<-- back to Scene Seventeen SCENE 18 Before OLIVIA's house. Dénouement.
[Enter Feste, with Fabian close behind.]
FABIAN Now, as thou lovest me, let me see his letter.
FESTE Good Master Fabian, grant me another request.
FABIAN Any thing.
FESTE Do not desire to see this letter.Feste is done helping the household with their sport. Perhaps for good.
[Enter Orsino, Viola, Curio, and Valentine out of the audience.]
ORSINO Belong you to the Lady Olivia, friends?
FESTE Ay, sir; we are some of her trappings.
ORSINO I know thee well; how dost thou, my good fellow?
FESTE Truly, sir, the better for my foes and the worse for my friends.
ORSINO Just the contrary; the better for thy friends.
FESTE No, sir, the worse.
ORSINO How can that be?
FESTE Marry, sir, they praise me and make an ass of me; now my foes tell me plainly I am an ass: so that by my foes, sir I profit in the knowledge of myself, and by my friends, I am abused: so that, conclusions to be as kisses, if your four negatives make your two affirmatives why then, the worse for my friends and the better for my foes.
ORSINO Why, this is excellent.The envy of a boy who wishes his parents had bought him a Fool for his birthday.
FESTE By my troth, sir, no; though it please you to be one of my friends.
ORSINO Thou shalt not be the worse for me: there's gold.Feste's heart isn't in this any more, but old habits are hard to break: if the Duke is handing out gold, he won't argue
FESTE But that it would be double-dealing, sir, I would you could make it another.
ORSINO O, you give me ill counsel.
FESTE Put your grace in your pocket, sir, for this once, and let your flesh and blood obey it.
ORSINO Well, I will be so much a sinner, to be a double-dealer: there's another.
FESTE Primo, secundo, tertio, is a good play; and the old saying is, the third pays for all: the triplex, sir, is a good tripping measure; or the bells of Saint Bennet, sir, may put you in mind; one, two, three.
ORSINO You can fool no more money out of me at this throw: if you will let your lady know I am here to speak with her, and bring her along with you, it may awake my bounty further.
FESTE Marry, sir, lullaby to your bounty till I come again. I go, sir; but I would not have you to think that my desire of having is the sin of covetousness: but, as you say, sir, let your bounty take a nap, I will awake it anon. [Exit]
VIOLA Here comes the man, sir, that did rescue me.[Enter Antonio and Officers, also out of the audience from a different direction.]
ORSINO That face of his I do remember well; yet, when I saw it last, it was besmear'd as black as Vulcan in the smoke of war: a bawbling vessel was he captain of, for shallow draught and bulk unprizable; with which such scathful grapple did he make with the most noble bottom of our fleet, that very envy and the tongue of loss cried fame and honour on him. What's the matter?
First Officer Orsino, this is that Antonio that took the Phoenix and her fraught from Candy; and this is he that did the Tiger board, when your young nephew Titus lost his leg: here in the streets, desperate of shame and state, in private brabble did we apprehend him.
VIOLA He did me kindness, sir, drew on my side; but in conclusion put strange speech upon me: I know not what 'twas but distraction.
ORSINO Notable pirate! thou salt-water thief! What foolish boldness brought thee to their mercies, whom thou, in terms so bloody and so dear, hast made thine enemies?Choosing your words with care: you don't believe a word of the praise you give the Duke, but you're not keen on torture either. Your words are measured and fatigued despair: you're quite sure you're about to be killed, but if the Duke can hear what it was you were trying to do you'll at least have a shot at an honorable death.
ANTONIO Orsino, noble sir, be pleased that I shake off these names you give me: Antonio never yet was thief or pirate, though I confess, on base and ground enough, Orsino's enemy. A witchcraft drew me hither: that most ingrateful boy there by your side, from the rude sea's enraged and foamy mouth did I redeem; a wreck past hope he was: his life I gave him and did thereto add my love, without retention or restraint, all his in dedication; for his sake did I expose myself, pure for his love, into the 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 twenty years removed thing while one would wink; denied me mine own purse, which I had recommended to his use not half an hour before.
