Select plays. Edited by W.A. Wright

(Ll:ucni)on press Scries

T W Ii L P T H N I G II T

ly. ALDIS WRIGHT.

£on5on

HENRY FROWDE

Oxford University Press Warehouse

Amkn Cornkr. E.C

MACMII.LAN X. CO., 66 FIFTH AVF-NUE

^'^

Clarcnbon "jpress .Scries

SHAKESPEARE

SELECT PLAYS

Lie a
T W i: L F T H NIGHT

Or. \V>IAT you WILL

EDITF.n PY

WILLIAM ALDIS WRIGHT, M.A.

HON. D.C. L. AM> I.I.. U.
KFLLOVV. SKNIKR BfRSMJ AM) \ ICE-MA'^TF R CF THIMIY ml I I C' t \MrKIl>i,h.

©rforb

AT THE CLARENDON PRESS
M DCCC XCV

[ All rights rtserved ]

Ji7S3
v./i

Ctforb

PRINTED AT THE CLARENDON PRESS
BY HORACt: HART PRINTKR TO THE UNIVERSITY

PREFACE.

It was at one time believed that Twelfth Night was among
the latest of Shakespeare's plays. The use of the word
'undertaker' in iii. 4. 301 induced Tyrwhitt to suppose that
the play was written in 1614, when this word had an un-
enviable notoriety ; and Malone at first adopted Tyrwhitt's
opinion, though he afterwards referred the play to an earlier
date, 1607, on account of a supposed allusion in iii. i. 133
to Dekkers Westward Ho, which was printed in that year.
Chalmers thought that the internal evidence pointed to the
year 1613 as the date of the composition of the play. But
these various conclusions, which were arrived at from very
insufficient premises, were set aside by a discovery made by
Mr. Hunter in 1828 of a piece of evidence the existence of
which had up to that time been unknown. Among the Har-
leian MSS. in the British Museum is a small duodecimo
volume (No. 5353) containing, among other things, the Diary
of a member of the Middle Temple from Jan. 1601-2 to April
1603. Mr. Hunter's subsequent investigations led him to
identify the writer of the Diary with John Manningham,
who was entered at the Middle Temple 16 March 1597-8,
and called to the Bar 7 June 1605. In 1612, on the death of
a distant relative, Richard Manningham, a retired merchant,
he succeeded to an estate at Bradbourne, near East Mailing,
in Kent, and died in 1622. The Diary was edited for the
Camden Society by the late Mr. John Bruce in 1868 at the
cost of the President, Mr. (afterwards Sir) William Tite. The
only entry which concerns us is the following (p. 18), com-
pared with the original MS. : —

VI PREFACE.

* Febr : 1 60 1 .

' 2. At our feast wee had a play called Twelue night or
what you will, much like the commedy of errores or
Menechmi in Plautus, but most like and neere to that in
Italian called Inganni a good practise in it to make the
steward beleeue his Lady widdowe was in Loue with him by
countcrfayting a letter, as from his Lady, in generall termes,
telling him what sliee liked best in him, and prescribing his
gesture in smiling his apparaile &c. And then when he came
to practise making him beleeue they tooke him to be mad.'

This brief description is quite sufficient to identify the play
which was acted in the Middle Temple Hall ' at the Readers'
Feast, Candlemas 1601-2, with the Twelfth Night of Shake-
speare, although the young gentleman who is so familiar with
his Latin and Italian plays has not troubled himself to record,
if he had ever heard it, the name of the author. Collier, in
his History of Elnglish Dramatic Poetry (i. 327), was the first
(1831) to publish this important entry. It does not appear
whether he had derived his knowledge of its existence from
Mr. Hunter, whose name he does not mention ; but it is
to Mr. Hunter's investigations that we are indebted for the
discovery of the diarist's name, as well as for the identification
of the Italian play to which he refers. (See New Illustrations
of Shakespeare, i. 365-400.) He shews that the play which
Manningham thought so like Twelfth Night was not the
I nganni of Secchi (Florence, 1 562) or of Gonzaga (Venice, 1 592),
or still less of Cornaccini (Venice, 1604), although the two
former might have suggested some incidents to Shakespeare,
if he had seen them ; but another comedy altogether, acted at
Siena in 1531, and printed at Venice as early as 1537,
under the title ' II Sacrificio degli Intronati.' This consists
of an Induction, like The Taming of the Shrew, called II
Sacrificio, and a comedy the title of which is Gl'Ingannati, or

' .Shakespeare in the Middle Temple is the subject of an agreeable
paper by Mr. Ainger in The English Illustrated Magazine for /884,
PP- i(^(> 17(>-

PREFACE. VI 1

The Deceived. The following analysis of the stor>' is given
in Mr. Hunter's own words: —

' Fabritio and Lelia, a brother and sister, are separated at
the sack of Rome, in 1527. Lelia is carried to Modena
where resides Flaminio, to whom she had formerly been
attached. Lelia disguises herself as a boy, and enters his
ser%ice. Flaminio had forgotten Lelia, and was a suitor to
Isabella, a Modenese lady. Lelia, in her male attire, is
employed in love-embassies from Flaminio to Isabella.
Isabella is insensible to the importunities of Flaminio, but
conceives a violent passion for Lelia. mistaking her for a
man. In the third act Fabritio arrives at Modena, where
mistakes arise owing to the close resemblance there is
between Fabritio and his sister in her male attire. Ultimately
recognitions take place; the affections of Isabella are easily
transferred from Lelia to Fabritio, and Flaminio takes to his
bosom the affectionate and faithful Lelia.'

Here is undoubtedly the plot of Twelfth Night without the
underplot. An abridged translation of Gl'Ingannati was
published in 1862 by Mr. T. L. Peacock, but he appears to
have been ignorant of what Mr. Hunter had written, and
does not even mention his name, although he says, ' It
seems strange that the Inganni should have remained undis-
covered by Shakspearian critics : but the cause which con-
cealed the Ingannaii from their researches is somewhat
curious.'

The story on which Gl'Ingannati was founded there can be
little doubt was substantially the same as that told by
Bandello in his Novelle, parte II. nov. 36, of which the
argument is as follows: 'Nicuola, innamorata di Lattanzio, va
a servirlo vestita da paggio, e dopo molti casi seco si marita,
e cio che ad un sue fratello avvenne.' Paolo and Nicuola,
brother and sister, were the children of Ambrogio Nanni, a
merchant of Rome, and resembled each other so much that
when dressed alike it was ver>' difficult to distinguish them.
Like Fabritio and Lelia in the play, they were separated when

Vlll PREFACE. .--^-

Rome was taken in 1527 ; and substituting Lattanzio for
Flaminio, and Catella for Isabella, the plot of the story in
Bandello is essentially the same as that of the Ingannati.

Before the discovery of Manningham's Diary had directed
attention to an Italian play as the origin of Twelfth Night, it
was thought probable that Shakespeare had taken the main
outlines of his plo*^ from the story of Apolonius and Silla,
as told by Barnabe Riche in his Farewell to Militarie Pro-
fession, which was first published in 1581, and reprinted by
the Shakespeare Society in 1846. It appears to have been
pointed out to Malone in 1806 by Mr. Octavius Gilchrist. The
story by itself was included by Collier in his Shakespeare's
Library, and by Mr. W. C. Hazlitt in his second edition of
that book. In the original work of Riche it stands second
among the eight histories with which the book is enlivened,
and is one of five which, the author says, ' are tales that are
but forged onely for delight, neither credible to be beleved,
nor hurtful! to be perused,' He describes the other three as
' Italian histories, written likewise for pleasure by Maister
L. B.,' and apparently wishes his readers to infer that the
five first mentioned are his own composition and invention.
However this may be, although there is a kind of general
resemblance in this history to Bandello's novel, it is by no
means certain that Riche copied it. As in the novel and as
in Twelfth Night there are the brother and sister exactly alike,
Silvio and Silla, children of Pontus governor of Cyprus.
Apolonius, a worthy duke of Constantinople, is wrecked off
the coast of Cyprus, where he is entertained by Pontus and
unconsciously engages the affections of Silla, who follows him
to Constantinople and dressed as a boy is taken into his
service. Apolonius, making suit to a wealthy widow julina,
employs Silla, who calls herself by her brother's name Silvio,
as his messenger. Julina, like Olivia, falls in love with
the pretty page, and bids him speak for himself and no
longer for his master. It is needless to say that the real
Silvio, in search of his sister, appears on the scene, and

PREFACE. ix

lulina's passion, like Olivia's, does not distinguish the real
from the counterleit. After some incidents with which
Shakespeare did not think fit to disfigure his play, Silla's
constancy is rewarded by the hand of Apolonius, and
Julina marries Silvio. Apart from the entanglements brought
about by the close resemblance of the brother and sister, and
the cross purposes which are the inevitable sequel, the
history of Apolonius and Silla has very little in common
with the fortunes of Paolo and Nicuola as narrated by
Uandello. The incidents and surroundings of the plot are
entirely different, although the catastrophe is the same, and
it is by no means improbable that the story may have
existed in a great variety of forms. With one of these
Shakespeare may have been familiar, and it may have
suggested to him some points in his play ; but whether he
became acquainted with the outline of the story in Kiche's
Farewell or in some version of Bandello's novel, it is clear
that he took nothing but the outline, and that all the filling
in of the characters is his own.

The plot of Gl'Inganni, the play mentioned by Manningham,
is not really like that of Twelfth Night or Bandello's novel,
as may be seen from the argument as given by Collier in his
Introduction to the play. And even if there had been a still
greater likeness than there really is, the conclusion at which
Dyce arrived is probably the true one. ' The resemblance,'
he says, 'in certain particulars between these Italian
comedies — especially Cri/igannati — and Twelfth Night is,
therefore, fully proved : but it by no means follows that the
foreign originals were used by Shakespeare ; and, indeed, 1
suspect that his knowledge of Italian was small. Much ot
the lighter literature of his time,- -many a printed tale and
many a manuscript play,--has long ago perished : and
among them may have been some piece translated or
imitated from the Italian, which supplied him with materials
for the serious parts of Tivelfth Night.

But from whatever source Shakespeare derived the general

X PREFACE.

outline of his play, the principal character in it is unquestion-
ably his own creation. Even supposing, with Hunter, that
the name Malvolio is ' a happy adaptation from Malevolti, a
character in // Sacrificio^ the likeness ends with the name ;
and so prominent was the part that Malvolio took in the
action of the play that we find it was represented at Court on
Candlemas Day 1622-3 by the company to which Shake-
speare had belonged, under the title of Malvolio. (See
Mr Halliwell [Phillipps]'s folio edition of Shakespeare, and
his Outlines of the Life of Shakespeare, 1881, p. 149.)
Moreover, in the copy of the second Folio now at Windsor
Castle, which formerly belonged to Charles the First, the
king has written ' Maluolio ' against the title of the play, as
if that were the name by which it had become familiarly
known. The prominence of Malvolio is further confirmed
by Leonard Digges in his verses prefixed to the edition of
Shakespeare's Poems published in 1640:

' let but Beatrice
And Benedickc be scene, loe in a trice
The Cockpit, Galleries, Boxes, all are full
To hear Malvoglio, that crosse garter'd Gull.'

It would seem from this, either that Digges had forgotten
that Benedick and Beatrice did not appear in the same play
as Malvolio, which is scarcely probable, or else that Much
Ado and Twelfth Night had been welded together by some
playwright of the time in the same way as Davenant in his
Law against Lovers framed a strange centaur out of Measure
for Measure and Much Ado. In whatever way this may be
explained, it is an evidence of the importance attached to the
part of Malvolio and of the place which it held in popular
favour^a part so serious that the stately John Kemble thought
it no derogation from his dignity occasionally to play it.

When Campbell calls MalvoHo an exquisitely vulgar cox-
comb, it is difficult to say whether the adjective or substantive
in the description is the more inappropriate. On this point

PREFACE. XI

Lamb is a much better authority than Campbell, and this is
what he says, writinj,' in 1822, ' On some of the old Actors.'

'The part of Malvolio, in the Twelfth Nij^ht, was per-
formed by Bensley, with a richness and a dignity, of which
(to judge from some recent castings of that character) the
very tradition must be worn out from the staj^e. . . . Malvolio
is not essentially ludicrous. He becomes comic but by
accident. He is cold, austere, repelling ; but dignified, con-
sistent, and, for what appears, rather of an over-stretched
morality. Maria describes him as a sort of Puritan; and
he might have worn his gold chain with honour in one of
our old round-head families, in the service of a Lambert, or
a Lady Fairfax. But his morality and his manners are mis-
placed in Illyria. He is opposed to the proper /critics of the
piece, and falls in the unequal contest. Still his pride, or his
gravity, (call it which you will) is inherent, and native to the
man, not mock or affected, which latter only are the fit objects
to excite laughter. His quality is at the best unlovely, but
neither buffoon nor contemptible. His bearing is lofty, a
little above his station, but probably not much above his
deserts. We see no reason why he should not have been
brave, honourable, accomplished. His careless committal
of the ring to the ground (which he was commissioned to
restore to Cesario), bespeaks a generosity of birth and feel-
ing. His dialect on all occasions is that of a gentleman, and
a man of education. We must not confound him with the
eternal old, low steward of comedy. He is master of the
household to a great Princess ; a dignity conferred upon him
for other respects than age or length of service. Olivia, at the
first indication of his supposed madness, declares that she
" would not have him miscarry for half of her dowry." Does
this look as if the character was meant to appear little or insig-
nificant? Once, indeed, she accuses him to his face — of
what ?— of being " sick of self-lo\e,"— but with a gentleness
and considerateness which could not have been, if she had
not thought that this particular infirmity shaded some virtues.

Xll PREFACE.

His rebuke to the knight, and his sottish revellers, is sensible
and spirited ; and when we take into consideration the un-
protected condition of his mistress, and the strict regard
with which her state of real or dissembled mourning would
draw the eyes of the world upon her house-affairs, Mal-
volio might feel the honour of the family in some sort in his
keeping ; as it appears not that Olivia had any more brothers,
or kinsmen, to look to it— for Sir Toby had dropped all such
nice respects at the buttery hatch. That Malvolio was meant
to be represented as possessing estimable qualities, the ex-
pression of the Duke in his anxiety to have him reconciled,
almost infers. " Pursue him, and entreat him to a peace."
Even in his abused state of chains and darkness, a sort of
greatness never seems to desert him. He argues highly and
well with the supposed Sir Topas, and philosophises gallantly
upon his straw. There must have been some shadow of worth
about the man ; he must have been something more than
a mere vapour — a thing of straw, or Jack in office — before
Fabian and Maria could have ventured to send him upon a
courting-errand to Olivia. There was some consonancy (as
he would say) in the undertaking, or the jest would have
been too bold even for that house of misrule.

' Bensley, accordingly, threw over the part an air of Spanish
loftiness. He looked, spake, and moved like an old Castilian.
He was starch, spruce, opinionated, but his superstructure of
pride seemed bottomed upon a sense of worth. There was
something in it beyond the coxcomb. It was big and swelling,
but you could not be sure that it was hollow. You might
wish to see it taken down, but you felt that it was upon an
elevation. He was magnificent from the outset ; but when
the decent sobrieties of the character began to give way, and
the poison of self-love, in his conceit of the Countess's af-
fection, gradually to work, you would have thought that the
hero of La Mancha in person stood before you. How he
went smiling to himself! with what ineffable carelessness
would he twirl his gold chain ! what a dream it was ! you

PREFACE. xiii

were infected witli the illusion, and did not wish that it should
be removed ! you had no room for laughter ! if an unseason-
able reflection of morality obtruded itself, it was a deep
sense of the pitiable infirmity of man's nature, that can lay
him open to such frenzies — but in truth you rather ad-
mired than pitied the lunacy while it lasted — you felt that
an hour of such mistake was worth an age with the eyes open.
Who would not wish to live but for a day in the conceit of such
a lady's love as Olivia ? Why, the Duke would have given his
principality but for a quarter of a minute, sleeping or waking,
to have been so deluded. The man seemed to tread upon air,
to taste manna, to walk with his head in the clouds, to mate
Hyperion. O ! shake not the castles of his pride — endure yel
for a season bright moments of confidence—" stand still, ye
watches of the element," that Malvolio may be still in fancy
fair Olivia's lord — but fate and retribution say no - 1 hear the
mischievous titter of Maria — the witty taunts of Sir Toby —
the still more insupportable triumph of the foolish knight —
the counterfeit Sir Topas is unmasked — and " thus the whirli-
gig of time,'' as the true clown hath it, "brings in his revenges.''
I confess that 1 never saw the catastrophe of this character,
while Bensley played it, without a kind of tragic interest.'

All this, having eyes, could Charles Lamb see in what
Pepys (6 Jan. 1662-3) thought 'but a silly play'; (20 Jan.
1668-9) ' o"6 of the weakest plays ' that ever he saw on the
stage ; and in which (i i Sept. 1661 1 he 'took no pleasure at
all.'

In one point however Pepys was right. He complains
that the play was ' not related at all to the name or day,'
when he saw it on Twelfth Night, 1662-3. Hut the fact that
it was the custom to play it on Twelfth Night makes it prob-
able that it derived its name from being performed for the
first time, as Mr. Halliwell-Phillipps conjectures, on Twelfth
Night 1602. He argues that it could not have been written
long before the time at which Manningham saw it in the
Middle Temple Hall, because the song 'Farewell, dear heart,

XIV^ PREFACE.

since I must needs be gone,' of which fragments are sung in
Act ii. Scene 3, first appeared in 1601 in the Booke of Ayres
composed by Robert Jones (Outlines, 1881, p. 148). He
conjectures that Twelfth Night was one of the four plays
which were acted at Whitehall, where the Queen kept her
Court at Christmas 1601-2, by the Lord Chamberlain's com-
pany to which Shakespeare belonged (Outlines, 4th ed. p. 162).
There is no violent improbability in the further supposition
tiiat the same company may ha\e been engaged at the
Readers' Feast on Candlemas Day following, and that Shake-
speare himself may have been one of the actors, and have had
his share in the ^^lo which was paid them for the play. If any
argument can be derived from internal evidence, it is rather
in favour of Christmas as the time of the first production of
Twelfth Night; and Sir Andrew's resolve (i. 3. 122) to stay a
month longer, in order to take part in the masques and revels
which werecoming on, seems to point in this direction. We may
therefore conclude, without much misgiving, that the play was
performed for the first time early in 1601-2, and probably on
Twelfth Night. That Ben Jonson, in Every Man out of his
Humour, which was played at the Globe by the same com-
pany in 1599, ridiculed the conduct of Twelfth Night, as
Steevens maintained, is therefore chronologically impossible,
and the theory is unsupported by the only passage brought for-
ward in its favour. In Act iii. sc. i, Mitis is made to say,
* That the argument of his comedy might have been of some
other nature, as of a duke to be in love with a countess, and
that countess to be in love with the duke's son, and the son
to love the lady's waiting-maid ; some such cross wooing, with
a clown to their serving-man, better than be thus near, and
familiarly allied to the time.' It is obvious that nothing but
an obstinate determination to maintain a theory at all hazards
could have induced Steevens to bring forward this passage as
a proof of Ben Jonson's hostility to Shakespeare.

In the Transactions of the New Shakspere Society for
1877-9 (part ii. pp. 173-5), ^'^^- I^aniel has shewn that

PREFACE. \V

tlie time of the action of Twelfth Night is limited to three
days, with an interval of three clays between the first and
second of these :

Day I. Act i. sc. 1-3.

Interval of three days. See i. 4. 3.

Day 2. Act i. sc. 4 — Act ii. sc. 3.

Day 3. Act ii. sc. 4 — end.
He also points out some inconsistencies in the last act,
which may have been due to haste on the part of the author
in finishing the play. For instance, in v. i. 88 Antonio
claims that for three months Sebastian had been inseparable
from him, and in like manner the Duke says of Viola,

'Three months this youth hath tended upon me' —

whereas it is evident that Sebastian and Viola had both been
rescued from shipwreck at the same time, the time namely at
which the play opens, and that between Act i. sc. 4 and the
beginning of the play there was an interval of only three
days, while the whole action of the play cannot extend over
more than six days. It is worth while calling attention to
such trifling discrepancies if only because they indicate the
rapidity and even haste with which Shakespeare wrote. (See
Preface to As You Like It, p. vi.)

The late Mr. James Spedding (Transactions of the New
Shakspere Society, 1877-9, PP- -4, 25) proposed a new division
of Twelfth Night into Acts, on the ground that in the present
arrangement 'the effect is materially injured on two occasions
by the interposition of them in the wrong place.

' At the end of the first Act Malvolio is ordered to run after
Cesario with Olivia's ring ; in the second scene of the
second Act he has but just overtaken him. " Were you not
e7>en now (he says) with the Countess Olivia?" "Even now,
sir (she answers), on a moderate pace I have since arrived
but hither." Here therefore the pause is worse than useless.
It impedes the action, and turns a light and swift movement
into a slow and heavy one.

XV] PREFACE.

'Again, at the end of the third Act Sir Andrew Aguecheek
runs after Cesario (who has just left the stage) to beat him ;
Sir Toby and Fabian following to see the event. At the
beginning of the fourth, they are all where they were. Sir
Andrew's valour is still warm ; he meets Sebastian, mistakes
him for Cesario, and strikes. Here again the pause is not
merely unnecessary ; it interrupts what was evidently meant
for a continuous and rapid action, and so spoils the fun.'

Mr. Sped ding therefore proposed the following division :

First Act. i. i — 4.
Second Act. i. 5 — ii. 2.
Third Act. ii. 3 — iii. i.
Fourth Act. iii. 2— iv. 3.
Fifth Act. V.

The second title, What you Will, may possibly have been
Shakespeare's expression of indifference when asked what the
play should be called.

W. A. W.

2 A/arc/i 1885.

Twi'.Lr'rii xi(;nT;

OR. WHAT voir WILL.

I -RAM AT IS PERbON.E.

t (KsiNn, Duke of Illyri.i.
SenA^^TIAN. brother to Viola.
A.NTONio. a sea captain, friend to Se-
bastian.
A Sea Captain, friend to Viola.
Valentine, i gentlemen attending on
Curio, ( the Duke.

Sir Tdbv Belch, uncle to Olivia.
Sir A.vdrew Ar.L'ECHEEK.
Malvulio, steward to Olivia.

F™k clown, l^^^'-^'^'^O'!-'-

Olivia.

Viola.

Maria, Olivia's woman.

Lords, Priests, Sailors. Officers, Musi-
cians and other .Attendants.

Scene : A city in lUyria, aud the sea-
coat t near it.

ACT I.

Scene L T/te Dvkk's />a/tice.

Enter DUKE, CuRlO, and other Lords ; Musicians

attending.

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

lO

2 TWELFTH NIGHT.

Citr. Will you go hunt, my lord ?

Duke. ' What, Curio ?

Ctir, The hart.

Duke. Why, so I do, the noblest that I have :
O, when mine eyes did see Olivia first,
Methought she purged the air of pestilence ! 20

That instant was I turn'd into a hart ;
And my desires, like fell and cruel hounds,
E'er since pursue me.

Enter Valentine.

How now ! what news from her ?

Val. So please my lord, I might not be admitted ;
But from her handmaid do return this answer :
The iejement itself, till seven years' heat, >
Shall not behold her face (git ample viewT)
But, like a ^cloistress, )she will veiled walk
And water once a day her chamber round
With eye-ofifending brine : all this to season 30

A brother's dead love, which she would keep fresh
And lasting in her sad remembrance.

Duke. O, she that hath a heart of that fine frame
X !To pay this debt t)f^ove--b«4.-tClL_aJ^rotil£i:,
jHow_will_sheJove, when the rich golden shaft
Hath kill'd the flocIc~of~ait''afiections else "~
That live in her ; when liver, brain and heart,
These sovereign thrones, ' are all supplied, and fill'd
Her sweet perfections with one self king ! ;
Away before me to sweet beds of flowers : 40

Love-thoughts lie rich when canopied with bowers.

{^Exeunt.

Scene II. The sea-coast.

Enter ViOLA, a Captain, and Sailors.

Vio. What country, friends, is this ?
Cap. This is Illyria, lady.

ACT 1. SCENE IT. 3

Via. And what should I do in Illyria?
My brother he is in Klysium.
Perchance he is not drown'd : what think you, sailors ?

Cap. It is perchance that you yourself were saved.

Vio. O my poor brother ! and so perchance may he be.

Cap. True, madam : and, to comfort you with chance.
Assure yourself, after our ship did split,
When you and those poor number saved with ymi 10
Hung on our driving; boat, I saw your brother.
Most provident in peril, bind himself,
Courage and hope both teaching him the practice,
To a strong mast that lived upon the sea ;
Where, like Arion on the dolphin's back,
I saw him hold acquaintance with the waves
So long as I could see.

Vio. For saying so, there 's gold :
Mine own escape unfoldeth to my hope,
Whereto thy speech serves for authority, 20

The like of him. Know'st thou this country .''

Cap. Ay, madam, well ; for I was bred and bornj
Not three hours' travel from this very place.

Vio. Who governs here .''

Cap. A noble duke, in nature as in name.

Vio. What is his name ?

Cap. Orsino.

Vio. Orsino ! I have heard my father name him :
He was a bachelor then.

Cap. And so is now, or was so very ( late ;\ 30

For but a month ago I went from hence,
And then 'twas fresh in murmur, — as, you know,
What great ones do the less will prattle of, —
That he did seek the love of fair 01ivui_.

Vio. What 's she ?

Cap. A virtuous maid, the daughter of a count
That died some twelvemonth since, then leaving her

B 2

I

4 TWELFTH NIGHT.

In the pritection of his son, her brother,
Who sho/tly also died : Jor jvvhose dear love,
TheY_say.,, she hath abjured the company 4c

■^ I And_siglit..jQf men —

Vuh O that I served that lady

And might not bevdeliveredfto the world,
Till 1 had made mine own occasion mellow,)
(What my estate is!)

Cap. That were hard to compass ;

Because she will admit no kind of suit,
(No, not the duke's.

Vio. There is a fair behaviour in thee, captain ;
And though that)nature with a beauteous wall
Doth oft close in pollution, yet of thee
I will believe thou hast a mind that suits 50

With this thy fair and outward character.
I prithee, and I '11 pay thee bounteously,
Conceal me what I am, and be my aid
For such disguise as haply shall become
The form of my intent. I '11 serve this duke :
Thou shalt present me as an eunuch to him :
It may be worth thy pains ; for I can sing
And speak to him in many sorts of music
That will allow jme very worth his service.
What else mayQiap)to time I will commit; 60

Only shape thou thy silence to my wit.

Cap. Be you his eunuch, and your mute I '11 be :
When my tongue blabs, then let mine eyes not see.

Vio. I thank thee : lead me on. {^Exeunt.

Scene III. Olivl^'s house.
Enter Sir Toby Belch and Maria.

Sir To. What a plague means my niece, to take the
death of her brother thus.? 1 am sure care's an enemy
to life.

ACT I. aCEAE 111. ^

Mar. I By my troth.^ Sir Toby, you must omc in carlior
o' nightsVyour cousin, my lady, takes yrcat exceptions to
your ill hours.

Sir To. Why, let her except, before excepted.

Mar. Ay, but you must confine yourself within the-
modest limits of order. ,^

Sir To. Confine ! 1 '11 confine myself no finer than I am :
these clothes are good enough to drink in ; and so be these
boots too : an they be not, let them hang themselves in their
own straps.

/I/a/-. 1 hat quaffing)and drinking will undo you : I heard
my lady talk of^it yesterday ; and of a foolish knight that
you brought in one night here to be her wooer.

Sir To. Who, Sir Andrew Aguecheek }

Mar. Ay, he.

Sir To. He's 'as tall a man as any's in Illyria.

Mar. What's that to the purpose.' zo

Sir To. Why, he has three thousand ducats a year.

Mar. Ay, but he 'II have but a year in all these ducats :)
he 's a very fool and a prodigal.

Sir To. Fie, that you '11 say so ! he plays o(the viol-dc-
gamboysNand speaks three or four languages word for word
without book, and hath all the good gifts of nature.

Mar. He hath indeed, almost natural : for besides that
he's a fool, he's a great quarreller ; and but that he hath
the gift of a coward to allay the gust he hath in tiuarrelling.
'tis thought among the prudent he would «iuickly have the
gift of a grave. 5 1

Sir To. By this hand, they are scoundrels and substractors
that say so of him. Who are they ?

Mar. They that add, moreover, he's drunk nightly m
your company.

Sir To. With drinking healths to my niece : 1 'II drink
to her as long as there is a passage in my throat and drink
in Illyria : he s a coward and acoystrill that will not drink

6 TWELFTH NIGHT.

to my niece till his brains turn o' the toe like a parish-top.
What, wench I Castiliano vulgo ! for here comes Sir Andrew
Agueface. 4 1

Enter SiR Andrew Aguecheek.
Sir And. Sir Toby Belch ! how now, Sir Toby Belch !
Sir To. Sweet Sir Andrew !
Sir And. Bless you, fair shrew.
Mar. And you too, sir.
Sir To. Accost, Sir Andrew, accost.
Sir A}td. What's that?
Sir To. My niece's chambermaid.

Sir And. Good Mistress/Accost^ desire better acquaint-
ance. ^ 50

Mar. My name is Mary, sir.

Sir And. Good Mistress Mary Accost, —

Sir To. You mistake, knight : ' accost ' is front her,
Mjoard herjAwoo her, assail her.

Sir And. By my troth, I would not undertake her in
this company. Is that the meaning of 'accost'?

Mar. Fare you well, gentlemen.

Sir To. An thou let part so. Sir Andrew, would thou
mightst never draw sword again. 59

Sir And. An you part so, mistress, I would I might
never draw sword again. Fair lady, do you think you have
fools in hand ?

Mar. Sir, I have not you by the hand.

Sir And. Marry, but you shall have; and here's my
hand.

Mar. Now, sir, 'thought is free' : I pray you, bring your
hand to the buttery-bar and let it drink.

Sir And. Wherefore, sweet-heart ? what 's your metaphor ?

Mar. It 's dry, sir.

Sir And. Why, I think so : 1 am not such an ass but I
can keep my hand dry. But what 's your jest ? 71

ACT I. SCEXE III. 7

Mar. Avdryjjest, sir.

Sir Aftd. Arc you full of them ?

Mar. Ay, sir, I have them at my fingers' ends : marry,
now I let go your hand, 1 am^barren. [E.vtt.

Sir To. O knighl, thou 'ackcst a cup of canary : when
did I see thee so put down ?

Sir And. Never in your life, I think; unless you see
canary put me down. Methinks sometimes I have no more
wit than a Christian or an ordinary man has : but I am a
great eater of beef and I believe that docs harm to my wit.

Sir To. No question. 82

Sir And. An I thought that, 1 Id forswear it. I 'II ride
home to-morrow. Sir Toby.

Sir To. Pourquoi, my dear knight .■"

Sir And. What is 'pourquoi'.'' do or not do.' 1 would
I had bestowed that time in the tongues that 1 have in
fencing, dancing and bear-baiting : O, had I but followed
the arts ! 89

Sir To. Then hadst thou had an excellent head of hair.

Sir And. Why, would that have mended my hair .''

Sir To. Past question ; for thou seest it will not curl by
nature.

Sir And. But it becomes me well enough, does 't not ?

Sir To. Excellent ; it hangs like flax on a distaff.

Sir And. Faith, I 1! home to-morrow, Sir Toby : your
niece will not be seen ; or if she be, it's four to one ■^e '11
none of mej) the count himself here hard by woos her.

Sir To. She'll none o' the count : she'll not match above
her degree, neither in estate, years, nor wit ; I have heard
hcrswear't. Tut,4here's life in 'L)man. lor

Sir And. I '11 stay a month longer. 1 am a fellow o' the
strangest mind i' the world ; I delight in masques and revels
sometimes altogether.

Sir To. Art thou good at these kickshawses, knight .'

Sir And. As any man in lllyria, whatsoever he be, under

8 TWELFTH NIGHT.

the degree of my betters ; and yet I will not compare with
an old man.

Sir To. , What is thy excellence in a /galliard,\ knight?

St'r And. Faith, I can cut a caper. ^ no

St'r To. And I can cut the mutton to 't.

Sir And. And I think I have the back-trick simply as
strong as any man in Illyria.

Sir To. Wherefore are these things hid ? wherefore have
these gifts a curtain before 'em ? are theyjike jto take dust,
like Mistress Mall's picture ? why dost thou not go to church
in a galliard and come home in a coranto Ij My very walk
should be a jig. What dost thou mean ? Is'tt a world to hide
virtues in.' I did think, by the excellent constitution of thy
leg, it was formed under the star of a galliard. 120

Sir And. Ay, 'tis strong, and it does indifferent well in a
flame-coloured stock.; Shall we set about some revels?

Sir To. What shall we do else ? were we not born under
Taurus ?

Sir And. Taurus ! That 's sides and heart.
Sir To. No, sir ; it is legs and thighs. Let me see thee
caper : ha ! higher : ha, ha ! excellent ! ^Exeunt.

Scene IV. The Duke's palace.
Enter Valentine, and \'iol\ in man''s attire.

Val. If the duke continue these favours towards you,
Cesario, you are like to be much advanced : lie hath known
you but three days, and already you are no stranger.

Vio. You either fear his humour 'or my negligence, that
you call in question the continuance of his love : is he
inconstant, sir, in his favours ?

Val. No, believe me.

Vio. I thank you. Here comes the count.

Enter Duke, Curio, and Attendants.
Duke. Who saw Cesario, ho ?

ACT I. SCENE IV. 9

I'hi. On your attendance, my lord; here. lo

Duke. Stand )oii a while aloof. Ccsario,
Thou know'st no less but all ; \ have unclasp'd
To thee the book.ievcn of my secret soul :
Therefore, good youth, address thy gait unto her ;
Be not denied access, stand at her doors.
And tell them, there thy fi.xed foot shall grow
Till thou have audience.

Via. .Sure, my noble lord,

If she be so abandon'd to her sorrow-
As it isvapokc,"', she never will admit me.

Duke. Re clamorous and leap ^1 civil bounds^; ;:o
Rather than make unprofitcd return.

Vic. Say I do speak with her, my lord, what then 't

Duke. O, then unfold the passion of my love,
Surprise her with discourse of my dear faith :
It shall become thee well to act my woes ;
She will attend ij^better in thy youth
Than in a nuncio's of more grave aspect.

Vio. 1 think not so, my lord.

Duke. Dear lad, believe it ;

For they shall yet belie thy happy years,
That say thou art a man : Diana's lip 30

Is not more smooth and i^rubious^,; thy'jmall pipe
Is as the maiden's organ, shrill and sound,
And all is (gemblativc ) a woman's part.
I know^hy constellation' is right apt
For this affair. Some four or five attend him ;
.All. if you will ; for I myself am best
When least in company. I'rospc-r well in this,
And thou shalt live as freely as thy lord
To call his fortunes thine.

Vio. 1 '11 do my best v

To woo your lady: \Aside\ yet, ^a barful strifcj/ )0

Whoe'er I woo, myself would be his wife. \E.uunt.

10 TWELFTH NIGHT.

Scene V. Olivias house.
Enter Maria and Clown.

Mar. Nay, either tell me where thou hast been, or I will
not open my lips so wide as a bristle may enter m way of
thy excuse : my lady will hang thee for thy absence.

Clo. Let her hang me : he that is well hanged in this
world needs{io fear no colours^)

Mar. Make that good.

Clo. He shall see none to fear.

Mar, A good^ienten )answer : I can tell thee where that
saying was bom, of • I fear no colours.'

Clo. Where, good ^listress Mary ? lo

Mar. In the wars ; and that may you be bold to say in
your foolery.

Clo. Well, God give them wisdom that have it ; and
those that are fools, let them use their talents.

Mar. Yet you will be hanged for being so long absent ;
or, to be turned away, is not that as good as a hanging to
you ?

Clo. Many a good hanging prevents a bad marriage ;
and, for turning away, let summer bear it out.

Mar. You are resolute, then? 20

Clo. Not so, neither ; but I am resolved on two points.

Mar. That if one break, the other will hold ; or, if both
break, your Raskins fall.

Clo. Apt, in good faith ; very apt. Well, go thy way ;
if Sir Toby would leave drinking, thou wert as witty a piece
of Eve's flesh as any in Illyria.

Mar. Peace, you rogue, no more o' that. Here comes
my lady : make your excuse wisely, you were hesLj [E.ii7.

Clo. Wit, ant be thy will, put me into good fooling !
Those wits, that think they have thee, do very oft prove
fools : and I, that am sure I lack thee, may pass for a wise

ACT I. SCENE V. II

man : for what says Ouinapalus? 'Better a witty fool than
a fooHsh wit.' j3

Enter Lady Olivia iL'ilh Mai.volio.

God bless thee, lady 1

Oli. Take the fool awa).

Clo. Do you not hear, fellows ? Take away the lady.

Oli. Go to, you're a^^dry)fool; I'll no more of you:
besides, you grow dishonest.

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

Oli. Sir, I bade them take away you. 4y

Clo.C Misprisionjin the highest degree! Lady, cucullus
non faclt monachum ; that 's as much to say as I wear not
y^motleyin my brain. Good madonna, give me leave to prove
you a fool.

Oli. Can you do it ?

Clo. De.xteriously, good madonna.

Oli. Make your proof.

Clo. I must catechize you for it, madonna : good my

mouse of virtue, answer me.

Oli. Well, sir, for want of other idleness, I 11 bide your

proof. 60

Clo. (jood madonna, why muurnest thou ?

Oli. ( .ood fool, for my brother's death.

Clo. I think his soul is in hell, madonna.

Oli. 1 know his soul is in heaven, fool.

12 TWELFTH NIGHT.

Clo. The more fool, madonna, to mourn for your brother's
soul being in heaven. Take away the fool, gentlemen.

OH. What think you of this fool, Malvolio 1 doth he not
mend ?

Mai. Yes, and shall do, till the pangs of death shake
him : infirmity, that decays the wise, doth ever make the
better fool. 7 1

Clo. God send you, sir, a speedy infirmity, for the better
increasing your folly ! Sir Toby will be sworn that I am no
fox ; but he will not pass his word for two pence that you are
no fool.

Oli. How say you to that, Malvolio?

Mai. I marvel your ladyship takes delight in such a
barren rascal : I saw him put down the other day with an
ordinary fool that has no more brain than a stone. Look
you now, he 's out of his gug,rd already ; unless you laugh
and minister occasion to him, he is gagged. I protest, I
take these wise men, that crow so at these set kind of fools,
no better than the fools' zanies. ^3

Oil. O, you are sick of self-love^ Malvolio, and taste with
a (^istempered )ap'petTEeI To be generous, guiltless and of
free disposition, is to take those things for bird-bolts that
you deem cannon-bullets : there is no .slander in an allowed
fool, though he do nothing but rail ; nor no railing in a
kno'wn discreet man, though he do nothing but reprove.

Clo. Now Mercury endue thee with leasing, for thou
speakest well of fools ! 9 ^

Re-enter Maria.

Mar. Madam, there is at the gate a young gentleman
much desires to speak with you.

Oli. From the Count Orsino, is it ?

Mar. 1 know not, madam : 'tis a fair young man, and
well attended.

Oli. Who of my people '.hold him in delay .''

Mar. Sir Toby, madam, your kinsman.

ACT T. SCF.SF W 13

G/i. Fetcn him off, 1 pray you ; he speaks nothiiiL; but
madman: fie on him'. {Exit Marui.] ('.<» you, MalvoHo :
if it be a suit from the count, 1 am sick, or not at home ;
what you will, to dismiss it. [AV// Miil-i'olio.] Now you
see, sir, how your fooling grows old, and people dislike it.

Clo. Thou hast spoke for us, madonna, as if thy eklcsv
son should be a fool ; whose skull Jove cram with brains,
for, — here he comes, — one of thy kin has a most weak pia
mater.

Enter Sir Toi;v.

Oli. By mine honour, half drunk. What is he at the gate,
cousin ?

Sir To. A gentleman. 1 10

Oli. A gentleman ! what gentleman .''

Sir To. 'Tis a gentleman here — a plague o" these pickle-
herring ! How now, sot !

Clo. Good Sir Toby!

Oii. Cousin, cousin, how have you come so early by this
lethargy- ?

Sir To. Lechery ! J defy lechery. There 's one at the
gate.

Oli. Ay, marr)', what is he? 119

Sir To. Let him be the devil, an he will, I care not :
give me faith, say I. Well, it 's all one. {Exit.

Oli. What 's a drunken man like, fool ?

Clo. Like a drowned man, a fool and a mad man : one
draught above heat makes him a fool ; the second mads
him ; and a third drowns him,

Oli. Go thou and seek the crowner,^ and let him sit o'
my coz ; for he's in the third degree of drink, he's drowned :
go look after him.

Clo. He is but mad yet, madonna ; and the fool shall
look to the madman. [Exit.

Re-enter Malvolio.
Afal. Madam, yond young fellow swears he will ij.cak

14 TWELFTH NIGHT.

with you. I told him you were sick ; he (takes on him to
understand so much, and therefore comes to speak with
you. I told him you were asleep ; he seems to have a fore-
knowledge of that too, and therefore comes to speak with
you. What is to be said to him, lady? he's fortified
against any denial.

Oil. Tell him he shall not speak with me.

Mai. '< Has-been told so ; and he says, he'll stand at your
door like a 'i^heriff's post,iand be the supporter to a bench,
but he'll speak with you. 141

Oli. What kind o' man is he .''

Mai. Why, of mankind.

On. What manner of man ?

Mai. Of very ill manner ; he '11 speak with you, will you
or no.

Oli. Of what personage and years is he ?

Mai. Not yet old enough for a man, nor young enough
for a boy ; as a squash, is before 'tis a peascod,', or a codling
when 'tis almost an apple : 'tis with him in $tanding water,\
between boy and man. He is very well-favoured and he^
speaks very shrewishly ; one would think his mother's milk
were scarce out of him. 153

Oli. Let him approach : call in my gentlewoman.

Mai. Gentlewoman, my lady calls. [Exit.

Re-enter Maria.

OH. Crive me my veil : come, throw it o'er my face.
We'll once more hear Orsino's embassy.

Enter ViOLA, and Attendants.

Vio. The honourable lady of the house, which is she .''

Oli. Speak to me ; I shall answer for her. Your will 1

Vio. Most radiant, exquisite and unmatchable beauty, —

I pray you, tell me if this be the lady of the house, for I

never saw her : I would be loath to cast away my speech,

for besides that it is excellently well penned, I have taken

ACT r. SCFXE V. 15

great pains to con it. Good beauties, let me sustain no
scorn ; I atfi \orv comptililt- even ti> tin- U-nst sinister
usage.

0/i. Whence came you, sir ?

Vt'o. I can say little more than I have studied, and that
question 's out of my part. Good gentle one, give me
modest assurancd if you be the lady of the house, that I
may proceed in my speech. '7 1

0/i. Are you a comedian ?

V/o. No, my profound heart : and yet, ^- the very fangs
of malice I swear, I am not that 1 play. Are you the lady
of the house ?

O//. (U I do not usurp myselO I am.

Vio. Most certain, if you are she, you do usurp yourself ;
for what is yours to bestow is not yours to reserve. But this
is f^om my commission'^ I will on with my speech in your
praise, and then show you the Jieart of my message. ; 180

O/i. Come to what is important in t : I forgive you the
praise.

F/V». Alas, I took great pains to study it, and 'tis poet-
ical.

0/t. It is the more like to be feigned : I pray you, keep
it in. I heard you were saucy at my gates, and allowed
your approach rather to wonder at you than to hear you.
If you be not mad, be gone ; if you have reason, be brief:
'tis not (hat time of moon) with me to make one in sO(Skip-
ping[)a dialogue. '9°

Afar. Will you hoist sail, sir .' here lies your way.

V/o. No, good swabber ; I am to hull here a little longer.
Some mollification for your giant, sweet lady. Tell me
your mind : I am a messenger.

O//. Sure, you have some hideous matter to deliver,
when the courtesy of it is so fearful. Speak your office.

V/o. It alone concerns your ear. I bring «}o overture of
war,""fio ta.\ation of homage y I hold the olive in my hand ;
my words are as full of peace as matter. i99

l6 TWELFTH NIGHT.

OH. Yet you began rudely. What are you ? what would
you ?

Vio. The rudeness that hath appeared in nie have I
learned from my entertainment. What I am, and what 1
would, are as secret as maidenhead ;. to your ears, divinity,
to any other's, profanation.

OIL Give us the place alone : we will hear this divinity.
[Exctmi Maria and Attendants.^ Now, sir, what is your
text?

Vio. Most sweet lady, —

OH. A comfortable doctrine, and much may be said of
it. Where lies your text ? 21 r

Vio. In Orsino's bosom.

OH. In his bosom ! In what chapter of his bosom?

Vio. To. answer by the method, in the first of his heart.

OH. O, I have read it : it is heresy. Have you no more
to say ?

Vio. Good madam, let me see your face.

OH. Have you any commission from your lord to nego-
tiate with my face ? You are now out of your text : but we
will draw the curtain and show you the picture. Look you,
sir, such a one I was this present : is 't not well done? 221

[^UnveiHng.

Vio. Excellently done, if God did all.

OH. 'Tis in grain, sir ; 'twill endure wind and weather.

Vio. 'Tis beauty truly blent, whose red and white
Nature's own sweet and cunning hand laid on :
Lady, you are the cruell'st she alive,
If you will lead these graces to the grave
And leave the world no copy.

OH. O, sir, I will not be so hard-hearted ; I will give out
divers schedules of my beauty : it shall be inventoried, and
every particle and utensil labelled to my will : as, item, two
lips, indifterent red ; item, two grey eyes, with lids to them ;
item, one neck, one chin, and so forth. Were you sent
hither to praise me ? 234

ACT I. SCESE V. 17

Vio. I see you what you arc, you are too proud ;
But, if you were the devil, you are fair.
My lord and master loves you : O, such love
Could be but recompensed, thou^jh you were crown'd
The nonpareil of beauty I

O/i. How does he love me?

y/o. With adorations, fertile tears, I ^C*-*"

With groans that thunder love, with sii^hs of fire. '

0/i. Your lord does know my mind ; I cannot love him :
Vet I suppose him virtuous, know him noble,
Of great estate, of fresh and stainless youth ;
(^J^n voices well divulged,^' free, learn'd and valiant;
And in (idimension and the shape of nature
A gracious person : but yet I cannot love him ;
He might have took his answer long ago.

y/o. If I did love you jn my master's flame.
With such a suftering, such a deadly life, 250

In your denial I would And no sense ;
1 would not understand it.

O/t. Why, what would you ?

Vio. Make me a willow cabin at your gate,
And call upon my soul within the house ;
Write loyal cantons of contemned love
.\nd sing them loud even in the dead of night ;
Halloo your name to the reverberate hills
And make the babbling gossip of the air
Cry out 'Olivia!' O, you should not rest
Between the elements of air and earth, 260

But you should pity mc !

Oil. Vou might do much.

What is your parentage?

Vio. Above my fortunes, yet my slate is well :
1 am a gentleman.

Oli. Get you to your lord ;

1 cannot love him : let him send no more ;
Unless, perchance, you come to mc again,

c

l8 TWELFTH NIGHT.

To tell me how he takes it. Fare you well :
1 thank you for your pains : spend this for me.

Vw. I am no fee'd post, lady ; keep your purse :
My master, not myself, lacks recompense. 270

Love make his heart of flint that you shall love ;
And let your fervour, like my master's, be
Placed in contempt ! Farewell, fair cruelty. [Ex//.

Oh'. ' What is your parentage ?'
' Above my fortunes, yet my state is well :
I am a gentleman.' 1 '11 be sworn thou art ;
Thy tongue, thy face, thy limbs, actions and spirit.
Do give thee five-fold blazon : not too fast : soft, soft !
Unless the master were the man. How now!
Even so quickly may one catch the plague? 280

Methinks I feel this youth's perfections
With an invisible and subtle stealth
To creep in at mine eyes. Well, let it be.
What ho, Malvolio!

Re-enter Malvolio.

Mai. Here, madam, at your service.

Oii. Run after that same peevish , messenger.
The county's man : he left this ring behind him,
Would I or not : tell him I '11 none of it.
Desire him not to flatter with his lord.
Nor hold him up with hopes ; I am not for him :
If that the youth will come this way to-morrow, 290

I'll give him reasons for't: hie thee, MalvoHo.

