Orsino Duke of* Curio A Lord of Illyria. Sebastian Brother to Viola. Anthonio a nobleman, friend to Sebastian. Malvolio Steward to Olivia. Sir Toby. her unkle. Sir Andrew Aguecheeke a foolish knight Fabian, Sir Toby’s Companion. Clowne, servant to Olivia Lords.Attendants. 2 Officers. Servants. a messenger.A captaine saylors A priest. Women Olivia a countess of Illyria Viola sister to Sebastian Maria yethe Lady Olivia’s Gentlewoman
1
Act I
Scene I
Enter Duke Curio and other Lords.
twelfth Night,
or, What pf you Will.
(La soirée des rois,
Ou ce que vous voudrez)
Comedie de Shakespear
[illegible signature]
if musick be the food of Love play on
give me exess of it: that surfeting
the appetite may sicken, and so dye.
That strain again; it had a dying fall
oh, it came ore my ear like the sweet sound
ytthat breathes upon a banck of violets
stealing, and giving odour. Enough, no more
tis not so sweet now as it was before.
o spright of love how fresh and quick art thou,
Stamp: Bibliothèque publique Douai ytthat notwithstanding thy capacity
recieveth as yethe sea. nought enters there
of wtwhat validity and pitch soeverso ever But falls into abatement and low prize Even in a minute; so full of shapes is fancy.
that it alone is high fantasticall.
why so I doe the noblest that I have.
oh when mine eyes did see Olivia first
methought she purgd the ayer of pestilence
ytthat instant was I turn’d into a hart
and my desires like fierce and cruell hounds
ever since pursue me. how now, what news from her?
so please my lord I might not be admitted,
But from her handmaid doe bring backysthis answer:
The element it selfe till seven years heat
shall not behold her face at ample view.
But like a cloistress she will vailed walk
and water once a day her chambers round
with eye offending brine; all this to season
a brothers dead love wchwhich she would still keep fresh
and lasting in her sad remembrance.
oh she ytthat hath a heart of ytthat fine frame
to pay this Debt of love but to a brother
how will she love, when yethe Rich golden shaft
hath kild yethe flock of all affections else
ytthat live in her. when liver brain & heart
those sovereign thrones are all supplyʼd and fild
her sweet perfections with one selfesame king:
away before me to sweet beds of flowers
love-thoughts lie rich when canopyʼd wthwith bowers.
(Exeunt
true madam and to comfort you with chance
assure yryour selfe after our ship was split
when you and those poor number savd wthwith you
hung on our driving boat: I saw yryour brother
most provident in perill bind himselfe to a strong mast ytthat lived upon yethe sea
where like Orion on yethe dolphins back
I saw him hold acquaintance with the waves
So long as I could see
and so is now or was so very late
for but a month agoe I went from hence
and then ʼtwas fresh in murmur (as you know
wtwhat great ones doe yethe less will prattle of)
ytthat he did seek yethe Love of fair Olivia.
a vertuous maid yethe daughter of a count
That dy’d some twelvemonths since, then leaving her
in yethe protection of his son her brother,
who shortly after dy’d: for whose dear love
They say she hath abjurd the sight
and company of men.
there is a faire behaviour in thee captain
and tho ytthat nature with a beauteous wall
doth oft enclose black treason: yet of thee
I will beleeve thou hast a mind that suites
with this thy fair and outward character.
I pray thee (and I’ll bounteously pay thee)
conceal me wtwhat I am, and be my ayd
for such disguise as haply may become
the form of my intent. I’ll serve this duke
Thou shalt prefer me as an eunuch to him
it may be worth thy paines: for I can sing,
and speak to him in many sorts of musick
which will allow very worth his service.
wtwhat else may hap to time I will permit only shape thou thy silence to my wit
Confine? i’ll confine my selfe no finer then I am
If these cloaths be not good enough to drinck in, and
these boots too lett them hang themselves in their straps.
ytthat quaffing and drincking will undoe you; I heard
my lady talk of it yesterday, and of a foolish knight
ytthat you brought in here one night to be her woer.
fye ytthat yolull say so: he plays oth violl de
gamgambois, bois, and speakes three or four languages without book, and hath all yethe good gifts in nature.
he hath indeed; he’s almost a natural, for
bebesides sides that heʼs a fool, heʼs a great quareller, and but ytthat he hath yethe gift of a coward to allay yethe gust he hath
in quarelling, he would quickly have the gift of a grave
with drinkink healths to my niece, I’ll drinck to
her as long as theres any drinck in Illiria and passage
in my throat: heʼs a coward and a coystrill that will
not drinck to my niece, till his brains turn oth toe
like a parish top: here comes SrSirAndrew
wherefor are these things hid, wherefor have they the
curcurtain tain before them? are they like to take dust like MrsMistress Mals picture, why dost thou not goe toth’ Church in a
GalGalliard? liard? and come home in a caranta? my very walk
should be a jig I would not walk but in a sinka-pace
wtwhat dost thou mean, I did thinck by yetheconstitution of
thy leg, ytthat it was formd under yethe Star of a Galliard
stand you awhile aloofe Cæsario
thou knowst no less but all: I have unclaspd
to thee the book even of my secret soule.
Therfor good youth address thy gates unto her
be not denide access stand att her doores
and tell them there thy fixed foot shall stand
till thou have Audience
oh then unfold the passion of my love
surprize her with discourse of my dear faith
it will become thee well to act my woes
she will attend it better in thy youth, t then in a nuntios of more grave aspect.
Deer Lad beleeve it.
For they shall yet belye thy happy years
that say thou art a man: Dianas lip
is not more smooth and rubious: thy small pipe
is as the maidens organ, shrill & sharp all is semblative a womans part
I know thy constellation is right apt
for this affair. some 4 or 5 attend him.
all if you will: for I my selfe am best
5
wnwhen least in company: prosper well in this
and thou shalt live as freely as thy Lord
to call his fortunes thine.
nay either tell me where thou hast been or
ill not open my lips so wide as a bristle may enter,
in yethe way of excuse; my Lady will hang thee for thy absence.
wit ifʼt be thy will put me into good fooling: those
wits thinck they have thee oftentimes prove fooles; and
I ytthat am sure I lack thee may pass for a wise man. for
wtwhat sayes Quinapalus? better a witty foole then a foolish
wit. God bless thee Lady.
two faults Madona ytthat drink and good counsell will
mend: for give yethe foole drinck and then he is not dry
bid yethe dishonest man mend his life, if he mend he is
no longer dishonest; if he cannot let yethe Botcher mend
him; any thing ytsthat’s mended is but patchd; vertue ytthattranstransgresses gresses is but patchd with sin and sin ytthat amends is but
patchd with vertue. if ytthat this simple syllogisme will
selrve, so if not wtwhat remedy? as there’s no true cuckold
but calamity, so beauty’s a flower; yethe Lady bid take
away yethe foole, I say again take her away.
God send you sir a speedy infirmity to increase yryour folly; SrSir Toby will be sworn ytthat I am no fox but
he will not pass his word for 2 pence ytthat you are no foole.
fetch him of I pray you he speaks nothing but
madmadman: man: fye on him. Goe you Malvolio. if it be a suit from
yethe Duke I’m sick or not at home; wtwhat you will to
disdismiss miss him. (Exit Mal:
thou hast spoke for us madona as if thy eldest fool son
should be a fool: whose scull Jove cram with brains
Exnter Sir Toby one of thy kindred hath a most weak pia mater.
madam yond young fellow swears he will speak wthwith you. I told him you were sick, he takes on him to
ununderstand derstand so much, and therfor comes to speak with you.
