30 mars 2007 à 18h52
par 69.157.179.32 -
Lignes 1-2 modifiées:
!(Oxford: ca.1590-1 / Riverside: ca.1594)
en:
!!!(Oxford: ca.1590-1 / Riverside: ca.1594)
Lignes 232-237 modifiées:
!!PLOTS & COLOURING
PROTEUS loves JULIA and wishes to remain in Verona in order to court her, whereas his friend VALENTINE (who wants nothing to do with love) will travel to the court of the DUKE of Milano (1.1). But, once in Milano, Valentine will fall in love with the Duke’s daughter SILVIA (2.1).
en:
!!PLOTS
A story of crossed lovers.
The pairs being
PROTEUS/JULIA &
VALENTINE/SILVIA,
even if — for most of the play — Proteus is actually after Silvia (and not Julia).
Lignes 245-246 modifiées:
Proteus’ father, ANTONIO — knowing nothing of his son’s love interest — decides that he should join his friend Valentine in Milano (1.2). Proteus, before leaving, promises Julia that he will remain faithful to her (2.2). But, once in Milano, Proteus also falls in love with Silvia (2.4).
en:
But it is also the story of the crossed friendship between
PROTEUS & VALENTINE.
Lignes 250-268 modifiées:
The Duke, her father, has promised Silvia to THURIO (whom she cannot abide). Valentine and Silvia therefore decide to elope. Valentine reveals this plan to Proteus who reveals it in turn to the Duke, who banishes Valentine and puts his daughter under house arrest (3.1).
\\
Proteus is then charged by the Duke to convince Silvia of Thurio’s merits (3.2). Of course, under the guise of courting Silvia for Thurio, Proteus courts her for himself. But Silvia remains constant in her love for Valentine and she even berates Proteus for his being forsworn with regards not only his friend but also Julia.
\\
Meanwhile Julia has decided to join Proteus in Milano (2.7). But, in order to travel safely, she does so disguised as a boy, Sebastian. Once in Milano, she will witness first hand Proteus’ inconstancy (4.2). Yet remaining constant herself, she becomes — always as “Sebastian” — Proteus’s page and even serves as a go-between for her master and his unyielding love (4.4). Silvia, having enlisted the help of EGLAMOUR, will escape her father’s bonds in order to rejoin Valentine, whom she believes to be in Mantua (4.3).
\\
Of course, Valentine is not in Mantua. Having fallen upon a band of OUTLAWS in the forest, he has become their leader (4.1). It is this same forest that Silvia & Eglamour must cross (5.1), with the Duke, Thurio, Proteus & Julia in hot pursuit (5.2). All will be caught by the outlaws (5.3). Silvia is freed by Proteus, who then tries to have his way with her … only to be stopped by Valentine. The very remorseful Proteus is quickly forgiven, even as the true identity of Julia is revealed. The Duke realises the true worth of Valentine and, finally, allows his marriage with Silvia (5.4). Love and friendship are thereby (?) fully restored.
\\
So this is a story of crossed lovers. The pairs being
PROTEUS/JULIA &
en:
In spite of their being absent from the above plot outline, the two clown characters, SPEED & LAUNCE, are most important to the play. They, more than all the other characters assembled (a number of which are in the dire throes of conflicting passions), are truly responsible for clearly defining the play as a comedy. The two are friends. Speed is cleverer than his master in recognizing the signs of love and the byways of courtship. While Launce clearly “loves” his dog as none of the other lovers (save Julia) could love. Furthermore, both clowns — contrary to their “humorous” masters — have a rather pragmatic view of marriage (as the end of 3.1 clearly indicates).
___________
!!METATHEATRE
Lignes 258-282 modifiées:
VALENTINE/SILVIA,
even if — for most of the play — Proteus is actually after Silvia (and not Julia).
\\
But it is also the story of the crossed friendship between
PROTEUS & VALENTINE.
\\
In spite of their being absent from the above plot outline, the two clown characters, SPEED & LAUNCE, are most important to the play. They, more than all the other characters assembled (a number of which are in the dire throes of conflicting passions), are truly responsible for clearly defining the play as a comedy. The two are friends. Speed is cleverer than his master in recognizing the signs of love and the byways of courtship. While Launce clearly “loves” his dog as none of the other lovers (save Julia) could love. Furthermore, both clowns — contrary to their “humorous” masters — have a rather pragmatic view of marriage (as the end of 3.1 clearly indicates).
