Sir To. Then he's a rogue, and a passy-measures pavin 12; 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.

Oli. Most wonderful!

Which is Sebastian?

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." Vide 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.

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.

Duke.

Give me thy hand;

And let me see thee in thy woman's weeds.

Vio. The captain, that did bring me first on shore, Hath my maid's garments: he, upon some action, Is now in durance, at Malvolio's suit,

A gentleman and follower of my lady's.

Oli. He shall enlarge him:-Fetch Malvolio hither:

And yet, alas, now I remember me,
They say, poor gentleman, he's much distract.

Re-enter Clown, with a letter.

A most extracting 16 frenzy of mine own
From my remembrance clearly banish'd his.-
How does he, sirrah?

Clo. Truly, madam, he holds Belzebub at the stave's end, as well as a man in his case may do ; he has here writ a letter to you, I should have given it you to-day morning; but as a madman's epistles are no gospels, so it skills not much when they are delivered.

Oli. Open it, and read it.

Clo. Look then to be well edified, when the fool delivers the madman:-By the lord, madam,Oli. How now! art thou mad?

Clo. No, madam, I do but read madness: an your ladyship will have it as it ought to be, you must allow vox 17.

Oli. Pr'ythee, read i'thy right wits.

Clo. So I do, madonna; but to read his right wits, is to read thus: therefore perpend 18, my princess, and give ear.

16 i. e. a frenzy that drew me away from every thing but its object.

17 This may be explained: If you would have the letter read in character, you must allow me to assume the voice or frantic tone of a madman.'

18 Consider.

Oli. Read it you, sirrah. [TO FABIAN. Fab. [Reads.] By the Lord, madam, you wrong me, and the world shall know it: though you have put me into darkness, and given your drunken cousin rule over me, yet have I the benefit of my senses as well as your ladyship. I have your own letter that induced me to the semblance I put on; with the which I doubt not but to do myself much right, or you much shame. Think of me as you please. I leave my duty a little unthought of, and speak out of my injury. The madly-used Malvolio.

Oli. Did he write this?

Clo. Ay, madam.

Duke. This savours not much of distraction.

Oli. See him delivered, Fabian; bring him hi

ther.

[Exit FABIAN. My lord, so please you, these things further thought

on,

To think me as well a sister as a wife,

One day shall crown the alliance on't, so please you, Here at my house, and at my proper cost.

Duke. Madam, I am most apt to embrace your offer.

Your master quits you [To VIOLA]; and, for your service done him,

So much against the mettle 19 of your sex,
So far beneath your soft and tender breeding,
And since you call'd me master for so long,
Here is my hand; you
shall from this time be
Your master's mistress.

Oli.

A sister?—you are she.

Re-enter FABIAN, with MALVOLIO.

Duke. Is this the madman?

Oli.

Ay, my lord, this same:

How now,

Malvolio?

19 Frame and constitution.