The plays and poems of William Shakspeare

*WU90Mfl

A B

/ / <-s

/

/ / /f£

/ / " fy>

/ M

' 0£S

><£

y ' w

' 5 ?

-'' >*-

A//

* / / - s/t.

vj. e

. :.'

THE

PLAYS AND POEMS

OF

WILLIAM SHAKSPEARE,

WITH THE

CORRECTIONS AND ILLUSTRATIONS

OF

VARIOUS COMMENTATORS:

COMPREHENDING

3U aiife of tfje fort,

AND

AN ENLARGED HISTORY OF THE STAGE,

BY

THE LATE EDMOND MALONE.

WITH A NEW GLOSSARIAL INDEX.

TH2 <pTZEG2 TPAMMATET2 HN, TON KAAAMON

AnOBPF.xriN EI2 NOTN. Vet. Auct. apud Suidam.

VOL. XXI.

LONDON:

PRINTED FOR F. C. AND J. RIVINGTON; T. EGERTON ; J. CUTHF.M, j SCATCHERI>
AND LETTERMAN ; LONGMAN, HURST, REES, ORME, AND BROWN ; CADELL
AND DAVIES; LACKINGTON AND CO. ; J.BOOKER; BLACK AND CO.; J. BOOTH ;
J. RICHARDSON; J. M. RICHARDSON ; J. MURRAY; J. HARDING ; R. H. EVANS ;
J. MAWMAN ; R. SCHOLEY ; T. EARLE ; J. BOHN J C. BROWN ; GRAY AND SON ;
R. PHENEY ; BALDWIN, CRADOCK, AND JOY ; NEWMAN AND CO. ; OGLES, DUN-
CAN, AND CO.; T. HAMILTON; W. WOOD; J. SHELDON; E. EDWARDS; WHIT-
MORE AND FENN ; W. MASON ; G. AND W. B. WHITTAKER ; SIMPKIN AND
MARSHALL; R. SAUNDERS: J. DEIGHTON AND SONS, CAMBRIDGE : WILSON
AND SON, YORK : AND STIRLING AND SLADE, FAIRBAIRN AND ANDERSON,
AND D. BROWN, EDINBURGH.

1821

C. Baldwin. Printer,
N<>w Brido-'-fieet . Lon:lnn.

■ \

8/1 5 &,

PERICLES.

TITUS ANDRONICUS.

ADDENDA.

INDEX.

293841

PERICLES.

VOL. XXT.

B

PRELIMINARY REMARKS.

J. HE story on which this play is formed, is of great antiquity. It
is found in a book, once very popular, entitled Gesta Romanorum,
which is supposed by Mr. Tyrwhitt, the learned editor of The Can-
terbury Tales of Chaucer, 1775, to have been written five hundred
years ago. The earliest impression of that work (which I have
seen) was printed in 1488 * ; in that edition the history of Appo-
lonius King of Tyre makes the 153d chapter. It is likewise related
by Gower in his Confessio Amantis, lib. viii. p. 175 — 185, edit.
1554-. The Rev. Dr. Farmer has in his possession a fragment of a
MS. poem on the same subject, which appears, from the hand-
writing and the metre, to be more ancient than Gower. The
reader will find an extract from it at the end of the play. There is
also an ancient romance on this subject, called Kyng Appolyn of
Thyre, translated from the French by Robert Copland, and printed
by Wynkyn de Worde in 1510. In 1576 William Howe had a li-
cence for printing The most excellent, pleasant, and variable His-
toric of the strange Adventures of Prince Appolonius, Lucine his
Wyfe, and Tharsa his Daughter. The author of Pericles having in-
troduced Gower in his piece, it is reasonable to suppose that he
chiefly followed the work of that poet. It is observable that the
hero of this tale is, in Govver's poem, as in the present play, called
Prince of Tyre ; in the Gesta Romanorum, and Copland's prose
Romance, he is entitled King. Most of the incidents of the play
are found in the Confessio Amantis, and a few of Gower's expres-
sions are occasionally borrowed. However, I think it is not
unlikely, that there may have been (though I have not met with it)
an early prose translation of this popular story, from the Gesta
Romanorum, in which the name of Appolonius was changed to
Pericles ; to which, likewise, the author of this drama may have
been indebted. In 1607 was published at London, by Valentine
Sims, "The Patterne of painful Adventures, containing the most
excellent, pleasant, and variable Historie of the strange Accidents
that befell unto Prince Appolonius, the Lady Lucina his Wife, and
Tharsia his Daughter, wherein the Uncertaintie of this World and
the fickle State of Man's Life are lively described. Translated into
English by T. Twine, Gent." I have never seen the book, but it

* There are several editions of the Gesta Romanorum before
M88. Douce.

B 2

4. PRELIMINARY REMARKS.

was without doubt a republication of that published by W. Howe

Pericles was entered on the Stationers* books, May 2, 1608, by
Edward Blount, one of the printers of the first folio edition of
Shakspeare's plays ; but it did not appear in print till the follow-
ing year, and then it was published not by Blount, but by Henry
Gosson ; who had probably anticipated the other, by getting a
hasty transcript from a playhouse copy. There is, I believe, no
play of our author's, perhaps I might say, in the English language,
so incorrect as this. The most corrupt of Shakspeare's other
dramas, compared with Pericles, is purity itself. The metre is
seldom attended to ; verse is frequently printed as prose, and the
grossest errors abound in almost every page. I mention these cir-
cumstances, onlv as an apology to the reader for having taken
somewhat more licence with this drama than would have been
justifiable, if the copies of it now extant had been less disfigured
by the negligence and ignorance of the printer or transcriber. The
numerous corruptions that are found in the original edition in
1609, which have been carefully preserved and augmented in all
the subsequent impressions, probably arose from its haying been
frequently exhibited on the stage. In the four quarto editions it is
called " the much admired " play of Pericles, Prince of Tyre ; and
it is mentioned by many ancient writers as a very popular per-
formance ; particularly, by the author of a metrical pamphlet, en-
titled Pymlico, or Run Redcap, in which the following lines are

found :

" Amaz'd I stood, to see a crowd

" Of civil throats stretch'd out so loud :

" As at a new play, all the rooms

" Did swarm with gentles mix'd with grooms ;

" So that I truly thought all these

" Came to see Shore or Pericles."
In a former edition of this play I said, on the authority of ano-
ther person, that this pamphlet had appeared in 1596 ; but I have
since met with the piece itself, and find that Pymlico, &c. was
published in 1609. It might, however, have been a republication.
The prologue to an old comedy called The Hog has lost his
Pearl, 1614-, likewise exhibits a proof of this play's uncommon suc-
cess. The poet, speaking of his piece, says :

" , if it prove so happy as to please,

" We'll say, 'tis fortunate, like Pericles?'
By fortunate, I understand highly successful. The writer can
hardlv be supposed to have meant that Pericles was popular rather
from accident than merit ; for that would have been but a poor
eulogy on his own performance.

An obscure poet, however, in 1652, insinuates that this drama
was ill received, or at least that it added nothing to the reputation
of its author :

PRELIMINARY REMARKS. 5

" But Shakespeare, the plebeian driller, was
" Founder'd in his Pericles, and must not pass."

Verses by J. Tatham, prefixed to Richard Brome's
Jovial Crew, or The Merry Beggars, 4to. 1652.
The passages above quoted show that little credit is to be given
to the assertion contained in these lines ; yet they furnish us with
an additional proof that Pericles, at no very distant period after
Shakspeare's death, was considered as unquestionably his per-
formance.

In The Times Displayed in Six Sestiads, 4to. 1646, dedicated
by S. Shephard to Philip Earl of Pembroke, p. 22, Sestiad VI.
stanza 9, the author thus speaks of our poet and the piece before
us :

" See him, whose tragick scenes Euripides
" Doth equal, and with Sophocles we may
fl Compare great Shakspeare ; Aristophanes
" Never like him his fancy could display i
" Witness The Prince of Tyre, his Pericles :
" His sweet and his to be admired lay
" He wrote of lustful Tarquin's rape, shows he
" Did understand the depth ofpoesie."
For the division of this piece into scenes I am responsible, there
being none found in the old copies. — See the notes at the end of
the play. Malone.

The History of Appolonius King of Tyre was supposed by Mark
Welser, when he printed it in 1595, to have been translated from
the Greek a thousand years before. [Fabr. Bib. Gr. v. p. 821.]
It certainly bears strong marks of a Greek original, though it is
not (that I know) now extant in that language. The rythmical
poem, under the same title, in modern Greek, was re-translated (if
I may so speak) from the Latin — amo Aixnvixrjj sig P&jOLaoojv
vXavaav. Du Fresne, Index Author, ad Gloss. Grcec. When
Welser printed it, he probably did not know that it had been pub-
lished already (perhaps more than once) among the Gesta Roma-
norum. In an edition, which I have, printed at Rouen in 1521, it
makes the 154th chapter. Towards the latter end of the xiith
century, Godfrey of Viterbo, in his Pantheon or Universal Chro-
nicle, inserted this romance as part of the history of the third An-
tiochus, about 200 years before Christ. It begins thus [MS.
Reg. 14, c. xi.]:

Filia Seleuci regis stat clara decore,
Matreque defuncta pater arsit in ejus amore.
Res habet effectum, pressa puella dolet.
The rest is in the same metre, with one pentameter only to two
hexameters.

Gower, by his own acknowledgment, took his story from the
Pantheon ; as the author (whoever he was) of Pericles, Prince of
Tyu\ professes to have followed Gower. Tyrwhitt.

6 PRELIMINARY REMARKS.

Chaucer also refers to this story in The Man of Lawe's Pro-
logue :

" Or elles of Tyrius Appolonius,
" How that the cursed king Antiochus
" Beraft his doughter of hire mai derhe
" That is so horrible a tale for to rede," &c
There are three French translations of this tale, viz. — " La
Chronique d'Appollin, Roy de Thyr ;" 4to. Geneva, bl.l. no date;
—and " Plaisante et agreable Histoire d'Appollonius Prince de
Thyr en Affrique, et Roi d'Antioche ; traduit par Gilles Corozet,"
8vo. Paris, 1.530; — and (in the seventh volume of the Histoires
Tragiques, &c. 12mo. 1604s par Francois Belle-Forest, &c.)
'* Accidens diuers aduenus a Appollonie Roy des Tyriens : ses mal-
heurs sur mer, ses pertes de femme et fille, et la fin heureuse de
tous ensemble."

In the introduction to this last novel, the translator says :—
" Ayant en main une histoire tiree du Grec, et icelle ancienne,
comme aussi je l'ay recuellie d'un vieux livre ecrit a. la main," &c.
But the present story, as it appears in Belle-forest's collection,
(vol. vii.p. 113, et seq.) has yet a further claim to our notice, as
it had the honour (p. 148-9) of furnishing Dryden with the outline
of his Alexdander's Feast. Langbaine, &c. have accused this
great poet of adopting circumstances from the Histoires Tragiques,
among other French novels ; a charge, however, that demands
neither proof nor apology.

The popularity of this tale of Apollonius, may be inferred from
the very numerous MSS. in which it appears.

Both editions of Twine's translation are now before me. Thomas
Twine was the continuator of Phaer's Virgil, which was left im-
perfect in the year 1558.

In Twine's book our hero is repeatedly called — " Prince of
Tyrus." It is singular enough that this fable should have been
re-published in 1607, the play entered on the books of the Sta-
tioners' Company in 1608, and printed in 1609.

I must still add a few words concerning the piece in question.
Numerous are our unavoidable annotations on it. Yet it has
been so inveterately corrupted by transcription, interpolation, &c.
that were it published, like the other dramas of Shakspeare, with
scrupulous warning of every little change which necessity compels
an editor to make in it, his comment would more than treble the
quantity of his author's text. If, therefore, the silent insertion
or transposition of a few harmless syllables which do not affect
the value of one sentiment throughout the whole, can obviate
those defects in construction and harmony which have hitherto
molested the reader, why should not his progress be facilitated by
such means, rather than by a wearisome appeal to remarks that
disturb attention, and contribute to diminish whatever interest
might otherwise have been awakened by the scenes before him?

PRELIMINARY REMARKS. 7

If any of the trivial supplements, &c. introduced by the present
editor [Mr. Steepens] are found to be needless or improper, let him
be freely censured by his successors, on the score of rashness or
want of judgment. Let the Nimrods of ifs and ands pursue him;
let the champions of nonsense that bears the stamp of antiquity,
couch their rusty lances at the desperate innovator. To the
severest hazard, on this account, he would more cheerfully ex-
pose himself, than leave it to be observed that he had printed
many passages in Pericles without an effort to exhibit them (as
they must have originally appeared) with some obvious meaning,
and a tolerable flow of versification. The pebble which aspires
to rank with diamonds, should at least have a decent polish be-
stowed on it. Perhaps the piece here exhibited has merit insuffi-
cient to engage the extremest vigilance of criticism. Let it on
the whole, however, be rendered legible, before its value is esti-
mated, and then its minutiae (if they deserve it) may become
objects of contention. The old perplexed and vitiated copy of
the play is by no means rare ; and if the reader, like Pericles,
should think himself qualified to evolve the intricacies of a riddle,
be it remembered, that the editor is not an Antiochus, who
would willingly subject him to such a labour.

That I might escape the charge of having attempted to conceal
the liberties taken with this corrupted play, have I been thus
ample in my confession. I am not conscious that in any other
drama I have changed a word, or the position of a syllable, with-
out constant and formal notice of such deviations from our au-
thor's text.

To these tedious prolegomena may I subjoin that, in conse-
quence of researches successfully urged by poetical antiquaries,
I should express no surprize if the very title of the piece before
us were hereafter, on good authority, to be discarded ? Some
lucky rummages among papers long hoarded up, have discovered
as unexpected things as an author's own manuscript of an ancient
play. That indeed of Tancred and Gismund, a much older piece,
(and differing in many parts from the copy printed in 1592) is
now before me.

It is almost needless to observe that our dramatick Pericles has
not the least resemblance to his historical namesake; though the
adventures of the former are sometimes coincident with those of
Pyrocles, the hero of Sidney's Arcadia ; for the amorous, fugi-
tive, shipwrecked, musical, tilting, despairing Prince of Tyre is
an accomplished knight of romance, disguised under the name
of a statesman, —

" Whose resistless eloquence
" Wielded at will a fierce democratic,
" Shook th' arsenal, and fulmin'd over Greece."
As to Sidney's Pyrocles, — Tros, Tyriusve,—

8 PRELIMINARY REMARKS.

" The world was all before him, where to choose
" His place of rest."
but Pericles was tied down to Athens, and could not be removed
to a throne in Phoenicia. No poetick licence will permit a unique,
classical, and conspicuous name to be thus unwarrantably trans-
ferred. A Prince of Madagascar must not be called ^Eneas, nor
a Duke of Florence Mithridates ; for such peculiar appellations
would unseasonably remind us of their great original possessors.
The playright who indulges himself in these wanton and injudi-
cious vagaries, will always counteract his own purpose. Thus,
as often as the appropriated name of Pericles occurs, it serves
but to expose our author's gross departure from established man-
ners and historick truth ; for laborious fiction could not designedly
produce two personages more opposite than the settled demagogue
of Athens, and the vagabond Prince of Tyre.

It is remarkable, that many of our ancient writers were ambi-
tious to exhibit Sidney's worthies on the stage ; and when his
subordinate agents were advanced to such honour, how happened it
that Pyrocles, their leader, should be overlooked ? Musidorus,
(his companion,) Argalus and Parthenia, Phalantus and Eudora,
Andromana, &c. furnished titles for different tragedies ; and per-
haps Pyrocles, in the present instance, was defrauded of a like
distinction. The names invented or employed by Sidney, had
once such popularity, that they were sometimes borrowed by
poets who did not profess to follow the direct current of his fables,
or attend to the strict preservation of his characters. Nay, so
high was the credit of this romance, that many a fashionable word
and glowing phrase selected from it, was applied, like a Prome-
thean torch, to contemporary sonnets, and gave a transient life
even to those dwarfish and enervate bantlings of the reluctant
Muse.

I must add, that the Appolyn of the Story-book and Gower,
could have been rejected only to make room for a more favourite
name; yet, however conciliating the name of Pyrocles might
have been, that of Pericles could challenge no advantage with
regard to general predilection.

I am aware that a conclusive argument cannot be drawn from
the false quantity in the second syllable of Pericles ; and yet if
the Athenian was in our author's mind, he might have been
taught by repeated translations from fragments of satiric poets in
Sir Thomas North's Plutarch, to call his hero Pericles ; as for
instance, in the following couplet :

" O Chiron, tell me, first, art thou indeede the m;:n

" Which did instruct Pericles thus? make aunswer if thou can "
&c. &c.

Again, in George Gascoigne's Steele Glas :

" Pericles stands in rancke amongst l he rest."

PRELIMINARY REMARKS. 9

Again, ibidem :

" Pericles was a famous man of warre."

Such therefore was the poetical pronunciation of this proper
name, in the age of Shakspeare. The address of Perseus to a
youthful orator — Magni pupille Pericli, is familiar to the ear of
every classical reader.

By some of the observations scattered over the following pages,
it will be proved that the illegitimate Pericles occasionally adopts
not merely the ideas of Sir Philip's heroes, but their very words
and phraseology. All circumstances therefore considered, it is
not improbable that our author designed his chief character to be
called Pyrocles, not Pericles *, however ignorance or accident
might have shuffled the latter (a name of almost similar sound)
into the place of the former. The true name, when once cor-
rupted or changed in the theatre, was effectually withheld from
the publick ; and every commentator on this play agrees in a be-
lief that it must have been printed by means of a copy " far as
Deucalion off " from the manuscript which had received Shak-
speare's revisal and improvement. Steevens.

Mr. Steevens's opinion that Shakspeare designed his hero to
be called Pyrocles not Pericles, is strongly confirmed by an epi-
gram of Richard Flecknoe, 1670:

" On the play of the Life of Pyrocles :
" Ars longa, vita brevis ; as they say,
" But who inverts that saying, made this play." Malone.

* Such a theatrical mistake will not appear improbable to the
reader who recollects that in the fourth scene of the first Act of
The Third Part of King Henry VI. instead of " tigers of Hir-
cania," — the players have given us — " tigers of Arcadia." In-
stead of " an Ate" in King John — ** an ace." Instead of " Pan-
thino," in The Two Gentlemen of Verona, — " Panthion." In-
stead of " Polydore," in Cymbeline, — "Paladour," was continued
through all the editions till that of 1773. The corrupt state of
this play, as it was originally printed, is certainly such as Mr. Stee-
vens has described ; yet even here it may perhaps have been shown
that, in some instances, that gentleman's dashing style of emenda-
tion was unnecessary; and, lam afraid, this edition of Shakspeare
will afford too many proofs of his not having been so scrupulous as
he has described himself in making no alterations in other plays
without notice to the reader. Boswell.

PERSONS REPRESENTED.

Antiochus, King of Antioch.

Pericles, Prince of Tyre.

Helicanus, 1 . T , - rr
^ • }■ two Lords of lyre.

Escanes, ) J

Simonides, King of Pentapolis1.

Cleon, Governor of Tharsus.

Lysimachus, Governor of Mitylene.

Cerimon, a Lord of Ephesus.

Thaliard, a Lord of Antioch.

Philemon, Servant to Cerimon.

Leonine, Servant to Dionyza. Marshal.

A Pandar, and his Wife. Boult, their Servant.

Gower, as Chorus.

The Daughter of Antiochus.

Dionyza, Wife to Cleon.

Thaisa, Daughter to Simonides.

Marina, Daughter to Pericles and Thatsa.

Lychorida, Nurse to Marina. Diana.

Lords, Ladies, Knights, Gentlemen, Sailors, Pirates,
Fishermen, and Messengers, &c.

SCENE, dispersedly in various Countries.

1 Pentapolis.] This is an imaginary city, and its name might
have been borrowed from some romance. We meet indeed in
history with Pentapolitana rcgio, a country in Africa, consisting of
jive cities; and from thence perhaps some novelist furnished the
sounding title of Pentapolis, which occurs likewise in the 37th
chapter of Kyng Appolyn of Tyre, 1510, a-s well as in Gower, the
Gesta Romanorum, and Twine's translation from it.

It should not, however, be concealed, that Pentapolis is also
found in an ancient map of the world, MS. in the Cotton Library,
British Museum, Tiberius, b. v.

That the reader may know through how many regions the
scene of this drama is dispersed, it is necessary to observe that
Antioch was the metropolis of Syria: Tyre, a city of Phoenicia in
Asia; Tarsus, the metropolis of Cicilia, a country of Asia Minor;
Mitylene, the capital of Lesbos, an island in the iEgean Sea;
and Ephesus, the capital of Ionia, a country of the lesser Asia.

Steevens.

PERICLES,

PRINCE OF TYRE.

ACT I.

Enter Gojuer.

Before the Palace of Antioch.

To sing a song that old was sung 2,

From ashes ancient Gower is come 3 ;

Assuming man's infirmities,

To glad your ear, and please your eyes.

It hath been sung at festivals,

On ember-eves, and holy ales

4.

i — that old was sung,] I do not know that old is by any
author used adverbially. We might read :

" To sing a song ofo\<\ was sung — ."
i. e. that of old, &c.

But the poet is so licentious in the language which he has at-
tributed to Gower in this piece, that I have not ventured to make
any change. Malone.

I have adopted Mr. Malone's emendation, which was evidently
wanted. Steeven'j.

3 — Gower is come ;] The defect of metre (sung and come
being no rhymes) points out, in my opinion, that we should read;

" From ashes ancient Gower sprung ; "
alluding to the restoration of the Phoenix. Steevens.

■» It hath been sung at festivals,
On ember-eves, and holy-ALF.s ;] i. e. says Dr. Farmer, by
whom this emendation was made, church-ales. The old copy has
— holy days. Gower's speeches were certainly intended to rhyme
throughout. Malone.

7

12 PERICLES, act I.

And lords and ladies of their lives 5
Have read it for restoratives :
The purpose is to make men glorious6;
Et bonum quo antiquius, eo melius.

s — of their lives — ] The old copies read — in their lives. The
emendation was suggested by Dr. Farmer. Malone.

1 cannot think it necessary. ' Lords and ladies, who lived long
ago, whilst they lived, read it with delight.' Boswell.

6 'Purpose to make glorious; &c] Old copy :

" The purchase \s to make men glorious ; " &c. Steevens.

There is an irregularity of metre in this couplet. The same
variation is observable in Macbeth :

' * I am for the air ; this night I'll spend
" Unto a dismal and a fatal end."

The old copies read— The purchase, &c. Mr. Steevens sug-
gested this emendation of purpose for purchase. Malone.

Being now convinced that all the irregular lines detected in
The Midsummer-Night's Dream, Macbeth, and Pericles have
been prolonged by interpolations which afford no additional beau-
ties, I am become more confident in my attempt to mend the pas-
sage before us. Throughout this play it should seem to be a very
frequent practice of the reciter, or transcriber, to supply words
which, for some foolish reason or other, were supposed to be
wanting. Unskilled in the language of poetry, and more espe-
cially in that which was clouded by an affectation of antiquity,
these ignorant people regarded many contractions and ellipses, as
indications of somewhat accidentally omitted ; and while they in-
serted only monosyllables or unimportant words in imaginary
vacancies, they conceived themselves to be doing little mischief.
Liberties of this kind must have been taken with the piece under
consideration. The measure of it is too regular and harmonious
in many places, for us to think it was utterly neglected in the
rest. As this play will never be received as the entire composi-
tion of Shakspeare, and as violent disorders require medicines of
proportionable violence, I have been by no means scrupulous in
striving to reduce the metre to that exactness which I suppose it
originally to have possessed. Of the same license I should not
have availed myself, had I been employed on any of the undis-
puted dramas of our author. Those experiments which we are
forbidden to perform on living subjects, may properly be at-
tempted on dead ones, among which our Pericles may be
reckoned; being dead, in its present form, to all purposes of the
stage, and of no very promising life in the closet.
" The purpose is to make men glorious,

" Bi bonum quo antiquius co melius." The original saying is —
Bonum r/uo communius, co melius.

5

act i. PRINCE OF TYRE. 13

If you, born in these latter times,
When wit's more ripe, accept my rhymes,
And that to hear an old man sing,
May to your wishes pleasure bring,
I life would wish, and that I might
Waste it for you, like taper- light. —
This Antioch then, Antiochus the great
Built up ; this city, for his chiefest seat 7;

As I suppose these lines, with their context, to have originally
stood as follows, I have so given them :

" And lords and ladies, of their lives
'* Have read it as restoratives :
" "Purpose to make men glorious ;
" Et quo antiquiuSy eo melius."
This innovation may seem to introduce obscurity ; but in hud-
dling words on each other, without their necessary articles and
prepositions, the chief skill of our present imitator of antiquated
rhyme appears to have consisted.
Again, old copy :

" This Antioch then, Antiochus the great
" Built up ; this city, for his chiefest seat."
I suppose the original lines were these, and as such have printed
them :

" This city then, Antioch the great
" Built up for his chiefest seat."
Another redundant line offers itself in the same chorus :
** Bad child, tvorse father ! to entice his own — ."
which I also give as I conceive it to have originally stood, thus :

" Bad father ! to entice his own ."

The words omitted are of little consequence, and the artificial
comparison between the guilt of the parent and the child, has
no resemblance to the simplicity of Gower's narratives. The
lady's frailty is sufficiently stigmatized in the ensuing lines. See
my further sentiments concerning the irregularities of Shak-
speare's metre, in a note on The Tempest, vol. xv. p. 84«, n. 9 ;
and again in vol. xi. p. 182, n. 1. Steevens.

See them opposed in the Essay on Shakspeare's Versification,
vol. ii. Boswell.

7 — for his chiefest seat ;] So, in Twine's translation : —
" The most famous and mighty King Antiochus, which builded
the goodlie city of Antiochia in Syria, and called it after his
owne name, as the chiefest seat of all his dominions." Steevens.

14 PERICLES, act i.

The fairest in all Syria ;

(I tell you what mine authors say 8 :)

This king unto him took a pheere 9.

Who died and left a female heir,

So buxom, blith, and full of face \

As heaven had lent her all his grace ;

With whom the father liking took,

And her to incest did provoke ;

Bad child, worse father ! to entice his own

To evil, should be done by none.

By custom, what they did begin2,

Was, with long use, account no sin'3.

The beauty of this sinful dame

Made many princes thither frame4,

8 (I tell you what mine authors say :)] This is added in imita-
tion of Gower's manner, and that of Chaucer, Lydgate, &c. who
often thus refer to the original of these tales. — These choruses
resemble Gower in few other particulars. Steevens.

9 — unto him took a pheere,] This word, which is frequently
used by our old poets, signifies a mate or companion. The old
copies have peer. For the emendation I am answerable. Through-
out this piece, the poet, though he has not closely copied the lan-
guage of Gower's poem, has endeavoured to give his speeches
somewhat of an antique air. Malone.

1 — full of face,] i.e. completely, exuberantly beautiful.
A full fortune, in Othello, means a complete, a large one.

Malone.

2 By custom, what they did begin,] All the copies read, un-
intelligibly— But custom, &c. Malone.

3 — account no sin.] Account for accounted. So, in King
John, ivaft for wafted :

" Than now the English bottoms have waft o'er."

Steevens.
Again, in Gascoigne's Complaint of Philomene, 1575 :
" And by the lawde of his pretence
" His lewdness was acquit.''
The old copies read accounVd. For the correction I am an-
swerable. Malone.

4 — thither fuame,] i.e. shape or direct their course thither.

Malone.

act I. PRINCE OF TYRE. 15

To seek her as a bed -fellow,
In marriage pleasures play-fellow :
Which to prevent he made a law,
(To keep her still, and men in awe \)
That whoso ask'd her for his wife,
His riddle told not, lost his life :
So for her many a wight 6 did die,
As yon grim looks do testify 7.

5 (To keep her still, and men in awe,)] The meaning, I
think, is not ' to keep her and men in awe,' but ' to keep her still
to himself, and to deter others from demanding her in marriage.'

Malone.
Mr. Malone has properly interpreted this passage. So, in
Twine's translation : " — which false resemblance of hateful mar-
riage, to the intent that he might alvcaies enjoy, he invented, &c.
to drive away all suitors that should resort unto her, by propound-
ing," &c. Steevens.

6 — many a wight — ] The quarto 1609 reads — many of
wight. Corrected in the folio. Malone.

Perhaps the correction is erroneous, and we should read, nearer
to the traces of the old copy —

" So for her many of might did die — ."
i. e. many men of might. Thus, afterwards :

" Yon sometime^moK.? princes," &c.
The «> in the quarto 1609, might be only an m reversed.

Steevens.

7 As yon grim looks do testify.] Gower must be supposed
here to "point to the heads of those unfortunate wights, which,
he tells us, in his poem, were fixed on the gate of the palace at
Antioch :

" The fader, whan he understood

" That thei his doughter thus besought,

'* With all his wit he cast and sought

" Howe that he mighte fynde a lette ;

" And such a statute then he sette,

" And in this wise his lawe taxeth,

" That what man his doughter axeth,

" But if he couth his question

" Assoyle upon suggestion,

" Of certeyn thinges that befell,

" The which hewolde unto him tell,

" He shulde in certeyn lese his hede :

" And thus there were many dede,

16 PERICLES, Jet i.

What now ensues8, to the judgment of your

eye
I give, my cause who best can justify 9.

[Exit.

SCENE I.

Antioch. A Room in the Palace.

Enter Antiochus, Pericles, and Attendants.

Ant. Young prince of Tyre1, you have at large
receiv'd

" Her heades stonding on the gate ;

" Till at last, long and late,

" For lack of answere in this wise

" The remenant, that wexen wyse,

" Eschewden to make assaie." Malone.
" As yon grim looks do testify." This is an indication to me of
the use of scenery in our ancient theatres. I suppose the audi-
ence were here entertained with a view of a kind of Temple Bar at
Antioch. Steevens.

8 What now ensues.] The folio — What ensues. The original
copy has — What novo ensues. Malone.

9 — my cause who best can justify.] i. e. which (the judg-
ment of your eye) best can justify, i e. prove its resemblance to
the ordinary course of nature. So, afterwards :

"When thou shalt kneel, and justify in knowledge — ."
But as no other of the four next chorusses concludes with a
heroick couplet, unless through interpolation, I suspect that the
two lines before us originally stood thus :
" What now ensues,
" I give to the judgment of your eye,
" My cause who best can justify."
In another of Gower's monologues there is an avowed hemis-
tich :

" And yet he rides it out. Now please you wit
" The epitaph is for Marina writ
" By wicked Dionyza."
See Act IV. Sc. IV. Steevens.

1 Young prince of Tyre,] It does not appear in the present
drama, that the father of Pericles is living. By prince, therefore,
throughout this play, we are to understand prince regnant. See

sc. i. PRINCE OF TYRE 17

The danger of the task you undertake.

Per. I have, Antiochus, and with a soul
Embolden'd with the glory of her praise,
Think death no hazard, in this enterprize.

x [Mustek.

Ant. Bring in our daughter, clothed like a bride 2,
For the embracements even of Jove himself;
At whose conception, (till Lucina reign'd,)
Nature this dowry gave, to glad her presence 3,

Act II. Sc. IV. and in the epitaph Act III. Sc. III. In the
Gesta Romanorum, Apollonius is king of Tyre ; and Appolyn, in
Copland's translation from the French, has the same title. Our
author, in calling Pericles a prince, seems to have followed Gower.

Malone.
In Twine's translation he is repeatedly called " Prince of Tyrus."

Steevens.

2 Bring in our daughter, clothed like a bride,] All the copies
read :

" Musick, bring in our daughter, clothed like a bride — ."
The metre proves decisively that the word musick was a marginal
direction, inserted in the text by the mistake of the transcriber or
printer. Malone.

The very frequent occurrence of Alexandrines in our author's
plays, and those of his contemporaries, makes me doubt if the me-
tre proves any thing decisively. It does not seem probable, that
the musick would commence at the close of Pericles's speech,
without an order from the king. Boswell.

3 For the embracements even of Jove himself;
At whose conception, (till Lucina reign'd,)

Nature this dowry gave, to glad her presence, &c] It ap-
pears to me, that by her conception, Shakspeare means her birth;
and that till is here used in the sense of •while. So, in The Scorn-
ful Lady, Loveless says to Morecraft :
" Will you persevere ? "
To which he replies :

" Till I have a penny."
That is, whilst I have one.

And on the other hand, 'while sometimes signifies till ; as in Wit
at Several Weapons, Pompey says :

" I'll lie under the bed while midnight," &c.
And in Massinger's Old Law, Simonides says to Cleanthes :
" I'll trust you tvhile your father's dead ; "
Meaning, ' until he be dead ; ' the words being used indiscrimi-
nately for each other in the old dramatick writers : and it is to be
VOL. XXI. C

18 PERICLES, act 1.

The senate-house of planets all did sit,
To knit in her their best perfections 4.

observed that they are both expressed in Latin by the same word,

donee. ,

The meaning of the passage, according to my apprehension, is
this ._« At whose birth, during the time of her mother's labour,
over which Lucina was supposed to preside, the planets all sat in
council in order to endow her with the rarest perfections." And
this agrees with the principles of judicial astrology, a folly preva-
lent in Shakspeare's time ; according to which the beauty, the
disposition, as well as the fortune of all human beings was sup-
posed to depend upon the aspect of the stars at the time they
were born, not at the time in which they were conceived.

M. Mason.

Perhaps the error lies in the word conception, and instead of it
we ought to read concession. The meaning will then be obvious,
and especially if we adopt Mr. M. Mason's sense of the preposition
till.—" Bring in (says Antiochus) my daughter habited like a
bride for Jove himself, at whose concession (i. e. by whose grant or
leave,) nature bestowed this dowry upon her— While she was
struggling into the world, the planets held a consultation how they
should unite in her the utmost perfection their blended influence
could bestow." — It should be observed, that the preposition at
sometimes signifies in consequence of. Thus, in The Comedy of

Errors :

" Whom I made lord of me, and all I had,
" At your important letters."
This change of a word allows the sense for which Mr. M. Mason
contends, and without his strange supposal, that by her conception
was meant her birth.

The thought is expressed with less obscurity in King Appolyn of
Tyre, 1510 : " — For nature had put nothynge in oblyvyon at the
fourminge of her, but as a chef operacyon had set her in the syght
of the worlde." Steevens.

In the speech now before us, the words whose and her may, I
think, refer to the daughter of Antiochus, without greater licence
than is taken by Shakspeare in many of his plays. So, in Othello :
" Our general cast us thus early for the love of his Desdemona :
•whom [i. e. our general] let us not therefore blame, he hath not
yet made wanton the night with her." I think the construction is,
" at whose conception the senate-house of planets all did sit,"&c.
and that the words, M till Lucina reign'd, Nature," &c. are paren-
thetical. Malone.

* The senate-house of planets all did sit,
To knit in her their best perfections.] I suspect that a rhyme

sc. i. PRINCE OF TYRE. 19

Enter the Daughter of Antiochus.

Per. See, where she comes, apparell'd like the
spring,
Graces her subjects, and her thoughts the king
Of every virtue gives renown to men 5 !

was here intended, and that we ought to transpose the words in
the second line, as follows :

" The senate-house of planets all did sit,
" Their best perfections in her to knit."
To the contagion of this couplet perhaps we owe the subsequent
fit of rhyming in which Pericles indulges himself, at the expence
of readers and commentators.

The leading thought, indeed, appears to have been adopted
from Sidney's Arcadia, book ii : " The senate-house of the planets
was at no time so set for the decreeing of perfection in a man," &c.
Thus also, Milton, Paradise Lost, viii. 511 :

" all heaven,

11 And happy constellations, on that hour
" Shed their selectest influence."
The sentiment of Antiochus, however, is expressed with less
affectation in Julius Caesar :
" — — the elements

" So mix'd in him, that nature might stand up,
" And say to all the world, This was a man." Stkevens.
s See, where she comes, &c] In this speech of Pericles, a
transposition perhaps is necessary. We might therefore read :
" See where she comes apparell'd like the king,
■'* Graces her subjects, and her thoughts the spring
" Of every virtue," &c.
Antiochus had commanded that his daughter should be clothed
in a manner suitable to the bride of Jove ; and thus dressed in
royal robes, she may be said to be apparell'd like the king.

After all, I am dissatisfied with my own conjecture, and cannot
help suspecting some deep corruption in the words of Pericles.
With what propriety can a lady's thoughts be styled — " the king
of every virtue? " &c. Let the reader exert his sagacity on this
occasion. — In a subsequent scene, Jupiter is called the " king of
thoughts ; " and in King Henry IV. Part I. Douglas tells Hotspur
that he is the " king of honour ; " but neither of these passages
will solve our present difficulty. We might read :

" and her thoughts the iving

" Of every virtue," &c.
For in All's Well That Ends Well, we have "a virtue of a good

iving.

c 2

20 PERICLES, act i.

Her face, the book of praises, where is read
Nothing but curious pleasures 6, as from thence

That every virtue may borrow wings (i. e. derive alacrity) from
the sentiments of a young, beautiful, and virtuous woman, is a
truth that cannot be SeniS. Pericles at this mstant, supposes
the daughter of Antiochus to be as good as she is fair. 1 he pas-
sage indeed, with another change as slight, may convey as obvious

a TheTomes (says Pericles) adorned with all the colours of the
spring ; the Graces are proud to enroll themselves among her sub-
JePc"sf and the king, (i. e. the chief) of eveiy virtue that ennobles
humanity, impregnates her mind : m

£' Graces her subjects, m her thoughts the king

" Of every virtue," &c. ' ,, . , lf

In short, she has no superior in beauty, yet still she is herselt
under the dominion of virtue. . .

But having already stated my belief that this passage is incura-
bly depraved, I must now add, that my present attempts to re-
store it are, even in my own judgment, as decidedly abortive.

OTEEVENS.

It would be a tame, and almost a ludicrous expression to say of
a young princess, that she was "apparell'd like the king That
her thoughts were the king of every virtue, that is, that she was
in full possession of every virtue, does not seem to me peculiarly
harsh. Boswell. .

6 Her face, the book of praises, where is read
Nothino- but curious pleasures,] In what sense a lady s face
can be styled a book of praises (unless by a very forced construction
it be understood to mean an aggregate of what is praiseworthy,) I
profess mv inability to understand.

A seemingly kindred thought occurs in a MS. play, entitled The

Second Maiden's Tragedy : .

" Tyrant. Thy honours with thy daughter s love shall rise,
«« I shall road thy dcservings in her eyes.

« Helvetia*. O may they be eternal boohs of pleasure
" To show you all delight." Steevens.
So, in Romeo and Juliet: \

" Read o'er the volume of young Pans /ace,
" And find delight writ there with beauty's pen."
Again, in Macbeth :

" Your face, my thane, is as a book, where men
" May read strange matters."
Again, in Love's Labour's Lost : ,.,,,-

" Studv his bias leaves, and makes his book thine eyes,
« Where all those pleasures live, that art could compre-
hend."

so. i. PRINCE OF TYRE. 21

Sorrow were ever rasd 7, and testy wrath

Could never be her mild companion 8.

Ye gods that made me man, and sway in love,

That have inflam'd desire in my breast9.

To taste the fruit of yon celestial tree,

Or die in the adventure, be my helps,

As I am son and servant to your will,

To compass such a boundless happiness ! '

Ant. Prince Pericles,

Per. That would be son to great Antiochus.

Ayr. Before thee stands this fair Hesperides '",

The same image is also found in his Rape of Lucrece, and in
Coriolanus. Praises is here used for beauties, the cause of admi-
ration and praise. Malone.

So, in The Elder Brother, Charles says to Angelina, —

" She has a face looks like a story ;

" The story of the heavens looks very like her."

M. Mason.

7 Sorrow were ever ras'd,] Our author has again this ex-
pression in Macbeth :

" Rase out the written troubles of the brain."
The second quarto, 1619, and all the subsequent copies, read
—rackt. The first quarto — racte, which is only the old spelling
of ras'd ; the verb being formerly written race. Thus, in Dido,
Queen of Carthage, by Marlowe and Nashe, 1594? :

" But I will take another order now,

" And race the eternal register of time."
The metaphor in the preceding line —

" Her face, the book of praises,"
shows clearly that this was the author's word. Malone.

8 and TESTY WKATH

Could never be her mild companion.] This is a bold ex-
pression : — testy wrath could not well be a mild companion to
any one ; but by her mild companion, Shakspeare means the
companion of her mildness. M. Mason.

9 That have inflam'd desire in my breast,] It should be re-
membered, that desire was sometimes used as a trisyllable.

Malone.

1 To compass such a boundless happiness!] All the old
copies have landless. The reading of the text was furnished by
Mr. Rowe. Malone.

2 Before thee stands this fair Hesperides,] In the enumera-
tion of the persons prefixed to this drama, which was first made

22 PERICLES, act j.

With golden fruit, but dangerous to be touch'd ;
For death-like dragons here affright thee hard :
Her face, like heaven, enticeth thee to view
Her countless glory 3, which desert must gain :
And which, without desert, because thine eye
Presumes to reach, all thy whole heap must die 4.
Yon sometime famous princes5, like thyself,

by the editor of Shakspeare's plays in 1664, and copied without
alteration by Mr. Rowe, the daughter of Antiochus is, by a ridi-
culous mistake, called Hesperides, an error to which this line
seems to have given rise. Shakspeare was not quite accurate in
his notion of the Hesperides, but he certainly never intended to
give this appellation to the princess of Antioch : for it appears
from Love's Labour's Lost, Act IV. Scene the last, that he
thought Hesperides was the name of the garden in which the
golden apples were kept ; in which sense the word is certainly
used in the passage now before us :

" For valour, is not love a Hercules,
" Still climbing trees in the Hesperides? "
In the first quarto edition of this play, this lady is only called
Antiochus' daughter. If Shakspeare had wished to have intro-
duced a female name derived from the Hesperides, he has else-
where shown that he knew how such a name ought to be formed ;
for in As You Like It, mention is made of " Hesperia, the prin-
cess' gentlewoman." Malone.

3 Her countless glory,] The countless glory of a face seems
a harsh expression ; but the poet, probably, was thinking of the
stars, the countless eyes of heaven, as he calls them in p. 26.

Malone.
I read— A countless glory,— i. e. her face, like the firmament,
invites you to a blaze of beauties too numerous to be counted.
In the first book of the Corinthians, ch. xv. : " —there is another
glory of the stars." Steevens.

4 — all thy whole heap must die,] i. e. thy whole mass must
be destroyed. There seems to have been an opposition intended.
" Thy whole heap," thy body, must suffer for the offence of a
part, ' thine eye. The word bulk, like heap in the present passage,
was used for body by Shakspeare and his contemporaries. See
vol. vii. p. 261, n. 1.

The old copies read — " all the whole heap." I am answerable
for this correction. Malone.

i Yon sometime famous princes, &c] See before p. 15, n. 7.

Malone.
So, in Twine's translation : * — and his head was set up at

sc. i. PRINCE OF TYRE. 23

Drawn by report, advent'rous by desire,

Tell thee with speechless tongues, and semblance

pale,
That, without covering, save yon field of stars 6 ,
They here stand martyrs, slain in Cupid's wars ;
And with dead cheeks advise thee to desist 7,
For going on death's net8, whom none resist.

Per. Antiochus, I thank thee, who hath taught
My frail mortality to know itself,
And by those fearful objects to prepare
This body, like to them, to what I must9:
For death remember'd, should be like a mirror,
Who tells us, life's but breath ; to trust it, error.
I'll make my will then ; and as sick men do,
Who know the world, see heaven, but feeling woe J,

the gate, to terrifie others that should come, who beholding
there the present image of death, might aduise them from assay-
ing any such danger. These outrages practised Antiochus, to
the end he might continue in filthy incest with his daughter."

Steevens.

6 — without covering, save yon field of stars,] Thus, Lucan,
lib. vii. :

coelo tegitur qui non habet urnam. Steevens.

7 And with dead cheeks advise thee to desist,] Thus, in
Romeo and Juliet :

" ■ think upon these gone :

" Let them affright thee." Steevens.

8 For going on death's net,] Thus the old copies, and rightly.
For going means the same as for fear of going. So, in The
Two Gentlemen of Verona, Lucetta says of the fragments of a
letter:

" Yet here they shall not lie for catching cold."
i. e. for fear of it. See vol. iv. p. 26, n. 3.

It were easy to subjoin a croud of instances in support of the
original reading. Steevens.

I would read — in death's net. Percy.

9 — like to them, to what I must :] That is, — to prepare this
body for that state to which I must come. Ma lone.

1 Who know the world, see heaven, but feeling woe, &c] The
meaning may be — " I will act as sick men do ; who having had
experience of the pleasures of the world, and only a visionary and
distant prospect of heaven, have neglected the latter for the former ;
but at length feeling themselves decaying, grasp no longer at
temporal pleasures, but prepare calmly for futurity. Malone.

24 PERICLES, act i.

Gripe not at earthly joys, as erst they did ;
So I bequeath a happy peace to you,
And all good men, as every prince should do ;
My riches to the earth from whence they came ;
But my unspotted fire of love to you.

[To the Daughter of Antiochus.
Thus ready for the way of life or death,
I wait the sharpest blow.

Ant. Scorning advice. — Read the conclusion
then 2 :
Which read and not expounded, 'tis decreed,
As these before thee thou thyself shalt bleed.

Daugh. In all, save that, may'st thou prove
prosperous !
In all, save that, I wish thee happiness 3 !

Malone has justly explained the meaning of this passage, but
he has not shown how the words, as they stand, will bear that
meaning : Some amendment appears to me absolutely neces-
sary, and that which I should propose is to read —
" Who now in the world see heaven," &c.
That is, who at one time of their lives find heaven in the plea-
sures of the world, but after having tasted of misfortune, begin
to be weaned from the joys of it. Were we to make a further
alteration, and read — " seek heaven," instead of — "see heaven,"
the expression would be stronger ; but that is not necessary.

M. Mason.
2 Read the conclusion then ;] This and the two following
lines are given in the first quarto to Pericles ; and the word
Antiochus, which is now placed in the margin, makes part of his
speech. There can be no doubt that they belong to Antiochus.

Malone.
These lines in the old copies stand as follows :
" Thus ready for the way of life or death
" I wayte the sharpest blow (Antiochus)
" Scorning aduice ; read the conclusion then :
" Which read," &c.
Unbroken measure, as well as the spirit of this passage, per-
haps decide in favour of its present arrangement. Steevens.
Mr. Steevens reads :

" I wait the sharpest blow, Antiochus,
" Scorning advice.

"Ant. Read the conclusion then :" Boswell.

> In all, save that, &c] Old copy:

sc. i. PRINCE OF TYRE. 25

Per. Like a bold champion, I assume the lists,
Nor ask advice of any other thought
But faithfulness, and courage 4.

[He reads the Riddle b .]

/ am no viper, yet I feed

On mother s flesh, which did me breed:

" Of all said yet, may'st thou prove prosperous !
" Of all said yet, I wish thee happiness ! "

'Said is here apparently contracted for assay d, i. e. tried, at-
tempted. Percy.

She cannot wish him more prosperous, with respect to the ex-
position of the riddle, than the other persons who had attempted
it before ; for as the necessary consequence of his expounding it
would be the publication of her own shame, we cannot suppose
that she should wish him to succeed in that. The passage is evi-
dently corrupt, and should probably be corrected by reading the
lines thus :

" In all, save that, may'st thou prove prosperous !
" In all, save that, I wish thee happiness ! "

Her father had just said to Pericles, that his life depended on
his expounding the riddle ; and the daughter, who feels a regard
for the Prince, expresses it by deprecating his fate, and wishing
him success in every thing except that. She wishes that he may
not expound the riddle, but that his failing to do so may be at-
tended with prosperous consequences. When we consider how
licentious Shakspeare frequently is in the use of his particles, it
may not perhaps be thought necessary to change the word of in
the beginning of these lines, for the word in. There is no great
difference in the traces of the letters between said and save ; and
the words that and yet have one common abbreviation, viz. y'.

M. Mason.

I have inserted Mr. M. Mason's conjecture in the text, as it
gives a more reasonable turn to the speech than has hitherto
been supplied ; and because it is natural to wish that the only
words assigned to this lady, might have some apt and determinate
meaning. Steevens.

4 Nor ask advice of any other thought
But faithfulness, and courage.] This is from the third book
of Sidney's Arcadia : " Whereupon asking advice of no other
thought but faithfulnesse and courage, he presently lighted from
his own horse," &c. edit. 1633, p. 253. Steevens.

* He reads the Riddle.] The riddle is thus described in

20 PERICLES, act i.

I sought a husband, in which labour,
I found that kindness in a father6.
He's father, son, and husband mild,
I mother, wife, and yet his child.
How they may be, and yet in two,
As you will live, resolve it you 7.

Sharp physick is the last 8 : but O you powers !
That give heaven countless eyes to view men's acts 9,
Why cloud they not1 their sights perpetually,

Gower : " Questio regis Antiochi. — Scelere vehor, materna carne
vescor, quero patrem meum, matris mese virum, uxoris mese filium."
" With felonie I am upbore,
" I ete, and have it not forlore,
fi My moders fleshe whose husbonde
" My fader for to seche I fonde,
" Which is the sonne eke of my wife,
" Hereof I am inquisitife.
" And who that can my tale save,
•' All quite he shall my doughter have.
" Of his answere and if he faile,
" He shall be dead withouten faile." Malone.
6 I sought a husband, in which labour,
I found that kindness in a father,'] The defective rhyme
which labour affords to father, and the obscurity indeed of the
whole couplet, induce me to suppose it might originally have stood
thus :

" I sought a husband ; in which rather
" I found the kindness of a father."
In tvhich (i. e. in whom, for this pronoun anciently related to
persons as well as things) I rather found parental than marital
love. Steevens.

? As you will live, resolve it you.'] This duplication is common
enough to ancient writers. So, in King Henry IV. Part I.

" I'll drink no more ; for no man's pleasure I." Malone.

8 Sharp physick is the last :] i. e. the intimation in the last
line of the riddle that his life depends on resolving it ; which he
properly enough calls sharp physick, or a bitter potion. Percy.

9 That give heaven countless eyes to view men's acts,] So, in
A Midsummer- Night's Dream :

■who more engilds the night,

i

" Than all yon fiery oes and eyes of light.'' Malone.

countless eyes ■

Why cloud they not — ] So, in Macbeth :
6

sc. i. PRINCE OF TYRE. 27

If this be true, which makes me pale to read it ?
Fair glass of light, I lov'd you, and could still,

[Takes hold of the hand of the Princess.
Were not this glorious casket stor'd with ill :
But I must tell you, — now, my thoughts revolt ;
For he's no man on whom perfections wait 2
That knowing sin within, will touch the gate.
You're a fair viol, and your sense the strings ;
Who, finger' d to make man his lawful musick 3,
Would draw heaven down, and all the gods to

hearken ;
But, being play'd upon before your time,
Hell only danceth at so harsh a chime4;
Good sooth, I care not for you.

Ant. Prince Pericles, touch not, upon thy life 5,
For that's an article within our law,
As dangerous as the rest. Your time's expir'd ;
Either expound now, or receive your sentence.

Per. Great king,

" — — stars, hide your fires,
" Let not light see," &c. Steevens.
1 For he's no man on whom perfections wait,] Means no more
than — he's no honest man, that knowing, &c. Malone.

3 — to make man — ] i. e. to produceybr man, &c. Malone.
« But, &c.
Hell only danceth at so harsh a chime :] Somewhat like this
occurs in Milton's Ode at a Solemn Musick :

" disproportion'd sin

" Jarr'd against nature's chime, and with harsh din

" Broke the fair musick ." Steevens.

