The Two Gentlemen of Verona

1813:), although the general, Shi (Wang Guilin), is unaware of the relationship, and instead wants his daughter to marry the foolish Liao Di'ao (Kao Chien Fei). Meanwhile, Bai's father uses his influence to get Bai posted to Guangdong, and after a sorrowful farewell between himself and Zhuli, he arrives at his new post and instantly falls in love with Luohua. In an effort to have her for himself, Bai betrays his friend, by informing General Shi of his daughter's plans to elope with Hu, leading to Shi dishonourably discharging Hu. Bai tries to win Luohua over, but she is uninterested, only concerned with lamenting the loss of Hu. In the meantime, Hu encounters a group of bandits who ask him to be their leader, to which he agrees, planning on returning for Luohua at some point in the future. Some time passes, and one day, as Luohua, Bai and Liao are passing through the forest, they are attacked. Luohua manages to flee, and Bai pursues her into the forest. They engage in an argument, but just as Bai seems about to lose his temper, Hu intervenes, and he and Luohua are reunited. General Shi arrives in time to see Liao flee the scene, and he now realises that he was wrong to get in the way of the relationship between Hu and his daughter. Hu then forgives Bai his betrayal, and Bai reveals that he has discovered that his only true love is Zhuli back in Shanghai. The film is notable for being one of many Chinese films of the period which, although performed in 606:, for example, has written the "dramatic structure is comparatively unambitious, and while some of its scenes are expertly constructed, those involving more than, at the most, four characters betray an uncertainty of technique suggestive of inexperience." This uncertainty can be seen in how Shakespeare handles the distribution of dialogue in such scenes. Whenever there are more than three characters on stage, at least one of those characters tends to fall silent. For example, Speed is silent for almost all of 2.4, as are Thurio, Silvia and Julia for most of the last half of the final scene. It has also been suggested that the handling of the final scene in general, in which the faithful lover seemingly offers his beloved as a token of his forgiveness to the man who has just attempted to rape her, is a sign of Shakespeare's lack of maturity as a dramatist. 1110: 330:, Don Felix, who is in love with Felismena, sends her a letter explaining his feelings. Like Julia, Felismena pretends to reject the letter and be annoyed with her maid for delivering it. Like Proteus, Felix is sent away by his father, and is followed by Felismena, who, disguised as a boy, becomes his page, only to subsequently learn that Felix has fallen in love with Celia. Felismena is then employed by Felix to act as his messenger in all communications with Celia, who scorns his love. Instead, Celia falls in love with the page (i.e. Felismena in disguise). Eventually, after a combat in a wood, Felix and Felismena are reunited. Upon Felismena revealing herself, however, Celia, having no counterpart to Valentine, dies of grief. 2083:

weather suddenly changes from calm and sunny to cloudy and windy, accompanied by a thunderclap. The implication being that Proteus has brought a darkness within him into the garden of courtly delights previously experienced by Silvia. Although the production is edited in a fairly conventional manner, much of it was shot in extremely long takes, and then edited into sections, rather than actually shooting in sections. Director Don Taylor would shoot most of the scenes in single takes, as he felt this enhanced performances and allowed actors to discover aspects which they never would were everything broken up into pieces.

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from the love-friendship dichotomy and instead focused on the issues of fidelity, with the last line of the play altered to, "Lovers must be faithful to be bless'd." This necessitated rewriting Valentine as a near-flawless protagonist who represents such faithfulness, and Proteus as a traditional villain, who does not care for such notions. The two are not presented as old friends, but simply as acquaintances. Thurio was also rewritten as a harmless, but lovable fool, not unlike Launce and Speed. Although not a major success (the play initially ran for only six performances), it was still being staged as late as 1895.

2022:, with some very minor differences. For example, omitted lines include the Duke's "Knowing that tender youth is soon suggested" (3.1.34), and Julia's "Her eyes are grey as glass, and so are mine" (4.4.189). Other differences include a slightly different opening scene to that indicated in the text. Whereas the play seems to open with Valentine and Proteus in mid-conversation, the adaptation begins with Mercatio and Eglamour attempting to formally woo Julia; Mercatio by showing her a coffer overflowing with gold coins, Eglamour by displaying a parchment detailing his 245: 970: 508: 892: 924:' or show-through version, as it were, of Shakespeare's comic art." Kurt Schlueter, on the other hand, argues that critics have been too harsh on the play precisely because the later plays are so much superior. He suggests that when looking at Shakespeare's earlier works, scholars put too much emphasis on how they fail to measure up to the later works, rather than looking at them for their own intrinsic merits; "we should not continue the practice of holding his later achievements against him when dealing with his early beginnings." 813:"; "She can wash and scour"), and negatives ("She hath a sweet mouth"; "She doth talk in her sleep"; "She is slow in words"). After weighing his options, Launce decides that the woman's most important quality is that "she hath more hair than wit, and more faults than hairs, and more wealth than faults" (ll.343–344). He announces that her wealth "makes the faults gracious" (l.356), and chooses for that reason to wed her. This purely materialistic reasoning, as revealed in the form of language, is in stark contrast to the more 210: 751: 6070: 291: 646: 373: 675:

offer to give Silvia to Proteus at all. The ambiguity lies in the line "All that was mine in Silvia I give thee" (5.4.83). Some critics (such as Stanley Wells, for example) interpret this to mean that Valentine is indeed handing Silvia over to her would-be rapist, but another school of thought suggests that Valentine simply means "I will love you with as much love as I love Silvia," thus reconciling the dichotomy of friendship and love as depicted elsewhere in the play. This is certainly how

40: 6820: 1981: 884:, for example, states "here is the first dawn of that higher and more tender humour that was never given in such perfection to any man as ultimately to Shakespeare." Similarly, in 1906, Warwick R. Bond writes "Shakespeare first opens the vein he worked so richly afterwards – the vein of crossed love, of flight and exile under the escort of the generous sentiments; of disguised heroines, and sufferings endured and virtues exhibited under their disguise; and of the 826: 6716: 743:, and should be interpreted as such. Schlueter argues that the play provides possible evidence it was written to be performed and viewed primarily by a young audience, and as such, to be staged at university theatres, as opposed to public playhouses. Such an audience would be more predisposed to accepting the farcical nature of the scene, and more likely to find humorous the absurdity of Valentine's gift. As such, in Schlueter's theory, the scene 2026:. Neither Eglamour nor Mercatio appear in the text. However, there is no dialogue in this scene, and the first words spoken are the same as in the text ("Cease to persuade my loving Proteus"). Eglamour is also present in the final scene, albeit once again without any dialogue, and, additionally, the capture of Silvia and the flight of Eglamour is seen, as opposed to merely being described. The music for the episode was created by 1549: 801:. More specifically, the actual content of many of the speeches serve to illustrate the pompousness of Valentine and Proteus's exalted outlook, and the more realistic and practical outlook of the servants. This is most apparent in 3.1. Valentine has just given a lengthy speech lamenting his banishment and musing on how he cannot possibly survive without Silvia; "Except I be by Silvia in the night/There is no music in the 5552: 6726: 1101:

Silvia, and at the end of the play, he announces that Silvia is no better than Julia and vows he now loves Julia again. Indeed, Proteus himself seems to be aware of this mutability, pointing out towards the end of the play; "O heaven, were man/But constant, he were perfect. That one error/Fills him with faults, makes him run through all th'sins;/Inconstancy falls off ere it begins" (5.4.109–112).

67:, believed to have been written between 1589 and 1593. It is considered by some to be Shakespeare's first play, and is often seen as showing his first tentative steps in laying out some of the themes and motifs with which he would later deal in more detail; for example, it is the first of his plays in which a heroine dresses as a boy. The play deals with the themes of friendship and 953:, which often celebrates friendship as the more important relationship (because it is pure and unconcerned with sexual attraction), and contends that love and friendship cannot co-exist. As actor Alex Avery argues, "The love between two men is a greater love for some reason. There seems to be a sense that the function of a male/female relationship is purely for the family and to 1432:, and featuring numerous dance numbers. Additionally, London and New York replaced Verona and Milan; initially, Valentine and Proteus are shown as living in the English countryside, in a rural paradise devoid of any real vitality, the sons of wealthy families who have retired from the city. When Valentine leaves, he heads to New York to pursue the 1510:

presented the play as a semi-tragic coming-of-age story. Reviews were mixed, with most critics impressed with the attempts to do something new with the play, but not universally sure the new ideas worked. Also in 2012, a touring production was staged at various venues throughout the UK, including a performance at the Globe Theatre as part of the

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based on a 'gift' economy of personal relations among male social equals rather than one based on a newer, less stable economy of emotional and economic risk. The offer of the woman from one male friend to another would therefore be the highest expression of friendship from one point of view, a low point of psycho-sexual regression from another.

957:, to have a family. But a love between two men is something that you choose. You have arranged marriages, a friendship between two men is created by the desires and wills of those two men, whereas a relationship between a man and a girl is actually constructed completely peripheral to whatever the feelings of the said boy and girl are." 1409: 990:

sighs, one fading moment's mirth/With twenty watchful, weary, tedious nights" (1.1.29–31). Later, however, he becomes as much a prisoner of love as Proteus, exclaiming, "For in revenge of my contempt for love/Love hath chased sleep from my enthrall'd eyes/And made them watchers of my own heart's sorrow" (2.4.131–133).

888:, kinder than life, that annuls the errors and forgives the sin." More recently, Stanley Wells has referred to the play as a "dramatic laboratory in which Shakespeare first experimented with the conventions of romantic comedy which he would later treat with a more subtle complexity, but it has its own charm." 1804:

and written by Huang Yicuo. A loose adaptation of the play, the film tells the story of Bai Lede (Wang Chilong) and Hu Luting (Jin Yan), two military cadets who have been friends since they were children. After graduating, Hu, a playboy uninterested in love, is appointed as a captain in Guangdong and

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as Silvia. This production saw the actors not involved in the current on-stage scene sit at the front of the stage and watch the performance. Leon Rubin directed a performance at the Stratford Shakespeare Festival in 1984, where the actors were dressed in modern clothes and contemporary pop music was

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adaptation as supporting the theory that Valentine is not giving Silvia away, but is simply promising to love Proteus as much as he loves Silvia. Patty S. Derrick also interprets the BBC production in this manner, arguing that "Proteus clearly perceives the offer as a noble gesture of friendship, not

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A large part of the theory that this may be Shakespeare's first play is the quality of the work itself. Writing in 1968, Norman Sanders argued "all are agreed on the play's immaturity." The argument is that the play betrays a lack of practical theatrical experience on Shakespeare's part, and as such,

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As in Schlueter, Carroll here interprets Valentine's actions as a gift to Proteus, but unlike Schlueter, and more in line with traditional criticism of the play, Carroll also argues that such a gift, as unacceptable as it is to modern eyes, is perfectly understandable when one considers the cultural

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Thurio who her father intends she should marry. As soon as Proteus arrives, he too falls in love with Silvia. Determined to win her, and agonising only briefly about betraying both his friend and his lover, Proteus slyly tells the Duke that Valentine plans to elope with Silvia, using a corded ladder

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Another major theme is the foolishness of lovers, what Roger Warren refers to as "mockery of the absurdity of conventional lovers' behaviour." Valentine for example, is introduced into the play mocking the excesses of love; "To be in love, where scorn is bought with groans/Coy looks with heart-sore

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wrote in 1970, "Valentine is so overcome that he promptly offers to hand over his beloved to the man who, not three minutes before, had meant to rape her." Modern scholarship, however, is much more divided about Valentine's actions at the end of the play, with some critics arguing that he does not

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In despair, Silvia flees into the forest, where she is quickly taken prisoner by the outlaws. They head to their new leader, Valentine, on the way encountering Proteus and Julia/Sebastian. Proteus rescues Silvia but, secretly observed by Valentine, continues to press his unwanted suit. When Proteus

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as Silvia, Victor brought all of the Verona scenes together, removed Valentine's 'gift' of Silvia to Proteus and increased the roles of Launce and Crab (especially during the outlaw scenes, where both characters are intimately involved in the action). He also switched the emphasis of the play away

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In his 2008 edition of the play for the Oxford Shakespeare, Roger Warren argues that the play is the oldest surviving piece of Shakespearean literature, suggesting a date of composition as somewhere between 1587 and 1591. He hypothesizes that the play was perhaps written before Shakespeare came to

