¶ … Viola in the Twelfth Night Viola's Character in Relation to the Animus Development and Its 4 Stages

The animus theory of Jung suggests that, though females' conscious ego usually relates to their biological gender, masculine traits stifle because of cultural norms, and pressures cultivate, in their unconscious, a harmonizing male (i.e., contrasexual) personality. Intriguingly, Viola chose to conceal her femininity at the play's beginning. Her apparently-deceased brother is probably the physical manifestation of Viola's animus, akin to Lady Olivia's situation (Dunning, 2015). Jung suggested four stages of animus development in a woman, which can be seen in Viola.

The animus, in Jung's first stage, materializes in imaginations or dreams as the embodiment of physical strength, such as James Bond, Tarzan, or a sportsperson. He represents the Adam to the unconscious/true inner self as Eve. The animus, at this developmental stage, is a female's stud-muffin, who is there to protect and satisfy her, as well as help make babies (Anne, 2007).

While Viola desires to isolate herself from everyone, she isn't as confident as Lady Olivia, meaning that this will be a permanent state: "O that I served that lady, and might not be delivered to the world, till I had made mine own occasion mellow, what my estate is." On one level, Viola apparently knows that she must examine and integrate her masculine "half," strengthening herself. Viola's choice of acting as a boy appears to be more conscious and thought-out, compared to Olivia's decision of isolating herself (Dunning, 2015).

Upon assuming a masculine appearance, Viola almost instantaneously develops a remarkable wit -- a typical masculine trait, which was most likely suppressed within her unconscious; up until now, it must have found expression via her brother. However, though perceived as a man by everyone around her, Viola is well aware of her true feminine nature,...

Fix-It. He represents the generic father-husband, the man who repairs plumbing leaks and does grocery shopping for her -- a simplistic, old-fashioned, and cookie-cutter male. Helen of Sparta/Troy is the female corollary (Anne, 2007).
Viola's devotion has been praised by critics, who view her as the archetype of perfect love as well as an extraordinary mind wherein the sense of honor and duty, and love, enrich intelligence. Despite roaming around dressed as a male, Viola is utterly feminine and can, by no means, be regarded as a boy-girl. Apart from being the conventional female, Viola also displays qualities of resourcefulness, courage, and androgynous-ness (Dreher, 1986).

An orphan girl stranded on unfamiliar land, Viola decides to deal with her problem, rather than withdrawing into herself like Olivia. Viola's life is in shambles, but she still faces hardships head-on with valor and resourcefulness. She is practical, accepts that her brother might be dead, and that she needs to work things out on her own in this unfamiliar land. She holds out hopes that her life will take on a better turn, awaiting news as she decides how she must survive in the Illyrian kingdom (Dreher, 1986).

In Jung's third stage --corresponding to the Mary stage of the animus --is a man of his Word, who is embodied in fantasies as a priest, preacher, elder statesman like Lloyd George, or a professor. Women at this development stage hold traditional learning in high regard; they are capable of sustaining creative work, while simultaneously, seeking ways to exercise their minds. A woman at this stage will be able to relate to her male counterpart not just as a father and husband, but also as a unique…