Throughly, thor-
oughly; III. iii.
14.
Tilth, tillage ; II.
i. 152.
To, for, as ; II. i.
75 ; in com-
parison with ;
II. i. 178.
Tend, attend ; I. i. 6.
Traih, to check the speed of hounds
when too forward ; I. ii. 81.
Trebles, " tr. theeo'er," i.e., " makes
thee tlirice what thou art"; II.
i. 221.
Trembling, the ^'â– tremor'''' which is
represented to be a sign of being
possessed by the devil ; II. ii.
83-
Trencher, {Jirst Folio, trenchering,
due to the previous words in-
ing); II. ii. 187.
Trice, "on a tr.," i.e., '• in an in-
stant"; V. i. 238.
Tricks}/, sportive; V. i. 226.
From the basement of a
tomb in the Church
of Folleville (Dept.
of the Somme).
Trijle, phantom; V. i. 112.
Troll, run glibly over (perhaps
" sing irregularly ") ; III. ii. 126.
Tivilled (?) covered with reeds or
sedges ; IV. i. 64. {cf. Note).
Tzvink, a twinkling : IV. i. 43.
Under the line, probably a term in
tennis; "to strike (the ball)
under the line"="to lose the
game"; IV. i. 236, cf. Note and
Line.
Undergoing, enduring; I. ii. 157.
Unicorn (with allusion to its pro-
verbial ferocity) ; III. iii, 22.
MSS. Brit. Mus., Add. 11390.
Unstanched, incontinent ; I. i. 48.
Up-staring, standing on end ; I. ii.
213.
C/rc/i/nj, hedgehogs, hobgoblins; I.
ii. 326.
Urchin-shoivs, elfin apparitions ; II.
ii. 5.
Use, to be accustomed ; II. i. 175.
Vanity, illusion ; IV. i. 41.
Vast, silent void, or vacancy (of
night); I. ii. 327.
Verily, true; II. i. 321.
Virgin-knot; alluding to the girdle
worn by maidens in ancient times ;
IV. i. 15.
Visitation, affliction (as of a plague);
III. i. 32.
Visitor, priestly visitant, " consola-
tor"; II. i. II.
Vouched, warranted: II. i. 60.
JVaist, the part o( a sliip between
THE TEMPEST
Glossary
the quarter-deck and the fore-
castle ; I. ii. 197.
Wallets of Jlfsh.2.\\ud\n^ to the strange
appearance of the goitre (c/".
'^dew-lapped'').
%i'^^->
A Tyrolese peasant with a goitre [(from a
sketch by G. Herring) Knight].
Ward, attitude of defence ; I. ii. 471.
Weather, storm; I. i. 37.
Weather-fends, defends from the
weather ; V. i. 10.
Weighed, considered, pondered ; II.
i. 130.
Wench, (used as a term of endear-
ment) ; I. ii. 139, 412.
Wezand. windpipe ; III. ii. 99,
When (an exclamation of impati-
ence) ; I. ii. 316.
While-ere, short time since ; III. ii.
127.
Whist, hushed, silent; I. ii. 379.
Wicked, baneful; I. ii. 321.
Wide-chapped, opening the mouth
wide ; I. i. 56.
Windring (not found elsewhere) (?)
"winding" or "wandering";
IV. i. 128.
Wink, the act of closing the eye, II.
i. 285 ; (a sliort distance measured
by a "wink"; II. i. 242).
Wink, to close the eyes ; II. i. 216.
Wisest, " after the wisest,' i.e., "in
the wisest fashion '" ; II. ii. 77.
Woe, sorry; V. i. 139.
Works, affects ; IV. i. 144.
Wound, twined about; II. ii. 13.
Wrangle, contend, quarrel; V. i.
174.
Wrong ; " to do oneself wrong," i.e.,
" to be much mistaken " ; I. ii.
443-
Tare, ready! 1. i. 6; 1. i. 34.
Tarely, alertly ; I. i. 3.
Tond, there; I. ii. 409.
2'bar ( = subjective genitive); V. i.
II.
Zenith, the highest point of one's
fortune ; I. ii. 181.
A Maze ; see Note III. iiL 2.
