Fear not, Cesario, take thy fortunes up;

Be that thou know'st thou art, and then thou art As great as that thou fear'st.-0, welcome, father!

Re-enter Attendant and Priest.

Father, I charge thee, by thy reverence,
Here to unfold (though lately we intended
To keep in darkness, what occasion now
Reveals before 'tis ripe), what thou dost know,
Hath newly past between this youth and me.
Priest. A contract of eternal bond of love,
Confirm'd by mutual joinder of your hands,
Attested by the holy close of lips,

Strengthened by interchangement of your rings 9;
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.

Duke. O, thou dissembling cub! what wilt thou be, When time hath sow'd a grizzle on thy case 10? 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. Vio. My lord, I do protest,—

Oli. O, do not swear; Hold little faith, though thou hast too much fear.

9 In ancient espousals the man received as well as gave a ring. 10 So, in Cary's Present State of England, 1626. • Queen Elizabeth asked a knight named Young, how he liked a company of brave ladies? He answered as I like my silver haired conies at home, the cases are far better than the bodies.'

Enter SIR ANDREW AGUE-CHEEK, with his head

broke.

Sir And. For the love of God, a surgeon; send one presently to Sir Toby.

Oli. What's the matter?

Sir And. 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.

Oli. Who has done this, Sir Andrew ?

Sir And. The count's gentleman, one Cesario: we took him for a coward, but he's the very devil incardinate.

Duke. My gentleman, Cesario?

Sir And. 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.

Vio. Why do you speak to me? I never hurt you: You drew your sword upon me, without cause; But I bespake you fair, and hurt you not.

Sir And. If a bloody coxcomb be a hurt, you have hurt me; I think you set nothing by a bloody coxcomb.

Enter SIR TOBY BELCH, drunk, led by the Clown. Here comes Sir Toby halting, you shall hear more: but if he had not been in drink, he would have tickled you othergates 11 than he did.

Duke. How now, gentleman? how is't with you? Sir To. That's all one; he has hurt me, and there's the end on't. Sot, didst see Dick surgeon, sot? Clo. O he's drunk, Sir Toby, an hour agone; his eyes were set at eight i'the morning.

11 Otherways.

Sir To. Then he's a rogue, and a passy-measures pavin12; I hate a drunken rogue.

Oli. Away with him: Who hath made this havock with them?

Sir And. I'll help you, Sir Toby, because we'll be dressed together.

Sir To. Will you help ?—An ass-head, and a coxcomb, and a knave? a thin-faced knave, a gull? Oli. Get him to bed, and let his hurt be look'd to. [Exeunt Clown, SIR TOBY, and SIR ANDREW. Enter SEBASTIAN.

Seb. I am sorry, madam, I have hurt your

man;

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.

kins

Duke. One face, one voice, one habit, and two persons;

A natural perspective 13, that is, and is not.

12 The pavin was a grave Spanish dance. Sir John Hawkins derives it from pavo a peacock, and says that every pavin had its galliard, a lighter kind of air formed out of the former. Thus, in Middleton's More Dissemblers beside Women:

'I can dance nothing but ill favour'dly,

A strain or two of passe measures galliard.'

By which it appears that the passy-measure pavan, and the passy measure galliard were only two different measures of one dance. Sir Toby therefore means by this quaint expression that the surgeon is a rogue and a grave solemn coxcomb. In the first act of the play he has shown himself well acquainted with the various kinds of dance. Shakspeare's characters are always consistent, and even in drunkenness preserve the traits of character which distinguished them when sober.

13 A perspective formerly meant a glass that assisted the sight in any way. The several kinds in use in Shakspeare's time are

Seb. Antonio! O, my dear Antonio,

How have the hours rack'd and tortur'd me,

Since I have lost thee.

Ant. Sebastian are you?

Seb.

Fear'st thou that, Antonio?

Ant. How have you made division of yourself?An apple, cleft in two, is not more twin

Than these two creatures. Which is Sebastian? Oli. Most wonderful!

Seb. Do I stand there? I never had a brother;
Nor can there be that deity in my nature,
Of here and every where. I had a sister,
Whom the blind waves and surges have devour'd:-
Of charity 14, what kin are you to me? [To VIOLA.
What countryman? what name? what parentage?
Vio. 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.

Seb.

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,

enumerated in Scot's Discoverie of Witchcraft, 1584, b. xiii. c. 19, where that alluded to by the Duke is thus described, 'There be glasses also wherein one man may see another man's image and not his own'-that optical illusion may be meant, which is called anamorphosis :- where that which is, is not,' or appears, in a different position, another thing. This may also explain a passage in Henry V. Act v. Sc. 2: Yes, my lord,

you see them perspectively, the cities turned into a maid.' also K. Richard II. Act ii. Sc. I, and note there

Like perspectives which rightly gazed upon

Show nothing, but confusion; ey'd awry
Distinguish form.'

14 Out of charity, tell me.

Vide

I should my tears let fall upon your cheek,
And say-Thrice welcome, drowned Viola!

Vio. My father had a mole upon his brow.
Seb. And so had mine.

Vio. And died that day when Viola from her birth Had number'd thirteen years.

Seb. O, that record is lively in my soul! He finished, indeed, his mortal act,

That day that made my sister thirteen years.

Vio. If nothing lets 15 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: which to confirm,

I'll bring you to a captain in this town,

Where lie my maiden weeds; by whose gentle help
I was preserv'd, to serve this noble count:

All the occurrence of my fortune since
Hath been between this lady, and this lord.

Seb. So comes it, lady, you have been mistook:

[TO OLIVIA.

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.
Duke. Be not amaz'd; right noble is his blood.—
If this be so, as yet the glass seems true,
I shall have share in this most happy wreck :
Boy, thou hast said to me a thousand times,
[TO VIOLA.

Thou never should'st love woman like to me.
Vio. And all those sayings will I over-swear;
And all those swearings keep as true in soul,
As doth that orbed continent the fire

That severs day from night.

15 Hinders.