Books by Barbara A. Mowat

Putting readers in touch with current ways of thinking about Shakespeare, this series used text based directly on what the editors consider the best early printed version of the play. This book contains full explanatory notes on pages facing the text of the play and a helpful introduction to Shakespeare's language. At the conclusion is a full essay assessing the play in the light of today's interests and concerns.

This play has been popular on the stage during the last three centuries and has proved itself admirable suited to adaptation as pure farce and musical spectacle.

Two sets of twins, both separated during a shipwreck that occurred 23 years before the present drama unfolds, convolute the absurd plot of Shakespeare's most farcical play. The composition of this, his shortest work, is commonly dated between 1592 and 1594; scholarship has placed its probable first performance on December 28, 1594 at the Gray's Inn, London. THE COMEDY OF ERRORS was included in the FIRST FOLIO, 1623, and is classified in Shakespeare's oeuvre as a comedy. The action precipitates in the course of a single day in three simple locations: the Phoenix, the Porcupine, and the Priory, buildings in the city of Ephesus. The action begins when Egeon is heavily taxed by the Duke moments after disembarking in Ephesus after five years of wayfaring. The Duke is lenient after hearing the pathetic circumstances that brought Egeon there, which serves as a prologue to the play: Egeon's family--his wife and twin sons, along with a set of twin slave boys--were separated in a shipwreck 23 years earlier. After the wreck he returned home to Syracuse with but one son and one slave; the others were lost. In his 18th year this son, named Antipholus of Syracuse took his slave, Dromio of Syracuse (not to be confused with Antipholus and Dromio of Ephesus, twins of the former, now living in Ephesus) to search for his separated twin. Upon the departure of his only remaining son, Egeon, in despair embarks on a journey to find him. Naturally, as the rules of comedy proscribe, all parties land in Ephesus, unbeknownst to one another. Moreover, Aemilia, long-lost wife of Egeon, is also present, along with the sisters Adriana and Luciana, the bride and future bride of each son. The remainder of the play is concerned with reuniting this family.

Since its first production in London in 1602, the tragedy of HAMLET has become Shakespeare's most famous play, staged thousands of times, and considered a masterpiece of English literature and culture. On the ramparts of the Danish castle, young Hamlet, Prince of Denmark, receives a visitation from the ghost of his dead father who reveals a betrayal "most foul strange and unnatural": the old king claims to have been murdered by his own brother, Claudius, who then assumed the throne and married his widow. Hamlet swears to seek vengeance against his uncle, but soon finds himself plagued by doubts, indecision, and moral and religious quandaries. As he struggles with his task, Hamlet feigns madness, speaks in riddles, and contemplates suicide. After he accidentally stabs Polonius, Claudius's counselor, Hamlet is sent into exile--and Polonius's daughter, Ophelia, who had been in love with Hamlet, goes mad from grief and drowns herself. In the tragedy's climax, Hamlet returns to Denmark and stages a play in the hopes of exposing his uncle's guilt, while unbeknownst to him, Claudius has set about plans to have Hamlet poisoned. HAMLET is part of the well-established tradition of "revenge tragedies" that were popular at the end of the Elizabethan era, but the play transcends all its influences in its examination of justice and duty, and as a subtle portrait of a sensitive young man torn between righteous revenge and his duty as a moral man. For many critics Hamlet's psychological and philosophical dilemmas represent the greatest depiction of the complexities of the modern man.

While King Henry IV rightly laments that his heir, the young Prince Hal, has not distinguished himself in battle, Hal is up to no good at the Boar's Head Tavern with his rotund cohort, Falstaff. With a rebellion rising against the throne at home, Hal lives it up in the ale houses of London, associating with petty schemers and masterminding practical jokes instead of military strategies. When his father sends a messenger to fetch his delinquent son, will Hal rally to the call? Written prior to 1596, this much-loved play is referred to in multiple memoirs and documents of the day and in subsequent decades, including Samuel Pepys's diary, attesting to its impact and popularity. Blending action that takes place at court with scenes of city life, HENRY IV PART 1 marks a turning-point in Shakespeare's oeuvre, as action unfolds simultaneously in diverse locations, lending texture and variety to the drama, and involving characters drawn not only from the ranks of court, but from London's seedier byways. The sway of chaos and order, the perennial theme of Shakespeare's histories, is present here in the juxtaposition of the political realm with the Epicurean.

