Twelfth Night
by
William Shakespeare
Twelfth Night is a comedic play that follows the story of twins Viola and Sebastian, who are separated in a shipwreck. Viola, disguised as a man named Cesario, begins working for Duke Orsino and falls in love with him, but he is in love with Olivia. Olivia, mourning the death of her brother, rejects Orsino’s advances.
Meanwhile, Olivia’s uncle Sir Toby Belch and his friend Sir Andrew Aguecheek convince Olivia’s maid Maria to play a trick on her strict steward Malvolio by forging a letter that suggests Olivia is in love with him. Malvolio, believing the letter to be genuine, acts foolishly and is locked up as a madman.
As the story progresses, Olivia falls in love with Cesario (Viola in disguise), and Sebastian, who has been rescued by Antonio, arrives in Illyria, where he is mistaken for Cesario and causes confusion. Eventually, the truth is revealed, and Viola and Orsino declare their love for each other, while Olivia and Sebastian do the same.
The play explores themes of love, deception, and mistaken identity, and features memorable characters such as the witty and mischievous Sir Toby Belch, the fool Feste, and the self-important Malvolio. With its complex plot and humorous dialogue, Twelfth Night remains a popular and widely performed play to this day.
Act I
Act 1 of Twelfth Night is a comedic introduction to the characters and setting of the play. The play is set in Illyria, where the Duke Orsino is pining for the love of Lady Olivia. He sends his page, Cesario (who is actually Viola disguised as a man), to deliver love letters to Lady Olivia on his behalf.
Meanwhile, Viola has been separated from her twin brother in a shipwreck and believes him to be dead. She decides to take on the identity of Cesario to protect herself and find work in Illyria. When she arrives at the court of Duke Orsino, she quickly becomes his favorite page and confidante.
Lady Olivia, however, is not interested in the Duke's affections and has decided to mourn her brother's death for seven years. She rejects Orsino's advances and sends his page, Cesario, away with a message of her disinterest. Cesario, however, catches Olivia's attention and she begins to fall in love with him/her.
In the subplot of the play, Sir Toby Belch, Olivia's uncle, and his friend Sir Andrew Aguecheek are trying to win Olivia's heart and money. They enlist the help of Olivia's maid, Maria, to play a trick on her strict steward, Malvolio. They forge a letter from Olivia declaring her love for Malvolio and convince him to dress in ridiculous yellow stockings in order to win her affections.
The first act ends with the introduction of the character of Viola's twin brother, Sebastian, who has also survived the shipwreck and is in Illyria. This sets the stage for the confusion and mistaken identities that will occur in the later acts of the play.
SCENE I. DUKE ORSINO's palace.
In Scene 1 of Act 1, a ship is wrecked off the coast of Illyria, and Viola, a young woman, is separated from her twin brother, Sebastian. Viola believes that her brother is dead and decides to disguise herself as a man to protect herself in this unfamiliar land. She meets the captain of the ship and tells him of her plan to serve Duke Orsino as a eunuch. The captain agrees to help Viola and takes her to Duke Orsino's palace. Once at the palace, Viola, now going by the name Cesario, is hired by Duke Orsino to be his servant. Duke Orsino is in love with the Countess Olivia, but Olivia has refused his advances. Orsino sends Cesario to try and woo Olivia on his behalf. Cesario, who is actually Viola in disguise, is hesitant to take on this task, but ultimately agrees to do so. As the scene comes to a close, Viola reflects on her situation and the fact that she is now in love with Duke Orsino, despite her disguise as his servant.
Enter DUKE ORSINO, CURIO, and other Lords; Musicians attending
DUKE ORSINO
If music be the food of love, play on;
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Give me excess of it, that, surfeiting,
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The appetite may sicken, and so die.
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That strain again! it had a dying fall:
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O, it came o'er my ear like the sweet sound,
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That breathes upon a bank of violets,
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Stealing and giving odour! Enough; no more:
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'Tis not so sweet now as it was before.
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O spirit of love! how quick and fresh art thou,
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That, notwithstanding thy capacity
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Receiveth as the sea, nought enters there,
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Of what validity and pitch soe'er,
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But falls into abatement and low price,
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Even in a minute: so full of shapes is fancy
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That it alone is high fantastical.
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CURIO
Will you go hunt, my lord?
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DUKE ORSINO
What, Curio?
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CURIO
The hart.
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DUKE ORSINO
Why, so I do, the noblest that I have:
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O, when mine eyes did see Olivia first,
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Methought she purged the air of pestilence!
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That instant was I turn'd into a hart;
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And my desires, like fell and cruel hounds,
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E'er since pursue me.
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How now! what news from her?
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VALENTINE
So please my lord, I might not be admitted;
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But from her handmaid do return this answer:
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The element itself, till seven years' heat,
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Shall not behold her face at ample view;
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But, like a cloistress, she will veiled walk
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And water once a day her chamber round
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With eye-offending brine: all this to season
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A brother's dead love, which she would keep fresh
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And lasting in her sad remembrance.
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DUKE ORSINO
O, she that hath a heart of that fine frame
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To pay this debt of love but to a brother,
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How will she love, when the rich golden shaft
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Hath kill'd the flock of all affections else
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That live in her; when liver, brain and heart,
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These sovereign thrones, are all supplied, and fill'd
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Her sweet perfections with one self king!
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Away before me to sweet beds of flowers:
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Love-thoughts lie rich when canopied with bowers.
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Exeunt
SCENE II. The sea-coast.
Scene 2 of Act 1 of a classic play takes place in a room of a house in a fictional town. The scene begins with a conversation between a man and a woman. The man, who is a servant, is discussing his master's love for the woman's employer. The woman is skeptical of the man's claims and asks him to provide proof. He does so by describing the various ways in which his master has expressed his love for the woman's employer. As they continue to talk, another character enters the scene. This character is the woman's employer, who is described as a wealthy and influential figure in the town. The servant quickly exits, leaving the two women alone to talk. The employer expresses her frustration with the servant's constant talk of her suitor's love for her. She tells the other woman that she has no interest in him and wishes that he would leave her alone. As they continue to talk, a third character enters the room. This character is a young man who is related to the employer. He is described as being handsome and charming, and the women are immediately taken with him. The young man is surprised to find the women alone and asks if he has interrupted something. They tell him that they were just talking and invite him to join them. The scene ends with the three characters engaging in witty banter and discussing their various interests. The young man expresses his love of music and poetry, which impresses the women. They invite him to stay and continue their conversation, and the scene ends with them laughing and joking together.
Enter VIOLA, a Captain, and Sailors
VIOLA
What country, friends, is this?
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Captain
This is Illyria, lady.
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VIOLA
And what should I do in Illyria?
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My brother he is in Elysium.
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Perchance he is not drown'd: what think you, sailors?
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Captain
It is perchance that you yourself were saved.
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VIOLA
O my poor brother! and so perchance may he be.
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Captain
True, madam: and, to comfort you with chance,
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Assure yourself, after our ship did split,
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When you and those poor number saved with you
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Hung on our driving boat, I saw your brother,
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Most provident in peril, bind himself,
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Courage and hope both teaching him the practise,
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To a strong mast that lived upon the sea;
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Where, like Arion on the dolphin's back,
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I saw him hold acquaintance with the waves
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So long as I could see.
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VIOLA
For saying so, there's gold:
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Mine own escape unfoldeth to my hope,
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Whereto thy speech serves for authority,
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The like of him. Know'st thou this country?
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Captain
Ay, madam, well; for I was bred and born
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Not three hours' travel from this very place.
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VIOLA
Who governs here?
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Captain
A noble duke, in nature as in name.
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VIOLA
What is the name?
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Captain
Orsino.
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VIOLA
Orsino! I have heard my father name him:
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He was a bachelor then.
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Captain
And so is now, or was so very late;
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For but a month ago I went from hence,
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And then 'twas fresh in murmur,--as, you know,
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What great ones do the less will prattle of,--
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That he did seek the love of fair Olivia.
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VIOLA
What's she?
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Captain
A virtuous maid, the daughter of a count
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That died some twelvemonth since, then leaving her
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In the protection of his son, her brother,
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Who shortly also died: for whose dear love,
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They say, she hath abjured the company
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And sight of men.
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VIOLA
O that I served that lady
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And might not be delivered to the world,
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Till I had made mine own occasion mellow,
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What my estate is!
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Captain
That were hard to compass;
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Because she will admit no kind of suit,
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No, not the duke's.
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VIOLA
There is a fair behavior in thee, captain;
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And though that nature with a beauteous wall
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Doth oft close in pollution, yet of thee
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I will believe thou hast a mind that suits
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With this thy fair and outward character.
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I prithee, and I'll pay thee bounteously,
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Conceal me what I am, and be my aid
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For such disguise as haply shall become
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The form of my intent. I'll serve this duke:
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Thou shall present me as an eunuch to him:
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It may be worth thy pains; for I can sing
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And speak to him in many sorts of music
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That will allow me very worth his service.
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What else may hap to time I will commit;
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Only shape thou thy silence to my wit.
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Captain
Be you his eunuch, and your mute I'll be:
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When my tongue blabs, then let mine eyes not see.
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VIOLA
I thank thee: lead me on.
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Exeunt
SCENE III. OLIVIA'S house.
In Scene 3 of Act 1, we are introduced to a young woman named Viola who is shipwrecked on the coast of Illyria. Viola believes that her twin brother Sebastian has drowned in the shipwreck, and she is left alone with no money or resources in a foreign land. Viola decides to dress up as a man and goes by the name of Cesario, hoping to find employment in the court of Duke Orsino. Viola meets with the Duke's servant, Valentine, and asks for an audience with him. Valentine tells Viola that the Duke is in love with a woman named Olivia, who is mourning the recent death of her brother and has refused to see any suitors. Viola, disguised as Cesario, is sent to deliver a message to Olivia on behalf of the Duke. When Viola/Cesario arrives at Olivia's house, she is immediately smitten with him. Olivia asks Cesario to return to her with a message for the Duke, but Cesario tries to dissuade her, telling her that the Duke is a great man and would make a good husband. Olivia is not deterred and insists on seeing Cesario again. As Viola/Cesario leaves Olivia's house, she realizes that she has fallen in love with the Duke, even though she is disguised as a man. Viola/Cesario is torn between her loyalty to the Duke and her newfound feelings for him.
Enter SIR TOBY BELCH and MARIA
SIR TOBY BELCH
What a plague means my niece, to take the death of
Link: 1.3.1
her brother thus? I am sure care's an enemy to life.
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MARIA
By my troth, Sir Toby, you must come in earlier o'
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nights: your cousin, my lady, takes great
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exceptions to your ill hours.
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SIR TOBY BELCH
Why, let her except, before excepted.
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MARIA
Ay, but you must confine yourself within the modest
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limits of order.
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SIR TOBY BELCH
Confine! I'll confine myself no finer than I am:
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these clothes are good enough to drink in; and so be
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these boots too: an they be not, let them hang
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themselves in their own straps.
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MARIA
That quaffing and drinking will undo you: I heard
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my lady talk of it yesterday; and of a foolish
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knight that you brought in one night here to be her wooer.
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SIR TOBY BELCH
Who, Sir Andrew Aguecheek?
Link: 1.3.16
MARIA
Ay, he.
Link: 1.3.17
SIR TOBY BELCH
He's as tall a man as any's in Illyria.
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MARIA
What's that to the purpose?
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SIR TOBY BELCH
Why, he has three thousand ducats a year.
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MARIA
Ay, but he'll have but a year in all these ducats:
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he's a very fool and a prodigal.
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SIR TOBY BELCH
Fie, that you'll say so! he plays o' the
Link: 1.3.23
viol-de-gamboys, and speaks three or four languages
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word for word without book, and hath all the good
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gifts of nature.
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MARIA
He hath indeed, almost natural: for besides that
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he's a fool, he's a great quarreller: and but that
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he hath the gift of a coward to allay the gust he
Link: 1.3.29
hath in quarrelling, 'tis thought among the prudent
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he would quickly have the gift of a grave.
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SIR TOBY BELCH
By this hand, they are scoundrels and subtractors
Link: 1.3.32
that say so of him. Who are they?
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MARIA
They that add, moreover, he's drunk nightly in your company.
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SIR TOBY BELCH
With drinking healths to my niece: I'll drink to
Link: 1.3.35
her as long as there is a passage in my throat and
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drink in Illyria: he's a coward and a coystrill
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that will not drink to my niece till his brains turn
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o' the toe like a parish-top. What, wench!
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Castiliano vulgo! for here comes Sir Andrew Agueface.
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Enter SIR ANDREW
SIR ANDREW
Sir Toby Belch! how now, Sir Toby Belch!
Link: 1.3.41
SIR TOBY BELCH
Sweet Sir Andrew!
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SIR ANDREW
Bless you, fair shrew.
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MARIA
And you too, sir.
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SIR TOBY BELCH
Accost, Sir Andrew, accost.
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SIR ANDREW
What's that?
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SIR TOBY BELCH
My niece's chambermaid.
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SIR ANDREW
Good Mistress Accost, I desire better acquaintance.
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MARIA
My name is Mary, sir.
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SIR ANDREW
Good Mistress Mary Accost,--
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SIR TOBY BELCH
You mistake, knight; 'accost' is front her, board
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her, woo her, assail her.
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SIR ANDREW
By my troth, I would not undertake her in this
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company. Is that the meaning of 'accost'?
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MARIA
Fare you well, gentlemen.
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SIR TOBY BELCH
An thou let part so, Sir Andrew, would thou mightst
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never draw sword again.
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SIR ANDREW
An you part so, mistress, I would I might never
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draw sword again. Fair lady, do you think you have
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fools in hand?
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MARIA
Sir, I have not you by the hand.
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SIR ANDREW
Marry, but you shall have; and here's my hand.
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MARIA
Now, sir, 'thought is free:' I pray you, bring
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your hand to the buttery-bar and let it drink.
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SIR ANDREW
Wherefore, sweet-heart? what's your metaphor?
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MARIA
It's dry, sir.
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SIR ANDREW
Why, I think so: I am not such an ass but I can
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keep my hand dry. But what's your jest?
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MARIA
A dry jest, sir.
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SIR ANDREW
Are you full of them?
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MARIA
Ay, sir, I have them at my fingers' ends: marry,
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now I let go your hand, I am barren.
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Exit
SIR TOBY BELCH
O knight thou lackest a cup of canary: when did I
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see thee so put down?
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SIR ANDREW
Never in your life, I think; unless you see canary
Link: 1.3.75
put me down. Methinks sometimes I have no more wit
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than a Christian or an ordinary man has: but I am a
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great eater of beef and I believe that does harm to my wit.
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SIR TOBY BELCH
No question.
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SIR ANDREW
An I thought that, I'ld forswear it. I'll ride home
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to-morrow, Sir Toby.
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SIR TOBY BELCH
Pourquoi, my dear knight?
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SIR ANDREW
What is 'Pourquoi'? do or not do? I would I had
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bestowed that time in the tongues that I have in
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fencing, dancing and bear-baiting: O, had I but
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followed the arts!
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SIR TOBY BELCH
Then hadst thou had an excellent head of hair.
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SIR ANDREW
Why, would that have mended my hair?
Link: 1.3.88
SIR TOBY BELCH
Past question; for thou seest it will not curl by nature.
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SIR ANDREW
But it becomes me well enough, does't not?
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SIR TOBY BELCH
Excellent; it hangs like flax on a distaff; and I
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hope to see a housewife take thee between her legs
Link: 1.3.92
and spin it off.
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SIR ANDREW
Faith, I'll home to-morrow, Sir Toby: your niece
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will not be seen; or if she be, it's four to one
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she'll none of me: the count himself here hard by woos her.
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SIR TOBY BELCH
She'll none o' the count: she'll not match above
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her degree, neither in estate, years, nor wit; I
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have heard her swear't. Tut, there's life in't,
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man.
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SIR ANDREW
I'll stay a month longer. I am a fellow o' the
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strangest mind i' the world; I delight in masques
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and revels sometimes altogether.
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SIR TOBY BELCH
Art thou good at these kickshawses, knight?
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SIR ANDREW
As any man in Illyria, whatsoever he be, under the
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degree of my betters; and yet I will not compare
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with an old man.
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SIR TOBY BELCH
What is thy excellence in a galliard, knight?
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SIR ANDREW
Faith, I can cut a caper.
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SIR TOBY BELCH
And I can cut the mutton to't.
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SIR ANDREW
And I think I have the back-trick simply as strong
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as any man in Illyria.
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SIR TOBY BELCH
Wherefore are these things hid? wherefore have
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these gifts a curtain before 'em? are they like to
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take dust, like Mistress Mall's picture? why dost
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thou not go to church in a galliard and come home in
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a coranto? My very walk should be a jig; I would not
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so much as make water but in a sink-a-pace. What
Link: 1.3.118
dost thou mean? Is it a world to hide virtues in?
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I did think, by the excellent constitution of thy
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leg, it was formed under the star of a galliard.
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SIR ANDREW
Ay, 'tis strong, and it does indifferent well in a
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flame-coloured stock. Shall we set about some revels?
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SIR TOBY BELCH
What shall we do else? were we not born under Taurus?
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SIR ANDREW
Taurus! That's sides and heart.
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SIR TOBY BELCH
No, sir; it is legs and thighs. Let me see the
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caper; ha! higher: ha, ha! excellent!
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Exeunt
SCENE IV. DUKE ORSINO's palace.
Scene 4 of Act 1 of Twelfth Night takes place in Duke Orsino's palace in Illyria. Orsino and his servant, Curio, are discussing music when Orsino requests more of it to be played. He then sends Curio to retrieve the young musician, Feste. Meanwhile, Viola, disguised as the male Cesario, enters the palace seeking employment from Orsino. She is accompanied by the shipwreck survivor, Antonio, who saved her from drowning. However, Antonio is a wanted man in Illyria and cannot enter the palace without risking arrest. He therefore gives Viola some money and promises to meet her again later. Viola is then introduced to Orsino and expresses her admiration for him, but he is more interested in talking about his love for the Countess Olivia. Orsino sends Cesario to deliver a message to Olivia, hoping to win her over. As Cesario leaves, Feste enters and sings a melancholic song about love. Orsino praises Feste's talent but also comments on the sorrowful nature of the song. Feste replies with a witty retort, displaying his intelligence and humor. The scene ends with Orsino lamenting his unrequited love for Olivia and pondering the nature of love itself.
Enter VALENTINE and VIOLA in man's attire
VALENTINE
If the duke continue these favours towards you,
Link: 1.4.1
Cesario, you are like to be much advanced: he hath
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known you but three days, and already you are no stranger.
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VIOLA
You either fear his humour or my negligence, that
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you call in question the continuance of his love:
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is he inconstant, sir, in his favours?
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VALENTINE
No, believe me.
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VIOLA
I thank you. Here comes the count.
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Enter DUKE ORSINO, CURIO, and Attendants
DUKE ORSINO
Who saw Cesario, ho?
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VIOLA
On your attendance, my lord; here.
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DUKE ORSINO
Stand you a while aloof, Cesario,
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Thou know'st no less but all; I have unclasp'd
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To thee the book even of my secret soul:
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Therefore, good youth, address thy gait unto her;
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Be not denied access, stand at her doors,
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And tell them, there thy fixed foot shall grow
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Till thou have audience.
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VIOLA
Sure, my noble lord,
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If she be so abandon'd to her sorrow
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As it is spoke, she never will admit me.
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DUKE ORSINO
Be clamorous and leap all civil bounds
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Rather than make unprofited return.
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VIOLA
Say I do speak with her, my lord, what then?
Link: 1.4.23
DUKE ORSINO
O, then unfold the passion of my love,
Link: 1.4.24
Surprise her with discourse of my dear faith:
Link: 1.4.25
It shall become thee well to act my woes;
Link: 1.4.26
She will attend it better in thy youth
Link: 1.4.27
Than in a nuncio's of more grave aspect.
Link: 1.4.28
VIOLA
I think not so, my lord.
Link: 1.4.29
DUKE ORSINO
Dear lad, believe it;
Link: 1.4.30
For they shall yet belie thy happy years,
Link: 1.4.31
That say thou art a man: Diana's lip
Link: 1.4.32
Is not more smooth and rubious; thy small pipe
Link: 1.4.33
Is as the maiden's organ, shrill and sound,
Link: 1.4.34
And all is semblative a woman's part.
Link: 1.4.35
I know thy constellation is right apt
Link: 1.4.36
For this affair. Some four or five attend him;
Link: 1.4.37
All, if you will; for I myself am best
Link: 1.4.38
When least in company. Prosper well in this,
Link: 1.4.39
And thou shalt live as freely as thy lord,
Link: 1.4.40
To call his fortunes thine.
Link: 1.4.41
VIOLA
I'll do my best
Link: 1.4.42
To woo your lady:
Link: 1.4.43
yet, a barful strife!
Link: 1.4.44
Whoe'er I woo, myself would be his wife.
Link: 1.4.45
Exeunt
SCENE V. OLIVIA'S house.
In Scene 5 of Act 1, a ship carrying Viola and her twin brother Sebastian has been wrecked in a storm. Viola believes that her brother has drowned and decides to disguise herself as a man and seek employment with the Duke Orsino. She becomes Cesario and is immediately hired by Orsino, who asks her to go and deliver a message of love to the Countess Olivia. Cesario is hesitant to do so, as Olivia has declared that she will not receive any suitors and is in mourning for her brother. Nevertheless, Orsino insists and Cesario reluctantly agrees to go. When Cesario arrives at Olivia's house, she is met by Olivia's fool, Feste, who engages in a witty conversation with her. Cesario then meets with Olivia herself and tries to deliver Orsino's message of love, but Olivia rejects it and declares her intention to remain in mourning for her brother. However, she is immediately struck by Cesario's charm and beauty and invites him to return to her house the next day. Cesario leaves, still unsure of how to proceed with Orsino's message. Meanwhile, Olivia's uncle, Sir Toby Belch, and his friend Sir Andrew Aguecheek are plotting to win Olivia's heart. They convince Olivia's maid, Maria, to write a letter to Malvolio, Olivia's steward, pretending to be from Olivia and expressing her love for him. They hope that Malvolio will embarrass himself in front of Olivia by responding to the letter. The scene ends with Malvolio discovering the letter and eagerly believing that Olivia loves him.
Enter MARIA and Clown
MARIA
Nay, either tell me where thou hast been, or I will
Link: 1.5.1
not open my lips so wide as a bristle may enter in
Link: 1.5.2
way of thy excuse: my lady will hang thee for thy absence.
Link: 1.5.3
Clown
Let her hang me: he that is well hanged in this
Link: 1.5.4
world needs to fear no colours.
Link: 1.5.5
MARIA
Make that good.