5 Prince Pericles, touch not, upon thy life.] This is a stroke
of nature. The incestuous king cannot bear to see a rival touch
the hand of the woman he loves. His jealousy resembles that of
Antony :

" to let him be familiar with

" My play-fellow, your hand ; this kingly seal,
" And plighter of high hearts." Steevens.
Malefort, in Massinger's Unnatural Combat, expresses the like
impatient jealousy, when Beaufort touches his daughter Theocrine,
to whom he was betrothed. M. Mason.

28 PERICLES, act i.

Few love to hear the sins they love to act ;
'Twould 'braid yourself too near for me to tell it.
Who has a book of all that monarchs do,
He's more secure to keep it shut, than shown :
For vice repeated, is like the wand'ring wind,
Blows dust in others' eyes, to spread itself6 ;
And yet the end of all is bought thus dear,
The breath is gone, and the sore eyes see clear :
To stop the air would hurt them 7. The blind mole
casts

6 For vice repeated, is like the wand'ring wind,
Blows dust in others' eyes, to spread itself;] That is, which

blows dust, &c. ....

The man who knows of the ill practices of princes, is unwise if
he reveals what he knows ; for the publisher of vicious actions re-
sembles the wind, which, while it passes along, blows dust into
men's eyes. — When the blast is over, the eye that has been af-
fected by the dust, suffers no farther pain, but can see as clearly as
before ; so by the relation of criminal acts, the eyes of mankind
(though they are affected, and turn away with horror,) are opened,
and see clearly what before was not even suspected : but by expos-
ing the crimes of others, the relater suffers himself ; as the breeze
passes away, so the breath of the informer is gone ; he dies for his
' temeritv. Yet, to stop the course or ventilation of the air, would
hurt the eyes ; and to prevent informers from divulging the crimes
of men would be prejudicial to mankind.

Such, I think, is the meaning of this obscure passage.

Malone.

i The breath is gone, and the sore eyes see clear :
To stop the air would hurt them.] Malone has mistaken the
meaning of this part of the speech is Pericles -.—There should be
no stop after the word clear, that line being necessarily connected
with the following words ; and the meaning is this : " The breath
is gone, and the eyes, though sore, see clear enough to stop for
the future the air that would annoy them."

Malone supposes the sentence to end with the first of these
lines, and makes the other a general political aphorism, not per-
ceiving that, " to stop the air would hurt them ; " means only to
** stop the air that would hurt them ; " the pronoun being omitted ;
an ellipsis frequent not only in poetry, but in prose.

Pericles means only, by this similitude, to show the danger of
revealing the crimes of princes ; for as they feel themselves hurt by
5

sc. i. PRINCE OF TYRE. 29

Copp'd hills 8 towards heaven, to tell, the earth is

throng'd
By man's oppression 9 ; and the poor worm doth die

forV.
Kings are earth's gods ; in vice their law's their will ;
And if Jove stray, who dares say Jove doth ill ?
It is enough you know ; and it is fit,
What being more known grows worse, to smother

it.
All love the womb that their first beings bred,
Then give my tongue like leave to love my head.

the publication of their shame, they will, of course, prevent a repe-
tition of it, by destroying the person who divulged it : He pursues
the same idea in the instance of the mole, and concludes with re-
questing that the king would —

" Give his tongue like leave to love his head."
That is, that he would not force his tongue to speak what, if
spoken, would prove his destruction.

In the second scene Pericles says, speaking of the King :
" And what may make him blush in being known,
" He'll stop the course by which it might be known."
Which confirms my explanation. M. Mason.

8 Copp'd hills — ] i. e. rising to atop or head. So, in P. Hol-
land's translation of the eleventh book of Pliny's Natural History,
"And few of them have cops or crested tufts upon their heads."

Copped Hall, in Essex, was so named from the lofty pavilion on
the roof of the old house, which has been since pulled down. The
upper tire of masonry that covers a wall is still called the copping
or coping. High-crowned hats were anciently called copatain
hats. Steevens.

9 — the earth is wrong'd

By man's oppression ;•] Old copies — throng'd. For this
change I am answerable. Steevens.

The old reading is more forcible. The earth is oppressed by the
injuries which crowd upon her. So, in the Tatler, as quoted by
Johnson in his Dictionary in voc. : " His mother could not
longer bear the agitation of so many passions as thronged upon
her." Boswell.

1 — and the poor worm doth die for't,] I suppose he means
to call themole, (which suffers in its attempts to complain of man's
injustice) a poor xvorm, as a term of commiseration. Thus, in
The Tempest, Prospero speaking to Miranda, says :
" Poor worm! thou art infected."

The mole remains secure till he has thrown up those hillocks,

30 PERICLES, act i.

Ant. Heaven, that I had thy head2! he has

found the meaning ;
But I will gloze with him3. [Aside.'] Young prince

of Tyre,
Though by the tenour of our strict edict4,
Your exposition misinterpreting 5,
We might proceed to cancel of your days 6 ;
Yet hope, succeeding from so fair a tree

which, by pointing out the course he is pursuing, enable the ver-
min-hunter to catch him. Steevens.

1 Heaven, that I had thy head !] The speaker may either mean
to say, " O, that I had thy ingenuity ! " or, " O, that I had thy
head, sever' d from thy body ! " The latter, I believe, is the mean-
ing. Malone.

3 But I will gloze with him.] So, Gower :

" The kinge was wondre sorie tho,

" And thought, if that he said it oute,

" Then were he shamed all aboute :

" With slie wordes and ixithjelle

" He sayth : My sonne I shall thee telle,

" Though that thou be of littel witte," &c. Malone.

4 — our strict edict,] The old copy has — your strict edict.
Corrected in the folio. Malone.

5 Your exposition misinterpreting,] Your exposition of the
riddle being a mistaken one ; not interpreting it rightly.

Malone.
— to cancel of your days ;] The quarto, 1609, reads — to
counsel of your days ; which may mean, ' to deliberate how long
you shall be permitted to live.' But I believe that counsel was
merely an error of the press, which the editor of the folio, 1664-,
corrected by reading — to cancel offyoux days. The substitution
oioffiox qf\s unnecessary ; for cancel may have been used as a sub-
stantive. " We might proceed to the cancellation or destruction
of your life." Shakspeare uses the participle cancell'd in the
sense required here, in his Rape of Lucrece, 1594 :
" An expir'd date, cancell'd ere well begun."
The following lines in King Richard III. likewise confirm the
reading that has been chosen :

" Cancel his bond of life, dear God, I pray,
" That I may live to say, the dog is dead." Malone.
To omit the article was formerly a practice not uncommon. So,
in Titus Andronicus : "Ascend, fair queen, Pantheon," i.e. the
Pantheon. Steevens.
Again, in King Lear :

" Hot questrists after him, met him at gate." Malone.

sc. i. PRINCE OF TYRE. 31

As your fair self, doth tune us otherwise ;
Forty days longer we do respite you7;
If by which time our secret be undone,
This mercy shows, we'll joy in such a son ;
And until then, your entertain shall be,
As doth befit our honour, and your worth 8.

[Exeunt Antiochus, his Daughter, and
Attendants.
Per. How courtesy would seem to cover sin!
When what is done is like an hypocrite,
The which is good in nothing but in sight.
If it be true that I interpret false,
Then were it certain, you were not so bad,
As with foul incest to abuse your soul ;
Where now you're both a father and a son 9,

1 Forty days longer we do respite you ;] In The Gesta Roma-
norum, Confessio Amantis, and The History of King Appolyn,
thirty days only are allowed for the solution of this question. It
is difficult to account for this minute variation, but by supposing
that our author copied some translation of the Gesta Romanorum
hitherto undiscovered. Malone.

It is thirty days in Twine's translation. Forty, as I have ob-
served in a note on some other play (I forget which) was the fami-
liar term when the number to be mentioned was not of arithmeti-
cal importance. Steevens.

Mr. Steevens's note maybe found in vol. ix. p. 421. Boswell.

8 — your entertain shall be,

As doth befit our honour, and your worth.] I have no doubt
but that these two lines were intended to rhyme together in our au-
thor's copy, where originally they might have stood thus :

" . your entertain shall be,

" As doth befit our honour, your degree."
Or,-

" As doth our honour Jit and your degree."
So, in King Richard III. Act III. Sc. VII. :

" Bestjittetk my degree, and your condition." Steevens.

9 Where now you're both a father and a son.] Where, in this
place, has the power of whereas. So, in The Two Gentlemen of
Verona :

" And where I thought the remnant of mine age
" Should have been cherish'd by her childlike duty,
" I am now full resolv'd to take a wife."

32 PERICLES, act j.

By your untimely claspings with your child,

(Which pleasure fits an husband not a father;)

And she an eater of her mother's flesh,

By the defiling of her parent's bed ;

And both like serpents are, who though they

feed
On sweetest flowers, yet they poison breed.
Antioch, farewell ! for wisdom sees, those men
Blush not in actions blacker than the night,
Will shun no course to keep them from the

light J*
One sin, I know, another doth provoke;
Murder's as near to lust, as flame to smoke.
Poison and treason are the hands of sin,
Ay, and the targets, to put off the shame :
Then, lest my life be cropp'd to keep you clear 2,
By flight I'll shun the danger which I fear. [Exit.

Where (and with the same meaning) occurs again in Act II.
Sc. III. of this play :

" Wh ere now his son's a glow-worm," &c.

Steevens.

1 — for wisdom sees, those men

Blush not in actions blacker than the night,
Will shun no course to keep them from the light.] All the
old copies read— wilf shew, but shew is evidently a corruption.
The word that I have ventured to insert in the text, in its place,
was suggested by these lines in a subsequent scene, which appear
to me strongly to support this emendation :

" And what may make him blush in being known,
" He'll stop the coursehy which it might be known."
We might read 'schew for eschew, if there were any instance of
such an abbreviation being used.

The expression is here, as in many places in this play, ellip-
tical : ' for wisdom sees, that those who do not blush to commit
actions blacker than the night, will not shun any course in order
to preserve them from being made publick.' Malonk.

2 — to keep you clear,] To prevent any suspicion from fall-
ing on you. So, in Macbeth :

" always thought, that 1

" Require a clearness." Malone.

sc. i. PRINCE OF TYRE. 33

Re-enter Antiochus.

Ant. He hath found the meaning 3, for the which
we mean
To have his head.

He must not live to trumpet forth my infamy,
Nor tell the world, Antiochus doth sin
In such a loathed manner :
And therefore instantly this prince must die ;
For by his fall my honour must keep high.
Who attends on us there ?

Enter Thaliard*.

Thal. Doth your highness call?

Ant. Thaliard, you're of our chamber 5, and our

mind
Partakes her private actions 6 to your secresy :
And for your faithfulness we will advance you.
Thaliard, behold, here's poison, and here's gold ;
We hate the prince of Tyre, and thou must kill

him ;
It fits thee not to ask the reason why,
Because we bid it. Say, is it done 7 ?

* He hath found the meaning,] So, in Twine's book : " Apol-
lonius prince of Tyre hath found out the solution of my question ;
wherefore take shipping," &c. Steevens.

4 — Thaliard.'] This name is somewhat corrupted from Tha-
liarch, i. e. T/ialiarchus, as it stands in Twine's translation.

Steevens.

5 Thaliard, you're of our chamber, &c] So, in Twine's trans-
lation : " Thaliarchus, the only faithfull and trustie minister of
my secrets," &c. The rest of the scene is formed on the same
original. Steevens.

0 Partakes her private actions — ] Our author in the Win-
ter's Tale uses the word partake in an active sense, for partici-
pate :

" ■ your exultation

" Partake to every one." Malone.

1 — Say, is it done ?] We might point differently :

" It fits thee not to ask the reason why :
" Because we bid it, say is it done ? " Malone.
VOL. XXI. D

34 PERICLES, act i.

Thal. My lord,

Tis done.

Enter a Messenger.

Ant. Enough.
Let your breath cool yourself, telling your haste 8.
Mess. My lord, prince Pericles is fled.

[Exit Messenger.
Ant. As thou

Wilt live, fly after : and, as 9 an arrow, shot
From a well-experienc'd archer, hits the mark
ovsj His eye doth level at, so/ ne'er return,
^ Unless thou say, Prince Pericles is dead.
Thal. My lord, if I
Can get him once within my pistol's length,
I'll make him sure : so farewell to your highness.

[Exit.
Ant. Thaliard, adieu ! till Pericles be dead,
My heart can lend no succour to my head \

[Exit.

8 Lest your breath, &c] Old copy:

" Let your breath cool yourself, telling your haste."
This passage is little better than nonsense, as it stands, and
evidently requires amendment. — The words are addressed, not to
the Messenger, but to Thaliard, who has told the King that he
may consider Pericles as already dead ; to which the King re-
plies—

" Enough ;

" Lest your breath cool yourself, telling you haste."
That is, ' Say no more of it, lest your breath, in describing
your alacrity, should cool your ardour.' The words let and lest
might easily have been confounded. M. Mason.

The words are evidently addressed to the Messenger, and are
much in the style of many other passages in Shakspeare, where
those who come in to report intelligence are generally represented
as entering hastily. Malone.

9 — and, as — ] Thus the folio. The quarto reads — and like
an arrow. Malone.

1 My heart can lend no succour to my head.] So, the King in
Hamlet :

sc. n. PRINCE OF TYRE. 35

SCENE II.
Tyre. A Room in the Palace.

Enter Pericles, Helicanus, and other Lords.

Per. Let none disturb us : Why should this
" >- change of thoughts 'y
The sad companion, dull-ey'd melancholy 3,
-By-me so us'd a guest 4s{ not an hour,

" till I know 'tis' done,

" How ere my haps, my joys were ne'er begun." Malone.
* — Why should this charge of thoughts ?] The quarto 1609
reads — chage. The emendation was suggested by Mr. Steevens.
The folio 1664, for chage substituted change. Change is substituted
for charge in As You Like It, 1623, Act I. Sc. III. and in Corio-
lanus, Act V. Sc. III. :

Thought was formerly used in the sense of melancholy.

Malone.
In what respect are the thoughts of Pericles changed? I would
read, " — charge of thoughts," i. e. weight of them, burthen,
pressure of thought. So afterwards in this play:
" Patience, good sir, even for this charge."
The first copy reads chage.

Although — thought, in the singular number, often means me-
lancholy, in the plural, I believe, it is never employed with that
signification. Steevens.

Change of thoughts, it seems, was the old reading, which I
think preferable to the amendment. By change of thoughts,
Pericles means, that change in the disposition of his mind — that
unusual propensity to melancholy and cares, which he afterwards
describes, and which made his body pine, and his soul to languish.
There appears, however, to be an error in the passage ; we should
leave out the word should, which injures both the sense and the
metre, and read :

" Let none disturb us : why this change of thoughts ? "

M. Mason.
J The sad companion, dull-ey'd melancholy,] So, in The
Comedy of Errors :

" Sweet recreation barr'd, what doth ensue
" But moody and dull Melancholy,

" Kinsman to grim and comfortless despair? " Malone.
" — dull-ey'd melancholy." The same compound epithet
occurs in The Merchant of Venice :

" I'll not be made a soft and dull-ey'd fool." Steevens.

T) 2

36 PERICLES, act i.

In the day's glorious walk, or peaceful night,
(The tomb where grief should sleep,) can breed me

quiet!
Here pleasures court mine eyes, and mine eyes

shun them,
And danger, which I feared, is at Antioch,
Whose arm seems far too short to hit me here :
Yet neither pleasure's art can joy my spirits,
Nor yet the other's distance comfort me.
Then it is thus : the passions of the mind,
That have their first conception by mis-dread,
Have after-nourishment and life by care ;
And what was first but fear what might be done 4,
Grows elder now, and cares it be not done5.
And so with me ; — the great Antiochus
('Gainst whom I am too little to contend,
Since he's so great 6, can make his will his act,)
Will think me speaking, though I swear to silence ;
Nor boots it me to say, I honour him 7,
If he suspect I may dishonour him :
And what may make him blush in being known,
He'll stop the course by which it might be known ;
With hostile forces he'll o'erspread the land,
And with the ostent of war will look so huge 8,

4 — but fear what might be done,] But fear of what might
happen. Malone.

i — and cares it be not done.] And makes provision that it
may not be done. Malone.

6 Since he's so great,] Perhaps we should read :

" Since he, so great," &c.
otherwise the latter part of the line will be elliptical. Steevens.

7 — to say, I honour him,] Him was supplied by Mr. Rowe
for the sake of the metre. Malone.

8 And with the ostent, &c] Old copies —

u And with the stent of war will look so huge."

Steevens.

Should not this be :

" And with tk' ostent of war," &c. ? Tyrwhitt.
The emendation made by Mr. Tyrwhitt is confirmed by a pas-
sage in The Merchant of Venice :

5c. //. PRINCE OF TYRE. 37

Amazement shall drive courage from the state ;
Our men be vanquish'd, e'er they do resist,
And subjects punish'd, that ne'er thought offence :
Which care of them, not pity of myself,
(Who wante no more but as the tops of trees,
Which fence the roots they grow by, and defend

them,)
Makes 9 both my body pine, and soul to languish,
And punish that before, that he would punish.

" Like one well studied in a sad ostent,
" To please his grandara."
Again, in King Richard II. :

" With ostentation of despised arms." Malone.
Again, and more appositely, in Chapman's translation of Homer's
Batrachomuomachia :

" Both heralds bearing the ostents of war."
Again, in Decker's Entertainment of James 1. 1604- :
" And why you bear, alone, th' ostent ofwarre."

Steevens.
9 Which care of them, &c] Old copy —
" Which care of them, not pity of myself,
" (Who once no more but as the tops of trees,
" Which fence the roots they grow by, and defend them,)
" Makes," &c.

I would read — Who am no more, &c. Faemer.

Pericles means to compare the head of a kingdom to the upper
branches of a tree. As it is the office of the latter to screen the
roots they grow by, so it is the duty of the former to protect his
subjects, who are no less the supporters of his dignity.
So, in King Henry VI. Part III. :

" Thus yields the cedar, &c.

" Whose top branch over-peer'd Jove's spreading tree,
" And kept low shrubs from winter's powerful wind."

Steevens.

II Once more " must have been a corruption. I formerly thought
the poet might have written — " Who owe no more," but am now
persuaded that he wrote, however ungrammatically, — Who wants
no more, i. e. which self wants no more; has no other wish or
desire, but to protect its subjects. The transcriber's ear, I sup-
pose, deceived him in this as in various other instances. It
should be remembered that self was formerly used as a substan-
tive, and it is so used at this day by persons of an inferior rank,
who frequently say — his self. Hence, I suppose, the author
wrote ivants rather than tvant. Malone.

4

38 PERICLES, act i.

1 Lord. Joy and all comfort in your sacred

breast .

2 Lord. And keep your mind, till you return to

us,
Peaceful and comfortable !

Hel. Peace, peace, my lords, and give experience

tongue.
They do abuse the king, that flatter him :
For flattery is the bellows blows up sin ;
The thing'the which is flatter'd, but a spark,
To which that breath gives heat and stronger

glowing 1 ;
Whereas reproof, obedient, and in order,
Fits kings, as they are men, for they may err.
When signior Sooth 2 here does proclaim a peace,
He flatters you, makes war upon your life :
Prince, pardon me, or strike me, if you please ;
I cannot be much lower than my knees.

Per. All leave us else ; but let your cares o'er-

look
What shipping, and what lading's in our haven,
And then return to us. [Exeunt Lords.~] Helicanus,

thou
Hast moved us : what seest thou in our looks ?
Hel. An angry brow, dread lord.
Per. If there be such a dart in prince's frowns,

1 To which that breath, &c] i. e. the breath of flattery. The
old copy reads— that spark ; the word (as Mr. Steevens has ob-
served,) being accidentally repeated by the compositor. He would
read — that wind. M alone.

This passage seems to be corrupt, as it stands, and the sense
requires that we should read :

" To which that blast gives heat and stronger glowing."

Steevens agrees with me in the necessity of some amendment,
but proposes to read wind, which I think not so proper a word as
blast. M. Mason.

1 When signior Sooth — ] A near kinsman of this gentleman
is mentioned in The Winter's Tale : " — and his pond fish'd by
his next neighbour, by sir Smile, his neighbour." Malone.

st. //. PRINCE OF TYRE. 39

How durst thy tongue move anger to our face ?

Hel. How dare the plants look up to heaven,
from whence
They have their nourishment a ?

Per. Thou know'st I have power

To take thy life.

Hel. [Kneeling^] I have ground the axe myself;
Do you but strike the blow.

Per. Rise, pr'ythee rise ;

Sit down, sit down ; thou art no flatterer :
I thank thee for it ; and high heaven forbid,
That kings should let their ears hear their faults

hid4!
Fit counsellor, and servant for a prince,
Who by thy wisdom mak'st a prince thy servant,
What would'st thou have me do ?

Hel. With patience bear

Such griefs as you do lay upon yourself.

Per. Thou speak'st like a physician, Helicanus ;
Who minister'st a potion unto me,
That thou would'st tremble to receive thyself.
Attend me then : I went to Antioch,

3 How dare the plants look un to heaven, from whence
They have their nourishment?] Thus the quarto 1609, Mr.
Rowe, &c. read :

" How dare the planets look up unto heaven
" From whence they have their nourishment? "
It would puzzle a philosopher to ascertain the quality of pla-
netary nourishment, or to discover how planets, which are already
in heaven, can be said to look up to it. Steevens.
- 4 That kings should let their ears hear their faults hid !]
Heaven forbid, that kings should stop their ears, and so prevent
them from hearing their secret faults ! — To let formerly signified
to hinder.

So, in Hamlet :

" By heaven I'll make a ghost of him that lets me."
Again, in Tancred and Gismund, 1592 :

" Nor base suspect of aught to let his suit." Malone.
I am not clear, but that let is here used in its ordinary sense :
" Forbid it, heaven, (says Pericles,) that kings should suffer their
ears to hear their failings palliated ! " Holt White.

40 PERICLES, act l.

Where, as thou know'st, against the face of death,
I sought the purchase of a glorious beauty,
From whence an issue I might propagate,
Are arms to princes, and bring joys to subjects6.
Her face was to mine eye beyond all wonder ;
The rest (hark in thine ear,) as black as incest ;
Which by my knowledge found, the sinful father
Seem'd not to strike, but smooth 7 : but thou

know'st this,
'Tis time to fear, when tyrants seem to kiss.
Which fear so grew in me, I hither fled,
Under the covering of a careful night,

6 From whence an issue I might propagate,
Are arms to princes, and bring joys to subjects.] From
whence I might propagate an issue that are arms, &c. Malone.

I once imagined that a line was wanting to complete the sense
of this passage, and that the deficiency might be supplied as

follows :

" a glorious beauty,

'• From whence an issue I might propagate ;
" For royal progeny are general blessings,
" Bring arms to princes, and to subjects joy.
" Her face," &c.
Influenced, however, by the subsequent remark of Mr. M.
Mason, I have recovered the sense for which he contends, by
omitting one word in the corrupted line, and transposing others.

Steevens.
Mr. Steevens reads :

" Bring arms to princes, and to subjects joys." Boswell.
The meaning of this passage is clearly this : " From whence I
might propagate such issue, as bring additional strength to
princes, and joy to their subjects." The expression is certainly
faulty ; but it seems to be the fault of the author, not the printer.
I believe it was written as it stands. M. Mason.

1 Seem'd not to strike, but smooth :] To smooth formerly
signified to flatter. See note on " — smooth every passion," in
King Lear, vol. x. p. 93, n. 7. Malone.

To smooth in this place means to stroke. In the same sense
we should understand the word in Milton's Comus, v. 251 :

" smoothing the raven down

" Of darkness, till it smil'd."
They say in some counties smooth — instead of stroke, the cat.

Holt White.

sc. n. PRINCE OF TYRE. 41

Who seem'd my good protector ; and being here,
Bethought me what was past, what might succeed.
I knew him tyrannous ; and tyrants' fears
Decrease not, but grow faster than their years 8 :
And should he doubt it, (as no doubt he doth 9,)
That I should open to the listening air,
How many worthy princes' bloods were shed,
To keep his bed of blackness unlaid ope, —
To lop that doubt, he'll fill this land with arms,
And make pretence of wrong that I have done him ;
When all, for mine, if I may call't, offence,
Must feel war's blow, who spares not innocence a :
Which love to all (of which thyself art one,
Who now reprov'st me for it)

Hel. Alas, sir !

Per. Drew sleep out of mine eyes, blood from
my cheeks,
Musings into my mind, a thousand doubts
How I might stop this tempest, ere it came ;
And finding little comfort to relieve them,

8 —than their years :] Old copy — the years. Their suspi-
cions outgrow their years ; a circumstance sufficiently natural to
veteran tyrants. The correction is mine. Steevens.

9 And should he doubt it, (as no doubt he doth,)] The
quarto 1 609 reads :

" And should he doo't, as no doubt he doth — ."
from which the reading of the text has been formed. The repe-
tition is much in our author's manner, and the following words,
to lop that doubt, render this emendation almost certain.

Malone.

Here is an apparent corruption. I should not hesitate to read
— doubt on't — or, — doubt it. To doubt is to remain in suspense
or uncertainty. — Should he be in doubt that I shall keep this secret,
(as there is no doubt but he is,) why, to " lop that doubt," i. e.
to get rid of that painful uncertainty, he will strive to make me
appear the aggressor, by attacking me first as the author of some
supposed injury to himself. Steevens.

x — who spares not innocence :] Thus the eldest quarto.
All the other copies read corruptly :

" — who fears not innocence." Malone.

42 PERICLES,

ACT 1.

I thought it princely charity to grieve them3.

Hel. Well, my lord, since you have given me
leave to speak,
Freely I'll speak. Antiochus you fear,
And justly too, I think, you fear the tyrant,
Who either by publick war, or private treason,
Will take away your life.
Therefore, my lord, go travel for a while,
Till that his rage and anger be forgot,
Or Destinies do cut his thread of life.
Your rule direct to any ; if to me,
Day serves not light more faithful than I'll be.

Per. I do not doubt thy faith ;
But should he wrong my liberties in absence —

Hel. We'll mingle bloods together in the earth,
From whence we had our being and our birth.

Per. Tyre, I now look from thee then, and to
Tharsus
Intend my travel, where I'll hear from thee ;
And by whose letters I'll dispose myself.
The care I had and have of subjects' good,
On thee I lay, whose wisdom's strength can bear it4.
I'll take thy word for faith, not ask thine oath ;
Who shuns not to break one, will sure crack both 5 :
But in our orbs we'll live so round and safe 6,

J I thought it princely charity to grieve them.] That is, to
lament their fate. The eldest quarto reads — to grievejfor them. —
But a rhyme seems to have been intended. The reading of the
text was furnished by the third quarto 1630, which, however, is
of no authority. M alone.

4 —whose wisdom's strength can bear it.] Pericles trans-
ferring his authority to Helicanus during his absence, naturally
brings the first scene of Measure for Measure to our mind.

Malone.

s — will sure crack both :] Thus the folio. The word sure
is not found in the quarto. Malone.

6 But in our orbs we'll live so round and safe,] The first
quarto reads — will live. For the emendation I am answerable.

sc. ii. PRINCE OF TYRE. ' 43

That time of both this truth shall ne'er convince 7,
Thou show'dst a subject's shine, I a true prince 8.

\Exeunt.

The quarto of 1619 has— roe live. The first copy may have been
right, if, as I suspect, the preceding line has been lost.

M ALONE.

" But in our orbs we'll live so round and safe,"

. in seipso totus teres atque rotundus. Horace.
In our orbs means, in our different spheres. Steevens.

7 — this truth shall ne'er convince,] Overcome. See vol. xi.
p. 85, n. 4. Malone.

8 Thou show'dst a subject's shine, I a true prince.] Shine is
by our ancient writers frequently used as a substantive. So, in
Chloris, or The Complaint of the passionate despised Shepheard,
by W.Smith, 1596:

" Thou glorious sunne, from whence my lesser light
" The substance of his chrystal shine doth borrow."
This sentiment is not much unlike that of Falstaff: " I shall
think the better of myself and thee during my life ; I for a valiant
lion, and thou for a true prince." Malone.

That the word shine may be used as a substantive, cannot be
doubted whilst we have sunshine and moonshine. If the present
reading of this passage be adopted, the word shine must neces-
sarily be taken in that sense : but what the shine of a subject is,
it would be difficult to define. The difficulty is avoided by leaving
out a letter, and reading —

" Thou shovvd'st a subject shine, I a true prince."
In this case the word shine becomes a verb, and the meaning
will be : — " No time shall be able to disprove this truth, that you
have shown a subject in a glorious light, and a true prince."

M. Mason.
The same idea is more clearly expressed in King Henry VIII.
Act III. Sc. II. :

" A loyal and obedient subject is
" Therein illustrated."
I can neither controvert nor support Mr. M. Mason's position,
because I cannot ascertain, if shine be considered as a verb, how
the meaning he contends for is deduced from the words before us.

Steevens.

44 PERICLES, act i.

SCENE III.

Tyre. An Ante-chamber in the Palace.

Enter Thaliard.
Thal. So, this is Tyre, and this is the court.
Here must I kill king Pericles ; and if I do not, I
am sure to be hanged at home : 'tis dangerous. —
Well, I perceive he was a wise fellow, and had good
discretion, that being bid to ask what he would of
the king, desired he might know none of his
secrets 9. Now do I see he had some reason for
it ; for if a king bid a man be a villain, he is bound
by the indenture of his oath to be one. — Hush,
here come the lords of Tyre.

Enter Helicanus, Escanes, and other Lords.

Hel. You shall not need, my fellow peers of
Tyre,
Further to question of your king's departure.
His seal'd commission, left in trust with me,
Doth speak sufficiently, he's gone to travel.

Thal. How ! the king gone ! [Aside.

Hel. If further yet you will be satisfied,
Why, as it were unlicens'd of your loves,
He would depart, I'll give some light unto you.
Being at Antioch

Thal. What from Antioch ? [Aside.

9 I perceive he was a wise fellow, &c] Who this wise fellow

was, may be known from the following passage in Barnabie
Riche's Souldier's Wishe to Briton's Welfare, or Captaine Skill
and Captaine Pill, 1604, p. 27 : "I will therefore commende
the poet Philipides, who being demaunded by King Lisimachus,
what favour he might doe unto him for that he loved him, made
this answere to the King, that your majesty would never impart
unto me any of your secrets." Steevens.

sc. in. PRINCE OF TYRE. 45

Hel. Royal Antiochus (on what cause I know
not,)
Took some displeasure at him ; at least he judg'd

so :
And doubting lest that he had err'd or sinn'd,
To show his sorrow, would correct himself;
So puts himself unto the shipman's toil ',
With whom each minute threatens life or death.

Thal. Well, I perceive [Aside.

I shall not be hang'd now, although I would 2 ;
But since he's gone, the king's seas must please :
He 'scap'd the land, to perish at the sea3. —
But I'll present me. Peace to the lords of Tyre.

Hel. Lord Thaliard from Antiochus is welcome.

Thal. From him I come
With message unto princely Pericles ;
But, since my landing, as I have understood,
Your lord has took himself to unknown travels,

1 So puts himself unto the shipman's toil,] Thus, in King
Henry VIII. :

" Hath into monstrous habits put the graces
" That once were his."
Again, in Chapman's version of the fifth Odyssey :
" since his father's fame

" He puts in pursuite," &c. Steevens.
* — although I would ;] So, Autolycus, in The Winter's Tale :
" If I had a mind to be honest, I see, Fortune would not suffer
me ; she drops bounties into my mouth." Malone.
J But since he's gone, the king it sure must please,
He 'scap'd the land, to perish on the seas.] Old copy —
" But since he's gone, the king's seas must please :
** He 'scap'd the land, to perish at the sea." Steevens.
" — the king's seas must please: " i. e. must do their pleasure ;
must treat him as they will. A rhyme was perhaps intended.
We might read in the next line:

" He 'scap'd the land, to perish on the seas."
So, in The Taming of the Shrew :

" I will bring you gain, ox perish on the seas." Malone.
Perhaps we should read :

" But since he's gone, the king it sure must please,
" He 'scap'd the land, to perish on the seas." Percy.

46 PERICLES, act i.

My message must return from whence it came.
Hel. We have no reason to desire it 4, since
Commended to our master, not to us :
Yet, ere you shall depart, this we desire, —
As friends to Antioch, we may feast in Tyre 5.

[Exeunt.

SCENE IV.

Tharsus. A Room in the Governor's House.

Enter Cleon, Dionyza, and Attendants.

Cle. My Dionyza, shall we rest us here,
And by relating tales of other's griefs,
See if 'twill teach us to forget our own ?

Dio. That were to blow at fire, in hope to quench

it;
For who digs hills because they do aspire,
Throws down one mountain, to cast up a higher.
O my distressed lord, even such our griefs;
Here they're but felt, unseen with mischiefs eyes

0

4 We have no reason to desire it,] Thus all the old copies.
Perhaps a word is wanting. We might read :

" We have no reason to desire it told — ."
Your message being addressed to our master, and not to us,
there is no reason why we should desire you to divulge it. If,
however, desire be considered as a trisyllable, the metre, though,
perhaps, not the sense, will be supplied. Malone.

I have supplied the adverb — since, both for the sake of sense
and metre. Steevens.

s Yet, ere you shall depart, this we desire,—
As friends to Antioch, we may feast in Tyre.] Thus also
Agamemnon addresses /Eneas in Troilus and Cressida :
11 Yourself shall feast with us, before you go,
" And find the welcome of a noble foe." Steevens.
6 Here they're but felt, unseen with mischief's eyes,] The
quarto 1609 reads — and seen. The words and seen, and that
which I have inserted in my text, are so near in sound, that they
might easily have been confounded by a hasty pronunciation, or an
inattentive transcriber. By mischief's eyes, I understand, * the

sc. if. PRINCE OF TYRE. 47

But like to groves, being topp'd, they higher rise.

Cle. O Dionyza,
Who wanteth food, and will not say he wants it,
Or can conceal his hunger, till he famish ?
Our tongues and sorrows too ] sound deep our woes
Into the air; our eyes do weep, till lungs8 ^

eyes of those who would feel a malignant pleasure in our mis-
fortunes, and add to them by their triumph over us.' The eye has
been long described by poets as either propitious, or malignant
and unlucky. Thus in a subsequent scene in this play :

" Now the good gods throw their best eyes upon it ! "

Malone.
I suspect this line, like many others before us, to be corrupt,
and therefore read — mistful instead of mischiefs. So, in King
Henry V. Act IV. Sc. VI. :

" For, hearing this, I must perforce compound

" With mistful eyes, or they [tears] will issue too."
The sense of the passage will then be, — ' Withdrawn, as we
now are, from the scene we describe, our sorrows are simply felt,
and appear indistinct, as through a mist. When we attempt to
reduce our griefs by artful comparison, that effort is made to our
disadvantage, and our calamities encrease, like trees, that shoot
the higher, because they have felt the discipline of the pruning
knife.' Shakspeare has an expression similar to the foregoing :

" I see before me, neither here nor there,

" Nor what ensues, but have a fog in them

" Which I cannot pierce through."

Cymbeline, Act III. Sc. I.
I may, however, have only exchanged one sort of nonsense for
another ; as the following comparison in Mr. Pope's Essay on
Criticism, v. 392, seems to suggest a different meaning to the
observation of Dionyza :

" As things seem large which we through mists descry ; "
thus sorrow is always apt to magnify its object. Steevens.

7 Our tongues and sorrows too — ] The original copy has —
to, here and in the next line ; which cannot be right. To was
often written by our old writers for too; and in like manner too
and tivo were confounded. The quarto of 1619 reads do in the
first line. I think Cleon means to say — ' Let our tongues and
sorrows too sound deep,* &c. Malone."

Mr. Steevens, I think with more probability, reads with the
quarto of 1619 — M our tongues and sorrows do." Boswell.

8 — till lungs — ] The old copy has — tongues. The correc-
tion was made by Mr. Steevens. Malone.

48 PERICLES, act 1.

Fetch breath that may proclaim them louder ; that,
If heaven slumber, while their creatures want,
They may awake their helps to comfort them9.
I'll then discourse our woes, felt several years,
And wanting breath to speak, help me with tears.

Dio. I'll do my best, sir.

Cle. This Tharsus, o'er which I have govern-
ment,
(A city, on whom plenty held full hand,)
For riches, strew'd herself even in the streets ' ;
Whose towers bore heads so high, they kiss'dthe
clouds 2,

9 They may awake their helps to comfort them.] Old copy —
heifers. Steevens.

Perhaps we should read— helps. So before :

" — ■ be my helps,

" To compass such a boundless happiness ! " M alone.
I have adopted Mr. Malone's very natural conjecture.

Steevens.

1 For riches, strew'd herself even in the streets ;] For, in
the present instance, I believe, means—' with respect to, with
regard to riches.' Thus, in Coriolanus :

" Rather our state's defective/or requital,
" Than we to stretch it out."
" Strew'd herself;1 referring to city, is undoubtedly the true
reading. Thus, in Timon of Athens :

" Thou'lt give away thyself 'in paper shortly." Steevens.
Shakspeare generally uses riches as a singular noun. Thus, in

Othello :

" The riches of the ship is come ashore.

Again, ibid. :

" But riches fineless is as poor as winter — .'

Again, in his 87th Sonnet :

" And for that riches where is my deserving ? " M alone.

I should propose to read richness, instead of riches, which ren-
ders the passage not only correct, but much more poetical.

Malone must also prove that he uses riches to express a person,
or it will not agree with the word herself, or answer in this place.
This last line should be in a parenthesis. M. Mason.

* — bore heads so high, they kiss'd the clouds,] So, in

Hamlet:

« like the herald Mercury,

" New-lighted on a heaven-kissing hill."

5
>

sc. iv. PRINCE OF TYRE. 49

And strangers ne'er beheld, but wonder'd at ;
Whose men and dames so jetted and adorn'd 3,
Like one another's glass to trim them by 4 :
Their tables were stor'd full, to glad the sight,
And not so much to feed on, as delight ;
All poverty was scorn'd, and pride so great,
The name of help grew odious to repeat.

Dio. O, 'tis too true.

Cle. But see what heaven can do ! By this our
change,
These mouths, whom but of late, earth, sea, and

air,
Were all too little to content and please,
Although they gave their creatures in abundance,
As houses are defil'd for want of use,
They are now starv'd for want of exercise :
Those palates, who not us d to hunger's savour

^t ; "O

Again, in The Rape of Lucrece, 1594 :

" Threatening cloud-kissing Hion with annoy."
Again, more appositely, in Troilus and Cressida :

" Yon towers whose wanton tops do buss the clouds."

Malone.
s — so jetted and adorn'd,] To jet is to strut, to tcalk
proudly. So, in Twelfth-Night : " Contemplation makes a rare
turkey-cock of him : how he jets under his advanced plumes ! "

Steevens.

4 Like one another's glass to trim them by :] The same idea is
found in Hamlet : Ophelia, speaking of the prince, says he was—

" The glass of fashion, and the mould of form,

" The observ'd of all observers."
Again, in Cymbeline :

" A sample to the youngest, to the more mature

" A glass that feated them."
Again, in The Second Part of King Henry IV. :

" He was indeed the glass,

" Wherein the noble youth did dress themselves."

Malone.

5 Those palates, &c] The passage is so corrupt in the old
copy, that it is difficult even to form a probable conjecture upon
it. It reads — " who not yet two savers younger." The words
which I have inserted in my text, afford sense, and are not very

VOL. XXI. E

50 PERICLES, act i.

Must have inventions to delight the taste,
Would now be glad of bread, and beg for it ;
Those mothers who, to nousle up their babes6,
Thought nought too curious, are ready now,
To eat those little darlings whom they lov'd.
So sharp are hunger's teeth, that man and wife
Draw lots, who first shall die to lengthen life :
Here stands a lord, and there a lady weeping ;
Here many sink, yet those which see them fall,

remote from the traces of the original letters ; and savour and
hunger might easily have been transposed. We have in a subse-
quent scene :

" All viands that I eat, do seem unsavoury:
I do not, however, propose this emendation with the smallest
confidence ; but it may remain till some less exceptionable conjec-
ture shall be offered. Malone.

The old reading is evidently erroneous ; but the change of a
single word, the reading of summers, instead of savers, gives us
what certainly the author wrote :

" Those palates who not yet two summers younger," &c.
That is, ' Those palates, who, less than two years ago, required
some new inventions of cookery to delight their taste, would now
be glad of plain bread.' M. Mason.

I have inserted Mr. M. Mason's emendation in the text. In
Romeo and Juliet our author also computes time by the same
number of summers :

" Let two more summers wither in their pride,' &c.

Steevens.
6 __ to nousle up their babes,] I would read— nursle. A
fondling is still called a nursling. To nouzle, or, as it is now
written, nuzzle, is logo with the nose dotun like a hog. So, Pope:
" The blessed benefit, not there confin'd,
" Drops to a third, who nuzzles close behind."

Steevens.
In an ancient poem entitled The Strange Birth, Honourable
Coronation, and most Unhappie Death of Famous Arthur, King of
Brytaine, 1601, I find the word nuzzle used nearly in the same
manner as in the text :

" The first fair sportive night that you shall have,
" Lying safely nuzled by faire Igrene's side."
Again, more appositely, ibidem i

" Being nuzzled in effeminate delights ."

I have therefore retained the reading of the old copy. Malone.

sc. iv. PRINCE OF TYRE. 51

Have scarce strength left to give them burial.
Is not this true ?

Dio. Our cheeks and hollow eyes do witness it.

Cle. O, let those cities, that of Plenty's cup 7
And her prosperities so largely taste,
With their superfluous riots, hear these tears !
The misery of Tharsus may be theirs.

Enter a Lord.

Lord. Where's the lord governor ?

Cle. Here.
Speak out thy sorrows 8 which thou bring'st, in

haste,
For comfort is too far for us to expect.

Lord. We have descried, upon our neighbouring
shore,
A portly sail of ships make hitherward.

Cle. I thought as much.
One sorrow never comes, but brings an heir,
That may succeed as his inheritor 9 ;
And so in ours : some neighbouring nation,
Taking advantage of our misery,

7 O, let those cities, that of Plenty's cup—] A kindred thought
is found in King Lear:

" Take physick, pomp !

" Expose thyself to feel what wretches feel,
" That thou may'st shake the superflux to them,
" And show the heavens more just."
Again, ibidem :

" Let the superfluous and lust-dieted man," &c.

Malone

8 — thy sorrows — ] Perhaps — the sorrows. Steevens.

9 One sorrow never comes, but brings an heir,

That may succeed as his inheritor ;] So, in Hamlet :

" sorrows never come as single spies,

" But in battalions." Steevens.
Again, ibidem :

" One woe doth tread upon another's heels,
" So fast they follow." Malone.

F. 2

52 PERICLES, act u

Hath stuff d these hollow vessels with their power1,
To beat us down, the which are down already ;
And make a conquest of unhappy me 2,
Whereas no glory's 3 got to overcome.

Lord. That's the least fear ; for, by the sem-
blance 4
Of their white flags display'd, they bring us peace,
And come to us as favourers, not as foes.

Cle. Thou speak'st like him's untutor'd to
repeat \

« Hath stuff'd these hollow vessels with their power,] The

quarto 1609 reads- TAg* stuff'd, &c. The context clearly shows

that we ought to read Hath instead of That.— By jxmer is meant

forces. The word is frequently used in that sense by our ancient

writers. So, in King Lear :

«« ; from France there comes u power

" Into this scatter'd kingdom." Malone.

I read :

" Hath stuff'd these hollow vessels, &c.
Hollow, applied to ships, is a Homeric epithet. See Iliad 1.
v. 26. Steevens. .

* And make a conquest of unhappy me,] I believe a letter was
dropped at the press, and would read :

« , of unhappy men," &c. Malone. _

Perhaps the m is onlv a to reversed, and the author designed us
to read, however improperly and ungrammatically— of unhappy

we.

So, in Coriolanus :

" and to poor we,

" Thine enmity's most capital." Steevens.

3 Whereas no glory's—] Whereas, it has been already ob-
served, was anciently used for where. Malone.

4 That's the least fear; for, by the semblance—] ^ shou»» be
remembered, that semblance was pronounced as a trisyllable—
semble-ance. So, our author in The Comedy of Errors :

" And these two Dromios, one in semblance.
So, in The Two Gentlemen of Verona, resembleth is a quadri-

" O how this spring of love resembleth ." Malone.

5 Thou speak'st like him's untutor'd to repeat,] The quarto,
1609 reads—" like himnes untutor'd to repeat." I suppose the
author wrote— him is— an expression which, however elliptical, is
not more so than many others in this play. Malone.

8C. ir. PRINCE OF TYRE. 53

Who makes the fairest show, means most deceit.

But bring they what they will, and what they can,

What need we fear 6 ?

The ground's the low'st, and we are half way there.

Go tell their general, we attend him here,

To know for what he comes, and whence he comes,

And what he craves.

Lord. I go, my lord. [Exit.

Cle. Welcome is peace, if he on peace consist7;
If wars, we are unable to resist.

Enter Pericles, with Attendants.
Per. Lord governor, for so we hear you are,
Let not our ships and number of our men,
Be, like a beacon fir'd, to amaze your eyes.
We have heard your miseries as far as Tyre,
And seen the desolation of your streets :

Perhaps we should read — him who is, and regulate the metre as
follows :

" Thou speak'st

" Like him who is untutor'd to repeat," &c.
The sense is — " Deluded by the pacifick appearance of this
navy, you talk like one, who has never learned the common
adage, — that the fairest outsides are most to be suspected"

Steevens.
"Like him untutor'd," for "like him who is untutor'd," is not a
very harsh ellipsis. Him's, is, I suspect, an unexampled con-
traction. Boswell.

6 — what need we fear ? &c] The earliest copy reads and points
thus :

" What need we leave our grounds the lowest ? "
The reading which is inserted in the text, is that of the second
quarto, printed in 1619. Malone.

" But bring they what they will, and what they can,
" What need we fear?

" The ground's the lowest, and we are half way there." The
redundancy of the metre leads me to suspect this passage of inter-
polation. I therefore read :

" But bring they what they will, what need we fear ?
" The ground's the low'st, and we are halfway there."
Are the words omitted — and what they can — of any value?

Steevens.

7 — if he on peace consist ;] If he stands on peace. A Latin
sense. Malone.

54 PERICLES, act i.

Nor come we to add sorrow to your tears,
But to relieve them of their heavy load ;
And these our ships you happily may think
Are, like the Trojan horse, war-stuffd within,
With bloody views, expecting overthrow 8,
Are stor'd with corn, to make your needy bread 9,
And give them life, who are hunger-starv'd, half
dead.

All. The gods of Greece protect you ;
And we'll pray for you.

Per. Rise, I pray you, rise ;

We do not look for reverence, but for love,
And harbourage for ourself, our ships, and men.

Cle. The which when any shall not gratify,
Or pay you with unthankfulness in thought1,

8 And these our ships you happily may think
Are, like the Trojan horse, wAR-stuffd within, ^
With bloody views, expecting overthrow,] i. e. which you
happily, &c. The old copy reads :

" And these our ships you happily may think,
" Are like the Trojan horse, was stuff'd within
" With bloody veines," &c.
For the emendation of this corrupted passage the reader is in-
debted to Mr. Steevens. So, as he has observed, in a former

scene :

" Hath stuff'd the hollow vessels with their power."

Malone.
Why should not this mean elliptically— " which was stuffed ? "
So, before :

" Are arms for princes," &c.
Instead of— that are. See also afterwards, p. 58. And—" that in
Tharsus was not best," for — it was not best. Boswell.

p — to make your needy bread,] i. e. to make bread for
your needy subjects. Percy.

1 Or pay you with unthankfulness in thought,] I suspect
the author wrote :

" Or pay you with unthankfulness in aught,
" Be it our wives," &c.
If we are unthankful to you in any one instance, or refuse,
should there be occasion, to sacrifice any thing for your service,
whether our wives, our children, or ourselves, may the curse of
heaven, and of mankind, he— Aught was anciently written ought.
Our wives, &c. may however refer to any in the former line ; I
have therefore made no change. Malone.

act ii. PRINCE OF TYRE. 55

Be it our wives, our children, or ourselves,
The curse of heaven and men succeed their evils !
Till when, (the which, I hope, shall ne'er be seen,)
Your grace is welcome to our town and us.

Per. Which welcome we'll accept ; feast here a
while,
Until our stars that frown, lend us a smile.

[Exeunt.

ACT II.

Enter GorrER.

Gott. Here have you seen a mighty king
His child, I wis, to incest bring ;
A better prince, and benign lord,
That will prove awful both in deed and word2.
Be quiet then, as men should be,
Till he hath pass'd necessity.
I'll show you those in troubles reign,
Losing a mite, a mountain gain',

I believe the old reading is the true one. " Ingratitude in
thought" is 'mental ingratitude.' The governor imprecates
vengeance^on himself and his people, should any of them harbour
even an ungrateful thought in their bosoms respecting Pericles.

Steevens.

No amendment is wanting ; the meaning is this : — " May these
persons be cursed who shall pay you with unthank fulness, even in
thought, though they should be our dearest friends, or even our-
selves." M. Mason.

1 A better prince, and benign lord,
Prove awful, &c] i. e. you have seen a better prince, &c.
prove awful, &c. The verb in the first line is carried on to the
third. Old copy :

" That will prove awful both in deed and word."

I have omitted the two first words, as the sense proceeds with-
out them, and they render the metre irregular. Steevens.

* I'll show you those, &c] I will now exhibit to you persons,

56 PERICLES, act n.

The good in conversation4
(To whom I give my benizon,)
Is still at Tharsus, where 5 each man
Thinks all i£ writ he spoken can0 :
And to remember what he does,
Gild his statue to make it glorious 7 :

who, after suffering small and temporary evils, will at length be
blessed with happiness. — I suspect our author had here in view the
title of the chapter in Gesta Romanorum, in which the story of
Apolloniusis told ; though I will not say in what language he read
it. It is this : " De tribulatione temporali qua? in gaudium sem-
piternum postremo commutabitur." Malone.

4 The good in conversation — ] Conversation is conduct,
behaviour. So, in the Second Epistle of St. Peter, iii. 11 : " — to
be in all holy conversation and godliness." Steevens.

5 The good in conversation

(To whom I give my benizon,)

Is still at Tharsus, where — ] This passage is confusedly ex-
pressed. Gower means to say — The good prince (on whom I be-
stow my best wishes) is still engaged at Tharsus, where every
man,"&c. Steevens.

6 Thinks all is writ he spoken can :] Pays as much respect to
whatever Pericles says, as if it were holy ivrit. "As true as the
gospel," is still common language. Malone.

Writ may certainly mean scripture; the holy writings, by way
of eminence, being so denominated. We might, however, read —
toit, i. e. wisdom. So, Gower, in this story of Prince Appolyn :
" Though that thou be of littel witte."

Steevens.
1 Gild his statue to make it glorious :] This circumstance, as
well as the foregoing, is found in the Confessio Amantis :

" Appolinus, whan that he herde

" The mischefe, howe the citee ferde,

" All freliche of his owne gifte

" His wheate among hem for toshifte,

" The whiche by ship he had brought,

" He yave, and toke of hem right nought.

" But sithen fyrst this worlde began,

" Was never yet tosuche a man

" Morejoye made than thei hym made;

" For thei were all of hym so glade,

" That thei for ever in remembrance

" Made a figure in resemblance

" Of hym, and in a common place

" Thei set it up ; so that his face

act ii. PRINCE OF TYRE. 57

But tidings to the contrary-
Are brought your eyes ; what need speak I ?

