| |
Enter VIOLA, and Clown with a tabour | Enter VIOLA, and Clown (They don't enter |
| | | together; Viola goes to Olivia's and happens to |
| |
VIOLA | meet the Clown.) | tabour small drum |
| 3.1.1 |
Save thee, friend, and thy music! Dost thou live by | live by earn your living with |
| |
thy tabour? | |
| | | |
| |
Clown | |
| |
No, sir, I live by the church. | |
| | | |
| |
VIOLA | |
| |
Art thou a churchman? | churchman member of the clergy |
| | | |
| |
Clown | |
| 3.1.5 |
No such matter, sir: I do live by the church; for | |
| |
I do live at my house, and my house doth stand by | |
| |
the church. | |
| | | |
| |
VIOLA | |
| |
So thou mayst say, the king lies by a beggar, if a | lies by sleeps with and is situated near |
| |
beggar dwell near him; or, the church stands by thy | stands by is supported by |
| 3.1.10 |
tabour, if thy tabour stand by the church. | stand by is located near |
| | | |
| |
Clown | |
| |
You have said, sir. To see this age! A sentence is | sentence saying |
| |
but a chev'ril glove to a good wit. How quickly the | chev'ril kidskin (which is soft and pliable) |
| |
wrong side may be turned outward! | |
| | | |
| |
VIOLA | |
| |
Nay, that's certain; they that dally nicely with | dally nicely play subtly |
| 3.1.15 |
words may quickly make them wanton. | wanton uncontrollable |
| | | |
| |
Clown | |
| |
I would therefore my sister had had no | |
| |
name, sir. | |
| | | |
| |
VIOLA | |
| |
Why, man? | |
| | | |
| |
Clown | |
| |
Why, sir, her name's a word; and to dally with that | |
| 3.1.20 |
word might make my sister wanton. But indeed words | wanton promiscuous |
| |
are very rascals since bonds disgraced them. | bonds legal documents, also manacles >>>
|
| | | |
| |
VIOLA | |
| |
Thy reason, man? | |
| | | |
| |
Clown | |
| |
Troth, sir, I can yield you none without words; and | |
| |
words are grown so false, I am loath to prove | |
| 3.1.25 |
reason with them. | |
| | | |
| |
VIOLA | |
| |
I warrant thou art a merry fellow and carest | thou . . . carest for nothing i.e., you are carefree |
| |
for nothing. | and don't care what you say |
| | | |
| |
Clown | |
| |
Not so, sir, I do care for something; but in my | |
| |
conscience, sir, I do not care for you. If that be to care | in my conscience, sir i.e., to let you in on my real |
| 3.1.30 |
for nothing, sir, I would it would make you invisible. | feelings | make you invisible >>>
|
| | | |
| |
VIOLA | |
| |
Art not thou the Lady Olivia's fool? | |
| | | |
| |
Clown | |
| |
No, indeed, sir; the Lady Olivia has no folly: she | |
| |
will keep no fool, sir, till she be married; and | |
| |
fools are as like husbands as pilchards are to | pilchards small fish, very like herrings |
| 3.1.35 |
herrings; the husband's the bigger: I am indeed not | |
| |
her fool, but her corrupter of words. | |
| | | |
| |
VIOLA | |
| |
I saw thee late at the Count Orsino's. | late recently |
| | | |
| |
Clown | |
| |
Foolery, sir, does walk about the orb like the sun, | the orb the earth, around which the sun turns |
| |
it shines every where. I would be sorry, sir, but | but unless (The Clown feels he has a duty to spread |
| 3.1.40 |
the fool should be as oft with your master as with | his foolishness around.) |
| |
my mistress. I think I saw your wisdom there. | your wisdom An ironical variation on "your |
| | | honor." |
| |
VIOLA | |
| |
Nay, an thou pass upon me, I'll no more with thee. | an if | pass upon me (verbally) fence with me |
| |
Hold, there's expenses for thee. | Hold Take this (She gives the Clown a coin.) |
| | | expenses spending money |
| |
Clown | |
| |
Now Jove, in his next commodity of hair, send thee | commodity shipment |
| 3.1.45 |
a beard! | Now . . . beard! This is the Clown's way of saying |
| | | "bless you." |
| |
VIOLA | |
| |
