ACT 1
Scene 1
1.1 At his court, Orsino, sick with love for the Lady Olivia, learns from his messenger that she is grieving for her dead brother and refuses to be seen for seven years.
0 SD. Illyria: an ancient country in southern Europe, on the Adriatic Sea
2–3. that . . . appetite: i.e., so that my passion, glutted
4. fall: cadence (i.e., a sequence of chords ending the strain of music)
9–14. O spirit . . . minute: Love is described here as so hungry that it can devour everything and destroy the value of even the most precious things. quick and fresh: keen and eager (to devour) validity: worth pitch: i.e., excellence (The pitch is the highest point in a falcon’s flight.)
14–15. fancy, high fantastical: Fancy is both “love” and “imagination”; high fantastical carries the sense both of “highly imaginative, most able to create powerful images,” and “extremely passionate.” Orsino seems to be playing with the double meanings of these related words as he tries to describe the intensity of his lovesickness.
18. hart: stag (Orsino, in the following line, plays on the fact that hart sounds like heart.)
21. Methought: it seemed to me; purged . . . pestilence: i.e., purified the air of everything infectious
22–24. That instant . . . pursue me: Orsino compares himself to the mythological figure Acteon, who, having seen the goddess Diana bathing, was turned into a hart and destroyed by his own hounds. (See picture.) fell: fierce, deadly
Acteon. (1.1.24)
From Ovid, Le metamorphosi . . . (1538).
26. So please my lord: a polite phrase addressed to one’s superior; might not be: i.e., was not
28. element itself: i.e., the very sky; seven years’ heat: i.e., until seven summers have passed
30. cloistress: a nun in a cloister
32. eye-offending brine: i.e., tears; season: preserve, keep fresh (Brine is salt water used for preserving food.)
33. brother’s . . . love: i.e., love for her dead brother
36. but to a: i.e., to a mere
37. golden shaft: In the mythology of romantic love, anyone struck by Cupid’s arrow with the golden head falls desperately in love. (See picture.)
Cupid with his bow. (1.1.37)
From Johannes ab Indigane, The booke of palmestry (1666).
38. affections else: other feelings or desires
40. thrones: The liver was considered the seat of the passions, the brain the seat of reason, and the heart the seat of feeling.
40–41. and . . . perfections: i.e., and her sweet perfections filled
41. one self king: a single monarch
ACT 1
Scene 2
1.2 On the Adriatic seacoast, Viola, who has been saved from a shipwreck in which her brother may have drowned, hears about Orsino and Olivia. She wishes to join Olivia’s household, but is told that Olivia will admit no one into her presence. Viola decides to disguise herself as a boy so that she can join Orsino’s male retinue.
4. Elysium: in Greek mythology, where the blessed go after death
5. Perchance: perhaps, possibly
7. perchance: i.e., by chance, through good luck
12. driving: i.e., drifting
15. lived: i.e., floated
16. Arion . . . back: Arion, a Greek poet and musician, so charmed the dolphins with his music that one saved him from drowning. (See picture.)
“Arion on the dolphin’s back.” (1.2.16)
From Sigmund, freiherr von Herberstein, Rerum Moscouiticarum commentarij . . . Russiae . . . descriptio . . . (1556).
20–22. Mine . . . him: i.e., my escape makes me hope that my brother escaped too, and your speech encourages that hope
31. late: recently
34. the less: i.e., those of lower rank
38. some twelvemonth since: i.e., about a year ago
44. delivered: revealed
45. mellow: ripe
46. estate: social rank, position
47. compass: achieve, accomplish
48. suit: petition, formal request
51–52. though . . . pollution: i.e., although natural beauty often hides inner corruption
53–54. suits / With: corresponds with, matches
54. character: i.e., personal appearance and behavior
56. Conceal me: i.e., conceal, keep secret
57. become: be suitable to
59. eunuch: a male soprano or castrato
62. allow . . . worth: i.e., commend me as worthy to be in
64. wit: plan
65. mute: a person unable to speak
ACT 1
Scene 3
1.3 At the estate of Lady Olivia, Sir Toby Belch, Olivia’s kinsman, has brought in Sir Andrew Aguecheek to be her suitor. Maria, Olivia’s lady-in-waiting, says that Andrew is a fool, and Andrew himself doubts his ability to win Olivia, but Toby encourages him to woo her.
1, 5. niece, cousin: Both of these terms indicate close kinship; neither was as specific as it is today.
2. care: sorrow
4. By my troth: a mild oath
7. except before excepted: Toby’s adaptation of the legal phrase exceptis excipiendis (“excepting those things which are to be excepted”), which he uses to dismiss Olivia’s criticism
9. modest: moderate
10. confine myself: i.e., dress myself
12. An: if
14. undo you: ruin you; cause your downfall
20. tall: brave (Maria takes the word in its usual sense.)
22. has . . . ducats: i.e., has an income of three thousand gold coins
23. have . . . ducats: i.e., spend all his inheritance in a single year
24. prodigal: wastrel, spendthrift
25–26. viol-de-gamboys: i.e., viola da gamba, the predecessor of the modern cello (See picture.)
A “viol-de-gamboys.” (1.3.25–26)
From Nieuwen ieucht spieghel . . . (ca. 1620).
27. without book: i.e., from memory
29. natural: i.e., like a “natural” or idiot
30. but that: except for the fact that
31–32. gust . . . in: i.e., taste . . . for
34–35. substractors: i.e., detractors, slanderers
40. coistrel: lowborn contemptible fellow
42. parish top: a large public whipping-top (See picture.); Castiliano vulgo: The meaning of this Spanish-sounding phrase (if it had one) is lost.
A top. (1.3.42)
From Giovanni Ferro, Teatro d’imprese . . . (1623).
43. Agueface: This misnaming of Sir Andrew calls attention to the meaning of “Aguecheek,” i.e., the pale, thin cheek (or face) of someone suffering from a fever or ague.
46. shrew: Andrew may be alluding to Maria’s size (the shrew is among the smallest of mammals), or he may be using shrew (a word applied to a scolding or brawling woman) to mean simply “woman.”
48. Accost: i.e., approach her, woo her (line 56) (In nautical terms, one ship accosts another by going alongside. The nautical language continues in front—i.e., confront—and board [line 55] and perhaps in undertake [line 57].)
60. An . . . so: i.e., if you let her leave so unceremoniously
64. have fools in hand: i.e., are dealing with fools
66. Marry: a mild oath, meaning “truly” or “indeed” (originally, an oath “by the Virgin Mary”)
68. thought is free: a proverbial response to the question “Do you think I’m a fool?”
69. butt’ry bar: the ledge on top of the half door to the buttery, the storeroom for food and drink
71. Wherefore: i.e., why
73. dry: withered (indicating Andrew’s lack of vigor, with a probable pun on dry as “thirsty”)
76. dry jest: sarcastic or ironic joke
79. barren: i.e., no longer full of jests
80. canary: sweet wine
81. put down: snubbed, silenced
83. put me down: i.e., lay me out
84. Christian: often used, as here, to mean an ordinary human being
90. Pourquoi: French for “why”
92. tongues: i.e., foreign languages
93. bearbaiting: a blood sport in which dogs attack a bear chained to a stake (See picture.)
A bearbaiting. (1.3.93)
From Franco Giacomo, Habiti d’huomeni de donne Venetiane . . . (1609?).
100. distaff: staff used in spinning thread from wool or flax (See picture.)
Woman with a distaff. (1.3.100)
From Johann Engel, Astrolabium (1488).
101. huswife: housewife (Huswife, pronounced “hussif,” also had the sense of “hussy.”)
103. Faith: a mild oath
105. she’ll . . . me: i.e., she does not want me; Count: i.e., Orsino, referred to as a duke in the first two scenes, but referred to hereafter in the dialogue as a count; hard by: nearby
108. degree: position; estate: fortune
111–12. masques and revels: entertainments, plays, dances
113. kickshawses: kickshaws, trifles (French: quelques choses)
117. galliard: a popular dance (See picture.)
Dancing the galliard. (1.3.117)
From Fabritio Caroso, Il ballarino . . . (1581).
118. caper: leap (A caper is also a condiment used in sauces. Toby plays on this sense when he mentions mutton.)
120. back-trick: probably, a backward leap or caper
123. like: i.e., likely
124. take . . . picture: i.e., get dusty, and therefore need a curtain to protect them (It is unclear who “Mistress Mall” might be.)
126–27. coranto, jig, sink-a-pace: names for various dances
128. virtues: accomplishments
130. star of a galliard: a dancing star; or, a star propitious for dancing
132. dun-colored stock: i.e., brown stocking
135. Taurus: one of the twelve signs of the zodiac, which, at least according to Chaucer, governed the neck and the throat (See pictures.)
