DUKE of Milan, Father to Sylvia.

Valentine,

Protheus,

}

the two Gentlemen.

Anthonio, Father to Protheus.

Thurio, a foolish Rival to Valentine.
Eglamore, Agent for Sylvia in her Efcape.
Hoft, where Julia lodges in Milan.
Out-laws.

Speed, a clownish Servant to Valentine.

Launce, the like to Protheus.

Pantion, Servant to Anthonio.

Julia, a Lady of Verona, beloved of Protheus.

Silvia, the Duke of Milan's Daughter, beloved of Valentine.

Lucetta, Waiting-woman to Julia.

Servants, Muficians.

The SCENE fometimes in Verona; fometimes in Milan; and on the Frontiers of Mantua.

Of this play we have no edition more than that of 1623. in Folio.

THE

CEA

VALENTINE.

EASE to perfuade, my loving Protheus; Home-keeping youth have ever homely wits; Wer't not, affection chains thy tender days To the fweet glances of thy honour'd love,

1997

I rather

(1) It is obfervable (I know not for what cause) that the ftile of this comedy is lefs figurative, and more natural and unaffect ed than the greater part of this Author's, tho' fupposed to be one of the first he wrote. POPL.

It may very well be doubted, whether Shakespeare had any other hand in this play, than the enlivening it with fome fpeeches and lines thrown in here and there, which are eafily diftinguifhed, as being of a different ftamp from the rest.

Issues G HANMER.

bTo this obfervation of Mr. Pope, which is very juft, Mr. Theobald has added, that this is one of Shakespeare's worst plays, and is lefs corrupted than any other. Mr. Upton peremptorily determines, that if any proof can be drawn from manner and

Style,

I rather would intreat thy company,
To fee the wonders of the world abroad
Than (living dully fluggardiz'd at home)
Wear out thy youth with fhapeless idlenefs. (a)

But

Style, this play must be fent packing and feek for its parent elfewhere. How otherwife, fays he, do painters diftinguifb copies from originals, and have not authors their peculiar ftyle and manner from which a true critick can form as unerring a judg ment as a Painter ? ́I am afraid this illustration of a critick's fcience will not prove what is defired. A Painter knows a copy from an original by rules fomewhat refembling those by which criticks know a tranflation, which if it be literal, and literal it must be to refemble the copy of a picture, will be easily distinguished. Copies are known from originals even when the painter copies his own picture; fo if an authour should literally translate his work, he would lofe the manner of an original.

Mr. Upton confounds the copy of a picture with the imitation of a painter's manner. Copies are easily known, but good imitations are not detected with equal certainty, and are, by the beft judges, often mistaken. Nor is it true that the writer has always peculiarities equally diftinguishable with those of the painter. The peculiar manner of each arifes from the defire, natural to every performer, of facilitating his fubfequent works by recurrence to his former ideas; this recurrence produces that repetition which is called habit. The painter, whose work is partly intellectual and partly manual, has habits of the mind, the eye and the hand, the writer has only habits of the mind. Yet, fome painters have differed as much from themselves as from any other; and I have been told, that there is little refemblance between the first works of Raphael and the last. The fame variation may be expected in writers; and if it be true, as it seems, that they are less subject to habit, the difference between their works may be yet greater.

But by the internal marks of a compofition we may discover the authour with probability, though feldom with certainty. When I read this play I cannot but think that I discover both in the ferious and ludicrous fcenes, the language and sentiments of Shakespeare. It is not indeed one of his moft powerful effufions, it has neither many diversities of character, nor striking de lineations of life, but it abounds in yvaus beyond most of his plays, and few have more lines or paffages which, fingly confidered, are eminently beautiful. I am yet inclined to believe that it was not very fuccefsful, and fufpect that it has escaped corruption, only because being feldom played it was lefs expofed to the hazards of tranfcription.

(2) •Shapeless idleness. The expreffion is fine, as implying that idleness prevents the giving any form or character to the WARBURTON.

manners,

But fince thou lov'ft, love still, and thrive therein :
Ev'n as I would, when I to love begin.

Pro. Wilt thou be gone ? sweet Valentine, adieu
Think on thy Protheus, when thou, haply, feeft
Some rare note-worthy object in thy travel..
Wish me partaker in thy happiness,

When thou doft meet good hap; and in thy danger,
If ever danger do inviron thee,

Commend thy grievance to my holy prayer ;
For I will be thy bead's-man, Valentine.

Val. And on a love-book pray for my fuccefs.
Pro. Upon fome book I love, I'll pray for thee..
Val. That's on fome fhallow ftory of deep love.
How young Leander crofs'd the Hellefpont.

Pro. That's a deep story of a deeper love; For he was more than over fhoes in love.

Val. 'Tis true; for you are over boots in love, And yet you never fwam the Hellefpont.

Pro. Over the boots? nay, give me not the
boots. (3)

Val. No, I will not; for it boots thee not.
Pro. What?

Val. To be in love, where fcorn is bought with
groans;

Coy looks, with heart-fore fighs; one fading moment's

mirth,

With twenty watchful, weary, tedious nights.
If haply won, perhaps, an hapless gain:
If loft, why then a grievous labour won;
44) However, but a folly bought with wit;
Or elfe a wit by folly vanquished.

Pro

(3)nay, give me not the Boots.]: A proverbial expreffion, tho' now difufed, fignifying, don't make a laughing stock of me; don't play upon me. The French have a phrase, Bailler foin en Corne; which Cotgrave thus interprets, To give one the Boots; to fell him a bargain.

THEOBALD

(4) However, but a folly--] This love will end in a foolisb action, to produce which, you are long to spend your wit, or it will end in the lofs of your wit, which will be over-powered by the folly of love.