graphy at defiance, and to have considered countries as inland or maritime just as it suited his fancy or convenience."

Some of the incidents may be supposed to have been taken from The Arcadia, book 1, ch. vi. where Pyrocles consents to head the Helots. The Arcadia was entered on the Stationers' books in 1588. The love adventure of Julia resembles that of Viola in Twelfth Night, and is indeed common to many of the ancient novels.

Mrs. Lennox informs us, that the story of Proteus and Julia might be taken from a similar one in "The Diana" of Montemayor. This pastoral romance was translated from the Spanish in Shakspeare's time, by Bartholomew Young, and published in 1598. It does not appear that it was previously published, though it was translated two or three years before by one Thomas Wilson, perhaps some parts of it may have been made public, or Shakspeare may have found the tale elsewhere. It has before been observed that Meres mentions the Two Gentlemen of Verona in his book, published in 1598. Malone conjectures that this play was the first that Shakspeare wrote, and places the date of its composition in the year 1591. It was first printed in the folio of 1623. S. W. S.

PERSONS REPRESENTED.

DUKE of MILAN, Father to Silvia.

VALENTINE, Gentlemen of Verona.
PROTEUS, S

ANTONIO, Father to Proteus.

THURIO, a foolish Rival to Valentine.
EGLAMOUR, Agent for Silvia in her escape.
SPEED, a clownish Servant to Valentine.
LAUNCE, Servant to Proteus.

PANTHINO, Servant to Antonio.

Host, where Julia lodges in Milan.
Outlaws.

JULIA, a Lady of Verona, beloved by Proteus.
SILVIA, the Duke's Daughter, beloved by Valentine.
LUCETTA, Waitingwoman to Julia.

Servants, Musicians.

SCENE, sometimes in VERONA; sometimes in MILAN; and on the frontiers of MANTUA.

In the old copy, this name is everywhere spelled Protheus, as it is wherever it occurs in cotemporary writers, as in Lodge's "Wits Miserie," &c. It was probably therefore pronounced with a more lengthened sound than Proteus would be. Perhaps the old spelling should have been retained.

Valentine.

EASE to persuade, my loving Proteus; Home-keeping youth have ever homely wits. 1

Wer'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 sluggardiz'd at home, Wear out thy youth with shapeless idleness. But, since thou lov'st, love still, and thrive therein, Even as I would, when I to love begin.

Pro. Wilt thou begone? Sweet Valentine, adieu! Think on thy Proteus, when thou, haply, seest

1 Milton has the same play upon words in his Comus. "It is for homely features to keep home,

They had their name thence."

2 The expression shapeless idleness is admirably expressive, as implying that idleness prevents the giving form or character to

the manners.

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 bead's-man3, Valentine.

Val. And on a love-book pray for my success.
Pro. Upon some book I love, I'll pray for thee.
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.

Val. 'Tis true; but 5 you are over boots in love, And yet you never swam the Hellespont. Pro. Over the boots? nay, give me not the boots. Val. No, I will not, for it boots thee not.

Pro.

What?

Val. To be in love, where scorn is bought with

groans;

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

3 A beads-man is one who offers up prayers to heaven for the welfare of another. In A. Saxon bead is a prayer, and hence the chaplet of little balls used in the Romish church, to number the prayers said, came to be named beads.

The allusion is to Marlowe's poem of Hero and Leander, which was entered on the Stationers' books in 1593, though not published till 1598. It was probably circulated in manuscript in the interim, as was the custom at that period. The poem seems to have made an impression on Shakspeare, who appears to have recently perused it, for he again alludes to it in the third act, and in As You Like It he has quoted a line from it.

The old copy has for, a very probable misprint, which is corrected in Mr. Collier's folio to but.

6 "Nay, give me not the boots :" a proverbial expression, now disused, signifying, 'Don't make a laughing-stock of me.' The French have a phrase Bailler foin en corne: which Cotgrave interprets, 'To give one the boots; to sell him a bargain.' Perhaps deduced from a humorous punishment at harvest home feasts in Warwickshire.

With twenty watchful, weary, tedious nights:
If haply won, perhaps a hapless gain;
If lost, why then a grievous labour won;
However, but a folly bought with wit,
Or else a wit by folly vanquished.

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,

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.
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.

Pro. All happiness bechance to thee in Milan! Val. As much to you at home! and so, farewell! [Exit VALENTINE.

7 Circumstance is used equivocally. It here means conduct;

in the preceding line, circumstantial deduction.

The construction of this passage is, "Let me hear from thee by letters to Milan," i. e. addressed to Milan.