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as extras. This was to convey the idea that the characters lived in a 'Garden of Courtly Love', which was slightly divorced from the everyday reality represented by Verona. Working in tandem with this idea, upon Proteus's arrival in Milan, after meeting Silvia, he is left alone on screen, and the

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give Silvia to Proteus, as critics such as Jeffrey Masten argue, but instead offers to love Proteus as much as he loves Silvia, then the conclusion of the play can be read as a final triumphant reconciliation between friendship and love; Valentine intends to love his friend as much as he does his

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suggest it was Elyot's work Shakespeare used as his primary source, not Boccaccio's). In this story, Titus and Gisippus are inseparable until Gisippus falls in love with Sophronia. He introduces her to Titus, but Titus is overcome with jealousy and vows to seduce her. Upon hearing of Titus' plan,

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The Duke and Thurio are brought in by the outlaws. Thurio claims Silvia as his, but Valentine warns that if he makes a move toward her, he will kill him. Terrified, Thurio renounces his claim. The Duke, disgusted by Thurio's cowardice and impressed by Valentine's actions, approves Valentine's and

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Proteus's father, however, has been persuaded that Proteus too needs to further his gentlemanly education, and he orders his son to leave for Milan the very next day, prompting a tearful farewell with Julia, to whom Proteus swears eternal love. The couple exchange rings and vows. Proteus sets off

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Valentine, a gentleman of Verona, is preparing to leave for Milan, accompanied by his servant, Speed, in order to expand his horizons at the Duke of Milan's court. He hopes that his best friend, Proteus, will come, but Proteus is unwilling to leave his love, Julia. Disappointed, Valentine departs

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is a sea-god forever changing its shape). At the start of the play, Proteus has only eyes for Julia. However, upon meeting Silvia, he immediately falls in love with her (although he has no idea why). He then finds himself drawn to the page Sebastian (Julia in disguise) whilst still trying to woo

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is created by the necessary conflict between highly stylised concepts of love and friendship." This is manifested in the question of whether the relationship between two male friends is more important than that between lovers, encapsulated by Proteus's rhetorical question at 5.4.54; "In love/Who

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the idealisation of male friendship as superior to male-female love (which was considered not romantic or compassionate but merely lustful, hence inferior) performs a project of cultural nostalgia, a stepping back from potentially more threatening social arrangements to a world of order, a world

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for the two protagonists, and "supply a mundane view of the idealistic flights of fancy indulged in by Proteus and Valentine." Several times in the play, after either Valentine or Proteus has made an eloquent speech about love, Shakespeare introduces either Launce or Speed (or both), whose more

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Taylor initially planned a representational setting for the film; Verona, Milan and the forest were all to be realistic. However, he changed his mind early in preproduction and had production designer Barbara Gosnold go in the opposite direction – a stylised setting. To this end, the forest is

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gentlemen in Verona." H.B. Charlton, writing in 1938, argues that "clearly, Shakespeare's first attempt to make romantic comedy had only succeeded so far as it had unexpectedly and inadvertently made romance comic." Another such argument is provided by Norman Sanders in 1968; "because the play

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Perhaps the most critically discussed issue in the play is the sequence, bizarre by modern Western standards, in 5.4, in which Valentine seems to 'give' Silvia to Proteus as a sign of his friendship. For many years, the general critical consensus on this issue was that the incident revealed an

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production at the Lansburgh Theatre, starring Andrew Veenstra as Valentine, Nick Dillenburg as Proteus, Natalie Mitchell as Silvia and Miriam Silverman as Julia. Set in the 1990s, and featuring a contemporary soundtrack, mobile phones and guns, the production downplayed the comedy and instead

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formula in which so many of his most characteristic dramas were afterwards to be cast. Something which is neither quite tragedy nor quite comedy, something which touches the heights and depths of sentiment and reveals the dark places of the human heart without lingering long enough there to

1270: 769:, Third Series. Carroll argues, like Schlueter, that Valentine is indeed giving Silvia to Proteus, but unlike Schlueter, Carroll detects no sense of farce. Instead, he sees the action as a perfectly logical one in terms of the notions of friendship which were prevalent at the time: 340:

and published in 1598, though Young claims in his preface to have finished the translation sixteen years earlier (c. 1582). Shakespeare could have read a manuscript of Young's English translation, or encountered the story in French, or learned of it from an anonymous English play,

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as Julia and Sarah MacRae as Silvia. On 3 September, the play was broadcast live to cinemas around the world as part of the "Live from Stratford-upon-Avon" series. The production received generally positive reviews, with most critics happy to see it back on the RSC stage.

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production. In Hall's version of the scene, after Valentine says the controversial line, Silvia approaches him and takes him by the hand. They remain holding hands for the rest of the play, clearly suggesting that Valentine has not 'given' her away. Warren also mentions

805:./Unless I look on Silvia in the day/There is no day for me to look upon" (ll.178–181). However, when Launce enters only a few lines later, he announces that he too is in love, and proceeds to outline, along with Speed, all of his betrothed's positives ("She brews good 960:

Carroll sees this societal belief as vital in interpreting the final scene of the play, arguing that Valentine does give Silvia to Proteus, and in so doing, he is merely acting in accordance with the practices of the day. However, if one accepts that Valentine does

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mundane concerns serve to undercut what has just been said, thus exposing Proteus and Valentine to mockery. For example, in 2.1Act 2, Scene 1, as Valentine and Silvia engage in a game of flirtation, hinting at their love for one another, Speed provides constant

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During the twentieth century, the play has been produced sporadically in the English-speaking world, although it has proved more popular in Europe. Indeed, there have been only a few significant English-speaking productions. Little is known, for example, about

2151:, directed by Joyce Tremayne and R.E. Jeffrey, with Treymane playing Silvia and Jeffrey playing Valentine, alongside G.R. Harvey as Proteus and Daisy Moncur as Julia. In 1927, the scenes between Julia and Lucetta were broadcast on BBC Radio as part of the 261:

Back in Verona, Julia decides to join her lover in Milan and convinces her maid Lucetta to dress her in boy's clothes. On arrival in Milan, Julia discovers Proteus's love for Silvia and watches him serenade her. To learn more, she contrives to become his

1526:, the entire play was performed with a cast of two; Denton Chikura and Tonderai Munyevu. In 2014, for the first time since Robin Phillips' 1970 production, the RSC performed the play in a full production at the Royal Shakespeare Theatre. Directed by 1477:

monitors were set on either side of the stage, with cameras feeding the action to them. Additionally, period advertisements appeared both before the show and during the intermission. The actors spoke the original dialogue but wore 1950s clothing.

1957:, was screened on Das Erste in 1966. Directed by Harald Benesch, it starred Jürgen Kloth as Valentine, Lothar Berg as Proteus, Anne-Marie Lermon as Julia and Carola Regnier as Silvia. In 1969, the entire play was broadcast on Austrian TV channel 1143:

From the middle of the eighteenth century, even if staging Shakespeare's original (as opposed to Victor's rewrite) it was common to cut the lines in the final scene where Valentine seems to offer Silvia to Proteus. This practice prevailed until

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upon its original release. In the English intertitles and credits, the characters are named after their counterparts in the play; Hu is Valentine, Bai is Proteus, Zhuli is Julia and Luohua is Silvia. Liao is named Tiburio rather than Thurio.

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respects friend?" This question "exposes the raw nerve at the heart of the central relationships, the dark reality lurking beneath the wit and lyricism with which the play has in general presented lovers' behaviour." In the program notes for

266:, calling herself Sebastian. Proteus sends Julia/Sebastian to Silvia with a gift of a ring that Julia had given him before he left Verona. Silvia scorns Proteus's affections, repelled by his inconstancy to the lover he has left behind. 1444:) were increased considerably. Scenes added to the play show them arriving in New York and going about their daily business, although none of the new scenes featured any dialogue. Another performance worth noting occurred at the 1464:

onto the back of the stage. It also featured two 17-year-olds in the roles of Valentine and Proteus (usually, actors in their 20s are cast), and Crab was played not by a dog, but by a human actor in a dog costume. In 2009,

949:, Anne Barton, his wife, wrote that the central theme of the play was "how to bring love and friendship into a constructive and mutually enhancing relationship." As William C. Carroll points out, this is a common theme in 614:

in the role of Launce (this theory stems from the fact that Tarlton had performed several extremely popular and well-known scenes with dogs). However, Tarlton died in September 1588, and Warren notes several passages in

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Proteus professes to be horrified by his own behaviour. Convinced that Proteus's repentance is genuine, Valentine forgives him and says "All that was mine in Silvia I give thee". At this point, overwhelmed, Julia

911:, in their edition of the play for the Cambridge Shakespeare, famously stated that after hearing Valentine offer Silvia to Proteus "one's impulse, upon this declaration, is to remark that there are, by this time, 447:, the story concludes with one friend sacrificing the woman so as to save the friendship. However, as Geoffrey Bullough argues "Shakespeare's debt to Lyly was probably one of technique more than matter." Lyly's 1653:

of Proteus's serenade to Silvia ("Who is Silvia? What is she,/That all our swains commend her?") to music. This song is usually known in English as "Who is Sylvia?," but in German it is known as "

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Silvia's love and consents to their marriage. The two couples, Valentine and Silvia, and Proteus and Julia, are happily united. The Duke pardons the outlaws and permits their return to Milan.

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may also have influenced Shakespeare insofar as it contains a character who follows her betrothed, dressed as his page, and later on, one of the main characters becomes captain of a group of

2131:), formerly best friends, have been driven apart over their love for the same woman. The play is referenced early in the episode as the characters are reading it for their English class. 2307:, unless otherwise specified, are taken from the Oxford Shakespeare (Warren), based on the First Folio text of 1623. Under its referencing system, 2.3.14 means Act 2, Scene 3, line 14. 1937:

as Valentine, Hannes Riesenberger as Proteus, Helga Siemers as Julia and Isolde Chlapek as Silvia. In 1964, the play was made into a TV movie in West Germany, again using the title

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As such, the play's primary interest for critics has tended to lie in relation to what it reveals about Shakespeare's conception of certain themes before he became the accomplished

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crystallise the painful impression, a love story broken for a moment into passionate chords by absence and inconstancy and intrigue, and then reunited to the music of wedding bells.

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suggests 1590–1591; Kurt Schlueter posits the late 1580s; William C. Carroll suggests 1590–1592; Roger Warren tentatively suggests 1587, but acknowledges 1590/1591 as more likely.

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love but rather their interdependence." As such, the final scene "stages the play's ultimate collaboration of male friendship and its incorporation of the plot we would label "

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directed a touring production for the RSC. Premiering at the Swan, the production starred Alex Avery as Valentine, Laurence Mitchell as Proteus, Vanessa Ackerman as Julia and

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an actual offer, because he does not even look towards Silvia but rather falls into an embrace with Valentine" (although Derrick does raise the question that if Valentine is

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may also have influenced the scene where Launce and Speed run through the milkmaid's virtues and defects, as it contains a very similar scene between Lucio and Petulus.

2244:, Indian television and the Mumbai English-speaking theatre traditions; actors included Nadir Khan as Vishvadev (i.e. Valentine), Arghya Lahiri as Parminder (Proteus), 1473:, starring Sam Bardwell as Valentine, Jonas Goslow as Proteus, Sun Mee Chomet as Julia and Valeri Mudek as Silvia. Staged as a 1950s live television production, large 529:

is unknown, but it is generally believed to have been one of Shakespeare's earliest works. The first evidence of its existence is in a list of Shakespeare's plays in

71:, the conflict between friendship and love, and the foolish behaviour of people in love. The highlight of the play is considered by some to be Launce, the clownish 920:

lack of expertise, it offers us an opportunity to see more clearly than anywhere else in the canon what were to become characteristic techniques. It stands as an '

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is that thematically, it represents a 'trial run' of sorts, in which Shakespeare deals briefly with themes which he would examine in more detail in later works.

