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Sir Eglamour waits for Silvia at Friar Patrick’s cell. He is confident that she won’t be late: If anything, he expects her, as a true lover, to arrive early. Silvia arrives wearing a mask. She urges Sir Eglamour to hurry, saying that she thinks she was followed. Eglamour reassures her that they are only three leagues (nine miles) from the forest, where they will be safe. The pair exits.
Proteus tells Thurio that Silvia is more willing to marry him than before, but that she finds faults with some aspects of his person. Proteus lists these faults—his legs are too “skinny,” he talks too much about war, his lands are leased to others—while Thurio attempts to justify them. As the men talk, Julia (still in disguise as Sebastian) addresses the audience with brief asides that highlight Thurio’s faults in her eyes: He is a self-centered, cowardly, arrogant old man who thinks he is more important than he is.
The Duke enters and asks whether Thurio or Proteus have seen Sir Eglamour or Silvia. When he learns that neither has been seen in court, the Duke reveals that the pair was seen walking through the forest by a Friar named Laurence, who recognized Silva in spite of her mask. This sighting and her absence from confession leads the Duke to believe Silvia is running away to find Valentine in Mantua. He orders Thurio and Proteus to join him in capturing them, and exits. Thurio implies that Silvia’s behavior is off-putting, and that his love for her is fading. He agrees to ride into the forest in order to get revenge on Sir Eglamour, but not to win over Silvia. He exits. Proteus says that he’ll join the search party because of his love for Silvia, and not his hate for Sir Eglamour, and exits. Alone, Julia says that she’ll go in order to stop Proteus, not out of hate for Silvia who is only acting out of love.
In the forest, the band of Outlaws captures Silva, while Sir Eglamour escapes. Strangely calm, Silvia says that she has braved enough challenges to handle her kidnapping with patience. One group of outlaws pursues Sir Eglamour while another takes Silvia to their leader, promising that he is an honorable man who will not harass or assault her. Silvia determines to endure her fate for Valentine.
Content Warning: This section of the play includes attempted sexual assault.
In a soliloquy, Valentine reflects on his time as an outlaw. He feels more comfortable in the deserted forest than he did in the crowded streets of Milan. Alone in the woods with only nightingales to sing to him, he can more fully focus on his love for Silvia. He begs for Silvia to visit him in person or in his dreams, comparing his heart to a mansion crumbling without its long-lost owner. Valentine hears sounds which he believes to be the outlaws returning with an unlucky captive. He feels that he still has a lot of work to do to keep them from engaging in ungentlemanly behavior. In order to observe their behavior, he hides in the shadows.
To Valentine’s surprise, Proteus and Julia (still disguised as Sebastian) enter with Silvia. Proteus reminds Silvia that he has just saved her from a group of men that would have harmed her. He implies that she was at risk of sexual assault, and asks that she look kindly on him in return. Silvia responds that she is miserable, and that his very presence makes her unhappy. In an aside, Julia says that she is also unhappy when Proteus approaches Silvia. Silvia declares that she would rather be eaten by a lion than be rescued by someone as treacherous as Proteus. She says that she hates Proteus as much as she loves Valentine, and orders him to leave her. Proteus is amazed at her anger, and says it’s a shame that women never love the men that love them. Silvia replies that his betrayal of Julia, the woman who loves him, is shameful and calls him an oath-breaker. She says that he has no faith, and has betrayed not only his beloved but also his best friend.
Proteus decides that if Silvia will not give into him willingly, he will force her to have sex with him. He attempts to assault Silvia, but is stopped by Valentine. Shocked by Proteus’s behavior, Valentine says he would not have believed Proteus was capable of such violence if he hadn’t witnessed it personally. He is amazed that his best friend could betray him so completely, and vows never to trust him or any friend again. Proteus immediately apologizes to Valentine, expressing shame and sorrow for his actions. Valentine accepts his apology, saying that those who repent will always be forgiven. In order to prove his love for Proteus, Valentine declares that “all that was mine in Silvia I give thee” (5.4.84).
Julia faints suddenly. When she wakes, she gives Proteus the ring that he gave her before leaving Verona, revealing her true identity. She declares her continued love for Proteus, and asks if he is shocked to see her wearing men’s clothes. She jokes that women only change their clothes, while men change their minds. Proteus promises to be true to Julia, and the pair reconciles.
