“Twelfth Night” At the Old Vic ** Written in 1933

　　Shakespeareans are divided, it is well known, into three classes; those who prefer to read Shakespeare in the book; those who prefer to see him acted on the stage; and those who run perpetually from book to stage gathering¹ plunder². Certainly there is a good deal to be said for reading Twelfth Night in the book if the book can be read in a garden, with no sound but the thud of an apple falling to the earth, or of the wind ruffling³ the branches of the trees. For one thing there is time — time not only to hear “the sweet sound that breathes upon a bank of violets” but to unfold the implications of that very subtle speech as the Duke winds into the nature of love. There is time, too, to make a note in the margin⁴; time to wonder at queer jingles⁵ like “that live in her; when liver, brain, and heart” . . . “and of a foolish knight⁶ that you brought in one night” and to ask oneself whether it was from them that was born the lovely, “And what should I do in Illyria? My brother he is in Elysium.” For Shakespeare is writing, it seems, not with the whole of his mind mobilized and under control but with feelers left flying that sort and play with words so that the trail of a chance word is caught and followed recklessly. From the echo of one word is born another word, for which reason, perhaps, the play seems as we read it to tremble perpetually on the brink⁷ of music. They are always calling for songs in Twelfth Night , “0 fellow come, the song we had last night.” Yet Shakespeare was not so deeply in love with words but that he could turn and laugh at them. “They that do dally⁸ with words do quickly make them wanton.” There is a roar of laughter and out burst Sir Toby, Sir Andrew, Maria. Words on their lips are things that have meaning; that rush and leap out with a whole character packed in a little phrase. When Sir Andrew says “I was adored once,” we feel that we hold him in the hollow of our hands; a novelist would have taken three volumes to bring us to that pitch of intimacy⁹. And Viola, Malvolio, Olivia, the Duke — the mind so brims and spills over with all that we know and guess about them as they move in and out among the lights and shadows of the mind’s stage that we ask why should we imprison¹⁰ them within the bodies of real men and women? Why exchange this garden for the theatre? The answer is that Shakespeare wrote for the stage and presumably with reason. Since they are acting¹¹ TWELFTH NIGHT at the Old Vic, let us compare the two versions.

Many apples might fall without being heard in the Waterloo Road, and as for the shadows, the electric light has consumed them all. The first impression upon entering the Old Vic is overwhelmingly positive and definite. We seem to have issued out from the shadows of the garden upon the bridge of the Parthenon. The metaphor¹² is mixed, but then so is the scenery. The columns of the bridge somehow suggest an Atlantic liner and the austere¹³ splendours of a classical temple in combination. But the body is almost as upsetting as the scenery. The actual persons of Malvolio, Sir Toby, Olivia and the rest expand our visionary characters out of all recognition. At first we are inclined to resent it. You are not Malvolio; or Sir Toby either, we want to tell them; but merely impostors. We sit gaping¹⁴ at the ruins of the play, at the travesty¹⁵ of the play. And then by degrees this same body or rather all these bodies together, take our play and remodel¹⁶ it between them. The play gains immensely in robustness¹⁷, in solidity. The printed word is changed out of all recognition when it is heard by other people. We watch it strike upon this man or woman; we see them laugh or shrug¹⁹ their shoulders, or tum aside to hide their faces. The word is given a body as well as a soul. Then again as the actors pause, or topple over a barrel, or stretch their hands out, the flatness of the print is broken up as by crevasses²⁰ or precipices²¹; all the proportions are changed. Perhaps the most impressive effect in the play is achieved by the long pause which Sebastian and Viola make as they stand looking at each other in a silent ecstasy²² of recognition. The reader’s eye may have slipped over that moment entirely²³. Here we are made to pause and think about it; and are reminded that Shakespeare wrote for the body and for the mind simultaneously²⁴.

