SparkNotes: The Two Gentlemen of Verona: Characters The Two Gentlemen of Verona William Shakespeare Summary Act I, scene i Proteus - Valentine's supposed best friend and one of the title gentleman of Verona, though he behaves in a most ungentlemanly fashion. He is Julia's sweetheart at the beginning of the play, but when he joins Valentine at the Duke's palace, he falls in love with Silvia and attempts to steal her away from Valentine and Thurio. Valentine - The other title gentlemen of Verona. He is Proteus' best friend, and Silvia's love. Banished to the forest after Proteus betrays his plan to elope with Silvia to the Duke, Valentine becomes king of the outlaws. Julia - Proteus' beloved, and mistress to the servant Lucetta. Desiring to travel to Milan to visit Proteus, Julia disguises herself as a high-class male page in order to avoid lecherous advances along the journey. Calling herself Sebastian, she does Proteus' bidding, delivering the ring she had earlier given him to his new beloved, Silvia. Silvia - Daughter to the Duke and beloved of Valentine, also sought after by Proteus and Thurio.

Silvia commiserates with Sebastian over the wrong that Proteus has done to Julia. She escapes her father's palace with the help of Sir Eglamour, who abandons her at the sight of the outlaws. Duke of Milan - Silvia's father, the Duke wants her to marry the boorish but wealthy suitor Sir Thurio. Upon hearing of Valentine's plot to elope with Silvia, the Duke banishes Valentine. Lucetta - Julia's servant, who considers love from a practical point of view. Lucetta helps Julia disguise herself as a man. Launce - Proteus' humorous servant, and master to a poorly-trained mutt named Crab. His devotion to his dog knows no bounds. He falls in love with an ugly but wealthy maid. Speed - Valentine's page, though at the beginning of the play he does Proteus' bidding as well. He is friendly with Launce. Thurio - A foolish rival to Valentine for Silvia's hand. Thurio is very rich, but does not make for pleasant company.

Sir Eglamour - The gentleman upon whom Silvia calls to help her escape from the Duke's court, in order to find her love, Valentine, and to avoid marrying Thurio. Antonio - Father to Proteus and master to the servant Panthino. Host - Houses Julia while she searches for Proteus. Outlaws - When Valentine is banished from Milan, the outlaws intercept him during his journey to Mantua and make him the king of their crew of gentlemen bandits. Crab - Launce's dog. The Two Gentlemen of Verona Characters The Two Gentlemen of Verona Characters First Outlaw The First Outlaw is quite blunt about being the enemy of those whose path crosses his band’s, and considers the stabbing to death of men and the stealing away of women to be no more than petty crimes. He is a banished gentleman of Milan. The Two Gentlemen of Verona (TV Movie 1983) - IMDb IMDb 17 January 2017 4:34 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This!

Keep track of everything you watch; tell your friends. Error The Two Gentlemen of Verona ( 1983 ) 2h 17min In 16th century Italy, two inseparable friends suddenly become rivals for the love of a noblewoman. Director: a list of 19 titles created 21 Nov 2011 a list of 297 titles created 02 Jan 2014 a list of 37 titles created 18 Nov 2014 a list of 10 titles created 10 months ago a list of 76 titles created 1 month ago Title: The Two Gentlemen of Verona (TV Movie 1983) 6.9/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. The swaggering Petruchio agrees to marry the spitting hellcat, Katherine. Director: Jonathan Miller In this modern setting for the Shakespeare classic, two small-town boys head to the big city looking for adventure and romance. But when they both fall for the same girl, friends become rivals.

Director: Katherine Stewart Troilus & Cressida (TV Movie 1981) Drama During the Trojan War, a Trojan warrior is distraught when his lover takes up with a Greek. Director: Jonathan Miller Twelfth Night (TV Movie 1980) Comedy | Drama | Romance Viola and Sebastian are lookalike twins, separated by a shipwreck. Viola lands in Illyria, where she disguises herself like her brother and goes into the service of the Duke Orsino. Orsino ... See full summary » Director: John Gorrie A general becomes convinced that his wife is having an affair, even though there is no evidence. Director: Jonathan Miller The Winter's Tale (TV Movie 1981) Comedy | Drama King Leontes of Bohemia suspects his wife, Hermione, and his friend, Polixenes, of betraying him. When he forces Polixenes to flee for his life, Leontes sets in motion a chain of events ... See full summary » Director: Jane Howell Benedick and Beatrice fight their merry war of words.

But when Beatrice's friend, Hero, is humiliatingly jilted by Benedick's best friend, Claudio, Benedick has to choose which side he's on... See full summary » Director: Stuart Burge A Midsummer Night's Dream I (TV Movie 1981) Comedy The adventures of four young lovers, a group of amateur actors, and their interactions with fairy inhabitants come to light in a moonlit forest. Director: Elijah Moshinsky A rich merchant, Antonio is depressed for no good reason, until his good friend Bassanio comes to tell him how he's in love with Portia. Portia's father has died and left a very strange ... See full summary » Director: Jack Gold Timon of Athens (TV Movie 1981) Comedy | Drama Timon loves to give parties and objects to friends, but when he cannot pay his creditors, his "friends" refuse to help him, and he becomes a misanthropic hermit. Director: Jonathan Miller When the Duke of Vienna takes a mysterious leave of absence and leaves the strict Angelo in charge, things couldn't be worse for Claudio, who is sentenced to death for premarital sex. His ...

See full summary » Director: Desmond Davis In 16th century Italy, two inseparable friends suddenly become rivals for the love of a noblewoman. Director: Hans-Dieter Schwarze Edit Storyline Valentine and Proteus have been friends since childhood. The two are sad when Valentine must leave to work for a count, but Proteus is not too bothered since he is seeing the lovely Julia. Proteus' father, not liking the idea of the match, sends his son away to work with Valentine at the count's court. When Proteus is reunited with his friend again, Valentine introduces him to the beautiful and intelligent noblewoman Silvia. He confesses the two of them are in love and plan to elope. Unfortunately, Proteus becomes infatuated with Silvia upon first sight, forgetting all about Julia, and plans to betray his friend and his love to win Silvia for himself. Written by cupcakes 27 December 1983 (UK) See more » Also Known As: The Complete Dramatic Works of William Shakespeare: The Two Gentlemen of Verona See more » Company Credits Did You Know?

