"he is given a direct connection to his brother. Although he has a very small role in Shakespeare's play, earlier versions of the story gave him no role or mention at all. In fact, they gave even Mercutio a very minor role. Shakespeare was the first English dramatist to use the name ""Valentine"" on stage, in his earlier plays, ""Titus Andronicus"" and ""The Two Gentlemen of Verona"". In ""Titus"", Valentine plays a minor role, but in ""Two Gentlemen"", he is one of the title characters. Incidentally, the Valentine of ""Two Gentlemen"" borrows heavily from Arthur Brooke's Romeus in ""The Tragical"
"protagonists, and ""supply a mundane view of the idealistic flights of fancy indulged in by Proteus and Valentine."" Several times in the play, after either Valentine or Proteus has made an eloquent speech about love, Shakespeare introduces either Launce or Speed (or both), whose more mundane concerns serve to undercut what has just been said, thus exposing Proteus and Valentine to mockery. For example, in Act 2, Scene 1, as Valentine and Silvia engage in a game of flirtation, hinting at their love for one another, Speed provides constant asides which serve to directly mock the couple; A third major"
"Squabbling servants appear often in the works of Shakespeare summoning another parallel. Joe is much like Malvolio, the strait-laced, pompous steward in the household of Lady Olivia, efficient but also self-righteous, with a poor opinion of drinking, singing, and fun. His priggishness and haughty attitude earn him the enmity of Maria, Olivia's sharp-witted waiting-gentlewoman. There are moments of jealousy and competitiveness between Words and Music that seem at times relatively overt, adding dimension to their relationship. Croak shuffles into the room and Joe and Bob both become habitually subservient. They’ve probably been together for a great many years, like Hamm"
"of people in love. The highlight of the play is considered by some to be Launce, the clownish servant of Proteus, and his dog Crab, to whom ""the most scene-stealing non-speaking role in the canon"" has been attributed. ""Two Gentlemen"" is often regarded as one of Shakespeare's weakest plays. It has the smallest named cast of any play by Shakespeare. As the play begins, Valentine is preparing to leave Verona for Milan so as to broaden his horizons. He begs his best friend, Proteus, to come with him, but Proteus is in love with Julia, and refuses to leave. Disappointed,"
"friends. The Novella is introduced in her quarters, with her ""bravo"" (bodyguard/thug/manservant) Borgio and her African serving maid Jaconetta (she of Pantaloni's bed trick). The Novella is shown manipulating and putting off the men who circle around her; at one point she comes close to being raped by an ardent Spanish gentleman, though she is saved by Borgio and a German named Swartzenburgh. (The play confuses the Germans, ""Deutsch,"" with the Dutch — a confusion common among the English at the time.) The Novella proves to be Victoria, come from Rome in search of Fabritio; she has adopted her courtesan"
"most, four characters betray an uncertainty of technique suggestive of inexperience."" This uncertainty can be seen in how Shakespeare handles the distribution of dialogue in such scenes. Whenever there are more than three characters on stage, at least one of those characters tends to fall silent. For example, Speed is silent for almost all of Act 2, Scene 4, as are Thurio, Silvia and Julia for most of the last half of the final scene. It has also been suggested that the handling of the final scene in general, in which the faithful lover seemingly offers his beloved as a"
"encourages her to treat him in progressively more degrading ways. At first Wanda does not understand or accede to the request, but after humouring Severin a bit she finds the advantages of the method to be interesting and enthusiastically embraces the idea, although at the same time she disdains Severin for allowing her to do so. Severin describes his feelings during these experiences as ""suprasensuality"". Severin and Wanda travel to Florence. Along the way, Severin takes the generic Russian servant's name of ""Gregor"" and the role of Wanda's servant. In Florence, Wanda treats him brutally as a servant, and recruits"
"that when Shakespeare dramatised the poem and expanded Mercutio's role, he introduced a brother for him in order to suggest a more fraternal character. Shakespeare appears to be the first dramatist to have used the name Valentine prior to ""Romeo and Juliet"", but he himself had actually used the name previously. In ""Two Gentlemen of Verona"", a play about two brothers and also set in Verona, Valentine is a true and constant lover and Proteus is a fickle one. While not primarily based on it, ""Two Gentlemen of Verona"" adapts several incidents from Brooke's poem, and in all these instances"
