T

B y

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

change which took as well ;

place as t h e result of R i c h m o n d ' s t o give birth t o M o d e m more a n d language, from

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

England, m e n found notonly T h e life

t h a n a n y other gift, is t h e greatest m e a n s of m e n is i n their from within or of condition creative

a n d spiritual

assertiveness.

without, b u t by change faculty can be more more

by exercising character a n d fundamental of man's The into infinite progress,

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

t w o great manifestations a n d Shakespeare.

of these facts a t this period o f rebirth were I n the one w e

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

emancipation, spoke that

Vocal Music available @ $7.00, plus postage.

Shakespeare's its elevation that

his day, shows a language convenience being ;

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

H e w a s the product a depth

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

didnot throw his words

insufficient as t h e above the words

m a y be, they before Four

will

attention t o be focussed is possible : develops colour, S p e e c h ' i n The they

upon the are note

for respecting is given create

of

Shakespeare

a n y ripe

action

for his words or one i n

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

singly reveal very little :

combinaof withi n

Merchant

Venice

a r e such as, dispersedly, a n y remarkable B u tt h e actor b u t to speak can have

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

i n t h e course of o u r day's speaking, composition with of this metamorphosis artistic discretion ;

realizing

are presented

indelible worth. enough t o speak,

i n the achievement exercise

' i t is n o t before t h e mutual,

process of connotation additional A the adopted or the m i u t quality)

(that is t h e c o m b i n i n g its perfect

of elementary

sounds, i n order

to develop a

further advantage a n d the various ' feeling ' declamatory nature of

gained

b y this emancipation of that or style, poetry.

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

is required f o r specific the drama of

passages. These

changes

without which of pace

conscientious purely active never A m o n g importance own both so by active ; pitch

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

are liberated, stale, fiat

dictate

flexibility

variety without which n o w o r k become them a n y a n d that ' weary,

of a r ti n a n y form

c a n respond

to itsparent inspiration : i t will soon die.

for the action

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

purposewill Never their

provide

that strict

beyond

instrumental

capacity.

I t is their articulate performance discipline, t h e actor t h e proper

that enables t h e m t o be f r u i t f u l ; a t which

a n d i f this is n o t guarded

rob himself

he is aiming.

After the values

attention to thewords, of pace,

study t o v a r y t h e t r e a t m e n t i n t h e different sections of t h e i n different sections mood. o f single lines, so as t o preserve

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

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ACT SCENE I. II. I I L A Cellar the beneath Chantry. Garden, as

V House. of the (Inset) Traverse.)

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.

Olivia's House," the Traverse Act V,

are inset scenes, braced is drawn played

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

I , Scene I I ," i n the to

Near

Olivia's House," plot. for

stands

also for

I , Scene I I I , the Traverse

ANDREW

AGOECHEEK. to Olivia.

t o m a r k the lapse of three days, indicated lighting

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

The The may stage " be be

hedges shown fir trees case set the

i n illustration of at the right producer must

i n pots

intervals or

dispensed movements

should down. but

i n w h i c h

arrange

The Vocal music

Music to Twelfth Night " must be at the selection

can be obtained and

from Samuel of

F r e n c h , L t d . , f o r 2 5 . 6d., from other

the the

incidental Scene.A City Sea-coast near It. period.

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

Abbreviations The business, (Full set) The The numbers

i n

dialogue

brackets. i n w h i c h w i l l be found directions for the stage

ACT SCENE I. II. A Kitchen Duke's in Olivia's as

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

groupings, play has

House. before.

been suggest

divided a

Scenes. without any etc., m a y great still be outlay. I f regard be any

The

Palace,

designs of

mounting may

which be

m a y

realized

p a i d to the spaces for modifications ACT OUvia's I I I (Full set)

exits and entrances which

the groupings, expedient

business,

carried out with

setting

Garden.

ACT

I V

T W E L F T H

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H I

P R O P E R T Y P L A N O F STAGE HAND PROPERTIES ACT 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 . for Duke i..c.

Scene I I .

bauble white for

w a n d

Olivia. ACT I I Kitchen Large 3 3 oak Another empty table seat uc.

ACT Scene armchair L. in on up and c.

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.

Flagon Purse K E Y TO P L A N OF STAGE Purse

l i t candles goblet

candlesticks on table. table. with dogs

on

table.

tankards

E m p ^ E m p ^ Kitchen Hams, from

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

l i t candle sheet for

punch-bowl dresser back sides of beams.

ladle and

on logs

table. plates. in fireplace. depending

white

Clown.

L. w i t h

pewter

Fire-grate, Scene I I . Duke. Curio. Duke. ACT i n As before

wings, tree and of of of

exterior in

bacon, strings of

onions

piece

used

Act on on

Position Position Position Small

Rostnun, Rostrum, seat cloth i n for

with with

steps steps

used used

Scene I I . i n Act I , Scene L

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

Scene I . Maria. Malvolio. for Viola. Garden seat K. ACT Scene I I I L

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.

window II. J. Position Position of of

for stair and wall low and

rostnmi piece

and

fireplace I V i n in and Act

shrub

Act

I I I , Act sea

ACT tied Sir

I V yellow ribbons. ACT Same.

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

Act I I I , Act IV, and

Written Brooch

Andrew. Olivia. Sebastian.

thejr are J I to mask in Act

inadvisable. I I I ,A c t IV, and Act V, Scene I I I .

miniature for and for coins for Sebastian. for

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

Officers. ACT Scene V I . for

Proscenium Proscenium. Tableau Position

wings,

Ladder Bundle Barrels

CurUins for

or

Act

Drop, Act I , Scene I , a n d Act I I ,Scene I I ,and also Act V, Scene I .

Friar's gown Maria.

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

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fal

L I G H T I N G All lighting, except in Act I I ,Scene I ,and

P L O T be as bright as possible to suit this seen. off u

D U K K , 1st D r e s s . R i c h , b e c o m i n g jewelled chain

his rank ; with

a finer ruff at neck silk in i n hose and

and wrists outlined i n gold, a with hanging cream ribbons, and sword c u t or gold and

handsome cape or with jeweL palest dagger, too

pendant, exquisite contrast

garters

A c t V , Scene I , should be

play.

A n d i n these d a r k e r scenes t h e faces s h o u l d never ACT I

underlit. window stairs.

I t is a C o m e d y a n d m u s t be and blue hanging lengths but keep off

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

through to whites small L. and ambers G. light to

gloves,

gold-fringed Dress.The varied.

handkerchief. s a m e r i c h effect, but with more colour. fashion

Scene I . Float and and front in batten up, batten to full

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

D u k e and all his court should be to Olivia's mourning. a A n d

dressed i n bright colours, f o r m i n g a wear or carry at gloves. woollen in bow

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

SUBORDINATE I , Scene I . to R., so p u t extra VIOLA,

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

s h o r t sleeves, f a l l i n g t o a n k l e s ornament. her with sail-cloth, tied w i t h protected rope a as

clinging, a she disrobed

gold chain her only the beach had

Hair w o r n long and down. sail, yellow brown

Also length a n d ground length behind tree and piece

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-

front perches to give stage. to be R. R. of to well and be lit by L. focused is lost in

bright diffused

Dress.Fleshings Greek with gaiters to

Scene I . and L. and front and front batten through blue. window L. of

decorated like jacket belt,

knee.

white Greek

kilted

skirt,

border, on

ground L.c. light

length Take from

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

batten out at start

focus

general

scene. W h e n lantern is l i t b r i n g i n these last to quarter

SEBASTIAN.Dressed exactly alike. the OUVIA. for change. Scene I I . actress as

His w i g made t o m a t c h Viola's. as possible i n looks and

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

amber. Black out

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

beside with w o r n 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.

top of w h i t e chemisette rosettes,

but contrive a softer, paler d a y l i g h t still further on Olivia's ACT exit I I

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

2nd pinks and

Dress.Rich plain ruff

a n d lovely festal dress i n A c t V , Scene I I . cloak k la and hood. I n Act V, 25.

I t is c o v e r e d i n with

this

scene w i t h collar tADiis-iM-WAiTiNG and

self-coloured and jewelled

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

she should stand out r a d i a n t i n w h i t e a n d gold a n d palest colours, Queen Elizabeth at

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

Pages attending D u k e for

i n Act

I , Scene I . All the

that at the commencement sense must never

Three Lords MARIA.Dressed as a

m u s t , i f o n , be i n gay colours i n attendance

like Maria

the early part of the play. costumes they dance with

dressed

Act V,

Scene

I I I , in which

fireplace.

L a d y - i n - w a i t i n g , n o t as but not of such no upstanding collar. She does not

dress should with ruff

be

rich

and

all black

like

her and

C O S T U M E The dresses t h r o u g h o u t s h o u l d costume. The two Duke's be

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

mbtress, but full.

expensive Black

material,

and

wristlets and

chemisette,

lace veil, shoes a n d

rosettes,

ankle-length skirt

Elizabethan, with the should be the

change. cock's comb tights.

These

national Greek Dressed belts, of cuffs

exactly form ;

alike. woollen with or

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.

pages played by shoes, rosettes, Shakespeare Scene

girls, one trunks

a singer.

alike i n colour pouches, linen. No

Black and white parti-coloured

and doublets,

a l l s a m e self capes,

colour

collars, are

turned-back dressed

swords

daggers,

Tudor hats, no feathers. I I I , and

L a t e r these t w o girls appear as L a d i e s - i n - w a i t i n g .

as O l i v i a ' s a t t e n d a n t s i n

and hose a n d belt with long

and

pouch, no sword or dagger, of office

tall black copitaine hat, no feather, jet brooch. Large f o r m a l w h i t e ruff. Later he appears

Silver chain black yellow

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 r u n k s , others w i t h breeches, doublets, capes or hangers

portrait of Olivia replacing his steward's silver chain.

