Twelfth Night Study Guide
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Act I, Scene 3
Olivia's house

Scene Summary

At Olivia's estate, her uncle Sir Toby Belch and her lady-in-waiting Maria discuss Toby's late-night drinking and the foolish knight Sir Andrew Aguecheek, whom Toby has brought to court Olivia. When Andrew arrives, Maria runs circles around him verbally while Toby eggs him on. Andrew considers leaving, but Toby persuades him to stay another month. The scene ends with the two knights planning an evening of revels and dancing.

Translation Style
✨ Character Voice Translations PREMIUM
Original Text
[Enter SIR TOBY BELCH and MARIA] SIR TOBY BELCH. What a plague means my niece, to take the death of her brother thus? I am sure care's an enemy to life. MARIA. By my troth, Sir Toby, you must come in earlier o' nights: your cousin, my lady, takes great exceptions to your ill hours. SIR TOBY BELCH. Why, let her except, before excepted. MARIA. Ay, but you must confine yourself within the modest limits of order. SIR TOBY BELCH. Confine! I'll confine myself no finer than I am: these clothes are good enough to drink in; and so be these boots too: an they be not, let them hang themselves in their own straps. MARIA. That quaffing and drinking will undo you: I heard my lady talk of it yesterday; and of a foolish knight that you brought in one night here to be her wooer. SIR TOBY BELCH. Who, Sir Andrew Aguecheek? MARIA. Ay, he. SIR TOBY BELCH. He's as tall a man as any's in Illyria. MARIA. What's that to the purpose? SIR TOBY BELCH. Why, he has three thousand ducats a year. MARIA. Ay, but he'll have but a year in all these ducats: he's a very fool and a prodigal. SIR TOBY BELCH. Fie, that you'll say so! he plays o' the viol-de-gamboys, and speaks three or four languages word for word without book, and hath all the good gifts of nature. MARIA. He hath indeed, almost natural: for besides that he's a fool, he's a great quarreller: and but that he hath the gift of a coward to allay the gust he hath in quarrelling, 'tis thought among the prudent he would quickly have the gift of a grave. SIR TOBY BELCH. By this hand, they are scoundrels and subtractors that say so of him. Who are they? MARIA. They that add, moreover, he's drunk nightly in your company. SIR TOBY BELCH. With drinking healths to my niece: I'll drink to her as long as there is a passage in my throat and drink in Illyria: he's a coward and a coystrill that will not drink to my niece till his brains turn o' the toe like a parish-top. What, wench! Castiliano vulgo! for here comes Sir Andrew Agueface. [Enter SIR ANDREW] SIR ANDREW. Sir Toby Belch! how now, Sir Toby Belch! SIR TOBY BELCH. Sweet Sir Andrew! SIR ANDREW. Bless you, fair shrew. MARIA. And you too, sir. SIR TOBY BELCH. Accost, Sir Andrew, accost. SIR ANDREW. What's that? SIR TOBY BELCH. My niece's chambermaid. SIR ANDREW. Good Mistress Accost, I desire better acquaintance. MARIA. My name is Mary, sir. SIR ANDREW. Good Mistress Mary Accost,-- SIR TOBY BELCH. You mistake, knight; 'accost' is front her, board her, woo her, assail her. SIR ANDREW. By my troth, I would not undertake her in this company. Is that the meaning of 'accost'? MARIA. Fare you well, gentlemen. SIR TOBY BELCH. An thou let part so, Sir Andrew, would thou mightst never draw sword again. SIR ANDREW. An you part so, mistress, I would I might never draw sword again. Fair lady, do you think you have fools in hand? MARIA. Sir, I have not you by the hand. SIR ANDREW. Marry, but you shall have; and here's my hand. MARIA. Now, sir, 'thought is free:' I pray you, bring your hand to the buttery-bar and let it drink. SIR ANDREW. Wherefore, sweet-heart? what's your metaphor? MARIA. It's dry, sir. SIR ANDREW. Why, I think so: I am not such an ass but I can keep my hand dry. But what's your jest? MARIA. A dry jest, sir. SIR ANDREW. Are you full of them? MARIA. Ay, sir, I have them at my fingers' ends: marry, now I let go your hand, I am barren. [Exit] SIR TOBY BELCH. O knight thou lackest a cup of canary: when did I see thee so put down? SIR ANDREW. Never in your life, I think; unless you see canary put me down. Methinks sometimes I have no more wit than a Christian or an ordinary man has: but I am a great eater of beef and I believe that does harm to my wit. SIR TOBY BELCH. No question. SIR ANDREW. An I thought that, I'ld forswear it. I'll ride home to-morrow, Sir Toby. SIR TOBY BELCH. Pourquoi, my dear knight? SIR ANDREW. What is 'Pourquoi'? do or not do? I would I had bestowed that time in the tongues that I have in fencing, dancing and bear-baiting: O, had I but followed the arts! SIR TOBY BELCH. Then hadst thou had an excellent head of hair. SIR ANDREW. Why, would that have mended my hair? SIR TOBY BELCH. Past question; for thou seest it will not curl by nature. SIR ANDREW. But it becomes me well enough, does't not? SIR TOBY BELCH. Excellent; it hangs like flax on a distaff; and I hope to see a housewife take thee between her legs and spin it off. SIR ANDREW. Faith, I'll home to-morrow, Sir Toby: your niece will not be seen; or if she be, it's four to one she'll none of me: the count himself here hard by woos her. SIR TOBY BELCH. She'll none o' the count: she'll not match above her degree, neither in estate, years, nor wit; I have heard her swear't. Tut, there's life in't, man. SIR ANDREW. I'll stay a month longer. I am a fellow o' the strangest mind i' the world; I delight in masques and revels sometimes altogether. SIR TOBY BELCH. Art thou good at these kickshawses, knight? SIR ANDREW. As any man in Illyria, whatsoever he be, under the degree of my betters; and yet I will not compare with an old man. SIR TOBY BELCH. What is thy excellence in a galliard, knight? SIR ANDREW. Faith, I can cut a caper. SIR TOBY BELCH. And I can cut the mutton to't. SIR ANDREW. And I think I have the back-trick simply as strong as any man in Illyria. SIR TOBY BELCH. Wherefore are these things hid? wherefore have these gifts a curtain before 'em? are they like to take dust, like Mistress Mall's picture? why dost thou not go to church in a galliard and come home in a coranto? My very walk should be a jig; I would not so much as make water but in a sink-a-pace. What dost thou mean? Is it a world to hide virtues in? I did think, by the excellent constitution of thy leg, it was formed under the star of a galliard. SIR ANDREW. Ay, 'tis strong, and it does indifferent well in a flame-coloured stock. Shall we set about some revels? SIR TOBY BELCH. What shall we do else? were we not born under Taurus? SIR ANDREW. Taurus! That's sides and heart. SIR TOBY BELCH. No, sir; it is legs and thighs. Let me see the caper; ha! higher: ha, ha! excellent! [Exeunt]
Modern English
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Scene 3 shifts the play's register dramatically — from Orsino's poetic melancholy and Viola's resourceful resolve to the boisterous comic subplot centered on Sir Toby Belch, Sir Andrew Aguecheek, and Maria. This tonal contrast is deliberate: Shakespeare builds the play's world by showing how different characters inhabit the same emotional landscape of desire, loss, and self-deception, but express it through wildly different registers.