But now that the actors have done their proper work of solidifying²⁵ and intensifying²⁶ our impressions, we begin to criticize them more minutely and to compare their version with our own. We make Mr. Quartermaine’s Malvolio stand beside our Malvolio. And to tell the truth, wherever the fault may lie, they have very little in common. Mr. Quartermaine’s Malvolio is a splendid gentleman, courteous²⁷, considerate, well bred; a man of parts and humour who has no quarrel with the world. He has never felt a twinge of vanity or a moment’s envy in his life. If Sir Toby and Maria fool him he sees through it, we may be sure, and only suffers it as a fine gentleman puts up with the games of foolish children. Our Malvolio, on the other hand, was a fantastic complex creature, twitching²⁸ with vanity, tortured by ambition. There was cruelty in his teasing, and a hint of tragedy in his defeat; his final threat had a momentary²⁹ terror in it. But when Mr. Quartermaine says “I’ll be revenged on the whole pack of you,” we feel merely that the powers of the law will be soon and effectively invoked³⁰. What, then, becomes of Olivia’s “He hath been most notoriously abused”? Then there is Olivia. Madame Lopokova has by nature that rare quality which is neither to be had for the asking nor to be subdued³¹ by the will — the genius of personality. She has only to float on to the stage and everything round her suffers, not a sea change, but a change into light, into gaiety; the birds sing, the sheep are garlanded, the air rings with melody and human beings dance towards each other on the tips of their toes possessed³² of an exquisite³³ friendliness³⁴, sympathy and delight. But our Olivia was a stately lady; of sombre complexion³⁵, slow moving, and of few sympathies. She could not love the Duke nor change her feeling. Madame Lopokova loves everybody. She is always changing. Her hands, her face, her feet, the whole of her body, are always quivering in sympathy with the moment. She could make the moment, as she proved when she walked down the stairs with Sebastian, one of intense and moving beauty; but she was not our Olivia. Compared with her the comic group, Sir Toby, Sir Andrew, Maria, the fool were more than ordinarily English. Coarse, humorous, robust¹⁸, they trolled out their words, they rolled over their barrels; they acted magnificently. No reader, one may make bold to say, could outpace Miss Seyler’s Maria, with its quickness, its inventiveness, its merriment; nor add anything to the humours of Mr. Livesey’s Sir Toby. And Miss jeans as Viola was satisfactory; and Mr. Hare as Antonio was admirable; and Mr. Morland’s clown was a good clown. What, then, was lacking in the play as a whole? Perhaps that it was not a whole. The fault may lie partly with Shakespeare. It is easier to act his comedy than his poetry, one may suppose, for when he wrote as a poet he was apt to write too quick for the human tongue. The prodigality³⁶ of his metaphors³⁷ can be flashed over by the eye, but the speaking voice falters³⁸ in the middle. Hence the comedy was out of proportion to the rest. Then, perhaps, the actors were too highly charged with individuality or too incongruously cast. They broke the play up into separate pieces — now we were in the groves³⁹ of Arcady, now in some inn at Blackfriars. The mind in reading spins a web from scene to scene, compounds a background from apples falling, and the toll⁴⁰ of a church bell, and an owl’s fantastic flight which keeps the play together. Here that continuity was sacrificed. We left the theatre possessed of many brilliant fragments but without the sense of all things conspiring⁴¹ and combining together which may be the satisfying culmination⁴² of a less brilliant performance. Nevertheless, the play has served its purpose. It has made us compare our Malvolio with Mr. Quartermaine’s; our Olivia with Madame Lopokova’s; our reading of the whole play with Mr. Guthrie’s; and since they all differ back we must go to Shakespeare. We must read Twelfth Night again. Mr. Guthrie has made that necessary and whetted⁴³ our appetite for The Cherry Orchard⁴⁴ , Measure for Measure , and Henry the Eighth that are still to come.

1 gathering   

n.集会，聚会，聚集

参考例句：

• He called on Mr. White to speak at the gathering.他请怀特先生在集会上讲话。
• He is on the wing gathering material for his novels.他正忙于为他的小说收集资料。

2 plunder   

vt.劫掠财物，掠夺；n.劫掠物，赃物；劫掠

参考例句：

• The thieves hid their plunder in the cave.贼把赃物藏在山洞里。
• Trade should not serve as a means of economic plunder.贸易不应当成为经济掠夺的手段。

