Unmasking Oppression: Viola as Victim in Twelfth Night
How Viola’s victimisation exposes patriarchal and class constraints in Shakespeare’s Twelfth Night.
In Twelfth Night, Viola emerges as a multifaceted character whose plight underscores the pervasive constraints imposed by patriarchal and social norms. Throughout the play, Viola is depicted as a victim of these rigid structures, which dictate her actions and confine her desires. Viola seemingly acquiesces to the patriarchal notion that a woman's worth is tied to her ability to bear children, reflecting the societal pressure to conform to traditional gender roles. Additionally, her poignant reflections on “frailty” and her plea to be concealed highlight the limitations of her social rank and gender, revealing the extent to which she is forced to navigate a world that restricts her autonomy and identity. Through Viola’s character, Shakespeare not only critiques these societal norms but also exposes the emotional toll they take on individuals, making Viola a tragic figure whose struggles resonate across time.
In Viola’s “cruell’st she alive” speech, she appears to conform to the patriarchal cultural attitudes of her time, suggesting that a life without children is inherently unfulfilling: “And leave the world no copy.” The use of the concrete noun “copy” clearly signifies offspring, reinforcing the expectation that a woman’s primary role is to bear children. From a feminist perspective, this can be interpreted as a typical male device aimed at persuading women to fulfil their ‘duty’ to men by becoming mothers. This pressure to conform is further reflected in Viola’s lament, “Alas, our frailty is the cause, not we: For such as we are made of, such we be.” Here, Viola diminishes herself to the role of a helpless, fragile woman, a stereotype commonly imposed by a misogynistic society. Shakespeare, through Viola’s character, examines the social expectations placed on women within a patriarchal society, prompting the audience to question whether the rhyming couplet in her speech serves to condemn or merely highlight these restrictive norms. A feminist reading would challenge the derogatory use of “fragility” a term loaded with misogynistic connotations that reinforce the idea of women as inherently weak. However, it is worth considering that Shakespeare may not be allegorising this deception, as C.L. Barber suggests when he argues that “the characters are perfectly willing to return to their prior states. They want ‘normalcy’ not ‘newness’.” This implies that Viola’s self-deception and conformity may not carry a deeper symbolic meaning but rather reflect her desire to restore the conventional order of her world. Nonetheless, whether Shakespeare is critiquing or merely depicting these societal norms, Viola remains a poignant representation of a woman constrained by the expectations of her patriarchal culture, revealing the limitations imposed on women in Elizabethan society.
“Smiling at grief”
In Viola's line, “She sat like patience on a monument, smiling at grief,” the simile vividly captures her quiet endurance and the emotional turmoil she faces due to the constraints of heterosexual norms. The comparison to the allegorical figure 'Patience,' often depicted as a figure atop a tombstone, evokes imagery of death and permanence, suggesting that Viola’s love for Orsino is both fatal and enduring. The oxymoronic phrase “smiling at grief” poignantly reflects the impossibility of her situation: her love for Orsino remains hopelessly out of reach because she is disguised as a man, and the rigid heterosexual norms of Elizabethan England would never allow Orsino to love her as she appears. The Pre-Raphaelite notion that unrequited love is the most pure and unsullied further intensifies Viola’s tragic predicament, emphasising the depth and sincerity of her emotions despite their hopelessness. Feminist critics, however, might view Viola’s “smiling at grief” as a manifestation of patriarchal imprisonment, symbolising the way societal expectations trap her in a role where she must conceal her true feelings and identity. Despite this, Viola’s use of iambic pentameter lends a rhythmic, introspective quality to her speech, demonstrating her deep passion and inner conflict. The meter not only conveys the natural flow of her thoughts but also mimics the beat of her heart. This melancholic elegance in her language invites all audiences, across time, to empathise with Viola’s internal struggle, making her a timeless symbol of the pain and complexity of love constrained by Elizabethan norms.
Francis Wheatley portrayal of Viola from Twelfth Night preparing to duel Sir Andrew Aguecheek c. 1771.
Viola’s plea to “Conceal me what I am” reflects her acute awareness of the limitations imposed by her social rank and gender. By speaking in iambic pentameter, Viola mirrors the formal structures that govern her society, subtly highlighting her internalisation of these societal constraints. The imperative verb “conceal” echoes the actions of other Shakespearean heroines, such as Lady Macbeth, who also manipulate their appearances to navigate a patriarchal world. Viola recognises that, as a woman, her social position denies her the freedom and power she desires. Therefore, she must disguise her feminine identity to gain the authority and agency otherwise inaccessible to her. This aligns with Marxist critic Elliot Krieger’s observation that ‘a ruling class ideology operates within the play’, as Viola’s need to disguise herself underscores the rigid social hierarchy that privileges certain identities while marginalising others. By concealing her true self, Viola attempts to transcend the restrictions of her class and gender, making her a poignant victim of the social structures that dictate her place in the world.
In conclusion, Viola’s journey in Twelfth Night serves as a powerful exploration of the ways in which patriarchal and class structures confine and dictate the lives of women. Her willingness to conceal her identity and conform to social expectations underscores the limitations imposed on her by both her gender and social rank. Shakespeare uses Viola’s character to expose the inherent flaws and injustices within these Elizabethan norms, prompting audiences to reflect on the enduring impact of these constraints. While Viola’s actions may suggest a desire for ‘normalcy’ and a return to the conventional order, her internal struggle and the emotional depth of her reflections reveal the profound cost of conforming to these rigid expectations. Ultimately, Viola’s portrayal as a victim of both patriarchal and social norms invites a critical examination of the cultural forces that continue to shape and, at times, oppress individual identity and autonomy.