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Benjamin Victor rewrote the play for performance in 1762 (the earliest recorded performance we have of the play), at the Theatre Royal in Drury Lane. Starring

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A 1991 RSC production at the Swan Theatre saw director David Thacker use an on-stage band for the duration of the play, playing music from the 1930s, such as

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Other critics have been less kind, however, arguing that if the later plays show a skilled and confident writer exploring serious issues of the human heart,

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to rescue her from the tower room in which she is imprisoned each night. The Duke banishes Valentine. Wandering in the forest, Valentine runs into a band of

4116: 1505:, it starred Kenneth Wigley as Valentine, Jonathan Horne as Proteus, Amee Vyas as Julia and Kati Grace Morton as Silvia. In 2012, P.J. Paparelli directed a 6370: 739:, Kurt Schlueter suggests that Valentine is indeed handing Silvia over to Proteus, but the audience is not supposed to take it literally; the incident is 1590:

staged his own production of the play at Drury Lane, maintaining many of Victor's alterations whilst also adding many of his own. The production starred

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staged an operatic version in 1821 at Covent Garden as part of his series of adaptations of the works of Shakespeare. Reynolds wrote the lyrics, with

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in 1784, advertised as "Shaxespeare's with alterations." Although the play was supposed to run for several weeks, it closed after the first night.

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Norman Sanders calls the play "almost a complete anthology of the practices of the doctrine of romantic love which inspired the poetic and prose

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This is also how Roger Warren interprets the final scene. Warren cites several productions of the play as evidence for this argument, including

6526: 3554: 5612: 3950: 623:, which wasn't written until at least late 1589. As such, Warren acknowledges that 1590/1591 is most likely the correct date of composition. 4633: 4574: 4545: 4516: 4487: 4462: 4433: 3648: 2143:, performed by the Cardiff Station Repertory Company as the first episode of a series of programs showcasing Shakespeare's plays, entitled 2003: 3610: 5132:

The World of Musical Comedy: The story of the American musical stage as told through the careers of its foremost composers and lyricists

1109: 6091: 6028: 6023: 2094:, directed by Roland Rowiński and starring Rafal Krolikowski as Proteus, Marek Bukowski as Valentine, Agnieszka Krukówna as Julia and 6988: 6755: 6428: 1274: 698:(RSC) production in 1970, where Valentine kisses Silvia, makes his offer and then kisses Proteus. Another staging cited by Warren is 462: 1598:

as Silvia. The play was again staged at Covent Garden in 1808, with Kemble, who was fifty years old at the time, playing Valentine.

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represent what it appears to represent; Valentine does give Silvia to her would-be rapist, but it is done purely for comic effect.

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as Launce. This production concentrated on the issues of friendship and treachery and set the play in a decadent world of social

1933:. The theatrical production was directed by Hans Schalla, with the TV adaptation directed by Ernst Markwardt. The cast included 6544: 6443: 936:

of the period." At the very centre of this is the contest between love and friendship; "an essential part of the comicality of

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writing the music. The production ran for twenty-nine performances, and included some of Shakespeare's sonnets set to music.

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as Silvia. This production set the play in a grimy unnamed contemporary city where material obsession was all-encompassing.

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A third major theme is inconstancy, particularly as manifested in Proteus, whose very name hints at his changeable mind (in

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In Milan, Valentine has fallen in love with the Duke's daughter, Silvia, who clearly prefers this suitor to the wealthy but

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was published in Spanish in 1559 and translated into French by Nicholas Collin in 1578. An English translation was made by

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reintroduced the lines in 1841 in a production at Drury Lane, although they were still being removed as late as 1952, in

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as his inaugural production, billed as the opening show in a re-examination of the development of Shakespearean comedy.

476:, and a scene where a young man attempts to outwit his lover's father by means of a corded ladder (as Valentine does in 6998: 5507: 5488: 5442: 5416: 5390: 5368: 5349: 5327: 5305: 5253: 5230: 5192: 5139: 5064: 5033: 4985: 4964: 4930: 4911: 4892: 4871: 4852: 4826: 4802: 4783: 4764: 4742: 4720: 4701: 4673: 4405: 4380: 4310: 4273: 4210: 4179: 4140: 4081: 4017: 3856: 2930: 2851: 1262:

as Launce. Hall had only recently been appointed as Artistic Director of the RSC, and, somewhat unexpectedly, he chose

1232:, Proteus threatens to kill himself with a pistol at the end of the play, prompting Valentine's hasty offer of Silvia. 570:

based on Malone's notes. Malone dated the play 1591, a modification of his earlier 1595 date from the third edition of

3884: 6882: 6729: 6483: 6453: 5605: 3981: 1751: 1743: 1695: 1564: 1133: 22: 5525: 85:

is often regarded as one of Shakespeare's weakest plays. It has the smallest named cast of any play by Shakespeare.

6521: 6516: 6448: 1412:

Valentine (Alex Avery), Silvia (Rachel Pickup) and Proteus (Laurence Mitchell) in the 2004 Fiona Buffini production

1389:

as Silvia. Another RSC production took place at the Swan in 1998, under the direction of Edward Hall, and starring

1124:

There is no record of a performance during Shakespeare's lifetime, although due to its inclusion in Francis Meres'

733:

There are other theories regarding this final scene, however. For example, in his 1990 edition of the play for the

572: 7023: 6496: 6491: 6411: 5566: 4171: 3466: 3440: 1448:

in Stratford in 2006. A non-professional acting company from Brazil, named Nós do Morro, in collaboration with a

1312:, and Eglamour an old scoutmaster. On the other hand, the poverty-stricken outlaws were dressed in animal skins. 389:

Another major influence on Shakespeare was the story of the intimate friendship of Titus and Gisippus as told in

3532: 3384: 1710:

as choreographer, it ran for 614 performances, closing on 20 May 1973. During its initial run, the play won two

418:

Gisippus arranges for them to change places on the wedding night, thus placing their friendship above his love.

6463: 6235: 6050: 6010: 5208: 2078:"). Whilst the set for Verona remained relatively realistic, that for Milan featured young actors dressed like 1460:, directed by Guti Fraga. The production was spoken in Portuguese, with the original English text projected as 712: 2291:(2002); see also Leech (1969: xxx), Wells and Taylor (1997: 109), Carroll (2004: 130) and Warren (2008: 26–27) 6740: 6364: 5155: 3727: 3410: 1671: 1457: 567: 679:, for example, sees it, arguing that the play as a whole "reveals not the opposition of male friendship and 7018: 6960: 6719: 6586: 6402: 6055: 5703: 5647: 5598: 5003:

Brooks, Harold F. (1963). "Two clowns in a comedy (to say nothing of the dog): Speed, Launce (and Crab) in

3813: 2193:

as Launce. BBC Third Programme aired another full production of the play in 1968, produced and directed by

1611: 2240:

on 29 July 2007. It was recorded on location in Maharashtra, India earlier in 2007 with a cast drawn from

1878:'s (Nicholas Boulton) recitation of Proteus's soliloquy from 2.1. Later, after reading the first draft of 7013: 7008: 6392: 6353: 6340: 6214: 1715: 1506: 867:

was Shakespeare's first essay at originality, at fashioning for himself the outlines of that romantic or

278:, revealing her true identity. Proteus suddenly recalls his love for her and vows fidelity once again. 6560: 6278: 6106: 6045: 6005: 5696: 5675: 1998: 881: 721: 653: 4373:

Polish Televised Shakespeares: A Study of Shakespeare Productions Within the Television Theatre Format

715:

production (where the controversial line was altered to "All my love to Silvia I also give to thee"),

6579: 6574: 6531: 6407: 6205: 3787: 3618: 3350: 3232: 3011: 1977:

as Valentine, Albert Rueprecht as Proteus, Kitty Speiser as Julia and Brigitte Neumeister as Silvia.

1962: 1169: 946: 735: 695: 1771: 6903: 6845: 6837: 6438: 6387: 6377: 6358: 6345: 6085: 5717: 3644: 2233: 1788: 1552: 1228:

as Silvia. In this production, set in late nineteenth-century Italy and grounded very much in high

703: 395: 358: 314: 296: 2189:

as Valentine, Charles Hodgson as Proteus, Caroline Leigh as Silvia, Perlita Neilson as Julia, and

2107:, "Two Gentlemen of Capeside" loosely adapted the plot of the play. Written by Chris Levinson and 6161: 5725: 2055: 1739: 1627: 1511: 1495: 1181: 994: 217: 5056: 5044: 4265: 4202: 4196: 4073: 1128:, we know the play had definitely been performed by 1598. The earliest known performance was at 439:

presents two close friends who are inseparable until a woman comes between them, and, like both

6591: 6318: 6256: 6176: 6099: 5710: 5689: 5629: 5293: 3562: 2279: 2248:

as Syoni (Silvia), Avantika Akerkar as Jumaana/Servi (Julia/Sebastian), Sohrab Ardishir as The

2186: 2159: 2039: 1835: 1699: 1440:. Another change to the play was that the roles of the outlaws (represented here as a group of 1378: 1374: 997:

and mockery as regards conventional lovers, however, comes from Launce and Speed, who serve as

950: 942: 699: 582: 76: 3622: 1809:) stays behind. At Guangdong, Hu falls in love with the local general's daughter, Shi Luohua ( 1315:

The RSC again staged the play at the Royal Shakespeare Theatre in 1981, as a double bill with

7003: 6683: 6597: 6566: 6468: 6131: 5862: 5772: 5753: 5476: 5337: 4944: 3509: 1974: 1650: 1571: 1556: 1370: 1236: 1193: 903:

represents the initial, primarily unsuccessful attempt to do likewise. In 1921, for example,

895:

Early 20th-century Henry James Haley illustration of 2.1 (Silvia refusing Valentine's letter)

837: 829: 548: 29: 6983: 6506: 6293: 6271: 5851: 5802: 5781: 5761: 5661: 5638: 4836: 1907: 1501: 1189: 908: 750: 457: 60: 1805:

leaves his home town in Shanghai. Bai however, deeply in love with Hu's sister, Hu Zhuli (

8: 6952: 6771: 6677: 6659: 6458: 6300: 6264: 6197: 6154: 6113: 5682: 5621: 4953: 4625: 4566: 4537: 4508: 4483: 4454: 4421: 2178: 1926: 1903: 1830: 1305: 1205: 1185: 1149: 558:

may have been Shakespeare's first work for the stage. This theory was first suggested by

354: 254: 244: 64: 969: 793:

Language is of primary importance in the play insofar as Valentine and Proteus speak in

75:

of Proteus, and his dog Crab, to whom "the most scene-stealing non-speaking role in the

6671: 6629: 6511: 6249: 6147: 5952: 5431: 5115: 4975: 4816: 4752: 4730: 4258: 4066: 3986: 3955: 3482: 2202: 2120: 2074:

and brown sticks stuck to them (the cast and crew referred to the set as "Christmas at

1595: 1587: 1486: 1117: 841: 802: 781: 580:

trilogy had been Shakespeare's first work. More recently, the play was placed first in

544: 507: 406: 366: 275: 3921: 2162:

broadcast the full play in 1934, adapted for radio by Barbara Burnham and produced by

891: 6934: 6641: 5959: 5886: 5878: 5580: 5544: 5503: 5484: 5438: 5412: 5400: 5386: 5364: 5345: 5323: 5301: 5249: 5226: 5188: 5135: 5107: 5074: 5060: 5029: 4981: 4960: 4926: 4907: 4888: 4867: 4848: 4822: 4798: 4779: 4760: 4738: 4716: 4697: 4669: 4401: 4376: 4306: 4269: 4206: 4175: 4136: 4112: 4077: 4013: 3852: 2926: 2847: 2253: 2154: 2108: 2103: 2011: 2007: 1755: 1747: 1703: 1635: 1623: 1591: 1490: 1445: 1161: 1137: 998: 933: 885: 766: 680: 449: 337: 323: 47: 2212:

In 2007, producer Roger Elsgood and director Willi Richards adapted the play into a

1945:, it was directed by Hans Dieter Schwarze and starred Norbert Hansing as Valentine, 6665: 6653: 6647: 6242: 6169: 6069: 5943: 5936: 5928: 5905: 5898: 5871: 5844: 5830: 5268: 5223:

Textual Intercourse: Collaboration, Authorship and Sexualities in Renaissance Drama

4603: 4128: 3817: 2051: 1980: 1814: 1735: 1606: 1579: 1437: 1398: 1390: 1330: 1317: 1145: 468: 209: 1321:, with both plays heavily edited. Directed by John Barton, the production starred 6421: 6033: 5921: 5837: 5530: 5378: 5150: 4882: 4840: 4715:. Signet Classic Shakespeare (Revised ed.). New York: New American Library. 3418: 2198: 2163: 2095: 2014:

as Julia and Joanne Pearce as Silvia. For the most part, the adaptation is taken

1950: 1883: 1474: 1470: 1386: 1366: 1350: 1346: 1297: 1273:

