Twelfth Night: Act 3, Scene 1
Enter VIOLA, and Clown: They don't enter together; Viola goes to Olivia's and happens to meet the Clown. tabour: small drum. 1. live by: earn your living with. Enter VIOLA, and Clown with a tabour.
VIOLA
1 Save thee, friend, and thy music: dost thou live by
2 thy tabour?
Clown
3 No, sir, I live by the church.
VIOLA
4 Art thou a churchman?
4. churchman: member of the clergy.
Clown
5 No such matter, sir: I do live by the church; for
6 I do live at my house, and my house doth stand by
7 the church.
VIOLA
8 So thou mayst say, the king lies by a beggar,
8. lies by: sleeps with and is situated near.
9 if a beggar dwell near him; or, the church stands
10 by thy tabour, if thy tabour stand by the church.
9-10. stands by: is supported by. 10. stand by: is located near.
Clown
11 You have said, sir. To see this age! A sentence
11. sentence: saying.
12 is but a cheveril glove to a good wit: how quickly
12. cheveril: kidskin, which is soft and pliable.
13 the wrong side may be turned outward!
VIOLA
14 Nay, that's certain; they that dally nicely with
14. dally nicely: play subtly.
15 words may quickly make them wanton.
15. wanton: uncontrollable.
Clown
16 I would, therefore, my sister had had no name, sir.
VIOLA
17 Why, man?
Clown
18 Why, sir, her name's a word; and to dally with that
19 word might make my sister wanton. But indeed words
19. wanton: promiscuous. 19-20. But indeed words are very rascals since bonds disgraced them. The Clown means that a man's word used to be his bond, but now everything has to be written down in a legally binding bond. Thus words are in disgrace, as though they were prisoners wearing bonds (manacles) on their legs.
20 are very rascals since bonds disgraced them.
VIOLA
21 Thy reason, man?
Clown
22 Troth, sir, I can yield you none without words;
23 and words are grown so false, I am loath to
24 prove reason with them.
VIOLA
25 I warrant thou art a merry fellow and carest
26 for nothing.
25-26. thou . . . carest for nothing: i.e., you are carefree and don't care what you say.
Clown
27 Not so, sir, I do care for something; but in my
28 conscience, sir, I do not care for you: if that be
27-28. in my conscience, sir: i.e., to let you in on my real opinion. 27-30. Not so, sir . . . invisible: The Clown's comeback in fool-logic is that he does care for something, so if he does not care for Viola/Cesario, that makes her/him not something, but nothing.
29 to care for nothing, sir, I would it would make
30 you invisible.
VIOLA
31 Art not thou the Lady Olivia's fool?
Clown
32 No, indeed, sir; the Lady Olivia has no folly: she
33 will keep no fool, sir, till she be married; and
34 fools are as like husbands as pilchards are to
34. pilchards: small fish, very like herrings.
35 herrings; the husband's the bigger: I am indeed not
36 her fool, but her corrupter of words.
VIOLA
37 I saw thee late at the Count Orsino's.
37. late: recently.
Clown
38 Foolery, sir, does walk about the orb like the sun,
38. the orb: the earth, around which the sun turns.
39 it shines every where. I would be sorry, sir, but
39. but: unless. The Clown feels he has a duty to spread his foolishness around.
40 the fool should be as oft with your master as with
41 my mistress: I think I saw your wisdom there.
41. your wisdom: An ironic variation on "your honor."
VIOLA
42 Nay, an thou pass upon me, I'll no more with thee.
42. an: if. pass upon me: (verbally) fence with me.
43 Hold, there's expenses for thee.
43. Hold: Take this—She gives the Clown a coin. expenses: spending money.
Clown
44 Now Jove, in his next commodity of hair, send
45 thee a beard!
44. commodity: shipment. 44-45. Now . . . beard!: This is the Clown's way of saying "bless you" for Viola/Cesario's tip.
VIOLA
46 By my troth, I'll tell thee, I am almost sick for
47 one — [aside] though I would not have it grow
47. one: a beard—code for a man—i.e., Orsino.
48 on my chin. — Is thy lady within?
Clown
49 Would not a pair of these have bred, sir?
49. pair of these: i.e., two coins. bred: made babies. (The Clown is wittly asking for another coin.)
VIOLA
50 Yes, being kept together and put to use.
50. Yes . . . use 
Viola is matching the Clown's wit.
Viola is matching the Clown's wit. Clown
51 I would play Lord Pandarus of Phrygia, sir, to
51. Pandarus: The go-between in the famous love affair between Troilus and Cressida. this Troilus: this coin, the Clown has in his hand.
52 bring a Cressida to this Troilus.
VIOLA
53 I understand you, sir; 'tis well begged.
53. 'tis well begged: Viola/Cesario, impressed with the clown's wit, may give him another coin.
