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Captain True, madam: and, to comfort you with chance, Assure yourself, after our ship did split, When you and those poor number saved with you Hung on our driving boat, I saw your brother, Most provident in peril, bind himself, Courage and hope both teaching him the practise, To a strong mast that lived upon the sea; Where, like Arion on the dolphin's back, I saw him hold acquaintance with the waves So long as I could see. Know'st thou this country? Captain Ay, madam, well; for I was bred and born Not three hours' travel from this very place.

Captain A noble duke, in nature as in name. Captain Orsino.

What Shakespeare's English Sounded Like - and how we know

I have heard my father name him: He was a bachelor then. Captain And so is now, or was so very late; For but a month ago I went from hence, And then 'twas fresh in murmur,--as, you know, What great ones do the less will prattle of,-- That he did seek the love of fair Olivia. Captain A virtuous maid, the daughter of a count That died some twelvemonth since, then leaving her In the protection of his son, her brother, Who shortly also died: for whose dear love, They say, she hath abjured the company And sight of men.

Captain That were hard to compass; Because she will admit no kind of suit, No, not the duke's. VIOLA There is a fair behavior in thee, captain; And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe thou hast a mind that suits With this thy fair and outward character. I prithee, and I'll pay thee bounteously, Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent.

I'll serve this duke: Thou shall present me as an eunuch to him: It may be worth thy pains; for I can sing And speak to him in many sorts of music That will allow me very worth his service. What else may hap to time I will commit; Only shape thou thy silence to my wit.

Twelfth Night

Captain Be you his eunuch, and your mute I'll be: When my tongue blabs, then let mine eyes not see. I am sure care's an enemy to life. I'll confine myself no finer than I am: these clothes are good enough to drink in; and so be these boots too: an they be not, let them hang themselves in their own straps.

MARIA That quaffing and drinking will undo you: I heard my lady talk of it yesterday; and of a foolish knight that you brought in one night here to be her wooer. MARIA He hath indeed, almost natural: for besides that he's a fool, he's a great quarreller: and but that he hath the gift of a coward to allay the gust he hath in quarrelling, 'tis thought among the prudent he would quickly have the gift of a grave. Who are they?

Twelfth Night | Seattle Shakespeare Company

What, wench! Castiliano vulgo! VIOLA You either fear his humour or my negligence, that you call in question the continuance of his love: is he inconstant, sir, in his favours? Here comes the count. Clown Let her hang me: he that is well hanged in this world needs to fear no colours.

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Clown He shall see none to fear. Clown Well, God give them wisdom that have it; and those that are fools, let them use their talents.

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  • MARIA Yet you will be hanged for being so long absent; or, to be turned away, is not that as good as a hanging to you? Clown Many a good hanging prevents a bad marriage; and, for turning away, let summer bear it out. Clown Not so, neither; but I am resolved on two points. Clown Apt, in good faith; very apt. Well, go thy way; if Sir Toby would leave drinking, thou wert as witty a piece of Eve's flesh as any in Illyria. Here comes my lady: make your excuse wisely, you were best. The sea-coast. My stars shine darkly over me: the malignancy of my fate might perhaps distemper yours; therefore I shall crave of you your leave that I may bear my evils alone: it were a bad recompense for your love, to lay any of them on you.

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    But I perceive in you so excellent a touch of modesty, that you will not extort from me what I am willing to keep in; therefore it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian, which I called Roderigo. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts.

    I commend to you these words, and hope that they inspire. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos Qq and by the great collection put together by his colleagues in , called the First Folio F.

    Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text. See The Tempest , 1. All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero. Malvolio, held in the dungeon for being a madman, is psychologically tortured by Maria, Sir Toby, and Feste, the court fool. Feste dresses up as a priest to convince Malvolio that he is, in fact, mad. After realising that they might get into trouble for treating Malvolio this way, they allow him a pen and paper to be able to write a letter to Olivia.

    Antonio is brought to talk with Orsino, and upon seeing Cesario, he accuses him of betrayal. Just then, the real Sebastian arrives to apologise for fighting Sir Toby. The twins see each other and discover that they are both alive. Orsino's fool, Feste, brings a letter from Malvolio, and on his release, Maria's letter is revealed to be fraudulent.

    Malvolio departs promising revenge. Maria and Sir Toby have already married in celebration of the success of their plot against the steward. The play ends as Orsino approves the union between Olivia and Sebastian. Realising his own attraction to 'Cesario', Orsino promises that once Viola is dressed as a woman again, they will be married as well. Malvolio, Royal Shakespeare Theatre, He thinks that she is dead. Everyone thinks that she is her brother. Everyone thinks that her brother is her.

    Shenanigans ensue. Twelfth Night Summary Viola, separated from her twin Sebastian, dresses as a boy and works for the Duke Orsino, whom she falls in love with.