Xmls is a small, simple, non-validating xml parser for Common Lisp. It's
designed to be a self-contained, easily embedded parser that recognizes a useful
subset of the XML spec. It provides a simple mapping from xml to lisp
structures or s-expressions and back.
Since XMLS was first released it has gained some additional
complications/features. In particular:
Now XMLS by default parses XML documents into lisp structures,
rather than s-expressions. This makes accessing the structures
simpler and more reliable. See section on backward compatibility.
We have added clearly named accessors to further improve
extraction of information from parsed XML.
Thanks to Max Rottenkolber, we now have the affiliated library,
xmls/octets that will open streams for the XMLS parser,
processing any content-type declarations in the process.
Features
Free (BSD license).
Understands enough of the xml spec to parse many common documents, including
those occurring in common internet protocols like xml-rpc, webdav, and BEEP.
Parses 85 out of the 98 valid documents in the oasis parser compliance suite.
Small and easily embedded. The entire parser is contained in one
file and it's currently less than 600 lines of code. Xmls is written in
pure lisp and requires no external parsing tools or foreign libraries.
Supports xml namespaces.
Threadsafe.
Serializes s-expr list structures back to xml as well as parsing xml.
Limitations
Parses entire document into memory and consequently can't handle large
documents.
No detailed error reporting.
Hand-built LR parser, meaning the parser structure is a little hard
to understand, and can be hard to modify. Use of CL-YACC or similar
might be a preferable route for a rewrite.
XML Representation
Parsed xml is represented as a nested lisp structure, unlike in the
original version, where it was a lisp list. The s-expression
representation is still maintained, and there are functions to
translate to and from this notation.
XML representation as lisp structures
In the structure representation, a node, corresponding to an XML
element, is defined as follows:
(defstruct (node (:constructor %make-node))
name
ns
attrs
children)
Xmls also includes a helper function, make-node for creating xml nodes
of this form:
(make-node &key name ns attrs children)
Xmls provides the corresponding accessor functions node-name, node-ns
node-attrs, and node-children.
XML representation as s-expressions
In the s-expression representation, a node is represented as follows:
(name (attributes) children*)
A name is either a simple string, if the element does not belong to a namespace,
or a list of (name namespace-url) if the element does belong to a namespace.
Attributes are stored as (name value) lists.
Children are stored as a list of either element nodes or text nodes.
For example, the following xml document:
<?xml version="1.0"?>
<!-- test document -->
<book title='The Cyberiad'>
<!-- comment in here -->
<author xmlns='http://authors'>Stanislaw Lem</author>
<info:subject xmlns:info='http://bookinfo' rank='1'>"Cybernetic Fables"</info:subject>
</book>
Parse accepts either a string or an input stream and attempts to parse the xml
document contained therein. It will return the s-expr parse tree if it's
successful or nil if parsing fails.
If COMPRESS-WHITESPACE is non-NIL, content nodes will be trimmed of whitespace and
empty whitespace strings between nodes will be discarded.
(parse-to-list source (&rest args))
Functions as PARSE, but returns a list representation
of the XML document, instead of a structure.
(write-prologue xml-decl doctype stream)
write-prologue writes the leading
<?xml ... ?> and <!DOCTYPE ... >
elements to stream.
xml-decl is an alist of attribute name value pairs.
Valid xml-decl attributes per the xml spec are "version", "encoding",
and "standalone", though write-prologue does not verify this.
doctype is a string containing the document type definition.
(write-prolog xml-decl doctype stream)
U.S. spelling alternative to write-prologue.
(write-xml xml stream &key (indent nil))
write-xml accepts a lisp list in the format described above and writes the
equivalent xml string to stream. Currently, if nodes use namespaces xmls will not
assign namespaces prefixes but will explicitly assign the namespace to each node. This
will be changed in a later release.
Xmls will indent the generated xml output if indent is non-nil.
(toxml node &key (indent nil))
TOXML is a convenience wrapper around write-xml that returns the in a newly
allocated string.
XMLS provides two exported functions to translate between the CL
structure representation of the XML tree and the s-expression
representation:
node->nodelist
Translate the structure representation into s-expressions.
nodelist->nodes
Translate the s-expression representation of an XMLS parse tree
into lisp structures.
Helper functions
These are intended to allow programmers to avoid direct manipulation of the
XMLS element representation. If you use these, your code should be easier to
read and you will avoid problems if there is a change in internal
representation (such changes would be hard to even find, much less correct, if
using the lists directly).
make-xmlrep (tag &key attribs children)
Constructor function.
xmlrep-add-child! (xmlrep child)
Add a new child node to the XMLREP node.
xmlrep-tag (xmlrep)
Extract the tag from XMLREP.
xmlrep-tagmatch (tag treenode)
Returns true if TAG is the tag of TREENODE. Match is
case insensitive (quite possibly this is the Wrong Thing).
xmlrep-attribs (xmlrep)
Extract the attributes from an XMLREP node.
xmlrep-children (xmlrep)
Extract the children from an XMLREP node.
xmlrep-find-child-tags (tag treenode)
Return all of the (direct) children of TREENODE whose tags are TAG.
Matching done by xmlrep-tagmatch.
Returns the single string-valued child of TREENODE.
If there is more than one child, or if a single child is not
a simple value, returns IF-UNFOUND, which defaults to :ERROR.
xmlrep-integer-child (treenode)
Find the single child of TREENODE whose value is a string that
can be parsed into an integer. Returns an
error if there is more than one child, or if a single child is not
appropriately valued.
Find the value of ATTRIB, a string, in TREENODE.
The value should be either "true" or "false". The
function will return T or NIL, accordingly. If there is no ATTRIB,
will return the value of IF-UNDEFINED, which defaults to :ERROR.
XMLS itself simply processes strings or streams. This means that it
does not provide native support for handling character encodings, as
declared in the XML headers. The system xmls/octets,
which depends on xmls provides that support with the
exported function make-xml-stream, which takes an
octet-stream as argument, processes its header, choosing the
appropriate character encoding, and then returns a stream suitable for
passing to xmls:parse.
Probably make-xml-stream should be made generic, and support
arguments of other types (e.g., strings interpreted as filenames,
pathnames, etc.).
Installation
xmls can be installed as an asdf system. An asdf
system definition is provided with the distribution.
Previous versions of XMLS were single files, and could be installed simply by
loading the file xmls.lisp. This option is no longer supported.
Contact Information
Please contact Robert Goldman, rpgoldman AT sift.net with any
questions or bug reports.
Text placed in the public domain by Moby Lexical Tools, 1992.
SGML markup by Jon Bosak, 1992-1994.
XML version by Jon Bosak, 1996-1998.
This work may be freely copied and distributed worldwide.
Dramatis PersonaeDUKE OF MILAN, Father to Silvia. VALENTINEPROTEUSthe two Gentlemen.ANTONIO, Father to Proteus.THURIO, a foolish rival to Valentine.EGLAMOUR, Agent for Silvia in her escape.HOST, where Julia lodges. OUTLAWS, with Valentine.SPEED, a clownish servant to Valentine.LAUNCE, the like to Proteus.PANTHINO, Servant to Antonio.JULIA, beloved of Proteus.SILVIA, beloved of Valentine.LUCETTA, waiting-woman to Julia.Servants, Musicians.SCENE Verona; Milan; the frontiers of Mantua.THE TWO GENTLEMEN OF VERONAACT ISCENE I. Verona. An open place.Enter VALENTINE and PROTEUSVALENTINECease to persuade, my loving Proteus:Home-keeping youth have ever homely wits.Were't not affection chains thy tender daysTo the sweet glances of thy honour'd love,I rather would entreat thy companyTo see the wonders of the world abroad,Than, living dully sluggardized at home,Wear out thy youth with shapeless idleness.But since thou lovest, love still and thrive therein,Even as I would when I to love begin.PROTEUSWilt thou be gone? Sweet Valentine, adieu!Think on thy Proteus, when thou haply seestSome rare note-worthy object in thy travel:Wish me partaker in thy happinessWhen thou dost meet good hap; and in thy danger,If ever danger do environ thee,Commend thy grievance to my holy prayers,For I will be thy beadsman, Valentine.VALENTINEAnd on a love-book pray for my success?PROTEUSUpon some book I love I'll pray for thee.VALENTINEThat's on some shallow story of deep love:How young Leander cross'd the Hellespont.PROTEUSThat's a deep story of a deeper love:For he was more than over shoes in love.VALENTINE'Tis true; for you are over boots in love,And yet you never swum the Hellespont.PROTEUSOver the boots? nay, give me not the boots.VALENTINENo, I will not, for it boots thee not.PROTEUSWhat?VALENTINETo be in love, where scorn is bought with groans;Coy looks with heart-sore sighs; one fading moment's mirthWith twenty watchful, weary, tedious nights:If haply won, perhaps a hapless gain;If lost, why then a grievous labour won;However, but a folly bought with wit,Or else a wit by folly vanquished.PROTEUSSo, by your circumstance, you call me fool.VALENTINESo, by your circumstance, I fear you'll prove.PROTEUS'Tis love you cavil at: I am not Love.VALENTINELove is your master, for he masters you:And he that is so yoked by a fool,Methinks, should not be chronicled for wise.PROTEUSYet writers say, as in the sweetest budThe eating canker dwells, so eating loveInhabits in the finest wits of all.VALENTINEAnd writers say, as the most forward budIs eaten by the canker ere it blow,Even so by love the young and tender witIs turn'd to folly, blasting in the bud,Losing his verdure even in the primeAnd all the fair effects of future hopes.But wherefore waste I time to counsel thee,That art a votary to fond desire?Once more adieu! my father at the roadExpects my coming, there to see me shipp'd.PROTEUSAnd thither will I bring thee, Valentine.VALENTINESweet Proteus, no; now let us take our leave.To Milan let me hear from thee by lettersOf thy success in love, and what news elseBetideth here in absence of thy friend;And likewise will visit thee with mine.PROTEUSAll happiness bechance to thee in Milan!VALENTINEAs much to you at home! and so, farewell.ExitPROTEUSHe after honour hunts, I after love:He leaves his friends to dignify them more,I leave myself, my friends and all, for love.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.Enter SPEEDSPEEDSir Proteus, save you! Saw you my master?PROTEUSBut now he parted hence, to embark for Milan.SPEEDTwenty to one then he is shipp'd already,And I have play'd the sheep in losing him.PROTEUSIndeed, a sheep doth very often stray,An if the shepherd be a while away.SPEEDYou conclude that my master is a shepherd, then,and I a sheep?PROTEUSI do.SPEEDWhy then, my horns are his horns, whether I wake or sleep.PROTEUSA silly answer and fitting well a sheep.SPEEDThis proves me still a sheep.PROTEUSTrue; and thy master a shepherd.SPEEDNay, that I can deny by a circumstance.PROTEUSIt shall go hard but I'll prove it by another.SPEEDThe shepherd seeks the sheep, and not the sheep theshepherd; but I seek my master, and my master seeksnot me: therefore I am no sheep.PROTEUSThe sheep for fodder follow the shepherd; theshepherd for food follows not the sheep: thou forwages followest thy master; thy master for wagesfollows not thee: therefore thou art a sheep.SPEEDSuch another proof will make me cry 'baa.'PROTEUSBut, dost thou hear? gavest thou my letter to Julia?SPEEDAy sir: I, a lost mutton, gave your letter to her,a laced mutton, and she, a laced mutton, gave me, alost mutton, nothing for my labour.PROTEUSHere's too small a pasture for such store of muttons.SPEEDIf the ground be overcharged, you were best stick her.PROTEUSNay: in that you are astray, 'twere best pound you.SPEEDNay, sir, less than a pound shall serve me forcarrying your letter.PROTEUSYou mistake; I mean the pound,--a pinfold.SPEEDFrom a pound to a pin? fold it over and over,'Tis threefold too little for carrying a letter toyour lover.PROTEUSBut what said she?SPEEDFirst nodding Ay.PROTEUSNod--Ay--why, that's noddy.SPEEDYou mistook, sir; I say, she did nod: and you askme if she did nod; and I say, 'Ay.'PROTEUSAnd that set together is noddy.SPEEDNow you have taken the pains to set it together,take it for your pains.PROTEUSNo, no; you shall have it for bearing the letter.SPEEDWell, I perceive I must be fain to bear with you.PROTEUSWhy sir, how do you bear with me?SPEEDMarry, sir, the letter, very orderly; having nothingbut the word 'noddy' for my pains.PROTEUSBeshrew me, but you have a quick wit.SPEEDAnd yet it cannot overtake your slow purse.PROTEUSCome come, open the matter in brief: what said she?SPEEDOpen your purse, that the money and the matter maybe both at once delivered.PROTEUSWell, sir, here is for your pains. What said she?SPEEDTruly, sir, I think you'll hardly win her.PROTEUSWhy, couldst thou perceive so much from her?SPEEDSir, I could perceive nothing at all from her; no,not so much as a ducat for delivering your letter:and being so hard to me that brought your mind, Ifear she'll prove as hard to you in telling yourmind. Give her no token but stones; for she's ashard as steel.PROTEUSWhat said she? nothing?SPEEDNo, not so much as 'Take this for thy pains.' Totestify your bounty, I thank you, you have testernedme; in requital whereof, henceforth carry yourletters yourself: and so, sir, I'll commend you to my master.PROTEUSGo, go, be gone, to save your ship from wreck,Which cannot perish having thee aboard,Being destined to a drier death on shore.Exit SPEEDI must go send some better messenger:I fear my Julia would not deign my lines,Receiving them from such a worthless post.ExitSCENE II. The same. Garden of JULIA's house.Enter JULlA and LUCETTAJULIABut say, Lucetta, now we are alone,Wouldst thou then counsel me to fall in love?LUCETTAAy, madam, so you stumble not unheedfully.JULIAOf all the fair resort of gentlemenThat every day with parle encounter me,In thy opinion which is worthiest love?LUCETTAPlease you repeat their names, I'll show my mindAccording to my shallow simple skill.JULIAWhat think'st thou of the fair Sir Eglamour?LUCETTAAs of a knight well-spoken, neat and fine;But, were I you, he never should be mine.JULIAWhat think'st thou of the rich Mercatio?LUCETTAWell of his wealth; but of himself, so so.JULIAWhat think'st thou of the gentle Proteus?LUCETTALord, Lord! to see what folly reigns in us!JULIAHow now! what means this passion at his name?LUCETTAPardon, dear madam: 'tis a passing shameThat I, unworthy body as I am,Should censure thus on lovely gentlemen.JULIAWhy not on Proteus, as of all the rest?LUCETTAThen thus: of many good I think him best.JULIAYour reason?LUCETTAI have no other, but a woman's reason;I think him so because I think him so.JULIAAnd wouldst thou have me cast my love on him?LUCETTAAy, if you thought your love not cast away.JULIAWhy he, of all the rest, hath never moved me.LUCETTAYet he, of all the rest, I think, best loves ye.JULIAHis little speaking shows his love but small.LUCETTAFire that's closest kept burns most of all.JULIAThey do not love that do not show their love.LUCETTAO, they love least that let men know their love.JULIAI would I knew his mind.LUCETTAPeruse this paper, madam.JULIA'To Julia.' Say, from whom?LUCETTAThat the contents will show.JULIASay, say, who gave it thee?LUCETTAValentine's page; and sent, I think, from Proteus.He would have given it you; but I, being in the way,Did in your name receive it: pardon thefault I pray.JULIANow, by my modesty, a goodly broker!Dare you presume to harbour wanton lines?To whisper and conspire against my youth?Now, trust me, 'tis an office of great worthAnd you an officer fit for the place.Or else return no more into my sight.LUCETTATo plead for love deserves more fee than hate.JULIAWill ye be gone?LUCETTAThat you may ruminate.ExitJULIAAnd yet I would I had o'erlooked the letter:It were a shame to call her back againAnd pray her to a fault for which I chid her.What a fool is she, that knows I am a maid,And would not force the letter to my view!Since maids, in modesty, say 'no' to thatWhich they would have the profferer construe 'ay.'Fie, fie, how wayward is this foolish loveThat, like a testy babe, will scratch the nurseAnd presently all humbled kiss the rod!How churlishly I chid Lucetta hence,When willingly I would have had her here!How angerly I taught my brow to frown,When inward joy enforced my heart to smile!My penance is to call Lucetta backAnd ask remission for my folly past.What ho! Lucetta!Re-enter LUCETTALUCETTAWhat would your ladyship?JULIAIs't near dinner-time?LUCETTAI would it were,That you might kill your stomach on your meatAnd not upon your maid.JULIAWhat is't that you took up so gingerly?LUCETTANothing.JULIAWhy didst thou stoop, then?LUCETTATo take a paper up that I let fall.JULIAAnd is that paper nothing?LUCETTANothing concerning me.JULIAThen let it lie for those that it concerns.LUCETTAMadam, it will not lie where it concernsUnless it have a false interpeter.JULIASome love of yours hath writ to you in rhyme.LUCETTAThat I might sing it, madam, to a tune.Give me a note: your ladyship can set.JULIAAs little by such toys as may be possible.Best sing it to the tune of 'Light o' love.'LUCETTAIt is too heavy for so light a tune.JULIAHeavy! belike it hath some burden then?LUCETTAAy, and melodious were it, would you sing it.JULIAAnd why not you?LUCETTAI cannot reach so high.JULIALet's see your song. How now, minion!LUCETTAKeep tune there still, so you will sing it out:And yet methinks I do not like this tune.JULIAYou do not?LUCETTANo, madam; it is too sharp.JULIAYou, minion, are too saucy.LUCETTANay, now you are too flatAnd mar the concord with too harsh a descant:There wanteth but a mean to fill your song.JULIAThe mean is drown'd with your unruly bass.LUCETTAIndeed, I bid the base for Proteus.JULIAThis babble shall not henceforth trouble me.Here is a coil with protestation!Tears the letterGo get you gone, and let the papers lie:You would be fingering them, to anger me.LUCETTAShe makes it strange; but she would be best pleasedTo be so anger'd with another letter.ExitJULIANay, would I were so anger'd with the same!O hateful hands, to tear such loving words!Injurious wasps, to feed on such sweet honeyAnd kill the bees that yield it with your stings!I'll kiss each several paper for amends.Look, here is writ 'kind Julia.' Unkind Julia!As in revenge of thy ingratitude,I throw thy name against the bruising stones,Trampling contemptuously on thy