International Journal of Applied Linguistics, Volume 2, Issue 1. Literature and Translation March 30, 2021 ______

Dramatic Effects of the Most Important Instruments and Figure of Rhetoric in Shakespeare’s “”

Dr. S.M. Khan Lecturer Department of Languages and Translation, Najran University, KSA.

Abstract: This research paper examines the dramatic effect of the most important instruments and figure of rhetoric in Shakespeare’s one of the major comedy “Twelfth Night”. ’s Twelfth Night is one of his most popular comedy in English history. Twelfth Night has naturally pulled in basic consideration regarding its strict references and themes. This research sheds lights on the use of figurative language as Shakespeare speaks with metaphors, personification, and similes. The present study also shows the dramatic techniques such as dialogue, soliloquy and irony to depict human desire, ambition, and relationships. To recognize the rhetoric devices, we have to recall the characters who speak figuratively throughout the play to understand the it.

Keywords: Comedy, figure of rhetoric, tools, Dramatic Effects and Twelfth Night.

Introduction: The play, Twelfth Night, additionally named What You Will composed by William Shakespeare is a rom-com. It was composed around in 1601 or 1602 to be arranged on the Christmas day. The play is about the twins, Sebastian and , isolated during a tempest when their boat is destroyed. Viola, camouflaging as Cesario, loves Duke . Duke, then again, loves . The storyline is expressed to have been gotten from the narrative of Matteo Bandello. In any case, its distribution is expressed to have been delay until the main folio in 1623. The play opens with Orsino frantically enamored with Lady Olivia, who doesn't adore him back. Duke Orsino persuades himself that he adores Olivia and that is sufficient. Consequently, he resends a proposition communicating his undying energy for Olivia. As she is grieving after her dad and sibling's demise, she dismisses him, saying she won't wed for the following seven years. In the meantime, Viola, alongside her commander, Antonio, and team endure a wreck on the coastline of . The commander assists her with arriving at the shore. Nonetheless, she doesn't track down her twin sibling, Sebastian, and expects he probably been suffocated. The skipper, at that point, assists her with camouflaging a youngster, Cesario. Viola accepts the position of the associate of Duke Orsino. Duke Orsino is as yet fixated on Olivia and requests that Cesario visit Olivia and let her think about his unselfish, energetic love. In an amazing turn of occasion, Olivia falls head over heels for Cesario, who conveys Orsino's message to persuade her to wed the duke. Nonetheless, Olivia rejects Orsino again leaving him shattered. Viola, simultaneously, begins adoring the duke. This makes such an affection triangle. www.ijallt.com International Journal of Applied Linguistics, Literature and Translation -15-

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In the comic subplot, a few characters’ scheme to make Olivia's bombastic steward, , accept that Olivia has succumbed to him. This includes Olivia's uncle, Sir Toby Burp; another would-be admirer, a senseless assistant named ; her workers and Fabian; and her bonehead, . Sir Toby and Sir Andrew lock in themselves in drinking and party, in this manner upsetting the tranquility of Olivia's home until late into the evening, inciting Malvolio to berate them. Sir Toby broadly answers, "Dost thou think, since thou craftsmanship prudent, there will be no more cakes and beer?" (Act II, Scene III) Sir Toby, Sir Andrew and Maria are incited to design vengeance on Malvolio. They persuade Malvolio that Olivia is subtly enamored with him by planting a love letter, composed by Maria in Olivia's grasp. It requests that Malvolio wear yellow stockings cross-gartered, to be impolite to the remainder of the workers, and to grin continually in the presence of Olivia. Malvolio finds the letter and responds in astounded joy. He begins showcasing the substance of the letter to show Olivia his positive reaction. Olivia is stunned by the progressions in Malvolio and leaves him to the contraptions of his abusers. Imagining that Malvolio is crazy, they lock him up in a dim chamber. Feste visits him to deride his madness, both camouflaged as a minister and as himself. Shakespeare's plays were composed to be performed to people from various social classes and of changing degrees of acumen. Subsequently they contain practical characters who appeal to the regular workers, next to each other with intricacies of plot which would fulfill the cravings of the blue-bloods among the crowd. His contemporary status is unique, and Shakespeare's plays have become an image of culture and training, being generally utilized as a subject for scholarly investigation and abstract analysis. A nearby basic investigation of Twelfth Night can uncover how Shakespeare controls the structure, construction, and language to add to the significance of his plays. Through the type of discourse Shakespeare passes on the connection between characters. For instance, the companionship and comprehension among Olivia, and her worker Feste, the comedian, is appeared in their exchange in Act I, Scene 5. In this scene Shakespeare shows that the two characters are scholarly people by building their debate in writing. Portraying Feste, Shakespeare gives him the maxim, Better a clever imbecile than an absurd mind. [Feste. Act 1, scene 5]

