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TWO GENTLEMEN OF VERONA

PRELIMINARY REMARKS.

This is one of Shakspeare's earliest is not his first condenmed for adopting a mode of writing admired by

play. It was not printed until 1023, but it is men. his contemporaries; they were not considered low and cioned by Meres in his Wit's Treasury, printed in 1599. trilling in Shakspeare's age, but on the contrary wera It bears strong internal marks of an early counposition. very generally admired and allowed for pure and ge. Pope has observed, that "the style of this comedy is nuine wit. Yet some of these scenes have much farci. less figurative, and more natural and unaffected than cal drollery and invention : that of Launce with his dog the greater part of Shakspeare's, though supposed to in the fourth act is an instance, and surely "Speed's be one of the first he wrote. Malone is inclined to con. mode of proving his master to be in love is neither defisider this to be in consequence of that very circumstance, cient in wil or sense." and that it is natural and unaffected because it was a “ The teniler scenes in this play, though not so youthful performance. “Though many young poets of highly wrought as in some others, have often much ordinary ialents are led by falso taste to adopt intlated sweetness of sentiment and expression." Schlegel and figurative language, why should we suppose that says: “it is as is the world was obliged to accomsuch should have been the course pursued by this mas. modate itself to a transient youthful caprice, called ler genius? The figurative style of Othello, Lear, and love." Julia may be considered a light sketch of the Macbeth, written when he was an established and long lovely characters of Viola and Imogen. Her answer to practised dramatist, may be ascribed to the additional Luceita's advice against following her lover in disguise knowledge of men and things which he had acquired has been pointed out as a beautiful and highly poetical during a period of fifteen years; in consequence of passage. which his mind teemed with images and illustrations, " That it should ever have been a question whether and thoughts crowded so fast upon him, that the con this comedy were the genuine and entire composition of struction, in these and some other plays of a still later Shakspeare appears to me very extraordinary,” says period, is much more difficult and involved than in the Malore. “Habiner and Upton never seem to have productions of his youth."

considered whether it were his first or one of his latest Hanmer thoughi Shakspcare had no other hand in pieces:-is no allowance io be made for the first flights this play than the enlivening it with some speeches and of a young poet? nothing for the imitation of a precelines, which, he thinks, are casily distinguished from ding celebrated dramatist,* which in some of the lower the rest. Upton peremptorily asserts, *that if any dialogues of this comedy (and these only) may, I think, proof can be drawn from manner and style, this play be traced? But even these, as well as the other parts of must be sent packing, and seek for is parent else. the play, are perfectly Shakspearian (1 do not say as where." “How otherwise,” says he, "do painters finished and beautiful as any of his other pieces ;) and distinguish copies from originals, and have not authors the same judgment must, I conceive, be pronounced their peculiar style and manner, from which a true cri. concerning the Comedy of Errors and Love's Labour's lic can form as unerring judgment as a painter ?" To Lost, by every person who is intimately acquainted with this Johnson replies very satisfactorily : “I am afraid his manner of writing and thinking." this illustration of a critic's science will not prove what Sir William Blackstone observes, “ that oue of the is desired. A painter knows a copy from an original great faults of the Two Gentlemen of Verona is the hasby rules somewhat resembling those by which critics tening too abruptly, and without preparation, to the know a translation, which, if it be literal, and literalii denouement, which shows that it was one of Shak. must be to resemble the copy of a picture, will be easily speare's very early performances.". Dr. Johnson in his distinguished. Copics are known from originals, even concluding observations has remarked upon the geogra. when a painter copies his own picture ; so if an author phical errors. They cannot be defended by attributing should literally translate his work, he would lose the them to his youthful inexperience, for one of his latest manner of an original. Upton confounds the copy of a productions is also liable to the same objection. To picture with the imitation of a painter's manner. Copies which Malone replies: “The truth, I believe, is, that are easily known; but good imitations are not detected as he neglected to observe the rules of the drama with with equal certainty, and are, by the best judges, often respect to the upities, though before he began to write mistaken. Nor is it true that the writer has always they had been enforced by Sidney in a treatise which peculiarities equally distinguishable with those of the doubtless he had read; so he seems to have thought painter. The peculiar manner of each arises from the that the whole terraqueous globe was at his command; desire, natural to every performer, of facilitating his and as he brought in a child at the beginning of a play, subsequent work by recurrence to his former ideas; who in the fourth act appears as a woman, so he seems this recurrence produces that repetition which is called to have set geography at defiance, and to have consi. habit. The painter, whose work is partly intellectual dered countries as inland or maritime just as it suited and partly manual, has habits of the mind, the eye, his fancy or convenience.". and the hand; the writer has only habits of the mind. Some of the incidents in this play may be sup Yet some painters have differed as much from them. posed to have been taken from The Arcadia, book 1. selves as from any other; and I have been told, that ch. vj. where Pyrocles consents to head the Helots. there is little resemblance between the first works of The Arcadia was cntered on the Stationers' books in Raphael and the last. The same variation may be ex. 1599. The love adventure of Julia resembles that of pected in writers; and, if it be true, as it seems, that Viola in Twelih Night, and is indeed common 18 many they are less subject to habit, the difference between of the ancient novels. their works may be yet greater."