Dumb show.

Enter at one door Pericles, talking with Cleon ;
all the Train with them. Enter at another door,
a Gentleman, with a letter to Pericles; Pe-
ricles shows the Letter to Cleon; then gives
the Messenger a reward, and knights him. Exeunt
Pericles, Cleon, 8$c. severally.

Gotf. Good Helicane hath staid at home,
Not to eat honey like a drone,
From others' labours ; for though he strive 8
To killen bad, keep good alive ;
And, to fulfil his prince' desire,
Sends word of all that haps in Tyre 9 :

" Might every maner man beholde,
" So as the citee was beholde :
" It was of laton over-gylle;
" Thus hath he nought his yefte spilte."
All the copies read — Build his statue, &c. Malone.
They also unnecessarily read :

" Build his statue to make it glorious."
Read — gild. So, in Cower:

" It was of laton over-gi/lte."
Again, in Kyng Appolyn of Thyre, 1510: " — in remem-
braunce they made an ymage or statue of dene gold," &c.

Steevens.
Mr. Steevens reads :

" Gild his statue glorious." Boswell.
s — forth, &c.] Old copy— -for though he strive — . . I read
forth; i. e. thoroughly, from beginning to end. So, in Measure
for Measure :

" . you, cousin,

" Whom it concerns to hear this matter forth,
" Do with your injuries as seems you best." Steevens.
9 Good Helicane hath staid at home, —
And, to fulfil his prince' desire,
Sends word of all that haps in Tyre :] The old copy reads :

" Good Helicane that staid at home,

11 Sav'd one of all," &c.
The emendation was suggested by Mr. Steevens. Malone.

58 PERICLES, act ii.

How Thaliard came full bent with sin,

And hid intent, to murder him ';

And that in Tharsus was not best a

Longer for him to make his rest :

He knowing so3, put forth to seas,

Where when men been, there's seldom ease ;

For now the wind begins to blow ;

Thunder above, and deeps below,

Make such unquiet, that the ship

Should house him safe, is wreck'd and split * ;

And he, good prince, having all lost,

By waves from coast to coast is tost ;

All perishen of man, of pelf,

Ne aught escapen but himself5 ;

The old copy seems to me to be clearer — " Good Helicane, &c.
sends word of all." The lines between the first and sixth I read
in a parenthesis. Boswell.

1 And hid intent, to murder him ;] The first quarto reads :

" And hid in Tent to murder him."
This is only mentioned to show how inaccurately this play was
originally printed, and to justify the liberty that has been taken in
correcting the preceding passage. The reading of the text is that
of the quarto 1619. Malone.

" How Thaliard came full bent with sin,
" And hid intent to murder him." Sin and him cannot be re-
ceived as rhymes. Perhaps the author wrote,
" ■ full bent with scheme,

" And hid intent," &c.
The old reading, in the second line, is certainly the true one.
Hid intent is concealed design, such as was that of Thaliard.

Steevens.

2 — was not best — ] The construction is, And that for him to
make his rest longer in Tharsus, was not best ; i. e. his best
course. Malone. *

* He knowing so,] i. e. says Mr. Steevens, by whom this
emendation was made, " he being thus informed." The old copy
has — " He doing so." Malone.

4 — that the ship
Should house him safe, is wreck'd and split ;] Ship and split
are such defective rhymes, that I suppose our author wrotejteet.
Pericles, in the storm, lost blsjleet as well as the vessel in which
he was himself embarked. Steevens

J Ne aught escapen but himself;] [Old copy — escapen 'd — ]
It should be printed either escapen or escaped.

sc. I. PRINCE OF TYRE. 59

Till fortune, tired with doing bad,
Threw him ashore, to give him glad ° :
And here he comes : what shall be next,
Pardon old Gower ; this long's the text7.

[Exit.

SCENE I.

Pentapolis. An open Place by the Sea Side.

Enter Pericles, wet.

Per. Yet cease your ire, ye angry stars of
heaven !
Wind, rain, and thunder, remember, earthly man
Is but a substance that must yield to you ;
And I, as fits my nature, do obey you;
Alas, the sea hath cast me on the rocks,
Wash'd me from shore to shore, and left me breath 8
Nothing to think on, but ensuing death :

Our ancestors had a plural number in their tenses which is now
lost out of the language ; e. g. in the present tense,
I escape We escapen

Thou escapest Ye escapen

He escapeth They escapen.

But it did not, I believe, extend to the preter-imperfects, other-
wise than thus : They didden [for did] escape. Percy.

6 — to give him glad:] Dr. Percy asks if we should not
read — to make him glad. Perhaps we should : but the language
of our fictitious Gower, like that of our Pseudo-Rowley, is so
often irreconcileable to the practice of any age, that criticism on
such bungling imitations is almost thrown away. Steevens.

7 — what shall be next,
Pardon old Gower ; this long's the text.] The meaning of

this may be — " Excuse old Gower from telling you what follows.
The very text to it has proved of too considerable length already."

Steevens.

8 — and left me breath
Nothing to think on, &c] The quarto 1609, reads — and

left my breath. I read — and left me breath, that is, left me life,
only to aggravate my misfortunes, by enabling me to think on the
death that awaits me. M alone.

60 PERICLES, act n.

Let it suffice the greatness of your powers,
To have bereft a prince of all his fortunes ;
And having thrown him from your watry grave,
Here to have death in peace, is all he'll crave.

Enter Three Fishermen 9,

1 Fish. What, ho, Pilche 1 !

2 Fish. Ho ! come, and bring away the nets.

Mr. Malone's correction is certainly proper ; and the passage
before us can have no other meaning, than — left me alive only
that ensuing death might become the object of my contemplation.
So, in the second book of Sidney's Arcadia, where the shipwreck

of Pyrocles is described: " left nothing but despair of

safetie, and expectation of a loathsome end."

Again, in Chapman's version of the fifth book of Homer's
Odyssey, where the shipwrecked Ulysses is described :

" •———Two nights yet and days

" He spent in wrestling with the sable seas :

" In which space often did his heart propose

" Death to his eyes." Steevens.
9 Enter three Fishermen.'] This scene seems to have been
formed on the following lines in the Confessio Amantis :

" Thus was the yonge lorde all alone,

" All naked in a poure plite.

" There came a fisher in the weye,

" And sigh a man there naked stonde,

" And when that he hath understonde

" The cause, he hath of hym great routh ;

" And onely of his poure trouth

" Of such clothes as he hadde

" With great pitee this lorde he cladde :

" And he hym thonketh as he sholde,

° And sayth hym that it shall be yolde

" If ever he gete his state ageyne;

" And praith that he would hym syne,

" If nigh were any towne for hym.
" He sayd, ye Pentapolim,

" Where both kynge and quene dwellen.

" Whan he this tale herde tellen,

" He gladdeth him, and gan beseche,

" That he the weye hym wolde teche >."

Shakspeare delighting to describe the manners of such people,
has introduced three fishermen instead of one, and extended
the dialogue to a considerable length. Malone.

1 What, ho, pilche !] All the old copies read — What to

sc i. PRINCE OF TYRE. 61

1 Fish. What Patch-breech, I say !

3 Fish. What say you, master ?

I Fish. Look how thou stirrest now ! come away,
or I'll fetch thee with a wannion 2.

3 Fish. 'Faith, master, I am thinking of the poor
men that were cast away before us, even now.

1 Fish. Alas, poor souls, it grieved my heart to
hear what pitiful cries they made to us, to help
them :J, when, well-a-day, we could scarce help our-
selves.

3 Fish. Nay, master, said not I as much, when I
saw the porpus, how he bounced and tumbled * ?

pelche. The latter emendation was made by Mr. Tyrwhitt. For
the other I am responsible. Pilche, as he has observed, is a
leathern coat. The context confirms this correction. The first
fisherman appears to be the master, and speaks with authority,
and some degree of contempt, to the third fisherman, who is a
servant. — His next speech, " What, Patch-breech, I say ! " is
in the same style. The second fisherman seems to be a servant
likewise ; and, after the master has called — What, ho Pilche ! —
(for so I read,) — explains what it is he wants : — " Ho, come and
bring away the nets." Malone.

In Twine's translation we have the following passage : — " He
was a rough fisherman, with an hoode upon his head, and a
filthie leatherne pelt upon his backe." Stf.evens.

1 — with a wannion.] A phrase of which the meaning is
obvious, though I cannot explain the word at the end of it. It is
common in manv of our old plays. Stf.evens.

I would without much confidence offer a conjecture as to this
word, since no other has been suggested. May not wannion be a
corruption of ivinnowing ? Vanneure, in Cotgrave, is explained
" a winnowing, also a chiding, bayting, schooling." Boswi ll.

3 Alas, poor souls, it grieved my heart, &c] So, in The
Winter's Tale : " O the most piteous cry of the poor souls !
Sometimes to see'em, and not to see'em ; — now the ship boring
the moon with her main mast and anon swallowed with yest and
froth, as you'd thrust a cork into a hogshead. And then for the
land-service. — To see how the bear tore out his shoulder-bone ;
hoiv he cried to me for help." Malone.

4 — when I saw the porpus, how he bounced and tumbled?]
The rising of porpuses near a vessel at sea, has long been consi-
dered by the superstition of sailors, as the fore-runner of a

62 PERICLES, act 11.

they say, they are half fish, half flesh : a plague on
them, they ne'er come, but I look to be washed.
Master, I marvel how the fishes live in the sea.

1 Fish. Why as men do a-land 5 ; the great ones
eat up the little ones : I can compare our rich mi-
sers to nothing so fitly as to a whale ; 'a plays and
tumbles, driving the poor fry before him 6, and at
last devours them all at a mouthful. Such whales
have I heard on a'the land, who never leave gaping,
till they've swallowed the whole parish, church,
steeple, bells and all.

Per. A pretty moral.

3 Fish. But, master, if I had been the sexton, I
would have been that day in the belfry7.

2 Fish. Why, man ?

3 Fish. Because he should have swallowed me
too : and when I had been in his belly, I would have
kept such a jangling of the bells, that he should
never have left, till he cast bells, steeple, church,
and parish, up again. But if the good king Simo-
nides were of my mind

Per. Simonides ?

storm. So, in The Duchess of Malfy, by Webster, 1623:
"He lifts up his nose like a foul porpus before a storm." Malone.

Malone considers this prognostick as arising merely from the
superstition of the sailors: but Captain Cook, in his second voyage
to the South Seas, mentions the playing of porpusses round the
ship as a certain sign of a violent gale of wind. M. Mason^

s _ a-land ;] This word occurs several times in Twine's
translation, as well as in P. Holland's translation of Pliny's Nat.
Hist. Steevens.

6 — as to a whale ; *a plays and tumbles, driving the poor
fry before him,] So, in Coriolanus :

" ~ ■ — - like scaled sculls

" Before the belching whale." Steevens.

1 I would have been that day in the belfry.] That is, I should
wish to have been that day in the belfry. M. Mason.

He does not express a wish, but says he would actually have
been there. Boswell.

5c. /. PRINCE OF TYRE. 63

3 Fish. We would purge the land of these drones,
that rob the bee of her honey.

Per. How from the finny subject of the sea8
These fishers tell the infirmities of men ;
And from their watry empire recollect
All that may men approve, or men detect ! —
Peace be at your labour, honest fishermen.

2 Fish. Honest ! good fellow, what's that ? if it
be a day fits you, scratch it out of the calendar, and
no body will look after it 9.

8 — the finny subject of the sea — ] Old copies— -fenny.
Corrected by Mr. Steevens. M alone.

This thought is not much unlike another in As You Like It :

" this our life, exempt from publick haunt,

" Finds tongues in trees, books in the running brooks,
" Sermons in stones, and good in every thing."

Steevens.

9 Honest! good fellow, what's that? if it be a day fits you,
scratch it out of the calendar, and no body will look after it.]
The old copy reads — if it be a day fits you, search out of the ca-
lendar, and nobody look after it.

Part of the emendation suggested by Mr. Steevens. is con-
firmed by a passage in The Coxcomb, by Beaumont and Fletcher,
quoted by Mr. Mason :

'* I fear shrewdly, I should do something

" That would quite scratch me out of the calendar."

Malone.
The preceding speech of Pericles affords no apt introduction to
the reply of the fisherman. Either somewhat is omitted that
cannot now be supplied, or the whole passage isohscured by more
than common depravation.

It should seem that the prince had made some remark on the
badness of the day. Perhaps the dialogue originally ran thus :
" Per. Peace be at your labour, honest fishermen ;
" The day is rough and thwarts your occupation."
" 2 Fish. Honest! good fellow, what's that? If it be not a
day fits you, scratch it out of the calendar, and nobody will look
after it."

The following speech of Pericles is equally abrupt and incon-
sistent :

" May see the sea hath cast upon your coast."
The folio reads :

" Y' may see the sea hath cast me upon your coast."
I would rather suppose the poet wrote :

64 PERICLES, act ii.

Per. Nay, see, the sea hath cast upon your
coast

2 Fish. What a drunken knave was the sea, to
cast thee in our way ' !

Per. A man whom both the waters and the wind,
In that vast tennis-court, hath made the ball
For them to play upon 2, entreats you pity him ;
He asks of you, that never us'd to beg.

1 Fish. No, friend, cannot you beg ? here's them
in our country of Greece, gets more with begging,
than we can do with working.

2 Fish. Can'st thou catch any fishes then ?
Per. I never practis'd it.

2 Fish. Nay, then thou wilt starve sure ; for here's
nothing to be got now a-days, unless thou cans't

fish for't.

Per. What I have been, I have forgot to know ;
But what I am, want teaches me to think on ;

" Nay, see the sea hath cast upon your coast ."

Here the. Jisherman interposes. The prince then goes on :
" A man," &c. Steevens.

May not here be an allusion to the dies honestissimus of Cicero ?

" If you like the day, find it out in the almanack, and nobody

will take it from you." Farmer.

The allusion is to the lucky and unlucky days which are put
down in some of the old calendars. Douce.

Some difficulty, however, will remain, unless we suppose a
preceding line to have been lost ; for Pericles (as the text stands)
has said nothing about the day. I suspect that in the lost line
he wished the men a good day. Malone.

» — to cast thee in our way!] He is playing on the word
cast, which anciently was used both in the sense of to throw, and
to vomit. So, in Macbeth :

" yet I made a shift to cast him."

It is used in the latter sense above: " — till hears* bells, &c.

tip

arrain." Malone.

* — hath made the ball
For them to play upon,] So, in Sidney's Arcadia, book v. :
" In such a shadow, &c. mankind lives, that neither they know
how to foresee, nor what to feare, and are, like tenis bals, tossed
by the racket of the higher poxvers." Steevens.

sc. i. PRINCE OF TYRE. 65

A man throng'd up with cold 3 : my veins are chill,
And have no more of life, than may suffice
To give my tongue that heat, to ask your help ;
Which if you shall refuse, when I am dead,
For that I am a man4, pray see me buried.

1 Fish. Die quoth-a ? Now gods forbid ! I have
a gown here; come, put it on3; keep thee warm.
Now, afore me, a handsome fellow6! Come thou
shalt go home, and we'll have flesh for holidays,
fish for fasting-days, and moreo'er puddings and
flap-jacks7 ; and thou shalt be welcome.

3 A man throng'd up with cold:] I suspect that throng'd,
which is the reading of all the copies, is corrupt. We might
read:

u A man shrunk up with cold ; "
(It might have been anciently written shronk.) So, in Cymbe-
line :

" The shrinking slaves of winter ." Ma lone.

The expression — shrunk up, is authorised by Pope in his version
of the 16th Iliad, 488:

" Shrunk up he sat, with wild and haggard eye,

" Nor stood to combat, nor had force to fly." Steevens.

4 For I am a man,] Old copy — for that I am. I omit that,
which is equally unnecessary to sense and metre. So, in Othello:

" Haply/or I am black."

For is because. Steevens.

s — I have a gown here, &c] In the prose history of Kynge
Appolyn of Thyre, already quoted, the fisherman also gives him
" one halfe of his black mantelle for to cover his body with."

Steevens.

6 — afore me, a handsome fellow !] So, in Twine's trans-
lation: " When the fisherman beheld the comelinesse and heautie
of the yoong gentleman, he was mooved with compassion to-
wardes him, and led him into his house, and feasted him with
such fare as he presently had ; and the more amplie to expresse
his great affection, he disrobed himselfe of his poore and simple
cloake," &c. Steevens.

1 — flesh for holidays, fish for fasting-days, and more-o'er
puddings and flap-jacks ;] In the old copy this passage is
strangely corrupted. It reads — " flesh for all days, fish for fasting
days, and more, or puddings and flap jacks." Dr. Farmer sug-
gested to me the correction of the latter part of the sentence : for
the other emendation I am responsible. Mr. M. Mason would
VOL. XXI. F

66 PERICLES, act u.

Per. I thank you, sir.

2 Fish. Hark you, my friend, you said you could

not beg.

Per. I did but crave.

2 Fish. But crave ? Then I'll turn craver too,
and so I shall 'scape whipping.

Per. Why, are all your beggars whipped then!

2 Fish. O, not all, my friend, not all ; for if all
your beggars were whipped, I would wish no better
office than to be beadle. But, master, I'll go draw
up the net. [Exeunt Two of the Fishermen.

Per. How well this honest mirth becomes their
labour !

1 Fish. Hark you, sir ! do you know where you are ?

1 Fish. Why, I'll tell you: this is called Penta-
polis, and our king, the good Simonides.

Per. Not well.

Per. The good king Simonides, do you call him ?

1 Fish. Ay, sir ; and he deserves to be so called,
for his peaceable reign, and good government.

Per. He is a happy king 8, since he gains from
his subjects the name of good, by his government.
How far is his court distant from this shore ?

read—" flesh for ale-days : " but this was not, I think, the lan-
truatre of the time ; though ales and church-ales was common.
8 & Malone.

« flap-jacks." In some counties a Jlap-jack signifies an

apple-puff; but anciently it seems to have meant a. pancake. But,
whatevev it was, mention is made of it in Smith's Sea Grammar,
1627 : " For when a man is ill, or at the point of death, I would
know whether a dish of buttered rice with a little cynamon,
ginger, anu sugar, a little minced meat, or rost beefe, a few
stewed prunes, a race of greene ginger, afap-jacke, &c. bee not
better than a little poore John," &c. Stkevens.

s He is a happy king, &c] This speech, in the old copies, is
printed as follows : I have only transposed a few of the words for
the sake of metre :

" He is a happy king, since he gains from
" His subjects the name of good, by his government."

Steevens.

«7. /. PRINCE OF TYRE. 67

1 Fish. Marry, sir, half a day's journey ; and I'll
tell you, he hath a fair daughter, and to-morrow is
her birth-day ; and there are princes and knights
come from all parts of the world, to just and tour-
ney for her love.

Per. Were my fortunes equal to my desires,
I could wish to make one there 9.

1 Fish. O, sir, things must be as they may; and
what a man cannot get, he may lawfully deal for —
his wife's soul1.

9 Did but my fortunes equal my desires,
I'd wish to make one there.] The old copy as follows :
" Were my fortunes equal to my desires,
" I could wish to make one there."

As all the speeches of Pericles, throughout this scene, were
designed to be in metre, they cannot be restored to it without
such petty liberties as I have taken in the present instance.

Steevens.

As these speeches cannot be forced into metre without such
violent alterations, I have printed them as prose, which, I believe,
was the author's intention. Boswell.

1 — and what a man cannot get, &c] This passage, in its
present state, is to me unintelligible. We might read : — " O,
sir, things must be as they may ; and what a man cannot get, he
may not lawfully deal for; — his wife's soul."

' Be content ; things must be as Providence has appointed ; —
and what his situation in life does not entitle him to aspire to, he
ought not to attempt ; — the affections of a woman in a higher
sphere than his own.'

Soul is in other places used by our author for love. — Thus, in
Measure for Measure :

" we have with special soul

" Elected him, our absence to supply." Malone.

• Things must be (says the speaker) as they are appointed to
be ; and what a man is not sure to compass, he has yet a just
right to attempt.' — Thus far the passage is clear. The Fisherman
may then be supposed to begin a new sentence — ' His wife's
soul' — but here he is interrupted by his comrades. He might
otherwise have proceeded to say — 'The good will of a wife indeed
is one of the things which is difficult of attainment. A husband is
in the right to strive for it, but after all his pains may fail to
secure it.' — I wish his brother fishermen had called off his atten-
tion before he had time to utter his last three words. Steevens.

The Fisherman means, I think, to sav, — " What a man cannot

F 2

68

PERICLES, act II.

Re-enter the Two Fishermen, drawing up a Net.

2 Fish. Help, master, help; here's a fish hangs
in the net, like a poor man's right in the law ; 'twill
hardly come out. Ha! bots on't \ 'tis come at last,
and 'tis turned to a rusty armour.

Per. An armour, friends! I pray you, let me see

it. ,j

Thanks, fortune, yet, that after all my crosses ,
Thou giv'st me somewhat to repair myself:
And though it was mine own \ part of mine he-

Which my dead father did bequeath to me,
With this strict charge (even as he left his life,)
Keep it, my Pericles, it hath been a shield
'Twivt me and death ; (and pointed to this brace :

get, there is no law against giving, to save his wife's soul from

nure-atorv." Farmer.

P It is difficult to extract any kind of sense from the passage, M
it stands, and I don't see how it can be amended. Perhaps the
meaning may be this :-' And what a man cannot accomplish, he
Ly lawfully endeavour to obtain;' as for instance, his wife*

^With" respect to Farmer's explanation, I cannot conceive how
man can give what he cannot get: besides, if the words were
capable of the meaning he supposes, they would not apply to any-
thing that had passed, or been said before; and this Hsherman
is a shrewd fellow, who is not supposed to speak nonsense.

M. Mason.

» — bots on't ] The bots are the worms that breed in horses.
This comick execration was formerly used in the room of one less
decent. It occurs in King Henry IV. and in many other old plays.

Malone.

See The Reliques of Ancient English Poetry, in the old song of
The Miller Of Mansfield, Part II. line 65 :

" Quoth Dick, a bots on vou." Percy.

3 — after all my crosses,] For the insertion of the word my, I
am answerable. Malone. • '

4 And, though it was mine own,] i. e. And I thank you,
though it was my own. Malom».

s _- this brace :] The brace is the armour for the arm. bo,
in Troilus and Cressida :

sm i. PRINCE OF TYRE. 69

For that it sav'd me, keep it ; in like necessity
The which the gods protect thee from ! it may

defend thee 6.
It kept where I kept, I so dearly lov'd it ;
Till the rough seas, that spare not any man,
Took it in rage, though calm'd, have given it again":
I thank thee fort ; my shipwreck's now no ill,
Since I have here my father's gift in his will8.

1 Fish. What mean you, sir ?

Per. To beg of you, kind friends, this coat of
worth,
For it was sometime target to a king ;
I know it by this mark. He lov'd me dearly,
And for his sake, I wish the having of it ;
And that you'd guide me to your sovereign's court,
Where with't I may appear a gentleman ;
And if that ever my low fortunes better 9,
I'll pay your bounties ; till then, rest your debtor.

" I'll hide my silver beard in a gold beaver,
" And in my va.r\t-brace put this wither'd brawn."
Avant bras. Fr. Steevens.

6 The which the gods protect thee from ! &c] The old copies
read, unintelligibly :

" The which the gods protect thee, fame may defend thee."
I am answerable for the correction. — The licence taken in omit-
ting the pronoun before have, in a subsequent line of this speech,
was formerly not uncommon. See note on the following passage
in Othello, Act III. Sc. III. :

" Give me a living reason she's disloyal.'' Maloxe.
Being certain that the metre throughout this play was once
regular, I correct the line in question thus :

" in like necessity,

" Which gods protect thee from ! it may defend thee."

Steevens.

7 — though calm'd, they give't again :] Old copies:

" though calm'd, have given it again." Steevens.

8 — by will.] Old copy — in his tvill. For the sake of metre
I read— by will. So, in As You Like It : " By will but a poor
thousand crowns." Steevens.

9 And if that ever my low fortunes better,] Old copy ;

" And if that ever my low fortune's better — ."

70 PERICLES, act 11.

1 Fish. Why, wilt thou tourney for the lady ?
Per. I'll show the virtue I have borne in arms.

1 Fish. Why, do ye take it \ and the gods give
thee good on't !

2 Fish. Ay, but hark you, my friend"; twas we
that made up this garment through the rough seams
of the waters : there are certain condolements, cer-
tain vails. I hope, sir, if you thrive, you'll remem-
from whence you had it 3.

Per. Believe it, I will.
By your furtherance, I am cloth'd in steel4 ;
And spite of all the rupture of the sea 5,

We should read—" My low fortunes better." Better is in this
place a verb, and fortunes the plural number. M. Mason.

' Why, do ye take it,] That is, in plainer terms,— Why,
take it Steevens.

* Ay, but hark you, my friend ; &c] Thus, in Twine's trans-
lation : " And in the meane time of this one thing onely doe 1
putte thee in minde, that when thou shalt be restored to thy
former dignity, thou do not despise to thinke on the basenesseot
the poore piece of garment." Steevens. #

3 — from whence you had it.] For this correction I am an-
swerable. The old copies read— had them. M alone.

4 Now, by your furtherance, I am cloth'd in steel ;] Uld

copy only : . .

"By your furtherance, I am cloth d in steel .

I either read : .

" By your forbearance I am cloth d in steel ■;

i e by your forbearance to claim the armour, which being just
drawn up in your net, might have been detained as your own pro-
perty ;— or, for the sake of metre also :

" Now, by your furtherance," &c. Steevens.
5 And spite of all the rupture of the sea,] We might read

(with Dr. Sewel) :

*< spite of all the rapture of the sea.

That is—' notwithstanding that the sea hath ravish'd so much
from me.' So, afterwards :

" Who looking for adventures in the world,
" Was by the rough seas reft of ships and men."
A<nun, in The Life and Death of Lord Cromwell, 1602 :
& " Till envious fortune, and the ravenous sea,
" Did robe, disrobe, and spoil us of our own."
But the old reading is sufficiently intelligible. Malone.

sc. i. PRINCE OF TYRE. 71

This jewel holds his biding on my arm 6 ;
Unto thy value will I mount myself
Upon a courser, whose delightful steps
Shall make the gazer joy to see him tread. —
Only, my friend, I yet am unprovided
Of a pair of bases 7.

I am not sure but that the old reading is the true one. We
still talk of the breaking of the sea, and the breakers. What is the
rupture of the sea, but another word for the breaking of it?
Rupture means any solution of continuity.

It should not, however, be dissembled, that Chapman, in his
version of the Iliad, has several times used the substantive, rapture,
to express violent seizure, or the act by which any thing is carried
forcibly aivay. So, in the 5th Iliad :

" Brake swift-foot Iris to his aid from all the darts that

hiss'd
" At her quick rapture — ."
Again, ibid. :

" and their friend did from his rapture bear."

Again, in the 22d Iliad :

" And looke how an eagle from her height

" Stoopes to the rapture of a lamb." Steevens.

6 This jewel holds his biding on my arm ;] The old copy
reads — his building. Biding was, I believe, the poet's word.

Malone.
This conjecture appears to be just. A similar expression occurs
in Othello :

" look, I have a weapon,

" A better never did itself sustain
" Upon a soldier's thigh."
i. e. hold its biding, or place, there.

Any ornament of enchased gold was anciently styled a jeivel.
So, in Mark ham's Arcadia, 1607: " She gave him a very fine
jeivel, wherein was set a most rich diamond." Steevens.

7 — a pair of bases,] Bases appear to have been a kind of
loose breeches. Thus, in the first book of Sidney's Arcadia :
" About his middle he had, instead of bases, a long cloake of
silke," &c. — Again, in the third book : " His bases (which he
ware so long, as they came almost to his ankle,) were embroidered
onely with blacke worms, which seemed to crawle up and downe,
as readie alreadie to devour him." — It is clear from these passages,
that bases (as if derived from Bas, Fr. a stocking, as I formerly
supposed,) cannot mean any kind of defensive covering for the
legs.

In this concluding observation the late Captain Grose agreed

72 PERICLES, act ii.

2 Fish. We'll sure provide : thou shalt have my
best gown to make thee a pair ; and I'll bring thee
to the court myself.

Per. Then honour be but a goal to my will ;
This day I'll rise, or else add ill to ill. {Exeunt,

SCENE II.

The same. A publick Way, or Platform, leading
to the Lists. A Pavilion by the side of it, for the
reception of the King, Princess, Lords, %c.

Enter Simonjdes, Thjisa, Lords, and Attendants.
Sim. Are the knights ready to begin the triumph 8 ?

with me ; though at the same time he confessed his inability to
determine, with any degree of precision, what bases were.

Steevens.

Johnson tells us, in his Dictionary, that bases are part of any
ornament that hangs down as housings, and quotes a passage from
Sidney's Arcadia: " Phalantus was all in white, having his bases
and caparisons embroidered : "—and to confirm this explanation it
may be observed, that the [lower] valances of a bed are still called

the bases. . .

In Massinger's Picture, Sophia, speaking of Hilano s disguise,

says to Corisca :

" . You, minion,

" Had a hand in it too, as it appears,

" Your petticoat serves for bases to this warrior."

M. Mason.
Bases, signified the housings of a horse, and may have been
used in that sense here. So, 'in Fairfax's translation of Tasso's
Godfrey of Bulloigne :

" And with his streaming blood his bases dide." Malone.

It may be remarked, that Richardson in his notes on Paradise

Lost, p. 392, has the following explanation : — " Bases, from Bas,

(Fr. j they fall low to the ground ; they are also called the housing,

from Housse, be-daggled." Steevens.

Bases are thus explained by my friend Mr. Archdeacon Nares :
" A kind of embroidered mantle which hung down from the
middle, to about the knees or lower, and worn by knights on
horseback." See also Mr. Douce's Illustrations of Shakspeare,

vol. ii. p. 125. Boswell.

8 Are the knights ready to begin the triumph?] In bowers

Poem, and Kynge Appolyn of Thyre, 1510, certain gymnastick ex-
ercises only are performed before the Pentapolitan monarch, ante-

sc. ii. PRINCE OF TYRE. 73

1 Lord. They are, my liege ;
And stay your coming to present themselves.

Sim, Return them, we are ready 9 ; and our
daughter,
In honour of whose birth these triumphs are,
Sits here, like beauty's child, whom nature gat
For men to see, and seeing wonder at.

[Exit a Lord,

Thai. It pleaseth you, my royal father, to ex-
press x
My commendations great, whose merit's less.

Sim. Tis fit it should be so ; for princes are
A model, which heaven makes like to itself:
As jewels lose their glory, if neglected,
So princes their renown, if not respected.
'Tis now your honour, daughter, to explain
The labour of each knight, in his device2.

cedent to the marriage of Appollinus, the Pericles of this play.
The present tournament, however, as well as the dance in the
next scene, seems to have been suggested by a passage of the for-
mer writer, who, describing the manner in which the wedding of
Appollinus was celebrated, says :

" The knightes that be yonge and proude,
" The'x juste first, and after claunce." M alone.
A triumph, in the language of Shakspeare's time, signified any
publick show, such as a Masfc, or Revel, &c. Thus, in King
Richard II. :

" hold those justs and triumphs? "

Again, in King Henry VI. :

" With stately triumphs, mirthful comick shows."

Steevens.
9 Return them, we are ready;] i. e. return them notice, that
we are ready, &c. Percy.

1 It pleaseth you, &c] Old copy :

" It pleaseth you my rojjal father to express — ."
As this verse was too long by a foot, I have omitted the epithet
royal. Steevens.

2 'Tis now your honour, daughter, to explain

The labour of each knight, in his device.] The old copy
reads — to entertain, which cannot be right. Mr. Steevens sug-
gested the emendation. Malone.

The sense would be clearer were we to substitute, both in this
and the following instance, office. Honour, however, may mean

74 PERICLES, act ii.

Thai. Which, to preserve mine honour, I'll per-
form 3.

Enter a Knight ; he passes over the Stage, and his
Squire presents his Shield to the Princess.

Sim. Who is the first that doth prefer himself ?
Thai. A knight of Sparta, my renowned father;
And the device he bears upon his shield
Is a black yEthiop, reaching at the sun ;
The word, Lux tua vita mihi 4.

Sim. He loves you well, that holds his life of you.

[The second Knight passes.
Who is the second, that presents himself ?

Thai. A prince of Macedon, my royal father ;
And the device he bears upon his shield
Is an arm'd knight, that's conquer'd by a lady:
The motto thus, in Spanish, Piu per dulgura que
per f iter $a \

[The third Knight passes.

Sim. And what's the third ?
her situation as queen of the feast, as she is afterwards denomi-

The idea of this scene appears to have been caught from the
Iliad, book iii. where Helen describes the Grecian leaders to her
father-in-law Priam. Steevens.

3 Which, to preserve mine honour, I'll perform.] Perhaps we
should read— to prefer, i. e. to advance. Percy.

4 The word, Lux tua vita mihi.'] What we now call the motto,
was sometimes termed the luord or mot by our old writers. Le
mot, French. So, in Marston's Satires, 1599:

« , Fabius' perpetual golden coat,

" Which might have semper idem for a mot."'
These Latin mottos may perhaps be urged as a proof of the
learning of Shakspeare, or as an argument to show that he was
not the author of this play; but tournaments were so fashionable
and frequent an entertainment in the time of Queen Elizabeth,
that he might easily have been furnished with these shreds of lite-
rature. Malone.

5 —Piu per dulgura que per fuerca.] That is, more by
sweetness than by force.' The author should have written Mas
per dulcura, &c. Piu in Italian signifies more ; but, 1 believe,
there is no such Spanish word. Malone.

sc. ii. PRINCE OF TYRE. 75

Thai. The third of Antioch ;

And his device, a wreath of ceivalry :
The word, Me pompce provexit apex 6.

[The fourth Knight passes.
Sim. What is the fourth 7 ?

Thai. A burning torch 8, that's turned upside
down ;
The word, Quod me alit, me extinguit.

Sim. Which shows, that beauty hath his power
and will,
Which can as well inflame, as it can kill.

[The fifth Knight passes.
Thai, The fifth, an hand environed with clouds ;
Holding out gold, that's by the touchstone tried :
The motto thus, Sic sped anda fides.

6 — Me pompce provexit apex.~\ All the old copies have — Me
Pompeij, &c. Whether we should amend these words as follows
—me pompae provexit apex, — or correct them thus — me Pompei
provexit apex, I confess my ignorance. A "wreath of chivalry, in
its common sense, might be the desert of many knights on many
various occasions ; so that its particular claim to honour on the
present one is not veiy clearly ascertained. — If the wreath de-
clares of itself that it was once the ornament of Pompeys helm,
perhaps here may be some allusion to those particular marks of
distinction which he wore after his bloodless victory over the Cili-
cian pirates :

" Et victis cedat piratica laurea Gallis." Steevens.

Steevens is clearly right in reading pompce, instead of Pompe y,
and the meaning of the Knight in the choice of his device and
motto seems to have been, to declare that he was not incited by
love to enter the lists, but by the desire of glory, and the ambition
of obtaining the wreath of victory which Thaisa was to bestow
upon the conqueror. M. Mason.

See these devices fully explained by Mr. Douce, Illustrations
of Shakspeare, vol. ii. p. 125. Boswell.

7 What is the fourth ?] i. e. What is the fourth device.

Malone.

8 A burning torch, &c] This device and motto may have been
taken from Daniel's translation of Paul us Jovius, in 1585, in which
they are found. Signat. H. 7. b. Malone.

The same idea occurs again in King Henry VI. Part I. :
" Here dies the dusky torch of Mortimer,
" Chok'd," &c. Steevens.

76 PERICLES, act it

[The sixth Knight passes.
Sim. And what's the sixth and last, which the
knight himself
With such a graceful courtesy deliver'd ?

Thai. He seems to be a stranger ; but his pre-
sent
Is a wither'd branch 9, that's only green at top ;
The motto, In hac spe vivo.

Sim. A pretty moral ;
From the dejected state wherein he is,
He hopes by you his fortunes yet may flourish.

1 Lord. He had need mean better than his out-

ward show
Can any way speak in his just commend :
For, by his rusty outside, he appears
To have practis'd more the whipstock \ than the

lance.

2 Lord. He well may be a stranger, for he

comes
To an honour'd triumph, strangely furnished.

3 Lord. And on set purpose let his armour rust
Until this day, to scour it in the dust 2.

Sim. Opinion's but a fool, that makes us scan
The outward habit by the inward man :J.

9 He seems, &c] Old copy :

" He seems to be a stranger; but his present

" Is a wither'd branch — ."
For reasons frequently given, I have deserted the ancient text.

Steevens.

1 — the whipstock,] i. e. the carter's whip. See note on
Twelfth-Night, vol. xi. p. 387, n. 5. Steevens.

2 — let his armour rust

Until this day, to scour it in the dust.] The idea of this ill-
appointed knight appears to have been adopted from Sidney's Ar-
cadia, book i. : " His armour of as old a fashion, besides the rustie
poornesse, &c. — so that all that looked on, measured his length
on the earth already," &c. Steevens.

3 The outward habit by the inward man.] i. e. that makes us
scan the inward man by the outward habit.

This kind of inversion was formerly very common. So, in The
Merchant of Venice :

sc. in. PRINCE OF TYRE. 77

But stay, the knights are coming; we'll withdraw
Into the gallery. [Exeunt.

[Great Shouts, and all cry, The mean knight4.

SCENE III.

The Same. A Hall of State. — A Banquet pre-
pared.

Enter Simonides, Thais 'a, Lords, Knights, and

Attendants.
Sim. Knights,
To say you are welcome, were superfluous.
To place upon the volume of your deeds 5,
As in a title-page, your worth in arms,
Were more than you expect, or more than's fit,
Since every worth in show commends itself.
Prepare for mirth, for mirth becomes a feast :
You are princes and my guests 6.

" that many may be meant

" By the fool multitude."
See the note on that passage in vol. v. p. 68, n. 4. Malone.
Why should we not read :

" The inward habit by the outward man."
. The words were accidentally misplaced. In the prose romance
already quoted, the king says : " — the habyte maketh not the
relygious man." Steevens.

In my copy this line is quoted in an old hand as Mr. Steevens
reads. Farmer.

I don't think any amendment necessary ; but the passage should
be pointed thus :

** Opinion's but a fool, that makes us scan
° The outward habit by, the inward man."
That is, that makes us scan the inward man, by the outward
habit. M. Mason.

4 [Great shouts, and all cry, The mean knight."] Again, in
the first book of Sidney's Arcadia : " The victory being by the
judges given, the trumpets witnessed to the ill-apparcll'd knight."

Steevens.
* To place, &c] The quarto, 1609, reads — / place, and this
corrupt reading was followed in that of 1619, and in the folio,
1664-. The emendation is taken from the folio, 1685. Malone.

78 PERICLES, act n.

That, But you, my knight and guest ;

To whom this wreath of victory I give,
And crown you king of this day's happiness.

Per. Tis more by fortune, lady, than my merit 7.

Sim. Call it by what you will, the day is yours ;
And here, I hope, is none that envies it.
In framing artists8, art hath thus decreed,
To make some good, but others to exceed ;
And you're her labour'd scholar. Come, queen

o' the feast 9,
(For, daughter, so you are,) here take your place :
Marshal the rest, as they deserve their grace.

Knights. We are honour'd much by good
Simonides.

Sim. Your presence glads our days ; honour we
love,
For who hates honour, hates the gods above.

Marsh. Sir, yond's your place.

pERm Some other is more fit.

1 Knight. Contend not, sir ; for we are gen-
tlemen,
That neither in our hearts, nor outward eyes,
Envy the great, nor do the low despise \

6 You are my guests.] Old copy :

" You are princes and mv guests."
But as all the personages addressed were not princes, and as the
measure is overburthened by the admission of these words, I have

left them out. . .. ..

The change I have made, likewise affords a natural introduc-
tion to the succeeding speech of the Princess. Steevens.

7 —than my merit.] Thus the original quarto, 1609. Ine
second quarto has— by merit. Malone.

8 In framing artists,] Old copy:

" In framing an artist."
This judicious emendation is Mr. Malone's. Steevens.
9— Come, Q.UEEN o' the feast,
(For, daughter, so you are,)] So, in The Winters Tale :

" , present yourself

" That which you are, mistress o' the feast:' Steevens.
« That neither in our hearts, nor outward eyes,
Envy the great, nor do the low despise.] This is the reading
of the quarto 1619. The first quarto reads—

sc. m. PRINCE OF TYRE. 79

Per. You are right courteous knights.
Sim. Sit, sit, sir ; sit.

Per. By Jove, I wonder, that is king of thoughts, /
These cates resist me, she »e$/thought upon 2.

" Have neither in our hearts, nor outward eyes,
" Envies the great, nor shall the low despise." Malone.
2 By Jove, I wonder, that is king of thoughts,
These cates resist me, she not thought upon.] All the
copies read — " he not thought upon "—and these lines are given
to Simonides. In the old plays it is observable, that declarations
of affection, whether disguised or open, are generally made by
both the parties ; if the lady utters a tender sentiment, a corres-
ponding sentiment is usually given to her lover. — Hence I con-
clude, that the author wrote —

" she not thought upon ; "

and that these lines belong to Pericles. If he be right, I would
read :

he now thought upon."

The prince recollecting his present state, and comparing it with
that of Simonides, wonders that he can eat. In Gower, where this
entertainment is particularly described, it is said of Appollinus,
the Pericles of the present play, that —

" He sette and cast about his eie

" And saw the lordes in estate,

" And with hym selfe were in debate

" Thynkende what he had lore :

" And such a sorowe he toke therefore,

" That he sat ever stille and thought,

" As he ivhich of no meat rought."
So, in Kyng Appolyn of Thyre, 1510: " — at the last he
sate him down at the table, and without etynge, he behelde the
noble company of lordes and grete estates.— Thus as he looked
all about, a great lord that served at the kynge's table sayde unto
the kynge, Certes, syr, this man wolde gladly your honour, for
he dooth notete, but beholdeth hertely your noble magnifycence,
and is in poynt to weep."

The words resist me, however, do not well correspond with
this idea. Perhaps they are corrupt. Malone.

" These cates resist me," i. e. go against my stomach. I
would read, however — be not thought upon.

It appears from Gower and the prose novel, as well as many
of the following circumstances, that the thoughts of Pericles
were not yet employed about the Princess. He is only rumina-
ting on his past misfortunes, on his former losses. The lady had

G

80 PERICLES, 49T il

Thai. By Juno, that is queen
Of marriage, all the viands that I eat

found out what ailed her, long before Pericles had made a similar

*TK'p.d3KS*i. the right reading, that the first of

l nave nu mm PPr;rles and that the words " these

these speeches .belongs to Per c es ami ^ ^

a^^'SS^^* mutual passion had the same
effect oPnThaisa and Pericles : but as we are not to suppose ha
htmisW *as ever out of his thoughts, the sense requires that
we should read- ■ ^ e s/,e ^ thought upon." ■

inehe t«t oiip-htest thoughts ot her took away

wfrpSo-vev ,„\%t! which cofreSponds with what She
his appetite iui cv j t> Th are n0 tw0 words more

says in the -bsequent ^^^f^ plays, than not and

^ 6A mi^wh^n noVthtgh't upon, can h Je no effect with

-K Spe^hMbelo0ng8 to Pericles, he must mean to say, that
when he cease to think of his mistress, his stomach fads him.
h 'here anything unnatural in this? As displeasing sensations
are known I diminish appetite, so pleasant ideas may be supposed

t0 ^however, the hero of Sidney's Arcadia hook j find.

*fe %htr ^-r "est^k i mote ea^f

Sf Stie than mv mouth dVof any other liquor. And so was

™mnn sense deceived (being chiefly bent to her) that as I

d7anrtrwiTande:Uhall(stolega loot on her, mee seemed I

^tveeTnSrbTdeihe speech in question, and yet where
would be the impropriety of leaving it in the mouth of S,mon£
n? He is desirous of Pericles for a son-in-law, as Thaisa to
t sess h m as a usband ; and if the old gentleman cannot eat
F, tl ImVtac of him such weakness is but of a piece with what
5fE£e#liUDfflajes.yj in a colloquy with the
folerT renders himself is ridiculous as King Arthur in Torn
Thumb Simonides and Thaisa express a sort of famil impa-
tience for the attainment of their diferent purposes. He won-
ders why his appetite fails him, unless he is thinking on Pencle
fhewi he Jin exchange of provision; and as _nume8 say n
fondness to their infants) loves her prince so well that she could
elt htm The grossness of the daughter can only be exceeded
by the anility of the father. I cannot persuade myself that

sc. in. PRINCE OF TYRE. 81

Do seem unsavoury, wishing him my meat !
Sure he's a gallant gentleman.

Sim. He's but a country gentleman ;
He has done no more than other knights have done ;
Broken a staff, or so ; so let it pass.

Thai. To me he seems like diamond to glass.

Per. Yon king's to me, like to my father's
picture,
Which tells me in that glory once he was ;
Had princes sit ~, like stars, about his throne,
And he the sun, for them to reverence.
None that beheld him, but like lesser lights,
Did vail their crowns to his supremacy ;
Where now his son's a glow-worm in the night 3,
The which hath fire in darkness, none in light ;
Whereby I see that Time's the king of men,
For he's their parent, and he is their grave 4,
And gives them what he will, not what they crave.

Shakspeare had any hand in producing the Hurlothrumbic cha-
racter of Simonides. Steevens.

2 Had princes sit,] Should not this be self Yet from the
perpetual occurrence of elliptical phraseology in this play, the old
copy may be right. So ,in p. 90 :

" You shall like diamonds sit about his crown."

BoSWELL.

3 Where now his son's a glow-worm in the night,] The old
copies read — " Where now his son," &c. But this is scarcely
intelligible. The slight change that has been made affords an
easy sense. Where is, I suppose, here, as in many other places,
used for whereas.

The peculiar property of the glow-worm, on which the poet
has here employed a line, he has in Hamlet happily described by
a single word :

" The glow-worm shows the matin to be near,
" And 'gins to pale his uneffectual fire." Malone.

4 For he's their parent, and he is their grave,] So, in Romeo
and Juliet :

" The earth, that's nature's mother, is her tomb ;

" What is her burying grave, that is her tvomb."
Milton has the same thought :

" The womb of nature, and perhaps her grave."
VOL. XXI. G

8<j PERICLES, act n.

Sim. What, are you merry, knights ?

1 Knight. Who can be other, in this royal pre-

sence ?

Sim. Here, with a cup that's stor'd unto the
brim 7,
(As you do love, fill to your mistress' lips 8,)
We drink this health to you.

Knights. We thank your grace.

Sim. Yet pause a while ;
Yon knight, methinks, doth sit too melancholy,
As if the entertainment in our court
Had not a show might countervail his worth.
Note it not you, Thaisa ?

Thji. What is it

To me, my father ?

SJM. O, attend, my daughter ;

Princes, in this, should live like gods above,
Who freely give to every one that comes
To honour them : and princes, not doing so,

In the text the second quarto has been followed. The first

" " He's both their parent and he is their grave." Malone.
7 —that's stor'd unto the brim,] The quarto 1609 reads
—that's stur'd unto the brim. Malone.

If.stirr'd be the true reading, it must mean, as Milton ex-
presses it, that the liquor

« dances in its chrvstal bounds.

But I rather think we should read— stor'd, i. e. replenished.
So before in this play :

" Their tables were stor'd full.

Again : .,./•*. n ..

" Were not this glorious casket stor cl with ill.

Again :

« . these our ships

" Are stor'd with corn—." Steevens.
fi (As vou do love, fill to your mistress* lips,)] i. e let the
Quantity of wine vou swallow, be proportioned to the love you
bear your mistress : in plainer English-" If you love kissing,
drink a bumper." The construction is— As you love your mis-
tresses' lips, so fill to them. Steevens.
Head — " fill to your mistresses." Farmlr.

sew. PRINCE OF TYRE. 83

Are like to gnats, which make a sound, but kill'd
Are wonder'd at 9.

Therefore to make his entrance more sweet !,
Here say we drink this standing-bowl of wine to
him "2.

Thai. Alas, my father, it befits not me
Unto a stranger knight to be so bold ;
He may my proffer take for an offence,
Since men take women's gifts for impudence.

Sim. How!
Do as I bid you, or you'll move me else.

9 — and princes, not doing so,
Are like to gnats, which make a sound, but kill'd
Are wonder'd at.] i. e. when they are found to be such
small insignificant animals, after making so great a noise.

Percy.

The sense appears to be this. — When kings, like insects, lie
dead before us, our admiration is excited by contemplating how
in both instances the powers of creating bustle were superior to
those which either object should seem to have promised. The
worthless monarch, and the idle gnat, have only lived to make
an empty bluster ; and when both alike are dead, we wonder
how it happened that they made so much, or that we permitted
them to make it : — a natural reflection on the death of an un-
serviceable prince, who having dispensed no blessings, can hope
for no better character.

1 cannot, however, help thinking that this passage is both cor-
rupted and disarranged, having been originally designed for one
of those rhyming couplets with which the play abounds :

" And princes, not doing so, are like the gnat,

" Which makes a sound, but kill'd is wonder'd at."

Steevens.
' Therefore to make's entrance more sweet, here say,] Old
copy —

" Therefore to make his entrance more sweet,
" Here say," &c. Steevens.
Entrance was sometimes used by our old poets as a word of
three syllables. Malone.

By his entrance, I believe, is meant his present trance, the
reverie in which he is supposed to be sitting. Steevens.

2 — this standing-bowl of wine to him.] A standing-bowl
was a bowl resting on a foot. Steevens.

G 2

84 PERICLES, act ii.

Thai. Now, by the gods, he could not please me
better3. [Aside.

Sim. And further tell him, we desire to know,
Of whence he is, his name and parentage 4.

Thai. The king my father, sir, has drunk to you.

Per. I thank him.

Thai. Wishing it so much blood unto your life.

Per. I thank both him and you, and pledge him
freely.

Thai. And further he desires to know of you,
Of whence you are, your name and parentage.

Per. A gentleman of Tyre— (my name, Pericles;
My education being in arts and arms 5 ;) —
Who looking for adventures in the world,
Was by the rough seas reft of ships and men,
And, after shipwreck, driven upon this shore.

Thai. He thanks your grace; names himself
Pericles,
A gentleman of Tyre, who only by
Misfortune of the seas has been bereft
Of ships and men, and cast upon this shore.

Sim. Now by the gods, I pity his misfortune,
And will awake him from his melancholy.

3 Now, by the gods, he could not please me better.] Thus, in
Twine's translation : " Then Lucina having already in her heart
professed to do him good, and now perceiving very luckily her fa-
ther's mind to be inclined to the desired purpose," &c. Steevens.

4 Of whence he is, his name and parentage.] So, in the Con-
fessio Amantis :

" His doughter

" He bad to go on his message,

" And fond for to make him glade,

" And she did as her fader bade ;

" And goth to him the softe paas,

" And asketh whens and what he was,

" And praithe he shulde his thought leve." Malone.
5 — beincx in arts and arms ;)] The old copies have— been. I
am responsible for the correction ; and for the introduction of the
words has been in the following speech. Malone.

sc. in. PRINCE OF TYRE. 85

Come, gentlemen, we sit too long on trifles,
And waste the time, which looks for other revels.
Even in your armours, as you are address'd,
Will very well become a soldier's dance6.
I will not have excuse, with saying, this
Loud musick is too harsh 7 for ladies' heads ;
Since they love men in arms, as well as beds.

