Page images
PDF
EPUB

ject to habit, the difference between their works may be yet greater.

But by the internal marks of a composition we may discover the author with probability, though seldom with certainty. When I read this play, I cannot but think that I find, both in the serious and ludicrous scenes, the language and sentiments of Shakespeare. It is not indeed one of his most powerful effusions; it has neither many diversities of character, nor striking delineations of life; but it abounds in wat beyond most of his plays, and few have more lines or passages, which, singly considered, are eminently beautiful. I am yet inclined to believe that it was not very successful, and suspect that it has escaped corruption, only because, being seldom played, it was less exposed to the hazards of transcription.

JOHNSON.

This comedy, I believe, was written in 1595. See An Attempt to ascertain the Order of Shakespeare's Plays, Vol. II

MALONE.

PERSONS REPRESENTED.

DUKE OF MILAN, father to Silvia.
VALENTINE, gentlemen of Verona.

PROTEUS,*

ANTONIO, father to Proteus.

THURIO, a foolish rival to Valentine.
EGLAMOUR, agent for Silvia, in her escape
SPEED, a clownish servant to Valentine.
LAUNCE, servant to Proteus.

PANTHINO, servant to Antonio.

Host, where Julia lodges in Milan.
Out-laws.

JULIA, a lady of Verona, beloved by Proteus.
SILVIA, the Duke's daughter, beloved by Valentine.
LUCETTA, waiting-woman to Julia.

Servants, Musicians.

SCENE, sometimes in Verona; sometimes in Milan; and on the frontiers of Mantua.

The old copy has-Protheus; but this is merely the antiquated mode of spelling Proteus. Shakespeare's character was so called, from his disposition to change.

STEEVENS.

[graphic][subsumed][subsumed][subsumed][subsumed]

TWO GENTLEMEN OF VERONA..

ACT I.

SCENE I.-An open Place in Verona. Enter VALENTINE and PROTEUS.

Valentine.

CEASE to persuade, my loving Proteus ;
Home-keeping youth have ever homely wits:
Wer't not, affection chains thy tender days
To the sweet glances of thy honour'd love,
I rather would entreat thy company,
To see the wonders of the world abroad,
Than living dully sluggardiz'd at home,
Wear out thy youth with shapeless idleness.
But, since thou lov'st, love still, and thrive therein,
Even as I would, when I to love begin.

Pro. Wilt thou be gone? Sweet Valentine, adieu!
Think on thy Proteus, when thou, haply, seest
Some rare note-worthy object in thy travel:
Wish me partaker in thy happiness,

When thou dost ineet good hap; and, in thy danger,
If ever danger do environ thee,

Commend thy grievance to my holy prayers,
For I will be thy bead's-man, Valentine.

Val. And on a love-book pray for my success.
Pro. Upon some book I love, I'll pray for thee.
Val. That's on some shallow story of deep love,
How young Leander cross'd the Hellespont.

Pro. That's a deep story of a deeper love; For he was more than over shoes in love.

Val. 'Tis true; for you are over boots in love; And yet you never swom the Hellespont.

Pro. Over the boots? nay, give me not the boots.

[1] The boot was an instrument of torture used only in Scotland. Bishop Burnet in The History of his own Times. mentions one Maccael, a preacher, who, being suspected of treasonable practices, underwent the punishment so late as 1666 :-" He was put to the torture, which, in Scotland, they call the boots; for they put a pair VOL. I. I

« PreviousContinue »