Nay; either tell me where thou hast been, or I will not open my lips so
wide as a bristle may enter, in way of thy excuse: my lady will hang
thee for thy absence.
Nay; either tell me where you hast been, or I will not open my lips so wide as a bristle may enter, in way of your excuse: my lady will hang thee for your absence.
nay; either tell me where you hast been, or i will not open my lips so wide as a bristle may enter, in way of your excuse: my lady will hang thee for your absence.
Nay; either tell me where thou hast been, or I will not open my lips so wide as a bristle may enter, in way of thy excuse: my lady will hang thee for thy absence.
Let her hang me: he that is well hanged in this world needs to fear no
colours.
Good Feste, as my brother is dead, I must do what he would do if he were alive. Let nothing go from here unquested.
Feste, look. My brother's gone, so I've got to do what he would do if he was still here. Everything that comes through that door, question it.
my brothers dead so i do what hed do question everything
Make that good.
The better for my foes and the worse for my friends.
Good news for my enemies and bad news for my friends.
good for enemies bad for friends
He shall see none to fear.
Just so, you were best. But tell me—are you not mad?
Yeah, you've got the right idea. But seriously—are you not crazy?
youre probably right but are you insane
A good lenten answer. I can tell thee where that saying was born, of I
fear no colours.
Not black in my mind, though yellow in my legs. It did come to his hands, and then to mine; and he did squander it as an hypocrite might abandon his vows. I have questions about your ladyship's mourning—it is not approved by the very law of nature.
I'm not depressed, though I'm yellow with cowardice. But listen—I've got a problem with your whole grief thing. You're mourning your brother like crazy, right? But nature says you're supposed to move on. You're going against basic human nature.
youre not living your brother died but you're killing yourself too that's against nature you gotta live
Where, good Mistress Mary?
What do you think of my part in life?
So what do you think—how am I doing in life?
whats your take on me
In the wars, and that may you be bold to say in your foolery.
Truly, madam, the better to be a fool than a wise man, for wisdom may make a man ashamed, but being foolish keeps you merry.
Honestly? It's better to be stupid and happy than smart and miserable. Smart people feel guilty about stuff, but fools just keep laughing.
better to be stupid stupid people are happy smart people feel guilty fools laugh
Well, God give them wisdom that have it; and those that are fools, let
them use their talents.
Therefore I need you. Please, go, and give this gentleman entrance to my presence.
That's why I keep you around. Now go—let that guy in to see me.
so let him in
Yet you will be hanged for being so long absent; or to be turned away;
is not that as good as a hanging to you?
Smilest thou? I sent for thee upon a sad occasion.
Why are you grinning? I brought you here for serious business.
why are you smiling this is serious
Many a good hanging prevents a bad marriage; and for turning away, let
summer bear it out.
My duty, madam, and most humble service.
I'm at your service, madam. Whatever you need.
im here to serve
You are resolute then?
What is your name?
What's your name?
whats your name
Not so, neither, but I am resolved on two points.
Cesario is your servant's name, fair princess.
I'm Cesario, and I'm your servant.
im cesario your servant
That if one break, the other will hold; or if both break, your gaskins
fall.
My servant! Truly, the beginning of my tears! But yet, I will release you—your master loves you very much, and for him I will give you the jewel, and for your pains I will pay you without question.
My servant? Oh God, that breaks my heart. But listen—your boss loves me so much, right? So take this jewel to him from me. And I'll pay you for your trouble, no questions.
my servant that hurts take this jewel tell him its from me il pay you
Apt, in good faith, very apt! Well, go thy way; if Sir Toby would leave
drinking, thou wert as witty a piece of Eve’s flesh as any in Illyria.
I am not that I play. Be it as it may be, I pity you.
I'm not who I seem. But however this plays out, I feel for you.
im not who you think but i feel for you
Peace, you rogue, no more o’ that. Here comes my lady: make your excuse
wisely, you were best.
Why, what would you?
What do you want from me?
what do you want
Wit, and’t be thy will, put me into good fooling! Those wits that think
they have thee, do very oft prove fools; and I that am sure I lack
thee, may pass for a wise man. For what says Quinapalus? Better a witty
fool than a foolish wit. God bless thee, lady!
Above my fortunes, yet my state is well. I am a gentleman.
I come from good stock—better than I have right now. But I'm a gentleman.
im a gentleman just down on my luck
Take the fool away.
Get you to your master. I cannot love him. Yet I suppose him virtuous, chaste, and noble, of noble stock. But I cannot love him. He might have took his answer long ago.
Go back to your boss. I can't love him—I just can't. He seems like a good guy, probably is, comes from good people. But it's not going to happen. He should've gotten that message already.
tell your boss no i cant love him he's a good guy but no he should know that
Do you not hear, fellows? Take away the lady.
I pity you.
I feel bad for you.
i feel for you
Go to, y’are a dry fool; I’ll no more of you. Besides, you grow
dishonest.
That's not much love, but it is a lot of favor. Then let your love, like my fortune, guide you to my house. When that is finished, I will answer your servant with the same favor. Go, Cesario.
That's not love exactly, but it's something. When you come back—and you will come back—bring your love with you to my place. And I'll answer him properly when you do. Now go.
not love but something come back bring your love il answer him go now
Two faults, madonna, that drink and good counsel will amend: for give
the dry fool drink, then is the fool not dry; bid the dishonest man
mend himself, if he mend, he is no longer dishonest; if he cannot, let
the botcher mend him. Anything that’s mended is but patched; virtue
that transgresses is but patched with sin, and sin that amends is but
patched with virtue. If that this simple syllogism will serve, so; if
it will not, what remedy? As there is no true cuckold but calamity, so
beauty’s a flower. The lady bade take away the fool, therefore, I say
again, take her away.
