The Barber of Seville Literary Elements

The Barber of Seville Literary Elements

Genre

Comedy Opera, PLay

Language

Spanish

Setting and Context

Seville, 1700s

Narrator and Point of View

There is no narrator, but the play is written from the point of view of the Count and the audience is encouraged to be on his side throughout the performance

Tone and Mood

The tone is largely fun and jovial. It is also lightly comedic

Protagonist and Antagonist

The Count is the protagonist, Bartholo the antagonist

Major Conflict

There is conflict between the Count and Bartholo as both want to marry Rosine. There is also a passive conflict between Rosine and her guardian as she does not want to marry him despite his determination that she will do

Climax

The Judge arrives to marry the Count and Rosine in the nick of time, as the Doctor arrives the second after the paperwork is signed and they are already married

Foreshadowing

The fact that Brazile has realized the man teaching piano to Rosine is the Count and this foreshadows the campaign of smearing the Count's name

Understatement

The Count is described as rich which is an understatement and actually his wealth is the reason for his pretending to be several other characters, to make sure the Rosine loves him for his character and heart and not for his wealth.

Allusions

There are no direct allusions but the character of Figaro alludes to the character of Brighella in the Commedia dell'arte

Imagery

The majority of the imagery in the play is auditory, as there is a great deal of musical conversation. There is also visual imagery as the various disguises that the Count creates gives a different visual image of the same person

Paradox

The Judge was supposed to arrive at the house on behalf of Bartholo, to marry Rosine and her Guardian. The paradox is that he is brought to the house earlier, by Figaro, and that he marries Rosine and the Count mere seconds before the doctor arrives.

Parallelism

No specific examples

Personification

No specific examples

Use of Dramatic Devices

The majority of the play is comic relief; however, a large part depends on the conspiracy between the Count and Figaro, and the audience of the play, all of whom know that he is disguised when the doctor and Brazile do not.

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