Trivia Director Don 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 composed of metal poles with bits of green tinsel and brown sticks stuck to them (the cast and crew referred to the set as "Christmas at Selfridges"). Whilst the set for Verona remained relatively realistic, that for Milan featured young actors dressed like cherubs as extras. This was to convey the idea that the characters lived in a 'Garden of Courtly Love', which was slightly divorced from everyday reality. Working in tandem with this idea, upon Proteus' arrival in Milan, after meeting Silvia, he is left alone on stage, and the 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 See more » Connections (Vancouver, B.C.) – See all my reviews Though most critics fall over backwards to parrot Harold Bloom's characterization of William Shakespeare's The Two Gentlemen of Verona as "the weakest of all Shakespeare's comedies," I found it to be a very entertaining effort, especially as performed by the BBC-Time-Life ensemble in its 1983 performance. Accolades should go to Joanne Pearce as Sylvia, Tessa Peake-Jones as Julia, John Hudson as Valentine, Paul Daneman as the Duke of Milan, and especially to young Nicholas Kaby as the clownish Speed. Cited among Shakespeare's works in 1598 by Francis Meres but not printed until the First Folio of 1623, the most accepted date for the work is the early 1590s but there are no documented performances. Perhaps, for stylistic reasons, it is often thought of as Shakespeare's earliest comedy.

Shakespeare commentators consider the story to be taken from a Spanish play by Jorge de Montemayor, Diana Enamorada and it was performed in an anonymous English version at court by the Queen's Men in 1585 as The History of Felix and Philomena. Other influences may have been the commedia dell' arte of the Italian playwright Flaminio Scala. Although the work may not be as weak as some have said, it is generally not well thought of because of the unsavory nature of its characters, particularly the cruel betrayal of Julia by Proteus and the disturbing offer made by Valentine to Proteus in the last act. The play indeed is mystifying unless one looks at it as a fascinating look into the mind and heart of the author whose "two gentlemen" may be (as in Measure for Measure) two sides of his own personality, the trusting, open-hearted and the false-malignant. Like Measure for Measure, it is a self appraisal in which the author does not escape indictment.

The story is set in Northern Italy in Verona, Milan, and Mantua and the controversy about its reference to traveling by sea from Verona to Milan and the possibility of shipwrecks has given carte blanche to all those whose goal in life is to prove how little geography Shakespeare actually knew. Although the possibility of shipwrecks does seem rather remote and Shakespeare may have written the play before he was sure of its setting, during the 16th century an extensive canal system did stretch across the Po Valley from Venice, west of Milan, and the Lombard Plain as far as Turin. While some use this play to denigrate Shakespeare, others make the case that the writer showed an astoundingly detailed and accurate knowledge of Italy, demonstrating extensive familiarity with Milanese landmarks such as the Abbey of Saint Ambrose, the Well of St. Gregory, and the Lazaretto. Whether the author visited Italy or not, he makes the audience feel as if everything is coming from rich personal experience. Two Gentlemen is the tale of two friends living in Verona, Valentine and Proteus, whose interests in women lead to complications, none of which are handled very well.

Both interestingly enough are known as writers and, when Valentine's lover Sylvia (daughter of a powerful duke) asks him to write poems for her, he discovers that he is writing not for his lover's contentment but for his own satisfaction. Both Valentine and Proteus are sent to Milan, Valentine to gain worldly experience as he asserts, "Home-keeping youth have ever homely wits", and Proteus on a mission from his father. When Proteus arrives, he discovers that Valentine has fallen in love with Sylvia. Turning his back on Julia to whom he had offered undying devotion, he begins to court Sylvia, even while knowing that she loves Valentine and, has been pledged to Thurio by her father. Treachery, plotting, and cruelty abound throughout the play and in the final scene, as Proteus threatens Sylvia who is betrothed to Valentine woo you like a soldier, at arms' And love you 'gainst the nature of love  force ye. As Valentine rushes in to save his lady, Proteus puts his sins behind him: O heaven, were man But constant, he were perfect! That one error Fills him with faults, makes him run through all th' sins.

To which Valentine responds incongruously: Then I am paid; And once again do I receive thee honest. And, that my love may appear plain and free, All that was mine in Silvia I give thee. It is an offer that, under the circumstances of a threatened assault, is unfathomable if addressed to another person, but conceivable if addressed to oneself and inaudible to their object. As in Measure for Measure, however, all dishonor is forgiven and the perpetrator, after exposing his faults for all the world to see, is let off the hook with a large measure of unearned compassion. If these events are not the substance of the dramatist's life, they make no sense whatsoever. To paraphrase author Elisabeth Sears, it is clear that in dealing in his plays with the themes that tormented him in real life as a means of exorcising his troubles, Shakespeare was able to transform his anguish into artistic creativity of the highest order. 7 of 7 people found this review helpful. Was this review helpful to you?

Yes The Two Gentlemen of Verona Washington State University THE TWO GENTLEMEN OF VERONA Wells thinks this is Shakespeare's "first surviving play" (40) partly because of its slightness (e.g., it has the smallest cast list). Bloom declares it "the weakest of all Shakespeare's comedies" (36), at best maybe an "experimental comedy" (Bloom 36), and Goddard acknowledges it "contains some of the most boring 'wit'" (I 42). Asimov even wonders if "the version we now have is a mangled copy of the real play" (465). But this is the play being presented to Queen Elizabeth near the start of Shakespeare in Love, and as Henslowe says of it and its audience, "Comedy. Love and a bit with a dog. That's what they want." The play contains numerous themes and moments that will remind you of other more famous, and better, Shakespeare plays, to which it serves in some ways as a "limping forerunner" (Anne Barton in the Riverside introduction 177).

In this respect, it is "an anthology of bits and pieces waiting to be crafted into more compelling drama (Garber 43). Julia, for example, seems to be the first instance we have of Shakespeare putting a female character in male disguise. But the "orchestration" of these themes is crude at this stage (Barton 178). The closest source of the play seems to be Diana Enamorada, written in Spanish by the Portuguese Jorge de Montemayor in 1542 but not translated into English until 1598 (Asimov 465). The Felix and Felismena story had other incarnations, such as Felix and Philiomena (1585) and in Part I of Don Quixote in which the Valentine character is named Cardenio (Barton 178). The friendship theme, or friendship vs. love, could be found in the Palamon and Arcite stories, and perhaps Damon and Pithias (credited to Richard Edwards in 1565) was an influence (Barton 178).

