duke orsino opening speech analysis

A Short Analysis of Orsino’s ‘If Music Be the Food of Love, Play On’ Speech

By Dr Oliver Tearle (Loughborough University)

‘If music be the food of love, play on’: these nine words are among the most famous opening lines in all of Shakespeare, but how many people who recognise them could name the character who speaks them, or even the play which they begin?

With that in mind, let’s take a closer look at Duke Orsino’s ‘If music be the food of love, play on’ speech from William Shakespeare’s Twelfth Night , offering a summary and analysis of the Duke’s meaning as we go. But first, here’s the speech in full:

If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die. That strain again! it had a dying fall: O, it came o’er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odour! Enough; no more: ’Tis not so sweet now as it was before. O spirit of love! how quick and fresh art thou, That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe’er, But falls into abatement and low price, Even in a minute: so full of shapes is fancy That it alone is high fantastical.

So, that’s the speech. Now, let’s go back through it and gloss and analyse the meaning of Orsino’s words. To set the scene: Twelfth Night opens with the Duke of Illyria, Orsino, pining away with love for Olivia, a countess whose father died a year ago and whose brother has recently died. Olivia has vowed to shut herself away from society for seven years as a result of these deaths. (We have analysed the play in detail in a separate post.) Orsino begins:

If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die.

These opening lines are perhaps the most famous lines (‘cakes and ale’ notwithstanding) in all of Twelfth Night , but it’s easy to overlook just how easily they can be misinterpreted. For by ‘appetite’, as the great Shakespeare critic John Dover Wilson saw, does not refer to love itself (our appetite for love), but to love’s appetite for music . In other words, Orsino is saying, ‘If music feeds our desire to love, then play on, musician; play so much music that I become stuffed with it, so love’s appetite for hearing music grows sick and dies.’

The lines are often interpreted as expressing Orsino’s desire to stop loving (Olivia), but things are not so simple as all that. He’s merely talking of the way that being in love (especially harbouring unrequited love for someone) makes us want to listen to music all day and take solace in it.

But love, as the rest of the speech makes clear, can never settle: it’s restless, and constantly moving the mind (and heart) onto some new pursuit. Orsino seems to be aware that he’s got no chance of stopping himself being in love. When you’re struck by Cupid’s arrow, that’s it.

That strain again! it had a dying fall:

Here we have the Shakespearean version of ‘play it again, Sam’: Orsino commands his musician to play that particular part of the song again, because its cadence (or ‘dying fall’) sounded suitably melancholy.

O, it came o’er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odour! Enough; no more: ’Tis not so sweet now as it was before

Orsino likens the sound of the music to the sound (of wind) upon a bank of fragrant-smelling violets, carrying their scent away with it. But then he immediately grows tired of this strain of music, and tells the musician to stop playing it, as it’s already lost its allure.

The First Folio of 1623 had ‘wind’ rather than ‘sound’, which perhaps makes more sense because otherwise Orsino is essentially saying, ‘That sound came over my ear like a sweet sound’, as J. M. Lothian and T. W. Craik point out in their notes to the Arden edition, Twelfth Night (Arden Shakespeare) .

But we reprint ‘sound’ here because, despite this objection, it is the word that is usually printed in editions of the play (Alexander Pope thought ‘sound’ should be ‘south’, as in ‘south wind’, but most people ignore that suggestion).

O spirit of love! how quick and fresh art thou, That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe’er, But falls into abatement and low price, Even in a minute: so full of shapes is fancy That it alone is high fantastical.

The ‘spirit of love’ (‘spirit’ calling back to the idea of the wind breathing) is as hungry as the sea. Everything it takes in, no matter how grand and valuable, becomes debased and devalued because, within a minute, you’re sick of them. Love is the only truly imaginative (‘fantastical’) being in the whole world, because it keeps creating new ‘shapes’ or images (on account of the fact that, as soon as it’s invented one, it grows sick of it and moves on).