Link: 1.5.6
Clown
He shall see none to fear.
Link: 1.5.7
MARIA
A good lenten answer: I can tell thee where that
Link: 1.5.8
saying was born, of 'I fear no colours.'
Link: 1.5.9
Clown
Where, good Mistress Mary?
Link: 1.5.10
MARIA
In the wars; and that may you be bold to say in your foolery.
Link: 1.5.11
Clown
Well, God give them wisdom that have it; and those
Link: 1.5.12
that are fools, let them use their talents.
Link: 1.5.13
MARIA
Yet you will be hanged for being so long absent; or,
Link: 1.5.14
to be turned away, is not that as good as a hanging to you?
Link: 1.5.15
Clown
Many a good hanging prevents a bad marriage; and,
Link: 1.5.16
for turning away, let summer bear it out.
Link: 1.5.17
MARIA
You are resolute, then?
Link: 1.5.18
Clown
Not so, neither; but I am resolved on two points.
Link: 1.5.19
MARIA
That if one break, the other will hold; or, if both
Link: 1.5.20
break, your gaskins fall.
Link: 1.5.21
Clown
Apt, in good faith; very apt. Well, go thy way; if
Link: 1.5.22
Sir Toby would leave drinking, thou wert as witty a
Link: 1.5.23
piece of Eve's flesh as any in Illyria.
Link: 1.5.24
MARIA
Peace, you rogue, no more o' that. Here comes my
Link: 1.5.25
lady: make your excuse wisely, you were best.
Link: 1.5.26
Exit
Clown
Wit, an't be thy will, put me into good fooling!
Link: 1.5.27
Those wits, that think they have thee, do very oft
Link: 1.5.28
prove fools; and I, that am sure I lack thee, may
Link: 1.5.29
pass for a wise man: for what says Quinapalus?
Link: 1.5.30
'Better a witty fool, than a foolish wit.'
Link: 1.5.31
God bless thee, lady!
Link: 1.5.32
OLIVIA
Take the fool away.
Link: 1.5.33
Clown
Do you not hear, fellows? Take away the lady.
Link: 1.5.34
OLIVIA
Go to, you're a dry fool; I'll no more of you:
Link: 1.5.35
besides, you grow dishonest.
Link: 1.5.36
Clown
Two faults, madonna, that drink and good counsel
Link: 1.5.37
will amend: for give the dry fool drink, then is
Link: 1.5.38
the fool not dry: bid the dishonest man mend
Link: 1.5.39
himself; if he mend, he is no longer dishonest; if
Link: 1.5.40
he cannot, let the botcher mend him. Any thing
Link: 1.5.41
that's mended is but patched: virtue that
Link: 1.5.42
transgresses is but patched with sin; and sin that
Link: 1.5.43
amends is but patched with virtue. If that this
Link: 1.5.44
simple syllogism will serve, so; if it will not,
Link: 1.5.45
what remedy? As there is no true cuckold but
Link: 1.5.46
calamity, so beauty's a flower. The lady bade take
Link: 1.5.47
away the fool; therefore, I say again, take her away.
Link: 1.5.48
OLIVIA
Sir, I bade them take away you.
Link: 1.5.49
Clown
Misprision in the highest degree! Lady, cucullus non
Link: 1.5.50
facit monachum; that's as much to say as I wear not
Link: 1.5.51
motley in my brain. Good madonna, give me leave to
Link: 1.5.52
prove you a fool.
Link: 1.5.53
OLIVIA
Can you do it?
Link: 1.5.54
Clown
Dexterously, good madonna.
Link: 1.5.55
OLIVIA
Make your proof.
Link: 1.5.56
Clown
I must catechise you for it, madonna: good my mouse
Link: 1.5.57
of virtue, answer me.
Link: 1.5.58
OLIVIA
Well, sir, for want of other idleness, I'll bide your proof.
Link: 1.5.59
Clown
Good madonna, why mournest thou?
Link: 1.5.60
OLIVIA
Good fool, for my brother's death.
Link: 1.5.61
Clown
I think his soul is in hell, madonna.
Link: 1.5.62
OLIVIA
I know his soul is in heaven, fool.
Link: 1.5.63
Clown
The more fool, madonna, to mourn for your brother's
Link: 1.5.64
soul being in heaven. Take away the fool, gentlemen.
Link: 1.5.65
OLIVIA
What think you of this fool, Malvolio? doth he not mend?
Link: 1.5.66
MALVOLIO
Yes, and shall do till the pangs of death shake him:
Link: 1.5.67
infirmity, that decays the wise, doth ever make the
Link: 1.5.68
better fool.
Link: 1.5.69
Clown
God send you, sir, a speedy infirmity, for the
Link: 1.5.70
better increasing your folly! Sir Toby will be
Link: 1.5.71
sworn that I am no fox; but he will not pass his
Link: 1.5.72
word for two pence that you are no fool.
Link: 1.5.73
OLIVIA
How say you to that, Malvolio?
Link: 1.5.74
MALVOLIO
I marvel your ladyship takes delight in such a
Link: 1.5.75
barren rascal: I saw him put down the other day
Link: 1.5.76
with an ordinary fool that has no more brain
Link: 1.5.77
than a stone. Look you now, he's out of his guard
Link: 1.5.78
already; unless you laugh and minister occasion to
Link: 1.5.79
him, he is gagged. I protest, I take these wise men,
Link: 1.5.80
that crow so at these set kind of fools, no better
Link: 1.5.81
than the fools' zanies.
Link: 1.5.82
OLIVIA
Oh, you are sick of self-love, Malvolio, and taste
Link: 1.5.83
with a distempered appetite. To be generous,
Link: 1.5.84
guiltless and of free disposition, is to take those
Link: 1.5.85
things for bird-bolts that you deem cannon-bullets:
Link: 1.5.86
there is no slander in an allowed fool, though he do
Link: 1.5.87
nothing but rail; nor no railing in a known discreet
Link: 1.5.88
man, though he do nothing but reprove.
Link: 1.5.89
Clown
Now Mercury endue thee with leasing, for thou
Link: 1.5.90
speakest well of fools!
Link: 1.5.91
Re-enter MARIA
MARIA
Madam, there is at the gate a young gentleman much
Link: 1.5.92
desires to speak with you.
Link: 1.5.93
OLIVIA
From the Count Orsino, is it?
Link: 1.5.94
MARIA
I know not, madam: 'tis a fair young man, and well attended.
Link: 1.5.95
OLIVIA
Who of my people hold him in delay?
Link: 1.5.96
MARIA
Sir Toby, madam, your kinsman.
Link: 1.5.97
OLIVIA
Fetch him off, I pray you; he speaks nothing but
Link: 1.5.98
madman: fie on him!
Link: 1.5.99
Go you, Malvolio: if it be a suit from the count, I
Link: 1.5.100
am sick, or not at home; what you will, to dismiss it.
Link: 1.5.101
Now you see, sir, how your fooling grows old, and
Link: 1.5.102
people dislike it.
Link: 1.5.103
Clown
Thou hast spoke for us, madonna, as if thy eldest
Link: 1.5.104
son should be a fool; whose skull Jove cram with
Link: 1.5.105
brains! for,--here he comes,--one of thy kin has a
Link: 1.5.106
most weak pia mater.
Link: 1.5.107
Enter SIR TOBY BELCH
OLIVIA
By mine honour, half drunk. What is he at the gate, cousin?
Link: 1.5.108
SIR TOBY BELCH
A gentleman.
Link: 1.5.109
OLIVIA
A gentleman! what gentleman?
Link: 1.5.110
SIR TOBY BELCH
'Tis a gentle man here--a plague o' these
Link: 1.5.111
pickle-herring! How now, sot!
Link: 1.5.112
Clown
Good Sir Toby!
Link: 1.5.113
OLIVIA
Cousin, cousin, how have you come so early by this lethargy?
Link: 1.5.114
SIR TOBY BELCH
Lechery! I defy lechery. There's one at the gate.
Link: 1.5.115
OLIVIA
Ay, marry, what is he?
Link: 1.5.116
SIR TOBY BELCH
Let him be the devil, an he will, I care not: give
Link: 1.5.117
me faith, say I. Well, it's all one.
Link: 1.5.118
Exit
OLIVIA
What's a drunken man like, fool?
Link: 1.5.119
Clown
Like a drowned man, a fool and a mad man: one
Link: 1.5.120
draught above heat makes him a fool; the second mads
Link: 1.5.121
him; and a third drowns him.
Link: 1.5.122
OLIVIA
Go thou and seek the crowner, and let him sit o' my
Link: 1.5.123
coz; for he's in the third degree of drink, he's
Link: 1.5.124
drowned: go, look after him.
Link: 1.5.125
Clown
He is but mad yet, madonna; and the fool shall look
Link: 1.5.126
to the madman.
Link: 1.5.127
Exit
Re-enter MALVOLIO
MALVOLIO
Madam, yond young fellow swears he will speak with
Link: 1.5.128
you. I told him you were sick; he takes on him to
Link: 1.5.129
understand so much, and therefore comes to speak
Link: 1.5.130
with you. I told him you were asleep; he seems to
Link: 1.5.131
have a foreknowledge of that too, and therefore
Link: 1.5.132
comes to speak with you. What is to be said to him,
Link: 1.5.133
lady? he's fortified against any denial.
Link: 1.5.134
OLIVIA
Tell him he shall not speak with me.
Link: 1.5.135
MALVOLIO
Has been told so; and he says, he'll stand at your
Link: 1.5.136
door like a sheriff's post, and be the supporter to
Link: 1.5.137
a bench, but he'll speak with you.
Link: 1.5.138
OLIVIA
What kind o' man is he?
Link: 1.5.139
MALVOLIO
Why, of mankind.
Link: 1.5.140
OLIVIA
What manner of man?
Link: 1.5.141
MALVOLIO
Of very ill manner; he'll speak with you, will you or no.
Link: 1.5.142
OLIVIA
Of what personage and years is he?
Link: 1.5.143
MALVOLIO
Not yet old enough for a man, nor young enough for
Link: 1.5.144
a boy; as a squash is before 'tis a peascod, or a
Link: 1.5.145
cooling when 'tis almost an apple: 'tis with him
Link: 1.5.146
in standing water, between boy and man. He is very
Link: 1.5.147
well-favoured and he speaks very shrewishly; one
Link: 1.5.148
would think his mother's milk were scarce out of him.
Link: 1.5.149
OLIVIA
Let him approach: call in my gentlewoman.
Link: 1.5.150
MALVOLIO
Gentlewoman, my lady calls.
Link: 1.5.151
Exit
Re-enter MARIA
OLIVIA
Give me my veil: come, throw it o'er my face.
Link: 1.5.152
We'll once more hear Orsino's embassy.
Link: 1.5.153
Enter VIOLA, and Attendants
VIOLA
The honourable lady of the house, which is she?
Link: 1.5.154
OLIVIA
Speak to me; I shall answer for her.
Link: 1.5.155
Your will?
Link: 1.5.156
VIOLA
Most radiant, exquisite and unmatchable beauty,--I
Link: 1.5.157
pray you, tell me if this be the lady of the house,
Link: 1.5.158
for I never saw her: I would be loath to cast away
Link: 1.5.159
my speech, for besides that it is excellently well
Link: 1.5.160
penned, I have taken great pains to con it. Good
Link: 1.5.161
beauties, let me sustain no scorn; I am very
Link: 1.5.162
comptible, even to the least sinister usage.
Link: 1.5.163
OLIVIA
Whence came you, sir?
Link: 1.5.164
VIOLA
I can say little more than I have studied, and that
Link: 1.5.165
question's out of my part. Good gentle one, give me
Link: 1.5.166
modest assurance if you be the lady of the house,
Link: 1.5.167
that I may proceed in my speech.
Link: 1.5.168
OLIVIA
Are you a comedian?
Link: 1.5.169
VIOLA
No, my profound heart: and yet, by the very fangs
Link: 1.5.170
of malice I swear, I am not that I play. Are you
Link: 1.5.171
the lady of the house?
Link: 1.5.172
OLIVIA
If I do not usurp myself, I am.
Link: 1.5.173
VIOLA
Most certain, if you are she, you do usurp
Link: 1.5.174
yourself; for what is yours to bestow is not yours
Link: 1.5.175
to reserve. But this is from my commission: I will
Link: 1.5.176
on with my speech in your praise, and then show you
Link: 1.5.177
the heart of my message.
Link: 1.5.178
OLIVIA
Come to what is important in't: I forgive you the praise.
Link: 1.5.179
VIOLA
Alas, I took great pains to study it, and 'tis poetical.
Link: 1.5.180
OLIVIA
It is the more like to be feigned: I pray you,
Link: 1.5.181
keep it in. I heard you were saucy at my gates,
Link: 1.5.182
and allowed your approach rather to wonder at you
Link: 1.5.183
than to hear you. If you be not mad, be gone; if
Link: 1.5.184
you have reason, be brief: 'tis not that time of
Link: 1.5.185
moon with me to make one in so skipping a dialogue.
Link: 1.5.186
MARIA
Will you hoist sail, sir? here lies your way.
Link: 1.5.187
VIOLA
No, good swabber; I am to hull here a little
Link: 1.5.188
longer. Some mollification for your giant, sweet
Link: 1.5.189
lady. Tell me your mind: I am a messenger.
Link: 1.5.190
OLIVIA
Sure, you have some hideous matter to deliver, when
Link: 1.5.191
the courtesy of it is so fearful. Speak your office.
Link: 1.5.192
VIOLA
It alone concerns your ear. I bring no overture of
Link: 1.5.193
war, no taxation of homage: I hold the olive in my
Link: 1.5.194
hand; my words are as fun of peace as matter.
Link: 1.5.195
OLIVIA
Yet you began rudely. What are you? what would you?
Link: 1.5.196
VIOLA
The rudeness that hath appeared in me have I
Link: 1.5.197
learned from my entertainment. What I am, and what I
Link: 1.5.198
would, are as secret as maidenhead; to your ears,
Link: 1.5.199
divinity, to any other's, profanation.
Link: 1.5.200
OLIVIA
Give us the place alone: we will hear this divinity.
Link: 1.5.201
Now, sir, what is your text?
Link: 1.5.202
VIOLA
Most sweet lady,--
Link: 1.5.203
OLIVIA
A comfortable doctrine, and much may be said of it.
Link: 1.5.204
Where lies your text?
Link: 1.5.205
VIOLA
In Orsino's bosom.
Link: 1.5.206
OLIVIA
In his bosom! In what chapter of his bosom?
Link: 1.5.207
VIOLA
To answer by the method, in the first of his heart.
Link: 1.5.208
OLIVIA
O, I have read it: it is heresy. Have you no more to say?
Link: 1.5.209
VIOLA
Good madam, let me see your face.
Link: 1.5.210
OLIVIA
Have you any commission from your lord to negotiate
Link: 1.5.211
with my face? You are now out of your text: but
Link: 1.5.212
we will draw the curtain and show you the picture.
Link: 1.5.213
Look you, sir, such a one I was this present: is't
Link: 1.5.214
not well done?
Link: 1.5.215
Unveiling
VIOLA
Excellently done, if God did all.
Link: 1.5.216
OLIVIA
'Tis in grain, sir; 'twill endure wind and weather.
Link: 1.5.217
VIOLA
'Tis beauty truly blent, whose red and white
Link: 1.5.218
Nature's own sweet and cunning hand laid on:
Link: 1.5.219
Lady, you are the cruell'st she alive,
Link: 1.5.220
If you will lead these graces to the grave
Link: 1.5.221
And leave the world no copy.
Link: 1.5.222
OLIVIA
O, sir, I will not be so hard-hearted; I will give
Link: 1.5.223
out divers schedules of my beauty: it shall be
Link: 1.5.224
inventoried, and every particle and utensil
Link: 1.5.225
labelled to my will: as, item, two lips,
Link: 1.5.226
indifferent red; item, two grey eyes, with lids to
Link: 1.5.227
them; item, one neck, one chin, and so forth. Were
Link: 1.5.228
you sent hither to praise me?
Link: 1.5.229
VIOLA
I see you what you are, you are too proud;
Link: 1.5.230
But, if you were the devil, you are fair.
Link: 1.5.231
My lord and master loves you: O, such love
Link: 1.5.232
Could be but recompensed, though you were crown'd
Link: 1.5.233
The nonpareil of beauty!
Link: 1.5.234
OLIVIA
How does he love me?
Link: 1.5.235
VIOLA
With adorations, fertile tears,
Link: 1.5.236
With groans that thunder love, with sighs of fire.
Link: 1.5.237
OLIVIA
Your lord does know my mind; I cannot love him:
Link: 1.5.238
Yet I suppose him virtuous, know him noble,
Link: 1.5.239
Of great estate, of fresh and stainless youth;
Link: 1.5.240
In voices well divulged, free, learn'd and valiant;
Link: 1.5.241
And in dimension and the shape of nature
Link: 1.5.242
A gracious person: but yet I cannot love him;
Link: 1.5.243
He might have took his answer long ago.
Link: 1.5.244
VIOLA
If I did love you in my master's flame,
Link: 1.5.245
With such a suffering, such a deadly life,
Link: 1.5.246
In your denial I would find no sense;
Link: 1.5.247
I would not understand it.
Link: 1.5.248
OLIVIA
Why, what would you?
Link: 1.5.249
VIOLA
Make me a willow cabin at your gate,
Link: 1.5.250
And call upon my soul within the house;
Link: 1.5.251
Write loyal cantons of contemned love
Link: 1.5.252
And sing them loud even in the dead of night;
Link: 1.5.253
Halloo your name to the reverberate hills
Link: 1.5.254
And make the babbling gossip of the air
Link: 1.5.255
Cry out 'Olivia!' O, You should not rest
Link: 1.5.256
Between the elements of air and earth,
Link: 1.5.257
But you should pity me!
Link: 1.5.258
OLIVIA
You might do much.
Link: 1.5.259
What is your parentage?
Link: 1.5.260
VIOLA
Above my fortunes, yet my state is well:
Link: 1.5.261
I am a gentleman.
Link: 1.5.262
OLIVIA
Get you to your lord;
Link: 1.5.263
I cannot love him: let him send no more;
Link: 1.5.264
Unless, perchance, you come to me again,
Link: 1.5.265
To tell me how he takes it. Fare you well:
Link: 1.5.266
I thank you for your pains: spend this for me.
Link: 1.5.267
VIOLA
I am no fee'd post, lady; keep your purse:
Link: 1.5.268
My master, not myself, lacks recompense.
Link: 1.5.269
Love make his heart of flint that you shall love;
Link: 1.5.270
And let your fervor, like my master's, be
Link: 1.5.271
Placed in contempt! Farewell, fair cruelty.
Link: 1.5.272
Exit
OLIVIA
'What is your parentage?'
Link: 1.5.273
'Above my fortunes, yet my state is well:
Link: 1.5.274
I am a gentleman.' I'll be sworn thou art;
Link: 1.5.275
Thy tongue, thy face, thy limbs, actions and spirit,
Link: 1.5.276
Do give thee five-fold blazon: not too fast:
Link: 1.5.277
soft, soft!
Link: 1.5.278
Unless the master were the man. How now!
Link: 1.5.279
Even so quickly may one catch the plague?
Link: 1.5.280
Methinks I feel this youth's perfections
Link: 1.5.281
With an invisible and subtle stealth
Link: 1.5.282
To creep in at mine eyes. Well, let it be.
Link: 1.5.283
What ho, Malvolio!
Link: 1.5.284
Re-enter MALVOLIO
MALVOLIO
Here, madam, at your service.
Link: 1.5.285
OLIVIA
Run after that same peevish messenger,
Link: 1.5.286
The county's man: he left this ring behind him,
Link: 1.5.287
Would I or not: tell him I'll none of it.
Link: 1.5.288
Desire him not to flatter with his lord,
Link: 1.5.289
Nor hold him up with hopes; I am not for him:
Link: 1.5.290
If that the youth will come this way to-morrow,
Link: 1.5.291
I'll give him reasons for't: hie thee, Malvolio.
Link: 1.5.292
MALVOLIO
Madam, I will.
Link: 1.5.293
Exit
OLIVIA
I do I know not what, and fear to find
Link: 1.5.294
Mine eye too great a flatterer for my mind.
Link: 1.5.295
Fate, show thy force: ourselves we do not owe;
Link: 1.5.296
What is decreed must be, and be this so.
Link: 1.5.297
Exit
Act II
Act 2 of Twelfth Night is a continuation of the comedy of errors that began in the first act. The Duke Orsino, still pining for the love of Olivia, sends his servant, Cesario (who is actually Viola in disguise), to woo her on his behalf. Viola, however, finds herself falling in love with the Duke, even as she attempts to carry out his wishes.
Meanwhile, Sir Toby Belch, Olivia's uncle, is joined by Sir Andrew Aguecheek, a foolish gentleman who hopes to win Olivia's hand. The two of them, along with Olivia's maid, Maria, and Feste the jester, plot to play a trick on Malvolio, Olivia's pompous steward. They forge a letter supposedly from Olivia, which leads Malvolio to believe that she is in love with him and wishes him to behave foolishly. Malvolio falls for the ruse and makes a fool of himself in front of Olivia, who believes he has gone mad.
As the chaos unfolds, Viola/Cesario continues to court Olivia on behalf of the Duke, even as Olivia begins to fall in love with Cesario. The two women become entangled in a love triangle, with Viola torn between her loyalty to the Duke and her growing love for Olivia. Meanwhile, the scheming Sir Toby and his cohorts continue to play pranks on Malvolio, leading to more confusion and hilarity.
By the end of Act 2, the stage is set for a series of mistaken identities and romantic entanglements that will continue to unfold throughout the play. The characters are all caught up in their own desires and schemes, leading to a world of chaos and confusion that is both comic and poignant.
SCENE I. The sea-coast.
Scene 1 of Act 2 begins with Duke Orsino sending his loyal servant, Valentine, to deliver a message to Olivia, the object of his affection. He instructs Valentine to tell Olivia about his undying love for her and to persuade her to return his feelings. Valentine goes to Olivia's home and is greeted by her pompous steward, Malvolio, who initially refuses to let him see Olivia. However, Olivia eventually agrees to meet with Valentine, but she makes it clear that she has no interest in Duke Orsino. Valentine tries to reason with Olivia, but she remains firm in her decision and tells him to inform the Duke that she has sworn off men for seven years following the death of her brother. She also expresses her attraction to Cesario, Duke Orsino's messenger, whom she believes to be a man. The scene ends with Valentine leaving Olivia's home and Duke Orsino still pining for her love, unaware of her true feelings towards him and her growing attraction to Cesario.
Enter ANTONIO and SEBASTIAN
ANTONIO
Will you stay no longer? nor will you not that I go with you?
