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      • Olivia thinks it is the messenger's pride that is stopping 'him' from loving a woman of higher social status. Viola tries to be truthful with Olivia without revealing her true identity, telling her ‘I am not what I am’ and that she can never love a woman.
      www.rsc.org.uk/shakespeare-learning-zone/twelfth-night/language/viola-rejects-olivia
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  2. Viola, disguised as Cesario, is let in to see Olivia. Viola begins to deliver the love speech that Orsino gave her, but Olivia refuses to hear the memorized speech. Viola is eloquent enough to make Olivia pay attention to her, though, as she praises Olivia’s great beauty and virtues to the skies.

  3. Viola rebukes Olivia for rejecting Orsino, and for insisting on remaining single. Viola says that since Olivia is so beautiful, it would be a shame for her to remain single (and thus, presumably childless).

  4. He relates to Viola in a more honest way than he ever did with Olivia, yet this relationship does not put an end to his longing. Instead, Orsino seems to develop an infatuation with “Cesario” in addition to his unrequited love for Olivia.

  5. Viola is in love with Orsino, who is in love with Olivia. ‘My master loves her dearly, / And I. poor monster, fond as much on him, / And she, mistaken, seems to dote on me.’ (Viola, 2.2) When Olivia realises that she has married Sebastian, who is Viola’s twin brother, she seems happy to accept the situation and Viola is relieved that she ...

    • what does viola tell olivia about orsino love1
    • what does viola tell olivia about orsino love2
    • what does viola tell olivia about orsino love3
    • what does viola tell olivia about orsino love4
    • what does viola tell olivia about orsino love5
  6. In 2.4, Olivia does not appear, but there is a conversation between Orsino and Viola where Orsino describes his love for Olivia and Viola covertly confesses her love for Orsino.

  7. Orsino loves Olivia, who is uninterested due to her mourning, while Viola, disguised as Cesario, loves Orsino. Olivia falls for Cesario, unaware of Viola's true identity.

  8. Cowden Clarke thinks that the variable hues of the Duke's mind as seen here and in the opening scene of the play harmonize with the subsequent facile transposition of his fancy from Olivia to Viola: but the restlessness with which the Clown charges him in wishing one minute to be sung to, and the next to be left alone, seems to be nothing more ...

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