___________
!!METATHEATRE
As indicated in the ENTRANCES & EXITS above …
\\
JULIA: DIGUISED as “Sebastian” (1649,2225)
en:
JULIA: DIGUISED as “Sebastian” (1649,2225). Conscious (yellow)
23 juillet 2004 à 12h41
par 65.92.29.131 -
Ligne 37 ajoutée:
Ligne 39 ajoutée:
Lignes 45-46 supprimées:
Ligne 49 supprimée:
Ligne 51 modifiée:
en:
Ligne 53 modifiée:
en:
Ligne 59 modifiée:
en:
Ligne 61 modifiée:
en:
Ligne 63 modifiée:
en:
Ligne 65 modifiée:
en:
Ligne 67 modifiée:
en:
Ligne 69 modifiée:
en:
Ligne 75 modifiée:
en:
Ligne 77 ajoutée:
Ligne 79 ajoutée:
Ligne 81 modifiée:
en:
Ligne 83 modifiée:
en:
Ligne 85 modifiée:
en:
Ligne 91 modifiée:
en:
Ligne 93 modifiée:
en:
Ligne 95 modifiée:
en:
Ligne 113 ajoutée:
Ligne 115 ajoutée:
Ligne 119 ajoutée:
Ligne 122 ajoutée:
• (2118 [withdraws 2137,2181] 2298)
Lignes 123-124 supprimées:
• (2118 [withdraws 2137,2181] 2298)
\\
Lignes 131-132 supprimées:
Lignes 135-137 modifiées:
(2118 [withdraws 2137,2181] 2298)\\
en:
(2118 [withdraws 2137,2181] 2298)
\\
Lignes 142-143 modifiées:
(2,151) (345,394) (567,590) (749,870) (929,973) (1068,1119) (1257,1324) (1455,1542) (1622,1757) (1857,1908) (2039,2096) (2138,2298)\\
en:
(2,151) (345,394) (567,590) (749,870) (929,973) (1068,1119) (1257,1324) (1455,1542) (1622,1757) (1857,1908) (2039,2096) (2138,2298)
Ligne 144 ajoutée:
Lignes 148-149 modifiées:
(73,148) (396,565) (654,845) (872,927) (1345,1440) (1545,1620)\\
en:
(73,148) (396,565) (654,845) (872,927) (1345,1440) (1545,1620)
Ligne 150 ajoutée:
Lignes 154-155 modifiées:
(153,299) (567,584) (975,1066) (1649,1764) (1857,2023) (2039,2098) (2138,2298) / DIGUISED as “Sebastian” (1649,2225) \\
en:
(153,299) (567,584) (975,1066) (1649,1764) (1857,2023) (2039,2098) (2138,2298) / DIGUISED as “Sebastian” (1649,2225)
Ligne 156 ajoutée:
Lignes 160-161 modifiées:
(153,203) (221,263) (290,299) (975,1066)\\
en:
(153,203) (221,263) (290,299) (975,1066)
Ligne 162 ajoutée:
Lignes 166-167 modifiées:
en:
Ligne 168 ajoutée:
Lignes 172-173 modifiées:
(301,379) (390,394) (587,590) (626,652)\\
en:
(301,379) (390,394) (587,590) (626,652)
Ligne 174 ajoutée:
Lignes 178-179 modifiées:
(485,525) (654,771) (1706,1755) (1771,1817) (1926,1996) (2025,2037) (2100,2116) (2138,2298) \\
en:
(485,525) (654,771) (1706,1755) (1771,1817) (1926,1996) (2025,2037) (2100,2116) (2138,2298)
Ligne 180 ajoutée:
Lignes 184-185 modifiées:
(592,652) (872,927) (1247,1443) (1819,1879)\\
en:
(592,652) (872,927) (1247,1443) (1819,1879)
Ligne 186 ajoutée:
Lignes 190-191 modifiées:
(654,749) (1066,1071) (1445,1542) (1637,1705) (2039,2094) (2245,2298)\\
en:
(654,749) (1066,1071) (1445,1542) (1637,1705) (2039,2094) (2245,2298)
Ligne 192 ajoutée:
Lignes 196-197 modifiées:
(696,736) (767,771) (1068,1238) (1445,1542) (2068,2090) (2245,2298)\\
en:
(696,736) (767,771) (1068,1238) (1445,1542) (2068,2090) (2245,2298)
Ligne 198 ajoutée:
Lignes 202-203 modifiées:
(1545,1620) (2100,2116) (2245,2298)\\
en:
(1545,1620) (2100,2116) (2245,2298)