disdain.And here is writ 'love-wounded Proteus.'Poor wounded name! my bosom as a bedShall lodge thee till thy wound be thoroughly heal'd;And thus I search it with a sovereign kiss.But twice or thrice was 'Proteus' written down.Be calm, good wind, blow not a word awayTill I have found each letter in the letter,Except mine own name: that some whirlwind bearUnto a ragged fearful-hanging rockAnd throw it thence into the raging sea!Lo, here in one line is his name twice writ,'Poor forlorn Proteus, passionate Proteus,To the sweet Julia:' that I'll tear away.And yet I will not, sith so prettilyHe couples it to his complaining names.Thus will I fold them one on another:Now kiss, embrace, contend, do what you will.Re-enter LUCETTALUCETTAMadam,Dinner is ready, and your father stays.JULIAWell, let us go.LUCETTAWhat, shall these papers lie like tell-tales here?JULIAIf you respect them, best to take them up.LUCETTANay, I was taken up for laying them down:Yet here they shall not lie, for catching cold.JULIAI see you have a month's mind to them.LUCETTAAy, madam, you may say what sights you see;I see things too, although you judge I wink.JULIACome, come; will't please you go?ExeuntSCENE III. The same. ANTONIO's house.Enter ANTONIO and PANTHINOANTONIOTell me, Panthino, what sad talk was thatWherewith my brother held you in the cloister?PANTHINO'Twas of his nephew Proteus, your son.ANTONIOWhy, what of him?PANTHINOHe wonder'd that your lordshipWould suffer him to spend his youth at home,While other men, of slender reputation,Put forth their sons to seek preferment out:Some to the wars, to try their fortune there;Some to discover islands far away;Some to the studious universities.For any or for all these exercises,He said that Proteus your son was meet,And did request me to importune youTo let him spend his time no more at home,Which would be great impeachment to his age,In having known no travel in his youth.ANTONIONor need'st thou much importune me to thatWhereon this month I have been hammering.I have consider'd well his loss of timeAnd how he cannot be a perfect man,Not being tried and tutor'd in the world:Experience is by industry achievedAnd perfected by the swift course of time.Then tell me, whither were I best to send him?PANTHINOI think your lordship is not ignorantHow his companion, youthful Valentine,Attends the emperor in his royal court.ANTONIOI know it well.PANTHINO'Twere good, I think, your lordship sent him thither:There shall he practise tilts and tournaments,Hear sweet discourse, converse with noblemen.And be in eye of every exerciseWorthy his youth and nobleness of birth.ANTONIOI like thy counsel; well hast thou advised:And that thou mayst perceive how well I like it,The execution of it shall make known.Even with the speediest expeditionI will dispatch him to the emperor's court.PANTHINOTo-morrow, may it please you, Don Alphonso,With other gentlemen of good esteem,Are journeying to salute the emperorAnd to commend their service to his will.ANTONIOGood company; with them shall Proteus go:And, in good time! now will we break with him.Enter PROTEUSPROTEUSSweet love! sweet lines! sweet life!Here is her hand, the agent of her heart;Here is her oath for love, her honour's pawn.O, that our fathers would applaud our loves,To seal our happiness with their consents!O heavenly Julia!ANTONIOHow now! what letter are you reading there?PROTEUSMay't please your lordship, 'tis a word or twoOf commendations sent from Valentine,Deliver'd by a friend that came from him.ANTONIOLend me the letter; let me see what news.PROTEUSThere is no news, my lord, but that he writesHow happily he lives, how well belovedAnd daily graced by the emperor;Wishing me with him, partner of his fortune.ANTONIOAnd how stand you affected to his wish?PROTEUSAs one relying on your lordship's willAnd not depending on his friendly wish.ANTONIOMy will is something sorted with his wish.Muse not that I thus suddenly proceed;For what I will, I will, and there an end.I am resolved that thou shalt spend some timeWith Valentinus in the emperor's court:What maintenance he from his friends receives,Like exhibition thou shalt have from me.To-morrow be in readiness to go:Excuse it not, for I am peremptory.PROTEUSMy lord, I cannot be so soon provided:Please you, deliberate a day or two.ANTONIOLook, what thou want'st shall be sent after thee:No more of stay! to-morrow thou must go.Come on, Panthino: you shall be employ'dTo hasten on his expedition.Exeunt ANTONIO and PANTHINOPROTEUSThus have I shunn'd the fire for fear of burning,And drench'd me in the sea, where I am drown'd.I fear'd to show my father Julia's letter,Lest he should take exceptions to my love;And with the vantage of mine own excuseHath he excepted most against my love.O, how this spring of love resemblethThe uncertain glory of an April day,Which now shows all the beauty of the sun,And by and by a cloud takes all away!Re-enter PANTHINOPANTHINOSir Proteus, your father calls for you:He is in haste; therefore, I pray you to go.PROTEUSWhy, this it is: my heart accords thereto,And yet a thousand times it answers 'no.'ExeuntACT IISCENE I. Milan. The DUKE's palace.Enter VALENTINE and SPEEDSPEEDSir, your glove.VALENTINENot mine; my gloves are on.SPEEDWhy, then, this may be yours, for this is but one.VALENTINEHa! let me see: ay, give it me, it's mine:Sweet ornament that decks a thing divine!Ah, Silvia, Silvia!SPEEDMadam Silvia! Madam Silvia!VALENTINEHow now, sirrah?SPEEDShe is not within hearing, sir.VALENTINEWhy, sir, who bade you call her?SPEEDYour worship, sir; or else I mistook.VALENTINEWell, you'll still be too forward.SPEEDAnd yet I was last chidden for being too slow.VALENTINEGo to, sir: tell me, do you know Madam Silvia?SPEEDShe that your worship loves?VALENTINEWhy, how know you that I am in love?SPEEDMarry, by these special marks: first, you havelearned, like Sir Proteus, to wreathe your arms,like a malecontent; to relish a love-song, like arobin-redbreast; to walk alone, like one that hadthe pestilence; to sigh, like a school-boy that hadlost his A B C; to weep, like a young wench that hadburied her grandam; to fast, like one that takesdiet; to watch like one that fears robbing; tospeak puling, like a beggar at Hallowmas. You werewont, when you laughed, to crow like a cock; when youwalked, to walk like one of the lions; when youfasted, it was presently after dinner; when youlooked sadly, it was for want of money: and now youare metamorphosed with a mistress, that, when I lookon you, I can hardly think you my master.VALENTINEAre all these things perceived in me?SPEEDThey are all perceived without ye.VALENTINEWithout me? they cannot.SPEEDWithout you? nay, that's certain, for, without youwere so simple, none else would: but you are sowithout these follies, that these follies are withinyou and shine through you like the water in anurinal, that not an eye that sees you but is aphysician to comment on your malady.VALENTINEBut tell me, dost thou know my lady Silvia?SPEEDShe that you gaze on so as she sits at supper?VALENTINEHast thou observed that? even she, I mean.SPEEDWhy, sir, I know her not.VALENTINEDost thou know her by my gazing on her, and yetknowest her not?SPEEDIs she not hard-favoured, sir?VALENTINENot so fair, boy, as well-favoured.SPEEDSir, I know that well enough.VALENTINEWhat dost thou know?SPEEDThat she is not so fair as, of you, well-favoured.VALENTINEI mean that her beauty is exquisite, but her favour infinite.SPEEDThat's because the one is painted and the other outof all count.VALENTINEHow painted? and how out of count?SPEEDMarry, sir, so painted, to make her fair, that noman counts of her beauty.VALENTINEHow esteemest thou me? I account of her beauty.SPEEDYou never saw her since she was deformed.VALENTINEHow long hath she been deformed?SPEEDEver since you loved her.VALENTINEI have loved her ever since I saw her; and still Isee her beautiful.SPEEDIf you love her, you cannot see her.VALENTINEWhy?SPEEDBecause Love is blind. O, that you had mine eyes;or your own eyes had the lights they were wont tohave when you chid at Sir Proteus for goingungartered!VALENTINEWhat should I see then?SPEEDYour own present folly and her passing deformity:for he, being in love, could not see to garter hishose, and you, being in love, cannot see to put on your hose.VALENTINEBelike, boy, then, you are in love; for lastmorning you could not see to wipe my shoes.SPEEDTrue, sir; I was in love with my bed: I thank you,you swinged me for my love, which makes me thebolder to chide you for yours.VALENTINEIn conclusion, I stand affected to her.SPEEDI would you were set, so your affection would cease.VALENTINELast night she enjoined me to write some lines toone she loves.SPEEDAnd have you?VALENTINEI have.SPEEDAre they not lamely writ?VALENTINENo, boy, but as well as I can do them. Peace!here she comes.SPEEDAside O excellent motion! O exceeding puppet!Now will he interpret to her.Enter SILVIAVALENTINEMadam and mistress, a thousand good-morrows.SPEEDAside O, give ye good even! here's a million of manners.SILVIASir Valentine and servant, to you two thousand.SPEEDAside He should give her interest and she gives it him.VALENTINEAs you enjoin'd me, I have writ your letterUnto the secret nameless friend of yours;Which I was much unwilling to proceed inBut for my duty to your ladyship.SILVIAI thank you gentle servant: 'tis very clerkly done.VALENTINENow trust me, madam, it came hardly off;For being ignorant to whom it goesI writ at random, very doubtfully.SILVIAPerchance you think too much of so much pains?VALENTINENo, madam; so it stead you, I will writePlease you command, a thousand times as much; And yet--SILVIAA pretty period! Well, I guess the sequel;And yet I will not name it; and yet I care not;And yet take this again; and yet I thank you,Meaning henceforth to trouble you no more.SPEEDAside And yet you will; and yet another 'yet.'VALENTINEWhat means your ladyship? do you not like it?SILVIAYes, yes; the lines are very quaintly writ;But since unwillingly, take them again.Nay, take them.VALENTINEMadam, they are for you.SILVIAAy, ay: you writ them, sir, at my request;But I will none of them; they are for you;I would have had them writ more movingly.VALENTINEPlease you, I'll write your ladyship another.SILVIAAnd when it's writ, for my sake read it over,And if it please you, so; if not, why, so.VALENTINEIf it please me, madam, what then?SILVIAWhy, if it please you, take it for your labour:And so, good morrow, servant.ExitSPEEDO jest unseen, inscrutable, invisible,As a nose on a man's face, or a weathercock on a steeple!My master sues to her, and she hathtaught her suitor,He being her pupil, to become her tutor.O excellent device! was there ever heard a better,That my master, being scribe, to himself should writethe letter?VALENTINEHow now, sir? what are you reasoning with yourself?SPEEDNay, I was rhyming: 'tis you that have the reason.VALENTINETo do what?SPEEDTo be a spokesman for Madam Silvia.VALENTINETo whom?SPEEDTo yourself: why, she wooes you by a figure.VALENTINEWhat figure?SPEEDBy a letter, I should say.VALENTINEWhy, she hath not writ to me?SPEEDWhat need she, when she hath made you write toyourself? Why, do you not perceive the jest?VALENTINENo, believe me.SPEEDNo believing you, indeed, sir. But did you perceiveher earnest?VALENTINEShe gave me none, except an angry word.SPEEDWhy, she hath given you a letter.VALENTINEThat's the letter I writ to her friend.SPEEDAnd that letter hath she delivered, and there an end.VALENTINEI would it were no worse.SPEEDI'll warrant you, 'tis as well:For often have you writ to her, and she, in modesty,Or else for want of idle time, could not again reply;Or fearing else some messenger that might her mind discover,Herself hath taught her love himself to write unto her lover.All this I speak in print, for in print I found it.Why muse you, sir? 'tis dinner-time.VALENTINEI have dined.SPEEDAy, but hearken, sir; though the chameleon Love canfeed on the air, I am one that am nourished by myvictuals, and would fain have meat. O, be not likeyour mistress; be moved, be moved.ExeuntSCENE II. Verona. JULIA'S house.Enter PROTEUS and JULIAPROTEUSHave patience, gentle Julia.JULIAI must, where is no remedy.PROTEUSWhen possibly I can, I will return.JULIAIf you turn not, you will return the sooner.Keep this remembrance for thy Julia's sake.Giving a ringPROTEUSWhy then, we'll make exchange; here, take you this.JULIAAnd seal the bargain with a holy kiss.PROTEUSHere is my hand for my true constancy;And when that hour o'erslips me in the dayWherein I sigh not, Julia, for thy sake,The next ensuing hour some foul mischanceTorment me for my love's forgetfulness!My father stays my coming; answer not;The tide is now: nay, not thy tide of tears;That tide will stay me longer than I should.Julia, farewell!Exit JULIAWhat, gone without a word?Ay, so true love should do: it cannot speak;For truth hath better deeds than words to grace it.Enter PANTHINOPANTHINOSir Proteus, you are stay'd for.PROTEUSGo; I come, I come.Alas! this parting strikes poor lovers dumb.ExeuntSCENE III. The same. A street.Enter LAUNCE, leading a dogLAUNCENay, 'twill be this hour ere I have done weeping;all the kind of the Launces have this very fault. Ihave received my proportion, like the prodigiousson, and am going with Sir Proteus to the Imperial'scourt. I think Crab, my dog, be the sourest-natureddog that lives: my mother weeping, my fatherwailing, my sister crying, our maid howling, our catwringing her hands, and all our house in a greatperplexity, yet did not this cruel-hearted cur shedone tear: he is a stone, a very pebble stone, andhas no more pity in him than a dog: a Jew would havewept to have seen our parting; why, my grandam,having no eyes, look you, wept herself blind at myparting. Nay, I'll show you the manner of it. Thisshoe is my father: no, this left shoe is my father:no, no, this left shoe is my mother: nay, thatcannot be so neither: yes, it is so, it is so, ithath the worser sole. This shoe, with the hole init, is my mother, and this my father; a vengeanceon't! there 'tis: now, sit, this staff is mysister, for, look you, she is as white as a lily andas small as a wand: this hat is Nan, our maid: Iam the dog: no, the dog is himself, and I am thedog--Oh! the dog is me, and I am myself; ay, so,so. Now come I to my father; Father, your blessing:now should not the shoe speak a word for weeping:now should I kiss my father; well, he weeps on. Nowcome I to my mother: O, that she could speak nowlike a wood woman! Well, I kiss her; why, there'tis; here's my mother's breath up and down. Nowcome I to my sister; mark the moan she makes. Nowthe dog all this while sheds not a tear nor speaks aword; but see how I lay the dust with my tears.Enter PANTHINOPANTHINOLaunce, away, away, aboard! thy master is shippedand thou art to post after with oars. What's thematter? why weepest thou, man? Away, ass! You'lllose the tide, if you tarry any longer.LAUNCEIt is no matter if the tied were lost; for it is theunkindest tied that ever any man tied.PANTHINOWhat's the unkindest tide?LAUNCEWhy, he that's tied here, Crab, my dog.PANTHINOTut, man, I mean thou'lt lose the flood, and, inlosing the flood, lose thy voyage, and, in losingthy voyage, lose thy master, and, in losing thymaster, lose thy service, and, in losing thyservice,--Why dost thou stop my mouth?LAUNCEFor fear thou shouldst lose thy tongue.PANTHINOWhere should I lose my tongue?LAUNCEIn thy tale.PANTHINOIn thy tail!LAUNCELose the tide, and the voyage, and the master, andthe service, and the tied! Why, man, if the riverwere dry, I am able to fill it with my tears; if thewind were down, I could drive the boat with my sighs.PANTHINOCome, come away, man; I was sent to call thee.LAUNCESir, call me what thou darest.PANTHINOWilt thou go?LAUNCEWell, I will go.ExeuntSCENE IV. Milan. The DUKE's palace.Enter SILVIA, VALENTINE, THURIO, and SPEEDSILVIAServant!VALENTINEMistress?SPEEDMaster, Sir Thurio frowns on you.VALENTINEAy, boy, it's for love.SPEEDNot of you.VALENTINEOf my mistress, then.SPEED'Twere good you knocked him.ExitSILVIAServant, you are sad.VALENTINEIndeed, madam, I seem so.THURIOSeem you that you are not?VALENTINEHaply I do.THURIOSo do counterfeits.VALENTINESo do you.THURIOWhat seem I that I am not?VALENTINEWise.THURIOWhat instance of the contrary?VALENTINEYour folly.THURIOAnd how quote you my folly?VALENTINEI quote it in your jerkin.THURIOMy jerkin is a doublet.VALENTINEWell, then, I'll double your folly.THURIOHow?SILVIAWhat, angry, Sir Thurio! do you change colour?VALENTINEGive him leave, madam; he is a kind of chameleon.THURIOThat hath more mind to feed on your blood than livein your air.VALENTINEYou have said, sir.THURIOAy, sir, and done too, for this time.VALENTINEI know it well, sir; you always end ere you begin.SILVIAA fine volley of words, gentlemen, and quickly shot off.VALENTINE'Tis indeed, madam; we thank the giver.SILVIAWho is that, servant?VALENTINEYourself, sweet lady; for you gave the fire. SirThurio borrows his wit from your ladyship's looks,and spends what he borrows kindly in your company.THURIOSir, if you spend word for word with me, I shallmake your wit bankrupt.VALENTINEI know it well, sir; you have an exchequer of words,and, I think, no other treasure to give yourfollowers, for it appears by their bare liveries,that they live by your bare words.SILVIANo more, gentlemen, no more:--here comes my father.Enter DUKEDUKENow, daughter Silvia, you are hard beset.Sir Valentine, your father's in good health:What say you to a letter from your friendsOf much good news?VALENTINEMy lord, I will be thankful.To any happy messenger from thence.DUKEKnow ye Don Antonio, your countryman?VALENTINEAy, my good lord, I know the gentlemanTo be of worth and worthy estimationAnd not without desert so well reputed.DUKEHath he not a son?VALENTINEAy, my good lord; a son that well deservesThe honour and regard of such a father.DUKEYou know him well?VALENTINEI know him as myself; for from our infancyWe have conversed and spent our hours together:And though myself have been an idle truant,Omitting the sweet benefit of timeTo clothe mine age with angel-like perfection,Yet hath Sir Proteus, for that's his name,Made use and fair advantage of his days;His years but young, but his experience old;His head unmellow'd, but his judgment ripe;And, in a word, for far behind his worthComes all the praises that I now bestow,He is complete in feature and in mindWith all good grace to grace a gentleman.DUKEBeshrew me, sir, but if he make this good,He is as worthy for an empress' loveAs meet to be an emperor's counsellor.Well, sir, this gentleman is come to me,With commendation from great potentates;And here he means to spend his time awhile:I think 'tis no unwelcome news to you.VALENTINEShould I have wish'd a thing, it had been he.DUKEWelcome him then according to his worth.Silvia, I speak to you, and you, Sir Thurio;For Valentine, I need not cite him to it:I will send him hither to you presently.ExitVALENTINEThis is the gentleman I told your ladyshipHad come along with me, but that his mistressDid hold his eyes lock'd in