{"id":146,"date":"2015-06-23T23:18:37","date_gmt":"2015-06-23T23:18:37","guid":{"rendered":"https:\/\/courses.candelalearning.com\/americanlit1x22x1\/?post_type=chapter&p=146"},"modified":"2015-06-24T17:41:39","modified_gmt":"2015-06-24T17:41:39","slug":"act-i","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/rangercollege-britlit1-curry\/chapter\/act-i\/","title":{"raw":"Act I","rendered":"Act I"},"content":{"raw":"[caption id=\"attachment_183\" align=\"aligncenter\" width=\"218\"]\"Oil<\/a> Orsino and Viola, circa 1850[\/caption]\r\n

Act I, Scene 1<\/h2>\r\n

DUKE ORSINO\u2019s palace.<\/strong><\/p>\r\n

[Enter DUKE ORSINO, CURIO, and other Lords; Musicians attending]<\/i><\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>If music be the food of love, play on; <\/span>\r\n<\/span>Give me excess of it, that, surfeiting, <\/span>\r\n<\/span>The appetite may sicken, and so die. <\/span>\r\n<\/span>That strain again! it had a dying fall: <\/span>5<\/b><\/span>\r\n<\/b><\/span>O, it came o'er my ear like the sweet sound, <\/span>\r\n<\/span>That breathes upon a bank of violets, <\/span>\r\n<\/span>Stealing and giving odour! Enough; no more: <\/span>\r\n<\/span>'Tis not so sweet now as it was before. <\/span>\r\n<\/span>O spirit of love! how quick and fresh art thou, <\/span>10<\/b><\/span>\r\n<\/span>That, notwithstanding thy capacity <\/span>\r\n<\/span>Receiveth as the sea, nought enters there, <\/span>\r\n<\/span>Of what validity and pitch soe'er, <\/span>\r\n<\/span>But falls into abatement and low price, <\/span>\r\n<\/span>Even in a minute: so full of shapes is fancy <\/span>15<\/b><\/span>\r\n<\/span>That it alone is high fantastical.<\/span><\/p>\r\n

Curio<\/b><\/a><\/span>. <\/b>Will you go hunt, my lord?<\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>What, Curio?<\/span><\/p>\r\n

Curio<\/b><\/a><\/span>. <\/b>The hart.<\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>Why, so I do, the noblest that I have: <\/span>20<\/b><\/span>\r\n<\/span>O, when mine eyes did see Olivia first, <\/span>\r\n<\/span>Methought she purged the air of pestilence! <\/span>\r\n<\/span>That instant was I turn'd into a hart; <\/span>\r\n<\/span>And my desires, like fell and cruel hounds, <\/span>\r\n<\/span>E'er since pursue me. <\/span>25<\/b><\/span>\r\n<\/span>[Enter VALENTINE]<\/i> <\/span>\r\n<\/span>How now! what news from her?<\/span><\/p>\r\n

Valentine<\/b><\/a><\/span>. <\/b>So please my lord, I might not be admitted; <\/span>\r\n<\/span>But from her handmaid do return this answer: <\/span>\r\n<\/span>The element itself, till seven years' heat, <\/span>30<\/b><\/span>\r\n<\/span>Shall not behold her face at ample view; <\/span>\r\n<\/span>But, like a cloistress, she will veiled walk <\/span>\r\n<\/span>And water once a day her chamber round <\/span>\r\n<\/span>With eye-offending brine: all this to season <\/span>\r\n<\/span>A brother's dead love, which she would keep fresh <\/span>35<\/b><\/span>\r\n<\/b><\/span>And lasting in her sad remembrance.<\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>O, she that hath a heart of that fine frame <\/span>\r\n<\/span>To pay this debt of love but to a brother, <\/span>\r\n<\/span>How will she love, when the rich golden shaft <\/span>\r\n<\/span>Hath kill'd the flock of all affections else <\/span>40<\/b><\/span>\r\n<\/b><\/span>That live in her; when liver, brain and heart, <\/span>\r\n<\/span>These sovereign thrones, are all supplied, and fill'd <\/span>\r\n<\/span>Her sweet perfections with one self king! <\/span>\r\n<\/span>Away before me to sweet beds of flowers: <\/span>\r\n<\/span>Love-thoughts lie rich when canopied with bowers.<\/span>45<\/b><\/span><\/p>\r\n \r\n

<\/h2>\r\n

Act I, Scene 2<\/h2>\r\n

The sea-coast.<\/strong><\/p>\r\n

[Enter VIOLA, a Captain, and Sailors]<\/i><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>What country, friends, is this?<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>This is Illyria, lady.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>And what should I do in Illyria? <\/span>50<\/b><\/span>\r\n<\/b><\/span>My brother he is in Elysium. <\/span>\r\n<\/span>Perchance he is not drown'd: what think you, sailors?<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>It is perchance that you yourself were saved.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>O my poor brother! and so perchance may he be.<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>True, madam: and, to comfort you with chance, <\/span>55<\/b><\/span>\r\n<\/b><\/span>Assure yourself, after our ship did split, <\/span>\r\n<\/span>When you and those poor number saved with you <\/span>\r\n<\/span>Hung on our driving boat, I saw your brother, <\/span>\r\n<\/span>Most provident in peril, bind himself, <\/span>\r\n<\/span>Courage and hope both teaching him the practise, <\/span>60<\/b><\/span>\r\n<\/b><\/span>To a strong mast that lived upon the sea; <\/span>\r\n<\/span>Where, like Arion on the dolphin's back, <\/span>\r\n<\/span>I saw him hold acquaintance with the waves <\/span>\r\n<\/span>So long as I could see.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>For saying so, there's gold: <\/span>65<\/b><\/span>\r\n<\/b><\/span>Mine own escape unfoldeth to my hope, <\/span>\r\n<\/span>Whereto thy speech serves for authority, <\/span>\r\n<\/span>The like of him. Know'st thou this country?<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>Ay, madam, well; for I was bred and born <\/span>\r\n<\/span>Not three hours' travel from this very place.<\/span>70<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Who governs here?<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>A noble duke, in nature as in name.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>What is the name?<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>Orsino.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Orsino! I have heard my father name him: <\/span>75<\/b><\/span>\r\n<\/b><\/span>He was a bachelor then.<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>And so is now, or was so very late; <\/span>\r\n<\/span>For but a month ago I went from hence, <\/span>\r\n<\/span>And then 'twas fresh in murmur,\u2014as, you know, <\/span>\r\n<\/span>What great ones do the less will prattle of,\u2014 <\/span>80<\/b><\/span>\r\n<\/b><\/span>That he did seek the love of fair Olivia.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>What's she?<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>A virtuous maid, the daughter of a count <\/span>\r\n<\/span>That died some twelvemonth since, then leaving her <\/span>\r\n<\/span>In the protection of his son, her brother, <\/span>85<\/b><\/span>\r\n<\/b><\/span>Who shortly also died: for whose dear love, <\/span>\r\n<\/span>They say, she hath abjured the company <\/span>\r\n<\/span>And sight of men.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>O that I served that lady <\/span>\r\n<\/span>And might not be delivered to the world, <\/span>90<\/b><\/span>\r\n<\/b><\/span>Till I had made mine own occasion mellow, <\/span>\r\n<\/span>What my estate is!<\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>That were hard to compass; <\/span>\r\n<\/span>Because she will admit no kind of suit, <\/span>\r\n<\/span>No, not the duke's.<\/span>95<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>There is a fair behavior in thee, captain; <\/span>\r\n<\/span>And though that nature with a beauteous wall <\/span>\r\n<\/span>Doth oft close in pollution, yet of thee <\/span>\r\n<\/span>I will believe thou hast a mind that suits <\/span>\r\n<\/span>With this thy fair and outward character. <\/span>100<\/b><\/span>\r\n<\/b><\/span>I prithee, and I'll pay thee bounteously, <\/span>\r\n<\/span>Conceal me what I am, and be my aid <\/span>\r\n<\/span>For such disguise as haply shall become <\/span>\r\n<\/span>The form of my intent. I'll serve this duke: <\/span>\r\n<\/span>Thou shall present me as an eunuch to him: <\/span>105<\/b><\/span>\r\n<\/b><\/span>It may be worth thy pains; for I can sing <\/span>\r\n<\/span>And speak to him in many sorts of music <\/span>\r\n<\/span>That will allow me very worth his service. <\/span>\r\n<\/span>What else may hap to time I will commit; <\/span>\r\n<\/span>Only shape thou thy silence to my wit.<\/span>110<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Captain<\/b><\/a><\/span>. <\/b>Be you his eunuch, and your mute I'll be: <\/span>\r\n<\/span>When my tongue blabs, then let mine eyes not see.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>I thank thee: lead me on.<\/span><\/p>\r\n

[Exeunt]<\/i><\/span><\/p>\r\n \r\n

<\/h2>\r\n

Act I, Scene 3<\/h2>\r\n

OLIVIA\u2019S house.<\/strong><\/p>\r\n

[Enter SIR TOBY BELCH and MARIA]<\/i><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>What a plague means my niece, to take the death of <\/span>\r\n<\/span>her brother thus? I am sure care's an enemy to life.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>By my troth, Sir Toby, you must come in earlier o' <\/span>\r\n<\/span>nights: your cousin, my lady, takes great <\/span>\r\n<\/span>exceptions to your ill hours.<\/span>120<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Why, let her except, before excepted.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Ay, but you must confine yourself within the modest <\/span>\r\n<\/span>limits of order.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Confine! I'll confine myself no finer than I am: <\/span>\r\n<\/span>these clothes are good enough to drink in; and so be <\/span>125<\/b><\/span>\r\n<\/b><\/span>these boots too: an they be not, let them hang <\/span>\r\n<\/span>themselves in their own straps.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>That quaffing and drinking will undo you: I heard <\/span>\r\n<\/span>my lady talk of it yesterday; and of a foolish <\/span>\r\n<\/span>knight that you brought in one night here to be her wooer.<\/span>130<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Who, Sir Andrew Aguecheek?<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Ay, he.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>He's as tall a man as any's in Illyria.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>What's that to the purpose?<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Why, he has three thousand ducats a year.<\/span>135<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Ay, but he'll have but a year in all these ducats: <\/span>\r\n<\/span>he's a very fool and a prodigal.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Fie, that you'll say so! he plays o' the <\/span>\r\n<\/span>viol-de-gamboys, and speaks three or four languages <\/span>\r\n<\/span>word for word without book, and hath all the good <\/span>140<\/b><\/span>\r\n<\/b><\/span>gifts of nature.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>He hath indeed, almost natural: for besides that <\/span>\r\n<\/span>he's a fool, he's a great quarreller: and but that <\/span>\r\n<\/span>he hath the gift of a coward to allay the gust he <\/span>\r\n<\/span>hath in quarrelling, 'tis thought among the prudent <\/span>145<\/b><\/span>\r\n<\/b><\/span>he would quickly have the gift of a grave.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>By this hand, they are scoundrels and subtractors <\/span>\r\n<\/span>that say so of him. Who are they?<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>They that add, moreover, he's drunk nightly in your company.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>With drinking healths to my niece: I'll drink to <\/span>150<\/b><\/span>\r\n<\/b><\/span>her as long as there is a passage in my throat and <\/span>\r\n<\/span>drink in Illyria: he's a coward and a coystrill <\/span>\r\n<\/span>that will not drink to my niece till his brains turn <\/span>\r\n<\/span>o' the toe like a parish-top. What, wench! <\/span>\r\n<\/span>Castiliano vulgo! for here comes Sir Andrew Agueface.<\/span>155<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