[The Knights dance.
So, this was well ask'd, 'twas so well perform'd 8.
Come, sir ;

Here is a lady that wants breathing too :
And I have often heard 9, you knights of Tyre
Are excellent in making ladies trip ;
And that their measures are as excellent.

6 Even in your armours, as you are address'd,

Will very well become a soldier's dance.] As you are ac-
coutered, prepared for combat. So, in King Henry V. ;
" To-morrow for the march are we address'd."
The word very, in the next line, was inserted by the editor of
the folio. Malone.

So, in Twine's translation ; — " I may not discourse at large of
the liberall challenges made and proclaimed at the tilt, &c. — run-
ning afoote, and daimcing in armour," &c. Steevens.

7 I will not have excuse, with saying, this

Loud musick is too harsh — ] i. e. the loud noise made by
the clashing of their armour.

The dance here introduced is thus described in an ancient Dia-
logue Against the Abuse of Dancing, bl. 1. no date:

" There is a dance called Choria,

" Which joy doth testify ;

" Another called Pyrricke

" Which warlike feats doth try;

" For men in armour gestures made*

" And leapt, that so they might,

" When need requires, be more prompt

" In publique weale to fight." Malone.

8 So, this was well ask'd, 'twas so well perform'd.] i. e. the
excellence of this exhibition has justified the solicitation by which
it was obtained. Steevens.

9 And I have often heard,] I have inserted the word often,
which was probably omitted by the carelessness of the compositor.

Malone.

86 PERICLES, act iu

Per. In those that practise them, they are, my

lord.
Sim. O, that's as much, as you would be denied

[The Knights and Ladies dance.
Of your fair courtesy. — Unclasp, unclasp ;
Thanks, gentlemen, to all ; all have done well,
But you the best. [To Pericles.'] Pages and lights,

conduct '
These knights unto their several lodgings : Yours,

sir,
We have given order to be next our own 2.
Per. I am at your grace's pleasure.
Sim. Princes, it is too late to talk of love,
For that's the mark I know you level at :
Therefore each one betake him to his rest ;
To-morrow, all for speeding do their best.

[Exeunt.

SCENE IV.
Tyre. A Room in the Governor's House.

Enter Helicanus and Escanes.

Bel. No, no, my Escanes ; know this of me 3, —
Antiochus from incest liv'd not free ;
For which, the most high gods not minding longer
To withhold the vengeance that they had in store,

i — conduct — ] Old copy — to conduct. Steevens.
i — to be next our own.] So, Gower :

" The kynge his chamberleyne let calle,

" And bad that he by all weye

" A chamber for this man purvei

" Which nigh his own chambrc bee." Malone.
3 No, no, my Escanes ; &c] The old copy:

" No, Escanes, know this of me — ."
But this line being imperfect, I suppose it should be read as I
have printed it. Steevens.

" No, Escanes ; " 1 suspect the author wrote — Know, Escanes ;
&c. Malone.

sc. iv. PRINCE OF TYRE. 87

Due to this heinous capital offence ;

Even in the height and pride of all his glory,

When he was seated, and his daughter with him,

In a chariot of inestimable value,

A fire from heaven came, and shrivell'd up

Their bodies 4, even to loathing ; for they so stunk,

That all those eyes ador'd them, ere their fall,

Scorn now their hand should give them burial \

Esc a. 'Twas very strange.

Hel. And yet but just ; for though

This king were great, his greatness was no guard
To bar heaven's shaft, but sin had his reward.

Esc a. Tis very true.

Enter Three Lords.

1 Lord. See, not a man in private conference,
Or council, has respect with him but he 6.

2 Lord. It shall no longer grieve without re-

proof.

3 Lord. And curs'd be he that will not second it.
1 Lord. Follow me then : Lord Helicane, a

word.
Hel. With me ? and welcome : Happy day, my

lords.
1 Lord. Know, that our griefs are risen to the

top,

* A fire from heaven came, and shrivell'd up
Their bodies,] This circumstance is mentioned by Gower:

" they hym tolde,

" That for vengeance as God it wolde,

" Antiochus, as men maie witte,

" With thonder and lightnyng is forsmitte.

" His doughter hath the same chance,

" So ben thei both in o balance." Malone.

5 That all those eyes ador'd them, ere their fall,
Scorn now, &c] The expression is elliptical :

" That all those eyes which ador'd ihem," &c. Malone.

6 See, not a man, &c] To what this charge of partiality was
designed to conduct, we do not learn ; for it appears to have no in-
fluence over the rest of the dialogue. Steevens.

88 PERICLES, act n.

And now at length they overflow their banks.
Hel. Your griefs, for what ? wrong not the
prince you love.

1 Lord. Wrong not yourself then, noble Heli-

cane ;
But if the prince do live, let us salute him,
Or know what ground's made happy by his breath.
If in the world he live, we'll seek him out ;
If in his grave he rest, we'll find him there ;
And be resolv'd, he lives to govern us 7,
Or dead, gives cause to mourn his funeral,
And leaves us8 to our free election.

2 Lord. Whose death's, indeed, the strongest

in our censure 9 :
And knowing this kingdom, if without a head \
(Like goodly buildings left without a roof * •)
Will soon to ruin fall, your noble self,

7 And be resolv'd, he lives to govern us,] Resolv'd is satisfied,
free from doubt. So, in a subsequent scene :

" Resolve your angry father, if my tongue," &c. Malone.

8 And leaves us — ) The quarto, 1609, reads — And leave us,
which cannot be right. Malone.

9 Whose death's, indeed, the strongest in our censure:]
i. e. the most probable in our opinion. Censure is thus used in
King Richard III. :

" To give your censures in this weighty business." Steevens.
The old copies read — whose death indeed, &c. Malone.
1 And knowing this kingdom, if without a head,] They did
not know that the kingdom had absolutely lost its governor ; for
in the very preceding line this Lord observes that it was only
more probable that he was dead, than living. I therefore read,
with a very slight change, — if without a head. The old copy, for
jf} has— is. In the next line but one, by supplying the word "will,
which I suppose was omitted by the carelessness of the composi-
tor, the sense and metre are both restored. The passage, as it
stands in the old copy, is not, by any mode of construction,
reducible to grammar. Malone.

2 (Like goodly buildings left without a roof,)] The same
thought occurs ifi King Henry IV. Part II. :

" leaves his part-created cost

" A naked subject to the weeping clouds,

" And waste for churlish winter's tyranny." Steevens.

sc. iv. PRINCE OF TYRE. 89

That best know'st how to rule, and how to reign,
We thus submit unto, — our sovereign.

All. Live, noble Helicane !

Hel. Try honours cause3; forbear your suffrages:
If that you love prince Pericles, forbear.
Take I your wish, I leap into the seat,
Where's hourly trouble, for a minute's ease 4.
A twelvemonth longer, let me then entreat you
To forbear choice i' the absence of your king5 ;
If in which time expir'd, he not return,
I shall with aged patience bear your yoke.

3 Try honour's cause ;] Perhaps we should read :

" Try honour's course ." Steevens.

4 Take I your wish, I leap into the seas,
Where's hourly trouble, &c.] Thus the old copy.

Steevens.
It must be acknowledged that a line in Hamlet,—
" Or to take arms against a sea of troubles,"
As well as the rhyme, adds some support to this reading : yet I
have no doubt that the poet wrote :

" I leap into the seat ."

So, in Macbeth :

" I have no spur

" To prick the sides of my intent, but only
" Vaulting ambition, which o'er-leaps itself," &c.
On ship-board the pain and pleasure may be in the proportion
here stated ; but the troubles of him who plunges into the sea,
(unless he happens to be an expert swimmer) are seldom of an
hour's duration. Malone.

" Where's hourly trouble, for a minute's ease." So, in King
Richard III. :

" And each hour's joy wreck'd with a week of teen."

Malone.
The expression is figurative, and by the words — " I leap into
the seas," &c. I believe the speaker only means — ' I embark too
hastily on an expedition in which ease is disproportioned to labour.'

Steevens.

* To forbear, &c] Old copy :

" To forbear the absence of your king."
Some word being omitted in this line, I read :

" To forbear choice i' the absence of your king."

Steevens.

90 PERICLES, act ii.

But if I cannot win you to this love,

Go search like noblemen, like noble subjects,

And in your search spend your adventurous worth ;

Whom if you find, and win unto return,

You shall like diamonds sit about his crown.

1 Lord. To wisdom he's a fool that will not
yield ;
And, since lord Helicane enjoineth us,
We with our travels will endeavour it 7.

Hel. Then you love us, we you, and we'll clasp
hands:
When peers thus knit, a kingdom ever stands.

[Exeunt.

SCENE V.

Pentapolis. A Room in the Palace.

Enter Simonides, reading a Letter 8, the Knights

meet him.

1 Knight. Good morrow to the good Simonides.

6 — and win unto return,

You shall like diamonds sit about his crown.] As these are
the concluding lines of a speech, perhaps they were meant to
rhyme. We might therefore read :

" — — and win unto renown."
i. e. if you prevail on him to quit his present obscure retreat, and
be reconciled to glory, you shall be acknowledged as the brightest
ornaments of his throne. Steevens.

7 We with our travels will endeavour it.] Old copy :

" We with our travels will endeavour."
Endeavour what ? I suppose, to find out Pericles. I have
therefore added the syllable which appeared wanting both to metre
and sense. Steevens.

The author might have intended an abrupt sentence.

Malone.
I would readily concur with the opinion of Mr. Malone, had
passion, instead of calm resolution, dictated the words of the
speaker. Steevens.

8 Enter Simonides, reading a Letter,'} In The Historie of

sc. v. PRINCE OF TYRE. 91

Sim. Knights, from my daughter this I let you
know,
That for this twelvemonth, she'll not undertake
A married life.

Her reason to herself is only known,
Which from herself by no means can I get.

2 Knight. May we not get access to her, my

lord ?
Sim. 'Faith, by no means ; she hath so strictly

tied her
To her chamber, that it is impossible.
One twelve moons more shell wear Diana's livery;
This by the eye of Cynthia hath she vow'd 9,
And on her virgin honour will not break it.

3 Knight. Though loath to bid farewell, we take

our leaves. \Exeunt.

Sim. So
They're well despatch'd; now to my daughter's

letter:
She tells me here, she'll wed the stranger knight,
Or never more to view nor day nor light.
Mistress, 'tis well, your choice agrees with mine ;
I like that well : — nay, how absolute she's in't,
Not minding whether I dislike or no !

King Appolyn of Thyre, " two kynges sones" pay their court to the
daughter of Archystrates, (the Simonides of the present play).
He sends two rolls of paper to her, containing their names, &c.
and desires her to choose which she will marry. She writes him
a letter (in answer), of which Appolyn is the bearer, — that she
will have the man " which hath passed the daungerousundes and
perylles of the sea — all other to refuse." The same circumstance
is mentioned by Gower, who has introduced three suitors instead
of two, in which our author has followed him. Malone.

In Twine's translation, these suitors are also three in number,—
Ardonius, Munditius, and Carnillus. Steevens.

9 This by the eye of Cynthia hath she vow'd,] It were to be
wished that Simonides (who is represented as a blameless cha-
racter) had hit on some more ingenuous expedient for the dis-
mission of these wooers. Here he tells them as a solemn truth,
what he knows to be a fiction of his own. Steevens.

92 PERICLES, act il

Well, I commend her choice ;

And will no longer have it be delay'd. .

Soft, here he comes : — I must dissemble it.

Enter Pericles.

Per. All fortune to the good Simonides !

Sim. To you as much, sir! I am beholden to you,
For your sweet musick this last night x : my ears,
I do protest, were never better fed
With such delightful pleasing harmony.

Per. It is your grace's pleasure to commend ;
Not my desert.

Sim. Sir, you are musick's master.

Per. The worst of all her scholars, my good lord.

<S7;i/. Let me ask one thing. What do you think,
sir, of
My daughter ?

Per. As of a most virtuous princess.

1 — I am beholden to you,
For your sweet musick this last night :] Here also our author
has followed Gower :

" She, to doone hir faders hest,

" Hirharpe set, and in the feste

" Upon a chaire, whiche thei sette,

" Hir selfe next to this man she sette.

" With harpe both and eke with mouth

" To him she did all that she couth,

" To make him chere ; and ever he sigheth,

" And she him asketh howe him liketh.

" Madame, certes well, he saied ;
" But if ye the measure plaied,
" Whiche, if you list, I shall you lere,
" It were a glad thing for to here.
" A leve, sir, tho quod she,
" Nowe take the harpe, and lete me see
'* Of what measure that ye mene. —

" He taketh the harpe, and in his wise
" He temprelh, and of such assize
" Synginge he harpeth forth withall,
" That as a voice celestial
" Hem thought it sovvned in her ere,
" As though that it an angell were." Malone.

sc. v. PRINCE OF TYRE. 93

Sim. And she is fair too, is she not ?

Per. As a fair day in summer ; wond'rous fair.

Sim. My daughter, sir, thinks very well of you ;
Ay, so well, sir, that you must be her master,
And she'll your scholar be ; therefore look to it.

Per. Unworthy I to be her schoolmaster 2.

Sim. She thinks not so ; peruse this writing else.

Per. What's here !
A letter, that she loves the knight of Tyre ;
Tis the king's subtilty, to have my life. [Aside.

O, seek not to entrap, my gracious lord 3,
A stranger and distressed gentleman,
That never aim'd so high, to love your daughter,
But bent all offices to honour her.

Sim. Thou hast bewitch'd my daughter4, and
thou art
A villain.

Per. By the gods, I have not, sir.
Never did thought of mine levy offence ;
Nor never did my actions yet commence
A deed might gain her love, or your displeasure.

Sim. Traitor, thou liest.

Per. Traitor !

Sim. Ay, traitor, sir.

Per. Even in his throat, (unless it be the king5,)
That calls me traitor, I return the lie.

Sim. Now, by the gods, I do applaud his courage.

[Aside.

Per. My actions are as noble as my thoughts,

2 — to be her schoolmaster.] Thus the quarto 1619. The
first copy reads— for her schoolmaster. Malone.

3 — my gracious lord,] Old copies me. I am answerable for
the correction. Malone.

4 Thou hast bewitch'd my daughter,] So, Brabnntio, ad-
dressing himself to Othello :

" Damn'd as thou art, thou hast enchanted her."

Stekvens.

5 — the king,)] Thus the quarto 1609. The second copy
has— a king. Malone.

6

94 PERICLES, act ii.

That never relish'd of a base descent 6.
I came unto your court, for honour's cause,
And not to be a rebel to her state ;
And he that otherwise accounts of me,
This sword shall prove he's honour's enemy.

Sim. No!—
Here comes my daughter, she can witness it7.

Enter Thais a.

Per. Then, as you are as virtuous as fair,
Resolve your angry father, if my tongue
Did e'er solicit, or my hand subscribe
To any syllable that made love to you ?

Thai. Why, sir, say if you had,
Who takes offence at that would make me glad?

Sim. Yea, mistress, are you so peremptory ? —
I am glad of it with all my heart. [Aside^] I'll tame

you;
I'll bring you in subjection. —
Will you, not having my consent, bestow
Your love and your affections on a stranger ?
(Who, for aught I know to the contrary,
Or think, may be as great in blood as I.) [Aside.
Hear therefore, mistress; frame your will to mine, —
And you, sir, hear you. — Either be rul'd by me,
Or I will make you — man and wife. —
Nay, come ; your hands and lips must seal it too. —

6 That never relish'd of a base descent.] So, in Hamlet :

" That has no relish of salvation in it."
Again, in Macbeth :

" So well thy words become thee as thy wounds ;
" They smack of honour both." Malone.

7 — No!—

Here comes my daughter, she can witness it.] Thus all the
copies. Simonides, I think, means to say — '■ Not a rebel to our
state! — Here comes my daughter: she can prove, thou art one.'
Perhaps, however, the author wrote — " Now, Here comes," &c—
In Othello, we find nearly the same words :

" Here comes the lady, let her witness it." Malone.

sc. v. PRINCE OF TYRE. 95

And being join'd, I'll thus your hopes destroy; —
And for a further grief, — God give you joy !
What, are you both pleas'd ?

Thai. Yes, if you love me, sir.

Per. Even as my life, my blood that fosters it 8.

Sim. What, are you both agreed ?

Both. Yes, please your majesty.

Sim. It pleaseth me so well, I'll see you wed ;
Then, with what haste you can, get you to bed9.

[Exeunt.

8 Even as my life, my blood that fosters it.] Even as my life
loves my blood that supports it. — The quarto 1619, and the sub-
sequent copies, read :

" Even as my life, or blood that fosters it."
The reading of the text is found in the first quarto. Malone.
I cannot approve of Malone's explanation of this line : — To
make a person of life, and to say it loves the blood that fosters it,
is an idea to which I cannot reconcile myself.

Pericles means merely to say, that he loves Thaisa as his life,
or as the blood that supports it ; and it is in this sense that the
editors of the quarto of 1619, and the subsequent copies, con-
ceived the passage. — But the insertion of the word or was not
necessary ; it was sufficient to point it thus :

" Even as my life ; — the blood that fosters it." M. Mason.
Will a preceding line (see p. 84) befriend the opinion of either
commentator ?

" Wishing it so much blood unto your life."
In my opinion, however, the sense in the text was meant to
coincide with that which is so much better expressed in Julius
Caesar :

" As dear tome, as are the ruddy drops
" That visit my sad heart." Steevens.

9 — get you to bed.] I cannot dismiss the foregoing scene,
till I have expressed the most supreme contempt of it. Such an-
other gross, nonsensical dialogue, would be sought for in vain
among the earliest and rudest efforts of the British theatre. It
is impossible not to wish that the Knights had horsewhipped
Simonides, and that Pericles had kicked him off the stage.

Steevens.
I cannot see why the old king should be condemned to such
severe discipline. The white lie with which he dismisses the
Knights, to avoid the pain of giving them a direct refusal, is cer-
tainly wrong ; for nothing can justify the violation of truth : but
if he must be horsewhipped and kicked for the suspense in which

96 PERICLES, act hi.

ACT III.

Enter Gower.

Gow. Now sleep yslaked hath the rout ' ;
No din but snores, the house about,
Made louder by the o'er-fed breast 2
Of this most pompous marriage feast.
The cat with eyne of burning coal,
Now couches 'fore the mouse's hole 3 ;

he keeps the young lovers, I know not what degree of castigation
would be sufficient for Prospero, who carries the same joke a great
deal further. Boswell.

1 Now sleep yslaked hath the rout ;
No din but snores, 8cc] The quarto 1609, and the subse-
quent copies, read :

" No din but snores about the house."
As Gower's speeches are all in rhyme, it is clear that the old
copy is here corrupt. It first occurred to me that the author
might have written :

" Now sleep yslaked hath the rouse ; "
i. e. the carousal. But the mere transposition of the latter part
of the second line, renders any further change unnecessary. Rout
is likewise used by Gower for a company in the tale of Appolinus,
the Pericles of the present play :

" Upon a tyme with a route
" This lord to play goeth hym out."
Again :

" It fell a daie thei riden oute,

" The kinge and queene and all the route." Malone.
* No din but snores, the house about,
Made louder by the o'er-fed breast—] So Virgil, speaking
of Rhamnes, who was killed in the midnight expedition of Nisus
and Euryalus :

Rhamneten aggreditur, qui forte tapetibus altis
Extructus, toto prqflabat pectore somnum. Steevens.
The quarto 1619, the folios, and Mr. Rowe, all read— o'erfee
beast. The true reading has been recovered from the first quarto.

Malone.

3 — 'fore the mouse's hole ;] Old copy :

" . from the mouse's hole ; "

which may perhaps mean — ' at some little distance from the
mouse's hole.' I believe, however, we ought to read— 'fore the
mouse's hole. Malone.

act m. PRINCE OF TYRE. 97

And crickets sing at th' oven's mouth,
&** As the blither for their drouth4.

Hymen hath brought the bride to bed,
Where, by the loss of maidenhead,
A babe is moulded 5 ; — Be attent 6,
And time that is so briefly spent,
With your fine fancies quaintly eche 7 ;
What's dumb in show, I'll plain with speech.

Diimb. show.

Enter Pericles and Simonides at one door, with
Attendants ; a Messenger meets them , kneels, and

* And crickets sing at th' oven's mouth,
As the blither for their drouth.] So, in Cymbeline :
" The crickets sing, and man's o'erlabour'd sense
" Repairs itself by rest."
The old copy has — Are the blither, &c. The emendation was
suggested by Mr. Steevens. Perhaps we ought to read :
" And crickets, singing at the oven's mouth,
" Are the blither for their drouth." Malone.
This additional syllable would derange the measure.

Steevens.
The old copy is not more objectionable than many other ellip-
tical passages in this play. Are the blither, is ivhich are the
blither. Boswell.

s Hymen hath brought the bride to bed,
Where, by the loss of maidenhead,

A babe is moulded :] So, in Twine's translation : " The
bride was brought to bed, and Apollonius tarried not long from
her, where he accomplished the duties of marriage, and faire
Lucina conceived with childe the same night." Steevens.

6 Be attent,] This adjective is again used in Hamlet, Act I.
Sc. II. Malone.

7 With your fine fancies quaintly eche ;] i. e. eke out. So,
in the Chorus to King Henry V. (first folio) :

" still be kind,

" And eche out our performance with your mind."
Again, in The Merchant of Venice, quarto, 1600, (Heyes's
edition) :

" 'tis to peeze the time,

" To ech it, and to draw it out in length." Malone.
VOL. XXI. H

98 PERICLES, act in.

eives Pericles a Letter. Pericles shows it to
^monibes; the Lords kneel to the former .
Then enter Thaisa xvith child, and Lychorida.
Simonides shows his Daughter the Letter; she
rejoices: she and Pericles take leave oj her
Father, and depart. Then Simonides, $c. retire.

i

Gow. By many a dearn and painful perch9
Of Pericles the careful search
By the four opposing coignes \
Which the world together joins,

8 the Lords kneel to the former. .] The Lords kneel to Peri-

Confessio Amantis :

«< knew the soth cas,

" Rut he hvm selfe ; what man he was."
Rv the death of Antiochus and his daughter, Pericles has also
succeeded to le throne of Antioch in -sequence o having
rightly interpreted the **2gj£»g$ ^t direful,

/'% mlZ^rTi^r:^:^^ is used by
dismal. bee»K innei » J ... c . gt u The construction

•^'""pwhat'involved 'The careful search of Pericles is made
,s somewhat invoivert opposing coignes,

blTY -n the world CK-withall due diligence,' &c.
which join the worm logeu.ci , Malone.

tw™ signifies lonely, solilary. See note on King Lear,

S" The won! S "g^ted by ghakspearc in Macbeth :
" No iutty, frieze, . . ,

« Buttress, or «»»«« of vantage, but thw bird
« Hath made his pendant bed and procreant cradle.
Hatn maae ^ author seems to have considered

to the passage before o, ^h^ally construfed.-To

J&TSi" «££"■" Lm.jU* is still common language.

' AUthea"Cie5B7,h:Sr opposing cfig«e," .

but @>m ■„ „„ .ucn English word. For the rngemou, emendat.on

act in. PRINCE OF TYRE. 99

Is made, with all due diligence,

That horse, and sail, and high expence,

Can stead the quest". At last from Tyre

(Fame answering the most strong inquire 3,)

To the court of king Simonides

Are letters brought the tenour these :

Antiochus and his daughter's dead;

The men of Tyrus, on the head

Of Helicanus would set on

The crown of Tyre, but he will none :

The mutiny there he hastes t' oppress 4 ;

Says to them, if king Pericles

Come not home in twice six moons,

He obedient to their dooms 5,

inserted in the text, which is produced by the change of a single
letter, the reader is indebted to Mr. Tyrvvhitt. Malone.
The word — coign, occurs also in Coriolanus :

" See you yond' coign o' the Capitol? " Steevens.

2 Can stead the quest.] i. e. help, befriend, or assist the
search. So, in Measure for Measure :

" can you so stead me,

" To bring me to the sight of Isabella ? " Steevens.

3 (Fame answering the most strong inquire,)] The old
copy reads — " the most strange inquire ;" but it surely was not
strange that Pericles' subjects should be solicitous to know what
was become of him. We should certainly read — " the most
strong inquire ; " — this earnest, anxious inquiry. The same mis-
take has happened in The Two Gentlemen of Verona, folio, 1623 :

" Whose weakness married to thy stranger state — ."
instead of stronger. The same mistake has also happened in other
places. Malone.

4 The mutiny there he hastes t' oppress ;

Says to them, if king Pericles — ] Surely both sense and
rhyme direct us to read :

" The mutiny here he hastes t' appease,"" &c. Steevens.
T' oppress is to suppress; opprimere. The incorrect rhyme
proves nothing. Boswell.

* Come not home in twice six moons,
He obedient to their dooms,'] Moons and dooyns are very
miserable rhymes ; nor do I recollect that a plural of the substan-
tive doom is ever used. — A slight transposition will remedy the pre-
sent defect —

H 2

100

PERICLES, ^t at.

Will take the crown. The sum of this,

Brought hither to Pentapolis. ^

Y -ravished the regions round .

And every one with claps, 'gan sound,
Our heir apparent is a king:
Who dream' d, who thought of such a thing f
Brief he must hence depart to Tyre :
His queen with child makes her desire
(Which who shall cross ?) along to go ;
(Omit we all their dole and woe ;)
Lychorida, her nurse, she takes,
And so to sea. Their vessel shakes
On Neptune's billow ; half the flood
Hath their keel cut7 ; but fortune's mood

" Come not, in twice six moons, home,
« He obedient to their doom," &c. Steevens.
6 Y-ravished the regions round,] From the false print of the
first eA^Iranished, The subsequent editors formed a sull more

absurd reading : . „

" Irony shed the regions round—. . , ,

Mr Steevens's ingenious* emendation, to which I have paid due
attention bv inserting it in the text, s strong y confirmed by the
Sg passage i/cower De Confess.one Amantis :

« This tale after the kynge it had

" Pentapolin all oversprad,

" There ivas nojoyefor to seche,

" For every man it had in speche,

« And saiden all of one accorde,

" A worthy kymre shall ben our lorde.

'< That thought us first an heavines,

" Is shape us nowe to great gladnes.

« Thus goth the tydinge over all." Malone.

' HaJfthdrWco.,] They have made hdf their voyage
with a favourable wind. So, Gower:

" When thei were in the sea amid,
" Out of the north thei see a cloude ;
«' The storme arose, the wyndes loude
" Theiblewen many a dredefid blaste,
» The welkin was all over-caste." Malone
8 -but fortune's mood -] The old copy reads-but fortune

m%LdMcoZlwr be designed as a rhyme to food. I suppose

act ui. PRINCE OF TYRE. 101

Varies again ; the grizzled north
Disgorges such a tempest forth
That, as a duck for life that dives
So up and down the poor ship drives,
The lady shrieks, and, well-a-near 9 !
Doth fall in travail with her fear l :
And what ensues in this fell storm 3,
Shall, for itself, itself perform.
I nill relate 3, action may
Conveniently the rest convey :
Which might not what by me is told4.
In your imagination hold
This stage, the ship, upon whose deck
The sea-tost 5 Pericles 6 appears to speak.

[Exit,

we should read — but fortune's mood, i. e. disposition. So, in
The Comedy of Errors :

" My wife's in a wayward mood to-day."
Again, in All's Well That Ends Well :

" — — muddied in fortune's mood." Steevens.
9 — well-a-near !] This exclamation is equivalent to ivell-
a-day, and is still used in Yorkshire, where 1 have often heard it.
The Glossary to the Praise of Yorkshire Ale, Hi97, says, —
ivellaneerin is lack-a-day, ova/as, alas! Reed.

1 — and, well-a-near!

Doth fall in travail with her fear :] So, in Twine's trans-
lation : " Lucina, what with sea-sicknesse, and fear of danger,
fell in labour of a child," &c.

2 — in this fell storm,] This is the reading of the earliest
quarto. The folios and the modern editors have self storm.

Malonk.

3 I nill relate;] The further consequences of this storm I
shall not describe. Malone.

4 Which might not what by me is told.] i, e. which might
not conveniently convey what by me is told," K:c. What ensues
may conveniently be exhibited in action ; but action could not
well have displayed all the events that I have now related.

Malone.
•5 In your imagination hold
This stage, the ship, upon whose deck

The sea-tost, &c] It is clear from these lines, that when
the play was originally performed, no attempt was made to exhibit

7

102 PERICLES, act m.

SCENE I.

Enter Pericles, on a Ship at Sea.

Per. Thou God of this great vast, rebuke these
surges 7,
Which wash both heaven and hell ; and thou, that
hast

either a sea or a ship. The ensuing scene and some others must
have suffered considerably in the representation, from the poverty
of the stage apparatus in the time of our author. The old copy
has— seas tost. Mr. Rowe made the correction. M alone.

6 The sea-tost prince—] The old copy reads— the sea-tost
Pericles. The transcriber perhaps mistook the abbreviation of
Prince, for that of Pericles, a trisyllable which our present
metre refuses to admit. Steevens.

7 Thou God of this great vast, rebuke these surges,] I he
expression is borrowed from the sacred writings : " The voters
stood above the mountains ;— at thy rebuke they fled ; at the
voice of thy thunder they hasted away." It should be remem-
bered, that Pevicles is here supposed to speak from the deck of
his ship. Lychorida, on whom he calls, in order to obtain some
intelligence bf his queen, is supposed to be beneath, in the cabin.
This great vast, is, this wide expanse. See vol. xiv. p. 238,

n. 3. , • , • • i

This speech is exhibited in so strange a form in the original,

and all the subsequent editions, that I shall lay it before the
reader, that he may be enabled to judge in what a corrupted state
this play has hitherto appeared, and be induced to treat the edi-
tor's imperfect attempts to restore it to integrity, with the more
indulgence:

•• The God of this great vast, rebuke these surges,

" Which wash both heaven and hell ; and thou that hast

" Upon the windes commaund, bind them in brasse ;

" Having call'd them from the deepe, 6 still

" Thy deafning dreadful thunders, gently quench

" Thy nimble sulphirous flashes, 6 How Lychorida !

" How does my queene ? then storm venemously,

" Wilt thou speat all thyself? the sea-man's whistle

" Is as a whisper in the eares of death,

" Unheard Lychorida ? Lucina oh !

" Divinest patrioness and my wife gentle

" To those that cry by night, convey thy deitie

" Aboard our dauncing boat, make swift the pangues

" Of mv quecnes travaylcs? now Lychorida." Mali

lone.

sv,j. PRINCE OF TYRE. 103

Upon the winds command, bind them in brass,
Having call'd them from the deep ! O still 8 thy

deaf'ning,
Thy dreadful thunders ; gently quench thy nimble,
Sulphureous flashes ! — O how, Lychorida,
How does my queen ? — Thou storm, thou ! ve-
nomously
Wilt thou spit all thyself9 ? — The seaman's whistle
Is as a whisper in the ears of death ],

8 Having call'd them from the deep ! O still — ] Perhaps a
word was omitted at the press. We might read :

" Having call'd them from th' enchafed deep ."

Ma LONE.

The present regulation of the lines, by the mere repetition of
the pronouns — thy and thou, renders, perhaps, any other inser-
tion needless. Steevens.

9 — Thou storm, thou! venomously

Wilt thou spit all thyself?] Ail the copies read — Then
storm, &c. which cannot be right, because it renders the passage
nonsense. The slight change that I have made, [Thou storm]
affords an easy sense. Malone.

Pericles, having called to Lychorida, without the power to
make her hear on account of the tempest, at last with frantick
peevishness addresses himself to it —

" Thou storm, thou! venomously

" Wilt thou spit all thyself? "
Having indulged himself in this question, he grows cooler, and
observes that the very boatswain's whistle has no more effect on
the sailors, than the voices of those who speak to the dead. He
then repeats his enquiries to Lychorida, but receiving no answer,
concludes with a prayer for his queen in her present dangerous
condition.

Venomously is maliciously. Shakspeare has somewhat of the
same expression in one of his historical plays :

*• The watry kingdom, whose ambitious head

Spits in the face of heaven ."

Chapman likewise, in his version of the fourth Iliad, says of
the sea that she —

" —spits every way her foam." Steevens.

1 Is as a whisper in the ears of death,] In another place the
poet supposes death to be awakened by the turbulence of the

storm :

" And in the visitation of the winds,

*' Who take the ruffian billows by the top,

.5

104 PERICLES, act in.

Unheard. — Lychorida ! — Lucina, O
Divinest patroness, and midwife \ gentle
To those that cry by night, convey thy deity
Aboard our dancing boat ; make swift the pangs
Of my queen's travails ! — Now, Lychorida

Enter Lychorida^ with an Infant.

Lyc. Here is a thing
Too young for such a place, who if it had
Conceit 3, would die as I am like to do.
Take in your arms this piece of your dead queen.

Per. How ! how, Lychorida !

Lyc. Patience, good sir ; do not assist the storm .4

** Curling their monstrous heads, and hanging them
" With deqfning clamours in the slippery clouds,
" That with the hurly, death itself awakes — ."

King Henri/ IV. Part II.
Malone.
The image in the text might have been suggested by Sidney's
Arcadia, book ii. : " — They could scarcely, when they directed,
hear their own whistle ; for the sea strave with the winds which
should be lowder, and the shrowds of the ship, with a ghastful
noise to them that were in it, witnessed that their mine was the
wager of the others' contention." Steevens.

2 Divinest patroness, and mipwife, &c] The quarto 1609,
and the subsequent copies read — and my wife. Mr. Steevens's
happy emendation, which I have inserted in the text, is so clearly
right, that it requires neither support nor illustration. If it
wanted the latter, Horace would furnish it :

Montium custos nemorumque virgo,
Quae laborantes utero puellas
Ter vocata audis, adimisque leto,
Diva triformis.
Again, in The Andria of Terence :

Juno Lucina, fer opem : serva me, obsecro ! Malone.
J — who if it had
Conceit,] If it had thought. So, in King Richard III. :
" There's some conceit or other likes him well,
" When that he bids good morrow with such a spirit."

Malone.
* Patience, good sir; do not assist the storm.] Our author
uses the same expression, on the same occasion, in The Tempest :

sc. i. PRINCE OF TYRE. 105

Here's all that is left living of your queen, —
A little daughter ; for the sake of it,
Be manly, and take comfort.

Per. O you gods !

Why do you make us love your goodly gifts,
And snatch them straight away ? We, here below,
Recall not what we give, and therein may
Use honour with you 5.

Lyc. Patience, good sir,

Even for this charge.

Per. Now, mild may be thy life !

For a more blust'rous birth had never babe :

" You mar our labour; — keep your cabins : you do assist the
stormy Malone.

s Use honour with you.] The meaning is sufficiently clear—
" In this particular you might learn from us a more honourable
conduct." — But the expression is so harsh, that I suspect the pas-
sage to be corrupt. Malone.

I suspect the author wrote — vie honour, a phrase much in use
among Shakspeare and his contemporaries. Thus, in Chapman's
version of the twentieth Iliad :

" What then need we we calumnies : like women — ? "
See also vol. v. p. 427, n. 4. Mr. M. Mason has offered the
same conjecture. I read, however, for the sake of measure, —
yourselves. Steevens.

The meaning is evidently this : " We poor mortals recal not
what we give, and therefore in that respect we may contend with
you in honour." I have therefore no doubt but we ought to read :
" And therein may
" Vie honour with," &c.
The same expression occurs in the introduction to the fourth
Act, where Gower says :

" so

" The dove of Paphos might with the crow
" Vie feathers white."
The trace of the letters in the words vie and use is nearly the
same, especially if we suppose that the v was used instead of the
u vowel ; which is frequently the case in the old editions :
" Nature wants stuff,
" To vie strange forms with fancy."

Antony and Cleopatra. M. Mason.

10b PERICLES, act in.

Quiet and gentle thy conditions 6 \

For thou'rt the rudeliest welcom'd 7 to this world,

That e'er was prince's child. Happy what follows !

Thou hast as chiding a nativity 8,

As fire, air, water, earth, and heaven can make,

To herald thee from the womb9: even at the first,

Thy loss is more than can thy portage quit \

Quiet and gentle thy conditions Y\ Conditions anciently
meant qualities, dispositions of mind. So, in Othello :
" And then of so gentle a condition ! "
He is speaking of Desdemona. Again, in King Henry V. :
«' Our tongue is rough, coz, and my condition is not smooth."

"The late Earl of Essex (says Sir Walter Raleigh) told Queen
Elizabeth that her conditions were as crooked as her carcase ; —
but it cost him his head." Malone.

7 — welcom'd — ] Old copy — welcome. For this correction I
am answerable. Malone.

8 as chiding a nativity,] i. e. as noisy a one. So, in A

Midsummer-Night's Dream, Hippolita, speaking of the clamour

of the hounds :

" never did I hear

" Such gallant chiding."
See note on that passage, vol. v. p. 297, n. 6. Steevens.

9 To herald thee from the womb :] The old copy reads :

" To harold thee from the womb — ."
For the emendation now made, the reader is indebted to Mr.
Steevens. So, in Macbeth :

" only to herald thee into his presence,

" Not pay thee."
This word is in many ancient books written harold, and haraulrf.
So, in Ives's Select Papers relative to English Antiquities, quarto,
1773, p. 130 : " — and before them kings of armes, harolds, and
pursuvvaunts."

Again, in The Mirrour for Magistrates, 1610 :

" Truth is no harauld, nor no sophist, sure."
See also Cowel's Interpreter, in v. Herald, Heralt, or Harold ;
which puts Mr. Steevens's emendation beyond a doubt. Malone.
So, more appositely, in the Preface to Certaine Secrete
Wonders of Nature, &c. 4to. bl.l. by Edward Fenton, 1569:
«' — the elementes have been harolds, trumpetters, ministers,
and executioners of the justice of heaven." Steevens.

1 Thy loss is more than can thy portage quit,] i. e. thou
hast already lost more (by the death of thy mother) than thy safe

sc. i. PRINCE OF TYRE. 107

With all thou canst find here. — Now the good gods
Throw their best eyes upon it !

Enter Two Sailors.

1 Sail. What courage, sir ? God save you.

Per. Courage enough : I do not fear the flaw 2 ;
It hath done to me the worst . Yet, for the love
Of this poor infant, this fresh-new sea-farer 4,
I would, it would be quiet.

1 Sail. Slack the bolins there 5 ; thou wilt not,
wilt thou ? Blow, and split thyself6.

arrival at the port of life can counterbalance, with all to boot that
we can give thee. Portage is used for gate or entrance in one of
Shakspeare's historical plays. Steevens.

Portage is used in King Henry V. where it signifies an open
space :

** Let it [the eye] pry through the portage of the head."

Portage is an old word signifying a toll or impost, but it will not
commodiously apply to the present passage. Perhaps, however,
Pericles means to say, you have lost more than the payment made
to me by your birth, together with all that you may hereafter ac-
quire, can countervail. Malone.

2 — I do not fear the flaw ;] i. e. the blast. See Hamlet,
vol. vii. p. 476, n. 5. Malone.

So, in Chapman's version of the eleventh Iliad :

" Wraps waves on waves, hurls up the froth beat with a
vehement^au;." Steevens.

3 It hath done to me the worst.] So, in the Confessio Amantis:

" a wife !

** My joye, my lust, and my desyre,

" My welth and my recoverire !

" Why shall I live, aud thou shalt die ?

" Ha, thou fortune, I thee dejic,

" Aroto hast thou do to me thy xverst ;

" A herte ! why ne wilt thou berst ? " Malone.

4 — this fkesh-new sea-farer,] We meet a similar compound
epithet in King Richard III. :

" Yowrf re-Jiexv stamp of honour is scarce current."

Malone.

5 Slack the bolins there ;] Potvlines are ropes by which the
sails of a ship are governed xvhen the xvind is unfavourable. They
are slackened when it is high. This term occurs again in The
Two Noble Kinsmen :

108 PERICLES, act hi.

2 Sail. But sea-room, an the brine and cloudy
'billow kiss the moon, I care not7.

1 Sail. Sir, your queen must overboard ; the
sea works high, the wind is loud, and will not lie
till the ship be cleared of the dead 8.

Per. That's your superstition.

1 Sail. Pardon us, sir ; with us at sea it still
hath been observed ; and we are strong in earnest 9.

the wind is fair,

" Top the bowling:'
They who wish for more particular information concerning
bolings, may find it in Smith's Sea Grammar, 4to, 1627, p. 23.

Steevens.

6 1 Sail. — Blow and split thyself,

2 Sail. But sea-room, &c] So, in The Tempest:
" Blow till thou burst thy wind, if room enough."

Malone.

7 — an the brine and cloudy billow kiss the moon, I care not.]
So, in The Winter's Tale : " Now the ship boring the moon with
her main-mast." An\s used here, as in many other places, for if,
or though. Malone.

8 — till the ship be cleared of the dead.] So, in Twine's trans-
lation : " My lord, plucke up your hearte, and be of good cheere,
and consider, I pray you, that the ship may not abide to carry the
dead carkas, and therefore commaund it to be cast into the sea, that
we may the better escape."

This superstitious belief is also commemorated by Fuller in his
Historie of the Holy Wane, book iv. ch. 27 : " His body was
carried into France there to be buried, and was most miserably
tossed ; it being observed, that the sea cannot digest the crudity of
a dead corpse, being a due debt to be interred where it dieth ; and a
ship cannot abide to be made a bier of"

A circumstance exactly similar is found in the Lyfe of Saynt
Mary Magdalene, in the Golden Legend, Wynkyn de Worde's
edition, fo. clxix. Steevens.

9 — strong in earnest.] Old copy — strong in easterne.

Steevens.

I have no doubt that this passage is corrupt, but know not how
to amend it. Malone.

I read, with Mr. M. Mason, (transposing only the letters of the
original word,) — " strong in earnest." So, in Cymbeline, we
have — "strong in appetite;" and in Timon, "Be strong in
whore." Steevens.

I would read — " strong in custom." They say they have still

sc. J. PRINCE OF TYRE. 109

Therefore briefly yield her ; for she must overboard
straight1.

Per. Be it as you think meet. — Most wretched
queen !

Lyc. Here she lies, sir.

Per. A terrible child-bed hast thou had, my dear ;
No light, no fire : the unfriendly elements
Forgot thee utterly ; nor have I time
To give thee hallow'd to thy grave ", but straight
Must cast thee, scarcely coffin'd, in the ooze 3 ;
Where, for a monument upon thy bones,
And aye-remaining lamps 4, the belching whale 5,

observed it at sea, and are strong in their adherence to then-
usages. If the letters c and u were slurred, they might easily be
mistaken for ea ; the o not joined at the top might seem like er,
and the last stroke of the m, if disjoined from the others, or care-
lessly formed, might pass for ne. The experience of my corrector
of the press has sanctioned my conjecture. Boswell.

1 — for she must overboard straight.] These words are in the
old copy, by an evident mistake, given to Pericles. Malone.

1 To give thee hallow'd to thy grave.] The old Shepherd, in
The Winter's Tale, expresses the same apprehension concerning
the want of sepulchral rites, and that he shall be buried —
" — — where no priest shovels in dust." Malone.
3 Must cast thee, scarcely coffin'd, in the ooze ;] The defect
both of metre and sense shows that this line, as it appears in the
old copy, is corrupted. It reads :

" Must cast thee, scarcely coffin'd, in oare." Malone.
I believe we should read, with that violence which a copy so
much corrupted will sometimes force upon us :

" Must cast thee, scarcely coffin'd, in the ooze ;
" Where, &c.
Shakspeare, in The Tempest, has the same word on the same
occasion :

" My son i' the ooze is bedded." Steevens.
Again, ibidem :

" I wish

**■ Myself were mudded in that oozy bed,
" Where my son lies."
Again, in Shakspeare's Lover's Complaint :

" Of folded schedules had she many a one,
" Which she perus'd, sigh'd, tore, and gave thejlood,
" Bidding them find their sepulchres in ynud." Malone.
* And AYE-remaining lamps, &c.] Old copies :

110 PERICLES, act in.

And humming water must o'erwhelm thy corpse 6,
Lying with simple shells. Lychorida,

" The aiV-remaining lamps ." Steevens.

Air -remaining, if it be right, must mean air-hung, suspended
for ever in the air. So, (as Mr. Steevens observes to me,) in
Shakspeare's 21st Sonnet :

" , those gold candles fix* d in heavens air."

In King Richard II. right-drawn sword is used for a sword
drawji in a just cause; and in Macbeth we meet with air-drawn
dagger. Perhaps, however, the author wrote — aye-remaining.
Thus, in Othello :

" Witness, you ever-burning lights above — ."
Again, in Troilus and Cressida :

** To feed for aye her lamp, and flames of love."

Malone.
Thus also, Milton, in his Comus, v. 197 :

" the stars

" That nature hung in heaven, and fill'd their lamps

" With everlasting oil ."

The propriety of the emendation suggested by Mr. Malone,
will be increased, if we recur to our author's leading thought,
which is founded on the customs observed in the pomp of ancient
sepulture. Within old monuments and receptacles for the dead,
perpetual (i. e. aye-remaining) lamps were supposed to be lighted
up. Thus, Pope, in his Eloisa :

" Ah hopeless, lasting flames, like those that burn
" To light the dead, and warm th' unfruitful urn ! "
I would, however, read :

" And aye-remn\mng lamps,'' &c.
" Instead of a monument erected over thy bones, and perpetual
lamps to burn near them, the spouting whale shall oppress thee
with his weight, and the mass of waters shall roll with low heavy
murmur over thy head.' Steevens.
Hudibras has the same allusion :

" Love in your heart as idly burns
•' As fire in antique Roman urns,
" To warm the dead, and vainly light
" Those only that see nothing by't." Reed.
J — the belching whale,] So, in Troilus and Cressida:
" - ■ like scaled sculls
" Before the belching whale." Malone.
6 And humming water must o'erwhelm thy corpse,] Milton
perhaps had this verse in his head, when he wrote,

** Where thou perhaps under the humming tide
" Visit'st," he. Lycidas, v. 157.
He afterwards changed humming to whelming. Holt White.

sc.i. PRINCE OF TYRE. Ill

Bid Nestor bring me spices, ink and paper 7,
My casket and my jewels ; and bid Nicander
Bring me the sattin coffer 8 : lay the babe
Upon the pillow ; hie thee, whiles I say
A priestly farewell to her : suddenly, woman.

\_Evit Lychorida.

2 Sail. Sir, we have a chest beneath the hatches,
caulk'd and bitumed ready.

Per. I thank thee. Mariner, say what coast is
this ?

Thus also Pope, 18th Iliad, 472:

" The rushing ocean murmur'd o'er my head."
Perhaps our great translator had previously cast his eye on
Chapman's version of the same passage, 4to. 1598 :

" over us

" The swelling waves of old Oceanus

" With fomie miirmur&ow'd." Steevens.

7 — ink and paper,] This is the reading of the second quarto.
The first has taper. Malone.

8 Bring me the sattin coffer :] The old copies have — coffin.
It seems somewhat extraordinary that Pericles should have carried
a coffin to sea with him. We ought, I think, to read, as I have
printed, — coffer. Malone.

Sattin coffer is most probably the true reading. So, in a sub-
sequent scene :

" Madam, this letter, and some certain jewels,
" Lay with you in your coffer."

Our ancient coffers were often adorned on the inside with such
costly materials. A relation of mine has a trunk which formerly
belonged to Katharine Howard when queen, and it islined through-
out with rose-coloured sattin, most elaborately quilted.

By the sattin coffer, however, maybe only meant the coffer em-
ployed to contain sattins and other rich materials for dress. Thus
we name a tea-chest, &c. from their contents.

Pericles, however, does not mean to bury his queen in this sal-
tin coffer, but to take from thence the cloth of state in which it
seems she was afterwards shroivded. It appears likewise that
her body was found in the chest caulk'd and bitumed by the
sailors.

So, in Twine's translation ; " — a large chest, — and we will
seare it all ouer within with pitch and rozen melted together, &c.
— Then took they the body of the faire lady Lucina, and arrayed
her in princely apparell, and laid her into the chest," &c.

Steevens.

112 PERICLES, act in.

2 Sail. We are nearTharsus.

Per. Thither, gentle mariner,
Alter thy course for Tyre9. When can'st thou
reach it ?

2 Sail. By break of day, if the wind cease.

Per. O make for Tharsus.
There will I visit Cleon, for the babe
Cannot hold out to Tyrus : there I'll leave it
At careful nursing. Go thy ways, good mariner ;
I'll bring the body presently. [Exeunt.

SCENE II.

Ephesus. A Room in Cerimon's House.

Enter Cerimon1, a Servant, and some Persons who
have been shipwrecked.

Cer. Philemon, ho !

Enter Philemon.
Phil. Doth my lord call ?
Cer. Get fire and meat for these poor men ;
It has been a turbulent and stormy night.

Serv. I have been in many; but such a night as
this,
Till now, I ne'er endur'd 2.

9 Alter thy course for Tyre.] Change thy course, which is now
for Tyrey and go to Tharsus. Malone.

1 — Cerimon,] In Twine's translation he is called— a Physi-
cian. Our author has made a Lord of him. Steevens.

2 I have been in many ; but such a night as this,
Till now, I ne'er endur'd.] So, in Macbeth :

" Threescore and ten I can remember well
" Within the volume of which time I have seen
" Hours dreadful, and things strange ; but this sore night
" Hath trifled former knowings."
Again, in King Lear :

" ■ Since I was man,

sc. n. PRINCE OF TYRE. 113

Cer. Your master will be dead ere you return ;
There's nothing can be minister'd to nature,
That can recover him. Give this to the 'pothe-

cary 3,
And tell me how it works. [To Philemon.

[Exeunt Philemon, Servant, and those who
had been shipwrecked.

Enter Two Gentlemen.

1 Gent. Good morrow, sir.

2 Gent. Good morrow to your lordship.

Cer. Gentlemen,

Why do you stir so early ?

1 Gent. Sir,
Our lodgings, standing bleak upon the sea,
Shook, as the earth did quake 4 ;

" Such sheets of fire, such bursts of horrid thunder,
'* Such groans of roaring wind and rain, I never
<( Remember to have heard."
Again, in Julius Caesar :

" I have seen tempests, when the scolding winds

" Have riv'd the knotty oaks, and I have seen

" The ambitious ocean swell and rage and foam,

" To be exalted with the threat'ning clouds ;

" But never till to-night, never till now,

" Did I go through a tempest dropping fire." Malone.

3 — Give this to the 'pothecary,] The recipe that Cerimon
sends to the apothecary, we must suppose, is intended either for
the poor men already mentioned, or for some of his other patients.
—The preceding words show that it cannot be designed for the
master of the servant introduced here. Malone.

Perhaps this circumstance was introduced for no other reason
than to mark more strongly the extensive benevolence of Cerimon.
For the poor men who have just left the stage, kitchen physick
only was designed. Steevens.

4 Shook, as the earth did quake ;] So, in Macbeth :

" the obscure bird

" Clamour'd the live-long night : some say, the earth
" Was feverous and did shake."
Again, in Coriolanus :

" as if the world

" Was~feverous and did tremble." Malone.
VOL. XXT. I

114 PERICLES, act in.

The very principals did seem to rend,
And all to topple 5 ; pure surprize and fear
Made me to quit the house.

2 Gent. That is the cause we trouble you so
early ;
Tis not our husbandry °.

Cer. O, you say well.

1 Gent. But I much marvel that your lordship,
having
Rich tire about you7, should at these early hours

s The verv principals did seem to rend,
And all'to topple :] The principals are the strongest rafters
in the roof of a building. The second quarto which is followed by
the modern copies, reads corruptly— principles. If the speaker
had been apprehensive of a general dissolution of nature, (which
we must understand, if we read principles,) he did not need to
leave his house : he would have been in as much danger without
as within. , .

