Twelfth Night, Act 1, Scene 3, 90-162
Arden 3 | Keir Elam | London: Bloomsbury, 2008 | 257-263
“Let the garden door be shut and leave me to my hearing.”
Scene
Words + Pronunciation
Translation
Assonance
Alliteration
Consonance
Thoughts
Thought Count
Rhythm
Pacing
Beats
Full Scene
Rhetoric
Scene
Arden 3 | 2008
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
———–That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
Words and Pronunciation +
Arden 3 | 2008
Words
garden door: door in the garden wall. This suggests that Olivia’s imminent conversation with Viola takes place in a hortus conclusus or walled garden. Originally conceived as a symbol of the soul – ‘A garden well locked is my sister, my spouse’ (Song of Solomon, 4.12) – the hortus was fashionable in the Renaissance as a space for private exchange. (Elam)
hearing: …… (x)
service: respect (OED 9a, first occurrence)
(Elam)
fair princess: Cesario flatteringly exaggerates Olivia’s rank, thereby underlining the social gulf separating them.(Elam)
’twas never merry world: …… (Weis)
lowly feigning: …..(Elam)
compliment: ….(Elam)
stay the circumstance: wait for the detail (see without circumstance, 5.3.181) (Weis)
circumstance: special argument, detailed explanation (SW); circumlocution, verbiage, unnecessary detail (SW): pageantry, ceremony, spectacle (SW)
simple: foolish; Nurse picks up Juliet’s formal dichotomy of good and bad while ignoring the substance of her question. (Weis); foolish, silly, stupid (SW)
flower of courtesy: effectively a non sequitur after flower of courtesy since gentleness could be thought to be part of courtesy; ‘as gentle as a lamb’ is proverbial (Dent, L34). (Weis)
go thy ways: ‘Lucky you!’ ways: well done (SW), carry on, go ahead (SW); get along, be off (SW)
wench: a term of endearment for a young woman (OED sb. c) (Weis)
serve God: ‘Be good.’ (Weis)
dined: had your midday meal (Weis)
as: as if (Weis, re: line 49)
beshrew your heart: a mild and humorous imprecation on Juliet’s romantic heart for sending Nurse on this ‘back-breaking’ trip (cf. MA 5.1.55) (Weis)
beshrew: blame, censure, take to task, wish mischief on (SW); curse, devil take, evil befall (SW)
jauncing: prancing about (cited under OED jaunce v.)(Weis); jaunce: jaunt, trudge about, run around (SW); jaunt, fatiguing journey (SW)
honest: honourable (Weis); honourable, respectable, upright (SW); genuine, real, true (SW); innocent, well-intentioned, innocuous (SW)
warrant: assure, promise, guarantee, confirm (SW)
oddly: unequally, unevenly; or unusually, in a peculiar way (SW)
O God’s Lady: ‘by the Virgin Mary’ (Weis)
hot: eager, with a teasing intimation of unbecoming sexual passion (Weis); active, vigourous (SW); hot-tempered, angry, passionate (SW); fast, hasty (SW); lecherous, lustful, hot-blooded (SW); amorous, sexually eager, ardent, appetent (Partridge)
marry come up: a proverbial expression of indignant or amused surprise (Dent, M699.2) (Weis); expression of (real or playful) impatience (SW)
marry: [exclamation] by Mary (SW)
I trow: here meaning ‘surely’ (OED v. 4b glosses ‘I suppose’) (Weis); trow: (I) wonder, (I) ask you (SW); think, expect, believe (SW); believe, give credence to, accept as true (SW); hope, trust, suppose (SW); think, be sure (SW); know, guess, imagine (SW)
poultice: soothing dressing (Shakespeare’s only usage of the word) (Weis);1. A moist, usually heated mass of a substance with a soft, pasty consistency, applied to the skin, usually by means of a bandage or dressing, in order to promote healing, reduce swelling, relieve pain, etc.; a fomentation, a cataplasm. Also figurative. (OED)
coil: ado, fuss; cf. ‘I am not worth this coil that’s made for me’ (KJ 2.1.165).(Weis); turmoil, disturbance, fuss (SW); 1. Noisy disturbance, ‘row’; ‘tumult, turmoil, bustle, stir, hurry, confusion’ (Johnson).2. Confused noise of inanimate things; clutter, rattle, confused din. 3. Fuss, ado; a ‘business’. 4.a. to keep a coil: to keep up a disturbance; make a fuss, bustle, much ado.