So, Orsino’s ‘If music be the food of love’ speech doesn’t so much say ‘I want to stop being in love’ as ‘since I know I cannot stop myself from being in love, all I can do is let myself be carried along on a tide of desires and emotions which are constantly shifting to something else’.

Orsino’s love makes him unable to alight on one thing – such as one piece of music – which will allow his mind to be at rest. Love is greedy and consumes everything you throw at it, saying, ‘No, that won’t do: next.’ All you can do is stuff yourself full of music and hope that love is (temporarily) full.

1 thought on “A Short Analysis of Orsino’s ‘If Music Be the Food of Love, Play On’ Speech”

I’ve directed this play – twice actually – and because here Orsino so quickly changes his mind and tells the musician to stop I decided we were coming in on a serial situation where the poor minstrel has been here before. The Duke is seriously pissed off at being constantly spurned, and one minute wants more music, the next wants less, like a depressive constantly changing TV channels. So at the opening of the play the musician misreads a piece of impatient body language and stops playing. That makes the play’s opening line an admonishment, quickly rescinded and reversed. I know this paints Orsino rather unflatteringly, but we all have bad days and anyway what sort of halfwit sends his servant to woo his lady love?

Of course, a director approaches from the position of wanting to convey a story rather than analysing text in a scholarly fashion.

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StageMilk / Monologues Unpacked / Orsino Monologue (Act 1, Scene 1)

Orsino Monologue (Act 1, Scene 1)

Twelfth Night , or What you Will is one of Shakespeare’s most beloved romantic comedies. Written at the beginning of the 1600s, the play takes place during the Twelfth Night Festival; a period of high revelry that follows Christmas. It marks a time of year where there is much drinking and partying, as well as debauchery and trickery. Many of the characters in Twelfth Night are lovelorn, mischievous or scheming and like many of Shakespeare’s comedies, there is a case of mistaken identity. Our heroine, Viola spends most of the play dressed as a man, which causes much of confusion and comedy.

Together with the merriment of the play, Twelfth Night is often referred to as a ‘musical play’. The play both starts and ends in song and this would have immediately signalled to the audience that they are in for a show with themes of love and romance.

Updated Jan 10, 2023

What has just happened?

This monologue given the Duke Orsino opens the play. Orsino is the ruler of Illyria and a rich and influential man. He is also moody, romantic and madly in love with Olivia; a noble woman. From the scene that follows this monologue we learn that he has been pining for her for some time. She however, does not return his affection, being too overwhelmed with grief at the recent loss of her father and brother.

The scene takes place in Orsino’s court and the text tells us that he is in the presence of musicians, playing him a song. As the plays opens, these are the first words uttered.

Thought Breakdown

Space = New beat/idea , or ; = build on a thought

Orsino : If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die.

That strain again! it had a dying fall: O, it came o’er my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odour!

Enough; no more: ‘Tis not so sweet now as it was before.

O spirit of love! how quick and fresh art thou, That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch so e’er, But falls into abatement and low price, Even in a minute: so full of shapes is fancy That it alone is high fantastical.

Modern Translation of Orsino

If music is what feeds and breeds love, then keep playing; Give me so much of it, that, overindulging, My appetite for love will get sick, and die.

That musical phrase! it had a falling melody: O, it washed over my ear like a sweet breeze, That breathes upon a bed of violets, Robbing their scent and spreading it far!

Enough; no more music: It is not as sweet as it was before.

O spirit of love! how restless and eager you are, That, despite your capacity You are hungry like the sea. And just as quickly, Everything that is valuable and precious, Becomes worthless and seemingly cheap, So full of imaginary forms is love, That it is simply wonderous and bizarre.

