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* ValuesDissonance: It is extremely hard for modern audiences to stomach Valentine's (apparent) offer to give up Sylvia to Proteus -- after Proteus has just [[EasilyForgiven tried to rape her]]. Some scholars believe that Valentine's line "All that was mine in Sylvia I give thee" only means that Valentine promises to love his friend Proteus as much as he loves his LoveInterest, but subsequent events in the play (i.e. [[spoiler:the disguised Julia hearing it and fainting in dismay, thus revealing herself]]) seem to imply that the line should be taken literally.
** Numerous directors have attempted to mitigate this: Michael Langham's 1957 production, for instance, had Proteus not only beg for forgiveness but also [[DrivenToSuicide threaten suicide with a pistol]], turning Valentine's offer of Sylvia into a hastily delivered attempt to talk him down (and this can even make the sudden forgiving of Proteus ''somewhat'' less unpalatable). Some productions, on the other hand, just omit Valentine's offer entirely.
** Numerous directors have attempted to mitigate this: Michael Langham's 1957 production, for instance, had Proteus not only beg for forgiveness but also [[DrivenToSuicide threaten suicide with a pistol]], turning Valentine's offer of Sylvia into a hastily delivered attempt to talk him down (and this can even make the sudden forgiving of Proteus ''somewhat'' less unpalatable). Some productions, on the other hand, just omit Valentine's offer entirely.
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* ValuesDissonance: It is extremely hard for modern audiences to stomach Valentine's (apparent) offer to give up Sylvia to Proteus -- after Proteus has just [[EasilyForgiven tried to rape her]]. Some scholars believe that Valentine's line "All that was mine in Sylvia I give thee" only means that Valentine promises to love his friend Proteus as much as he loves his LoveInterest, but subsequent events in the play (i.e. [[spoiler:the disguised Julia hearing it and fainting in dismay, thus revealing herself]]) seem to imply that the line should be taken literally.
**literally. Numerous directors have attempted to mitigate this: Michael Langham's 1957 production, for instance, had Proteus not only beg for forgiveness but also [[DrivenToSuicide threaten suicide with a pistol]], turning Valentine's offer of Sylvia into a hastily delivered attempt to talk him down (and this can even make the sudden forgiving of Proteus ''somewhat'' less unpalatable). Some productions, on the other hand, just omit Valentine's offer entirely.
**
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* EsotericHappyEnding: Julia seems delighted to be marrying a man whom she has just witnessed trying to ''rape'' the woman he ditched her for. Yeah, nothing could possibly go wrong in that marriage.
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Changed line(s) 4 (click to see context) from:
** Numerous directors have attempted to mitigate this: Michael Langham's 1957 production, for instance, had Proteus not only beg for forgiveness but also [[DrivenToSuicide threaten suicide with a pistol]], turning Valentine's offer of Sylvia into a desperate attempt to talk him down. Some productions, on the other hand, just omit Valentine's offer entirely.
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** Numerous directors have attempted to mitigate this: Michael Langham's 1957 production, for instance, had Proteus not only beg for forgiveness but also [[DrivenToSuicide threaten suicide with a pistol]], turning Valentine's offer of Sylvia into a desperate hastily delivered attempt to talk him down.down (and this can even make the sudden forgiving of Proteus ''somewhat'' less unpalatable). Some productions, on the other hand, just omit Valentine's offer entirely.
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Changed line(s) 4 (click to see context) from:
** Numerous directors have attempted to mitigate this: Michael Langham's 1957 production, for instance, had Proteus not only beg for forgiveness but also [[DrivenToSuicide threaten suicide with a pistol]], turning Valentine's offer of Sylvia into a desperate attempt to talk him down.
to:
** Numerous directors have attempted to mitigate this: Michael Langham's 1957 production, for instance, had Proteus not only beg for forgiveness but also [[DrivenToSuicide threaten suicide with a pistol]], turning Valentine's offer of Sylvia into a desperate attempt to talk him down. Some productions, on the other hand, just omit Valentine's offer entirely.