Mai. Madam, I will. ' {Exit.

OH. I do I know not what, and fear to find
Mine eye too great a flatterer for my mind.
Fate, show thy force : ourselves we do not owe ;
What is decreed must be, and be this so. \Exit.

ACT II. SCENE I. 19

ACT II.
Scene I. T/w sea-coast.

Enter Antonio and Sebastian.

Ant. Will you stay no longer? nor will you not that I
go with you ?

Seb. '\By your patience, no. My stars shine darkly over
me : the malignancy of my fate might perhaps distemper
yours ; therefore I shall crave of you your leave that I may
bear my evils alone : it were a bad recompense for your
love, to lay any of them on you.

Ant. Let me yet know of you whither you are bound.

Seb. V^'o, sooth,'^sir: my (determinate voyage is mere
Extravagancy.) But I perceiVe in you so excellent a
touch of modesty, that you will not extort from me what I
am willing to keep in ; therefore it charges me in manners
the rather to express myself. You must know of me then,
Antonio, my name is Sebastian, which I called Roderigo.
My father was that Sebastian of Messaline, whom I know
you have heard of. He left behind him myself and a sister,
both bom in an hour : if the heavens had been pleased,
would we had so ended! but you, sir, altered that; for
some hour before you took me from the breach of the sea
^^as my sister drowned. 20

Ant. Alas the day !

Seb. A lady, sir, though it was said she much resembled
me, was ^yet of many accounted beautiful : but, though I
could not with such estimable wonder pvcrfar believe that,
yet thus far 1 will boldly publish her ; she bore ci mind that
envy could not but call fair. She is drowned alrc;'dy, sir,
with salt water, though I seem to drown her remembrance
igain with more.;

Ant. Pardon me. sir, your bad entertainment.

C 2

ao TWELFTH NIGHT.

Scb. O good Antonio, forgive me your trouble. ? 30

^ ! Ant. If you will not murder me for my love, let me be
[your servant.

Sel?. If you will not undo what you have done, that is,
kill him whom you have recovered, desire it not. Fare ye
well at once : my bosom is full of kindness, and I am yet so
near the manners of my mother, that upon the least oc-
casion more mine eyes will tell tales of me. I am bound
to the Count Orsino's court : farewell. [Exit.

Ant. The gentleness of all the gods go with thee !
I have many enemies in Orsino's court, 40

Else would I very shortly see thee there.
But, come what may, I do adore thee so^
That danger shall seem sport, and I will go. [Exit.

Scene II. A street.

Enter Viola, Malvolio folhnuing.
Mai. Were not you, even now with the Countess Olivia .?

Via. Even now, sir ;■' on a moderate pace I have since
arrived but hither.

^ Mai. She returns this ring to you, sir : you might have
saved me my pains, to have taken it away yourself. She
adds, moreover, that you should put your lord into a des-
perate assurance she will none of him : and one thing more,
that you be never so hardy to come again) in his affairs,
unless it be to report your lord's taking of this. Receive
it so. 10

Vio. She took the ring of me : I 'II none of it.

Mai. Come, sir, you peevishly threw it to her ; and her
will is, it should be so returned : if it be worth stooping for,
there it lies in your eye ; if not, be it his that finds it. [Exit.

Vio. I left no ring with her : what means this lady 1
Fortune forbid my outside have not charm'd her!
She made good view of me ; indeed, so much,
That sure methought her eyes had lost her tongue, ')

ACT II. SCEXE III. 1\

For she did speak in starts distractedly.
She loves me, sure ; the cunning of her passion ;o

Invites me^in">this churlish messenger.
None of my lord's ring I why, he sent her none.
I am the man : if it be so, as 'tis,
Poor lady, she were better love a dream.
Disguise, I see, thou art a wickedness.
Wherein the pregnant 'enemy does much.
How easy is it for the ^^roper-false
In women's ^vyaxen )hearts to set their forms!
Alas, our frailty is the cause, not we !
For such as we are made of, such we be. 30

VHow will this fadgc .') my master hncs her dearly ;
And I, poor monster, fond as much on him ;
And she, mistaken, seems to dote on me.
What will become of this .'' As I am man,
My state is desperate for my masters love ;
As I ajn woman, — now alas the day ! —
What thriftless sighs shall poor Olivia breathe !
O time! thou must untangle this, not I ;
It is too hard a knot for me to untie ! \_Exit

Scene III. Ol\\\\'?> Iiouse.
Enter Sir Toby and Sir Andrew.

Sir To. Approach, Sir Andrew : not to be a-bed after
midnight is to be up betimes ; and 'diluculo surgere,' thou
^nowst, —

Sir And. Nay, by my troth, I know not : but I knew, to
be up late is to be up late.

.Sir To. A false conclusion : I hate it as an unfilled can.
To be up after midnight and to go to bed then, is early :
so that to go to bed after midnight is to go to bed betimes.
Does not our life consist of the four elements?)

Sir And. Faith, so they say ; but I think it rather con-
sists of eating and drinking. « >

22 TWELFTH NIGHT.

Sir To. Tliou 'rt a scholar ; let us therefore eat and
(hink. Marian, I say! a.stoup bf wine !

Enter Clown.

Sir And. Here comes the fool, i' faith.

Clo. How now, my hearts ! did you never see the picture
of ' we three ' ?

Sir To. Welcome, ass. Now let 's have a catch.

Sir And. By my troth, the fool has an excellent bi'east.
I had rather than forty shillings I had such a leg, and so
sweet a breath to sing, as the fool has. In sooth, thou wast
in very gracious fooling last night, when thou spokest of
Pigrogromitus, of the Vapians passing the equinoctial of
Oueubus : 'twas very good, i' faith. I sent thee sixpence for
thy leman : hadst it ? 24

Clo. I did impeticos thy gratillity ; for Malvolio's nose
is' no whipstock : my lady has a white hand, and the
Myrmidons are no bottle-ale houses.

Sir And. Excellent ! why, this is the best fooling, when
all is done. Now, a song.

Sir To. Come on ; there is sixpence for you : let 's have
a song. 31

Sir And. There 's a testril of me too : if one knight
give a —

Clo. Would you have a love-song, or a song of good
lifePJ; "^

Sir To. A love-song, a love-song.
Sir And. Ay, ay : I care not for good life.
Clo. \Sings\

O mistress mine, where arc you roaming?
O, stay and hear ; your true love '3 coming.

That can sing both high and low : ,\o

Trip no further, pretty sweeting ;
Journeys end in lovers meeting,
Every wise man's son doth know.
Sir And. Excellent good, i' faith.

ACT II. ^CF.SF II T. 23

Sir To. (iood, grood.
Clo. [Sitti^s]

What is love ? 'tis not hereafter ;
Present mirth hath present lauyhtci ;

What 's to come is still unsure :
In delay there lies no plenty: N "Is

Then come kiss me, sweet and twenty, \ 50

Youth's a stuff will not endure.
Sir And. A mellifluous voice, as I am true knight.
Sir To. A contagious breath.
Sir Attd. Very sweet and contagious, i' faith.
Sir To. To hear by the nose, it is dulcet in contagion.
But shall we make the welkin dance indeed ? shall we rouse
the night-owl in a catch that will draw three souls out of one
weaver .? shall we do that .''

Sir And. An you love me, let 's do 't : I am dog at a
catch. 'io

Clo. By 'r lady, sir, and some dogs will catch well.

Sir And. Most certain. Let our catch be, ' Thou knave.'

Clo. ' Hold thy peace, thou knave,' knight ? I shall be
constrained in 't to call thee knave, knight.

Sir And. 'Tis not the first time I have constrained one
to call me knave. Begin, fool : it begins ' Hold thy peace.'

Clo. I shall never begin if I hold my peace.

Sir And. Good, i' faith. Come, begin. [Catch sung.

Enter Maria.

Afar. What a caterwauling do you keep here! If my
lady have not called up her steward Malvolio and bid
him turn you out of doors, never trust me. 7 '

Sir To. My lady 's a Cataian, we are politicians, Mal-
volio 's a Peg-a-Ramsey, and ' Three merry men be we.'
Am not I consanguineous ? am I not of her blood ? Tilly-
vally. Lady I {Sings] 'There dwelt a man in Babylon,
lady, lady!'

Clo. Beshrcw me, the knight '3 in admirable fooling.

24 TWELFTH NIGHT.

Sir And. Ay, he does well enouj.;h if he be disposed,
and so do I too : he does it with a better grace, but I
do it more natural. 80

Sir To. \Siiigs\ ' O, the twelfth day of December,' —
Mar. For the love o' God, peace ! l--^

Enter Malvoijo.

Mai. My masters, are you mad ? or what are you ?
Have you no wit, manners, nor honesty, but to gabble like
tinkers at this time of night ? Do ye make an alehouse of
my lady's house, that ye squeak out your coziers' catches
without any mitigation or remorse of voice? Is there no
respect of place, persons, nor time in you ?

Sir To. We did keep time, sir, in our catches. Sneck up !

Mai. Sir Toby, I must be (round with you. My lady
bade me tell you, that, though^ she harbours you as her
kinsman, she's nothing allied to your disorders. If you
can separate yourself and your misdemeanours, you are
welcome to the house ; if not, an it would please you to
take leave of her, she is very willing to bid you farewell.

Sir To. ' Farewell, dear heart, since I must needs be
gone.'

Mar. Nay, good Sir Toby.

Clo. ' His eyes do show his days arc almost done.'

Mai. Is't even so ?

Sir To. ' But I will never die.' 100

Clo. Sir Toby, there you lie.

Mai. This is much credit to you.

Sir To. ' Shall I bid him go ? '

Clo. ' What an if you do ? '

Sir To. 'Shall 1 bid him go, and spare not?'

Clo. ' O no, no, no, no, you dare not.'

Sir To. Out o' tune, sir : ye lie. Art any more than a
steward ? Dost thou think, because thou art virtuous, there
shall be no more cakes and ale ?

ACT II. SCENE III. 25

Clfl. Yes, by Saint Anne, and Kinf:jcr shall be hot i' the
mouth too. 1 • •

Sir To. Thou 'rt i' the right. Go, sir, rub your chain
with crums. A stoup of wine, .Maria !

Mill. Mistress Mary, if you prized my lady's favour at
any thing more than contempt, you would not give means for
thia uncivilVile ;l she shall know of it, by this hand. [Exif.

Afar, tio shake your ears.

St'r And. 'Twere as good a deed as to drink wlicn a
man 's a-hungr>', to challenge him the field, and then to
break promise with him and make a fool of him. 120

Sir To. Do 't, knight : I '11 write thee a challenge ; or
I '11 deliver thy indignation to him by word of mouth.

Mar. Sweet Sir Toby, be patient for to-night : since the
youth of the count's was to-day with my lady, she is much
out of quiet. For Monsieur Malvolio, let me alone with
him : if I do not gull him into a nayword, and make him a
common recreation, do not think I have wit enough to lie
straight in my bed : 1 know I can do it.

Sir To. \ Possess usj possess us ; tell us something of him.

Mar. Marr>', sir, sometimes he is a kind oLpuritan. 1 30

Sir And. O, if I thought that, I 'Id beat him like a dog !

Sir To. What, for being a puritan } thy exquisite reason,
dear knight ?

Sir And. I have no exquisite reason for't, but I have
reason good enough.

Mar. The devil a puritan that he is, or any thing 'qon-
stantly,^ but a 'time-p!eascrj_ an affectioned ass, that cons
state without book and jjtters it by great swarths^ the best 1 ..
persuaded pf himself, so crammed," as he thinks, with excel- 1 \
Wjirjpcj, »^3nt it is his grounds of faith that all that look on him
h)ve him ^ and on that vice in him will my revenge find
notable cause to work. '4'

Sir To. What wilt thou do ?

Mar. I will drop in his way some obscure epistles of

26 TWELFTH NIGHT.

love ; wherein, by the colour of his beara, the shape of his
leg, the manner of his gait, the expressure of his eye, fore-
head, and complexion, he shall find himself most feelingly
personated. I can write very like my lady your niece : on
a forgotten matter we can hardly make distinction of our
hands. ' 150

Sz'r To. Excellent ! I smell a device.

Sir And. I have 't in my nose too.

Sir To. He shall think, by the letters that thou wilt
drop, that they come from my niece, and that she 's in love
with him. '

Mar. My purpose is, indeed, a horse of that colour.

Sir And. And your horse now would make him an ass.

Mar. Ass, I doubt not.

Sir And. O, 'twill be admirable ! 159

' Mar. Sport royal, I warrant you : I know my physic
will work with him. I will plant you two, and let the fool
make a third, where he shall find the letter : observe his
construction of it. For this night, to bed, and dream on
the event. Farewell. {Exit.

Sir To. Good night, Penthesilea.\

Sir And. Before me, she 's a good wench.

Sir To. She 's a beagle, true-bred, and one that adores
me : what o' that.?

Sir And. I was adored once too.

Sir To. Let 's to bed, knight. Thou hadst need send
for more money. 171

Sir And. If I cannot recover your niece, I am a foul
way out.

Sir To. Send for money, knight : if thou hast her not
i' the end, call me cut.

Sir And. If I do not, never trust me, take it how you
will.

Sir To. Come, come, I '11 go burn some sack ; 'tis too late
to go to bed now : come, knight ; come, knight. \Exeunt.

ACT n SCENE IV. 1']

SCENF. I\'. Thf Hvviv:?, palace.
Er.ttr DUKi;, \'loi.A, CURIO, anii others.

Duke. Give me some music. Now, good monow. fi iends
Now, good Cesario, but that piece of song,
That old and antique song we heard last night :
Methought it did relieve my passion much,
More than light airs and ^recollected terms
Of. these most brisk and giddy-paced times :
Come, but one verse.

Cur. He is not here, so please your lordship, that should
sing it.

Duke. Who was it.? lo

Cur. Feste, the jester, my lord ; a fool that the lady
Olivia's father took much delight in. He is about the
house.

Duke. Seek him out, and play the tune the while.

\Exit Curio. Music plays.
Come hither, boy : if ever thou shalt love.
In the sweet pangs of it remember me ;
For such as I am all true lovers are,
Unstaid and skittish in all motions else,
Save in the constant image of the creature
That is beloved. How dost thou like this tune.' 20

Vio. It gives a vcr>' echo to the seat
Where Love is throned.

Duke. Thou dost speak masterly :\

My life upon 't, young though thou art, thine eye
Hath stay'd upon some favour that it loves :
Hath it not, boy?

Vio. A little, by your favour.)

Duke. What kind of woman is 't ?

Via. Of your complexion.

Duke. She is not worth thee, then. What years, i' faith.'
Via. About your years, my lord.

iH TWELFTH NIGHT.

Duke. Too old, by heaven : let still the woman take
An elder than herself: (so wears she to him, ^ 30

So sways she level in nfer husband's heart :
For, boy, however we do praise ourselves,
Our fancies are more giddy and unfirm,
More longing, wavering, sooner lost and >vorn,
Than women's are,

Vio. I think it well, my lord.

Ditkc. Then let thy love be younger than thyself,
Or thy affection cannot hold the bent;?
For women are as roses, whose fair flower,
Being once display'd, doth fall that very hour.

Vio. And so they are : alas, that they are so ; 40

To die, even when they to perfection grow !

Re-enter CuRio a7id Clown.

Duke. O, fellow, come, the song we had last night.
Mark it, Cesario, it is old and plain ;
The spinsters and the knitters in the sun
And the free maids that weave their thread with bones
Do use to chant it : it is silly sooth,
And dallies with the innocence of love,
Like the old age.

Clo. Are you ready, sir.? 49

Duke. Ay ; prithee, sing. \Music,

Song.

Clo. Come away, come away, death.

And in sad cypress let me be laid ;
Fly away, fly away, breath ;

I am slain by a fair cruel maid.
My shroud of white, stuck all with yew,

O, prepare it !
My part of death, no one so true
Did share it.

ACT II. SCEx\E IV. 29

Not a flower, not a flower sweet,

On my black coftin let there be strown ; 60

Not a friend, not a friend greet

My poor corpse^ where my bones shall be thrown ;
A thousand thousand sighs to save.

Lay me, O, where
Sad true lover never find my grave,
To weep there !

Duke. There 's for thy pains.

Clo. No pains, sir ; I take pleasure in singing, sir.

Duk-c. I '11 pay thy pleasure then.

Clo. Truly, sir, and pleasure will be paid, one time or
another. 7 '

Duke. Give me now leave to leave thee.

Clo. Now, the melancholy god protect thee ; and the
tailor make thy doublet of changeable tafleta, for thy mind
is a very opal.) I would have men of such constancy put to
sea, that their business might be every thing and their
intent every where ; for that 's it that always makes a good
Voyage of nothing. Farewell. {Exit.

Duke. Let all the rest give place.

" [Curio and Attcndnnts retire.
Once more, Cesario,
Get thee to^yondjsame sovereign cruelty: 80

Tell her, my love, more noble than the world,
I'rizes not quantity of dirty lands ;
The parts that fortune hath bestow'd upon htr,
Tell her, I hold as giddily 1 as fortune; ,
But 'tis that miracle" and queen of gems
(,That nature pranks her in attracts my soul.
Vio. But if she cannot love you, sir?
Duke. 1 cannot be so answer'd.

Vio. Sooth, but you must.

Say that some lady, as perhaps there is,
Hath for your love as great a pang of heart yo

30 TWELFTH NIGHT.

As you have for Olivia : you cannot love her ;
You tell her so ; must she not then be answered ?
j Duke. There is no woman's sides
' Can bide the beating of so strong a passion
As love doth give my heart ; no woman's heat;t
So big, to hold so much ; they lack retention. \
Alas, their love may be call'd appetite,
No motion of the liver, but the palate.
That suffer surfeit, cloyment and revolt ;
But mine is all as hungry as the sea, loo

And can digest as much: make no, compare)
Between that love a woman__caiL.bear me
And. -thaljo we Olivia.

Vio. Ay, but I know —

Duke. What dost thou know ?

Vio. Too well what love women to men may owe :
In faith, they are as true of heart as we.
My father had a daughter loved a man,
As it might be, perhaps, were I a woman,
I should your lordship.

Duke. And what 's her history ?

Vio. A blank, my lord. She never told her love, no
But let concealment, like a worm i' the bud.
Feed on her damask cheek : she pined in thought,;
And with a green and yellow melancholy
She sat like patience on a monument,
Smiling at grief. Was not this love indeed ?
We men may say more, swear more : but indeed
Our shows are more than will ; for still we prove
Much in our vows, but little in our love.

Duke. But died thy sister of her love, my boy ?

Vio. I am all the daughters of my father's house, 120
And all the l^rothers too : and yet I know not.
Sir, shall 1 to this lady .^

Duke. Ay, that 's the theme.

To her in haste ; give her this jewel ; say,
My love can give no place, bide no denay. ^ \Exeunt.

ACT II. SCENE V. 3I

Scene V. Olivia's garden.
Enter SIR Toby, Sir Andrew, ami Fahian.

Sir To. Come thy ways, Signior Fabian.

Fab. Nay, 1 '11 come : if I lose a scruple of this sport, let
me be boiled to death with melancholy.

Sir To. Wouldst thou not be glad to have the niggardly
rascally sheep-biter come by some notable shame ?

Fab. I would e.xult, man : you know, he brought me out
o' favour with my lady about a bear-baiting here.

Sir To. To anger him we '11 have the bear again ; and
we will fool him black and blue : shall we not, Sir Andrew .?

Sir And. An we do not, it is pity of our lives. 10

Sir To. Here comes the little villain.
Enter MARIA.

How now, my metal of India !

Mar. Get ye all three into the box-tree : Malvolio's
coming down this walk : he has been yonder i' the sun
practising behaviour to his own shadow this half hour :
observe him, for the love of n.ocken" : for I know this letter
will make a contemplative idiot of him. Close, in the name
of jesting ! Lie thou there {throws down a letter] ; for here
comes the trout that must be caught with tickling. [Exit.

Enter Malvolio.

Mai. 'Tis but fortune ; all is fortune. Maria once told
me she did aflfect me : and I have heard herself cpme thus
near,\that, should she fancy, it should be one of my com-
plexion. Besides, she uses me with a more exalted respect
than any one else that follows her. What should I think
on't? =^^

Sir To. Here 's an overweening rogue !

Fab. O, peace I Contemplation makes a rare turkey-cock
of him : how he jets under his advanced plumes !

32 TWELFTH NIGHT.

Sir And. 'Slight, I could so beat the rogue !
Sir To. Peace, I say. 30

lifal. To be Count Malvolio !
Sir To. Ah, rogue !
Sir And. Pistol him, pistol him.
Sir To. Peace, peace !

Mai. There is example for't; the lady of the Strachy
married the yeoman of the wardrobe.

Sir And. Fie on him, Jezebel !

Fab. O, peace ! now he 's deeply in : look how imagina-
tion blows him.)

Mai. Having been three months married to her, sitting
in my state, — • 41

Sir To. O, for a stone-bow,, to hit him in the eye !

Mai. Calling my officers about me, in my branched vel-
vet gown ; having come from a daybed, where I have left
Olivia sleeping, —

Sir To. Fire and brimstone !

Fab. O, peace, peace !

Mai. And then to have the humour of state ; and after
a demure travel of regard, telling them I know my place as
I would they should do theirs, to ask for my kinsman
Toby,— 51

Sir To. Bolts and shackles !

Fab. O peace, peace, peace ! now, now.

Mai. Seven of my people, with an obedient start, make
out for him : I frown the while ; and perchance wind up my
watch, or play witli my — some rich jewel. ! Toby approaches ;
courtesies there to me, —

Sir To. Shall this fellow live?

Fab. Though our silence be drawn from us with cars,
yet peace. 60

Mai. I extend my hand to him thus, quenching my
familiar smile with an austere regard of control,— \

ACT II. SCENE V

33

Sir To. And does not Toby take you a bli)\v o' ilu- lips
then ?

Mai. Saying, 'Cousin Toby, my fortunes having cast me
on your niece give me this prerogative of speech,' —

Sir To. What, wliat ?

Mai. 'You must amend your drunkenness.'

Sir To. Out, scab ! 69

Fab. Nay, patience, or we break the sinews of our plot.

Mai. 'Besides, you waste the treasure of your time witii
a foolish knight,' —

Sir Attd. That 's me, I warrant you.

Mai. ' One Sir Andrew,' —

Sir Atifl. I knew 'twas I ; for many do call me fool.

x^fal. (what employment have we here ? ;

[ Taking up the letter.

Fab. Now is the woodcock near the gin.

Sir To. O, peace ! and the spirit of humours intimate
reading aloud to him ! 79

Mai. By my life, this is my lady's hand : these be her
very C's, her U's and her T's ; and thus makes she her
great P's. It is, in contempt of question, her hand. .

Sir And. Her C's, her U's and her T's : why that .''

Mai. \^Reads\ 'To the unknown beloved, this, and my
good wishes ' : — her very phrases ! By your leave, wa.x.
Soft ! and thcvimpressure, her Lucrece, with which she uses
to seal : 'tis my lady. To whom should tiiis be .''

Fab. This wins him. liver and all.

Mai. \Reads\

Jove knows I love :

But who .' 90

Lips, do not move ;
No man must know.
' No man must know.' What follows ? the numbers altered !
* No man must know : ' if this should be thee, Malvolio .'
Sir To. Marry, hang thee, brock !

D

34 TWELFTH NIGHT.

Mai. [Reads]

I may command where I adore ;

But silence, like a Lucrece knife,
With bloodless stroke my heart doth gore :
M, O, A, I, doth sway my life.

Fab. A fustian riddle ! too

Sir To. Excellent wench, say I.

Mai. ' M, O, A, I, doth sway my life.' Nay, but first, let
me see, let me see, let me see.

Fab. What dish o' poison has she dressed him !

Sir To. And with what wing the staniel checks at it !

Mai. ' I may command where I adore.' Why, she may
command me : I serve her ; she is my lady. Why, this is
evident to any formal capacity ; there is no obstruction in
this : and the end, — what should that alphabetical position
portend ? If I could make that resemble something in me,
—Softly! M, O, A, I,— m

Sir To. O, ay, make up that : he is now at a cold scent.

Fab. vSowter will cry upon 't for all this, though it be as
rank as a fox. ^'

Mai. M, — Malvolio ; M, — why, that begins my name.

Fah. Did not I say he would work it out? the cur is
excellent at faults.

Mai. M, — but then there is no consonancy in the sequel ;
that suffers under probation : A should follow, but O does.

Fab. And O shall end, I hope. 120

Sir To. Ay, or I '11 cudgel him, and make him cry O !

Mai. And then I comes behind.

Fab. Ay, an you had any eye behind you, you might see
more detraction at your heels than fortunes before you.

Mai. M, O, A, I ; this simulation is not as the former :
and yet, to crush this a little, it would bow to me, for every
one of these letters are in my name. Soft ! here follows
prose ^ ia8

[Reads] 'If this full into thy hand, revolve. \In my stars jl
am above thee ; but be not afraid of greatness : some are

ACT II. SCENE V. :55

bom preat, somr achieve ejeatncss, and ■^omc have i;rc.iinL--s
thnist upon 'em. Thy Fates open their hands; let thy blood
and spirit embrace them ; and, to inure thyself to wiiat thou
art like to be, cast thy humble slough and appear fresh. He
/ opposite with aVjcinsman,! surly with servants ; let thy toni^ue
ttang^rguments of state ; put thyself into the trick of singu-
larity :j she thus advises thee that sighs for thee. Remember
who commended thy yellow stockings, and wished to see
thee ever cross-gartered : I say, remember. ("»o to, thou
art made, if thou desirest to be so ; if not, let me see thee
a steward still, the fellow of servants, and not worthy to
touch Fortune's fingers. Farewell. She that would alter
ser\ices with thee, 143

The Fortunate-Unhappy.'

VDaylight and champain ^discovers not more : this is open.
I will be proud, I will read' politic authors, I will batfle Sir
Toby, I will wash off gross acquaintance, I will be point-
devise the very man. I do not now fool myself, to let imagin-
ation jade me ; ^for every reason excites to this, that my
lady loves me. She did commend my yellow stockings of
late, she did praise my leg being cross-gartered ; and in this
she manifests herself to my love, and with a kind of injunc-
tion drives me to these habits of her liking. I thank my
stars I am happy. I will be strange, stout, in yellow stock-
ings, and cross-gartered, even with the swiftness of putting
on. Jove and my stars be praised! Here is yet a post-
script.

[Reads] ' Thou canst not choose but know who I am. If
thou entertainest my love, let it appear in thy smiling ; thy
smiles become thee well ; therefore in my presence still
smile, dear my sweet, I prithee.' 161

Jove, I thank thee : I will smile ; I will do everything
that thou wilt have me. [Exit.

Fad. I will not give my part of this sport for a pension
of thousands to be paid from the Sophy.

Sir To. I could marry this wench for this device.

Sir And. So could 1 too.

D 2

36 TWELFTH NIGHT.

Sir To. And ask no other dowry with her but such
another jest.

Sir And. Nor I neither. 170

Fab. Here comes my noble gull-catcher.

Re-enter Maria.

Sir To. Wilt thou set thy foot o' my neck .?

Sir And. Or o' mine either }

Sir To. Shall I play my freedom at tray-trip, and be-
come thy (bond-slave ?

Sir And. V faith, or I either.''

Sir To. Why, thou hast put him in such a dream, that
when the image of it leaves him he must run mad.

Mar. Nay, but say true ; does it work upon him ?

Sir To. Like aqua-vitse with a midwife. 180

Mar. If you will then see the fruits of the sport, mark
his first approach before my lady : he will come to her in
yellow stockings, and 'tis a colour she abhors, and cross-
gartered, a fashion she detests ; and he will smile upon her,
which will now be so unsuitable to her disposition, being
addicted to a melancholy as she is, that it cannot but turn
him into a notable contempt. If you will see it, follow me.

Sir To. To the gates of Tartar, thou most excellent devil
of wit !

Sir And. I '11 make one too. [Exeunt.

ACT III.

Scene I. Oiawa/s garden.
Enter ViOLA, and CLOWN with a tabor.

Vio. Save thee, friend, and thy music : dost thou live
by thy tabor .?

Clo. No, sir, I live by the church.

ACT III. SCENE I. 37

Vio. Art thou a churchman ?

Clo. No such matter, sir : I do live by the church ; for I
do live at my house, and my house doth stand by the
church.

Vio. So thou mayst say, the king lies by a beggar, it a
beggar dwell near him ; or, the church stands by thy tabor,
if thy tabor stand by the church. lo

do. You have said, sir. To see this age ! A sentence
is but a cheveril glove to a good wit : how quickly the wrong
side may be turned outward I

Vio. Nay, that 's certain ; they that dally nicely with
words may quickly make them wanton.

Clo. I would, therefore, my sister had had no name, sir.
Vio. Why, man ?

Clo. 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. -o

Vio. Thy reason, man .'

Clo. Troth, sir, I can yield you none without words ; and
words are grown so false, 1 am loath to prove reason with
them.

Vio. I warrant thou art a merry fellow and carest for
nothing.

Clo. 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.

Vio. Art not thou the Lady Olivia's fool ? 3°

Clo. 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 : 1 am indeed not her fool, but her corrupter oJ
words.

Vio. I saw thee late at the Count Orsino's,
Clo. Foolery, sir, does walk about the orb like the sun,
it shines everywhere. I would be sorry, sir, but ^the fool

38 TWELFTH NIGHT.

should be as oft with your master as with my mistress : I
think I saw your wisdom there. 40

Via. Nay, an thou pass upon me, I '11 no more with thee.
Hold, there 's expenses ^or thee.

Clo. Now Jove, in his next commodity of hair, send thee
a beard !

Vio. By my troth, I '11 tell thee, I am almost sick for
one ; [Aside] though I would not have it grow on my chin.
Is thy lady within ?

Clo. Would not a pair of these have bred, sir? .

Vio. Yes, being kept together and put to use.

Clo. I would play Lord Pandarus of Phrygia, sir, to bring
a Cressida to this Troilus. 51

Vio. I understand you, sir ; 'tis well begged.

Clo. The matter, I hope, is not great, sir, begging but
a beggar : Cressida was a beggar. My lady is within, sir.
I will construe to them whence you come ; who you are and
what you would are out of my welkin, I might say 'element,'
but the word is over-worn, j \^Exit.

Vio. 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 ;
But wise men, folly-fairn, quite taint their wit.

Enter Sir Toby, attd Sir Andrew.

Sir To. Save you, gentleman.

Vio. And you, sir.

Sir And. Dieu vous garde, monsieur.

Vio. Et vous aussi ; votrc serviteur. 70

Sir And. 1 hope, sir, you are ; and I am > ours.

ACT III. SCEXE }. 39

Sir To. Will you encounter the house ? my niece is
desirous you should enter, if your trade be to her.

Vio. I am bound to your niece, sir ; 1 mean, she is the
list of my voyage.

Sir To. (J'aste your legs, sir ; put them to motion.

Vio. My legs do better understand me, sir, than I under-
stand what you mean by bidding me taste my legs.

Sir To. I mean, to go, sir, to enter.

Vio. I will answer you with gait and entrance. But we
ara^^revented.) 8 1

Enter Olivia and Mari.a.

Most excellent accomplished lady, the heavens rain odours
on you !

Sir And. That youth 's a rare courtier : ' Rain odours ' ;
veil.

Vio. My matter hath no voice, lady, but to your own
most pregnant and vouchsafed ear.

Sir And. 'Odours,' 'pregnant' and 'vouchsafed': I'll
get 'em all three all ready.

Oli. Let the garden door be shut, and leave me to my
hearing. [Exeunt Sir Toby, Sir Andreio, and Maria.]
Give me your hand, sir. 9^

Vio. My duty, madam, and most humble service.

Oti. What is your name ?

Vio. Cesario is your servant's name, fair princess.

on. My servant, sir ! 'Twas never merry world
SinceUowly feigning i was call'd compliment:
You 're servant to iHe Count Orsino, youth.

Vio. And he is yours, and his must needs be yours :
Your servant's servant is your servant, madam. loo

0/i. For him, I think not on him : for his thoughts.
Would they were blanks, rather than fill'd with me!

Vio. Madam, ! come to whet your gentle thoughts
On his behalf

0/i. (J, by your Icuc-, 1 pr.i> >ou,

40 TWELFTH NIGHT.

I bade you never speak again of him :
But, would you undertake another suit,
I had rather hear you to solicit that
Than music from the spheres.

Vio. Dear lady, —

Oli. Give me leave, beseech you. I did send,
After the last enchantment you did here, no

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?
Have you not set mine honour at the stake
And baited it with all the unmuzzled thoughts
That tyrannous heart can think .'' To one of your receiving ]
Enough is shown : a cypress, not a bosom,
Hideth my heart. So, let me hear you speak. 120

Vio. I pity you.

Oli. That 's a degree, to love.

Vio. No, not a grise ; for 'tis a vulgar proof,j
That very oft we pity enemies.

Oli. Why, then, methinks 'tis time to smile again.

0 world, how apt the poor are to be proud !
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.j

Vio. Then westward-ho !

Grace and good disposition attend your ladyship !
You '11 nothing, madam, to my lord by me .''

^Oli. Stay : ^

1 prithee, tell me what thou think'st of me.

Vio. That you do think you are not what you are.

ACT III. SCEXE II. 41

Oli. If I think so, I think the same of you.

Vto. Then think you riyht ; I am not what I am.

Oil. I would you were as I would have you be I 140

Vio. Would it be better, madam, than I am?
I wish it might, for now I am your fool.

Oil. O, what a deal of scorn looks beautiful
In the contempt and anger of his lip!
A murderous guilt shows not itself more soon
Than love that would seem hid : love's night is noon.
Ccsario, by the roses of the spring,
Ijy maidhood, honour, truth and every thing,
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,
^or that ] woo, thou therefore hast no cause ;
But rather reason thus with reason fetter.
Love sought is good, but given unsought is better.

Vio. By innocence I swear, and by my youth,
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

Oli. Yet come again ; for thou perhaps mayst move
That heart, which now abhors, to like his lo\e. [^Excunt.

Scene II. Olw i\'s house.
Enter Sir Touy, Sir Andrew, and F.\iii.\N.

Sir And. No, faith, I '11 not stay a jot longer.

Sir To. Thy reason, dear venom, give thy reason.

Fab. You must needs yield your reason, Sir Andrew.

Sir And. Marry, I saw yOai, niece do more favours to
the count's ser\'ing-man than ever she bestowed upon nie ;
I saw 't i' the orchard.

42 TWELFTH NIGHT.

St'r To. Did she see thee the while, old boy? tell me
that.

Sir And. As plain as I see you now.

Fab. This was a great argument of love in her toward
you. 1 1

Sir. Ajtd. 'Slight, will you make an ass o' me ?

Fab. I will prove it legitimate, sir, upon the oaths of
judgement and reason.

Sir To. And they have been grand-jurymen since before
Noah was a sailor.

Fab. She did show favour to the youth in your sight only
( to exasperate you, to awake your dormouse valour, to put
fire in yourJieart, and brimstone in your liver. You should
yf Jhen have accosted^ her ; ^J witlT s~bme "excellent jests, fire-
new from the mint, you should have banged the youth into
dumbness. This was looked for at your hand, and this was
balked : the double gilt of this opportunity you let time
wash off, and you are now sailed into the north of my lady's
opinion ; where you will hang like an icicle on a Dutch-
man's beard, unless you do redeem it by some laudable
attempt either of valour or policy. 27

Sir And. An 't be any way, it must be with valour ; for
policy I hate : I had as lief be a Brownist as a politician.

Sir To. Why, then, build me thy fortunes upon the basis
of valour. Challenge me the count's youth to fight with
him ; hurt him in eleven places : my niece shall take note
of it ; and assure thyself, there is no! love-broker ^n the
world can more prevail in man's commendation with woman
than report of valour.

Fah. There is no way but this. Sir Andrew.

Sir And. Will cither of you bear me a challenge to
him? . V ^ , 38

Sir To. Go, write it in a martial hand ; be curst and
brief; it is no matter how witty, so it be eloquent and full
of invention : taunt him with the license of ink : if thou
thou'st him some thrice, it shall not be amiss ; and as many

ACT III. SCENE 11. 43

lies as will lie in thy sheet of paper, although the sheet were
big enough for the bed of Ware in England, set 'em down :
go, about it. Let there be gall enough in thy ink, though
thou write with a goose-pen, no matter : about it.

Sir And. Where shall I find you ?

Sir To. We '11 call thee at the cubiculo : go,

\Exit Sir Andrew.
Fab. This is a dear manakin to you, Sir Toby.

Sir To. \ have been dear to him, lad, some two thousand
strong, or so. 5 1

Fab. We shall have a rare letter from him : but you '11
not deliver 't ?

Sir To. Never trust me, then ; and by all means stir on
the youth to an answer. I think oxen and wainropes cannot
hale them together. For Andrew, if he were opened, and
you find so much blood in his liver as will clog the foot of
a flea, I '11 eat the rest of the anatomy.

Fab. And his opposite, the youth, bears in his visage
no great presage of cruelty. 6o

Enter Maria.

Sir To. Look, where the youngest wren of nine comes.

Mar. If you desire th^pleen,iand will laugh yourselves
into stitches, follow me. Yond gull Malvolio is turned
heathen, a very renegado ; for there is no Christian, that
means to be saved by believing rightly, can ever believe
such impossible passages of grussness. He 's in yellow
stockings.

Sir To. And cross-gartered ? 68

Mar. Most villanously ; like a pedant that keeps a
school i' the church. I have dogged him, like his murderer.
He does obey every point of the letter that I dropped to
betray him : he does buiilc his face into more lines than
is in the new map with the augmentation of the Indies :
you have not seen buch a thing as 'tis. I can hardly forbear

44 TWELFTH NIGHT.

hurling things at him. I know my lady will strike him : if
she do, he '11 smile and take 't for a great favour.
Sir To. Come, bring us, bring us where he is.

{Exeunt.

Scene III. A street.

Enter Sebastian and Antonio.

Scb. I would not by my will have troubled you ;
But, since you make your pleasure of your pains,
f will no further chide you.

Ant. I could not stay behind you : my desire,
More sharp than filed steel, did spur me forth ;
And not all love to see you, though so much
As might have drawn one to a longer voyage,
But jealousy what might befall your travel,
Being skilless in these parts ; which to a stranger,
Unguided and unfriended, often prove lo

Rough and unhospitable : my willing love,
The rather by these arguments of fear,
Set forth in your pursuit.

Seb. My kind Antonio,

I can no other answer make but thanks,

fAnd thanks ; and ever oft good turns

Are shuffled off with such uncurrent pay :
But, were my worth ;as is my conscience firm,^
You should find better dealing. "vWhat's to do J)
Shall we go see the reliqucs of this town .''

Ant. To-morrow, sir : best first go see your lodging.

Seb. I am not weary, and 'tis long to night : 2 1

I pray you, let us satisfy our eyes
With the memorials and the things of fame
That do renown this city.

Ant. Would you 'Id pardon me ;

I do not without danger walk these streets :
Once, in a sea-fight, 'gainst the count his galleys
I did some service ; of such note indeed,

ACT 111. SCENF. IV. 45

That were I ta'en here it would scarce be answer'd.

Seb. Belike ycni slew great number of his people.

Ani. The oftence is not of such a bloody nature ; 30
Albeit the quality of the time and quarrel
Might well have given us bloody argument.
It might have since been answer'd in repaying
What we took from them ; which, for traffic's sake,
Most of our city did : only myself stood out ;
For which, if I be lapsed in this place,
I shall pay dear.

Seb. Do not then walk too open.

Ant. It doth not fit me. Hold, sir, here's my purse.
In the south suburbs, at the Elephant,
Is best to lodge: I will bespeak our diet,' 40

Whiles you beguile the time and feed your knowledge
With viewing of the town : there shall you have me. ^

Seb. Why I your purse ?

Ant. Haply your eye shall light upon some toy
You have desire to purchase ; and your store,
I think, is not for idle markets, sir.

Seb. I '11 be your purse-bearer and leave you
For an hour.

Ant. To the Elephant.

Seb. I do remember. \Excunt.

Scene IV. Olivia'.^; garden.
Enter Olivia and Maria.

Oil. I have sent after him : he says he '11 come ;
How shall I feast him? what bestow of him .' y
For youth is bought more oft than begg'd or borrow'd.
I speak too loud. x

Where is Malvolio.' he is iad and civil, j
•And suits well for a servant with my fortunes :
Where is Malvolio .''

46 TWELFTH NTGHT.

Mar. He 's coming, madam ; but in very strange manner.
He is, sure, possessed, madam.

OH. Why, what's the matter? does he rave? 10

Mar. No, madam, he does nothing but smile : \ your
ladyship were best to have some guard about you, \i he
come ; for, sure, the man is tainted in 's wits.

Oli. Go call him hither. \^Exit. Maria.] I am as mad
as he,
If sad and merry madness equal be.

Re-enter Maria, with Malvolio.

How now, MalvoHo !

Mai. Sweet lady, ho, ho.

Oli. Smilest thou ?
I sent for thee upon a sad occasion. 19

Mai. Sad, lady ! I could be sad : this does make some
obstruction in the blood, this cross-gartering ; but what of
that ? if it please the eye of one, it is with me as the very
true sonnet is, ' Please one, and please all.'

Oli. Why, how dost thou, man ? what is the matter with
thee?

Mai. Not black in my mind, though yellow in my legs.
It did come to his hands, and commands shall be executed :
I think we do know the sweet Roman hand.

Oli. Wilt thou go to bed, Malvolio? 29

Mai. To bed ! ay, sweet-heart, and I '11 come to thee.

Oli. God comfort thee ! Why dost thou smile so and
kiss thy hand so oft ?

Mar. How do you, Malvolio?

Mai. At your request 1 yes ; nightingales answer daws.

Mar. Why appear you with this ridiculous boldness
before my lady ?

Mai. 'Be not afraid of greatness' : 'twas well writ.

Oli. What meanest thou by that, Malvolio?

Mai. ' Some are born great,' —

ACT III. SCF^E IV. 47

0/i. Ha! 40

A/a/. ' Some achieve greatness,' —

0/t. What sayest thou ?

Afa/. 'And some have greatness thrust upon them.'

0/i. Heaven restore thee !

Afa/. ' Remember who commended thy yellow stock-
ings,'—

0/t. Thy yellow stockings !

A/a/. 'And wished to see thee cross-gartered.'

O/i. Cross-gartered I

A/a/. ' Co to, thou art made, if thou desirest to be so' ; —

0/t. Am 1 made? 51

Afa/. ' If not, let me see thee a servant still.'

0/t. Why, this is very midsummer madness.

Enter Servant.
Ser. Madam, the young gentleman of the Count Orsino's
is returned : I could hardly entreat him back : he attends
your ladyship's pleasure.

Oli. I '11 come to him. \Exit Servant.\ Good Maria,
let this fellow be looked to. Where's my cousin Toby.?
Let some of my people have a special care of him : I would
not have him miscarry for the half of my dowry. 60

[Exeun/ 0/ivt'a and Alaria.

Ala/. O, ho ! do you come near me now ? no worse man
than Sir Toby to look to me ! This concurs directly with
the letter : she sends him on purpose, that I may appear
stubborn to him ; for she incites me to that in the letter.
' Cast thy humble slough,' says she ; ' be opposite with a
kinsman, surly with servants ; let thy tongue tang with
arguments of state ; put thyself into the trick of singularity' ;
and consequently ;sets down the manner how; as, a sad
face, a reverend carriage, a slow tongue, in the habit of
some sir of note, and so forth. I have limed her ; but it is
Jove's doing, and Jove make me thankful ! And when she
went away now, ' Let this fellow be looked to' : fellow ! not

48 TWELFTH NIGHT.

Malvolio, not after my degree, but fellow. Why, every thing
/ adheres together, that no dram of a scruple, no scruple of a
^scruple, no obstacle, no incredulous or unsafe circumstance —
What can be said ? Nothing that can be can come between
me and the full prospect of my hopes. Well, Jove, not I, is
the doer of this, and he is to be thanked. 78

Re-enter Maria, with Sir Toby and Fabian.

Sir To. Which way is he, in the name of sanctity ? If
all the devils of hell be drawn in little,Jand Legion himself
possessed him, yet I '11 speak to him.

Fab. Here he is, here he is. How is 't with you, sir ?
how is 't with you, man ?

Mai. Go off; I discard you: let me enjoy my \private i
go off.

Mar. Lo, how hollow the fiend speaks within him ! did
not I tell you ? Sir Toby, my lady prays you to have a care
of him.

Mai. Ah, ha ! does she so ? 89

Sir To. Go to, go to ; peace, peace ; we must deal
gently with him : let me alone. How do you, Malvolio 1
how is 't with you ? What, man ! defy the devil : consider,
he 's an enemy to mankind.

Mai. Do you know what you say ?

Mar. La you, an you speak ill of the devil, how he takes
it at heart ! > Pray God, he be not bewitched !

Fab. Carry his water to the wise woman.

Mar. Marry, and it shall be done to-morrow morning, if
I live. My lady would not lose him for more than I '11 say.

Mai. How now, mistress ! 100

Mar. O Lord!

Sir To. Prithee, hold thy peace ; this is not the way :
do you not see you move him ? let me alone with him.

Fab. Noway but gentleness; gently, gently : the fiend
is rough, and will not be roughly used.

ACT III. SCEyK IV.

4V

Sir To. Why, how now, my bawcock ! how dost thou,
chuck ?

McU. Sir !

Sir To. Ay, Biddy, come with me. What, man ! 'tis not
for gravity to play at cherry-pit with Satan : hang him, foul
collier! m

Mar. Get him to say his prayers, good Sir Toby, gel
him to pray.

Mai. My prayers, minx !

Mar. No, I warrant you, he will not hear of godliness.

Mai. Go, hang yourselves all ! you are idle shallow
things : I am not of your element : you shall know more
hereafter. [Exit.

Sir To. 1st possible.^

Fab. If this were played upon a stage now, I could
condemn it as an improbable fiction. 1 2 1

Sir To. His very genius hath taken the infection of the
device, man.

Mar. Nay, pursue him now, lest the device take airland
taint. "^ /

Fad. Why, we shall make him mad indeed.

Mar. The house will be the quieter.

Sir To. Come, we '11 have him in a dark room and
bound. My niece is already in the belief that he's mad :
we may carry it thus, for our pleasure and his penance, till
our very pastime, tired out of breath, prompt us to have
mercy on him : at which time we will bring the device to
the bar and crown thee for a finder of madmen. But sec,
but see. 134

Enter Sir Andrew.

Fab. More matter for a '^lay morning. /

Sir And. Here 's the challenge, read it : I warrant there 's
vinegar and pepper in 't.
Fab. Is't so saucy ?

Sir And. Ay, is't, I warrant him; do but read.

£

50 TWELFTH NIGHT.

Sir To. Give nie. {Rcads~\ ' Youth, whatsoever thou
art, thou art but a scurvy fellow.' 141

Fab. Good, and valiant.

Sir To. {Readsl ' Wonder not, nor admire not in thy
mind, why I do call thee so, for I will show thee no
reason for't.'

Fal). A good note ; that keeps you from the blow of
the law.

S/r To. \_Reads\ ' Thou comest to the lady Olivia, and in
my sight she uses thee kindly : but thou liest in thy throat ;
that is not the matter I challenge thee for.' 150

Fab. Very brief, and to exceeding good sense — less.

Sir To. \^Reads'\ ' I will waylay thee going home ; where
if it be thy chance to kill me,' —

Fab. Good.

Sir To. [/J^oflTj-] 'Thou killest me like a rogue and a
villain.'

Fab. Still you keep o' the windy side of the law :; good.

Sir To. [Reads] ' Fare thee well ; and God have mercy
upon one of our souls ! He may have mercy upon mine ;
but my hope is better, and so look to thyself Thy friend,
as thou usest him, and thy sworn enemy, 161

Andrew Aguecheek.'
If this letter move him not, his legs cannot : I '11 give 't him.

Afar. You may have very fit occasion for't : he is now
in some commerce with my lady, and will by and by
depart.