Mrs. Lennox informs us, that the story of Proteus " But by the internal marks of composition we may and Julia might be taken from a similar one in “The discover the author with probability, though sejdou Diana” of Montemayor. This pastoral romance was with certainty. When I read this play, I cannot but y translated from the Spanish in Shakspeare's time, by think that I find both in the serious and ludicrous Bartholomew Young, and published in 1599. It does scenes, the language and sentiments of Shakspeare. not appear that it was previously published, though it It is not indeed one of his most powerful effusions ; it was translated two or three years before by one Thomas has neither many diversities of character, nor striking Wilson, perhaps some parts of it may have been inade delineation of life, but it abounds in yvonlar beyond most public, or Shakspeare may have found the tale else. of his plays, and few have more lines or passages

where. It has before been obyerved that Meres men. which, singly considered, are eminently beautiful. I tions the Two Gentlemen of Verona in his book, pub. am yet inclined to believe that it was not very success. lished in 1599. Malone conjectures that this play was ful, and suspect that it has escaped corruption, only be the first that Shakspeare wrote, and places the date of cause, being seldom played, it was less exposed to the il composition in the year 1591. hazards of transcription.”

Pope has set what he calls a mark of reprobation upon the low and trifling conceits which are to be found * Malone points at Lilly, whose comedies were per. in this play. It is true that the familiar scenes abound formed with great success and admiration previous to with quibbles and conceits; but the poet must not be Shakspeare's commencornont of his dramatic care

PERSONS REPRESENTED.

Duke of Milan, Father to Silvià.
VALENTINE,
Proteus,
} Gentlemen of Verona.

Julia, a Lady of Verona, beloved by Proteus.

Silvia, the Duke's Daughter, beloved by ValenANTONIO, Father to Proteus.

tine, THURIO, a foolish Rival to Valentine.

Lucetta, Waiting-woman to Julia.
EGLAMOUR, Agent for Silvia in her escape.
SPEED, a clownish Servant to Valentine.

Servants, Musicians.
LAUNCE, Servant to Proteus.
Panthino, Servant to Antonia.

SCENE, sometimes in VERONA; sometimes in Host, where Julia lodges in Milan.

MILAN; and on the frontiers of MANTUA. Outlaws. ACT I.

And he that is so yoked by a fool,

Methinks should not be chronicled for wise. SCENE I.-An open place in Verona. Enter

Pro. Yet writers say, As in the sweetest bud
VALENTINE and PROTEUS.

The eating canker dwells, so eating love
Valentine.

Inhabits in the finest wits of all.
CEASE to persuade, my loving Proteus;

Val. And writers say, As the most forward bud Home-keeping youth have ever homely wits :'

Is eaten by the canker ere it blow,
Wer't not, affection chains thy tender days

Even so by love the young and tender wit
To the sweet glances of thy honour'd love, Is turn'd to folly; blasting in the bud,
I rather would entreat thy company,

Losing his verdure even in the prime,
To see the wonders of the world abroad,

And all the fair effects of future hopes. Than living dully sluggardiz'd at home,

But wherefore waste I time to council thee,,
Wear out thy youth with shapeless idleness.?

That art a votary to fond desire ?
But, since thou lov'st, love still, and thrive therein, Once more adieu : my father at the road
Even as I would, when I to love begin.

Expects my coming, there to see me shipp'd. Pro. Wilt thou begone ? Sweet Valentine, Pro. And thither will I bring thee, Valentine. adieu !

