Twelfth Night

Act 3, Scene 1

Enter VIOLA, and the FOOL playing with a tabor

VIOLA and the FOOL, playing a drum, enter.

VIOLA

Save thee, friend, and thy music. Dost thou live by thy tabour?

VIOLA

God bless you, my friend, and your music too. Do you make your living by playing that drum?

FOOL

No, sir, I live by the church.

FOOL

No, sir, I live by the church.

VIOLA

Art thou a churchman?

VIOLA

Oh, you’re a clergyman?

FOOL

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.

FOOL

No, I live by the church because I live in a house, and my house is by the church.

VIOLA

So thou mayst say the king lies by a beggar if a beggar dwell near him, or the church stands by thy tabor, if thy tabor stand by the church.

VIOLA

You could just as easily say that a king sleeps near a beggar if the beggar lives near him, or that the church is supported by your drum because it “stands by” your drum.

FOOL

You have said, sir. To see this age! A sentence is but a cheveril glove to a good wit. How quickly the wrong side may be turned outward!

FOOL

You’re right, sir. What a wonderful time to be alive! Sentences can be turned inside out so easily nowadays!

VIOLA

Nay, that’s certain. They that dally nicely with words may quickly make them wanton.

VIOLA

That’s true. People who fool around with words too much can make words act like whores—changing all the time, and immoral too.

FOOL

I would therefore my sister had no name, sir.

FOOL

That’s why I wish my sister didn’t have a name, sir.

VIOLA

Why, man?

VIOLA

Why, man?

FOOL

Why, sir, her name’s a word, and to dally with that word might make my sister wanton. But, indeed, words are very rascals since bonds disgraced them.

FOOL

Well, her name’s a word, and if you fooled around with it you might make her into a whore. But, you know, words have been rascals ever since people started using written contracts rather than their word of honor.

VIOLA

Thy reason, man?

VIOLA

Why do you say that?

FOOL

Troth, sir, I can yield you none without words, and words are grown so false, I am loath to prove reason with them.

FOOL

Honestly, sir, I’d need to use words to explain why, and since words are so unreliable and false, I’d rather avoid using them in a serious discussion.

VIOLA

I warrant thou art a merry fellow and carest for nothing.

VIOLA

I bet you’re a happy fellow who doesn’t care about anything.

FOOL

Not so, sir, I do care for something. But in my conscience, sir, I do not care for you. If that be to care for nothing, sir, I would it would make you invisible.

FOOL

You’re wrong, sir, I do care about something. But I’ll admit I don’t care for you. If that means I don’t care about anything, you should disappear right now, since you’re nothing.

VIOLA

Art not thou the Lady Olivia’s fool?

VIOLA

Aren’t you Lady Olivia’s fool?

FOOL

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 herrings; the husband’s the bigger: I am indeed not her fool, but her corrupter of words.

FOOL

No, sir. Lady Olivia doesn’t want to have anything to do with foolishness. So she won’t have a fool until she gets married. Fools are to husbands as anchovies are to sardines—husbands are the bigger ones. I’m not her fool. I just make words into whores for her.

VIOLA

I saw thee late at the Count Orsino’s.

VIOLA

I saw you at Count Orsino’s recently.

FOOL

Foolery, sir, does walk about the orb like the sun. It shines everywhere. I would be sorry, sir, but the fool should be as oft with your master as with my mistress: I think I saw your wisdom there.

FOOL

I’m everywhere. Foolishness is all over the world, just like sunshine. I’d be sorry if people thought your master was less familiar with foolishness than my mistress is. I think I saw you there, you wise man.

VIOLA

Nay, an thou pass upon me, I’ll no more with thee. Hold, there’s expenses for thee.

VIOLA

Oh no, if you’re joking around with me, I’m leaving. Wait, here’s a coin for you.

FOOL

Now Jove, in his next commodity of hair, send thee a beard!

FOOL

Next time God sends out a shipment of hair, I hope he gives you a beard!

VIOLA

By my troth, I’ll tell thee, I am almost sick for one, (aside) though I would not have it grow on my chin. (to fool) Is thy lady within?

VIOLA

Oh, I know. Seriously, I’m dying for one, (to herself) I mean, I’m dying for a man who has a beard; I don’t want one to grow on my chin. (to the FOOL)* Is Lady Olivia inside?

FOOL

Would not a pair of these have bred, sir?

FOOL

If I had two of these coins, do you think they’d breed more coins?

VIOLA

Yes, being kept together and put to use.

VIOLA

Yes, if you kept them together and invested them.

FOOL

I would play Lord Pandarus of Phrygia, sir, to bring a

Cressida to this Troilus.

FOOL

I’d like to be like that famous pimp, Lord Pandarus, and get a Cressida for my Troilus.

VIOLA

(giving him money) I understand you, sir. ’Tis well begged.

VIOLA

(giving the FOOL money) I get what you’re driving at, sir. You’re a very clever beggar.

FOOL

The matter, I hope, is not great, sir, begging but a beggar. Cressida was a beggar. My lady is within, sir. I will construe to them whence you come. Who you are and what you would are out of my welkin, I might say “element,” but the word is overworn.