Taurus. (1.3.135)
From Johann Engel, Astrolabium (1488).
The signs governing the body. (1.3.135)
From Walter Gray, An almanacke . . . (1591).
ACT 1
Scene 4
1.4 At Orsino’s court, Viola, disguised as a page and calling herself Cesario, has gained the trust of Orsino, who decides to send her to woo Olivia for him. Viola confides to the audience that she loves Orsino herself.
2. Cesario: the name chosen by Viola for her male disguise, which she will wear for the rest of the play; be much advanced: i.e., achieve advancement, promotion
5. either . . . negligence: i.e., are concerned either that he is whimsical or that I cannot serve him well fear: distrust, suspect humor: disposition, whim
12. On your attendance: i.e., at your service
13. aloof: i.e., aside, apart
14. no less but all: i.e., everything
16. address . . . unto: i.e., go to
18. them: i.e., Olivia’s servants
19. have audience: i.e., are admitted to speak with her
23. leap . . . bounds: i.e., go beyond the limits of courtesy
24. unprofited: i.e., unsuccessful
26. unfold: reveal, disclose
27. Surprise: overcome, capture (a military term)
28. become thee well: be appropriate for you
29. attend: pay attention to
30. nuncio’s: messengers; more grave aspect: i.e., older or more serious face
34. Diana: the virgin goddess, here the personification of youth and beauty (See picture.)
Diana. (1.4.34)
From Robert Whitcombe, Janua diuorum (1678).
35. rubious: ruby red; pipe: i.e., voice
36. organ: i.e., voice (literally, vocal chords, larynx); sound: i.e., not cracked
37. is semblative . . . part: i.e., is like a woman (Part may be a theatrical term. In Shakespeare’s theater, boys played women’s parts.)
38. thy constellation: i.e., the stars that govern your success (or, that have shaped you)
39. attend: i.e., go along with
45. barful strife: i.e., an undertaking full of obstacles or “bars” (barriers)
ACT 1
Scene 5
1.5 Viola, in her disguise as Cesario, appears at Olivia’s estate. Olivia allows Cesario to speak with her privately about Orsino’s love. As Cesario presents Orsino’s love-suit, Olivia falls in love with Cesario. She sends her steward, Malvolio, after Cesario with a ring.
0 SD. Feste, the Fool: In the Folio, this character, in stage directions and speech prefixes, is simply called “Clown” (an indication that the role was played by the troupe’s comic actor). In dialogue, he is always called “Fool.” He is at one point (in 2.4) referred to as “Feste, the jester,” which leads some editors to name him “Feste” in speech prefixes and stage directions.
3. in . . . excuse: i.e., to defend you
6. fear no colors: proverbial for “fear nothing”
7. Make . . . good: i.e., prove that; explain that
9. Lenten: i.e., weak, poor (good enough only for Lent, a time of fasting)
12. In the wars: Military flags were called colors.
13. foolery: Feste is a professional fool; i.e., he makes his living by entertaining his aristocratic patron and by amusing others in the household, who reward him for his foolery. Feste’s foolery depends primarily on the way he uses words.
17. turned away: i.e., dismissed
20. for: i.e., as for; let . . . out: i.e., may the warm weather of summer make it bearable
23. if one break: Maria plays on points as meaning the laces that hold up a man’s breeches.
24. gaskins: breeches or hose
27. piece of Eve’s flesh: i.e., woman
29. you were best: We would say: “If you know what’s good for you.”
30. Wit: i.e., intelligence, brain; an ’t: i.e., if it
31. wits: clever people
33. Quinapalus: a philosopher invented by Feste
34. witty: clever
38. Go to: an expression of impatience; dry: i.e., dull, not amusing
39. dishonest: dishonorable (i.e., unreliable)
40. madonna: my lady, madam (an Italian form of address)
42. dry: thirsty; mend: (1) reform; (2) repair
44. botcher: a tailor who repairs clothing
45. is but: is merely
49. cuckold: a man whose wife is unfaithful; calamity: i.e., one whom Fortune has deserted
50. bade: commanded (Bade is the past tense of “bid.”)
53. Misprision: a mistake, an error
53–54. cucullus . . . monachum: Proverbial: “A cowl does not make a monk.”
55. motley: multicolored garments worn by professional fools
58. Dexteriously: i.e., dexterously, easily
60. catechize: question rigorously
60–61. Good . . . virtue: i.e., my good, virtuous mouse (as if addressed to a young girl being catechized by the priest)
62. want . . . idleness: lack of other pastime; bide: abide, listen to
72. mend: improve
78. no fox: i.e., not clever
78–79. pass . . . twopence: i.e., bet tuppence
82–83. put down . . . with: i.e., defeated (in a battle of wits) by
83. ordinary fool: perhaps, a simpleton; or, perhaps, a Fool without an aristocratic patron
84. out of his guard: defenseless, without an answer (a fencing metaphor)
85–86. minister . . . him: give him opportunities
87. crow: cry out in pleasure; set . . . Fools: i.e., professional fools set: deliberate, intentional
88. zanies: (1) subordinate fools in comedies, whose function is to imitate the main comic character; (2) assistants, flatterers
90. distempered: diseased, disturbed; generous: high-minded
91. free: magnanimous
92. bird-bolts: blunt arrows
93. allowed Fool: i.e., a Fool who has been given permission always to speak freely
94–95. known discreet man: i.e., a man known to be judicious, wise
96. Mercury . . . leasing: i.e., may Mercury, god of trickery, endow you with the gift of lying
106. madman: i.e., nonsense
107. suit: love-plea
112. Jove: king of the Roman gods (See picture.)
Jove. (1.5.112)
From Vincenzo Cartari, Le vere e noue Imagini . . . (1615).
114. pia mater: i.e., brain
115. What: i.e., who
119–20. a plague . . . herring: perhaps Toby’s explanation for his having belched or hiccoughed
120. sot: fool
126. an he will: if he wants to
127. it’s all one: i.e., it doesn’t matter
130. draught: i.e., cup of wine; above heat: Wine was thought to warm the liver.
132. crowner: i.e., coroner; sit o’: i.e., hold an inquest on
147. sheriff’s post: a large carved post
147–48. the . . . bench: i.e., a bench-support
153. will . . . no: i.e., whether you want to or not
154. personage: appearance
156. squash: unripe peascod (pea pod)
157. codling: unripe apple
158. in standing . . . man: i.e., halfway between boy and man, like a tide between ebb and flow
159–60. shrewishly: This word usually means “like a bad-tempered woman,” but here it seems to mean merely “like a woman.”
167. Your will?: i.e., what do you want?
172. con: memorize
173–74. comptible . . . usage: sensitive to even the smallest slight
178. modest: moderate
180. comedian: actor
182. that I play: i.e., that which I act
184. usurp myself: i.e., hold possession of myself wrongfully (Olivia’s joking way of admitting that she is herself)
185–86. usurp yourself: i.e., wrongfully hold possession of yourself (in that you are refusing to marry and reproduce)
187. reserve: keep for yourself; from: i.e., not part of
190. forgive you: i.e., excuse you from reciting
194. like: i.e., likely
197. be not mad: This odd phrase may represent a scribal or printing error. Some editors omit the word not; others interpret “not” to mean “not entirely.”
198. ’Tis . . . me: i.e., I am not myself lunatic—under the influence of Luna, the moon (See picture.)
Luna. (1.5.198)
From Johann Engel, Astrolabium (1488).
199. make one: i.e., take part
201. swabber: a sailor who swabs the decks; hull: remain, like a ship with furled sails
202. giant: perhaps a sarcastic reference to Maria’s size
208. office: i.e., what you have been ordered to say
209. alone . . . ear: i.e., concerns no one but you
210. taxation of: i.e., demand that you pay; olive: olive branch, a symbol of peace and goodwill (See picture.)
“I hold the olive in my hand.” (1.5.210–11)
From Gilles Corrozet, Hecatongraphie . . . (1543).
212–13. What would you?: i.e., what do you want?
215. my entertainment: the way I was received
217. divinity: i.e., religious truth, theology; profanation: a violation of something sacred
220. your text: the scriptural passage on which you are to expound
222. comfortable: comforting
226. by the method: according to the division of the text in the table of contents
233–34. such . . . present: i.e., this is a portrait of me as I am at this moment
236. in grain: indelible (Grain was a “fast” or permanent dye.)
238. blent: blended
242. leave . . . copy: i.e., leave no children to carry on your beauty (Olivia responds as if copy here meant a written record.)
244. divers schedules: various lists
245. utensil: i.e., part of my body; labeled: described on paper and attached as a codicil
246. item: Latin for “likewise” (used to introduce each article in a formal inventory)
248. praise: perhaps, appraise
251. if: i.e., even if; the devil: perhaps a reference to Lucifer, the archangel who, through pride, led the revolt of the angels against God, and who, after his fall, was named Satan (Proverbial: “As proud as Lucifer.”)