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

and daggers a n d gold neck

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

unjewelled, ruffs at neck each.

dress t h r o u g h o u t

as if he h a d lain i n s t r a w all n i g h t weight attached

h u t w e l l . w o m suit, hose and caoe and hat w i t h

z boots,

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leather

gauntlets, belt, pouch, sword scene. H e must

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

jewellery as h e c a n wear. shoes, Vicar's n o rosette. N o

suit, falling collar a n d cuffs. change.

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,

shirts a n d caps, belts, a n d sheath

other

LORDS ; o f love,

DUKE.

be t h e food

of i t ,that, i t h a da a bank

surfeiting, dying of fall: sound. n o more a r t thou, : *

c o s t u m e s a n dw i g s u s e d H . Fox, Limited,

of " Twelfth Night " W.C.i.

m a y sicken, again! upon

a n d so die. t h e sweet violets. ; before.* Enough

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,

o'er m y ear like

breathes

Stealing

a n dgiving odour! h o w quick

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

falls into abatement i n a minute : i t alone is high

a n d l o w price.

fantastical.* m y lord? What, Curio? have:

CURIO. DUKE. CURIO. DUKE. O, when Methought That And E'er

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

t h e a i r o f pestilence I into a hart a n d cruel fell hounds.

instant w a s I t u m ' d m y desires, since pursue m e .

Enter

VALENTINE.^ H o w n o wI w h a t news from her?*

VALENTINE. *

So please m y lord,

I might n o tbe admitted ;

[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.

|S] r t e D U U K M * . TkihOVi>dMen wrttf^ domt aUtUtt OVBIO, tritt ntlrm to ( A M I .

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'S

But The Shall But, And W i t h A And

from not like

her

handmaid itself, till her a face she

do at

return years' ample

this

answer ;

element a

seven will

heat. view w a l k round to season keep that fresh fine frame

behold once dead 0, she in she

cloistress, day love,

veiled

water

her

chamber all this she

eye-offending lasting in her of

brine : sad that love when of when

brother's DUKE.^

which hath a but the liver, are

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

debt the her

H o w Hath That These Her

will live sweet

love, ;

kill'd

flock

all affections brain self of

IX] A ilifU JMUU.

[3]

sovereign before

thrones, me lie to rich

all supplied, beds

perfections

with sweet when

one

[4] All hou and ratt out x .

To CURIO and tht ctA<r t .

A w a y

flowers

Love-thoughts

canopied

[Exeunt.

ACT

I , SCENE Near

I I AND

SCENE

I I I

OUvia's

House ACT I , sc. n II

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.*

[ 1 ] Near O H V I A ' S houie. m TMtnuuiefor I M f lUranoi t t e n U m n t M i M t at M< drawing cf Tratmo I K

at th4 do- ofOutoH > M M and b* cam(tfUMrf mtU Ow noU btlow.

[3J Tilt country,* is lUyria, should friends, lady. I do in l U y r i a ? '

firt, from l . t r . I . 6eM<u( oat tnt

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.

Perchance he CAPTAIN. 1* VIOLA. CAi'TAiN. Assure W h e n H u n g Most 0

is n o t d r o w n ' d : I t is perchance brother!

m y

poor

perchance m a y comfort you

True, m a d a m : after those our poor boat,

with

yourself, you on and our

split. saved your with you

number I saw

driving i n

brother.

provident and

peril, both that

bind

himself, h i m the the sea practice, ;

Courage To a

hope mast

teaching lived upon

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

16] tr<M thanga to ladnaaa.

I t ] O n a trighlar note

hope.

110] Approaching T I O I A wUk the ahoaa.

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

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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 .

s a w h i m hold long VIOLA. as I

acquaintance see. so,

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

unfoldeth serves K n o w ' s t

m y

hope.

Whereto The like

t h y speech of h i m . *

authority. this country?

means care's

m y niece,

t h o u ;

brother

a n enemy y o u m u s t

life. i n earlier to o'

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

for I w a s bred very place.*

MARIA. nights : hours.

troth. m y

Sir Toby, lady,

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

here? i n nature * as i n name.

duke,

SIR

TOBY.

W h y , let h e r except,

before

excepted.* w i t h i n the modest

is h i s n a m e ?

MARIA. limits of m y father name h i m :

A y , b u t y o u m u s t order. Confine! are good

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

SIR these too ;

TOBY. clothes a n they

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 ,

MARIA.* lady in talk

T h a t

a n d drinking

undo knight

i n m u r m u r , a s , t h e less of will fair

of i t yesterday here to be

a n d of a foolish her wooer.

brought

great

prattle Olivia.

o f ,

one SIR

night TOBY.

h e d i d seek W h a t ' s A some

t h e love she?

W h o , Sir A n d r e w

Aguecheek?

VIOLA. CAPTAIN. That In died

MARIA. maid, the daughter since, then of a c o t u t h e r SIR

A y , he. H e ' s as that tall a m a n as any's i n Illyria.

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.

the protection shortly also

his son, her :

brother. dear love. a lady

TOBY.

W h y , he

has three have

W h o They And

died

for whose the

MARIA.* very SIR fool

A y , b u t he'll a n d a

b u t a year

i n a l l these

say, she hath sight of m e n .

abjured

company

prodigal. h e plays o ' t h e for w o r d viol-de-gamboys,

TOBY.

F i e , that you'll say sol

VIOLA. And Till m i g h t I n o t be

that

served

that

and hath

speaks three o r four a l l the good gifts

languages w o r d of nature. almost

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

l ] With laughter in her voico.

W h a t

he's a

quarreller ; he hath

a n d b u t that

the gift

CAPTAIN. Because No, she will

T h a t a d m i t n o

were kind

hard of

to compass

coward the

to allay t h e gust he w o u l d B y of this

i n quarrelling, 'tisthought the gift of a grave. a n d

among

suit,

p m d e n t SIR TOBY. s a y so

quickly hand,

have they

n o t t h e

duke's. is a fair behaviour w i t h a i n thee, captain ;

are scoundrels

substractors

VIOLA. And Doth I I t ] C r o M i f V CU CAPTAix (0 L . , i n OaugU. will

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

beauteous thee suits

w a l l

MARIA.> company. SIR TOBY.

They

that

add,moreover,

o f t close believe this

i n pollution, yet of thou hast a m i n d

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,*

her as long as there he's a coward turn

is a passage i n m y throat a n d d r i n k that will n o t drink

i n I l l y r i a : ** till his

[12] Tumt on hit left to fact

prithee, a n d I ' l l p a y thee m e w h a t I

bounteously. m y a i d become this duke :

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!

o' t h e toe like a parish-top. comes Sir A n d r e w

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

I ' l l serve page ;

shalt

present w o r t h

as a

to h i m : c a n sing SIR SIR SIR ANDREW. TOBY.

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.

m a y be speak will else

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 ;

Sir Toby Sir

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

to m y w i t . then a n d your m u t e I ' l l be :

MARIA. SIR SIR [EMUtU.^* SIR SIR

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

Be y o u his page blabs, thee then :

TOBY.

m y tongue I

let m i n e m e oaM

eyes n o t see.

ANDREW. TOBY. ANDREW.

W h a t ' s

VIOLA.

t h a n k

lead

M y niece's

Good Mistress

kARiA. SIR SIR

M y n a m e

is M a r y , sir. Mistress M a r y Accost, accost " is front her, board

ANDREW. TOBY.**

Good

Y o u mistake, k n i g h t :

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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

[ B y m y troth, y o u well, again.

would of

not undertake " ? would

her i n

this

these gifts a c u r t a i n before tress M a l l ' s p i c t u r e ? and come home i n a

' e m?

are they like t o take dust, like M y very walk should

Mis( I by

company.] (11 doing tmiatiU the itepi x . i ; . l . MARIA. SIR never SIR drew TOBY.

Is that

the meaning

"accost

* w h y dost t h o u n o t go t o c h u r c h coranto? as m a k e water b u t i n a

i n a galliard be a j i g ; W h a t t h e star

gentlemen.* thou mightst never

A n thou sword again.

l e t p a r t so, S i r A n d r e w ,

would the of a SIR

n o t so

m u c h

sink-a-pace.] under

dost t h o u m e a n ? I would I might excellent galliard. ANDREW.* fools i n h a n d ? hand.* your

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,

constitution of t h y leg, i t w a s formed

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, I have Marry,

SIR A N D R E W .

a n d here's m y pray

A y , 'tis strong, Shall

a n d i t does

indifferent well revels? !

i n a

N o w , sir, " t h o u g h t Wherefore,

you, bring your

flame-coloured SIR TOBY. SIR TOBY. hal h i g h e r : * SIR ANDREW.

stock.

w e set about

some

to the buttery-bar a n d let i t ANDREW. I t ' sdry, sir. W h y ,I think dry.* so :

W h a t s h a l l w e do else? Taurus!

w e r e w e n o tb o m under Taurus ? L e tm e see thee caper : [Eun(.*

sweet-heart?

metaphor?

T h a t ' s sides a n d h e a r t .

MARIA. keep SIR I

N o , s i r ; i t is legs a n d t h i g h s . h a , h a ! excellent!*

SIR A N D R E W . m y hand A ANDREW. your so MARIA. MARIA. let go thee m e

I a m n o t such your them? jest?

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.

A y , sir, I have hand, 0 knight, Never

I a m barren.' thou lackest a c u p of canary i n your life, 1 t h i n k sometimes I ; unless no

V A L E N T I N E , and I f the duke

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

SIR A N D R E W . * down. Christian

y o u a r e like t o be m u c h a n d already Y o u either fear

advanced

he hath k n o w n y o ubut that y o u

y o u are no

stranger. o r m y negligence, is he inconstant, sir,

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?

the continuance N o , believe y o u . DUKE, m e .

o f h i s Icvt:

SIR

question.** A n I thought that, I'Id forswear

VALENTINE. VIOLA.

