Twelfth Night | Act I, Act I

Act I

Scene I

Duke Orsino'

[Enter Duke, Curio, Lords; Musicians attending.]

DUKE ORSINO:
If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.
That strain again! it had a dying fall:
O, it came o'er my ear like the sweet sound,(5)
That breathes upon a bank of violets,
Stealing and giving odour! Enough; no more;
'Tis not so sweet now as it was before.
O spirit of love! how quick and fresh art thou,
That, notwithstanding thy capacity(10)
Receiveth as the sea, nought enters there,
Of what validity and pitch soe'er,
But falls into abatement and low price,
Even in a minute: so full of shapes is fancy
That it alone is high fantastical.(15)
CURIO:
Will you go hunt, my lord?
DUKE ORSINO:
What, Curio?
CURIO:
The hart.
DUKE ORSINO:
Why, so I do, the noblest that I have:
O, when mine eyes did see Olivia first,(20)
Methought she purg'd the air of pestilence!
That instant was I turn'd into a hart;
And my desires, like fell and cruel hounds,
E'er since pursue me.

[Enter Valentine.]

How now! what news from her?(25)
VALENTINE:
So please my lord, I might not be admitted;
But from her handmaid do return this answer:
The element itself, till seven years' heat,
Shall not behold her face at ample view;
But, like a cloistress, she will veiled walk(30)
And water once a day her chamber round
With eye-offending brine: all this to season
A brother's dead love, which she would keep fresh
And lasting in her sad remembrance.
DUKE ORSINO:
O, she that hath a heart of that fine frame(35)
To pay this debt of love but to a brother,
How will she love, when the rich golden shaft
Hath kill'd the flock of all affections else
That live in her; when liver, brain, and heart,
These sovereign thrones, are all supplied, and fill'd(40)
Her sweet perfections with one self king!
Away before me to sweet beds of flowers:
Love-thoughts lie rich when canopied with bowers.

[Exeunt.]

Scene II

The sea-coast

[Enter Viola, Captain, and Sailors.]

VIOLA:
What country, friends, is this?
CAPTAIN:
This is Illyria, lady.
VIOLA:
And what should I do in Illyria?
My brother he is in Elysium.
Perchance he is not drown'd: what think you, sailors?(5)
CAPTAIN:
It is perchance that you yourself were saved.
VIOLA:
O my poor brother! and so perchance may he be.
CAPTAIN:
True, madam; and, to comfort you with chance,
Assure yourself, after our ship did split,
When you and those poor number saved with you(10)
Hung on our driving boat, I saw your brother,
Most provident in peril, bind himself,
Courage and hope both teaching him the practice,
To a strong mast that lived upon the sea;
Where, like Arion on the dolphin's back,(15)
I saw him hold acquaintance with the waves
So long as I could see.
VIOLA:
For saying so, there's gold.
Mine own escape unfoldeth to my hope,
Whereto thy speech serves for authority,(20)
The like of him. Know'st thou this country?
CAPTAIN:
Ay, madam, well; for I was bred and born
Not three hours' travel from this very place.
VIOLA:
Who governs here?
CAPTAIN:
A noble duke, in nature(25)
As in name.
VIOLA:
What is his name?
CAPTAIN:
Orsino.
VIOLA:
Orsino! I have heard my father name him.
He was a bachelor then.(30)
CAPTAIN:
And so is now, or was so very late;
For but a month ago I went from hence,
And then 'twas fresh in murmur,—as, you know,
What great ones do the less will prattle of,—
That he did seek the love of fair Olivia.(35)
VIOLA:
What's she?
CAPTAIN:
A virtuous maid, the daughter of a count
That died some twelvemonth since; then leaving her
In the protection of his son, her brother,
Who shortly also died: for whose dear love,(40)
They say, she hath abjured the company
And sight of men.
VIOLA:
O that I served that lady
And might not be delivered to the world,
Till I had made mine own occasion mellow,(45)
What my estate is!
CAPTAIN:
That were hard to compass;
Because she will admit no kind of suit,
No, not the Duke's.
VIOLA:
There is a fair behavior in thee, captain;(50)
And though that nature with a beauteous wall
Doth oft close in pollution, yet of thee
I will believe thou hast a mind that suits
With this thy fair and outward character.
I prithee, and I'll pay thee bounteously,(55)
Conceal me what I am, and be my aid
For such disguise as haply shall become
The form of my intent. I'll serve this duke:
Thou shalt present me as an eunuch to him:
It may be worth thy pains; for I can sing(60)
And speak to him in many sorts of music
That will allow me very worth his service.
What else may hap to time I will commit;
Only shape thou silence to my wit.
CAPTAIN:
Be you his eunuch, and your mute I'll be:(65)
When my tongue blabs, then let mine eyes not see.
VIOLA:
I thank thee: lead me on.

[Exeunt.]

Scene III

Olivia's House.

[Enter Sir Toby Belch and Maria.]