Unfamiliar words & Phrases

Surfeiting: Overindulging O’er: Over Sweet Sound: The wind or breeze Abatement: Reduction or decrease Shapes: Imaginary forms Fancy: Love/desire

For more amazing Male Shakespeare Monologues

Actor Performing Orsino Act 1 Scene 1

This opening monologue is a wonderful insight into both the play Twelfth Night and the character of Orsino. Fun fact; Orsino translates to ‘Bear-Cub’ in Italian. This might give an actor an insight towards playing the role. Orsino is both gruff and commanding but also immature and at times childish. Notice in the monologue how engrossed he is in the music and then suddenly demands they stop playing. He, like love, is up and down, hot and cold but always the passionate.

Looking at the language and images used in this monologue, everything is poetic, passionate and full. If we look first line of the play/monologue; here is a man asking to be stuffed so full of feeling that it kills his necessity for love. What an introduction to a character!

When beginning to work on this speech, start playing with the words out loud early on. Work with the sounds of the words and notice the patterns you hear. Pay particular attention to the ‘s’ sound in the first half of the speech. When you lean in to the ‘s’ sound what does it make you feel? Shakespeare is a master at using sound to convey emotion and mood.

The subtext of the speech is Orsino’s love for Olivia but don’t let the ideas become too domestic and internal. Shakespeare was deliberate in keeping the language about the idea of love and not specific to Orsino’s situation. It signals to the actor to not play inward but place the ideas out into the audience. When he says ‘O Spirit of Love’ where is that for you in the space?

Aside of Orsino’s emotional feelings of love, it’s important to understand that much of the language has double meanings or nods to sex; ‘appetite’, ‘food’, ‘excess’, ‘came o’er’, ‘spirit’ (which was an old euphemism for semen). Orsino is a man in lust and love and this opening monologue allows an actor to have a lot of fun embodying our love sick hero.

About the Author

Jessica Tovey is an Australian actor and writer, who has worked across film, theatre and television for over 15 years. Her film credits include Adoration (Adore), starring Robyn Wright and Naomi Watts, Tracks, starring Mia Wasikowska and Adam Driver and lead roles in the Australian features Lemon Tree Passage and Beast No More. She has over a decade of experience in television across all the major networks, with lead roles in; Home and Away, Wonderland, Bad Mothers and Underbelly. Jessica has also worked with Melbourne Theatre Company, Queensland Theatre and two touring productions with Bell Shakespeare. Additionally, Jessica is a Voice Over artist, presenter and writer.

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The food of love.

Act 1 Scene 1 – Key Scene

The opening scene of the play introduces Orsino, Duke of Illyria, listening to music and talking about his love for Olivia. Valentine brings a message from Olivia’s household that she does not want to hear from him because she is in mourning for seven years following the death of her brother. Orsino believes that such feeling for a brother will soon be surpassed by feelings of love for him.

Take a look at the scene. What does Orsino's speech tell you about him and why do you think Shakespeare opens the play with this scene?

Actors at the RSC often paraphrase or put the language into their own words to help them understand what they are saying. We’ve added some definitions (in green), questions (in red) and paraphrased some sections (in blue) to help with this. You can click on the text that is highlighted for extra guidance.

Give me so much of it that by overindulging, my appetite goes away.

The strain of music sounds like the final phrase.

Eager and hungry

Without any limits

Nothing can beat love for creating ideas and fantasies.

Orsino puns on the word ‘hart’ meaning deer to mean ‘heart’ as in his feelings for Olivia. What impression of Orsino do you get from how he uses Curio’s suggestion to go hunting to talk more about his feelings for Olivia?

What does Orsino’s response to Olivia’s message suggest about him?

Cupid’s arrow that will make her fall in love.

When Olivia’s perfect qualities - including her liver, brain and heart, which are the seats or thrones of sexual passion, intellect, and emotion - are all filled up by her love for the same ruler (by which Orsino means himself).

• Listen Read the scene aloud, and try it in different ways. Which way feels right? What, in the language makes you think that? Are there any words or lines that really stand out?

Play the Scene in Performance

Orsino at his court in the 2005 production of Twelfth Night. 

