Twelfth Night Viola Quotes

But, indeed, words are very rascals, since bonds [vows] disgraced them." Viola: "Thy reason, man?" Feste: "Troth [Truthfully], sir, I can yield you none without words, and words are grown so false, I am loathe to prove reason with them.

This fellow is wise enough to play the fool; And to do that well craves a kind of wit: He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye. This is a practise As full of labour as a wise man's art For folly that he wisely shows is fit; But wise men, folly-fall'n, quite taint their wit.

Where lies your text? Viola: In Orsino's bosom. Olivia: In his bosom! In what chapter of his bosom? Viola: To answer by the method, in the first of his heart.

Viola to Duke Orsino: 'I'll do my best To woo your lady.' [Aside.] 'Yet, a barful strife! Whoe'er I woo, myself would be his wife.

Boy, thou hast said to me a thousand times Thou never shouldst love woman like to me. VIOLA:And all those sayings will I overswear; And those swearings keep as true in soul As doth that orbèd continent the fire That severs day from night.

For, boy, however we do praise ourselves, Our fancies are more giddy and unfirm, More longing, wavering, sooner lost and won, Than women's are. ... For women are as roses, whose fair flow'r Being once display'd doth fall that very hour. Viola: And so they are; alas, that they are so! To die, even when they to perfection grow!

In his bosom? In what chapter of his bosom? In his heart? In what chapter and verse of his heart? VIOLA (200) To answer by the method, in the first of his heart. To continue this metaphor—in the first chapter of his heart. OLIVIA Oh, I have read it. It is heresy. Have you no more to say? Oh, I have read that. It's not a holy message, it's heresy. Do you

Stay, I prithee tell me what thou think'st of me. Viola: That you do think you are not what you are. Olivia: If I think so, I think the same of you. Viola: Then think you right; I am not what I am. Olivia: I would you were as I would have you be. Viola: Would it be better, madam, than I am? I wish it might, for now I am your fool.

In that moment, she remembered Chris Bethel, pre-transition, playing Viola in Twelfth Night like a person who knew what it was to be shipwrecked on a strange shore. Good for him.

It is like one of the riddles or charades in the plays themselves—as if the plays have spilled off the stage, and we have all become players in a comedy that the author himself set in motion. Mistaken identities abound in Shakespeare. Reputations are false. Appearances are deceptive. Things are not what they seem. “I am not what I am,” says Viola, disguised in Twelfth Night as the boy servant Cesario.

both plays, the audience is wise to the deception, sharing with Viola and Iago an inside knowledge to which the other characters are not privy. We observe the consequences of being taken in: both the comic consequences in Twelfth Night and the tragic ones in Othello.

Last night, I couldn’t sleep, so I reread Twelfth Night,” Wren said. “We all know how it ends—happily, of course—but there’s sadness there, too. Olivia has lost a brother. So has Viola, but they handle it very differently. Viola changes her name, her whole identity, and almost immediately falls in love. Olivia shuts herself away from the world, and refuses to let love in at all. Viola is trying desperately to forget her brother. Olivia is maybe remembering him too much. So what do you do? Ignore your grief, or indulge it?” She looked up from the sand and found us, gaze drifting from face to face. Meredith, Alexander, Filippa, me, and finally James. “You all know that Richard refuses to be ignored,” she said, speaking to us, and no one else. “But maybe every day we let grief in, we’ll also let a little bit of it out, and eventually we’ll be able to breathe again. At least, that’s how Shakespeare would tell the story. Hamlet says, Absent thee from felicity awhile. But just awhile. The show’s not over. Now cracks a noble heart. Goodnight. The rest of us must go on.

each Shakespearean reference is taken from a specific Shakespearean character. These are the characters I paired together: Cady: Miranda in The Tempest. Miranda is an ingenue who has lived most of her life secluded with her father in a remote wilderness, not unlike Cady. (I broke this pairing once, when Cady uses lines borrowed from Hero in Much Ado About Nothing. The quote from Hero was so perfect for the moment that I had to use it. Can you find it?) Janis: Beatrice in Much Ado About Nothing. Beatrice has a caustic, biting wit and a fierce loyalty to her friends. Regina: Kate in Taming of the Shrew. Kate, the titular shrew, starts off the play as a harsh woman with a sharp tongue. Gretchen: Viola in Twelfth Night. Viola, dressing as a man, serves as a constant go-between and wears a different face with each character. Karen: Juliet in Romeo and Juliet. Juliet is the youngest of Shakespeare’s heroines. She is innocent and hopeful. Mrs. Heron: Cleopatra in Antony and Cleopatra. Cleopatra is the regal, intelligent woman who has come from Africa. Mrs. George: Lady Macbeth in Macbeth. Lady Macbeth is one of Shakespeare’s cruelest, most cunning villains. Yes, this is unfair to Amy Poehler’s portrayal of Mrs. George, who is nothing but positive and fun. My thought was that anyone who could raise Regina must be a piece of work. Ms. Norbury: Titania in A Midsummer Night’s Dream. There’s little textual connection here—I just love Tina Fey so much that I thought, “Who could represent her except a majestic fairy queen?