her crystal looks.SILVIABelike that now she hath enfranchised themUpon some other pawn for fealty.VALENTINENay, sure, I think she holds them prisoners still.SILVIANay, then he should be blind; and, being blindHow could he see his way to seek out you?VALENTINEWhy, lady, Love hath twenty pair of eyes.THURIOThey say that Love hath not an eye at all.VALENTINETo see such lovers, Thurio, as yourself:Upon a homely object Love can wink.SILVIAHave done, have done; here comes the gentleman.Exit THURIOEnter PROTEUSVALENTINEWelcome, dear Proteus! Mistress, I beseech you,Confirm his welcome with some special favour.SILVIAHis worth is warrant for his welcome hither,If this be he you oft have wish'd to hear from.VALENTINEMistress, it is: sweet lady, entertain himTo be my fellow-servant to your ladyship.SILVIAToo low a mistress for so high a servant.PROTEUSNot so, sweet lady: but too mean a servantTo have a look of such a worthy mistress.VALENTINELeave off discourse of disability:Sweet lady, entertain him for your servant.PROTEUSMy duty will I boast of; nothing else.SILVIAAnd duty never yet did want his meed:Servant, you are welcome to a worthless mistress.PROTEUSI'll die on him that says so but yourself.SILVIAThat you are welcome?PROTEUSThat you are worthless.Re-enter THURIOTHURIOMadam, my lord your father would speak with you.SILVIAI wait upon his pleasure. Come, Sir Thurio,Go with me. Once more, new servant, welcome:I'll leave you to confer of home affairs;When you have done, we look to hear from you.PROTEUSWe'll both attend upon your ladyship.Exeunt SILVIA and THURIOVALENTINENow, tell me, how do all from whence you came?PROTEUSYour friends are well and have them much commended.VALENTINEAnd how do yours?PROTEUSI left them all in health.VALENTINEHow does your lady? and how thrives your love?PROTEUSMy tales of love were wont to weary you;I know you joy not in a love discourse.VALENTINEAy, Proteus, but that life is alter'd now:I have done penance for contemning Love,Whose high imperious thoughts have punish'd meWith bitter fasts, with penitential groans,With nightly tears and daily heart-sore sighs;For in revenge of my contempt of love,Love hath chased sleep from my enthralled eyesAnd made them watchers of mine own heart's sorrow.O gentle Proteus, Love's a mighty lord,And hath so humbled me, as, I confess,There is no woe to his correction,Nor to his service no such joy on earth.Now no discourse, except it be of love;Now can I break my fast, dine, sup and sleep,Upon the very naked name of love.PROTEUSEnough; I read your fortune in your eye.Was this the idol that you worship so?VALENTINEEven she; and is she not a heavenly saint?PROTEUSNo; but she is an earthly paragon.VALENTINECall her divine.PROTEUSI will not flatter her.VALENTINEO, flatter me; for love delights in praises.PROTEUSWhen I was sick, you gave me bitter pills,And I must minister the like to you.VALENTINEThen speak the truth by her; if not divine,Yet let her be a principality,Sovereign to all the creatures on the earth.PROTEUSExcept my mistress.VALENTINESweet, except not any;Except thou wilt except against my love.PROTEUSHave I not reason to prefer mine own?VALENTINEAnd I will help thee to prefer her too:She shall be dignified with this high honour--To bear my lady's train, lest the base earthShould from her vesture chance to steal a kissAnd, of so great a favour growing proud,Disdain to root the summer-swelling flowerAnd make rough winter everlastingly.PROTEUSWhy, Valentine, what braggardism is this?VALENTINEPardon me, Proteus: all I can is nothingTo her whose worth makes other worthies nothing;She is alone.PROTEUSThen let her alone.VALENTINENot for the world: why, man, she is mine own,And I as rich in having such a jewelAs twenty seas, if all their sand were pearl,The water nectar and the rocks pure gold.Forgive me that I do not dream on thee,Because thou see'st me dote upon my love.My foolish rival, that her father likesOnly for his possessions are so huge,Is gone with her along, and I must after,For love, thou know'st, is full of jealousy.PROTEUSBut she loves you?VALENTINEAy, and we are betroth'd: nay, more, our,marriage-hour,With all the cunning manner of our flight,Determined of; how I must climb her window,The ladder made of cords, and all the meansPlotted and 'greed on for my happiness.Good Proteus, go with me to my chamber,In these affairs to aid me with thy counsel.PROTEUSGo on before; I shall inquire you forth:I must unto the road, to disembarkSome necessaries that I needs must use,And then I'll presently attend you.VALENTINEWill you make haste?PROTEUSI will.Exit VALENTINEEven as one heat another heat expels,Or as one nail by strength drives out another,So the remembrance of my former loveIs by a newer object quite forgotten.Is it mine, or Valentine's praise,Her true perfection, or my false transgression,That makes me reasonless to reason thus?She is fair; and so is Julia that I love--That I did love, for now my love is thaw'd;Which, like a waxen image, 'gainst a fire,Bears no impression of the thing it was.Methinks my zeal to Valentine is cold,And that I love him not as I was wont.O, but I love his lady too too much,And that's the reason I love him so little.How shall I dote on her with more advice,That thus without advice begin to love her!'Tis but her picture I have yet beheld,And that hath dazzled my reason's light;But when I look on her perfections,There is no reason but I shall be blind.If I can cheque my erring love, I will;If not, to compass her I'll use my skill.ExitSCENE V. The same. A street.Enter SPEED and LAUNCE severallySPEEDLaunce! by mine honesty, welcome to Milan!LAUNCEForswear not thyself, sweet youth, for I am notwelcome. I reckon this always, that a man is neverundone till he be hanged, nor never welcome to aplace till some certain shot be paid and the hostesssay 'Welcome!'SPEEDCome on, you madcap, I'll to the alehouse with youpresently; where, for one shot of five pence, thoushalt have five thousand welcomes. But, sirrah, howdid thy master part with Madam Julia?LAUNCEMarry, after they closed in earnest, they parted veryfairly in jest.SPEEDBut shall she marry him?LAUNCENo.SPEEDHow then? shall he marry her?LAUNCENo, neither.SPEEDWhat, are they broken?LAUNCENo, they are both as whole as a fish.SPEEDWhy, then, how stands the matter with them?LAUNCEMarry, thus: when it stands well with him, itstands well with her.SPEEDWhat an ass art thou! I understand thee not.LAUNCEWhat a block art thou, that thou canst not! Mystaff understands me.SPEEDWhat thou sayest?LAUNCEAy, and what I do too: look thee, I'll but lean,and my staff understands me.SPEEDIt stands under thee, indeed.LAUNCEWhy, stand-under and under-stand is all one.SPEEDBut tell me true, will't be a match?LAUNCEAsk my dog: if he say ay, it will! if he say no,it will; if he shake his tail and say nothing, it will.SPEEDThe conclusion is then that it will.LAUNCEThou shalt never get such a secret from me but by a parable.SPEED'Tis well that I get it so. But, Launce, how sayestthou, that my master is become a notable lover?LAUNCEI never knew him otherwise.SPEEDThan how?LAUNCEA notable lubber, as thou reportest him to be.SPEEDWhy, thou whoreson ass, thou mistakest me.LAUNCEWhy, fool, I meant not thee; I meant thy master.SPEEDI tell thee, my master is become a hot lover.LAUNCEWhy, I tell thee, I care not though he burn himselfin love. If thou wilt, go with me to the alehouse;if not, thou art an Hebrew, a Jew, and not worth thename of a Christian.SPEEDWhy?LAUNCEBecause thou hast not so much charity in thee as togo to the ale with a Christian. Wilt thou go?SPEEDAt thy service.ExeuntSCENE VI. The same. The DUKE'S palace.Enter PROTEUSPROTEUSTo leave my Julia, shall I be forsworn;To love fair Silvia, shall I be forsworn;To wrong my friend, I shall be much forsworn;And even that power which gave me first my oathProvokes me to this threefold perjury;Love bade me swear and Love bids me forswear.O sweet-suggesting Love, if thou hast sinned,Teach me, thy tempted subject, to excuse it!At first I did adore a twinkling star,But now I worship a celestial sun.Unheedful vows may heedfully be broken,And he wants wit that wants resolved willTo learn his wit to exchange the bad for better.Fie, fie, unreverend tongue! to call her bad,Whose sovereignty so oft thou hast preferr'dWith twenty thousand soul-confirming oaths.I cannot leave to love, and yet I do;But there I leave to love where I should love.Julia I lose and Valentine I lose:If I keep them, I needs must lose myself;If I lose them, thus find I by their lossFor Valentine myself, for Julia Silvia.I to myself am dearer than a friend,For love is still most precious in itself;And Silvia--witness Heaven, that made her fair!--Shows Julia but a swarthy Ethiope.I will forget that Julia is alive,Remembering that my love to her is dead;And Valentine I'll hold an enemy,Aiming at Silvia as a sweeter friend.I cannot now prove constant to myself,Without some treachery used to Valentine.This night he meaneth with a corded ladderTo climb celestial Silvia's chamber-window,Myself in counsel, his competitor.Now presently I'll give her father noticeOf their disguising and pretended flight;Who, all enraged, will banish Valentine;For Thurio, he intends, shall wed his daughter;But, Valentine being gone, I'll quickly crossBy some sly trick blunt Thurio's dull proceeding.Love, lend me wings to make my purpose swift,As thou hast lent me wit to plot this drift!ExitSCENE VII. Verona. JULIA'S house.Enter JULIA and LUCETTAJULIACounsel, Lucetta; gentle girl, assist me;And even in kind love I do conjure thee,Who art the table wherein all my thoughtsAre visibly character'd and engraved,To lesson me and tell me some good meanHow, with my honour, I may undertakeA journey to my loving Proteus.LUCETTAAlas, the way is wearisome and long!JULIAA true-devoted pilgrim is not wearyTo measure kingdoms with his feeble steps;Much less shall she that hath Love's wings to fly,And when the flight is made to one so dear,Of such divine perfection, as Sir Proteus.LUCETTABetter forbear till Proteus make return.JULIAO, know'st thou not his looks are my soul's food?Pity the dearth that I have pined in,By longing for that food so long a time.Didst thou but know the inly touch of love,Thou wouldst as soon go kindle fire with snowAs seek to quench the fire of love with words.LUCETTAI do not seek to quench your love's hot fire,But qualify the fire's extreme rage,Lest it should burn above the bounds of reason.JULIAThe more thou damm'st it up, the more it burns.The current that with gentle murmur glides,Thou know'st, being stopp'd, impatiently doth rage;But when his fair course is not hindered,He makes sweet music with the enamell'ed stones,Giving a gentle kiss to every sedgeHe overtaketh in his pilgrimage,And so by many winding nooks he straysWith willing sport to the wild ocean.Then let me go and hinder not my courseI'll be as patient as a gentle streamAnd make a pastime of each weary step,Till the last step have brought me to my love;And there I'll rest, as after much turmoilA blessed soul doth in Elysium.LUCETTABut in what habit will you go along?JULIANot like a woman; for I would preventThe loose encounters of lascivious men:Gentle Lucetta, fit me with such weedsAs may beseem some well-reputed page.LUCETTAWhy, then, your ladyship must cut your hair.JULIANo, girl, I'll knit it up in silken stringsWith twenty odd-conceited true-love knots.To be fantastic may become a youthOf greater time than I shall show to be.LUCETTAWhat fashion, madam shall I make your breeches?JULIAThat fits as well as 'Tell me, good my lord,What compass will you wear your farthingale?'Why even what fashion thou best likest, Lucetta.LUCETTAYou must needs have them with a codpiece, madam.JULIAOut, out, Lucetta! that would be ill-favour'd.LUCETTAA round hose, madam, now's not worth a pin,Unless you have a codpiece to stick pins on.JULIALucetta, as thou lovest me, let me haveWhat thou thinkest meet and is most mannerly.But tell me, wench, how will the world repute meFor undertaking so unstaid a journey?I fear me, it will make me scandalized.LUCETTAIf you think so, then stay at home and go not.JULIANay, that I will not.LUCETTAThen never dream on infamy, but go.If Proteus like your journey when you come,No matter who's displeased when you are gone:I fear me, he will scarce be pleased withal.JULIAThat is the least, Lucetta, of my fear:A thousand oaths, an ocean of his tearsAnd instances of infinite of loveWarrant me welcome to my Proteus.LUCETTAAll these are servants to deceitful men.JULIABase men, that use them to so base effect!But truer stars did govern Proteus' birthHis words are bonds, his oaths are oracles,His love sincere, his thoughts immaculate,His tears pure messengers sent from his heart,His heart as far from fraud as heaven from earth.LUCETTAPray heaven he prove so, when you come to him!JULIANow, as thou lovest me, do him not that wrongTo bear a hard opinion of his truth:Only deserve my love by loving him;And presently go with me to my chamber,To take a note of what I stand in need of,To furnish me upon my longing journey.All that is mine I leave at thy dispose,My goods, my lands, my reputation;Only, in lieu thereof, dispatch me hence.Come, answer not, but to it presently!I am impatient of my tarriance.ExeuntACT IIISCENE I. Milan. The DUKE's palace.Enter DUKE, THURIO, and PROTEUSDUKESir Thurio, give us leave, I pray, awhile;We have some secrets to confer about.Exit THURIONow, tell me, Proteus, what's your will with me?PROTEUSMy gracious lord, that which I would discoverThe law of friendship bids me to conceal;But when I call to mind your gracious favoursDone to me, undeserving as I am,My duty pricks me on to utter thatWhich else no worldly good should draw from me.Know, worthy prince, Sir Valentine, my friend,This night intends to steal away your daughter:Myself am one made privy to the plot.I know you have determined to bestow herOn Thurio, whom your gentle daughter hates;And should she thus be stol'n away from you,It would be much vexation to your age.Thus, for my duty's sake, I rather choseTo cross my friend in his intended driftThan, by concealing it, heap on your headA pack of sorrows which would press you down,Being unprevented, to your timeless grave.DUKEProteus, I thank thee for thine honest care;Which to requite, command me while I live.This love of theirs myself have often seen,Haply when they have judged me fast asleep,And oftentimes have purposed to forbidSir Valentine her company and my court:But fearing lest my jealous aim might errAnd so unworthily disgrace the man,A rashness that I ever yet have shunn'd,I gave him gentle looks, thereby to findThat which thyself hast now disclosed to me.And, that thou mayst perceive my fear of this,Knowing that tender youth is soon suggested,I nightly lodge her in an upper tower,The key whereof myself have ever kept;And thence she cannot be convey'd away.PROTEUSKnow, noble lord, they have devised a meanHow he her chamber-window will ascendAnd with a corded ladder fetch her down;For which the youthful lover now is goneAnd this way comes he with it presently;Where, if it please you, you may intercept him.But, good my Lord, do it so cunninglyThat my discovery be not aimed at;For love of you, not hate unto my friend,Hath made me publisher of this pretence.DUKEUpon mine honour, he shall never knowThat I had any light from thee of this.PROTEUSAdieu, my Lord; Sir Valentine is coming.ExitEnter VALENTINEDUKESir Valentine, whither away so fast?VALENTINEPlease it your grace, there is a messengerThat stays to bear my letters to my friends,And I am going to deliver them.DUKEBe they of much import?VALENTINEThe tenor of them doth but signifyMy health and happy being at your court.DUKENay then, no matter; stay with me awhile;I am to break with thee of some affairsThat touch me near, wherein thou must be secret.'Tis not unknown to thee that I have soughtTo match my friend Sir Thurio to my daughter.VALENTINEI know it well, my Lord; and, sure, the matchWere rich and honourable; besides, the gentlemanIs full of virtue, bounty, worth and qualitiesBeseeming such a wife as your fair daughter:Cannot your Grace win her to fancy him?DUKENo, trust me; she is peevish, sullen, froward,Proud, disobedient, stubborn, lacking duty,Neither regarding that she is my childNor fearing me as if I were her father;And, may I say to thee, this pride of hers,Upon advice, hath drawn my love from her;And, where I thought the remnant of mine ageShould have been cherish'd by her child-like duty,I now am full resolved to take a wifeAnd turn her out to who will take her in:Then let her beauty be her wedding-dower;For me and my possessions she esteems not.VALENTINEWhat would your Grace have me to do in this?DUKEThere is a lady in Verona hereWhom I affect; but she is nice and coyAnd nought esteems my aged eloquence:Now therefore would I have thee to my tutor--For long agone I have forgot to court;Besides, the fashion of the time is changed--How and which way I may bestow myselfTo be regarded in her sun-bright eye.VALENTINEWin her with gifts, if she respect not words:Dumb jewels often in their silent kindMore than quick words do move a woman's mind.DUKEBut she did scorn a present that I sent her.VALENTINEA woman sometimes scorns what best contents her.Send her another; never give her o'er;For scorn at first makes after-love the more.If she do frown, 'tis not in hate of you,But rather to beget more love in you:If she do chide, 'tis not to have you gone;For why, the fools are mad, if left alone.Take no repulse, whatever she doth say;For 'get you gone,' she doth not mean 'away!'Flatter and praise, commend, extol their graces;Though ne'er so black, say they have angels' faces.That man that hath a tongue, I say, is no man,If with his tongue he cannot win a woman.DUKEBut she I mean is promised by her friendsUnto a youthful gentleman of worth,And kept severely from resort of men,That no man hath access by day to her.VALENTINEWhy, then, I would resort to her by night.DUKEAy, but the doors be lock'd and keys kept safe,That no man hath recourse to her by night.VALENTINEWhat lets but one may enter at her window?DUKEHer chamber is aloft, far from the ground,And built so shelving that one cannot climb itWithout apparent hazard of his life.VALENTINEWhy then, a ladder quaintly made of cords,To cast up, with a pair of anchoring hooks,Would serve to scale another Hero's tower,So bold Leander would adventure it.DUKENow, as thou art a gentleman of blood,Advise me where I may have such a ladder.VALENTINEWhen would you use it? pray, sir, tell me that.DUKEThis very night; for Love is like a child,That longs for every thing that he can come by.VALENTINEBy seven o'clock I'll get you such a ladder.DUKEBut, hark thee; I will go to her alone:How shall I best convey the ladder thither?VALENTINEIt will be light, my lord, that you may bear itUnder a cloak that is of any length.DUKEA cloak as long as thine will serve the turn?VALENTINEAy, my good lord.DUKEThen let me see thy cloak:I'll get me one of such another length.VALENTINEWhy, any cloak will serve the turn, my lord.DUKEHow shall I fashion me to wear a cloak?I pray thee, let me feel thy cloak upon me.What letter is this same? What's here? 