I would not by my will have troubled you,
But since you make your pleasure of your pains,
I will no further chide you.
I didn't want to trouble you, But since you seem to enjoy helping me, I'll stop complaining.
I didn't mean to drag you into this, but if you're enjoying being helpful, I'll stop giving you a hard time.
didn't mean to bother u but if u wanna help, i'll stop whining
I could not stay behind you: my desire,
More sharp than filed steel, did spur me forth;
And not all love to see you, though so much,
As might have drawn one to a longer voyage,
But jealousy what might befall your travel,
Being skilless in these parts; which to a stranger,
Unguided and unfriended, often prove
Rough and unhospitable. My willing love,
The rather by these arguments of fear,
Set forth in your pursuit.
I couldn't stay behind you: my desire, Sharper than polished steel, drove me forward; And not entirely just to see you, though that was part of it, But as much from worry about what might happen to you while traveling, Being inexperienced in these places; which for a stranger, Without guidance and without friends, often prove Cruel and inhospitable. My genuine love, Made stronger by these fears, Sent me after you.
I couldn't let you go alone. My need to follow you was sharper than anything—not just because I wanted to see you, though that's part of it, but honestly because I was terrified about what might happen to you. You don't know this place, and strangers without friends or guides usually get treated badly here. All that fear, combined with my real love for you, is why I had to come after you.
couldn't leave u had to come after u scared something bad would happen u don't know the place
My kind Antonio,
I can no other answer make but thanks,
And thanks, and ever thanks; and oft good turns
Are shuffled off with such uncurrent pay.
But were my worth, as is my conscience, firm,
You should find better dealing. What’s to do?
Shall we go see the relics of this town?
My kind Antonio, I can make no other response except thanks, And more thanks, and endless thanks; and often good deeds Are repaid with worthless payment. But if my honor were as solid as my conscience, You would receive better repayment. What should we do? Shall we go see the famous sights of this city?
Kind Antonio, I don't know how to say anything except thank you. Really, thank you so much. Honestly, good deeds often get rewarded badly. But if I could repay you the way my conscience says I should, you'd get something real in return. So what now? Should we go check out what this city's famous for?
ty so much u have no idea i wish i could repay u should we explore?
Tomorrow, sir; best first go see your lodging.
Tomorrow, sir; it's better to first go see your lodgings.
Tomorrow, sir. You should really get to your room first.
tomorrow go rest first
Antonio's devotion to Sebastian has been the subject of scholarly debate for centuries — does he love Sebastian romantically, or is it the bond of men who've been through danger together? Shakespeare lets it remain ambiguous. What's clear is that Antonio is willing to risk his safety, his money, and eventually his reputation for Sebastian. Later, when he encounters Viola (thinking she's Sebastian) and she refuses to recognize him after he lends her money, he feels genuinely betrayed. The scene works either way: as a sign of homoerotic attachment or as a story of profound male friendship. The power of it comes from the emotional investment itself.
I am not weary, and ’tis long to night;
I pray you, let us satisfy our eyes
With the memorials and the things of fame
That do renown this city.
I'm not tired, and it's still long until nightfall; Please let us satisfy our desire With the monuments and the famous sights That give this city its reputation.
I'm not even tired, and it won't be night for ages. Come on, let's look at the monuments and famous places that make this city worth visiting.
not tired it's still light out let's see the famous spots
Would you’d pardon me.
I do not without danger walk these streets.
Once in a sea-fight, ’gainst the Count his galleys,
I did some service, of such note indeed,
That were I ta’en here, it would scarce be answer’d.
I wish you would pardon me. I cannot walk these streets safely. Once in a sea battle against the Count's ships, I did service of such significance indeed, That if I were caught here, it would barely be forgiven.
I'm sorry, but I can't walk around these streets safely. There was this sea battle years ago where I fought against the Count's fleet, and I played a big enough role that if I get arrested here, there's no way it ends well for me.
i can't walk here safely fought in a sea battle against him if caught i'm done for
Belike you slew great number of his people.
