Twelfth Night or What You Will
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Here are the books that help teach Shakespeare plays without the teacher constantly needing to explain and define Elizabethan terms, slang, and other ways of expression that are different from our own. Each play is presented with Shakespeare's original lines on each left-hand page, and a modern, easy-to-understand "translation" on the facing right-hand page. All dramas are complete, with every original Shakespearian line, and a full-length modern rendition of the text. These invaluable teaching-study guides also include:
1. Helpful background information that puts each play in its historical perspective.
2. Discussion questions that teachers can use to spark student class participation, and which students can use as springboards for their own themes and term papers.
3. Fact quizzes, sample examinations, and other features that improve student comprehension of what each play is about.
Whoe’er I woo, myself would35 be his wife. exeunt 28 character, disposition (as dictated by astrological imperatives) 29 right apt ϭ completely suited/fitted/prepared* 30 business* 31 all of you (attendants) 32 without limitation, liberally, nobly 33 and 34 barful strife ϭ difficult/challenging struggle/conflict 35 wish to 20 act 1 • scene 5 s c e n e 5 Olivia’s house enter Maria and Feste,1 a Clown Maria Nay, either tell me where thou hast been, or I will not open my lips so wide
What man, ’tis not for 110 gravity47 to play at cherry-pit48 with Satan. Hang49 him, foul collier!50 Maria Get him to say his prayers, good Sir Toby, get him to pray. Malvolio My prayers, minx!51 115 Maria No, I warrant you, he will not hear of godliness. Malvolio Go hang yourselves all! You are idle shallow things, I am not of your element,52 you shall know more hereafter. exit Malvolio Sir Toby Is’t possible? 43 disturb, excite, stir up 44 fine fellow (BAWEcock) 45 familiar
that 155 courteous 156 in part 157 capacity 158 property, possessions 159 what I now have 160 funds 161 repudiate, disown, reject 162 worthy conduct 163 belief, conviction 164 corrupt, insincere 107 act 3 • scene 4 Viola I know of none, Nor know I you by voice, or any feature.165 I hate ingratitude more in a man Than lying, vainness,166 babbling, drunkenness, 330 Or any taint of vice whose strong corruption167 Inhabits our frail blood. Antonio O heavens themselves! Second
lord, that shall become him. Orsino Why should I not, had I the heart to do it, Like to th’ Egyptian thief at point of death, Kill what I love?62 (A savage jealousy That sometimes savors63 nobly.) But hear me this. 115 Since you to non-regardance64 cast my faith, And that I partly know the instrument That screws65 me from my true place in your favor, Live you the marble-breasted66 tyrant still. But this your minion,67 whom I know you love, 120 And whom, by heaven I swear, I tender68
is rather more like John Keats than he is like Cleopatra, and his beautiful opening speech is inevitably echoed in Keats’s “Ode on Melancholy.” We can call Orsino a Keats gone bad, or even a little mad, returning us again to the mad behavior of nearly everyone in Twelfth Night. Dr. Samuel Johnson, who feared madness, liked to attribute rational design even where it seems unlikely: “Viola seems to have formed a very deep design with very little premeditation: she is thrown by shipwreck on an