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P R E F A C E S H A K E S P E A R E ' S To the Elizabethan, language h a d a greater U S E O F significance L A N G U A G E than i t has to the m o d e m m a n ; for i n that Bosworth, domestic both souls, ; a n d
r e m a r k a b l e social
victory at t h e battle of
a change w h i c h w a s great a n d deep enough liberty b u tspiritual freedom of intercourse t r u e life and great sive of does n o t g r o w a n d expression of mental by accretion a n d what
a n d spiritual
assertiveness.
f r o m w i t h i n outwards, their w o r k s become creative a n da r e revelations o f their o w n nature : h u m a n ? or revealing exprescapacity than language Words disaster. the translation of the Bible i n its most that h a d the re-presentation of the language determine t h a n a n y t h i n g else i n t h e traffic
h u m a n
or, unfortunately, h u m a n
English,
powerful literal a n d factual f o r m , a n d i n t h e other t h e manifestation of its full dramatic capabilities, is, t h e ability t o a w a k e n Language being that a wider the in of of fact t h e imagination into t h e experience of things, b y emotional-enactment acquisition English under the evolutionary process of spiritual-cultural o r precise is t h e colloquial, commodity n o t the academic literary which
i n sound. English of
as a public
o f t h e t i m e , f o r he, like a l l sons o f greatness, of circumstances liveliness with reveal a n d n o t t h e reduced the triviality of
all m e n could
understand. I t came
the colloquial E n g l i s h of t h e period w a s a n object o f great concern a n d care, of t h e present day. from of the profound a n d producers a virtue were ; a n d actors w h o t r yto treat Shakespeare's words
medium m o d e m
of a n e w condition accommodating
usage fail t o realize t h a t t h e y a r ev i c t i m i z i n g t h e m u n d e r a vice of t h epresent times a n dn o t them with away : As need of a n d that t h e Elizabethan, as natural as t h e redeeming comments a m a n as a n y today, of his n e w enable liberty. they t o o precious elemeiits
will
of
Shakespeare
a n y ripe
action
developed only b y their u n i o n w i t h their fellows, i n t h e same w a y that colour music they i t s secret music. value by another. that make notes played tion out T h e words u p t h e celebrated particular his words word ' Mercy
combinaof withi n
Merchant
Venice
w e use a hundred times or more eloquence. Yet, i n one has t o do his share true '. H e must work. of words
realizing
are presented
of elementary
sounds, i n order
to develop a
gained
is that i t enables t h e m clearly t o indicate They announce vary into before t h e necessary corrupt the rhetorical, that of their proper style to be monotony or other essential will even t h e best colloquial enable time. the Once a n d
kind
of treatment that of
passages. These
changes
changes
methods words
treatment, they
i n matter will
distinctions elements
t o be relaxed
w i t h o u t losing
t h e grip, a n d climaxes
t o be avoided these
dictate
flexibility
of a r ti n a n y form
c a n respond
a n d unprofitable ' ;
i f i t does
things that m u s t otherwise be left unsaid, o n e negative instruction is of t h e greatest is that they pace will a n d sheer always noise alone very are of n o value. true to their never effect blast Here again, if the words their words b y t h e rise a n d fall o f proper dramatic o r over-strain of voice. them modulation, rush the
are properly a n d fully developed, a n d i f they are governed naturesand become be f o u n d animation a n d power they mere w i t h o u t either luidue hurry sounds will signifying nothing ; of t h e very
provide
that strict
beyond
instrumental
capacity.
a n d i f this is n o t guarded
rob himself
he is aiming.
toenes, a n d even
i n speeches, yes, a n d s o m e t i m e s
b y variation either
intensity or
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
Olivia's (In
Near
front
Olivia's
before.
PERSONS ORSINO, ANTONIO, A SEA Duke a sea of lUyria. to Viola. friend to Viola. on
R E P R E S E N T E D
N O T E A c t I , Scene I , and Act I I , Scene I I ," sufficiently in The or to " Duke's filed " mask the in. drawn Act to form the scene. being drawn Palace," and and Act V, Scene I , " A Cellar beneath above
SEBASTIAN,
brother
captain,
Sebastian.
set d o w n
stage w i t h i n
the full
sets, b u t
CAPTAIN,
friend to
w h i c h Scene
I I , is
f r o n t of
Traverse
C U R W ^ ' * ' ^ ' } ^ * " ^ ' ' " SIR SIR TOBY BBLCH, uncle
attending to
the
Duke.
Olivia.
Act as
Near
stands
also for
ANDREW
AGOECHEEK. to Olivia.
music being played during the slight pause and the lights behind
changed
MALVOLIO,
steward
Sky borders
be p r o v i d e d
all exteriors to
mask
i n and
conceal battens
and
backings
for
door
JrEraClown}--^'"
A PRIEST. OLIVIA. VIOLA. MARIA, LORDS, Olivia's SAILORS, woman. OFFICERS, MUSICIANS, in lUyria, AND and OTHER the ATTENDANTS.
where
needed. Traverse cut-low changed small, curtains box for should be in some neutral Act colour. I I I ,i f f o u n d too other expensive or difficult to with altogether set t h a n those obtain the
i n pots
intervals or
dispensed movements
i n w h i c h
arrange
from Samuel of
the the
arrangement
the producer,
sources of
SYNOPSIS
OF ACT I
SCENERY
SCENE I. II. III. The Near The Duke's same. Palace. House. A lapse of (Inset.) (Full three set) dayi. T h e p l a y is g i v e n w i t h t h e w h o l e in library editions. of Acts and Scenes This order w h i c h the are has here of the text a n d w i t h the order of suggested are marked will w i t h be found clearly Acts a n d Scenes generally indicated i n the margins. existing division Olivia's f r o m time to time undergone changes in the theatre, and the
i n
dialogue
I I
i n the text refer to the m a r g i n a l notes, exits, entrances, into etc. five Acts and ten be
House. before.
been suggest
divided a
The
Palace,
designs of
mounting may
which be
m a y
realized
business,
setting
Garden.
ACT
I V
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
H I
P L O T Scene I I .
Pearl
on
thin
gold
chain
for
Sebastian.
Scene I . Lute Flute or for guitar for Page. Scene I I . Sea-chest also Rope, for sailors, for and other containing sea gear sodden from clothing, STAGE wreck for PROPERTIES ACT I Page. Blank folded Scene I I I . letter for be torn Clown. up for Malvolio.
Written
letter to
shoes sails
Viola.
Sailors. Piece of b r o w n sail a n d rope for cloak a n d girdle for Viola. Large Gold W h i p Fool's Long Ring neckerchief chain for for Sir for Sea Captain. Viola. Toby. for Clown. for Malvolio. Garden seat uc Seat w i t h ctishions
Scene I I .
w a n d
Olivia. ACT I I Kitchen Large 3 3 oak Another empty table seat uc.
I I L
Scene I . Lute or guitar for of and and wine coins coins and for for for Clown. Maria. Sir Sir Andrew. Toby. for Malvolio.
l i t candles goblet
on
table.
tankards
Candlestick A. BBBB. c. D. . F. c. HHH. Sea Tree Cut and Tree Cloth, used rock in used both in both exterior sets. I , Scene and and off off I I and in in Scene I I I . Act Act I I I ,Act I , Scene I V and Act V, Scene IIL Scroll Coin Ring for for for sets. B r o w n and
ladle and
on logs
white
Clown.
L. w i t h
pewter
exterior in
bacon, strings of
onions
piece
used
Act on on
with with
steps steps
used used
I I and
Scene I I I .
Act Act
I , Scene I , Scene
I I and I , and
Scene I I I . Act I I , Scene I I . piece with Written W h i t e Purse Tabor Scene I I I . IV, and Act V, Scene I I I . Act I I I , Cane for Malvolio letter for for L. Act V, I I I , door R. f o r opening c. and letter for w a n d and for for
sea
Indicated position for setting A c t I I , Scene I ,w h i c h w i l l entail further house w a l l or m a s k i n g L. to meet Traverse L. Also backings L.C, for for will for be needed
coins Clown.
rostnmi piece
and
shrub
Act
I I I , Act sea
foliage
piece
masking are
Act
with
TV
Further cut and divided box Scene K. L. u. 00. pp. R. ss. Position Position Position I I I , but of of of seat table flying on a small wall
hedges stage
d r a w n
Illustration of
Written Brooch
under in Act
piece
Purse Dagger
ACT Scene Empty hanging u p of R. straw litter d o w n R. Scene Malvolio. Scene Garden seat as before Mi I I . U lantern up
V L R.
I I , Scene border
traverse
inset
scenes.
T w o
pikes
wings,
CurUins for
or
Act
with
h o o d a n d a w h i t e false beard
and
setting insete,
NO.
Chain on leg w i t h ball or other weight for Lit candle for for Blaria. Clown.
I I L
MoDstick
iii
T W E L F T H
N I G H T :
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W H A T
Y O U
W I L L
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
fal
and wrists outlined i n gold, a with hanging cream ribbons, and sword c u t or gold and
garters
A c t V , Scene I , should be
play.
g o l d c o r d s a n d tassels, shoes a n d rosettes, a c o p i t a i n e h a t w i t h o s t r i c h feathers a n d The blue whole or 2nd might be The contrast turnout with colour, velvet white and and satin. silver or Belt, green pouch, The
gloves,
Check perches w h e n candles go o u t light see faces. Hanging Scene I I . Repeat all lighting as in Act I I I Act over sea-cloth
enough door R.
length
also
light pillar
marked
Ground length white and amber behind balustrade L. Hanging Pale Pale length flood flood off behind off off R. L. light up Duke's seat Full The Scene I I . Float and L. floods i n all entrances behind wings. light Left Steel Right half blue half of on of float float all battens full up, ambers and white. rock No change. up seat everywhere has L. to been light amber amber flood
all should
I , Scene
1ST
OFFICER.Steel breastplate and m o r i o n , buff jerkin and top-boots, belt, sword, gauntlet gloves, shoulder-scarf gauntlets ruffs. and tied SOLDIERS. in TWO.Buff colours jerkins and small
hose, cloth t r u n k s , s w o r d hip. hose, cloth t n m k s , of u n i f o r m , a l l dressed of a n y pale if the sailors or colour, finding and soft Over her not
ACT as in
top-boots,
woollen
White
L. to
steel corselets a n d m o r i o n s , pikes. same with fine on formal 1st D r e s s . B a r e and this too feet, a s i m p l e h a b i t w i t h should i n wear a cloak of
A l l three to have
t h e effect
moved
lamp
accordingly. ACT I V
nearly ACT V
W h i t e frosted and all Back and Extra care on over cloth lamp ring
harsh and
texture. or the bare legs, A black shoes over which are a w o r n soft fez. black white Red and full-
bright diffused
Scene I . and L. and front and front batten through blue. window L. of
knee.
white Greek
kilted
skirt,
border, on
sleeved ballet shirt w i t h plain n a r r o w neck a n d wrist-bands, a black embroidered h a n g i n g sleeves, l i n e d w i t h and dagger, clubbed hair red to match or wig. I m p o r t a n t : the actor should height. her Greek pouch, sword
Zouavesword-
floods
perch
seat
focus
general
resemble
floods. Scene I I I . Check with white everywhere. pale amber. Keep Replace w h i t e i n all bright as floods
m u c h
1st D r e s s . D e e p e s t m o u r n i n g A l a M a r i e S t u a r t , w i t h b l a c k lace v e i l , h e r o n l y o r n a m e n t s jet or bugles a fine gold chain with pearl pendant, a jewelled fine to meet velvet feather the black overdress fan on a ring A and fine a brooch flowing miniature. T h e dress relieved b y underdress shoes and and cut large upstanding black black lace collar a n d s m a l l ruff bodice. and jet bodice, girdle. black
possible, white
inside this on and white. silk or satin velvet black Act I , Scene I I I . in float and so change there all.
Check
Float
and
front
batten
up,
amber
stockings,
Scene I I I . Lighting Towards amber is It a at end i n start of floods of same and as bring for i n
I t is c o v e r e d i n with
this
Scene I I I , this is
discarded
scene
Scene I . M i d d l e l e n g t h of float a n d f r o n t b a t t e n h a l f Rest out. i n Flood table and chairs with flood pale off L. f r o m perches. glow Candles alight on table. Moonlight amber. amber fire seen Red
upstanding
battens, lengths
ground
length, and
and perches to pink gradually of Clown's song sunset over dull. glowing get dark brilliant or
ON OLIVIA.
Five in all, including the two dressed for on the a in black Duke. Maid. Her
i n Act
like Maria
dressed
Act V,
Scene
I I I , in which
fireplace.
be
rich
and
all black
like
her and
P L O T exception of V i o l a ' s dress and boy's so and suit and Sebastian's rssTB.Dressed tights, falling and V, Act UALVOUO.All
expensive Black
material,
and
wristlets and
chemisette,
rosettes,
ankle-length skirt
These
exactly form ;
i n p a r t i - c o l o u r e d m o t l e y of black a n d w h i t e a n d silver bells w i t h b r i g h t red on No black. his hood, change. Tight-fitting doublet, short cape, black and white wand. shoes a n d rosettes the same repeated on his bauble.
a singer.
and doublets,
a l l s a m e self capes,
colour
collars, are
turned-back dressed
swords
daggers,
as O l i v i a ' s a t t e n d a n t s i n
and
tall black copitaine hat, no feather, jet brooch. Large f o r m a l w h i t e ruff. Later he appears
CURIO a n d three L o r d s , attendants o n t h e D u k e a n d V a l e n t i n e . in colour ribbons for and c u t the some with i.e. a r m h o l e cloaks. at knee,
Good b u t not over-rich attire, all varied surcoats, and chains rosettes
cane w i t h k n o t of y e l l o w ribands, y e l l o w cross g a r t e r i n g w i t h b o w s a t knees a n d stockings, yellow neck In with t* T n n v A rirh riband with
T u d o r hats w i t h quills or feathers, tights, shoes w i t h belts, pouches, s w o r d a n d w r i s t s or falling collars a n d cuffs. One
A c t V , he appears on end
i n trunk, hose and ballet shirt, the latter crushed a n d all dusty, w i t h straw i n his hair a n d beard, a n d a n iron one leg. hrnkn i M t h s r * n t f f mrtA * ^ chain to
dress t h r o u g h o u t
z boots,
T W E L F T H
N I G H T :
O R , W H A T
Y O U
W I L L
leather
a n d dagger, dirty,
gold
chain
a n d ballet
ihirt.
H e should hare a paunch a n dwear hisdoublet open. dagger IX ANDREW.A fop. flowing for kitchen n o t look T h elast w o r d i n eccentric ends a l l to match
H e removes hat, cape, s w o r d a n d only shop-soiled. sword with rosettes. erect Garters
dandyism, jewelled chain, rich sword-belt, pouch, A tall copitaine h a t with ostrich
a n d dagger, cape, g o l d cords a n d tassels, silk hose, exaggerated dress. exaggerated coloured, rose w i t h FABIAN.^Plain black SERVANT.^The PRIEST.A same. dress of t h e period. N o ta monk's robe. r u Sa n dj e w e l l e d with brooch flowing t o it, tasselled gloves. locks, one lock
feathers,
A l li n yellow, relieved b y H i s wig should be strawwith a red much black earrings a n das
slashes o f w h i t e s a t i n i nd o u b l e t a n d t r u n k s a n d l i n i n g o f cape. high forehead small thin curled moustache N o change. Cape, belt, pouch, n o sword a n d c h i n piece. Gold
d o n e u p o n o n e side
H
O R
N I G H T
o r dagger, plain
Y O U
W I L L
ACT pouch The [Enter Give Messrs. The That 0, That 'Tis 0 That, Of But Even That D U K E , C U R I O , and I f music m e excess appetite strain i t came
T H E FIRST SCENE DUKE'S I palace.^ M U S I C I A N S attending.] play o n ; * * 7* "* ACT SCENE DUKK'S I I palac*.
A N T O N I O . R o u g h sea-boots, hose, trunks, open doublet, a n d coloured ballet shirt, sailor's cap, belt, and SEA sword. b u t different i n colour, short dirk instead of sword. b r o w n t a r r y t i g h t s a n dt r u n k s , r o u g h w o o l l e n gentlemen a n d rufls always woreor carried i n hand t h e hats. c a nbe obtained from C A P T A I N . S i m i l a r dress t o above knives. Note.Elizabethan Make The Charles collars or beltgloves. as varied as possible a n dv a r y i n t h ep e r f o r m a n c e Holbom,
TWO SAILORS.Sea-boots,
other
LORDS ; o f love,
DUKE.
be t h e food
of i t ,that, i t h a da a bank
c o s t u m e s a n dw i g s u s e d H . Fox, Limited,
f l ] iHMlMtu,matlMt 6y TrmruI >awl TrmttrM u. Tk* d W 1 / M a y * ( nadf. Sm pItK It] Two F A O U a n titn-nd t tlu rim <4 a* tmfut, M M w i U a h i t * M (JW M K Mart lUriuoflKt cwUin Ou ttict cfm<tfatrkatUli4ardnittint;l tU fit a$ M a y CMKUWM I M M W m/niiM(^cumioK. HtmttnfMdy Id wM a v w H i i v futun mnmmdM MtrAoutooMM. r * < t i i i t w ( m M< t) rUa, mdlht two Imnd a p o X at M baek in ( V anflt of On bahumde ( M / M X 0 / 1A< eoiitmn q> <Mf> L.O.
184 H i g h
London,
breathes
Stealing
n o t so sweet
n o w as i t w a s
spirit of love!
a n d fresh enters
notwithstanding t h y capacity as t h e sea, n o u g h t validity a n dpitch so full there. soe'er. of shapes is fancy
Receiveth what
a n d l o w price.
Will
y o u go hunt,
T h e hart. W h y , so I do, t h e noblest mine eyes d i d see O l i v i a she purged like that first, ; c u x i o , uho hot cotiu to . o . a ( hit J i f t W " " . immtdiaUtt " U /><a# a . . t < * y - ttu D o x i o u t K o M ( . At tkt D D i i eomu to 0. 00X10 < i ( M MMage tUMdint.,vixir*koUjoiMd ly tmral lerdt and yiUUmm in attmimet <m O M n r o , wio hattfoUomd M< D O U . Tm D O K I pattet to t/k $tal md n o , Ttakint a* hf. doei it. I
Enter
VALENTINE. *
So please m y lord,
[3] rJW r A Q H r w i H i w M > t r a i n ACT I , SCENE The I , and A C T n , SCENB Duke's Palaee O [] nam C M M rla^int. [] ttam p a . i i t fmu 0/ c u u o nd Mra Kd mnl. ouao rmutu I M M I ( V r JkaM f M . ( e j OVBIO eomm itm I T ] rrom L tlitit B.a L. t y M J w m . (] Afior imtlmt to tJto DUKS.
T W E L F T H
N I G H T :
O R .
W H A T
Y O U
W I L L
ACT
gCKNK I
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
'S
her
do at
this
answer ;
element a
seven will
veiled
water
her
brother's DUKE.^
would of
remembrance. heart to a rich brother. golden else and king! with heart. and * : * bowers. fill'd shaft
I I ] Tvrtu to a
To
pay
this
love, ;
kill'd
flock
sovereign before
perfections
one
A w a y
flowers
Love-thoughts
canopied
[Exeunt.
ACT
I , SCENE Near
I I AND
SCENE
I I I
OUvia's
SCENE
I I
SCENE
[The
Enter VIOLA.* CAPTAIN.* VIOLA.* M y W h a t This A n d he VIOLA, a
sea-coast.]^
CAPTAIN, is and this? SAILORS.*
arwu, kor ioad towards kit Itfl, tnlort Ht amu to O., w A m hi porcfivu tM
uat L . and lay* n o t , * u m it;
CAMAIH, o o r r y t M TIOIA
<
pirn. ht
w h a t is i n
brother
Elysiiun. what think you, that and and, ship did you so to yourself sailors? were saved. he be. chance.
m y
poor
with
number I saw
driving i n
brother.
provident and
bind
Courage To a
hope mast
strong
feel are bare; a piece of laU-etolh it around her i*curai by rope, at though the tailort had to wrapped har fat warmth. Her hair U wet and faUi upon her thouldart. Th* OhrXATK kneeU betide her and chafet har hande : at the remaitu inanimate he rieai, and turning to the tailort, who hoot tet down their gear K.C., roughly eifni to Ihtm lo open the boichancing there may be lomething in it lo rtvite the fainting woman. The tailort fone the eheet, turning the conltnlt of toddan clothing, and ihake thair keada. (Mutic eaatei.) W Tumixg to TIOLA with gladtwaa. I<] Bait humorouily. 17] PauH.
the tea.
haad ftp ttage. Two oailon tarrying a -a-chut, tame lailt, and Mar fear of wreckage, follow. AU thoM have the appearance of having kaOUd with
TioLA it barely eonmioiu ; her
H\l raiaet hartelfalowly, and feebly hoka about har v*ile the ekrtus and lha eailort are buay with the box. Ona of the tailort flnda a rough ehaa taket the kerchief from hit neck and driee it. The other tailor findt ite fellow. At ht doet to TIOLA tpaakt. Bar ooiea, at firtt, U feaHa.
and handt it lo the CAFIAIW, who
I t ] O n a trighlar note
hope.
I l l ] Withrough.taV-con ha offer* the thoe*. TiOLA langh* a liOe and putt har feat forward: tha rough fellow, gaining eonfUanea, bmU md tlip* tham on har faet. Aahadoaa ao he eonHnuea aa ha riaaa, " A n d o
T W E L F T H
N I G H T :
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W H A T
Y O U
W I L L
AOT
SCKNX
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
Where, I So [ 1 ] T i o u Uiia thatH /ron tter ntdc and taterlli offtri U lo tht UPTAIM, who it ttaruUni a littU abopt her. He haif ( u n u from, her, ihaHi\, hu head in rejutai TIOLA withdmee the gift and before conlinuinff, adoanoe* her right hand, laging it upon the O A n A i H ' s left arm, a fentk, apalefttie w M o n . [ 2 ] TIOLA riiM. Croeit* in front ef CAFl A i x , up 0 . , t u r m i i f tMmdt Hm befor* [>] TKt two tailort R.C. s e w m Ihenueloee Oooina the eheet and putting their other gear in better order. U l M m 0. la C A r T A i x t I ,
like
A r i o n
o n
t h e dolphin's w i t h
back, t h e waves [SCENE [OLIVIA'S I I I ] house.] and MARIA.* to take to the death of (2) From ttept R.C.E. s i n TOBT, carryina a whip, cornet ftrtt, tpeaking at /.r enlert: he lurchet lo 0. H A K U ttort on tht ttept until 8IK TOBY it C , then eomct down on hi* a .
could
F o r saying
there's to for
gold
: ^ Enter SIR her a n d b o m TOBY. W h a t thus? B y your m y a I SIR TOBY plague a m sure BELCH
Mine
o w n escape
m y
hope.
t h y speech of h i m . *
means care's
m y niece,
t h o u ;
brother
a n enemy y o u m u s t
CAPTAIN. Not three VIOLA. CAPTAIN. VIOLA. CAPTAIN. VIOLA. H e was a CAPTAIN. For And W h a t That b u t a then
A y , m a d a m , travel
well
troth. m y
come
hours'
t r o m
this
cousin,
takes
great
exceptions
your i l l
W h o govems A W h a t noble
duke,
SIR
TOBY.
W h y , let h e r except,
before
is h i s n a m e ?
confine
yourself
Orsino. Orsino! bachelor A n d so m o n t h 'twas ones I have then. is n o w , or w a s so I went f r o m very late ; heard
I ' l lc o n f i n e enough
myself
no
finer
than
a m : boots
(3) At h* tpeakt he twingt over to the nra. L. with a turly mil, and titt, heaiUu. in tht miidlt of it, leaning back nuil ttrtUhing forth hi* iegt, hi* arm* *prcaj out on the back of th* teat. [ 4 ] Striking hit boot* with the whip ttock. (5] Cgming L . C , facing BIS TOBY. [ 6 ] Laughing!^; going up ttage at tht tpeakt and leanimj over the baek of the teat at aiR TOBY'S left thoulder.
to drink hang
i n ; * a n d so
be these
be n o t , let t h e m quaffing ;
themselves will
i n their y o u : that
o w n straps. I heard y o u m y
ago fresh do
hence. y o u k n o w ,
T h a t
a n d drinking
undo knight
of i t yesterday here to be
brought
great
prattle Olivia.
o f ,
one SIR
night TOBY.
t h e love she?
W h o , Sir A n d r e w
Aguecheek?
virtuous
TOBY.
twelvemonth of
leaving
MARIA. SIR
W h a t ' s
to the
purpose?* thousand ducats a year.' ducats : he's [ 7 ] Winking with meaning and UriuUng the whip at lur tirt-r hit thoulder. ( 8 ] Drawing back, laughing.
TOBY.
