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Twelfth Night · 2012 — 第 15 / 25 章 · 2'58" · C1

Olivia Confesses to Cesario, Explained：I am not what I am

Olivia drops her guard and tells the young messenger plainly that she loves him, swearing by spring roses and her own youth. Her confession turns on a paradox — "I am not what I am" — and a plea: "Loves sought is good, but given unsought is better." Cesario, who cannot love her back, is left trying to leave.

あらすじ

Alone with Cesario, Olivia finally admits her love, swearing by the roses of spring, by her maidenhood and her truth that her passion cannot be hidden. She argues that a love given freely is better than one that must be won, and asks Cesario to come again. Cesario, who is really Viola and loves Orsino, gently refuses and says no woman shall ever own her heart.

Confessing feelingsProposalsConfessing loveSaying noStrangersC1slowbritishClean
IMDb ↗

注目の表現

A cypressa degree to lovenot a griseupbraids me with the waste of time

00:00 / 02:58
Space 再生 · ← → セリフ移動 · R リピート
いま
  40. ❝ 独白Olivia's confession6 行練習ページ ↗
  46. ❝ 独白The page's refusal4 行練習ページ ↗
セリフをタップするとそこから再生

このシーンの表現

I am not what I am

I am not what I appear

Cesario says he is not what he is, and only the audience knows the sentence is literally true.

I am not what the team needs me to be.

このシーンの他の表現

  • A cypress

    a thin gauze veil

  • a degree to love

    a step away from love

  • not a grise

    not even one small step

  • upbraids me with the waste of time

    blames me for wasting time

  • how apt the poor are to be proud

    how quick the poor are to pride

このシーンのメモ一覧

50 行のセリフに 24 件のメモ

表現 · C1hide one's heart

keep one's heart hidden

A cypress, not a bosom, hides my heart.
表現 · C2a degree to + 名词

a step away from love

That's a degree to love.
発音degree to

Shrink to to a schwa and run it into love.

That's a degree to love.
スラング · C2grise

the smallest step — An archaic unit of a single step; keep it period-only.

No, not a grise.
表現 · C2a vulgar proof

an ordinary proof vulgar here means common or ordinary, not crude

For 'tis a vulgar proof that very oft pity enemies.
表現 · C2how apt someone is to do something

how quick the poor are to pride

Olivia sighs that the poor are apt to be proud, naming her own stubborn pride in being refused.

Oh, world, how apt the poor are to be proud.
表現 · C2fall before X then Y

better slain by the lion than the wolf

If one should be a prey, how much the better to fall before the lion then the wolf.
文法 · C2If one should be a prey

subjunctive condition: The subjunctive frames a hypothetical fate, so the comparison stays a wish, not a fact.

If one should be a prey, how much the better to fall before the lion then the wolf.
表現 · C1upbraid someone with something

scold me for something

The clock upbraids me with the waste of time.
表現 · C1come to harvest

reach its harvest

And yet, when wit and youth is come to harvest, your wife is like to reap a proper man.
表現 · B2there lies one's way

your road runs that way

There lies your way, due west.
スラング · C2westward-ho

off to the west — An old directional shout for the stage, not daily talk.

Then westward-ho!
表現 · C2think one is not what one is

believe you are someone else

That you do think you are not what you are.
発音not what

Let the t in not vanish before what in fast speech.

I am not what I am.
表現 · C2as I would have someone be

as I would wish you to be

Olivia wishes the page were as she would have him be, revealing a hope she can barely finish saying.

I... I would you were as I would have you be.
表現 · C1someone's fool

the fool at your mercy

The page concedes that for now he is her fool, naming the helplessness that love has put him in.

For now, I am your fool.
表現 · C2X's night is noon

love turns night into noon

Olivia claims that love's night is noon, arguing that her hidden passion is bright enough to show itself.

Love's night is noon.
発音night is

Link night is smoothly and stretch noon at the end.

Love's night is noon.
表現 · C2maugre + 名词

despite all your pride maugre is archaic for in spite of

I love thee so, that maugre all thy pride, nor wit, nor reason can my passion hide.
文法 · C2nor wit, nor reason can my passion hide

nor coordination: Two nor phrases stack the subjects, so no faculty at all can keep the feeling hidden.

I love thee so, that maugre all thy pride, nor wit, nor reason can my passion hide.
表現 · C2given unsought is better

unasked love is the better gift

Olivia closes by arguing that love given unsought is better, hinting that hers arrives without being asked.

Loves sought is good, but given unsought is better.
文法 · C2Loves sought

postposed participle: The past participle sits after the noun, so sought and unsought balance the sentence.

Loves sought is good, but given unsought is better.
文法 · C2nor never none shall mistress be of it

double negative: Stacked negatives intensify the denial rather than cancel it, an older English habit.