Madam, I will.
I will, madam.
yes madam
Sir, I bade them take away you.
And yet I know not what I am, or how to proceed. I have become so infected with love for this proud boy. What will happen? I fear that his master will fall in love with me. What folly is this!
Wait, what just happened to me? I don't even know myself anymore. I'm losing it for this arrogant guy. And the worst part? His boss is probably going to fall for me too. This is insane.
what just happened im falling for him and the duke will fall for me this is such a mess
Misprision in the highest degree! Lady, _cucullus non facit monachum:_
that’s as much to say, I wear not motley in my brain. Good madonna,
give me leave to prove you a fool.
Misprision in the highest degree! Lady, _cucullus non facit monachum:_ that’s as much to say, I wear not motley in my brain. Good madonna, give me leave to prove you a fool.
misprision in the highest degree! lady, _cucullus non facit monachum:_ that’s as much to say, i wear not motley in my brain. good madonna, give me leave to prove you a fool.
Misprision in the highest degree! Lady, _cucullus non facit monachum:_ that’s as much to say, I wear not motley in my brain. Good madonna, give me leave to prove you a fool.
Can you do it?
Can you do it?
can you do it?
Can you do it?
Dexteriously, good madonna.
Dexteriously, good madonna.
dexteriously, good madonna.
Dexteriously, good madonna.
Make your proof.
Make your proof.
make your proof.
Make your proof.
Feste's proof that Olivia is a fool runs in exactly four moves. He asks why she mourns. She says for her brother's death. He says her brother's soul is in hell. She corrects him — it's in heaven. He closes: so the more fool you, to mourn for someone already in paradise. The logic is airtight by the rules Olivia herself set up. She cannot answer it because it's true. What makes this Shakespeare's cleverest fool scene is that it doesn't dismiss grief — it exposes the theatrical dimension of grief. Olivia has constructed a performance of mourning that has outlasted its emotional justification. Feste doesn't mock her for feeling sad. He mocks her for wearing the costume of sadness past its use-by date. And she lets him. That leniency — 'there is no slander in an allowed fool' — tells us more about Olivia than any speech she gives herself.
I must catechize you for it, madonna. Good my mouse of virtue, answer
me.
I must catechize you for it, madonna. Good my mouse of virtue, answer me.
i must catechize you for it, madonna. good my mouse of virtue, answer me.
I must catechize you for it, madonna. Good my mouse of virtue, answer me.
Well sir, for want of other idleness, I’ll ’bide your proof.
Well sir, for want of other idleness, I’ll ’bide your proof.
well sir, for want of other idleness, i’ll ’bide your proof.
Well sir, for want of other idleness, I’ll ’bide your proof.
Good madonna, why mourn’st thou?
Good madonna, why mourn’st you?
good madonna, why mourn’st you?
Good madonna, why mourn’st thou?
Good fool, for my brother’s death.
Good fool, for my brother’s death.
good fool, for my brother’s death.
Good fool, for my brother’s death.
I think his soul is in hell, madonna.
I think his soul is in hell, madonna.
i think his soul is in hell, madonna.
I think his soul is in hell, madonna.
I know his soul is in heaven, fool.
I know his soul is in heaven, fool.
i know his soul is in heaven, fool.
I know his soul is in heaven, fool.
The more fool you, madonna, to mourn for your brother’s soul being in
heaven. Take away the fool, gentlemen.
The more fool you, madonna, to mourn for your brother’s soul being in heaven. Take away the fool, gentlemen.
the more fool you, madonna, to mourn for your brother’s soul being in heaven. take away the fool, gentlemen.
The more fool you, madonna, to mourn for your brother’s soul being in heaven. Take away the fool, gentlemen.
What think you of this fool, Malvolio? doth he not mend?
What think you of this fool, Malvolio? doth he not mend?
what think you of this fool, malvolio? doth he not mend?
What think you of this fool, Malvolio? doth he not mend?
Yes; and shall do, till the pangs of death shake him. Infirmity, that
decays the wise, doth ever make the better fool.
Yes; and shall do, till the pangs of death shake him. Infirmity, that decays the wise, doth ever make the better fool.
yes; and shall do, till the pangs of death shake him. infirmity, that decays the wise, doth ever make the better fool.
Yes; and shall do, till the pangs of death shake him. Infirmity, that decays the wise, doth ever make the better fool.
God send you, sir, a speedy infirmity, for the better increasing your
folly! Sir Toby will be sworn that I am no fox; but he will not pass
his word for twopence that you are no fool.
God send you, sir, a speedy infirmity, for the better increasing your folly! Sir Toby will be sworn that I am no fox; but he will not pass his word for twopence that you are no fool.
god send you, sir, a speedy infirmity, for the better increasing your folly! sir toby will be sworn that i am no fox; but he will not pass his word for twopence that you are no fool.
God send you, sir, a speedy infirmity, for the better increasing your folly! Sir Toby will be sworn that I am no fox; but he will not pass his word for twopence that you are no fool.
How say you to that, Malvolio?
How say you to that, Malvolio?
how say you to that, malvolio?
How say you to that, Malvolio?
I marvel your ladyship takes delight in such a barren rascal; I saw him
put down the other day with an ordinary fool, that has no more brain
than a stone. Look you now, he’s out of his guard already; unless you
laugh and minister occasion to him, he is gagged. I protest I take
these wise men, that crow so at these set kind of fools, no better than
the fools’ zanies.
