Act II, Scene 1 Milan. The DUKE's palace.

Enter VALENTINE and SPEED

 

SPEED Sir, your glove.
VALENTINE Not mine; my gloves are on.
SPEED Why, then, this may be yours, for this is but one.
VALENTINE Ha! let me see: ay, give it me, it's mine:
Sweet ornament that decks a thing divine!
Ah, Silvia, Silvia!
SPEED Madam Silvia! Madam Silvia!
VALENTINE How now, sirrah?
SPEED She is not within hearing, sir.
VALENTINE Why, sir, who bade you call her?
SPEED Your worship, sir; or else I mistook.
VALENTINE Well, you'll still be too forward.
SPEED And yet I was last chidden for being too slow.
VALENTINE Go to, sir: tell me, do you know Madam Silvia?
SPEED She that your worship loves?
VALENTINE Why, how know you that I am in love?
SPEED Marry, by these special marks: first, you have
learned, like Sir Proteus, to wreathe your arms,
like a malecontent; to relish a love-song, like a
robin-redbreast; to walk alone, like one that had
the pestilence; to sigh, like a school-boy that had
lost his A B C; to weep, like a young wench that had
buried her grandam; to fast, like one that takes
diet; to watch like one that fears robbing; to
speak puling, like a beggar at Hallowmas. You were
wont, when you laughed, to crow like a cock; when you
walked, to walk like one of the lions; when you
fasted, it was presently after dinner; when you
looked sadly, it was for want of money: and now you
are metamorphosed with a mistress, that, when I look
on you, I can hardly think you my master.
VALENTINE Are all these things perceived in me?
SPEED They are all perceived without ye.
VALENTINE Without me? they cannot.
SPEED Without you? nay, that's certain, for, without you
were so simple, none else would: but you are so
without these follies, that these follies are within
you and shine through you like the water in an
urinal, that not an eye that sees you but is a
physician to comment on your malady.
VALENTINE But tell me, dost thou know my lady Silvia?
SPEED She that you gaze on so as she sits at supper?
VALENTINE Hast thou observed that? even she, I mean.
SPEED Why, sir, I know her not.
VALENTINE Dost thou know her by my gazing on her, and yet
knowest her not?
SPEED Is she not hard-favoured, sir?
VALENTINE Not so fair, boy, as well-favoured.
SPEED Sir, I know that well enough.
VALENTINE What dost thou know?
SPEED That she is not so fair as, of you, well-favoured.
VALENTINE I mean that her beauty is exquisite, but her favour infinite.
SPEED That's because the one is painted and the other out
of all count.
VALENTINE How painted? and how out of count?
SPEED Marry, sir, so painted, to make her fair, that no
man counts of her beauty.
VALENTINE How esteemest thou me? I account of her beauty.
SPEED You never saw her since she was deformed.
VALENTINE How long hath she been deformed?
SPEED Ever since you loved her.
VALENTINE I have loved her ever since I saw her; and still I
see her beautiful.
SPEED If you love her, you cannot see her.
VALENTINE Why?
SPEED Because Love is blind. O, that you had mine eyes;
or your own eyes had the lights they were wont to
have when you chid at Sir Proteus for going
ungartered!
VALENTINE What should I see then?
SPEED Your own present folly and her passing deformity:
for he, being in love, could not see to garter his
hose, and you, being in love, cannot see to put on your hose.
VALENTINE Belike, boy, then, you are in love; for last
morning you could not see to wipe my shoes.
SPEED True, sir; I was in love with my bed: I thank you,
you swinged me for my love, which makes me the
bolder to chide you for yours.
VALENTINE In conclusion, I stand affected to her.
SPEED I would you were set, so your affection would cease.
VALENTINE Last night she enjoined me to write some lines to
one she loves.
SPEED And have you?
VALENTINE I have.
SPEED Are they not lamely writ?
VALENTINE No, boy, but as well as I can do them. Peace!
here she comes.
SPEED [Aside] O excellent motion! O exceeding puppet!
Now will he interpret to her.
  [Enter SILVIA]
VALENTINE Madam and mistress, a thousand good-morrows.
SPEED [Aside] O, give ye good even! here's a million of manners.
SILVIA Sir Valentine and servant, to you two thousand.
SPEED [Aside] He should give her interest and she gives it him.
VALENTINE As you enjoin'd me, I have writ your letter
Unto the secret nameless friend of yours;
Which I was much unwilling to proceed in
But for my duty to your ladyship.
SILVIA I thank you gentle servant: 'tis very clerkly done.
VALENTINE Now trust me, madam, it came hardly off;
For being ignorant to whom it goes
I writ at random, very doubtfully.
SILVIA Perchance you think too much of so much pains?
VALENTINE No, madam; so it stead you, I will write
Please you command, a thousand times as much; And yet--
SILVIA A pretty period! Well, I guess the sequel;
And yet I will not name it; and yet I care not;
And yet take this again; and yet I thank you,
Meaning henceforth to trouble you no more.
SPEED [Aside] And yet you will; and yet another 'yet.'
VALENTINE What means your ladyship? do you not like it?
SILVIA Yes, yes; the lines are very quaintly writ;
But since unwillingly, take them again.
Nay, take them.
VALENTINE Madam, they are for you.
SILVIA Ay, ay: you writ them, sir, at my request;
But I will none of them; they are for you;
I would have had them writ more movingly.
VALENTINE Please you, I'll write your ladyship another.
SILVIA And when it's writ, for my sake read it over,
And if it please you, so; if not, why, so.
VALENTINE If it please me, madam, what then?
SILVIA Why, if it please you, take it for your labour:
And so, good morrow, servant.
  [Exit]
SPEED O jest unseen, inscrutable, invisible,
As a nose on a man's face, or a weathercock on a steeple!
My master sues to her, and she hath
taught her suitor,
He being her pupil, to become her tutor.
O excellent device! was there ever heard a better,
That my master, being scribe, to himself should write
the letter?
VALENTINE How now, sir? what are you reasoning with yourself?
SPEED Nay, I was rhyming: 'tis you that have the reason.
VALENTINE To do what?
SPEED To be a spokesman for Madam Silvia.
VALENTINE To whom?
SPEED To yourself: why, she wooes you by a figure.
VALENTINE What figure?
SPEED By a letter, I should say.
VALENTINE Why, she hath not writ to me?
SPEED What need she, when she hath made you write to
yourself? Why, do you not perceive the jest?
VALENTINE No, believe me.
SPEED No believing you, indeed, sir. But did you perceive
her earnest?
VALENTINE She gave me none, except an angry word.
SPEED Why, she hath given you a letter.
VALENTINE That's the letter I writ to her friend.
SPEED And that letter hath she delivered, and there an end.
VALENTINE I would it were no worse.
SPEED I'll warrant you, 'tis as well:
For often have you writ to her, and she, in modesty,
Or else for want of idle time, could not again reply;
Or fearing else some messenger that might her mind discover,
Herself hath taught her love himself to write unto her lover.
All this I speak in print, for in print I found it.
Why muse you, sir? 'tis dinner-time.
VALENTINE I have dined.
SPEED Ay, but hearken, sir; though the chameleon Love can
feed on the air, I am one that am nourished by my
victuals, and would fain have meat. O, be not like
your mistress; be moved, be moved.
  [Exeunt]

