
“My brother he is in Elysium” melancholy to destroy her (“worm”) outside world
● Grief is expressed with brevity and wit, contrast to Olivia’s
mourning, truthful and virile approach defies female “More than anyone else in the play, it is Viola who is Godwin 2017 - Viola holds Sebastian’s jacket to her chest
stereotype, by acting as her brother she too will gain a sense the spirit of love” (Tonkin) throughout the scene as a source of comfort, particularly when
of immortality through the freedom and power she will have - Love for her brother illustrated from the outset asking about Illyria, which suggests a vulnerability in the absence
as a man through grief (“O my poor brother”) of patriarchal protection and highlights the close bond between
“O my poor brother!” - Love for Orsino the twins.
● Outburst of sorrow demonstrates sincerity of her emotions
and true fraternal love, honest speech in comparison to the “The purpose of her disguise is to protect her from the Godwin 2017 - the Captain chuckles at Viola’s decision to “serve
poetic, flowery language Orsino uses to portray his dangers of at an unknown place” (Takiguchi) this duke” and become “an eunuch”, which implies false
melancholy, perhaps she feels guilty for surviving and is encouragement and suggests he finds her proposition comical;
used to being less fortunate as a woman he lacks faith in the disguise.
“Might not be deliver’d to the world” “She (Viola) is first and foremost a survivor” - Thelwell
● Metaphor for rebirth illustrates her adopting a completely
new identity, wishes to mature and become accustomed to
surroundings rather than appear vulnerable, willing to
compromise her status in return for safety
A1S4
“Yet, a barful strife”
● Viola’s metaphor reveals her love for Orsino and her struggle “a paragon of feminine virtue” (Cash) Carroll 2012 - Viola bows upon Orsino’s entrance, dropping her
against internal emotional barriers, motive of survival - Woos despite love for Orsino sword; Orsino fixes it to her belt, highlighting her lack of virility
becoming more complex as disorder develops and his educating role.
“It is as Viola that she should be pitied, in love but
unloved; it is as Cesario she is loved” (Perko) Godwin 2017 - Orsino and Cesario are sparring partners in this
scene, creating an atmosphere of power and male dominance
mixed with love. There is a clear attraction between them as they
‘clinch’ while resting during their training, however this appears
more of an embrace than a boxer’s hug.
, Godwin 2017 - “All semblative of a woman’s part” - Viola gives
an exaggerated laugh and turns away, comical, quick to brush off
compliments and avoid attention as this makes her unrequited
love more painful
A1S5
“I hold the olive in my hand” “Her male disguise allows her to woo rather than being Godwin 2017 - “I hold the olive in my hand” - Cesario nudges
● Symbolism of peace and alliance, responsible for wooing her wooed” (Tonkin) Olivia’s shoulder as he makes this pun, causing her to smirk,
by proxy and establishing a relationship yet it is Cesario who - Not true as Olivia attempts to woo he which suggests she is flattered and being brought out of her
Olivia is enamored of melancholy state; Olivia mock-pushes Cesario’s arm in response
“Make me a willow cabin at your gate, And call upon my soul within “She is going against what romantic love would dictate to this.
the house” and acting according to amity as she woos Olivia”
● Cesario pledges to live in a constant state of melancholy, (Heist) Godwin 2017 - Make the babbling gossip of the air cry out
symbol of unrequited love, extent of devotion contrasts to ‘Olivia’” - Cesario repeats “Olivia”, each time raising his voice
Orsino’s passive pursuit of love, actions don’t correspond to “It is Viola’s vital and loving presence that likewise louder, uses hands to mimic echoes, advances closer to her and
emotions, love is an illusion whereas Cesario seems a breaks the momentum of melancholy and the damp lifts Olivia into the air, Olivia laughs and squeals - succeeding in
refreshing change tendrils of grief that hang over the domain of Illyria” breaking down her barrier of grief
(Summerhaze)
Godwin 2017 - “Sighs of fire” - opens jacket and thrusts with
hands, phallocentric innuendo, Olivia runs over laughing, hastily
closes jacket, as if wanting to avoid seeing Cesario in this way,
attempting to prevent attraction
A2S2
“Fortune forbid my outside have not charm’d her!” Godwin 2017 - “Fortune forbid” - laughs as says this, finds
● Viola is faced with the reality of her disguise, panicked and “a helpless and static victim of Olivia’s adoration” concept comical, motions to her men’s jacket, looks down again
flustered, fate motif implies she has lost control over the (Cash) and makes connection with ring, gasps and covers hand with
power of her disguise, connotations of enchantment, Olivia is - Relying on ‘time’ and fate to solve issue mouth, startled
a victim of the illusion, love is not tangible, tragic delusion
“Disguise, I see thou art a wickedness” “the fulcrum of action” (Monami) Godwin 2017 - “The proper false in women’s waxen hearts” -
● Viola reprimands herself and questions the morality of her speaks out to audience, collective identity with all women
