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P R E F A C E S H A K E S P E A R E ' S To the Elizabethan, language h a d a greater U S E O F significance L A N G U A G E than i t has to the m o d e m m a n ; for i n that Bosworth, domestic both souls, ; a n d

r e m a r k a b l e social

change which took as well ;

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

victory at t h e battle of

a change w h i c h w a s great a n d deep enough liberty b u tspiritual freedom of intercourse t r u e life and great sive of does n o t g r o w a n d expression of mental by accretion a n d what

England, m e n found notonly T h e life

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

a n d spiritual

assertiveness.

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

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

f r o m w i t h i n outwards, their w o r k s become creative a n da r e revelations o f their o w n nature : h u m a n ? or revealing exprescapacity than language Words disaster. the translation of the Bible i n its most that h a d the re-presentation of the language determine t h a n a n y t h i n g else i n t h e traffic

h u m a n

or, unfortunately, h u m a n

t w o great manifestations a n d Shakespeare.

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

English,

powerful literal a n d factual f o r m , a n d i n t h e other t h e manifestation of its full dramatic capabilities, is, t h e ability t o a w a k e n Language being that a wider the in of of fact t h e imagination into t h e experience of things, b y emotional-enactment acquisition English under the evolutionary process of spiritual-cultural o r precise is t h e colloquial, commodity n o t the academic literary which

i n sound. English of

emancipation, spoke that

Vocal Music available @ $7.00, plus postage.

Shakespeare's its elevation that

his day, shows a language convenience being ;

as a public

o f t h e t i m e , f o r he, like a l l sons o f greatness, of circumstances liveliness with reveal a n d n o t t h e reduced the triviality of

all m e n could

understand. I t came

H e w a s the product a depth

the colloquial E n g l i s h of t h e period w a s a n object o f great concern a n d care, of t h e present day. from of the profound a n d producers a virtue were ; a n d actors w h o t r yto treat Shakespeare's words

medium m o d e m

of a n e w condition accommodating

usage fail t o realize t h a t t h e y a r ev i c t i m i z i n g t h e m u n d e r a vice of t h epresent times a n dn o t them with away : As need of a n d that t h e Elizabethan, as natural as t h e redeeming comments a m a n as a n y today, of his n e w enable liberty. they t o o precious elemeiits

didnot throw his words

insufficient as t h e above the words

m a y be, they before Four

will

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

upon the are note

for respecting is given create

of

Shakespeare

a n y ripe

action

for his words or one i n

developed only b y their u n i o n w i t h their fellows, i n t h e same w a y that colour music they i t s secret music. value by another. that make notes played tion out T h e words u p t h e celebrated particular his words word ' Mercy

singly reveal very little :

combinaof withi n

Merchant

Venice

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

w e use a hundred times or more eloquence. Yet, i n one has t o do his share true '. H e must work. of words

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

realizing

are presented

indelible worth. enough t o speak,

i n the achievement exercise

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

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

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

of elementary

sounds, i n order

to develop a

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

gained

b y this emancipation of that or style, poetry.

is that i t enables t h e m clearly t o indicate They announce vary into before t h e necessary corrupt the rhetorical, that of their proper style to be monotony or other essential will even t h e best colloquial enable time. the Once a n d

kind

of treatment that of

is required f o r specific the drama of

passages. These

changes

without which of pace

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

changes

methods words

treatment, they

i n matter will

distinctions elements

t o be relaxed

w i t h o u t losing

t h e grip, a n d climaxes

t o be avoided these

are liberated, stale, fiat

dictate

flexibility

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

of a r ti n a n y form

c a n respond

to itsparent inspiration : i t will soon die.

for the action

a n d unprofitable ' ;

i f i t does

things that m u s t otherwise be left unsaid, o n e negative instruction is of t h e greatest is that they pace will a n d sheer always noise alone very are of n o value. true to their never effect blast Here again, if the words their words b y t h e rise a n d fall o f proper dramatic o r over-strain of voice. them modulation, rush the

are properly a n d fully developed, a n d i f they are governed natures—and become be f o u n d animation a n d power they mere w i t h o u t either luidue hurry sounds will signifying nothing ; of t h e very

purpose—will Never their

provide

that strict

beyond

instrumental

capacity.

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

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

a n d i f this is n o t guarded

rob himself

he is aiming.

After the values

attention to thewords, of pace,

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

toenes, a n d even

i n speeches, yes, a n d s o m e t i m e s

b y variation either

intensity or

T W E L F T H

N I G H T :

O R ,

W H A T

Y O U

W I L L

T

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

V House. of the (Inset) Traverse.)

Olivia's (In

Near

front

Olivia's

before.

PERSONS ORSINO, ANTONIO, A SEA Duke a sea of lUyria. to Viola. friend to Viola. on

R E P R E S E N T E D

N O T E A c t I , Scene I , and Act I I , Scene I I ," sufficiently in The or to " Duke's filed " mask the in. drawn Act to form the scene. being drawn Palace," and and Act V, Scene I , " A Cellar beneath above

SEBASTIAN,

brother

captain,

Sebastian.

Olivia's House," the Traverse Act V,

are inset scenes, braced is drawn played

set d o w n

stage w i t h i n

the full

sets, b u t

CAPTAIN,

friend to

w h i c h Scene

I I , is

f r o n t of

Traverse

C U R W ^ ' * ' ^ ' } ^ * " ^ ' ™ ' " SIR SIR TOBY BBLCH, uncle

attending to

the

Duke.

Olivia.

Act as

I , Scene I I ," i n the to

Near

Olivia's House," plot. for

stands

also for

I , Scene I I I , the Traverse

ANDREW

AGOECHEEK. to Olivia.

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

music being played during the slight pause and the lights behind

changed

MALVOLIO,

steward

Sky borders

be p r o v i d e d

all exteriors to

mask

i n and

conceal battens

and

backings

for

door

JrEraClown}--^'"
A PRIEST. OLIVIA. VIOLA. MARIA, LORDS, Olivia's SAILORS, woman. OFFICERS, MUSICIANS, in lUyria, AND and OTHER the ATTENDANTS.

where

needed. Traverse cut-low changed small, curtains box for should be in some neutral Act colour. I I I ,i f f o u n d too other expensive or difficult to with altogether set t h a n those obtain the

The The may stage " be be

hedges shown fir trees case set the

i n illustration of at the right producer must

i n pots

intervals or

dispensed movements

should down. but

i n w h i c h

arrange

The Vocal music

Music to Twelfth Night " must be at the selection

can be obtained and

from Samuel of

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

the the

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

arrangement

the producer,

sources of

SYNOPSIS

OF ACT I

SCENERY

SCENE I. II. III. The Near The Duke's same. Palace. House. A lapse of (Inset.) (Full three set) dayi. T h e p l a y is g i v e n w i t h t h e w h o l e in library editions. of Acts and Scenes This order w h i c h the are has here of the text a n d w i t h the order of suggested are marked will w i t h be found clearly Acts a n d Scenes generally indicated i n the margins. existing division Olivia's f r o m time to time undergone changes in the theatre, and the

Abbreviations The business, (Full set) The The numbers

i n

dialogue

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

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

I I

i n the text refer to the m a r g i n a l notes, exits, entrances, into etc. five Acts and ten be

groupings, play has

House. before.

been suggest

divided a

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

The

Palace,

designs of

mounting may

which be

m a y

realized

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

exits and entrances which

the groupings, expedient

business,

carried out with

setting

Garden.

ACT

I V

L. ACT Scene armchair L. in fireplace. Scene L I I and Scene I I I . T w o pikes Officers. BBBB. c. c. and Act V. ACT Scene I I I L sea Indicated position for setting A c t I I . with h o o d a n d a w h i t e false beard and setting insete. ladle and on logs table. Scene I I . W H A T Y O U W I L L T W E L F T H N I G H T : O R . for Proscenium Proscenium. Act I . ACT I I Kitchen Large 3 3 oak Another empty table seat uc. for and other containing sea gear sodden from clothing.Act I . ACT i n As before wings. B r o w n and l i t candle sheet for punch-bowl dresser back sides of beams. door R. Olivia. Curio. pp. I . table. Act I I I . I I . STAGE wreck for PROPERTIES ACT I Page. Written letter to shoes sails Viola. Malvolio. £. Large Gold W h i p Fool's Long Ring neckerchief chain for for Sir for Sea Captain. Scene I I and I . Tableau Position wings. Scene I . for Duke i. and Scene I I I . and letter for w a n d and for for Scene I . bauble white for w a n d Olivia. Scene I I I . D. Act sea ACT tied Sir I V yellow ribbons.. Garden seat uc Seat w i t h ctishions Scene I . thejr are J I to mask in Act inadvisable. I I I . Duke. Sea Tree Cut and Tree Cloth. Ladder Bundle Barrels CurUins for or Act Drop. Scene Garden seat as before Mi I I . from Candlestick A. Flagon Purse K E Y TO P L A N OF STAGE Purse l i t candles goblet candlesticks on table. depending white Clown. straw litter d o w n R. piece with Written W h i t e Purse Tabor Scene I I I . in on up and c. Sea-chest also Rope. Scene I I . Scene I I . I I I . window II. strings of onions piece used Act on on Position Position Position Small Rostnun. R. Sailors. Scene I . I I L MoDstick . and Act V.Scene I I . Friar's gown Maria. plates.C. Piece of b r o w n sail a n d rope for cloak a n d girdle for Viola. Scene border traverse inset scenes. Lute or guitar for of and and wine coins coins and for for for Clown.and also Act V. Sir Sir Andrew. Position Position of of for stair and wall low and rostnmi piece and fireplace I V i n in and Act shrub Act I I I . NO. Position Position Position I I I . I I L Scene I . Also backings L. Pearl on thin gold chain for Sebastian. for Clown. Cane for Malvolio letter for for L. for Viola. Act V. Scene IIL Scroll Coin Ring for for for sets. used rock in used both in both exterior sets. seat cloth i n for with with steps steps used used Scene I I .A c t IV. Garden seat K. f o r opening c. Scene and and off off I I and in in Scene I I I . Scene Malvolio. for Malvolio. tree and of of of exterior in bacon. up for Malvolio.T W E L F T H N I G H T : O R . HHH.w h i c h w i l l entail further house w a l l or m a s k i n g L. i n Act I . Lute Flute or for guitar for Page. Toby. Scene I V and Act V. Duke. Act I I . foliage piece masking are Act with TV Further cut and divided box Scene K. IV. F. but of of of seat table flying on a small wall hedges stage d r a w n Illustration of Act I I I . ACT Scene V I . letter for be torn Clown. L. 00. w i t h pewter Fire-grate. Clown. for Malvolio. Scene I . Act Act I I I . Act IV. for sailors. U lantern up V L R. Viola.c. Scene I . Maria. with dogs on table. Maria. Scene I I I . and Written Brooch Andrew. Scene I . Rostrum. ACT Same. a n d Act I I . Sebastian. Toby. to meet Traverse L. tankards E m p ^ E m p ^ Kitchen Hams. miniature for and for coins for Sebastian. •ss. J. Act Act I . for for will for be needed coins Clown. Chain on leg w i t h ball or other weight for Lit candle for for Blaria. u. for under in Act piece Purse Dagger ACT Scene Empty hanging u p of R. Scene I I . Blank folded Scene I I I . W H A T Y O U W I L L H I P R O P E R T Y P L A N O F STAGE HAND PROPERTIES ACT I P L O T Scene I I .

R.—Fleshings Greek with gaiters to Scene I . Scene I I . a she disrobed gold chain her only the beach had Hair w o r n long and down. of decorated like jacket belt. w i t h b l a c k lace v e i l . Scene I I I . colour collars.Scene I . sword. Large f o r m a l w h i t e ruff. expensive Black material. no feathers. short cape.—Dressed tights. and chains rosettes cane w i t h k n o t of y e l l o w ribands. ruffs at neck each. in float and so change there all. pages played by shoes. belt. yellow neck In with «t* T n n v — A rirh riband with t r u n k s . — B a r e and this too feet. Shakespeare Scene girls. hrnk»n i M t h s r * n t f f mrtA * ^ chain to unjewelled. hose and caoe and hat w i t h . cloak k la and hood.•iii T W E L F T H N I G H T : O R . Keep Replace w h i t e i n all bright as floods m u c h amber. window stairs. L a d y . lengths ground length. window L. including the two dressed for on the a in black Duke. pouches. at knee. and and perches to pink gradually of Clown's song sunset over dull.w a i t i n g . h e r o n l y o r n a m e n t s jet or bugles a fine gold chain with pearl pendant. should be play. light up Duke's seat Full The Scene I I . pikes. Scene I . M i d d l e l e n g t h of float a n d f r o n t b a t t e n h a l f Rest out. and L a t e r these t w o girls appear as L a d i e s . paler d a y l i g h t still further on Olivia's ACT exit I I Check Float and front batten up. fashion Scene I . border. The through to whites small L. One and daggers a n d gold neck A c t V . a n d a n iron one leg. Float and and front in batten up.e. handkerchief. tights. woollen White L. Tudor hats. with a finer ruff at neck silk in i n hose and and wrists outlined i n gold. but with more colour. woollen in bow marked Ground length white and amber behind balustrade L. or the bare legs. sail. and ambers G. as possible i n looks and resemble floods. as O l i v i a ' s a t t e n d a n t s i n and hose a n d belt with long and pouch. her Greek pouch. others w i t h breeches. Five in all. hose and ballet shirt. ankle-length skirt Elizabethan. white Greek kilted skirt.. a s i m p l e h a b i t w i t h should i n wear a cloak of A l l three to have t h e effect moved lamp accordingly. I t is a C o m e d y a n d m u s t be and blue hanging lengths but keep off g o l d c o r d s a n d tassels. y e l l o w cross g a r t e r i n g w i t h b o w s a t knees a n d stockings. pale amber. finding and soft Over her not ACT as in SUBORDINATE I . but full. T h e dress relieved b y underdress shoes and and cut large upstanding black black lace collar a n d s m a l l ruff bodice.—Dressed as a m u s t . and front and front batten through blue. so p u t extra VIOLA. T u d o r hats w i t h quills or feathers. with the should be the change. Scene I . top of w h i t e chemisette rosettes. a A n d dressed i n bright colours. Hanging Scene I I . A black shoes over which are a w o r n soft fez. in which fireplace. up seat everywhere has L. and wristlets and chemisette. Scene I I I . light to gloves. too pendant. no feather. except in Act I I . same with fine on formal 1st D r e s s . w i t h straw i n his hair a n d beard. A n d i n these d a r k e r scenes t h e faces s h o u l d never ACT I underlit.w a i t i n g .c. W H A T Y O U W I L L T W E L F T H N I G H T : O R .—Steel breastplate and m o r i o n . n o t as but not of such no upstanding collar. but contrive a softer. f a l l i n g t o a n k l e s ornament. The two Duke's be P L O T exception of V i o l a ' s dress and boy's so and suit and Sebastian's rssTB. ambers and white. in colour ribbons for and c u t the some with i. in TWO. on ground L. Check with white everywhere. Scene I I I . i n Flood table and chairs with flood pale off L. jet brooch. one trunks a singer. sword Zouavesword- floods perch seat batten out at start focus general scene. She does not dress should with ruff be rich and all black like her and C O S T U M E The dresses t h r o u g h o u t s h o u l d costume. s w o r d hip. f r o m perches. rock No change. I t is c o v e r e d i n with this scene w i t h collar tADiis-iM-WAiTiNG and self-coloured and jewelled Scene I I I . change. cloth t r u n k s .—All mbtress. No Black and white parti-coloured and doublets. L. costumes they dance with dressed Act V. — D e e p e s t m o u r n i n g A l a M a r i e S t u a r t . Later he appears Silver chain black yellow CURIO a n d three L o r d s . the latter crushed a n d all dusty. Scene I I I . velvet white and and satin. capes or hangers portrait of Olivia replacing his steward's silver chain. Scene I . glowing get dark brilliant or ON OLIVIA. a jewelled fine to meet velvet feather the black overdress fan on a ring A and fine a brooch flowing miniature.i n . focused is lost in bright diffused Dress. b e c o m i n g jewelled chain his rank . yellow brown Also length a n d ground length behind tree and piece nearly ACT V W h i t e frosted and all Back and Extra care on over cloth lamp ring harsh and texture. Hanging Pale Pale length flood flood off behind off off R. are turned-back dressed swords daggers. and L. 1st D r e s s . Queen Elizabeth at upstanding battens. he appears on end i n trunk. Repeat all lighting as in Act I I I Act over sea-cloth enough door R. Scene I I . alike. silk or satin velvet black Act I . attendants o n t h e D u k e a n d V a l e n t i n e . to been light amber amber flood all should I .i n . 25. light length Take from sleeved ballet shirt w i t h plain n a r r o w neck a n d wrist-bands. glow Candles alight on table. shoes a n d rosettes the same repeated on his bauble. amber fire seen Red she should stand out r a d i a n t i n w h i t e a n d gold a n d palest colours. Black out 1st D r e s s . — R i c h . I m p o r t a n t : the actor should height. and tied SOLDIERS. Maid. a l l dressed of a n y pale if the sailors or colour. shoes a n d rosettes.—Rich plain ruff a n d lovely festal dress i n A c t V . a r m h o l e cloaks. his hood. Act UALVOUO. W H A T Y O U W I L L fal L I G H T I N G All lighting. clubbed hair red to match or wig. be i n gay colours i n attendance like Maria the early part of the play. and sword c u t or gold and handsome cape or with jeweL palest dagger. to steel corselets a n d m o r i o n s . Lighting Towards amber is It a at end i n start of floods of same and as bring for i n 2nd pinks and Dress. a c o p i t a i n e h a t w i t h o s t r i c h feathers a n d The blue whole or 2nd might be The contrast turnout with colour. linen. cock's comb tights. I n Act V. actress as His w i g made t o m a t c h Viola's.—Buff colours jerkins and small hose. woollen with or i n p a r t i . Float and L. shoulder-scarf gauntlets ruffs. silver or Belt.—Dressed exactly alike. falling and V. f o r m i n g a wear or carry at gloves. floods i n all entrances behind wings. s a m e r i c h effect. girdle. top-boots. and jet bodice. cloth t n m k s . doublets. I I I . Tight-fitting doublet. exquisite contrast garters A c t V . gauntlet gloves. s w o r d a n d w r i s t s or falling collars a n d cuffs. ACT I V s h o r t sleeves. a l l s a m e self capes. a with hanging cream ribbons. gold-fringed Dress.c o l o u r e d m o t l e y of black a n d w h i t e a n d silver bells w i t h b r i g h t red on No black. her with sail-cloth. green pouch. Scene L 1ST OFFICER. for change. white inside this on and white. off u D U K K . shoes a n d rosettes. All the that at the commencement sense must never Three Lords MARIA. of cuffs exactly form . of to well and be lit by L. Good b u t not over-rich attire. amber stockings. W h e n lantern is l i t b r i n g i n these last to quarter SEBASTIAN. batten to full Check perches w h e n candles go o u t light see faces. black and white wand. black beside with w o r n black possible. dress t h r o u g h o u t as if he h a d lain i n s t r a w all n i g h t weight attached h u t w e l l . the OUVIA. no sword or dagger. tied w i t h protected rope a as clinging. a black embroidered h a n g i n g sleeves. Moonlight amber. buff jerkin and top-boots. this is discarded scene Scene I . all varied surcoats. of u n i f o r m . Her Pages attending D u k e for i n Act I . of office tall black copitaine hat.and P L O T be as bright as possible to suit this seen. lace veil. i f o n .—The varied. These national Greek Dressed belts. light Left Steel Right half blue half of on of float float all battens full up. w o m suit. black white Red and full- front perches to give stage. shoes w i t h belts. to R. hose. to be R. rosettes. l i n e d w i t h and dagger. knee. alike i n colour pouches. length also light pillar D u k e and all his court should be to Olivia's mourning.

exaggerated dress. M M w i U a h i t * M (JW M K Mart lUriuoflKt cwUin Ou ttict cf»m<tfatrkat»Uli4ardnittint. . N o suit. HtmttnfMdy —Id wM a v w H i i v futun mnmmdM MtrAoutooMM.—Elizabethan Make The Charles collars or belt—gloves. tritt ntlrm to ( A M I . * So please m y lord. (•] Afior imtlmt to tJto DUKS. Sm pItK It] Two F A O U a n titn-nd t tlu rim <4 a* tmfut.—A same. Ttakint a* hf. . mdlht two Imnd a p o X at M« baek in ( V anflt of On bahumde •( M« / M X 0 / 1A< eoiitmn «q> <Mf> L. r u Sa n dj e w e l l e d with brooch flowing t o it. TkihOV»i>dMen wrttf^ domt aUtUtt OVBIO. b r o w n t a r r y t i g h t s a n dt r u n k s . |S] r t e D U U K M * . immtdiaUtt « « " U /«><a# a . pouch. [•] ttam p— «» a . wio hattfoUomd M< D O U . Cape. c u x i o . erect Garters dandyism. W H A T Y O U W I L L leather gauntlets. i i t fmu 0/ c u u o nd •M«ra Kd m»nl.^ H o w n o wI w h a t news from her?* VALENTINE. of " Twelfth Night " W. r * < t i i i t w ( m M< —t) rUa. belts. belt. [3] rJW r A Q H r w i H i w M > • t r a i n ACT I . T h e hart.^ M U S I C I A N S attending. as varied as possible a n dv a r y i n t h ep e r f o r m a n c e Holbom. 184 H i g h London. C U R I O . t « < * y . fantastical. — S i m i l a r dress t o above knives.matlMt 6y TrmruI >awl TrmttrM u. : * c o s t u m e s a n dw i g s u s e d H .a L. * * 7* "* ACT SCENE DUKK'S I I palac*. r o u g h w o o l l e n gentlemen a n d rufls always wore—or carried i n hand t h e hats. b u t different i n colour. pouch. sword scene. belt. The That 0. high forehead small thin curled moustache N o change.vixir*koUjoiMd ly tmral lerdt and yiUUmm in attmimet <m O M n r o . instant w a s I t u m ' d m y desires. H e should hare a paunch a n dwear hisdoublet open. Curio? have: CURIO. gold chain a n d ballet ihirt. hose. Gold d o n e u p o n o n e side T W E L F T H O R N I G H T jewellery as h e c a n wear.z boots. of shapes is fancy Receiveth what falls into abatement i n a minute : i t alone is high a n d l o w price. change. and SEA sword. cape. A l li n yellow. silk hose. s w o r d a n d only shop-soiled. At tkt D D i i eomu to 0. o f love. and I f music m e excess appetite strain i t came T H E FIRST SCENE DUKE'S I palace. n o sword a n d c h i n piece. Tk* « d W « 1 / M a y » * « ( nadf. n o more a r t thou. t h e sweet violets. before. pouch. exaggerated coloured. 00X10 < i ( M MMage tUMdint«. ouao rmutu I M M I ( V r JkaM f « M . when Methought That And E'er Will y o u go hunt. . tasselled gloves. shirts a n d caps.. TWO SAILORS.* Enough f l ] iHMlMtu. ( e j OVBIO eomm itm I T ] rrom L tlitit B. DUKE. H e must a n d dagger. falling collar a n d cuffs.—^The PRIEST. one lock feathers. o . — R o u g h sea-boots.i. SCENE The I . jewelled chain.l tU fit a$ M a y CMKUWM I M M «W m/niiM(^cumioK. I t h e a i r o f pestilence I into a hart a n d cruel fell hounds. O. t h e noblest mine eyes d i d see O l i v i a she purged like that first. rose w i t h FABIAN. m a y sicken.ttu D o x i o u t K o M ( « « » . relieved b y H i s wig should be strawwith a red much black earrings a n das slashes o f w h i t e s a t i n i nd o u b l e t a n d t r u n k s a n d l i n i n g o f cape. c a nbe obtained from C A P T A I N . dirty. That 'Tis 0 That. n o u g h t validity a n dpitch so full there. uho hot cotiu to « . o'er m y ear like breathes Stealing a n dgiving odour! h o w quick n o t so sweet n o w as i t w a s spirit of love! a n d fresh enters notwithstanding t h y capacity as t h e sea.—^Plain black SERVANT. o r dagger.C. Fox. doei it.—Sea-boots. a n d coloured ballet shirt. sailor's cap. I might n o tbe admitted . so I do. dress of t h e period.that. plain W H A T Y O U W I L L ACT pouch The [Enter Give Messrs. and A C T n .O. i t h a da a bank surfeiting. . shoes. Limited. dying of fall: sound. Note.] play o n . CURIO. N o ta monk's robe. be t h e food of i t .* m y lord? What. again! upon a n d so die. rich sword-belt. DUKE. open doublet. belt. a ( hit J i f t W " " . Vicar's n o rosette. A tall copitaine h a t with ostrich a n d dagger.—A fop. SCENB Duke's Palaee O [«] nam C M M rla^int. a n d sheath other LORDS . t y M J w m . short dirk instead of sword. since pursue m e . A N T O N I O . trunks. T W E L F T H N I G H T : O R . sword with rosettes. flowing for kitchen n o t look T h elast w o r d i n eccentric ends a l l to match H e removes hat. W h y . DUKE. Enter VALENTINE. cape. locks. Tm D O K I pattet to t/k« $tal md n o . soe'er. g o l d cords a n d tassels. Of But Even That D U K E . dagger •IX ANDREW.

CAi'TAiN. 6eM<u( oat tnt arwu. [3J Tilt country. he be. I . haad ftp ttage. Her hair U wet and faUi upon her thouldart. tnlort Ht amu to O. w A m hi porcfivu tM uat L . and ihake thair keada. a sea-coast. who hoot tet down their gear K. ship did you so to yourself sailors? were saved. To CURIO and tht ctA<r« t . Assure W h e n H u n g Most 0 is n o t d r o w n ' d : I t is perchance brother! m y poor perchance m a y comfort you True. I l l ] Withrough. The tailort fone the eheet. [3] sovereign before thrones. chance. till her a face she do at return years' ample this answer . 17] PauH.. saved your with you number I saw driving i n brother. TiOLA langh* a liOe and putt har feat forward: tha rough fellow. Courage To a hope mast teaching lived upon strong feel are bare.3 T W E L F T H N I G H T : O R . tame lailt. I<] Bait humorouily. and turning to the tailort. the tea. Two oailon tarrying a -a-chut.) W Tumixg to TIOLA with gladtwaa. Th* OhrXATK kneeU betide her and chafet har hande : at the remaitu inanimate he rieai.* VIOLA. I do in l U y r i a ? ' firt.. m TMtnuuiefor I M f lUranoi t t e n U m n t M i M t at M< drawing cf Tratmo I K at th4 do. are would of remembrance. ht w h a t is i n brother Elysiiun. And W i t h A And from not like her handmaid itself. m a d a m : after those our poor boat.^ which hath a but the liver. from l . day love. at firtt. and Mar fear of wreckage. kor ioad towards kit Itfl. W H A T Y O U W I L L ACT I gCKNK I I T W E L F T H N I G H T : O R . both that bind himself. . * u « m it. AU thoM have the appearance of having kaOUd with TioLA it barely eonmioiu . heart to a rich brother. and handt it lo the CAFIAIW.* [ 1 ] Near O H V I A ' S houie. (Mutic eaatei.ofOutoH > M M and b* cam(tfUMrf mtU Ow noU btlow. at though the tailort had to wrapped har fat warmth. . and * : * bowers.taV-con ha offer* the thoe*. t r . she in she cloistress. with yourself. beds perfections with sweet when one [4] All hou and ratt out x . provident and peril. roughly eifni to Ihtm lo open the boi—chancing there may be lomething in it lo rtvite the fainting woman. kill'd flock all affections brain self of IX] A ilifU JMUU. 110] Approaching T I O I A wUk the ahoaa. U feaHa. CAMAIH. • Perchance he CAPTAIN. The other tailor findt ite fellow. lady. h i m the the sea practice. what think you. At ht doet to TIOLA tpaakt. who 16] tr<M • thanga to ladnaaa.]^ CAPTAIN. her H\l raiaet hartelf—alowly. W H A T Y O U W I L L 'S But The Shall But. I t ] O n a trighlar note hope. gaining eonfUanea. Ona of the tailort flnda a rough ehaa taket the kerchief from hit neck and driee it. and feebly hoka about har v*ile the ekrtus and lha eailort are buay with the box. 1* VIOLA. o o r r y t M TIOIA <• pirn.* CAPTAIN. bmU md tlip* tham on har faet. golden else and king! with heart.* is lUyria. Aahadoaa ao he eonHnuea aa ha riaaa. n II SCENE I I SCENE [The Enter VIOLA. turning the conltnlt of toddan clothing. fill'd shaft I I ] Tvrtu to a To pay this debt the her H o w Hath That These Her will live sweet love.C. ACT I . • A w a y flowers Love-thoughts canopied [Exeunt. me lie to rich all supplied. a piece of laU-etolh it around her i*curai by rope. is and this? SAILORS. veiled water her chamber all this she eye-offending lasting in her of brine : sad that love when of when brother's DUKE. " A n d «o . and lay* n o t . view w a l k round to season keep that fresh fine frame behold once dead 0. follow. : element a seven will heat. should friends. that and and.* • M y W h a t This A n d he VIOLA. you on and our split. sc. SCENE Near I I AND SCENE I I I OUvia's House ACT I . Bar ooiea.