Projected from an engraving in The Country Housewife's Garden (1617).
THE TEMPEST
Notes.
I. i. 68. ^ long heath, broivn furze ;' SO the folios ; Hanmer's emenda-
tion has been generally accepted : — 'ling, heath, broom, furze.'
I. ii. 24. ' m>/ magic garment .- ' the magician's mantle, circle, and book
{cp. Act V.) are well illustrated by the following woodcut: —
From iht; Hi.-^iury of Doctor John Faustus (1664).
I. ii. ICO. ' ^-7/19 ha-ving into truth ; ' ' into,' used in the sense of ' unto,'
and so emended in most editions ; the sentence though very involved is
intelligible witliout any alteration ; ' into truth ' depends upon 'a sinner';
and 'it' refers vaguely to ' iiis own lie'; ' to credit ' = ' as to credit.'
I. ii. 169. ' N01V I arise ; ' probably derived from astrology ; ' now my
star is in the ascendant;' it should be noted that the stage direction
' Resumes his mantle ' is not in the folios.
I. ii. 266. 'yir ()«£• //i/«^ jAit (//V; ' Shakespeare does not tell us what he
refers to here ; perhaps he merely added the point in order to account for
her preservation, or the incident may liave been mentioned in his original.
I am, however, strongly inclined to suggest that there is no mystery
about the passage ; the ' one tiling she did ' probably anticipates ' hither
brouglit with child ' ; for tiiat reason alone her life was spared.
I. ii. 333. ' stroakst me and made,'' so Folios ; Rowe, ' strokedst me and
madest,' so Camb. Ed. and Mod. Edd. generally.
I. II. 334. ' IVater ivith berries in't;' Mr W. G. Gosling quotes the
following striking parallel from Strachey's Narrative: — " They are full
of shaws of goodly cedars . . . The berries wliereof our men straining, and
letting stand some three or four daies, made a kind of pleasant drink."
THE TEMPEST
Notes
I. ii. 378, 379. ' Xiss'J the luild ivaves tvkist ; ^ so the folios; i.e.,
' Kissed the wild waves into silence;'
often printed with a comma after
' kissed.'
I. ii. 461. ' /'// manacle thy neck and feet
together : ' specimens of this form of
torture are preserved in the Tower
of London. Knight gives the ac-
companying illustrative sketch.
II. i. 5- ' The masters of some mer-
chant;'' i.e., 'the owners of some
merchantman ; ' Stevens sueerested
• 00
'mistress' (old spelling ' maistres ') ;
the Cambridge editors ' masters ' (;'.<!.,
•rJ-'''''"'"" '"" ' master's wife ').
II. i. 12. ' /;c'j ivinding up the ivatch
of his ii'it, bi/ and b^ it ivill strike;'' watches that struck the hours were
known as early as the commencement of the XVIth century ; the
striking portion of the accompanying speci-
men is an alarum which acts to any hour at
option.
II. i. 27. ' ivliich, of he or Adrian ; ' ' he '
for ' him,' used somewhat substantively,
probably owing to the use of the word in
the previous sentence, ' he will be talking.'
II. i. 35, 36. The folios read: ' Seb. Ha,
ha, ha! Ant. So, you re paid.'' Theobald
gives the whole line to Sebastian ; and his
reading is adopted by the Camb. ed. Pos-
sibly a better emendation is the transposi-
tion of the prefixes to the speeches ; the
point of the quibble is no doubt the old From the collection belonging to
proverb ' let them laugh that win.' Capell the late R. Bernal.
ingeniously suggested that the folio reading should stand with the
slight change of ' you've paid ' for ' you're paid.'
II. i. 127. ^ luhohath cause ;' the antecedent of ' who' is most probably ' she';
some make the relative refer to ' eye,' i.e., ' which hath cause to weep.'
II. i. 131. 'â– should boiu ; '' SO folios; seemingly unnecessary Corrections
have been made, e.g., ' she'd bow ; ' ' which end the beam should bow ; '
the omission of the pronoun 'it' or 'she' before 'should' can easily
be paralleled in Shakespeare.