Tim Mace as Launce and Abbie as Crab from a 2009 modern dress performance at the

1247: 1221: 1209: 1153: 904: 684: 671: 611: 72: 21:

This article is about the play by William Shakespeare. For the 1971 musical, see

5077:(1972). "'Were man but constant, he were perfect': Constancy and Consistency in 4010:

Building a New China in Cinema: The Chinese Left-Wing Cinema Movement, 1932–1937

3533:"Taking a Serious Stab at This Comedy With Youthful Aggression and a Great Crab" 3015: 1408: 860:

of Shakespeare's great thematic concerns. Writing in 1905, Chambers stated that

539:, published in 1598, but it is thought to have been written in the early 1590s. 5914: 5654: 5344:. Enlarged and revised by Robert D. Eagleson. Oxford: Oxford University Press. 5315: 5180: 4812: 4227: 4132: 2867: 2839: 2245: 2221: 2190: 2182: 2171: 2128: 2047: 2035: 2027: 1911: 1871: 1847: 1775: 1742:

from 26 April, and running for 237 performances. It was revived in 1996 at the

1679: 1646: 1575: 1523: 1433: 1293: 1285: 1259: 1201: 1197: 853: 691: 676: 645: 540: 535: 290: 263: 6770: 3236: 1530:, the production starred Michael Marcus as Valentine, Mark Arends as Proteus, 372: 6977: 6939: 6689: 6635: 6397: 5739: 5472: 5452: 5408: 5383:

Shakespeare on the Stage: An Illustrated History of Shakespearian Performance

5111: 4940: 4847:. The New Shakespeare (2nd ed.). Cambridge: Cambridge University Press. 4661: 3977: 3791: 3736: 2229: 2063: 2059: 1887: 1875: 1867: 1731: 1723: 1631: 1479: 1456:, gave a single performance of the play during the RSC's presentation of the 1421: 1394: 1362: 1322: 1251: 1225: 1217: 1165: 1092: 977: 765:

Another theory is provided by William C. Carroll in his 2004 edition for the

716: 603: 559: 530: 481: 401: 350: 6819: 1746:, directed by Robert Duke, and again in 2005, directed and choreographed by 1661:'s "Four Old English Songs" included a setting of "Who is Sylvia". In 1942, 1132:

in 1762. However, this production was of a version of the play rewritten by

270:

tells Silvia that he intends to force himself on her, Valentine intervenes.

6623: 6325: 5989: 5426: 4235: 3892: 3657: 2225: 2124: 2116: 2112: 2043: 2031: 2030:, who wrote new arrangements of works from Shakespeare's own time, such as 1970: 1843: 1759: 1691: 1662: 1602: 1531: 1527: 1402: 1382: 1358: 1354: 1309: 1289: 1255: 1173: 1157: 1136:. The earliest known performance of the straight Shakespearean text was at 966:

betrothed. Love and friendship are shown to be co-existent, not exclusive.

954: 814: 758: 390: 301: 2323: 2321: 2319: 2317: 2315: 1973:, with the TV adaptation directed by Wolfgang Lesowsky. The cast included 976:(Valentine woos Silvia; the Duke sits nearby, pretending to be asleep) by 6416: 6228: 5984: 5732: 4948: 4755:; Cohen, Walter; Howard, Jean E.; Maus, Katharine Eisaman, eds. (2008) . 4599: 3946: 2237: 2213: 2194: 2170:

played Valentine, Robert Craven was Proteus, Helen Horsey was Silvia and

2167: 2023: 1946: 1934: 1855: 1839: 1810: 1806: 1797: 1767: 1707: 1687: 1658: 1466: 1436:

and falls in love with Silvia, the famous actress daughter of a powerful

1425: 1342: 1240: 1229: 1213: 1208:. The earliest production about which we have significant information is 868: 794: 633: 517: 39: 5574: 4906:. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. 1874:) being thoroughly outperformed by Crab, and then falling asleep during 825: 6501: 5788: 5119: 3888: 2625: 2345: 2312: 2206: 2075: 1985: 1915: 1902:

broadcast Act 1 of the play live from the Bristol Old Vic. Directed by

1859: 1818: 1801: 1763: 1727: 1711: 1683: 1666: 1453: 1449: 1381:'s "Prologue Season". The production starred Lenny James as Valentine, 1334:

featured within the play (for example, the outlaws are portrayed as an

1326: 1281: 877: 708: 68: 5590: 916:

reveals a relatively unsure dramatist and many effects managed with a

6945: 6433: 6285: 6221: 5809: 5668: 2241: 2140: 1922: 1654: 1639: 1461: 1441: 1335: 857: 422: 377: 5539: 5433:

Shakespeare on the English Stage, 1900–1964: A Survey of Productions

5561: 4068:

Shakespeare on Screen: An International Filmography and Videography

3920:. Over The Footlights: A History of British Theatre. Archived from 2456: 2249: 1958: 1482:

music and dance sequences were occasionally mixed with the action.

1239:'s 1960 production at the Royal Shakespeare Theatre. Set in a late 810: 667: 4696:. The Arden Shakespeare, Third Series. London: Thompson Learning. 4037:

in Silent Film". In Lei, Bi-qi Beatrice; Perng, Ching-Hsi (eds.).

2902: 2158:

series. Betty Rayner played Julia and Joan Rayner played Lucetta.

1548: 1269: 1031:

O excellent motion! O exceeding puppet! Now he will interpret her.

6929: 6853: 6190: 6183: 6015: 5823: 5816: 5134:(Revised Fourth ed.). San Diego, California: Da Capo Press. 2874:. Red Letter Shakespeare. Glasgow: Blackie and Son. pp. 5–6. 1921:

In 1956, the entire play was broadcast on West German TV channel

1899: 1301: 1280:

Ten years later, in 1970, Robin Phillips' RSC production starred

1097: 921: 917: 427: 421:

Also important to Shakespeare in the composition of the play was

382: 4980:. Folger Shakespeare Library. Washington: Simon & Schuster. 4327:

Keyishian, Harry (December 1984). "The Shakespeare Plays on TV:

856:, for example, believed that the play represents something of a 832:' illustration of Valentine and Proteus's farewell in 1.1; from 229:

accompanied by his own servant, Launce, and Launce's dog, Crab.

5795: 5094:

Godshalk, William Leigh (April 1969). "The Structural Unity of

4778:. The Pelican Shakespeare (Revised ed.). London: Penguin. 4264:. Chapel Hill, NC: University of North Carolina Press. p. 3441:"Shakespeare in the 1950s: The Guthrie Theatre's Production of 2079: 2071: 2002:

series, as the fourth episode of the sixth season. Directed by

1846:, the film tells the fictional story of William Shakespeare's ( 817:

and idealised love espoused by Valentine earlier in the scene.

491: 238: 2667: 2665: 4041:. Taiwan: National Taiwan University Press. pp. 251–284. 4033:

Lei, Bi-qi Beatrice (2012). "Paradox of Chinese Nationalism:

2086:

In 1995, a production of the play aired on Polish TV channel

1003: 798: 740: 631:

The play was not printed until 1623, when it appeared in the

5246:

A Companion to Shakespeare's Works, Volume III: The Comedies

3066: 1890:) suggests that Shakespeare add a dog to liven the play up. 1702:, Guare the lyrics, and MacDermot the music. Opening at the 1114:

Who is Sylvia – What is she, that all the swains commend her

586:

of 1986, again in the 2nd edition of 2005, and again in the

5055:. Newark, Delaware: University of Delaware Press. pp. 4939: 4925:. The Oxford Shakespeare. Oxford: Oxford University Press. 2787: 2785: 2783: 2662: 2327: 2087: 1988:" set (note the stylised steel 'trees' and tinsel foliage). 1734:

as Silvia and Diana Dávila as Julia. The play moved to the

1087: 4651: 4045: 3752: 3708: 3672: 3275: 3197: 3161: 2565: 2541: 610:

London, with an idea towards using the famous comic actor

5053:

Shakespeare's Sweet Thunder: Essays on the Early Comedies

4821:. The Arden Shakespeare, Second Series. London: Methuen. 4751: 4305:. The BBC TV Shakespeare. London: BBC Books. p. 26. 3764: 2770: 2768: 2631: 2408: 2357: 2351: 2148: 1953:

as Silvia. Another West German TV movie, under the title

1942: 806: 472:. It features a character called Friar Laurence, as does 233: 4282: 3684: 3587:

Two Gentlemen of Verona; or, Vakomana Vaviri Ve Zimbabwe

3311: 3251: 3127: 3125: 3123: 3110: 3108: 3054: 2780: 2613: 2374: 2372: 1657:" ("Vier Lieder", opus 106, number 4, D. 891). In 1909, 1192:'s 1910 production at the Shakespeare Memorial Theatre, 4757:

The Norton Shakespeare: Based on the Oxford Shakespeare

4687:. The Arden Shakespeare, First Series. London: Methuen. 4064:

Rothwell, Kenneth S.; Melzer, Annabelle Henkin (1990).

3365: 3173: 3149: 3137: 3093: 2963: 2814: 2812: 2713: 2677: 2637: 2577: 2505: 2432: 3323: 3083: 3081: 2878: 2765: 2553: 2396: 1675:; the title of the work is the last line of the song. 1365:

as Silvia. In 1992, Thacker's production moved to the

594:

of 1997, and again in the 2nd edition of 2008, and in

5483:(Revised ed.). Oxford: Oxford University Press. 4260:

The BBC Shakespeare Plays: Making the Televised Canon

3696: 3287: 3263: 3185: 3120: 3105: 3042: 2939: 2890: 2797: 2701: 2517: 2468: 2384: 2369: 2333: 1754:

festival. Marshall's production was performed at the

1235:

Perhaps the most notable 20th-century production was

848:

One of the dominant theories as regards the value of

4117:"Shakespeare on the Screen: A Selective Filmography" 4111: 4012:. Lanham, MD: Rowman & Littlefield. p. 26. 3865: 3030: 2987: 2975: 2951: 2809: 2725: 2689: 2601: 2589: 2444: 2420: 1258:

as Julia, and featured a much-lauded performance by

797:, but Launce and Speed speak (for the most part) in 730:

offering Silvia to Proteus, why does Julia swoon?).