shrift: confession (Leung, SW); absolution (SW); confessional, place for hearing confession (SW)
hie: hasten, go quickly (also at 72, 77, 78) (Weis); hasten, hurry, speed (SW)
cell: small, humble dwelling (SW)
stays: waits (Leung); stay: stay in hiding, remain hidden (SW); staying, remaining, continued presence (SW); remain, continue, endure (SW); wait (for), await (SW)
wanton blood: Juliet is starting to blush (Weis)
blood: spirit, vigour, mettle (SW); anger, temper, passion (SW); colouring, healthy complexion, blushing (SW); hot blood, the blood as affected by sexual passion (Partridge, 67)
wanton: feminine; or: childlike (SW); lascivious, lewd, obscene (SW); carefree, lighthearted, frolicsome, playful (SW)
climb: to climb a woman’s legs (as though they were the limb of a tree) and then enjoy her (Partridge, 80)
bird’s nest: i.e. Juliet’s bedroom; the idiom ‘to climb a bird’s nest’ may have been proverbial (Dent, N124.1). (Weis) pudend and pubic hair (Partridge, 66)
at any: hasten, go quickly (also at 72, 77, 78) (Weis)
drudge and toil in your delight: ‘I am a mean labourer and hack, and I labour for your pleasure.’ (Weis)
drudge: slave, serf, lackey (SW)
bear the burden: assume responsibility for what will ensue; but also suggesting that Juliet will experience the weight of Romeo’s body during love-making (cf. AC 1.5.22).(Weis); bear: to bear children; to bear, support, a superincumbent man (Partridge, 63)
soon at night: tonight (proverbial; Dent, S639.1) (Weis); quickly, in a short time (SW)
hie to high fortune: Wish me luck. (No Fear Shakespeare Translation)
Pronunciation +
your: (line 92 and others)
whet: (line 104) wett (but with breathed “h” as is what or when)
grize: (line 122) greece or greez
maugre: (line 149) maw-gurr (NA) or moah-gurr (UK)
Translation
No Fear Shakespeare
OLIVIA
Close the garden door and leave me alone to hear his message.
SIR TOBY BELCH, SIR ANDREW, and MARIA exit.
Give me your hand, sir.
VIOLA
I give you my obedience and my humble service, madam.
OLIVIA
What’s your name?
VIOLA
Cesario is my name—your servant’s name—fair princess.
OLIVIA
My servant! The world’s gone downhill since fake humility started passing for compliments. You’re not my servant, young man. You’re Count Orsino’s servant.
VIOLA
But he’s your servant, so everything that’s his must be yours too. Your servant’s servant is your servant, madam.
OLIVIA
As for him, I never think about him. As for his thoughts, I wish he’d think about nothing at all rather than think about me all the time.
VIOLA
Madam, I’ve come here to try to make you like him.
OLIVIA
Oh, please, I’m begging you, don’t mention him again. But if you want to tell me that someone else loves me, I’d enjoy hearing that more than I’d enjoy listening to angels sing.
VIOLA
My dear lady—
OLIVIA
Please let me say something, I’m begging you. After you cast your magic spell on me last time, I sent you a ring. I fear it was a mistake, since I tricked my servant, myself, and you too. You probably think poorly of me after I forced that ring on you with such outrageous trickery. What else could you possibly think of me? Haven’t you totally dismissed my honor and integrity in your anger? For someone as intelligent as you the situation must be clear enough. I’m wearing my heart on my sleeve, and I can’t hide my feelings. So let me hear what you have to say.
VIOLA
I feel sorry for you.
OLIVIA
That’s a step in the direction of love.
VIOLA
No, not at all. It’s a perfectly ordinary experience for us to feel sorry for our enemies.
