Twelfth Night - Staff.fcps.net

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Table of Contents Strategies for Understanding Shakespeare's Language..................................................................................1 Reading Pointers for Sharper Insights.............................................................................................................5 Dramatis Personæ...............................................................................................................................................7 Act I......................................................................................................................................................................8 Scene I......................................................................................................................................................8 Scene II....................................................................................................................................................9 Scene III.................................................................................................................................................11 Scene IV.................................................................................................................................................17 Scene V..................................................................................................................................................18 Act II..................................................................................................................................................................31 Scene I....................................................................................................................................................31 Scene II..................................................................................................................................................32 Scene III.................................................................................................................................................33 Scene IV.................................................................................................................................................40 Scene V..................................................................................................................................................45 Act III.................................................................................................................................................................54 Scene I....................................................................................................................................................54 Scene II..................................................................................................................................................60 Scene III.................................................................................................................................................63 Scene IV.................................................................................................................................................65 Act IV.................................................................................................................................................................81 Scene I....................................................................................................................................................81 Scene II..................................................................................................................................................83 Scene III.................................................................................................................................................88 Act V...................................................................................................................................................................90 Scene I....................................................................................................................................................90 i
Strategies for Understanding Shakespeare's Language 1. When reading verse, note the appropriate phrasing and intonation. DO NOT PAUSE AT THE END OF A LINE unless there is a mark of punctuation. Shakespearean verse has a rhythm of its own, and once a reader gets used to it, the rhythm becomes very natural to speak in and read. Beginning readers often find it helpful to read a short pause at a comma and a long pause for a period, colon, semicolon, dash, or question mark. Here's an example from The Merchant of Venice, Act IV, Scene i: The quality of mercy is not strain'd, (short pause) It droppeth as the gentle rain from heaven Upon the place beneath: (long pause) it is twice blest; (long pause) It blesseth him that gives, (short pause) and him that takes; (long pause) 'Tis mightiest in the mighties; (long pause) it becomes The throned monarch better than his crown; (long pause) 2. Reading from punctuation mark to punctuation mark for meaning. In addition to helping you read aloud, punctuation marks define units of thought. Try to understand each unit as you read, keeping in mind that periods, colons, semicolons, and question marks signal the end of a thought. Here's an example from The Taming of the Shrew: LUC. Tranio, I saw her coral lips to move, And with her breath she did perfume the air; Sacred, and sweet, was all I saw in her. TRA. Nay, then, 't is time to stir him from his trance. I pray, awake, sir: if you love the maid, Bend thoughts and wits to achieve her. (I,i) The first unit of thought is from “Tranio” to “air”: He saw her lips move, and her breath perfumed the air. The second thought (“Sacred, and sweet…”) re-emphasizes the first. Tranio replies that Lucentio needs to awaken from his trance and try to win “the maid.” These two sentences can be considered one unit of thought. 3. In an inverted sentence, the verb comes before the subject. Some lines will be easier to understand if you put the subject first and reword the sentence. For example, look at the line below: “Never was seen so black a day as this:” (Romeo and Juliet, IV, v) Strategies for Understanding Shakespeare's Language 1
Page 1: Twelfth Night by William Shakespear
Page 5 and 6: “Who” refers to the moon. “th
Page 7 and 8: Reading Pointers for Sharper Insigh
Page 9 and 10: Dramatis Personæ • ORSINO, Duke
Page 11 and 12: The element itself, till seven year
Page 13 and 14: VIOLA: O that I served that lady An
Page 15 and 16: SIR TOBY: By this hand, they are sc
Page 17 and 18: O knight, thou lackest a cup of can
Page 19 and 20: [Exeunt.] No, sir; it is legs and t
Page 21 and 22: Let her hang me: he that is well ha
Page 23 and 24: Make your proof.(55) CLOWN: I must
Page 25 and 26: mater. [Enter Sir Toby.] OLIVIA: By
Page 27 and 28: MALVOLIO: Gentlewoman, my lady call
Page 29 and 30: [Exit Maria.] Now, sir, what is you
Page 31 and 32: You might do much. What is your par
Page 33 and 34: Act II Scene I The sea-coast. [Ente
Page 35 and 36: She took the ring of me: I'll none
Page 37 and 38: SIR ANDREW: There's a testril of me
Page 39 and 40: MARIA: For the love o' God, peace!(
Page 41 and 42: Marry, sir, sometimes he is a kind
Page 43 and 44: [Enter Duke, Viola, Curio, and othe
Page 45 and 46: (55) [Sings] Come away, come away,
Page 47 and 48: And what's her history? VIOLA: A bl
Page 49 and 50: SIR TOBY: Peace, I say. MALVOLIO: T
Page 51 and 52: SIR ANDREW: I knew 'twas I; for man
Page 53 and 54:
Ay, or I'll cudgel him, and make hi
Page 55 and 56:
If you will then see the fruits of
Page 57 and 58:
CLOWN: Troth, sir, I can yield you
Page 59 and 60:
Will you encounter the house? my ni
Page 61 and 62:
VIOLA: No, not a grize; for 'tis a
Page 63 and 64:
FABIAN: I will prove it legitimate,
Page 65 and 66:
and take't for a great favour. SIR
Page 67 and 68:
Scene IV Olivia's garden. [Enter Ol
Page 69 and 70:
OLIVIA: Heaven restore thee! MALVOL
Page 71 and 72:
FABIAN: Carry his water to the wise
Page 73 and 74:
SIR TOBY: [Reads] ‘Wonder not, no
Page 75 and 76:
Here, wear this jewel for me, 'tis
Page 77 and 78:
Illyria. Will you walk towards him?
Page 79 and 80:
[Draws] [Enter two Officers.] FABIA
Page 81 and 82:
Virtue is beauty, but the beauteous
Page 83 and 84:
Act IV Scene I Before Olivia's hous
Page 85 and 86:
Hold, Toby; on thy life, I charge t
Page 87 and 88:
SIR TOBY: Well said, Master Parson.
Page 89 and 90:
Fool, I say! CLOWN: ‘She loves an
Page 91 and 92:
[Enter Sebastian.] SEBASTIAN: This
Page 93 and 94:
CLOWN: Marry, sir, they praise me a
Page 95 and 96:
Drew to defend him when he was bese
Page 97 and 98:
Who does beguile you? who does do y
Page 99 and 100:
VIOLA: Why do you speak to me? I ne
Page 101 and 102:
Were you a woman, as the rest goes
Page 103 and 104:
CLOWN: So I do, madonna; but to rea
Page 105 and 106:
FABIAN: Good madam, hear me speak;
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