Twelfth Night: Act 3, Scene 1

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