In Oxfordian studies, although the elder Ogburns favor an early 1570s date (Ogburn and Ogburn 971), Eva Turner Clark considers the play from the late 1570s and reads it as a loose allegory to the state of affairs between Queen Elizabeth (Silvia) and the Duke of Alençon (Valentine) with Verona representing Paris, Milan as London, and Mantua as Flanders. Proteus she reads as envoy Simier, who was to conduct marriage negotiations between Elizabeth and Alençon but began wooing her himself. Speed, she says, is Christopher Hatton, but Thurio is more likely, I'd say. (Speed is too sharp.) There's another Oxfordian speculation that the title translates into Two Gentlemen of Ver-Ona, or The Two Gentlemen from One Vere (Ogburn and Ogburn 222, 979; Ogburn 521), a psycholiterary notion that may begin to explain the bizarre features of the last scene. Even orthodox critics detect phases of revision (Barton 177), which makes Oxfordian sense.

The admitted "lyrical grace" (Wells 41) of the play would "suggest that it was the work of a man still more at home with narrative or lyrical verse than with drama" (Barton 178). Wells praises this "appealing verse, passages of which would be entirely at home in the poetical anthologies of the period" (Wells 41) -- perhaps, for example, A Hundreth Sundrie Flowres. ACT I SCENE i The setting is Verona in north-central Italy. Valentine wants his longtime friend Proteus (consider the implications of the names) to travel with him to Milan, "To see the wonders of the world abroad / [Rather] Than (living dully sluggardiz'd at home) / Wear out thy youth with shapeless idleness" (I.i.6-8). [This is all very much the de Vere theme of the 1570s (Farina 26).] But Proteus is in love and wants to stay in Verona.

The two exchange wit about drowning and pun on the word "boots." Valentine is skeptical about love: 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. (I.i.47-50) That Valentine refers to being immediately "shipp'd" (I.i.54) has caused critics to insist that Shakespeare is ignorant of or reckless with Italian geographical details: how can Valentine take a sea-voyage from Verona to Milan when both are inland cities? Ogburn speculates that "Valentine's being shipped from Verona harks back to the dramatist's own embarkation from one Italian port to another, perhaps to an original conception of the play, before Verona was decided on" (308). But even Asimov acknowledges that the Adige river would have sufficed (467), and Farina reminds us of the significant inland waterways and canals making intercity travel not only possible but common (27).

Proteus remains committed to love, not adventures or "honor" (I.i.63), and he anticipates Valentine, a mocker of love (despite his name), will be smitten at some point. It seems as if we are expected to take a "sympathetic if slightly patronizing interest" in these two (Wells 41). "These young men are at a crucial stage of life, the stage at which the demands of love are beginning to take precedence over youthful camaraderie" (Wells 40). So the play begins just barely with the "paradisal twinship prior to differentiation" (Garber 44). Valentine departs and Proteus notes to himself that Julia has "metamorphis'd" him (I.i.66). [The rare word is "reminiscent" of Ovid's Metamorphoses, the first English translation of which was managed by Oxford's uncle, Arthur Golding (Clark 307).] Valentine's servant, the cheeky Speed, banters with Proteus a while about sheephood.

[Use of the terms "sheep" and "mutton" call to mind Sir Christopher Hatton -- these were Elizabeth's nicknames for him (Clark 305-306; Ogburn and Ogburn 226).] The casting of a young, pathologically cheery boy on the part of the BBC production is ill-advised, considering Speed's occasionally bawdy jokes (e.g., I.i.79f) and the drinking alluded to later. Proteus had sent Speed on an errand to deliver a love letter to Julia, but Speed has received a cold reaction and irks Proteus with punning and chop-logic. Speed is a "trifler and trickster with words" which quickly grows tiresome (Goddard, I 44), as it seems Shakespeare himself eventually will feel too. Proteus dismisses Speed: "Go, go, be gone, to save your ship from wrack, / Which cannot perish having thee aboard, / Being destin'd to a drier death on shore" (I.i.148-150). The notion is proverbial and occurs in The Tempest too.

SCENE ii Julia discusses with her waiting-woman Lucetta the advisability of love. [The two seem like cutesy prototypes of Portia and Nerissa from The Merchant of Venice, or Rosalind and Celia in As You Like It, and the elder Ogburns think that intervening events in the late 1570s shifted de Vere's attentions from this play to the early version of The Merchant of Venice (Ogburn and Ogburn 229).] Lucetta thinks Julia's suitor Sir Eglamour is okay, and Mercatio is rich, but Proteus is best. Much of this dialogue occurs in rhyming verse: Julia: They do not love that do not show their love. Lucetta: O, they love least that let men know their love. (I.ii.31-32) Julia, feigning haughty indifference, acts alternately irritated and sympathetic about Proteus' letter (which we were led to believe he had delivered directly to her: another example of botched revision?).

After some intelligent musical wordplay, Julia tears up the letter, then immediately regrets it: "O hateful hands, to tear such loving words!" (I.ii.102). She examines fragments with amusingly sentimental anthropomorphism, so that it is as if love text has come to life: much like this play itself. Lucetta calls Julia off to dinner. SCENE iii Proteus' father, Antonio, listens to his servant Panthino explain that Antonio's brother (Valentine's father) is surprised that Antonio has Proteus remain home "While other men, of slender reputation, / Put forth their sons to seek preferment out" (I.iii.6-7). The term "importune" occurs a couple times (I.iii.13, 17), suggesting that Oxford is thinking of a poem echoed later in the play (Ogburn and Ogburn 973). Antonio agrees that Proteus should join Valentine at the court of the "Emperor" in Milan -- he'll be a Duke later; aristocratic titles are "hazy" at this point (Wells 40).

(This is also another de Vere advertisement for travel.) Proteus arrives in a love-fog with a letter from Julia: "Here is her hand, the agent of her heart" (I.iii.46) -- a line prefiguring something similar in Much Ado About Nothing. Proteus tells Antonio the letter is actually from Valentine; nevertheless, Antonio decides Proteus must prepare to go abroad. Proteus reflects briefly on his plight. The Two Gentlemen of Verona - Shakespeare's Data Shakespeare's Data datacard The Two Gentlemen of Verona Facts collected from tagged text on this page Facts about this page The Two Gentlemen of Verona by William Shakespeare, Directed by Jonathan Croy Ella Hadden. First rehearsal. The Two Gentlemen of Verona. Shakespeare & Company 2016. Photo by Ava G. Lindenmaier. Shahar Isaac. The Two Gentlemen of Verona, Rehearsal. Shakespeare & Company 2016. Photo by Ava G. Lindenmaier. Thomas Brazzle and Kate Abbruzzese. The Two Gentlemen of Verona, Rehearsal. Shakespeare & Company 2016. Photo by Ava G.

