Desire, Disguise, and Disguised Desires in William Shakespeare’s Twelfth Night
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This paper explores the relationship between desire and gender in William Shakespeare’s Twelfth Night (1601-1602) through an analysis of the complex desires that Viola’s disguise activates. The treatment of disguise on the early modern stage contrasts with records from the Court of Aldermen and from the Court at Bridewell Hospital that equate cross-dressing with illicit sexuality. Whereas previous studies on Twelfth Night generally discuss gender in terms of binaries and subversions or see the play as disciplining Countess Olivia and Malvolio for being transgressive, this paper will examine how Viola’s disguise as Cesario obscures conventional boundaries of gender. The mockery of Malvolio’s aspirations to wed Olivia to acquire wealth and status through her exemplifies suppressing class mobility, especially one that involves women of higher status. By comparison, Twelfth Night portrays Olivia and Viola as desiring subjects, yet their desires are not exclusively heterosexual in light of Viola’s disguise and the early modern playhouses’ use of male actors.
Abstract
This paper explores the relationship between desire and gender in William Shakespeare’s Twelfth Night (1601-1602) through an analysis of the complex desires that Viola’s disguise activates. The treatment of disguise on the early modern stage contrasts with records from the Court of Aldermen and from the Court at Bridewell Hospital that equate cross-dressing with illicit sexuality. Whereas previous studies on Twelfth Night generally discuss gender in terms of binaries and subversions or see the play as disciplining Countess Olivia and Malvolio for being transgressive, this paper will examine how Viola’s disguise as Cesario obscures conventional boundaries of gender. The mockery of Malvolio’s aspirations to wed Olivia to acquire wealth and status through her exemplifies suppressing class mobility, especially one that involves women of higher status. By comparison, Twelfth Night portrays Olivia and Viola as desiring subjects, yet their desires are not exclusively heterosexual in light of Viola’s disguise and the early modern playhouses’ use of male actors.
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