Sir To. Go, Sir Andrew ; scout me for him at the
corner of the orchard like a bum-baily : so soon as ever
thou seest him, draw ; and, as thou drawest, swear horrible ;
for it comes to pass oft that a terrible oath, with a swagger-
ing accent sharply twanged off, gives manhood more appro-
bation than ever proof itself would have earned him.
Away ! 173

Sir A/id. Nay, let me alone for swearing. [Exil.

Sir To. Now will not I deliver his letter : for the

ACT in. SCENE IV. 51

behaviour of the youn<j {gentleman gives him out to be of
good capacity and breeding ; his employment between his
lord and my niece confirms no less : therefore this letter,
being so excellently ignorant, will breed no terror in the
youth : he will find it comes from a clodpole\ But, sir, I
will deliver his challenge by word of mouth ; set upon
Aguecheek a notable report of valour ; and drive the gentle-
man, as I know his youth will aptly receive it, into a most
hideous opinion of his rage, skill, fury and impetuosity.
This will so fright them both that they will kill one another
by the look, like cockatrices. 186

Re-enter OLIVIA, ivith ViOLA.

Fab. Here he comes with your niece : ;^ive them way^
till he take leave, and presently after him. "^

Sir To. I will meditate the while upon some horrid

message for a challenge. ' 9°

[Exeunt Sir Toby., Fabian, and Maria.

on. I have said too much unto a heart of stone.
And laid mine honour too unchary out :
There 's something in me t^at reproves my fault ;
But such a headstrong potent fault it is,
That it but mocks reproof

Vio. With the same '4iaviour that your passion bears
(iocs on my master's grief.

Oli. Here, wear this jewel for me, 'tis my picture ;
Refuse it not ; it hath no tongue to vex you ;
And I beseech you come again to-morrow. 200

What shall you ask of me that I '11 deny.
That honour saved may upon asking give?

Vio. Nothing but this ; your true love for my master.

Oli. How with mine honour may I give him that
Which I have given to you ?

Vio. I will acquit you,

Oli. Well, come again to-morrow : fare thee well :
\ fiend like thee might bear my soul to hell. \F.xit.

E 2

52 TWELFTH NIGHT.

Re-etiter SiR Toby and Fabian.
Sir To. Gentleman, God save thee.
Vio. And you, sir. 209

Sir To. That defence thou hast, betake thee to 't : of
what nature the wrongs are thou hast done him, I know
not ; but thy intercepter, full of despite, > bloody as the
hunter, attends thee at the orchard-end : dismount thy tuck,
be yare in thy preparation, for thy assailant is quick, skilful
and deadly.

Vio. You mistake, sir ; I am sure no man hath any
quarrel to me : my remembrance is very free and clear from
any image of offence done to any man.

Sir To. You'll find it otherwise, I assure you : therefore,
if you hold your life at any price, betake you to your guard ;
for your opposite hath in him what youth, strength, skill and
wrath can furnish man withal. 222

Vio. I pray you, sir, what is he ?

Sir To. He is knight, dubbed with unhatched rapier.
and on carpet consideration ; but he is a devil in private
brawl : souls and bodies hath he divorced three ; and his
incensement at this moment is so implacable, that satis-
faction can be none but by pangs of death and sepulchre.
Hob, nob, is his word ; give 't or take 't.

Vio. I will return again into the house and desire some
conduct of the lady. I am no fighter. I have heard of
some kind of men that put quarrels purposely on others, to
taste their valour : belike this is a man of that quirk.) 233

Sir To. Sir, no ; his indignation derives itself out of a
very competent injury : therefore, get you on and give him
his desire. Back you shall not to the house, unless you
undertake that with me which with as much safety you
might answer him : therefore, on, or strip your sword stark
naked ; for meddle you must, that 's certain, or forswear to
wear iron about you. 240

Vio. This is as uncivil as strange. I beseech you, do
me this courteous office, as to( know^ of the knight what my

ACT III. SCFXF IV.

.53

offence to him is : it is somcthin;; of my negligence, nothin;^'
of my purpose.

Sir To. I will do so. Signior P'abian, stay you by ihi>.
gentleman till my return. [Exit.

Vio. Pray you, sir, do you know of this matter?

Faf>. I know the knight is incensed against you, even to
a mortal arbitrcment ;; but nothing of the circumstance more.

Vio. rbeseech you, what manner of man is he} 250

Fal>. Nothing of that wonderful promise, to read him by
his form, as you are like to find him in the proof of his
valour. He is, indeed, sir, the most skilful, bloody and
fatal opposite that you could possibly have found in any
part of Illyria. Will you walk towards him.^ I will make
your peace with him if I can.

Vio. I shall be much bound to you for 't : I am one that
had rather go with sir priest than sir knight : I care not
who knows so much of my mettle. [Exeunt.

Re-enter Sir Toby, with Sir Andrew,

Sir To. Why, man, he 's a very devil ; I have not seen
such a firago. I had a pass with him, rapier, scabbard and
all, and he gives me the stuck in with such a mortal motion,
that it is inevitable ; and on the answer, he pays you as
surely as your feet hit the ground they step on. J'hey say
he has been fencer to the Sophy. 265

Sir And. Vox on 't, I '11 not meddle with him.

Sir To. Ay, but he will not now be pacified : Fabian
can scarce hold him yonder.

Sir And. Plague on 't, an I thought he had been valiant
and so cunning in fence, I 'Id have seen him damned ere
I 'Id have challenged him. Let him let the matter slip, and
I '11 give him my horse, grey Capilet. 272

Sir To. I '11 make the motion : stand here, make a good
show on 't : this shall end without the perdition of souls.
[Aside] Marry, I '11 ride your horse as well as I ride you.

54 TWELFTH NIGHT.

Re-enter Fabian and ViOLA.

[7(9 Fab!] I have his horse to take up\he quarrel : I have
persuaded him the youth 's a devil.

Fab. He is as horribly conceited of him ; and pants and
looks pale, as if a bear were at his heels. 279

Sir To. [To Vz'o,] There's no remedy, sir; he will fight
with you for 's oath sake : marry, he hath better bethought
him of his quarrel, and he finds that now scarce to be worth
talking of : therefore draw, for the supportance of his vow ;
he protests he will not hurt you.

Vzo. [Aside] Pray God defend me ! A little thing would
make me tell them how much I lack of a man.

Fab. Give ground, if you see him furious.

Sz'r To. Come, Sir Andrew, there 's no remedy ; the
gentleman will, for his honour's sake, have one bout with
you ; he cannot by the duello avoid it : but he has promised
me, as he is a gentleman and a soldier, he will not hurt you.
Come on ; to't. 292

Sir And. Pray God, he keep his oath !

Vlo. I do assure you, 'tis against my will.

[ They draiv.
Enter ANTONIO.

Ant. Put up your sword. If this young gentleman
Have done offence, I take the fault on me :
If you offend him, I for him defy you.
Sir To. You, sir ! why, what are you .''
Ant. One, sir, that for his love dares yet do more
Than you have heard him brag to you he will. 300

Sir To. Nay, if you be an undertaker, I am for you.

\Tliey draw.
Enter Officers.

Fab. O good Sir Toby, hold ! here come the officers.

Sir To. I '11 be with you anon.

Vio. Pray, sir, put your sword up, if you please.

Sir And. Marry, will I, sir; and, for that 1 promised

ACT in. SCENE IV. 55

you, I 'II be as good as my word : lie will bf;ir you easily
and (reins veil.

First Off. This is the man ; do thy office.

Sec. Off. Antonio, I arrest thee at the suit of Count
Orsino. 310

Ant. Vou do mistake me, sir.

First Off. No, sir, no jot ; 1 know your favour well,
Though now you have no sea-cap on your head.
Take him away : he knows I know him well.

Ant. I must obey. [To Vio.] This comes with seeking
you :
But there 's no remedy ; I shall answer it.
What will you do, now my necessity
Makes me to ask you for my purse.' It grieves me
Much more for what 1 cannot do for you
Than what befalls myself. You stand amazed ; 320

But be of comfort.

Sec. Off. Come, sir, away.

Ant. I must entreat of you some of that money.

Vio. What money, sir ';
Vox the fair kindness you have show'd me here.
And, part, being prompted by your present trouble,
Out of my lean and low ability
I '11 lend you something : my having is not much ;
I '11 make division of my present Avith you :
Hold, there 's half my coffer.

Ant. Will you deny me now ?

Is't possible that my deserts to you 331

Can lack persuasion ? Uo not tempt my misery.
Lest that it make me so unsound a man
As to upbraid you with those kindnesses
That 1 have done for you.

Vio. I know of none ;

Nor know I you by voice or any feature :
I hate ingratitude more in a man
Than lyin;^ vainness, babbling drunkenness,

56 TWELFTH NIGHT.

Or any taint of vice whose strong corruption
Inhabits our frail blood.

Ant. O heavens themselves ! 340

Sec. Off. Come, sir, I pray you, go.

A7tt. Let me speak a little. This youth that you see
here
I snatch'd one half out of the jaws of death,
Relieved him with such sanctity of love,
And to his image, which methought did promise
Most venerable worth, did I devotion.

First Off. What 's that to us ? The time goes by : away !

Ant. But O how vile an idol proves this god!
Thou hast, Sebastian, done good feature shame.
In nature there's no blemish but the mind ; 350

None can be call'd deform'd but the unkind:'
Virtue is beauty, but the beauteous-evil
Are empty trunks o'erflourish'd by the devil.

First Off. The man grows mad : away with him ! Come,
come, sir.

A7it. Lead me on. [Exit with Officers.

Vio. Methinks his words do from such passion fly,
That he believes himself: so do not I. 1
Prove true, imagination, O, prove true,
That I, dear brother, be now ta'en for you ! 359

Sir To. Come hither, knight ; come hither, Fabian :
we '11 whisper o'er a couplet or two of most sage saws.

Vio. He named Sebastian : I my brother know
Yet living in my glass ; even such and so
In favour was my brother, and he went
Still in this fashion, colour, ornament,
For him I imitate : O, if it prove,

Tempests are kind and salt waves fresh in love. [Exit.
Sir To. A very dishonest paltry boy, and more a coward
than a hare : his dishonesty appears in leaving his friend
here in necessity and denying him ; and for his cowardship,
ask Fabian. 37 1

ACT IV. SCENE I. 57

Fab. A coward, a most devout coward, religious in it.
Sir And. 'Slid, I '11 after him aj^ain and beat him.
Sir To. Do ; cuff him soundly, but never draw thy sword.
Sir And. An I do not, — [/i.r//.

Faf>. Come, let 's see the event.
Sir To. I dare lay any money 'twill be nothing yet.

{Exeunt.

ACT IV.

Scene I. Before Olivi.\'s house.

Enter Sebastian and Clown.

Clo. Will you make me believe that I am not sent for
you ?

Seb. Go to, go to, thou art a foolish fellow :
Let me be clear of thee.

Clo. Well held out, i' faith ! No, I do not know you ;
nor I am not sent to you by my lady, to bid you come speak
with her ; nor your name is not Master Cesario ; nor this is
not my nose neither. Nothing that is so is so.

Seb. I prithee, vent thy folly somewhere else :
Thou know'st not me. »o

Clo. Vent my folly! he has heard that word of some
great man and now applies it to a fool. \'cnt my folly! I
am afraid this great lubber, the world, will prove a cockney.
I prithee now, ungird thy strangeness and tell me what I
shall vent to my lady : shall I vent to her that thou an
coming .?

Seb. I prithee, foolish Greek, depart from me :
There 's money for thee : if you tarry longer,
I shall give worse payment. 19

Clo. By my troth, thou hast an open hand. These wise

58 TWELFTH NIGHT.

men that give fools money get themselves a good report,
ufter fourteen years' purchase.

Enter Sir Andrew, Sir Toby, ajtd Fabian.

Sir And. Now, sir, have I met you again.-* there's for
you.

Seb. Why, there 's for thee, and there, and there.
Are all the people mad ?

Sir To. Hold, sir, or I 'II throw your dagger o'er the
house.

Clo. This will I tell my lady straight : I would not be in
some of your coats for two pence. {Exit.

Sir To. Come on, sir ; hold. 3 1

Sir And. Nay, let him alone : I '11 go another way to
work with him ; I '11 have an action of battery against him,
if there be any law in lUyria : though I struck him first, yet
it 's no matter for that.

Seb. Let go thy hand.

Sir To. Come, sir, I will not let you go. Come, my
young soldier, put up your iron : you are well fleshed ; '
come on.

Seb. I will be free from thee. What wouldst thou now ?
If thou darest tempt me further, draw thy sword. 41

Sir To. What, what ? Nay, then I must have an ounce
or two of this malapert blood from you.

Enter Olivia.
Oli. Hold, Toby ; on thy life I charge thee, hold I
Sir To. Madam !

Oli. Will it be ever thus? Ungracious wretch,
Fit for the mountains and the barbarous caves.
Where manners ne'er were preach'd ! out of my sight !
Be not offended, dear Cesario.
Rudcsby, be gone !

\_Exciait Sir Toby, Sir Andrew, and Fabia?i.
I prithee, gentle friend, 50

ACT TV. .^CE^E 17. 59

Let thy fair wisdom, not thy passion, sway
In this uncivil and unjust extent
Against thy peace. Go with me to my house.
And hear thou there how many fruitless pranks
This ruffian hath botch'd up, that thou thereby
Mayst smile at this : thou shalt not choose but go :
Do not deny. ( Beshrew) his soul for me,
He started one poor heart of mine in thee.

Sef>. (What relish is in this? how runs the stream?
Or I am" mad, or else this is a dream : 60

Let fancy still my sense in Lethe steep ;
If it be thus to dream, still let me sleep I

Oli. Nay, come, I prithee : would thou 'Idst be ruled
by me !

Seb. Madam, I will.

Oli. O, say so, and so be! [Exeunt.

Scene II. Olivia's /touse.
Enter Maria and Clown,

Mar. Nay, I prithee, put on this gown and this beard :
make him believe thou art Sir Topas the curate : do it
quickly; I'll call Sir Toby the whilst.) ,^ [E-xit.

Clo. Well, I '11 put it on, and I witldissembld myself in't ;
and I would I were the first that ever dissembled in such
a gown. I am not tall enough to become the function well,
nor lean enough to be thought a good student ; but to be
said an honest man and a good housekeeper goes as fairly
as to say a careful man and a great scholar. The^ com-
petitors enter. 10

Enter Sir Toby and Maria.

Sir To. Jove bless thee, master Parson.

Clo. Bonos dies, Sir Toby: for, as the old hermit of
Prague, that never saw pen and ink, \cry wittily said to
a niece of King Gorboduc, ' That that is is ;* so I, being

6o TWELFTH NIGHT.

master Parson, am master Parson ; for, what is ' that ' but
'that.' and 'is' but 'is'?

Sir To. To him, Sir Topas.

Clo. What, ho, I say ! peace in this prison !

Sir To. The knave counterfeits well ; a good knave.

Mai. {Withi7t\ Who calls there? 20

Clo. Sir Topas the curate, who comes to visit Malvolio
the lunatic.

Mai. Sir Topas, Sir Topas, good Sir Topas, go to my
lady.

Clo. Out, hyperbolical fiend ! how vexest thou this man !
talkest thou nothing but of ladies ?

Sir To. Well said, master Parson.

Mai. Sir Topas, never was man thus wronged : good
Sir Topas, do not think I am mad : they have laid me here
in hideous darkness. 30

Clfl. Fie, thou dishonest Satan ! I call thee by the most
modest terms ; for I am one of those gentle ones that will
use the devil himself with courtesy : sayest thou that house
is dark ?

Mai. As hell. Sir Topas.

Clo. Why, it hath bay windows transparent as barri-
cadoes, and the clearstories toward the south north are as
lustrous as ebony ; and yet complainest thou of obstruction.''

Mai. I am not mad, Sir Topas : I say to you, this house
is dark. 40

Clo. Madman, thou errest : I say, there is no darkness
but ignorance ; in which thou art more puzzled than the
Egyptians in their fog.

Mai. I say, this house is as dark as ignorance, though
ignorance were as dark as hell ; and I say, there was never
man thus abused.^ I am no more mad than you are : make
the trial of it in any constant question.^

Clo. What is the opinion of Pythagoras concerning wild
fowl?

ACT IV. SCESE II. 6 1

^flll. That the soul of our grandam might haply inhabit
a bird. 51

Clo. What thinkest thou of his opinion ?

Mai. 1 think nobly of the soul, and no way approve his
opinion.

Clo. Fare thee well. Remain thou still in darkness :
thou shall hold the opinion of Pythagoras ere I will allow of
thy wits, and fear to kill a woodcock, lest thou dispossess
the soul of thy grandam. Fare thee well.

Afal. Sir Topas, Sir Topas !

Sir To. My most exquisite Sir Topas ! 60

Clo. Nay, I am for all waters.

Afar. Thou mightst have done this without thy beard
and gown : he sees thee not.

Sir To. To him in thine own voice, and bring me word
how thou findest him : I would we were well rid of this
knavery. If he may be conveniently delivered, I would he
were, for I am now so far in offence with my niece that I
cannot pursue with any safety this sport to the up-shot.
Come by and by to my chamber.

[Exeunt Sir Toby and Mana.

Clo. \Singing\ ' Hey, Robin, jolly Robin, 70

Tell me how thy lady does.'
Mai. Fool !

Clo. ' My lady is unkind, perdy.'

Mai. Fool !

Clo. ' Alas, why is she so ?' *

Mai. Fool, I say !

Clo. ' She loves another '—Who calls, ha ?

Mai. Good fool, as ever thou wilt deserve well at my
hand, help me to a candle, and pen, ink and paper : aj I
am a gentleman, I will live to be thankful to thee for t. 80

Clo. Master Malvolio ?

Mai. Ay, good fool.

Clo. Alas, sir, how fell you besides your five wits ?

62 TWELFTH NIGHT.

Mai. Fool, there was never man so notoriously abused :
I am as well in my vyits, fool, as thou art.

Clo. , But as well ?/then you are mad indeed, if you be no
better in your wits than a fool.

Mai. They have here propertied me ; keep me in dark-
ness, send ministers to me, asses, and do all they can lo face
me out of my wits. > 90

Clo. Advise you what you say ; the minister is here.
Malvolio, Malvolio, thy wits the heavens restore ! endeavour
thyself to sleep, and leave thy vain bibble babble.

Mai. Sir Topas !

Clo. Maintain no words with him, good fellow. Who,
I, sir? not I, sir. (jod be wi' you, good Sir Topas. Marry,
amen. 1 will, sir, I v/ill.

Mai. Fool, fool, fool, 1 say !
' Clo. Alas, sir, be patient. What say you, sir .'' I am
shent for speaking to you. 100

Mai. Good fool, help me to some light and some paper :
I tell thee, I am as well in my wits as any man in lllyria.

Clo. Well-a-day that you were, sir !

Mai. By this hand, I am. Good fool, some ink, paper
and light ; and convey what I will set down to my lady : it
shall advantage thee more than ever the bearing of letter
did.

Clo. I will help you to 't. But tell me true, are you not
mad indeed ? or do you but counterfeit .-'

Mai. Believe me, I am^not ; I tell thee true. no

Clo. Nay, I '11 ne'er believe a madman till I see his
brains. I will fetch you light and paper and ink.

Mai. P'ool, I '11 requite it in the highest degree : I pri-
thee, be gone.

Clo. \_Singing\ I am gone, sir,
And anon, sir,
I '11 be with you again,
(in a trice,/
Like to the old Vice,
Your need to sustain; 130

ACT IV. SCF.XE III. <^3

Who, with dagger ul laih,
In his rage and his wrath,

Cries, ah. ha ! to the devil :
Like a mad lad,
Pare thy nails, dad ;

Adieu, goodman devil. \Extt.

Scene 111. Olivia's garden.
Enter Sebastian.

Seb. This is the air ; that is the glorious sun ;
This pearl she gave me, 1 do feci t and see 't ;
And though 'tis wonder that enwraps me thus,
Yet 'tis not madness. Where 's Antonio, then ?
1 could not find him at the Pllephant :
Yet there he was ; and there I found this credit.
That he did range the town to seek me out.
His counsel now might do me golden service ;
For though my soul disputes well with my sense,
That this may be some error, but no madness, lo

Yet doth this accident and tlood of fortune
So far exceed all instance, all discourse,^
That I am ready to distrust mine eyes.
And wrangle with my reason that persuades me
To any other trust,'but that 1 am mad.
Or else the lady 's mad ; yet, if 'twere so.
She could not sway her house, command her followers,
Take and give back affairs and their dispatch
With such a smooth, discreet and stable bearing
As I perceive she does: there's something in't 20

That is deceiveable.^ But here the lady comes.

Enter Olivia and Priest.

OIL Blame not this haste of mine. If you mean wc'.l,
Now go with me and with this holy man
Into the chantr> by : there, before him,
And underneath that consecrated roof,

64 TWELFTH NIGHT.

Plight me the full assurance of your faith ;

That my most jealous and too doubtful soul

May live at peace. He shall conceal it

Whiles you are willing it shall come to note\

What time we will our celebration Mceep ^ 30

According to my birth. What do you say ?

Se^. I '11 follow this good man, and go with you ;
And, having sworn truth, ever will be true.

(9//. Then lead the way, good father ; and heavens
so shine,
That they may fairly note this act of mine ! [Exeunt.

ACT V.

Scene I. Before Olivia's hoicse.

Enter Clown and Fabian,

Fab. Now, as thou lovest me, let me see his letter.

Clo. Good Master Fabian, grant me another request.

Fab. Any thing.

Clo. Do not desire to see this letter.

Fab. This is, to give a dog, and in recompense desire
my dog again.

Enter Duke, Viola, Curio, (md Lords.

Duke. Belong you to the Lady Olivia, friends ?
Clo. Ay, sir ; we are some of her trappings.
Duke. I know thee well : how dost thou, my good fellow.!*
Clo. Truly, sir, the better for my foes and the worse for
my friends. 11

Dtike. Just the contrary ; the better for thy friends.
Clo. No, sir, the worse.
Duke. How can that be ?

ACT V. SCEXE I. 65

C/o. Marry, sir, they praise me and make an ass of mc ;
now my foes tell me plainly I am an ass : so that by my
foes, sir, I profit in the knowledge of myself, and by my
friends I am abused ; so that, conclusions to be as kisses, if
your four negatives make your two affirmatives, why then,
the worse for my friends and the better for my foes. 20

Duke. Why, this is excellent.

Clo. By my troth, sir, no ; though it please you to be
one of my friends.

Duke. Thou shalt not be the worse for me : there 's gold.

Clo. But that it would be double-dealing, sir, I would
you could make it another.

Duke. O, you give me ill counsel.

Clo. Put your grace in your pocket, sir, for this once,
and let your nesh and blood obey it.

Duke. Well, I will be so much a sinner, to be a double-
dealer : there's another. 31

Clo. Primo, secundo, tertio, is a good play ; and the old
saying is, the third pays for all : the triple.x, sir, is a good
tripping measure ; or the bells of Saint Bennet, sir, may put
you in mind ; one, two, three.

Duke. You can fool no more money out of me at this
throw ;• if you will let your lady know I am here to speak
with her, and bring her along with you, it may awake my
bounty further. 39

Clo. Marry, sir, lullaby to your bounty till I come again.
I go, sir ; but I would not have you to think that my desire
of having is the sin of covetousness : but, as you say, sir, let
your bounty take a nap, I will awake it anon. \ExU.

Vio. Here comes the man, sir, that did rescue me.

Enter ANTONIO and Oflficers.

Duke. That face of his I do remember well ;
Yet, when I saw it last, it was besmear'd
As black as Vulcan in the smoke of war :
^A bawbling vessel \\vas he captain of,

66 ' TWELFTH XIGHT.

For shallow draught and bulk i.unprizable ;

With which such (scathful; grapple did he make 50

With the most noBle bottom of our fleet,

That very envy and the (tongue of loss^

Cried fame and honour on him. What 's the matter ?

F/rsf Off. Orsino, this is that Antonio
That took the Pho:nix and her fraught jfrom Candy ;
And this is he that did the Tiger board,
When your young nephew Titus lost his leg :
Here in the streets, .desperate of shame and state,)
In private brabble did we apprehend him.

Via. He did me kindness, sir, drew on my side ; 60
But in conclusion ^ut strange speech upon me ^
I know not what 'twas but distraction.

Duke. Notable pirate! thou salt-water thief!
What foolish boldness brought thee to their mercies,
Whom thou, in terms so bloody and ;so dear,"^j
Hast made thine enemies ?

Afit. Orsino, noble sir,

Be pleased that I shake off these names you give me :
Antonio never yet was thief or pirate,
Though I confess, on base and ground enough,
Orsino's enemy. A witchcraft ydrew me hither : 70

That most ingrateful boy there by your side,
From the rude sea's enraged and foamy mouth
Did I redeem ; a wreck past hope he was :
His life I gave him and did thereto add
My love, without retention or restraint,
All his in dedication ; for his sake
Did I expose myself, (pure. for his love,
Into the danger of this( adverse town ;
Drew to defend him when he was beset :
Where being apprehended, his false cunning, 80

Not meaning to partake with me in danger,
Taught him to face me out of his acquaintance,)
And grew a twenty years removed thing
While one would wink ; denied me mine own purse.

ACT V. SCENE I. 67

V'hich I had recommended to his use
Not half an hour before.

Vio. How can this be ?

Duke. When came he to this town ?

Ant. To-day, my lord ; and for three months before,
No interim, not a minute's vacancy.
Both day and night did we keep coiiipany. 90

Enter Olivia and Attendants.

Duke. Here comes the countess : now heaven walics
on earth.
But(Jbr theeT) fellow ; fellow, thy words are madness :
Three months this youth hath tended upon me ;
But more of that anon. Take him aside.

(V/. What would my lord, but that he may not have,
Wherein Olivia may seem serviceable ?
Cesario, you do not keep promise with me.

Vio. Madam !

Duke. Gracious Olivia, —

Oli. What do you say, Cesario .' Good my lord, —

Vio. My lord would speak ; my duty hushes me. loi

Oli. If it be aught to the old tune, my lordj
It is as ^t and fulsomd) to mine ear
As howling after music.

Duke. Still so cruel ?

Oli. Still so constant, lord.

Duke. What, to perverseness ? you uncivil lady,
To whose'yingratg and unauspicious altars
My soul the faithfuil'st offerings hath breathed out
That e'er devotion tender'd ! What shall I do.'' 109

Oli. Even what it please my lord, that shall become him.

Duke. Why should I not, had I the heart to do it,
Like to the Egjptian thief at point of death.
Kill what I love.^ — a savage jealousy
That sometimck/iavours n(>bly. 1 But hear me this:

68 TWELFTH NIGHT.

Since you to \non-regardance cast my faith, •

And that I partly know the instrument

That, screws me from my true place in your favour,

Live you the' marble-breasted tyrant still ;

But this your minion, whom I know you love,

And whom, by heaven I swear, I 'tender\ dearly, 120

Him will I tear out of that cruel eye,

Where he sits crowned in his master's spite.

Come, boy, with me ; my thoughts are ripe in mischief :

I '11 sacrifice the lamb that I do love,

To spite a raven's heart within a dove.

Vio. And I, most jocund, apt and willingly,
I To do you rest, a thousand deaths would die.

OH. Where goes Cesario ?

Vio. After him I love

•More than I love these eyes, more than my life,
More, by all mores, than e'er I shall love wife. 130

If I do feign, you witnesses above
Punish my life for tainting Qf my love?

OH. Ay me, detested ! how am I Ujg guiled ! j

Vio. Who does beguile you ? who does do yon wrong ?

OH. Hast thou forgot thyself? is it so long?
Call forth the holy father.

Duke. Come, away !

OH'. Whither, my lord ? Cesario, husband, stay.

Duke. Husband !

OH. Ay, husband : can he that deny ?

Duke. Her husband, sirrah !

Vio. No, my lord, not I.

OH. Alas, it is the baseness of thy fear 140

That makes thee strangle thy propriety :t
Fear not, Cesario ; take thy fortunes up ;
Be that thou know'st thou art, and then thou art
As great as that thou fear'st.

Enter Priest.

O, welcome, father !

ACT V. SCENE I. f)y

Father, I charge thee, by thy reverence,
Here to unfold, though lately we iniended
To keep in darkness what occasion now
Reveals before 'tis ripe, what thou dost know
Hath newly pass'd between this youth and me.

Priest. A contract of etenial bond of love, 150

Contirm'd by mutual joinder of your hands,
Attested by the holy close of lips,
Strengthen'd by interchangement of your rings ;
And all the ceremony of this compact
Seal'd in my function, by my testimony :
Since when, my watch hath told me, toward my grave
I have travell'd but two hours.

Duke. O thou dissembling cub ! what wilt thou be
When time hath sow'd a grizzle on thy case?
Or will not else thy craft so quickly grow, 160

That thine own trip shall be thine overthrow ?
Farewell, and take her ; but direct thy feet
Where thou and I henceforth may never meet.

Vio. My lord, I do protest —

Oli. O, do not swear !

Hold little faith, though thou hast too much fear.

Enter Sir Andrew,

Sir And. For the love of God, a surgeon ! Send one
presently to Sir Toby.

Oli. What 's the matter .'

Sir And. He has broke my head across and has given
Sir Toby a bloody coxcomb too : for the love of (iod, your
ht^lp ! 1 had rather than forty pound' I were at home. 171

Oli. Who has done this. Sir Andrew .'

Sir And. The count's gentleman, one Cesario : we took
him for a coward, but he's the very devil (incardinate. j

Duke. My gentleman, Cesario .''

Sir And. 'Od s lifelings, here he is ! You broke my
head for nothing ; and that that I did, 1 was set on to do't
by Sir Toby.

7© TWELFTH NIGHT.

Vio. Why do you speak to me ? I never hurt you :
You drew your sword upon me without cause ; i8o

But I bespake you fair, and hurt you not.

Sir And. If a bloody coxcomb be a hurt, you have hurt
me : I think you; set nothing by ;a bloody coxcomb.

Enter Sir Toby aiid Clown.

Here comes Sir Toby jTialting ;)you shall hear mor^ : but if
he had not been in drink, he would have tickled yoivother-
gates than he did.

Duke. How now, gentleman ! how is't with you?

Sir To. That 's all one : has hurt me, and there 's the
end on't. Sot, didst see Dick surgeon, sot ?

Clo. O, he's drunk, Sir Toby, an hour [agoneb his eyes
were set at eight i' the morning. 191

Sir To. Then he 's a rogue, and a passy measures pavin :
I hate a drunken rogue.

Oli. Away with him ! Who hath made this havoc with
them ?

Sir And. I'll help you, Sir Toby, because we'll be
dressed together.

Sir To. Will you help ? an ass-head and a coxcomb and
a knave, a thin-faced knave, a gull !

Oli, Get him to bed, and let his hurt be look'd to. 200
\Exeunt Clowfi, Fabian, Sir Toby, and Sir Atidrew.

Enter Sebastian.

Seb. I am sorry, madam, I have hurt your kinsman ;
But, had it been the brother of my blood,
I must have done no less vvith wit and safety.
You throw a strange (^egard |ipon me, and by that
I do perceive it hath offended you :
Pardon me, sweet one, even Jor J;he vows
We made each other but so late ago.

Duke. One face, one voice, one habit, and two persons,
a' natural perspective, that is and is not !

1"N

ACT V. SCFXE I. 71

Seb. Antonio, O my dear Antonio! jio

How have the hours rack'd and tortured me,
Since I have lost thee !

Ant. Sebastian are you ?

Seb. Fear'st thou that, Antonio ?

Ant. How have you made division of yourself?
An apple, cleft in two, is not more twin
Than these two creatures. Which is Sebastian ?

OIL Most wonderful !

Seb. Do I stand there ? I never had a brother ;
Nor can there be that deity in my nature,
Of here and every where. ) I had a sister, 220

"~,'hom the blind waves and surges have devour'd.
Of charity, what kin are you to me ?
What countryman .' what name ? what parentage ?

Vio. Of Messaline : Sebastian was my father ;
Such a Sebastian was my brother too,
So went he suited to his watery tomb :
If spirits can assume both form and suit
You come to fright us.

Seb. A spirit I am indeed ;

But am in that dimension grossly clad
Which from the womb I did .^jartici pate. 330

Were you a woman, as the rest-^oes even,)
I should my tears let fall upon your cheek.
And say 'Thrice-welcome, drowned \'iola ! '

Vio. My father had a mole upon his brow.

Seb. And so had mine.

Vio. And died that day when \'iola from her birth
Had number'd thirteen years.

Seb. O, that record is lively in my soul !
He finished indeed his mortal act
That day that made my sister thirteen years. 340

Vio. If nothing lets^ to make us happy both
But this my mascuhne usurp'd attire.
Do not embrace me till each circumstance

72 TWELFTH NIGHT.

Of place, time, fortune, do cohere and jump
That I am Viola : which to confirm,
I '11 bring you to a captain in this town,
Where lie my maiden ^weeds ^ by whose gentle help
I was preserved to serve this noble count,
(All the occurrence of my fortune since
Hath been between this lady and this lord. 250

Sefi. [To Olivia] So comes it, lady, you have beerx^ mis-
took :
But nature to her bias drew in that.
You would have been contracted to a maid ;
Nor are you therein, by my life, deceived.
You are betroth'd both to a maid and man.

Duke. Be not amazed ; right noble is his blood.
If this be so, as^yetjthe glass seems true,
I shall have share in this most happy wreck.
\To Vio/a] Boy, thou hast said to me a thousand times
Thou never shouldst love woman like to me. 260

Vio. And all those sayings will I over-swear ;\
And all those swearings keep as true in soul
As doth that orbed continent the fire
That severs day from night.

Duke. Give me thy hand ;

And let me see thee in thy woman's weeds.

Vio. The captain that did bring me first on shore
Hath my maid's garments : he upon some action '^
Is now in durance, at Malvolio's suit,
A gentleman, and follower of my lady's.

Oli. He shall enlarge him; fetch Malvolio hither:
And yet, alas, now I remember me, 271

They say, poor gentleman, he's much ^istract.!

Re-enter Clown with a letter, and Fabian.

A most extracting frenzy of mine own
From my remembrance clearly banish'd his.
How does he, sirrah?

Clo. Truly, madam, he holds Belzebub at the stave's end

ACT V. SCENE I. 73

as well as a man in his case may do : has hero writ a letter
to you ; I should have given 't you to-day morning, but as a
madman's epistles are no gospels, so it skills not much when
they are delivered. 380

Olt. Open 't, and read it.

Clo. Look then to be well edified when the fool delivers
the madman. [Rtunh] ' By the Lord, madam,' —

Oil. How now ! art thou mad ?

do. No, madam, I do but read madness : an your lady-
ship will have it as it ought to be,(^u must allow Vox^

Oil. Prithee, read i' thy right wits.

Clo. So I do, madonna ; but to read his right wits is to
read thus : therefore(^erpend,.my princess, and give ear.

Oli. Read it you, sirrah. [To Fabian.

Fab. \Reads\ ' By the Lord, madam, you wrong me, and
the world shall know it : though you have put me into dark-
ness and given your drunken cousin rule over me, yet have
I the benefit of my senses as well as your ladyship. I have
your own letter that induced me to the semblance I put on ;
with the which I doubt not but to do myself much right, or
you much shame. Think of me as you please. I leave my
duty a little unthought of and speak out of my injury.

The madly-used Malvolio.'
Oli. Did he write this? 300

Clo. Ay, madam.

Duke. This savours not much of distraction.

Oli. See him deliver'd, Fabian ; bring him hither.

\Exit Fabian.
My lord, so please you, these things further thought on,
To think me as well a sister as a wife,
One day shall crownWie alliance on 't^ so please you,
Here at my house and at (my proper cost.)

Duke. Madam, I am most apt to embrace your offer.
\To VioUi\ Your master quits you \ and for your service

done him, ■'

So much against the mettle of your sex, 310

74 TWELFTH NIGHT.

So far beneath your soft and tender breeding,
And since you call'd me master for so long,
Here is my hand : you shall from this time be
Your master's mistress.

OH. A sister ! you are she.

Re-enter Fabian, with Malvolio.

Duke. Is this the madman?

OH. Ay, my lord, this same.

How now, Malvolio !

Mai. Madam, you have done me wrong,

Notorious wrong.

OH. Have I, MalvoHo? no.

Mai. Lady, you have. Pray you, peruse that letter.
You must not now deny it is your hand :
Write from it, if you can, in hand or phrase ; 320

Or say"' 'tis not your seal, not your invention :
You can say none of this : well, grant it then,
And tell me, in the modesty of honour.
Why you have given me such clear lights of favour,
Bade me come smiling and cross-garter'd to you.
To put on yellow stockings and to frown
Upon Sir Toby and the lighter^people ;
And, acting this in an obedient hope.
Why have you sufifer'd me to be imprison'd,
Kept in a dark house, visited by the priest, 330

And made the most notorious .geek )ind gull
That e'er invention play'd on .'' tell me why.

OH. Alas, Malvolio, this is not my writing,
Though, I confess, much like the character :
But out of question 'tis Maria's hand.
And now I do bethink me, it was she
First told me thou wast mad ; then earnest in smiling.
And in such forms which here were' presupposed!
Upon thee in the letter. Prithee, be content :
This practice hath most shrewdly (pass'd upon theet 340
But when we know the grounds and authors of it,

ACT V. SCENE I. 75

Thou shalt be both the plaintiff and the judge
Of thine own cause.

Fab. Good madam, hear me speak,

And let no quarrel nor no brawl to come
Taint the condition of this present hour,
Which I have wonder'd at. In hope it shall not,
Most freely I confess, myself and Toby
Set this device against Malvolio here.
Upon; some Stubborn and uncourteous parts
We Iiad conceived against him : Maria writ 350

The letter at Sir Toby's great importance;
I n recompense whereof lie hath married her.
How with a sportful malice it w.is follow'd,
.May ratheitpluck on laughter than revenge ;
If that the injuries be justly weigh'd
That have on both sides pass'd.

Oil. Alas, poor fool, how have they baffled thee !

Clo. Why, 'some are born great, some achieve greatness,
and some have greatness thrown upon them.' I was one,
sir, in this interlude ; one Sir Topas, sir ; but that 's all one.
' By the Lord, fool, I am not mad.' But do you remember ?
' Madam, why laugh you at such a barren rascal ? an you
smile not, he 's gagged : ' and thus the whirligig of time
brings in his revenges. i''4

Mai. I '11 be revenged on the whole pack of you. [Exit.

Oli. He hath been most notoriously abused.

Duke. Pursue him, and entreat him to a peace :
He hath not told us of the captain yet :
When that is known and golden time ^onvents,]
A solemn combination shall be made 37o

Of our dear suuib. Meantime, sweet sister,
Wc will not part from hence. Cesario, come ;
For so you shall be, while you are a man ;
But when in other habits you arc seen,
Orsino's mistress and his \fancy'^ queen.

\Exciint all, except Clowtu

76 TWELFTH NIGHT.

Clo. \Sings\

When that I was and a little tiny boy,
With hey, ho, the wind and the rain,

A foolish thing was but a toy,
For the rain it raineth every day.

But when I came to man's estate, 380

With hey, ho, &c.
'Gainst knaves and thieves men shut their gate,

For the rain, &c.

But when I came, alas I to wive,

With hey, ho, &c.
By swaggering could I never thrive.

For the rain, (S:c.

But when I came unto my beds,

With hey, ho, &c.
With toss-pots still had drunken heads, 390

For the rain, &c.

A great while ago the world begun,

With hey, ho, &c.
But that 's all one, our play is done.

And we '11 strive to please you every day. {Exit,

NOTES.

ACT I.
Scette I.

The play first appeared, so far as we know, in the folio edition of
162.^, in which the Acts and Scenes are marked throughout. Rowe, as
usual, was the first to give the list of Dramatis Personje.

Enter . . . The stage direction of the folios is ' Enter Orsino Duke of
Illyria, Curio, and other Lords.' Capell added ' Musick attending.'

1. music . . the food of love. Compare Antony and Cleopatra, ii.

' Give me some music ; music, moody food
Of us that trade in love.'

2. surfeiting. The folio has 'surfeiting,' as in 2 Henry I\', iv. 1.55,
which is the spelling of the substantive in the 1611 ed. of the Authorised
Version of Luke xxi. 34. But the modem spelling has authority even
more ancient, and is also used in Shakespeare. See The Tempest, iii.
3. fif: : 'the never surfeited sea.'

4. /a//, a cadence in music. Holt White has pointed out th:it this
passage probably suggested

' The strains decay.
And melt away.
In a dying, dying fall,'
in Pope's Ode on St. Cecilia's Day, 19-21 ; and

'Still at every dying fall
Takes up again her lamentable strain,'
in Thomsons description of the nightingale, Spring, 722. The word
also occurs in a passage where its meaning might easily escape notice,
namely in Wisdom x\\\. iS. ' a pleasing fall of water running violently " :
where ' a pleasing fall' is the translation of f>v9n6i.

5. the s'iveet sound. By a rhetorical figure, known as metonymy, the
effect is here put for the cause. 'Sound' is the reading of the folios,
and was perhaps in Milton's mind when he wrote the pxssa;^e ol Paratlise
Lost, iv. I5''>-I59, quoted by Steevcns :

78 NOTES. [act I.

'Now gentle gales
Fanning their odoriferous wings dispense
Native perfumes, and whisper whence they stole
Those balmy spoils.
Pope altered the reading to 'sweet south' and the change has been
supposed to be justified by a quotation from Sidney's Arcadia, Book i.
(p. 2, cd. 1598) : ' Her breath is more sweete then a gentle South-west
wind, which comes creeping ouer flovvrie fieldes and shadowed waters
in the cxtreame heate of sommer.' But, whatever may have been the
quality of the south-west in Arcadia, Shakespeare always describes the
southerly winds as the bearers of contagious vapours and anything but
sweet. Compare The Tempest, i. 2. 323 :

'A south-west blow on ye
And blister ye all o'er ! '
See other quotations in the note to this passage.

9. quick, lively, vigorous in conception. Sherris-sack, says Falstaff.
renders the brain 'apprehensive, quick, forgetive' \2 Henry IV, iv. 3. 107).

1 1 . then refers grammatically to the sea, to which love is compared.
The writer's mind passed to the figure from the thing signified.

12. validity, value, estimation. Compare All's Well, v. 3. 192 :

' O, behold this ring.
Whose high respect and rich validity
Did lack a parallel.'
In Bishop King's Lectures on Jonas (p. 182) it occurs in the sense of
' strength ' : ' Take me with force and validity of armes.'

lb. pitch, height, degree of worth ; as in Hamlet, iii. i. 86 : 'Enter-
prises of great pitch and moment,' that is, lofty and weighty under-
takings. ' Pitch ' was the technical term for the highest point of a
falcon's flight. See i Henry VI, ii. 4. 11 :

' Between two hawks, which flies the higher pitch.'
It is also used of the greatest height of the sun at noon, Sonnet vii. 9 :
'But when from highmost pitch, with weary car,
Like feeble age, he reeleth from the day.'

13. abatemettt and low price are severally contrasted with 'validity'
and ' pitch.'

14. shapes, imaginary conceptions, figures of the imagination. Another
of the excellent operations of Sherris-sack is that it makes the brain
'full of nimble, fiery, and delectable shapes' (2 Henry IV, iv. 3. 108).

Jb. fancy, love. Compare As You Like It, iii. 5. 29:
'If ever, — as that ever may be near, —
You meet in some fresh cheek the power of fancy,
Then shall you know the wounds invisible
That love's keen arrows make.'

sc. I.] TWELFTH SIGHT. 79

15. alone, to the exclu>ion of all others, beyond comparison. So
Antony and Cleopatra, iv. (>. 30 :

' 1 am alone the villain of the earth.'
Jh. high fantastical, jiossessed of imagination in the hi^'hcst degree.

16. go hunt. Compare 'Cio see,' iii. },. 19, and note on 'go pray,"
Hamlet, i. 6. 132.

17. the noblest that I haz'c. The pun upon ' hart ' and ' heart ' occuri
more than once again in Shakespeare. Compare iv. 1. 5S, and Julius
Caesar, iii. i. 207, 20S ;

'O world, thou wast the forest to this hart;
And this, indeed, O world, the heart of thee.'
Also, As You Like It, iii. 2. 260:

' Cel. He was furnished like a hunter.
Kos. O. ominous ! he comes to kill my heart.'
20. JMethought . . . pestiUme ! Capcll marks this as a parenthesis.
32. like fell and cruel haumis, referring to the story of Actxon, who
was turned into a stag, and torn in jiieces by his own dogs, for having
audaciously looked upon Diana bathing. See Titus Andronicus, ii. 3.
61-65. Malone has pointed out that the same figure occurs in Daniel's,
fifth Sonnet ( 1 594) :

' Which tum'd my sport into a harts despaire,
\\hich still is chac'd, while I have any breath.
By mine owti thoughts, sette on me by my faire;
My thoughts, like hounds, pursue me to my death.'
But we may question whether he is right in saying that Shakespeare
'undoubtedly' had this sonnet in his thoughts, for he immediately
proceeds to shew that the same idea is found in Whitney's Emblems
(1586), and in the dedication of Adlington's translation of Apuleius
( 1 566 ). It was in fact a commonplace of the time. Shakespeare, as we
know from an allusion in The Merry Wives of Windsor, had rea<l the
story of Acta-o.i in Golding's (Jvid, and did not require others to teach
him how to apply it.

lb. fell, fierce ; from \{a\.Jello. So Juliu.s Cesar, iii. i. 269:

' All pity choked with custom of fell deeds.'
24. So please, so may it please. Compare The Tempest, v. i, 238:

' On a trice, so please >ou.
Even in a dream, were we divided from them.'
26. The element, the sky. Compare iii. 1. 65, and 2 Henry IV, iv.
3. 58 : 'I in the clear sky of fame o'ershine you as much as the full
moon doth the cinders of the element.'

lb. till seven years^ heat, till the heat of seven years have passed. Harness
first printed the words thus, and Knight also adopts the apostr '[ihe,
although, with Malone, he regards ' heat ' as a participle and equivalent

8o NOTES. [act I.

to 'heated.' Dr. Schmidt (Shakespeare Lexicon) doubtfully suggests
that ' till seven years' heat ' signifies ' till seven years have run their
course.' P"or ' heat ' as a participle, see King John, iv. i . 6 1 :
' The iron of itself, though heat red-hot.'

27, at a>npk viciv, at full view. Compare 'at ample point '= in full
measure, Troilus and Cressida, iii. 3. 89.

28. a cloistress, a nun, a votaress. Chaucer uses ' cloystercre ' for a
monk, or one who lives in a cloister or monastery. Prologue to Cant.
Tales, 261.

30. eye-offending brine. Compare Othello, iii. 4. 51 :

' I have a salt and sorry rheum offends me.'
11/. to season. Compare All's Well, i. i. 55 :

' Laf. Your commendations, madam, get from her tears.
Count. 'Tis the best brine a maiden can season her praise in.'
33. remembrance, a quadrisyllable, as in King John, v. 2. 2 :

'And keep it safe for our remembrance.'
33, 34. of that Jine frame To pay, of so fine a frame as to pay, &c.
See Abbott, Shakespeare Grammar, § 277.

35. the rich golden shaft. Compare A Midsummer Night's Dream, i.
I. 170:

' I swear to thee, by Cupid's strongest bow,
By his best arrow with the golden head.'
According to Ovid, Cupid's arrow which caused love was sharp pointed
and of gold, that which dispelled love was blunt and of lead. Golding
(fob %b, ed. 1603) thus translates the passage which is quoted in the
notes to A Midsummer Night's Dream :

'There from his quiuer full of shaftes two arrowes did he take
Of sundry workes : tone causeth Loue, the tother doth it slake.
That causelh Loue, is all of gold, with ])oint full sharpe and bright,
That chaseth Loue is blunt, whose Steele with leaden head is dight.'
Milton (Par. Lost, iv. 763) has ' Here Love his golden shafts employs' ;
apparently forgetting, as Douce shews, ' that Love had only one shaft
of gold;

38. These sovereign thrones, or seats of the supreme feelings. See
iL 4. 22.

38, y^. fiWd Her sweet perfections. The order of words is inverted,
but the sense is clear. Steevens takes ' Her sweet perfections ' as repre-
senting the passions, judgements, and sentiments of which liver, brain,
and heart respectively are the seat. Knight, reading with Capell ' Pier
sweet perfection ' in a parenthesis, interprets it thus : ' The filling of
the "sovereign thrones," with "one self king" is the perfection of
Olivia's merit ' : a woman being perfected by marriage. Burton, in
his Anatomy of Melancholy (Part. i. Sec. i. Mem. 2. Subs. 4), calls

sc. i.J TWELFTH NIGHT. Si

the heart ' the scat and fountain of life, o: heat, ol siur-.ts, ol puisc, and
respiration : the sun of our bod\ , the king and sole commander of it ;
the seat and organ of all passions and afftctions.' Of the brain, he
says, 'It is the most noble organ under heaven, the dwelling house and
seat of the soul, the habitation of wisdom, memory, judgement, reason,
and in which man is most like unto (Jod.' But with him the liver ii>
oidy ' the shop of blood.'