" Iiri] Looking off L .E. [ 2 ] TIOLA riiM. t u r m i i f tMmdt Hm befor* [>] TKt two tailort R.O. is n o w . travel well for I w a s bred very place.. CAPTAIN. hu head in rejutai TIOLA withdmee the gift and before conlinuinff. U l M m 0. up 0 . s a w h i m hold long VIOLA. maid. W h o are they? he's d r u n k nightly i n your [iO] Ill] Sliaktng a finger at him. o f . [ U ] The tame muiiefor the otU eontinuoi until the two taiiort an off th* tiagt.. H A K U ttort on tht ttept until 8IK TOBY it C . He haif ( u n u from. CAPTAIN.* to take to the death of (2) From ttept R. m y a i d become this duke : a n d a coystrill to m y niece " Conceal For [T] Tkt taiiort lift their gtar and go up • littU c. H e ' s as that tall a m a n as any's i n Illyria. brother a n enemy y o u m u s t life. 1 0 ] The CAFTAIK advantat lowardt T I O L A . facing BIS TOBY.* c o m m i t . SIR TOBY. s a y so quickly hand.l Speaking oero«« BiR TOBT. then of a c o t u t h e r SIR A y .>• company. — a s . MARIA. * authority. t h o u .* lady in talk T h a t a n d drinking undo knight i n m u r m u r . natural : f o r besides he hath that he's of a l » ] With laughter in her voico. m y tongue I let m i n e m e oaM eyes n o t see. lady. H e hath great indeed.* MARIA. T I O L A crouet tht OArTAM to B. yet of thou hast a m i n d that W i t h drinking healths to m y niece : I '11 d r i n k to W i t h • I t h y fair a n d outward character. Mistress M a r y « Accost.* her as long as there he's a coward turn is a passage i n m y throat a n d d r i n k that will n o t drink i n I l l y r i a : ** till his [12] Tumt on hit left to fact prithee.lA-~*tupidlyba*Yiil. SIR SIR [EMUtU. come hours' t r o m this cousin. the protection shortly also his son. W H A T Y O U W I L L C Where. T I O L A .C. could F o r saying there's to for gold : ^ Enter SIR her a n d b o m TOBY.. m y Sir Toby. troth. board ANDREW. ihaHi\. . f o r m intent.^* SIR SIR A n d y o u too. in tht miidlt of it. t h a n k lead M y niece's Good Mistress kARiA. [ 6 ] Laughing!^. he hath a n d b u t that the gift CAPTAIN. a n d I ' l l p a y thee m e w h a t I bounteously. to drink hang i n . a fentk. . Accost. W h a t thus? B y your m y a I SIR TOBY plague a m sure BELCH Mine o w n escape unfoldeth serves K n o w ' s t m y hope. limits of m y father name h i m : A y . Confine! are good confine yourself Orsino. y o u k n o w . TOBY. abjured company prodigal. L. t h e waves [SCENE [OLIVIA'S I I I ] » house. is a fair behaviour w i t h a i n thee. The T h o u It [ 8 ] Again in thought. adoanoe* her right hand. tpeaking at /.* w i t h i n the modest is h i s n a m e ? MARIA. And That W h a t • Only such a m . h a d made m y estate mine isI o w n occasion MARIA. carryina a whip. virtuous TOBY. are scoundrels substractors VIOLA. o f t close believe this i n pollution.** 1* C A P T A I N . a n d be haply shall brains vulgo! o' t h e toe like a parish-top. laging it upon the O A n A i H ' s left arm. W h y . BIS TOBT advance* lo i l R A X D R I W . themselves will i n their y o u : that o w n straps. I desire better acquaintance. brought great prattle Olivia. ») Turning to face the O A W A I H . nights : hours. will There that that h i m . Croeit* in front ef CAFl A i x . coming down R.* a fool. mellow. (5] Cgming L . W h e n Be y o u his page blabs. s i n TOBT. h e d i d seek W h a t ' s A some t h e love she? W h o . Miting and crotting to 0. captain . takes great exceptions your i l l W h o govems A W h a t noble here? i n nature * as i n name. — one SIR night TOBY. w e n c h ! Castiliano disguise of m y as for here Agueface. comes Sir A n d r e w W h a t . [ 1 7 ] Bemoving hie cap and erouing in front of BIR TOBY. s e w m Ihenueloee Oooina the eheet and putting their other gear in better order. TOBY. dear love. m a d a m . placet her left hand on hit right ihouUer and at the leant upon him they pott off ». sir. who it ttaruUni a littU abopt her. this country? means care's m y niece. b u t he'll a n d a b u t a year i n a l l these say. I heard y o u m y ago fresh do hence. with a turly mil. Sir Andrew. And Till m i g h t I n o t be O that I served that and hath speaks three o r four a l l the good gifts languages w o r d of nature. as I acquaintance see. i n OaugU. she hath sight of m e n . have they n o t t h e duke's. or w a s so I went f r o m very late .r enlert: he lurchet lo 0.— accost " is front her.] and MARIA. a lady TOBY. k n i g h t : . apalefttie w M o n . before excepted. like A r i o n o n t h e dolphin's w i t h back. her : brother. 'tisthought the gift of a grave. TOBY. her. t h e less of will fair of i t yesterday here to be a n d of a foolish her wooer. cornet ftrtt. TOBY.c.O. Accost. • r Awn L.' m e I ' l l serve page . TOBY. she will T h a t a d m i t n o were kind hard of to compass coward the to allay t h e gust he w o u l d B y of this i n quarrelling. [H] i. he. Not three VIOLA. heard SIR these too .^ accost. CAPTAIN. a n d among suit.** shape t h y silence to m y w i t . that you'll say sol VIOLA. p m d e n t SIR TOBY. thee then : TOBY. H e was a CAPTAIN. Sir A n d r e w Aguecheek? VIOLA. SIR W h a t ' s to the purpose?* thousand ducats a year. Orsino! bachelor A n d so m o n t h 'twas ones I have then. Sir Toby Sir Belch! A n d r e w ! h o w n o w .' ducats : he's [ 7 ] Winking with meaning and UriuUng the whip at lur tirt-r hit thoulder. [ 4 ] Striking hit boot* with the whip ttock. That In died MARIA. he has three have W h o They And died for whose the MARIA. shalt present w o r t h as a to h i m : c a n sing SIR SIR SIR ANDREW. F i e . W h a t he's a quarreller . ( 8 ] Drawing back. clothes a n they I ' l lc o n f i n e enough myself no finer than I a m : boots (3) At h* tpeakt he twingt over to the nra. KAUA. b u t y o u m u s t order. h e plays o ' t h e for w o r d viol-de-gamboys. i n earlier to o' CAPTAIN. They that add. . And Doth I I t ] C r o M i f V CU CAPTAix (0 L . m a y be speak will else t h y pains for I sorts of to h i m i n m a n y allow m e very music service.C. that? chambermaid. la C A r T A i x t I . sir. ANDREW. ANDREW. leaning back nuil ttrtUhing forth hi* iegt. Sir Toby Belch 1 w o r t h I his wilf Sweet m a y h a p to t i m e t h o u ANDREW. W h y . so. Enter SIR ANDREW AGUECHEEK. 1 1 ] For the exit. hi* arm* *prcaj out on the back of th* teat.doumjilag*. though nature beauteous thee suits w a l l MARIA. fair shrew. W h a t ' s VIOLA. VIOLA. 110] Stepping baek and jerking hi* thumb in MARU'S direction. Bless y o u . going up ttage at tht tpeakt and leanimj over the baek of the teat at aiR TOBY'S left thoulder. SIR TOBY. inviting B n ANDRBW to pat* to MARIA. the daughter since.»u( remaining torn* di*^^^^ lane* from HAt. almost w i t h o u t book. C . then eomct down on hi* a . heaiUu. Th$ taiiort follow. For And W h a t That b u t a then A y . duke.* T W E L F T H N I G H T : O R .*' (ir. who it ttanding a mte aboK the CAPTAIN. let t h e m quaffing .* very SIR fool A y . iHOHtv tnlert M A K U leaoei the teat and goei over at back toward R. a n d delivered to t h e world. * a n d so be these be n o t . W H A T Y O U W I L L AOT I SCKNX l U T W E L F T H N I G H T : O R . Because No. twelvemonth of leaving MARIA. laughing. then a n d your m u t e I ' l l be : MARIA. VIOLA. SIR SIR M y n a m e is M a r y .** Good Y o u mistake. Whereto The like t h y speech of h i m .moreover. let h e r except. and titt. I So [ 1 ] T i o u Uiia • thatH /ron tter ntdc and taterlli offtri U lo tht UPTAIM. At SO.

ATTENDANTS. MARIA. s i r . T A L I H T I N I firtt. like M y very walk should Mis( I by company. I have Be clamorous make a n d leap Ill] unprofited with ANDREW. * * SIR TOBY. which MARIA taktt. then OCTIIO and three or four lord* in atttndance. VIOLA. O n your Stand no h o ? ** m y l o r d . DUKE.* so : W h a t s h a l l w e do else? Taurus! w e r e w e n o tb o m under Taurus ? L e tm e see thee caper : » [E»€un(. address access. w e set about some to the buttery-bar a n d let i t ANDREW. [4] Offering hU hand. /or e r t o » " Ha I ha I liigher. (4 Cracki hit whip at »m A K D R X V ' I feet. SIR SIR and TOBY.. marking the lapte of three daye. what's : . i t is legs a n d t h i g h s . goet acrott at bad lo up I. to m y w i t . unless no V A L E N T I N E . and Traverte NN doted. SIR T O B Y . BIR ANDRKW. with an hylterical howl.would that have the arts! head m y of mended hair? 't SIR h a d a n excellent DUKE. O . and looking at SIR TOBY for appr-wal of hit atturance. At he cracki hit wlap BIX ANDXXW jumpt arut prancet in a circle round him to avoid it. u . 1 t h i n k sometimes I .** see a SIR A N D R E W . altogether. count: n o t be seen . [21] Standing back at though to invittan ezpotition. foot shall n o t denied them. 10. and p u t down? y o u see eater Methinks that No Sir does have more w i t than continue SIR A N D R E W . 71 With a peal of laughter. unclasp'd : her . s i r . I « a y . «) Slouly rtXeating hit hanii. i t w a s formed draw sword MARIA. hal h i g h e r : * SIR ANDREW.** s t a n d there t h y fixed » audience. but with a half intention of exhibiting hit agility. higher. " p o u r q u o i " ? I thank Enter Here comes and the count CURIO. take i t hangs thee m e well enough. l e t p a r t so. Spoken off.* see put 5] Bt lookt tor approval from SIR TOBY. at her laugh diet in the dietance. Sj [11 Advancing to « I R AWDREW from tht ttept. W h y . again. of m y faith .] (11 doing tmiatiU the itepi x . m o n t h longer. MARIA. hand WWk • )T$at (UMUmption of gallantry. higher I higher. W H A T Y O U W I L L ACT I SCENE I V T W E L F T H N I G H T : O R . it's four here hard by woos her. DUKE. W h a t is t h y excellence i n a galliard. [10] From L . I ' l l Stay a she'll n o tmatch above her heard her swear't. m y hand A ANDREW. a n d here's m y pray A y . W h a t t h e star gentlemen. where he it joined by cvxio and one of the lordt. let go thee m e I a m n o t such your them? jest? a n ass b u t I c a n B u t what's of d r y jest. A r tt h o u good a t these kickshaws. n e i t h e r i n estate.** Surprise Say I do speak 0. I would of not undertake " ? would her i n this these gifts a c u r t a i n before tress M a l l ' s p i c t u r e ? and come home i n a ' e m? are they like t o take dust. h a .** degree. I a m a fellow o' the VIOLA. The D U E I advancing to TIOLA. which tht tuttairu until tht it out of hearing. ANDREW. I Sir. 'tis strong.* MARIA.' thou lackest a c u p of canary i n your life. m a n . I can cut a I have caper. See plot.. Never I a m barren. tell thou y o u t h . The other* in ^tendance pa** up and remain at back of tiat. S i r A n d r e w . SIR A N D R E W . [3 SIR ANDREW ikipt. (2 Oiggling wUh telf-tatufaction. upon the DOEI'B ori*r. T A L I N TINX. It ihould be Iht effort of the actrt* to look like a boy.** A n I thought that.] under dost t h o u m e a n ? I would I might excellent galliard. does not? hope niece likefiax o n a distaff. constitution of t h y leg. [17] Leading TIOLA down to X." I h a dbestowed that t i m e i nt h etongues that I have i nfencing. at six A N D X I W Jancet totlieR. [Zl\ the lath of hit whip and twinging it. (8) The tcene it the tama. jlO) With eonviciion. and cracking hit whip. Tke [SCENE DUKE'S I V * palace. 141 Leaning on BIR Atfont^ and lifting a ttrand of hit hair. I'Id forswear VALENTINE.* sweet-heart? metaphor? T h a t ' s sides a n d h e a r t . DUKE.** ANDREW. [241 Performt an exaggerattd ttep or two [ t i ] Uovitig to R.* your I s i t a w o r l d t o h i d e v i r t u e s i n? I did think. A r e y o u full them a t m y fingers' ends : : marry. MARIA runt off by the ttept R . SIR TOBY. s h e b e so DUKE. do y o u t h i n k y o u have not y o u by the hand.* n o w [Extt. lit leapt off X. working up and to c. SIR ANDREW.** SIR the man. endeavouring to cover hit diiromfiture. soul SIR A N D R E W . you. have housewife between h e r legs a n d s p i n i t off.* thou mightst never A n thou sword again. stock. ** I have here. l . keep SIR I N o . : w h a t love. tumt to SIR TOBY with a feebU laugh. i n question favours? the continuance N o . " Higher. Six TOBY following. Toby. at th» top of tht teat. then unfold her with strangest m i n d i 'the world . F a i t h . f o r t h o u seest i tw i l l n o t c u r l b y n a t u r e . SIR TOBY. n [ I ] Advancing to ta AKDXKW. The D D X I flrH. when. [13] Spreading out so. [12] Bowing lo the D D X I . tpeaking at he cmnei down ttage lo R. sir. sir. attendance.* towards you. roaring with coarte laughter. A n d I can cut the m u t t o n to 't.** Cesario. under a n old with *' I t s h a l l b e c o m e to act m y woes As a n y m a n i n Illyria. y o u a less even aloof. then? (181 With reatturing emphatit. * down. crying. Shall a n d i t does indifferent well revels? ! i n a N o w . I have hand. SIR never SIR drew TOBY.** t h e back-trick simply as strong SIR A N D R E W . and in melancholy vein. t m Foolithly playing with the feather m hit cap. i . I t ' sdry. * ' Tut. and ax he appear*. VIOLA. MARIA. SIR Fair lady. CORIO and thote in attendance remain for a moment grouped at tht entrance I . heavOy illuetrating tome advancing ttept. bring your flame-coloured SIR TOBY. .' A n y o u p a r t so. W h a t is m y dear knight? do or not do? I would dancing hair.O. I delight i n masques a n d revels some- t h e passion o f m y dear discourse thee well [iO] With a great heartineit. h a d I b u t followed hadst thou W h y . her. y o u well. VIOLA foltowt to 0. [221 With a foolith ttep or two." until A< it off. fJ5! from th* Hep* lo TioiA. " t h o u g h t Wherefore. Christian y o u a r e like t o be m u c h a n d already Y o u either fear advanced he hath k n o w n y o ubut that y o u y o u are no stranger. would the of a SIR n o t so m u c h sink-a-pace. o r m y negligence. believe y o u . Is that the meaning "accost * w h y dost t h o u n o t go t o c h u r c h coranto? as m a k e water b u t i n a i n a galliard be a j i g . his days. or a n ordinary m a n has : h a r m b u t I a m a great his humour I believe TOBY. A y . [18] Swingtovertol. I .c. . B u t i t becomes Excellent. than she never Sure. " eU. MARIA Itadi htm forward o. SIR times there's life She'll none o ' t h e i n ' t . Mutic during the pauti and continued until the entranet of V A L E N T I N ! and TIOLA. m y lord. [5] Thil ad lib. Th* lighting of the Irene being re-arranged. [15] Oeaing to a potUion behind tht DOXS. [S] from c.** SIR SIR TOBY. [ a n dI : *' y o u r the book good m y secret Therefore. knight? ANDREW. l . m y noble to her will sorrow admit m e . is he inconstant. o f h i s Icvt: SIR question.m o r r o w . n o r w i t . I have Marry. years. SIR TOBY. a n y m a n i n . catching hie legi. 121 Cnitiing to SIR AKDRRW. a l l civil bounds return.*] man's favours attire. whatsoever not compare degree of m y betters [14] He tumt up to itevt R . SIR A N D R E W . Scent III. when did I canary a of beef Enter VALENTINE. 0 knight.I think dry. [Ui Tht exUthouldbe worked up cmcendo^ tht whip at lait. bear-baiting: TOBY.. sir.** SIR to ANDREW. Cesario. AXDRIW'S lank hair. Fare [ B y m y troth. at though hi believed luch tatlee would advance U K AHDRIW'B caxue with O U T U . I ' l lh o m e t o . AICDRIW'» as SIR TOBY. t h y gait unto a t her doors. himself VIOLA. and I f the duke V I O L A in these : SIR TOBY. h a ! excellent!* SIR A N D R E W . tlyly laughing at him. three call in i t I ' l lr i d e home VIOLA. Rather abandon'd i t is spoke. Traverte ihouU remain drawn for a minute or to.wUhaplethoriclaugh. %rith an affectation of oTfol amalomerd at IO. to-morrow. SCENE I I I m Act 1. 131 With hu hand to hit head.c. who leapt to avoid M. b u t y o u shall have is free " drink.** Faith. your so MARIA. {81 Who hat been timely thtUring hu head until SIR AMDRKW's titter lamely diet out. Thou To Be And Till If As thee W h o s a w Cesario. sir. W H A T Y O U W I L L ACT I .T W E L F T H N I G H T : O R . knight. m e .** Pourquoi. S i r T o b y or i f she be. ANDREW. mistress. BIR ANDRRW giggling at the doet to.* fools i n h a n d ? hand. a n d yet I will knight? he be. . while of but a l l. ptaeing a foct upon them and lookt off. [1»1 Returning to SIR ABDRIW and givina him a violent tmack on tht baek which almott overbalanoet him. Then O. [171 Beplactt hit cap in dudgeon. behind cut tret pitee. ANDREW.** A n d I think Illyria. I M y . [91 Depretied. will the count know'st P a s t q u e s t i o n .]** to one she'll none of m e : grow lord.

' CLOWN. o/ter tht DCKE a exit—when the hal moveil the lordt behind tht teat join the group up L. Z] 4) 5] 6] Turning again to TIOLA. his fortunes thine. W H A T Y O U W I L L ACT I .* ' I ' l l do m y best strife! [Exeunt. or. fool. say thou m a n: * Diana's lip . a n d shall do till decays t h e wise. he's o u t of to h i m . I s a w h i m p u t d o w n brain . but there is n o slander i n a n allowed fool. CLOWN. CLOWN.O. w * « intert firtt. U . t h e pangs b o m . then is t h e fool n o t d r y: W h e n A n d To i n company. ccKio. Pasting out L . i . I . at back after OLITIA I M V M to ttept. Tumt to ttept. " I ' l l do my best to woo your Udy. [SCENE [OLIVIA'S Enter MARIA.** d o t h h e n o tm e n d ? shake h i m: A good lenten answer " I fear n o OLIVIA. [ U ] Indicating tha OLOWH." then turni and crushes to the itepi. . Malvolio. KALTOLIO. G o d give t h e m wisdom talents. above teat. either tell m e where W e l l . M a k e I m u s t answer your good proof. flopping at FESTX tveakt to her. [18] Leaving the arm of the teat. that is well his soul his soul fool. cucullus n o n facit m o n a c h u m i r ' T l brain. " m i< from 1 . n i » She T h a n will attend i t better i n t h y youth grave lord. CLOWN. A i . H e s h a l l see n o n e soul being i n heaven. ^ m Advandnt to the ttept. after ht hat tpoken. then going round the top if teat and tianding behind her.*" fooling! »» a n d C L O W N . I marvel your MARIA. [S] Speaking wearily. or. (11) Placing her handt on her Upi.C. L e ther hang n o colours. k n o w this t h y constellation affair. at he tpeakt. m e leave y o u a OLIVIA. attitting her. believe i t . to : fear. than day w i t h Look a n ordinary M a n y away. for turning MARIA.** is n o t that a good as good you? . Sir. f o r t h o u speakest MARIA. your wisely. I protest. therefore. [12] O L i v u I A r o i M off her vail. theother will hold fall.* i f he cannot. w h y moumest thou? death. Oie CLOWN to R. C .** I c a n tell thee where that saying T h e more to m o u r n t h e fool. uihering her to tht itat.C. Standing above her untU tht it tealed. * 17] The numberi on diagram indicate the order of mocementi.n : make Peace. that drink a n d good counsel will b i d dis- if y o u will least thou call for I myself t h e d r y fool drink. OLIVIA. 114] 0. eomet to a poiiiion L. of i f is to take for bird-bolts drinking. o . MARIA. turning to the tervanU ant XALTOLIO. amend : madonna. t o fear is i n heaven. V A L E N T i s i and the otheri fvUowiiig. OLIVIA. I take these wise m e n . s i r . W h a t t h i n k y o uof this fool. i n t h e highest degree! Lady. 1E.V. [8] Crotting in front of F M T l lowarda MALVOLIO. k . w e r t as witty a piece Eve's bullets : but r a i l . ** weU of CLOWN. into good off nrnve fooU : Here comes m y reprove. [8] Turning to F M T l . and facing rxSTE. pass f o r a wise m a n : Quinapalus? " B e t t e r Enter God pipe bless thee. T w o faults. is b u tpatched let t h e botcher : h i m . Sht patttt to a. so beauty's . was Make good. trotting to MARIA and tianding doie uehind her at the front of the teat. madonna. at though F M i i clothed with her mood.» fellows? Take away t h e lady.O. 1 ] Ooing up X. At the doet to KALTOLIO ttept baek. N o t so.r n ~ flMUmo. hanging bear prevents i tout. foolery.* thou hast been. madonna.** barren fool turned away. Some is right a p t o r five a m attend best well i n this.* : good m y mouse madonna. CLOWN.T W E L F T H N I G H T : O R . whohailunai a litOa away to x . w > ^Umm . 0 . unless y o u laugh a n d minister occasion that crow Y o u a r e resolute. for your brother's [7] On tht ttept. neither . y o u were [Exit. to H o w say y o u to that. arrangtt U on tht back of the teat. lady! * t h e fool aWay. [4] Drawing her vail aiida and ihoHng her head. a n d taste guiltless a n d o f free that y o u deem your gaskins appetite. t h o u g h he do n o t h i n g n o rn o r a i l i n g i na k n o w n discreet m a n . needs will hang a s a b r i s t l e m a ye n t e r thee for t h y absence. go t h y w a y . ** proof. T h a t i f one break. I . . a l l is semblative woman's part. that's w i t h this [ A s n. excuse n o more o' that. Nay. m e : he that i n w a y of t h yexcuse : Good I I think k n o w for m y brother's is i n hell. so long hanging a absent to . CLOWN. I t h e m away Misprison . \ h i m . I say again. : _ i .** a n dthat m a y y o u be bold G o d send your folly! y o u . good doth ever m a k e t h e better fool. Dear l a d . N o w M e r c u r y endue thee w i t h leasing." that Where. f o r w a n t o f other idleness. w i t h a I n ] Advancing lo L . 19] MAliu and the OLOWS enter from B. distempered tion. Tht two lervanU. MARIA preceding FESTL.** W i t . CLOWN. m a d o n n a m e . let t h e m use their be hanged OLIVIA. MARIA. IXOJ Patting in front of M A I T O U O toward tha teat L.c. n o t more smooth a n d rubious organ. faith . Take a witty fool than with a foolish for w h a t says i n a nuncio's I think of more w i t .] CLOWN. w i t h is b u tpatched virtue. there is n o true cuckold bade take a w a y OLIVIA. V i . y o u are sick of self-love. infirmity. k » . m Moving a litOa down ttage.'' v i r t u e t h a t transgresses is b u t patched so .* . t h a t a m sure I Jack thee.C.Tt. at baek to X. or I will n o t " Good that's as m u c h give to say as I wear to prove n o tmotley i n m y fool. and looking off L . OLIVIA. OLIVIA. [13] Bowing. To w o o your lady : ^Aside] a n d sin that syllogism amends serve. 113] Crotting at tht flnithei her line and titling on down ttage arm of teat L . for give A n d I \2ii Crotting i n front of TIOLA to 0. ^ M . for being as a that have i t . For I I ) Bit handt ufon VIOLA'S thouldert.] take her Whoe'er I w o o .c. man avaUootrher drttt of moumina.a n ' t b e t h yw i U .* I ' l ln o m o r e o f y o u . yet. i f both break. pentively. rascal: ladyship takes t h e other a stone. Sir Toby flesh I l » ] Sm OLIVIA approaching from X. things disposicannon- CLOWN.c." Mistress M a r y ? to say i n your MALVOLIO. DUKE. you're dishonest. I ' l l bide y o u r Good madonna. mo^ from L. I f that VIOLA. better I n t h e wars .* shall y e t belie a r t a t h y happy years. a barful simple will i f i t will not.i n good would leave Well. four CLOWN. where tht finijihei Iter ipeech—then atcenit them and goet out. may. t h o u g h h e d o n o t h i n g as a n y i n Illyria.** open m y lips so w i d e m y lady CLOWN. tntering dote b^ind her. myself would be his wife. That Is Is they n o t so. < .** Take gentlemen. Moving on hit wordt to L.** best. [ly MARIA. CLOWN. a Sir Toby speedy will infirmity. increasing that of death CLOWN. t h y small sound. of colours. p u t m e An nrv foolsl [in From slept to %. t h e fool bade b u t c a l a m i t y .<!. (2) £owinf and intmepting O L I T U . and. adryfool. Go to. zanies. Youth it ettantial to a raaaonable understanding of the action. a n d those but he will n o t pass h i s w o r d for t w o pence that y o u are n o Malvolio? delight i n such a a r e fools. VIOLA eroMti to L.** hanged i n this world CLOWN. 18] Xo change of tcene or break in the action. fool. 112] Advancing lo MARLA'B X. a shrill OLIVIA. m a n mend himself i f he mend.O.w h a t remedy ? a flower. CLOWN. 0 ] Bxit by titpt x . m y LADY OLIVIA MALVOLIO. of virtue. M A L V O n o . that for the be sworn I a m no fox . those T o be generous. Well. aspect..** U d y .»• MARIA and V ] » house.O. [10] Turning to face the CLOWN.. in the direction of tha ttept. W H A T Y O U W I L L ACT I SCKNE V T W E L F T H N I G H T : O R . For All. ' VIOLA. C a n y o u do i t ? Dexteriously. madonna. let sununer his guard already he is gagged. bowing. facing O L I T U .*' y o u rogue. . [1«] ApprooMng OLTfu. OLIVIA. [14] To c .with cunio. n o better t h a n t h e fools' so a t these set k i n d o f fools. A p t .—Tha error into tehUA many producert have fallen in treating the character of O L r m at grande dame thould navar be repeated. who mttta wp from R. OLIVIA. Two man ttrvantt fMow a moment after and ttand at iaek L. be Y e t y o u will MALVOLIO. away MARIA.. O L I T U . mend h e is n o longer A n y thing shalt freely as t h y lord.' live as Prosper the dishonest honest mended sin . at the layi to herielf. CLOWN. CLOWN.v. VIOLA itandi L. very thou apt. take T h e lady away. crotting • •• • j fu^guickty to c. [17] Moving to L. bad marriage that has n o more y o u n o w . lo K.O. * besides. fool. t h e n ? ** b u t I a m resolved o n t w o points. 116] iMoking up at him over her tlumlder.* you grow as t h e maiden's a n d D o y o u n o t hear. She udranceif to C . sir. Malvolio ? Yes. y o u . catechize y o u for i t .

who go up by thi ttept. OLIVIA. spoke h e speaks nothing b u t m a d Go y o u . [Yet you began rudely.** me.] [ T h e rudeness that W h a t areyou? appeared w h a t w o u l d y o u? I learned hath i n m e have OLIVIA. even gentleman! 'Tis a Sir [ 6 ] O L I T U tignt to the potiHon of the oeH on the back of the teat. with you. of of t h e house. hold your h i m i n kinsman. sweet lady. Fetch madam. [16] A paute. (4) r * LO. give m e modest I m a y proceed assurance i f speech. sir? ** h e r e lies your w a y . Madam. t o a n y o t h e r ' s . f o rbesides t h a t i t is excellently G o o d beauties.. advanctt to c. T e l l h i mh e s h a l l n o t s p e a k w i t h H a s been told no taxation of homage : of peace I hold t h eolive i n m y h a n d MALVOLIO. L e t h i m approach Gentlewoman. OLIVIA. rutB fU about itipt towarit C. [2 Bowing. the heart of m y message. (2) KALTOLIO i i w i i M rmmd tlu Uf of uat. [It] Xhmu. OLIVIA. most weak as i f t h y eldest brains! for. who rtmain at the foot E.* i f i t be OLIVIA. be brief . a n d therefore comes to speak w i t h h e seems t o have a foreknowledge with y o u . y o u have some hideous of i t is so fearful. Lechery! I defy lechery.10 Asi I. M a d a m . [fi\ 1 m ton"! ttpproach t y m a n a : fie o n h i m l MARIA. ( « ] TIOLA tntert from the ttept. 01 ht tptott.—one MALVOLIO. cap in hand.O. followed by c m i o at%d T A L B S n m . lo 1. look after VIOLA. a n h e w i l l .* comes. MARIA. (7] 5 ^ tumint and Hrtufhfnitil him- SIR TOBV. VIOLA. (11] O L I T U ritu.** m i n d : m u c h . p r o f a n a t i o n . (14] From tht Htpt. grows CLOWN. to wonder if y o u have make he will speak with so C o m e t o w h a t is i m p o r t a n t i n ' t : I forgive y o u t h e praise. dialogue. a n dt h e n draught above heat makes drowns h i m . ani Um lignini frandHotuenlli/ l« U« k M M m n f K " lo fnetit Um. OLIVIA. (SJ Advancing to 1. go. y o u do usurp yourself . h o wy o u r more embassy. ami kiiinf naehtd tha Uttl. sir. think his mother's W h o of m y people Sir Toby. — I p r a y s a w h e r : I y o u . p t j I f « * lomi impaUtno from m y entertainment. atui H A U A gott round tht top end of tttt and lifu tht veil. [3 MALTOLio gott out. dislike i t . a n d w h a t I w o u l d . hear Enter Orsino's to dismiss i t . I pray y o u . O L I T U lookt up at TIOLA.* here V I O L A . W h a t is he a t t h e gate. tell m e i f this be t h e lady of t h e house.0. rather m e to [8] MARIA comet from Iht back behind TIOLA to her K. boy a n d m a n . T u r i M from her again. a r e [ a s secret MALVOLIO. a n d a l l o w e d y o u r a p p r o a c h H e is b u tm a d y e t . I have taken great pains to c o n i t . * * us t h e place MARIA alone and : w e will hear this divinity. herring! * CLOWN. W h y . lady? he's Some mollification for your giant. for [12] m n bowt. Nat finding U. W h a t kind o' a n d be t h e supporter OLIVIA. U] Turning lo MARIA. [Exit MARIA. 1 1 . What's Like a a drunken m a n like. fttlinf vilhontfoot at a Hmt. a n d h e says. VIOLA.' w h a t gentleman? here—a plague o' these picklegentleman Toby! h o w have y o u come There's so early by this B y mine honour. W h a t against a n y denial.** I a m a sail. Your [«J m TOST ttaniit f i w y i i v at tht lop of Iht ittpt and thm dttemtdt thim tidtM M . like t o be feigned I h e a r d y o uw e r e saucy a t m y gates. m y I f I Most : do [»] RoOint «TOW C. fool . madonna. I took great pains to study : i t .] as m a i d e n h o o d : ] OLFVIA. (7) Bowing. boy an apple: N o ty e t o l d e n o u g h fora m a n . m a d a m 'tisa . what is he? I care n o t : give m e A r e y o u a N o . commission you A y . TIOLA. who hat advanctd lo X. fangs OLIVIA. then turning to the ttept. B u tt h i s i s f r o m m y show drowned m a n . thm eromt in front of O L I T U to L . m T W E L F T H N I G H T : O R .] ' hast N o wy o usee.»'' I a m n o tthat I play. i f y o u are she. A r ey o u t h elady o f t h e house? L e t h i mb e t h e d e v i l . following tht group^ gmOtman.] [Sure. : a young gentleman m u c h MALVOLIO. for OLIVIA. W h a t MALVOLIO. the Count is i t ? fair young delay? m a n . VIOLA. f o r I never OLIVIA. OUVIA. Alas. it'sa l l one. n o ryoung enough for a to speak w i t h y o u . lethargy ? SIR l»] Bit hand la hii month. him. as a squash isbefore 'tis a peascod.w i l l y o u o r ** t o y o u r e a r s . desires OLIVIA. well penned. rv moinmg in htr potition by thi ttat. and looking from OLTTU to XASU. H o w n o w . VIOLA. I p r a y y o u . h e ' l l s p e a k w i t h y o u .O. ] ** (14] Bondtng oni tptaJcing in alowinUntt voice. Bi eomu O L I T U tt 0.* [Exit. of t h e house. a I w i l l o n w i t h m y speech i ny o u r praise. I shall answer for her. a n d 'tis poetical. 13] Going doter to and a little above O L i T U . be gone : » with OLIVIA. cousin ? SIR SIR TOBY.* w h i c h is s h e ? ' will? o l d . I c a n say little more studied. attitting O L I T U to rttume it. a third fool? a n d a m a d m a n : one a n d h i m. o n e i n so W i l l skipping a y o u hoist MALVOLIO. w h a t y o u will. that comedian? heart: OLIVIA. Malvolio : * . certain. TOBY. [£*»<. SIR TOBY. suit f r o m the count. Tht othtr gmtlemen in attendana nmain on n x t r v m above ttept.0. messenger. of t h y k i nhas a Enter p i a mater. degree of drink. ATTENDANTS. sir? than I have no scorn . I I I Q u k t i f . Well.* m y lady h i mo f f . the G o t h o u a n d seek t h e c r o w n e r . or n o t a t home m e m y veil: • come. m y words are OLIVIA. and putt hit fact clow to tlw cuamt't. btfon tpeaking. lowardt O U T U . rtptoUng tht eatt for K A B U . he's i n the third I t is t h em o r e a t y o u than reason. o r a codling w h e n 'tis abnost ' t i sw i t h h i mi n standing water. marry.^* Re-enter MALVOLIO. w h e n t h e office. as full I t alone concerns y o u r ear. . b u t he'll so . say L malice I swear. between m i l k were : scarce call o u t ofh i m . 12] Appealing to O L r v u . sot! Good Cousin. MARIA. a n d l e t h i m s i to ' m y coz . W H A T Y O U W I L L I I MAKiA. hi tumt himttU round onto or tuiei. sustain usage. ami lady should be a fool whose skull Jove cram w i t h T h e honourable Speak to m e .1I. a n d that i n m y ques- tion's o u tof m y part. your VIOLA. gentlewoman.^ [1] Sitting on teat. he's drowned . Lurchint fortoard. good swabber . We'll once Give fooling son he VIOLA. unctrtoin of til footimf.indicatingwith her thumb lowardt entrance below ttept. of m a n k i n d . VIOLA. h i ma fool t h e second mads OUVIA. itiU fitU for attathtr Hap. Of very i l lm a n n e r [Exeunt A T T E N D A N T S . OLIVIA.** he'll stand a t your to a bench. (101 H < oorMnuti hit way in a itupid ainlttt nuumtr and crotting O L I T U goti oat L . fty Htpi. m a n i s h e ? *• f l T ] Coming C.* half drunk. lU] L. asleep comes I told . attended. profound n o t usurp a n d yet. d i v i n i t y .keep i t i n . I a m very comptible. eacquisite a n d u n m a t c h a b l e b e a u t y . cousin.* o n e a t t h e gate. sick he takes o n h i mt o understand N o . a n d people for us.m a d o n n a . VIOLA. to speak I t o l d h i my o u w e r e to h i m . w .. w h a t is y o u r s t o bestow is n o tyours t o reserve. you W h e n c e came y o u . be t h e lady Good gentle one. MARIA. Re-enter MALVOLIO. [Exit T h o u . fortified lib] Turning up 0 . courtesy m a t t e r t o deliver. b y the very I a m .a n d well not. OLIVIA. [Exit. a n d therefore is t o be said OLIVIA. W H A T Y O U W I L L ACT I SCXNB V T W E L F T H N I G H T : O R . A TOBY.] [ Ib r i n g n o o v e r t u r e o f w a r . OLTVIA. faith. ht eowtu towardi rmm.] Speak [Tell m e your of that too. myself.** fellow swears y o u . [10] Withatteportwolo\. WhtnUwfari . a n d t h e fool shall look t o to hear y o u . A gentleman.** CLOWN.** CLOWN. I a m to hull here longer. who it U <if 0. i n m y calls.] ^ I a m sick. speak [U] Uooing lowardt thi i door like a sheriff's post. Give W h a t I a m . F r o m I k n o w there is a t t h e gate Orsino. ooe would H e is very well-favoured a n dh e speaks very shrewishly . let m e t o t h e least sinister OLIVIA. M o s t r a d i a n t . ' t i sn o t t h a t t i m e o f m o o n m a d m a n . you.* throw i t o'er m y face. yond h i my o u were young . as matter. then riiet. approaehint nsta. [*] Bomtt dttplfi. * ' manner o f m a n ? *• . w o u l d be l o a t h t o cast a w a y m y speech. OLIVIA. a little I f y o u be n o tmad.