I told him you were asleep, he seems to have a
foreknowforeknowledge ledge of ytthat too, and therfore comes to speak to you. what
is to be sayd to him Lady, heʼs fortify’d against any denyal?
not yet old enomugh for a man nor young enough
for a boy: as a squash is before tis a pescod, or a codling
when tis almost an apple: tis with him in standing
water between a man and a boy. he is very wellfavo-wellfavored red and speaks shrewishly. one would thinck his
mo-mothers thers milk were scarce out of him.
most radiant exquisite and unmatcheable beauty
I pray you tell me if this be yethe Lady of yethe house for I never saw
her. I would be loath to cast away my speech: for besides
ytthat it is excellently well pen’d, I have taken great fpainstopains to con it. good beauty’s let me sustain no scorn I am very
comptible even to the least sinister usage.
most certain if you are sheyoushe you doe usurp your selfe
for wtwhat is yours to bestow is not yours to reserve: but this is
from my commission: I will on with my speech in yryour praise & then shew you yethe heart of my message.
tis yethe more like to be faigned, I pray you keep it in.
I heard you were sawcy at muy gates, and allow’d your
apapproach proach rather to wonder at you then to hear you. If you
be not mad be gone: if you have reason be brief: tis not
ytthat time of yethe moon wthwith me to make one in such a Dialogue
it alone concerns yryour ear, I bring no overture of war
no taxation of homage; I hold yetheOliveinOlive in my hand: my
words are as full of peace as matter.
yethe rudeness ytthat appeard in me I learnd from my
enenterteinment. terteinment.wtwhat I am and wtwhat I would are secrets; to
your ears divinity to any others prophanation.
have you commission from yryourLdLord to negotiate wthwith my face?
you are now out of yryourtext; but we will draw yethe courtain &
shew you the picture. look you SrSir such a one I was this present.
is’t not well done?
‘tis beayuty truly blent whose red & white
natures own sweet, & cunning hand laid on:
Lady, you are yethe cruellst she alive
if you will lead these graces to the grave
and leave yethe world no copy.
oh Sir I will not be so hard hearted I will give out divers
scedules of my beauty. it shall be inventoried, and ever particle
and utensill, labeld to my will: as item item 2 lips
indifindifferent ferent red, item 2 gray eyes wthwith lids to them; item one neck
one chin and so forth. were you sent hither to praise me?
I see you wtwhat you are, you are too proud
but if you are yethe devill you are fair
my LdLord and Master loves you: o such love
could be but recompensd tho you were crown’d
yethe non-pareil of beauty.
yryourLdLord Does know my my mind I cannot love him
yet I suppose him vertuous know him noble
of great estate, of fresh & stainless youth.
in voices well divulgd, free, leardnd and valiant
and in dimensiõon and the shape of nature
a gracious person; but yet I cannot love him
He might have took his answer long agoe.
make me a willow cabbin at yryour gate
and call upon my soul wthinwithinyryour house
write loyall cantons of contemn’d love
and sing them lowd even in yethe dead of night,
Holla your name to yethe reverberate hills
and make yethe babling gossip of yethe ayre
Cry out Olivia; o syou should not rest
between yethe elements of ayre and earth
But you should pitty 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 thanck you for yryour pains; spend this for me.
I am no seed* poast lady; keep your purse
my master not my selfe wants recompence
love make his heart of flint ytthat you shall love
and let yryour fervour like my masters be
plac’t in ccontempt: farewell fair est cruelty
(exit
wtwhat is yryour parentage?
above my fortunes, yet my state is well
I am a Gentleman. I’ll be sworn thou art.
thy tongue thy face thy limbes, action and spirit
doe give thee fivefold blazon. not too fast: soft, soft.
unless yethe master were the man. how now?
even so quickly may one catch the plague?
methincks I feel this youths perfections
9
to creep in at my eyes. well, let it be.
wtwhat hoa Malvolio.
run after that same peevish messenger
yethe Dukes man: he left this ring behind him
would I or not: tell him, I’ll none of it
desire not to flatter with his LdLord nor hold him up with hopes, I am not for him.
If ytthatyethe youth will come this way to morrow
I’ll give him reasons forʼt: hye the Malvolio.
I doe I know not wtwhat, and fear to find
my eye too great a flatterer to my mind
Fate shew thy worst, our selves we do not owe.
wtwhat is decreed must be: and be this so.
by yryour patience no.yethe malignancy of my fate might
perchance distemper yours, there I crave of you yethe leave to bear my evills alone; it were abada bad recompence of your
love to lay any of them upon you.
you must know of me then Antonio, my name is
Sebastian (which I cald Roderigo). my father was that
SebasSebastian tian of Messaline whom I know you have heard of. he left
behind him, my selfe & a sister born both at one hour
if yethe heavens had pleased, would we so had ended. But you
Sir altred ytthat, for some few houres before you took me from
the breach o’th’ sea was my sister drownded
yethe Gentleness of all the gods goe with thee;
I have many enemies in Orsino’s Court
else would I wvery shortly see thee there:
But come wtwhat may I doe adore thee so
ytthat Danger shall seem sport, and I will goe
She returns this ring to you, Sir, you might have
spaspared red me yethe pains to have taken it away your selfe. she adds
moreover ytthat you should put yryourLdLord into a desperate assurance
she will none of him. And one thing more, ytthat you never be
so hardy to come again in his affaires, unless it be to
rereport port your LdsLordʼs taking of this: recieve it so.
come sir you peevishly threw it att her, and her will
is it should be so returnd: if it beworthbe worth stouping for there it
lyes in yryour eye : if not, be it his ytthat finds it (throws it down & Exit.
I left no ring wthwith her, wtwhat means this Lady?
fortune forbid my outside have not charmd her:
She took good view of me, indeed so much
ytthat sure methought her eyes had lost her tongue,
for she did speak in starts distractedly.
She loves me sure yethe cunning of her passion
10
invites me in this churlish messenger.
none of My LdsLordʼs ring! why he sent her none?
I am yethe man, if it be so as’t is
poor lady she had better love adreama dream:
Disguise I see thou art a wickedness
wherein yethe pregnant enemie does much.
how easie is f it for yethe proper false
in womens waxen hearts to set their formes
alas our frailty is yethe cause not we
for such as we are made if such we be:
how will this fadge? My Master loves her dearly
and I (poor Monster) fond as much on him
and she mistaken seems to doat on me:
wtwhat will become of this? as I am man
my state is desperate for my masters love
as I am woman now alas yethe day
wtwhatbootless sighs shall poor Olivia breath?
o time thou must vuntangle this not I
it is too hard a knot for me to unty.
by my troth yethe foole has an excellent breast. insooth thou
thou was’t in very gracious fooling last night, when thou
spokst of Pigrogromitus, of the Vapians passing yethe Equinoctial
of Queubus: ‘twas very good I faith, I sent thee 6 pence for thy
lemmon, hadst thou it?
O mrsMistress mine where are you roaming
o stay and hear your true loves coming,
ytthat can sing both high and low.
trip no further pretty sweeting
Journeys end in lovers meeting
Every wise mans son doth know.
wtwhat is love ‘tis not here after
present mirth hath present laughter
wtswhat’s to come is still unsure
in delay there lyes no plenty
then come kiss me sweet and twenty
youth’s a stuff will not endure.
to hear by yethe nose is dulcet in contagion. but shall
we make yethe welkin dance indeed? shall we rouze yethe night
ho owle in a catch, ytthat will draw 3 soules out of one weaver?
Shall we doe ytthat?
My Lady’s a Catayan, we are politians, malvolio’s a peg
as-a-ramsey, ramsey,and three merry men be we. am not I a consanguinious?
tilly vally. Lady! There dwelt a man in Babylon Lady Lady
my masters are you mad? or wtwhat are you? have you no
wit manners nor honesty but to gabble like tinkers at this
time a night? doe you make an alehouse of my Ladies, ytthat you
squeak out your Catches without any mitigation or remorse
of voice? is there no respect of place, persons or time in you?
Sir Toby I must be round with you. My Lady bid me tell
you ytthat tho she harbors you as her kinsman, she’s nothing allied to
yryour disorders. I you can seperate yryour selfe from yryour misdeameanors
you are still welcome: if not if you please to take leave of
her. She’s very willing to bid you farewell.