Lindenmaier. The Two Gentlemen of Verona, Rehearsal. Shakespeare & Company 2016. Photo by Ava G. Lindenmaier. Bella Merlin. The Two Gentlemen of Verona, Rehearsal. Shakespeare & Company 2016. Photo by Ava G. Lindenmaier. Ryan Winkles and Thomas Brazzle. The Two Gentlemen of Verona, Rehearsal. Shakespeare & Company 2016. Photo by Ava G. Lindenmaier. Kate Abbruzzese and Tamara Hickey. The Two Gentlemen of Verona, Rehearsal. Shakespeare & Company 2016. Photo by Ava G. Lindenmaier. Ryan Winkles and Thomas Brazzle. The Two Gentlemen of Verona, Rehearsal. Shakespeare & Company 2016. Photo by Ava G. Lindenmaier. Artists Kate Abbruzzese (Julia) fourth season with S&Co: Portia, Casca Julius Caesar; title role Hamlet; Susie Parasite Drag.

Off Broadway: Ann Weis Scotty; Carl Linnaeus My Favorite Character Was the Talking Vase. Regional: Lizzy Bennet Pride and Prejudice (Baltimore Center Stage); Miranda, the Tempest , Allie Dairyland (Chautauqua Theatre Company); Perdita, The more (Julia) fourth season with S&Co: Portia, Casca Julius Caesar; title role Hamlet; Susie Parasite Drag. Off Broadway: Ann Weis Scotty; Carl Linnaeus My Favorite Character Was the Talking Vase. Regional: Lizzy Bennet Pride and Prejudice (Baltimore Center Stage); Miranda, the Tempest , Allie Dairyland (Chautauqua Theatre Company); Perdita, The Winter’s Tale(Hudson Valley Shakespeare Festival); title role Sylvia (Florida Studio Theatre); Desdemona Othello (Tennessee Shakespeare Festival). Recipient of the Molly Thatcher Kazan Memorial Award, the Ron Van Lieu Scholarship, and the Olympia Dukakis Scholarship. MFA in NYU Graduate Acting (Class of 2015). Peter Andersen (Pantheno) Second season with S&Co.

Previous roles: Ensemble, Shakespeare and the Language that Shaped a World; Laertes, Hamlet; Avery, The Flick (Company One), Peter, Henry VI Pt 2 (Actor’s Shakespeare Project); Aaron, Titus Androncisu (The Humanist Project); Cassius, Julius Caesar (Emerson College); and Brutus, Julius Caesar (S&Co Conservatory). Peter obtained more (Pantheno) Second season with S&Co. Previous roles: Ensemble, Shakespeare and the Language that Shaped a World; Laertes, Hamlet; Avery, The Flick (Company One), Peter, Henry VI Pt 2 (Actor’s Shakespeare Project); Aaron, Titus Androncisu (The Humanist Project); Cassius, Julius Caesar (Emerson College); and Brutus, Julius Caesar (S&Co Conservatory). Peter obtained his BFA in Acting from Emerson College. He has worked as an administrator and educator for Steppenwolf Theatre Company, and has worked at TimeLine Theatre, Huntington Theatre Company and the Oregon Shakespeare Festival as an assistant director. He also runs the popular Shakespeare in the Pub series in New York and Boston.

As a director Peter has created several immersive pieces including The Cafe Collections and O/A: The Sophocles Project. Visit his webpage at: Jason Asprey (Speed) Twentieth season. Recent S&Co: Priest, Mother of the Maid; Cassius, Julius Caesar; Ferdinand, Love’s Labour’s Lost; Derek, Accomplice; Richard Hannay, The 39 Steps; Parasite Drag; Frank, The Memory of Water; Autolycus, The Winter’s Tale; Lord Hastings/Oxford, Richard III and Hamlet (Title Role). Recent Regional: Cassius, Julius Caesar (Orlando Shakespeare more (Speed) Twentieth season. Recent S&Co: Priest, Mother of the Maid; Cassius, Julius Caesar; Ferdinand, Love’s Labour’s Lost; Derek, Accomplice; Richard Hannay, The 39 Steps; Parasite Drag; Frank, The Memory of Water; Autolycus, The Winter’s Tale; Lord Hastings/Oxford, Richard III and Hamlet (Title Role).

Recent Regional: Cassius, Julius Caesar (Orlando Shakespeare Theatre); Robert, Betrayal (Nora Theatre); Eduard Einstein, Einstein’s Dreams (Culture Project NYC) and Mercutio, Romeo and Juliet (Swine Palace), and Theatre in England, where he has also worked in TV and film. Erick Avari (Duke) First season with S&Co. Erick owes his training and success in the industry to Shakespeare & Company and is delighted to be returning after 35 years. Broadway: The King & I, Rasputin. Off Broadway: A Map of the World, A Midsummer Night’s Dream and 'Tis Pity She’s a Whore more (Duke) First season with S&Co. Erick owes his training and success in the industry to Shakespeare & Company and is delighted to be returning after 35 years. Broadway: The King & I, Rasputin. Off Broadway: A Map of the World, A Midsummer Night’s Dream and 'Tis Pity She’s a Whore (Joe Papp’s Public Theater). The Mormon Project (for Mabou Mines); The Screens (Guthrie Theater); To Die for Grenada (Cleveland Playhouse).

Film: Stargate, The Mummy, Mr. Deeds, Daredevil, Planet Of The Apes, Hachi: A Dog’s Story. TV: Heroes, The Brink, Star Trek (TNG, DS9 & Enterprise), SG1, Madam Secretary etc. Thomas Brazzle (Proteus) Third season with S&Co: Bagot, Richard II; Francisco, The Tempest; Salisbury, King Lear; Walter, Kaufman's Barbershop. Regional: Franco Wicks, Superior Donuts (TheatreSquared, AR); Alonzo, World Premiere of Look Away); Reggie, Sam (New Play Fest, Portland Stage); Axel, The Pelican (NYC); Aaron, Titus (NYC); Tybalt, Romeo and Juliet); Borachio, Much more (Proteus) Third season with S&Co: Bagot, Richard II; Francisco, The Tempest; Salisbury, King Lear; Walter, Kaufman's Barbershop.

