[Enter Thurio and Musicians]

THURIO          How now, Sir Proteus, are you crept before us?

PROTEUS       Ay, gentle Thurio, for you know that love

Will creep in service where it cannot go.

THURIO Ay, but I hope, sir, that you love not here.

PROTEUS Sir, but I do, or else I would be hence.

THURIO Who, Silvia?

PROTEUS Ay, Silvia – for your sake.

THURIO I thank you – for your own. Now, gentlemen,

Let’s tune, and to it lustily a while.  (4.2.18-25)

Thurio is understandably suspicious—how now, Sir Proteus, are you crept before us? What are you doing here already, so stealthily? Proteus hastily reassures him, sort of: ay, gentle Thurio, for you know that love will creep in service where it cannot go. He picks up on Thurio’s crept with his creep: yes, love crawls if it’s not able to gain admittance, if it’s not able to serve, to do as it wishes on its feet, upright—that is, love does what it can surreptitiously if it can’t be open. (It makes him sound creepy, slinking around, under false pretences.) Thurio unsurprisingly seeks clarification and reassurance: ay—ok, alright—but I hope, sir, SIR, that you love not here. You’re not allowed to be in love here. This is my patch, you’re meant to be helping ME. Proteus pushes his advantage—he’s cleverer—and he’s going to hide in plain sight by sort of telling the truth: sir, but I do—love here—or else I would be hence. I wouldn’t be here if I didn’t love here (and love her is also implicit). (The relief of the secret lover being able to confess his love for the beloved, to say it out loud!) Thurio is alarmed: who, Silvia? You love Silvia? And Proteus pushes on: ay, Silvia! (The relief of being able to say her name!) Then a quick retreat, a covering of the tracks, maybe realizing what he’s said, the quiet part out loud, or else knowing exactly what he’s said: for your sake. Of course I love Silvia, because you love Silvia, and we’re mates, aren’t we, and I’m here to help you, aren’t I? Thurio is puzzled, and also not very bright, and also single-minded in his determination to serenade Silvia, so he sort of leaves it: I thank you—for your own (sake). Now, gentlemen—to the musicians—let’s tune, and to it lustily a while. The tuning can occupy a moment or two, and provide comedy (especially if Thurio is preparing to sing himself) while Proteus offers moral support, or accompaniment, all the while sneaking glances up at Silvia’s window. So close…