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P. 1. 1 needs a full set. The practice has frequently been adopted since: modern directors justify it on the grounds of giving prominence to Viola and her situation. ' K. S. Donno, Introduction, 1985, p. 0, n. 2. Few audience members notice this discrepancy in performance. ' Olivia replies, acknowledging the charisma of this young emissary of courtly love. 266). On the Globe stage, as Olivia exits 'inwards' into her house by one door, Sebastian and Antonio would enter at the other stage door, from 'elsewhere': thus, within moments of her exit we see the man she is actually destined for, with his companion Antonio.

258-61) Viola's eloquence while she is in the (relative) freedom of masculine disguise is at the centre of a play which constantly delights the audience with the rich expressiveness of the English language. 76—7). 48-9, 'Who you are, and what you would are out of my welkin I might say "element", but the word is overworn', is a fitting conclusion to a scene that has played on the idea of 'words' and how they influence perception. As well as the constant habit of punning - something that marks Shakespeare's work from the beginning - Twelfth Night displays two more instances of wordplay in greater abundance than in his other plays of this period: riddles and (near-)anagrams.

Twelfth Night 20 Narcissus Despite Orsino's depiction of himself as an Actaeon in love with a frigid Diana/Olivia in I . 1 In Metamorphoses, III, Shakespeare would have read the story of the beautiful young man who, because he rejected all other lovers, was fated to fall in love with his own reflection in a pool: as he drank, he chanced to spy the image of his face, The which he did immediately with fervent love embrace. He feeds a hope without cause why. For, like a foolish noddy, He thinks the shadow that he sees to be a lively body.

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