All to is an augmentative often used by our ancient writers. It
occurs frequently in the Confessio Amantis. The word topple,
which means tumble, is again used by Shakspeare in Macbeth, and
applied to buildings :

" Though castles topple on their warders' heads.
Again, in King Henry IV. Part I. :

" Shakes the old beldame earth, and topples down
" Steeples and moss-grown towers." Ma lone.
Mr. Malone has properly explained the word— principals. So,
in Philemon Hollands translation of the 33d book of Pliny's Na-
tural History, edit. 1601, p. 467 :— " yea, the jambes, posts, prin-
cipals, and standerds, all of the same metall." Steevens.
. I believe this only means, « and every thing to tumble down.

M. Mason.

6 'Tis not our husbandry.] Husbandry here signifies econo-
mical prudence. So, in King Henry V. :

" For our bad neighbours make us early stirrers,
" Which is both healthful and good husbandry"
See also Hamlet, Act I. Sc. III. Malone.

7 Rich tire about you, &c] Thus the quarto, 1609; but the
sense of the passage is not sufficiently clear. The gentlemen
rose early, because "they were but in lodgings which stood exposed
near the sea. Thev wonder, however, to find Lord Cerimon stir-
ring because he had rich tire about him ; meaning perhaps a bed
more richly and comfortably furnished, where he could have slept

sc. it. PRINCE OF TYRE. ] 15

Shake off the golden slumber of repose 8.
It is most strange,

Nature should be so conversant with pain,
Being thereto not compell'd.

Cer. I held it ever,

Virtue and cunning9 were endowments greater
Than nobleness and riches : careless heirs
May the two latter darken and expend ;
But immortality attends the former,
Making a man a god. Tis known, I ever
Have studied physick, through which secret art,
By turning o'er authorities, I have
(Together with my practice,) made familiar
To me and to my aid, the blest infusions
That dwell in vegetives, in metals, stones1 ;
And I can speak of the disturbances
That nature works, and of her cures; which give me
A more content in course of true delight
Than to be thirsty after tottering honour,
Or tie my treasure up in silken bags 2,

warm and secure in defiance of the tempest. The reasoning of
these gentlemen should rather have led them to say — such towers
about you ; i. e. a house or castle that could safely resist the as-
saults of weather. They left their mansion because they were no
longer secure if they remained in it, and naturally wonder why he
should have quitted his, who had no such apparent reason for de-
serting it and rising early. Steevens-

8 Shake off the golden slumber of repose,] So, in Macbeth :

" Shake off this downy sleep." Steevens.

9 Virtue and cunning — ] Cunning means here knowledge.

Malone.
So, in Jeremiah, ix. 17 : " Send for cunning women that they
may come." Again, in Romeo and Juliet :

" Sirrah, go hire me twenty cunning cooks." Steevens.

1 — the blest infusions

That dwell in vegetives, in metals, stones ;] So, in Romeo and
Juliet :

M O, mickle is the powerful grace that lies

" In plants, herbs, stones, and their true qualities."

Steevens.

2 Or tie my treasure up in silken bags,] The old copv reads;

I 2

,116 PERICLES, act in.

To please the fool and death 3.

2 Gent. Your honour has through Ephesus pour'd

forth

" Or tie my pleasure up," &c.
Let the critick who can explain this reading of the quarto, dis-
place my emendation. Steevens.

3 To please the fool and death.] The Fool and Death were
principal personages in the old Moralities. They are mentioned
by our author in Measure for Measure :

« merely thou art death's fool" &c. Malone.

Mr Malone (as I had been) is on this occasion misled by a
positive and hitherto uncontradicted assertion of Dr. Warburton.
But I now think myself authorised to declare, on the strength of
long and repeated enquiries, urged by numerous friends as well as
myself, that no Morality in which Death and the Fool were agents,
ever existed among the early French, English, or Italian stage-
representations. .
I have seen, indeed, (though present means of reference to it
are beyond my reach,) an old Flemish print in which Death is
exhibited in the act of plundering a miser of his bags, and the
Fool (discriminated by his bauble, &c.) is standing behind, and
grinning at the process.

The following intelligence on the same subject, though it ap-
plies more immediately to the allusion in Measure for Measure,
and has occurred too late to stand in its proper place, may here,
without any glaring impropriety, be introduced :

« Merely thou art death's fool ;

" For him thoulabour'stby thy flight to shun,
" And yet run'st towards him still."
It was in a comment on these lines that Dr. Warburton's Gratis
Dictum concerning the Fool and Death, made its first appear-

The subsequent notitia are derived from two different gentle-
men, whose report reflects a light upon each other.

Mr. Douce, to whom our readers are indebted for several happy
illustrations of Shakspeare, assures me, that some years ago, at a
fair in a large market town, he observed a solitary figure sitting
in a booth, and apparently exhausted with fatigue. This person
was habited in a close black vest, painted over with bones in imi-
tation of a skeleton. But my informant being then very young,
and wholly uninitiated in theatrical antiquities, made no enquiry
concerning so whimsical a phenomenon. Indeed but for what
follows I might have been induced to suppose that the object he
saw was nothing more or less than the hero of a well known pan-
tomime, entitled Harlequin Skeleton.

6

sen. PRINCE OF TYRE. 117

Your charity, and hundreds call themselves
Your creatures, who by you have been restor'd :

This circumstance, however, having accidentally reached the
ears of a venerable clergyman who is now more than eighty years
of age, he told me that he very well remembered to have met
with such another figure, above fifty years ago, at Salisbury.
Being there during the time of some publick meeting, he hap-
pened to call on a surgeon at the very instant when the repre-
sentative of Death was brought in to be let blood on account of a
tumble he had had on the stage, while in pursuit of his antagonist,
a Merry Andrew, who very anxiously attended him (dressed also
in character) to the phlebotomist's house. The same gentleman's
curiosity a few days afterwards, prevailed on him to be spectator
of the dance jn which our emblem of mortality was a performer.
This dance, he says, entirely consisted of Death's contrivances to
surprize the Merry Andrew, and of the Merry Andrew's efforts
to elude the stratagems of Death, by whom at last he was over-
powered ; his finale being attended with such circumstances as
mark the exit of the Dragon of Wantley.

What Dr. Warburton therefore has asserted of the drama, is
only known to be true of the dance ; and the subject under
consideration was certainly more adapted to the latter than the
former, agility and grimace, rather than dialogue, being necessary
to its exhibition. They who seek after the last lingering remains
of ancient modes of amusement, will rather trace them with suc-
cess in the country, than in the neighbourhood of London, from
whence even Punch, the legitimate and undoubted successor of
the old Vice, is almost banished.

It should seem, that the general idea of this serio-comick pas-
de-deux had been borrowed from the ancient Dance of Machabre,
commonly called The Dance of Death, a grotesque ornament of
cloisters, both here and in foreign parts. The aforesaid combina-
tion of figures, though erroneously ascribed to Hans Holbein, was
certainly of an origin more remote than the times in which that
eminent painter is known to have flourished. Steevens.

Although the subject before us was certainly borrowed from
the ancient Dance of Macaber, which I conceive to have been
acted in churches, (but in a perfectly serious and moral way J it
receives a completer illustration from an old initial letter belong-
ing to a set of them in my possession, on which is a dance of Death,
infinitely more beautiful in point of design than even the cele-
brated one cut in wood and likewise ascribed to the graver of
Holbein. In this letter, the Fool is engaged in a very stout
combat with his adversary, and is actually buffeting him with a
bladder filled with peas or small pebbles, an instrument yet in
fashion among Merry Andrews. It is almost unnecessary to add

ng PERICLES, act in.

And not your knowledge, personal pain, but even
Your purse, still open, hath built lord Cerimon
Such strong renown as time shall never

Enter Two Servants with a Chest.

Serv. So ; lift there.

qer What is that ?

Serv. Sir' even now

Did the sea toss upon our shore this chest ;

Tis of some wreck, ,:*',,

QERm Set it down, let s look on it.

2 Gent. 'Tis like a coffin, sir.

q Whate er it be,

'Tis wondrous heavy. Wrench it open straight ;

If the sea's stomach be o'ercharg'd with gold ,

It is a good constraint of fortune, that

It belches upon us 5.

2 Gent. 'Tis so, my lord.

Cer. How close 'tis caulk'd and bitum d !—
Did the sea cast it up ?

that these initials are of foreign workmanship ; and the inference
i* that such farces were common upon the continent, and are
Sre^nude^to by the artist. I should not. omit to mention that
the letter in question has been rudely copied m an edition of
Stowe's Survey of London. Douce.

4 If the sea's stomach be o'ercharg'd with gold, &c] This
indelicate allusion has already occurred in the scene between
Pericles and the Fishermen, and may also be found iti King

Richard III. : , .. «..

" Whom their o'ercloyed country vomits tortn— .

Steevens.

s It is a eood constraint of fortune, that
It beixhes upon us.] This singular expression is again ap-
Dlied bv our author to the sea, in The Tempest :
" You are three men of sin, whom destiny
" (That hath to instrument this lower world,
" And what is in't,) the never-surfeited sea
« Hath caused to belch up!" Malone.
6 How close 'tis caulk'd and bitum'd !] Bottomed, which is
the reading of all the copies, is evidently a corrupt.on. We had
before :

sc. /* PRINCE OF TYRE. 119

Serf. I never saw so huge a billow, sir,
As toss'd it upon shore.

Cer. Come, wrench it open ;

Soft, soft ! — it smells most sweetly in my sense.

2 Gent. A delicate odour.

Cer. As ever hit my nostril7 ; so, up with it,
O you most potent god ! what's here ? a corse !

1 Gent. Most strange !

Cer. Shrouded in cloth of state ; balm'd and
entreasur'd
With bags of spices full ! A passport too !
Apollo, perfect me i' the characters 8 !

[Unfolds a Scroll.

Here I give to understand, [Reads.

(If e'er this coffin drive a-land9,)

I, king Pericles, have lost

This queen, worth all our mundane cost.

Whojinds her, give her burying,

She was the daughter of a king l :

Besides this treasure for a fee,

The gods requite his charity !

" Sir, we have a chest beneath the hatches, caulked and
hitumed ready." Malone,

7 As ever hit my nostril ;] So, in The Merry Wives of
Windsor: " — as ever offended nostril." Steevens.

8 — Apollo, perfect me i' the characters !] Cerimon, having
made physick his peculiar study, would naturally, in any emer-
gency, invoke Apollo. On the present occasion, however, he ad-
dresses him as the patron of learning. Malone.

9 (If e'er this coffin drive a-land,)] This uncommon phrase
is repeatedly used in Twine's translation : " Then give thanks
unto God, who in my flight hath brought me a-land into your
costes." Again : " — certaine pyrats which were come a-land."

Steevens.
1 Whojinds her, give her burying,

She zvas the daughter qf a king :~\ The following, in Twine's
translation, are the first words of Lucina on her recovery :
" — touch me not otherwise than thou oughtest to doe, for I am
a king's daughter and the wife of a king." Steevens.
So, in King Henry VIII. Queen Catharine savs :
.5

120 PERICLES, dpr m.

If thou liv'st, Pericles, thou hast a heart

That even cracks for woe2 ! — This chanc'd to-night.

2 Gent. Most likely, sir.

Cer. Nay, certainly to-night;

For look, how fresh she looks! — They were too

rough,
That threw her in the sea. Make fire within :
Fetch hither all the boxes in my closet.
Death may usurp on nature many hours,
And yet the fire of life kindle again
The overpressed spirits. I have heard3
Of an Egyptian, had nine hours lien dead 4,
By good appliance was recovered.

Enter a Servant, with Boxes, Napkins, and Fire.

Well said, well said ; the fire and the cloths \ —
The rough and woful musick that we have,
Cause it to sound, 'beseech you6.

" Embalm me,

" Then lay me forth : although unqueen'd, yet like
" A queen and daughter to a king inter me." Bos well.
* — thou hast a heart
That even cracks for woe !] So, in Hamlet:
" Now cracks a noble heart."
Even is the reading of the second quarto. The first has ever.

Malone.

3 — I have heard — ] For the insertion of the word — have,
which both the metre and the sense require, I am responsible.

Malone.
« — nine hours lien dead,] So, in the lxviiith Psalm :

*t though ye have lien among the pots — ." Steevens.

i Well said, well said ; the fire and the cloths.] So, on a
similar occasion, in Othello, Act V. Sc. I. :
•' — — O, a chair, a chair ! —

*f . 0, that's well said, the chair ; —

" Some good man bear him carefully from hence."

Malone.
6 The rough and woful musick that we have,

Cause it to sound, 'beseech you.] Paulina in like manner in
The Winter's Tale, when she pretends to bring Hermione to life,
orders musick to be played, to awake her from her trance. So

sc. ii. PRINCE OF TYRE. 121

The vial once more ; — How thou stirr'st, thou

block ?—
The musick there 7. — I pray you, give her air: —
Gentlemen,
This queen will live : nature awakes ; a warmth

also, the Physician in King Lear, when the King is about to wake
from the sleep he had fallen into, after his frenzy :

" Please you draw near ; — Louder the musick there ! "

Malone.
7 The vial once more ; — How thou stirr'st, thou block ? —
The musick there.] The first quarto reads — " The viol once
more." The second and the subsequent editions — the vial. If the
first be right, Cerimon must be supposed to repeat his orders that
they should again sound their rough and woeful musick. So, in
Twelth-Night :

" That strain again ! "
The word viol has occurred before in this play in the sense of
violin. I think, however, the reading of the second quarto is
right. Cerimon, in order to revive the Queen, first commands
loud musick to be played, and then a second time administers
some cordial to her, which we may suppose had been before ad-
ministered to her when his servants entered with the napkins, &c.
See Confessio Amantis, p. 180 :

" this worthie kinges wife

" Honestlie thei token oute,
" And maden fyres all aboute ;
" Thei leied hir on a couche softe,
" And with a shete warmed ofte
" Hir colde breste began to heate,
" Hir herte also to slacke and beate.
" This maister hath hir every joynte
" With certein oyle and balsam anoynte,
" And put a licour in hir mouthe
" Whiche is to fewe clerkes couthe."
Little weight is to be laid on the spelling of the first quarto,
for vial was formerly spelt viol. In the quarto edition of King
Richard II. 1615 :

" Edward's seven sons, whereof thyself art one,
" Were seven viols of his sacred blood,"
Again, in the folio 1633, ibidem :

" One viol full of Edward's sacred blood."
Again, in The Tragical History of Romeus and Juliet, 1562 :
" She poured forth into the vyoll of the fryer
" Water—." Malone.

122 PERICLES, act m.

Breathes out of her9; she hath not been entranced
Above five hours. See, how she 'gins to blow
Into life's flower again !

1 Gent. The heavens, sir,

Through you, increase our wonder, and set up
Your fame for ever.

Cer. She is alive ; behold,

Her eyelids, cases to those heavenly jewels1
Which Pericles hath lost,
Begin to part their fringes of bright gold ~ ;
The diamonds of a most praised water
Appear, to make the world twice rich. O live,
And make us weep to hear your fate, fair creature,
Rare as you seem to be ! [She moves.

Thai. O dear Diana,

Where am I ? Where's my lord ? What world is
this 3 ?

9 — a warmth
Breathes out of her ;] The old copies read — a warmth
breath out of her. The correction was suggested by Mr. Stee-
vens. The second quarto, and the modern editions, read unin-
telligibly :

" Nature awakes a warm breath, out of her." Malonf.
In Twine's translation it is to Cerimon's pupil Machaon, and
not to Cerimon himself, that the lady is indebted for her reco-
very : " — he pulled the clothes from the ladies bosome, and
powred foorth the ointment, and bestowing it abroad with his
hand perceived some warmth in her breast, and that there was life
in her body. — Then went Machaon unto his master Cerimon, and
saide : The woman whom thou thinkest to be deade is alive," &c.

Steevens.

1 — cases to those heavenly jewels — ] The same expression
occurs in The Winter's Tale : " — they seem'd almost, with star-
ing on one another, to tear the cases of their eyes." Malone.

" Her eyelids, cases to those heavenly jewels' — ." So, in Sidney's
Arcadia, book iii. : " Her faire lids, then hiding her fairer eyes,
seemed unto him sweet boxes, rich in themselves, but containing
in them far richer jewels." Steevens.

2 Begin to part their fringes of bright gold ;] So, in The Tem-
pest :

" Thefringcd cnrtains of thine eye advance,
'* And say what thou see'st yond ? " Malone.

sc. in. PRINCE OF TYRE. 123

2 Gent. Is not this strange ?
1 Gent. Most rare.

Cer. Hush, gentle neighbours ;

Lend me your hands: to the next chamber bear

her4.
Get linen ; now this matter must be look'd to,
For her relapse is mortal. Come, come, come;
And zEsculapius guide us !

[Exeunt, carrying Thaisa away.

SCENE III.
Tharsus. A Room in Cleon's House.

Enter Pericles, Cleon, Dionyza, Lychorida, and

Marina.

Per. Most honour'd Cleon, I must needs be
gone;
My twelve months are expir'd, and Tyrus stands
In a litigious peace. You, and your lady,

3 — What world is this?] So, in the Confessio Amantis :

" And first hir eyen up she caste,

" And whan she more of strength caught,

" Hir armes both forth she straughte ;

" Helde up hir honde and piteouslie

" She spake, and said, where am I?

" Where is mylorde? What tvorlde is this?

" As she that wote not howe it is." Malone.

4 Hush, gentle neighbours'; —

— tO THE NEXT CHAMBER BEAR HER.] Thus, in Twine's

translation : " And when he had so saide, he tooke the body re-
verently in his armes, and bare it unto his oivne chamber,"' &c.

Steevens.
So, in King Henry IV. Part II. :

" I pray you, take me up, and bear me hence

" Into another chamber ; softly, pray ;

" Let there be no noise made, my gentle friends,

" Unless some dull and favourable hand

" Will whisper musick to my wearied spirit." Malone.

124 PERICLES, act m.

Take from my heart all thankfulness ! The gods
Make up the rest upon you !

Cle. Your shafts of fortune, though they hurt
you mortally 5,
Yet glance full wand'ringly on us6.

Dion. O your sweet queen !

That the strict fates had pleas'd you had brought

her hither,
To have bless'd mine eyes !

Per. We cannot but obey

The powers above us. Could I rage and roar
As doth the sea she lies in, yet the end
Must be as 'tis. My babe Marina (whom
For she was born at sea, I have nam'd so,) here
I charge your charity withal, and leave her
The infant of your care ; beseeching you
To give her princely training, that she may be
Manner'd as she is born7.

s — though they hurt you mortally,] First quarto — haunt.
The folios and the modern editions read — hate. Malone.

6 Your shafts of fortune, though they hurt you mortally,
Yet glance full wand'ringly on us.] Old copy :

" Your shakes of fortune, though they haunt you mortally,
" Yet glance full voond'ringly on us."
I read, (as in the text) :

" Your shafts of fortune, though they hurt you mortally,
" Yet glance full wand'ringly," &c.
Thus, Tully, in one of his Familiar Epistles : " — omnibus telis
fortunes proposita sit vita nostra." Again, Shakspeare, in his
Othello :

" The shot of accident, or dart of chance — .'*

Again, in Hamlet :

" The slings and arrows of outrageous/or£?/«e."
Again, in The Merry Wives of Windsor : " I am glad, though
you have ta'en a special stand to strike at me, that your arrow
hath glanced"

The sense of the passage should seem to be as follows. — All
the malice of fortune is not confined to yourself. Though her
arrows strike deeply at you, yet wandering from their mark, they
sometimes glance on us ; as at present, when the uncertain state
of Tyre deprives us of your company at Tharsus. Steevens.

7 Manner'd as she is born.] So, in Cymbelinc :

sc. in. PRINCE OF TYRE. 125

Cle. Fear not, my lord, but think

Your grace 8, that fed my country with your corn,
(For which the people's prayers still fall upon you,)
Must in your child be thought on. If neglection
Should therein make me vile 9, the common body,
By you reliev'd, would force me to my duty :
But if to that my nature need a spur \
The gods revenge it upon me and mine,
To the end of generation !

Per. I believe you ;

Your honour and your goodness teach me to it 2,

" ■ and he is one

" The truest tnanner'd, such a holy witch,

" That he enchants societies to him." Malone.

8 Fear not, my lord, but think

Your grace," &c] I suspect the poet wrote :
" Fear not, my lord, but that
" Your grace," &c. Malone.
I have removed the difficulty by omitting the words — but think,
which are unnecessary to the sense, and spoil the measure.

Steevens.
Think is, be satisfied that we cannot forget your benefits.

Boswell.

9 If NEGLECTION

Should therein make me vile,] The modern editions have
neglect. But the reading of the old copy is right. The word is
used by Shakspeare in Troilus and Cressida :
" And this neglection of degree it is
" That by a pace goes backward." Malone.

1 — my nature need a spur,] So, in Macbeth :

" ■ I have no spur

" To prick the sides of my intent — — ." Steevens.

2 Your honour and your goodness teach me to it,] Old
copies — teach me to it, a weak reading, if not apparently corrupt.
For the insertion of its present substitute [credit] I am answerable.
I once thought we should read — ivitch me to it, a phrase familiar
enough to Shakspeare.

Mr. M. Mason is satisfied with the old reading ; but thinks
" the expression would be improved by leaving out the participle
to, which hurts the sense, without improving the metre." Then,
says he, the line will run thus :

" Your honour and your goodness teach me it ."

Steevens.

126 PERICLES, act in.

Without your vows. Till she be married, madam,
By bright Diana, whom we honour all,
Unscissar'd shall this hair of mine remain,
Though I show will in't3. So I take my leave.

3 Though I show will in't :] The meaning may be — " Though
I appear wilful and perverse by such conduct." Malone.

" Till she be married, madam,

" By bright Diana, whom we honour all,
*' Unscissar'd shall this hair of mine remain,
" Though I show will in't." Old copy :

" Unsister'd shall this heir of mine," &c.
But a more obvious and certain instance of corruption perhaps
is not discoverable throughout our whole play.

I read, as in the text ; for so is the present circumstance recited
in Act V. and in consequence of the oath expressed at the present
moment :

" And now,

" This ornament, that makes me look so dismal,
" Will I, my lov'd Marina, clip to form ;
" And what this fourteen years no razor touch'd,
" To grace thy marriage day, I'll beautify."
So also, in Twine's translation : " — and he sware a solemn
oath, that he would not poule his head, clip his beard, &c. untill
he had married his daughter at ripe yeares."

Without the present emendation therefore, Pericles must appear
to have behaved unaccountably ; as the binding power of a roman-
tick oath could alone have been the motive of his long persistence
in so strange a neglect of his person.

The words — unscissard and hair, were easily mistaken for — un-
sisterd and heir; as the manuscript might have been indistinct, or
the compositor inattentive.

The verb — to scissar [i. e. to cut with scissors'] is found in The
Two Noble Kinsmen, by Fletcher :

" My poor chin too, for 'tis not scissai'd just
" To such a favourite's glass."
I once strove to explain the original line as follows
" Unsisterd shall this heir of mine remain,
" Though I show will in't : "
i. e. till she be married, I swear by Diana, (though I may show
[will, i. e.] obstinacy in keeping such an oath,) this heir of mine
shall have none who can call her sister ; i. e. I will not marry, and
so have a chance of other children before she is disposed of. —
Obstinacy was anciently called wilfulness.

But it is scarce possible that unsister'd should be the true read-
ing ; for if Pericles had taken another wife, after his daughter's

sc. in. PRINCE OF TYRE. 127

Good madam, make me blessed in your care
In bringing up my child.

Diox. 1 have one myself,

Who shall not be more dear to my respect,
Than yours, my lord.

Per. Madam, my thanks and prayers.

Cle. We'll bring your grace even to the edge
o' the shore ;
Then give you up to the mask'd Neptune 4, and
The gentlest winds of heaven.

Per. I will embrace

Your offer. Come, dear'st madam. — O, no tears,
Lychorida, no tears :

Look to your little mistress, on whose grace
You may depend hereafter. — Come my lord.

[Exeunt.

marriage, could he have been sure of progeny to sister his first
child ? or what ■wilfulness would he have shown, had he continued
a single man ? To persist in wearing a squalid head of hair and
beard, was indeed an obstinate peculiarity, though not without a
parallel ; for both Francis I. and our Henry VIII. reciprocally
swore that their beards should grow untouched till their proposed
interview had taken place. Steevens.

4 — mask'd Neptune,] i. e. insidious waves that wear a
treacherous smile :

Subdola pellacis ridet dementia ponti. Lucretius.
This passage in Pericles appears to have been imitated by
Fletcher in Rule a Wife, &c. 1640:
" I'll bring you on your way
" And then deliver you to the blue Neptune."

Steevens.
So, in The Merchant of Venice :

" ■ the gulled shore,

" To a most dangerous sea." Malonf.
Mr. Steevens has quoted the line from Lucretius incorrectly ;
it should be as follows :

Subdola quom ridet placidi pellacia ponti. Lib. ii. v. 559.

Boswell.

128 PERICLES, act iij.

SCENE IV.
Ephesus. A Room in Cerimon's House.

Enter Cerimon and Thaisa.

Cer. Madam, this letter, and some certain jewels,
Lay with you in your coffer : which are now 5
At your command. Know you the character?

Thai. It is my lord's.
That I was shipp'd at sea, I well remember,
Even on my yearning time 6 ; but whether there
Delivered or no, by the holy gods,
I cannot rightly say : But since king Pericles,
My wedded lord, I ne'er shall see again,

s — which are now—] For the insertion of the word now, I
am accountable. Malone.
6 — I well remember,
Even on my yearning time ;] The quarto 1619, and the
folio 1664", which was probably printed from it, both read eaning.
The first quarto reads learning. The editor of the second quarto
seems to have corrected many of the faults in the old copy,
without any consideration of the original corrupted reading.

Malone.
Read— yearning time. So, in King Henry V. :

«« for Falstaff he is dead,

" And we must yearn therefore."
To yearn is to feel internal uneasiness. The time of a woman's
labour is still called, in low language— her groaning time— her
crying out.

Mr. Rowe would read— eaning, a term applicable only to
sheep when they produce their young. Steevens.

Thaisa evidently means to say, that she was put on ship-board
just at the time when she expected to be delivered ; and as the
word yearning does not express that idea, I should suppose it to
be wrong. The obvious amendment is to read — " even at my
yeaning time ; " which differs from it but by a single letter :—
Or perhaps we should read— yielding time.
So, Pericles says to Thaisa in the last scene :

" Look who kneels here ! Flesh of thy flesh, Thaisa ;
" Thy burden at the sea, and call'd Marina,
" For she was yielded there." M. Mason.

act iv. PRINCE OF TYRE. 129

A vestal livery will I take me to,
And never more have joy.

Cer. Madam, if this you purpose as you speak,
Diana's temple is not distant far,
Where you may 'bide until your date expire".
Moreover, if you please, a niece of mine
Shall there attend you.

Thai. My recompense is thanks, that's all ;
Yet my good will is great, though the gift small.

{Exeunt.

ACT IV.

Enter Goiter8 .

Gow. Imagine Pericles arriv'd at Tyre 9,
Welcom'd and settled to his own desire.

* Where you may 'bide until your date expire.] Until you
die. So, in Romeo and Juliet :

" The date is out of such prolixity."
The expression of the text is again used by our author in The
Rape of Lucrece :

" An expir'd date, cancell'd, ere well begun."
Again, in Romeo and Juliet :

** ' and expire the term

" Of a despised life." Malone.

8 Enter GovoerJ) This chorus, and the two following scenes,
have hitherto been printed as part of the third Act. In the ori-
ginal edition of this play, the whole appears in an unbroken
series. The editor of the folio, in 1664, first made the division of
Acts and Scenes (which has been since followed,) without much
propriety. The poet seems to have intended that each Act should
begin with a chorus. On this principle the present division is
made. Gower, however, interposing eight times, a chorus is
necessarily introduced in the middle of this and three times in the
ensuing Act. Malone.

9 Imagine Pericles, &c] Mr. Steevens, in his zeal for unifor-
mity of metre, has thus mammocked the first four lines of this chorus:

" Imagine Pericles at Tyre,
" Welcom'd to his own desire.
" His woful queen leave at Ephess,
" To Dian there a votaress." Boswell.
VOL. XXI. K

130

PERICLES, act iv.

His woful queen leave at Ephesus,

Unto Diana there a votaress1.

Now to Marina bend your mind, g

Whom our fast-growing scene must find

At Tharsus, and by Cleon train'd

In musick, letters3; who hath gain'd

Of education all the grace,

Which makes her both the heart and place

Of general wonder 4 . But alack !

That monster envy, oft the wrack

i Unto Diana there a votaress .] The old copies read— there's a
votaress. I am answerable for the correction. Malone.
" His woful queen leave at Ephess,

« To Dian there a votaress." Old copy— we leave at Ephesus ;
but Ephesus is a rhyme so ill corresponding with votaress, that 1
suspect our author wrote Ephese or Ephess ; as he often contracts
hlToper names to suit his metre. Thus Pont for Pontus, Mede
for Media, Comagene for Comagena, Sicils for Sicilies, 8cc.
Gower in the story on which this play is founded, has Dionyze
for Di'onyza, and Tharse for Tharsus. Steevens.

* Whom our fast-growing scene must find — J ine same
expression occurs in the chorus to The Winter's Tale :

« , your patience this allowing,

" I turn" my glass, and give my scene such groining,
" As you had slept between." Malone.
3 In musick, letters;] The old copy reads, I think corruptly,
—In musich letters. The corresponding passage in bowers
Confessio Amantis, confirms the emendation now made :
u My doughter Thaise by your lpve
" I thynke shall with you be leve
" As for a tyme : and thus I praie,
" That she be kepte by all waie,
" And whan she hath of age more
«' That she be set to bokes lore," &c.

Again:

«< . she dwelleth

" In Tharse, as the Cronike telleth ;

" She was well kept, she was well loked,

" She tons well taught, she was well boked ;

" So well she sped hir in hir youth,

" That she of every wysedome couth—-." Malone.

act ir. PRINCE OF TYRE. 131

Of earned praise 5, Marina's life
Seeks to take off by treason's knife.
And in this kind hath our Cleon
One daughter, and a wench 6 full grown,
Even ripe for marriage fight 7 ; this maid
Hight Philoten : and it is said

* Which makes her both the heart and place
Of general wonder.] The old copies read :

" Which makes high both the art and place," &c.
The emendation was made by Mr. Steevens. Malone.
" Which makes her both the heart and place
" Of general wonder." Such an education as rendered her the
center and situation of general wonder. We still use the heart
of oak for the central part of it, and the heart of the land in
much such another sense. Shakspeare in Coriolanus says, that
one of his ladies is — " the spire and top of praise." Steevens.
So, in Twelfth-Night :

** I will on with my speech in your praise, and then show you
the heart of my message."

Again, in Antony and Cleopatra :

" — — the very heart of loss."
Again, in The Rape of Lucrece :

" On her bare breast, the heart of all her land."
Place here signifies residence. So, in A Lover's Complaint :

" Love lack'd a dwelling, and made him her place."
In this sense it was that Shakspeare, when he purchased his
house at Stratford, called it The New Place. Malone.

5 — oft the wrack

Of earned praise,] Praise that has been well deserved.
The same expression is found in the following lines, which our
author has imitated in his Romeo and Juliet :

" How durst thou once attempt to touch the honor of his name?
" Whose deadly foes do yeld him dew and earned praise."

Tragicall Hystorie of Romeus and Juliet, 1562.
So, in A Midsummer-Night's Dream :

" If we have unearned luck — ." Malone.

6 And in this kind hath our Cleon

One daughter, and a wench full grown,] The old copy
reads :

" And in this kind our Cleon hath
" One daughter, and a. full grown ivench."
The present regulation is Mr. Steevens's. Malone.
1 Even ripe for marriage fight ;] The first quarto reads :
" Even right for marriage sight — ."

K 2

132 PERICLES, AW Jr.

For certain in our story, she

Would ever with Marina be :

Be't when she weav'd the sleided silk 8

With fingers, long, small, white 9 as milk ;

Or when she would with sharp neeld wound '

The cambrick, which she made more sound

By hurting it ; or when to the lute

She sung, and made the night-bird mute,

The quarto 1619, and all the subsequent editions, have—

" Even ripe for marriage sight — ."
Sight was clearly misprinted for Jight. We had before in this
play Cupid's wars. Malone.
I would read :

" Even ripe for marriage rites." Percy.
ILeaA—Jight ; i. e. the combats of Venus, or night, which needs

no explanation. -,,,-,.',

V Let heroes in the dusty field delight,
" Those limbs were fashion'd for a softer Jight."

Dryden's Version of Ovid's Epistle from Helen
to Paris. Steevens.
8 Be't when she weav'd the sleided silk—] The old copies

" Be it when they weav'd," &c.
But the context shows that she was the author's word. To have
praised even the hands of Philoten would have been inconsistent
with the general scheme of the present chorus. In all the other
members of this sentence we find Marina alone mentioned :
" Or when she would, &c.

" or when to the lute

" She sung," &c. Malone.
Sleided silk is untwisted silk, prepared to be used in the
weaver's sley or slay. Percy. .

9 With fingers, long, small, white, &c] So, in Twine s trans-
lation : " — beautified with a white hand, and fingers long and
slender." Steevens.

• Or when she would with sharp neeld wound— J All the
copies read—" with sharp needle wound ; " but the metre shows
that we ought to read neeld. In a subsequent passage, in the first
quarto, the word is abbreviated :

« and with her neele composes — ."

So, in Stanyhurst's Virgil, 1582:

«« on neeld-wrOM^nt carpets."

Ser also vol. xv. p. 3.53, n. 9. Malone,

avtiv. PRINCE OF TYRE. 133

That still records with moan 2 ; or when
She would with rich and constant pen
Vail to her mistress Dian 3 ; still
This Philoten contends in skill

2 — or when to the lute

She sung, and made the night-BiRD mute,

That still records with moan ;] The first quarto reads :

" the night-bed mute,

" That still records with moan ; "
for which in all the subsequent editions we find —

" and made the night-bed mute,

" That still records ivithifi one."
There can, I think, be no doubt, that the author wrote — night-
bird. Shakspeare has frequent allusions, in his works, to the
nightingale. So, in his 101st Sonnet :

" As Philomel in summer's front doth sing,
" And stops her pipe in growth of riper days,
" Not that the summer is less pleasant now
" Than when her mournful hymns did hush the night," &c.
Again, in his Rape of Lucrece, 1594 :

" And for, poor bird, thou sing'st not in the day,
" As shaming anie eye should thee behold — ."
So, Milton's Paradise Lost, book iv. :

" These to their nests

" Were slunk ; all but the wakeful nightingale;
" She all night long her amorous descant sung."
To record anciently signified to sing. So, in Sir Philip Sydney's
Ourania, by N. B. [Nicholas Breton] 1606 :
" Recording songs unto the Deitie — ."
See vol. iv. p. 126, n. 7. — "A bird (1 am informed) is said to
record, when he sings at first low to himself, before he becomes
master of his song and ventures to sing out. The word is in
constant use with bird-fanciers at this day." Ma lone.

3 — with rich and constant pen

Vaix, to her mistress Dian ;] To vail is to boiv, to do homage.
The author seems to mean — ' When she would compose suppli-
catory hymns to Diana, or verses expressive of her gratitude to
Dionyza.'

We might indeed read — Hail to her mistress Dian ; i. e. salute
her in verse. Steevens.

I strongly suspect that vail is a misprint. We might read :
" Wail to her mistress Dian."
i. e. compose elegies on the death of her mother, of which she
had been apprized by her nurse, Lychorida.

134 PERICLES, act IV.

With absolute Marina4 : so

With the dove of Paphos might the crow

Vie feathers white 5. Marina gets

All praises, which are paid as debts,

And not as given. This so darks

In Philoten all graceful marks6,

That Dian, i. e. Diana, is the true reading, may, I think, be
inferred from a passage in The Merchant of Venice ; which may
at the same time perhaps afford the best comment on that before

US "

" Come, ho, and wake Diana with a hymn ;
* With sweetest touches pierce your mistress' ear,
" And draw her home with musick."
Again, in A Midsummer-Night's Dream :
«■ To be a barren sister all your life,
" Chanting faint hymns to the cold fruitless moon.

bJ Malone.

4 With absolute Marina:] i. e. highly accomplished, perfect.
So, in Antony and Cleopatra :

" . • at sea

" He is an absolute master."
Again, in Greene's Tu Quoque, 1614: "-from an absolute
and most complete gentleman, to a most absurd, ridiculous, and

f°nSd We'athmwhUe.] See note on The Taming of a Shrew,
vol. v. p. 427, n. 4. Steevens.
Old copy :

«« so

" The dove of Paphos might with the crow
" Vie feathers white." ,

The sense requires a transposition of these words, and that we

should read :

" so

" With the dove of Paphos might the crow
11 Vie feathers white." M. Mason.
I have adopted Mr. M. Mason's judicious arrangement.

r Steevens.

6 This SO DARKS , .

In Philoten all graceful marks,] So, in Conolanus :

" and their blaze

" Shall darken him for ever."

Again, ibidem : ,,.,..-

° « You are darlcen'd in this action, sir,

" Even by your own." Malone.

<4VT iv. PRINCE OF TYRE. 135

That Cleon's wife, with envy rare 7,
A present murderer does prepare
For good Marina, that her daughter
Might stand peerless by this slaughter.
The sooner her vile thoughts to stead,
Lychorida, our nurse, is dead :
And cursed Dionyza hath
The pregnant instrument of wrath 8
Prest for this blow 9. The unborn event
I do commend to your content 1 :
Only I carry 2 winged time 3
Post on the lame feet of my rhyme ;

7 — with envy rare,] Envy is frequently used by our ancient
writers, in the sense of malice. It is, however, I believe, here
used in its common acceptation. Malone.

8 The pregnant instrument of wrath — ] Pregnant is ready.
So, in Hamlet :

" And crook the pregnant hinges of the knee — ."

Malone.
Pregnant, in this instance, means prepared, instructed. It is
used in a kindred sense in Measure for Measure. See vol. ix.
p. 8, n. 5. Steevens.

9 Prest for this blow.] Prest is ready ; fret. Fr. So, in The
Tragicall History of Romeus and Juliet, 1562:

" I will, God lendyng lyfe, on Wensday next be prest
" To wayte on him and you — ." Malone.

1 — The unborn event

I do commend to your content :] I am not sure that I under-
stand this passage ; but so quaint and licentious is the phrase-
ology of our Pseudo-Gower, that perhaps he means — ' I wish you
to find content in that portion of our play which has not yet been
exhibited.'

Our author might indeed have written — consent, i. e. co-
operation, your assistance in carrying on our present delusion.

Steevens.

2 Only I carry — ] Old copy — carried. Steevens.

3 — winged time — ] So, in the Chorus to The Winter's

Tale:

« I

" Now take upon me, in the name of time,
" To use my ivings."

136 PERICLES, avt if.

Which never could I so convey,

Unless your thoughts went on my way. —

Dionyza does appear,

With Leonine, a murderer. [Exit.

SCENE I.
Tharsus. An open Place near the Sea-shore.

Enter Dionyza and Leonine.

Dion. Thy oath remember; thou hast sworn to
doit4:
Tis but a blow, which never shall be known.
Thou canst not do a thing i' the world so soon,
To yield thee so much profit. Let not conscience,
Which is but cold, inflame love in thy bosom 5,

Again, in King Henry V. :

" Thus with imagin'd voing our swift scene flies,

" In motion of no less celerity

" Than that of thought." Malone.
* Thy oath remember ; thou hast sworn to do it :] Here, I
think, may be traced the rudiments of the scene in which Lady
Macbeth instigates her husband to murder Duncan :

* I have given suck, and know

" How tender 'tis to love the babe that milks me ;

" I would, while it was smiling in my face,

" Have pluck'd my nipple from his boneless gums,

" And dash'd the brains out, had I but so sworn,

" As you have done to this." Malone.
5 — inflame love in thy bosom,] The first quarto reads —
" Let not conscience which is but cold, injiaming thy love bo-
some, enflame too nicelie, nor let pitie,"&c. The subsequent im-
pressions afford no assistance. Some words seem to have been
lost. The sentiment originally expressed, probably was this —
Let not conscience, which is but a cold monitor, deter you from
executing what you have promised ; nor let the beauty of Marina

sc. i. PRINCE OF TYRE. 137

Inflame too nicely ; nor let pity, which
Even women have cast off, melt thee, but be
A soldier to thy purpose.

Leon. I'll do't; but yet she is a goodly creature6.

Dion. The fitter then the gods should have her 7.
Here

enkindle the flame of love in your bosom ; — nor be softened by
pity, which even I, a woman, have cast off. — I am by no means
satisfied with the regulation that I have made, but it affords a
glimmering of sense. Nearly the same expression occurred

before :

" That have injlam'd desire in my breast — ."

I suspect, the words " enflame too nicely "were written in
the margin, the author not having determined which of the two
expressions to adopt ; and that by mistake they were transcribed
as a part of the text. The metre, which might be more commo-
diously regulated, if these words were omitted, in some measure
supports this conjecture :

" Nor let pity, which ev'n women have cast off,
" Melt thee, but be a soldier to thy purpose." Malone.
We might read :

" inflame thy loving bosom : "

With Mr. Malone's alteration, however, the words will bear
the following sense : — Let not conscience, which in itself is of a
cold nature, have power to raise the flame of love in you, raise it
even to folly. — Nicely, in ancient language, signifies foolishly.
Niais, Ft.

Perhaps, indeed, the passage originally stood thus :

" . Let not conscience,

" Which is but cold, inflame love in thy bosom ;
" Nor let that pity women have cast off,
" Melt thee, but be a soldier to thy purpose."
" Inflame too nicely " — and — ' ' which even," are the words I
omit. I add only the pronoun — that. Steevens.

6 but YET SHE IS A GOODLY CREATURE.] So, in King

Henry VIII.:

" and yet my conscience says

" She's a good creature." Steevens.

7 — but yet she is a goodly creature.

Dion. The fitter then the gods should have her.] So, in
King Richard III. :

" O, he was gentle, mild, and virtuous. —

" The fitter for the King of Heaven." Steevens.

138 PERICLES, act iv.

Weeping she comes for her old nurse's death 8.
Thou art resolv'd ?

Leon. I am resolv'd.

Enter Marina, with a Basket of Flowers.

Mar. No, I will rob Tellus of her weed,
To strew thy green with flowers9: the yellows,
blues,

•Here

Weeping she comes for her old nurse's death.] Old copy :
" Here she comes weeping for her onely mistresse death."
As Marina had been trained in musick, letters, &c. and had
gained all the graces of education, Lychorida could not have been
her only mistress. I would therefore read :

" Here comes she weeping for her old nurse's death."

Percy.
I have no doubt but we should adopt the ingenious amendment
suggested by Percy, with this difference only, the leaving out the
word^br, which is unnecessary, and hurts the metre. I should

therefore read :

" Here she comes, weeping her old nurse's death."

M. Mason.
I have adopted Dr. Percy's amendment, but without Mr.
M. Mason's attempt to improve it. The word for is necessary to
the metre, as above in the preceding line was a modern interpo-
lation. Steevens.

9 No, I will rob Tellus of her weed,
To strew thy green with flowers :] Thus the quartos. In
the folio grave was substituted for green. By the green, as Lord
Charlemont suggests to me, was meant " the green turf with
which the grave of Lychorida was covered." So, in Tasso's
Godfrey of Bulloigne, translated by Fairfax, 1600:
V My ashes cold shall, buried on this green,
** Enjoy that good this body ne'er possest."
Weed in old language meant garment. Malone.
Before we determine which is the proper reading, let us reflect
a moment on the business in which Marina is employed. She is
about to strew the grave of her nurse Lychorida with flowers, and
therefore makes her entry with propriety, saying—

" No, no, I will rob Tellus," &c.
i. e. No, no, it shall never be said that I left the tomb of one to
whom I owe so much, without some ornament. Rather than it

sc. i. PRINCE OF TYRE. 139

The purple violets, and marigolds,

Shall, as a carpet, hang upon thy grave,

While summer days do last ' . Ah me ! poor maid,

Born in a tempest, when my mother died,

This world to me is like a lasting storm,

Whirring me from my friends 2.

shall remain undecorated, I will strip the earth of its robe, &c.
The prose romance, already quoted, says " that always as she
came homeward, she went and washed the tombe of her nouryce,
and kept it contynually fayre and clene."

Though I do not recollect that the green hillock under which a
person is buried, is any where called their green, my respect for
Lord Charlemont's opinion has in this present instance withheld
me from deserting the most ancient text, however dubious its
authority. Steevens.

1 Shall, as a carpet, hang upon thy grave,

While summer days do last.] So, inCymbeline:

" with fairest flowers,

" While summer lasts, and I live here, Fidele,
" I'll sweeten thy sad grave. Thou shalt not lack
" The flower that's like thy face, pale primrose, nor
" The azur'd hare-bell, like thy veins, no nor
" The leaf of eglantine, whom not to slander
" Out-sweeten'd not thy breath."
Mr. Steevens would read — Shall as a chaplet, &c. The word
hang, it must be owned, favours this correction, but the flowers
strew' d on the green-sward, may with more propriety be compared
to a carpet than a wreath. Malone.

Malone informs us that all the former copies read — " as a
carpet," which was probably the right reading : nor would Stee-
vens have changed it for chaplet, had he attended to the beginning
of Marina's speech :

n I will rob Tellus of her weed,
" To strew thy grave with flowers : "
which corresponds with the old reading, not with his amendment.

M. Mason.
Perhaps Mr. M. Mason's remark also might have been spared,
had he considered that no one ever talked of hanging carpets out
in honour of the dead. Steevens.

2 Whirring me from my friends.] Thus the earliest copy; I
think rightly. The second quarto, and all the subsequent im-
pressions, read —

" Hurrying me from my friends."
Whirring or whirrying, had formerly the same meaning. A

140 PERICLES, act if.

Dion. How now, Marina ! why do you keep

alone 3 ?
How chance my daughter is not with you 4 ? Do

not
Consume your blood with sorrowing 5 : you have
A nurse of me 6. Lord ! how your favour's chang'd 7

bird that flies with a quick motion, accompanied with noise, is
still said to 'whirr away. Thus, Pope :

" Now from the brake the whirring pheasant springs."
The verb to "whirry is used in the ancient ballad entitled Robin
Goodfellow. Reliques of Ancient English Poetry, vol. ii. 203 :

*« More swift than wind away I go,

" O'er hedge and lands,

'* Thro' pools and ponds,

" I whirry, laughing ho ho ho." Malone.
The verb — to whirr, is often used by Chapman in his version
of the Iliad. So, book xiv. :

" gathering dust with whirring fiercely round."

Again, book xvii. :

«« through the Greeks and Ilians they rapt

" The whirring chariot — •"
The two last lines uttered by Marina, very strongly resemble
a passage in Homer's Iliad, book xix. 1. 377 :

. .— t«j ^ s'x IQeXovTctg aeWai

IIovTov bt ixtuoevra <t>IAX2N AnANET0E 4>EPOT2lN.

Steevens.

3 How now, Marina! why do you keep alone?] Thus the
earliest copy. So, in Macbeth :

" How now, my lord ! why do you keep alone ? "
The second quarto reads — ' ' why do you weep alone ? "

Malone.

4 How chance my daughter is not with you ?] So, in King
Henry IV. Part II. :

" How chance thou art not with the prince, thy brother ? "

Malone.
Milton, as Mr. Todd observes, employs a similar form of words
in Comus, v. 508 :

" How chance she is not in your company? " Steevens.
s Consume your blood with sorrowing :] So, in King Henry VI.
Part II. : " — blood-consuming sighs." See also note on Hamlet,
vol. vii. p. 454<, n. 4-. Malone.
6 — you have
A nurse of me.] Thus the quarto 1619. The first copy reads :
" Have you a nurse of me ? "
The poet probably wrote :

sa i. PRINCE OF TYRE. 141

With this unprofitable woe ! Come, come ;
Give me your wreath of flowers, ere the sea mar it.
Walk forth with Leonine ; the air is quick there8,
And it pierces and sharpens the stomach. Come 9 ; —
Leonine, take her by the arm, walk with her.

Mar. No, I pray you ;
I'll not bereave you of your servant.

Dion. Come, come ;

I love the king your father, and yourself,
With more than foreign heart ' . We every day
Expect him here : when he shall come, and find
Our paragon to all reports % thus blasted,

\

" Have you not

" A nurse of me?" Malone.
? — your favour's chang'd — ] i.e. countenance, look. So,
in Macbeth :

" To alter favour ever is to fear." Steevens.
8 — ere the sea mar it.
Walk forth with Leonine ; the air is quick there,] Some
words must, I think, have been omitted. Probably the author
wrote :

ere the sea mar it,

< c

" Walk on the shore with Leonine, the air
" Is quick there." Malone.
" — ere the sea mar it," &c. i. e. ere the sea mar your walk
upon the shore by the coming in of the tide, walk there with
Leonine. We see plainly by the circumstance of the pirates,
that Marina, when seized upon, was walking on the sea-shore ;
and Shakspeare was not likely to reflect that there is little or no
tide in the Mediterranean. Charlf.mont.

The words — wreath of— were formerly inserted in the text by
Mr. Malone. Though he has since discarded, I have ventured to
retain them. Steevens.

9 Piercing, and sharpens well the stomach. Come ;] Here
the old copy furnishes the following line, which those who think
it verse, may replace, in the room of that supplied by the present
text : —

" And it pierces and sharpens the stomach. Come — ."

Steevens.

1 With more than foreign heart.] With the same warmth of
affection as if I was his countrywoman. Malone.

2 Our paragon to all reports,] Our fair charge, whose beauty
was once equal to all that fame said of it. So, in Othello :

142 PETUCLES, act iv.

He will repent the breadth of his great voyage ;
Blame both my lord and me, that we have ta'en
No care to your best courses 3. Go, I pray you,
Walk, and be cheerful once again ; reserve
That excellent complexion, which did steal
The eyes of young and old 4. Care not for me;
I can go home alone.

Mar. Well, I will go;

But yet I have no desire to it \

Dion. Come, come, I know 'tis good for you.
Walk half an hour, Leonine, at the least ;
Remember what I have said.

Leon. I warrant you, madam.

Dion. I'll leave you, my sweet lady, for a while ;

*« . He hath achiev'd a maid,

" That paragons description and wild fame" Malone.

3 — that we have ta'en

No care to your best courses.] Either we should read — "of
your best courses," or the word to has in this place the force that
of would have. M. Mason.

The plain meaning is — ' that we have paid no attention to what
was best for you.' Steevens.

4 RESERVE

That excellent complexion, which did steal
The eyes of young and old.] So, in Shakspeare's 20th
Sonnet :

" A man in hue all hues in his controlling,
" Which steals men's eyes, and women's souls amazeth."
Again, in his Lover's Complaint :

'* Thus did he in the general bosom reign
" Qfyoung and old."
To reserve is here, to guard, to preserve carefully. So, in
Shakspeare's 32d Sonnet :

" Reserve them, for my love, not for their rhymes."

Malone.
s Well, I will go ;
But yet I have no desire to it.] So, in The Merchant of
Venice :

" I have no mind of feasting forth to-night,
" But I will go." Steevens.

7

sc. l PRINCE OF TYRE. 143

Pray you walk softly, do not heat your blood :
What ! I must have a care of you.

Mar. Thanks, sweet madam. —

[Exit Dionyza.
Is this wind westerly that blows ?

Leon. South-west.

Mar. When I was born, the wind was north.

Leon. Was't so?