Val. Sweet Proteus, no; nuw let us take our Think on thy Proteus, when thou, haply, seest

leave.
Some rare note-worthy object in thy travel : To Milan, let me hear from thee by letters,
Wish me partaker in thy happiness,
When thou dost meet good hap; and, in thy Betideth here in absence of thy friend;

of thy success in love, and what news else
danger,

And I likewise will visit thee with mine. If ever danger do environ thee,

Pro. All happiness bechance to thee in Milan! Commend thy grievance to my holy prayers, Val. As much to you at home!

and so, farewell ! For I will be thy bead's-man, Valentine.

[Erit VALENTINE. Val. And on a love-book

pray

for

my success. Pro. He after honour hunts, I after love. Pro. Upon some book I love, I'll pray for thee. He leaves his friends, to dignify them more;

Val. That's on some shallow story of deep love, I leave myself, my friends, and all for love. How young Leander cross'd the Hellespont,3

Thou, Julia, thou hast metamorphos'd me; Pró. That's a deep story of a deeper love ; Made me neglect my studies, lose my time, For he was more than over shoes in love.

War with good counsel, set the world at nought; Val. 'Tis true; for you are over boots in love, Made wit with musing weak, heart sick with thought. And yet you never swam the Hellespont. Pro. Over the boots ? nay, give me not the

Enter SPEED. boots.

Speed. Sir Protous, save you: Saw you my Vol. No, I will not, for it boots thte not.

master ? Pro.

What ?

Pro. But now he parted hence, to embark for Val. To be in love, where scorn is bought with

Milan. groans ;

Speed. Twenty to one then he is shipp'd already ; Coy looks, with heart-sore sighs; one fading mo- And I have played the sheep," in losing him. ment's mirth,

Pio. Indeed a sheep doth very often stray,
With twenty watchful, weary, tedious nights : An if the shepherd be awhile away.
If haply won, perhaps a hapless gain;

Speed. You conclude that my master is a shepIf lost, why then a grievous labour won;

herd then, and I a sheep ? However, but a folly bought with wit,

Pro. I do.
Or else a wit by folly vanquished.
Pro. So by your circumstance, you call me fool. ther I wake or sleep.

Speed. Why then, my horns are his horns, wheVal. So, by your circumstance, I fear, you'll

Pro. A silly answer, and fitting well a sheep. prove.

Speed. This proves me still a sheep. Pro. "I'is love you cavil at ; I am not Love.

Pro. True ; and thy master a shepherd. Val. Love is your master, for he masters you :

Speed. Nay, that I can deny by a circumstance. I Milton has the same play upon words in his Comus. "It is for homely features to keep home,

4 A proverbial expression, now disused, signifying, They had their name thence."

Don't make a laughing-stock of me.' The French 2 The expression shapeless idieness is admirably have a phrase Bailler foin en corne : which Cotgrave expressive, as implying that idleness prevents the giv. interprets, to give one the boots; to sell him a bargain.' ing form or character w the manners.

Perhaps deduced from a humorous punishment ai har. 3 The allusion is to Marlow's poem of Hero and vest home feasts in Warwickshire. Leander, which was entered on the Stationers' books ö Circumstance is used equivocally. It here means in 1593, though not published till 1598 It was proba. conduct; in the preceding line, circumstantial de bly circulated in manuscript in the interim, as was the duction. custom at that period. The poem seems to have made 6 The construction of this passage, is, “Let me hear an impression on Shakspeare, who appears to have from thee by letters to Milan,” i. e. addressed to Milan. recently perused it, for he again alludes to it in the 7 In Warwickshire, and some other counties, a sheep Chird act.' And in As You Like It he has quoted a line is pronounced a ship. Without this explanation who from in

I jest, such as it is, might escape the reader.

.

my mind

Pro. It shall go hard, but I'll prove it by another. Pro. Go, go, begons, to save your ship from Speed. The shepherd seeks the sheep, and not

wreck; the sheep the shepherd; but I seek my master, which cannot perish, having thee aboard, and my master seeks not me : thereforó I am no Being destined to a drier death on shore: sheep.

I must go send some better messenger; Pro. The sheep for fodder follow the shepherd, I fear my Julia would not deign my lines, the shepherd for food follows not the sheep; thou Receiving them from such a worthless post. for wages followest thy master, thy master for

(Exeunt. wages follows not thee: therefore thou art a sheep.