253. but recompensed: i.e., no more than returned on equal terms
255. The nonpareil of beauty: i.e., a beauty without equal
257. fertile: abundant
261. estate: fortune, status
262. voices: public opinion; divulged: spoken of; free: noble
263. in dimension . . . nature: i.e., in his physical shape
264. A gracious: an attractive
271. willow cabin: a small shelter made of willow (The willow is the symbol of grief for unrequited love.)
272. call . . . house: i.e., call out to Olivia, outside of whose house the cabin is built
273. cantons: i.e., cantos, ballads; contemnèd: disdained, viewed with contempt
275. Hallow: shout
276. babbling . . . air: i.e., Echo (the nymph who, in Greek mythology, pined away for love until only her voice was left to “babble”)
279. But . . . me: i.e., unless you took pity on me
282. fortunes: (current) situation; state: social standing; or, condition in life
289. fee’d post: hired messenger
291. Love: i.e., may the god of love (Cupid); make . . . flint: i.e., turn . . . into flint; that . . . love: i.e., the man you will one day love
298. give . . . blazon: i.e., proclaim your high rank five times over (A blazon is a coat of arms.); Soft: an exclamation meaning “wait a minute”
300. man: i.e., servant
308. County’s man: count’s servant
309. Would I: i.e., whether I wanted it; I’ll . . . it: i.e., I do not want it
310. flatter with: i.e., encourage
313. Hie thee: hurry
317. owe: own
ACT 2
Scene 1
2.1 A young gentleman named Sebastian, who has recently been saved from a shipwreck in which his sister has been lost, sets off for Orsino’s court. Antonio, the sailor who saved him, follows him, even though Antonio risks his own life to do so.
1. will you not: i.e., do you not wish
3. By your patience: a polite phrase, “with your permission”
4. malignancy: evil influence (astrological term, carried also in the preceding phrase, “My stars shine darkly over me.”)
5. distemper: disturb, damage
10. sooth: i.e., truly; My . . . voyage: the journey I’ve set for myself
11. mere extravagancy: no more than wandering
12. modesty: reserve, lack of presumption
13. what . . . keep in: i.e., what I wish to hide
13–14. it . . . manners: i.e., courtesy compels me
14. the rather: all the more
19. in an: i.e., within the same
22. breach of the sea: i.e., the breaking waves
26–27. with . . . that: i.e., believe too much in this admiring judgment of my sister’s beauty
28. publish: proclaim
28–29. that envy . . . fair: i.e., that even the envious must call beautiful
32. entertainment: reception as my guest
34. murder me for my love: i.e., destroy me (1) in exchange for my love, or (2) because I care so much about you
37. recovered: rescued
39–40. so near . . . mother: i.e., so close to behaving like a woman
41. will . . . me: will weep, thus revealing my weakness
45. Else: otherwise
ACT 2
Scene 2
2.2 Malvolio finds the disguised Viola and “returns” the ring. Viola, alone, realizes that Olivia has fallen in love with Cesario and understands that Orsino, Olivia, and Viola/Cesario are now in a love triangle that she is helpless to resolve.
0 SD. at several doors: i.e., through separate stage entrances
4. arrived . . . hither: i.e., just reached this place
8. a . . . assurance: a certainty that offers him no hope
8–9. will none of: i.e., will not have
11. this: i.e., this message of rejection; Receive it so: i.e., take the ring with this understanding.
12. She . . . it: This response seems to be a resourceful lie by Viola.
19. made . . . me: i.e., looked me over carefully
20. had lost: i.e., had made her lose
22. cunning: craftiness
23. Invites: encourages, tempts
24. None of: i.e., she will not have (See lines 8–9.)
25. the man: i.e., the one she loves
28. the pregnant enemy: i.e., the devil, who uses such deceits as disguise in his wicked practices pregnant: resourceful
29. the proper false: those who are unfaithful but handsome
30. In . . . forms: i.e., to imprint their images in women’s impressionable hearts
31–32. our . . . be: Proverbial: “Women are the weaker vessels.”
33. fadge: i.e., work out, fit together
34. monster: i.e., a man/woman; fond . . . on: just as infatuated with
37. My . . . for: i.e., it is impossible that I should win
39. thriftless: useless, fruitless
ACT 2
Scene 3
2.3 At Olivia’s estate, Toby, Andrew, and the Fool hold a late night party. Maria comes in to quiet them, followed by Malvolio, who orders them to behave or be dismissed from the house. In retaliation, Maria plots to trap Malvolio with a forged letter that will persuade him that Olivia loves him.
2. betimes: early
2–3. diluculo surgere: the first two words of a familiar Latin sentence that means “To rise early is good for the health”
6. as: i.e., as much as I do; can: drinking cup
9–10. the . . . elements: air, earth, water, and fire
14. stoup: tankard (a large drinking vessel)
17. “We Three”: a familiar picture of two fools, the title of which, “We Three,” suggests that the viewer is the third fool
18. catch: music written for three voices, sung as a round
19. breast: i.e., breath, singing voice
22. fooling: See note on foolery at 1.5.13.
23–24. Pigrogromitus . . . Queubus: examples of the Fool’s wordplay (here, apparent mockery of astrological language)
25. leman: mistress, lover
27. impeticos thy gratillity: more of the Fool’s wordplay (Gratillity sounds like “gratuity,” i.e., tip.)
27–29. for . . . houses: apparent nonsense to please Sir Andrew whipstock: whip handle white: then synonymous with “beautiful” Myrmidons: the followers of Achilles, the Greek warrior in Homer’s Iliad bottle-ale houses: inferior taverns
34. testril: tester, sixpence; of: from
35. give a: In the Folio, there is no punctuation after these words, which come at the end of the line. It is possible that the next line of Andrew’s speech was simply dropped.
36–37. song . . . life: a drinking song (Andrew, at line 39, appears to understand good life to mean a moral life.)
40. “O mistress mine”: Tunes by this name were published in Shakespeare’s time, but the words here are thought to be Shakespeare’s.
44. in lovers meeting: i.e., when lovers meet
48. hereafter: at some future time
50. still: always
55. contagious: foul (but understood by Andrew to be a compliment)
57. To . . . nose: i.e., if we heard with our noses
58. welkin: heavens (See picture.)
“Shall we make the welkin dance?” (2.3.58)
From Image du monde. The myrrour-dyscrypcyon of the worled . . . (1527).
59. catch: See note to line 18.
60. weaver: Weavers were said to be fond of singing.
61. An: if; dog: i.e., expert
63. By ’r Lady: an oath, “By our Lady” (i.e., the Virgin Mary)
64–65. “Thou Knave”: a catch in which the singers call each other, in turn, “thou knave” (Knave meant variously “servant, menial,” “boy,” and “villain.”)
76. Cataian: i.e., untrustworthy boaster (alluding to explorers who mistakenly claimed they had discovered riches in places they believed to be Cathay, or China); politicians: shrewd fellows
77. Peg-a-Ramsey: the name of a popular song
77–78. Three . . . we: a line from another popular song
78–79. of her blood: related to her (i.e., consanguineous)
79. Tillyvally: an expression of impatience; “Lady”: Toby’s mockery of Maria’s reference to Olivia
79–80. There . . . lady: a line from a popular song
81. Beshrew me: i.e., curse me (a mild oath)
84. natural: i.e., naturally (with an unintended pun on “natural” meaning “like an idiot”)
87. My masters: i.e., gentlemen
88. wit: sense; honesty: decency, decorum
89. tinkers: wandering menders of utensils, known for their drinking
91. coziers: cobblers
91–92. mitigation or remorse: These words suggest “softening,” but neither seems appropriate as used here to refer to the voice. Mitigation is usually applied to a lessening of violence or disease; remorse is a theological term that applies to the conscience of a sinner. Malvolio’s language often has odd quirks that contemporary audiences might have associated with his supposed puritanism. (See line 139.)
94. Sneck up: i.e., shut up
95. round: straightforward
102. Farewell . . . gone: the beginning of a song called “Corydon’s Farewell to Phyllis,” which continues through line 112.
107. lie: i.e., do not tell the truth (In “Corydon’s Farewell,” the words are “So long as I can spy.”)
115. cakes and ale: associated with festivity
116. Saint Anne: mother of the Virgin Mary; ginger: used to spice ale
118–19. rub . . . crumbs: i.e., polish your steward’s chain
122. uncivil rule: uncivilized conduct
125–28. ’Twere . . . him: In confused language (e.g., he means “thirsty” when he says a-hungry), Andrew threatens to challenge Malvolio to a duel and then not show up.