'To Silvia'!And here an engine fit for my proceeding.I'll be so bold to break the seal for once.Reads'My thoughts do harbour with my Silvia nightly,And slaves they are to me that send them flying:O, could their master come and go as lightly,Himself would lodge where senseless they are lying!My herald thoughts in thy pure bosom rest them:While I, their king, that hither them importune,Do curse the grace that with such grace hath bless'd them,Because myself do want my servants' fortune:I curse myself, for they are sent by me,That they should harbour where their lord would be.'What's here?'Silvia, this night I will enfranchise thee.''Tis so; and here's the ladder for the purpose.Why, Phaeton,--for thou art Merops' son,--Wilt thou aspire to guide the heavenly carAnd with thy daring folly burn the world?Wilt thou reach stars, because they shine on thee?Go, base intruder! overweening slave!Bestow thy fawning smiles on equal mates,And think my patience, more than thy desert,Is privilege for thy departure hence:Thank me for this more than for all the favoursWhich all too much I have bestow'd on thee.But if thou linger in my territoriesLonger than swiftest expeditionWill give thee time to leave our royal court,By heaven! my wrath shall far exceed the loveI ever bore my daughter or thyself.Be gone! I will not hear thy vain excuse;But, as thou lovest thy life, make speed from hence.ExitVALENTINEAnd why not death rather than living torment?To die is to be banish'd from myself;And Silvia is myself: banish'd from herIs self from self: a deadly banishment!What light is light, if Silvia be not seen?What joy is joy, if Silvia be not by?Unless it be to think that she is byAnd feed upon the shadow of perfectionExcept I be by Silvia in the night,There is no music in the nightingale;Unless I look on Silvia in the day,There is no day for me to look upon;She is my essence, and I leave to be,If I be not by her fair influenceFoster'd, illumined, cherish'd, kept alive.I fly not death, to fly his deadly doom:Tarry I here, I but attend on death:But, fly I hence, I fly away from life.Enter PROTEUS and LAUNCEPROTEUSRun, boy, run, run, and seek him out.LAUNCESoho, soho!PROTEUSWhat seest thou?LAUNCEHim we go to find: there's not a hair on's headbut 'tis a Valentine.PROTEUSValentine?VALENTINENo.PROTEUSWho then? his spirit?VALENTINENeither.PROTEUSWhat then?VALENTINENothing.LAUNCECan nothing speak? Master, shall I strike?PROTEUSWho wouldst thou strike?LAUNCENothing.PROTEUSVillain, forbear.LAUNCEWhy, sir, I'll strike nothing: I pray you,--PROTEUSSirrah, I say, forbear. Friend Valentine, a word.VALENTINEMy ears are stopt and cannot hear good news,So much of bad already hath possess'd them.PROTEUSThen in dumb silence will I bury mine,For they are harsh, untuneable and bad.VALENTINEIs Silvia dead?PROTEUSNo, Valentine.VALENTINENo Valentine, indeed, for sacred Silvia.Hath she forsworn me?PROTEUSNo, Valentine.VALENTINENo Valentine, if Silvia have forsworn me.What is your news?LAUNCESir, there is a proclamation that you are vanished.PROTEUSThat thou art banished--O, that's the news!--From hence, from Silvia and from me thy friend.VALENTINEO, I have fed upon this woe already,And now excess of it will make me surfeit.Doth Silvia know that I am banished?PROTEUSAy, ay; and she hath offer'd to the doom--Which, unreversed, stands in effectual force--A sea of melting pearl, which some call tears:Those at her father's churlish feet she tender'd;With them, upon her knees, her humble self;Wringing her hands, whose whiteness so became themAs if but now they waxed pale for woe:But neither bended knees, pure hands held up,Sad sighs, deep groans, nor silver-shedding tears,Could penetrate her uncompassionate sire;But Valentine, if he be ta'en, must die.Besides, her intercession chafed him so,When she for thy repeal was suppliant,That to close prison he commanded her,With many bitter threats of biding there.VALENTINENo more; unless the next word that thou speak'stHave some malignant power upon my life:If so, I pray thee, breathe it in mine ear,As ending anthem of my endless dolour.PROTEUSCease to lament for that thou canst not help,And study help for that which thou lament'st.Time is the nurse and breeder of all good.Here if thou stay, thou canst not see thy love;Besides, thy staying will abridge thy life.Hope is a lover's staff; walk hence with thatAnd manage it against despairing thoughts.Thy letters may be here, though thou art hence;Which, being writ to me, shall be deliver'dEven in the milk-white bosom of thy love.The time now serves not to expostulate:Come, I'll convey thee through the city-gate;And, ere I part with thee, confer at largeOf all that may concern thy love-affairs.As thou lovest Silvia, though not for thyself,Regard thy danger, and along with me!VALENTINEI pray thee, Launce, an if thou seest my boy,Bid him make haste and meet me at the North-gate.PROTEUSGo, sirrah, find him out. Come, Valentine.VALENTINEO my dear Silvia! Hapless Valentine!Exeunt VALENTINE and PROTEUSLAUNCEI am but a fool, look you; and yet I have the wit tothink my master is a kind of a knave: but that'sall one, if he be but one knave. He lives not nowthat knows me to be in love; yet I am in love; but ateam of horse shall not pluck that from me; nor who'tis I love; and yet 'tis a woman; but what woman, Iwill not tell myself; and yet 'tis a milkmaid; yet'tis not a maid, for she hath had gossips; yet 'tisa maid, for she is her master's maid, and serves forwages. She hath more qualities than a water-spaniel;which is much in a bare Christian.Pulling out a paperHere is the cate-log of her condition.'Imprimis: She can fetch and carry.' Why, a horsecan do no more: nay, a horse cannot fetch, but onlycarry; therefore is she better than a jade. 'Item:She can milk;' look you, a sweet virtue in a maidwith clean hands.Enter SPEEDSPEEDHow now, Signior Launce! what news with yourmastership?LAUNCEWith my master's ship? why, it is at sea.SPEEDWell, your old vice still; mistake the word. Whatnews, then, in your paper?LAUNCEThe blackest news that ever thou heardest.SPEEDWhy, man, how black?LAUNCEWhy, as black as ink.SPEEDLet me read them.LAUNCEFie on thee, jolt-head! thou canst not read.SPEEDThou liest; I can.LAUNCEI will try thee. Tell me this: who begot thee?SPEEDMarry, the son of my grandfather.LAUNCEO illiterate loiterer! it was the son of thygrandmother: this proves that thou canst not read.SPEEDCome, fool, come; try me in thy paper.LAUNCEThere; and St. Nicholas be thy speed!SPEEDReads 'Imprimis: She can milk.'LAUNCEAy, that she can.SPEED'Item: She brews good ale.'LAUNCEAnd thereof comes the proverb: 'Blessing of yourheart, you brew good ale.'SPEED'Item: She can sew.'LAUNCEThat's as much as to say, Can she so?SPEED'Item: She can knit.'LAUNCEWhat need a man care for a stock with a wench, whenshe can knit him a stock?SPEED'Item: She can wash and scour.'LAUNCEA special virtue: for then she need not be washedand scoured.SPEED'Item: She can spin.'LAUNCEThen may I set the world on wheels, when she canspin for her living.SPEED'Item: She hath many nameless virtues.'LAUNCEThat's as much as to say, bastard virtues; that,indeed, know not their fathers and therefore have no names.SPEED'Here follow her vices.'LAUNCEClose at the heels of her virtues.SPEED'Item: She is not to be kissed fasting in respectof her breath.'LAUNCEWell, that fault may be mended with a breakfast. Read on.SPEED'Item: She hath a sweet mouth.'LAUNCEThat makes amends for her sour breath.SPEED'Item: She doth talk in her sleep.'LAUNCEIt's no matter for that, so she sleep not in her talk.SPEED'Item: She is slow in words.'LAUNCEO villain, that set this down among her vices! Tobe slow in words is a woman's only virtue: I praythee, out with't, and place it for her chief virtue.SPEED'Item: She is proud.'LAUNCEOut with that too; it was Eve's legacy, and cannotbe ta'en from her.SPEED'Item: She hath no teeth.'LAUNCEI care not for that neither, because I love crusts.SPEED'Item: She is curst.'LAUNCEWell, the best is, she hath no teeth to bite.SPEED'Item: She will often praise her liquor.'LAUNCEIf her liquor be good, she shall: if she will not, Iwill; for good things should be praised.SPEED'Item: She is too liberal.'LAUNCEOf her tongue she cannot, for that's writ down sheis slow of; of her purse she shall not, for thatI'll keep shut: now, of another thing she may, andthat cannot I help. Well, proceed.SPEED'Item: She hath more hair than wit, and more faultsthan hairs, and more wealth than faults.'LAUNCEStop there; I'll have her: she was mine, and notmine, twice or thrice in that last article.Rehearse that once more.SPEED'Item: She hath more hair than wit,'--LAUNCEMore hair than wit? It may be; I'll prove it. Thecover of the salt hides the salt, and therefore itis more than the salt; the hair that covers the witis more than the wit, for the greater hides theless. What's next?SPEED'And more faults than hairs,'--LAUNCEThat's monstrous: O, that that were out!SPEED'And more wealth than faults.'LAUNCEWhy, that word makes the faults gracious. Well,I'll have her; and if it be a match, as nothing isimpossible,--SPEEDWhat then?LAUNCEWhy, then will I tell thee--that thy master staysfor thee at the North-gate.SPEEDFor me?LAUNCEFor thee! ay, who art thou? he hath stayed for abetter man than thee.SPEEDAnd must I go to him?LAUNCEThou must run to him, for thou hast stayed so longthat going will scarce serve the turn.SPEEDWhy didst not tell me sooner? pox of your love letters!ExitLAUNCENow will he be swinged for reading my letter; anunmannerly slave, that will thrust himself intosecrets! I'll after, to rejoice in the boy's correction.ExitSCENE II. The same. The DUKE's palace.Enter DUKE and THURIODUKESir Thurio, fear not but that she will love you,Now Valentine is banish'd from her sight.THURIOSince his exile she hath despised me most,Forsworn my company and rail'd at me,That I am desperate of obtaining her.DUKEThis weak impress of love is as a figureTrenched in ice, which with an hour's heatDissolves to water and doth lose his form.A little time will melt her frozen thoughtsAnd worthless Valentine shall be forgot.Enter PROTEUSHow now, Sir Proteus! Is your countrymanAccording to our proclamation gone?PROTEUSGone, my good lord.DUKEMy daughter takes his going grievously.PROTEUSA little time, my lord, will kill that grief.DUKESo I believe; but Thurio thinks not so.Proteus, the good conceit I hold of thee--For thou hast shown some sign of good desert--Makes me the better to confer with thee.PROTEUSLonger than I prove loyal to your graceLet me not live to look upon your grace.DUKEThou know'st how willingly I would effectThe match between Sir Thurio and my daughter.PROTEUSI do, my lord.DUKEAnd also, I think, thou art not ignorantHow she opposes her against my willPROTEUSShe did, my lord, when Valentine was here.DUKEAy, and perversely she persevers so.What might we do to make the girl forgetThe love of Valentine and love Sir Thurio?PROTEUSThe best way is to slander ValentineWith falsehood, cowardice and poor descent,Three things that women highly hold in hate.DUKEAy, but she'll think that it is spoke in hate.PROTEUSAy, if his enemy deliver it:Therefore it must with circumstance be spokenBy one whom she esteemeth as his friend.DUKEThen you must undertake to slander him.PROTEUSAnd that, my lord, I shall be loath to do:'Tis an ill office for a gentleman,Especially against his very friend.DUKEWhere your good word cannot advantage him,Your slander never can endamage him;Therefore the office is indifferent,Being entreated to it by your friend.PROTEUSYou have prevail'd, my lord; if I can do itBy ought that I can speak in his dispraise,She shall not long continue love to him.But say this weed her love from Valentine,It follows not that she will love Sir Thurio.THURIOTherefore, as you unwind her love from him,Lest it should ravel and be good to none,You must provide to bottom it on me;Which must be done by praising me as muchAs you in worth dispraise Sir Valentine.DUKEAnd, Proteus, we dare trust you in this kind,Because we know, on Valentine's report,You are already Love's firm votaryAnd cannot soon revolt and change your mind.Upon this warrant shall you have accessWhere you with Silvia may confer at large;For she is lumpish, heavy, melancholy,And, for your friend's sake, will be glad of you;Where you may temper her by your persuasionTo hate young Valentine and love my friend.PROTEUSAs much as I can do, I will effect:But you, Sir Thurio, are not sharp enough;You must lay lime to tangle her desiresBy wailful sonnets, whose composed rhymesShould be full-fraught with serviceable vows.DUKEAy,Much is the force of heaven-bred poesy.PROTEUSSay that upon the altar of her beautyYou sacrifice your tears, your sighs, your heart:Write till your ink be dry, and with your tearsMoist it again, and frame some feeling lineThat may discover such integrity:For Orpheus' lute was strung with poets' sinews,Whose golden touch could soften steel and stones,Make tigers tame and huge leviathansForsake unsounded deeps to dance on sands.After your dire-lamenting elegies,Visit by night your lady's chamber-windowWith some sweet concert; to their instrumentsTune a deploring dump: the night's dead silenceWill well become such sweet-complaining grievance.This, or else nothing, will inherit her.DUKEThis discipline shows thou hast been in love.THURIOAnd thy advice this night I'll put in practise.Therefore, sweet Proteus, my direction-giver,Let us into the city presentlyTo sort some gentlemen well skill'd in music.I have a sonnet that will serve the turnTo give the onset to thy good advice.DUKEAbout it, gentlemen!PROTEUSWe'll wait upon your grace till after supper,And afterward determine our proceedings.DUKEEven now about it! I will pardon you.ExeuntACT IVSCENE I. The frontiers of Mantua. A forest.Enter certain OutlawsFirst OutlawFellows, stand fast; I see a passenger.Second OutlawIf there be ten, shrink not, but down with 'em.Enter VALENTINE and SPEEDThird OutlawStand, sir, and throw us that you have about ye:If not: we'll make you sit and rifle you.SPEEDSir, we are undone; these are the villainsThat all the travellers do fear so much.VALENTINEMy friends,--First OutlawThat's not so, sir: we are your enemies.Second OutlawPeace! we'll hear him.Third OutlawAy, by my beard, will we, for he's a proper man.VALENTINEThen know that I have little wealth to lose:A man I am cross'd with adversity;My riches are these poor habiliments,Of which if you should here disfurnish me,You take the sum and substance that I have.Second OutlawWhither travel you?VALENTINETo Verona.First OutlawWhence came you?VALENTINEFrom Milan.Third OutlawHave you long sojourned there?VALENTINESome sixteen months, and longer might have stay'd,If crooked fortune had not thwarted me.First OutlawWhat, were you banish'd thence?VALENTINEI was.Second OutlawFor what offence?VALENTINEFor that which now torments me to rehearse:I kill'd a man, whose death I much repent;But yet I slew him manfully in fight,Without false vantage or base treachery.First OutlawWhy, ne'er repent it, if it were done so.But were you banish'd for so small a fault?VALENTINEI was, and held me glad of such a doom.Second OutlawHave you the tongues?VALENTINEMy youthful travel therein made me happy,Or else I often had been miserable.Third OutlawBy the bare scalp of Robin Hood's fat friar,This fellow were a king for our wild faction!First OutlawWe'll have him. Sirs, a word.SPEEDMaster, be one of them; it's an honourable kind of thievery.VALENTINEPeace, villain!Second OutlawTell us this: have you any thing to take to?VALENTINENothing but my fortune.Third OutlawKnow, then, that some of us are gentlemen,Such as the fury of ungovern'd youthThrust from the company of awful men:Myself was from Verona banishedFor practising to steal away a lady,An heir, and near allied unto the duke.Second OutlawAnd I from Mantua, for a gentleman,Who, in my mood, I stabb'd unto the heart.First OutlawAnd I for such like petty crimes as these,But to the purpose--for we cite our faults,That they may hold excus'd our lawless lives;And partly, seeing you are beautifiedWith goodly shape and by your own reportA linguist and a man of such perfectionAs we do in our quality much want--Second OutlawIndeed, because you are a banish'd man,Therefore, above the rest, we parley to you:Are you content to be our general?To make a virtue of necessityAnd live, as we do, in this wilderness?Third OutlawWhat say'st thou? wilt thou be of our consort?Say ay, and be the captain of us all:We'll do thee homage and be ruled by thee,Love thee as our commander and our king.First OutlawBut if thou scorn our courtesy, thou diest.Second OutlawThou shalt not live to brag what we have offer'd.VALENTINEI take your offer and will live with you,Provided that you do no outragesOn silly women or poor passengers.Third OutlawNo, we detest such vile base practises.Come, go with us, we'll bring thee to our crews,And show thee all the treasure we have got,Which, with ourselves, all rest at thy dispose.ExeuntSCENE II. Milan. Outside the DUKE's palace, under SILVIA's chamber.Enter PROTEUSPROTEUSAlready have I been false to ValentineAnd now I must be as unjust to Thurio.Under the colour of commending him,I have access my own love to prefer:But Silvia is too fair, too true, too holy,To be corrupted with my worthless gifts.When I protest true loyalty to her,She twits me with my falsehood to my friend;When to her beauty I commend my vows,She bids me think how I have been forswornIn breaking faith with Julia whom I loved:And notwithstanding all her sudden quips,The least whereof would quell a lover's hope,Yet, spaniel-like, the more she spurns my love,The more it grows and fawneth on her still.But here comes Thurio: now must we to her window,And give some evening music to her ear.Enter THURIO and MusiciansTHURIOHow now, Sir Proteus, are you crept before us?PROTEUSAy, gentle Thurio: for you know that loveWill creep in service where it cannot go.THURIOAy, but I hope, sir, that you love not here.PROTEUSSir, but I do; or else I would be hence.THURIOWho? Silvia?PROTEUSAy, Silvia; for your sake.THURIOI thank you for your own. Now, gentlemen,Let's tune, and to it lustily awhile.Enter, at a distance, Host, and JULIA in boy's clothesHostNow, my young guest, methinks you're allycholly: Ipray you, why is it?JULIAMarry, mine host, because I cannot be merry.HostCome, we'll have you merry: I'll bring you whereyou shall hear music and see the gentleman that you asked for.JULIABut shall I hear him speak?HostAy, that you shall.JULIAThat will be music.Music playsHostHark, hark!JULIAIs he among these?HostAy: but, peace! let's hear 'em.SONG.Who is Silvia? what is she,That all our swains commend her?Holy, fair and wise is she;The heaven such grace did lend her,That she might admired be.Is she kind as she is fair?For beauty lives with kindness.Love doth to her eyes repair,To help him of his blindness,And, being help'd, inhabits there.Then