Notes
THE TEMPEST
II. i. 243. ^ But doiiht dhcoverij there ; ^ i.e., 'Cannot but doubt that
anythinj^ can l)e discovered there.'
II. i. 250. ' S/te that from iithom :' the unnecessary 'that' is perhaps
intentionally repeated, owing to the previous repetition of ' she that.'
II. i. 279. 'â– candied:' generally explained as 'sugared over, and
so insensible ; congealed : ' perhaps a better interpretation is 'made
sweet as sugar,' as in the phrase ' the candied tongue.' Is
Antonio possibly playing
on
(a
' candied ' and ' candid '
word not yet fully
naturalised in the language,
but probably familiar)?
II. ii. 28. ' A strange fish!
Were I in England noiv, as
once I teas, and had but this Jish
painted,'' etc. ; an allusion to
the popularity of exhibi-
tions of strange monsters,
to which there are many
allusions in contemporary
records. The accompanying
drawing is from a print of
the time of Charles I.
II. 11-67. ' This is some monster oj" the isle ivith Jour legs ; ^ Shakespeare's
contemporaries were familiar with descriptions of strange four-footed
creatures : perhaps Topsell's
famous ' Historic ' was in
Stephano's mind.
II. ii. 80. ' I ivill not take too
much for him ;' i.e., ' I will take
as mucli as I can possibly
get.'
II. ii. 176. ' Srametvs' ; Fol.
'scamels,' so Camb. Ed.: but
—J the word is in all probal)ility
From Topscll-s \//isiorif of Foure-Footed an error for ' seamells ' or ' sea-
Beastes, describing the true and lively
Jignre of every Beast" 1607. mews,' referred to in Strachey
and Jourdan's accounts of the Bermudas: — "a kind of web-footed fowle
of the bignesse of a sea-mew" (Quoted by W. G. (losling). Many
emendations have lieen made; 'staniel' (a species of hawk) has been
adopted by some editors ; the word occurs jirobably in Twelfth Night (II.
THE TEMPEST
Notes
V. IZ4), though the editions read 'stallion.' Mr Wright has, however,
pointed out that, according to Stevenson's " Birds of Norfolk,"' " the female
' Bar-tailed Godwit ' is called a ' Scamell ' by the gunners of Blakeney."
III. i. 15. 'â– Most busy least, ivhen I do it;' the first folio retained by
Camb. Ed. " most busy lest, when I do it." Various readings have
been suggested ; Pope, ' least busy when I do it ' ; Theobald, ' most
busie-less when I do it'; Holt, 'most busiest, when 1 do it'; Spedding,
'most busiest when idlest,' &c., &c. It seems likely that the read-
ing of the second, third, and fourth folios throws light on the real
meaning of the line: — 'most busy least, when I do it ; ' i.e., ' most busy
when I indulge my thoughts, least busy when I am actually at work.' A
comma after ' busy' instead of after ' least ' would simplify this reading,
but it is possible to understand it as punctuated in the folios; Shakespeare
probably wished to make the superlatives as antithetical as possible ; per-
haps we should read 'labour' for 'labours.'
III. iii. 2 ^here's a maze trod, indeed through forth-rights and meanders' : i.e.
prob. ' through straight lines and circles, one of the most usual forms of
the maze,' according to Halliwell, who gives the engraving of one, from
a collection in the Maison Rustique, or the Country Farme, \to, Lond. 1 606.
According to other commentators, ' meanders ' = meandering paths, with-
out absolutely reference to 'circles.' (See engraving at the end of Glossary.)
111. iii. 39. '^ Praise in departing; ' z. proverbial expression: " stay your
praises till you see how your entertainment will end."
III. iii. 52. 'Ariel, like a harpy;' probably suggested by the harpy-
episode in the Third Book of JEneiJ.
IV. i. 60. 'y>/i://fj,' so Ff. an aixrhaic and provincial j^
form ; Camb. Ed. ' vetches.' j| ,^
IV. i. 64. '• pioned and tivilUd;' various emenda-
tions have been suggested for these difficult words
of the folio: — ' peonied and lilied,' 'tuUip'd',
'tilled,' &c. It is noted that ' piony ' is an old
spelling of ' peony,' and that the flower was for-
merly spoken of as ' the mayden piony' and ' virgin
peonie.' In all probability the meaning of the
words has not yet been discovered ; they are evi-
dently technical terms of horticulture. (C/>. Glos-
sary.)
