ABSTRACT
Whilst lovers will virtually discard any agonizing heuristic qualms as to the nature of the penis, most Renaissance anatomists were instead besotted with a truly taxonomic quandary on this matter. The Two Gentlemen of Verona would indeed need such a winged tongue to defend its Priapic claim among the Shakespearean canon. The conventional ending of Two Gentlemen restores an analogous, circular sense of bankrupt wit. Shakespeare tinges the restoration of Priapism with an introverted spin set on mutability. Discussing Pico's On the Dignity of Man, Wind extracted its meaning as implying that human glory is derived from mutability. Valentine is rapt by that 'love-discourse' he professed to discard. More natural deeds are the accompaniment of Priapism, unleashed by the appearance of Silvia to both lovers. The metamorphosis of bodily Priapism into a principle of turgid, enflamed eloquence blossomed in the Renaissance. Italian authors extolled the emotional tumescence that bespoke male lovers and their verbosity.