5151:"Shakespeare and the Invention of the Heterosexual" 4835: 3299: 3209: 3078: 2908: 2529: 2462: 5430: 4952: 4257: 4065: 3837:Ponder, Michael (1995). Notes to Naxos CD 8.223806 2139:In 1923, extracts from the play were broadcast on 1898:The first television adaptation was in 1952, when 1353:(then billed as Richard Bonneville) as Valentine, 1156:. Notable nineteenth-century performances include 1071:He should give her interest, and she gives it him. 1051:O, give ye good e'en. Here's a million of manners. 5049:on Stage: Protean Problems and Protean Solutions" 4959:(2nd ed.). Oxford: Oxford University Press. 4198:Klaus Maria Brandauer: Schauspieler und Regisseur 1485:In 2011, Laura Cole directed a production at the 602:it must have come extremely early in his career. 576:. At this time, the dominant theory was that the 6975: 4974:Werstine, Paul; Mowat, Barbara A., eds. (1999). 4887:. The New Penguin Shakespeare. London: Penguin. 4866:. The New Pelican Shakespeare. London: Penguin. 4101:. Bochum: Verlag Laupenmühlen-Druck. p. 76. 3849:Shakespeare and Music: Afterlives and Borrowings 1385:as Proteus, Stephanie Roth Haberle as Julia and 312:, Shakespeare drew on the Spanish prose romance 5244:". In Dutton, Richard; Howard, Jean E. (eds.). 4668:. The RSC Shakespeare. Basingstoke: Macmillan. 3982:"Age of Aquarius Returns in Shakespearean Romp" 2042:, other musicians whose music was used include 1706:on 1 December 1971, with Shapiro directing and 1059:Sir Valentine and servant, to you two thousand. 5043:Carlisle, Carol J.; Derrick, Patty S. (1997). 4063: 1665:included a setting of "Who Is Silvia?" in his 1369:, and in 1993 went on regional tour. In 1996, 834:The Plays of William Shakespeare: The Comedies 719:'s 1991 Swan Theatre production, and the 1983 6756: 5606: 5206:: Shakesperean Comedy as a Rite of Passage". 5022:Narrative and Dramatic Sources of Shakespeare 4973: 4737:(Second ed.). Boston: Houghton Mifflin. 4660: 4634:British Universities Film & Video Council 4575:British Universities Film & Video Council 4546:British Universities Film & Video Council 4517:British Universities Film & Video Council 4488:British Universities Film & Video Council 4463:British Universities Film & Video Council 4434:British Universities Film & Video Council 1786:The only cinematic adaptation of the play is 1522:). Directed by Arne Pohlmeier, and spoken in 1039:Madame and mistress, a thousand good-morrows. 5320:The Two Gentlemen of Verona: Critical Essays 4797:. The Penguin Shakespeare. London: Penguin. 3951:"A Most Fitting Maiden Voyage into Musicals" 2844:The Two Gentlemen of Verona: Critical Essays 2147:. In 1924, the entire play was broadcast by 1969:. The theatrical production was directed by 6553: 5471: 4395: 4194: 2834:Kiefer, Frederick (1996). "Love Letters in 2547: 2491: 2070:composed of metal poles with bits of green 6763: 6749: 5613: 5599: 4955:The Oxford Shakespeare: The Complete Works 4398:The Routledge Guide to William Shakespeare 2829: 2827: 2280:The Oxford Shakespeare: The Complete Works 2177:In 1958, the entire play was broadcast on 1792:(more commonly known by its English title 1304:. Valentine and Proteus were presented as 583:The Oxford Shakespeare: The Complete Works 566:edition of Shakespeare's plays, edited by 5500:Shakespeare's Sexual Language: A Glossary 5314: 5225:. Cambridge: Cambridge University Press. 4901: 4358: 4326: 4096: 3758: 3714: 3678: 3281: 3203: 3179: 3167: 3099: 2969: 2774: 2759: 2655:Program notes for 1970 RSC production of 2559: 2414: 2378: 2101:In 2000, episode three of season four of 1949:as Proteus, Katinka Hoffman as Julia and 1698:as the play. Guare and Shapiro wrote the 1006:which serve to directly mock the couple; 640: 463:The Tragical History of Romeus and Juliet 5481:William Shakespeare: A Textual Companion 5179: 5024:. Vol. One: Early Comedies, Poems, 5019: 4370: 4195:Blum, Heiko R.; Schmitt, Sigrid (1996). 4168:Deutsche Shakespeare-Rezeption seit 1945 3143: 2920: 2866: 2438: 1979: 1547: 1407: 1268: 1108: 984: 968: 890: 824: 749: 644: 506: 371: 289: 243: 208: 38: 5620: 5248:. Oxford: Blackwell. pp. 266–289. 5028:. New York: Columbia University Press. 4880: 4792: 4773: 4691: 4342: 4300: 4165: 3846: 3770: 3690: 3643: 3317: 3257: 3131: 3114: 3060: 3048: 2957: 2945: 2884: 2846:. London: Routledge. pp. 133–152. 2824: 2803: 2791: 2743: 2607: 2571: 2511: 2495: 2474: 2390: 2363: 2339: 2209:as Julia and Kate Coleridge as Silvia. 1373:directed a modern dress version at the 6976: 5425: 5239: 5220: 4920: 4288: 4255: 4099:Shakespeare-Theater: Bochum, 1919–1979 4051: 3831: 3702: 3582: 3530: 3502: 3371: 3329: 3305: 3293: 3269: 3215: 3191: 3155: 3087: 3072: 3036: 2993: 2981: 2833: 2818: 2731: 2719: 2707: 2695: 2683: 2671: 2643: 2595: 2583: 2499: 2450: 2426: 2402: 2010:as Proteus, John Hudson as Valentine, 1638:, in an elaborate production starring 1216:, starring Richard Gale as Valentine, 974:Scene from The Two Gentlemen of Verona 927: 619:which seem to borrow from John Lyly's 250:Valentine Rescuing Sylvia from Proteus 6744: 6365:Complete Works of William Shakespeare 5594: 5451: 5129: 4951:; Montgomery, William, eds. (2005) . 4811: 4729: 4710: 4375:. Poznan: Motivex. pp. 212–225. 3976: 3945: 3871: 3438: 3005: 2619: 2535: 2523: 2487: 1984:An outlaw hides in the "Christmas at 1615:references Proteus's song to Silvia. 1424:as Silvia. Buffini set the play in a 1329:as Proteus, Julia Swift as Julia and 1254:as Proteus, Susan Maryott as Silvia, 755:Launce's substitute for Proteus's dog 543:, for example, argues for 1592/1593; 5187:(Second ed.). London: Penguin. 4995: 4861: 4774:Jackson, Berners A.W., ed. (1980) . 4682: 4343:Derrick, Patty S. (December 1991). " 4007: 3814:"An Silvia 'Gesang an Silvia', D891" 3505:"OMG, Shakespeare can text message!" 2896: 2744:Derrick, Patty S. (December 1991). " 200:– banished men originally from Milan 6725: 5502:(2nd ed.). London: Continuum. 5363:. Oxford: Oxford University Press. 4759:(Second ed.). London: Norton. 4484:"Echoes from the Greenleaf Theatre" 4032: 3483:The New American Shakespeare Tavern 1918:as Silvia and Pamela Ann as Julia. 660: 399:in 1531 (the same story is told in 363:The History of Felix and Philiomena 13: 6862:The Countess of Pembroke's Arcadia 6540:Shakespeare's influence on Tolkien 5298:The Sources of Shakespeare's Plays 5185:A Shakespeare Companion, 1564–1964 5149:Guy-Bray, Stephen (October 2007). 4225: 4115:; McCullough, Christopher (1986). 4072:. New York: Neal-Schuman. p. 3653:is as flawed as it is fascinating" 3583:Kirwan, Peter (13 December 2009). 2236:, the play was first broadcast on 487:The Countess of Pembroke's Arcadia 409:, but verbal similarities between 349:, and which was performed for the 343:The History of Felix and Philomena 14: 7035: 5518: 5202:Holmberg, Arthur (Spring 1983). " 4692:Carroll, William C., ed. (2004). 4400:. Oxford: Routledge. p. 94. 3851:. Cambridge: Polity. p. 41. 3503:Klimek, Chris (27 January 2012). 2925:. London: Routledge. p. 43. 2909:Quiller-Couch & Wilson (1955) 2463:Quiller-Couch & Wilson (1955) 880:of later years. Writing in 1879, 525:The exact date of composition of 6989:British plays adapted into films 6818: 6724: 6715: 6714: 6068: 5550: 5167:from the original on 25 May 2013 5051:. In Collins, Michael J. (ed.). 4664:; Rasmussen, Eric, eds. (2011). 4618: 4588: 4559: 4530: 4501: 4476: 4447: 4414: 4389: 4364: 4319: 4294: 4249: 4219: 4188: 4159: 4105: 4090: 4057: 4026: 4001: 3970: 3939: 3907: 3531:Minton, Eric (31 January 2012). 2289:The Complete Pelican Shakespeare 1618: 1349:. Thacker's production featured 596:The Complete Pelican Shakespeare 573:The Plays of William Shakespeare 497: 6873: 6785: 5437:. London: Barrie and Rockliff. 5265:Shakespeare on the Soviet Stage 4172:Akademische Verlagsgesellschaft 3877: 3840: 3806: 3776: 3720: 3637: 3603: 3576: 3547: 3524: 3496: 3459: 3432: 3403: 3391:. MIT Global Shakespeares. 2010 3377: 3335: 3221: 2999: 2914: 2860: 2737: 2649: 2480: 2232:in the weeks leading up to the 1744:New Jersey Shakespeare Festival 1520:The Two Gentlemen from Zimbabwe 345:, which may have been based on 6545:Works titled after Shakespeare 4793:Jackson, Russell, ed. (2005). 4711:Evans, Bertrand, ed. (2007) . 4683:Bond, R. Warwick, ed. (1906). 4349:Shakespeare on Film Newsletter 4333:Shakespeare on Film Newsletter 3784:"Pre-20th century productions" 3229:"Past Productions: Peter Hall" 2750:Shakespeare on Film Newsletter 2271: 1538: 1176:'s 1892 and 1896 productions. 1104: 1081: 945:'s 1981 RSC production at the 713:Stratford Shakespeare Festival 547:places the date at 1590–1593; 241:, who elect him their leader. 194:– an innkeeper who helps Julia 1: 6705:Shakespeare and other authors 5282:Neuphilologische Mitteilungen 5280:and the Cult of Friendship". 5156:Early Modern Literary Studies 4902:Schlueter, Kurt, ed. (1990). 4881:Sanders, Norman, ed. (1968). 4862:Rose, Mary Beth, ed. (2000). 4357:Both essays are reprinted in 3439:Jones, Keith (3 March 2009). 2259: 1893: 1722:. The original cast included 1634:revived the opera in 1895 at 1543: 88: 6994:Cross-dressing in literature 6846:Los Siete Libros de la Diana 6838:The Boke Named the Governour 6828: 6587:Shakespeare Birthplace Trust 5405:Shakespeare's Early Comedies 5276:Morse, Ruth (Summer 1983). " 5263:Morozov, Mikhail M. (1947). 4628:The Two Gentlemen of Valasna 4396:Shaughnessy, Robert (2011). 