W h y , he
W h o They And
died
A y , b u t he'll a n d a
b u t a year
i n a l l these
abjured
company
TOBY.
that
served
that
and hath
w i t h o u t book, a n d
delivered
to t h e world, mellow.
h a d made m y estate
mine isI
o w n occasion
MARIA.* a fool, ;
H e hath great
indeed,
natural
f o r besides he hath
that
he's of a
W h a t
he's a
quarreller ; he hath
a n d b u t that
the gift
T h a t a d m i t n o
were kind
hard of
to compass
coward the
among
suit,
p m d e n t SIR TOBY. s a y so
quickly hand,
have they
n o t t h e
are scoundrels
substractors
There that
that
h i m .
W h o are
they? he's d r u n k nightly i n your [iO] Ill] Sliaktng a finger at him. Miting and crotting to 0. KAUA.
though
nature
w a l l
They
that
add,moreover,
that
W i t h
drinking
healths
to m y niece
I '11 d r i n k
to
W i t h I
t h y fair
a n d outward
character,*
i n I l l y r i a : ** till his
a n d a coystrill
to m y niece "
Conceal For [T] Tkt taiiort lift their gtar and go up littU c. The T h o u It [ 8 ] Again in thought, T I O L A crouet tht OArTAM to B.O. ) Turning to face the O A W A I H . 1 0 ] The CAFTAIK advantat lowardt T I O L A . 1 1 ] For the exit, T I O L A , who it ttanding a mte aboK the CAPTAIN, placet her left hand on hit right ihouUer and at the leant upon him they pott off . Th$ taiiort follow. [ U ] The tame muiiefor the otU eontinuoi until the two taiiort an off th* tiagt. And That W h a t Only such
a m , a n d be haply shall
brains vulgo!
W h a t , w e n c h !
Castiliano
disguise of m y
as
for here
Agueface.
f o r m
intent.' m e
shalt
present w o r t h
as a
Enter
SIR ANDREW
AGUECHEEK."
Iiri] Looking off L . [H] i..,doumjilag*. At SO. iHOHtv tnlert M A K U leaoei the teat and goei over at back toward R., coming down R.c. BIS TOBT advance* lo i l R A X D R I W , r Awn L.O.
t h y pains
for I sorts of
to h i m i n m a n y allow m e very
music service.* c o m m i t ;
Belch! A n d r e w !
h o w n o w , Sir Toby
Belch 1
w o r t h I
his wilf
Sweet
m a y h a p to t i m e t h o u
ANDREW.
Bless
y o u , fair
shrew.**
shape
t h y silence
A n d y o u too, sir. Accost, Sir Andrew, that? chambermaid. Accost, I desire better acquaintance.*' (ir.l Speaking oero BiR TOBT. 110] Stepping baek and jerking hi* thumb in MARU'S direction, inviting B n ANDRBW to pat* to MARIA. [ 1 7 ] Bemoving hie cap and erouing in front of BIR TOBY,u( remaining torn* di*^^^^ lane* from HAt.lA-~*tupidlyba*Yiil.^ accost.**
1* C A P T A I N . W h e n
TOBY.
m y tongue I
let m i n e m e oaM
eyes n o t see.
W h a t ' s
VIOLA.
t h a n k
lead
M y niece's
Good Mistress
M y n a m e
ANDREW. TOBY.**
Good
Y o u mistake, k n i g h t :
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
SCENE I V
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L ACT I , 10. n [ I ] Advancing to ta AKDXKW, heavOy illuetrating tome advancing ttept. (2 Oiggling wUh telf-tatufaction. [3 SIR ANDREW ikipt. (4 Cracki hit whip at m A K D R X V ' I feet, who leapt to avoid M, working up and to c. [5] Thil ad lib. /or e r t o " Ha I ha I liigher, knight, higher I higher. I M y , " eU. At he cracki hit wlap BIX ANDXXW jumpt arut prancet in a circle round him to avoid it, but with a half intention of exhibiting hit agility.
SIR
ANDREW. Fare
would of
her i n
this
' e m?
Mis( I by
company.] (11 doing tmiatiU the itepi x . i ; . l . MARIA. SIR never SIR drew TOBY.
Is that
the meaning
"accost
i n a galliard be a j i g ; W h a t t h e star
l e t p a r t so, S i r A n d r e w ,
n o t so
m u c h
sink-a-pace.] under
I s i t a w o r l d t o h i d e v i r t u e s i n?
I did think,
ANDREW.'
A n y o u p a r t so, mistress,
draw sword MARIA.* MARIA. hand WWk )T$at (UMUmption of gallantry. Sj [11 Advancing to I R AWDREW from tht ttept, tlyly laughing at him. [4] Offering hU hand, which MARIA taktt, BIR ANDRRW giggling at the doet to, and looking at SIR TOBY for appr-wal of hit atturance. MARIA Itadi htm forward o. SIR
Fair lady, do y o u t h i n k y o u have not y o u by the hand. b u t y o u shall have is free " drink. what's : ; I
SIR A N D R E W .
a n d here's m y pray
a n d i t does
i n a
stock.
w e set about
some
W h a t s h a l l w e do else? Taurus!
sweet-heart?
metaphor?
T h a t ' s sides a n d h e a r t .
N o , s i r ; i t is legs a n d t h i g h s . h a , h a ! excellent!*
a n ass b u t I c a n
B u t what's of
d r y jest, s i r . A r e y o u full them a t m y fingers' ends : : marry,* n o w [Extt. when did I canary a of beef Enter VALENTINE. Cesario, three call in i t I ' l lr i d e home VIOLA. his days, Tke
[SCENE DUKE'S
I V * palace.*] man's favours attire.* towards you, [Ui Tht exUthouldbe worked up cmcendo^ tht whip at lait, at six A N D X I W Jancet totlieR., catching hie legi, when, with an hylterical howl, lit leapt off X., Six TOBY following, roaring with coarte laughter, and cracking hit whip, crying, " Higher, I a y , higher," until A< it off, and Traverte NN doted. SCENE I I I m Act 1, Scent III. (8) The tcene it the tama. Traverte ihouU remain drawn for a minute or to, marking the lapte of three daye. Th* lighting of the Irene being re-arranged. See plot. Mutic during the pauti and continued until the entranet of V A L E N T I N ! and TIOLA. [S] from c. behind cut tret pitee. T A L I H T I N I firtt, tpeaking at he cmnei down ttage lo R.c. VIOLA foltowt to 0. It ihould be Iht effort of the actrt* to look like a boy.
V I O L A in these :
SIR TOBY.* see put 5] Bt lookt tor approval from SIR TOBY. ) Slouly rtXeating hit hanii. 71 With a peal of laughter, which tht tuttairu until tht it out of hearing, MARIA runt off by the ttept R . O . I . BIR ANDRKW, at her laugh diet in the dietance, tumt to SIR TOBY with a feebU laugh, endeavouring to cover hit diiromfiture. {81 Who hat been timely thtUring hu head until SIR AMDRKW's titter lamely diet out. [91 Depretied, and in melancholy vein. jlO) With eonviciion. t m Foolithly playing with the feather m hit cap. 121 Cnitiing to SIR AKDRRW. 131 With hu hand to hit head. 141 Leaning on BIR Atfont^ and lifting a ttrand of hit hair. [13] Spreading out so. AXDRIW'S lank hair. [18] Swingtovertol.c.wUhaplethoriclaugh. [171 Beplactt hit cap in dudgeon. and
p u t down? y o u see eater Methinks that No Sir does have more w i t than
continue
advanced
y o u are no
or a n ordinary m a n has : h a r m
b u t I a m a great
his humour
I believe TOBY.
to m y w i t .
i n question favours?
o f h i s Icvt:
SIR
VALENTINE. VIOLA.
Toby.** Pourquoi, W h a t is m y dear knight? do or not do? I would dancing hair. " p o u r q u o i " ?
I thank Enter
Here
comes and
the
count
CURIO,
ATTENDANTS."
I h a dbestowed that t i m e i nt h etongues that I have i nfencing, bear-baiting: TOBY. Then O, h a d I b u t followed hadst thou W h y ,would that have the arts! head m y of mended hair? 't SIR h a d a n excellent
h o ? ** m y l o r d ; ** I have here.
y o u a less even
aloof.**
SIR A N D R E W . * * SIR TOBY.** SIR to ANDREW. SIR TOBY.** see a SIR A N D R E W . will the count
know'st
P a s t q u e s t i o n ; f o r t h o u seest i tw i l l n o t c u r l b y n a t u r e . B u t i t becomes Excellent; take i t hangs thee m e well enough, does not? hope niece likefiax o n a distaff; [ a n dI : *' y o u r
m y secret
housewife
between
grow lord. [10] From L . The D D X I flrH, then OCTIIO and three or four lord* in atttndance. Spoken off, and ax he appear*. CORIO and thote in attendance remain for a moment grouped at tht entrance I . The D U E I advancing to TIOLA. T A L I N TINX, upon the DOEI'B ori*r, goet acrott at bad lo up I.O., at th top of tht teat, where he it joined by cvxio and one of the lordt. The other* in ^tendance pa** up and remain at back of tiat. [12] Bowing lo the D D X I .
F a i t h , I ' l lh o m e t o - m o r r o w . S i r T o b y or i f she be, it's four here hard by woos her. count:
n o t be seen ; himself
Sure,
m y noble
to her will
sorrow admit m e . a l l civil bounds return. her, m y lord, of m y faith ; : w h a t love. then?
(181 With reatturing emphatit. [11 Returning to SIR ABDRIW and givina him a violent tmack on tht baek which almott overbalanoet him.
Be clamorous make
a n d leap
Ill]
unprofited with
ANDREW. altogether.
m o n t h
longer.
a m a
fellow
o'
the
strangest
m i n d i 'the world ;
some-
t h e passion o f m y dear
[iO]
With a great heartineit, at though hi believed luch tatlee would advance U K AHDRIW'B caxue with O U T U .
A r tt h o u
*' I t s h a l l b e c o m e
to act m y woes
As a n y m a n i n Illyria,
degree of m y betters
[14] He tumt up to itevt R . u . l . , ptaeing a foct upon them and lookt off. [15] Oeaing to a potUion behind tht DOXS.
[21] Standing back at though to invittan ezpotition. [221 With a foolith ttep or two. [Zl\ the lath of hit whip and twinging it. [241 Performt an exaggerattd ttep or two [ t i ] Uovitig to R. %rith an affectation of oTfol amalomerd at IO. AICDRIW' as
W h a t
knight?
ANDREW.**
Faith,
SIR A N D R E W . a n y m a n i n
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
SCKNE
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L ACT I . ^ M . n i
She T h a n
will
attend
i t better
I , t h a t a m sure I Jack thee, may, pass f o r a wise m a n : Quinapalus? " B e t t e r Enter God pipe bless thee, Take a witty fool than with a foolish
for w h a t
says
i n a
nuncio's I think
of more
w i t . " m i< from 1 . O L I T U . w * intert firtt. man avaUootrher drttt of moumina. Sht patttt to a. pentively, in the direction of tha ttept, flopping at FESTX tveakt to her. M A L V O n o , tntering dote b^ind her, eomet to a poiiiion L.O. Two man ttrvantt fMow a moment after and ttand at iaek L.O.. above teat. '
VIOLA. DUKE. For I I ) Bit handt ufon VIOLA'S thouldert. That Is Is they
n o t so, m y
LADY
OLIVIA
MALVOLIO.*
shall y e t belie a r t a
t h y happy
years.
say thou
m a n: *
n o t more
smooth
as t h e maiden's
a n d
A n d I \2ii Crotting i n front of TIOLA to 0. Z] 4) 5] 6] Turning again to TIOLA. Moving on hit wordt to L. Pasting out L . VIOLA eroMti to L.c. o/ter tht DCKE a exitwhen the hal moveil the lordt behind tht teat join the group up L.c.with cunio. VIOLA itandi L.c. at the layi to herielf, " I ' l l do my best to woo your Udy," then turni and crushes to the itepi, where tht finijihei Iter ipeechthen atcenit them and goet out, ccKio, V A L E N T i s i and the otheri fvUowiiig.
a l l is semblative
woman's
part.
adryfool.*
I ' l ln o m o r e o f y o u ; * besides,
k n o w this
For All,
four
CLOWN. amend :
madonna,
that
drink
a n d good
counsel
will b i d dis-
for I myself
t h e d r y fool
drink, ;
then is t h e fool
n o t d r y:
W h e n A n d To
i n company.' live as
Prosper
m a n mend
himself
i f he mend, mend
h e is n o longer A n y thing
shalt
freely
as t h y lord,*
i f he cannot, is b u tpatched
let t h e botcher :
h i m .
that's w i t h this [ A s n.v.Tha error into tehUA many producert have fallen in treating the character of O L r m at grande dame thould navar be repeated. Youth it ettantial to a raaaonable understanding of the action. (2) owinf and intmepting O L I T U . [S] Speaking wearily, at though F M i i clothed with her mood. [4] Drawing her vail aiida and ihoHng her head. ^ m Advandnt to the ttept. [8] Turning to F M T l , who mttta wp from R. lo K.O. Tht two lervanU, mo^ from L.O. at baek to X.O. at back after OLITIA I M V M to ttept.
his fortunes
v i r t u e t h a t transgresses is b u t patched so ; w i t h
amends serve,
yet, a
barful
simple
will
Whoe'er
I w o o , myself
would
be his wife.
T h e lady away.
I say again, y o u .
Sir, I
t h e m
away
Misprison ;
i n t h e highest
degree!
Lady,
cucullus
n o n
facit m o n a c h u m i r ' T l brain. [SCENE [OLIVIA'S Enter MARIA. MARIA and V ] house.] CLOWN.* thou hast been, or I will n o t " Good
that's as m u c h give
n o tmotley i n m y fool.
madonna,
m e leave
y o u a
OLIVIA. CLOWN. OLIVIA. CLOWN. of virtue, OLIVIA. CLOWN. OLIVIA.** hanged i n this world CLOWN. OLIVIA. CLOWN.
catechize y o u for i t , m a d o n n a m e . *
17] The numberi on diagram indicate the order of mocementi. 18] Xo change of tcene or break in the action. 19] MAliu and the OLOWS enter from B. 1E., MARIA preceding FESTL. She udranceif to C , Oie CLOWN to R.C. [10] Turning to face the CLOWN. (11) Placing her handt on her Upi. 112] Advancing lo MARLA'B X. after ht hat tpoken.
m e where
W e l l , s i r , f o r w a n t o f other idleness, I ' l l bide y o u r Good madonna, fool, w h y moumest thou? death. **
proof.**
i n w a y of t h yexcuse :
Good I I think k n o w
is well
madonna. fool. for your brother's [7] On tht ttept. [8] Crotting in front of F M T l lowarda MALVOLIO. m Moving a litOa down ttage. IXOJ Patting in front of M A I T O U O toward tha teat L. At the doet to KALTOLIO ttept baek, bowing, uihering her to tht itat. Standing above her untU tht it tealed, then going round the top if teat and tianding behind her.
t o fear
Make
T h e more
to m o u r n t h e fool,
H e s h a l l see n o n e
soul
being
i n heaven.**
Take
gentlemen.** d o t h h e n o tm e n d ? shake h i m:
OLIVIA.
W h a t t h i n k y o uof this fool, Malvolio ? Yes, a n d shall do till decays t h e wise, t h e pangs
b o m , of
of death
CLOWN. 113] Crotting at tht flnithei her line and titling on down ttage arm of teat L . 114] 0. trotting to MARIA and tianding doie uehind her at the front of the teat. 116] iMoking up at him over her tlumlder. [17] Moving to L.C. at he tpeakt. [18] Leaving the arm of the teat, crotting j fu^guickty to c. and facing rxSTE. [ly MARIA. foolery. CLOWN." that
Where,
good
doth
ever m a k e
t h e better
fool. better
I n t h e wars
;**
a n dthat m a y y o u be bold
speedy will
infirmity, that
for the
be sworn
I a m no fox ; fool.
Well,
G o d give
t h e m
that
have
i t ; a n d those
but
he will
n o t pass h i s w o r d
a r e fools,
let t h e m
MARIA. be
Y e t y o u will
MALVOLIO. rascal:
barren fool
is n o t that a good
as good
you? ; and,
I s a w h i m p u t d o w n brain ; than
day w i t h Look
a n ordinary
M a n y away,
hanging bear
prevents i tout.
bad marriage
that
has n o more
y o u n o w , he's o u t of to h i m ,
for
let sununer
unless
so a t these
set k i n d
o f fools, 0 ,
zanies. w i t h a I n ] Advancing lo L . C , facing O L I T U . [12] O L i v u I A r o i M off her vail. KALTOLIO. attitting her, arrangtt U on tht back of the teat. [13] Bowing. [14] To c , turning to the tervanU ant XALTOLIO. [ U ] Indicating tha OLOWH, whohailunai a litOa away to x . [1] ApprooMng OLTfu.
T h a t i f one break, theother will hold fall. faith ; very thou apt.
y o u are sick
of self-love,
your
gaskins
appetite. those
T o be generous, things
disposicannon-
CLOWN. Sir Toby flesh I l ] Sm OLIVIA approaching from X.V.Tt. Tumt to ttept. 0 ] Bxit by titpt x . o . i . 1 ] Ooing up X.C. and looking off L . U . I . k - r n ~ flMUmo.
Well,
go
t h y w a y ; of
i f
is to take
for bird-bolts
drinking,
w e r t as witty
a piece
Eve's
as a n y i n
Illyria.*' y o u rogue, excuse n o more o' that.** best. into good off nrnve fooU : Here comes m y
MARIA.** U d y .n : make
Peace, your
wisely,
y o u were
[Exit.*" fooling! a n d
C L O W N . ** weU of
CLOWN.**
W i t ,a n
' t b e t h yw i U , p u t m e An nrv
10 Asi I, w . m
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
SCXNB
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
I I
M a d a m , F r o m I k n o w
there
is a t t h e gate Orsino, :
young
gentleman
m u c h
N o ty e t o l d e n o u g h
for a
to speak
; as a squash isbefore 'tis a peascod, o r a codling w h e n 'tis abnost ' t i sw i t h h i mi n standing water, between m i l k were : scarce call o u t ofh i m . i n m y calls. gentlewoman.* [Exit.^ [1] Sitting on teat. [2 Bowing, then turning to the ttept. [3 MALTOLio gott out. rtptoUng tht eatt for K A B U . boy a n d m a n . ooe would
hold your
h i m i n kinsman.
OLIVIA.
MALVOLIO.* i f i t be OLIVIA. We'll once Give fooling son he VIOLA. OLIVIA. VIOLA.*
m y lady
I I I Q u k t i f , fty Htpi. (2) KALTOLIO i i w i i M rmmd tlu Uf of uat. rutB fU about itipt towarit C. [*] Bomtt dttplfi, ani Um lignini frandHotuenlli/ l U k M M m n f K " lo fnetit Um. (4) r * LO. [fi\ 1 m ton"! ttpproach t y
m a n a
fie o n h i m l
suit f r o m
or n o t a t home
N o wy o usee, sir, h o wy o u r
more
o l d , a n d people
V I O L A , ami lady
should be a fool
T h e honourable Speak to m e ;
of t h e house,
of t h y k i nhas a Enter
p i a mater.
I shall answer
for her.
Your
[J m TOST ttaniit f i w y i i v at tht lop of Iht ittpt and thm dttemtdt thim tidtM M , fttlinf vilhontfoot at a Hmt. ami kiiinf naehtd tha Uttl, itiU fitU for attathtr Hap, Nat finding U, hi tumt himttU round onto or tuiei, unctrtoin of til footimf. (7] 5 ^ tumint and Hrtufhfnitil him-
M o s t r a d i a n t , eacquisite a n d u n m a t c h a b l e b e a u t y , I p r a y s a w h e r : I
y o u , tell m e i f this be t h e lady of t h e house, f o r I never OLIVIA. cousin ? SIR SIR TOBY. A TOBY. A gentleman.' w h a t gentleman? herea plague o' these picklegentleman Toby! h o w have y o u come There's so early by this B y mine honour, well penned, I have taken great pains to c o n i t . sustain usage. OLIVIA. VIOLA. you W h e n c e came y o u , sir? than I have no scorn ; I a m very comptible, even gentleman! 'Tis a Sir
[ 6 ] O L I T U tignt to the potiHon of the oeH on the back of the teat, atui H A U A gott round tht top end of tttt and lifu tht veil, attitting O L I T U to rttume it. ( ] TIOLA tntert from the ttept, followed by c m i o at%d T A L B S n m , who rtmain at the foot E.O. Tht othtr gmtlemen in attendana nmain on n x t r v m above ttept. TIOLA, cap in hand, advanctt to c. btfon tpeaking. (7) Bowing, and looking from OLTTU to XASU.
l] Bit hand la hii month. Lurchint fortoard, ht eowtu towardi rmm, who hat advanctd lo X.O., and putt hit fact clow to tlw cuamt't.
studied, a n d that i n m y
ques-
OLIVIA. Lechery! I defy lechery.* o n e a t t h e gate. VIOLA. OLIVIA. VIOLA. commission you A y , marry, what is he? I care n o t : give m e
A r e y o u a N o , m y I f I Most : do
TOBY.
profound n o t usurp
fangs
OLIVIA. SIR TOBY. (101 H < oorMnuti hit way in a itupid ainlttt nuumtr and crotting O L I T U goti oat L . (11] O L I T U ritu, approaehint nsta, who it U <if 0. faith, say L
A r ey o u t h elady o f t h e house?
for
fool? a n d a m a d m a n : one a n d h i m;
B u tt h i s i s f r o m m y show
drowned
m a n , a
I w i l l o n w i t h m y speech i ny o u r praise, a n dt h e n
h i ma fool
t h e second mads
OUVIA. degree of drink, he's drowned ; go, look after VIOLA. OUVIA. to wonder if y o u have make he will speak with so
C o m e t o w h a t is i m p o r t a n t i n ' t : I forgive y o u t h e praise. Alas, I took great pains to study : i t , a n d 'tis poetical. I pray y o u ,keep i t i n . rather m e to [8] MARIA comet from Iht back behind TIOLA to her K. be gone : with
OLIVIA. for [12] m n bowt; thm eromt in front of O L I T U to L . 1 1 . lU] L.1I. lo 1.0. him.** CLOWN. the
I t is t h em o r e a t y o u than reason,
like t o be feigned
I h e a r d y o uw e r e saucy a t m y gates, a n d a l l o w e d y o u r a p p r o a c h H e is b u tm a d y e t ,m a d o n n a ; a n d t h e fool shall look t o to hear y o u . dialogue. sir? ** h e r e lies your w a y . a little I f y o u be n o tmad, [Exit.^* Re-enter MALVOLIO.** fellow swears y o u . be brief ; ' t i sn o t t h a t t i m e o f m o o n
m a d m a n .
o n e i n so W i l l
skipping a y o u hoist
young ;
MARIA. VIOLA.** I a m a
sail,
sick
he takes
o n h i mt o understand
N o , good
swabber
; I a m to hull
here
longer.** m i n d :
m u c h , a n d therefore comes to speak w i t h h e seems t o have a foreknowledge with y o u . W h a t against a n y denial. to speak
I t o l d h i my o u w e r e to h i m , lady? he's
Some mollification for your giant, sweet lady. messenger.] [Sure, y o u have some hideous of i t is so fearful.] Speak
[Tell m e your
is t o be said
OLIVIA. courtesy
m a t t e r t o deliver, w h e n t h e office. [10] Withatteportwolo\.,indicatingwith her thumb lowardt entrance below ttept. U] Turning lo MARIA. 12] Appealing to O L r v u . 13] Going doter to and a little above O L i T U .
your
[ Ib r i n g n o o v e r t u r e o f w a r , ; m y words are
OLIVIA.
T e l l h i mh e s h a l l n o t s p e a k w i t h H a s been told
I hold t h eolive i n m y h a n d
a n d be t h e supporter
OLIVIA. VIOLA.
W h a t areyou? appeared
w h a t w o u l d y o u? I learned
hath
i n m e have
OLIVIA.
m a n i s h e ? *
W h a t I a m , a n d w h a t I w o u l d , a r e [ a s secret
MALVOLIO. OLTVIA.
W h a t
MALVOLIO.
Of very i l lm a n n e r
[Exeunt
A T T E N D A N T S . ] **
(14] Bondtng oni tptaJcing in alowinUntt voice. [16] A paute. O L I T U lookt up at TIOLA. T u r i M from her again, then riiet, rv moinmg in htr potition by thi ttat. [It] Xhmu. following tht group^ gmOtman. who go up by thi ttept. WhtnUwfari
12
MJt I , to, m I Adumein) lo OUTU'S lt. I SIM uWuvt (vrninf.
T W E L F T H
N I G H T :
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Y O U
W I L L
ACT
SCKNX
T W E L F T H
N I G H T :
O R .
W H A T
Y O U
IS
Most A your
sweet text?