Important Instruments Literary Devices: A vital device for understanding Shakespeare's plays is the 'twofold plot' instrument. What was surprising about Twelfth Night was that the 'high plot' and the 'low plot' reflected each other, and yet the two plots went in inverse ways toward regenerative, bubbly satire, and furthermore toward scenes of malevolent mercilessness and dismissal. Negative components, which were not restricted to Malvolio, yet additionally included Sir Toby, Sir Andrew, and Antonio – a mariner who become friends with Viola's sibling Sebastian and shaped a solid connection to him. In Shakespeare's plays, negative components truly relied upon how the chief and entertainers chose to play the parts. The personality of Antonio couldn't tolerate letting Sebastian far away from him, despite the fact that he followed him at some close to home danger to himself. At a certain point in the play, he said: I have many enemies at Orsino’s court, Else would I very shortly see thee there: www.ijallt.com International Journal of Applied Linguistics, Literature and Translation -16-

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But come what may, I do adore thee so, That danger shall seem sport, and I will go. The play, Twelfth Night, shows the authority of William Shakespeare in utilizing clever and merry language. The title of the play shows this dominance. The play additionally shows its language getting entertaining and funny just as comic and heartfelt as per the circumstance and setting with the way things are amusing when Feste shows up, while it is unexpected when Olivia and Malvolio show up on the scene. Essentially, Sir Toby and Sir Andrew are arrogant and mocking, while their language, as well, follows their air. On occasion, Shakespeare has turned to the utilization of quips, similitudes, and exorbitant utilization of likenesses that is reasonable for composition and section which mirrors the temperament of the characters just as the tone of the play. Alliteration: It is an elaborate gadget wherein various words, having a similar first consonant sound, happen near one another in an arrangement. A play written in clear section, Twelfth Night shows numerous instances of the utilization of similar sounding word usage. For instance, “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 expressions have been extracted from different acts and scenes to show the alliteration used in the play.

Allegory: Allegory is literary device wherein theoretical thoughts and standards are depicted as far as characters, figures, and occasions. Twelfth Night is a moral story in that it shows that the general public having various characters acting contrastingly as per the conditions. The dramatist presents conditions of individuals going through wrecking, masking, adoring, and un-cherishing simultaneously. These individuals are the genuine ones, discovering language from the circumstances they face as people. Along these lines, it is a fantastical moral story. Assonance: Assonance happens when at least two words, near each other recurrent a similar vowel sound, however start with various consonant sounds. The play, Twelfth Night, shows great utilization of sound similarity. For instance,

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)

In these lines vowel sounds are repeated in many places to show the example of assonance. i.e. the sound of /i/, sound /o/ and sound /ai/. www.ijallt.com International Journal of Applied Linguistics, Literature and Translation -17-

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Antagonist: Antagonist is a bad character in a play, Malvolio is by all accounts a bad character in the play. Some different scholars have expressed that the genuine rival is Olivia as she keeps Viola from getting her cravings. Between both, Malvolio appears to be a decent possibility to be called an opponent by virtue of his not-so-malignant character. Allusion: Allusion is an abstract gadget wherein an item or condition from a random setting is alluded to as secretly or by implication. The underneath models show great utilization of inferences.