The historic King Henry VI lived from 1421 to 1471, however, the three plays which bear his name as titles do not concern him as much as those around him, such as Talbot, of HENRY VI, PART I, who is killed as a result of warring British factions while Henry VI is yet a child-king. The play is set during the final stages of the Hundred Years War against France, after the death of Henry V, who had conquered a significant amount French territory during his triumphant reign--most of which is lost during the course of the present drama. The three Henry VI plays, together with Richard III, form a tetralogy that thematically chronicles the disintegration of British dominance, the infighting that ensues, resulting in civil war (The War of the Roses). The tension between chaos and order is paramount. According to most scholarship, Shakespeare wrote the first of the three parts between 1589 and 1590. It was performed first on March 3, 1592 at the Rose Theater. Diaries indicate that it was performed 14 more times before the theaters were closed that season because of an outbreak of plague. Early Shakespeareans were hesitant to attribute HENRY VI, PART 1 to Shakespeare, particularly because of the crude portrayal of Joan of Arc, although it was included in the FIRST FOLIO, 1623; thus there is much speculation regarding this topic. The action begins at the funeral of Henry V, where the Duke of Gloucester and the Bishop of Winchester engage in a disruptive argument about the control of the young King Henry VI. Two messengers, one bringing word of English military losses in France, and a second reporting a French rebellion subsequently interfere with the funeral ceremony. In violation of a previous treaty, Charles Dauphin has been crowned King of France, and motivated the Bastard of Orleance and the Duke of Alanson behind him. A third messenger tells of the capture of the hero Talbot due to the coward Falstaff. Reinforcements are sent to assist the Earl of Salisbury, who leads the English army. Talbot is freed, but Salisbury is killed shortly thereafter. Moreover, Joan la Pucelle (Joan of Arc), armed with sorcery, has pledged allegiance to the French cause. During the power struggle between the French and English abroad, the celebrated Temple Garden Scene takes place back in England in which Richard Plantagenet and Somerset argue about rights to the crown. Plucking a white rose from a tree, Richard calls for his supporters to do the same; Somerset and his supports pick red roses--and thus the War of the Roses ignites. To quell some of the debate that ensues among the parties, Henry VI restores Richard as Duke of York. Attempting to restore peace among the factions, he later attempts, fatally, to evenly divide the English military, assigning the house of York control of the infantry, leaving the cavalry to Somerset, which only results in more strife among the factions. Both Talbot and his young son are killed in battle, but Joan is burned at the stake. Meanwhile, Gloucester arranges a peace treaty between Henry VI and Charles, based on Henry marrying the daughter of a French noble. Henry agrees. However, Suffolk has plans of his own for the King. Because Suffolk is in love with Margaret, daughter of the French noble Reignier, he establishes her as Queen, encouraging Henry VI to break his prior engagement. With Margaret installed as Queen, Suffolk, is poised to control the throne: "Margaret shall now be Queen, and rule the King; / But I will rule both her, the King, and Realm."

Completely re-edited, the New Folger Library edition of Part 1 of Shakespeare's Henry IV is based on the best early printed version of the play. Contains full explanatory notes on pages facing the text of the play, as well as a helpful introduction to Shakespeare's language. Illustrated.

The critically acclaimed series from the leading center for Shakespearean studies presents freshly edited texts of each play based on the earliest printed versions, along with detailed explanatory notes on facing pages, scene-by-scene plot summaries, a key to famous lines and phrases, an introduction to the language of Shakespeare's time, and essays by outstanding scholars that furnish a modern perspective on the plays.

In THE TRAGEDY OF KING RICHARD III, Shakespeare brilliantly dramatizes the terrible rise of Richard of Gloucester to the throne of England, and the subsequent downfall of his bloody reign. Unrepentant, deformed in body and spirit, willfully evil, and blessed with a serpent's tongue, the hunchbacked King Richard III sits aside Milton's Satan as one of the greatest villains of English literature. The play opens with Richard's brother Edward IV as King and England at peace, but Richard, "determined to prove a villain," sets about a series of heinous acts to pave his way to the throne: he has his older brother imprisoned and murdered, beheads nobles opposed to him on false charges, locks away his young nephews in the tower where they are later killed, and even does away with his wife to make way for a more politically advantageous marriage to his own niece. Finally, feared and despised in all quarters, and with his closest ally, Lord Buckingham, turned against him, Richard III loses his crown and his life in the battlefield, leading to the rise Henry VII, and the end of the War of the Roses between the York and Lancaster families.