Orsino at his court in the 2009 production of Twelfth Night. 

Viola, Curio and Orsino in the 2012 production.

Orsino enters in the 2005 production of Twelfth Night. 

Orsino at his court in the 1955 production of Twelfth Night. 

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Twelfth Night "If music be the food of love...."

Line Analysis | Readings Page | Home

With this oft-quoted speech, Shakespeare introduces not only the character of Duke Orsino but the character of the play as well. The speech is at once playful and melancholy, with abrupt changes of mood and a fickle, if languorous, quality to the language. The play, while reveling in its ludicrous nature, has its own changes of mood throughout the story—most notably the subplot involving the fall of Malvolio. But here it delights in letting Orsino romantically wax poetic, mooning over the unapproachable Olivia.

It's often said that Orsino isn't so much in love with Olivia as he is with the idea of being in love. Note that although ostensibly it's his fascination with Olivia that sets him in this mood, there is no specific mention of her in this speech. Indeed, as the scene unfolds, it is readily apparent that Orsino doesn't actually know Olivia. He has seen her, he has fallen for her, but his contact has been limited to the couriers he has sent who deliver his messages and plead his case. Then again, it is exactly this romantic quality in Orsino that makes us believe that he can fall in love with Viola when her guise is dropped.

In fact, Orsino is remarkably passive for someone in the throes of passion. Compare his pursuit of Olivia to most other relationships in the play. It only takes one conversation for Olivia to start mooning over Cesario (Viola). She sends her ring via Malvolio and then strings along Orsino so he'll keep sending Cesario over to speak with her. When Sebastian happens along, Olivia proposes to him (thinking him Cesario). Malvolio, once he's been set up, directly makes a pass at Olivia. Antonio risks his life and freedom for accompanying Sebastian to Illyria. Sir Toby marries Maria because of her part in tricking Malvolio. Orsino, in contrast, doesn't bother attempting a personal visit until the last scene of the play.

Whether either Orsino or Olivia are worth the effort is debatable. The duke is described by Olivia as noble, learned, valiant and gracious, among other things. Olivia is beautiful and devoted. Both characters, however, also demonstrate markedly self-absorbed—bordering on narcissistic—traits throughout the story. They both sequester themselves within their respective residences. They both aspire to an idealized love. And they both switch their love at the drop of a hat (or frock, if you prefer) when Viola's identity is revealed. In the balance, however, both matches seem for the best—although we have to extrapolate much of Sebastian's nature from his relation to Viola.

Of course, the play on the whole doesn't concern itself overmuch with the petty details of love. Rather, it's a play that dwells on the "high fantastical" nature of fancy, as Orsino puts it. Love may indeed come in many guises, but there's a delight in every form it takes.

If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die. That strain again! It had a dying fall; O, it came o'er my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odour! Enough; no more: 'Tis not so sweet now as it was before. O spirit of love! How quick and fresh art thou, That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price, Even in a minute: so full of shapes is fancy That it alone is high fantastical.

—Act I, sc. i

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• Twelfth Night

William Shakespeare

• Literature Notes
• Duke Orsino
• Play Summary
• Character List
• Summary and Analysis
• Act I: Scene 1
• Act I: Scene 2
• Act I: Scene 3
• Act I: Scene 4
• Act I: Scene 5
• Act II: Scene 1
• Act II: Scene 2
• Act II: Scene 3
• Act II: Scene 4
• Act II: Scene 5
• Act III: Scene 1
• Act III: Scene 2
• Act III: Scene 3
• Act III: Scene 4
• Act IV: Scene 1
• Act IV: Scene 2
• Act IV: Scene 3
• Act V: Scene 1
• Character Analysis
• Sir Toby Belch, Sir Andrew Aguecheek, and Maria
• Critical Essays
• Major Themes
• Major Symbols and Motifs
• William Shakespeare Biography
• Famous Quotes
• Film Versions
• Essay Questions
• Cite this Literature Note

