The questions left unanswered in Twelfth Night leave behind a haunting resonance of the reality of human frailty and error, long after the comic resolution of main characters and their themes have diminished in our consciousness of its importance. Much of the play's comic value comes from deceptive wit and it is common for the comedy to rely on various levels of understanding and knowledge on behalf of the audience, and between the characters. Shakespeare exposes different aspects of love and develops the main characters to an ending that seems to resolve the plot of the play. Yet their limitations on thinking and feeling about love are merely transferred to different objects of love and the reality of the love between the characters at the end of the play is not sufficiently buffeted against transience. The questions that are resolved at the end of Twelfth Night bring the play to resolution but at the same time leave themes unanswered and ongoing and the audience is forced to reflect on the themes for themselves. The abuse of Malvolio, the subtle rejection of Antonio and the impartiality of Feste are remarkable because, as the ostracised and unresolved characters in the play, they form a solemn reminder of reality amid the festive turmoil of Twelfth Night.
             The pending union between Orsino and Viola in Act 5 signifies Orsino's newly found appreciation for intelligent love. His transition to this from his earlier excessive and idealistic notions of love enforces the idea that love should be based on more tangible qualities. At the opening of the play Orsino is introduced as an excessive romantic. The entrance of Orsino is marked with music and an entourage that introduces him as a man of flourish and extravagance. The first short act consists heavily of his flowery assertions about love. The first eight lines take on an abstract quality as he compares music to the "...food of love..." and then confuses the senses "...like th...