VIOLA How can this be?
ORSINO When came he to this town?
ANTONIO To-day, my lord; and for three months before, no interim, not a minute's vacancy, both day and night did we keep company.Wrong answer, mate. But then, all other concerns vanish, as Olivia enters.
ORSINO Here comes the countess: now heaven walks on earth. But for thee, fellow; fellow, thy words are madness: three months this youth hath tended upon me; but more of that anon. Take him aside.
OLIVIA What would my lord, but that he may not have, wherein Olivia may seem serviceable? Cesario, you do not keep promise with me.
VIOLA Madam!Whirling between Olivia and Cesario, you finally understand why Olivia will not have you. An ancient fury towards Cesario, a bottomless grief towards Olivia.
ORSINO Gracious Olivia,--
OLIVIA What do you say, Cesario? Good my lord,--
VIOLA My lord would speak; my duty hushes me.
OLIVIA If it be aught to the old tune, my lord, it is as fat and fulsome to mine ear as howling after music.
ORSINO Still so cruel?
OLIVIA Still so constant, lord.
ORSINO What, to perverseness? you uncivil lady, to whose ingrate and unauspicious altars my soul the faithfull'st offerings hath breathed out that e'er devotion tender'd! What shall I do?
OLIVIA Even what it please my lord, that shall become him.
ORSINO [drawing, senseless in grief; Cesario getting between Orsino's sword and Olivia] Why should I not, had I the heart to do it, like to the Egyptian thief at point of death, kill what I love?--a savage jealousy that sometimes savours nobly. But hear me this: since you to non-regardance cast my faith, and that I partly know the instrument that screws me from my true place in your favour, live you the marble-breasted tyrant still;Grabbing Cesario and holding the sword at his throat.
but this your minion, whom I know you love, and whom, by heaven I swear, I tender dearly, him will I tear out of that cruel eye, where he sits crowned in his master's spite.
Pushing him before you, your sword still at his throat, circling around him, the shock of what you're about to do hitting you in waves.
Come, boy, with me; my thoughts are ripe in mischief: I'll sacrifice the lamb that I do love, to spite a raven's heart within a dove.
Will you die for the one you love? Apparently, yes, you very much will. Terrified, shattered, but nobly resolute: even as your voice breaks your gaze does not waver as you look him in the eye.
VIOLA And I, most jocund, apt and willingly, to do you rest, a thousand deaths would die.[Turning to leave with Orsino's men]
OLIVIA Where goes Cesario?
VIOLA After him I love more than I love these eyes, more than my life, more, by all mores, than e'er I shall love wife.Beat towards Orsino. If Cesario has really betrayed you, he's willing to damn himself by lying about it on his way to death rather than admitting it. Is he a fool, or are you being too hasty?
If I do feign, you witnesses above punish my life for tainting of my love!
OLIVIA Ay me, detested! how am I beguiled!Losing it. You've been wrongly accused once too often today, and while you'll embrace death if you have to, this woman will not dishonor you on your way to the grave.
VIOLA Who does beguile you? who does do you wrong?
OLIVIA Hast thou forgot thyself? is it so long? Call forth the holy father.
ORSINO Come, away!Orsino, Curio, Valentine, Soldiers, Antonio, & Cesario column down the stairs and out the door.
OLIVIA Whither, my lord? Cesario, husband, stay.
Slowly I turned, inch by inch... (all eyes turning on Viola)
ORSINO [Newly furious; and to think you'd almost been talked out of killing Cesario] Husband!
OLIVIA Ay, husband: can he that deny?
ORSINO Her husband, sirrah!You'll be lucky to get a marked grave at this point. What did you do to deserve such heaping quantities of dishonor?
VIOLA No, my lord, not I.
OLIVIA Alas, it is the baseness of thy fear that makes thee strangle thy propriety: fear not, Cesario;Stepping in front of Orsino and embracing Cesario, who still looks to Orsino pleading innocence.
take thy fortunes up; be that thou know'st thou art, and then thou art as great as that thou fear'st. [As Priest enters, run over to him, pulling Cesario with you.] O, welcome, father! Father, I charge thee, by thy reverence, here to unfold what thou dost know hath newly pass'd between this youth and me.