OLIVIA
Well, enough of my whining then. That’s that! I was getting carried away with fantasies I didn’t deserve to have. But I should consider myself lucky. It’s much better to be destroyed by a noble enemy than by a cruel and heartless one. (a clock strikes) Listen to that, the clock’s scolding me for wasting my time loving you. Don’t worry, young man, I won’t stalk you. And when you’re older and wiser and ready for marriage, your future wife will have a fine husband. There’s the way back home for you, due west.
VIOLA
Then west is where I’m headed! I wish you all the best. You do
OLIVIA
Stay, Please, tell me what you think of me.
VIOLA
I think you’re denying what you really are.
OLIVIA
If that’s true, I think the same thing about you.
VIOLA
You’re right. I am not what I am.
OLIVIA
I wish you were what I wanted you to be!
VIOLA
Would it be better if I were that, instead of what I am? I wish I were something better, because right now I’m a big fool.
OLIVIA
(to herself) Oh, how beautiful he is even when he’s angry and full of contempt! A murderer can hide his guilt longer than someone in love can hide her love. Love shines brightly and can’t be hidden. (to VIOLA) Cesario, I swear by the spring roses, by virginity, honor, truth, and everything, I swear I love you. I love you so much that I can’t hide my passion for you, as clever as I am. Don’t assume that because I’m pursuing you there’s no reason to pursue me. Put two and two together and realize that asking for love is good, but getting it without asking is much better.
VIOLA
And I swear by my youth and innocence that I’ve only got one heart and one love to give, and that I’ve never given them to a woman and never will. So goodbye, my lady. I won’t ever come to complain about my lord’s love for you again.
OLIVIA
Then come again for another reason. You might still be able to make yourself fall in love with me, the person he loves, even though you hate me now.
They exit.
Assonance
Arden 3 | 2008
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
Pronunciation +
shamest: (line 23) Q2–3; sham’st Q4, F; not in Q1 (Weis)
Jesu: (line 29) jeez-yoo or jee-zoo; jayz-yoo or jay-zoo
you: (line 29) The more formal pronoun is used consistently by Nurse when addressing Juliet, while the 13-year-old uses the familiar thou, thee, thy to her servant, in conformity with the etiquette of the day in which social class overrides age. (Weis)
marry: (line 62) mah-ree (UK); meh-ree (US) (OED)
trow: (line 62) tr-ah-oo (UK); tr-oh (US) (OED)
hie: (line 68) hah-ee
wanton: (line 70) want-en or want-in
Alliteration
Arden 3 | 2008
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
Consonance
Arden 3 | 2008
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
Thoughts
Arden 3 | 2008
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
———–That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
OLIVIA
Long:
Medium:
Short:
Complex:
End stopped:
Midline:
Period:
Exclamation:
Question:
Dash:
Total:
VIOLA
Long:
Medium:
Short:
Complex:
End stopped:
Midline:
Period:
Exclamation:
Question:
Dash:
Total:
Rhythm
Arden 3 | 2008
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
———–That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
Pacing
Arden 3 | 2008
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
Beats
Arden 3 | 2008
Beat 1: Olivia discovers Cesario has asked for privacy | Viola discovers Olivia has complied with her request.
Actions: Olivia gets Maria to give them privacy | Viola waits for Olivia to be ready to hear her.
Obstacles: Olivia: It might look strange to her people to be being private with a servant | Viola: Can’t speak until Sir Toby and the rest leave.
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Beat 2a: Olivia gets Cesario to give her his hand in a formal manner | Viola reminds her she is her inferior.
Discoveries: Olivia: They are alone | Cesario: Olivia is treating her as an equal.
Obstacles: Olivia: Cesario may or may not be highborn, but is presenting as a servant | Cesario: Olivia is treating her as an equal, adding support to her suspicion that she has fallen for her disguise in more ways than one.