Sweet SrSir Toby be patient for this night: since yethe youth
of the counts was this day wthwith my lady she’s much out of quiet: for MrMaster Malvolio let me alone with him: If I doe not gull him into an
ayword, and make a common recreation of him, doe not thinck
I have wit enough to lye straight in my bed: I know I can do it.
he’s yethep best perswaded of himselfe, so cramd (as he thincks)
with execelelencies, that it is his ground of faith, ytthat all ytthat look on
him love him: and on ytthatvice my revenge will find notable
cause to work.
I will drop in his way some obscure epistles of love,
wher-wherin inyethe colour of his beard, yethe shape of his legg, yethe manner of
his gate he shall feel himselfe most feelingly personated. I can
write very like my Lady, on a forgotten matter we can scarce make distinction of our hands.
sport royall I warrant you, I know my Phisick will work—
with him, I will plant you two and yethe foole, where he shall
find yethe letter: for this night to bed and dream on the event (exit.
give me some musick; now good morrow friends
now good Cæsario, but ytthat piece of song
ytthat old and antick song we heard last night
methought it did releeve my passion much
more then light ayres, and re collected terms
of the most brisk and giddy paced times
come, but one verse
Seek him out and play yethe tune the while
(musick playes Come hither boy, if ever thou shalst love
in yethe sweet pangs of it remember me
for such as I am all true lovers are,
unstaid and skittish in all motions else
save in the constant image of the creture
ytthat is belovd; how dost thou like this tune?
too old by heaven. let still the woman take
an elder then her selfe, so weares she to him
so sways she levell in her husbands heart:
for boy howere we do praise our selves
our fancy’s are more giddy, and unfirme,
more longing wavering, sooner lost & worne,
Then womens are
then let thy love be yonger then thy selfe
or thy affection cannot hold the bent:
for women are as Roses, whose fair flower
being once displaid doth fade that very hour.
o fellow come the song we had last night:
mark it Cæsario it is old and plain
the spinsters and the knitters in the sun
and yethe free maids that weave their thred wthwith bones
doe use to chant it. it is silly truly,
and dally’s with yethe innocence of love
like yethe old age
now yethe melancholly god protect thee, and thy taylor make
thy doublet of changeable taffata, for thy mind is a very opalell.
Fare you well Sir. (exit.
let all yethe rest give place; once more Cæsario
get thee to yond same soveraigne cruelty
tell her my love more noble then the world
prizes not quantity of dirty lands
yethe parts ytthat fortune had bestow’d upon her but tis ytthat miracle and queen of Gems
that nature pranks her in attracts my soule
I fear you must
Say ytthat some lady as perhaps there is
hath for your love as great a pang of heart
as you have for Olivia: you cannot love her:
you’ll tell her so; must she not then be answer’d?
there is no womans sides
can bear yethe beating of so strong a passion
as love doth give my heart: no womans heart
so big to hold so much, they lack retention.
alas their love may be calld appetite
no motion of yethe liver, but yethe pallat;
ytthat suffer surfett cloyment and revolt,
but mine is all as hungry as the sea,
and can digest as much, make no p compare,
between ytthat love a woman can bear me
& ytthat I owe Olivia.
too well wtwhat love women to men may owe :
infaithin faith they are as true in heart as we.
my father had a daughter lov’d a man
as it might be perhaps, were I a woman
I should yryourLdLordship.
a blanck my LdLord She never told her love
but lett concealment like a worme i’th bud
Feed on her damask cheeke: she pind in thought
and with a green and yellow melancholly
she sate like patience on a monument
smiling at grief. was not this love indeed?
our showes are more then will; for still we prove
much in our vows but little in our love.
Get you all 3 into yethe Box tree; Malvolios coming
down this walk, he has been yonder i’th sun practising
behabehaviour viour to his own shadow this halfe hour: osbserve him
for yethe love of mokery: for I know this letter will make a
concontemplative templative ideiot of him: Close in yethe name of jeasting;
Lye thou there, for here comes yethe trowt ytthat must be caught wthwith tickling. (Exit Enter Malvolio
tis but fortune, all is fortune; maria told me once
she did affect me, and I have heard her selfe come thus near
that should she fancy it should be one of my complexion
besides She uses me with a more exalted respect, the anyanyone one else ytthat follows her. wtwhat should I think on’t?
7 of my people wthwith an obedient start goe for him
I frown yethe while, and perhaps wind up my watch or play
wthwith some rich yjewell: toby approaches, and cutsies to me.
by my life this is my Ladys hand; These be her very C’s her
U’s and her T’s; and thus she makes her great P’s. it is in
concontempt tempt of question her hand
To the unknown belov’d this and my good wishes. Her
very Phrases: By yryour leave wax: soft and yethe impressure of her Lucrece
with which She uses to seal: tis my Lady, to whom should thisbethis be?
I may command where I adore: why She may command
me, I serve her, She’s my Lady; why this is evident to any
forformall mall capacity; but wtwhat should that alphabeticall position
in yethe end portend, if I could make ytthat resemble something in
me! Softly; M,A,O,I.
M,O,A,I, al these letters are in my name; soft here
follows prose: If this fall in to thy hands revolve in my
starrs I am above thee, but be not affraid of greatness: some
are born great, some atchieve greatness, and some have–
greatness thrust upon them. thy fates open their hands, let
thy blood and spirit embrace them and to inure thy selfe to
wtwhat thou art like to be, cast thy humble slough, and appear
fresh. be opposite to a kinsman, surly wthwithservants. She thus
advises thee that sighs for thee; remember who commended
thy yellow stokings, and wishd to see thee alwaies
crossgar-crossgarter’d
ter’d: I say remember goe to thou’rt made, if desirst to be so
if not let me see thee a Steward still a fellow of servants and
not worthy to touch fortunes fingers fare well. This is open.
I will be proud I will read politik authors I will baffle Sir
Toby I will wash of gross acquaintance, I will be point devise
yethewvery man. I do now fouole my selfe to let imagination jade
me; for every reason excites to this that my Lady loves me. She
did commend my yellow stockings, She did praise my legg
being cross garterʼd, and in this she manifests her selfe to my
love, and wthwith a kind of injunction, drives me to these habits
of her liking. I thanck my stars I am happy: I will strange stout, in yellow stockings and cross gartered, Jove and my
starrs be praisʼd. Here’s yet a postcript
”Thou canst not chuse but know who I am. if thou
enenterteinst
” terteinst my love, let it appear in thy smiling, thy smiles
” become thee well; therfor in my presence still smile, dear
” my sweet I pray thee.
Jove I thank thee I will smile I will doe every thing ytthat thou
wouldst have me (exit.
if then you will see the fruits of yethe sport, observe his first
apapproach proach before my Lady: he will come before her in yellow
stock-stockings ings and ’tis a colour she abhors, and crossgarterd, a fashion
she detests, and he will smile upon her, which will now be so
unsutable to her disposition being so addicted to melancholly
as she is, ytthat it cannot but turn him into a notable contempt–
if you will see it follow me ⸺
not so sir, I doe care for something: but in my conscience
I doe not care for you: if ytthat be to care for nothing I would it
would make you invisible.
foolery sir does walk about the orb like the sun it shines
every where. I should be sorry sir but ytthatyethe fool should be as
oft wtwhatyryourMrMaster as with my MrsMistress: I thinck I saw yryour wisdom there.
my lady is within sir. I will construe to her whence you
come andwtwhat you are sir, but wtwhat you would, is out of my
welwelkin, kin, I might say Element but yethe word is oreworne. (Exit.
this fellow’s wise enough to play yethe foole
and to doe that well craves a kind of wit
he must observe their mood on whom he jests
the quality of persons and of time;
and like yethe Haggard check at every feather
17
ytthat comes before his eye. this is a practice
as full of labour as a wisemans art
for folly ytthat he wisely shows is fit
But wise mens folly faln quite taints their witt
I will answer you with gates and entrance, but we are
prevented.