SIR A N D R E W . to-morrow, SIR SIR and TOBY.** ANDREW.

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

DUKE. VIOLA. DUKE. Thou To Be And Till If As thee

W h o s a w Cesario, O n your Stand no

h o ? ** m y l o r d ; ** I have here.

attendance, while of but a l l;

y o u a less even

aloof.**

Cesario, unclasp'd : her ; soul

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

the book good

m y secret

Therefore, tell thou

y o u t h , address access,** s t a n d there t h y fixed audience.

t h y gait unto a t her doors, foot shall

n o t denied them, have

housewife

between

h e r legs a n d s p i n i t off.]** to one she'll none of m e :

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

VIOLA. s h e b e so DUKE. Rather abandon'd i t is spoke, than she never

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.

SIR T O B Y . * ' Tut, SIR times there's life

She'll none o ' t h e i n ' t , m a n . I ' l l Stay a

she'll n o tmatch above her heard her swear't.**

degree, n e i t h e r i n estate, years, n o r w i t ; I have

Be clamorous make

a n d leap

Ill]

unprofited with

ANDREW. altogether.

m o n t h

longer.

a m a

fellow

o'

the

VIOLA. DUKE.** Surprise

Say I do speak 0, then unfold her with

strangest

m i n d i 'the world ;

I delight i n masques a n d revels

some-

t h e passion o f m y dear

discourse thee well

[iO]

With a great heartineit, at though hi believed luch tatlee would advance U K AHDRIW'B caxue with O U T U .

SIR TOBY.** SIR the man. ANDREW.

A r tt h o u

good a t these kickshaws, ; a n d yet I will

knight? he be, under a n old with

*' 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,

whatsoever not compare

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.

fJ5! from th* Hep* lo TioiA. [17] Leading TIOLA down to X.

[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

SIR TOBY.** SIR SIR TOBY.

W h a t

is t h y excellence i n a galliard, I can cut a I have caper.

knight?

ANDREW.**

Faith,

A n d I can cut the m u t t o n to 't.** A n d I think Illyria.** t h e back-trick simply as strong

SIR A N D R E W . a n y m a n i n

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She T h a n

will

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i n t h y youth grave lord. Dear l a d , believe i t ; aspect.

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: *

Diana's lip ; t h y small sound.

lady! * t h e fool aWay. fellows? Take away t h e lady.

n o t more

smooth

a n d rubious organ, a shrill

OLIVIA. CLOWN. OLIVIA.* you grow

as t h e maiden's

a n d

D o y o u n o t hear, Go to, you're dishonest. T w o faults, for give

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

t h y constellation affair.* ; Some

is right a p t o r five a m attend best well i n this, \ h i m ;

For All,

four

CLOWN. amend :

madonna,

that

drink

a n d good

counsel

will b i d dis-

if y o u will least thou call

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

the dishonest honest mended sin ; ;

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

thine.* ' I ' l l do m y best strife! [Exeunt.''

v i r t u e t h a t transgresses is b u t patched so ; w i t h

is b u tpatched virtue. I f that

VIOLA. To w o o your lady : ^Aside]

a n d sin that syllogism

amends serve,

yet, a

barful

simple

will

i f i t will not,w h a t remedy ? a flower.] take her

Whoe'er

I w o o , myself

would

be his wife.

there is n o true cuckold bade take a w a y OLIVIA.' CLOWN. t h e fool bade

b u t c a l a m i t y , so beauty's ; therefore, take

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

to say as I wear to prove

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.

C a n y o u do i t ? Dexteriously, M a k e I m u s t answer your good proof.* : good m y mouse madonna.

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.

Nay, either tell

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.**

open m y lips so w i d e m y lady CLOWN. needs will hang

a s a b r i s t l e m a ye n t e r thee for t h y absence. m e : he that

i n w a y of t h yexcuse :

Good I I think k n o w

for m y brother's is i n hell,

L e ther hang n o colours. that

is well

his soul his soul fool,

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

is i n heaven, madonna, away

MARIA. CLOWN. MARIA. was

Make

good. to : fear.** I c a n tell thee where that saying

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:

A good lenten answer " I fear n o

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

colours." Mistress M a r y ? to say i n your

MALVOLIO. infirmity, CLOWN. increasing that

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

G o d send your folly!

y o u , sir, a Sir Toby

speedy will

infirmity, that

for the

be sworn

I a m no fox ; fool.

Well,

G o d give

t h e m

wisdom talents. for being as a

that

have

i t ; a n d those

but

he will

n o t pass h i s w o r d

for t w o pence that y o u are n o Malvolio? delight i n such a

a r e fools,

let t h e m

use their be hanged

OLIVIA. so long hanging a absent to ; or, to

H o w say y o u to that, I marvel your

MARIA. be

Y e t y o u will

MALVOLIO. rascal:

ladyship takes t h e other a stone.**

barren fool

turned away, CLOWN.**

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

turning MARIA. CLOWN. MARIA.

let sununer

his guard already he is gagged.

unless

y o u laugh a n d minister occasion that crow

Y o u a r e resolute, N o t so, neither ;

t h e n ? ** b u t I a m resolved o n t w o points. ; or, i f both break,

I protest, I take these wise m e n , n o better t h a n t h e fools'

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.

OLIVIA. distempered tion,

y o u are sick

of self-love,

Malvolio, a n d taste guiltless a n d o f free that y o u deem

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.

A p t ,i n good would leave

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

bullets : but r a i l ; but

there is n o slander i n a n allowed fool, t h o u g h he do n o t h i n g n o rn o r a i l i n g i na k n o w n discreet m a n , t h o u g h h e d o n o t h i n g

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

reprove. N o w M e r c u r y endue thee w i t h leasing, f o r t h o u speakest

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

foolsl [in From slept to %.<!..

A i . : _ i , < . k . V i . w > ^Umm

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MAKiA. desires OLIVIA. MARIA. attended. OLIVIA. MARIA. OLIVIA.

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

MALVOLIO. boy an apple:

N o ty e t o l d e n o u g h

fora m a n , n o ryoung enough

for a

to speak

w i t h y o u . the Count is i t ? fair young delay? m a n ,a n d well not, m a d a m 'tisa

; 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

H e is very well-favoured a n dh e speaks very shrewishly ; think his mother's

W h o of m y people Sir Toby, Fetch madam,

hold your

h i m i n kinsman.

OLIVIA.

L e t h i m approach Gentlewoman, Re-enter

MALVOLIO.* i f i t be OLIVIA. We'll once Give fooling son he VIOLA. OLIVIA. VIOLA.*

m y lady

h i mo f f , I p r a y y o u ; [Exit MARIA.] ^ I a m sick, dislike i t . spoke

h e speaks nothing b u t m a d Go y o u , Malvolio : * ; w h a t y o u will,

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

MARIA.* throw i t o'er m y face.

suit f r o m

the count, [Exit T h o u ;

or n o t a t home

m e m y veil: come, hear Enter Orsino's

to dismiss i t . grows CLOWN.* comes,one

MALVOLIO.] ' hast

N o wy o usee, sir, h o wy o u r

more

embassy. ATTENDANTS.* w h i c h is s h e ? ' will?

o l d , a n d people

for us, madonna, most weak

as i f t h y eldest brains! for,* here

V I O L A , ami lady

should be a fool

whose skull Jove cram w i t h

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-

SIR TOBV.* half drunk. W h a t is he a t t h e gate,

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.

w o u l d be l o a t h t o cast a w a y m y speech, f o rbesides t h a t i t is excellently G o o d beauties, let m e t o t h e least sinister

OLIVIA. herring! * CLOWN. OLIVIA. lethargy ? SIR

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.

H o w n o w , sot! Good Cousin, cousin,

I c a n say little more

studied, a n d that i n m y

ques-

tion's o u tof m y part. be t h e lady

Good gentle one, give m e modest I m a y proceed

assurance i f speech. (SJ Advancing to 1.0, of

of t h e house, that comedian? heart:

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

[] RoOint TOW C. lowardt O U T U .

TOBY.

profound n o t usurp

a n d yet, b y the very I a m .

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

malice I swear, [*<.''

I a m n o tthat I play. myself,

A r ey o u t h elady o f t h e house?

L e t h i mb e t h e d e v i l , a n h e w i l l , Well, it'sa l l one. What's Like a a drunken m a n like, fool ;

certain, i f y o u are she, y o u do usurp yourself

for

OLIVIA.** CLOWN. a third

fool? a n d a m a d m a n : one a n d h i m;

w h a t is y o u r s t o bestow is n o tyours t o reserve. the heart of m y message.

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

draught above heat makes drowns h i m .

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

G o t h o u a n d seek t h e c r o w n e r , a n d l e t h i m s i to ' m y coz ;

he's i n the third

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 .

(14] From tht Htpt. Bi eomu O L I T U tt 0. 01 ht tptott.

o n e i n so W i l l

skipping a y o u hoist

MALVOLIO. you. asleep comes I told ;

Madam, yond h i my o u were

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

of that too, a n d therefore

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 .

fortified lib] Turning up 0 .

your

VIOLA.** me.** he'll stand a t your to a bench, b u t he'll so ; a n d h e says, as full

I t alone concerns y o u r ear. as matter.]

[ 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

no taxation of homage : of peace

I hold t h eolive i n m y h a n d

MALVOLIO. speak [U] Uooing lowardt thi i

door like a sheriff's post, with you. W h a t kind o'

a n d be t h e supporter

OLIVIA. VIOLA.