Speed. Such another proof will make me cry baa. SCENE II. The same. Garden of Julia's house. Pro. But dost thou hear! gav'st thou my letter

Enter JULIA and LUCETTA. to Julia ? Speed. Ay, sir; 1, a lost mutton, gave your let

Jul. But say, Lucetta, now we are alone, ter to her, à laced mutton ;' and 'she, a laced Would'st thou then counsel me to fall in love ? mutton, gave me, a lost mutton, nothing for my Luc. Ay, madam; so you stumble not unheed. labour.

fully, Pro. Here's too small a pasture for such a store

Jul Of all the fair resort of gentlemen, of muttons.

That every day with parle* encounter me, Speed. If the ground be overcharged, you were In thy opinion, which is worthiest love? best stick her.

Luc. Please you, repeat their names, I'll show Pro. Nay, in that you are astray; 'twere best pound you.

According to my shallow simple skill. Speed. Nay, sir, less than a pound shall serve

Jul. What think'st thou of the fair Sir Eglamour ? me for carrying your letter.

Luc. As of a knight well-spoken, neat and fine ; Pro. You mistake; I mean the pound, a pinfold. But, were I you, he never should be mine. Speed. From a pound to a pin? fold it over and

Jul. What think'st thou of the rich Mercatio ?

Luc. Well of his wealth ; but of himself, so, so. over, "Tis threefold too little for carrying a letter to your

Jul. What think'st thou of the gentle Proteus ? lover,

Luc. Lord, lord ! to see what folly reigns in us ! Pro. But what said she ? did she nod ?2

Jul. How now! what means this passion at his [SPEED nods.

name? Speed. I.

Luc. Pardon, dear madam; 'tis a passing shame, Pro. Nod, I! why, that's noddy.

That I, unworthy body as I am, Speed. You mistook, sir ? I say she did nod: Should censures thus on lovely gentlemen. and you ask me, if she did nod; and I say, I. Jul. Why not on Proteus, as of all the rest ? Pro. And that set together is-noddy.

Luc. Then thus,- of many good I think him Speed. Now you have taken the pains to set it

best. together, take it for your pains.

Jul. Your reason? Pro. No, no, you shall have it for bearing the

Luc. I have no other but a woman's reason; letter,

I think him so, because I think him so. Speed. Well, I perceive I must be fain to bear Jul. And would'st thou have me cast my love or

bim? Pro. Why, sir, how do you bear with me? Luc. Ay, if you thought your love not cast away

Speed. Marry, sir, the letter very orderly; have Jul. Why, he of all the rest hath never mov'd me. ing nothing but the word, noddy, for my pains.

Luc. Yei he of all the rest, I think, best loves ye. Pro. Beshrew me, but you hav.. a quick wit.

Jul. His little speaking shows his love but small. Speed. And yet it cannot overtake your slow

Luc. Fire, that's closest kept, burns most of all. purse.

Jul. They do not love that do not show their love. Pro. Come, come, open the matter in brief: Luc. O, they love least, that let men know their What said she ?

love. Speed. Open your purso, that the money and the Jul. I would, I knew his mind. matter may be both at once delivered.

Luc,

Peruse this paper, madam. Pro. Well, sir, here is for your pains: What

Jul. To Julia.-Say, from whom? said she ?

Luc.

That the contents will show, Speed. Truly, sir, I think you'll hardly win her. Jul. Say, say; who gave it thee ? Pro. Why? Could'st thou perceive so much

Luc. Sir Valentine's page ; and sent, i think, from her ?

from Proteus : Speed. Sir, I could perceive nothing at all from He would have given it you, but I, being in the her; no, not so much as a ducat for delivering

way, your letter: And being so hard to me that brought Did in your name receive it; pardon the fault, I your mind, I fear she'll prove as hard to you in pray. ielling your mind. Give her no token but stonos, Jul. Now, hy my modesty, a goodly broker!" for she's as hard as steel.

Dare you presume to harbour wanton lines? Pro. What, said she nothing ?

To whisper and conspire against my youth? Speerd. No, not so much as-take this for thy Now, trust me, 'tis an office of great worth, pains. To testify your bounty, I thank you, you and you an officer fit for the place. have testern'da me; in requital whereof, hence- There, take the paper, see it be return'd; forth carry your letters yourself: and so, sir, I'll Or else return no more into my sight. commend you to my master.