The outlaws enter with Thurio and the Duke as prisoners. Valentine welcomes the Duke and identifies himself. Thurio demands that he hand over Silvia. Valentine threatens to kill Thurio if he tries to take her. Unwilling to risk the fight, Thurio immediately renounces his claim to Silvia. Embarrassed by Thurio’s cowardice and impressed by Valentine’s devotion, the Duke agrees to let Silvia and Valentine marry. Valentine asks the Duke to reaccept the outlaws into Milanese society, promising that they are reformed men. The Duke grants his son-in-law’s request, and tells Valentine to give them fitting jobs. Valentine arranges a double wedding for himself and Silvia alongside Proteus and Julia.
The final act of Two Gentlemen of Verona often confuses modern readers for a number of reasons. Although Proteus’s treachery is evident throughout the second half of the play, his transformation escalates from persistent suitor to would-be rapist in Act V. Julia’s willingness to marry Proteus after witnessing his attack on Silvia, and Valentine’s ability to forgive Proteus for attempting to rape his betrothed demonstrates a patriarchal, era-specific privileging of The Importance of Loyalty Between Men over the courtly love of a woman. The fact that Proteus is not punished for attempting to assault Silvia and that Silvia, the survivor of Proteus’s violence, is never given the chance to confront him—and in fact never speaks after the assault—reifies the casual misogyny of both the play and the socio-historic context in which it was written, leaving it uninterrogated. The text of the play brushes over Silvia’s assault and denies her the opportunity to speak for herself regarding Proteus’s fate. Within the world of the play, at least, Silvia’s assault is less important that Proteus’s relationship with Valentine. The play’s disregard for Silvia’s autonomy demonstrates its thematic exploration of The Restrictions of the Courtly Love for Women. At the end of the play, both Silvia and Julia are forced to make the best of a system which prioritizes the desires of men over women.
The friendship between Proteus and Valentine demonstrates the play’s thematic interest in The Importance of Loyalty Between Men. The importance of their relationship is evident in the fact that Proteus apologizes not to Silvia, but to Valentine after his attempted assault on Silvia: “forgive me, Valentine. If hearty sorrow be a sufficient ransom for offence, I tender it here” (5.4.75). Valentine believes his sorrow to be sincere and accepts the apology, welcoming Proteus back as an “honest” (5.4.79) friend. Valentine does not ask Silvia whether she thinks Proteus’s apology is sincere, or whether she has forgiven him for the attack. Instead, he forgives Proteus based on his belief in his friend’s “repentance” (5.4.80) and “penitence” (5.4.82), which he believes merit his forgiveness. The fact that Valentine forgives Proteus so easily suggests that Valentine values his relationship with Proteus more than he values Silvia’s reputation or autonomy. In this way, Shakespeare positions The Importance of Loyalty Between Men as a kind of explanation for The Fickle Nature of Young Love since, as the play’s resolution implies, no courtly love can compete with the friendship and camaraderie between men.
When Valentine accepts Proteus’s apology, he tells Proteus that “all that was mine in Silvia I give thee” (5.4.84), suggesting that his love for Proteus is as strong and meaningful as his love for Silvia. This declaration of friendship and loyalty resolves the tension brewing between the two men since Act III. Valentine’s insistence that he loves his friend as much as he loves his future wife suggests that young men value their friendships as much as their romantic relationships. The fact that their reunion is the climax of the play suggests that the resolution of their friendship is the play’s central concern.
Valentine’s promise to love Proteus and Silvia equally also echoes Silvia’s earlier statement that she loves Valentine “as much—for more there cannot be—[as] I do detest false perjured Proteus” (54.38-39), effectively resolving the anger and disruption of Silvia’s expressed, taking it for granted that because Valentine loves Proteus, Silvia—his future wife—must also love Proteus. Within the text of the play, Valentine’s act of forgiveness negates the need for Silvia to forgive Proteus herself. The decisions of the actor portraying Silvia in performance must dictate the audience’s interpretation of the ending: If she seems to forgive Proteus along with her husband, the audience may too. If she seems upset by her husband’s decision, it may change the audience’s perspective on Valentine.
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