[Yet you began rudely.] [ T h e rudeness that

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 ? *

f l T ] Coming C. p t j I f * lomi impaUtno

from m y entertainment.] as m a i d e n h o o d : ] OLFVIA. Give

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 y , of m a n k i n d . * ' manner o f m a n ? * ; h e ' l l s p e a k w i t h y o u ,w i l l y o u o r

** t o y o u r e a r s , d i v i n i t y , t o a n y o t h e r ' s , p r o f a n a t i o n . * * us t h e place MARIA alone and : w e will hear this divinity.

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.

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IS

VIOLA,* OLIVIA.* Where lies VIOLA. OLIVIA. VIOLA.

Most A your

sweet text?

lady, doctrine, a n d m u c h m a y be said ofi t *

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

OLIVIA. * Unless, perchance,

I n Orsino's To answer 0 , I have Good

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

thank y o u for your VIOLA. master, make

(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.

OLIVIA.* say? VIOLA. OLIVIA. m y this face? * present:

i t is heresy.*

Have y o u no more

I a m n o fee'd n o t myself, his heart fervour, " W h a t of like

lady : ' that

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

recompense. y o u shall love be cruelty. " w e l l : a r t ; * a n d spirit. soft, soft! ** is

[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

m y master's, parentage? thou

Placed " I

i n contempt!

Farewell, fair is y o u r

[8] L. 1 1 . [9] Without moving.

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

OLIVIA.* Above a m a give

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

t h y limbs, actions the m a n .

n o t too fast; H o w n o w !

Looking L . after TTOLA. Impetuouslymoving to L. Checking herielf. Turning to 0.

a n d cutming hand graces to the

the master I feel

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

so q u i c k l y m a y o n e catch this youth's a n invisible a n d subtle i n a t mine eyes.**

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 ;

Here, that h e left flatter will

I see y o u w h a t y o u a r e , y o u a r e t o o p r o u d ; * t h e devil, y o u are fair. loves y o u : though O, such y o u were a n d master

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 :

h i m I ' l l none hopes ; come for't: I will.

be b u t recompensed,

** D e s i r e hold give ** I f t h a t I'll

h i m n o t to h i m u p with the youth h i m reasons M a d a m , a :

his lord. w a y to-morrow,

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

I a m n o t for h i m : this Malvolio. [Exit.** to find for m y mind. so. [Exit.**

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,

MALVOLIO. OLIVIA. Mine Fate, W h a t show

m y m i n d

I do

I k n o w

n o t w h a t , a n d fear flatterer ourselves

(22] Bowing L . 1 1 . In all thit butinett thtrt thould bt no hosts on KALTOUO'9 part.

h i m virtuous, k n o w of fresh divulged, free, :

h i m noble. youth a n d love ago. flame. valiant; h i m ;

eye too great is decreed

a n d stainless leam'd of

t h y force must

w e do not owe ; [23] doing slowly by tht slept.

be, a n d be this

i n dimension person m i g h t have

a n d t h e shape his answer

nature]

b u t yet I cannot long

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

I f I d i d love a denial I would

y o u i n m y master's a deadly life. find n o sense ;

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

call upon sing make o u t " them

loyal cantons your name "

of contemned even

i n t h e dead of

to t h e reverberate gossip 0, y o u should

the babbling Olivia!

the air

Between

t h e elements pity

of air a n d earth. m e ! ** Y o u m i g h t d o much. i* wall !

y o u should

OLIVIA. " W h a t x,,^T . is your At......

fpinrtoiMnbL.O., (iowiy.

Siting and

parentage? mir fnrfiiriM irot m w ntatr

14

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>

[SCENE [A Enter MALVOLIO. VIOLA. W e r e VIOLA,

n ]

[1] Tht action eontituut without change of ictna.

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.

t h a t y o us h o u l d p u t y o u r l o r d i n t o a desperate of h i m: a n d one thing more, that

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

again i n h i s affairs, unless Receive i t so.*. She took

i tbe to report your

lord's taking

[(]

Moving to L . C , and at ht eontinuet, getting over to itat I .

L e t m e yet k n o w N o , sooth,

of y o u whither y o u are m y determinate

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.*

C o m e , sir, y o u peevishly t h r e w i tt o h e r ; i f i tbe worth finds stooping i t . means this

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,

i t should b e so r e t u r n e d : your eye ;

f o r , t h e r e i t lies [Exit.'' lady ?

Y o u must I I called k n o w

i f n o t , be i t h i s that n o ring w i t h her :

which

* VIOLA. * F o r t u n e }^

I left forbid good

w h a t

Roderigo.

M y father w a s that Sebastian

of Messaline, w h o m

m y outside view

have

n o t charm'd so her

|ierl

y o u have heard of. [ 7 ] Sinki on to ttat. in a n hour : but the

H e left b e h i n d h i m m y s e l f a n da sister, b o t h b o m '

She made sure

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

she d i d speak loves m e

i n starts ;

distractedly. of her passion

o f t h e sea w a s m y sister Alas t h ed a y !

drowned.

**She Invites None ** I Poor

m e , sure i n this

t h e cuiming

ANTONIO. SEBASTIAN. was [8] nu 19} hand to hU tym. such Biting.

churlish ring!

messenger.** her none.

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 :

w h y , h e sent so, as love a 'tis.

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

she bore a m i n d that envy

Disguise, Wherein [ H o w

I see, t h o u t h e pregnant

wickedness. does much.

(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.

already, sir, w i t h again Pardon 0 w i t h

saltwater, though

I seem to d r o w n her

enemy

remembrance ANTONIO.

more.* b a d entertainment. forgive m e your trouble. letm e be your

easy

is i t for t h e w a x e n hearts

proper-false t o set their n o t w e ! w e be.] loves h e r dearly ; forms! >

m e , sir, your Antonio,

I n

women's

SEBASTIAN.* ANTONIO. servant. SEBASTIAN. kill h i mw h o m

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

as w e a r e made this fadge?

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

she, mistaken, will become

seems

o n m e . a mm a n . love ; IIS] To LJO

o n c e : * m y b o s o m i s f u l l o f k i n d n e s s , a n dI a m y e t s o n e a r t h e of m y mother, that upon t h e least occasion m o r e to t h e Coimt mine

manners tell

" W h a t M y As state I

of this?

A s I

eyes w i l l

is desperate

for m y master's alas t h e

tales o f m e .

I a m bound

Orsino's c o u r t : *'

[farewell.] [Exit.

a m w o m a n , n o w thriftless thou sighs

d a y ! breathe! ; \ExU,^* [IS] L. 1 a .

W h a t O It

shall

poor

Olivia n o t I

ANTONIO. 1* * * I have m a n y I

T h e gentleness enemies very w h a t

of

a l l t h e gods court, there.] thee will so, go.

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

s h o r t l y see thee m a y , I do adore a n d I

But,

Tailcau Curltitt or Ael Drop,

[Exit.^*

That

danger

shall seem

sport,

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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

(1] Filling hit laniard from tht flagon.

hadst white

I did impeticos thy gratillity houses. Excellent! song. Come on W o u l d A you ay

SIR A N D R E W . Now, a SIR T O B Y . * CLOWN.* SIR SIR

w h y , this is t h e best f o o l i n g , w h e n a l l is : let's have a of good song. a life?

; t h e r e is s i x p e n c e f o r y o u have a I ; a love-song, love-song. care not for good or a

SIR A N D R E W . * TOBY.*

There's a testril of m e too : love-song, Ay,

if one

k n i g h t give

song life.*

ANDREW.

C L O W N [sings

from

p. 3 , "

Vocal French,

Music Ltd.] you love's and low ;

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.

O mistress ' 0 , stay That Trip Journeys Every

ACT A ACT I I SCENE I * Enter SIR TOBY.* is to be is t o up be Kitchen I I , SCENE in O U m ' s I House [SCENE III] SIR SIR ANDREW. TOBY.

mine, and can end wise hear; sing in

where your both pretty lovers man's

are true high

roaming? coming. ;

no further,

sweeting meeting. doth

i '

son

know.''
faith.

[7] TESTE gott to the firt and ooncludtt Ow song with hit back to it. , '

Excellent good.

good,

Good,

CLOWN

[sings'].* mirth there What's

What hath lies me, to come hiss a stuff

A

is is

love? still

'tis

not ; : twenty.

hereafter;

[8] SIB ANDREW twitti round to foot

Ittta.'

Present In
ANDREW.

present no sweet not will

laughter unsure plenty; and endure.*

as I

[OLIVIA'S
SIR T O B Y and

house.]
SIR

A kitchen in O L I V I A ' I house.

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

(9] At the end of tht song SIR TOBT and

a m i ' true k n i g h t

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

SIR ANDREW are

dit-

ANDREW. TOBY. A ANDREW. To

mellifluous voice, breath. and sweet

TESTE applaud by banging Ihtir lastkardt on the table.

SIR ANDREW.* late SIR T O B Y . '

contagious Very

contagious,

faith. B u t do

A false conclusion

SIR TOBY.

hear by

t h e nose, i t is d u l c e t i n c o n t a g i o n . * * shall w e rouse the shall we

[10] Pour* wine into a goUttfor TEBTI.

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.

shall we m a k e the w e l k i n dance indeed? that?

night-owl

consist of

in a catch that w i l l d r a w three souls o u t of one weaver?

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

b u t I t h i n k i t rather consists therefore eat a n d

SIR SIR

ANDREW. ANDREW. " i n ' t to

A n you Most call

love

me,

let's d o ' t : dogs catch

I a m will be,

dog

at a well.

catch.

drinking.* T h o u ** ; let us ** d r i n k . " say! stoup wine!