I I
a m a caimot tell
gentleman.* Get y o u to your love h i m: l e t h i m send y o u come takes i t . post, lacks flint pains : Fare spend to m e lord ; :* your purse ; [Exit.* : ; no more again.* this for me.* y o u well keep
comfortable
bosom. I n w h a t chapter i n the of first his bosoip? of h i s heart. to by the method, read i t :
I n his bosom t
To I
m e h o w he
(31 CmHnf TIOLA to L.a. Ui A pauu. t] To OLlTIA'g rtfht. 6 Oof touanb at. 7 SHUm. Doum lof ind of t SI At ika UJU har otil.
i t is heresy.*
Have y o u no more
M y madam, l e t m e see y o u r face.* with b u tw e will draw the [Unveiling. endure laid wind ou: a n d weather. Love A n d Have y o ua n ycommission f r o m your lord to negotiate Y o u are n o w o u t of your is't not well done? i f God d i d a l l . 'twill blent, whose red a n d white text: ' Look
[3] With a tofter cadence. 14] A tligU hetUancyand th* not tint at though tn explanation. [ 5 ] Ooing lloKly towardt B.U.X. andpauting. [ 6 ] In tht offer of a parte it an excuse to turn and look at TIOLA a^ain. (7] Turns away to L.
let your
Placed " I
i n contempt!
Farewell, fair is y o u r
curtain a n d show y o u t h e picture.* VIOLA. OLIVIA. VIOLA. Nature's Lady, If A n d Excellently done, T i s i n grain, 'Tis beauty o w n sweet lead truly
y o u , s i r ,such a o n e I w a s
m y fortunes, y e t m y state gentleman." thee five-fold I ' l l be sworn blazon : ** t h y face, were
sir ;
** T h y t o n g u e , Do Unless Even W i t h
n o t too fast; H o w n o w !
y o u a r e t h e cruell'st she alive. these grave I w i l l give o u t divers particle leave the world no copy. i t shall be inventoried, a n d every
the plague?
y o u will OLIVIA.
Methinks
perfections stealth Well, let i t be. , [14] A pauseshe looks L. Lowering her voice. The thought of the ring comes to her atui she withdraws it from her finger. [15] Suddenly turning and calling at steps. [16] Standing on the sttpi.
O, sir, I w i l l n o tbe so h a r d - h e a r t e d ;
To
creep
schedules of m y beauty :
* W h a t
ho, Malvolio! Re-enter MALVOLIO.** madam, same this with a t your service.
a n d utensil labelled t o m y w i l l : so m Ooing up lage a mU about tht ttat. 10J Turning. (11] Aboot and behind o u T U . forth. VIOLA. **But, Could The ** M y l o r d Were y o u sent hither
as, item, t w o lips, indifferent r e d ; item, one neck, one chin,a n d m e ? MALVOLIO. OLIVIA. The love crown'd W o u l d Nor R u n after m a n : tell county's t o praise
i t e m , t w o g r e y eyes, w i t h lids t o t h e m ;
peevish ring of
messenger.*' it.**
[17] Pointing L. [18] Giving the ring to KALTOLIO, who mora to c. at if going. [19] Ber voice arrettt KALTOLIO'8 progratt he (unu lo OLIVIA a^ain. [ 2 0 ] MALVOLIO movet again. [21] KALTOLIO ttopi again near Iht exit l.
i f y o u were
behind h i m .
I or n o t :
be b u t recompensed,
nonpareil of beauty I H o w does W i t h Your estate, well adorations, lord fertile that thunder love, does k n o w with he love sighs ; of m e ? fire. love h i mt
OLIVIA. VIOLA. W i t h Yet Of [In And A He OLIVIA. great groans I suppose voices gracious
tears. I cannot ;
h i e thee,
m y m i n d
I do
I k n o w
(22] Bowing L . 1 1 . In all thit butinett thtrt thould bt no hosts on KALTOUO'9 part.
a n d stainless leam'd of
t h y force must
be, a n d be this
nature]
took
VIOLA. W i t h In I such your would OLIVIA. (12] Sinking on to tht tealoboot OLITIA Uttant from htr but Itaning forvari 't I loumdt tht cloit of htr tptoek. viOLA.l* And Write And And Cry But ( I S ] / a loif toiet, almoit lo htrtlf. (14] With a change c} torn. Halloo
suffering, such
n o t understand i t . W h y , w h a t Make m e a willow cabin within m y soul loud t h e house love of hills n o t rest n i g h t ; would ; you? gate.
a t your
of contemned even
i n t h e dead of
the air
Between
t h e elements pity
y o u should
fpinrtoiMnbL.O., (iowiy.
Siting and
14
T W E L F T H
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SCENE I
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L ACT I , SO. I l l
[ A C T
T H E SECOND] [SCENE I ]
>
n ]
street.] MALVOLIO folloiving.* t h e Countess since Olivia? arrived (S] T i o i i A prieiii MALVOLIO. eomint to 0 . mnd tumint lowrdi him at ht/ottom to L.O.
[Tht [ t ] After lUfU pemee. They tiller c. from L . U B A n i A K , iHthtly in aJmmee of ANTOfflo, comet to X.O., ttawtint tumtd from AKTOitIO btlou tht Ittpt. AvrosiO to c , a littit above, tpeakinff at ht movet to thit potition. IS] JHiming to AMTOHio a/Ur a vary ilighl pautt and placing hu handt, genily, 14] Oroeting ANTONIO, but remaining clott upon hit L . tiit. Enter ANTONIO. you? * SEBASTIAN. the malignancy
sea-iMast] SEBASTIAN.* n o r w i l l y o u n o tt h a t I g o w i t h
A N T O N I O and
n o t y o u even
n o w w i t h
E v e n n o w ,s i r ;
[ o na moderate
pace I have
W i l l y o ustay n o longer ?
but
hither.] Shereturns this ring to you, sir : taken i taway yourself. y o um i g h t have She adds, saved
MALVOLIO. B yyour patience, n o . M y stars shine d a r k l y over m e : ; therefore : * it were m e o f m y fate m i g h t perhaps distemper yours
m y pains, t o have
moreover, none come this. [ 3 ] DiidainfuUy dropping tht Hng at VIOLA'S feet he erotiu htr lot. in tht direction of tht ttept. After looking down at tht ring. Tumi on htr htti up c. From tht ttept. [ 7 ] By ttept K.U.E. With grial affeetation of dignity atui contempt. (8] With an amuied exclamation foUowt to tht foot of ttepi. Then tumt to tht 9] o & up the ring and lookt at i t . 10] With humorout apprehention. 11] Mentally rtriewing her intenitw tM OLITU. [12] With ludden conviction. [IS] Towardt ttept.
assurance shewill so h a r d y to of
I s h a l l crave o f y o uy o u r leave t h a t I m a y bear m y evils alone a b a d recompense ANTONIO. SEBASTIAN. extravagancy. for your love, to l a y a n y of t h e m
y o u be never
o n y o u . bound. is mere
lord's taking
[(]
L e t m e yet k n o w N o , sooth,
sir: *
voyage
VIOLA.*
t h e ring
of m e :
I ' l l none
of i t . * a n dh e r w i l l
B u t I perceive i ny o u so excellent a t o u c h o f
modesty, thereis, in
MALVOLIO.*
that y o uwill n o textort f r o m m e w h a t I a m willing to keep i n ; [ 6 ] Tunu to face ANTONIO, icho advaneet tlifhily towardt him. f o r e i t c h a r g e s m e i nm a n n e r s t h e r a t h e r t o e x p r e s s m y s e l f . * k n o w of m e then, Antonio, m y name is Sebastian,
Y o u must I I called k n o w
which
* VIOLA. * F o r t u n e }^
w h a t
Roderigo.
of Messaline, w h o m
m y outside view
have
n o t charm'd so her
|ierl
of m e ;
indeed, h a d lost
m u c h . tongue.
i fthe heavens h a d been pleased, w o u l d w e h a d so ended! ; for some hour before y o u took m e
That For
methought
h e r eyes
y o u , s i r ,a l t e r e d t h a t breach
f r o m
i n starts ;
drowned.
m e , sure i n this
t h e cuiming
churlish ring!
A lady, sir, t h o u g h i t w a ssaid shem u c h resembled m e , accounted beautiful : but, though I could n o t with t h a t , y e tt h u s f a r I w i l l could n o t b u tcall fair. boldly She
of m y lord's :
yet of m a n y estimable
a m the m a n lady,
i f i t be better a r t a
[14] To c.
Humoroutly.
wonder
overfar believe
she were
dream.
publish h e r ; is d r o w n e d
Disguise, Wherein [ H o w
I see, t h o u t h e pregnant
(10] Crotia in front of AHTOmo to B. [11] Scene III, Act III being omitted, tht following linet are tpoken liere : ANTONIO, Would you'Id pardon me ; 1 d o n o t w i t h o u t d a n g e r w a l k these streets : Once, i n a sea-fight, 'gainst t h e count his galleys I d i d s o m e service ; of such note indeed, T h a t w e r e I t a ' e n here i t w o u l d scarce be a n s w e r ' d . SEBASTIAN. D o n o t then walk too open. ANTONIO. I t doth n o t fit m e . H o l d , s i r , here's m y purse. I n t h esouth suburbs, a t the Elephant, l a best t o lodge : I w i l l bespeak o u r diet. W h i l e s y o u b e g u i l e t h e t i m e a n d feed your knowledge W i t h v i e w i n g of the t o w n : there shall you have me. SEBASTIAN. W h y I your purse? ANTONIO. H a p l y y o u r eye s h a l l light u p o n some t o y Y o u have desire t o purchase ; a n d y o u r store, I t h i n k , i t n o t f o r idle markets, s i r . SEBASTIAN. I ' l l be y o u r pursebearer a n d leave y o u For a n hour. ANTONIO. To the Elephant SEBASTIAN. I do remember. Farewell. [ntL I E . 12] Looking ttfUr UBAaTLAX. 18] Turning and going up K.O. 14] Looking ^f(r SEBABTIAJC o^aia.
saltwater, though
I seem to d r o w n her
enemy
remembrance ANTONIO.
easy
is i t for t h e w a x e n hearts
I n
women's
good
Alas, For H o w
our frailty
is t h e cause,
I f y o u w i l l n o tm u r d e r m e f o r m y love,
such will
of, such
m y master fond
I f y o u w i Un o t u n d o y o u have recovered,
w h a t desire
y o u have i tnot.
done, ye
that well
is, a t
And And
I ,poor
monster,
as m u c h t o dote
o n h i m ;
Fare
seems
manners tell
" W h a t M y As state I
of this?
A s I
eyes w i l l
is desperate
tales o f m e .
I a m bound
Orsino's c o u r t : *'
[farewell.] [Exit.
W h a t O It
shall
poor
Olivia n o t I
ANTONIO. 1* * * I have m a n y I
of
go
with
thee!
time!
must a
untangle
this,
i n Orsino's
is too hard
k n o t
for m e to untiel
[Else "
would come
But,
That
danger
shall seem
sport,
le
T W E L F T H
N I G H T :
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W I L L ACT n , 10. I
17
h a d r a t h e r t h a n f o r t y s h i l l i n g s I h a d s u c h a l e g , a n d so s w e e t a b r e a t h to sing, as t h e fool has.* the equinoctial of siiqience CLOWN. whipstock : bottle-ale done. for thy m y I n sooth, thou wast i n very gracious ; 'twas very good, i ' faith. it? ; for M a l v o l i o ' s nose is no no hand, and the Myrmidons are fooling thee last night, w h e n t h o u spokestof Queubus leman : lady has a P i g r o g r o m i t u s ,of t h e V a p i a n s passing I sent
hadst white
SIR A N D R E W . * TOBY.*
if one
k n i g h t give
song life.*
ANDREW.
C L O W N [sings
from
p. 3 , "
Vocal French,
to Twelfth
Night,"
Samuel
[21 Fumbling for the money. [3] Producing hit pursi. [4] Conitn; round C Ow back of am TOBT'a o chair [5] IFtIA hitnoitinhit tankard. [6] Drinkt ieeply. TESTE comet lo front of tablt and reels upon it lo ting. Dunng the song SIR TOBY beaU time with the punch latUe. f E B i E aooompanics himielf on hit lute.
roaming? coming. ;
no further,
son
know.''
faith.
[7] TESTE gott to the firt and ooncludtt Ow song with hit back to it. , '
Excellent good.
good,
Good,
CLOWN
is is
love? still
'tis
not ; : twenty.
hereafter;
Ittta.'
Present In
ANDREW.
[OLIVIA'S
SIR T O B Y and
house.]
SIR
delay Youth's
(11 The room it much in thadow, lit only hy the flow of the fire on tht fttat hearth ani the guttering candlet upon Iht table.
[21 sm
Then
come
A p p r o a c h , Sir A n d r e w : * n o t to be a-bed after m i d n i g h t betimes up ; and " diluculo surgere," thou Icnow'st, up To to SIR SIR SIR ; I h a t e i t as a n unfilled can.* so t h a t t o go Does not our life Nay, by m y troth, I k n o w n o t : late. b u t I k n o w , t o be
covered. SIR TOBT utretched in the large wooden chair c. with an empty tankard in hit hand. He lingi at Uie cuz-tuin riaes, " There dwelt a man In Babylon, lady, lady." BIR ANDREW itaiule a little up ttage R.c. He alto liai a large laniard in hit hand. He it twaying in a half-dmnksn manner to the time of
BIK TOBY'S tingingthen tt'wli/iitg
TOBT and
dit-
contagious Very
contagious,
faith. B u t do
A false conclusion
SIR TOBY.
hear by
be u p after m i d n i g h t a n d to go to bed t h e n , is e a r l y : bed a f t e r m i d n i g h t is to go to bed b e t i m e s . of the four and I elements? F a i t h , so t h e y s a y 'rt a a scholar of ; SIR ANDREW. eating Marian, SIR TOBY.
night-owl
consist of
biiiitclf by placing hit Icgt wide apart, he raitcs hit tankard and draint it. IS] ll'ai-tiw to SIR ANDREW with hit right hand and half turning in hit cliair. [4] SIR ANDREW reelt towardt the right of BO. TOBY'S chair back, who pulli hit head down and tpeakt in hit ear.
[6] SIR TOBY releatet SIB ANDREW, who
SIR SIR
love
me,
I a m will be,
dog
at a well.
catch.
CLOWN.**
some
catch
" T h o u
k n a v e . "
I shall be
wUhJifficultyniairUaint hit equilibrium [6] .4/ter steadying himself, 81* ANDREW vrouet uncertainly to below tablt ani rettt upon it at he tpeakt. [7] Leaning forward out of his chair. (8) lie turns hit tankard uptide doum on lU tabU. 9] he approaches the fire. 101 Turning to v.. at he calls.
I l l Itepeated ad lib. (12) M A B U lhaket her finger at SIR TOBT
Enter
SIR " w e SIR ANDREW.** H o w "? Welcome, By ray ass. three Here comes
CLOWN.
the fool, i ' faith. never
' T i s n o t t h e first t i m e I have constrained one to i t begins begin if I " H o l d hold m y thy peace." peace.**
Begin, shall
CLOWN.**
now, m y
hearts!
did you
ANDREW.
Good,
i ' faith.
Come,
begin.
door R.
UIRLA appears at
TOBY.**
N o w
let's have an
[Catch
Enter MARIA.**
sung.^^
SIR A N D R E W . * '
excellent breast
fireplace.
reprovingly ani goes out. AI the tame moment TESTE entert by the ttairt R. and puU hit head round the wall by the wUa hit lute ani drawt back, s n ANDREW feels hU head and looks round about; whiU his back it tumtd TESTE
MM/t the buaittt. UARU oomM Ue touchet SIR ANDREW
at him. He taket Iht flagon ani putt hit fingtr under MARU'S chin. She laught ani goet out R. TESTE putt hU head rouni again, but comet face to fact with a n AXDEIW, wJko crdotnu, " H a . h a l " n s T i alto txiaimi.
to a n TOBY'S R.
[13] Turning to Of taiU and pulUmg M < the chair L . [14] Coming lo tht lop cf tablt. [15] FiUing hit tankard from the fiagon.mnd
[18] TESTE i t t i on tablt at top. at.
AMDUW
SIR TOBY.
politicians,
Malvolio's
[121 Sitt on um. [131 " Hold thy peaM, thou kiiaT." A copy of thit three-part catch exitU i n a book called "Pammelia Mutic't Mucellanit, 1818." See page 8 " Vocal Score to Twelfth Hight" Samuel French, Lid. Thit catch then ehangtt into Qlee, pp. 7, 8 and 9, and u finally ttopped by MARU boxing their tart when they have joined htmL and danced round her in a nna at ( A M ting. ' [14] Door R. [16] Coming to E.O.
18
AOT I I K. I
T W E L F T H
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19
P ] Pof
10, " Vocal Scon to JTuxtfl* SatMiel rimck, Ud., for mutic, [2] MALTOUO iMon a robt tvuitatly over Au itigU attire, and a night-can. Bit Ift art hart and hit feet tn loote tlivpeTi. Bt oarriu a candle. Ut eomtt dom tht ttairt L.c. holding tht amdU above M i htad. Hit btaring it fall of dignOy, though U aceordt ttnmgtly unth hit appearance. SlarMng on the ttairt. *i] c. going above n TOBY'S [J] He ttalkt to potition a little sabot* i n chair to a
TOBY. I(ARI.t geU to VL
sanguineous?
a m I n o t of her blood?
Tillyvally.
Lady! fooling.
[Sings.]
"
There
dvuelt
a man
in
Babylon,
lady,
lady
I "
do
What,
CLOWN. I too : he
i n admirable do
SIR ANDREW.
naturaL
SIR T O B Y
MARIA.
[sings].
" 0,
o'
the
twelfth
day
of
December,"
T h e devil a puritan that he is, or a n y t h i n g constantly, b u t [ a n a f f e c t i o n e d ass, t h a t c o n s - s t a t e w i t h o u t b o o k a n d t h e best p e r s u a d e d o f h i m s e l f , so c r a m m e d , a n d o n that vice i n h i m w i l l m y do? some obscure epistles of love : ' manner like revenge
God,
peace!
a time-pleaser ;
utters i tb y great s w a r t h s : ] that look on h i m love h i m ; Have this ye find notable cause TOBY. W h a t I will to
Enter
MALVOLIO.* time of night? voice? *
MALVOLIO.*
or w h a t are y o u ? *
M y masters, are y o u m a d ?
you no w i t , manners, nor honesty, b u t to gabble like tinkers at D o ye m a k e a n alehouse of m y lady's house, that respect of place, persons, nor time sir, i n our with catches. you. he r o u n d harbours i n
SIR
MARIA.
drop i n his w a y
squeak o u t your coziers' catches w i t h o u t a n y mitigation or remorse of Is there n o W e you? up! bade she's and SIR m e TOBY. did keep though time, Sneck M y lady
wherein, by the colour of his beard, the shape of his leg, the of his gait, t h e expressure of his eye, shall find himself tinction SIR SIR they SIR SIR of our m y lady your niece : TOBY. most feelingly personated.*
on a forgotten matter w e can hardly m a k e disI smell a device. too. that i n love w i t h of that m a k e h i m , ass.
you, that,
y o u as
her kinsman,
h] Comet a litOt below 8n TOBT. I t ] Singingin a voice which begint It betray tht liguor hi hat taken. K A B U movtt behind MALVOLIO to back of BIK TOBY'S chair. Page 1 0 , " Vocal Score to Twelfth Night," Samtitl French, Ud. 7) .Singing. 8j r u m * up tiagi. 9) Singing. 101 At he eomtt forward again, 111 Singing. 12] Singing. 131 Singitig. 14] ^Stn^n;. 16] BIB TOBT. r i t i n ; to A t * / M i and <(M(iin with tome diffiaiUy, ttaggeri forward lowardt MALVOLIO, uiAo, in the act of retiring before him and in the effort to preserve hit dignity, tript over hit gmon, nearly loiing hit balance. 116] sm TOBYreei* farther forward; MALVOLIO retreatt to R. 117] Coining to the L . of SIR ANDREW, vho hat turned hit chair and lilt facing the audience, hit long lege itritchtd out, and tmiling drunlenly. (181 Turning away from MALVOLIO. [18] Turning to MALVOLIO a ^ t n and (Aen to MARU at he relumt to hit chair.
MARIA man* to ii. of
Excellent!
allied to your
disorders.
if not, a n it
w o u l d please y o u to take leave of her, she is very w i l l i n g to b i d y o u farewell. SIR TOBY. MARIA. CLOWN. SIR TOBY. " " Farewell, dear heart, since I m u s t needs Sir do Toby, show so?* never d i e . " * you lie. credit do? to " ** a n d spare not? " d a r e n o t . " ** lie.** A r t any more than a be ye ** " you.** ** his days are almost done."' begone."*
H e shall t h i n k , b y t h e letters t h a t t h o u w i l t drop, m y and that horse be she's horse purpose is, indeed, a A n d your I doubt O, 'twill not.* admirable! I k n o w m y physic will of i t . colour.* h i m an
ANDREW. ANDREW.
n o w
would
MARIA.
MALVOLIO. CLOWN. SIR SIR SIR no too. SIR TOBY.** crumbs. A MALVOLIO. r u l e : * TOBY. TOBY. TOBY.** cakes
B u t I will is m u c h an
two, [and let the fool m a k e a observe his construction on the event.* Farewell.
Sir Toby, there This " " " O Shall Shall no, Out and o'
bed, a n d dream
[Exit?
SIR SIR what SIR money. SIR A N D R E W . I f I cannot recover your niece, I a m a foul w a y o u t SIR TOBY. call m e m y lady's favour at any uncivil [Exit.** a man's to cut. I f I do not, never trust me, take i t h o w y o u come, k n i g h t ; come, knight will.** Come, come, I'll go b u m some s a c k ; 'tistoo late to go Send for money, k n i g h t : i f t h o u hast her n o t i 't h e end, TOBY. Good She's I night, Penthesilea. me, she's a good wench. that adores m e : a beagle, true-bred, adored once a n d one ANDREW. o' that? was too.* T h o u hadst need send for m o r e Beforc
" W h a t
no, no,
SIR TOBY.
D o s t t h o u t h i n k , because t h o u a r t virtuous, there shall ale? Yes, b y Saint A i m e , a n d ginger shall be h o t i* t h e Thou'rt i ' the right.** wine, Maria!
ANDREW.
cAatf.
ta
TOBY'S
stoup of
thing more than contempt, you would not give means for this she shall k n o w Go of i t , by this hand.** ears. deed as t o d r i n k w h e n MARIA.** shake your
[ExeurU.
SIR ANDREW.**
' T w e r e as g o o d a fool of h i m .
[20] Bt gathert up hit gown and goet up ttage towardt ttairt. '21] Speaking on the ttairt. '22) Bn itairi L.O.K. :S1 Who hat gone vp c, facing UJi.l.\OUO at he tumt to tpeak hit latt wordt. [24] Setting TESTE'S Aouidr and rautn; himtelf to hu feet. [2i] s n ANDREW learuovertht table towardt a n TOBT drunkenly. TESTE goet lo ttairt and lookt offthai gott up to baek, remain* littening.
( M l MARIA lilt on the v.. arm of s n TOBY'S
a - h u n g r y , to challenge h i m t h e field, a n d t h e n to b r e a k p r o m i s e w i t h h i m thy and ma k e a indignation SIR TOBY. MARIA.** Do't, knight: to h i m by I'll write thee a challenge ; or I ' l l deliver word of mouth.** since t h e youth For into
[I] s n TOBT mtJcet an excited exclamation of interett. SIR ANDREW imitalet him. [2] s n TOBY and SIR ANDREW repeat their txdamationt and MARIA Jau^A*. TE8TE gott Old by the door at back. (3 Riling to R. and laughing. (4 Laughing. [5 Lau'jHng. id] She laught again, s n TOBT and S B ANDREW joining. (71 Door R. [8] Be riiet with tnme diMculty from hU chair, steadying himtelf by tht table, [8] Uaudlingly, with hit armt outttretchtd upon the table. [101 Drunkenly patting ta ANDREW'S head. [ I I ] At SIR ANDREW maket no retponu, ht ttaggeri round below the table to bishind him and leaning over him maket one or two ineffectual effort! to raite him. At the latt, hit handt becoming entangled in hit hair, he puUt him up. stR ANDKEW nearly fallt from hit chair, but clinging to SIR TOBY, the two ttand tuppoHing each other. Then s n TOBY tayi, " Thou hadst need send," etc. [12] SIR ANDREW <t(* on M (aU*. snTOBT endeavouri to obtain one of tht eandltt by leaning over the table firtt on one tide of SIR ANDREW, then on the other. At the moment he gratpt one. SIR ANDREW tlipt Off the table to the floor, beneath SIR TOBY'S legtin a tilting position-hit Icgt tlretched out, hit back retting againtt Oie table, s n TOBY Ioo,t< about, muting him, then perceiving hit face, hotdt the candle to It, which SIR ANDREW (louil out. Then SIR ANDREW, gratping s n TOBY'S orm*, raitet himtelf to At* feet. (131 Without percHiing hit candle ir out ht crosses untteadily to C. [14] He find! his candle it out. At the tame moment SIR ANDREW (a** the other candle from the tahle and comet to below SIR TOBY'S chair C. SIR TOBY endeavouri to light hit candle from s n ANDREW'SodtancM, mt**M t< and maket a grab at SIR ANDREW, lurchet forward and the two iwing round together into a potition below the largt chair and facing up ttage, SLR ANDREW'S candle being put out. .it thit moment I R S I E appiari at the door up ttage enveloped in a iheet raised above his head on a broom-handle. SIR ANDREW falls into the. chair, hiding hit face in it in a kneeling position, and s n TOBY falls on the top of him. TESTE advances down K. s n TOBY gets up and lurchet to L., feeling far hit tword. s n ANDREW crawlt round behind the chair and peert over the back. TESTE crowt like the morning cock, sm TOBY advaneet in front towardt Aim, and as TESTE throws the sheet aside, imbracet him, laughing. s n ANDREW gelt to hit feet and also laughing joint them K. Together they go towards Oie ttairt, Bn TOBY titiging, " There dwelt a man in Babylon, lady, lady," i n which the others join.
down ttage, TESTE on s n TOBY'S L . At they reach the ttairt th* Travtm s x it drawn.
s n TOBY it in the middle, s n ANDEIW
of t h e c o u n t ' s w a s t o - d a y w i t h m y lady, she is m u c h o u t of quiet. Monsieur Malvolio, let m e alone w i t h h i m : wit enough to lie straight i n m y TOBY. Possess US, possess bed : us ; i f I do n o t gull I can h i m
into hit
SIR
something of puritan.
