Analysis of Literary Devices in Twelfth Night

By Abdul Basit
ID: 12689
• If music be the food of love, play on.
Give me excess of it, that surfeiting,
The appetite may sicken and so die
 1.Alliteration
• Definition of Alliteration
• Alliteration is a literary device that reflects repetition in two or more nearby
words of initial consonant sounds.
• Alliteration does not refer to the repetition of consonant letters that begin
words, but rather the repetition of the consonant sound at the beginning of
words.
• For example, the phrase “kids’ coats”
“phony people” is not alliterative
• A play written in blank verse, Twelfth Night shows many examples of the
use of alliteration. For example,
• “No man must know.” What follows? The numbers altered.
• “No man must know.”
• If this should be thee, Malvolio? (Act-II, Scene-V, Lines, 91-93)
• By this hand, they are scoundrels and substractors that
• Say so of him. Who are they? (Act-I, Scene-IV, Line,30-31)
• And with what wing the staniel checks at it! (Act-II, Scene-V, Line, 108)
• The above-given lines taken from different acts show the use of
alliteration that means the use of consonant sounds in quick succession
in a line such as /m/ in man and must, /s/ in scoundrels and substractors;
say and so, and /w/ in what wing sounds have occurred in these lines.
 Allegory
• Definition of Allegory:
• An allegory is a figure of speech in which abstract ideas and principles are
described in terms of characters, figures, and events.
• An allegory is a figure of speech in which abstract ideas and principles are
described in terms of characters, figures, and events.
• The playwright presents the circumstances of the people going through
shipwrecking, disguising, loving, and unloving at the same time.
• These people are the real ones, finding language from the situations they face
as human beings. Therefore, it is a fantastical allegory.
 Assonance
• Definition:
• Assonance is a literary device in which the repetition of similar
vowel sounds takes place in two or more words in proximity to
each other within a line of poetry or prose.
• Assonance most often refers to the repetition of internal vowel sounds
in words that do not end the same.
• For example, “he fell asleep under the cherry tree” is a phrase that
features assonance with the repetition of the long “e” vowel, despite the
fact that the words containing this vowel do not end in perfect rhymes.
 Example:
• Forgive the dry fool drink, then is the fool not dry.
Bid the dishonest man mend himself – if he mend, he is no
longer dishonest. (Act-I, Scene-V, Line, 38-40)
• Why then, methinks ’tis time to smile again.
world, how apt the poor are to be proud! (Act-III, Scene-I, Line,
121-122)
• Why should I not, had I the heart to do it. (Act-V, Scene-I, Lines,
111)
• vowel sounds appear after some pauses in such a way that they create a
sort of melodious impacts in the verses. The sounds of /i/ in bid and
dishonest, /o/ in longer and dishonest, /ai/ in time and smile.
 Antagonist
Antagonist Definition
• In literature, an antagonist is a character, or a group of characters, which
stands in opposition to the Protagonist, which is the main character. The
term “antagonist” comes from the Greek word antagonistēs, which means
“opponent,” “competitor,” or “rival.”
• It is common to refer to an antagonist as a villain (the bad guy), against
whom a Hero (the good guy) fights in order to save himself or others.
In some cases, an antagonist may exist within the protagonist that
causes an inner conflict or a moral conflict inside his mind. This inner
conflict is a major theme of many literary works, such as Doctor
Faustus, by Christopher Marlowe, Hamlet, by William Shakespeare,
and A Portrait of an Artist as a Young Man, by James Joyce. Generally,
an antagonist appears as a foil to the main character, embodying
qualities that are in contrast with the qualities of the main character.
 Example #1: Antigone (By Sophocles)
• A classical example of an antagonist is that of King Creon in Sophocles’
tragedy Antigone. Here, the function of the antagonist is to obstruct the
main character’s progress, through evil plots and actions. Antigone, the
protagonist, struggles against King Creon, the antagonist, in her effort to
give her brother a respectable burial. Through his evil designs, Creon tries
to hamper her in this attempt by announcing that her brother was a traitor,
and decreeing that “he must be left to the elements.” This protagonist-
antagonist conflict becomes the theme of this tragedy.