Sir Toby's opening line about his niece — "What a plague means my niece, to take the death of her brother thus?" — provides a comic counterpoint to Olivia's grief. Where Valentine reported Olivia's mourning with reverence, Toby sees it as an annoying obstacle to his lifestyle. His philosophy that "care's an enemy to life" directly opposes the self-imposed suffering of both Orsino and Olivia, positioning Toby as a figure of appetite and vitality — the spirit of Twelfth Night's carnival energy.

The introduction of Sir Andrew Aguecheek creates one of Shakespeare's most delightful fools. His name itself is a joke (an "ague" is a fever; "cheek" suggests pallor), and everything about him confirms his inadequacy: he can't understand basic vocabulary ("accost," "pourquoi"), boasts of skills he doesn't possess, and is transparently being exploited by Sir Toby for his wealth. Andrew is a gull — the archetypal dupe — and his presence foreshadows the play's broader interest in how self-deception and manipulation create comic havoc.

Maria emerges as one of the sharpest characters in the play. Her verbal sparring with Andrew reveals a wit that outstrips every man in the scene. Her "dry jest" exchange is a masterclass in Elizabethan wordplay: "dry" means both witless and thirsty, and Maria exploits both meanings effortlessly. This intellectual agility anticipates her central role in the Malvolio plot, where she will prove herself the most cunning schemer in Olivia's household.

The scene's focus on dance, drinking, and revelry connects directly to the play's title. Twelfth Night was a festival of misrule and inversion, where social hierarchies were temporarily overturned. Toby and Andrew represent this carnival spirit — excessive, disorderly, and fundamentally opposed to the restraint embodied by Malvolio (who will appear in Act I, Scene 5). The tension between license and order, festivity and propriety, runs through the entire play.

"I am sure care's an enemy to life." — Sir Toby (I.3.2)

"Confine! I'll confine myself no finer than I am: these clothes are good enough to drink in." — Sir Toby (I.3.9-10)

"I am a great eater of beef and I believe that does harm to my wit." — Sir Andrew (I.3.78-79)

"Is it a world to hide virtues in?" — Sir Toby (I.3.123)

Themes
Revelry and Misrule Folly Appetite Class and Money Deception Wit
Literary Devices
Pun Wordplay Comic Relief Characterization Bawdy Humor Malapropism Dramatic Irony
Characters
Sir Toby Belch Maria Sir Andrew Aguecheek
Motifs
Drinking Dance Foolishness Money
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