SIR TOBY:
What a plague means my niece, to take the death of
her brother thus? I am sure care's an enemy to life.
MARIA:
By my troth, Sir Toby, you must come in earlier o'
nights: your cousin, my lady, takes great exceptions to
your ill hours.(5)
SIR TOBY:
Why, let her except, before excepted.
MARIA:
Ay, but you must confine yourself within the
modest limits of order.
SIR TOBY:
Confine? I'll confine myself no finer than I am:
these clothes are good enough to drink in; and so be these(10)
boots too: an they be not, let them hang themselves in
their own straps.
MARIA:
That quaffing and drinking will undo you: I heard my
lady talk of it yesterday; and of a foolish knight that you
brought in one night here to be her wooer.(15)
SIR TOBY:
Who, Sir Andrew Aguecheek?
MARIA:
Ay, he.
SIR TOBY:
He's as tall a man as any's in Illyria.
MARIA:
What's that to the purpose?
SIR TOBY:
Why, he has three thousand ducats a year.(20)
MARIA:
Ay, but he'll have but a year in all these ducats: he's a
very fool, and a prodigal.
SIR TOBY:
Fie, that you'll say so! he plays o' the viol-de-gam-
boys, and speaks three or four languages word for word
without book, and hath all the good gifts of nature.(25)
MARIA:
He hath indeed, almost natural: for besides that he's
a fool, he's a great quarreler; and but that he hath the gift
of a coward to allay the gust he hath in quarrelling, 'tis
thought among the prudent he would quickly have the gift
of a grave.(30)
SIR TOBY:
By this hand, they are scoundrels and substractors
that say so of him. Who are they?
MARIA:
They that add, moreover, he's drunk nightly in your
company.
SIR TOBY:
With drinking healths to my niece: I'll drink to her as(35)
long as there is a passage in my throat and drink in Illyria.
He's a coward and a coystrill that will not drink to my niece
till his brains turn o' the toe like a parish-top. What, wench!
Castiliano vulgo! for here comes Sir Andrew Agueface.

[Enter Sir Andrew Aguecheek.]

SIR ANDREW:
Sir Toby Belch! how now, Sir Toby Belch!(40)
SIR TOBY:
Sweet Sir Andrew!
SIR ANDREW:
Bless you, fair shrew.
MARIA:
And you too, sir.
SIR TOBY:
Accost, Sir Andrew, accost.
SIR ANDREW:
What's that?(45)
SIR TOBY:
My niece's chambermaid.
SIR ANDREW:
Good Mistress Accost, I desire better
acquaintance.
MARIA:
My name is Mary, sir.
SIR ANDREW:
Good Mistress Mary Accost,—(50)
SIR TOBY:
You mistake, knight; ‘accost’ is front her, board her,
woo her, assail her.
SIR ANDREW:
By my troth, I would not undertake her in this
company. Is that the meaning of ‘accost’?
MARIA:
Fare you well, gentlemen.(55)
SIR TOBY:
An thou let part so, Sir Andrew, would thou mightst
never draw sword again.
SIR ANDREW:
An you part so, mistress, I would I might never
draw sword again. Fair lady, do you think you have fools
in hand?(60)
MARIA:
Sir, I have not you by the hand.
SIR ANDREW:
Marry, but you shall have; and here's my
hand.
MARIA:
Now, sir, thought is free. I pray you, bring your hand
to the buttery-bar and let it drink.(65)
SIR ANDREW:
Wherefore, sweetheart? what's your metaphor?
MARIA:
It's dry, sir.
SIR ANDREW:
Why, I think so: I am not such an ass but I can
keep my hand dry. But what's your jest?(70)
MARIA:
A dry jest, sir.
SIR ANDREW:
Are you full of them?
MARIA:
Ay, sir, I have them at my fingers' ends: marry, now I
let go your hand, I am barren.

[Exit Maria.]

SIR TOBY:
O knight, thou lackest a cup of canary: when did(75)
I see thee so put down?
SIR ANDREW:
Never in your life, I think; unless you see canary
put me down. Methinks sometimes I have no more wit
than a Christian or an ordinary man has; but I am great
eater of beef, and I believe that does harm to my wit.(80)
SIR TOBY:
No question.
SIR ANDREW:
An I thought that, I'd forswear it. I'll ride home
tomorrow, Sir Toby.
SIR TOBY:
Pourquoi, my dear knight?
SIR ANDREW:
What is ‘Pourquoi’? Do or not do? I would I had(85)
bestowed that time in the tongues that I have in fenc-
ing, dancing, and bear-baiting. Oh, had I but followed
the arts!
SIR TOBY:
Then hadst thou had an excellent head of hair.
SIR ANDREW:
Why, would that have mended my hair?(90)
SIR TOBY:
Past question; for thou seest it will not curl by
nature.
SIR ANDREW:
But it becomes me well enough, does't not?
SIR TOBY:
Excellent; it hangs like flax on a distaff; and I hope
to see a housewife take thee between her legs and spin(95)
it off.
SIR ANDREW:
Faith, I'll home tomorrow, Sir Toby: your niece
will not be seen; or, if she be, it's four to one she'll none of
me. The Count himself here hard by woos her.
SIR TOBY:
She'll none o' the Count: she'll not match above her(100)
degree, neither in estate, years, nor wit; I have heard
her swear't. Tut, there's life in't, man.
SIR ANDREW:
I'll stay a month longer. I am a fellow o' the
strangest mind i' the world; I delight in masques and revels
sometimes altogether.(105)
SIR TOBY:
Art thou good at these kickshawses, knight?
SIR ANDREW:
As any man in Illyria, whatsoever he be, under the
degree of my betters; and yet I will not compare with an old
man.
SIR TOBY:
What is thy excellence in a galliard, knight?(110)
SIR ANDREW:
Faith, I can cut a caper.
SIR TOBY:
And I can cut the mutton to't.
SIR ANDREW:
And, I think I have the back-trick simply as strong
as any man in Illyria.
SIR TOBY:
Wherefore are these things hid? wherefore have these(115)
gifts a curtain before 'em? are they like to take dust, like
Mistress Mall's picture? why dost thou not go to church
in a galliard and come home in a coranto? My very walk
should be a jig; I would not so much as make water but in
a sink-a-pace. What dost thou mean? Is it a world to hide(120)
virtues in? I did think, by the excellent constitution of thy
leg, it was formed under the star of a galliard.
SIR ANDREW:
Ay, 'tis strong, and it does indifferent well in flame-
colour'd stock. Shall we set about some revels?
SIR TOBY:
What shall we do else? were we not born under(125)
Taurus?
SIR ANDREW:
Taurus? that's sides and heart.
SIR TOBY:
No, sir; it is legs and thighs. Let me see thee caper; ha!
higher! ha, ha! excellent!