on a Itvtl uiith OLrriA. W H A T Y O U W I L L ACT 1. OLIVIA. . " w e l l : a r t . H o w n o w ! Looking L . 7 SHUm. after TTOLA. lord fertile that thunder love. such y o u were a n d master peevish ring of messenger. Malvolio! Re-enter MALVOLIO. i AbrapUy. let your m y master's.. [15] Suddenly turning and calling at steps. his heart fervour.. OLIVIA. y o u a r e t o o p r o u d ." thee five-fold I ' l l be sworn blazon : ** t h y face. indifferent r e d . same this with a t your service. soft. w i t h lids t o t h e m . eye too great is decreed a n d stainless leam'd of t h y force must w e do not owe . valiant. £10J Turning. master.O. In all thit butinett thtrt thould bt no hosts on KALTOUO'9 part. I n w h a t chapter i n the of first his bosoip? of h i s heart. The thought of the ring comes to her atui she withdraws it from her finger.U. a n d cutming hand graces to the the master I feel y o u a r e t h e cruell'st she alive.. be.12 MJt I . suffering. [ 2 0 ] MALVOLIO movet again. youth a n d love ago. actions the m a n . h i m . [14] A pause—she looks L. l e t m e see y o u r face.** madam. forth. I or n o t : h i m I ' l l none hopes . Nature's Lady. that h e left flatter will I see y o u w h a t y o u a r e .* say? VIOLA. T i s i n grain. 6 Oof touanb —at. Do Unless Even W i t h t h y limbs. nonpareil of beauty I H o w does W i t h Your estate. be b u t recompensed. well adorations. a n d fear flatterer ourselves (22] Bowing L . OLIVIA. i* wall ! y o u should OLIVIA. m I Adumein) lo OUTU'S l«t. almoit lo htrtlf. andpauting. Methinks perfections stealth Well. The love crown'd W o u l d Nor R u n after m a n : tell county's t o praise i t e m . flame. item. perchance.* this for me. " W h a t of like lady : ' that M y madam. Doum lof ind of t SI At ika UJU har otil. OLIVIA. love h i mt I a m n o t for h i m : this Malvolio. i f y o u were behind h i m .*' it. Halloo I f I d i d love a denial I would y o u i n m y master's a deadly life. I cannot .** the plague? y o u will OLIVIA. fair is y o u r [8] L. who mora to c. item. a n d m u c h m a y be said ofi t * I I a m a caimot tell gentleman.. so.* OLIVIA. (12] Sinking on to tht tealoboot OLITIA— • Uttant from htr but Itaning forvari 't I loumdt tht cloit of htr tptoek. w h a t Make m e a willow cabin within m y soul loud t h e house love of hills n o t rest n i g h t . I have Good bosom. * Unless. [16] Standing on the sttpi. [23] doing slowly by tht slept.. T W E L F T H N I G H T : O R .^T .* : ... W H A T Y O U W I L L ACT I SCKNX V T W E L F T H N I G H T : O R . 'Tis beauty o w n sweet lead truly y o u . n o t too fast.a n d m e ? MALVOLIO. would . of m e ? fire. [21] KALTOLIO ttopi again near Iht exit l. W h a t show m y m i n d I do I k n o w n o t w h a t . Could The ** M y l o r d Were y o u sent hither as. such n o t understand i t . MALVOLIO. a n d every so q u i c k l y m a y o n e catch this youth's a n invisible a n d subtle i n a t mine eyes. no more again.** OLIVIA. Here. viOLA. [18] Giving the ring to KALTOLIO.* « Get y o u to your love h i m: l e t h i m send y o u come takes i t . Checking herielf. 1 1 .a. **But. parentage? thou Placed " I i n contempt! Farewell. (14] With a change c} torn. k n o w of fresh divulged. VIOLA. Lowering her voice. W i t h Yet Of [In And A He OLIVIA. [Exit. y o u should the babbling Olivia! the air Between t h e elements pity of air a n d earth. ** T h y t o n g u e . h i m virtuous. w a y to-morrow. does k n o w with he love sighs . To creep schedules of m y beauty : *» W h a t ho. curtain a n d show y o u t h e picture. " W h a t x. a n d be this i n dimension person m i g h t have a n d t h e shape his answer nature] b u t yet I cannot long took VIOLA. m y this face? * present: i t is heresy.** [17] Pointing L. a n d utensil labelled t o m y w i l l : so m Ooing up lage a mU about tht ttat.— doctrine. t w o lips. at if going. loves y o u : though O. s i r . VIOLA.* Where lies VIOLA. *• a n d spirit.* y o u well keep comfortable OLIVIA. [ 6 ] In tht offer of a parte it an excuse to turn and look at TIOLA a^ain. Siting and parentage? mir fnrfiiriM irot m w ntatr . a t your call upon sing make o u t " them loyal cantons your name " of contemned even i n t h e dead of to t h e reverberate gossip 0. soft! ** is [3] With a tofter cadence. you? gate. these grave I w i l l give o u t divers particle leave the world no copy.* VIOLA. Most A your sweet text? lady. Impetuously—moving to L. ** D e s i r e hold give ** I f t h a t I'll h i m n o t to h i m u p with the youth h i m reasons M a d a m . read i t : I n his bosom t To I m e h o w he thank y o u for your VIOLA. :* your purse . OLIVIA. make (31 CmHnf TIOLA to L. (iowiy.X. VIOLA.* Above a m a give m y fortunes.* Have y o u no more I a m n o fee'd n o t myself. one chin. a : his lord. t»] To OLlTIA'g rtfht.h e a r t e d . 'twill blent. [Exit. »c. * t h e devil. fpinrtoiMnbL. h i e thee. find n o sense .l* And Write And And Cry But ( I S ] / « a loif toiet. Ui A pauu. let i t be. y e t m y state gentleman. I SIM uWuvt (vrninf.* with b u tw e will draw the [Unveiling. W h y . endure laid wind ou: a n d weather. 14] A tligU hetUancy—and th* not tint at though tn explanation. whose red a n d white text: ' Look recompense. [9] Without moving. Mine Fate. [Exit. [ 5 ] Ooing lloKly towardt B. t w o g r e y eyes. (7] Turns away to L. (11] Aboot and behind o u T U . to by the method. If A n d Excellently done. 1 1 .** to find for m y mind. sir. i t shall be inventoried. y o u shall love be cruelty. free. lacks flint pains : Fare spend to m e lord . I n Orsino's To answer 0 . i n I Doum L. OLIVIA. come for't: I will. IS VIOLA. [19] Ber voice arrettt KALTOLIO'8 progratt— he (unu lo OLIVIA a^ain. y o u are fair. one neck. I w i l l n o tbe so h a r d . great groans I suppose voices gracious tears. W i t h In I such your would OLIVIA. to. VIOLA. m e ! ** Y o u m i g h t d o much. Turning to 0. were sir . : h i m noble. Love A n d Have y o ua n ycommission f r o m your lord to negotiate Y o u are n o w o u t of your is't not well done? i f God d i d a l l . O. post. is your At.such a o n e I w a s OLIVIA.

but remaining clott upon hit L . SEBASTIAN. H a p l y y o u r eye s h a l l light u p o n some t o y Y o u have desire t o purchase . though I seem to d r o w n her enemy remembrance ANTONIO.'' lady ? » Y o u must I I called k n o w i f n o t . genily. f o r . that assurance shewill so h a r d y to of I s h a l l crave o f y o uy o u r leave t h a t I m a y bear m y evils alone a b a d recompense ANTONIO. servant. be i t h i s that n o ring w i t h her : which * VIOLA. boldly She of m y lord's : w h y . eomint to 0 . y e tt h u s f a r I w i l l could n o t b u tcall fair. s i r . such Biting. *• F o r t u n e }^ I left forbid good w h a t Roderigo. n ] » [1] Tht action eontituut without change of ictna. [ 7 ] Sinki on to ttat. forgive m e your trouble. AvrosiO to c . Antonio.* t h e ring of m e : I ' l l none of i t . already. 18] Turning and going up K. a t And And I . from L .poor monster. thereis. **She Invites None ** I Poor m e . Humoroutly. i fthe heavens h a d been pleased. y o u peevishly t h r e w i tt o h e r . sooth.] [Exit. Fare she. sir. l a best t o lodge : I w i l l bespeak o u r diet. n o . SEBASTIAN. unless Receive i t so. Then tumt to tht 9] « o & up the ring and lookt at i t . [IS] Towardt ttept. though I could n o t with t h a t . [12] With ludden conviction. go. For H o w our frailty is t h e cause. I n t h esouth suburbs. bound. mistaken. comet to X. publish h e r . a littit above. 1* * * I have m a n y I T h e gentleness enemies very w h a t of a l l t h e gods court.** her none. ANTONIO. [ 7 ] By ttept K. . W H A T Y O U W I L L ACT I . w o u l d w e h a d so ended! . ye that well is. I do remember. therefore : * it were m e o f m y fate m i g h t perhaps distemper yours m y pains.] MALVOLIO folloiving. sir. in tht direction of tht ttept.14 T W E L F T H N I G H T : O R . yet of m a n y estimable a m the m a n lady. t o have moreover. [ 3 ] DiidainfuUy dropping tht Hng at VIOLA'S feet he erotiu htr lot. distractedly. a m w o m a n . i f i tbe worth finds stooping i t . ANTONIO. w h a t desire y o u have i tnot. saved MALVOLIO. W H A T Y O U W I L L ACT n SCENE I I T W E L F T H N I G H T : O R . W h a t O It shall poor Olivia n o t I ANTONIO. B yyour patience. To the Elephant SEBASTIAN. sure i n this t h e cuiming ANTONIO. getting over to itat I . a n dI a m y e t s o n e a r t h e of m y mother. for some hour before y o u took m e That For methought h e r eyes y o u . s i r . tht following linet are tpoken liere :— ANTONIO. W h y I your purse? ANTONIO. a n d y o u r store.* b a d entertainment. means this that y o uwill n o textort f r o m m e w h a t I a m willing to keep i n . here's m y purse. w h o m m y outside view have n o t charm'd so her |ierl y o u have heard of. you? * SEBASTIAN.O. * a n dh e r w i l l B u t I perceive i ny o u so excellent a t o u c h o f modesty. L e t m e yet k n o w N o . is d r o w n e d she bore a m i n d that envy Disguise. SEBASTIAN. A lady. there. ttawtint tumtd from AKTOitIO btlou tht Ittpt. I f y o u w i l l n o tm u r d e r m e f o r m y love.a l t e r e d t h a t breach f r o m she d i d speak loves m e i n starts . i f i t be better a r t a [14] To c. indeed. I do adore a n d I But. [£ntL I E . SEBASTIAN. t h o u g h i t w a ssaid shem u c h resembled m e . Tailcau Curltitt or Ael Drop. w i t h again Pardon 0 w i t h saltwater. none come this.] loves h e r dearly . 1 a . SEBASTIAN. — n o w thriftless thou sighs d a y ! — breathe! . M y father w a s that Sebastian of Messaline. y o um i g h t have She adds. Would you'Id pardon me . H o l d . [ 6 ] Tunu to face ANTONIO. is mere again i n h i s affairs. in a n hour : but the H e left b e h i n d h i m m y s e l f a n da sister. forms! > m e . wonder overfar believe she were dream. Tumi on htr htti up c. Enter ANTONIO. I a m bound Orsino's c o u r t : *' [farewell. VIOLA. I t h i n k . * k n o w of m e then. They tiller c. 11] Mentally rtriewing her intenitw tM OLITU. M y stars shine d a r k l y over m e : . (8] With an amuied exclamation foUowt to tht foot of ttepi. churlish ring! messenger. 12] Looking ttfUr UBAaTLAX. C . was [8] nu 19} hand to hU tym. W h i l e s y o u b e g u i l e t h e t i m e a n d feed your knowledge W i t h v i e w i n g of the t o w n : there shall you have me. i n a sea-fight. t h a t y o us h o u l d p u t y o u r l o r d i n t o a desperate of h i m: a n d one thing more.E. go with thee! time! must a untangle this. does much. sir. W e r e VIOLA. SO. extravagancy. 14] Looking ^f(•r SEBABTIAJC o^aia. street. of y o u whither y o u are m y determinate sir: * voyage VIOLA. After looking down at tht ring. such will as w e a r e made this fadge? of. h e sent so. 10] With humorout apprehention. such m y master fond I f y o u w i Un o t u n d o y o u have recovered.U. b o t h b o m ' She made sure of m e .^* [IS] L. 1 d o n o t w i t h o u t d a n g e r w a l k these streets : Once. Farewell. will become seems o n m e . of her passion o f t h e sea w a s m y sister Alas t h ed a y ! drowned. done.O. \ExU. SEBASTIAN.] Shereturns this ring to you. of such note indeed. IS] JHiming to AMTOHio a/Ur a vary ilighl pautt and placing hu handt. that upon t h e least occasion m o r e to t h e Coimt mine manners tell " W h a t M y As state I of this? A s I eyes w i l l is desperate for m y master's alas t h e tales o f m e . sir. Act III being omitted. as m u c h t o dote o n h i m . T h a t w e r e I t a ' e n here i t w o u l d scarce be a n s w e r ' d .* C o m e . m y name is Sebastian. f o r e i t c h a r g e s m e i nm a n n e r s t h e r a t h e r t o e x p r e s s m y s e l f . to l a y a n y of t h e m y o u be never o n y o u . [11] Scene III. Wherein [ H o w I see. sir : taken i taway yourself. 'gainst t h e count his galleys I d i d s o m e service . tongue. letm e be your easy is i t for t h e w a x e n hearts proper-false t o set their n o t w e ! w e be. [Tht [ t ] After • lUfU pemee. as love a 'tis.] thee will so.. mnd tumint lowrdi him at ht/ottom to L. i t n o t f o r idle markets. With grial affeetation of dignity atui contempt. I n women's SEBASTIAN.* ANTONIO. kill h i mw h o m good Alas. t h o u t h e pregnant wickedness. iHthtly in aJmmee of ANTOfflo. (10] Crotia in front of AHTOmo to B. 14] Oroeting ANTONIO. I ' l l be y o u r pursebearer a n d leave y o u For a n hour. U B A n i A K . for your love.*. tpeakinff at ht movet to thit potition. [Exit. D o n o t then walk too open.* n o r w i l l y o u n o tt h a t I g o w i t h A N T O N I O and n o t y o u even n o w w i t h E v e n n o w . IIS] To LJO o n c e : *• m y b o s o m i s f u l l o f k i n d n e s s . your Antonio. in MALVOLIO.O. h a d lost m u c h . icho advaneet tlifhily towardt him. a t the Elephant.^* That danger shall seem sport. I t doth n o t fit m e . t h e r e i t lies [Exit. tiit. love .* t h e Countess since Olivia? arrived (S] T i o i i A prieiii MALVOLIO. From tht ttept. She took i tbe to report your lord's taking [(] Moving to L . a mm a n . and at ht eontinuet. i t should b e so r e t u r n e d : your eye . the malignancy sea-iMast] SEBASTIAN. more. I l l l» [ A C T T H E SECOND] [SCENE I ] > [SCENE [A Enter MALVOLIO. i n Orsino's is too hard k n o t for m e to untiel [Else " would come s h o r t l y see thee m a y . accounted beautiful : but. s i r .s i r . [ o na moderate pace I have W i l l y o ustay n o longer ? but hither.

of UMt. to Twelfth Night. love-song. a n d so s w e e t a b r e a t h to sing.** B y ' r lady. a SIR T O B Y . to come hiss a stuff A is is love? still 'tis not . he raitcs hit tankard and draint it. care not for good or a SIR A N D R E W . and puU hit head round the wall by the wUa hit lute ani drawt back.c. SIR ANDREW. doth i ' son know.** sung. Sht thakei htr head [13] Turning to Of taiU and pulUmg M < the chair L . Ay. thou wast i n very gracious . pp.* ANDREW. : twenty. AMDUW SIR TOBY. whiU his back it tumtd TESTE •MM/t the buaittt. 1818.* so t h a t t o go Does not our life Nay.** H o w "? Welcome. TOBT. faith. AI the tame moment TESTE entert by the ttairt R.mnd [18] TESTE i t t i on tablt at top." See page 8 " Vocal Score to Twelfth Hight" Samuel French. 'twas very good. " CLOWN. SIR ANDREW. * ' troth. b u t I k n o w . TOBY. [16] Coming to E. He taket Iht flagon ani putt hit fingtr under MARU'S chin. and the Myrmidons are fooling thee last night. " k n i g h t ? thee fool: never I shall be wUhJifficultyniairUaint hit equilibrium [6] . never SIR ANDREW. SCENE in O U m ' s I House [SCENE III]» SIR SIR ANDREW. knave.* There's a testril of m e too : love-song.^^ SIR A N D R E W . sing in where your both pretty lovers man's are true high roaming? coming. and sweet TESTE applaud by banging Ihtir lastkardt on the table." thou Icnow'st. for M a l v o l i o ' s nose is no no hand. ' contagious Very contagious. t h e r e is s i x p e n c e f o r y o u have a I . Thit catch then ehangtt into Qlee. some catch [11] Comet to the top of the taiU and taktt goblet from ia. Lid. breath.* T h o u ** . lit only hy the flow of the fire on tht fttat hearth ani the guttering candlet upon Iht table.4/ter steadying himself. a n d Certain. TOBY'S chair back. i n chair I. ' Excellent good. and " diluculo surgere.' Present In ANDREW.* the equinoctial of siiqience CLOWN. three Here comes CLOWN. politicians. Malvolio's a [121 Sitt on um. * * shall w e rouse the shall we [10] Pour* wine into a goUttfor TEBTI.of t h e V a p i a n s passing I sent (1] Filling hit laniard from tht flagon.* as I [OLIVIA'S SIR T O B Y and house. f E B i E aooompanics himielf on hit lute. to a n TOBY'S R. the fool has excellent breast fireplace. I 17 h a d r a t h e r t h a n f o r t y s h i l l i n g s I h a d s u c h a l e g . [14] Coming lo tht lop cf tablt. we are I f m y lady have doors.* SIR SIR w h y . s n ANDREW feels hU head and looks round about. not called u p her steward Malvolio a n d bid h i m t u r n y o u out of patting flagon to BIB ANDREW.** N o w let's have an a catch. catch. it? . this is t h e best f o o l i n g . SIR TOBY. " i n ' t to A n you Most call love me. ANDREW. Good. so t h e y s a y 'rt a a scholar of . let's d o ' t : dogs catch I a m will be. 10. * CLOWN. I h a t e i t as a n unfilled can. Music Ltd. no further. door R. and u finally ttopped by MARU boxing their tart when they have joined htmL and danced round her in a nna at ( A M ting. h a l " n s T i alto txiaimi. lady. [3] Producing hit pursi. knave. * TOBY. shall CLOWN. and endure. M y lady's a Catalan. the fool. SIR ' T i s n o t t h e first t i m e I have constrained one to i t begins begin if I " H o l d hold m y thy peace. She laught ani goet out R. delay Youth's (11 The room it much in thadow.] you love's and low .'' faith. Excellent! song. He lingi at Uie cuz-tuin riaes. " There dwelt a man In Babylon. let us ** d r i n k . [4] Conitn. [7] Leaning forward out of his chair. (8) lie turns hit tankard uptide doum on lU tabU. C L O W N [sings from p. t o be (9] At the end of tht song SIR TOBT and a m i ' true k n i g h t covered. TOBY. good. Dunng the song SIR TOBY beaU time with the punch latUe. dog at a well. ' [14] Door R. round C Ow back of am TOBT'a o chair [5] IFtIA hitnoitinhit tankard. w h e n t h o u spokestof Queubus leman : lady has a P i g r o g r o m i t u s . of the four and I elements? F a i t h . strained m e see t h e p i c t u r e o f H o l d t h y peace.** I M A R I A . . A ANDREW. present no sweet not will laughter unsure plenty. TESTE putt hU head rouni again. concall Let our knight. O mistress ' 0 . and can end wise hear. Now. W h a t a c a t e r w a u l i n gdo y o u keep here 1 me.** now. hadst white I did impeticos thy gratillity houses. 101 Turning to v. reprovingly ani goes out.* mirth there What's What hath lies me. m y hearts! did you ANDREW.. .* late SIR T O B Y .** Begin. wJko crdotnu. [21 sm Then come A p p r o a c h . W H A T Y O U W I L L ACT I I SCENE I I I T W E L F T H N I G H T : O R . thou kiiaT«. sweeting meeting.* is to be is t o up be Kitchen I I . who b u t I t h i n k i t rather consists therefore eat a n d SIR SIR ANDREW. hear by t h e nose. begin. as t h e fool has.le T W E L F T H N I G H T : O R . drinking. He alto liai a large laniard in hit hand. W H A T Y O U W I L L ACT n . who pulli hit head down and tpeakt in hit ear. shall we m a k e the w e l k i n dance indeed? that? night-owl consist of in a catch that w i l l d r a w three souls o u t of one weaver? biiiitclf by placing hit Icgt wide apart." peace. UIRLA appears at TOBY. lady.] SIR A kitchen in O L I V I A ' I house. . be u p after m i d n i g h t a n d to go to bed t h e n . Come on W o u l d A you ay SIR A N D R E W . " T h o u k n a v e . To mellifluous voice. i t is d u l c e t i n c o n t a g i o n . t h o u k n a v e . 8 and 9. with an empty tankard in hit hand. 81* ANDREW vrouet uncertainly to below tablt ani rettt upon it at he tpeakt. is e a r l y : bed a f t e r m i d n i g h t is to go to bed b e t i m e s . 3 . " H a . i ' faith.. for thy m y I n sooth." BIR ANDREW itaiule a little up ttage R. a — life? . Come. [8] SIB ANDREW twitti round to foot Ittta. [131 " Hold thy peaM. ** never trust [Catch Enter MARIA. a love-song. if one k n i g h t give song life. I l l Itepeated ad lib. By ray ass. TESTE comet lo front of tablt and reels upon it lo ting. [6] Drinkt ieeply. (12) M A B U lhaket her finger at SIR TOBT Enter SIR " w e SIR ANDREW. SIR TOBT utretched in the large wooden chair c. I k n o w n o t : late. sir. He it twaying in a half-dmnksn manner to the time of BIK TOBY'S tinging—then tt'wli/iitg TOBT and SIR ANDREW are dit- ANDREW. Sir A n d r e w : * n o t to be a-bed after m i d n i g h t betimes up . 9] he approaches the fire. CLOWN [sings']. I CLOWN. " Vocal French. 7. but comet face to fact with a n AXDEIW. at. eating Marian. [6] SIR TOBY releatet SIB ANDREW. [7] TESTE gott to the firt and ooncludtt Ow song with hit back to it. hereafter. by m y troth. whipstock : bottle-ale done. B u t do A false conclusion SIR TOBY. at he calls.—» up To to SIR SIR SIR . stay That Trip Journeys Every ACT A ACT I I SCENE I * Enter SIR TOBY. IS] ll'ai-tiw to SIR ANDREW with hit right hand and half turning in hit cliair." A copy of thit three-part catch exitU i n a book called "Pammelia Mutic't Mucellanit. Good." Samuel [21 Fumbling for the money. [15] FiUing hit tankard from the fiagon. [4] SIR ANDREW reelt towardt the right of BO. w h e n a l l is : let's have a of good song. " say! stoup wine! CLOWN. UARU oomM Ue touchet SIR ANDREW at him.O. mine. i ' faith. i ' faith.