Character Analysis Duke Orsino

The duke is basically characterized by the first line that he utters — "If music be the food of love, play on" — that is, he is the most (or one of the most) melancholy characters that Shakespeare ever created. His entire opening speech is filled with words such as "excess," "surfeiting," "appetite . . . sickening," and "dying fall," words which show the duke to be sentimentally in love with love. He has seen Olivia, and the very sight of her has fascinated him to such an extent that his romantic imagination convinces him that he will perish if she does not consent to be his wife. Thus, this romantic, melancholy indulgence is the crux of the play because the duke uses Cesario (Viola) as his emissary to court Olivia.

The duke, however, is as changeable as the "sea" and as inconsistant as "an opal in the sunlight." His languid craving for music is equated by his languid reclining upon an opulent couch and his requesting attention, and then suddenly becoming bored by what he has just requested. It is, however, the duke's changeable nature which allows us to believe that he can immediately switch his love for Olivia to Viola at the end of the play.

The duke is, however, according to Olivia and others, a perfect gentleman. He is handsome, brave, courtly, virtuous, noble, wealthy, gracious, loyal and devoted — in short, he is everything a young lady could wish for in a husband. This is ultimately what makes it believeable that Viola does fall in love with him immediately.

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Duke Orsino

Character analysis.

Orsino is the powerful Duke of Illyria – he's a bachelor and the object of Viola's affection but he's trying to woo the inaccessible Olivia. The play's opening scene gives us our first gander at the Duke and we think this opening passage tells us a whole lot about his character. It's a bit lengthy, but hang in there because it's worth it: If music be the food of love, play on. Give me excess of it, that, surfeiting, The appetite may sicken and so die. That strain again! It had a dying fall. O, it came o'er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odor. Enough; no more. 'Tis not so sweet now as it was before. (1.1.1-8)

Orsino's Moodiness

Here, Orsino commands his musicians to "play on" because music feeds his desires. But, he never lets the musicians finish as he interrupts by proclaiming, "Enough; no more. / 'Tis not so sweet now as it was before." What does this suggest about the Duke? Well, he's powerful, passionate, self-centered, and just a tad moody. (Notice how the nifty end-rhyme, "no m ore " / "bef ore ," works to highlight Orsino's fickleness.) Later in the play Feste pretty much nails Orsino's erratic moods when he says the Duke's "mind is very opal" (2.4.82). An opal gemstone, as we know, shimmers and shifts colors. This is not a compliment – Feste implies that Orsino is temperamental and unstable. This reminds us of the tone of the overall play, which swings from highs to lows and everything else in between. (For more, see our discussion of " Tone ," but come right back, or else.) So, if the Duke's moody and kind of silly and the play's mood shifts around a lot, does that make the play kind of silly too? You bet.

Fool for Love

We know from the opening scene (above) that Orsino is a passionate guy and we soon learn that he's set his sights on Olivia. But, when Orsino says he's in love with the Countess, should we believe him? There's lots of evidence that says we shouldn't. For example, when Duke Orsino shares one of his erotic fantasies with us, we can see that it really has nothing to do with the Countess. Here's the Duke's description of the first time he saw Olivia: That instant was I turned into a hart, And my desires, like fell and cruel hounds, E'er since pursue me . (1.1.22-24 our emphasis) Orsino says he was turned into a "hart" (a male deer and also a play on the word "heart") and that he was chased or hunted by his own desires, which were like "hounds." So, Orsino doesn't imagine his pursuit of Olivia so much as he fixates on his pursuit of himself in a fantasy that is all about him. (Shakespeare all but invites us to imagine Orsino alone his bed – or on a bed of Violets, which he is also fond of – "pursuing.") Notice the repeated use of personal pronouns, "me," "my," and "I." Orsino is all about Orsino , not Olivia.