to Silvia let us sing,That Silvia is excelling;She excels each mortal thingUpon the dull earth dwelling:To her let us garlands bring.HostHow now! are you sadder than you were before? Howdo you, man? the music likes you not.JULIAYou mistake; the musician likes me not.HostWhy, my pretty youth?JULIAHe plays false, father.HostHow? out of tune on the strings?JULIANot so; but yet so false that he grieves my veryheart-strings.HostYou have a quick ear.JULIAAy, I would I were deaf; it makes me have a slow heart.HostI perceive you delight not in music.JULIANot a whit, when it jars so.HostHark, what fine change is in the music!JULIAAy, that change is the spite.HostYou would have them always play but one thing?JULIAI would always have one play but one thing.But, host, doth this Sir Proteus that we talk onOften resort unto this gentlewoman?HostI tell you what Launce, his man, told me: he lovedher out of all nick.JULIAWhere is Launce?HostGone to seek his dog; which tomorrow, by hismaster's command, he must carry for a present to his lady.JULIAPeace! stand aside: the company parts.PROTEUSSir Thurio, fear not you: I will so pleadThat you shall say my cunning drift excels.THURIOWhere meet we?PROTEUSAt Saint Gregory's well.THURIOFarewell.Exeunt THURIO and MusiciansEnter SILVIA abovePROTEUSMadam, good even to your ladyship.SILVIAI thank you for your music, gentlemen.Who is that that spake?PROTEUSOne, lady, if you knew his pure heart's truth,You would quickly learn to know him by his voice.SILVIASir Proteus, as I take it.PROTEUSSir Proteus, gentle lady, and your servant.SILVIAWhat's your will?PROTEUSThat I may compass yours.SILVIAYou have your wish; my will is even this:That presently you hie you home to bed.Thou subtle, perjured, false, disloyal man!Think'st thou I am so shallow, so conceitless,To be seduced by thy flattery,That hast deceived so many with thy vows?Return, return, and make thy love amends.For me, by this pale queen of night I swear,I am so far from granting thy requestThat I despise thee for thy wrongful suit,And by and by intend to chide myselfEven for this time I spend in talking to thee.PROTEUSI grant, sweet love, that I did love a lady;But she is dead.JULIAAside 'Twere false, if I should speak it;For I am sure she is not buried.SILVIASay that she be; yet Valentine thy friendSurvives; to whom, thyself art witness,I am betroth'd: and art thou not ashamedTo wrong him with thy importunacy?PROTEUSI likewise hear that Valentine is dead.SILVIAAnd so suppose am I; for in his graveAssure thyself my love is buried.PROTEUSSweet lady, let me rake it from the earth.SILVIAGo to thy lady's grave and call hers thence,Or, at the least, in hers sepulchre thine.JULIAAside He heard not that.PROTEUSMadam, if your heart be so obdurate,Vouchsafe me yet your picture for my love,The picture that is hanging in your chamber;To that I'll speak, to that I'll sigh and weep:For since the substance of your perfect selfIs else devoted, I am but a shadow;And to your shadow will I make true love.JULIAAside If 'twere a substance, you would, sure,deceive it,And make it but a shadow, as I am.SILVIAI am very loath to be your idol, sir;But since your falsehood shall become you wellTo worship shadows and adore false shapes,Send to me in the morning and I'll send it:And so, good rest.PROTEUSAs wretches have o'ernightThat wait for execution in the morn.Exeunt PROTEUS and SILVIA severallyJULIAHost, will you go?HostBy my halidom, I was fast asleep.JULIAPray you, where lies Sir Proteus?HostMarry, at my house. Trust me, I think 'tis almostday.JULIANot so; but it hath been the longest nightThat e'er I watch'd and the most heaviest.ExeuntSCENE III. The same.Enter EGLAMOUREGLAMOURThis is the hour that Madam SilviaEntreated me to call and know her mind:There's some great matter she'ld employ me in.Madam, madam!Enter SILVIA aboveSILVIAWho calls?EGLAMOURYour servant and your friend;One that attends your ladyship's command.SILVIASir Eglamour, a thousand times good morrow.EGLAMOURAs many, worthy lady, to yourself:According to your ladyship's impose,I am thus early come to know what serviceIt is your pleasure to command me in.SILVIAO Eglamour, thou art a gentleman--Think not I flatter, for I swear I do not--Valiant, wise, remorseful, well accomplish'd:Thou art not ignorant what dear good willI bear unto the banish'd Valentine,Nor how my father would enforce me marryVain Thurio, whom my very soul abhors.Thyself hast loved; and I have heard thee sayNo grief did ever come so near thy heartAs when thy lady and thy true love died,Upon whose grave thou vow'dst pure chastity.Sir Eglamour, I would to Valentine,To Mantua, where I hear he makes abode;And, for the ways are dangerous to pass,I do desire thy worthy company,Upon whose faith and honour I repose.Urge not my father's anger, Eglamour,But think upon my grief, a lady's grief,And on the justice of my flying hence,To keep me from a most unholy match,Which heaven and fortune still rewards with plagues.I do desire thee, even from a heartAs full of sorrows as the sea of sands,To bear me company and go with me:If not, to hide what I have said to thee,That I may venture to depart alone.EGLAMOURMadam, I pity much your grievances;Which since I know they virtuously are placed,I give consent to go along with you,Recking as little what betideth meAs much I wish all good befortune you.When will you go?SILVIAThis evening coming.EGLAMOURWhere shall I meet you?SILVIAAt Friar Patrick's cell,Where I intend holy confession.EGLAMOURI will not fail your ladyship. Good morrow, gentle lady.SILVIAGood morrow, kind Sir Eglamour.Exeunt severallySCENE IV. The same.Enter LAUNCE, with his his DogLAUNCEWhen a man's servant shall play the cur with him,look you, it goes hard: one that I brought up of apuppy; one that I saved from drowning, when three orfour of his blind brothers and sisters went to it.I have taught him, even as one would say precisely,'thus I would teach a dog.' I was sent to deliverhim as a present to Mistress Silvia from my master;and I came no sooner into the dining-chamber but hesteps me to her trencher and steals her capon's leg:O, 'tis a foul thing when a cur cannot keep himselfin all companies! I would have, as one should say,one that takes upon him to be a dog indeed, to be,as it were, a dog at all things. If I had not hadmore wit than he, to take a fault upon me that he did,I think verily he had been hanged for't; sure as Ilive, he had suffered for't; you shall judge. Hethrusts me himself into the company of three or fourgentlemanlike dogs under the duke's table: he hadnot been there--bless the mark!--a pissing while, butall the chamber smelt him. 'Out with the dog!' saysone: 'What cur is that?' says another: 'Whip himout' says the third: 'Hang him up' says the duke.I, having been acquainted with the smell before,knew it was Crab, and goes me to the fellow thatwhips the dogs: 'Friend,' quoth I, 'you mean to whipthe dog?' 'Ay, marry, do I,' quoth he. 'You do himthe more wrong,' quoth I; ''twas I did the thing youwot of.' He makes me no more ado, but whips me outof the chamber. How many masters would do this forhis servant? Nay, I'll be sworn, I have sat in thestocks for puddings he hath stolen, otherwise he hadbeen executed; I have stood on the pillory for geesehe hath killed, otherwise he had suffered for't.Thou thinkest not of this now. Nay, I remember thetrick you served me when I took my leave of MadamSilvia: did not I bid thee still mark me and do as Ido? when didst thou see me heave up my leg and makewater against a gentlewoman's farthingale? didstthou ever see me do such a trick?Enter PROTEUS and JULIAPROTEUSSebastian is thy name? I like thee wellAnd will employ thee in some service presently.JULIAIn what you please: I'll do what I can.PROTEUSI hope thou wilt.To LAUNCEHow now, you whoreson peasant!Where have you been these two days loitering?LAUNCEMarry, sir, I carried Mistress Silvia the dog you bade me.PROTEUSAnd what says she to my little jewel?LAUNCEMarry, she says your dog was a cur, and tells youcurrish thanks is good enough for such a present.PROTEUSBut she received my dog?LAUNCENo, indeed, did she not: here have I brought himback again.PROTEUSWhat, didst thou offer her this from me?LAUNCEAy, sir: the other squirrel was stolen from me bythe hangman boys in the market-place: and then Ioffered her mine own, who is a dog as big as ten ofyours, and therefore the gift the greater.PROTEUSGo get thee hence, and find my dog again,Or ne'er return again into my sight.Away, I say! stay'st thou to vex me here?Exit LAUNCEA slave, that still an end turns me to shame!Sebastian, I have entertained thee,Partly that I have need of such a youthThat can with some discretion do my business,For 'tis no trusting to yond foolish lout,But chiefly for thy face and thy behavior,Which, if my augury deceive me not,Witness good bringing up, fortune and truth:Therefore know thou, for this I entertain thee.Go presently and take this ring with thee,Deliver it to Madam Silvia:She loved me well deliver'd it to me.JULIAIt seems you loved not her, to leave her token.She is dead, belike?PROTEUSNot so; I think she lives.JULIAAlas!PROTEUSWhy dost thou cry 'alas'?JULIAI cannot chooseBut pity her.PROTEUSWherefore shouldst thou pity her?JULIABecause methinks that she loved you as wellAs you do love your lady Silvia:She dreams of him that has forgot her love;You dote on her that cares not for your love.'Tis pity love should be so contrary;And thinking of it makes me cry 'alas!'PROTEUSWell, give her that ring and therewithalThis letter. That's her chamber. Tell my ladyI claim the promise for her heavenly picture.Your message done, hie home unto my chamber,Where thou shalt find me, sad and solitary.ExitJULIAHow many women would do such a message?Alas, poor Proteus! thou hast entertain'dA fox to be the shepherd of thy lambs.Alas, poor fool! why do I pity himThat with his very heart despiseth me?Because he loves her, he despiseth me;Because I love him I must pity him.This ring I gave him when he parted from me,To bind him to remember my good will;And now am I, unhappy messenger,To plead for that which I would not obtain,To carry that which I would have refused,To praise his faith which I would have dispraised.I am my master's true-confirmed love;But cannot be true servant to my master,Unless I prove false traitor to myself.Yet will I woo for him, but yet so coldlyAs, heaven it knows, I would not have him speed.Enter SILVIA, attendedGentlewoman, good day! I pray you, be my meanTo bring me where to speak with Madam Silvia.SILVIAWhat would you with her, if that I be she?JULIAIf you be she, I do entreat your patienceTo hear me speak the message I am sent on.SILVIAFrom whom?JULIAFrom my master, Sir Proteus, madam.SILVIAO, he sends you for a picture.JULIAAy, madam.SILVIAUrsula, bring my picture here.Go give your master this: tell him from me,One Julia, that his changing thoughts forget,Would better fit his chamber than this shadow.JULIAMadam, please you peruse this letter.--Pardon me, madam; I have unadvisedDeliver'd you a paper that I should not:This is the letter to your ladyship.SILVIAI pray thee, let me look on that again.JULIAIt may not be; good madam, pardon me.SILVIAThere, hold!I will not look upon your master's lines:I know they are stuff'd with protestationsAnd full of new-found oaths; which he will breakAs easily as I do tear his paper.JULIAMadam, he sends your ladyship this ring.SILVIAThe more shame for him that he sends it me;For I have heard him say a thousand timesHis Julia gave it him at his departure.Though his false finger have profaned the ring,Mine shall not do his Julia so much wrong.JULIAShe thanks you.SILVIAWhat say'st thou?JULIAI thank you, madam, that you tender her.Poor gentlewoman! my master wrongs her much.SILVIADost thou know her?JULIAAlmost as well as I do know myself:To think upon her woes I do protestThat I have wept a hundred several times.SILVIABelike she thinks that Proteus hath forsook her.JULIAI think she doth; and that's her cause of sorrow.SILVIAIs she not passing fair?JULIAShe hath been fairer, madam, than she is:When she did think my master loved her well,She, in my judgment, was as fair as you:But since she did neglect her looking-glassAnd threw her sun-expelling mask away,The air hath starved the roses in her cheeksAnd pinch'd the lily-tincture of her face,That now she is become as black as I.SILVIAHow tall was she?JULIAAbout my stature; for at Pentecost,When all our pageants of delight were play'd,Our youth got me to play the woman's part,And I was trimm'd in Madam Julia's gown,Which served me as fit, by all men's judgments,As if the garment had been made for me:Therefore I know she is about my height.And at that time I made her weep agood,For I did play a lamentable part:Madam, 'twas Ariadne passioningFor Theseus' perjury and unjust flight;Which I so lively acted with my tearsThat my poor mistress, moved therewithal,Wept bitterly; and would I might be deadIf I in thought felt not her very sorrow!SILVIAShe is beholding to thee, gentle youth.Alas, poor lady, desolate and left!I weep myself to think upon thy words.Here, youth, there is my purse; I give thee thisFor thy sweet mistress' sake, because thou lovest her.Farewell.Exit SILVIA, with attendantsJULIAAnd she shall thank you for't, if e'er you know her.A virtuous gentlewoman, mild and beautifulI hope my master's suit will be but cold,Since she respects my mistress' love so much.Alas, how love can trifle with itself!Here is her picture: let me see; I think,If I had such a tire, this face of mineWere full as lovely as is this of hers:And yet the painter flatter'd her a little,Unless I flatter with myself too much.Her hair is auburn, mine is perfect yellow:If that be all the difference in his love,I'll get me such a colour'd periwig.Her eyes are grey as glass, and so are mine:Ay, but her forehead's low, and mine's as high.What should it be that he respects in herBut I can make respective in myself,If this fond Love were not a blinded god?Come, shadow, come and take this shadow up,For 'tis thy rival. O thou senseless form,Thou shalt be worshipp'd, kiss'd, loved and adored!And, were there sense in his idolatry,My substance should be statue in thy stead.I'll use thee kindly for thy mistress' sake,That used me so; or else, by Jove I vow,I should have scratch'd out your unseeing eyesTo make my master out of love with thee!ExitACT VSCENE I. Milan. An abbey.Enter EGLAMOUREGLAMOURThe sun begins to gild the western sky;And now it is about the very hourThat Silvia, at Friar Patrick's cell, should meet me.She will not fail, for lovers break not hours,Unless it be to come before their time;So much they spur their expedition.See where she comes.Enter SILVIALady, a happy evening!SILVIAAmen, amen! Go on, good Eglamour,Out at the postern by the abbey-wall:I fear I am attended by some spies.EGLAMOURFear not: the forest is not three leagues off;If we recover that, we are sure enough.ExeuntSCENE II. The same. The DUKE's palace.Enter THURIO, PROTEUS, and JULIATHURIOSir Proteus, what says Silvia to my suit?PROTEUSO, sir, I find her milder than she was;And yet she takes exceptions at your person.THURIOWhat, that my leg is too long?PROTEUSNo; that it is too little.THURIOI'll wear a boot, to make it somewhat rounder.JULIAAside But love will not be spurr'd to whatit loathes.THURIOWhat says she to my face?PROTEUSShe says it is a fair one.THURIONay then, the wanton lies; my face is black.PROTEUSBut pearls are fair; and the old saying is,Black men are pearls in beauteous ladies' eyes.JULIAAside 'Tis true; such pearls as put outladies' eyes;For I had rather wink than look on them.THURIOHow likes she my discourse?PROTEUSIll, when you talk of war.THURIOBut well, when I discourse of love and peace?JULIAAside But better, indeed, when you hold your peace.THURIOWhat says she to my valour?PROTEUSO, sir, she makes no doubt of that.JULIAAside She needs not, when she knows it cowardice.THURIOWhat says she to my birth?PROTEUSThat you are well derived.JULIAAside True; from a gentleman to a fool.THURIOConsiders she my possessions?PROTEUSO, ay; and pities them.THURIOWherefore?JULIAAside That such an ass should owe them.PROTEUSThat they are out by lease.JULIAHere comes the duke.Enter DUKEDUKEHow now, Sir Proteus! how now, Thurio!Which of you saw Sir Eglamour of late?THURIONot I.PROTEUSNor I.DUKESaw you my daughter?PROTEUSNeither.DUKEWhy then,She's fled unto that peasant Valentine;And Eglamour is in her company.'Tis true; for Friar Laurence met them both,As he in penance wander'd through the forest;Him he knew well, and guess'd that it was she,But, being mask'd, he was not sure of it;Besides, she did intend confessionAt Patrick's cell this even; and there she was not;These likelihoods confirm her flight from hence.Therefore, I pray you, stand not to discourse,But mount you presently and meet with meUpon the rising of the mountain-footThat leads towards Mantua, whither they are fled:Dispatch, sweet gentlemen, and follow me.ExitTHURIOWhy, this it is to be a peevish girl,That flies her fortune when it follows her.I'll after, more to be revenged on EglamourThan for the love of reckless Silvia.ExitPROTEUSAnd I will follow, more for Silvia's loveThan hate of Eglamour that goes with her.ExitJULIAAnd I will follow, more to cross that loveThan hate for Silvia that is gone for love.ExitSCENE III. The frontiers of Mantua. The forest.Enter Outlaws with SILVIAFirst OutlawCome, come,Be patient; we must bring you to our captain.SILVIAA thousand more mischances than this oneHave learn'd me how to brook this patiently.Second OutlawCome, bring her away.First OutlawWhere is the gentleman that was with her?Third OutlawBeing nimble-footed, he hath outrun us,But Moyses and Valerius follow him.Go thou with her to the west end of the wood;There is our captain: we'll follow him that's fled;The thicket is beset; he cannot 'scape.First OutlawCome, I must bring you to our captain's cave:Fear not; he bears an honourable mind,And will not use a woman lawlessly.SILVIAO Valentine, this I endure for thee!ExeuntSCENE IV. Another part of the forest.Enter VALENTINEVALENTINEHow use doth breed a habit in a man!This shadowy desert, unfrequented woods,I better brook than flourishing peopled towns:Here can I sit alone, unseen of any,And to the nightingale's complaining notesTune my distresses and record my woes.O thou that dost inhabit in my breast,Leave not the mansion so long tenantless,Lest, growing ruinous, the building fallAnd leave no memory of what it was!Repair me with thy presence, Silvia;Thou gentle nymph, cherish thy forlorn swain!What halloing and what stir is this to-day?These are my mates, that make their wills their law,Have some unhappy passenger in chase.They love me well; yet I have much to doTo keep them from uncivil outrages.Withdraw thee, Valentine: who's this comes here?Enter PROTEUS, SILVIA, and JULIAPROTEUSMadam, this service I have done for you,Though you respect not aught your servant doth,To hazard life and rescue you from himThat would have forced your honour and your love;Vouchsafe me, for my meed, but one fair