Enter Olivia and her Gentle woman most accomplishʼd lady yethe heavens rain odours on you.
o by yryour leave I pray you
I bid you never speak again of him
but would you undertake another suite
I had rather hear you to sollicite it
then musick from yethestarrs
give me leave beseech you: I did send a ring in chace of you. so did I abuse
my selfe my servant and I fear you too:
under yryour hard construction must I sit
To force ytthat on you in a shamfull cunning
which you knew none of yours. wtwhat might you thinck?
(have you not set my honor at yethe stake
and baited it wthwith all yethe unmzled thoughts
a tyranous heart can thinck? to one of your recieving
enough is shown; a Cypress not a bosom
Hides my poor heart so let me hear you speake.
why then methincks tis time to smile agen
o world how apt yethe poor are to be proud?
If one must be a prey, how much is’t better
to fall before yethe lion then yethe wolfe. (Clock strikes yethe clock upbraids me wthwithyetheloss of time.
Be not afraid good youth, I will not have you
and yet when wit and youth is come to harvest
your wife is like to reap a proper man:
there lyes yryour way due west.
o wtwhat a deale of scorn lookes beautifull?
in yethe contempt and anger of his lip
a murdrous guilt shews not it selfe more soon
soon then love ytthat would seem hid: loves night is noon
Cæsario by yethe roses of the spring
By maidhood truth and honour every thing I love thee so ytthat mawgre all thy pride
nor wit nor reason can my passion hide
by innocence I swear, and by my youth
I have one heart one bosom and one truth
and ytthat no woman hath nor never none
shall mistriss be of it save I alone
and so adieu good madam never more
will I my masters tears to you deplore.
she did shew ytthat kindness only to exasperate you to awake yryour dormouse valor to put fire in yryour heart, and brimstone in yryourliver; but
since TYou have let ytthat occasion slip you are now saild into yethe north of my Ladys opinion, where you will hang like an iseicle
on a Dutchmans beard, unless you doe redeem it by some laudable
attempt either of policy or valour.
why then build me thy fortunes upon yethe basis of
va-valor;
lor; Chalenge the Dukeʼs youth to fight with him. I Assure thee
there’s nothing can prevail more with a woman then yethereputareputation tion of valour.
yes. goe write it in a martiall hand, be curst and brief
it is no matter how witty so it be eloquent and full of invention.
let there be gall enough in thy ink thou write wthwith a goose pen, no
matter: about it.
never trust me then; and by all stir on yethe youth to an answer.
I thinck Oxen and wainropes cannot hall them together. for SrSir Andrew; open him and if you find so much blood in him as will
clog yethe foot of a fly, I’ll eat yethe rest of the anotomy.
if you desire the spleen and will laugh yryour self into
stitstitches =ches follow me; yond Gul malvolio is turnd Heathen, for there
is no Christian ytthatdesires to be sav’d by beleeving rightly, can
ever beleeve such impossible passages of grossness. He’s in yellow
stockings.
most villanously he do’s every part of the letter that I
dropt him. He do’s smile his face into more lines, then is in a new
19
map, wthwithyethe augmentation of the Indies. I can hardly forbear
from hurling thins at him. My Lady will strike him; if she doe
he’ll smile and take’t for a great favour.
I could not stay behind s you my desire
(more sharp then filed steel) did spur me forth.
and not all love to see you (though so much
as might have drawn one to a longer voiage)
But jealousie wtwhat might befall yryour travell
bring 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 poursuit
my kind Antonio
I can no other answer make but thancks
But were my worth as is my Conscience firm
you should find better dealing: what’s to doe?
shall we goe see the reliques of yethe towne?
would you’ld pardon me.
I doe not without danger walk these streets.
once in a seafight gainst yetheDuke his gallys
I did some service, of such note indeed.
That were I tane here it would scarce be answerd.
albeit yethe quality of the time and quarrell
might well have given us bloody argument:
it might have since been answered in repaying
wtwhat we tooke from them which for trafficks sake
most of citty did. only my selfe stood out
for which if any know me at this place
I shall pay deer
I have sent after him he says he’ll come
how shall I feast him? wtwhat bestow of him?
for youth is bought more of then begd or borrow’d.
I speake too loud: where’s Malvolio? he’s sad and Civill
and suites well for a servant with my fortunes,
where is Malvolio
sad lady I could be sad
This does make some obstruction in yethe blood
This crossgartering, but what of that?
If it please the eye of one it is with me as yethe very true sonnet
is please one and please all.
not blacke in my mind tho yellow in thymy stockings. it did
come to his hands and commands shall be executed. I thinck
we doe know the sweet Roman hand.
ho ho: doe you come near me now, no worse man to looke
then to me then SrSir Toby. this concurs directly with the letter
she sends himytthat I may appear stubborn to him, for she
inincites cites me to ytthat in her letter. Cast thy humble slough says she
be opposite with a kinsman, surly with servants, put thy selfe
into yethe trick of singularity: and consequently sets down yethe manner how: as a sad face a slow tongue a reverend cariage.
yethe habit of some sir of note and so forth. and when she went
away let this fellow be lookt to; fellow? not Malvolio nor
after my degree; but fellow. wtwhat can be said? nothing ytthat can be
can come between me and yethe full object of my hopes. well
Jove not I is the doer of all this, and he is to be thanckt for’t
come we’ll have him in a dark room and bound. my —
niece is in yethe beliefe already
ytthat he’s mad; we may carry it thus
for our pleasure & his pennance till our very pastime tyrd
out of breath, prompt us to have mercy on him: and at ytthat time we’ll bring thee to the bar, and crown thee for a finder
of madmen: but see, see.
fare thee well and God have mercy on one of our soules
He may have mercy on mine but my hope is better, and so look
to thy selfe. thy friend as thou usest him and thy sworne
enemie Angdrew Agewcheek. If this letter move him not his
leggs cannot. I’ll give it him.
Go SrSir Andrew scout me for him at yethe corner of the
orchard wall like a bum-baily: so soon as thou seest him
draw and swear horribly: for it comes to pass oft that
a terrible oath, wthwith a swaggering accent gives manhood —
more approbation then ever proof himself would have
got him. Away.
now will not I deliver his letter: for
yethe behavior of
yethe young Gentleman, gives him out to be of good e capacity:
yethe employment betwixt yethe Duke and my niece confirmes
no less. Therfor this letter being so excellently ignorant
will breed no terror in yethe youth. But I will deliver his
chalchallenge lenge by word of mouth, set upon SrSir Andrew some notable
report of valor, and drive the gentleman, into a most
hihideous deous opinion of his rage, skill fury and impetuosity. This
will so fright them both, that they will kill one anothe by
yethe looke like Cockatrices.
I have said too much unto a heart of stone;
Thereʼs something in me that reproves my fault:
But such a headstrong potent fault itisit is That it but mocks reproofe.
hear wear this jewell for me tis my picture:
refuse it not it hath no tongue to vex you
and I beseech you come again tomorrow.
wtwhat shall you ask of ‸meytthat I’ll deny
that honour savd may upon asking give
that defence thou hast betake thee tooʼt: of
wtwhat nature yethe wrongs are thou hast done him I know not: but thy interceptor
full of despight, attends thee at yethe Orchard end dismount thy
tuck for thy assaylant is quick skillfull and deadly.
he is knight dubd with unhatchd rapier. souls and bodies
hath he divorc’d three, and his anger is so implacable that
satisfacsatisfaction tion can be none, but by pangs of death and sepulcher. hobnob
is his word: givʼt or takeʼt
he is indeed sir
yethe most skillfull bloody & fatall
oposite that you could have met in any part of illiria. will
you walk towards him I’ll make your peace with him if I
can.
plague on him if I had thought he had bin valiant
or cunning at fence Iʼd have seen him damd before I’d have
challeng’d him. if he’ll let it pass I’ll give him my horse.
I’ll make the motion to him: stand here make a good
shew ont. Marry I’ll ride
yryour horse as well as I ride you.
Enter Fabian & Viola to Fab: I have his horse to take up the quarrel, I have
perperswaded swaded him the youth’s a divell.