disguise, tries to separate herself from it but has lost identity, "Viola is a young woman unsure of her identity"
source of disorder, exterior is temptation to Olivia and (Schalkwyk) Godwin 2017 - “O time, thou must untangle this” - points up to
Orsino, own actions are at conflict, torture for her, sky, refuses to deal with and confront issue, as if blaming fate
punishment for naivety and survival rather than her own decision to adopt the disguise
“Women’s waxen hearts… our frailty is the cause, not we”
● Viola condemns the fickle and insincere nature of women,
easily moulded and influenced by men, even her disguise
does not protect her from loving Orsino, still weak, Biblical
allusion highlights difficulty to resist temptation, identifies with
, all women, guilty for exploiting Olivia, identifies as both the
enemy and the victim, conflict of identity, dichotomy, disguise
can only be temporary
“And I, poor monster”
● Gender hybrid, ashamed of the immorality, identity is
foreign, fragility and power of disguise are juxtaposed,
dehumanising, empathises with Olivia (“Poor lady”)
A2S4 RSC 2017- “Let concealment, like a worm i’ th’ bud, feed on her
“Let concealment, like a worm i’ th’ bud, feed on her damask damask cheek” - Cesario sits down as if unrequited love
cheek” “Unlike Antonio, Viola expects nothing in return for her physically weakens her, literally sat like Patience, clear parallel
● Viola’s unrequited love is damaging but she perseveres, love” (Heist) and subtle revelation of identity
parasitic imagery, love is all consuming, victim of her
disguise, empty core signifies loss of identity, forced to “Her speech and unwavering affection make her the Carroll 2012 - Viola begins to cry and Orsino embraces her; she
remain chaste, self-destruction only ‘true’ character in the play” (Crowder) moves as if to kiss him, however instead he simply admires her
feminine features and she pulls away.
A3S1
“I am bound to your niece… she is the list of my voyage” Godwin 2017 - Viola is clearly uncomfortable and anxious to
● Viola is focused on wooing Olivia, desperate to please “The embodiment of a medley of amicable and keep her true gender identity concealed - throws swimming pants
Orsino, her only purpose now she is losing her true identity, romantic love” (Heist) hurriedly aside upon Feste’s entrance and laughs falsely as
motif of fate, Olivia believes she is destined to be with her, Olivia finds them again. She hastily presses her chest against the
tied together like the “knot”, business language presents love side of the pool in an attempt to conceal her feminine features
as a transaction when Olivia pulls her in.
“Very oft we pity enemies”
● Viola empathises with Olivia as both are experiencing the
agony of unrequited love, conflict, undermining the passion
of Olivia, condescending, disguise gives her authority
whereas class and gender are equal, Viola is disregarding
the similarities to avoid further disorder, distancing herself,
perhaps self-pity and she longs for the freedom to express
her true identity, pathos
A3S4
“I will...desire some conduct of the lady. I am no fighter”
● Viola’s physical weakness as a woman is amplified, willing to “The falseness of Orsino's love is compounded by the
seek refuge off Olivia despite wanting to distance herself, real emotion that Viola feels for her brother” - Gay
extent of desperation, doesn’t want to jeopardise relationship
with Orsino due to rowdy behaviour, briefly abandons male
, facade which allows her to be labelled a coward by Sir Toby
“I my brother know yet living in my glass”
● Cross-dressing memoralises Sebastian, disguise can only be
temporary which makes it weak, seeing from a male
perspective, united with brother Godwin 2017 - Viola appears to be an honest character
determined to fix the consequences of her disguise: “Here comes
A5S1 the man, sir, that did rescue me” - she rushes forward to Orsino
“As true in soul as doth that orbed continent the fire that severs as if desperate to defend Antonio and undermine his grudge
day from night”
● Viola’s loyalty to Orsino never faltered, constant and truthful, Godwin 2017 - “I most jocund…” - stands up, smiling, not
eternal passion, honest, tender aspect of love, religious intimidated by violence and threats, doesn’t believe Orsino is
imagery suggests love transcends time and earthly limits, being sincere or perhaps doesn’t believe he is capable of fulfilling
reality vs fantasy divide has been bridged by the revelation of them
her true identity, reestablished decorum and order.
Godwin 2017 - The twins’ reunion is clearly emotional from the
start, as Cesario crouches down with her head in her hands upon
Sebastian’s entrance. They stand on opposite sides of the stage
and speak some lines in unison (“mole upon his brow”, “thirteen
years”), highlighting their shared identity and confirming their
bond. As they speak, they are constantly moving towards each
other which symbolises the two sub-plots uniting/disorder coming
to a close.
Godwin 2017 - “My masculine usurp’d attire” - Viola raises her
hands in the air and faces other characters, clearing up the
confusion, and announcing her true gender identity. After
confessing “I am Viola”, Sebastian runs and embraces her.