look;A smaller boon than this I cannot begAnd less than this, I am sure, you cannot give.VALENTINEAside How like a dream is this I see and hear!Love, lend me patience to forbear awhile.SILVIAO miserable, unhappy that I am!PROTEUSUnhappy were you, madam, ere I came;But by my coming I have made you happy.SILVIABy thy approach thou makest me most unhappy.JULIAAside And me, when he approacheth to your presence.SILVIAHad I been seized by a hungry lion,I would have been a breakfast to the beast,Rather than have false Proteus rescue me.O, Heaven be judge how I love Valentine,Whose life's as tender to me as my soul!And full as much, for more there cannot be,I do detest false perjured Proteus.Therefore be gone; solicit me no more.PROTEUSWhat dangerous action, stood it next to death,Would I not undergo for one calm look!O, 'tis the curse in love, and still approved,When women cannot love where they're beloved!SILVIAWhen Proteus cannot love where he's beloved.Read over Julia's heart, thy first best love,For whose dear sake thou didst then rend thy faithInto a thousand oaths; and all those oathsDescended into perjury, to love me.Thou hast no faith left now, unless thou'dst two;And that's far worse than none; better have noneThan plural faith which is too much by one:Thou counterfeit to thy true friend!PROTEUSIn loveWho respects friend?SILVIAAll men but Proteus.PROTEUSNay, if the gentle spirit of moving wordsCan no way change you to a milder form,I'll woo you like a soldier, at arms' end,And love you 'gainst the nature of love,--force ye.SILVIAO heaven!PROTEUSI'll force thee yield to my desire.VALENTINERuffian, let go that rude uncivil touch,Thou friend of an ill fashion!PROTEUSValentine!VALENTINEThou common friend, that's without faith or love,For such is a friend now; treacherous man!Thou hast beguiled my hopes; nought but mine eyeCould have persuaded me: now I dare not sayI have one friend alive; thou wouldst disprove me.Who should be trusted, when one's own right handIs perjured to the bosom? Proteus,I am sorry I must never trust thee more,But count the world a stranger for thy sake.The private wound is deepest: O time most accurst,'Mongst all foes that a friend should be the worst!PROTEUSMy shame and guilt confounds me.Forgive me, Valentine: if hearty sorrowBe a sufficient ransom for offence,I tender 't here; I do as truly sufferAs e'er I did commit.VALENTINEThen I am paid;And once again I do receive thee honest.Who by repentance is not satisfiedIs nor of heaven nor earth, for these are pleased.By penitence the Eternal's wrath's appeased:And, that my love may appear plain and free,All that was mine in Silvia I give thee.JULIAO me unhappy!SwoonsPROTEUSLook to the boy.VALENTINEWhy, boy! why, wag! how now! what's the matter?Look up; speak.JULIAO good sir, my master charged me to deliver a ringto Madam Silvia, which, out of my neglect, was never done.PROTEUSWhere is that ring, boy?JULIAHere 'tis; this is it.PROTEUSHow! let me see:Why, this is the ring I gave to Julia.JULIAO, cry you mercy, sir, I have mistook:This is the ring you sent to Silvia.PROTEUSBut how camest thou by this ring? At my departI gave this unto Julia.JULIAAnd Julia herself did give it me;And Julia herself hath brought it hither.PROTEUSHow! Julia!JULIABehold her that gave aim to all thy oaths,And entertain'd 'em deeply in her heart.How oft hast thou with perjury cleft the root!O Proteus, let this habit make thee blush!Be thou ashamed that I have took upon meSuch an immodest raiment, if shame liveIn a disguise of love:It is the lesser blot, modesty finds,Women to change their shapes than men their minds.PROTEUSThan men their minds! 'tis true.O heaven! were manBut constant, he were perfect. That one errorFills him with faults; makes him run through all the sins:Inconstancy falls off ere it begins.What is in Silvia's face, but I may spyMore fresh in Julia's with a constant eye?VALENTINECome, come, a hand from either:Let me be blest to make this happy close;'Twere pity two such friends should be long foes.PROTEUSBear witness, Heaven, I have my wish for ever.JULIAAnd I mine.Enter Outlaws, with DUKE and THURIOOutlawsA prize, a prize, a prize!VALENTINEForbear, forbear, I say! it is my lord the duke.Your grace is welcome to a man disgraced,Banished Valentine.DUKESir Valentine!THURIOYonder is Silvia; and Silvia's mine.VALENTINEThurio, give back, or else embrace thy death;Come not within the measure of my wrath;Do not name Silvia thine; if once again,Verona shall not hold thee. Here she stands;Take but possession of her with a touch:I dare thee but to breathe upon my love.THURIOSir Valentine, I care not for her, I;I hold him but a fool that will endangerHis body for a girl that loves him not:I claim her not, and therefore she is thine.DUKEThe more degenerate and base art thou,To make such means for her as thou hast doneAnd leave her on such slight conditions.Now, by the honour of my ancestry,I do applaud thy spirit, Valentine,And think thee worthy of an empress' love:Know then, I here forget all former griefs,Cancel all grudge, repeal thee home again,Plead a new state in thy unrivall'd merit,To which I thus subscribe: Sir Valentine,Thou art a gentleman and well derived;Take thou thy Silvia, for thou hast deserved her.VALENTINEI thank your grace; the gift hath made me happy.I now beseech you, for your daughter's sake,To grant one boom that I shall ask of you.DUKEI grant it, for thine own, whate'er it be.VALENTINEThese banish'd men that I have kept withalAre men endued with worthy qualities:Forgive them what they have committed hereAnd let them be recall'd from their exile:They are reformed, civil, full of goodAnd fit for great employment, worthy lord.DUKEThou hast prevail'd; I pardon them and thee:Dispose of them as thou know'st their deserts.Come, let us go: we will include all jarsWith triumphs, mirth and rare solemnity.VALENTINEAnd, as we walk along, I dare be boldWith our discourse to make your grace to smile.What think you of this page, my lord?DUKEI think the boy hath grace in him; he blushes.VALENTINEI warrant you, my lord, more grace than boy.DUKEWhat mean you by that saying?VALENTINEPlease you, I'll tell you as we pass along,That you will wonder what hath fortuned.Come, Proteus; 'tis your penance but to hearThe story of your loves discovered:That done, our day of marriage shall be yours;One feast, one house, one mutual happiness.Exeunt
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The authors wish it to be known that, in their opinion, the first two authors should be regarded as Joint First Authors.
120146102013610201342211961208243201313920131692013Published by Oxford University Press 2013. This work is written by US Government employees and is in the public domain in the US.2013
In response to stress conditions, many mammalian mRNAs accumulate in stress granules (SGs) together with numerous RNA-binding proteins that control mRNA turnover and translation. However, the signaling cascades that modulate the presence of ribonucleoprotein (RNP) complexes in SGs are poorly understood. Here, we investigated the localization of human antigen R (HuR), an mRNA-stabilizing RNA-binding protein, in SGs following exposure to the stress agent arsenite. Unexpectedly, the mobilization of HuR to SGs was prevented through the activation of Janus kinase 3 (JAK3) by the vitamin K3 analog menadione. JAK3 phosphorylated HuR at tyrosine 200, in turn inhibiting HuR localization in SGs, reducing HuR interaction with targets SIRT1 and VHL mRNAs, and accelerating target mRNA decay. Our findings indicate that HuR is tyrosine-phosphorylated by JAK3, and link this modification to HuR subcytoplasmic localization and to the fate of HuR target mRNAs.
INTRODUCTION
Following transcription, RNA-binding proteins (RBPs) regulate post-transcriptional steps of gene expression, including pre-mRNA splicing, and mRNA transport, storage, stability and translation (1,2). Although some RBPs have general housekeeping functions on mRNAs [e.g. bind the mRNA 5′ cap or poly(A) tail], other specialized RBPs form ribonucleoprotein (RNP) interactions with discrete subsets of mRNAs which share specific sequence elements, and affect their post-transcriptional fate (3). The latter group includes RBPs such as human antigen R (HuR), AU-binding factor 1 (AUF1), nucleolin and T-cell intracellular antigen (TIA)-1 and TIA-1-related (TIAR) proteins, which associate with subsets of target mRNAs and modulate their stability and/or translation rates (1,2). Specialized RBPs are directly involved in changing the patterns of expressed proteins in response to stress conditions, and such stress-response functions often require RBP post-translational modification (as reviewed in 4–6).
HuR has three RNA-recognition motifs (RRMs) through which it binds to a large collection of protein-coding and noncoding RNAs. Although it can interact with pre-mRNA intron sequences and has been linked to regulated splicing (7–9), HuR is best known for stabilizing and modulating the translation of mature mRNAs with which it associates via the 3′-untranslated region (UTR), typically at U-rich sites (9,10). Through binding to subsets of mRNAs encoding proliferative, stress-response and cell survival proteins, HuR has been implicated in cellular processes, such as cell division, survival, senescence and the stress-response, and with pathologies such as cancer (11,12).
HuR function is regulated at the levels of protein abundance, localization and post-translational modification. HuR levels are reduced by specific microRNAs (e.g. miR-519 and miR-125), by ubiquitination in response to mild heat shock and by caspase-mediated cleavage in response to severe stress (reviewed in 13). HuR is predominantly localized in the nucleus, but its effects on mRNA stability and translation are linked to its transport to the cytoplasm, which requires the HuR nucleocytoplasmic shuttling domain (HNS) and transport proteins such as transportins 1 and 2, the chromosome region maintenance 1 and importin-1α (14–17). The transport of HuR across the nuclear envelope is influenced by kinases including the cell cycle-dependent kinase (Cdk)1, AMP-activated protein kinase (AMPK), protein kinase (PK)C and the mitogen-activated protein kinase p38 (18–21). The interaction of HuR with target transcripts is modulated through phosphorylation of serine and threonine residues by several kinases; phosphorylation by checkpoint kinase (Chk)2 generally reduced HuR interaction with mRNAs (22,23), whereas phosphorylation by activated p38 and PKC generally promoted HuR binding to mRNAs (4,24,25).
Besides altering the ratio of cytoplasmic-to-nuclear HuR and the interaction of HuR with target mRNAs, a number of stress agents (e.g. heat shock, irradiation with ultraviolet light and treatment with hydrogen peroxide) can also enhance the aggregation of HuR in cytoplasmic RNP foci named stress granules (SGs) (14,26–29). SGs assemble in response to cell-damaging conditions to halt the translation of housekeeping mRNAs and to selectively allow stress-response and repair proteins to be translated (30). Besides HuR, SGs also contain numerous other RBPs, such as poly(A)-binding protein (PABP), staufen, tristetraprolin, TIA-1, TIAR, RasGAP-associated endoribonuclease (G3BP), fragile X mental retardation syndrome, survival of motor neuron and cytoplasmic polyadenylation element binding proteins (30). SGs are dynamic RNP structures that assemble rapidly when the cell encounters stress and disassemble in a timely manner after the stress discontinues. SGs are believed to be the sites of mRNA ‘triage’ where decisions are made on the stability of individual mRNAs while the global cellular translation is halted.
Despite the key role of HuR in the cellular stress-response, the mechanisms that control HuR localization in SGs and their possible impact on expression of HuR target stress-response mRNAs are unknown. Here, we report that in human cervical carcinoma cells, the arsenite-triggered accumulation of HuR in SGs is accompanied by increased HuR binding to target transcripts SIRT1 and VHL mRNAs and by stabilization of these mRNAs. Unexpectedly, the accumulation of HuR in SGs was blocked by treatment with menadione, a drug that activated the tyrosine kinase Janus kinase 3 (JAK3). JAK3 phosphorylated three HuR tyrosine residues in vitro; mutagenesis to prevent HuR phosphorylation specifically at Y200 restored HuR accumulation in SGs, preserved HuR binding to SIRT1 and VHL mRNAs and rescued their stability. These studies link HuR presence in SGs with the fate of target mRNAs, and highlight a novel function of tyrosine kinase JAK3 as regulator of HuR function.
MATERIALS AND METHODSCell culture, chemicals, transfection, small interfering RNAs and plasmids
Human HeLa cells were cultured in Dulbecco’s modified Eagle’s medium (Invitrogen) supplemented with 10% (v/v) Fetal Bovine Serum (FBS) and antibiotics. All plasmids were transfected using Lipofectamine-2000 (Invitrogen) and analyzed 48 h later. JAK3 and Chk2 siRNAs were from Santa Cruz Biotechnology. For mRNA stability assays, HeLa cells were treated with actinomycin D (2.5 μg/ml) to inhibit de novo transcription. Actinomycin D, arsenite (sodium arsenite) and menadione were from Sigma; pateamine A (used at 50 nM) was a gift from I.E. Gallouzi. A site-directed mutagenesis kit (Stratagene) was used to introduce point mutations in HuR expression vectors.
Western blot analysis
Whole-cell lysates, prepared in Radioimmunoprecipitation assay (RIPA) buffer, were separated by sodium dodecyl sulphate-polyacrylamide gel electrophoresis, and transferred onto Polyvinylidene fluoride (PVDF) membranes (Invitrogen iBlot Stack). Primary antibodies recognizing HuR, PABP, TIA-1, JAK3, p(Y980)JAK3, p(T68)Chk2, Chk2, Tubulin, eIF2α and phosphorylated (p-)eIF2α were from Santa Cruz Biotechnology. Antibodies recognizing phosphotyrosine (pY) residues and Flag were from Cell Signaling and Sigma, respectively. HRP-conjugated secondary antibodies were from GE Healthcare.
Immunoprecipitation assays
For immunoprecipitation (IP) of endogenous RNP complexes from whole-cell extracts (22), cells were lysed in 20 mM Tris-HCl at pH 7.5, 100 mM KCl, 5 mM MgCl2 and 0.5% NP-40 for 10 min on ice and centrifuged at 10 000 g for 15 min at 4°C. The supernatants were incubated with protein A-Sepharose beads coated with antibodies that recognized HuR, Jak3 or Flag or with control IgG (Santa Cruz Biotechnology) for 1 h at 4°C. After the beads were washed with NT2 buffer (50 mM Tris-HCl at pH 7.5, 150 mM NaCl, 1 mM MgCl2 and 0.05% NP-40), the complexes were incubated with 20 U of RNase-free DNase I (15 min at 37°C) and further incubated with 0.1% sodium dodecyl sulphate/0.5 mg/ml proteinase K (15 min at 55°C) to remove DNA and proteins, respectively. The RNPs isolated from the IP materials were further assessed by reverse transcription (RT) using random hexamers and Maxima Reverse Transcriptase (Thermo Scientific) and real-time, quantitative (q) polymerase chain reaction (PCR) using gene-specific primers (Supplementary Table S1) as well as by western blot (WB) analysis.
RNA analysis
Trizol (Invitrogen) was used to extract total RNA, and acidic phenol (Ambion) was used to extract RNA for RIP analysis (22). RT-qPCR analysis was performed using gene-specific primers (Supplementary Table S1) and SYBR green master mix (Kapa Biosystems), in an Applied Biosystems 7300 instrument. For polyribosome distribution analysis, cells were treated with cycloheximide (100 μg/ml, 15 min), and the resulting lysates (500 μl) were separated by ultracentrifugation through 10–50% linear sucrose gradients. The relative absorbance at UV 254 nm was recorded to trace the amount of RNAs throughout the gradients.
Biotin pulldown analysis
Recombinant maltose-binding protein (MBP)-HuR was incubated with a buffer containing 20 mM Tris-HCl at pH 7.5, 100 mM KCl, 5 mM MgCl2 and 0.5% NP-40. Biotinylated SIRT1 and GAPDH 3′-untranslated regions were synthesized by PCR amplification of cDNA using forward primers that contained the T7 RNA polymerase promoter sequence (Supplementary Table S1) in the presence of biotinylated CTP and T7 RNA polymerase, as described (22,31). Proteins present in the pulldown material were studied by WB analysis.
<italic>In vitro</italic> kinase assay
To analyze the phosphorylation of HuR in vitro, MBP-HuR purified from Escherichia coli was incubated with JAK3 protein immunoprecipitated from HeLa cells or purchased from Millipore. The assay was performed in kinase reaction buffer as described previously (31).
Liquid chromatography-tandem mass spectrometry analysis
Protein samples were processed using the ‘Filter-Assisted Sample Preparation’ (FASP) method (32). Briefly, protein samples were dissolved in urea (9 M) and subjected to reduction [5 mM Tris-(2-Carboxyethyl)phosphine, hydrochloride (TCEP), Sigma] at 60°C for 45 min and to alkylation (20 mM C2H4INO, Sigma) at 25°C for 15 min. Protein samples were cleaned using a 30-kDa Amicon Filter (UFC503096, Millipore) with urea (9 M) and NH4HCO3 (30 mM). Samples were then proteolyzed with trypsin (Promega) and chymotrypsin (Roche) for 12 h at 37°C (1: 20 ratio). The digested peptides were desalted and eluted with 0.1% trifluoroacetic acid in 60% acetonitrile. Dry extracted peptides were resuspended in 7 µl 0.1% formic acid for Liquid chromatography-tandem mass spectrometry (LC–MS/MS) analysis. Tandem mass spectrometry analysis of the peptides was conducted on LTQ-Orbitrap Velos interfaced with a 2D nanoLC system nanoACQUITY UltraPerformance LC System. Precursor and fragment ions were analyzed at 30 000 and 7500 resolutions, respectively. Peptide sequences were identified from isotopically resolved masses in MS and MS/MS spectra extracted with and without deconvolution using Thermo Scientific Xtract software. The data were analyzed using Proteome Discoverer 1.3 (Thermo Scientific) software configured with Mascot and Sequest search nodes and searched against Refseq version 46, human entries with oxidation on methionine, deamidation on residues N and Q, phosphorylation of Ser/Thr/Tyr residues as different variable modifications and carbamidomethyl group on cysteine residue as fixed modification. Mass tolerances on precursor and fragment masses were set to 15 ppm and 0.03 Da, respectively. Peptide validator node was used for peptide confirmation, and a 1% false discovery rate cutoff was used to filter the data.
Immunofluorescence assay
Cells were fixed with 2% (v/v) formaldehyde, permeabilized with 0.2% (v/v) Triton X-100, blocked with 5% (w/v) bovine serum albumin and incubated with primary antibodies recognizing HuR (Santa Cruz Biotechnology), TIA-1 (Santa Cruz Biotechnology), eIF3b (Santa Cruz Biotechnology), G3BP (BD biosciences) or Flag (Sigma). Alexa 488- or Alexa 568-conjugated secondary antibodies (Invitrogen) were used to detect primary antibody-antigen complexes with different color combinations as needed. Images were acquired using Axio Observer microscope (ZEISS) with AxioVision 4.7 Zeiss image-processing software or with LSM 510 Meta (ZEISS).
