Viola’s choice of dressing as a young man, however, obviously complicates her pursuit of Orsino and although this is finally resolved at the end of “Twelfth Night”, her appearance actually dictates the reality of her love life. There is a sense of hopelessness in the battle between what one sees and what is truth and it is best summed at the climax of this identity conflict when Viola, realizing that Olivia loves her/him, says, “Poor lady, she were better love a dream” (II.ii.24). In some senses, this play is, much like “A Midsummer Night’s Dream”, a dreamscape where nothing is what it seems to be, the only difference being the use or exclusion of magical influence. ”Twelfth Night” is a play in which reality does not often correspond to appearances and thus it is easy for the reader to begin to accept character’s decisions to take on disguises and for Malvolio to become enamored with the idea (the appearance) of the
Viola’s choice of dressing as a young man, however, obviously complicates her pursuit of Orsino and although this is finally resolved at the end of “Twelfth Night”, her appearance actually dictates the reality of her love life. There is a sense of hopelessness in the battle between what one sees and what is truth and it is best summed at the climax of this identity conflict when Viola, realizing that Olivia loves her/him, says, “Poor lady, she were better love a dream” (II.ii.24). In some senses, this play is, much like “A Midsummer Night’s Dream”, a dreamscape where nothing is what it seems to be, the only difference being the use or exclusion of magical influence. ”Twelfth Night” is a play in which reality does not often correspond to appearances and thus it is easy for the reader to begin to accept character’s decisions to take on disguises and for Malvolio to become enamored with the idea (the appearance) of the