MARIA.
Marry,
sir, sometimes he
is a
kind
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
SCENE
I V
T W E L F T H
N I G H T i
O R ,
W H A T
Y O U
W I L L
t l Ai-r 11. sc n
love.
IV] palace.
and others.'^
age. prithee, sing.* [Music, I I ] TF.sTR rarriei hit lute, on 'ihich he artompotues himtelf. <.CRlo icUhUrawi to the back. [2] TEBTE bowt ami advanctt lo a positi'm brlow the teat, a little on iti R. .See page n . Vocal Mutie to Twelfth yiflit." -Samuel Preach, Ltd., for thit tong.
DUKE'S
CURIO,
A r e y o u ready, sir? Ay ;
VIOLA,
DUKE. Now,
Give m e
some m u s i c '
SONG.
good Cesario,'
b u t t h a t piece of
away, in away, am O, part Did a my poor me, lover weep shroud of fly
come sad
away, breath
T h a t old a n d antique song we heard last M e t h o u g h t i t d i d relieve m y passion More [ I ) A> Tmcemr opeiu the D O K I 0R8I!(0 u teaUd on the. Meat c. Several lordt are grouped about him on hit L. and R. Me uppeart to hare been in converte urith them at upon affairt of ttate ; he holdt a document uhich he handt to a lord on hit L. After a moment he ritet and bowt ilightly, at if ditmittinq hit council, VIOLA it ttaruliug with CURIO up ttage R.C. The lordt on th* UDKR'S L. patt up L. of teat and join the othert who have turned to R. [2] At the lordt are moving. IS) The lordt turn to face tht DI71R. One of two attendantt, who have been tianding up ttage extreme R., goet out quickly, the other following after the Lords. At the lords bow. The lordt go R. ] Before speaking ORSI.NO goes lo tht column L . C , where ht leant with hit back to VIOLA and CORIO. Bt tpeakt without turning to them. VIOLA comes doum stage R.O. Tumt lo look towards VIOLA. Down ttage to front of teat. 10] CDRIO bowt and exitt R. Tht c m titt L . end of teat. ( I I ] VIOLA advance! and tiandt in front of him. ^2] The mutic of the tong rwit tings lat'r it heard off very softly. The O U K I raises hit head and littent for a moment before corttinuing. 13] Turning away a little to K. 14] At ht rites and comet to VIOLA. Plaeing hit hand upon her thoulder. Ber tyet on the ground. Looking up, her tyet for a momtnt meeting ORSWO'S. (18] Removing hit hand from her thouldtr. Of than l i g h t airs a n d recollected verse.
was it?
let me cruel
Come,*
DUKE.
H e i s n o t h e r e , so please y o u r l o r d s h i p , t h a t s h o u l d s i n g i t . Feste, t h e jester, m y l o r d ; delight i n . a fool that the lady Olivia's house. [Music plays.]
sweet. be sirown bones save, grave, [S] At tht eonelueion of the tong Iht DtTEl eontinuet tilerj and vnthoiit movement, at if in deep thought. Then, looking up, he tigns to COEIO, who advanctt It f'ESTE and givet him money. [4] At CDRIO givet tht money. shall ; be thrown : greet my lo
father took m u c h
H e is a b o u t t h e * [Exit
coffin
there
as I a m a l l t r u e l o v e r s of t h e
are,
Unstaid and skittish i n all motions Save i n t h e c o n s t a n t i m a g e T h a t is b e l o v e d . ! ' V I O L A . 1* Where Love DUKE. How
there / *
There's
for t h y pains.* I take pleasure then. thee.* and the tailor i n singing, sir.
dost t h o u l i k e t h i s
No pains, sir ;
I t gives a v e r y echo t o t h e seat is t h r o n e d . though thou art, thine eye T h o u dost speak m a s t e r l y :
T r u l y , s i r , a n d p l e a s u r e w i l l be p a i d , o n e t i m e o r a n o t h e r . leave to leave god [6] Riting. [6] Tumt and goet it a. Now, the melancholy protect thee ;
CLOWN.
H a t h s t a y ' d u p o n some f a v o u r t h a t i t loves : V I O L A . 1* DUKK. VIOLA. DUKE." VIOLA. DUKE. An A b o u t your years, m y Too old, by heaven : so w e a r s praise What kind A little, by your of w o m a n is't? " O f She is n o t w o r t h t h e e , t h e n . lord. let still the w o m a n she t o h i m , heart: ourselves. unfirm. worn. lord. than thyself. take your complexion. i ' faith? W h a t years, favour.
m a k e t h y d o u b l e t of changeable taffeta, for t h y m i n d is a v e r y o p a l . ' I w o u l d h a v e m e n o f s u c h c o n s t a n c y p u t t o sea, t h a t t h e i r b u s i n e s s m i g h t be e v e r y t h i n g a n d t h e i r i n t e n t every w h e r e ; f o r t h a t ' s i t t h a t always makes DUKE. a good voyage of n o t h i n g . ' place.*
[CURIO and ATTENDANTS retire.^*
Farewell.
[Exit.^
t " l Bowing deeply. (81 R. |9] Moving lo Vit baluitradt ttyond column 110] R. At Iht ATTENDANTS and CURIO leave, TIOLA leavet tht ttat, coming a little d(nm ttage. I l l ] Advancing to viOLA a
**Once more, Get thee t o y o n d same sovereign T e l l her, m y lovjs, m o r e cruelty : noble t h a n the w o r l d . upon her,
Cesario,
elder t h a n h e r s e l f :
h o w e v e r We d o
Prizes n o t q u a n t i t y of d i r t y lands ; T h e parts t h a t fortune h a t h bestow'd But 'tis t h a t m i r a c l e and queen of B u t i f she I cannot cannot T e l l h e r , I h o l d as g i d d i l y as f o r t u n e ; gems soul. sir? " there is. heart answer'd? love her ; Sooth, b u t y o u must** 12) Crotting noLA to down . Tuning there he pacet up stage, standing half turned from VIOLA. [131 Going up to the DUKE a little. [14] Inpatienlly the vuKt move*downafei* steps toward* R., to that VIOLA, at th* eontinuet, it a little above him on hit L. hand. T h a t nature pranks her i n attracts m y
M o r e l o n g i n g , w a v e r i n g , sooner lost a n d Than women's VIOLA. (SO] Sitting. DUKE." For w o m e n ( 1 1 ] TIOLA goet up lo R. corner of i VIOLA. I think i t well, m y T h e n l e t t h y love be y o u n g e r hold the bent ; a r e as roses, w h o s e f a i r A n d so they are :
love you,
b e so
answer'd.*'
Or t h y affection cannot
flower hour.** ;
Being once display'd, doth fall t h a t very To die, even w h e n they to perfection
a l a s , t h a t t h e y a r e so grow! CLOWN.**
[22] OURIO advance! to down R.c, indicating the pretence of nsti, who itandt E. Two ATTENDANTS enter and ttand up ttage extreme R. (S3] TIOLA geU to back (j/ (Ml R. ind.
Re-enter DUKE.
c u R i o and
passion heart
O, f e l l o w , c o m e , t h e song w e h a d last n i g h t * * i t is o l d a n d p l a i n ;
no w o m a n ' s
M a r k i t , Cesario, And
So b i g , t o h o l d so m u c h ;
be c a l l ' d a p p e t i t e . I l t l BrrOMMlM2umnLe..bMw<t.
T W E L F T H N I G H T : OR, W H A T Y O U
Air
II,
WILL
Afrt
11
SCENE
TWELFTH
N I G H T : OR, W H A T Y O U
WILL
23
sc.
II
(S) toolnnf
mint.
B u t m i n e i s a l l as h u n g r y as t h e sea. A n d c a n d i g e s t as m u c h : ] m a k e n o c o m p a r e Between t h a t love a w o m a n can bear m e And that I owe Olivia.* VIOLA. Ay, but I k n o w DUKE. W h a t dost t h o u k n o w ? * VIOLA. Too w e l l w h a t love w o m e n to m e n m a y o w e ' I n f a i t h , t h e y a r e as t r u e o f h e a r t as w e . M y father h a d a daughter loved a m a n . As i t m i g h t be, perhaps, w e r e I a w o m a n , I should your lordship. DUKE. A n d w h a t ' s her h i s t o r y ? * VIOLA. A blank, m y lord. She n e v e r t o l d h e r l o v e . But let concealment, like a w o r m i ' the bud, F e e d o n h e r d a m a s k c h e e k : she p i n e d i n t h o u g h t , And w i t h a green and yellow melancholy She s a t l i k e p a t i e n c e o n a m o n u m e n t . S m i l i n g a t grief. V/as n o t this love indeed? W e m e n m a y say m o r e , s w e a r m o r e : b u t i n d e e d Our shows are m o r e t h a n w i l l ; for still we prove M u c h i n our vows, b u t little i n our love. turning to DUKE.* B u t died t h y sister o f her love, m y b o y ? VIOLA.* I a m a l l the daughters of m y father's house. And a l l the brothers too : and yet I k n o w not. *Sir, shall I to this lady? DUKE. Ay, that's the theme. T o her i n h a s t e , ' give h e r t h i s j e w e l ; * say,* M y l o v e c a n g i v e n o p l a c e , b i d e n o denay.*"* lExtv,ttt. [SCENE OLIVIA'S
* Enter SIR TOBY, SIR
tl Ijfaving
VIOLA.
16] Moving a pace acroei the D 0 to L . [8] Turning juict/y to tht DDKI. 7 ] Drawing a ring froin hit ftnfer. 8] VIOLA erottet to K., at if going. ] VIOLA tumt at the exit. 10] The DDKil throwi himtelf on tht teat, retting hit htad on hit armt on ilt back. VIOLA pautrt. Ptretiving the DCKE rannat tee her, tht raitet the ring to her lipt. Jli tht it leaiiing the eurtain fuilt.
ACTS
I I I , IV AND
V,
SCENE I I I
O l i v i a ' s Garden
V ] garden
ACT
III
O L I V I A ' S garden.
ANDREW,
and
FABIAN.
SIR TOBY.
Signior
Fabian.
FABIAN. N a y , I ' l l c o m e : i f I lose a s c r u p l e o f t h i s s p o r t , l e t m e be boiled to death w i t h melancholy. SIR TOBY. W o u l d s t t h o u n o t be g l a d t o h a v e t h e n i g g a r d l y r a s c a l l y sheep-biter come by some notable shame ? FABIAN. I w o u l d exult, m a n : y o u k n o w , he b r o u g h t m e o u t o' favour w i t h m y lady about a bear-baiting here. SIR TOBY. T o anger h i m w e ' l l have the bear a g a i n ; a n d w e w i l l f o o l h i m b l a c k a n d blue : s h a l l w e n o t , Sir A n d r e w ? SIR ANDREW. SIR TOBY. A n w e do n o t , i t i s p i t y o f o u r villain.* lives.* Here comes the little Enter H o w n o w , m y m e t a l of MARIA.* India! Malvolio's coming
[ 1 ] From L. 1 1 . below box hedge, m TOBY comet firtt. Be erottet to c. arut tumt facing L., tpeaking at ht mtert. FABIAN followt to i.e. SIB ANDREW, coming latt, goen a little up ttage behind FABIAN, looking about him. If the producer findt a divided box hedge undesirable, he can arrange the hiding butinett to take place at oi,ce behiivl the wall and hedge piece B.C.
[2] SIB ANDREW dropt down on s n TOBY'S [3] SIR TOBY goet up to meet MARIA. [4) From c. by ttept. (5) Standing on the ttept and looking back the wavei her hand towardt the box hedge. SIR TOBY goet towards the firtt opening in the hedge, tigning to s n it L., to approach. [C] Coming doum to s n TOBY. [7] I.aughicheckt herielf with her hand over her mouth, s n ANDREW advanctt to her E. [8J She puthet 8 U ANDREW over to s n [9] R.c, below the teat. At the putt down the letter FABUN joint s n TOBY and s n ANDREW. The thrtt look off towardt Ittpt at tht figurt of MALVOLIO appeari tn tight; all cnep behind tht tecond division in Oie hedge, SIR TOBY, on all fourt, peert round the edge of
it. TOBY. ANDREW, who it R.c, and F A B U N , who
MARIA.*
Get ye a l l t h r e e i n t o t h e b o x - t r e e :
d o w n t h i s w a l k : * he has been yonder i ' t h e s u n p r a c t i s i n g b e h a v i o u r to his o w n shadow this half hour : ' of him. Close, i n t h e n a m e observe h i m , for t h e love of a contemplative Lie t h o u there idiot [throws m o c k e r y ; for I k n o w this letter w i l l m a k e of j e s t i n g ! * down a letter}
\ f o r here c o m e s t h e t r o u t t h a t m u s t be c a u g h t w i t h
tickling.
sn
ANDREW
and
FABIAV prep
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
1 1
SCENE
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
26
Enter MALVOLIO.*
[ O , peace I ] a n d t h e s p i r i t of h u m o u r s i n t i m a t e r e a d i n g B y m y l i f e , t h i s is m y l a d y ' s h a n d : hand. her U's a n d her T's : why that? * Soft! and the [2] Creeping out ing. littlt. TABIAH follouthese be her v e r y I t is, i n H I itR TOBT comet out fn tree a pact.
aloud to h i m ! * C's, h e r U ' s a n d h e r T ' s ; a n d t h u s m a k e s she h e r g r e a t P's. of question, her H e r C's, SIR A N D R E W . wishes:"her of To whom FABIAN. MALVOUO
m e she d i d a f f e c t m e : a n d I h a v e h e a r d h e r s e l f c o m e t h u s n e a r , t h a t , s h o u l d s h e f a n c y , i t s h o u l d be o n e o f m y c o m p l e x i o n . * her.* SIR 111 By tUpi C. Ht pautet at tht top. Tie earriti hit wand of offire. T/ie t!in-' men disappear tiehiTtd the hedge. It) At though tumming up hit reftectiont upon OLlvli. [8] With an affected gait he descendt the ttept, maket a feuj pacet and ttopt to continue. [4] Coming farther doum ttage, before retuming. [6] A pact to K. [8] Hu back being to tht hedge, snt TORV, rABUM arut SDl ANOUW all rite above it. |7J A furUier pace (o B in the direction of the teat. 18] G'cri over to and ttandt by the teat. JIIJ Suddenly MAITOIIO tumt and teals himtelf. AU disappear behind tue hedge. Bill TOBY, folloued bg the othert, goet up ttage to the last opening. lO] Bit haruls grasping his wand. 11) Beeomet rjddenly coruciout oftheuaiul at an emblem of servitude, he suJjlenly lays it aside and adoptt a loftier attitude. |12] SIR TOSYout of HALTOLIO'S line of vision at he tpeaktcrotset over to behind foliage piece R.c, follcioed by their heads round from time to time.
BIB ASUHEW and EABIAX. They put
uses m e w i t h a m o r e e x a l t e d r e s p e c t t h a n a n y o n e else t h a t W h a t should I t h i n k on TOBY. how TOBY. TOBY. TOBY. 0 , peace! 't?* rogue! plumes! rogue! Here's a n overweening
M A L V O L I O [reads].
i m p r e s s u r e h e r L u c r e c e , w i t h w h i c h s h e uses t o s e a l : should this [reads]. This wins h i m , liver and Jove But Lips, No "No man TOBY. must know.'" man knows who? do not must What move ; the know. follows? all.* :
[8] About to open tht letter he pauttt u,id examines the ttal. 14] At M.tl.Ti)l,lo maket a ttep lowardt c. fall over one another to their hidiiiaplace. 16] be opent tht letter. [OJ Looking round the tret.
SIR TOBY, SIR ANDREW and TABIAN
ANDREW.
' S l i g h t , I c o u l d SO b e a t t h e T o be C o u n t rogue!
I love
MALVOLIO. ANDREW.
Pistol h i m , pistol h i m . is example for't ; the lady o f t h e Strachy "Mo SIR in : look h o w imagination
numbers
altered!
MALVOLIO.
Fie o n h i m , Jezebel!
MALVOLIO
H a v i n g been three m o n t h s m a r r i e d to her,** s i t t i n g FABIAN. SIR velvet me TOBY. MALVOLIO. see, let m e [FABIAN. SIR and after a TOBY. MALVOUO. command me : O, f o r a s t o n e - b o w , t o h i t h i m i n t h e e y e ! C a l l i n g m y officers a b o u t m e , i n m y b r a n c h e d Fire and brimstone!
A f u s t i a n r i d d l e ! * Excellent wench, see, let m e say I . Nay, b u t first, let " M , 0 , A , I , doth sway m y l i f e . " see.** poison has she dressed h i m ! where I adore," W h y , she may W h a t dish o' And with "
g o w n ; h a v i n g come f r o m a day-bed, where I have left Olivia sleeping, FABIAN. MALVOLIO. O, p e a c e , p e a c e ! A n d t h e n t o have t h e h u m o u r of state ; kinsman now, now. out Toby,
[11J At ht tpeakt MAITOIIO tumt on hit ti. and pacet to C. Tht thrtt mtn ruth behind trtt again.
I may command
d e m u r e t r a v e l o f r e g a r d , t e l l i n g t h e m I k n o w m y p l a c e as I w o u l d t h e y s h o u l d do t h e i r s , t o ask for m y SIR TOBY. 0, Bolts and shackles! FABIAN. MALVOLIO. for h i m : to 118] m TOBY tttpt out from hit hiding^ce. The dhtrt draw him back. me, SIR
peace.
I s e r v e h e r ; she i s m y l a d y .
a n y f o r m a l c a p a c i t y ; t h e r e is n o o b s t r u c t i o n i n t h i s : a n d the e n d , w h a t should t h a t alphabetical position portend ? resemble something i n m e , S o f t l y ! SIR as a TOBY. fox.] M,Malvolio ; M , w h y , t h a t begins m y name. D i d n o t I say h e w o u l d w o r k i t o u t ? t h e c u r is excellent 0, ay, m a k e up t h a t : [FABIAN. MALVOLIO. M, 0, A, I , [12] rutting hU head out again.
p e a c e , peace, p e a c e !
Seven o f m y p e o p l e , w i t h a n o b e d i e n t s t a r t , m a k e
he is n o w a t a cold
S o w t e r w i l l c r y u p o n ' t f o r a l l t h i s , t h o u g h i t b e as r a n k
S h a l l t h i s f e l l o w l i v e ? ** [ T h o u g h o u r s i l e n c e be d r a w n f r o m u s w i t h cars, y e t ] familiar at
FABIAN. MALVOLIO.
M , b u t t h e n t h e r e is no consonancy i n t h e sequel ; A should follow, b u t 0 h i m , and make does.** 01 more A n d O s h a l l e n d , I hope.** A y , or I ' l l cudgel h i m cry A n d t h e n I comes behind. A y , a n y o u h a d a n y eye b e h i n d y o u , y o u m i g h t see you. [13] Bt watkt lot. in thought. [14) Pe ring out over BIR TOBT, who il crouching down. [15] He turru arut in thought pacet up ttagi a little in tht direction of th^ trtt. [16] Pauta and tumt by tht trtt, facing I . (17) Ht pactt to I.e., reading. [18] Ht pautet, and with action tilently repeaU the wordt he hat tpoken, tapping hit chttt at ht eomet to tht latt phrate. Doling tkii butinett tht appear over the low wall at tht t.
headt of SIR TOBY and tn ANDBIW BIR TOBY and T A B U N ditappear.
s m i l e w i t h a n austere r e g a r d of fU] Again adtaneingbutinett M befon. SIR TOBY. MALVOLIO. SIR TOBY. MALVOLIO. SIR TOBY.
FABIAN. MALVOLIO. foolish
t h a t suffers u n d e r p r o b a t i o n :
A n d does n o t T o b y t a k e y o u a b l o w o ' t h e l i p s t h e n ? * Saying, " Cousin Toby, m y fortunes h a v i n g cast m e o n speech," drunkenness."
t h e s i n e w s of
Out, scab!
patience, Besides, y w a s t e t h e t r e a s u r e of y o u r t i m e w i t h
a n d yet, t o c r u s h t h i s a l i t t l e , i t w o u l d b o w t o m e , f o r every one of these letters are i n m y name. [Reads.] above thee ; i warrant you. for many d o call me [Taking up fool. tht IttUr. " I f this fall i n t o t h y h a n d , revolve. b u t be n o t a f r a i d of greatness :
k n i g h t , "
SIR A N D R E W . Pt] Bit it fUt on tht letter. MALVOLIO. MALVouo. SIR A N D R E W . DM Bt rthit for tht leUtrwHk Ml wand, mftMnf HitmoMti rim mi piikt
some achieve greatness, a n d s o m e have greatness t h r u s t u p o n 'em.** Thy and, Fates open t h e i r hands ; let t h y blood a n d s p i r i t embrace t h e m ; t o i n u r e t h y s e l f t o w h a t t h o u a r t l i k e t o be, c a s t t h y h u m b l e Be opposite w i t h a k i n s m a n , surly w i t h put thyself into let t h y tongue t a n g a r g u m e n t s of state ;
Andrew,"** 'twas I ; h a v e w e h e r e ? **
W h a t employment
so
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Remember w h o commended t h y yellow stockings, and wished to [1] i : > TOBT, UMbU to control Ui laugUor, fulU down behind tho waU. thee ever cross-gartered : * I say, r e m e m b e r . i f t h o u d e s i r e s t t o b e so well. (2] B< movet ludienty to 0. SIR ARDRLVr anil TABIAK ditappear. [3] Uoving to %. ;
Go t o , t h o u a r t m a d e , Fare-
D a y l i g h t a n d c h a m p a i n d i s c o v e r s n o t m o r e : * t h i s is o p e n . g r o s s a c q u a i n t a n c e , I w i l l be p o i n t - d e v i s e t h e v e r y m a n . to t h i s , t h a t m y l a d y loves m e .
C L O W N tvith
firtt,
p r o u d , I w i l l read p o l i t i c a u t h o r s , I w i l l baffle Sir T o b y , I w i l l w a s h off not n o w fool myself, to let i m a g i n a t i o n jade me ; for every reason o f l a t e , she d i d p r a i s e m y l e g b e i n g c r o s s - g a r t e r e d excites she at
dost t h o u l i v e by t h y
tabor?
CLOWN. VIOLA. CLOWN.
manifests herself to m y love, a n d w i t h a k i n d of i n j i m c t i o n drives m e t o [4] Moving to 0 , li] To L.C. puUinf SIR TOBT up between them.
appear again,
my
house, a n d m y
these h a b i t s of h e r l i k i n g . * swiftness of p u t t i n g on.* a postscript.* am. smiles become sweet, [Reads.] thee
I w i l l be H e r e is y e t I thy
VIOLA.
d w e l l n e a r h i m ; o r , t h e c h u r c h s t a n d s b y t h y tabor, i f t h y tabor s t a n d by the c h u r c h . CLOWN. Y o u have said, sir. T o see t h i s age ! A s e n t e n c e is b u t a be cheveril glove to a good w i t : turned outward! [VIOLA. may Nay, that's certain ; them wanton. sister h a d h a d n o name, sir. that very they that dally nicely w i t h words quickly make Why, Why, h o w q u i c k l y t h e w r o n g side m a y
[7] Ue pautet. OraduaUy hit fai t expanfU into an artificial tmxle. [81 Ht kittet hit hand to the heavent. [8] Hi repeaU tht tmile more txtravagantly. SIR TOBY tlidet doum again. [101 Looking at hit Iegt in turn, at though lo envitage the yellow ttockingt. He drawt himtelf to hit full height and ttrutt out L. Is. [ I l l GeUing over the wall. 112} Laughing, and endeavouring to deicend. (131 Climbing doum.
(141 SIR ANDREW and TABIAN help SIR
smile,
dear m y
J o v e , I t h a n k t h e e : * I w i l l s m i l e ; I w i l l do e v e r y t h i n g t h a t t h o u w i l t have m e . * ' FABIAN.** thousands SIR TOBV. SIR TOBY. jest.** SIR A N D R E W . FABIAN. Nor I neither. noble gu!l-catchsr.** MARIA.*' m y neck? *' Here comes m y to be p a i d f r o m t h e So Sophy. for t h i s device.** another [Exit. of I w i l l n o t give m y p a r t of t h i s sport for a pension I could m a r r y this wench COUld I t O O . * ' other dowry w i t h her but such A n d ask no
I w o u l d , therefore, m y man?