[Enter SIR ANDREW]<\/i><\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Sir Toby Belch! how now, Sir Toby Belch!<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Sweet Sir Andrew!<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Bless you, fair shrew.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>And you too, sir.<\/span>160<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Accost, Sir Andrew, accost.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>What's that?<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>My niece's chambermaid.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Good Mistress Accost, I desire better acquaintance.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>My name is Mary, sir.<\/span>165<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Good Mistress Mary Accost,\u2014<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>You mistake, knight; 'accost' is front her, board <\/span>\r\n<\/span>her, woo her, assail her.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>By my troth, I would not undertake her in this <\/span>\r\n<\/span>company. Is that the meaning of 'accost'?<\/span>170<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Fare you well, gentlemen.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>An thou let part so, Sir Andrew, would thou mightst <\/span>\r\n<\/span>never draw sword again.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>An you part so, mistress, I would I might never <\/span>\r\n<\/span>draw sword again. Fair lady, do you think you have <\/span>175<\/b><\/span>\r\n<\/b><\/span>fools in hand?<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Sir, I have not you by the hand.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Marry, but you shall have; and here's my hand.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Now, sir, 'thought is free:' I pray you, bring <\/span>\r\n<\/span>your hand to the buttery-bar and let it drink.<\/span>180<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Wherefore, sweet-heart? what's your metaphor?<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>It's dry, sir.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Why, I think so: I am not such an ass but I can <\/span>\r\n<\/span>keep my hand dry. But what's your jest?<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>A dry jest, sir.<\/span>185<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Are you full of them?<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Ay, sir, I have them at my fingers' ends: marry, <\/span>\r\n<\/span>now I let go your hand, I am barren.<\/span><\/p>\r\n

[Exit]<\/i><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>O knight thou lackest a cup of canary: when did I <\/span>190<\/b><\/span>\r\n<\/b><\/span>see thee so put down?<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Never in your life, I think; unless you see canary <\/span>\r\n<\/span>put me down. Methinks sometimes I have no more wit <\/span>\r\n<\/span>than a Christian or an ordinary man has: but I am a <\/span>\r\n<\/span>great eater of beef and I believe that does harm to my wit.<\/span>195<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>No question.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>An I thought that, I'ld forswear it. I'll ride home <\/span>\r\n<\/span>to-morrow, Sir Toby.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Pourquoi, my dear knight?<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>What is 'Pourquoi'? do or not do? I would I had <\/span>200<\/b><\/span>\r\n<\/b><\/span>bestowed that time in the tongues that I have in <\/span>\r\n<\/span>fencing, dancing and bear-baiting: O, had I but <\/span>\r\n<\/span>followed the arts!<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Then hadst thou had an excellent head of hair.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Why, would that have mended my hair?<\/span>205<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Past question; for thou seest it will not curl by nature.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>But it becomes me well enough, does't not?<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Excellent; it hangs like flax on a distaff; and I <\/span>\r\n<\/span>hope to see a housewife take thee between her legs <\/span>\r\n<\/span>and spin it off.<\/span>210<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Faith, I'll home to-morrow, Sir Toby: your niece <\/span>\r\n<\/span>will not be seen; or if she be, it's four to one <\/span>\r\n<\/span>she'll none of me: the count himself here hard by woos her.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>She'll none o' the count: she'll not match above <\/span>\r\n<\/span>her degree, neither in estate, years, nor wit; I <\/span>215<\/b><\/span>\r\n<\/b><\/span>have heard her swear't. Tut, there's life in't, <\/span>\r\n<\/span>man.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>I'll stay a month longer. I am a fellow o' the <\/span>\r\n<\/span>strangest mind i' the world; I delight in masques <\/span>\r\n<\/span>and revels sometimes altogether.<\/span>220<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Art thou good at these kickshawses, knight?<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>As any man in Illyria, whatsoever he be, under the <\/span>\r\n<\/span>degree of my betters; and yet I will not compare <\/span>\r\n<\/span>with an old man.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>What is thy excellence in a galliard, knight?<\/span>225<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Faith, I can cut a caper.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>And I can cut the mutton to't.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>And I think I have the back-trick simply as strong <\/span>\r\n<\/span>as any man in Illyria.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Wherefore are these things hid? wherefore have <\/span>230<\/b><\/span>\r\n<\/b><\/span>these gifts a curtain before 'em? are they like to <\/span>\r\n<\/span>take dust, like Mistress Mall's picture? why dost <\/span>\r\n<\/span>thou not go to church in a galliard and come home in <\/span>\r\n<\/span>a coranto? My very walk should be a jig; I would not <\/span>\r\n<\/span>so much as make water but in a sink-a-pace. What <\/span>235<\/b><\/span>\r\n<\/b><\/span>dost thou mean? Is it a world to hide virtues in? <\/span>\r\n<\/span>I did think, by the excellent constitution of thy <\/span>\r\n<\/span>leg, it was formed under the star of a galliard.<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Ay, 'tis strong, and it does indifferent well in a <\/span>\r\n<\/span>flame-coloured stock. Shall we set about some revels?<\/span>240<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>What shall we do else? were we not born under Taurus?<\/span><\/p>\r\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Taurus! That's sides and heart.<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>No, sir; it is legs and thighs. Let me see the <\/span>\r\n<\/span>caper; ha! higher: ha, ha! excellent!<\/span><\/p>\r\n

[Exeunt]<\/i><\/span><\/p>\r\n \r\n

<\/h2>\r\n

Act I, Scene 4<\/h2>\r\n

DUKE ORSINO\u2019s palace.<\/strong><\/p>\r\n

[Enter VALENTINE and VIOLA in man's attire]<\/i><\/span><\/p>\r\n

Valentine<\/b><\/a><\/span>. <\/b>If the duke continue these favours towards you, <\/span>\r\n<\/span>Cesario, you are like to be much advanced: he hath <\/span>\r\n<\/span>known you but three days, and already you are no stranger.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>You either fear his humour or my negligence, that <\/span>250<\/b><\/span>\r\n<\/b><\/span>you call in question the continuance of his love: <\/span>\r\n<\/span>is he inconstant, sir, in his favours?<\/span><\/p>\r\n

Valentine<\/b><\/a><\/span>. <\/b>No, believe me.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>I thank you. Here comes the count.<\/span><\/p>\r\n

[Enter DUKE ORSINO, CURIO, and Attendants]<\/i><\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>Who saw Cesario, ho?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>On your attendance, my lord; here.<\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>Stand you a while aloof, Cesario, <\/span>\r\n<\/span>Thou know'st no less but all; I have unclasp'd <\/span>\r\n<\/span>To thee the book even of my secret soul: <\/span>260<\/b><\/span>\r\n<\/b><\/span>Therefore, good youth, address thy gait unto her; <\/span>\r\n<\/span>Be not denied access, stand at her doors, <\/span>\r\n<\/span>And tell them, there thy fixed foot shall grow <\/span>\r\n<\/span>Till thou have audience.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Sure, my noble lord, <\/span>265<\/b><\/span>\r\n<\/b><\/span>If she be so abandon'd to her sorrow <\/span>\r\n<\/span>As it is spoke, she never will admit me.<\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>Be clamorous and leap all civil bounds <\/span>\r\n<\/span>Rather than make unprofited return.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Say I do speak with her, my lord, what then?<\/span>270<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>O, then unfold the passion of my love, <\/span>\r\n<\/span>Surprise her with discourse of my dear faith: <\/span>\r\n<\/span>It shall become thee well to act my woes; <\/span>\r\n<\/span>She will attend it better in thy youth <\/span>\r\n<\/span>Than in a nuncio's of more grave aspect.<\/span>275<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>I think not so, my lord.<\/span><\/p>\r\n

Orsino<\/b><\/a><\/span>. <\/b>Dear lad, believe it; <\/span>\r\n<\/span>For they shall yet belie thy happy years, <\/span>\r\n<\/span>That say thou art a man: Diana's lip <\/span>\r\n<\/span>Is not more smooth and rubious; thy small pipe <\/span>280<\/b><\/span>\r\n<\/b><\/span>Is as the maiden's organ, shrill and sound, <\/span>\r\n<\/span>And all is semblative a woman's part. <\/span>\r\n<\/span>I know thy constellation is right apt <\/span>\r\n<\/span>For this affair. Some four or five attend him; <\/span>\r\n<\/span>All, if you will; for I myself am best <\/span>285<\/b><\/span>\r\n<\/b><\/span>When least in company. Prosper well in this, <\/span>\r\n<\/span>And thou shalt live as freely as thy lord, <\/span>\r\n<\/span>To call his fortunes thine.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>I'll do my best <\/span>\r\n<\/span>To woo your lady: <\/span>290<\/b><\/span>\r\n<\/b><\/span>[Aside]<\/i> <\/span>\r\n<\/span>yet, a barful strife! <\/span>\r\n<\/span>Whoe'er I woo, myself would be his wife.<\/span><\/p>\r\n