Ligne 204 ajoutée:
Lignes 208-209 modifiées:
en:
Ligne 210 ajoutée:
Lignes 214-215 modifiées:
en:
Ligne 216 ajoutée:
Lignes 220-221 modifiées:
(1766,1817) (2025,2037)\\
en:
Ligne 222 ajoutée:
Ligne 226 modifiée:
(1926,1936) (1937,1996)\\
en:
Ligne 236 modifiée:
PROTEUS loves JULIA and wishes to remain in Verona in order to court her, whereas his friend VALENTINE (who wants nothing to do with love) will travel to the court of the DUKE of Milano (1.1). But, once in Milano, Valentine will fall in love with the Duke’s daughter SILVIA (2.1).\\
en:
PROTEUS loves JULIA and wishes to remain in Verona in order to court her, whereas his friend VALENTINE (who wants nothing to do with love) will travel to the court of the DUKE of Milano (1.1). But, once in Milano, Valentine will fall in love with the Duke’s daughter SILVIA (2.1).
Ligne 238 ajoutée:
Ligne 240 ajoutée:
Proteus’ father, ANTONIO — knowing nothing of his son’s love interest — decides that he should join his friend Valentine in Milano (1.2). Proteus, before leaving, promises Julia that he will remain faithful to her (2.2). But, once in Milano, Proteus also falls in love with Silvia (2.4).
Ligne 242 modifiée:
Proteus’ father, ANTONIO — knowing nothing of his son’s love interest — decides that he should join his friend Valentine in Milano (1.2). Proteus, before leaving, promises Julia that he will remain faithful to her (2.2). But, once in Milano, Proteus also falls in love with Silvia (2.4).\\
en:
Ligne 244 ajoutée:
The Duke, her father, has promised Silvia to THURIO (whom she cannot abide). Valentine and Silvia therefore decide to elope. Valentine reveals this plan to Proteus who reveals it in turn to the Duke, who banishes Valentine and puts his daughter under house arrest (3.1).
Ligne 246 ajoutée:
Ligne 248 modifiée:
The Duke, her father, has promised Silvia to THURIO (whom she cannot abide). Valentine and Silvia therefore decide to elope. Valentine reveals this plan to Proteus who reveals it in turn to the Duke, who banishes Valentine and puts his daughter under house arrest (3.1).\\
en:
Proteus is then charged by the Duke to convince Silvia of Thurio’s merits (3.2). Of course, under the guise of courting Silvia for Thurio, Proteus courts her for himself. But Silvia remains constant in her love for Valentine and she even berates Proteus for his being forsworn with regards not only his friend but also Julia.
Ligne 250 ajoutée:
Ligne 252 ajoutée:
Meanwhile Julia has decided to join Proteus in Milano (2.7). But, in order to travel safely, she does so disguised as a boy, Sebastian. Once in Milano, she will witness first hand Proteus’ inconstancy (4.2). Yet remaining constant herself, she becomes — always as “Sebastian” — Proteus’s page and even serves as a go-between for her master and his unyielding love (4.4). Silvia, having enlisted the help of EGLAMOUR, will escape her father’s bonds in order to rejoin Valentine, whom she believes to be in Mantua (4.3).