IV. i. no. Mr Wright suggests that 'earths' A h.-irpy carrying away
should be read as a dissyllable, ' earthes ; ' this sugges-
tion has been adopted in the present text ; the second,
third, and fourth folios read ' and' before ' foison.'
a lady, from a bas-
relief on an ancient
tomb preserved in the
British Museum.
Notes THE TEMPEST
IV. i. 123. '10 rare a ivonJer\i father and a ivise ;' some few copies of
the first folio are said to read 'â– ivifc'' (a reading independently sug-
gested by Rowe) : the harsh change has little to commend itself.
IV. i. 147, &c. In 7"//!? Tragedy uf Darius, by William Alexander,
afterwards Earl of Sterling, published in the year 1603, occurs the
following passage, which, according to Steevens, may have been the
original of Shakespeare's Speech : —
'â– Let greatnesse of her glascie scepters vaunt :
Not scepters, no but reeds, scene bruis'd, soone broken :
And let this worldlie pomp our wits inchant.
All fades, and scarceli*? leaues behind a token.
Those golden palaces, those gorgeous halles,
With fourniture superfluouslie faire :
Those statelie courts, those sky-encountering walles
Evanish all like vapours in the aire."
IV. i. 193. The folios read 'â– hang on them.''
IV. i. 221. '0 King Stephana.' Peer .' '' a.n allusion to the old song,
often referred to in Elizabethan literature, '• Take thy old cloak about
thee": —
" King Stephen was a worthy peere,
His breeches cost him but a crowne,
He held them sixpence all to deere ;
Therefore he called the taylor Lowne."
The ballad is printed in Percy's Rcliques ; Shakespeare quotes it also
in Othello, II. iii. 92.
IV. i. 231. ^ Let's alone;'' some verb of motion must be understood,
i.e., 'let us go alone' (leaving Trinculo behind); â– alone'' is possibly an
error of the folios for ' along,' as suggested by Theobald.
IV. i. 237. " An allusion to what often happens to people who pass
the line. The violent fevers which they contract in that hot climate
make them lose their hair." — Steevens.
IV. i. 264. '//■«' (probably correctly, the verb preceding the plural
noun), so Ff. ; Camb Ed. ^ lie.'
V. i. 23-24. The first and second folios place a comma after 'sharply,'
making 'passion ' a verb ; the comma is omitted in the third and fourth
folios.
V. i. 39. ^ mushrumps '(the old form of the word), so Fi. ; Camb. and
Mod. Edd. ' mushrooms.'
V. i. 309. ' ir/6/a't'<y,' trisyllabic ; Ff. <â– Lelov'd.'
THE
TWO GENTLEMEN OF VERONA
Preface.
The First 'Edition. ^'''^ ■^"'° ^^"*^^''"'"' of Verona first appeared in
the Folio of 1623, where it immediately follows The Tempest, and occupies
pp. 20-38 : no evidence exists for an earlier edition. A list of the
Dramatis Persons, " The Names of all the Actors," is given at the end of
the play. The text is on the whole free from corruptions ; the most
remarkable errors occur in II. v. i ; III. i. 81 ; V. iv. 129 ; where ' Padua '
and ' Verona ' are given instead of ' Milan.' These inaccuracies are pro-
bably due to Shakespeare's MS. ; the poet had evidently not revised this
play as carefully as his other early efforts.
Several critics are inclined to attribute the final scene to another hand ;
it bears evident signs of hasty composition, and Valentine's renunciation
comes as a shock to one's sensibilities. It must however be borne in mind
that the theme of Friendship versus Love was not uncommon in Eliza-
bethan literature; perhaps the best example is to be found in the plot of
Lyly's ' Campaspe,' where Alexander magnanimously resigns the lady to
Apelles. Shakespeare in his Sonnets XL., xu. , xui. , makes himself enact
the part of Valentine to his Protean friend : —
" Take all my loves, my love, yea, take them all ;
What hast thou then more than thou hadst before?
