| There is no slander in an allowed fool | -Act 1, scene 5-to Malvolio and Feste, after Malvolio criticises Feste’s character-implication that a natural fool isn’t funny, which of course is absurd; audience finds great delight in mockery of Andrew, and, as Feste later announces, “Foolery, sir, does walk about the orb like the sun, it shines every where” (3,1) |
| What are you? What would you? | -Act 1 scene 5-to Cesario-creates dramatic irony (“I am not that I play” few lines previously)-Olivia is confused as what seems like a young man is sensitive (C has just said “I hold the olive in my hand; my words are as full of peace as matter) |
| We will draw the curtain, and show you the picture. [She unveils] … Is’t not well done? | -Act 1 scene 5-responding to Cesario’s “good madam, let me see your face”-revealing her arrogance; contradicting Orsino’s portrayal of her as a ‘virtuous maid’ (archaic meaning is chaste)-making light of her brother’s death and her promise to hide her face for seven years by revealing her face to someone literally upon first meeting them-S mocking love at first sight, S suggesting actions of upper class are disingenuous |
| Why, what would you? | -Act 1, scene 5-FLIRTING with Cesario-complete comic misunderstanding; Olivia interprets Cesario’s hypothetical passage to be actual – doesnt realise she’s trying to get info to please Orsino – and believes Cesario to be bravely overstepping his social status and making a move. liv, stop. |
| “What is your parentage?” | -Act 1, scene 5-talking to herself after Cesario has left-her repetition of what she said reveals how important the conversation was to her-dramatic irony makes this funny – she’s obsessing over someone that she can’t have (social status), but also, unbeknownst to her, C is a girl-S mocking love at first sight-S mocking actions of upper class -she’s meant to be mourning! |
| Unless the master were the man | -Act 1 scene 5-talking to herself after Cesario has left-her wishing that Orsino was Cesario suggests that her hyperbolic mourning is purely to get Ozzie off her back; and thus, Viola’s wishes to “serve that lady” in order to mourn via Olivia are rendered somewhat useless |
| Fate, show thy force: ourselves we do not owe;What is decreed must be; and be this so. | -Act 1, scene 5-final line-rhyming couplet and iambic pentameter reveal the emotion/passion she feels for Cesario/the situation – does she also love the idea of love, or does she really love Cesario?-fate personified is a recurring motif-‘ourselves we do not owe’ – we are not our own masters |
| To one of your receiving enough is shown:A cypress, not a bosom, hides my heart | -Act 3 scene 1-Olivia is poetically saying that her heart belongs to Cesario-begins by complimenting C with ‘receiving’ which meant perceptiveness-Olivia is hoping that Cesario will pick up on the sexual connotations of a thin material on her chest; flirting 101 |
| Stay:I prithee, tell me what thou think’st of me | -Act 3 scene 1-said to Cesario as he tries to leave (“then westward ho!”)-completely undermines her solemn “the clock upbraids me with the waste of time” and “be not afraid, good youth, I will not have you” said earlier; suggests she was only saying them to ‘play hard to get’ and tapping into the masculinity of the game-‘stay’ seems to be an imperative, although the context reduces her power significantly, and this comes across as desperation rather than demanding-imperative contrasts with ‘i prithee’ and supports [previous point] |
| A murderous guilt shows not itself more soonThan love that would seem hid: love’s night is noon | -Act 3 scene 1-said in an aside before proclaiming her love to Cesario) as though it wasn’t obvious before (!!)-rhyming couplets that begin here continue until the end of the scene – S tends to close scenes with rhyming couplets (1,1/1,4,/2,2/2,4) – reveals heightened emotion-ironic use of ‘hid’ HUN everyone knows-‘love’s night is noon’ – i.e. love is more obvious when we try to obscure it |
| Where’s Malvolio? He is sad and civil,And suits well for a servant with my fortunes.Where is Malvolio? | -Act 3 scene 4-addressing Maria-‘sad and civil’ are virtually synonymous in context; this is the reason for his employment ?- Olivia revealing her sensibleness-this line becomes humorous once the delusional Malvolio enters the stage, being anything but sad and civil, completely unsuitable for Olivia’s state-repetition of interrogative suggests a level of desperation for someone sad and civil – has she realised that her actions were unacceptable and desires a puritan attitude to level her head? |
| I would not have him miscarry for the half of my dowry | -Act 3 scene 4-about Malvolio, who has just embarrassed himself greatly-‘miscarry’ means to come to harm-reveals a caring and kind attitude towards her staff, undercutting cruelty of Maria+Toby’s plot |
| Here, wear this jewel for me, ’tis my picture | -Act 3 scene 4-addressing Cesario-typical gift for a knight, what she’s giving – subversion of roles-given to knight when going into battle; where’s Cesario going?? to Orsino? hardly worth a portrait-S mocking courtly love; woman is desperate for /man/ to be with her – dramatic irony |
| Will it ever be thus? Ungracious wretch,Fit for the mountains and the barbarous cavesWhere manners ne’er were preached! Out of my sight!(Be not offended, dear Cesario.)Rudesby, be gone! | -Act 4 scene 1-to Sir Toby, and Cesario when addressed-offers a nice little summary of Toby’s behaviour here, thanks liv-use of multiple exclamations reveals a heightened emotion; perhaps this is what pushes her to beg [Cesario] once more-vocative creates confusion for Sebastian, and therefore the audience-woman having power over her uncle – subversion of roles |
| Blame not this haste of mine | -Act 4 scene 3-to Sebastian, before they get married-‘haste’ is interpreted differently by either character; Olivia’s hurry is due to the fact that [Cesario] has finally agreed to be with her (which is funny anyway bc she’s effectively trapping him in marriage before he changes his mind – mocking courtly love), whereas Sebastian views the haste as just another element of the madness that he’s been thrown into |
| What do you say, Cesario? Good my lord- | -Act 5-to Cesario after she arrives and questions why she’s with Orsino-continuation of ‘Cesario’ to identify [Viola] keeps the theme of mistaken identity alive, even though she’s married Sebastian-giving precedence to Cesario over his master is sure to ruffle some feathers, but to be fair, she thought it was her husband – reflective of 12th night festivities, role reversal, etc |
| Hast thou forgot thyself? | -Act 5-to Cesario, after being rejected-ironic allusion to the theme of mistaken identity: “Conceal me what I am” 2,1 “I am not that I play” 1,5 “I am not what I am” 3,1-dramatic irony |
| Cesario, husband, stay. | -Act 5-noun calls Orsino and Viola to attention and begins a short section of repetition due to comic misunderstanding |
| Be that thou know’st thou art; and then thou artAs great as that thou fear’st | -Act 5-talking to Cesario, before the priest enters-unwittingly, Olivia gives Viola permission to be herself- link to Viola’s wishes to be herself |
| Most wonderful! | -Act 5-spoken when Sebastian arrives and the twins are on stage together-enthusiasm invariably raises laughter in performance-her predicament (but not enthusiasm) is shared by Adrianna in the final scene of Comedy of Errors: “I see two husbands, or more eyes deceive me”-superficial nature is revealed |
| He hath been most notoriously abus’d | -Act 5-spoken after Malvolio has left, as an afterthought(?)-repeating Malvolio’s earlier complaint-again, reveals Olivia’s compassionate nature (link to “I would not have him miscarry for the half of my dowry”); opposing Orsino, whose emotions are largely superficial |
Twelfth Night key quotes – Olivia
July 27, 2019