Other editions mingle directions of this kind with original Folio and Quarto directions, sometimes marking them by means of square brackets. We have sought to distinguish what could be described as directorial interventions of this kind from Folio-style directions (either original or supplied) by placing them in the right margin in a smaller typeface. There is a degree of subjectivity about which directions are of which kind, but the procedure is intended as a reminder to the reader and the actor that Shakespearean stage directions are often dependent upon editorial inference alone and are not set in stone. We also depart from editorial tradition in sometimes admitting uncertainty and thus printing permissive stage directions, such as an Aside? (often a line may be equally effective as an aside or as a direct address—it is for each production or reading to make its own decision) or a may exit or a piece of business placed between arrows to indicate that it may occur at various different moments within a scene.
Line Numbers are editorial, for reference and to key the explanatory and textual notes.
Explanatory Notes explain allusions and gloss obsolete and difficult words, confusing phraseology, occasional major textual cruces, and so on. Particular attention is given to nonstandard usage, bawdy innuendo, and technical terms (e.g. legal and military language). Where more than one sense is given, commas indicate shades of related meaning, slashes alternative or double meanings.
Textual Notes at the end of the play indicate major departures from the Folio. They take the following form: the reading of our text is given in bold and its source given after an equals sign, with “Q” indicating a Quarto reading, “F2” a reading that derives from the Second Folio of 1632, “F3” from the Third Folio of 1663, and “Ed” that it derives from the subsequent editorial tradition. The rejected Folio (“F”) reading is then given. Thus, for example, “2.3.24 leman = Ed. F = Lemon” means that at Act 2 Scene 3 lines 23–24, the phrase “I sent thee sixpence for thy Lemon” clearly made little sense and a later editor has concluded that a compositor’s (or possibly scribal) error occurred and emended it to “leman,” meaning “sweetheart.”
KEY FACTS
MAJOR PARTS: (with percentages of lines/number of speeches/scenes on stage) Sir Toby Belch (13%/152/10), Viola (13%/121/8), Olivia (12%/118/6), Feste (12%/104/7), Malvolio (11%/87/7), Orsino (9%/59/4), Sir Andrew (6%/88/8), Maria (6%/59/6), Sebastian (5%/31/5), Fabian (4%/51/4), Antonio (4%/26/4).
LINGUISTIC MEDIUM: 40% verse, 60% prose.
DATE: 1601: Performed at Middle Temple February 1602; not mentioned by Meres 1598; alludes to Anthony Sherley’s visit to the Persian Sophy (1598–1601) and to a map first published in 1599; parodies the motif of self-love, double title, and use of word “element” in Ben Jonson’s The Fountain of Self-Love, or Cynthia’s Revels (late 1600/early 1601), while a character in Jonson’s Poetaster (performed later in 1601) seems to say that he has been to a performance of Twelfth Night.
SOURCES: Main plot adapted from the story of “Apollonius and Silla” in Barnaby Riche’s Riche his Farewell to Military Profession (1581), though the motif of the cross-dressed disguised “page” wooing a lady on behalf of a master whom she loves herself is derived from a series of Italian comedies going back to Gl’Ingannati (“The Deceived”), an extremely bawdy play performed by “The Academy of the Thunderstruck” in Siena (1537). The mistaking of twins is bred from Plautus’ Menaechmi by way of Shakespeare’s own Comedy of Errors. There is no clear source for the Sir Toby/Malvolio plot.
TEXT: First Folio of 1623 is only early printed text. Probably set from scribal copy, it is exceptionally free from errors and textual problems.
TWELFTH NIGHT,
OR WHAT YOU WILL
LIST OF PARTS
ORSINO, Duke of Illyria
courtiers attending upon Orsino
CURIO
VALENTINE
VIOLA, later disguised as Cesario
A Sea-CAPTAIN
SEBASTIAN, Viola’s twin brother
ANTONIO, another sea-captain
OLIVIA, a Countess in Illyria
MARIA, her waiting-woman
SIR TOBY BELCH, Olivia’s kinsman
SIR ANDREW AGUECHEEK, companion of Sir Toby
MALVOLIO, Olivia’s steward
FABIAN, a member of Olivia’s household
FESTE the clown, Olivia’s jester
Musicians, Sailors, Lords, Officers, Servants, Attendants, and a Priest
running scene 1
Music plays
Enter Orsino Duke of Illyria, Curio and other Lords
ORSINO If music be the food of love, play on,
Give me excess of it, that surfeiting2,
The appetite3 may sicken and so die.