"and Stephano were two characters used to show how wrong human beings are. Unlike Antonio, which was featured in no less than four plays, the name Stephano only appears in one of Shakespeare's other plays, ""The Merchant of Venice"". Stephano (The Tempest) Stephano ( ) is a boisterous and often drunk butler of King Alonso in William Shakespeare's play, ""The Tempest"". He, Trinculo and Caliban plot against Prospero, the ruler of the island on which the play is set and the former Duke of Milan in Shakespeare's fictional universe. In the play, he wants to take over the island and"
"Juliet"". Obviously Shakespeare's source for ""Romeo and Juliet"", it features a character called Friar Laurence, as does ""Two Gentlemen"", and a scene where a young man attempts to outwit his lover's father by means of a corded ladder (as Valentine does in ""Two Gentlemen""). Philip Sidney's ""The Countess of Pembroke's Arcadia"" may also have influenced Shakespeare insofar as it contains a character who follows her betrothed, dressed as his page, and later on, one of the main characters becomes captain of a group of Helots. The exact date of composition of ""The Two Gentlemen of Verona"" is unknown, but it"
"Tybalt's speed and agility with the sword), Mercutio is also insulting Tybalt – the phrase refers not only to Reynard but to the Italian word ""cazzo"" (pr. CAT-so) meaning ""penis"". Tybalt is first seen coming to the aid of his servants who are being attacked by the Montagues' servants. He is also present at Capulet's feast in act one, scene five and is the first to recognise Romeo. His last appearance is in act 3 scene 1, wherein Mercutio insults Tybalt and ends up fighting with him. Tybalt kills Mercutio and, in retaliation, Romeo rages and kills Tybalt, resulting in"
"at Hyde Mead, before the Abbey near Winchester. Under the reign of Henry VIII, the royal household paid a wage of two-pence a day to provide a custodian for the sword used to slay Colbrand (specifically one William Hoggenson, a yeoman of the buttery). William Shakespeare mentions Colbrand in both Henry VIII (Act V, scene iii) and King John (Act I, scene 1). Colbrand, as an appellation, had (by the 18th century) developed into a nickname for anyone of considerable size or strength, an example being the character of Colbrand the huge Swiss valet in Pamela; or, Virtue Rewarded, an"
"portrayed as a wise ruler, graceful enough to accept (and indeed reward) a veiled rebuke from Bergamino, a jester visiting his court. His eminence, wisdom and generosity in this moral tale (where he is compared not unfavouraby to Emperor Frederick II) may reflect Dante's influence on Boccaccio's perception of Cangrande. Cangrande is the title character of ""The Master of Verona"", a novel by David Blixt. The story interweaves the characters of Shakespeare's Italian plays (most notably the Capulets and the Montagues from ""Romeo & Juliet"") with the historical figures of Cangrande's time. Cangrande I della Scala Cangrande (christened Can Francesco)"
"offensive characteristic. He evolved out of the general Zanni, as evidenced by his costume, and came into his own around the start of the 16th century. He is loosely categorized as one of the ""zanni"" or servant characters though he often was portrayed as a member of the middle class such as a tavern owner: his character could be adapted to whatever the needs to the scenario might be, just as Brighella himself is adaptable to any circumstance. He is essentially Arlecchino's smarter and much more vindictive older brother. They both share the same traditional birthplace: Bergamo, a city in"
"Valentine bids Proteus farewell and goes on alone. Meanwhile, Julia is discussing Proteus with her maid, Lucetta, who tells Julia that she thinks Proteus is fond of her. Julia, however, acts coyly, embarrassed to admit that she likes him. Lucetta then produces a letter; she will not say who gave it to her, but teases Julia that it was Valentine's servant, Speed, who brought it from Proteus. Julia, still unwilling to reveal her love in front of Lucetta, angrily tears up the letter. She sends Lucetta away, but then, realising her own rashness, she picks up the fragments of the"
"Claudius, insisting that she knew nothing of her first husband's murder and agreeing to help her son. There is an entire scene between Horatio and Gertrude in which Horatio tells her that Hamlet has escaped from the ship after discovering Claudius' plan to kill him. Gertrude says that she now recognises Claudius' ""villany"", but she will ""soothe and please him for a time"" to lull him into a false sense of security. Another significant difference is that the character of Polonius is called ""Corambis"" while his servant Reynoldo is named ""Montano"". Various suggestions have been made to explain this. G."