I imagine you killed many of his men.
I'm guessing you killed a lot of his sailors.
u killed a bunch of his guys
Th’ offence is not of such a bloody nature,
Albeit the quality of the time and quarrel
Might well have given us bloody argument.
It might have since been answered in repaying
What we took from them, which for traffic’s sake,
Most of our city did. Only myself stood out,
For which, if I be lapsed in this place,
I shall pay dear.
The offense is not of such a bloody nature, Although the circumstances and the conflict Might well have led to much bloodshed. It could have later been settled by repayment Of what we took from them, which most of our city did for trade's sake. Only I stood apart, For which, if I'm caught in this place, I will pay dearly.
It wasn't really that many deaths, actually, though the situation could have turned very bloody. What happened is that most of our city settled it by paying them back for what we took during the fighting—pretty standard trade settlement. But me? I refused to take part in that. So if I get caught here, I'm in serious trouble.
not that many deaths but i didn't pay them back like the others if i get caught i'm screwed
Do not then walk too open.
Then don't walk around openly.
Then you definitely shouldn't be wandering around in the open.
stay hidden
This scene is technically exposition, but it's functional exposition. We needed to know: (1) Sebastian is in the city, (2) he's separated from Antonio temporarily, and (3) he has Antonio's purse. These three facts will create the final catastrophe. When Viola (as Cesario) encounters Antonio and he assumes she's Sebastian, she won't understand his accusations. When he demands his purse back later, she'll be confused. And when Olivia tries to marry Sebastian, thinking he's Cesario, the twins will be forced to confront each other. Every piece of the final chaos is being laid here, quietly, in this short scene.
It doth not fit me. Hold, sir, here’s my purse.
In the south suburbs, at the Elephant,
Is best to lodge. I will bespeak our diet
Whiles you beguile the time and feed your knowledge
With viewing of the town. There shall you have me.
It doesn't suit me to go about openly. Here, take my purse, sir. In the south suburbs, at the Elephant inn, It's best to stay. I will arrange our meals While you explore the city and increase your knowledge By seeing its sights. There you'll find me.
Yeah, I can't go wandering around. Look, take my purse. There's this inn called the Elephant in the south part of town—that's where you should stay. I'll arrange our food while you're out exploring and looking at everything. I'll meet you there.
take my purse stay at the elephant inn i'll get us food meet u there
Why I your purse?
Why should I take your purse?
Why would I take your purse?
why would i take ur purse?
Haply your eye shall light upon some toy
You have desire to purchase; and your store,
I think, is not for idle markets, sir.
Perhaps your eye will spot some trinket You'd like to buy; and your money supply, I think, is not enough for casual shopping, sir.
You might see something you want to buy while you're out. And I'm guessing you don't have a lot of spending money on you.
u might see something u want i don't think u have much money
I’ll be your purse-bearer, and leave you for an hour.
I'll carry your purse and leave you for an hour.
Okay, I'll hold onto your purse. I'll see you in about an hour.
ok ill take it back in an hour
To th’ Elephant.
To the Elephant.
To the Elephant.
the elephant
I do remember.
I do remember.
i do remember.
I do remember.
The Reckoning
This scene is structural necessity dressed as character development. We need to know that Sebastian is in town, that he has Antonio (who will become key to untangling the mistaken identities at the end), and that Antonio is willing to give Sebastian money (which will cause a catastrophic misunderstanding). But Shakespeare also uses it to show us Sebastian's character: he's thoughtful, grateful, more stable and grounded than Viola. He doesn't need a disguise; he's confident in being himself.
If this happened today…
You and a friend arrive in a new city. Your friend has some baggage from a past conflict, so you arrange to meet later. You head off to explore and spend some money. What you don't realize is that your twin sibling is already in town and about to be mistaken for you — and your friend is about to lend money to the person they think is you but is actually your evil twin.