Luc. To plead for love deserves more fee than

hate.

with you.

i Cotgrave explains laced mutton, une garce, putain, fille de joye. It was so established a term for a cortezan, might have gone for as much in England. They were that a lane in Clerkenwell, much frequented by loose afterwards reduced to 12d., 9d., and finally, to six women, is said in have been thence called Mutton Lanc.

pence. 2 These words were supplied by Theobald to intro. 4 Parle is tals. fuce what follows. In Speed's answer, the old spelling 5 To censure, in Shakspeare's time, generally signi. of the affirmative particle has been retained ; otherwise fied to give one's judgment or opinion. Thus in The the conceit would be unintelligible. Noddy was a game Winter's Tale, Act. ii. Sc. 1: ar cards.

-How blest am I 3 Testens, or (as we now commonly call them, les.

In my just censure in my true opinion ? ters,) from a head that was upon them, were coined in 6 Fire is here pronounced as a dissyllable. 1512. Sir H. Spelman says they were a French coin of 7 A matchmaker. It was sometimes used for a prowe value of 19u. ; and he does not know but that they curess.

Jul. Will you be gone ?

Injurious wasps ! to feed on such sweet honey, Luc.

That you may ruminate. (Erit. And kiil the bees, that yield it, with your suings! Jul. And yet, I wou'd I had o'erlook'd the letter. I'll kiss each several paper for amends. It were a shame to call her back again,

And here is writ-kind Julia ;-unkind Julia! And pray her to a fault for which I chid her, As in revenge of thy ingratitude, Whai fool is she, that knows I am a maid,

I throw thy name against the bruising stones, And would not force the letter to my view! Trampling contemptuously on the disdain. Since maids, in modesty, say No, to that

Look, here is wrii-ore-rounded Proteus ;Which they would have the profferer construe, Ay. Poor wounded name! my bosom, as a bed, Fie, fie, how wayward is this foolish love,

Shall lodge thee, till thy wound be thoroughly heald; That, like a testy babe, will scratch the nurse, And thus I search it with a sovereign kiss. and presently, all humbled, kiss the rod!

But twice, or thrice, was Proteus written down : How churlishly I chid Lucetta hence,

Be calm, good wind, blow not a word away, When willingly I would have had her here! Till I have found each letter in the letter, How angerly I taught my brow to frown,

Except mine own name; that some whirlwind bear When inward joy enforc'd my heart to smile! Unto a rugged, fearful, hanging rock, My penance is, to call Lucetta back,

And throw it thence into the raging sea! And ask permission for my folly past :

Lo, here in one line is his name twice writ, What ho! Lucetta !

Poor forlorn Porteus, pussimate Proteus,

To the sweet Julia ;-that I'll tear away;
Re-enter LUCETTA.

And yet I will not, sith so prettily
Luc. What would your ladyship?

He couples it to his complaining names : Jul. Is it near dinner time?

Thus will I fold them one upon another; Lauc. I would it were :

Now kiss, embrace, contend, do what you will That you might kill your stomach? on your meat,

Re-enter LUCETTA.
And not upon your maid.
Jul. What is't you took up

Luc. Madam,
So gingerly?

Dinner is ready, and your father stays. Luc. Nothing.

Jul. Well, let us go. Jul. Why didst thou stoop then ?

Luc. What, shall these papers lie like tell-tales

- here? Luc. To take a paper up that I let fall. Jul. And is that paper nothing ?

Jul. If you respect them, best to take them up. Luc. Nothing concerning me.

Luc. Nay, I was iaken up for laying them dowo: Jul. Then let it lie for those that it concerns.

Yet here they shall not lie, for catching cold. Luc. Madam, it will not lie where it concerns,

Jul. I see you have a month's mind to them.

Luc Opless it have a false interpreter.

Ay, madan, you may say what sights you Jul. Some love of your's hath writ to you in

see; rhyme.

I see things too, although you judge I wink. Luc. That I might sing it, madam, to a lune :

Jul. Come, come, will't please you go? Give me a note : your ladyship can set."

[Ereunt. Jul. As litue by such toys as may be possible:

SCENE III.-The same. A Room in Antonio Best sing it to the tune of Light o' love.

House. Enter Antonio and Panthic. Lau. It is too heavy for so light a tune.

Ant. Tell me, Panthino, what sadiu talk was that, Jul. Heavy ? belike it hath some burden then. Wherewith my brother held you in the cloister ? Lauc. Ay; and melodious were it, would you Pant. 'Twas of his nephew Proteus, your son.

Ant. Why, what of him? Jul. And why not you?

Pant.

He wonder'd, that your lordship Luc. I cannot reach so high.