[Exeunt.]

Scene IV

Duke Orsino' Palace

[Enter Valentine, and viola in man's attire.]

VALENTINE:
If the Duke continue these favours towards you,
Cesario, you are like to be much advanced: he hath known
you but three days, and already you are no stranger.
VIOLA:
You either fear his humour or my negligence, that you
call in question the continuance of his love: is he inconstant,(5)
sir, in his favours?
VALENTINE:
No, believe me.
VIOLA:
I thank you. Here comes the Count.

[Enter Duke, Curio, and Attendants.]

DUKE ORSINO:
Who saw Cesario, ho?
VIOLA:
On your attendance, my lord; here.(10)
DUKE ORSINO:
Stand you awhile aloof.—Cesario,
Thou know'st no less but all; I have unclasp'd
To thee the book even of my secret soul:
Therefore, good youth, address thy gait unto her;
Be not denied access, stand at her doors,(15)
And tell them, there thy fixed foot shall grow
Till thou have audience.
VIOLA:
Sure, my noble lord,
If she be so abandon'd to her sorrow
As it is spoke, she never will admit me.(20)
DUKE ORSINO:
Be clamorous and leap all civil bounds,
Rather than make unprofited return.
VIOLA:
Say I do speak with her, my lord, what then?
DUKE ORSINO:
O, then unfold the passion of my love,
Surprise her with discourse of my dear faith:(25)
It shall become thee well to act my woes;
She will attend it better in thy youth
Than in a nuncio's of more grave aspect.
VIOLA:
I think not so, my lord.
DUKE ORSINO:
Dear lad, believe it;(30)
For they shall yet belie thy happy years,
That say thou art a man: Diana's lip
Is not more smooth and rubious; thy small pipe
Is as the maiden's organ, shrill and sound,
And all is semblative a woman's part.(35)
I know thy constellation is right apt
For this affair. Some four or five attend him:
All, if you will; for I myself am best
When least in company. Prosper well in this
And thou shalt live as freely as thy lord,(40)
To call his fortunes thine.
VIOLA:
I'll do my best
To woo your lady. [Aside] Yet, a barful strife!
Whoe'er I woo, myself would be his wife.

[Exeunt.]

Scene V

Olivia's House.

[Enter Maria and Clown.]

MARIA:
Nay, either tell me where thou hast been, or I will not
open my lips so wide as a bristle may enter in way of thy
excuse: my lady will hang thee for thy absence.
CLOWN:
Let her hang me: he that is well hanged in this world
needs to fear no colours.(5)
MARIA:
Make that good.
CLOWN:
He shall see none to fear.
MARIA:
A good lenten answer: I can tell thee where that saying
was born, of, ‘I fear no colours.’
CLOWN:
Where, good Mistress Mary?(10)
MARIA:
In the wars; and that may you be bold to say in your
foolery.
CLOWN:
Well, God give them wisdom that have it; and those that
are fools, let them use their talents.
MARIA:
Yet you will be hanged for being so long absent; or, to be(15)
turned away, is not that as good as a hanging to you?
CLOWN:
Many a good hanging prevents a bad marriage; and, for
turning away, let summer bear it out.
MARIA:
You are resolute, then?
CLOWN:
Not so, neither; but I am resolved on two points.(20)
MARIA:
That if one break, the other will hold; or, if both break,
your gaskins fall.
CLOWN:
Apt, in good faith; very apt. Well, go thy way; if Sir Toby
would leave drinking, thou wert as witty a piece of Eve's
flesh as any in Illyria.(25)
MARIA:
Peace, you rogue; no more o' that; here comes my lady:
make your excuse wisely; you were best.

[Exit.]

CLOWN:
Wit, an't be thy will, put me into good fooling! Those
wits that think they have thee, do very oft prove fools; and I,
that am sure I lack thee, may pass for a wise man: for what(30)
says Quinapalus? ‘Better a witty fool than a foolish wit.’

[Enter Olivia and Malvolio.]

