Jonathan Franzen seems to aptly sum up some of the basic sentiments of the antihero in the following passage from an interview conducted by Dave Weich of Powells...” (Powells.com Interviews – Jonathan Franzen)
The antihero is, in essence, the modern era’s response to the breakdown of conservatism, conformity, and religious hierarchy. As more authors continue to seek to portray reality in their works of fiction, they will gradually turn towards a more harsh, non-religious bent on reality, in the hopes of making their writings seem truly authentic. Whereas earlier works such as Gulliver’s Travels dealt with a moral man in an immoral world, The Corrections deals with confused people (sometimes) striving to be moral in an ambiguous world. (All in the Family: Franzen Almost Lives Up to His Own Standards) Such, then, is the struggle of the modern antihero: to realize that the world is crazy, while at the same time keeping from going crazy himself. 

In Act 5, Scene 1 of Twelfth Night, the climax of the play is revealed. At this point, all the major characters in the play meet in one spot, in order to unravel the main complexities of the play, once and for all. Not only are Sebastian and Viola’s true identites revealed, but also all the desires of the other interrelated characters are revealed. Olivia finally realizes that Cesario, who she had been in love with, is a woman. Orsino discovers that the serving boy whom he had strong feelings for was, in fact, a woman. 
Amidst this flurry of switched identities and revealed desires, there is often room for feelings of confusion, especially on the part of the audience members. At the point where Sebastian and Viola finally reunite, there has already been so much diverse information given to the audience that one needs a brief pause to soak it all in. Hence, when Viola stops and carefully goes over several familial details with her twin brother, it is partly to provide extra information to the audience members, in case they have neglected to pick up certain details during the course of the play.  Also, this slow reunion gives Viola a chance to gradually resume her role as Sebastian’s twin sister. Carefully going over the details of their shared, tragic childhood allows Viola to remember her place as a woman in a well-to-do family. 
While Sebastian has long been unacquainted with Viola, in a way Viola has also been unacquainted with herself for  a long while as well. Switching gender and identity has forced Viola to take on a role entirely different from the traditional female sibling of a wealthy household. Also, the slow way in which Sebastian and Viola unite gives less central characters such as Olivia, Orsino, and Antonio time to absorb the shock of what is being revealed to them. 