In this play, at any rate, Shakespeare does manage to point out some of the difficulties of trying to switch outward appearances. Julia's maid, Lu-cetta, who disapproves of her mistress' plan, asks coldly how to make the breeches, and when Julia tells her to make them any way she pleases, Lu-cetta answers:

—Act II, scene vii, line 53

A codpiece was a baglike affair, covering the opening in the front of the breeches. It was, in effect, a container for the penis and was quite fashionable in the fifteenth and sixteenth centuries. There was a tendency to fill it out with stuffing of one sort or another, partly as protection, and partly to make the organ seem more prominent than it was (much in the way that ladies' brassieres are tampered with in our own times). They might also be decorated or prinked out for the same purpose.

Naturally, the maidenly Julia is shocked at the mention of the object, but Lucetta says:

—Act II, scene vii, lines 55-56

The reference to the codpiece as a pincushion is Lucetta's wry way of saying that Julia will have nothing inside to interfere with that use. It may also be a sardonic reference to men who use so much stuffing that pins may safely be stuck in it Despite Lucetta's discouragement, Julia remains firm in her determination to make the trip.

Valentine, traveling sadly away from Milan, falls in with a group of outlaws in a forest through which he is passing. Valentine points out he has no money and pretends he has been banished for having killed a man in a duel.

The fact that he has no money spoils him as a victim; the fact that he has killed a man commends him as a comrade; and the fact that he is handsome seems to have an effect also. The Third Outlaw says:

—Act IV, scene i, lines 36-37

Any mention of outlaws would instantly remind an English audience of Robin Hood, and Shakespeare is usually very responsive to his audience. The "fat friar" is, of course, Friar Tuck, who scarcely needs further words to an American audience either.

The outlaws then introduce themselves to Valentine, for it seems that many of them are gentlemen who have been outlawed for some little prank or other which are common to hot-blooded young men of high birth. As the Second Outlaw says, in what seems to be an aggrieved tone, concerning his own outlawry:

—Act IV, scene i, lines 50-51

Mantua was briefly mentioned in The Taming of the Shrew as the home town of the Pedant (see page II-454). It is about twenty-five miles southwest of Verona and in Shakespeare's tune (and for nearly five centuries before) it was an independent duchy.

Meanwhile, Proteus continues to betray everyone in sight. Having abandoned Julia and having treated Valentine most despicably, he is now prepared to double-cross Thurio. Under the pretense of pushing the latter's suit with Silvia, Proteus woos her for himself, singing for her the lovely ballad "Who is Silvia?"

Julia, in her male disguise, has come in time to hear it and understands at once the extent of Proteus' duplicity. She also hears Silvia nobly remain faithful to her Valentine and scorn Proteus as a traitor. Silvia urges Proteus to return to Julia (of whom she has apparently heard).

Silvia plans to flee from Milan and make her way to Valentine, wherever he is, while Julia decides to carry her plan one step further by attempting to gain employment with Proteus as his servant, under the name of Sebastian.

Proteus does indeed employ her and at once uses her as his go-between with Silvia. Sebastian and Silvia fall to discussing Julia, and Silvia wants to know how tall she is. Sebastian says:

—Act IV, scene iv, lines 158-63

Pentecost was originally a Jewish harvest festival ("Shabuoth") celebrated seven weeks after Passover. (The Hebrew word means "weeks.") Its celebration came on the fiftieth day counting from the first day of Passover. For that reason it received the name Pentecost, which is from a Greek word meaning "fiftieth."

Pentecost gamed a special Christian significance because it was on that day, the first celebration after the crucifixion of Jesus, that the apostles received the inspiration of the Holy Spirit. Thus, in Acts 2:1-4, it says: "And when the day of Pentecost was fully come, they were all with one accord in one place. And suddenly there came a sound from heaven as of a rushing mighty wind, and it filled all the house where they were sitting. And there appeared unto them cloven tongues like as of fire, and it sat upon each of them. And they were all filled with the Holy Ghost, and began to speak with other tongues, as the Spirit gave them utterance."

Consequently, Pentecost remained an important Christian holiday and was celebrated on the seventh Sunday after Easter.

Easter and Pentecost were favored times for baptisms, but in England and other parts of northern Europe Pentecost was the more often used because it came in a warmer season of the year (late May or early June). Since the newly baptized generally wore white for a week to signify the new-washed purity of their souls, Pentecost is commonly called Whitsunday ("White Sunday") in England. Some speculate that this is really "Wit Sunday" ("Wisdom Sunday") celebrating the time when spiritual wisdom rained down upon the apostles.

Naturally, Pentecost was a joyous holiday and was celebrated with dances, plays, and other outdoor amusements.

Julia describes her Pentecost role, saying:

—Act IV, scene iv, lines 166-68

Julia, in her guise as Sebastian, is thinking of herself, of course, for she is much in Ariadne's position (see page I-31).

But now the action speeds up bewilderingly.

Silvia flees Milan to seek for Valentine. Her father, the Duke, and also Thurio and Proteus leave in pursuit of her while Julia follows Proteus.