By my troth, I'll tell thee, I am almost sick for one— | one a beard, i.e., a man, i.e., Orsino |
| |
[aside] though I would not have it grow on my chin. | |
| |
Is thy lady within? | |
| | | |
| |
Clown | |
| |
Would not a pair of these have bred, sir? | pair of these i.e., two coins | bred made babies |
| | | (The Clown is wittly asking for another coin.) |
| |
VIOLA | |
| 3.1.50 |
Yes, being kept together and put to use. | put to use loaned at interest >>>
|
| | | |
| |
Clown | |
| |
I would play Lord Pandarus of Phrygia, sir, to bring | Pandarus The go-between in the famous love |
| |
a Cressida to this Troilus. | affair between Troilus and Cressida. |
| | | this Troilus i.e., the single coin the Clown has in |
| |
VIOLA | his hand |
| |
I understand you, sir; 'tis well begged. | (Perhaps she gives him another coin.) |
| | | |
| |
Clown | |
| |
The matter, I hope, is not great, sir, begging but | matter request | begging but a beggar i.e., I have |
| 3.1.55 |
a beggar: Cressida was a beggar. My lady is | only been begging to be given a beggar |
| |
within, sir. I will conster to them whence you | Cressida was a beggar >>>
| conster explain |
| |
come; who you are and what you would are out | what you would what you want |
| |
of my welkin—I might say "element," but the | welkin sky ("Element" can mean "welkin," but in |
| |
word is over-worn. | the phrase "out of my element" it means |
| | | "knowledge" or "experience." As a "corrupter |
| |
Exit Clown | of words," the Clown always likes to be original.) |
| | | |
| |
VIOLA | |
| 3.1.60 |
This fellow is wise enough to play the fool; | play the fool (He's not a natural fool, a half-wit.) |
| |
And to do that well craves a kind of wit. | craves requires | wit intelligence, wisdom |
| |
He must observe their mood on whom he jests, | |
| |
The quality of persons, and the time, | quality character |
| |
And, like the haggard, cheque at every feather | haggard . . . cheque . . feather >>>
|
| 3.1.65 |
That comes before his eye. This is a practise | practise skilled profession (as in "law practice") |
| |
As full of labour as a wise man's art | art skill |
| |
For folly that he wisely shows is fit; | folly that he wisely shows is fit foolery that he |
| |
But wise men, folly-fall'n, quite taint their wit. | intelligently displays is skillfully adapted (to the |
| | | taste of his audience) | folly-fall'n fallen into real |
| |
Enter SIR TOBY BELCH, and SIR ANDREW | folly | taint spoil |
| | | |
| |
SIR TOBY BELCH | |
| |
Save you, gentleman. | |
| | | |
| |
VIOLA | |
| 3.1.70 |
And you, sir. | |
| | | |
| |
SIR ANDREW | |
| |
Dieu vous garde, monsieur. | Dieu . . . monsieur. God keep you, sir. |
| | | |
| |
VIOLA | |
| |
Et vous aussi; votre serviteur. | Et . . . serviteur. And you, too; your servant. |
| | | |
| |
SIR ANDREW | |
| |
I hope, sir, you are; and I am yours. | (Sir Andrew was trying to make an impression with |
| | | his French, but now he has reached his limit.) |
| |
SIR TOBY BELCH | |
| |
Will you encounter the house? my niece is desirous | encounter (A playfully elaborate word for "enter.") |
| 3.1.75 |
you should enter, if your trade be to her. | trade business |
| | | |
| |
VIOLA | |
| |
I am bound to your niece, sir; I mean, she is the | |
| |
list of my voyage. | list destination |
| | | |
| |
SIR TOBY BELCH | |
| |
Taste your legs, sir; put them to motion. | Taste try, test (Sir Toby is again being playfully |
| | | elaborate.) |
| |
VIOLA | |
| |
My legs do better understand me, sir, than I | understand With a play on "stand under." |
| 3.1.80 |
understand what you mean by bidding me taste my legs. | |
| | | |
| |
SIR TOBY BELCH | |
| |
I mean, to go, sir, to enter. | |
| | | |
| |
VIOLA | |
| |
I will answer you with gait and entrance. But we | gait and entrance A play on Toby's "go" and |
| |
