Or will not else thy craft169 so quickly grow
That thine own trip170 shall be thine overthrow?
Farewell, and take her; but direct thy feet
Where thou and I henceforth may never meet.
VIOLA My lord, I do protest173--
OLIVIA O, do not swear!
Hold little faith175, though thou hast too much fear.
Enter Sir Andrew
His head bleeding
SIR ANDREW For the love of God, a surgeon! Send one presently176
to Sir Toby.
OLIVIA What's the matter?
SIR ANDREW H'as broke179 my head across and has given Sir Toby
a bloody coxcomb180 too. For the love of God, your help! I had
rather than forty pound I were at home.
OLIVIA Who has done this, Sir Andrew?
SIR ANDREW The count's gentleman, one Cesario. We took him
for a coward, but he's the very devil incardinate.184
ORSINO My gentleman, Cesario?
SIR ANDREW 'Od's lifelings186, here he is! You broke my head for
nothing, and that that I did, I was set on to do't by Sir Toby.
VIOLA Why 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.
Enter Toby and Clown [Feste]
Sir Toby wounded
SIR ANDREW If a bloody coxcomb be a hurt, you have hurt me. I
think you set nothing by192 a bloody coxcomb. Here comes Sir
Toby halting. You shall hear more. But if he had not been in193
drink, he would have tickled you othergates194 than he did.
ORSINO How now, gentleman? How is't with you?
SIR TOBY That's all one: h'as hurt me, and there's th'end on't.196
Sot197, didst see Dick surgeon, sot?
FESTE O, he's drunk, Sir Toby, an hour agone.198 His eyes
were set199 at eight i'th'morning.
SIR TOBY Then he's a rogue, and a passy measures pavin.200 I
hate a drunken rogue.
OLIVIA Away with him! Who hath made this havoc with
them?
SIR ANDREW I'll help you, Sir Toby, because we'll be dressed204
together.
SIR TOBY Will you help? An ass-head and a coxcomb206 and a
knave, a thin-faced knave, a gull!207
OLIVIA Get him to bed, and let his hurt be looked to.
[Exeunt Feste, Fabian, Sir Toby and Sir Andrew]
Enter Sebastian
SEBASTIAN I am sorry, madam, I have hurt your kinsman.
But, had it been the brother of my blood210,
I must have done no less with wit and safety.211
You throw a strange regard212 upon me, and by that
I do perceive it hath offended you.
Pardon me, sweet one, even for the vows
We made each other but so late ago.
ORSINO One face, one voice, one habit216, and two persons,
A natural perspective217, that is and is not!
SEBASTIAN Antonio, O my dear Antonio!
How have the hours racked219 and tortured me,
Since I have lost thee!
ANTONIO Sebastian are you?
SEBASTIAN Fear'st222 thou that, Antonio?
ANTONIO How have you made division of yourself?
An apple cleft in two is not more twin
Than these two creatures. Which is Sebastian?
OLIVIA Most wonderful!
Sees Viola
SEBASTIAN Do I stand there? I never had a brother,
Nor can there be that deity228 in my nature
Of here and everywhere.229 I had a sister,
Whom the blind230 waves and surges have devoured.
Of charity231, what kin are you to me?
What countryman? What name? What parentage?
VIOLA Of Messaline. Sebastian was my father,
Such a Sebastian was my brother too,
So went he suited235 to his watery tomb.
If spirits can assume both form and suit236
You come to fright us.
SEBASTIAN A spirit I am indeed,
But am in that dimension grossly clad239
Which from the womb I did participate.240
Were you a woman, as the rest goes even241,
I should my tears let fall upon your cheek,
And say 'Thrice-welcome, drowned Viola!'
VIOLA My father had a mole upon his brow.
SEBASTIAN And so had mine.
VIOLA And died that day when Viola from her birth
Had numbered thirteen years.
SEBASTIAN O, that record is lively248 in my soul!
He finished indeed his mortal act
That day that made my sister thirteen years.
VIOLA If nothing lets251 to make us happy both
But this my masculine usurped attire,
Do not embrace me till each circumstance
Of place, time, fortune, do cohere and jump254
That I am Viola -- which to confirm,
I'll bring you to a captain in this town,
Where lie my maiden weeds257, by whose gentle help
I was preserved to serve this noble count.