CLOWN.**

B y ' r lady, sir, a n d Certain. knave,

some

catch

[11] Comet to the top of the taiU and taktt

goblet from ia. TOBT.
concall

Let our knight.

" T h o u

k n a v e . "

CLOWN. strained m e see t h e p i c t u r e o f

H o l d t h y peace, t h o u k n a v e , " k n i g h t ? thee fool: never

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

SIR ANDREW. knave. I CLOWN. SIR

' 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.** I M A R I A . ** never trust

[Catch
Enter MARIA.**

sung.^^

SIR A N D R E W . * '

troth, the fool has

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.

Sht thakei htr head

[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.

W h a t a c a t e r w a u l i n gdo y o u keep here 1 me. M y lady's a Catalan, we are

I f m y lady have doors,

not called u p her steward Malvolio a n d bid h i m t u r n y o u out of

patting flagon to BIB ANDREW.

i n chair I., of UMt.

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
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W I L L ACT I I , 80. I

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

SIR TOBY. knight?

What,

for being a puritan?

t h y exquisite reason, dear reason

CLOWN. I too : he

Beshrew me, does For i t with the love a

the knight's better

i n admirable do

SIR ANDREW.

A y , h e does w e l l e n o u g h i f h e b e disposed, a n d so grace, b u t I i t more

SIR A N D R E W . good enough. MARIA.

I have no exquisite reason for't, b u t I have

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 ? *

as he t h i n k s , w i t h excellencies, t h a t i t is h i s g r o u n d s of f a i t h t h a t a l l work. wilt thou

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.*

forehead, a n d complexion, he I can write very

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.

MALVOLIO. tell nothing your

Sir Toby, I must she

hands. I have't niece, in m y nose

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.

I f y o u can separate yourself

ANDREW. come from M y Ass,

misdemeanours, you are welcome to the house ;

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."*

SIR TOBY. MARIA.

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

Nay, good H i s eyes

MARIA.

MALVOLIO. CLOWN. SIR SIR SIR no too. SIR TOBY.** crumbs. A MALVOLIO. r u l e : * TOBY. TOBY. TOBY.** cakes

Is't even "

MARIA. with this him.* night,

Sport royal, I warrant y o u : I will to plant you the letter :

work third,] For

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'

where he shall find

MALVOLIO. CLOWN. CLOWN. steward ? more CLOWN.*'

bed, a n d dream

I bid h i m go? if you I b i d h i m go, no, you tune, sir ;

[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.

SIR TOBY.* L e t ' s t o b e d , k n i g h t . * * mouth with

cAatf.

ta

TOBY'S

Go, sir, r u b your chain

stoup of

Mistress Mary, if y o u prized

SIR ANDREW. SIR TOBY.** bed n o w :

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

Sweet SirToby, be patient for to-night:

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

a nayword, a n d m a k e h i m a c o m m o n recreation, do n o t t h i n k I have I k n o w tell us do i t . of h i m .

cAair. s n AVDKEW fallt chair again.

into hit

SIR

something of puritan.

MARIA.

Marry,

sir, sometimes he

is a

kind

T W E L F T H

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t l Ai-r 11. sc n

A n a dallies w i t h t h e innocence of [SCENE The

Enter DUKE,

love.

IV] palace.
and others.'^

L i k e the old CLOWN. DUKE.

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 '

N o w , good m o r r o w , friends.* song, night:

SONG.

good Cesario,'

b u t t h a t piece of

Zonie And Fly I My My Not On Not My A Sad Lay

away, in away, am O, part Did a my poor me, lover weep shroud of fly

come sad

away, breath

death, he ; maid. with trite y*io, all so laid;

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?

cypress away, by white, it I no a a fair

let me cruel

much. terms times :

slain of prepare share flower, black

these m o s t b r i s k a n d giddy-paced b u t one

Who

stuck one flower let

Come,*
DUKE.

CURIO.* CURIO. 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.]

death, it. not not corpse, thousand O, never

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

Seek h i m o u t , a n d p l a y t h e t u n e t h e w h i l e . CURIO. love, ; i f ever t h o u s h a l t i t remember me else. creature time?

DUKE. CLOWN. DUKE. CLOWN. DUKE.

a friend, thousand true To

a friend where sighs find where my

C o m e h i t h e r , b o y : ** In t h e sweet pangs of For such

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 :

I ' l l pay t h y pleasure Give m e now

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 ;

1* M y l i f e u p o n ' t , y o u n g Hath i t not, boy? "

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.^

L e t a l l the rest give

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 :

So s w a y s she For, boy, Our

level i n her husband's giddy and

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

fancies are m o r e are.*'

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 :

VIOLA. DUKE. VIOLA.

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

S a y t h a t s o m e l a d y , as p e r h a p s Hath You As you have DUKE. for Olivia : you

f o r y o u r l o v e as g r e a t a p a n g o f cannot sides t e l l h e r so ; There m u s t s h e n o t t h e n be is n o w o m a n ' s so heart ; strong a

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

Can bide the b e a t i n g of A s love d o t h give m y Alas, their love m a y bonet

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 ;

[they lack retention. palate.

T h e spinsters a n d t h e k n i t t e r s i n t h e s u n t h e free maids t h a t weave t h e i r t h r e a d w i t h

be c a l l ' d a p p e t i t e . I l t l BrrOMMlM2umnLe..bMw<t.

N o m o t i o n of the liver, b u t the

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

(ij IVilhout lurniilf.

(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.

Oie ectumn tni

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.

Come thy ways,

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.

over tht top.

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.*

MALVOLIO.* a l l is f o r t u n e . ' M a r i a once told B e s i d e s , she follows

SIR TOBY. MALVOLIO. contempt

[ 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

'Tis but fortune ;

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].

" T o the u n k n o w n beloved, t h i s , a n d m y good B y y o u r leave, w a x . * 'tis m y lady.*

very phrases! be?*

FABIAN. him : SIR SIR SIR SIR SIR

Contemplation makes a rare turkey-cock

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.* :

he jets under his advanced Peace, I Ah, say. Malvolio!'

[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

Peace, peace! There of t h e now wardrobe.* he's deeply

numbers

altered!

[7] A little to i.o. [8] Be ooet firther I .

MALVOLIO.

man must know : " [reads],

i f t h i s s h o u l d be t h e e , command silence, bloodless 0, A, where like stroke I , doth my sway

Malvolio?* ; knife. doth life. gore :

married the yeoman SIR A N D R E W . FABIAN. blows in m y SIR him.* 0 , peace!

M a r r y , hang thee, brock! I may But With M, I adore heart my a Lucrece

Fie o n h i m , Jezebel!

MALVOLIO

MALVOLIO.*' state,** TOBY.

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 "

[10] Bthind SIR TOBT.

MALVOLIO. SIR TOBY.

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,

w h a t w i n g the staniel checks at i t ! ] W h y , t h i s is e v i d e n t t o I f I could make that scent.**

[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

I f r o w n the w h i l e ; a n d perchance w i n d up m y w a t c h , or T o b y approaches ; courtesies there

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

p l a y w i t h mysome rich jewel. TOBY.

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. faults.] MALVOLIO. FABIAN. SIR TOBY. MALVOLIO. FABIAN. MALVOLIO.

our plot.] a

FABIAN. MALVOLIO.

I extend m y h a n d to h i m thus, quenching m y control,

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

y o u r niece give m e t h i s p r e r o g a t i v e of What, 'You

Nay, "

what? must amend

JT [ w e

d e t r a c t i o n a t y o u r heels t h a n f o r t u n e s before your

break

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

M , 0 , A , I : ** t h i s s i m u l a t i o n i s n o t as t h e f o r m e r : ** Soft! here follows prose.*' I n m y stars I a m some are b o r n great,

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

That's me, "One Sir I knew

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

slough a n d appear fresh. servants ;

so

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

37

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 %. ;

see [ACT THE THIRD] [ 1 ) So break. Tht action u eonHnued.

Go t o , t h o u a r t m a d e , Fare-

i f n o t , l e t m e see t h e e a s t e w a r d s t i l l , t h e thee. Fortunate-Unhappy." I will ' I do be

VIOLA.

f e l l o w of servants, a n d n o t w o r t h y t o t o u c h F o r t u n e ' s fingers. She t h a t w o u l d a l t e r s e r v i c e s w i t h The

[SCENE I ] * [OLIVIA'S * Enter V I O L A , and garden.] a labor.

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

(2) From R. 1 E . TIOLA, coming eroiui to 0. and faett FEBTB.

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

Save t h e e , f r i e n d , a n d t h y m u s i c : No, sir, I live by the church.* Art thou a churchman?

dost t h o u l i v e by t h y

tabor?
CLOWN. VIOLA. CLOWN.

She d i d c o m m e n d m y y e l l o w s t o c k i n g s ; and i n this

N o s u c h m a t t e r , s i r : I do l i v e b y t h e c h u r c h ; f o r I do l i v e house d o t h stand by the church. So t h o u m a y s t s a y , t h e k i n g l i e s b y a b e g g a r , i f a b e g g a r

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 t h a n k m y sUrs I a m happy. J o v e a n d m y stars be p r a i s e d !

I w i l l be H e r e is y e t I thy

VIOLA.

strange, s t o u t , i n y e l l o w stockings, a n d cross-gartered, even w i t h t h e

[61 SIR ANDREW and TiVUH

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

" T h o u canst n o t choose b u t k n o w w h o well ; ' therefore in my presence still

I f t h o u entertainest m y love, let i t appear i n t h y s m i l i n g ; I prithee."

[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

CLOWN. VIOLA. CLOWN.

I w o u l d , therefore, m y man?

sir, her name's a w o r d ; my sister w a n t o n . them. yield you

and to dally w i t h words are

word might make VIOLA. CLOWN. VIOLA. CLOWN.' sir,

B u t indeed

SIR A N D R E W .

rascals since bonds disgraced T h y reason, m a n ? Troth, sir, I can

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

TOBT doum. He advanctt to E.O.. S i u ANDREW following.

