{"id":198,"date":"2019-05-15T14:27:17","date_gmt":"2019-05-15T14:27:17","guid":{"rendered":"https:\/\/opentextbc.ca\/provincialenglish\/chapter\/twelfth-night-act-5\/"},"modified":"2019-08-28T19:22:24","modified_gmt":"2019-08-28T19:22:24","slug":"twelfth-night-act-5","status":"publish","type":"chapter","link":"https:\/\/opentextbc.ca\/provincialenglish\/chapter\/twelfth-night-act-5\/","title":{"raw":"Twelfth Night: Act 5","rendered":"Twelfth Night: Act 5"},"content":{"raw":"Twelfth Night<\/em> (Modern). Internet Shakespeare Editions<\/a>. University of Victoria. Editors: David Carnegie and Mark Houlahan.\n

Scene 1<\/h1>\nEnter Clown [with a letter] and Fabian.<\/em>\n\nFabian<\/strong>\nNow as thou lov'st me, let me see his letter.[footnote]i.e. Malvolio's to Olivia.[\/footnote]\n\n2155<\/sub>Clown<\/strong>\nGood Master Fabian, grant me another request.\n\nFabian<\/strong>\nAnything.\n\nClown<\/strong>\nDo not desire to see this letter.\n\nFabian<\/strong>\nThis is to give a dog, and in recompense desire my dog again.[footnote]Fabian may well have directed this repartee to the audience in early productions, especially if it was a well-known anecdote. According to John Manningham, who also reported the first known performance of Twelfth Night<\/i>, Dr. Boleyn, a kinsman of Queen Elizabeth, \"had a dog which he doted on, so much that the Queen understanding of it requested he would grant her one desire, and he should have whatsoever he would ask. She demanded his dog; he gave it, and 'Now, Madam' quoth he, 'you promised to give me my desire.' 'I will,' quoth she. 'Then I pray you give me my dog again'.\"[\/footnote]\n2160<\/sub>Enter Orsino,<\/em>[footnote]If Valentine and Viola have been wearing riding boots earlier (see 1.1.24n), Orsino will here. An image of traveling may metaphorically suggest that Orsino's emotions are on the move too[\/footnote] Viola [as Cesario], Curio, and Lords.<\/em>\n\nOrsino<\/strong>\nBelong you to the Lady Olivia, friends?\n\nClown<\/strong>\nAy, sir, we are some of her trappings.[footnote]Embellishments (literally, decorated horse-cloths).[\/footnote]\n\nOrsino<\/strong>\nI know thee well. How dost thou, my good fellow?\n\n2165<\/sub>Clown<\/strong>\nTruly, sir, the better for my foes, and the worse for my friends.\n\nOrsino<\/strong>\nJust the contrary; the better for thy friends.\n\nClown<\/strong>\nNo, sir, the worse.\n\nOrsino<\/strong>\nHow can that be?\n\n2170<\/sub>Clown<\/strong>\nMarry, sir, they praise me, and make[footnote]And thus make.[\/footnote] an ass of me. Now, my foes tell me\nplainly I am an ass, so that by my foes, sir, I profit in the knowledge of\nmyself, and by my friends I am abused.[footnote]Ill-used, deceived.[\/footnote] So that, conclusions to be as kisses,\n2175<\/sub>if your four[footnote]Unstressed, simply meaning \"that you know of\" (as with \"your two\" following).[\/footnote] negatives make your two affirmatives,[footnote]In grammar, a double negative is an affirmative. The common joke based on this grammatical rule was that when a maid was asked for a kiss, her \"No, no\" meant \"yes.\" The Clown is making a general defence of his chop-logic.[\/footnote] why then, the worse for\nmy friends and the better for my foes.\n\nOrsino<\/strong>\nWhy, this is excellent.[footnote]Orsino's willingness to jest with the Clown marks a distinct move away from his melancholy at their last encounter in 2.4. Presumably spoken to Viola and the other courtiers.[\/footnote]\n\nClown<\/strong>\nBy my troth, sir, no; though it please you to be one of my friends.[footnote]An invitation for praise (and, perhaps, a tip).[\/footnote]\n\nOrsino<\/strong>\nThou shalt not be the worse[footnote](a) \"abused\" (TLN 2173), (b) poorer.[\/footnote] for me; there's gold.[footnote]A half-crown was the smallest English gold coin, so the Clown is getting at least five times as much as the silver sixpence given him by Sir Toby (TLN 731), ten times as much if he is given a gold crown (five shillings).[\/footnote]\n[Orsino gives him a gold coin.]<\/em>\n\n2180<\/sub>Clown<\/strong>\nBut that it would be double-dealing,[footnote](a) duplicity, (b) giving twice.[\/footnote] sir, I would you could make it another.\n\nOrsino<\/strong>\nO you give me ill counsel.\n\nClown<\/strong>\nPut your grace in your pocket,[footnote]i.e. (a) put your virtue where it cannot see (to criticize), (b) put your hand in your pocket (for more money), my lord Duke (\"your grace\").[\/footnote] sir, for this once, and let your flesh and blood\nobey it.[footnote]i.e. let your normal human instincts (unwatched by virtuous \"grace\") obey my \"ill counsel.\"[\/footnote]\n\n2185<\/sub>Orsino<\/strong>\nWell, I will be so much a sinner[footnote](because evading divine \"grace\").[\/footnote] to be a double-dealer; there's another.\n[Orsino gives him another gold coin.]<\/em>\n\nClown<\/strong>\nPrimo, secundo, tertio<\/em>[footnote]First, second, third (Latin). Possibly a children's game, or a reference to a winning three at dice (compare \"tray-trip\", TLN 1193 and note). Arden 3 argues that the reference is to \"the philosophers' table\", an \"elaborate form of mathematical chess.\"[\/footnote] is a good play;[footnote]Game, or a throw at dice.[\/footnote] and the old saying is, \"the third pays\nfor all\";[footnote]Proverbial; compare modern \"third time lucky.\"[\/footnote] the triplex,[footnote]Triple time in music.[\/footnote] sir, is a good tripping measure;[footnote]Quick time (in music). Given \"tripping,\" possibly \"music for a nimble dance\" is meant, which the Clown may give life to.[\/footnote] or the bells of Saint\n2190<\/sub>Bennet,[footnote]Benedict. There is no way of knowing which of the several churches named for this saint in London Shakespeare was thinking of for its distinctive chime of bells. Most editors cite St Bennet at Paul's Wharf, across the Thames from the Globe, whose bells might have been audible in the theatre, but another church of this name, such as St Bennet Fink, next to the Royal Exchange, may have had the distinctive chime of three that is the Clown's point (if we think of London rather than Illyrian bells).[\/footnote] sir, may put you in mind: one, two, three.[footnote]In production the Clown may sing each of these words in the pitch of the supposed chime.[\/footnote]\n\nOrsino<\/strong>\nYou can fool no more money out of me at this throw.[footnote]i.e. throw of the dice (continuing gambling references at TLN 2187-2188). [\/footnote] If you will let your\nlady know I am here to speak with her, and bring her along with you, it may\nawake my bounty further.\n\n2195<\/sub>Clown<\/strong>\nMarry, sir, lullaby[footnote]Soothing repose (picking up \"awake,\" at TLN 2193, and anticipating \"nap,\" TLN 2198).[\/footnote] to your bounty till I come again. I go, sir, but I would not\nhave you to think that my desire of having is the sin of covetousness--but as\nyou say, sir, let your bounty take a nap; I will awake it anon.\nExit.<\/em>\n2200<\/sub>Enter Antonio and Officers [guarding him].<\/em>\n\nViola<\/strong>\nHere comes the man, sir, that did rescue me.\n\nOrsino<\/strong>\nThat face of his I do remember well;\nYet when I saw it last, it was besmeared\nAs black as Vulcan[footnote]Blacksmith of the Roman gods.[\/footnote] in the smoke of war.\n2205<\/sub>A baubling[footnote]Paltry (like a child's bauble). Compare Tro. <\/i>TLN 491 1.3.35, 'shallow bauble boats'.[\/footnote] vessel was he captain of,\nFor shallow draught and bulk, unprizable;[footnote]i.e. so small as not to be worth capturing as a \"prize.\"[\/footnote]\nWith which such scatheful[footnote]Destructive.[\/footnote] grapple did he make\nWith the most noble bottom[footnote]Ship.[\/footnote] of our fleet,\nThat very envy, and the tongue of loss,[footnote]Even Ill-will and the voice of Loss. The emotions of his enemies are personified as proclaiming his honor.[\/footnote]\n2210<\/sub>Cried fame and honor on him. What's the matter[footnote]Business, allegation.[\/footnote]?\n\nFirst Officer<\/strong>\nOrsino,[footnote]The lack of an honorific before his name is surprising; but see note to TLN 2224.[\/footnote] this is that Antonio\nThat took the Phoenix,[footnote]Like \"Tiger\" in the next line, the name of a ship.[\/footnote] and her fraught from Candy,[footnote]i.e. the cargo (freight) it had brought from Crete (\"Candy\"). Candy may mean either the sea port Candia, then capital of Crete, or simply the island of Crete. [\/footnote]\nAnd this is he that did the Tiger board\nWhen your young nephew Titus lost his leg.\n2215<\/sub>Here in the streets, desperate of shame and state,[footnote]Reckless of (his) reputation and (his) position. Some editors read \"state\" as \"public order\", or as \"danger to himself\". The meter requires \"desperate\" to be elided to two syllables.[\/footnote]\nIn private brabble[footnote]i.e. brawling in a personal quarrel.[\/footnote] did we apprehend him.\n\nViola<\/strong>\nHe did me kindness, sir, drew on my side,[footnote]i.e. drew his sword in my defence.[\/footnote]\nBut in conclusion put strange speech upon me;[footnote]Spoke to me strangely.[\/footnote]\nI know not what 'twas, but distraction.[footnote]Madness. The meter requires four syllables.[\/footnote]\n\n2220<\/sub>Orsino<\/strong>\nNotable[footnote]Notorious.[\/footnote] pirate, thou saltwater thief,\nWhat foolish boldness brought thee to their mercies\nWhom thou, in terms so bloody and so dear,[footnote]Grievous.[\/footnote]\nHast made thine enemies?\n\nAntonio<\/strong>\nOrsino, noble sir,[footnote]Despite the accusations, and Sebastian's apparent betrayal, Antonio's response is both courteous and proud. Antonio's courtesy may be emphasized by the apparent lack of it from the First Officer at TLN 2211.[\/footnote]\n2225<\/sub>Be pleased that I shake off these names you give me.\nAntonio never yet was thief, or pirate,\nThough I confess, on base and ground[footnote]Foundation. The two words are synonyms.[\/footnote] enough,\nOrsino's enemy. A witchcraft drew me hither:\nThat most ingrateful boy there by your side\n2230<\/sub>From the rude sea's enraged and foamy mouth\nDid I redeem. A wrack[footnote]Shipwrecked survivor.[\/footnote] past hope he was.\nHis life[footnote]As Sebastian has already expressed at TLN 645.[\/footnote] I gave him, and did thereto add\nMy love without retention[footnote]Reservation.[\/footnote] or restraint,\nAll his in dedication.[footnote]i.e. dedicated my love entirely to him.[\/footnote] For his sake\n2235<\/sub>Did I expose myself, pure[footnote]Purely, only.[\/footnote] for his love,\nInto the danger of this adverse[footnote]Hostile.[\/footnote] town;\nDrew to defend him, when he was beset;\nWhere being apprehended, his false cunning,\nNot meaning to partake with me in danger,\n2240<\/sub>Taught him to face me out of his acquaintance,[footnote]i.e. brazenly deny knowing me.[\/footnote]\nAnd grew a twenty years' remov\u00e8d thing[footnote]i.e. like someone not met for twenty years.[\/footnote]\nWhile one would wink; denied me mine own purse,\nWhich I had recommended[footnote]Committed.[\/footnote] to his use\nNot half an hour before.\n\n2245<\/sub>Viola<\/strong>\nHow can this be?[footnote]Viola probably breaks in quickly (thus completing Antonio's verse line). Alternatively, a pause may be implied after Antonio's line, in which case Orsino completes Viola's short line.[\/footnote]\n\nOrsino<\/strong>\nWhen came he to this town?\n\nAntonio<\/strong>\nToday, my lord; and for three months before,\nNo int'rim,[footnote]Interim (the Folio elision \"intrim<\/i>\" serves the meter). The compositor set the word in italic, so may have mistaken it for Latin rather than the elided English word.[\/footnote] not a minute's vacancy,\nBoth day and night did we keep company.\n2250<\/sub>Enter Olivia and Attendants.<\/em>[footnote]Maria is not named, but in many productions she appears.[\/footnote]\n\nOrsino<\/strong>\nHere comes the countess, now heaven walks on earth.\n[To Antonio]<\/em> But for thee, fellow--fellow, thy words are madness.