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Cover of Two Gentlemen of Verona

Two Gentlemen of Verona

First published 2004 · 420 pages

A chaotic, witty romp that skewers the high-flown ideals of young love and the fragility of male friendship.

What it feels like

Reading this early comedy feels like watching a group of teenagers make terrible, impulsive decisions while speaking in brilliant, rapid-fire poetry. The pace is brisk and chaotic, driven by disguises, sudden betrayals, and a famously scene-stealing dog. It sits in a mood that is simultaneously lighthearted and sharply cynical, poking fun at the exaggerated tropes of Renaissance romance and the supposed unbreakable bonds of male friendship. The language is full of playful puns and lyrical flights of fancy, even as the characters behave with shocking fickleness. It will delight fans of farcical, subversive theater who enjoy seeing high-minded ideals clash spectacularly with messy human nature, culminating in a resolution that is as abrupt as it is fascinatingly flawed.

Mood
  • farcical
  • lighthearted
  • chaotic
  • mocking
Tone
  • satirical
  • playful
  • cynical
  • witty
  • subversive
Pace
brisk
Themes
fickleness of youth · loyalty versus lust · absurdity of romance · betrayal and forgiveness
The writing
Early Shakespearean verse and prose, characterized by rapid-fire wordplay, punning banter, and lyrical but slightly unpolished poetry.
The arc
Moves from naive romantic idealism through chaotic betrayal to a hastily patched-up, somewhat cynical resolution.
Who it's for
Readers who enjoy early modern theatrical comedies, witty banter, and stories that poke fun at the absurdities of young love and male friendship.
Content notes
  • threat of sexual assault
  • betrayal by a friend
  • outdated gender dynamics

About the book

"Professor Schlueter approaches this early comedy as a parody of two types of Renaissance educational fiction: the love-quest story and the test-of-friendship story, which by their combination show high-flown human ideals as incompatible with each other and with human nature. A thoroughly researched, illustrated stage history reveals changing conceptions of the play, which nevertheless often fail to come to terms with its subversive impetus. Since the first known production at David Garrick's Drury Lane Theatre, it has tempted major directors and actors, including John Philip Kemble, William Charles Macready and Charles Kean, who established a tradition of understanding which cast its shadow even on such modern productions as Denis Carey's famous staging for the Bristol Old Vic and Robin Phillips's for the Royal Shakespeare Company. This updated edition includes a new introductory section by Lucy Munro on recent stage and critical interpretations, bringing the performance history completely up to date"--

Description from Open Library.

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