RESULTSJAK3 phosphorylates HuR and prevents its accumulation in SGs
HuR is normally a nuclear protein, as seen in HeLa cells (Figure 1A, control), but it can translocate to the cytoplasm on stress. In response to specific stress conditions, such as arsenite treatment, HuR was further mobilized to cytoplasmic SGs (Figure 1A). While performing experiments to test the presence of HuR in SGs after stress, we made the serendipitous discovery that 15 μM menadione (a chemotherapeutic agent that causes oxidative damage) enhanced HuR presence in the cytoplasm, but did not trigger HuR-positive SGs. Unexpectedly, menadione also prevented SG formation following exposure to 250 μM arsenite (Figure 1A, Supplementary Figure S1A). The combined treatment with arsenite and menadione caused oxidative damage, as assessed by monitoring fluorescence after incubation with dihydrocalcein, an indicator of reactive oxygen species (Supplementary Figure S1B). Although treatment with arsenite and menadione did not elicit immediate signs of apoptotic cell death by 4 h after treatment (Supplementary Figure S1C and D), some cell loss and evidence of apoptosis were detectable by 24 h following treatment (Supplementary Figure S1C and D). The formation of SGs appeared to be generally suppressed under these conditions, as other markers used to visualize SGs [e.g. G3BP and TIA-1 (Figure 1B)] similarly failed to aggregate in SGs. However, we could not exclude the possibility that SGs might have been visualized by testing for other SG markers, that SG formation was delayed or that SGs were too small for detection. Arsenite treatment blocked translation globally (33); however, despite impairing SG formation, menadione did not rescue the translationally inhibited state, as evidenced by the fact that polysomes remained globally suppressed, eIF2α was still phosphorylated and HuR remained bound to PABP (Supplementary Figure S2). To test whether menadione prevented the recruitment of HuR to SGs that formed in an eIF2α-dependent or -independent manner, we studied the effect of 50 nM pateamine A, a drug that induces SG formation independently of eIF2α phosphorylation (34). As shown (Figure 1C), pateamine A-triggered SGs were not blocked by menadione treatment, suggesting that menadione blocked the recruitment of HuR to SGs triggered by eIF2α phosphorylation.
Menadione prevents the accumulation of HuR in arsenite-triggered SGs. (A) HeLa cells were treated with sodium arsenite (250 μM) with or without menadione (15 µM) for 45 min, and SGs (arrowheads) were assessed by microscopy. HuR was visualized by immunofluorescence (green), and nuclei were visualized by staining with 4′,6-Diamidino-2-Phenylindole, Dihydrochloride (DAPI) (blue). (B) SG markers TIA-1 and G3BP were visualized by immunofluorescence staining (Materials and Methods) in cells treated as explained in (A); nuclei were visualized with DAPI. (C) HeLa cells were treated with menadione and/or pateamine A (50 nM), whereupon SG formation was assessed by immunofluorescence.
To investigate the mechanisms underlying the dynamics of HuR assembly in SGs, we screened a library of kinase inhibitors (described in 35) for restoration of HuR-positive SGs. Among the compounds in the library, only the JAK3 inhibitor ZM 449829 was capable of reversing the effect of menadione and restoring SGs in cells treated concomitantly with arsenite and menadione (Figure 2A andB). Because inhibitors are not totally specific, we also tested whether reducing JAK3 levels [achieved by using small interfering (si)RNAs] influenced SG formation after arsenite and menadione treatments. As shown in Figure 2C, 48 h after transfecting JAK3 siRNA in HeLa cells, JAK3 abundance was substantially lower. Importantly, in these cells, menadione treatment no longer blocked arsenite-triggered HuR-containing SGs, whereas in control (Ctrl) siRNA-transfected cells, menadione continued to block the formation of arsenite-triggered SGs (Figure 2D). In contrast, another stress-activated kinase that can phosphorylate HuR, Chk2, was not found to be implicated in the effects of arsenite and/or menadione (Supplementary Figure S3). The finding that JAK3 silencing mirrored the effect of inhibiting JAK3 lends further support to the notion that activation of JAK3 by menadione prevents the assembly of HuR-containing SGs.
JAK3 inhibits HuR presence in SGs. (A) HeLa cells were pre-incubated for 1 h with the JAK3 inhibitor ZM449829 (10 μM) before treatment with arsenite and/or menadione and immunostaining as described in Figure 1A. (B) Percentage of HeLa cells with visible SGs (at least one SG per cell) after treatment as in (A); data are the means + SD from three independent experiments. (C and D) Forty-eight hours after transfection of HeLa cells with either JAK3 or Ctrl siRNAs, the levels of JAK3 (as well as the levels of loading control tubulin) were assessed by WB analysis (C); the formation of SGs was visualized after treating and staining cells as explained in Figure 1D.
The rescue of HuR-positive SGs in HeLa cells after inhibiting JAK3, a tyrosine kinase, raised the intriguing possibility that tyrosine phosphorylation might affect HuR localization in response to arsenite treatment. Even though HuR has not been previously reported to be a tyrosine-phosphorylated protein, we examined whether phosphotyrosine (pY)-HuR was detected in HeLa cells treated with arsenite, with menadione or with both compounds. As shown in Figure 3A, IP of HuR from HeLa cells followed by WB analysis of phosphotyrosine residues using an anti-pY antibody revealed positive pY-HuR signals in menadione-treated cells. To gain further evidence that JAK3 might directly phosphorylate HuR, lysates from HeLa cells that had been treated with arsenite and/or menadione were used to immunoprecipitate JAK3 and recombinant purified MBP-HuR was used as substrate in an in vitro kinase assay. This analysis revealed that MBP-HuR was preferentially phosphorylated by JAK3 prepared by IP from menadione-treated cells and further showed that menadione treatment triggered the phosphorylation of JAK3 at residue Y980 (Figure 3B). In addition, IP followed by WB analysis revealed that pY-HuR levels were strongly suppressed in HeLa cells treated with the JAK3 inhibitor ZM 449829 and in HeLa cells in which JAK3 levels were lowered by silencing (Figure 3C). Together, these results indicate that the menadione-activated JAK3 phosphorylates HuR at one or several tyrosines and that this modification is linked to the loss of HuR-positive SGs.
JAK3 phosphorylates HuR at tyrosine residues. (A) After treatment with arsenite and/or menadione, HeLa cell lysates were subjected to IP using anti-HuR antibody, and the resulting IP material was assayed by WB analysis using anti-phosphotyrosine (pY) antibody. (B) After treatment of cells as in (A), JAK3 was isolated by IP from HeLa cell lysates, and the IP material was used for an in vitro kinase assay using recombinant MBP-HuR protein (2 μg) in the presence of ATP; the reaction product was subjected to WB analysis to detect tyrosine-phosphorylated HuR as well as JAK3 phosphorylation at Y980. (C) After treatment with menadione and/or JAK3 inhibitor (left), and menadione and/or JAK3 siRNA (right), pY-HuR was detected by IP using anti-HuR antibody and WB using anti-pY antibody. (D) Recombinant purified JAK3 kinase (Millipore) was used in in vitro kinase assay using recombinant MBP-HuR protein (2 μg) in the presence of ATP; the reaction mixtures were subjected to WB analysis to detect tyrosine-phosphorylated HuR. (E) Top: LC–MS/MS analysis to map pY HuR residues phosphorylated by JAK3. MBP-HuR was incubated with or without JAK3 kinase domain (Millipore) in the presence of ATP. The resulting reaction mixtures were digested with trypsin for mass spectrometry analysis. Mass shifts after phosphorylation were shown as Y + 80. Bottom: schematic representation of pY sites on HuR; RRM, RNA-recognition motif; HNS, HuR nucleocytoplasmic shuttling domain. Data in (A–D) are representative of three independent experiments.
JAK3 phosphorylates HuR at tyrosine residues
To identify the tyrosine residues of HuR that were phosphorylated by JAK3, we performed an in vitro kinase assay using recombinant purified JAK3 kinase (Millipore) and MBP-HuR purified from E. coli (Figure 3D). Mass spectrometry analysis (Materials and Methods) of the phosphorylated HuR revealed three tyrosines phosphorylated by JAK3: two residing in the RNA-recognition motif 1 (RRM1), Y63 and Y68, and one residing within the hinge region (Y200) surrounding the HNS (Figure 3E).
To investigate the possible impact of these modifications on HuR function, we changed the tyrosines into phenylalanines by site-directed mutagenesis (Y200F, Y68F and Y63F) and expressed the respective point mutants as Flag-HuR proteins from plasmids pFlag-HuR[wild-type (WT)], pFlag-HuR(Y63F), pFlag-HuR(Y68F) and pFlag-HuR(Y200F). Transfection of each plasmid followed by menadione treatment revealed that Flag-HuR(WT) and Flag-HuR(Y63F) were still tyrosine phosphorylated, but Flag-HuR(Y68F) and Flag-HuR(Y200F) were not (Figure 4A), suggesting that menadione elicited phosphorylation of HuR at Y68 and Y200 in vivo. It was interesting to note that Y68F and Y200F each completely inhibited phosphorylation, suggesting that perhaps phosphorylation of one of these two tyrosine residues facilitates or is required for phosphorylation of the other tyrosine residue. The basal and menadione-triggered tyrosine phosphorylation of Flag-HuR(WT), Flag-HuR(Y63F), Flag-HuR(Y68F) and Flag-HuR(Y200F) are shown (Figure 4B). Immunofluorescent detection of the Flag tag in cells transfected with these expression plasmids showed that all three Flag-tagged HuR proteins localized to SGs on arsenite treatment (Figure 4C). Interestingly, however, when cells were treated with both arsenite + menadione, Flag-HuR(WT) and Flag-HuR(Y68F) did not localize in visible SGs, whereas Flag-HuR(Y200F) mutant did (Figure 4C). The SG marker TIA-1 colocalized with HuR(Y200F) in SGs of cells treated with arsenite + menadione, supporting the notion that the HuR foci seen under these conditions were bona fide SGs (Supplementary Figure S4A). Technical limitations associated with the ability to detect endogenous and ectopic proteins in this experiment precluded a more definitive analysis of SGs (kinetics of assembly/disassembly, size and number) forming in the presence of WT and Y200F mutant HuR. Thus, the extent to which menadione inhibited the recruitment of HuR to SGs or more broadly impaired SG formation could not be determined. However, our results did show that menadione induces the phosphorylation of HuR by JAK3 on tyrosine residues and that phosphorylation at HuR Y200 specifically impacts on HuR subcellular localization.
HuR phosphorylation at Y200 blocks its localization in SGs. (A) Top: schematic representation of Flag-tagged HuR WT and point mutants Y63F, Y68F and Y200F. (B) Forty-eight hours after transfecting HeLa cells with the plasmids shown in (A), cell lysates were prepared, and pY-HuR signals were detected for each Flag-HuR mutant under the conditions shown. (C) Plasmids expressing Flag-tagged HuR WT and tyrosine mutants (A) were transfect into HeLa cells; 48 h later, cells were treated with arsenite and/or menadione and distribution of Flag-HuR (WT or point mutants Y68F or Y200F) was characterized using anti-Flag antibody; DAPI staining was included to visualize the nuclei. Data in (A–C) are representative of three independent experiments.
Phosphorylation at Y200 influences HuR binding to target mRNAs
Because phosphorylation of HuR by other kinases affects HuR binding to target mRNAs, as explained above, we investigated whether phosphorylation by JAK3 influenced HuR binding to target mRNAs. For this, we focused on two well-established HuR target transcripts with abundant expression in HeLa cells, SIRT1 and VHL mRNAs (22,36), encoding the protein deacetylase sirtuin 1 (Sirt1) and the tumor suppressor protein von Hippel-Lindau, respectively. We studied the interaction of HuR with these mRNAs by RIP (ribonucleoprotein immunoprecipitation) analysis of endogenous HuR using an anti-HuR antibody; the efficiency of IP of the endogenous HuR protein was assessed (Supplementary Figure S4B). After isolation of the RNA present in HuR RNP complexes, the levels of specific mRNAs were measured by RT followed by real-time quantitative (q)PCR analysis. As shown (Figure 5A and B), endogenous HuR displayed robust binding to these mRNAs in the absence of additional treatments (‘Control’ group), but the concentration of these complexes increased strongly after arsenite treatment [and increased even further at higher doses, Supplementary Figure S5)]. Following the addition of menadione, with or without arsenite, this heightened interaction was lost and HuR binding to SIRT1 and VHL mRNAs returned to the levels seen in the ‘Control’ group.
Tyrosine phosphorylation of HuR at Y200 reduces its interactions with target mRNAs. (A, B) After treatment of HeLa cells with arsenite and/or menadione as explained in Figure 1, RIP (IP followed by RT-qPCR) analysis was used to measure the levels of enrichment of SIRT1 mRNA (A) and VHL mRNA (B) associated with HuR; the samples were normalized using GAPDH mRNA, and the data represented as enrichment of each mRNA in HuR IP were compared with IgG IP. (C, D) After transfection and treatment, RIP analysis was used to measure the interaction between Flag-HuR (WT, Y68F, Y200F) and SIRT1 mRNA (C) and VHL mRNA (D); GAPDH mRNA was measured for normalization, and data are represented as enrichment of the mRNAs in Flag IP samples relative to the levels in IgG IP samples. The graphs represent the means and SD from three independent experiments.
To examine whether HuR phosphorylation at Y200 was involved in these interactions, we transfected plasmids pFlag-HuR(WT), pFlag-HuR(Y68F) and pFlag-HuR(Y200F) and tested the binding of the tagged HuR with SIRT1 mRNA (left) and VHL mRNA (right) again by RIP analysis, but by using anti-Flag antibody. The efficiency of IP of the Flag-tagged proteins was also monitored (Supplementary Figure S4B). Interestingly, although proteins Flag-HuR(WT) and Flag-HuR(Y68F) showed the same pattern of binding as the endogenous HuR, Flag-HuR(Y200F) binding to the mRNAs was no longer repressed after menadione treatment (Figure 5C andD). These results suggest that HuR phosphorylation at Y200 not only prevented HuR localization in SGs, but it also reduced binding of HuR with target SIRT1 and VHL mRNAs.
HuR tyrosine phosphorylation influences target mRNA turnover
Because HuR is known to stabilize SIRT1 and VHL mRNAs (22,36), we examined the effect of HuR tyrosine phosphorylation on the stability of these target mRNAs. We measured their half-lives by quantifying the rate of decay after transcription was inhibited through the addition of actinomycin D (‘Materials and Methods’ section). Arsenite treatment, which enhanced HuR binding to these mRNAs, also increased their half-lives (by about twofold; Figure 6A). Menadione alone did not change the stability of target mRNAs, but cells in the menadione + arsenite treatment group showed lower stability for both mRNAs relative to the arsenite alone group (Figure 6A). By contrast, the stability of a control stable transcript, GAPDH mRNA, encoding a housekeeping protein, was not influenced by the above-mentioned treatments, demonstrating that not all mRNAs decreased rapidly in the presence of actinomycin D, and only select labile mRNAs displayed reduced stability (Figure 6A, bottom). The levels of a control short-lived mRNA (MYC mRNA, encoding the proto-oncogene c-Myc) showed reduced half-life in the absence of arsenite (Figure 6A, bottom). These results support the view that HuR binding increases the half-lives of SIRT1 and VHL mRNAs.
Arsenite and menadione affect the levels and stability of HuR target mRNAs. (A) After treatment of arsenite and/or menadione, the half-lives (t1/2) of SIRT1 and VHL mRNAs (top), as well as the half-lives of a control stable mRNA (GAPDH mRNAs) and a control labile mRNA (MYC mRNA) (bottom) were quantified by measuring the time required to achieve a 50% reduction in transcript levels after adding actinomycin D at time 0 h. (B) Forty-eight hours after transfecting HeLa cells with plasmids to express Flag-HuR(WT) or Flag-HuR(Y200F), the steady-state levels of SIRT1 and VHL mRNAs were measured by RT-qPCR and normalized to the levels of GAPDH mRNA. The graphs represent the means and SD from three independent experiments.
Given the documented levels of HuR association with SIRT1 and VHL mRNAs (Figure 5) and the SIRT1 and VHL mRNA half-lives (Figure 6A), we investigated the influence of non-phosphorylatable HuR Y200F mutant on the abundance of these mRNAs. When Flag-HuR(WT) was expressed in HeLa cells, the levels of SIRT1 and VHL mRNAs rose after treatment with arsenite, but this increase was lost if cells were co-treated with menadione (Figure 6B). In contrast, when Flag-HuR(Y200F) was expressed, the arsenite-elicited increase in SIRT1 mRNA and VHL mRNA levels was refractory to menadione treatment, and the mRNAs remained significantly elevated (Figure 6B). In sum, these results indicate that HuR tyrosine phosphorylation at Y200, which excludes HuR from SGs, also promotes the dissociation of HuR from target transcripts (SIRT1 mRNA and VHL mRNA), or perhaps mobilizes HuR-SIRT1 mRNA and HuR-VHL mRNA complexes away from SGs, accelerating their degradation (Figure 7).
Schematic representation of the proposed influence of JAK3 on HuR localization and RNA-binding activity. See text for details.
DISCUSSIONTyrosine-phosphorylation of HuR by JAK3
We have reported that tyrosine phosphorylation of HuR reduces its interaction with target mRNAs, leading to lower mRNA stability. The phosphorylation at a tyrosine was unexpected, as earlier work had only identified HuR as the substrate of serine and threonine phosphorylation by PKC, Chk2, p38 and Cdk1 [reviewed in (18)]. In contrast to the earlier phosphorylation events, HuR tyrosine phosphorylation is found to influence mRNA fate linked to the absence of HuR in SGs. JAK3, identified here as a kinase responsible for the tyrosine phosphorylation of HuR, is best known in immune cells, where it is activated following exposure to cytokines (37). However, JAK3 is also expressed in HeLa cells and its inhibition by ZM 449829 lowers pY-HuR levels. As identified by mass spec analysis, JAK3 phosphorylates three HuR residues (Y63, Y68, Y200), but it remains possible that other tyrosine kinases besides JAK3 can also phosphorylate HuR at tyrosines, although no such kinases have been identified to date. Because the ubiquitous HuR is abundant in immune cells, it will be interesting to test whether tyrosine phosphorylation of HuR at Y200 influences the response of immune cells to cytokines.
