Character

Launce in Two Gentlemen of Verona

Role: Proteus's clownish servant; mirror of loyalty through comic inversion First appearance: Act 2, Scene 3 Last appearance: Act 4, Scene 4 Approx. lines: 69

Launce is Proteus’s servant, and he is the play’s truest measure of constancy. His dog Crab never wavers, never betrays, never changes. Launce, in turn, never abandons Crab—he takes beatings for the dog, sits in stocks for stolen puddings the dog has eaten, stands in the pillory for geese Crab has killed. His loyalty is absolute and unjudging. He follows his master to Milan, he delivers Proteus’s tokens, he does what he is told. Yet everything he says undercuts the gentlemen’s romantic posturing. When Valentine and Proteus trade sonnets and vows, Launce trades insults with Speed about sheep and horns, about what it means to follow someone who doesn’t follow you back. He speaks in malapropisms and comic reversals—“stand-under and understand is all one”—but beneath the wordplay is a bitter truth: the servant follows the master, the master does not follow the servant, and therefore the servant is a sheep.

The genius of Launce is that he never breaks character as a fool, yet he is often the only one speaking plainly. When he describes his parting from Julia—a scene the audience never sees—he performs it with his shoe as father, his staff as sister, his hat as maid, and himself as the weeping dog. He is not Crab. He is playing Crab. And Crab, in this scene, is the only one who does not cry. The dog is stone, unmoved, pitiless—yet Launce loves him more faithfully than any of the human characters love each other. When Proteus sends him to deliver a dog as a love token to Silvia, Launce loses the dog and offers his own instead. Silvia rejects both. Proteus is furious. But Launce has already been punished enough—he took the beating meant for Crab, proving once more that his body belongs to his master’s will while his heart belongs to his dog.

Launce exits before the final reconciliation, before Valentine forgives Proteus and hands over Silvia, before Julia reveals herself and all is resolved. We do not see what becomes of him. The play leaves him at the North gate, running an errand, loyal and mocked, speaking truth in the language of the fool. He is the one constant the audience can trust—not because he is virtuous in the way the gentlemen pretend to be, but because he has no pretense at all. His loyalty costs him beatings and stocks. He offers them willingly. In a play about men who betray everything for desire, Launce’s devotion to a dog becomes the play’s most human gesture.

Key quotes

When a man’s servant shall play the cur with him, look you, it goes hard: one that I brought up of a puppy; one that I saved from drowning, when three or four 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 deliver him as a present to Mistress Silvia from my master; and I came no sooner into the dining-chamber but he steps me to her trencher and steals her capon’s leg: O, ’tis a foul thing when a cur cannot keep himself in 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 had more wit than he, to take a fault upon me that he did, I think verily he had been hanged for’t; sure as I live, he had suffered for’t; you shall judge. He thrusts me himself into the company of three or four gentlemanlike dogs under the duke’s table: he had not been there--bless the mark!--a pissing while, but all the chamber smelt him. ’Out with the dog!’ says one: ’What cur is that?’ says another: ’Whip him out’ 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 that whips the dogs: ’Friend,’ quoth I, ’you mean to whip the dog?’ ’Ay, marry, do I,’ quoth he. ’You do him the more wrong,’ quoth I; ’’twas I did the thing you wot of.’ He makes me no more ado, but whips me out of the chamber. How many masters would do this for his servant? Nay, I’ll be sworn, I have sat in the stocks for puddings he hath stolen, otherwise he had been executed; I have stood on the pillory for geese he hath killed, otherwise he had suffered for’t. Thou thinkest not of this now. Nay, I remember the trick you served me when I took my leave of Madam Silvia: did not I bid thee still mark me and do as I do? when didst thou see me heave up my leg and make water against a gentlewoman’s farthingale? didst thou ever see me do such a trick?

When a man’s servant behaves like a dog with him, it’s hard to bear: one I raised from a pup; one I saved from drowning, when three or four of his blind siblings drowned. I taught him just as you would teach a dog. I was sent to deliver him as a gift to Mistress Silvia from my master; and as soon as I walked into the dining room, he jumps onto her plate and steals the leg of her capon. Oh, it’s a disgrace when a dog can’t behave in polite company! I would have preferred, as people say, that a dog be a dog in every way. If I didn’t have more sense than him, to take the blame for something he did, I truly think he would have been hanged for it; I swear he would’ve suffered for it. You’ll see. He threw himself among three or four gentlemanly dogs under the duke’s table. He hadn’t been there—a second, I swear—before the whole room smelled him. “Get the dog out!” says one. “What dog is that?” says another. “Whip him out!” says the third. “Hang him!” says the duke. I, having smelled that scent before, knew it was Crab, and went to the guy who whips the dogs. “Friend,” I said, “you’re going to whip the dog?” “Yes, I am,” he said. “You’re doing him an injustice,” I said; “I’m the one who did the thing you’re talking about.” He didn’t argue with me, just whipped me out of the room. How many masters would do that for their servant? I swear, I’ve been put in the stocks for puddings he stole, or else he would’ve been executed. I’ve stood in the pillory for geese he killed, or else he would’ve suffered for it. You don’t think about these things now. I still remember the trick you played on me when I said goodbye to Madam Silvia: didn’t I tell you to watch me and do as I do? When did you see me raise my leg and pee against a lady’s skirt? Did you ever see me do such a thing?