As the priest speaks, mortal terror on Viola's face: if the priest is bearing false witness against you you're in very real danger of hell. Facing death was okay back when you knew you'd done nothing wrong and would be dying with honor, no matter how confused the locals were, but this...
PRIEST A contract of eternal bond of love, confirm'd by mutual joinder of your hands, attested by the holy close of lips, strengthen'd by interchangement of your rings; and all the ceremony of this compact seal'd in my function, by my testimony: since when, my watch hath told me, toward my grave I have travell'd but two hours.
The betrayal is devastating, transmuting homicidal rage into near-suicidal grief. And now honor is at stake: as a servant, Cesario was yours to dispose of, but if he is now Olivia's husband, you're both of equal rank. The dishonor will be yours if you raise a hand against him. Best to get out of here before you do your name permanent harm.
ORSINO O thou dissembling cub! what wilt thou be when time hath sow'd a grizzle on thy case? Or will not else thy craft so quickly grow, that thine own trip shall be thine overthrow? Farewell, and take her; but direct thy feet where thou and I henceforth may never meet.
VIOLA My lord, I do protest--
OLIVIA O, do not swear! Hold little faith, though thou hast too much fear.Enter Sir Andrew from OSR, not seeing Cesario.
SIR ANDREW For the love of God, a surgeon! Send one presently to Sir Toby.
OLIVIA What's the matter?
SIR ANDREW He has broke my head across and has given Sir Toby a bloody coxcomb too: for the love of God, your help! I had rather than forty pound I were at home.
OLIVIA Who has done this, Sir Andrew?
SIR ANDREW The count's gentleman, one Cesario:All eyes again on Cesario, who looks to heaven. Why, oh why, are they doing this to her?
we took him for a coward, but he's the very devil incardinate.
ORSINO My gentleman, Cesario?At this, Andrew turns and notices Cesario for the first time, recoiling as one would from a snake.
SIR ANDREW 'Od's lifelings, here he is! You broke my head for nothing; and that that I did, I was set on to do't by Sir Toby.
VIOLA Why do you speak to me? I never hurt you: you drew your sword upon me without cause; but I bespoke you fair, and hurt you not.
SIR ANDREW If a bloody coxcomb be a hurt, you have hurt me: I think you set nothing by a bloody coxcomb.Sir Toby enters, bleeding, with Feste at his arm. Sir Toby is stone-cold sober for the first time in the entire play, and oh man is he feeling it now.
Here comes Sir Toby halting; you shall hear more.
ORSINO How now, gentleman! how is't with you?Very real danger here: if you, as a knight, plead your case in front of the Duke, you have to settle it through combat, and now that you've seen Sebastian in action you're well aware that it's a fight you cannot win. If you want to live, you have to brush it off.
SIR TOBY That's all one: has hurt me, and there's the end on't. Sot, didst see Dick surgeon, sot?
FESTE O, he's drunk, Sir Toby, an hour agone; his eyes were set at eight i' the morning.
SIR TOBY Then he's a rogue, and a passy measures panyn:To Orsino, hoping his reputation hasn't preceded him. Hey, by the way, does your household need any responsible, sober knights? I may need a place to crash soon.
I hate a drunken rogue.
OLIVIA Away with him! Who hath made this havoc with them?While this is happening, Viola tries to get Orsino to look at her, so she can plead her case. As she approaches, he looks her in the eyes only once, raises a finger to bid her to silence, and will not look at her again. She is crushed, and turns away, shriveling. That's it, it's over; he's closed the door. At that moment, her heart finally breaks. We see it in her eyes, which are (thereby rather conveniently) not looking towards the stage for Sebastian's entrance.
SIR ANDREW I'll help you, Sir Toby, because we'll be dressed together.