[Exeunt]<\/i><\/span><\/p>\r\n \r\n

<\/h2>\r\n

Act I, Scene 5<\/h2>\r\n

OLIVIA\u2019S house.<\/strong><\/p>\r\n

[Enter MARIA and Clown]<\/i><\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Nay, either tell me where thou hast been, or I will <\/span>\r\n<\/span>not open my lips so wide as a bristle may enter in <\/span>\r\n<\/span>way of thy excuse: my lady will hang thee for thy absence.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Let her hang me: he that is well hanged in this <\/span>\r\n<\/span>world needs to fear no colours.<\/span>300<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Make that good.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>He shall see none to fear.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>A good lenten answer: I can tell thee where that <\/span>\r\n<\/span>saying was born, of 'I fear no colours.'<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Where, good Mistress Mary?<\/span>305<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>In the wars; and that may you be bold to say in your foolery.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Well, God give them wisdom that have it; and those <\/span>\r\n<\/span>that are fools, let them use their talents.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Yet you will be hanged for being so long absent; or, <\/span>\r\n<\/span>to be turned away, is not that as good as a hanging to you?<\/span>310<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Many a good hanging prevents a bad marriage; and, <\/span>\r\n<\/span>for turning away, let summer bear it out.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>You are resolute, then?<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Not so, neither; but I am resolved on two points.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>That if one break, the other will hold; or, if both <\/span>315<\/b><\/span>\r\n<\/span>break, your gaskins fall.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Apt, in good faith; very apt. Well, go thy way; if <\/span>\r\n<\/span>Sir Toby would leave drinking, thou wert as witty a <\/span>\r\n<\/span>piece of Eve's flesh as any in Illyria.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Peace, you rogue, no more o' that. Here comes my <\/span>320<\/b><\/span>\r\n<\/b><\/span>lady: make your excuse wisely, you were best.<\/span><\/p>\r\n

[Exit]<\/i><\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Wit, an't be thy will, put me into good fooling! <\/span>\r\n<\/span>Those wits, that think they have thee, do very oft <\/span>\r\n<\/span>prove fools; and I, that am sure I lack thee, may <\/span>325<\/b><\/span>\r\n<\/span>pass for a wise man: for what says Quinapalus? <\/span>\r\n<\/span>'Better a witty fool, than a foolish wit.' <\/span>\r\n<\/span>[Enter OLIVIA with MALVOLIO]<\/i> <\/span>\r\n<\/span>God bless thee, lady!<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Take the fool away.<\/span>330<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Do you not hear, fellows? Take away the lady.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Go to, you're a dry fool; I'll no more of you: <\/span>\r\n<\/span>besides, you grow dishonest.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Two faults, madonna, that drink and good counsel <\/span>\r\n<\/span>will amend: for give the dry fool drink, then is <\/span>335<\/b><\/span>\r\n<\/b><\/span>the fool not dry: bid the dishonest man mend <\/span>\r\n<\/span>himself; if he mend, he is no longer dishonest; if <\/span>\r\n<\/span>he cannot, let the botcher mend him. Any thing <\/span>\r\n<\/span>that's mended is but patched: virtue that <\/span>\r\n<\/span>transgresses is but patched with sin; and sin that <\/span>340<\/b><\/span>\r\n<\/b><\/span>amends is but patched with virtue. If that this <\/span>\r\n<\/span>simple syllogism will serve, so; if it will not, <\/span>\r\n<\/span>what remedy? As there is no true cuckold but <\/span>\r\n<\/span>calamity, so beauty's a flower. The lady bade take <\/span>\r\n<\/span>away the fool; therefore, I say again, take her away.<\/span>345<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Sir, I bade them take away you.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Misprision in the highest degree! Lady, cucullus non <\/span>\r\n<\/span>facit monachum; that's as much to say as I wear not <\/span>\r\n<\/span>motley in my brain. Good madonna, give me leave to <\/span>\r\n<\/span>prove you a fool.<\/span>350<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Can you do it?<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Dexterously, good madonna.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Make your proof.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>I must catechise you for it, madonna: good my mouse <\/span>\r\n<\/span>of virtue, answer me.<\/span>355<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Well, sir, for want of other idleness, I'll bide your proof.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Good madonna, why mournest thou?<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Good fool, for my brother's death.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>I think his soul is in hell, madonna.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>I know his soul is in heaven, fool.<\/span>360<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>The more fool, madonna, to mourn for your brother's <\/span>\r\n<\/span>soul being in heaven. Take away the fool, gentlemen.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>What think you of this fool, Malvolio? doth he not mend?<\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Yes, and shall do till the pangs of death shake him: <\/span>\r\n<\/span>infirmity, that decays the wise, doth ever make the <\/span>365<\/b><\/span>\r\n<\/span>better fool.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>God send you, sir, a speedy infirmity, for the <\/span>\r\n<\/span>better increasing your folly! Sir Toby will be <\/span>\r\n<\/span>sworn that I am no fox; but he will not pass his <\/span>\r\n<\/span>word for two pence that you are no fool.<\/span>370<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>How say you to that, Malvolio?<\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>I marvel your ladyship takes delight in such a <\/span>\r\n<\/span>barren rascal: I saw him put down the other day <\/span>\r\n<\/span>with an ordinary fool that has no more brain <\/span>\r\n<\/span>than a stone. Look you now, he's out of his guard <\/span>375<\/b><\/span>\r\n<\/b><\/span>already; unless you laugh and minister occasion to <\/span>\r\n<\/span>him, he is gagged. I protest, I take these wise men, <\/span>\r\n<\/span>that crow so at these set kind of fools, no better <\/span>\r\n<\/span>than the fools' zanies.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Oh, you are sick of self-love, Malvolio, and taste <\/span>380<\/b><\/span>\r\n<\/b><\/span>with a distempered appetite. To be generous, <\/span>\r\n<\/span>guiltless and of free disposition, is to take those <\/span>\r\n<\/span>things for bird-bolts that you deem cannon-bullets: <\/span>\r\n<\/span>there is no slander in an allowed fool, though he do <\/span>\r\n<\/span>nothing but rail; nor no railing in a known discreet <\/span>385<\/b><\/span>\r\n<\/b><\/span>man, though he do nothing but reprove.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Now Mercury endue thee with leasing, for thou <\/span>\r\n<\/span>speakest well of fools!<\/span><\/p>\r\n

[Re-enter MARIA]<\/i><\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Madam, there is at the gate a young gentleman much <\/span>390<\/b><\/span>\r\n<\/b><\/span>\r\n<\/span>desires to speak with you.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>From the Count Orsino, is it?<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>I know not, madam: 'tis a fair young man, and well attended.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Who of my people hold him in delay?<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Sir Toby, madam, your kinsman.<\/span>395<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Fetch him off, I pray you; he speaks nothing but <\/span>\r\n<\/span>madman: fie on him! <\/span>\r\n<\/span>[Exit MARIA]<\/i> <\/span>\r\n<\/span>Go you, Malvolio: if it be a suit from the count, I <\/span>\r\n<\/span>am sick, or not at home; what you will, to dismiss it. <\/span>400<\/b><\/span>\r\n<\/b><\/span>[Exit MALVOLIO]<\/i> <\/span>\r\n<\/span>Now you see, sir, how your fooling grows old, and <\/span>\r\n<\/span>people dislike it.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Thou hast spoke for us, madonna, as if thy eldest <\/span>\r\n<\/span>son should be a fool; whose skull Jove cram with <\/span>405<\/b><\/span>\r\n<\/b><\/span>brains! for,\u2014here he comes,\u2014one of thy kin has a <\/span>\r\n<\/span>most weak pia mater.<\/span><\/p>\r\n

[Enter SIR TOBY BELCH]<\/i><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>By mine honour, half drunk. What is he at the gate, cousin?<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>A gentleman.<\/span>410<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>A gentleman! what gentleman?<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>'Tis a gentle man here\u2014a plague o' these <\/span>\r\n<\/span>pickle-herring! How now, sot!<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Good Sir Toby!<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Cousin, cousin, how have you come so early by this lethargy?<\/span>415<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Lechery! I defy lechery. There's one at the gate.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Ay, marry, what is he?<\/span><\/p>\r\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Let him be the devil, an he will, I care not: give <\/span>\r\n<\/span>me faith, say I. Well, it's all one.<\/span><\/p>\r\n

[Exit]<\/i><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>What's a drunken man like, fool?<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>Like a drowned man, a fool and a mad man: one <\/span>\r\n<\/span>draught above heat makes him a fool; the second mads <\/span>\r\n<\/span>him; and a third drowns him.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Go thou and seek the crowner, and let him sit o' my <\/span>425<\/b><\/span>\r\n<\/b><\/span>coz; for he's in the third degree of drink, he's <\/span>\r\n<\/span>drowned: go, look after him.<\/span><\/p>\r\n

Feste<\/b><\/a><\/span>. <\/b>He is but mad yet, madonna; and the fool shall look <\/span>\r\n<\/span>to the madman.<\/span><\/p>\r\n

[Exit]<\/i><\/span><\/p>\r\n

[Re-enter MALVOLIO]<\/i><\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Madam, yond young fellow swears he will speak with <\/span>\r\n<\/span>you. I told him you were sick; he takes on him to <\/span>\r\n<\/span>understand so much, and therefore comes to speak <\/span>\r\n<\/span>with you. I told him you were asleep; he seems to <\/span>435<\/b><\/span>\r\n<\/b><\/span>have a foreknowledge of that too, and therefore <\/span>\r\n<\/span>comes to speak with you. What is to be said to him, <\/span>\r\n<\/span>lady? he's fortified against any denial.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Tell him he shall not speak with me.<\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Has been told so; and he says, he'll stand at your <\/span>440<\/b><\/span>\r\n<\/b><\/span>door like a sheriff's post, and be the supporter to <\/span>\r\n<\/span>a bench, but he'll speak with you.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>What kind o' man is he?<\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Why, of mankind.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>What manner of man?<\/span>445<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Of very ill manner; he'll speak with you, will you or no.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Of what personage and years is he?<\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Not yet old enough for a man, nor young enough for <\/span>\r\n<\/span>a boy; as a squash is before 'tis a peascod, or a <\/span>\r\n<\/span>cooling when 'tis almost an apple: 'tis with him <\/span>450<\/b><\/span>\r\n<\/b><\/span>in standing water, between boy and man. He is very <\/span>\r\n<\/span>well-favoured and he speaks very shrewishly; one <\/span>\r\n<\/span>would think his mother's milk were scarce out of him.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Let him approach: call in my gentlewoman.<\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Gentlewoman, my lady calls.<\/span>455<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