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.

W i l t t h o u set t h y f o o t o ' Or o' m i n e e i t h e r ? **

SIR ANDREW.

A r t t h o u not the Lady Olivia's fool? husbands

Shall I play m y freedom at t r a y - t r i p , and become t h y either?

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

of i t leaves h i m he m u s t r u n m a d . L i k e aqua-vitae w i t h a m i d w i f e . I f y o u w i l l t h e n see t h e f r u i t s o f t h e s p o r t , m a r k h i s f i r s t he w i l l come t o her i n y e l l o w

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.

I w o u l d be s o r r y , s i r , b u t t h e f o o l s h o u l d I t h i n k I saw more with

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 .

approach before m y lady : and

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 o l d , t h e r e ' s expenses f o r N o w Jove,

i n his next commodity

h a i r , send thee

I ' l l tell thee, I a m a l m o s t sick for one ; Is t h y lady

t h o u g h I w o u l d n o t have i t grow on m y c h i n . * ' W o u l d n o t a p a i r o f these h a v e b r e d , s i r ? Yes, b e i n g k e p t together a n d p u t to use.

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

* Dear l a d y , l e a v e , beseech y o u . so d i d I a b u s e I d i d send.

[1] stepping back a pact.

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 e m u s t observe t h e i r m o o d o n w h o m T h e q u a l i t y o f persons, And, l i k e t h e haggard, check a t every [ T h i s is a art:

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

F o r f o l l y t h a t he w i s e l y shows is f i t ; wise m e n , folly-fall'n, quite taint their w i t . ]

Enter SIR TOBV and SIR ANDREW.* SIB ANDREW,

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.

T h a t ' s a degree t o No, not a grize ; for enemies.*

SIR TOBY. VIOLA. [SIR VIOLA.

Save y o u ,

gentleman.* monsieur. 0 yours.] desirous m y n i e c e is and I a m

'tis a vulgar

A n d y o u , sir.* D i e u vous garde, E t vous aussi ; votre serviteur. the house?

ANDREW.

OUVIA.*

W h y , then, methinks 'tis t i m e to smile again. proud! [Clock time. strikes.*

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 hope, sir, y o u are ;

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.*

SIR TOBY. VIOLA.* SIR

what you mean TOBY. VIOLA.' prevented.*

I w i l l answer y o u w i t h gait and entrance.

Enter OLIVIA and MARIA.

Y o u ' l l no thing, m a d a m , to m y lord by ** O L I V I A . **I VIOLA. Stay :

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

T h a t y o u do t h i n k y o u are n o t w h a t y o u I t h i n k the same of Then think you r i g h t :

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

OLIVIA. VIOLA. OLIVIA. VIOLA. OLIVIA. In [A

well. VIOLA. SIR I ' l l get M y matter hath no ear.** " : " Odours," garden most pregnant a n d vouchsafed ANDREW. 'em

I a m not w h a t I am.** am?

I w o u l d y o u w e r e as I w o u l d h a v e y o u W o u l d i t be b e t t e r , m a d a m , t h a n I I a m your fool.*' looks b e a u t i f u l soon 0, w h a t a deal of scorn

1 wish i t m i g h t , for n o w

a l l three a l l ready. [Let the [Exeunt shut, and] my me S I R T O B Y , S I R A N D R E W , and Give

OLIVIA. hearing.*^ VIOLA.** OLIVIA. VIOLA. OLIVIA.**

the contempt a n d anger of his l i p ! m u r d e r o u s g u i l t shows n o t itself m o r e l o v e ' s n i g h t is n o o n . ] thing,

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.**

T h a n love t h a t w o u l d seem h i d : By Nor

** 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.

Since l o w l y f e i g n i n g was VIOLA. OLIVIA. VIOLA. On his OLIVIA.

[ D o n o t e x t o r t t h y reasons f r o m t h i s For that I woo, But r a t h e r reason t h a s w i t h reason

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 ,

t h o u therefore hast no cause ; fetter.

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 ; ' "

I bade y o u never speak a g a i n of h i m : R i i f nrnnlH wnii i i n r 1 * r f n l r o n n n t h ^ r n u i t

OLIVIA.

Black out. Traverse N N for a Jew mo-

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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,

11] HAKU U heard Uughing off ttagt 1 . 1 a .

SIR A N D R E W . ' SIR TOBY. FABIAN.

No, f a i t h , I ' l l not stay a j o t dear v e n o m , give t h y reason.

longer. reason. Sir Andrew. favours to the I saw 't i ' that.

T h y reason,

SIR T O B Y . * MARIA.*

Look, where the youngest Yond

Y o u m u s t nccds y i e l d y o u r

I f y o u desire t h e spleen, a n d w i l l l a u g h yourselves g u l l M a l v o l i o is t u r n e d h e a t h e n , a i m p o s s i b l e passages o f

[3] Advancing toivnrdi sa TOBY, itanding in front of him. [4] Pacing to L.C.

SIR A N D R E W . count's the orchard. SIR TOBY.* SIR A N D R E W .

M a r r y , ' I saw y o u r niece do m o r e

stitches, f o l l o w m e . ing He's rightly,

s e r v i n g - m a n t h a n e v e r she b e s t o w e d u p o n m e ; * D i d she see thee t h e w h i l e , old boy? now.

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

A s p l a i n as I see y o u 'Slight, w i U you m a k e

SIR TOBY.* MARIA.* the church.

I] Coming doum ttage B.O. [ 7 ] i n a passion. Crotting UM TOBT lo

TthiAX.

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

love i n her t o w a r d y o u . o' me?

Most villanously ;

ANDREW.'

a n ass

I have dogged h i m , like his m u r d e r e r .

[4] [G]

I w i l l prove i t l e g i t i m a t e , sir, u p o n t h e oaths of j u d g m e n t A n d they have been g r a n d - j u r y m e n since before N o a h

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

i f she d o , h e ' l l s m i l e a n d t a k e ' t f o r a g r e a t f a v o u r . SIR TOBY.* C o m e , b r i n g us, b r i n g us w h e r e he is.'

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

should have banged the y o u t h i n t o dumbness. at y o u r h a n d , a n d t h i s was balked :

[ 8 ] Tht whoU ofthU tetnt it omitM,

[ 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

SEBASTIAN. But, I will no

I w o u l d n o t by m y chide you.

will

have

troubled you ; pains, my desire.

since y o u m a k e y o u r pleasure further

of y o u r

I h a d as l i e f be a B r o w n i s t as a p o l i t i c i a n . Challenge m e places : y o u t h to fight w i t h h i m ; hurt assure

ANTONIO. And But

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

valour. Andrew. a challenge to him?

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

SIR A N D R E W . * SIR TOBY.

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

Set f o r t h i n y o u r SEBASTIAN. I can no And But, You thanks ; were m y

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,

A r e shuffled off w i t h such

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 .

t h o u g h t h o u w r i t e w i t h a goose-pen, no m a t t e r ; W h e r e s h a l l I f i n d y o u ? ** W e ' l l call thee a t t h e cubiculo :

about i t

should find better dealing. To-morrow, I am sir :

go. [Exit

S h a l l w e go SIR ANDREW.** Toby. ANTONIO. SEBASTIAN. With

see t h e r e l i q u e s o f t h i s not weary, and eyes

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 h a v e b e e n dear t o h i m , l a d , s o m e t w o t h o u s a n d s t r o n g , We shall have a rare letter f r o m h i m : but you'll not the

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.

the m e m o r i a l s and the things of Would you

SIR TOBY.
i tl
XT

and by a l l means stir on

w a l k these streets : indeed.

y o u t h to a n answer.

I t h i n k oxen and wainropes cannot hale t h e m -^A ti^A rr,,%^y,

'gainst the count his of such note

8?

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SEBASTIAN. ANTONIO.

B e l i k e y o u slew great n u m b e r T h e o f f e n c e is n o t o f s u c h given us bloody

of his people. nature ;

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.

ay, sweet-heart, and I ' l l come to thee. and kiss

w h i c h , for traffic's place,

F o r w h i c h , i f I be I shall pay SEBASTIAN. ANTONIO. In Is

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.

W h y appear y o u w i t h t h i s r i d i c u l o u s boldness before m y " B e n o t a f r a i d of greatness : " t h o u by t h a t , " Some are b o m

*o

lady? MALVOLIO.' OLIVIA. MALVOLIO.

OLIVIA. Ha!

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

great," greatness," thrust upon them."

MALVOLIO. OLIVIA. OLIVIA. MALVOLIO.** MALVOLIO.*' OLIVIA. OLIVIA. MALVOLIO. OLIVIA.** MALVOLIO. OLIVIA. MALVOLIO.

"Some

achieve thou? thee!

H a p l y y o u r eye s h a l l l i g h t u p o n s o m e store, a n d leave

W h a t sayest Heaven

desire t o purchase ;

" A n d s o m e have greatness restore

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.

SERVANT. is r e t u r n e d : ship's OLIVIA.

M a d a m , the young

H o w s h a l l I feast h i m ? I speak too "Where And Where loud.

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

F o r y o u t h is b o u g h t m o r e is M a l v o l i o ? is Malvolio? He's coming,

pleasure. I ' l l come to Where's m y cousin T o b y ? [Exeunt

h e is s a d a n d

t h i s f e l l o w be l o o k e d t o . * * for the half of m y MALVOLIO." dowry.

suits well for a servant w i t h m y madam ;

m y people h a v e a special care of h i m : O, h o !

I w o u l d not have h i m miscarry O L I V I A and no worse

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 !