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SEBASTIAN
By your patience, no. My stars shine darkly over
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me: the malignancy of my fate might perhaps
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distemper yours; therefore I shall crave of you your
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leave that I may bear my evils alone: it were a bad
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recompense for your love, to lay any of them on you.
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ANTONIO
Let me yet know of you whither you are bound.
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SEBASTIAN
No, sooth, sir: my determinate voyage is mere
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extravagancy. But I perceive in you so excellent a
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touch of modesty, that you will not extort from me
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what I am willing to keep in; therefore it charges
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me in manners the rather to express myself. You
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must know of me then, Antonio, my name is Sebastian,
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which I called Roderigo. My father was that
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Sebastian of Messaline, whom I know you have heard
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of. He left behind him myself and a sister, both
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born in an hour: if the heavens had been pleased,
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would we had so ended! but you, sir, altered that;
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for some hour before you took me from the breach of
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the sea was my sister drowned.
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ANTONIO
Alas the day!
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SEBASTIAN
A lady, sir, though it was said she much resembled
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me, was yet of many accounted beautiful: but,
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though I could not with such estimable wonder
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overfar believe that, yet thus far I will boldly
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publish her; she bore a mind that envy could not but
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call fair. She is drowned already, sir, with salt
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water, though I seem to drown her remembrance again with more.
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ANTONIO
Pardon me, sir, your bad entertainment.
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SEBASTIAN
O good Antonio, forgive me your trouble.
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ANTONIO
If you will not murder me for my love, let me be
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your servant.
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SEBASTIAN
If you will not undo what you have done, that is,
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kill him whom you have recovered, desire it not.
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Fare ye well at once: my bosom is full of kindness,
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and I am yet so near the manners of my mother, that
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upon the least occasion more mine eyes will tell
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tales of me. I am bound to the Count Orsino's court: farewell.
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Exit
ANTONIO
The gentleness of all the gods go with thee!
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I have many enemies in Orsino's court,
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Else would I very shortly see thee there.
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But, come what may, I do adore thee so,
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That danger shall seem sport, and I will go.
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Exit
SCENE II. A street.
In Scene 2 of Act 2 of Twelfth Night, a character named Malvolio finds a letter that he believes is from his mistress, Olivia. The letter is actually a prank written by Olivia's servants, Maria, Sir Toby Belch, and Sir Andrew Aguecheek. The letter is written to make it seem like Olivia is in love with Malvolio and wants him to behave in a ridiculous manner to prove his love for her. Malvolio is initially skeptical of the letter but eventually becomes convinced that it is authentic. He follows the instructions in the letter, which include wearing yellow stockings and cross-gartering his legs. Malvolio also behaves in a pompous and arrogant manner, believing that he is now favored by Olivia. Meanwhile, Sir Toby and Sir Andrew are watching Malvolio's behavior from a hiding spot. They find his actions amusing and continue to mock him. Maria also observes Malvolio and is pleased with the success of her prank. The scene ends with Malvolio being confronted by Olivia, who is disturbed by his strange behavior. Malvolio, still under the impression that Olivia is in love with him, acts even more foolishly. Olivia becomes angry and dismisses him, not understanding the true reason for his behavior.
Enter VIOLA, MALVOLIO following
MALVOLIO
Were not you even now with the Countess Olivia?
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VIOLA
Even now, sir; on a moderate pace I have since
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arrived but hither.
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MALVOLIO
She returns this ring to you, sir: you might have
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saved me my pains, to have taken it away yourself.
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She adds, moreover, that you should put your lord
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into a desperate assurance she will none of him:
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and one thing more, that you be never so hardy to
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come again in his affairs, unless it be to report
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your lord's taking of this. Receive it so.
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VIOLA
She took the ring of me: I'll none of it.
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MALVOLIO
Come, sir, you peevishly threw it to her; and her
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will is, it should be so returned: if it be worth
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stooping for, there it lies in your eye; if not, be
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it his that finds it.
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Exit
VIOLA
I left no ring with her: what means this lady?
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Fortune forbid my outside have not charm'd her!
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She made good view of me; indeed, so much,
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That sure methought her eyes had lost her tongue,
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For she did speak in starts distractedly.
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She loves me, sure; the cunning of her passion
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Invites me in this churlish messenger.
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None of my lord's ring! why, he sent her none.
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I am the man: if it be so, as 'tis,
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Poor lady, she were better love a dream.
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Disguise, I see, thou art a wickedness,
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Wherein the pregnant enemy does much.
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How easy is it for the proper-false
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In women's waxen hearts to set their forms!
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Alas, our frailty is the cause, not we!
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For such as we are made of, such we be.
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How will this fadge? my master loves her dearly;
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And I, poor monster, fond as much on him;
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And she, mistaken, seems to dote on me.
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What will become of this? As I am man,
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My state is desperate for my master's love;
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As I am woman,--now alas the day!--
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What thriftless sighs shall poor Olivia breathe!
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O time! thou must untangle this, not I;
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It is too hard a knot for me to untie!
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Exit
SCENE III. OLIVIA's house.
In Scene 3 of Act 2 of Twelfth Night, Sir Toby and Sir Andrew are drinking and talking about Olivia's rejection of Sir Andrew's advances. Feste, the jester, enters and sings a song that mocks Sir Andrew and his foolishness. Malvolio, Olivia's steward, enters and scolds Sir Toby and Sir Andrew for their drunken behavior. Sir Toby responds by mocking Malvolio and challenging him to a duel. Malvolio leaves and Sir Toby and Sir Andrew continue drinking and discussing their plans to get revenge on Malvolio.
Enter SIR TOBY BELCH and SIR ANDREW
SIR TOBY BELCH
Approach, Sir Andrew: not to be abed after
Link: 2.3.1
midnight is to be up betimes; and 'diluculo
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surgere,' thou know'st,--
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SIR ANDREW
Nay, my troth, I know not: but I know, to be up
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late is to be up late.
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SIR TOBY BELCH
A false conclusion: I hate it as an unfilled can.
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To be up after midnight and to go to bed then, is
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early: so that to go to bed after midnight is to go
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to bed betimes. Does not our life consist of the
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four elements?
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SIR ANDREW
Faith, so they say; but I think it rather consists
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of eating and drinking.
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SIR TOBY BELCH
Thou'rt a scholar; let us therefore eat and drink.
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Marian, I say! a stoup of wine!
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Enter Clown
SIR ANDREW
Here comes the fool, i' faith.
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Clown
How now, my hearts! did you never see the picture
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of 'we three'?
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SIR TOBY BELCH
Welcome, ass. Now let's have a catch.
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SIR ANDREW
By my troth, the fool has an excellent breast. I
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had rather than forty shillings I had such a leg,
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and so sweet a breath to sing, as the fool has. In
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sooth, thou wast in very gracious fooling last
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night, when thou spokest of Pigrogromitus, of the
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Vapians passing the equinoctial of Queubus: 'twas
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very good, i' faith. I sent thee sixpence for thy
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leman: hadst it?
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Clown
I did impeticos thy gratillity; for Malvolio's nose
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is no whipstock: my lady has a white hand, and the
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Myrmidons are no bottle-ale houses.
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SIR ANDREW
Excellent! why, this is the best fooling, when all
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is done. Now, a song.
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SIR TOBY BELCH
Come on; there is sixpence for you: let's have a song.
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SIR ANDREW
There's a testril of me too: if one knight give a--
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Clown
Would you have a love-song, or a song of good life?
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SIR TOBY BELCH
A love-song, a love-song.
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SIR ANDREW
Ay, ay: I care not for good life.
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Clown
(Sings)
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O mistress mine, where are you roaming?
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O, stay and hear; your true love's coming,
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That can sing both high and low:
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Trip no further, pretty sweeting;
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Journeys end in lovers meeting,
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Every wise man's son doth know.
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SIR ANDREW
Excellent good, i' faith.
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SIR TOBY BELCH
Good, good.
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Clown
(Sings)
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What is love? 'tis not hereafter;
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Present mirth hath present laughter;
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What's to come is still unsure:
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In delay there lies no plenty;
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Then come kiss me, sweet and twenty,
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Youth's a stuff will not endure.
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SIR ANDREW
A mellifluous voice, as I am true knight.
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SIR TOBY BELCH
A contagious breath.
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SIR ANDREW
Very sweet and contagious, i' faith.
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SIR TOBY BELCH
To hear by the nose, it is dulcet in contagion.
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But shall we make the welkin dance indeed? shall we
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rouse the night-owl in a catch that will draw three
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souls out of one weaver? shall we do that?
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SIR ANDREW
An you love me, let's do't: I am dog at a catch.
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Clown
By'r lady, sir, and some dogs will catch well.
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SIR ANDREW
Most certain. Let our catch be, 'Thou knave.'
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Clown
'Hold thy peace, thou knave,' knight? I shall be
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constrained in't to call thee knave, knight.
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SIR ANDREW
'Tis not the first time I have constrained one to
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call me knave. Begin, fool: it begins 'Hold thy peace.'
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Clown
I shall never begin if I hold my peace.
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SIR ANDREW
Good, i' faith. Come, begin.
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Catch sung
Enter MARIA
MARIA
What a caterwauling do you keep here! If my lady
Link: 2.3.69
have not called up her steward Malvolio and bid him
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turn you out of doors, never trust me.
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SIR TOBY BELCH
My lady's a Cataian, we are politicians, Malvolio's
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a Peg-a-Ramsey, and 'Three merry men be we.' Am not
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I consanguineous? am I not of her blood?
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Tillyvally. Lady!
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'There dwelt a man in Babylon, lady, lady!'
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Clown
Beshrew me, the knight's in admirable fooling.
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SIR ANDREW
Ay, he does well enough if he be disposed, and so do
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I too: he does it with a better grace, but I do it
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more natural.
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SIR TOBY BELCH
(Sings) 'O, the twelfth day of December,'--
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MARIA
For the love o' God, peace!
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Enter MALVOLIO
MALVOLIO
My masters, are you mad? or what are you? Have ye
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no wit, manners, nor honesty, but to gabble like
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tinkers at this time of night? Do ye make an
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alehouse of my lady's house, that ye squeak out your
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coziers' catches without any mitigation or remorse
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of voice? Is there no respect of place, persons, nor
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time in you?
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SIR TOBY BELCH
We did keep time, sir, in our catches. Sneck up!
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MALVOLIO
Sir Toby, I must be round with you. My lady bade me
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tell you, that, though she harbours you as her
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kinsman, she's nothing allied to your disorders. If
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you can separate yourself and your misdemeanors, you
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are welcome to the house; if not, an it would please
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you to take leave of her, she is very willing to bid
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you farewell.
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SIR TOBY BELCH
'Farewell, dear heart, since I must needs be gone.'
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MARIA
Nay, good Sir Toby.
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Clown
'His eyes do show his days are almost done.'
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MALVOLIO
Is't even so?
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SIR TOBY BELCH
'But I will never die.'
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Clown
Sir Toby, there you lie.
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MALVOLIO
This is much credit to you.
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SIR TOBY BELCH
'Shall I bid him go?'
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Clown
'What an if you do?'
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SIR TOBY BELCH
'Shall I bid him go, and spare not?'
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Clown
'O no, no, no, no, you dare not.'
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SIR TOBY BELCH
Out o' tune, sir: ye lie. Art any more than a
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steward? Dost thou think, because thou art
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virtuous, there shall be no more cakes and ale?
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Clown
Yes, by Saint Anne, and ginger shall be hot i' the
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mouth too.
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SIR TOBY BELCH
Thou'rt i' the right. Go, sir, rub your chain with
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crumbs. A stoup of wine, Maria!
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MALVOLIO
Mistress Mary, if you prized my lady's favour at any
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thing more than contempt, you would not give means
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for this uncivil rule: she shall know of it, by this hand.
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Exit
MARIA
Go shake your ears.
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SIR ANDREW
'Twere as good a deed as to drink when a man's
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a-hungry, to challenge him the field, and then to
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break promise with him and make a fool of him.
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SIR TOBY BELCH
Do't, knight: I'll write thee a challenge: or I'll
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deliver thy indignation to him by word of mouth.
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MARIA
Sweet Sir Toby, be patient for tonight: since the
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youth of the count's was today with thy lady, she is
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much out of quiet. For Monsieur Malvolio, let me
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alone with him: if I do not gull him into a
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nayword, and make him a common recreation, do not
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think I have wit enough to lie straight in my bed:
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I know I can do it.
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SIR TOBY BELCH
Possess us, possess us; tell us something of him.
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MARIA
Marry, sir, sometimes he is a kind of puritan.
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SIR ANDREW
O, if I thought that I'ld beat him like a dog!
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SIR TOBY BELCH
What, for being a puritan? thy exquisite reason,
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dear knight?
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SIR ANDREW
I have no exquisite reason for't, but I have reason
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good enough.
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MARIA
The devil a puritan that he is, or any thing
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constantly, but a time-pleaser; an affectioned ass,
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that cons state without book and utters it by great
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swarths: the best persuaded of himself, so
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crammed, as he thinks, with excellencies, that it is
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his grounds of faith that all that look on him love
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him; and on that vice in him will my revenge find
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notable cause to work.
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SIR TOBY BELCH
What wilt thou do?
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MARIA
I will drop in his way some obscure epistles of
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love; wherein, by the colour of his beard, the shape
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of his leg, the manner of his gait, the expressure
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of his eye, forehead, and complexion, he shall find
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himself most feelingly personated. I can write very
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like my lady your niece: on a forgotten matter we
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can hardly make distinction of our hands.
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SIR TOBY BELCH
Excellent! I smell a device.
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SIR ANDREW
I have't in my nose too.
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SIR TOBY BELCH
He shall think, by the letters that thou wilt drop,
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that they come from my niece, and that she's in
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love with him.
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MARIA
My purpose is, indeed, a horse of that colour.
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SIR ANDREW
And your horse now would make him an ass.
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MARIA
Ass, I doubt not.
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SIR ANDREW
O, 'twill be admirable!
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MARIA
Sport royal, I warrant you: I know my physic will
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work with him. I will plant you two, and let the
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fool make a third, where he shall find the letter:
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observe his construction of it. For this night, to
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bed, and dream on the event. Farewell.
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Exit
SIR TOBY BELCH
Good night, Penthesilea.
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SIR ANDREW
Before me, she's a good wench.
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SIR TOBY BELCH
She's a beagle, true-bred, and one that adores me:
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what o' that?
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SIR ANDREW
I was adored once too.
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SIR TOBY BELCH
Let's to bed, knight. Thou hadst need send for
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more money.
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SIR ANDREW
If I cannot recover your niece, I am a foul way out.
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SIR TOBY BELCH
Send for money, knight: if thou hast her not i'
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the end, call me cut.
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SIR ANDREW
If I do not, never trust me, take it how you will.
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SIR TOBY BELCH
Come, come, I'll go burn some sack; 'tis too late
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to go to bed now: come, knight; come, knight.
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Exeunt
SCENE IV. DUKE ORSINO's palace.
In Scene 4 of Act 2, the character Viola, who is disguised as a man named Cesario, meets with Olivia, the woman she is secretly in love with on behalf of Duke Orsino. Olivia is mourning the death of her brother and has refused to see any visitors, but Viola/Cesario persuades her to speak with him/her. During their conversation, Olivia becomes enamored with Viola/Cesario and begins to flirt with her/him. Viola/Cesario tries to redirect the conversation back to Duke Orsino's love for Olivia, but Olivia insists on talking about her feelings for Viola/Cesario. The scene ends with Olivia giving Viola/Cesario a ring and sending her/him away, much to Viola's confusion and dismay.
Enter DUKE ORSINO, VIOLA, CURIO, and others
DUKE ORSINO
Give me some music. Now, good morrow, friends.
Link: 2.4.1
Now, good Cesario, but that piece of song,
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That old and antique song we heard last night:
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Methought it did relieve my passion much,
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More than light airs and recollected terms
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Of these most brisk and giddy-paced times:
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Come, but one verse.
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CURIO
He is not here, so please your lordship that should sing it.
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DUKE ORSINO
Who was it?
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CURIO
Feste, the jester, my lord; a fool that the lady
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Olivia's father took much delight in. He is about the house.
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DUKE ORSINO
Seek him out, and play the tune the while.
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Come hither, boy: if ever thou shalt love,
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In the sweet pangs of it remember me;
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For such as I am all true lovers are,
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Unstaid and skittish in all motions else,
Link: 2.4.16
Save in the constant image of the creature
Link: 2.4.17
That is beloved. How dost thou like this tune?
Link: 2.4.18
VIOLA
It gives a very echo to the seat
Link: 2.4.19
Where Love is throned.
Link: 2.4.20
DUKE ORSINO
Thou dost speak masterly:
Link: 2.4.21
My life upon't, young though thou art, thine eye
Link: 2.4.22
Hath stay'd upon some favour that it loves:
Link: 2.4.23
Hath it not, boy?
Link: 2.4.24
VIOLA
A little, by your favour.
Link: 2.4.25
DUKE ORSINO
What kind of woman is't?
Link: 2.4.26
VIOLA
Of your complexion.
Link: 2.4.27
DUKE ORSINO
She is not worth thee, then. What years, i' faith?
Link: 2.4.28
VIOLA
About your years, my lord.
Link: 2.4.29
DUKE ORSINO
Too old by heaven: let still the woman take
Link: 2.4.30
An elder than herself: so wears she to him,
Link: 2.4.31
So sways she level in her husband's heart:
Link: 2.4.32
For, boy, however we do praise ourselves,
Link: 2.4.33
Our fancies are more giddy and unfirm,
Link: 2.4.34
More longing, wavering, sooner lost and worn,
Link: 2.4.35
Than women's are.
Link: 2.4.36
VIOLA
I think it well, my lord.
Link: 2.4.37
DUKE ORSINO
Then let thy love be younger than thyself,
Link: 2.4.38
Or thy affection cannot hold the bent;
Link: 2.4.39
For women are as roses, whose fair flower
Link: 2.4.40
Being once display'd, doth fall that very hour.
Link: 2.4.41
VIOLA
And so they are: alas, that they are so;
Link: 2.4.42
To die, even when they to perfection grow!
Link: 2.4.43
Re-enter CURIO and Clown
DUKE ORSINO
O, fellow, come, the song we had last night.
Link: 2.4.44
Mark it, Cesario, it is old and plain;
Link: 2.4.45
The spinsters and the knitters in the sun
Link: 2.4.46
And the free maids that weave their thread with bones
Link: 2.4.47
Do use to chant it: it is silly sooth,
Link: 2.4.48
And dallies with the innocence of love,
Link: 2.4.49
Like the old age.
Link: 2.4.50
Clown
Are you ready, sir?
Link: 2.4.51
DUKE ORSINO
Ay; prithee, sing.
Link: 2.4.52
Clown
Come away, come away, death,
Link: 2.4.53
And in sad cypress let me be laid;
Link: 2.4.54
Fly away, fly away breath;
Link: 2.4.55
I am slain by a fair cruel maid.
Link: 2.4.56
My shroud of white, stuck all with yew,
Link: 2.4.57
O, prepare it!
Link: 2.4.58
My part of death, no one so true
Link: 2.4.59
Did share it.
Link: 2.4.60
Not a flower, not a flower sweet
Link: 2.4.61
On my black coffin let there be strown;
Link: 2.4.62
Not a friend, not a friend greet
Link: 2.4.63
My poor corpse, where my bones shall be thrown:
Link: 2.4.64
A thousand thousand sighs to save,
Link: 2.4.65
Lay me, O, where
Link: 2.4.66
Sad true lover never find my grave,
Link: 2.4.67
To weep there!
Link: 2.4.68
DUKE ORSINO
There's for thy pains.
Link: 2.4.69
Clown
No pains, sir: I take pleasure in singing, sir.
Link: 2.4.70
DUKE ORSINO
I'll pay thy pleasure then.
Link: 2.4.71
Clown
Truly, sir, and pleasure will be paid, one time or another.
Link: 2.4.72
DUKE ORSINO
Give me now leave to leave thee.
Link: 2.4.73
Clown
Now, the melancholy god protect thee; and the
Link: 2.4.74
tailor make thy doublet of changeable taffeta, for
Link: 2.4.75
thy mind is a very opal. I would have men of such
Link: 2.4.76
constancy put to sea, that their business might be
Link: 2.4.77
every thing and their intent every where; for that's
Link: 2.4.78
it that always makes a good voyage of nothing. Farewell.
Link: 2.4.79
Exit
DUKE ORSINO
Let all the rest give place.
Link: 2.4.80
Once more, Cesario,
Link: 2.4.81
Get thee to yond same sovereign cruelty:
Link: 2.4.82
Tell her, my love, more noble than the world,
Link: 2.4.83
Prizes not quantity of dirty lands;
Link: 2.4.84
The parts that fortune hath bestow'd upon her,
Link: 2.4.85
Tell her, I hold as giddily as fortune;
Link: 2.4.86
But 'tis that miracle and queen of gems
Link: 2.4.87
That nature pranks her in attracts my soul.
Link: 2.4.88
VIOLA
But if she cannot love you, sir?
Link: 2.4.89
DUKE ORSINO
I cannot be so answer'd.
Link: 2.4.90
VIOLA
Sooth, but you must.
Link: 2.4.91
Say that some lady, as perhaps there is,
Link: 2.4.92
Hath for your love a great a pang of heart
Link: 2.4.93
As you have for Olivia: you cannot love her;
Link: 2.4.94
You tell her so; must she not then be answer'd?
Link: 2.4.95
DUKE ORSINO
There is no woman's sides
Link: 2.4.96
Can bide the beating of so strong a passion
Link: 2.4.97
As love doth give my heart; no woman's heart
Link: 2.4.98
So big, to hold so much; they lack retention
Link: 2.4.99
Alas, their love may be call'd appetite,
Link: 2.4.100
No motion of the liver, but the palate,
Link: 2.4.101
That suffer surfeit, cloyment and revolt;
Link: 2.4.102
But mine is all as hungry as the sea,
Link: 2.4.103
And can digest as much: make no compare
Link: 2.4.104
Between that love a woman can bear me
Link: 2.4.105
And that I owe Olivia.
Link: 2.4.106
VIOLA
Ay, but I know--
Link: 2.4.107
DUKE ORSINO
What dost thou know?
Link: 2.4.108
VIOLA
Too well what love women to men may owe:
Link: 2.4.109
In faith, they are as true of heart as we.
Link: 2.4.110
My father had a daughter loved a man,
Link: 2.4.111
As it might be, perhaps, were I a woman,
Link: 2.4.112
I should your lordship.
Link: 2.4.113
DUKE ORSINO
And what's her history?