Clown
54 The matter, I hope, is not great, sir — begging but
54. matter: request. 54-55. begging but a beggar: i.e., I have only begged a little for a little. 55. Cressida was a beggar:
55 a beggar: Cressida was a beggar. My lady is
56 within, sir. I will construe to them whence you
56. construe: explain.
57 come; who you are and what you would are out
57. what you would: what you want.
58 of my welkin — I might say 'element,' but the word
58. welkin: sky. "Element" can mean "welkin," but in the phrase "out of my element" it means "knowledge" or "experience." As a self-proclaimed "corrupter of words," the Clown always likes to be original.
59 is over-worn.
Exit.
VIOLA
60 This fellow is wise enough to play the fool;
60. play the fool: He's not a natural fool—a half-wit.
61 And to do that well craves a kind of wit:
61. craves: requires. wit: intelligence, wisdom.
62 He must observe their mood on whom he jests,
63 The quality of persons, and the time,
63. quality: character.
64 And, like the haggard, cheque at every feather
65 That comes before his eye. This is a practise
64-65. And . . . his eye: 65. practise: skilled profession, as in law "practice."
66 As full of labour as a wise man's art
67 For folly that he wisely shows is fit;
67. folly . . . fit: foolery that he intelligently displays is skillfully adapted to his audience. 68. folly-fall'n: fallen into real folly. taint: spoil.
68 But wise men, folly-fall'n, quite taint their wit.
Enter SIR TOBY BELCH,
and SIR ANDREW.
SIR TOBY BELCH
69 Save you, gentleman.
VIOLA
70 And you, sir.
SIR ANDREW
71 Dieu vous garde, monsieur.
71. Dieu . . . monsieur.: God keep you, sir.
VIOLA
72 Et vous aussi; votre serviteur.
72. Et . . . serviteur.: And you, too; your servant. (Sir Andrew is trying to make an impression with his French, but now he has reached his limit.)
SIR ANDREW
73 I hope, sir, you are; and I am yours.
SIR TOBY BELCH
74 Will you encounter the house? my niece is desirous
74. encounter: a playfully elaborate word for "enter."
75 you should enter, if your trade be to her.
75. trade: business.
VIOLA
76 I am bound to your niece, sir; I mean, she is the
77 list of my voyage.
77. list: destination.
SIR TOBY BELCH
78 Taste your legs, sir; put them to motion.
78. Taste: try, test. (Sir Toby is again being playfully elaborate.)
79 My legs do better understand me, sir, than I understand
80 what you mean by bidding me taste my legs.
SIR TOBY BELCH
81 I mean, to go, sir, to enter.
VIOLA
82 I will answer you with gait and entrance. But we
82. gait and entrance: A play on Toby's "go" and "enter." prevented: anticipated. (Because Olivia is coming out, they won't have to go in.)
83 are prevented.
Enter OLIVIA and GENTLEWOMAN [MARIA].
84 Most excellent accomplished lady, the heavens rain
85 odours on you!
SIR ANDREW
86 That youth's a rare courtier: 'Rain odours;' well.
86. rare: excellent and unique.
VIOLA
87 My matter hath no voice, to your own most pregnant
87. hath no voice: must not be spoken. pregnant: receptive.
88 and vouchsafed ear.
88. vouchsafed: securely offered; proffered. (Cesario/Viola wants Olivia to listen carefully, and he/she wants to talk to Olivia alone.)
SIR ANDREW
89 'Odours,' 'pregnant' and 'vouchsafed:' I'll get 'em
90 all three all ready.
90. all ready: (Sir Andrew now has three new words ready to use whenever he should try make an impression.)
OLIVIA
91 Let the garden door be shut, and leave me to my
92 hearing. [Exeunt all but Olivia and Viola.] Give
92. hearing: As in "court hearing"; Olivia knows that Cesario/Viola has come to speak on behalf of Orsino.
93 me your hand, sir.
VIOLA
94 My duty, madam, and most humble service.
OLIVIA
95 What is your name?
VIOLA
96 Cesario is your servant's name, fair princess.
OLIVIA
97 My servant, sir! 'Twas never merry world
98 Since lowly feigning was call'd compliment:
97-98. 'Twas never merry world / Since: Things have never been as good since. 98. lowly feigning: pretended humbleness. was call'd: began to be called. compliment: courtesy, politeness.
99 You're servant to the Count Orsino, youth.
VIOLA
100 And he is yours, and his must needs be yours:
101 Your servant's servant is your servant, madam.
OLIVIA
102 For him, I think not on him: for his thoughts,
102. For: as for, concerning.
103 Would they were blanks, rather than fill'd with
104 me!
VIOLA
105 Madam, I come to whet your gentle thoughts
106 On his behalf.
OLIVIA
106 O, by your leave, I pray you,
106. by your leave, I pray you: with your permission, please, but Olivia is saying it the way we now say "Please EXCUSE me!").
107 I bade you never speak again of him:
108 But, would you undertake another suit,
108. another suit: a different request, Cesario.