Regional: Franco Wicks, Superior Donuts (TheatreSquared, AR); Alonzo, World Premiere of Look Away); Reggie, Sam (New Play Fest, Portland Stage); Axel, The Pelican (NYC); Aaron, Titus (NYC); Tybalt, Romeo and Juliet); Borachio, Much Ado About Nothing; Alsatian Fogerty, Peter Pan. Thomas is a NYC playwright and holds an MFA from UCONN, and is a proud member of Actors Equity Association. Jonathan Croy (Director) Thirtieth season with S&Co. Artistic Director and Company member since 1982, Jon has played more than 70 roles in over 60 plays. Directing credits with the Company include Richard III, The Compleat Wrks of Wm Shkspr (Abridged), Twelfth Night, The Real Inspector Hound, A Midsummer Night’s Dream, The 39 more (Director) Thirtieth season with S&Co. Artistic Director and Company member since 1982, Jon has played more than 70 roles in over 60 plays.

Directing credits with the Company include Richard III, The Compleat Wrks of Wm Shkspr (Abridged), Twelfth Night, The Real Inspector Hound, A Midsummer Night’s Dream, The 39 Steps, Julius Caesar, Private Eyes, Romeo & Juliet and Scapin. Jon has been a mainstay of our award-winning Education Program for more than a quarter century. Michael Fuchs (Antonio) First season with S&Co. New York: David, Company; Ensemble, Pantagleize; Regional: Antipholus of Syracuse, Comedy of Errors; Bridegroom Blood Wedding; Rev. John Witherspoon, 1776; Aslan The Lion, the Witch and the Wardrobe; Arnold Needham, No Sex Please, We’re British. Michael holds degrees from MIT, the University of Pennsylvania, and more (Antonio) First season with S&Co. New York: David, Company; Ensemble, Pantagleize; Regional: Antipholus of Syracuse, Comedy of Errors; Bridegroom Blood Wedding; Rev.

John Witherspoon, 1776; Aslan The Lion, the Witch and the Wardrobe; Arnold Needham, No Sex Please, We’re British. Michael holds degrees from MIT, the University of Pennsylvania, and the University of Leicester in the UK. He trained at New York’s HB Studio and at Shakespeare and Company, and is an Equity Membership Candidate. Deaon Griffin-Pressley (Outlaw 3) is overjoyed to be making his Shakespeare & Company debut. A NYC based actor/playwright, studied at the British American Drama Academy in Oxford, England, and has acted with the American Globe Theatre, Oxford Shakespeare Company, The Philadelphia Shakespeare Theatre, & Hypokrit Theatre Company. Favorite portrayed Shakespearean roles include: more (Outlaw 3) is overjoyed to be making his Shakespeare & Company debut. A NYC based actor/playwright, studied at the British American Drama Academy in Oxford, England, and has acted with the American Globe Theatre, Oxford Shakespeare Company, The Philadelphia Shakespeare Theatre, & Hypokrit Theatre Company. Favorite portrayed Shakespearean roles include: Orsino, Macbeth, Tybalt/Mercutio, Hortensio & Clarence.

Follow Deaon on Facebook, or follow his Twitter & IG @dgppoetry. A huge thanks to Jon, Ariel, Tina, & Catherine for their support and believing in my work! John Hadden (Launce) has worked in theaters here and abroad, as well as on TV and radio, independent films, schools and universities. He is a founding member of Shakespeare & Co, was artistic director of Counterpoint Theater (Boston), of the Hubbard Hall Theater Co (Cambridge, NY), and associate artist with We Players more (Launce) has worked in theaters here and abroad, as well as on TV and radio, independent films, schools and universities. He is a founding member of Shakespeare & Co, was artistic director of Counterpoint Theater (Boston), of the Hubbard Hall Theater Co (Cambridge, NY), and associate artist with We Players (San Francisco). This year he is touring a solo show based on his book Conversations with a Masked Man: My Father, the CIA, and Me (Arcade, 2016). He is pleased to be back, and happy to working with his dog Ella (as Crab). More at johnlhadden.com and maskedman.org .

Tamara Hickey (Lucetta) First season with S&Co. Regional: Rachel, Appropriate (SpeakEasy Stage); Mel, God’s Ear-(Elliot Norton Award Best Actress & Best Production); Katherine, Henry VIII; Dionyza, Pericles; Briseis, Living In Exile (all for Actors’ Shakespeare Project); Diane, Rancho Mirage (New Repertory Theatre); Texas, Cabaret (American Repertory Theatre-IRNE Award Best Ensemble). Film: Good more (Lucetta) First season with S&Co. Regional: Rachel, Appropriate (SpeakEasy Stage); Mel, God’s Ear-(Elliot Norton Award Best Actress & Best Production); Katherine, Henry VIII; Dionyza, Pericles; Briseis, Living In Exile (all for Actors’ Shakespeare Project); Diane, Rancho Mirage (New Repertory Theatre); Texas, Cabaret (American Repertory Theatre-IRNE Award Best Ensemble). Film: Good Kids, Irrational Man, We Don’t Belong Here, The Judge, In Your Eyes, Against The Ropes.

TV: “Bull” (pilot); “The Secret Life Of Marilyn Monroe”; “Olive Kitteridge”; “Chasing Life”, “The Makeover”, “Gilded Lilys” (pilot), “Army Wives”, “One Life To Live”; Canadian TV: “Blue Murder (Series Lead), “The Associates” (Series Lead); MFA American Repertory Theatre. Cloteal Horne (Sylvia) is pleased to be returning to S&Co for a third season: Comedy of Errors, A Midsummer Night’s Dream; Off-Broadway: The Steadfast (Slant Theatre Project); Dirty Blood (Billie Holiday Theatre). Regional: Saturday Night/Sunday Morning (Lyric Stage Company); She A Gem (New York Theatre Workshop); To Kill a Mockingbird (Weston Playhouse); more (Sylvia) is pleased to be returning to S&Co for a third season: Comedy of Errors, A Midsummer Night’s Dream; Off-Broadway: The Steadfast (Slant Theatre Project); Dirty Blood (Billie Holiday Theatre).

Regional: Saturday Night/Sunday Morning (Lyric Stage Company); She A Gem (New York Theatre Workshop); To Kill a Mockingbird (Weston Playhouse); A Funny Thing Happened… (BarnStormers); The Clothesline Muse (Aion Productions); Little Row Boat (Huntington Theatre); How We Got On (CompanyOne); Romeo & Juliet (New Rep); Othello (Actors' Shake. Project). Holds a BFA from BU. She sends endless love to Mama Cloteal, her Fairy Godparents, and the Roots in her Life. Shahar Isaac (Eglamore) First season with S&Co. Regional: Bar Giora, Yael Farber's Salome (Shakespeare Theatre Company); Our Town (George Street Playhouse). International: Valentine, Two Gentlemen of Verona (Shakespeare’s Globe, London). New York: Dancing Turtle (Winner of the Samuel French OOB Festival); The Djinns of Eidgah, Workshop (The Play Company). AlphaNYC: Oy!, Glee more (Eglamore) First season with S&Co.