\nThree months[footnote]The concurrence between Antonio and Orsino confirms for each the impossibility of the other's story. Viola seems only to have been with Orsino a few days.[\/footnote] this youth hath tended upon me;\n2255<\/sub>But more of that anon. [To Officers]<\/em> Take him aside.\n\nOlivia<\/strong>\nWhat would my lord, but that[footnote]Except that which (i.e. her love).[\/footnote] he may not have,\nWherein Olivia may seem serviceable?\n[To Viola]<\/em> Cesario, you do not keep promise with me.\n[Viola and Orsino speak at the same time.]<\/em>[footnote]Viola defers to her master; Olivia urges her new betrothed (as she thinks) to continue, asking Orsino (probably with a gesture) to wait.[\/footnote]\n\nViola<\/strong>\nMadam--\n\n2260<\/sub>Orsino<\/strong>\nGracious Olivia--\n\nOlivia<\/strong>\nWhat do you say, Cesario? [Silencing Orsino]<\/em> Good my lord.\n\nViola<\/strong>\nMy lord would speak, my duty hushes me.\n\nOlivia<\/strong>\nIf it be aught to the old tune, my lord,\nIt is as fat and fulsome[footnote]Gross and repugnant.[\/footnote] to mine ear\n2265<\/sub>As howling after music.\n\nOrsino<\/strong>\nStill so cruel?\n\nOlivia<\/strong>\nStill so constant, lord.[footnote]An acting choice is required as to which of Folio's three short lines constitutes a shared iambic pentameter (probably \"Still . . . lord\") and which a short line, perhaps followed by a pause.[\/footnote]\n\nOrsino<\/strong>\nWhat, to perverseness? You uncivil[footnote]Barbarous.[\/footnote] lady,\nTo whose ingrate[footnote]Ungrateful.[\/footnote] and unauspicious[footnote]Unpropitious[\/footnote] altars\n2270<\/sub>My soul the faithfull'st off'rings[footnote]Both elisions in Folio are for the meter.[\/footnote] have breathed out\nThat e'er devotion tendered! What shall I do?\n\nOlivia<\/strong>\nEven what it please my lord, that shall become him\n\nOrsino<\/strong>\nWhy should I not, had I the heart to do it,\nLike to th'Egyptian thief[footnote]Orsino's threat to Olivia is based on the story of a bandit who tried to kill a captive with whom he had fallen in love, in order that she not be enjoyed by his victorious enemies. Thyamis is an Egyptian robber-captain in Heliodorus's Ethiopian History<\/i>. In the event, he killed the wrong woman, which may be Shakespeare's point in having Orsino threaten Olivia. (Orsino turns on Viola only at TLN 2281.)[\/footnote] at point of death,\n2275<\/sub>Kill what I love?--a savage jealousy,\nThat sometime savors nobly.[footnote]i.e. has a noble quality.[\/footnote] But hear me this:\nSince you to non-regardance[footnote]Disregard.[\/footnote] cast my faith,\nAnd that I partly know the instrument\nThat screws[footnote]Forces (as with a threaded instrument such as a vice--or thumbscrews).[\/footnote] me from my true place in your favor,\n2280<\/sub>Live you the marble-breasted[footnote]Compare \"heart of stone\" (TLN 1718). The unfeeling mistress is a conventional figure of Elizabethan love poetry; what is less common is for the lover to take no for an answer (here, in preparation for his new attachment to Viola).[\/footnote] tyrant still.\nBut [Seizing Viola]<\/em> this your minion,[footnote]Darling, favorite (pejorative; and, ironically in view of Orsino's attachment to \"Cesario,\" often of boys loved by men).[\/footnote] whom I know you love,\nAnd whom, by heaven, I swear I tender[footnote]Hold, regard.[\/footnote] dearly,\nHim will I tear out of that cruel eye\nWhere he sits crown\u00e8d in his master's spite.[footnote]To the vexation of his master.[\/footnote]\n2285<\/sub>Come, boy, with me; my thoughts are ripe in mischief.[footnote]Ready to do harm.[\/footnote]\nI'll sacrifice the lamb that I do love,\nTo spite a raven's heart within a dove.[footnote]i.e. the heart of a black (and predatory) bird within the outward appearance of a beautiful, often white (and loving, at least in poetry) bird. Compare TLN 100-101, TLN 1889-1890, and Rom.<\/i> TLN 1727, \"Dove-feathered raven.\"[\/footnote] [He moves to exit with Viola.]<\/em>\n\nViola<\/strong>\nAnd I most jocund, apt,[footnote]Cheerful, ready.[\/footnote] and willingly,\nTo do you rest,[footnote]Make you feel easy.[\/footnote] a thousand deaths would die.\n\n2290<\/sub>Olivia<\/strong>\nWhere goes Cesario?\n\nViola<\/strong>\nAfter him I love\nMore than I love these eyes, more than my life,\nMore, by all mores,[footnote]All possible comparisons.[\/footnote] than e'er I shall love wife.\nIf I do feign, you witnesses above[footnote]i.e. in the heavens.[\/footnote]\n2295<\/sub>Punish my life, for tainting of[footnote]Sullying, betraying.[\/footnote] my love.\n\nOlivia<\/strong>\nAy me, detested! How am I beguiled![footnote]Robbed, cheated.[\/footnote]\n\nViola<\/strong>\nWho does beguile you? Who does do you wrong?\n\nOlivia<\/strong>\nHast thou forgot thyself? Is it so long?\nCall forth the holy father. [Exit an Attendant.]<\/em>\n\n2300<\/sub>Orsino<\/strong>\n[To Cesario]<\/em> Come, away.\n\nOlivia<\/strong>\nWhither, my lord? Cesario, husband, stay![footnote]Olivia refers to the binding contract of betrothal (see TLN 2318 and note to TLN 2141; effectively, a marriage), apparently denied at TLN 2293. The word \"husband,\" in performance, stops everyone dead, and preempts Orsino's exit with Viola. The rhyming couplets started by Orsino at TLN 2286-2287 assist in building the tension, and Viola's confusion (\"wrong\/long, away\/stay, deny\/not I\").[\/footnote]\n\nOrsino<\/strong>\nHusband?\n\nOlivia<\/strong>\nAy, husband. Can he that deny?\n\nOrsino<\/strong>\nHer husband, sirrah?\n\n2305<\/sub>Viola<\/strong>\nNo, my lord, not I.\n\nOlivia<\/strong>\nAlas, it is the baseness of thy fear\nThat makes thee strangle thy propriety.[footnote]Suppress your proper identity (as my husband to be).[\/footnote]\nFear not, Cesario, take thy fortunes up,\nBe that thou know'st thou art, and then thou art\n2310<\/sub>As great as that thou fear'st.[footnote]Him whom you fear (i.e. Orsino).[\/footnote]\nEnter Priest.<\/em>\nO welcome, father!\nFather, I charge thee by thy reverence\nHere to unfold (though lately we intended\n2315<\/sub>To keep in darkness what occasion[footnote]The turn of events. Compare TLN 94.[\/footnote] now\nReveals before 'tis ripe) what thou dost know\nHath newly passed between this youth and me.\n\nPriest<\/strong>\nA contract[footnote]Of betrothal. See notes to TLN 2301 and TLN 2141.[\/footnote] of eternal bond of love,\nConfirmed by mutual joinder[footnote]Joining.[\/footnote] of your hands,\n2320<\/sub>Attested by the holy close of lips,\nStrengthened by interchangement of your rings,\nAnd all the ceremony of this compact[footnote]Covenant, contract: accented on the second syllable.[\/footnote]\nSealed in my function,[footnote]Confirmed by my office (as a priest).[\/footnote] by my testimony;\nSince when, my watch[footnote]Displaying his (valuable) watch confirms the slight sense of pomposity in the Priest's speech.[\/footnote] hath told me, toward my grave\n2325<\/sub>I have travelled but two hours.\n\nOrsino<\/strong>\n[To Viola]<\/em> O thou dissembling cub![footnote](cunning) fox-cub.[\/footnote] What wilt thou be\nWhen time hath sowed a grizzle[footnote]Gray hair.[\/footnote] on thy case[footnote]Skin (here, of the fox \"cub\").[\/footnote]?\nOr will not else thy craft so quickly grow\nThat thine own trip[footnote]Wrestling move to \"overthrow\" an opponent.[\/footnote] shall be thine overthrow?\n2330<\/sub>Farewell,[footnote]Presumably Orsino and his courtiers again start to leave, with Viola possibly following in desperation while Olivia, equally desperate, tries to keep her.[\/footnote] and take her, but direct thy feet\nWhere thou and I henceforth may never meet.\n\nViola<\/strong>\nMy lord, I do protest--\n\nOlivia<\/strong>\nO, do not swear,\nHold little faith,[footnote]Keep at least a little faith.[\/footnote] though thou hast too much fear.\n2335<\/sub>Enter Sir Andrew<\/em>[footnote]Evidently Sir Andrew and Sir Toby have met Sebastian again, as we surmise from the blood and TLN 2345. The encounter in 4.1 did not produce these injuries.[\/footnote] [with his head bloody].<\/em>\n\nSir Andrew<\/strong>\nFor the love of God, a surgeon![footnote]A practitioner who treats wounds, fractures, etc., seldom at this time educated to the university level of a physician, and often combining the practice with barbering and pulling teeth.[\/footnote] Send one presently[footnote]Immediately.[\/footnote] to Sir Toby.\n\nOlivia<\/strong>\nWhat's the matter?\n\nSir Andrew<\/strong>\n2340<\/sub>He's[footnote]i.e. He has.[\/footnote] broke my head across, and has given Sir Toby a bloody coxcomb[footnote]Head (based on the fool's cap; see note to TLN 347-348).[\/footnote] too.\nFor the love of God, your help! I had rather than forty pound I were at\nhome.\n\nOlivia<\/strong>\nWho has done this, Sir Andrew?\n\nSir Andrew<\/strong>\nThe count's gentleman, one Cesario. We took him for a coward, but he's the\nvery devil incardinate.[footnote]Sir Andrew's error for \"incarnate\" (\"in the flesh\").[\/footnote]\n\n2345<\/sub>Orsino<\/strong>\nMy gentleman Cesario?\n\nSir Andrew<\/strong>\n[Seeing Viola] [and recoiling in fear].<\/em> 'Od's lifelings,[footnote]By God's little lives (a mild oath). Sir Andrew's violent reaction at seeing Cesario is partly fear, and in the Armfield film, confusion because he thought he had left him behind.[\/footnote] here he is! [To her]<\/em>\nYou broke my head for nothing; and that that I did, I was set on to do't by\nSir Toby.\n\nViola<\/strong>\nWhy do you speak to me? I never hurt you.\n2350<\/sub>You drew your sword upon me without cause,\nBut I bespake you fair, and hurt you not.\nEnter Sir Toby [limping, his head bloody,] and [supported by] Clown.<\/em>\n\nSir Andrew<\/strong>\nIf a bloody coxcomb be a hurt, you have hurt me; I think you set nothing by[footnote]Think nothing of.[\/footnote]\n2355<\/sub>a bloody coxcomb. Here comes Sir Toby halting;[footnote]Limping[\/footnote] you shall hear more. But if\nhe had not been in drink, he would have tickled[footnote]i.e. beaten.[\/footnote] you othergates[footnote]In a different manner (i.e. more effectively).[\/footnote] than he did.\n\nOrsino<\/strong>\nHow now, gentleman? How is't with you?\n\nSir Toby<\/strong>\n2360<\/sub>That's all one,[footnote]i.e. without remedy.[\/footnote] he's[footnote]i.e. he has.[\/footnote] hurt me, and there's th'end on't. [To Clown]<\/em> Sot,[footnote](a) fool, (b) drunkard. As at TLN 414.[\/footnote] didst see\nDick Surgeon, sot?\n\nClown<\/strong>\nOh, he's drunk, Sir Toby, an hour agone;[footnote]Ago.[\/footnote] his eyes were set[footnote] Fixed, immoveable. Some editors have suggested \"closed.\"[\/footnote] at eight\ni'th'morning.\n\nSir Toby<\/strong>\nThen he's a rogue, and a passy-measures pavan.[footnote]A variety of pavan, a slow dance; from the Italian passamezzo pavana<\/i>. \"Pavyn\" was a current spelling, and indicates stress on the first syllable; Folio's \"panyn\" almost certainly results from an \"n\" being mistaken for a \"u\" (= \"v\") in the print shop. The point of Sir Toby's abuse is not clear: is he imagining a slow, swaying drunk, or the lethargy of the surgeon? In 1.3 Sir Toby favored livelier dances.[\/footnote] I hate a drunken rogue.[footnote]The irony of Sir Toby's comment on other drunkards may be comic, or, as in Nunn's film, sadly self-aware.[\/footnote]\n\n2365<\/sub>Olivia<\/strong>\nAway with him! Who hath made this havocwith them?\n\nSir Andrew<\/strong>\nI'll help you, Sir Toby, because we'll be dressed together.[footnote]i.e. have our wounds dressed.[\/footnote]\n\nSir Toby<\/strong>\n2370<\/sub>Will you help? An ass-head, and a coxcomb,[footnote]Fool. Compare note to TLN 347-348, and H5<\/i> TLN 1926-1927, \"an ass, and a fool, and a prating coxcomb.\"[\/footnote] and a knave? A thin-faced\nknave, a gull![footnote]Dupe, fool.[\/footnote]\n\nOlivia<\/strong>\nGet him to bed, and let his hurt be looked to.