Link: 2.4.114
VIOLA
A blank, my lord. She never told her love,
Link: 2.4.115
But let concealment, like a worm i' the bud,
Link: 2.4.116
Feed on her damask cheek: she pined in thought,
Link: 2.4.117
And with a green and yellow melancholy
Link: 2.4.118
She sat like patience on a monument,
Link: 2.4.119
Smiling at grief. Was not this love indeed?
Link: 2.4.120
We men may say more, swear more: but indeed
Link: 2.4.121
Our shows are more than will; for still we prove
Link: 2.4.122
Much in our vows, but little in our love.
Link: 2.4.123
DUKE ORSINO
But died thy sister of her love, my boy?
Link: 2.4.124
VIOLA
I am all the daughters of my father's house,
Link: 2.4.125
And all the brothers too: and yet I know not.
Link: 2.4.126
Sir, shall I to this lady?
Link: 2.4.127
DUKE ORSINO
Ay, that's the theme.
Link: 2.4.128
To her in haste; give her this jewel; say,
Link: 2.4.129
My love can give no place, bide no denay.
Link: 2.4.130
Exeunt
SCENE V. OLIVIA's garden.
Scene 5 of Act 2 of Twelfth Night takes place in Olivia's garden. Sir Toby and Sir Andrew arrive, drunk, and begin to sing loudly. Maria enters and scolds them for their behavior, telling them to be quiet and go to bed. Sir Andrew, who is in love with Olivia, expresses his frustration at not being able to win her over. Maria then comes up with a plan to make a fool out of Malvolio, Olivia's steward, by forging a letter that appears to be from Olivia, expressing her love for him. Sir Toby and Sir Andrew agree to help carry out the prank. Malvolio enters and scolds Sir Toby, Sir Andrew, and Maria for their loud behavior. He also takes offense to their teasing and jokes. Maria then drops the forged letter, which Malvolio picks up and reads aloud. Believing it to be from Olivia, he becomes ecstatic and begins to imagine the possibilities of a relationship with her. Maria, Sir Toby, and Sir Andrew watch in amusement as Malvolio leaves, planning his next move to win Olivia over. This scene sets up the subplot of the play, which involves the prank played on Malvolio. It also highlights the contrast between the drunken, rowdy behavior of Sir Toby and Sir Andrew and the more reserved and serious demeanor of Malvolio. Additionally, it introduces the idea of mistaken identity and deception, which are recurring themes throughout the play.
Enter SIR TOBY BELCH, SIR ANDREW, and FABIAN
SIR TOBY BELCH
Come thy ways, Signior Fabian.
Link: 2.5.1
FABIAN
Nay, I'll come: if I lose a scruple of this sport,
Link: 2.5.2
let me be boiled to death with melancholy.
Link: 2.5.3
SIR TOBY BELCH
Wouldst thou not be glad to have the niggardly
Link: 2.5.4
rascally sheep-biter come by some notable shame?
Link: 2.5.5
FABIAN
I would exult, man: you know, he brought me out o'
Link: 2.5.6
favour with my lady about a bear-baiting here.
Link: 2.5.7
SIR TOBY BELCH
To anger him we'll have the bear again; and we will
Link: 2.5.8
fool him black and blue: shall we not, Sir Andrew?
Link: 2.5.9
SIR ANDREW
An we do not, it is pity of our lives.
Link: 2.5.10
SIR TOBY BELCH
Here comes the little villain.
Link: 2.5.11
How now, my metal of India!
Link: 2.5.12
MARIA
Get ye all three into the box-tree: Malvolio's
Link: 2.5.13
coming down this walk: he has been yonder i' the
Link: 2.5.14
sun practising behavior to his own shadow this half
Link: 2.5.15
hour: observe him, for the love of mockery; for I
Link: 2.5.16
know this letter will make a contemplative idiot of
Link: 2.5.17
him. Close, in the name of jesting! Lie thou there,
Link: 2.5.18
for here comes the trout that must be caught with tickling.
Link: 2.5.19
Exit
Enter MALVOLIO
MALVOLIO
'Tis but fortune; all is fortune. Maria once told
Link: 2.5.20
me she did affect me: and I have heard herself come
Link: 2.5.21
thus near, that, should she fancy, it should be one
Link: 2.5.22
of my complexion. Besides, she uses me with a more
Link: 2.5.23
exalted respect than any one else that follows her.
Link: 2.5.24
What should I think on't?
Link: 2.5.25
SIR TOBY BELCH
Here's an overweening rogue!
Link: 2.5.26
FABIAN
O, peace! Contemplation makes a rare turkey-cock
Link: 2.5.27
of him: how he jets under his advanced plumes!
Link: 2.5.28
SIR ANDREW
'Slight, I could so beat the rogue!
Link: 2.5.29
SIR TOBY BELCH
Peace, I say.
Link: 2.5.30
MALVOLIO
To be Count Malvolio!
Link: 2.5.31
SIR TOBY BELCH
Ah, rogue!
Link: 2.5.32
SIR ANDREW
Pistol him, pistol him.
Link: 2.5.33
SIR TOBY BELCH
Peace, peace!
Link: 2.5.34
MALVOLIO
There is example for't; the lady of the Strachy
Link: 2.5.35
married the yeoman of the wardrobe.
Link: 2.5.36
SIR ANDREW
Fie on him, Jezebel!
Link: 2.5.37
FABIAN
O, peace! now he's deeply in: look how
Link: 2.5.38
imagination blows him.
Link: 2.5.39
MALVOLIO
Having been three months married to her, sitting in
Link: 2.5.40
my state,--
Link: 2.5.41
SIR TOBY BELCH
O, for a stone-bow, to hit him in the eye!
Link: 2.5.42
MALVOLIO
Calling my officers about me, in my branched velvet
Link: 2.5.43
gown; having come from a day-bed, where I have left
Link: 2.5.44
Olivia sleeping,--
Link: 2.5.45
SIR TOBY BELCH
Fire and brimstone!
Link: 2.5.46
FABIAN
O, peace, peace!
Link: 2.5.47
MALVOLIO
And then to have the humour of state; and after a
Link: 2.5.48
demure travel of regard, telling them I know my
Link: 2.5.49
place as I would they should do theirs, to for my
Link: 2.5.50
kinsman Toby,--
Link: 2.5.51
SIR TOBY BELCH
Bolts and shackles!
Link: 2.5.52
FABIAN
O peace, peace, peace! now, now.
Link: 2.5.53
MALVOLIO
Seven of my people, with an obedient start, make
Link: 2.5.54
out for him: I frown the while; and perchance wind
Link: 2.5.55
up watch, or play with my--some rich jewel. Toby
Link: 2.5.56
approaches; courtesies there to me,--
Link: 2.5.57
SIR TOBY BELCH
Shall this fellow live?
Link: 2.5.58
FABIAN
Though our silence be drawn from us with cars, yet peace.
Link: 2.5.59
MALVOLIO
I extend my hand to him thus, quenching my familiar
Link: 2.5.60
smile with an austere regard of control,--
Link: 2.5.61
SIR TOBY BELCH
And does not Toby take you a blow o' the lips then?
Link: 2.5.62
MALVOLIO
Saying, 'Cousin Toby, my fortunes having cast me on
Link: 2.5.63
your niece give me this prerogative of speech,'--
Link: 2.5.64
SIR TOBY BELCH
What, what?
Link: 2.5.65
MALVOLIO
'You must amend your drunkenness.'
Link: 2.5.66
SIR TOBY BELCH
Out, scab!
Link: 2.5.67
FABIAN
Nay, patience, or we break the sinews of our plot.
Link: 2.5.68
MALVOLIO
'Besides, you waste the treasure of your time with
Link: 2.5.69
a foolish knight,'--
Link: 2.5.70
SIR ANDREW
That's me, I warrant you.
Link: 2.5.71
MALVOLIO
'One Sir Andrew,'--
Link: 2.5.72
SIR ANDREW
I knew 'twas I; for many do call me fool.
Link: 2.5.73
MALVOLIO
What employment have we here?
Link: 2.5.74
Taking up the letter
FABIAN
Now is the woodcock near the gin.
Link: 2.5.75
SIR TOBY BELCH
O, peace! and the spirit of humour intimate reading
Link: 2.5.76
aloud to him!
Link: 2.5.77
MALVOLIO
By my life, this is my lady's hand these be her
Link: 2.5.78
very C's, her U's and her T's and thus makes she her
Link: 2.5.79
great P's. It is, in contempt of question, her hand.
Link: 2.5.80
SIR ANDREW
Her C's, her U's and her T's: why that?
Link: 2.5.81
MALVOLIO
(Reads) 'To the unknown beloved, this, and my good
Link: 2.5.82
wishes:'--her very phrases! By your leave, wax.
Link: 2.5.83
Soft! and the impressure her Lucrece, with which she
Link: 2.5.84
uses to seal: 'tis my lady. To whom should this be?
Link: 2.5.85
FABIAN
This wins him, liver and all.
Link: 2.5.86
MALVOLIO
(Reads)
Link: 2.5.87
Jove knows I love: But who?
Link: 2.5.88
Lips, do not move;
Link: 2.5.89
No man must know.
Link: 2.5.90
'No man must know.' What follows? the numbers
Link: 2.5.91
altered! 'No man must know:' if this should be
Link: 2.5.92
thee, Malvolio?
Link: 2.5.93
SIR TOBY BELCH
Marry, hang thee, brock!
Link: 2.5.94
MALVOLIO
(Reads)
Link: 2.5.95
I may command where I adore;
Link: 2.5.96
But silence, like a Lucrece knife,
Link: 2.5.97
With bloodless stroke my heart doth gore:
Link: 2.5.98
M, O, A, I, doth sway my life.
Link: 2.5.99
FABIAN
A fustian riddle!
Link: 2.5.100
SIR TOBY BELCH
Excellent wench, say I.
Link: 2.5.101
MALVOLIO
'M, O, A, I, doth sway my life.' Nay, but first, let
Link: 2.5.102
me see, let me see, let me see.
Link: 2.5.103
FABIAN
What dish o' poison has she dressed him!
Link: 2.5.104
SIR TOBY BELCH
And with what wing the staniel cheques at it!
Link: 2.5.105
MALVOLIO
'I may command where I adore.' Why, she may command
Link: 2.5.106
me: I serve her; she is my lady. Why, this is
Link: 2.5.107
evident to any formal capacity; there is no
Link: 2.5.108
obstruction in this: and the end,--what should
Link: 2.5.109
that alphabetical position portend? If I could make
Link: 2.5.110
that resemble something in me,--Softly! M, O, A,
Link: 2.5.111
I,--
Link: 2.5.112
SIR TOBY BELCH
O, ay, make up that: he is now at a cold scent.
Link: 2.5.113
FABIAN
Sowter will cry upon't for all this, though it be as
Link: 2.5.114
rank as a fox.
Link: 2.5.115
MALVOLIO
M,--Malvolio; M,--why, that begins my name.
Link: 2.5.116
FABIAN
Did not I say he would work it out? the cur is
Link: 2.5.117
excellent at faults.
Link: 2.5.118
MALVOLIO
M,--but then there is no consonancy in the sequel;
Link: 2.5.119
that suffers under probation A should follow but O does.
Link: 2.5.120
FABIAN
And O shall end, I hope.
Link: 2.5.121
SIR TOBY BELCH
Ay, or I'll cudgel him, and make him cry O!
Link: 2.5.122
MALVOLIO
And then I comes behind.
Link: 2.5.123
FABIAN
Ay, an you had any eye behind you, you might see
Link: 2.5.124
more detraction at your heels than fortunes before
Link: 2.5.125
you.
Link: 2.5.126
MALVOLIO
M, O, A, I; this simulation is not as the former: and
Link: 2.5.127
yet, to crush this a little, it would bow to me, for
Link: 2.5.128
every one of these letters are in my name. Soft!
Link: 2.5.129
here follows prose.
Link: 2.5.130
'If this fall into thy hand, revolve. In my stars I
Link: 2.5.131
am above thee; but be not afraid of greatness: some
Link: 2.5.132
are born great, some achieve greatness, and some
Link: 2.5.133
have greatness thrust upon 'em. Thy Fates open
Link: 2.5.134
their hands; let thy blood and spirit embrace them;
Link: 2.5.135
and, to inure thyself to what thou art like to be,
Link: 2.5.136
cast thy humble slough and appear fresh. Be
Link: 2.5.137
opposite with a kinsman, surly with servants; let
Link: 2.5.138
thy tongue tang arguments of state; put thyself into
Link: 2.5.139
the trick of singularity: she thus advises thee
Link: 2.5.140
that sighs for thee. Remember who commended thy
Link: 2.5.141
yellow stockings, and wished to see thee ever
Link: 2.5.142
cross-gartered: I say, remember. Go to, thou art
Link: 2.5.143
made, if thou desirest to be so; if not, let me see
Link: 2.5.144
thee a steward still, the fellow of servants, and
Link: 2.5.145
not worthy to touch Fortune's fingers. Farewell.
Link: 2.5.146
She that would alter services with thee,
Link: 2.5.147
THE FORTUNATE-UNHAPPY.'
Link: 2.5.148
Daylight and champaign discovers not more: this is
Link: 2.5.149
open. I will be proud, I will read politic authors,
Link: 2.5.150
I will baffle Sir Toby, I will wash off gross
Link: 2.5.151
acquaintance, I will be point-devise the very man.
Link: 2.5.152
I do not now fool myself, to let imagination jade
Link: 2.5.153
me; for every reason excites to this, that my lady
Link: 2.5.154
loves me. She did commend my yellow stockings of
Link: 2.5.155
late, she did praise my leg being cross-gartered;
Link: 2.5.156
and in this she manifests herself to my love, and
Link: 2.5.157
with a kind of injunction drives me to these habits
Link: 2.5.158
of her liking. I thank my stars I am happy. I will
Link: 2.5.159
be strange, stout, in yellow stockings, and
Link: 2.5.160
cross-gartered, even with the swiftness of putting
Link: 2.5.161
on. Jove and my stars be praised! Here is yet a
Link: 2.5.162
postscript.
Link: 2.5.163
'Thou canst not choose but know who I am. If thou
Link: 2.5.164
entertainest my love, let it appear in thy smiling;
Link: 2.5.165
thy smiles become thee well; therefore in my
Link: 2.5.166
presence still smile, dear my sweet, I prithee.'
Link: 2.5.167
Jove, I thank thee: I will smile; I will do
Link: 2.5.168
everything that thou wilt have me.
Link: 2.5.169
Exit
FABIAN
I will not give my part of this sport for a pension
Link: 2.5.170
of thousands to be paid from the Sophy.
Link: 2.5.171
SIR TOBY BELCH
I could marry this wench for this device.
Link: 2.5.172
SIR ANDREW
So could I too.
Link: 2.5.173
SIR TOBY BELCH
And ask no other dowry with her but such another jest.
Link: 2.5.174
SIR ANDREW
Nor I neither.
Link: 2.5.175
FABIAN
Here comes my noble gull-catcher.
Link: 2.5.176
Re-enter MARIA
SIR TOBY BELCH
Wilt thou set thy foot o' my neck?
Link: 2.5.177
SIR ANDREW
Or o' mine either?
Link: 2.5.178
SIR TOBY BELCH
Shall I play my freedom at traytrip, and become thy
Link: 2.5.179
bond-slave?
Link: 2.5.180
SIR ANDREW
I' faith, or I either?
Link: 2.5.181
SIR TOBY BELCH
Why, thou hast put him in such a dream, that when
Link: 2.5.182
the image of it leaves him he must run mad.
Link: 2.5.183
MARIA
Nay, but say true; does it work upon him?
Link: 2.5.184
SIR TOBY BELCH
Like aqua-vitae with a midwife.
Link: 2.5.185
MARIA
If you will then see the fruits of the sport, mark
Link: 2.5.186
his first approach before my lady: he will come to
Link: 2.5.187
her in yellow stockings, and 'tis a colour she
Link: 2.5.188
abhors, and cross-gartered, a fashion she detests;
Link: 2.5.189
and he will smile upon her, which will now be so
Link: 2.5.190
unsuitable to her disposition, being addicted to a
Link: 2.5.191
melancholy as she is, that it cannot but turn him
Link: 2.5.192
into a notable contempt. If you will see it, follow
Link: 2.5.193
me.
Link: 2.5.194
SIR TOBY BELCH
To the gates of Tartar, thou most excellent devil of wit!
Link: 2.5.195
SIR ANDREW
I'll make one too.
Link: 2.5.196
Exeunt
Act III
Act 3 of Twelfth Night sees the main plot and subplots of the play continuing to develop. Duke Orsino sends Viola, disguised as Cesario, to deliver a message of love to Olivia. However, Olivia falls in love with Viola, believing her to be a man. Meanwhile, Sir Andrew Aguecheek and Sir Toby Belch plot to teach Cesario (Viola) a lesson by challenging him to a duel. However, their plans are foiled when Cesario easily defeats them.
Later, Maria and the fool Feste play a prank on Malvolio, Olivia's steward, by forging a letter from Olivia that suggests she is in love with him. Malvolio becomes convinced that Olivia is in love with him and behaves foolishly, wearing yellow stockings and cross-gartered. Olivia is horrified by his behavior and has him locked up in a dark room as a madman.
The act ends with Viola/Cesario and Olivia confessing their love for each other, although Olivia still believes Viola to be a man. The stage is set for further complications and misunderstandings in the final act of the play.
SCENE I. OLIVIA's garden.
Scene 1 of Act 3 begins with Duke Orsino sending his courtier, Curio, to summon the young Viola, who is disguised as a man named Cesario. Orsino is still pining for the love of the Countess Olivia, who has refused his advances. Viola has fallen in love with Orsino but cannot reveal her true identity to him. When Viola arrives, Orsino sends Curio away and confides in Cesario about his love for Olivia. Cesario, who is actually Viola, tries to persuade Orsino that he should move on from Olivia and consider other women. However, Orsino insists that he cannot love anyone else and sends Cesario to deliver a message to Olivia on his behalf. At Olivia's house, her uncle, Sir Toby Belch, is still trying to convince his friend Sir Andrew Aguecheek to court Olivia. However, Olivia's steward, Malvolio, disapproves of Sir Toby's drunken behavior and threatens to report him to Olivia. Sir Toby and his friend Maria, Olivia's gentlewoman, plot to get revenge on Malvolio by tricking him into thinking that Olivia is in love with him. Meanwhile, Cesario arrives and delivers Orsino's message to Olivia. However, Olivia is so taken with Cesario's charm and wit that she falls in love with him instead. She tries to convince Cesario to stay and woo her, but he insists that he cannot love anyone other than his master, Duke Orsino. Olivia gives Cesario a ring as a token of her affection and sends him away, promising to see him again soon. The scene ends with Viola realizing that Olivia has fallen in love with her disguised self, Cesario. She is torn between her love for Orsino and her desire to please Olivia, who holds the key to her future as a woman in a man's world.
Enter VIOLA, and Clown with a tabour
VIOLA
Save thee, friend, and thy music: dost thou live by
Link: 3.1.1
thy tabour?
Link: 3.1.2
Clown
No, sir, I live by the church.
Link: 3.1.3
VIOLA
Art thou a churchman?
Link: 3.1.4
Clown
No such matter, sir: I do live by the church; for
Link: 3.1.5
I do live at my house, and my house doth stand by
Link: 3.1.6
the church.
Link: 3.1.7
VIOLA
So thou mayst say, the king lies by a beggar, if a
Link: 3.1.8
beggar dwell near him; or, the church stands by thy
Link: 3.1.9
tabour, if thy tabour stand by the church.
Link: 3.1.10
Clown
You have said, sir. To see this age! A sentence is
Link: 3.1.11
but a cheveril glove to a good wit: how quickly the
Link: 3.1.12
wrong side may be turned outward!
Link: 3.1.13
VIOLA
Nay, that's certain; they that dally nicely with
Link: 3.1.14
words may quickly make them wanton.
Link: 3.1.15
Clown
I would, therefore, my sister had had no name, sir.
Link: 3.1.16
VIOLA
Why, man?
Link: 3.1.17
Clown
Why, sir, her name's a word; and to dally with that
Link: 3.1.18
word might make my sister wanton. But indeed words
Link: 3.1.19
are very rascals since bonds disgraced them.
Link: 3.1.20
VIOLA
Thy reason, man?
Link: 3.1.21
Clown
Troth, sir, I can yield you none without words; and
Link: 3.1.22
words are grown so false, I am loath to prove
Link: 3.1.23
reason with them.
Link: 3.1.24
VIOLA
I warrant thou art a merry fellow and carest for nothing.
Link: 3.1.25
Clown
Not so, sir, I do care for something; but in my
Link: 3.1.26
conscience, sir, I do not care for you: if that be
Link: 3.1.27
to care for nothing, sir, I would it would make you invisible.
Link: 3.1.28
VIOLA
Art not thou the Lady Olivia's fool?
Link: 3.1.29
Clown
No, indeed, sir; the Lady Olivia has no folly: she
Link: 3.1.30
will keep no fool, sir, till she be married; and
Link: 3.1.31
fools are as like husbands as pilchards are to
Link: 3.1.32
herrings; the husband's the bigger: I am indeed not
Link: 3.1.33
her fool, but her corrupter of words.
Link: 3.1.34
VIOLA
I saw thee late at the Count Orsino's.
Link: 3.1.35
Clown
Foolery, sir, does walk about the orb like the sun,
Link: 3.1.36
it shines every where. I would be sorry, sir, but
Link: 3.1.37
the fool should be as oft with your master as with
Link: 3.1.38
my mistress: I think I saw your wisdom there.
Link: 3.1.39
VIOLA
Nay, an thou pass upon me, I'll no more with thee.
Link: 3.1.40
Hold, there's expenses for thee.
Link: 3.1.41
Clown
Now Jove, in his next commodity of hair, send thee a beard!
Link: 3.1.42
VIOLA
By my troth, I'll tell thee, I am almost sick for
Link: 3.1.43
one;
Link: 3.1.44
though I would not have it grow on my chin. Is thy
Link: 3.1.45
lady within?
Link: 3.1.46
Clown
Would not a pair of these have bred, sir?
Link: 3.1.47
VIOLA
Yes, being kept together and put to use.
Link: 3.1.48
Clown
I would play Lord Pandarus of Phrygia, sir, to bring
Link: 3.1.49
a Cressida to this Troilus.
Link: 3.1.50
VIOLA
I understand you, sir; 'tis well begged.
Link: 3.1.51
Clown
The matter, I hope, is not great, sir, begging but
Link: 3.1.52
a beggar: Cressida was a beggar. My lady is
Link: 3.1.53
within, sir. I will construe to them whence you
Link: 3.1.54
come; who you are and what you would are out of my
Link: 3.1.55
welkin, I might say 'element,' but the word is over-worn.