Orsino and Poetry

Like we said, Orsino likes his metaphors and similes, which makes him a kind of poet. To be fair, the cadence or rhythm of the guy's language is pretty nice, musical even, as we can see from the opening passage. So, props for that, but Orsino really needs to work on the content of his love musings, which consist of lots and lots of clichés. (Love is like insatiable hunger, music is the food that fuels passion, love is like the ocean, etc. We better stop there because our gag reflexes are kicking in.) We're not the only ones who think the Duke's a little over the top – when "Cesario" tries to deliver the Duke's love message to the Countess, Olivia mockingly refers to the Duke's "hideous matter," a "heresy" that she's heard and "read" many times before (1.5). It's fun to make fun of Orsino (trust us, Shakespeare wants us to), but there's at least one character who takes him seriously and that's Viola. We often wonder what it is Viola sees in Orsino. As we've said before, our best guess is that she digs his fiery passion and poetic musings. (Feel free to disagree.) When Orsino reminds "Cesario" (Viola in disguise) that he has "unclasp'd […] the book even of [his] secret soul," the audience knows that Orsino has shared with Viola/"Cesario" very intimate details of his oh-so-steamy passion. The fact that he compares his intimate thoughts to a "book" aligns Orsino with a volume of love poetry, which Viola is totally into. But wait! Isn't Shakespeare also a love poet? Why would he bag on love poetry when he's written an entire volume of it ( The Sonnets )? What can we tell you? The guy's got a great sense of humor and isn't afraid to make fun of himself and his profession. He also seems interested in separating the good, the bad, and the ugly when it comes to poetry. You can check out more details about this by going to " Language and Communication ," but be sure to get back here because we're not done.

Orsino and "Cesario"

When Orsino learns that his trusty boy page "Cesario" is really a girl, Viola, he jumps at the chance to get engaged. Where did that come from? We thought he wanted to marry Olivia. The easy answer is that Twelfth Night is a comedy (see our discussion of " Genre "), so everybody has to get married at the end. OK, sure, but we think we can do better than that. There's evidence in the play that Orsino has been attracted to "Cesario" all along, so it's not so surprising that he would want to marry Viola when her identity is revealed. Remember how we said earlier that "Cesario" and Orsino share some pretty intimate moments that seem to cause Viola to fall for the Duke? Well, these moments also trigger Orsino's fondness for "Cesario," a figure he can confide in and trust. Also, the Duke thinks "Cesario" is pretty attractive. When "Cesario" says "aw, shucks" after the Duke says "Cesario" is youthful and attractive, here's what Orsino says: Dear lad, believe it; […] Diana's lip Is not more smooth and rubious, thy small pipe Is as the maiden's organ, shrill and sound, And all is semblative a woman's part. (1.4.32; 34-37) Orsino's description of "Cesario's" luscious mouth and sweet voice is pretty steamy. (You can check out a more detailed discussion of this quote by going to " Love .") Even though Orsino thinks "Cesario" is a boy, he's clearly attracted to his page's "girlish" features. Does this mean that Orsino is only attracted to "Cesario" because "he" is girly looking? Not necessarily. Even after Orsino knows the truth about Viola, he still calls her "boy" and "Cesario," as the two get cozy and prepare to celebrate their upcoming nuptials. This suggests that the Duke is also attracted to Viola's "boyish" charm. Part of Duke Orsino's function in the play, it seems, is to demonstrate how a person can be attracted to another's "feminine" and "masculine" features.

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W hy's T his F unny?

Enter DUKE ORSINO, CURIO, and other Lords; Musicians attending

If music be the food of love, play on; Give me excess of it, that, surfeiting, The appetite may sicken, and so die. That strain again! it had a dying fall: O, it came o'er my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odour! Enough; no more: 'Tis not so sweet now as it was before. O spirit of love! how quick and fresh art thou, That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price, Even in a minute: so full of shapes is fancy That it alone is high fantastical.

Will you go hunt, my lord?

What, Curio?