[Exit]<\/i><\/span><\/p>\r\n

[Re-enter MARIA]<\/i><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Give me my veil: come, throw it o'er my face. <\/span>\r\n<\/span>We'll once more hear Orsino's embassy.<\/span><\/p>\r\n

[Enter VIOLA, and Attendants]<\/i><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>The honourable lady of the house, which is she?<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Speak to me; I shall answer for her. <\/span>\r\n<\/span>Your will?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Most radiant, exquisite and unmatchable beauty,\u2014I <\/span>\r\n<\/span>pray you, tell me if this be the lady of the house, <\/span>465<\/b><\/span>\r\n<\/b><\/span>for I never saw her: I would be loath to cast away <\/span>\r\n<\/span>my speech, for besides that it is excellently well <\/span>\r\n<\/span>penned, I have taken great pains to con it. Good <\/span>\r\n<\/span>beauties, let me sustain no scorn; I am very <\/span>\r\n<\/span>comptible, even to the least sinister usage.<\/span>470<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Whence came you, sir?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>I can say little more than I have studied, and that <\/span>\r\n<\/span>question's out of my part. Good gentle one, give me <\/span>\r\n<\/span>modest assurance if you be the lady of the house, <\/span>\r\n<\/span>that I may proceed in my speech.<\/span>475<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Are you a comedian?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>No, my profound heart: and yet, by the very fangs <\/span>\r\n<\/span>of malice I swear, I am not that I play. Are you <\/span>\r\n<\/span>the lady of the house?<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>If I do not usurp myself, I am.<\/span>480<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Most certain, if you are she, you do usurp <\/span>\r\n<\/span>yourself; for what is yours to bestow is not yours <\/span>\r\n<\/span>to reserve. But this is from my commission: I will <\/span>\r\n<\/span>on with my speech in your praise, and then show you <\/span>\r\n<\/span>the heart of my message.<\/span>485<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Come to what is important in't: I forgive you the praise.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Alas, I took great pains to study it, and 'tis poetical.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>It is the more like to be feigned: I pray you, <\/span>\r\n<\/span>keep it in. I heard you were saucy at my gates, <\/span>\r\n<\/span>and allowed your approach rather to wonder at you <\/span>490<\/b><\/span>\r\n<\/b><\/span>than to hear you. If you be not mad, be gone; if <\/span>\r\n<\/span>you have reason, be brief: 'tis not that time of <\/span>\r\n<\/span>moon with me to make one in so skipping a dialogue.<\/span><\/p>\r\n

Maria<\/b><\/a><\/span>. <\/b>Will you hoist sail, sir? here lies your way.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>No, good swabber; I am to hull here a little <\/span>495<\/b><\/span>\r\n<\/b><\/span>longer. Some mollification for your giant, sweet <\/span>\r\n<\/span>lady. Tell me your mind: I am a messenger.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Sure, you have some hideous matter to deliver, when <\/span>\r\n<\/span>the courtesy of it is so fearful. Speak your office.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>It alone concerns your ear. I bring no overture of <\/span>500<\/b><\/span>\r\n<\/b><\/span>war, no taxation of homage: I hold the olive in my <\/span>\r\n<\/span>hand; my words are as fun of peace as matter.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Yet you began rudely. What are you? what would you?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>The rudeness that hath appeared in me have I <\/span>\r\n<\/span>learned from my entertainment. What I am, and what I <\/span>505<\/b><\/span>\r\n<\/b><\/span>would, are as secret as maidenhead; to your ears, <\/span>\r\n<\/span>divinity, to any other's, profanation.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Give us the place alone: we will hear this divinity. <\/span>\r\n<\/span>[Exeunt MARIA and Attendants]<\/i> <\/span>\r\n<\/span>Now, sir, what is your text?<\/span>510<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Most sweet lady,\u2014<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>A comfortable doctrine, and much may be said of it. <\/span>\r\n<\/span>Where lies your text?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>In Orsino's bosom.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>In his bosom! In what chapter of his bosom?<\/span>515<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>To answer by the method, in the first of his heart.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>O, I have read it: it is heresy. Have you no more to say?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Good madam, let me see your face.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Have you any commission from your lord to negotiate <\/span>\r\n<\/span>with my face? You are now out of your text: but <\/span>520<\/b><\/span>\r\n<\/b><\/span>we will draw the curtain and show you the picture. <\/span>\r\n<\/span>Look you, sir, such a one I was this present: is't <\/span>\r\n<\/span>not well done?<\/span><\/p>\r\n

[Unveiling]<\/i><\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Excellently done, if God did all.<\/span>525<\/b><\/span>\r\n<\/b><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>'Tis in grain, sir; 'twill endure wind and weather.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>'Tis beauty truly blent, whose red and white <\/span>\r\n<\/span>Nature's own sweet and cunning hand laid on: <\/span>\r\n<\/span>Lady, you are the cruell'st she alive, <\/span>\r\n<\/span>If you will lead these graces to the grave <\/span>530<\/b><\/span>\r\n<\/b><\/span>And leave the world no copy.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>O, sir, I will not be so hard-hearted; I will give <\/span>\r\n<\/span>out divers schedules of my beauty: it shall be <\/span>\r\n<\/span>inventoried, and every particle and utensil <\/span>\r\n<\/span>labelled to my will: as, item, two lips, <\/span>535<\/b><\/span>\r\n<\/b><\/span>indifferent red; item, two grey eyes, with lids to <\/span>\r\n<\/span>them; item, one neck, one chin, and so forth. Were <\/span>\r\n<\/span>you sent hither to praise me?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>I see you what you are, you are too proud; <\/span>\r\n<\/span>But, if you were the devil, you are fair. <\/span>540<\/b><\/span>\r\n<\/b><\/span>My lord and master loves you: O, such love <\/span>\r\n<\/span>Could be but recompensed, though you were crown'd <\/span>\r\n<\/span>The nonpareil of beauty!<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>How does he love me?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>With adorations, fertile tears, <\/span>545<\/b><\/span>\r\n<\/b><\/span>With groans that thunder love, with sighs of fire.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Your lord does know my mind; I cannot love him: <\/span>\r\n<\/span>Yet I suppose him virtuous, know him noble, <\/span>\r\n<\/span>Of great estate, of fresh and stainless youth; <\/span>\r\n<\/span>In voices well divulged, free, learn'd and valiant; <\/span>550<\/b><\/span>\r\n<\/b><\/span>And in dimension and the shape of nature <\/span>\r\n<\/span>A gracious person: but yet I cannot love him; <\/span>\r\n<\/span>He might have took his answer long ago.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>If I did love you in my master's flame, <\/span>\r\n<\/span>With such a suffering, such a deadly life, <\/span>555<\/b><\/span>\r\n<\/b><\/span>In your denial I would find no sense; <\/span>\r\n<\/span>I would not understand it.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Why, what would you?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Make me a willow cabin at your gate, <\/span>\r\n<\/span>And call upon my soul within the house; <\/span>560<\/b><\/span>\r\n<\/b><\/span>Write loyal cantons of contemned love <\/span>\r\n<\/span>And sing them loud even in the dead of night; <\/span>\r\n<\/span>Halloo your name to the reverberate hills <\/span>\r\n<\/span>And make the babbling gossip of the air <\/span>\r\n<\/span>Cry out 'Olivia!' O, You should not rest <\/span>565<\/b><\/span>\r\n<\/b><\/span>Between the elements of air and earth, <\/span>\r\n<\/span>But you should pity me!<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>You might do much. <\/span>\r\n<\/span>What is your parentage?<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>Above my fortunes, yet my state is well: <\/span>570<\/b><\/span>\r\n<\/b><\/span>\r\n<\/span>I am a gentleman.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Get you to your lord; <\/span>\r\n<\/span>I cannot love him: let him send no more; <\/span>\r\n<\/span>Unless, perchance, you come to me again, <\/span>\r\n<\/span>To tell me how he takes it. Fare you well: <\/span>575<\/b><\/span>\r\n<\/b><\/span>I thank you for your pains: spend this for me.<\/span><\/p>\r\n

Viola<\/b><\/a><\/span>. <\/b>I am no fee'd post, lady; keep your purse: <\/span>\r\n<\/span>My master, not myself, lacks recompense. <\/span>\r\n<\/span>Love make his heart of flint that you shall love; <\/span>\r\n<\/span>And let your fervor, like my master's, be <\/span>580<\/b><\/span>\r\n<\/b><\/span>Placed in contempt! Farewell, fair cruelty.<\/span><\/p>\r\n

[Exit]<\/i><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>'What is your parentage?' <\/span>\r\n<\/span>'Above my fortunes, yet my state is well: <\/span>\r\n<\/span>I am a gentleman.' I'll be sworn thou art; <\/span>585<\/b><\/span>\r\n<\/b><\/span>Thy tongue, thy face, thy limbs, actions and spirit, <\/span>\r\n<\/span>Do give thee five-fold blazon: not too fast: <\/span>\r\n<\/span>soft, soft! <\/span>\r\n<\/span>Unless the master were the man. How now! <\/span>\r\n<\/span>Even so quickly may one catch the plague? <\/span>590<\/b><\/span>\r\n<\/b><\/span>Methinks I feel this youth's perfections <\/span>\r\n<\/span>With an invisible and subtle stealth <\/span>\r\n<\/span>To creep in at mine eyes. Well, let it be. <\/span>\r\n<\/span>What ho, Malvolio!<\/span><\/p>\r\n

[Re-enter MALVOLIO]<\/i><\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Here, madam, at your service.<\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>Run after that same peevish messenger, <\/span>\r\n<\/span>The county's man: he left this ring behind him, <\/span>\r\n<\/span>Would I or not: tell him I'll none of it. <\/span>\r\n<\/span>Desire him not to flatter with his lord, <\/span>600<\/b><\/span>\r\n<\/b><\/span>Nor hold him up with hopes; I am not for him: <\/span>\r\n<\/span>If that the youth will come this way to-morrow, <\/span>\r\n<\/span>I'll give him reasons for't: hie thee, Malvolio.<\/span><\/p>\r\n

Malvolio<\/b><\/a><\/span>. <\/b>Madam, I will.<\/span><\/p>\r\n

[Exit]<\/i><\/span><\/p>\r\n

Olivia<\/b><\/a><\/span>. <\/b>I do I know not what, and fear to find <\/span>\r\n<\/span>Mine eye too great a flatterer for my mind. <\/span>\r\n<\/span>Fate, show thy force: ourselves we do not owe; <\/span>\r\n<\/span>What is decreed must be, and be this so.<\/span><\/p>\r\n