Would suffer him to spend his youth at home; Jul. Let's see your song :-How now, minion? While other men, of slender reputation,

Luc. Keep tune there still, so you will sing it out : Put forth their sons to seek preferment out: And yet, methinks, I do not like this tune.

Some, to the wars, to try their fortune there; Jul. You do not?

Some, to discover islands far away; Luc. No, madam; it is too sharp.

Some, to the studious universities, Jul. You, minion, are too saucy.

For any, or for all these exercises, Luc. Nay, now you are too flat,

He said, that Proteus, your son, was meet; And mar the concord with too harsh a descant:4 And did request me, to importune you, There wanteth but a mean to fill your song. To let him spend his time no more at home, Jul. The mean is drown'd with your unruly base. Which would be great impeachment to his age, Luc. Indeed, I bid the bases for Proteus.

In having known no travel in his youth. 1 Jul. This babble shall not henceforth trouble me. Ant. Nor need'st thou much importune me to Hore is a coils with protestation !

that

[Tears the letter. Whereon this month I have been hammering. Go, get you gone ; and let the papers lie:

I have consider'd well his loss of time; You would be fingering them, to anger me.

And how he cannot be a perfect man, Luc. She makes it strange; but she would be Not being try'd and tutor'd in the world :

best pleas'd To be so anger'd with another letter.

Experience is by industry achiev'd,

(Erit. And perfected by the swift course of time: Jul. Nay, would I were as anger’d with the same! Then, tell me, whither were I best to send him ? O hateful hands, to tear such loving words !

7 Since. I First folio, ye.

9." for catching cold," i. e. Jest they should catch 9 Stomueh, for passion or obstinacy. 3 Srl is here used equivocally ;' in the preceding Horne Tooke's explanation of this wond in the first

cold, anciently a common form of expression. See speech in the sense in which it is used by musicians, volume of “The Diversions of Purley.". and in the present line in a quite different sense. To set by in old language signifies, to make account of, to longing of women, which takes place (or commences,

9 Month's mind, a longing, pinally from * the estimate. See the first Book of Samuel, xviii. 30.

at least) in the first month of pregnancy." This is the 4 Descant signified formerly what we now call rari. ingenious conjecture of John Crott, Esq. of York. The ations. It has been well defined to be musical para commentators have endeavoured to refer this passage to phrase. The mean is the tenor in music.

the month's minds, or periodical celebrations in me. 6 To bid the base means, to run fast, challenging mory of dead persons, usual in times of popery but another to pursue at the rustic game called Ba, or the phrase in this place can have no relation is thém. Prisonbase.' The allusion is somewhat obscure, but it 10 i.e. grave or serious. appears to mean here, " to challenge to an encounter.” 6 1. e, bustle, stir.

11 Impeachment in this passage means reproack or imputation

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Pant. I think, your lordship is not ignorant,

ACT IL.
How his companion, youthful Valentine,
Attends the emperor in his royal court.

SCENE I. Milan. A Room in the Duke's Par Ant. I know it well.

lace. Enter VALENTINE and SPEED. Pant "Twere good, I think, your lordship sent him thither :

Speed. Sir, your glove. There shall he practise tilts and tournaments, Val. Not mine; my gloves are on. Hear sweet discourse, converse with noblemen; Speed. Why then this may be yours, for this is And be in eye of every exercise,

but one." Worthy his youth and nobleness of birth.

Val. Ha! lei me ay, give it me, it's Ant. I like thy counsel : well hast thou advised :

mine :And, that thou may'st perceive how well I like it, Sweet ornament that decks a thing divine ! The execution of it shall make known;

Ah Silvia ! Silvia ! Even with the speediest expedition,

Speed. Madam Silvia ! madam Silvia! I will despatch him to the emperor's court.

Val. How now, sirrah ? Pant. To-morrow, may it please you, Don Al Speed. She is not within hearing, sir. phonso,

Val. Why, sir, who bade you call her? With other gentlemen of good esteem,

Speed. Your worship, sir, or else I mistook. Are journeying to salute the emperor,

Val. Well, you'll still be too forward. And to commend their service to his will.

Speed. And yet I was last chidden for being too Ant. Good company; with them shall Proteus go :

slow. "And, in good time,-now will we break with him.' Val. Go to, sir ; tell me, do you know madam

Silvia?
Enler PROTECS.