Shakespeare's historical drama about how an embattled King John seized the British throne in order to prevent foreign domination is accompanied by detailed notes, including scene-by-scene plot summaries, an introduction to Shakespearean drama and language, a detailed critical analysis, and a study of period objects, clothing, and other artifacts mentioned in the play. Reprint.

Completely re-edited, the New Folger Library edition of Shakepeare's play puts readers in touch with current ways of thinking about Shakespeare. Each volume contains full explanatory notes on the page facing the text of the play, as well as a helpful introduction to Shakespeare's language. New edition.

Shakespeare's dark portrait of ambition begins when the eponymous hero, a Scottish soldier, encounters three witches, who mysteriously refer to him as the future king. As, step by step, their prophecy begins to be fulfilled, the seeds of ambition are planted not only in Macbeth but in his scheming wife, who soon is plotting the murder of Duncan, King of Scotland. This murder--and the string of killings that inevitably follow--sets in motion a series of dark deeds that torment Macbeth and Lady Macbeth with guilt, which manifests itself most pointedly when a sleepwalking Lady Macbeth attempts to wash the blood from her hands, famously uttering "Out, damn'd spot!" MACBETH was probably written between 1603 and 1606; it is the last of Shakespeare's major tragedies and is peculiarly concise, perhaps because Shakespeare had learned of King James's penchant for shorter works. The plot was inspired by the Chronicles of Holinshed's narrative of the reigns of Duncan and Macbeth in Scotland. Richard Burbage, one of the most prominent actors of the Elizabethan stage, is said to have originated the title role.

Shakespeare's dark portrait of ambition begins when the eponymous hero, a Scottish soldier, encounters three witches, who mysteriously refer to him as the future king. As, step by step, their prophecy begins to be fulfilled, the seeds of ambition are planted not only in Macbeth but in his scheming wife, who soon is plotting the murder of Duncan, King of Scotland. This murder--and the string of killings that inevitably follow--sets in motion a series of dark deeds that torment Macbeth and Lady Macbeth with guilt, which manifests itself most pointedly when a sleepwalking Lady Macbeth attempts to wash the blood from her hands, famously uttering "Out, damn'd spot!" MACBETH was probably written between 1603 and 1606; it is the last of Shakespeare's major tragedies and is peculiarly concise, perhaps because Shakespeare had learned of King James's penchant for shorter works. The plot was inspired by the Chronicles of Holinshed's narrative of the reigns of Duncan and Macbeth in Scotland. Richard Burbage, one of the most prominent actors of the Elizabethan stage, is said to have originated the title role.

Confusions of the heart reign in Athens, where everyone is pining away for the wrong person except Theseus, the Duke and his fiancée, Hippolyta, whose wedding day is fast approaching. Hermia, the Duke's daughter, is intent on marrying Lysander, although her father disapproves and threatens to make her a nun if she refuses to marry his choice for her, Demetrius. However, Helena loves Demetrius, who courted her once, and Lysander and Hermia plan to elope despite the Duke's orders. Hoping that Demetrius will fall for her instead, Helena plans to alert Demetrius that Hermia will shortly be spoken for. Meanwhile, in a subplot, the artisans Quince, Snug, Flute, Snout, Starveling, and Bottom, are rehearsing the play PYRAMUS AND THISBE to be performed at the Duke's wedding. As Hermia and Lysander head into woods to elope, with Helena and Demetrius following, the amateur acting troupe likewise takes cover in the woods to rehearse in privacy. This leads all the players into the realm of fairy magic, where fairies Oberon and Titania are arguing over a changeling. When Oberon decides to play a trick on Titania with the aid of a magic flower that causes people to fall in love with the first person (or beast) they set eyes on, the real trouble starts. The flower is used liberally on both the humans and the fairies by the trouble-making sprite Puck, inspiring many amorous entanglements. There is no known source for Shakespeare's fantastic plot, though the structure is classical, as the events begin in the court, relocate to an uncivilized environment, and return to the court with renewed order, and aspects of the imagery are drawn from classic works, such as Apuleius's THE GOLDEN ASS and Ovid's METAMORPHOSES. Evidence in the play, like Titania's remark about three unusually unpleasant summers in a row--documented elsewhere in England's records--suggest a composition date of 1595 or 1596. A MIDSUMMER NIGHT'S DREAM was listed in a 1598 catalogue of Shakespeare's works, and was published in 1600. Scholarship suggests that it was first performed in honor of a court wedding, though precisely whose remains unsubstantiated.

