The Two Gentlemen of Verona By William Shakespeare

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The Two Gentlemen of Verona

William Shakespeare

Published: 1598

Categorie(s): Fiction, Drama

Source: http://shakespeare.mit.edu/ About Shakespeare:

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Also available on Feedbooks Shakespeare:

- Romeo and Juliet (1597)

- Hamlet (1599)

- Macbeth (1606)

- A Midsummer Night's Dream (1596)

- Julius Caesar (1599)

- Othello (1603)

- The Merchant of Venice (1598)

- Much Ado About Nothing (1600)

- King Lear (1606)

- The Taming of the Shrew (1594)

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Act I

SCENE I. Verona. An open place.

> Enter VALENTINE and PROTEUS

VALENTINE

> Cease to persuade, my loving Proteus:

> Home-keeping youth have ever homely wits.

> Were'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 sluggardized at home,

> Wear out thy youth with shapeless idleness.

> But since thou lovest, love still and thrive therein,

> Even as I would when I to love begin.

PROTEUS

> 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 meet good hap; and in thy danger,

> If ever danger do environ thee,

> Commend thy grievance to my holy prayers,

> For I will be thy beadsman, Valentine.

VALENTINE

> And on a love-book pray for my success?

PROTEUS

> Upon some book I love I'll pray for thee.

VALENTINE

> That's on some shallow story of deep love:

> How young Leander cross'd the Hellespont.

PROTEUS

> That's a deep story of a deeper love:

> For he was more than over shoes in love.

VALENTINE

> 'Tis true; for you are over boots in love,

> And yet you never swum the Hellespont.

PROTEUS

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

VALENTINE

> No, I will not, for it boots thee not.

PROTEUS

> What?

VALENTINE

> To be in love, where scorn is bought with groans;

> Coy looks with heart-sore sighs; one fading moment's mirth

> With twenty watchful, weary, tedious nights:

> If haply won, perhaps a hapless gain;

> If lost, why then a grievous labour won;

> However, but a folly bought with wit,

> Or else a wit by folly vanquished.

PROTEUS

> So, by your circumstance, you call me fool.

VALENTINE

> So, by your circumstance, I fear you'll prove.

PROTEUS

> 'Tis love you cavil at: I am not Love.

VALENTINE

> Love is your master, for he masters you:

> And he that is so yoked by a fool,

> Methinks, should not be chronicled for wise.

PROTEUS

> Yet writers say, as in the sweetest bud

> The eating canker dwells, so eating love

> Inhabits in the finest wits of all.

VALENTINE

> And writers say, as the most forward bud

> Is eaten by the canker ere it blow,

> Even so by love the young and tender wit

> Is turn'd to folly, blasting in the bud,

> Losing his verdure even in the prime

> And all the fair effects of future hopes.

> But wherefore waste I time to counsel thee,

> That art a votary to fond desire?

> Once more adieu! my father at the road

> Expects my coming, there to see me shipp'd.

PROTEUS

> And thither will I bring thee, Valentine.

VALENTINE

> Sweet Proteus, no; now let us take our leave.

> To Milan let me hear from thee by letters

> Of thy success in love, and what news else

> Betideth here in absence of thy friend;

> And likewise will visit thee with mine.

PROTEUS

> All happiness bechance to thee in Milan!

VALENTINE

> As much to you at home! and so, farewell.

>

> Exit

PROTEUS

> He after honour hunts, I after love:

> He leaves his friends to dignify them more,

> I leave myself, my friends and all, for love.

> Thou, Julia, thou hast metamorphosed me,

> Made me neglect my studies, lose my time,

> War with good counsel, set the world at nought;

> Made wit with musing weak, heart sick with thought.

>

> Enter SPEED

SPEED

> Sir Proteus, save you! Saw you my master?

PROTEUS

> But now he parted hence, to embark for Milan.

SPEED

> Twenty to one then he is shipp'd already,

> And I have play'd the sheep in losing him.

PROTEUS

> Indeed, a sheep doth very often stray,

> An if the shepherd be a while away.

SPEED

> You conclude that my master is a shepherd, then,

> and I a sheep?