— to Viola. thereʼs no remedy sir he will fight with you for
his oaths sake, therfor draw for
yethe supportance of his vow
he swears he will not hurt you.
wtwhat money sir
for yethe fair kindness you have shewd me here
and part being prompted by
yryour present trouble.
out of my lean and low ability
I’ll lend you something: my having is not much.
I’ll make division of the present with you
Hold thereʼs halfe my Coffer.
will you deny me now
is’t possible that my deserts to you
can lack perswasion? doe not tempt my misery
least that it make me so unsound a man,
as to upbraid you with those kindnesses
ytthat I have done for you
this youthytthat you see here
I snatchd one halfe out of
yethe jaws of Death
releevd him
wthwith such sanctity of Love
and to his image
wchwhich me thought did promise
most venerable worth I did devotion.
but oh how vild an Idol proves this god
Thou hast Sebastian done good feature shame.
vertue is beauty but
yethe beauteous evill
are empty trunkes ore flourish’d by
yethe divell
Methincks his words doe from such passion fly
ytthat he beleeves himselfe so doe not I
prove true imagination o prove true
ytthat I deer Brother be now tane for you.
he nam’d Sebastian: I my brother know
yet living in my glass: even such, and so
in favour was my brother, and he went
still in this fashion colour ornament
for him I imitate oh if it prove
Tempests are kind, and saltwaves fresh in love. (Exit
Vent my folly! he’s heard ytthat word of some great man &
now applys it to a foole. I am afraid this great lubber yethe world
will prove a cockney: I pray thee now ungird thy strangeness, &
tell me wtwhat I shall vent to my Lady? shall I vent to her ytthat thouʼrt
a coming.
nay lett him alone I’ll goe another way to work wthwith him.
I’ll have an action of Battery against him, tho I struck him.
first tis tno matter for that.
will it be ever thus? ungracious wretch
Fitt for yethe mountaines and yethe barbarous caves
where manners nere were preachd, out of my sight.
Be not offended dear Cæsario,
Rudesby be gone. I prathee gentle friend
let thy fair wisedome not thy passion sway
in this uncivill and unjust extent against
against thy peace. Goe with me to my house
and hear thou there how many fruitless pranks
This Ruffian hath botchd up, that thou there by
mayst smile at this: Thou shalt not chuse but goe
doe not deny beshrew his soule for me
he started one pour soule of mine in thee.
wtwhat rellish is in this? how runs the stream?
or I am amad, or else this is a dreame
let fancy still my sence in lethe steep
if it be thus to deream still lett me sleep.
why it hath bay windows as transparent as baricado’s
and yethe clear stones toward yethe south north are as lustrous as
Ebony: and complainest thou of obstruction?
I say this house is as Dark as ignorance tho ignorance
be as dark as hell. I am no more mad then you are, make -
tryall there of in any constant Question.
fare thee well: remain thou still in darkness, thou —
shalt hold yethe opinion of Pythagoras, ere I will allow of thy
witts, and fear to kill a woodcock for fear to dispossess
thy grandam of her house, fare thee well.
to him in thy own voyce, and bring me word how —
thou findst him: I would wee were all well delivred of this
knaveknavery. ry. I would he were free for I am now so farr in offence with
my niece, ytthat I cannot pursue wthwith any safety this sport to the —
up shotupshot. come by and by to my chamber. (exit
good fool as ever thou wilt deserve well at my hand, help
me to a candle and pen inck and paper. As I am a
GentleGentleman, man, I will live to be thanckfull to thee for’t
I am gone sir, and anon sir
I’ll be with you again
in a trice like to the old vice
your need to sustaine.
who with dagger of lath, in his rage and his wrath
Cryes ah ha to yethe devill.
like a mad lad, pair they nailes dad
Adieu good man divell.
This is yethe ayre that is yethe glorious sun
This pearl she gave me, I doe feel’t and see’t
and though ’tis wonder that enwraps me thus
yet tis not madness. where’s Antonio then?
I could not find him at the Elephant
yet there he was and there hIe found this credit
that he did range the town to find me out
His counsell now might doe me golden service
for tho my soul disputes well with my sence
that this may be some error but no madness
yet doth this accident and flood of fortune
so far exeed all instance all discourse
ytthat I am ready to distrust miy eyes
and wrangle wthwithyethe reason ytthat perswades me
to any other trust but that I am mad,
or else the ladys mad; yet if twere so
she could not sway her house command her servants
take and give back afairs wthwith such dispanttche as I percieve she does: theres something in’t
Blame not this hast of mine if you mean well
now goe with ‸me and with this holy man
into yethe chantry by. and there before him
and underneath ytthat consecrated roofe
Plight me yethe full assurance of yryour faith.
ytthat my most jealous and too doubtfull soul
may live at peace. he shall conceale it
till you are willing it shall come to note
wtwhat time we will our celebration keep
according to my birth wtwhat doe you say?
marry sir they praise me and make an ass off me
now my foes tell me plainly I am an ass, so that by my foes I
profit in yethe knowledge of my selfe and by my friends I am
a-abused
you can fool no more mony out of me at this throw, if
you will let yryour Lady know I am here to speake with her, and —
bring her along with you it may awayke my bounty further.
marry sir Lurllaby to your bounty till I come againe, I
goe sir but I would not have you to thinck ytthat my desire of
hahawving wving is yethe sin of covetousness. but as you say sir lett yryour bounty
take an nap, I will awake it anon
(Exit. Enter Antonio and Officers.
ytthat face of his I doe remember well
yet when I saw it last it was besmeard
as black as vulcan in yethe smoke of war:
a baubling vessell was he captain of
for shallow draught and Bulk unprizable
wthwithwchwhich such scathfull grapple did he make
with yethe most noble bottom of our fleet
ytthat very envy and yethe tongue of loss
cry’d fame and honour on him: wtswhat’syethe matter.
Orsino ysthis is ytthat Antonio
ytthat tooke yethe Phœnix and her fraught from candy
and this is he ytthat did yethe tyger board
when yryour young nephew titus Lost his legg
Here in yethe streets desperate of shame and state
in private brable we did apprehend him
notable pyrate thou saltwater thiefe
wtwhat foolish boldness brought thee to their mercyes
whom thou in terms so bloody and so dear
hast made thy enemies.
Orsino, noble sir
Be pleased ytthat I shake of these names you give me,
Antonio never yet was thief, or pyrate,
Though I confess on base and ground enough
Orsinos enemye. a witchcraft drew me hither:
ytthat most ungratefull boy there by yryour side
from yethe rude seas enragd and foamy mouth,
did I redeem, a wrack past hope he was
His life I gave him and thereto did ad my love, without retention, or restraint,
all this in dedication for his sake
did I expose my senlfe (pure for his love)
Into yethe danger of this adverse town,
drew to defend him when he was beset:
where being apprehended, his false cunning
(not meaning to partake with me in danger)
taught him to face me out of his acquaintance
and grew a 20 years removed thing
while one would winck: denide me miy own purse
which I had recommended to his use not h not* halfe an hour before.
wtwhat to perverseness? you uncivill Lady
to whos ungrate and inauspicious Alters
my soul yethe faithfullest Offerings hath breath’d out
that ere devotion tender’d. wtwhat shall I doe?
why should I not (had I yethe heart to doe it)
like to th’ ægyptian thief, at point of Death
Kill wtwhat I Love: but hear me this:
since you to non regardance cast my faith
and ytthat I partly know yethe instrument
ytthat screws me from my true place in yryour favours
live you yethe marble breasted tyrant still:
but this yryour minion, whom I know you love
and whom, by heaven I swear, I tender dearly
Him will I tear out of ytthat cruel eye
where he sits crowned in his masters spight.
Come boy with me my thoughts are ripe in mischief
I’ll sacrifice yetheytthat I doe love to spight a ravens heart within adovea dove
after him I love
more then I love these eyes, more then my life
more by all mores then ere I shall love wife.
If I doe feign you wittnesses above
punissh my life for tainting of my love.
alas it is the baseness of thy fear
that makes thee strangle thy propriety:
fear not Cæsario take thy fortunes up
be ytthat thou knowst thou art, and then thou art
as great as ytthat thou fearst.