Ligne 254 modifiée:
Proteus is then charged by the Duke to convince Silvia of Thurio’s merits (3.2). Of course, under the guise of courting Silvia for Thurio, Proteus courts her for himself. But Silvia remains constant in her love for Valentine and she even berates Proteus for his being forsworn with regards not only his friend but also Julia.\\
en:
Ligne 256 ajoutée:
Of course, Valentine is not in Mantua. Having fallen upon a band of OUTLAWS in the forest, he has become their leader (4.1). It is this same forest that Silvia & Eglamour must cross (5.1), with the Duke, Thurio, Proteus & Julia in hot pursuit (5.2). All will be caught by the outlaws (5.3). Silvia is freed by Proteus, who then tries to have his way with her … only to be stopped by Valentine. The very remorseful Proteus is quickly forgiven, even as the true identity of Julia is revealed. The Duke realises the true worth of Valentine and, finally, allows his marriage with Silvia (5.4). Love and friendship are thereby (?) fully restored.
Ligne 258 ajoutée:
Ligne 260 modifiée:
Meanwhile Julia has decided to join Proteus in Milano (2.7). But, in order to travel safely, she does so disguised as a boy, Sebastian. Once in Milano, she will witness first hand Proteus’ inconstancy (4.2). Yet remaining constant herself, she becomes — always as “Sebastian” — Proteus’s page and even serves as a go-between for her master and his unyielding love (4.4). Silvia, having enlisted the help of EGLAMOUR, will escape her father’s bonds in order to rejoin Valentine, whom she believes to be in Mantua (4.3).\\
en:
So this is a story of crossed lovers. The pairs being
Lignes 262-272 modifiées:
Of course, Valentine is not in Mantua. Having fallen upon a band of OUTLAWS in the forest, he has become their leader (4.1). It is this same forest that Silvia & Eglamour must cross (5.1), with the Duke, Thurio, Proteus & Julia in hot pursuit (5.2). All will be caught by the outlaws (5.3). Silvia is freed by Proteus, who then tries to have his way with her … only to be stopped by Valentine. The very remorseful Proteus is quickly forgiven, even as the true identity of Julia is revealed. The Duke realises the true worth of Valentine and, finally, allows his marriage with Silvia (5.4). Love and friendship are thereby (?) fully restored.\\
So this is a story of crossed lovers. The pairs being
\\
PROTEUS/JULIA &\\
VALENTINE/SILVIA,\\
en:
PROTEUS/JULIA &
VALENTINE/SILVIA,
Ligne 267 modifiée:
en:
Ligne 269 ajoutée:
23 juillet 2004 à 09h33
par 65.92.18.24 -
Lignes 1-280 modifiées:
Describe TheTwoGentlemenOfVerona here.
en:
!(Oxford: ca.1590-1 / Riverside: ca.1594)
\\
The First Folio is the sole authority for this play. The print house copy appears to have been Ralph Crane’s transcript either of Shakespeare’s foul papers or a theatrical manuscript.
\\
The chronology of Shakespeare’s plays, especially regarding his early works, is difficult to assess accurately.
\\
• Alfred Harbage in his PELICAN SHAKESPEARE (1969), for instance, placed ERRORS first (1590) followed by the three HENRY VI plays (1590-2), RICHARD III (1593), SHREW (1593), TITUS (1594), then TWO GENTLEMEN (1594), KING JOHN (1594), DREAM (1595), RICHARD II (1595) and LOVE’S LABOURS (1596).
\\
• G. Blakemore Evans & J.J.M. Tobin in the RIVERSIDE SHAKESPEARE (1974/1997) rather place the three HENRY VI first (1589-91 / part 1 rev. 1594-5), followed by RICHARD III (1592-3), ERRORS (1592-4), EDWARD III (1592-5), TITUS (1593-4), SHREW (1593-4), then TWO GENTS (1594) and LOVE’S LABOURS (1594-5 / rev. 1597).
\\
• Stanley Wells’ & Gary Taylor’s TEXTUAL COMPANION (1987) substantially alters these dates yet again placing TWO GENTS first (1590-1) and the TAMING OF THE SHREW second (1590-1), followed by 2 & 3 HENRY VI (1591), then 1 HENRY VI (1592), TITUS (1592), RICHARD III (1592-3), ERRORS (1594), and LOVE’S LABOURS (1594-5). Wells & Taylor did not include EDWARD III in their OXFORD edition of the Works (though they freely admit that any reinvestigation of the early canon would begin with this play). But they would probably tend to date EDWARD III around 1589-90, which is to say, even earlier than the recognized canon plays.
