'Tis beauty truly blent, whose red and white Nature’s own sweet and cunning hand laid on. Lady, you are the cruel’st she alive If you will lead these graces to the grave and leave the world no copy.
Excellently done, if God did all.
O, sir, I will not be so hard-hearted. I will give out divers schedules of my beauty. It shall be inventoried, and every particle and utensil labeled to my will: as, item, two lips indifferent red; item, two grey eyes, with lids to them; item, one neck, one chin, and so forth.
'Tis in grain, sir. 'Twill endure wind and weather.
Act 2, Scene 4, Page 5
Sooth, but you must. Say that some lady, as perhaps there is, Hath for your love a great a pang of heart As you have for Olivia. You cannot love her. You tell her so. Must she not then be answered?
But if she cannot love you, sir?
There is no woman’s sides Can bide the beating of so strong a passion As love doth give my heart. No woman’s heart So big, to hold so much. They lack retention. Alas, their love may be called appetite, No motion of the liver, but the palate, That suffer surfeit, cloyment, and revolt; But mine is all as hungry as the sea, And can digest as much. Make no compare Between that love a woman can bear me And that I owe Olivia.
I cannot be so answer’d!
Act 2, Scene 5, Pages 2 - 9
'Tis but fortune, all is fortune. Maria once told me she did affect me, and I have heard herself come thus near, that, should she fancy, it should be one of my complexion. Besides, she uses me with a more exalted respect than anyone else that follows her. What should I think on ’t?
To be Count Malvolio!
Having been three months married to her, sitting in my state—
In this scene, Olivia narcissistically compliments herself and how beautiful she is after Viola arrives at her mansion and asks her to take her veil off. This shows just how utterly and incredibly vain Olivia is when it comes to her perception of her own physical appearance and how this level of egotistical thinking changes later on in the play when she falls for her (as Cesario). This scene also shows that Olivia is overly materialistic and that she tends to focus on appearance (outer beauty) rather than real cultural or philosophical values and inner beauty; a person who has an external locus of identity and only often sees things at face value according to her standard of beauty.
In this scene, Orsino defines male love as unreliable and inconsistent and immediately contradicts himself shortly after with a claim about how insatiable and superior his love is as juxtaposed to the reliability of women's love. He then proceeds to admonish Viola when she attempts to compare his love with other women. This shows that despite the fact that he believes in being forever loyal to Olivia, he is also egotistical, prejudicial (openly disregarding the value of women's love) and obstinate (persistent in making Olivia love him and adamant in believing that his love is superior than any other woman's love).
After Sir Toby, Sir Andrew, Fabian and Maria plan to prank Malvolio by dropping him some love letters to fool him into thinking that Olivia loves him, the plan is finally set into motion when he is lured into a path that shows him openly daydreaming about himself being married to Olivia and how he'll finally be able to degrade Sir Toby and become the Count of Illyria just like he's always wanted to since he thinks he'll eventually win the conquest of her love which ultimately leads to him finding Maria's love letter. This scene shows just how incredibly egotistical and hubristic he is throughout the play.