e sweet sound/ that breathes...". His evasion of Curio's attempt to lure him out of his lovesickness in line 16, demonstrates Orsino's aloofness to those around him and this is further reinforced by his dissatisfaction with Valentine's news of Olivia's refusal to see him. His love of love is continued throughout the play and is seemingly brought to a maturer notion of love by his pending union to the sincerely loving Viola.
             However, while within the playful tone of the play, Orsino's rapid transference of his love from Olivia to Viola in Act 5 is reasonable, there are subtle reminders that the play has relied to much on deception and that reality will uncover itself in the future. Orsino's insistence that Viola remains Cesario until she is dressed as a woman leaves Viola the woman largely uncharacterised. While she is depicted as strong and admirable in Act 1 scene 2, as she quickly moves to action and enlists the help of the Captain, for the remainder of the play she is always confined within her role as a man. Although there are aspects of her personality that are depicted through the use of deceptive wit, such as when she tells Orsino in Act 2 scene 4 that the person that she loves is "Of your complexion" (line 25), the true nature of the relationship between Orsino and Viola is never fully explored. Firstly, although Orsino fully admires Viola and Cesario and despite the insightful lecture that he gives her about love in Act 2 scene 4 lines 22 - 41, he has never, before the revelation of Sebastian, viewed her with r
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