Regional: Bar Giora, Yael Farber's Salome (Shakespeare Theatre Company); Our Town (George Street Playhouse). International: Valentine, Two Gentlemen of Verona (Shakespeare’s Globe, London). New York: Dancing Turtle (Winner of the Samuel French OOB Festival); The Djinns of Eidgah, Workshop (The Play Company). AlphaNYC: Oy!, Glee Club. Players Theatre: A Story Conference in Pilot Season, The More Things Change. Workshop Theatre Company: The Medicine Show (Workshop). Film: Price For Freedom. Television: Person of Interest, Deadly Sins. Training: Rutgers University, BFA in Acting; Shakespeare’s Globe in London. Bella Merlin (Hostess/Outlaw 1) First season with S&Co. Regional: Margaret, Richard III; Nell, Nell Gwynne: A Dramatick Essaye on Acting and Prostitution. UK: Susanna Cibber, A Laughing Matter, 2nd Bereaved Mother, The Permanent Way (National Theatre); UK Regional: Masha,The Seagull; Celia As You Like It. Film: Mente Revolver.

TV: Doctors (BBC); Casualty more (Hostess/Outlaw 1) First season with S&Co. Regional: Margaret, Richard III; Nell, Nell Gwynne: A Dramatick Essaye on Acting and Prostitution. UK: Susanna Cibber, A Laughing Matter, 2nd Bereaved Mother, The Permanent Way (National Theatre); UK Regional: Masha,The Seagull; Celia As You Like It. Film: Mente Revolver. TV: Doctors (BBC); Casualty (BBC). Publications: The Complete Stanislavsky Toolkit; Facing the Fear: An Actor's Guide to Overcoming Stage Fright. Training: State Institute of Cinematography, Moscow. Bella holds a PhD from Birmingham University, UK, and is Professor of Acting and Directing at UC Riverside. She is a proud member of Actors Equity Association.

Ryan Winkles (Valentine) Eleventh season with S&Co: Henry V; It’s a Wonderful Life; Complete Works; Mother Courage; Love’s Labour’s Lost; The Tempest; King Lear; As You Like It; Hound of the Baskervilles; Irma Vep; The Learned Ladies; Richard III; Twelfth Night; Othello; A Midsummer Night’s Dream; Antony & Cleopatra; Merry Wives; Julius more (Valentine) Eleventh season with S&Co: Henry V; It’s a Wonderful Life; Complete Works; Mother Courage; Love’s Labour’s Lost; The Tempest; King Lear; As You Like It; Hound of the Baskervilles; Irma Vep; The Learned Ladies; Richard III; Twelfth Night; Othello; A Midsummer Night’s Dream; Antony & Cleopatra; Merry Wives; Julius Caesar NE Tour; Macbeth NE Tour.

Regional: Stephen, Visitors (Martha's Vineyard Playhouse); Bassanio, Merchant of Venice (Elements Theatre Company); Lincoln, Babylon Revisited (Ark Theatre Company); Joe, Old Mezzo (WAM Theatre); Claude, Muskie Love (Madison Rep); Buddy, Christmas Memory; Bentley, Misalliance (Milwaukee Chamber Theatre). Film/TV: Doug Trumbull’s UFOTOG; Time Traveling Bong (Comedy Central). Ryan holds a BA from FSU, an MFA from UW-Madison, and is a proud member of Actors Equity. Dylan Wittrock (Thurio) First season with S&Co. Dylan grew up performing Shakespeare with his father and brother, and has acted in more plays than he can remember. He has performed at the Hollywood Bowl, performed improv at the Chicago Theater, and busked streets of the Royal Mile at the Fringe Festival in more (Thurio) First season with S&Co. Dylan grew up performing Shakespeare with his father and brother, and has acted in more plays than he can remember.

He has performed at the Hollywood Bowl, performed improv at the Chicago Theater, and busked streets of the Royal Mile at the Fringe Festival in Edinburgh, Scotland. Recent New York theater credits: Young Scrooge, A Christmas Carol (Titan Theater Company); Kent, Edward II (The Tank); Bill, A Long Goodbye by Tennessee Williams (The Williams Project at Theater Row); Idealism, Rough Draft (Improbable Stage at The Wild Project). Proud alumni of Atlantic Theater Company Acting School (Evening Conservatory, 2015-16). Related Two Gentlemen of Verona by Shakespeare, First Edition - AbeBooks Two Gentlemen of Verona by Shakespeare, First Edition You Searched For: Results (1 - 30) of 45 1 Published by Yale University Press (1924) Used First Edition Published by Yale University Press (1924) Used First Edition Shakespeare, William, Betken, William T. Published by Valentine Pub.

& Drama Co./Bardavon Books (1982) ISBN 10: 094167200X ISBN 13: 9780941672009 Used First Edition Shakespeare, William, Betken, William T. Published by Valentine Pub. & Drama Co./Bardavon Books (1982) ISBN 10: 094167200X ISBN 13: 9780941672009 Used First Edition Shakespeare ( ed. by W. G. Boswell-Stone ) Published by Duffield and Company, New York (1908) Used Hardcover First Edition Shakespeare, William; Edit. By Sir Arthur Quiller-Couch & John Dover Wilson Published by Macmillan (1921) Destination, Rates & Speeds Item Description: Macmillan, 1921. Hard Cover. Book Condition: VERY GOOD ++++. Dust Jacket Condition: VERY GOOD. First Edition.

***FIRST EDITION**** CAMBRIDGE SHAKESPEARE series/ ABSOLUTELY UNUSUALLY BRIGHT BEAUTIFUL UNREAD UNUSED COPY in Bright Clean JACKET, not price clipped/ UNTOUCHED TEXT, 110 pages with LOVELY FRONTIS WITH TISSUE GUARD/ BEAUTIFUL BRIGHT VIVID FULL BROWN CLOTH BINDING/ DJ shows some tone/burnishing around edges and spine and flap fold edges, one tiny tear, few nicks, tiny frays to tips, edge/ UNUSUAL IN THIS CONDITION and with jacket for this series, esp. this early prtg. Bookseller Inventory # 059658 Published by Yale Univeristy Press, New Haven, CT (1924) Used Hardcover First Edition Destination, Rates & Speeds Item Description: Yale Univeristy Press, New Haven, CT, 1924. Hardcover. Book Condition: Very Good. Dust Jacket Condition: No Jacket as Issued. 1st. First Edition, Thus; blue c; some sunning of spine & edges 105 clean, unmarked pages Size: 12 vo.