Speed. She that your worship loves ?
Pro, Sweet love! sweet lines ! sweet life! Val. Why, how know you that I am in love ?
Here is her hand, the agent of her heart :

Speed. Marry, by these special marks: First, Here is her oath for love, her honour's pawn : you have learned, like Sir Proteus, to wreath your O, that our fathers would applaud our loves, arms like a male-content: to relish a love-song, To seal our happiness with their consents ! like a robin-red-breast; to walk alone, like one that O heavenly Julia !

had the pestilence; to sigh, like a school-boy that Ant. How now ? what letter are you reading had lost his A, B, C; to weep, like a young wench there?

that had buried her grandam; to fast, like one that Pro. May't please your lordship, 'tis a word or takes diet;" to watch, like one that fears robbing į

to speak puling, like a beggar at Hollowmas." Of commendations sent from Valentine,

You were wont, when you laugh'd, to crow like a Deliver'd by a friend that came from him. cock; when you walked, to walk like one of the

Ant. Lend me the letter ; let me see what news. | lions; when you fasted, it was presently after dinPro. There is no news, my lord; but that he ner; 'when you looked sadly, it was for want of writes

money: and now you are metamorphosed with a How happily he lives, how well belov'd

mistress, that, when I look on you, I can hardly And daily graced by the emperor ;

think you my master. Wishing me with him, partner of his fortune. Val. Are all these things perceived in me?

Ant. And how stand you affected to his wish ? Speed. They are all perceived without you.

Pro. As one relying on your lordship's will, Val. Without me? They cannot. And not depending on his friendly wish.

Speed. Without you! nay, that's certain, for, Ant. My will is something sorted with his wish ; without you were so simple, none else would but Muse' not that I thus suddenly proceed;

you are so without these follies, that these follies For what I will, I will, and there an end. are within you, and shine through you like the waI am resolv'd, that thou shalt spend some time ter in an urinal; that not an eye, that sees you, but With Valentinus in the emperor's court;

is a physician to comment on your malady. What maintenance he from his friends receives, Val. But, tell me, dost ihou know my lady * Like exhibition; thou shalt have from me.

Silvia ? To-morrow be in readiness to go:

Speed. She that you gaze on so, as she sits at Excuse it not, for I am peremptory.

supper? Pro. My lord, I cannot be so soon provided; Val. Hast thou observed that? even she I mean. Please you, deliberate a day or two.

Speed. Why, sir, know her not. Ant. Look, what thou want'st, shall be sent Val. Dost ihou know her by my gazing on her, after thee :

and yet know'st her not? No more of stay; to-morrow thou must go: Speed. Is she not hard-favour'd, sir ? Come on, Panthino ; you shall be employed

Val. Not so fair, boy, as well favour'd. To hasten on his expedition.

Speed. Sir, I know that well enough. (Exeunt Axt. and Pant.

Val. What dost thou know? Pro. Thus have I shunn'd the fire, for fear of Speed. That she is not so fair, as (of you) wellburning;

favour'd. And drench'd me in the sea, where I am drown'd:

Val. I mean, that her beauty is exquisite, but I fear'd to shew my father Julia's letter,

her favour infinite. Lest he should take exceptions to my love; Speed. That's because the one is painted, and And with the vantage of mine own excuse

the other out of all count. Hath he excepted most against my love.

Val. How painted? and how out of count ? 0, how this spring of love resembleth

Speed, Marry, sir, so painted to make her fair, The uncertain glory of an April day;

that no man counts of her beauty. Which now shows all the beauiy of the sun, And by and by a cloud takes all away!

4 Resembleth is pronounced as if written resembeleth,

which makes it a quadrisyllable. Re-enter PANTHINO.

5 On and one were anciently pronounced alike, and Pant. Sir Proteus, your father calls for you;

frequently written so.

6 To take diet is to be under a regimen for a disease. Ho is in haste, therefore, I pray you go.

7 The feast of All-hallows, or All Saints, at which Pro. Why, this it is ! my heart accords thereto; time the poor in Staffordshire go from parish to parish And yet a thousand times it answers, no. [Ereunt. a souling, as they call it ; i. e. begging and puling, (or

singing small, as Bailey's Dictionary explains puling,) I i.e. break the matter to him.

for soul cakes, and singing what they call the souler's 2 i. e, wonder not.

song. These terms point out the condition of this benevo 3 Exhibition is allowance of money; it is will used | lence, which was, that the beggars should pray for the la tho Universities for a mipand.

souls of the giver's departed friends

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