inn and overhearing Proteus' serenade to Silvia (IV. ii); the disguised Julia's taking service with Proteus as his page, and being sent by him to advance his suit to Silvia; the conversation between Julia and Silvia concerning Proteus' former love, and Silvia's rejection of his addresses (IV. iv); and Julia's final reunion with Proteus in the forest. One may add that the Felix (Proteus) of Montemayor has a conventional page who provides at least something of the role of Launce.
The more obvious departures of the play from the inherited story are the following: the presence of Valentine, about whom are developed the theme of manly friendship and the incidents of Proteus' treachery; the addition of Thurio, Eglamour, and Speed; the development of the rôle of the Duke as the father of Silvia; and the suppression of Celia's (Silvia's) headlong passion for the supposed boy, Felismena (Julia), and hence the elimination of Celia's voluntary death from hopeless love. These external changes, however, are far less important than the more subtle and profound departures of Shakespeare in characterization and in poetry. The superiority of the dramatist in these respects could be adequately demonstrated only through more ample and detailed comparisons than are possible here. The basis for one significant comparison may, however, be provided. Part of the most appealing conversation between Celia (Silvia) and the disguised Felismena (Julia) in the romance is recounted as follows (Yonge's translation, 1598, p. 64. Cf. Hazlitt's Shakespeare's Library, Part I, Vol. I, pp. 298, 299). Felismena is the speaker:
'There is not anie thing (saide Celia) that I would not do for thee, though I were determined not to loue him at all, who for my sake hath forsaken another. For it is no small point of wisedome for me, to Icarne by other womens harmes to be more wise, and warie in