I marvel your ladyship takes delight in such a barren rascal; I saw him put down the other day with an ordinary fool, that has no more brain than a stone. Look you now, he’s out of his guard already; unless you laugh and minister occasion to him, he is gagged. I protest I take these wise men, that crow so at these set kind of fools, no better than the fools’ zanies.
i marvel your ladyship takes delight in such a barren rascal; i saw him put down the other day with an ordinary fool, that has no more brain than a stone. look you now, he’s out of his guard already; unless you laugh and minister occasion to him, he is gagged. i protest i take these wise men, that crow so at these set kind of fools, no better than the fools’ zanies.
I marvel your ladyship takes delight in such a barren rascal; I saw him put down the other day with an ordinary fool, that has no more brain than a stone. Look you now, he’s out of his guard already; unless you
O, you are sick of self-love, Malvolio, and taste with a distempered
appetite. To be generous, guiltless, and of free disposition, is to
take those things for bird-bolts that you deem cannon bullets. There is
no slander in an allowed fool, though he do nothing but rail; nor no
railing in a known discreet man, though he do nothing but reprove.
O, you are sick of self-love, Malvolio, and taste with a distempered appetite. To be generous, guiltless, and of free disposition, is to take those things for bird-bolts that you deem cannon bullets. There is no slander in an allowed fool, yough he do nothing but rail; nor no railing in a known discreet man, yough he do nothing but reprove.
o, you are sick of self-love, malvolio, and taste with a distempered appetite. to be generous, guiltless, and of free disposition, is to take those things for bird-bolts that you deem cannon bullets. there is no slander in an allowed fool, yough he do nothing but rail; nor no railing in a known discreet man, yough he do nothing but reprove.
O, you are sick of self-love, Malvolio, and taste with a distempered appetite. To be generous, guiltless, and of free disposition, is to take those things for bird-bolts that you deem cannon bullets. There is
Now Mercury endue thee with leasing, for thou speak’st well of fools!
Now Mercury endue thee with leasing, for you speak’st well of fools!
now mercury endue thee with leasing, for you speak’st well of fools!
Now Mercury endue thee with leasing, for thou speak’st well of fools!
Madam, there is at the gate a young gentleman much desires to speak
with you.
Madam, there is at the gate a young gentleman much desires to speak with you.
madam, there is at the gate a young gentleman much desires to speak with you.
Madam, there is at the gate a young gentleman much desires to speak with you.
From the Count Orsino, is it?
From the Count Orsino, is it?
from the count orsino, is it?
From the Count Orsino, is it?
I know not, madam; ’tis a fair young man, and well attended.
I know not, madam; ’tis a fair young man, and well attended.
i know not, madam; ’tis a fair young man, and well attended.
I know not, madam; ’tis a fair young man, and well attended.
Who of my people hold him in delay?
Who of my people hold him in delay?
who of my people hold him in delay?
Who of my people hold him in delay?
Sir Toby, madam, your kinsman.
Sir Toby, madam, your kinsman.
sir toby, madam, your kinsman.
Sir Toby, madam, your kinsman.
Fetch him off, I pray you; he speaks nothing but madman. Fie on him!
Fetch him off, I pray you; he speaks nothing but madman. Fie on him!
fetch him off, i pray you; he speaks nothing but madman. fie on him!
Fetch him off, I pray you; he speaks nothing but madman. Fie on him!
Thou hast spoke for us, madonna, as if thy eldest son should be a fool:
whose skull Jove cram with brains, for here he comes, one of thy kin
has a most weak _pia mater_.
Thou hast spoke for us, madonna, as if your eldest son should be a fool: whose skull Jove cram with brains, for here he comes, one of your kin has a most weak _pia mater_.
you hast spoke for us, madonna, as if your eldest son should be a fool: whose skull jove cram with brains, for here he comes, one of your kin has a most weak _pia mater_.
Thou hast spoke for us, madonna, as if thy eldest son should be a fool: whose skull Jove cram with brains, for here he comes, one of thy kin has a most weak _pia mater_.
Viola is sent to deliver Orsino's love to Olivia. For most of the scene she does this competently, if impatiently. But when Olivia asks — 'why, what would you?' — something breaks open. The willow cabin speech is not in anyone's commission. Viola wasn't sent to describe what she would personally do for love. She does it because Olivia asked a real question and Viola, despite everything, gave a real answer. The speech is pure Viola — the willow tree, the songs at midnight, the echoing hills, the air crying 'Olivia.' Orsino never talked like this. His love was always about himself. Viola's hypothetical is about the beloved. Olivia can feel the difference. She falls not for the message but for the messenger, not for what was prepared but for what was volunteered. The speech accidentally does its job too well.
By mine honour, half drunk. What is he at the gate, cousin?
By mine honour, half drunk. What is he at the gate, cousin?
by mine honour, half drunk. what is he at the gate, cousin?
By mine honour, half drunk. What is he at the gate, cousin?
A gentleman.
A gentleman.
a gentleman.
A gentleman.
A gentleman? What gentleman?
A gentleman? What gentleman?
a gentleman? what gentleman?
A gentleman? What gentleman?
’Tis a gentleman here. A plague o’ these pickle-herrings! How now, sot?
’Tis a gentleman here. A plague o’ these pickle-herrings! How now, sot?
’tis a gentleman here. a plague o’ these pickle-herrings! how now, sot?
’Tis a gentleman here. A plague o’ these pickle-herrings! How now, sot?
Good Sir Toby.
Good Sir Toby.
good sir toby.
Good Sir Toby.
Cousin, cousin, how have you come so early by this lethargy?
Cousin, cousin, how have you come so early by this lethargy?
cousin, cousin, how have you come so early by this lethargy?