[Exit]<\/i><\/span><\/p>","rendered":"

\"Oil<\/a><\/p>\n

Orsino and Viola, circa 1850<\/p>\n<\/div>\n

Act I, Scene 1<\/h2>\n

DUKE ORSINO\u2019s palace.<\/strong><\/p>\n

[Enter DUKE ORSINO, CURIO, and other Lords; Musicians attending]<\/i><\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>If music be the food of love, play on; <\/span>
\n<\/span>Give me excess of it, that, surfeiting, <\/span>
\n<\/span>The appetite may sicken, and so die. <\/span>
\n<\/span>That strain again! it had a dying fall: <\/span>5<\/b><\/span>
\n<\/b><\/span>O, it came o’er my ear like the sweet sound, <\/span>
\n<\/span>That breathes upon a bank of violets, <\/span>
\n<\/span>Stealing and giving odour! Enough; no more: <\/span>
\n<\/span>‘Tis not so sweet now as it was before. <\/span>
\n<\/span>O spirit of love! how quick and fresh art thou, <\/span>10<\/b><\/span>
\n<\/span>That, notwithstanding thy capacity <\/span>
\n<\/span>Receiveth as the sea, nought enters there, <\/span>
\n<\/span>Of what validity and pitch soe’er, <\/span>
\n<\/span>But falls into abatement and low price, <\/span>
\n<\/span>Even in a minute: so full of shapes is fancy <\/span>15<\/b><\/span>
\n<\/span>That it alone is high fantastical.<\/span><\/p>\n

Curio<\/b><\/a><\/span>. <\/b>Will you go hunt, my lord?<\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>What, Curio?<\/span><\/p>\n

Curio<\/b><\/a><\/span>. <\/b>The hart.<\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>Why, so I do, the noblest that I have: <\/span>20<\/b><\/span>
\n<\/span>O, when mine eyes did see Olivia first, <\/span>
\n<\/span>Methought she purged the air of pestilence! <\/span>
\n<\/span>That instant was I turn’d into a hart; <\/span>
\n<\/span>And my desires, like fell and cruel hounds, <\/span>
\n<\/span>E’er since pursue me. <\/span>25<\/b><\/span>
\n<\/span>[Enter VALENTINE]<\/i> <\/span>
\n<\/span>How now! what news from her?<\/span><\/p>\n

Valentine<\/b><\/a><\/span>. <\/b>So please my lord, I might not be admitted; <\/span>
\n<\/span>But from her handmaid do return this answer: <\/span>
\n<\/span>The element itself, till seven years’ heat, <\/span>30<\/b><\/span>
\n<\/span>Shall not behold her face at ample view; <\/span>
\n<\/span>But, like a cloistress, she will veiled walk <\/span>
\n<\/span>And water once a day her chamber round <\/span>
\n<\/span>With eye-offending brine: all this to season <\/span>
\n<\/span>A brother’s dead love, which she would keep fresh <\/span>35<\/b><\/span>
\n<\/b><\/span>And lasting in her sad remembrance.<\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>O, she that hath a heart of that fine frame <\/span>
\n<\/span>To pay this debt of love but to a brother, <\/span>
\n<\/span>How will she love, when the rich golden shaft <\/span>
\n<\/span>Hath kill’d the flock of all affections else <\/span>40<\/b><\/span>
\n<\/b><\/span>That live in her; when liver, brain and heart, <\/span>
\n<\/span>These sovereign thrones, are all supplied, and fill’d <\/span>
\n<\/span>Her sweet perfections with one self king! <\/span>
\n<\/span>Away before me to sweet beds of flowers: <\/span>
\n<\/span>Love-thoughts lie rich when canopied with bowers.<\/span>45<\/b><\/span><\/p>\n

 <\/p>\n

<\/h2>\n

Act I, Scene 2<\/h2>\n

The sea-coast.<\/strong><\/p>\n

[Enter VIOLA, a Captain, and Sailors]<\/i><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>What country, friends, is this?<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>This is Illyria, lady.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>And what should I do in Illyria? <\/span>50<\/b><\/span>
\n<\/b><\/span>My brother he is in Elysium. <\/span>
\n<\/span>Perchance he is not drown’d: what think you, sailors?<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>It is perchance that you yourself were saved.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>O my poor brother! and so perchance may he be.<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>True, madam: and, to comfort you with chance, <\/span>55<\/b><\/span>
\n<\/b><\/span>Assure yourself, after our ship did split, <\/span>
\n<\/span>When you and those poor number saved with you <\/span>
\n<\/span>Hung on our driving boat, I saw your brother, <\/span>
\n<\/span>Most provident in peril, bind himself, <\/span>
\n<\/span>Courage and hope both teaching him the practise, <\/span>60<\/b><\/span>
\n<\/b><\/span>To a strong mast that lived upon the sea; <\/span>
\n<\/span>Where, like Arion on the dolphin’s back, <\/span>
\n<\/span>I saw him hold acquaintance with the waves <\/span>
\n<\/span>So long as I could see.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>For saying so, there’s gold: <\/span>65<\/b><\/span>
\n<\/b><\/span>Mine own escape unfoldeth to my hope, <\/span>
\n<\/span>Whereto thy speech serves for authority, <\/span>
\n<\/span>The like of him. Know’st thou this country?<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>Ay, madam, well; for I was bred and born <\/span>
\n<\/span>Not three hours’ travel from this very place.<\/span>70<\/b><\/span>
\n<\/b><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Who governs here?<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>A noble duke, in nature as in name.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>What is the name?<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>Orsino.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Orsino! I have heard my father name him: <\/span>75<\/b><\/span>
\n<\/b><\/span>He was a bachelor then.<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>And so is now, or was so very late; <\/span>
\n<\/span>For but a month ago I went from hence, <\/span>
\n<\/span>And then ’twas fresh in murmur,\u2014as, you know, <\/span>
\n<\/span>What great ones do the less will prattle of,\u2014 <\/span>80<\/b><\/span>
\n<\/b><\/span>That he did seek the love of fair Olivia.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>What’s she?<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>A virtuous maid, the daughter of a count <\/span>
\n<\/span>That died some twelvemonth since, then leaving her <\/span>
\n<\/span>In the protection of his son, her brother, <\/span>85<\/b><\/span>
\n<\/b><\/span>Who shortly also died: for whose dear love, <\/span>
\n<\/span>They say, she hath abjured the company <\/span>
\n<\/span>And sight of men.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>O that I served that lady <\/span>
\n<\/span>And might not be delivered to the world, <\/span>90<\/b><\/span>
\n<\/b><\/span>Till I had made mine own occasion mellow, <\/span>
\n<\/span>What my estate is!<\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>That were hard to compass; <\/span>
\n<\/span>Because she will admit no kind of suit, <\/span>
\n<\/span>No, not the duke’s.<\/span>95<\/b><\/span>
\n<\/b><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>There is a fair behavior in thee, captain; <\/span>
\n<\/span>And though that nature with a beauteous wall <\/span>
\n<\/span>Doth oft close in pollution, yet of thee <\/span>
\n<\/span>I will believe thou hast a mind that suits <\/span>
\n<\/span>With this thy fair and outward character. <\/span>100<\/b><\/span>
\n<\/b><\/span>I prithee, and I’ll pay thee bounteously, <\/span>
\n<\/span>Conceal me what I am, and be my aid <\/span>
\n<\/span>For such disguise as haply shall become <\/span>
\n<\/span>The form of my intent. I’ll serve this duke: <\/span>
\n<\/span>Thou shall present me as an eunuch to him: <\/span>105<\/b><\/span>
\n<\/b><\/span>It may be worth thy pains; for I can sing <\/span>
\n<\/span>And speak to him in many sorts of music <\/span>
\n<\/span>That will allow me very worth his service. <\/span>
\n<\/span>What else may hap to time I will commit; <\/span>
\n<\/span>Only shape thou thy silence to my wit.<\/span>110<\/b><\/span>
\n<\/b><\/span><\/p>\n

Captain<\/b><\/a><\/span>. <\/b>Be you his eunuch, and your mute I’ll be: <\/span>
\n<\/span>When my tongue blabs, then let mine eyes not see.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>I thank thee: lead me on.<\/span><\/p>\n

[Exeunt]<\/i><\/span><\/p>\n

 <\/p>\n

<\/h2>\n

Act I, Scene 3<\/h2>\n

OLIVIA\u2019S house.<\/strong><\/p>\n

[Enter SIR TOBY BELCH and MARIA]<\/i><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>What a plague means my niece, to take the death of <\/span>
\n<\/span>her brother thus? I am sure care’s an enemy to life.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>By my troth, Sir Toby, you must come in earlier o’ <\/span>
\n<\/span>nights: your cousin, my lady, takes great <\/span>
\n<\/span>exceptions to your ill hours.<\/span>120<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Why, let her except, before excepted.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Ay, but you must confine yourself within the modest <\/span>
\n<\/span>limits of order.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Confine! I’ll confine myself no finer than I am: <\/span>
\n<\/span>these clothes are good enough to drink in; and so be <\/span>125<\/b><\/span>
\n<\/b><\/span>these boots too: an they be not, let them hang <\/span>
\n<\/span>themselves in their own straps.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>That quaffing and drinking will undo you: I heard <\/span>
\n<\/span>my lady talk of it yesterday; and of a foolish <\/span>
\n<\/span>knight that you brought in one night here to be her wooer.<\/span>130<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Who, Sir Andrew Aguecheek?<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Ay, he.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>He’s as tall a man as any’s in Illyria.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>What’s that to the purpose?<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Why, he has three thousand ducats a year.<\/span>135<\/b><\/span>
\n<\/b><\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Ay, but he’ll have but a year in all these ducats: <\/span>
\n<\/span>he’s a very fool and a prodigal.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Fie, that you’ll say so! he plays o’ the <\/span>
\n<\/span>viol-de-gamboys, and speaks three or four languages <\/span>
\n<\/span>word for word without book, and hath all the good <\/span>140<\/b><\/span>
\n<\/b><\/span>gifts of nature.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>He hath indeed, almost natural: for besides that <\/span>
\n<\/span>he’s a fool, he’s a great quarreller: and but that <\/span>
\n<\/span>he hath the gift of a coward to allay the gust he <\/span>
\n<\/span>hath in quarrelling, ’tis thought among the prudent <\/span>145<\/b><\/span>
\n<\/b><\/span>he would quickly have the gift of a grave.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>By this hand, they are scoundrels and subtractors <\/span>
\n<\/span>that say so of him. Who are they?<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>They that add, moreover, he’s drunk nightly in your company.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>With drinking healths to my niece: I’ll drink to <\/span>150<\/b><\/span>
\n<\/b><\/span>her as long as there is a passage in my throat and <\/span>
\n<\/span>drink in Illyria: he’s a coward and a coystrill <\/span>
\n<\/span>that will not drink to my niece till his brains turn <\/span>
\n<\/span>o’ the toe like a parish-top. What, wench! <\/span>
\n<\/span>Castiliano vulgo! for here comes Sir Andrew Agueface.<\/span>155<\/b><\/span>
\n<\/b><\/span><\/p>\n