What we don't get to see is how this third wave of brawling began. Sir Toby was more than content to let things alone, and really didn't want to mix it up with Cesario any more. But Sir Andrew, who's apparently too much of a damned fool to know when to quit, ran up and struck the boy, again, and Sir Toby had to defend him, again, and was lucky to walk away from it, again. Putting up with Sir Andrew's antics has cost you too much, regardless of how much money you've been able to get out of him, and you know full well Olivia will have nothing to do with him. Now that you're letting Maria make a respectable man out of you, you can't afford his friendship any longer.
SIR TOBY Will you help? an ass-head and a coxcomb and a knave, a thin-faced knave, a gull!
Sir Toby walks off, alone, with nothing but his dignity (and Maria, waiting for him on the other side of the house, with their bags packed). It is enough.
OLIVIA Get him to bed, and let his hurt be look'd to.
Sir Andrew pauses for a moment to bow to Olivia. He'll check on the knight because it is the Lady's wish, but he already knows he'll not be putting Sir Toby to bed, and he'll not be staying here any longer than he has to either.
Sebastian enters, out of breath, OSL.SEBASTIAN I am sorry, madam, I have hurt your kinsman: But, had it been the brother of my blood, I must have done no less with wit and safety. You throw a strange regard upon me, and by that I do perceive it hath offended you: pardon me, sweet one, even for the vows we made each other but so late ago.
ORSINO One face, one voice, one habit, and two persons, A natural perspective, that is and is not!
SEBASTIAN Antonio, O my dear Antonio!Embracing him; only noticing the shackles after you notice he doesn't hug you back. Shifting into bail bond mode: this isn't the first friend you've had to talk out of trouble before. Okay, who put my man i' the stocks, and how much is this one going to cost me to release?
How have the hours rack'd and tortured me, since I have lost thee!
ANTONIO Sebastian are you?You literally don't believe your eyes. One of them must be a spirit. Either that, or you've finally lost it.
SEBASTIAN Fear'st thou that, Antonio?
ANTONIO How have you made division of yourself? An apple, cleft in two, is not more twin than these two creatures. Which is Sebastian?
OLIVIA MostThe gods are kind. There's more than one of him. And one of them did just say, "I do." At this point, you really couldn't care which one it was, frankly.
wonderful!
Viola is roused out of her reverie by Olivia's cry, and looks up just as Sebastian looks over at her. Their eyes meet at once. The cascade of emotions that hits Viola is tremendous. Terrified (it could be a devil; with the sheer number of things you're being wrongly accused of, you identify strongly with Job and wonder if you're not being set up by supernatural forces), shocked (for that matter, it could be the ghost of your brother), and overwhelmed with hope (it might just might actually be your brother).
SEBASTIAN Do I stand there? I never had a brother; I had a sister, whom the blind waves and surges have devour'd. Of charity, what kin are you to me? What countryman? what name? what parentage?
VIOLA Of Messaline: Sebastian was my father; such a Sebastian was my brother too, so went he suited to his watery tomb: if spirits can assume both form and suit you come to fright us.
SEBASTIAN A spirit I am indeed; but am in that dimension grossly clad which from the womb I did participate. Were you a woman, as the rest goes even, I should my tears let fall upon your cheek, and say 'Thrice-welcome, drowned Viola!'Everyone else can see him too, and she can touch him. He's real. But yet, she needs to make sure, to give her heart free rein to explode.
VIOLA My father had a mole upon his brow.
SEBASTIAN And so had mine.
VIOLA And died that day when Viola from her birth had number'd thirteen years.Opening her locket, with their pictures.
SEBASTIAN O, that record is lively in my soul! He finished indeed his mortal act that day that made my sister thirteen years.
Opening his locket, with their pictures.
VIOLA If nothing lets to make us happy both but this my masculine usurp'd attire, do not embrace me till each circumstance of place, time, fortune, do cohere and jump that I am Viola:
Taking down hair, and a running tackle-embrace.
which to confirm, I'll bring you to a captain in this town, where lie my maiden weeds; by whose gentle help I was preserved to serve this noble count. All the occurrence of my fortune since hath been between this lady and this lord.