Cousin, cousin, how have you come so early by this lethargy?
Lechery! I defy lechery. There’s one at the gate.
Lechery! I defy lechery. There’s one at the gate.
lechery! i defy lechery. there’s one at the gate.
Lechery! I defy lechery. There’s one at the gate.
Ay, marry, what is he?
Ay, marry, what is he?
ay, marry, what is he?
Ay, marry, what is he?
Let him be the devil an he will, I care not: give me faith, say I.
Well, it’s all one.
Let him be the devil an he will, I care not: give me faith, say I. Well, it’s all one.
let him be the devil an he will, i care not: give me faith, say i. well, it’s all one.
Let him be the devil an he will, I care not: give me faith, say I. Well, it’s all one.
What’s a drunken man like, fool?
What’s a drunken man like, fool?
what’s a drunken man like, fool?
What’s a drunken man like, fool?
Like a drowned man, a fool, and a madman: one draught above heat makes
him a fool, the second mads him, and a third drowns him.
Like a drowned man, a fool, and a madman: one draught above heat makes him a fool, the second mads him, and a third drowns him.
like a drowned man, a fool, and a madman: one draught above heat makes him a fool, the second mads him, and a third drowns him.
Like a drowned man, a fool, and a madman: one draught above heat makes him a fool, the second mads him, and a third drowns him.
Go thou and seek the coroner, and let him sit o’ my coz; for he’s in
the third degree of drink; he’s drowned. Go, look after him.
Go you and seek the coroner, and let him sit o’ my coz; for he’s in the third degree of drink; he’s drowned. Go, look after him.
go you and seek the coroner, and let him sit o’ my coz; for he’s in the third degree of drink; he’s drowned. go, look after him.
Go thou and seek the coroner, and let him sit o’ my coz; for he’s in the third degree of drink; he’s drowned. Go, look after him.
He is but mad yet, madonna; and the fool shall look to the madman.
He is but mad yet, madonna; and the fool shall look to the madman.
he is but mad yet, madonna; and the fool shall look to the madman.
He is but mad yet, madonna; and the fool shall look to the madman.
Madam, yond young fellow swears he will speak with you. I told him you
were sick; he takes on him to understand so much, and therefore comes
to speak with you. I told him you were asleep; he seems to have a
foreknowledge of that too, and therefore comes to speak with you. What
is to be said to him, lady? He’s fortified against any denial.
Madam, yond young fellow swears he will speak with you. I told him you were sick; he takes on him to understand so much, and therefore comes to speak with you. I told him you were asleep; he seems to have a foreknowledge of that too, and therefore comes to speak with you. What is to be said to him, lady? He’s fortified against any denial.
madam, yond young fellow swears he will speak with you. i told him you were sick; he takes on him to understand so much, and therefore comes to speak with you. i told him you were asleep; he seems to have a foreknowledge of that too, and therefore comes to speak with you. what is to be said to him, lady? he’s fortified against any denial.
Madam, yond young fellow swears he will speak with you. I told him you were sick; he takes on him to understand so much, and therefore comes to speak with you. I told him you were asleep; he seems to have a
Tell him, he shall not speak with me.
Tell him, he shall not speak with me.
tell him, he shall not speak with me.
Tell him, he shall not speak with me.
Has been told so; and he says he’ll stand at your door like a sheriff’s
post, and be the supporter of a bench, but he’ll speak with you.
Has been told so; and he says he’ll stand at your door like a sheriff’s post, and be the supporter of a bench, but he’ll speak with you.
has been told so; and he says he’ll stand at your door like a sheriff’s post, and be the supporter of a bench, but he’ll speak with you.
Has been told so; and he says he’ll stand at your door like a sheriff’s post, and be the supporter of a bench, but he’ll speak with you.
What kind o’ man is he?
What kind o’ man is he?
what kind o’ man is he?
What kind o’ man is he?
Why, of mankind.
Why, of mankind.
why, of mankind.
Why, of mankind.
What manner of man?
What manner of man?
what manner of man?
What manner of man?
Of very ill manner; he’ll speak with you, will you or no.
Of very ill manner; he’ll speak with you, will you or no.
of very ill manner; he’ll speak with you, will you or no.
Of very ill manner; he’ll speak with you, will you or no.
Of what personage and years is he?
Of what personage and years is he?
of what personage and years is he?
Of what personage and years is he?
Not yet old enough for a man, nor young enough for a boy; as a squash
is before ’tis a peascod, or a codling, when ’tis almost an apple. ’Tis
with him in standing water, between boy and man. He is very
well-favoured, and he speaks very shrewishly. One would think his
mother’s milk were scarce out of him.
Not yet old enough for a man, nor young enough for a boy; as a squash is before ’tis a peascod, or a codling, when ’tis almost an apple. ’Tis with him in standing water, between boy and man. He is very well-favoured, and he speaks very shrewishly. One would think his mother’s milk were scarce out of him.
not yet old enough for a man, nor young enough for a boy; as a squash is before ’tis a peascod, or a codling, when ’tis almost an apple. ’tis with him in standing water, between boy and man. he is very well-favoured, and he speaks very shrewishly. one would think his mother’s milk were scarce out of him.
Not yet old enough for a man, nor young enough for a boy; as a squash is before ’tis a peascod, or a codling, when ’tis almost an apple. ’Tis with him in standing water, between boy and man. He is very
Let him approach. Call in my gentlewoman.
Let him approach. Call in my gentlewoman.
let him approach. call in my gentlewoman.
Let him approach. Call in my gentlewoman.
Gentlewoman, my lady calls.
Gentlewoman, my lady calls.
gentlewoman, my lady calls.