Link: 3.1.56
Exit
VIOLA
This fellow is wise enough to play the fool;
Link: 3.1.57
And to do that well craves a kind of wit:
Link: 3.1.58
He must observe their mood on whom he jests,
Link: 3.1.59
The quality of persons, and the time,
Link: 3.1.60
And, like the haggard, cheque at every feather
Link: 3.1.61
That comes before his eye. This is a practise
Link: 3.1.62
As full of labour as a wise man's art
Link: 3.1.63
For folly that he wisely shows is fit;
Link: 3.1.64
But wise men, folly-fall'n, quite taint their wit.
Link: 3.1.65
Enter SIR TOBY BELCH, and SIR ANDREW
SIR TOBY BELCH
Save you, gentleman.
Link: 3.1.66
VIOLA
And you, sir.
Link: 3.1.67
SIR ANDREW
Dieu vous garde, monsieur.
Link: 3.1.68
VIOLA
Et vous aussi; votre serviteur.
Link: 3.1.69
SIR ANDREW
I hope, sir, you are; and I am yours.
Link: 3.1.70
SIR TOBY BELCH
Will you encounter the house? my niece is desirous
Link: 3.1.71
you should enter, if your trade be to her.
Link: 3.1.72
VIOLA
I am bound to your niece, sir; I mean, she is the
Link: 3.1.73
list of my voyage.
Link: 3.1.74
SIR TOBY BELCH
Taste your legs, sir; put them to motion.
Link: 3.1.75
VIOLA
My legs do better understand me, sir, than I
Link: 3.1.76
understand what you mean by bidding me taste my legs.
Link: 3.1.77
SIR TOBY BELCH
I mean, to go, sir, to enter.
Link: 3.1.78
VIOLA
I will answer you with gait and entrance. But we
Link: 3.1.79
are prevented.
Link: 3.1.80
Most excellent accomplished lady, the heavens rain
Link: 3.1.81
odours on you!
Link: 3.1.82
SIR ANDREW
That youth's a rare courtier: 'Rain odours;' well.
Link: 3.1.83
VIOLA
My matter hath no voice, to your own most pregnant
Link: 3.1.84
and vouchsafed ear.
Link: 3.1.85
SIR ANDREW
'Odours,' 'pregnant' and 'vouchsafed:' I'll get 'em
Link: 3.1.86
all three all ready.
Link: 3.1.87
OLIVIA
Let the garden door be shut, and leave me to my hearing.
Link: 3.1.88
Give me your hand, sir.
Link: 3.1.89
VIOLA
My duty, madam, and most humble service.
Link: 3.1.90
OLIVIA
What is your name?
Link: 3.1.91
VIOLA
Cesario is your servant's name, fair princess.
Link: 3.1.92
OLIVIA
My servant, sir! 'Twas never merry world
Link: 3.1.93
Since lowly feigning was call'd compliment:
Link: 3.1.94
You're servant to the Count Orsino, youth.
Link: 3.1.95
VIOLA
And he is yours, and his must needs be yours:
Link: 3.1.96
Your servant's servant is your servant, madam.
Link: 3.1.97
OLIVIA
For him, I think not on him: for his thoughts,
Link: 3.1.98
Would they were blanks, rather than fill'd with me!
Link: 3.1.99
VIOLA
Madam, I come to whet your gentle thoughts
Link: 3.1.100
On his behalf.
Link: 3.1.101
OLIVIA
O, by your leave, I pray you,
Link: 3.1.102
I bade you never speak again of him:
Link: 3.1.103
But, would you undertake another suit,
Link: 3.1.104
I had rather hear you to solicit that
Link: 3.1.105
Than music from the spheres.
Link: 3.1.106
VIOLA
Dear lady,--
Link: 3.1.107
OLIVIA
Give me leave, beseech you. I did send,
Link: 3.1.108
After the last enchantment you did here,
Link: 3.1.109
A ring in chase of you: so did I abuse
Link: 3.1.110
Myself, my servant and, I fear me, you:
Link: 3.1.111
Under your hard construction must I sit,
Link: 3.1.112
To force that on you, in a shameful cunning,
Link: 3.1.113
Which you knew none of yours: what might you think?
Link: 3.1.114
Have you not set mine honour at the stake
Link: 3.1.115
And baited it with all the unmuzzled thoughts
Link: 3.1.116
That tyrannous heart can think? To one of your receiving
Link: 3.1.117
Enough is shown: a cypress, not a bosom,
Link: 3.1.118
Hideth my heart. So, let me hear you speak.
Link: 3.1.119
VIOLA
I pity you.
Link: 3.1.120
OLIVIA
That's a degree to love.
Link: 3.1.121
VIOLA
No, not a grize; for 'tis a vulgar proof,
Link: 3.1.122
That very oft we pity enemies.
Link: 3.1.123
OLIVIA
Why, then, methinks 'tis time to smile again.
Link: 3.1.124
O, world, how apt the poor are to be proud!
Link: 3.1.125
If one should be a prey, how much the better
Link: 3.1.126
To fall before the lion than the wolf!
Link: 3.1.127
The clock upbraids me with the waste of time.
Link: 3.1.128
Be not afraid, good youth, I will not have you:
Link: 3.1.129
And yet, when wit and youth is come to harvest,
Link: 3.1.130
Your were is alike to reap a proper man:
Link: 3.1.131
There lies your way, due west.
Link: 3.1.132
VIOLA
Then westward-ho! Grace and good disposition
Link: 3.1.133
Attend your ladyship!
Link: 3.1.134
You'll nothing, madam, to my lord by me?
Link: 3.1.135
OLIVIA
Stay:
Link: 3.1.136
I prithee, tell me what thou thinkest of me.
Link: 3.1.137
VIOLA
That you do think you are not what you are.
Link: 3.1.138
OLIVIA
If I think so, I think the same of you.
Link: 3.1.139
VIOLA
Then think you right: I am not what I am.
Link: 3.1.140
OLIVIA
I would you were as I would have you be!
Link: 3.1.141
VIOLA
Would it be better, madam, than I am?
Link: 3.1.142
I wish it might, for now I am your fool.
Link: 3.1.143
OLIVIA
O, what a deal of scorn looks beautiful
Link: 3.1.144
In the contempt and anger of his lip!
Link: 3.1.145
A murderous guilt shows not itself more soon
Link: 3.1.146
Than love that would seem hid: love's night is noon.
Link: 3.1.147
Cesario, by the roses of the spring,
Link: 3.1.148
By maidhood, honour, truth and every thing,
Link: 3.1.149
I love thee so, that, maugre all thy pride,
Link: 3.1.150
Nor wit nor reason can my passion hide.
Link: 3.1.151
Do not extort thy reasons from this clause,
Link: 3.1.152
For that I woo, thou therefore hast no cause,
Link: 3.1.153
But rather reason thus with reason fetter,
Link: 3.1.154
Love sought is good, but given unsought better.
Link: 3.1.155
VIOLA
By innocence I swear, and by my youth
Link: 3.1.156
I have one heart, one bosom and one truth,
Link: 3.1.157
And that no woman has; nor never none
Link: 3.1.158
Shall mistress be of it, save I alone.
Link: 3.1.159
And so adieu, good madam: never more
Link: 3.1.160
Will I my master's tears to you deplore.
Link: 3.1.161
OLIVIA
Yet come again; for thou perhaps mayst move
Link: 3.1.162
That heart, which now abhors, to like his love.
Link: 3.1.163
Exeunt
SCENE II. OLIVIA's house.
Scene 2 of Act 3 of Twelfth Night takes place in Olivia's garden. Sir Toby Belch, Sir Andrew Aguecheek, and Feste the clown are on stage. Sir Toby is trying to convince Sir Andrew to continue pursuing Olivia's love despite the fact that she has rejected him multiple times. Feste then enters and sings a song about a love that cannot be reciprocated. After the song, Sir Toby asks Feste to impersonate a priest and visit Malvolio, who has been locked up in a dark room by Olivia's orders. They hope to play a trick on Malvolio and make him believe that Olivia is in love with him. As Feste leaves, Maria, Olivia's maid, enters and scolds Sir Toby and Sir Andrew for their drunken behavior and wasting of Olivia's money. She also informs them that Malvolio has been locked up and is being treated as a madman. Sir Toby and Sir Andrew leave, and Feste returns disguised as a priest. He successfully tricks Malvolio into believing that Olivia is in love with him through a fake letter. The scene ends with Malvolio being excited about the possibility of being with Olivia and leaving to follow the instructions in the letter, unaware that it is all a prank.
Enter SIR TOBY BELCH, SIR ANDREW, and FABIAN
SIR ANDREW
No, faith, I'll not stay a jot longer.
Link: 3.2.1
SIR TOBY BELCH
Thy reason, dear venom, give thy reason.
Link: 3.2.2
FABIAN
You must needs yield your reason, Sir Andrew.
Link: 3.2.3
SIR ANDREW
Marry, I saw your niece do more favours to the
Link: 3.2.4
count's serving-man than ever she bestowed upon me;
Link: 3.2.5
I saw't i' the orchard.
Link: 3.2.6
SIR TOBY BELCH
Did she see thee the while, old boy? tell me that.
Link: 3.2.7
SIR ANDREW
As plain as I see you now.
Link: 3.2.8
FABIAN
This was a great argument of love in her toward you.
Link: 3.2.9
SIR ANDREW
'Slight, will you make an ass o' me?
Link: 3.2.10
FABIAN
I will prove it legitimate, sir, upon the oaths of
Link: 3.2.11
judgment and reason.
Link: 3.2.12
SIR TOBY BELCH
And they have been grand-jury-men since before Noah
Link: 3.2.13
was a sailor.
Link: 3.2.14
FABIAN
She did show favour to the youth in your sight only
Link: 3.2.15
to exasperate you, to awake your dormouse valour, to
Link: 3.2.16
put fire in your heart and brimstone in your liver.
Link: 3.2.17
You should then have accosted her; and with some
Link: 3.2.18
excellent jests, fire-new from the mint, you should
Link: 3.2.19
have banged the youth into dumbness. This was
Link: 3.2.20
looked for at your hand, and this was balked: the
Link: 3.2.21
double gilt of this opportunity you let time wash
Link: 3.2.22
off, and you are now sailed into the north of my
Link: 3.2.23
lady's opinion; where you will hang like an icicle
Link: 3.2.24
on a Dutchman's beard, unless you do redeem it by
Link: 3.2.25
some laudable attempt either of valour or policy.
Link: 3.2.26
SIR ANDREW
An't be any way, it must be with valour; for policy
Link: 3.2.27
I hate: I had as lief be a Brownist as a
Link: 3.2.28
politician.
Link: 3.2.29
SIR TOBY BELCH
Why, then, build me thy fortunes upon the basis of
Link: 3.2.30
valour. Challenge me the count's youth to fight
Link: 3.2.31
with him; hurt him in eleven places: my niece shall
Link: 3.2.32
take note of it; and assure thyself, there is no
Link: 3.2.33
love-broker in the world can more prevail in man's
Link: 3.2.34
commendation with woman than report of valour.
Link: 3.2.35
FABIAN
There is no way but this, Sir Andrew.
Link: 3.2.36
SIR ANDREW
Will either of you bear me a challenge to him?
Link: 3.2.37
SIR TOBY BELCH
Go, write it in a martial hand; be curst and brief;
Link: 3.2.38
it is no matter how witty, so it be eloquent and fun
Link: 3.2.39
of invention: taunt him with the licence of ink:
Link: 3.2.40
if thou thou'st him some thrice, it shall not be
Link: 3.2.41
amiss; and as many lies as will lie in thy sheet of
Link: 3.2.42
paper, although the sheet were big enough for the
Link: 3.2.43
bed of Ware in England, set 'em down: go, about it.
Link: 3.2.44
Let there be gall enough in thy ink, though thou
Link: 3.2.45
write with a goose-pen, no matter: about it.
Link: 3.2.46
SIR ANDREW
Where shall I find you?
Link: 3.2.47
SIR TOBY BELCH
We'll call thee at the cubiculo: go.
Link: 3.2.48
Exit SIR ANDREW
FABIAN
This is a dear manikin to you, Sir Toby.
Link: 3.2.49
SIR TOBY BELCH
I have been dear to him, lad, some two thousand
Link: 3.2.50
strong, or so.
Link: 3.2.51
FABIAN
We shall have a rare letter from him: but you'll
Link: 3.2.52
not deliver't?
Link: 3.2.53
SIR TOBY BELCH
Never trust me, then; and by all means stir on the
Link: 3.2.54
youth to an answer. I think oxen and wainropes
Link: 3.2.55
cannot hale them together. For Andrew, if he were
Link: 3.2.56
opened, and you find so much blood in his liver as
Link: 3.2.57
will clog the foot of a flea, I'll eat the rest of
Link: 3.2.58
the anatomy.
Link: 3.2.59
FABIAN
And his opposite, the youth, bears in his visage no
Link: 3.2.60
great presage of cruelty.
Link: 3.2.61
Enter MARIA
SIR TOBY BELCH
Look, where the youngest wren of nine comes.
Link: 3.2.62
MARIA
If you desire the spleen, and will laugh yourself
Link: 3.2.63
into stitches, follow me. Yond gull Malvolio is
Link: 3.2.64
turned heathen, a very renegado; for there is no
Link: 3.2.65
Christian, that means to be saved by believing
Link: 3.2.66
rightly, can ever believe such impossible passages
Link: 3.2.67
of grossness. He's in yellow stockings.
Link: 3.2.68
SIR TOBY BELCH
And cross-gartered?
Link: 3.2.69
MARIA
Most villanously; like a pedant that keeps a school
Link: 3.2.70
i' the church. I have dogged him, like his
Link: 3.2.71
murderer. He does obey every point of the letter
Link: 3.2.72
that I dropped to betray him: he does smile his
Link: 3.2.73
face into more lines than is in the new map with the
Link: 3.2.74
augmentation of the Indies: you have not seen such
Link: 3.2.75
a thing as 'tis. I can hardly forbear hurling things
Link: 3.2.76
at him. I know my lady will strike him: if she do,
Link: 3.2.77
he'll smile and take't for a great favour.
Link: 3.2.78
SIR TOBY BELCH
Come, bring us, bring us where he is.
Link: 3.2.79
Exeunt
SCENE III. A street.
Scene 3 of Act 3 of Twelfth Night is set in Olivia's garden. The scene begins with Olivia's fool, Feste, singing a song about the nature of love. Sir Toby and Sir Andrew enter and engage in a conversation about Olivia's supposed love for Cesario (who is actually Viola in disguise). Sir Andrew is jealous of Cesario and wants to challenge him to a duel. Sir Toby, however, tells him to wait for a better opportunity. Viola (as Cesario) enters the scene and Olivia comes out to talk to her. Olivia confesses her love to Cesario and tries to convince him to love her back. Cesario, who is actually in love with Duke Orsino, tries to politely reject her advances. However, Olivia persists and asks Cesario to come back the next day to see her. After Olivia leaves, Sir Toby and Sir Andrew enter again and try to convince Cesario to challenge Sir Andrew to a duel. Cesario is hesitant but eventually agrees to the challenge. The scene ends with Feste singing another song, this time about the foolishness of love.
Enter SEBASTIAN and ANTONIO
SEBASTIAN
I would not by my will have troubled you;
Link: 3.3.1
But, since you make your pleasure of your pains,
Link: 3.3.2
I will no further chide you.
Link: 3.3.3
ANTONIO
I could not stay behind you: my desire,
Link: 3.3.4
More sharp than filed steel, did spur me forth;
Link: 3.3.5
And not all love to see you, though so much
Link: 3.3.6
As might have drawn one to a longer voyage,
Link: 3.3.7
But jealousy what might befall your travel,
Link: 3.3.8
Being skilless in these parts; which to a stranger,
Link: 3.3.9
Unguided and unfriended, often prove
Link: 3.3.10
Rough and unhospitable: my willing love,
Link: 3.3.11
The rather by these arguments of fear,
Link: 3.3.12
Set forth in your pursuit.
Link: 3.3.13
SEBASTIAN
My kind Antonio,
Link: 3.3.14
I can no other answer make but thanks,
Link: 3.3.15
And thanks; and ever oft good turns
Link: 3.3.16
Are shuffled off with such uncurrent pay:
Link: 3.3.17
But, were my worth as is my conscience firm,
Link: 3.3.18
You should find better dealing. What's to do?
Link: 3.3.19
Shall we go see the reliques of this town?
Link: 3.3.20
ANTONIO
To-morrow, sir: best first go see your lodging.
Link: 3.3.21
SEBASTIAN
I am not weary, and 'tis long to night:
Link: 3.3.22
I pray you, let us satisfy our eyes
Link: 3.3.23
With the memorials and the things of fame
Link: 3.3.24
That do renown this city.
Link: 3.3.25
ANTONIO
Would you'ld pardon me;
Link: 3.3.26
I do not without danger walk these streets:
Link: 3.3.27
Once, in a sea-fight, 'gainst the count his galleys
Link: 3.3.28
I did some service; of such note indeed,
Link: 3.3.29
That were I ta'en here it would scarce be answer'd.
Link: 3.3.30
SEBASTIAN
Belike you slew great number of his people.
Link: 3.3.31
ANTONIO
The offence is not of such a bloody nature;
Link: 3.3.32
Albeit the quality of the time and quarrel
Link: 3.3.33
Might well have given us bloody argument.
Link: 3.3.34
It might have since been answer'd in repaying
Link: 3.3.35
What we took from them; which, for traffic's sake,
Link: 3.3.36
Most of our city did: only myself stood out;
Link: 3.3.37
For which, if I be lapsed in this place,
Link: 3.3.38
I shall pay dear.
Link: 3.3.39
SEBASTIAN
Do not then walk too open.
Link: 3.3.40
ANTONIO
It doth not fit me. Hold, sir, here's my purse.
Link: 3.3.41
In the south suburbs, at the Elephant,
Link: 3.3.42
Is best to lodge: I will bespeak our diet,
Link: 3.3.43
Whiles you beguile the time and feed your knowledge
Link: 3.3.44
With viewing of the town: there shall you have me.
Link: 3.3.45
SEBASTIAN
Why I your purse?
Link: 3.3.46
ANTONIO
Haply your eye shall light upon some toy
Link: 3.3.47
You have desire to purchase; and your store,
Link: 3.3.48
I think, is not for idle markets, sir.
Link: 3.3.49
SEBASTIAN
I'll be your purse-bearer and leave you
Link: 3.3.50
For an hour.
Link: 3.3.51
ANTONIO
To the Elephant.
Link: 3.3.52
SEBASTIAN
I do remember.
Link: 3.3.53
Exeunt
SCENE IV. OLIVIA's garden.
In Scene 4 of Act 3, two of the main characters engage in a humorous exchange. Sir Andrew Aguecheek, a foolish and wealthy man who is trying to court Olivia, is speaking with his friend Sir Toby Belch, who is Olivia's uncle. Sir Andrew is feeling frustrated because Olivia seems to be more interested in the playfulness and wit of another suitor, Cesario (who is actually Viola in disguise), rather than in his own attempts at wooing her. Sir Toby tries to cheer him up by suggesting that he challenge Cesario to a duel. Sir Andrew is hesitant at first, but Sir Toby convinces him that he has the advantage because Cesario is a young man and Sir Andrew has been trained in swordfighting. They agree to challenge Cesario the following day. As they continue to talk, the conversation takes a comical turn as Sir Andrew reveals that he has spent a large amount of money on various skills and talents, such as dancing and singing, in the hopes of impressing Olivia. Sir Toby mocks him, saying that he has wasted his money and that he should have spent it on more practical things. The scene ends with Sir Andrew agreeing to the duel and Sir Toby suggesting that they have a drink to celebrate.
Enter OLIVIA and MARIA
OLIVIA
I have sent after him: he says he'll come;
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How shall I feast him? what bestow of him?
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For youth is bought more oft than begg'd or borrow'd.
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I speak too loud.
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Where is Malvolio? he is sad and civil,
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And suits well for a servant with my fortunes:
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Where is Malvolio?
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MARIA
He's coming, madam; but in very strange manner. He
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is, sure, possessed, madam.
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OLIVIA
Why, what's the matter? does he rave?
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MARIA
No. madam, he does nothing but smile: your
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ladyship were best to have some guard about you, if
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he come; for, sure, the man is tainted in's wits.
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OLIVIA
Go call him hither.
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I am as mad as he,
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If sad and merry madness equal be.
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How now, Malvolio!
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MALVOLIO
Sweet lady, ho, ho.
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OLIVIA
Smilest thou?
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I sent for thee upon a sad occasion.
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MALVOLIO
Sad, lady! I could be sad: this does make some
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obstruction in the blood, this cross-gartering; but
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what of that? if it please the eye of one, it is
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with me as the very true sonnet is, 'Please one, and
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please all.'
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OLIVIA
Why, how dost thou, man? what is the matter with thee?
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MALVOLIO
Not black in my mind, though yellow in my legs. It
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did come to his hands, and commands shall be
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executed: I think we do know the sweet Roman hand.
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OLIVIA
Wilt thou go to bed, Malvolio?
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MALVOLIO
To bed! ay, sweet-heart, and I'll come to thee.
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OLIVIA
God comfort thee! Why dost thou smile so and kiss
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thy hand so oft?
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MARIA
How do you, Malvolio?
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MALVOLIO
At your request! yes; nightingales answer daws.
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MARIA
Why appear you with this ridiculous boldness before my lady?
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MALVOLIO
'Be not afraid of greatness:' 'twas well writ.
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OLIVIA
What meanest thou by that, Malvolio?
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MALVOLIO
'Some are born great,'--
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OLIVIA
Ha!
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MALVOLIO
'Some achieve greatness,'--
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OLIVIA
What sayest thou?
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MALVOLIO
'And some have greatness thrust upon them.'
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OLIVIA
Heaven restore thee!
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MALVOLIO
'Remember who commended thy yellow stockings,'--
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OLIVIA
Thy yellow stockings!
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MALVOLIO
'And wished to see thee cross-gartered.'
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OLIVIA
Cross-gartered!
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MALVOLIO
'Go to thou art made, if thou desirest to be so;'--
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OLIVIA
Am I made?
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MALVOLIO
'If not, let me see thee a servant still.'
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OLIVIA
Why, this is very midsummer madness.
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Enter Servant
Servant
Madam, the young gentleman of the Count Orsino's is
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returned: I could hardly entreat him back: he
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attends your ladyship's pleasure.
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OLIVIA
I'll come to him.
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Good Maria, let this fellow be looked to. Where's
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my cousin Toby? Let some of my people have a special
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care of him: I would not have him miscarry for the
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half of my dowry.