Launce · Act 4, Scene 4

Launce has spent the entire scene defending his dog Crab from punishment, taking beatings himself and lying to spare the dog's life, and now he's recounting his suffering with comic pride. The monologue matters because Launce's loyalty to a thoughtless creature is more genuine than any of the gentlemen's promises to each other. It tells us that true constancy is found not in words but in action, and often in the most unexpected places.

When a man’s servant shall play the cur with him, look you, it goes hard: one that I brought up of a puppy; one that I saved from drowning, when three or four 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 deliver him as a present to Mistress Silvia from my master; and I came no sooner into the dining-chamber but he steps me to her trencher and steals her capon’s leg: O, ’tis a foul thing when a cur cannot keep himself in 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 had more wit than he, to take a fault upon me that he did, I think verily he had been hanged for’t; sure as I live, he had suffered for’t; you shall judge. He thrusts me himself into the company of three or four gentlemanlike dogs under the duke’s table: he had not been there--bless the mark!--a pissing while, but all the chamber smelt him. ’Out with the dog!’ says one: ’What cur is that?’ says another: ’Whip him out’ 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 that whips the dogs: ’Friend,’ quoth I, ’you mean to whip the dog?’ ’Ay, marry, do I,’ quoth he. ’You do him the more wrong,’ quoth I; ’’twas I did the thing you wot of.’ He makes me no more ado, but whips me out of the chamber. How many masters would do this for his servant? Nay, I’ll be sworn, I have sat in the stocks for puddings he hath stolen, otherwise he had been executed; I have stood on the pillory for geese he hath killed, otherwise he had suffered for’t. Thou thinkest not of this now. Nay, I remember the trick you served me when I took my leave of Madam Silvia: did not I bid thee still mark me and do as I do? when didst thou see me heave up my leg and make water against a gentlewoman’s farthingale? didst thou ever see me do such a trick?

When a man’s servant behaves like a dog with him, it’s hard to bear: one I raised from a pup; one I saved from drowning, when three or four of his blind siblings drowned. I taught him just as you would teach a dog. I was sent to deliver him as a gift to Mistress Silvia from my master; and as soon as I walked into the dining room, he jumps onto her plate and steals the leg of her capon. Oh, it’s a disgrace when a dog can’t behave in polite company! I would have preferred, as people say, that a dog be a dog in every way. If I didn’t have more sense than him, to take the blame for something he did, I truly think he would have been hanged for it; I swear he would’ve suffered for it. You’ll see. He threw himself among three or four gentlemanly dogs under the duke’s table. He hadn’t been there—a second, I swear—before the whole room smelled him. “Get the dog out!” says one. “What dog is that?” says another. “Whip him out!” says the third. “Hang him!” says the duke. I, having smelled that scent before, knew it was Crab, and went to the guy who whips the dogs. “Friend,” I said, “you’re going to whip the dog?” “Yes, I am,” he said. “You’re doing him an injustice,” I said; “I’m the one who did the thing you’re talking about.” He didn’t argue with me, just whipped me out of the room. How many masters would do that for their servant? I swear, I’ve been put in the stocks for puddings he stole, or else he would’ve been executed. I’ve stood in the pillory for geese he killed, or else he would’ve suffered for it. You don’t think about these things now. I still remember the trick you played on me when I said goodbye to Madam Silvia: didn’t I tell you to watch me and do as I do? When did you see me raise my leg and pee against a lady’s skirt? Did you ever see me do such a thing?

Launce · Act 4, Scene 4

Launce has spent the entire scene defending his dog Crab from punishment, taking beatings himself and lying to spare the dog's life, and now he's recounting his suffering with comic pride. The monologue matters because Launce's loyalty to a thoughtless creature is more genuine than any of the gentlemen's promises to each other. It tells us that true constancy is found not in words but in action, and often in the most unexpected places.

Why, then will I tell thee--that thy master stays for thee at the North-gate.

Then I’ll tell you--your master is waiting for you at the North gate.

Launce · Act 3, Scene 1

Launce has been rambling about his dog, and Speed finally interrupts to remind him that the real point is that Valentine is waiting. The line matters because it cuts through all the comic noise and returns to the emotional core—a master abandoned, a servant's true duty. It tells us that beneath all the folly, loyalty is what actually moves the plot.

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Hear Launce, narrated.

Synced read-along narration: every line, Launce's voice and the others, words highlighting as they're spoken.