FOOL

It shouldn’t be too much to ask; I’m only begging for a beggar. They say Cressida became a beggar in her old age. My lady Olivia’s inside, sir. I’ll tell them where you come from, though I don’t know who you are or what you want. I’d say I was “out of my element,” but that phrase is overused, so I’ll say I’m “out of my air.”

Exit

The FOOL exits.

VIOLA

This fellow is wise enough to play the fool,

And to do that well craves a kind of wit.

He must observe their mood on whom he jests,

The quality of persons, and the time,

And, like the haggard, check at every feather

That comes before his eye. This is a practise

As full of labor as a wise man’s art,

For folly that he wisely shows is fit.

But wise men, folly-fall’n, quite taint their wit.

VIOLA

This guy’s wise enough to play the fool, and only clever people can do that. He pays attention to the mood and social rank of the person he’s joking with, and also to the time of day. And he doesn’t let go of his target when a distraction appears. His job requires as much effort and skill as any wise man’s occupation could. And he shows he’s very smart at playing the fool, while smart people look stupid when they play the fool.

Enter SIR TOBY BELCH, and SIR ANDREW

SIR TOBY BELCH and SIR ANDREW enter.

SIR TOBY BELCH

Save you, gentleman.

SIR TOBY BELCH

Hello, sir.

VIOLA

And you, sir.

VIOLA

Hello to you too, sir.

SIR ANDREW

Dieu vous garde, monsieur.

SIR ANDREW

(speaking in French) May God protect you, sir.

VIOLA

Et vous aussi. Votre serviteur!

VIOLA

(speaking in French) And you too, sir. I’m at your service.

SIR ANDREW

I hope, sir, you are, and I am yours.

SIR ANDREW

(stammering) Oh, good, I am too.

SIR TOBY BELCH

Will you encounter the house? My niece is desirous you should enter, if your trade be to her.

SIR TOBY BELCH

My niece would like you to come in to the house, if your business here has to do with her.

VIOLA

I am bound to your niece, sir. I mean, she is the list of my voyage.

VIOLA

I’m headed for your niece, sir. She’s the reason I’m here.

SIR TOBY BELCH

Taste your legs, sir. Put them to motion.

SIR TOBY BELCH

Taste your legs, sir. Please go inside.

VIOLA

My legs do better understand me, sir, than I understand what you mean by bidding me taste my legs.

VIOLA

Taste my legs? My legs stand under me, but I don’t understand what “taste your legs” means.

SIR TOBY BELCH

I mean, to go, sir, to enter.

SIR TOBY BELCH

I mean please go into the house, sir.

VIOLA

I will answer you with gait and entrance. But we are prevented.

VIOLA

I will. But now we don’t have to!

Enter OLIVIA and MARIA

OLIVIA and MARIA enter.

Most excellent accomplished lady, the heavens rain odors on you!

Oh, beautiful and accomplished lady, may the heavens rain odors upon you!

SIR ANDREW

(aside) That youth’s a rare courtier. “Rain odors.” Well.

SIR ANDREW

(to himself) That young man’s classy. “Rain odors.” That’s good.

VIOLA

My matter hath no voice, lady, but to your own most pregnant and vouchsafed ear.

VIOLA

My message is not for anyone else to hear, my lady. It’s only for your willing and receptive ear.

SIR ANDREW

(aside) “Odors,” “pregnant,” and “vouchsafed.” I’ll get ’em all three all ready.

SIR ANDREW

(to himself) “*Odors,” “willing,” and “deserving.” I’ll have to remember those words so I can use them later myself.

OLIVIA

Let the garden door be shut, and leave me to my hearing.

OLIVIA

Close the garden door and leave me alone to hear his message.

Exeunt SIR TOBY BELCH, SIR ANDREW, and MARIA

SIR TOBY BELCH, SIR ANDREW, and MARIA exit.

Give me your hand, sir.

Give me your hand, sir.

VIOLA

My duty, madam, and most humble service.

VIOLA

I give you my obedience and my humble service, madam.

OLIVIA

What is your name?

OLIVIA

What’s your name?

VIOLA

Cesario is your servant’s name, fair princess.

VIOLA

Cesario is my name—your servant’s name—fair princess.

OLIVIA

My servant, sir! ’Twas never merry world

Since lowly feigning was call’d compliment.

You’re servant to the Count Orsino, youth.

OLIVIA

My servant! The world’s gone downhill since fake humility started passing for compliments. You’re not my servant, young man. You’re Count Orsino’s servant.

VIOLA

And he is yours, and his must needs be yours:

Your servant’s servant is your servant, madam.

VIOLA

But he’s your servant, so everything that’s his must be yours too. Your servant’s servant is your servant, madam.

OLIVIA

For him, I think not on him. For his thoughts,

Would they were blanks, rather than fill’d with me.

OLIVIA

As for him, I never think about him. As for his thoughts, I wish he’d think about nothing at all rather than think about me all the time.