\n[Exeunt<\/em>[footnote]Folio gives no exit direction, but clearly Sir Toby and Sir Andrew leave, and the Clown and Fabian (who have an entry direction at TLN 2448) with them. In Nunn's film Sir Andrew, his eyes now opened, leaves in a different direction. There is no reason for the Priest to leave, but he could (as could Maria, helping Sir Toby, if she entered with Olivia). Some productions have kept them all on, in the background, although that weakens Olivia's assurance of future justice at TLN 2515-1525, and Fabian's subsequent explanation. Several stage options are open as to where Sebastian enters and whether he sees Sir Toby and the others departing (or they him), but it is essential that he not see Viola until after TLN 2389.[\/footnote] Sir Toby and Sir Andrew led off by Clown and Fabian.]<\/em>\nEnter Sebastian. [Everyone else observes the identically dressed Sebastian and Viola.]<\/em>\n\nSebastian<\/strong>\nI am sorry, madam, I have hurt your kinsman;\nBut had it been the brother of my blood,[footnote]My own brother.[\/footnote]\n2375<\/sub>I must have done no less with wit and safety.[footnote]Sensible thought and in self-protection.[\/footnote]\nYou throw a strange regard[footnote]Distant (cold) look. He thinks Olivia is angry, but she, like everyone else, is in \"wonder\" (compare TLN 2390).[\/footnote] upon me, and by that\nI do perceive it hath offended you.\nPardon me, sweet one, even for the vows\nWe made each other but so late ago.\n\n2380<\/sub>Orsino<\/strong>\nOne face, one voice, one habit,[footnote]Costume. See TLN 1900-1904.[\/footnote] and two persons:\nA natural perspective,[footnote]Either (a) an illusion seen through a distorting optical device, or, (b) a picture drawn so that its content varies depending on which angle it is viewed from. Accented on the first syllable. Orsino's \"natural perspective, that is, and is not!\" (TLN 2381) cannot be what we normally think of as realistic perspective in drawing. Rather, \"perspective\" is either an optical instrument that deceives the eye when looked through, or the trick perspective of \"double pictures.\" Both were fashionable in the Tudor and Stuart period. Orsino's exclamation \"One face, one voice, one habit, and two persons!\" (TLN 2380) suggests a perspective glass, revealing \"miraculous sights and conceits made and contained in glass. . . . for you may have glasses so made . . . where one image shall seem to be a hundred\" (Reginald Scot, The Discovery of Witchcraft<\/i> [1584], Book 13, Chap. 19 [p. 316]). Alternatively, Orsino may mean graphic distortion of pictures. Two techniques were used: (1) anamorphic drawing, such as that in Holbein's famous painting of \"The Ambassadors,\" in which an ambiguous grey element in the foreground can be seen, if viewed sideways from a particular angle, as a skull, or in which an apparently grotesque picture is revealed, if viewed from an acute angle, as a realistic portrait (as in the anomorphic portrait of Edward VI by William Scrots); or (2) a drawing which appears one thing, but if turned upside down is revealed as something quite different, such as the sixteenth-century anti-Catholic \"Perverted Church\" images below that satirize the Council of Trent. One way up they appear to be the Pope and a cardinal; turned upside down (\"perverted\") the faces have become the devil and a jester. See Inga-Stina Ekeblad, \"Webster's Realism, or, 'A Cunning Piece Wrought Perspective',\" in Brian Morris, ed, John Webster<\/i>, Mermaid Critical Commentaries (London: Benn, 1970), pp. 159\u201378 (esp. pp. 160\u20134), and Arthur H. R. Fairchild, Shakespeare and the Arts of Design<\/i> (Columbia, MO: University of Missouri Press, 1937; repr. New York: Benjamin Blom, 1972), pp. 125\u2013130.[\/footnote] that is, and is not!\n\nSebastian<\/strong>\nAntonio! Oh, my dear Antonio,\nHow have the hours racked and tortured me\nSince I have lost thee!\n\n2385<\/sub>Antonio<\/strong>\nSebastian, are you?\n\nSebastian<\/strong>\nFear'st thou that, Antonio?[footnote]Do you doubt that.[\/footnote]\n\nAntonio<\/strong>\nHow have you made division of yourself?\nAn apple cleft in two is not more twin\nThan these two creatures. Which is Sebastian?\n\n2390<\/sub>Olivia<\/strong>\nMost wonderful.[footnote]Full of wonder. In performance, something of the modern sense may also come through as Olivia surveys a double helping of Cesario.[\/footnote]\n\nSebastian<\/strong>\n[Seeing Viola]<\/em> Do I stand there? I never had a brother;\nNor can there be that deity in my nature\nOf here and everywhere.[footnote]To be in two places at once is a divine attribute.[\/footnote] I had a sister,\nWhom the blind[footnote]i.e. unfeeling, merciless (not seeing Viola's beauty and virtue).[\/footnote] waves and surges have devoured.\n2395<\/sub>Of charity,[footnote]Out of your generosity (tell me).[\/footnote] what kin are you to me?\nWhat countryman? What name? What parentage?\n\nViola<\/strong>\nOf Messaline. Sebastian was my father.\nSuch a Sebastian was my brother too;\nSo went he suited[footnote]i.e. dressed like you (compare TLN 2380).[\/footnote] to his watery tomb.\n2400<\/sub>If spirits[footnote]Ghosts. Although \"spirits\" can refer to devils taking the form of the dead (the reason for Hamlet's caution with the Ghost), here it simply refers to ghosts. How seriously this is taken will vary in different productions. There may also be reference to the attendant spirit (Greek daemon<\/i>) thought to accompany every person throughout life; compare the meeting of the twins in Err.<\/i> TLN 1818-1819, \"which is the natural man, \/ And which the spirit?\"[\/footnote] can assume both form and suit,\nYou come to fright us.\n\nSebastian<\/strong>\nA spirit I am indeed,\nBut am in that dimension[footnote]Bodily form.[\/footnote] grossly[footnote]Materially, corporeally.[\/footnote] clad\nWhich from the womb I did participate.[footnote]Have in common with others.[\/footnote]\n2405<\/sub>Were you a woman, as the rest goes even,[footnote]Agrees, fits together.[\/footnote]\nI should my tears let fall upon your cheek,\nAnd say, \"Thrice welcome, drown\u00e8d Viola.\"[footnote]The first mention of her name.[\/footnote]\n\nViola<\/strong>\nMy father had a mole upon his brow.\n\nSebastian<\/strong>\nAnd so had mine.\n\n2410<\/sub>Viola<\/strong>\nAnd died that day when Viola from her birth\nHad numbered thirteen years.\n\nSebastian<\/strong>\nOh, that record[footnote]Recollection. Stressed here on the second syllable.[\/footnote] is lively in my soul.\nHe finish\u00e8d indeed his mortal act\nThat day that made my sister thirteen years.\n\n2415<\/sub>Viola<\/strong>\nIf nothing lets[footnote]Hinders.[\/footnote] to make us happy both,\nBut this my masculine usurped attire,\nDo not embrace me, till each circumstance\nOf place, time, fortune, do cohere and jump[footnote]Accord and agree.[\/footnote]\nThat I am Viola;[footnote]At this emotional high point, few Sebastians obey Viola's injunction not to embrace her.[\/footnote] which to confirm,\n2420<\/sub>I'll bring you to a captain in this town,\nWhere lie my maiden weeds,[footnote]Clothes.[\/footnote] by whose gentle help\nI was preserved to serve this noble count.\nAll the occurrence of my fortune since\nHath been between this lady and this lord.\n\n2425<\/sub>Sebastian<\/strong>\n[To Olivia]<\/em> So comes it, lady, you have been mistook.[footnote]Mistaken.[\/footnote]\nBut nature to her bias drew[footnote]i.e. Nature leaned in her usual direction (to have male mate with female). In the game of bowls, the \"bias\" is both the off-center lead weight in the bowl, and the curved path it follows as a result. Shakespeare delighted in metaphors deriving from the curved, indirect, path of the weighted (\"biased\") ball used in bowls. Although the ball initially goes in the direction it is bowled, the bias gradually asserts itself and the ball curves away from the line in which it was first heading, and towards the intended target. (Modern lawn bowling no longer uses a weight, but the ball is shaped to perform in the same way.) The application of the metaphor to Olivia's mistaken betrothal to Sebastian is clear: Nature, both human and the personification of the natural order, has ensured that Olivia has curved away from Viola and \"kissed\" (to use another bowls word, for a ball succeeding in resting against the \"jack\") the appropriately heterosexual male, Sebastian.[\/footnote] in that.\nYou would have been contracted to a maid;\nNor are you therein, by my life, deceived:\nYou are betrothed both to a maid and man.[footnote](a) man who is a virgin, (b) woman and man.[\/footnote]\n\n2430<\/sub>Orsino<\/strong>\n[To Olivia]<\/em> Be not amazed, right noble is his blood.\nIf this be so--as yet the glass seems true--[footnote]i.e. the \"perspective\" glass (TLN 2381) is still showing truth rather than illusion.[\/footnote]\nI shall have share in this most happy[footnote]Fortunate.[\/footnote] wrack.[footnote]Wreck, or wreckage thrown ashore.[\/footnote]\n[To Viola]<\/em> Boy,[footnote]Orsino's joke is both emotionally charged and wryly self-critical.[\/footnote] thou hast said to me a thousand times\nThou never shouldst love woman like to me.[footnote]As much as (you love) me.[\/footnote]\n\n2435<\/sub>Viola<\/strong>\nAnd all those sayings will I overswear,[footnote]Swear over (and over) again.[\/footnote]\nAnd all those swearings keep as true in soul\nAs doth that orb\u00e8d continent the fire[footnote] As the sun keeps its fire. The \"orb\u00e8d continent\" (spherical container) is either the sun itself or the Ptolemaic sphere in which the sun if fixed. [\/footnote]\nThat severs day from night.[footnote]i.e. the sun. Compare Genesis 1: 14.[\/footnote]\n\nOrsino<\/strong>\nGive me thy hand,[footnote]Both a physical clasp that is now permissible, and symbolic betrothal.[\/footnote]\n2440<\/sub>And let me see thee in thy woman's weeds.\n\nViola<\/strong>\nThe captain that did bring me first on shore\nHath my maid's garments; he upon some action[footnote]Legal charge.[\/footnote]\nIs now in durance,[footnote]Imprisonment.[\/footnote] at Malvolio's suit,\nA gentleman and follower of my lady's.\n\n2445<\/sub>Olivia<\/strong>\nHe shall enlarge[footnote]Free.[\/footnote] him. Fetch[footnote]This instruction will be to one of her attendants, who presumably has no idea where Malvolio is. Olivia's next line may preempt the exit; Fabian is sent at TLN 2481.[\/footnote] Malvolio hither--\nAnd yet, alas, now I remember me,\nThey say, poor gentleman, he's much distract.[footnote]Distraught, mad.[\/footnote]\nEnter Clown with a letter, and Fabian.<\/em>\nA most extracting frenzy[footnote]i.e. a madness which drew everything else out of my mind. See TLN 1536-1537 for Olivia's earlier comparison of her madness with Malvolio's.[\/footnote] of mine own\n2450<\/sub>From my remembrance[footnote]Memory.[\/footnote] clearly banished his.\n[To Clown]<\/em> How does he,[footnote]The Clown's convenient entry, Olivia's assumption that he knows about Malvolio, and his sense of who Olivia's question refers to, are required by the plot, and will not be questioned in performance.[\/footnote] sirrah?\n\nClown<\/strong>\nTruly, madam, he holds Beelzebub at the stave's end[footnote]Keeps the devil at a distance (proverbial, from quarterstaff fighting). Folio's \"Belzebub\" may reflect Shakespearean pronunciation.[\/footnote] as well as a man in his\ncase may do. He's[footnote]i.e. he has.[\/footnote] here writ a letter to you. I should have given't you today\n2455<\/sub>morning,[footnote]This morning.[\/footnote] but as a madman's epistles are no gospels,[footnote](a) letters are not divine truth, (b) New Testament Epistles are not New Testament Gospels. The Epistles carry less sacred authority than the Gospels.[\/footnote] so it skills not[footnote]Does not matter.[\/footnote] much\nwhen they are delivered.[footnote](a) given to the addressee, (b) read aloud (in church, like the \"gospels\").[\/footnote]\n\nOlivia<\/strong>\nOpen't, and read it.\nClown<\/strong>\nLook then to be well edified, when the fool delivers[footnote](a) reads aloud, (b) speaks on behalf of.[\/footnote] the madman. [Reading\nmadly]<\/em>\n

