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REMARKS.

The Two Gentlemen of Verona.

THE TWO Gentlemen of Verona is one of the earliest of Shakspeare's plays. It is remarkable for the beauty of its sentiments-for fts learning, and the delicacy and sweetness of its versification. In the plot there are some incongruities. Shakspeare, at the time of its production, had not learnt the art (which he afterwards attained to such perfection), of conducting his fable with dexterity, of marking and contrasting his characters, and working up the whole into a highly-finished and striking picture of life. Mr. Pope remarks that the style is less figurative, and more natural and unaffected, than many of the author's other pieces, which may in part be accounted for, from its having escaped the corruption and interpolations of the players; a circumstance to be attributed (as Dr. Johnson conjectures) to its want of popularity, which subjected it less to the hazard of frequent transcription. Yet do those sage commentators, Hanmer, Theobald, and Upton, pronounce this a spu rious play. With the marks of Shakspeare's genius indelibly stamped on every scene, do they blindly reject this internal evidence, and deny it a place among his works! To every critic be assigned his just modicum of praise. Unwearied industry and laborious research belong to Theobald-but not one atom of taste, or kindred feeling for the author he was attempting to illustrate. Upton was a man of correct judgment and close reasoning, but the gods had not made him poetical-he was too fond of quaint comparisons. Of the Oxford Editor better things might have been expected, from early association and the peculiar bent of his studies-but none of them threw any light upon Shakspeare. Theobald performed the dull duty of an editor with the most success: if he was blind to the beauties of his author, be, by collating and comparing the old copies, reformed the errors of his text with tolerable correctness. If we cannot always trust his meanings, we may often adopt his emendations, provided they go not beyond the rejection or substitution of a word; for, like most verbal critics, Theobald could tell the meaning of one word, though not always of two, when put together. He was fortunate in having Pope for an antagonist, and Shakspeare for a subject-the one brought him notoriety and consequence, the other put money into his pocket-for, of all the Shakspearian editors, he got the best paid. Such were the three tasteless critics who condemned this fine play. Let us send them packing, and not the play! If it seek any other parent than Shakspeare, where, we may ask, will

one be found?

The Arcadia, where Pyrocles consents to head the Helots, is supposed by Mr. Steevens to have furnished some of the incidents for this comedy; and the story of Protheus and Julia is, according to Mrs. Lenox, derived from the pastoral romance of Diana, of George of Montemayor, a translation of which, from the Spanish, by Bar

tholomew Yong, appeared in 1598. Looking however, to the chronology of this play, viz. 1595, Shakspeare must have consulted the translation of a part of the same work, by one Thomas Wilson, which appeared two or three years before that of Yong's. That Shakspeare copied this work is certain-not only its plot, but its pastoral language, are imitated in The Two Gentlemen of Verona. In Julia, we are reminded of Viola and Imogen. What more authen.. tic proof can be required than this beautiful character, so perfectly in harmony with the genius of Shakspeare,-a character which ne afterwards took such delight in expanding? Sir Eglamour and Silvia keep up the romantic charm of this comedy-it is to be regretted that we see so little of the former. Silvia's address, when she asks him to accompany her to Mantua to meet the banished Valentine, and the knight's reply, are exceedingly graceful.-Sheridan appears to have had this scene in his mind, when he wrote the character of Carlos, in the Duenna.

Launce and Speed are an earnest of the rich banquet of mirth that the drama was to derive from the after-productions of Shakspeare. They are, in truth, arrant quibbling knaves, with whom we must speak by the card, or equivocation will undo us. We rejoice in a pun-and Speed's colloquy with Sir Proteus, when he denominates himself a lost mutton, and Julia a laced mutton, is an admirable specimen of that species of merriment. With what drollery does he describe the special marks by which Valentine may know that he is in love-and when Greek meets Greek, and Launce and Speed encounter each other, and the latter reads the catalogue of the milkmaid's conditions (for she hath more qualities than a waterspaniel), the conceits tread upon each other's heels with such whimsical rapidity, that your crying philosopher, who has made up his mind to be angry, will feel his muscles insensibly relax, and fairly laugh out, like the rest of mankind. Launce's enumeration of the Various punishments he had undergone, to screen his dog Crab, (whipping, the stocks, and the pillory,) when the said Crab had killed geese, stolen puddings, or made a hole in his manners, and his account of the dog's apathy at parting, and the cat's wringing her hands, are irresistibly comic. Shakspeare exhibits, in these dialogues, evident marks of improvement, since his Comedy_of Errors, and Love's Labour's Lost. Well may we agree with Dr. Johnson, that when we read this play, we cannot but think that we find, both in the serious and ludicrous scenes, the language and sentiments of Shakspeare.