Gentlewoman, my lady calls.
Everything the rest of the play does to Malvolio is set up in his approximately six speeches in scene 1-5. He dismisses a professional wit. He insults Olivia's taste. He receives her devastating rebuke — 'you are sick of self-love' — with what looks like humility but is almost certainly resentment. He delivers a perfect description of Cesario while thinking he's registering a complaint. He fails to execute Olivia's orders (she says 'tell him I'm sick or not at home'; he apparently tells the messenger this directly and gets overridden). And then Olivia sends him on the ring errand — a deeply personal mission executed by the most impersonal functionary in the household. Malvolio in this scene is already the person the letter will destroy. Maria doesn't invent his vanity. She just finds the door that's already open.
Give me my veil; come, throw it o’er my face.
We’ll once more hear Orsino’s embassy.
Give me my veil; come, throw it o’er my face. We’ll once more hear Orsino’s embassy.
give me my veil; come, throw it o’er my face. we’ll once more hear orsino’s embassy.
Give me my veil; come, throw it o’er my face. We’ll once more hear Orsino’s embassy.
The honourable lady of the house, which is she?
The honourable lady of the house, which is she?
the honourable lady of the house, which is she?
The honourable lady of the house, which is she?
Speak to me; I shall answer for her. Your will?
Speak to me; I shall answer for her. Your will?
speak to me; i shall answer for her. your will?
Speak to me; I shall answer for her. Your will?
Most radiant, exquisite, and unmatchable beauty,—I pray you, tell me if
this be the lady of the house, for I never saw her. I would be loath to
cast away my speech; for besides that it is excellently well penned, I
have taken great pains to con it. Good beauties, let me sustain no
scorn; I am very comptible, even to the least sinister usage.
Most radiant, exquisite, and unmatchable beauty,—I pray you, tell me if this be the lady of the house, for I never saw her. I would be loath to cast away my speech; for besides that it is excellently well penned, I have taken great pains to con it. Good beauties, let me sustain no scorn; I am very comptible, even to the least sinister usage.
most radiant, exquisite, and unmatchable beauty,—i pray you, tell me if this be the lady of the house, for i never saw her. i would be loath to cast away my speech; for besides that it is excellently well penned, i have taken great pains to con it. good beauties, let me sustain no scorn; i am very comptible, even to the least sinister usage.
Most radiant, exquisite, and unmatchable beauty,—I pray you, tell me if this be the lady of the house, for I never saw her. I would be loath to cast away my speech; for besides that it is excellently well penned, I
Whence came you, sir?
Whence came you, sir?
whence came you, sir?
Whence came you, sir?
I can say little more than I have studied, and that question’s out of
my part. Good gentle one, give me modest assurance, if you be the lady
of the house, that I may proceed in my speech.
I can say little more than I have studied, and that question’s out of my part. Good gentle one, give me modest assurance, if you be the lady of the house, that I may proceed in my speech.
i can say little more than i have studied, and that question’s out of my part. good gentle one, give me modest assurance, if you be the lady of the house, that i may proceed in my speech.
I can say little more than I have studied, and that question’s out of my part. Good gentle one, give me modest assurance, if you be the lady of the house, that I may proceed in my speech.
Are you a comedian?
Are you a comedian?
are you a comedian?
Are you a comedian?
No, my profound heart: and yet, by the very fangs of malice I swear, I
am not that I play. Are you the lady of the house?
No, my profound heart: and yet, by the very fangs of malice I swear, I am not that I play. Are you the lady of the house?
no, my profound heart: and yet, by the very fangs of malice i swear, i am not that i play. are you the lady of the house?
No, my profound heart: and yet, by the very fangs of malice I swear, I am not that I play. Are you the lady of the house?
If I do not usurp myself, I am.
If I do not usurp myself, I am.
if i do not usurp myself, i am.
If I do not usurp myself, I am.
Most certain, if you are she, you do usurp yourself; for what is yours
to bestow is not yours to reserve. But this is from my commission. I
will on with my speech in your praise, and then show you the heart of
my message.
Most certain, if you are she, you do usurp yourself; for what is yours to bestow is not yours to reserve. But this is from my commission. I will on with my speech in your praise, and then show you the heart of my message.
most certain, if you are she, you do usurp yourself; for what is yours to bestow is not yours to reserve. but this is from my commission. i will on with my speech in your praise, and then show you the heart of my message.
Most certain, if you are she, you do usurp yourself; for what is yours to bestow is not yours to reserve. But this is from my commission. I will on with my speech in your praise, and then show you the heart of
Come to what is important in’t: I forgive you the praise.
Come to what is important in’t: I forgive you the praise.
come to what is important in’t: i forgive you the praise.
Come to what is important in’t: I forgive you the praise.
Alas, I took great pains to study it, and ’tis poetical.
Alas, I took great pains to study it, and ’tis poetical.
alas, i took great pains to study it, and ’tis poetical.
Alas, I took great pains to study it, and ’tis poetical.
It is the more like to be feigned; I pray you keep it in. I heard you
were saucy at my gates; and allowed your approach, rather to wonder at
you than to hear you. If you be mad, be gone; if you have reason, be
brief: ’tis not that time of moon with me to make one in so skipping a
dialogue.
It is the more like to be feigned; I pray you keep it in. I heard you were saucy at my gates; and allowed your approach, rather to wonder at you than to hear you. If you be mad, be gone; if you have reason, be brief: ’tis not that time of moon with me to make one in so skipping a dialogue.
it is the more like to be feigned; i pray you keep it in. i heard you were saucy at my gates; and allowed your approach, rather to wonder at you than to hear you. if you be mad, be gone; if you have reason, be brief: ’tis not that time of moon with me to make one in so skipping a dialogue.