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) These lines referred to the most punctual legendary figures. The first is a reference to the Cupid, the second is to Chaucer's account of Troilus and Criseyde and the third one suggests Belzebub, Satan. Anaphora: The conscious reiteration ofa word or phrase in more than one sentence to accomplish an imaginative impact is known as Anaphora. The play Twelfth Night shows the utilization of anaphora in act II, Scene V: 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 above expression "No man should know" is showing great utilization of anaphora. Conflict: Two sorts of conflicts have been used in Twelfth Night. The first is the outer struggle that is going on between the darlings and the second is the psychological clash that goes in the brain of Viola and Sebastian when they get isolated. Consonance: Consonance alludes to repetition of sounds created by consonants in a sentence or expression. Consonance have been shown in many places in the play, Twelfth Night. For instance, 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) Consonant sounds like /d/, /s/, /n/and /l/ make a melodic quality in these lines. Irony: Dramatic incongruity is a significant expressive literary device that is normally found in plays, theaters, and in poetry. This technique is used in different places in the play, Twelfth Night. For instance, Olivia doesn't know about Viola's personality. Likewise, Cesario, who is Viola, is additionally ignorant that her sibling is alive. Imagery: Imagery intends to utilize distinctive and spellbinding pictures identified with five detects. The following lines show the tangible images that has utilized sparingly in the whole play. These two examples show the utilization of images by Shakespeare. www.ijallt.com International Journal of Applied Linguistics, Literature and Translation -18-

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For instance, 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)

Metaphor: A Metaphor is a literary device which compares two or more things without using “as or like” unlike the simile, however what share some basic attributes. Twelfth Night shows great utilization of different allegories. Following expressions are the representations that are used at different places in the play. First one is, Orsino compares her heart to a frame, in the subsequent Maria compares Malvolio to a pony, and the third comparison is Feste compares Beelzebub to Malvolio's perspective. For instance,

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) Protagonist: A protagonist refers to a good or main character in the play. In Twelfth Night, Viola or Cesario are the primary heros of the play, who decides to disguise as a male character to endure. She is a decent individual and keeps on supporting Orsino. Pun: A pun is a figure of speech that creates an entertaining impact by utilizing a word that proposes at least two implications, or by misusing comparative sounding words. The play, Twelfth Night, is loaded with jokes. For example, Feste plays upon "peace" in the feeling of quiet just as peace and in the subsequent Maria plays upon "confine" signifies to dress just as to restrict. For instance, 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) Paradox: A paradox is a literary device that refers to a statement that contradict itself. The term paradox is from the Greek word paradoxon, which signifies "in spite of assumptions, existing conviction, or saw assessment." Following are the examples of use of paradox in the play. For instance, ‘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)

Rhetorical Questions: A non-serious inquiry is posed only for impact, or to lay accentuation on some point being examined when no genuine answer is expected. The play shows great utilization of such questions at a few places. For instance Sir Andrew offering questions by replying it themselves, and the later one is the same thing as a tag question.

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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)

Simile: A Simile is a figure of speech which compares to or more things by using “as or like” unlike metaphor. This device has been used in the play in many places, for example, 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)

Soliloquy: A soliloquy is a kind of monologue which frequently utilized as a method for character disclosure or character appearance to the audience or the crowd of the play. Here are two examples delivered by Olivia and Viola.

“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)

In the wake of investigating the manner by which Shakespeare utilizes structure, design and language to shape which means I have reached the resolution that we are not deliberately mindful of these strategies at the point when we are the audience. Chiefs and entertainers may mull over these variables when playing out a play, to help with passing on importance of the play to the audience. Various executives may decipher the content in an unexpected way, however the play ought to be acted so that unobtrusive hints assist the audience with getting messages and comprehend the intricacy of the creating plot, with the goal that we are not obliged to be constantly attempting to decipher the content for ourselves.

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References

Cosby, Matt. “Twelfth Night” A Shakespeare Translation.” Lit Charts. Lit Charts LLC, 11 May 2014. Web. 6 May 2021.

Alcina, A. (2008). Translation technologies Scope, tools and resources. Target: International Journal on Translation Studies. 20:1 (2008), 80–103. DOI 10.1075/ Target.20.1.05alc

Lewalski, B. K. (1965). Thematic Patterns in Twelfth Night. Shakespeare Studies, 1, 168.

Hunt, M. (1989). " Twelfth Night" and the Annunciation. Papers on Language and Literature, 25(3), 264.

Krieger, Elliot. “Twelfth Night.” A Marxist Study of Shakespeare’s Comedies. New York: Barnes & Noble Books, 1979. 97-130. Text.

Shakespeare, William. Measure for Measure. From The Complete Works of William Shakespeare. New York: Doubleday & Co., 1936. 699-729. Text.

---. Twelfth Night. From The Complete Works of William Shakespeare. New York: Doubleday & Co., 1936. 901-934. Text.

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