Figurative Language In Shakespeare's Twelfth Night

When Olivia's transformation concludes, she no longer has the same ideals about love that she had previously. She is now lovesick over Cesario. In her dialogue, Shakespeare uses figurative language to show how she obsesses over wanting Cesario to love her. Olivia’s obsession causes her to act in a manner she normally wouldn’t, “Give me leave, beseech you. I did send, / After the last enchantment you did here, / A ring in chase of you. So did I abuse / Myself, my servant, and, I fear me, you: / Under your hard construction must I sit, / To force that on you, in a shameful cunning / Which you knew none of yours. What might you think?” (3.1.102-1-8). With this, Olivia compares meeting Cesario to having an enchantment put upon her, stating that

while the concept of loving Cesario is charming, she has no control over it. She cannot stop thinking about Cesario, even though she knows he doesn’t love her, “O world, how apt the poor are to be proud! / If one should be a prey, how much the better / To fall before the lion than the wolf! (clock strikes) / The clock upbraids me with the waste of time,” (3.1.118-121). Olivia uses this metaphor to say that she’s getting lost in her fantasies, and that she’d rather get her heartbroken by someone who is noble, not cruel, and also that the clock is reminding her of the time she’s wasting loving Cesario, which is also personification.

Olivia says this to show that love is not always kind. She cannot keep her emotions hidden, and continues to obsess over and pursue Cesario, despite his objections, “Oh, what a deal of scorn looks beautiful / In the contempt and anger of his lip! / A murderous guilt shows not itself more soon / Than love that would seem hid. Love’s night is noon,” (3.1.135-139) This personification is used by Olivia to say that even in anger, Cesario is beautiful, and a murderer can hide their guilt longer than someone can keep their love a secret. It also is showing how Olivia’s love cannot be controlled. Olivia is aware that Cesario doesn’t love her, but her feelings for him take over her mind and she refuses to move on, “Cesario, by the roses of the spring, / By maidhood, honor, truth, and everything, / I love thee so, that, maugre all thy pride, / Nor wit nor reason can my passion hide. / Do not extort thy reasons from this clause, / For that I woo, thou therefore hast no cause, / But rather reason thus with reason

fetter. / Love sought is good, but given unsought better,” (3.1.140-147). Olivia has transformed into a character similar to Orsino, who she somewhat despised. She is entirely lovesick and feels the pain love brings when Cesario doesn’t love her back. Through her dialogue, love is shown as infatuating, yet heartbreaking, and it demonstrates how love can cause one’s character to change.