"by the parallel seductions held at the chateau. Vincent's seduction of Julie is misguided and ultimately fails. Madame de T's seduction of the Chevalier is deliberate and provides them with a night of pleasure. Speed and failure are also associated as Vera comments that slowness has protected Milan in the past. This suggests that serious consideration requires slowness; speed encourages rash decisions and ultimately failure. Kundera introduces the concept of the ""dancer"" early in the book. The dancer, defined in the story, is a person who constantly seeks the infinite and invisible audience that modern media offers. The fame that"
"the existence of each from the other. Beatrice's servant, the exceptionally quirky and comical Truffaldino, is the central figure of this play. He is always complaining of an empty stomach, and always trying to satisfy his hunger by eating everything and anything in sight. When the opportunity presents itself to be servant to another master (Florindo, as it happens) he sees the opportunity for an extra dinner. As Truffaldino runs around Venice trying to fill the orders of two masters, he is almost uncovered several times, especially because other characters repeatedly hand him letters, money, etc. and say simply ""this"
"as the female leads in the original play. Their surname is Stratford, a nod to Shakespeare's birthplace. Patrick's surname Verona references the home of his relative character Petruchio. The characters attend Padua High School, named after where the play is set. Cameron (Lucentio, who disguises himself as a tutor named Cambio) tutors Bianca in French and slips in a line from play while obsessing over her: """"I burn, I pine, I perish"""". Patrick's character reflects the outlandish behavior of Petruchio, and Michael coerces Patrick into the marching band incident with the words from Sonnet 56: """"Sweet love, renew thy force""""."
"about to befall the new romance between the title characters. The Chorus only appears in the Quarto versions, not in the First Folio. The Apothecary is a pharmacist in Mantua who reluctantly sells Romeo's poison, only because he's poor and is also in desperate need of monetary support. The Watch of Verona takes the form of three watchmen. The First Watch appears to be the constable, who orders the Second and Third to ""search about the churchyard!"" Unusual for a Shakespearean watch group, they appear to be a relatively intelligent unit, managing to capture and detain Balthasar and Friar Laurence"
"Stephano (The Tempest) Stephano ( ) is a boisterous and often drunk butler of King Alonso in William Shakespeare's play, ""The Tempest"". He, Trinculo and Caliban plot against Prospero, the ruler of the island on which the play is set and the former Duke of Milan in Shakespeare's fictional universe. In the play, he wants to take over the island and marry Prospero's daughter, Miranda. Caliban believes Stephano to be a god because he gave him wine to drink which Caliban believes healed him. Boisterous and often drunk, Stephano is willing to be regarded as a Lord by Caliban, although"
"which ruled Verona, possibly on Bartolomeo I. Escalus is the voice of authority in Verona. He appears only three times within the text and only to administer justice following major events in the feud between the Capulet and Montague families. He first punishes Capulet and Montague for the quarrel between Tybalt, Benvolio, and a handful of servants. He returns too late to stop the fatal brawls between Tybalt and Mercutio and, subsequently, Tybalt and Romeo. Escalus is prepared to execute Romeo for his offence—Romeo's killing Tybalt—but lightens the sentence to lifetime banishment from Verona, when Benvolio insists that Tybalt started"
"and outrage of the assembled company. Antoninus later confesses to his friend Macrinus that he is in love with the local maiden Dorothea; this is why he cannot accept Artemia as his wife. Act II introduces Dorothea and her household servants, Angelo, Spungius, and Hircius. Spungius is ""a drunkard,"" and Hircius is ""a whoremaster;"" both have accepted Christianity under Dorothea's influence, though they have trouble avoiding their habitual vices. (The two provide the play's comic relief, though their dialogues also contain the ""foulness"" that distressed traditional critics like Kingsley.) Angelo, in contrast, is an angel in disguise, and serves as"
"is a servant of the Montague household. He appears in Act 1, Scene 1, where he and another servant (presumably Balthasar) are provoked into a fight with Gregory and Sampson when the latter bites his thumb at them. Friar Lawrence plays the part of an advisor and mentor to Romeo, along with aiding in major plot developments. Alone, the innocent Friar gives us foreshadowing with his soliloquy about plants and their similarities to humans. When Romeo requests that the Friar marry him to Juliet, he is shocked, because only days before, Romeo had been infatuated with Rosaline, a woman who"