133. out of quiet: disquieted, troubled
133–34. let . . . him: i.e., leave him to me
134. gull . . . nayword: i.e., through trickery turn him into a byword (a figure of scorn)
135. recreation: i.e., figure of fun
138. Possess: inform
139. puritan: originally, a term of abuse used against members of the Church of England who were strict moralists, intent on stamping out sin and doing away with frivolity (The word comes from the Latin purus, “pure.”)
145. The devil . . . is: i.e., he is not a puritan
146. constantly: consistently; time-pleaser: flatterer, self-server; affectioned: affected
147. cons . . . book: i.e., memorizes high-sounding phrases
148. best . . . of: i.e., holding the highest opinion of
156. expressure: expression
158. personated: represented
159–60. on . . . hands: i.e., when we have forgotten who wrote something, we can barely distinguish her handwriting from mine
161. device: plan, scheme
170. physic: medicine
173. construction: interpretation
175. Penthesilea: queen of the Amazons (fierce warrior women)
176. Before me: a mild oath
182. recover: obtain
182–83. a foul way out: i.e., in financial trouble (literally, out in the dirt)
185. Cut: a horse (with a docked tail; or, gelded)
188. burn some sack: warm up some sherry
ACT 2
Scene 4
2.4 Orsino asks for a song to relieve his love-longing. In conversation about the capacities for love in men and in women, Viola expresses her love for Orsino through a story about “Cesario’s sister.” Orsino becomes curious about this sister’s fate, but then turns back to his own longings and sends Cesario once again to visit Olivia.
1–2. good morrow: good morning
4. antique: old-fashioned (accent on first syllable)
5. passion: emotional suffering
6. airs: tunes, melodies; recollected terms: perhaps, unspontaneous or studied verse
20. Unstaid and skittish: fickle, inconstant; in . . . else: in all other emotions or desires
23. It . . . echo: i.e., it echoes exactly
23–24. the seat . . . throned: i.e., the lover’s heart
27. stayed . . . favor: lingered over some face
29. by your favor: a courteous phrase, “if you please,” with a punning reference to Orsino’s “favor,” or face
31. complexion: temperament; appearance
34. still: always
35. wears . . . him: i.e., shapes herself to fit him (like a garment to its owner)
36. sways she level: The image may be of a ruler holding sway, or of a balance scale. (See picture.)
A balance scale. (2.4.36)
From Silvestro Pietrasanta, Symbola heroica (1682).
38. fancies: loves
43. hold the bent: i.e., endure at its maximum tension, like a fully stretched bow (See picture.)
A bow at the full bent. (2.4.43)
From Jacobus a. Bruck, Emblemata moralia & bellica (1615).
45. Being . . . displayed: i.e., having blossomed
49. Mark: pay attention to
50. spinsters: those who spin thread or yarn
51. free: carefree
51–52. weave . . . bones: use bone bobbins in making lace
53. Do use to: customarily; silly sooth: simple truth
54. dallies: plays
55. the old age: i.e., the good old days
59. sad cypress: i.e., a coffin of dark cypress wood
62. yew: i.e., sprigs of yew (The yew tree was often planted in churchyards and was a symbol of sadness.)
67. strown: strewn
74. There’s for: i.e., there’s payment for
77–78. pleasure . . . another: i.e., pleasure must eventually be paid for (proverbial)
79. Give . . . thee: a polite request for the Fool to leave
80. the . . . god: i.e., Saturn, god of melancholy
81. doublet: jacket; changeable taffeta: a thin silky fabric woven so that the color appears to change when viewed from different perspectives
82. opal: a stone of variable colors
82–83. such constancy: i.e., so little constancy
84. intent: i.e., intended destination
89. sovereign cruelty: (1) the cruel woman who rules my life; (2) the queen of cruelty (Orsino speaks the exaggerated language of love poetry.)
91. quantity . . . lands: i.e., her property
92. parts . . . her: i.e., her wealth and status
93. hold as giddily as fortune: Fortune is proverbially fickle. (See picture.)
Fortune. (2.4.92)
From George Wither, A collection of emblemes . . . (1635).
94–95. that miracle . . . in: i.e., her own beauty, a gift of nature pranks: dresses
102. be answered: i.e., take that as final
104. bide: endure
108. No . . . palate: i.e., not a strong emotion whose seat is in the liver, but a casual appetite
109. suffer: experience; revolt: revulsion
111–12. Make . . . Between: i.e., do not compare
113. that: i.e., that which
117. In faith: a mild oath
123. worm i’ th’ bud: i.e., a cankerworm inside a rosebud (See picture.)
A cankerworm. (2.4.123)
From John Johnstone, Opera aliquot . . . (1650–62).
124. damask: pink, rosy
129. shows . . . will: outer expressions are larger than actual desires; still: always
137. give no place: give way to no one; bide no denay: accept no denial
ACT 2
Scene 5
2.5 Maria lays her trap for Malvolio by placing her forged letter in his path. From their hiding place, Toby, Andrew, and Fabian observe Malvolio’s delight in discovering the love letter. Malvolio promises to obey the letter: to smile, to put on yellow stockings cross-gartered, and to be haughty to Sir Toby. Delighted with their success, Maria and the others prepare to enjoy Malvolio’s downfall.
1. Come thy ways: i.e., come along
2. scruple: i.e., tiny amount
5. sheep-biter: i.e., dog (Thomas Nashe, in his An Almond for a Parrat, 1590, uses the term to describe a hypocritical puritan.)
7. bearbaiting: See note to 1.3.93.
12. villain: here, a term of affection
13. metal of India: i.e., golden one (an allusion to the Americas, source of gold in Shakespeare’s day)
14. boxtree: boxwood shrubbery
19. Close: i.e., stay hidden
21. trout . . . tickling: Trout can be lured from hiding places by stroking the gills. Here, Malvolio will be “stroked” with flattery.
23. she did affect me: i.e., Olivia loved me
24. come . . . near: i.e., say something close to this; fancy: fall in love
25. complexion: nature, appearance
26. follows: serves
29. Contemplation: anticipation, expectation
30–31. jets . . . plumes: struts (like a turkeycock) with his feathers spread
32. ’Slight: By God’s light (a strong oath)
36. Pistol: i.e., shoot
38–39. The lady . . . wardrobe: probably a topical allusion, now lost yeoman: servant, officer
40. Jezebel: a proud queen in the Bible
41. deeply in: i.e., mired in his fantasy
42. blows: swells
44. state: i.e., chair of state (as Count Malvolio)
45. stone-bow: a crossbow that propels stones (See picture.)
A stone-bow. (2.5.45)
From Jan van der Straet, Venationes ferarum, auium . . . (ca. 1630?)
46. officers: underlings who manage the estate
47. branched: perhaps, embroidered with flowers
51. have . . . state: assume a haughty manner fitting my position
52. a demure . . . regard: perhaps, soberly surveying my officers
54. Toby: Malvolio drops Sir Toby’s title, here and in the lines that follow.
62–63. drawn . . . cars: i.e., forced from us through torture cars: chariots
65–66. regard of control: look of mastery
67. take . . . o’: i.e., give you a blow on
75–76. break . . . plot: i.e., cripple, destroy, our scheme
83. employment: i.e., business
85. woodcock: a proverbially stupid bird; gin: trap (See picture.)
A woodcock in a “gin.” (2.5.85)
From Gervase Markham, Hunger’s prevention, or, The whole art of fowling . . . (1655).
86. spirit of humors: i.e., that which controls moods
86–87. intimate . . . him: i.e., suggest to him that he read aloud
89. hand: handwriting
89–90. c’s . . . u’s . . . t’s: Some editors believe that Shakespeare’s audience would have heard a bawdy joke in these lines. They argue that “cut” was a word for the pudendum. Evidence that the word had this meaning is, however, far from conclusive.
90–91. in contempt of question: i.e., without a doubt
94. By your leave: i.e., with your permission (Malvolio’s apology to the wax seal before he breaks it)
95. impressure: image stamped on the wax; Lucrece: i.e., a picture of the chaste Lucretia, whose story Shakespeare had told in The Rape of Lucrece (See picture.)
Lucrece. (2.5.95)
From Silvestro Pietrasanta, Symbola heroica . . . (1682).
96. uses to seal: is accustomed to sealing
103. numbers: meter
106. brock: a term of contempt (literally, badger)
108. Lucrece knife: Lucretia stabbed herself after being raped by Tarquin. (See note on line 95.)
110. sway: rule
111. fustian: pretentious, pompous
112. Excellent wench: i.e., Maria
115. What dish: i.e., what a dish; dressed: prepared for
117. staniel: an inferior kind of hawk
117–18. checks at it: turns to follow it
121. formal capacity: i.e., sane mind
122. obstruction: difficulty
125. make up: i.e., make sense out of
125–26. He . . . scent: i.e., he’s like a hound who has lost the trail of his quarry (Language describing Malvolio as a dog following a scent continues in lines 127–28, where Sowter seems to be the dog’s name and cry upon ’t means “bark loudly,” and in line 132, where fault is a technical term for a lost scent. See picture.)