For, if we deprive Shakspeare of this drama, to which of his contemporaries can we reasonably assign it? Their highest flights reach not his lowest. Does it belong to some nameless author, who has left the world this solitary proof of his genius? or to one who, in this instance, has soared as far above his ordinary flights, as Shakspeare has perhaps sunk beneath his ? Were we to select the many beautiful passages in which this drama abounds, we might take at least two thirds-it is so rich in amphorism, imagery, and poetry: one example shall suffice-it is Julia's reply to Lucetta, when the latter attempts to dissuade her from undertaking a journey to Proteus :

"The current, that with gentle murmur glides,
Thou know'st, being stopp'd, impatiently doth rage
But, when his fair course is not hindered,

He makes sweet music with th' enamell'd stones,
Giving a gentle kiss to every sedge

He overtaketh in his pilgrimmage;
And so by many winding nooks he strays,
With willing sport, to the wild ocean.
Then let me go, and hinder not my course;
I'll be as patient as a gentle stream,
And make a pastime of each weary step,
Till the last step have brought me to my love;
And there I'll rest, as, after much turmoil,

A blessed soul doth in Elysium."

Liston's Thurio was better than his Launce, though neither of them were just representations of Shakspeare's characters; nor did they produce the effect that generally crowns Mr. Liston's exhibitions of modern farce, of which we may acknowledge him the sovereign-and so he ought to be, for he has given up every thing for the distinction. Munden's Launce was acting indeed: he put in re quisition his whole gallery of faces, varying them according to the jest. He added also, a critical knowledge of the part,-he knew Launce to be a buffoon, but, remembering that it was Shakspeare that had made him one, he bestowed his first attention on the words, and the vis-comica he introduced only as an illustration of them. Blanchard's Speed was excellent, and worthy to stand by the side of Munden's Launce. Kemble and Pope, in Valentine and Proteus, completed the admirable cast of this delightful comedy.

-G.

Cast of the Characters, as performed at the Theatre Royal,

Covent Garden.

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SCENE-Verona, Milan, and a Forest between Milan and

Mantua.

Costume.

DUKE.-White kerseymere body and trunk,. silver lace-large crimson velvet robe, trimmed with silver and fur.

ANTONIO.-Purple velvet shape, with blue puffs-spangled trimmings-arm-hole cloak-blue stockings.

PROTEUS.-Scarlet kerseymere tunic-black velvet cloak, spangled trimming-silk pantaloons-green silk domine. VALENTINE.-First dress: Light blue velvet tunic and cloak, trimmed with silver-white pantaloons. Second dress: Purple trunks-brown robe-breastplate and brass belt.

THURIO.-White kerseymere body and trunks-scarlet satin cloak, spangled richly all over.

LGLAMOUR.-First dress: Yellow shirt spangled-black velvet spangled cloak-Second dress: a pilgrim's gown.

PANTHINO.-Gray shape-pantaloons of same-crimson silk

sash-domino.

OFFICER.-Yellow and crimson dress-a domino.

HOST.-First dress: Peasant's shape-dress-Second dress : friar's dress, with belly, &c.

LAUNCE.-Red and yellow flowered woollen shape, with green puffs and cloak-broad leather belt-green stockings.

SPEED.-Green and black flowered woollen shape-green stockings and puffs.

CBALDO.-Brown jacket and trunks-breastplate-brown robe -blue stockings-gauntlets-boots.

LUIGI.

CARLOS.

Short doublets and trunks-hats-feathers-gloves

STEFANO. -swords-cloaks, &c.

SILVIA.-Richly trimmed white satin dress.

JULIA.-First dress: Handsome embroidered dress. Second dress: Neat page's dress-hat, feathers, &c.

LUCETTA.-White muslin dress, plainly trimmed with coloured

riband.

STAGE DIRECTIONS.

The Conductors of this Work print no Plays but those which they have seen acted. The Stage Directions are given from their own personal observations, during the most recent performances.

EXITS and ENTRANCES.

R. means Right; L. Left; D. F. Door in Flat; R. D. Right Door; L. D. Left Door; S. E. Second Entrance; U. E. Upper Entrance; M. D. Middle Door.

RELATIVE POSITIONS.

R. means Right; L. Left; C. Centre; R. C. Right of Centre; L. C. Left of Centre.

R.

RC.

C.

LC.

L.

The Reader is supposed to be on the Stage, facing the Audience.

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