Sinbad is sentenced to be executed ; whereupon Proteus sends Sinbad to retrieve the book instead, placing himself as hostage, and Proteus's fiancée Marina ( voiced by Catherine Zeta-Jones ) goes to make sure that Sinbad succeeds.

Proteus, seeing that Marina has fallen in love with Sinbad, releases her from their engagement and sends her to join Sinbad's ship.

The outlaws head to their leader ( Valentine ), but on the way, they encounter Proteus and Julia ( still disguised as Sebastian ).

It was recorded on location in Maharashtra, India earlier in 2007 with a cast drawn from Bollywood, Indian television and the Mumbai English-speaking theatre traditions ; actors included Nadir Khan as Vishvadev ( i. e. Valentine ), Arghya Lahiri as Parminder ( Proteus ), Anu Menon as Syoni ( Silvia ), Avantika Akerkar as Jumaana / Servi ( Julia / Sebastian ), Sohrab Ardishir as The Maharaja ( Duke of Milan ) and Zafar Karachiwala as Thaqib ( Thurio ).

In Milan, Proteus finds Valentine in love with the Duke's daughter Silvia.

Despite Julia's love, Proteus falls instantly in love with Silvia and vows to win her.

Unaware of Proteus ' feelings, Valentine tells him that the Duke wants Silvia to marry the foppish but wealthy Thurio, against her wishes.

Valentine Rescuing Silvia from Proteus by William Holman Hunt ( 1851 )

Once in Milan, Julia quickly discovers Proteus ' love for Silvia, watching him attempt to serenade her.

Silvia deeply mourns the loss of Valentine, whom Proteus has told her is rumoured dead.

Proteus rescues Silvia, and then pursues her deeper into the forest.

Secretly observed by Valentine, Proteus attempts to persuade Silvia that he loves her, but she rejects his advances.

Convinced that Proteus ' repentance is genuine, Valentine forgives him and seems to offer Silvia to him.

Perhaps the most critically discussed issue in the play is the sequence, bizarre by modern Western European standards, in Act 5, Scene 4 in which Valentine seems to ' give ' Silvia to Proteus as a sign of his friendship.

" Modern scholarship however is much more divided about Valentine's actions at the end of the play, with some critics arguing that he does not offer to give Silvia to Proteus at all.

Warren cites a number of productions of the play as evidence for this argument, including Robin Phillips ' Royal Shakespeare Company ( RSC ) production at the Aldwych Theatre in 1970, where Valentine kisses Silvia, makes his offer and then kisses Proteus.

Warren also mentions Leon Rubin's 1984 Ontario production ( where the controversial line was altered to " All my love to Silvia I also give to thee "), David Thacker's 1991 Swan Theatre production, and the 1983 BBC Shakespeare television adaptation as supporting the theory that Valentine is not giving Silvia away, but is simply promising to love Proteus as much as he loves Silvia.

For example, in his 1990 edition of the play for the New Cambridge Shakespeare, Kurt Schlueter suggests that Valentine is indeed handing Silvia over to Proteus, but the audience is not supposed to take it literally ; the incident is farcical, and should be interpreted as such.

Carroll argues, like Schlueter, that Valentine is indeed giving Silvia to Proteus, but unlike Schlueter, Carroll detects no sense of farce.

William C. Carroll sees this societal belief as vital in interpreting the final scene of the play, arguing that Valentine does give Silvia to Proteus, and in so doing, he is merely acting in accordance with the practices of the day.

However, if one accepts that Valentine does not give Silvia to Proteus, as critics such as Roger Warren argue, but instead offers to love Proteus as much as he loves Silvia, then the conclusion of the play can be read as a final triumphant reconciliation between friendship and love ; Valentine intends to love his friend as much as he does his betrothed.

He was never more manifestly the Old Man of the Sea than when he was described, like Proteus, as a shapeshifter with the power of prophecy, who would aid heroes such as Heracles who managed to catch him even as he changed shapes.

