The Duke Orsino's experience as a feudal lord has made him view love as a battle in which there are subjects to be conquered and overcome. As someone who is not often denied his desires, due to his status in society, he sees Olivia's refusal to return his affections as a power play, rather than a reflection of her feelings for him.

Duke Orsino's love for Olivia is unreciprocated because she is mourning her brother's death and has vowed to avoid romance for seven years. Despite her disinterest, Orsino remains persistent, sending Cesario (Viola) to convey his feelings, which inadvertently leads Olivia to fall for Cesario instead. Orsino handles rejection by continuing his pursuit, believing that persistence will eventually win Olivia's affection, as seen in his repeated attempts to communicate through intermediaries like Feste and Cesario.

In Twelfth Night, why does Duke Orsino insist on continuing to call Viola "Cesario" at the end of the play? To say that Duke Orsino insists on continuing to call Viola "Cesario" at the end of Shakespeare's Twelfth Night is inaccurate and somewhat misleading. Duke Orsino addresses Viola as "Cesario" only once in the entire fifth act. Once "Cesario" reveals that "he" is actually Viola, Orsino instantly transfers his love for Olivia to Viola, if for no reason other than that he's developed a fondness for "Cesario,"

Duke Orsino uses Cesario to woo Olivia because she is mourning her brother and won't meet strangers, creating a comedic love triangle central to the plot. Cesario, actually Viola in disguise, loves Orsino, adding irony as Olivia falls for Cesario. The delayed meeting between Olivia and Orsino at the play's end resolves romantic misunderstandings, tying up the comedic narrative neatly.

Duke Orsino's opening speech in "Twelfth Night" sets the tone for the play's exploration of love's multifaceted nature. He describes love as overwhelming and likens it to a physical appetite linked to sickness. His request for music to quench his desire reflects his romantic idealism and the notion of being in love with love itself. Orsino's musings highlight both the exaltation and madness associated with love, themes further explored throughout the play.

Orsino and Malvolio share similarities in their pursuit of Olivia's love, despite their differing social statuses. Both exhibit pride and self-importance. Orsino, a Duke, is self-focused and views Olivia's grief through his own desires. Malvolio, a steward, is characterized by his self-importance and belief in his superiority, leading to his downfall. Both men's affections are inconstant; Orsino shifts his love from Olivia to Viola, while Malvolio's pursuit of Olivia is driven by ambition rather than genuine affection.

In Twelfth Night, Duke Orsino isn't happy because Olivia, whom he loves, doesn't love him back. As the play begins, Orsino is sitting in a chair, pining away for Olivia and listening to sad music. He simply cannot understand why Olivia doesn't want him.

In the beginning of Twelfth Night, Duke Orsino (the Duke of Illyria) is madly in love with Olivia and he asks his attendant Antonio to help him woo her. However, when Duke Orsino is informed that Olivia is in mourning for the death of her former lover and husband, he decides to send Cesario (disguised as a boy) to plead his love for Olivia on behalf of the Duke. Olivia rejects all of Orsino's advances and treats Cesario coldly. When Viola (who is actually a young woman disguised as a man) returns from sea after being abandoned by her brother Sebastian, she begins working for Countess Olivia as a messenger.

Duke Orsino in Shakespeare's "Twelfth Night" may initially exhibit misogynistic tendencies, such as sexual objectification of Olivia. However, he does not treat her as inferior and instead places her on a pedestal, which contrasts with typical misogyny. By the end of the play, Orsino evolves to appreciate Viola for her loyalty and honor, viewing women as equals, thus moving away from misogynistic views and adopting a more balanced perspective on love and gender relations.

Duke Orsino fears that if Olivia continues mourning her brother for seven years, as she intends, she will become so consumed by her grief and love for her brother that she will be unable to love anyone else, including him. Orsino worries that by the time her mourning ends, her capacity for romantic love will be exhausted, leaving her unable to reciprocate his feelings and ultimately causing him to lose her forever.

In Twelfth Night, Orsino's unrequited love for Olivia is characterized by his idealized and obsessive pursuit, while Olivia's unrequited love for Cesario (Viola in disguise) highlights themes of mistaken identity and unfulfilled desires. Both characters experience the pain of unreciprocated affection, emphasizing the complexities of love and the comedic misunderstandings central to the play.

Here is a great opportunity, in all comedy, for the happy ending to jar and give us a feeling that it is not reality. The elements of surprise, of twists and turns, of characters sacrificing themselves for love are important to the mix. That this can only ever be a dream sequence for real people gets across an underlying sadness about life and love, but also the sweetness of the fantasy we enjoy in this play. The answer: The poignancy of love-stories from Viola's point of view

In Twelfth Night, Duke Orsino's expression of love is complex and often contradictory. He uses Shakespearean blank verse to convey his romantic yet melancholic view of love, which he sees as both a torment and an idealized state. Orsino is enamored with the concept of love itself, rather than truly understanding or connecting with Olivia. This obsession contrasts with Viola's genuine love for Orsino, which is based on his character and not merely the idea of love. Viola's love is sincere and personal, unlike Orsino's more superficial infatuation.