God bless thee, lady!
OLIVIA:
Take the fool away.
CLOWN:
Do you not hear, fellows? Take away the lady.
OLIVIA:
Go to, you're a dry fool; I'll no more of you: besides,(35)
you grow dishonest.
CLOWN:
Two faults, madonna, that drink and good counsel
will amend: for give the dry fool drink, then is the fool
not dry; bid the dishonest man mend himself: if he mend,
he is no longer dishonest; if he cannot, let the botcher(40)
mend him. Any thing that's mended is but patched.
Virtue that transgresses is but patched with sin; and
sin that amends is but patched with virtue. If that this
simple syllogism will serve, so; if it will not, what remedy?
As there is no true cuckold but calamity, so beauty's(45)
a flower: The lady bade take away the fool; therefore, I
say again, take her away.
OLIVIA:
Sir, I bade them take away you.
CLOWN:
Misprision in the highest degree! Lady, ‘Cucullus
non facit monachum’—that's as much to say as I wear not(50)
motley in my brain. Good madonna, give me leave to
prove you a fool.
OLIVIA:
Can you do it?
CLOWN:
Dexteriously, good madonna.
OLIVIA:
Make your proof.(55)
CLOWN:
I must catechize you for it, madonna. Good my
mouse of virtue, answer me.
OLIVIA:
Well, sir, for want of other idleness, I'll 'bide your
proof.
CLOWN:
Good madonna, why mourn'st thou?(60)
OLIVIA:
Good fool, for my brother's death.
CLOWN:
I think his soul is in hell, madonna.
OLIVIA:
I know his soul is in heaven, fool.
CLOWN:
The more fool, madonna, to mourn for your brother's
soul being in heaven. Take away the fool, gentlemen.(65)
OLIVIA:
What think you of this fool, Malvolio? Doth he not
mend?
MALVOLIO:
Yes; and shall do till the pangs of death shake
him. Infirmity, that decays the wise, doth ever make the
better fool.(70)
CLOWN:
God send you, sir, a speedy infirmity, for the better
increasing your folly! Sir Toby will be sworn that I am no
fox; but he will not pass his word for two pence that you
are no fool.
OLIVIA:
How say you to that, Malvolio?(75)
MALVOLIO:
I marvel your ladyship takes delight in such a
barren rascal; I saw him put down the other day with an
ordinary fool that has no more brain than a stone. Look you
now, he's out of his guard already; unless you laugh and minister
occasion to him, he is gagged. I protest, I take these(80)
wise men that crow so at these set kind of fools, no better
than the fools' zanies.
OLIVIA:
O, you are sick of self-love, Malvolio, and taste with
a distempered appetite. To be generous, guiltless, and of free
disposition, is to take those things for bird-bolts that you(85)
deem cannon-bullets. There is no slander in an allowed fool,
though he do nothing but rail; nor no railing in a known
discreet man, though he do nothing but reprove.
CLOWN:
Now Mercury endue thee with leasing, for thou speakest
well of fools!(90)

[Re-enter Maria .]

MARIA:
Madam, there is at the gate a young gentleman much
desires to speak with you.
OLIVIA:
From the Count Orsino, is it?
MARIA:
I know not, madam; 'tis a fair young man, and well
attended.(95)
OLIVIA:
Who of my people hold him in delay?
MARIA:
Sir Toby, madam, your kinsman.
OLIVIA:
Fetch him off, I pray you; he speaks nothing but mad-
man. Fie on him!

[Exit Maria]

Go you, Malvolio: if it be a suit from the Count, I am sick,(100)
or not at home; what you will to dismiss it.

[Exit Malvolio.]

Now you see, sir, how your fooling grows old, and people
dislike it.
CLOWN:
Thou hast spoke for us, madonna, as if thy eldest
son should be a fool; whose skull Jove cram with brains,(105)
for,—here he comes,—one of thy kin, has a most weak pia
mater.

[Enter Sir Toby.]

OLIVIA:
By mine honour, half drunk. What is he at the gate,
cousin?
SIR TOBY:
A gentleman.(110)
OLIVIA:
A gentleman? What gentleman?
SIR TOBY:
'Tis a gentleman here—a plague o' these pickle-herring!
—How now, sot?
CLOWN:
Good Sir Toby!
OLIVIA:
Cousin, cousin, how have you come so early by this(115)
lethargy?
SIR TOBY:
Lechery! I defy lechery. There's one at the gate.
OLIVIA:
Ay, marry; what is he?
SIR TOBY:
Let him be the devil an he will, I care not: give me
faith, say I. Well, it's all one.(120)

[Exit.]

OLIVIA:
What's a drunken man like, fool?
CLOWN:
Like a drowned man, a fool, and a madman: one
draught above heat makes him a fool; the second mads
him; and a third drowns him.
OLIVIA:
Go thou and seek the crowner, and let him sit o' my(125)
coz; for he's in the third degree of drink; he's drowned:
go, look after him.
CLOWN:
He is but mad yet, madonna; and the fool shall look
to the madman.

[Exit.]

[Re-enter Malvolio .]

MALVOLIO:
Madam, yond young fellow swears he will speak(130)
with you. I told him you were sick; he takes on him to
understand so much, and therefore comes to speak with
you. I told him you were asleep; he seems to have a fore-
knowledge of that too, and therefore comes to speak with
you. What is to be said to him, lady? he's fortified against(135)
any denial.
OLIVIA:
Tell him, he shall not speak with me.
MALVOLIO:
Has been told so; and he says, he'll stand at your
door like a sheriff's post, and be the supporter to a
bench, but he'll speak with you.(140)
OLIVIA:
What kind of man is he?
MALVOLIO:
Why, of mankind.
OLIVIA:
What manner of man?
MALVOLIO:
Of very ill manner; he'll speak with you, will you
or no.(145)
OLIVIA:
Of what personage and years is he?
MALVOLIO:
Not yet old enough for a man, nor young enough
for a boy; as a squash is before 'tis a peascod, or a codling,
when 'tis almost an apple: 'tis with him in standing water,
between boy and man. He is very well-favoured, and he(150)
speaks very shrewishly; one would think his mother's milk
were scarce out of him.
OLIVIA:
Let him approach. Call in my gentlewoman.
MALVOLIO:
Gentlewoman, my lady calls.