 Antagonist:
• Although as a vain and pompous, Malvolio seems to be the antagonist of
the play. Some other critics have stated that the real antagonist is Olivia as
she prevents Viola from getting her desires. Between both, Malvolio
seems a good candidate to be called an antagonist on account of his not-
so-malicious character
• Allusion: Allusion is a literary device in which an object or circumstance from an
unrelated context is referred to as covertly or indirectly. The below examples show
good use of allusions
• How will she love, when the rich golden shaft
• Hath killed the flock. (Act-I, Scene-I, Lines, 34-35)
• I would play Lord Pandarus of Phrygia sir, to bring a
• Cressida to this Troilu. (Act-III, Scene-I, Lines, 47-48)
• Truly madam, he holds Belzebub at the stave’s end. (Act-V,
• cene-I, Line, 275)
• These lines show a reference to the earliest mythical figures. The
first is a reference to the Cupid, while the second is to Chaucer’s
story of Troilus and Criseyde and Shakespeare’s Troilus and
Cressida. However, the third one alludes to Belzebub, the devil.
• Anaphora: The deliberate repetition of the first part of the sentence
in order to achieve an artistic effect is known as Anaphora. The
play Twelfth Night also shows the use of anaphora as given below;
• No man must know.
“No man must know.” What follows? The numbers altered!
“No man must know.” If this should be thee, Malvolio? (Act-II,
Scene-V, Lines 93-95)
• The phrase “No man must know” is repeated at the beginning of these three
verses, showing good use of anaphora
• .8. Conflict: There are two types of conflicts in Twelfth Night. The first one is
the external conflict that is going on between the lovers and the second is the
mental conflict that goes in the mind of Viola and Sebastian when they get
separated.
• 9. Consonance: Consonance refers to repetitive sounds produced by consonants
within a sentence or phrase. The play, Twelfth Night, shows the use of
consonance at various places. For example
By my life, this is my lady’s hand these be her very C’s, her U’s and her T’s
and thus makes she her great P’s.
It is, in contempt of question, her hand. (Act-II, Scene-V, Line, 76-79)
I extend my hand to him thus. (Act-II, Scene-V, Line, 61)
• You have said, sir. To see this age! A sentence is but a cheveril glove to a
good wit. How quickly the wrong side may be turned outward! (Act-III,
Scene-I, Lines, 10-14)
• In both of these examples, consonant sounds such as /d/ in lady’s and
hand; /s/ in this, is, and lady’s and /n/ in extend and hand, and then /l/ in
cheveril and glove, and /d/ in turned and outward has been repeated in such a
way that they create a musical quality in these lines
• 10. Dramatic Irony: Dramatic irony is an important stylistic device that is
commonly found in plays, movies, theaters, and sometimes in poetry.
Dramatic irony occurs at several places in the play, Twelfth Night. For
example, Olivia is not aware of Viola’s identity. Similarly, Cesario, who is
Viola, is also unaware that her brother is alive
• 11. Foreshadowing: Foreshadowing is a literary device in which a writer
gives an advance hint of what is to come later in the story. The first
example of foreshadowing in the Twelfth Night occurs in the very first act
when Duke says that “So full of shapes is fancy / that it alone is high
fantastical.” (Act-I, Scene-I, Lines, 14-15). He is foreshadowing his own
fancy that is highly fantastical. The second foreshadowing occurs in the
second act when Viola says, “I can sing and speak to him in many sorts of
music.” (Act-I, Scene-II, Line, 59)
• 12. Imagery: Imagery means to use vivid and descriptive images related to five senses.
For example,
• Have you not set mine honor at the stake
And baited it with all the unmuzzled thoughts (Act-III, Scene-I, Lines, 113-114)
• If one should be a prey, how much the better
To fall before the lion than the wolf. (Act-III, Scene-1, Lines, 123-124)
• If a bloody coxcomb be a hurt, you have hurt me? (Act-V Scene-1, Line, 181)
• These lines show the sensory images that Shakespeare has used sparingly in the entire
play. These three examples show the use of sensory images, showing the use of the
sense of hearing, sight, and feeling.
• 13. Metaphor: A Metaphor is a figure of speech that makes an implicit, implied, or hidden
comparison between two things that are unrelated, but which share some common
characteristics. Twelfth Night shows good use of various metaphors. For example,
• O, she that hath a heart of that fine frame
To pay this debt of love but to a brother. (Act-I, Scene-I, Lines, 32-33)
• My purpose is, indeed, a horse of that color. (Act-II, Scene-1, Line, 1555)
• Truly madam, he holds Belzebub at the stave’s end (Act-V, Scene-I, Line, 275)
• These are the metaphors among various others used in the play. In the first metaphor,
Orsino compares her heart to a frame, in the second Maria compares Malvolio to a horse,
and in the third Feste compares Belzebub to Malvolio’s state of mind.