\"By the Lord, madam--\"<\/p>\n2460<\/sub>Olivia<\/strong>\nHow now, art thou mad?\n\nClown<\/strong>\nNo, madam, I do but read madness. An[footnote]If.[\/footnote] your ladyship will have it as it ought\nto be, you must allow vox<\/em>.[footnote]Voice (appropriate to the rhetorical context; Latin).[\/footnote]\n\nOlivia<\/strong>\nPrithee, read i'thy right wits.\n\n2465<\/sub>Clown<\/strong>\nSo I do, madonna. But to read his right wits[footnote]His real mental state (madness).[\/footnote] is to read thus. Therefore\nperpend,[footnote]Weigh carefully. A deliberately pompous word in what may be a deliberately old-fashioned blank verse line (\"therefore . . . ear\").[\/footnote] my princess, and give ear.\n[Clown prepares to read madly again; Olivia seizes the letter and gives it to Fabian.]<\/em>\n\nOlivia<\/strong>\n[To Fabian]<\/em> Read it you, sirrah.\n\nFabian<\/strong>\n(Reads.)<\/em>\n

2470<\/sub>\"By the Lord, madam, you wrong me, and the world shall know it.\nThough you have put me into darkness, and given your drunken cousin\nrule over me, yet have I the benefit of my senses as well as your\nladyship. I have your own letter, that induced me to the semblance I put\n2475<\/sub>on; with the which I doubt not but to do myself much right, or you\nmuch shame. Think of me as you please. I leave my duty a little\nunthought of, and speak out of my injury.\nThe madly-used Malvolio.\"<\/p>\nOlivia<\/strong>\nDid he write this?\n\nClown<\/strong>\nAy, madam.\n\n2480<\/sub>Orsino<\/strong>\nThis savors not much of distraction.\n\nOlivia<\/strong>\nSee him delivered,[footnote]Released.[\/footnote] Fabian, bring him hither.\n[Exit Fabian.]<\/em>\n[To Orsino]<\/em> My Lord, so please you, these things further thought on,\nTo think me as well a sister as a wife,[footnote]i.e. be as pleased to approve of me as a sister-in-law (if you marry Viola) as you would have as a wife.[\/footnote]\nOne day shall crown th'alliance on't,[footnote]i.e. the relationship created by the double marriage.[\/footnote] so please you,\n2485<\/sub>Here at my house, and at my proper[footnote]Own.[\/footnote] cost.\n\nOrsino<\/strong>\nMadam, I am most apt t'embrace your offer.\n[To Viola]<\/em> Your master quits[footnote]Releases from service, acquits.[\/footnote] you; and for your service done him,\nSo much against the mettle[footnote]Nature, disposition.[\/footnote] of your sex,\nSo far beneath your soft and tender breeding,\n2490<\/sub>And since you called me master for so long,\nHere is my hand;[footnote](a) pledge of my word, (b) hand in betrothal (compare TLN 2439).[\/footnote] you shall from this time be\nYour master's mistress.\n\nOlivia<\/strong>\nA sister, you are she![footnote]Emphatic delight at the double bond with Viola.[\/footnote]\nEnter [Fabian and] Malvolio<\/em>[footnote]Presumably still in his yellow stockings and cross-garters; Orsino's question may be incredulous.[\/footnote] [with Maria's letter].<\/em>\n\n2495<\/sub>Orsino<\/strong>\nIs this the madman?\n\nOlivia<\/strong>\nAy, my lord, this same.\n[To Malvolio]<\/em> How now, Malvolio?\n\nMalvolio<\/strong>\nMadam, you have done me wrong,\nNotorious[footnote]Compare TLN 2513 and note to TLN 2072.[\/footnote] wrong.\n\nOlivia<\/strong>\nHave I, Malvolio? No.\n\n2500<\/sub>Malvolio<\/strong>\nLady,[footnote]Malvolio is given blank verse for the first time in the play, perhaps to allow him increased dignity.[\/footnote] you have. Pray you peruse that letter.\n[Giving her the letter]<\/em> You must not now deny it is your hand.\nWrite from it[footnote]Differently.[\/footnote] if you can, in hand, or phrase,[footnote]Handwriting or phraseology.[\/footnote]\nOr say 'tis not your seal, not your invention.[footnote]Composition.[\/footnote]\nYou can say none of this. Well, grant it then,\n2505<\/sub>And tell me, in the modesty of honor,[footnote]With honorable moderation.[\/footnote]\nWhy you have given me such clear lights[footnote]Unmistakable signs.[\/footnote] of favor,\nBade[footnote]Pronounced \"bad.\"[\/footnote] me come smiling and cross-gartered to you,\nTo put on yellow stockings, and to frown\nUpon Sir Toby, and the lighter[footnote]Frivolous (i.e. the \"servants,\" TLN 1155).[\/footnote] people;\n2510<\/sub>And acting this in an obedient hope,\nWhy have you suffered me to be imprisoned,\nKept in a dark house, visited by the priest,\nAnd made the most notorious geck and gull[footnote]Fool and dupe.[\/footnote]\nThat ere invention[footnote]Contrivance.[\/footnote] played on? Tell me, why?\n\n2515<\/sub>Olivia<\/strong>\nAlas, Malvolio, this is not my writing,\nThough I confess much like the character;[footnote]Handwriting.[\/footnote]\nBut out of question, 'tis Maria's hand.\nAnd now I do bethink me, it was she\nFirst told me thou wast mad; then cam'st[footnote]Then (you) came.[\/footnote] in smiling,\n2520<\/sub>And in such forms which here were presupposed\nUpon[footnote]Previously suggested to.[\/footnote] thee in the letter. Prithee, be content.\nThis practice hath most shrewdly past[footnote] This trick has been cunningly played. Manningham's diary also refers to the trick as a \"good practice.\"[\/footnote] upon thee;\nBut when we know the grounds and authors of it,\nThou shalt be both the plaintiff and the judge\n2525<\/sub>Of thine own cause.\n\nFabian<\/strong>\nGood madam, hear me speak,[footnote]Fabian completes Olivia's verse line, which may indicate a quick cue (before things get worse).[\/footnote]\nAnd let no quarrel, nor no brawl to come,[footnote]Turbulent squabble awaiting (us).[\/footnote]\nTaint the condition of this present hour,\nWhich I have wondered[footnote]Marveled. Compare TLN 2390; a sense of wonder is a vital element in the resolution of the play.[\/footnote] at. In hope it shall not,\n2530<\/sub>Most freely I confess myself and Toby\nSet this device against Malvolio here,\nUpon some stubborn and uncourteous parts\nWe had conceived against him.[footnote]As a consequence of willful incivility we saw and resented in him.[\/footnote] Maria writ\nThe letter, at Sir Toby's great importance,[footnote]Importunity.[\/footnote]\n2535<\/sub>In recompense whereof he hath married her.[footnote]Reaction of those on stage to this news may be a significant pointer to the tone of the production.[\/footnote]\nHow with a sportful malice it was followed[footnote]Pursued, carried out.[\/footnote]\nMay rather pluck on[footnote]Induce.[\/footnote] laughter than revenge,\nIf that the injuries be justly weighed\nThat have on both sides passed.\n\n2540<\/sub>Olivia<\/strong>\n[To Malvolio]<\/em> Alas, poor fool, how have they baffled[footnote](a) confounded, (b) displayed to the world as disgraced. As TLN 1165.[\/footnote] thee!\n\nClown<\/strong>\n[To Malvolio]<\/em> Why,[footnote]The Clown can mimic Malvolio's manner of speech in the various quotes which follow, which are close to what he said in 2.5, 4.2, and 1.5.[\/footnote] \"Some are born great, some achieve greatness, and\nsome have greatness thrown upon them.\" I was one, sir, in this interlude,[footnote]Play, entertainment.[\/footnote] one\nSir Topaz, sir; but that's all one.[footnote]Of no consequence. Compare TLN 2359 and TLN 2578.[\/footnote] \"By the Lord, fool, I am not mad!\" But do\n2545<\/sub>you remember: \"Madam, why laugh you at such a barren rascal? An[footnote]If.[\/footnote] you\nsmile not, he's gagged.\" And thus the whirligig of time[footnote]Either (a) time's spinning top (which is whipped to keep it turning), or (b) a merry-go-round. Both meanings suggest \"The wheel is come full circle\" (Lr.<\/i> TLN 3136).[\/footnote] brings in his\nrevenges.\n\nMalvolio<\/strong>\nI'll be revenged on the whole pack[footnote]Malvolio picks up the Clown's \"revenges\"; \"pack\" refers to a gang of conspirators.[\/footnote] of you!\n[Exit.]<\/em>\n\nOlivia<\/strong>\nHe hath been most notoriously abused.[footnote]Possibly Olivia is picking up two Malvolioisms (see TLN 2498, TLN 2513, TLN 2033, and especially TLN 2072-2073).[\/footnote]\n\n2550<\/sub>Orsino<\/strong>\n[To Fabian]<\/em> Pursue him,[footnote]Folio gives no exit; Fabian, who has played the peacemaker, seems the obvious choice.[\/footnote] and entreat him to a peace. [Exit Fabian.]<\/em>\nHe hath not told us of the captain yet.\nWhen that is known, and golden[footnote]i.e. favorable and precious, recalling the idyllic \"golden age\" of an ideal world. Compare \"golden world in AYL<\/i> TLN 117-119.[\/footnote] time convents,[footnote]Convenes, calls (us) together. Stress is on the second syllable.[\/footnote]\nA solemn combination shall be made\nOf our dear[footnote](a) loving, (b) precious.[\/footnote] souls. [To Olivia]<\/em> Meantime, sweet sister,\n2555<\/sub>We will not part[footnote]Orsino, by using the emphatic \"will\" rather than \"shall,\" underlines the harmony of the two couples and households in his promise to remain at Olivia's house.[\/footnote] from hence. [To Viola]<\/em> Cesario, come--[footnote]In this preparation for the final exit (to marriage and feasting, as traditional in comedy), Orsino presumably takes Viola's hand, and Sebastian Olivia's.[\/footnote]\nFor so you shall be[footnote]i.e. I would have you to be.[\/footnote] while you are a man;\nBut when in other habits you are seen,\nOrsino's mistress, and his fancy's[footnote]Love's (without the pejorative overtones of TLN 18-19).[\/footnote] queen.\nExeunt [all except Clown].<\/em>[footnote]The song is a form of epilogue, acknowledging and farewelling the audience (compare Puck in MND<\/i> and Rosalind in AYL<\/i>). There is no need for the Clown to exit, then reenter for the song.[\/footnote]\n\n2560<\/sub>Clown<\/strong>\n(Sings)<\/em>\nWhen that I was[footnote]The song is a form of epilogue, acknowledging and farewelling the audience (compare Puck in MND<\/i> and Rosalind in AYL<\/i>). It is generally agreed to be a thematic comment on the world of Twelfth Night<\/i>. The traditional music may be later than Shakespeare. It is not known if the words are his (a similar verse is included in Lr.<\/i>). In the Armfield film, the moon on a backdrop moves down onto the Clown and is revealed as a theatrical followspot.[\/footnote]and a[footnote]Either emphatic, or an extra word to fit the music.[\/footnote] little tiny boy,\nWith hey, ho, the wind and the rain,\nA foolish thing[footnote](a) bad behavior, (b) penis.[\/footnote] was but a toy,[footnote](a) trifle, (b) useless \"thing\" (like the Clown's bauble, which may itself be used as a mock phallus).[\/footnote]\nFor the rain it raineth every day.\nBut when I came to man's estate,\n2565<\/sub>With hey, ho, the wind and the rain,\n'Gainst knaves and thieves men shut their gate,[footnote]i.e. (once I was an adult) men locked their doors against knaves and thieves (like me). The possibly sexual connotation of \"foolish thing\" is not insisted on here.[\/footnote]\nFor the rain it raineth every day.\nBut when I came, alas, to wive,\nWith hey, ho, the wind and the rain,\n2570<\/sub>By swaggering[footnote]Blustering, bullying. Compare TLN 1696-1699 for approbation of swaggering \"manhood,\" and Doll Tearsheet in 2H4<\/i>, who calls Pistol a \"swaggering rascal\" (TLN 1098).[\/footnote] could I never thrive,\nFor the rain it raineth every day.\nBut when I came unto my beds,\nWith hey, ho, the wind and the rain,\nWith tosspots still 'had drunken heads,[footnote]Either (a) when I came to whichever place served me as a bed, like the other drunks (\"tosspots\") I had (\"'had\") hangovers all the time (\"still\"), or (b) when I grew old, I was always drunk. The syntax is awkward, and supporters of the second version emend to singular \"bed, head.\"[\/footnote]\n2575<\/sub>For the rain it raineth every day.\nA great while ago the world begun,\nWith hey, ho, the wind and the rain,\nBut that's all one,[footnote]Epilogues traditionally announce the end of the play by seeking audience approval, and often encourage future attendance. Compare AWW<\/i>, where in the epilogue the King seeks applause \"which we will pay, \/ With strife to please you, day exceeding day\" (TLN 3075-3076).[\/footnote] our play is done,\nAnd we'll strive to please you every day.\n[Exit.]<\/em>","rendered":"

Twelfth Night<\/em> (Modern). Internet Shakespeare Editions<\/a>. University of Victoria. Editors: David Carnegie and Mark Houlahan.<\/p>\n

Scene 1<\/h1>\n

Enter Clown [with a letter] and Fabian.<\/em><\/p>\n

Fabian<\/strong>
\nNow as thou lov’st me, let me see his letter.[1]<\/sup><\/a><\/p>\n

2155<\/sub>Clown<\/strong>
\nGood Master Fabian, grant me another request.<\/p>\n

Fabian<\/strong>
\nAnything.<\/p>\n

Clown<\/strong>
\nDo not desire to see this letter.<\/p>\n

Fabian<\/strong>
\nThis is to give a dog, and in recompense desire my dog again.[2]<\/sup><\/a>
\n2160<\/sub>Enter Orsino,<\/em>[3]<\/sup><\/a> Viola [as Cesario], Curio, and Lords.<\/em><\/p>\n

Orsino<\/strong>
\nBelong you to the Lady Olivia, friends?<\/p>\n

Clown<\/strong>
\nAy, sir, we are some of her trappings.[4]<\/sup><\/a><\/p>\n

Orsino<\/strong>
\nI know thee well. How dost thou, my good fellow?<\/p>\n

2165<\/sub>Clown<\/strong>
\nTruly, sir, the better for my foes, and the worse for my friends.<\/p>\n

Orsino<\/strong>
\nJust the contrary; the better for thy friends.<\/p>\n

Clown<\/strong>
\nNo, sir, the worse.<\/p>\n

Orsino<\/strong>
\nHow can that be?<\/p>\n

2170<\/sub>Clown<\/strong>
\nMarry, sir, they praise me, and make[5]<\/sup><\/a> an ass of me. Now, my foes tell me
\nplainly I am an ass, so that by my foes, sir, I profit in the knowledge of
\nmyself, and by my friends I am abused.[6]<\/sup><\/a> So that, conclusions to be as kisses,
\n2175<\/sub>if your four[7]<\/sup><\/a> negatives make your two affirmatives,[8]<\/sup><\/a> why then, the worse for
\nmy friends and the better for my foes.<\/p>\n

Orsino<\/strong>
\nWhy, this is excellent.[9]<\/sup><\/a><\/p>\n

Clown<\/strong>
\nBy my troth, sir, no; though it please you to be one of my friends.[10]<\/sup><\/a><\/p>\n

Orsino<\/strong>
\nThou shalt not be the worse[11]<\/sup><\/a> for me; there’s gold.[12]<\/sup><\/a>
\n[Orsino gives him a gold coin.]<\/em><\/p>\n

2180<\/sub>Clown<\/strong>
\nBut that it would be double-dealing,[13]<\/sup><\/a> sir, I would you could make it another.<\/p>\n

Orsino<\/strong>
\nO you give me ill counsel.<\/p>\n

Clown<\/strong>
\nPut your grace in your pocket,[14]<\/sup><\/a> sir, for this once, and let your flesh and blood
\nobey it.[15]<\/sup><\/a><\/p>\n

2185<\/sub>Orsino<\/strong>
\nWell, I will be so much a sinner[16]<\/sup><\/a> to be a double-dealer; there’s another.
\n[Orsino gives him another gold coin.]<\/em><\/p>\n

Clown<\/strong>
\nPrimo, secundo, tertio<\/em>[17]<\/sup><\/a> is a good play;[18]<\/sup><\/a> and the old saying is, “the third pays
\nfor all”;[19]<\/sup><\/a> the triplex,[20]<\/sup><\/a> sir, is a good tripping measure;[21]<\/sup><\/a> or the bells of Saint
\n2190<\/sub>Bennet,[22]<\/sup><\/a> sir, may put you in mind: one, two, three.[23]<\/sup><\/a><\/p>\n

Orsino<\/strong>
\nYou can fool no more money out of me at this throw.[24]<\/sup><\/a> If you will let your
\nlady know I am here to speak with her, and bring her along with you, it may
\nawake my bounty further.<\/p>\n

2195<\/sub>Clown<\/strong>
\nMarry, sir, lullaby[25]<\/sup><\/a> to your bounty till I come again. I go, sir, but I would not
\nhave you to think that my desire of having is the sin of covetousness–but as
\nyou say, sir, let your bounty take a nap; I will awake it anon.
\nExit.<\/em>
\n2200<\/sub>Enter Antonio and Officers [guarding him].<\/em><\/p>\n

Viola<\/strong>
\nHere comes the man, sir, that did rescue me.<\/p>\n

Orsino<\/strong>
\nThat face of his I do remember well;
\nYet when I saw it last, it was besmeared
\nAs black as Vulcan[26]<\/sup><\/a> in the smoke of war.
\n2205<\/sub>A baubling[27]<\/sup><\/a> vessel was he captain of,
\nFor shallow draught and bulk, unprizable;[28]<\/sup><\/a>
\nWith which such scatheful[29]<\/sup><\/a> grapple did he make
\nWith the most noble bottom[30]<\/sup><\/a> of our fleet,
\nThat very envy, and the tongue of loss,[31]<\/sup><\/a>
\n2210<\/sub>Cried fame and honor on him. What’s the matter[32]<\/sup><\/a>?<\/p>\n

First Officer<\/strong>
\nOrsino,[33]<\/sup><\/a> this is that Antonio
\nThat took the Phoenix,[34]<\/sup><\/a> and her fraught from Candy,[35]<\/sup><\/a>
\nAnd this is he that did the Tiger board
\nWhen your young nephew Titus lost his leg.
\n2215<\/sub>Here in the streets, desperate of shame and state,[36]<\/sup><\/a>
\nIn private brabble[37]<\/sup><\/a> did we apprehend him.<\/p>\n

Viola<\/strong>
\nHe did me kindness, sir, drew on my side,[38]<\/sup><\/a>
\nBut in conclusion put strange speech upon me;[39]<\/sup><\/a>
\nI know not what ’twas, but distraction.[40]<\/sup><\/a><\/p>\n

2220<\/sub>Orsino<\/strong>
\nNotable[41]<\/sup><\/a> pirate, thou saltwater thief,
\nWhat foolish boldness brought thee to their mercies
\nWhom thou, in terms so bloody and so dear,[42]<\/sup><\/a>
\nHast made thine enemies?<\/p>\n

