2. Mer. To see a reverend Syracusian merchant, Who put unluckily into this bay Against the laws and statutes of this town, 125 Ang. See where they come; we will behold his death. Luc. Kneel to the Duke before he pass the abbey. Enter DUKE [attended], and EGEON bareheaded, with the Headsman and other Officers. Duke. Yet once again proclaim it publicly, 180 If any friend will pay the sum for him, He shall not die; so much we tender him. Adr. Justice, most sacred Duke, against the abbess! Duke. She is a virtuous and a reverend lady; It cannot be that she hath done thee wrong. 135 Adr. May it please your grace, Antipholus, my husband, Who I made lord of me and all I had, By rushing in their houses, bearing thence 150 Mess. O mistress, mistress, shift and save yourself! My master and his man are both broke loose, Beaten the maids a-row and bound the doctor, Whose beard they have sing'd off with brands of fire; 171 And ever, as it blaz'd, they threw on him His man with scissors nicks him like a fool, 175 Adr. Peace, fool! thy master and his man are here, And that is false thou dost report to us. Mess. Mistress, upon my life, I tell you true; I have not breath'd almost since I did see it. 181 He cries for you, and vows, if he can take you, To scorch your face and to disfigure you. [Cry within. Hark, hark! I hear him, mistress. Fly, be gone! Duke. Come, stand by me; fear nothing. Guard with halberds! 185 Adr. Ay me, it is my husband! Witness you, That he is borne about invisible. Even now we hous'd him in the abbey here; And now he's there, past thought of human In this the madman justly chargeth them. 215 Ant. E. My liege, I am advised what I say, Could witness it, for he was with me then; down That I this day of him receiv'd the chain, I did obey, and sent my peasant home 230 235 My wife, her sister, and a rabble more A mere anatomy, a mountebank, A threadbare juggler and a fortune-teller, 250 Till, gnawing with my teeth my bonds in sunder, For these deep shames and great indignities. with him, 254 That he din'd not at home, but was lock'd out. Duke. But had he such a chain of thee or no? Ang. He had, my lord; and when he ran in here, These people saw the chain about his neck. Heard you confess you had the chain of him 200 In sap-consuming winter's drizzled snow, Ant. E. I never saw my father in my life, 319 Ege. But seven years since, in Syracusa, boy, Thou know'st we parted; but perhaps, my son, Thou sham'st to acknowledge me in misery. Ant. E. The Duke and all that know me in the city Can witness with me that it is not so. I ne'er saw Syracusa in my life. 325 Duke. I tell thee, Syracusian, twenty years Have I been patron to Antipholus, During which time he ne'er saw Syracusa. I see thy age and dangers make thee dote. Re-enter ABBESS, with ANTIPHOLUS of Syracuse and DROMIO of Syracuse. And gain a husband by his liberty. Ege. If I dream not, thou art Æmilia. Abb. By men of Epidamnum he and I And the twin Dromio all were taken up; But by and by rude fishermen of Corinth By force took Dromio and my son from them, And me they left with those of Epidamnum. What then became of them I cannot tell; I to this fortune that you see me in. 340 345 350 355 Duke. Why, here begins his morning story right. 360 These two Antipholuses, these two so like, 200 And all that are assembled in this place, The Duke, my husband, and my children both, 405 Duke. With all my heart, I'll gossip at this feast. [Exeunt all but Ant. S., Ant. E., Dro, S., and Dro. E. Dro. S. Master, shall I go fetch your stuff from shipboard? Ant. E. Dromio, what stuff of mine hast thou embark'd? Dro. S. Your goods that lay at host, sir, in the Centaur. 410 Ant. S. He speaks to me. I am your master, Come, go with us; we 'll look to that anon. house, That kitchen'd me for you to-day at dinner; 415 She now shall be my sister, not my wife. Dro. E. Methinks you are my glass, and not my brother. I see by you I am a sweet-fac'd youth. it ? 420 THE TWO GENTLEMEN OF VERONA No text of this play exists earlier than that in the First Folio, and on it the present edition is based. The title is mentioned by Meres in his Palladis Tamia (1598), and the internal evidence points to a still earlier date. Estimates have varied from 1591 to 1595. The metrical evidence is ambiguous. Rimes are not so frequent as in Love's Labour's Lost and some other early plays; while, on the other hand, the occurrence of doggerel lines, of verses rimed alternately, and of sonnets, points to the earliest group. To these should be added the unskilfulness of the dénouement, and the presence of what appear to be first sketches of characters and devices which are elaborated in later plays. Such are the contrast of the two heroines; the clowns; and the scene in which Julia discusses her suitors with her maid. None of the supposed references to current events or publications is of weight as evidence; and the theory that the play was written at two different times has received little support. The most important source so far found for the plot is in the story of the shepherdess Felismena in Diana, the famous collection of romances in Spanish by Jorge de Montemayor, published in 1560. No printed English version of Diana appeared before that of Bartholomew Yonge in 1598, but this had existed in manuscript since about 1582. Other manuscript versions were in existence, so there is no great difficulty in supposing that Shakespeare knew the story from this source. Further, it is possible, but by no means certain, that the lost play called Felix and Philiomena, which was acted at Greenwich in 1584, may have dealt with the same theme. Felismena in Montemayor's romance corresponds to Shakespeare's Julia, and Felix to Proteus; and it is Julia's part of the plot that is found in the Spanish tale. The courtship of Felismena by Felix is much more minutely described in the novel, but its general character is retained by the dramatist. The scene in which Lucetta offers Proteus's letter to Julia follows closely the action of the corresponding scene in the original. The sending of Proteus to court, Julia's following him in disguise as a man, the scene in which she overhears the serenade to her rival, her taking service with Proteus as a page and being sent to Silvia as a messenger, her expressions of sympathy with her own case in her conversation with Proteus, her discussion of the awkwardness of her position when she is sent to plead with Silvia against her own interest, her report of her own beauty to her rival, and Silvia's distrust of Proteus because of his unfaithfulness to his first love, are the main features in which the play follows the romance. On the other hand, the character of Valentine is completely absent in Montemayor, so that Proteus's treachery in friendship is no part of his character in the novel. Moreover, Celia, who corresponds to Shakespeare's Silvia, falls in love with the disguised Felismena (as Olivia does with Viola in Twelfth Night), and finding her love unreciprocated, voluntarily ends her life. The events by which Felix and Felismena are finally brought together bear no resemblance to the closing scenes of The Two Gentlemen. A volume of Englische Comedien und Tragedien published in Germany in 1620 contains a play with a strong resemblance to the Silvia plot of the present comedy. It is a crude German reproduction of an English tragedy now lost, which had been performed by English actors in Germany. In it Julius corresponds to Proteus, Romulus to Valentine, and Hippolyta to Silvia. The play ends with the killing of Julius by Romulus, and the suicides of Romulus and Hippolyta. It is quite possible that the original was the Phillipo and Hewpolyto mentioned in Henslowe's diary, and that it formed the source of that part of Shakespeare's plot which deals with the relations of Proteus and Silvia to Valentine. The alleged reminiscences of Sidney's Arcadia and Brookes's Romeus and Juliet are unimportant. |