39- perfections, a quadrisyllable.

Ih. otic self kiiii;, one and the same king. The second, followed by
the later folios, reads ■ selfsame.' Compare Lear, iv. t,. 36 :

' It is the stars.
The stars above us, govern our conditions ;
Else one self mate and mate could not beget
Such different issues.'
-And Richard II, i. 2. 23 :

'That metal, that self mould, that fashion'd thee.
Made him a man.'
Knight understands by ' self king,' king of herself.
41. lie rich, as on a costly and lu.xurious couch.

Sceue II.

3, 4. The play on lUyria and Elysium is obvious enough.
5. Perchance, perha]s ; on which meaning the Captain plays when
he uses the word in the literal sense ' by chance.'

10. those poor number. Kowe changed 'those' to 'that'; Capell
reads 'this.' .Shakespeare may have regarded 'numl:)er' as essentially
a plural, or he may have written 'poor numbers' and the fmal 's'
disappeared before the initial 's' of the ne.xt word.

11. driving, drifting. Compare Pericles, iii. Chorus, 50:

'So up and down the poor ship drives.'
14. lived. To 'live ' is still used by sailors in this sense. Admiral
Smyth in his Sailor's Wordbool: gives, 'To Live. To be able to with-
stand the fury of the elements ; said of a boat or ship, &c.' Compare
Ralegh, Discovery of Guiana (Hakluyt Society), p. 106: 'So as we ran
before night close vnder the land with our small boatcs. and brought
the Galley as neerc as we could, but she had as much a doe to line as
could be.'

i^. Arion. Pof)e's correction. The folios have 'Orion.' Shakespeare
may have read at school ' Orpheus in silvis, inter delphinas Arion '
(Virgil, Eel. viii. 56 , but the story was so familiar that it is not
necessary to suppose even this.

-M. lottiilry. A trisyllable. See Abbott, § 477.

G

82 NOTES. [act I

22. Ari-i/ aftti horn. It is remarkable that no one has proposed to
read ' boin and bred,' in order to preserve the true sequence of events.

30. laic, lately. .See iii. i. 36.

40, 41. coiiipauy And sight. Planmer's transposition. The folios
have ' sight And company,' which gives an anticlimax and defective
metre.

42. delivered, discovered, shewn. So Coriolanus, v. 3. 39:

' The sorruw that delivers us thus changed
Makes you think so.'

43. 7111 1 had made mine ozvn occasion )ncIlow, till I had brought to
maturity the proper occasion of revealing myself. Compare Love's
Labour's Lost, iv. 2. 72 : 'These are begot in the ventricle of memory,
nourished in the womb of pia mater, and delivered upon the mellowing
of occasion.'

44. What my estate is, as to what my estate is. The construction is
very much like that in Hamlet, i. i. 33 :

' And let us once again assail your ears,
That are so fortified against our story,
What we two nights have seen.'
46. No, not, not even ; a strong form of negation Compare Galatians,
ii. 5, ' To whom we gave place by subjection, no, not for an hour.'
48. though that, though. See Abbott, § 2S7.
48. 49. The same sentiment occurs again in iii. 4. 352, 3.
53. Conceal me what I am. For the construclion see i. 5. 235, where
the objective pronoun is redundant, as here. Compare Merry Wives,
iii. 5. 14'') : ' I will proclaim myself what I am.' Abbott, § 414.

59. allow, approve, cause to be acknowledged. So 'allowance' is
used in the sense of acknowledgement or approval in 'JVoilus and
Cressida, ii. 3. 146 :

' A stirring dwai f we do allowance give
Before a sleeping giant.'
The two senses of ' allow,' to assign, and to approve, are due to the
different sources from which it is derived : the former being from the
Low Latin allocarc, the Litter from allaudare. See iv. 2. 56.

60. hap, happen. .«

62. mute. Compare Henr)' V, i. 2. 232 :

'Or else our grave,
Like Turkish mute, shall have a tongueless mouth.'

Scene III.

I. a plague. This interjeclionnl phrase is ])erhaps an abbrcviati',)n of
* in the name of the plague,' where 'jilague' of course is a euphemistic

sc. 3-] TWELFTH SIGHT. 83

expression. Compare i Henry IV, i. 2. 51 : ' What a plague have I
to do with a buff jerkin • ' i Henry IV, ii. 2. 39 : ' What a plague mean
ye to colt mt thus?' And iv. -•. 56: "What a devil dost thou in
Warwickshire? ' In Richard II. ii. 1. J51, the four earliest quartos read,
' But what a Gods name doth become of this V '

4. By my troth, by my faith! A.S. trccrwC. Compare Richard HI,

ii. 4. .'3:

' Now, by my troth, if I had been remembcr'd
I could have given my uncle's grace a flout.'

5. cousin was loosely used of persons who were related, but not in
the first degree. See note on Richard III, ii. 1. 8. Sir Toby just before
speaks of Olivia as his niece, and Rowe consequently substituted ' niece '
here.

/h. takes great exceptions to, greatly objects to, finds great fault with.
Compare Two Gentlemen of Verona, i. 3. Si :

' I fear'd to show my father Julia's letter.
Lest he should take exceptions to my love.'
7. let her exce/'t, be/ore excepted. A reference to the common Law
1-atm phrase exce/tis exciJ>ieiiJis. ' E.xcept before excepted ' fre<iuciitly
occurs in old leases. Sir Toby's drunken repartees are intentionally not
much to the point.

ij. an is printer! 'and' in the folios throughout this play.
1 4. quaffing, drinking deep, carousing. Compare The Taming of the
Shrew, i. i. 277 :

' /Vnd quaff carouses to our mistress' health.'
.Vinl iii. i. 174:

' But, after many ceremonies done.
He calls for wine : " A health ! " quoth he, as if
He had been aboard, carousing to his mates
After a slorni ; quaff'd off the muscadel
.\nd threw the sops all in the sexton's face.*
Palsgrave .Lesclarcissenient de la Langue Francoyse' has 'I quaught,
I drinke all out le boys JautatU.' Etymologically it is connected
with the Scottish quaigh or quaff, a drinking-cup.

19. cu tall a man, as fine a man. See Richard III, i. 4. 1 56 : ' Spoke
like a tall fellow that respects his reputation.' And Merry Wives, i. 4.
26 : 'But he is as tall a man of his hand>, as .iny is bttween this and
his head.'

11. a year in all these ducats, a year's enjoyment of them, while they
last. Similarly, Macbeth, iii. 1. 107:

' Who wear our health but sickly in his life ' ;
that IS, while he lives.

2^, 25. the viol-de-^ainlwys was a base-viol, or violoncello. Florio

G 2

84 NOTES. [act 1

(Italian Diet.) has: 'Viola di gamba. a Violl de Garnba, because men
hold it betweene or vpou their legges.'

32. By this hand. A favourite form of asseveration. See ii. 3. 116,
and The Tempest, iii. 2. 56 : ' Trinculo, if you trouble him any m.ore
in's tale, by this hand, I will supplant some of your teeth.'

//). substractors. Sir Toby would say ' detractors.'

38. a coystrill, a knave. Literally a menial servant or groom ; perhaps
from the French coirstillicr, who was armed with a knife or poniard.
Palsgrave has ' Coustrell that wayteth on a speare —covsteillier.' The
word appears to have become degraded in meaning, and in the sixteenth
century denoted the lowest kind of camp followers, as will be seen from
the passage:; of Holinshed to which Toilet refers. For instance, in
Harrison's Description of England ( Holinshed, i. 162) : 'They [esquires]
were at the hrst costcrcls or bearers of the armes of barons, or knights.'
And in The Historic of Scotland (ii. 89) : ' But such coisterels, and
other as rema ned with the Scotish cariage, seeing the discomfiture of
their aduersanes, ran foorth and pursued them into those marishes.'
Again (p. 127) : ' Brudus . . . appointed all the horses that were in the
campe, seruing for burden, to be bestowed among the women, lackies,
and coistrels.' In the same book (p. 217) we find enumerated together
' cariage-men, coistrels, women, and lackies.' That ' coystrell ' was a
boy or groom in attendance upon the horses is clear from Holinshed,
iii. 248, where it is said : ' A knight with his esquire, and coistrell with
his two horsses, might scarse be competentlie found for two shillings in
siluer.' In the Latin of Matthew Paris this is, ' Ita ut quidam jejunus
vix poterat miles cum suo armigero et garcionc et eqiiis duobus solidis
argenteorum competenter sustentari ;' where ,^a;rw is the French garcon.
The etymology of the word is doubtful. If ' coustrell ' and 'coystrill '
are identical, it would appear that Palsgrave derived them from the
French constillicr, but there is another Old French word costeraux, a
kind of banditti, with which they may be connected. Cotgrave (Fr.
Diet.) has, ' Costereauls. A nickname giuen vnto certaine footmen, that
serned the kings of P^ngland in their French warres ; or as Cotereaux ;
or Cottereaux.' The former of these equivalents he defmes as 'A certaine
cme of peasantlie outlawes, who, in old time, did much mischiefe vnto
the Xobilitic, and Clergie.' The Old English quistron (Scotch ciistroun),
which Tyrwhitt defines as a scullion, is a kindred word. In the
Romaunt of the Rose, p. SS6,

' This god of love of his fashion
Was like no knave ne quistron,'
corresponds to the French of the Roman de la Rose,
' Le dicx d' Amors de la fa^on,
Ne resembloit mie garcon ' :

sc

3.] Tn'ELFTir NIGHT. 85

which shews that garfon and quistron are rclateil as i^arcio and coistrell
above, and that quistron = coistrell = i oust rell -^ooxw or menial sen-ant.
CapcU identihis coystrill with kestrel, a hawk of a base kind, French
quercelU\ and 'kestrel ' is Hanmcr's reading.

39. like a parish top. Stcevens says, ' A large top was formerly kept
in every village, to be whipped in frfisly weather, that the pea-ants might
be kept warm by exercise, and out of mischief, \Nhile they could not
work.' Nares quotes from Ben Jonson, New Inn, ii. 2 :

'A merry Greek, and cants in Latin comedy,
Spins like the parish top.'
And he shews from Evelyni's Sylva [B. i. xx. 28] that these tops were
made of willow wood.

40. Castiliatw vulsp ! ' t is probable that these words have as much
meaning now as they had in Shakespeare's time, and that is none at all.
They would make a great noise in a drinking bout, and thus serve the
only purpose for which they were used. Compare for a similar Bacchana-
lian shout, Marlowe's Jew of Malta, iv. p. 172 (ed. Dyce, 1862):

' Hey, Rivo Castiliano ! a man's a man.'
And I Henry IV, ii. 4, 124: ' Kivo ! says the drunkard.' Warburton
says. ' We should read volto. In English, put on your Castiliaii counten-
ance ; that is, your grave solemn looks.' Capill adopts liis reading,
bat interprets it other.vise, ' Bridle up your chin and look big." Singer
supports it by a quotation from Hall's Satires, iv. 2. 87 :

' Or make a Spanish f.ice with fawning cheere.'

46. Accost, approach, go alongside. Cotgrave (Fr. Diet.) gives,
' Accoster. To acconst, or ioine side to side ; to approach, ordinw neere
\-nto ; also, to wax acquainted, or grow familiar, with.' There is of
course here a reference to the ordinary meaning of the word, as in ' hoard '
which follows.

54. board her, attack her ; and figuratively, address her, woo her.
Compare Merry Wives, ii. i. 92 : ' Unless he know some strain in me,
that I know not myself, he would never have hoarded me in this fury."
And Much Ado, ii. i. 149 : 'I am sure he is in the fleet : 1 would he
had boarded me.' Again, Love's Labour's Lost, ii i. 21S:

' I was as willing to grapple as he was to board.'
And Hamlet, ii. 2. 170 : ' I'll board him presently.'

58. let part, let go. The third and fourth folios read ' let her part.'

66. thought is free, a proverbial expression, which is at least .is old
as Gower. See Confessio Amantis, B. v lii. 277, ed. Pauli) :

' I have heard said, that thought is free.'
.\nd Heywood s I'roverbs .Sj>cnscr Society ed.), p. 47. Holt White
quotes a passage from Lyly's I'.uphues ('ed. .\rber, p. 28 1), of which the
present may be a reminiscence : ' No, quoth she, I beleeue you, for nont

86 NOTES. [act I.

can indge of wit, but they that haue it, why then quoth he, doest thou
thinke me a foole, thought is free my Lord quotli she, I wil not take you
at your word.' See also The Tempest, iii. 2. 1.^2.

6~. the huttcry-bar, or buttery-hatch, the half-door of the buttery,
where beer is served out from the cellar, is a familiar thing in colleges.
The ' buttery ' is probably so called from the ' butts ' of ale and beer
which are stored in (be cellar below.

69. It's dry, sir. Johnson's second thoughts were best when he said,
' According to the rules of physiognomy, she may intend to insinuate,
that it is not a lover's hand, a moist hand being vulgarly accounted a
sign of an amorous constitution.' Compare Othello, iii. 4. 36-3S :
' 0th. Give me your hand : this hand is moist, my lady.
Des. It yet liath felt no age nor known no sorrow.
0th. This argiies fruitfulness and liberal heart.'

72. dry, stupid, insipid. See i. 5. 37, and Love's Labour's Lost, v. 2.
373 ■• ' This jest is dry to me.'

75. barren, that is, barren witted, incapable of conceiving a jest. See
i. 5. 78, and note on As You Like It, ii. 7. 39.

76. canary, a strong sweet wine made in the Canary Islands. It was
a kind of sack. See note on The Tempest, ii. 2. no (Clar. Press ed,").

81. a great eater of beef. Mr. Rushton (Shakespeare's Euphuism, p. 40)
quotes from Lyly's Euphues (ed. Arber, p. 400): 'As for the Quailes
you promise me, I can be content with beefe, and for the questions they
must be easie, els shall I not aunswere them, for my wit will shew with
what grosse diot I haue bene brought vp.' And from Troilus and
Cressida, ii. i. 14: 'Thou mongrel beef-witted lord!' Thersites means
that Ajax's wits were as coarse as his food, not that he had no more wit
than an ox. liurton (Anatomy of Melancholy, Part t, Sec. 2, Mem. 2,
Subs. I ) enumerates beef among the articles of diet which are unfit ' for
such as lead a resty life, any ways inclined to melancholy, or dry of
complexion,' like Sir Andrew himself.

87. the tojtgues. The point of Sir Toby's jest will be lost unless we
remember that ' tongues ' and ' tongs ' were pronounced alike, as was
pointed out by Mr. Crosby of Zainsville, in the American Bibliopolist,
June, 1875.

92. curl by nature. Theobald's emendation. The folios read ' coole
my nature.'

96. /'// home. For the omission of the verb of motion compare Julius
Caesar, i. 1. 74 : 'I'll about'; and Hamlet, iii. 3. 4 :

' And he to England shall along with you.'
Again, ii. 2. 521 : 'It shall to the barber's, with your beard.'

07, 98. sJie''ll none of nie, she will have nothing to do with me. See
i- 5- 371 ^nd The Mercliant of Venice, iii. 2. 102, 103 :

sc. 3.J TWELFTH XIGJIT. 87

'Therefore, thou shandy gold,
Hard foo<l for Midas, 1 will none of thee;
Nor none of thee, thou j.)ale and common drudge
'Twcen man and man.'

98. the iouttt. Rowe here and elsewhere substitutes 'the Duke,' as
> )rsiiio is callcfl h\ this title in i. a. 25. and m the stage directions of the
folios.

loi. l/'u-rc's li/c ini, and while there is life there is hope. Compare
King Lear, iv. 6. ?o6 : 'Then there's life in't' Similarly, Antony and
Cleopatra, iii. 13. 192 : ' There's sap in't yet.'

105. kkksha7cscs. The plural ol kickshmi's, which occurs in 1 Htnr)-
IV V. I. 39, and is a corruption of the Trench qtulquc chose. See Skinner,
Ktymologicon .Linguae Anglicanae. This is evident from the earlier
form of the word in Cotgrave's French Dictionary, ' Fricandeaux : m.
Short, skinlesse, and daintie puddings, or Quelkchoses, made of good
flesh and hearbes choppe^l together, then rolled \-p into the forme of
Linerings, &c, and so boyled.'

loS. an old man. Waxburton regards this 'as a satire on that
common vanity of old men, in preferring their own times, and the
past generation, to the present' Steevens thinks that ' Aguecheek, though
willing enough to arrogate to himself such experience as is commonly
the accjuisition of age, is yet cartful to exempt its person from being
compared with its bodily weakness.' It is hard to extract sense from what
after all may have been intentional nonsense. 'ITieobald proposes to read
'a nobleman,' referring to Sir Andrew's rival, the Count Orsino. In
Winter's Tale. iii. 3. 1 1 1, ' Would I had Ijeen by, to have heljied the old
man,' Theobald actually reads " nobleman.'

109. a galliard, a lively (VT.gaillani) dance. See Henry V, i. 3. 353.
Compare Barnahy Kiche his Farewell to Militarie profession p. 4,
Shakes[x-are Society ed. : ' Onr gallianles are so curious, that thei are
not for my daunsyng, for thei arc so full of trickes and toumes, that
he whiche hath no more but the pl.iinc sintjuepace, is no l>etter ac-
compte«l of then a verie bungler.' Staunton adopts Mason's conjecture,
and reads

'What is thy excellence? in a galliard, knight?'

1 1 3. the back-trick apparently means a caper backwards in dancing.
It is not likely to be a fencing term, for the talk here is of masques and
revels. The galliard, according to Sir John Davies, Orchestra, 68, was
danced 'With lofty turnes ajid caprioles in the ajTe.'

1 1?, like, likely. See i. 4. 2, i. 5. iS.^.

116. Mistress Mali' s picture is commonly supposed to be the picture
of Mary Frith, commonly known a- -Mall Cutpurso, a notorious personage
of the time, whose career w.is made the subject of a | lay by Mid<lleton

88 NOTES. [act I.

and Dekker, under the title of The Roaring Girl, or Moll Cutpnrse (1611).
BVit if Mary Frith was born in i.:;84, or 158.1, as is stated, she must have
l)ecome famous very early in life, if she is really the subject of this
allusion. It was some ten years later that she appears to have flourished,
lor Twelfth Night must have been written before February 1602, and the
date of Middleton and Dekker's play is 161 1. Steevens quotes an entry
in the Registers of the Stationers' Company of ' A booke called, The
Madde pranckes of mery Mall of the Banckside, with her walkes in man's
ajiparell, and to what purpose, written by John Day ' (Arber's Transcript
of the Stationers' Registers, iii. 441). The date of this entry is 7 August,
16 ;o, and at this period the virago appears to have flourished, so that I
am inclined to think the Mistress Mall of the present passage was some
notoriety other than Mary Frith.

1 1 7. coranto, a dance, also of French origin, perhaps akin to a galop.
See note on Henry V, iii. 5. 33, where the word is spelt ' carranto ' in
the folios as here.

1 20. ilic star of a gaUiard, a planet favourable to dancing. There
arc many references in Shakespeare to the old astrological belief in the
influence of the planets upon the destiny and constitution of men, and
the adjectives 'jovial,' 'saturnine,' and 'mercurial' as applied to
temperaments are traces of the same belief which our language still
preserves. With the present passage compare Much Ado, ii. 1. 349:

' D. Pedro. Out of question you were born in a merry hour.
Beat. No, sure, my lord, my mother cried ; but then there was a star
danced, and under that I was born.' See also ii. i. 3, »• 5- 121;.

121. indifferent well, fairly well, tolerably well. See i. 5. 232, ami
Hamlet, iii. i. 123 : 'I am myself indifferent honest.'

122. Jlatnc-coloured. Pope's emendation of the folio reading ' dam'd
coloui'd.' Knight conjectured ' damask coloured,' and Phelps ' damson
colour'd.' It is by no means certain what the true reading should be.
In the dialogues given in Eliot's Fruits for the French (1593). ?• ?,^> we
fmd, 'Shew' me a Peach colourd Nttherstocke.' A bright colour of
some kind was intended, and therefore the reference to the Yt. conlcur
d'enfer, which Cotgrave defines as ' A darke, and smoakie browne,' is
out of place.

lb. stock, stocking. Compare Taming of the Shrew, iii. 2. 67 : 'With
a linen stock on one leg, and a kersey boot hose on the other.' And
Beaumont and Fletcher. The Woman Hater, i. 2 :
'With all the swarming ge.ierations

Of long stocks, r-hort paned hose, and huge stuff 'd doublets.'
125. Taurus! That's sides and heart. Both Sir Andrew and Sir
Toby are purposel} made to blunder here. Chaucer, in his Description
of the Astrolabe f Early Eng. Text Soc, Extra Series, j.. i ?), says of the

sc. 4-] TWELFTH NIGHT. 89

signs ol the zodiac : 'and euerich of ihise 12 signcs halh rcspectc Ui a
certein parcelle of the l>ody of a man and halh it in •^oucrnance : a>
aries hath thin heutd, and taurus thy nekte and thy throte j gemyni
thyn armholes and thin amies, and so forth"

Scetif IV.

4. humour, caprice, fancy ; or, jjerhaps, simply disposition ; as in
2 Henry IV, ii. 4. 256 : 'Sirrah, what humour's the prince of?*
10. On your attenJar.ci, in attendance upon you.
\i. no less Init all. After comparatives with a negative 'but'--
than. See Measure for Measure, iv. 2. 150: 'A man that apprehends
death no more dreadfully but as a drunken sleep.'

12, 13. I have utulasp\l To thee the hook. Sec, I have disclosed the
secret records of my soul. Steevens quotes i Henry IV, i. 3. 188:

' And now I will unclasp a secret book.'
And lioswell gives an illustration of the same figure from Troilus and
Cressida, iv. 5. 60 :

' That give accosting welcome ere it comes.
And wide unclasp the tables of their thoughts
To every ticklish reader.'
15. Be Hot ilenieil access, as \'alentine was, i. i. 24.

19. spoke, said, reported. So in Coriolanus, ii. i. 1:2: 'There's
wondrous things spoke of him.' And .Macbeth, iv. 3. 154 ;

'And 'tis spoken,
To the succeeding royalty he leaves
The healing benediction.'

20. all civil bounds, all the restraints of good manners.

26. attend it, give attention to it, regard it. Compare Lucrece,
818:

' Feast-finding minstrels, tuning my defame,
Will tie the hearers to attend each line.'

27. Than in a nuncio's of more grave aspect. Theobald reatls
'nuntio,' but this would require to be preceded by 'in thee" instea<l of
' in thy youth.' The folios have ' Nuntios.' which Delias supposes to
be for 'Nuntius,' but this can scarcely be. The construction is not
strictly grammatical, but is according to the sense of the passage, as if
the Duke had said 'She will attend it better in thy youthful person tlian
in that of a nuncio of more grave appearance.'

lb. aspect has the accent on the last syllable, as everywhere in
Shakespeare. Compare Henry V, iii. 1 . <; :

•Then lend the eye a terrible asjiect."
31. nifiious, red as a ruby.

90 NOTES. [act 1.

/I), small pipe, shrill-soundiny treble voice. Compare Coriolaniis,
iii. 2. 114:

' My throat of war be turn'd,
\\'hich quired with my drum, into a pipe,
Small as an eunuch, or the virgin voice
That babies lulls asleep ! '
And Fletcher's Loyal Subject, v. 2 ; 'That pleasant pipe he has too.'

32. shrill and soipul. If this be the true reading, 'sound' must
signify 'not cracked,' as Hamlet (ii. 2. 448) salutes the boy who
among the players acted the woman's part, with ' Pray God, your
voice, like a piece of uncurrent gold, he not cracked within the ring.'
Mr. Grant White reads ' shrill in sound.'

33. scmhlativc, resembling, like. A word of Shakespeare s coinage.
Ih. a zuoinans part, which at this time was always acted by boys.

See Two Gentlemen of Verona, iv. 4. 165, where Julia, who is dressed

in boys' clothes, says,

'At Pentecost,
When nil our pageants of delight were play'd,
Our youth got me to play the woman's part.'

34. fJiy constellation, the constellation under which thou wast born.
See note on i. 3. 120.

40. a barful strife, a strife full of impediments.

Scene V.

2. in way of, by way of. So Hamlet, i. 3. 95:
' If it be so, as so 'tis put on me,
And that in way of caution.'

5. to fear no colours, to fear nothing, care for nobody. There is of
course a pun upon 'colours' and 'collars,' as we find elsewhere upon
'dolours' and 'dollars.' The ]ihrase is of frequent occurrence in the
Elizabethan dramatists. Compare Picaumont and Fletcher, Women
Pleased, iv. i ;

' He 'U prance it bravely, friend : he fears no colours.'
And The True Tragcdie of Richard the Third (ed. Hazlitt, p. 65) :
' Be as be may, I will ncuer feare colours nor regard ruth.' Again,
in Breton's The Good and the Badde (ed. Grosart, p. la"), of An Unquiet
Woman it is said, ' She fcares no colours, she cares for no counsaile,
she spares no persons, nor respects any time.' It probably signified
originally to fear no enemy. Cotgravc 1 French Diet.) has, ' Aduen-
tureux. Hazardous, aduenturous; that feares no colours.'

8. lenten (spelt lenton in the folios), spare, scanty, like a dinner in
T^nt. Compare Hamlet, ii. 2. 329 : ' To think, my lord, if you delight
not in man, what lenten entertainment the players shall receive from you.'

so. 5-] TWELFTH NIGHT. 9I

9. of is used to connect words or iiliiases in apposition, the s.iyin}^
here being 'I fear no colours.' So in Coriolanus, ii. i. ^j, *a very
little thief of occasion," where the occasion is the thief.

15. 16. you -uill . . . absiiit , or, to be turned aioay, is, &c. This
punctuation, which is subst.intially that of Malone, is now generally
adopted, but I am not sure that it is right. The first folio has ' you
will . . . absent, or to be turn'd away : is* t'vc. This was altered in the
second and subsequent folios to ' or be turn'd away.' The insertion of
'to' before the second of two infinitives connected \\ith the same
auxiliary verb is very common, and the construction here appears to be
the same as that in As ^'ou Like It, v. 4. ji, 22 :

' Keep your word, Phebe, that you'// marry me.
Or else refusing me, to wed this shepherd.'
It might be maintained that in this instance ' to wed ' is in apposi-
tion to 'word'; but this cannot be the explanation in Pericles, ii. 5.
17:

' She tells me here, she'// ivcd the stranger knight,
Or never more to vic-c> nor day nor night.'
The following instances are from the Prayer-book Version of the
Psalms. ' Let their habitation be void : and no man to dwell in their
tents,' Ixix. 26. ' That we should not hide them . . . but to shew . . .'
Ixxviii. 4. 'That they might put their trust in God : and not to forget
the works of God, but to keep his commandments ; and not to be as
their forefathers, &c.' Ixxviii. S, 9.

19. for turning away. The point of this has been supposed to lie in
the similarity of the pronunciation of ' turning away' and 'turning of
whey' or ' turning o'hay." But the warmth of summer and its jilcasures
would make the clown's life tolerable though he might he out of
ser\'ice. In illustration of this view, which is that of .Stecvens,
Mr. Addis (Notes and Queries. 3rd .S. xi. 252) quotes from the interlude
of Jack Jugler i Four Old Plays, ed. Child, p. 44) :

' I neuer vse to rune awaye in wynter nor in vcre

But all wayes in suchc tyme and season of the yere

When honye lyeth in the hiues of Bees

And all maner fnite falleth from the trees

As apples, Nuttes, Peres, and plummes also

Wherby a boye maye liue a brod a moneth or two.'
But perhaps the Clown, having been frequently threatene<l with dis
missal, simply means, Wait till summer comes, and see if it is true.

21. points. To Uiiderstand Maria's answer it must be reniLml)ere<i
that the metal tags to laces were called ' points,' and were used in
fastening the hose or breeches to the doublet. Com|>arc Antony and
Cleopatra, iii. 1.^, 157:

92 NOTES. [act I.

' To flatter Cresar, would you mingle eyes
With one that ties his points?'
There is the same quibble as in the present passage in i Henry IV,

ii- 4- 23^:

' J^ai. Their points being broken —

Poins. Down fell their hose.'

23. gaskins, or 'galligaskins,' were loose breeches. Cotgrave (French
Diet.) gives ' Guergesses : f. Wide Slops, or Gallogaskins, great Gascon,
or Spanish hose.' Compare Percyvall (Spanish Diet.), ' ^araguelles,
gascoigne hose, Fcmoralia'

28. you 7uere best, that is, it were best for you. Originally the
pj-onoun in this phrase was in the dative case, but by the time of
Shakespeare it had come to be regarded as the nominative. Compare
ii. 2. 24, and see Julius Ccesar, iii. 3. 13 : ' Ay, and truly, you were best';
and the note on that passage. Similarly, the phrase ' if you please ' was
originally ' if it please you,' the pronoun being in the dative.

37. Go to, an expression of impatience.

lb. city, witless, stupid. See i. 3. 72, and note on As You Like It,

ii-'7- 39:

' His brain.

Which is as dry as the remainder biscuit

After a voyage.'

And Troilus and Cressida, i. 3. 329 :

' Were his brain as barren

As banks of Libya, — though, Apollo knows,

'Tis dry enough.'

lb. ril no more of yo-ii. See i. 3. 97, 98.

38. dishonest. As ' honest ' is used in the sense of ' virtuous ' (see
Hamlet, iii. i. 103: 'Are you honest?' and 123, 'I am myself in-
different honest'), so 'dishonest' is the op|)ositc. Olivia is referring
to the Clown's absence from home. Compare Henry V, i, 2. 49 :

' Who, holding in disdain the German women
For some dishonest manners of their life,
Establish'd then this law.'

39. madonna, my lady. Only used by Shakespeare in this play, and
here only in the mouth of the Clown. Florio (Italian Diet.) gives,
' Madonna, Mistris mine, Madame.'

43. patilted, alluding, says Malone, to the patched or particoloured
garment of the fool. It may be so, but the clown is talking against
time and sense in order to escape the reprimand he deserves.

46. so, so be it, well and good. Compare The Merchant of Venice,
i. :,. 170:

'If he will take it, so; if not, atiieu.'

sc. 5.] TWELFTH NIGHT. 93

And I Henry I\', ii. 4. ^45 : ' ll you will deny the sheriff, so ; if not,
let him enter.'

47. ciukolJ. The clown purposely blunders here. Hanmcr supposes
11 was a printer's mistake, and substitutes ' counsellor.' Capell thinks it
may have been an intentional corruption of 'school.'

lb. beauty s a Jlowcr. So (jrecne. Metamorphosis Works, ed.
Grosart, i.\. 61) : 'Btautie is but a blossome.'

50. Misprision, mistake, error ; with a reference to the legal meaning
of the word, as the phrase which follows. ' in the highest degree,' shews.
Compare Much Ado, iv. i. 187:

' There is some strange misprision in the princes.'
Ai;d A Midsummer Night's Dream, iii. j. yo. In the technical sense,
' misprision ' denotes any offence under the degree of capital. Mis-
prision of treason or felony consists in the knowledge and concealment
of it.

lb. cucullus lion facit monac/tum. Cotgrave gives the trench
proverb, ' L'habit ne fait pas le nioine : Pro. The Cowle makes not the
Monke ; euerie one is not a souldier that weares armor ; nor euerie one
a scholler thats clad in blacke.' In the same form it appears in all the
languages of Europe. .See Measure for Measure, v. i. 263.

51. as much to say as. This has been needlessly altered to 'as much
.IS to say.' Compare Florio'* Italian Dictionary ; ' Madomale, as much
to say as lawfully borne, and of a true and lawfull Mother.' And
■i Henry VI, iv. 2. 18 : 'True ; and yet it is said, labour in thy voca-
tion ; which is as much to say as, let the magistrates be labouring men.'
Again, in Holland's Plutarch, p. 723 : ' For where wee faile to give
reason of a cause, there begin we to doubt & make cjuestion, & that
is as much to say, as to play the philosophers.'

52. motley, the parti-coloured dress of the fool. See note on As You
Like It, ii. 7. 13.

■;5. dexteriously. This may possibly be an intentional corruption,
but it actually occurs in Bacon's Adv.mccment of Learning, ii. 22, § 15
(p. 214, ed. Wright : 'lie [the sophist] cannot form a man so dex-
tc.'iously, nor with that facility to prize and govern himself, as love
can do.' Here the editions of r6o5, ^'^29, and 1633 all read 'dex-
teriously,' although in another passage the word is spelt as usual.
Again, in Xauntons Kragmenta Regalia cd. Arbcr}, p. 28 : ' Wc
take him [I-eicester] as he was admitted into the Court, and ihc
Queens favour, where he was not to seek to play his part well, and
dexteriously.'

58. my mouse of virtue. ' Mouse ' was used as a term of endear-
ment, and in applying it to Olivia the clown was stretching to the
utmost his privilege as an allowed fool. He does this purposely to

94 NOTES. [act 1.

prevent her from referring to his past misdeeds. Compare Love's
Labour 's Lost, v. 2. ly :

' What's your dark meaning, mouse, of this light word ? '

66. soul. The first folio puts a comma at ' soul,' which changes the
construction without materially altering the sense.

70. decays, injures, impairs. See Sonnet, Ixv. 8 :

' When rocks impregnable are not so stout,
Nor gates of steel so strong, Lut Time decays.'

72. /or the better increasing your folly. For examples of ' the ' with
a verbal which is followed by an object, see Abbott, § 93.

76. IIo7i' say you, what say you. Compare The Taming of the Shrew,
iv. 3. 20 : ' How say you to a fat tripe finely broiled?' Hamlet, ii. 2.
188 : ' How say you by that ?'

78. barren. See i. 3. 75, and Julius Casar, iv. i. 36: 'A barren-
spirited fellow.'

82. crow, laugh merrily. Compare As You Like It, ii. 7. 30:

' My lungs began to crow like chanticleer.'
lb. these set kind of fools. The pronoun appears to be attracted into
the plural by the plural substantive which follows (sec Abbott,
§ 412), or else 'kind ' is used as a plural. Compare Lear, ii. 2. 107 :
'These kind of knaves I know.' And The Taming of the Shrew, i. i.
247:

'I advise
You use your manners discreetly in all kind of companies.'
Timon of Athens, i. i . 65 : ' All kind of natures.' As You Like It, ii.

3- 10:

'Know you not, master, to some kind of men

Their graces serve them but as enemies?'

83. the fools' zanies. ' Zany ' is derived from the Italian Zane, which
Florio (A Worlde of Wordes, 1.598) defines thus: 'Zane, the name of
John. Also a sillie lohn, a gull, a noddie. Vsed also for a simple
vice, clowne, foole, or simple fellovve in a plaie or comedie.' The
following passages from Ben Jonsoii will illustrate the meaning of the
word. Every Man out of his Humour, iv. i :

' He's like the zany to a tumbler,
That tries tricks after him, to make men laugh.'
Cynthia's Revels, ii. i : ' The other gallant is his zany, and doth most of
these tricks after him.' The Fo.x, iii. i :

• Such sparks

Arethe true parasites, others but their zanies.'

See also Heywood, The foure Prentises of London (Works, ii. 203). A

fool's zany therefore is a buffoon who imitates the real fool in a grotesque

manner. Sec note on ' Bergoaiask ' in A Midsummer Night's Dream, v.

sc. 5.1 TWELFTH NIGHT. 95

1. 339. Hence 'to /any' was used as a vcrli in the sense of ' tn bur-
Icsijue'; as in Beaumont aiul 1' lelcher, The Lover's Progress, i. 1 :

'Were I the wife
Of one that coulcl but zany brave Clcander.'
/Vnd The Queen of Corinth, i. 2 :

' And takes his oath
Upon her pantofles, thai all excellence
In other madams do but zany hers.'
84. siiJi- of self-lffvc. Sidney Walker thought this a proverbial phrase,
and quoted Ben Jonson, Staple of News, v. i :

' So say all prodigals
Sick of self love.'
Hj. distcmpcrrd, disordered.

86. birJ-bolts, short blunt-headed arrows used with a crossbow ; also
called ' quarrels,' from the French ' Quarreau ... a Quarrell, or boult for
a Crossebow, or an Arrow with a foure-square head ' (Cotgrave).

87. an allrwcd fool , a licensed fool.

90. Mcratry endue thee with leasing, give thee the gift of lying.
\N arbur'.on, who was afterwards a bishop, read ' pleasing.' But Mercury,
as the patron of thieves and cheating, may be supposed to have had the
power of endowing his devotees with a faculty which was of the first
importance to them.

92, 93. a young gentleman [who] nitich desires. For the omission of
the relative, compare Measure for Measure, ii. 2. 38 ;

' 1 have a brother is condemned to die.'
.\nd The Merchant of Venice, i. i. 175:

' 1 have a mind presages me such thrift.'
."see Abbott, § 244.

95. 'tis a fair young man. Compare The Merchant of Venice, iii.

3- 18 :

' It is the most impenetrable cur

That ever kept with men.'

Henry V, iii. 6. 70 : ' Why, 'tis a gull, a fool, a rogue.' And Macbeth,

i. 4. jS ; ' It is a peerless kinsman.'

97. people, attendants. See ii. 5. 54, iii 4. 59-

99, 100. he speaks nothing but nuulinan Compare Henry V, v. J.

156 : 'I speak to thee plain soldier.' And King John, ii. i. 462 :

• He speaks plain cannon fire, and smoke and bounce.'

105. Jove. See note on iii. 4. 7'-

106. for, - here he comes,— one of thy kin, &c. The folios have, ' for
here he comes one of thy kin,' &c., which the late Mr, Dycc stigmatised
as a blunder of the old copy, with which the Cambridge edilons were
unwilling to i>art. In common with other modem editors from the litno

g6 NOTES. [act I.

of Rcwe, he read 'here comes one of thy kin,' &c., which yields a cer-
tain sense, but has no particular point. The Clown hints that folly ran
in Olivia's family, and illustrates this by pointing to Sir Toby, who was
just entering. In the sentence as printed by Rowe and his successors,
' for ' has no meaning, being connected with ' here comes,' and not with
' one of thy kin,' &c.

io6, [07. pi'a mater. Of the brain, says Burton (Anatomy of Melan-
choly, Part. I, Sec. ;-, Mem. 2, Subs. 5), 'it is the most noble organ
under heaven, the dwelling house and seat of the soul, the habitation of
wisdom, memory, judgement, reason, and in which man is most like unto
God : and therefore nature hath covered it with a skull of hard bone,
and two skins or membranes, whereof the one is called dura mater, or
mcninx, the other pia viatcr. The dura mater is next to the skull, above
the other, which includes and protects the brain. When this is taken
away, the //a materia to be seen, a thin membrane, the next and im-
mediate cover of the brain, and not covering only, but entering into it.'
It is used for the brain itself. Compare Troilus and Cressida, ii. i. 77 :
' I will buy nine sparrows for a penny, and his pia mater is not worth the
ninth part of a sparrow.*

112. these pickle-herring. Similar consequences have been attributed
to the salmon.

121. give me fait J:, say9-I. Sir Toby was in the maudlin stage of
drunkenness.

lb. all one, all the same. See v. i. 18S, 360.

124. fiiads, maddens. So in Richard II, v. 5. 61 :

' This music mads me ; let it sound no more.'

126. croivner, coroner. See Hamlet, v. i. 4: 'The crowner hath sat
on her, and finds it Christian burial.'

128. go look. There is no comma between these words in the folios.
Compare Coriolanus, i. 5. 26 (Clarendon I'ress ed.) :

' Go sound thy trumpet in the market-place.'
.\nd see note on the jjassage.

131. yotidis the spelling of the folios. See notes on As Vou Like It,
ii. 4. 58, and Julius Ca:sar, i. 2. 194, in the Clarendon Press editions.

152. he takes on him, he professes, pretends. Compare Troilus and
Cressida, i. 2. 153 : 'And she takes upon her to sjDy a white hair on his
chin.' And 2 Henry IV, li. 2. i 23 : ' ''How comes that V " says he, that
takes upon him not to conceive.'

139. Has. The folios read ' Ha"s ' ; Pope, ' He has.' But ' he ' is fre-
quently omitted in such sentences. See v. t. 188, and Coriolanus, i. 3. 65 :
'Has such a confirmed countenance.' And in the same play, iii. 1. 161, 162;
' Bru. Has said enough.
Sic. Has spoken like a traitor.'

sc. 5.] TWELFTH NIGHT. 97

140. a sheriff's /'ost. At the sheriffs door it was usual to set up posts
to which proclamations could be affixed. Warbuiton tiuotes Ben Jonson,
Ever)- Man out of his Humour, iii. 3:

' How long shoulil 1 be ere 1 should put off
To the lord chancellor's tomb, or the shrives' posts?'

149. a si/uas/i, tin unripe peascod. Compare A Midsummer Night's
T>ream, iii. i. 191 :

' />o/. Your name, honest gentleman ?
/Vaj. Peascblos->om.

Bo/. I i>ray you, commend me to Mistress Squash, yonr mother,
and to Master I'eascod, your father.'
And Winter's Tale, i. 2. 160:

'How like, methought, I then was to this kernel.
This squash, this gentleman.'
/d. a codling appears to have been a small unripe apple. So much is
evident from the present passage, and the notes of commentators have
ailded nothing to our knowledge.

1 50. /// standing water, if the reading be correct, must mean ' in the
condition of standing water.' So 'in Pyramus' ^A Midsummer Night's
Dream, iv. 2. 24) signifies ' in the character of Pyramus ' (.compare A Mid
summer Night's Dream, v. i. 220, 'in a man and a lion '). Capell reads
' e'en standing water,' but it is not clear that the alteration is necessary,
although ' in ' is to be found as a misprint for 'e'en ' ; as for example in
Antony and Cleopatra, iv. 15. 73, where the folios have, 'No more but
in a woman.' And again in All's Well, iii. 2. 20.

lb. standing "wafer, neither ebbing nor flowing, so lhal.il is impossible
to tell which way it moves. Compare The Tempest, ii. 1. 221 :
' Seb. \\*ell, I am standing water.
Ant. I'll tc.-xch you how to flow.
Seb. Do so : to ebb

Hereditary sloth instructs mc.'

164. to con it, to learn ljy heart for repetition, as an actor studies his
part. See ii. 3. 138. and As You Like It, iii. 2. 289 : ' You arc full of
pretty answers. Have you not been acquainted with goldsmiths' wives,
and conned them out of rings?'

165. comptibU, susceptible, sensitive. Warburton says it means 'ready
Ui call to account," but, a-; Steevens points out, this is not in accord-
ance with Viola's character. 'She begs she may not Ix; treated with
scorn, because she is very submissive, even to lighter marks of repre-
hension.' It rather means ' easily brought to account.' Latimer (Seven
Sermons, ed. Arbcr, p. ioo> has, 'We are coniptable to Cod. and so l)c
they.'

1 70. modest assurance, moderate assurance, only enough lo satisfy nic.

H

98 NOTES. [act I.

173. ;;y profound heart. 'Heart' is frequently used in familiar
afldresses to persons (see ii. 3. 15), and the epithet 'profound ' is applied
to Olivia in bantering compliment to her sagacity.

173. by the very fangs of malice. Viola appears to challenge the most
malicious construction which could be put upon her conduct, and would
only amount to this, that she was not what she seemed. ' P'angs ' is spelt
' phangs ' in the folios.

176. If I do not HS7iyp, or counterfeit, myself Compare v. 1. 242. and
The Taming of the Shrew, Ind. i. 131 :

'The boy will well usurp the grace.
Voice, gait and action of a gentlewoman.'
Again, Othello, i. 3. 3-16: 'Defeat thy favour with an usurped beard.'

] 79. from my commission, contrary to my commission, out of my com-
mission, forming no part of it. See v. i. 320, and compare 1 Henry IV,
iii. 2. 31 :

'Yet let me wonder, Harrj',
At thy affections, which do hold a wing
Quite from the flight of all thy ancestors.'
And Julius Ceesar, ii. i. 196:

'For he is superstitious grown of late.
Quite from the main opinion he held once
Of fantasy, of dreams and ceremonies.'
•Tb will on. The omission of the verb of motion before an adverb of
direction is very common. So Julius Cxsar, i. i. 74 :

•I'll about.
And drive away the vulgar from the streets.'
.See Abbott, § 405.

180. the heart of my message, the vital and important part. Compare
Merry Wives, ii. 2. 233: 'Now, Sir Jolin, here is the heart of my
purj^ose.'

185. // is the more like to be feigned. Compare As You Like It, iii.
3. 17-20:

' And. I do not know what " poetical " is : is it honest in deed and
word V is il a true thing ?

Totich. No, Irul)' ; for the truest poetry is the most feigning.'
18S. If you be 7iot viad. Mason proposed to read ' If you be mad,'
considering ' be mad ' as opposed to ' have reason ' ; but there is quite
as much contrast between a state of mind which is a little short of
madness, and that which is distinguished by the possession of clear
reason, and Olivia appears to imply that Viola may not be actually mad,
but only going mad, and in that case bids her begone. Staunton sug-
gested ' but mad,' that is, only mad.

189. ilial time of moon, which at full was believe! to affect luna ics.

sc. 5.] TWELFTH XIGHT. 99

//'. ski/</<iiii^, flighty and incoherent. Compare The Merchant of
Venice, ii. 2. 196:

' Pray thee, take pain
To allay with some cold drops of modesty
Thy skipping; spirit.'
19J. swabber. Admiral Smyth (The Sailor's Word-book) defines
' Swab ' as ' a sort of long mop, formed of rope-yarns of old junk, used
for cleaning and drying the decks and cabins of a ship ; ' and ' Swabber '
as ' a jx-tty officer on board ships of war, whose employment was to see
that the decks were kept clean. Also, a man formerly appointed to use
the swabs in dr)ing up the decks." So in Lodge's Wits Miserie (1596),
p. 4 : ' He telleth them of wonders done in Spaine by his ancestors :
where, if the matter were well e.xamine<l, his father was but Swabber in
the ship where Ciuill Oranges were the best merchandize.' Compare
Deaumont and Fletcher, Scornful Lady, iii. i :

' Go and reform thyself ; pr'ythee be sweeter ;
And know my lady speaks with no such swabbers.'
III. to hull is said of a ship when she lies without any sails set.
Compare Sidney's Arcadia (ed. 159S), p. 4 : 'A ship, or rather the
carkas of the ship, or rather some few bones of the carkas, hulling there,
part broken, part burned, part drowned.'

'y3- your ^aiit. Maria was very small. See ii. 5. 11, iii. 2. 61.
-Malone compares 2 Henry IV, i. 2. i, where KalstafT addresses his page,
■ Sirrah, you giant.'

193, 194. Tell . . . messenger. Hanmer, at Warburton's suggestion,
read,

' on. Tell me your mind.
Vio. I am a messenger.'
Possibly something is omitted.

196. the courtesy 0/ it, the ceremony with which it is introduced.

197. no oz<erture of war, no proposal or declaration of war.

198. no taxation of homage, no claim or demand for homage.
2C4. maidenhead, maidenhood, virginity.

jji. such a one I 7vas this /resent. Olivia si'caks as if she were
shewing Viola her portrait. ' She says,' remarks Steevens, * I 7vas this
present, instead of saying 1 am ; because she had once shewn herself,
and personates the beholder, who is afterwards to make the relation.'
Malone thinks that, before speaking these words, Shakespeare intended
Olivia again to cover her face. \ nrious changes of reading have l>een
suggested. Warburton read, 'Such a one I wear this jiresent ' ; Mason
proposed, 'Such as once I was this presents'; Steevens, 'Such a one I
was. This presence, is't not well done ? ' Singer conjectured, ' Such a
one I was as this presents.'