Antonio<\/strong>
\nOrsino, noble sir,[43]<\/sup><\/a>
\n2225<\/sub>Be pleased that I shake off these names you give me.
\nAntonio never yet was thief, or pirate,
\nThough I confess, on base and ground[44]<\/sup><\/a> enough,
\nOrsino’s enemy. A witchcraft drew me hither:
\nThat most ingrateful boy there by your side
\n2230<\/sub>From the rude sea’s enraged and foamy mouth
\nDid I redeem. A wrack[45]<\/sup><\/a> past hope he was.
\nHis life[46]<\/sup><\/a> I gave him, and did thereto add
\nMy love without retention[47]<\/sup><\/a> or restraint,
\nAll his in dedication.[48]<\/sup><\/a> For his sake
\n2235<\/sub>Did I expose myself, pure[49]<\/sup><\/a> for his love,
\nInto the danger of this adverse[50]<\/sup><\/a> town;
\nDrew to defend him, when he was beset;
\nWhere being apprehended, his false cunning,
\nNot meaning to partake with me in danger,
\n2240<\/sub>Taught him to face me out of his acquaintance,[51]<\/sup><\/a>
\nAnd grew a twenty years’ remov\u00e8d thing[52]<\/sup><\/a>
\nWhile one would wink; denied me mine own purse,
\nWhich I had recommended[53]<\/sup><\/a> to his use
\nNot half an hour before.<\/p>\n

2245<\/sub>Viola<\/strong>
\nHow can this be?[54]<\/sup><\/a><\/p>\n

Orsino<\/strong>
\nWhen came he to this town?<\/p>\n

Antonio<\/strong>
\nToday, my lord; and for three months before,
\nNo int’rim,[55]<\/sup><\/a> not a minute’s vacancy,
\nBoth day and night did we keep company.
\n2250<\/sub>Enter Olivia and Attendants.<\/em>[56]<\/sup><\/a><\/p>\n

Orsino<\/strong>
\nHere comes the countess, now heaven walks on earth.
\n[To Antonio]<\/em> But for thee, fellow–fellow, thy words are madness.
\nThree months[57]<\/sup><\/a> this youth hath tended upon me;
\n2255<\/sub>But more of that anon. [To Officers]<\/em> Take him aside.<\/p>\n

Olivia<\/strong>
\nWhat would my lord, but that[58]<\/sup><\/a> he may not have,
\nWherein Olivia may seem serviceable?
\n[To Viola]<\/em> Cesario, you do not keep promise with me.
\n[Viola and Orsino speak at the same time.]<\/em>[59]<\/sup><\/a><\/p>\n

Viola<\/strong>
\nMadam–<\/p>\n

2260<\/sub>Orsino<\/strong>
\nGracious Olivia–<\/p>\n

Olivia<\/strong>
\nWhat do you say, Cesario? [Silencing Orsino]<\/em> Good my lord.<\/p>\n

Viola<\/strong>
\nMy lord would speak, my duty hushes me.<\/p>\n

Olivia<\/strong>
\nIf it be aught to the old tune, my lord,
\nIt is as fat and fulsome[60]<\/sup><\/a> to mine ear
\n2265<\/sub>As howling after music.<\/p>\n

Orsino<\/strong>
\nStill so cruel?<\/p>\n

Olivia<\/strong>
\nStill so constant, lord.[61]<\/sup><\/a><\/p>\n

Orsino<\/strong>
\nWhat, to perverseness? You uncivil[62]<\/sup><\/a> lady,
\nTo whose ingrate[63]<\/sup><\/a> and unauspicious[64]<\/sup><\/a> altars
\n2270<\/sub>My soul the faithfull’st off’rings[65]<\/sup><\/a> have breathed out
\nThat e’er devotion tendered! What shall I do?<\/p>\n

Olivia<\/strong>
\nEven what it please my lord, that shall become him<\/p>\n

Orsino<\/strong>
\nWhy should I not, had I the heart to do it,
\nLike to th’Egyptian thief[66]<\/sup><\/a> at point of death,
\n2275<\/sub>Kill what I love?–a savage jealousy,
\nThat sometime savors nobly.[67]<\/sup><\/a> But hear me this:
\nSince you to non-regardance[68]<\/sup><\/a> cast my faith,
\nAnd that I partly know the instrument
\nThat screws[69]<\/sup><\/a> me from my true place in your favor,
\n2280<\/sub>Live you the marble-breasted[70]<\/sup><\/a> tyrant still.
\nBut [Seizing Viola]<\/em> this your minion,[71]<\/sup><\/a> whom I know you love,
\nAnd whom, by heaven, I swear I tender[72]<\/sup><\/a> dearly,
\nHim will I tear out of that cruel eye
\nWhere he sits crown\u00e8d in his master’s spite.[73]<\/sup><\/a>
\n2285<\/sub>Come, boy, with me; my thoughts are ripe in mischief.[74]<\/sup><\/a>
\nI’ll sacrifice the lamb that I do love,
\nTo spite a raven’s heart within a dove.[75]<\/sup><\/a> [He moves to exit with Viola.]<\/em><\/p>\n

Viola<\/strong>
\nAnd I most jocund, apt,[76]<\/sup><\/a> and willingly,
\nTo do you rest,[77]<\/sup><\/a> a thousand deaths would die.<\/p>\n

2290<\/sub>Olivia<\/strong>
\nWhere goes Cesario?<\/p>\n

Viola<\/strong>
\nAfter him I love
\nMore than I love these eyes, more than my life,
\nMore, by all mores,[78]<\/sup><\/a> than e’er I shall love wife.
\nIf I do feign, you witnesses above[79]<\/sup><\/a>
\n2295<\/sub>Punish my life, for tainting of[80]<\/sup><\/a> my love.<\/p>\n

Olivia<\/strong>
\nAy me, detested! How am I beguiled![81]<\/sup><\/a><\/p>\n

Viola<\/strong>
\nWho does beguile you? Who does do you wrong?<\/p>\n

Olivia<\/strong>
\nHast thou forgot thyself? Is it so long?
\nCall forth the holy father. [Exit an Attendant.]<\/em><\/p>\n

2300<\/sub>Orsino<\/strong>
\n[To Cesario]<\/em> Come, away.<\/p>\n

Olivia<\/strong>
\nWhither, my lord? Cesario, husband, stay![82]<\/sup><\/a><\/p>\n

Orsino<\/strong>
\nHusband?<\/p>\n

Olivia<\/strong>
\nAy, husband. Can he that deny?<\/p>\n

Orsino<\/strong>
\nHer husband, sirrah?<\/p>\n

2305<\/sub>Viola<\/strong>
\nNo, my lord, not I.<\/p>\n

Olivia<\/strong>
\nAlas, it is the baseness of thy fear
\nThat makes thee strangle thy propriety.[83]<\/sup><\/a>
\nFear not, Cesario, take thy fortunes up,
\nBe that thou know’st thou art, and then thou art
\n2310<\/sub>As great as that thou fear’st.[84]<\/sup><\/a>
\nEnter Priest.<\/em>
\nO welcome, father!
\nFather, I charge thee by thy reverence
\nHere to unfold (though lately we intended
\n2315<\/sub>To keep in darkness what occasion[85]<\/sup><\/a> now
\nReveals before ’tis ripe) what thou dost know
\nHath newly passed between this youth and me.<\/p>\n

Priest<\/strong>
\nA contract[86]<\/sup><\/a> of eternal bond of love,
\nConfirmed by mutual joinder[87]<\/sup><\/a> of your hands,
\n2320<\/sub>Attested by the holy close of lips,
\nStrengthened by interchangement of your rings,
\nAnd all the ceremony of this compact[88]<\/sup><\/a>
\nSealed in my function,[89]<\/sup><\/a> by my testimony;
\nSince when, my watch[90]<\/sup><\/a> hath told me, toward my grave
\n2325<\/sub>I have travelled but two hours.<\/p>\n

Orsino<\/strong>
\n[To Viola]<\/em> O thou dissembling cub![91]<\/sup><\/a> What wilt thou be
\nWhen time hath sowed a grizzle[92]<\/sup><\/a> on thy case[93]<\/sup><\/a>?
\nOr will not else thy craft so quickly grow
\nThat thine own trip[94]<\/sup><\/a> shall be thine overthrow?
\n2330<\/sub>Farewell,[95]<\/sup><\/a> and take her, but direct thy feet
\nWhere thou and I henceforth may never meet.<\/p>\n

Viola<\/strong>
\nMy lord, I do protest–<\/p>\n

Olivia<\/strong>
\nO, do not swear,
\nHold little faith,[96]<\/sup><\/a> though thou hast too much fear.
\n2335<\/sub>Enter Sir Andrew<\/em>[97]<\/sup><\/a> [with his head bloody].<\/em><\/p>\n

Sir Andrew<\/strong>
\nFor the love of God, a surgeon![98]<\/sup><\/a> Send one presently[99]<\/sup><\/a> to Sir Toby.<\/p>\n

Olivia<\/strong>
\nWhat’s the matter?<\/p>\n

Sir Andrew<\/strong>
\n2340<\/sub>He’s[100]<\/sup><\/a> broke my head across, and has given Sir Toby a bloody coxcomb[101]<\/sup><\/a> too.
\nFor the love of God, your help! I had rather than forty pound I were at
\nhome.<\/p>\n

Olivia<\/strong>
\nWho has done this, Sir Andrew?<\/p>\n

Sir Andrew<\/strong>
\nThe count’s gentleman, one Cesario. We took him for a coward, but he’s the
\nvery devil incardinate.[102]<\/sup><\/a><\/p>\n

2345<\/sub>Orsino<\/strong>
\nMy gentleman Cesario?<\/p>\n

Sir Andrew<\/strong>
\n[Seeing Viola] [and recoiling in fear].<\/em> ‘Od’s lifelings,[103]<\/sup><\/a> here he is! [To her]<\/em>
\nYou broke my head for nothing; and that that I did, I was set on to do’t by
\nSir Toby.<\/p>\n

Viola<\/strong>
\nWhy do you speak to me? I never hurt you.
\n2350<\/sub>You drew your sword upon me without cause,
\nBut I bespake you fair, and hurt you not.
\nEnter Sir Toby [limping, his head bloody,] and [supported by] Clown.<\/em><\/p>\n

Sir Andrew<\/strong>
\nIf a bloody coxcomb be a hurt, you have hurt me; I think you set nothing by[104]<\/sup><\/a>
\n2355<\/sub>a bloody coxcomb. Here comes Sir Toby halting;[105]<\/sup><\/a> you shall hear more. But if
\nhe had not been in drink, he would have tickled[106]<\/sup><\/a> you othergates[107]<\/sup><\/a> than he did.<\/p>\n

Orsino<\/strong>
\nHow now, gentleman? How is’t with you?<\/p>\n

Sir Toby<\/strong>
\n2360<\/sub>That’s all one,[108]<\/sup><\/a> he’s[109]<\/sup><\/a> hurt me, and there’s th’end on’t. [To Clown]<\/em> Sot,[110]<\/sup><\/a> didst see
\nDick Surgeon, sot?<\/p>\n

Clown<\/strong>
\nOh, he’s drunk, Sir Toby, an hour agone;[111]<\/sup><\/a> his eyes were set[112]<\/sup><\/a> at eight
\ni’th’morning.<\/p>\n

Sir Toby<\/strong>
\nThen he’s a rogue, and a passy-measures pavan.[113]<\/sup><\/a> I hate a drunken rogue.[114]<\/sup><\/a><\/p>\n

2365<\/sub>Olivia<\/strong>
\nAway with him! Who hath made this havocwith them?<\/p>\n

Sir Andrew<\/strong>
\nI’ll help you, Sir Toby, because we’ll be dressed together.[115]<\/sup><\/a><\/p>\n

Sir Toby<\/strong>
\n2370<\/sub>Will you help? An ass-head, and a coxcomb,[116]<\/sup><\/a> and a knave? A thin-faced
\nknave, a gull![117]<\/sup><\/a><\/p>\n

Olivia<\/strong>
\nGet him to bed, and let his hurt be looked to.
\n[Exeunt<\/em>[118]<\/sup><\/a> Sir Toby and Sir Andrew led off by Clown and Fabian.]<\/em>
\nEnter Sebastian. [Everyone else observes the identically dressed Sebastian and Viola.]<\/em><\/p>\n

Sebastian<\/strong>
\nI am sorry, madam, I have hurt your kinsman;
\nBut had it been the brother of my blood,[119]<\/sup><\/a>
\n2375<\/sub>I must have done no less with wit and safety.[120]<\/sup><\/a>
\nYou throw a strange regard[121]<\/sup><\/a> upon me, and by that
\nI do perceive it hath offended you.
\nPardon me, sweet one, even for the vows
\nWe made each other but so late ago.<\/p>\n

2380<\/sub>Orsino<\/strong>
\nOne face, one voice, one habit,[122]<\/sup><\/a> and two persons:
\nA natural perspective,[123]<\/sup><\/a> that is, and is not!<\/p>\n

Sebastian<\/strong>
\nAntonio! Oh, my dear Antonio,
\nHow have the hours racked and tortured me
\nSince I have lost thee!<\/p>\n

2385<\/sub>Antonio<\/strong>
\nSebastian, are you?<\/p>\n

Sebastian<\/strong>
\nFear’st thou that, Antonio?[124]<\/sup><\/a><\/p>\n

Antonio<\/strong>
\nHow have you made division of yourself?
\nAn apple cleft in two is not more twin
\nThan these two creatures. Which is Sebastian?<\/p>\n

2390<\/sub>Olivia<\/strong>
\nMost wonderful.[125]<\/sup><\/a><\/p>\n

Sebastian<\/strong>
\n[Seeing Viola]<\/em> Do I stand there? I never had a brother;
\nNor can there be that deity in my nature
\nOf here and everywhere.[126]<\/sup><\/a> I had a sister,
\nWhom the blind[127]<\/sup><\/a> waves and surges have devoured.
\n2395<\/sub>Of charity,[128]<\/sup><\/a> what kin are you to me?
\nWhat countryman? What name? What parentage?<\/p>\n

Viola<\/strong>
\nOf Messaline. Sebastian was my father.
\nSuch a Sebastian was my brother too;
\nSo went he suited[129]<\/sup><\/a> to his watery tomb.
\n2400<\/sub>If spirits[130]<\/sup><\/a> can assume both form and suit,
\nYou come to fright us.<\/p>\n

