The Spectator

Re: Wrong beard...

fortitudine — Thu, 18 Jun 2009 20:49:23 GMT

What pardonme said. I'm no Shakespeare scholar but have read all of his plays and seen most of them. 12th Night is a favorite, and I'm baffled that this could be interpreted as anything but an admission of her love for the Duke and a throwaway reference to her disguise.

Re: Wrong beard...

pardonme — Thu, 18 Jun 2009 20:03:54 GMT

amanasleep:

As I see it, Shakespeare's intention is plain, and the correct reading is neither of those you describe but includes elements of each: Viola first cryptically refers to her desire for Orsino (the beard she's sick for), but then indulges in a winking joke with the audience about her true gender (no growth on this chin, please). As you say, the ascription of lewdness is a red herring.

Re: Wrong beard...

Jake437 — Thu, 18 Jun 2009 19:54:21 GMT

I'm with you, I don't understand the sexual line reading. Viola is a woman, not a little girl - presumably she already has a "beard" down there.

Wrong beard...

amanasleep — Thu, 18 Jun 2009 18:48:11 GMT

The analysis of Viola's beard line in this article is too clever by half.

"By my troth I'll tell thee I'm almost sick for one, though I would not have it grow on my chin."

There are two main readings of this line:

1. Viola, sick in love with Orsino, desires him (with his beard), and disguises this desire in the line, like so:

"By my troth I'll tell thee I'm almost sick for one (Orsino's), though I would not have it grow on my chin (because it belongs to Orsino)."

2. Viola, disguised as she is, wants a beard to disguise her, but would not actually want to grow one. Therefore she wants a FAKE beard, but cannot say so.

"By my troth I'll tell thee I'm almost sick for one (a fake one, to better disguise myself), though I would not have it grow on my chin (because it would be fake)."

The sexual readings of these lines are not just unsupported in the text, but are out of character for the prim and analytical Viola, who passes herself as a man under duress and only finds her more masculine voice much later in the play.