Double-take to Olivia. Oh dear. Well, that explains Miss Hot-and-randy. And you just married her. "Oops" doesn't even begin to cover it.
SEBASTIAN So comes it, lady, you have been mistook:
Weak smile from Olivia. Tee-hee. Giggle. Yeah, that is just so funny, I can't even begin to tell you.
but nature to her bias drew in that. You would have been contracted to a maid; nor are you therein, by my life, deceived, you are betroth'd both to a maid and man.
ORSINO Be not amazed; right noble is his blood. If this be so, as yet the glass seems true,The relief of a man in a very homophobic society learning that all of his very mixed up, very passionate feelings about what had appeared to be a very upsettingly homoerotic relationship have suddenly turned "legitimate." Crisis over.
I shall have share in this most happy wreck.
Very awkward moment here. Ten minutes ago you were preparing to kill her, and now you're asking for her hand.
Boy, thou hast said to me a thousand times thou never shouldst love woman like to me.
VIOLA And all those sayings will I overswear; and those swearings keep as true in soul as doth that orbed continent the fire that severs day from night.
ORSINO Give me thy hand; and let me see thee in thy woman's weeds.Cesario's a woman. Look, I know it looks really bad for your commander to be getting frisky with a soldier, but I'm not hugging a guy, she's a woman, okay? Don't get the wrong idea here.
VIOLA The captain that did bring me first on shore hath my maid's garments: he upon some action is now in durance, at Malvolio's suit, a gentleman, and follower of my lady's.
OLIVIA He shall enlarge him: fetch Malvolio hither: [To Fabian, who bows, looks at Feste warily, (this is really not going to go over well) and exits.] and yet, alas, now I remember me, they say, poor gentleman, he's much distract. A most extracting frenzy of mine own from my remembrance clearly banish'd his. How does he, sirrah?
FESTE Truly, madam, he holds Belzebub at the staves's end as well as a man in his case may do: has here writ a letter to you; I should have given't you to-day morning, but as a madman's epistles are no gospels, so it skills not much when they are delivered.
OLIVIA Open't, and read it.
FESTE Look then to be well edified when the fool delivers the madman.[Reading, in slurred foolspeak]
'By the Lord, madam,'--
OLIVIA How now! art thou mad?
FESTE No, madam, I do but read madness: an your ladyship will have it as it ought to be, you must allow Vox.
OLIVIA Prithee, read i' thy right wits.
FESTE So I do, madonna; but to read his right wits is to read thus: therefore perpend, my princess, and give ear.[Repeating, in the exact same slurred foolspeak]
'By the Lord, madam,'--
OLIVIA Read it you, sirrah. [Grabbing it out of Feste's hands and handing it to Fabian]
FABIAN 'By the Lord, madam, you wrong me, and the world shall know it: though you have put me into darkness and given your drunken cousin rule over me, yet have I the benefit of my senses as well as your ladyship.We're dead.
I have your own letter that induced me to the semblance I put on; with the which I doubt not but to do myself much right, or you much shame.
We are so dead.
Think of me as you please. I leave my duty a little unthought of and speak out of my injury. THE MADLY-USED MALVOLIO.'
OLIVIA Did he write this?
FESTE Ay, madam.
ORSINO This savours not much of distraction.Being discovered mistreating a servant, and in front of the Duke's company, no less. Oy, how embarrassing.
OLIVIA See him deliver'd, Fabian; bring him hither.
[Exit Fabian.]
My lord so please you, these things further thought on, to think me as well a sister as a wife, one day shall crown the alliance on't, so please you, here at my house and at my proper cost.
They're letting you off easy, considering how ungracious you've been to both women of late. Smile and nod.
ORSINO Madam, I am most apt to embrace your offer.
Walking up to the twins, taking Sebastian's face in his hands.
Your master quits you...
Sebastian emphatically points at his sister. The other one, mate. You want the other one -- that's the girl, over there. Orsino double-takes, then takes the face of the right one.