A hound on the scent. (2.5.125–32)
From George Gascoigne, The noble arte of venerie (1611).
128. rank: strong smelling
133–34. no consonancy . . . sequel: i.e., no harmony in the letters that follow (See note about Malvolio’s language at 2.3.91–92.)
134. suffers under probation: i.e., stands up to testing
143–44. This simulation . . . former: i.e., this part of the letter does not resemble me as clearly as does the first part (“I may command where I adore”)
147. revolve: consider
148. stars: i.e., destiny
150–51. open their hands: i.e., have become generous
152. inure: accustom; like: likely
152–53. cast . . . slough: discard your humble attitude (as a snake discards its old skin)
153. opposite: confrontational
154–55. tang . . . state: ring out with political opinions
155–56. Put . . . singularity: i.e., adopt idiosyncrasies
158. cross-gartered: wearing ribbons tied around the knees (See picture below and at the note to 3.4.23.)
Legs cross-gartered. (2.5.158)
From Abraham de Bruyn, Omnium pene Europae, Asiae . . . gentium habitus . . . (1581).
159. Go to: an expression of protest (like “Come, come”)
164. champian: open country; discovers: reveals
165. open: perfectly clear; politic: (1) political; (2) wise
166. baffle: publicly humiliate; gross: base
167. point-devise . . . man: i.e., precisely the man described in the letter
168. jade: dupe, delude
173. these . . . liking: i.e., wear the kind of clothes that she likes
174. strange: extraordinary, exceptional; stout: proud, arrogant
179. thou entertain’st: you accept
185. Sophy: shah of Persia
191. gull-catcher: A gull is a person easily cheated.
194. play: bet; tray-trip: a gambling game
200. aqua vitae: strong drink, usually brandy
208. notable contempt: i.e., well-known object of contempt
210. Tartar: i.e., Tartarus, hell
212. make one, too: i.e., join you
ACT 3
Scene 1
3.1 Viola (as Cesario), on her way to see Olivia, encounters first the Fool and then Sir Toby and Sir Andrew. Olivia, meeting Cesario, sends the others away and declares her love.
0 SD. tabor: small drum
1. Save thee: i.e., God save thee (a friendly greeting)
1–2. Dost thou live by: i.e., do you make your living by playing
4. churchman: clergyman
5. No such matter: i.e., not at all
11. You have said: i.e., you’re right; this age: i.e., the age in which we live
12. chev’ril: kid leather, which stretches easily
14. dally nicely: play with precise meanings (Dally also means “flirt, play with amorously.”)
15. wanton: changeable, ambiguous (also “immoral, unchaste”)
21. bonds: i.e., the legal requirement that one’s pledge (word) be backed by a written contract, or bond
27. I warrant: i.e., I’m sure
36. pilchers: pilchards, small fish related to the herring
39. late: lately, recently
40. walk . . . orb: move around the earth
41–42. but . . . be: i.e., unless the Fool were
43. your Wisdom: an ironic title (analogous to “your Honor”)
44. an thou . . . me: i.e., if you attack me; I’ll no more: i.e., I’ll have no more to do
46. in . . . commodity: i.e., out of his next supply
51. Would . . . bred: The Fool, begging for money, suggests that money can breed, i.e., reproduce. Viola continues the wordplay in her response, where put to use means “invested to earn interest,” but also has a sexual meaning.
53–54. Lord . . . Troilus: The allusion is to the story of Troilus and Cressida, lovers who were brought together by Pandarus. The story was told by Chaucer, and by Shakespeare in his Troilus and Cressida.
57. Cressida . . . beggar: In some versions of the story, Cressida becomes a beggar before her death.
58. conster to them: i.e., construe (explain) to those in the house
59. out . . . welkin: i.e., beyond my comprehension, out of my element (The wordplay here is on welkin as “sky,” which, as “air,” is an element.)
64. quality: rank; nature
65. haggard: wild hawk; check at: turn to follow
66. practice: profession
67. art: learning, skill
68. fit: i.e., fitting, appropriate
69. wit: intelligence (or reputation for it)
72. Dieu . . . monsieur: God save you, sir.
73. Et . . . serviteur!: And you as well, your servant!
75. encounter: i.e., approach (Toby uses affected language, and Viola answers him in kind.)
78. list: limit, boundary
80. understand: i.e., stand under, hold me up
84. with . . . entrance: i.e., by going and entering
85. we are prevented: i.e., Olivia’s appearance anticipates our entrance
90. My . . . but: i.e., my message cannot be spoken except
91. pregnant: receptive; vouchsafed: willing, graciously attentive
101. lowly feigning: i.e., pretending to be humble; was called: i.e., began to be considered
105. For: as for; on him: i.e., about him
113. music . . . spheres: In Ptolemaic astronomy, the stars move about the earth in crystalline spheres, giving out incredibly beautiful music that humans cannot hear. (See picture.)
Ptolemaic universe. (3.1.113)
From Marcus Manilius, The sphere of . . . (1675).
115. Give . . . you: i.e., permit me to speak, I beg you
117. abuse: deceive; wrong
119–21. Under . . . yours: i.e., I must be judged harshly by you, since I used shameful cunning to force on you something you knew was not yours
123–25. Have . . . think: The image here is of a bearbaiting. Olivia imagines her honor as a bear tied to the stake, attacked (baited) by the unmuzzled dogs that are Cesario’s thoughts. (See picture.)
127. cypress: thin (almost transparent) cloth veil
131. a . . . proof: an ordinary experience
140. proper: handsome
142. westward ho!: the cry of Thames watermen headed from London to Westminster
144. You’ll nothing . . . ?: i.e., you have no message . . . ?
148. think you right: i.e., you think correctly
155–56. Love’s . . . noon: i.e., love cannot be hidden
159. maugre . . . pride: i.e., despite your scorn
160. Nor . . . nor: neither . . . nor
161. extort thy reasons: i.e., force out excuses; clause: premise
162. For . . . cause: i.e., because I am the wooer, you have no cause (to woo me)
163. reason . . . fetter: i.e., restrain such rationalizing by considering the following sentence
167. nor never none: nor anyone ever
ACT 3
Scene 2
3.2 Sir Andrew, convinced that Olivia will never love him, threatens to leave. Sir Toby persuades him that he can win her love if he challenges Cesario to a duel. Sir Andrew goes off to prepare a letter for Cesario. Maria enters to say that Malvolio has followed every point in the letter and is about to incur disaster when he appears before Olivia.
3. must needs yield: i.e., must give
6. orchard: garden
10. argument: token, evidence
13. prove it legitimate: i.e., make good my case; oaths of: i.e., testimony sworn under oath by
15. they: i.e., judgment and reason; grand-jurymen: those who decide whether there is sufficient evidence to bring a case to trial
18. dormouse: i.e., sleeping (The dormouse becomes torpid in cold weather. See picture.)
The dormouse. (3.2.18)
From Edward Topsell, The historie of foure-footed beastes . . . (1607).
23. at your hand: i.e., from you
24. balked: passed up, neglected; gilt: gold plating (Fabian plays with the idea of a missed “golden opportunity.”)
25–26. sailed . . . opinion: i.e., earned my lady’s cold regard
29. policy: statesmanlike wisdom (Andrew, in his response, gives the word its meaning of “political cunning.”)
31. as lief: i.e., just as soon; Brownist: a believer in the then-revolutionary ideas about religion preached by Robert Browne (c. 1550–1633)
33. build me: i.e., build
34. Challenge me: i.e., challenge
37. love-broker: go-between
41. curst: fierce, savage
42. so it be: i.e., as long as it is
43. invention: arguments; inventiveness
43–44. with . . . ink: i.e., with the freedom given to one who puts his challenge in writing
44. “thou”-est . . . thrice: i.e., address him three times as “thou” instead of “you” (The use of the familiar “thou” to a stranger would be an insult.)
47. bed of Ware: a famous ten-foot-wide bed (now in a museum in London)
48. gall: (1) oak galls, used in making ink; (2) bitterness
49. goose-pen: (1) a pen made with a goose quill; (2) a pen used by a goose (i.e., a fool)
51. cubiculo: bedchamber
52. dear manikin: i.e., valued little man (Manikin is a term of contempt.)
53. dear: expensive, costly
58. wainropes: i.e., wagon ropes
59. hale: haul, pull, drag
60. blood . . . liver: Cowards were supposed to have white or bloodless livers.