Why, so I do, the noblest that I have: O, when mine eyes did see Olivia first, Methought she purged the air of pestilence! That instant was I turn'd into a hart; And my desires, like fell and cruel hounds, E'er since pursue me. Enter VALENTINE How now! what news from her?

So please my lord, I might not be admitted; But from her handmaid do return this answer: The element itself, till seven years' heat, Shall not behold her face at ample view; But, like a cloistress, she will veiled walk And water once a day her chamber round With eye-offending brine: all this to season A brother's dead love, which she would keep fresh And lasting in her sad remembrance.

O, she that hath a heart of that fine frame To pay this debt of love but to a brother, How will she love, when the rich golden shaft Hath kill'd the flock of all affections else That live in her; when liver, brain and heart, These sovereign thrones, are all supplied, and fill'd Her sweet perfections with one self king! Away before me to sweet beds of flowers: Love-thoughts lie rich when canopied with bowers. Exeunt

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Act 1, scene 1.

At his court, Orsino, sick with love for the Lady Olivia, learns from his messenger that she is grieving for her dead brother and refuses to be seen for seven years.

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The Analysis of Character Sketch of Duke Orsino in the “Twelfth Night”

Duke Orsino  is the first character we see in the beginning of the play. Opening the “Twelfth Night” Duke  starts his speech with the declaration of hopeless love to beautiful Olivia who is ignorant to his advances. Shakespeare  portrays Duke Orsino  as a flamboyant character who loves life in all its forms. The character traits  are mostly positive: Duke is generous, noble and joyful, though a bit too selfish. From the very beginning his personality contrasts with strict and solemn Olivia.

The real possible counterpart of Duke Orsino is Virginio Orsino, Duke of Bracciano, a noble Italian, known by Shakespeare. There are few memories about the real man, but it seems that in general, Virginio’s personality was quite similar to the character. We still don’t know if such a portrayal was a compliment (i is still a comedy after all), but the play was very successful in Italy also, so it seems that Virginio, if Duke Orsino from “Twelfth Night”  was really related to him, took it easy.

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But another, not so flattering character trait  of the Duke is his inability to distinguish the real feelings from his imagination. He loves Olivia only because she is the perfect romantic character for his personal tale: she doesn’t return his feelings, so the Duke considers that he just has to try harder. The fact that Olivia is in mourning and doesn’t want any relationships right now doesn’t stop him. It seems that the very personality of the woman doesn’t matter from Duke Orsino .

He just wants to accomplish his goal. In his speech at the beginning of the  “Twelfth Night” Duke Orsino  focuses only on his own feelings, lamenting his lovesickness and inability to enjoy life without his beloved Olivia. He diminishes her feelings, considering her mourning excessive and deciding to put an end to it, disregarding even the fact that Olivia can just possibly not like him personally.

When the plot starts to develop, we see Orsino as a benevolent master. He is very friendly to Viola in disguise and indeed he has lots of traits he can be loved for. No wonder that the girl is charmed with his bright personality. But still, Duke Orsino  remains a very selfish man, oblivious to the feelings of others.

When Viola, who he uses as a free psychotherapist, talking about his unrequited love, asks him in despair: what if there was a woman who loved him just as much and suffered just as much as him – the Duke plainly rejects this thought, saying that no woman is capable of such a strong and complicated feeling as he is. We can only imagine the feelings of poor girl, who saw this side of her beloved for the first time.

From the one side, all the “Twelfth Night” portrays Duke Orsino  as the perfect knight and gentleman: noble, polite, brave and generous. But from the other side, he is too immersed in the knightly virtues, pretending to fit into the legendary character sketches , with the Fair Lady to love and to suffer of her indifference.

His real personality is very changeable: the Duke easily gets bored and shifts his attention from sadness to enjoying the feast and party. His love to Olivia, that seems to be the defining character trait  at first, becomes just another his hobby. He doesn’t really investigate how to help the woman overcome her grief and move on, Duke Orsino  considers that the very fact that he is interested in her shall flatter Olivia enough to immediately return his feelings.