are prevented. | "enter." | prevented anticipated (Because Olivia |
| | | is coming out, they won't have to go in.) |
| |
Enter OLIVIA and Gentlewoman [MARIA] | |
| | | |
| |
Most excellent accomplished lady, the heavens rain | |
| 3.1.85 |
odours on you! | |
| | | |
| |
SIR ANDREW | |
| |
That youth's a rare courtier— | rare excellent and unique |
| |
"Rain odours," well. | |
| | | |
| |
VIOLA | |
| |
My matter hath no voice, lady, but to your own | hath no voice . . . but to may only be spoken to |
| |
most pregnant and vouchsafed ear. | pregnant receptive | vouchsafed securely granted |
| | | (Cesario/Viola wants Olivia to listen carefully, and |
| |
SIR ANDREW | he/she wants to talk to her alone.) |
| 3.1.90 |
"Odours," "pregnant" and "vouchsafed"; I'll get 'em | |
| |
all three all ready. | all ready (Sir Andrew now has three new words |
| | | ready to use whenever he should try make an |
| |
OLIVIA | impression.) |
| |
Let the garden door be shut, and leave me | |
| |
to my hearing. | hearing As in "court hearing"; Olivia knows that |
| | | Cesario/Viola has come to speak on behalf |
| |
Exeunt SIR TOBY BELCH, SIR ANDREW, and MARIA | of Orsino. |
| | | |
| |
Give me your hand, sir. | |
| | | |
| |
VIOLA | |
| 3.1.95 |
My duty, madam, and most humble service. | |
| | | |
| |
OLIVIA | |
| |
What is your name? | |
| | | |
| |
VIOLA | |
| |
Cesario is your servant's name, fair princess. | |
| | | |
| |
OLIVIA | |
| |
My servant, sir! 'Twas never merry world | 'Twas never merry world / Since Things have |
| |
Since lowly feigning was call'd compliment: | never been as good since | lowly feigning pretended |
| 3.1.100 |
Y' are servant to the Count Orsino, youth. | humbleness | was called began to be called |
| | | compliment courtesy, politeness |
| |
VIOLA | |
| |
And he is yours, and his must needs be yours: | |
| |
Your servant's servant is your servant, madam. | |
| | | |
| |
OLIVIA | |
| |
For him, I think not on him: for his thoughts, | For as for, concerning |
| |
Would they were blanks, rather than fill'd with me! | |
| | | |
| |
VIOLA | |
| 3.1.105 |
Madam, I come to whet your gentle thoughts | |
| |
On his behalf. | |
| | | |
| |
OLIVIA | |
| |
O, by your leave, I pray you, | by your leave, I pray you with your permission, |
| |
I bade you never speak again of him; | please (But Olivia is saying it the way we |
| |
But, would you undertake another suit, | now say "Please EXCUSE me!") |
| |
I had rather hear you to solicit that | another suit a different request (She wants Cesario |
| 3.1.110 |
Than music from the spheres. | to woo her for himself.) | spheres heavens >>>
|
| | | |
| |
VIOLA | |
| |
Dear lady— | |
| | | |
| |
OLIVIA | |
| |
Give me leave, beseech you. I did send, | Give me leave, beseech you i.e., Let me talk, I'm |
| |
After the last enchantment you did here, | asking you. | enchantment you did spell you cast |
| |
A ring in chase of you; so did I abuse | abuse dishonor >>>
|
| |
Myself, my servant and, I fear me, you: | I fear me I am afraid |
| 3.1.115 |
Under your hard construction must I sit, | Under your hard construction must I sit I must |
| |
To force that on you, in a shameful cunning, | submit to your harsh judgment | that i.e., the ring |
| |
Which you knew none of yours. What might you think? | |
| |
Have you not set mine honour at the stake | stake . . . baited . . . unmuzzled >>>
|
| |
And baited it with all the unmuzzled thoughts | |
| 3.1.120 |
That tyrannous heart can think? To one of your receiving | tyrannous sadistic | receiving understanding, |
| |
Enough is shown: a cypress, not a bosom, | intelliegence | cypress a nearly transparent black |
| |
Hideth my heart. So, let me hear you speak. | fabric also, a cyrpress branch associated with death |
| | | (Olivia can't hide her feelings, and it's killing her.) |
| |
VIOLA | |
| |