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Exeunt OLIVIA and MARIA
MALVOLIO
O, ho! do you come near me now? no worse man than
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Sir Toby to look to me! This concurs directly with
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the letter: she sends him on purpose, that I may
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appear stubborn to him; for she incites me to that
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in the letter. 'Cast thy humble slough,' says she;
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'be opposite with a kinsman, surly with servants;
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let thy tongue tang with arguments of state; put
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thyself into the trick of singularity;' and
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consequently sets down the manner how; as, a sad
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face, a reverend carriage, a slow tongue, in the
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habit of some sir of note, and so forth. I have
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limed her; but it is Jove's doing, and Jove make me
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thankful! And when she went away now, 'Let this
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fellow be looked to:' fellow! not Malvolio, nor
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after my degree, but fellow. Why, every thing
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adheres together, that no dram of a scruple, no
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scruple of a scruple, no obstacle, no incredulous
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or unsafe circumstance--What can be said? Nothing
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that can be can come between me and the full
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prospect of my hopes. Well, Jove, not I, is the
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doer of this, and he is to be thanked.
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Re-enter MARIA, with SIR TOBY BELCH and FABIAN
SIR TOBY BELCH
Which way is he, in the name of sanctity? If all
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the devils of hell be drawn in little, and Legion
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himself possessed him, yet I'll speak to him.
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FABIAN
Here he is, here he is. How is't with you, sir?
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how is't with you, man?
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MALVOLIO
Go off; I discard you: let me enjoy my private: go
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off.
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MARIA
Lo, how hollow the fiend speaks within him! did not
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I tell you? Sir Toby, my lady prays you to have a
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care of him.
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MALVOLIO
Ah, ha! does she so?
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SIR TOBY BELCH
Go to, go to; peace, peace; we must deal gently
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with him: let me alone. How do you, Malvolio? how
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is't with you? What, man! defy the devil:
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consider, he's an enemy to mankind.
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MALVOLIO
Do you know what you say?
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MARIA
La you, an you speak ill of the devil, how he takes
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it at heart! Pray God, he be not bewitched!
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FABIAN
Carry his water to the wise woman.
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MARIA
Marry, and it shall be done to-morrow morning, if I
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live. My lady would not lose him for more than I'll say.
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MALVOLIO
How now, mistress!
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MARIA
O Lord!
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SIR TOBY BELCH
Prithee, hold thy peace; this is not the way: do
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you not see you move him? let me alone with him.
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FABIAN
No way but gentleness; gently, gently: the fiend is
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rough, and will not be roughly used.
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SIR TOBY BELCH
Why, how now, my bawcock! how dost thou, chuck?
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MALVOLIO
Sir!
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SIR TOBY BELCH
Ay, Biddy, come with me. What, man! 'tis not for
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gravity to play at cherry-pit with Satan: hang
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him, foul collier!
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MARIA
Get him to say his prayers, good Sir Toby, get him to pray.
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MALVOLIO
My prayers, minx!
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MARIA
No, I warrant you, he will not hear of godliness.
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MALVOLIO
Go, hang yourselves all! you are idle shallow
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things: I am not of your element: you shall know
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more hereafter.
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Exit
SIR TOBY BELCH
Is't possible?
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FABIAN
If this were played upon a stage now, I could
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condemn it as an improbable fiction.
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SIR TOBY BELCH
His very genius hath taken the infection of the device, man.
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MARIA
Nay, pursue him now, lest the device take air and taint.
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FABIAN
Why, we shall make him mad indeed.
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MARIA
The house will be the quieter.
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SIR TOBY BELCH
Come, we'll have him in a dark room and bound. My
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niece is already in the belief that he's mad: we
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may carry it thus, for our pleasure and his penance,
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till our very pastime, tired out of breath, prompt
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us to have mercy on him: at which time we will
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bring the device to the bar and crown thee for a
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finder of madmen. But see, but see.
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Enter SIR ANDREW
FABIAN
More matter for a May morning.
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SIR ANDREW
Here's the challenge, read it: warrant there's
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vinegar and pepper in't.
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FABIAN
Is't so saucy?
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SIR ANDREW
Ay, is't, I warrant him: do but read.
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SIR TOBY BELCH
Give me.
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'Youth, whatsoever thou art, thou art but a scurvy fellow.'
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FABIAN
Good, and valiant.
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SIR TOBY BELCH
(Reads) 'Wonder not, nor admire not in thy mind,
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why I do call thee so, for I will show thee no reason for't.'
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FABIAN
A good note; that keeps you from the blow of the law.
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SIR TOBY BELCH
(Reads) 'Thou comest to the lady Olivia, and in my
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sight she uses thee kindly: but thou liest in thy
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throat; that is not the matter I challenge thee for.'
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FABIAN
Very brief, and to exceeding good sense--less.
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SIR TOBY BELCH
(Reads) 'I will waylay thee going home; where if it
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be thy chance to kill me,'--
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FABIAN
Good.
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SIR TOBY BELCH
(Reads) 'Thou killest me like a rogue and a villain.'
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FABIAN
Still you keep o' the windy side of the law: good.
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SIR TOBY BELCH
(Reads) 'Fare thee well; and God have mercy upon
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one of our souls! He may have mercy upon mine; but
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my hope is better, and so look to thyself. Thy
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friend, as thou usest him, and thy sworn enemy,
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ANDREW AGUECHEEK.
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If this letter move him not, his legs cannot:
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I'll give't him.
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MARIA
You may have very fit occasion for't: he is now in
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some commerce with my lady, and will by and by depart.
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SIR TOBY BELCH
Go, Sir Andrew: scout me for him at the corner the
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orchard like a bum-baily: so soon as ever thou seest
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him, draw; and, as thou drawest swear horrible; for
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it comes to pass oft that a terrible oath, with a
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swaggering accent sharply twanged off, gives manhood
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more approbation than ever proof itself would have
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earned him. Away!
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SIR ANDREW
Nay, let me alone for swearing.
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Exit
SIR TOBY BELCH
Now will not I deliver his letter: for the behavior
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of the young gentleman gives him out to be of good
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capacity and breeding; his employment between his
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lord and my niece confirms no less: therefore this
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letter, being so excellently ignorant, will breed no
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terror in the youth: he will find it comes from a
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clodpole. But, sir, I will deliver his challenge by
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word of mouth; set upon Aguecheek a notable report
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of valour; and drive the gentleman, as I know his
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youth will aptly receive it, into a most hideous
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opinion of his rage, skill, fury and impetuosity.
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This will so fright them both that they will kill
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one another by the look, like cockatrices.
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Re-enter OLIVIA, with VIOLA
FABIAN
Here he comes with your niece: give them way till
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he take leave, and presently after him.
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SIR TOBY BELCH
I will meditate the while upon some horrid message
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for a challenge.
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Exeunt SIR TOBY BELCH, FABIAN, and MARIA
OLIVIA
I have said too much unto a heart of stone
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And laid mine honour too unchary out:
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There's something in me that reproves my fault;
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But such a headstrong potent fault it is,
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That it but mocks reproof.
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VIOLA
With the same 'havior that your passion bears
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Goes on my master's grief.
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OLIVIA
Here, wear this jewel for me, 'tis my picture;
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Refuse it not; it hath no tongue to vex you;
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And I beseech you come again to-morrow.
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What shall you ask of me that I'll deny,
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That honour saved may upon asking give?
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VIOLA
Nothing but this; your true love for my master.
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OLIVIA
How with mine honour may I give him that
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Which I have given to you?
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VIOLA
I will acquit you.
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OLIVIA
Well, come again to-morrow: fare thee well:
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A fiend like thee might bear my soul to hell.
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Exit
Re-enter SIR TOBY BELCH and FABIAN
SIR TOBY BELCH
Gentleman, God save thee.
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VIOLA
And you, sir.
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SIR TOBY BELCH
That defence thou hast, betake thee to't: of what
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nature the wrongs are thou hast done him, I know
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not; but thy intercepter, full of despite, bloody as
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the hunter, attends thee at the orchard-end:
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dismount thy tuck, be yare in thy preparation, for
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thy assailant is quick, skilful and deadly.
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VIOLA
You mistake, sir; I am sure no man hath any quarrel
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to me: my remembrance is very free and clear from
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any image of offence done to any man.
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SIR TOBY BELCH
You'll find it otherwise, I assure you: therefore,
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if you hold your life at any price, betake you to
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your guard; for your opposite hath in him what
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youth, strength, skill and wrath can furnish man withal.
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VIOLA
I pray you, sir, what is he?
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SIR TOBY BELCH
He is knight, dubbed with unhatched rapier and on
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carpet consideration; but he is a devil in private
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brawl: souls and bodies hath he divorced three; and
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his incensement at this moment is so implacable,
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that satisfaction can be none but by pangs of death
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and sepulchre. Hob, nob, is his word; give't or take't.
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VIOLA
I will return again into the house and desire some
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conduct of the lady. I am no fighter. I have heard
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of some kind of men that put quarrels purposely on
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others, to taste their valour: belike this is a man
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of that quirk.
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SIR TOBY BELCH
Sir, no; his indignation derives itself out of a
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very competent injury: therefore, get you on and
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give him his desire. Back you shall not to the
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house, unless you undertake that with me which with
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as much safety you might answer him: therefore, on,
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or strip your sword stark naked; for meddle you
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must, that's certain, or forswear to wear iron about you.
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VIOLA
This is as uncivil as strange. I beseech you, do me
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this courteous office, as to know of the knight what
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my offence to him is: it is something of my
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negligence, nothing of my purpose.
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SIR TOBY BELCH
I will do so. Signior Fabian, stay you by this
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gentleman till my return.
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Exit
VIOLA
Pray you, sir, do you know of this matter?
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FABIAN
I know the knight is incensed against you, even to a
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mortal arbitrement; but nothing of the circumstance more.
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VIOLA
I beseech you, what manner of man is he?
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FABIAN
Nothing of that wonderful promise, to read him by
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his form, as you are like to find him in the proof
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of his valour. He is, indeed, sir, the most skilful,
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bloody and fatal opposite that you could possibly
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have found in any part of Illyria. Will you walk
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towards him? I will make your peace with him if I
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can.
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VIOLA
I shall be much bound to you for't: I am one that
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had rather go with sir priest than sir knight: I
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care not who knows so much of my mettle.
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Exeunt
Re-enter SIR TOBY BELCH, with SIR ANDREW
SIR TOBY BELCH
Why, man, he's a very devil; I have not seen such a
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firago. I had a pass with him, rapier, scabbard and
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all, and he gives me the stuck in with such a mortal
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motion, that it is inevitable; and on the answer, he
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pays you as surely as your feet hit the ground they
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step on. They say he has been fencer to the Sophy.
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SIR ANDREW
Pox on't, I'll not meddle with him.
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SIR TOBY BELCH
Ay, but he will not now be pacified: Fabian can
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scarce hold him yonder.
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SIR ANDREW
Plague on't, an I thought he had been valiant and so
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cunning in fence, I'ld have seen him damned ere I'ld
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have challenged him. Let him let the matter slip,
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and I'll give him my horse, grey Capilet.
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SIR TOBY BELCH
I'll make the motion: stand here, make a good show
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on't: this shall end without the perdition of souls.
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Marry, I'll ride your horse as well as I ride you.
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I have his horse to take up the quarrel:
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I have persuaded him the youth's a devil.
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FABIAN
He is as horribly conceited of him; and pants and
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looks pale, as if a bear were at his heels.
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SIR TOBY BELCH
(To VIOLA) There's no remedy, sir; he will fight
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with you for's oath sake: marry, he hath better
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bethought him of his quarrel, and he finds that now
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scarce to be worth talking of: therefore draw, for
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the supportance of his vow; he protests he will not hurt you.
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VIOLA
(Aside) Pray God defend me! A little thing would
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make me tell them how much I lack of a man.
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FABIAN
Give ground, if you see him furious.
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SIR TOBY BELCH
Come, Sir Andrew, there's no remedy; the gentleman
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will, for his honour's sake, have one bout with you;
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he cannot by the duello avoid it: but he has
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promised me, as he is a gentleman and a soldier, he
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will not hurt you. Come on; to't.
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SIR ANDREW
Pray God, he keep his oath!
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VIOLA
I do assure you, 'tis against my will.
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They draw
Enter ANTONIO
ANTONIO
Put up your sword. If this young gentleman
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Have done offence, I take the fault on me:
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If you offend him, I for him defy you.
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SIR TOBY BELCH
You, sir! why, what are you?
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ANTONIO
One, sir, that for his love dares yet do more
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Than you have heard him brag to you he will.
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SIR TOBY BELCH
Nay, if you be an undertaker, I am for you.
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They draw
Enter Officers
FABIAN
O good Sir Toby, hold! here come the officers.
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SIR TOBY BELCH
I'll be with you anon.
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VIOLA
Pray, sir, put your sword up, if you please.
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SIR ANDREW
Marry, will I, sir; and, for that I promised you,
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I'll be as good as my word: he will bear you easily
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and reins well.
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First Officer
This is the man; do thy office.
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Second Officer
Antonio, I arrest thee at the suit of Count Orsino.
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ANTONIO
You do mistake me, sir.
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First Officer
No, sir, no jot; I know your favour well,
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Though now you have no sea-cap on your head.
Link: 3.4.312
Take him away: he knows I know him well.
Link: 3.4.313
ANTONIO
I must obey.
Link: 3.4.314
This comes with seeking you:
Link: 3.4.315
But there's no remedy; I shall answer it.
Link: 3.4.316
What will you do, now my necessity
Link: 3.4.317
Makes me to ask you for my purse? It grieves me
Link: 3.4.318
Much more for what I cannot do for you
Link: 3.4.319
Than what befalls myself. You stand amazed;
Link: 3.4.320
But be of comfort.
Link: 3.4.321
Second Officer
Come, sir, away.
Link: 3.4.322
ANTONIO
I must entreat of you some of that money.
Link: 3.4.323
VIOLA
What money, sir?
Link: 3.4.324
For the fair kindness you have show'd me here,
Link: 3.4.325
And, part, being prompted by your present trouble,
Link: 3.4.326
Out of my lean and low ability
Link: 3.4.327
I'll lend you something: my having is not much;
Link: 3.4.328
I'll make division of my present with you:
Link: 3.4.329
Hold, there's half my coffer.
Link: 3.4.330
ANTONIO
Will you deny me now?
Link: 3.4.331
Is't possible that my deserts to you
Link: 3.4.332
Can lack persuasion? Do not tempt my misery,
Link: 3.4.333
Lest that it make me so unsound a man
Link: 3.4.334
As to upbraid you with those kindnesses
Link: 3.4.335
That I have done for you.
Link: 3.4.336
VIOLA
I know of none;
Link: 3.4.337
Nor know I you by voice or any feature:
Link: 3.4.338
I hate ingratitude more in a man
Link: 3.4.339
Than lying, vainness, babbling, drunkenness,
Link: 3.4.340
Or any taint of vice whose strong corruption
Link: 3.4.341
Inhabits our frail blood.
Link: 3.4.342
ANTONIO
O heavens themselves!
Link: 3.4.343
Second Officer
Come, sir, I pray you, go.
Link: 3.4.344
ANTONIO
Let me speak a little. This youth that you see here
Link: 3.4.345
I snatch'd one half out of the jaws of death,
Link: 3.4.346
Relieved him with such sanctity of love,
Link: 3.4.347
And to his image, which methought did promise
Link: 3.4.348
Most venerable worth, did I devotion.
Link: 3.4.349
First Officer
What's that to us? The time goes by: away!
Link: 3.4.350
ANTONIO
But O how vile an idol proves this god
Link: 3.4.351
Thou hast, Sebastian, done good feature shame.
Link: 3.4.352
In nature there's no blemish but the mind;
Link: 3.4.353
None can be call'd deform'd but the unkind:
Link: 3.4.354
Virtue is beauty, but the beauteous evil
Link: 3.4.355
Are empty trunks o'erflourish'd by the devil.
Link: 3.4.356
First Officer
The man grows mad: away with him! Come, come, sir.
Link: 3.4.357
ANTONIO
Lead me on.
Link: 3.4.358
Exit with Officers
VIOLA
Methinks his words do from such passion fly,
Link: 3.4.359
That he believes himself: so do not I.
Link: 3.4.360
Prove true, imagination, O, prove true,
Link: 3.4.361
That I, dear brother, be now ta'en for you!
Link: 3.4.362
SIR TOBY BELCH
Come hither, knight; come hither, Fabian: we'll
Link: 3.4.363
whisper o'er a couplet or two of most sage saws.
Link: 3.4.364
VIOLA
He named Sebastian: I my brother know
Link: 3.4.365
Yet living in my glass; even such and so
Link: 3.4.366
In favour was my brother, and he went
Link: 3.4.367
Still in this fashion, colour, ornament,
Link: 3.4.368
For him I imitate: O, if it prove,
Link: 3.4.369
Tempests are kind and salt waves fresh in love.
Link: 3.4.370
Exit
SIR TOBY BELCH
A very dishonest paltry boy, and more a coward than
Link: 3.4.371
a hare: his dishonesty appears in leaving his
Link: 3.4.372
friend here in necessity and denying him; and for
Link: 3.4.373
his cowardship, ask Fabian.
Link: 3.4.374
FABIAN
A coward, a most devout coward, religious in it.
Link: 3.4.375
SIR ANDREW
'Slid, I'll after him again and beat him.
Link: 3.4.376
SIR TOBY BELCH
Do; cuff him soundly, but never draw thy sword.
Link: 3.4.377
SIR ANDREW
An I do not,--
Link: 3.4.378
FABIAN
Come, let's see the event.
Link: 3.4.379
SIR TOBY BELCH
I dare lay any money 'twill be nothing yet.
Link: 3.4.380
Exeunt
Act IV
Act 4 of Twelfth Night begins with Sebastian and Antonio arriving in Illyria, where they are greeted by Olivia's steward, Malvolio. Malvolio mistakes Sebastian for Cesario and invites him into Olivia's house. Inside, Olivia greets Sebastian and confesses her love to him, mistaking him for Cesario. Sebastian is surprised but goes along with it, thinking that Olivia is simply overjoyed to see him. They agree to marry, and Olivia sends for a priest.
Meanwhile, back at Orsino's court, Viola is worried about her brother and decides to go look for him. Feste the jester disguises himself as a priest and convinces Malvolio to release Cesario so that he can marry Olivia. When Viola arrives, she is mistaken for Cesario by Olivia's attendants, who bring her to Olivia. Olivia declares her love once again, but Viola reveals her true identity and explains that she cannot reciprocate Olivia's feelings because she is a woman. Olivia is surprised but accepts the truth and wishes Viola well.
Just then, Sebastian arrives with the priest, and everyone is confused. Viola is thrilled to see her brother, and they both realize that they have been mistaken for each other. Orsino arrives and is confused by the situation, but Viola explains everything to him. Orsino realizes that he loves Viola, not Olivia, and proposes to her. Viola is overjoyed and accepts his proposal. The play ends with everyone paired off happily, including Olivia and Sebastian, who are also married.
SCENE I. Before OLIVIA's house.
A character named Olivia sends a servant named Maria to summon her steward, Malvolio. While Maria is away, Olivia muses on her love for the disguised Viola, whom she believes to be a man named Cesario. Malvolio arrives wearing yellow stockings and cross-garters, which Olivia finds ridiculous and which Malvolio claims are fashionable. Olivia dismisses him and sends for Cesario, who comes and tells her that Orsino, who also loves Olivia, has sent him to plead his case. Olivia tells Cesario that she cannot love Orsino, but that she loves Cesario instead. Cesario protests that he cannot return Olivia’s love, but Olivia persists, giving Cesario a ring and telling him to return it if he ever changes his mind. After Cesario leaves, Olivia sends Malvolio after him to give him a message, but Malvolio is intercepted by Maria, who has written a letter in Olivia’s handwriting that makes Malvolio believe that Olivia loves him and wants him to act foolishly. Malvolio follows the instructions in the letter, wearing the yellow stockings and cross-garters and behaving foolishly, which leads Olivia to believe that he is insane. The scene ends with Olivia declaring that she cannot be with Cesario and must instead mourn her love alone.
Enter SEBASTIAN and Clown
Clown
Will you make me believe that I am not sent for you?
Link: 4.1.1
SEBASTIAN
Go to, go to, thou art a foolish fellow:
Link: 4.1.2
Let me be clear of thee.
Link: 4.1.3
Clown
Well held out, i' faith! No, I do not know you; nor
Link: 4.1.4
I am not sent to you by my lady, to bid you come
Link: 4.1.5
speak with her; nor your name is not Master Cesario;
Link: 4.1.6
nor this is not my nose neither. Nothing that is so is so.
Link: 4.1.7
SEBASTIAN
I prithee, vent thy folly somewhere else: Thou
Link: 4.1.8
know'st not me.
Link: 4.1.9
Clown
Vent my folly! he has heard that word of some
Link: 4.1.10
great man and now applies it to a fool. Vent my
Link: 4.1.11
folly! I am afraid this great lubber, the world,
Link: 4.1.12
will prove a cockney. I prithee now, ungird thy
Link: 4.1.13
strangeness and tell me what I shall vent to my
Link: 4.1.14
lady: shall I vent to her that thou art coming?
Link: 4.1.15
SEBASTIAN
I prithee, foolish Greek, depart from me: There's
Link: 4.1.16
money for thee: if you tarry longer, I shall give
Link: 4.1.17
worse payment.
Link: 4.1.18
Clown
By my troth, thou hast an open hand. These wise men
Link: 4.1.19
that give fools money get themselves a good
Link: 4.1.20
report--after fourteen years' purchase.
Link: 4.1.21
Enter SIR ANDREW, SIR TOBY BELCH, and FABIAN
SIR ANDREW
Now, sir, have I met you again? there's for you.
Link: 4.1.22
SEBASTIAN
Why, there's for thee, and there, and there. Are all
Link: 4.1.23
the people mad?
Link: 4.1.24
SIR TOBY BELCH
Hold, sir, or I'll throw your dagger o'er the house.
Link: 4.1.25
Clown
This will I tell my lady straight: I would not be
Link: 4.1.26
in some of your coats for two pence.
Link: 4.1.27
Exit
SIR TOBY BELCH
Come on, sir; hold.
Link: 4.1.28
SIR ANDREW
Nay, let him alone: I'll go another way to work
Link: 4.1.29
with him; I'll have an action of battery against
Link: 4.1.30
him, if there be any law in Illyria: though I
Link: 4.1.31
struck him first, yet it's no matter for that.
Link: 4.1.32
SEBASTIAN
Let go thy hand.
Link: 4.1.33
SIR TOBY BELCH
Come, sir, I will not let you go. Come, my young
Link: 4.1.34
soldier, put up your iron: you are well fleshed; come on.
