Shakespeare

The Two Gentlemen of Verona is one of the first of Shakespeare’s comedies, composed soon after The Taming of a Shrew. Its best scenes bring on a clown, Launce, and his dog; Launce alternately berates and pleads with his dog, but the dog says nothing. It is suggestive of the early sixteenth-century interludes, which also included dogs as comic “props, ” and in that sense The Two Gentlemen of Verona has very ancient roots indeed. It is a rather febrile drama, with a very silly ending, but it breathes the spirit of comedy like the lop-sided grin of a clown. There are no records of any performance, which has led some scholars to speculate that it was material only for private performance. This seems most unlikely, however, since the broadly comic scenes are expressly designed for the groundlings of the public playhouses: “My Mother weeping: my Father wayling: my Sister crying: our Maid howling: our Catte wringing her hands, and all our house in a great perplexitie, yet did not this cruell-hearted Curre shedde one teare: he is a stone, a very pibble stone, and has no more pitty in him then a dogge”(571- 6).

It seems to have been written quickly – but then, under the circumstances of the time, all of his early plays were composed in that fashion. “A fine volly of words, gentlemen, ” as one character puts it, “ amp; quickly shot off”(656). The same images are repeated, and the same comparisons are made. There are several inconsistencies and contradictions that show evident sign of haste or, perhaps, separate stages of composition. The Emperor suddenly becomes a Duke, and two very different characters are given the same name. In The Two Gentlemen of Verona, Speed, in Milan, says to Launce: “Welcome to Padua!” It has been argued that the comic passages concerning the man and the dog, easily detachable from the text, were written at a later date. It is most probable that they were added for the performance of a specific clown – Will Kempe comes immediately to mind – and thus emphasise the extent to which Shakespeare was obliged to improvise. He changed his scripts according to change of cast. One of Kempe’s famous routines was to heave his leg over his staff, and pretend to urinate like a dog. And he would have danced his famous jig at the end of the proceedings.

An early date for this play can also be conjectured from the fact that Shakespeare imitates, or borrows, passages from the fashionable playwrights of the 1580s. He takes character and dialogue from John Lyly, a romantic plot from Robert Greene, and lines from Thomas Kyd. It can be argued that he is satirising the romantic drama of the 1580s, but he is at the same time heavily indebted to it. The Two Gentlemen of Verona is part of the atmosphere of its period, and influences upon it can be traced to Sir Philip Sidney’s Arcadia, Arthur Brooke’s poem entitled The Tragicall Historye of Romeus and Juliet, George Puttenham’s Arte of English Poesie and the courtly literature of the period that Shakespeare seems to have devoured. There is even some evidence that he had read Marlowe’s Hero and Leander in manuscript form.

From the evidence of the play the young writer is half in love with music, of which he shows a distinct technical knowledge, and is already enamoured of the sonnet form. There are other distinct or distinctive Shakespearian aspects – or, rather, aspects that at a later date can be deemed to be Shakespearian. He places romance and farce so close together that they cannot ultimately be distinguished; the lover is followed on stage by the clown, and Launce’s affection for his dog seems stronger than that of the romantic rivals’ for their mistress. All forms of human experience are juxtaposed by Shakespeare, but his tendency is to deflate the heroic and the romantic with broad comedy. We will come to recognise that Shakespeare was a profoundly unsentimental person. In The Two Gentlemen of Verona, also, action in the world is subtly confused with play-acting; here, for the first time in Shakespeare’s drama, emerges the figure of the girl dressed as a boy that would become such a token of his art. The play also evinces immense verbal resource, with the principal characters trying out various forms of address with the sole intention of displaying the dramatist’s own skill. It shows a boundless invention and exuberance, in a language filled with puns and rhymes. No other writer of his age was so fluent and so various.