B u t indeed
SIR A N D R E W .
none w i t h o u t words ;
and [4] Moving to L.O. [5) Following v i o L A , abovt htr, 0. tianding e KKb
w o r d s a r e g r o w n so f a l s e , I a m
l o a t h to prove reason w i t h
them.] con-
[15] Looking R.
(161 K. 1 E.
I w a r r a n t t h o u a r t a m e r r y fellow a n d carest for n o t h i n g . * N o t so, s i r , I d o c a r e f o r s o m e t h i n g ; you invisible. t h e L a d y O l i v i a has n o f o l l y : she will but in m y i f t h a t be t o c a r e f o r n o t h i n g ,
Re-enter SIR TOBY. SIR TOBY. bond-slave? SIR ANDREW. SIR TOBY. image MARIA.** SIR TOBY. MARIA.*' I ' faith, or I
science, s i r , I do n o t care f o r y o u : I would it would make No, indeed, sir ; VIOLA. CLOWN.
(171 Kneeling and attempting to put hit hi ad on the ground. MARIA advanc't. (18) SIR ANDREW imitatei SIR TOBY, ibiwiiiv abovt him. FABIAN itandt R.
SIR ANDREW.
k e e p n o f o o l , s i r , t i l l she be m a r r i e d ; a n d f o o l s a r e as l i k e as p i l c h a r d s a r e t o h e r r i n g s ; t h e h u s b a n d ' s t h e b i g g e r : not her f o o l , b u t her c o r r u p t e r of VIOLA. him? CLOWN. shines stockings, wisdom every I saw Foolery, where. words. Orsino's. the orb thee late a t t h e Count s i r , does w a l k a b o u t W h y , t h o u hast p u t h i m i n such a dream, that w h e n the N a y , b u t say t r u e ; does i t w o r k u p o n
I a m indeed
like the sun, i t be your thee.' a [6) At Iht tptakt, TIOLA panel wp in the direction of the ttept on ^EBTB'S L . TESTE then dropt down L., turning and looking after TIOLA. [7) Paueing and finding a coin and returning. [9) A ittp to%oaedt E. [10) Turning. TESTE holdt tht coin in Iht palm of hit R. hand, gazing at it reflectively. [121 After advancing and looking at the coin. Ill] a
[8) On TESTE'S E.
as o f t w i t h y o u r m a s t e r as w i t h m y m i s t r e s s : there. Nay, an t h o u pass u p o n m e , thee.* VIOLA.' CLOWN. beard! VIOLA. [aside] within ? CLOWN.** VIOLA.** CLOWN. VIOLA.** [CLOWN. By m y troth,
(191 Laughing. 1 MARU punctuatei her ipeech with laughter ail through, in which the otheri join. (211 Croittt in front of SIR TOBY to L.O., turru at the eontinuet. During her tpeech SIR TOBY attempti to get up. SIR ANDREW helpi him. [221 Running (o L. 1 E., and tumitig. [23] Foliowing MARIA with whom he goet out. s n ANDREW, crotting at ht tpeakt, gott after them with l i B u a . (4) b. 1 .
a n d ' t i s a c o l o u r s h e a b h o r s , * ^ a n d c r o s s - g a r t e r e d , a f a s h i o n she d e t e s t s ; h e w i l l s m i l e u p o n h e r , w h i c h w i l l n o w be so u n s u i t a b l e t o h e r I f y o u w i l l see i t , follow me.'* d i s p o s i t i o n , b e i n g a d d i c t e d t o a m e l a n c h o l y as she i s , t h a t i t c a n n o t b u t t u r n h i m into a notable contempt. SIR TOBY. wit! I ' l l make one too. [Exeunt.** T o t h e gates of T a r t a r , t h o u m o s t excellent d e v i l of
I ' l l no of
h a i r , send thee
SIR A N D K E W .
I w o u l d play L o r d Pandarus of P h r y g i a , sir, to b r i n g I understand y o u , sir ; The m a t t e r , I hope, ' t i s w e l l begged. but
Cressida t o t h i s T r o i l u s . is n o t great, sir, begging a [13] With a little laugh iht findt anolitr pitee of money and layt it with Iht other in FEBTE'I palm. [14] Bt bowt and gott (SL. 1 E., (rn and
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VIOLA. construe [1] Ht tott (m( L. 1 1 . T I O U itit L. to t h e m whence you come ; w h o y o u are and w h a t y o u [Exit.^ T h i s f e l l o w is w i s e e n o u g h to play the fool ; he jests, OLIVIA. A Give m e w o u l d a r e o u t o f m y w e l k i n , I m i g h t s a y " e l e m e n t , " b u t t h e w o r d is over-worn. VIOLA. And to do t h a t w e l l craves a k i n d of w i t : and the time. feather practice
After the last e n c h a n t m e n t y o u d i d here, r i n g i n <!hase o f y o u : Myself, m y servant a n d , I fear m e , y o u : ' Under your h a r d construction m u s t I sit. T o force t h a t on y o u , i n a shameful cimning. what might you think? thoughts of y o u r receiving bosom, speak. love. proof, [4] Sht movtt to R.o. [5] Riting. W h i c h y o u k n e w none of yours : And [2] TIOLA turn* her fact away from O L I T U , but retain* the tame diitanet from her. [.'I] Speaking lo TIOLA'S baek.
H a v e y o u n o t set m i n e h o n o u r a t t h e s t a k e . baited i t w i t h all the unmuzzled a cypress, n o t a T h a t tyrannous heart can t h i n k ? E n o u g h is s h o w n : Hideth m y heart. VIOLA. OLIVIA. VIOLA. T h a t very oft we pity I pity T o one
T h a t c o m e s b e f o r e h i s eye.
A s f u l l o f l a b o u r as a w i s e m a n ' s But
[ 2 ] SIR TOBT, followed bv
So, l e t m e h e a r y o u you.
enter* ftom the firtt openitu in tlie box hedge, and coming behind VIOLA, <To*e* ' . c. aiK ANDREW patting to hit R. u litUe up ttage. m Making a talutation to TIOLA. (4] I'urning and bowing lo SIR TOBT.
Save y o u ,
'tis a vulgar
ANDREW.
OUVIA.*
w o r l d , h o w a p t t h e p o o r a r e t o be
SIR A N D R E W . (5] Looking dovm contcioutly at htr Iegt. [0] Indicating L. 1 E. (71 Stepping back a pace at though SIR TOBT thould precede her. [8] At OLIVIA enter* VIOLA, bowing before her, retiree a little, SIR TOBY geU B.C., SIR ANDREW a little above him
on hit R., OLIVIA L . c , MARIA L.
I f o n e s h o u l d be a p r e y , h o w m u c h t h e b e t t e r T o fall before t h e l i o n t h a n t h e w o l f ! T h e c l o c k u p b r a i d s m e w i t h t h e waste of ' Be not afraid, good y o u t h , I w i l l n o t have y o u : * A n d yet, w h e n w i t a n d y o u t h is c o m e to harvest, Y o u r w i f e is l i k e t o r e a p a p r o p e r m a n : *" T h e r e lies y o u r w a y , d u e VIOLA.** A t t e n d y o u r l a d y s h i p ! ** west. Grace a n d good disposition me? (141 By th* R.c up flag*. me. are. [16] Turn* a*id* K. you. be! [15) In entreaty. T h e n w e s t w a r d - h o ! ** [6] She (rosiet round i 1 front of n o L A u up c. [7] Turn* and lookt baek at (8J .\fovit up a ttep, lurra againh*r manner changing. [91 Turnt away up ttage. [10) Sudlnli/ facing viOLi, pointing R. l l i ) TurjUn:/ K. Facing OLIVIA at entrant*. 113) Turning and re-tuming.
SIR
TOBY.
W i l l y o u encounter
y o u s h o u l d e n t e r , i f y o u r t r a d e be t o h e r . VIOLA. my I a m b o u n d to y o u r niece, sir ; T a s t e y o u r legs, s i r ; I m e a n , she i s t h e l i s t o f voyage. put t h e m to m o t i o n . legs. B u t we are M y legs d o b e t t e r u n d e r s t a n d m e , s i r , t h a n I u n d e r s t a n d by b i d d i n g m e taste m y I m e a n , t o go, sir, to enter.*
p r i t h e e , t e l l m e w h a t t h o u t h i n k ' s t of I f I t h i n k so,
M o s t excellent accomplished lady, t h e heavens r a i n odours o n y o u I SIR 9] Bowing low to O L I T U . 10] Oir SIR TOBY'S R. thoulder. 11] She glancet indicativety at the othert. tn command. BIK TOBY and SIR ANDREW exchange glancet. Then SIR TOBY bowt and kadi SIR ANDREW up towardt the slept, SIR ANDREW hangs back, looking over hit shoulder, SIR TOBY leads him off C by steps. MARIA goet up L. and followt them out. OLIVIA and VIOLA retain their poiUiont until the otheri are out of light, then OLIVIA movei up ttage looking after them, turnt and comet down R.c. on the other tide of VIOLA, but tome few pacet away from and above her. There t* a paute before the tpeakt. She lookt at VIOLA, then on the ground; looking up again, tht advantet ficr handt. [13] Advancing to OLIVU the taket her L . hand, kneels on one knee, and lightly kisses it; as sht doet to OLIVIA draiot in her breath, at though the kiti had thrilled her. [14] VIOLA rt4<* and releatet OLivu's hand immediately; itepping back a pace. [16] At OLIVIA poi, her hand remain* extended, at though tht were loath that VIOLA thould part with it. [161 Withdrawing her hand. [17] She turns away and movet a little in the direction of the ttat. 18] A ttep towardt OLITU. 19] She approachti clot* to tht ttat, htr back to TIOLA. 120) Nearer to OLITU.
12] LooHng at SIB TOBY and SIR ANDREW
ANDREW.'"
T h a t y o u t h ' s a rare courtier : " R a i n odours " voice, lady, b u t to y o u r o w n " pregnant " door be and " vouchsafed leave MARIA.] me to
well. VIOLA. SIR I ' l l get M y matter hath no ear.** " : " Odours," garden most pregnant a n d vouchsafed ANDREW. 'em
1 wish i t m i g h t , for n o w
your hand, sir. M y duty, madam, and most humble W h a t i s y o u r n a m e ? ** Cesario is y o u r servant's n a m e , fair 'Twas never call'd compliment: princess. M y servant, sir I merry world service.**
** Cesario, b y t h e roses o f t h e s p r i n g . m a i d h o o d , h o n o u r , t r u t h a n d every w i t n o r reason c a n m y passion I l o v e t h e e so, that, maugre a l l t h y pride, hide. clause.
Y o u ' r e servant to the Count Orsino, y o u t h . * ' A n d h e is y o u r s , a n d h i s m u s t needs be y o u r s : For h i m , I think not on h i m : for his thoughts, Y o u r s e r v a n t ' s s e r v a n t is y o u r s e r v a n t , m a d a m . * * W o u l d t h e y w e r e b l a n k s , r a t h e r t h a n f i l l ' d w i t h m e l * M a d a m , I come t o w h e t y o u r gentle thoughts behalf.*" ** 0 , b y y o u r l e a v e , I p r a y y o u ,
L o v e s o u g h t i s g o o d , b u t g i v e n u n s o u g h t is b e t t e r . ] VIOLA. And And Will B y innocence I swear, and by m y y o u t h , truth. none more move has ; n o r never alone. never deplore. for t h o u perhaps m a y s t Draw (1!)] At if going. (201 VIOLA pause*faring led. (211 OLIVIA tumt doum Hag/i and lUndy walki round and up c. to steps ; at tht iitcendt litem the ttopt and lookt baek
at TIOLA.
I have one h e a r t , one b o s o m a n d one that no w o m a n S h a l l m i s t r e s s b e o f i t , save I so a d i e u , g o o d m a d a m : * ' I m y m a s t e r ' s tears t o y o u Yet come again ; ' "
OLIVIA.
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[SCENE [OLIVIA'S [1] 8I> TOBT il liiKonrtd on (ht teal in a potition of tate. wkhlkH itandt llithtly above him. eiK ANDRBW it paciny up antl doum itagf. c. (2) Coming lo a ttop facing tht leat c.
[Enter] SIR TOBY,
II] house.]
and FABIAN.*
b l o o d i n h i s l i v e r as w i l l c l o g t h e f o o t o f a f l e a , I ' l l e a t t h e r e s t o f t h e anatomy. FABIAN. presage of A n d h i s opposite, t h e y o u t h , bears i n h i s visage n o g r e a t cruelty.* [Enter MARIA.] w r e n of n i n e comes. into very [2] Turning and looking off L. [3] MARU enteri after a long peal of laugh, ler, tht infeHion of wliich it conveyed to BIK TOBY arut TABIAN. She comes to c, between the two men, before the tufficiently comtnandt her voice lo tpeak, and her laughter it continued tpatmodically through the tpeech, arut maket her final declaration with a rising inflectionhysterically Taking MARIA'S tone. Still with laughter, speaking guickty keeping the lone of the speech a littli down at its commencement and working up to a climax. Joining with TABIAN in the laughter. M A K U , wiping the tears of laughter from her eyes, erottet SIR TOBY lo L. 1 B. Turns arul burtit out again, SIR TOBY gott to her and, embracing her, drau^t her face to his thoulder. He tumt to TABUN. They all laugh together and art moving out at Iht curtain fallt.
pausing at " pas(!cs of grosjneM "
SIR ANDREW,
longer. reason. Sir Andrew. favours to the I saw 't i ' that.
T h y reason,
SIR T O B Y . * MARIA.*
Y o u m u s t nccds y i e l d y o u r
[3] Advancing toivnrdi sa TOBY, itanding in front of him. [4] Pacing to L.C.
r e n e g a d e s ; f o r t h e r e is n o C h r i s t i a n , t h a t m e a n s t o b e s a v e d b y b e l i e v c a n ever believe s u c h stockings. And cross-gartered? l i k e a pedant t h a t keeps a school i ' H e does o b e y h e does s m i l e I can hardly strike h i m : [Exeunt. grossness. in yellow
tell m e
FABIAN.' SIR and FABIAN. reason. SIR TOBY. was a sailor. FABIAN.
T h i s was a great a r g u m e n t of
Most villanously ;
ANDREW.'
a n ass
[4] [G]
every p o i n t of t h e letter t h a t I dropped to betray h i m : of the Indies : forbear hurling y o u h a v e n o t seen s u c h a t h i n g as ' t i s . things at h i m . I know my lady will
h i s f a c e i n t o m o r e l i n e s t h a n is i n t h e n e w m a p w i t h t h e a u g m e n t a t i o n
[] [7]
She d i d s h o w f a v o u r t o t h e y o u t h i n y o u r s i g h t o n l y t o Y o u should then have from This was accosted you for my
exasperate y o u , to a w a k e y o u r d o r m o u s e v a l o u r , to p u t fire i n y o u r heart, and brimstone i n your liver. her ; and with some excellent jests, f i r e - n e w the m i n t , looked
[SCENE i n * A
Enter
[ t h e double g i l t of t h i s o p p o r t u n i t y Dutchman's
street.
and ANTONIO.
y o u l e t t i m e w a s h off, a n d y o u a r e n o w s a i l e d i n t o t h e n o r t h o f lady's opinion ; where y o u w i l l h a n g like a n icicle on a valour or I hate : 18J With a clap on SIK AnnBlWs thoulder SIR valour. him policy.
SEBASTIAN
beard,] unless y o u do redeem i t b y some l a u d a b l e a t t e m p t e i th e r of SIR A N D R E W . A n ' t be a n y w a y , i t m u s t be w i t h v a l o u r ; f o r p o l i c y then, build me the count's my t h y fortunes upon of it ; t h e basis and of
I w o u l d n o t by m y chide you.
will
have
of y o u r
I could n o t stay b e h i n d y o u :
TOBY.* Why,
M o r e sharp t h a n filed steel, d i d spur m e n o t a l l l o v e t o see y o u , t h o u g h so d r a w n one to a longer jealousy w h a t m i g h t befall your prove willing of As m i g h t have
forth ; much
i n eleven
niece s h a l l t a k e n o t e than r e p o r t of
voyage. stranger,
t h y s e l f , t h e r e is n o l o v e - b r o k e r i n t h e w o r l d c a n m o r e p r e v a i l i n m a n ' s commendation FABIAN. [(] After looking from BIX TOBT to rABIAB, BIK ANDKEW pullt himtelf up with an attumption of great valour. I ID] Stepping back from SIK ANDKEW and pointing up towardt ttept vjith hit K. hand. SIK ANDREW maktt a pact or two up c. [11] SIR ANDREW (unu uM an exclamation of bravado. [12] (TiM an aisenting lign BIK ANDREW tumt up again.
[13] SIR ANDREW facet SIK TOBT, u o r l - t n /
travel.
with woman
B e i n g skilless i n these p a r t s ; Unguided and unfriended, often Rough The and unhospiUble : pursuit. my r a t h e r by these a r g u m e n t s
w h i c h to a love.
T h e r e is n o w a y b u t t h i s . Sir
W i l l either of y o u bear m e
G o , w r i t e i t i n a m a r t i a l h a n d ; * be c u r s t a n d b r i e f ; ** o f i n v e n t i o n : **
fear. Antonio,
i t is n o m a t t e r h o w w i t t y , so i t b e e l o q u e n t a n d f u l l
t a i m t h i m w i t h t h e l i c e n c e o f i n k ; * i f t h o u t h o u ' s t h i m s o m e t h r i c e , i t s h a l l n o t be a m i s s ; a n d as m a n y l i e s as w i l l l i e i n t h y s h e e t o f p a p e r , a l t h o u g h t h e sheet w e r e b i g e n o u g h f o r t h e bed of W a r e i n E n g l a n d , set ' e m d o w n : SIR A N D R E W . SIR TOBY. FABIAN.** SIR TOBY. or so. FABIAN. deliver 't? Never trust m e , t h e n ;
My kind a n d ever . . . w o r t h as i s m y
other answer m a k e
but thanks. oft good turns conscience What's to town? your lodging. 'tis long to fame 'Id pardon me galleys ; night: firm, do?
go, a b o u t i t .
L e t t h e r e be g a l l e n o u g h
i n thy ink,
u n c u r r e n t pay :
himtelf to a pattionemphatixiixg BIR TOBY'S words uith getturet, gradually getting nearer the ttept. [14] Turning on the top of the tUpt. [15] 0 .
about i t
go. [Exit
b e s t f i r s t g o see
T h i s is a dear m a n a k i n to y o u , Sir
I p r a y y o u , let us satisfy o u r T h a t do r e n o w n ANTONIO. I do n o t w i t h o u t danger Once, i n a sea-fight, I d i d some service ; this city.
SIR TOBY.
i tl
XT
y o u t h to a n answer.
8?
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
SCENE
I V
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
88
SEBASTIAN. ANTONIO.
MALVOLIO.
Not black
in my
mind, hand.'
though yellow
in my
legs.*
a bloody
I t d i d c o m e t o h i s h a n d s , a n d c o m m a n d s s h a l l be e x e c u t e d w e do k n o w t h e sweet R o m a n OLIVIA. OLIVIA.* thy h a n d so MARIA.* MARIA. MALVOLIO. W i l t t h o u go T o bed I comfort do y o u , oft? How Malvolio? yes ; A t your request! God MALVOLIO.* to bed, thee! Malvolio ? ' Why dost t h o u s m i l e so
; I think
A l b e i t t h e q u a l i t y of t h e t i m e a n d q u a r r e l M i g h t well have W h a t we M o s t of argument. i n repaying sake, stood out ; I t m i g h t have since been a n s w e r ' d took f r o m t h e m ; our city did : dear. Do u o t ^theu w a l k t o o open. purse. I t doth not fit me. H o l d , sir, here's m y only myself
[1) Be advaneet a leg, pointing hit l o r Thm going nearer ami tpeaking in low intinuating voice.
lapsed i n t h i s
nightingales answer
daws. [2] MALVOLIO, having approached familiarly, OLIVIA ritet in tome alarm. (.Jl After speaking, she crosses in front of MALVOLIO ( 0 R.c. [4] FoUiiuing to behind her. [6] Drawing away a littlt farther towardt L.c. MALVOLIO continued to tmile and kiu hu hand. [O] MARIA interposes 0.
the south suburbs, at the Elephant, best t o lodge : I w i l l bespeak o u r diet. knowledge me. toy there shall y o u have
'twas well
writ.
W h a t meanest
Malvolio?*
W h i l e s y o u b e g u i l e t h e t i m e a n d feed y o u r With v i e w i n g of t h e t o w n : Why SEBASTIAN. ACT I V O L I V I A ' S garden, as in preceding Act l U B)i ttept c , O L r v u coming firtt and moving doicn to K.O. MARIA remaini at the foot of ttept. \1] Speaki after coming R.c. (3) Moving to teat. (41 jMoking in MARLt's liirertion, and tim titting. (51 Raiting her voice. (1 f'.y the box hedge L . of tttpt, looking off c. [71 Checking her laughter. (H) c. Jiy ttept. (* MARIA runt on again and goet to tht opening in the hedge on tlie L. of ttept, half hiding, as MALVOLIO appeart c. He carritt a long cane, hat ditcarded hit wand of office, weart yellow host and it cross-gartered. With a great oifertation he desceiuts the steps, his eyes rolling at MAEIA in cotUempt. He comes below the tree c. until ht it wUhin OLIVIA'S line of vUion. ANTONIO. You have I y o u r p u r s e i" and your
MALVOLIO. OLIVIA. OLIVIA. MALVOLIO.** MALVOLIO.*' OLIVIA. OLIVIA. MALVOLIO. OLIVIA.** MALVOLIO. OLIVIA. MALVOLIO.
"Some
W h a t sayest Heaven
desire t o purchase ;
I t h i n k , is n o t f o r i d l e m a r k e t s , s i r . SEBASTIAN. For an hour. To the Elephant. I do remember. [Exeunt.] ANTONIO. SEBASTIAN. I ' l l be y o u r p u r s e - b e a r e r you
" Remember who commended thy yellow stockings," stockings! thee cross-gartered." ** " A n d w i s h e d t o see
Thy yellow
Cross-gartered! " G o t o , t h o u a r t m a d e , i f t h o u d e s i r e s t t o be so ; " * * Am Why, I made? see thee a s e r v a n t still." t h i s is v e r y m i d s u m m e r Enter SERVANT.** gentleman of the Count Orsino's madness. " I f not, let m e [7) MALVOLIO passee in front of MiRU to [81 Shrinkitig away to L . [01 Following O L i v u . [101 Tuming in front of him to E.O. and joining MARU. [11] Coming to C. [12) He turns himself round, ogling OLITU and smiling. (13) Be ailvances a leg. [ H I Coming nearer OLIVIA. (161 Tuming round MARIA to Ar R. sidt. [16] .41 Ihttarvant't entrance L . I K . , MALVOLIO turtu up ttagt. [17] OLIVIA goet quickly L. after the tervant hat made hit exit L. 1 B. Sht turnt towardt MARIA, who hat foUowtd her. [ 131 Looking in MALVOLIO'S Oredion.
[19] OLIVIA preceiet MARIA. o i i v u ' i R.
[SCENE OLIVIA'S
Enter OLIVIA
IV] garden.
and MARIA.*
OLIVIA.'
' I have
s e n t a f t e r h i m : h e says h e ' l l c o m e ; * w h a t b e s t o w of him? borrow'd.* oft than begg'd or civil. fortunes : in very strange manner.
M a d a m , the young
I could h a r d l y entreat h i m back : he attends your ladyhim. [Exit SERVANT.] *' Good M a r i a , let L e t s o m e of MARIA.** man " for
h e is s a d a n d
MARIA.* OLIVIA. (101 ."^peaking as MALVOLIO comet into her | [11] At the sound of her voice he tumt in o n v u ' B direction, rolls his eyes, ttrol-ei his beard and bows, but with a greater dignity than hitherto. He then draws himtelf to his full height and hit face broadens into a fixed smile. After holding the smile for some moments he speaks. (12) AfUr looking at MALVOLIO wUh tome uneatinese. [13) A few ttept towardt OLIVIA. MARU litU.'. down r. MARIA.' man
but
do y o u c o m e n e a r m e n o w ?
