OLIVIA.
Come to what is important in't: I forgive you the praise.
VIOLA.
Alas, I took great pains to study it, and 'tis poetical.
OLIVIA. It is the more like to be feigned; I pray you keep it in. I heard you were saucy at my gates; and allowed your approach, rather to wonder at you than to hear you. If you be not mad, be gone; if you have reason, be brief: 'tis not that time of moon with me to make one in so skipping a dialogue.
MARIA.
Will you hoist sail, sir? here lies your way.
VIOLA.
No, good swabber; I am to hull here a little longer.—
Some mollification for your giant, sweet lady.
OLIVIA.
Tell me your mind.
VIOLA.
I am a messenger.
OLIVIA. Sure, you have some hideous matter to deliver, when the courtesy of it is so fearful. Speak your office.
VIOLA. It alone concerns your ear. I bring no overture of war, no taxation of homage; I hold the olive in my hand: my words are as full of peace as matter.
OLIVIA.
Yet you began rudely. What are you? what would you?
VIOLA. The rudeness that hath appeared in me have I learned from my entertainment. What I am and what I would are as secret as maidenhead: to your ears, divinity; to any other's, profanation.
OLIVIA.
Give us the place alone: we will hear this divinity.
[Exit MARIA.]
Now, sir, what is your text?
VIOLA.
Most sweet lady,—
OLIVIA.
A comfortable doctrine, and much m
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Twelfth Night is Shakespeare's answer to that age-old question.
While I was listening to this, I had no idea that Viola & Sebastian were twins. As far as I knew, they were just siblings. But, apparently, they were (<--if I had read the blurb, I would have known this).
And apparent