Sebastian<\/strong>
\nA spirit I am indeed,
\nBut am in that dimension[131]<\/sup><\/a> grossly[132]<\/sup><\/a> clad
\nWhich from the womb I did participate.[133]<\/sup><\/a>
\n2405<\/sub>Were you a woman, as the rest goes even,[134]<\/sup><\/a>
\nI should my tears let fall upon your cheek,
\nAnd say, “Thrice welcome, drown\u00e8d Viola.”[135]<\/sup><\/a><\/p>\n

Viola<\/strong>
\nMy father had a mole upon his brow.<\/p>\n

Sebastian<\/strong>
\nAnd so had mine.<\/p>\n

2410<\/sub>Viola<\/strong>
\nAnd died that day when Viola from her birth
\nHad numbered thirteen years.<\/p>\n

Sebastian<\/strong>
\nOh, that record[136]<\/sup><\/a> is lively in my soul.
\nHe finish\u00e8d indeed his mortal act
\nThat day that made my sister thirteen years.<\/p>\n

2415<\/sub>Viola<\/strong>
\nIf nothing lets[137]<\/sup><\/a> to make us happy both,
\nBut this my masculine usurped attire,
\nDo not embrace me, till each circumstance
\nOf place, time, fortune, do cohere and jump[138]<\/sup><\/a>
\nThat I am Viola;[139]<\/sup><\/a> which to confirm,
\n2420<\/sub>I’ll bring you to a captain in this town,
\nWhere lie my maiden weeds,[140]<\/sup><\/a> by whose gentle help
\nI was preserved to serve this noble count.
\nAll the occurrence of my fortune since
\nHath been between this lady and this lord.<\/p>\n

2425<\/sub>Sebastian<\/strong>
\n[To Olivia]<\/em> So comes it, lady, you have been mistook.[141]<\/sup><\/a>
\nBut nature to her bias drew[142]<\/sup><\/a> in that.
\nYou would have been contracted to a maid;
\nNor are you therein, by my life, deceived:
\nYou are betrothed both to a maid and man.[143]<\/sup><\/a><\/p>\n

2430<\/sub>Orsino<\/strong>
\n[To Olivia]<\/em> Be not amazed, right noble is his blood.
\nIf this be so–as yet the glass seems true–[144]<\/sup><\/a>
\nI shall have share in this most happy[145]<\/sup><\/a> wrack.[146]<\/sup><\/a>
\n[To Viola]<\/em> Boy,[147]<\/sup><\/a> thou hast said to me a thousand times
\nThou never shouldst love woman like to me.[148]<\/sup><\/a><\/p>\n

2435<\/sub>Viola<\/strong>
\nAnd all those sayings will I overswear,[149]<\/sup><\/a>
\nAnd all those swearings keep as true in soul
\nAs doth that orb\u00e8d continent the fire[150]<\/sup><\/a>
\nThat severs day from night.[151]<\/sup><\/a><\/p>\n

Orsino<\/strong>
\nGive me thy hand,[152]<\/sup><\/a>
\n2440<\/sub>And let me see thee in thy woman’s weeds.<\/p>\n

Viola<\/strong>
\nThe captain that did bring me first on shore
\nHath my maid’s garments; he upon some action[153]<\/sup><\/a>
\nIs now in durance,[154]<\/sup><\/a> at Malvolio’s suit,
\nA gentleman and follower of my lady’s.<\/p>\n

2445<\/sub>Olivia<\/strong>
\nHe shall enlarge[155]<\/sup><\/a> him. Fetch[156]<\/sup><\/a> Malvolio hither–
\nAnd yet, alas, now I remember me,
\nThey say, poor gentleman, he’s much distract.[157]<\/sup><\/a>
\nEnter Clown with a letter, and Fabian.<\/em>
\nA most extracting frenzy[158]<\/sup><\/a> of mine own
\n2450<\/sub>From my remembrance[159]<\/sup><\/a> clearly banished his.
\n[To Clown]<\/em> How does he,[160]<\/sup><\/a> sirrah?<\/p>\n

Clown<\/strong>
\nTruly, madam, he holds Beelzebub at the stave’s end[161]<\/sup><\/a> as well as a man in his
\ncase may do. He’s[162]<\/sup><\/a> here writ a letter to you. I should have given’t you today
\n2455<\/sub>morning,[163]<\/sup><\/a> but as a madman’s epistles are no gospels,[164]<\/sup><\/a> so it skills not[165]<\/sup><\/a> much
\nwhen they are delivered.[166]<\/sup><\/a><\/p>\n

Olivia<\/strong>
\nOpen’t, and read it.
\nClown<\/strong>
\nLook then to be well edified, when the fool delivers[167]<\/sup><\/a> the madman. [Reading
\nmadly]<\/em><\/p>\n

“By the Lord, madam–“<\/p>\n

2460<\/sub>Olivia<\/strong>
\nHow now, art thou mad?<\/p>\n

Clown<\/strong>
\nNo, madam, I do but read madness. An[168]<\/sup><\/a> your ladyship will have it as it ought
\nto be, you must allow vox<\/em>.[169]<\/sup><\/a><\/p>\n

Olivia<\/strong>
\nPrithee, read i’thy right wits.<\/p>\n

2465<\/sub>Clown<\/strong>
\nSo I do, madonna. But to read his right wits[170]<\/sup><\/a> is to read thus. Therefore
\nperpend,[171]<\/sup><\/a> my princess, and give ear.
\n[Clown prepares to read madly again; Olivia seizes the letter and gives it to Fabian.]<\/em><\/p>\n

Olivia<\/strong>
\n[To Fabian]<\/em> Read it you, sirrah.<\/p>\n

Fabian<\/strong>
\n(Reads.)<\/em><\/p>\n

2470<\/sub>“By the Lord, madam, you wrong me, and the world shall know it.
\nThough you have put me into darkness, and given your drunken cousin
\nrule over me, yet have I the benefit of my senses as well as your
\nladyship. I have your own letter, that induced me to the semblance I put
\n2475<\/sub>on; with the which I doubt not but to do myself much right, or you
\nmuch shame. Think of me as you please. I leave my duty a little
\nunthought of, and speak out of my injury.
\nThe madly-used Malvolio.”<\/p>\n

Olivia<\/strong>
\nDid he write this?<\/p>\n

Clown<\/strong>
\nAy, madam.<\/p>\n

2480<\/sub>Orsino<\/strong>
\nThis savors not much of distraction.<\/p>\n

Olivia<\/strong>
\nSee him delivered,[172]<\/sup><\/a> Fabian, bring him hither.
\n[Exit Fabian.]<\/em>
\n[To Orsino]<\/em> My Lord, so please you, these things further thought on,
\nTo think me as well a sister as a wife,[173]<\/sup><\/a>
\nOne day shall crown th’alliance on’t,[174]<\/sup><\/a> so please you,
\n2485<\/sub>Here at my house, and at my proper[175]<\/sup><\/a> cost.<\/p>\n

Orsino<\/strong>
\nMadam, I am most apt t’embrace your offer.
\n[To Viola]<\/em> Your master quits[176]<\/sup><\/a> you; and for your service done him,
\nSo much against the mettle[177]<\/sup><\/a> of your sex,
\nSo far beneath your soft and tender breeding,
\n2490<\/sub>And since you called me master for so long,
\nHere is my hand;[178]<\/sup><\/a> you shall from this time be
\nYour master’s mistress.<\/p>\n

Olivia<\/strong>
\nA sister, you are she![179]<\/sup><\/a>
\nEnter [Fabian and] Malvolio<\/em>[180]<\/sup><\/a> [with Maria’s letter].<\/em><\/p>\n

2495<\/sub>Orsino<\/strong>
\nIs this the madman?<\/p>\n

Olivia<\/strong>
\nAy, my lord, this same.
\n[To Malvolio]<\/em> How now, Malvolio?<\/p>\n

Malvolio<\/strong>
\nMadam, you have done me wrong,
\nNotorious[181]<\/sup><\/a> wrong.<\/p>\n

Olivia<\/strong>
\nHave I, Malvolio? No.<\/p>\n

2500<\/sub>Malvolio<\/strong>
\nLady,[182]<\/sup><\/a> you have. Pray you peruse that letter.
\n[Giving her the letter]<\/em> You must not now deny it is your hand.
\nWrite from it[183]<\/sup><\/a> if you can, in hand, or phrase,[184]<\/sup><\/a>
\nOr say ’tis not your seal, not your invention.[185]<\/sup><\/a>
\nYou can say none of this. Well, grant it then,
\n2505<\/sub>And tell me, in the modesty of honor,[186]<\/sup><\/a>
\nWhy you have given me such clear lights[187]<\/sup><\/a> of favor,
\nBade[188]<\/sup><\/a> me come smiling and cross-gartered to you,
\nTo put on yellow stockings, and to frown
\nUpon Sir Toby, and the lighter[189]<\/sup><\/a> people;
\n2510<\/sub>And acting this in an obedient hope,
\nWhy have you suffered me to be imprisoned,
\nKept in a dark house, visited by the priest,
\nAnd made the most notorious geck and gull[190]<\/sup><\/a>
\nThat ere invention[191]<\/sup><\/a> played on? Tell me, why?<\/p>\n

2515<\/sub>Olivia<\/strong>
\nAlas, Malvolio, this is not my writing,
\nThough I confess much like the character;[192]<\/sup><\/a>
\nBut out of question, ’tis Maria’s hand.
\nAnd now I do bethink me, it was she
\nFirst told me thou wast mad; then cam’st[193]<\/sup><\/a> in smiling,
\n2520<\/sub>And in such forms which here were presupposed
\nUpon[194]<\/sup><\/a> thee in the letter. Prithee, be content.
\nThis practice hath most shrewdly past[195]<\/sup><\/a> upon thee;
\nBut when we know the grounds and authors of it,
\nThou shalt be both the plaintiff and the judge
\n2525<\/sub>Of thine own cause.<\/p>\n

Fabian<\/strong>
\nGood madam, hear me speak,[196]<\/sup><\/a>
\nAnd let no quarrel, nor no brawl to come,[197]<\/sup><\/a>
\nTaint the condition of this present hour,
\nWhich I have wondered[198]<\/sup><\/a> at. In hope it shall not,
\n2530<\/sub>Most freely I confess myself and Toby
\nSet this device against Malvolio here,
\nUpon some stubborn and uncourteous parts
\nWe had conceived against him.[199]<\/sup><\/a> Maria writ
\nThe letter, at Sir Toby’s great importance,[200]<\/sup><\/a>
\n2535<\/sub>In recompense whereof he hath married her.[201]<\/sup><\/a>
\nHow with a sportful malice it was followed[202]<\/sup><\/a>
\nMay rather pluck on[203]<\/sup><\/a> laughter than revenge,
\nIf that the injuries be justly weighed
\nThat have on both sides passed.<\/p>\n

2540<\/sub>Olivia<\/strong>
\n[To Malvolio]<\/em> Alas, poor fool, how have they baffled[204]<\/sup><\/a> thee!<\/p>\n

Clown<\/strong>
\n[To Malvolio]<\/em> Why,[205]<\/sup><\/a> “Some are born great, some achieve greatness, and
\nsome have greatness thrown upon them.” I was one, sir, in this interlude,[206]<\/sup><\/a> one
\nSir Topaz, sir; but that’s all one.[207]<\/sup><\/a> “By the Lord, fool, I am not mad!” But do
\n2545<\/sub>you remember: “Madam, why laugh you at such a barren rascal? An[208]<\/sup><\/a> you
\nsmile not, he’s gagged.” And thus the whirligig of time[209]<\/sup><\/a> brings in his
\nrevenges.<\/p>\n

Malvolio<\/strong>
\nI’ll be revenged on the whole pack[210]<\/sup><\/a> of you!
\n[Exit.]<\/em><\/p>\n

Olivia<\/strong>
\nHe hath been most notoriously abused.[211]<\/sup><\/a><\/p>\n

2550<\/sub>Orsino<\/strong>
\n[To Fabian]<\/em> Pursue him,[212]<\/sup><\/a> and entreat him to a peace. [Exit Fabian.]<\/em>
\nHe hath not told us of the captain yet.
\nWhen that is known, and golden[213]<\/sup><\/a> time convents,[214]<\/sup><\/a>
\nA solemn combination shall be made
\nOf our dear[215]<\/sup><\/a> souls. [To Olivia]<\/em> Meantime, sweet sister,
\n2555<\/sub>We will not part[216]<\/sup><\/a> from hence. [To Viola]<\/em> Cesario, come–[217]<\/sup><\/a>
\nFor so you shall be[218]<\/sup><\/a> while you are a man;
\nBut when in other habits you are seen,
\nOrsino’s mistress, and his fancy’s[219]<\/sup><\/a> queen.
\nExeunt [all except Clown].<\/em>[220]<\/sup><\/a><\/p>\n

2560<\/sub>Clown<\/strong>
\n(Sings)<\/em>
\nWhen that I was[221]<\/sup><\/a>and a[222]<\/sup><\/a> little tiny boy,
\nWith hey, ho, the wind and the rain,
\nA foolish thing[223]<\/sup><\/a> was but a toy,[224]<\/sup><\/a>
\nFor the rain it raineth every day.
\nBut when I came to man’s estate,
\n2565<\/sub>With hey, ho, the wind and the rain,
\n‘Gainst knaves and thieves men shut their gate,[225]<\/sup><\/a>
\nFor the rain it raineth every day.
\nBut when I came, alas, to wive,
\nWith hey, ho, the wind and the rain,
\n2570<\/sub>By swaggering[226]<\/sup><\/a> could I never thrive,
\nFor the rain it raineth every day.
\nBut when I came unto my beds,
\nWith hey, ho, the wind and the rain,
\nWith tosspots still ‘had drunken heads,[227]<\/sup><\/a>
\n2575<\/sub>For the rain it raineth every day.
\nA great while ago the world begun,
\nWith hey, ho, the wind and the rain,
\nBut that’s all one,[228]<\/sup><\/a> our play is done,
\nAnd we’ll strive to please you every day.
\n[Exit.]<\/em><\/p>\n