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Added DiffLines:
** Numerous directors have attempted to mitigate this: Michael Langham's 1957 production, for instance, had Proteus not only beg for forgiveness but also [[DrivenToSuicide threaten suicide with a pistol]], turning Valentine's offer of Sylvia into a desperate attempt to talk him down.
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Changed line(s) 3 (click to see context) from:
* ValuesDissonance: It is extremely hard for modern audiences to stomach Valentine's (apparent) offer to give up Sylvia to Proteus -- after Proteus has just tried to rape her. Some scholars believe that Valentine's line "All that was mine in Sylvia I give thee" only means that Valentine promises to love his friend Proteus as much as he loves his LoveInterest, but subsequent events in the play (i.e. [[spoiler:the disguised Julia hearing it and fainting in dismay, thus revealing herself]]) seem to imply that the line should be taken literally.
to:
* ValuesDissonance: It is extremely hard for modern audiences to stomach Valentine's (apparent) offer to give up Sylvia to Proteus -- after Proteus has just [[EasilyForgiven tried to rape her.her]]. Some scholars believe that Valentine's line "All that was mine in Sylvia I give thee" only means that Valentine promises to love his friend Proteus as much as he loves his LoveInterest, but subsequent events in the play (i.e. [[spoiler:the disguised Julia hearing it and fainting in dismay, thus revealing herself]]) seem to imply that the line should be taken literally.
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Added DiffLines:
* ValuesDissonance: It is extremely hard for modern audiences to stomach Valentine's (apparent) offer to give up Sylvia to Proteus -- after Proteus has just tried to rape her. Some scholars believe that Valentine's line "All that was mine in Sylvia I give thee" only means that Valentine promises to love his friend Proteus as much as he loves his LoveInterest, but subsequent events in the play (i.e. [[spoiler:the disguised Julia hearing it and fainting in dismay, thus revealing herself]]) seem to imply that the line should be taken literally.
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* WhyWouldAnyoneTakeHimBack: Some find Julia's love for Proteus to be a bit misplaced, given how quickly he was to fall for his best friend's betrothed in their time away. Not to mention his attempt to rape Sylvia at the play's end being rather quickly forgiven.
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* WhyWouldAnyoneTakeHimBack: Some find Julia's love for Proteus to be a bit misplaced, given how quickly he was to fall for his best friend's betrothed in their time away. Not to mention his attempt to rape Sylvia at the play's end being rather quickly forgiven.forgiven.
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spelling fix
Changed line(s) 3 (click to see context) from:
* WhyWouldAnyoneTakeHimBack: Some find Julia's love for Proteus to be a bit misplaced, given how quickly he was to fall for his best friend's betroth in their time away. Not to mention his attempt to rape Sylvia at the play's end being rather quickly forgiven.
to:
* WhyWouldAnyoneTakeHimBack: Some find Julia's love for Proteus to be a bit misplaced, given how quickly he was to fall for his best friend's betroth betrothed in their time away. Not to mention his attempt to rape Sylvia at the play's end being rather quickly forgiven.
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* LesYay: Julia and Sylvia have a moment, with Julia disguised as a boy no less.
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* LesYay: Julia and Sylvia have a moment, with Julia disguised as a boy no less.less.
* WhyWouldAnyoneTakeHimBack: Some find Julia's love for Proteus to be a bit misplaced, given how quickly he was to fall for his best friend's betroth in their time away. Not to mention his attempt to rape Sylvia at the play's end being rather quickly forgiven.
* WhyWouldAnyoneTakeHimBack: Some find Julia's love for Proteus to be a bit misplaced, given how quickly he was to fall for his best friend's betroth in their time away. Not to mention his attempt to rape Sylvia at the play's end being rather quickly forgiven.
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* EnsembleDarkhorse: Although ''Two Gentlemen'' is generally regarded as one of Shakespeare's weaker plays, Launce and Crab's ability to steal the show is legendary.
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* LesYay: Julia and Sylvia have a moment, with Julia disguised as a boy no less.