2298: 2218:The Two Gentlemen of Valasna 1649:set a German translation by 456:Other minor sources include 396:The Boke Named the Governour 320:The Seven Books of the Diana 315:Los Siete Libros de la Diana 297:The Boke Named the Governour 175:– a foolish suitor to Silvia 7: 6961:The Goat, or Who Is Sylvia? 6912:The Two Gentlemen of Verona 6854:Euphues, The Anatomy of Wit 6777:The Two Gentlemen of Verona 6393:English Renaissance theatre 6236:The Second Maiden's Tragedy 6215:The Merry Devil of Edmonton 5747:The Two Gentlemen of Verona 5576:The Two Gentlemen of Verona 5571:at Shakespeare Illustrated. 5568:The Two Gentlemen of Verona 5560:public domain audiobook at 5557:The Two Gentlemen of Verona 5540:The Two Gentlemen of Verona 5526:The Two Gentlemen of Verona 5457:The Two Gentlemen of Verona 5242:The Two Gentlemen of Verona 5204:The Two Gentlemen of Verona 5096:The Two Gentlemen of Verona 5083:Stratford-Upon-Avon Studies 5079:The Two Gentlemen of Verona 5047:The Two Gentlemen of Verona 5020:Bullough, Geoffrey (1957). 5005:The Two Gentlemen of Verona 4977:The Two Gentlemen of Verona 4923:The Two Gentlemen of Verona 4921:Warren, Roger, ed. (2008). 4904:The Two Gentlemen of Verona 4884:The Two Gentlemen of Verona 4864:The Two Gentlemen of Verona 4845:The Two Gentlemen of Verona 4818:The Two Gentlemen of Verona 4795:The Two Gentlemen of Verona 4776:The Two Gentlemen of Verona 4713:The Two Gentlemen of Verona 4694:The Two Gentlemen of Verona 4685:The Two Gentlemen of Verona 4666:The Two Gentlemen of Verona 4654:The Two Gentlemen of Verona 4569:The Two Gentlemen of Verona 4540:The Two Gentlemen of Verona 4511:The Two Gentlemen of Verona 4457:The Two Gentlemen of Verona 4428:The Two Gentlemen of Verona 4303:The Two Gentlemen of Verona 4301:Wilders, John, ed. (1984). 4230:The Two Gentlemen of Verona 3730:The Goat, or Who Is Sylvia? 3613:The Two Gentlemen of Verona 3557:The Two Gentlemen of Verona 3469:The Two Gentlemen of Verona 3413:The Two Gentlemen of Verona 3347:: Study Guide for Teachers" 3345:The Two Gentlemen of Verona 3008:"Working with the language" 2872:The Two Gentlemen of Verona 2836:The Two Gentlemen of Verona 2657:The Two Gentlemen of Verona 2305:The Two Gentlemen of Verona 2277:It is placed first in both 2181:. Produced and directed by 1817:when filming, used English 1612:The Goat, or Who Is Sylvia? 1516:Vakomana Vaviri Ve Zimbabwe 1507:Shakespeare Theatre Company 938:The Two Gentlemen of Verona 788: 650:Silvia Rescued by Valentine 527:The Two Gentlemen of Verona 513:The Two Gentlemen of Verona 466:, Shakespeare's source for 428:Euphues: The Anatomy of Wit 383:Euphues, The Anatomy of Wit 322:) by the Portuguese writer 310:The Two Gentlemen of Verona 56:The Two Gentlemen of Verona 18:Play by William Shakespeare 10: 7040: 6561:Folger Shakespeare Library 6107:The Phoenix and the Turtle 5697:The Merry Wives of Windsor 5585:BBC Television Shakespeare 5498:Williams, Gordon (2006) . 4133:10.1017/CCOL0521327571.002 3387:Dois Cavalheiros de Verona 2115:, the episode depicts how 1999:BBC Television Shakespeare 1961:from a performance at the 1955:Die zwei herren aus Verona 1925:from a performance at the 1862:) attends a production of 1184:'s 1904 production at the 1160:'s 1848 production at the 722:BBC Television Shakespeare 670:in the text. For example, 431:, published in 1578. Like 285: 204: 28:. For the 2000 album, see 20: 6999:English Renaissance plays 6922: 6894: 6893: 6872: 6827: 6816: 6784: 6699: 6610: 6580:Royal Shakespeare Theatre 6575:Royal Shakespeare Company 6482: 6339: 6310: 6139: 6130: 6077: 6066: 5998: 5970: 5861: 5771: 5704:A Midsummer Night's Dream 5648:All's Well That Ends Well 5637: 5628: 5240:Masten, Jeffrey (2003). " 4735:The Riverside Shakespeare 4201:. Munich: Heyen. p. 3619:Royal Shakespeare Company 3351:Royal Shakespeare Company 3233:Royal Shakespeare Company 3012:Royal Shakespeare Company 2548:Wells & Taylor (1997) 2492:Wells & Taylor (1997) 1963:Theater in der Josefstadt 1906:, the production starred 1469:directed the play at the 1308:students, the Duke was a 1196:' 1923 production at the 947:Royal Shakespeare Theatre 820: 736:New Cambridge Shakespeare 696:Royal Shakespeare Company 108:– Valentine's best friend 6904:A Spray of Plum Blossoms 5718:Pericles, Prince of Tyre 5455:(1963). "The Failure of 5359:Rackin, Phyllis (2005). 5221:Masten, Jeffrey (1997). 5130:Green, Stanley (1984) . 4371:Fabiszak, Jacek (2005). 4097:Dörnemann, Kurt (1979). 2921:Charlton, H.B. (1966) . 2632:Greenblatt et al. (2008) 2352:Greenblatt et al. (2008) 2264: 2234:Indian Rebellion of 1857 2134: 1800:from China, directed by 1794:A Spray of Plum Blossoms 1738:in 1973, playing at the 1690:adapted the show into a 1493:" production, alongside 637:of Shakespeare's plays. 554:It has been argued that 326:. In the second book of 6883:Two Gentlemen of Verona 5726:The Taming of the Shrew 5271:. London: Open Library. 5125:(subscription required) 4329:Two Gentlemen of Verona 4155:(subscription required) 4035:Two Gentlemen of Verona 3847:Sanders, Julie (2007). 3651:Two Gentlemen of Verona 3591:. Reviewing Shakespeare 3473:The Taming of the Shrew 3443:Two Gentlemen of Verona 1781: 1752:Shakespeare in the Park 1669:on Shakespearean texts 1512:Globe to Globe Festival 1496:The Taming of the Shrew 1182:Harley Granville-Barker 626: 502: 218:Charles Edward Perugini 79:" has been attributed. 44:Two Gentlemen of Verona 24:Two Gentlemen of Verona 7024:Shakespearean comedies 6874:Theatrical adaptations 6408:Lord Chamberlain's Men 6319:The Passionate Pilgrim 6092:comparison to Petrarch 5711:Much Ado About Nothing 5690:The Merchant of Venice 5342:A Shakespeare Glossary 4256:Willis, Susan (1991). 4166:Ledebur, Ruth (1974). 4039:Shakespeare in Culture 4008:Pang, Laikwan (2002). 3915:"London Musicals 1973" 2285:The Norton Shakespeare 2160:BBC National Programme 2040:The Consort of Musicke 1992:In 1983, the play was 1989: 1939:Zwei herren aus Verona 1931:Zwei herren aus Verona 1900:BBC Television Service 1772:Renée Elise Goldsberry 1567: 1559:as Launce in the 1762 1489:. Presented as an "in 1413: 1375:Royal National Theatre 1277: 1275:Capitol Center Theater 1212:'s 1957 production at 1204:'s 1938 production at 1170:Sadler's Wells Theatre 1121: 1079: 1019:[Enter Silvia] 1015:Peace, here she comes. 981: 951:Renaissance literature 896: 874: 845: 776: 762: 657: 641:Criticism and analysis 592:The Norton Shakespeare 588:New Oxford Shakespeare 522: 386: 305: 258: 221: 51: 6598:Shakespeare Institute 6567:Shakespeare Quarterly 6086:Shakespeare's sonnets 5754:The Two Noble Kinsmen 5361:Shakespeare and Women 5322:. New York: Garland. 5300:. London: Routledge. 4837:Quiller-Couch, Arthur 4347:: A Crucial Moment". 3885:"Search Past Winners" 3535:. Shakespearences.com 3510:Washington City Paper 3075:, p. 71n1.1.0.1. 2748:: A Crucial Moment". 2674:, pp. 41, 46–47. 2092:Dwaj panowie z Werony 1983: 1975:Klaus Maria Brandauer 1854:. Early in the film, 1672:Let Us Garlands Bring 1651:Eduard von Bauernfeld 1574:as Launce, his wife, 1551: 1411: 1272: 1168:' 1857 production at 1152:'s production at the 1112: 1008: 985:Foolishness of lovers 972: 894: 865: 838:Charles Cowden Clarke 828: 771: 753: 648: 510: 375: 293: 247: 212: 169:– Valentine's beloved 126:– Valentine's servant 114:– Proteus' girlfriend 42: 31:2 Gentlemen in Verona 6454:Spelling of his name 6294:Vortigern and Rowena 6272:Thomas Lord Cromwell 5852:Troilus and Cressida 5782:Antony and Cleopatra 5676:Love's Labour's Lost 5662:The Comedy of Errors 5461:Shakespeare Jahrbüch 5100:Studies in Philology 4424:Love's Labour's Lost 4422:"Shakespeare Night: 3927:on 25 September 2020 3794:on 10 September 2007 3477:The Comedy of Errors 3239:on 10 September 2007 3018:on 12 September 2007 3006:Avery, Alex (2004). 2287:(1997 and 2008) and 2256:as Thaqib (Thurio). 2252:(Duke of Milan) and 2220:. Set in two Indian 1834:(1998). Directed by 1828:is also featured in 1502:The Comedy of Errors 993:The majority of the 909:Arthur Quiller-Couch 785:of the play itself. 590:edition of 2016, in 181:– a suitor to Silvia 7019:Plays set in Verona 6953:Shakespeare in Love 6772:William Shakespeare 6678:Richard Shakespeare 6660:Gilbert Shakespeare 6592:Shakespeare's Globe 6497:Authorship question 6492:Attribution studies 6459:Stratford-upon-Avon 6301:A Yorkshire Tragedy 6279:Thomas of Woodstock 6265:The Spanish Tragedy 6206:Love's Labour's Won 6198:The London Prodigal 6155:The Birth of Merlin 6114:The Rape of Lucrece 6100:A Lover's Complaint 5980:Quarto publications 5683:Measure for Measure 5622:William Shakespeare 5385:. London: Collins. 4753:Greenblatt, Stephen 4731:Evans, G. Blakemore 4054:, pp. 266–269. 3649:"Why Shakespeare's 3625:on 17 November 2014 3563:Shakespeare's Globe 2923:Shakesperean Comedy 2622:, pp. 161–173. 2574:, pp. 127–130. 2366:, pp. 142–145. 2328:Wells et al. (2005) 2179:BBC Third Programme 1927:Munich Kammerspiele 1866:, greatly enjoying 1831:Shakespeare in Love 1379:Shakespeare's Globe 1246:, the play starred 1206:Stratford-upon-Avon 928:Love and friendship 376:A 1587 printing of 361:on 3 January 1585. 324:Jorge de Montemayor 255:William Holman Hunt 138:– Antonio's servant 65:William Shakespeare 7014:Plays set in Milan 7009:Plays set in Italy 6895:Screen adaptations 6672:Edmund Shakespeare 6630:Hamnet Shakespeare 6527:Screen adaptations 6250:Sir John Oldcastle 6148:Arden of Faversham 5401:Tillyard, E. M. W. 5075:Ewbank, Inga-Stina 5009:Essays and Studies 4841:Wilson, John Dover 4361:, pp. 257–262 4121:Shakespeare Survey 4113:Holderness, Graham 3987:The New York Times 3980:(16 August 2005). 