That strain again, it had a dying fall4:
O, it came o’er my ear like the sweet sound5
That breathes upon a bank of violets,
Stealing and giving odour. Enough, no more,
Music stops
’Tis not so sweet now as it was before.
O spirit of love, how quick and fresh9 art thou
That, notwithstanding thy capacity10,
Receiveth as the sea.11 Nought enters there,
Of what validity and pitch12 soe’er,
But falls into abatement13 and low price
Even in a minute. So full of shapes is fancy14
That it alone is high fantastical.15
CURIO Will you go hunt, my lord?
ORSINO What, Curio?
CURIO The hart.18
ORSINO Why so I do, the noblest that I have.
O, when mine eyes did see Olivia first,
Methought she purged the air of pestilence.21
That instant was I turned into a hart,
And my desires, like fell and cruel hounds23,
E’er since pursue me.
Enter Valentine
How now, what news from her?
VALENTINE So please my lord, I might not be admitted,
But from her handmaid do return this answer:
The element itself, till seven years’ heat27,
Shall not behold her face at ample28 view,
But like a cloistress29 she will veilèd walk,
And water once a day her chamber round
With eye-offending brine — all this to season31
A brother’s dead love, which she would keep fresh
And lasting in her sad remembrance.
ORSINO O, she that hath a heart of that fine frame
To pay this debt of love but to a brother,
How will she love when the rich golden shaft36
Hath killed the flock of all affections else37
That live in her — when liver, brain and heart38,
These sovereign thrones, are all supplied, and filled39
Her sweet perfections with one self40 king!
Away before me, to sweet beds of flowers.
Love thoughts lie rich when canopied with bowers.
Exeunt
running scene 2
Enter Viola, a Captain and Sailors
VIOLA What country, friends, is this?
CAPTAIN This is Illyria, lady.
VIOLA And what should I do in Illyria?
My brother he is in Elysium.4
Perchance5 he is not drowned: what think you, sailors?
CAPTAIN It is perchance that you yourself were saved.
VIOLA O, my poor brother! And so perchance may he be.
CAPTAIN True, madam, and to comfort you with chance8,
Assure yourself, after our ship did split,
When you and those poor number saved with you
Hung on our driving11 boat, I saw your brother,
Most provident12 in peril, bind himself —
Courage and hope both teaching him the practice13 —
To a strong mast that lived14 upon the sea,
Where, like Arion15 on the dolphin’s back,
I saw him hold acquaintance with16 the waves
So long as I could see.
Gives money
VIOLA For saying so, there’s gold.
Mine own escape unfoldeth to my hope19,
Whereto thy speech serves for authority,
The like of him.21 Know’st thou this country?
CAPTAIN Ay, madam, well, for I was bred and born
Not three hours’ travel from this very place.
VIOLA Who governs here?
CAPTAIN A noble duke, in nature as in name.
VIOLA What is his name?
CAPTAIN Orsino.
VIOLA Orsino. I have heard my father name him.
He was a bachelor then.
CAPTAIN And so is now, or was so very late30,
For but a month ago I went from hence,
And then ’twas fresh in murmur32 — as you know,
What great ones do, the less will prattle of33 —
That he did seek the love of fair Olivia.
VIOLA What’s she?
CAPTAIN A virtuous maid, the daughter of a count
That died some twelvemonth since, then leaving her
In the protection of his son, her brother,
Who shortly also died, for whose dear love,
They say, she hath abjured the sight
And company of men.
VIOLA O that I served that lady,
And might not be delivered to the world43
Till I had made mine own occasion mellow,
What my estate is.
CAPTAIN That were hard to compass46,
Because she will admit no kind of suit47,
No, not48 the duke’s.
VIOLA There is a fair behaviour49 in thee, captain,
And though that50 nature with a beauteous wall
Doth oft close in51 pollution, yet of thee
I will believe thou hast a mind that suits52
With this thy fair and outward character.53
I prithee — and I’ll pay thee bounteously —
Conceal me what I am, and be my aid
For such disguise as haply shall become56
The form of my intent. I’ll serve this duke.
Thou shalt present me as an eunuch58 to him.
It may be worth thy pains, for I can sing
And speak to him in many sorts of music
That will allow me very worth61 his service.
What else may hap62, to time I will commit,
Only shape thou thy silence to my wit.63
CAPTAIN Be you his eunuch, and your mute I’ll be:
When my tongue blabs, then let mine eyes not see.
VIOLA I thank thee. Lead me on.
