SCENE I.-The same. An Abbey. Enter EGLAMOUR. THE sun begins to gild the western sky; And now, it is about the very hour That Silvia, at Patrick's cell, should meet me. So much they spur their expedition. Enter SILVIA. See, where she comes :-Lady, a happy evening! Out at the postern by the abbey-wall; I fear, I am attended by some spies. Egl. Fear not the forest is not three leagues off; If we recover that, we are sure enough. The same. SCENE II. [Exeunt. An apartment in the Duke's palace. Enter Thu. Sir Proteus, what says Silvia to my suit? Pro. No; that it is too little. Thu. I'll wear a boot, to make it somewhat rounder. Pro. She says, it is a fair one. Thu. Nay, then the wanton lies; my face is black. Pro. Ill, when you talk of war. Thu. But well, when I discourse of love, [Aside. [Aside Jul. But better, indeed, when you hold your peace. Thu. What says she to my valour? Pro. O, sir, she makes no doubt of that. Jul. She needs not, when she knows it cowardice.[Asi. Thu. What says she to my birth? Pro. That you are well deriv'd. Jul. True; from a gentleman to a fool. [Aside Thu. Considers she my possessions? Pro. O, ay; and pities them. Thu. Wherefore! Jul. That such an ass should owe them. [Aside Duke. How now, sir Proteus? how now, Thurio? Which of you saw sir Eglamour of late? Thu. Not I. Pro. Nor I. Duke. Saw you my daughter? Pro. Neither. Duke. Why, then she's fled unto that peasant Valentine; And Eglamour is in her company. 'Tis true; for friar Laurence met them both, As he in penance wander'd through the forest : At Patrick's cell this even; and there she was not: That leads towards Mantua, whither they are fled: Despatch, sweet gentlemen, and follow me. [Exit. [Exit Pro. And I will follow, more for Silvia's love, Than hate of Eglamour that goes with her. [Exit. Jul. And I will follow, more to cross that love, Than hate for Silvia, that is gone for love. [Exit. SCENE III. Frontiers of Mantua. The Forest. Enter SILVIA, and Out. Come, come; Be patient, we must bring you to our captain. 1 Out. Where is the gentleman that was with her? Go thou with her to the west end of the wood, The thicket is beset, he cannot 'scape. 1 Out. Come, I must bring you to our captain's cave : Fear not; he bears an honourable mind, And will not use a woman lawlessly. Sil. O Valentine, this I endure for thee. SCENE IV. [Exeunt. Another part of the Forest. Enter VALENTINE. Thou gentle nymph, cherish thy forlorn swain! What halloing, and what stir, is this to-day? These are my mates, that make their wills their law, Have some unhappy passenger in chace : They love me well; yet I have much to do, To keep them from uncivil outrages. Withdraw thee, Valentine; who's this comes here ? [Steps aside. [6] To record anciently signified to sing. STEEV. It is hardly possible to point out four lines in any of the plays of Shakespeare, more remarkable for ease and elegance. STEEVENS. Enter PROTEUS, SILVIA, and JULIA. Pro. Madam, this service I have done for you, That would have forc'd your honour and your love. Val. How like a dream is this I see and hear! [Aside Sil. By thy approach thou mak'st me most unhappy. Jul. And me, when he approacheth to your presence [Anida Sil. Had I been seized by a hungry lion, Pro. What dangerous action, stood it next to death, Would I not undergo for one calm look ? O, 'tis the curse in love, and still approv'd, When women cannot love where they're belov'd. Sil. When Proteus cannot love where he's belov'd. Read over Julia's heart, thy first best love, For whose dear sake thou didst then rend thy faith Thou hast no faith left now, unless thou hadst two, Pro. In love, Who respects friend? Sil. All men but Proteus. Pro. Nay, if the gentle spirit of moving words Can no way change you to a milder form, I'll woo you like a soldier, at arms' end; And love you 'gainst the nature of love, force you. Su. O heaven! Pro. I'll force thee yield to my desire. Val. Ruffian, let go that rude uncivil touch; Thou friend of an ill fashion! Pro. Valentine ! Val. Thou common friend, that's without faith or love; (For such is a friend now,) treacherous man! Thou hast beguil'd my hopes; nought but mine eye I have one friend alive; thou would'st disprove me. I am sorry, I must never trust thee more, The private wound is deepest: O time, most curst! I tender it here; I do as truly suffer, Val. Then I am paid; And once again I do receive thee honest: Who by repentance is not satisfied, Is nor of heaven, nor earth; for these are pleas'd; By penitence the Eternal's wrath's appeas'd: And, that my love may appear plain and free, All that was mine in Silvia, I give thee.* Jul. O me, unhappy! Pro. Look to the boy. [Faints. Val. Why, boy! why wag! how now? what is the matter? Look up; speak. [8] It is, (I think,) very odd, to give up his mistress thus at once, without any reas Bon alleged. But our author probably followed the stories just as he found them in his novels as well as his histories. POPE. This passage either hath been much sophisticated, or is one great proof that the main parts of this play did not proceed from Shakespeare; for it is impossible he could make Valentine act and speak so much out of character, or give to Silvia so unnatural a behaviour, as to take no notice of this strange concession, if it had been made. HANMER. Transfer these two lines to the end of Thurio's speech in page 63, and all is right. Why then should Julia faint? It is only an artifice, seeing Silvia given up to Valentine, to discover herself to Proteus, by a pretended mistake of the rings. One great fault of this play is the hastening too abruptly, and without due preparation to the denouement, which shews that, if it be Shakespeare's, (which I cannot doubt,) it was one of his very early performances. BLACKSTONE. 16 VOL. I. L |