Original: O Eglamour, thou art a gentleman—
Modern: Oh Eglamour, you are a true gentleman—

Original: Think not I flatter, for I swear I do not—
Modern: Don’t think I’m just flattering you, because I swear I’m not—

Original: Valiant, wise, remorseful, well accomplish’d:
Modern: You’re brave, wise, compassionate, and skilled:

Original: Thou art not ignorant what dear good will
Modern: You know very well how much love

Original: I bear unto the banish’d Valentine,
Modern: I have for Valentine, who has been banished,

Original: Nor how my father would enforce me marry
Modern: And you know how my father is forcing me to marry

Original: Vain Thurio, whom my very soul abhors.
Modern: That conceited Thurio, whom I hate with all my heart.

Original: Thyself hast loved; and I have heard thee say
Modern: You have been in love yourself; and I’ve heard you say

Original: No grief did ever come so near thy heart
Modern: That no sorrow ever came closer to breaking your heart

Original: As when thy lady and thy true love died,
Modern: Than when your lady and true love died,

Original: Upon whose grave thou vow’dst pure chastity.
Modern: And at her grave you promised to remain forever faithful to her memory.

Original: Sir Eglamour, I would to Valentine,
Modern: Sir Eglamour, I want to go to Valentine,

Original: To Mantua, where I hear he makes abode;
Modern: To Mantua, where I’ve heard he’s living;

Original: And, for the ways are dangerous to pass,
Modern: And since the roads are dangerous to travel,

Original: I do desire thy worthy company,
Modern: I would like your honorable company,

Original: Upon whose faith and honour I repose.
Modern: Because I can trust in your loyalty and honor.

Original: Urge not my father’s anger, Eglamour,
Modern: Don’t worry about my father’s anger, Eglamour,

Original: But think upon my grief, a lady’s grief,
Modern: But instead think about my sorrow, a young woman’s sorrow,

Original: And on the justice of my flying hence,
Modern: And about how right it is for me to run away,

Original: To keep me from a most unholy match,
Modern: To save myself from this terrible marriage,

Original: Which heaven and fortune still rewards with plagues.
Modern: Which God and fate always punish with misery.

Original: I do desire thee, even from a heart
Modern: I’m begging you, from a heart

Original: As full of sorrows as the sea of sands,
Modern: As full of sadness as the sea is full of sand,

Original: To bear me company and go with me:
Modern: To come with me and keep me company:

Original: If not, to hide what I have said to thee,
Modern: If you won’t come, then please keep secret what I’ve told you,

Original: That I may venture to depart alone.
Modern: So that I can risk leaving by myself.

In Act IV, Scene 3 of “The Two Gentlemen of Verona,” Eglamour meets Julia (still disguised as the page Sebastian) in the forest near Milan. Eglamour has been waiting as arranged to help Silvia escape from her father’s house and flee to Mantua to avoid her forced marriage to Thurio. When Julia arrives, she informs Eglamour that Silvia is ready to depart and has been waiting for his signal. The scene is brief but establishes the logistics of Silvia’s escape plan, with Eglamour serving as her protector and guide for the dangerous journey ahead.

The scene primarily serves as a transitional moment that sets Silvia’s escape in motion. Julia, maintaining her male disguise, acts as an intermediary between Silvia and Eglamour, demonstrating her continued involvement in the romantic complications despite her own heartbreak over Proteus’s betrayal. The brief exchange confirms that all parties are committed to the plan, and Eglamour expresses his readiness to help Silvia flee from Milan to reunite with Valentine in the forest, where the final acts of the play will unfold.

The Two Gentlemen of Verona follows the friendship and romantic entanglements of Valentine and Proteus, two young gentlemen from Verona. The play opens with Valentine departing for Milan to experience court life, leaving behind his friend Proteus, who is deeply in love with Julia. Soon after, Proteus is also sent to Milan by his father, forcing him to leave Julia, though they secretly exchange rings as tokens of their love. Meanwhile, Julia decides to disguise herself as a young man named Sebastian and follow Proteus to Milan.

In Milan, Valentine has fallen in love with Silvia, the Duke’s daughter, and she returns his affection. However, when Proteus arrives and meets Silvia, he immediately forgets his love for Julia and becomes infatuated with his friend’s beloved. In an act of betrayal, Proteus reveals Valentine’s secret plan to elope with Silvia to her father, the Duke. As punishment, Valentine is banished from Milan and becomes the leader of a group of outlaws in the forest.

The climax unfolds in the forest where all the characters converge. Proteus pursues the disguised Julia (still dressed as Sebastian, who has become his page) and attempts to force his attentions on Silvia, who has fled to find Valentine. Valentine arrives just in time to stop the assault, and when Proteus expresses remorse, Valentine magnanimously offers to give up Silvia to restore their friendship. At this moment, Julia faints and reveals her true identity. The play concludes with the Duke’s arrival, his pardon of Valentine and the outlaws, and the restoration of proper romantic pairings: Valentine with Silvia and Proteus reunited with the forgiving Julia.