Shakespeare's method is simple. He shows us two charming young men becoming morally blind with passion, in a company not so blinded. The only other "inconstant" person in the play (Sir Thurio) is inconstant from that water-like quality in the mind that floods with the full moon, and ebbs like a neap soon after. Even the members of the sub-plot, the two servants, are constant, the one to his master, who beats him, the other to the dog that gets him beaten. A lesser mind would sit in judgment in such a play. The task of genius is not to sit in judgment. "Our life is of a mingled yarn, good and ill together." Shakespeare neither praises nor blames. His task is to see justly. It is we who conclude that treachery looks ugly beside its opposite. Of the fine scenes in the play, sc. iv in Act II, where Valentine and Sir Thurio walk with Silvia, with whom they are both in love, is the liveliest. The two men bicker across the lady, as though the next word would bring blows. The demure pleasure of Silvia in being quarrelled for, is indicated most masterly in less than thirty words. Act III, sc. i, where the Duke discovers Valentine's plot to escape with Silvia, is a passage of noble dramatic power, doubly interesting because it shows the justice of Shakespeare's vision. Valentine, the constant friend and lover, is exposed in an act of treachery to his benefactor. The scenes in which the disguised Julia witnesses her lover's falseness, and the scene in which the play is brought to an end, are deeply and nobly affecting. Theatre managers play Shakespeare as though he were an old fashion of the mind instead of the seer of the eternal in life. They should play this play as a vision of something that is eternally treacherous, bringing misery to the faithful, the noble, and the feeling. One of the noblest things in the play is the forgiveness at the end. Passion has taken Proteus into strange byways of treachery. He has been false to Julia, to Valentine, to the Duke, to Thurio, one falseness leading to another, till he is in a wood of the soul, tangled in sin. It only wants that he be false to Silvia, too. Passion makes his eyes a little blinder for an instant. He adds that treachery to the others. Power to see clearly is the only cure for passion. Discovery gives that power. Valentine's words-- "Who should be trusted now, when one's right hand Is 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...." followed so soon by Julia's words-- "Behold her that gave aim to all thy oaths, And entertained them deeply in her heart: How oft hast thou with perjury cleft the root.... It is the lesser blot, modesty finds, Women to change their shapes, than men their minds"--