H 2

lOO NOTES. [act I.

22 2. if God did all. Compare Beaumont and Fletcher, The Woman
Hater, i. 3 : ' I'll tell you what yon shall see : you shall see many faces
of man's making, for you shall find very few as God left them.' And
Love's Labour's Lost, v. 2. 529 : ' He speaks not like a man of God's
making.' Again, As You Like It, iii. 2. 216 : 'Is he of God's
making ? '

223. in grain, that is, a fast colour, which will not wash out : so
called from the grain or kennes of which the purple dye was originally
made. Compare Comedy of Errors, iii. 2. 108:

'Ant. S. That's a fault that water will mend.
Dro. .V. No, Sir, 'tis in grain ; Noah's flood could not do it.'

224. />len^, blended, mingled. For this form of the participle see
The Merchant of Venice, iii. 2. 183 :

' Where every something, being blent together.
Turns to a wild of nothing.'
228. leave the world no copy. The resemblances in the 3rd, 9th, and
1 3lh Sonnets have been pointed out by Steevens and Malone.

230. schednles. Spelt 'scedules' in the first folio. Cotgrave (Fr.
Diet.) gives the three forms in French, Cedule, Scedule, and Schedule ;
and in Sherwood's English and French Dictionary (1632) we find,
' A Scedule. Scedule, cedule ; minute, schede, schedule.'

231. labelled, affixed in a label.

232. iiidiffercnt. See i. 3. 121.

234. to praise, to appraise, value. So in Troilus and Cressida, iii. 2.
97 : ' Praise us as we are tasted, allow us as we prove.'

235. / see yp7t 'what yon arc. Compare Mark i. 24: 'I know thee
who thou art.' For examples of this constraction, sec Sidney Walker's
Critical Examination of the Text of Shakespeare, i. 68-71.

240. With adorations, fertile tears. The halting metre of this line
has been variously amended. Pope read ' with fertile tears ' ; but it
seems as if the cure lay in an epithet to 'adorations.' In the Cambridge
Shakespeare we suggested that the lost word may have been 'earthward'
or ' earthly,' so that all the four elements ' of which our life consists '
(ii. 3. 9) would be represented in the symptoms of Orsino's passion.

245. /// voices ivell divulged, by public acclamation held of good
repute. Compare Coriolanus, ii. 2. 144 :

'Sir, the people
Must have their voices ; neither will they bate
One jot of ceremony '
And Julius Caesar, ii. i. 146 :

'And buy men's voices to commend our deeds.'
Jb. free, generous, noble. See ii. 4. 45, and compare Troilus and
Cressida, iv. 5. 139:

sc. 5-] TWELFTH NIGHT. lOI

'I thank thee. Hector:
Thou art too gentle and too free a man.'
.\nd Othello, iii. 3. 199:

' I would not have your free and noble nature,
Out of self-bounty, be abused.'
246. Jimension, bodily proportion. Sec v. i. 229.
lb. shape of nature, natural shape. So 'fools of nature,' Ilamlct,
i. 4. 54; 'slave of nature,' Richard III, i. 3. 230; 'diminutives ot
nature,' Troilus and Cressida, v. 1. 39.

^47. grcuioHs, ^'racefiil, full of ijrace and attractiveness. Compare
Kinjj John, iii. 4. Si :

' There was not such a gracious creature born.'
And The Merchant of \'cnicc, iii. i. ~fi:

' In law what plea so tainted and corrupt
But, being season'd with a gracious voice.
Obscures the show of evil ? '

248. took, taken. The preterite form used for the participle. So in
Julius CcEsar, ii. i. 50:

' Such instigations have been often dropp'd
Where 1 have took them up.'

249. in my master's fame, with such ardour as my master loves you.
' In ' is here very much like the French cii.

255. lantons, cantos ; to which Rowe altered it. Malone quotes
The London Prodigal, iii. 2: 'Yon say true. What-do-you-cali-him
hath it there in his third canton.' Hcywood's Great Britaines Troy
1609) is described in the title-page .ns 'A Poem deuided into xvii.
.-icuerall cantons.' Capell's substitution of ' canzons ' was therefore un-
necessary.

257. rt'zw/;<»-ai'£\ re echoing ; changed .by Theobald tu ' reverberant.'
Holt White (juotes from IIc^■^vood's Britaines Troy, canto xi. st. 9 :

' Give shrill Reuerberat Ecchoes and rebounds.'
.\nd Delius refers to Drayton, Polyolbion, Song ix. 55-58 :
'The loftie Hills, this while attentiuely that stood,
As to suruey the course of euery seuerall Flood,
Sent forth such ecchoing shoutes which euery way so shrill,
With the reuerberate sound the spacious ayre did till .'
But in both these cases 'reverberate' is passive and not active. Steevens
however gives an instance of the active sense of the word from Ben
Jonson, The Masijue of Blackness :

' N\hich skill Pythagoras
F"irst taught to men by a reverberate glass ' ;
where ' reverlierate ' = p.-verljcrant or reverlx-Tating. Similarly in Corio-
lanus. i. i. 106, ' participate ' = participant :

102 NOTES. [act I. 5C. 5.

' Where the other instruments
Did see and hear, devise, instruct, walk, feel,
And, mutually participate, did minister
Unto the appetite and affection common
Of the whole body.'
And in Hamlet, i. i. 83, ' emulate' has an active sense :

' Thereto prick 'd on by a most emulate pride.*
263. siaie, estate, condition.

269. 710 feed post, no hired messenger. Compare Coriolanus,
V. 6. 50 :

'Your native town you enter'd like a post.'
273. crttelty, abstract for concrete. See ii. 4. 80.

278. blazon, a term of heraldry, denoting the verbal description of
armorial bearings. Viola had no need of a coat of arms to proclaim
her gentle birth.

279. Unless the master were tlie man. Hanmer reads 'Unless the
man the master were.' But Olivia does not wish that the man had the
rank and dignity of the master, but that tlie master had the attractiveness
of the man.

283. To creep. In modern usage 'to' would be redundant. But
compare iii. i. 107 ; Julius Cossar, ii. 2. 38 :

' They would not have you to stir forth to day.'
And Othello, iv. 2. 12 :

' I diirst, my lord, to wager she is honest.'
Again, Comedy of Errors, v. i. 25 : 'Who heard me to deny it?' In
Cymbeline, v. 4. 187, the reading of the folios, and no doubt the correct
one, is ' You must either be directed by some that lake upon them to
know, or to take upon yourself that which I am sure you do not
know.'

285. peevish, foolish, silly, wayward See note on Julius Ca'sar,
V. I. 61.

286. 77/1? county's man. Capell's reading. The first folio has
'Countes,' the others 'Counts,' which Rowe altered to 'Duke's.' So in
Much Ado, ii. i. 195, the quarto has 'County,' while the folio has
'Count'; and in ii. 1. 370, the quarto has 'Countie,' while the first
folio has 'Counte ' and the others 'Count * as here.

287. /'// none. See i. 3. 98.

288. to flatter with his lord. For the construction compare Two
Gentlemen of Verona, iv. 4. 19;, :

' Unless I flatter with myself too much.'
And Richard II, ii. 1. 88:

'Should dying men flatter with those that live?'
291. hie thee, haste thee.

ACT II. SC

1.] TWELFTH MUIIT. IO3

294. too great a flatterer for my mind, so that my mind will be un-
able to resist the too favourable impression which my eyes have
received.

295. ourselves xve do not owe, we are not masters of ourselves. For
' owe' in the sense of ' possess,' see A Midsummer Night's Dream, ii. 2.79:

' Churl, upon thy eyes I throw
All the power this charm doth owe.'

ACT II.

Scene I.

I. nor . . . not. Compare Measure for Measure, ii. i. j^i : ' But the
l.iw will not allow it, Tompey ; nor it shall not be allowed in Vienna.'
.^nd The Merchant of Venice, v. i. 35 :

' Steph. I pray you, is my master yet retum'd ?
Lor. Fie is not, nor we have not heard from him.'
,"•,. By your patienie, by your leave, with your permission. Com] are
The Tempest, iii. 3. 3 :

' By your jiatience,
I needs must rest n^.e '
//'. my stars, the planets which influence my destiny. See i. 3. i 20.
4. malignancy, malignant aspect.

lb. distemper, disorder, disturb ; used either of physical causes or
mental emotions. See i 5. S:, and Othello, i. i. 99 :

' Being full of supper and distempering draughts.'
Again, Venus and Adonis, 653, of jealousy:

' Distempering gentle Love in his desire.'
And The Tempest, iv. i. 145 :

' Never till this day
Saw I him tonch'd with anger so distemper'd.'

8. bound, intending or about to go ; generally used of a ship.

9. AV, sootJi, no, in truth ; no, truly. See ii. 4. 88, and Julius Casar,
ii. 4. :o : ' Sooth, madam, I hear nothing.' The full phrase is ' in sooth,'
or, ' in good sooth.' both which are of common occurrence, and both are
used without the preposition. 'Sooth' is from the Anglo-Saxon s66,
true; and both soO and sode are used adverbially in the sense of ' truly.'
We find also on s66e, in truth.

lb. determinate, fixed, limited.

10. extravagancy, roaming at large, wandering without an object.
Sebastian says, his most settled plan of travelling is mere vagrancy.
The substantive does not occur again in Shakespeare, but we find the
adjective in Othello, i. i. 137 :

I04 NOTES. [act ii.

' Tyinij her duty, beauty, wit and forlunos
In an extravagant and wheeling stranger
Of here and e%ery where.'
I}, a touch or delicate feeling. Compare A Midsummer Night's
Dream, iii. 2. 286 :

' Have you no modesty, no maiden shame.
No touch of bashfuluess ? '
And The Tempest, v. i. 21 :

' Hast thou, which art but air, a touch, a feeling
Of their afflictions ? '
Again, Cymbeline, i. i. 135 :

' I am senseless of your wrath ; a touch more rare
Subdues all pangs, all fears.'

12. it charges me, it is incumbent upon me.

lb. in mannci's, in accordance with good manners. Compare Sonnet,
Ixxxv. 1 : ' My tongue-tied Muse in manners holds her still.'

13. to express myself, make myself known.

15. Messaline, a place unknown to geographers. Hanmer therefore
read 'Metelin,' that is, Mitylene.

1 9. the breach of the sea, where the sea broke, the breakers or surf.
Steevens quotes from Pericles, ii. 1. 161, where the old editions read,
' And, spite of all the rupture of the sea,
This jewel holds his building on my arm.'

23. was, who was. Hanmer reads " who, tho' ' for ' though ' in the
previous line. .See i. 5. 92, 93.

24. 7c///i such estimable wonder, with the admiration which influenced
such a judgement. The phrase is one for which it is difficult to find an
equivalent, and Warburton omitted it as an interpolation of the players.
Johnson says, ' Estimable wonder is esteeming wonder, or wonder and
esteem. The meaning is, that he could not venture to think so highly
as others of his sister.' Of course this is roughly the meaning, but it
does not come from Johnson's substituted phrases.

28. 'cvith more, that is, with salt tears. Steevens compares Ilamlcl,
iv. 7. 186, 187 :

' Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears.'

30. your trouble, the trouble you have had about me.

31. If you will not murder me for my love. Knight suggests that
Shakespeare in this may have referred to a superstition of which Scott
makes use in The Pirate, that any one who was saved from drowning
would do his preserver a capital injury. But Antonio seems only to appeal
to Sebastian not to kill him as a reward for his love by abandoning him.

36. the manners of my mother. Compare Henry V, iv. 6. 30-32 :

so. 3.] TWELFTH NIGHT. I05

' Bui I hail not so much of man in nic,
And all my mother came into mine eyes
And gave me up to tears.'
'>^ce also Hamlet, iv. 7. 190.

Scene II.

The stage direction of the Folios is, ' Enter Viola and Maluolio, at
scuerall doores.'

I. even noxu, just now. So in The Tempest, ii. i. .^i t :

' Even now, we heard a hollow burst of bellowing.'

'.. on a inodiratc pace, by walking at a moderate pace. 'On' is
Irt'iuently used with that which is the occasion of anything.

3. to have taken it away, by taking it away. Compare the Merchant
of Venice, iv. i. 431 : 'I will not shame myself to give you this' ; that
is, by giving you this. See Abbott, § 356.

6, 7. a desperate assurance, an assurance which will drive him to
despair, or will leave him without hope of a change.

8. so hardy to come, that is, as to come. So in Lear, i. ^. 40, 41 :
Not so yonng, sir, to love a woman for singing, nor so old to dote on
her for anything.'

I I . She took the rin^ of me : I '// /tone of it. In an admirable study
of the character of Viola the late Mr. Spedding completely justified the
correctness of this reading, which is substantially that of the folios, and
gives, as he says, ' one of the finest touches in the l)lay.' ' When
Malvolio overtakes her with the ring which the countess pretended that
she had left, her immediate answer is :

" .SV/(» took the ring of me: I'll none of it."
Now, as she had not left any ring, it has been thought that there must
be some mistake here, and that we should either read " no ring" instead
of "the ring"; or make an interrogative exclamation of it, "'She took
the ring of me \ " But it is plain from Malvolio's reply, " Come, sir, you
peevishly threw it to her," &c., that he understood her to mean that she
/tOi/ left it. And so no doubt she did. For though taken quite by
surprise, and not knowing at first what it exactly meant, she saw at
once thus much, — that the message contained a secret of some kind
which had not been confided to the messenger ; and with her quick wit
and s\mpathetic delicacy supjjressed the suriirise which might have
betrayed it.' Kraser's Magazine, August 1865.

14. in your eye, in vour sight, before your eyes. So Hamlet, iv.
4.6:

' If that his majesty would aught with us.
We shall express our duty in his eye.'

106 NOTES. [act n.

i(i. Fortune forbid my outside have not c/iarin'd her. 'Not' is
frequently found after verbs which contain in themselves a negative
idea. Compare The Passionate Pilgrim, 124: 'Forbade the boy he
should not pass those grounds.' Again, Much Ado, iv. i. 13: 'If
either of you know any inward impediment why you should not be
conjoined, I charge you, on your souls, to utter it.' Similarly, Comedy
of Errors, iv. 2.7:' First he denied you had in him no right.'

17. made good view of me, surveyed me closely. Compare v. i. 50.

18, sure is omitted in the first folio but is supplied in the second.
It is not a very happy emendation. Sidney Walker suggested 'as
me thought,' and this is adopted by Dyce.

//'. had lost her tongue, caused her to lose her tongue. Compare
1 car, i. 2. 125 : 'It shall lose thee nothing '

J I. in, in the person of, by means of. See i. 5. 150.

24. she were better love a dream. So As You Like It, iv. i. 73 :
' Nay, you were better speak first.' See above, i. 5. 28, and note on The
Tempest, i. 2. 367 (Clarendon Press ed.). Abbott, § 230.

26. pregnant, quick-witted, alert, ready. See iii. t. 87, and Measure
for Measure, i. i. 12 :

'The nature of our people.
Our city's institutions, and the terms
For common justice, you're as pregnant in
As art and practice hath enriched any
That we remember.'

27. proper-false, false-hearted but with a goodly exterior. Com-
pare 'beauteous-evil,' iii. 4. 352. So in The Merchant of Venice,

i- 3- 103:

' O what a goodly outside falsehood hath ! '
The words were hyphened by Malone. For ' proper ' in this sense, see
Hebrews, xi. 23 : ' By faith Moses, when he was born, was hid three
months of his parents, because they saw he was a proper child.'

28. ■z£/ajr^«, impressible as wax. So Lucrece, 1240:

'For men have marble, women waxen minds.'

30. snch as ive are niaiie of, such, &c. Tyrwhitt's emendation. The
folios have ' such as we are made, if such,' &c., which Johnson would
retain, transposing lines 29 and 30.

31. How will this fudge { How will this suit? How will this
succeed? Compare Love's Labour's Lost, v. i. 154: 'We will have,
if this fadge not, an antique.' Professor Skeal derives it from the
Anglo-Saxon yi^^vj:;/ to compact, tit.

32. monster. Hanmer reads 'minister,' but Viola refei-s to her being
really woman and apparently man.

Jb. fond. No other example is given of the use of ' fond ' as a verb.

sc. 3] TWELFTH SIGHT. 107

For instances of verbs fonned from substantives and adjectives, see
Theobald's Shakespeare Restored, pp. 7-12, and Abbott's Shakespeare
Grammar, § J90.

Sam III.

2. diluculo surgere, a reminiscence of Lilly's Grammar.

9. Dots not our life. See. The folios have ' Does not our lives, &c.'
Rowe made the correction.

/i>. the four cUnunts, earth, air, fire, and water ; which were believed
to enter into the composition of ever)' man, and upon a proper blending
of which the temperament and character depended. Compare the
description of Bratus in Julius Casar, v. 5. 73, and the note on that
passage in the Clarendon Press edition. See also Antony and Cleopatra,
V. 2. 292 :

' I am fire and air ; my other elements
I give to baser life.'
.Vnd the note to Henrj' V, iii. 7. 20 (Clarendon Press ed.\

13. a stoup is a drinking-cup, and the word is still used in onr
collie halls and butteries. See Hamlet, v. 1.68: ' Fetch me a stoup
of liquor.' It was a vessel of var)ing capacity. Etymologicallv, ' stoup '
is from the Middle English stope, which had for its ancestor the Anglo-
Saxon stCiip, a cup, and for its kindred the Icelandic stau/a, Swedish
stop, Dutch stoop and German staiif.

1 5, 1 6. the picture of ' 'ce three.' According to Malone, ' Shakesjieare
had in his thought a common sign, in which two wooden heads are
exhibited, with this inscription under it : " We three loggerheads be."
The spectator or reader is supposed to make the third.' Douce thinks
that the sign represented two fools : I Icnley, two asses, as appears probable
from Sir Toby's speech ; but the explanation is the same. Ilalliwell
quotes from Taylor, the Water Poet's Farewell to the Tower Bottles
[Spenser Soc. etl. p. 608] :

' Plaine home-spun stuffe shall now proceed from me,
Much like vnto the picture of we Three.'
On which the marginal note is, ' The picture of two Fooles, and the third
looking on, I doe fitly compare with the two blacke Bottles and
my selfe.'

1 7. a eatih or part-song. See below, 1. 63. and note on The Tempest,
iii. i. 114 (Clarendon Press etl.).

18. breast, voice. Compare Ascham's Toxophilus (ed. Arber), p. 42 ;
' Besyde al these commodities, truly .ii. degrees of menne, which haue the
highest offices %-nder the king in all this rcalme, shal greatly lacke the vse
of Singinge, preachers and lawiers, bycause they shal not without this.

ro8 NOTES. [Act II.

be able to rule their brestes, for euery purpose.' And lIollaiKl's
Plutarch, p. 1 249 : ' And as for Thamyris a Thracian borne, he reporteth,
that of all men living in those dales, he had the sweetest brest, and sung
most melodiously.'

19. /had rather than forty shillings. So in Merry Wives, i. i. 205 :
' I had rather than forty shillings I had my Book of Songs and Sonnets
here.'

24. thy Ictnan, thj'- mistress or sweetheart. In Middle English the
word appears in the forms Icofinon, lefmon, and Icfman of which laninan
or leman is the abbreviation. In the folios the spelling is Lemon,
which was corrected by Tlieobald. It is used of either sex. See
Merry Wives, iv. 2. 172 : 'As jealous as Ford, that searched a hollow
walnut for his wife's leman.'

lb. hadst it. In familiar questions ' thou ' is frequently omitted.
Compare As You Like It, iii. 2. 22 : ' Hast any philosophy in thee?'

25. I did impeticos thy gratillity, &c. Steevens has endeavoured to make
sense out of what even Sir Andrew saw was nonsense, and gives the
following as a probable explanation : ' He says he did impeticoat the
gratuity, i. e. he gave it to hxs petticoat companion ; for i^says he) " Mal-
volio's nose is no whipstock," i. e. Malvolio may smell out our con-
nection, but his suspicion will not prove the instrument of our punish-
ment. " My mistress has a white hand, and the myrmidons are no
bottle-ale houses," i. e. my mistress is handsome, but the houses
kept by officers of justice are no places to jnake merry and entertain
her at.'

28, 29. when all is done, after all. Sec A Midsummer Night's Dream,
iii. I. 16: 'I believe we must leave the killing out, when all is done.'
And Macbeth, iii. 4. 67 :

' When all 's done.
You look but on a stool.'

32. testril, sixpence; U'kc 'tester,' which occurs in 2 Henry IV.
iii. 2. 296, a corruption of 'teston,' which was borrowed from the
French. It may be that ' testril ' is a diminutive of ' tester.' Cotgrave
(Icfuics 'Teston; m. . . . a Testoone ; a piece of siluer coyne worth
xviijd. sterling.' It was struck by Louis XII and so called because it
had a head {teste \ stamped upon it. See Ruding's Annals of the
Coinage, ii. 86. In England testoons were first struck by Henry VIII.
in 1543> going for twelve pence a piece, the pound of silver being ten ozs.
fine and two ozs. alloy. In the reign of Edward VT, the coinage was
so far debased that a testoon was only current tor sixpence, and in 1560
the better sort were marked with a portcullis and passed for ^\d., while
the inferior were marked with a greyhound, and passod for 2\d. See
Stow's Annals (ed. 1580), p. 11 15.

sc. 3.] TWELFTH SIGHT. IO9

lb. of me. Compare Love's Labour 's Lost, iv. 3. 1 97 :
' A'ing. Where had'st then it?
/(!</. Of Costard.'

33. giz'e a. So the second and later folios. The tirst folio has
' giue a ' at the end of a line without any dash, and probably some words
which should follow are omitted.

o4> 35- ^ song of good life was a song with a moral in it. Steevens
thinks it may mean a song of good living in the other sense, but Sir
Andrew did not take it so. We find 'good life,' in the sense of virtuous
conduct, in Merry Wives, iii. 3. 127 : ' Defend your reputation, or bid
farewell to your good life for ever.'

• o. .r:ive( ami tiventy, that is, sweet kisses and twenty of them, twenty
l)eing used as a round number ; or we may point with Theobald ' sweet,
and twenty,' makiiig ' sweet ' a vocative. But to read ' sweet and twenty '
as a vocative wth Boswell is certainly wrong. There are many instances
of this use of ' twenty.' Compare Merrj- Wives, ii. i. 203 : ' Good even
and twent}', good Master Page ! ' Again, Rowley, When you see me
you know me (ed. Elze"), p. 26 : ' God ye good night and twenty, sir.'
And in The Two Noble Kinsmen, v. 4:

' Wooer. I told her presently, and kiss'd her twice.
Doctor. 'Twas well done : twenty times had been far better.'
And again in the same scene,

' Daugh. And shall we kiss too ?
Wooer. A hundred times.
Daugh. • And twenty?

Wooer. Ay, and twenty.'

■;<). f/ie u'elkin, the sky. See iii. 1. 56. From the .Middle Lnglish
weikne or -woUne, Anglo-Saxon -woknu, clouds.

57, 58. that -will ilraw three souls out of one weaver. In Much Ado,
ii. 3. 61, 62, Benedick says, ' Is it not strange that sheeps' guts should hale
souls out of men's bodies ? ' and to this power of music Shakespeare
again refers ; but that he had in his mind the three souls given to man by
the peripatetic philosophers, the vegetative or plastic, the animal, and
the rational, as Hishop Warburton suggests, is open to serious doubt.
To draw three souls out of one starved weaver can be nothing more than
a humorously exaggerated consequence of the power exerted by music,
and to bring about this by a drinking song was a greater triumph still,
for weavers were giveit to psalms. Compare 1 Henry I\', ii. 4. 147 : 'I
would I were a weaver; I could sing psalms or anything.' See also Ben
Jonson, The Silent Woman, iii. 2: 'He got this cold with sitting up
late, and singing catches with cloth-workers.'

.^9, 60. /aw tlog at a catch. Compare Two Gentlemen of Verona, iv.
4. 14: 'To be, as it were, a dog at all things,' that is, good at ever) -

no NOTES. [actii.

thing. Again, Nash, Have with you to Saffron Waldon (ed. Grosart),
Ep. Ded. p. 8 : 'O, he hath been olde dogge at that drunken, staggering
kinde of verse.'

6i. Byr lady, by car lady. See Richard III, ii. 3. 4.

63. Hold thy peace, thou knave, &c. ' A catch,' says Sir John Hawkins,
' is a species of vocal harmony to be sung by three or more persons ; and
is so contrived, that though each sings precisely the same notes as his
fellows, yet by beginning at stated periods of time from each other, there
results from the performance a harmony of as many parts as there are
singers.' 'The catch,' he adds, 'to be sung by Sir Toby, Sir Andrew,
and the Clown, from the hints given of it, appears to be so contrived
as that each of the singers calls the other knave in turn.' He gives the
notes of the catch from a musical miscellany called Deuteromelia, pub-
lished in 1609.

69. a caterwauling, a noise like the crying of cats. So in Titus
Andronicus, iv. 2. 57 :

' Why, what a caterwauling dost thon keep ? '

72. a Cataia7i, properly a Chinese or native of Cathay, appears like
his modern compatriot the heathen Chinee, to have been synonymous
with a sharper. Sir Toby is too drunk to use his epithets appropriately,
and his applying the term ' Catalan ' to Olivia is the consequence. It
occurs again in Merry Wives, ii. i. 148: 'I will not believe such a
Catalan, though the priest o' the town commended him for a true man' ;
where the contrast with ' true man ' shews that Catalan is equivalent to
' thief.'

73. a Peg a- Ramsey, another term of reproach, borrowed from an
old song, perhaps not more approjiriate as applied to Malvolio. Mr.
Chappell (Popular Music of the Olden Time, p. 218) informs us that
' There are two tunes under the name of Peg-a-Rn,msey, and both as old
as Shakespeare's time. The first is called Pega-Ramsey in William
Ballet's Lute Book, and is given by Sir John Hawkins as the tune quoted
in Twelfth Night. . . . "Little Pegge of Ramsie" is one of the tunes in
a manuscript by Dr. Bull, which formed part of Dr. Pepusch's, and
afterwards of Dr. Kitchener's, library.'

lb. 'Three merry men be we? Steevens quotes the earliest instance in
which the song of which this is the refrain occurs, from Peek's Old
Wives Tale (159.^) :

■ Three merric men, and three merrie men,

And three merrie men be wee :
I in the wood, and thou on the ground,
And Jacke sleepes in the tree.'
He also points out that it is repeated in Dekkerand Webster's Westward
Ho, V. 4 (ed. Dyce, p. 243), in Beaumont and Fletcher, The Knight of

sc 3.] TWELFTH MGHT. 1 1 I

the IJuming Pestle, ii. 5, The Bloody Brother, iii. 2 ; and again in the
old play of Ram Alley or Merry- Tricks 161 1). The tunc is i,riven by
Mr. Chappell, Popular Music, &c., p. 216.

74. TiUy-rally, an interjection expressive of good-natured contempt,
probably of an ori<,an similar to that of ' fiddlc-de-dee,' although Steevens,
with apparent seriousness, suggests that it may be a corruption of the
Latin titivilitium ;see Hen Jonson's Silent Woman). It is used in a
slightly diffeient form by Mistress Quickly in 2 HenYy IV, ii. 4. ijo :
' Tilly-fally, Sir John, ne'er tell mc ; your ancient swaggerer comes not
in my doors.' Johnson tells us it was frequently in the mouth of Sir
Thomas More's lady. Dibdin, in his introdunion to More's Utopia,
quotes two instances. After Sir Thomas had resigned the seals, she said,
' Tillie vallie, tillie vallie, what will you do, Mr. More, will you sit and
make goslings in the ashes ? ' And again when in the Tower he asked,
' Is not this house as near heaven as mine own ? ' she answered, after her
custom, ' Tillie vallie, tillie vallie.'

75. There ikuelt a matt in Babylon, &c. From the ballad of Susanna,
according to Warton, which was licensed to T. Colwell in 1562, under
the title of The godly and constante wyfc Susanna. See Arber's Tran-
script of the Stationers' Registers, i. 210. A copy is preserved in the
Pepysian Collection. The same burden, ' Lady, lady,' occurs in a ballad
printed in Ancient 13allads and Broadsides 1 Lilly, 1S67), p. 30, and in
the interlude of the Trial of Treasure (iSf^?), quoted in the notes to the
same volume. Another example is found in Twenty-five Old Ballads
and Songs, from MSS. in the jiossession of J. Pajne Collier, iS6y, p. 19.

77. Beshrcw me, literally, may mischief befall me, was used merely
as a strong asseveration, as similar e.xpressions are still by persons
whose vocabulary is limited. See note on A Midsununcr Kight's Dream,

ii. 2. 54.

78. disposed, used absolutely, signifies, in the humour for mirth. So

in Love's Labour 's Lost, v. i. 465 :

'The trick

To make my lady laugh when she's disposed.'

81. twelfth, spelt ■ twelfe' in the folios. So the title of the play is

' Twelfe Night.' 0 the tivelfth day of December is probably the first

line of a popular ballad commemorating some public event, jierhaps a

victory, as the ballad of Brave Lord Willoughby begins, 'The fifteenth

day of July.' Sidney Walker proposed to read ' O' the twelfth day,' &c.

85. tinkers, who were proverbially given to tippling, Christopher Sly
being an eminent example. Compare i Henry IV, ii. 4. 20 : ' To con-
clude, I am so good a proficient in one quarter of an hour, that I can
drink with any tinker in his own language during my life.'

86. eoziers' catches. Minsheu. in The Guide into Tongues (161 7), has.

112 NOTES. [acth.

' A Cosier or sowter, from the Spanish word roscr, i. to sew. Vide
Botcher, Souter, or Cobler.'

89. Sneck up ! A contemptuous expression of dismissal, equivalent to
' go and be hanged ! ' Compare Heywood, Fair Maid of the West
(Works, ii. 268) :

' I Draw. Besse, you must fill some wine into the Portcullis, the
Gentlemen there will drinke none but of your drawing.

Spenc. She shall not rise sir, goe, let your Master snick-up.
I Draw. And that should be cousin-german to the hick-up.'
And Porter, Two Angrie Women of Abington (p. 8, ed. Dyce, Percy
Society) : ' And his men be good fellowes, so it is : if they be not, let
them goe sneik vp.' Steevens quotes Beaumont and Fletcher, The Knight
of the Burning Pestle, ii. 2 : 'No, Michael, let thy father go snick-up';
and iii. 2 : ' Give him his money, George, and let him go snick-up.' In
his note on the former of these passages Weber quoted the foUoM'ing
lines of Taylor the Water Poet, from his poem In Praise of Hempseed
(Spenser Society's Reprint, p. 552) :

'To end this matter, thus much I assure you,
A Tiburne Hempen-caudell well will cure you.
It can cure Traytors, but I hold it fit
T'apply 't ere they the treason doe commit :
Whersfore in Sparta it ycleped was,
Snickup, which is in English Gallow-grasse.'
This quotation justifies the identification of 'Snick uji' with ' Go hang.'

90. roiDui, plainspoken, straightforward. So in Henry V, iv. i. 216:
' Your reproof is something too round.' And Hamlet, iii. 1. 191 :

' Let her be round with him.'
Again in Bacon, Essay i. p- 3 : ' It will be acknowledged, even by those,
ihat practise it not, that cleare and Round dealing is the Honour of Mans
Nature.'

i^d.. Farewell, dear heart, &c. From Corydon's Farewell to Phillis,
printed by Percy in his Reliques (vol. i. p. 222, ed. 1857) ^'"0'^ The
Golden Garland of Princely Delights. It was first published in 1601 in
a Booke of Ayres composed by Robert Jones (HalliwcU-Phillipps, Out-
lines of the Life of Shakespear, 4th ed. p. 26S). The fragments sung by
Sir Toby and the Clown are from the same, or a slightly different version.

107. tunc. Theobald changed this to "time,' 10 make it agree with

1. 89.

109. Cakes and ale, such as it was the custom to have on the festivals
of the Church, of which Malvolio as a Puritan would disapprove. In
Ben Jonson's Bartholomew P'air, i. i (quoted by Knight), Rabbi Zeal-of-
the-I-and Busy is described as a baker of Banbury wlio had given over
ills trade ' out of a scruple he took, that, in spiced conscience, those cakes

sc. 3.] TWELFTH SIGHT. II3

he maile. weic scrveil to bridals, maypoles, raorrices, and such profane
feasts and meetings.*

110. Sain! Anne. Christopher Sly swears also by Saint Anne,
Taming of the Shrew, i. i. 255.

1 1 2. your i/iiiin, the steward's badge of office. Steevens illustrates
this and the rubbing with crums by one very apt quotation from Webster's
Duchess of Malfi [iii. j] :

' Fourth off. Well, let him go.
First off. Yes, and the chippings of the buttery fly after him, to
scour his gold chain.'
Compare also the old play of Sir Thomas More (Shakespeare Society
ed.). p. 42 : ' If I doe not deserve a share for playing of yout lordship
well, lelt me be yeoman vsher to your sumpter, and be banished from
wearing of a gold chaine for ever.' Again, in Decker's CIull's Horn-
book, c. 7 (ed. Nott, p. 152) : 'Some austere and sullen-faced steward,
who, in despite of a great beard, a satin suit, and a chain of gold wrapt
in Cyprus, proclaims himself to any, but to those to whom his lord owes
money, for a rank coxcomb.' Other instances occur in Ben Jonson's
Every Man out of his Humour, i. i ; Beaumont and Fletcher's Lover's
Progress i. i, and Love's Cure, i. 2; and Middleton's A Mad World
my Masters, ii. i (vol. ii. p. 347, ed. Dyce.

113. a stoup. See 1. 13. In the folios it is here spelt ' slope.'

116. uncivil, disorderly, unmannerly. So in Two Gentlemen of

X'erona, v. 4. 17:

' Yet I have much to do
To keep them from uncivil outrages.'
lb. rule, conduct, behaviour, course of proceeding. Steevens quotes
irom Ben Jonson's Tale of a Tub [iv. 5] :

' Let them go
Into the bam with warrant, seize the fiend.
And set him in the stocks for his ill rule.'
And from Drayton, Polyolbion xxvii. [251] :

'Cast in a gallant round .ibout the hearth they go,
And at each pause they kiss, was never seen such rule
In any place but here, at bonfire, or at yule.'
The compound 'misrule' is familiar.
lb. by this hand. See i. 3. 32.

117. shake your ears, like a helpless ass. Compare Julius CoE.-sar, iv.
I. 26:

' And havmg brought our treasure where we will.
Then take we down his load, and turn him off,
Like to the empty .-us, to shake his ears,
And graze in commons.'

I

1J4 NOTES. [act ii.

1 1 8. as good a deed as to drink. Compare i Henry IV, ii. i. 32, 33 :
' An 'twere not as good a deed as drink, to break the pate on thee, I am
a very villain.'

1 1 9. a-hungyy. This rustic form is used by Master Slender in the
Merry Wives, i. i. 280 : ' I am not a-hungry, I thank you, forsooth.'
And Coriolanus, i. 1. 209, imitating the populace, says, ' They said they
were an-hungry.' Compare ' a-cold.'

lb. to challenge him the field, that is, to single combat. Rowe in his
second edition printed ' to the field,' and he has been followed by most
modern editors. Ur. Schmidt proposes 'to field.'

1 20. gitll, deceive, dupe. A ' gull ' is originally a callow or unfledged
bird ; and hence, one who is easily imposed upon, a dupe or fool. See
note on Richard III, i. 3. 328. The word occurs as a verb in Henry V,
ii. 2. 121 :

' If that same demon that hath guU'd thee thus.*
lb. a nayword. In the Merry Wives, ii. 2. 131, a 'nay word' is
used for a password : ' In any case have a nay-word, that you may know
one another's mind, and the boy never need to understand anything.'
And again v. 2. 5 : ' We have a nay-word how to know one another.'
Possibly a 'nay-word' may have been a word which had no meaning to
anyone but the persons using it. In the present passage Rowe substi-
tuted 'a nayword' for 'an ayword' of the folios, understanding by it
ajijiarently 'a byword.' Forby records 'nayword' among the provin-
cialisms of East Anglia, and it is included by Canon Forman in his
Upton on Severn Words and Phrases (luiglish Dialect Soc).

I2y. J'ossess us, inform us, tell us all about it. Compare Troilus and
Cressida, iv. 4. 114 :

' At the port, lord, I'll give her to thy hand ;
And by the way possess thee what she is.'
131. Sir Andrew anticipates The Shortest Way with the Dissenters.

136. constantly, consistently.

137. a tiine-pleaser, a time-server. Compare Coriolanus, iii. i- 45:
' Scandal'd the suppliants of the people, call'd them

Time-pleasers, flatterers, foes to nobleness.'
//'. affectioncd, affected, full of affectation. In Hamlet ii. 2. 464,
'nor no matter in the phrase that might indite the owner of affectation,'
is the reading of the folios, while the quartos have 'affection.' Com-
pare Love's Labour 's Lost, v. i . 4 : ' Witty without affection ' ; which is
the reading of the first folio, changed in the later editions to 'affectation.'
lb. cons, learns by heart, as an actor his part. A word of the theatre,
as ' without book ' that follows. See Romeo and Juliet, i. 4. 6 :
' \or no without-book prologue, faintly spoke
After the prompter.'

50.3-] TWELFTH SIGHT. 1 15

In 1^ Jonson's Every Mail out of his Humour il is said in the
(icj.oription of Shift, ' He waylays the reports of services, and cons them
without book.' For ' cons state without book ' it has been proposed
to read ' cons stale wit out of books.' But Malvolio's affectation was
not wii, but deportment.

138. utters it, gives it out to the public, delivers it, both in words
and actions.

//'. suurtJts. A swarth, or more properly 'swath,' is as much grass
as a mower can cut with one sweep of his scythe. See Troilus and
Cressida, v. ;. J5 :

' And there the strawy Greeks, ripe for his edge.
Fall down before him, like the mower's swath.'
The sj)elliiig 'swarth' indicates the pronunciation.

13S, 139, best persuaded, having the Ixist opinion.

1 40. grounds in the first folio, changed in the second to 'ground,'
unnecessarily.

141 . expressure, expression. Compare Troilus and Cressida, iii. 3. 204 ;

' Which hath an operation more divine
Than breath or pen can give expressure to.'
So ' impressure ' for ' impression,' ii. 5. 86.

156. a horse of that colour. ' Colour ' is here used for kind, sort, as
in As You Like It, i. 2. 107 : ' Sport 1 of what colour V ' and iii. 2. 435 :
' As boys and women are for the most part cattle of this colour.'

157. And your horse, &c Tyrwhitt thought this speech argued too
great quickness of wit in Sir Andrew, and should be given to Sir Toby.
The mistake in assigning it might easily have arisen from the first word
' and ' being supposed to indicate the speaker.

158. Ass. A similar play on 'As' and 'Ass' is found in Hamlet,
V. a.43:

' And many such-hke ' As'es of great charge.'

165. Penthenlea, the Amazon queen ; another jest at Maria's small
stature. See i. 5. 193.

166. Before me, a petty oath, is substituted for the more profane
' Before God ' which is found in Henry V, v. 2. 148. Compare Uthello,
iv. 1. 149 : 'Before me 1 look, where she comes.' So we find in Romeo
and Juliet, ii. 4. 170: 'Afore God !' and in iii. 4. 34: 'Afore me!' See
note on Coriolanus, i. 1. 11.^ vGlarendon Press ed. .

168. what o that I no matter. See iii. 4. 21, and A Midsummer
Night's Dream, i. i. 2.'is :

' Through Athens I am thought as lair as she.
But what of that V '
171. recover, get, attain to; not necessarily to get again a thing
which has been lost. Comjjare The Tempest, iii. 2. lO : "1 bwam, ere

I 2

T l6 NOTES. [act n.

I could recover the shore, five and thirty leagues off and on.' And The
Two Gentlemen of \'erona, v. i . 12:

' Fear not : the forest is not three leagues oft' ;
If we recover that, we are sure enough.'

173. out of my reckoning.

175. ca// me cut. A curtal horse was a horse whose tail had been
docked, as a curtal or curtail dog was one who had been treated in a
similar manner : and as from the latter the abbreviation ' cur ' came to
be used as a term of contempt, so ' cut ' from ' curtal ' was employed in
the same way. Thus in the play of Sir Thomas More (p. 52, ed. DycCj
Shakespeare Soc.) : ' Haue the Fates playd the fooles? am I theire
cutt?' Compare The London Prodigal (p. 477, ed. 1780), one of
the plays falsely attributed to Shakespeare : ' An I do not meet him,
chill give you leave to call me cut.' And Heywood, If you know not
me, you know no body (Works, i. 256) : 'And I do not show you the
right trick of a cosin afore I leaue England, lie gius you leaue to call
me Cut.' Further, see Ben Jonson, A Tale of a Tub, iv. 1 :

' If I prove not
As just a carrier as my friend Tom Long was,
Then call me his curtal.'
Again, Falstaff says, 1 Henry IV, ii. 4. 2 1 5 : 'I tell thee what, Hal, if
I tell thee a lie, s]nt in my face, call me horse.' The phrase 'cut and
long-tail,' which is used to denote all of every sort (Merry Wives, iii. 4.
47), shews that Steevens's ex{)lanation of 'cut' by 'gelding' is not
correct. ' Cut ' is the name of the carrier's horse in i Henry IV, ii. i . 7.

1 78. burn some sack. Mulled or burnt sack was a favourite drink in
Shakespeare's time. See The Merry Wives of Windsor, ii. 1. 223 : 'I'll
give you a pottle of burnt sack to give me recourse to him and tell him
my name is Brook.' For 'sack,' see note on The Tempest, ii. 2. no
(Clarendon Press ed.). The derivation of the word is no doubt from
sec, dry ; not because sac was a dry wine in the modem sense of the
word, but because it was made of grapes which in a very hot summer
were dried almost to raisins by the sun, and so contained a large
quantity of sugar.

Sc&tie IV.
3. but, only.

3. antique, in the first folio ' Anticke,' has the accent on the first
syllable as always in Shakespeare. Compare Sonnet .xvii. 12 :
' And your tme rights be term'd a poet's rage
And Stretched metre of an antique song.'
Here it has the sense of old-fashioned, quaint, but not necessarily
fantastic or grotesque.

sc. 4-] TWETFTH SIGHT. W]

4. passion, suffering, grief; used of strong emotion of any kind.
Compare The Temjiest, i. 2. 392 :

' Allaying both their fury and my passion
With its sweet air."

5. recollected terms, phrases gathered with pains, not spontaneous.
Knight proposed to read ' tnnes' for 'terms,' but we have already had
the ' tunes' in the ' airs,' and the ' terms' must therefore be the words set
to music. So ' festival terms,' in Much Ado, v. 2. 41, are ' holiday
phrases.' Compare Love's Labour 's Lost, v. 2. 406 :

' Taffeta phrases, silken terms precise.'
Johnson explains 'recollected' by ' recalled,' ' repeated,' in reference to
' the practice of composers, who often prolong the song by repetitions.'
But the sense given above is confirmed by a passage in Pericles, ii. 1 . 54 "•
' How from the finny subject of the sea
These fishers tell the infirmities of men ;
And from their water}' empire recollect
All that may men approve or men detect ! '
18. motions, emotions, feelings. Compare Measure for Measure,
i. 4. 59:

' The wanton stings and motions of the sense.'
And Hamlet, iii. 4. 72 :

' Sense, sure, you have,
Else could you not have motion.'

21, 2 2. the scat ll'/'icrc Love is throiicJ, the heart. See i. i. 38.

22. masterly, skilfully, like a master in the art of love.

24. favour, countenance. See iii. 4. 312, 364, and As You Like It,
V. 4. 27:

' I do remember in this shepherd boy
Some lively touches of my daughter's favour.'

25. l>y your favour. Viola u.-^s 'favour' in a sense of her own,
without betraying her secret to the Duke.

29. let still the woman take, &c. Shakespeare is supposed by Malonc
to be speaking from his own experience ; but he was seldom autobio-
graphic, and did not wear his heart upon his sleeve.

30. so wears she to him, grows fitted to him by use like a garment.
Compare Macbeth, i. 3. 143 :

' New honours come upon him,
Like our strange garments, cleave not to their mould,
But with the aid of use.'

31. so s'ways she level, exercises an evenly balanced influence.
34. worn, worn out, effaced. See 2 Henry VI, ii, 4. 69 :

'These few days' wonder will be quickly worn.'
Hanmer unnecessarily substituted ' won,' which would have no meaning

Il8 NOTES. [actii.

here, although the misprint of 'worn' for ' won ' occurs in The Merchant
of Venice, i. 3. 45, where the folios read 'well-worn thrift' for 'well-
won thrift.'

37. ho/J the be7tt, keep true to its aim, preserve its original inclina-
tion. Compare Much Ado, ii. 3. 232: 'It seems her affections have
their full bent ' ; that is, are allowed freely to obey their impulse.

45. the free maids. 'Free' must mean here 'free from care,' care-
less, happy. ' Fair and free,' as Warton points out in his notes to
Milton's L'Allegro, are frequently coupled together in the metrical
romances as epithets for a lady. So in Syr Eglamour,

' The erles daughter fair and free.'
In these and similar instances ' free ' denotes one of gentle or noble
birth. See i. 5. 245. Thus in the Romance of Sir Perceval of Galles
(Thornton Romances, Camden Soc), 521, we find 'Percyvelle the
free'; and in Robert of Gloucester's Chronicle (ed. Heame), p. 420,
Henry I is described as

' Of fayrost fourme and maners and mest gentyl and fre.'
lb. that weave their thread with bones, describes the lacemakers who
formerly used bones for pins in setting out the pattern of their work.
In Beaumont and Fletcher's Scornful Lady, v. 2, among the accomplish-
ments of a good housewife it is said, ' She cuts cambric at a thread,
weaves bone lace, and quilts balls.'

46. silly sooth, simple truth. For 'silly' in this sense compare
Cymbeline, v. 3. 86:

' There was a fourth man, in a silly habit,
That gave the affront with them.'
' Sooth ' (A.-S. s69, truth) occurs in Macbeth, i. 2. 36 : ' If I say sooth ' ;
and v. 5. 40 : 'If thy speech be sooth.' See ii. 3. 20.

47. dallies, sports, plays, trifles. vSee iii. i. 14.

48. the old age, the former time, which was always better than the
present. Compare Sonnet, cxxvii. i :

' In the old age black was not counted fair.'

50. Ay ; prithee. The folios have, ' I prethee.'

51-66. As the song can hardly be said to dally with the innocence of
love, Staunton conjectured that it was ' an interpolation and not the
original song intended by the poet.' It may be that in such cases the
song varied with the capacity of the actor.

52. in sad cyp] CSS, that is, either in a coffin of cypress wood or on a
bier strewn with branches or garlands of cypress. Warton suggested
that by ' cypress ' was meant a shroud of cypress or crape (see iii. i. iiq);
but Malone maintnined that by ' cypress ' the tree and not the fine linen
was intended, because a line or two further on we find that the shroud
is described as ' white,' and although there is both black and white

sc. 4-] TWELFTH XTGHT. 1 I9

crape, the epithet • sad ' is inappropriate to the latter. ' Sad cypress ' is
of course the conventional phrase for the tree which played an important
part in all funerals. Kor instance, Drummond (Part i. Sonnet, ao) :
' Of weeping myrrh the crown is which I crave,
With a sad cypress to adorn my grave.'
.•\nd Cowley, On the death of Mr. William Harvey, ix. 5 :
' Instead of bays, crown with sad cyjircss me ;
Cypress ! which tombs doth beautify.'
As an instance of a coffin of cypress wood, Malone refers to the funeral
of Kol)ert de Vere, the favourite of Richard II, who died at Louvain,
and was brought to England by order of the king, who caused • the
CofTeii of Cipres. wherein his body being embalmed lay to be ojiened.
y' he might behold his face, and touch him with his fingers.' ;Slow's
Annals, p. 518, ed. 1580.)

53. Fly away, fly away. Kowe's correction of the reading of the
folios, ' Fye (or Fie) away, fie away.'

57, 58. My part . . . share it Johnson explains, ' Though death is a
part in which every one acts his share, yet of all these actors no one is
so true as I.'