  1. i.e. Malvolio's to Olivia. ↵<\/a><\/li>
  2. Fabian may well have directed this repartee to the audience in early productions, especially if it was a well-known anecdote. According to John Manningham, who also reported the first known performance of Twelfth Night<\/i>, Dr. Boleyn, a kinsman of Queen Elizabeth, \"had a dog which he doted on, so much that the Queen understanding of it requested he would grant her one desire, and he should have whatsoever he would ask. She demanded his dog; he gave it, and 'Now, Madam' quoth he, 'you promised to give me my desire.' 'I will,' quoth she. 'Then I pray you give me my dog again'.\" ↵<\/a><\/li>
  3. If Valentine and Viola have been wearing riding boots earlier (see 1.1.24n), Orsino will here. An image of traveling may metaphorically suggest that Orsino's emotions are on the move too ↵<\/a><\/li>
  4. Embellishments (literally, decorated horse-cloths). ↵<\/a><\/li>
  5. And thus make. ↵<\/a><\/li>
  6. Ill-used, deceived. ↵<\/a><\/li>
  7. Unstressed, simply meaning \"that you know of\" (as with \"your two\" following). ↵<\/a><\/li>
  8. In grammar, a double negative is an affirmative. The common joke based on this grammatical rule was that when a maid was asked for a kiss, her \"No, no\" meant \"yes.\" The Clown is making a general defence of his chop-logic. ↵<\/a><\/li>
  9. Orsino's willingness to jest with the Clown marks a distinct move away from his melancholy at their last encounter in 2.4. Presumably spoken to Viola and the other courtiers. ↵<\/a><\/li>
  10. An invitation for praise (and, perhaps, a tip). ↵<\/a><\/li>
  11. (a) \"abused\" (TLN 2173), (b) poorer. ↵<\/a><\/li>
  12. A half-crown was the smallest English gold coin, so the Clown is getting at least five times as much as the silver sixpence given him by Sir Toby (TLN 731), ten times as much if he is given a gold crown (five shillings). ↵<\/a><\/li>
  13. (a) duplicity, (b) giving twice. ↵<\/a><\/li>
  14. i.e. (a) put your virtue where it cannot see (to criticize), (b) put your hand in your pocket (for more money), my lord Duke (\"your grace\"). ↵<\/a><\/li>
  15. i.e. let your normal human instincts (unwatched by virtuous \"grace\") obey my \"ill counsel.\" ↵<\/a><\/li>
  16. (because evading divine \"grace\"). ↵<\/a><\/li>
  17. First, second, third (Latin). Possibly a children's game, or a reference to a winning three at dice (compare \"tray-trip\", TLN 1193 and note). Arden 3 argues that the reference is to \"the philosophers' table\", an \"elaborate form of mathematical chess.\" ↵<\/a><\/li>
  18. Game, or a throw at dice. ↵<\/a><\/li>
  19. Proverbial; compare modern \"third time lucky.\" ↵<\/a><\/li>
  20. Triple time in music. ↵<\/a><\/li>
  21. Quick time (in music). Given \"tripping,\" possibly \"music for a nimble dance\" is meant, which the Clown may give life to. ↵<\/a><\/li>
  22. Benedict. There is no way of knowing which of the several churches named for this saint in London Shakespeare was thinking of for its distinctive chime of bells. Most editors cite St Bennet at Paul's Wharf, across the Thames from the Globe, whose bells might have been audible in the theatre, but another church of this name, such as St Bennet Fink, next to the Royal Exchange, may have had the distinctive chime of three that is the Clown's point (if we think of London rather than Illyrian bells). ↵<\/a><\/li>
  23. In production the Clown may sing each of these words in the pitch of the supposed chime. ↵<\/a><\/li>
  24. i.e. throw of the dice (continuing gambling references at TLN 2187-2188). ↵<\/a><\/li>
  25. Soothing repose (picking up \"awake,\" at TLN 2193, and anticipating \"nap,\" TLN 2198). ↵<\/a><\/li>
  26. Blacksmith of the Roman gods. ↵<\/a><\/li>
  27. Paltry (like a child's bauble). Compare Tro. <\/i>TLN 491 1.3.35, 'shallow bauble boats'. ↵<\/a><\/li>
  28. i.e. so small as not to be worth capturing as a \"prize.\" ↵<\/a><\/li>
  29. Destructive. ↵<\/a><\/li>
  30. Ship. ↵<\/a><\/li>
  31. Even Ill-will and the voice of Loss. The emotions of his enemies are personified as proclaiming his honor. ↵<\/a><\/li>
  32. Business, allegation. ↵<\/a><\/li>
  33. The lack of an honorific before his name is surprising; but see note to TLN 2224. ↵<\/a><\/li>
  34. Like \"Tiger\" in the next line, the name of a ship. ↵<\/a><\/li>
  35. i.e. the cargo (freight) it had brought from Crete (\"Candy\"). Candy may mean either the sea port Candia, then capital of Crete, or simply the island of Crete. ↵<\/a><\/li>
  36. Reckless of (his) reputation and (his) position. Some editors read \"state\" as \"public order\", or as \"danger to himself\". The meter requires \"desperate\" to be elided to two syllables. ↵<\/a><\/li>
  37. i.e. brawling in a personal quarrel. ↵<\/a><\/li>
  38. i.e. drew his sword in my defence. ↵<\/a><\/li>
  39. Spoke to me strangely. ↵<\/a><\/li>
  40. Madness. The meter requires four syllables. ↵<\/a><\/li>
  41. Notorious. ↵<\/a><\/li>
  42. Grievous. ↵<\/a><\/li>
  43. Despite the accusations, and Sebastian's apparent betrayal, Antonio's response is both courteous and proud. Antonio's courtesy may be emphasized by the apparent lack of it from the First Officer at TLN 2211. ↵<\/a><\/li>
  44. Foundation. The two words are synonyms. ↵<\/a><\/li>
  45. Shipwrecked survivor. ↵<\/a><\/li>
  46. As Sebastian has already expressed at TLN 645. ↵<\/a><\/li>
  47. Reservation. ↵<\/a><\/li>
  48. i.e. dedicated my love entirely to him. ↵<\/a><\/li>
  49. Purely, only. ↵<\/a><\/li>
  50. Hostile. ↵<\/a><\/li>
  51. i.e. brazenly deny knowing me. ↵<\/a><\/li>
  52. i.e. like someone not met for twenty years. ↵<\/a><\/li>
  53. Committed. ↵<\/a><\/li>
  54. Viola probably breaks in quickly (thus completing Antonio's verse line). Alternatively, a pause may be implied after Antonio's line, in which case Orsino completes Viola's short line. ↵<\/a><\/li>
  55. Interim (the Folio elision \"intrim<\/i>\" serves the meter). The compositor set the word in italic, so may have mistaken it for Latin rather than the elided English word. ↵<\/a><\/li>
  56. Maria is not named, but in many productions she appears. ↵<\/a><\/li>
  57. The concurrence between Antonio and Orsino confirms for each the impossibility of the other's story. Viola seems only to have been with Orsino a few days. ↵<\/a><\/li>
  58. Except that which (i.e. her love). ↵<\/a><\/li>
  59. Viola defers to her master; Olivia urges her new betrothed (as she thinks) to continue, asking Orsino (probably with a gesture) to wait. ↵<\/a><\/li>
  60. Gross and repugnant. ↵<\/a><\/li>
  61. An acting choice is required as to which of Folio's three short lines constitutes a shared iambic pentameter (probably \"Still . . . lord\") and which a short line, perhaps followed by a pause. ↵<\/a><\/li>
  62. Barbarous. ↵<\/a><\/li>
  63. Ungrateful. ↵<\/a><\/li>
  64. Unpropitious ↵<\/a><\/li>
  65. Both elisions in Folio are for the meter. ↵<\/a><\/li>
  66. Orsino's threat to Olivia is based on the story of a bandit who tried to kill a captive with whom he had fallen in love, in order that she not be enjoyed by his victorious enemies. Thyamis is an Egyptian robber-captain in Heliodorus's Ethiopian History<\/i>. In the event, he killed the wrong woman, which may be Shakespeare's point in having Orsino threaten Olivia. (Orsino turns on Viola only at TLN 2281.) ↵<\/a><\/li>
  67. i.e. has a noble quality. ↵<\/a><\/li>
  68. Disregard. ↵<\/a><\/li>
  69. Forces (as with a threaded instrument such as a vice--or thumbscrews). ↵<\/a><\/li>
  70. Compare \"heart of stone\" (TLN 1718). The unfeeling mistress is a conventional figure of Elizabethan love poetry; what is less common is for the lover to take no for an answer (here, in preparation for his new attachment to Viola). ↵<\/a><\/li>
  71. Darling, favorite (pejorative; and, ironically in view of Orsino's attachment to \"Cesario,\" often of boys loved by men). ↵<\/a><\/li>
  72. Hold, regard. ↵<\/a><\/li>
  73. To the vexation of his master. ↵<\/a><\/li>
  74. Ready to do harm. ↵<\/a><\/li>
  75. i.e. the heart of a black (and predatory) bird within the outward appearance of a beautiful, often white (and loving, at least in poetry) bird. Compare TLN 100-101, TLN 1889-1890, and Rom.<\/i> TLN 1727, \"Dove-feathered raven.\" ↵<\/a><\/li>
  76. Cheerful, ready. ↵<\/a><\/li>
  77. Make you feel easy. ↵<\/a><\/li>
  78. All possible comparisons. ↵<\/a><\/li>
  79. i.e. in the heavens. ↵<\/a><\/li>
  80. Sullying, betraying. ↵<\/a><\/li>
  81. Robbed, cheated. ↵<\/a><\/li>
  82. Olivia refers to the binding contract of betrothal (see TLN 2318 and note to TLN 2141; effectively, a marriage), apparently denied at TLN 2293. The word \"husband,\" in performance, stops everyone dead, and preempts Orsino's exit with Viola. The rhyming couplets started by Orsino at TLN 2286-2287 assist in building the tension, and Viola's confusion (\"wrong\/long, away\/stay, deny\/not I\"). ↵<\/a><\/li>
  83. Suppress your proper identity (as my husband to be). ↵<\/a><\/li>
  84. Him whom you fear (i.e. Orsino). ↵<\/a><\/li>
  85. The turn of events. Compare TLN 94. ↵<\/a><\/li>
  86. Of betrothal. See notes to TLN 2301 and TLN 2141. ↵<\/a><\/li>
  87. Joining. ↵<\/a><\/li>
  88. Covenant, contract: accented on the second syllable. ↵<\/a><\/li>
  89. Confirmed by my office (as a priest). ↵<\/a><\/li>
  90. Displaying his (valuable) watch confirms the slight sense of pomposity in the Priest's speech. ↵<\/a><\/li>
  91. (cunning) fox-cub. ↵<\/a><\/li>
  92. Gray hair. ↵<\/a><\/li>
  93. Skin (here, of the fox \"cub\"). ↵<\/a><\/li>
  94. Wrestling move to \"overthrow\" an opponent. ↵<\/a><\/li>
  95. Presumably Orsino and his courtiers again start to leave, with Viola possibly following in desperation while Olivia, equally desperate, tries to keep her. ↵<\/a><\/li>
  96. Keep at least a little faith. ↵<\/a><\/li>
  97. Evidently Sir Andrew and Sir Toby have met Sebastian again, as we surmise from the blood and TLN 2345. The encounter in 4.1 did not produce these injuries. ↵<\/a><\/li>
  98. A practitioner who treats wounds, fractures, etc., seldom at this time educated to the university level of a physician, and often combining the practice with barbering and pulling teeth. ↵<\/a><\/li>
  99. Immediately. ↵<\/a><\/li>
  100. i.e. He has. ↵<\/a><\/li>
  101. Head (based on the fool's cap; see note to TLN 347-348). ↵<\/a><\/li>
  102. Sir Andrew's error for \"incarnate\" (\"in the flesh\"). ↵<\/a><\/li>
  103. By God's little lives (a mild oath). Sir Andrew's violent reaction at seeing Cesario is partly fear, and in the Armfield film, confusion because he thought he had left him behind. ↵<\/a><\/li>
  104. Think nothing of. ↵<\/a><\/li>
  105. Limping ↵<\/a><\/li>
  106. i.e. beaten. ↵<\/a><\/li>
  107. In a different manner (i.e. more effectively). ↵<\/a><\/li>
  108. i.e. without remedy. ↵<\/a><\/li>
  109. i.e. he has. ↵<\/a><\/li>
  110. (a) fool, (b) drunkard. As at TLN 414. ↵<\/a><\/li>
  111. Ago. ↵<\/a><\/li>
  112. Fixed, immoveable. Some editors have suggested \"closed.\" ↵<\/a><\/li>
  113. A variety of pavan, a slow dance; from the Italian passamezzo pavana<\/i>. \"Pavyn\" was a current spelling, and indicates stress on the first syllable; Folio's \"panyn\" almost certainly results from an \"n\" being mistaken for a \"u\" (= \"v\") in the print shop. The point of Sir Toby's abuse is not clear: is he imagining a slow, swaying drunk, or the lethargy of the surgeon? In 1.3 Sir Toby favored livelier dances. ↵<\/a><\/li>
  114. The irony of Sir Toby's comment on other drunkards may be comic, or, as in Nunn's film, sadly self-aware. ↵<\/a><\/li>
  115. i.e. have our wounds dressed. ↵<\/a><\/li>
  116. Fool. Compare note to TLN 347-348, and H5<\/i> TLN 1926-1927, \"an ass, and a fool, and a prating coxcomb.\" ↵<\/a><\/li>
  117. Dupe, fool. ↵<\/a><\/li>
  118. Folio gives no exit direction, but clearly Sir Toby and Sir Andrew leave, and the Clown and Fabian (who have an entry direction at TLN 2448) with them. In Nunn's film Sir Andrew, his eyes now opened, leaves in a different direction. There is no reason for the Priest to leave, but he could (as could Maria, helping Sir Toby, if she entered with Olivia). Some productions have kept them all on, in the background, although that weakens Olivia's assurance of future justice at TLN 2515-1525, and Fabian's subsequent explanation. Several stage options are open as to where Sebastian enters and whether he sees Sir Toby and the others departing (or they him), but it is essential that he not see Viola until after TLN 2389. ↵<\/a><\/li>
  119. My own brother. ↵<\/a><\/li>
  120. Sensible thought and in self-protection. ↵<\/a><\/li>
  121. Distant (cold) look. He thinks Olivia is angry, but she, like everyone else, is in \"wonder\" (compare TLN 2390). ↵<\/a><\/li>
  122. Costume. See TLN 1900-1904. ↵<\/a><\/li>