[Enter SIR ANDREW]<\/i><\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Sir Toby Belch! how now, Sir Toby Belch!<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Sweet Sir Andrew!<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Bless you, fair shrew.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>And you too, sir.<\/span>160<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Accost, Sir Andrew, accost.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>What’s that?<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>My niece’s chambermaid.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Good Mistress Accost, I desire better acquaintance.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>My name is Mary, sir.<\/span>165<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Good Mistress Mary Accost,\u2014<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>You mistake, knight; ‘accost’ is front her, board <\/span>
\n<\/span>her, woo her, assail her.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>By my troth, I would not undertake her in this <\/span>
\n<\/span>company. Is that the meaning of ‘accost’?<\/span>170<\/b><\/span>
\n<\/b><\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Fare you well, gentlemen.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>An thou let part so, Sir Andrew, would thou mightst <\/span>
\n<\/span>never draw sword again.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>An you part so, mistress, I would I might never <\/span>
\n<\/span>draw sword again. Fair lady, do you think you have <\/span>175<\/b><\/span>
\n<\/b><\/span>fools in hand?<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Sir, I have not you by the hand.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Marry, but you shall have; and here’s my hand.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Now, sir, ‘thought is free:’ I pray you, bring <\/span>
\n<\/span>your hand to the buttery-bar and let it drink.<\/span>180<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Wherefore, sweet-heart? what’s your metaphor?<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>It’s dry, sir.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Why, I think so: I am not such an ass but I can <\/span>
\n<\/span>keep my hand dry. But what’s your jest?<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>A dry jest, sir.<\/span>185<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Are you full of them?<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Ay, sir, I have them at my fingers’ ends: marry, <\/span>
\n<\/span>now I let go your hand, I am barren.<\/span><\/p>\n

[Exit]<\/i><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>O knight thou lackest a cup of canary: when did I <\/span>190<\/b><\/span>
\n<\/b><\/span>see thee so put down?<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Never in your life, I think; unless you see canary <\/span>
\n<\/span>put me down. Methinks sometimes I have no more wit <\/span>
\n<\/span>than a Christian or an ordinary man has: but I am a <\/span>
\n<\/span>great eater of beef and I believe that does harm to my wit.<\/span>195<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>No question.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>An I thought that, I’ld forswear it. I’ll ride home <\/span>
\n<\/span>to-morrow, Sir Toby.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Pourquoi, my dear knight?<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>What is ‘Pourquoi’? do or not do? I would I had <\/span>200<\/b><\/span>
\n<\/b><\/span>bestowed that time in the tongues that I have in <\/span>
\n<\/span>fencing, dancing and bear-baiting: O, had I but <\/span>
\n<\/span>followed the arts!<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Then hadst thou had an excellent head of hair.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Why, would that have mended my hair?<\/span>205<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Past question; for thou seest it will not curl by nature.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>But it becomes me well enough, does’t not?<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Excellent; it hangs like flax on a distaff; and I <\/span>
\n<\/span>hope to see a housewife take thee between her legs <\/span>
\n<\/span>and spin it off.<\/span>210<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Faith, I’ll home to-morrow, Sir Toby: your niece <\/span>
\n<\/span>will not be seen; or if she be, it’s four to one <\/span>
\n<\/span>she’ll none of me: the count himself here hard by woos her.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>She’ll none o’ the count: she’ll not match above <\/span>
\n<\/span>her degree, neither in estate, years, nor wit; I <\/span>215<\/b><\/span>
\n<\/b><\/span>have heard her swear’t. Tut, there’s life in’t, <\/span>
\n<\/span>man.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>I’ll stay a month longer. I am a fellow o’ the <\/span>
\n<\/span>strangest mind i’ the world; I delight in masques <\/span>
\n<\/span>and revels sometimes altogether.<\/span>220<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Art thou good at these kickshawses, knight?<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>As any man in Illyria, whatsoever he be, under the <\/span>
\n<\/span>degree of my betters; and yet I will not compare <\/span>
\n<\/span>with an old man.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>What is thy excellence in a galliard, knight?<\/span>225<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Faith, I can cut a caper.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>And I can cut the mutton to’t.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>And I think I have the back-trick simply as strong <\/span>
\n<\/span>as any man in Illyria.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Wherefore are these things hid? wherefore have <\/span>230<\/b><\/span>
\n<\/b><\/span>these gifts a curtain before ’em? are they like to <\/span>
\n<\/span>take dust, like Mistress Mall’s picture? why dost <\/span>
\n<\/span>thou not go to church in a galliard and come home in <\/span>
\n<\/span>a coranto? My very walk should be a jig; I would not <\/span>
\n<\/span>so much as make water but in a sink-a-pace. What <\/span>235<\/b><\/span>
\n<\/b><\/span>dost thou mean? Is it a world to hide virtues in? <\/span>
\n<\/span>I did think, by the excellent constitution of thy <\/span>
\n<\/span>leg, it was formed under the star of a galliard.<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Ay, ’tis strong, and it does indifferent well in a <\/span>
\n<\/span>flame-coloured stock. Shall we set about some revels?<\/span>240<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>What shall we do else? were we not born under Taurus?<\/span><\/p>\n

Sir Andrew Aguecheek<\/b><\/a><\/span>. <\/b>Taurus! That’s sides and heart.<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>No, sir; it is legs and thighs. Let me see the <\/span>
\n<\/span>caper; ha! higher: ha, ha! excellent!<\/span><\/p>\n

[Exeunt]<\/i><\/span><\/p>\n

 <\/p>\n

<\/h2>\n

Act I, Scene 4<\/h2>\n

DUKE ORSINO\u2019s palace.<\/strong><\/p>\n

[Enter VALENTINE and VIOLA in man’s attire]<\/i><\/span><\/p>\n

Valentine<\/b><\/a><\/span>. <\/b>If the duke continue these favours towards you, <\/span>
\n<\/span>Cesario, you are like to be much advanced: he hath <\/span>
\n<\/span>known you but three days, and already you are no stranger.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>You either fear his humour or my negligence, that <\/span>250<\/b><\/span>
\n<\/b><\/span>you call in question the continuance of his love: <\/span>
\n<\/span>is he inconstant, sir, in his favours?<\/span><\/p>\n

Valentine<\/b><\/a><\/span>. <\/b>No, believe me.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>I thank you. Here comes the count.<\/span><\/p>\n

[Enter DUKE ORSINO, CURIO, and Attendants]<\/i><\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>Who saw Cesario, ho?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>On your attendance, my lord; here.<\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>Stand you a while aloof, Cesario, <\/span>
\n<\/span>Thou know’st no less but all; I have unclasp’d <\/span>
\n<\/span>To thee the book even of my secret soul: <\/span>260<\/b><\/span>
\n<\/b><\/span>Therefore, good youth, address thy gait unto her; <\/span>
\n<\/span>Be not denied access, stand at her doors, <\/span>
\n<\/span>And tell them, there thy fixed foot shall grow <\/span>
\n<\/span>Till thou have audience.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Sure, my noble lord, <\/span>265<\/b><\/span>
\n<\/b><\/span>If she be so abandon’d to her sorrow <\/span>
\n<\/span>As it is spoke, she never will admit me.<\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>Be clamorous and leap all civil bounds <\/span>
\n<\/span>Rather than make unprofited return.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Say I do speak with her, my lord, what then?<\/span>270<\/b><\/span>
\n<\/b><\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>O, then unfold the passion of my love, <\/span>
\n<\/span>Surprise her with discourse of my dear faith: <\/span>
\n<\/span>It shall become thee well to act my woes; <\/span>
\n<\/span>She will attend it better in thy youth <\/span>
\n<\/span>Than in a nuncio’s of more grave aspect.<\/span>275<\/b><\/span>
\n<\/b><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>I think not so, my lord.<\/span><\/p>\n

Orsino<\/b><\/a><\/span>. <\/b>Dear lad, believe it; <\/span>
\n<\/span>For they shall yet belie thy happy years, <\/span>
\n<\/span>That say thou art a man: Diana’s lip <\/span>
\n<\/span>Is not more smooth and rubious; thy small pipe <\/span>280<\/b><\/span>
\n<\/b><\/span>Is as the maiden’s organ, shrill and sound, <\/span>
\n<\/span>And all is semblative a woman’s part. <\/span>
\n<\/span>I know thy constellation is right apt <\/span>
\n<\/span>For this affair. Some four or five attend him; <\/span>
\n<\/span>All, if you will; for I myself am best <\/span>285<\/b><\/span>
\n<\/b><\/span>When least in company. Prosper well in this, <\/span>
\n<\/span>And thou shalt live as freely as thy lord, <\/span>
\n<\/span>To call his fortunes thine.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>I’ll do my best <\/span>
\n<\/span>To woo your lady: <\/span>290<\/b><\/span>
\n<\/b><\/span>[Aside]<\/i> <\/span>
\n<\/span>yet, a barful strife! <\/span>
\n<\/span>Whoe’er I woo, myself would be his wife.<\/span><\/p>\n

