85 Ros. I care not if I have. It is study my To seem despiteful and ungentle to you. You are there followed by a faithful shepherd; Look upon him, love him. He worships you. Phe. Good shepherd, tell this youth what 't is to love. Sil. It is to be all made of sighs and tears; 90 And so am I for Phebe. Phe. And I for Ganymede. Sil. It is to be all made of faith and service; 95 And so am I for Phebe. Phe. And I for Ganymede. Ros. And I for no woman. Sil. It is to be all made of fantasy. All made of passion, and all made of wishes; All adoration, duty, and observance, All humbleness, all patience, and impatience, Phe. And so am I for Ganymede. 100 105 Phe. If this be so, why blame you me to love you? 110 Sil. If this be so, why blame you me to love you? Orl. If this be so, why blame you me to love you? Ros. Why do you speak too, "Why blame you me to love you? 116 Orl. To her that is not here, nor doth not hear. Ros. Pray you, no more of this; 't is like the howling of Irish wolves against the moon. [To Sil.] I will help you, if I can. [To Phe.] I would love you, if I could. To-morrow [120 meet me all together. [To Phe.] I will marry you, if ever I marry woman, and I'll be married to-morrow. [To Orl.] I will satisfy you, if ever I satisfi'd man, and you shall be married to-morrow. [To Sil.] I will content [125 you, if what pleases you contents you, and you shall be married to-morrow. [To Orl.] As you love Rosalind, meet. [To Sil.] As you love Phebe, meet. And as I love no woman, I'll meet. So, fare you well. I have left you commands. Sil. I'll not fail, if I live. Orl. Nor I. SCENE III. [The forest.] 131 [Exeunt. SCENE IV. [The forest.] Enter DUKE senior, AMIENS, JAQUES, ORLANDO, OLIVER, and CELIA. Duke S. Dost thou believe, Orlando, that the boy Can do all this that he hath promised? Orl. I sometimes do believe, and sometimes do not; As those that fear they hope, and know they fear. Enter ROSALIND, SILVIUS, and PHEBE. Ros. Patience once more, whiles our compact is urg'd. You say, if I bring in your Rosalind, Duke S. That would I, had I kingdoms to give with her. Ros. And you say, you will have her, when I bring her. Orl. That would I, were I of all kingdoms 10 Ros. You say, you 'll marry me, if I be will king. ing? Phe. That will I, should I die the hour after. Jaq. And how was that ta'en up? Touch. Faith, we met, and found the quarrel was upon the seventh cause. Jaq. How seventh cause? Good my lord, like this fellow. Duke S. I like him very well. 55 Touch. God 'ild you, sir; I desire you of the like. I press in here, sir, amongst the rest of the country copulatives, to swear and to forswear, according as marriage binds and blood breaks. A poor virgin, sir, an ill-favour'd thing, sir, but mine own. A poor humour of mine, [co sir, to take that that no man else will. Rich honesty dwells like a miser, sir, in a poor house, as your pearl in your foul oyster. Duke S. By my faith, he is very swift and sententious. 66 -as Touch. Upon a lie seven times removed, bear your body more seeming, Audrey, thus, sir. I did dislike the cut of a certain courtier's beard. He sent me word, if I said his beard was not cut well, he was in the mind it was: this is call'd the Retort Courteous. [1 If I sent him word again "it was not well cut, he would send me word, he cut it to please him self: this is call'd the Quip Modest. If again "it was not well cut," he disabled my judgement: this is called the Reply Churlish. If [c again "it was not well cut," he would answer, I spake not true: this is called the Reproof Valiant. If again "it was not well cut," he would say, I lie: this is call'd the Countercheck Quarrelsome: and so to Lie Circumstantial and the Lie Direct. Jaq. And how oft did you say his beard was not well cut? Touch. I durst go no further than the Lie Circumstantial, nor he durst not give me the Lie Direct; and so we measur'd swords and parted. 91 Jaq. Can you nominate in order now the degrees of the lie ? Touch. O sir, we quarrel in print, by the book, as you have books for good manners. [5 I will name you the degrees. The first, the Retort Courteous; the second, the Quip Modest; the third, the Reply Churlish; the fourth, the Reproof Valiant; the fifth, the Countercheck Quarrelsome; the sixth, the Lie with Circumstance; the seventh, the Lie Direct. All [100 these you may avoid but the Lie Direct; and you may avoid that too, with an If. I knew when seven justices could not take up a quar rel, but when the parties were met themselves, one of them thought but of an If, as, If [108 you said so, then I said so "; and they shook hands and swore brothers. Your If is the only peace-maker; much virtue in If. 110 Jaq. Is not this a rare fellow, my lord? He's as good at any thing, and yet a fool. Duke S. He uses his folly like a stalkinghorse and under the presentation of that he shoots his wit. my daughter. Orl. If there be truth in sight, you are my Rosalind. Phe. If sight and shape be true, Why then, my love adieu ! 125 day 160 Men of great worth resorted to this forest, Address'd a mighty power, which were on foot, In his own conduct, purposely to take 170 176 Welcome, young man ; Thou offer'st fairly to thy brothers' wedding: To one his lands withheld; and to the other A land itself at large, a potent dukedom. First, in this forest let us do those ends That here were well begun and well begot; And after, every of this happy number, That have endur'd shrewd days and nights with us, I am for other than for dancing measures. Duke S. Stay, Jaques, stay. 200 Jaq. To see no pastime I. What you would have I'll stay to know at your abandon'd cave. [Exit. Duke S. Proceed, proceed. We will begin these rites, As we do trust they 'll end, in true delights. [A dance.] Exeunt. [EPILOGUE] Ros. It is not the fashion to see the lady the epilogue, but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, 't is true that a good play needs no epilogue; yet to good wine they do use good bushes, and good plays prove the [ better by the help of good epilogues. What a case am I in then, that am neither a good epilogue, nor