3956:The New York Times 3773:, pp. liv–lv. 2762:, pp. 259–262 2758:Also available in 2498:, p. 130 and 2303:All references to 2203:Michael N. Harbour 2121:James Van Der Beek 2111:, and directed by 1990: 1965:, under the title 1929:, under the title 1882:, theatre manager 1836:John Philip Madden 1596:Elizabeth Satchell 1588:John Philip Kemble 1568: 1487:Shakespeare Tavern 1414: 1278: 1122: 1118:Edwin Austin Abbey 982: 897: 846: 842:Mary Cowden Clarke 763: 658: 545:G. Blakemore Evans 523: 407:Giovanni Boccaccio 387: 306: 259: 222: 120:– Proteus' servant 52: 6971: 6970: 6935:Jorge de Montemor 6738: 6737: 6642:Elizabeth Barnard 6606: 6605: 6335: 6334: 6064: 6063: 5762:The Winter's Tale 5545:Project Gutenberg 5209:Queen's Quarterly 4996:Secondary sources 4606:on 7 October 2015 4291:, pp. 11–13. 4226:Brooke, Michael. 3895:on 31 August 2016 3761:, pp. 29–33. 3717:, pp. 25–29. 3693:, pp. 86–88. 3681:, pp. 17–25. 3374:, pp. 13–14. 3320:, pp. 90–98. 3284:, pp. 47–48. 3260:, pp. 43–47. 3206:, pp. 43–44. 3170:, pp. 37–38. 3158:, pp. 30–31. 3063:, pp. 57–65. 2794:, pp. 15–16. 2722:, pp. 56–57. 2686:, pp. 55–56. 2646:, pp. 24–27. 2586:, pp. 23–25. 2417:, pp. 10–12. 2405:, pp. 15–16. 2283:(1986 and 2005), 2254:Zafar Karachiwala 2155:Greenwich Theatre 2145:Shakespeare Night 2109:Jeffrey Stepakoff 2012:Tessa Peake-Jones 2008:Tyler Butterworth 1850:) composition of 1756:Delacorte Theater 1748:Kathleen Marshall 1704:St. James Theatre 1624:Frederic Reynolds 1592:Richard Wroughton 1514:, under the name 1446:Courtyard Theatre 1162:Haymarket Theatre 767:Arden Shakespeare 411:The Two Gentlemen 338:Bartholomew Young 163:– Silvia's father 144:– Julia's servant 132:– Proteus' father 48:Angelica Kauffman 7031: 6822: 6765: 6758: 6751: 6742: 6741: 6728: 6727: 6718: 6717: 6666:Joan Shakespeare 6648:John Shakespeare 6551: 6550: 6532:Shakespeare and 6243:Sejanus His Fall 6210: 6170:Double Falsehood 6137: 6136: 6121:Venus and Adonis 6072: 5845:Titus Andronicus 5831:Romeo and Juliet 5635: 5634: 5615: 5608: 5601: 5592: 5591: 5554: 5553: 5547: 5513: 5494: 5479:, eds. (1997) . 5468: 5448: 5436: 5422: 5396: 5379:Speaight, Robert 5374: 5355: 5333: 5311: 5289: 5272: 5269:David Magarshack 5267:. Translated by 5259: 5236: 5217: 5198: 5176: 5174: 5172: 5145: 5126: 5123: 5090: 5070: 5039: 5026:Romeo and Juliet 5016: 4991: 4970: 4958: 4936: 4917: 4898: 4877: 4858: 4843:, eds. (1955) . 4832: 4808: 4789: 4770: 4748: 4726: 4707: 4688: 4679: 4645: 4644: 4642: 4640: 4622: 4616: 4615: 4613: 4611: 4602:. 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Archived from 3003: 2997: 2991: 2985: 2979: 2973: 2970:Schlueter (1990) 2967: 2961: 2955: 2949: 2943: 2937: 2936: 2918: 2912: 2906: 2900: 2899:, p. xxxiv. 2894: 2888: 2882: 2876: 2875: 2864: 2858: 2857: 2831: 2822: 2816: 2807: 2801: 2795: 2789: 2778: 2775:Schlueter (1990) 2772: 2763: 2760:Schlueter (1996) 2757: 2741: 2735: 2729: 2723: 2717: 2711: 2705: 2699: 2693: 2687: 2681: 2675: 2669: 2660: 2653: 2647: 2641: 2635: 2629: 2623: 2617: 2611: 2605: 2599: 2593: 2587: 2581: 2575: 2569: 2563: 2560:Schlueter (1990) 2557: 2551: 2545: 2539: 2533: 2527: 2521: 2515: 2509: 2503: 2502:, pp. 26–27 2484: 2478: 2472: 2466: 2465:, pp. ix–x. 2460: 2454: 2448: 2442: 2436: 2430: 2424: 2418: 2415:Schlueter (1990) 2412: 2406: 2400: 2394: 2388: 2382: 2379:Schlueter (1990) 2376: 2367: 2361: 2355: 2349: 2343: 2337: 2331: 2325: 2292: 2275: 2090:under the title 2052:Anthony Holborne 2038:". Performed by 1852:Romeo and Juliet 1399:Lesley Vickerage 1391:Tom Goodman-Hill 1331:Diana Hardcastle 1318:Titus Andronicus 1146:William Macready 1076: 661:Critical history 654:Francis Wheatley 562:in 1821, in the 469:Romeo and Juliet 355:Greenwich Palace 7039: 7038: 7034: 7033: 7032: 7030: 7029: 7028: 6974: 6973: 6972: 6967: 6918: 6889: 6868: 6823: 6814: 6780: 6769: 6739: 6734: 6695: 6644:(granddaughter) 6602: 6549: 6478: 6444:Religious views 6422:Curtain Theatre 6343: 6331: 6306: 6257:Sir Thomas More 6203: 6177:Edmund Ironside 6126: 6073: 6060: 6034:Ghost character 5994: 5966: 5857: 5838:Timon of Athens 5767: 5624: 5619: 5551: 5537: 5531:Standard Ebooks 5521: 5516: 5510: 5497: 5491: 5445: 5419: 5399: 5393: 5377: 5371: 5358: 5352: 5336: 5330: 5316:Schlueter, June 5308: 5292: 5275: 5262: 5256: 5233: 5201: 5195: 5170: 5168: 5148: 5142: 5124: 5093: 5073: 5067: 5042: 5036: 5002: 4998: 4988: 4967: 4933: 4914: 4895: 4874: 4855: 4829: 4813:Leech, Clifford 4805: 4786: 4767: 4745: 4733:, ed. (1997) . 4723: 4704: 4676: 4657: 4649: 4648: 4638: 4636: 4624: 4623: 4619: 4609: 4607: 4594: 4593: 4589: 4579: 4577: 4565: 4564: 4560: 4550: 4548: 4536: 4535: 4531: 4521: 4519: 4507: 4506: 4502: 4492: 4490: 4482: 4481: 4477: 4467: 4465: 4453: 4452: 4448: 4438: 4436: 4420: 4419: 4415: 4408: 4394: 4390: 4383: 4369: 4365: 4324: 4320: 4313: 4299: 4295: 4287: 4283: 4276: 4254: 4250: 4240: 4238: 4224: 4220: 4213: 4193: 4189: 4182: 4174:. p. 332. 4164: 4160: 4154: 4147: 4145: 4143: 4110: 4106: 4095: 4091: 4084: 4062: 4058: 4050: 4046: 4031: 4027: 4020: 4006: 4002: 3992: 3990: 3975: 3971: 3961: 3959: 3949:(2 June 1996). 3944: 3940: 3930: 3928: 3924: 3917: 3913: 3912: 3908: 3898: 3896: 3883: 3882: 3878: 3870: 3866: 3859: 3845: 3841: 3836: 3832: 3822: 3820: 3812: 3811: 3807: 3797: 3795: 3782: 3781: 3777: 3769: 3765: 3757: 3753: 3743: 3741: 3726: 3725: 3721: 3713: 3709: 3705:, pp. 1–2. 3701: 3697: 3689: 3685: 3677: 3673: 3663: 3661: 3642: 3638: 3628: 3626: 3609: 3608: 3604: 3594: 3592: 3581: 3577: 3567: 3565: 3553: 3552: 3548: 3538: 3536: 3529: 3525: 3515: 3513: 3501: 3497: 3487: 3485: 3467:"In Repertory: 3465: 3464: 3460: 3450: 3448: 3437: 3433: 3423: 3421: 3419:Guthrie Theater 3409: 3408: 3404: 3394: 3392: 3383: 3382: 3378: 3370: 3366: 3356: 3354: 3341: 3340: 3336: 3328: 3324: 3316: 3312: 3304: 3300: 3296:, pp. 7–8. 3292: 3288: 3280: 3276: 3272:, pp. 6–7. 3268: 3264: 3256: 3252: 3242: 3240: 3227: 3226: 3222: 3214: 3210: 3202: 3198: 3194:, pp. 3–5. 3190: 3186: 3178: 3174: 3166: 3162: 3154: 3150: 3144:Halliday (1964) 3142: 3138: 3130: 3121: 3113: 3106: 3098: 3094: 3086: 3079: 3071: 3067: 3059: 3055: 3047: 3043: 3035: 3031: 3021: 3019: 3004: 3000: 2992: 2988: 2980: 2976: 2968: 2964: 2956: 2952: 2944: 2940: 2933: 2919: 2915: 2907: 2903: 2895: 2891: 2883: 2879: 2865: 2861: 2854: 2840:Schlueter, June 2832: 2825: 2817: 2810: 2802: 2798: 2790: 2781: 2773: 2766: 2742: 2738: 2730: 2726: 2718: 2714: 2710:, pp. 8–9. 2706: 2702: 2694: 2690: 2682: 2678: 2670: 2663: 2654: 2650: 2642: 2638: 2630: 2626: 2618: 2614: 2606: 2602: 2594: 2590: 2582: 2578: 2570: 2566: 2558: 2554: 2546: 2542: 2534: 2530: 2526:, p. xxxv. 2522: 2518: 2514:, p. xliv. 2510: 2506: 2494:, p. 109, 2490:, p. xxx, 2485: 2481: 2473: 2469: 2461: 2457: 2449: 2445: 2439:Bullough (1957) 2437: 2433: 2425: 2421: 2413: 2409: 2401: 2397: 2389: 2385: 2377: 2370: 2362: 2358: 2350: 2346: 2338: 2334: 2326: 2313: 2301: 2296: 2295: 2276: 2272: 2267: 2262: 2222:princely states 2199:Denys Hawthorne 2164:Lance Sieveking 2137: 2096:Edyta Jungowska 1967:Zwei aus Verona 1951:Heidelinde Weis 1896: 1884:Philip Henslowe 1880:Romeo and Ethel 1856:Queen Elizabeth 1838:and written by 1784: 1750:as part of the 1740:Phoenix Theatre 1621: 1594:as Proteus and 1565:Benjamin Victor 1555:' engraving of 1546: 1541: 1475:black-and-white 1471:Guthrie Theater 1387:Anastasia Hille 1367:Barbican Centre 1351:Hugh Bonneville 1347:George Gershwin 1298:Patrick Stewart 1296:as Silvia, and 1248:Denholm Elliott 1222:Barbara Jefford 1210:Michael Langham 1154:Bristol Old Vic 1134:Benjamin Victor 1107: 1084: 1074: 1073: 1061: 1053: 1041: 1033: 1021: 1017: 987: 930: 905:J. Dover Wilson 823: 791: 672:Hilary Spurling 663: 643: 629: 612:Richard Tarlton 505: 500: 460:narrative poem 458:Arthur Brooke's 288: 207: 91: 35: 19: 12: 11: 5: 7037: 7027: 7026: 7021: 7016: 7011: 7006: 7001: 6996: 6991: 6986: 6969: 6968: 6966: 6965: 6957: 6949: 6942: 6937: 6932: 6926: 6924: 6920: 6919: 6917: 6916: 6908: 6899: 6897: 6891: 6890: 6888: 6887: 6878: 6876: 6870: 6869: 6867: 6866: 6858: 6850: 6842: 6833: 6831: 6825: 6824: 6817: 6815: 6813: 6812: 6809: 6806: 6803: 6800: 6797: 6794: 6790: 6788: 6782: 6781: 6768: 6767: 6760: 6753: 6745: 6736: 6735: 6733: 6732: 6722: 6711: 6710: 6707: 6700: 6697: 6696: 6694: 6693: 6687: 6681: 6675: 6669: 6663: 6657: 6651: 6645: 6639: 6633: 6627: 6621: 6614: 6612: 6608: 6607: 6604: 6603: 6601: 6600: 6595: 6589: 6584: 6583: 6582: 6572: 6571: 6570: 6557: 6555: 6548: 6547: 6542: 6537: 6529: 6524: 6519: 6514: 6509: 6504: 6499: 6494: 6488: 6486: 6480: 6479: 6477: 6476: 6471: 6466: 6461: 6456: 6451: 6446: 6441: 6436: 6431: 6426: 6425: 6424: 6419: 6405: 6400: 6395: 6390: 6385: 6383:Collaborations 6380: 6375: 6374: 6373: 6368: 6356: 6350: 6348: 6337: 6336: 6333: 6332: 6330: 6329: 6322: 6314: 6312: 6308: 6307: 6305: 6304: 6297: 6290: 6282: 6275: 6268: 6261: 6253: 6246: 6239: 6232: 6225: 6218: 6211: 6201: 6194: 6187: 6180: 6173: 6166: 6158: 6151: 6143: 6141: 6134: 6128: 6127: 6125: 6124: 6117: 6110: 6103: 6096: 6095: 6094: 6081: 6079: 6075: 6074: 6067: 6065: 6062: 6061: 6059: 6058: 6053: 6048: 6043: 6038: 6037: 6036: 6031: 6026: 6018: 6013: 6008: 6002: 6000: 5996: 5995: 5993: 5992: 5987: 5982: 5976: 5974: 5972:Early editions 5968: 5967: 5965: 5964: 5956: 5949: 5948: 5947: 5940: 5933: 5918: 5911: 5910: 5909: 5902: 5890: 5883: 5875: 5867: 5865: 5859: 5858: 5856: 5855: 5848: 5841: 5834: 5827: 5820: 5813: 5806: 5799: 5792: 5785: 5777: 5775: 5769: 5768: 5766: 5765: 5758: 5750: 5743: 5736: 5729: 5722: 5714: 5707: 5700: 5693: 5686: 5679: 5672: 5665: 5658: 5655:As You Like It 5651: 5643: 5641: 5632: 5626: 5625: 5618: 5617: 5610: 5603: 5595: 5589: 5588: 5572: 5564: 5548: 5535: 5533: 5520: 5519:External links 5517: 5515: 5514: 5509:978-0826491343 5508: 5495: 5490:978-0393316674 5489: 5473:Wells, Stanley 5469: 5453:Wells, Stanley 5449: 5444:978-0214157479 5443: 5423: 5418:978-0485300154 5417: 5397: 5392:978-0316805001 5391: 5375: 5370:978-0198186946 5369: 5356: 5351:978-0198125211 5350: 5334: 5329:978-0815310204 5328: 5318:, ed. (1996). 