72. Give me now leave to leave thee. A courteous form of dismissal.
When Henry says to Worcester (i Henry IV, i. .',. 2o\ ' You have good
leave to leave us,' it amounts to a command to withdraw.

7.V the melancholy gotl. Milton invents a pedigree for Melancholy
L' Allegro, 2 as the child of Cerberus and Midnight.

74. changeable taffeta, a kind of shot silk. liuloet (Abcedarium)
gives, ' Chaungeable colour, discolor, versicolor.' Compare Lyly,
Euphues (ed. Arber), p. 80 : ' You have giuen vnto rne a true louers
knot wrought of chaungeable Silke.' Taffeta, or Taffata, which is the*
spelling of the folios, was originally any kind of plain silk, but it now
denotes many other varieties The word is said to be Persian in origin,
from tiijtah, woven, which is the participle oi til/taii, to intertwine. It
appears in French as taffetas, in Italian as taffetto, and in Spanish as
tafetan. In Chaucer iC. T. 4.52) the Doctor of i'hysic's robe was

' Lyned with taffata and with sendal.'
The earliest example given by Littre (Dictionnaire dc la Langue
I'ranfaise) is of the 15 th century: ' Une piece de taffetas changeanl de
Levant.'

/■;. a very opal, which in various lights shews various colours.

lb. of such constancy. One of the symptoms of tho-e affected by
melancholy, according to Hurton '^ Anatomy of Melancholy, Part i.
Sec. 3, Mem. i. Subs. 2). is inconstancy: ' Inconstant they are in all
their actions, vertiginous, restless, unapt to resolve of any business ; they
will and will not, perswaded to and fro upon every small occasion, or

1 20 NOTES. [act u,

word spoken ; . . . soon weary, and still seeking change ; restless, I say,
fickle, fugitive, they may not abide to tarry in one place long.'
77. iiitent, aim, bent, So in Lucrece, 46 :

' With swift intent he goes
To quench the coal which in his liver glows.'

79. give place, withdraw. Compare Richard II, v. 5. 95 :

' Fellow, give place ; here is no longer stay.'

80. yond, yonder. See i. 5. 131.
lb. c7-uelty. See i. 5. 273.

82. dirty lands. Like Osric, in Hamlet, Olivia was 'spacious in the
possession of dirt.'

84. giddily, carelessly, negligently.

85. tliat miracle and queen of gems, her beauty.

86. That nature pranks her in, in which nature decks her. For ' pranks,'
which is now used in a disparaging sense, compare Winter's Tale, iv. 4. i o :

' Your high self.
The gracious mark o' the land, you have obscured
With a swain's wearing, and me, poor lowly maid,
Most goddes.'i-like prank'd up.'
See note on Coriolanus, iii. i. 23.

88. /, Hanmer's reading. The folios have ' It,' which may be taken
loosely to signify ' My suit.' But as Viola replies ' Sooth, but yoii
must,' and afterivards says ' must she not then be answer'd ? ' Hanmer's
correction is probably right.

93. There is occurs sometimes when followed by a plural. See iii. i.
49 and The Tempest, i. 2. 47S :

' Thou think'st there is no more such shapes as he.'
96. retention, the power of retaining. See Sonnet, cxxii. 9 :
' That poor retention could not so much hold.'

98. ^notion. Seel. 18.

lb. the liver, which was thought to be the seat of the emotions.
Compare The Tempest, iv. i. 56:

' The white cold virgin snow upon my heart
Abates the ardour of my liver.'

99. cloyment, cloying. Apparently a word of Shakespeare's own
coinage.

100. as Iitingry as the sea. Steevens compares Coriolanus, v. 3. 58 :

' Then let the pebbles on the hungry beach
Fillip the stars.'
loi. rw;//«;Y, comparison ; a substantive formed from a verb. See
A Midsummer Night's Dream, iii. 2. 290:

' Now I perceive that she hath made compare
Between our statures.'

sc. 4.] TU'FLFTII NIGHT. 1 1 1

107. a daiis^fiter [who] loved, &c. For the omission of the relative,
compare The Merchant of Venice, i. i. J'-, :

' 1 have a mind ]iresages me such thrift.'
And Abbott, Shakespeare t'liammar, j 244.

1 10. she never told her love. Coleridge says, ' After the first line, (of
which the last five words should be spoken with, and drop down in a
deep sigh) the actress ou^^ht to make a pause ; and then start afresh,
from the activity of tliought, bom of suppressed feelings.' And this is
the way in which. Lamb tells us, Mrs. Jordan, who had probably never
heard of Coleridge, used to deliver the si^eech.
I.I 2. thought, sorrow. See Hamlet, iv. 5. i88 :

' Thought and affliction, passion, hell itself.
She turns to favour and to prettiness.'

113. a green and yello-M melancholy . Compare Hamlet, iii. i. 85 :

' Sicklied o'er with the pale cast of thought.'

114. like patietice on a mominienl. Theobald compares Pericles,
v. I. 139:

' Yet thou dost look
Like Patience gazing on kings' graves, and smiling
Extremity out of act.'
He suggests that Shakespeare may have taken the idea from Chaucer's
Assembly of Fowls, 242 :

' Dame Pacience. sitting there I fonde
With face pale, upon an hill of sonde.'
lint he may very well have seen some such emblematical figure on a
funeral monument, or he may even have imagined it, as he was not
wanting in imagination. Malone held, rather doubtfully, that Patience
and Grief were two figures on the same monument, but if there be any
virtue in capitals and commas, the first folio does not favour this view,
for the passage is there printed,

' She sate like Patience on a Monument,
.Smiling at greefe ' ;
so that • >nuling' refcre to 'She ' and not to ' Patience,' and the whole
is a figure of silent resignation.

115. grief \s here rather suffering than sorrow.

12 3. Shall I to this lady f The verb of motion is omitted, as
commonly. .See i. 5. 1 79.

124. denay, denial. The same word appears as a verb in 2 Henry VI,

i. 3 107:

' Then let him tx; denay'd the regentship.

The form of the word in Old French is denoi or desnoi.

133 NOTES. [act n.

Scene V.

1. Come thy ways, come along. See note on The Tempest, ii. 2. 76
(Clarendon Press ed.), and As You Like It, ii. 3. 66 : ' But come thy
ways.' 'Ways' is here the old genitive used adverbially.

2. a scruple, the least bit, a scruple being the smallest subdivision in
apothecaries' weight. Compare Much Ado, v. t. 93 :

' What, man 1 I know them, yea,
And what they weigh, even to the utmost spruple.'

5. sheep-biter, a term of reproach, taken from a vicious dog.' It
usually denotes a niggard. .So in Dekker, The Honest Whore (Works,
ii. 121): ' A poore man has but one Ewe, and this Grandy Sheepe-
biter leaues whole Flockes of fat Weathers (whom he may knocke
downe), to deuoure this.'

10. it is pity of our lives. Compare A Midsummer Night's Dream,
iii. I. 44 (39, Clarendon Press ed.), 'If you think I come hither like a
lion, it were pity of my life.' See note on this passage.

12. 7>iy metal of India, as good as gold. The first folio has 'my
Mettle of India.' In the second folio this is changed to ' my Nettle of
India,' which Steevens adopts and explains as a zoophyte, called the
Urtica Marina, abounding in the Indian seas. Malone very properly
restored the reading of the first folio.

17. Close, keep close or secret, stand concealed.

19. the trout, Sec. Steevens quotes from Cogan's Haven of Health
(ir9.S): 'This fish of nature loveth flatterie: for, being in the water,
it will suffer itsclfe to be rubbed and clawed, and so to be taken.' Com-
pare Beaumont and Fletcher, Scornful Lady, iii. 2 :

' Leave off your tickling of young heirs like trouts.'

21. affect, incline to, love. Compare Lear, i. t. i : 'I thought the
king had more affected the Duke of Albany than Cornwall.'

21, 22. come thus near, go so far towards admitting her passion.

22. fancy, love. It is used again absolutely in Troilus and Cressida,
V. 2. 165:

' Never did young man fancy
With so eternal and so fix'd a soul.'

28. jets, struts with head erect. Compare Cymbeline, iii. 3. 5 :

' The gates of monarchs
Are arch'd so high that giants may jet through
And keep their impious turbans on.'
Il>. advanced, uplifted. See King John, ii. i. 207:

'These flags of France, that are advanced here.'

29. 'Slight, a contraction for 'God's light' (see 2 Henry IV, ii. 4.

sc. 5-] TWELFTH NIGHT. 123

143), occurs again iii. 2. 1 2. So ' 'Sblood' for 'Go'l's blood,' ' 'Zounds'
for ' God's wounds,' ' 'Snails' for ' God's nails,' &c.

.^o, .^4. These speeches are more appropriate to Fabian than to Sir
Toby."

35. Stroihy. The solution of the mystery contained in this name
probably lies hid in some forgotten novel or play. The incident of a
lady of high rank marrying a servant is the subject of Webster's Duchess
of Malti, who married the steward of her household, and would thus
have supplied Malvolio with the exact jiarallel to his own case of which
he was in search. In default of any satisfactory explanation of 'Strachy,'
which is printed in the folios as a proper name in italics with a capital
S, it has been proposed to substitute for it Stratarch ^Hanmer", Trachy
(_Warburton\ Trachyne (,Capell), Straccio (Smith), Starchy Steevens),
Stratico (Payne Knight), Astrakhan (C. Knight), Strozzi (Collier),
Stracce (Lloyd), Duchy (Bailey), Tragedy (Bulloch), County >Kinnear),
besides Sophy, Saucery, or Satrape which arc of unknown origin. Of
these it may be said that whichever is right that of Steevens must be wrong.

36. the yeoman of the -wardrobe. Malone quotes from Florio, A
\\ orlde of Wordes, ' Vestiario, ... a wardrobe keeper, or a yeoman of a
wardrobe.'

37. Jezebel. Sir Andrew, if he intends this for Malvolio, makes
rather a random shot.

39. blows him, puffs him up, swells him. Compare Antony and
Cleopatra, iv. 6. 34 : ' This blows my heart.'

41. my state, my chair of state, which was a chair with a canopy
over it. Compare Macbeth, iii. 4. 5: 'Our hostess keeps her state.'
And Coriolanus, v. 4. 22 : 'lie sits in his state, as a thing made for
Alexander.' The 'state' was properly the canopy itself. See notes
on Macbeth (Clarendon Press ed.), and Milton, Paradise Lost, x. 415 :

' Invisible
Ascended his high throne, which, under state
Of richest texture spread, at the upper end
Was placed in regal lustre.'
4a. a stone-bow, a cross bow, for shooting stones. Compare Wisdom,
V. 22 : ' Anil hailstones full of wrath shall be cast as out of a stone bow
(«K iTfTpo06\ov).' Cotgrave (Fr. Diet) has, ' Arbaleste k boulet. A
Stone-bow.' See also IBeaumont and Fletcher, Philaster, iv. 2 : ' He
shall shoot in a stone bow for me.'

43. braneheil, ornamented with patterns of leaves and flowers.
Cotgrave (Fr. Diet.) gives : ' Fueillage : m. Branched worke, in Painting,
or in Tapistrie.' And, ' Velours figure. Branched Veluet.' Compare
Ford, The Witch of P.ldmonton, iii. 3 :

'Th' other's cloak branch'd velvet, black, velvet-lin'd his suit.'

1 24 NOTES. [act II.

44. a day bed, a couch or sofa. See Richard III, iii. 7. 72, and
compare Heywood, The Second Part of the Iron Age, v. i (Works,
iii. 415), of Achilles :

' When from the slaughter of his foes retyr'd
Hee doft his Gushes and vnarm'd his head,
To tumble with her on a soft day bed :
It did reioyce Briseis to imbrace
His bruised armes, and kisse his bloud-stain'd face.'

48. the htimour of state, the affectation or caprice of rank.

49. after a demure travel of regard, after allowing his look to pass
gravely from one to another. For ' regard ' in the sense of ' look,' see
below, 1. 62, and Measure for Measure, v. i. 20:

'Vail your regard
Upon a wrong'd, I would fain have said, a maid ! '
Again, Troilus and Cressida, iii. 3. 255 : ' Bites his lip with a politic
regard."

54. people. See i. 5. 97.

56. -watch. Watches were known in England as early as the time of
Henry VIII, and were common in Elizabeth's leign.

Jl>. with my . . . some rich jewel. Malvolio is on the point of saying
'with my chain,' his badge of office (see ii. 3. 112), but he rem.embers
himself in time and substitutes something more appropriate to his
altered fortunes. This is Dr. Brinsley Nicholson's very probable ex-
planation (New .Shakspere Soc. Trans. 1875-6, p. 154). The first folio
has ' with my some rich lewell,' which Steevens interprets ' with some
lich jewel of my own,' adding ' He is entertaining himself with ideas of
future magnificence.'

lb. Toby approaches. Malvolio's 'humour of state' begins to shew
itself in this familiarity with Sir Toby's Christian name.

57. co7irtesies. To ' courtesy,' or perform an act of salutation or
reverence, was used both of men and women, although it is now restricted
to women only. Reed quotes from the Life of Lord Herbert of Cher-
bury [p. 45], in which dancing is recommended to a youth, ' that he
may learn to know how to come in and go out of a Room where
Company is, how to make Courtesies handsomely, according to the
several degrees of Persons he shall encounter.'

59. luith cars. Compare, for the idea, iii. 2. 55, and Two Gentlemen
of Verona, iii. i. 265 : ' Yet 1 am in love; but a team of horse shall
not ])luck that from me.' Many commentators have regarded 'cars' as
a misprint, and have suggested ' with carts ' (Johnson), ' by the ears '
(Hanmer), ' with cables ' (Tyrwhitt), ' with tears ' (.Singer), ' with racks'
i.S. Walker), 'with cords' (Grant White), 'with cart-ropes' (Hunter).
Shakespeare may have read of the fate of Mettus KuffLlius who was

ic. 5-] TWELFTH yiGHT. 12

J

tom asunder by chariots lor treachery by the orders of Tullus llostilius.
See Virgil, .^ji. viii. 642-5.

63. an austere regard of control, a severe look of authority, to check
any familiar advances.

63. AiXv you a I'lozv. Compare Henry V, iv. i. 231 : 'By this hand,
I will take thee a box on the ear.'

69. scab ! a term of contempt. Compare Merry Wives, iv. 2. 195 :
' Vou baggage, you j)olecat, you rcnyon!' And King John, ii. i. 373:
• By heaven, these scroyles of Angiers rtout you, kings.'

76. What employment have we here? What's to do here ? translated
into Malvolio's higher style. Sidney Walker suggests that • employ-
ment' is a misprint for ' implement.'

77. the woodcock, being a foolish bird, is used by Shakespeare as an
emblem of stupidity. See The Taming of the Shrew, i. 2. 161 : 'O this
woodcock, what an ass it is ! '

//'. gin, trap or snare; an abbreviated form of 'engine,' which
originally denoted anything made with skill (Lat. ingenium). So in
Chaucer's Squire's Tale ( 10442) :

• He that it wrought, he cowthe many a gyn ' ;
that is, a skilful contrivance. Compare Macbeth, iv. 2. 35 :
■ Poor bird ! thou'ldst never fear the net nor lime.
The pitfall nor the gin.'

78. intimate, suggest.

81. Ritson supposes the superscription may have run thus: To the
6"nknown 1 elov'd, this, and my good wishes, with Care /"resent.*
If so, no more needs be said on the point ; but I have grave doubts
about it

82. in contempt of i/uestion. beyond the possibility of dispute ; so
obvious, that to question it is absurd.

85. By your leave, wax. Malvolio apologizes to the seal for
breaking it. Compare Lear, iv. 6. 264 : • Leave, gentle wax.'

86. Soft! gently. As in The Merchant of Venice, iv. i. 320:

' .Soft !
The Jew shall have all justice : soft ! no haste.'
Malone thought it referred to the soft wax which was sometimes used
for sealing.

87. ivipressure, impression. Compare As You Like It, iii. 5. 23 :

• I>ean but upon a rush.
The cic.-itrice and capable impressure
Thy palm some moment keeps.'
See ii. 3. 147, 'expressure' for 'expression.'

fb. her Lucrece. whose head was a favourite subject for cinque-cento
rings. An intaglio with the head of Lucrece is figxued iu (Jori's

126 NOTES. I

ACT II.

Museum Florentinum, vol. i. In Lord Londesborough's collection
there is said to be a gimmal ring with the head of Lucrece upon it in
niello, but if the engraving given of it (Miscellanea Graphica, p. 75)
is correct, it is very doubtful indeed whether it represents Lucrece at all,
and being in niello it could not have been used as a signet ring.

89 -y 2. Printed as prose in the folios.

93. i/w mimbers, the metre or versification. Compare Hamlet, ii,
2. 120: 'O dear -Ophelia, I am ill at these numbers.'

95. brock, properly a badger, is used contemptuously : Ritson says,
because the animal is a stinking beast. Malone thinks ' brock ' is
equivalent to ' vain, conceited coxcomb,' and quotes from The Merrie
Conceited Jests of George Peele (Works of Greene and Peele, ed. Dyce,
p. 616) : ' This self-conceited brock had George invited,' &c. But
the epithet here supplies the sense which he would attribute to
' brock.'

99. doth sioay my life. The same phrase is used seriously in As You
Like It, iii. 2. 4 :

'Thy huntress' name that my full life doth sway.'

104. What dish. The modem reading is 'What a dish,' but com-
pare Richard IIL i. 4. 22 :

' What dreadful noise of waters in mine ears ! '
And Julius Ca:sar, i. 3. 42 : ' Cassius, what night is this ! '

105. the staiiicl. Hanmer substituted 'staniel,' the name of an
inferior kind of hawk, for the reading of the folios ' stallion,' which has
no meaning. It is also called a kestrel, ringtail, and windhover.

lb. checks, turns aside, like an ill-trained falcon, from its proper
quarry in pursuit of some inferior game which crosses it in its flight. See
iii. I. 62.

108. a;/;'y^;'Wi2/ta/(j:t7Vj/, any one of a well-regulated mind. Compare
Antony and Cleopatra, ii. 5. 41 :

' Thou should'st come like a I'ury crown'd with snakes,
Not like a formal man.'
And Comedy of Errors, v. i. J05 :

' Till I have used the approved means I have,
With wholesome syrups, drugs and holy prayers,
To make of him a formal man again.'
lb. no obstruction, nothing to cause a difficulty.

112. make up that, make that out.

lb. a cold scent. Compare The Taming of the Shrew, Ind. i. 20 :
' Saw'st thou not, boy, how Silver made it good
At the hedge-corner, in the coldest fault?'

113. .Sowter, ])roperly a cobbler or botcher, is a name given in con-
tempt to Malvolio, as a hound not of the quickest scent.

$c. 5-] TWELFTH SIGHT. 127

/i>. cry Hpoii it, that i», on recovering the scent. So in The laming
of the Shrew, Ind. i. 23 :

' He cried upon it at the merest loss.
And twice today picked out the dullest scent."

1 13, 1 14. though it be as rank as a fox. Hanmer reads • be n't' for
' be," and Malone explains it ' This fellow will, notwithstanding, catch
at and be dnped by our device, though the cheat is so gross that any
one else would find it out.' But Fabian s{^)eaks ironically ; ' Malvolio
will make it out in time, though it is plain enough.'

1 1 7. faults, where the scent is defective.

1 19. suffers under probation, will not endure e.\amination.

I JO. And 0 shall end, when Malvolio cries out with vexation. John
son says, ' By O is meant what we now call a hempen collar.' But the
jesters never intended to carry their joke so far.

126, 127. every one . . . are. So in Lucrece, 125:

• And every one to rest themselves betake.'

129. In my stars, in my fortunes. See i. 3. 120, and Hamlet, ii. 2.

' Lord Hamlet is a prince, out of thy star,'
that is, above thee in fortune.

131. bortt. So Kowe, from iii 4. 39. The folios have ' become.'
lb. achieve. The first folio here has 'atcheeues,' but at iii. 4. 41, it

reads ' atchecue."

132. blood, usetl metaphorically for passion, or courage and high
temper. Compare 1 Henry IV. iii. 1. 181 :

'Though sometimes it show greatjiess. courage, blood.'
And Hamlet, iii. 2. 74 :

■ And blest are those
Whose blood and judgement are so well commingled.
That they are not a pipe for fortune's finger
To sound what stop she please.'
1 34. cast thy humble slough, as a snake casts its skin and comes out
in bright colours. Compare Henry V. iv. i . 23 :

• With casted slough and fresh legerity.'
.\nd 2 Henry VI, iii. 1. 730:

' Or as the snake rolld in a flowering bank.
With shining chccker'd slough, doth sting a child,
That for the beauty thinks it excellent.'
'3.'i- opposite with, hostile or contradictory to. So in Richard HI.
ii. 2. 94:

• Much more to be thus oj^posile with heaven.
For it requires the royal debt it lent you*
//;. a kinsman, so as to L'affle Sir Toby, as Malvolio interprets it.

128 NOTES. [act II.

//>. surly zuitli servants, as some think it fine manners to be.

136. tang, twang, sound loudly. In iii. 4. 66, the reading is 'tang
with,' which Hanmer substituted here. The word ' tang' appears lobe
used of a loud dominant sound. See Fletcher's Night Walker, iii. 4 :
' 'Tis a strange noise ! and has a tang o' the justice.'

Ih. the trick of singularity, the affectation of being eccentric, which
has before this done, duty for originality. Compare Winter's Tale, iv.
4. 778: 'He seems to be the more noble in being fantastical: a great
man, Til warrant.'

138. yelloiv stockings were apparently a common article of dress in
the i6th century, and the tradition of wearing them survives in the
costume of the boys at Christ's Hospital. They had apparently gone
out of fashion in Sir Thomas Overbury's time, for in his Characters he
says of 'A Country Gentleman,' ' If he goes to Court, it is in yellow
stockings ' ; as if this were a sign of rusticity. From Goldwell s account
of the entertainment given to the French Ambassadors in 1581, Steevens
found that ' the yeomen attending the Earl of Arundel, Lord Windsor,
and Mr. Fulke Greville . . . were dressed in yellow worsted stock-
ings.' They appear to have been especially worn by the young, if
any importance is to be attached to the burden of a song set to
the tune of Peg a Ramsey (Chappell, Popular Music of the Olden Time,
p. 2 1 8), in which a married man laments the freedom of his bachelor
days :

'Give me my yellow hose again.
Give me my yellow hose.'
Malvolio may have affected youthful fashions in dress

139. cross-gartered, not like a stage bandit, but wearing the gaiters
both above and below the knee, so as to be crossed at the back of
t'ne leg. There are frequent references to this fashion. Nares quotes
Beaumont & Fletcher's Woman Hater (1607), i. 2 :

• All short-cloak'd knights, and all cross-garter'd gentlemen ;
All pump and pantofle, foot-cloth riders ;
With all the swarming generation

Of long stocks, short-pain'd hose, and huge-stuff'd doublets.'
And Steevens refers to Field's play, A Woman is a Weathercock,
[iv. 2] :

• 'Tis not thy leg, no were it twice as good.
Throws me into this melancholy mood ;
Yet let me say and swear, in a cross-garter
Paul's never sliow'd to eyes a lovelier quarter.'
When Ford wrote his Lover's Melancholy (i628\ 'cross-garters' were
apparently becoming obsolete. The third act opens with the following
dialogue :

»c. 5.1 TWELFTH NIGHT. I 29

' Cui. Do I not look freshly, nnil like a youth of the trim?
Gril. As rare an old youth as ever walktd cross-jjartercd.'
Stcevens quotes •^ome lines of Barton I lolyday's to prove that the
I'liritans affecteil cross<,Mrtcrin{j, and as MaUolio was susjiectcd ol
I'urilajiisni, it is thought that his cross-gartcriiij^ may have been on,- of
the symptoms. Hut Ilolyday is speakinij of the ill-success of his play
called Tcchnot;amia, which was printed in i^>iS, or sixteen years after
Twcllth Nijjhl was acted. The linca arc as follows :

* Had there apf)ear'd some sharp cross-garter'd man.
Whom their loud laugh might nickname Purit.Tn ;
Cas'd up in factious breeches, and small rutTe ;
That hates the surplice, and defies the cnffe.
Then." &c.
The Puritans would naturally be in the rearward of the fashion, and
would go cross-gartered long after every one else had ceased to do so.
.\nd it by no means follows, because 'cross-gartered' was an appropriate
epithet for a Puritan some fifteen or twenty years later, that Shakespeare
intended -Malvolio's Puritanism (which afier all had its existence only
on Maria's sharp tongue'l, to show itself in this manner. Douce (Illus-
trations of Shakespeare) quotes from Porter's Two Angrie Women of
Abington, 1599 [p. 25. ed. Dyce. Percy Society] :

' He tell thee, sirra, hees a fine neat fellow,
A spruce slane ; I warrant yee, heele haue
I lis cruell garters crosse about the knee.'
In Higins's English Translation of Junius' Nomenclator, ed. I'leming,
1585 [p. 16S], also quoted by Douce, Fasciae cruruUs vel cniralcs are
ilefined as ■ Hose garters going acrosse or ouerthwart, both aboue and
beneath the knee.' On the other hand. Geuualia are ' garters to tye
vnder the knee.' Sir Thomas Overbury, when he wrote his Character of
a Fiiotman (1614), had probably Malvolio in his mind: ' Gards hee
weares none; which makes him live more upright than any crosse-
gartered gentleman-usher.' (Works, ed. Rimbault, p. 114.)

140. thou art made, thy fortune is made. Compare .\ Midsummer
Night's Dream, iv. 2. 18: ' If our spon had gone forward, we had all
been made men.' And Othello, i. 2. 51 :

• If it prove lawful prize, he's made for ever.'
145. Daylight and chavtpain, broad daylight and an open country,
the most favourable circumstances for a clear view. The folios read
'champian,' which is the spelling of the word in the margin of the
Authorised Version of Ezekiel, xxxvii. 2. But in I car, i. 1. Tn, th<- first
folio has,

' With shadowie Forrests, and with Champains rich'd.'
14'). politic authors, who write of state policy.

K

130 NOTES. [act n.

147. />otn( devise, precisely, exactly. The full phrase was 'at
point devise,' •which we find in Chaucer, Cant. Tales i_ed. Tyrwhilt},

3689 :

' Up rist this jolly lover Absolon,

And him arayeth gay, at point devise.'
And 10874 '■

' So painted he and kempt, at point devise,
As wel his wordes, as his contenance.'
Again, in The Romaunt of the Rose, S30 :

' With limmes wrought at point devise.'
And 1 2 1 5 :

' Her nose was wrought at point devise.'
Professor Skeat (Etym. Diet.) regards it as a translation of the French
apohit devis, but in the last-quoted passages there is nothing correspond-
ing in the F"rench Roman de la Rose. Steevens, by printing the word
in the form ' point-de-vice,' suggested another etymology which appears
to have no authority. Shakespeare uses 'point-device,' or 'point-de\'ise,'
as an adjective, in the sense of ' precise,' in As You Like It, iii. 2. 401 :
' You are rather point-device in your accoutrements.' And Love's
Labour's Lost, v. i. 21 : 'I abhor such fanatical phantasimes, such in-
sociable and point-devise companions.'

lb. the very man described in the letter.

149. jade me, treat me like a jade, run away with me.

154. strange, 'opposite with a kinsman.'

lb. stout, ' surly with servants,' stiff and haughty in manner. See
2 Henry VL i- i. 187.

'As stout and proud as he were lord of all.'

158. cannot choose but know, cannot help knowing. So in Merry
Wives, v. 3. 18 : ' That cannot choose but amaze him.' And 2 Henry IV,
iii. 2. 221: 'Nay, she must be old; she cannot choose but be old;
certain she's old.'

161. dear my sweet. Compare 'dear my lord,' Julius Caesar, ii. i.
255, and Abbott, Shakespeare Grammar, § 13. See i. 5. 57.

1G4, 165. a pension of thousands to be paid fro77i the Sophy. See
Merchant of Venice, ii. i. 25. The title Sophy, by which the Shah o(
Persia was most commonly known in the 1 6th and 1 7th centuries, was
derived from the Safavi dynasty, founded in 1500 by Shah Ismail, whose
descendants occupied the thionc till 1 736, when the power was seized by
Nadir Shah. The attention of ]''nglishmen had been attracted to Persia,
at the beginning of the 1 7th century, by the adventures of three brothers,
Sir Robert, Sir Anthony, and Sir Thomas Shirley, whose account of their
travels and reception by the Sophy was printed in 1600. A play on the
same subject by John Day appeared in 1607. In 161 1 Sir Robert Shirley,

K. 5-] TWELFTH NIGHT. I3T

who married a Persian lady., came to ICngland with his wife, as am-
bassador from the Sophy.

171. »oi>/e, used ironically, somewhat as in A Midsummer Night's
Dream, v. i. 220: ' Here come two noble Iieasts in, a man and a lion.'
And As You Like It, ii. 7. 3.^ : • O noble fool ! '

174. tray-trip, a common game, of which little more is known than
that it was played with dice, and that it depended on throwing a trey,
as appears from the following passage quotccl by Reed from a Satire
published in 1619, called .M.achiavell's I>ogge:

' But leaving cardes, lett 's goe to dice awhile.
To passage, treitrippe, hazarde, or mumchance.

And trippe without a treye makes had I wist
To sitt and moume among the sleepers' ranke.'
Taylor the Water Poet, in his Motto (Works, p 3 1 4, Spenser Soc. ed.),
mentions it with other games of the same kind :
' The Prodigalls estate, like to a flux.
The Mercer, Draper, and the .Silkman sucks :
The Taylor, Millainer, Dogs, Drabs and Dice,
Trey-trip, or Passage, or The most at thrice.'
Tyrwhitt conjectured that it was the name of some game at tables, or
draughts; and quoted from Cecil's Correspondence, Lett. x. p. 127
(ed. Dalr)-mple, Edin. 1766), the following passage in support of his
conjecture : ' There is great danger of being taken sleepers at tray-
trip, if the king sweep suddenly." But it could not have been the game
of tables, that is, backgammon, or draughts as now played. Torriano
(Italian Dictionary. 1656), gives ' Giocare al nove, to play at noven,
or tray-trip, also to play at nine-holes.' There appears to be no
ground for the assertion of Hawkins that it was a game like hop-
scotch, which coul^ hardly be played by watchmen at night, as in
Glapthome's Wit in a Constable, v. 1 (Works, i. p. 227) :

' Meane time you may play at
Tray trip, or cockall for blacke puddings.'
175. boud-slavc, slave; an intermediate form of the word. See
I Maccabees, ii. 1 1 : ' Of a free woman she is become a bond-slave."
And Richard II, ii. i. 114:

' Thy state of law is bondslave to the law.'
I So. aqita-vitx, now more familiar in its French form, eau de vie.
Cotgrave (Fr. Diet.) gives. ' I-^au de vie. Aquauite.'

1 86. cuidicted to, devoted to, given up to. It is now generally used
in connexion with some bad habit, but this is a modem sense, for it is
said with praise of the house of .Stcph.nnas (i Cor. xvi. 15^ that they
had • addicted themselves to the ministry of the saints.'

K 2

1.32 NOTES. [act in,

i88. Tartar, Tnrtarus, the infernal regions. See Henry V, ii. 2.
123:

' He might return to vasty Tartar back.'
And Comedy of Errors, iv. 2. 32 :

' No, he's in Tartar limbo, worse than hell.'

ACT HI.
Scene I.

In the stage direction, ' with a tabor ' was added by Malone.

1. Save thee, that is, God save thee.

2. by thy tabor. There is no reason to suppose with Steevens that
there is any reference to a music-shop with a sign of the tabor, or with
Malone that an imaginary eating-house kept by Tarleton the jester is
hinted at. The tabor was commonly used by the professional clown,
and Tarleton himself appears with one in a rude woodcut prefixed to
his- Jests, printed in 161 1. The play upon the two senses of 'by' is
obvious enough.

4. a churchman, an ecclesiastic. Bacon says (Essay viii. p. 27, ed.
Wright), ' A Single Life doth well with Church men : For Charity will
hardly water the Ground, where it must first fill a Poole.'

8. lies, lodges or dwells. The joke here is of the same kind as the
previous one.

\2. a chcveHl glove, a kid glove ; Fr. chevreaii, a kid. In Sherwood's
English French Dictionary (1632), we find, 'Chcuerell lether. Cuir
de chevreul.' It was very soft and easily stretched. Hence in Romeo
and Juliet, ii. 4. 87 : ' O, here's a wit of cheveril, that stretches from
an inch narrow to an ell broad!' Again, in Florio's Montaigne, p. 614
(ed. 1603) ; ' The poore seelie three Divels are no\y in prison, and may
happily e're long pay deere for their common sottishnesse ; and I wot
not whether some cheverell judge or other, will be avenged of them for
his.'

33. pilchards. Spelt ' pilchers ' in the folios. But the spelling
varied even in Shakespeare's time. In Minsheu's Spanish Dictionary
(1599) we find, 'Sardina, a little pilchard, a sardine'; and also, 'a
Pilcher, vide Sardina.' So again in Florio's Worlde of Wordes (T598),
' Sardella, a little pickled or salt fish like an anchoua, a sprat or a
pilcher, called a sardell or sardine'; while in his Italian Dictionary
(1611), and in Cotgrave's French Dictionary of the same date, the
spelling is ' pilchard."

37, 38. does walk . . . evcryrvhcre. Dyce punctuates, unnecessarily,
' does walk about the orb ; like the sun, it shines everywhere.'

sc. I.] TWELFTH NIGHT. I33

39. but = \i . . . not.

41. an thou pass upon me. The clown being by profession a coi*
rupter of words tried some of his word fencing upon Viola ; and to this
she seems to refer when she uses the expression ' pass upon ' ; to pass
signifying to make a pass in fencing, and such word-play being else-
where called 'a quick venue of wit ' (Love's Labour's Lost, v. j. 62).
but to • pass upon ' had aUo the meaning, ' to impose on, play the fool
with.' as in v. i . 340, and it may be so here.

42. expenses, money to spend.

43. commodily. The modem mercantile phrase would probably
be 'cargo' or 'consignment.' See i Henry IV, i. :. 93 : ' 1 would to
God thou and I knew where a commodity of good names were to be
bought.' And the old play of Sir Thomas More (etl. Dyce) p. 63 :
'What will he be by that time he comes to the commoditie of a bearde?'

46. though . . . skill. These words are evidently spoken aside.
4S. have bred. Compare the Merchant of Venice, i. 3. 135: 'A
breed for barren meial ' ; and Venus and Adonis, 768 :

' Foul-cankering rust the hidden treasure frets,
l!ut gold that's put to use more gold begets.'
49. use, interest. See Much Ado, ii. i. 2S6 : 'Indeed, my lord, he
lent it me awhile ; and I gave him use for it.'

54. Cressida was a beggar. Both Theobald and Capell pointed out
that Shakespeare had in mind The Testament of Cresseid, once attributed
to Chaucer, but really the work of Robert Henryson. Another remin-
iscence of it occurs in Henry V,ii. i.So: 'The lazar kite of Cressid's kind.'
In the Testament .llenryson's Works, ed. Laing, p. 80), after Cressida
was abandoned by Diomed, Saturn pronounces sentence upon her :

' And greil pennrilie
Thow suffer sail, and as ane beggar die.'
And again (p. 87) :

'This sail thow go begging fra hous to hous.
With cop and clapper lyke ane lazarous.'

55. constriu, e.xplain, interpret. Spelt 'conster' in the folios.

56. welkin, the sky or region of clouds. See ii. 2. 56, and A Midsummer
Night's Dream, iii. 2. 356.

lb. element, being sometimes used for 'sky,' the clown makc-s
' welkin ' synonjinous with it, to avoid the more familiar word. See
iii. 4. 117.

•^7. ove>-u.'orn, wo.-^n out by lime or use. Compare Venus and
Adonis, 806 :

'Musing the morning is so much o'erwom.*
Gerard in his Ilerball (ir';7 j ""'1^' ^''>-" ^^^'^ '^^ .Scoq)ion grasse,'
p. 2O7, says, 'There is likewise another sort . . . called Myosotis scor-

134

NOTES. ' [act III.

pioides, with rough and hairie leaues, of an ouerwome russet colour.'
And Nashe, in his description of Yarmouth (Lenten Stuffe, p. 8), speaks
of 'the decrcpite ouerwome village now called Gorlstone.' Again in
Holland's Plutarch, p. 57 : ' With some thin mantell and ouerwome
gaberdine cast ouer him.'

62. Ami like the haggard, &c. Johnson explains, 'The meaning
may be, tliat he mu'it catch every opportunity, as the wild hawk
strikes every bird.' But he suggests that it may be read more properly,
' Not, like the haggard.' The text however appears to be right. It
is part of the fool's wisdom to make a jest of everything, because in
that case hisjests will not appear to be directed at any particular person,
but will be thought to be only ' the squandering glances of the fool.'
lb. haggard, an untamed, untrained hawk. See Much Ado, iii. i. 56 :
' I know her spirits are as coy and wild
As haggards of the rock.'
And The Taming of the Shrew, iv. i. i()'S :

'Another way I have to man my haggard.
To make her come and know her keeper's call.'
lb. checks. See ii. 5. 105.

66. But wise men, folly-fair n, quite taint their wit. See i. 5. 29-33.
A fool may, without inconsistency, shew wisdom in displaying his
folly, his reputation for folly not being affected by it ; but when wise
men talk folly it discredits their character for wisdom. Compare
Love's Labour's Lost, v. 2. 75-78 :

'Lolly in fools bears not so strong a note
As foolery in the wise, when wit doth dote;
Since all the power thereof it doth apply
To prove, by wit, worth in simplicity.'
The reading here adopted is that of Theobald and Tyrwhitt, who
suggested it in place of what stands in tlie first folio :

' But wiscmens folly falne, quite taint their wit.'

Compare Lear, i. i. 151 :

' To plainness honour's bound,

When majesty falls to folly.'
67-71. In this dialogue Theobald makes the two knights change
places, because in the first Act Sir Andrew has so little French as not
to know the meaning oi poiirquoi.

72. encounter. Sir Toby is as great a corrupter of words as the Clown.

73. troiie, business ; as in Hamlet, iii. 2. 346 : ' Have you any
further trade with us? '

74. bound. See ii. i. 8.

75. list, end, limit, bound. Viola falls in with Sir Toby's humour
in playing upon the meanings of ' list ' and ' bound.' The latter has

SCI.] TWELFTH NIGHT. 135

nothing to do with ' bind,' and should properly be spelt ' boun,' which
is the old form of the word. For the meaning of ' list,' see i Henry IV,
iv. 1 . 5 1 :

' The very list, the ver^' utmost bound
Of all our fortunes.'
And compare Othello, v. 2. 267, 8 ;

' Here is my butt.
And very seamark of my utmost sail.'
76. Taste, try ; in Sir Toby's dialect. See iii. 4. J33, and i Henry IV,
iv. I. 119: 'Let me taste my horse.'

81. prcvinUJ, anticipated. Compare The Merchant of Venice, i. i. 61 :
' I would have stay'd till I had made you merry.
If worthier friends had i.ot prevented me.'
87. freptant. See ii. 2. 26.

89. all ready. So Malone. The first and second folios have
' already,' the third and fourth ' ready.'

97. lowly feipiiiig, an affectation of humility.

104. by your leave, pardon me. See ii. 5. 85.

107. to soliiit. See i. 5. .283. So in Comedy of Errors, v. i. ^5 :
' Who heard me to deny it or forswear it ? '

105. music from the spheres. For other references to the Pythagorean
doctrine of the harmony of the spheres, see As You Like It, ii. 7. 6,
and The Merchant of Venice, v. i. 60-65. ^^^ passage in Milton's
Arcades, 63-73, is directly taken from Plato's Republic, x. 14. Milton
himself wiote an academical Essay, De Sphararum Concent u, which is
printed among his prose works. See also Paradise Lost, v. 625.

109. beseech you. The second and third folios unnecessaiily insert
' I,' but it is commonly omitted, as in The Tempest, ii. i. i : ' Beseech
you, sir, be merry.'

III. abuse, misuse by deceiving; not restricted as now to language
only. See v. i. 18.

1 1 5. might is here equivalent to ' could,' as ' may ' is sometimes
used for 'can.' Compare A Midsummer Night's Dream, v. 1.2:

* I never may believe
These antique fables.'

And Hamlet, i. i. 56 :

• I might not this believe
Without the sensible and true avouch
Of mine own eyes.'

118. receiving, capacity for understanding.

119. a cypress, which is a fine transparent stuff now called crapx:.
See Winter's Tale iv. 4. 221, where the first folio has,

' Cypresse blacke as ere was Crow.'

136 NOTES. [act hi:

Compare also Milton's Periseroso, 35 : ' Sable stole of cypress lawn.'
Palsgrave (Lesclarcissement de la Langue Fran9oyse) gives : ' Cypres
for a womans necke — crespe ' : and Cotgrave (Fr. Diet.), ' Crespe : ni.
Cipres ; also, Cobweb Lawne.' In Ben Jonson's Every Man in his
Humour, i, 3, the edition of 1616 reads: 'And he . . . this man ! to
conceale such reall ornaments as these, and shaddow their glorie, as
a Millaners wife do's her wrought stomacher, with a smokie lawne, or
a black cypresse ? ' The etymology of the word has been considered
doubtful. Skinner (Etymol. Angl.) regards it as a corruption of the
French crespe, but suggests that it may be derived from the island
of Cyprus, where it was first manufactured. The latter derivation is the
more probable. There are many instances in which articles of manufac-
ture are named from the places where they were made, or at which they
were commonly sold. For example, arras was so called from Arras,
baudekyn from Baldacco or Bagdad, calico from Calicut, cambric from
Cambray, cashmere from Cashmere, damask from Damascus, dimity
from Damietta, dornick from Tournay, dowlas from Dourlans, lockeram
from Locrenan, muslin from Mosul. The probability that cypress (or
sipers, as it is also spelt) has a similar origin, is increased by finding
that the island of Cyprus is associated with certain manufactures. In
the Antient Kalendars and Inventories of the Treasury of the Exchequer,
edited by Sir Francis Palgrave (iii. 35S), among the goods and chattels
belonging to Richard II, and found in the Castle at Haverford, are
enumerated : ' Prim'cmeiit xxv. draps d'or de div'ses suytes dount iiii. de
Cipre les autres de Lukes' Lukes is here Lucca (Fr. Liicqties), and
Cipre is Cyprus. Again, in a list of draperies sold at Norwich in 44
and 45 Elizabeth (quoted by Mr. Gomme in Notes and Queries, 5th
Series, x. 226, from the Appendix to the Thirty-eighth Report of the
Deputy Keeper of the Public Records, p. 44).), we find ' fustyans of
Naples . . . Paris clothes . . . sattins of Cipres, Spanish sattins.' Further,
in the Nomenclator of iladrianus Junius, translated b.\ Iligins (ed. Flem-
ing, 1585, p', 157), we find, ' Vestis subscrica, tramoserica . . . De satin de
Cypres. A garment of cypers satten, or of silke grograine.' If there-
fore there were special fabrics known as ' cloth of gold of Cyprus ' and
' satin of Cyprus,' it is evident that these were so called, either because
Cyprus was the place of their manufacture, or, which is equally probable,
because they were brought into Furo[)e from the East through Cyprus.
In Hall's account ^Chronicle, Hen. viii. fol. 83a) of a masque at the
entertainment given to Henry the Eighth by Francis, it is said
that three ol the performers had " on their hedes bonettes of Turkay
fashyon, of clotli of gold of Tyssue, and clothe of syluer rolled in
Cypres kercheffes after the Panyns fashyon,' which points to an Eastern
origin for tiie use of cypress. From denoting the material only, the

sc. 1.] TWELFTH NIGHT. 137

word ' cypress ' came to signify a particular kind of kerchief or veil
worn by ladies, as in the present passage. So in Morio's Italian
Dictionary : ' Velaregli. shadowes, vailes, Launes, Scarfes, Sipres or
Honegraces that women vse to weare one their faces or foreheads to
keepe them from the Siume.' And the pedlar in John lleywooti's play
of The Four P's has in his pack ^^Dodsley's Old English Plays, ed.
llazlilt, i. 350):

' Sipers, swathbands, ribbons, and sleeve laces.'
Mr. Wheatley, in his edition of Ben Jonson's livery Man in his Humour
.p. 140), conjectures that the name Cypress is derived from 'the plant
Cypims tixtilis, which is still used for the making of ropes and malting.'
One of the English names of this plant was ' cypress.' Cierarde in his
Herbal (.1597) says, ' Cyperus longus is called ... in English, Cypresse
uid Galingale.' There are, however, great difficulties in the way ot
-uch an etymology, which Mr. Wheatley was driven to suggest by the
want of evidence in favour of the derivation from Cyprus.

120. Hideth, adopted in the Globe edition for the sake of the metre,
• rom the conjecture of Delius. The folios have 'Hides.' Similarly in
Richard HI. iii. 6. 11, the quartos have 'sees not,' for 'seeth not,' while
the folios mend the metre by reading ' cannot see.'

Ml. a grisc, a step; from Old Fr. p-is, Lat. gressus. Compare
Othello, i. 3. 200 :

' Let me sj)eak like yourself, and lay a sentence,
Which, as a grise or step, may help these lovers
Into your favour.'
And Timon of Athens, iv. 3. 16 :

' Every grise of fortune
Is smooth'd by that below.'
The plural of this word, ' grisen ' or ' grizen,' is the proper name of the
steps at Lincoln, which are known as the Grecian stairs.

/b. a vulvar proof, a matter of common experience. Compare
Julius Cxsar, ii. 1. 21 :

• 'Tis a common proof
That lowliness is young ambition's ladder.'
132. due 7vcst, as the sun of his favour was setting.
•33- U'cshuard'/io ! a cry of the watermen on the Thames, which
gave its name to one of Webster's pLiys. .See Peele's Edward 1 ^ed.
Dyce, 1 86 1), p. 409 :

' Q. Elinor. [A cry of " l\\st-.vard-ho ! "]

Woman, what noise is tliis 1 hear?
Potters Wife. An like your grace, it is the watermen that call
for passengers to go westward now.'

13J. You'll twthiiii^, you will send nothing, or send no message.

138 NOTES. [act III.

149. niaidhood, maidenhood. Used again in Othello, i. i. 173:

' Is there not charms
By which the property of youth and maidhood
May be abused ? '

150. maugrc, in spite of; Fr. »ial gre. So Lear, v. 3. 133:

' Maugre thy strength, youth, place, and eminence.'
153. For that, because.

158. nor never none. Another instance of such a triple negative
will be found in As You Like It, i. 2. 29 : ' Nor no further in sport
neither.'

1 59. save I alone, I only being excepted. So in Julius Ceesar, iii. 2. 66 :

' I do entreat you, not a man depart.
Save I alone, till Antony have spoke.'
And again, v. 5. 69 :

' All the conspirators, save only he,
Did that they did in envy of great Ca;sar.'
Hanmer gives the words ' Save I alone ' to Olivia, and Johnson thought
' probably enough.'

Seene II.

I. a jot, the least bit. See Othello, iii. 3. 215:

' lago. I see this hath a little dash'd your spirits.
Oth. Not a jot, not a jot.'

12. ^Slight. See ii. 5. 29.

15. grand-jiirynien, persons of importance, and accustomed to hear
evidence. Compare Nashe's Lenten Stuffe, p. 3 : ' Wealthy saide I,
nay I'le be swome hee was a grande iuric man in respect of me.'

18. dormouse, slumbering, like the dormouse which sleeps all the
winter.

24 yoH are now sailed into the north of my lady's opinion, and
are out of the sunshine of her favour.

