the comedic conflict to occur. If Orsino had taken it upon himself to persuade Olivia personally, instead of sending messengers, the outcome of the film would have been significantly altered.
             Both Shakespeare and Nunn support the importance of Malvolio's role through the love that he has for himself, as well as his love for Olivia. While Malvolio's love for Olivia creates a sub plot, including the actions manipulated by Maria's deception, this only builds on the comedic effect that is created by the other loves that develop. The comedic conflict is further developed in Malvolio's "Puritanesque" wardrobe of his suit and shoes. This comedy seen in Malvolio's wardrobe is extended to the end of the film when Malvolio appears wearing bright yellow tights and cross belts.
             Malvolio's character is significant because he at first attempts to bring an air of respectability and chastity to the whole film, though his essential flaws and his inability to recognize the reality of people's feelings, including Olivia's, removes him from the position of moral overseer to a simple player in the game of love. Malvolio's error is related to his self-perceptions and his consideration of his own self-importance, rather than his caring and compassion for his mistress Olivia.
             The other character of significance is Viola, and she is important in the development of the comedic conflict that occurs. She is a noblewoman who disguises herself as a boy, and becomes a servant of Orsino. Orsino uses Viola as a messenger to persuade the steadfast Olivia to hear his pleas of love. The problem with this scenario is that in the process of winning a posit
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