[Exit.]

[Re-enter Maria.]

OLIVIA:
Give me my veil; come, throw it o'er my face. We'll once(155)
more hear Orsino's embassy.

[Enter Viola.]

VIOLA:
The honourable lady of the house, which is she?
OLIVIA:
Speak to me; I shall answer for her. Your will?
VIOLA:
Most radiant, exquisite, and unmatchable beauty,—I pray
you, tell me if this be the lady of the house, for I never saw(160)
her: I would be loath to cast away my speech, for besides
that it is excellently well penned, I have taken great pains to
con it. Good beauties, let me sustain no scorn; I am very
comptible, even to the least sinister usage.
OLIVIA:
Whence came you, sir?(165)
VIOLA:
I can say little more than I have studied, and that
question's out of my part. Good gentle one, give me modest
assurance, if you be the lady of the house, that I may proceed
in my speech.
OLIVIA:
Are you a comedian?(170)
VIOLA:
No, my profound heart: and yet, by the very fangs of
malice I swear, I am not that I play. Are you the lady of the
house?
OLIVIA:
If I do not usurp myself, I am.
VIOLA:
Most certain, if you are she, you do usurp yourself; for(175)
what is yours to bestow is not yours to reserve. But this is
from my commission: I will on with my speech in your
praise, and then show you the heart of my message.
OLIVIA:
Come to what is important in't: I forgive you the
praise.(180)
VIOLA:
Alas, I took great pains to study it, and 'tis poetical.
OLIVIA:
It is the more like to be feigned: I pray you, keep it in.
I heard you were saucy at my gates, and allowed your
approach rather to wonder at you than to hear you. If you
be not mad, be gone; if you have reason, be brief: 'tis not(185)
that time of moon with me to make one in so skipping
a dialogue.
MARIA:
Will you hoist sail, sir? here lies your way.
VIOLA:
No, good swabber; I am to hull here a little longer.
Some mollification for your giant, sweet lady.(190)
OLIVIA:
Tell me your mind.
VIOLA:
I am a messenger.
OLIVIA:
Sure, you have some hideous matter to deliver, when
the courtesy of it is so fearful. Speak your office.
VIOLA:
It alone concerns your ear. I bring no overture of war,(195)
no taxation of homage: I hold the olive in my hand; my
words are as full of peace as matter.
OLIVIA:
Yet you began rudely. What are you? what would
you?
VIOLA:
The rudeness that hath appeared in me have I learned(200)
from my entertainment. What I am, and what I would,
are as secret as maidenhead; to your ears, divinity; to
any other's, profanation.
OLIVIA:
Give us the place alone: we will hear this divinity.

[Exit Maria.]

Now, sir, what is your text?(205)
VIOLA:
Most sweet lady,—
OLIVIA:
A comfortable doctrine, and much may be said of it.
Where lies your text?
VIOLA:
In Orsino's bosom.
OLIVIA:
In his bosom? In what chapter of his bosom?(210)
VIOLA:
To answer by the method, in the first of his heart.
OLIVIA:
O, I have read it: it is heresy. Have you no more to
say?
VIOLA:
Good madam, let me see your face.
OLIVIA:
Have you any commission from your lord to negotiate(215)
with my face? you are now out of your text: but we
will draw the curtain and show you the picture.

[Unveiling.]

Look you, sir, such a one I was this present. Is't not well
done?(220)
VIOLA:
Excellently done, if God did all.
OLIVIA:
'Tis in grain, sir; 'twill endure wind and weather.
VIOLA:
'Tis beauty truly blent, whose red and white
Nature's own sweet and cunning hand laid on:
Lady, you are the cruell'st she alive,(225)
If you will lead these graces to the grave
And leave the world no copy.
OLIVIA:
O, sir, I will not be so hard-hearted; I will give out
divers schedules of my beauty: it shall be inventoried,
and every particle and utensil labelled to my will: as, item,(230)
two lips, indifferent red; item, two grey eyes, with lids to
them; item, one neck, one chin, and so forth. Were you sent
hither to praise me?
VIOLA:
I see you what you are: you are too proud;
But, if you were the devil, you are fair.(235)
My lord and master loves you: O, such love
Could be but recompensed, though you were crown'd
The nonpareil of beauty!
OLIVIA:
How does he love me?
VIOLA:
With adorations, fertile tears,(240)
With groans that thunder love, with sighs of fire.
OLIVIA:
Your lord does know my mind; I cannot love him:
Yet I suppose him virtuous, know him noble,
Of great estate, of fresh and stainless youth;
In voices well divulged, free, learn'd, and valiant,(245)
And in dimension and the shape of nature,
A gracious person: but yet I cannot love him;
He might have took his answer long ago.
VIOLA:
If I did love you in my master's flame,
With such a suffering, such a deadly life,(250)
In your denial I would find no sense;
I would not understand it.
OLIVIA:
Why, what would you?
VIOLA:
Make me a willow cabin at your gate,
And call upon my soul within the house;(255)
Write loyal cantons of contemned love
And sing them loud, even in the dead of night;
Halloo your name to the reverberate hills
And make the babbling gossip of the air
Cry out ‘Olivia!’ O, you should not rest(260)
Between the elements of air and earth,
But you should pity me.
OLIVIA:
You might do much.
What is your parentage?
VIOLA:
Above my fortunes, yet my state is well:(265)
I am a gentleman.
OLIVIA:
Get you to your lord;
I cannot love him: let him send no more;
Unless, perchance, you come to me again,
To tell me how he takes it. Fare you well:(270)
I thank you for your pains: spend this for me.
VIOLA:
I am no fee'd post, lady; keep your purse:
My master, not myself, lacks recompense.
Love make his heart of flint that you shall love;
And let your fervor, like my master's, be(275)
Placed in contempt! Farewell, fair cruelty.

