In the essay that follows, Maurer demonstrates that a rhetorical relationship exists between the inconsistencies within The Two Gentlemen of Verona and the play's ending.

In the following essay, Carlisle and Derrick provide an overview of the major theatrical productions of The Two Gentlemen of Verona, noting the importance of collaboration between all members of the theater—including directors, actors, and designers—and the author in order to produce a successful staging of the play.

Carol J. Carlisle, University of South Carolina Patty S. Derrick, University of Pittsburgh In the theater, as in the study, The Two Gentlemen of Verona, possibly Shakespeare's earliest comedy, has traditionally been one of his least popular plays. By our present count, there have been just twenty-four productions of it on the London stage since Shakespeare's time, and seven of these were first seen elsewhere.1 At Stratford-upon-Avon there have been only ten since the annual Fes...

In the following essay, Shapiro examines Shakespeare 's use of cross-gender disguise in The Two Gentlemen of Verona.

In the following excerpt, Leech presents a critical evaluation of The Two Gentlemen of Verona, including an analysis of plot and characters, as well as an evaluation of the play's place among Shakespeare's other works.

In the essay below, Cole discusses the problems with dating The Two Gentlemen of Verona, and analyzes the sources from which Shakespeare may have drawn to craft the play. In his examination of the play's tone and themes, Cole contends that the comic scenes of the play do not simply satirize or criticize the ideals of love and friendship, but rather reveal these ideals “in a new light.”

In the following essay, Timpane surveys the significance of humor in Renaissance society, particularly focusing on the character of Launce in Shakespeare's The Two Gentlemen of Verona.

In the following essay, Simmons considers ways that The Two Gentlemen of Verona exploits Elizabethan theatrical conventions of "The Young Man Leaving Home" in search of wealth, fame, an education, a wife, or some combination of these things—a quest that generally results in the achievement of self-knowledge as well

In the following essay, Kiefer asserts that in The Two Gentlemen of Verona love is linked to reading and writing, and characterizes the play's love letters as effective theatrical props used to propel the action forward and to display character.

In the following essay, MacCary examines Shakespeare 's treatment in Two Gentlemen of Verona of themes of friendship, familial relationships, and love relationships (including both worthy and unworthy objects of true devotion).

In the following essay, Slights asserts that The Two Gentlemen of Verona explores not the theme of love versus friendship but rather the proper function and behavior of a gentleman in courtly society.

In the following excerpt, Schlueter provides an overview of The Two Gentlemen of Verona and examines the sources and genres that Shakespeare drew on to create the play.

In this essay, Ornstein surveys the characters in The Two Gentlemen of Verona and compares the play with Shakespeare's other comedies.

In the following excerpt, Haslem analyzes the significance of Shakespeare's use of female friendships and communication in a largely patriarchal setting, such as that presented in The Two Gentlemen of Verona.

In the excerpt that follows, Champion argues that the reversals in The Two Gentlemen of Verona emphasize Shakespeare's focus on plot over characterization as well as his interest in experimenting with comic form.

In this essay, Girard examines the role that mimetic desire plays in the plot, which portrays Proteus losing interest in his former lover, Julia and falling in love with Silvia once he learns of his friend Valentine 's overwhelming desire for this lady. Precisely because the two young men are alike, they are predisposed to want the same things.

In the following essay, Girard studies the role of mimetic desire in the relationships among the four lovers in The Two Gentlemen of Verona, and argues that Proteus's desire for Silvia is generated by his predisposition to favor whatever Valentine desires.

In the following essay, Østergaard analyzes the dynamics of the relationships of Valentine, Proteus, Julia, and Silvia, and observes that the women may be viewed as the “displaced representations” of the love between the two men.

In the following essay, Bradbrook explores the play as a comedy of manners, suggesting that it is more closely affiliated with Shakespeare's last romances than his later comedies of love.

In the following essay, Morse explores the antipathy between male friendship and romantic love dramatized in The Two Gentlemen of Verona.

In this essay, Morse contends that The Two Gentlemen of Verona dramatizes the tension between male friendship and love, especially between Proteus and Valentine.

In the following review, Holmberg praises the Royal Scottish Academy of Music and Drama production of The Two Gentlemen of Verona, noting that elaborate costumes and stage backgrounds are not necessary to enjoy an enthusiastic performance of this play.

In the following essay, Hall contends that the female characters in The Two Gentlemen of Verona have a redemptive role, in that they help their male counterparts to restore patriarchal order by the play's end.

In the following essay Rossky maintains that The Two Gentlemen of Verona, particularly the play's ending, is intended as a burlesque, rather than as a serious but ultimately failed attempt to portray the conventions of Renaissance thinking on ethics.

In the following essay, Rossky views The Two Gentlemen of Verona as a burlesque or satire of Renaissance attitudes toward friendship and love.

In the following essay, Felheim and Traci discuss The Two Gentlemen of Verona as a comedy based on realism, characterizing it as a play about change and growth.

In this essay, Felheim and Traci survey the characters of The Two Gentlemen of Verona, maintaining that they embody the theme of change, especially in their soliloquies.

In the following essay, Cutts examines the lack of self-understanding on the part of the characters in Shakespeare's Two Gentlemen of Verona.

In the following essay, Jaarsma examines the father-daughter relationship in The Two Gentlemen of Verona, drawing a parallel with the relationship between King Lear and Cordelia.

In the following essay, Rowse provides a brief overview of The Two Gentlemen of Verona, tracing a connection between contemporary events in Shakespeare's life and the action of the play.

In the following excerpt, Smallwood lauds Edward Hall's staging of The Two Gentlemen of Verona, particularly the production's powerful interpretation of the play's final scene.

In the following excerpt, Taylor asserts that Richard Rose's production of The Two Gentlemen of Verona left the audience uninvolved and disengaged.