Mar. My father, as nurse said, did never fear,
But cry'd, good seamen ! to the sailors, galling
His kingly hands with hauling of the ropes6 ;
And, clasping to the mast, endur'd a sea
That almost burst the deck.

Leon. When was this f

Mar. When I was born :
Never was waves nor wind more violent ;
And from the ladder-tackle washes off
A canvas-climber7. Ha ! says one, wilt out?

6 His kingly hands with hauling of the ropes ;] For the
insertion of the words with and of 1 am answerable. Malone.

So, in Sidney's Arcadia, book ii. : " — the princes did in their
countenances accuse no point of feare, but encouraging the sailors
to doe what might be done (putting their hands to every most
paineful office) taught them to promise themselves the best," &c.

Steevens.
? — from the ladder-tackle washes off
A canvas-climber.] A ship-boy. So, in King Henry V.:
" — and in them behold
" Upon the hempen-tackle ship-boys climbing."
I suspect that a line, preceding these two, has been lost, which
perhaps might have been of this import :

" O'er the good ship the foaming billow breaks,
" And from the ladder-tackle," &c. Malone.
A canvas-climber is one who climbs the mast, to furl, or unfurl,
the canvas or sails. Steevens.

Malone suspects that some line preceding these has been lost,
but that I believe is not the case, this being merely a continuation
of Marina's description of the storm, which was interrupted by
Leonine's asking her, " When was that ? " and by her answer,
" When I was born, never were waves nor wind more violent."

144 PERICLES, act ir.

And with a dropping industry they skip

From stem to stern 9 : the boatswain whistles, and

The master calls, and trebles their confusion \

Leon. Come, say your prayers.

MAR% What mean you ?

Leon. If you require a little space for prayer,
I grant it : Pray ; but be not tedious,
For the gods are quick of ear, and I am sworn
To do my work with haste.

Put this question and the answer in a parenthesis, and the de-
scription goes on without difficulty :

" . endur'd a sea

" That almost burst the deck,

" And from the ladder-tackle washes off/' &c. M. Mason.
In consequence of Mr. M. Mason's remark, I have regulated the
text anew, and with only the change of a single tense, (ivash'd for
washes,) and the omission of the useless copulative and. Ine
question of Leonine, and the reply of Marina, which were intro-
duced after the words —

" That almost burst the deck,"
are just as proper in their present as in their former situation;
but do not, as now arranged, interrupt the narrative of Marina.

Steevens.

Mr. Steevens reads thus :

" That almost burst the deck, and from the ladder-tackle
" Wash'd off a canvas-climber. Ha ! says one,
" Wilt out? and, with a dropping industry,
" They skip from stem to stern : the boatswain whistles,
" The master calls, and trehles their confusion.
" Leon. And when was this ?

" Mar. I* twflS when I was born :

" Never was waves nor wind more violent."
9 From stem to stern :] The old copies read—" From stern
to sterna But we certainly ought to read — " From stem to

stern." So, Dryden :

" Orontes' barque, even in the hero s view,
" From stem to stern by waves was overborne."
A hasty transcriber, or negligent compositor, might easily have
mistaken the letter m and put rn in its place. Malone
« — and trebles their confusion.] 60, in King Henry V. :
'■ Hear the shrill whistle, which doth order give
'« To sounds confus'd." Malone.

sc. i. PRINCE OF TYRE. 145

Mar. Why, will you kill me 2 ?

Leon. To satisfy my lady.

Mar. Why would she have me kill'd ?
Now as I can remember, by my troth,
I never did her hurt in all my life ;
I never spake bad word, nor did ill turn
To any living creature : believe me, la,
I never kill'd a mouse, nor hurt a fly :
I trod upon a worm against my will,
But I wept for it 8. How have I offended,
Wherein my death might yield her profit, or
My life imply her danger.

2 Leon. Come, say your prayers.
Mar. What mean you ?
Leon. If you require a little space for prayer,
I grant it : Pray ; but be not tedious, &c.

Mar. Why, will you kill me ?] So, in Othello :

" Oth. Have you pray'd to night, Desdemona? —
" If you bethink yourself of any crime
" Unreconcil'd as yet to heaven and grace,
" Solicit for it straight.

"■ Des. Alas, my lord, what do you mean by that?
* Oth. Well, do it, and be brief.—
" Des. Talk you of killing," &c. Steevens.
This circumstance is likewise found in the Gesta Romanorum :
" Peto domine," says Tharsia (the Marina of this play) " ut si nulla
spes est mi hi, pennittas me deum testare. Villicus ait, ' testate ;
et Deus ipse scit quod coactus te interficio.' Ilia vero cum esset
posita in oratione, venerunt pyratae," &c. Malone.

Thus, in Twine's translation : "I pray thee, since there is no
hope for me to escape my life, give me licence to say my prayers
before I die. I give thee license, saide the villaine. And I take
God to record, that I am constrained to murther thee against mv
will." Steevens.

Mr. Steevens, without authority, reads :

" Come, say your prayers speedily'' Bos well.
3 I trod upon a worm against my will,
But I wept for it.] Fenton has transplanted this image into
his Mariamne :

" — — when I was a child,
" I kill'd a linnet, but indeed I wept ;
" Heaven visits not for that." Steevens.
VOL. XXI. L

146 PERICLES, act jr.

Leon. My commission

Is not to reason of the deed, but do it.

Mar. You will not do't for all the world, I hope.
You are well favour'd, and your looks foreshow
You have a gentle heart. I saw you lately,
When you caught hurt in parting two that fought :
Good sooth, it show'd well in you ; do so now :
Your lady seeks my life ; come you between,
And save poor me, the weaker.

Leon. I »m sworn>

And will despatch.

Enter Pirates, whilst Marina is struggling.

1 Pirate. Hold, villain !

[Leonine runs away .

2 Pirate. A prize ! a prize !

3 Pirate, Half-part, mates, half-part. Come,
let's have her aboard suddenly.

[Exeunt Pirates with Marina.

SCENE IL

The Same.

Re-enter Leonine.
Leon. These roguing thieves serve the great
pirate Valdes 5

j

4 Leonine runs aivay.-} So, in Twine's translation: When
the villain heard that, he ran away as fast as he could.— I hen
came the Pyrats and rescued Tharsia, and carried her away to
their ships, and hoised sailes, and departed." Steevens.

5 These roguing thieves serve the great pirate Valdes; J
The Spanish armada, I believe, furnished our author with this
name Don Pedro de Valdes was an Admiral in that fleet, and
had the command of the great galleon of Andalusia. His ship
being disabled, he was taken bv Sir Francis Drake, on the twenty-

sc. in. PRINCE OF TYRE. 147

And they have seiz'd Marina. Let her go :
There's no hope shell return. I'll swear she's dead,
And thrown into the sea. — But I'll see further ;
Perhaps they will but please themselves upon her,
Not carry her aboard. If she remain,
Whom they have ravish'd, must by me be slain.

[Exit.

SCENE III.

Mitylene. A Room in a Brothel.

Enter Pander, Bawd, and Boult.

Band. Boult.

Boult. Sir.

Band. Search the market narrowly ; Mitylene is
full of gallants. We lost too much money this
mart, by being too wenchless.

Bawd. We were never so much out of creatures.
We have but poor three, and they can do no more
than they can do ; and with continual action 6 are
even as good as rotten.

Band. Therefore let's have fresh ones, whate'er
we pay for them. If there be not a conscience to
be used in every trade, we shall never prosper 7.

second of July, 1588, and sent to Dartmouth. This play there-
fore, we may conclude, was not written till after that period —
The making one of this Spaniard's ancestors a pirate, was pro-
bably relished by the audience in those days. Malone.

In Robert Greene's Spanish Masquerado, 1589, the curious
reader may find a very particular account of this Valdes, who was
commander of the Andalusian troops, and then prisoner in Eng-
land. Steevens.

We should probably read — These roving thieves. — The idea of
roguery is necessarily implied in the word thieves. M. Mason.

6 — and with continual action — ] Old copies — and they
with, &c. The word they was evidently repeated by the care-
lessness of the compositor. Malone.

L 2

148 PERICLES, act if

Baitd. Thou say'st true : 'tis not the bringing
up of poor bastards 8, as I think, I have brought
up some eleven

Boult. Ay, to eleven, and brought them down
again 9. But shall I search the market ?

Bajtd. What else, man ? The stuff we have, a
strong wind will blow it to pieces, they are so piti-
fully sodden.

Vand. Thou say'st true ; they're too unwhole-
some o' conscience \ The poor Transilvanian is
dead, that lay with the little baggage.

7 Therefore let's have fresh ones, whate'er we pay for them.
If there be not a conscience to be used in every trade, we shall
never prosper.] The sentiments incident to vicious professions
suffer little change within a century and a half. — This speech is
much the same as that of Mother Cole, in The Minor : " Tip
him an old trader! Mercy on us, where do you expect to go
when you die, Mr. Loader? " Steevens.

8 Thou say'st true : 'tis not the bringing up of poor bastards,]
There seems to be something wanting. Perhaps — "that will
do—" or some such words. The author, however, might have
intended an imperfect sentence. Malone.

9 Ay, to eleven, and brought them down again.] I have
brought up (i. e. educated) says the Bawd, some eleven. Yes,
(answers Boult) to eleven (i. e. as far as eleven years of age) and
then brought them down again. The latter clause of the sen-
tence requires no explanation.

Thus, in The Play of The Wether, by John Heywood, 4to.
bl. 1. Mery Report says :

" Oft tyme is sene both in court and towne,

" Longe be women a bryngynge up, and sone brought dotvne."

Steevens.

The modern copies tead— I too eleven. The true reading,
which is found in the quarto 1609, was pointed out by Mr. Stee-
vens. Malone.

1 Thou say'st true ; they're too unwholesome o' conscience.]
The old copies read— there's two unwholesome o' conscience.
The preceding dialogue shows that they are erroneous. The
complaint had not been made of*wo, but of all the stuff they had.
According to the present regulation, the pandar merely assents to
what his wife had said. The words two and too are perpetually
confounded in the old copies. Malone.

st. m. PRINCE OF TYRE. 149

Boult. Ay, she quickly pooped him2 ; she made
him roast-meat for worms: — but I'll go search the
market. [Exit Boult.

Pand. Three or four thousand chequins were
as pretty a proportion to live quietly, and so give
over.

Batfd. Why, to give over, I pray you ? is it a
shame to get when we are old ?

Pand. O, our credit comes not in like the com-
modity : nor the commodity wages not with the
danger 3 ; therefore, if in our youths we could pick
up some pretty estate, 'twere not amiss to keep our
door hatched4. Besides, the sore terms we stand
upon with the gods, will be strong with us for giving
over.

2 Ay, she quickly pooped him ;] The following passage in
The Devil's Charter, a tragedy, 1607, will sufficiently explain
this singular term :

" foul Amazonian trulls,

" Whose lanterns are still lighted in their poops''

Malone.
This phrase (whatever be its meaning) occurs in Have With
You to Saffron Walden, or Gabriel Harvey's Hunt is Up, &c.
1596 : " But we shall l'envoy him, and trumpe and poope him
well enough — ."

The same word is used by Dryden, in his Wild Gallant :
" He's poopt too." Steevens.

3 — the commodity wages not with the danger;] i. e. is not
equal to it. Several examples of this expression are given in for-
mer notes on our author. So, in Antony and Cleopatra :

" his taints and honours

W Wagd equal with him." Steevens.
Again, move appositely in Othello :

" To wake and wage a danger profitless." Malone.

4 — to keep our door hatched.] The doors or hatches of
brothels, in the time of our author, seem to have had some dis-
tinguishing mark. So, in Cupid's Whirligig, 1607: " Set some
picks upon your hatch, and, I pray, profess to keep a bavodij -house."

Prefixed to an old pamphlet entitled Holland's Leaguer, 4to.
1632, is a representation of a celebrated brothel on the Bank-side
near the Globe playhouse, from which the annexed cut has been
made. We have here the hatch exactly delineated. The man
with the pole-ax was called the Rftffian. Malone.

PERICLES,

ACT IV.

Vnto this Island and great Plutoes Court,

none are deny'd that willingly resort,
Charon or'e Phlegeton will set on shoare,

and Cerberus will guard you to the doore :
Where dainty Deuils drest in humane shape,

vpon your senses soone will make a rape.
They that come freely to this house of sinne,

in Hell as freely may have entrance in.

The precept from Cupid's Whirligig, and the passage in Peri-

.vc. in. PRINCE OF TYRE. 151

Batvd. Come, other sorts offend as well as we 5.
Pand. As well as we ! ay, and better too ; we

cles to which it refers, were originally applied by me to the illus-
tration of the term Pict-hatch in The Merry Wives of Windsor.

A hatch is a half-door, usually placed within a street-door,
admitting people into the entry of a house, but preventing their
access to its lower apartments, or its stair-case. Thus, says the
Syracusan Dromio in The Comedy of Errors, to the Dromio of
Ephesus : " Either get thee from the door, or sit down at the
hatch."

When the top of a hatch was guarded by a row of pointed
iron spikes, no person could reach over, and undo its fastening,
which was always within-side, and near its bottom.

This domestick portcullis perhaps was necessary to our ancient
brothels. Secured within such a barrier, Mrs. Overdone could
parley with her customers ; refuse admittance to the shabby
visitor, bargain with the rich gallant, defy the beadle, or keep the
constable at bay.

From having been therefore her usual defence, the hatch at
last became an unequivocal denotement of her trade ; for though
the hatch with a flat top was a constant attendant on butteries
in great families, colleges, &c. the hatch xuith spikes on it was
peculiar to our early houses of amorous entertainment. — Nay, as
I am assured by Mr. Walsh, (a native of Ireland, and one of the
compositors engaged on the present edition of Shakspeare,)
[Mr. Steevens's,] the entries to the Royal, Halifax, and Dublin
bagnios in the city of Dublin, still derive convenience or security
from hatches, the spikes of which are insurmountable.

This long explanation (to many readers unnecessaiy) is impu-
table to the preceding wooden cut, from the repetition of which
I might have excused myself. As it is possible, however, that I
may stand in the predicament of poor Sancho, who could not
discern the enchanted castles that were so distinctly visible to his
master's opticks, I have left our picture of an ancient brothel
where I found it. It certainly exhibits a house, a lofty door, a
wicket with a grate in it, a row of garden-rails, and a drawbridge.
As for hatch — let my readers try if they can find one.

I must suppose, that my ingenious fellow-labourer, on future
consideration, will class his hatch with the air- drawn dagger,
and join with me in Macbeth's exclamation — " There's no such
thing."

Let me add, that if the Ruffian (as here represented) was an
ostensible appendage to brothels, they must have been regulated
on very uncommon principles ; for instead of holding out allure-
ments, they must have exhibited terrors. Surely, the Ruffian
could never have appeared nisi dignus vindice nodus inciderat,
till his presence became necessary to extort the wages of prosti-
tution, or secure some other advantage to his employer.

152' PERICLES, act iv.

offend worse. Neither is our profession any trade ;
it's no calling : — but here comes Boult.

Enter the Pirates, and Boult, dragging in

Marina.

Boult. Come your ways. [To Marina. ~] — My
masters, you say she's a virgin ?

1 Pirate. O, sir, we doubt it not.

Boult. Master, I have gone thorough 6 for this
piece, you see : if you like her, so ; if not, I have
lost my earnest.

Bawd. Boult, has she any qualities ?

Boult. She has a good face, speaks well, and
has excellent good clothes ; there's no further ne-
cessity of qualities can make her be refused.

Bawd. What's her price, Boult ?

Boult. I cannot be bated one doit of a thousand
pieces 7.

The representation prefixed to Holland's Leaguer, has, there-
fore, in my opinion, no more authenticity to boast of, than the
contemporary wooden cuts illustrative of the Siege of Troy.

Steevens.

A hatch is defined by Johnson, a half-door, a door with an
opening over it ; and such certainly appears in the frontispiece to
the old pamphlet. The halfpenny hatch in Southwark, and many
other places, which prevents you from going over a private road
without pavment, is certainly not within a strait door. The sub-
ject is not worthy of much further enquiry, or it might be shown,
by extracts from Holland's Leaguer, that the wooden cut was de-
signed as a genuine representation. Boswell.

5 Come, other sorts offend as well as we.] From her hus-
band's answer, I suspect the poet wrote— other trades, &c.

Malone.
Malone suspects that we should read— "other trades," but
that is unnecessary; the word sorts has the same sense, and
means professions or conditions of life. So, Macbeth says :
" I have won
" Golden opinion of all sorts of people." M. Mason.

6 — { have gone thorough — ] i. e. I have bid a high price
for her, gone Jar in my attempt to purchase her. Steevens.

7 I cannot be bated one doit of a thousand pieces.] This
speech should seem to suit the Pirate. However, it may belong
to Boult. — I cannot get them to bate me one doit of a thousand
pieces. Maloke.

sc. in. PRINCE OF TYRE. 153

Pand. Well, follow me, my masters, you shall
have your money presently. Wife, take her in ;
instruct her what she has to do, that she may not
be raw in her entertainment 8.

[Exeunt Pander and Pirates.

Bawd. Boult, take you the marks of her ; the
colour of her hair, complexion, height, age 9, with
warrant of her virginity ; and cry, He that will give
most, shall have herjirst1. Such a maidenhead were
no cheap thing, if men were as they have been.
Get this done as I command you.

Boult. Performance shall follow. [Exit Boult.

Mar. Alack, that Leonine was so slack, so slow !
(He should have struck, not spoke ;) or that these

pirates,
(Not enough barbarous,)had not overboard thrown me
For to seek my mother '2 !

8 —that she may not be raw in her entertainment.] Unripe,
unskilful. So, in Hamlet: " — and yet but raw neither, in
respect of his quick sail." Malone.

9 — age,] So the quarto 1619. The first copy has — her age.

Malone.

1 — and cry, He that will give most, shall have her
first.] The prices of first and secondary prostitution are ex-
actly settled in the old prose romance already quoted : " Go thou,
and make a crye through the citye that of all men that shall
enhabyte with her carnally, the fyrst shall gyve me a pounde of
golde, and after that echone a peny of golde." Steevens.

2 — or that these pirates,

(Not enough barbarous,) had not overboard thrown me
For to seek my mother!] I suspect the second not was
inadvertently repeated by the compositor. Marina, I think,
means to say, Alas, how unlucky it was, that Leonine was so slack
in his office; or, he having omitted to kill me, how fortunate
'mould it have been for me, if those pirates had thrown me into the
sea to seek my mother.

However, the original reading may stand, though with some
harshness of construction. c Alas, how unfortunate it was, that
Leonine was so merciful to me, or that these pirates had not
thrown me into the sea to seek my mother.' Malone.
We should recur to the old copies, and read :

" Not enough barbarous, had not overboard," &c.
Which is clearly right ; — for Marina is not expressing what she

154 PERICLES, act iv.

Bawd. Why lament you, pretty one ?

Mar. That I am pretty.

Bawd. Come, the gods have done theirpartin you.

Mar. I accuse them not.

Bawd. You are lit into my hands, where you are

like to live2.

Mar. The more my fault,
To 'scape his hands, where I was like to die.

Bawd. Ay, and you shall live in pleasure.

Mar. No.

Bawd. Yes, indeed, shall you, and taste gentle-
men of all fashions. You shall fare well ; you shall
have the difference of all complexions. What! do
you stop your ears ?

Mar. Are you a woman ?

Bawd. What would you have me be, an I be

not a woman ?

Mar. An honest woman, or not a woman.

Bawd. Marry, whip thee, gosling: I think I
shall have something to do with you. Come, you
are a young foolish sapling, and must be bowed as
I would have you.

Mar. The gods defend me!

Bawd. If it please the gods to defend you by
men then men must comfort you, men must feed
you,' men must stir you up.— Boult's returned.

Enter Boult.

Now, sir, hast thou cried her through the market ?

wished that Leonine and the Pirates had done, but repining at
what they had omitted to do. She laments that Leonine had not
struck, instead of speaking, and that the Pirates had not thrown
her overboard. M. Mason. _ .

If the second not was intended by the author, he should rather
have written— <frW not o'er-board throw me, &c. Malone.

* You are lit into my hands, where you are like to live.] bo, in

Antony and Cleopatra :

«< , Be of good cheer ;

" You have fallen into a princely hand ; fear nothing.'

Malone.

sc. in. PRINCE OF TYRE. 155

Boult. I have cried her almost to the number
of her hairs ; I have drawn her picture with my
voice 3.

Batvd. And I pr'ythee tell me, how dost thou
find the inclination of the people, especially of the
younger sort ?

Boult. 'Faith, they listened to me, as they would
have hearkened to their father's testament. There
was a Spaniard's mouth so watered, that he went4
to bed to her very description.

Bawd. We shall have him here to-morrow with
his best ruff on.

Boult. To-night, to-night. But, mistress, do
you know the French knight that cowers i' the
hams 5 ?

Bawd. Who ? monsieur Veroles ?

Boult. Ay; he offered to cut a caper at the

3 Now, sir, hast thou cried her through the market?

— I have drawn her picture with my voice.] So, in The
Wife for a Month, [by Fletcher, vol. v. p. 285, edit. 1778,]
Evanthesays, — .

" I'd rather thou had'st deliver'd me to pirates,
" Betray'd me to uncurable diseases,
•' Hung up my picture in a market-place,
" And sold me to vile bawds ! "
And we are told in a note on this passage, [by Mr. Reed] that
it was formerly the custom at Naples to hang up the pictures of
celebrated courtezans in the publick parts of the town, to serve as
directions where they lived. Had not Fletcher the story of Ma-
rina in his mind, when he wrote the above lines ? M. Mason.

The Wife for a Month was one of Fletcher's latest plays. It
was exhibited in May, 1624. Malone.

4 — a Spaniard's mouth so water'd, that he went, &c] Thus
the quarto 1619. The first copy reads, — " a Spaniard's mouth
water'd, and he went," &c. Malone.

s — that cowers i' the hams ?] To cower is to sink by bend-
ing the hams. So, in King Henry VI. :

" The splitting rocks coxvr'd in the sinking sands."
Again, in Gammer Gurton's Needle :

" They cower so o'er the coles, their eies be blear'd with
smoke." Steevens.

156 PERICLES, act if.

proclamation ; but he made a groan at it, and swore
he would see her to-morrow 6.

Bawd. Well, well ; as for him, he brought his
disease hither: here he does but repair it7. I
know, he will come in our shadow, to scatter his
crowns in the sun 8.

6 he offered to cut a caper at the proclamation ; but he made

a groan at it, and swore he would see her to-morrow.] If there
were no other proof of Shakspeare's hand in this piece, this admi-
rable stroke of humour would furnish decisive evidence of it.

Malone.

7 — here he does but repair it.] To repair here means to
renovate. So, in Cymbeline :

" O, disloyal thing !
" That should'st repair my youth—."
Again, in All's Well That Ends Well :

" . It much repairs me

" To talk of your good father." Malone.

8 _ to scatter his crowns in the sun.] There is here perhaps
some allusion to the lues venerea, though the words French crowns
in their literal acceptation were certainly also in Boult's thoughts.
It occurs frequently in our author's plays. So, in Measure for

Measure :

" Lucio. A French crown more.

" Gent. Thou art always figuring diseases in me."

Malone.

I see no allusion in this passage to the French disease, but
merely to French crowns in a literal sense, the common coin of
that country. . .

Boult had said before, that he had proclaimed the beauty ot
Marina, and drawn her picture with his voice. He says, in the
next speech, that with such a sign as Marina they should draw
every traveller to their house, considering Manna, or rather the
picture he had drawn of her, as the sign to distinguish the house,
which the Bawd, on account of her beauty, calls the sun : and the
meaning of the passage is merely this -.—"that the French knight
will seek the shade or shelter of their house, to scatter his money
there "—But if we make a slight alteration in this passage, and
read " on our shadow," instead of " in our shadow," it will then
be capable of another interpretation. " On our shadow" may
mean ■ on our representation or description of Marina ; ' and the
sun may mean the real sign of the house. For there is a passage
in The Custom of the Country, which gives reason to imagine
that the sun was, in former times, the usual sign of a brothel.
' When Sulpitia asks, " What is become of the Dane ? " Jacques

st. ///. PRINCE OF TYRE. 157

Boult. Well, if we had of every nation a tra-
veller, we should lodge them with this sign 9.

Bawd. Pray you, come hither awhile. You have
fortunes coming upon you. Mark me ; you must
seem to do that fearfully, which you commit will-
ingly ; to despise profit, where you have most gain.
To weep that you live as you do, makes pity in
your lovers : Seldom, but that pity begets you a
good opinion, and that opinion a mere profit .

Mar. I understand you not.

Boult. O, take her home, mistress, take her
home : these blushes of her's must be quenched
with some present practice.

Bawd. Thou say'st true, i' faith, so they must :
for your bride goes to that with shame, which is
her way to go with warrant 2.

replies, " What ! goldy-locks ! he lies at the sign of the sun to be
new-breeched." M. Mason.

Mr. M. Mason's note is too ingenious to be omitted ; and yet,
where humour is forced, (as in the present instance,) it is fre-
quently obscure, and especially when vitiated by the slightest
typographical error or omission. All we can with certainty infer
from the passage before us is, that an opposition between sun and
shadow was designed. Steevens.

9 — we should lodge them with this sign.] If a traveller from
every part of the globe were to assemble in Mitylene, they would
all resort to this house, while we had such a sign to it as this vir-
gin. This, I think, is the meaning. A similar eulogy is pro-
nounced on Imogen in Cymbeline : " She's a good sign, but I
have seen small reflection of her wit." Malone.

1 — a mere profit.] i. e. an absolute, a certain profit. So, in
Hamlet :

" things rank and gross in nature

" Possess it merely."
Again, in The Merchant of Venice :

" Engag'd my frien:1- Lo his mere enemy." Malone.

2 — for your bride goes to that with shame, which is her way to
go with warrant] You say true ; for even a bride, who has the
sanction of the law to warrant her proceeding, will not surrender
her person without some constraint. " Which is her way to go
with warrant," means only — ' to which she is entitled to go.'

Malone.

158 PERICLES, act if.

Boult. 'Faith some do, and some do not. But,
mistress, if I have bargained for the joint, •

Bawd. Thou may'st cut a morsel off the spit.

Boult. I may so.

Bawd. Who should deny it ? Come young one,
I like the manner of your garments well.

Boult. Ay, by my faith, they shall not be

changed yet. #

Bawd. Boult, spend thou that in the town : re-
port what a sojourner we have ; you'll lose nothing
by custom. When nature framed this piece, she
meant thee a good turn 3 ; therefore say what a
paragon she is, and thou hast the harvest out of
thine own report4. ,

Boult. I warrant you, mistress, thunder shall
not so awake the beds of eels 5, as my giving out
her beauty stir up the lewdly-inclined. 1 11 bring
home some to-night.

Bawd. Come your ways; follow me.

Mar. If fires be hot, knives sharp, or waters
deep 6,

s When nature framed this piece, she meant thee a good turn ;]
A similar sentiment occurs in King Lear :

" That eyeless head of thine was first fram d nesn,
" To raise my fortunes." Steevens. .

4 — and thou hast the harvest out of thine own report.] fco, in
Much Ado About Nothing :

" Frame the season for your own harvest. bTEEVENs.
s — thunder shall not so awake the beds of eels,] Thunder is
not supposed to have an effect on fish in general, but on eels only,
which are roused by it from the mud, and are therefore more easily
taken. So, in Marston's Satires:

•« They are nought but eeles, that never will appeare,
" Till that tempestuous winds, or thunder, teare
« Their slimy beds." L. ii. Sat. vii. v 204- Wh alley.
6 If fires be hot, knives sharp, or waters deep,] bo, in Antony

and Cleopatra :

« . if knife, drugs, serpents, have

" Edge, sting, or operation, I am safe." Steevens.
Again, more' appositely, in Othello :

sc. ir. PRINCE OF TYRE. 159

Untied I still my virgin knot will keep 7.
Diana, aid my purpose !

Bawd. What have we to do with Diana? Pray
you, will you go with us ? [Exeunt.

SCENE IV.
Tharsus. A Room in Cleon's House.

Enter Cleon and Dionyza.

Dion. Why, are you foolish ? Can it be undone 8 ?

Cle. O Dionyza, such a piece of slaughter
The sun and moon ne'er look'd upon !

Dion. I think

You'll turn a child again.

Cle. Were I chief lord of all the spacious world,
I'd give it to undo the deed 9. O lady,
Much less in blood than virtue, yet a princess
To equal any single crown o' the earth,
F the justice of compare ! O villain Leonine,
Whom thou hast poison'd too !
If thou hadst drunk to him, it had been a kindness

" If there be cords, ox knives,

" Poison, ox fire, or suffocating streams,
" I'll not endure it." Malone.
1 Untied I still my virgin knot will keep.] We have the
same classical allusion in The Tempest:

" If thou dost break her virgin-knot,"1 &c. Malone.
8 — Can it be undone ?] Thus, Lady Macbeth :

" what's done, is done." Steevens.

0 — to undo the deed.] So, in Macbeth :
" Wake Duncan with this knocking : — Ay, would thou
could' st ! "
In Pericles, as in Macbeth, the wife is more criminal than the
husband, whose repentance follows immediately on the murder.

Thus also, in Twine's translation : " But Strangulio himself
consented not to this treason, but so soon as he heard of the foul
mischaunce, being as it were all amort, and amazed with heavi-
ness, &c. — and therewithal he looked towardes his wife, saying,
Thou wicked woman," &c. Steevens.

160 PERICLES, act iv.

Becoming well thy feat ! : what can'st thou say,
When noble Pericles shall demand his child 2 ?

Dion. That she is dead. Nurses are not the fates,
To foster it, nor ever to preserve3.
She died at night 4; I'll say so. Who can cross it ?

i If thou hadst drunk to him, it had been a kindness
Becoming well thy feat:] Old copy-face : which, if this
reading be genuine, must mean-' hadst thou poisoned thyself by
nledeing him, it would have been an action well becoming thee
For the ^ke of a more obvious meaning, however, I read, with
Mr. M. Mason, feat instead oiface. Steevens. _

Feat, i. e. of a piece with the rest of thy exploit. So, m The
Two Nobie Kinsmen, Palamon says :

" Cozener Arcite, give me language such
" As thou hast shewed me feat." M. Mason.
So, in Holinshed, p. 756 : " — aiders and partakers of hisfeat
and e'nterprize." Steevens.

^ — what canst thou say, • .

When noble Pericles shall demand his child ?] So, in the
ancient romance already quoted : « - tell me now what reken-
vntre we shall gyve hym of his doughter, &c.
y A lain in Twine's translation : "Thou reportedst that Prince
Appdlonius was dead; and loe now where he is come to require
his daughter. What shall we now doe or say to him f

uTEEVENSt

So also in the Gesta Romanorum : " Quern [Apollonium]
cum vidiss'et Strangulio, perrexit rabido cursu, dixitque uxori sue
Dvonisidi-Dixisti Apollonium naufragum esse mortuum. Ecce,
venit ad repetendam filiam. Ecce, quid dictun »»™y£«»?

3 — Nurses are not the fates, '« -,. T u

To foster it, nor ever to preserve.] So King John, on
receiving the account of Arthur's death :

'« We cannot hold mortality's strong hand :—

" Why do vou bend such solemn brows on me ?

" Think yo'u I bear the shears of destiny ?

" Have 1 commandment on the pulse of life ? ' Malone.

4 She died by night;] Old copy-a* night I ™PP°^
Dionvza means to say that she died by night ; was found dead in
the morning. The words are from Gower :

" She saith, that Thaisa sodeynly
" By night is dead." Steevens.
What is the difference between— at night and by night?

Tr BOSWELL.

5 __ I'll say so. Who can cross it ?] So, in Macbeth :

sc. /r. PRINCE OF TYRE. 161

Unless you play the impious innocent a,
And for an honest attribute, cry out,
She died by foul play.

Cle. O, go to. Well, well,

Of all the faults beneath the heavens, the gods
Do like this worst.

Dion. Be one of those, that think

The petty wrens of Tharsus will fly hence 7,
And open this to Pericles. I do shame
To think of what a noble strain you are,
And of how coward a spirit 8.

" Macb. — Will it not be receiv'd,
" When we have mark'd with blood those sleepy two
" Of his own chamber, and us'd their very daggers,
" That they have done't?

" Lady M. Who dares receive it other,
" As we shall make our grief and clamour roar
" Upon his death ? " Malone.
6 Unless you play the impious innocent,] The folios and the
modern editions have omitted the word impious, which is neces-
sary to the metre, and is found in the first quarto. — She calls him
an impious simpleton, because such a discovery would touch the
life of one of his own family, his wife.

An innocent was formerly a common appellation for an ideot.
See Mr. Whalley"s note in vol. x. p. 4+6, n. 6. Malonf.

Notwithstanding Malone's ingenious explanation, I should
wish to read — the pious innocent, instead of impious.

M. Mason.
f The petty wrens of Tharsus will fly hence,] Thus the
quarto 1609 ; that of 1619 reads — pretty. Steevens.
8 — I do shame
To think of what a noble strain you are,
And of how coward a spirit.] Lady Macbeth urges the same
argument to persuade her husband to commit the murder of Dun-
can, that Dionyza here uses to induce Cleon to conceal that of
Marina :

" art thou afraid

" To be the same in thine own act and valour,
" As thou art in desire ? Would'st thou have that
" Which thou esteem'st the ornament of life,
" And live a coward in thine own esteem ?
" Letting / dare not wait upon / would,
" Like the poor cat i' the adage ? "
VOL. XXI. M

16-2 PERICLES, act iv.

. QLEt To such proceeding

Who ever but his approbation added,
Though not his pre-consent 9, he did not flow
From honourable courses.

Djon. Be it so then :

Yet none does know, but you, how she came dead,
Nor none can know, Leonine being gone.
She did disdain my child1, and stood between
Her and her fortunes : None would look on her,
But cast their gazes on Marina's face ;
Whilst ours was blurted at 2, and held a malkin,

Again, after the murder, she exclaims :

" Mv hands are of your colour, but I shame
" To wear a heart so white." Malone.

I read (for the sake of metre) — " of how cow'd a spirit." So,

in Macbeth : . _

" For it hath cow'd my better part of man. bxEEVENS.
9 Though not his PRE-consent,] The first quarto reads-
prince consent. The second quarto, which has been followed by
the modern editions, has— whole consent. In the second edition,
the editor or printer seems to have corrected what was apparently
erroneous in the first, by substituting something that would attord
sense, without paying anv regard to the corrupted reading, which
often leads to the discovery of the true. For the emendation in-
serted in the text the reader is indebted to Mr. Steevens. A pas-
sage in King Johnbears no very distant resemblance to the present :

<« If thou didst but consent

" To this most cruel act, do but despair,
" And, if thou want'st a cord, the smallest thread
" That ever spider twisted from her womb
" Will serve to strangle thee." Malone.
« She did disdain my child,] Thus the old copy, but I think
erroneously. Marina was not of a disdainful temper. Her ex-
cellence indeed disgraced the meaner qualities of her companion,
i e. in the language of Shakspeare, distained them. Ihus,
Adriana, in The Comedy of Errors, says—" I live distained;
and, in Tarquin and Lucrece, we meet with the same verb again :
" Were Tarquin night (as he is but night's child)
" The silver-shining queen he would distain — ."
The verb— to stain is frequently used by our author in the sense
of— to disgrace. See vol.xii.p.287, n. 8.. Steevens. •

J Whilst ours was blurted at,] Thus the quarto 1609. All
the subsequent copies have — blurred at.

aain PRINCE OF TYRE. 163

Not worth the time of day 3. It pierc'd me thorough ;
And though you call my course unnatural 4,
You not your child well loving, yet I find,
It greets me, as an enterprize of kindness,
Performed to your sole daughter5.

Cle. Heavens forgive it !

This contemptuous expression frequently occurs in our ancient
dramas. So, in King Edward III. 1596 :

" This day hath set derision on the French,
" And ail the world will blurt and scorn at us." Malone.
" She did disdain my child, and stood between
" Her and her fortunes : None would look on her,
" But cast their gazes on Marina's face ;
" Whilst ours was blurted at." The usurping Duke, in As
You Like It, gives the same reasons for his cruelty to Rosalind :

" she robs thee of thy name ;

" And thou wilt show more bright, and seem more virtuous,
'* When she is gone."
The same cause for Dionyza's hatred to Marina, is also al-
ledged in Twine's translation : "The people beholding thebeautie
and comlinesse of Tharsia said : Happy is the father that hath
Tharsia to his daughter ; but her companion that goeth with her
is foule and evil favoured. When Dionisiades heard Tharsia com-
mended, and her owne daughter Philomaciaso dispraised, she re-
turned home wonderful wrath," &c. Steevens.

3 — a MALKIN,

Not worth the time of day.] A mnlkin is a coarse wench .
A k\tcher\-7)ialkin is mentioned in Coriolanus. Not worth the
time of day, is, not worth a good day, or good morrow ; un-
deserving the most common and usual salutation. Steevens.

4 And though you call my course unnatural,] So, in Julius
Caesar :

" Our course will seem too bloody, Caius Cassius,
" To cut the head off, and then hack the limbs."

Malone.

5 It greets me, as an enterprize of kindness,

Perform'd to your sole daughter.] Perhaps it greets me,
may mean, it pleases me ; c'est a mon gre. If greet be used in its
ordinary sense of saluting or meeting with congratulation, it is
surely a very harsh phrase. There is, however, a passage in King
Henry VIII. which seems to support the reading of the text in its
ordinary signification :

" Would I had no being,

" If this salute my blood a jot." Malonf..

M 2

164 PERICLES, act ir.

Dion. And as for Pericles,
What should he say ? We wept after her hearse,
And even yet we mourn : her monument
Is almost finish'd, and her epitaphs v
In glittering golden characters express
A general praise to her, and care in us
At whose expence 'tis done.

Cle. Thou art like the harpy,

Which, to betray, doth with thine angel's face,
Seize with thine eagle's talons6.

Dion. You are like one, that superstitiously
Doth swear to the gods, that winter kills the flies 7 ;
But yet I know you'll do as I advise. [Exeunt.

6 Thou art, &c] There is an aukwardness of construction in
this passage, that leads me to think it corrupt. The sense de-
signed seems to have been — 'Thou resemblest in thy conduct the
harpy, which allures with the face of an angel, that it may seize
with the talons of an eagle.' — Might we read :
" Thou art like the harpy,

" Which, to betray, dost ivear thine angel's face ;
" Seize with thine eagle's talons."
Which \a here, as in many other places, for who.
In King Henry VIII. we meet with a similar allusion :

** Ye have angels' faces, but Heaven knows your hearts."
Again, in Romeo and Juliet :

*' O serpent heart, hid with a flow'ring face ! "
Again, in King John :

" Rash, inconsiderate, firy voluntaries,

" With ladies' faces, and fierce dragons' spleens."

Malone.

I have adopted part of Mr. Malone's emendation, changing
only a syllable or two, that the passage might at least present
some meaning to the reader. Steevens.

Mr. Steevens reads :

*« ■ doth xvear an angel's face,

" Seize with an eagle's talons."

I see no difficulty in the old copy. " with thine angel's

face," &c. means, * you having an angels face, a look of inno-
cence, have at the same time an eagle's talons.' Boswell.

7 Doth swear to the gods, that winter kills the flies :] You re-
semble him who is angry with heaven, because it does not control
the common course of nature. Marina, like the flies in winter,

sc. tr. PRINCE OF TYRE. 165

Enter Gower, before the Monument of Marina

at Tharsus.

Gow. Thus time we waste, and longest
leagues make short ;
Sail seas in cockles 8, have, and wish but for't ;
Making, (to take your imagination,)
From bourn to bourn9, region to region.

was fated to perish : yet you lament and wonder at her death, as
an extraordinary occurrence. Malone.

I doubt whether Malone's explanation be right ; the words,
swear to the gods, can hardly imply, to be angry ■with heaven,
though to swear at the gods might : But if this conjecture be
right, we must read superciliously, instead of superstitiously ; for
to arraign the conduct of heaven is the very reverse of superstition.
Perhaps the meaning may be — " You are one of those who super-
stitiously appeal to the gods on every trifling and natural event."
But whatever may be the meaning, swear to the gods, is a very
auk ward expression.

A passage somewhat similar occurs in The Fair Maid of the
Inn, where Alberto says :
" Here we study

" The kitchen arts, to sharpen appetite,
" Dull'd with abundance ; and dispute with heaven,
" If that the least puff' of the rough north wind
" Blast our vine's burdens." M. Mason.
It means, I think, ' you are so affectedly humane, that you
would appeal to heaven against the cruelty of winter, in killing
the flies." Superstitious is explained by Johnson — scrupulous be-
yond need. Boswell.

8 Sail seas in cockles,] We are told by Reginald Scott, in
his Discovery of Witchcraft, 1581, that " it was believed that
witches could sail in an egg shell, a cockle, or muscle shell,
through and under tempestuous seas." — This popular idea was
probably in our author's thoughts. Malone.

See vol.xi. p. 81, n. 4>. Steevens.

9 Making, (to take your imagination,)

From bourn to bourn,] Making, if that be the true reading,
must be understood to mean — proceeding in our course, from
bourn to bourn, &c — It is still said at sea — the ship makes much
way. I suspect, however, that the passage is corrupt. All the
copies have — our imagination, which is clearly wrong. Perhaps
the author wrote — to task your imagination. Malone.

" Making (to take your imagination,)

" From bourn to bourn," &c. Making is most certainly the
true reading. So, in p. 112 :

, 3

9

166 PERICLES, act iv.

By you being pardon'd, we commit no crime
To use one language, in each several clime,
Where our scenes seem to live. I do beseech

you,
To learn of me, who stand i' the gaps to teach

you
The stages of our story \ Pericles
Is now again thwarting the wayward seas

« O make forTharsus."
Making, &c. is travelling (with the hope of engaging your at-
tention) from one division or boundary of the world to another ;
i. e. we hope to interest you by the variety of our scene, and the
different countries through which we pursue our story.— We still
use a phrase exactly corresponding with— take your imagination ;
i. e. " To take one's fancy." Steevens.
i — who stand i' the gaps to teach you
The stages of our story, &c] So, in the Chorus to The

Winter's Tale :

« _ . I slide

(i O'er sixteen years, and leave the growth untry'd
" Of that wide gap"
The earliest quarto reads— with gaps ; that in 1619— in gaps.
The reading that I have substituted, is nearer that of the old copy.

Malone.

« To learn of me who stand with gaps—" I should rather read

j' the gaps. So, in Antony and Cleopatra :

" That I may sleep out this great gap of time
" My Antony's away."

I would likewise transpose and correct the following lines thus :

" - — I do beseech ye

** To learn of me, who stand i' the gaps to teach you
" The stages of our story. Pericles
" Is now again thwarting the wayward seas,
" Attended on by many a lord and knight,
" To see his daughter, all hislife's delight,
" Old Escanes, whom Helicanus late
" Advanc'd in time to great and high estate,
" Is left to govern. Bear it in your mind,
" Old Helicanus goes along behind.
" Well-sailing ships and bounteous winds have brought
" This king to Tharsus : think his pilot thought ?
" So, with his steerage, shall your thoughts go on,
" To fetch," &c. Steevens.
» — thwarting the wayward seas,] So in King Henry V :

" . and there being seen,

• " Heave him away upon your winged thoughts,
" Athwart the seas."

sc. iv. PRINCE OF TYRE. 167

(Attended on by many a lord and knight,)
To see his daughter, all his life's delight.
Old Escanes, whom Helicanus late3
Advanc'd in time to great and high estate,
Is left to govern. Bear you it in mind,
Old Helicanus goes along behind.
Well-sailing ships, and bounteous winds, have

brought
This king to Tharsus, (think his pilot thought ;
So with his steerage shall your thoughts grow

on,)
To fetch his daughter home, who first is gone *.

The wayward, &c. is the reading of the second quarto. The
first has — thy. In the next line but one, the old copies read —
all his lives delight. Malone.

3 Old Escanes, whom Helicanus late, &c] In the old copies
these lines are strangely misplaced :

" Old Helicanus goes along behind
" Is left to governe it, you beare in mind.
" Old Escanes whom Helicanus late
" Advancde in time to great and hie estate.
" Well sailing ships and bounteous winds have broght
** This king to Tharsus," &c.
The transposition suggested by Mr. Steevens, renders the whole
passage perfectly clear. Malone.

4 — (think his pilot thought;

So with his steerage shall your thoughts grow on,)
To fetch his daughter home, who first is gone.] The old
copies read :

" think this pilot thought,

" So with his steerage shall your thoughts groan, &c.
but they are surely corrupt. I read — think his pilot thought ;
suppose that your imagination is his pilot. So, in King Henry V:

•* Tis your thoughts, that now must deck our kings,

" Carry them here and there ; jumping o'er times."
Again, ibidem :

" Heave him away upon your tvinged thoughts

" Athwart the seas."

In the next line the versification is defective by one word being

printed instead of two. By reading groiv on instead of groan, the

sense and metre are both restored. So, in A Midsummer-Night's

Dream (fol. 1623 :) " — and so grow on to a point." See vol. v.

/

168 PERICLES, act iv.

Like motes and shadows see them move

awhile b ;
Your ears unto your eyes I'll reconcile.

Dumb show.

Enter at one door, Pericles with his Train; Cleon
and Dionyza at the other. Cleon shows Pe-
ricles the Tomb of Marina ; whereat Pericles
makes lamentation, puts on Sackcloth, and in a
mighty passion departs. Then Cleon and Dio-
nyza retire.

Gow. See how belief may suffer by foul show !
This borrow'd passion stands for true old woe 6 ;

p. 192. We might read— go on; but the other appears to
be more likely to have been the author's word. Mai.one.

I cannot approve of Malone's amendment, but adhere to the old
copies, with this difference only, that I join the words thought
and pilot with a hyphen, and read :

" . think this pilot-thought ; ."

That is, " Keep this leading circumstance in your mind, which
will serve as a pilot to you, and guide you through the rest of the
story, in such a manner, that your imagination will keep pace with
the "king's progress." M. Mason.

The plainer meaning seems to be—" Think that his pilot had
the celerity of thought, so shall your thought keep pace with his
operations. Steevens.

" who first is gone." Who has left Tharsus before her fa-
ther's arrival there. Malone.

s Like motes and shadows see them move awhile ;] So, in

Macbeth :

•* Come like shadows, so depart." Steevens.
« — for true old woe ;] So, in King Henry V. :

" Sit and see,

" Minding true things by what their mockeries be."

Malone.

«« for true old woe;" i. e. for such tears as were shed when,

the world being in its infancy, dissimulation was unknown. All
poetical writers are willing to persuade themselves that sincerity
expired with the first ages. Perhaps, however, we ought to read-
true told woe. Steevens.

sc. ir. PRINCE OF TYRE. 169

And Pericles, in sorrow all devour'd,

With sighs shot through, and biggest tears

o'ershow'r'd,
Leaves Tharsus, and again embarks. He swears
Never to wash his face, nor cut his hairs ;
He puts on sackcloth, and to sea. He bears
A tempest, which his mortal vessel tears 7,
And yet he rides it out. Now please you wit8
The epitaph is for Marina writ
By wicked Dionyza.

[Reads the inscription on Marinas Mo-
nument.

The fairest, sweefst, and best9, lies here.

Who wither d in her spring of year.

She zvas ofTyrus, the king's daughter,

On whom foul death hath made this slaughter ;

Marina was she call'd1 ; and at her birth,

7 A tempest, which his mortal vessel tears,] So, in King
Richard III.:

" O, then began the tempest to my soul !"
What is here called his mortal vessel, (i. e. his body,) is styled
by Cleopatra her mortal house. Steevens.

8 — Now please you wit — ] Now, be pleased to know. So,
in Gower :

" In which the lorde hath to him writte
" That he would understonde and witte — ."
The editor of the second quarto (which has been copied by all
the other editions) probably not understanding the passage, al-
tered it thus :

" Now tale we our tvay

" To the epitaph for Marina writ by Dionysia."

Malone.

9 — sweet' st, and best,"] Sweetest is here used as a mono-
syllable. So highest in The Tempest : " Highest queen of state."
&c. Malone.

We might more elegantly read, omitting the conjunction —
and, —

" The fairest, sweetest, best, lies here — ." Steevens.

1 Marina was she call'd ; &c] It might have been expected
that this epitaph, which sets out in four-foot verse, would have
confined itself to that measure ; but instead of preserving such

170 PERICLES, act iv.

Thetis, being proud, swallow 'd some part othe

earth 2 :
Therefore the earth, fearing to be o'erflow'd,
Hath Thetis' birth-child on the heavens be-

stoxvd :

uniformity, throughout the last six lines it deviates into heroicks,
which, perhaps, were never meant by its author. Let us remove
a few' syllables, and try whether any thing is lost by their

omission : '

" Marina call'd ; and at her birth
" Proud Thetis swallow'd part o' the earth :
" The earth, fearing to be o'erflow'd,
" Hath Thetis' birth on heaven bestow'd :
" Wherefore she swears she'll never stint
" Make battery upon shores of flint."
The image suggested by—" Thetis swalloived " &c. reminds us of
Brabantio's speech to the senate, in the first Act of Othello :

«« . my particular grief

" Is of so floodgate and o'erbearing nature,
" That it engluts and sivallom other sorrows." Steevens,
* Thetis, being proud, swalloto'd some part o' the earth :]
The modern editions, by a strange blunder, read— That is, being

^Tformerly thought that by the words—" some part of the earth "
was meant Thaisa, the mother of Marina. So Romeo calls his
beloved Juliet, when he supposes her dead, " the dearest morsel
of the earth." But 1 am now convinced that I was mistaken.

Our poet has many allusions in his works to the depredations
made by the sea on the land. So, in his 64th Sonnet :
" When I have seen the hungry ocean gain
" Advantage on the kingdom of the shore,
" And the firm soil win of the watry main,
" Increasing store with loss, and loss with store—." &c.
We have, I think, a similar description in King Lear and King
Henry IV. Part II. Malone.

The inscription alludes to the violent storm which accompanied
the birth of Marina, at which time the sea, proudly o'erswelling
its bounds, swallowed, as is usual in such hurricanes, some part
of the earth. The poet ascribes the swelling of the sea to the
pride which Thetis felt at the birth of Marina in her element ;
and supposes that the earth, being afraid to be overflowed, be-
stowed this birth-child of Thetis on the heavens ; and that The-
tis, in revenge, makes raging battery against the shores. Ihe
line, " Therefore the earth fearing to be o'erflow'd," proves
beyond doubt that the words " some part of the earth," in the
5

sc. v. PRINCE OF TYRE. 171

Wherefore she does, {and swears she'll never

stint 3,)
Make raging battery upon shores of flint.

No visor does become black villainy,

So well as soft and tender flattery.

Let Pericles believe his daughter's dead,

And bear his courses to be ordered

By lady fortune ; while our scene must play 4

His daughter's woe and heavy well-a-day,

In her unholy service. Patience then,

And think you now are all in Mitylen. [Exit.

SCENE V.

Mitylene. A Street before the Brothel.

Enter, from the Brothel, Two Gentlemen.
1 Gent. Did you ever hear the like ?

line preceding, cannot mean the body of Thaisa, but a portion of
the continent." M. Mason.

3 — {and swears she'll never stint,)] She'll never cease. So,
in Romeo and Juliet :

" It stinted, and said, ay." Malone.
^ — while our scene must play — ] The old copies have —

" while our steare must play."