It is the more like to be feigned; I pray you keep it in. I heard you were saucy at my gates; and allowed your approach, rather to wonder at you than to hear you. If you be mad, be gone; if you have reason, be
Will you hoist sail, sir? Here lies your way.
Will you hoist sail, sir? Here lies your way.
will you hoist sail, sir? here lies your way.
Will you hoist sail, sir? Here lies your way.
No, good swabber, I am to hull here a little longer. Some mollification
for your giant, sweet lady. Tell me your mind. I am a messenger.
No, good swabber, I am to hull here a little longer. Some mollification for your giant, sweet lady. Tell me your mind. I am a messenger.
no, good swabber, i am to hull here a little longer. some mollification for your giant, sweet lady. tell me your mind. i am a messenger.
No, good swabber, I am to hull here a little longer. Some mollification for your giant, sweet lady. Tell me your mind. I am a messenger.
Sure, you have some hideous matter to deliver, when the courtesy of it
is so fearful. Speak your office.
Sure, you have some hideous matter to deliver, when the courtesy of it is so fearful. Speak your office.
sure, you have some hideous matter to deliver, when the courtesy of it is so fearful. speak your office.
Sure, you have some hideous matter to deliver, when the courtesy of it is so fearful. Speak your office.
It alone concerns your ear. I bring no overture of war, no taxation of
homage; I hold the olive in my hand: my words are as full of peace as
matter.
It alone concerns your ear. I bring no overture of war, no taxation of homage; I hold the olive in my hand: my words are as full of peace as matter.
it alone concerns your ear. i bring no overture of war, no taxation of homage; i hold the olive in my hand: my words are as full of peace as matter.
It alone concerns your ear. I bring no overture of war, no taxation of homage; I hold the olive in my hand: my words are as full of peace as matter.
Yet you began rudely. What are you? What would you?
Yet you began rudely. What are you? What would you?
yet you began rudely. what are you? what would you?
Yet you began rudely. What are you? What would you?
The rudeness that hath appeared in me have I learned from my
entertainment. What I am and what I would are as secret as maidenhead:
to your ears, divinity; to any other’s, profanation.
The rudeness that hath appeared in me have I learned from my entertainment. What I am and what I would are as secret as maidenhead: to your ears, divinity; to any other’s, profanation.
the rudeness that hath appeared in me have i learned from my entertainment. what i am and what i would are as secret as maidenhead: to your ears, divinity; to any other’s, profanation.
The rudeness that hath appeared in me have I learned from my entertainment. What I am and what I would are as secret as maidenhead: to your ears, divinity; to any other’s, profanation.
Give us the place alone: we will hear this divinity.
Give us the place alone: we will hear this divinity.
give us the place alone: we will hear this divinity.
Give us the place alone: we will hear this divinity.
Most sweet lady—
Most sweet lady—
most sweet lady—
Most sweet lady—
A comfortable doctrine, and much may be said of it. Where lies your
text?
A comfortable doctrine, and much may be said of it. Where lies your text?
a comfortable doctrine, and much may be said of it. where lies your text?
A comfortable doctrine, and much may be said of it. Where lies your text?
In Orsino’s bosom.
In Orsino’s bosom.
in orsino’s bosom.
In Orsino’s bosom.
In his bosom? In what chapter of his bosom?
In his bosom? In what chapter of his bosom?
in his bosom? in what chapter of his bosom?
In his bosom? In what chapter of his bosom?
Act 1 ends with two identical structural moments. In scene 4, Viola closes alone with the aside: 'Whoe'er I woo, myself would be his wife.' In scene 5, Olivia closes alone with the couplet: 'Fate, show thy force; ourselves we do not owe.' Both women are surrendering to love they cannot pursue. Both are doing it in verse, in isolation, directly following the scene that sprung the trap on them. The parallel is not accidental. Shakespeare is showing us that the play's central predicament isn't a plot complication — it's a condition. Desire doesn't ask permission. It doesn't wait for a convenient moment. It arrives on the back of a stranger at the gate, or in the face of the man who sent that stranger, and once it's through the eye, there's nothing to do but acknowledge it and go on. Both women do. That acceptance is the emotional thesis of the whole play.
To answer by the method, in the first of his heart.
To answer by the method, in the first of his heart.
to answer by the method, in the first of his heart.
To answer by the method, in the first of his heart.
O, I have read it; it is heresy. Have you no more to say?
O, I have read it; it is heresy. Have you no more to say?
o, i have read it; it is heresy. have you no more to say?
O, I have read it; it is heresy. Have you no more to say?
Good madam, let me see your face.
Good madam, let me see your face.
good madam, let me see your face.
Good madam, let me see your face.
Have you any commission from your lord to negotiate with my face? You
are now out of your text: but we will draw the curtain and show you the
picture. [_Unveiling._] Look you, sir, such a one I was this present.
Is’t not well done?
Have you any commission from your lord to negotiate with my face? You are now out of your text: but we will draw the curtain and show you the picture. [_Unveiling._] Look you, sir, such a one I was this present. Is’t not well done?
have you any commission from your lord to negotiate with my face? you are now out of your text: but we will draw the curtain and show you the picture. [_unveiling._] look you, sir, such a one i was this present. is’t not well done?
Have you any commission from your lord to negotiate with my face? You are now out of your text: but we will draw the curtain and show you the picture. [_Unveiling._] Look you, sir, such a one I was this present.
Excellently done, if God did all.
Excellently done, if God did all.
excellently done, if god did all.
Excellently done, if God did all.