Given Poseidon's connection with horses as well as the sea, and the landlocked situation of the likely Indo-European homeland, Nobuo Komita has proposed that Poseidon was originally an aristocratic Indo-European horse-god who was then assimilated to Near Eastern aquatic deities when the basis of the Greek livelihood shifted from the land to the sea, or a god of fresh waters who was assigned a secondary role as god of the sea, where he overwhelmed the original Aegean sea deities such as Proteus and Nereus.

From this feature of Proteus comes the adjective protean, with the general meaning of " versatile ", " mutable ", " capable of assuming many forms ".

The children of Proteus, besides Eidothea, include Polygonus and Telegonus, who both challenged Heracles and were killed, one of Heracles ' many successful encounters with representatives of the pre-Olympian world order.

In the Odyssey ( iv. 430ff ) Menelaus wrestles with " Proteus of Egypt, the immortal old man of the sea who never lies, who sounds the deep in all its depths, Poseidon's servant " ( Robert Fagles's translation ).

The play's king ( never seen ) is only marginally related to the " Old Man of the Sea " and should not be confused with the sea god Proteus.

The poet John Milton, aware of the association of Proteus with the Hermetic art of alchemy, wrote in Paradise Lost of alchemists who sought the philosopher's stone:

In modern times, the Swiss psychologist Carl Jung defined the mythological figure of Proteus as a personification of the unconscious, who, because of his gift of prophecy and shape-changing, has much in common with the central but elusive figure of alchemy, Mercurius.

Designed to compete with E-mu's Proteus line, the U-110's successor U-220 found its way into many professional studio racks of the day.

The run met with critical acclaim and produced such early storylines as the death of Thunderbird, the return of the Sentinels and the emergence of Phoenix, the saga of the Starjammers and the fight for control of the M ' Kraan Crystal, the resurrection of Garokk the Petrified Man, the introduction of Alpha Flight and the Proteus saga.

Silver-footed Thetis ( Ancient Greek: ), disposer or " placer " ( the one who places ), is encountered in Greek mythology mostly as a sea nymph or known as the goddess of water, one of the fifty Nereids, daughters of the ancient one of the seas with shape-shifting abilities who survives in the historical vestiges of most later Greek myths as Proteus ( whose name suggests the " first ", the " primordial " or the " firstborn ").

He was able to win her with the aid of Proteus, who told Peleus how to overcome Thetis ' ability to change her form.

Following the conclusion of the Trojan War, Menelaus sailed to Memphis, where Proteus reunited him with Helen.

Classical scholar Karl Kerenyi conflated Phorcys with the similar sea gods Nereus and Proteus.

Another character of the same name was the son of the sea god Proteus who wrestled with Heracles and lost his life in the battle.

Momus was one of three historic krewes ( with Comus of 1857 and Proteus of 1882 ) that withdrew from parading rather than identify their membership.

There, he was cared for by the Sinties, according to Iliad or by Thetis ( Apollodorus, Bibliotheke I: 3. 5 ), and there with a Thracian nymph Cabiro ( a daughter of Proteus ) he fathered a tribe called the Kaberoi.

Despite being more than 400 km in diameter Proteus has a somewhat irregular shape with several slightly concave facets and relief as high as 20 km.

Proteus is probably not an original body that formed with Neptune ; it may have accreted later from the debris created when the largest Neptunian satellite Triton was captured.

The shape of Proteus is close to a sphere with a radius of about 210 km, although deviations from the spherical shape are large — up to 20 km ; scientists believe it is about as large as a body of its density can be without being pulled into a perfect spherical shape by its own gravity.

Proteus, like the other inner satellites of Neptune, is unlikely to be an original body that formed with it, more probably having accreted from the wreak rubble that remained after Triton's capture.

File: Proteus 3D model ( mesh ). ogv | Animated 3D model of Proteus with a superimposed mesh

Change shapes with Proteus for advantages,

The Comus organization ( along with Momus and Proteus, other 19th century Krewes ) withdrew from parading rather than identify its membership.