OLIVIA
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
Beat 2b: Olivia gets Cesario to tell her his name | Viola reminds her of her inferior class
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
Beat 2c: Olivia gets Cesario to be more familiar | Viola reminds her of her proper status
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
Beat 3: Olivia discovers that Cesario will insist on her servant status | Viola discovers Olivia doesn’t give much thought to Orsino
Actions: Olivia gets Viola to understand she is interested in hearing a suit from Cesario | Viola gets Olivia to hear/consider Orsino’s suit
Obstacles: Olivia: Cesario insists on wooing for Orsino | Viola: Olivia will not hear Orsino’s suit, but might want to hear Cesario’s
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
Beat 6: Oliva discovers Cesario is persisting in suing on Orsino’s behalf | Viola discovers Olivia wants to know Cesario’s feelings for her.
Actions: Oliva gets Viola to reveal her feelings for her| Viola makes Olivia understand that her feelings are of pity
Obstacle: Olivia: It’s not proper for a woman to make the first move, she has already done so once in a manipulative way | Cesario: Olivia is making the meeting about her love for Cesario
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
Beat 7: Olivia discovers Cesario considers her an enemy | Viola discovers Olivia is lashing out at her.
Actions: Olivia gets Cesario to feel the impact of her rejection | Viola gets Olivia to understand she feels as she does.
Obstacles: Olivia: Loves Cesario | Viola: Cannot make her feel better.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
Beat 8: Olivia discovers the clock has struck | Viola discovers the clock has struck; and that Olivia is sending her home.
Action: Olivia makes Cesario understand he is a catch who is free to go | Viola makes Olivia understand she leaves with all due respect.
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
Beat 9: Viola gets Olivia to tell her something to tell to Orsino | Olivia makes her to understand she has nothing to say to him.
Actions: Viola to coax some message for Orsino from Olivia | Olivia to make her understand she has none
Obstacles: none | none
VIOLA
You’ll nothing, madam, to my lord by me?
Beat 10: Olivia discovers that Cesario is really leaving |
Actions: Viola leaves | Olivia gets her to stay.
Obstacles: Viola: may be worried about another suit, but she may get a message for Orsino | Olivia: Pride.
OLIVIA
Stay – 135
Beat 11: Olivia discovers that Cesario has turned around | Viola discovers that Olivia wants to know what she feels/thinks of her
Actions: Olivia to get Viola to tell her how she really feels | Viola honestly tries to make Olivia understand why it can’t work.
Obstacles: Olivia: Can’t say she loves right out to a man | Viola: Can’t speak the actual details of the truth.
OLIVIA
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
Beat 12: Olivia discovers Cesario is angry about being made a fool by her | Viola discovers Olivia is taking a moment.
Action: Olivia gets the audience to give the courage to speak plainly | Viola probes Olivia for signs of how she will react next.
Obstacles: Women are not supposed to make the first move | Olivia is not being communicative
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
Beat 13: Olivia discovers she speak her heart plainly if she wants to know | Viola discovers Olivia is professing her love plainly
Actions: Olivia to get Cesario to return her love | Viola to get Olivia to understand that she will never love her.
Obstacles: Olivia: propriety | Viola: can’t reveal that she is a woman
OLIVIA
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
Beat 14: Discoveries: Viola discovers its best she leave now | Olivia discovers Cesario plainly claims he cannot love her.
Actions: Viola makes Olivia understand she is leaving and won’t come back | Olivia gets Cesario to come back as he might have a change of heart.
Obstacles: Viola: Never coming back is bound to displease Orsino without a good story | Olivia: Propriety, and the sum of Cesario’s responses is pretty strong.
VIOLA
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
Beat 15: Olivia discovers VIola is gone | Viola discovers the garden appears empty
Actions: Olivia tries to decide whether to pursue Cesario | Viola finds her way out of the palace to find a place to think.
Beats +
shamest: (line 23) Q2–3; sham’st Q4, F; not in Q1 (Weis)
Jesu: (line 29) jeez-yoo or jee-zoo; jayz-yoo or jay-zoo
you: (line 29) The more formal pronoun is used consistently by Nurse when addressing Juliet, while the 13-year-old uses the familiar thou, thee, thy to her servant, in conformity with the etiquette of the day in which social class overrides age. (Weis)
marry: (line 62) mah-ree (UK); meh-ree (US) (OED)
trow: (line 62) tr-ah-oo (UK); tr-oh (US) (OED)
hie: (line 68) hah-ee
wanton: (line 70) want-en or want-in
Rhetoric
Arden 3 | 2008
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
———–That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)
Full Scene
Arden 3 | 2008
[ 3.1 ]
Enter Viola [as Cesario] and Feste [playing on pipe and tabor].