5312: 5307:978-0415489133 5306: 5290: 5273: 5260: 5255:978-0631226345 5254: 5237: 5232:978-0521589208 5231: 5218: 5199: 5194:978-1842321270 5193: 5181:Halliday, F.E. 5177: 5146: 5141:978-0306802072 5140: 5127: 5106:(2): 168–181. 5091: 5071: 5066:978-0874135824 5065: 5040: 5035:978-0231088916 5034: 5017: 4999: 4997: 4994: 4993: 4992: 4987:978-0671722951 4986: 4971: 4966:978-0199267187 4965: 4941:Wells, Stanley 4937: 4932:978-0192831422 4931: 4918: 4913:978-0521181693 4912: 4899: 4894:978-0140707175 4893: 4878: 4873:978-0140714616 4872: 4859: 4854:978-1108006101 4853: 4833: 4828:978-0174435815 4827: 4815:, ed. (1969). 4809: 4804:978-0141016627 4803: 4790: 4785:978-0140714319 4784: 4771: 4766:978-0393111354 4765: 4749: 4744:978-0395754900 4743: 4727: 4722:978-0451530639 4721: 4708: 4703:978-1903436950 4702: 4689: 4680: 4675:978-0230300910 4674: 4662:Bate, Jonathan 4656: 4650: 4647: 4646: 4617: 4587: 4558: 4529: 4500: 4475: 4446: 4413: 4407:978-0415275408 4406: 4388: 4382:978-8387314460 4381: 4363: 4318: 4312:978-0563202776 4311: 4293: 4281: 4275:978-0807843178 4274: 4248: 4218: 4212:978-3453094062 4211: 4187: 4181:978-3799702386 4180: 4158: 4142:978-1139053167 4141: 4104: 4089: 4083:978-0720121063 4082: 4056: 4044: 4025: 4019:978-0742509467 4018: 4000: 3978:Smith, Dinitia 3969: 3938: 3906: 3876: 3874:, p. 350. 3864: 3858:978-0745632971 3857: 3839: 3830: 3805: 3775: 3771:Jackson (2005) 3763: 3751: 3719: 3707: 3695: 3691:Carroll (2004) 3683: 3671: 3636: 3602: 3575: 3546: 3523: 3495: 3458: 3431: 3402: 3376: 3364: 3334: 3322: 3318:Carroll (2004) 3310: 3298: 3286: 3274: 3262: 3258:Carroll (2004) 3250: 3220: 3208: 3196: 3184: 3172: 3160: 3148: 3146:, p. 506. 3136: 3132:Carroll (2004) 3119: 3115:Carroll (2004) 3104: 3092: 3077: 3065: 3061:Carroll (2004) 3053: 3049:Sanders (1968) 3041: 3029: 2998: 2986: 2974: 2962: 2958:Sanders (1968) 2950: 2946:Sanders (1968) 2938: 2932:978-0416692600 2931: 2913: 2911:, p. xiv. 2901: 2889: 2887:, p. 115. 2885:Carroll (2004) 2877: 2870:, ed. (1905). 2868:Chambers, E.K. 2859: 2853:978-0815310204 2852: 2823: 2808: 2806:, pp. 16. 2804:Carroll (2004) 2796: 2792:Carroll (2004) 2779: 2764: 2736: 2724: 2712: 2700: 2688: 2676: 2661: 2648: 2636: 2624: 2612: 2608:Sanders (1968) 2600: 2598:, pp. 21. 2588: 2576: 2572:Carroll (2004) 2564: 2552: 2550:, p. 109. 2540: 2528: 2516: 2512:Jackson (2005) 2504: 2496:Carroll (2004) 2479: 2475:Sanders (1968) 2467: 2455: 2443: 2441:, p. 204. 2431: 2419: 2407: 2395: 2393:, p. 128. 2391:Carroll (2004) 2383: 2368: 2364:Carroll (2004) 2356: 2354:, p. 103. 2344: 2342:, p. 110. 2340:Carroll (2004) 2332: 2310: 2309: 2300: 2297: 2294: 2293: 2269: 2268: 2266: 2263: 2261: 2258: 2246:Anuradha Menon 2201:as Valentine, 2191:Frankie Howerd 2187:John Westbrook 2183:Raymond Raikes 2174:played Julia. 2172:Lydia Sherwood 2136: 2133: 2129:Joshua Jackson 2104:Dawson's Creek 2048:Thomas Campion 2028:Anthony Rooley 1941:. Screened on 1912:Laurence Payne 1910:as Valentine, 1895: 1892: 1872:Patrick Barlow 1848:Joseph Fiennes 1783: 1780: 1776:Rosario Dawson 1774:as Silvia and 1766:as Valentine, 1762:, and starred 1726:as Valentine, 1680:Galt MacDermot 1647:Franz Schubert 1636:Daly's Theatre 1620: 1617: 1580:Elizabeth Pope 1576:Mary Ann Yates 1563:adaptation by 1545: 1542: 1540: 1537: 1458:Complete Works 1434:American Dream 1393:as Valentine, 1325:as Valentine, 1294:Estelle Kohler 1286:Ian Richardson 1284:as Valentine, 1260:Patrick Wymark 1250:as Valentine, 1202:Ben Iden Payne 1198:Apollo Theatre 1126:Palladis Tamia 1106: 1103: 1083: 1080: 986: 983: 929: 926: 882:A.C. Swinburne 854:E. K. Chambers 822: 819: 790: 787: 746: 692:Robin Phillips 677:Jeffrey Masten 662: 659: 642: 639: 628: 625: 564:Third Variorum 541:Clifford Leech 536:Palladis Tamia 511:First page of 504: 501: 499: 496: 294:First page of 287: 284: 206: 203: 202: 201: 195: 183: 182: 176: 170: 164: 152: 151: 150:– Launce's dog 145: 139: 133: 127: 121: 115: 109: 103: 90: 87: 17: 9: 6: 4: 3: 2: 7036: 7025: 7022: 7020: 7017: 7015: 7012: 7010: 7007: 7005: 7002: 7000: 6997: 6995: 6992: 6990: 6987: 6985: 6982: 6981: 6979: 6963: 6962: 6958: 6955: 6954: 6950: 6947: 6943: 6941: 6940:Stuart Draper 6938: 6936: 6933: 6931: 6928: 6927: 6925: 6921: 6914: 6913: 6909: 6906: 6905: 6901: 6900: 6898: 6896: 6892: 6885: 6884: 6880: 6879: 6877: 6875: 6871: 6864: 6863: 6859: 6856: 6855: 6851: 6848: 6847: 6843: 6840: 6839: 6835: 6834: 6832: 6830: 6826: 6821: 6810: 6807: 6804: 6801: 6798: 6795: 6792: 6791: 6789: 6787: 6783: 6779: 6778: 6773: 6766: 6761: 6759: 6754: 6752: 6747: 6746: 6743: 6731: 6723: 6721: 6713: 6712: 6708: 6706: 6702: 6701: 6698: 6691: 6690:Thomas Quiney 6688: 6685: 6682: 6680:(grandfather) 6679: 6676: 6673: 6670: 6667: 6664: 6661: 6658: 6655: 6652: 6649: 6646: 6643: 6640: 6637: 6636:Judith Quiney 6634: 6631: 6628: 6625: 6622: 6619: 6618:Anne Hathaway 6616: 6615: 6613: 6609: 6599: 6596: 6593: 6590: 6588: 6585: 6581: 6578: 6577: 6576: 6573: 6569: 6568: 6564: 6563: 6562: 6559: 6558: 6556: 6552: 6546: 6543: 6541: 6538: 6536: 6535: 6530: 6528: 6525: 6523: 6520: 6518: 6515: 6513: 6510: 6508: 6505: 6503: 6500: 6498: 6495: 6493: 6490: 6489: 6487: 6485: 6481: 6475: 6472: 6470: 6467: 6465: 6462: 6460: 6457: 6455: 6452: 6450: 6447: 6445: 6442: 6440: 6437: 6435: 6432: 6430: 6427: 6423: 6420: 6418: 6415: 6414: 6413: 6409: 6406: 6404: 6401: 6399: 6398:Globe Theatre 6396: 6394: 6391: 6389: 6386: 6384: 6381: 6379: 6376: 6372: 6369: 6367: 6366: 6362: 6361: 6360: 6357: 6355: 6352: 6351: 6349: 6347: 6342: 6338: 6328: 6327: 6323: 6321: 6320: 6316: 6315: 6313: 6309: 6303: 6302: 6298: 6296: 6295: 6291: 6288: 6287: 6283: 6281: 6280: 6276: 6274: 6273: 6269: 6267: 6266: 6262: 6259: 6258: 6254: 6252: 6251: 6247: 6245: 6244: 6240: 6238: 6237: 6233: 6231: 6230: 6226: 6224: 6223: 6219: 6217: 6216: 6212: 6208: 6207: 6202: 6200: 6199: 6195: 6193: 6192: 6188: 6186: 6185: 6181: 6179: 6178: 6174: 6172: 6171: 6167: 6164: 6163: 6159: 6157: 6156: 6152: 6150: 6149: 6145: 6144: 6142: 6138: 6135: 6133: 6129: 6123: 6122: 6118: 6116: 6115: 6111: 6109: 6108: 6104: 6102: 6101: 6097: 6093: 6090: 6089: 6088: 6087: 6083: 6082: 6080: 6076: 6071: 6057: 6054: 6052: 6049: 6047: 6044: 6042: 6039: 6035: 6032: 6030: 6027: 6025: 6022: 6021: 6019: 6017: 6014: 6012: 6011:Late romances 6009: 6007: 6006:Problem plays 6004: 6003: 6001: 5997: 5991: 5988: 5986: 5983: 5981: 5978: 5977: 5975: 5973: 5969: 5962: 5961: 5957: 5955: 5954: 5950: 5946: 5945: 5941: 5939: 5938: 5934: 5931: 5930: 5926: 5925: 5924: 5923: 5919: 5917: 5916: 5912: 5908: 5907: 5903: 5901: 5900: 5896: 5895: 5894: 5891: 5889: 5888: 5884: 5881: 5880: 5876: 5874: 5873: 5869: 5868: 5866: 5864: 5860: 5854: 5853: 5849: 5847: 5846: 5842: 5840: 5839: 5835: 5833: 5832: 5828: 5826: 5825: 5821: 5819: 5818: 5814: 5812: 5811: 5807: 5805: 5804: 5803:Julius Caesar 5800: 5798: 5797: 5793: 5791: 5790: 5786: 5784: 5783: 5779: 5778: 5776: 5774: 5770: 5764: 5763: 5759: 5756: 5755: 5751: 5749: 5748: 5744: 5742: 5741: 5740:Twelfth Night 5737: 5735: 5734: 5730: 5728: 5727: 5723: 5720: 5719: 5715: 5713: 5712: 5708: 5706: 5705: 5701: 5699: 5698: 5694: 5692: 5691: 5687: 5685: 5684: 5680: 5678: 5677: 5673: 5671: 5670: 5666: 5664: 5663: 5659: 5657: 5656: 5652: 5650: 5649: 5645: 5644: 5642: 5640: 5636: 5633: 5631: 5627: 5623: 5616: 5611: 5609: 5604: 5602: 5597: 5596: 5593: 5586: 5582: 5578: 5577: 5573: 5570: 5569: 5565: 5563: 5559: 5558: 5549: 5546: 5542: 5541: 5536: 5534: 5532: 5528: 5527: 5523: 5522: 5511: 5505: 5501: 5496: 5492: 5486: 5482: 5478: 5474: 5470: 5466: 5462: 5458: 5454: 5450: 5446: 5440: 5435: 5434: 5428: 5424: 5420: 5414: 5410: 5409:Athlone Press 5406: 5402: 5398: 5394: 5388: 5384: 5380: 5376: 5372: 5366: 5362: 5357: 5353: 5347: 5343: 5339: 5338:Onions, C. T. 5335: 5331: 5325: 5321: 5317: 5313: 5309: 5303: 5299: 5295: 5294:Muir, Kenneth 5291: 5288:(2): 214–224. 5287: 5283: 5279: 5278:Two Gentlemen 5274: 5270: 5266: 5261: 5257: 5251: 5247: 5243: 5238: 5234: 5228: 5224: 5219: 5215: 5211: 5210: 5205: 5200: 5196: 5190: 5186: 5182: 5178: 5166: 5162: 5158: 5157: 5152: 5147: 5143: 5137: 5133: 5128: 5121: 5117: 5113: 5109: 5105: 5101: 5097: 5092: 5088: 5084: 5080: 5076: 5072: 5068: 5062: 5058: 5054: 5050: 5048: 5041: 5037: 5031: 5027: 5023: 5018: 5014: 5010: 5006: 5001: 5000: 4989: 4983: 4979: 4978: 4972: 4968: 4962: 4957: 4956: 4950: 4946: 4942: 4938: 4934: 4928: 4924: 4919: 4915: 4909: 4905: 4900: 4896: 4890: 4886: 4885: 4879: 4875: 4869: 4865: 4860: 4856: 4850: 4846: 4842: 4838: 4834: 4830: 4824: 4820: 4819: 4814: 4810: 4806: 4800: 4796: 4791: 4787: 4781: 4777: 4772: 4768: 4762: 4758: 4754: 4750: 4746: 4740: 4736: 4732: 4728: 4724: 4718: 4714: 4709: 4705: 4699: 4695: 4690: 4686: 4681: 4677: 4671: 4667: 4663: 4659: 4658: 4655: 4635: 4631: 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The Two Gentlemen of Verona

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