3 ruffling   

弄皱( ruffle的现在分词 )； 弄乱； 激怒； 扰乱

参考例句：

• A cool breeze brushed his face, ruffling his hair. 一阵凉风迎面拂来，吹乱了他的头发。
• "Indeed, they do not,'said Pitty, ruffling. "说真的，那倒不一定。" 皮蒂皱皱眉头，表示异议。

4 margin   

n.页边空白；差额；余地，余裕；边，边缘

参考例句：

• We allowed a margin of 20 minutes in catching the train.我们有20分钟的余地赶火车。
• The village is situated at the margin of a forest.村子位于森林的边缘。

5 jingles   

叮当声( jingle的名词复数 )； 节拍十分规则的简单诗歌

参考例句：

• Can I give Del and Mr. Jingles some? 我可以分一点给戴尔和金格先生吗？
• This story jingles bells for many of my clients. 这个故事对我许多客户来说都耳熟能详。

6 knight   

n.骑士，武士；爵士

参考例句：

• He was made an honourary knight.他被授予荣誉爵士称号。
• A knight rode on his richly caparisoned steed.一个骑士骑在装饰华丽的马上。

7 brink   

n.(悬崖、河流等的)边缘，边沿

参考例句：

• The tree grew on the brink of the cliff.那棵树生长在峭壁的边缘。
• The two countries were poised on the brink of war.这两个国家处于交战的边缘。

8 dally   

v.荒废(时日)，调情

参考例句：

• You should not dally away your time.你不应该浪费时间。
• One shouldn't dally with a girl's affection.一个人不该玩弄女孩子的感情。

9 intimacy   

n.熟悉，亲密，密切关系，亲昵的言行

参考例句：

• His claims to an intimacy with the President are somewhat exaggerated.他声称自己与总统关系密切，这有点言过其实。
• I wish there were a rule book for intimacy.我希望能有个关于亲密的规则。

10 imprison   

vt.监禁，关押，限制，束缚

参考例句：

• The effect of this one is going to imprison you for life.而这件事的影响力则会让你被终身监禁。
• Dutch colonial authorities imprisoned him for his part in the independence movement.荷兰殖民当局因他参加独立运动而把他关押了起来。

11 acting   

n.演戏，行为，假装；adj.代理的，临时的，演出用的

参考例句：

• Ignore her,she's just acting.别理她，她只是假装的。
• During the seventies,her acting career was in eclipse.在七十年代，她的表演生涯黯然失色。

12 metaphor   

n.隐喻，暗喻

参考例句：

• Using metaphor,we say that computers have senses and a memory.打个比方，我们可以说计算机有感觉和记忆力。
• In poetry the rose is often a metaphor for love.玫瑰在诗中通常作为爱的象征。

13 austere   

adj.艰苦的；朴素的，朴实无华的；严峻的

参考例句：

• His way of life is rather austere.他的生活方式相当简朴。
• The room was furnished in austere style.这间屋子的陈设都很简单朴素。

14 gaping   

adj.口的；张口的；敞口的；多洞穴的v.目瞪口呆地凝视( gape的现在分词 )；张开，张大

参考例句：

• Ahead of them was a gaping abyss. 他们前面是一个巨大的深渊。
• The antelope could not escape the crocodile's gaping jaws. 那只羚羊无法从鱷鱼张开的大口中逃脱。 来自《简明英汉词典》

15 travesty   

n.歪曲，嘲弄，滑稽化

参考例句：

• The trial was a travesty of justice.这次审判嘲弄了法律的公正性。
• The play was,in their view,a travesty of the truth.这个剧本在他们看来是对事实的歪曲。

16 remodel   

v.改造，改型，改变

参考例句：

• Workmen were hired to remodel and enlarge the farm buildings.雇用了工人来改造和扩建农场建筑。
• I'll remodel the downstairs bedroom first.我先要装修楼下那间房间。

17 robustness   

坚固性，健壮性；鲁棒性

参考例句：

• There were other reasons for concern about the robustness of an economic recovery. 人们还有其他一些原因对经济恢复的健全程度表示关心。 来自英汉非文学 - 政府文件
• Robustness analysis attracts more and more attention in these years. 鲁棒性分析是近几年学术界较为关注的问题。 来自互联网