’Tis in grain, sir; ’twill endure wind and weather.
’Tis in grain, sir; ’twill endure wind and weather.
’tis in grain, sir; ’twill endure wind and weather.
’Tis in grain, sir; ’twill endure wind and weather.
’Tis beauty truly blent, whose red and white
Nature’s own sweet and cunning hand laid on.
Lady, you are the cruel’st she alive
If you will lead these graces to the grave,
And leave the world no copy.
’Tis beauty truly blent, whose red and white Nature’s own sweet and cunning hand laid on. Lady, you are the cruel’st she alive If you will lead these graces to the grave, And leave the world no copy.
’tis beauty truly blent, whose red and white nature’s own sweet and cunning hand laid on. lady, you are the cruel’st she alive if you will lead these graces to the grave, and leave the world no copy.
’Tis beauty truly blent, whose red and white Nature’s own sweet and cunning hand laid on. Lady, you are the cruel’st she alive
O, sir, I will not be so hard-hearted; I will give out divers schedules
of my beauty. It shall be inventoried and every particle and utensil
labelled to my will: as, item, two lips indifferent red; item, two grey
eyes with lids to them; item, one neck, one chin, and so forth. Were
you sent hither to praise me?
O, sir, I will not be so hard-hearted; I will give out divers schedules of my beauty. It shall be inventoried and every particle and utensil labelled to my will: as, item, two lips indifferent red; item, two grey eyes with lids to them; item, one neck, one chin, and so forth. Were you sent hither to praise me?
o, sir, i will not be so hard-hearted; i will give out divers schedules of my beauty. it shall be inventoried and every particle and utensil labelled to my will: as, item, two lips indifferent red; item, two grey eyes with lids to them; item, one neck, one chin, and so forth. were you sent hither to praise me?
O, sir, I will not be so hard-hearted; I will give out divers schedules of my beauty. It shall be inventoried and every particle and utensil labelled to my will: as, item, two lips indifferent red; item, two grey
I see you what you are, you are too proud;
But, if you were the devil, you are fair.
My lord and master loves you. O, such love
Could be but recompens’d though you were crown’d
The nonpareil of beauty!
I see you what you are, you are too proud; But, if you were the devil, you are fair. My lord and master loves you. O, such love Could be but recompens’d yough you were crown’d The nonpareil of beauty!
i see you what you are, you are too proud; but, if you were the devil, you are fair. my lord and master loves you. o, such love could be but recompens’d yough you were crown’d the nonpareil of beauty!
I see you what you are, you are too proud; But, if you were the devil, you are fair. My lord and master loves you. O, such love
How does he love me?
How does he love me?
how does he love me?
How does he love me?
With adorations, fertile tears,
With groans that thunder love, with sighs of fire.
With adorations, fertile tears, With groans that thunder love, with sighs of fire.
with adorations, fertile tears, with groans that thunder love, with sighs of fire.
With adorations, fertile tears, With groans that thunder love, with sighs of fire.
Your lord does know my mind, I cannot love him:
Yet I suppose him virtuous, know him noble,
Of great estate, of fresh and stainless youth;
In voices well divulg’d, free, learn’d, and valiant,
And in dimension and the shape of nature,
A gracious person. But yet I cannot love him.
He might have took his answer long ago.
Your lord does know my mind, I cannot love him: Yet I suppose him virtuous, know him noble, Of great estate, of fresh and stainless youth; In voices well divulg’d, free, learn’d, and valiant, And in dimension and the shape of nature, A gracious person. But yet I cannot love him. He might have took his answer long ago.
your lord does know my mind, i cannot love him: yet i suppose him virtuous, know him noble, of great estate, of fresh and stainless youth; in voices well divulg’d, free, learn’d, and valiant, and in dimension and the shape of nature, a gracious person. but yet i cannot love him. he might have took his answer long ago.
Your lord does know my mind, I cannot love him: Yet I suppose him virtuous, know him noble, Of great estate, of fresh and stainless youth;
If I did love you in my master’s flame,
With such a suff’ring, such a deadly life,
In your denial I would find no sense,
I would not understand it.
If I did love you in my master’s flame, With such a suff’ring, such a deadly life, In your denial I would find no sense, I would not understand it.
if i did love you in my master’s flame, with such a suff’ring, such a deadly life, in your denial i would find no sense, i would not understand it.
If I did love you in my master’s flame, With such a suff’ring, such a deadly life, In your denial I would find no sense,
Why, what would you?
Why, what would you?
why, what would you?
Why, what would you?
Make me a willow cabin at your gate,
And call upon my soul within the house;
Write loyal cantons of contemned love,
And sing them loud even in the dead of night;
Hallow your name to the reverberate hills,
And make the babbling gossip of the air
Cry out Olivia! O, you should not rest
Between the elements of air and earth,
But you should pity me.
Make me a willow cabin at your gate, And call upon my soul within the house; Write loyal cantons of contemned love, And sing them loud even in the dead of night; Hallow your name to the reverberate hills, And make the babbling gossip of the air Cry out Olivia! O, you should not rest Between the elements of air and earth, But you should pity me.
make me a willow cabin at your gate, and call upon my soul within the house; write loyal cantons of contemned love, and sing them loud even in the dead of night; hallow your name to the reverberate hills, and make the babbling gossip of the air cry out olivia! o, you should not rest between the elements of air and earth, but you should pity me.
Make me a willow cabin at your gate, And call upon my soul within the house; Write loyal cantons of contemned love,
You might do much.
What is your parentage?
You might do much. What is your parentage?
you might do much. what is your parentage?
You might do much. What is your parentage?