• 14. Mood: The entire play shows different moods according to the
situation. When the play opens, it shows chaos of the tempest and
the shipwreck. However, when this phase moves to the next, it
becomes cheerful with each character loving and showing love to
the other and discovering a new disguise of others. It ends on a
happy note
• 15. Protagonist: Viola or Cesario is the main protagonist of the play, who chooses to
disguise as a man to survive. When she falls for Duke Orsino, she does not reveal until
Orsino expresses his mind. She is a good person and continues to support Orsino
• 16. Pun: A pun is a play on words that produces a humorous effect by using a word that suggests
two or more meanings, or by exploiting similar sounding words. The play, Twelfth Night, is full
of puns. For example
• I shall never begin if I hold my peace. (Act-II, Scene-III, Line, 66)
• Ay, but you must confine yourself within the modest limits of order. (Act-I, Scene-III, Lines, 7-8)
• In the first example, Feste plays upon the word “peace” in the sense of silence as well as peace
and in the second Maria plays upon the word “confine” means to clothe as well as to limit.
• 17. Paradox: The term paradox is from the Greek word paradoxon, which means
“contrary to expectations, existing belief, or perceived opinion.” It is a statement
that appears to be self-contradictory or silly, but which may include a latent truth.
The play also shows good use of paradoxes. For example,
• ‘Tis thought among the prudent he would quickly have the gift of a grave. (Act-I,
Scene-III, Line, 15)
• Love’s night is noon. (Act-III, Scene-I, Line, 115)
• The lines given above show paradoxes that means to use contradictory ideas in
the same statement. For example, the first statement shows the contradiction in
thought and second in time.
• 18. Rhetorical Questions: A rhetorical question is asked just for effect, or to lay
emphasis on some point being discussed when no real answer is expected. The
play shows good use of rhetorical questions at several places. For example,
• What is “pourquoi”? Do or not do? I would I had
bestowed that time in the tongues. (Act-I, Scene-III, Lines, 81-82)
• But it becomes me well enough, doesn’t not? (Act-I, Scene-III, Line, 88)
• These examples show the use of rhetorical questions mostly posed by the
characters of Twelfth Night. The first example shows Sir Andrew posing question
by answering it themselves. The next example again shows the same thing as the
tag question.
• 19. Simile: A Simile is a figure of speech that makes a
comparison, showing similarities between two different things. The
play shows good use of various similes such as;
• You will hang like an icicle on a Dutchman’s beard (Act-III, Scene-II,
Line, 28)
• This house is as dark as ignorance. (Act-IV, Scene-II, Line, 45)
• The first simile compares parson to an icicle and second darkness
is compared to ignorance.
• 20. Soliloquy: A soliloquy is often used as a means of character revelation or character manifestation to the reader or the audience of the play. The play
shows some memorable soliloquies. For example,
• “What is your parentage?”
“Above my fortunes, yet my state is well.
I am a gentleman.” I’ll be sworn thou art;
Thy tongue, thy face, thy limbs, actions, and spirit,
Do give thee fivefold blazon. Not too fast! Soft, soft!
Unless the master were the man. How now?
Even so quickly may one catch the plague?
Methinks I feel this youth’s perfections
With an invisible and subtle stealth
To creep in at mine eyes. Well, let it be.—
What ho, Malvolio! (Act-I, Scene-V, Lines, 271-281)
• Disguise, I see, thou art a wickedness,
Wherein the pregnant enemy does much.
How easy is it for the proper-false
In women’s waxen hearts to set their forms!
Alas, our fraility is the cause, not we,
For such as we are made of, such we be. (Act-II, Scene-II, Lines 26-31)
• These are some of the memorable soliloquies of Twelfth Night. The first one is delivered by Olivia, second is delivered by Viola/Cesario.
• 21. Verbal Irony: Verbal Irony involves what one does not mean. The play
shows verbal irony as;
• That you do think you are not what you are. (Act-III, Scene-I, Line, 142)
• By my troth, I’ll tell thee, I am almost sick for one.
• This use of verbal irony is apparent as in the first instance, where Cesario is
telling Oliva that she is in love, though, she is actually telling a lie. In another
way, it is true also, as Cesario is a woman and not a man. The second is
also an example of verbal irony as Cesario, who is Viola, wants a beard,
though, she cannot have