All the occurrence of my fortune since
Hath been between this lady and this lord.
To Olivia
SEBASTIAN So comes it, lady, you have been mistook.261
But nature to her bias drew262 in that.
You would have been contracted263 to a maid,
Nor are you therein, by my life, deceived,
You are betrothed both to a maid and man.
To Olivia
ORSINO Be not amazed; right noble is his blood.--
Aside?
If this be so, as yet the glass267 seems true,
I shall have share in this most happy268 wreck.--
To Viola
Boy, thou hast said to me a thousand times
Thou never shouldst love woman like to270 me.
VIOLA And all those sayings will I overswear271;
And all those swearings keep as true in soul
As doth that orbed continent273 the fire
That severs day from night.
ORSINO Give me thy hand,
And let me see thee in thy woman's weeds.
VIOLA The captain that did bring me first on shore
Hath my maid's garments. He upon some action278
Is now in durance279, at Malvolio's suit,
A gentleman, and follower of my lady's.
OLIVIA He shall enlarge281 him. Fetch Malvolio hither.
And yet, alas, now I remember me282,
They say, poor gentleman, he's much distract.283
Enter Clown [Feste] with a letter, and Fabian
A most extracting frenzy284 of mine own
From my remembrance clearly banished his.285
How does he, sirrah?
FESTE Truly, madam, he holds Beelzebub at the stave's end287
as well as a man in his case may do. H'as here writ a letter to
you; I should have given't you today289 morning, but as a
madman's epistles are no gospels, so it skills290 not much when
they are delivered.291
OLIVIA Open't, and read it.
FESTE Look then to be well edified when the fool delivers293
Reads
the madman. 'By the lord, madam'--
OLIVIA How now, art thou mad?
FESTE No, madam, I do but read madness. An your
ladyship will have it as it ought to be, you must allow vox.297
OLIVIA Prithee read i'thy right wits.
FESTE So I do, madonna. But to read his right wits299 is to
read thus: therefore perpend300, my princess, and give ear.
To Fabian, who takes the letter
OLIVIA Read it you, sirrah.
FABIAN Reads
'By the lord, ma
dam, you wrong me, and the world shall
know it. Though you have put me into darkness and given
your drunken cousin rule over me, yet have I the benefit of
my senses as well as your ladyship. I have your own letter
that induced me to the semblance I put on; with the which306 I
doubt not but to do myself much right, or you much shame.
Think of me as you please. I leave my duty308 a little unthought
of and speak out of my injury.309
The madly-used Malvolio.'
OLIVIA Did he write this?
FESTE Ay, madam.
ORSINO This savours not much of distraction.
OLIVIA See him delivered314, Fabian, bring him hither.
[Exit Fabian]
My lord, so please you, these things further thought on315,
To think me as well a sister as a wife316,
One day shall crown th'alliance317 on't, so please you,
Here at my house and at my proper318 cost.
ORSINO Madam, I am most apt319 t'embrace your offer.--
To Viola
Your master quits320 you. And for your service done him,
So much against the mettle321 of your sex,
So far beneath your soft and tender breeding,
And since you called me master for so long,
Here is my hand. You shall from this time be
Your master's mistress.
OLIVIA A sister! You are she.
Enter Malvolio [and Fabian]
ORSINO Is this the madman?
OLIVIA Ay, my lord, this same.--
How now, Malvolio?
MALVOLIO Madam, you have done me wrong,
Notorious wrong.
OLIVIA Have I, Malvolio? No.
Hands her the letter
MALVOLIO Lady, you have. Pray you peruse that letter.
You must not now deny it is your hand.334
Write from it335, if you can, in hand or phrase,
Or say 'tis not your seal, not your invention.336
You can say none of this. Well, grant it then,
And tell me, in the modesty of honour338,
Why you have given me such clear lights339 of favour,
Bade me come smiling and cross-gartered to you,
To put on yellow stockings and to frown
Upon Sir Toby and the lighter342 people?
