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I am asham'd that women are so simple

To offer war where they should kneel for peace;

Or seek for rule, supremacy, and sway,

When they are bound to serve, love, and obey.

Why are our bodies soft and weak and smooth,

Unapt to toll and trouble in the world,

But that our soft conditions and our hearts

Should well agree with our external parts?

Come, come, you froward and unable worins!

My mind hath been as big as one of yours,

My heart as great, my reason haply more,

To bandy word for word and frown for frown;

But now I see our lances are but straws,

Our strength as weak, our weakness past compare,

That seeming to be most which we indeed least are.

Then vail your stomachs, for it is no boot,

And place your hands below your husband's foot;

In token of which duty, if he please,

My hand is ready, may it do him ease.

PETRUCHIO.

Why, there's a wench! Come on, and kiss me, Kate.

LUCENTIO.

Well, go thy ways, old lad, for thou shalt ha't.

VINCENTIO.

'Tis a good hearing when children are toward.

LUCENTIO.

But a harsh hearing when women are froward.

PETRUCHIO.

Come, Kate, we'll to bed.

We three are married, but you two are sped.

[To LUCENTIO] 'Twas I won the wager, though you hit the white;

And being a winner, God give you good night!

Exeunt PETRUCHIO and KATHERINA

HORTENSIO.

Now go thy ways; thou hast tam'd a curst shrow.

LUCENTIO.

'Tis a wonder, by your leave, she will be tam'd so.

Exeunt

THE TWO GENTLEMEN OF VERONA

This comedy was written in 1590 or 1591 and is considered by some editors to be Shakespeare's first play, due to his more tentative handling of themes and stagecraft that would later be used so expertly. The play deals with the themes of friendship and infidelity, the conflict between friendship and love, and the foolish behaviour 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. Interestingly, The Two Gentlemen of Verona has the smallest cast of any play in Shakespeare’s canon.

Shakespeare's main source text for this play is available via this link.

A scene from the final act, by William Holman Hunt (1851)

CONTENTS

DRAMATIS PERSONAE

ACT 1. SCENE I. Verona. An open place

SCENE 2. Verona. The garden Of JULIA'S house

SCENE 3. Verona. ANTONIO'S house

ACT 2. SCENE I. Milan. The DUKE'S palace

SCENE I. Milan. The DUKE'S palace

SCENE 2. Verona. JULIA'S house

SCENE 3. Verona. A street

SCENE 4. Milan. The DUKE'S palace

SCENE 5. Milan. A street

SCENE 6. Milan. The DUKE's palace

SCENE 7. Verona. JULIA'S house

ACT 3. SCENE I. Milan. The DUKE'S palace

SCENE I. Milan. The DUKE'S palace

SCENE 2. Milan. The DUKE'S palace

ACT 4. SCENE 1. The frontiers of Mantua. A forest

SCENE 1. The frontiers of Mantua. A forest

SCENE 2. Milan. Outside the DUKE'S palace, under SILVIA'S window

SCENE 3. Under SILVIA'S window

SCENE 4. Under SILVIA'S Window

ACT 5. SCENE I. Milan. An abbey

SCENE I. Milan. An abbey

SCENE 2. Milan. The DUKE'S palace

SCENE 3. The frontiers of Mantua. The forest

SCENE 4. Another part of the forest

DRAMATIS PERSONAE

DUKE OF MILAN, father to Silvia

VALENTINE, one of the two gentlemen

PROTEUS, " " " " "

ANTONIO, father to Proteus

THURIO, a foolish rival to Valentine

EGLAMOUR, agent for Silvia in her escape

SPEED, a clownish servant to Valentine

LAUNCE, the like to Proteus

PANTHINO, servant to Antonio

HOST, where Julia lodges in Milan

OUTLAWS, with Valentine

JULIA, a lady of Verona, beloved of Proteus

SILVIA, the Duke's daughter, beloved of Valentine

LUCETTA, waiting-woman to Julia

SERVANTS MUSICIANS

SCENE: Verona; Milan; the frontiers of Mantua

ACT 1. SCENE I. Verona. An open place

Enter VALENTINE and PROTEUS

VALENTINE.

Cease to persuade, my loving Proteus:

Home-keeping youth have ever homely wits.

Were't not affection chains thy tender days

To the sweet glances of thy honour'd love,

I rather would entreat thy company

To