Confusions of the heart reign in Athens, where everyone is pining away for the wrong person except Theseus, the Duke and his fiancée, Hippolyta, whose wedding day is fast approaching. Hermia, the Duke's daughter, is intent on marrying Lysander, although her father disapproves and threatens to make her a nun if she refuses to marry his choice for her, Demetrius. However, Helena loves Demetrius, who courted her once, and Lysander and Hermia plan to elope despite the Duke's orders. Hoping that Demetrius will fall for her instead, Helena plans to alert Demetrius that Hermia will shortly be spoken for. Meanwhile, in a subplot, the artisans Quince, Snug, Flute, Snout, Starveling, and Bottom, are rehearsing the play PYRAMUS AND THISBE to be performed at the Duke's wedding. As Hermia and Lysander head into woods to elope, with Helena and Demetrius following, the amateur acting troupe likewise takes cover in the woods to rehearse in privacy. This leads all the players into the realm of fairy magic, where fairies Oberon and Titania are arguing over a changeling. When Oberon decides to play a trick on Titania with the aid of a magic flower that causes people to fall in love with the first person (or beast) they set eyes on, the real trouble starts. The flower is used liberally on both the humans and the fairies by the trouble-making sprite Puck, inspiring many amorous entanglements. There is no known source for Shakespeare's fantastic plot, though the structure is classical, as the events begin in the court, relocate to an uncivilized environment, and return to the court with renewed order, and aspects of the imagery are drawn from classic works, such as Apuleius's THE GOLDEN ASS and Ovid's METAMORPHOSES. Evidence in the play, like Titania's remark about three unusually unpleasant summers in a row--documented elsewhere in England's records--suggest a composition date of 1595 or 1596. A MIDSUMMER NIGHT'S DREAM was listed in a 1598 catalogue of Shakespeare's works, and was published in 1600. Scholarship suggests that it was first performed in honor of a court wedding, though precisely whose remains unsubstantiated.

Presents Shakespeare's popular comedy of love and mistaken identity.

Looks at how old age and suffering are dealt with in Homer's Odyssey, Shakespeare's King Lear and The Tempest, and T. S. Eliot's Little Gidding. Reprint.

The critically acclaimed series from the leading center for Shakespearean studies presents freshly edited texts of each play based on the earliest printed versions, along with detailed explanatory notes on facing pages, scene-by-scene plot summaries, a key to famous lines and phrases, an introduction to the language of Shakespeare's time, and essays by outstanding scholars that furnish a modern perspective on the plays.

Set during five of the most intensely dramatic days ever portrayed, ROMEO AND JULIET was probably written in 1594 or 1595, and first published in a 1597 edition, as transcribed by actors who had performed it. Other editions appeared later, but even the more authoritative versions, such as that of 1599--probably drawn from Shakespeare's own manuscript copies--lack the detailed stage directions present in the actors' transcription; thus, modern editions incorporate several sources. ROMEO AND JULIET is among the most oft performed of Shakespeare's works, and it has been among the most beloved since its earliest days on the stage. Though the title page of the 1597 edition declares that ROMEO AND JULIET had been performed and enjoyed many times prior to its publication, the first extant direct record of the events of a production refer to a 1662 staging, in which the play was probably adapted or altered--adaption was particularly popular in the 17th century. One London stage ran different conclusions on alternative nights; audiences who went home glum on Friday could be uplifted by the play's ending if they returned on Saturday night. The story of ROMEO AND JULIET was derived by Shakespeare from many sources. The version most contemporary to his own was the 1562 poem "The Tragicall History of Romeus and Iuliet" by Arthur Brooke, which itself was an adaptation of a French piece by Pierre Boaistuau, which Boaistuau had adapted from the Italian. Indeed, aspects of the tragic story have recurred throughout Western literature since at least the third century. Shakespeare greatly intensified the pace by compressing a piece which had unfolded over the course of several months into the space of five days--a period in which much transpires at daybreak, including the famous balcony scene where Romeo declares, "But soft, what light through yonder window breaks?/It is the east, and Juliet is the sun." Romeo is forced to approach Juliet in secret because of the impassioned rivalry between his family, the Montagues--and Juliet's, the Capulets. Despite the intensity of their family's mutual disdain, the young lovers strive to marry. However, fate intervenes to keep them apart, and, when the Montagues and Capulets discover the folly of their ways, it's too late for Romeo and Juliet.