For the emendation I am responsible. So, in As You Like It :
" This wide and universal theatre,
" Presents more woful pageants than the scene
11 Wherein we play in."
Again, in The Winter's Tale :

" as if

" The scene you play, were mine."
It should be remembered, that scene was formerly spelt sceane ;
so there is only a change of two letters, which in the writing of
the early part of the last century were easily confounded.

Malone.
I read — scenes display. So, in King Henry VIII. :

" and display'd the effects

" Of disposition gentle." Steevens.

172 PERICLES, act if.

2 Gent. No, nor never shall do in such a place
as this, she being once gone.

1 Gent. But to have divinity preached there!
did you ever dream of such a thing ?

2 Gent. No, no. Come, I am for no more
bawdy-houses : Shall we go hear the vestals sing ?

1 Gent. I'll do any thing now that is virtuous;
but I am out of the road of rutting, for ever.

[Exeunt.

SCENE VI.

The Same. A Room in the Brothel.

Enter Pander, Bawd, and Boult.

Band. Well, I had rather than twice the worth
of her, she had ne'er come here.

Bawd. Fye, fye upon her; she is able to freeze
the god Priapus5, and undo a whole generation.
We must either get her ravished, or be rid of her.
When she should do for clients her fitment, and do
me the kindness of our profession, she has me her
quirks, her reasons, her master reasons, her prayers,
her knees ; that she would make a puritan of the
devil, if he should cheapen a kiss of her.

Boult. 'Faith, I must ravish her, or she'll dis-
furnish us of all our cavaliers, and make all our
swearers priests.

Band. Now, the pox upon her green-sickness

for me !

Bawd. 'Faith, there's no way to be rid on't, but

5 Priapus,] The present mention of this deity was per-
haps suggested by the following passage in Twine's translation :
" Then the bawde brought her into a certaine chappell where
stoode the idoll of Priapus made of gold," &c. Steevens.

6

sc. vi. PRINCE OF TYRE. 173

by the way to the pox. Here comes the lord Ly-
simachus, disguised 6.

Boult. We should have both lord and lown, if
the peevish baggage would but give way to cus-
tomers.

Enter Lysimachus.

Lys. How now? How a dozen of virginities 7 ?

Battd. Now, the gods to-bless your honour 8 !

Boult. I am glad to see your honour in good
health.

Lys. You may so ; 'tis the better for you that
your resorters stand upon sound legs. How now,
wholesome iniquity9. Have you that a man may
deal withal, and defy the surgeon ?

6 — Here comes the lord Lysimachus, disguised.] So, in
the ancient prose romance already quoted : " — Than anone as
Anthygoras prynce of the cyte it wyste, went and he disguysed
himselfe, and went to the bordell whereas Tarcye was," &c.

Steevens.

So also, in the Gesta Romanorum : " Cum lenone antecedente
et tuba, tertia die cum symphonia ducitur [Tharsia] ad lupanar.
Sed Athenagoras princeps primus ingreditur veloto c>rpore.
Tharsia autem videns eum projecit se ad pedes ejus, et ait,'' &c.
No mention is made in the Confessio Amantis of this interview
between Athenagoras (the Lysimachus of our play) and the
daughter of Appollinus. So that Shakspcare must have taken
this circumstance either fiom King Appolyn of Thyre, or some
other translation of the Gesta Romanorum. Malone.

The same circumstances are also found in Twine's translation.

Steevens.

f How now? How a dozen of virginities?] For what price
may a dozen of virginities be had ? So, in King Henry IV.
Part II. :

" Hoik a score of ewes now? " M A LONE.

8 Now, the gods to-bless your honour!] This use of to in
composition with verbs (as Mr. Tyrwhitt remarks) is very common
in Gower and Chaucer. See vol. viii. p. 164-, n. 9. Steevens.

9 — wholesome inisuity?] Thus ti.e quarto 1609. The
second quarto, and the modern editions, rend.— impunity.

Malone.

174 PERICLES, ACtiM

Bawd. We have here one, sir, if she would

but there never came her like in Mitylene.

Lys. If she'd do the deeds of darkness, thou
wouldst say.

Bawd. Your honour knows what 'tis to say, well
enough.

Lys. Well ; call forth, call forth.

Boult. For flesh and blood, sir, white and red,
you shall see a rose ; and she were a rose indeed, if
she had but

Lys. What, pr'ythee ?

Boult. O, sir, I can be modest.

Lys. That dignifies the renown of a bawd, no
less than it gives a good report to a number to be
chaste ] .

Enter Marina.

Bawd. Here comes that which grows to the
stalk; — never plucked yet, I can assure you. Is she
not a fair creature ?

Lys. 'Faith, she would serve after a long voyage
at sea. Well, there's for you ; — leave us.

Bawd. I beseech your honour, give me leave : a
word, and I'll have done presently.

1 That dignifies the renown of a bawd, no less than it gives
a good report to a number to be chaste.] This is the reading ot
the quarto 1619. The first quarto has— That dignities, &c. Per-
haps the poet wrote — That dignity is the renown, &c. The word
number is, I believe, a misprint ; but I know not how to rectify
it. Malone.

The intended meaning of the passage should seem to be this :
" The mask of modesty is no less successfully worn by procuresses
than by wantons. It palliates grossness of profession in the for-
mer, while it exempts a multitude of the latter from suspicion of
being what they are. 'Tis politick for each to assume the appear-
ance of this quality, though neither of them in reality possess it."
— I join with Mr. Malone, however, in supposing this sentence
to be corrupt. Steevens.

sc. vi. PRINCE OF TYRE. 175

Lys. I beseech you, do.

Bawd. First, I would have you note, this is an
honourable man.

[To Marina, whom she takes aside.

Map. I desire to find him so, that I may worthily
note him.

Batvd. Next, he's the governor of this country,
and a man whom I am bound to.

Mar. If he govern the country, you are bound
to him indeed ; but how honourable he is in that,
I know not.

Batfd. Pray you, without any more virginal
fencing \ will you use him kindly ? He will line
your apron with gold.

Mar. What he will do graciously, I will thank-
fully receive.

Lys. Have you done ?

Bajfd. My lord, she's not paced yet 3 ; you must
take some pains to work her to your manage. Come,
we will leave his honour and her together4.

[Exeunt Bawd, Paxber, and Boult.

Lys. Go thy ways. — Now, pretty one, how long
have you been at this trade ?

Mar. What trade, sir ?

2 —without any more virginal fencing,] This uncommon
adjective occurs again in Coriolanus :

** the virginal palms of your daughters — ."

Malone.

3 My lord, she's not paced yet ;] She has not yet learned her
paces. Malone.

4 Come, we will leave his honour and her together.] The
first quarto adds — " Go thy ways." These words, which denote
both authority and impatience, I think, belong to Lysimachus.
He had before expressed his desire to be left alone with Marina :
" — Well, there's for you ; — leave us." Malone.

These words may signify only — " Go back again ; " and might
have been addressed by the Bawd to Marina, who had offered to
quit the room with her. Steevens.

176 PERICLES, act iv.

Lys. What I cannot name but I shall offend 5 .

Mar. I cannot be offended with my trade.
Please you to name it.

Lys. How long have you been of this profession ?

Mar. Ever since I can remember.

Lys. Did you go to it so young ? Were you a
gamester at five, or at seven 6 ?
1 Mar. Earlier too, sir, if now I be one.

Lys. Why, the house you dwell in, proclaims
you to be a creature of sale.

Mar. Do you know this house to be a place of
such resort, and will come into it? I hear say, you
are of honourable parts, and are the governor of

this place.

Lys. Why, hath your principal made known unto

you who I am ?

Mar. Who is my principal ?

Lys. Why, your herb-woman; she that sets seed
and roots of shame and iniquity. O, you have
heard something of my power, and so stand aloof 7
for more serious wooing. But I protest to thee,
pretty one, my authority shall not see thee, or else,
look friendly upon thee. Come, bring me to some
private place. Come, come.

5 What I cannot name but I shall offend.] The old copies

" Why I cannot name," &c Malone.
I read— What I cannot, &c. So, in Measure for Measure :
" What but to speak of would offend again." Steevens.

6 Were you a gamester at five, or at seven?] A gamester
was formerly used to signify a wanton. So, in All's Well That

Ends Well :

" She's impudent, my lord,

" And was a common gamester to the camp." Malone.
Again, in Troilus and Cressida :

" sluttish spoils of opportunity

" And (laughters of the game." Steevens.

7 —and so stand aloof—] Old copies— aloft. Corrected
by Mr. Rowe. Malone.

sc. vi. PRINCE OF TYRE. 177

Mar. If you were born to honour, show it now 8 ;
If put upon you, make the judgment good
That thought you worthy of it.

Lys. How's this ? how's this ? — Some more ; —
be sage 9.

Mar. For me,
That am a maid, though most ungentle fortune
Hath plac'd me here within this loathsome stie,
Where, since I came, diseases have been sold
Dearer than physick, — O that the good gods
Would set me free from this unhallow'd place,
Though they did change me to the meanest bird
That flies i' the purer air !

Lys. I did not think

Thou could'st have spoke so well ; ne'er dream'd

thou could'st.
Had I brought hither a corrupted mind,
Thy speech had alter'd it. Hold, here's gold for
thee:

8 If you were born to honour, show it now ;] In the' Gesta
Romanorum, Tharsia (the Marina of the present play) preserves
her chastity by the recital of her story : " Miserere me propter
Deum et per Deum te adjuro, ne me violes. Resiste libidini
tuae, et audi casus infelicitatis meae, et unde sim diligenter con-
sidera. Cui cum universos casus suos exposuisset, princeps con-
fusus et pietate plenus, ait ei, — ' Habeo et ego filiam tibi simi-
lem, de qua similes casus metuo.' Hsec dicens, dedit ei viginti
aureos, dicens, ecce habes amplius pro virginitate quam impositus
est. Die advenientibus sicut mihi dixisti, et liberaberis."

The affecting circumstance which is here said to have struck
the mind of Athenagoras, (the danger to which his own daughter
was liable,) was probably omitted in the translation. It hardly,
otherwise, would have escaped our author. Malone.

It is preserved in Twine's translation, as follows : " Be of good
cheere, Tharsia, for surely I rue thy case ; and I myselfe have
also a daughter at home, to whome I doubt that the like chances
may befall," &c. Steevens.

9 —Some more; — be sage.] Lysimachus says this with a
sneer. — ' Proceed with your tine moral discourse.' Malone.
VOL. XXI. N

m PERICLES, *cTir.

Persever still in that dear way thou goest1,
And the gods strengthen thee !

Mar. the gods preserve you \

Lys For me, be you thoughten

That I came with no ill intent ; for to me

The very doors and windows savour vilely.

Farewell. Thou art a piece of virtue \ and

I doubt not but thy training hath been noble.—

Hold; here's more gold for thee.— -

A curse upon him, die he like a thief

That robs thee of thy goodness! If thou hearst

from me,
It shall be for thy good.

[As Lysimachus is putting up his Furse,
Boult enters.
Bovlt. I beseech your honour, one piece for me.
Lys. Avaunt, thou damned door-keeper ! Your
house,
But for this virgin that doth prop it up,
Would sink, and overwhelm you all. Away!

[Exit Lysimachus.

Boult. How's this? We must take another
course with you. If your peevish chastity, which
is not worth a breakfast in the cheapest country un-

i Persever still in that clear way thou goest,] Continu*} in
your present virtuous disposition. So, in The Two Noble Kms-

wi% Forthesakc

" Of clear virginity, be advocate

" For us and our distresses." Malone.
See vol. xiii. p. 327, n. 2. Steevens. _

* —apiece of virtue,] This expression occurs in The lem-

« . thy mother was

" J piece of virtue — ." Steevens.
Again, in Antony and Cleopatra :

" Let not the piece of virtue, which is set

" Betwixt us — ."
Octavia is the person alluded to. Malqnjc,

sc. vi. PRINCE OF TYRE. \n

der the cope 3, shall undo a whole household, let me
be gelded like a spaniel. Come your ways.

Mar. Whither would you have me ?

Boult. I must have your maidenhead taken off,
or the common hangman shall execute it. Come
your way. We'll have no more gentlemen driven
away. Come your ways, I say.

Re-enter Bawd.

Bawd. How now ! what's the matter ?

Boult. Worse and worse, mistress ; she has here
spoken holy words to the lord Lysimachus.

Bawd. O abominable !

Boult. She makes our profession as it were to
stink afore the face of the gods4.

Bawd. Marry, hang her up for ever !

Boult. The nobleman would have dealt with
her like a nobleman, and she sent him away as cold
as a snowball ; saying his prayers too.

Bawd. Boult, take her away; use her at thy
pleasure : crack the glass of her virginity, and make
the rest malleable 5.

3 — under the cope,] i. e. under the cope or covering of
heaven. The word is thus used in Cymbeline. In Coriolanus
we have " under the canopy ; " with the same meaning.

Steevens.

4 She makes our profession as it were to stink afore the face
of the gods.] So, in Measure for Measure, the Duke says to the
Bawd:

" Canst thou believe thy living is a life,
" So stinkingly depending?

" Cloum. Indeed, it does stink in some sort, sir — ."

Steevens.

5 — crack the glass of her virginity, and make the rest malle-
able.] So, in The Gesta Romanorum : " Altera die, adhuc earn
virginem audiens, iratus [leno] vocans villicum puellarum, dixit,
due earn ad te, etjrange nodum virgiiritalis ejus." Malone.

Here is perhaps some allusion to a fact recorded by Dion Cas-
sius and by Pliny, b. xxxvi. ch. xxvi. but more circumstantially by
Petronius. See his Satyrlcon, Variorum edit. p. 189. A skilful

N 2

!80 PERICLES, act ir.

Bovlt. An if she were a thornier piece of ground
than she is, she shall be ploughed6.

Mar. Hark, hark, you gods!

Bawd. She conjures : away with her. Would
she had never come within my doors ! Marry hang
you ! She's born to undo us. Will you not go the
way of women-kind ? Marry come up, my dish of
chastity with rosemary and bays 7 ! [Exit Bawd.

Bovlt. Come, mistress; come your way with

me.

Mar. Whither would you have me ?

Bovlt. To take from you the jewel you hold so

dear.

Mar. Pr'ythee, tell me one thing first.

Bovlt. Come now, your one thing 8.

Mar. What canst thou wish thine enemy to be ?

Bovlt. Why, I could wish him to be my master,
or rather, my mistress.

Mar. Neither of these are yet so bad as thou art ,

workman who had discovered the art of making glass malleable,
carried a specimen of it to Tiberius, who asked him if he alone
was in possession of the secret. He replied in the affirmative ; on
which the tyrant ordered his head to be struck off immediately,
lest his invention should have proved injurious to the workers in
gold, silver, and other metals. The same story, however, is told
in the Gesta Romanorum, chap. 44. Steevens.

6 — she shall be ploughed.] So, in Antony and Cleopatra .

" She made great Caesar lay his sword to bed,

" He plough'd her, and she cropp'd." Steevens.

7 — my dish of chastitv with rosemary and bays!] An-
ciently many dishes were served up with this garniture, during
the season of Christmas. The Bawd means to call her a piece of
ostentatious virtue. Steevens.

s Mar. Pr'ythee, tell me one thing first.
Boult. Come now, your one thing.] So, in King Henry iv.

Part II '

"P. Hen. Shall I tell thee one thing, Poins? ^

" Poins. Go to, I stand the push of your one thing.

Malone.

9 Neither of these are y et so bad as thou art,] The word yet
was inserted by Mr. Rowe for the sake of the metre. Maloni.

sc. vi. PRINCE OF TYRE. 181

Since they do better thee in their command.
Thou hold'st a place, for which the pained'st fiend
Of hell would not in reputation change :
Thou'rt the damn'd door-keeper to every coystrel
That hither comes enquiring for his tib ' ;
To the cholerick fisting of each rogue thy ear
Is liable ; thy very food is such
As hath been belch'd on by infected lungs2.

Boult. What would you have me ? go to the
wars, would you ? where a man may serve seven
years for the loss of a leg, and have not money
enough in the end to buy him a wooden one ?

Mar. Do any thing but this thou doest. Empty
Old receptacles, or common sewers, of filth ;
Serve by indenture to the common hangman ;
Any of these ways are better yet than this 3 :

1 —— to every coystrel

That hither comes enquiring for his tib ;] To every mean
or drunken fellow that comes to enquire for a girl. Coysterel is
properly a wine-vessel. Tib is, I think, a contraction of Tabitha.
It was formerly a cant name for a strumpet. See vol. x. p. 370,
n. 3. Malone.

Tib was a common nick-name for a wanton. So, in Nosce te,
(Humours) by Richard Turner, 1607 :

" They wondred much at Tom, but at Tib more,
" Faith (quoth the vicker) 'tis an exlent whore."
Again, in Churchyard's Choise:

" Tushe, that's a toye, let Tomkin talke of Tibb."
Coystrel means a paltry fellow. This word seems to be cor-
rupted from kestrel, a bastard kind of lunvk. It occurs in Shak-
speare's Twelfth-Night, vol. xi. p. 350, n. 1. Spenser, Bacon, and
Dryden, also mention the kestrel; and Kastril, Ben Jonson's angry
boy in The Alchemist, is only a variation of the same term. The
word coystrel, in short, was employed to characterise any worthless
or ridiculous being. Steevens.

2 As hath been belch'd on by infected lungs.] Marina
who is designed for a character of juvenile innocence, appears
much too knowing in the impurities of a brothel ; nor are her ex-
pressions more chastised than her ideas. Stebvens.

3 Any of these ways are better ylt than this :] The old co-
pies read :

7

182 PERICLES, act iv.

For that which thou professest, a haboon, could he
speak,

Would own a name too dear t. That the gods

Would safely from this place deliver me !

Here, here is gold for thee.

If that thy master would gain aught by me,

Proclaim that I can sing, weave, sew, and dance,

With other virtues, which I'll keep from boast;

And I will undertake all these to teach.

I doubt not but this populous city will

Yield many scholars5.

Boult. But can you teach all this you speak off
Mar. Prove that I cannot, take me home again,

And prostitute me to the basest groom 6

That doth frequent your house.

" Any of these ways are yet belter than this."
For this slight transposition lam accountable. Malone.
4 For that which thou professest, a baboon,
Could he but speak, would own a name too dear.] That
is a baboon would think his tribe dishonoured by such a pro-
fession. Iago says, " Ere I would drown myself, &c. I would
change my humanity with a baboon:'

Marina's wish for deliverance from her shameful situation, has
been already expressed in almost the same words :

«« O that the good gods

" Would set me free from this unhallow'd place ! "
In this speech I have made some trifling regulations.

Steevens.

Mr. Steevens thus regulates these lines :

" For that which thou professest, a baboon,
" Could he but speak, would own a name too dear.
" O that the gods would safely from this place
" Deliver me'! Here, here is gold for thee." Boswell.
i I doubt not but this populous city will <

Yield many scholars.] The scheme by which Marina effects
her release from the brothel, the poet adopted from the Confessio
Amantis. Malone. _

All this is likewise found in Twine's translation. Sjtbevbns.
6 And prostitute me to the basest groom — ] So, in King

Henry V. : ,

' " Like a base pander, hold the chamber-door,
•« Whilst by a slave, no gentler than my dog,
" His fairest daughter is contaminate." Stebvbns.

act v. PRINCE OF TYRE. 183

Boult. Well, I will see what I can do for thee :
if I can place thee, I will.

Mar. But, amongst honest women ?

Boult. 'Faith, my acquaintance lies little amongst
them. But since my master and mistress have
bought you, there's no going but by their consent ;
therefore I will make them acquainted with your
purpose, and I doubt not but I shall find them
tractable enough 7. Come, I'll do for thee what I
can ; come your ways. [Exeunt.

ACT V.

Enter Gojtbh.

Gojv. Marina thus the brothel scapes, and

chances
Into an honest house, our story says.
She sings like one immortal, and she dances
As goddess-like to her admired lays 8 :
Deep clerks she dumbs 9 , and with her neeld

composes l

t — but I shall find them tractable enough.] So, in Twine's
translation : " — he brake with the bawd his master touching that
matter, who, hearing of her skill, and hoping for the gaine, was
easily persuaded." Steevens.

8 ■ and she dances

As goddess-like to her admired lays:] This compound
epithet (which is not common) is again used by our author in
Cymbeline :

" and undergoes,

" More goddess-like than wife-life, such assaults
" As would take in some virtue." Malone.
Again, in The Winter's Tale :

" most goddess-like prank'd up." Steevens.

9 Deep clerks she dumbs ;] This uncommon verb is also found
in Antony and Cleopatra :

184 PERICLES, act v.

Nature's own shape, of bud, bird, branch, or

berry ;
That even her art sisters the natural roses2 ;
Her inkle, silk, twin with the rubied cherry 3 :

" that what I would have spoke

" Was beastly dumb'd by him." Steevens.
So, in A Midsummer-Night's Dream :

" Where I have come, great clerks have purposed
" To greet me with premeditated welcomes ;
" Where I have seen them shiver and look pale,
" Make periods in the midst of sentences,
** Throttle their practis'd accents in their fears,
" And, in conclusion, dumbly have broke off,
" Not paying me a welcome."
These passages are compared only on account of the similarity
of expression, the sentiments being very different. Theseus con-
founds those who address him, by his superior dignity ; Marina
silences the learned persons with whom she converses, by her li-
terary superiority. Malone.

* — and with her neeld composes — ] Neeld for needle.
So, in the translation of Lucan's Pharsalia, by Sir A. Gorges,

1614:

" — — Like pricking neelds, or points of swords."

Malone.

* That even her art sisters the natural roses ;] I have not
met with this word in any other writer. It is again used by our
author in A Lover's Complaint, 1609 :

" From off a hill, whose concave womb reworded

" A plaintful story from a sisfring vale ." Malone.

It is found again in this play, in the old copy. See p. 126, n. 3 :
" Unsister'd shall this heir of mine remain." Boswell.
3 Her inkle, silk, twin with the rubied cherry:] Inkle is a
species of tape. It is mentioned in Love's Labour's Lost, and in
The Winter's Tale. All the copies read, I think, corruptly, —
twine with the rubied cherry. The word which I have substituted
is used bv Shakspeare in Othello :

""Though he had twi?in,d with me, both at a birth — ."
Again, in Coriolanus :

" who twin as it were in love." Malone.

Again, more appositely, in The Two Noble Kinsmen, by

Fletcher:

" Her twinning cherries shall their sweetness fall

" Upon thy tasteful lips."
Inkle, however, as lam informed, anciently signified a particular
kind of crewel or worsted with which ladies worked flowers, ike.
It will not easily be discovered how Marina could work such re-
semblances of nature with tape. Steevens.

act v. PRINCE OF TYRE. 185

That pupils lacks she none of noble race,
Who pour their bounty on her ; and her gain
She gives the cursed bawd. Here we her

place 4 ;
And to her father turn our thoughts again,
Where we left him, on the sea. We there him

lost 5 ;
Whence, driven before the winds, he is arriv'd
Here where his daughter dwells ; and on this

coast
Suppose him now at anchor. The city striv'd
God Neptune's annual feast to keep ° : from

whence
Lysimachus our Tyrian ship espies,
His banners sable, trimm'd with rich expence ;
And to him in his barge with fervour hies 7.
In your supposing once more put your sight ;
Of heavy Pericles think this the bark 8 :

4 — Here we her place ;] So, the first quarto. The other
copies read, — Leave we her place. Malone.

5 Where we left him, on the sea. We there him lost ;] The
first quarto reads — " We there him lest." The editor of that in
1619, finding the passage corrupt, altered it entirely. He reads:

" Where we left him at sea, tumbled and tost — ."
The corresponding rhyme, coast, shows that lest, in the first
edition, was only a misprint for lost. Malone.

6 — The city striv'd

God Neptune's annual feast to keep :] The citizens vied
with each other in celebrating the feast of Neptune. This harsh
expression was forced upon the author by the rhyme. Malone.
I suspect that the author wrote :

" The city's hiv'd

" Good Neptune's annual feast to keep — ."
i. e. the citizens, on the present occasion, are collected like bees
in a hive. Shakspeare has the same verb in The Merchant of
Venice: — " Drones hive not with me." Steevens.

7 And to him in his barge with fervour hies.] This is one of
the few passages in this play, in which the error of the first copy
is corrected in the second. The eldest quarto reads unintelligibly
— " with former hies." Malone.

8 In your supposing once more put your sight;

Of heavy Pericles think this the bark :] Once more put

186 PERICLES, mctm.

9

y

Where, what is done in action, more, if might
Shall be discover d ; please you, sit, and hark.

[Exit.

vour sight under the guidance of your imagination. Suppose you
see what we cannot exhibit to you ; think this stage, on which I
stand, the bark of the melancholy Pericles. So, before :

" In your imagination hold

" This stage, the ship, upon whose deck

" The sea-toss'd Pericles appears to speak."
Again, in King Henry V. :

« Behold

" In the quick forge and working-house of thought."

Again, ibidem :

" ... your eves advance

4< After your thoughts:*

Again, ibidem : . ' , ' ' •••.

" Work, work your thoughts, and therein see a siege.

Again, ibidem : .

" Play with youT fancies, and m them behold
" Upon the hempen tackle ship-boys climbing," &c.
Again, in King Richard III. :

» . all will come to nought ;

" When such bad dealing must be seen in thought."
The quarto 1609 reads : '

" Of heavy Pericles think this his bark :
and such also is the reading of the copy printed in 1619. The
folio reads—" On heavy Pericles," &c. If this be right, the pas-
sage should be regulated differently :

" And to him in his barge with fervour hies,
" In your supposing.— Once more put your sight
" On heavy Pericles ; " &c.
« You must now aid me with vour imagination, and suppose
Lvsimachus hastening in his barge to go on board the Tynan ship.
Once more behold the melancholy Pericles,' &c. But the former
is in my opinion, the true reading. To exhort the audience
merely to behold Pericles, was very unnecessary ; as in the ensu-
ing scene he would of course be represented to them. Gowers
principal office in these chorusses is, to persuade the spectators,
not to use, but to disbelieve, their eyes. Malone.

9 Where, what is done in action, more, if might,] Where all
that may be displayed in action, shall be exhibited ; and more
should be shown, if our stage would permit. The poet seems to
be aware of the difficulty of representing the ensuing scene.
" More, if might,"— is the reading of the first quarto. 1 he
modern copies read, unintelligibly,—" more of might.

r Malone.

sc.i. PRINCE OF TYRE. 187

SCENE I.

On board Pericles' Ship, off Mitylene. A close
Pavilion on deck, with a Curtain before it ; Pe-
ricles within it, reclined on a Couch. A Barge
lying beside the Tyrian Vessel.

Enter Tzvo Sailors, one belonging to the Tyrian Ves-
sel, the other to the Barge ; to them Helicanus,

Tyr. Sail. Where's the lord Helicanus ? he can
resolve you.

[To the Sailor of Mitylene.

O here he is.

Sir, there's a barge put off from Mitylene.
And in it is Lysimachus the governor,
Who craves to come aboard. What is your will ?
Hel. That he have his. Call up some gentle-
men.
Tyr. Sail. Ho, gentlemen ! my lord calls.

Enter Two Gentlemen.

1 Gent. Doth your lordship call ?
Hel. Gentlemen,
There is some of worth would come aboard ; I pray

you,
To greet them fairly1.

[The Gentlemen and the Two Sailors descend,
and go on board the Barge.

More of might, i. e. of more might, (were there authority for
such a reading) should seem to mean — of greater consequence.
* Such things we shall exhibit. As to the rest, let your imagina-
tions dictate to your eyes.' We should, otherwise, read :
" Where, of what's done in action, more, if might,

u Should be discover'd ." Steevens.

1 — greet them fairly.] Thus the folio. The quarto 1609
has — " greet him fairly." Malone.

5

188 PERICLES, act v.

Enter, from thence, Lysimachus and Lords; the
Tyrian Gentlemen, and the Two Sailors.

Tyr. Sail. Sir,
This is the man that can, in aught you would,
Resolve you.

Lys. Hail, reverend sir ! The gods preserve you !

Hel. And you, sir, to out-live the age I am,
And die as I would do.

Lys. You wish me well.

Being on shore, honouring of Neptune's triumphs,
Seeing this goodly vessel ride before us,
I made to it, to know of whence you are.

Hel. First, sir, what is your place ?

Lys. I am governor of this place you lie before.

Hel. Sir,
Our vessel is of Tyre, in it the king ;
A man, who for this three months hath not spoken
To any one, nor taken sustenance,
But to prorogue his grief2.

Lys. Upon what ground is his distemperature ?

Hel. Sir, it would be too tedious to repeat 3 ;
But the main grief of all springs from the loss
Of a beloved daughter and a wife.

Lys. May we not see him, then ?

Hel. You may indeed, sir,

But bootless is your sight ; he will not speak
To any.

a But to prorogue his grief.] To lengthen or prolong his
grief. The modern editions read, unnecessarily :
** But to prolong his grief."
Prorogued is used by our author in Romeo and Juliet for
delayed :

" My life were better ended by their hate,
" Than death prorogued wanting of thy love." M alone.
3 Sir, it would be, &c] For the insertion of the supplemental
word [Sir] here and in the next speech but one, as well as in the
first address of Helicanus to Lysimachus, I am accountable.

Malone.

sc. i. PRINCE OF TYRE. 189

Lys. Yet, let me obtain my wish.

Hel. Behold him, sir: [Pericles discovered*^
this was a goodly person,
Till the disaster, that, one mortal night,
Drove him to this 5.

Lys. Sir, king, all hail ! the gods preserve you !
Hail,
Hail, royal sir !

Hel. It is in vain ; he will not speak to you.

1 Lord. Sir, we have a maid in Mitylene 6, I
durst wager,
Would win some words of him.

Lys. Tis well bethought.

She, questionless, with her sweet harmony
And other choice attractions, would allure,

4 Pericles discovered.'] Few of the stage-directions that have
been given in this and the preceding Acts, are found in the old
copy. In the original representation of this play, Pericles was
probably placed in the back part of the stage, concealed by a
curtain, which was here drawn open. The ancient narratives re-
present him as remaining in the cabin of his ship. Thus, in The
Confessio Amantis, it is said :

" But for all that though hem be lothe,
" He [Athenagoras, the governor of Mitylene,] fonde the
ladder and dotvne hegoeth

" And to him spake ."

So also, in King Appolyn of Thyre, 1510: " — he is here
benethe in tenebres and obscurete, and for nothinge that I may
doe he wyll not yssue out of the place where he is." — But as in
such a situation Pericles would not be visible to the audience, a
different stage-direction is now given. Malone.
s Till the disaster, that, one mortal night,
Drove him to this.] The copies all read — "one mortal
•wight." The word which I suppose the author to have written,
affords an easy sense. Mortal is here used for pernicious, destruc~
tive. So, in Macbeth :

" Hold fast the mortal sword." Malone.
6 Sir, we have a maid, &c] This circumstance resembles an-
other in All's Well That Ends Well, where Lafeu gives an account
of Helena's attractions to the King, before she is introduced to
attempt his cure. Steevens.

190 PERICLES, avt v.

And make a battery through his deafen'd parts,
Which now are midway stopp'd 7 :
She is all happy as the fairest of all,
And, with her fellow maids, is now upon
The leafy shelter that abuts against
The island's side s.

[He zvhispers one of the attendant Lords. —
Exit Lord, in the Barge of Lysimachus 9.

7 And make a battery through his b"ea.fen'd parts,
Which now are midway stopp'd:] The earliest quarto reads

defend parts. I have no doubt that the poet wrote — " through

his deafen'd parts," — i. e. ears, which were to be assailed by the
melodious voice of Marina. In the old quarto few of the parti-
ciples have an elision-mark. This kind of phraseology, though
it now appears uncouth, was common in our author's time.
Thus, in the poem entitled Romeus and Juliet :

" Did not thy parts, fordon with pain, languish away and
pine r
Again, more appositely, ibidem :

" Her dainty tender parts 'gan shiver all for dread ;
" Her golden hair did stand upright upon her chillish
head ? "
Again, in our poet's Venus and Adonis :

'* Or, were I deaf, thy outward parts would move
" Each part in me that were but sensible."
Again, in his 69th Sonnet :

" Those parts of thee, that the world's eye doth view," &c.
Stopp'd is a word which we frequently find connected with the
ear. So, in King Richard II. :

" Gaunt. My death's sad tale may not undeqf his ear.
" York. No ; it is stopp'd with other flattering sounds."

Malone.

Mr. Malone's explanation is fully supported by a line in
Antony and Cleopatra :

" Make battery to our ears with the loud musick."

Holt White.

Perhaps we should read —

« his deafen'd ports"

Thus, in Timon :

** Descend, and open your uncharged ports."
i e. gates Deafen'd ports would mean the oppilated doors of
hearing. In King Henry IV. Part II. we have " the gates of
breath." Steevens.

3C. j. PRINCE OF TYRE. 191

Hel. Sure, all's effectless ; yet nothing we'll omit
That bears recovery's name. But, since your kind-
ness

8 And, with her fellow-maids, is now upon
The leafy shelter — ] Marina might be said to be under
the leafy shelter, but I know not how she could be upon it; nor
have I a clear idea of a shelter abutting against the side of an
island. I would read :

" ■ is now upon
" The leafv shelver, that abuts against
" The island's side."
i. e. the shelving bank near the ^ea-side, shaded by adjoining
trees. It appears from Gower, that the feast of Neptune was
celebrated on the strand :

" The lordes both and the commune
" The high festes of Neptune
" Upon the stronde, at rivage,
" As it was custome and usage,
" Solempneliche theibe sigh."
So, before in this scene :

" Being on shore, honouring of Neptune's triumphs — ."
Marina and her fellow-maids, we may suppose, had retired a
little way from the crowd, and seated themselves under the ad-
joining trees, to see the triumph. This circumstance was an in-
vention of the poet's. In King Appolyn of Thyre, Tharsye, the
Marina of this play, is brought from the bordel where she had
been placed. In the Confessio Amantis, she is summoned, by
order of the governor, from the honest house to which she had
retreated. — The words with and is, which I have inserted, are not
in the old copy. Malone.

If any alteration be thought necessary, I would read : " And is
now about the leafy shelter," instead of upon. M. Mason.

Mr. M. Mason's alteration cannot be admitted, as the words
about and abut would be so near each other as to occasion the
most barbarous dissonance. — I have at least printed the passage
so as to afford it smoothness, and some apparent meaning.

Steevens.
Mr. Steevens prints the passage thus :

" She, all as happy as of all the fairest,
'* Is, with her fellow maidens, now within," &c.
" Upon a leafy shelter" is ' upon a spot which is sheltered.'

Boswell.
9 Exit Lord, in the Barge of Lysimachns.'] It may seem
strange that a fable should have been chosen to form a drama
upon, in which the greater part of the business of the last Act
should be transacted at sea ; and wherein it should even be neces-
sary to produce two vessels on the scene at the same time. But

192 PERICLES, act v.

We have stretch'd thus far, let us beseech you fur-
ther,
That for our gold we may provision have,
Wherein we are not destitute for want,
But weary for the staleness.

Lys, O, sir, a courtesy,

Which if we should deny, the most just God
For every graff would send a caterpillar,
And so inflict our province \ — Yet once more
Let me entreat to know at large the cause
Of your king's sorrow.

Hel. Sit, sir2, 1 will recount it ; —

But see, I am prevented.

Enter, from the Barge, Lord, Marina, and a

young Lady.

Lys. O, here is

The lady that I sent for. Welcome, fair one !
Is't not a goodly presence 3 ?

the customs and exhibitions of the modern stage give this objec-
tion to the play before us a greater weight than it really has. It
appears, that, when Pericles was originally performed, the the-
atres were furnished with no such apparatus as by any stretch of
the imagination could be supposed to present either a sea, or a
ship ; and that the audience were contented to behold vessels
sailing in and out of port, in their mind's eye only. This licence
being once granted to the poet, the lord, in the instance now
before us, walked off the stage, and returned again in a few
minutes, leading in Marina, without any sensible impropriety ;
and the present drama, exhibited before such indulgent specta-
tors, was not more incommodious in the representation than any
other would have been. See The Historical Account of the
English Stage, vol. iii. Malone.

1 And so inflict our province.] Thus all the copies. But
I do not believe to inflict was ever used by itself in the sense of to
punish. The poet probably wrote — " And so afflict our province."

Malone.

2 Sit, sir,] Thus the eldest quarto. The modern editions
read — Sir, sir. Malone.

3 Is't not a goodly presence?] Is she not beautiful in her
form ? So, in King John ;

" Lord of thy presence, and no land beside."

sc. /. PRINCE OF TYRE. 193

Hel. A gallant lady.

Lys. She's such, that were I well assur'd she
came
Of gentle kind, and noble stock, I'd wish
No better choice, and think me rarely wed.
Fair one, all goodness that consists in bounty
Expect even here, where is a kingly patient 4 :
If that thy prosperous and artificial feat b

All the copies read, I think corruptedly, —

" Is it not a goodly present? " Malone.

Mr. Malone's emendation is undoubtedly judicious. So, in
Romeo and Juliet :

" Show a fair presence, and put off these frowns."

Steevens.

■♦ Fair one, all goodness that consists in bounty
Expect even here, where is a kingly patient :] The quarto
1609 reads:

" Fair on, all goodness that consists in beauty," &c.

The editor of the second quarto in 1619, finding this unintel-
ligible, altered the text, and printed — " Fair and all goodness,"
&c. which renders the passage nonsense. — One was formerly
written on ; and hence they are perpetually confounded in our
ancient dramas.

See vol. xv. p. 291, n. 6. The latter part of the line, which
was corrupt in all the copies, has been happily amended by Mr.
Steevens. Malone.

I should think, that instead of beauty we ought to read — bounty.
All the good that consists in beauty she brought with her. But
she had reason to expect the bounty of her kingly patient, if she
proved successful in his cure. Indeed Lysimachus tells her so
afterwards in clearer language. The present circumstance puts
us in mind of what passes between Helena and the King, in All's
Well That Ends Well. Steevens.

* If that thy prosperous and artificial feat, &c] " Veni ad
me, Tharsia ; " (says Athenagoras) " ubi nunc ars studiorum
tuorum ut consoleris dominum navis in tenebris sedentem ; ut
provoces eum exire ad lucem, quia nimis dolet pro conjuge et
filia sua?" — Gesta Romanorum, p. 586, edit. 1558.

The old copy has— artificial fate. For this emendation the
reader is indebted to Dr. Percy. Feat and fate are at this day
pronounced in Warwickshire alike ; and such, I have no doubt,
was the pronunciation in the time of Queen Elizabeth. Hence
the two words were easily confounded.
VOL. XXI. O

194 PERICLES, act v.

Can draw him but to answer thee in aught,
Thy sacred physick shall receive such pay
As thy desires can wish.

Mar. Sir, I will use

My utmost skill in his recovery,
Provided none but I and my companion
Be suffer'd to come near him.

Lys Come, let us leave her,

And the gods make her prosperous !

& [Marin j sings".

A passage in Measure for Measure may add support to Dr.
Percy's very happy emendation :

« , In her youth

" There is a prone and speechless dialect,
" Such as moves men ; besides, she hath a prosperous art
" When she will play with reason and discourse,
" And well she can persuade." Malone.
Percy reads feat, instead of fate, which may possibly be the
right reading: but in that case we ought to go further, and
strike out the word and: ; m

" If that thy prosperous, artificial Jeat.
The amendment' I should propose is to read—

" If that thy prosperous artifice and fate.' M. Mason.
I read prosperous-artificial. Our author has many compound
epithets of the same kind; for instance— " dismal-fatal, mor-
tal-staring, childish-foolish, senseless-obstinate,' &c.m a 1 ot
which the first adjective is adverbially used. See vol. xi. p. i»^,

n ^ StEEVENS

' 6 'Marina sings.} This song (like most of those that were
sung in the old plays) has not been preserved Perhaps it mi»ht
have been formed on the following lines in the Gesta Romanorum,
(or some translation of it,) which Tharsia is there said to have
sunt? to King Apollonius :

Per scorta [f. heu !] gradior, sed scorti conscia non sum ;

Sic spinis rosa [f. quae] nescit violarier ullis.

Corruit et [f. en] raptor gladii ferientis ab ictu ;

Tradita lenoni non sum violata pudore.

Vulnera cessassent animi, lacrimaeque deessent,

Nulla ergo melior, si noscam certa parentes.

Unica regalis generis sum stirpe creata ;

Ipsa iubente Deo, laetari credo aliquando.

Fuge [f. Terge] modo lacrimas, curam dissolve molestam ;

Redde polo faciem, mentemque ad sidera tolle :

sc. i. PRINCE OF TYRE. 195

Lys. Mark'd he your musick ?

Mar. No, nor look'd on us.

Lys. See, she will speak to him.

Mar. Hail, sir ! my lord, lend ear :

Per. Hum ! ha !
Mar. I am a maid,

My lord, that ne'er before invited eyes,

Jam [f. Nam] Deus est hominum plasmator, rector et auctor,
Non [f. Nee] sinit has lacrimas casso finire labore.

Malone.
I have subjoined this song (which is an exact copy of the Latin
hexameters in the Gesta Romanorum) from Twine's translation.

The song is thus introduced : " Then began she to record in
verses, and therewithal to sing so swetely, that Appollonius not-
withstanding his great sorrow, wondred at her. And these were
the verses which she soong so pleasantly unto the instrument."

" Amongst the harlots foul I walk,

" Yet harlot none am I :
" The rose among the thorns it grows,

" And is not hurt thereby.

" The thief that stole me, sure I think,

" Is slain before this time :
" A bawd me bought, yet am I not

" DehTd by fleshly crime.

" Were nothing pleasanter to me

" Than parents mine to know :
" I am the issue of a king,

" My blood from kings doth flow.

" I hope that God will mend my state,

" And send a better day :
" Leave off your tears, pluck up your heart,

° And banish care away.

" Show gladness in your countenance,

" Cast up your cheerful eyes :
" That God remains that once of nought

" Created earth and skies.
" He will not let, in care and thought,
" You still to live, and all for nought." Steevens.

o 2

196 PERICLES, act v.

But have been gaz'd on like a comet7: she speaks

My lord, that, may be, hath endur'd a grief

Might equal yours, if both were justly weigh'd.

Though wayward fortune did malign my state,

My derivation was from ancestors

Who stood equivalent with mighty kings 8 :

But time hath rooted out my parentage, ^

And to the world and aukward casualties 9

Bound me in servitude. — I will desist ;

But there is something glows upon my cheek,

And whispers in mine ear, Go not till he speak.

[Aside.

Per. My fortunes— parentage— good parentage—
To equal mine !— was it not thus ? what say you ?

Mar. I said, my lord, if you did know my pa-
rentage,
You would not do me violence \

p£Rt I do think so.

I pray you, turn your eyes again upon me. —

7 — comet-like :] So, in Love's Labour's Lost :

"So, portent-like," &c.
The old copy of Pericles has—" like a comet." Steevens.

" that ne'er before invited eyes,

" But have been gaz'd on like a comet : " So, in King

Henry IV. : '

" By being seldom seen, I could not stir,

" But, like a comet, I was wonder'd at." Malone.

8 My derivation was from ancestors nun
Who stood equivalent with mighty kings :] Thus, in Othello :

« I fetch my birth

" From men of royal siege—." Steevens.

9 —and aukward casualties— ] Aukward is adverse. Our
author has the same epithet in The Second Part of King Henry VI. :

" And twice by aukward wind from England s bank

" Drove back again." Steevens.
• You would not do me violence.] This refers to a part of the
story that seems to be made no use of in the present scene.
Thus in Twine's translation: "Then Apollonius fell in rage,
and forgetting all courtesie, &c. rose up sodainly and stroke the
maiden;" &c. See, however, p. 199, line 10. Steevens.

M. i. PRINCE OF TYRE. 197

You are like something that — What country-
woman ?

Here of these shores ~ ?

Mar. No, nor of any shores :

Yet I was mortally brought forth, and am

No other than I appear.

Per. I am great with woe, and shall deliver
weeping 3.

My dearest wife was like this maid, and such a one

My daughter might have been 4 : my queen's square
brows;

2 I do think so.

I pray you, turn your eyes again upon me.—
You are like something that — What country-woMAN?
Here of these shores?] This passage is so strangely cor-
rupted in the first quarto and all the other copies, that I cannot
forbear transcribing it :

" Per. I do thinke so. pray you turne your eyes upon me, your
like something that, what countrey women heare of these shewes.
" Mar. No nor of any shewes," &c.

For the ingenious emendation — shores, instead of shelves—
(which is so clearly right, that I have not hesitated to insert it in
the text) as well as the happy regulation of the whole passage, I
am indebted to the patron of every literary undertaking, my friend,
the Earl of Charlemont. Malone.

3 I am grf.at with woe, and shall deliver weeping.] So, in

King R

chard II.

' Green, thou art the midwife to my vooey

' And Bolingbroke my sorrow's dismal heir :
' Now hath my soul brought forth her prodigy,
' And I, a gasping, ?ietv-dc/iver*d mother,
' Have woe to woe, sorrow to sorrow join'd." Malone.
such a one

My daughter might have been :] So, Daemones in the Rudens
of Plautus, exclaims on beholding his long-lost child :

O filia
Mea ! cum ego hanc video, mearum me absens miseriarum

commones,

Trima qu<e periit mihi '.'jam tanta esset, si vivit, scio.

It is observable that some of the leading incidents in this play

strongly remind us of the Rudens. There Arcturus, like Grower,

TrpoXoytfu. — In the Latin comedy, fishermen, as in Pericles, are

brought on the stage, one of whom drags on shore in his net the

198 PERICLES, ac€ v.

Her stature to an inch ; as wand-like straight ;
As silver- voic'd ; her eyes as jewel-like,
And cas'd as richly 5 : in pace another Juno 6 ;
Who starves the ears she feeds, and makes them

hungry,
The more she gives them speech 7. — Where do you
live ?

Mar. Where I am but a stranger : from the deck
You may discern the place.

Per. Where were you bred ?

And how achiev'd you these endowments, which
You make more rich to owe 8 ?

wallet which principally produces the catastrophe ; and the heroines
of Plautus, and Marina, fall alike into the hands of a procurer. A
circumstance on which much of the plot in both these dramatick
pieces depends. Holt White.
5 — her eyes as jEWEL-like,
And cas'd as richly :] So, in King Lear :
" . and in this habit,
" Met I my father with his bleeding rings,
" Their precious stones new-lost."
Again, ibidem :

" What, with this case of eyes ? " Ma lone.
So, in the third Act, Cerimon says :
" She is alive ; — behold

" Her eye-lids, cases to those heavenly jewels,
" Which Pericles has lost,
" Begin to part their fringes of bright gold." M. Mason.

* in pace another Juno ;] So, in The Tempest :

•« Highest queen of state

" Great Juno comes ; I know her by her gait ; " Malone.
1 Who starves the ears she feeds, and makes them hungry,
The more she gives them speech.] So, in Antony and Cleo-
patra :

" other women cloy

" The appetites they feed, but she makes hungry,
11 Where most she satisfies."
Again, in Hamlet :

" As if increase of appetite did grow
" By what it fed on." Malone.
8 And how achiev'd you these endowments, which
You make more rich to owe ?] To owe in ancient language
is to possess. So, in Othello :

sc. i. PRINCE OF TYRE. 199

Mar. Should I tell my history,

'Twould seem like lies disdain'd in the reporting.

Per. Pry'thee speak ;
Falseness cannot come from thee, for thou look'st
Modest as justice, and thou seem'st a palace
For the crown'd truth to dwell in 9 : I'll believe

thee,
And make my senses credit thy relation,
To points that seem impossible ; for thou look'st
Like one I lov'd indeed. What were thy friends ?
Didst thou not say \ when I did push thee back,
(Which was when I perceiv'd thee,) that thou cam'st
From good descending ?

Mar. So indeed I did.

Per. Report thy parentage. I think thou said'st
Thou hadst been toss'd from wrong to injury,
And that thou thought'st thy griefs might equal

mine,
If both were open'd.

that sweet sleep

" That thou owdst yesterday."
The meaning of the compliment is :— These endowments, how-
ever valuable in themselves, are heighten'd by being in your pos-
session. They acquire additional grace from their owner. Thus
also, one of Timon's flatterers :

" You mend the jewel by the wearing of it." Steevens.
9 — a palace
For the crown'd truth to dwell in :] It is observable that
our poet, when he means to represent any quality of the mind as
eminently perfect, furnishes the imaginary being whom he per-
sonifies, with a crown. Thus, in his 144th Sonnet :

" Or whether doth my mind, being crorura'^with you,
" Drink up the monarch's plague, this flattery?"
Again, in his 37th Sonnet :

" For whether beauty, birth, or wealth, or wit,
" Or any of these all, or all, or more,
" Entitled in thy parts do crowned sit — ."
Again, in Romeo and Juliet :

" Upon his brow shame is asham'd to sit,
" For 'tis a throne, where honour may be croivnd,
" Sole monarch of the universal earth." Malone.
1 Didst thou not say,] All the old copies read— Didst thou not
stay. It was evidently a false print in the first edition. Malone.

200 PERICLES, act v.

Mar. Some such thing indeed 2

I said, and said no more but what my thoughts
Did warrant me was likely.

Per. Tell thy story ;

If thine consider'd prove the thousandth part
Of my endurance, thou art a man, and I
Have suffer'd like a girl a : yet thou dost look
Like Patience, gazing on kings' graves4, and

smiling
Extremity out of act \ What were thy friends ?
How lost thou them ? Thy name, my most kind

virgin ?
Recount, I do beseech thee ; come, sit by me 6.

* Some such thing indeed — ] For the insertion of the word
indeed, I am accountable. M alone.

3 — thou art a man, and I
Have suffer'd like a girl :] So, in Macbeth :
" If trembling I inhibit thee, protest me
" The baby of a girl." Malone.

* Like Patience, gazing on kings' graves,] So, in Twelfth-
Night:

" She sat like Patience on a monument,
M Smiling at Grief."
Again, in The Rape of Lucrece, 1594 :

" Onward to Troy with these blunt swains he goes ;
" So mild, that Patience seem'd to scorn his woes."

Malone.

s — and smiling
Extremity out of act.] By her beauty and patient meek-
ness disarming Calamity, and preventing her from using her up-
lifted sword. So, in King Henry IV. Part II. :

" And hangs resolv'd correction in the arm,
" That was uprear'd to execution."
Extremity (though not personified as here) is in like manner
used in King Lear, for the utmost of human suffering :

" another,

" To amplify too much, would make much more,
" And top extremity." Malone.
6 How lost thou them ? — Thy name, my most kind virgin ?
Recount, I do beseech thee; come, sit by me.] All the old
copies read :

" How lost thou thy name, my most kind virgin, recount," &c
But Marina had not said any thing about her name. She had in-

sc. i. PRINCE OF TYRE. 201

Mar. My name, sir, is Marina.

Per. O, I am mock'd,

And thou by some incensed god sent hither
To make the world laugh at me.

Mar. Patience, good sir,

Or here I'll cease.

Per. Nay, I'll be patient ;

Thou little know'st how thou dost startle me,
To call thyself Marina.

Mar. The name Marina,

Was given me by one that had some power ;
My father, and a king.

Per. How ! a king's daughter ?

And call'd Marina ?

Mar. You said you would believe me ;

But, not to be a troubler of your peace 7,
I will end here.

Per. But are you flesh and blood ?

Have you a working pulse ? and are no fairy ?
No motion 8 ? — Well ; speak on. Where were you

born ?
And wherefore call'd Marina ?

deed told the king, that " Time had rooted out her parentage, and
to the world and aukward casualties bound her in servitude." —
Pericles, therefore, naturally asks her, by what accident she had
lost her friends; and at the same time desires to know her name.
Marina answers his last question first, and then proceeds to tell
her history. The insertion of the word them, which 1 suppose to
have been omitted by the negligence of the compositor, renders
the whole clear. The metre of the line, which was before defec-
tive, and Marina's answer, both support the conjectural reading of
the text. Malone.