Bookseller Inventory # 101908 Shakespeare, William; Betken, William T. Published by Bardavon Books, New York (1982) ISBN 10: 0941672018 ISBN 13: 9780941672016 Used Soft Cover First Edition Quantity Available: 1 Shakespeare, William; Betken, William T. Published by Bardavon Books, New York (1982) ISBN 10: 094167200X ISBN 13: 9780941672009 Used Hardcover First Edition Shakespeare, William / Boswell-Stone, W G [ed] Published by Duffield, New York (1908) Used Hardcover First Edition ISBN 10: 0192831429 ISBN 13: 9780192831422 New Softcover First Edition Destination, Rates & Speeds Item Description: Oxford University Press, 2008. Book Condition: New. 2008. 1st Edition. Paperback.

Designed to meet the needs of theatre professionals, as well as general readers, the edition includes an extensive performance history, a commentary illuminating the complexities of Shakespeare's language, and a setting of the song 'Who is Silvia?' prepared from an Elizabethan source. Editor(s): Warren, Roger. Series: Oxford World's Classics. Num Pages: 208 pages, 9 black and white halftones. BIC Classification: 2AB; DDS. Category: (G) General (US: Trade). Dimension: 195 x 129 x 13. Weight in Grams: 224. . . . . . . Bookseller Inventory # V9780192831422 Published by Clarendon Press, Oxford (1969) Used Hardcover First Edition Destination, Rates & Speeds Item Description: Clarendon Press, Oxford, 1969. Original Cloth. Book Condition: Very Good. Dust Jacket Condition: good. First edition. 209 pages. Dustjacket. Letter J Stamp on half title & title page. Spine, covers & corners slightly worn. Top and bottom spine somewhat worn.

Dustjacket somewhat worn, somewhat soiled & somewhat faded in parts. Quantity Available: 1. Category: Literary History & Criticism; Pictures of this item not already displayed here available upon request. Inventory No: 012308. Bookseller Inventory # 012308 ISBN 10: 0941672018 ISBN 13: 9780941672016 Used Softcover First Edition Destination, Rates & Speeds Item Description: Valentine Pub & Drama Co, Ashland, Oregon, U.S.A., 1982. Softcover. Book Condition: Very Good. First Edition. softcover, 284 pages, ex reference library with usual marks, otherwise very good clean and complete. shelf 214. Size: 8vo - over 7¾" - 9¾" tall. Ex- Reference Library.

Bookseller Inventory # 76765 William Shakespeare, Edited By Karl Young Published by Yale University Press (1924) ISBN 10: 0300009402 ISBN 13: 9780300009408 Used Hardcover First Edition Destination, Rates & Speeds Item Description: Yale University Press, 1924. Cloth. Book Condition: Very Good. Dust Jacket Condition: No Dust Jacket. First Edition. 12mo - over 6¾" - 7¾" tall. spine & edges faded, else clean & tight - Since 1997 delivering quality books to our neighbors, all around the world!. Bookseller Inventory # 0005713 Published by Bigelow, Smith & Co (1909) Used Hardcover First Edition Destination, Rates & Speeds Item Description: Bigelow, Smith & Co, 1909. Hardcover. Book Condition: Fair. No Jacket. 1st Thus. 3/4 leather with marbled paper; titles on spine are in gilt; pages are clean and securely bound. Wear to corners, top and bottom of spine are gone.

From one of one thousand sets printed. 8vo - over 7¾" - 9¾" tall. Discount on multiple volumes! Size: 8vo - over 7¾" - 9¾" tall. Bookseller Inventory # 006246 Shakespeare, William & Hudson, Henry N [editor] Published by T C & E C Jack, Causewayside - The Windsor Shakespeare (1902) Used Hardcover First Edition Destination, Rates & Speeds Item Description: T C & E C Jack, Causewayside - The Windsor Shakespeare, 1902. 1st edition.. Cloth, VG+. 80pp, b/w frontis, top edge gilt, fore edges untrimmed which has resulted in some pages un-opened, endpapers a little yellowed, otherwise a bright, attractive copy. A well produced edition of the works, Henry Hudson's note were originally prepared for the Harvard Edition.

Bookseller Inventory # 47654 Shakespeare, William & Dover-Wilson J & Quiller Couch, Sir Arthur [editors] Published by Cambridge University Press (1921) Used Hardcover First Edition Published by Penguin (New Penguin Shakespeare), GB (1968) Used Paperback First Edition Published by Penguin Shakespeare / Penguin Books, 1956 (1956) Used First Edition Published by Cambridge University Press (1955) Used First Edition Published by J.M. Dent And Co. (1894) Used Hardcover First Edition Destination, Rates & Speeds Item Description: J.M. Dent And Co., 1894. Hardcover. Book Condition: Very Good. First Edition Thus. Limp maroon leather covers with gilt title to spine and gilt crest to front. Slight rubbing to spine and corners. Black and white frontis. Some foxing to end papers. 112pp.

Bookseller Inventory # 021222 Shakespeare, William (Author) / Young, Karl (Editor) Published by Yale / Oxford University Press (1924) Used Hardcover First Edition Destination, Rates & Speeds Item Description: Yale / Oxford University Press, 1924. Hard Cover. Book Condition: Very Good. First Edition: First Printing. 4.5 x 7 in.: 105 pages. No Jacket as Issued. Scarce, Out Of Print, Book. Spine is only slightly faded. Boards and pages are clean, unmarked, bright, tightly bound and sharp cornered. Boards are blue cloth with gilt lettering on front and spine. If interested, I have many additional volumes available in this Yale Shakespeare series. "Two close friends, Proteus and Valentine, are divided when Valentine is sent to the Duke's court in Milan. Proteus later follows, leaving behind his loyal beloved, Julia, and he and Valentine both fall in love with the Duke's daughter, Silvia. Valentine proves himself brave and honourable, while Proteus is underhand and deceitful - and eventually attempts to rape Silvia.