Link: 4.1.35
SEBASTIAN
I will be free from thee. What wouldst thou now? If
Link: 4.1.36
thou darest tempt me further, draw thy sword.
Link: 4.1.37
SIR TOBY BELCH
What, what? Nay, then I must have an ounce or two
Link: 4.1.38
of this malapert blood from you.
Link: 4.1.39
Enter OLIVIA
OLIVIA
Hold, Toby; on thy life I charge thee, hold!
Link: 4.1.40
SIR TOBY BELCH
Madam!
Link: 4.1.41
OLIVIA
Will it be ever thus? Ungracious wretch,
Link: 4.1.42
Fit for the mountains and the barbarous caves,
Link: 4.1.43
Where manners ne'er were preach'd! out of my sight!
Link: 4.1.44
Be not offended, dear Cesario.
Link: 4.1.45
Rudesby, be gone!
Link: 4.1.46
I prithee, gentle friend,
Link: 4.1.47
Let thy fair wisdom, not thy passion, sway
Link: 4.1.48
In this uncivil and thou unjust extent
Link: 4.1.49
Against thy peace. Go with me to my house,
Link: 4.1.50
And hear thou there how many fruitless pranks
Link: 4.1.51
This ruffian hath botch'd up, that thou thereby
Link: 4.1.52
Mayst smile at this: thou shalt not choose but go:
Link: 4.1.53
Do not deny. Beshrew his soul for me,
Link: 4.1.54
He started one poor heart of mine in thee.
Link: 4.1.55
SEBASTIAN
What relish is in this? how runs the stream?
Link: 4.1.56
Or I am mad, or else this is a dream:
Link: 4.1.57
Let fancy still my sense in Lethe steep;
Link: 4.1.58
If it be thus to dream, still let me sleep!
Link: 4.1.59
OLIVIA
Nay, come, I prithee; would thou'ldst be ruled by me!
Link: 4.1.60
SEBASTIAN
Madam, I will.
Link: 4.1.61
OLIVIA
O, say so, and so be!
Link: 4.1.62
Exeunt
SCENE II. OLIVIA's house.
In Scene 2 of Act 4 of Twelfth Night, the character Viola, disguised as a man named Cesario, is confronted by Sir Andrew Aguecheek, who is upset about the way he has been treated by Olivia, the woman they both love. Viola tries to console Sir Andrew, but he becomes angry and challenges her to a duel. However, Sir Toby Belch, Olivia's uncle, intervenes and convinces Sir Andrew to delay the duel until the next day. Meanwhile, in another part of the scene, Feste, the fool, disguises himself as a priest and convinces Malvolio, Olivia's steward, that he is mad and needs to be locked up. Malvolio, who is wearing yellow stockings and cross garters, believes that Olivia is in love with him and becomes increasingly erratic in his behavior. The scene ends with Viola expressing her love for Duke Orsino, who she has been serving as Cesario. She reveals her true identity to him and hopes that he will accept her as a woman. Duke Orsino is surprised but pleased by her confession and promises to help her win Olivia's love.
Enter MARIA and Clown
MARIA
Nay, I prithee, put on this gown and this beard;
Link: 4.2.1
make him believe thou art Sir Topas the curate: do
Link: 4.2.2
it quickly; I'll call Sir Toby the whilst.
Link: 4.2.3
Exit
Clown
Well, I'll put it on, and I will dissemble myself
Link: 4.2.4
in't; and I would I were the first that ever
Link: 4.2.5
dissembled in such a gown. I am not tall enough to
Link: 4.2.6
become the function well, nor lean enough to be
Link: 4.2.7
thought a good student; but to be said an honest man
Link: 4.2.8
and a good housekeeper goes as fairly as to say a
Link: 4.2.9
careful man and a great scholar. The competitors enter.
Link: 4.2.10
Enter SIR TOBY BELCH and MARIA
SIR TOBY BELCH
Jove bless thee, master Parson.
Link: 4.2.11
Clown
Bonos dies, Sir Toby: for, as the old hermit of
Link: 4.2.12
Prague, that never saw pen and ink, very wittily
Link: 4.2.13
said to a niece of King Gorboduc, 'That that is is;'
Link: 4.2.14
so I, being Master Parson, am Master Parson; for,
Link: 4.2.15
what is 'that' but 'that,' and 'is' but 'is'?
Link: 4.2.16
SIR TOBY BELCH
To him, Sir Topas.
Link: 4.2.17
Clown
What, ho, I say! peace in this prison!
Link: 4.2.18
SIR TOBY BELCH
The knave counterfeits well; a good knave.
Link: 4.2.19
MALVOLIO
(Within) Who calls there?
Link: 4.2.20
Clown
Sir Topas the curate, who comes to visit Malvolio
Link: 4.2.21
the lunatic.
Link: 4.2.22
MALVOLIO
Sir Topas, Sir Topas, good Sir Topas, go to my lady.
Link: 4.2.23
Clown
Out, hyperbolical fiend! how vexest thou this man!
Link: 4.2.24
talkest thou nothing but of ladies?
Link: 4.2.25
SIR TOBY BELCH
Well said, Master Parson.
Link: 4.2.26
MALVOLIO
Sir Topas, never was man thus wronged: good Sir
Link: 4.2.27
Topas, do not think I am mad: they have laid me
Link: 4.2.28
here in hideous darkness.
Link: 4.2.29
Clown
Fie, thou dishonest Satan! I call thee by the most
Link: 4.2.30
modest terms; for I am one of those gentle ones
Link: 4.2.31
that will use the devil himself with courtesy:
Link: 4.2.32
sayest thou that house is dark?
Link: 4.2.33
MALVOLIO
As hell, Sir Topas.
Link: 4.2.34
Clown
Why it hath bay windows transparent as barricadoes,
Link: 4.2.35
and the clearstores toward the south north are as
Link: 4.2.36
lustrous as ebony; and yet complainest thou of
Link: 4.2.37
obstruction?
Link: 4.2.38
MALVOLIO
I am not mad, Sir Topas: I say to you, this house is dark.
Link: 4.2.39
Clown
Madman, thou errest: I say, there is no darkness
Link: 4.2.40
but ignorance; in which thou art more puzzled than
Link: 4.2.41
the Egyptians in their fog.
Link: 4.2.42
MALVOLIO
I say, this house is as dark as ignorance, though
Link: 4.2.43
ignorance were as dark as hell; and I say, there
Link: 4.2.44
was never man thus abused. I am no more mad than you
Link: 4.2.45
are: make the trial of it in any constant question.
Link: 4.2.46
Clown
What is the opinion of Pythagoras concerning wild fowl?
Link: 4.2.47
MALVOLIO
That the soul of our grandam might haply inhabit a bird.
Link: 4.2.48
Clown
What thinkest thou of his opinion?
Link: 4.2.49
MALVOLIO
I think nobly of the soul, and no way approve his opinion.
Link: 4.2.50
Clown
Fare thee well. Remain thou still in darkness:
Link: 4.2.51
thou shalt hold the opinion of Pythagoras ere I will
Link: 4.2.52
allow of thy wits, and fear to kill a woodcock, lest
Link: 4.2.53
thou dispossess the soul of thy grandam. Fare thee well.
Link: 4.2.54
MALVOLIO
Sir Topas, Sir Topas!
Link: 4.2.55
SIR TOBY BELCH
My most exquisite Sir Topas!
Link: 4.2.56
Clown
Nay, I am for all waters.
Link: 4.2.57
MARIA
Thou mightst have done this without thy beard and
Link: 4.2.58
gown: he sees thee not.
Link: 4.2.59
SIR TOBY BELCH
To him in thine own voice, and bring me word how
Link: 4.2.60
thou findest him: I would we were well rid of this
Link: 4.2.61
knavery. If he may be conveniently delivered, I
Link: 4.2.62
would he were, for I am now so far in offence with
Link: 4.2.63
my niece that I cannot pursue with any safety this
Link: 4.2.64
sport to the upshot. Come by and by to my chamber.
Link: 4.2.65
Exeunt SIR TOBY BELCH and MARIA
Clown
(Singing)
Link: 4.2.66
'Hey, Robin, jolly Robin,
Link: 4.2.67
Tell me how thy lady does.'
Link: 4.2.68
MALVOLIO
Fool!
Link: 4.2.69
Clown
'My lady is unkind, perdy.'
Link: 4.2.70
MALVOLIO
Fool!
Link: 4.2.71
Clown
'Alas, why is she so?'
Link: 4.2.72
MALVOLIO
Fool, I say!
Link: 4.2.73
Clown
'She loves another'--Who calls, ha?
Link: 4.2.74
MALVOLIO
Good fool, as ever thou wilt deserve well at my
Link: 4.2.75
hand, help me to a candle, and pen, ink and paper:
Link: 4.2.76
as I am a gentleman, I will live to be thankful to
Link: 4.2.77
thee for't.
Link: 4.2.78
Clown
Master Malvolio?
Link: 4.2.79
MALVOLIO
Ay, good fool.
Link: 4.2.80
Clown
Alas, sir, how fell you besides your five wits?
Link: 4.2.81
MALVOLIO
Fool, there was never a man so notoriously abused: I
Link: 4.2.82
am as well in my wits, fool, as thou art.
Link: 4.2.83
Clown
But as well? then you are mad indeed, if you be no
Link: 4.2.84
better in your wits than a fool.
Link: 4.2.85
MALVOLIO
They have here propertied me; keep me in darkness,
Link: 4.2.86
send ministers to me, asses, and do all they can to
Link: 4.2.87
face me out of my wits.
Link: 4.2.88
Clown
Advise you what you say; the minister is here.
Link: 4.2.89
Malvolio, Malvolio, thy wits the heavens restore!
Link: 4.2.90
endeavour thyself to sleep, and leave thy vain
Link: 4.2.91
bibble babble.
Link: 4.2.92
MALVOLIO
Sir Topas!
Link: 4.2.93
Clown
Maintain no words with him, good fellow. Who, I,
Link: 4.2.94
sir? not I, sir. God be wi' you, good Sir Topas.
Link: 4.2.95
Merry, amen. I will, sir, I will.
Link: 4.2.96
MALVOLIO
Fool, fool, fool, I say!
Link: 4.2.97
Clown
Alas, sir, be patient. What say you sir? I am
Link: 4.2.98
shent for speaking to you.
Link: 4.2.99
MALVOLIO
Good fool, help me to some light and some paper: I
Link: 4.2.100
tell thee, I am as well in my wits as any man in Illyria.
Link: 4.2.101
Clown
Well-a-day that you were, sir
Link: 4.2.102
MALVOLIO
By this hand, I am. Good fool, some ink, paper and
Link: 4.2.103
light; and convey what I will set down to my lady:
Link: 4.2.104
it shall advantage thee more than ever the bearing
Link: 4.2.105
of letter did.
Link: 4.2.106
Clown
I will help you to't. But tell me true, are you
Link: 4.2.107
not mad indeed? or do you but counterfeit?
Link: 4.2.108
MALVOLIO
Believe me, I am not; I tell thee true.
Link: 4.2.109
Clown
Nay, I'll ne'er believe a madman till I see his
Link: 4.2.110
brains. I will fetch you light and paper and ink.
Link: 4.2.111
MALVOLIO
Fool, I'll requite it in the highest degree: I
Link: 4.2.112
prithee, be gone.
Link: 4.2.113
Clown
(Singing)
Link: 4.2.114
I am gone, sir,
Link: 4.2.115
And anon, sir,
Link: 4.2.116
I'll be with you again,
Link: 4.2.117
In a trice,
Link: 4.2.118
Like to the old Vice,
Link: 4.2.119
Your need to sustain;
Link: 4.2.120
Who, with dagger of lath,
Link: 4.2.121
In his rage and his wrath,
Link: 4.2.122
Cries, ah, ha! to the devil:
Link: 4.2.123
Like a mad lad,
Link: 4.2.124
Pare thy nails, dad;
Link: 4.2.125
Adieu, good man devil.
Link: 4.2.126
Exit
SCENE III. OLIVIA's garden.
In Scene 3 of Act 4, a group of characters discuss the possibility of a duel between two of the male characters. One of the characters, Sebastian, has been mistaken for his twin sister Viola and has been involved in a romantic entanglement with another character, Olivia. The other character, Sir Andrew, has also been pursuing Olivia's affections but has been unsuccessful. Sir Toby, Olivia's uncle, urges Sir Andrew to challenge Sebastian to a duel in order to win Olivia's love. However, Sir Andrew is hesitant and expresses his doubts about his own fighting abilities. Sir Toby assures him that he will be able to defeat Sebastian, but also suggests that they should first provoke him in order to make him more likely to accept the challenge. Meanwhile, Olivia enters and informs the group that she has married Sebastian, mistaking him for his sister Viola. Sir Andrew and Sir Toby are shocked and disappointed, realizing that their plan to win Olivia's love has failed. However, Sebastian enters and is surprised to see Olivia, whom he has never met before. Olivia is confused by his reaction and asks if he is not her husband. Sebastian confirms that he is, and Olivia is delighted. The scene ends with Sir Andrew and Sir Toby realizing that they have been outwitted, while Sebastian and Olivia begin their married life together.
Enter SEBASTIAN
SEBASTIAN
This is the air; that is the glorious sun;
Link: 4.3.1
This pearl she gave me, I do feel't and see't;
Link: 4.3.2
And though 'tis wonder that enwraps me thus,
Link: 4.3.3
Yet 'tis not madness. Where's Antonio, then?
Link: 4.3.4
I could not find him at the Elephant:
Link: 4.3.5
Yet there he was; and there I found this credit,
Link: 4.3.6
That he did range the town to seek me out.
Link: 4.3.7
His counsel now might do me golden service;
Link: 4.3.8
For though my soul disputes well with my sense,
Link: 4.3.9
That this may be some error, but no madness,
Link: 4.3.10
Yet doth this accident and flood of fortune
Link: 4.3.11
So far exceed all instance, all discourse,
Link: 4.3.12
That I am ready to distrust mine eyes
Link: 4.3.13
And wrangle with my reason that persuades me
Link: 4.3.14
To any other trust but that I am mad
Link: 4.3.15
Or else the lady's mad; yet, if 'twere so,
Link: 4.3.16
She could not sway her house, command her followers,
Link: 4.3.17
Take and give back affairs and their dispatch
Link: 4.3.18
With such a smooth, discreet and stable bearing
Link: 4.3.19
As I perceive she does: there's something in't
Link: 4.3.20
That is deceiveable. But here the lady comes.
Link: 4.3.21
Enter OLIVIA and Priest
OLIVIA
Blame not this haste of mine. If you mean well,
Link: 4.3.22
Now go with me and with this holy man
Link: 4.3.23
Into the chantry by: there, before him,
Link: 4.3.24
And underneath that consecrated roof,
Link: 4.3.25
Plight me the full assurance of your faith;
Link: 4.3.26
That my most jealous and too doubtful soul
Link: 4.3.27
May live at peace. He shall conceal it
Link: 4.3.28
Whiles you are willing it shall come to note,
Link: 4.3.29
What time we will our celebration keep
Link: 4.3.30
According to my birth. What do you say?
Link: 4.3.31
SEBASTIAN
I'll follow this good man, and go with you;
Link: 4.3.32
And, having sworn truth, ever will be true.
Link: 4.3.33
OLIVIA
Then lead the way, good father; and heavens so shine,
Link: 4.3.34
That they may fairly note this act of mine!
Link: 4.3.35
Exeunt
Act V
Act 5 of Twelfth Night begins with Feste the jester singing a song about love and time. Then, Viola (disguised as Cesario) arrives and talks to Orsino about Olivia, who has just married Sebastian (Viola's twin brother). Orsino is confused and angry, thinking that Viola has betrayed him by marrying Olivia, but Viola reveals her true identity and explains the situation. Orsino is relieved and happy, and he realizes that he loves Viola.
Meanwhile, Sir Toby and Sir Andrew are nursing their wounds from a fight with Sebastian, whom they mistook for Cesario. They are visited by Feste, who tricks them into confessing their foolishness and apologizing. Malvolio, who has been locked up in a dark room, is also visited by Feste, who dresses up as a priest and convinces Malvolio that he is insane. Malvolio is released from his prison and vows revenge on the people who tricked him.
Finally, everyone gathers together for a happy ending. Orsino declares his love for Viola and they plan to get married. Olivia apologizes to Sebastian for mistaking him for Cesario and they also decide to get married. Sir Toby and Maria reveal that they are also getting married. Feste sings another song about the end of the holiday season and the return to normal life.
SCENE I. Before OLIVIA's house.
Scene 1 of Act 5 takes place in a garden at Olivia's house. Orsino, Duke of Illyria, and his attendants enter and discuss their love for Olivia. Orsino is still pining for her, while his attendants are smitten with her maid, Maria. As they converse, Viola (disguised as Cesario) enters with Olivia's servant, Fabian. Orsino sends his attendants away and speaks with Viola alone. He confesses his love for Olivia and asks for her help in winning her over. Viola, who is secretly in love with Orsino, tries to steer him away from Olivia and towards herself, but Orsino is too focused on Olivia to notice. Olivia then enters with Malvolio, her steward, and accuses Cesario (Viola) of being cruel to her by not returning her affections. Viola denies the accusations, saying that she is merely following Orsino's orders. Olivia then leaves with Malvolio, and Orsino is left alone with Viola. Viola uses this opportunity to reveal her true identity to Orsino, but he is initially confused and angry. However, he quickly realizes that he is in love with Viola (as Cesario) and not Olivia. They declare their love for each other and plan to get married.
Enter Clown and FABIAN
FABIAN
Now, as thou lovest me, let me see his letter.
Link: 5.1.1
Clown
Good Master Fabian, grant me another request.
Link: 5.1.2
FABIAN
Any thing.
Link: 5.1.3
Clown
Do not desire to see this letter.
Link: 5.1.4
FABIAN
This is, to give a dog, and in recompense desire my
Link: 5.1.5
dog again.
Link: 5.1.6
Enter DUKE ORSINO, VIOLA, CURIO, and Lords
DUKE ORSINO
Belong you to the Lady Olivia, friends?
Link: 5.1.7
Clown
Ay, sir; we are some of her trappings.
Link: 5.1.8
DUKE ORSINO
I know thee well; how dost thou, my good fellow?
Link: 5.1.9
Clown
Truly, sir, the better for my foes and the worse
Link: 5.1.10
for my friends.
Link: 5.1.11
DUKE ORSINO
Just the contrary; the better for thy friends.
Link: 5.1.12
Clown
No, sir, the worse.
Link: 5.1.13
DUKE ORSINO
How can that be?
Link: 5.1.14
Clown
Marry, sir, they praise me and make an ass of me;
Link: 5.1.15
now my foes tell me plainly I am an ass: so that by
Link: 5.1.16
my foes, sir I profit in the knowledge of myself,
Link: 5.1.17
and by my friends, I am abused: so that,
Link: 5.1.18
conclusions to be as kisses, if your four negatives
Link: 5.1.19
make your two affirmatives why then, the worse for
Link: 5.1.20
my friends and the better for my foes.
Link: 5.1.21
DUKE ORSINO
Why, this is excellent.
Link: 5.1.22
Clown
By my troth, sir, no; though it please you to be
Link: 5.1.23
one of my friends.
Link: 5.1.24
DUKE ORSINO
Thou shalt not be the worse for me: there's gold.
Link: 5.1.25
Clown
But that it would be double-dealing, sir, I would
Link: 5.1.26
you could make it another.
Link: 5.1.27
DUKE ORSINO
O, you give me ill counsel.
Link: 5.1.28
Clown
Put your grace in your pocket, sir, for this once,
Link: 5.1.29
and let your flesh and blood obey it.
Link: 5.1.30
DUKE ORSINO
Well, I will be so much a sinner, to be a
Link: 5.1.31
double-dealer: there's another.
Link: 5.1.32
Clown
Primo, secundo, tertio, is a good play; and the old
Link: 5.1.33
saying is, the third pays for all: the triplex,
Link: 5.1.34
sir, is a good tripping measure; or the bells of
Link: 5.1.35
Saint Bennet, sir, may put you in mind; one, two, three.
Link: 5.1.36
DUKE ORSINO
You can fool no more money out of me at this throw:
Link: 5.1.37
if you will let your lady know I am here to speak
Link: 5.1.38
with her, and bring her along with you, it may awake
Link: 5.1.39
my bounty further.
Link: 5.1.40
Clown
Marry, sir, lullaby to your bounty till I come
Link: 5.1.41
again. I go, sir; but I would not have you to think
Link: 5.1.42
that my desire of having is the sin of covetousness:
Link: 5.1.43
but, as you say, sir, let your bounty take a nap, I
Link: 5.1.44
will awake it anon.
Link: 5.1.45
Exit
VIOLA
Here comes the man, sir, that did rescue me.
Link: 5.1.46
Enter ANTONIO and Officers
DUKE ORSINO
That face of his I do remember well;
Link: 5.1.47
Yet, when I saw it last, it was besmear'd
Link: 5.1.48
As black as Vulcan in the smoke of war:
Link: 5.1.49
A bawbling vessel was he captain of,
Link: 5.1.50
For shallow draught and bulk unprizable;
Link: 5.1.51
With which such scathful grapple did he make
Link: 5.1.52
With the most noble bottom of our fleet,
Link: 5.1.53
That very envy and the tongue of loss
Link: 5.1.54
Cried fame and honour on him. What's the matter?
Link: 5.1.55
First Officer
Orsino, this is that Antonio
Link: 5.1.56
That took the Phoenix and her fraught from Candy;
Link: 5.1.57
And this is he that did the Tiger board,
Link: 5.1.58
When your young nephew Titus lost his leg:
Link: 5.1.59
Here in the streets, desperate of shame and state,
Link: 5.1.60
In private brabble did we apprehend him.
Link: 5.1.61
VIOLA
He did me kindness, sir, drew on my side;
Link: 5.1.62
But in conclusion put strange speech upon me:
Link: 5.1.63
I know not what 'twas but distraction.
Link: 5.1.64
DUKE ORSINO
Notable pirate! thou salt-water thief!
Link: 5.1.65
What foolish boldness brought thee to their mercies,
Link: 5.1.66
Whom thou, in terms so bloody and so dear,
Link: 5.1.67
Hast made thine enemies?
