INTRODUCTORY REMARKS. THE TWO GENTLEMEN OF VERONA' was first printed in the folio collection of Shakspere's plays, edited by John Heminge and Henry Condell, and published in 1623, seven years after his death. The text is singularly correct. There are not more than half a dozen passages of any real importance upon which a doubt can be entertained, if printed according to the original. It is, in all probability, a play written very early in Shakspere's life. The scene of this play is, in the first act, at Verona, and afterwards chiefly at Milan. The action is not founded upon any historical event. The one historical fact mentioned in this play is that of the emperor holding his court at Milan, which was under the government of a duke, who was a vassal of the empire. Assuming that this fact prescribes a limit to the period of the action, we must necessarily place that period at least half a century before the date of the composition of this drama. The incident of Julia following her lover in the disguise of a page, and her subsequent knowledge of his faithlessness, is common enough in the old Italian and Spanish novels. In the 'Diana' of Montemayor, a Spanish romance, which was translated in 1598, we find this resemblance to some scenes of the Two Gentlemen of Verona.' Indeed, in some turns of expression the dialogue is similar. The knowledge of Spanish was pretty widely diffused in England in Shakspere's youth; and we must not too readily fall in with the notion that such a book could not be accessible to him without a translation. Pope calls the style of The Two Gentlemen of Verona' simple and unaffected." It was opposed to Shakspere's later style, which is teeming with allusion upon allusion. With the exception of the few obsolete words, and the unfamiliar application of words still in use, this comedy has a very modern air. The thoughts are natural and obvious, the images familiar and general. The most celebrated passages have a character of grace rather than of beauty; the elegance of a youthful poet aiming to be correct. Johnson considered this comedy to be wanting in "diversity of character." The action, it must be observed, is mainly sustained by Proteus and Valentine, and by Julia and Silvia; and the conduct of the plot is relieved by the familiar scenes in which Speed and Launce appear. The other actors are very subordinate, and we scarcely demand any great diversity of character amongst them; but it appears to us, with regard to Proteus and Valentine, Julia and Silvia, Speed and Launce, that the characters are exhibited, as it were, in pairs, upon a principle of very defined though delicate contrast. SCENE-IN VERONA, IN MILAN, AND ON THE FRONTIERS OF MANtua. In the original edition of 1623 the Persons Represented are thus described: DUKE, father to Silvia. VALENTINE,} PROTEUS, the two Gentlemen. ANTONIO, father to Proteus. THURIO, a foolish rival to Valentine. EGLAMOUR, agent for Silvia in her escape. SPEED, a clownish servant to Valentine. LAUNCE, the like to Proteus. PANTHINO, servant to Antonio. HOST, where Julia lodges. Enter VALENTINE and PROTEUS. VAL. Cease to persuade, my loving Proteusa; Than, living dully sluggardiz'd at home, Wear out thy youth with shapeless idleness. But, since thou lov'st, love still, and thrive therein, PRO. Wilt thou be gone? Sweet Valentine, adieu ! Wish me partaker in thy happiness, When thou dost meet good hap: and in thy danger, If ever danger do environ thee, Commend thy grievance to my holy prayers, For I will be thy beadsman, Valentine'. • In the original this proper name name is invariably spelt Protheus. VAL. And on a love-book pray for my success? For he was more than over shoes in love. PRO. Over the boots? nay, give me not the boots 2. VAL. To be in love, where scorn is bought with groans; Coy looks with heart-sore sighs; one fading moment's mirth If haply won, perhaps a hapless gain; If lost, why then a grievous labour won; PRO. So, by your circumstance, you call me fool. PRO. 'Tis love you cavil at; I am not love. VAL. Love is your master, for he masters you: Methinks should not be chronicled for wise. VAL. And writers say, as the most forward bud Even so by love the young and tender wit Once more adieu: my father at the road "However-in whatsoever way, "haply won," or "lost." Circumstance. The word is used by the two speakers in different senses. Proteus employs it in the meaning of circumstantial deduction;-Valentine in that of position. To Milan. Let me hear from thee by letters, addressed to Milan. Betideth here in absence of thy friend; And I likewise will visit thee with mine. He leaves his friends to dignify them more; SPEED. Sir Proteus, save you: Saw you my master? And I have play'd the sheep in losing him. PRO. Indeed a sheep doth very often stray, An if the shepherd be a while away. [Exit VALENTINE. SPEED. You conclude that my master is a shepherd then, and I a sheep? SPEED. Why then my horns are his horns, whether I wake or sleep. SPEED. This proves me still a sheep. PRO. True; and thy master a shepherd. SPEED. Nay, that I can deny by a circumstance. PRO. It shall go hard but I 'll prove it by another. SPEED. The shepherd seeks the sheep, and not the sheep the shepherd; but I seek my master, and my master seeks not me: therefore, I am no sheep. PRO. The sheep for fodder follow the shepherd, the shepherd for food follows not the sheep; thou for wages followest thy master, thy master for wages follows not thee: therefore, thou art a sheep. SPEED. Such another proof will make me cry baa. PRO. But dost thou hear? gav'st thou my letter to Julia? SPEED. Ay, sir; I, a lost mutton, gave your letter to her, a laced mutton"; and she, a laced mutton, gave me, a lost mutton, nothing for my labour! PRO. Here's too small a pasture for such store of muttons. b The original copy reads, "I love myself." The present reading was introduced by Pope. Sheep is pronounced ship in many English counties; hence Speed's small jest. Mr. Collier observes that in writings of the time "Sheep-street, in Stratford-upon-Avon, is often spelt Shipstreet." A laced mutton. The commentators have much doubtful learning on this passage. They maintain that the epithet "laced" was a very uncomplimentary epithet of Shakspere's time; and that the words taken together apply to a female of loose character. This is probable; but then the insolent application, by Speed, of the term to Julia is received by Proteus very patiently. The jest would scarcely cover the coarseness, provided the slang term were of general acceptation. |