18 robust   

adj.强壮的，强健的，粗野的，需要体力的，浓的

参考例句：

• She is too tall and robust.她个子太高，身体太壮。
• China wants to keep growth robust to reduce poverty and avoid job losses,AP commented.美联社评论道，中国希望保持经济强势增长，以减少贫困和失业状况。

19 shrug   

v.耸肩(表示怀疑、冷漠、不知等)

参考例句：

• With a shrug,he went out of the room.他耸一下肩，走出了房间。
• I admire the way she is able to shrug off unfair criticism.我很佩服她能对错误的批评意见不予理会。

20 crevasses   

n.破口，崩溃处，裂缝( crevasse的名词复数 )

参考例句：

• Splays are commonly formed by currents from crevasses in levees. 嗽叭形堆积通常由堤防决口的洪流所形成。 来自辞典例句
• The upper surface of glacier is riven by crevasses. 冰川的上表面已裂成冰隙。 来自辞典例句

21 precipices   

n.悬崖，峭壁( precipice的名词复数 )

参考例句：

• Sheer above us rose the Spy-glass, here dotted with single pines, there black with precipices. 我们的头顶上方耸立着陡峭的望远镜山，上面长着几棵孤零零的松树，其他地方则是黑黝黝的悬崖绝壁。 来自英汉文学 - 金银岛
• Few people can climb up to the sheer precipices and overhanging rocks. 悬崖绝壁很少有人能登上去。 来自互联网

22 ecstasy   

n.狂喜，心醉神怡，入迷

参考例句：

• He listened to the music with ecstasy.他听音乐听得入了神。
• Speechless with ecstasy,the little boys gazed at the toys.小孩注视着那些玩具，高兴得说不出话来。

23 entirely   

ad.全部地，完整地；完全地，彻底地

参考例句：

• The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
• His life was entirely given up to the educational work. 他的一生统统献给了教育工作。

24 simultaneously   

adv.同时发生地，同时进行地

参考例句：

• The radar beam can track a number of targets almost simultaneously.雷达波几乎可以同时追着多个目标。
• The Windows allow a computer user to execute multiple programs simultaneously.Windows允许计算机用户同时运行多个程序。

25 solidifying   

（使）成为固体，（使）变硬，（使）变得坚固( solidify的现在分词 )； 使团结一致； 充实，巩固； 具体化

参考例句：

• The substances are formed from a mixture of liquids solidifying under pressure. 这些材料是由几种液体混合在一起并加压使之凝固而成的。
• Painting is an art solidifies time and space for solidifying. 绘画是凝固了的时间和空间的艺术。

26 intensifying   

v.（使）增强， （使）加剧( intensify的现在分词 )；增辉

参考例句：

• The allies are intensifying their air campaign. 联军部队正加大他们的空战强度。 来自辞典例句
• The rest of the European powers were in a state of intensifying congestion. 其余的欧洲强国则处于越来越拥挤的状态。 来自英汉非文学 - 历史

27 courteous   

adj.彬彬有礼的，客气的

参考例句：

• Although she often disagreed with me,she was always courteous.尽管她常常和我意见不一，但她总是很谦恭有礼。
• He was a kind and courteous man.他为人友善，而且彬彬有礼。

28 twitching   

n.颤搐

参考例句：

• The child in a spasm kept twitching his arms and legs. 那个害痉挛的孩子四肢不断地抽搐。 来自《现代汉英综合大词典》
• My eyelids keep twitching all the time. 我眼皮老是跳。 来自《现代汉英综合大词典》

29 momentary   

adj.片刻的，瞬息的；短暂的

参考例句：

• We are in momentary expectation of the arrival of you.我们无时无刻不在盼望你的到来。
• I caught a momentary glimpse of them.我瞥了他们一眼。

30 invoked   

v.援引( invoke的过去式和过去分词 )；行使（权利等）；祈求救助；恳求

参考例句：

• It is unlikely that libel laws will be invoked. 不大可能诉诸诽谤法。
• She had invoked the law in her own defence. 她援引法律为自己辩护。 来自《简明英汉词典》

31 subdued   

adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词

参考例句：

• He seemed a bit subdued to me. 我觉得他当时有点闷闷不乐。
• I felt strangely subdued when it was all over. 一切都结束的时候，我却有一种奇怪的压抑感。