[Exit.]

OLIVIA:
‘What is your parentage?’
‘Above my fortunes, yet my state is well:
I am a gentleman.’ I'll be sworn thou art;
Thy tongue, thy face, thy limbs, actions, and spirit,(280)
Do give thee five-fold blazon: not too fast: soft, soft!
Unless the master were the man. How now?
Even so quickly may one catch the plague?
Methinks I feel this youth's perfections
With an invisible and subtle stealth(285)
To creep in at mine eyes. Well, let it be.
What, ho, Malvolio!

[Re-enter Malvolio.]

MALVOLIO:
Here, madam, at your service.
OLIVIA:
Run after that same peevish messenger,
The County's man: he left this ring behind him,(290)
Would I or not: tell him I'll none of it.
Desire him not to flatter with his lord,
Nor hold him up with hopes; I am not for him:
If that the youth will come this way tomorrow,
I'll give him reasons for't: hie thee, Malvolio.(295)
MALVOLIO:
Madam, I will.

[Exit.]

OLIVIA:
I do I know not what, and fear to find
Mine eye too great a flatterer for my mind.
Fate, show thy force: ourselves we do not owe;
What is decreed must be, and be this so.(300)

[Exit.]

  • filling to excess
  • Orsino is saying that since music is the food of love, he wants it to continue playing so his appetite for love will be filled so much that it will eventually die. This opening line tells us a lot about Orsino's character and also about one of the themes of the play. Orsino is melodramatic about his love for Olivia, as the above line illustrates. Throughout the play, it seems as though he is more in love with the idea of being in love than with Olivia herself. The line also establishes the theme of love as a sickness or a force that strikes people without warning or invitation. Both Orsino and Olivia are self-involved people who actually enjoy the suffering and drama that being in love brings.
  • musical note
  • cadence
  • Orsino means that love is so great that it has the capacity of the sea. However, anything that falls into love (as if love is a great ocean) eventually loses its value, no matter how priceless it had been before. Just as things are transformed into insignificance by the sea, they are also swallowed up and made unimportant by love.
  • nothing
  • height
  • soever (as in whatsoever)
  • a lessening
  • diminished value
  • Orsino means that love (fancy) is deceptive, can take many forms, and can be more about fantasy than about reality. Instead of being truly in love, Orsino seems to be a victim of the fantasy of love.
  • deer
  • Curio has just asked Orsino about hunting the hart, a male deer. Orsino, however, gives the word a double meaning. By “the noblest that I have,” he refers to both a hart and a heart (Olivia's).
  • disease
  • a male deer
  • fierce
  • Orsino is referring to the ancient Greek myth of Actaeon and Artemis. Actaeon was out hunting when he saw the naked Artemis bathing. As punishment for watching her, she turned him into a deer. Actaeon was then chased and torn to pieces by his own hounds. In this metaphor, Orsino compares himself to Actaeon and compares his desires to the destructive hounds.
  • a female attendant
  • sky, air
  • until seven years of the sun's course across the sky
  • a nun
  • “…;she will veiled walk…;eye-offending brine…;” – Valentine is explaining that Olivia wears a veil and stays in her room all day mourning for her dead brother. The “eye-offending brine” refers to tears that she cries at least once a day.
  • a reference to the golden arrow of Cupid, the Roman god of love
  • While Elizabethans considered the brain the center of thought, both the liver and the heart were believed to be the locations of love and emotion.
  • an ancient country on the Adriatic Sea, somewhere near present-day Albania
  • the only good part of Hades, the Underworld; this is the Greek equivalent of paradise, where righteous people were supposed to find happiness after they died. It is sometimes referred to as the Elysian Fields or Plains.
  • wise
  • The captain is referring to the story of Arion, a Greek poet living in the 7th century BC, who was supposedly saved from drowning by a dolphin. According to legend, Arion was threatened by pirates. Before throwing him overboard, the pirates allowed him to sing one last song. The dolphin was charmed by Arion's voice and carried him away to safety.
  • from this place
  • it was rumored
  • mindless chatter
  • renounced; gave up
  • In this passage, Viola expresses her wish to remain anonymous and unknown until she decides to divulge her true identity as a noblewoman.
  • That will be hard to achieve
  • request or petition
  • This metaphor expresses the idea that looks can be deceiving and that an outwardly virtuous person might be immoral inside.
  • I beg you
  • plentifully, abundantly
  • Viola has decided to disguise herself as a young man in order to be hired as a servant in Orsino's household. This passage sets up one of the main conflicts of the play.
  • Eunuchs were males who had been castrated, which resulted in the stunting of certain growth characteristics, such as growing beards or the deepening of the voice. Eunuchs were generally employed as servants to royalty or as guardians of harems because they were believed to be less threatening than other men. Viola cleverly realizes that she may be able to get away with her disguise more easily if people believe she is a eunuch.
  • happen
  • cleverness
  • a male who has been castrated
  • Shakespeare gives Sir Toby a deliberately amusing name. Sir Toby Belch is a drunkard and a glutton, who is rude and crude throughout the play.
  • Truly
  • In Shakespeare's time, the word cousin could refer to almost any relation.
  • Sir Toby apparently means, “let her object to my behavior; it doesn't change anything.” The line itself is a play on a common Latin legal term used during Elizabethan times, exceptis excipiendis. The term meant “allowing for certain exceptions.” It was mainly used in lease agreements to stipulate that certain conditions that existed before the signing of the lease would still be allowed. It seems fitting for Sir Toby, since he is able to misbehave without being kicked out of the house simply because he is Olivia's relative.