H e i s , s u r e , possessed, m a d a m . W h y , what's the m atter ? does h e rave? y o u r ladyship N o , m a d a m , h e does n o t h i n g b u t s m i l e : wits. [Exit be. MALVOLIO.* MARIA.] I am as m a d as
t h a n Sir T o b y t o l o o k a t m e !
she sends h i m o n p u r p o s e , t h a t I m a y a p p e a r s t u b b o r n t o h i m ; she incites m e t o t h a t i n t h e letter. she ; "be opposite with a kinsman, surly w i t h servants ;
" Cast t h y h u m b l e s l o u g h , " says let t h y of put thyself into the trick
sets d o w n t h e m a n n e r h o w ; as, a [22] Be has uorkedacross lo the teat 1...ani now teats himttlf. [23] Ht rises and re-teats himself. [24] Be pauses. Then suddenly gett up and going L . imitatet O L I v u ' s tont and [25] Pacet to 0.
action.
sad face, a r e v e r e n d carriage, a slow t o n g u e , i n t h e h a b i t of s o m e sir o f n o t e , a n d so f o r t h . ] " and but t h i s f e l l o w be l o o k e d t o : " fellow.'* I have l i m e d her ; b u t i t is Jove's d o i i i g , ^ ' fellow! n o t M a l v o l i o , n o r after m y degree, a J o v e m a k e m e t h a n k f u l ! ** A n d w h e n she w e n t a w a y n o w , " L e t W h y , every t h i n g adheres together, t h a t n o d r a m of c a n be s a i d ? ] N o t h i n g t h a t c a n be can
M A K I A , with
M a l v o l i o 1 *" Sweet lady, ho, thou? occasion. I c o u l d be s a d : t h i s does m a k e b u t w h a t of some that ? lady! ho. Smilest Sad,
scruple, n o scruple of a scruple, [ n o obstacle, n o i n c r e d u l o u s or unsafe circumstanceWhat is t h e doer of come between m e a n d the f u l l prospect of m y hopes.'* t h i s , a n d h e i s t o be t h a n k e d . "
MARIA, with SIR TOBY and FABIAN.] '
MALVOLIO.**
W e l l , Jove, n o t I ,
I sent f o r thee u p o n a sad MALVOLIO.** obstruction i n the blood, i f i t p l e a s e t h e eye " P l e a s e one, r^T.TviA. Whv.
(26) Rack to tht teat. (27] Sitt. [28] SIR TOBT it heard tpeaking without off L. 1 B.
this cross-gartering ;
[Re-enter
of one, dost
Which way
is h e , i n t h e n a m e o f
sanctity?
If all
[29] OuUid*.
h e l l be d r a w n i n l i t t l e , a n d L e g i o n h i m s e l f possessed
8 4 lOT IT
TWELFTH
OR, W H A T
Y O U
WfLL
ACT
I I I
SCENE
I V
T W E L F T H
N I G H T :
OR,
W H A T
Y O U
W I L L
8<
H e i e h e i, here h e i s . G o off ;
how
FABIAN.
MARIA. L o , h o w h o l l o w t h e fiend speaks w i t h i n h i m l d i d n o t I t e l l y o u ? * S i r T o b y , m y l a d y p r a y s y o u t o h a v e a c a r e o f him. MALVOLIO. A h , h a ! does s h e s o ? * [] Coming in front of M * R i i and TABIAB SIR TOBY.* Go t o , go t o ; peace, peace ; ' w e m u s t deal g e n t l y and rpeakiny to MALVOLIO. (7) Taming to the olhrri. w i t h h i m : let m e alone.* H o w do y o u , M a l v o l i o ? h o w is ' t w i t h [8] He puihee them ilighliy back and then you? W h a t , m a n ! defy t h e d e v i l : consider, h e ' s a n e n e m y t o tumt again to MALVOLIO. mankind. MALVOLIO. D o y o u k n o w w h a t y o u say? ) Crotting TABUS to bthind BIR TOBT. MARIA.' L a y o u , a n y o u speak i l l o f t h e d e v i l , h o w he takes i t a t 10] Adcancing down ttagt. 11] Ltaoing BIR TOBY and getting behind heart! P r a y G o d , h e be n o t b e w i t c h e d ! TABIAK. [FABIAN. Carry his water to the wise w o m a n . [12] Waving hit hand to tht othert and ttepping back a pact. MARIA. M a r r y , a n d i t s h a l l be done t o - m o r r o w m o r n i n g , i f I l i v e . ] (IS) MALVOLIO movet to L.O. They run up and round at back to R. M y l a d y w o u l d n o t lose h i m f o r m o r e t h a n I ' l l s a y . MALVOLIO.** H o w n o w , mistress! MARIA. O L o r d ! ** SIR TOBY.** P r i t h e e , h o l d t h y peace ; t h i s is n o t t h e w a y : do y o u n o t see y o u m o v e h i m ? l e t m e a l o n e w i t h h i m . * * FABIAN. N o w a y b u t gentleness ; g e n t l y , gently : t h e fiend is r o u g h , a n d w i l l n o t be r o u g h l y used. SIR TOBY.** W h y , h o w n o w , m y I j a w c o c k ! h o w dost t h o u , c h u c k ?
MALVOLIO. S i r ! **
S I R T O B Y [reads]. " W o n d e r not, nor admire not i n thy mind, w h y I d o c a l l t h e e so, f o r I w i l l s h o w thee n o reason f o r ' t . * FABIAN. A g o o d note ; t h a t keeps y o u f r o m t h e b l o w o f t h e l a w . S I R T O B Y [reads]. " T h o u comest t o t h e lady Olivia, a n d i n m y s i g h t s h e uses t h e e k i n d l y : b u t t h o u l i e s t i n t h y t h r o a t ; t h a t i s n o t the m a t t e r I challenge thee f o r . " FABIAN. V e r y brief, a n d t o exceeding good senseless. S I R T O B Y [reads].* " I w i l l w a y l a y thee g o i n g h o m e ; where i f i t be t h y c h a n c e t o k i l l m e , " * FABIAN. Good. S I R T O B Y [reads]. " T h o u killest m e like a rogue a n d a v i l l a i n . " FABIAN. S t i l l y o u k e e p o ' t h e w i n d y side o f t h e l a w : g o o d . S I R T O B Y [reads]. " Fare thee w e l l ; a n d G o d have m e r c y upon one o f o u r s o u l s ! H e m a y have m e r c y u p o n m i n e ; b u t m y hope is b e t t e r , a n d s o l o o k t o t h y s e l f . T h y f r i e n d , as t h o u u s e s t h i m , a n d thy sworn enemy, Andrew Aguecheek." * I f t h i s l e t t e r m o v e h i m n o t , h i s legs c a n n o t : I ' l l give ' t h i m . ' MARIA. Y o u m a y have very f i t occasion f o r ' t : h e is n o w i n some commerce w i t h m y lady, a n d w i l l by a n d b y depart. SIR T O B Y . ' Go, Sir A n d r e w ; scout m e for h i m a t t h e corner of t h e o r c h a r d l i k e a b u m - b a i l y : so s o o n as e v e r t h o u seest h i m , d r a w ; a n d , a s t h o u d r a w e s t , s w e a r h o r r i b l e ; f o r i t c o m e s t o pass o f t t h a t a t e r r i b l e o a t h , w i t h a s w a g g e r i n g a c c e n t s h a r p l y t w a n g e d off, gives m a n h o o d m o r e a p p r o b a t i o n t h a n ever p r o o f itself w o u l d have earned him.* Away! * SIR A N D R E W . N a y , l e t m e alone for swearing. \Exit.^'> SIR TOBY.** N o w w i l l n o t I deliver h i s l e t t e r : f o r t h e behaviour o f t h e y o u n g g e n t l e m a n gives h i m o u t t o be o f good capacity a n d breeding ; h i s e m p l o y m e n t between h i s l o r d a n d m y niece confirms n o less : t h e r e f o r e t h i s l e t t e r , b e i n g so e x c e l l e n t l y i g n o r a n t , w i l l breed n o t e r r o r i n t h e y o u t h : h e w i l l find i t comes f r o m a c l o d pole. B u t , s i r , I w i l l d e l i v e r h i s c h a l l e n g e b y w o r d o f m o u t h ; set upon Aguecheek a notable report of valour ; a n d drive t h e gentlem a n , as I k n o w h i s y o u t h w i l l a p t l y receive i t , i n t o a m o s t hideous o p i n i o n o f h i s r a g e , s k i l l , f u r y a n d i m p e t u o s i t y . * * T h i s w i l l so f r i g h t t h e m b o t h t h a t t h e y w i l l k i l l one another b y the look, l i k e cockatrices. [Re-enter O L I V I A , tvith VIOLA.]
( 2 ) He lookt at SIR A N U R l w , who, believing him to be impreitsed, ttampt hit foot andtwaggertto L. SIR TOBY thaktt Mt head at TABIAN at though in dtprtealion of the context. (:)) At if thit were more lo hit liking. (4J In wonder at the folly of tht txprettion.
(3) looking again at TABIAN. |6| lie putt the letter uv. (7; Taking SIR ASHRBW by the arm and leading him acrott to R. MARIA erottet to L. n BIAN a lUllt up ttagt 0.
[14) Advancing to MILVOLIO, who hat got tn L. 115) Tuming on BIR TOBT. [11 Coming behind BIB TOBT.
A y , Biddy, come w i t h m e .
17) Pacet to txtrtme L. 18] Tunu up c. At ht doet to tht thrtt in pretended fear retreat R. MALVOLIO ootUinutt up to tUpt. 18] Turning at top of tttpt. 20] c. 21] Following up C. and tuming to tht othert. [22] R.O., facing BIR TOBT. [23 Below tree c.
'24
MALVOLIO. M y prayers, mime! MARIA. N o , I w a r r a n t y o u , h e w i l l n o t hear of godliness. MALVOLIO. Go, h a n g yourselves a l l I * ' y o u are idle s h a l l o w t h i n g s : * * I a m n o t of your e l e m e n t : y o u shall k n o w more hereafter.** SIR TOBY. FABIAN.** SIR TOBY. man. MARIA.** FABIAN. MARIA. SIR TOBY. N a y , pursue h i m n o w , lest t h e device t a k e a i r a n d t a i n t . W h y , w e shall m a k e h i m m a d indeed. T h e h o u s e w i l l be t h e q u i e t e r . Come, w e ' l l have h i m i n a dark r o o m a n d bound.** I s ' t p o s s i b l e ? ** I f t h i s w e r e played u p o n a stage n o w , I c o u l d condemn
(8) SIR ANURIW thowt tomt httitatwy W Vrging SIR ANDREW av>ay. (lOj After gathering hit courage R. I B. I l l ] SIU TOBY (uru lo face tht otiiert K a
Ijtughing. |l:Si Looking off toicardt L, 1 I . [14] G'oi/iy up c. to ttept, followedby sa [13) t . by ttept. [Ill] OLIVIA enUrt from L. 1 B. onrf erottet quiikly lo R . C , ttufuliruj turned away from VIOLA, who follotvt arul remaint L. (17) Speaking with pattion, inletuety, but on a low vibratd tio'.e. [18] OLIVU maket a long paute. VIOLA tlatult motionlett, looking tm the geuuttd. [19] She changet to a reflective tnanner. (201 fhe movet to the wall u . and on the next line leant her (ace on her handt againtt titc coluittn. tier entotwn it ttear teart. (211 Lookittg up at OLIVU and moving to R.c before tpeaking. [ 2 2 ] VIOLA tumt auay on her 1. a liltle up ttage to the tree, htr ba-t t-i OLIVIA, ( 2 3 ) Baiting htr fate and itmking round at VIOLA, then taking the jewel from her drett, the cotnet elote bthind VIOLA, brfort tp.c!,ing. Sht tpeakt pleadingly. (2J1 VIOLA maket a gcttturt of refutal with her R. huTui without turning. ( 2 5 ) With a halfhumoroui tmilt. [m] VIOLA lurm, titcrt it pity in htr getture. OLIVIA prettet the jewel into her luxndt. (27) Looking up into VIOLA'S face, the tine " And I braeet-h y o u ' ' long attd eamettly drawn out. [28] VIOLA movet away acrott OLIVU a fiu
i t o M to W . m.ivi. TOBY atui M A R U .
[28 Turru to ttept at SIR ANDBRW appeart upon Ihtm with a paptr. [28] SUpt back. [87] C.
*' F A B I A N . H e r e h e comes w i t h y o u r niece : give t h e m w a y t i l l he t a k e leave, a n d presently after h i m . * * SIR TOBY. I w i l l m e d i t a t e t h e w h i l e u p o n s o m e h o r r i d message for a challenge.
[Exeunt SIR TOBY, FABIAN, and MARIA.** J
M y niece is already i n the belief t h a t h e ' s m a d : [ w e m a y c a r r y i t t h u s , for o u r pleasure a n d h i s penance, t i l l o u r very pastime, t i r e d o u t o f breath, p r o m p t us t o have m e r c y But [aS] Bt handt tht paptr lo BiR TOBY, who eomtt down 0., SIR AKUBIW coming with him on hit L . and MARIA lookt over i l B TOBY'S thouldtr from behind. AU an dot* togtther. ( t t ) Folding hit armt defiantly. (10] ^'my <** "<*" making room/or
TABUN adVflTWet to BIR TOBY'S R.,
on h i m:
b r i n g t h e device t o t h e bar a n d c r o w n thee for a finder of m a d m e n . ] * * see, b u t see.** Enter SIR ANDREW.*'
** O L I V I A . * ' I h a v e s a i d t o o m u c h u n t o a h e a r t o f s t o n e A n d l a i d m i n e h o n o u r t o o u n c h a r y o u t : ** * T h e r e ' s s o m e t h i n g i n m e t h a t r e p r o v e s m y f a u l t ; But such a headstrong potent fault i t i s , * " T h a t i t b u t m o c k s reproof. VIOLA.** W i t h t h e same ' h a v i o u r t l i a t y o u r passion bears Goes o n m y m a s t e r ' s g r i e f . * * OLIVIA.*' H e r e , w e a r t h i s j e w e l f o r m e , ' t i s m y p i c t u r e ; ** R e f u s e i t n o t ; ** i t h a t h n o t o n g u e t o v e x y o u ; ** *' A n d I beseech y o u c o m e a g a i n t o - m o r r o w . * * W h a t shall y o u ask of m e that I ' l l deny. T h a t honour saved m a y upon asking give? I
FABIAN. More matter for a M a y m o r n i n g . SIR A N D R E W . H e r e ' s t h e c h a l l e n g e , r e a d i t : ** I w a r r a n t t h e r e ' s v i n e g a r a n d pepper i n ' t . FABIAN. I s ' t so s a u c y ? S I R A N D R E W . A y , is ' t , I w a r r a n t h i m : do b u t read. SIR T O B Y . * * G i v e m e . [Reads.] " Y o u t h , whatsoever t h o u a r t .
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
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ACT
I I I
T W E L F T H
N I G H T
O R ,
W H A T
Y O U
W I L L
OLIVIA. Which [1] She tcnvet T i n t A and goa ilowly toicardt the L. I t. m iMking back. (3j I , . 1 E. After OUVIA hai gone VIOLi look! round after tier. W c. [5J s m TOBY talutet V I O L I , a little below the ttept. She tumt at the t-jund of kU (8) Heturning hi Mlutation. >'ABUN conut down L. (7] Approaching VIOLA, VIOLA. OLIVIA. A
I give h i m you.
that
I have given to
acquit
W e l l , come again t o - m o r r o w : *
soul to hell.
and FABIAN.*
firago. I h a d a pass w i t h h i m , r a p i e r , s c a b b a r d a n d a l l , a n d h e g i v e s m e t h e s t u c k i n w i t h s u c h a m o r t a l m o t i o n , t h a t i t is i n e v i t a b l e ; a n d o n t h e a n s w e r , h e p a y s y o u as s u r e l y as y o u r f e e t h i t the g r o u n d t h e y step o n . T h e y say h e h a s b e e n f e n c e r t o t h e Sophy. SIR A N D R E W . SIR T O B Y . * SIR A N D R E W . scarce h o l d h i m Pox On ' t , I ' l l n o t m e d d l e not now with him.* can A y , b u t he w i l l yonder. Plague o n ' t , a n I t h o u g h t he h a d been v a l i a n t a n d horse, be p a c i f i e d : * F a b i a n [1] Wresting away from SIR TOBY and mnning R. [2] Catching him again. I .] FiBIAN appears holding VIOLA, at lop of steps.
SIR TOBY
save
thee. of what
And you,
so c u n n i n g i n f e n c e , I ' I d h a v e seen h i m d a m n e d e r e I ' I d h a v e c h a l lenged h i m . grey Capilet. SIR TOBY. on't I ' l l make the motion : s t a n d here,* m a k e a good s h o w [.4 side.] Marry, : t h i s s h a l l end w i t h o u t the p e r d i t i o n of souls. as w e l l as I r i d e y o u . *
FABIAN and VIOLA.]
but thy
is v e r y f r e e a n d c l e a r f r o m a n y i m a g e you :
o f f e n c e d o n e t o ciny m a n . TOBY. Y o u ' l l f i n d i t otherwise, I assure therefore, if for y o u r [To FABIAN.] FABIAN. H e is k n i g h t , d u b b e d w i t h u n h a t c h e d r a p i e r a n d b u t h e is a d e v i l i n p r i v a t e b r a w l : on y o u h o l d your life at any price, betake y o u to y o u r guard ; [8] Wilh a wink and grin he turnt to
FAIllAN L. IJ At 0.
[Re-enter
I have
per-
suaded
h i m the youth
H e is as h o r r i b l y c o n c e i t e d o f h i m ; a n d p a n t s a n d l o o k s were at his T h e r e ' s n o remedy, sir ; he w i l l fight w i t h m a r r y , he h a t h better b e t h o u g h t h i m of his therenot of his v o w ; he protests he w i l l
p a l e , as i f a b e a r
110) Turning from F * u i i to face VIOLA again. (11) Covertly looking at VABUX.
SIR TOBY.**
S I R T O B Y * [to V I O L A ] . y o u f o r 's o a t h s a k e :
carpet consideration ;
(41 Pushing him a liltle up stage towarrls the seal. At this moment KADIAN Orings V I O L i , on his L. hanil, dun I.. [61 As SIR TOBY turns from PIR AXnilEW, tpeaking his asitle, he meets FATIIAN C. m Crossing in front of FABIAN to VIOI.A. [7] Re sees BIB ASDREW creeping off R. and hurries across to him. [81 Fearfully and haUingly the draws hel tword. (91 Coming above VIOLA lo her L. (10) VIOLA lookt up attKmts ptilhettn.lltj. She keept her back to the R., waring her tword to C. ( I l l Pulling SIR ANDREW to R.C. [12] Movetahove SIR ANDRBW (o*u R. hand. (131 SIB ANDREW ttandt like\loiA,icMt hu back to hit adversary, feeling out with hit tword. [14] To SIR TOBY, as the bitter urges him towards c. [16] To FABIAN, as he tUs the same as PIR urged by their seconds, adcanre upon one another backwards, feeling out irilh their swords. As thry get c. Utey meet back to back tind bump into one anotU-r ; thit makes them turn in lUspertttion. SIK ANDREW, waving hit tieord iihove hit head wildly at AXTONlo ente.-s from c, ANTONIO pauses for a munent until in VIOLA lie believes lie rcitigniret SEBASTIAN ; he Uien comes d.m-n to
c. TOBY. Uoth VIOLA a.lrf SIR ANDREW.
b o d i e s h a t h h e d i v o r c e d t h r e e ; ** a n d h i s i n c e n s e m e n t a t t h i s m o m e n t is so i m p l a c a b l e , t h a t s a t i s f a c t i o n c a n be n o n e b u t b y p a n g s o f d e a t h and sepulchre. H o b , n o b , is h i s w o r d ; I a m no of t h a t fighter. quirk. give ' t or t a k e ' t . VIOLA. I w i l l r e t u r n a g a i n i n t o t h e h o u s e a n d desire s o m e c o n d u c t ** I h a v e h e a r d o f s o m e k i n d of m e n belike
q u a r r e l , a n d h e finds t h a t n o w s c a r c e t o be w o r t h t a l k i n g o f : fore d r a w , for the supportance hurt me you.' P r a y God defend m e ! much V I O L A [aside]. tell t h e m h o w FABIAN.* SIR T O B Y . * * the and
(11) Moving acrott in front of tn TOBY to I..C., facing FABUN, wlto ttandt in Iter uail. (131 Facing SIK TOUY agmn. (14) From c. |l6) H e poinU lo K. VIOLA maket an effort to putt FABMN. SIK TOBY, advancing behind her, turns her towardt C. Site thrinkt from h,:n : he followt to L.C. (16) Putt hu hand to hit tword.
I lack of a m a n . h i m furious.** he c a n n o t by
G i v e g r o u n d , i f y o u see
S i r , n o ; h i s i n d i g n a t i o n d e r i v e s i t s e l f o u t of a v e r y me
w i l l , for his h o n o u r ' s sake, have one b o u t w i t h y o u ; a soldier, he w i l l n o t h u r t y o u . ANDREW. I so Pray God, assure you, Come on ;
i n j u r y : t h e r e f o r e , g e t y o u o n a n d g i v e h i m h i s desire.**
d u e l l o a v o i d i t ; * ' b u t h e ha s p r o m i s e d m e , as h e is a g e n t l e m a n to ' t . * * SIR he k e e p h i s o a t h ! ** 'tis against m y will.** [They draw.] (16) From c. [17] Slept back ,t pace, his hand on his hiU. SIR ANDREW backs up R.c. [18] Stepping down stage and facing AN[19] Three OFFICERS from c. The FIRST OFKIctR enters first and deieeruh the slips, the two others remain upon Ihem. FIRST OFFICER ttandt up stage l. of tups. [20] Seeing the entrance of the OFFICERS, and crotting in front of VIOLA lo between (21) Speaking across FABIAN lo i.NTONIO. [22] To SIR ANDREW, i M o it tianding amazed, with his sword ttill raited, littU R. of c. up stage. [23] Stepping lo VIOLA L.C.
ANTOXIO and SIR lOBY. TONIO.
w h i c h w i t h as m u c h s a f e t y y o u m i g h t a n s w e r h i m : ** t h e r e f o r e , o n , or strip your sword s U r k naked ; for meddle y o u must, that's certain, or forswear VIOLA. to wear iron about you. I beseech y o u , do m e purpose. this T h i s is as u n c i v i l as s t r a n g e .
VIOLA.
c o u r t e o u s office, as t o k n o w o f t h e k n i g h t w h a t m y o f f e n c e t o h i m is : i t is s o m e t h i n g of m y n e g l i g e n c e , (17) Clotting in front of TIOLA to K. anJ turning. (18) K. 1 K. SIR TOBY. man till m y VIOLA. FABIAN. (19) Advancing a step to FABUN. VIOLA.** FABIAN. [ M l .41 each adjective VIOLA thowt her distrtti. (21) As ht advances to her she grasps hu arm pathetically for support. (121 In feeble appeal, all the woman in her showing through. [181 SIR TOBY'S voice in loud exclamation u heard off. VIOLA looks tluiiUy to K., 'hen tumt on her K. hand and runt up C. and off by tht steps, FABUN dathet after her. BiK TOBY tnters, leading SIR AXSRIW by Iht arm, U K AKDKKW draggistg^baek, ^ . ^ J ^ J . ^ ^ I w i l l do so.*' return. know of this matter? against y o u , even more. he? H e is, to a I know t h e k n i g h t is i n c e n s e d n o t h i n g of m y Signior F a b i a n , stay y o u by t h i s g e n t l e [Exit.^ ANTONIO. Have If y o u offend SIR TOBY. ANTONIO. SIR TOBY.
Enter
ANTONIO." I f this young you.*' dares yet do more you. draw.] gentleman
done offence,
I take the fault on me : w h y , w h a t a r e y o u ? * will. for [They Enter OFFICERS.** hold! here come t h e officers.
P r a y y o u , sir, do y o a
mortal arbitrement ;
b u t n o t h i n g of t h e c i r c u m s t a n c e
I beseech y o u , w h a t m a n n e r o f m a n is
heard h i m brag to y o u he
N o t h i n g of t h a t w o n d e r f u l p r o m i s e , t o read h i m b y h i s
Nay, if you
be a n u n d e r t a k e r , I a m
indeed, sir, t h e m o s t s k i l f u l , bloody a n d f a t a l opposite t h a t y o u c o u l d W i l l you w a l k towards can. ' t : I a m one that FABIAN.*" SIR TOBY. VIOLA.** I'll be as 0 good Sir Toby, I ' l l be w i t h y o u knows [Exeunt.] SIR TOBY, with SIR ANDREW.** anon.'* please. you, reins easily and for peace w i t h h i m i f I
r a t h e r go w i t h sir p r i e s t t h a n s i r k n i g h t : of m y m e t U e . Re-enter
I care n o t w h o
Pray, sir, p u t your sword up, if you good as m y word : he w i l l bear you
SIR A N D R E W . "
T W E L F T H icrr r r
N I G H T
O R ,
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ACT
III
SCENE
I V
T W E L F T H
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W I L L ACT IV
89
[ 1 ] it he tpeakt he advavret lo c . tianding tUghtiy above ANTONIO, who liat turned to /ace up stage, VIOLA has dropped doum lo the L., and SIR ANDRRW, who has clumsily been occupied returning hit sword to its fabbard, stands slightli/ above Iter by the first opening in tht Itcdge. The FIRST OFFICRR makes a sign to the other OFFICRRS, who advance on his K. anA range themtelvee on either tide of ANTONIO.