"reveals that he has a brother named Valentine. Mercutio is apt to make long, drawn out speeches (the most famous of which is the Queen Mab speech), and is generally thought to be reckless, a jester, and a free spirit. Due to his reckless and flamboyant personality, Mercutio is one of Shakespeare's most popular characters. Mercutio is the instigator of many fights with his rather mean spirited humor, and often insults Tybalt, a renowned swordsman. It is Tybalt's temper that leads to Mercutio's death, and Romeo's banishment and the tragedy that follows. After Romeo receives a death threat from Tybalt,"
"African servant woman in bed instead. Pantaloni has planned a revenge on the Novella for this trick: he will lure her into a public encounter with the city's executioner, which will disgrace her socially and cause her to be scorned and isolated. To bring this about, he equips his witty servant Nicolo with the uniform of a Zaffi, the common law officer of Venice. The arrogant Pantaloni has alienated Nicolo, however, by frequently dwelling on the fact that Nicolo's father is a prisoner in the galleys; and Nicolo is easily swayed to defect to the side of Fabritio and his"
"In the while Confiance runs towards Vincenzone, that disguised himself as Pulcinella, and Totò search and finally is able to see her but then also sees the true Pulcinella in another place and so he and Confiance begins to question who is near Confiance and Vincenzone finally reveals himself making faint Confiance and so a Neapolitan is able to recognize him as the man that bought the pots in the markets, Totò as the lawyer he met, Pulcinella as the man he fought before and finally the pots says that in reality he is Vincenzone the servant of Vesuvia. So"
"affectionate and honest. She is in love with Ludovico and often gets locked in closets. Ludovico: One of Montoni's servants. He falls in love with Annette and provides assistance to Emily. He is more sensible than Annette, and is both brave and quick-thinking. He is the locker of closets. Cavigni, Verezzi, and Bertolini: Cavaliers and friends of Montoni. Cavigini is sly, careful, and flatteringly assiduous. Verezzi is a ""man of some talent, of fiery imagination, and the slave of alternate passions. He was gay, voluptuous, and daring; yet had neither perseverance or true courage, and was meanly selfish in all"
"in the house so they wouldn't infect others. The authorities wouldn't even allow Friar John to use a messenger to send the letter back to Friar Laurence. A Chorus gives the opening prologue and one other speech, both in the form of a Shakespearean sonnet. The Chorus is an omniscient character. It appears at the top of the play to fill the audience in on the ancient quarrel between the, ""Two households, both alike in dignity / In fair Verona, where we lay our scene"". It returns as a prologue to act two to foreshadow the tragic turn of events"
"Mistress Quickly Mistress Nell Quickly is a fictional character who appears in several plays by William Shakespeare. She is an inn-keeper, who runs the Boar's Head Tavern, at which Sir John Falstaff and his disreputable cronies congregate. The character appears in four plays: ""Henry IV, Part 1"", ""Henry IV, Part 2"", ""Henry V"" and ""The Merry Wives of Windsor"". In all the plays Quickly is characterised as a woman with strong links to the criminal underworld, but who is nevertheless preoccupied with her own respectable reputation. Her speech is filled with malapropisms, double entendres and ""bawdy innuendo"". Her name may"
"together, the two become friends — which only exacerbates Lorenzo's jealousy. Lorenzo takes the extreme step of preferring legal charges against his wife and friend. In the play's first trial scene (II,3), two of Lorenzo's slaves give suborned testimony against the accused; the court has little choice but to convict them. Philippo is banished, and Abstemia is divorced from Lorenzo. A distraught and devastated Abstemia tearfully leaves the court, and disappears. The banished Philippo leaves Verona — and reports all that has happened to Abstemia's brother, the Venetian duke. The Duke and his army come to Verona to express displeasure"
"of his senior courtier, Nicanor. Nicanor quickly reveals himself to be both the play's villain and its senex: though an old man himself, he wants to marry Leonida and so become king after Atticus. The second scene introduces Swetnam and his servant Swash, the play's clown. The conceit is that Swetnam has been driven out of England by the public's righteous indignation over his anti-female slanders; he has moved to Sicily and taken to calling himself Misogynos. (The play provides the earliest known use in English of the term ""misogynist."") Once in Sicily, however, he has fallen back into his"
"three sequences featuring Friar John in Mantua. In contrast, the role of Friar Laurence (an important character in the play) is much reduced. A number of scenes are expanded as opportunities for visual spectacle, including the opening brawl (set against the backdrop of a religious procession), the wedding and Juliet's funeral. The party scene, choreographed by Agnes de Mille, includes Rosaline (an unseen character in Shakespeare's script) who rebuffs Romeo. The role of Peter is enlarged, and played by Andy Devine as a faint-hearted bully. He speaks lines which Shakespeare gave to other Capulet servants, making him the instigator of"