And, acting343 this in an obedient hope,
Why have you suffered344 me to be imprisoned,
Kept in a dark house, visited by the priest,
And made the most notorious geck346 and gull
That e'er invention played on?347 Tell me why.
OLIVIA Alas, Malvolio, this is not my writing,
Though, I confess, much like the character349,
But out of350 question 'tis Maria's hand.
And now I do bethink me, it was she
First told me thou wast mad; then cam'st352 in smiling,
And in such forms which here were presupposed353
Upon thee in the letter. Prithee be content.
This practice hath most shrewdly passed355 upon thee,
But when we know the grounds and authors of it,
Thou shalt be both the plaintiff and the judge
Of thine own cause.
FABIAN Good madam, hear me speak,
And let no quarrel nor no brawl to come
Taint the condition361 of this present hour,
Which I have wondered362 at. In hope it shall not,
Most freely I confess, myself and Toby
Set this device against Malvolio here,
Upon some stubborn and uncourteous parts365
We had conceived against366 him. Maria writ
The letter at Sir Toby's great importance367,
In recompense whereof he hath married her.
How with a sportful malice it was followed369,
May rather pluck on370 laughter than revenge,
If that371 the injuries be justly weighed
That have on both sides passed.
OLIVIA Alas, poor fool, how have they baffled373 thee!
FESTE Why, 'Some are born great, some achieve greatness,
and some have greatness thrown upon them.' I was one, sir,
in this interlude376; one Sir Topas, sir, but that's all one. 'By the
Lord, fool, I am not mad.' But do you remember? 'Madam,
why laugh you at such a barren rascal? An you smile not,
he's gagged.' And thus the whirligig379 of time brings in his
revenges.
MALVOLIO I'll be revenged on the whole pack of you.
[Exit]
OLIVIA He hath been most notoriously abused.
ORSINO Pursue him and entreat him to a peace.
He hath not told us of the captain yet.
When that is known and golden time convents385,
A solemn combination386 shall be made
Of our dear souls.-- Meantime, sweet sister,
We will not part from hence.388-- Cesario, come --
For so you shall be, while you are a man.
But when in other habits390 you are seen,
Orsino's mistress and his fancy's391 queen.
Exeunt [all, except Feste]
FESTE Sings
When that I was and a392 little tiny boy,
With hey, ho, the wind and the rain,
A foolish thing was but a toy394,
For the rain it raineth every day.
But when I came to man's estate396,
With hey, ho, etc.397
'Gainst knaves and thieves men shut their gate,
For the rain, etc.
But when I came, alas! to wive400,
With hey, ho, etc.
By swaggering402 could I never thrive,
For the rain, etc.
But when I came unto my beds404,
With hey, ho, etc.
With toss-pots406 still had drunken heads,
For the rain, etc.
A great while ago the world begun,
With hey, ho, etc.
But that's all one, our play is done,
And we'll strive to please you every day.
[Exit]
TEXTUAL NOTES
F = First Folio text of 1623, the only authority for the play F2 = a correction introduced in the Second Folio text of 1632
F3 = a correction introduced in the Third Folio text of 1663
Ed = a correction introduced by a later editor
SD = stage direction
SH = speech heading (i.e. speaker's name)
List of parts = Ed
1.1.1 SH ORSINO = Ed. F = Duke
1.2.15 Arion = Ed. F = Orion
1.3.88 curl by = Ed. F = coole my 90 me = F2. F = we does't = Ed. F = dost 120 set = Ed. F = sit 123 That's = F3. F = That 1.5.4 SH FESTE = Ed. F = Clo. 156 SD Viola = F2. F = Violenta
2.2.30 our = F2. F = O 31 made of = Ed. F = made, if 2.3.2 diluculo spelled Deliculo in F 24 leman = Ed. F = Lemon 122 a nayword = Ed. F = an ayword 2.4.56 Fly away, fly = Ed. F = Fye away, fie 91 I = Ed. F = It 2.5.102 staniel = Ed. F = stallion 125 born = Ed. F = become 126 achieve = F2. F = atcheeues 154 dear = F2. F = deero 3.1.7 king = F2. F = Kings 65 wise men = Ed. F = wisemens 3.2.7 thee the = F3. F = the
3.4.23 SH OLIVIA = F2. F = Mal 64 tang = F2. F = langer 4.2.67 sport to = Ed. F = sport
5.1.200 pavin = F2. F = panyn 409 With hey = F2. F = hey
SCENE-BY-SCENE ANALYSIS
ACT 1 SCENE 1
The play opens with music, a significant motif associated particularly with poetic expressions of love such as Orsino's opening speech. He describes the moment when his "eyes did see Olivia first," introducing the themes of sight and perception. Valentine reports that Olivia refuses to hear Orsino's suit, as she is in seven years' mourning for her brother. She is "veiled," "like a cloistress," introducing the motif of dress and associated themes of disguise, concealment, and identity. Orsino reasons that if Olivia feels so much f
or a brother, she will feel even more for a lover.