[Exeunt]<\/i><\/span><\/p>\n

 <\/p>\n

<\/h2>\n

Act I, Scene 5<\/h2>\n

OLIVIA\u2019S house.<\/strong><\/p>\n

[Enter MARIA and Clown]<\/i><\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Nay, either tell me where thou hast been, or I will <\/span>
\n<\/span>not open my lips so wide as a bristle may enter in <\/span>
\n<\/span>way of thy excuse: my lady will hang thee for thy absence.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Let her hang me: he that is well hanged in this <\/span>
\n<\/span>world needs to fear no colours.<\/span>300<\/b><\/span>
\n<\/b><\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Make that good.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>He shall see none to fear.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>A good lenten answer: I can tell thee where that <\/span>
\n<\/span>saying was born, of ‘I fear no colours.’<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Where, good Mistress Mary?<\/span>305<\/b><\/span>
\n<\/b><\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>In the wars; and that may you be bold to say in your foolery.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Well, God give them wisdom that have it; and those <\/span>
\n<\/span>that are fools, let them use their talents.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Yet you will be hanged for being so long absent; or, <\/span>
\n<\/span>to be turned away, is not that as good as a hanging to you?<\/span>310<\/b><\/span>
\n<\/b><\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Many a good hanging prevents a bad marriage; and, <\/span>
\n<\/span>for turning away, let summer bear it out.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>You are resolute, then?<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Not so, neither; but I am resolved on two points.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>That if one break, the other will hold; or, if both <\/span>315<\/b><\/span>
\n<\/span>break, your gaskins fall.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Apt, in good faith; very apt. Well, go thy way; if <\/span>
\n<\/span>Sir Toby would leave drinking, thou wert as witty a <\/span>
\n<\/span>piece of Eve’s flesh as any in Illyria.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Peace, you rogue, no more o’ that. Here comes my <\/span>320<\/b><\/span>
\n<\/b><\/span>lady: make your excuse wisely, you were best.<\/span><\/p>\n

[Exit]<\/i><\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Wit, an’t be thy will, put me into good fooling! <\/span>
\n<\/span>Those wits, that think they have thee, do very oft <\/span>
\n<\/span>prove fools; and I, that am sure I lack thee, may <\/span>325<\/b><\/span>
\n<\/span>pass for a wise man: for what says Quinapalus? <\/span>
\n<\/span>‘Better a witty fool, than a foolish wit.’ <\/span>
\n<\/span>[Enter OLIVIA with MALVOLIO]<\/i> <\/span>
\n<\/span>God bless thee, lady!<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Take the fool away.<\/span>330<\/b><\/span>
\n<\/b><\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Do you not hear, fellows? Take away the lady.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Go to, you’re a dry fool; I’ll no more of you: <\/span>
\n<\/span>besides, you grow dishonest.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Two faults, madonna, that drink and good counsel <\/span>
\n<\/span>will amend: for give the dry fool drink, then is <\/span>335<\/b><\/span>
\n<\/b><\/span>the fool not dry: bid the dishonest man mend <\/span>
\n<\/span>himself; if he mend, he is no longer dishonest; if <\/span>
\n<\/span>he cannot, let the botcher mend him. Any thing <\/span>
\n<\/span>that’s mended is but patched: virtue that <\/span>
\n<\/span>transgresses is but patched with sin; and sin that <\/span>340<\/b><\/span>
\n<\/b><\/span>amends is but patched with virtue. If that this <\/span>
\n<\/span>simple syllogism will serve, so; if it will not, <\/span>
\n<\/span>what remedy? As there is no true cuckold but <\/span>
\n<\/span>calamity, so beauty’s a flower. The lady bade take <\/span>
\n<\/span>away the fool; therefore, I say again, take her away.<\/span>345<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Sir, I bade them take away you.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Misprision in the highest degree! Lady, cucullus non <\/span>
\n<\/span>facit monachum; that’s as much to say as I wear not <\/span>
\n<\/span>motley in my brain. Good madonna, give me leave to <\/span>
\n<\/span>prove you a fool.<\/span>350<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Can you do it?<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Dexterously, good madonna.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Make your proof.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>I must catechise you for it, madonna: good my mouse <\/span>
\n<\/span>of virtue, answer me.<\/span>355<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Well, sir, for want of other idleness, I’ll bide your proof.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Good madonna, why mournest thou?<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Good fool, for my brother’s death.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>I think his soul is in hell, madonna.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>I know his soul is in heaven, fool.<\/span>360<\/b><\/span>
\n<\/b><\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>The more fool, madonna, to mourn for your brother’s <\/span>
\n<\/span>soul being in heaven. Take away the fool, gentlemen.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>What think you of this fool, Malvolio? doth he not mend?<\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Yes, and shall do till the pangs of death shake him: <\/span>
\n<\/span>infirmity, that decays the wise, doth ever make the <\/span>365<\/b><\/span>
\n<\/span>better fool.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>God send you, sir, a speedy infirmity, for the <\/span>
\n<\/span>better increasing your folly! Sir Toby will be <\/span>
\n<\/span>sworn that I am no fox; but he will not pass his <\/span>
\n<\/span>word for two pence that you are no fool.<\/span>370<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>How say you to that, Malvolio?<\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>I marvel your ladyship takes delight in such a <\/span>
\n<\/span>barren rascal: I saw him put down the other day <\/span>
\n<\/span>with an ordinary fool that has no more brain <\/span>
\n<\/span>than a stone. Look you now, he’s out of his guard <\/span>375<\/b><\/span>
\n<\/b><\/span>already; unless you laugh and minister occasion to <\/span>
\n<\/span>him, he is gagged. I protest, I take these wise men, <\/span>
\n<\/span>that crow so at these set kind of fools, no better <\/span>
\n<\/span>than the fools’ zanies.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Oh, you are sick of self-love, Malvolio, and taste <\/span>380<\/b><\/span>
\n<\/b><\/span>with a distempered appetite. To be generous, <\/span>
\n<\/span>guiltless and of free disposition, is to take those <\/span>
\n<\/span>things for bird-bolts that you deem cannon-bullets: <\/span>
\n<\/span>there is no slander in an allowed fool, though he do <\/span>
\n<\/span>nothing but rail; nor no railing in a known discreet <\/span>385<\/b><\/span>
\n<\/b><\/span>man, though he do nothing but reprove.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Now Mercury endue thee with leasing, for thou <\/span>
\n<\/span>speakest well of fools!<\/span><\/p>\n

[Re-enter MARIA]<\/i><\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Madam, there is at the gate a young gentleman much <\/span>390<\/b><\/span>
\n<\/b><\/span>
\n<\/span>desires to speak with you.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>From the Count Orsino, is it?<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>I know not, madam: ’tis a fair young man, and well attended.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Who of my people hold him in delay?<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Sir Toby, madam, your kinsman.<\/span>395<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Fetch him off, I pray you; he speaks nothing but <\/span>
\n<\/span>madman: fie on him! <\/span>
\n<\/span>[Exit MARIA]<\/i> <\/span>
\n<\/span>Go you, Malvolio: if it be a suit from the count, I <\/span>
\n<\/span>am sick, or not at home; what you will, to dismiss it. <\/span>400<\/b><\/span>
\n<\/b><\/span>[Exit MALVOLIO]<\/i> <\/span>
\n<\/span>Now you see, sir, how your fooling grows old, and <\/span>
\n<\/span>people dislike it.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Thou hast spoke for us, madonna, as if thy eldest <\/span>
\n<\/span>son should be a fool; whose skull Jove cram with <\/span>405<\/b><\/span>
\n<\/b><\/span>brains! for,\u2014here he comes,\u2014one of thy kin has a <\/span>
\n<\/span>most weak pia mater.<\/span><\/p>\n

[Enter SIR TOBY BELCH]<\/i><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>By mine honour, half drunk. What is he at the gate, cousin?<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>A gentleman.<\/span>410<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>A gentleman! what gentleman?<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>‘Tis a gentle man here\u2014a plague o’ these <\/span>
\n<\/span>pickle-herring! How now, sot!<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Good Sir Toby!<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Cousin, cousin, how have you come so early by this lethargy?<\/span>415<\/b><\/span>
\n<\/b><\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Lechery! I defy lechery. There’s one at the gate.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Ay, marry, what is he?<\/span><\/p>\n

Sir Toby Belch<\/b><\/a><\/span>. <\/b>Let him be the devil, an he will, I care not: give <\/span>
\n<\/span>me faith, say I. Well, it’s all one.<\/span><\/p>\n

[Exit]<\/i><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>What’s a drunken man like, fool?<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>Like a drowned man, a fool and a mad man: one <\/span>
\n<\/span>draught above heat makes him a fool; the second mads <\/span>
\n<\/span>him; and a third drowns him.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Go thou and seek the crowner, and let him sit o’ my <\/span>425<\/b><\/span>
\n<\/b><\/span>coz; for he’s in the third degree of drink, he’s <\/span>
\n<\/span>drowned: go, look after him.<\/span><\/p>\n

Feste<\/b><\/a><\/span>. <\/b>He is but mad yet, madonna; and the fool shall look <\/span>
\n<\/span>to the madman.<\/span><\/p>\n

[Exit]<\/i><\/span><\/p>\n

[Re-enter MALVOLIO]<\/i><\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Madam, yond young fellow swears he will speak with <\/span>
\n<\/span>you. I told him you were sick; he takes on him to <\/span>
\n<\/span>understand so much, and therefore comes to speak <\/span>
\n<\/span>with you. I told him you were asleep; he seems to <\/span>435<\/b><\/span>
\n<\/b><\/span>have a foreknowledge of that too, and therefore <\/span>
\n<\/span>comes to speak with you. What is to be said to him, <\/span>
\n<\/span>lady? he’s fortified against any denial.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Tell him he shall not speak with me.<\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Has been told so; and he says, he’ll stand at your <\/span>440<\/b><\/span>
\n<\/b><\/span>door like a sheriff’s post, and be the supporter to <\/span>
\n<\/span>a bench, but he’ll speak with you.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>What kind o’ man is he?<\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Why, of mankind.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>What manner of man?<\/span>445<\/b><\/span>
\n<\/b><\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Of very ill manner; he’ll speak with you, will you or no.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Of what personage and years is he?<\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Not yet old enough for a man, nor young enough for <\/span>
\n<\/span>a boy; as a squash is before ’tis a peascod, or a <\/span>
\n<\/span>cooling when ’tis almost an apple: ’tis with him <\/span>450<\/b><\/span>
\n<\/b><\/span>in standing water, between boy and man. He is very <\/span>
\n<\/span>well-favoured and he speaks very shrewishly; one <\/span>
\n<\/span>would think his mother’s milk were scarce out of him.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Let him approach: call in my gentlewoman.<\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Gentlewoman, my lady calls.<\/span>455<\/b><\/span>
\n<\/b><\/span><\/p>\n

[Exit]<\/i><\/span><\/p>\n

[Re-enter MARIA]<\/i><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Give me my veil: come, throw it o’er my face. <\/span>
\n<\/span>We’ll once more hear Orsino’s embassy.<\/span><\/p>\n