62. anatomy: i.e., the body being dissected
63. opposite: rival
66. desire the spleen: i.e., want to laugh
67. gull: dupe
68. a very renegado: i.e., no longer a Christian
69. means: intends
70. passages: acts
73. villainously: atrociously; pedant: i.e., teacher
77. new map: an allusion to a map published in 1599, among the first to use Mercator projection, and thus filled with prominent lines (See picture.)
Edward Wright’s “new map” of the world with “the augmentation of the Indies” (formerly attributed to E. Molyneux), reproduced for Richard Hakluyt and prefixed to his Principal navigations, II (1599).
Published by permission of the Map Division of the Library of Congress.
78. augmentation . . . Indies: i.e., more complete mappings of the East Indies
ACT 3
Scene 3
3.3 Antonio, having followed Sebastian, explains the incident in his past that keeps him from safely venturing into the streets of Orsino’s city. Giving his money to Sebastian, Antonio sets off to their inn while Sebastian goes off to see the sights.
1. by my will: i.e., willingly
5. filèd: ground to a sharp edge with a file
6. not all love: i.e., not only a desire
8. jealousy: fear of
9. skill-less in: i.e., without knowledge of
12. The . . . fear: i.e., spurred by these anxieties
16–17. oft . . . pay: i.e., good acts are often rewarded with mere words uncurrent: not negotiable, worthless
18. worth: possessions, wealth; conscience: i.e., recognition of obligation (to you)
20. relics: i.e., antiquities, old buildings, etc.
25. renown this city: i.e., make this city famous
26. Would . . . me: i.e., please excuse me
28. Count his: Count’s
29. of such note: i.e., so memorable
30. it . . . answered: i.e., I would hardly be able (1) to defend myself before the law, or (2) to endure the penalty exacted from me
31. Belike: perhaps
34. bloody argument: a reason worth shedding blood for
35. answered: recompensed
36. for traffic’s sake: i.e., for the sake of trade
37. stood out: i.e., refused
38. be lapsèd: i.e., am caught
39. dear: dearly, at great cost
41. It . . . me: it is not fitting for me
43. bespeak: arrange for; diet: meals
44. beguile: while away
46. There . . . me: i.e., you will find me there (at the Elephant)
48. Haply: perhaps; toy: trifle
49. store: supply of money
50. is . . . markets: i.e., will not cover whimsical purchases
ACT 3
Scene 4
3.4 Malvolio, dressed ridiculously and smiling grotesquely, appears before an astonished Olivia. Thinking him insane, she puts him in the care of Sir Toby, who decides to treat him as a madman by having him bound and put in a dark room. Toby also decides to deliver Sir Andrew’s challenge to Cesario in person in order to force the two of them into a duel. Terrified, they prepare to fight. At that moment, Antonio enters, thinks that Cesario is Sebastian, and comes to his defense. Antonio is immediately arrested by Orsino’s officers. Since he is sure that Viola is Sebastian, Antonio is bitter about the apparent denial of their friendship. Viola is herself delighted by Antonio’s angry words because, since he called her Sebastian, there is hope that her brother may in fact be alive.
2. bestow of: bestow on, give
6. sad and civil: serious-minded and polite
10. possessed: i.e., by the devil (This was one popular explanation of insanity.)
11. rave: speak incoherently
14. in ’s: in his
16. equal be: i.e., are equal
19. sad: serious (Malvolio takes the word to mean “sorrowful.”)
Legs cross-gartered. (3.4.22–23)
From Abraham de Bruyn, Omnium pene Europae, Asiae . . . gentium habitus . . . (1581).
24. sonnet: song (“Please one, and please all” is the refrain of a ballad about the wishes of women.)
28. black in my mind: i.e., melancholy
30–31. Roman hand: Italian-style handwriting
33–34. Ay . . . thee: a line from a popular song
38–39. nightingales answer daws: i.e., fine birds don’t respond to the call of crows
61. very: genuine, true; midsummer madness: insanity (The midsummer moon was thought to cause madness.)
63. hardly: i.e., only with great difficulty
68. miscarry: come to harm
78. consequently: i.e., subsequently, later
79–80. in . . . note: i.e., dressed like some noteworthy gentleman
80. limed: trapped, as with birdlime
81. it is Jove’s doing: a possible allusion to Psalm 188.23, “This is the Lord’s doing.” (The names “God” and “Jove” are used almost interchangeably in this play.)
82. fellow: used dismissively by Olivia but heard by Malvolio as meaning “companion”
84. degree: i.e., my rank as her steward
84–85. adheres together: i.e., coheres, fits
85. dram: tiniest bit (literally, an apothecaries’ weight of 60 grains); scruple: doubt (also, an apothecaries’ weight of 20 grains)
86. incredulous: incredible; unsafe: unreliable, untrustworthy
92. drawn in little: (1) made into a miniature painting; (2) brought together into the small space (of Malvolio’s body); Legion: the name of the “unclean spirit” possessing the demoniac in Mark 5.9, whose response to Jesus was “My name is Legion; for we are many.”
97. private: i.e., privacy
107. an: if
108. at heart: i.e., to heart
110. water: urine (for medical diagnosis); wisewoman: a woman who used charms or herbs to treat diseases
111. Marry: a mild oath, meaning “truly” or “indeed”
117. move: excite
117–18. Let . . . him: i.e., don’t interfere
120. rough: violent; used: treated
121. bawcock: fine bird (French: beau coq); This word, along with chuck and biddy (both of which mean “chicken”), seems to be addressed to “the fiend” supposedly possessing Malvolio.
125. for gravity: i.e., appropriate for a dignified person; cherry-pit: a children’s game
126. foul collier: dirty coal-dealer (applicable to Satan, who is pictured as black)
132. idle: frivolous
138. genius: i.e., soul
139. device: plot
140–41. take . . . taint: be exposed to the air (i.e., become known) and thus be ruined
144–45. in . . . bound: a standard treatment for insanity at the time
146. carry it thus: proceed in this way
149. bar: perhaps, the bar of justice, the open court
151. matter . . . morning: perhaps, sport fit for a holiday
154. saucy: (1) flavored with seasoning; (2) insolent, rude
155. warrant him: perhaps, I can assure him (Cesario)
159. admire: marvel
162–63. keeps . . . law: i.e., protects you from arrest (for disturbing the peace, or for libel)
165. thou liest in thy throat: i.e., you are a complete liar
172. o’ th’ windy side: on the windward side, and therefore safe from attack
176. look to: i.e., look out for, take care of
179. move him: prompt him to action; or, arouse his feelings
182. in some commerce: in conversation about something
182–83. by and by: soon
184. Scout me: i.e., keep a lookout
185. bum-baily: a bailiff (sheriff’s officer)
186. draw: i.e., draw your sword
189. approbation: reputation (for courage); proof: testing, trial
191. let . . . swearing: i.e., don’t worry about my ability to swear
193. gives him out: shows him
194. capacity: intelligence; breeding: education; or, parentage; his employment: i.e., the service he performs
198. clodpoll: blockhead
199–200. set . . . valor: i.e., describe Aguecheek as notably courageous
204. cockatrices: mythical serpents (with the head, wings, and feet of a cock) whose looks could kill (See picture.)
A cockatrice. (3.4.204)
From Joachim Camerarius, Symbolorum et emblematum (1605).
205–6. Give them way: i.e., let them alone
206. presently after him: immediately go after him
207. horrid: terrifying
210. laid: wagered; unchary: impetuously; on ’t: perhaps, on that stony heart (Many editors change “on ’t” to “out,” and interpret the phrase as meaning “expended my honor too lavishly.”)
214. With . . . ’havior: i.e., in the same way
215. Goes on: i.e., go on, persist
216. jewel: i.e., jeweled miniature portrait
220. saved: i.e., uncompromised
229. defense: ability as a fencer; betake thee: commit yourself (Sir Toby speaks to Cesario in very contorted language throughout this scene.)
231. thy intercepter: i.e., the one who wants to cut you off; despite: anger, defiance
232. hunter: perhaps, huntsman; or, perhaps, hunting dog; attends thee: waits for you
232–33. Dismount thy tuck: draw your sword
233. yare: quick
236. to: i.e., with; remembrance: memory; free: innocent
239. price: value
239–40. betake . . . guard: put yourself in a defensive position (See picture.)
“Betake you to your guard.” (3.4.239–40)
From George Silver, Paradoxes of defence (1599).
240. opposite: adversary
241. withal: i.e., with
243. dubbed: made a knight; unhatched: unhacked, not used (This charge, and the admission that Sir Andrew’s knighthood was for carpet consideration—i.e., that he was knighted at court rather than on the battlefield—acknowledge that he is no soldier.)