T h i s concurs directly w i t h t h e letter :

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 ;

[20] He comes down stage to 1.0., looking off L. [21] Bt tumt to 0.

" 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

w e r e best to h a v e s o m e g u a r d a b o u t y o u , i f he c o m e ; f o r , sure, t h e is t a i n t e d i n 's Go OLIVIA. If call h i m hither.

tongue t a n g w i t h a r g u m e n t s of state ; singularity ; " [ a n d consequently

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

he. sad a n d m e r r y madness equal Re-enter

M A K I A , with

How now, OLIVIA.**

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

i t is w i t h m e as t h e v e r y t r u e s o r m e t i s , thou, man? w h a t is t h e m a t t e r with the

a n d please a l l . " how

SIR T O B Y . ' * devils of

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

NIGHT: FABIAN. 1 MALVOLIO.*

OR, W H A T

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H I T i l U N tmUriot Ml / n x " I - 1 P ) Comu to 0. K A X U foUom to L.O. 13] Wttvine thm away.

H e i e h e i, here h e i s . G o off ;

H o w is ' t w i t h you, sir?

how

FABIAN.

Good, a n d valiant. f l ] SIR TOBY utlert at pretended approval. exclamation of

is ' t w i t h y o u , m a n ? ' I discard y o u : let m e enjoy m y private : go of!.

[4] TtmUnt to BDi TOBT a$ h4 nien L. 1 K. 16) Rinny.

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.

SIR TOBY. MARIA.** pray.

A y , Biddy, come w i t h m e .

W h a t , m a n I 'tisnotfor hang h i m , foul collier!

gravity t o play a t cherry-pit w i t h Satan :

Get h i m to say h i s prayers, good Sir Toby, get h i m to

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

i t as a n i m p r o b a b l e f i c t i o n . H i s very genius h a t h t a k e n t h e infection of t h e device,

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.

MARIA goet up to BIR TOBY'B R.

*' 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:

at which time we will

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 .

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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

H o w w i t h mine honour may you? I will

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 : *

fare thee w e l l : * [Exit.*]

fiend l i k e thee m i g h t bear m y

Re-enter

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

SIR TOBY.* VIOLA. SIR T O B Y . '

Gentleman, God sir.*

save

thee. of what

And you,

T h a t defence t h o u hast, betake thee to ' t :

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.]

n a t u r e the wrongs are t h o u hast done h i m , I k n o w not ; orchard-end : VIOLA. to m e : SIR

but thy

L e t h i m let t h e m a t t e r slip, a n d I ' l l give h i m m y

i n t e r c e p t e r , f u l l o f d e s p i t e , b l o o d y as t h e h u n t e r , a t t e n d s t h e e a t t h e d i s m o u n t t h y t u c k , be y a r e i n t h y p r e p a r a t i o n , f o r t h y deadly. I a m sure no m a n h a t h any q u a r r e l of a s s a i l a n t is q u i c k , s k i l f u l a n d Y o u m i s t a k e , sir ; m y remembrance

I ' l l ride y o u r horse

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 his horse to take u p the q u a r r e l : 's a devil. heels.

I have

per-

opposite h a t h i n h i m w h a t y o u t h , s t r e n g t h , s k i l l a n d w r a t h can f u r n i s h man withal.* I p r a y y o u , sir, w h a t is he? * souls a n d VIOLA.

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

A little thing would make

(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.

of t h e l a d y . " t h i s is a m a n SIR TOBY,** competent

I lack of a m a n . h i m furious.** he c a n n o t by

t h a t p u t quarrels purposely o n others, to taste t h e i r v a l o u r :

G i v e g r o u n d , i f y o u see

Come, Sir A n d r e w , t h e r e ' s no r e m e d y ; t h e g e n t l e m a n

above SIR ANUKEW and v i o L . i

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.

B a c k y o u shall n o t to t h e house, unless y o u u n d e r t a k e t h a t w i t h

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

Put up your sword. h i m , I for h i m defy You, sir! One,

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

sir, t h a t for his love

I beseech y o u , w h a t m a n n e r o f m a n is

Than you have

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

f o r m , as y o u a r e l i k e t o f i n d h i m i n t h e p r o o f o f h i s v a l o u r . possibly have f o u n d i n a n y p a r t of I l l y r i a . * " h i m ? ** VIOLA." had so m u c h I will make your I s h a l l be m u c h b o x m d t o y o u

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 . "

M a r r y , w i U I , sir ; a n d , for t h a t I promised

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[ 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.

OFFICER. OFFICER. You

This IS the m a n ; Antonio,

do t h y

office.' at the s u i t of Count

SIR T O B Y . i whisper o'er

Come hither, k n i g h t ; a couplet

come hither,

Fabian:

we'll

SECOND ANTONIO. [Though

I arrest thee sir.

o r t w o o f m o s t sage s a w s . * know

i l l Making signs lo SIR ANDREW, who erottet lo him in rtsporue.

{-\ draws FABIAN and

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.*

FIRST OFFICER.* now Take h i m away ; * ANTONIO. you ; * But

No, sir, no j o t ; he k n o w s {To I know

I k n o w your favour him

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

[51 Advancing to 0., looking after V I O L A .

t h e r e 's n o r e m e d y ; t o ask y o u

I shall answer i t . necessity purse? do for I t grieves you me

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

for w h a t I cannot You comfort. Come, sir, sir?'

SIR A N D R E W . ' SIR A N D R E W . '

'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

T h e n w h a t befalls myself. SECOND OFFICER. ANTONIO.' VIOLA. And, Out

stand amazed ; away.*

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 m u s t e n t r e a t of y o u s o m e of y o u have s h o w ' d ability my me

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,

For the fair kindness of m y

p a r t , being p r o m p t e d by y o u r present lean and low d i v i s i o n of m y

I ' l l lend y o u something : I'll make H o l d , t h e r e 's h a l f m y ANTONIO. Is ' t possible t h a t m y

h a v i n g is n o t m u c h ;

present w i t h y o u : Will you deny m e misery, nowr

coffer. deserts t o so u n s o u n d you. I know in a man drunkenness. of none ; you a man

Can lack persuasion? Lest t h a t i t m a k e m e T h a t I have VIOLA. Nor k n o w [I done for

Do not tempt m y kindnesses

As to u p b r a i d y o u w i t h those

I y o u by voice or a n y feature : babbling,

hate ingratitude m o r e

T h a n l y i n g , vainness, Inhabits our frail ANTONIO. SECOND

(J it

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.

he addreitet the FIRST OFFICER he

ANTONIO. Relieved And

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

h i m w i t h such sanctity of worth, did I

to his image, w h i c h m e t h o u g h t did devotion. W h a t ' s t h a t to us? done good feature

Most venerable ANTONIO.

FIRST OFFICER. But 0

h o w vile a n idol proves this

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

Are empty t r u n k s o'erflourish'd by the devil. The m a n grows m a d : away w i t h h i m I "

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

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R u d e s b y , be g o n e ! * [ACT THE [SCENE Before FOURTH] I] house.

CLOWN.* [Exeunt SIR TOBY, SIR ANDREW, and FABIAN.*

[1] Tlu action eontinuet without break.

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

W i l l y o u m a k e m e believe Go t o , go thee. clear of

t h a t I a m n o t sent for y o u ?

SEBASTIAN.* CLOWN.

to, t h o u a r t a foolish fellow : N o , I do n o t k n o w y o u ; nor

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?

W e l l held out, i ' faith I

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

OLIVIA. N a y , c o m e , I p r i t h e e ; w o u l d t h o u ' I d s t be r u l e d b y SEBASTIAN. Madam, I will.' OLIVLA. *0, s a y so, a n d so bel

me!

Vent m y folly! *

[Exeunt.'^*

a n d n o w applies i t to a fool.

great lubber, the w o r l d , w i l l prove a c o c k n e y . ] ' vent to her t h a t t h o u a r t c o m i n g ? SEBASTIAN.' There

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 : *

I shall give worse CLOWN.* years'

[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.

By m y t r o t h , thou hast a n open hand.

These wise m e n

t h a t give fools m o n e y get themselves purchase.

Enter SIR ANDREW,

a good reportafter fourteen

SIR TOBY,

and

FABIAN.**

SIR ANDREW.** SEBASTIAN.** all SIR TOBY.** CLOWN.

Now, sir, have I m e t y o u again? t h e r e ' s for y o u . W h y , t h e r e 's f o r t h e e , * * a n d t h e r e , a n d t h e r e . Are

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 ;

of y o u r coats f o r t w o pence. SIR TOBY.*' SIR A N D R E W . * ' law i n Illyria : TOBY.

N a y , let h i m alone : I ' l l go a n o t h e r w a y to w o r k

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 ,

I w i U be f r e e f r o m t h e e . * * W h a t w o u l d s t t h o u n o w further, draw thy from Enter you. OLIVIA.** holdl sword. W h a t , w h a 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

OLIVIA.** SIR TOBY. OLIVIA. Fit

Hold, Toby ; M a d a m ! **

o n t h y life I charge thee,

W i l l i t be ever t h u s ?

Ungracious wretch,** caves. s i g h t l ** o u t of m y

for the mountains and the barbarous

W h e r e manners ne'er were preach'dl -' -tt i j Am^r r m u i r i n . * *

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

TWELFTH Out, hyperbolical fiend! ladies?

N I G H T : how vexest

OR,

W H A T this

YOU man!