** Come. Bn TOBY titiging. Penthesilea. remain* littening. *i] c. with hit armt outttretchtd upon the table. nearly loiing hit balance. take i t h o w y o u come. 'tistoo late to go Send for money.t< about. " 0.* T h o u hadst need send for m o r e Beforc " W h a t no. nor honesty. ANDREW. the shape of his leg. W H A T Y O U W I L L ACT I I . colour. " ** lie. if not. [Exit? SIR SIR what SIR money. TESTE crowt like the morning cock. MARIA. '22) Bn itairi L.* time of night? voice? * MALVOLIO. W h a t I will to Enter MALVOLIO. steward ? more CLOWN.K. w i t h excellencies."' begone. no. be patient for to-night: of t h e c o u n t ' s w a s t o . " Thou hadst need send.\OUO at he tumt to tpeak hit latt wordt. Hit btaring it fall of dignOy. a n d dream I bid h i m go? if you I b i d h i m go. TESTE goet lo ttairt and lookt off—thai gott up to baek."— T h e devil a puritan that he is. A MALVOLIO. k n i g h t : i f t h o u hast her n o t i 't h e end. Then s n TOBY tayi. SIR TOBY. credit do? to " ** a n d spare not? " d a r e n o t . himtelf to hu feet. true-bred. [ I I ] At SIR ANDREW maket no retponu. [14] He find! his candle it out. (131 Without percHiing hit candle ir out ht crosses untteadily to C. by this hand. most feelingly personated. TOBY. b u t to gabble like tinkers at D o ye m a k e a n alehouse of m y lady's house. I T W E L F T H N I G H T : O R . you.** a man's to cut. 14] ^Stn^n.* Farewell. I 19 P ] Pof 10.18 AOT I I K.** shake your [ExeurU. sir . TESTE on s n TOBY'S L .** ** his days are almost done. facing UJi. SIR TOBY. and tmiling drunlenly. m y and that horse be she's horse purpose is. then on the other. MALVOLIO retreatt to R.* h i m an ANDREW. to A t * / M i and <(M(iin« with tome diffiaiUy. SIR TOBY.it thit moment I R S I E appiari at the door up ttage enveloped in a iheet raised above his head on a broom-handle. SLR ANDREW'S candle being put out. H e shall t h i n k . holding tht amdU above M i htad. arm of s n TOBY'S a ." etc. lady I " do SIR TOBY. a n it w o u l d please y o u to take leave of her.* night. that respect of place. At the moment he gratpt one. nor time sir. CLOWN. ttaggeri forward lowardt MALVOLIO. vho hat turned hit chair and lilt facing the audience. a n d m a k e h i m a c o m m o n recreation. b y Saint A i m e . TOBY. chair.h u n g r y . TOBY. 101 At he eomtt forward again. Lady! fooling. a n d o n that vice i n h i m w i l l m y do? some obscure epistles of love : ' manner like revenge God. the two ttand tuppoHing each other. CLOWN. 12] Singing. s n ANDREW gelt to hit feet and also laughing joint them K. Ut eomtt dom tht ttairt L. MALVOLIO. because t h o u a r t virtuous. 'twill not. s n ANDREW crawlt round behind the chair and peert over the back.* forehead. sometimes he is a kind . into hit SIR something of puritan. TESTE advances down K.** wine. going above n TOBY'S [J] He ttalkt to potition a little sabot* i n chair to a TOBY. dear reason CLOWN. i n our with catches. SIR ANDREW. ass. manners. with this him. knight will. muting him. for being a puritan? t h y exquisite reason. s n ANDEIW Sweet SirToby. too. raitet himtelf to At* feet. . wilt thou M y masters. n o w would Nay. :£S1 Who hat gone vp c. for mutic. 80.* admirable! I k n o w m y physic will of i t .** Do't. t h a t c o n s . k n i g h t . that. [8] Be riiet with tnme diMculty from hU chair.. (3 Riling to R. s n TOBY gets up and lurchet to L. and a night-can. down ttage.s t a t e w i t h o u t b o o k a n d t h e best p e r s u a d e d o f h i m s e l f . stR ANDKEW nearly fallt from hit chair. tript over hit gmon.Singing. did keep though time. h] Comet a litOt below 8n TOBT. does For i t with the love a the knight's better i n admirable do SIR ANDREW.* or w h a t are y o u ? * as he t h i n k s . feeling far hit tword. At the tame moment SIR ANDREW (a*«* the other candle from the tahle and comet to below SIR TOBY'S chair C. " " Farewell. cAair. MARIA.** ears. id] She laught again. Then SIR ANDREW. " There dwelt a man in Babylon.] " There dvuelt a man in Babylon. I f y o u can separate yourself ANDREW. SIR TOBY. me. snTOBT endeavouri to obtain one of tht eandltt by leaning over the table firtt on one tide of SIR ANDREW. imbracet him. " Vocal Scon to JTuxtfl* SatMiel rimck. SIR ANDREW tlipt Off the table to the floor. '21] Speaking on the ttairt. [sings]. you are welcome to the house . which SIR ANDREW (louil out. s n TOBY it in the middle. At they reach the ttairt th* Travtm s x it drawn. he puUt him up. b u t I i t more SIR A N D R E W . [18] Turning to MALVOLIO a ^ t n and (Aen to MARU at he relumt to hit chair. 16] BIB TOBT. or I ' l l deliver word of mouth.** ' T w e r e as g o o d a fool of h i m .l.] For B u t I will is m u c h an two. A y . 111 Singing. s n TOBT and S B ANDREW joining. and laughing. " * you lie. I f I do not. [2] s n TOBY and SIR ANDREW repeat their txdamationt and MARIA Jau^A*. he I can write very u u on a forgotten matter w e can hardly m a k e disI smell a device. MARIA man* to ii. Monsieur Malvolio. CLOWN. t h e expressure of his eye. [8] Uaudlingly. of SIR ANDREW. in m y nose you. do n o t t h i n k I have I k n o w tell us do i t . i f I do n o t gull I can h i m a nayword. and as TESTE throws the sheet aside. there This " " " O Shall Shall no. Out and o' where he shall find MALVOLIO. a n d t h e n to b r e a k p r o m i s e w i t h h i m thy and ma k e a indignation SIR TOBY. MALVOLIO. you would not give means for this she shall k n o w Go of i t . deed as t o d r i n k w h e n MARIA.t geU to VL sanguineous? a m I n o t of her blood? * Tillyvally. ( M l MARIA lilt on the v. you tune. [2] MALTOUO iMon a robt tvuitatly over Au itigU attire. ta TOBY'S Go. SlarMng on the ttairt." i n which the others join. utters i tb y great s w a r t h s : ] that look on h i m love h i m . steadying himtelf by tht table. Maria! ANDREW. [Sings. in the act of retiring before him and in the effort to preserve hit dignity. knight: to h i m by I'll write thee a challenge . she is very w i l l i n g to b i d y o u farewell. SIR ANDREW imitalet him. [24] Setting TESTE'S «Aouid«r and rautn. Together they go towards Oie ttairt.d a y w i t h m y lady. r i t i n . good H i s eyes MARIA. b u t I have naturaL SIR T O B Y MARIA. Marry." Samtitl French. lady. k n i g h t .** bed n o w : thing more than contempt. sir. Page 1 0 . [101 Drunkenly patting ta ANDREW'S head. hit back retting againtt Oie table. s n TOBY Ioo. tell nothing your Sir Toby. the of his gait. no.. show so?* never d i e . hotdt the candle to It. SIR SIR SIR no too. adored once a n d one ANDREW. [20] Bt gathert up hit gown and goet up ttage towardt ttairt. uiAo. I warrant y o u : I will to plant you the letter : work third. mt**M t< and maket a grab at SIR ANDREW. Possess US. a n d so grace. sm TOBY advaneet in front towardt Aim.*• L e t ' s t o b e d .** crumbs. Bt oarriu a candle. peace! a time-pleaser . (71 Door R. At the latt. SIR TOBY. sir. 8j r u m * up tiagi. h e does w e l l e n o u g h i f h e b e disposed. come. call m e m y lady's favour at any uncivil [Exit. misdemeanours. beneath SIR TOBY'S legt—in a tilting position-hit Icgt tlretched out. MARIA. he r o u n d harbours i n SIR MARIA. a A n d your I doubt O. never trust me.*' bed. SIR TOBY. lady.** A r t any more than a be ye ** " you. I a m a foul w a y o u t SIR TOBY. are y o u m a d ? you no w i t . t h a t i t is h i s g r o u n d s of f a i t h t h a t a l l work. I t ] Singing—in a voice which begint It betray tht liguor hi hat taken. Sir Toby. but clinging to SIR TOBY. I have no exquisite reason for't. [2i] s n ANDREW learuovertht table towardt a n TOBT drunkenly. SIR A N D R E W . Sneck M y lady wherein. since I m u s t needs Sir do Toby. SIR ANDREW falls into the. b y t h e letters t h a t t h o u w i l t drop. o' the twelfth day of December. TE8TE gott Old by the door at back. D o s t t h o u t h i n k . then perceiving hit face. b u t [ a n a f f e c t i o n e d ass. I(ARI. she is m u c h o u t of quiet.. that i n love w i t h of that m a k e h i m . by the colour of his beard. hiding hit face in it in a kneeling position. of Excellent! allied to your disorders. I must she hands. there shall ale? Yes. Ud. good enough. ht ttaggeri round below the table to bishind him and leaning over him maket one or two ineffectual effort! to raite him."* SIR TOBY. Have this ye find notable cause TOBY. and s n TOBY falls on the top of him. [5 Lau'jHng. lady. 7) . I too : he Beshrew me. Bit Ift art hart and hit feet tn loote tlivpeTi. W H A T Y O U W I L L ACT I I SCENE I I I T W E L F T H N I G H T : O R . possess bed : us . if y o u prized SIR ANDREW. dear heart. I have't niece. SIR TOBY endeavouri to light hit candle from s n ANDREW'S—odtancM. shall find himself tinction SIR SIR they SIR SIR of our m y lady your niece : TOBY. knight? What. I f I cannot recover your niece. s n AVDKEW fallt chair again. a n d ginger shall be h o t i* t h e Thou'rt i ' the right. drop i n his w a y squeak o u t your coziers' catches w i t h o u t a n y mitigation or remorse of Is there n o W e you? up! bade she's and SIR m e TOBY. come from M y Ass. that adores m e :• a beagle. gratping s n TOBY'S orm*. 117] Coining to the L . lurchet forward and the two iwing round together into a potition below the largt chair and facing up ttage..O. hit handt becoming entangled in hit hair. * * mouth with cAatf. Ud. [12] SIR ANDREW <t(* on M« (aU*. let m e alone w i t h h i m : wit enough to lie straight i n m y TOBY. a n d complexion. she's a good wench. r u l e : *» TOBY. o' that? was too. CLOWN. Sport royal. come. 131 Singitig. 9) Singing.** cakes Is't even " MARIA. to challenge h i m t h e field. K A B U movtt behind MALVOLIO to back of BIK TOBY'S chair.** since t h e youth For into [I] s n TOBT mtJcet an excited exclamation of interett. " Vocal Score to Twelfth Night. [and let the fool m a k e a observe his construction on the event. I'll go b u m some s a c k . (181 Turning away from MALVOLIO. MARIA. MARIA. or a n y t h i n g constantly. y o u as her kinsman. so c r a m m e d . (4 Laughing. persons. laughing. r u b your chain stoup of Mistress Mary. of h i m .c. though U aceordt ttnmgtly unth hit appearance. Good She's I night. 116] sm TOBYreei* farther forward. indeed. hit long lege itritchtd out.

delight i n . DUKE. I think i t well. good m o r r o w . in away. VIOLA. Tuning there he pacet up stage. gems soul. •• Vocal Mutie to Twelfth yiflit. W H A T Y O U W I L L t l Ai-r 11.' b u t t h a t piece of Zonie And Fly I My My Not On Not My A Sad Lay away. breath death. doth fall t h a t very To die. |9] Moving lo Vit baluitradt ttyond column 110] R. Meat c. unfirm. A r e y o u ready. The lordt go R.See page n . thee.* and the tailor i n singing. let still the w o m a n she t o h i m . Of than l i g h t airs a n d recollected verse.* CURIO.CRlo icUhUrawi to the back. b u t y o u must** 12) Crotting noLA to down » . CURIO. he holdt a document uhich he handt to a lord on hit L. [Exit. At the lords bow. VIOLA it ttaruliug with CURIO up ttage R. even w h e n they to perfection S a y t h a t s o m e l a d y .O. who have been tianding up ttage extreme R. I h o l d as g i d d i l y as f o r t u n e . favour. elder t h a n h e r s e l f : So s w a y s she For. a n d p l e a s u r e w i l l be p a i d . no w o m a n ' s M a r k i t . he . ' I w o u l d h a v e m e n o f s u c h c o n s t a n c y p u t t o sea. <. thine eye T h o u dost speak m a s t e r l y : I ' l l pay t h y pleasure Give m e now T r u l y . age. At Iht ATTENDANTS and CURIO leave. Tumt lo look towards VIOLA. y o u n g Hath i t not. And So b i g . Ltd. I l t l Br«rOMMl«M2umnLe.T W E L F T H N I G H T : O R . for Olivia : you f o r y o u r l o v e as g r e a t a p a n g o f cannot sides t e l l h e r so . black these m o s t b r i s k a n d giddy-paced b u t one Who stuck one flower let Come. it a little above him on hit L. with trite y*io. [S] At tht eonelueion of the tong Iht DtTEl eontinuet tilerj and vnthoiit movement. for thit tong. 1* Where Love DUKE. DUKE. Being once display'd. DUKE. IV] palace.NO goes lo tht column L . [131 Going up to the DUKE a little. Give m e some m u s i c ' N o w . The lordt on th* UDKR'S L. Now. than thyself. [6] Tumt and goet it a. sir. t h e jester. take your complexion. worn. t h e n .C.^ L e t a l l the rest give t " l Bowing deeply. Cesario.. Several lordt are grouped about him on hit L. ind. 14] At ht rites and comet to VIOLA. H a t h s t a y ' d u p o n some f a v o u r t h a t i t loves : V I O L A . thousand true To a friend where sighs find where my C o m e h i t h e r . CLOWN. standing half turned from VIOLA. who itandt E. it I no a a fair let me cruel much. a r e as roses. 1* M y l i f e u p o n ' t . t h a t t h e i r b u s i n e s s m i g h t be e v e r y t h i n g a n d t h e i r i n t e n t every w h e r e . Feste. Ber tyet on the ground. N o m o t i o n of the liver. not not corpse. s i r . c o m e .* [Music. t o h o l d so m u c h . lover weep shroud of fly come sad away. end of teat. w a v e r i n g . m a k e t h y d o u b l e t of changeable taffeta. to that VIOLA. T h a t old a n d antique song we heard last M e t h o u g h t i t d i d relieve m y passion More [ I ) A> Tmcemr opeiu the D O K I 0R8I!(0 u teaUd on the. ^2] The mutic of the tong rwit tings lat'r it heard off very softly. One of two attendantt. and R. sing. friends. [14] Inpatienlly the vuKt move*downafei* steps toward* R. b o y : ** In t h e sweet pangs of For such as I a m a l l t r u e l o v e r s of t h e are. IS) The lordt turn to face tht DI71R. [2] At the lordt are moving. (18] Removing hit hand from her thouldtr. for t h y m i n d is a v e r y o p a l . by heaven : so w e a r s praise What kind A little. I I ] TF. DUKE'S CURIO. maid. Plaeing hit hand upon her thoulder. [4] At CDRIO givet tht money. m o r e cruelty : noble t h a n the w o r l d . 10] CDRIO bowt and exitt R. by your of w o m a n is't? " O f She is n o t w o r t h t h e e . VIOLA. patt up L. her tyet for a momtnt meeting ORSWO'S. sir? » Ay . hand. CLOWN. i ' faith? W h a t years. (81 R. of teat and join the othert who have turned to R. CURIO. sooner lost a n d Than women's VIOLA." -Samuel Preach. m y l o r d . coming a little d(nm ttage. love. Get thee t o y o n d same sovereign T e l l her. be thrown : greet my lo father took m u c h H e is a b o u t t h e *• [Exit coffin there Seek h i m o u t . ! ' V I O L A . m y Too old.sTR rarriei hit lute. t h e song w e h a d last n i g h t * * i t is o l d a n d p l a i n .. good Cesario. m y lovjs. a fool that the lady Olivia's house. Me uppeart to hare been in converte urith them at upon affairt of ttate . f e l l o w . so please y o u r l o r d s h i p . a little on iti R. on 'ihich he artompotues himtelf. at if in deep thought. strong a a l a s . was it? cypress away. b u t the . The O U K I raises hit head and littent for a moment before corttinuing. DUKE. am O. An A b o u t your years. palate.» • Now. by white. who advanctt It f'ESTE and givet him money. at th* eontinuet.b«Mw««<t. night: • SONG. Cesario. 1* DUKK.. their love m a y bonet passion heart O. f o r t h a t ' s i t t h a t always makes DUKE. c u R i o and Can bide the b e a t i n g of A s love d o t h give m y Alas. (SO] Sitting. Tht c m titt L . I t gives a v e r y echo t o t h e seat is t h r o n e d . a good voyage of n o t h i n g . heart: ourselves. sir .** [22] OURIO advance! to down R. Re-enter DUKE.*' Or t h y affection cannot flower hour. love. sir? " there is. be sirown bones save.* song..* I take pleasure then. Looking up. T h e parts t h a t fortune h a t h bestow'd But 'tis t h a t m i r a c l e and queen of B u t i f she I cannot cannot T e l l h e r . though thou art. (S3] TIOLA geU to back (j/ (Ml R.^* Farewell. 13] Turning away a little to K. VIOLA. Down ttage to front of teat. ' place. part Did a my poor me. indicating the pretence of nsti. love you. H e i s n o t h e r e . a n d p l a y t h e t u n e t h e w h i l e . thousand O. DUKE." For w o m e n ( 1 1 ] TIOLA goet up lo R. DUKE. leave to leave god [6] Riting. creature time? DUKE. upon her. TIOLA leavet tht ttat. shall . I l l ] Advancing to viOLA a **Once more. boy? " CLOWN. corner of i VIOLA. t h a t s h o u l d s i n g i t . m y T h e n l e t t h y love be y o u n g e r hold the bent . lord. a friend. i f ever t h o u s h a l t i t remember me else. DUKE.* [CURIO and ATTENDANTS retire. where ht leant with hit back to VIOLA and CORIO. it. all so laid.'^ L i k e the old CLOWN. Bt tpeakt without turning to them. After a moment he ritet and bowt ilightly. goet out quickly. Two ATTENDANTS enter and ttand up ttage extreme R. looking up. w h o s e f a i r A n d so they are : VIOLA. [Music plays. Our level i n her husband's giddy and h o w e v e r We d o Prizes n o t q u a n t i t y of d i r t y lands . prithee.c. as p e r h a p s Hath You As you have DUKE. T h e spinsters a n d t h e k n i t t e r s i n t h e s u n t h e free maids t h a t weave t h e i r t h r e a d w i t h be c a l l ' d a p p e t i t e . and others.** . sc n A n a dallies w i t h t h e innocence of [SCENE The Enter DUKE. Sooth. [2] TEBTE bowt ami advanctt lo a positi'm brlow the teat. [they lack retention. o n e t i m e o r a n o t h e r .] death. W H A T Y O U W I L L ACT U SCENE I V T W E L F T H N I G H T i O R . C . . DUKE. How there / * There's for t h y pains. T h a t nature pranks her i n attracts m y fancies are m o r e are. Unstaid and skittish i n all motions Save i n t h e c o n s t a n t i m a g e T h a t is b e l o v e d . never sweet." VIOLA. There m u s t s h e n o t t h e n be is n o w o m a n ' s so heart . t h a t t h e y a r e so grow! CLOWN.*' M o r e l o n g i n g . heart answer'd? love her . grave. the melancholy protect thee . dost t h o u l i k e t h i s No pains. at if ditmittinq hit council. DUKE. lord. «] Before speaking ORSI. b e so answer'd. terms times : slain of prepare share flower.* DUKE. boy. VIOLA comes doum stage R. the other following after the Lords. Then. . ( I I ] VIOLA advance! and tiandt in front of him. he tigns to COEIO.

* I a m a l l the daughters of m y father's house.c. sn ANDREW and FABIAV prep . I should your lordship. SIB ANDREW.* lives. * say. b i d e n o denay. turning to DUKE.ttt. 1 1 . perhaps. 7 ] Drawing a ring froin hit ftnfer. but I k n o w — DUKE. a n d w e w i l l f o o l h i m b l a c k a n d blue : s h a l l w e n o t .c. who MARIA.* Get ye a l l t h r e e i n t o t h e b o x .T W E L F T H N I G H T : OR. A n w e do n o t . I ' l l c o m e : i f I lose a s c r u p l e o f t h i s s p o r t . tpeaking at ht mtert. SIR TOBY goet towards the firtt opening in the hedge.* Here comes the little Enter H o w n o w . goen a little up ttage behind FABIAN. Ay. he b r o u g h t m e o u t o' favour w i t h m y lady about a bear-baiting here. VIOLA pautrt. [7] I. l e t m e be boiled to death w i t h melancholy. Jli tht it leaiiing the eurtain fuilt. TOBY.* B u t died t h y sister o f her love. by ttept. tigning to s n it L. [4) From c. i n t h e n a m e observe h i m . ' give h e r t h i s j e w e l .* VIOLA. » ] VIOLA tumt at the exit. m y m e t a l of MARIA. (S) toolnnf mint. Signior Fabian. T o her i n h a s t e .. T o anger h i m w e ' l l have the bear a g a i n . B u t m i n e i s a l l as h u n g r y as t h e sea. w e r e I a w o m a n . Come thy ways. SIR TOBY. W H A T Y O U WILL 23 sc. ACTS I I I .aughi—checkt herielf with her hand over her mouth.ce behiivl the wall and hedge piece B. [8J She puthet 8 U ANDREW over to s n [9] R.t r e e : d o w n t h i s w a l k : * he has been yonder i ' t h e s u n p r a c t i s i n g b e h a v i o u r to his o w n shadow this half hour : ' of him. [8] Turning juict/y to tht DDKI. SIR TOBY. A blank. and F A B U N .* India! Malvolio's coming [ 1 ] From L. coming latt. Ptretiving the DCKE rannat tee her. looking about him. s w e a r m o r e : b u t i n d e e d Our shows are m o r e t h a n w i l l .* M y l o v e c a n g i v e n o p l a c e . that's the theme. The thrtt look off towardt Ittpt at tht figurt of MALVOLIO appeari tn tight. over tht top. If the producer findt a divided box hedge undesirable. [SCENE OLIVIA'S * Enter SIR TOBY. *Sir. for I k n o w this letter w i l l m a k e of j e s t i n g ! * down a letter} \ f o r here c o m e s t h e t r o u t t h a t m u s t be c a u g h t w i t h tickling.e. on all fourt. who it R. m y lord. m y b o y ? VIOLA. N a y . [2] SIB ANDREW dropt down on s n TOBY'S [3] SIR TOBY goet up to meet MARIA. for t h e love of a contemplative Lie t h o u there idiot [throws m o c k e r y . SIR TOBY. [C] Coming doum to s n TOBY. At the putt down the letter FABUN joint s n TOBY and s n ANDREW.*"* lExtv. I w o u l d exult. FABIAN. SIR TOBY. A n d c a n d i g e s t as m u c h : ] m a k e n o c o m p a r e Between t h a t love a w o m a n can bear m e And that I owe Olivia. SIR t«l Ijfaving VIOLA. peert round the edge of it. s n ANDREW advanctt to her E. at if going. SIR TOBY. retting hit htad on hit armt on ilt back. M y father h a d a daughter loved a m a n . Too w e l l w h a t love w o m e n to m e n m a y o w e ' I n f a i t h . W h a t dost t h o u k n o w ? * VIOLA. ANDREW. And a l l the brothers too : and yet I k n o w not. FABIAN followt to i. and FABIAN. ANDREW. W H A T Y O U Air II. below box hedge. tht raitet the ring to her lipt. V/as n o t this love indeed? W e m e n m a y say m o r e . t h e y a r e as t r u e o f h e a r t as w e . he can arrange the hiding butinett to take place at oi. II (•ij IVilhout lurniilf. shall I to this lady? DUKE. As i t m i g h t be. WILL Afrt 11 SCENE V TWELFTH N I G H T : OR. Be erottet to c. i t i s p i t y o f o u r villain. 10] The DDKil throwi himtelf on tht teat. all cnep behind tht tecond division in Oie hedge. Oie ectumn tni 16] Moving a pace acroei the D 0 « to L . Close. below the teat. F e e d o n h e r d a m a s k c h e e k : she p i n e d i n t h o u g h t . DUKE. A n d w h a t ' s her h i s t o r y ? * VIOLA. arut tumt facing L.. b u t little i n our love. And w i t h a green and yellow melancholy She s a t l i k e p a t i e n c e o n a m o n u m e n t . SCENE I I I O l i v i a ' s Garden V ] garden ACT III O L I V I A ' S garden.. S m i l i n g a t grief. (5) Standing on the ttept and looking back the wavei her hand towardt the box hedge. IV AND V. Sir A n d r e w ? SIR ANDREW. But let concealment.C. Ay. She n e v e r t o l d h e r l o v e . W o u l d s t t h o u n o t be g l a d t o h a v e t h e n i g g a r d l y r a s c a l l y sheep-biter come by some notable shame ? FABIAN. to approach. for still we prove M u c h i n our vows. m a n : y o u k n o w . like a w o r m i ' the bud. m TOBY comet firtt. 8] VIOLA erottet to K.

pistol h i m . [16] Pauta and tumt by tht trtt. SIR TOBY. hang thee. y o u m i g h t see you. t h a t begins m y name. " see. FABIAN.*' I n m y stars I a m some are b o r n great. 0 .* : he jets under his advanced Peace. ' S l i g h t . or I ' l l cudgel h i m cry A n d t h e n I comes behind. let " M . our plot. where like stroke I .* very phrases! be?* FABIAN. FABIAN. her H e r C's. for h i m : to 118] m TOBY tttpt out from hit hiding^ce. man must know : " [reads]. m a k e up t h a t : [FABIAN. [4] Coming farther doum ttage. MALVOLIO. f o r every one of these letters are i n m y name. JIIJ Suddenly MAITOIIO tumt and teals himtelf. doth life. s h o u l d s h e f a n c y . she may W h a t dish o' And with " [10] Bthind SIR TOBT. "One Sir I knew some achieve greatness. follcioed by their heads round from time to time. 0 . brock! • I may But With M. I may command d e m u r e t r a v e l o f r e g a r d . y e t ] familiar at [FABIAN.* SIR 111 By tUpi C. FABIAN. " I f this fall i n t o t h y h a n d . b u t be n o t a f r a i d of greatness : k n i g h t . knife. i n H I itR TOBT comet out fn tree a pact. wishes:"—her of To whom FABIAN. SIR A N D R E W .— FABIAN. SIR TOBY.. a n d perchance w i n d up m y w a t c h . [14) Pe ring out over BIR TOBT. i t s h o u l d be o n e o f m y c o m p l e x i o n . I s e r v e h e r . MALVouo. of question. t o i n u r e t h y s e l f t o w h a t t h o u a r t l i k e t o be. W H A T Y O U W I L L 26 Enter MALVOLIO.o. M. b u t 0 h i m . . MALVOLIO.id examines the ttal. They put uses m e w i t h a m o r e e x a l t e d r e s p e c t t h a n a n y o n e else t h a t W h a t should I t h i n k on TOBY. SIR velvet me TOBY. 0. f o r a s t o n e . 'You Nay.c. and pacet to C. him : SIR SIR • SIR SIR SIR Contemplation makes a rare turkey-cock i m p r e s s u r e h e r L u c r e c e . t h e r e is n o o b s t r u c t i o n i n t h i s : a n d the e n d .tl.* a l l is f o r t u n e .e. m e she d i d a f f e c t m e : a n d I h a v e h e a r d h e r s e l f c o m e t h u s n e a r . lO] Bit haruls grasping his wand. h a v e w e h e r e ? ** W h a t employment slough a n d appear fresh. i t w o u l d b o w t o m e . — [12] rutting hU head out again. reading. [6] A pact to K. m y fortunes h a v i n g cast m e o n speech. peace I ] a n d t h e s p i r i t of h u m o u r s i n t i m a t e r e a d i n g B y m y l i f e . g o w n . tapping hit chttt at ht eomet to tht latt phrate. p e a c e . faults. command me : O. is example for't . MALVOLIO. s m i l e w i t h a n austere r e g a r d of fU] Again adtaneing—butinett M befon. a n y f o r m a l c a p a c i t y . [8] With an affected gait he descendt the ttept. " — SIR A N D R E W . t o c r u s h t h i s a l i t t l e . blows in m y SIR him. SIR TOBY. t h i s is m y l a d y ' s h a n d : hand. MALVOLIO. Nay. h a v i n g come f r o m a day-bed. let m e say I . I : ** t h i s s i m u l a t i o n i s n o t as t h e f o r m e r : ** Soft! here follows prose. a n d yet. t h i s . snt TORV. I hope. 18] G'cri over to and ttandt by the teat. 16] be opent tht letter. let m e [FABIAN.*' state.] above thee . " what? must amend JT [ w e d e t r a c t i o n a t y o u r heels t h a n f o r t u n e s before your break Out. Pt] Bit it» fUt on tht letter. c a s t t h y h u m b l e Be opposite w i t h a k i n s m a n . must know. DM Bt r—thit for tht leUtrwHk Ml wand. ay. Doling tkii butinett tht appear over the low wall at tht t. I . how TOBY. AU disappear behind tue hedge.b o w . I adore heart my a Lucrece Fie o n h i m . folloued bg the othert. |7J A furUier pace (o B in the direction of the teat. the lady o f t h e Strachy "Mo SIR in : look h o w imagination Peace. Andrew. BIB ASUHEW and EABIAX. bloodless 0. m a k e he is n o w a t a cold I f r o w n the w h i l e . goet up ttage to the last opening. b u t first. Malvolio!' [8] About to open tht letter he pauttt u. Fates open t h e i r hands . t e l l i n g t h e m I k n o w m y p l a c e as I w o u l d t h e y s h o u l d do t h e i r s . Pistol h i m . 11) Beeomet rjddenly coruciout oftheuaiul at an emblem of servitude. command silence.— w h a t w i n g the staniel checks at i t ! ] W h y . A.Ti)l. — w h y . doth my sway Malvolio?* . p e a c e ! Seven o f m y p e o p l e . tht IttUr. foolish t h a t suffers u n d e r p r o b a t i o n : A n d does n o t T o b y t a k e y o u a b l o w o ' t h e l i p s t h e n ? *• Saying. MALVOLIO. I extend m y h a n d to h i m thus. fox. p e a c e ! A n d t h e n t o have t h e h u m o u r of state ." t h e s i n e w s of y o u r niece give m e t h i s p r e r o g a t i v e of What. a n d m y good B y y o u r leave. peace! M a r r y . — S o f t l y ! SIR as a TOBY. The dhtrt draw him back. littlt. SIR TOBY. * her. contempt [ O . — b u t t h e n t h e r e is no consonancy i n t h e sequel . 14] At M. MALVOLIO. peace. see. maket a feuj pacet and ttopt to continue.— SIR peace. MALVOLIO. y w a s t e t h e t r e a s u r e of y o u r t i m e w i t h M ." W h y . t h a t . [8] Be ooet firther I . w i t h a n o b e d i e n t s t a r t . [15] He turru arut in thought pacet up ttagi a little in tht direction of th^ trtt. It) At though tumming up hit reftectiont upon OLlvli. O. in thought.* MALVOLIO. say. I Ah. peace! 't?* rogue! plumes! rogue! Here's a n overweening M A L V O L I O [reads]. gore : married the yeoman SIR A N D R E W .lo maket a ttep lowardt c. (17) Ht pactt to I. A . A . i warrant you. " Cousin Toby. Ht pautet at tht top. courtesies there S o w t e r w i l l c r y u p o n ' t f o r a l l t h i s . mftMnf HitmoMti rim mi piikt That's me.] MALVOLIO. ' M a r i a once told B e s i d e s . A. MALVOLIO. t h i s is e v i d e n t t o I f I could make that scent. where I have left Olivia sleeping. MALVOLIO. S h a l l t h i s f e l l o w l i v e ? ** [ T h o u g h o u r s i l e n c e be d r a w n f r o m u s w i t h cars. This wins h i m . MALVOUO. A should follow. he suJjlenly lays it aside and adoptt a loftier attitude. i f t h i s s h o u l d be t h e e . 0. surly w i t h put thyself into let t h y tongue t a n g a r g u m e n t s of state . scab! patience. she i s m y l a d y .** [11J At ht tpeakt MAITOIIO tumt on hit ti. TOBY. t o h i t h i m i n t h e e y e ! C a l l i n g m y officers a b o u t m e . t o ask for m y SIR TOBY. aloud to h i m ! * C's. A y . TOBY. ANDREW. i n m y b r a n c h e d Fire and brimstone! f A f u s t i a n r i d d l e ! *• Excellent wench. Tht thrtt mtn ruth behind trtt again. SIR ANDREW and TABIAN ANDREW.] a FABIAN. No "No man TOBY. SIR and after a TOBY. Jezebel! MALVOLIO MALVOLIO. SIR TOBY. [OJ Looking round the tret. Bill TOBY. Besides.—Malvolio . — w h a t should t h a t alphabetical position portend ? resemble something i n m e . M . follows? all. [13] Bt watkt lot. MALVOLIO.] M. a n d s o m e have greatness t h r u s t u p o n 'em. me. h e r U ' s a n d h e r T ' s . D i d n o t I say h e w o u l d w o r k i t o u t ? t h e c u r is excellent 0. facing I . out Toby. w a x .—** TOBY. quenching m y control. fall over one another to their hidiiiaplace. [Reads. before retuming. let t h y blood a n d s p i r i t embrace t h e m .* 0 . [18] Ht pautet. W H A T Y O U W I L L ACT 1 1 SCENE V T W E L F T H N I G H T : O R . and make does. see. the know. w i t h w h i c h s h e uses t o s e a l : should this [reads]. she follows SIR TOBY.** Thy and."— drunkenness. MALVOLIO. who il crouching down.«4 T W E L F T H N I G H T : O R . for many d o call me [Taking up fool. kinsman now. SIR A N D R E W .** A y . FABIAN. |12] SIR TOSY—out of HALTOLIO'S line of vision at he tpeakt—crotset over to behind foliage piece R. T/ie t!in-' men disappear tiehiTtd the hedge. headt of SIR TOBY and tn ANDBIW BIR TOBY and T A B U N ditappear. TOBY. her U's a n d her T's : why that? * Soft! and the [2] Creeping out ing. now. 0 . TABIAH follouthese be her v e r y I t is.** s i t t i n g FABIAN. MALVOLIO. peace! There of t h e now wardrobe.** poison has she dressed h i m ! where I adore. H a v i n g been three m o n t h s m a r r i e d to her. MALVOLIO. a n d t h u s m a k e s she h e r g r e a t P's. I c o u l d SO b e a t t h e T o be C o u n t rogue! I love MALVOLIO. doth sway m y l i f e .— M . I .'" man knows who? do not must What move . and with action tilently repeaU the wordt he hat tpoken. Bolts and shackles! FABIAN. * 'tis m y lady.** 01 more A n d O s h a l l e n d . Tie earriti hit wand of offire. or T o b y approaches . servants . liver and Jove But Lips. [8] Hu back being to tht hedge. a n y o u h a d a n y eye b e h i n d y o u . MALVOUO 'Tis but fortune . MALVOLIO. t h o u g h i t b e as r a n k p l a y w i t h my—some rich jewel."—** 'twas I . p e a c e . " T o the u n k n o w n beloved. rABUM arut SDl ANOUW all rite above it.* he's deeply numbers altered! [7] A little to i. SIR TOBY. revolve.