Link: 5.1.68
ANTONIO
Orsino, noble sir,
Link: 5.1.69
Be pleased that I shake off these names you give me:
Link: 5.1.70
Antonio never yet was thief or pirate,
Link: 5.1.71
Though I confess, on base and ground enough,
Link: 5.1.72
Orsino's enemy. A witchcraft drew me hither:
Link: 5.1.73
That most ingrateful boy there by your side,
Link: 5.1.74
From the rude sea's enraged and foamy mouth
Link: 5.1.75
Did I redeem; a wreck past hope he was:
Link: 5.1.76
His life I gave him and did thereto add
Link: 5.1.77
My love, without retention or restraint,
Link: 5.1.78
All his in dedication; for his sake
Link: 5.1.79
Did I expose myself, pure for his love,
Link: 5.1.80
Into the danger of this adverse town;
Link: 5.1.81
Drew to defend him when he was beset:
Link: 5.1.82
Where being apprehended, his false cunning,
Link: 5.1.83
Not meaning to partake with me in danger,
Link: 5.1.84
Taught him to face me out of his acquaintance,
Link: 5.1.85
And grew a twenty years removed thing
Link: 5.1.86
While one would wink; denied me mine own purse,
Link: 5.1.87
Which I had recommended to his use
Link: 5.1.88
Not half an hour before.
Link: 5.1.89
VIOLA
How can this be?
Link: 5.1.90
DUKE ORSINO
When came he to this town?
Link: 5.1.91
ANTONIO
To-day, my lord; and for three months before,
Link: 5.1.92
No interim, not a minute's vacancy,
Link: 5.1.93
Both day and night did we keep company.
Link: 5.1.94
Enter OLIVIA and Attendants
DUKE ORSINO
Here comes the countess: now heaven walks on earth.
Link: 5.1.95
But for thee, fellow; fellow, thy words are madness:
Link: 5.1.96
Three months this youth hath tended upon me;
Link: 5.1.97
But more of that anon. Take him aside.
Link: 5.1.98
OLIVIA
What would my lord, but that he may not have,
Link: 5.1.99
Wherein Olivia may seem serviceable?
Link: 5.1.100
Cesario, you do not keep promise with me.
Link: 5.1.101
VIOLA
Madam!
Link: 5.1.102
DUKE ORSINO
Gracious Olivia,--
Link: 5.1.103
OLIVIA
What do you say, Cesario? Good my lord,--
Link: 5.1.104
VIOLA
My lord would speak; my duty hushes me.
Link: 5.1.105
OLIVIA
If it be aught to the old tune, my lord,
Link: 5.1.106
It is as fat and fulsome to mine ear
Link: 5.1.107
As howling after music.
Link: 5.1.108
DUKE ORSINO
Still so cruel?
Link: 5.1.109
OLIVIA
Still so constant, lord.
Link: 5.1.110
DUKE ORSINO
What, to perverseness? you uncivil lady,
Link: 5.1.111
To whose ingrate and unauspicious altars
Link: 5.1.112
My soul the faithfull'st offerings hath breathed out
Link: 5.1.113
That e'er devotion tender'd! What shall I do?
Link: 5.1.114
OLIVIA
Even what it please my lord, that shall become him.
Link: 5.1.115
DUKE ORSINO
Why should I not, had I the heart to do it,
Link: 5.1.116
Like to the Egyptian thief at point of death,
Link: 5.1.117
Kill what I love?--a savage jealousy
Link: 5.1.118
That sometimes savours nobly. But hear me this:
Link: 5.1.119
Since you to non-regardance cast my faith,
Link: 5.1.120
And that I partly know the instrument
Link: 5.1.121
That screws me from my true place in your favour,
Link: 5.1.122
Live you the marble-breasted tyrant still;
Link: 5.1.123
But this your minion, whom I know you love,
Link: 5.1.124
And whom, by heaven I swear, I tender dearly,
Link: 5.1.125
Him will I tear out of that cruel eye,
Link: 5.1.126
Where he sits crowned in his master's spite.
Link: 5.1.127
Come, boy, with me; my thoughts are ripe in mischief:
Link: 5.1.128
I'll sacrifice the lamb that I do love,
Link: 5.1.129
To spite a raven's heart within a dove.
Link: 5.1.130
VIOLA
And I, most jocund, apt and willingly,
Link: 5.1.131
To do you rest, a thousand deaths would die.
Link: 5.1.132
OLIVIA
Where goes Cesario?
Link: 5.1.133
VIOLA
After him I love
Link: 5.1.134
More than I love these eyes, more than my life,
Link: 5.1.135
More, by all mores, than e'er I shall love wife.
Link: 5.1.136
If I do feign, you witnesses above
Link: 5.1.137
Punish my life for tainting of my love!
Link: 5.1.138
OLIVIA
Ay me, detested! how am I beguiled!
Link: 5.1.139
VIOLA
Who does beguile you? who does do you wrong?
Link: 5.1.140
OLIVIA
Hast thou forgot thyself? is it so long?
Link: 5.1.141
Call forth the holy father.
Link: 5.1.142
DUKE ORSINO
Come, away!
Link: 5.1.143
OLIVIA
Whither, my lord? Cesario, husband, stay.
Link: 5.1.144
DUKE ORSINO
Husband!
Link: 5.1.145
OLIVIA
Ay, husband: can he that deny?
Link: 5.1.146
DUKE ORSINO
Her husband, sirrah!
Link: 5.1.147
VIOLA
No, my lord, not I.
Link: 5.1.148
OLIVIA
Alas, it is the baseness of thy fear
Link: 5.1.149
That makes thee strangle thy propriety:
Link: 5.1.150
Fear not, Cesario; take thy fortunes up;
Link: 5.1.151
Be that thou know'st thou art, and then thou art
Link: 5.1.152
As great as that thou fear'st.
Link: 5.1.153
O, welcome, father!
Link: 5.1.154
Father, I charge thee, by thy reverence,
Link: 5.1.155
Here to unfold, though lately we intended
Link: 5.1.156
To keep in darkness what occasion now
Link: 5.1.157
Reveals before 'tis ripe, what thou dost know
Link: 5.1.158
Hath newly pass'd between this youth and me.
Link: 5.1.159
Priest
A contract of eternal bond of love,
Link: 5.1.160
Confirm'd by mutual joinder of your hands,
Link: 5.1.161
Attested by the holy close of lips,
Link: 5.1.162
Strengthen'd by interchangement of your rings;
Link: 5.1.163
And all the ceremony of this compact
Link: 5.1.164
Seal'd in my function, by my testimony:
Link: 5.1.165
Since when, my watch hath told me, toward my grave
Link: 5.1.166
I have travell'd but two hours.
Link: 5.1.167
DUKE ORSINO
O thou dissembling cub! what wilt thou be
Link: 5.1.168
When time hath sow'd a grizzle on thy case?
Link: 5.1.169
Or will not else thy craft so quickly grow,
Link: 5.1.170
That thine own trip shall be thine overthrow?
Link: 5.1.171
Farewell, and take her; but direct thy feet
Link: 5.1.172
Where thou and I henceforth may never meet.
Link: 5.1.173
VIOLA
My lord, I do protest--
Link: 5.1.174
OLIVIA
O, do not swear!
Link: 5.1.175
Hold little faith, though thou hast too much fear.
Link: 5.1.176
Enter SIR ANDREW
SIR ANDREW
For the love of God, a surgeon! Send one presently
Link: 5.1.177
to Sir Toby.
Link: 5.1.178
OLIVIA
What's the matter?
Link: 5.1.179
SIR ANDREW
He has broke my head across and has given Sir Toby
Link: 5.1.180
a bloody coxcomb too: for the love of God, your
Link: 5.1.181
help! I had rather than forty pound I were at home.
Link: 5.1.182
OLIVIA
Who has done this, Sir Andrew?
Link: 5.1.183
SIR ANDREW
The count's gentleman, one Cesario: we took him for
Link: 5.1.184
a coward, but he's the very devil incardinate.
Link: 5.1.185
DUKE ORSINO
My gentleman, Cesario?
Link: 5.1.186
SIR ANDREW
'Od's lifelings, here he is! You broke my head for
Link: 5.1.187
nothing; and that that I did, I was set on to do't
Link: 5.1.188
by Sir Toby.
Link: 5.1.189
VIOLA
Why do you speak to me? I never hurt you:
Link: 5.1.190
You drew your sword upon me without cause;
Link: 5.1.191
But I bespoke you fair, and hurt you not.
Link: 5.1.192
SIR ANDREW
If a bloody coxcomb be a hurt, you have hurt me: I
Link: 5.1.193
think you set nothing by a bloody coxcomb.
Link: 5.1.194
Here comes Sir Toby halting; you shall hear more:
Link: 5.1.195
but if he had not been in drink, he would have
Link: 5.1.196
tickled you othergates than he did.
Link: 5.1.197
DUKE ORSINO
How now, gentleman! how is't with you?
Link: 5.1.198
SIR TOBY BELCH
That's all one: has hurt me, and there's the end
Link: 5.1.199
on't. Sot, didst see Dick surgeon, sot?
Link: 5.1.200
Clown
O, he's drunk, Sir Toby, an hour agone; his eyes
Link: 5.1.201
were set at eight i' the morning.
Link: 5.1.202
SIR TOBY BELCH
Then he's a rogue, and a passy measures panyn: I
Link: 5.1.203
hate a drunken rogue.
Link: 5.1.204
OLIVIA
Away with him! Who hath made this havoc with them?
Link: 5.1.205
SIR ANDREW
I'll help you, Sir Toby, because well be dressed together.
Link: 5.1.206
SIR TOBY BELCH
Will you help? an ass-head and a coxcomb and a
Link: 5.1.207
knave, a thin-faced knave, a gull!
Link: 5.1.208
OLIVIA
Get him to bed, and let his hurt be look'd to.
Link: 5.1.209
Exeunt Clown, FABIAN, SIR TOBY BELCH, and SIR ANDREW
Enter SEBASTIAN
SEBASTIAN
I am sorry, madam, I have hurt your kinsman:
Link: 5.1.210
But, had it been the brother of my blood,
Link: 5.1.211
I must have done no less with wit and safety.
Link: 5.1.212
You throw a strange regard upon me, and by that
Link: 5.1.213
I do perceive it hath offended you:
Link: 5.1.214
Pardon me, sweet one, even for the vows
Link: 5.1.215
We made each other but so late ago.
Link: 5.1.216
DUKE ORSINO
One face, one voice, one habit, and two persons,
Link: 5.1.217
A natural perspective, that is and is not!
Link: 5.1.218
SEBASTIAN
Antonio, O my dear Antonio!
Link: 5.1.219
How have the hours rack'd and tortured me,
Link: 5.1.220
Since I have lost thee!
Link: 5.1.221
ANTONIO
Sebastian are you?
Link: 5.1.222
SEBASTIAN
Fear'st thou that, Antonio?
Link: 5.1.223
ANTONIO
How have you made division of yourself?
Link: 5.1.224
An apple, cleft in two, is not more twin
Link: 5.1.225
Than these two creatures. Which is Sebastian?
Link: 5.1.226
OLIVIA
Most wonderful!
Link: 5.1.227
SEBASTIAN
Do I stand there? I never had a brother;
Link: 5.1.228
Nor can there be that deity in my nature,
Link: 5.1.229
Of here and every where. I had a sister,
Link: 5.1.230
Whom the blind waves and surges have devour'd.
Link: 5.1.231
Of charity, what kin are you to me?
Link: 5.1.232
What countryman? what name? what parentage?
Link: 5.1.233
VIOLA
Of Messaline: Sebastian was my father;
Link: 5.1.234
Such a Sebastian was my brother too,
Link: 5.1.235
So went he suited to his watery tomb:
Link: 5.1.236
If spirits can assume both form and suit
Link: 5.1.237
You come to fright us.
Link: 5.1.238
SEBASTIAN
A spirit I am indeed;
Link: 5.1.239
But am in that dimension grossly clad
Link: 5.1.240
Which from the womb I did participate.
Link: 5.1.241
Were you a woman, as the rest goes even,
Link: 5.1.242
I should my tears let fall upon your cheek,
Link: 5.1.243
And say 'Thrice-welcome, drowned Viola!'
Link: 5.1.244
VIOLA
My father had a mole upon his brow.
Link: 5.1.245
SEBASTIAN
And so had mine.
Link: 5.1.246
VIOLA
And died that day when Viola from her birth
Link: 5.1.247
Had number'd thirteen years.
Link: 5.1.248
SEBASTIAN
O, that record is lively in my soul!
Link: 5.1.249
He finished indeed his mortal act
Link: 5.1.250
That day that made my sister thirteen years.
Link: 5.1.251
VIOLA
If nothing lets to make us happy both
Link: 5.1.252
But this my masculine usurp'd attire,
Link: 5.1.253
Do not embrace me till each circumstance
Link: 5.1.254
Of place, time, fortune, do cohere and jump
Link: 5.1.255
That I am Viola: which to confirm,
Link: 5.1.256
I'll bring you to a captain in this town,
Link: 5.1.257
Where lie my maiden weeds; by whose gentle help
Link: 5.1.258
I was preserved to serve this noble count.
Link: 5.1.259
All the occurrence of my fortune since
Link: 5.1.260
Hath been between this lady and this lord.
Link: 5.1.261
SEBASTIAN
(To OLIVIA) So comes it, lady, you have been mistook:
Link: 5.1.262
But nature to her bias drew in that.
Link: 5.1.263
You would have been contracted to a maid;
Link: 5.1.264
Nor are you therein, by my life, deceived,
Link: 5.1.265
You are betroth'd both to a maid and man.
Link: 5.1.266
DUKE ORSINO
Be not amazed; right noble is his blood.
Link: 5.1.267
If this be so, as yet the glass seems true,
Link: 5.1.268
I shall have share in this most happy wreck.
Link: 5.1.269
Boy, thou hast said to me a thousand times
Link: 5.1.270
Thou never shouldst love woman like to me.
Link: 5.1.271
VIOLA
And all those sayings will I overswear;
Link: 5.1.272
And those swearings keep as true in soul
Link: 5.1.273
As doth that orbed continent the fire
Link: 5.1.274
That severs day from night.
Link: 5.1.275
DUKE ORSINO
Give me thy hand;
Link: 5.1.276
And let me see thee in thy woman's weeds.
Link: 5.1.277
VIOLA
The captain that did bring me first on shore
Link: 5.1.278
Hath my maid's garments: he upon some action
Link: 5.1.279
Is now in durance, at Malvolio's suit,
Link: 5.1.280
A gentleman, and follower of my lady's.
Link: 5.1.281
OLIVIA
He shall enlarge him: fetch Malvolio hither:
Link: 5.1.282
And yet, alas, now I remember me,
Link: 5.1.283
They say, poor gentleman, he's much distract.
Link: 5.1.284
A most extracting frenzy of mine own
Link: 5.1.285
From my remembrance clearly banish'd his.
Link: 5.1.286
How does he, sirrah?
Link: 5.1.287
Clown
Truly, madam, he holds Belzebub at the staves's end as
Link: 5.1.288
well as a man in his case may do: has here writ a
Link: 5.1.289
letter to you; I should have given't you to-day
Link: 5.1.290
morning, but as a madman's epistles are no gospels,
Link: 5.1.291
so it skills not much when they are delivered.
Link: 5.1.292
OLIVIA
Open't, and read it.
Link: 5.1.293
Clown
Look then to be well edified when the fool delivers
Link: 5.1.294
the madman.
Link: 5.1.295
'By the Lord, madam,'--
Link: 5.1.296
OLIVIA
How now! art thou mad?
Link: 5.1.297
Clown
No, madam, I do but read madness: an your ladyship
Link: 5.1.298
will have it as it ought to be, you must allow Vox.
Link: 5.1.299
OLIVIA
Prithee, read i' thy right wits.
Link: 5.1.300
Clown
So I do, madonna; but to read his right wits is to
Link: 5.1.301
read thus: therefore perpend, my princess, and give ear.
Link: 5.1.302
OLIVIA
Read it you, sirrah.
Link: 5.1.303
To FABIAN
FABIAN
(Reads) 'By the Lord, madam, you wrong me, and the
Link: 5.1.304
world shall know it: though you have put me into
Link: 5.1.305
darkness and given your drunken cousin rule over
Link: 5.1.306
me, yet have I the benefit of my senses as well as
Link: 5.1.307
your ladyship. I have your own letter that induced
Link: 5.1.308
me to the semblance I put on; with the which I doubt
Link: 5.1.309
not but to do myself much right, or you much shame.
Link: 5.1.310
Think of me as you please. I leave my duty a little
Link: 5.1.311
unthought of and speak out of my injury.
Link: 5.1.312
THE MADLY-USED MALVOLIO.'
Link: 5.1.313
OLIVIA
Did he write this?
Link: 5.1.314
Clown
Ay, madam.
Link: 5.1.315
DUKE ORSINO
This savours not much of distraction.
Link: 5.1.316
OLIVIA
See him deliver'd, Fabian; bring him hither.
Link: 5.1.317
My lord so please you, these things further
Link: 5.1.318
thought on,
Link: 5.1.319
To think me as well a sister as a wife,
Link: 5.1.320
One day shall crown the alliance on't, so please you,
Link: 5.1.321
Here at my house and at my proper cost.
Link: 5.1.322
DUKE ORSINO
Madam, I am most apt to embrace your offer.
Link: 5.1.323
Your master quits you; and for your service done him,
Link: 5.1.324
So much against the mettle of your sex,
Link: 5.1.325
So far beneath your soft and tender breeding,
Link: 5.1.326
And since you call'd me master for so long,
Link: 5.1.327
Here is my hand: you shall from this time be
Link: 5.1.328
Your master's mistress.
Link: 5.1.329
OLIVIA
A sister! you are she.
Link: 5.1.330
Re-enter FABIAN, with MALVOLIO
DUKE ORSINO
Is this the madman?
Link: 5.1.331
OLIVIA
Ay, my lord, this same.
Link: 5.1.332
How now, Malvolio!
Link: 5.1.333
MALVOLIO
Madam, you have done me wrong,
Link: 5.1.334
Notorious wrong.
Link: 5.1.335
OLIVIA
Have I, Malvolio? no.
Link: 5.1.336
MALVOLIO
Lady, you have. Pray you, peruse that letter.
Link: 5.1.337
You must not now deny it is your hand:
Link: 5.1.338
Write from it, if you can, in hand or phrase;
Link: 5.1.339
Or say 'tis not your seal, nor your invention:
Link: 5.1.340
You can say none of this: well, grant it then
Link: 5.1.341
And tell me, in the modesty of honour,
Link: 5.1.342
Why you have given me such clear lights of favour,
Link: 5.1.343
Bade me come smiling and cross-garter'd to you,
Link: 5.1.344
To put on yellow stockings and to frown
Link: 5.1.345
Upon Sir Toby and the lighter people;
Link: 5.1.346
And, acting this in an obedient hope,
Link: 5.1.347
Why have you suffer'd me to be imprison'd,
Link: 5.1.348
Kept in a dark house, visited by the priest,
Link: 5.1.349
And made the most notorious geck and gull
Link: 5.1.350
That e'er invention play'd on? tell me why.
Link: 5.1.351
OLIVIA
Alas, Malvolio, this is not my writing,
Link: 5.1.352
Though, I confess, much like the character
Link: 5.1.353
But out of question 'tis Maria's hand.
Link: 5.1.354
And now I do bethink me, it was she
Link: 5.1.355
First told me thou wast mad; then camest in smiling,
Link: 5.1.356
And in such forms which here were presupposed
Link: 5.1.357
Upon thee in the letter. Prithee, be content:
Link: 5.1.358
This practise hath most shrewdly pass'd upon thee;
Link: 5.1.359
But when we know the grounds and authors of it,
Link: 5.1.360
Thou shalt be both the plaintiff and the judge
Link: 5.1.361
Of thine own cause.
Link: 5.1.362
FABIAN
Good madam, hear me speak,
Link: 5.1.363
And let no quarrel nor no brawl to come
Link: 5.1.364
Taint the condition of this present hour,
Link: 5.1.365
Which I have wonder'd at. In hope it shall not,
Link: 5.1.366
Most freely I confess, myself and Toby
Link: 5.1.367
Set this device against Malvolio here,
Link: 5.1.368
Upon some stubborn and uncourteous parts
Link: 5.1.369
We had conceived against him: Maria writ
Link: 5.1.370
The letter at Sir Toby's great importance;
Link: 5.1.371
In recompense whereof he hath married her.
Link: 5.1.372
How with a sportful malice it was follow'd,
Link: 5.1.373
May rather pluck on laughter than revenge;
Link: 5.1.374
If that the injuries be justly weigh'd
Link: 5.1.375
That have on both sides pass'd.
Link: 5.1.376
OLIVIA
Alas, poor fool, how have they baffled thee!
Link: 5.1.377
Clown
Why, 'some are born great, some achieve greatness,
Link: 5.1.378
and some have greatness thrown upon them.' I was
Link: 5.1.379
one, sir, in this interlude; one Sir Topas, sir; but
Link: 5.1.380
that's all one. 'By the Lord, fool, I am not mad.'
Link: 5.1.381
But do you remember? 'Madam, why laugh you at such
Link: 5.1.382
a barren rascal? an you smile not, he's gagged:'
Link: 5.1.383
and thus the whirligig of time brings in his revenges.
Link: 5.1.384
MALVOLIO
I'll be revenged on the whole pack of you.
Link: 5.1.385
Exit
OLIVIA
He hath been most notoriously abused.
Link: 5.1.386
DUKE ORSINO
Pursue him and entreat him to a peace:
Link: 5.1.387
He hath not told us of the captain yet:
Link: 5.1.388
When that is known and golden time convents,
Link: 5.1.389
A solemn combination shall be made
Link: 5.1.390
Of our dear souls. Meantime, sweet sister,
Link: 5.1.391
We will not part from hence. Cesario, come;
Link: 5.1.392
For so you shall be, while you are a man;
Link: 5.1.393
But when in other habits you are seen,
Link: 5.1.394
Orsino's mistress and his fancy's queen.
Link: 5.1.395
Exeunt all, except Clown
Clown
(Sings)
Link: 5.1.396
When that I was and a little tiny boy,
Link: 5.1.397
With hey, ho, the wind and the rain,
Link: 5.1.398
A foolish thing was but a toy,
Link: 5.1.399
For the rain it raineth every day.
Link: 5.1.400
But when I came to man's estate,
Link: 5.1.401
With hey, ho, c.
Link: 5.1.402
'Gainst knaves and thieves men shut their gate,
Link: 5.1.403
For the rain, c.
Link: 5.1.404
But when I came, alas! to wive,
Link: 5.1.405
With hey, ho, c.
Link: 5.1.406
By swaggering could I never thrive,
Link: 5.1.407
For the rain, c.
Link: 5.1.408
But when I came unto my beds,
Link: 5.1.409
With hey, ho, c.
Link: 5.1.410
With toss-pots still had drunken heads,
Link: 5.1.411
For the rain, c.
Link: 5.1.412
A great while ago the world begun,
Link: 5.1.413
With hey, ho, c.
Link: 5.1.414
But that's all one, our play is done,
Link: 5.1.415
And we'll strive to please you every day.
Link: 5.1.416
Exit