25. 26. a Dutchmaii s beard. The Dutch were the great explorers
at the end of the i6th century, and Mr. Coote (Transactions of the New
Shakspere Society, 1S77-9, p. 94) sees in this passage a reference to
the voyage of Barentz who discovered Novya Zembla in 1596, and
whose discovery is incorporated in the map which is found in some
copies of the complete edition of Ilakluyt's Voyages, published in
1599-1600. A translation of Gerrit de Veer's account of this voyage
was entered on the books of the Stationers' Company to John Wolfe on
the 13th of June, 1598, but the reprint of Phillip's translation for the
Hakluyt Society is taken from a copy of 1609, and apparently an earlier
edition is known. Shakespeare, however, may very well have heard of
the voyage before 1602, the date of Twelfth Night.

sc. 2.] TWELFTH NIGHT. I39

22. a Brcnvnisl, a follower of Robert Brown, who about the year
1 581 founded the sect of Independents or Conj^regationalists, with
whom Sir Andrew, who ol course was a staunch supporter of Church
aiid Queen, would have no sympathy. Earle in his Mici o-cosmographia
ed. Arbor, p. 64^). says of A Shec precise Hypocrite,' ' No thing angers
her so much as that Wot-men cannot Preach, and in this point onely
thinkes the Brownist erroneous.' And in the old play of Sir Thomas
More Shakes. Soc.^, p. 51 : • Heers a lowsie jest 1 but. if I notch not
that rogue Tom barbar, that makes me looke thus like a Brownist,
hange me ! '

29. a politician. Shakespeare generally uses this word in an un-
lavourable sense, as denoting a political intriguer or conspirator. See,
for inst.Tni-c, i Henry lY, i. 3. 241 : 'this vile politician, Bolingbroke.'
And Hamlet, v. i . 86 : 'It might be the pate of a politician, which this
.iss now o'erreaches ; one that would circumvent God, might it not ? '
Again, Lear, iv. 6. 175 :

■ Get thee glass eyes ;
And, like a scur\y politician, seem
To see the things thou dost not.'
.So in Browne's Britannia's Pastorals, B. ii. i. 867 :

' And they then would see
The dinellish Politician all conuinces.
In murdring Statesmen and in poisning Princes.'
;,o. Imild mc. ' Me ' is a relic of the old dative, and in such phrases
is almost superfluous. Compare Julius Ca-sar. i. 2. 267 : • He plucked
me ope his doublet." And The Merchant of Venice, 1.. 3. 85 :
'The skilful shepherd peel'd me certain wands.'
33. love-broker, negotiator or agent in love affairs. For ' broker '
see Hamlet, i. 3. 127.

35. report of valour, reputation for valour. For ' report ' see iii. 4.
182 ; iv. I. 21 ; and the Authorised Version of Acts vi. 3 : • Wherefore,
brethren, look ye out among you seven men of honest report.' And for
this sense of • of ' compare The Merchant of Venice, i. i. 92 :
' With i^urpose to be drcss'd in an opinion
Of wisdom, gravity, profound conceit.'
Again, Bacon, Advancement of Learning, i. 2. § S : 'The reverence of
laws and government.'

39. a martial hand, bold, like a soldier's.

Ih. curst, crabl)ed, ili-tempereti. Set note on .\ Midsummer Night's
Dream, iii. 2. 300.

41,42. if tliou thou St hint sotiu thrice. Theobald conjectured that
Shakespeare aimetl this at Sir Edward Coke, who in his sj)eech as
Attorney Ciereral on the occasion of Raleigh's trial at Winchester.

140 NOTES. [act in.

thought it becoming to say to the prisoner, ' All that he did was by
thy instigation, thou viper ; for I i/iou thee, thou traitor, I will prove
thee the rankest traitor in all England.' But the trial took place in
November 1603, and we now know that Twelfth Night was acted in
February 1602. The illustration, however, is a good one, as a speci-
men of intentionally insulting lajiguage. Cotgrave (Fr. Diet.) gives,
' Tutoyer, to thou one.'

44. iJie bed of Ware, an enormous bed, capable of holding twelve
persons, now to be seen at the Rye-House. It was ten feet nine inches
square and seven feet and a half high, and till about ten years since
was in the Saracen's Head Inn at Ware. In 1 700 it was at the George
and Dragon, and in 1734 at the Old Crown : Mr. Halliwell [Phillipps]
thinks that in Shakespeare's time it was at the Stag. It is figured in
Chambers's Book of Days, i. 229 ; and in Knight's Edition of Shake-
speare as an illustration of this passage. Ben Jonson (The Silent
Woman, v. i) refers to it.

46. about it, set about it.
. 48. the cubic ulo. Sir Andrew's lodgings in .Sir Toby's Latin.

49. manakin, a little man; from the old Dutch maiincken.

55. oxen and luainropes, or waggon ropes. Boswell quotes from
Beaumont and Fletcher's Loyal Subject [iii. 2] : ' A coach and four
horses cannot draw me from it.' See also Two Gentlemen of
Verona, lii. i. 265, where Launce says ' a team of horse shall not pluck
that from me.'

57. so much blood in his liver, which was the seat of courage. See

1. 19. A white or bloodless liver was a sign of cowardice. See The
Merchant of Venice, iii. 2. 86 ; 2 Henry IV, iv. 3. 113.

69. opposite, opponent, adversary. See iii. 4. 221, 254; Hamlet, v.

2. 62 :

' 'Tis dangerous when the baser nature comes
Between the pass and fell incensed points
Of mighty opposites.'

61. the youngest ivrcn of nine, referring to her diminutive size. The
folios have ' mine,' which Theobald corrected. A wren usually lays
from seven to ten eggs, and tlic yomigest of a brood is generally the
smallest.

62. the spleen, a fit of laughter. Compare Love's Labour's Lost, iii.
I. 77: 'By virtue, thou enforcest laughter; thy silly thought my
spleen ; the heaving of my lungs provokes me to ridiculous smiling.'
And again, in the same play, v. 2. 117. The explanation of this mean-
ing of the word is given in Holland's Pliny, .\i. 37 (vol. i. p. 343 d);
' For sure it is, that intemperate laughers have alwaies great Splenes.'

^'3- S^^i^> ^ simpleton. See v. 1. 199, and note on Richard III, i. 3. 328.

sc. 3-] TWELFTH NIGHT. 141

r.4. rencgtuio. The folios havo ' Kenegjatho,' which represents some-
what the pronunciation of the Spanish word. Minsheu (S[ian. Dict.^
has, ' Renetjado, an aix)stata, one that hath forsaken the faith.' The
word appears not to have been thorou^jhly naturalized till the iSth
tenturv. for, although 'renei^.ade' is found at the end of the previous
enturv, • renegade' is used by Addison. In earlier Knglisii the form
.as ' rcnegate,' from the French ' rcnegat," and this was corrupted into
runagate.'

66. passages of grossness, gross impositions. Compare 'pass njion,'

I. 14.

di). pedant. Cotgrave (Fr. Diet.) gives, ' Pedant ; m. A Pedant, or
ordinarie Schoolemaster.'

69, 70. that keeps a school i the church. It was not unfrequently the
custom for schools to be kept in the pat-vis or room over the church
f>orch. See Fosbroke, Encyclopaedia of Antiquities (ed. 1825), p. 452.
The same authority mentions that in 1447 several clergymen in
London petitioned Parliament for leave to set up schools in their
respective parish churches (p. .^95).

73. the nCiV map -with the augmentation of the Indies. In a paper
published in the Transactions of the New Shakspere Society, 1877-9
(pp 88-99), Mr. Coote gives reasons for believing that Shakespeare here
referred to the map which is found in some copies of the complete
edition of Hakluyt's Voyages (1599 1600), and in which the East
Indies are given in greater detail than in any previous map, so as to
characterise this as ' the new map with the augmentation of the Indies.'
But this description of the map has so much the appearance of the title
under which it was issued, that the absence of it from the map in
question creates in me some misgiving as to whether it is really the
map which Shakespeare had in mind. In all other respects it suits
e.\actly, and the difficulty I have suggested may not be an insuperable
.one.

Scene IIP.

6. not all. not only, or altogether.

8. jealousy, suspicion, apprehension. Compare Henry V, ii. 2. 126 :

'O, how hast thou with jealousy infested
The sweetness of affiance I '

9. skilless, unskilled, inexperienced. So in Troilus and Cressida, i.

1. 12 :

' Less valiant than the virgin in the night.
And skilless as unpraclise<l infancy.'
15, 16. These lines are omitted in all the folio editions after the first,

T42 NOTES. [act III.

apparently in consequence of the defect in 1. 15, which has never been
satisfactorily remedied. Theobald read it,

' And thanks, and ever thanks ; and oft good turns ' &c.
Steevens followed Theobald, but substituted ' often ' for ' and oft.'
Collier's MS. Corrector has,

' And thanks, still thanks ; and very oft good turns.'
Mr. Grant White reads,

'And thanks: and very oft good turns,'
but proposes

' And thanks, and thanks ; and very oft good turns.'
Theobald's reading would be improved by substituting ' for oft ' instead
of ' and oft.'

17. mj/ worth, what I am worth, my possessions.

lb. as is my conscience fir?n, as solid and substantial as my conscious-
ness of what I owe you.

18. WhaCs to do ? What is there for us to do ? What's to be done ?
Compare Othello, i. 2. 19 : ' 'Tis yet to know.' And As You Like It,
i.. 2. 121: ' For the best is yet to do.' Again, The Tempest, iii. 2.
106 :

' And that most deeply to consider is
The beauty of his daughter.'
See Abbott, Shakespeare Grammar, § 359.

19. go sec. So 'go visit,' Richard II. i. 4. 63 ; ' go buy,' As You Like
It, i. I. 79, &c.

//'. the rcliques, the remains or monuments of antiquity, the ' me-
morials' mentioned in 1. 23.

■24. rcnoiu7i, make famous. Compare Henry V, i. 2. 118 :
' The blood and courage that renowned them.'
26. his, for the sign of the possessive case ; as in i Henry VI, i. 2. i,
'Mars his true moving.' In the Authorised Version of 161 1, in the
contents of Ruth iii. we find, ' By Naomi her instruction, Ruth lieth at
Boaz his feete.' See Abbott, § 217.

28. it ivoidd scarce be answer'' d, the charge of hostility could scarcely
be met, or, it would go hard with me to meet the charge. Compare
Julius Caesar, iv. i. 47:

' How covert matters may be best disclosed.
And open perils surest answered.'
' Answer,' both as a verb and as a noim, was used in a forensic sense.
See Julius Ca.^sar, i. 3. 114:

' I perhaps speak this
Before a willing bondman ; then I know
My answer must be made ' ;
that is, I must abide the penalty.

sc. 4.] TWELFTH SIGHT. 143

33. a>is-,L>er\/, atoned for. compensated.

36. lapsed, caught, surprised.

37. ofen, openly.

39. the Elephant. If it were not an anachronism, I should like to
suggest that Shakespeare might be thinking of the Elephant and Castle
It Newington, which is in ' the south suburbs' ; but 1 have been unable
to trace that inn further back than the middle of the seventeenth
century.

40. diet, footl or fare generally ; not, as now, prescribed or limited
food. In Shakespeare's time it had the sense of' daily food,' as is clear
from Cotgrave (Fr. Uict.>, who gives, ' Diete : f. Diet, or dailie fare";
supposing it to be from the Latin dies instead of the Greek 5«'a«Ta.

41. Whiles, while.

42. luive iiie, find me, meet me.

Seene IV.

I . he says he'll come. Warburton takes this hypothetically ; ' suppose
he says he'll come.' Theobald reads, ' say, he will come ' ; the mes-
senger not having yet returned.

i. bestow of him, bestow on him. So in All's Well, iii. 5. 103 :
' I will bestow some precepts of this virgin,'

4, 5. / speak . . . civil. The arrangement is Pope's. The folios
have but one line, re.ading ' Where's.'

5. sad, serious, grave. See I. 19, and Lucrece, ^77 :

'Sad pause and deep regard beseem the sage.'
And Much Ado, i. 3. 6: : ' The prince and Claudio, hand in hand, in sad
conference.'

lb. civil, sober in demeanour, well-mannered. See i. 4. 20.

12. your ladyship were best, it were best for your ladyship. See i. 5.
28, ii. 2. 24.

13. tainted, unsound. See iii. 1.66.

18, 19. Smilest . . . occasion. As one line in the folios.

23. Please one, and please all. The burden and tune of an old ballad
of which only one copy is known to exist, in the collection formerly
belonging to the librar>- at Helmingham, which was sold at Mr. George
Daniel's sale, and is now in the possession of Mr. Huth. It is printed
in Staunton's edition of Shakespeare, and in the volume of Ancient Ballads
and Broadsidc-s p. 255), published by Lilly in 1867, from Mr. Huth's
collection. The title is, ' A prettie newe Ball.ad, intytuled : The Crowe
sits vpon the wall. Please one and please all. To the tune of, Please
one and please all.' At the end arc the letters * R. T.,' which are
believed to be the initials of Richard Tarlton, the actor. The ballad

144 NOTES. [act in.

was entered on the Registers of the Stationers' Company i8th Jan.,
1591-2.

47. Tliy yellow stockings ! Dyce in his second edition adopted Lett-
som's conjecture, ' My yellow stockings 1 ' because Olivia does not
know that Malvolio is quoting the letter.

53. ntidsiimtnci- mmhtcss. Intense heat is enumerated by Burton
(Anatomy of Melancholy, Part 1. Sect. 2. Mem. 2. Subs. 5) among
the causes of melancholy : ' Bodine . . . proves that hot countreys are
most troubled with melancholy.' Compare Much Ado, i. i. 94 :
' Leoti. You will never run mad, niece.
Beat. No, not till a hot January.'

55. en treat him hack. With adverbs of direction the omission of the
verb of motion is common.

59. people. See i. 5. 97.

60. miscarry, go wrong, come to harm; a euphemistic expression.
See Richard III, i. 3. 16 :

' But so it must be, if the king miscarry.'
.61. do you co7?ie ?tear me now ? do you imderstand me now? do you
know who I am?

68. consequently, accordingly, in accordance therewith. Compare
King John, iv. 2. 240 :

' Yea, without stop, didst let thy heart consent,
And consequently thy rude hand to act
The deed, which both our tongues held vile to name.'
70. some sir of note, some gentleman of distinction. See Winter's
Tale, iv. 4. 372 :

' O, hear me breathe my life
Before this ancient sir.'
Ih. limed, caught as with birdlime. Compare Much Ado, iii. i. 104:
' She's limed, I warrant you : we have caught her, madam.'

']i. Jove^s . . .Jove. Shakespeare no doubt in 1602 wrote 'God's'
and ' God,' and the change was made to avoid the penalty of the Act ot
3 James I. Chap. 21, 'to restrain the abuses of players.' See note on
The Merchant of Venice, i. 2. 99 (Clar. Press ed.). In the present play
the censor's work has not been uniform. See i. 5. 13, 72, &c.

74. adheres, coheres, is coherent. Compare Merry Wives, ii. i. 62 :
' But they do no more adhere and keep place together than the
Hundredth Psalm to the tune of Green Sleeves.'

II). no dram of a scruple, punning upon the two meanings of
'scruple.' Compare 2 Henry IV, i. 2. 149: 'But bow I should be your
patient to follow your prescriptions, the wise may make some dram of a
scruple, or indeed a scruple itself.'

75. incredulous appears to be used here in an active sense. Malvolio

sc. 4.] TWELFTH NIGHT. I45

would say that nothing has occurred which would make him incredulous.
For instances of adjectives used bolli in the active and passive sense see
Abbott, Shakespeare Grammar, § 3.

80. /// /iiii'i, in miniature. Sec Hamlet, ii. 2. 384: ' Those that would
make mows at him while my father lived, give twenty, forty, fifty, an
hundred ducats a-piece for his picture in little.' In the present passage
the phrase ' drawn in little,' which has tiiis technical meaning, is used in
the sense of ' contracted into a small compass ' ; the devils being supposed,
IS in Milton (Par. Lost, i. 7S9), to have the power of altering their
dimensions.

/d. Ligion. See Maik v. 9.

S4. private, privacy. Bacon (Essay xx.xiii, p. 141, cd. Wright) uses
• private ' as a substantive, though not exactly in the same sense :
' Besides some Spots of Ground, that any Particular Person, will Manure,
for his owne Private.'

95. La you, look you. See Winter's Tale, ii. 3. 50 : ' La you now,
you hear.'

Jb. an, if. Printed ' and ' in the folios, as usual.

96. a( heart, to heart. So in The Merchant of Venice, v. i. 145 :

' Since you do take it, love, so much at heart.'

97. Carry his icatcr to the wise woman. Burton, in his Anatomy of
.Melancholy J'art L Sec. 3. Mem. i. Subs, i), gives the signs which
according to this method of diagnosis indicate melancholy. It is again
referred to in 2 Henry IV, i. 2. 2, and Macbeth v. 3. 51. Uouce quotes
from Hey wood's play of The Wise Woman of Hogsdon [ii. 1 ; Works,
V. 292] : ' You have heard of Mother Xotiiigham, who. for her time, was
prettily well skill'd in casting of Waters : and after her, Mother
Bom bye.'

106. my baweoek, my fine fellow: Fr. beau coq. Sec Henry V, iii.
2. 22 :

' Good bawcock, bate thy rage ; use lenity, sweet chuck ! '

107. chuck, a term of familiar endeannent Compare Macbeth, iii.

■J- 4.T :

' Be innocent of the knowledge, dearest chuck,

Till thou applaud the deed.'

109. Ay, Biddy, come with me. Probably a fragment of a song.

no. cherry-pit, a childish game, which, according to Steevens, is
I>layed by pitching cherry stones into a small hole. He quotes from
Nash, who says of ladies' painting, ' You may play at cherry-[)it in their
cheeks." And from The Witch of Edmonton, by Rowley, Dekker, and
Ford [iii. i] : ' 1 have lov'd a witch ever since I played at cherry-pit.'

Jb. Satan, spelt ' Sathan ' in the folios, as everywhere else in Shake-
siKarc. The form appears to have been derived from the miracle plays,

1.

146 NOTES. [act III.

for I do not find it in the printed translations of the Bible which were in
existence in Shakespeare's time.

III. collier. Johnson quotes the proverb, ' Like will to like, qiioth
the devil to the collier.' Ulpian Fulwell (156S) wrote a play with this
title. See Dodsley's Old Plays, ed. Hazlitt, vol. iii.

114. 7ninx, of very certain meaning, but uncertain etymology. Cot-
grave (Fr. Diet.) gives, ' Gadrouillette ; f. A minx, gigle, flirt, callet,
Gixie ; (a fained word, applyable to any such cattell.)' Again,
' Obereau : A hobble (Hawke;) also, a young minx, or little proud
sciualL' It is used also for a lapdog in Udall's translation of the
Apophthegmes of Erasmus (ed. Roberts, 1877), P- ^43= 'There ben
litle minxes, or pupees that ladies keepe in their chaumbeis for especial
iewels to playe withall.' In the same passage ' mynxe ' is the transla-
tion oi Melitaus. The word may possibly be derived from the mink or
minx, the name of which is believed to be of Swedish origin {nurnk) ;
and from the fur-bearing animal it may have been transferred, on
account of some fancied resemblance, to a long-haired lap-dog, and after-
wards applied, like puppy, puss, and vixen, to animals of a superior
order. Some, however, connect 'minx ' with ' minnekin.'

117. clement. See iii. 1. 56.

122. gc7iius, the familiar sjiiiit which was believed to govern a man's
actions ; here used for the spiritual nature. See note on Julius Ccesar,
ii. I. 66. Sir Toby would say 'The plot has taken possession of his
very soul.'

124. take air, get abroad, and so become public and stale.

128. in a dark room and bound. It is not long since this was the
usual method of treating lunatics. See iv. 2. 30, v. i. 292, and compare
As You Tike It, iii. 2. 421 : 'Love is merely a n)adness, and, I tell you.
deserves as well a dark house and a whip as madmen do.' And The
Comedy of Errors, iv. 4. 97 :

' Mistress, both man and master is possess'd ;
I know it by their pale and deadly looks :
They must be bound and laid in some dark room.'

130. carry it, manage it. Compare Midsummer Night's Dream, iii.
2. 240 :

' This sport, well carried, shall be chronicled.'
And Henry VIII. i. 2. 134 :

' He'll carry it so
To make the sceptre his.'

133 a finder of madmen . That anything more is intended than a pun
which turns upon the 'finding' or verdict of a jury' is not evident,
though Ritson thought that 'finders of madmen must be those who
acted under the writ '■ De lunatico inquirendo"; in virtue whereof they

«c.4] TWELFTH NIGHT. 1 47

found the man mad.' Later in the cciiUiry witch-fmders were
notorioui.

135. a May morttifit^, the season for sport and merriment of all kinds.
.Stow Survay of London. 1603, p. yy) says: 'I find also that in the
inoneth of May, the Citizens of London of all estates, lightly in cuery
Parish, or sometimes two or three parishes ioyning togither, had their
>cui;rall mayings, and did fetch in Maypoles, with diuerse warlike
shewcs, with good Archers. Morice dauncers and other deuices for pas-
time all the day long, and towards the Euening they had stage playts,
and IJonefiers in the streetes.'

140. Give me. Lettsom proposed 'Give 't me'; but there is no
necessity for a change. Compare Romeo and Juliet, iv. i. 121 :
' Give me, give me : O, tell me not of fear.'
143. nor. ..not. For the double negative see V'enus and Adonis, 409:

' I know not love, quoth he, nor will not know it.'
3. admire, be surprised. Sir Andrew's use of the word may be
justified. See The Tempest, v. i. 154:

' I perceive, these lords
At this encounter do so much admire
That they devour their reason.'
And .Milton, Paradise Lost. ii. 677. 678:

' The undaunted fieiul what this might be admired ;
Admired, not fear'd.'
I46. ttote, remark, observation.

157. the windy side of the law, so that the law cannot scent you out
and track you, as a hound does the game. So IJeatrice Much Ado, ii.
I. 327 > says of her heart, ' I thank it, poor fool, it keeps on the windy
side of care,' and so out of its fangs. Staunton jioints out that in
an old Italian treatise (1524), which contains among other things the
Rules of the Duello, a distinction is made between different method.-- of
giving the lie, such as, simply, ' Thou liest ' ; or, ' Thou best in thy
throat ' ; or, ' Thou liest in thy throat like a rogue ' ; or, finally, • Thon
liest in thy throat like a rogue as thou art ' : whicli inevitably led to a
challenge. Sir Andrew stopped short of the last insult.

165. (ommcrce, intercourse, conversation, discourse. Compare
Hamlet, iii. i. 1 10 :

' Ham. That if you be honest and fair, your honesty should admit
no discourse to your beauty.

Oph. Could beauty, my lord, have better commerce than with
honesty ? '

lb. by and hy, immediately. See Matthew xiii. 21:* When tribula-
tion or persecution ariseth because of the word, by and by he is
often ded.'

L 2

148 NOTES. [act 111.

16"]. scozit mc. See iii. 2. 30, 31, 'Build me,' 'Challenge me'; and
Abbott, Shakespeare Grammar, § 220.

168. a buDL-bailey , or bumbailiff, was an inferior sheriff's officer, a
shoulder-clapper, who followed close in the rear of his victims and
perhaps so gained his name. Others say he was a ' bound-bailiff.'
Whatever the origin of the term it was used in contempt.

169. horrible, horribly; adjective for adverb. See i Henry IV, ii. 4.
402 : ' But tell me, Hal, art not thou horrible afeard ? '

171. twanged off, pronounced with a strong accent.
lb. approbation, attestation. See Heniy V, i. 2. 19 :

' For God doth know how many now in health
Shall drop their blood in approbation
Of what your reverence shall incite us to.'

172. proof, trial, test. Compare Troilus and Cressida, i. 3. 34 :

' In the reproof of chance
Lies the true jaroof of men.'
180. tlodpolc, a blockhead. Spelt ' Clodde-pole ' here in the first
folio, but 'Clotpole' in Troilus and Cressida, ii. i. 128; Lear, i. 4.
51, and Cymbeline, iv. 2. 184.
182. report. See iii. 2. 35.

186. like cockatrices. Compare Richard III, iv. i. 55, and Romeo
and Juliet, iii. 2. 47 :

'Say thou but "I,"
And that bare vowel " I " shall poison more
Than the death-darting eye of cockatrice.'
The cockatrice was a fabulous creature, half cock and half serpent,
which was believed to be hatched by a snake or toad from a cock's
egg. The name is a corruption of ' crocodile ' ; from Fr. cocatrice,
cocatris, or cocatrix, Spanish cocatriz, cocadriz, cocodrillo. It was supposed
that the glance of the cockatrice was fatal to any one who did not see it
first. Sec Bacon's History of Henry VII, p. 194 (ed. 1622), of Perkin
Warbeck : ' This was the end of this little Cockatrice of a King, that
was able to destroy those that did not espie him first.'

187. give them way, m.ake way for them, retire before them. So
King John, i. i. 156 :

'Our country manners give our betters way.'

188. presently, instantly. See v. i. 167.

192. unchary, unsparingly, lavishly. The word etymologically
signifies heedlessly, carelessly ; but that Shakespeare understood it in
the other sense is evident from Hamlet, i. 3. 36 :

'The chariest maid is prodigal enough,
If she unmask her beauty to the moon':
vvhere ' chariest ' and ' prodigal ' are contrasted.

sc. 4-] TWELFTH NIGHT. I49

193. out. Theobald's rcadinj; for ' on't ' of the folios, which gives at
best but a very forced sense. The change is at once justified and
rendere<l necessary by the meaning of ' uiichar}-.' In Winter's Tale, iv.
4. 160:

' He tells her something
That makes her blood look out ' ;
the folios read 'on't' as here. Capell says 'laid out' signifies 'ex-
posed.' It rather means 'expended.'

196. ^havicntr, behaviour, deportment. C'oni]5are Hamlet, i. 2. Si :

' Nor the dejected 'ha\ iour of the visage.'
I ^"f. grief. Rowe's reading. The folios have 'greefes' or 'griefs.'
The change is necessary-, not so much on account of the grammar, to
which a parallel might be found, as because 'passion' and ' griet ' are
related, but not ' passion ' and ' griefs.'

198. jewel was formerly used to denote any personal ornament ot
value; from the Old Yrtinch Joiel, Joel, 01 jotiel, a diminutive oi jote
which is the Latin ^a «<//«///. Imogen (Cymbeline, ii. 3. 146) uses it of
her bracelet :

' Go bid my woman
Search for a jewel that too casually
Hath left mine arm.'

212. despite, spite, malice. See Coriolanus, iii. 3. 139:

' Follow him,
As he hath follow'd you, with all despite.'

213. attends, awaits. So in Much Ado v. 4. 36: 'We here attend
you.' And Richard II, i. 3. 116:

'Attending but the signal to begin.'
lb. dismount thy tuck, in plain English, draw thy sword. The
hangers or straps by which the rapier was attached to the sword belt
are called in the affected language of Osric the 'carriages' (Hamlet, v.
I. 158, &c.), and Sir Toby's 'dismount' is in keeping with this phrase-
ology. A tuck wa-; a small rapier. Cotgrave (Fr. Diet.') gives, ' Verdun,
m. The little Rapier, called a Tucke.' The word comes to us from
the French cstoc, which Cotgrave defines as ' The stocke, tmnke, or
bodie of a tree . . . also, a Rapier, or tucke.' In Florio's Worlde of
Wordes (1598) we find, '.Stocco. a tnmcheon, a tuck, a short sword,
an arming sword.'

214. yare, nimble, active ; from the AS. gearu, ready, prompt.
See The Tempest, i. i. 7, and Antony and Cleopatra, iii. 13. 131 :

' And to proclaim it civilly, were like
A halter'd neck which does the hangman thank
For being yare about him.'
217. any quarrel to me. Compare Much Ado, ii. i. 243: 'The

150 NOTES. [act 111.

Lady Beatrice hath a quarrel to you.' And Coriolanus, iv. 5. 133.
' To ' marks the object of the quarrel, just as in Capgrave's Chronicle,
P- I73> where it is said, ' Wiliam Waleys . . . mad al the cuntre rebel
to Hldward the Kjmg ' ; a sentence which caused the editor to add the
remarkable sidenote (corrected in the Errata), ' Rebellion of Wallace
in favour of the English King.'
221. opposite. See iii. 2. 59.

224. dubbed luith unhatched rapier, not knighted on the field of
battle with the sword which bore marks of his prowess. 'Unhatched'
is ap|>arently for 'unbacked,' which is substituted by Pope. Malone
proposed to read 'an hatcht rapier,' that is, a rapier whose hilt was
richly ornamented and gilt, like a court sword not meant for use.

225. and on carpet consideration. Francis Markham in his Booke
of Honour (1625), p. 71, quoted by Reed, describing various inferior
kinds of knighthood, says : ' Near ^'nto these in degree (but not in
qualitie, for these are truly (for the most part) vertuous and worthy) is
that ranke of Knights which are called Carpet- Knights, being men who
are by the Princes Grace and fauour made Knights at home, and in the
time of peace, by the imposition or laying on of the Kings Sword . . .
And these of the vulgar or common sort, are called Carpct-ktiights,
because (for the most part) they receiue their honour from the Kings
hand, in the Court, and vpon Carpets, and such like Ornaments belong-
ing to the Kings State and Greatnesse.' The term ' carpet knight '
came to be used in contempt for an idle and effeminate person. Baret
in his Alvearie (1580), quoted by Steevens, thus explains the Latin
proverb, 'Bos ad precsepe;' 'A Prouerbe to be applied agaynst those
which doe not exercise themselues with some honest affaires : but serue
abhominable and filthy idlenesse, and as we vse to call them carpet
knightes." In employing the term ' consideration ' Sir Toby implies that
Sir Andrew's honours had been purchased.

226. brawl. Spelt ' brail ' in the first folio.

227. ince7ise7nent, exasperation, rage. Richardson quotes from Hey-
wood's Rape of Lucrece [Works, v. 190] :

'We engage our owne deere love tvvixt his incensement
And your presumption.'
229. Hob nob, like 'hab nab,' which is of frequent occurrence,
denotes ' come what may,' ' hit or miss,' and the like, a phrase ex-
pressing utter recklessness. ' Hab nab ' is perhaps the original form,
and is probably, as Skinner gives it, from the A.-S. habbatt, to have,
and nabban { = ne habban) not to have. Johnson derives it from hap,
an alternative etymology mentioned by Skinner. But, however derived,
it means at random, or haphazard. Florio (A World of Wordes,
1598) gives, 'Auanuara, at a venture, at hazard, hab or nab, at sixe or

sc. 4] TWELFTH SIGHT. 1 /-, I

seuen." In his Itnlian Pictionary (i6ii\ he defines the same word,
' hand ouer head, at randan, at hab or nab, at all adiienture.' Cotgrave
(Fr. Diet.) has, ' Conjecturalement. Coniectuially, by ghesse, or con-
iectiire, habnab, hittie-niissie.' Again I.yly. Kuphues and his England
[ed. Arber, p. 354], quoted by Todd : ' Thus I'hilautus determined, hab,
nab. to sende his letters.' And Malonc rtfers to Ilolinshed's Histor)- of
lrtlan<l [e<l. 1577, p- 77]: 'The Citizens in their rage, imagining that
ener)' posie in the Churche had bin one of y" Souldiers, shot habbe or
nabbe at randon, vpjx.' to the Koode loftc, and to the Chauncell.' Com-
pare Howell's English Proverbs, p. 10: ' Hab or nab, He have her.'

.•31. <w/(/«</, escort. Compare The Merchant of Venice, iv. i. 14S:

'Some three or four of you
Go give him courteous conduct to this place.*
And King John. i. i. 29 :

' An honourable conduct let him have.'

1:33. taste, test, try. Compare Troilus and Cressida, i. 3. 337, where
the metaphor is kept up :

' For here the Trojans taste our dear'st repute
With ihcir finest i)alate.'

Ih. quirk, odd humour, whim, caprice. .See All's Well, iii. 1. ~.\:
' I have felt so many quirks of joy and grief.'

239. meddle, mix or t.ake part in a fight of some kind. See 1. 266.

243. to kiitnv, to learn or ascertain Compare A Midsummer Night's
Dream, i. i. 6>> :

' Know of your youth, examine well your blood.'
And Othello, v. i . 1 1 7 :

'Go know of Cassio where he supp'd to-night.'

J43. to him. See above, 1. 217.

249 arhitrement, decision, trial. Compare Henry V, iv. i. 168:
' If it come to the arbitrement of swords.'

252. tike. See i. 3. 1 15.

lb. proof. See above, 1. 172.

254. opposite. .See iii. 2. 59.

258. with sir priest, than sir knight, that is, with the more peaceable
wearer of the title 'sir.' In iv. 2. 2, the curate is called ' Sir Topas,'
and the title was given to those priests who had taken a bachelor's
degree at a University. See notes on As You Like It, iii. 3. 54, and
Richard III, iii. 2. in. Of .Sir Hugh Ashton, Controller of the House-
hold to the I^dy Margaret, Fuller History of the University of Cam-
bridge, e<l. 165-;, p. 94) says: 'This Sir Hugh (whom I conceive
rather Sir Priest than .Sir Knight, was a good Iknefactor to the
Colletige, and liith buried on the North-side in the outward Chappell'
[of St. John's].

152 NOTES. [act 111

259. Capell omits the 'Exeunt' and keeps Fabian and Viola on the
stajje, because in 1. 268 Sir Toby seems to point to them. They
might, however, be within view of Sir Toby, but out of sight of the
audience. Dyce in his second edition made this begin a new scene,
'Scene V. The Street adjoining Olivia's garden,' because in v. i. 58,
Antonio, who is arrested at the end of this scene, is said to have been
taken • Here in the streets.'

261. a fi7-ago Sir Toby's corruption of 'virago,' or else a word of
his own coinage. If 'fire-eater' had been in existence at the time,
' firago ' might be a hybrid between this and ' virago.'

262. the stuck. A corruption of ' stoccata,' a thrust in fencing. See
Romeo and Juliet, iii. i. 77, Merry Wives, ii. i. 234. Florio (Ital. Diet.)
gives, ' Stoccata, a thrust, a stoccado, a foyne.' So Hamlet, iv. 7. 162 :

' If he by chance escape your venom'd stuck.'
Steevens quotes from Marston's Antonio's Revenge [ed. Halliwell, vol.
i. p. 79] :

' And if a horned divell should b^irst forth,
I would passe on him vdth a mortall stocke.'

263. anszvcr. Another technical term like the French riposte.

lb. pays you, hits you. So Falstaff says (i Henry IV, ii. 4. 213),
* Two I am sure I have paid.'

265. the Sophy. See ii. 5. 165.

272. grey Capilct. ' Capul ' was a north-country word for a horse, as
we know from the ballad of Robin Hood and Sir Guy of Gisborne,
and possibly ' capilet ' may be a diminutive of this.

276. to take up, to make up, settle. See As You Like It, v. 4 104:
' I knew, when seven justices could not take up a quarrel." And
North's Plutarch, Alexander the Great, p. 729 (ed. 1595): 'Passing
away all the rest of tlic day, in hunting, writing some thing, taking vp
some quarrell betweene souldiers, or else in studying.' Again, Gosson's
Schoole of Abuse (ed. Arber, p. 21): 'Where luno which is counted
the ayre, settes in her foote to take vp the strife, and steps boldly
betwixt them to part the fray.'

278. He is as horribly conceited, or has the same horrible idea. The
verb 'to conceit' occurs in Julius Caesar, i. 3. 162 :

' Him and his worth and our great need of him
You have right well conceited.'

283. tlte supportancc, the maintaining or upholding. The word
occurs in iti literal sense in Richard II, iii. 4. 32 :

' Give some supportance to the bending twigs.'

289. 07ie bout. Another fencing term, derived from the French botte,
or Italian hotla, which Torriano (Ital. Diet.) defines as 'a blow, a stripe,
a streak, a hit, or a venie at fence.'

sc. 4-]. TWELFTH XIGHT. 153

290. M** Juili'o, or the laws of duelling, which were- laid down with
great nicety, as may be seen in Saviolo's Practice of the Duello (I595\
with which Shakesj>eare seems to have heen acquainte*!. See note on
As You Like It, v. 4. S3 ^Clarendon Press ed.\ where an extract from
the book is given. In the beginning of the 17th century 'duello' was
still a foreign word, and ' duel ' had not fully establishetl itself. See
Love's Labour's Lost, i. 2. 1S5: 'The passado he respects not, the
duello he regards not.'

301. an undertaker, one who takes upon him the business of others,
one who is engaged on behalf of another, as surety or agent. In the
Authorised Version of Isaiah xxwiii. 14, 'Undertake for us' signifies
'Be surety for us.' Tyrwhitt has pointed out that in 16 14 the word
'undertaker' had acquired an opprobrious sense, but there is no reason
to suppose that Sir Toby uses it with any more contempt than is
naturally felt for a meddlesome person. At the beginning of the 1 7th
century it signified what we should now call a contractor, and
Bacon, in his sjieech in the House of Commons concerning the Under-
taker, says, ' I had hear<l of Undertakings in several kinds. There
were Undertakers for the plantations of Derry and Coleranc in Ireland,
the better to command and bridle those parts. There were, not long
ago, some Undertakers for the north-west pass.ige : and now there are
some l.'ndertakers for the project of dyed and dressed cloths.' (Life
and Letters, ed. Spedding, v. 43.)

307. reins, answers the rein.

},\2. fai'our, countenance. See ii. 4. 24, and Troilus and Cressida,

iv. 5. 213:

'I know your favour. Lord Llysses. well.'
313. sea-cap. The sailor's cap of the period, according to Fairholt
in Halliwell's Folio edition, was of fur, or lined with fur.
326. pari, partly. So in Othello, v. 2. 296:

' This wretch hath part confess'd his villany.'

328. my having, my possessions, property. Compare Merry Wives,
iii. 2. 73 : ' The gentleman is of no having.'

329. my present, my present store. For this use of the adjective
compare ' private,' \. 84.

338. lying vainness, babbling drunkenness. This is Howe's reading
in his second edition, and it appears to be the best. The folios have
'lying, vainnesse, babling drunkennesse,' and Steevens (179.',) printed
' lying, vainness, babbling, drunkenness ' ; regarding all four words as
substantives. But in this arrangement there is no sequence or climax in
the four things which are stigmatized as vices, and it is better to take
the wonls in pairs, with an adjective and substantive in each pair.

lb. vainiuss, boaslfulness.

1 54 NOTES. [act IV.

344, 7(i?y/t such sanctity of love. For ' such ' in this sense compare
Cymbeline, v. 5. 44 :

' Your daughter, whom she bore in hand to love
With such integrity, she did confess
Was as a scorpion in her sight.'
Capell printed the line as an unfinished sentence ending ' love, — ,' and
Sidney Walker supposed that a line following was lost.

346. vc7terable, deserving of veneration. In modern usage it is
always associated with age.

348. vile. The folios have ' vilde ' or ' vild.'

349. good feature, a beautiful exterior.

351. unkind, unnatural. Compare Lear, iii. 4. 73 :

' Nothing could have subdued nature
To such a lowness but his unkind daughters.'

352. hemitcotis evil. See ii. 2. 27.

353. o'erjlourish'd, like the old oak chests which are frequently orna-
mented with elaborate carvings.

357. so do not I. Viola was not so' confident in her belief that
Sebastian lived, as Antonio was that she wrs Sebastian.

361. saws, maxims, proverbs, which frequently ran in couplets.

363. Viola remembers her brother by the reflexion of her own face
in the glass.

}fii,. favours. See above, 1. 312.

366. ifitproz'e true. See I. 358.

373. 'slid. See ii. 5. 29.

ACT IV.

Scene I.

3. Go to, go to. See i. 5. 37.

5. Well held out, well kept up ; the Clown supposes Sebastian to be
merely playing a part. Compare Measure for Measure, v. i. 371 :

' If thou hast.
Rely upon it till my tale be heard.
And hold no longer out.'
And A Midsummer Night's Dream, iii. 2. 239 :

'Wink each at other; hold the sweet jest up.'
9. vent, utter. Compare As You Like It, ii. 7. 41 :
' He hath strange places cramm'd
With observation, the which he vents
In mangled forms.'

sc. 1.] TWELFTH NIGHT. 1 55

An'l lien Jonson, The Fox, ii. i, quoteil by Delius :

' Pray yon, what news, sir, vents our climate?'
This may have t)een in ridicule of an affected usage.

9, 10, 17-19, are printed as prosi- in the folios. L'apell first arranged
them as verse.

13. I a/n afraid this pvat luhlu-r, thi- tvorlti, will prove, &c. The
folios have no commas, but Johnson, though he does not insert them,
gives the inteqiretation which they involve : ' That is, affectation and
foppery will overspread the world.' Knight suggests that the Clown
speaks aside, 'I am afraid the world will prove this great lubber (Sebas-
tian "i a cockney' — a foolish fellow. Douce proposed to read 'this great
lubl«rly word,' but the expressii)n is not applicable to ' vent,' although
it is adoptetl by Mr. Grant White.

1 4 ungini thy strangeness, rela.x thy distant manner.

17. foolish Greek. ' Greek' was a term for a merr)' companion. In
Udall's play of Roister Doister one of the characters is Mathew Mery-
grceke. Compare Troilus and Cressida, i. J. 1 18 : ' Then she's a merry
Greek indeed.'

21. report. See iii. 2. 35. The folios put a comma at 'rciiort,'
meaning probably the same as Staunton, who marked it with a dash, to
indicate that what follows is said aside, or in a different tone.

12. after fourteen years" purchase, that is, at fourteen times the annual
rent, which appears in Shakespeare's time to have been a high price for
land. In 1620 the current price was twelve years' purchase.

34. struck. Spelt 'stroke' in the first and second folios, ' strook '
in the third.

38. iron. See iii. 4. 240.

lb. Jleshed, eager for slaughter, like an animal that has first tasted
blood. See note on Richard III, iv. 3. 6, and Henry V, iii. 3. 11 :
'The flesh'd soldier, rough and hard of heart.'

43. malapert, saucy, impudent. See Richard III, i. 3. 255 :
' Peace, master marquess, yon are malapert.'
In Roquefort's Glossaire de la Langue Romane ' apert ' is defined as
'indiscret, effronte. impudent.'

fo. Kudeshy, rude, ruffianly fellow. See The Taming of the Shrew,
iii. 2. 10 :

'To give my hand, opposed against my heart.
Unto a mad-brain rudcsby. full of spleen.'

32. uncivil. See ii. 3. 116.

lb. extent here signifies a violent attack, and it derives this meaning
from the language of law, in which the word denotes a seizure of houses
and lands under a writ of extendi facias, and so a violent seizure
generally. See note on As You Like It, iii. i. 17.

156 NOTES. [act IV.

55. botch\i tip, patched up clumsily. This does not refer to the
patching up of quarrels which Sir Toby's conduct had bred, but to the
awkwardly contrived tricks he was constantly playing.

56. thou shalt not ciioosc but go. See ii. 5. 15S, and the Taming of
the Shrew, v. i. 12 :

* You shall not choose but drink before you go.'

57. Beshrew, evil befall ; a very mild form of imprecation. See
note on A Midsummer Night's Dream, ii. 2. 54.

58. heart. There is of course a play upon the wonis 'heart' and
'hart.' See i. i. 17.

59. What relish is in this? What does this savour of? Is it real
or unreal ?

Sce7je II.

2. Sir Topas. See i'i. 4. 258. The name occurs in Chaucer. If
Shakespeare borrowed it, he borrowed nothing else.

3. the whilst, in the meantime. See Richard II, v. 2. 22 :

' Alack, poor Richard ! where rode he the whilst ?

4. dissetnble, disguise. In Latin se dissimularc means to disguise
oneself, but there is no need to suppose that in putting this language
into the mouth of the Clown Shakespeare was imitating a Latin
idiom.

6. tall. Dissatisfied with this epithet, Reed at Farmer's suggestion
substituted ' fat.' Tyrwhitt proposed • pale.'

7. student. Spelt ' studient ' in the first folio, as in Merry Wives, iii.
i. 38, where Justice Shallow says, ' Keepe a Gamester from the dice,
and a good Studient from his booke, and it is wonderfuU.' It may be
that in both these passages the mis-sjoelling is intentional, for in Love's
Labour's Lost, ii. i. 64, iii. i. 36, the word is in its usual form.

9. conipetilors, confederates. See Richard III, iv. 4. 506, and
Antony and Cleopatra, i. 4. 3, where Caesar speaking to Lepidus ol
Antony, say.s,

' It is not Cresar's natural vice to hate
Our great competitor.'

12. the old hermit of Prague. Not Jerome of Prague the heresiarch,
says Douce, ' but another of that name bom likewise at Prague, and
called the hermit of Camaldoli in Tuscany.' But this is treating the
Clown's nonsense too seriously. No one has attempted to identify the
niece of King Gorboduc.

30. in hidcozis darkness. See iii. 4. 12S.

36. hay 7uindoivs. A bay window is a projecting window which
forms a bay or recess in a room. The modern equivalent is ' bow
window,' which some consider a corruption, but more properly de-

sc. J.] TWELFTH NIGHT. 1 57

scribes the window from the outsuic, as bay window docs from the
inside.

36. barriccuioes. As in the case of 'duello' and 'duel,' the French
form of the word ' barricade ' had not in Shakespeare's time become
fully naturalised. See Klorio, A VVorkle of Wordes (1598): ' Bari-
cata, Barricada, a baricado, or fortilication with barels, timber, earth.'
And Cotgrave, Kr. Diet. ^i6ii): ' Barriijuade : f. A barricado ; a de-
fence of barrels, timber, pales, Sac'

37. clearstories. The rtadini; of the tirst folio is ' clcere stores,'
which became in the second folio ' cleare stones," and in all subsequent
editions down to Boswdrs(i82i), ' clear stones,' which is not even sen-
sible nonsense. The reading adopted by Boswell was suggested by
Blakeway, who explains 'clearstory' as denoting • the row of windows
iTinning along the upper part of a lofty hall, or of a church, over the
arches of the nave.' The term is most fanuliar in church architecture,
but that it was not confined to ecclesiasiical buildings is shewn by the
examples of its use in the 15th and 16th centuries, given by Professor
Willis in his Architectural Nomenclature of the Middle Ages, pp. 58,
59. He says, 'Apparently "clerestory" was used for any mode of
admitting light over head.' It seems to have been so called in opposi-
tion to 'le blyndstorys,' which is another name for the triforium. See
Parker's Glossary of Architecture, quoted by Professor Skeat (App.
to Etymological Diet.).

43. S(.e Exodus x. 21 -23.

46. abused, misused, ill-treated. See 1. 84, and Richard II, ii. 3. 137:

'The noble duke hath been too much abused.'

47. any constant question, a question which requires a consistent
answer ; or, if we take ' question,' as Malone does, in the sense of ' con-
versation,' ' any constant question ' will mean any regularly conducted
formal conversation or discussion.

48. the opinion of Fytitagoras concerning the transmigration of souls
is again referred to in The Merchant of Venice, iv. i. J31, and As You
Like It, iii. 2. 187 (163, Clar. Press edition).

50. haply. Spelt 'happily' in the folios. See Henry V, v. 2. 93.
As the old copies vary between ' haply,' ' happily ' and ' hapjjely,' the
more familiar siK-Uing is adopted here to avoid confusion.

57. a woodcock, which was a proverbially foolish bird. See ii. 5. 77.

58. soul. Corrupted into ' house ' in the second ami later folios.

61. / ant for all waters. An anonymous correspondent of the Gen-
tleman's Magazine, xx. 252, says, 'From the Italian proverb. Ho man-
tello d'ogni acqua, I have a cloke for all waters.' The meaning of this
is illustrated by another, ' Non si fa mantello per un' acqua sola. A
cloak is not made for one shower only.' Mulone is apparently right in

158 NOTES. [act IV.

interpreting, ' I can turn my hand to anything ; I can assume any char-
acter I please.' Monck Mason thought that ' water ' was used in the
jewellers' sense of the colour and hue of precious stones, and that there
was a play intended upon the name ' Sir Topas ' which the Clown had
assumed. But compare Heywood's P3nglish Traveller, i. 2 (Works, iv.
20) : ' Like a good trauelling Hackney, learne to drinke of all Waters.'
64. To him. See above, line 17.

68. the up-shot, or decisive shot, a term of archery, as the ' up-cast,'
or final throw, was used in the game of bowls, is here employed meta-
phorically to denote the conclusion of any business. Compare Hamlet,
V- 2. 395 (368, Clar. Press ed.) :

' And, in this upshot, purposes mistook
Fall'n on the inventors' heads.'
70. Hey, Robin, jolly Robin. The song from which the Clown sings
these snatches is printed in Percy's Reliques of Ancient English Poetry
(i. p. 198, ed. 1857), from a MS. in the possession of Dr. Harrington, of
Bath. The first two stanzas run thus :
' A Robyn,

Jolly Robyn,
Tell me how thy leman doeth,

And thou shalt know of myn.
" My lady is unkynde perde."