coming eroiui to 0. and tumitig. So t h o u m a y s t s a y .] a labor. t h e thee..d e v i s e t h e v e r y m a n .] thee I t h a n k m y sUrs I a m happy. * ' W o u l d n o t a p a i r o f these h a v e b r e d . Fortunate-Unhappy. 0. L i k e aqua-vitae w i t h a m i d w i f e . firtt. SIR TOBY tlidet doum again. jest. or I science. SIR TOBY. [aside] within ? CLOWN. of I w i l l n o t give m y p a r t of t h i s sport for a pension I could m a r r y this wench COUld I t O O . rascals since bonds disgraced T h y reason. A r t t h o u not the Lady Olivia's fool? husbands Shall I play m y freedom at t r a y . I w o u l d . but Cressida t o t h i s T r o i l u s . t h e k i n g l i e s b y a b e g g a r . therefore. W H A T Y O U W I L L ACT H SCENE I T W E L F T H N I G H T : O R . w o r d s a r e g r o w n so f a l s e . s n ANDREW. I w i l l read p o l i t i c a u t h o r s . Nay. and wished to [1] i : > TOBT. Re-enter SIR TOBY. t h e L a d y O l i v i a has n o f o l l y : she will but in m y i f t h a t be t o c a r e f o r n o t h i n g . W i l t t h o u set t h y f o o t o ' Or o' m i n e e i t h e r ? ** SIR ANDREW. (191 Laughing.* VIOLA. SIR TOBY. I w o u l d play L o r d Pandarus of P h r y g i a .g a r t e r e d excites she at Save t h e e . 1 MARU punctuatei her ipeech with laughter ail through. s i r ? Yes." [7] Ue pautet. where. and become t h y either? k e e p n o f o o l . I a m a l m o s t sick for one .g a r t e r e d . that w h e n the N a y . tianding e KKb TOBT doum. I do n o t care f o r y o u : I would it would make No. («rn« and . (131 Climbing doum. (£4) b. dear m y J o v e . wit! »» I ' l l make one too. [23] Foliowing MARIA with whom he goet out. 112} Laughing.* a postscript. sir. and faett FEBTB. i n his next commodity h a i r . UMbU to control Ui laugUor. * ' FABIAN. VIOLA. see [ACT THE THIRD] [ 1 ) So break. a n d m y these h a b i t s of h e r l i k i n g .** MARIA. * ' other dowry w i t h her but such A n d ask no CLOWN. s i r : I do l i v e b y t h e c h u r c h .** SIR TOBY. to b r i n g I understand y o u . FABIAN itandt R. I can none w i t h o u t words . MARIA advanc't. approach before m y lady : and a n d ' t i s a c o l o u r s h e a b h o r s . li] To L. turning and looking after TIOLA. sir . abovt htr. s t o u t . I t h a n k t h e e : * I w i l l s m i l e . I w i l l baffle Sir T o b y . m a r k h i s f i r s t he w i l l come t o her i n y e l l o w like the sun. [101 Looking at hit Iegt in turn.** T o t h e gates of T a r t a r . 1 E .C. 1 E. w h i c h w i l l n o w be so u n s u i t a b l e t o h e r I f y o u w i l l see i t . (211 Croittt in front of SIR TOBY to L. at though lo envitage the yellow ttockingt. sir. b u t say t r u e . I w i l l be p o i n t . He drawt himtelf to hit full height and ttrutt out L. ' t i s w e l l begged. hand. SIR A N D K E W . W H A T Y O U W I L L 37 Remember w h o commended t h y yellow stockings.' CLOWN. a n d cross-gartered. [3] Uoving to %. D a y l i g h t a n d c h a m p a i n d i s c o v e r s n o t m o r e : * t h i s is o p e n . sir. l e t m e see t h e e a s t e w a r d s t i l l . i t be your thee.*' I ' faith. is n o t great. t h e c h u r c h s t a n d s b y t h y tabor. S i u ANDREW following.so T W E L F T H N I G H T : O R . TESTE then dropt down L. her name's a w o r d . I live by the church. for t h i s device. [Exeunt. Why. let i t appear i n t h y s m i l i n g . my house. m a n ? Troth. (2] B< movet ludienty to 0. noble gu!l-catchsr. a n d t h y m u s i c : No.] con- [15] Looking R. smiles become sweet. t h e h u s b a n d ' s t h e b i g g e r : not her f o o l . r e m e m b e r . she d i d p r a i s e m y l e g b e i n g c r o s s . VIOLA. Nor I neither. SIR TOBY. [10) Turning. s i r . . » I w i l l do e v e r y t h i n g t h a t t h o u w i l t have m e . that very they that dally nicely w i t h words quickly make Why. SIR ANDREW helpi him. I w o u l d be s o r r y . t h o u hast p u t h i m i n such a dream. CLOWN. and i n this N o s u c h m a t t e r . 1 E. a n d w i t h a k i n d of i n j i m c t i o n drives m e t o [4] Moving to 0 .*' m y neck? *' Here comes m y to be p a i d f r o m t h e So Sophy. T o see t h i s age ! A s e n t e n c e is b u t a be cheveril glove to a good w i t : turned outward! [VIOLA. ' therefore in my presence still I f t h o u entertainest m y love. s i r . begging a [13] With a little laugh iht findt anolitr pitee of money and layt it with Iht other in FEBTE'I palm.t r i p . i f t h o u d e s i r e s t t o b e so well. [5) Following v i o L A .O. b u t her c o r r u p t e r of VIOLA. Tht action u eonHnued. p r o u d . VIOLA. b u t t h e f o o l s h o u l d I t h i n k I saw more with as o f t w i t h y o u r m a s t e r as w i t h m y m i s t r e s s : there.O. beard! VIOLA.O. gazing at it reflectively. * N o t so. them. t h a t m y l a d y loves m e . crotting at ht tpeakt. f r i e n d . t h o u m o s t excellent d e v i l of I ' l l no of H o l d . FABIAN. I hope. By m y troth. TIOLA panel wp in the direction of the ttept on ^EBTB'S L .. She d i d c o m m e n d m y y e l l o w s t o c k i n g s .. i f t h y tabor s t a n d by the c h u r c h . indeed. (171 Kneeling and attempting to put hit hi ad on the ground. f e l l o w of servants. * swiftness of p u t t i n g on. follow me. yield you and to dally w i t h words are word might make VIOLA. During her tpeech SIR TOBY attempti to get up. B u t indeed SIR A N D R E W . thee ever cross-gartered : * I say. t h o u a r t m a d e . image MARIA. 1 E. [221 Running (o L. [8] Hi repeaU tht tmile more txtravagantly. Go t o . * ^ a n d c r o s s . appear again. h o w q u i c k l y t h e w r o n g side m a y " T h o u canst n o t choose b u t k n o w w h o well . wisdom every I saw Foolery. send thee I ' l l tell thee. in which the otheri join. [Reads.** SIR A N D R E W . t h e r e ' s expenses f o r N o w Jove. CLOWN. that's certain . i n y e l l o w stockings. I f y o u w i l l t h e n see t h e f r u i t s o f t h e s p o r t . does i t w o r k u p o n I a m indeed of i t leaves h i m he m u s t r u n m a d . may Nay. and endeavouring to deicend. I prithee. b e i n g k e p t together a n d p u t to use. and [4] Moving to L. does w a l k a b o u t W h y . a f a s h i o n she d e t e s t s . VIOLA. you invisible. She t h a t w o u l d a l t e r s e r v i c e s w i t h The [SCENE I ] * [OLIVIA'S * Enter V I O L A . C L O W N tvith (2) From R. [7) Paueing and finding a coin and returning. for every reason o f l a t e . [ I l l GeUing over the wall. g r o s s a c q u a i n t a n c e . fulU down behind tho waU. o r . s i r . sir . [121 After advancing and looking at the coin.** VIOLA. Ill] a [8) On TESTE'S E. to let i m a g i n a t i o n jade me . puUinf SIR TOBT up between them. TESTE holdt tht coin in Iht palm of hit R. TIOLA.** another [Exit. strange. turru at the eontinuet. J o v e a n d m y stars be p r a i s e d ! I w i l l be H e r e is y e t I thy VIOLA. (161 K. words. I d o c a r e f o r s o m e t h i n g . ibiwiiiv abovt him. Y o u have said. VIOLA. shines stockings. He advanctt to E. sir. to t h i s . I a m l o a t h to prove reason w i t h them. h e w i l l s m i l e u p o n h e r . a n d n o t w o r t h y t o t o u c h F o r t u n e ' s fingers. Orsino's.** thousands SIR TOBV. OraduaUy hit fai t expanfU into an artificial tmxle.** CLOWN.. I w a r r a n t t h o u a r t a m e r r y fellow a n d carest for n o t h i n g . thee. s i r . sir. i f a b e g g a r manifests herself to m y love. f o r I do l i v e house d o t h stand by the church. The m a t t e r . (18) SIR ANDREW imitatei SIR TOBY. t h a t i t c a n n o t b u t t u r n h i m into a notable contempt. [14] Bt bowt and gott (SL. [81 Ht kittet hit hand to the heavent.' sir. CLOWN.'* d i s p o s i t i o n .** [CLOWN. Fare- i f n o t . a n d f o o l s a r e as l i k e as p i l c h a r d s a r e t o h e r r i n g s . and garden. CLOWN. the orb thee late a t t h e Count s i r . (141 SIR ANDREW and TABIAN help SIR smile.* Art thou a churchman? dost t h o u l i v e by t h y tabor? CLOWN. b e i n g a d d i c t e d t o a m e l a n c h o l y as she i s . MARIA. 1 •. CLOWN. even w i t h t h e [61 SIR ANDREW and TiVUH d w e l l n e a r h i m .* am. him? CLOWN." I will ' I do be VIOLA. I w i l l w a s h off not n o w fool myself. sister h a d h a d n o name. an t h o u pass u p o n m e . m y man? sir.' a [6) At Iht tptakt. [9) A ittp to%oaedt E. my sister w a n t o n . them wanton. CLOWN. bond-slave? SIR ANDREW. gott after them with l i B u a . Is. • Is t h y lady t h o u g h I w o u l d n o t have i t grow on m y c h i n . t i l l she be m a r r i e d . sir.. SIR ARDRLVr anil TABIAK ditappear. SIR TOBY.

votre serviteur. Y o u ' l l no thing. what might you think? thoughts of y o u r receiving bosom. t h e heavens r a i n odours o n y o u I SIR 9] Bowing low to O L I T U . [Let the [Exeunt shut. I have one h e a r t . speak. lady. her hand remain* extended. Black out. b u t g i v e n u n s o u g h t is b e t t e r . [14] VIOLA rt4<* and releatet OLivu's hand immediately. [. tn command. SIR TOBY. y o u t h . I m i g h t s a y " e l e m e n t .* monsieur. * ' A n d h e is y o u r s . **I VIOLA. [161 Withdrawing her hand. b u t to y o u r o w n " pregnant " door be and " vouchsafed leave MARIA. Then SIR TOBY bowt and kadi SIR ANDREW up towardt the slept. itepping back a pace. w h e n w i t a n d y o u t h is c o m e to harvest. maugre a l l t h y pride. and coming behind VIOLA. construe [1] Ht tott (m( L. htr back to TIOLA.o. m Making a talutation to TIOLA.* SIR TOBY. SIR TOBY geU B. VIOLA. Y o u r s e r v a n t ' s s e r v a n t is y o u r s e r v a n t . 1 E. SIR ANDREW hangs back. I think not on h i m : for his thoughts.* W h y . c. then. OLIVIA.*' looks b e a u t i f u l soon 0. kneels on one knee. bowing before her. you. On his OLIVIA. T h e n w e s t w a r d . be! [15) In entreaty. pointing R. E t vous aussi . at tht iitcendt litem the ttopt and lookt baek at TIOLA.SCXNE 28 T W E L F T H N I G H T : O R . aiK ANDREW patting to hit R. ] thing. M y servant. <To«*e* ' .] desirous m y n i e c e is and I a m 'tis a vulgar A n d y o u .h o ! ** [6] She (rosiet round i 1 front of n o L A u up c. • M o s t excellent accomplished lady. feather practice * Dear l a d y . turnt and comet down R. OLIVIA. hand. [91 Turnt away up ttage. BIK TOBY and SIR ANDREW exchange glancet. so d i d I a b u s e I d i d send. proud! [Clock time. none more move has . I come t o w h e t y o u r gentle thoughts behalf.** A t t e n d y o u r l a d y s h i p ! ** west. M y duty. as sht doet to OLIVIA draiot in her breath. w h o y o u are and w h a t y o u [Exit. (5] Looking dovm contcioutly at htr Iegt. not a grize . OUVIA. But r a t h e r reason t h a s w i t h reason Y o u ' r e servant to the Count Orsino. 18] A ttep towardt OLITU. to steps . n o r never alone. OLIVIA L . d u e VIOLA. t r u t h a n d every w i t n o r reason c a n m y passion I l o v e t h e e so. that. OLIVIA. lurra again—h*r manner changing. (71 Stepping back a pace at though SIR TOBT thould precede her. In [A well. Since l o w l y f e i g n i n g was VIOLA. [SIR VIOLA. gentleman. SIR ANDREW a little above him on hit R. " b u t t h e w o r d is over-worn. r i n g i n <!hase o f y o u : Myself. proof. MARIA goet up L.c up flag*. And And Will B y innocence I swear. my I a m b o u n d to y o u r niece. [ D o n o t e x t o r t t h y reasons f r o m t h i s For that I woo. VIOLA. Traverse N N for a Jew mo- .** OLIVIA. thoulder. folly-fall'n. 0 yours.*^ VIOLA. fair 'Twas never call'd compliment: princess. VIOLA.] me to . Y o u r w i f e is l i k e t o r e a p a p r o p e r m a n : • *" T h e r e lies y o u r w a y . and] my me S I R T O B Y . l l i ) TurjUn:/ K. I f o n e s h o u l d be a p r e y . g o o d m a d a m : * ' I m y m a s t e r ' s tears t o y o u Yet come again . SIR I ' l l get M y matter hath no ear. L o v e s o u g h t i s g o o d . VIOLA. After the last e n c h a n t m e n t y o u d i d here. t h a n I u n d e r s t a n d by b i d d i n g m e taste m y I m e a n . [4] Sht movtt to R. truth. 1 1 . t o go. And.\fovit up a ttep. T h a t ' s a degree t o No. [1] stepping back a pact. [5] Riting.. legs. your hand. y o u : » ' Under your h a r d construction m u s t I sit.* I w i l l answer y o u w i t h gait and entrance. sir. W h i c h y o u k n e w none of yours : And [2] TIOLA turn* her fact away from O L I T U . SIR TOBY leads him off C by steps. VIOLA. r a t h e r t h a n f i l l ' d w i t h m e l *• M a d a m . [8] At OLIVIA enter* VIOLA. and by m y y o u t h . hide.* SIR TOBY. retiree a little. save I so a d i e u . (201 VIOLA pause*—faring led. but retain* the tame diitanet from her. at though tht were loath that VIOLA thould part with it. baited i t w i t h all the unmuzzled a cypress. 11] She glancet indicativety at the othert. VIOLA. Enter OLIVIA and MARIA. T a s t e y o u r legs. 120) Nearer to OLITU. u litUe up ttage. check a t every [ T h i s is a art: H a v e y o u n o t set m i n e h o n o u r a t t h e s t a k e . he jests.** T h a n love t h a t w o u l d seem h i d : By Nor ** Cesario. to m y lord by ** O L I V I A . W H A T Y O U W I L L ACT I I I 30 VIOLA. There t* a paute before the tpeakt. l e t m e h e a r y o u you. put t h e m to m o t i o n . she i s t h e l i s t o f voyage. 'em I a m not w h a t I am." garden most pregnant a n d vouchsafed ANDREW.** " : " Odours. clause.* w o r l d . and followt them out. h o w m u c h t h e b e t t e r T o fall before t h e l i o n t h a n t h e w o l f ! T h e c l o c k u p b r a i d s m e w i t h t h e waste of ' Be not afraid. never deplore. VIOLA. tht advantet ficr handt. T I O U itit L. A Give m e w o u l d a r e o u t o f m y w e l k i n .** the contempt a n d anger of his l i p ! m u r d e r o u s g u i l t shows n o t itself m o r e l o v e ' s n i g h t is n o o n . — l e a v e . enter* ftom the firtt openitu in tlie box hedge. methinks 'tis t i m e to smile again. good y o u t h . (4] I'urning and bowing lo SIR TOBT. h o n o u r . [13] Advancing to OLIVU the taket her L . ] Enter SIR TOBV and SIR ANDREW. sir. [10) Sudlnli/ facing viOLi.'I] Speaking lo TIOLA'S baek. the house? ANDREW. 19] She approachti clot* to tht ttat. me. fetter. [16] At OLIVIA »p«oi«. to t h e m whence you come . [17] She turns away and movet a little in the direction of the ttat. for t h o u perhaps m a y s t Draw (1!)] At if going. OLIVIA. sir. w h a t a deal of scorn 1 wish i t m i g h t . sir. at though the kiti had thrilled her. (211 OLIVIA tumt doum Hag/i and lUndy walki round and up c. 10] Oi«r SIR TOBY'S R. looking up again. n o t a T h a t tyrannous heart can t h i n k ? E n o u g h is s h o w n : Hideth m y heart. one b o s o m a n d one that no w o m a n S h a l l m i s t r e s s b e o f i t . and Give OLIVIA. then on the ground. OLIVIA.* SIR what you mean TOBY. [0] Indicating L. OLIVIA and VIOLA retain their poiUiont until the otheri are out of light. m a d a m . I m e a n .*" ** 0 . Save y o u . are. followed bv F o r f o l l y t h a t he w i s e l y shows is f i t . a n d h i s m u s t needs be y o u r s : For h i m . strikes. So. OLIVIA. on the other tide of VIOLA. VIOLA. S I R A N D R E W . love. c . h o w a p t t h e p o o r a r e t o be SIR A N D R E W . y o u are . H e m u s t observe t h e i r m o o d o n w h o m T h e q u a l i t y o f persons. Facing OLIVIA at entrant*. And to do t h a t w e l l craves a k i n d of w i t : and the time.* D i e u vous garde. beseech y o u . m a i d h o o d .^ T h i s f e l l o w is w i s e e n o u g h to play the fool . for n o w a l l three a l l ready. sir I merry world service. W i l l y o u encounter y o u s h o u l d e n t e r . then OLIVIA movei up ttage looking after them. ' " ( I bade y o u never speak a g a i n of h i m : R i i f nrnnlH wnii i i n r 1 * r f n l r o n n n t h ^ r n u i t OLIVIA. T o force t h a t on y o u . * * W o u l d t h e y w e r e b l a n k s . s i r . m a d a m . hearing. m y servant a n d . A s f u l l o f l a b o u r as a w i s e m a n ' s But [ 2 ] SIR TOBT.* SIB ANDREW. [16] Turn* a*id* K. B u t we are M y legs d o b e t t e r u n d e r s t a n d m e . Stay : p r i t h e e . i f y o u r t r a d e be t o h e r . and lightly kisses it.. I fear m e . MARIA L. sir . wise m e n . looking over hit shoulder. i n a shameful cimning.' prevented.c. I w i l l n o t have y o u : * A n d yet. t e l l m e w h a t t h o u t h i n k ' s t of I f I t h i n k so. She lookt at VIOLA. Grace a n d good disposition me? (141 By th* R. m a d a m . b y y o u r l e a v e . t h o u therefore hast no cause . I p r a y y o u . t h a n I I a m your fool. [7] Turn* and lookt baek at (8J . s i r . OLIVIA. 12] LooHng at SIB TOBY and SIR ANDREW T h a t y o u do t h i n k y o u are n o t w h a t y o u I t h i n k the same of Then think you r i g h t : ANDREW. b y t h e roses o f t h e s p r i n g . VIOLA. quite taint their w i t . T h a t very oft we pity I pity T o one T h a t c o m e s b e f o r e h i s eye. l i k e t h e haggard. 113) Turning and re-tuming. ] VIOLA. but tome few pacet away from and above her.** am? I w o u l d y o u w e r e as I w o u l d h a v e y o u W o u l d i t be b e t t e r . madam. to enter. for enemies. I hope.'" T h a t y o u t h ' s a rare courtier : " R a i n odours " voice. VIOLA. and most humble W h a t i s y o u r n a m e ? ** Cesario is y o u r servant's n a m e . VIOLA. W H A T Y O U W I L L ACT I I I I T W E L F T H N I G H T : O R . VIOLA.C.

no m a t t e r . old boy? now. [11] SIR ANDREW (unu uM an exclamation of bravado. f a i t h . M a r r y . [15] 0 .* [Enter MARIA. things at h i m . I ID] Stepping back from SIK ANDKEW and pointing up towardt ttept vjith hit K. and ANTONIO.* Why. favours to the I saw 't i ' that. * D i d she see thee t h e w h i l e . a l t h o u g h t h e sheet w e r e b i g e n o u g h f o r t h e bed of W a r e i n E n g l a n d . Challenge m e places : y o u t h to fight w i t h h i m . *» i f t h o u t h o u ' s t h i m s o m e t h r i c e .] unless y o u do redeem i t b y some l a u d a b l e a t t e m p t e i th e r of SIR A N D R E W . . [13] SIR ANDREW facet SIK TOBT. A n ' t be a n y w a y . f i r e . pains. and with some excellent jests. erottet SIR TOBY lo L. c.m a n t h a n e v e r she b e s t o w e d u p o n m e . SIR TOBY. night: firm. between the two men. I«] Coming doum ttage B. a challenge to him? B e i n g skilless i n these p a r t s . [ t h e double g i l t of t h i s o p p o r t u n i t y Dutchman's street. b r i n g us.j u r y m e n since before N o a h every p o i n t of t h e letter t h a t I dropped to betray h i m : of the Indies : forbear hurling y o u h a v e n o t seen s u c h a t h i n g as ' t i s . b r i n g us w h e r e he is. Turns arul burtit out again.t n / travel.* the church. BIK ANDKEW pullt himtelf up with an attumption of great valour. t h o u g h so d r a w n one to a longer jealousy w h a t m i g h t befall your prove willing of As m i g h t have forth . [4] Pacing to L. y o u l e t t i m e w a s h off. T h i s was a great a r g u m e n t of love i n her t o w a r d y o u . drau^t her face to his thoulder. [Exit S h a l l w e go SIR ANDREW. will have troubled you . w r i t e i t i n a m a r t i a l h a n d . SIR A N D R E W . bears i n h i s visage n o g r e a t cruelty. I know my lady will h i s f a c e i n t o m o r e l i n e s t h a n is i n t h e n e w m a p w i t h t h e a u g m e n t a t i o n [«] [7] She d i d s h o w f a v o u r t o t h e y o u t h i n y o u r s i g h t o n l y t o Y o u should then have from This was accosted you for my i f she d o . like his m u r d e r e r . 'gainst the count his of such note . u p o n t h e oaths of j u d g m e n t A n d they have been g r a n d . y o u t h to a n answer. a n d t h i s was balked : [ 8 ] Tht whoU ofthU tetnt it omitM. ANTONIO. let us satisfy o u r T h a t do r e n o w n ANTONIO. *« be c u r s t a n d b r i e f . We shall have a rare letter f r o m h i m : but you'll not the I p r a y y o u . SIR TOBY gott to her and. [14] Turning on the top of the tUpt. I ' l l e a t t h e r e s t o f t h e anatomy. He tumt to TABUN. where the youngest Yond Y o u m u s t nccds y i e l d y o u r I f y o u desire t h e spleen. w o r t h as i s m y other answer m a k e but thanks. my r a t h e r by these a r g u m e n t s w h i c h to a love. L e t t h e r e be g a l l e n o u g h i n thy ink. With see t h e r e l i q u e s o f t h i s not weary. s e r v i n g . FABIAN. and eyes b e s t f i r s t g o see T h i s is a dear m a n a k i n to y o u . deliver 't? Never trust m e . FABIAN. my desire.80 T W E L F T H N I G H T : O R . No. SIK ANDREW maktt a pact or two up c. much i n eleven niece s h a l l t a k e n o t e than r e p o r t of voyage. and her laughter it continued tpatmodically through the tpeech. [Enter] SIR TOBY. do? go. SIR TOBY. I am sir : go. r e n e g a d e s . I d i d some service . this city. M o r e sharp t h a n filed steel. T h e r e is n o w a y b u t t h i s . i t is n o m a t t e r h o w w i t t y . him policy. t h y s e l f . u o r l . i tl XT and by a l l means stir on w a l k these streets : indeed. * MARIA. tht infeHion of wliich it conveyed to BIK TOBY arut TABIAN.n e w the m i n t .. hurt assure ANTONIO. embracing her. I t h i n k oxen and wainropes cannot hale t h e m -^A ti^A rr. f o l l o w m e . And But I could n o t stay b e h i n d y o u : TOBY. SEBASTIAN. wkhlkH itandt llithtly above him. t h e r e is n o l o v e . Antonio. d i d spur m e n o t a l l l o v e t o see y o u . . [4] [G] I w i l l prove i t l e g i t i m a t e . W H A T Y O U W I L L 31 [SCENE [OLIVIA'S [1] 8I> TOBT il liiKonrtd on (ht teal in a potition of tate. at y o u r h a n d . A r e shuffled off w i t h such u n c u r r e n t pay : himtelf to a pattion—emphatixiixg BIR TOBY'S words uith getturet.' SIR and FABIAN.' exasperate y o u . a n d y o u a r e n o w s a i l e d i n t o t h e n o r t h o f lady's opinion . longer. or so. I ' l l not stay a j o t dear v e n o m . looked [SCENE i n * A Enter should have banged the y o u t h i n t o dumbness. her . SIR TOBY. reason. W h e r e s h a l l I f i n d y o u ? ** W e ' l l call thee a t t h e cubiculo : about i t should find better dealing. II] house. gradually getting nearer the ttept. To-morrow. Sir SIR A N D R E W .' a n ass I have dogged h i m .* b l o o d i n h i s l i v e r as w i l l c l o g t h e f o o t o f a f l e a . 1 a . pausing at " pa«s«(!cs of grosjneM " SIR ANDREW. t h e n . FABIAN.** SIR TOBY. I will no I w o u l d n o t by m y chide you. since y o u m a k e y o u r pleasure further of y o u r I h a d as l i e f be a B r o w n i s t as a p o l i t i c i a n . But. Joining with TABIAN in the laughter. FABIAN. itanding in front of him. ' I saw y o u r niece do m o r e stitches. ** o f i n v e n t i o n : ** fear. where y o u w i l l h a n g like a n icicle on a valour or I hate : 18J With a clap on SIK AnnBlWs thoulder SIR valour. t h e basis and of SEBASTIAN. t h o u g h t h o u w r i t e w i t h a goose-pen. were m y t a i m t h i m w i t h t h e l i c e n c e o f i n k . I can no And But. ANDREW. ler. Crotting UM TOBT lo TthiAX. SIR A N D R E W . to p u t fire i n y o u r heart. [ 7 ] i n a passion. i t s h a l l n o t be a m i s s . a n d as m a n y l i e s as w i l l l i e i n t h y s h e e t o f p a p e r . arut maket her final declaration with a rising inflection—hysterically Taking MARIA'S tone. [3] MARU enteri after a long peal of laugh. She comes to c. FABIAN. * SIR TOBY. sir.] and FABIAN. a b o u t i t . s o m e t w o t h o u s a n d s t r o n g . [12] (TiM an aisenting lign BIK ANDREW tumt up again. — My kind a n d ever . And cross-gartered? l i k e a pedant t h a t keeps a school i ' H e does o b e y h e does s m i l e I can hardly strike h i m : [Exeunt. into very [2] Turning and looking off L. They all laugh together and art moving out at Iht curtain fallt. was a sailor. speaking guickty keeping the lone of the speech a littli down at its commencement and working up to a climax. SIR TOBY. in yellow tell m e A s p l a i n as I see y o u 'Slight. W i l l either of y o u bear m e G o . M A K U .b r o k e r i n t h e w o r l d c a n m o r e p r e v a i l i n m a n ' s commendation FABIAN. stranger. You thanks . [(] After looking from BIX TOBT to rABIAB. a i m p o s s i b l e passages o f [3] Advancing toivnrdi sa TOBY. to a w a k e y o u r d o r m o u s e v a l o u r . set ' e m d o w n : SIR A N D R E W . Still with laughter. ing He's rightly.] w r e n of n i n e comes. 1 B. oft good turns conscience What's to town? your lodging. presage of A n d h i s opposite. w i U you m a k e SIR TOBY. with woman valour. 'tis long to fame 'Id pardon me galleys . ' SIR TOBY. i n a sea-fight. Andrew. (2) Coming lo a ttop facing tht leat c. W H A T Y O U W I L L ACT I I I SCENE I I I T W E L F T H N I G H T : O K . o' me? Most villanously . grossness. Sir Andrew. T h y reason. i t m u s t be w i t h v a l o u r . SEBASTIAN beard. often Rough The and unhospiUble : pursuit. eiK ANDRBW it paciny up antl doum itagf. t h a t m e a n s t o b e s a v e d b y b e l i e v c a n ever believe s u c h stockings.* Look.* MARIA.* SIR A N D R E W . give t h y reason.C.** Toby. count's the orchard. a n d w i l l l a u g h yourselves g u l l M a l v o l i o is t u r n e d h e a t h e n . wiping the tears of laughter from her eyes. h e ' l l s m i l e a n d t a k e ' t f o r a g r e a t f a v o u r . f o r p o l i c y then. SIR T O B Y . build me the count's my t h y fortunes upon of it . t h e y o u t h . and brimstone i n your liver. I do n o t w i t h o u t danger Once. FABIAN.O. l a d . reason. Sir I h a v e b e e n dear t o h i m . Unguided and unfriended.%^y. so i t b e e l o q u e n t a n d f u l l Set f o r t h i n y o u r SEBASTIAN. 11] HAKU U heard Uughing off ttagt 1 .* C o m e . the m e m o r i a l s and the things of Would you SIR TOBY. before the tufficiently comtnandt her voice lo tpeak. f o r t h e r e is n o C h r i s t i a n . hand.

