Continuing my series on the sources for Shakespeare’s plays, I turn my attention to The Two Gentlemen of Verona. This is one of those plays were there is at least one very clear source, a Spanish pastoral romance called Diana Enamorada, written by Jorge de Montemayor and published in 1542. Shakespeare probably had access to one or more of the many English translations of this text which existed before 1598. Shakespeare owes the main plot of his play to Diana Enamorada, as well as numerous small details.
One similarity is Proteus’ employing Julia’s maid as intermediary, and Julia’s exhibition of coyness in receiving his letter. There is also the matter of the disguised Julia’s taking service with Proteus as his page, and being sent by him to advance his suit to Silvia. Interestingly this is a plot device which Shakespeare will use again in Twelfth Night and something he borrowed from his main Italian source for that play, in fact in many ways its use in The Two Gentlemen of Verona is closer to the structure in the Italian source than is its use in Twelfth Night for in The Two Gentlemen of Verona Julia disguises her self as a Page to follow the man she loves and suffers at his apparent abandonment and his use of her to woo his new love. Consider the similarity between these scenes from The Two Gentlemen of Verona and Twelfth Night
First from The Two Gentlemen of Verona … Julia’s distress at hearing about herself.
Why dost thou cry ‘alas’?
I cannot choose
But pity her.
Wherefore shouldst thou pity her?
Because methinks that she loved you as well
As you do love your lady Silvia:
She dreams of him that has forgot her love;
You dote on her that cares not for your love.
‘Tis pity love should be so contrary;
And thinking of it makes me cry ‘alas!’
Now from Twelfth Night here is the disguised Viola discussing Orsino’s love for Olivia compared to her own for him.
Once more, Cesario,
Get thee to yond same sovereign cruelty:
Tell her, my love, more noble than the world,
Prizes not quantity of dirty lands;
The parts that fortune hath bestow’d upon her,
Tell her, I hold as giddily as fortune;
But ’tis that miracle and queen of gems
That nature pranks her in attracts my soul.
But if she cannot love you, sir?
I cannot be so answer’d.
Sooth, but you must.
Say that some lady, as perhaps there is,
Hath for your love a great a pang of heart
As you have for Olivia: you cannot love her;
You tell her so; must she not then be answer’d?
There is no woman’s sides
Can bide the beating of so strong a passion
Interestingly comparing these two plays with their two sources written some 10 years apart in Shakespeare’s career gives us a glimpse into the dense intertextualities which connects his works and their sources.