When Olivia wants to let Cesario know that she loves him, she sends him a ring by way of Malvolio. In each case, the jewel serves as a token of her love—a physical symbol of her romantic attachment to a man who is really a woman. The gifts are more than symbols, though.

Figurative Language In Ernest Hemingway’s The Old Man And The Sea. In the novel The Old Man and The Sea, written by Ernest Hemingway a credible author, the use of figurative language was not sparse. Figurative language enhances the story line and makes the book interesting and detailed.

Shakespeare uses figurative language as he speaks with metaphors, similes, and personification. Recognizing when his characters are speaking figuratively helps in understanding the play. A metaphor is the application of a word or phrase to somebody or something that is not meant literally but to make a comparison.

As she explains to Sir Toby and Sir Andrew, Malvolio is a puritan, but at the same time his biggest weakness is his enormous ego: he believes that everybody loves him. Maria will use that weakness to get her revenge on him for spoiling their fun.

As the play advances to the later scenes, Malvolio’s treatment by his puppet-masters strays away from that of a practical joke, and more towards torment.

Malvolio wants to marry Olivia in Twelfth Night primarily because this marriage would give him wealth and social status. Perhaps most importantly, it would make him the head of Olivia’s family, giving him power over Sir Toby Belch, Olivia’s uncle, with whom he has a long-running feud.

Malvolio is constantly humiliated and has some of the major elements of a tragic character. The revenge served to him is extremist and is not an equal reaction to his behavior. Malvolio’s puritan nature and extreme unwillingness to be social with his peers upsets certain characters more than others.

This scene occurs in Act IV scene 2, when Feste, the clown, disguises himself as Sir Topaz, the curate, and tries to reason with the “lunatic Malvolio.” What he does is engage in a series of puns and wordplays to demonstrate that Malvolio, in spite of his protestations, is, in fact, mad, even though he strenuously …

Maria impresses Sir Toby and Sir Andrew by engineering a clever idea to trick Malvolio, whom none of them like because Malvolio spoils their fun. After Maria proposes her plan to forge love letters to Malvolio from Olivia, Sir Andrew praises Maria by saying “she’s a good wench” (2.3.).

The letter says that he should wear cross-gartered yellow stockings and smile more to show he returns Olivia’s love. Maria explains that Olivia hates these things and so Malvolio will look foolish in front of her. Cesario (Viola) meets with Olivia again.

Act 3, Scene 1

Olivia quickly falls in love with the witty Cesario (Viola’s name when she is in disguise) because Cesario is unafraid of saying what he/she is thinking, even though Cesario never says anything nice to Olivia (except, of course, when speaking Orsino’s messages).

Viola falls in love with Orsino, despite continuing to plead his case to Olivia.

Valentine tells Orsino in Act 1, Scene 1 that Olivia is uninterested in Orsino’s romantic feelings for her, and that she doesn’t even bother to read the letters he sends expressing his devotion to her. The reason she is uninterested is because she is grieving the recent loss of her beloved brother.

Orsino admits that he himself is very fond of Cesario, but it is more important that he have his revenge against Olivia. He accuses Olivia of being cruel and spiteful despite her beautiful appearance, comparing her to a raven hidden inside the appearance of a dove.

She sends everyone else away in order to listen to what Cesario has to say. Cesario tells Olivia as politely as he can that he cannot love her. Olivia seems to accept this rejection, but she realizes privately that she cannot so easily get rid of her love for this beautiful young man, even if he scorns her.