W I L L

CLOWN. SIR

thou

talkest t h o u n o t h i n g b u t of TOBY.* MALVOLIO. darkness. CLOWN. terms ;

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,

Sir Topas, never was m a n t h u s w r o n g e d :

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 :

Fie, t h o u dishonest Satan! one courtesy ;

for I a m

o f t h o s e g e n t l e o n e s t h a t w i l l use t h e d e v i l sayest t h o u t h a t house is windows

himself w i t h MALVOLIO. CLOWN. and and

As hell. Sir Topas. i t h a t h bay t r a n s p a r e n t as

Why,

t h e c l e a r s t o r i e s t o w a r d t h e s o u t h n o r t h a r e a s l u s t r o u s as e b o n y ; yet complainest t h o u of obstruction ? I say t o y o u , t h i s h o u s e is but I a m n o t m a d . Sir Topas :

MALVOLIO. dark. CLOWN. ignorance ; their fog. MALVOLIO. abused. any

Madman, thou errest:

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

bird. CLOWN. opinion. [SCENE I I J [OLIVIA'S house.]

and CLOWN.*

Cellar beneath O l i r i a ' s House

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

MARIA.* him Sir and Toby CLOWN.*

Nay, I prithee, put on this g o w n and this beard ; the whilst.

believe t h o u a r t Sir Topas t h e c u r a t e :

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

W e l l , I ' l l p u t i t on, a n d I w i l l dissemble myself i n ' t ;

h e sees t h e e

I w o u l d I were t h e first t h a t ever dissembled i n such a g o w n .

SIR TOBY.*

To h i m i n t h i n e o w n voice, a n d b r i n g m e w o r d I w o u l d w e were well r i d of this knavery.* niece t h a t I c a n n o t pursue w i t h a n y Come by and by to m y

[Exeunt

a m n o t t a l l enough to become the f u n c t i o n w e l l , nor lean enough

t h o u findest h i m : far

be t h o u g h t a g o o d s t u d e n t ; b u t t o b e s a i d a n h o n e s t m a n a n d a g o o d h o u s e k e e p e r goes as f a i r l y as t o s a y a c a r e f u l m a n a n d a g r e a t s c h o l a r . The competitors enter.

Enter SIR TOBY and MARIA.*

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

jolly how thy

Robin, lady doet,

J o v e bless t h e e , m a s t e r B o n o s dies, Sir T o b y :

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

pen a n d i n k , v e r y w i t t i l y said to a niece of b u t " t h a t , " a n d " is " peace i n t h i s calls t h e r e ? *

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

th* ladder. (B] BaUing i

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

comes to visit Malvolio t h e

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 .

T W E L F T H ACT [1] Moving forward

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.*

(IJ Pauw, then

ilowly. font of inr-

(2) IHtmitting tht idea with paiienct at hit folly.

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

And anon, sir, be tvith you again, In a trice.

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.]

the Traverse and Jront

(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

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O R .

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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

R.U.E. Before Enter FABIAN. CLOWN. FABIAN. CLOWN. FABIAN.

SCENE I '
OLIVIA'S and house.] FABIAN.*

" Hey Robin I Ho Robin I Tell me how my Udy d o t h . "

T u n * as before, p. 13, " Vocal to Twelfth Night," Samuel Ltd. (1) Music French,

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.

DUKE.' CLOWN. DUKE. CLOWN.

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

taking money from

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

That face of his I do remember well ;

48

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ACT

49
T,
80.

It] Bt toti towardt %. and tumt conclude hit tpeech.

then to

[31 Be ezitt R. 1 1 . , T I O L A following

the

tpeak*.

Mtn at

[41 Turning again to OLITli.

(61 Ooin;, U Oueked by O L I T I A ' S voice.

[ 7 ] To

DOKI re-entert from R. 1 E.

T A B I A N , who runt

off up ttept

at

(81 With a itamp of her foot.

[BJ TABUN runt on K.TJ.E., foUowtd by tht

P R I E S T dovm tttpt to c. At he comet mart ilouiy O L I T I A tweept round to

L.c, now

TiOLA moving R.c, th* P R I E S T i* bttwttn them.

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 . arm, twinging her over to hit E .

[t]

SIR A K S E E W it heard howling off R . V . I .

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

S I R A N D R E W entert down ttept to 0 . ,

AU turn in direction of the tound at

to

OLlvu.

Tht

laditt,

and

TABIAH,

lough.

[i] XAKU gaOun

of ditmay

c. to K.V.l.

arut runt

up her *HrU

up and off ttept

wUh a cry

[41 At the DtTKE tpeakt he iiidottt

TIOLA.

[61 SIR ANDREW, .ming

terror acrott oUTU to th* u

vioLA, tkipt in

[61 at, TOBT eaUt off t.v.t., whcro Are you ! "

" Sir Andrew,

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 .

on hit L., comej limping

by tht C L O W N

are bound with handkerchief* and one eye hidden, no hat.

Bit head and knee

down

ttept,

ll To CLOWN on hit L.
[101 Biocought.

[8]

Waving the D U K E atide on hit R.

( I l l Coming from L . . circlet round in front

of SIR TOBY lo Au B.

[12]

S I R T O B Y puihtt

him and S I R A N D R E W

forward
the

paute betioeen each epithet, then a ttride retreat*,

with the nert.
foUow

backt towardt R.

S I R T O B Y followt.

finally boh* with a dry a* ilt. T O B T and

getting more frightened, laugh.

him off

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

i n Ixioldni ftom ont to the othor.

[8) In douM, he tunu BI;BSTI*I over to

hu L. and lookt ftom him to TIOLA.

All are amazed.

W Advaneet Mote OLiTLt lo the L.O, [t] Advantu btlow UUKX lo Iht i . o .

[(] TWU tpeaking guieklg with growing ftrtour and joy.

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]

OLITIA erottet BIBARTIAN to

o.

[ 4 ] MALTOLIO it heard of; R. 1 i . , calling thrinkt towardt SEBASTIAN.

[Rc-'nter

CLOWN

tuith

a letter,

and

FABIAN.]

dittradcdly, Madame!"

"Madame I Miidamel Qerural ttart. OLITU

[ 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.

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Ill

So far b e n e a t h y o u r soft a n d tender b r e e d i n g , A n d s i n c e y o u c a l l ' d m e m a s t e r for so long. be H e r e is m y h a n d : y o u s h a l l f r o m t h i s t i m e Y o u r master's mistress.

OLIVIA. Re-enter A sister I you tvith are

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 ?

" Madam, why laugh and [Exit.

11] Pirouetting, Vtrowing up his calchiHff it. limping laughter. off L . 1 E. bauble and
[2] M A L V O L I O , tearing up the letter, throws it in the C L O W N ' S face, and dasltes

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!

madman? Ay, my Madam, lord, this s a m e . ]

on his right leg. uihiihit

by Ihr. C L O W N , who

lupported

1 OLIVIA. How now, Notorious OLIVIA. * MALVOLIO. wrong.

tn his dot-and-go-one walk to 0 . [21 M'aving letter as he speaks.

imitates

MALTOLIO

y o u h a v e done m e no.

H a v e I , Malvolio? Lady, you have.

[i]

lie forces the letter it as he speaks.

: her.

She reads

MALVOLIO. W r i t e from Or

P r a y y o u , peruse that letter.*

Y o u m u s t n o t n o w deny it is y o u r h a n d : i t , if y o u c a n , i n h a n d or p h r a s e ; w e l l , g r a n t it t h e n of honour, favour, s a y ' t i s not y o u r s e a l , not y o u r i n v e n t i o n : i n the modesty

CLOWN.]

[3]

The

OFFICERS

follow

MALVOLIO

off

a little

L . 1 B . at the D U K E ' S command, A N T O N I O follows.

[4) The DUKE ira.'ises V I O L A to O L I V I A

atui
c,

Y o u c a n s a y n o n e of t h i s : A n d tell m e , Why Bade me

(5)

J'urns

takes her hand and bowing, kisses it.

dame

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

fall into couples for

as the C L O W N

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 ,

I came hey, ho, rain, I came, ho, rain, I

estate.
[8]

T o put o n y e l l o w s t o c k i n g s a n d to And, Why a c t i n g this i n a n obedient

With 'Gainst For But By For [But With With For A thee; great With * But And

The C L O W N steps foruard

Epilogue Song," seepage 1 4 . Music lo Twelfth Sight," French, Ltd. arrange

sings

the

I'avane or
his

her

hand. song.

" Vocal Samuel

down
R.

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.

stage, the couples

ond

c. Wi

on either side above him. The DUKl

CURIO
and

themselves
the

VIOLA

atui a

daiwe together on

lady above the DUKl

K e p t i n a d a r k h o u s e , v i s i t e d by the p r i e s t , And made OLIVIA. Though,

[4] M A L T O L I O , astounded at her denial, now

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

hey, the when hey, toss-pots the

T h a t e'er invention p l a y ' d o n ?

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

stuitches the letter from frardicaily examines it.

her, and as

But

out of question

came ho, still

my drunken

beds. heads.

A n d n o w I do b t h i n k m e ,

F i r s t told m e t h o u w a s t m a d ; U p o n thee i n the letter.] But Of

lb] Coming foruard from the group of
A T T E N D A N T S , where he and M A R I A have been laughing at M A L V O L I O .

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

rain, ago ho, all one, strive

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

while hey, we'll

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.

A n d let no q u a r r e l n o r no b r a w l to Which I have wonder'd at.

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

r e c o m p e n s e w h e r e o f he h a t h m a r r i e d h e r . ' rather pluck on laughter t h a n

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 ,

T h a t h a v e o n both s i d e s p a s s ' d . > CLOWN.

(81 OLOWH, OM M A L T O L I O ' t t T

|8]^/mOotity SIR

imitatitig his

pompous
TOPAS.

speech,

thoulder,

and s o m e h a v e greatness t h r o w n u p o n t h e m . " I w a s one, s i r , i n t h i s i n W l i l r f * n n ^ .<;ir T n n a c c i r h u t t V i o t ' . a l l n n . I t R.. t h a I nr/<