FIRST Orsino.
do t h y
come hither,
Fabian:
we'll
o r t w o o f m o s t sage s a w s . * know
do m i s t a k e m e ,
VIOLA.' H e n a m e d Sebastian : I m y b r o t h e r Y e t l i v i n g i n m y g l a s s ; e v e n s u c h a n d so well, head.] well. I n f a v o u r was m y b r o t h e r , a n d he w e n t Still i n this fashion, colour, ornament, 'For h i m I imitate : O, if i t prove. Tempests are k i n d a n d salt waves fresh i n love. SIR TOBY.*
tmXh him to a potition by the seat. ( i l Coming down stage at she tptakt, towardt L . of c.
SIR ANDKEW
y o u have
no sea-cap o n y o u r VIOLA.]
I m u s t obey.
T h i s comes w i t h seel i n g
{Exit.* than
(41
L.
I I.
A v e r y dishonest p a l t r y boy, a n d m o r e a c o w a r d
t h e r e 's n o r e m e d y ; t o ask y o u
W h a t w i l l y o u do, n o w m y Makes m e Much more But 2 ] . 1 few ttept down lo face ANTONIO. "3J Signt towards c. steps. 1 VIOLA looks at him tn perplexity. \b\ slightly up stage with another sign to the other OFFICF.RS. fi] With a step towards v i o L i . 7) >'utini7 ANTONIO L.C. 6] Sieki her purtt. be o f
a h a r e : h i s dishonesty appears i n l e a v i n g his f r i e n d here i n necessity a n d d e n y i n g h i m ; a n d for his cowardship, ask F a b i a n . FABIAN. SIR TOBY. FABIAN.' that here,' trouble. money. SIR T O B Y . A coward, Do ; a most devout coward, religious i n i t . [| Stalking boldly sword. [Exit.* event. i^Exmnt.
TOBT to I .
for m y
'Slid, I ' l l after h i m again a n d beat h i m . cuff h i m soundly, I do not, the but never draw thy An
in front of SEE
C I With
C o m e , l e t 's see
(81 L. 1 E.
tl-tta gettiouliitioiu.
[1 FoUowia/ to L . I B., and tuming lo s n [101 He jnitu FVBIAN and they go oat together L . 1 * .
TOBT.
I d a r e l a y a n y m o n e y ' t w i l l be n o t h i n g y e t "
W h a t money,
h a v i n g is n o t m u c h ;
As to u p b r a i d y o u w i t h those
hate ingratitude m o r e
Or a n y t a i n t of vice w h o s e s t r o n g c o r r u p t i o n blood.] 0 heavens themselves I go. here T h i s y o u t h t h a t y o u see death. promise T h e t i m e goes b y : godl shame. away! love. Comc, sir, I pray y o u ,
OFFICER.
taket a step up stage in the OFFICER'S direction, bringing himtelf to a point slightly above VIOLA, below and on the
OFFICtU'o R.
L e t m e speak a l i t t l e . '
I s n a t c h ' d one
h a l f o u t of t h e j a w s of
T h o u hast, Sebastian, None 1 0 Tht two OFFICERS, who hart been 1] ttatvling ilighlly behind ANTONIO, now clote in upon htm again, ANTONIO maket a gesture to the FIRST OFFICER, us in appeal to rorUintie. l l ) AXTONio dropt hit hands. Vt\ a last look at VIOL* he tumt up ttnge arut goet up the slept and away uith the OFFICERS on either tide holding him. The FIRST OFFICER itandt back tm his L. as they pass and then tunu and follows. (UJ VIOLA goes up to the ttept, iptakinf from the L. of Ihem.
I n n a t u r e t h e r e 's n o b l e m i s h b u t t h e m i n d ; c a n be c a l l ' d d e f o r m ' d but the unkind ; evil Come, OFFICERS. fly, V i r t u e is b e a u t y , b u t t h e b e a u t e o u s FIRST OFFICER. come, s i r . " ANTONIO. VIOLA." Lead m e on." f r o m such true. so d o n o t I . [Exit with M e t h i n k s his words do passion
T h a t he believes h i m s e l f :
'* P r o v e t r u e , i m a g i n a t i o n , O, p r o v e
40
ICT IT
T W E L F T H
N I G H T :
OR,
W H A T
YOU
W I L L
ACT
I V
SCENE
T W E L F T H
N I G H T :
OR.
W H A T
YOU
W I L L
ACT I T
41
OLIVIA'S
and
[2] From . 1 . reBASXIAM a litlU. i n t patictUly adcancet up ttage to c., TBSTB, cloeeljf foUowing and tpeaking aa ha tntert, tttmdt dawn ttagt B.C. [SJ Cp lo tUpt.
Enter
SEBASTIAN
CLOWN. Let me be
t h a t I a m n o t sent for y o u ?
SEBASTIAN.* CLOWN.
I prithee, gentle friend, Let t h y f a i r w i s d o m , n o t t h y passion, sway I n this uncivil and u n j u s t extent A g a i n s t t h y peace.* Go w i t h m e t o m y h o u s e , A n d hear t h o u there h o w m a n y fruitless p r a n k s This ruffian h a t h botch'd up, that t h o u thereby M a y s t s m i l e a t t h i s : t h o u s h a l t n o t choose b u t go : Do not deny. Beshrew his soul for m e . H e s t a r t e d o n e p o o r h e a r t of m i n e i n thee.* SEBASTIAN.* W h a t r c H s h is i n t h i s ? h o w O r 1 a m m a d , o r else t h i s is a d r e a m : L e t f a n c y s t i l l m y sense i n L e t h e s t e e p ; I f i t be t h u s t o d r e a m , ' s t i l l l e t m e s l e e p ! runs the stream?
I a m n o t sent to y o u by m y lady, to b i d y o u come speak w i t h her ; [4J At he eomtt down L.O, [0] To c. [8] Standing above SEBASIUH'B R. thoulder, and tpeaking over it. [7] Drawing away, with hit back doum ttage. [8] Moving acrott to E. (8J Stepping back, looking at tht money in hit palm. [lOJ In thu order: BIR AUDRBW ftrti, at though ht had teen SEBASTIAN from a dittance ; he tumt lo SIR TOBT and TABIAN and urith terrific getturet pantominict tht onslaught he it about to make. SIR TOBY and TABIAN urge him to il. At latt, with much bombalt, he advaneet towardt TABIAN, who ttandt B.C. with hit back turned, and maket a feeble pat on the tidt of hit [IW^M he itrikei hu futiU blow. (12J Turning in amarement and making paute at he eyet hit attacker. [13J liilh a twinging box on the ear with th* fiat of hit hand, following it up rapidly with two more, the lat' of which tend* BIR ANDREW reeling up ttagt. H* then drawt hit dagger. [141 Advatieing at ht tpeakt, ht catche* 8FB.*STIAN by hit R. uritt, arul, holding hit arm doum, twingt lo SEBASTIAN'S [1.11 c.', by ttept. It] At he ttruggltt to hold S I B A i T U B . 17) From behind FABIAS l.c. 181 Ht overeomet SIR TOBY'S hold upon him, throwirig SIR TOBY acrott him lo L.c. [Itll Slept back and throwing hit dagger on the ground drawt hit tword. [20] Drawing hit tword.
i21J TESTE and ATTENDANTS.
n o r y o u r n a m e is n o t M a s t e r C e s a r i o ; n o r t h i s i s n o t m y n o s e n e i t h e r . N o t h i n g t h a t is so SEBASTIAN. CLOWN. man thy T h o u know'st not is so. I p r i t h e e , v e n t t h y f o l l y s o m e w h e r e else : me.* he has h e a r d t h a t w o r d of s o m e great Vent m y folly! [ I a m afraid this shall I I prithee now, u n g i r d
me!
Vent m y folly! *
[Exeunt.'^*
a n d n o w applies i t to a fool.
strangeness a n d tell m e w h a t I s h a l l v e n t to m y lady : I prithee, foolish Greek, depart f r o m m e : if you tarry longer, payment.
's m o n e y f o r t h e e : *
[IJ At 8IR TOBY tunu to het, at if to make explanation. (2J SIK TOBY thrugi hit ihouldert, maket a half-bow to OMViA, anil taking sm ANDREW s arm, goet up cfollownl b / TABIAN. At SIR TOBY pattet fKsrE, tlie clown grimace.!, and SIR TOBY threalem him. He dotl</et away laughing, and foltowt, the ATTENDANTS going latt. OLlvn walrhtt then auov SEBASTIAN kneelt on one kn>ie, pi,kiy up hu dagger and wiping the blwU hu , L . ^ hit tleet. . OLIVIA turnt to hi: iin.t tpeakt. [3J SEBASTIAN theathet the dagger, looking up at OLIVIA. She tmilet at him. and he ritet. Sht maket a littlt movement to tht h. and turnt. 4) Half turned from him. 5) Turning a little apart to hit R. 6J Ht lookt long at OLIVIA. NOTE.7"htre are many conventional purwiuationt in the formal printing! of Shakeipeare'i work! which the itudent ihould value at hit ditcretion. It would be beyond the tcope of thit work to lay doum, at every point, definite tuggettiont for a more plastic treatment, but, for example!, references may be made to note! (0) and [3] at the end of thil Act. In the former the directionii, " He look! long at OLIVIA." It it obviout the punttuation here, if oburvcd, would kill the " painting " of tht word!. Tht actor holdt hit wordt together by gesture and expression in all his pause!. If the line be commenced at a fuller inflection than thoie preceding it, it miglU be read that "Ifit he. ( A I M - t o dreamttill let mc-sleep I " The italics indiciite colour and fullness, not buUl emphatit. In note (81 the value of a pause *fler " O, say 80 " w self-evident. He advances to her. Putting her hands upon his ihouldert and looking up into his face. [J She moves to L. 1 E., stops, turns and advances her hands to him. He goes guickty lo her, takes her outstretched hands and, lifting them to his lipi, leads her out. IIOJ L . 1 E. Tablecm Curtains or Act Drop.
These wise m e n
SIR TOBY,
and
FABIAN.**
t h e people m a d ? H o l d , sir, or I ' l l t h r o w y o u r dagger o'er the house. [;r/.' hold. T h i s w i l l I t e l l m y l a d y s t r a i g h t : I w o u l d n o t be i n s o m e C o m e o n , sir ;
w i t h h i m ; I ' l l have a n a c t i o n of b a t t e r y a g a i n s t h i m , i f t h e r e be a n y t h o u g h I struck h i m first, y e t i t ' s no m a t t e r for t h a t . L e t go thy hand. n o t let y o u go. ; Come, m y come on. ?** young y o u are w e l l fleshed Come, sir, I w i l l SEBASTIAN. SIR
soldier, p u t u p y o u r i r o n : SEBASTIAN. SIR TOBY. t w o of I f t h o u darest t e m p t m e [22] Coming 0. Htr attendant! adranet behirui her. [2SJ He lower! hit bladt and inclintt hi* head before OLIVIA.
[24] At OLIVIA it addrttting SIR l O B T ,
N a y , t h e n I m u s t have a n ounce or
this m a l a p e r t blood
SEBASTIAN put* Up hit lUOrd. I K ] Sht tumtUiitakStlhV,layingher hand upon hit arm. [S6J Thert it a pautt, during u*ieh 8BBAITIAN regard! OLivu in admiration. Ht i! about to tptak, at if upon th* matter of the name tht eallt him. She ttopt him by railing her hand towardt hit Uju. .Sht tumt from him Urwri* i t s
Hold, Toby ; M a d a m ! **
W i l l i t be ever t h u s ?
42
T W E L F T H
NIGHT:
OR,
W H A T
YOU
W I L L
ACT
I V
SCENK
I I
N I G H T : how vexest
OR,
W H A T this
YOU man!
W I L L
CLOWN. SIR
thou
W e l l said, master
Parson. good Sir they have laid m e here i n hideous I call thee by the most modest dark? barricadoes,
I I ] Drawing MAKU by the hand to I . f door R.c. behind r s s T i , that MALVOLIO thaU not It* them.
Topas, do n o t t h i n k I a m m a d :
for I a m
Why,
I say, t h e r e is n o darkness
i n w h i c h t h o u a r t more puzzled t h a n the Egyptians i n I say, this house is as dark as ignorance, though
i g n o r a n c e w e r e as d a r k a s h e l l ; a n d I s a y , t h e r e w a s n e v e r m a n t h u s I a m no more m a d than y o u are : question. What is the opinion of Pythagoras concerning wild (2] Making a tign behind him to SIR TOBT and MAiiiA before he tptak*. m a k e the t r i a l of i t i n constant
CLOWN.* fowl? MALVOLIO. ACT A ACT V SCENE I A cellar berteath OLIVIA'S house. This inset scent may be set in front of O L I V I A ' S garden, and flanked on either side uiith Traverse N N . [1] .41 the rue of the eurtain the ttage it dark, except for the pale rayt of light which fall upon the figure O/HALVOLIO, who Uet upon the ttraw of tht inrur etllar. The door K.O. up ttage it opened, and MARIA entert w\th a candlt. Sht opent and interU candle in hanging lantern. She carriet a gown over htr arm. rxsTX appeart in the doorway. MALTOLIO tlirt at tht light increattt. 2] Tuming to TESTK, holding out tht gown. SJ By the tame door. ,4] Standing at the back and putting on th* ditguite at h* tptakt. (6] Keeping in tht doorway. SIR TOBY. CLOWN. t h a t never Parson ; [8] Bthind TXVn, a<lMtw<fv him to th* door in partition. (7) Staiuiing al>ovt the door and iptaUng towardt tht grid.
(81 Drawing bad lo M A K U , who ttand* by
T h a t t h e s o u l of o u r g r a n d a m m i g h t h a p l y i n h a b i t a opinion? way approve his thou [S] Drawing farthtr baek aboti tht door.
V,
SCENE
W h a t t h i n k e s t t h o u of h i s I think nobly
MALVOLIO. CLOWN.
of the soul, a n d no
F a r e thee w e l l . *
R e m a i n t h o u still i n darkness :
s h a l t h o l d t h e o p i n i o n o f P y t h a g o r a s ere I w i l l a l l o w o f t h y w i t s , a n d f e a r t o k i l l a w o o d c o c k , l e s t t h o u dispossess t h e s o u l o f t h y g r a n d a m . Fare thee make [Exit.* I to well. Sir Topas, Sir T o p a s ! M y most Nay, I a m Thou exquisite Sir T o p a s ! for a l l waters. done this without thy beard and how If so not.] MALVOLIO.* SIR TOBY. CLOWN. [MARIA. gown : (4] Bit long thin handt thrutt in tntreaty through the grid. [S] Over TESTE'S thouldtr. 1(1] Getting into the doorway. [7] TESTE followt them a liltle and il teen in the doorway throwing off hit gown and removing hit beard, at he iingi. Ue findt outiide the door an old mop, to the head of which he attachei the beard, and drapet the gown about it. At MALVOLIO callt he humouri the tong and butinett, pretending to be leaving by reducing the volume of hit voice, etc. MALVOLIO'S colli rite from eagerneti to a wild deiperation. The tcene man be humoured lo the point when FESTE layt, " Who calls, h a ? " The firtt two ilanzat of thi tong, at printed in Percy'1" Beliquet of Ancient Engliih Poetry," run at followt : A Robyn, jolly Kobyn, Tell me how thy leman doetti And thou Shall know o( mlno. " My lady 1 unkind perde." Alack I why is she so? " She loveth another better than inc ; And yet >he wUl tay no." Stevagt 13, " Focal Mutie to Twelfth Samuel French, Ud'" (8] Fixiiehing kit plaguing of MALVOLIO for ihi mommt, he rettt thi mop and gown in tht comer L . of door and advanctt to front of grid. 19] Bagtrly thrutting hit fact forward from thi bari of tht grid, gnathlmg th* ironi wUh M l trembling handt.
Enter
MARIA
do i t q u i c k l y ; I ' l l c a l l
m i g h t s t have
h e sees t h e e
SIR TOBY.*
t h o u findest h i m : far
he m a y be c o n v e n i e n t l y delivered, I w o u l d h e w e r e , for I a m n o w i n offence w i t h m y this sport to the upshot. CLOWN [singing]. Fool! " M y l a d y is u n k i n d , Fool! " A l a s , w h y is she Fool, I "She say! calls, ha?* so?" perdy." Hey chamber.
and
safety
SIR TOBY
MARIA.'
Robin, me
Parson. Prague, King "? MALVOLIO. CLOWN. MALVOLIO. CLOWN. MALVOLIO. prison!' a good knave.* CLOWN. MALVOLIO.*
Tell
f o r , as t h e o l d h e r m i t o f
saw
G o r b o d u c , " T h a t t h a t is is ; " f o r , w h a t is " t h a t " W h a t , ho, I say! Who SIR TOBY. CLOWN. SIR TOBY. CLOWH. lunatic nsl Otmiae to (kt mti. UAT.voLio.**
so I , b e i n g m a s t e r P a r s o n , a m m a s t e r b u t " is
T o h i m , Sir Topas.* The knave counterfeits well ; Sir Topas the curate, w h o
loves a n o t h e r " W h o
G o o d f o o l , as e v e r t h o u w i l t d e s e r v e w e l l a t m y h a n d , as I a m a g e n t l e m a n , ' t
MALVOLIO [within].
help m e t o a candle, a n d pen, i n k a n d paper : I w i l l l i v e t o be t h a n k f u l t o thee f o r CLOWN.*' uAivmin Master Malvolio? Aw annH f n n l
S i r T o o a s . S i r T o o a s . srood S i r T o o a s . r o t o m v l a d r .
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
I V
SCENE I I I
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
45
V,
80. I
again.
[2] For a deapniring moment MALVOLIO, with a geiture. to heaven, turnt from hit priton door, but nturnh immediately. [3j With an intente earnetlneet, (4) Pitifully.
[ 5 ] To a potition abovt the door, gratping the mop and advancing U a little. |6; In the voice of SIR TOPAB. (71 Wildly. (8) In the voice of SIR TOPAB. (9) In hit own voice. M0| In the voice of SIR TUPAS. (11) In hU own voice. (121 I>uring hit impertonation of SIR TOPAS, FESTE makrt play with the goum on the mop-ttick, to that he trailt the gown to come within .MALVOLIO'S vition. .it the conctunion of his fooling he throivt the corUrivarwe through the upper door, teay, and laughing quietly at hit jest, crouchet litlening for what MALVoLIO may tay. (13) MALVOLIO callt for tht FOOL quietly at first, then with a growing anxiety; /'aring KLSTK has gone, his voice rises. (14) The fiMl approaches the prison door 0" all fours arul when under it, raises his fare to the grid. [lb] In pathetic appeal. Hit harult, trembling with emotion, thrutt out in an endeavour to gratp FXSTB, who drawt back. (ISi AI tht point of ttart.
CLOWN.* A l a s , s i r , h o w fell y o u besides y o u r five w i t s ? * MALVOLIO.* F o o l , there w a s n e v e r m a n so notoriously abused ; I a m a s w e l l i n m y w i t s , fool, a s t h o u a r t . CLOWN. B u t a s w e l l ? t h e n y o u a r e m a d indeed, if y o u be n o better i n y o u r w i t s t h a n a fool. MALVOLIO* T h e y h a v e here propertied m e ; keep m e i n d a r k n e s s , s e n d m i n i s t e r s to m e , a s s e s , a n d do a l l they c a n to face m e o u t of m y wits. CLOWN. A d v i s e y o u w h a t y o u s a y ; * t h e m i n i s t e r i s here.* M a l v o l i o , M a l v o l i o , t h y w i t s t h e h e a v e n s restore I e n d e a v o u r thyself to sleep, a n d leave t h y v a i n bibble babble.
MALVOLIO. Sir Topas!'
F o r t h o u g h m y s o u l disputes w e l l w i t h m y s e n s e . T h a t t h i s m a y be s o m e e r r o r , b u t n o m a d n e s s . Y e t doth t h i s a c c i d e n t a n d flood of fortune So f a r exceed a l l i n s t a n c e , a l l discourse. T h a t I a m ready to d i s t r u s t m i n e eyes A n d w r a n g l e w i t h m y r e a s o n t h a t persuades m e T o a n y other t r u s t b u t t h a t I a m m a d * O r else t h e l a d y ' s m a d ; * y e t , if ' t w e r e s o . She could not s w a y her house, c o m m a n d her followers. T a k e a n d give b a c k affairs a n d t h e i r d i s p a t c h W i t h s u c h a s m o o t h , discreet a n d stable b e a r i n g A s I perceive s h e does : t h e r e ' s s o m e t h i n g i n ' t T h a t is deceivable.* B u t h e r e t h e lady c o m e s .
Enter OLIVIA and PRIEST.*
CLOWN.* M a i n t a i n n o words w i t h h i m , good fellow.* Who, I, s i r ? n o t I , s i r . G o d be w i ' y o u , good S i r T o p a s . * ' Marry, amen.** I will, sir, I will.** MALVOLIO.** F o o l , fool, fool, I Say I CLOWN.** A l a s , s i r , be patient. W h a t s a y y o u , s i r ? I a m shent for s p e a k i n g to y o u . MALVOLIO.** G o o d fool, help m e to s o m e l i g h t a n d s o m e paper : I tell thee, I a m a s w e l l i n m y w i t s a s a n y m a n i n I l l y r i a . CLOWN. Well-a-day that you were, s i r ! MALVOLIO*'. B y t h i s h a n d , I a m . G o o d fool, s o m e i n k , paper a n d l i g h t ; a n d c o n v e y w h a t I w i l l s e t d o w n to m y lady ' it s h a l l a d v a n t a g e thee m o r e t h a n ever t h e b e a r i n g of letter d i d . CLOWN. I w i l l help y o u t o ' t . B u t tell m e t r u e , a r e y o u not m a d i n d e e d ? o r do y o u b u t counterfeit? MALVOLIO. B e l i e v e m e , I a m n o t ; I tell thee t r u e . CLOWN. N a y , I ' l l n e ' e r believe a m a d m a n t i l l I see h i s b r a i n s . I w i l l fetch y o u l i g h t a n d paper a n d i n k . MALVOLIO. be gone. F o o l , I ' l l requite i t i n t h e h i g h e s t d e g r e e :
/ am gone, sir,
OLIVIA. B l a m e n o t t h i s h a s t e of m i n e . I f you m e a n well. N o w go w i t h m e a n d w i t h t h i s holy m a n . I n t o t h e c h a n t r y b y : t h e r e , before h i m . A n d u n d e r n e a t h t h a t c o n s e c r a t e d roof. P l i g h t m e t h e f u l l a s s u r a n c e of y o u r faith ; T h a t m y m o s t j e a l o u s a n d too doubtful s o u l M a y live a t p e a c e . H e shall conceal it W h i l e s y o u a r e w i l l i n g i t s h a l l c o m e to note, W h a t t i m e w e w i l l o u r c e l e b r a t i o n keep A c c o r d i n g to m y b i r t h . W h a t do y o u s a y ? SEBASTIAN. I ' l l follow t h i s good m a n , a n d go w i t h y o u ; A n d , h a v i n g s w o r n t r u t h , ever w i l l be t r u e . OLIVIA.* T h e n l e a d t h e w a y , good f a t h e r ; a n d h e a v e n s s o s h i n e , T h a t they m a y f a i r l y note t h i s a c t of m i n e I [Exeunt,
(31 Steing otrrLA coming from . 11., wiih rapture in his voice. (4] O L I V U tntert swiftly from R. 1 1 . Sht it now in fettal aUirt, her mourning ditcarded, but her drett it covered with a cloak and hood. The PRIEST followt her with slower gait. She sweeps lo o., lo SEDA8TIAK. Tht tvim ttandt R.
I prithee,
[5] OLIVU motiont the PRIEST to go. Ht doet, making hit exit R. 1 E. They follow him. .-i pautt, Tht Tractrtt optnt ditcloiing
(17) Tisn taket doum the lantern arul dances round as he tingt. Making his exit before the conclusion of the tong, hit voice dying out at he goet. MALVOLIO leavet tlie door of hit priton. Halting hit armt he linkt to his knees and falls face downward in the straw. See page 13, " Vocal Mutie to Twelfth Mghl," Samuel French, Ltd., for ihit tong. Clot* Traverse as lights Jade out.
CLOWN
[sj'wgj'ng].*'
I'll
Like to the old Vice, Your need to sustain ; In Who, with dagger of lath. his rage and his wrath. :
Cries, ah, hat to the devil Like a mad lad, Pare thy nails, dad ; Adieu, SCENE I I
Near When float the ChatUry, is closed batten bring on it. up
good man
devil.
[Exit.
[SCENE I I I ]
[OLIVIA'S Enter gardeyi.]
(18) Bnler SEB.ASTIAN B. 1 n,with wonder and ecitaty in hit voice at he movet lo 0. (19) Pointing off L. iiO] Fingering a fine gold chain with its pendant pearl that OLIVIA has worn in the earlier scenes. (21) He kisses the pendant. (2'2) Looking (23) Taking m., about him. letter from his belt.
SEBASTIAN.**
SEBASTIAN.
T h i s i s t h e a i r ; ** t h a t i s t h e glorious s u n ;
I>_|,-.., W<
T h i s p e a r l s h e gave m e , I do feel ' t a n d see ' t ; ** A n d though 'tis wonder that enwraps m e thus. Yet 'tis not madness. W h e r e ' s A n t o n i o , t h e n ? ** I c o u l d n o t find h i m a t t h e E l e p h a n t : Y e t t h e r e h e w a s ; a n d there * ' I found t h i s c r e d i t . T h a t h e d i d r a n g e t h e t o w n to seek m e o u t H i s c o u n s e l n o w m i g h t do m e golden s e r v i c e ; **
T W E L F T H
N I G H T :
O R .
