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ACT V.

SCENE I.-The same. An Abbey. Enter EGLAMOUR.

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.
She will not fail; for lovers break not hours,
Unless it be to come before their time;

So much they spur their expedition.

See, where she comes:-Lady, a happy evening!
Enter SILVIA.

Sil. Amen, amen! go on, good Eglamour!
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 THURIO, PROTEUS, and JULIA.

Thu. Sir Proteus, what says Silvia to my suit? Pro. O, sir, I find her milder than she was ; And yet she takes exceptions at your person. Thu. What, that my leg is too long?

Pro. No; that it is too little.

Thu. I'll wear a boot, to make it somewhat rounder. Pro. But love will not be spurr'd to what it loaths. Thu. What says she to my face?

Pro. She says, it is a fair one.

Thu. Nay, then the wanton lies; my face is black. Pro. But pearls are fair; and the old saying is, Black men are pearls in beauteous ladies' eyes. Jul. 'Tis true, such pearls as put out ladies' eyes; For I had rather wink than look on them. Thu. How likes she my discourse? Pro. Ill, when you talk of war.

[Aside.

Thu. But well, when I discourse of love, and peace? Jul. But better, indeed, when you hold your peace.

[Aside.

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. [Asì.

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Jul. True; from a gentleman to a fool.

[Aside.

Thu. Considers she my possessions?

Pro. O, ay; and pities them.

Thu. Wherefore?

[Aside.

Jul. That such an ass should owe them.
Pro. That they are out by lease.

Jul. Here comes the duke.

Enter Duke.

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 :
Him he knew well, and guess'd that it was she;
But, being mask'd, he was not sure of it:
Besides, she did intend confession

At Patrick's cell, this even, and there she was not
These likelihoods confirm her flight from hence.
Therefore, I pray you, stand not to discourse,
But mount you presently; and meet with me
Upon the rising of the mountain-foot

That leads towards Mantua, whither they are fled.
Despatch, sweet gentlemen, and follow me.

Thu. Why, this it is to be a peevish girl,
That flies her fortune, when it follows her:
I'll after; more to be reveng'd on Eglamour,
Than for the love of reckless Silvia.

[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-laws.

Out. Come, come ;

Be patient, we must bring you to our captain.
Sil. A thousand more mischances than this one
Have learn'd me how to brook this patiently.

2 Out. Come, bring her away.

1 Out. Where is the gentleman that was with her? 3. Out. Being nimble-footed, he hath out-run us, But Moyses, and Valerius, follow him.

Go thou with her to the west end of the wood,
There is our captain: we'll follow him that's fled;
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.
Val. How use doth breed a habit in a man!
This shadowy desart, unfrequented woods,
I better brook than flourishing peopled towns:
Here can I sit alone, unseen of any,

And, to the nightingale's complaining notes,
Tune my distressés, and record my woes.
O thou that dost inhabit in my breast,
Leave not the mansion so long tenantless;
Lest, growing ruinous, the building fall,
And leave no memory of what it was !7
Repair me with thy presence, Silvia;

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 faw,

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?

[6] To record anciently signified to sing.

STEEV.

[Steps aside.

[7] It is hardly possible to point out four lines in any of the plays of Shak speare, more remarkable for ease and elegance.

STEEVENS.

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Enter PROTEUS, SILVIA, and JULIA.
Pro. Madam, this service I have done for you,
(Though you respect not aught your servant doth,)
To hazard life, and rescue you from him,

That would have forc'd your honour and your love.
Vouchsafe me, for my meed, but one fair look ;
A smaller boon than this I cannot beg,

And less than this, I am sure, you cannot give.
Val. How like a dream is this I see and hear!
Love, lend me patience to forbear a while.

[Aside.

Sil. O miserable, unhappy that I am!
Pro. Unhappy were you, madam, ere I came ;
But, by my coming, I have made you happy..

Sil. By thy approach thou mak'st me most unhappy.
Jul. And me, when he approacheth to your presence.

Sil. Had I been seized by a hungry lion,
I would have been a breakfast to the beast,
Rather than have false Proteus rescue me.
O, heaven be judge, how I love Valentine,
Whose life's as tender to me as my soul;
And full as much, (for more there cannot be,)
I do detest false perjur'd Proteus :
Therefore be gone, solicit me no more.

[Aside.

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
Into a thousand oaths; and all those oaths
Descended into perjury, to love me.

Thou hast no faith left now, unless thou hadst two,
And that's far worse than none; better have none
Than plural faith, which is too much by one :
Thou counterfeit to thy true friend!

Pro. In love,

Who respects friends?

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.

Sil. 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
Could have persuaded me :
Now I dare not say

I have one friend alive; thou wouldst disprove me.
Who should be trusted now, when one's own right hand
Is perjur'd to the bosom? Proteus,

I am sorry, I must never trust thee more,

But count the world a stranger for thy sake.

The private wound is deepest: O time, most curst!
'Mongst all foes, that a friend should be the worst!
Pro. My shame and guilt confounds me.-
Forgive me, Valentine: if hearty sorrow

Be a sufficient ransom for offence,

I tender it here; I do as truly suffer,
As e'er I did commit.

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 reason alledged. 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 Shakspeare; 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 Shak speare's, (which I cannot doubt,) it was one of his very early performances. BLACKSTONE.

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