Enter Priest O welcome father. fa* Father I charge thee by thy reverence
here to unfold, tho lately we intended
to keep in darkness, wtwhat occasion now
Reveals before tis ripe, wtwhat thou dost know of me hath lately past between this youth and me.
a contract of eternall bond of love
Confirm’d by mutuall Joynder of yethe hands
Attested by yethe holy close of lips
strengthned by enterchangment of your rings
and all yethe ceremony of this compact
seald in my function by my testimony
since when my watch hath told me, toward my grave
I have travelld but 2 hours
I am sorry madam I have hurt yryour kinsman
but had it been yethe brother of my blood
I could have done no less with wit and safety.
you throw a strange regard upon me, and by that
I doe percieve it hath offended you.
pardon me sweet one, even for the vowes
we made each other but so late agoe.
doe I stand there
I never had a brother
nor can there be a deity in my nature
of here and every where. I had a sister
whom yethe blind waves and surges have devour’d.
of Charity, wtwhat kin are you to me?
wtwhat countryman? wtwhat name? wtwhat parentage
of Messaline; Sebastian was my father
such a Sebastian was my brother too:
so went he suited to his wathry tombe.
if spirits can assume both forme and suite
you come to fright us.
if nothing letts to make us happy both
but this my masculine usurpd attire:
doe not embrace me till each circumstance
of place time fortune doe cohere and jump
ytthatI am Viola, which to confirm
I’ll bring you to a captain in this town
where lye my maiden weeds: by his help I was preservd to serve this noble count:
All yethe occurrence of my fortune since
so comes it madam you have been mistooke
but nature to her by ass drew in ytthat you would have been contracted to a maid
nor are you therein any whit decieved
you are betroth’d both to a maid and man
be not amaz’d; right noble is his blood
if this be so as yet yethe glass proves true
I shall have share in this most happy wrack
boy thou hast said to me a 1000 times
Thou never would love woman like to me.
and all those sayings I will overswear
and all those swearings keep as true in soule
as doth ytthat orbed continent the fire
that severs day from night.
yethe Captain ytthat did bring me first on shore
hath my maids garments: he upon some action
is now in durance at Malvolios suite
a Gentleman and follower of my Ladyes.
he shall enlarge him. fetch Malvolio hither
and yet alas now I remember me
they say poor Gentleman he’s much distract.
Enter Clown and Fabian. A most exacting frenzy of my own
from my remembrance clearly banish his
How does he sirrah?
truly madam he holds belzebub at yethe staffs end as well as a-
man in his case may doe: he has writ here a letter to you, I should
have given’t you sooner, but because a madmans Epistles are
no Ghospells, so ’tis no matter when they are deliverd.
reads – :
by yetheLdLord
madam you wrong me and yethe world shall
shall know it. I have yethe benefit of my senses as well as yryour Ladyship. I have
your own letter ytthat induc’d me to yethe semblance I put on. with yethe which I doubt not to doe my selfe much right, or you much shame:
I leave my duty a little unthoughts of and speak out of my injury.
yethe madly usd Malvolio.
see him delivrd fabian, bring him hither.
my LdLord so please you these things further thought on
to thinck me as well a sister as a wife
one day shall crow th’alliance on’t so please you
here at my house and at my proper cost.
madam I am most apt to embrace yryour offer:
yryour master quits you; and for yethe service done him
somuchso much beyond yethe mettle of your sex
so far beneath your soft and tender breedindg and since you cald me master for so long
here is my hand you shall from this time be
yryour Masters mrsmistress.
read yethe letter. Alas Malvolio this is not my writing
thoug I confess much like yethe character
but out of question ’tis marias hand
and now I doe bethinck me it was she
first told me thow wast mad. then camst in smiling
and in such formes as here were presupposd
upon thee in the letter: prethee be content
this practise hath most shrewdly past upon thee
but when we know yethe grounds and author of it
Thou shalt be both yethe plaintiff and yethe Judge
of thy own cause.
good madam hear me speake
and lett no quarrell nor no brawl to come
31
taint yethe condition of this present hour
which I have wondred at; in hope it shall not
most freely I confess my selfe and Toby
set this device against Malvolio here
upon some stubborn and uncourtesieous parts we had conciev’d against him. Maria writ
yethe Letter, at sir Toby’s importunity in recompence whereof hath married her:
how with a sportfull malice it was followed
may rather pluck on laughter then revenge
if ytthatyethe injuries be justly weigh’d
ytthat have on both sides past.
why some are borne greatnes.someatcheevesome atcheeve greatness, some have
greatness thrust upon them. I was one sir in this interlude
one sir topas sir, but that’s all one. by yethe Lord foole I am
not mad: but doe you remember, madam why laugh you
at such a barren rascall, if you smile not hee’s gag’d. and thus
yethe whirlegigg of time brings in his revenges.
pursue him and entreat him to a peace
he hath not told us of yethe Captaine yet
th when ytthat is known and golden time convenes a solemne combination shall be made
of our dear soules. mean time sweet sister
we will not part from hence. Cæsario come
(for so you shall be whilst you are a man)
but when in other habits you are seen
Orsino’s Mistriss and his fancy’s Queen*.
Finis June 13
1694
Annotations
Orsino Duke of
This is the first list of characters for this play (the first printed one is in Rowe’s edition). The first page of the play starts on the verso of the first page in the bound manuscript.
The recto of that page carries several pen trials; there is no title. The top of the
page is damaged, missing a whole strip of paper. The missing information must have
included something like The Names of the Actors, and perhaps the first category, Men, since this particular list keeps men and women separate (which is not always the
case with the Dramatis Personae in this manuscript. The missing word is Illyria. Note that Valentine does not feature in this list, but it is probably an oversight,
as he is unlikely to have been mentioned before the character with the highest rank.
Capers awkward=ly
The stage direction Exeunt (F2) is missing in Douai, but this stage direction, indicative of a stage business, was
added by a later second hand. This is one of several additional stage directions added
in the right margin probably later in the eighteenth century in a slanted, thin handwriting.
C:
This speech-heading was added on a second reading by the scribe-editor.
Used for though (F2) here and in other instances in the play.
Song
The Douai MS excises the Fool’s songs from the play, here and in the denouement.
Stage direction and final song omitted
The Douai MS excises two of the songs of the play. The final song is also the epilogue
of the play, promising another performance. Perhaps it was thought unnecessary given
that this manuscript was not meant for a public performance.
I Seb:
The scribe erroneously started a line beginning with the letter I, which he then half rubbed, and added a speech heading on the same line.
not / Not
Accidental repetition.
fa
The scribe obviously started the first word of the following line and changed his
mind, but the two letters are not crossed out.
While the Douai MS tends on the whole to modernize the spelling, here the scribe uncharacteristically
chooses the archaic word spright over spirit, probably for metrical reasons.
my had. / Mar. Now sir, thought is free: I pray you bring your hand to’th Buttry
barre, and let it drinke. / An. Wherefore (sweet-heart?) What’s your Metaphor?.
Two lines omitted, perhaps because of the sexual double entendre they contain.
Here and throughout, the scribe consistently restores the right title, thus correcting
an inconsistency in F2 where Orsino is described alternatively as a Duke and a Count.
degree. Lady, Cucullus non facit monachum: that’s as much to say, as I weare not motley in my braine: good
The omitted passage includes what could have been perceived as an offensive reference
to churchmen, in particular monks, in the Catholic context of Douai.
stone. Looke you now, he’s out of his gard already: unlesse you laugh and minister
occasion to him, he is gag’d. I protest I take these Wisemen, that crow so at these
set kind of fooles, no better then the fooles Zanies
The omitted passage, critical of jesters, also implies a satire of those who allow
them the freedom to rail.
appetite. To be generous, guitlesse, and of free disposition, is to take those things
for Birdbolts, that you deeme Cannon bullets: There is no slander in an allow’d foole,
though he doe nothing but rayle; nor no rayling, in a knowne discreet man, though
he doe nothing but reprove. / Clo. Now mercury indue thee with leasing, for thou
speak’st well of fooles
The omitted passage is a plea for the freedom to rail. It seems the editor of the
Douai manuscript had little tolerance for satire and humor.