ACT 1 SCENE 2
Viola, shipwrecked on the shores of Illyria, fears that her brother has been drowned. The Captain reassures her and tells her about Orsino's love for Olivia and how Olivia "will admit no kind of suit." While acknowledging that appearances can deceive, as "nature with a beauteous wall / Doth oft close in pollution," Viola decides to trust the Captain. She asks him to help her disguise herself as a young man.
ACT 1 SCENE 3
Lines 1-92: Sir Toby Belch defends his intemperate behavior but Maria tells him he should "confine" himself "within the modest limits of order," introducing a recurrent image which involves either literal confinement in clothes or rooms, or more metaphorical confinements of manners and social roles. Sir Toby's punning on "confine" and Maria's responses set the comic tone for the exchanges among this set of characters, and reveal Maria's sharp wit. Maria scolds Sir Toby for his "quaffing and drinking" and for bringing Sir Andrew Aguecheek to the house to woo Olivia, as "he's a ... fool." Sir Andrew arrives and instantly proves her point; his foolishness makes him a figure of fun throughout the play.
Lines 93-125: Sir Andrew announces that he intends to leave because Olivia refuses to see him and he believes she'll accept Orsino's suit. Sir Toby encourages him not to go, arguing that Olivia will not "match above her degree, neither in estate, years, nor wit," raising the question of social status. Sir Andrew agrees to stay "a month longer" and confesses how much he enjoys "masques and revels." Sir Toby encourages him to "caper," arguing that it is in their nature to do so being "born under Taurus," thus raising another theme--fate and the influence of the stars.
ACT 1 SCENE 4
Viola, now disguised as "Cesario," has become a favored page of Orsino, who singles him/her out to speak privately. In conventionally poetic language Orsino describes how he has "unclasped" the "book" of his "secret soul" to Cesario/Viola, and sends him/her to court Olivia on his behalf. Cesario argues that he will not be admitted, but Orsino is confident that his youth will aid him and gives an ironically sensual description of the boy which reinforces the complicated nature of gender and sexual attraction explored throughout the play. He describes Cesario as so young he is almost feminine, with "smooth and rubious" lips and a "small pipe" for a voice, adding that Cesario's "constellation" makes him right for the task. Although she agrees to go, Viola reveals in an aside another reason for her reluctance: she is in love with Orsino herself.
ACT 1 SCENE 5
Lines 1-155: Maria questions Feste about where he has been, saying that Olivia is displeased by his absence and will turn him away, but he refuses to say. Olivia arrives and Feste engages in "good fooling," using the riddles and wordplay of his trade to please her and prevent her from throwing him out. Despite his role as "clown," he is intelligent and perceptive: his fooling often contains reason and truth, as he says to Olivia "I wear not motley in my brain," a reminder of the difference between appearance and identity. He wins Olivia round by suggesting that she is foolish to mourn for a brother whose soul is in heaven. Olivia comments that Feste improves but Malvolio cannot understand why she "takes delight in such a barren rascal" and she accuses him of having "a distempered appetite." Maria reports that there is "a fair young man" at the gate wishing to speak to Olivia, who sends Malvolio with instructions that, if the youth is from Orsino, she is "sick, or not at home." Sir Toby comes in, drunk, and Olivia instructs Feste to look after him; he comments that "the fool shall look to the madman," one of many references to madness in the play, often as a parallel to love. Malvolio reports that the young man insists on speaking with Olivia, who relents but veils her face.
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