VIOLA

Madam, I come to whet your gentle thoughts

On his behalf.

VIOLA

Madam, I’ve come here to try to make you like him.

OLIVIA

O, by your leave, I pray you,

I bade you never speak again of him.

But, would you undertake another suit,

I had rather hear you to solicit that

Than music from the spheres.

OLIVIA

Oh, please, I’m begging you, don’t mention him again. But if you want to tell me that someone else loves me, I’d enjoy hearing that more than I’d enjoy listening to angels sing.

VIOLA

Dear lady—

VIOLA

My dear lady—

OLIVIA

Give me leave, beseech you. I did send,

After the last enchantment you did here,

A ring in chase of you. So did I abuse

Myself, my servant, and, I fear me, you:

Under your hard construction must I sit,

To force that on you, in a shameful cunning

Which you knew none of yours. What might you think?

Have you not set mine honor at the stake,

And baited it with all the unmuzzled thoughts

That tyrannous heart can think? To one of your receiving

Enough is shown. A cypress, not a bosom,

Hides my heart. So, let me hear you speak.

OLIVIA

Please let me say something, I’m begging you. After you cast your magic spell on me last time, I sent you a ring. I fear it was a mistake, since I tricked my servant, myself, and you too. You probably think poorly of me after I forced that ring on you with such outrageous trickery. What else could you possibly think of me? Haven’t you totally dismissed my honor and integrity in your anger? For someone as intelligent as you the situation must be clear enough. I’m wearing my heart on my sleeve, and I can’t hide my feelings. So let me hear what you have to say.

VIOLA

I pity you.

VIOLA

I feel sorry for you.

OLIVIA

That’s a degree to love.

OLIVIA

That’s a step in the direction of love.

VIOLA

No, not a grize. For ’tis a vulgar proof

That very oft we pity enemies.

VIOLA

No, not at all. It’s a perfectly ordinary experience for us to feel sorry for our enemies.

OLIVIA

Why then methinks ’tis time to smile again.

O world, how apt the poor are to be proud!

If one should be a prey, how much the better

To fall before the lion than the wolf! (clock strikes)

The clock upbraids me with the waste 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 lies your way, due west.

OLIVIA

Well, enough of my whining then. That’s that! I was getting carried away with fantasies I didn’t deserve to have. But I should consider myself lucky. It’s much better to be destroyed by a noble enemy than by a cruel and heartless one. (a clock strikes) Listen to that, the clock’s scolding me for wasting my time loving you. Don’t worry, young man, I won’t stalk you. And when you’re older and wiser and ready for marriage, your future wife will have a fine husband. There’s the way back home for you, due west.

VIOLA

Then westward ho!

Grace and good disposition attend your ladyship!

You’ll nothing, madam, to my lord by me?

VIOLA

Then west is where I’m headed! I wish you all the best. You do

OLIVIA

Stay, I prithee, tell me what thou thinkest of me.

OLIVIA

Stay, Please, tell me what you think of me.

VIOLA

That you do think you are not what you are.

VIOLA

I think you’re denying what you really are.

OLIVIA

If I think so, I think the same of you.

OLIVIA

If that’s true, I think the same thing about you.

VIOLA

Then think you right: I am not what I am.

VIOLA

You’re right. I am not what I am.

OLIVIA

I would you were as I would have you be!

OLIVIA

I wish you were what I wanted you to be!

VIOLA

Would it be better, madam, than I am?

I wish it might, for now I am your fool.

VIOLA

Would it be better if I were that, instead of what I am? I wish I were something better, because right now I’m a big fool.

OLIVIA

(aside) Oh, what a deal of scorn looks beautiful

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.

(to VIOLA) Cesario, by the roses of the spring,

By maidhood, honor, truth, and everything,

I love thee so, that, maugre all thy pride,

Nor wit nor reason can my passion hide.

Do not extort thy reasons from this clause,

For that I woo, thou therefore hast no cause,

But rather reason thus with reason fetter.

Love sought is good, but given unsought better.

OLIVIA

(to herself) Oh, how beautiful he is even when he’s angry and full of contempt! A murderer can hide his guilt longer than someone in love can hide her love. Love shines brightly and can’t be hidden. (to VIOLA) Cesario, I swear by the spring roses, by virginity, honor, truth, and everything, I swear I love you. I love you so much that I can’t hide my passion for you, as clever as I am. Don’t assume that because I’m pursuing you there’s no reason to pursue me. Put two and two together and realize that asking for love is good, but getting it without asking is much better.

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

Shall mistress be of it, save I alone.

And so adieu, good madam. Nevermore

Will I my master’s tears to you deplore.

VIOLA

And I swear by my youth and innocence that I’ve only got one heart and one love to give, and that I’ve never given them to a woman and never will. So goodbye, my lady. I won’t ever come to complain about my lord’s love for you again.

OLIVIA

Yet come again, for thou perhaps mayst move

That heart, which now abhors, to like his love.

OLIVIA

Then come again for another reason. You might still be able to make yourself fall in love with me, the person he loves, even though you hate me now.

Exeunt

They exit.