  123. Either (a) an illusion seen through a distorting optical device, or, (b) a picture drawn so that its content varies depending on which angle it is viewed from. Accented on the first syllable. Orsino's \"natural perspective, that is, and is not!\" (TLN 2381) cannot be what we normally think of as realistic perspective in drawing. Rather, \"perspective\" is either an optical instrument that deceives the eye when looked through, or the trick perspective of \"double pictures.\" Both were fashionable in the Tudor and Stuart period. Orsino's exclamation \"One face, one voice, one habit, and two persons!\" (TLN 2380) suggests a perspective glass, revealing \"miraculous sights and conceits made and contained in glass. . . . for you may have glasses so made . . . where one image shall seem to be a hundred\" (Reginald Scot, The Discovery of Witchcraft<\/i> [1584], Book 13, Chap. 19 [p. 316]). Alternatively, Orsino may mean graphic distortion of pictures. Two techniques were used: (1) anamorphic drawing, such as that in Holbein's famous painting of \"The Ambassadors,\" in which an ambiguous grey element in the foreground can be seen, if viewed sideways from a particular angle, as a skull, or in which an apparently grotesque picture is revealed, if viewed from an acute angle, as a realistic portrait (as in the anomorphic portrait of Edward VI by William Scrots); or (2) a drawing which appears one thing, but if turned upside down is revealed as something quite different, such as the sixteenth-century anti-Catholic \"Perverted Church\" images below that satirize the Council of Trent. One way up they appear to be the Pope and a cardinal; turned upside down (\"perverted\") the faces have become the devil and a jester. See Inga-Stina Ekeblad, \"Webster's Realism, or, 'A Cunning Piece Wrought Perspective',\" in Brian Morris, ed, John Webster<\/i>, Mermaid Critical Commentaries (London: Benn, 1970), pp. 159\u201378 (esp. pp. 160\u20134), and Arthur H. R. Fairchild, Shakespeare and the Arts of Design<\/i> (Columbia, MO: University of Missouri Press, 1937; repr. New York: Benjamin Blom, 1972), pp. 125\u2013130. ↵<\/a><\/li>
  124. Do you doubt that. ↵<\/a><\/li>
  125. Full of wonder. In performance, something of the modern sense may also come through as Olivia surveys a double helping of Cesario. ↵<\/a><\/li>
  126. To be in two places at once is a divine attribute. ↵<\/a><\/li>
  127. i.e. unfeeling, merciless (not seeing Viola's beauty and virtue). ↵<\/a><\/li>
  128. Out of your generosity (tell me). ↵<\/a><\/li>
  129. i.e. dressed like you (compare TLN 2380). ↵<\/a><\/li>
  130. Ghosts. Although \"spirits\" can refer to devils taking the form of the dead (the reason for Hamlet's caution with the Ghost), here it simply refers to ghosts. How seriously this is taken will vary in different productions. There may also be reference to the attendant spirit (Greek daemon<\/i>) thought to accompany every person throughout life; compare the meeting of the twins in Err.<\/i> TLN 1818-1819, \"which is the natural man, \/ And which the spirit?\" ↵<\/a><\/li>
  131. Bodily form. ↵<\/a><\/li>
  132. Materially, corporeally. ↵<\/a><\/li>
  133. Have in common with others. ↵<\/a><\/li>
  134. Agrees, fits together. ↵<\/a><\/li>
  135. The first mention of her name. ↵<\/a><\/li>
  136. Recollection. Stressed here on the second syllable. ↵<\/a><\/li>
  137. Hinders. ↵<\/a><\/li>
  138. Accord and agree. ↵<\/a><\/li>
  139. At this emotional high point, few Sebastians obey Viola's injunction not to embrace her. ↵<\/a><\/li>
  140. Clothes. ↵<\/a><\/li>
  141. Mistaken. ↵<\/a><\/li>
  142. i.e. Nature leaned in her usual direction (to have male mate with female). In the game of bowls, the \"bias\" is both the off-center lead weight in the bowl, and the curved path it follows as a result. Shakespeare delighted in metaphors deriving from the curved, indirect, path of the weighted (\"biased\") ball used in bowls. Although the ball initially goes in the direction it is bowled, the bias gradually asserts itself and the ball curves away from the line in which it was first heading, and towards the intended target. (Modern lawn bowling no longer uses a weight, but the ball is shaped to perform in the same way.) The application of the metaphor to Olivia's mistaken betrothal to Sebastian is clear: Nature, both human and the personification of the natural order, has ensured that Olivia has curved away from Viola and \"kissed\" (to use another bowls word, for a ball succeeding in resting against the \"jack\") the appropriately heterosexual male, Sebastian. ↵<\/a><\/li>
  143. (a) man who is a virgin, (b) woman and man. ↵<\/a><\/li>
  144. i.e. the \"perspective\" glass (TLN 2381) is still showing truth rather than illusion. ↵<\/a><\/li>
  145. Fortunate. ↵<\/a><\/li>
  146. Wreck, or wreckage thrown ashore. ↵<\/a><\/li>
  147. Orsino's joke is both emotionally charged and wryly self-critical. ↵<\/a><\/li>
  148. As much as (you love) me. ↵<\/a><\/li>
  149. Swear over (and over) again. ↵<\/a><\/li>
  150. As the sun keeps its fire. The \"orb\u00e8d continent\" (spherical container) is either the sun itself or the Ptolemaic sphere in which the sun if fixed. ↵<\/a><\/li>
  151. i.e. the sun. Compare Genesis 1: 14. ↵<\/a><\/li>
  152. Both a physical clasp that is now permissible, and symbolic betrothal. ↵<\/a><\/li>
  153. Legal charge. ↵<\/a><\/li>
  154. Imprisonment. ↵<\/a><\/li>
  155. Free. ↵<\/a><\/li>
  156. This instruction will be to one of her attendants, who presumably has no idea where Malvolio is. Olivia's next line may preempt the exit; Fabian is sent at TLN 2481. ↵<\/a><\/li>
  157. Distraught, mad. ↵<\/a><\/li>
  158. i.e. a madness which drew everything else out of my mind. See TLN 1536-1537 for Olivia's earlier comparison of her madness with Malvolio's. ↵<\/a><\/li>
  159. Memory. ↵<\/a><\/li>
  160. The Clown's convenient entry, Olivia's assumption that he knows about Malvolio, and his sense of who Olivia's question refers to, are required by the plot, and will not be questioned in performance. ↵<\/a><\/li>
  161. Keeps the devil at a distance (proverbial, from quarterstaff fighting). Folio's \"Belzebub\" may reflect Shakespearean pronunciation. ↵<\/a><\/li>
  162. i.e. he has. ↵<\/a><\/li>
  163. This morning. ↵<\/a><\/li>
  164. (a) letters are not divine truth, (b) New Testament Epistles are not New Testament Gospels. The Epistles carry less sacred authority than the Gospels. ↵<\/a><\/li>
  165. Does not matter. ↵<\/a><\/li>
  166. (a) given to the addressee, (b) read aloud (in church, like the \"gospels\"). ↵<\/a><\/li>
  167. (a) reads aloud, (b) speaks on behalf of. ↵<\/a><\/li>
  168. If. ↵<\/a><\/li>
  169. Voice (appropriate to the rhetorical context; Latin). ↵<\/a><\/li>
  170. His real mental state (madness). ↵<\/a><\/li>
  171. Weigh carefully. A deliberately pompous word in what may be a deliberately old-fashioned blank verse line (\"therefore . . . ear\"). ↵<\/a><\/li>
  172. Released. ↵<\/a><\/li>
  173. i.e. be as pleased to approve of me as a sister-in-law (if you marry Viola) as you would have as a wife. ↵<\/a><\/li>
  174. i.e. the relationship created by the double marriage. ↵<\/a><\/li>
  175. Own. ↵<\/a><\/li>
  176. Releases from service, acquits. ↵<\/a><\/li>
  177. Nature, disposition. ↵<\/a><\/li>
  178. (a) pledge of my word, (b) hand in betrothal (compare TLN 2439). ↵<\/a><\/li>
  179. Emphatic delight at the double bond with Viola. ↵<\/a><\/li>
  180. Presumably still in his yellow stockings and cross-garters; Orsino's question may be incredulous. ↵<\/a><\/li>
  181. Compare TLN 2513 and note to TLN 2072. ↵<\/a><\/li>
  182. Malvolio is given blank verse for the first time in the play, perhaps to allow him increased dignity. ↵<\/a><\/li>
  183. Differently. ↵<\/a><\/li>
  184. Handwriting or phraseology. ↵<\/a><\/li>
  185. Composition. ↵<\/a><\/li>
  186. With honorable moderation. ↵<\/a><\/li>
  187. Unmistakable signs. ↵<\/a><\/li>
  188. Pronounced \"bad.\" ↵<\/a><\/li>
  189. Frivolous (i.e. the \"servants,\" TLN 1155). ↵<\/a><\/li>
  190. Fool and dupe. ↵<\/a><\/li>
  191. Contrivance. ↵<\/a><\/li>
  192. Handwriting. ↵<\/a><\/li>
  193. Then (you) came. ↵<\/a><\/li>
  194. Previously suggested to. ↵<\/a><\/li>
  195. This trick has been cunningly played. Manningham's diary also refers to the trick as a \"good practice.\" ↵<\/a><\/li>
  196. Fabian completes Olivia's verse line, which may indicate a quick cue (before things get worse). ↵<\/a><\/li>
  197. Turbulent squabble awaiting (us). ↵<\/a><\/li>
  198. Marveled. Compare TLN 2390; a sense of wonder is a vital element in the resolution of the play. ↵<\/a><\/li>
  199. As a consequence of willful incivility we saw and resented in him. ↵<\/a><\/li>
  200. Importunity. ↵<\/a><\/li>
  201. Reaction of those on stage to this news may be a significant pointer to the tone of the production. ↵<\/a><\/li>
  202. Pursued, carried out. ↵<\/a><\/li>
  203. Induce. ↵<\/a><\/li>
  204. (a) confounded, (b) displayed to the world as disgraced. As TLN 1165. ↵<\/a><\/li>
  205. The Clown can mimic Malvolio's manner of speech in the various quotes which follow, which are close to what he said in 2.5, 4.2, and 1.5. ↵<\/a><\/li>
  206. Play, entertainment. ↵<\/a><\/li>
  207. Of no consequence. Compare TLN 2359 and TLN 2578. ↵<\/a><\/li>
  208. If. ↵<\/a><\/li>
  209. Either (a) time's spinning top (which is whipped to keep it turning), or (b) a merry-go-round. Both meanings suggest \"The wheel is come full circle\" (Lr.<\/i> TLN 3136). ↵<\/a><\/li>
  210. Malvolio picks up the Clown's \"revenges\"; \"pack\" refers to a gang of conspirators. ↵<\/a><\/li>
  211. Possibly Olivia is picking up two Malvolioisms (see TLN 2498, TLN 2513, TLN 2033, and especially TLN 2072-2073). ↵<\/a><\/li>
  212. Folio gives no exit; Fabian, who has played the peacemaker, seems the obvious choice. ↵<\/a><\/li>
  213. i.e. favorable and precious, recalling the idyllic \"golden age\" of an ideal world. Compare \"golden world in AYL<\/i> TLN 117-119. ↵<\/a><\/li>
  214. Convenes, calls (us) together. Stress is on the second syllable. ↵<\/a><\/li>
  215. (a) loving, (b) precious. ↵<\/a><\/li>
  216. Orsino, by using the emphatic \"will\" rather than \"shall,\" underlines the harmony of the two couples and households in his promise to remain at Olivia's house. ↵<\/a><\/li>
  217. In this preparation for the final exit (to marriage and feasting, as traditional in comedy), Orsino presumably takes Viola's hand, and Sebastian Olivia's. ↵<\/a><\/li>
  218. i.e. I would have you to be. ↵<\/a><\/li>
  219. Love's (without the pejorative overtones of TLN 18-19). ↵<\/a><\/li>
  220. The song is a form of epilogue, acknowledging and farewelling the audience (compare Puck in MND<\/i> and Rosalind in AYL<\/i>). There is no need for the Clown to exit, then reenter for the song. ↵<\/a><\/li>
  221. The song is a form of epilogue, acknowledging and farewelling the audience (compare Puck in MND<\/i> and Rosalind in AYL<\/i>). It is generally agreed to be a thematic comment on the world of Twelfth Night<\/i>. The traditional music may be later than Shakespeare. It is not known if the words are his (a similar verse is included in Lr.<\/i>). In the Armfield film, the moon on a backdrop moves down onto the Clown and is revealed as a theatrical followspot. ↵<\/a><\/li>
  222. Either emphatic, or an extra word to fit the music. ↵<\/a><\/li>
  223. (a) bad behavior, (b) penis. ↵<\/a><\/li>
  224. (a) trifle, (b) useless \"thing\" (like the Clown's bauble, which may itself be used as a mock phallus). ↵<\/a><\/li>
  225. i.e. (once I was an adult) men locked their doors against knaves and thieves (like me). The possibly sexual connotation of \"foolish thing\" is not insisted on here. ↵<\/a><\/li>
  226. Blustering, bullying. Compare TLN 1696-1699 for approbation of swaggering \"manhood,\" and Doll Tearsheet in 2H4<\/i>, who calls Pistol a \"swaggering rascal\" (TLN 1098). ↵<\/a><\/li>
  227. Either (a) when I came to whichever place served me as a bed, like the other drunks (\"tosspots\") I had (\"'had\") hangovers all the time (\"still\"), or (b) when I grew old, I was always drunk. The syntax is awkward, and supporters of the second version emend to singular \"bed, head.\" ↵<\/a><\/li>
  228. Epilogues traditionally announce the end of the play by seeking audience approval, and often encourage future attendance. Compare AWW<\/i>, where in the epilogue the King seeks applause \"which we will pay, \/ With strife to please you, day exceeding day\" (TLN 3075-3076). ↵<\/a><\/li><\/ol><\/div>","protected":false},"author":90,"menu_order":5,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":["william-shakespeare"],"pb_section_license":"public-domain"},"chapter-type":[],"contributor":[60],"license":[50],"class_list":["post-198","chapter","type-chapter","status-publish","hentry","contributor-william-shakespeare","license-public-domain"],"part":188,"_links":{"self":[{"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/pressbooks\/v2\/chapters\/198","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/wp\/v2\/users\/90"}],"version-history":[{"count":1,"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/pressbooks\/v2\/chapters\/198\/revisions"}],"predecessor-version":[{"id":199,"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/pressbooks\/v2\/chapters\/198\/revisions\/199"}],"part":[{"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/pressbooks\/v2\/parts\/188"}],"metadata":[{"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/pressbooks\/v2\/chapters\/198\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/wp\/v2\/media?parent=198"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/pressbooks\/v2\/chapter-type?post=198"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/wp\/v2\/contributor?post=198"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/opentextbc.ca\/provincialenglish\/wp-json\/wp\/v2\/license?post=198"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}