Set during five of the most intensely dramatic days ever portrayed, ROMEO AND JULIET was probably written in 1594 or 1595, and first published in a 1597 edition, as transcribed by actors who had performed it. Other editions appeared later, but even the more authoritative versions, such as that of 1599--probably drawn from Shakespeare's own manuscript copies--lack the detailed stage directions present in the actors' transcription; thus, modern editions incorporate several sources. ROMEO AND JULIET is among the most oft performed of Shakespeare's works, and it has been among the most beloved since its earliest days on the stage. Though the title page of the 1597 edition declares that ROMEO AND JULIET had been performed and enjoyed many times prior to its publication, the first extant direct record of the events of a production refer to a 1662 staging, in which the play was probably adapted or altered--adaption was particularly popular in the 17th century. One London stage ran different conclusions on alternative nights; audiences who went home glum on Friday could be uplifted by the play's ending if they returned on Saturday night. The story of ROMEO AND JULIET was derived by Shakespeare from many sources. The version most contemporary to his own was the 1562 poem "The Tragicall History of Romeus and Iuliet" by Arthur Brooke, which itself was an adaptation of a French piece by Pierre Boaistuau, which Boaistuau had adapted from the Italian. Indeed, aspects of the tragic story have recurred throughout Western literature since at least the third century. Shakespeare greatly intensified the pace by compressing a piece which had unfolded over the course of several months into the space of five days--a period in which much transpires at daybreak, including the famous balcony scene where Romeo declares, "But soft, what light through yonder window breaks?/It is the east, and Juliet is the sun." Romeo is forced to approach Juliet in secret because of the impassioned rivalry between his family, the Montagues--and Juliet's, the Capulets. Despite the intensity of their family's mutual disdain, the young lovers strive to marry. However, fate intervenes to keep them apart, and, when the Montagues and Capulets discover the folly of their ways, it's too late for Romeo and Juliet.

The critically acclaimed series from the leading center for Shakespearean studies presents freshly edited texts of each play based on the earliest printed versions, along with detailed explanatory notes on facing pages, scene-by-scene plot summaries, a key to famous lines and phrases, an introduction to the language of Shakespeare's time, and essays by outstanding scholars that furnish a modern perspective on the plays.

A memoir composed of autobiographical notes and journal entires, Helen M. Luke's book is an exploration of her own life experiences on her way to becoming a successful Jungian analyst.

Generally agreed to be Shakespeare's last play, THE TEMPEST was most likely written in 1610. Twelve years before the action begins, Prospero--Duke of Milan--and his daughter, Miranda, were stranded by Prospero's brother, Antonio, on a remote and idyllic island where Miranda has grown up happily among the beasts and flowers, never seeing any man but her father. Many years later, Prospero uses his powers and the help of Ariel, the sprite, to effect a shipwreck--hence the play's title--that brings Antonio to the island, along with the king of Naples and his son, Ferdinand, who promptly falls in love with Miranda. Their love story, juxtaposed with Prospero's revenge on his brother and his final act of mercy, form the basis of a simple plot. A combination of tragedy and romantic comedy, the play includes a happy ending that, finally, leans toward the latter. Unlike Shakespeare's other plays, THE TEMPEST is full of magic and exoticism and what we now think of as special effects, using evocative music and extravagant imagery to create a mood of enchantment that, nonetheless, confronts serious questions about reality and illusion. Some interpretations of the play see Prospero--who, in his dazzling last speech, renounces his magic powers--as the aging Shakespeare bidding farewell to the theater. THE TEMPEST is also interesting because its events take place in a 24-hour period. And it is, of course, the source of a famous phrase: when the sheltered Miranda first lays eyes on Ferdinand, she exclaims, "Oh brave new world, that has such people in it!"

The star-crossed lovers of Romeo and Juliet, the madness and vengeance of Hamlet, and the corrupting lust for power of Macbeth -- this collection of three of Shakespeare's greatest tragedies is based on the acclaimed individual Folger editions of the plays. The present volume offers accurate texts in modern spelling, full explanatory notes, and scene-by-scene action summaries.