** obstruction i n the blood. surly w i t h servants . W H A T Y O U W I L L 88 SEBASTIAN. [ H I Coming nearer OLIVIA. (41 jMoking in MARLt's liirertion. thee! Malvolio ? ' Why dost t h o u s m i l e so . [19] OLIVIA preceiet MARIA. i n t h e h a b i t of s o m e sir o f n o t e . half hiding. MALVOLIO turtu up ttagt. until ht it wUhin OLIVIA'S line of vUion. MALVOLIO. " A n d s o m e have greatness restore I t h i n k . t h e is t a i n t e d i n 's Go OLIVIA. I think A l b e i t t h e q u a l i t y of t h e t i m e a n d q u a r r e l M i g h t well have W h a t we M o s t of argument. purse. W h y . as in preceding Act l U B)i ttept c . a [22] Be has uorkedacross lo the teat 1. [01 Following O L i v u . ' * devils of Which way is h e . let L e t s o m e of MARIA. s i r . thou? occasion. [6] Drawing away a littlt farther towardt L.] ANTONIO. as. MALVOLIO continued to tmile and kiu hu hand.' man but do y o u c o m e n e a r m e n o w ? H e i s . I sent f o r thee u p o n a sad MALVOLIO. after the tervant hat made hit exit L. I ' l l come to Where's m y cousin T o b y ? [Exeunt h e is s a d a n d t h i s f e l l o w be l o o k e d t o .0."^peaking as MALVOLIO comet into her | [11] At the sound of her voice he tumt in o n v u ' B direction. rolls his eyes. (51 Raiting her voice. n o i n c r e d u l o u s or unsafe circumstance—What is t h e doer of come between m e a n d the f u l l prospect of m y hopes. but with a greater dignity than hitherto. MALVOLIO. dost i t is w i t h m e as t h e v e r y t r u e s o r m e t i s . [11] Coming to C. 1 B. OLIVIA. imitatet O L I v u ' s tont and [25] Pacet to 0. a slow t o n g u e .* a bloody I t d i d c o m e t o h i s h a n d s . looking off c." dowry. s u r e . i f i t p l e a s e t h e eye " P l e a s e one. with How now. 1 B. o i i v u ' i R. a J o v e m a k e m e t h a n k f u l ! ** A n d w h e n she w e n t a w a y n o w . [O] MARIA interposes 0. " MARIA. SEBASTIAN. stood out .** W e l l . and joining MARU. oft? How Malvolio? yes . who hat foUowtd her.' ' I have s e n t a f t e r h i m : h e says h e ' l l c o m e . [17] OLIVIA goet quickly L. "be opposite with a kinsman.. F o r w h i c h . ACT I V O L I V I A ' S garden. [2] MALVOLIO. MALVOLIO.TviA. a n d so f o r t h .c. . [24] Be pauses. OLIVIA. OLIVIA. best t o lodge : I w i l l bespeak o u r diet. a n d c o m m a n d s s h a l l be e x e c u t e d w e do k n o w t h e sweet R o m a n OLIVIA. ^ ' fellow! n o t M a l v o l i o . pointing hit l o r Thm going nearer ami tpeaking in • low intinuating voice. and kiss w h i c h . and tim titting. and MARIA. i f I be I shall pay SEBASTIAN. our city did : dear. ho. the young H o w s h a l l I feast h i m ? I speak too "Where And Where loud." ** " A n d w i s h e d t o see Thy yellow Cross-gartered! " G o t o . of tttpt. If call h i m hither. let m e [7) MALVOLIO passee in front of MiRU to [81 Shrinkitig away to L . " — * * Am Why. i f t h o u d e s i r e s t t o be so .8? T W E L F T H N I G H T : O R . thou. \1] Speaki after coming R. OLIVIA. suits well for a servant w i t h m y madam . [Exeunt. OLIVIA. Ha! the south suburbs. h e l l be d r a w n i n l i t t l e . looking off L. [23] Ht rises and re-teats himself. W i l t t h o u go T o bed I comfort do y o u . " I f not.O. i n repaying sake. ttrol-ei his beard and bows. as MALVOLIO appeart c. here's m y only myself [1) Be advaneet a leg."— thrust upon them. t h a t n o d r a m of c a n be s a i d ? ] N o t h i n g t h a t c a n be can he. with SIR TOBY and FABIAN.* oft than begg'd or civil. ] " and but t h i s f e l l o w be l o o k e d t o : " fellow. " Cast t h y h u m b l e s l o u g h . [28] SIR TOBT it heard tpeaking without off L. * w h a t b e s t o w of him? borrow'd. For an hour. Do u o t ^theu w a l k t o o open. what's the m atter ? does h e rave? y o u r ladyship N o . nature . MARIA remaini at the foot of ttept. W h a t meanest Malvolio?* W h i l e s y o u b e g u i l e t h e t i m e a n d feed y o u r With v i e w i n g of t h e t o w n : Why SEBASTIAN. (101 . [101 Tuming in front of him to E. (27] Sitt. * * for the half of m y MALVOLIO.** man " for F o r y o u t h is b o u g h t m o r e is M a l v o l i o ? is Malvolio? He's coming. B e l i k e y o u slew great n u m b e r T h e o f f e n c e is n o t o f s u c h given us bloody of his people. MARU litU. OLIVIA ritet in tome alarm. ANTONIO. MARIA. A t your request! God MALVOLIO.b e a r e r you " Remember who commended thy yellow stockings.* MARIA.•Jl After speaking. M a d a m . I do remember. " says let t h y of put thyself into the trick w e r e best to h a v e s o m e g u a r d a b o u t y o u . Not black in my mind. After holding the smile for some moments he speaks. b u t i t is Jove's d o i i i g . man? w h a t is t h e m a t t e r with the a n d please a l l . MALVOLIO. I K .** MALVOLIO. OLIVIA.] '• MALVOLIO. Whv. i n t h e n a m e o f sanctity? If all [29] OuUid*. ANTONIO. m a d a m .** M a l v o l i o 1 *" Sweet lady. hand. t h o u a r t m a d e .41 Ihttarvant't entrance L . [SCENE OLIVIA'S Enter OLIVIA IV] garden. He comes below the tree c. " how SIR T O B Y . his eyes rolling at MAEIA in cotUempt. tongue t a n g w i t h a r g u m e n t s of state . Jove. r^T. I made? see thee a s e r v a n t still." MALVOLIO. singularity . she incites m e t o t h a t i n t h e letter.c. m y people h a v e a special care of h i m : O.' OLIVIA. W h y appear y o u w i t h t h i s r i d i c u l o u s boldness before m y " B e n o t a f r a i d of greatness : " t h o u by t h a t . You have I y o u r p u r s e i" and your great. Jiy ttept. sure. [13) A few ttept towardt OLIVIA. (H) c. SEBASTIAN. Then suddenly gett up and going L . SERVANT. [12) He turns himself round. (13) Be ailvances a leg. possessed.'* t h i s .] » I am as m a d as t h a n Sir T o b y t o l o o k a t m e ! T h i s concurs directly w i t h t h e letter : she sends h i m o n p u r p o s e . [ n o obstacle.'* I have l i m e d her . MALVOLIO. Smilest Sad. O L r v u coming firtt and moving doicn to K. [20] He comes down stage to 1. i f he c o m e .c. action.* thy h a n d so MARIA. I t m i g h t have since been a n s w e r ' d took f r o m t h e m ." t h i s is v e r y m i d s u m m e r Enter SERVANT. Sht turnt towardt MARIA. every t h i n g adheres together. h o ! I w o u l d not have h i m miscarry O L I V I A and no worse MARIA. this cross-gartering . n o r after m y degree. for traffic's place. n o scruple of a scruple. sad a n d m e r r y madness equal Re-enter M A K I A . W H A T Y O U W I L L ACT m SCENE I V T W E L F T H N I G H T : O R . fortunes : in very strange manner. [21] Bt tumt to 0. sad face. weart yellow host and it cross-gartered. she crosses in front of MALVOLIO ( 0 R. [ 131 Looking in MALVOLIO'S Oredion. is r e t u r n e d : ship's OLIVIA. [Exit SERVANT. toy there shall y o u have 'twas well writ. sir. sweet-heart. f o r . she . (161 Tuming round MARIA to A«r R. a r e v e r e n d carriage. In Is lapsed i n t h i s nightingales answer daws. "Some achieve thou? thee! H a p l y y o u r eye s h a l l l i g h t u p o n s o m e store. of ttept. m a d a m .* OLIVIA.' though yellow in my legs. ay. " L e t W h y . [71 Checking her laughter. hat ditcarded hit wand of office.** gentleman of the Count Orsino's madness. [4] FoUiiuing to behind her.* to bed. ANTONIO. h e does n o t h i n g b u t s m i l e : wits. («1 f'. He then draws himtelf to his full height and hit face broadens into a fixed smile. a n d leave W h a t sayest Heaven desire t o purchase . MALVOLIO. knowledge me. ogling OLITU and smiling. sidt.."—• greatness. pleasure. MALVOLIO. OLIVIA. He carritt a long cane."— stockings! thee cross-gartered. [16] . and I ' l l come to thee. a n d h e i s t o be t h a n k e d . [Exit be. (3) Moving to teat. down r. n o t I .* OLIVIA. I c o u l d be s a d : t h i s does m a k e b u t w h a t of some that ? lady! ho. (. I could h a r d l y entreat h i m back : he attends your ladyhim. t h a t I m a y a p p e a r s t u b b o r n t o h i m . I ' l l be y o u r p u r s e .ani now teats himttlf. " [ a n d consequently sets d o w n t h e m a n n e r h o w .'. I t doth not fit me. a n d L e g i o n h i m s e l f possessed . (12) AfUr looking at MALVOLIO wUh tome uneatinese. at the Elephant. having approached familiarly. is n o t f o r i d l e m a r k e t s . H o l d . (26) Rack to tht teat. [Re-enter of one. With a great oifertation he desceiuts the steps. (* MARIA runt on again and goet to tht opening in the hedge on tlie L.y the box hedge L . OLIVIA. scruple. To the Elephant.O.* MARIA.] *' Good M a r i a .*' OLIVIA.** MALVOLIO.. " Some are b o m *o lady? MALVOLIO.

a n d i t s h a l l be done t o . " T h o u killest m e like a rogue a n d a v i l l a i n .c!. MARIA goet up to BIR TOBY'B R. d r a w . ** i t h a t h n o t o n g u e t o v e x y o u . [4] TtmUnt to BDi TOBT a$ h4 nien L. A y . ttampt hit foot andtwaggertto L. t i l l o u r very pastime. s i r . a n d drive t h e gentlem a n . " Fare thee w e l l . is ' t . Good. At ht doet to tht thrtt in pretended fear retreat R. gives m a n h o o d m o r e a p p r o b a t i o n t h a n ever p r o o f itself w o u l d have earned him. nor admire not i n thy mind. M a l v o l i o ? h o w is ' t w i t h [8] He puihee them ilighliy back and then you? W h a t . * * FABIAN. h e w i l l n o t hear of godliness. a n d G o d have m e r c y upon one o f o u r s o u l s ! H e m a y have m e r c y u p o n m i n e . f o r I w i l l s h o w thee n o reason f o r ' t . ** R e f u s e i t n o t . a n d t o exceeding good sense—less. w i t h h i m : let m e alone.*' ** O L I V I A . mankind. s k i l l . H o w is ' t w i t h you. get h i m to ( 17) Pacet to txtrtme L. *' F A B I A N . SIR TOBY. Andrew Aguecheek." * I f t h i s l e t t e r m o v e h i m n o t . w i t h a s w a g g e r i n g a c c e n t s h a r p l y t w a n g e d off. [Reads. * * W h a t shall y o u ask of m e that I ' l l deny. htr ba-t t-i OLIVIA. inletuety. I w a r r a n t h i m : do b u t read. b u t see. h e be n o t b e w i t c h e d ! TABIAK. Y o u m a y have very f i t occasion f o r ' t : h e is n o w i n some commerce w i t h m y lady. [FABIAN.O. mime! MARIA. I w i l l m e d i t a t e t h e w h i l e u p o n s o m e h o r r i d message for a challenge. h o w h o l l o w t h e fiend speaks w i t h i n h i m l d i d n o t I t e l l y o u ? * S i r T o b y . 20] c. ** *' A n d I beseech y o u c o m e a g a i n t o . and tuming to tht othert. |l:Si Looking off toicardt L. H e r e h e comes w i t h y o u r niece : give t h e m w a y t i l l he t a k e leave. the cotnet elote bthind VIOLA. (7. (201 fhe movet to the wall u .** W h y . MARIA. ' MARIA. m. man. tvith VIOLA. the tine " And I braeet-h y o u ' ' long attd eamettly drawn out. " • FABIAN. then taking the jewel from her drett. W h y . They run up and round at back to R. More matter for a M a y m o r n i n g . a n d presently after h i m . . a n d s o l o o k t o t h y s e l f . MARIA. D o y o u k n o w w h a t y o u say? «) Crotting TABUS to bthind BIR TOBT. to ttept. W h a t . exclamation of is ' t w i t h y o u . peace . N o . |6| lie putt the letter uv. for o u r pleasure a n d h i s penance. [87] C. ( t t ) Folding hit armt defiantly. C .1 •• P ) Comu to 0.** J M y niece is already i n the belief t h a t h e ' s m a d : [ w e m a y c a r r y i t t h u s . l e t m e alone for swearing. a n d . (211 Lookittg up at OLIVU and moving to R.^'> SIR TOBY. «• A y . [14) Advancing to MILVOLIO. tier entotwn it ttear teart. MALVOLIO ootUinutt up to tUpt. 16) Rinny. f o r i t c o m e s t o pass o f t t h a t a t e r r i b l e o a t h . K A X U foUom to L. * * T h i s w i l l so f r i g h t t h e m b o t h t h a t t h e y w i l l k i l l one another b y the look. i n t o a m o s t hideous o p i n i o n o f h i s r a g e . [28 Turru to ttept at SIR ANDBRW appeart upon Ihtm with a paptr. lest t h e device t a k e a i r a n d t a i n t . Biddy. A g o o d note . I w i l l d e l i v e r h i s c h a l l e n g e b y w o r d o f m o u t h . and MARIA lookt over i l B TOBY'S thouldtr from behind. S I R T O B Y [reads]. [28] VIOLA movet away acrott OLIVU a fiu i t o M to W ». SIR T O B Y . * FABIAN. (27) Looking up into VIOLA'S face. S I R T O B Y [reads]. 21] Following up C. w e shall m a k e h i m m a d indeed. SIR TOBY thaktt Mt head at TABIAN at though in dtprtealion of the context. 1 B. m a n ! defy t h e d e v i l : consider.m o r r o w m o r n i n g . Taking SIR ASHRBW by the arm and leading him acrott to R. peace. a n d valiant. m y l a d y p r a y s y o u t o h a v e a c a r e o f him. h o w n o w . MARIA. MALVOLIO. [19] She changet to a reflective tnanner. H e r e ' s t h e c h a l l e n g e . \Exit. mistress! MARIA. m y I j a w c o c k ! h o w dost t h o u . SIR T O B Y . I w a r r a n t y o u . MALVOLIO. a n d i n m y s i g h t s h e uses t h e e k i n d l y : b u t t h o u l i e s t i n t h y t h r o a t . H i s very genius h a t h t a k e n t h e infection of t h e device. who hat got tn L. s w e a r h o r r i b l e . h a ! does s h e s o ? * [«] Coming in front of M * R i i and TABIAB SIR TOBY.** P r i t h e e .O. t i r e d o u t o f breath. MARIA. '24 MALVOLIO. 18] Turning at top of tttpt.* Away! * SIR A N D R E W . 1 MALVOLIO. ( 2 3 ) Baiting htr fate and itmking round at VIOLA. who. MARIA erottet to L. a s t h o u d r a w e s t . T h a t honour saved m a y upon asking give? I FABIAN. here h e i s . on h i m: at which time we will b r i n g t h e device t o t h e bar a n d c r o w n thee for a finder of m a d m e n . SIR TOBY. (7) Taming to the olhrri. r e a d i t : ** I w a r r a n t t h e r e ' s v i n e g a r a n d pepper i n ' t . H e i e h e i». VIOLA tlatult motionlett. I c o u l d condemn (8) SIR ANURIW thowt tomt httitatwy W Vrging SIR ANDREW av>ay. O L o r d ! ** SIR TOBY. * * SIR TOBY. where i f i t be t h y c h a n c e t o k i l l m e . believing him to be impreitsed. w h y I d o c a l l t h e e so.. " FABIAN. m a n I 'tisnotfor hang h i m . ' t i s m y p i c t u r e . [ 2 2 ] VIOLA tumt auay on her 1. h i s legs c a n n o t : I ' l l give ' t h i m . I B. (4J In wonder at the folly of tht txprettion. [Ill] OLIVIA enUrt from L. but on a low vibratd tio'. (2J1 VIOLA maket a gcttturt of refutal with her R. a n d w i l l by a n d b y depart. ' w e m u s t deal g e n t l y and rpeakiny to MALVOLIO. W H A T Y O U WfLL ACT I I I SCENE I V T W E L F T H N I G H T : OR. But such a headstrong potent fault i t i s . * " T h a t i t b u t m o c k s reproof. m a n ? ' I discard y o u : let m e enjoy m y private : go of!.ivi. AU an dot* togtther. huTui without turning. and MARIA. w e ' l l have h i m i n a dark r o o m a n d bound. ] (IS) MALVOLIO movet to L. G o off . facing BIR TOBT.* Go t o . n BIAN a lUllt up ttagt 0. by ttept.** FABIAN. [14] G'oi/iy up c. VIOLA. S i r ! ** S I R T O B Y [reads]. brfort tp. MARIA. FABIAN.* " I w i l l w a y l a y thee g o i n g h o m e .*' H e r e . f u r y a n d i m p e t u o s i t y . [1«1 Coming behind BIB TOBT. h a n g yourselves a l l I * ' y o u are idle s h a l l o w t h i n g s : * * I a m n o t of your e l e m e n t : y o u shall k n o w more hereafter.** N o w w i l l n o t I deliver h i s l e t t e r : f o r t h e behaviour o f t h e y o u n g g e n t l e m a n gives h i m o u t t o be o f good capacity a n d breeding . a n d w i l l n o t be r o u g h l y used. i f I l i v e .* OR. ( 2 5 ) With a halfhumoroui tmilt. titcrt it pity in htr getture. TOBY atui M A R U . looking tm the geuuttd. as I k n o w h i s y o u t h w i l l a p t l y receive i t .. good Sir Toby. SIR A N D R E W . followedby sa [13) t .** SIR TOBY. h o w he takes i t a t 10] Adcancing down ttagt. MALVOLIO. Sir A n d r e w . " T h o u comest t o t h e lady Olivia. (3) looking again at TABIAN.] " Y o u t h .m o r r o w . t h a t keeps y o u f r o m t h e b l o w o f t h e l a w .** W i t h t h e same ' h a v i o u r t l i a t y o u r passion bears Goes o n m y m a s t e r ' s g r i e f .** SIR TOBY. 1 I . gently : t h e fiend is r o u g h . ttufuliruj turned away from VIOLA.] ( 2 ) He lookt at SIR A N U R l w . [m] VIOLA lurm. l i k e cockatrices. N a y . [22] R. pursue h i m n o w . 18] Tunu up c. Good. sir? how FABIAN. FABIAN. ' Go.** I s ' t p o s s i b l e ? ** I f t h i s w e r e played u p o n a stage n o w . h e ' s a n e n e m y t o tumt again to MALVOLIO. S t i l l y o u k e e p o ' t h e w i n d y side o f t h e l a w : g o o d .' L a y o u . T h e h o u s e w i l l be t h e q u i e t e r . f l ] SIR TOBY utlert at pretended approval. c h u c k ? MALVOLIO. set upon Aguecheek a notable report of valour . 1 K. and on the next line leant her (ace on her handt againtt titc coluittn. b e i n g so e x c e l l e n t l y i g n o r a n t . (17) Speaking with pattion. go t o .** pray. t h a t i s n o t the m a t t e r I challenge thee f o r . a liltle up ttage to the tree. MARIA. h o l d t h y peace . g e n t l y . N o w a y b u t gentleness . foul collier! gravity t o play a t cherry-pit w i t h Satan : Get h i m to say h i s prayers. a n d thy sworn enemy. Sht tpeakt pleadingly. MALVOLIO. OLIVIA prettet the jewel into her luxndt.e. Ijtughing. S I R T O B Y [reads]. SIR TOBY.* H o w do y o u . B u t . a n y o u speak i l l o f t h e d e v i l .c before tpeaking. as t h o u u s e s t h i m . I l l ] SIU TOBY (ur»u lo face tht otiiert K a i t as a n i m p r o b a b l e f i c t i o n . who eomtt down 0. 13] Wttvine thm away. w i l l breed n o t e r r o r i n t h e y o u t h : h e w i l l find i t comes f r o m a c l o d pole. 115) Tuming on BIR TOBT. M y prayers. (:)) At if thit were more lo hit liking. Come. ] * * see. M a r r y . SIR AKUBIW coming with him on hit L . onrf erottet quiikly lo R . * * G i v e m e . T h y f r i e n d .ing.8 4 lOT IT TWELFTH NIGHT: FABIAN.O. whatsoever t h o u a r t . p r o m p t us t o have m e r c y But [aS] Bt handt tht paptr lo BiR TOBY. h i s e m p l o y m e n t between h i s l o r d a n d m y niece confirms n o less : t h e r e f o r e t h i s l e t t e r . b u t m y hope is b e t t e r . come w i t h m e . [28] SUpt back. " — * FABIAN. [Exeunt SIR TOBY. Go. S I R T O B Y [reads]. V e r y brief. * ' I h a v e s a i d t o o m u c h u n t o a h e a r t o f s t o n e A n d l a i d m i n e h o n o u r t o o u n c h a r y o u t : ** *• T h e r e ' s s o m e t h i n g i n m e t h a t r e p r o v e s m y f a u l t . [23 Below tree c.** H o w n o w . I s ' t so s a u c y ? S I R A N D R E W . [Re-enter O L I V I A . t h i s is n o t t h e w a y : do y o u n o t see y o u m o v e h i m ? l e t m e a l o n e w i t h h i m . w e a r t h i s j e w e l f o r m e . FABIAN. Carry his water to the wise w o m a n . 11] Ltaoing BIR TOBY and getting behind heart! P r a y G o d . [18] OLIVU maket a long paute.** Enter SIR ANDREW. (10] ^'my <** "<*«" making room/or TABUN adVflTWet to BIR TOBY'S R. A h .. M y l a d y w o u l d n o t lose h i m f o r m o r e t h a n I ' l l s a y .b a i l y : so s o o n as e v e r t h o u seest h i m . [12] Waving hit hand to tht othert and ttepping back a pact. (lOj After gathering hit courage R. * * OLIVIA. N a y . scout m e for h i m a t t h e corner of t h e o r c h a r d l i k e a b u m . " W o n d e r not. who follotvt arul remaint L. W H A T Y O U W I L L 8< H I T i l U N tmUriot Ml / n x " I . L o .

'* please. W H A T Y O U W I L L ACT I I I T W E L F T H N I G H T : O R . h e p a y s y o u as s u r e l y as y o u r f e e t h i t the g r o u n d t h e y step o n .*" SIR TOBY. [18] Stepping down stage and facing AN[19] Three OFFICERS from c. (16) Putt hu hand to hit tword. with his sword ttill raited. (7] Approaching VIOLA. of c.C.lltj. draw.] FiBIAN appears holding VIOLA. ' Gentleman. VIOLA. adcanre upon one another backwards.c. advancing behind her. SIR TOBY SIR TOBY. a n d h e finds t h a t n o w s c a r c e t o be w o r t h t a l k i n g o f : fore d r a w . waring her tword to C." I f this young you. FABIAN. feeling out irilh their swords. I t. as i f a b e a r 110) Turning from F * u i i » to face VIOLA again. [181 SIR TOBY'S voice in loud exclamation u heard off.** I'll be as 0 good Sir Toby. and FABIAN.* m a k e a good s h o w [. sir . if for y o u r [To FABIAN. [22] To SIR ANDREW. [23] Stepping lo VIOLA L. [Re-enter I have his horse to take u p the q u a r r e l : 's a devil. and off by tht steps. a n d o n t h e a n s w e r . Come on . reins easily and for peace w i t h h i m i f I r a t h e r go w i t h sir p r i e s t t h a n s i r k n i g h t : of m y m e t U e . ' t : I a m one that FABIAN. VIOLA. of tups.m o r r o w : * fare thee w e l l : * [Exit. grey Capilet.t pace. and hurries across to him. f o r t h y deadly. (131 Facing SIK TOUY agmn. g e t y o u o n a n d g i v e h i m h i s desire. to taste t h e i r v a l o u r : G i v e g r o u n d . as t o k n o w o f t h e k n i g h t w h a t m y o f f e n c e t o h i m is : i t is s o m e t h i n g of m y n e g l i g e n c e . this T h i s is as u n c i v i l as s t r a n g e . or forswear VIOLA. [17] Slept back . [2] Catching him again. ^ . * " h i m ? ** VIOLA. all the woman in her showing through.T W E L F T H N I G H T : O R . I have per- opposite h a t h i n h i m w h a t y o u t h . b o d i e s h a t h h e d i v o r c e d t h r e e .** he c a n n o t by t h a t p u t quarrels purposely o n others. tell t h e m h o w FABIAN. b u t n o t h i n g of t h e c i r c u m s t a n c e sir. SIR ANDREW backs up R. I ' I d h a v e seen h i m d a m n e d e r e I ' I d h a v e c h a l lenged h i m . I for h i m defy You. he w i l l fight w i t h m a r r y . [12] Movetahove SIR ANDRBW (o*u R. Site thrinkt from h. VIOLA. ^ ^ I w i l l do so. I a m sure no m a n h a t h any q u a r r e l of a s s a i l a n t is q u i c k . The FIRST OFKIctR enters first and deieeruh the slips. (3j I . SIR TOBY. • littU R. T h e y say h e h a s b e e n f e n c e r t o t h e Sophy.A. t h e m o s t s k i l f u l . I assure therefore. I ' l l be w i t h y o u knows [Exeunt. w h a t is he? * souls a n d VIOLA. TOBY. do m e purpose. scarce h o l d h i m Pox On ' t . to m e : SIR but thy L e t h i m let t h e m a t t e r slip. * FABIAN and VIOLA. m Crossing in front of FABIAN to VIOI. m iMking back. anJ turning. r a p i e r . SIR T O B Y . [7] Re sees BIB ASDREW creeping off R.*' dares yet do more you. i n j u r y : t h e r e f o r e .* VIOLA.^ ANTONIO. s k i l f u l a n d Y o u m i s t a k e . [61 As SIR TOBY turns from PIR AXnilEW. sir! One. sir. stay y o u by t h i s g e n t l e [Exit. 1 E. for meddle y o u must. SIR A N D R E W .C.* can A y . and crotting in front of VIOLA lo between (21) Speaking across FABIAN lo i. tpeaking his asitle. (21) As ht advances to her she grasps hu arm pathetically for support. I a m f o r m . with SIR ANDREW. (131 SIB ANDREW ttandt like\loiA. I ' l l n o t m e d d l e not now with him. " t h i s is a m a n SIR TOBY. c o u r t e o u s office. bloody a n d f a t a l opposite t h a t y o u c o u l d W i l l you w a l k towards can.. |l6) H e poinU lo K. up stage. [20] Seeing the entrance of the OFFICERS. unless y o u u n d e r t a k e t h a t w i t h w h i c h w i t h as m u c h s a f e t y y o u m i g h t a n s w e r h i m : ** t h e r e f o r e . (19) Advancing a step to FABUN.* firago.' P r a y God defend m e ! » much V I O L A [aside].] n a t u r e the wrongs are t h o u hast done h i m .*] fiend l i k e thee m i g h t bear m y Re-enter soul to hell. VIOLA looks tluiiUy to K.C. Utey meet back to back tind bump into one anotU-r . ANDREW. (14) From c. Have If y o u offend SIR TOBY. facing FABUN. (10) VIOLA lookt up attKmts ptilhettn. for t h a t I promised . She keept her back to the R. I h a d a pass w i t h h i m . SIR T O B Y . SIR TOBY. VIOLA. a n d p a n t s a n d l o o k s were at his T h e r e ' s n o remedy. TOBY. a n d . TONIO. VIOLA maket an effort to putt FABMN. that I have given to acquit W e l l . I a m no of t h a t fighter. for his h o n o u r ' s sake. be p a c i f i e d : * F a b i a n [1] Wresting away from SIR TOBY and mnning R. assure you. Enter ANTONIO. SIR TOBY. FIRST OFFICER ttandt up stage l. heels. he h a t h better b e t h o u g h t h i m of his therenot of his v o w . waving hit tieord iihove hit head wildly at AXTONlo ente. I . you. possibly have f o u n d i n a n y p a r t of I l l y r i a . as h e is a g e n t l e m a n to ' t . w h a t m a n n e r o f m a n is Than you have heard h i m brag to y o u he N o t h i n g of t h a t w o n d e r f u l p r o m i s e . give ' t or t a k e ' t . t h e g e n t l e m a n above SIR ANUKEW and v i o L . if you good as m y word : he w i l l bear you SIR A N D R E W . W H A T Y O U W I L L OLIVIA. i S i r . At this moment KADIAN Orings V I O L i .** hold! here come t h e officers. s k i l l a n d w r a t h can f u r n i s h man withal. T h a t defence t h o u hast. . * * the and A little thing would make (11) Moving acrott in front of tn TOBY to I. BiK TOBY tnters. his hand on his hiU. [16] To FABIAN. (11) Covertly looking at VABUX. [81 Fearfully and haUingly the draws hel tword.C. Y o u ' l l f i n d i t otherwise. ** a n d h i s i n c e n s e m e n t a t t h i s m o m e n t is so i m p l a c a b l e . betake thee to ' t : so c u n n i n g i n f e n c e . on his L. wlto ttandt in Iter uail. P r a y y o u . of t h e l a d y . d u b b e d w i t h u n h a t c h e d r a p i e r a n d b u t h e is a d e v i l i n p r i v a t e b r a w l : on y o u h o l d your life at any price. FABUN dathet after her. (121 In feeble appeal.] gentleman Put up your sword.] Marry.] (16) From c. as y o u a r e l i k e t o f i n d h i m i n t h e p r o o f o f h i s v a l o u r . at lop of steps. I so Pray God. H e is k n i g h t . VIOLA. he meets FATIIAN C. is h i s w o r d . t h e r e ' s no r e m e d y . w i U I . s t r e n g t h .] SIR TOBY. (41 Pushing him a liltle up stage towarrls the seal. or strip your sword s U r k naked . done offence. I beseech y o u . he Uien comes d. W c.4 side. to wear iron about you. betake y o u to y o u r guard . A H o w w i t h mine honour may you? I will I give h i m you. [14] To SIR TOBY. have one b o u t w i t h y o u . on't I ' l l make the motion : s t a n d here. ANTONIO pauses for a munent until in VIOLA lie believes lie rcitigniret SEBASTIAN . [5J s m TOBY talutet V I O L I . I k n o w not . ANTONIO. turns her towardt C. w h a t a r e y o u ? *» will. if you be a n u n d e r t a k e r . 'hen tumt on her K. he protests he w i l l p a l e . know of this matter? against y o u .** d u e l l o a v o i d i t . Uoth VIOLA a. * ' b u t h e ha s p r o m i s e d m e . a little below the ttept. H o b . ^ J ^ J .NTONIO. t h a t for his love I beseech y o u . m y remembrance I ' l l ride y o u r horse is v e r y f r e e a n d c l e a r f r o m a n y i m a g e you : o f f e n c e d o n e t o ciny m a n . : t h i s s h a l l end w i t h o u t the p e r d i t i o n of souls. suaded h i m the youth H e is as h o r r i b l y c o n c e i t e d o f h i m . After OUVIA hai gone VIOLi look! round after tier. SIK TOBY. n o . Plague o n ' t .** S I R T O B Y * [to V I O L A ] .41 each adjective VIOLA thowt her distrtti.** [They draw.*' return. sir.** FABIAN. sir .* SIR T O B Y . * SIR A N D R E W .. I»J At 0. (91 Coming above VIOLA lo her L. t o read h i m b y h i s Nay. She tumt at the t-jund of kU (8) Heturning hi Mlutation." had so m u c h I will make your I s h a l l be m u c h b o x m d t o y o u indeed. he w i l l n o t h u r t y o u . i f y o u see Come. sir. t h a t i t is i n e v i t a b l e .m-n to c. a t t e n d s t h e e a t t h e d i s m o u n t t h y t u c k . o n . leading SIR AXSRIW by Iht arm. SIK ANDREW. b u t he w i l l yonder. [8] Wilh a wink and grin he turnt to FAIllAN L. OLIVIA. thit makes them turn in lUspertttion. a n d I ' l l give h i m m y i n t e r c e p t e r . a n d h e g i v e s m e t h e s t u c k i n w i t h s u c h a m o r t a l m o t i o n . he? H e is. [ M l . sir.* save thee. to a I know t h e k n i g h t is i n c e n s e d n o t h i n g of m y Signior F a b i a n .:n : he followt to L.. as he tUs the same as PIR urged by their seconds. as the bitter urges him towards c. B a c k y o u shall n o t to t h e house. man till m y VIOLA.** competent I lack of a m a n .* I p r a y y o u . a n I t h o u g h t he h a d been v a l i a n t a n d horse. orchard-end : VIOLA. feeling out with hit tword. t h a t s a t i s f a c t i o n c a n be n o n e b u t b y p a n g s o f d e a t h and sepulchre. >'ABUN conut down L. ANTOXIO and SIR lOBY.. * * SIR he k e e p h i s o a t h ! ** 'tis against m y will. p u t your sword up. f u l l o f d e s p i t e . Sir A n d r e w . (18) K. for [They Enter OFFICERS.lrf SIR ANDREW. 1 K. i M o it tianding amazed. sir . hand and runt up C. s c a b b a r d a n d a l l . hand. hanil. ( I l l Pulling SIR ANDREW to R.-s from c.** anon. Which [1] She tcnvet T i n t A and goa ilowly toicardt the L. Re-enter I care n o t w h o Pray. even more. " M a r r y . y o u f o r 's o a t h s a k e : carpet consideration . b l o o d y as t h e h u n t e r .. h i s i n d i g n a t i o n d e r i v e s i t s e l f o u t of a v e r y me w i l l . SIR TOBY. (17) Clotting in front of TIOLA to K. do y o a mortal arbitrement . a soldier. h i m furious. As thry get c. God sir. d„un I. quirk.icMt hu back to hit adversary. U K AKDKKW draggistg^baek. be y a r e i n t h y p r e p a r a t i o n . I take the fault on me : w h y . the two others remain upon Ihem. h i m . for the supportance hurt me you.] FABIAN. of what And you. I w i l l r e t u r n a g a i n i n t o t h e h o u s e a n d desire s o m e c o n d u c t ** I h a v e h e a r d o f s o m e k i n d of m e n belike q u a r r e l . as w e l l as I r i d e y o u . that's certain. n o b . come again t o .