 

To see other scenes from the show:

Full Text Act II, Scene 6 The same. The Duke's palace./Act II, Scene 7 Verona. Julia's house
Act I, Scene 1 Verona An Open Place. Act  III, Scene 1 Milan. The Duke's palace.
Act I, Scene 2 The same. Garden of Julia's house. Act III, Scene 2 The same. The Duke's palace
Act I, Scene 3 The same.  Antonio's house. Act IV, Scene 1 The frontiers of Mantua. A forest.
Act II, Scene 1 Milan. The Duke's house. Act IV, Scene 2 Milan. Outside the Duke'ss palace, under Silvia's chamber.
Act II, Scene 2  Verona. Julia's house. Act IV, Scene 3 The Same./Act IV, Scene 4 The Same.
Act II, Scene 3 The same. A street. Act V, Scene 1 An abbey/Act V, Scene 2 The same./Act V, Scene 3 The frontiers of Mantua.  The forest.
Act II, Scene 4 Milan. The Duke's palace Act V, Scene 4 Another part of the forest.
Act II, Scene 5 The same. A street

 

To view other Two Gentlemen of Verona sections:

Main Play Page      Play Text    Scene by Scene Synopsis     Character Directory     Commentary  

 

To view the other Plays click below:

By  Comedies    Histories    Romances    Tragedies

All's Well the Ends Well Antony & Cleopatra As You Like It Cardenio Comedy of Errors Coriolanus
Cymbeline Edward III Hamlet Henry IV, Part 1 Henry IV, Part 2 Henry V
Henry VI, Part 1 Henry VI, Part 2 Henry VI, Part 3 Henry VIII Julius Caesar King John
King Lear Love's Labours Lost Love's Labours Wonne Macbeth Measure for Measure Merchant of Venice
The Merry Wives of Windsor A Mid Summer Night's Dream  Much Ado About Nothing Othello Pericles Richard II
Richard III Romeo & Juliet Sir Thomas More Taming of the Shrew The Tempest Timon of Athens
Titus Andronicus Troilus & Cressida Twelfth Night Two Gentlemen of Verona The Two Noble Kinsman The Winter's Tale

 

To view other Shakespeare Library sections:

Biography     Plays     Poems     Sonnets     Theaters     Shake Links 

 
Send mail to jciccarelli@hudsonshakespeare.org with questions or comments about this web site.
[Home]  [Upcoming Shows]  [HSC Venues]  [Past Productions]  [Articles] [HSC Programs]
 [Shakespeare Library] [Actor Resources]   [Contact Us]  [Links]  [Site Map]