[Enter VIOLA, and Attendants]<\/i><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>The honourable lady of the house, which is she?<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Speak to me; I shall answer for her. <\/span>
\n<\/span>Your will?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Most radiant, exquisite and unmatchable beauty,\u2014I <\/span>
\n<\/span>pray you, tell me if this be the lady of the house, <\/span>465<\/b><\/span>
\n<\/b><\/span>for I never saw her: I would be loath to cast away <\/span>
\n<\/span>my speech, for besides that it is excellently well <\/span>
\n<\/span>penned, I have taken great pains to con it. Good <\/span>
\n<\/span>beauties, let me sustain no scorn; I am very <\/span>
\n<\/span>comptible, even to the least sinister usage.<\/span>470<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Whence came you, sir?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>I can say little more than I have studied, and that <\/span>
\n<\/span>question’s out of my part. Good gentle one, give me <\/span>
\n<\/span>modest assurance if you be the lady of the house, <\/span>
\n<\/span>that I may proceed in my speech.<\/span>475<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Are you a comedian?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>No, my profound heart: and yet, by the very fangs <\/span>
\n<\/span>of malice I swear, I am not that I play. Are you <\/span>
\n<\/span>the lady of the house?<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>If I do not usurp myself, I am.<\/span>480<\/b><\/span>
\n<\/b><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Most certain, if you are she, you do usurp <\/span>
\n<\/span>yourself; for what is yours to bestow is not yours <\/span>
\n<\/span>to reserve. But this is from my commission: I will <\/span>
\n<\/span>on with my speech in your praise, and then show you <\/span>
\n<\/span>the heart of my message.<\/span>485<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Come to what is important in’t: I forgive you the praise.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Alas, I took great pains to study it, and ’tis poetical.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>It is the more like to be feigned: I pray you, <\/span>
\n<\/span>keep it in. I heard you were saucy at my gates, <\/span>
\n<\/span>and allowed your approach rather to wonder at you <\/span>490<\/b><\/span>
\n<\/b><\/span>than to hear you. If you be not mad, be gone; if <\/span>
\n<\/span>you have reason, be brief: ’tis not that time of <\/span>
\n<\/span>moon with me to make one in so skipping a dialogue.<\/span><\/p>\n

Maria<\/b><\/a><\/span>. <\/b>Will you hoist sail, sir? here lies your way.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>No, good swabber; I am to hull here a little <\/span>495<\/b><\/span>
\n<\/b><\/span>longer. Some mollification for your giant, sweet <\/span>
\n<\/span>lady. Tell me your mind: I am a messenger.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Sure, you have some hideous matter to deliver, when <\/span>
\n<\/span>the courtesy of it is so fearful. Speak your office.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>It alone concerns your ear. I bring no overture of <\/span>500<\/b><\/span>
\n<\/b><\/span>war, no taxation of homage: I hold the olive in my <\/span>
\n<\/span>hand; my words are as fun of peace as matter.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Yet you began rudely. What are you? what would you?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>The rudeness that hath appeared in me have I <\/span>
\n<\/span>learned from my entertainment. What I am, and what I <\/span>505<\/b><\/span>
\n<\/b><\/span>would, are as secret as maidenhead; to your ears, <\/span>
\n<\/span>divinity, to any other’s, profanation.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Give us the place alone: we will hear this divinity. <\/span>
\n<\/span>[Exeunt MARIA and Attendants]<\/i> <\/span>
\n<\/span>Now, sir, what is your text?<\/span>510<\/b><\/span>
\n<\/b><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Most sweet lady,\u2014<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>A comfortable doctrine, and much may be said of it. <\/span>
\n<\/span>Where lies your text?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>In Orsino’s bosom.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>In his bosom! In what chapter of his bosom?<\/span>515<\/b><\/span>
\n<\/b><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>To answer by the method, in the first of his heart.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>O, I have read it: it is heresy. Have you no more to say?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Good madam, let me see your face.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Have you any commission from your lord to negotiate <\/span>
\n<\/span>with my face? You are now out of your text: but <\/span>520<\/b><\/span>
\n<\/b><\/span>we will draw the curtain and show you the picture. <\/span>
\n<\/span>Look you, sir, such a one I was this present: is’t <\/span>
\n<\/span>not well done?<\/span><\/p>\n

[Unveiling]<\/i><\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Excellently done, if God did all.<\/span>525<\/b><\/span>
\n<\/b><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>‘Tis in grain, sir; ’twill endure wind and weather.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>‘Tis beauty truly blent, whose red and white <\/span>
\n<\/span>Nature’s own sweet and cunning hand laid on: <\/span>
\n<\/span>Lady, you are the cruell’st she alive, <\/span>
\n<\/span>If you will lead these graces to the grave <\/span>530<\/b><\/span>
\n<\/b><\/span>And leave the world no copy.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>O, sir, I will not be so hard-hearted; I will give <\/span>
\n<\/span>out divers schedules of my beauty: it shall be <\/span>
\n<\/span>inventoried, and every particle and utensil <\/span>
\n<\/span>labelled to my will: as, item, two lips, <\/span>535<\/b><\/span>
\n<\/b><\/span>indifferent red; item, two grey eyes, with lids to <\/span>
\n<\/span>them; item, one neck, one chin, and so forth. Were <\/span>
\n<\/span>you sent hither to praise me?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>I see you what you are, you are too proud; <\/span>
\n<\/span>But, if you were the devil, you are fair. <\/span>540<\/b><\/span>
\n<\/b><\/span>My lord and master loves you: O, such love <\/span>
\n<\/span>Could be but recompensed, though you were crown’d <\/span>
\n<\/span>The nonpareil of beauty!<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>How does he love me?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>With adorations, fertile tears, <\/span>545<\/b><\/span>
\n<\/b><\/span>With groans that thunder love, with sighs of fire.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Your lord does know my mind; I cannot love him: <\/span>
\n<\/span>Yet I suppose him virtuous, know him noble, <\/span>
\n<\/span>Of great estate, of fresh and stainless youth; <\/span>
\n<\/span>In voices well divulged, free, learn’d and valiant; <\/span>550<\/b><\/span>
\n<\/b><\/span>And in dimension and the shape of nature <\/span>
\n<\/span>A gracious person: but yet I cannot love him; <\/span>
\n<\/span>He might have took his answer long ago.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>If I did love you in my master’s flame, <\/span>
\n<\/span>With such a suffering, such a deadly life, <\/span>555<\/b><\/span>
\n<\/b><\/span>In your denial I would find no sense; <\/span>
\n<\/span>I would not understand it.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Why, what would you?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Make me a willow cabin at your gate, <\/span>
\n<\/span>And call upon my soul within the house; <\/span>560<\/b><\/span>
\n<\/b><\/span>Write loyal cantons of contemned love <\/span>
\n<\/span>And sing them loud even in the dead of night; <\/span>
\n<\/span>Halloo your name to the reverberate hills <\/span>
\n<\/span>And make the babbling gossip of the air <\/span>
\n<\/span>Cry out ‘Olivia!’ O, You should not rest <\/span>565<\/b><\/span>
\n<\/b><\/span>Between the elements of air and earth, <\/span>
\n<\/span>But you should pity me!<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>You might do much. <\/span>
\n<\/span>What is your parentage?<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>Above my fortunes, yet my state is well: <\/span>570<\/b><\/span>
\n<\/b><\/span>
\n<\/span>I am a gentleman.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Get you to your lord; <\/span>
\n<\/span>I cannot love him: let him send no more; <\/span>
\n<\/span>Unless, perchance, you come to me again, <\/span>
\n<\/span>To tell me how he takes it. Fare you well: <\/span>575<\/b><\/span>
\n<\/b><\/span>I thank you for your pains: spend this for me.<\/span><\/p>\n

Viola<\/b><\/a><\/span>. <\/b>I am no fee’d post, lady; keep your purse: <\/span>
\n<\/span>My master, not myself, lacks recompense. <\/span>
\n<\/span>Love make his heart of flint that you shall love; <\/span>
\n<\/span>And let your fervor, like my master’s, be <\/span>580<\/b><\/span>
\n<\/b><\/span>Placed in contempt! Farewell, fair cruelty.<\/span><\/p>\n

[Exit]<\/i><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>‘What is your parentage?’ <\/span>
\n<\/span>‘Above my fortunes, yet my state is well: <\/span>
\n<\/span>I am a gentleman.’ I’ll be sworn thou art; <\/span>585<\/b><\/span>
\n<\/b><\/span>Thy tongue, thy face, thy limbs, actions and spirit, <\/span>
\n<\/span>Do give thee five-fold blazon: not too fast: <\/span>
\n<\/span>soft, soft! <\/span>
\n<\/span>Unless the master were the man. How now! <\/span>
\n<\/span>Even so quickly may one catch the plague? <\/span>590<\/b><\/span>
\n<\/b><\/span>Methinks I feel this youth’s perfections <\/span>
\n<\/span>With an invisible and subtle stealth <\/span>
\n<\/span>To creep in at mine eyes. Well, let it be. <\/span>
\n<\/span>What ho, Malvolio!<\/span><\/p>\n

[Re-enter MALVOLIO]<\/i><\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Here, madam, at your service.<\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>Run after that same peevish messenger, <\/span>
\n<\/span>The county’s man: he left this ring behind him, <\/span>
\n<\/span>Would I or not: tell him I’ll none of it. <\/span>
\n<\/span>Desire him not to flatter with his lord, <\/span>600<\/b><\/span>
\n<\/b><\/span>Nor hold him up with hopes; I am not for him: <\/span>
\n<\/span>If that the youth will come this way to-morrow, <\/span>
\n<\/span>I’ll give him reasons for’t: hie thee, Malvolio.<\/span><\/p>\n

Malvolio<\/b><\/a><\/span>. <\/b>Madam, I will.<\/span><\/p>\n

[Exit]<\/i><\/span><\/p>\n

Olivia<\/b><\/a><\/span>. <\/b>I do I know not what, and fear to find <\/span>
\n<\/span>Mine eye too great a flatterer for my mind. <\/span>
\n<\/span>Fate, show thy force: ourselves we do not owe; <\/span>
\n<\/span>What is decreed must be, and be this so.<\/span><\/p>\n

[Exit]<\/i><\/span><\/p>\n\n\t\t\t

\n\t\t\t

Candela Citations<\/h3>\n\t\t\t\t\t
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Public domain content<\/div>