No sooth, sir, my determinate voyage is meere extravagancy. But I perceive in you
so excellent a touch of modesty, that you will not extort from me, what I am willing
to keepe in: therefore it charges me in manners, the rather to expresse my selfe:
you must
beautifull: but though I could not,with such estimable wonder over-farre beleeve that,
yet thus farre I will boldly publish her, she bore a mind that envy could not but
call faire:
done, that is kill him, whom you have recouer’d, desire it no. Fare ye well at once,
my bosome is full of kindnesse, and I am yet so neere the manners of my mother, that
upon the least occasion more, mine eyes will tell tales of me:
The div’ll a Puritane that he is, or any thing constantly but a time-pleaser, an affection’d
Asse, that Cons State without booke, and utters it by great swarths. The best perswaded
Cut; the passage is abridged, but the omission of a reference to the devil and to
Malvolio’s puritanism could be significant.
The Song. / Come away, come away death, / And in sad cypresse let me be laid, / Fye
away, fie away breath, / I am slaine by a faire cruell maid. / My shrowd of white,
stucke all with Ew, O prepare it. / My part of death no one so true did share it.
/ Not a flower, not a flower sweet / On my blacke coffin, let there be strewne: /
Not a friend, not a friend greet / My poore corpes, where my bones shall be throwne:
/ A thousand thousand sighes to save, lay me O where / Sad true lover never find my
grave, to weepe there.
In the other plays copied in the Douai MS, the scribe often leaves sound effects out,
perhaps to reflect different staging conditions. While this might again be the case
here, the excision of one of one of Feste’s songs, although his first two songs are
included, might have also something to do with the fact that it is a digression not
essential to the action.
I would have men of such constancy put to Sea, that their businesse might be every
thing, and their intent every where, for that’s it, that alwayes makes a good voyage
of nothing. Farewell
Emendation: The scribe corrects an error that F2 (Thy) introduced into the text (which was not in F1). The emendation replaces a rare
word, denay (in the sense of denial) by delay.
Would not a paire of these have bred sir? / Vio. Yes, being kept together, and put
to use. / Clo. I would play Lord Pandarus of Phrygia, sir, to bring a Cressida to
this Troylus. / Vio. I understand you sir, ’tis well begg’d. / Clo. The matter I
hope is not great sir; begging, but a begger: Cressida was a begger. My Lady
An expurgation that cancels a reference to Pandarus as a bawd and Cressida as a prostitute.
hide: / Doe not extort thy reasons from this clause, / For that I wooe, thou therefore
hast no cause: / But rather reason thus, with reason fetter; / Love sought, is good:
but given unsought, is better.
Liver: you should then have accosted her, and with some excellent jests (fire-new
from the mint) you should have bangd the youth into dumbenesse: this was look’d for
at your hand, and this was baulkt: the double gilt of this opportunity you let time
wash off, and
Fabian’s part is consistently abridged in the play.
Counts youth to fight with him hurt him in eleven places, my Neece shall take note
of it, and assure thy selfe, there is no love-Broker in the world, can more prevaile
in mans commendation with woman, than report
invention: taunt him with the license of Inke: if thou thou’st him some thrice, it
shall not be amisse, and as many Lyes, as will lye in thy sheete of paper, although
the sheete were big enough for the bed of Ware in England, set ’em downe, goe about
it. Let
The scribe excises some of the most extravagant and farcical lines in the play.
villanously: like a Pedant that keepes a Schoole i’th Church: I have dogg’d him like
his murtherer. He does obey every point of the Letter that I dropt, to betray him:
He
The scribe has excised a reference to religious schooling, which might have echoed
with the situation of the Douai exiles.
The scribe corrects an error in F2, where this line is attributed to Sir Toby (probably
instead of Fabian); the Douai scribe merges it into Toby’s previous speech.
therefore, if you hold your life at any price, betake you to your gard: for your opposite
hath in him what youth, strength, skill, and wrath, can furnish man withall
out of a very computent injury, therefore get you on, and give him his desire. Backe
you shall not to the house, unlesse you undertake that with me, which with as much
safety you might answer him? therefore on, or strippe your sword starke naked
divell, I have not seene such a firago: I had a passe with him, rapier, scabber’d,
and all: and he gives me the stucke in with such a mortall motion that is inevitable:
and on the answer, he payes your as surely, as your feete hits the ground they step
on. They
This comes with seeking you: / But there’s no remedy, i shall answer it: / What will
you doe? now my necessity / Makes me to aske you for my purse. I greeves me / Much
more, for what I cannot doe for you, / Then what befals my selfe:
feature: / I hate ingratitude more in a man, / Then lying, vainness, babling drunkennesse,
/ Or any taint of vice, whose strong corruption / Inhabites our fraile blood.
boy, and more a coward then a Hare, his dishonesty appeares, in leaving his friend
heere in necessity, and denying him: and for this cowardship aske Fabian
in’t, and I would I were the first that ever dissembled in such a Gowne. I am not
tall enough to become the function well, nor leane enough to be thought a good Student:
but to be said an honest man, and a good Housekeeper goes as fairely, as to say, a
carefull man, and a great Scholler
This cut suggests again a particular sensitivity to comments that are critical of
churchmen, and here of students as well.
sir Toby: for as the Hermit of Prage, that never saw Pen and Inke, very wittily said
to a Neece of King Gorbodacke, that that is, is: so I being M. Parson, am M. Parson;
for what is that, but that? and is, but is?
abused: so that conclusions to be a kisses, if your foure negatives make your two
affirmatives, why then the worse for my friends, and the better for my foes.
th’end on’t. Sot, didst see Dicke Surgeon sot? / Clo. O he’s drunke sir above an houre
agone: his eyes were set at eight i’th morning. / To. Then he’s a Rogue after a passy
measures Pavin: I hate a drunken Rogue.
The speeches of drunk Toby are consistently abridged.
with them? / And. Ile helpe you Sir Toby, because we’ll be drest together. / To. Will
you helpe an Asse-head, and a Coxecombe, and a Knave: a thinne-fac’d Knave, a Gull?
Letter. / You must not now deny it is your hand, / Write from it if you can, in hand,
or phrase, / Or say, ’tis not your seale, not your invention: / You can say none of
this. Well, grant it then, / And tell me in the modesty of honour, / Why you have
given me such cleare lights of favour, / Bad me come smiling and crosse-garter’d to
to you, / To put on yellow stockings, and to frowne / Vpon sir Toby, and the lighter
people: / And acting this in an obedient hope, / Why have you suffer’d me to be imprison’d,
/ Kept in a darke house, visited by the Priest, / And made the most notorious gecke
or gull, / That ere invention plaid on? Tell me why?
A long cut that leaves out the passage in which Malvolio recalls his humiliating treatment,
which repeats what we have seen.
Queene. Exeunt. / Clowne sings. / When that I was and a little tine Boy, / with
hey, ho, the winde and the raine: / A foolish thing was but a toy, / for the raine
it raineth every day. / But when I came to mans estate / with hey, ho, &. / Gainst
knaves and theeves men shut their gate, / for the raine &. / But when I came alas
to wive, / with hey, ho, &. / By swaggering could I never thrive, / for the raine,
&. / But when I came unto my beds, / with hey, ho, &. / With Tospots still had drunken
heads, / for the raine, &. / A great while agoe the world begon, / with hey, ho, &.
/ But that’s all one, our Play is done, / and wee’l strive to please you every day.
Ada Souchu is an MA student at Sorbonne Université in Early Modern English literature.
After a BA in Classics in 2021, they are currently doing an MA on Latin and Greek
sources in Early Modern theatre. They are a junior transcriber on the Douai Shakespeare
Manuscript Project.