Your master quits you; and for your service done him, so much against the mettle of your sex, so far beneath your soft and tender breeding, and since you call'd me master for so long, here is my hand: you shall from this time be your master's mistress.
Olivia goes up to take Sebastian's side, and Viola sheepishly looks over at Olivia. Oh yeah. Um er uh boy this is embarrassing. Yeah, sorry I didn't tell you I was a woman all those times you were hitting on me.
OLIVIA A sister! you are she.
An embrace, followed by another embrace of Sebastian. Yeah, okay, I was wondering why you'd suddenly gotten taller. Not exactly the model I'd seen on the showroom floor, but you know what? I'll take it.
[Malvolio enters, in humiliated fury, with Fabian nervously following behind him.]
ORSINO Is this the madman?
OLIVIA Ay, my lord, this same. How now, Malvolio!
MALVOLIO Madam, you have done me wrong, notorious wrong.
OLIVIA Have I, Malvolio? no.
MALVOLIO Lady, you have. Pray you, peruse that letter.Handing the letter to Fabian, who hands the now-soot-stained letter to Olivia like it was his own death warrant.
you must not now deny it is your hand: write from it, if you can, in hand or phrase; or say 'tis not your seal, nor 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 clear lights of favour, bade me come smiling and cross-garter'd to you, to put on yellow stockings and to frown upon 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 dark house, visited by the priest,
Beat of the Priest's: Huh?
and made the most notorious geck and gull that e'er invention play'd on? tell me why.
OLIVIA Alas, Malvolio, this is not my writing, though, I confess, much like the character but out of question 'tis Maria's hand. And now I do bethink me, it was she first told me thou wast mad; then camest in smiling, and in such forms which here were presupposed upon thee in the letter.It all comes crashing down on Malvolio at once. All of the conversations you've had with the image of Olivia you've been carrying in your mind's eye (and, to no small degree, in your heart's eye as well) is no match for the raw untempered reality of the genuine article standing before you. Yes, she's beautiful. And no, she doesn't love you. She didn't even directly wrong you. No satisfaction on either score, then. Neither your heart nor your honor gets a happy ending.
Prithee, be content: this practise hath most shrewdly pass'd upon thee; but when we know the grounds and authors of it, thou shalt be both the plaintiff and the judge of thine own cause.
FABIAN Good madam, hear me speak,Gulp.
and let no quarrel nor no brawl to come taint the condition of this present hour, which I have wonder'd at. in hope it shall not. Most freely I confess, myself and Toby set this device against Malvolio here, upon some stubborn and uncourteous parts we had conceived against him: Maria writ the letter at Sir Toby's great importance; in recompense whereof he hath married her.
Ripple effect. If it ends in a marriage, it must be a comedy. As it is, they couldn't have picked a better time to get out of town.
How with a sportful malice it was follow'd, may rather pluck on laughter than revenge; if that the injuries be justly weigh'd that have on both sides pass'd.
Not bloody likely, but you might at least keep Malvolio from having you all killed. Maybe if you just sneaked off the grounds quietly after dark...
OLIVIA Alas, poor fool, how have they baffled thee!
To Malvolio, of course, but Feste steps up to the plate. That's my job description, naga-nooch.
FESTE Why, 'some are born great, some achieve greatness, and some have greatness thrown upon them.'
Heavy sigh. It seemed like a good idea at the time. But at the moment, I'll be damned if I can remember why.
I was one, sir, in this interlude; one Sir Topas, sir; but that's all one.'By the Lord, fool, I am not mad.'
You could present this line in the sniveling, shattered voice that Malvolio used when he said it, but you don't. You just don't have it in you to mock any more. For you, too, it's time to move on.
But do you remember? 'Madam, why laugh you at such a barren rascal? an you smile not, he's gagged:'
Here, however, you do recall Malvolio's former voice. The proud, belligerent, master-of-all-he-surveys voice. The voice that Malvolio will never have at his disposal to use again.
and thus the whirligig of time brings in his revenges.
No, I'm not proud of it. At all. This exploit gets left off of the resume.
MALVOLIO I'll be revenged on the whole pack of you.