VIOLA
Save thee, friend, and thy music. Dost thou live by
thy tabor?
FESTE
No, sir, I live by the church.
VIOLA
Art thou a churchman?
FESTE
No such matter, sir. I do live by the church, for I 5
do live at my house, and my house doth stand by the
church.
VIOLA
So thou mayst say the king lies by a beggar if a
beggar dwell near him, or the church stands by thy tabor if thy
tabor stand by the church. 10
FESTE
You have said, sir. To see this age! A sentence is but
a cheverel glove to a good wit: how quickly the wrong
side may be turned outward.
VIOLA
Nay, that’s certain. They that dally nicely with
words may quickly make them wanton. 15
FESTE
I would therefore my sister had had no name, sir.
VIOLA
Why, man?
FESTE
Why, sir, her name’s a word, and to dally with that word
might make my sister wanton. But indeed words
are very rascals, since bonds disgraced them. 20
VIOLA
Thy reason, man?
FESTE
Troth sir, I can yield you none without words, and
words are grown so false I am loath to prove reason
with them.
VIOLA
I warrant thou art a merry fellow, and car’st for 25
nothing.
FESTE
Not so, sir, I do care for something; but in my
conscience, sir, I do not care for you. If that be to care
for nothing, sir, I would it would make you invisible.
VIOLA
Art not thou the Lady Olivia’s fool? 30
FESTE
No indeed, sir, the Lady Olivia has no folly. She
will keep no fool, sir, till she be married, and fools
are as like husbands as pilchards are to herrings – the
husband’s the bigger. I am indeed not her fool, but her
corrupter of words. 35
VIOLA
I saw thee late at the Count Orsino’s.
FESTE
Foolery, sir, does walk about the orb like the sun,
it shines everywhere. I would be sorry, sir, but the fool
should be as oft with your master as with my mistress.
I think I saw your wisdom there. 40
VIOLA
Nay, an thou pass upon me, I’ll no more with thee.
Hold, there’s expenses for thee. [Gives coin.]
FESTE
Now Jove in his next commodity of hair send thee a
beard.
VIOLA
By my troth I’ll tell thee, I am almost sick for one, 45
though I would not have it grow on my chin. Is thy lady
within?
FESTE
Would not a pair of these have bred, sir?
VIOLA
Yes, being kept together and put to use.
FESTE
I would play Lord Pandarus of Phrygia, sir, to 50
bring a Cressida to this Troilus.
VIOLA
I understand you, sir, ’tis well begged.
[Gives another coin.]
FESTE
The matter, I hope, is not great, sir, begging but a
beggar: Cressida was a beggar. My lady is within, sir.
I will conster to them whence you come. Who you are 55
and what you would are out of my welkin. I might say
‘element’, but the word is overworn.
Exit
VIOLA
This fellow is wise enough to play the fool,
And to do that well craves a kind of wit.
He must observe their mood on whom he jests, 60
The quality of persons and the time,
And, like the haggard, check at every feather
That comes before his eye. This is a practice
As full of labour as a wise man’s art;
For folly that he wisely shows is fit, 65
But wise men, folly-fallen, quite taint their wit.
Enter Sir Toby and [Sir] Andrew.
SIR TOBY
Save you, gentleman.
VIOLA
And you, sir.
SIR ANDREW
Dieu vous garde, monsieur.
VIOLA
Et vous aussi; votre serviteur. 70
SIR ANDREW
I hope, sir, you are, and I am yours.
SIR TOBY
Will you encounter the house? My niece is
desirous you should enter if your trade be to her.
VIOLA
I am bound to your niece, sir – I mean, she is the
list of my voyage. 75
SIR TOBY
Taste your legs, sir, put them to motion.