Alack ! why is she so ?
" She loveth an other better than me ;
And yet she will say no.'" '
83. besides, beside, out of. Compare Sonnet, xxiii. 2 :
' As an unperfect actor on the stage
Who with his fear is put besides his part.'
lb. five wits, or powers of the mind, corresponding in number to the
five senses. Stephen Hawes, a poet of the time of Henry VII, in his
Pastime of Pleasure (cap. xxiv, p. 108, Percy Soc. ed.), quoted by
Malone, enumerates the five internal wits as follows, common wit,
imagination, fantasy, estimation, and memoiy. Compare Sonnet, cxli. 9:
' But my five wits nc^r my five senses can
Dissuade one foolish heart from serving thee.'
86. But as well ? Only as well ?

88. propertied me, treated me as a property or thing to be used for a
particular i)urpose, as if 1 had no will of my own. Compare King
John, V. 2. 79 :

' 1 am too higli-born to be propertied,
To be a secondary at control.
Or useful serving-man and insliumcnt.
To any sovereign state throughout the world.'

sc J.] TWELFTH NIGHT. 159

89, 90. fo face me out of my -wits, to cheat inc out of my wits by
shetr impudence. See v. i. Si.

92. Mulvolio, Malvolio, <tv. The Clown here speaks in the assumed
voice of Sir Topas.

92, 9.V endeavour thyself. ' Endeavour ' was formerly used as a re-
flexive verb, as in the Collect for the Second Sunday after Easter:
•and also daily endeavour ourselves to follow the blessed steps of his
most holy life '

93. bibble babble, is a reduplicated word, formed from 'babble' by
a prefix to give intensity to the meaning. So ' tittle tattle ' from
' tattle.' Richardson quotes from Holland's translation of Plutarchs'
Morals, p. 57: 'The errours committed in this kinde, have l.-eene
the cause why there is found so little wit and understanding, and con-
trariwise so much tongue and bibble-babble, such vaine chattring
about words in yoong men throughout the Schooles.' See also Latimer
(.Sermons, p. 507, Parker Soc. ed.) : 'I speak of faithful prayer: for in
time past we took bibbling babbling for prayer, when it was nothing less.'

95-97. The Clown speaks alternately in his assumed and in his
natural voice.

96. God be wP you. In the folios ' God buy you.'
100. sheiit, scolded, reprimanded ; literally, put to shame, from the
Anglo-Saxon sccndati. See note on Coriolanus v. 2. 104 (91 Clar.
Press ed.). Compare Merry Wives, i. 4. 38 :

'Rug. Out, alas I here comes my master.
Quick. We shall all be shent.'

103. Well-a-day,\\Vii ' alas,' an expression of sorrow. See note on
Henry V, ii. 1. 32 (Clar. Press ed.)

104. By this hand. See i. 3. 32.

106. advantage occurs as a transitive verb in Julius Csesar, iii. i. 24; :
' It shall advantage more than do us wrong.'
And \'enus and Adonis, 950 :

'What may a heavy groan advantage thee?'
See also i Corinthian.^ xv. 32.

105. arc you not iitcui indeed ? Johnson suggesteil that the negative
should be omitted, but the question in its present form is equivalent to
* you are mad, are you not ?'

118. /// a trice, instantly, from the Spanish en un tris. See Cymbe-
line, v. 4 1 7 1 : ' O, the charity of a penny cord ! it sums up thousands
in a trice.'

1 19. the old Vice, a familiar figure in the ancient moral plays, in which
he is always introduceil in company with the devil. On the modern
stage, the harlequin is his nearest representative. Sec note on Richard
ni, iii. I. 82 (Clar. Press ed.).

l6o NOTES. [activ. sc. 3.

121. dagger of lath. Compare Henry V, iv. 4. 74-77 : ' Bardolph and
Nym had ten times more valour than this roaring devil i' the old play,
that every one may pare his nails with a wooden dagger.' The Clown
hints that he plays with Malvolio the same tricks that the Vice of the
old Moralities did with the devil, whom he beat with his wooden
sword till he made him roar, and rode about the stage, to the delight
of the spectators.

126. Adieu, goodnmn devil. The Clown, comparing himself to the
Vice, takes leave thus contemptuously of Malvolio, whom he befools as
the Vice did the Devil of the early stage. There does not appear to be
any sufficient reason therefore for changing the reading, which is sub-
stantially that of the fust folio, 'Adieu good man diuell ;' although it
has been changed to ' goodman Drivel,' to avoid the repetition. John-
son suggested ' goodman Mean-evil,' as a translation of Malvoiio's
name. Following this suggestion Monck Mason proposed ' good Mean-
evil.'

Scene III.

6. this credit, this opinion in which people believed, this current
belief. I lanmer altered ' credit ' to ' current ' ; Theobald proposed
'credent' and Mason 'credited,' the latter conjecture being perhaps
suggested by the unusual form of the word in the first and second folios
'credite.' But 'credit' is used in just the same sense as 'trust,'
in line 15.

12. instance, example.

//;. discourse, reasoning, argument. Johnson defines it as the ' act ot
the understanding, by which it passes from premises to consequences.'
It is this 'discourse of reason' (Hamlet, i. 2. 150) which animals are
supposed to lack, the faculty of drawing a conclusion from premises.

15. trust, belief, firm conviction.

18. Take and give back affairs and their dispatch. The verbs and
substantives must be distributed here as in Winter's Tale, iii. 2.
164, 165 :

' Though I with death and with
Reward did threaten and encourage him.'
And in Macbeth, i. 3, 60:

' .Speak then to me, who neither beg nor fear
Your favours nor your hate.'
In the present passage ' take ' goes with ' affairs ' and ' give back '
with 'their dispatch.' The phrase is thus equivalent to ' take a busi-
ness in hand and discharge it." Collier followed the Perkins folio in
reading ' and thus dispatch affairs,' and Dyce, suspecting corruption, pro-
po.scd ' affairs and them dispatch.'

ACT V. sc. I.] TWELFTH SIGHT. l6i

2 1. decehhil'U, deceptive. So in Kichanl II. ii. 3. 84:

'Show me thy humble heart .incl nut ihy knee,
Whose duty is deceivable and false.'
J4. chantry, a private chapel. Cowell, in his Interpreter 1607),
referred to by Steevens, says ' Chaxculary {lanlaria is a Church or
chapcU cndcwed with lands or other yearely revenewe, for the man-
lenance of one or nioe priests, daily to sinjj masse for the soules of the
ilonours, and such others, as they doe appointc.'
/b. by, near. So in Sonnet, cliv. 9 :

' This brand she quenched in a cool well by.'
j6. Plight, pledge; as in Lucrece, 1690:

' Shall plight your honourable faiths to me.'
The .Anglo-Saxon plihtan, which seems to have the meaning of under-
taking at the risk of some penalty, is et\ mologically connected with thi;
German pjlicht, duty or obligation.

11. jealous. In the first folio, ' iealious.' See note on Kicharci 111,
i. I. 92.

-'9. Whiles, until. ' While ' is very commonly used in this sense in
some provincial dialects, and in some instances by Shakespeare himself.
.See Macbeth, iii. i. 4^.

//'. come to note, become known, be acknowledged.
30. W'liat time, when. Compare }, Henry \'I, ii. 5. 3 :

• What time the shepherd, blowing of his nails,
Can neither call it perfect day nor night.'
lb. the celebration, that is, the actual marriage.

34. heavens so shine, &c. Perhaps alluding, say.s Steevens, to the
old proverb, ' Happy is the bride upon whom the sun shines.'

ACT V.

Scene I.

17. profit, become proficient, improve. Compare Merrj" Wives, iv.
I. !•; : ' My son profits nothing in the world at his hook."

18. <i/^«jt'</, deceived. See iii. i. in.

lb. conclusions to he as kisses. As it take> two persons to make one
kiss, so two premisses are necessarj- for one conclusion. Capell under-
stands it to mean, ' to make conclusions follow as thick as kisses do
often.' Warburton regarded the words as a monstrous absurdity, and
after his manner rewrote them thus : ' so that. Conclusion to l)e asked
is, if, &c.' In the Clown's argument, the afTirm.ntive conclusion follows
the negative premisses, as kisses follow upon refusal.

19. y^ur Jour negatives, &c. For this colloiiuial use of 'your,' sec

M

1 6a NOTES. [act V

Antony and Cleopatra, ii. 7. 29 : ' Your serpent of Egypt is bred now of
your mud by the operation of your sun : so is your crocodile.' The
Clown has still the ' four ' lips of the kisses in his mind.

22. Bj' my troth. See i. 3. 4.

28. your grace, your virtuous scrujjles. Delius interprets it, ' your
gracious hand.' But the Clown means, ' put aside your scruples, and let
your flesh and blood , j'our natural disposition, obey my evil counsel.'

33. the triplex, or triple time in music

34. the hells of Saint Bennet. The allusion is, perhaps, to some old
rhyme which has been lost : or it may be to the real bells of St.
Bennet Hithe, Paul's Wharf, just opposite the Globe Theatre.

f,7. at this throw, at this cast or venture. The figure is from dice or
bowls. ' Throw ' is not likely to be the Old English word as used by
Chaucer (Man of Law's Tale, 5373), in the sense of ' time ' :
' Now let us stint of Custance but a throw '
4S. A ba%vbling vessel, a vessel of trifling and insignificant size, which
was called also a bauble or bable. See Cymbeline iii. i. 27 :

' His shipping —
Poor ignorant baubles! — on our terrible seas
Like egg-shells moved upon their surges, crack'd
As easily 'gainst our rocks.'
.Vnd Troilus and Cressida, i. 3. 35 :

' The sea being smooth,
How many shallow bauble boats dare sail
Upon her patient breast, making their way
With those of nobler bulk ! '
In Strachy's account of the wreck of Sir Thomas Gates in 1610
(Purchas his Pilgrimes, vol. iv. p. 1739), wc read, "It is impossible
without great and perfect knowledge, and search first made of them to
bring in a bable Boat, so much as of ten Tun without apparant ruine.'

49. unprizable, invaluable, inestimable. Johnson and others take it
in the sense of valueless, as being beneath price ; but shallow draught
is not necessarily a defect in a ship, and it was probably by means of
this quality combined with its small size which enabled it to move
quickly, that the captain could attack a much larger vessel with advan-
tage, just as the small English ships made much ' scathful grapple ' with
the unwieldy floating batteries of the Spanish Armada. Cotgrave (Fr.
Diet ) gives ' Impreciable . . . vnprisable, vnuaiuable.' Dr. Abbott
(Shakespeare Grammar, § 3) interprets the word, ' not able to be made
a prize of, captured ' ; but such a meaning is extremely doubtful.

52. scathful, harmful, destructive ; from A.S. scea'San, to harm, injure.
Compare Chaucer, Man of Law's Tale {C. T. 4519), ed. Tyrwhitt :
' O scathful harm, condition of poverte.'

8C. i] TWELFTH SIGHT. 163

'Scaihlfss,' in the o])positc and passive sense, is of common occurrence.
\\ ith the phrase "make jjrapple ' compare 'make j^ond view of mc,"
ii. i. 18.

51. bottom, vessel; still a technical shippiu^j term. See Henry V,
iii. Chorus. 1 2.

5.'. the totigue of loss, the report of the losers.

c^^. fraught, freight. Compare Titus .\ndronicus, i. i. 71 :
' I.o, as the bark, that hath discharged her fraught.'

lb. front coming from. See The Tempest, ii. i. 243 (Clar. Press ed.):

' She that from whom
We all were sea-swallow'd.'

lb. Candy. Candia, or Crete.

56. the Tiger was a common name for a vessel in Shakespeare's
time, and, if we may trust Virgil ..En. x. 166]', even in the days of
itneas. See note on Macbeth, i. 3. 7.

58. desperate of shainc and state, recklessly disregarding disgrace and
the danger of his position.

_S9. brabble, brawl, quarrel. See Gosson, Schoole of Abuse (e«l.
Arber), p. 26 : ' Terpandrus, when he ended the brabbles at Lace-
d;Emon, neyther pyped Rogero nor Turkelony.' Cotgrave J""r. Diet.)
hiis ' Noise : f. A brabble, brawle, debate, wrangle, squabble, &c.'

60. drew his sword, as below, 1. 79. So in the Tempest, ii. i. 30S
(301, Clar. Press ed.) : ' Why are you drawn ?'

61. put strange speech upon me, addressed strange language to mc.
Compare Measure for Measure, ii. 2 133 :

' Why do you put these sayings upon me ? '
63. thou salt-water thief! Shylock (Merchant of Venice, i. 3. 20
says, * There be land-rats and water-rats, water-thieves and land-
thieves, I mean pirates.'

65. so dear, so perilous, such as will cost you dear. See note on
Richard II, i. 3. 131 :

' The dateless limit of thy dear exile.'

70. A witchcraft, or irresistible spell, as if he had drunk a phijtrc.
Falstaff attributed his attachment to Poins to the same cause. See
I Henry IV. ii. 2. 18-21.

71. ingrateful, ungrateful. So in Lear, ii. 4. 165 :

' All the stored vengeances of heaven fall
On her ingrateful toj) I '
Shakespeare uses both forms.

73. wreck. Spelt ' wracke,' or ■ wrack,' in the folios, and so pro-
nounced.

75. retention, reserve.
77. pure, purely, merely.

M 2

164 NOTES. [actv.

78. Info, nnto. So in Henry V. i. 2. 102 :

' Look back into your mighty ancestors.'
And Troilus and Cressida, iii. 3.12:

' And here, to do you service, am become
As new into the world.'
/d. adverse, hostile. Compare Comedy of Errors, i. i. 15 :

' To admit no traffic to our adverse towns.'
82. to face »ie out of his acquaintance, impudently to pretend that he
did not know me. See iv. 2. 89, 90.
85. recomw ended, committed, entrusted.
89. vacancy, vacant interval.

92. for thee, as for thee.

93. tended, attended, waited. So in A Midsummer Night's Dream,
iii. I. 158:

' The summer still doth tend upon my state.'
103. fat and fulsome, which properly belong to the sense of taste, are
here applied to that of hearing. Warburton unnecessarily proposed
' flat,' but ' fat ' and ' fulsome ' both mean nauseous, disgusting, cloying.

107. ingrate, ungrateful, thankless. See King John, v. 2. 151 :

' And you degenerate, you ingrate revolts.'

108. hath. The folios here read ' have,' the substantive immediately
preceding being in the plural, just as in Julius Ccesar, v. i. 33 :

' The posture of your blows are yet unknown.'
Capell reads ' hath ' and Pope ' has,' but Shakespeare most probably
wrote ' have.'

112. Like to the Eg}'ptian thief . Theobald pointed out that Shake-
speare here refers to the story of Theagenes and Chariclea in the
lithiopica of Heliodorus. The hero and heroine were carried off by
Thyamis, an Egyptian pirate, who fell in love with Chariclea, and being
pursued by his enemies, shut her up in a cave with his treasure. 'WTien
escape seemed impossible, he was determined that she should not
survive him, and going to the cave thrust her through, as he thought,
with his sword. ' If y" barbarous people,' says the Greek novelist,

• be once in despaire of their owne safetie, they haue a custome to kill all
those by whome they set much, and whose companie they desire after
death' (fol. 20, ed. 1587). There was an English translation of Helio-
dorus by Thomas Underdowne, which was licensed to Francis Coldockc
in 1568-9, and of which a copy, without date, is in the Bodleian Library.
Another edition aj)peared in 1587, and Shakespeare may very well have
read it, as it was a popular book.

• 114. sometime, sometimes. So in Macbeth, i. 6. 11 :

' The love ihat follows us sometime is our trouble.'
Shakespeare uses both forms indifferently.

sr.

I.] TWELFTH XIGHT. 16.'',

//>. saz'Oiirs nobly, has a noble cjuality in it. See line 30J.
115. uon-regardaucc, disregard, neglect.

1 17. scrcivs, wrenches or wrests ; as by some engine. Compare Lear,
i 4. J90. The figure is the same as in Macbeth, i. 7. 60 :
'But screw your courage^ to the sticking-place.'
120. tender, regard. Compare Romeo and Juliet, iii. i. 74 :
'And so, good Capulet, — which name I tender
As dearly as my own, — be satisfied.'
125. The dove and raven are frequently contrasted. See A Midsummer
Night's Dream, ii. 2. 114 :

'Who would not change a raven for a dove?'
And Romeo and Juliet, iii. 2. 76 :

' Dovc-feather'd raven ! wolvish-ravening lamb ! '
136. joiUtui, apt and 'willingly, are all adverbs, although the adverbial
tennination is attached to the last only. Compare Antony and Cleo-
patra, v. 1. ;8 :

' How honourable and kindly we
Determine for her.'
//'. apt, readily.

127. To do you rest, to give you ease.

1.^2. life for tainting of nty lot'e. Compare Othello, i\. 2. ifu :
• And his unkindness maj' defeat my life.
But never taint my love.'
//'. tainting, that is, corrupting, disgracing, is here a verbal noun.
The full fonn of the phrase would be ' for the tainting of my love,' ai in
Julius Czesar, iii. i. 51 :

' For the repealing of my banishctl brother.'
The mojlem form wouhl be in each case, ' for tainting my love,' ' for
repealing my banished brother.' See Abliott, § 93.

133. detested. Sidney Walker (Crit. Kx. ii, 311) suggested that
* detested ' here has something of the original sense of repudiated,
renouncetl.

lb. beguiled, deceived. So in Genesis iii. 13: 'The scr]>ent l>e-
guiled me, and I did eat.'

XT,-,, forgot, the more usual form of the participle in .Shakespeare.
141. strangle thy propriety, suppress thy identity, fearing to tell who
thou art. For this sense of ' strangle,' compare Winter's Tale, iv. 4. 47 :
'.Strangle sucii thoughts as these with any thing
That you l>ehold the while.'
And for ' propriety,' see Othello, ii. 3. 176:

• It frights the isle
From her propriety,'
SO that no one would rt-cognise it.

1 66 NOTES. [act v.

150. The 'contract' described in the following lines was, as Douce
has shewn, the betrothal and not the marriage.

I -^i. Joindej-, joining. The word does not occur again, but Shake-
speare has ' rejoindure ' in Troilus and Cressida, iv. 4. 38.

153. interchangemcnt of your rit^s. This was part of the ceremony
of betrothal, according to Douce, who quotes in illustration a passage
from Chaucer's Troilus and Creseide, book 3 [line 1319]; but it would
be difficult to say whether the ceremony there described, which the inter-
change of rings accompanied, was betrothal or marriage.

154. compact has the accent on the last S3'llable everywhere in Shake-
speare, except T Henry VI, v. 4. 163 :

'And therefore take this compact of a truce.'
This would help to shew, if evidence were wanting, that the play is not
Shakespeare's.

155. in my function, in the discharge of my office, which appears to
have been that of Olivia's private chaplain. See iv. 3. 24. In this
capacity he performed the ceremony and witnessed the betrothal, one
witness being sufficient for this purpose.

156. my watch. See ii. 5. 56.

159. case was technically used for- the skin of an animal. See Florio's
Second Frutes, p. 105 :

' And if the Lyons skinne doe faile,
Then with the Foxes case assaile.'
And Chapman, Bussy d'Ambois (Works, ii. 19): 'And why not? as
well as the Asse, stalking in the Lions case, beare himselfe like a Lion,
braying all the huger beasts out of the Forrest?' Again, in Holinshed's
Description of Scotland (ed. 1587), p. 18: 'There are brought also
into Scotland out of these Hands great store of sheepes felles, oxe hides,
gotes skinnes, and cases of martirnes dried in the sunne.'

165, little, a little. See Abbott, § S6, and for the omission of 'a,'
ii. 5. 104.

168. He lias. Printed ' H'as' in the folios.

171. / had rather than forty found. Sir Andrew was willing to
spend twenty times as much upon his safety as upon his accomplish-
ments. See ii. 3. 19.

174. incardinate, incarnate.

176. ^Od's life lings. ''Od's' of course is for 'God's,' and it is still
further abbreviated to ' 'S ' as in ' 'Sdealh,' ''Snails,' &c. See iii. 2. 12.
Sir Andrew's mild oath is paralleled by Slender's ' 'Od'.s heartlings'
(MeiTy Wives, iii. 4. 59), and Kosalind's ''Od's my little life' (As You
Like It, iii. =;. 43).

iSj. hespakeyoji, spoke to you, addressed you. See Hamlet, ii. 2. 140 :
' And my young mistress thus I did bespeak.'

SCI.] TWELFTH NIGHT. l6j

1S3. sef nothin^^ by, do not regard, think nothing of. See Ecde-
siasticus. xx\-i. 2S : ' Men of ui;dcr>tanilin^ that arc not set by.'

184. italting, limping. See Much Ado, i. i. 66: 'In our last con-
flict four of his five wits went halting off.'

185. -would have tukkJ yoti, would have touchetl you up, ser\ed you
out.

lb. othergates, otherwise, in another fashion. The word survives as
a north country provincialism. See Atkinson's Glossary of the Cleve-
land Dialect. Carr's Craven Ublect, Brockett's Glossary of North
CountHi- Words, &c. Another form is ' other guess, used in Somerset-
shire. Mr. Atkinson quotes from the Townley Mj-steries (Snrtees
Si<iety\ p. TO :

' For he has ever yit beyn my fo,
For had he my freynd beyn
Other gates it had bejii seyn.'
1S8. all one. See i. 5. 121.
lb. has. See i. 5. 1.^9.

1 90. agonc, ago. See i .Samuel xxx 13:' My master left me, be-
ciuse tJiree da\ s agone I fell sick.'

191. set. Compare The Tempest, iii. 2. 10 . 'Thy eyes are almost set
in thy head.'

192. and a passy mtasures favin. The first folio has 'and a passy
measures panyn' ; the later folios. ' after a passy measures Pavin.' It is
most likely that ' pa*Tn ' is the right reading, and that ' panyn ' in the
first folio is a misprint for ' pauyn." A pavin, pavine, or pavane, was a
stately dance, apparently of Spanish or Italian origin ; the opposite of
a galliard. Compare Ben Jonson, Alchemist iv. 2 : ' Your Spanish
pavin the best d.ance.' Florio in his \Vorl<le of Wordes J.=;o8'y gives
' Pavana, a dance called a pauine.' And in his Second Frutes (I59i)>
p. 119: ' Hee danceth verie well, both galiards, and pauins.' Ciosson in
his Schoole of Abuse ; 1.^79'. ed. Arber, p. 26, speaking of the wonderful
effects of music, asks : ' Thinke you that those miracles coulde bee
wrought with plajing of Dannces, Fhmipes, Pauins, Galiardes, Meiisures.
Fancyes, or new streyues?' Richardson quotes from Sir Thomas
Eliot's Govemonr, b. i. c 20 i^fol. 68/', ed. 15S0] : ' In steede of these
we haue now base dances, bargenettes, pauyons, turgyons, and roundes.'
And from Sidney's Arcadia, b. 3 [p. 321;, ed. 1598 : 'And with that
turning vp his mustachoes, and marching as if he would liegin a pauen,
he went toward Zelmane.* It appears from this last passage that the pavin
was d.anced with a slow and stately step, as is indicated by the epithet
'pas-sy measures,' a corruption of the Italian passamc-.io, which Klorio
defines, ' a passameasure in dancing, a cinque jKice.' In a .M.S. list of
old dances. Collier found ' The passinge measure Pavyon.' 'Ihe ety-

1 68 NOTES. [actv.

mology of ' pavin ' is not certain. Skinner derives it from Pavia, Douce
I'rom Padua. There certainly was an Italian dance called Padoana, and
Torriano in his Italian Dictionary identifies it with the pavin or pavan.
' Padoana, a padovan, a pavan-dance.' But in one of the authorities
appealed to by Douce, Alford's Instructions for the Lute (1568), a
Paduane and a Pa vane are both mentioned. Another guess is that of
Sir John Hawkins, in his History of Music : 'The pavan from pai'o a
peacock, is a grave and majestic dance.' But the question now arises,
if a pavin was a grave and stately dance, and the epithet 'passy
measures ' describes the step used in dancing it, what does Sir Toby
mean by calling the surgeon ' a passy measures pavin ' ? It is not neces-
sary always to find meaning in what a drunken man says, but Malone is
jjfobably not far wrong in interpreting Sir Toby as calling the surgeon
' a grave, solemn coxcomb,' by applying to him the name of a formal
(lance for which he had a special dislike. He might also possibly
refer to the slow pace of the surgeon in coming to attend him.

19S. Will yoii help? an ass-hcad, &c. . . .gull! Malone's punctua-
tion. The folios read : ' Will you helpe an Asse-hcad, &c. . . . gull?'
Malone, however, thinks that all these epithets were intended for the
surgeon, or Sebastian. Bui they surely must be addressed to Sir Andrew,
Sir Toby being very candid in his drink.

199. a Ihin-faccd knave, like Master Slender in the Merry Wives
(i. 4. 22), who had 'a little wee face,' and between whom and Sir
Andrew there are many points of resemblance. The Bastard Faulcon-
bridge, in King John (i. i), makes merry ovtr his brother's thin face.

III. a gull. See iii. 2. 63.

204. regard, look. See ii. 5. 49, 62.

206. for, the sake of.

20.^. a statural perspective. It was the property of ' artificial perspec-
tives' to appear to represent one thing and, when properly used, to shew
another. In Shakespeare's time there were several kinds of these
optical toys. Douce {Illustrations Sec.) refers to Reginald Scot's Dis-
covery of Witchcraft (B. xiii. ch. 19), for an account of these. See note
in the Clarendon Press edition of Richard II, ii. 2. 18. The accent in
' perspective ' is on the first syllable.

220. Of here and everywhere, whose attribute is omnipresence.

2 22. Of charity, for charity's sake.

226. suited, dressed. So in The Merchant of Venice, i. 2. 79 : ' How
oddly he is suited!' And Cymbeline, v. i. 23:

' I'll disrobe me
Of these Italian weeds, aiul suit myself
As does a Briton peasant.'

229. dimension. .See i. 5. 246.

sc. I.] TWELFTH NIGHT. 169

230. participate, partake of in common with others.

231. goes et>en, acconis. aj^et'S. See Cvmbelinc, i. 4. 47: 'I was
then a young traveller; rather shunned to jjo even with what I heard,
than in my every action to be guided by others' experiences.'

238. record has the accent on the last syllable, as in Hamlet, i ■;. 99 :
'I'll wipe away all trivial fond records.'
Shakespeare also uses it, but less commonly, with the accent on the first
>yllable, as in Sonnet, Iv. 5 :

'The living records of your memory.'
^41. lets, hinders. Compare Hamlet, i. 4. 85 :

' By heaven, I'll make a ghost of him that lets me !'
24 J. usurp' J. See i. 5. 176.

244. Jump, exactly agree (to prove). Compare The Taming of the
Shrew i. i. 195 :

' Both our inventions meet and jump in one.'
The adverb 'jump' occurs in the sense of just, exactly," in Hamlet, i. 1.
65 : ' And jumj) at this dead hour ' ; where the Folios read 'just.'

246, 247. to a captain . . . where, Sec. Mr. Grant White reads
'captain's,' following Collier's MS. Corrector; but 'where' is used
loosely for 'At whose house,' or refers immetliately to ' town.'

247. weeds, garments ; Anglo-Sa.\on weed. Now only used of a
widow's dress. See line 267, and compare A Midsummer Night's Dream,
ii. I. 256:

' Weed wide enough to wrap a fairy in.'
J48. preserved. I'heobald reads ' preferr'd,' referring to i. 2. 55, 56 :

' I'll serve this duke :
Thou shall present me,' &c.
249. All the occurrence of >ny fortune, all that has happened in the
course of my fortune. Hanmer reads ' occurrents,' as in Hamlet, v. 2.
368. In Macbeth, i. 7. 11, the first folio has ' Ingredience' for 'in-
gredients.'

251. mistook, mistaken. .See Merr)' Wives, iii. 3. iir 'Out upon
you I how am I mistook in you ! '

256. right noble is his blood. It appears from i. 2. 28 thai Se-
bastian's family was known to the Duke.

257. yet, notwithstanding that it may appear impossible.
261. over-swear, swear over again.

363. As doth that orbed continent the fire, Sec. It is doubtful whether
by ' orbed continent' is to be understood the sun itself, which is called
'orbed' from its globular shajie (compare 'the orbetl earth,' Ix)ver's
Complaint, 25 , or the vaulted firmament which contains the orbs or
spheres of the celestial bodies, ' the fire," in this case, being the sun. It
appears to be commonly assumed that the former view is the correct

1 70 NOTES. [act v.

one; but as Shakespeare (Coriolanus, i. 4. 39) makes Coriolanns swear
' by the fires of heaven,' that is, the stars and other heavenly bodies, it
seems more natural to take ' fire,' in the present passage, as metaphor-
ically used for the sim and not the element, fire ; in which case ' orbed
continent ' must mean the firmament. But there is almost as much to
be said in favour of one view as of the other.

267. tijjon some action, in consequence of some action. Compare
Julius Csesar, iv. 3. 152 : 'Upon what sickness?' And Coriolanus, ii. i.
244 : 'Upon their ancient malice.'

270. enlarge him, set him at liberty. See Henry V, ii. 2. 40 :

' Enlarge the man committed yesterday.'

271. / remcinber me. 'Remember,' like 'endeavour,' 'repent,'
' submit,' and other verbs which are now intransitive, was once used as
a reflexive. Compare i Henry IV, ii. 4. 468 : ' And now I remember
me, his name is Falstaff.' And the Prayer Book Version of Psalm xxii.
27 : 'All the ends of the world shall remember themselves.'

272. distract, distracted. So in Hamlet, iv. 5. 2 :

'She is importunate, indeed distract.'

273. extracting \% the reading of the first, and 'exacting' of the later
folios. Malone at one time proposed, with [lanmer, to read ' distract-
ing,' but he afterwards found an example of 'extract' which, to his
mind, supported the old reading. It is in The Historic of Hamblet
(1608), sig. C 3, verso 'To try if men of great account bee extract
out of their wits.' Warburton rightly interpreted ' a most extracting
frenzy ' to mean ' a frenzy that drives me away from everything but
its own object.'

277. has. See above, 1. 188.

lb. writ, written. See iii. 4. 37.

279. it skills not, it matters not, makes no difference. Compare
2 Henry VI. iii. i. 281 :

'It skills not greatly who impugns our doom.'
Ill Icelandic skilja signifies ' to divide, separate '; and skill, ' it differs.

282. delivers the tnadman, utters what the madman writes.

2S6. you must allow Vox. Malone explains, ' If you would have it
read in character, as such a mad epistle ought to be read, you must
permit me to assume a frantick tone.' If the Clown means anything it
is perhaps something of this sort.

2 88. to read his right wits. Johnson i eedlessly suggested 'to read
his wits right.'

2S9. fcrpcnd, consider; a Pistolian word. See Merry Wives, ii. i.
119: 'He loves the gallimaufry: Ford, perpend.'

302. savours. Seel. ii-i. ,

306. the alliance on '/, the (loublc marriage by which this rehtionship

tc. I.] TWELFTH XI GUT. 1 7 1

is broi'ght about. Heath thought ' on't ' nonsense. an<l proposed ' an "t
so please you.'

307. "ly proper cost, my own expense. See 2 Henry VI, i. i. Tii :
'Of the King of England's own proper cost and charges,' where the
tautology.' is due to the language of a legal document.

30S. apt, ready. See above, 1. !.•'').

309. tjuits you, sets you free, dismisses you.

320. from it, dilTerently from it. See i. 5. 1 79.

327. lighter, inferior, less important.

328. tilting this in an obedient hope. The construction is the same
as above, 1. So.

331. geek, a simpleton, dupe. Compare Cymbeline, v. 4. G- :
' And to become the geek and sconi
O' th' other's villany.'
In Anglo-Saxon geae, Middle Knglish geie, is a cuckoo, and this is
always said to be the origin of our word ; but the cuckoo of real life is
.inything but a dupe.
//'. ,?«// See iii. 2. 63.

337. earnest. The omission of the second personal pronoun is not
uncommon, especially in questions. See ii. 3. 24, 107, and Timon ol
Athens, i. 1. 276: • Shouldst have kept one to thyself, for I mean to
give thee none.' Also The Tempest, ii. i. 220.

338. presupposed, imposed, or suggested beforehand as being what
you were likely to adopt.

340. preutice, plot, artifice.

lb. most shre-wdly, most mischievously, wickedly.
//'. pass'd upon thee, imposeil upon thee, played the fool with thee.
See iii. i. 4I, and compare 'passages of grossness,' lii. 2. 66.

349. Upoti, in consequence of. See 1. 267.

lb. some stubbo7-n and uneourteous parts, &c. That is, some harsh
and uncivil conduct which we had interpreted unfavourably to him.
.Schmidt ^Shakesp. Lexicon takes this as a relative clause, as if it were
' this device . . . which upon, &c. ... we had conceived against him.'
Tyrwhitt conjectured, ' which we conceived in him,' and this gives no
doubt an easier sense.

350. writ, wrote, the more frequent form both of the preterite and
participle in Shakespeare. See 1. 277.

351. Sir Toby's. Fabian appears to have invented this to screen
Maria.

lb. importance, imj)ortuiiity, urging. .So in King John. ii. 1. 7 :
'At our import.anpe hither is become''

352. he hath married her, though a short time licfore be was ho|ie-
lessly drunk, and sent off to lied to get his wounds heale<l.

T72 NOTES. [actv. sc. I.

354. phtck on, draw on as its consequence, excite. Compare King
John, iii. i. 57 :

' And with her golden hand hath pluck'd on France
To tread down fair respect of sovereignty.'
357- poor fool was not an expression of mere contempt, as is evident
from Lear, v. 3. 305 : ' And my poor fool is hang'd ! ' where Lear is
speaking of Cordelia.

lb. baffled, treated ignominiously ; as Malvolio had thought to treat
Sir Toby (\\. 5. 146). See Richard II, i. 1. 170.

359. thrown is thought by some to be an error either of author or
printer for ' thrust.' But Staunton supposes that these variations in the
Clovra's speech were purposely introduced by Shakespeare, ' possibly
from his knowing, by professional experience, the difficulty of quoting
with perfect accuracy.' It is more likely that he was quite indifferent
in the matter, for in All's Well, v. 3. 313, where Helena reads from a
written letter, she varies from the same document as given in iii. 2.

360. all one. See i. 5. 121.
366. abused. See 1. 18.

369. convents, convenes, summons. There is no evidence for the
meaning ' agrees, is suitable,' though the analogy of ' convenient ' may
have been in .Shakespeare's mind. From • convent,' to summon, the
transition is easy to the following passage in Beaumont and Fletcher
(The Knight of Malta, i. 3), where 'conventing' signifies ' meeting by
summons ' :

' 'Tis well. Our next occasion of conventing
Are these two gentlemen.'

375. fancy s. See i. i. 14.

376. The Song, as Farmer says, is an old one scarcely worth cor-
rection. It was probably introduced by the actor of the Clown's part.
.See what is said of the song in Act ii. Sc. 4. Nevertheless, Farmer
went so far as to correct ' knaves and thieves ' to ' knave and thief,'
and to approve llanmer's reading ' bed . . . head' for ' beds . . . heads.'

lb. and, used redundantly in old ballads, as in Lear, iii. .», where the
Fool's song has the same burden as this. Mr. Chappell, in his Popular
Music of the Olden Time, p. 225, gives both words and music.

THE END.

• OF

ENGLISH CLASSICS.

(chronologically arranged.)

Chancer. I. '/'A^ Prologue to the Canterbury Tales. {School Edition.)
Edited by W. W. Skeat, Litt.D. (Extra fcap. 8vo, stiff cortt s, is.

II. 7'he Prologue ; The Knightes Tale : The Nonne Prestes

Toll. Edited by R. Murkis, LL.D. .■{ Xciu Edilion, ■with Collations and
Additional Notes, by W. W. .Skeat, LiclD. . [Exti^ fcap. 8vo, is. 6d.

III. T^e Prioresses Tale; .Sir Thomas; The Monkes Tale;

The CUrkc's Talt ; The Sguieres Tale, ffC. Edited by W. \V. Skeat, Lilt.D.
Fifth Edition (Extra fcap. 8vo, 4^. 6</.

IV. The Tale of the Man of Lawe ; The Pardorures Tale ;

The Second Sonnts Tale; The Chanouns }'entanu<'s Title. By I'.ie same
Editor. Xav Edition, J!efisird .... [Extra fcap. 8vo, ^s. 6ti.

V. Minor Poems. By the same Editor. [Crown Svo, los. (yd.

VI. The Hous of J ante. By the same Editor.

[Crown Svo, paper boards, ts.

VII. The Legend of Good Women. By the same Editor.

[Crown Svo, ts.

X>angland. The Vision of IVilliatn concerning Piers the Plowman.
by William Lancland. Edited by W. W Skeat, Litt.D. Fourth Edition.

[Extra fcap. Svo, 4J. ImI.

Oamelyn, The Tale of. Edited by \\ . \V. Skeat, Lilt.D.

[Extra fcap, 8vo, itiff coritrs, is. td.

Wycllffe. The New Testameni in English, according to the Version
by John Wvjlii fe, about a.li. 1360, and RcvInccI by John Pibvey, about a.d.
1388. With Introduction and Gloisary by \V. W. Skeat, Lilt.D.

[Extra fcap. Svo, ts.

The Books of Job, J'salms. Proverbs, Ecclesiastes, and the

Song 0/ Solomon : according to the WydiflTite Vcr-ion made by NiCHou^s de
Hekefoiid. about a.d. 1381, ami Revived by John Pl'kvkv, about a.u. 1388
With Introduction and Glossary by W. W. Skeat, Litt.D. [Extra fcap.evu,3i.6</.

Minot. The Poems of I.aurejue Minot. Edited, with Introduction
and Notes, by Joseph Hall, M. A. . . [Extra fcap. Svo, v. 6</.

CLARENDON PRESS SERIES

Spenser. 77/1; Faery Qiieene. Books I and II. Edited by G. W.
KiTCHiN, D.D., with Glossary by A. L. Mayhew, M.A.

Book I. Tenth Edition. [Extra fcap. 8vo, 2^. 6rf.

Book II. Sixth Edition. ..... [Extra fcap. 8vo, 2S. 6d.

Hoolcer. Ecclesiastical Eolity, Book I. Edited by R. W. Church,
M.A., Dean of St. Paul's. Second Edition. . . . [Extra fcap. 8vo, 21.

Marlowe and Greene. Marlowe's Tragical History of Dr . Faustus,
and Greene's Honourable History of Friar Bacon ajtd Friar Bungay.
Edited by A. W. Ward, Litt.D. A't-w Edition. . . [Crown 8vo, 6s. td.

Marlowe. Ediuard II. Edited by O. W. Tancock, M.A. Second
Edition [Extra fcap. 8vo. Paper covers, is. ; cloth, 3J.

Shakespeare. Select Plays. Edited by W. G. Clark, M.A., and

W. Aldis Wright, D.CL [Extra fcap. 8vo, stiff covers.

The Merchant of Venice. \s. Macbeth, is. 6d.

Richard the Second, is. 6d. Hamlet. 2s.

> Edited by W. Aldis Wright, D.CL.

The Tempest, is. 6d. Coriolanus. is. 6d,

As You Like It. is. 6d. Richard the Third, zs. 6d.

A Midsummer Nie^hfs Dream, is. 6d. Henry the Fifth. 2s.
Twelfth Night, is. 6d. K">g John. is. 6d.

Julius Caesar. 2S, King Lear, is, 6d.

Henry the Eighth. 2s. Much Ado About Nothing. is.6d.

Shakespeare as a Dramatic Artist ; a popular Illustration of the
Principles of Scientific Criticism. By R. G. Moulton, M.A. Third Edition,
Enlarged. [Crown 8vo, ^s. td.

Bacon. Advanceftient of Learning. Edited by W. Aldis Wright,
D.CL. Third Edition [Extra fcap. 8vo, 4J. dd.

Bacon. 7'he Essays. Edited, with Introduction and Illustrative Notes,
by S. H. Reynolds, M.A [Demy 8vo, half-bound, 12s, 6d,

Milton. I. Areopagitica. With Introduction and Notes. By John
W. Hales, M.A. Third Edition [Extra fcap. 8vo, 3^.

II. loems. Edited by R. C. BROWNE, M.A. In two

Volumes. Fifth Edition.

[Extra fcap. 8vo, ts. M. Sold separately, Vol. I. 45. , Vol. II. y.

In paper covers : —
Lycidas, ^d. L'A llegro, 3d. Comus, 6d.

By Oliver Elton, B.A.

Lycidas, td. L'A llegro, ^d. 11 Penseroso, ^d. Comus, is.

. III. Paradise Lost. Book I. Indited with Notes, by H. C.

Beeching, M.A. . . [Extra fcap. 8vo, is. 6d. In Parchment, ^s. (sd.

IV. Paradise Lost. Book II. Edited by E. K. Chambers,

B.A. . . . [Extra fcap. 8vo, is. td. Books I and II together, 2s. td.

'■ — V. Samson Agonistes. Edited, with Introduction and Notes,

by John Ciiurton Collins, M.A. . . [Extra fcap. 8vo, stiff covers, is.

Milton's Prosody. By Robert Bridges. [Extra fcap. 8vo, is. dd.

OF ENGLISH CLASSICS.

Bauyan. TAd I'ilgrifiis Protp^css, Grcuf. Ahouitding, Relation of
:ht Impriioument of Mr. Jokit Himyan. KiliteJ by E. Venaules, M.A.

[ICxcra fcap. 8vo, \s. 6</. In farchmfnt, +s. (ni.

The Holy War and The Heavenly Footman. Edited by

Mahkl I'i^ccx:k. (Extra fcap. 8vo, 31. (xi.

Clarendon. 1. History of the Rebellion. Book VI. lidiied, with Intro-
Unction and Notes, by T. Arnold, M.A (Crown 8vo, 51.

II. Selections. Edited by G. Boyle, M.A., De.nn of Salisbur)'.

, (Crown Bvo, ^i. (xl.

Dryden. .Select Poems. { Stanzas on the Death of Oliver Cromwell;
.■tj.'r^en Rtiiu.r ; Annus Miral'ilis ; .Ihs^i/oiii and Achii'yphet ; Keligio Laid ;
The Hint and the fantlur.) Edited by W. IJ. Christie, .N!.A. Fi/t/i Edition.
Revised by C. H. Fikth, M..A. .... (E.:tra fcap. Bvo, 3^. 6</.

Essay of Dramatic J'oesy. Edited, with Notes, by T. Arndi-D,

M.A (Ext.-a fcap. 8vo, 3^. 6d.

Xiocke. Conduct of the Understanding. Edited, with Introduction,
N\^tcs, &c., by T. FoWLiK, D.D. Third Ediliim. (Extra fcap. Bvo, is. 6d.

Addison. Selections from papers in the Spectator. Hy T. Arnold,
M.A. Sixteenth Thousand. . (Extra fcap. 8vo, 4J. (>d. In Parchment, 6s.

Steele. Selected Essays from the Tatler, Spectator, and Guardian. By
Ai STIN DoBSON. . . . [Extra fcap. Svo, 5$. In f'arc'tiiient, ts. 6d.

Swift. Selections from his Works. Edited, with Life, Intioductions,
and Notes, by IIenkv Craik. Two Vols. . [Crown Svo, cloth extra, 15^.

Ea(h volume may be had separately , price js. 6d.

Pope. I. Essay on Man. Edited by Mark Pattison, B.D. Sixth
Edition [Extra fcap. Svo, is. i>d.

• II. Satires an<i Epistles. By the same Editor. Second Edition.

[Extra fcap. t'vo, at.

Thomson. The Seasons, and The Castle of Indolence. Edited by

J. LooiE R0BERI SON, M.A [Extra fcap. Svo, 4^. 6<^.

The Castle of indolence. By the same Editor.

[Extra fcap. Svo, i*. <mI.

Berkeley. Selections. With Introduction and Notes. By A. C. Frasek,
I.I. U. Fourth Edition. ....... (Crown 8vo, &i. 6a'.

Johnson. I. Kasselas. Edited, with Introduction and Notes, by
C. CiKKBECK Hill, D.C.L.

(Extra fcap. Svo, limp, is. ; levelled Hoards, 3s. 6d. ; in Farchment, ft. 6d.

II. Kasselas ; Lives of Dryden and Tope. Edited by

Alfred Mil.ne.s, M.A (E.vtra fcap. Svo, 4J. dd.

Lives of Dryden and Pope. By the same Editor. [25.60'.

III. Life of Milton. Edited, with Notes, &c., by C. H.

FiBTH, M.A. . (Extra fcap. Svo, stiff timers, it W. ; cloth, is. f>d.

IV. Vanity of Human Wishes. With Notes, by E. J.

Pay.>e, .M.A \l'aptr ci-vers, ^d.

Oray. Selected Poems. Editetl by Edmund Gosse, M..\.

\ln Farchment, 3^.

The same ; together with Supplementary Notes for Schools, by

Foster Watson, M.A. . . [Extra fcap. 8vo. stiff cavers, is. 6d.

CLARENDON PRESS SERIES.

Goldsmith. Selected Poevis. Edilecl, with Introduction and Notes, by
Austin Dobson. . . [Extra fcap. 8vo, 3J. td. In Parclmient, 4^. dd.

The Traveller. Edited by G. Birkeeck Hill, D.C.L.

[Extra fcap. 8vo, stiff covers^ is.

T/ie Deserted Village. .... [Paper covers, 2d.

Cowper. I. The Didactic Poems of 1782, with Selections from the
Minor Pieces, a.d. 1779-1783. Edited by H. T. Griffith, B.A.

[Extra fcap. 8vo, 3Jr.

• II. The Task, with Tirqfi^ilum, and Selections from the

Minor Poems, a.d. 1784-1799. By the same Editor. Second Edition.

[Extra fcap. 8vo, 30.

Burke. I. Thoughts on the Present Discontents ; the two Speeches on
America. Edited by E. J. Payne, M. A. Second Edition.

[Extra fcap. Bvo, 4^. dd.

II. Reflections on the Trench Revolution. By the same

Editor. Second Edition. . . ... [Extra fcap. 8vo, 5J.

III. Four Letters on the Proposals for Peace with the

Regicide Directory 0/ France. By the same Editor. Second Edition.

[Extra fcap. 8vo, ss.

Burns. Selected Poems. Edited by J. Logie Robertson, M.A.

[Crown 8vo, 6s.

Keats. J/yperion,lio6kl. With Notes, by W. T. ARNOLD, B.A. ^d.

Byron. Chihle Harold. With Introduction and Notes, by H. F. Tozer,
M.A. [Extra fcap. 8vo, 35. dd. In Parchment, 55.

Shelley. Adonais. With Introduction and Notes. By W. M.
RoSFETTi [Crown Svo, 5s.

Scott. Lady of the Lake. Kditeil, with Preface and Notes, by
W. MiNTO, iM.A. With Map [Extra fcap. 8vo, 3^. dfl".

Lay of the Last Minstrel. Edited by W. MiNTO, ^I.A. With

Map. . . . Extra fcap. Svo, stiff covers, 2s. In Parchment, ^s. dd.

Lay of the Last Minstrel. Introduction and Canto I. with

Preface and Notes, by W. MiNTo, M.A [Pa^er covers, dd.

Marfiiion. Edited by T. Bayne. . [Extra fcap. Svo, y. 6d.

Lord of the Lsles. Edited, with Introduction and Notes, by

Thomas Bayne [Extra fcap. 8vo, y. dd.

Campbell. Gertrude of Wyoming. L'.dited , with Introduction and Notes,
by H. Macaulay FiTZGiBBON, M.A. 'ecofid Edition. . [Extra fcap. Svo, u.

Wordsworth. The JVhite Doe of Rylstone. lulited by William
Knight, LL.U., University of St. Andrews. . . [Extra fcap. Svo, zi. 6rt'.

Typical Selections fom the best English IVriters. Secoml Edition.
In Two Voluiuo [Extra fcap. Svo, 3.S. dd. each.

£onJ)on: HENRY FROWDE,

Om-oku Umversiiv Press Warehouse, Amen Corner, E.C.

(BbinBurg^: i- Frederick Street.

' i

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

I I

■Jf^^i