\\
\\
Be that as it may, the OXFORD chronology is — in terms of THE TWO GENTS, at least — compelling. And even the RIVERSIDE’s comedies’ editor, Anne Barton, lends some credence to it:
“Thirteen of [TWO GENTS] twenty scenes are realized entirely in terms of these three relatively uncomplicated dramatic techniques [soliloquy, duologue, and the aside as comment]. (…) The contrasted failure of THE TWO GENTS to make a success out of anything more extended than the duet seems to suggest that it was the work of a man still more at home with narrative or lyrical verse than with drama: a man who might well have turned subsequently to the discipline of Roman comedy [i.e. COMEDY OF ERRORS] in order to acquire certain formal theatrical skills he was conscious that he lacked. It is entirely possible that THE TWO GENTS was Shakespeare’s first professional play” (Riverside, p.178)
\\
As most editors point out, Shakespeare is certainly tentative. He initially appears uncertain if his DUKE is indeed a “duke” or, rather, an “emperor” (1.3.41 & 58) and he is somewhat undecided as to the play’s actual location: Speed welcome’s Launce to Padua, (2.5.2/TLN 873), the Duke refers to a woman “here in Verona” (3.1.81/TLN 1150), and Valentine threatens Thurio that “Verona shall not hold thee” (5.4.129/TLN 2254) when the town in question is almost certainly MILANO.
\\
The plays sudden resolution certainly stretches the bounds of either plausibility or necessity but TWO GENTS shows the early sketches of many of Shakespeare’s idiosyncratic themes (such as the Rivalry between lovers, Disguise and Dissemblance).
\\
!!X AXIS (abscisses): 2298 lines
ACTS & SCENES are those of the FOLIO.
\\
•1.1: line 1 (reads "Act 1 scene 1 begins at line 1")
\\
•1.2: line 152
\\
•1.3: line 300
\\
•2.1: line 395
\\
•2.2: line 566
\\
•2.3: line 591
\\
•2.4: line 653
\\
•2.5: line 871
\\
•2.6: line 928
\\
•2.7: line 974
\\
•3.1: line 1067
\\
•3.2: line 1444
\\
•4.1: line 1543
\\
•4.2: line 1621
\\
•4.3: line 1765
\\
•4.4: line 1818
\\
•5.1: line 2024
\\
•5.2: line 2038
\\
•5.3: line 2099
\\
•5.4: line 2117
_______________
!!Y AXIS: ENTRANCES & EXITS
\\
Entrances & exits of Characters\\
According to their order of appearance.
\\
• (2,66) reads "enters at line 2, exits at line 66".
\\
• DIGUISED as “Sebastian” (1649,2225)
is inserted at the end of JULIA’s list to indicate “duration” of her being disguised as Sebastian.
\\
• (2118 [withdraws 2137,2181] 2298)
\\
reads “character enters at line 2118, withdraws (or “hides”) from line 2137 to line 2181 (at which point he “reveals himself”), and exits at line 2298”.
\\
• PRINCIPAL CHARACTERS are capitalized.