The spirit of revenge that permeates TITUS ANDRONICUS, Shakespeare's first tragedy, is ignited when Lucius, the son of the celebrated general, Titus, calls for a human sacrifice after waging a successful campaign against the Goths. The son of Tamora, the captive Queen of the Goths, is chosen for the role. As a patriot and high ranking general, it falls to Titus to name the successor of the throne. When Titus names Saturninus, the eldest of the Emperors two rival sons, Saturninus pledges to marry Titus's daughter, Lavinia. However, it had previously been arranged that Bassianus, the Emperor's younger son was to marry her, and when Titus's own sons defend this union, Titus kills one in the scuffle that follows. Although Titus was defending the authority of Saturninus, Saturninus fears Titus's popularity, and uses the chaotic environment to undermine Titus by marrying Tamora, who swears to avenge Titus for the sacrifice of her son. Bassianus thus marries Lavinia after all, but the honeymoon is short-lived, for Tamara's sons kill Bassianus and rape and mutilate Lavinia, severing both hands and her tongue. Lavinia is presented to Titus just as he is overcome with the grief of the impending execution of two of his sons. A messenger of Tamora promises that they will be spared in exchange for Titus's own hand. However, after sacrificing his hand, it is returned to him on a platter beside the heads of his sons. Titus, dressed as a chef, executes a particularly gruesome revenge for this, which he serves to Tamora with relish. In depicting revenge with gusto, Shakespeare was participating in the growing popularity of the Elizabethan revenge play, of which Hamlet is a graceful example. TITUS ANDRONICUS was first published in 1594, but its composition may have been as early as 1588. Frequent publication suggests popularity in Shakespeare's day.

Completely re-edited, the New Folger Library edition of Shakespeare's King Lear is based on the best early printed edition of the play. Includes a section on reading Shakespeare's language, information on his life, explanatory notes, annotated reading lists, and a Modern Perspective essay which assesses the play in light of today's interests and concerns.

Scenebyscene plot summaries and clarifications of Elizabethan English make this latest edition of the Bard's most wellknown play a necessary edition to any Shakespeare lover's library. Reissue.

Shakespeare's classic tale of the greed and ambition that destroys a strong, capable leader is retold here, with helpful notes on Shakespeare's language and world. Reissue.

One of Shakespeare's finest works is available in a new edition, based on the best early printed version of the play. This new edition of Othello reflects the latest scholarship and includes information on Shakespeare's life, explanatory notes, and a Modern Perspective section. Illustrated.

This edition of Shakespeare's Richard II puts readers in touch with the current ways of thinking about Shakespeare. The volume contains full explanatory notes on the pages facing the text of the play and a helpful introduction to Shakespeare's language. At the conclusion of the play, there is an essay assessing the play in light of today's interests and concerns.

This edition of Shakepeare's Richard III puts readers in touch with the current ways of thinking about Shakespeare. The volume contains full explanatory notes on the pages facing the text of the play and a helpful introduction to Shakespeare's language. At the conclusion of the play, there is an essay assessing the play in light of today's interests and concerns.

The critically acclaimed series from the leading center for Shakespearean studies presents freshly edited texts of each play based on the earliest printed versions, along with detailed explanatory notes on facing pages, scene-by-scene plot summaries, a key to famous lines and phrases, an introduction to the language of Shakespeare's time, and essays by outstanding scholars that furnish a modern perspective on the plays.

The eponymous "two gentlemen" in question--Valentine and Proteus--are in love with, respectively, Silvia and Julia. Despite the promise of constancy made to Julia by Proteus, while he is away assisting his friend Valentine he also falls for Silvia. Thwarting their elopement plans, Proteus attempts to manipulate the circumstances to win the girl, losing the friendship of Valentine in the process. True to the conventions of comedy, though, all is set right between the friends and the lovers before the curtain falls. One of Shakespeare's first forays into comedy, TWO GENTLEMEN OF VERONA is not among his most accomplished works, although his later skill in drawing comic portraits is foreshadowed here. Shakespeare found precedent in the friendship between Valentine and Proteus in Boccaccio's DECAMERON, in the popular verse circulating in England at the time. TWO GENTLEMEN OF VERONA has been held up as Shakespeare's first composition, but there is no proof, other than the immaturity of his voice, to confirm this assertion. In any case, it was certainly written prior to 1598, when it was mentioned in a list of works.