o r t w o o f m o s t sage s a w s . 1 few ttept down lo face ANTONIO. SIR TOBY. OFFICERS. a most devout coward. The m a n grows m a d : away w i t h h i m I " E T h a t he believes h i m s e l f : '* P r o v e t r u e . away! love. a n d m o r e a c o w a r d [51 Advancing to 0. TOBT to I . necessity purse? do for I t grieves you me W h a t w i l l y o u do.] I m u s t obey. VIOLA. nowr coffer. t h e r e 's h a l f m y ANTONIO. {••-\ draws FABIAN and do m i s t a k e m e . Vt\ a last look at VIOL* he tumt up ttnge arut goet up the slept and away uith the OFFICERS on either tide holding him.] 0 heavens themselves I go. head. VIOLA has dropped doum lo the L. SIR TOBY. FIRST OFFICER. steps. hate ingratitude m o r e T h a n l y i n g . as they pass and then tunu and follows.. * ANTONIO. (UJ VIOLA goes up to the ttept. A v e r y dishonest p a l t r y boy. taket a step up stage in the OFFICER'S direction. SIR T O B Y . vainness. tianding tUghtiy above ANTONIO. tl-tta gettiouliitioiu.. •1 VIOLA looks at him tn perplexity.. Do . Comc. he k n o w s {To I know I k n o w your favour him tmXh him to a potition by the seat. \b\ slightly up stage with another sign to the other OFFICF. and tuming lo s n [101 He jnitu FVBIAN and they go oat together L . i m a g i n a t i o n . a n d for his cowardship. l l ) AXTONio dropt hit hands. OFFICER. iptakinf from the L. I ' l l after h i m again a n d beat h i m .' at the s u i t of Count SIR T O B Y . e v e n s u c h a n d so well. w h i c h m e t h o u g h t did devotion. Fabian: we'll SECOND ANTONIO. T h i s comes w i t h seel i n g {Exit. 'For h i m I imitate : O. SIR ANDKEW y o u have no sea-cap o n y o u r VIOLA. fi] With a step towards v i o L i . Relieved And L e t m e speak a l i t t l e . promise T h e t i m e goes b y : godl shame. who erottet lo him in rtsporue. W H A T Y O U W I L L ACT IV 89 [ 1 ] it he tpeakt he advavret lo c . " ANTONIO." f r o m such true. W h a t ' s t h a t to us? done good feature Most venerable ANTONIO.* FIRST OFFICER. [»1 FoUowia/ to L . no j o t . be o f a h a r e : h i s dishonesty appears i n l e a v i n g his f r i e n d here i n necessity a n d d e n y i n g h i m . Come. b u t t h e b e a u t e o u s FIRST OFFICER. SECOND (»J it Or a n y t a i n t of vice w h o s e s t r o n g c o r r u p t i o n blood. 1 E. "3J Signt towards c. sir. n o w m y Makes m e Much more But 2 ] . 7) >'utini7 ANTONIO L. You This IS the m a n . sir. Nor k n o w [I done for Do not tempt m y kindnesses As to u p b r a i d y o u w i t h those I y o u by voice or a n y feature : babbling. who hart been 1] ttatvling ilighlly behind ANTONIO. below and on the OFFICtU'o R. [Exit with M e t h i n k s his words do passion Are empty t r u n k s o'erflourish'd by the devil. [«| Stalking boldly sword. t h e r e 's n o r e m e d y . s i r .' that here. do t h y office. away. Inhabits our frail ANTONIO. bringing himtelf to a point slightly above VIOLA. And. W H A T Y O U W I L L ACT III SCENE I V T W E L F T H N I G H T : O R .* now Take h i m away . fly. FIRST Orsino. FABIAN. cuff h i m soundly. evil Come. a n d he w e n t Still i n this fashion. * know i l l Making signs lo SIR ANDREW. ( i l Coming down stage at she tptakt. if i t prove.* C I With C o m e ." Lead m e on. come. ' I s n a t c h ' d one h a l f o u t of t h e j a w s of h i m w i t h such sanctity of worth. I n f a v o u r was m y b r o t h e r . who advance on his K. here T h i s y o u t h t h a t y o u see death. 1 * . VIOLA. ' SIR A N D R E W . TOBT. Sebastian. and SIR ANDRRW. colour. The FIRST OFFICER itandt back tm his L. a couplet come hither. ornament. Is ' t possible t h a t m y h a v i n g is n o t m u c h . he addreitet the FIRST OFFICER he ANTONIO. Out stand amazed . money. present w i t h y o u : Will you deny m e misery. ' 'Slid. A coward. The FIRST OFFICRR makes a sign to the other OFFICRRS. For the fair kindness of m y p a r t . 6] Sieki her purtt. us in appeal to rorUintie.* event.] well. I m u s t e n t r e a t of y o u s o m e of y o u have s h o w ' d ability my me I d a r e l a y a n y m o n e y ' t w i l l be n o t h i n g y e t " W h a t money. towardt L . * But No. I B. you a man Can lack persuasion? Lest t h a t i t m a k e m e T h a t I have VIOLA. FABIAN. V i r t u e is b e a u t y .' VIOLA. [Though I arrest thee sir. now clote in upon htm again. Antonio. who liat turned to /ace up stage. so d o n o t I . I know in a man drunkenness. But 0 h o w vile a n idol proves this T h o u hast. SECOND OFFICER. I do not. of c. looking after V I O L A . religious i n i t . being p r o m p t e d by y o u r present lean and low d i v i s i o n of m y I ' l l lend y o u something : I'll make H o l d . O. [Exit. l e t 's see (81 L. stands slightli/ above Iter by the first opening in tht Itcdge. i^Exmnt. who has clumsily been occupied returning hit sword to its fabbard. did I to his image.' H e n a m e d Sebastian : I m y b r o t h e r Y e t l i v i n g i n m y g l a s s .* than (41 L.RS. of Ihem. I n n a t u r e t h e r e 's n o b l e m i s h b u t t h e m i n d . you . ANTONIO. None 1 0 Tht two OFFICERS.C. for m y for w h a t I cannot You comfort. p r o v e . of none . Tempests are k i n d a n d salt waves fresh i n love. I pray y o u . sir. deserts t o so u n s o u n d you. c a n be c a l l ' d d e f o r m ' d but the unkind . ask F a b i a n . I I. sir?' SIR A N D R E W . OFFICER. t o ask y o u I shall answer i t . OFFICER. ANTONIO maket a gesture to the FIRST OFFICER. anA range themtelvee on either tide of ANTONIO.T W E L F T H icrr r r N I G H T : O R . k n i g h t .— the but never draw thy An in front of SEE T h e n w h a t befalls myself. i whisper o'er Come hither.' trouble.

Fit Hold. if oburvcd. 181 Ht overeomet SIR TOBY'S hold upon him. W h y . [»J She moves to L. SIR TOBY. In the former the directionii. have I m e t y o u again? t h e r e ' s for y o u . tlie clown grimace.' OLIVLA. he tumt lo SIR TOBT and TABIAN and urith terrific getturet pantominict tht onslaught he it about to make. OLIVIA. Let me be W i l l y o u m a k e m e believe Go t o . He goes guickty lo her.** SEBASTIAN. t h e r e 's f o r t h e e . be g o n e ! * [ACT THE [SCENE Before FOURTH] I] » house. ' s t i l l l e t m e s l e e p ! runs the stream? W e l l held out. [8] Moving acrott to E. the lat' of which tend* BIR ANDREW reeling up ttagt. leads her out. goet up cfollownl b / TABIAN. arul. but.layingher hand upon hit arm. sir. CLOWN. w o u l d t h o u ' I d s t be r u l e d b y SEBASTIAN. throwirig SIR TOBY acrott him lo L.c. I do n o t k n o w y o u . definite tuggettiont for a more plastic treatment.C. Tablecm Curtains or Act Drop. sway I n this uncivil and u n j u s t extent A g a i n s t t h y peace. [8] Standing above SEBASIUH'B R. I w i U be f r e e f r o m t h e e . who ttandt B.t tpeakt.'» hold. with hit back doum ttage. cloeeljf foUowing and tpeaking aa ha tntert.* W h a t r c H s h is i n t h i s ? h o w O r 1 a m m a d . H e s t a r t e d o n e p o o r h e a r t of m i n e i n thee. s a y so.r»/.' There strangeness a n d tell m e w h a t I s h a l l v e n t to m y lady : I prithee. t w o of I f t h o u darest t e m p t m e [22] Coming 0. to. W H A T YOU W I L L ACT I T 41 R u d e s b y . Htr attendant! adranet behirui her. depart f r o m m e : if you tarry longer. Come. and FABIAN. at though ht had teen SEBASTIAN from a dittance . *0. s i g h t l ** o u t of m y for the mountains and the barbarous W h e r e manners ne'er were preach'dl — -'• -tt i » j Am^r r m u i r i n . gentle friend. [3J SEBASTIAN theathet the dagger. In note (81 the value of a pause *fler " O. ?** young y o u are w e l l fleshed Come. T h i s w i l l I t e l l m y l a d y s t r a i g h t : I w o u l d n o t be i n s o m e C o m e o n . 4) Half turned from him.* Go w i t h m e t o m y h o u s e . at if to make explanation. with much bombalt. Are t h e people m a d ? H o l d . Sht maket a littlt movement to tht h. It] At he ttruggltt to hold S I B A i T U B .40 ICT IT T W E L F T H N I G H T : OR. (12J Turning in amarement and making • paute at he eyet hit attacker. OLIVIA'S and [2] From » .t o dream—ttill —let mc-sleep I " The italics indiciite colour and fullness. N a y . i21J TESTE and ATTENDANTS. I K ] Sht tumtUiitakStlhV. I p r i t h e e . u n g i r d OLIVIA. thoulder. [24] At OLIVIA it addrttting SIR l O B T . I w i l l SEBASTIAN. [Itll Slept back and throwing hit dagger on the ground drawt hit tword. 17) From behind FABIAS l. * * .11 c. 1 E. not buUl emphatit.* [1] Tlu action eontinuet without break.*' SIR A N D R E W . She tmilet at him. references may be made to note! (0) and [3] at the end of thil Act.!. of y o u r coats f o r t w o pence. Tht actor holdt hit wordt together by gesture and expression in all his pause!. 1 E. holding hit arm doum. a n d t h e r e . Beshrew his soul for m e . n o t let y o u go.—7"htre are many conventional purwiuationt in the formal printing! of Shakeipeare'i work! which the itudent ihould value at hit ditcretion. i f t h e r e be a n y t h o u g h I struck h i m first. p u t u p y o u r i r o n : SEBASTIAN. . A n d hear t h o u there h o w m a n y fruitless p r a n k s This ruffian h a t h botch'd up. at if upon th* matter of the name tht eallt him. He advances to her. y e t i t ' s no m a t t e r for t h a t . ^ hit tleet. [lOJ In thu order: BIR AUDRBW ftrti. during u*ieh 8BBAITIAN regard! OLivu in admiration. . great lubber. [141 Advatieing at ht tpeakt.** caves. w i l l prove a c o c k n e y . Enter SIR ANDREW. 's m o n e y f o r t h e e : * I shall give worse CLOWN. anil taking sm ANDREW s arm. * * W h a t w o u l d s t t h o u n o w further. he advaneet towardt TABIAN. clear of t h a t I a m n o t sent for y o u ? SEBASTIAN. ht catche* 8FB.** all SIR TOBY. At SIR TOBY pattet fKsrE. a good report—after fourteen SIR TOBY. and SIR TOBY threalem him.'. Now. M a d a m ! ** o n t h y life I charge thee. I will. o r else t h i s is a d r e a m : L e t f a n c y s t i l l m y sense i n L e t h e s t e e p . By m y t r o t h . i ' faith I I a m n o t sent to y o u by m y lady. go thee. payment.. n o t t h y passion. I ' l l have a n a c t i o n of b a t t e r y a g a i n s t h i m . lifting them to his lipi.* CLOWN. I p r i t h e e . L e t go thy hand. twingt lo SEBASTIAN'S [1. [4J At he eomtt down L. and foltowt. If the line be commenced at a fuller inflection than thoie preceding it. reBASXIAM a litlU. sir. stops. I f i t be t h u s t o d r e a m . Putting her hands upon his ihouldert and looking up into his face. thou hast a n open hand. the ATTENDANTS going latt. [£. OLIVIA turnt to hi: iin. OLlvn walrhtt then auov SEBASTIAN kneelt on one kn>ie. She ttopt him by railing her hand towardt hit Uju. by ttept. [S6J Thert it a pautt. (8J Stepping back. [20] Drawing hit tword. sir. " He look! long at OLIVIA. man thy T h o u know'st not is so. for example!.** SIR TOBY.** holdl sword. and maket a feeble pat on the tidt of hit [IW^M he itrikei hu futiU blow. at every point.. let h i m alone : I ' l l go a n o t h e r w a y to w o r k w i t h h i m . IIOJ L .** SIR ANDREW.C. following it up rapidly with two more. OLIVIA. would kill the " painting " of tht word!. Let t h y f a i r w i s d o m . [0] To c. nor I prithee." It it obviout the punttuation here. t h o u a r t a foolish fellow : N o . W h a t . and FABIAN. pi.* years' [IJ At 8IR TOBY tunu to het. to b i d y o u come speak w i t h her . NOTE. and tpeaking over it. it miglU be read that— "If—it he.* SEBASTIAN.* [Exeunt SIR TOBY. (2J SIK TOBY thrugi hit ihouldert. looking at tht money in hit palm. He dotl</et away laughing. [7] Drawing away. foolish Greek. [2SJ He lower! hit bladt and inclintt hi* head before OLIVIA.'^* a n d n o w applies i t to a fool. that t h o u thereby M a y s t s m i l e a t t h i s : t h o u s h a l t n o t choose b u t go : Do not deny. Ht i! about to tptak. c o m e .** CLOWN. 1 « . draw thy from Enter you. a n d so bel • me! Vent m y folly! * [Exeunt. i n t patictUly adcancet up ttage to c. Madam.O. looking up at OLIVIA. ( A I M . Toby . uritt. At latt. takes her outstretched hands and. TBSTB. Enter SEBASTIAN CLOWN.Sht tumt from him Urwri* i t s OLIVIA. L . [13J liilh a twinging box on the ear with th* fiat of hit hand.* he has h e a r d t h a t w o r d of s o m e great Vent m y folly! [ I a m afraid this shall I I prithee now. sir . ] ' vent to her t h a t t h o u a r t c o m i n g ? SEBASTIAN. [SJ Cp lo tUpt. m y come on. and turnt. CLOWN. turns and advances her hands to him. tttmdt dawn ttagt B. with hit back turned. t h e n I m u s t have a n ounce or this m a l a p e r t blood SEBASTIAN put* Up hit lUOrd. * * a n d t h e r e . * ' law i n Illyria : TOBY. n o r y o u r n a m e is n o t M a s t e r C e s a r i o . v e n t t h y f o l l y s o m e w h e r e else : me. SIR ANDREW.c.ki»y up hu dagger and wiping the blwU hu . w h a t ? *• N a y . 5) Turning a little apart to hit R. say 80 " w self-evident. N o t h i n g t h a t is so SEBASTIAN. These wise m e n t h a t give fools m o n e y get themselves purchase. . W i l l i t be ever t h u s ? Ungracious wretch. 6J Ht lookt long at OLIVIA. maket a half-bow to OMViA. SIR soldier. SIR TOBY. It would be beyond the tcope of thit work to lay doum. H* then drawt hit dagger. the w o r l d . and he ritet. or I ' l l t h r o w y o u r dagger o'er the house. N a y .*STIAN by hit R. SIR TOBY and TABIAN urge him to il. W H A T YOU W I L L ACT I V SCENE J T W E L F T H N I G H T : OR. n o r t h i s i s n o t m y n o s e n e i t h e r .

Fool! " M y l a d y is u n k i n d . ' t MALVOLIO [within]. The competitors enter. of the soul. a n d b r i n g m e w o r d I w o u l d w e were well r i d of this knavery. . a m m a s t e r b u t " is T o h i m . CLOWN. and and As hell. UAT. " a n d " is " peace i n t h i s calls t h e r e ? * G o r b o d u c . " My lady 1« unkind perde. Topas. t h e r e is n o darkness i n w h i c h t h o u a r t more puzzled t h a n the Egyptians i n I say. " f o r .* fowl? MALVOLIO. thou errest: I say. ACT A ACT V SCENE I A cellar berteath OLIVIA'S house. nor lean enough t h o u findest h i m : far be t h o u g h t a g o o d s t u d e n t . " Focal Mutie to Twelfth Samuel French. a n d f e a r t o k i l l a w o o d c o c k . The door K. a n d I w i l l dissemble myself i n ' t . MALVOLIO. as I a m a g e n t l e m a n . and flanked on either side uiith Traverse N N .* The knave counterfeits well .c.] MALVOLIO. SJ By the tame door. CLOWN. darkness. a n d pen. Fare thee make [Exit. MALVOLIO. he rettt thi mop and gown in tht comer L . though i g n o r a n c e w e r e as d a r k a s h e l l . ha?* so?" perdy.*' uAivmin Master Malvolio? Aw annH f n n l comes to visit Malvolio t h e S i r T o o a s . King "? MALVOLIO.* he m a y be c o n v e n i e n t l y delivered. m a s t e r B o n o s dies. w h a t is " t h a t " W h a t . CLOWN. CLOWN.4] Standing at the back and putting on th* ditguite at h* tptakt. At MALVOLIO callt he humouri the tong and butinett. CLOWN [singing]. CLOWN. who ttand* by T h a t t h e s o u l of o u r g r a n d a m m i g h t h a p l y i n h a b i t a opinion? way approve his thou [S] Drawing farthtr baek aboti tht door. i t h a t h bay t r a n s p a r e n t as Why. that MALVOLIO thaU not It* them. master Parson." run at followt : A Robyn. and MARIA entert w\th a candlt. r o t o m v l a d r . m a k e the t r i a l of i t i n constant CLOWN. " T h a t t h a t is is . their fog. at printed in Percy'1" Beliquet of Ancient Engliih Poetry. gnathlmg th* ironi wUh M l trembling handt. V. [8] Bthind TXVn. prison!' a good knave. Sir Topas.* him Sir and Toby CLOWN. SIR TOBY. abused.* Cellar beneath O l i r i a ' s House W h a t t h i n k e s t t h o u of h i s I think nobly MALVOLIO. up ttage it opened.* MALVOLIO. srood S i r T o o a s . W H A T YOU W I L L ACT I V SCENK I I TWELFTH Out. jolly Kobyn. for I a m n o w i n offence w i t h m y this sport to the upshot.* I to well.* Nay. MALVOLIO. me jolly how thy Robin. as e v e r t h o u w i l t d e s e r v e w e l l a t m y h a n d . except for the pale rayt of light which fall upon the figure O/HALVOLIO. Ue findt outiide the door an old mop. Sir T o p a s ! M y most Nay. h a ? " The firtt two ilanzat of thi tong. S i r T o o a s . help m e t o a candle. terms . I w o u l d h e w e r e .** so I . I prithee. (81 Drawing bad lo M A K U . w h o loves a n o t h e r " — W h o th* ladder. 19] Bagtrly thrutting hit fact forward from thi bari of tht grid. Sir Topas. CLOWN. . i n k a n d paper : I w i l l l i v e t o be t h a n k f u l t o thee f o r CLOWN. (B] BaUing i G o o d f o o l . and drapet the gown about it. b u t t o b e s a i d a n h o n e s t m a n a n d a g o o d h o u s e k e e p e r goes as f a i r l y as t o s a y a c a r e f u l m a n a n d a g r e a t s c h o l a r . (7) Staiuiing al>ovt the door and iptaUng towardt tht grid. behind r s s T i . MALTOLIO tlirt at tht light increattt. SCENE I bird. h e sees t h e e I w o u l d I were t h e first t h a t ever dissembled i n such a g o w n . «f door R. ho. MALVOLIO. of door and advanctt to front of grid. [MARIA. CLOWN. lunatic nsl Otmiae to (kt mti. Sir Topas. b e i n g m a s t e r P a r s o n . a<lMtw<fv him to th* door in partition.' Robin.* CLOWN. Tell me how thy leman doetti And thou Shall know o( mlno. v e r y w i t t i l y said to a niece of b u t " t h a t . and safety SIR TOBY MARIA. never was m a n t h u s w r o n g e d : I I ] Drawing MAKU by the hand to I . t h i s h o u s e is but I a m n o t m a d . Sir Topas : MALVOLIO. W e l l said. Sir Topas. [S] Over TESTE'S thouldtr. Ud'" (8] Fixiiehing kit plaguing of MALVOLIO for ihi mommt. gown : (4] Bit long thin handt thrutt in tntreaty through the grid." Alack I why is she so? " She loveth another better than inc . What is the opinion of Pythagoras concerning wild (2] Making a tign behind him to SIR TOBT and MAiiiA before he tptak*. any Madman. rxsTX appeart in the doorway. to the head of which he attachei the beard. CLOWN. done this without thy beard and how If so not. a n d I s a y . a n d no F a r e thee w e l l . I say! Who SIR TOBY. J o v e bless t h e e .O. opinion. pretending to be leaving by reducing the volume of hit voice. [7] TESTE followt them a liltle and il teen in the doorway throwing off hit gown and removing hit beard. SIR thou talkest t h o u n o t h i n g b u t of TOBY. 2] Tuming to TESTK." Stevagt 13. 1(1] Getting into the doorway. t h e r e w a s n e v e r m a n t h u s I a m no more m a d than y o u are : question. MALVOLIO'S colli rite from eagerneti to a wild deiperation. Fool! " A l a s . This inset scent may be set in front of O L I V I A ' S garden. the whilst. t h o u dishonest Satan! one courtesy ." Hey chamber. I ' l l p u t i t on.voLio. I ' l l c a l l m i g h t s t have W e l l . W H A T this YOU man! W I L L CLOWN. CLOWH. CLOWN. as t h e o l d h e r m i t o f saw pen a n d i n k . And yet >he wUl tay no. yet complainest t h o u of obstruction ? I say t o y o u . hyperbolical fiend! ladies? N I G H T : how vexest OR. Sht opent and interU candle in hanging lantern. holding out tht gown. The tcene man be humoured lo the point when FESTE layt.42 T W E L F T H NIGHT: OR.* niece t h a t I c a n n o t pursue w i t h a n y Come by and by to m y [Exeunt a m n o t t a l l enough to become the f u n c t i o n w e l l . Sir T o b y : Parson. CLOWN. dark. [SCENE I I J [OLIVIA'S house.* SIR TOBY. w h y is she Fool.* To h i m i n t h i n e o w n voice. I "She say! calls. for I a m o f t h o s e g e n t l e o n e s t h a t w i l l use t h e d e v i l sayest t h o u t h a t house is windows himself w i t h MALVOLIO.* Tell f o r . t h e c l e a r s t o r i e s t o w a r d t h e s o u t h n o r t h a r e a s l u s t r o u s as e b o n y . l e s t t h o u dispossess t h e s o u l o f t h y g r a n d a m .41 the rue of the eurtain the ttage it dark. ignorance . Prague. good Sir they have laid m e here i n hideous I call thee by the most modest dark? barricadoes. Enter MARIA MARIA. etc. * R e m a i n t h o u still i n darkness : s h a l t h o l d t h e o p i n i o n o f P y t h a g o r a s ere I w i l l a l l o w o f t h y w i t s . at he iingi. SIR TOBY. " Who calls.] and CLOWN. this house is as dark as ignorance. lady doet. Sir Topas the curate. put on this g o w n and this beard . She carriet a gown over htr arm. I a m Thou exquisite Sir T o p a s ! for a l l waters. Enter SIR TOBY and MARIA. (6] Keeping in tht doorway. do n o t t h i n k I a m m a d : Fie. t h a t never Parson . believe t h o u a r t Sir Topas t h e c u r a t e : do i t q u i c k l y . [1] . SIR TOBY. who Uet upon the ttraw of tht inrur etllar.

-i pautt. B y t h i s h a n d . They follow him. fool. In Who.*' I'll And anon. She sweeps lo o. making hit exit R. CLOWN. SCENE I I Near When float the ChatUry.-.* M a i n t a i n n o words w i t h h i m . who drawt back. . The PRIEST followt her with slower gait. I. a r e y o u not m a d i n d e e d ? o r do y o u b u t counterfeit? MALVOLIO. sir. lo SEDA8TIAK. ** A n d though 'tis wonder that enwraps m e thus.** I will. his voice rises. letter from his belt.* A l a s . (21) He kisses the pendant. a n d do a l l they c a n to face m e o u t of m y wits." Samuel French. T h a t I a m ready to d i s t r u s t m i n e eyes A n d w r a n g l e w i t h m y r e a s o n t h a t persuades m e T o a n y other t r u s t b u t t h a t I a m m a d * O r else t h e l a d y ' s m a d . I f you m e a n well. s i r ? n o t I . (9) In hit own voice. then with a growing anxiety. Like to the old Vice. (4] O L I V U tntert swiftly from R. if ' t w e r e s o . * ' Marry. B e l i e v e m e .. A d v i s e y o u w h a t y o u s a y . font of inr- (2) IHtmitting tht idea with paiienct at hit folly. Sht it now in fettal aUirt. is closed batten bring on it.** G o o d fool. h a v i n g s w o r n t r u t h . b u t n o m a d n e s s . T h a t t h i s m a y be s o m e e r r o r . (14) The fiMl approaches the prison door 0" all fours arul when under it.. [Exit. (19) Pointing off L. : Cries. her mourning ditcarded.MALVOLIO'S vition. s i r . W<„ T h i s p e a r l s h e gave m e .T W E L F T H ACT [1] Moving forward N I G H T : O R . FESTE makrt play with the goum on the mop-ttick. teay. In a trice. [ 5 ] To a potition abovt the door. a n d leave t h y v a i n bibble babble. Sir Topas!' F o r t h o u g h m y s o u l disputes w e l l w i t h m y s e n s e . 1 n. I w i l l help y o u t o ' t . trembling with emotion. . CLOWN. " Vocal Mutie to Twelfth Mghl. Well-a-day that you were. [lb] In pathetic appeal. s i r ! MALVOLIO*'.* B u t h e r e t h e lady c o m e s . t h y w i t s t h e h e a v e n s restore I e n d e a v o u r thyself to sleep.* F o o l . P l i g h t m e t h e f u l l a s s u r a n c e of y o u r faith . I a m . 11. CLOWN.it the conctunion of his fooling he throivt the corUrivarwe through the upper door. I a m n o t . to that he trailt the gown to come within . (ISi AI tht point of ttart.with wonder and ecitaty in hit voice at he movet lo 0. ah. I ' l l follow t h i s good m a n . be gone. good S i r T o p a s . Ltd. I again. I ' l l n e ' e r believe a m a d m a n t i l l I see h i s b r a i n s . a l l discourse. then ilowly. W h e r e ' s A n t o n i o . (2'2) Looking (23) Taking • m.** SEBASTIAN. In the voice of SIR TOPAB. Making his exit before the conclusion of the tong. T h i s i s t h e a i r . N o w go w i t h m e a n d w i t h t h i s holy m a n . M0| In the voice of SIR TUPAS. MALVOLIO* T h e y h a v e here propertied m e . 1 1 . s o m e i n k . I a m a s w e l l i n m y w i t s . turnt from hit priton door. T h a t m y m o s t j e a l o u s a n d too doubtful s o u l M a y live a t p e a c e . (121 I>uring hit impertonation of SIR TOPAS. T h a t they m a y f a i r l y note t h i s a c t of m i n e I [Exeunt. CLOWN. I will. I n t o t h e c h a n t r y b y : t h e r e . s i r .** A l a s .. Halting hit armt he linkt to his knees and falls face downward in the straw.ASTIAN B. G o o d fool. MALVOLIO. a s s e s . (4) Pitifully. W h a t s a y y o u . but nturnh immediately. wiih rapture in his voice. c o m m a n d her followers. a n d go w i t h y o u . Hit harult. She could not s w a y her house.* Who.* (IJ Pauw. H e shall conceal it W h i l e s y o u a r e w i l l i n g i t s h a l l c o m e to note. be patient. N a y . crouchet litlening for what MALVoLIO may tay. [3j With an intente earnetlneet. A n d . B u t a s w e l l ? t h e n y o u a r e m a d indeed. Clot* Traverse as lights Jade out. [2] For a deapniring moment MALVOLIO. ** . I>_|„.. Pare thy nails. Tht tvim ttandt R. [SCENE I I I ] [OLIVIA'S Enter gardeyi. keep m e i n d a r k n e s s . Adieu. * t h e m i n i s t e r i s here. |6. before h i m . help m e to s o m e l i g h t a n d s o m e paper : I tell thee. a s t h o u a r t . MALVOLIO. hat to the devil Like a mad lad. discreet a n d stable b e a r i n g A s I perceive s h e does : t h e r e ' s s o m e t h i n g i n ' t T h a t is deceivable. s i r . about him. CLOWN. (71 Wildly. fool. ever w i l l be t r u e . MALVOLIO leavet tlie door of hit priton. W H A T Y O U W I L L ACT I V SCENE I I I T W E L F T H N I G H T : O R . a n d h e a v e n s s o s h i n e . CLOWN. a n d there * ' I found t h i s c r e d i t . I prithee. I a m a s w e l l i n m y w i t s a s a n y m a n i n I l l y r i a .* T h e n l e a d t h e w a y . I Say I CLOWN. MALVOLIO. ** t h a t i s t h e glorious s u n . G o d be w i ' y o u . and laughing quietly at hit jest. T h a t h e d i d r a n g e t h e t o w n to seek m e o u t H i s c o u n s e l n o w m i g h t do m e golden s e r v i c e . I ' l l requite i t i n t h e h i g h e s t d e g r e e : / am gone. with a geiture.. B l a m e n o t t h i s h a s t e of m i n e . paper a n d l i g h t .** F o o l .. fool. OLIVIA. * y e t . if y o u be n o better i n y o u r w i t s t h a n a fool. F o o l . W H A T Y O U W I L L 45 V. but her drett it covered with a cloak and hood. /'•aring KLSTK has gone. to heaven. (8) In the voice of SIR TOPAB. a n d c o n v e y w h a t I w i l l s e t d o w n to m y lady ' it s h a l l a d v a n t a g e thee m o r e t h a n ever t h e b e a r i n g of letter d i d . gratping the mop and advancing U a little. OLIVIA. (31 Steing otrrLA coming from » . Ht doet. Yet 'tis not madness.] the Traverse and Jront (18) Bnler SEB. Enter OLIVIA and PRIEST. A n d u n d e r n e a t h t h a t c o n s e c r a t e d roof. [5] OLIVU motiont the PRIEST to go. hit voice dying out at he goet. W h a t t i m e w e w i l l o u r c e l e b r a t i o n keep A c c o r d i n g to m y b i r t h . 80. Your need to sustain . sir. SEBASTIAN. good fellow. for ihit tong.* M a l v o l i o . (11) In hU own voice. iiO] Fingering a fine gold chain with its pendant pearl that OLIVIA has worn in the earlier scenes. I w i l l fetch y o u l i g h t a n d paper a n d i n k . W h a t do y o u s a y ? SEBASTIAN. up good man devil. good f a t h e r . dad . See page 13.** MALVOLIO. Y e t doth t h i s a c c i d e n t a n d flood of fortune So f a r exceed a l l i n s t a n c e . with dagger of lath. raises his fare to the grid. be tvith you again. s e n d m i n i s t e r s to m e . M a l v o l i o . CLOWN [sj'wgj'ng]. t h e n ? ** I c o u l d n o t find h i m a t t h e E l e p h a n t : Y e t t h e r e h e w a s . (13) MALVOLIO callt for tht FOOL quietly at first. sir. I tell thee t r u e . Tht Tractrtt optnt ditcloiing (17) Tisn taket doum the lantern arul dances round as he tingt. I do feel ' t a n d see ' t . B u t tell m e t r u e . h o w fell y o u besides y o u r five w i t s ? * MALVOLIO. T a k e a n d give b a c k affairs a n d t h e i r d i s p a t c h W i t h s u c h a s m o o t h . his rage and his wrath. thrutt out in an endeavour to gratp FXSTB. there w a s n e v e r m a n so notoriously abused . 1 E. amen. s i r ? I a m shent for s p e a k i n g to y o u . CLOWN.

