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2. Mer. To see a reverend Syracusian merchant,

Who put unluckily into this bay

Against the laws and statutes of this town,
Beheaded publicly for his offence.

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,
At your important letters, this ill day
A most outrageous fit of madness took him;
That desperately he hurried through the

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By rushing in their houses, bearing thence
Rings, jewels, any thing his rage did like.
Once did I get him bound and sent him home,
Whilst to take order for the wrongs I went 146
That here and there his fury had committed.
Anon, I wot not by what strong escape,
He broke from those that had the guard of him;
And with his mad attendant and himself,
Each one with ireful passion, with drawn swords,
Met us again and, madly bent on us,
Chas'd us away, till, raising of more aid,
We came again to bind them. Then they fled
Into this abbey, whither we pursu'd them; 156
And here the abbess shuts the gates on us,
And will not suffer us to fetch him out,

150

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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
Great pails of puddled mire to quench the hair.
My master preaches patience to him and the
while

His man with scissors nicks him like a fool, 175
And sure, unless you send some present help,
Between them they will kill the conjurer.

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

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In this the madman justly chargeth them.

215

Ant. E. My liege, I am advised what I say,
Neither disturbed with the effect of wine,
Nor heady-rash, provok'd with raging ire,
Albeit my wrongs might make one wiser mad.
This woman lock'd me out this day from dinner.
That goldsmith there, were he not pack'd with
her,

Could witness it, for he was with me then;
Who parted with me to go fetch a chain,
Promising to bring it to the Porpentine,
Where Balthazar and I did dine together.
Our dinner done, and he not coming thither,
I went to seek him. In the street I met him 125
And in his company that gentleman.
There did this perjur'd goldsmith swear me

down

That I this day of him receiv'd the chain,
Which, God he knows, I saw not; for the which
He did arrest me with an officer.

I did obey, and sent my peasant home
For certain ducats; he with none return'd.
Then fairly I bespoke the officer
To go in person with me to my house.
By the way we met

230

235

My wife, her sister, and a rabble more
Of vile confederates. Along with them
They brought one Pinch, a hungry lean-fae'd
villain,

A mere anatomy, a mountebank,

A threadbare juggler and a fortune-teller,
A needy, hollow-ey'd, sharp-looking wretch, 240
A living dead man. This pernicious slave,
Forsooth, took on him as a conjurer,
And, gazing in mine eyes, feeling my pulse,
And with no face, as 't were, out facing me,
Cries out, I was possess'd. Then all together 245
They fell upon me, bound me, bore me thence,
And in a dark and dankish vault at home
There left me and my man, both bound to-
gether;

250

Till, gnawing with my teeth my bonds in sunder,
I gain'd my freedom, and immediately
Ran hither to your grace; whom I beseech
To give me ample satisfaction

For these deep shames and great indignities.
Ang. My lord, in truth, thus far I witness

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.
2. Mer. Besides, I will be sworn these ears
of mine

Heard you confess you had the chain of him 200
After you first forswore it on the mart;
And thereupon I drew my sword on you;
And then you fled into this abbey here,
From whence, I think, you are come by miracle.

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In sap-consuming winter's drizzled snow,
And all the conduits of my blood froze up,
Yet hath my night of life some memory,
My wasting lamps some fading glimmer left, 315
My dull deaf ears a little use to hear.
All these old witnesses- I cannot err-
Tell me thou art my son Antipholus.

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.

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And gain a husband by his liberty.
Speak, old Ægeon, if thou be'st the man
That hadst a wife once call'd Æmilia
That bore thee at a burden two fair sons.
O, if thou be'st the same Egeon, speak,
And speak unto the same Emilia!

Ege. If I dream not, thou art Æmilia.
If thou art she, tell me, where is that son
That floated with thee on the fatal raft?

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,
And these two Dromios, one in semblance, -
Besides her urging of her wreck at sea,
These are the parents to these children,
Which accidentally are met together.
Antipholus, thou cam'st from Corinth first?
Ant. S. No, sir, not I; I came from Syracuse.
Duke. Stay, stand apart; I know not which
is which.

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200

And all that are assembled in this place,
That by this sympathized one day's error
Have suffer'd wrong, go, keep us company,
And we shall make full satisfaction.
Thirty-three years have I but gone in travail
Of you, my sons; and till this present hour 401
My heavy burden ne'er delivered.

The Duke, my husband, and my children both,
And you the calendars of their nativity,
Go to a gossips' feast, and go with me;
After so long grief, such nativity!

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,
Dromio.

Come, go with us; we 'll look to that anon.
Embrace thy brother there; rejoice with him.
[Exeunt Ant. S. and Ant. E.].
Dro. S. There is a fat friend at your master's

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.
Will you walk in to see their gossiping?
Dro. S. Not I, sir; you are my elder.
Dro. E. That's a question: how shall we try

it ?

420

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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.

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