You take your lady's hand one last time and curtsy, stiffly and formally bowing to kiss her hand much as Sir Andrew did when he took his broken heart and left. A moment in her eyes to linger, to savor, and to take with you as you leave. Then you drop her hand and drop your gaze. Being looked at by her, being touched by her, no longer brings you anything but pain. You just want to go home, but this is your home, and it's been unmade. How can you stay? It's time to get the hell out of Dodge and start over somewhere else. Ironically, you leave in much the same manner as Sir Toby. You've lost everything but your dignity. It is enough.
OLIVIA He hath been most notoriously abused.
ORSINO Pursue him and entreat him to a peace:To Fabian, who exits after Malvolio.
he hath not told us of the captain yet: when that is known and golden time convents, a solemn combination shall be made of our dear souls. Meantime, sweet sister, we will not part from hence. Cesario, come; for so you shall be, while you are a man; but when in other habits you are seen, Orsino's mistress and his fancy's queen.
As Feste sings and the music begins, Olivia, Sebastian, Orsino, and Viola dance a courtly 4-square dance. The music starts out pure court. As the music progresses and evolves, the dance continues but gets a little less formal and a little more joyful at each turn.
FESTE
When that I was and a little tiny boy,
With hey, ho, the wind and the rain,
A foolish thing was but a toy,
For the rain it raineth every day.An instrumental bridge, with a lighting change, and another progression of the dance. Sir Andrew and Malvolio enter from the house, each with luggage in tow, and exit in different directions, a beat behind one another. They each regard the clown rather uncomfortably, and walk with their heads down, trying not to match the beat as they walk. The beat gets a little more tribal and a little less courtly, and the dance gets a little less polished.
But when I came to man's estate,
With hey, ho, the wind and the rain,
'Gainst knaves and thieves men shut their gate,
For the rain it raineth every day.An instrumental bridge, with a lighting change, and another progression of the dance. Sir Toby and Maria enter from the house, hands together, each with a suitcase in their other hands. They have the exuberance of newlyweds but still walk with much more baggage than we can see. Maria gives the clown the hug of a woman saying farewell to her dearest friend, Sir Toby a warm handshake and a coin. They walk out into the audience, heads up, a remarkable spring in their step for a burdened couple with fallen arches. The music and the dance both move that much further from court to street.
But when I came, alas! to wive,
With hey, ho, the wind and the rain,
By swaggering could I never thrive,
For the rain it raineth every day.An instrumental bridge, with a lighting change, and another progression of the dance. Antonio and Fabian enter from the house, each with a bag over their shoulders but nothing more, and exit in different directions, a beat behind one another. They each give the clown a pat on the shoulder and a coin as they go, heads up, walking with the beat. The music and the dance both move that much further from court to street.
But when I came unto my beds,
With hey, ho, the wind and the rain,
With toss-pots still had drunken heads,
For the rain it raineth every day.An instrumental bridge, with a lighting change, and the attendants, Curio, Valentine, priest, and dancers exit OSL & OSR. Final lyric: lights down everywhere except on Feste, singing alone, a capella, just him and the lantern.
A great while ago the world begun,
With hey, ho, the wind and the rain,
But that's all one, our play is done,
And we'll strive to please you every day.The lantern is extinguished. Blackout.
At applause, lights and music back up at full. Reverse curtain call with the attendants, Curio, Valentine, priest, & Captain coming back onstage from OSR & OSL, bowing and then grabbing instruments to join in with the music. Then Antonio & Fabian & Sir Andrew & Sir Toby & Maria & Malvolio from out of the audience, joining Feste (who rejoins the musicians), bowing and also grabbing instruments to join in with the music. Then Sebastian & Olivia & Orsino & Viola from OSR & OSL, bowing and also grabbing instruments to join in with the music. Full cast bow, then musicians feted, then pickup impromptu jam session for sixteen bars or so, just enough to send the audience home with a bang. Blackout.
Twelfth Night Annotated Script © 2001 Kevin M. Hollenbeck.
All Rights Reserved. Back to Twelfth Night.