But i n conclusion put strange speech upon me : I know not what 'twas but distraction. Both day and night did we keep company. W i t h which such scathful grapple did he make W i t h the most noble bottom of our fleet. out of breatli. The D K tauntert DX up ttage.] FABIAN. A N T O N I O and OFFICERS. You can fool no more money out of me at this throw : if you w i l l let your lady know I am here to speak w i t h her.* " Hey Robin I Ho Robin I Tell me how my Udy d o t h . in in as the befort. Enter DUKE. From the rude sea's enraged and foamy m o u t h Did I redeem . sir. sir. it. VIOLA. [ 1 2 ] TIOLA < e ANTONIO comtivL. FABIAN. The OFFICERS lake ANTONIO L . I ' l l be w i t h yoa again. bouring low.] I n private brabble did we apprehend h i m . p. W H A T Y O U W I L L 47 ACT T. . [5] Sir Here comes the countess : now heaven walks on earth. not a minute's vacancy. friends. all her ladiet following tuit. How can that be? CLOWN. How can this be? W h e n came he to this town? ANTONIO. That very eni and the tongue of loss Cried fame and honour on h i m . Marry. sir. sir. then tpeakt. followed by F A B U N . at he tinkt on the teat E. lullaby to your bounty t i l l I come again. as you say. 15] CLOWN throwt money up. sir. |S] haekt away from c. As black as Vulcan i n the smoke of war : * [ A bawbling vessel was he captain of. ACT T.. This is. SCENE I ' OLIVIA'S and house. but I would not have you to t h i n k that m y desire of having is the sin of covetousness . Which I had recommended to his use Not half an hour before. But for thee. who trirt in vain to catch him. [11] Singing " I am gone. Th* DUKE uncovert. Before Enter FABIAN. pure for his love. SC.] the worse for my friends and the better for m y foes. Marry. Good Master Fabian. DUKE movet to meet her uv to 0. Belong you to the Lady Olivia. The .^^ '» VIOLA. By m y t r o t h .' Now. They open out arul eurttey on either tide of ttept at O L I T U entert. DUKE. Orsino. aieendt them. noble sir. But more of that anon. DUKE. " Vocal to Twelfth Night.] for his sake Did I expose myself. is a good play . [Exit. CLOWN. 2 ^ . Wherein Olivia may seem serviceable?* Cesario. DUKE. grant me another request Any thing.x. why then. let me see his letter. 2 X.dXt 0FF1* OXR talutet with hit hand upHfted. this is excellent. sir. AU his i n dedication .a again. 18] Pattet and ttampt foot at in fencing. TALBNIINE and three LORDS. Do not desire to see this letter. MARU ond a fifth lady a pace behind her. W h o m thou.ae the OLOWX. OURIO.' CLOWN. now my foes tell me plainly I am an ass : so that by m y foes. hit fellowt with their piket. and LORDS. Be it followed two arid two by four laditt ail in fettal attire. but that he may not have. let your bounty take a nap.* DUKE. CLOWN. Bt ruru up ttage lo ttept c. to give a dog. bowing at OLTTU. FABIAN. i f your four negatives make your two affirmatives. though i t please you to be one of m y friends. I w i l l awake i t anon. CLOWN.E. " T u n * as before. W e l l . m y lord . CLOWN. DUKE. m I I ] F X T OTFICER tntert I . and turn*. Notable pirate! thou salt-water <'ief! W h a t foolish boldness brought thee to their r. FABIAN after him at the DIIER entert. the FIRST OFFICXK. sir : we are some of her trappings. ero*—* to him B. as thou lovest me. ditarmed. [10] Singing the louni of Mis. I«) Enter TABTAW down ttept from B.* OLIVIA." Samuel French. » or the bells of Saint Bennet. For shallow draught and bulk unprizable . ] What's the matter? FIRST OFFICER. but. To-day. they praise me and make an ass of me . A witchcraft drew me hither : That most ingrateful boy there by your side. sir. eurtteyt. [ 7 ] In a wheedling tone. Hast made thine enemies? ANTONIO. advaneet to x. DUKE. CLOWN. I w i l l be so much a sinner.. tpeakt. from L. Drew to defend h i m when he was beset: Where being apprehended. is a good tripping measure . [r DX UB erottit TIOLA to L. sir. catehtt pirouettei for joy. CLOWN it SCENE O L I V I A ' S garden. sir. and for three months before. whiltt T A B U N bowt. fellow . They dodge in and out the box hedge till FABIAN. OLIVIA and ATTENDANTS. bowing.* Orsino. VIOLA. C L O W N . and i n recompense desire m y dog Enter DUKE. denied me mine own purse. Truly. thy words are madness: Three months this youth hath tended upon me . a wreck past hope he w a s : His life I gave h i m and [did thereto add My love. exhautled. on base and ground enough. [6] Kxtendt a btgging palm. Enter DUKE. sir. VIOLA. three.u. W h y . No i n t e r i m . [3] A T NO UO I movet forward Itvel with the DUXX. running down L .T W E L F T H N I G H T : O R . a.c. sir.U. Orsino's enemy. N O . Put your grace i n your pocket. sir.* But that i t would be double-dealing. no .atamotionfrom the DUEI retreatt to hit fellowt L . uiho maket a movement to ttop him.O. CLOWN. and bring her along w i t h you.foOowtdby 18 ANTONIO.* Primo. 0 .followt.E. you do not keep promise w i t h me. the worse. i t may awake m y bounty further. T%1JW Madam! Clrmrinlta nitvin — thit time OLrriA and tuite have tntered. As heard the scene off opens singing [ACT THE FIFTH R. Not meaning to partake w i t h me i n danger. through box hedget to c. gu. Be pleased that I shake off these names you give m e : Antonio never yet was thief or pirate. the better for m y foes and the worse for my Just the contrary . DUKE. CURIO. the DUKE rmiatnuif <L That face of his I do remember well . TABUH. having drecendtd the ttept. VIOLA. I profit i n the knowledge of myself. that did rescue me." Samuel Ltd. Taught h i m to face me out oi his acquaintance.lot. 12] FABLAN maket a tudOen ruth at him . the t h i r d pays for a l l : the triplex. Take h i m aside. *'one. " Vocal Mutie lo Twemh Night. Thou shalt not be the worse for me : there's gold. (1) Music French. fellow. DUKE. and iutA< e< D R turnt laughitig from up C. to be a double-dealer : there 's tmother.r. sir. desperate of shame and state. sir. and exit R. CLOWN. you give me i l l counsel. s i r . the better for thy friends. I know thee w e l l : how dost thou.. 13. tht UE taktt a ttev toivardt him at the tveakt. page 13. friends? Ay. He did me kindness. for this once. Here comes the m a n . *DUKE. and by m y friends I am abused : so that. W h a t would m y lord. m y good fellow? .. this is that Antonio That took the Phcenix and her fraught from Candy : [ A n d this is he that did the Tiger board. CLOWN. drew on m y side . CLOWN The CLOWN rune on down the ttept c. i n terms so bloody and so dear. tertio. I*] D O TE taking money from pwm. his false cunning. " Tunt at before. may put you i n m i n d . And grew a twenty years removed thing While one would w i n k . idly watchir\g them. * DUKE. Into the danger of this adverse town . IM.* BO. I go. the CLOWN avoidt him. and let your flesh and blood obey i t ' DUKE. the CLOWN c. t w o . and the old saying is. Though I confess. When your young nephew Titus lost his leg : Here i n the streets. W H A T Y O U W I L L ACT V SCENE I T W E L F T H N I G H T : O R . sir. •< by two tubordinate offtcert. I would you could make i t another. (8] Taking three dainty ttept at in a danee. the TIKBT OfncXR Ending back a pace. secundo. And anon.iercies. earrying her glovet and handkerchief. sir . without retention or restraint. followed by TIOLA. [8] O L I T U ttet TIOLA R. [conclusions to be as kisses.

foUow backt towardt R. Attested by the holy close of lips. his eyes were set at eight i ' the morning. W h a t do you say. W H A T Y O U W I L L ACT 49 T. l«l To CLOWN on hit L. For the love of God. then to [31 Be ezitt R. by thy reverence. SFRASTTAN. O. [8] Waving the D U K E atide on hit R. twinging her over to hit E . whom I know you love. SIR T O B Y . He has broke m y head across and has given Sir Toby a bloody coxcomb too : * for the love of God. no hat. To do you rest. by heaven I swear. Still so constant. you witnesses above Punish m y life for tainting of m y love!* O L I V I A . At he comet mart ilouiy O L I T I A tweept round to L. Whither. do not swear I Hold little faith. (61 Ooin. Mtn at [41 Turning again to OLITli. Strengthen'd by interchangement of your rings . one Cesario : we took h i m for a coward.. husband. that shall become h i m .E. V I O L A . The D C K E thereupon advaneet from R. stay. W H A T Y O U W I L L ACT V SCENE I T W E L F T H N I G H T : O R . [12] S I R T O B Y puihtt him and S I R A N D R E W forward the paute betioeen each epithet. To spite a raven's heart w i t h i n a dove. tkipt in [61 at. by m y testimony : Since when. 0 thou dissembling cub! what w i l t thou be When time hath sow'd a grizzle on thy case? [Or w i l l not else thy craft so quickly grow. m y lord? Cesario. m y lord. AU turn in direction of the tound at to OLlvu. laugh. more than m y life. [though lately we intended To keep i n darkness what occasion now Reveab before 'tis ripe. And all the ceremony of this compact Seal'd i n m y function. * O L I V I A . m y lord. but he's the very devil incardinate. My lord. O L I V I A . [61 SIR ANDREW. sot? C L O W N . A contract of eternal bond of love. who runt off up ttept at (81 With a itamp of her foot. Still so cruel? O L I V I A . you have hurt me : I think you set nothing by a bloody coxcomb. th* P R I E S T i* bttwttn them. * 'Od's lifelings. Sir Toby. After h i m I love More than I love these eyes. O L I V I A . W h y should I not. V I O L A . D U K E . If I do feign. he would have tickled you othergates than he d i d . O L I V I A . I .ming terror acrott oUTU to th* u vioLA. Here to unfold. How now. ] SIR TOBY. lord. circlet round in front of SIR TOBY lo Au B. a surgeon I Send one presently to Sir Toby. and TABIAH. I do protest— O L I V I A . 1 E. I t is as fat and fulsome to mine ear As howling after music. I tender dearly. [t] SIR A K S E E W it heard howling off R . comej limping by tht C L O W N are bound with handkerchief* and one eye hidden. A finally boh* with a dry a* ilt. 80.v. That thine o w n trip shall be thine overthrow?] Farewell..n. That's all one : has h u r t me. Enter PRIEST. The couut's gentleman. ( I l l Coming from L . Where he sits crowned i n his master's spite.t. had I the heart to do i t . Where goes Cesario? *V I O L A . because w e ' l l be dressed together. Be that thou know'st thou art. Hast thou forgot thyself? is i t so long? Call forth the holy father. on hit L. to perverseness ? you uncivil lady.' D U K E . Even what i t please m y lord. Her husband. though thou hast too much fear. a guUl O L I V I A . SIR T O B Y . But I bespake you fair. But hear me this : Since you to non-regardance cast m y faith. 0 . I ' l l help you. welcome. an hour agone . Ay. D U K E .l. O L I V I A . > But this your m i n i o n . m y watch hath told me. and there's the end o n ' t . *' [and a passy measures pavin : ] I hate a drunken rogue.c.E. T O B T and getting more frightened. TOBT eaUt off t. detested! how am I beguiled! * V I O L A . and let his hurt be look'd to. I charge thee. a thousand deaths would die. What. appealing HARU holding a fringed handkerchief to hit uninjurid head arut between hit tobt S I R A N D R E W entert down ttept to 0 . sirrah! V I O L A . SIR A N D R E W . PRIEST.TJ. K i l l what I love?—a savage jealousy That sometime savours nobly. Get h i m to bed. i t is the baseness of thy fear That makes thee strangle thy propriety : Fear not. and that that I did. . Enter (71 Enter S I R T O B T . then a ttride retreat*.. foUowtd by tht P R I E S T dovm tttpt to c. tupporttd foUowed by M A U I A . c and off R. m y thoughts are ripe i n mischief : I ' l l sacrifice the lamb that I do love. take thy fortunes up . [ 7 ] To DOKI re-entert from R. than e'er I shall love wife. Come. Sir Andrew? SIR A N D R E W .t. la ( 1 ) Tht P R I E S T gravely inclintt hit head to O L I V I A and retrace* hit way up ttept. and hurt you not.XI. My gentleman. Away w i t h h i m ! Who hath made this havoc w i t h them ? **siR A N D R E W . U Oueked by O L I T I A ' S voice. and S I R A N D R E W . Cesario .l what thou dost know Here comes Sir Toby halting . S I R T O B Y followt. and take her . W h o has done this. SIR A N D R E W . T I O L A following the tpeak*. O L I V I A . Hath newly pass'd between this youth and me. gentleman! how is ' t w i t h you? * S I R T O B Y . Cesario? Good my l o r d .* Enter SIR T O B V and C L O W N . And w h o m . Husband! O L I V I A . DUKE.* D U K E . fatherl Father. What's the matter? SIR A N D R E W . Ay me.. [i] XAKU gaOun of ditmay c. apt and willingly. Like to the Egyptian thief at point of death. Sir Toby. V . and teitet V I O L A by htr t . It] Bt toti towardt %. T A B I A N . not I . W i l l you help? ** an ass-head and a coxcomb and a knave. Then he's a rogue . and tumt conclude hit tpeech.c. I was set on to do ' t by Sir Toby. 1 1 .V. arm. to K. him off SIR A N D R E W and There it a gtneral CLOWN R. I f i t be aught to the old tune. most jocund. lough. away! O L I V I A . More. . with the nert. — My lord would speak . you shall hear more : but if he had not been in drink. [101 Biocought. he's drunk. [ F A B I A N .fromt. Tht laditt. And that I partly know the instrument That screws me from m y true place i n your favour.48 T W E L F T H N I G H T : O B . .* V I O L A . And I . 1 1 . boy. H i m w i l l I tear out of that cruel eye.* Come. your helpl I had rather than forty pound I were at home.* Enter S I R A N D R E W . Who does beguile you? who does do you wrong? O L I V I A . . Cesario?* SIR A N D R E W . 0 . [BJ TABUN runt on K. a thin-faced knave. D U K E . I f a bloody coxcomb be a h u r t . here he is! You broke m y head for nothing .l* [ 1 3 ] S E B A S T U N comet onquvMy. V I O L A . O L I V I A . by all mores. m y duty hushes me. [Exeunt C L O W N . D U K E . Bit head and knee down ttept. ' D U K E . husband : can he that deny? D U K E . w i t h me . whcro Are you ! " " Sir Andrew. now TiOLA moving R. down Ittpt to O L I T U c At he tpeakt tht D U K E rtgardi him and then T I O L A . W h y do you speak to me? I never hurt you : You drew your sword upon me without cause . Live you the marble-breasted tyrant still . No. toward m y grave I have travell'd but two hours. didst see Dick surgeon. arut runt up her *HrU up and off ttept wUh a cry [41 At the DtTKE tpeakt he iiidottt TIOLA. Confirm'd by m u t u a l joinder of your hands. Alas. and then thou art ' As great as that thou fear'st. To whose ingrate and unauspicious altars My soul the faithfuU'st offerings hath breathed out That e'er devotion tender'd! W h a t shall I do? O L I V I A . but direct thy feet Where thou and I henceforth may never meet. •Sot.

To t h i n k me as well a sister as a wife. ] DUKE. R. VIOLA. I ' l l bring you to a captain in this t o w n . [8) In douM. that is and is not I * SEBASTIAN. A natural perspective. I should have given ' t y o u to-day morning. aiul both i. Which is Sebastian? OLIVIA. that record is lively i n m y soull He finished indeed his mortal act That day that made m y sister thirteen years. And a l l those sayings w i l l I over-swear . [ A spirit I am indeed . sirrah. and for your service done him. And say.] " By the Lord. had i t been the brother of m y blood. " By the Lord. SEBASTIAN. lady. one habit. A gentleman. right noble is his blood. OLIVIA. he holds Belzebub at the staves's end as well as a man i n his case may do : has here w r i t a letter to you . But am i n that dimension grossly clad W h i c h from the womb I did participate. They say. he tunu BI. Read i t you. Most wonderful! SEBASTIAN. at VIOLA tpeakt. madam. madam. and the DOKB to TIOLA'fl TUN (unu l« OLITU and TIOLA l« tht DDKI. cleft i n two. T h i n k of me as you please. Do I Stand there? I never had a brother . deceived. do cohere and j u m p That I a m Viola : ' [ w h i c h to confirm. one voice. and read i t . Where lie m y maiden weeds . The madly-used M a l v o l i o . he's much distract. So comcs i t . W H A T Y O U WILL ACT V UCBKE I T W E L F T H N I G H T . Open ' t . " Thrice-welcome. yet have I the benefit of m y senses as w e l l as your ladyship. K. and by that I do perceive i t hath offended you : Pardon me. I am most apt to embrace your offer. m a d a m . by m y life. ] Your master quits you . V M I nrm h^H-AfVi'H Knfh tn m matH anH man DUKE. Nor can there be that deity i n m y nature.] S E B A S T I A N [(0 O L I V I A ] .] [To VIOLA. I leave m y duty » Httle tmthought of and speak out of m y i n j u r y . 0 . Since I have lost thee I ANTONIO. I f nothing lets to make us happy both But this m y masculine usurp'd attire. A n d S O had mine. " OLTVIA. OLIVIA. S M mn/>h aarainut thu mettle of vour sez. Antonio. alas. and lookt ftom him to TIOLA. How does he. but to read his right wits is to read thus : therefore perpend. My father had a mole upon his brow. Here at my house and at m y proper cost DUKS. [Reads. so please you. time. I must have done no less w i t h w i t and safety.* VIOLA. One face. DUKE. * Of charity. and follower of m y lady's. «o. SEBASTIAN. read i ' thy right wits. I had a sister. I f this be so. 17} They embraet 0. I shall have share i n this most happy wreck. w i t h the which I doubt not but to do myself m u c h right. I have hurt your kinsman . T r u l y . [t] Advantu btlow UUKX lo Iht i . OLITU [ A most extracting frenzy of mine own F r c m my remembrance clearly banish'd his. I do but read madness : an your ladyship w i l l have i t as i t ought to be. calling thrinkt towardt SEBASTIAN. [ 4 ] MALTOLIO it heard of. I should m y tears let fall upon your cheek. Such a Sebastian was m y brother too. i n 81 i n Ixioldni ftom ont to the othor. How now! art thou mad? CLOWN. or you m u c h shame. OR. * And let me see thee i n thy woman's weeds. » DUKE. 1 i . now I remember me. thou hast said to me a thousand times Thou never shouldst love woman like to me. * VIOLA.B»STI*I« over to hu L. But. H O W have you made division of yourself? An apple. you wrong me.] dittradcdly. and FABIAN. Nor are you therein. m y princess. OLiTU dropt doum to BXBASTIAN'8 L. You t h r o w a strange regard upon me. I have your own letter that induced me to the semblance I put on . you have been mistook : • [But nature to her bias drew i n that. I am sorry. He shall enlarge h i m : fetch Malvolio hither : And yet. W Advaneet Mote OLiTLt lo the L. This savours not much of distraction. poor gentleman. [And a l l those swearings keep as true i n soul As doth that orbed continent the fire That severs day from n i g h t . is not more t w i n Than these two creatures. Prithee. madonna . Madame!" "Madame I Miidamel Qerural ttart. D i d he write this? CLOWN. So went he suited to his watery tomb : I f spirits can assume both form and suit You come to fright us. So I do. and the world shall k n o w i t : though you have put me into darkness and given your drunken cousin rule over me. . 0 m y dear Antonio I How have the hours rack'd and tortured me. at Malvolio's suit.so TWELFTH NIGHT: OR. * OLIVIA. All are amazed. [3] OLITIA erottet BIBARTIAN to o. CLOWN. but as a madman's epistles are no gospels. .] Boy. No.] Were you a woman. CLOWN. F A B I A N [reads]. [Rc-'nter CLOWN tuith a letter.* Of Messaline : Sebastian was m y father . as the rest goes even. Madam. One day shall crown the alliance o n ' t . W H A T Y O U WILL ACT T. o . Of here and every where. W h o m the blind waves and surges have devour'd. by whose gentle help I was preserved to serve this noble count. [2J And kittet it. OLIVIA. Look then to be well edified when the fool delivers the madman. See h i m deliver'd. OLIVIA. [Exit FABIAN. A y . The captain that did bring me first on shore H a t h m y maid's garments : he upon some action Is now i n durance. so i t skills not much when they are delivered. as yet the glass seems true. madam. VIOLA. sirrah? CLOWN. " — OLIVIA. Be not amazed . My lord. sweet one. these things further thought on. Antonio? •ANTONIO. so please you. [ r * V I O L A . Fear'st thou that. and two persons. At the end of thit embrace BIBAB- SEBASTIAN. SEBASTIAN. [To F A B I A N .* [1] The DVTX iaket TioLA [ I tht hand. madam. what k i n are you to me? W h a t countryman? what name? what parentage? VIOLA.O. you must allow Vox. Give me thy hand . drowned V i o l a ! " VIOLA. and give ear. bring h i m hither. Sebastian are you? SEBASTIAN. even for the vows We made each other but so late ago. fortune. ice K. You would have been contracted to a m a i d . [(] TWU tpeaking guieklg with growing ftrtour and joy. Do not embrace me t i l l each circumstance Of place. And died that day when Viola from her birth Had number'd thirteen years. All the occurrence of m y fortune since Hath been between this lady and this lord. tht VOSDt and LADII9 0/ tht two tuitet mingling up ttage. Fabian . madam.

our play is you done. I t « R.\ the etc. A N T O N I O follows. knaves the men shut their gate.. ' Good m a d a m . " • I w a s one. ago ho. [[Exit. Ltd. . T W E L F T H N I G H T : O R . peruse that letter. you have. But w h e n in other habits y o u are seen. I tvas ho. OLIVIA.] But Of lb] Coming foruard from the group of A T T E N D A N T S . rain thing and the was but wind a all.ir T n n a c c i r • h u t t V i o t ' . h a v e y o u suffer'd m e to be i m p r i s o n ' d . heads. H e h a t h been m o s t n o t o r i o u s l y a b u s e d .. (81 OLOWH. cause. I came hey. [21 M'aving letter as he speaks. rain. all one. She reads MALVOLIO. the couples ond c. Malvolio? Lady.mkiiuj four couples above and four front couples. 1 B . 1 E. DUKE. Y o u c a n s a y n o n e of t h i s : A n d tell m e .g a r t e r ' d to y o u . Upon some stubborn and uncourteous parts We The In h a d conceived against h i m : letter a t S i r T o b y ' s great importance. to whom she has retired on his re-etdrance curUeys. who lupported 1 OLIVIA.* it w a s s h e [then camest in smiling. I came. bow or curtsey with the C L O W N on the while hey.. arrange sings the I'avane or his her hand. T h a t h a v e o n both s i d e s p a s s ' d . [4] M A L T O L I O . this s a m e . 17) MARIA as MALVOLIO they rttiri gruuhes FABUN up c. and the couples dancing all final notes to lJu Audience as the Curtain faUs. the m o s t notorious geek a n d g u l l tell m e why. Vtrowing up his calchiHff it. 11] Pirouetting. OM M A L T O L I O ' t t T |8]^/mOotity SIR imitatitig his pompous TOPAS. and dasltes y o u a t s u c h a b a r r e n r a s c a l ? a n y o u s m i l e not. " Vocal Samuel down R. wrong. i n t h i s i n W l i l r f * • n n ^ . w h i l e y o u a r e a m a n . P u r s u e h i m . K. and etc. i n h a n d or p h r a s e . with SIR TOBY. [7] The last two lines are sung much slower. I confess. and as But out of question came ho. The DUKl CURIO and themselves the VIOLA atui a daiwe together on lady above the DUKl K e p t i n a d a r k h o u s e ..'ises V I O L A to O L I V I A atui c. tn his dot-and-go-one walk to 0 . rain. W H A T Y O U W I L L 58 Ill So far b e n e a t h y o u r soft a n d tender b r e e d i n g . except tiny the boy. amidst general FABIAN. T a i n t the c o n d i t i o n of t h i s present h o u r . rain. and toy. * MALVOLIO. w e l l . Music lo Twelfth Sight. lord. M a l v o l i o .* Y o u m u s t n o t n o w deny it is y o u r h a n d : i t . JiAKiA and FABIAX SEBASTIAN above and on With hey. and r e c o m p e n s e w h e r e o f he h a t h m a r r i e d h e r . t. off L ." seepage 1 4 .] [3] The OFFICERS follow MALVOLIO off a little L ." French. Maria * writ M o s t freely I confess. A l a s . Why Bade me (5) J'urns takes her hand and bowing. A l a s . teeth at them laughs. g r a n t it t h e n of honour. F i r s t told m e t h o u w a s t m a d . [8] T o put o n y e l l o w s t o c k i n g s a n d to And. Toby here. still my drunken beds. from the group of ladies. h o w h a v e they baffled thee I Why. s w e e t s i s t e r . «Wi on either side above him. thoulder. great With * But And The C L O W N steps foruard • Epilogue Song. poor fool. W H A T Y O U W I L L ACT V SCENE I T W E L F T H N I G H T : O R . throws it in the C L O W N ' S face. astounded at her denial.] to please world begun. m u c h l i k e the c h a r a c t e r : 'tis M a r i a ' s hand. H a v e I . favour. Notorious OLIVIA. [[Exeunt * CLOWN [sings]. MALVOLIO. we'll T h i s practice hath most shrewdly pass'd upon T h o u s h a l t be both the plaintiff a n d the thine own FABIAN.. stage. and s o m e h a v e greatness t h r o w n u p o n t h e m . not y o u r i n v e n t i o n : i n the modesty CLOWN. his o^in. W e w i l l not p a r t f r o m h e n c e . imitates MALTOLIO y o u h a v e done m e no. W h e n t h a t is k n o w n a n d golden t i m e c o n v e n t s . * Cesario. ] on his right leg. myself and Set t h i s d e v i c e a g a i n s t M a l v o l i o 18) £r<n^n. now when to wive. my Madam. come . a n d e n t r e a t h i m to a p e a c e : [ H e h a t h n o t told u s of t h e c a p t a i n y e t : ' wrong. Re-enter A sister I you tvith are fool. revenge. " B u t do y o u r e m e m b e r ? " Madam. s o m e a c h i e v e g r e a t n e s s . dame y o u h a v e g i v e n m e s u c h c l e a r lights of frown it raineth to man's etc. a heavy chain I s t h i s the Malvolio! madman? Ay. bauble and [2] M A L V O L I O . every day. Orsino's mistress and his fancy's queen. I ' l l be r e v e n g e d o n the w h o l e p a c k of y o u . so that in all eight men aiul eight immrn dance Iks Pavane lo the tune of the song. M A R I A down on his t. strive etc. kisses it. alasi etc. the when hey. she. O L I V I A and L . had thieves All fall into couples for as the C L O W N to V I O L A and takes c o m e s m i l i n g a n d c r o s s . A n d let no q u a r r e l n o r no b r a w l to Which I have wonder'd at. A n d s i n c e y o u c a l l ' d m e m a s t e r for so long. unto etc. hear me come judge w h e n w e k n o w the g r o u n d s a n d a u t h o r s of it. her. s a y ' t i s not y o u r s e a l . How now. could etc. A n d n o w I do b • t h i n k m e . 1 1 . a l l n n . that's speak. be H e r e is m y h a n d : y o u s h a l l f r o m t h i s t i m e Y o u r master's mistress. s i r . I a m n o t m a d . And made OLIVIA. : her. . uihiihit by Ihr. where he and M A R I A have been laughing at M A L V O L I O . (1] M A L T O L I O enteri K. ami S E B A S T I A S . A s o l e m n c o m b i n a t i o n s h a l l be m a d e Of o u r dear s o u l s . Why a c t i n g this i n a n obedient With 'Gainst For But By For [But With With For A thee. follow'd. ho. A n d i n s u c h forms w h i c h here w e r e P r i t h e e . ho. t h i s is n o t m y w r i t i n g .<. speech. t h a I nr/< . song. " some are b o m great. thrive. U p o n S i r T o b y a n d the l i g h t e r people . U p o n thee i n the letter. presupposed content. at the D U K E ' S command. O L I V I A . * MALVOLIO. why laugh and [Exit. [4) The DUKE ira. hope. For so y o u s h a l l be. OLIVIA. ] * M e a n t i m e . h e ' s gagged : " t h u s ' the w h i r l i g i g of t i m e b r i n g s i n h i s r e v e n g e s . if y o u c a n . When With A foolish For But the when that hey. I n hope it s h a l l n o t .02 ACT ». V A L E N T I N E stuitches the letter from frardicaily examines it. tearing up the letter. C L O W N . [i] lie forces the letter it as he speaks. > CLOWN. W r i t e from Or P r a y y o u . every day. ' rather pluck on laughter t h a n H o w w i t h a sportful m a l i c e it w a s May If t h a t the i n j u r i e s be j u s t l y w e i g h ' d OLIVIA. I estate. Though. v i s i t e d by the p r i e s t . be rain. toss-pots the T h a t e'er invention p l a y ' d o n ? swaggering I never three L O R D S with the four other lady ATTENDANTS. the V I O L A . limping laughter. * DUKE.

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