I pity you. | |
| | | |
| |
OLIVIA | |
| |
That's a degree to love. | degree step or stage |
| | | |
| |
VIOLA | |
| |
No, not a grize; for 'tis a vulgar proof, | grize single step | vulgar proof common |
| 3.1.125 |
That very oft we pity enemies. | experience |
| | | |
| |
OLIVIA | |
| |
Why, then, methinks 'tis time to smile again. | then i.e., since you only pity me >>>
|
| |
O, world, how apt the poor are to be proud! | how apt the poor are to be proud i.e., how likely |
| |
If one should be a prey, how much the better | are those who have nothing to (try to) be proud of |
| |
To fall before the lion than the wolf! | something | lion i.e., a noble adversary, such as |
| | | Cesario (Is Olivia really making herself feel better?) |
| |
Clock strikes | clock (On Shakespeare's stage, sans scenery, we |
| | | don't notice the oddity of a chiming clock being in |
| 3.1.130 |
The clock upbraids me with the waste of time. | Olivia's garden.) |
| |
Be not afraid, good youth, I will not have you, | have you claim you for a husband |
| |
And yet, when wit and youth is come to harvest, | when . . . harvest i.e., when you grow to be a man |
| |
Your wife is like to reap a proper man: | proper handsome, worthy |
| |
There lies your way, due west. | due west where the sun sets (In other words, "get |
| | | out of my sight.") |
| |
VIOLA | |
| |
Then westward-ho! | westward-ho! (Cesario/Viola is outta there.) >>>
|
| 3.1.135 |
Grace and good disposition attend your ladyship! | good disposition tranquillity |
| |
You'll nothing, madam, to my lord by me? | You'll nothing . . . to my lord . . . ? you have no |
| | | message to Orsino? |
| |
OLIVIA | |
| |
Stay! | |
| |
I prithee, tell me what thou thinkest of me. | thou (More familiar, and therefore more pleading, |
| | | than the "you" that Olivia has been using.) |
| |
VIOLA | |
| |
That you do think you are not what you are. | That . . . are >>>
|
| | | |
| |
OLIVIA | |
| 3.1.140 |
If I think so, I think the same of you. | |
| | | |
| |
VIOLA | |
| |
Then think you right: I am not what I am. | |
| | | |
| |
OLIVIA | |
| |
I would you were as I would have you be! | |
| | | |
| |
VIOLA | |
| |
Would it be better, madam, than I am? | |
| |
I wish it might, for now I am your fool. | your fool >>>
|
| | | |
| |
OLIVIA | |
| 3.1.145 |
O, what a deal of scorn looks beautiful | a deal a great deal |
| |
In the contempt and anger of his lip! | |
| |
A murderous guilt shows not itself more soon | |
| |
Than love that would seem hid: love's night is noon. | |
| |
Cesario, by the roses of the spring, | |
| 3.1.150 |
By maidhood, honour, truth and every thing, | |
| |
I love thee so, that, maugre all thy pride, | maugre despite |
| |
Nor wit nor reason can my passion hide. | Nor wit nor reason neither wisdom nor reason |
| |
Do not extort thy reasons from this clause, | Do . . . cause Do not force the conclusion that you have |
| |
For that I woo, thou therefore hast no cause, | no cause to love me because I have wooed you. |
| 3.1.155 |
But rather reason thus with reason fetter, | But . . . fetter Instead, chain your reasoning to the |
| |
Love sought is good, but given unsought better. | following wisdom | unsought >>>
|
| | | |
| |
VIOLA | |
| |
By innocence I swear, and by my youth | |
| |
I have one heart, one bosom and one truth, | |
| |
And that no woman has; nor never none | |
| 3.1.160 |
Shall mistress be of it, save I alone. | |
| |
And so adieu, good madam: never more | |
| |
Will I my master's tears to you deplore. | to you deplore attempt to arouse your pity for |
| | | |
| |
OLIVIA | |
| |
Yet come again; for thou perhaps mayst move | move convince, influence |
| 3.1.164 |
That heart, which now abhors, to like his love. | That heart i.e., Olivia's own heart | abhors i.e., abhors |
| | | Orsino's love |
| |
Exeunt | |