246. incensement: anger
247. satisfaction . . . by: i.e., he can be satisfied only by
248–49. “Hob, nob,” “give ’t or take ’t”: Both phrases mean that the challenger wants to fight to the death. word: motto
251. conduct: escort; of: from
252–53. put quarrels . . . on: i.e., provoke quarrels with
253. taste: test; Belike: perhaps
255. derives itself: i.e., grows
256. competent injury: i.e., an insult sufficient to demand satisfaction
258. that: i.e., a duel
259. answer: fight with
260. meddle: fight
261–62. forswear . . . you: i.e., give up your right to wear a sword (admit your cowardice)
263. uncivil: rude
264. office: kindness, service; as . . . of: i.e., find out from
266. negligence: oversight; purpose: intention
271. a . . . arbitrament: i.e., a fight to the death
274. read: judge
275. form: appearance; like: likely
285. firago: virago; pass: bout
286. stuck-in: stoccata (a fencing thrust)
288. answer: return thrust
290. Sophy: shah of Persia
291. Pox on ’t: a mild oath
295. fence: i.e., fencing
299. motion: offer
300. on ’t: of it
303. take up: settle
305. He: Cesario; is . . . conceited: has as horrible an image
310. his quarrel: i.e., the insult to him
311–12. for . . . vow: so that he can keep his oath
320. duello: dueling code
332. undertaker: i.e., one who undertakes to fight
334. anon: soon
337. for that: as for that which (i.e., my horse)
344. favor: face
353. amazed: bewildered, perplexed
359. part: i.e., partly
361. My having: i.e., the money that I have
362. present: i.e., my present funds
365. deserts: good deeds, services
366. lack persuasion: i.e., fail to persuade (you to help me)
367. unsound: wicked
373. vainness: (1) vanity; (2) foolishness
375. blood: nature
379. one half . . . death: i.e., half-dead
385. done . . . shame: i.e., disgraced your good looks
386. the mind: i.e., what happens in one’s mind or heart
389. empty . . . devil: i.e., elaborately decorated chests, made beautiful by the devil but with nothing inside
393. passion: intense feelings
398. saws: sayings
400. glass: mirror
401. favor: looks, features
402. Still: always
405. dishonest: dishonorable, shameful
409–10. religious in: i.e., devoted to
411. ’Slid: an oath “by God’s eyelid”
415. event: outcome
ACT 4
Scene 1
4.1 The Fool encounters Sebastian, whom he mistakes for Cesario. When Sir Andrew and Sir Toby attack Sebastian, the Fool fetches Olivia, who again declares her love—this time to a delighted Sebastian.
3. Go to: an expression of impatience
5. held out: kept up, maintained
5–9. I . . . so: These lines are said sarcastically.
10. vent: give expression to
14. lubber: oaf
15. cockney: sissy; ungird: remove
15–16. strangeness: distance (i.e., pretense that you and I are strangers)
18. foolish Greek: A “merry Greek” was a buffoon or jester. (See picture.)
A Fool.
From August Redel, Apophtegmata . . . (n.d.).
28. your dagger: These words have suggested to some editors that Sebastian beats Andrew with the hilt of his dagger. If such is the case, Toby’s command to Sebastian at line 39, “put up your iron,” would mean “sheathe your dagger.”
30. straight: straightway, immediately
34. action of battery: i.e., lawsuit accusing him of unlawfully beating me
39. fleshed: eager for battle; or, hardened to battle
45. malapert: impudent
53. Rudesby: ruffian
56. extent: assault
59. botched up: clumsily put together
61. deny: refuse; Beshrew: literally, curse (but the harshness of the word was lost through repeated use)
62. started . . . thee: i.e., made my heart (residing in you) leap with fear (There is a play on heart and “hart” and on start as “startle” and “rouse an animal from its hiding place.”)
63. What . . . this?: i.e., what does this mean? (literally, how does this taste?)
64. Or . . . or: either . . . or
65. Let . . . steep: i.e., let me continue in this dreamlike state fancy: imagination sense: senses, awareness of the waking world Lethe: the mythological river in the underworld that washes away one’s memory of one’s former life steep: immerse
67. Would: i.e., I wish
ACT 4
Scene 2
4.2 Under directions from Sir Toby, the Fool disguises himself as a parish priest and visits the imprisoned Malvolio. In his own person, the Fool agrees to fetch pen, paper, and a candle for the supposed madman.
2. curate: parish priest
3. the whilst: i.e., in the meantime
4. dissemble: disguise
5. dissembled: played the hypocrite
7. the function: i.e., of a priest
9. housekeeper: hospitable person
11. The competitors: i.e., my colleagues
13. Bonos dies: good day (in bad Latin)
13–14. the . . . Prague: The Fool once again invents an authority to quote in his foolery.
15. Gorboduc: a legendary king of Britain
18. To him: i.e., begin your attack on Malvolio
21 SD. Malvolio within: This Folio direction indicates that Malvolio speaks from offstage or from behind a door or curtain.
27. Out . . . fiend: addressed to the devil that supposedly possesses Malvolio hyperbolical: i.e., ranting (literally, using hyperbole or exaggeration)
33. dishonest: dishonorable; lying
34. modest: moderate
38–39. barricadoes: barricades, barriers
39. clerestories: high windows
45. puzzled: confused
46. the . . . fog: In stories about Moses, one of the plagues visited by God on the Egyptians was “a thick darkness in all the land of Egypt three days” (Exodus 10.22).
50–51. any constant question: perhaps, any consistent line of questioning
52. Pythagoras: This ancient Greek philosopher taught the transmigration of souls. Ovid’s Metamorphoses (a book used frequently by Shakespeare) has a speech by Pythagoras urging humans not to kill animals because “Our souls survive . . . death; as they depart / Their local habitations in the flesh, / They enter new-found bodies that preserve them. / . . . the spirit takes its way / To different kinds of being as it chooses, / From beast to man, from man to beast.” (Book 15, trans. Horace Gregory)
54. haply: perhaps
61. allow . . . wits: agree that you’re sane; and fear: and (until) you shall fear
66. I . . . waters: perhaps, I can do anything
71–72. delivered: freed
74. the upshot: i.e., to its final conclusion
76. Hey, Robin . . . : a song the words for which are attributed to Thomas Wyatt
79. perdy: for sure (par Dieu, by God)
91. fell you besides: i.e., did you lose; five wits: five senses; or, according to Stephen Hawes in The Pastime of Pleasure, the five wits are common wit, imagination, fantasy, estimation, and memory
94. But: i.e., only, no more than
96. propertied me: treated me like a lifeless object
98. face: bully
99. Advise you: i.e., be careful
105–6. God buy you: i.e., God be with you, goodbye
110. shent: rebuked
114. Welladay that: i.e., alas, if only
117. advantage: benefit, profit
118. letter: i.e., a letter
128. the old Vice: a comic character in earlier drama, whose props (dagger of lath, or wood) and antics are described in the lines of the song
133. goodman: a title indicating a low social rank
ACT 4
Scene 3
4.3 While Sebastian is sure that neither he nor Olivia is insane, he is amazed by the wonder of his new situation. When Olivia asks him to enter into a formal betrothal with her, he readily agrees.
3. wonder: a state of mind caused by experiencing the wonderful or miraculous
6. there he was: i.e., he had been there; credit: report
7. range: roam, wander around
9. my soul . . . sense: i.e., my reason and my senses agree in arguing
12. instance: example; discourse: reasoning
15. trust: belief
17. sway: rule
19. Take . . . dispatch: i.e., “take affairs” (undertake business matters) and “give back their dispatch” (complete them promptly)
22. deceivable: deceptive
25. chantry: chapel; by: nearby
27. Plight . . . faith: i.e., assure me of your fidelity (through a betrothal)
28. jealous: anxious; doubtful: filled with doubts, insecure
29. He: i.e., the priest
30. Whiles: until; come to note: become known
31. What time: at which time; our . . . keep: i.e., celebrate our marriage
32. birth: social rank
37. fairly note: look favorably on; or, show that they approve
ACT 5
Scene 1
5.1 Orsino, at Olivia’s estate, sends the Fool to bring Olivia to him. Antonio is brought in by officers and he tells the incredulous Orsino about Cesario’s treacherous behavior. At Olivia’s entrance, Orsino expresses his anger that Cesario has become Olivia’s darling. Cesario’s expressions of love for Orsino lead Olivia to send for the “holy father,” who confirms Olivia’s claim that she is formally betrothed to Cesario. Sir Andrew and Sir Toby enter with bloody heads, which they blame on Cesario. Sebastian’s entry at this moment untangles a series of knots: Sebastian addresses Olivia with love, greets Antonio warmly, and recognizes Cesario as the image of himself. When Cesario admits to being Sebastian’s sister Viola, Orsino asks Viola to become his wife. On the day that Sebastian marries Olivia, Viola will marry Orsino.