PROTEUS

> I do.

SPEED

> Why then, my horns are his horns, whether I wake or sleep.

PROTEUS

> A silly answer and fitting well a sheep.

SPEED

> This proves me still a sheep.

PROTEUS

> True; and thy master a shepherd.

SPEED

> Nay, that I can deny by a circumstance.

PROTEUS

> It shall go hard but I'll prove it by another.

SPEED

> The shepherd seeks the sheep, and not the sheep the

> shepherd; but I seek my master, and my master seeks

> not me: therefore I am no sheep.

PROTEUS

> The sheep for fodder follow the shepherd; the

> shepherd for food follows not the sheep: thou for

> wages followest thy master; thy master for wages

> follows not thee: therefore thou art a sheep.

SPEED

> Such another proof will make me cry 'baa.'

PROTEUS

> But, dost thou hear? gavest thou my letter to Julia?

SPEED

> Ay sir: I, a lost mutton, gave your letter to her,

> a laced mutton, and she, a laced mutton, gave me, a

> lost mutton, nothing for my labour.

PROTEUS

> Here's too small a pasture for such store of muttons.

SPEED

> If the ground be overcharged, you were best stick her.

PROTEUS

> Nay: in that you are astray, 'twere best pound you.

SPEED

> Nay, sir, less than a pound shall serve me for

> carrying your letter.

PROTEUS

> You mistake; I mean the pound,—a pinfold.

SPEED

> From a pound to a pin? fold it over and over,

> 'Tis threefold too little for carrying a letter to

> your lover.

PROTEUS

> But what said she?

SPEED

> [First nodding] Ay.

PROTEUS

> Nod—Ay—why, that's noddy.

SPEED

> You mistook, sir; I say, she did nod: and you ask

> me if she did nod; and I say, 'Ay.'

PROTEUS

> And that set together is noddy.

SPEED

> Now you have taken the pains to set it together,

> take it for your pains.

PROTEUS

> No, no; you shall have it for bearing the letter.

SPEED

> Well, I perceive I must be fain to bear with you.

PROTEUS

> Why sir, how do you bear with me?

SPEED

> Marry, sir, the letter, very orderly; having nothing

> but the word 'noddy' for my pains.

PROTEUS

> Beshrew me, but you have a quick wit.

SPEED

> And yet it cannot overtake your slow purse.

PROTEUS

> Come come, open the matter in brief: what said she?

SPEED

> Open your purse, that the money and the matter may

> be both at once delivered.

PROTEUS

> Well, sir, here is for your pains. What said she?

SPEED

> Truly, sir, I think you'll hardly win her.

PROTEUS

> Why, couldst thou perceive so much from her?

SPEED

> Sir, I could perceive nothing at all from her; no,

> not so much as a ducat for delivering your letter:

> and being so hard to me that brought your mind, I

> fear she'll prove as hard to you in telling your

> mind. Give her no token but stones; for she's as

> hard as steel.

PROTEUS

> What said she? nothing?

SPEED

> No, not so much as 'Take this for thy pains.' To

> testify your bounty, I thank you, you have testerned

> me; in requital whereof, henceforth carry your

> letters yourself: and so, sir, I'll commend you to my master.

PROTEUS

> Go, go, be gone, to save your ship from wreck,

> Which cannot perish having thee aboard,

> Being destined to a drier death on shore.

>

> Exit SPEED

>

> I must go send some better messenger:

> I fear my Julia would not deign my lines,

> Receiving them from such a worthless post.

>

> Exit

SCENE II. The same. Garden of JULIA's house.

> Enter JULlA and LUCETTA

JULIA

> But say, Lucetta, now we are alone,

> Wouldst thou then counsel me to fall in love?

LUCETTA

> Ay, madam, so you stumble not unheedfully.

JULIA

> Of all the fair resort of gentlemen

> That every day with parle encounter me,

> In thy opinion which is worthiest love?

LUCETTA

> Please you repeat their names, I'll show my mind

> According to my shallow simple skill.

JULIA

> What think'st thou of the fair Sir Eglamour?