VIOLA
My legs do better understand me, sir, than I
understand what you mean by bidding me taste my
legs.
SIR TOBY
I mean to go, sir, to enter. 80
VIOLA
I will answer you with gait and entrance.
Enter Olivia and Maria .
But we are prevented. [to Olivia]Most excellent
accomplished lady, the heavens rain odours on you.
SIR ANDREW
[aside]That youth’s a rare courtier; ‘rain
odours’ – well! 85
VIOLA
My matter hath no voice, lady, but to your own
most pregnant and vouchsafed ear.
SIR ANDREW
[aside] ‘Odours’, ‘pregnant’ and ‘vouchsafed’
– I’ll get ’em all three all ready .
OLIVIA
Let the garden door be shut and leave me to my 90
hearing.
[Exeunt Sir Toby, Sir Andrew and Maria.]
Give me your hand, sir.
VIOLA
My duty, madam, and most humble service.
OLIVIA
What is your name?
VIOLA
Cesario is your servant’s name, fair princess. 95
OLIVIA
My servant, sir? ’Twas never merry world
Since lowly feigning was called compliment.
You’re servant to the Count Orsino, youth.
VIOLA
And he is yours, and his must needs be yours.
Your servant’s servant is your servant, madam. 100
OLIVIA
For him, I think not on him. For his thoughts,
Would they were blanks rather than filled with me.
VIOLA
Madam, I come to whet your gentle thoughts
On his behalf.
OLIVIA
—————O by your leave, I pray you;
I bade you never speak again of him. 105
But would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.
VIOLA
——————————-Dear lady –
OLIVIA
Give me leave, beseech you. I did send,
After the last enchantment you did here, 110
A ring in chase of you. So did I abuse
Myself, my servant and, I fear me, you.
Under your hard construction must I sit,
To force that on you in a shameful cunning
Which you knew none of yours. What might you think? 115
Have you not set mine honour at the stake
And baited it with all th’unmuzzled thoughts
That tyrannous heart can think? To one of your receiving
Enough is shown: a cypress, not a bosom,
Hides my heart. So let me hear you speak. 120
VIOLA
I pity you.
OLIVIA
———–That’s a degree to love.
VIOLA
No, not a grize , for ’tis a vulgar proof
That very oft we pity enemies.
OLIVIA
Why then, methinks ’tis time to smile again.
O world, how apt the poor are to be proud! 125
If one should be a prey, how much the better
To fall before the lion than the wolf! ((Clock strikes.))
The clock upbraids me with the waste of time.
Be not afraid, good youth, I will not have you,
And yet when wit and youth is come to harvest, 130
Your wife is like to reap a proper man.
There lies your way, due west.
VIOLA
——————————-Then westward ho.
Grace and good disposition attend your ladyship.
You’ll nothing, madam, to my lord by me?
OLIVIA
Stay – 135
I prithee tell me what thou think’st of me.
VIOLA
That you do think you are not what you are.
OLIVIA
If I think so, I think the same of you.
VIOLA
Then think you right: I am not what I am.
OLIVIA
I would you were as I would have you be. 140
VIOLA
Would it be better, madam, than I am?
I wish it might, for now I am your fool.
OLIVIA
[aside] O, what a deal of scorn looks beautiful
In the contempt and anger of his lip.
A murderous guilt shows not itself more soon 145
Than love that would seem hid. Love’s night is noon.
– Cesario, by the roses of the spring,
By maidhood, honour, truth and everything,
I love thee so that maugre all thy pride
Nor wit nor reason can my passion hide. 150
Do not extort thy reasons from this clause:
For that I woo, thou therefore hast no cause.
But rather reason thus with reason fetter:
Love sought is good, but given unsought is better.
VIOLA
By innocence I swear, and by my youth, 155
I have one heart, one bosom and one truth,
And that no woman has, nor never none
Shall mistress be of it save I alone.
And so adieu, good madam; never more
Will I my master’s tears to you deplore. 160
OLIVIA
Yet come again, for thou perhaps mayst move
That heart which now abhors to like his love.
(Exeunt.)