cannot insinuate with you in the behalf of a good play! I am not furnish'd like a beggar, therefore to beg will not become me. [10 My way is to conjure you, and I'll begin with the women. I charge you, O women, for the love you bear to men, to like as much of this play as please you; and I charge you, O men, for the love you bear to women, -as I per- [15 ceive by your simpering, none of you hates them that between you and the women the play may please. If I were a woman I would kiss as many of you as had beards that pleas'd me, complexions that lik'd me, and breaths (20 that I defi'd not; and, I am sure, as many as have good beards or good faces or sweet breaths will, for my kind offer, when I make curtsy, bid me farewell. -- [Exit. UNDER the date of February 2, 1602, the Diary of John Manningham contains an entry recording the performance in the Hall of the Middle Temple, in which he was a student, of a play called Twelfth Night, or What You Will, which he describes in terms that identify it as Shakespeare's. This fixes a later limit for the date of composition. An earlier limit has not yet been certainly fixed. The title does not occur in Meres's list, so that it is most probably later than 1598. The reference to the “new map with the augmentation of the Indies" (m. ii. 85) is not quite definite enough to enable us to accept with assurance the results of attempts to identify it with a map published in 1599-1600. The evidence from the publication in collections of some of the songs in the play is weakened by the possibility of the songs' having been popularly known before they were printed. But neither in these hints, nor in the metre, is there any hindrance to our regarding the most generally accepted date, 1601, as the true one. No printed edition seems to have appeared before the First Folio in 1623, and on this the present text is based. The problem of the exact source of the main plot involves at least five plays and three novels. Of these, two Italian plays with the same name, Gl' Inganni, may be set aside at once, since neither contains the central situation of Olivia's love for Cesario. In 1531 there was produced at Siena the comedy of Gl' Ingannati, containing the substance of the plot of Twelfth Night; and a Latin translation of this was acted at Queens' College, Cambridge, in 1590 and 1598, but remained unprinted. The 28th Novella of Bandello (1554), later translated into French by Belleforest, has essentially the same plot. Belleforest's is probably the source of an English version, Apolonius and Silla, published in 1581 in Barnabe Riche his Farewell to Military Profession. Shakespeare's plot is on the whole closer to this than to any of the others. In 1608, English comedians acted at Graz a play, extant in a German print of 1677, called Tugend- und Liebesstreit. This comedy is manifestly closely related to Riche's story, and it is plausibly conjectured that it goes back to a lost English play founded on Riche, which may also have been the direct original of Twelfth Night. But in any case it is more than likely that Shakespeare knew Riche's book at first hand; for in the story Of Two Brethren and their Wives, contained in the same volume, an episode occurs which is the only source so far suggested for the pretended lunacy of Malvolio. Assuming that Shakespeare's main source was Apolonius and Silla, or a play founded on it, we may note that he omits a long introduction telling of Silla's love for the Duke before her arrival at his court and her adventures in search of him; and this omission not only makes the action more compact, but also makes possible a finer conception of the heroine. The relations of Olivia and Sebastian are also much more delicately treated in the play, and the action is again condensed in the final scene. In Riche, the brother leaves the city after having been entertained by Julina (Olivia); gossip about Julina and Silla reaches the Duke, who has Silla thrown into a dungeon; Julina goes to the Duke to plead for Silla, who is sent for, denies any love-compact with Julina, and, under threat of death, reveals her identity. Julina retires in perplexity, and the Duke marries Silla. The rumor of the marriage brings the brother back to the city, where he confesses his former visit, and marries Julina. This scattering conclusion is in strong contrast to the concentration of Shakespeare's dénouement. Shakespeare's treatment of Olivia's love for Cesario is much fuller than Riche's, and seems to show a reminiscence of a situation in Montemayor's Diana, from which he had previously drawn materials for The Two Gentlemen of Verona. In characterization even more is due to the dramatist than in construction. The main persons are entirely re-created, and the sentimentalism of the Duke, as well as the appealing union of pathos and arch humor which makes the charm of Viola, is altogether the conception of Shakespeare. Apart from the hint mentioned above for the madness of Malvolio, the underplot, with the characters of Sir Toby, Sir Andrew, Maria, Malvolio, Fabian, and Feste, seems to be entirely original. SCENE I. [A room in the Duke's palace.] Enter ORSINO, Duke of Illyria, CURIO, and other Lords [Musicians attending]. Duke. If music be the food of love, play on! Give 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. 10 O spirit of love, how quick and fresh art thou, But falls into abatement and low price Even in a minute! So full of shapes is fancy Cur. Will you go hunt, my lord? Cur. The hart. 90 With eye-offending brine: all this to season 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 To pay this debt of love but to a brother, 40 Her sweet perfections with one self king! Away before me to sweet beds of flowers; Love-thoughts lie rich when canopi'd with bowers. [Exeunt. SCENE II. [The sea-coast.] Enter VIOLA, a CAPTAIN, and Sailors. 16 Vio. What country, friends, is this? What, Curio? Cap. This is Illyria, lady. Vio. And what should I do in Illyria? My brother he is in Elysium. Perchance he is not drown'd. What think you, sailors? 5 |