LUCETTA

> As of a knight well-spoken, neat and fine;

> But, were I you, he never should be mine.

JULIA

> What think'st thou of the rich Mercatio?

LUCETTA

> Well of his wealth; but of himself, so so.

JULIA

> What think'st thou of the gentle Proteus?

LUCETTA

> Lord, Lord! to see what folly reigns in us!

JULIA

> How now! what means this passion at his name?

LUCETTA

> Pardon, dear madam: 'tis a passing shame

> That I, unworthy body as I am,

> Should censure thus on lovely gentlemen.

JULIA

> Why not on Proteus, as of all the rest?

LUCETTA

> Then thus: of many good I think him best.

JULIA

> Your reason?

LUCETTA

> I have no other, but a woman's reason;

> I think him so because I think him so.

JULIA

> And wouldst thou have me cast my love on him?

LUCETTA

> Ay, if you thought your love not cast away.

JULIA

> Why he, of all the rest, hath never moved me.

LUCETTA

> Yet he, of all the rest, I think, best loves ye.

JULIA

> His little speaking shows his love but small.

LUCETTA

> Fire that's closest kept burns most of all.

JULIA

> They do not love that do not show their love.

LUCETTA

> O, they love least that let men know their love.

JULIA

> I would I knew his mind.

LUCETTA

> Peruse this paper, madam.

JULIA

> 'To Julia.' Say, from whom?

LUCETTA

> That the contents will show.

JULIA

> Say, say, who gave it thee?

LUCETTA

> Valentine's page; and sent, I think, from Proteus.

> He would have given it you; but I, being in the way,

> Did in your name receive it: pardon the

> fault I pray.

JULIA

> Now, by my modesty, a goodly broker!

> Dare you presume to harbour wanton lines?

> To whisper and conspire against my youth?

> Now, trust me, 'tis an office of great worth

> And you an officer fit for the place.

> Or else return no more into my sight.

LUCETTA

> To plead for love deserves more fee than hate.

JULIA

> Will ye be gone?

LUCETTA

> That you may ruminate.

>

> Exit

JULIA

> And yet I would I had o'erlooked the letter:

> It were a shame to call her back again

> And pray her to a fault for which I chid her.

> What a fool is she, that knows I am a maid,

> And would not force the letter to my view!

> Since maids, in modesty, say 'no' to that

> Which they would have the profferer construe 'ay.'

> Fie, fie, how wayward is this foolish love

> That, like a testy babe, will scratch the nurse

> And presently all humbled kiss the rod!

> How churlishly I chid Lucetta hence,

> When willingly I would have had her here!

> How angerly I taught my brow to frown,

> When inward joy enforced my heart to smile!

> My penance is to call Lucetta back

> And ask remission for my folly past.

> What ho! Lucetta!

>

> Re-enter LUCETTA

LUCETTA

> What would your ladyship?

JULIA

> Is't near dinner-time?

LUCETTA

> I would it were,

> That you might kill your stomach on your meat

> And not upon your maid.

JULIA

> What is't that you took up so gingerly?

LUCETTA

> Nothing.

JULIA

> Why didst thou stoop, then?

LUCETTA

> To take a paper up that I let fall.

JULIA

> And is that paper nothing?

LUCETTA

> Nothing concerning me.

JULIA

> Then let it lie for those that it concerns.

LUCETTA

> Madam, it will not lie where it concerns

> Unless it have a false interpeter.

JULIA

> Some love of yours hath writ to you in rhyme.

LUCETTA

> That I might sing it, madam, to a tune.

> Give me a note: your ladyship can set.

JULIA

> As little by such toys as may be possible.

> Best sing it to the tune of 'Light o' love.'

LUCETTA

> It is too heavy for so light a tune.

JULIA

> Heavy! belike it hath some burden then?

LUCETTA

> Ay, and melodious were it, would you sing it.

JULIA

> And why not you?

LUCETTA

> I cannot reach so high.

JULIA

> Let's see your song. How now, minion!

LUCETTA

> Keep tune there still, so you will sing it out:

> And yet methinks I do not like this tune.

JULIA