  • if
  • drinking, guzzling
  • suitor
  • another humorous name; ague refers to a fever combined with fits of shivering.
  • gold coins used throughout Europe during the time of the play
  • wasteful, reckless
  • an expression of contempt or distaste
  • a musical instrument similar to the cello
  • This is a pun on the word natural. In Shakespearean times, natural was a slang term for idiot.
  • to calm; to put to rest
  • taste or appetite
  • sensible, practical
  • slanderers
  • low person; knave
  • Parishes were townships that were formed around a central church. The parish top was a large top that stood in the village square which citizens could spin for entertainment.
  • [Spanish] Castilian people; it seems as though Sir Toby uses this expression to quiet Maria. Some critics have suggested that, because the Castilian people had a reputation for politeness, Sir Toby is using the phrase as a command for Maria to be polite to Sir Andrew.
  • a scolding woman
  • Approach and greet
  • Sir Andrew doesn't understand what is happening and thinks Maria's name is accost.
  • face
  • greet
  • seduce
  • Indeed
  • a room, usually in the cellar where liquor and other provisions were stored
  • why
  • Maria is playing with Sir Andrew regarding the word dry. In Shakespeare's time, a person with a dry hand was believed to be impotent or disinterested in love.
  • empty
  • a type of wine from the Canary Islands
  • By Christian, Sir Andrew means simply, the average man. During Elizabethan times, many people thought that eating too much beef was bad for the brain.
  • to renounce; to give up
  • [French] Why
  • granted, gave
  • languages
  • a popular amusement during Elizabethan times in which a bear was chained up and dogs were set loose to attack the bear
  • a type of fiber used in making textiles
  • a rod that holds flax or other fiber during spinning
  • Sir Toby engages in sexual puns, but Aguecheek does not understand the reference to syphilis (“spin it off”) nor to the negative comments about his appearance (“hangs like flax on a distaff”).
  • truly
  • nearby
  • rank in society
  • wealth
  • masquerades
  • parties
  • trifles
  • a type of lively dance
  • a type of dance
  • Sir Toby is punning on the word caper, which has just been spoken by Sir Andrew. While a caper is a type of dance, it is also a type of salted berry eaten with mutton.
  • Many critics have tried to find out who Mistress Mall was, if indeed it is an actual individual. Unfortunately, there is no definitive answer regarding the reference; it is possible the name means any woman.
  • a type of running dance
  • Sir Toby is punning on the word cinque pace (five-steps), a French dance.
  • stocking
  • Astrological signs were thought to correspond to certain parts of the body.
  • temper, attitude
  • changeable
  • detached, distant
  • direct your steps
  • noisy, boisterous
  • talk, discussion
  • messenger's
  • appearance
  • to contradict or disprove
  • a reference to the goddess of the hunt from ancient Roman mythology
  • bright red
  • throat
  • resembles
  • nature, character
  • a difficult situation filled with obstacles
  • With this statement, Viola makes it clear that she has fallen in love with Orsino. The love triangle which surrounds the plot is now completely set up. Orsino is in love with Olivia, while Olivia is falling for Cesario, who is Viola in disguise. Viola now confesses that she is in love with Orsino. Making this triangle even more problematic is the fact that both Olivia and Orsino believe that Viola is a man.
  • Feste is punning on the word collars, which of course sounds like colours. (See note: “In the wars” below.)
  • thin, sparse
  • Maria points out the origin of the phrase “fear no colours.” The word colours was used to describe military flags displayed on the battlefield.
  • Feste is saying that intelligent people utilize wisdom, but those without intelligence must utilize talent. He seems to put himself in the latter category. However, Feste is highly intelligent, as well as talented, as were most professional fools at this time.
  • Feste means that if he does get kicked out of Olivia's house, the fact that it is summertime will make his eviction less troublesome.
  • firm, unyielding
  • trousers
  • Maria is punning on the word point, which refers to the small hooks used to hold up trousers—gaskins.
  • “If Sir Toby would quit drinking, he would do well to marry you, one of the cleverest women in Illyria.”
  • “Wit, if it be your will, help me to be clever and amusing.” Feste is addressing the abstract concept of wit. This literary device is called an apostrophe. Not to be confused with the punctuation mark, this kind of apostrophe is seen whenever a character speaks directly to an object or an abstract idea.
  • This is a fictitious philosopher invented by Feste.
  • barren, empty
  • my lady
  • mender of clothing
  • lapses; goes astray
  • “Anything that has been mended has been patched. A virtuous person who goes astray is patched with sin, while a sinful person who does a virtuous thing is patched with virtue.” Feste means that no one is completely sinful or completely virtuous. Instead, all people have a mixture of virtue and sin within them.
  • a type of logical argument
  • a man whose wife has cheated on him
  • “Just as disaster is the worst kind of betrayal, it is also true that beauty does not last.” Feste is stating that all men are married to luck, and when a man's luck betrays him (as it does whenever calamity strikes) he has been made a cuckold (a man betrayed by his wife.) In comparing beauty to a flower, he means that beauty, like the flower, is not permanent. It blooms for a short time and then dies.
  • commanded
  • a mistake, error