18. abused: deceived
18–20. conclusions . . . affirmatives: possibly an allusion to a sonnet by Sir Philip Sidney, in which the lady’s twice saying “no” is taken as a “yes” because, in grammar, two negatives make an affirmative
26. double-dealing: (1) giving twice; (2) duplicity
29. grace: virtue (with a pun on the phrase—“your Grace”—with which the duke is normally addressed)
30. obey it: i.e., obey the Fool’s ill counsel
33. Primo, secundo, tertio: first, second, third (perhaps an allusion to a children’s game, or play)
34. triplex: triple time in music (i.e., a three-beat rhythm)
35. tripping: quick and light
35. Saint Bennet: i.e., the church of St. Benedict
37. fool: beg through clever wordplay
38. throw: i.e., time (literally, throw of the dice)
43. desire of having: i.e., wish to possess
45. anon: very soon
49. Vulcan: Roman god of war and blacksmith to the gods (See picture.)
Vulcan. (5.1.49)
From Johann Basilius Heroldt, Heydenwelt . . . (1554).
50. baubling: tiny, insignificant
51. For . . . unprizable: i.e., worthless because of its shallow draught and its small bulk
52. With which: i.e., with which worthless vessel; scatheful: harmful
53. bottom: ship
54. very: even; tongue of loss: i.e., voices of those whom he defeated
55. Cried: called out
57. fraught: freight, that which the ship carries; Candy: Candia (capital of Crete)
60. desperate of: i.e., as if unconcerned with; state: i.e., his situation
61. brabble: brawl
62. drew . . . side: i.e., drew his sword to defend me
63. put . . . me: talked to me strangely
64. distraction: madness
67. dear: dire
73. base and ground: evidence
77. wrack: piece of wreckage
79. retention: holding back
80. All . . . dedication: i.e., dedicating all (my love) to him
81. pure: purely, simply
82. adverse: hostile
85. Not meaning to: i.e., choosing not to
86. face . . . out: shamelessly exclude . . . from
88. While . . . wink: i.e., in the time it takes to blink one’s eyes
89. recommended: consigned, given
94. No int’rim: without interruption
102. What . . . that: i.e., what does my lord wish, except for that
104. keep promise with: i.e., keep your promise to
110. fat, fulsome: disgusting
113. constant: steadfast, immovable
114. uncivil: cruel
115. ingrate: ungrateful; unauspicious: inauspicious, unfavorable
117. tendered: offered
120. th’ Egyptian thief: an allusion to a novel by Heliodorus, in which the robber chief, threatened with death, tries to kill the woman he loves to prevent her being taken by another
122. savors nobly: i.e., smacks of nobility
123. to nonregardance cast: i.e., fail to take notice of
124. that: i.e., since
125. screws: twists
126. Live you: i.e., continue to live as
127. minion: darling
128. tender: regard, esteem
135. jocund, apt: jocundly, aptly (i.e., happily, readily)
136. do you rest: i.e., give you peace
141. you witnesses above: i.e., you heavenly powers
142. tainting: corrupting, injuring
143. beguiled: cheated, deceived
151. sirrah: a term of address that, here, emphasizes the speaker’s authority
153. baseness: contemptibleness, ignobleness
154. strangle thy propriety: i.e., conceal what you are; or, perhaps, hide the fact that I belong to you
156. that: that which (i.e., my husband)
157. that thou fear’st: i.e., Orsino that: that which
160. unfold: disclose
163. newly: recently
165. joinder: joining
166. close: union
169. Sealed . . . function: ratified by me in my role as priest
173. dissembling: hypocritical
174. a grizzle: gray hair; case: skin
175. craft: craftiness
176. trip: wrestling move in which one trips one’s opponent
181. Hold little: i.e., keep a bit of
183. presently: immediately
185. Has . . . across: i.e., he has cut my head
186. coxcomb: i.e., head
191–92. incardinate: a mistake for “incarnate”
194. ’Od’s lifelings: by God’s little lives
199. bespake . . . fair: addressed . . . courteously
201. set nothing by: think nothing of
202. halting: limping
203. In drink: drunk
204. othergates: otherwise
206. That’s all one: i.e., it doesn’t matter
209. set: perhaps, closed; or, fixed; or, sunk out of sight
210. passy-measures pavin: perhaps a comment on the surgeon’s slowness (A pavin is a stately dance, and the Italian word passamezzo means a slow tune.)
215. dressed: i.e., have our wounds dressed
216. coxcomb: fool; literally, the cap worn by a Fool (See picture.)
A fool wearing a coxcomb. (5.1.216)
From George Wither, A collection of emblemes . . . (1635).
220. the . . . blood: i.e., my own brother
221. with wit and safety: i.e., with reasonable regard for my safety
222. throw . . . me: look at me strangely (or, perhaps, coldly)
225. so late ago: so recently
226. habit: outfit
227. A . . . perspective: i.e., an optical illusion created naturally, without mirrors or other optical devices (perspectives)
229. racked: The rack was an instrument of torture that tore the body apart. (See picture.)
Men being “racked.” (5.1.229)
From Girolamo Maggi, De tintinnabulis liber . . . Accedit . . . De equulet liber . . . (1689).
232. Fear’st thou: i.e., are you in doubt about
238–39. Nor . . . everywhere: i.e., nor do I have the power to be omnipresent, like a god
241. Of charity: i.e., out of kindness (i.e., please tell me)
245. suited: dressed
246. suit: clothing
249–50. am . . . participate: i.e., am the same flesh-and-blood creature that I’ve been from my birth dimension: bodily form grossly: materially clad: dressed participate: possess
251. as . . . even: i.e., since everything else fits together
258. record: memory (accent on second syllable)
261. lets: hinders
262. But . . . attire: except for the male clothing I have appropriated
264. cohere, jump: agree
267. maiden weeds: woman’s clothing; gentle: kind, courteous
271. mistook: mistaken
272. nature . . . that: i.e., nature caused your desire, mistakenly directed to Viola, to swerve to me (The bias is the curve that brings the ball to the desired point in the game of bowls. See picture.)
The game of bowls. (5.1.272)
From Le centre de l’amour (1650).
275. maid and man: i.e., a man who is a virgin
277. the glass seems true: i.e., the perspective glass seems to be representing the truth rather than a distortion
278. wrack: wreck, shipwreck; or, that which has washed up from the shipwreck
280. like to me: i.e., as much as you love me
281. overswear: i.e., swear over again
283. that orbèd continent: i.e., the sun (A continent is a container; the sun is pictured as containing fire.)
288. upon some action: as a result of legal action
289. in durance: imprisoned
291. He . . . him: i.e., Malvolio shall free the captain
293. remember me: i.e., remember
294. much distract: quite mad
295. extracting frenzy: a temporary insanity that drew everything from my mind (except thoughts of Cesario)
296. his: i.e., Malvolio’s “frenzy”
298–99. he . . . end: i.e., he keeps the devil at a distance
300–1. today morning: i.e., this morning
302. skills not much: makes little difference
305. delivers: reads the words of
310. allow vox: permit me to use the appropriate “voice”
313. thus: i.e., like a madman; perpend: ponder, consider
321. the which: i.e., your own letter
329. delivered: released
330–32. so . . . wife: i.e., if you are willing, once we’ve thought more about these things, to think as well of me as a sister-in-law as you were thinking of me as a wife
333. crown . . . on ’t: i.e., celebrate the alliance that will make us kin (i.e., you can marry Viola at the same time I marry Sebastian)
335. at my proper cost: i.e., at my expense
336. apt: ready
337. quits: releases
339. mettle: nature
340. breeding: upbringing
353. hand: handwriting
354. from it: differently (from the way you wrote in the letter)
355. invention: composition
357. in . . . honor: i.e., with the moderation that should go with honor
358. lights: perhaps, signs
361. lighter: lesser
362. acting this: i.e., doing what you said
363. suffered: allowed
365. geek, gull: dupe
366. invention: i.e., plotting, scheming; played on: victimized
368. the character: my handwriting
371. cam’st: i.e., you came
372–73. forms . . . were presupposed / Upon: i.e., style . . . was prescribed for
374. This . . . thee: i.e., this plot has maliciously tricked you
375. authors: inventors
381. wondered at: See note to 4.3.3.
384–85. Upon . . . him: i.e., because of some rude and ill-mannered characteristics of his that made us dislike him
386. importance: importuning, urgent request
388. it was followed: i.e., the plot was carried out
389. pluck on: induce
392. baffled thee: put you to shame
395. interlude: comedy
399. whirligig: continual whirling
405. convents: perhaps, is convenient for all
409. so you shall be: i.e., that’s what I’ll call you
410. habits: clothes
411. mistress: (1) the woman he loves; (2) the person he obeys; fancy’s: love’s
414. toy: trifle
416. came . . . estate: i.e., grew up to be a man
426. tosspots: drunkards (The meaning of this stanza continues to be debated.)
430. that’s all one: i.e., none of that matters