\\
\\
VALENTINE (a gentleman of Verona, friend of Proteus)
(2,66) (396,565) (654,845) (1120,1329) (1545,1620)
(2118 [withdraws 2137,2181] 2298)\\
PROTEUS (a gentleman of Verona, friend of Valentine)
(2,151) (345,394) (567,590) (749,870) (929,973) (1068,1119) (1257,1324) (1455,1542) (1622,1757) (1857,1908) (2039,2096) (2138,2298)\\
SPEED (clown, servant to valentine)
(73,148) (396,565) (654,845) (872,927) (1345,1440) (1545,1620)\\
JULIA (beloved of Proteus)
(153,299) (567,584) (975,1066) (1649,1764) (1857,2023) (2039,2098) (2138,2298) / DIGUISED as “Sebastian” (1649,2225) \\
Lucetta (Julia’s waiting-woman)
(153,203) (221,263) (290,299) (975,1066)\\
ANTONIO (father of Proteus)
(301,379)\\
PANTHINO (servant to Antonio)
(301,379) (390,394) (587,590) (626,652)\\
SILVIA (daughter of the Duke, beloved of Valentine)
(485,525) (654,771) (1706,1755) (1771,1817) (1926,1996) (2025,2037) (2100,2116) (2138,2298) \\
LAUNCE & his dog Crab (clown, servant to Proteus)
(592,652) (872,927) (1247,1443) (1819,1879)\\
THURIO (betrothed to Silvia, foolish rival of Valentine)
(654,749) (1066,1071) (1445,1542) (1637,1705) (2039,2094) (2245,2298)\\
DUKE of Milano (father of Silvia)
(696,736) (767,771) (1068,1238) (1445,1542) (2068,2090) (2245,2298)\\
Outlaws (with Valentine)
(1545,1620) (2100,2116) (2245,2298)\\
Musicians
(1637,1707)\\
Host (where Julia lodges)
(1649,1764)\\
Eglamour (friend of Silvia)
(1766,1817) (2025,2037)\\
Ursula (attendant to Silvia)
(1926,1936) (1937,1996)\\
__________
!!PLOTS & COLOURING
PROTEUS loves JULIA and wishes to remain in Verona in order to court her, whereas his friend VALENTINE (who wants nothing to do with love) will travel to the court of the DUKE of Milano (1.1). But, once in Milano, Valentine will fall in love with the Duke’s daughter SILVIA (2.1).\\
Proteus’ father, ANTONIO — knowing nothing of his son’s love interest — decides that he should join his friend Valentine in Milano (1.2). Proteus, before leaving, promises Julia that he will remain faithful to her (2.2). But, once in Milano, Proteus also falls in love with Silvia (2.4).\\
The Duke, her father, has promised Silvia to THURIO (whom she cannot abide). Valentine and Silvia therefore decide to elope. Valentine reveals this plan to Proteus who reveals it in turn to the Duke, who banishes Valentine and puts his daughter under house arrest (3.1).\\
Proteus is then charged by the Duke to convince Silvia of Thurio’s merits (3.2). Of course, under the guise of courting Silvia for Thurio, Proteus courts her for himself. But Silvia remains constant in her love for Valentine and she even berates Proteus for his being forsworn with regards not only his friend but also Julia.\\
Meanwhile Julia has decided to join Proteus in Milano (2.7). But, in order to travel safely, she does so disguised as a boy, Sebastian. Once in Milano, she will witness first hand Proteus’ inconstancy (4.2). Yet remaining constant herself, she becomes — always as “Sebastian” — Proteus’s page and even serves as a go-between for her master and his unyielding love (4.4). Silvia, having enlisted the help of EGLAMOUR, will escape her father’s bonds in order to rejoin Valentine, whom she believes to be in Mantua (4.3).\\
Of course, Valentine is not in Mantua. Having fallen upon a band of OUTLAWS in the forest, he has become their leader (4.1). It is this same forest that Silvia & Eglamour must cross (5.1), with the Duke, Thurio, Proteus & Julia in hot pursuit (5.2). All will be caught by the outlaws (5.3). Silvia is freed by Proteus, who then tries to have his way with her … only to be stopped by Valentine. The very remorseful Proteus is quickly forgiven, even as the true identity of Julia is revealed. The Duke realises the true worth of Valentine and, finally, allows his marriage with Silvia (5.4). Love and friendship are thereby (?) fully restored.\\
So this is a story of crossed lovers. The pairs being
\\
PROTEUS/JULIA &\\
VALENTINE/SILVIA,\\
even if — for most of the play — Proteus is actually after Silvia (and not Julia). But it is also the story of the crossed friendship between
PROTEUS & VALENTINE.\\
In spite of their being absent from the above plot outline, the two clown characters, SPEED & LAUNCE, are most important to the play. They, more than all the other characters assembled (a number of which are in the dire throes of conflicting passions), are truly responsible for clearly defining the play as a comedy. The two are friends. Speed is cleverer than his master in recognizing the signs of love and the byways of courtship. While Launce clearly “loves” his dog as none of the other lovers (save Julia) could love. Furthermore, both clowns — contrary to their “humorous” masters — have a rather pragmatic view of marriage (as the end of 3.1 clearly indicates).
___________
!!METATHEATRE
As indicated in the ENTRANCES & EXITS above …
\\
JULIA: DIGUISED as “Sebastian” (1649,2225)