  • “The cowl does not make the monk.” In other words, the costume a person wears has no bearing on what kind of person he or she really is. “Motley” refers to the multicolored scraps of cloth that most clown costumes were made of.
  • skillfully, expertly
  • instruct in a question and answer format
  • The word mouse was often used as a term of endearment.
  • As he did with “Toby Belch” and “Andrew Aguecheek,” Shakespeare again chooses a name that describes one of his characters. In Italian, Mal volio can be translated to “ill will.” This is fitting, since Malvolio will be the main antagonist for the other characters in the play.
  • doesn't he improve?
  • ill-health; also, weakness due to aging (in Shakespeare's time)
  • empty of wit
  • give opportunity
  • A zany was a lesser clown whose job was to imitate a professional clown.
  • with
  • Malvolio is extremely self-centered and self-righteous. These traits allow for him to become the victim of Sir Toby's malicious scheme later on in the play.
  • diseased
  • Bird-bolts were small arrows used for shooting birds. Olivia is telling Malvolio that he should take Feste's insults less seriously. Olivia also explains that a professional fool can never be guilty of slander since part of the fool's job is to insult people.
  • “Now Mercury supplies you with the ability to lie.” The ancient Roman god Mercury was believed to be crafty and deceptive.
  • relative
  • get rid of him
  • message of courtship
  • do whatever you must
  • the ancient Roman god, Jupiter
  • the membrane covering the brain
  • Sir Toby has just belched and is cursing the pickled herring that he had eaten.
  • fool, idiot
  • laziness; stupor
  • Whether he does it intentionally or not, Sir Toby mistakes the word lethargy (laziness) with the word lechery (lewdness). This is an example of a malapropism.
  • “It makes no difference.”
  • one drink more than the amount thought necessary to heat the body
  • corner
  • conduct an investigation regarding my cousin
  • over there
  • a reference to the elaborately carved posts, which were erected in front of the doors of town officials
  • appearance
  • A squash is an unripe pea pod; a codling is an unripe apple. Standing water refers to the tide just before it turns, when the water seems to stand still. Malvolio uses these metaphors to describe the appearance of Viola/Cesario, indicating her age.
  • good-looking
  • tartly; in a quarrelsome way
  • message
  • I would be unwilling
  • memorize, learn
  • to suffer; to incur
  • sensitive
  • From where
  • a guarantee or promise
  • to take over; seize without the right to do so
  • “If you are the lady of the house, you assume your role falsely, because what is yours to give (meaning, your hand in marriage) is not yours to keep.” Viola means that Olivia should be married.
  • mandate, order
  • pretended, faked
  • disrespectful, rude
  • “I am not crazy enough to be a part of this wayward and thoughtless dialogue.” Some people believed that the moon could cause madness.
  • “Will you please leave? Here is the way out.” Note the sailing imagery.
  • appeasement; the act or state of being calmed down
  • Viola continues Maria's imagery of sailors on a ship. A swabber is a person who cleans the deck of a ship. To hull means to stop sailing and float for a while. Viola also ironically refers to Maria, who is small in stature, as a “giant” who guards Olivia.
  • Depending on what version of Twelfth Night you are using, these lines appear differently. Some versions have Viola speaking both lines. It seems more appropriate, however, to have Olivia speak “Tell me your mind.” This line indicates that she wants to get to know Viola/Ceserio better. Olivia is beginning to show romantic feelings for Ceserio and, therefore, desires him to talk with her more. Viola, keeping the relationship professional states plainly that she is the messenger, and therefore, should not speak too much.
  • business
  • a proposal or suggestion
  • respect, reverence, worship
  • “I ask for peace; my words are as peaceful as they are meaningful.”
  • chastity, virginity
  • profanity
  • written message
  • first chapter
  • sacrilege; profane or unorthodox opinion
  • off your official subject
  • “Look at me. This is how I looked just a minute ago, before I put on my veil. Isn't my face quite beautiful?”
  • Grain refers to a type of permanent dye. Olivia means that her face is naturally beautiful and that she has no need to wear makeup.
  • blended
  • “Lady, you are the cruelest woman alive if you insist on wearing your veil forever and letting no one see your beauty.”
  • various
  • here
  • repaid
  • without equal
  • abundant, bountiful
  • spoken
  • brave, courageous
  • size and shape
  • The willow tree was a symbol of sorrow for unreturned love.
  • songs
  • condemned
  • Call out
  • to echo
  • heritage, origin
  • Olivia is handing Viola some money.
  • paid messenger
  • a passion for
  • “I hope the person you fall in love with has a heart as hard as flint. I hope your own passion will be despised, just as you despise Orsino's passion.”
  • a coat of arms
  • hush; be still
  • “If only Duke Orsino were Cesario.” Olivia is falling in love with Cesario.
  • In the same way that Orsino likened love to an illness in Scene I, Olivia likens it to a plague in this passage. This statement also attests to the random force of love, which seems to be uncontrollable; imposes itself on people when they least expect it.
  • irritable, bad-tempered
  • By the county's man, Olivia simply means the count's man. The ring is a token of Olivia's love for Cesario.
  • hurry
  • ruled, commanded, ordered
  • “Mine eye too great a flatterer…;and be this so.” – Olivia means that she has fallen for Cesario's beauty, but that her intellect is at odds with this. This line emphasizes the theme of love as a form of madness. The last two lines underscore the belief that fate determines everything and that people have no real control over events.