Change and Transformation in “The Two Gentlemen of Verona” by William Shakespeare

This was my first time reading this Shakespearean comedy. Before diving into the text, I read a quick synopsis online, which said that this is considered to be the first play that Shakespeare wrote. It’s also considered to be one of his worst plays. Granted, the ending did make my eyes roll, but that said, even a bad Shakespeare play is better than a lot of other stuff I’ve read.

The theme of change and transformation really stood out for me when I read this, so I decided to focus my blog post on this concept.

The importance of change and transformation is made evident immediately by Shakespeare naming on of the main characters Proteus, after the Greek sea god associated with mutability.

Some who ascribe to him a specific domain call him the god of “elusive sea change”, which suggests the constantly changing nature of the sea or the liquid quality of water in general. He can foretell the future, but, in a mytheme familiar to several cultures, will change his shape to avoid having to; he will answer only to someone who is capable of capturing the beast. From this feature of Proteus comes the adjective protean, with the general meaning of “versatile”, “mutable”, “capable of assuming many forms”.

(Source: Wikipedia)

Early in the play, Proteus claims that his love for Julia has changed him on a deep level.

Thou, Julia, thou hast metamorphosed me,
Made me neglect my studies, lose my time,
War with good counsel, set the world at nought;
Made wit with musing weak, heart sick with thought.

(Act I; scene i)

But true to his nature, Proteus changes his mind, and decides to disregard his love for Julia in the pursuit of his desire for Silvia, whom is the object of his friend Valentine’s love. Proteus betrays his friend to the Duke (Silvia’s father), who with a twist of irony, asserts that he believes that Proteus is trustworthy and constant in his love for Julia.

And, Proteus, we dare trust you in this kind,
Because we know, on Valentine’s report,
You are already Love’s firm votary
And cannot soon revolt and change your mind.

(Act III; scene ii)

In addition to Proteus’ mental transformations, Shakespeare also has Julia go through a gender transformation, where she takes on the appearance of a young boy. When she finally reveals herself to Proteus, she claims that love makes women change their shapes and men change their minds, which I interpret to mean that men have a tendency to lust after other women, and that, women in order to maintain a man’s interest, must constantly be transforming their appearances to make sure they remain attractive.

O Proteus, let this habit make thee blush!
Be thou ashamed that I have took upon me
Such an immodest raiment, if shame live
In a disguise of love.
It is the lesser blot, modesty finds,
Women to change their shapes than men their minds.

(Act V; scene iv)

There are many more examples of change in the play to support the overall theme, such as the use of the chameleon as a metaphor, changes in music that is being performed, changes in appearance, and people changing their minds. Obviously, Shakespeare knew what we all know, that the only thing that is constant is change.

Witchblade: Issue # 175

This is a special edition and actually contains three stories. The first one, Into the Fire, basically moves the primary story along. Sara has reclaimed the Witchblade and is establishing a new connection with the mystical artifact. She also takes Deputy Rooney into her confidence and sits in the woods with her, ready to share her history with the gauntlet.

The second story, Temple of Shadows, is also written by Ron Marz and illustrated by Laura Braga. It tells the tale of a Japanese woman, Shiori, who was the bearer of the Witchblade during the 17^th century. She does battle with an oriental beast that looks like a cross between a man and a dragon. The artwork is very good and it hints at a recurring cycle between stories and events, a concept which I personally find intriguing.

The third tale, 4 for 5, is written by Ashley Robinson and is told from the perspective of Patrick Gleason, Sara’s former partner. I liked this vignette because it explores a male character’s journey to acceptance that he is not as powerful as his strong female partner. I think that some men have difficulty reconciling their masculine roles when in a partnership with a strong woman, whether that be a work relationship or an intimate one. Fortunately, I feel that traditional gender roles are being challenged and that we are moving more toward gender equality. I hope that one day we get there.

The issue concludes with a bonus: draft sketches from Ms. Braga. I found these very interesting, particularly since I am not artistically inclined when it comes to drawing. I enjoyed seeing how the characters and scenes are sketched and outlined. It was enlightening for me.

Overall, this was the best Witchblade issue that I have read in a while. It’s worth picking up if you have not yet done so. Cheers!