W H A T
Y O U
W I L L
ACT
SCENE
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
47
ACT
T,
SC. in
in
as the befort. CLOWN it
SCENE
O L I V I A ' S garden, As heard the scene off opens singing
[ACT
THE
FIFTH
SCENE I '
OLIVIA'S and house.] FABIAN.*
CLOWN
The CLOWN rune on down the ttept c, followed by F A B U N , who trirt in vain to catch him. They dodge in and out the box hedge till FABIAN, out of breatli, tpeakt, exhautled, at he tinkt on the teat E., the CLOWN c.
12] FABLAN maket a tudOen ruth at him ; the CLOWN avoidt him, running down L . FABIAN after him at the DIIER entert, followed by TIOLA, OURIO, TALBNIINE and three LORDS, from L. 2 X. through box hedget to c. |S] haekt away from c.lot.ae the OLOWX, bowing, advaneet to x.a
again.'
Now, as thou lovest me, let me see his letter. Good Master Fabian, grant me another request Any thing. Do not desire to see this letter. This is, to give a dog, and i n recompense desire m y dog
Enter DUKE, VIOLA, CURIO, and LORDS.
Belong you to the Lady Olivia, friends? Ay, sir : we are some of her trappings. I know thee w e l l : how dost thou, m y good fellow? . Truly, sir, the better for m y foes and the worse for my Just the contrary ; the better for thy friends.
N O , sir, the worse.
friends.
DUKE.
CLOWN.
DUKE.
I*] D O TE
pwm. it,
15] CLOWN throwt money up, catehtt pirouettei for joy, then tpeakt. [6] Kxtendt a btgging palm.
[ 7 ] In a wheedling tone.
18] Pattet and ttampt foot at in fencing. (8] Taking three dainty ttept at in a danee. [10] Singing the louni of Mis.
[11]
Singing
" I am gone, sir, And anon, sir, I ' l l be w i t h yoa again, s i r . "
Tunt at before, page 13, " Vocal Mutie lo Twemh Night," Samuel French, IM. Bt ruru up ttage lo ttept c, aieendt them, and exit R.r.x. TABUH, bouring low,followt. The D K tauntert DX up ttage, idly watchir\g them. [ 1 2 ] TIOLA < e ANTONIO comtivL. and iutA< e< D R turnt laughitig from up C, tht UE taktt a ttev toivardt him at the tveakt.
How can that be? CLOWN. Marry, sir, they praise me and make an ass of me ; now my foes tell me plainly I am an ass : so that by m y foes, sir, I profit i n the knowledge of myself, and by m y friends I am abused : so that, [conclusions to be as kisses, i f your four negatives make your two affirmatives, why then,] the worse for my friends and the better for m y foes. DUKE. W h y , this is excellent. C L O W N . By m y t r o t h , sir, no ; though i t please you to be one of m y friends. * DUKE. Thou shalt not be the worse for me : there's gold. CLOWN.* But that i t would be double-dealing, sir, I would you could make i t another.* DUKE. 0 , you give me i l l counsel. CLOWN. Put your grace i n your pocket, sir, for this once, and let your flesh and blood obey i t ' DUKE. W e l l , I w i l l be so much a sinner, to be a double-dealer : there 's tmother. CLOWN.* Primo, secundo, tertio, is a good play ; and the old saying is, the t h i r d pays for a l l : the triplex, sir, is a good tripping measure ; or the bells of Saint Bennet, sir, may put you i n m i n d ; *'one, t w o , three. DUKE. You can fool no more money out of me at this throw : if you w i l l let your lady know I am here to speak w i t h her, and bring her along w i t h you, i t may awake m y bounty further. CLOWN. Marry, sir, lullaby to your bounty t i l l I come again. I go, sir ; but I would not have you to t h i n k that m y desire of having is the sin of covetousness ; but, as you say, sir, let your bounty take a nap, I w i l l awake i t anon. [Exit.^^ ' VIOLA. Here comes the m a n , sir, that did rescue me.
Enter DUKE. A N T O N I O and OFFICERS.
As black as Vulcan i n the smoke of war : * [ A bawbling vessel was he captain of. For shallow draught and bulk unprizable ; W i t h which such scathful grapple did he make W i t h the most noble bottom of our fleet. That very eni and the tongue of loss Cried fame and honour on h i m . ] What's the matter? FIRST OFFICER. Orsino, this is that Antonio That took the Phcenix and her fraught from Candy : [ A n d this is he that did the Tiger board. When your young nephew Titus lost his leg : Here i n the streets, desperate of shame and state,] I n private brabble did we apprehend h i m . VIOLA. He did me kindness, sir, drew on m y side ; But i n conclusion put strange speech upon me : I know not what 'twas but distraction. *DUKE. Notable pirate! thou salt-water <'ief! W h a t foolish boldness brought thee to their r.iercies, W h o m thou, i n terms so bloody and so dear. Hast made thine enemies? ANTONIO.* Orsino, noble sir. Be pleased that I shake off these names you give m e : Antonio never yet was thief or pirate. Though I confess, on base and ground enough, Orsino's enemy. A witchcraft drew me hither : That most ingrateful boy there by your side. From the rude sea's enraged and foamy m o u t h Did I redeem ; a wreck past hope he w a s : His life I gave h i m and [did thereto add My love, without retention or restraint, AU his i n dedication ;] for his sake Did I expose myself, pure for his love, Into the danger of this adverse town ; Drew to defend h i m when he was beset: Where being apprehended, his false cunning. Not meaning to partake w i t h me i n danger. Taught h i m to face me out oi his acquaintance. And grew a twenty years removed thing While one would w i n k ; denied me mine own purse. Which I had recommended to his use Not half an hour before, How can this be? W h e n came he to this town? ANTONIO. To-day, m y lord ; and for three months before. No i n t e r i m , not a minute's vacancy. Both day and night did we keep company.
VIOLA. DUKE. Enter DUKE. OLIVIA and ATTENDANTS.*
BO. m I I ] F X T OTFICER tntert I . 2 ^ .foOowtdby 18 ANTONIO, ditarmed, gu. < by two tubordinate offtcert. The ,.dXt 0FF1* OXR talutet with hit hand upHfted. hit fellowt with their piket.
ACT T,
[r
DX UB
erottit
TIOLA
to
L.c,
the
TIKBT
OfncXR Ending
back a pace.
[3] A T NO UO I
movet forward Itvel with the DUXX, the FIRST OFFICXK, uiho maket a movement to ttop him.atamotionfrom the DUEI retreatt to hit fellowt L .
I) Enter TABTAW down ttept from B.u.E. Be it followed two arid two by four laditt ail in fettal attire. They open out arul eurttey on either tide of ttept at O L I T U entert. MARU ond a fifth lady a pace behind her, earrying her glovet and handkerchief. DUKE movet to meet her uv to 0.
[5] Sir
Here comes the countess : now heaven walks on earth. But for thee, fellow ; fellow, thy words are madness: Three months this youth hath tended upon me ; But more of that anon. Take h i m aside.* OLIVIA. W h a t would m y lord, but that he may not have. Wherein Olivia may seem serviceable?* Cesario, you do not keep promise w i t h me.
VIOLA. T%1JW Madam! Clrmrinlta nitvin
thit time OLrriA and tuite have tntered. The OFFICERS lake ANTONIO L . Th* DUKE uncovert, bowing at OLTTU, having drecendtd the ttept, eurtteyt, a., all her ladiet following tuit, whiltt T A B U N bowt. [8] O L I T U ttet TIOLA R. and turn*, ero** to him B.O., the DUKE rmiatnuif <L
48
T W E L F T H
N I G H T :
O B ,
W H A T
Y O U
W I L L
ACT
SCENE
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
49
T,
80.
then to
the
tpeak*.
Mtn at
[ 7 ] To
T A B I A N , who runt
off up ttept
at
L.c, now
W h a t do you say, Cesario? Good my l o r d , My lord would speak ; m y duty hushes me. O L I V I A . I f i t be aught to the old tune, m y lord, I t is as fat and fulsome to mine ear As howling after music. D U K E . Still so cruel? O L I V I A . Still so constant, lord. D U K E . What, to perverseness ? you uncivil lady. To whose ingrate and unauspicious altars My soul the faithfuU'st offerings hath breathed out That e'er devotion tender'd! W h a t shall I do? O L I V I A . Even what i t please m y lord, that shall become h i m . DUKE. W h y should I not, had I the heart to do i t . Like to the Egyptian thief at point of death. K i l l what I love?a savage jealousy That sometime savours nobly. But hear me this : Since you to non-regardance cast m y faith. And that I partly know the instrument That screws me from m y true place i n your favour. Live you the marble-breasted tyrant still ; > But this your m i n i o n , whom I know you love, And w h o m , by heaven I swear, I tender dearly. H i m w i l l I tear out of that cruel eye. Where he sits crowned i n his master's spite.* Come, boy, w i t h me ; m y thoughts are ripe i n mischief : I ' l l sacrifice the lamb that I do love. To spite a raven's heart w i t h i n a dove.* V I O L A . And I , most jocund, apt and willingly, To do you rest, a thousand deaths would die. O L I V I A . Where goes Cesario? *V I O L A . After h i m I love More than I love these eyes, more than m y life, More, by all mores, than e'er I shall love wife. If I do feign, you witnesses above Punish m y life for tainting of m y love!* O L I V I A . Ay me, detested! how am I beguiled! * V I O L A . Who does beguile you? who does do you wrong? O L I V I A . Hast thou forgot thyself? is i t so long? Call forth the holy father.' D U K E . Come, away! O L I V I A . Whither, m y lord? Cesario, husband, stay. D U K E . Husband! O L I V I A . Ay, husband : can he that deny? D U K E . Her husband, sirrah! V I O L A . No, m y lord, not I . * O L I V I A . Alas, i t is the baseness of thy fear That makes thee strangle thy propriety : Fear not, Cesario ; take thy fortunes up ; Be that thou know'st thou art, and then thou art ' As great as that thou fear'st.
O L I V I A . V I O L A .
Hath newly pass'd between this youth and me. PRIEST. A contract of eternal bond of love. Confirm'd by m u t u a l joinder of your hands, Attested by the holy close of lips. Strengthen'd by interchangement of your rings ; And all the ceremony of this compact Seal'd i n m y function, by m y testimony : Since when, m y watch hath told me, toward m y grave I have travell'd but two hours.* D U K E . 0 thou dissembling cub! what w i l t thou be When time hath sow'd a grizzle on thy case? [Or w i l l not else thy craft so quickly grow. That thine o w n trip shall be thine overthrow?] Farewell, and take her ; but direct thy feet Where thou and I henceforth may never meet. V I O L A . My lord, I do protest O L I V I A . O, do not swear I Hold little faith, though thou hast too much fear.*
Enter S I R A N D R E W .
la
( 1 ) Tht P R I E S T gravely inclintt hit head to O L I V I A and retrace* hit way up ttept, c and off R.n.E. The D C K E thereupon advaneet from R. and teitet V I O L A by htr
[t]
SIR A N D R E W . For the love of God, a surgeon I Send one presently to Sir Toby. O L I V I A . What's the matter? SIR A N D R E W . He has broke m y head across and has given Sir Toby a bloody coxcomb too : * for the love of God, your helpl I had rather than forty pound I were at home. O L I V I A . W h o has done this. Sir Andrew? SIR A N D R E W . The couut's gentleman, one Cesario : we took h i m for a coward, but he's the very devil incardinate. D U K E . My gentleman, Cesario?* SIR A N D R E W . * 'Od's lifelings, here he is! You broke m y head for nothing ; and that that I did, I was set on to do ' t by Sir Toby. V I O L A . W h y do you speak to me? I never hurt you : You drew your sword upon me without cause ; But I bespake you fair, and hurt you not. SIR A N D R E W . I f a bloody coxcomb be a h u r t , you have hurt me : I think you set nothing by a bloody coxcomb.*
Enter SIR T O B V and C L O W N .
appealing
HARU
holding a fringed handkerchief to hit uninjurid head arut between hit tobt
to
OLlvu.
Tht
laditt,
and
TABIAH,
lough.
c. to K.V.l.
arut runt
up her *HrU
wUh a cry
TIOLA.
vioLA, tkipt in
[61 at, TOBT eaUt off t.v.t., whcro Are you ! "
Enter
PRIEST.
0 , welcome, fatherl Father, I charge thee, by thy reverence. Here to unfold, [though lately we intended To keep i n darkness what occasion now Reveab before 'tis ripe.l what thou dost know
Here comes Sir Toby halting ; you shall hear more : but if he had not been in drink, he would have tickled you othergates than he d i d . ' D U K E . How now, gentleman! how is ' t w i t h you? * S I R T O B Y . That's all one : has h u r t me, and there's the end o n ' t . Sot, didst see Dick surgeon, sot? C L O W N . 0 , he's drunk. Sir Toby, an hour agone ; his eyes were set at eight i ' the morning. SIR T O B Y . Then he's a rogue ; *' [and a passy measures pavin : ] I hate a drunken rogue. O L I V I A . Away w i t h h i m ! Who hath made this havoc w i t h them ? **siR A N D R E W . I ' l l help you. Sir Toby, because w e ' l l be dressed together. SIR T O B Y . W i l l you help? ** an ass-head and a coxcomb and a knave, a thin-faced knave, a guUl O L I V I A . Get h i m to bed, and let his hurt be look'd to.
[Exeunt C L O W N , [ F A B I A N , ] SIR TOBY, and S I R A N D R E W . Enter
(71
Enter S I R T O B T , tupporttd
foUowed by M A U I A .
by tht C L O W N
down
ttept,
ll To CLOWN on hit L.
[101 Biocought.
[8]
[12]
S I R T O B Y puihtt
him and S I R A N D R E W
forward
the
backt towardt R.
S I R T O B Y followt.
SIR A N D R E W
and
There it a gtneral
CLOWN
R. 1 1 .
SFRASTTAN.l*
[ 1 3 ] S E B A S T U N comet onquvMy.fromt.XI.t. down Ittpt to O L I T U c At he tpeakt tht D U K E rtgardi him and then T I O L A
so
TWELFTH
NIGHT:
OR, W H A T Y O U
WILL
ACT
UCBKE
T W E L F T H N I G H T ; OR, W H A T Y O U
WILL
ACT T. o. i n
81
W Advaneet Mote OLiTLt lo the L.O, [t] Advantu btlow UUKX lo Iht i . o .
17} They embraet 0. OLiTU dropt doum to BXBASTIAN'8 L. and the DOKB to TIOLA'fl TUN (unu l OLITU and TIOLA l tht DDKI, tht VOSDt and LADII9 0/ tht two tuitet mingling up ttage.
K. At the end of thit embrace BIBAB-
SEBASTIAN. I am sorry, madam, I have hurt your kinsman ; But, had i t been the brother of m y blood, I must have done no less w i t h w i t and safety. You t h r o w a strange regard upon me, and by that I do perceive i t hath offended you : Pardon me, sweet one, even for the vows We made each other but so late ago. DUKE. One face, one voice, one habit, and two persons, A natural perspective, that is and is not I * SEBASTIAN. Antonio, 0 m y dear Antonio I How have the hours rack'd and tortured me, Since I have lost thee I ANTONIO. Sebastian are you? SEBASTIAN. Fear'st thou that, Antonio? ANTONIO. H O W have you made division of yourself? An apple, cleft i n two, is not more t w i n Than these two creatures. Which is Sebastian? OLIVIA. Most wonderful! SEBASTIAN. Do I Stand there? I never had a brother ; Nor can there be that deity i n m y nature, Of here and every where. I had a sister, W h o m the blind waves and surges have devour'd. * Of charity, what k i n are you to me? W h a t countryman? what name? what parentage? VIOLA.* Of Messaline : Sebastian was m y father ; Such a Sebastian was m y brother too. So went he suited to his watery tomb : I f spirits can assume both form and suit You come to fright us. SEBASTIAN. [ A spirit I am indeed ; But am i n that dimension grossly clad W h i c h from the womb I did participate.] Were you a woman, as the rest goes even, I should m y tears let fall upon your cheek. And say, " Thrice-welcome, drowned V i o l a ! " VIOLA. My father had a mole upon his brow. SEBASTIAN. A n d S O had mine. VIOLA. And died that day when Viola from her birth Had number'd thirteen years. SEBASTIAN. 0 , that record is lively i n m y soull He finished indeed his mortal act That day that made m y sister thirteen years. * VIOLA. I f nothing lets to make us happy both But this m y masculine usurp'd attire, Do not embrace me t i l l each circumstance Of place, time, fortune, do cohere and j u m p That I a m Viola : ' [ w h i c h to confirm, I ' l l bring you to a captain in this t o w n . Where lie m y maiden weeds ; by whose gentle help I was preserved to serve this noble count. All the occurrence of m y fortune since Hath been between this lady and this lord.] S E B A S T I A N [(0 O L I V I A ] . So comcs i t , lady, you have been mistook : [But nature to her bias drew i n that. You would have been contracted to a m a i d ; Nor are you therein, by m y life, deceived, V M I nrm h^H-AfVi'H Knfh tn m matH anH man
DUKE. Be not amazed ; right noble is his blood. I f this be so, as yet the glass seems true, I shall have share i n this most happy wreck.] [To VIOLA.] Boy, thou hast said to me a thousand times Thou never shouldst love woman like to me. VIOLA. And a l l those sayings w i l l I over-swear ; [And a l l those swearings keep as true i n soul As doth that orbed continent the fire That severs day from n i g h t . ] DUKE. Give me thy hand ; * And let me see thee i n thy woman's weeds.* VIOLA. The captain that did bring me first on shore H a t h m y maid's garments : he upon some action Is now i n durance, at Malvolio's suit, A gentleman, and follower of m y lady's. * OLIVIA. He shall enlarge h i m : fetch Malvolio hither : And yet, alas, now I remember me. They say, poor gentleman, he's much distract.*
[1] The DVTX iaket TioLA [ I tht hand, [2J And kittet it, aiul both i, ice K. at VIOLA tpeakt.
[3]
o.
[Rc-'nter
CLOWN
tuith
a letter,
and
FABIAN.]
dittradcdly, Madame!"
[ A most extracting frenzy of mine own F r c m my remembrance clearly banish'd his. How does he, sirrah? CLOWN. T r u l y , madam, he holds Belzebub at the staves's end as well as a man i n his case may do : has here w r i t a letter to you ; I should have given ' t y o u to-day morning, but as a madman's epistles are no gospels, so i t skills not much when they are delivered. OLIVIA. Open ' t , and read i t . CLOWN. Look then to be well edified when the fool delivers the madman. [Reads.] " By the Lord, m a d a m , " OLIVIA. How now! art thou mad? CLOWN. No, madam, I do but read madness : an your ladyship w i l l have i t as i t ought to be, you must allow Vox. OLIVIA. Prithee, read i ' thy right wits. CLOWN. So I do, madonna ; but to read his right wits is to read thus : therefore perpend, m y princess, and give ear. OLIVIA. Read i t you, sirrah. [To F A B I A N . F A B I A N [reads]. " By the Lord, madam, you wrong me, and the world shall k n o w i t : though you have put me into darkness and given your drunken cousin rule over me, yet have I the benefit of m y senses as w e l l as your ladyship. I have your own letter that induced me to the semblance I put on ; w i t h the which I doubt not but to do myself m u c h right, or you m u c h shame. T h i n k of me as you please. I leave m y duty Httle tmthought of and speak out of m y i n j u r y . The madly-used M a l v o l i o . " OLTVIA. D i d he write this? CLOWN. A y , madam. DUKE. This savours not much of distraction. OLIVIA. See h i m deliver'd, Fabian ; bring h i m hither.
[Exit FABIAN.
My lord, so please you, these things further thought on. To t h i n k me as well a sister as a wife, One day shall crown the alliance o n ' t , so please you. Here at my house and at m y proper cost DUKS. Madam, I am most apt to embrace your offer, [ r * V I O L A . ] Your master quits you ; and for your service done him, S M mn/>h aarainut thu mettle of vour sez.
02 ACT , K.
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
ACT
SCENE
T W E L F T H
N I G H T :
O R ,
W H A T
Y O U
W I L L
58
Ill
fool, I a m n o t m a d . "
B u t do y o u r e m e m b e r ?
y o u a t s u c h a b a r r e n r a s c a l ? a n y o u s m i l e not, h e ' s gagged : " t h u s ' the w h i r l i g i g of t i m e b r i n g s i n h i s r e v e n g e s . * MALVOLIO. I ' l l be r e v e n g e d o n the w h o l e p a c k of y o u . OLIVIA. H e h a t h been m o s t n o t o r i o u s l y a b u s e d . * DUKE. P u r s u e h i m , a n d e n t r e a t h i m to a p e a c e : [ H e h a t h n o t told u s of t h e c a p t a i n y e t : ' wrong. W h e n t h a t is k n o w n a n d golden t i m e c o n v e n t s , A s o l e m n c o m b i n a t i o n s h a l l be m a d e Of o u r dear s o u l s . ] * M e a n t i m e , s w e e t s i s t e r . W e w i l l not p a r t f r o m h e n c e . * Cesario, come ; For so y o u s h a l l be, w h i l e y o u a r e a m a n ; But w h e n in other habits y o u are seen, Orsino's mistress and his fancy's queen. [[Exeunt * CLOWN [sings]. When With A foolish For But the when that hey, I tvas ho, rain thing and the was but wind a all, and toy, every day. except tiny the boy, rain,
she.
amidst
general
FABIAN,
MALVOLIO.
DUKE.
(1] M A L T O L I O enteri K. 1 1 . , a heavy chain
I s t h i s the Malvolio!
lupported
imitates
MALTOLIO
y o u h a v e done m e no.
[i]
: her.
She reads
MALVOLIO. W r i t e from Or
CLOWN.]
[3]
The
OFFICERS
follow
MALVOLIO
off
a little
atui
c,
(5)
J'urns
y o u h a v e g i v e n m e s u c h c l e a r lights of frown
it raineth to man's etc., and etc. alasi etc.. could etc. unto etc.. had thieves
All
to V I O L A
and
takes
c o m e s m i l i n g a n d c r o s s - g a r t e r ' d to y o u ,
estate.
[8]
With 'Gainst For But By For [But With With For A thee; great With * But And
sings
the
I'avane or
his
her
hand. song.
U p o n S i r T o b y a n d the l i g h t e r people ; hope. h a v e y o u suffer'd m e to be i m p r i s o n ' d . the m o s t notorious geek a n d g u l l tell m e why. A l a s , M a l v o l i o , t h i s is n o t m y w r i t i n g . I confess, m u c h l i k e the c h a r a c t e r : 'tis M a r i a ' s hand.* it w a s s h e [then camest in smiling, presupposed content;
knaves the
men
shut
their
gate.
c. Wi
themselves
the
VIOLA
atui a
daiwe together on
when
to
wive. thrive.
the
V I O L A , O L I V I A and
L . , JiAKiA
and
FABIAX
SEBASTIAN
above
and
on
With
swaggering
I never
three L O R D S with the four other lady ATTENDANTS, t.mkiiuj four couples above and four front couples, so that in all eight men aiul eight immrn dance Iks Pavane lo the tune of the song.
O L I V I A , ami S E B A S T I A S , V A L E N T I N E
her, and as
But
out of question
my drunken
beds. heads.
A n d n o w I do b t h i n k m e ,
A n d i n s u c h forms w h i c h here w e r e P r i t h e e , be
etc.\ the etc., our play is you done. every day. [[Exit.] to please world begun.
[7] The last two lines are sung much slower, and the couples dancing all final notes to lJu Audience as the Curtain faUs.
bow or curtsey with the C L O W N on the
T h i s practice hath most shrewdly pass'd upon T h o u s h a l t be both the plaintiff a n d the thine own FABIAN. cause. ' Good m a d a m , hear me come judge
w h e n w e k n o w the g r o u n d s a n d a u t h o r s of it,
that's
speak.
T a i n t the c o n d i t i o n of t h i s present h o u r . I n hope it s h a l l n o t . Toby here. Maria * writ M o s t freely I confess, myself and
Set t h i s d e v i c e a g a i n s t M a l v o l i o
18) r<n^n; M A R I A down on his t. from the group of ladies, to whom she has retired
on his re-etdrance
curUeys,
Upon some stubborn and uncourteous parts We The In h a d conceived against h i m : letter a t S i r T o b y ' s great importance; follow'd. revenge;
with SIR
TOBY.
17)
MARIA
as
MALVOLIO
they rttiri
gruuhes
FABUN
up c.
his
o^in.
teeth at them
laughs,
and
H o w w i t h a sportful m a l i c e it w a s May If
t h a t the i n j u r i e s be j u s t l y w e i g h ' d OLIVIA. A l a s , poor fool, h o w h a v e they baffled thee I Why, " some are b o m great, s o m e a c h i e v e g r e a t n e s s ,
imitatitig his
pompous
TOPAS.
speech,
thoulder,