No love, my love, that thou mayst true love call.
All mine was thine before thou hadst this more."
Date of Composition. The only allusion to the play previous
to its insertion in the First Folio is in the Palladis Tamia, 1598, where
Meres places it first among the six comedies mentioned. Its date cannot
be definitely fixed. The following general considerations place it among
the earliest of Shakespeare's productions, i.e. circa 1590-1592: the sym-
metrical arrangement of the characters; the unnaturalness of some of its
incidents, especially the abrupt denouement; the finely finished regularity
Preface TWO GENTLEMEN
of the blank verse, suggestive of lyrical ratlier than of dramatic poetry,
and recalling the thoughts and phraseology of the sonnets (I. i. 45-50
and Sonnets i.xx., xcv. ; IV. iv. 161 and Sonnet cxxvii.) ; the alternate
rhymes; the burlesque doggerel; the quibbles; and the fondness for
alliteration. Many 'notes' in the play seem to prelude Romeo and Juliet,
and the influence of the story, as though the poet were already meditating
a drama on the theme, is one of the striking characteristics of the play.
Sources of the Play. The greater part of the play seems ulti-
mately derived from the Storj/ of the Shepherdess Fillsmena in the Diana of
Jorge de Montemayor (a Portuguese poet and novelist, 1520-1562).
Bartholomew^ Yonge's translation of the work, though published in 1598,
was finished some sixteen years before {cp. Shakespeare's Library, ed.
Hazlitt, vol. I. part i.). There were other translations of the whole or
part of the romance by Thomas Wilson (1595-6) and by " Edward Paston,
Esquire " (mentioned by Yonge).
Probably Shakespeare was not directly indebted to Montemayor ; as
early as 1584-5 a play was acted at Greenwich " on the Sondaie next
after newe yeares daie at night," entitled The History of Felix and Phiito-
mena; where Felix is certainly the "Don Felix" of the Diana, and
"Philiomena" is a scribal error for " Filismena." Shakespeare's play
may very well have been based on this earlier production.
A similar theme, with a tragic denouement, is to be found in the Comcedia
â– von Julio und Hippolyta, a play acted by the English actors in Germany,
preserved only in a German paraphrase (j:p. Schauspiele der englischen
Kom'odianten in Deutschland, ed. J. Tittmann ; also, Zupitza, " Shakespeare
Jahrhuch,'' xxiii.).
Bandello's Novel of Appolonius and Sylla, which was translated by Riche
(1581), may have suggested certain incidents {cp. Hazlitt's Shakespeare' t
Library, Vol. I. part i.); Sidney's Arcadia {^oo\. I. ch. vi.)— itself greatly
indebted to Montemayor's Diana, Sidney's favourite book — may possibly
be the original of Valentine's consenting to lead the robber-band, and the
speech at the beginning of the scene (V. iv.) in praise of Solitude may
also have been suggested by a passage in the same book.
The Form of th« Plav '" order to understand t\\iifurm of ' The
T1V0 Gentlemen^ — probably the first of Shakespeare's plays dealing with
love-intrigue— the reader must remember that it links itself to the pre-
Shakespearian romantic dramas based on Italian love-stories ; but these
earlier dramas are rare. The best example of the kind extant is without
doubt a very scarce production, registered in the books of the Stationers'
OF VERONA Preface
Company 1584 (and printed soon after), entitled -^ Fidcle and Fortune : the
Receipts in Love discoursed in a Comedie of ij Italian Gentlemen, translated into
English" (by A. M., i.e. probably Anthony Munday). This crude effort
may certainly be regarded as one of the most valuable of the prototypes
of the Shakespearian romantic plays ; it has hitherto been strangely
neglected; (cp. Extracts, printed by Halliwell in his "Illustrations to
the Literature of the sixteenth and seventeenth centuries"*). One is
inclined to think that Shakespeare is indebted for something more than
the title of his first love-play to " The T-wo Italian Gentlemen " In this
connection it is perhaps noteworthy that Meres, as early as 1598, and
Kirkman, as late as 1661, mention Shakespeare's play as 'The Gentlemen
of Verona.' This was perhaps customary in order to distinguish it from
Munday's translated drama.
