The pine and cedar: graves at my command
Have waked their sleepers; ope'd and let them forth
By my so potent art; but this rough magic
I here abjure and, when I have requir'd
Some heavenly music (which even now I do)
To work mine end upon their senses, that
This airy charm is for, I'll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound,
I'll drown my book.

Senses returning.

The charm dissolves apace,

And as the morning steals upon the night,
Melting the darkness, so their rising senses
Begin to chase the ignorant fumes that mantle.
Their clearer reason.-O my good Gonzalo,
My true preserver, and a loyal sir

To him thou follow'st: I will pay thy graces
Home, both in word and deed.-Most cruelly
Didst thou, Alonso, use me and my daughter;
Thy brother was a furtherer in the act :—
Thou'rt pinch'd for't now, Sebastian.

blood,

Flesh and

You brother mine, that entertain’d ambition, Expell'd remorse* and nature; who, with Sebastian (Whose inward pinches are most strong),

Would here have kill'd our king: I do forgive thee,
Unnatural though thou art! Their understanding
Begins to swell; and the approaching tide
Will shortly fill the reasonable shores,

That now lie foul and muddy. Not one of them
That yet looks on me, or would know me.

* Used here in the sense of compassion.

Ariel's Song.

Where the bee sucks, there suck I;
In a cowslip's bell I lie;

There I couch when owls do cry.

On the bat's back I do fly,
After summer, merrily :

Merrily, merrily, shall I live now,
Under the blossom that hangs on the bough.

-000

TWELFTH NIGHT.

Orsino, Duke of Illyria, is a suitor for the hand of Olivia, a rich countess. Sebastian and Viola, who are twin brother and sister, have been shipwrecked, but are saved; Viola, however, misses her brother in the wreck, and, believing him to be drowned, dresses herself in male attire, and, assuming the name of Cesario, enters the service of Orsino, of whom she becomes enamoured. Olivia rejects the proffered hand of Orsino, and falls passionately in love with Viola, believing her, from her costume, to be a man. Eventually Sebastian reaches Illyria, and his exact likeness to his twin sister occasions numerous amusing mistakes. In the end Orsino is accepted by Viola as her husband, and Sebastian by Olivia. The play is enlivened by a number of comic incidents, in which Malvolio (Olivia's steward), Sir Toby Belch (her uncle), and Sir Andrew Aguecheek, are the chief actors.

Аст І.
Music.

If music be the food of love, play on,
Give me excess of it; that, surfeiting,

The appetite may sicken and so die,
That strain again; it had a dying fall:

O, it came o'er my ear like the sweet south,
That breathes upon a bank of violets,

Stealing, and giving odour.

Escape from Shipwreck.

I saw your brother,

Most provident in peril, bind himself

(Courage and hope both teaching him the practice)
To a strong mast that lived upon the sea;
Where, like Arion on the dolphin's back,
I saw him hold acquaintance with the waves,
So long as I could see.

Description of a Beautiful Boy.

Dear lad, believe it ;

For they shall yet belie thy happy years.

That say,

thou art a man: Diana's lip

Is not more smooth and rubious; thy small pipe
Is, as the maiden's organ, shrill and sound,
And all is semblative a woman's part.

ACT II.

Disguise.

Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much. is it for the proper false*

How easy

In women's waxen hearts to set their forms!

Alas, our frailty is the cause, not we;
For, such as we are made of, such we be.

* Proper is here used to signify handsome.

True Love.

Come hither, boy; if ever thou shalt love,
In the sweet pangs of it remember me :
For, such as I am, all true lovers are ;
Unstaid and skittish in all motion else,
Save in the constant image of the creature
That is beloved.

The Wife should be Younger than the Husband.
Let still the woman take

An elder than herself; so wears she to him,
So sways she level in her husband's heart.
For, boy, however we do praise ourselves,
Our fancies are more giddy and unfirm,
More longing, wavering, sooner lost and worn,
Than women's are.

Character of an Old Song.

Mark it, Cesario; it is old and plain :

The spinsters and the knitters in the sun,

And the free maids, that weave their thread with bones,*

Do use to chant it: it is silly sooth,†

And dallies with the innocence of love,

Like the old age.

Song.

Come away, come away, death,
And in sad cypress let me be laid;
Fly away, fly away, breath;

I am slain by a fair cruel maid.

My shroud of white, stuck all with yew,
O, prepare it;

* Lace-makers.

† Simple truth.

My part of death no one so true
Did share it.

Not a flower, not a flower sweet,
On my black coffin let there be strown ;
Not a friend, not a friend greet

My poor corpse, where my bones shall be thrown.
A thousand thousands sighs to save,

Lay me, O, where

Sad true lover ne'er find my grave
To weep there.

Viola, attired as a Page, speaks of her concealed Love for the Duke.

VIOLA. Ay, but I know,—

DUKE. What dost thou know?

VIOLA. TOO well what love women to men may owe:

In faith, they are as true of heart as we.

My father had a daughter lov'd a man,

As it might be, perhaps, were I a woman,
I should your lordship.

DUKE. And what's her history?

VIOLA. A blank, my lord: She never told her iove, But let concealment, like a worm i’the bud,

Feed on her damask cheek: she pin'd in thought,
And, with a green and yellow melancholy,
She sat like Patience on a monument,

Smiling at grief. Was not this love, indeed?

We men may say more, swear more: but, indeed,
Our shows are more than will; for still we prove
Much in our vows, but little in our love.