Another question that inevitably is raised throughout the story – who does the Duke’s duties? Who rules the land during all the feasts and attempts to win Olivia? Lots of things demand attention in Illyria, from the very storm and shipwreck that brought Viola to him to the average daily business with getting things done in his country. We never see Duke Orsino  actually doing something. It only emphasises the overall tone of the comedy: it is too light-hearted for the serious things. Duke can allow to dedicate himself to the sentimental feeling exclusively.

Still, despite his selfishness and even shallowness, Duke suddenly appears capable of the really deep feelings. It is his feeling of friendship to Cesario (Viola). Gradually, mostly courtesy of Viola’s empathy and desire to be near her beloved, their relationship becomes more and more trusted. Finding someone who truly understands him, his soft side, Duke is very grateful to his “page”. He trusts Cesario the secrets and task he wouldn’t trust anything else: he actually makes “him” his only ally in the fight for Olivia’s heart.

The relationship with Cesario also teaches Duke Orsino  a lot and helps to improve his character traits . He is of a low opinion about all the women at first, considering them just an objects of love, not subjects of it. Using her male disguise, Viola can confront him and makes him reconsider his attitude to women in general and also his feelings towards Olivia. She can use her natural empathy and the level of mutual trust to influence the Duke and help him stop suffering just for the sake of suffering and really move on.

In the end of the play Duke has to admit that Olivia chose another man – but instead of immersing deeper in his beautiful suffering, he finally admits yet another thing: Cesario was right when “he” told him about the very devoted and loving woman near him. We don’t know if Duke really appreciates the willingness of Viola to make her beloved happy even with the cost of her own chance to be loved, or he just doesn’t want to lose his best friend who appears to be a woman. We only see that Duke Orsino  immediately shifts from Olivia to Viola, demanding her to dress into female garments, so that he can see her beauty.

It is important to understand that this demand is necessary for the stage play, because the scene of mutual affection between two characters dressed as males could be seen as scandalous. So the Duke can be spared here: we can hope that he is able to love Viola not only in fancy dress and not only for her beauty, but for her personality.

The character analysis  shows us that the portrait of Duke Orsino in the “Twelfth Night”  is a bit simplified and exaggerated for the comical effect. The overall portrayal of the character is mostly positive, but still the Duke is too grotesque to be taken seriously. This allows the audience to easily believe that he gives up his feelings to Olivia in mere minutes and falls in love with Viola instead – the general tone of the “Twelfth Night” encourages this shift and makes the ending really happy, not ambiguous as it could be in real life. Duke’s personality fits well into the canvas of the play, where Sebastian falls for Olivia and marries her with the same speed as Duke.

Duke’s character is a counterpart to Olivia’s one: while one is jovial and bright, the other one is solemn and strict. These traits are deliberately emphasised to show that Duke Orsino  and Olivia don’t fit each other in any way. More reserved and balanced Sebastian and Viola soften these features and thus make two perfect couples in the terms of the setting. Also, despite being one of the main characters, Duke sometimes acts as comical relief, for example in the scene when he gets bored with every new song the musicians play and annoys them with new and new demands. The author constantly reminds us not to take the Duke too seriously and look at him as at the comical figure.

Illyria’s placement somewhere in the Mediterranean also adds to the Duke’s portrait some traits from the traditional carnivals. From this point of view, Duke Orsino  (as all the other local characters, excluding Viola and Sebastian) can be interpreted not like shallow but real people, but rather like the archetypical carnival masks, that exist to express not the whole personalities but feelings, emotions and states of mind. The closeness of the “Twelfth Night” to the venetian theater of masks only enhances this feeling. If we treat the characters this way and not through the prism of modern morals and ethics, we may enjoy the comedy so wholeheartedly as the audience of the times of William Shakespeare.

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