109 I had rather hear you to solicit that
110 Than music from the spheres.
music from the spheres: VIOLA
110 Dear lady, —
OLIVIA
111 Give me leave, beseech you. I did send,
111. Give me leave, beseech you: i.e., Let me talk, I'm asking you. 112. enchantment you did: spell you cast.
112 After the last enchantment you did here,
113 A ring in chase of you: so did I abuse
114 Myself, my servant and, I fear me, you:
113-114. 
so did I abuse . . . you:. 115. Under your hard construction must I sit: I must submit to your harsh judgment. 116. that: i.e., the ring.
so did I abuse . . . you:. 115. Under your hard construction must I sit: I must submit to your harsh judgment. 116. that: i.e., the ring. 115 Under your hard construction must I sit,
116 To force that on you, in a shameful cunning,
117 Which you knew none of yours: what might you think?
118 Have you not set mine honour at the stake
119 And baited it with all the unmuzzled thoughts
118-120. Have you not . . . heart can think?
120 That tyrannous heart can think? To one of your receiving
120. tyrannous: sadistic. receiving: understanding, intelligence. 121. cypress: a nearly transparent black fabric also, a cyrpress branch associated with death. (Olivia can't hide her feelings, and they are killing her.)
121 Enough is shown: a cypress, not a bosom,
122 Hideth my heart. So, let me hear you speak.
VIOLA
123 I pity you.
OLIVIA
123 That's a degree to love.
123. degree: step or stage.
VIOLA
124 No, not a grize; for 'tis a vulgar proof,
124. grize: single step. vulgar proof: common experience.
125 That very oft we pity enemies.
OLIVIA
126 Why, then, methinks 'tis time to smile again.
127 O, world, how apt the poor are to be proud!
127. how apt the poor are to be proud: i.e., how likely are those who have nothing to (try to) be proud of something. lion: i.e., a noble adversary, such as Cesario/Viola. (Is Olivia really making herself feel better?)
128 If one should be a prey, how much the better
129 To fall before the lion than the wolf!
Clock strikes.
130 The clock upbraids me with the waste of time.
131 Be not afraid, good youth, I will not have you:
131. have you: claim you for a husband.
132 And yet, when wit and youth is come to harvest,
132. when wit and youth is come to harvest: i.e., when you grow to be a man. 133. proper: handsome, worthy. 133. due west: where the sun sets. In other words, "get out of my sight."
133 Your were is alike to reap a proper man:
134 There lies your way, due west.
VIOLA
134 Then westward-ho!
134. westward-ho!: Cesario/Viola is outta there.
135 Grace and good disposition attend your ladyship!
135. good disposition: tranquillity.
136 You'll nothing, madam, to my lord by me?
136. You'll nothing to my lord by me?: You have no message I can take to my lord, Orsino?.
OLIVIA
137 Stay!
138 I prithee, tell me what thou thinkest of me.
138. thou: Thou is more familiar, and therefore more pleading, than the "you" that Olivia has been using.
VIOLA
139 That you do think you are not what you are.
That you do think you are not what you are: OLIVIA
140 If I think so, I think the same of you.
VIOLA
141 Then think you right: I am not what I am.
OLIVIA
142 I would you were as I would have you be!
VIOLA
143 Would it be better, madam, than I am?
144 I wish it might, for now I am your fool.
for now I am your fool: OLIVIA
145 O, what a deal of scorn looks beautiful
146 In the contempt and anger of his lip!
147 A murderous guilt shows not itself more soon
148 Than love that would seem hid: love's night is noon.
149 Cesario, by the roses of the spring,
150 By maidhood, honour, truth and every thing,
151 I love thee so, that, maugre all thy pride,
151. maugre: despite.
152 Nor wit nor reason can my passion hide.
152. Nor wit nor reason: neither wisdom nor reason.
153 Do not extort thy reasons from this clause,
153. Do . . . clause: Do not force the conclusion that you have no cause to love me because I have wooed you.
154 For that I woo, thou therefore hast no cause,
155 But rather reason thus with reason fetter,
155. But rather reason thus with reason fetter: Instead, chain your reasoning to the following wisdom. 156. Love sought is good, but given unsought better:
156 Love sought is good, but given unsought better.
VIOLA
157 By innocence I swear, and by my youth
158 I have one heart, one bosom and one truth,
159 And that no woman has; nor never none
160 Shall mistress be of it, save I alone.
161 And so adieu, good madam: never more
162 Will I my master's tears to you deplore.
161-162. never more will I my master's tears to you deplore: Never will I again attempt to arouse your pity for Orsino.
OLIVIA
163 Yet come again; for thou perhaps mayst move
163. move: convince, influence.
164 That heart, which now abhors, to like his love.
164. That heart: i.e., Olivia's own heart. abhors: i.e., abhors Orsino's love.
Exeunt.