32 possessed   

adj.疯狂的；拥有的，占有的

参考例句：

• He flew out of the room like a man possessed.他像着了魔似地猛然冲出房门。
• He behaved like someone possessed.他行为举止像是魔怔了。

33 exquisite   

adj.精美的；敏锐的；剧烈的，感觉强烈的

参考例句：

• I was admiring the exquisite workmanship in the mosaic.我当时正在欣赏镶嵌画的精致做工。
• I still remember the exquisite pleasure I experienced in Bali.我依然记得在巴厘岛所经历的那种剧烈的快感。

34 friendliness   

n.友谊，亲切，亲密

参考例句：

• Behind the mask of friendliness,I know he really dislikes me.在友善的面具后面，我知道他其实并不喜欢我。
• His manner was a blend of friendliness and respect.他的态度友善且毕恭毕敬。

35 complexion   

n.肤色；情况，局面；气质，性格

参考例句：

• Red does not suit with her complexion.红色与她的肤色不协调。
• Her resignation puts a different complexion on things.她一辞职局面就全变了。

36 prodigality   

n.浪费，挥霍

参考例句：

• Laughter is easier minute by minute, spilled with prodigality. 笑声每时每刻都变得越来越容易，毫无节制地倾泻出来。 来自辞典例句
• Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. 笑声每时每刻都变得越来越容易，毫无节制地倾泻出来，只要一句笑话就会引起哄然大笑。 来自英汉文学 - 盖茨比

37 metaphors   

隐喻( metaphor的名词复数 )

参考例句：

• I can only represent it to you by metaphors. 我只能用隐喻来向你描述它。
• Thus, She's an angel and He's a lion in battle are metaphors. 因此她是天使，他是雄狮都是比喻说法。

38 falters   

（嗓音）颤抖( falter的第三人称单数 )； 支吾其词； 蹒跚； 摇晃

参考例句：

• He never falters in his determination. 他的决心从不动摇。
• The plan never falters; the design never changes. It is all ordered. 大自然从不步履蹒跚，从不三心二意，一切都是有条不紊。

39 groves   

树丛，小树林( grove的名词复数 )

参考例句：

• The early sun shone serenely on embrowned groves and still green fields. 朝阳宁静地照耀着已经发黄的树丛和还是一片绿色的田地。
• The trees grew more and more in groves and dotted with old yews. 那里的树木越来越多地长成了一簇簇的小丛林，还点缀着几棵老紫杉树。

40 toll   

n.过路(桥)费；损失，伤亡人数；v.敲(钟)

参考例句：

• The hailstone took a heavy toll of the crops in our village last night.昨晚那场冰雹损坏了我们村的庄稼。
• The war took a heavy toll of human life.这次战争夺去了许多人的生命。

41 conspiring   

密谋( conspire的现在分词 )； 搞阴谋； （事件等）巧合； 共同导致

参考例句：

• They were accused of conspiring against the king. 他们被指控阴谋反对国王。
• John Brown and his associates were tried for conspiring to overthrow the slave states. 约翰·布朗和他的合伙者们由于密谋推翻实行奴隶制度的美国各州而被审讯。

42 culmination   

n.顶点；最高潮

参考例句：

• The space race reached its culmination in the first moon walk.太空竞争以第一次在月球行走而达到顶峰。
• It may truly be regarded as the culmination of classical Greek geometry.这确实可以看成是古典希腊几何的登峰造级之作。

43 whetted   

v.（在石头上）磨（刀、斧等）( whet的过去式和过去分词 )；引起，刺激（食欲、欲望、兴趣等）

参考例句：

• The little chicks had no more than whetted his appetite. 那几只小鸡只引起了他的胃口。 来自英汉文学 - 热爱生命
• The poor morsel of food only whetted desire. 那块小的可怜的喜糕反而激起了他们的食欲。 来自英汉文学 - 汤姆历险

44 orchard   

n.果园，果园里的全部果树，(美俚)棒球场

参考例句：

• My orchard is bearing well this year.今年我的果园果实累累。
• Each bamboo house was surrounded by a thriving orchard.每座竹楼周围都是茂密的果园。