Above my fortunes, yet my state is well:
I am a gentleman.
Above my fortunes, yet my state is well: I am a gentleman.
above my fortunes, yet my state is well: i am a gentleman.
Above my fortunes, yet my state is well: I am a gentleman.
Get you to your lord;
I cannot love him: let him send no more,
Unless, perchance, you come to me again,
To tell me how he takes it. Fare you well:
I thank you for your pains: spend this for me.
Get you to your lord; I cannot love him: let him send no more, Unless, perchance, you come to me again, To tell me how he takes it. Fare you well: I thank you for your pains: spend this for me.
get you to your lord; i cannot love him: let him send no more, unless, perchance, you come to me again, to tell me how he takes it. fare you well: i thank you for your pains: spend this for me.
Get you to your lord; I cannot love him: let him send no more, Unless, perchance, you come to me again,
I am no fee’d post, lady; keep your purse;
My master, not myself, lacks recompense.
Love make his heart of flint that you shall love,
And let your fervour like my master’s be
Plac’d in contempt. Farewell, fair cruelty.
I am no fee’d post, lady; keep your purse; My master, not myself, lacks recompense. Love make his heart of flint that you shall love, And let your fervour like my master’s be Plac’d in contempt. Farewell, fair cruelty.
i am no fee’d post, lady; keep your purse; my master, not myself, lacks recompense. love make his heart of flint that you shall love, and let your fervour like my master’s be plac’d in contempt. farewell, fair cruelty.
I am no fee’d post, lady; keep your purse; My master, not myself, lacks recompense. Love make his heart of flint that you shall love,
What is your parentage?
‘Above my fortunes, yet my state is well:
I am a gentleman.’ I’ll be sworn thou art;
Thy tongue, thy face, thy limbs, actions, and spirit,
Do give thee five-fold blazon. Not too fast: soft, soft!
Unless the master were the man. How now?
Even so quickly may one catch the plague?
Methinks I feel this youth’s perfections
With an invisible and subtle stealth
To creep in at mine eyes. Well, let it be.
What ho, Malvolio!
What is your parentage? ‘Above my fortunes, yet my state is well: I am a gentleman.’ I’ll be sworn you art; Thy tongue, your face, your limbs, actions, and spirit, Do give thee five-fold blazon. Not too fast: soft, soft! Unless the master were the man. How now? Even so quickly may one catch the plague? Methinks I feel this youth’s perfections With an invisible and subtle stealth To creep in at mine eyes. Well, let it be. What ho, Malvolio!
what is your parentage? ‘above my fortunes, yet my state is well: i am a gentleman.’ i’ll be sworn you art; your tongue, your face, your limbs, actions, and spirit, do give thee five-fold blazon. not too fast: soft, soft! unless the master were the man. how now? even so quickly may one catch the plague? methinks i feel this youth’s perfections with an invisible and subtle stealth to creep in at mine eyes. well, let it be. what ho, malvolio!
What is your parentage? ‘Above my fortunes, yet my state is well: I am a gentleman.’ I’ll be sworn thou art;
Here, madam, at your service.
Here, madam, at your service.
here, madam, at your service.
Here, madam, at your service.
Run after that same peevish messenger
The County’s man: he left this ring behind him,
Would I or not; tell him, I’ll none of it.
Desire him not to flatter with his lord,
Nor hold him up with hopes; I am not for him.
If that the youth will come this way tomorrow,
I’ll give him reasons for’t. Hie thee, Malvolio.
Run after that same peevish messenger The County’s man: he left this ring behind him, Would I or not; tell him, I’ll none of it. Desire him not to flatter with his lord, Nor hold him up with hopes; I am not for him. If that the youth will come this way tomorrow, I’ll give him reasons for’t. Hie thee, Malvolio.
run after that same peevish messenger the county’s man: he left this ring behind him, would i or not; tell him, i’ll none of it. desire him not to flatter with his lord, nor hold him up with hopes; i am not for him. if that the youth will come this way tomorrow, i’ll give him reasons for’t. hie thee, malvolio.
Run after that same peevish messenger The County’s man: he left this ring behind him, Would I or not; tell him, I’ll none of it.
Madam, I will.
Madam, I will.
madam, i will.
Madam, I will.
I do I know not what, and fear to find
Mine eye too great a flatterer for my mind.
Fate, show thy force, ourselves we do not owe.
What is decreed must be; and be this so!
I do I know not what, and fear to find Mine eye too great a flatterer for my mind. Fate, show your force, ourselves we do not owe. What is decreed must be; and be this so!
i do i know not what, and fear to find mine eye too great a flatterer for my mind. fate, show your force, ourselves we do not owe. what is decreed must be; and be this so!
I do I know not what, and fear to find Mine eye too great a flatterer for my mind. Fate, show thy force, ourselves we do not owe.
The Reckoning
Everything up to this point has been setup. This scene is the ignition. Olivia, who has sworn off men and sealed herself in grief, takes one look at a young messenger and forgets everything. The Feste/Malvolio subplot begins here too — Malvolio dismisses the fool in terms so contemptuous that Olivia herself rebukes him. That moment plants the seed that Maria will water into the letter plot. And Viola, stuck in the middle of it all, has to woo someone she doesn't want for someone she can't have. The scene ends with Olivia alone, speaking in quatrains, falling apart with the speed of plague.
If this happened today…
You've been sent by your boss to formally reject a client on his behalf. The client is beautiful, sharp, and absolutely not interested in your boss. But she's interested in you — the messenger. You do your job. You say no on his behalf. You leave. And she calls your cell after you've gone and leaves a voicemail about a jacket you didn't leave behind, just to get your number.