Treatment with arsenite or menadione for 45 min caused oxidative stress, and this effect was enhanced by joint treatment with both chemicals (Supplementary Figure S1B). Nonetheless, by 4 h after the drugs were removed from the culture medium, assessments of cell numbers and annexin V-positive cells revealed little or no toxicity (Supplementary Figure S1A, C and D). By 24 h after removing the drugs, cells treated with arsenite did not exhibit much toxicity, as measured by modest cell loss and the absence of annexin V-positive cells (Supplementary Figure S1C and D); however, simultaneous addition of menadione to arsenite-treated cells did prove toxic, as evidenced by the enhanced cell loss and the high percentage of annexin V-positive cells (Supplementary Figure S1C and D). These results indicate that SGs are a component of the stress-response program triggered by arsenite, which ultimately the cells survived. The concomitant treatment with menadione modified this stress-response program (in part by antagonizing the formation of HuR-positive SGs) and potentiated the toxicity of arsenite. It is plausible that the chemotherapeutic actions of menadione (38) are linked to the cytotoxicity caused by menadione, as it interferes with the cellular response to stress conditions.
HNS phosphorylation affects HuR localization and binding to mRNAs
It was somewhat surprising to discover that HuR binding to SIRT1 and VHL mRNAs was influenced by phosphorylation at Y200 (Figure 5), as this residue lies within the shuttling domain of HuR (the HNS) and not within one of the three RRMs. For example, previous reports had shown that phosphorylation at RRMs (S88 in RRM1, T118 in RRM2, S100 between RRM1 and RRM2 and S318 in RRM3) affected HuR binding to numerous mRNAs (18), while phosphorylation in the HNS region (S202, S221, S242), generally altered HuR the relative abundance of HuR in the nucleus compared with the cytoplasm (19–21). The finding that phosphorylation near the shuttling domain affects HuR binding suggests that pY200 could change the conformation of the RRMs in ways that lower their binding affinity for RNA. Alternatively, Y200 phosphorylation could mobilize HuR to areas of the cell that have reduced concentration of HuR target transcripts, and thus binding is reduced because mRNAs are unavailable. Distinguishing between these possibilities awaits further study.
The finding that the non-phosphorylatable HuR(Y200F) is found in SGs after arsenite + menadione, whereas the phosphorylatable counterpart, HuR(WT), is not, suggests that phosphorylation at Y200 actively excludes HuR from SGs. Although the molecular mediators of HuR exclusion from SGs are not identified in our experiments, we have evidence that menadione may block the assembly of other SG components, including TIA-1, G3BP and eIF3b (Figure 1B; Supplementary Figure S6A; data not shown). In fact, it is possible that JAK3 may block the assembly of multiple SG components, perhaps by phosphorylating them in a coordinated manner. In this regard, JAK3 was capable of phosphorylating TIA-1 in vitro (Supplementary Figure S6B). Therefore, it remains formally possible that in cells that form SGs, HuR is mobilized to SGs because the mRNAs that HuR associates with are actively recruited to, or ‘pulled to’, SGs. It is unknown at present whether JAK3 impairs the binding of HuR to mRNAs and for this reason, HuR is not mobilized to SGs, or instead JAK3 inhibits the mobilization of HuR to SGs and this in turn affects HuR binding to mRNAs locally enriched in SGs. Both possibilities agree with the notion that SGs are sites of mRNA reassortment and ‘triage’ (30), where mRNA-binding factors form different RNPs to accomplish molecular decisions on mRNA turnover and translational status.
HuR binding to mRNAs increased by stress, linked to stabilization
The discovery that treatment with arsenite, a strong oxidant, increased HuR binding to SIRT1 and VHL mRNAs was also against our expectation (Figure 5A and B; Supplementary Figure S5), as other stress agents (e.g. ionizing radiation and the oxidant hydrogen peroxide) instead triggered the dissociation of HuR from bound mRNAs (22). As dissociation of mRNAs was linked to the phosphorylation of HuR by Chk2, it is possible that arsenite inhibits Chk2 activity, while menadione reverses this inhibition in HeLa cells. Of course, arsenite and/or menadione could also affect the phosphorylation of HuR by other kinases (p38, PKC), which influence HuR–mRNA interactions. Studies are underway to investigate these possibilities, particularly given earlier reports documenting an increase in HuR binding to some mRNAs in response to certain stresses [e.g. HIF1A mRNA after hypoxia, MKP1 mRNA after hydrogen peroxide treatment (39,40)]. In sum, our findings add to a growing body of evidence that underscores the complex regulation of HuR by phosphorylation, and the impact of this modification on HuR localization, HuR binding to mRNAs and the fate of HuR target transcripts.
SUPPLEMENTARY DATA
Supplementary Data are available at NAR Online.
FUNDING
Funding for open access charge: National Institute on Aging-Intramural Research Program, National Institutes of Health.
Conflict of interest statement. None declared.
Supplementary Material
Supplementary Data
ACKNOWLEDGEMENTS
The authors thank P. Anderson (Brigham and Women's Hospital) for providing reagents and advice, and C.Y. Sasaki (NIA, NIH) for assistance with experiments. This work was entirely supported by the NIA-IRP, NIH.
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After the death of his father King George V (Michael Gambon) and the scandalous abdication of Prince Edward VII's (Guy Pearce), Bertie (Colin Firth) who has suffered from a debilitating speech impediment all his life, is suddenly crowned King George VI of England. With his country on the brink of war and in desperate need of a leader, his wife, Elizabeth (Helena Bonham Carter), the future Queen Mother, arranges for her husband to see an eccentric speech therapist, Lionel Logue (Geoffrey Rush). After a rough start, the two delve into an unorthodox course of treatment and eventually form an unbreakable bond. With the support of Logue, his family, his government and Winston Churchill (Timothy Spall), the King will overcome his stammer and deliver a radio-address that inspires his people and unites them in battle. Based on the true story of King George VI, THE KING'S SPEECH follows the Royal Monarch's quest to find his voice. (Source)
]]>http://blog.hd-trailers.net/2011/02/17/the-kings-speech-trailer-2/feed/0http://blog.hd-trailers.net/2011/02/17/the-kings-speech-trailer-2/Circo (Trailer)
http://feeds.hd-trailers.net/~r/hd-trailers/blog/~3/XxAozxrViMI/
http://blog.hd-trailers.net/2011/02/17/circo-trailer/#commentsFri, 18 Feb 2011 00:36:13 +0000Krunkhttp://blog.hd-trailers.net/?p=18726Link to Catalog
Gorgeously filmed along the back roads of rural Mexico, CIRCO follows the Ponce family's hardscrabble circus as it struggles to stay together despite mounting debt, dwindling audiences, and a simmering family conflict. Tino, the ringmaster, is driven by his dream to lead his parents' circus to success and corrals the energy of his whole family, including his four young children, towards this singular goal. But his wife Ivonne is determined to make a change. Feeling exploited by her in-laws, she longs to return to her kids a childhood lost to laboring in the circus. Through this intricately woven story of a marriage in trouble and of a century-old family tradition that hangs in the balance, CIRCO opens the viewer to the luminous world of a traveling circus while examining the universal themes of family bonds, filial responsibility, and the weight of cultural inheritance. (Source)
]]>http://blog.hd-trailers.net/2011/02/17/circo-trailer/feed/0http://blog.hd-trailers.net/2011/02/17/circo-trailer/Arthur (Trailer)
http://feeds.hd-trailers.net/~r/hd-trailers/blog/~3/LmfUB6JraZA/
http://blog.hd-trailers.net/2011/02/17/arthur-trailer/#commentsFri, 18 Feb 2011 00:35:13 +0000Krunkhttp://blog.hd-trailers.net/?p=18724Link to Catalog
Irresponsible charmer Arthur Bach (Russell Brand) has always relied on two things to get by: his limitless fortune and the good sense of lifelong nanny Hobson (Helen Mirren) to keep him out of trouble. Now he faces his biggest challenge--choosing between an arranged marriage that will ensure his lavish lifestyle or an uncertain future with the one thing money can't buy, Naomi (Greta Gerwig), the only woman he has ever loved. With Naomi's inspiration and some unconventional help from Hobson, Arthur will take the most expensive risk of his life and finally learn what it means to become a man, in this re-imagining of the classic romantic comedy "Arthur." (Source)
]]>http://blog.hd-trailers.net/2011/02/17/arthur-trailer/feed/0http://blog.hd-trailers.net/2011/02/17/arthur-trailer/The Double Hour (Trailer)
http://feeds.hd-trailers.net/~r/hd-trailers/blog/~3/vClaPJKlcAw/
http://blog.hd-trailers.net/2011/02/17/the-double-hour-trailer/#commentsFri, 18 Feb 2011 00:34:35 +0000Krunkhttp://blog.hd-trailers.net/?p=18721Link to Catalog
Guido (Filippo Timi), a former cop, is a luckless veteran of the speed-dating scene in Turin. But, much to his surprise, he meets Slovenian immigrant Sonia (Ksenia Rappoport), a chambermaid at a high-end hotel. The two hit it off, and a passionate romance develops. After they leave the city for a romantic getaway in the country, things suddenly take a dark turn. As Sonia's murky past resurfaces, her reality starts to crumble. Everything in her life begins to change - - questions arise and answers only arrive through a continuous twist and turn of events keeping viewers on edge until the film's final moments. (Source)
]]>http://blog.hd-trailers.net/2011/02/17/the-double-hour-trailer/feed/0http://blog.hd-trailers.net/2011/02/17/the-double-hour-trailer/Certified Copy (Trailer)
http://feeds.hd-trailers.net/~r/hd-trailers/blog/~3/oyMXplMwW8I/
http://blog.hd-trailers.net/2011/02/17/certified-copy-trailer/#commentsFri, 18 Feb 2011 00:33:54 +0000Krunkhttp://blog.hd-trailers.net/?p=18719Link to Catalog
Academy Award(R)-winner Juliette Binoche gives one of the finest performances of her career (for which she won the best actress award at Cannes) in CERTIFIED COPY, the first European film from Abbas Kiarostami (TASTE OF CHERRY). The film is a playful and provocative romance set against the lush, golden landscapes of Tuscany, a captivating story of a couple's apparent chance meeting and a masterful game of hide and seek exploring the nature of love, marriage and art. Andrew O'Hehir of Salon says, CERTIFIED COPY is "an elegant, wistful and picturesque tale of two ships passing in the Tuscan sunlight." (Source)
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In this sequel to 2010's surprise hit, Greg Heffley, the kid who made "wimpy" cool is back in an all-new family comedy based on the best-selling follow-up novel by Jeff Kinney. (Kinney's Wimpy Kid" series has thus far sold 42 million books.) As he begins seventh grade, Greg and his older brother - and chief tormentor - Rodrick must deal with their parents' misguided attempts to have them bond. (
Desert Flower tells the inspiring true story of Waris Dirie, who was catapulted to fame and fortune as a high fashion model after running away from an arranged marriage at age 13. But after years of living a glamorous life, the past comes back to haunt her, and she must face the childhood trauma that forever changed her destiny. (
When she was a child, Cheng Lai-Sheung (Josie Ho) could see Hong Kong's famed Victoria Harbour from her apartment. She vows to one day save up enough money for her family to move into 'No.1 Victoria Bay' with a magnificent view. In order to achieve her dream, Cheng has to work hard at two full-time jobs. She even goes as far as stealing customer data to sell to other companies. However, no matter how much she toils, she cannot earn enough to keep up with the ever-increasing values of Hong Kong's real estate. Since property prices keep leaping higher, her dream home now seems forever out of reach...until suddenly, it dawns on her: in order to get what she wants, she must take matters into her own hands...even if it means getting her hands seriously bloody. (
A coming-of-age comedy set in Swansea following 15-year-old Oliver Tate through the impending break-up of his parents’ marriage and his first relationship. (
Lee Byung-hyun ("The Good, The Bad and The Weird") stars as Dae-hoon, a special agent whose pregnant wife becomes the latest victim of a disturbed and brutal serial killer, captivatingly played by Oldboy's Choi Min-sik. Vowing revenge, Dae-hoon blurs the lines between hunter and hunted and good and evil, eventually becoming a monster himself in his twisted pursuit of revenge. From Korean genre master Kim Jee-woon ("The Good, The Bad and The Weird" and "A Tale of Two Sisters"),"I Saw the Devil" is shockingly violent and stunningly accomplished, transcending the police procedural and pushing the boundaries of extreme Asian cinema in surprising and thrilling new ways. (
A collision of worlds when two African-American families from divergent socioeconomic backgrounds get together one weekend in Martha's Vineyard for a wedding. (
Take out the trash, eat your broccoli - who needs moms, anyway? Nine-year-old Milo finds out just how much he needs his mom when she's nabbed by Martians who plan to steal her mom-ness for their own young. Milo embarks on a quest to save his mom - a wild adventure that involves stowing away on a spaceship, navigating an elaborate, multi-level planet and taking on the alien nation and their leader. With the help of a tech-savvy, underground earthman named Gribble and a rebel Martian girl called Ki, Milo just might find his way back to his mom - in more ways than one. (
Officially, Apollo 17, launched December 17th, 1972, was the last manned mission to the moon. But a year later, in December of 1973, two American astronauts were sent on a secret mission to the moon funded by the US Department of Defense. What you are about to see is the actual footage which the astronauts captured on that mission. While NASA denies its authenticity, others say it's the real reason we've never gone back to the moon. (
Lee Byung-hyun (The Good, the Bad and the Weird) stars as Dae-hoon, a special agent whose pregnant wife becomes the latest victim of a disturbed and brutal serial killer, captivatingly played by Oldboy's Choi Min-sik. Vowing revenge, Dae-hoon blurs the lines between hunter and hunted and good and evil, eventually becoming a monster himself in his twisted pursuit of revenge. From Korean genre master Kim Jee-woon (The Good, The Bad and The Weird and A Tale of Two Sisters) I SAW THE DEVIL is shockingly violent and stunningly accomplished, transcending the police procedural and pushing the boundaries of extreme Asian cinema in surprising and thrilling new ways. (
Starring Charlie Cox (STARDUST), Wes Bentley (AMERICAN BEAUTY), Olga Kurylenko (QUANTUM OF SOLACE), Emmy Award-winning actor Derek Jacobi (GLADIATOR), Dougray Scott (MISSION IMPOSSIBLE II) and Rodrigo Santoro (300), THERE BE DRAGONS tells the story of London-based investigative journalist Robert Torres (Dougray Scott), who visits Spain to research a book about Josemaria Escriva (Cox), the controversial founder of Opus Dei. But Robert hits a wall, both professionally and personally, when his most promising source--his own father, Manolo Torres (Bentley), turns out to be his least cooperative one. Robert begins to unearth his father's toxic secrets when he learns that Manolo was not only born in the same Spanish town as Josemaria, but that they were childhood friends and attended the same seminary. The two men take radically different paths in life, with Josemaria dedicating his life to his faith while Manolo is swept into the brutal and tumultuous Spanish Civil War. Manolo descends into a dangerous and jealous obsession when the beautiful Hungarian revolutionary Ildiko (Olga Kurylenko) doesn't return his affections and instead gives herself to the courageous military leader, Oriol (Rodrigo Santoro). As Robert continues to unearth the secrets of Josemaria's life and Manolo's mysterious anger, their overlapping journeys are revealed with the truths and sorrows of their past choices, which compels Manolo to confront his own secret with one last opportunity of forgiveness. (
Rachel is a talented attorney at a top New York law firm, a generous and loyal friend and, unhappily, still single as her engaged best friend Darcy is constantly reminding her. But after one drink too many at her 30th birthday party, perpetual good girl Rachel unexpectedly ends up in bed with the guy she's had a crush on since law school, Dex, who just happens to be Darcy's fiance. When Rachel and Darcy's lifelong friendship collides with true love, it leads to unexpected complications and potentially explosive romantic revelations. Meanwhile, Ethan, who has been Rachel's constant confidante and sometimes conscience, has been harboring a secret of his own, and Marcus, an irrepressible womanizer, can't keep his mind out of the gutter or his hands off any girl within reach. (
After the death of his father King George V (Michael Gambon) and the scandalous abdication of Prince Edward VII's (Guy Pearce), Bertie (Colin Firth) who has suffered from a debilitating speech impediment all his life, is suddenly crowned King George VI of England. With his country on the brink of war and in desperate need of a leader, his wife, Elizabeth (Helena Bonham Carter), the future Queen Mother, arranges for her husband to see an eccentric speech therapist, Lionel Logue (Geoffrey Rush). After a rough start, the two delve into an unorthodox course of treatment and eventually form an unbreakable bond. With the support of Logue, his family, his government and Winston Churchill (Timothy Spall), the King will overcome his stammer and deliver a radio-address that inspires his people and unites them in battle. Based on the true story of King George VI, THE KING'S SPEECH follows the Royal Monarch's quest to find his voice. (
Gorgeously filmed along the back roads of rural Mexico, CIRCO follows the Ponce family's hardscrabble circus as it struggles to stay together despite mounting debt, dwindling audiences, and a simmering family conflict. Tino, the ringmaster, is driven by his dream to lead his parents' circus to success and corrals the energy of his whole family, including his four young children, towards this singular goal. But his wife Ivonne is determined to make a change. Feeling exploited by her in-laws, she longs to return to her kids a childhood lost to laboring in the circus. Through this intricately woven story of a marriage in trouble and of a century-old family tradition that hangs in the balance, CIRCO opens the viewer to the luminous world of a traveling circus while examining the universal themes of family bonds, filial responsibility, and the weight of cultural inheritance. (
Irresponsible charmer Arthur Bach (Russell Brand) has always relied on two things to get by: his limitless fortune and the good sense of lifelong nanny Hobson (Helen Mirren) to keep him out of trouble. Now he faces his biggest challenge--choosing between an arranged marriage that will ensure his lavish lifestyle or an uncertain future with the one thing money can't buy, Naomi (Greta Gerwig), the only woman he has ever loved. With Naomi's inspiration and some unconventional help from Hobson, Arthur will take the most expensive risk of his life and finally learn what it means to become a man, in this re-imagining of the classic romantic comedy "Arthur." (
Guido (Filippo Timi), a former cop, is a luckless veteran of the speed-dating scene in Turin. But, much to his surprise, he meets Slovenian immigrant Sonia (Ksenia Rappoport), a chambermaid at a high-end hotel. The two hit it off, and a passionate romance develops. After they leave the city for a romantic getaway in the country, things suddenly take a dark turn. As Sonia's murky past resurfaces, her reality starts to crumble. Everything in her life begins to change - - questions arise and answers only arrive through a continuous twist and turn of events keeping viewers on edge until the film's final moments. (
Academy Award(R)-winner Juliette Binoche gives one of the finest performances of her career (for which she won the best actress award at Cannes) in CERTIFIED COPY, the first European film from Abbas Kiarostami (TASTE OF CHERRY). The film is a playful and provocative romance set against the lush, golden landscapes of Tuscany, a captivating story of a couple's apparent chance meeting and a masterful game of hide and seek exploring the nature of love, marriage and art. Andrew O'Hehir of Salon says, CERTIFIED COPY is "an elegant, wistful and picturesque tale of two ships passing in the Tuscan sunlight." (