Exeunt
Act 1 Scene 3
running scene 3
Enter Sir Toby [Belch] and Maria
SIR TOBY What a plague means my niece1 to take the death of
her brother thus? I am sure care2’s an enemy to life.
MARIA By my troth3, Sir Toby, you must come in earlier
a-nights: your cousin4, my lady, takes great exceptions to
your ill5 hours.
SIR TOBY Why, let her except, before excepted.6
MARIA Ay, but you must confine yourself within the
modest8 limits of order.
SIR TOBY Confine? I’ll confine myself no finer9 than I am:
these clothes are good enough to drink in, and so be these
boots too. An11 they be not, let them hang themselves in their
own straps.
MARIA That quaffing13 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 TOBY Who, Sir Andrew Aguecheek?16
MARIA Ay, he.
SIR TOBY He’s as tall a man as any’s18 in Illyria.
MARIA What’s that to th’purpose?
SIR TOBY Why, he has three thousand ducats20 a year.
MARIA Ay, but he’ll have but a year in all these ducats21: he’s
a very fool and a prodigal.22
SIR TOBY Fie, that you’ll say so! He plays o’th’viol-de-gamboys23,
and speaks three or four languages word for word
without book25, and hath all the good gifts of nature.
MARIA He hath indeed, almost natural26, 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 in28 quarrelling, ’tis
thought among the prudent he would quickly have the gift of
a grave.
SIR TOBY By this hand, they are scoundrels and subtractors31
that say so of him. Who are they?
MARIA They that add, moreover, he’s drunk nightly in your
company.
SIR TOBY With drinking healths to my niece. I’ll drink to her
as long as there is a passage in my throat and drink in Illyria.
He’s a coward and a coystrill37 that will not drink to my niece
till his brains turn o’th’toe like a parish top.38 What, wench?
Castiliano vulgo! For here comes Sir Andrew Agueface.39
Enter Sir Andrew [Aguecheek]
SIR ANDREW Sir Toby Belch. How now, Sir Toby Belch?
SIR TOBY Sweet Sir Andrew.
To Maria
SIR ANDREW Bless you, fair shrew.42
MARIA And you too, sir.
SIR TOBY Accost44, Sir Andrew, accost.
SIR ANDREW What’s that?
SIR TOBY My niece’s chambermaid.46
SIR ANDREW Good Mistress Accost, I desire better acquaintance.
MARIA My name is Mary, sir.
SIR ANDREW Good Mistress Mary Accost —
SIR TOBY You mistake, knight. ‘Accost’ is front her, board50 her,
woo her, assail51 her.
SIR ANDREW By my troth, I would not undertake her in this52
company. Is that the meaning of ‘accost’?
MARIA Fare you well, gentlemen.
Starts to leave
SIR TOBY An thou let part so55, Sir Andrew, would thou mightst
never draw sword56 again.
SIR ANDREW An you part so, mistress, I would I might never
draw sword again. Fair lady, do you think you have fools in58
hand?
MARIA Sir, I have not you by th’hand.
Gives her his hand
SIR ANDREW Marry61, but you shall have, and here’s
my hand.
MARIA Now, sir, thought is free.63 I pray you bring your hand
to th’buttery-bar64 and let it drink.
SIR ANDREW Wherefore65, sweetheart? What’s your metaphor?
MARIA It’s dry66, sir.
SIR ANDREW Why, I think so: I am not such an ass but I can keep67
my hand dry. But what’s your jest?
MARIA A dry jest69, sir.
SIR ANDREW Are you full of them?
MARIA Ay, sir, I have them at my fingers’ ends.71
Lets go of his hand
Marry, now I let go your hand, I am barren.72
Exit Maria
SIR TOBY O knight, thou lack’st a cup of canary.73 When did I
see thee so put down?74
SIR ANDREW 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 of77
beef and I believe that does harm to my wit.
SIR TOBY No question.
SIR ANDREW An I thought that, I’d forswear it.80 I’ll ride home
tomorrow, Sir Toby.
SIR TOBY Pourquoi82, my dear knight?
SIR ANDREW What is ‘Pourquoi’? Do or not do? I would I had
bestowed that time in the tongues84 that I have in fencing,
dancing and bear-baiting. O, had I but followed the arts!85
SIR TOBY Then hadst thou had an excellent head of hair.86
SIR ANDREW Why, would that have mended87 my hair?
SIR TOBY Past question, for thou see’st it will not curl by
nature.
SIR ANDREW But it becomes90 me well enough, does’t not?
SIR TOBY Excellent.
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