...And that no woman has, nor never none shall mistress be of it save I alone.
表現 · C2deplore something to someone

lament something to someone

And so adieu, good madam, never more will I my master's tears to you deplore.

「Olivia Confesses to Cesario」を読み解く

What's really going on

The scene turns the play's disguise into pure ache. Olivia, who swore off men, has fallen for a servant who is not what he seems, and her confession is full of self-knowledge she cannot act on: 'I am not what I am,' Cesario says, and Olivia is the one who is truly not herself. Her plea, 'Loves sought is good, but given unsought is better,' is a lover's argument for being chosen freely. Viola, hearing it, can answer only with refusal, because she loves Orsino and cannot reveal that she is a woman. The irony is exact: the one person Olivia finally opens her heart to is the one who can never take it. Even Olivia's line 'Love's night is noon' describes a brightness that makes the hiding harder, not easier.

Theme

RomanceOlivia confesses love that cannot be returned, because the person she loves is a disguised woman.
IdentityThe confession circles the line 'I am not what I am': neither speaker is what they appear to be.

このチャプターで学べること

  • Olivia argues her love is better for arriving unasked.
  • Cesario's vows are sincere and evasive at once.
  • The audience knows the secret the Countess cannot.
  • Verse makes the confession grander and the refusal sadder.

発音のポイント

  • degree to — Shrink to to a schwa and run it into love.
  • not what — Let the t in not vanish before what in fast speech.
  • night is — Link night is smoothly and stretch noon at the end.
Loves sought is good, but given unsought is better.

Olivia's argument that love freely given matters more than love won by pursuit. She wants to be chosen without having to chase.

I am not what I am.

Cesario's famous paradox: the person speaking is not the person he appears to be. It names the play's whole game of disguise.

Love's night is noon.

Love turns darkness into daylight: a lover's feeling is so bright it cannot stay hidden, even at night.

That you do think you are not what you are.

Cesario's careful answer to Olivia: she has an idea of herself that does not match the truth of who she is.

Be not afraid, good youth.

Olivia reassures Cesario before her confession, trying to put the startled messenger at ease.

このシーンについての質問

Why does Olivia confess her love to Cesario?

She has fallen for the messenger despite her vow to mourn. When Cesario presses her, she finally admits her feelings and swears they cannot be hidden.

Why can't Cesario return Olivia's love?

Cesario is really Viola, a woman, and she is in love with Duke Orsino. She cannot reveal her identity, so she must refuse while hiding the real reason.

What does "I am not what I am" mean?

It means the speaker is not what he appears to be. Viola/Cesario says it about the disguise, but it also fits Olivia, who is no longer the grieving woman she seemed.

What is Olivia's argument about love?

She says a love that is freely given is worth more than one that has to be pursued: 'Loves sought is good, but given unsought is better.'

Why does Olivia ask Cesario to come again?

She cannot let the messenger go even after being refused. Her 'Yet come again' shows her love is stronger than her pride or her dignity.

Twelfth Night · 全 25 章

すべて見る →
次のチャプター · 第 16 章laugh yourself into stitchesMaria's Crew Goes to Watch Malvolio
第 1 章dying fallOrsino's Speech on Music and Love第 2 章word for wordViola Disguises Herself as a Man第 3 章cut a caperSir Andrew Boasts About Dancing第 4 章wear not motley in my brainFeste Proves Olivia a Fool第 5 章fortified against any denialCesario Arrives to Woo Olivia第 6 章the dead of nightOlivia Refuses the Duke's Suit第 7 章could not butSebastian's Story and Olivia's Ring第 8 章make the welkin danceFeste Sings for a Drunken Party第 9 章cakes and aleMalvolio Scolds Sir Toby's Party第 10 章sweet pangsOrsino Muses on Love第 11 章prove much in our vowsViola Argues Women Love as Deeply第 12 章the woodcock near the ginMalvolio Dreams of Marrying Olivia第 13 章have greatness thrust upon themMalvolio Reads Maria's Letter第 14 章a corrupter of wordsFeste Spars With Viola About Words再生中 · 第 15 章I am not what I amOlivia Confesses to Cesario第 16 章laugh yourself into stitchesMaria's Crew Goes to Watch Malvolio第 17 章midsummer madnessMalvolio Appears in Yellow Stockings第 18 章improbable fictionSir Andrew's Challenge Is Read Aloud第 19 章a pox on'tToby Scares Andrew About the Duel第 20 章prove trueAntonio Is Arrested, Viola Hopes第 21 章be well rid ofFeste Torments Malvolio in the Dark第 22 章make an ass of meOlivia Proposes to the Wrong Twin第 23 章ripe in mischiefOlivia Mistakes Sebastian for Cesario第 24 章happy wreckViola and Sebastian Are Revealed第 25 章whirligig of timeMalvolio Swears Revenge on Everyone
第 15 / 25 章 · 残り約 33 分