Béatrice Rouchon
Béatrice Rouchon is a PhD candidate at Sorbonne Université. Her research interests
lie in authorial strategies and paratexts in early modern England. She is currently
working on the Douai Shakespeare Manuscript Project.
Côme Saignol
Côme Saignol is a PhD candidate at Sorbonne University where he is preparing a thesis
about the reception of Cyrano de Bergerac. After working several years on Digital
Humanities, he created a company named CS Edition & Corpus to assist researchers in classical humanities. His interests include: eighteenth-century
theatre, philology, textual alignment, and XML databases.
Emma Bartel
Emma Bartel is a transcriber with the Douai Shakespeare Manuscript Project.
Eric Rasmussen
Eric Rasmussen is Regents Teaching Professor and Foundation Professor of English at
the University of Nevada. He is co-editor with Sir Jonathan Bate of the RSC William Shakespeare Complete Works and general editor, with Paul Werstine, of the New Variorum Shakespeare. He has received the Falstaff Award from PlayShakespeare.com for Best Shakespearean Book of the Year in 2007, 2012, and 2013.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
John Delsinne
John Delsinne is a PhD candidate at Sorbonne Université where he is preparing a dissertation
on the staging and representation of battles in Shakespeare’s history plays. He seeks
to determine how the historical sources were adapted and tries to reconsider the vision
of military history that arises from the plays. He is both an encoder and a transcriber
with the Douai Shakespeare Manuscript Project.
Line Cottegnies
Line Cottegnies teaches early-modern literature at Sorbonne Université. She is the
author of a monograph on the politics of wonder in Caroline poetry, LʼÉclipse du regard: la poésie anglais du baroque au classicisme (Droz, 1997), and has co-edited several collections of essays, including Authorial Conquests: Essays on Genre in the Writings of Margaret Cavendish (AUP, 2003, with Nancy Weitz), Women and Curiosity in the Early Modern Period (Brill, 2016), with Sandring Parageau, or Henry V: A Critical Guide (Bloomsbury, 2018), with Karen Britland. She has published on seventeenth-century
literature, from Shakespeare and Raleigh to Ahpra Behn and Mary Astell. Her research
interests are: early-modern drama and poetry, the politics of translation (between
France and England), and women authors of the period. She has also developed a particular
interest in editing: she had edited half of Shakespeareʼs plays for the Gallimard
bilingual complete works (alone and in collaboration), and, also, Henry IV, Part 2, for The Norton Shakespeare 3 (2016). With Marie-Alice Belle, she has co-edited two Elizabethan translations of
Robert Garnier (by Mary Sidney Herbert and Thomas Kyd), published in 2017 in the MHRA
Tudor and Stuart Translation Series as Robert Garnier in Elizabethan England. She is currently working on an edition of three Behnʼs translations from the French
for the Cambridge edition of Behn’s Complete Works
Louise Fang
Louise Fang is a Lecturer in English Literature at the Université Sorbonne Paris Nord.
She has published a monograph on Shakespeare and games (Shakespeare et les jeux, Classiques Garnier, 2021) and is working on early modern drama. She is a transcriber
and an editor in the Douai Shakespeare Manuscript Project.
Mahayla Galliford
Research assistant, remediator, encoder, 2021–present. Mahayla Galliford is a fourth-year
student in the English Honours and Humanities Scholars programs at the University
of Victoria. She researches early modern drama and her Jamie Cassels Undergraduate
Research Award project focused on approaches to encoding early modern stage directions.
Navarra Houldin
Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Nicolas Thibault
Nicolas Thibault is a former student of the Ecole Normale Supérieure (Paris) and is
currently completing a PhD on counsel and counsellors in late Elizabethan and early
Jacobean English history plays at Sorbonne Université under the supervision of Line
Cottegnies. He has recently published an article on The Intelligibility of History and the (In)visibility of the Bruised Bodies in Sir Thomas More in a 2021 issue of the Sillages Critiques journal (VALE, Sorbonne University). From 2018 to 2021, he taught English and American
literature and British history at Sorbonne Université. Since 2022, he has been a research
and teaching assistant at the Languages Department of Paris I Panthéon-Sorbonne Université.
His areas of interest include early modern drama, political history, and the representation
of counsel.
William Shakespeare
Bibliography
Rowe, Nicholas, ed. The Works of Mr William
Shakespear. 6 vols. London,
1709; rpt. 8 vols. 1714.
ESTC T138296.
Shakespeare, William. Mr William Shakespeares
Comedies, Histories, and Tragedies.
London: Robert
Allot, 1632. STC 22274. ESTC S111233.
Orgography
Bibliothèque Marceline Desbordes Valmore (DOUA2)
Bibliothèque municipale de Douai (DOUA2)
https://www.bm-douai.fr/
Formerly known as Bibliothèque municipale de Douai.
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
Witnesses
Shakespeare, William. Mr William Shakespeares
Comedies, Histories, and Tragedies.
London: Robert
Allot, 1632. STC 22274. ESTC S111233.
Text of Douai MS 787 as transcribed by Line Cottegnies and the Sorbonne team.
Notes on scribal hands
The primary scribal hand used in the Douai MS, which is MS 787 in the
Bibliothèque Marceline Desbordes-Valmore repository. The scribe made changes
and additions at a later stage.
A second, later hand is used in the Douai MS, which is MS 787 in the
Bibliothèque Marceline Desbordes-Valmore repository. It is responsible
for the insertion of stage directions. This later hand is smaller,
thinner, and more slanting than the main scribal hand. It does not appear in
Macbeth.
A fourth hand appears in the Douai MS, that of the Librarian, in Twelfth Night.
Metadata
Authority title
Twelfth Night: Semi-Diplomatic Edition
Type of text
Primary Source Text
Short title
Douai TN
Publisher
Sorbonne Université and University of Victoria on the Linked Early Modern Drama Online
Platform
Released with The Douai Shakespeare Manuscript Project 1.0
Sponsor(s)
The Douai Shakespeare Manuscript Project
Anthology Lead: Line Cottegnies. The project is a scientific collaboration between Sorbonne Université and the University
of Victoria.
Encoding description
Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines
Document status
published, peer-reviewed
License/availability
Intellectual copyright in this edition is held by the editor, Line Cottegnies. The
XML file of the modern text is licensed for reuse under a CC BY-NC-SA 4.0 license,
which means that it is freely downloadable without permission under the following
conditions: (1) credit must be given to the editor, the Douai Shakespeare Manuscript
Project, and LEMDO in any subsequent use of the files and/or data; (2) derivatives
(e.g., adapted scripts for performance) must be shared under the same CC BY-NC-SA
4.0 license; and (3) commercial uses are not permitted without the knowledge and consent
of the editor, the Douai Shakespeare Manuscript Project, and LEMDO. The critical paratexts
are licensed under a CC BY-NC_ND 4.0 license, which means that they are freely downloadable
without permission under the following conditions: (1) credit must be given to the
editor, the Douai Shakespeare Manuscript Project, and LEMDO in any subsequent use
of the files and/or data; (2) the content cannot be adapted or repurposed (except
for quotations for the purposes of academic review and citation); and (3) commercial
uses are not permitted without the knowledge and consent of the Douai Shakespeare
Manuscript Project, the editor, and LEMDO. This license allows for pedagogical use
of the critical paratexts in the classroom.
Images provided by the Bibliothèque Marceline Desbordes-Valmore are licensed under
a CC BY-NC-ND 4.0 license. They can be downloaded and reproduced in scholarly publications
and presentations provided that credit is included. Credit must include the phrase:
Used by kind permission of the Bibliothèque Marceline Desbordes-Valmore, Douai, and
must include the shelfmark MS 787 and the folio numbers. We ask that a copy of any
scholarly publication be sent to the Douai library via email attachment to the Curator,
currently Jean Vilbas at jvilbas@ville-douai.fr, or via mail to the following address:
Bibliothèque Marceline Desbordes-Valmore, 61 Parvis Georges Prêtre, BP 20625, 59506
Douai cedex, France.
art thou,
