Chapter 2, treating comic doubleness as a structural matter, explores the way scenes, actions, and plot lines reflect each other, as if to create an uncanny closed circuit or dream-world. Those reflections call up a long-standing critical recognition of ‘magical parallelisms,’ such as between the story lines of Viola and Sebastian, that express the Renaissance fascination with analogy and with occult theories of sympathetic influence. Within the play, structural doublings create affects ranging from enervation and frustrated desires, to a premonition of fatedness and converging destinies, to the agitation of manically accelerated action, to the liberating recognition of differences with in repetitions. Focusing on Twelfth Night, this chapter considers how the play creates the sense of a numinous but opaque providentialism, features that it also finds in other Shakespearean, Italian, and Tudor plays, including those of John Lyly.