Forward-Links. The play contains many hints of incidents and
characters more admirably developed in later plays ; e.g. the scenes
between Julia and her maid Lucetta at Verona anticipate the similar talk
between Portia and Nerissa at Belmont ; Julia's disguise makes her the
first of Shakespeare's best-beloved heroines, Portia, Jessica, Rosalind,
Viola, Imogen; Valentine's lament (Act III. sc. i. 11. 170-187), with its
burden of " banished," is heard again as Romeo's death-knell ; the
meeting of Eglamour and Silvia at Friar Patrick's cell suggests the
meeting-place of the two star-crossed lovers at Friar Laurence's.
Launcelot Gobbo owes much to his namesake Launce, and something
also to Speed, whose description of the various signs whereby one may
know a lover finds development in the character of Benedick.
JJuratlon of Time. The Time covered is seven days on the stage,
with intervals between scenes and acts: — Day i: Act I. sc. i. and ii.;
interval of a month or perhaps sixteen months (^cf. iv. 1-21). Day 2:
Act I. sc. iii. and Act II. sc. i. Day 3 : Act II. sc. ii. and iii. ; interval,
Proteus's journey to Milan. Day 4: Act II. sc. iv. and v.; interval of
a few days. Day 5 : Act II. sc. vi. and vii.. Act III. and Act IV. sc. i.;
interval, including Julia's journey to Milan. Day 6 : Act IV. sc. ii.
Day 7 : Act IV. sc. iii. and iv. and Act V. (^cp. Daniel, Neiv Shakespeare
Society 's Transactions , 1877-79).
* Halliwell printed certain scenes in order to illustrate the witchcraft in Macbeth;
it is remarkable that he did not notice the real value of the play.
DRAMATIS PERSONS.
Duke of Milan, Father to Silvia,
Valentine, ~|
„ Vthe ttvo Gentlemen,
Proteus, j
Antonio, Father to Proteus.
Thurio, a foolish rival to Valentine.
EglamouR, Agent for Silvia in her escape.
Host, ivhere Juliu lodges.
Outlaws, ivith Valentine.
Speed, a cloivnish servant to Valentine.
Launce, the like to Proteus.
PaNTHINO, Servant to Antonio.
Julia, beloved of Proteus.
Silvia, beloved of Valentine.
Lucetta, ivaitittg-ivoman to Julia.
Servants, Musicians.
Scene, ^fro/ia; Milan; the frontiers of Mantua^
The
Two Gentlemen of Verona.
ACT FIRST.
Scene I,
Verona. An open place.
Enter VnleJitme and Proteus.
Val. 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. lo
Pro. 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.
Val. And on a love-book pray for my success .''
Pro. Upon some book I love I'll pray for thee. 20
Act I. Sc. i. TWO GENTLEMEN
Val. That's on some shallow story of deep love :
How young Leander cross'd the Hellespont.
Pro. That's a deep story of a deeper love ;
For he was more than over shoes in love.
Fal. 'Tis true ; for you are over boots in love,
And yet you never swum the Hellespont.
Pro. Over the boots ? nay, give me not the boots.
Val. No, I will not, for it boots thee not.
Pro. What ?
Fal. To be in love, where scorn is bought with groans ;
Coy looks with heart-sore sighs ; one fading
moment's mirth 30
With twenty watchful, weary, tedious niglits :
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.
Pro. So, by your circumstance, you call me fool.
Val. So, by your circumstance, I fear you'll prove.
Pro. 'Tis love you cavil at : I am not Love.
Val. Love is your master, for he masters you :
And he that is so yoked by a fool, 40
Methinks, should not be chronicled for wise.
Pro. Yet writers say, as in the sweetest bud
The eating canker dwells, so eating love
Inhabits in the finest wits of all.
Val. 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. 50
OF VERONA Act I. Sc. i.
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.
Pro. And thither will I bring thee, Valentine.
Val. 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 I likewise will visit thee with mine. 60
Pro. All happiness bechance to thee in Milan !
Val. As much to you at home ! and so, farewell. \_Exit.
Pro. 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,