By William Shakespeare
Valentine is getting ready to go away Verona for Milan for you to expand his horizons. He begs his ally, Proteus, to return with him, yet Proteus is in love with Julia, and refuses to depart. disillusioned, Valentine bids Proteus farewell and is going on by myself.
Meanwhile, Julia is discussing Proteus along with her maid, Lucetta, who tells Julia that she thinks Proteus is keen on her. Julia, in spite of the fact that, acts coyly, embarrassed to confess that she likes him.
Lucetta then produces a letter; she is going to no longer say who gave it to her, yet teases Julia that it was once Valentine's servant, velocity, who introduced it from Proteus.
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Extra resources for The Two Gentlemen of Verona
204). Set a year later, Piers Paul Read’s A Married Man (1979) raises similar doubts about the ethical efﬁcacy of ﬁction in a story of political and social collapse that embraces the 1973–4 winter of strikes, and the ensuing February election. In an intriguing process of mapping the personal on to the political, Read’s novel treats the mid-life crisis of forty-year-old barrister John Strickland as the litmus test for a more general social malaise, embracing the corrupting effects of the legal and political systems.
In this novel Widmerpool’s insatiable quest for power and status latches on to the new social movements of the 1960s, with the inevitable consequence that these are tainted by his lack of integrity. Powell’s conservative comic mood, in 24 The Cambridge Introduction to Modern British Fiction, 1950–2000 alliance with the social status quo, is here revealed more directly than elsewhere in the sequence. The static conservative overview of Powell indicates that alternative ﬁctional strategies were needed to register adequately the implications of the new social movements.
126) spoken by the gang members (the ‘droogs’) is a mannerism designed to exclude adults, a point underscored when the predatory Alex encounters two ten-year-old girls in a record store and discovers their idiom is different to his (p. 37). 23 Though problematic, A Clockwork Orange is, in fact, a highly moral work. The unreformed Alex, having spent two years in a conventional prison, is put through a two-week ‘Reclamation Treatment’ (p. 75), a programme of conditioning, enhanced by drugs, that makes the patient sick at the thought The State and the Novel 25 of violence.