Julia follows her betrothed to Milan, disguised as a boy, Sebastian, who becomes Proteus' page. Eventually Proteus sees the error of his ways and returns to Julia, while Valentine marries Silvia.". Bookseller Inventory # 010002 Destination, Rates & Speeds Item Description: Yale / Oxford University Press, 1961. Hard Cover. Book Condition: Very Good. First Edition: Second Printing. 4.5 x 7 in.: 105 pages. No Jacket as Issued. Scarce, Out Of Print, Book. Boards and pages are clean, unmarked, bright, tightly bound and sharp cornered. Boards are blue cloth with gilt lettering on front and spine. Lettering on spine is faded. If interested, I have many additional volumes available in this Yale Shakespeare series. "Two close friends, Proteus and Valentine, are divided when Valentine is sent to the Duke's court in Milan. Proteus later follows, leaving behind his loyal beloved, Julia, and he and Valentine both fall in love with the Duke's daughter, Silvia.

Valentine proves himself brave and honourable, while Proteus is underhand and deceitful - and eventually attempts to rape Silvia. Julia follows her betrothed to Milan, disguised as a boy, Sebastian, who becomes Proteus' page. Eventually Proteus sees the error of his ways and returns to Julia, while Valentine marries Silvia.". Bookseller Inventory # 010048 Destination, Rates & Speeds Item Description: J. M. Dent, London, 1894. Hardcover. Book Condition: Very Good. No Jacket. 1st Edition. 24mo - over 5 - 5¾" tall. Preface by Israel Gollancz. In red faux leather with gilt crest on front, blind stamped border lines, corners a little frayed. Spine, in leather, ends frayed, lettering in gilt. Endpapers tanned and stained, crest with 'non sans droiet' on front paste-down endpaper, another crest on back paste-down endpaper, name in ink on front free endpaper. Cut edges age-toned, top edge in gilt. Text block lightly tanned, some of the text in red.

Pretty tissue-guarded title page, frontispiece engraving of The Bust in Stratford Church by J. M. W. Turner. Bookseller Inventory # 24360 Destination, Rates & Speeds Item Description: A. L. Burt Company, 1966. Hard Cover. Book Condition: Very Good. First Edition: Third Printing. 4.5 x 7 in.: 105 pages. No Jacket as Issued. Scarce, Out Of Print, Book. Spine is lightly faded. Boards and pages are clean, unmarked, bright, tightly bound and sharp cornered. Boards are blue cloth with gilt lettering on front and spine. If interested, I have many additional volumes available in this Yale Shakespeare series. "Two close friends, Proteus and Valentine, are divided when Valentine is sent to the Duke's court in Milan. Proteus later follows, leaving behind his loyal beloved, Julia, and he and Valentine both fall in love with the Duke's daughter, Silvia. Valentine proves himself brave and honourable, while Proteus is underhand and deceitful - and eventually attempts to rape Silvia.

Julia follows her betrothed to Milan, disguised as a boy, Sebastian, who becomes Proteus' page. Eventually Proteus sees the error of his ways and returns to Julia, while Valentine marries Silvia.". Bookseller Inventory # 011003 Destination, Rates & Speeds Item Description: J.M.Dent and Co, London, 1894. Hardback. Book Condition: Good. No Jacket. 1st Thus. Blue embossed boards, coat of arms blind embossed on front board, gilt title to spine, top edge gilt. 112pp. coats of arms in yellow and black to front and rear pastedowns, top edge gilt. Frontispiece of 'The Bust in Stratford Church' with tissue guard, decorated title page in red and black. Externally bumped and scuffed at corners and ends of spine; a little faint scattered foxing to rear fixed endpaper; 2 small closed tears to tissue guard at hinge, blue silk bookmark detached but present. Clean tight and good copy. Size: 7.5 x 5 Inches Approx.

Bookseller Inventory # 5000569 SparkNotes: The Two Gentlemen of Verona: Analysis and Themes The Two Gentlemen of Verona William Shakespeare Act V, scene iv Study Questions The primary theme addressed in Shakespeare's The Two Gentlemen of Verona is the conflict between loyalty to friends and submission to passion. While the play ultimately aligns itself with the tradition of espousing one side of the debate (the reestablishment of the friendship between Valentine and Proteus leads to a resolution of the non-platonic relationships), the moral twists and turns that each character takes in order to reach the drama's unlikely conclusion involve a host of other themes. Additionally, by writing a play about friendship versus love, the young bard was entering into a debate with writers who, at the time, were more established than he--namely, Chaucer, Lyly and Francis Bacon. By offering a view that challenged the works of these household names, Shakespeare presented himself as a competitor to the moral and narrative stance proposed by the great writers of his time. The servants Launce, Speed, and Lucetta act as foils to their respective masters Proteus, Valentine, and Julia.

By examining the servants' characteristics and behavior, the reader comes to understand their masters better as well. Launce's pragmatic reasoning about love illuminates the hunger for status and money permeating the aristocrats' staid romances. Lucetta, by advising Julia in the practical matter of disguising herself as a man, demonstrates her knowledge of socially-accepted gender roles. Lucetta understands that while it is expected that a young man will stray from his love, it is socially unacceptable for a young woman to be wanton. Since the higher status characters cannot honestly confront the social influences that guide their choices (and limit their options), the discussion of weighty issues (sexuality, money, class) falls to the servants. The forest, significant throughout Shakespeare's plays, is important as a setting in which social norms are suspended. As in the fairy-infested thickets of A Midsummer Night's Dream , social status dissolves when characters are plucked from the rigidity of their traditional social settings and transplanted into the ambiguous realm of the forest. Individuals are judged as individuals in this setting, and the breakdown of traditional structure permits the flow of currents of behavior (homosexuality, merit-based social mobility, etc.) that run counter to established norms.

The quick and somewhat puzzling simplicity of The Two Gentlemen of Verona's conclusion allows thematic ambiguities to linger. In Proteus' feeling that Julia, still appearing male, is more attractive than Silvia and Valentine's deep devotion to Proteus, both sexual and gender identities are blurred. Julia's assumption of maleness gives her access to the male world, testing the boundaries of socially-perceived gender roles; that she maintains her outward maleness challenges Elizabethan sexual mores. Likewise, Valentine's willingness to yield his beloved, Silvia, to Proteus, hints at latent homosexual desires. Though Shakespeare resolves the play's outward tensions, he leaves the exploration of deeper issues, which resurface throughout his works, incomplete. More Help Two Gentlemen of Verona: Entire Play Two Gentlemen of Verona SCENE I. Verona. An open place. Enter VALENTINE and PROTEUS SCENE II. The same. Garden of JULIA's house. Enter JULlA and LUCETTA

Question: Who are the title characters in the Shakespeare play ‘The Two Gentlemen of Verona’?
Answer: Valentine and Proteus