7 — a troubler of your peace,] Thus the earliest quarto.
So, in King Richard III. :

" And then hurl down their indignation
" On thee, the troubler of the poor world's peace."
The folios and the modern editions read — a trouble of your
peace. Malone.

8 No motion ?] i. e. no puppet dress'd up to deceive me. So,
in The Two Gentlemen of Verona :

302 PERICLES, act v.

Mar. Call'd Marina,

For I was born at sea.

Per. At sea ? thy mother ?

Mar. My mother was the daughter of a king ;
Who died the very minute I was born 9,
As my good nurse Lychorida hath oft
Deliver'd weeping.

Per. O, stop there a little !

This is the rarest dream that e'er dull sleep 1
Did mock sad fools withal : this cannot be.
My daughter's buried. \_Aside.~] Well: — where were
you bred ?

M O excellent motion ! O exceeding puppet ! "

Steevens.
This passage should be pointed thus :

" Have you a working pulse ? and are no fairy-motion ? "
That is, " Have you really life in you, or are you merely a
puppet formed by enchantment ? the work of fairies." The pre-
sent reading cannot be right, for fairies were supposed to be ani-
mated beings, and to have working pulses as well as men.

M. Mason.
If Mr. M. Mason's punctuation were followed, the line would
be too long by a foot. Pericles suggests three images in his
question — 1 . Have you a working pulse ? i. e. are you any thing
human and really alive ? 2. Are you a fairy ? 3. Or are you a
puppet? Steevens.

In the old copy this passage is thus exhibited :
" But are you flesh and blood ?
" Have you a working pulse ? and are no fairy ?
" Motion well, speak on," &c. Malone.
9 Who died the very minute I was born,] Thus the old copy.
Either the construction is—' My mother, who died the very
minute I was born, was the daughter of a king,' — or we ought to

read:

" She died the very minute," &c.
otherwise it is the king, not the queen, that died at the instant of
Marina's birth. In the old copies these lines are given as prose.

Steevens.
The word very I have inserted to complete the metre.

Malone.
i This is the rarest dream that e'er dull sleep—] The words,
" This is the rarest dream," &c. are not addressed to Marina, but
spoken aside. Malone.

sc. i. PRINCE OF TYRE. 203

I'll hear you more, to the bottom of your story,
And never interrupt you.

Mar. You'll scarce believe me ; 'twere best I did

give o'er "2.
Per. I will believe you by the syllable 3
Of what you shall deliver. Yet, give me leave : —
How came you in these parts ? where were you
bred ?
Mar. The king, my father, did in Tharsus leave
me;
Till cruel Cleon, with his wicked wife,
Did seek to murder me : and having woo'd
A villain to attempt it, who having drawn 4 to do't,

2 You'll scarce believe me ; 'twere best I did give o'er.] All
the old copies read — " You scorn, believe me," &c. The reply of
Pericles induces me to think the author wrote :

" You'll scarce believe me ; 'twere best," &c.
Pericles had expressed no scorn in the preceding speech ; but,
on the contrary, great complacency and attention. So also,
before :

f • Pr'ythee speak :

" Falseness cannot come from thee ■ ■

" Til believe thee," &c.

The false prints in this play are so numerous, that the greatest
latitude must be allowed to conjecture. Malone.

3 I will believe you by the syllable, &c] i. e. I will believe
every word you say. So, in Macbeth :

" To the last syllable of recorded time."
Again, in All's Well that Ends Well :

" To the utmost syllable of your worthiness." Steevens.

4 — who having drawn — ] Mr. Malone supposes the old copy
meant to read —

" Whom having drawn," &c. Steevens.

This mode of phraseology, though now obsolete, was common
in Shakspeare's time. So, in The Tempest:

" Some food we had, and some fresh water, that

" A noble Neapolitan, Gonzalo,

fl Out of his charity, (who being then appointed

" Master of this design,) did give us," &c.
Again, in The Winter's Tale :

" This your son-in-law,

" And son unto the king, (whom heavens directing,)

" Is troth-plight to your daughter."
See also vol. xiv. p. 135, n. 2.
When the former edition of this play was printed, I imagined

204 PERICLES, act v.

A crew of pirates came and rescued me ;
Brought me to Mitylene. But, now good sir,
Whither will you have me ? Why do you weep ? It

may be,
You think me an impostor ; no, good faith ;
I am the daughter to king Pericles,
If good king Pericles be.

Per. Ho, Helicanus !

Hel. Calls my gracious lord ?

Per. Thou art a grave and noble counsellor,
Most wise in general : Tell me, if thou canst,
What this maid is, or what is like to be,
That thus hath made me weep ?

Hel. I know not ; but

Here is the regent, sir, of Mitylene,
Speaks nobly of her.

Jjys. She would never tell

Her parentage ; being demanded that,
She would sit still and weep.

Per. O Helicanus, strike me, honour'd sir ;
Give me a gash, put me to present pain ;

the original copy printed in 1609, read—" -who having drawn to
do't, not observing the mark of abbreviation over the letter o
(■who) which shows the word intended was whom. Malone.

I have now two copies of this quarto 1609 before me, and
neither of them exhibits the mark on which Mr. Malone's sup-
position is founded. I conclude therefore that this token of ab-
breviation was an accidental blot in the copy which that gentle-
man consulted.

Old copy —

u having drawn to do't — ."

I read :

" A villain to attempt it, who, having drawn,
" A crew of pirates," &c.
The words — to do't— are injurious to the measure, and unne-
cessary to the sense, which is complete without them. So, in
Romeo and Juliet :

" What ! art thou draivn among these heartless hinds ? "
Again, in King Henry V. :

" O, well a day, if he be not drawn now! " Steevens.
Upon an inspection of Mr. Malone's copy, Mr. Steevens appears
to be right. Boswell.

sc. /. PRINCE OF TYRE. 205

Lest this great sea of joys rushing upon me,

O'erbear the shores of my mortality,

And drown me with their sweetness5. O, come

hither,
Thou that beget'st him that did thee beget ;
Thou that wast born at sea, buried at Tharsus,
And found at sea again ! — O Helicanus,
Down on thy knees, thank the holy gods, as loud
As thunder threatens us : This is Marina. —
What was thy mother's name ? tell me but that,
For truth can never be confirm'd enough,
Though doubts did ever sleep 6.

Mar. First, sir, I pray,

What is your title ?

Per. I am Pericles of Tyre : but tell me now
My drowned queen's name, (as in the rest you said
Thou hast been godlike perfect,) the heir of

kingdoms,
And a mother like to Pericles thy father 7.

5 And drown me with their sweetness.] We meet a kindred
thought in The Merchant of Venice :

" O love, be moderate, allay thy ecstasy,
" In measure rain thy joy, scant this excess,
" I feel too much thy blessing ; make it less,
" For fear I surfeit." Malone.

6 Though doubts did ever sleep.] i. e. in plain language,
' though nothing ever happened to awake a scruple or doubt con-
cerning your veracity.' Steevens.

7 — the heir of kingdoms,

AndA mother like to Pericles thy father.] The old copy
" And another like to Pericles thy father."

There can be no doubt that there is here a gross corruption.
The correction which I have made, affords an easy sense. The
mother of Marina was the heir of kingdoms, and in that respect
resembled Pericles.

I believe, the same error has hnppened in Hamlet, where in
Act V. Sc. II. we find — " Is't not possible to understand in an-
other tongue? " instead of which I believe the poet wrote, "Is't
possible not to understand in a mother tongue ? "

This error actually happened in the first edition of Sir Francis
Bacon's Fjssav on the Advancement of Learning, b. ii. p. 60, 4to.

206 PERICLES, act v.

Mar. Is it no more to be your daughter, than
To say, my mother's name was Thaisa ?
Thaisa was my mother, who did end,
The minute I began 8.

Per. Now, blessing on thee, rise ; thou art my
child .
Give me fresh garments. Mine own, Helicanus,
(Not dead at Tharsus, as she should have been,
By savage Cleon,) she shall tell thee all 9 :
When thou shalt kneel and justify in knowledge,
She is thy very princess. — Who is this ?

Hel. Sir, 'tis the governor of Mitylene,

1605 : " — by the art of Grammar, whereof the use in another
tongue is small ; in a foreign tongue more." In the table of
Errata we are desired to read—" a mother tongue." Malone.
I think that a slight alteration will restore the passage, and

read it thus :

" — ~ But tell me now

" My drown'd queen's name (as in the rest you said
" Thou hast been godlike perfect) thou'rt heir of kingdoms,
" And another life to Pericles thy father."
That is, ' Do but tell me my drowned queen's name, and thou wilt
prove the heir of kingdoms, and another life to your father Peri-
cles."—This last amendment is confirmed by what he says in the
speech preceding, where he expresses the same thought :

" O come hither,

11 Thou that beget'st him that did thee beget."

M. Mason.
I have adopted Mr. M. Masons very happy emendation, with
a somewhat different arrangement of the lines, and the omission
of two useless words. Steevens.
Mr. Steevens reads :

" (As in the rest thou hast been godlike perfect,)

" My drown'd queen's name, thou art the heir of kingdoms,

" And another life to Pericles thy father." Boswell.

8 Thaisa was my mother, who did end,

The minute I began.] So, in The Winter's Tale :

" Lady,

" Dear queen, that ended tohen I but began,

" Give me that hand of yours to kiss." Malone.

9 —Mine own, Helicanus, &c] Perhaps this means, 'she is
mine oxvn daughter, Helicanus, (not murder'd according to the
design of Cleon) she (I say) shall tell thee all,' &c. Steevens.

sc. i. PRINCE OF TYRE. 207

Who, hearing of your melancholy state,
Did come to see you.

Per. I embrace you, sir.

Give me my robes ; I am wild in my beholding.
O heavens bless my girl ! But hark, what musick ? —
Tell Helicanus, my Marina, tell him 1
O'er, point by point2, for yet he seems to doubt3,
How sure you are my daughter. — But what musick ?

Hel. My lord, I hear none.

Per. None ?
The musick of the spheres : list, my Marina.

Lys. It is not good to cross him ; give him way.

Per. Rarest sounds !
Do ye not hear.

Lys. Musick ? My lord, I hear —

Per. Most heavenly musick:
It nips me unto list'ning, and thick slumber
Hangs on mine eye-lids ; let me rest4. [He sleeps.

1 — But hark, what musick ? —

Tell Helicanus, my Marina, tell him — ] Thus the earliest
quarto. The quarto 1619, and all the subsequent editions, read :
" But hark, what musick's this Helicanus ? my
" Marina," &c. Malone.

2 O'er, foint by point,] So, in Gower :

" Fro poynt to poynt all she hym tolde

" That she hath long in herte holde,

" And never durst make hir mone

" But only to this lorde allone." Malone.

3 — for yet he seems to doubt — ] The old copies read — " for
yet he seems to doat." It was evidently a misprint. Malone.

4 Most heavenly musick :

It nips me unto list'ning, and thick slumber
Hangs, &c] So, in Love's Labour's Lost :
" Makes heaven drowsy with the harmony."
See vol. iv. p. 387, n. 9. Consult also Pindar's First Pythian,
Ronsard, Gray, &c.

The version of Ronsard is worth transcribing :
Et au caquet de tes cordes bien jointes
Son aigle dort sur la foudre a trois pointes,
Abbaissant l'aile : adonc tu vas charmant
Ses yeux aigus, et lui en les ferment

208 PERICLES, act v.

Lys. A pillow for his head ;

[The Curtain before the Pavilion of Pericles
is closed.
So leave him all. — Well, my companion-friends,
If this but answer to my just belief,
I'll well remember y6u \

[Exeunt Lys ima ch us, Helicanus, Marina,
and attendant Lady.

Son dos herisse et ses plumes repousse,
Flatte du son de ta corde si douce.

Ode 22, edit. 1632, folio. Steevens.
So, in King Henry IV. Part II. :

" Let there be no noise made, my gentle friends,
" Unless some dull and favourable hand
" Will whisper musick to my weary spirit." Malone.
s — Well, my companion-friends,
If this but answer to my just belief,

I'll well remember you.] These lines clearly belong to
Marina. She has been for some time silent, and Pericles having
now fallen into a slumber, she naturally turns to her companion,
and assures her, that if she has in truth found her royal father,
(as she has good reason to believe,) she shall partake of her pros-
perity. It appears from a former speech, in which the same
phrase is used, that a lady had entered with Marina :
" Sir, I will use

" My utmost skill in his recovery ; provided
" That none but I, and my companion-maid,
" Be suffer'd to come near him."
I would therefore read in the passage now before us :

« Well, my companion friend; "

or, if the text here be right, we might read in the former instance

« my companion-wa/rfs." — In the preceding part of this scene it

has been particularly mentioned, that Marina was with her fellow-
maids upon the leafy shelter, &c.

There is nothing in these lines that appropriates them to Lysi-
machus ; nor any particular reason why he should be munificent
to his friends because Pericles has found his daughter. On the
other hand, this recollection of her lowly companion, is perfectly
suitable to the amiable character of Marina. Malone.

lam satisfied to leave Lysimachus in quiet possession of these
lines. He is much in love with Marina, and supposing himself
to be near the gratification of his wishes, with a generosity com-
mon to noble natures on such occasions, is desirous to make his
friends and companions partakers of his happiness. Steevens.

sc. u. PRINCE OF TYRE. 209

SCENE II.

The Same.

Pericles on the Deck asleep; Diana appearing to
him as in a vision.

Dia. My temple stands in Ephesus 6 ; hie thee
thither,
And do upon mine altar sacrifice.
There, when my maiden priests are met together,
Before the people all,

Reveal how thou at sea didst lose thy wife :
To mourn thy crosses, with thy daughter's, call,
And give them repetition to the life 7.

6 My temple stands in Ephesus ;] This vision is formed on the
following passage in Gower:

" The hie God, which woldc hym kepc,

" Whan that this kynge was fast aslepe,

" By nightes tyme he hath hym bede

'* To sayle unto another stede :

" To Ephesum he bad hym drawc,

" And as it was that tyme lawe,

" He shall do there hys sacrifice ;

" And eke he bad in all wise,

" That in the temple, amongst all,

" His foretime, as it is be fall e,

" Touching his daughter and his wife,

" He shall be lenoxve upon his life." Malone.

7 And give them repetition to the life.] The old copies read —
to the like. For the emendation, which the rhyme confirms, the
reader is indebted to Lord Charlemont. " Give them repetition
to the life," means, as he observes, " Repeat your misfortunes so
feelingly and so exactly, that the language of your narration may
imitate to the life the transactions you relate." So, in Cymbelinc :

" The younger brother, Cadwall,

" Strikes life into my speech."
In a Midsummer-Night's Dream, these words are again con-
founded, for in the two old quartos we find :

" Two of the first, life coats in heraldry," &c. Malone.
Before I had read the emendation proposed by Lord Charle-
mont, it had suggested itself to me, together with the following
VOL. XXI. P

210 PERICLES, act v.

Perform my bidding, or thou liv'st in woe :

Do't, and be happy 8, by my silver bow.

Awake, and tell thy dream. [Diana disappears.

Per. Celestial Dian, goddess argentine 9,
I will obey thee ! — Helicanus !

Enter Lysimachus, Helicanus, and Marina.

Hel. Sir,

Per. My purpose was for Tharsus, there to strike
The inhospitable Cleon ; but I am

explanation of it : i. e. repeat to them a lively and faithful narra-
tive of your adventures. Draw such a picture as shall prove itself
to have been copied from real, not from pretended calamities ;
such a one as shall strike your hearers with all the lustre of con-
spicuous truth. .

I suspect, however, that Diana's revelation to Pericles, was
originally delivered in rhyme, as follows :

" My temple stands in Ephesus ; hie thither

" And do upon mine altar sacrifice.
*' There, when my maiden priests are met together,

" Before the people all, in solemn tvise,
" Recount the progress of thy miseries.

" Reveal how thou at sea didst lose thy wife ;
" How mourn thy crosses, with thy daughter's

" And give them repetition to the life.
" Perform my bidding, or thou liv'st in w<
" Do't, and be happy, by my silver bow."

£".

in woe :

Thus, in Twine's translation : ' ' And when Appollonius laule
him downe to rest, there appeared an angell in his sleepe, com-
maunding him to leaue his course toward Tharsus, and to saile unto
Ephesus, and to go unto the Temple of Diana, accompanied with
his sonne in lawe and his daughter, and there with a loude voice to
declare all his adventures, whatsoever had befallen him from his
youth unto that present dav." Steeven s

8 — and be happy,] The word be I have supplied. Malone.

9 — goddess argentine,] That is, regent of the silver moon.
So, in The Rape of Lucrece :

* Were Tarquin night, as he is but night's child,
" The silver-shining queen he would distain."
" In the chemical phrase, (as Lord Charlemont observes to

sc. u. PRINCE OF TYRE. 211

For other service first: toward Ephesus
Turn our blown sails ' ; eftsoons I'll tell thee why. —

[To Helicanus.
Shall we refresh us, sir, upon your shore,
And give you gold for such provision
As our intents will need ?

Lys. With all my heart, sir ; and when you come
ashore,
I have another suit 2.

Per. You shall prevail,

Were it to woo my daughter ; for it seems
You have been noble towards her.

Lys. Sir, lend your arm.

Per. Come, my Marina. [Exeunt.

Enter Gotver, before the Temple of Diana at

Ephesus.

Gotf. Now our sands are almost run ;
More a little, and then dumb3.

me,) a language well understood when this play was written,
Luna or Diana means silver, as Sol does gold." Malone.

1 — blown sails ;] i. e. sivolleu. So, in Antony and Cleo-
patra :

" A vent upon her arm, and something blown." Steevens.

2 I have another suit,] The old copies read — " I have ano-
ther sleight." But the answer of Pericles shows clearly that they
are corrupt. The sense requires some word synonymous to request.
I therefore read — " I have another suit." So, in King Henry VIII. :

" I have a suit which you must not deny me." Malone.
This correction is undoubtedly judicious. I had formerly made
an idle attempt in support of the old reading. Steevens.

3 More a little, and then dumb.] See the following note.

Steevens.
" — and then dumb." Permit me to add a few words more,
and then I shall be silent. The old copies have dum ; in which
way I have observed in ancient books the word dumb was occa-
sionally spelt. Thus, in The Metamorphosis of Pygmalion's
Image* by J. Marston, 1598 :

" Look how the peevish papists crouch and kneel
" To some dum idoll with their offering."
There are many as imperfect rhymes in this play, as that of the

pa

212 PERICLES, act r.

This, as my last boon, give me4,

(For such kindness must relieve me,)

That you aptly will suppose

What pageantry, what feats, what shows,

What minstrelsy, and pretty din,

The regent made in Mitylin,

To greet the king. So he has thriv'd,

That he is promis'd to be wiv'd

To fair Marina ; but in no wise

Till he had done his sacrifice 5,

As Dian bade : whereto being bound,

The interim, pray you, all confound6.

In feather'd briefness sails are fill'd

And wishes fall out as they're will'd.

At Ephesus, the temple see,

Our king, and all his company.

That he can hither come so soon,

Is by your fancy's thankful doom 7. [Exit.

present couplet. So, in a former chorus, moons and dooms. Again,
at the end of this, soon and doom. Mr. Rowe reads :
" More a little, and then done." Malone.
Done is surely the true reading. See n. 7, below.

Steevens.

4 This, as my last boon, give me,] The word as, which is not
found in the old copies, was supplied by Mr. Steevens, to com-
plete the metre. Malone.

Some word is, in my opinion, still wanting to the measure.
Perhaps our author wrote :

" This then, as my last boon, give me ." Steevens.

s Till he had done his sacrifice,] That is, till Pericles had
done his sacrifice. Malone.

6 The interim, pray you, all confound.] So,in King Henry V.:

" Myself have play'd

" The interim, by remembering you 'tis past."
To confound here signifies to consume. — So, in King Henry IV. :
" He did confound the best part of an hour,
** Exchanging hardiment with great Glendower."

Malone.

7 That he can hither come so soon,

Is by your fancy's thankful boon.] Old copies—" thankful
doom ;" but as soon and doom are not rhymes corresponding, I
read as in the text.

sc. in. PRINCE OF TYRE. 213

SCENE III.

The Temple of Diana at Ephesus; Thaisa stand-
ing near the Altar, as high Priestess 8 ; a number
of Virgins on each side ; Cerimon and other In-
habitants of Ephesus attending.

Enter Pericles, with his Train; Lysimachus,
Helicanus, Marina, and a Lady.

Per. Hail Dian! to perform thy just command,
I here confess myself the king of Tyre ;
Who, frighted from my country, did wed 9
The fair Thaisa, at Pentapolis.
At sea in childbed died she, but brought forth
A maid-child call'd Marina ; who, O goddess,

Thankful boon may signify — ' the licence you grant us in re-
turn for the pleasure we have afforded you in the course of the
play ;' or ' the boon for which we thank you.' So, before in this
chorus :

" This as my last boon give me." Steevens.
We had similar rhymes before :

" — — if king Pericles

" Come not home in twice six moons,
" He, obedient to their dooms,
" Will take the crown."
I have, therefore, not disturbed the reading of the old copy.

Malone.
I have already expressed my belief, that in this last instance,
a transposition is necessary :

" Come not, in twice six moons, home,
" He, obedient to their doom,
" Will take," &c. Steevens.

8 Thaisa as high-priestess;] Does this accord with

Iachimo's description :

" Live, like Diana's priestess, 'twixt cold sheets ? "
Diana must have been wofully imposed on, if she received the
mother of Marina as a maiden votaress. Steevens.

9 Who, frighted from my country, did wed — ] Country
must be considered as a trisyllable. So, entrance, semblance, and
many others. Malone.

214 PERICLES, act v.

Wears yet thy silver livery \ She at Tharsus
Wasnurs'd with Cleon; whom at fourteen years
He sought to murder : but her better stars
Brought her to Mitylene ; against whose shore
Riding, her fortunes brought the maid aboard us,
Where, by her own most clear remembrance, she
Made known herself my daughter.

Thai. Voice and favour ! —

You are, you are— O royal Pericles '2 !— [5 he faints.

Per. What means the woman 3 ? she dies! help,

gentlemen !
Cer. Noble sir,
If you have told Diana's altar true,
This is your wife.

Per. Reverend appearer, no ;

I threw her o'erboard with these very arms.
Cer. Upon this coast, I warrant you.
pER - Tis most certain.

Cer. Look to the lady ;— O, she's but o'erjoy'd.
Early, one blust'ring morn \ this lady was
Thrown on this shore. I op'd the coffin, and

1 who, O goddess, , .

Wears yet thy silver livery.] i. e. her white robe ot in-
nocence, as being yet under the protection of the goddess of
chastity. Percy.

So, in Shakspeare's Lover's Complaint :

" There my while stole of chastity I daft."
We had the same expression before : t

'« One twelve moons more she'll wear Diana's livery.

Malone.

* You are, you are— O royal Pericles !] The similitude be-
tween this scene, and the discovery in the last Act of The Win-
ter's Tale, will, I suppose, strike every reader. Malone.

3 What means the woman ?] This reading was furnished by
the second quarto. The first reads— What means the mum ?

n Malone.

4 Early, one blust'ring morn,] Old copy— in blust'ring, &c.
The emendation, which is judicious, was furnished by Mr. Malone.

Steevens.

sc. in. PRINCE OF TYRE. 215

Found there rich jewels5; recover'd her, and plac'd

her
Here in Diana's temple 6.

Per. May we see them ;

Cer. Great sir, they shall be brought you to my
house,
Whither I invite you7. Look ! Thaisa is
Recover'd.

Thai. O, let me look !
If he be none of mine, my sanctity
Will to my sense 8 bend no licentious ear,
But curb it, spite of seeing. O, my lord,
Are you not Pericles ? Like him you speak,
Like him you are : Did you not name a tempest,
A birth, and death ?

Per. The voice of dead Thaisa !

Thai. That Thaisa am I, supposed dead,
And drown'd9.

^ Found there rich jewels;] The second quarto, the folios,
and Mr. Rowe, read — these jewels. Pericles's next question
shows that these could not be the poet's word. The true reading
is found in the first quarto. It should be remembered, that
Cerimon delivered these jewels to Thaisa, (before she left the
house) in whose custody they afterwards remained. Malone.

6 Here in Diana's temple.] The same situation occurs again
in The Comedy of Errors, where Mgeon loses his wife at sea, and
finds her at last in a nunnery. Steevens.

7 — they shall be brought you to my house,

Whither I invite you.] This circumstance bears some resem-
blance to the meeting of Leontes and Hermione. The office of
Cerimon is not unlike that of Paulina in The Winter's Tale.

Steevens.

8 — to my sense — ] Sense is here used for sensual passion.
So also, in Measure for Measure, and in Hamlet. [See note on —

" Sense, sure, you have

" Else could you not have motion."
In the latter, vol. vii. p. 394", n. 2.] Steevens.

9 — supposed dead,

And drown'd.] Supposed dead, and that my death was by
drowning. Malone.

Drown d, in this instance, does not signify suffocated by water,
but overwhelmed in it. Thus, in Knolles's History : " Galleys

216 PERICLES, act v.

Per. Immortal Dian !

Thai. Now I know you better. —

When we with tears parted Pentapolis,
The king, my father, gave you such a ring.

[Shews a Ring.
Per. This, this: no more, you gods! your
present kindness
Makes my past miseries sport : 2 You shall do well,
That on the touching of her lips I may
Melt, and no more be seen 3. O come, be buried
A second time within these arms4.

Mar. My heart

Leaps to be gone into my mother's bosom.

[Kneels to Thais a.
Per. Look, who kneels here ! Flesh of thy flesh,
Thais a ;
Thy burden at the sea, and call'd Marina,
For she was yielded there.

might be drouoned in the harbour with the great ordnance, before
they could be rigged." Steevens.

2 This, this : no more, you gods ! your present kindness
Makes my past miseries sport :] So, in King Lear :
" It is a chance that does redeem all sorrows
" That ever I have felt." Malone.
3—1 may
Melt, and no more be seen.] This is a sentiment which
Shakspeare never fails to introduce on occasions similar to the
present. So, in Othello :

" If I were now to die

li 'Twere now to be most happy," &c.
Again, in The Winter's Tale :

" If I might die within this hour, I have liv'd
«« To die when I desire." Malone.
" Melt, and no more be seen." So, in the 39th Psalm :— " O
spare me a little, that I may recover my strength, before I go
hence, and be no more seen" Steevens.
4 — O come, be buried
A second time within these arms.] So, in The Winter's

Tale :

" Not. like a corse ;— or if— not to be buried,
" But quick, and in mine arms." Malone.

sc. in. PRINCE OF TYRE. 217

Thai. Bless'd, and mine own 5 !

Hel. Hail, madam, and my queen !

Thai. I know you not.

Per. . You have heard me say, when I did fly
from Tyre,
I left behind an ancient substitute,
Can you remember what I call'd the man ?
I have nam'd him oft.

Thai. 'Twas Helicanus then.

Per. Still confirmation:
Embrace him, dear Thaisa ; this is he.
Now do I long to hear how you were found ;
How possibly preserv'd ; and whom to thank,
Besides the gods, for this great miracle.

Thai. Lord Cerimon, my lord ; this man
Through whom the gods have shown their power;

that can
From first to last resolve you.

Per. Reverend sir,

The gods can have no mortal officer
More like a god than you. Will you deliver
How this dead queen re -lives ?

Cer. I will, my lord.

Beseech you, first go with me to my house,
Where shall be shown you all was found with her ;
How she came placed here within the temple;
No needful thing omitted.

Per. Pure Diana !

I bless thee 6 for thy vision, and will offer
My night oblations to thee. Thaisa,
This prince, the fair-betrothed7 of your daughter,

i Bless'd, and mine own !] So, in The Winter's Tale :
" Tell me, mine oivn,
" Where hast thou been preserv'd ? Where liv'd ? How

found
" Thy father's court? " Malone.
6 I bless thee — ] For the insertion of the personal pronoun I
am responsible. Malone.

218 PERICLES, act r.

Shall marry her at Pentapolis 8. And now,
This ornament that makes me look so dismal,
Will I, my lov'd Marina, clip to form ;
And what this fourteen years no razor touch'd,
To grace thy marriage-day, I'll beautify9.

Thai. Lord Cerimon hath letters of good credit,
Sir, that my father's dead.

7 — the fair-betrothed—] i. e. fairly contracted, honourably
affianced. Steevens.

8 — Thaisa,

This prince, the fair-betrothed of your daughter,
Shall marry her at Pentapolis.] So, in the last scene of The
Winter's Tale, Leontes informs Paulina :

'* . This your son-in-law,

" And son unto the king, (whom heavens directing,)
'* Is troth-plight to your daughter" Malone.

9 — And now,

This ornament that makes me look so dismal,

Will I, my lov'd Marina, clip to form ;

And what this fourteen years no razor touch'd,

To grace thy marriage-day, I'll beautify.] So, in Much Ado

About Nothing : " the barber's man hath been seen with

him ; and the old ornament of his cheek hath already stuffed

tennis balls."

The author has here followed Gower, or Gesta Romanorum :

" this a vowe to God I make

" That I shall never for hir sake,
u My berdefor no likynge shave,
■• Till it befalle that I have
" In convenable time of age
" Besette hir unto manage." Confessio Amantis.
The word so in the first line, and the words — my lov'd Marina,
in the second, which both the sense and metre require, I have
supplied. Malone.

The author is in this place guilty of a slight inadvertency. It
was but a short time before, when Pericles arrived at Tharsus,
and heard of his daughter's death, that he made a vow never to
wash his face or cut his hair. M. Mason.

See p. 126, n. 3 ; where, if my reading be not erroneous, a
proof will be found that this vow was made almost immediately
after the birth of Marina; and consequently that Mr. M. Mason's
present remark has no sure foundation. Steevens.

Yet still there is an inadvertency somewhere; for if Pericles
made such a vow once, he would scarcely have to make it again.

BOSWLLL.

sc. in. PRINCE OF TYRE. 219

Per. Heavens make a star of him ' ! Yet there,
my queen,
We'll celebrate their nuptials, and ourselves
Will in that kingdom spend our following days ;
Our son and daughter shall in Tyrus reign.
Lord Cerimon, we do our longing stay,
To hear the rest untold. — Sir, lead the way2.

\_Eveunt.

Enter Gotfer.

Goir. In Antioch, and his daughter3, you
have heard
Of monstrous lust the due and just reward :
In Pericles, his queen and daughter, seen
(Although assail'd with fortune fierce and keen)
Virtue preserv'd from fell destruction's blast,
Led on by heaven, and crown'd with joy at
last 4.

i

Heavens make a star of him !] So, in Romeo and Juliet :
" Take him and cut him into little stars — ."
Again, in Cymbeline :

" i for they are fit

" To inlay heaven with stars." Steevens.
* Sir, lead the way.] Dr. Johnson has justly objected to the
lame and impotent conclusion of The Second Part of King
Henry IV. : " Come, will you hence ? " The concluding line of
The Winter's Tale furnishes us with one equally abrupt, and
nearly resembling the present : — " Hastily lead away." This
passage will justify the correction of the old copy now made. It
reads — " Sir, leads the way." Malone.

3 In Antioch, and his daughter.] The old copies read — " In
Antiochus and his daughter," &c. The correction was suggested
by Mr. Steevens. " So, (as he observes,) in Shakspeare's other
plays, France, for the king of France ; Morocco, for the king of
Morocco," &c. Malone.

t Virtue preserv'd from fell destruction's blast,
Led on by heaven, and crown'd with joy at last.] All the
copies are here, I think, manifestly corrupt. — They read :
" Virtue preferr'd from fell destruction's blast — ."
The gross and numerous errors of even the most accurate copy
of this play, will, it" is hoped, justify the liberty that has been
taken on this and some other occasions.
5

220 PERICLES, act v.

In Helicanus may you well descry
A figure of truth, of faith, of loyalty :
In reverend Cerimon there well appears,
The worth that learned charity aye wears.
For wicked Cleon and his wife, when fame
Had spread their cursed deed, and honour'd

name 5
Of Pericles, to rage the city turn ;
That him and his they in his palace burn.
The gods for murder seemed so content
To punish them ; although not done, but

meant0.
So on your patience evermore attending,
New joy wait on you ! Here our play has

ending. {Exit Gotver 7.

It would be difficult to produce from the works of Shakspeare
many couplets more spirited and harmonious than this. Malone.

5 — and honour'd name — ] The first and second quarto

read—

" the honour'd name."

The reading of the text, which appears to me more intelligible,

is that of the folio 1664. The city is here used for the collective

body of the citizens. Malone.

6 To punish them ; although not done, but meant.] The de-
fective metre of this line in the old copy, induces me to think
that the word them . which I have supplied, was omitted by the
carelessness of the printer. Malone.

7 This play is so uncommonly corrupted by the printers, &c.
that it does not so much seem to want illustration as emendation :
and the errata are so numerous and gross, that one is tempted to
suspect almost every line where there is the least deviation in the
language from what is either usual or proper. Many of the cor-
ruptions appear to have arisen from an illiterate transcriber
having written the speeches by ear from an inaccurate reciter ;
who between them both have rendered the text (in the verbs par-
ticularly) very ungrammatical.

More of the phraseology used in the genuine dramas of Shak-
speare prevails in Pericles, than in any of the other six doubted
plays. Percy.

The fragment of the MS. poem, mentioned in the preliminary
observations, has suffered so much by time, as to be scarcely legi-
ble The parchment on which it is written having been con-

7

PRINCE OF TYRE. 221

verted into the cover of a book, for which purpose its edges were
cut off, some words are entirely lost. However, from the follow-
ing concluding lines the reader maybe enabled to form a judgment
with respect to the age of this piece :

" thys was translatyd almost at englonde ende

" to the makers stat tak sich a mynde

f* . . . . have y take hys bedys on hond and sayd hys pat\

nostr. and crede
" Thomas * vicary y understonde at wymborne mynstre in
that stede

" y thouzte zon have wryte hit is nouzt worth to be

knowe
" . . that wole the sothe ywyte go thider and me wol the
schewe."
On the subject of Pericles, Lillo formed a play of three Acts,
which was first represented in the year 1738.

To a former edition of this play were subjoined two Disserta-
tions ; one written by Mr. Steevens, the other by me. In the
latter I urged such arguments as then appeared to me to have
weight, to prove that it was the entire work of Shakspeare, and
one of his earliest compositions. Mr. Steevens on the other hand
maintained, that it was originally the production of some elder
playwright, and afterwards improved by our poet, whose hand
was acknowledged to be visible in many scenes throughout the
play. On a review of the various arguments which each of us
produced in favour of his own hypothesis, I am now convinced
that the theory of Mr. Steevens was right, and have no difficulty
in acknowledging my own to be erroneous.

This play was entered on the Stationers' books, together with
Antony and Cleopatra, in the year 1608, by Edward Blount, a
bookseller of eminence, and one of the publishers of the first folio
edition of Shakspeare's works. It was printed with his name in
the title-page, in his life-time ; but this circumstance proves
nothing; because by the knavery of booksellers, other pieces
were also ascribed to him in his life-time, of which he indubitably
wrote not a line. Nor is it necessary to urge in support of its
genuineness, that at a subsequent period it was ascribed to him
by several dramatick writers. I wish not to rely on any circum-
stance of that kind ; because in all questions of this nature, in-
ternal evidence is the best that can be produced, and to every
person intimately acquainted with our poet's writings, must in the
present case be decisive. The congenial sentiments, the nume-
rous expressions bearing a striking similitude to passages in his

* The letters in the Italick character have been supplied by the
conjecture of Mr. Tyrwhitt, who very obligingly examined this
ancient fragment, and furnished the editor with the above extract.

022 PERICLES,

undisputed plays, some of the incidents, the situation of many of
the persons, and in various places the colour of the style, all these
combine to set the seal of Shakspeare on the play before us, and
furnish us with internal and irresistible proofs, that a considerable
portion of this piece, as it now appears, was written by him. The
greater part of the three last Acts may, I think, on this ground be
safely ascribed to him ; and his hand may be traced occasionally
in the other two divisions.

To alter, new-model, and improve the unsuccessful dramas ot
preceding writers, was, I believe, much more common in the
time of Shakspeare than is generally supposed. This piece having
been thus new-modelled by our poet, and enriched with many
happy strokes from his pen, is unquestionably entitled to that
place among his works which it has now obtained. Malone.

After Mr. Malone's retraction, (which is no less honourable to
himself than the present editor of Pericles,) [Mr. Steevens] it may
be asked why the dissertations mentioned in the foregoing note
appear a second time in print. To such a question I am not
unwilling to reply. My sole object for republishing them is to
manifest that the skill displayed by my late opponent in defence
of what he coficeived to have been right, can only be exceeded
by the liberality of his concession since he has supposed himselt
in the wrong. Steevens. ■ '

That the foregoing note and some passages in those which
follow it may be understood, the reader should be informed that
this discussion originally appeared in Mr. Malone's Supplement
to Mr. Steevens's edition in 1778, but was omitted by him when
he himself published our poet's works in 1790. Bos well.

In a former disquisition concerning this play, I mentioned, that
the dumb shows, which are found in it, induced me to doubt whe-
ther it came from the pen of Shakspeare. The sentiments that I
then expressed, were suggested by a very hasty and transient
survey of the piece. I am still, however of opinion, that this
consideration (our author having expressly ridiculed such exhibi-
tions) might in a verv doubtful question have some weight. But
weaker proofs must yield to stronger. It is idle to lay any great
stress upon such a slight circumstance, when the piece itself fur-
nishes internal and irresistible evidence of its authenticity. The
congenial sentiments, the numerous expressions bearing a striking
similitude to passages in his undisputed plays, the incidents, the
situations of the persons, the colour of the style, at least through
the greater part of the play, all, in my apprehension, conspire to
set the seal of Shakspeare on this performance. What then shall
we say to these dumb shows? Either, that the poet's practice
was not always conformable to his opinions, (of which there are
abundant proofs) or, (what I rather believe to be the case) that
this was one of his earliest dramas, written at a time when these
exhibitions were much admired, and before he had seen the ab-

PRINCE OF TYRE. 223

surdity of such ridiculous pageants ; probably, in the year 1590
or 1591 *.

Mr. Rowe, in his first edition of Shakspeare, says, " It is
owned that some part of Pericles certainly was written by him,
particularly the last Act." Dr. Farmer, whose opinion in every
thing that relates to our author has deservedly the greatest weight,
thinks the hand of Shakspeare may be sometimes seen in the
latter part of the play, and there only. The scene, in the last
Act, in which Pericles discovers his daughter, is indeed eminently
beautiful ; but the whole piece appears to me to furnish abundant
proofs of the hand of Shakspeare. The inequalities in different
parts of it are not greater than may be found in some of his other
dramas. It should be remembered also, that Dryden, who lived
near enough the time to be well informed, has pronounced this
play to be our author's first performance :

" Shakspeare's own Muse his Pericles first bore ;
" The Prince of Tyre was elder than the Moor."

Let me add, that the contemptuous manner in which Ben
Jonson has mentioned it, is, in my apprehension, another proof
of its authenticity. In his memorable Ode, written soon after
his New Inn had been damned, when he was comparing
his own unsuccessful pieces with the applauded dramas of
his contemporaries, he naturally chose to point at what he es-
teemed a weak performance of a rival, whom he appears to have
envied and hated merely because the splendor of his genius had
eclipsed his own, and had rendered the reception of those tame
and disgusting imitations of antiquity, which he boastingly called
the only legitimate English dramas, as cold as the performances
themselves.

As the subject is of some curiosity, I shall make no apology for
laying before the reader a more minute investigation of it. It is
proper, however, to inform him, that one of the following dis-
sertations on the genuineness of this play precedes the other only
for a reason assigned by Dogberry, that where tivo men ride on a
horse, one must ride behind. That we might catch hints from the
strictures of each other, and collect what we could mutually ad-
vance into a point, Mr. Steevens and I set forward with an agree-
ment to maintain the propriety of our respective suppositions re-
lative to this piece, as far as we were able : to submit our remarks,
as they gradually increased, alternately to each other, and to
dispute the opposite hypothesis, till one of us should acquiesce in
the opinion of his opponent, or each remain confirmed in his own.

* If this play was written in the year 1590 or 1591, with what
colour of truth could it be styled (as it is in the title-page to the
first edition of it, 4to. 1609,) " the laic and much admired," &c

Steevens.

224 PERICLES,

The reader is therefore requested to bear in mind, that if the last
series of arguments be considered as an answer to the first, the
first was equally written in reply to the last :

— — unus sese armat utroque,

Unaque mens animat non dissociabilis ambos. Malone.

That this tragedy has some merit, it were vain to deny ; but
that it is the entire composition of Shakspeare, is more than can
be hastily granted. I shall not venture, with Dr. Farmer, to de-
termine that the hand of our great poet is only visible in the last
Act, for I think it appears in several passages dispersed over each
of these divisions. 1 find it difficult, however, to persuade myself
that he was the original fabricator of the plot, or the author of
every dialogue, chorus, &c. and this opinion is founded on a con-
currence of circumstances which I shall attempt to enumerate,
that the reader may have the benefit of all the lights I am able to
throw on so obscure a subject.

Be it first observed, that most of the choruses in Pericles are
written in a measure which Shakspeare has not employed on the
same occasion, either in The Winter's Tale, Romeo and Juliet,
or King Henry the Fifth. If it be urged, that throughout these
recitations Gower was his model, I can safely affirm that their
language, and sometimes their versification, by no means resem-
bles that of Chaucer's contemporary. One of these monologues
is composed in haxameters, and another in alternate rhymes ;
neither of which are ever found in his printed works, or those
which yet remain in manuscript ; nor does he, like the author of
Pericles, introduce four and five-feet metre in the same series of
lines. If Shakspeare therefore be allowed to have copied not
only the general outline, but even the peculiarities of nature with
ease and accuracy, we may surely suppose that, at the cxpence of
some unprofitable labour, he would not have failed so egregi-
ously in his imitation of antiquated style or numbers. — That he
could assume with nicety the terms of affectation and pedantry,
he has shown in the characters of Osrick and Armado, Holofernes
and Nathaniel. That he could successfully counterfeit provincial
dialects, we may learn from Edgar and Sir Hugh Evans ; and
that he was no stranger to the peculiarities of foreign pronuncia-
tion, is likewise evident from several scenes of English tinctured
with French, in The Merry Wives of Windsor, and King Menry
the Fifth *. .

* Notwithstanding what I have advanced in favour of Shak-
speare's uncommon powers of imitation, I am by no means sure
he would have proved successful in a cold attempt to copy the
peculiarities of language more ancient than his own. His exalted
genius would have taught him to despise so servile an undertaking;
and his good sense would have restrained him from engaging in

PRINCE OF TYRE. 225

But it is here urged by Mr. Malone, that an exact imitation of
Gower would have proved unintelligible to any audience during
the reign of Elizabeth. If it were (which I am slow to admit)
our author's judgment would scarce have permitted him to choose
an agent so inadequate to the purpose of an interpreter; one
whose years and phraseology must be set at variance before he
could be understood, one who was to assume the form, office, and
habit of an ancient, and was yet to speak the language of a mo-
dern.

I am ready to allow my opponent that the authors who intro-
duced Machiavel, Guicciardine, and the Monk of Chester, on the
stage, have never yet been blamed because they avoided to make
the two former speak in their native tongue, and the latter
in the English dialect of his age. The proper language of the
Italian statesman and historian, could not have been understood
by our common audiences; and as to Rainulph, he is known to
have composed his Chronicle in Latin. Besides, these three per-
sonages were writers in prose. They are alike called up to super-
intend the relations which were originally found in their respective
books; and the magick that converted them into poets, might
claim an equal power over their modes of declamation. The case
is otherwise, when ancient bards, whose compositions were in
English, are summoned from the grave to instruct their country-
men ; for these apparitions may be expected to speak in the style
and language that distinguishes their real age, and their known
productions, when there is no sufficient reason why they should
depart from them. '

If the inequalities of measure which I have pointed out, be also
visible in the lyrick parts of Macbeth, &c. I must observe that
throughout these plays our author has not professed to imitate the

a task which he had neither leisure nor patience to perform.
His talents are displayed in copies from originals of a higher rank.
Neither am I convinced that inferior writers have been over-
lucky in poetical mimickries of their early predecessors. It is less
difficult to deform language, than to bestow on it the true cast of
antiquity ; and though the licentiousness of Chaucer, and the
obsolete words employed by Gower, are within the reach of mo-
derate abilities, the humour of the one, and the general idiom of
the other, are not quite so easy of attainment. The best of our
modern poets have succeeded but tolerably in short compositions
of this kind, and have therefore shown their prudence in attempt-
ing none of equal length with the assembled choruses in Pericles,
which consist at least of three hundred lines. — Mr. Pope professes
to give us a story in the manner of Chaucer ; but uses a metre
on the occasion in which not a single tale of that author is
written.

VOL. XXI, Ci

226 PERICLES,

style or manner of any acknowledged character or age ; and there-
fore was tied down to the observation of no particular rules. Most
of the irregular lines, however, in A Midsummer-Night s Dream,
&c I suspect of having been prolonged by casual monosyllables,
which stole into them through the inattention of the copyist, or
the impertinence of the speaker.-If indeed the choruses in Peri-
cles contain many such marked expressions as are discoverable in
Shakspeare's other dramas, I must confess that they have hitherto
escaped mv notice ; unless they may be said to occur in particu-
lars which'of necessity must be common to all soliloquies ot a si-
milar kind. Such interlocutions cannot fail occasionally to con-
tain the same modes of address, and the same persuasive argu-
ments to solicit indulgence and secure applause As for the ar-
dentia verba celebrated by Mr.Malone, (to borrow Milton's phrase,)
in mv apprehension thev burn but cold andfrore.

To these observations I may add, that though Shakspeare
seems to have been well versed in the writings of Chaucer, his
plays contain no marks of his acquaintance with the works of
Gower, from whose fund of stories not one of his plots is adopted.
When I quoted the Confessio Amantis to illustrate " Fbrentius
love " in The Taming of a Shrew, it was only because I had then
met with no other book in which that tale was related.— I ought
not to quit the subject of these choruses without remarking that
Gower interposes no less than six times in the course of our play,
exclusive of his introduction and peroration. Indeed he enters as
often as any chasm in the story requires to be supplied. 1 do not
recollect the same practice in other tragedies, to which the chorus
usually serves as a prologue, and then appears only between the
Acts. Shakspeare's legitimate pieces, in which these mediators
are found, might still be represented without their aid ; but the
omission of Gower in Pericles would render it so perfectly con-
fused, that the audience might justly exclaim with Othello :—
" Chaos is come again."

Very little that can tend with certainty to establish or oppose
our author's exclusive right in this dramatick performance is to be
collected from the dumb shows ; for he has no such in his other
plays, as will serve to direct our judgment. These in Pericles
are not introduced (in compliance with two ancient customs) at

Thev

stated periods, or for the sake of adventitious splendor,
do not appear before every Act, like those in Ferrex and Porrex ;
they are not, like those in Jocasta, merely ostentatious, fcuch
deviations from common practice incline me to believe that origi-
nally there were no mute exhibitions at all throughout the piece ;
but that when Shakspeare undertook to reform it, finding some
parts peculiarly long and uninteresting, he now and then struck
out the dialogue, and only left the action in its room: advismg
the author to add a few lines to his choruses, as auxiliaries on the
occasion. Those whose fate it is to be engaged in the repairs ot

PRINCE OF TYRE. 227

an old mansion-house, must submit to many aukward expedients,
which they would have escaped in a fabrick constructed on their
own plan : or it might be observed, that though Shakspeare has
expressed his contempt of such dumb shows as were inexplicable,
there is no reason to believe he would have pointed the same ridi-
cule at others which were more easily understood. I do not rea-
dily perceive that the aid of a dumb show is much more repre-
hensible than that of a chorus :

Segnius irritant animos demissa per aurem
Quam quae sunt oculis subjecta fidelibus.

If it be observed that the latter will admit of sentiment and
poetical imagery, it may be also urged that the former will serve
to furnish out such spectacles of magnificence as should by no
means appear despicable in a kingdom which has ever encouraged
the pomp of lord mayors' feasts, installments, and coronations. —
I should extend these remarks to an unwarrantable length, or
might be tempted to prove that many of Shakspeare's plays exhibit
traces of these solemn pantomimes * ; though they are too adroitly
managed by him to have need of verbal interpretation.

Next it may be remarked, that the valuable parts of Pericles
are more distinguished by their poetical turn, than by variety of
character, or command over the passions. Partial graces are in-
deed almost the only improvements that the mender of a play
already written can easily introduce ; for an error in the first con-
coction can be redeemed by no future process of chemistry. A few
flowery lines may here and there be strewn on the surface of a
dramatick piece ; but these have little power to impregnate its ge-
neral mass. Character, on the contrary, must be designed at the
author's outset, and proceed with gradual congeniality through the
whole. In genuine Shakspeare, it insinuates itself every where,
with an address like that of Virgil's snake —

fit tortile collo

Aurum ingens coluber; fit longge taenia vittse,
Innectitque comas, et membris lubricus errat.
But the drama before us contains no discrimination of manners f,

* The reader who is willing to pursue this hint, may consult
what are now called the stage directions, throughout the folio
1623, in the following pages. I refer to this copy, because it can-
not be suspected of modern interpolation. Tempest, p. 13, 15, 16.
All's Well, &c. 234, 238. King Henry VI. Part 1. 100, 102, 105.
Ditto, Part II. 125, 127, 129. Ditto, Part III. 16*. King
Henry VIII. 206, 207, 211, 215, 224, 226,231. Coriolanus,
6,7. Titus Andronicus, 31. Timon, 82. Macbeth, 135, 144.
Hamlet, 267. Antony and Cleopatra, 351, 355. Cymbeline,
392, 393.

t Those opticks that can detect the smallest vestige of Shak-

Q 2

228 PERICLES,

(except in the comick dialogues,) very few traces of original
thought, and is evidently destitute of that intelligence and useful
knowledge that pervade even the meanest of Shakspeare's undis-
puted performances. To speak more plainly, it is neither enriched
by the gems that sparkle through the rubbish of Love's Labours
Lost, nor the good sense which so often fertilizes the barren fab e
of The Two Gentlemen of Verona.— Pericles, in short, is little
more than a string of adventures so numerous, so inartificially
crouded together, and so far removed from probability, that, in my
private judgment, I must acquit even the irregular and lawless
Shakspeare of having constructed the fabrick of the drama, though
he has certainly bestowed some decoration on its parts. Yet
even this decoration, like embroidery on a blanket, only serves by
contrast to expose the meanness of the original materials. That
the plays of Shakspeare have their inequalities likewise, is suffi-
ciently understood ; but they are still the inequalities of Shak-
speare. He may occasionally be absurd, but is seldom foolish ; he
may be censured, but can rarely be despised.

I do not recollect a single plot of Shakspeare's formation (or
even adoption from preceding plays or novels) in which the majo-
rity of the characters are not so well connected, and so necessary
in respect of each other, that they proceed in combination to the
end of the story ; unless that story (as in the cases of Antigonus
and Mercutio) 'requires the interposition of death. In Pericles
this continuity is wanting :

. disjectas moles, avulsaque saxis
Saxa vides •
And even with the aid of Gower the scenes are rather loosely
tacked together, than closely interwoven. We see no more of
Antiochus after his first appearance. His anonymous daughter
utters but one unintelligible couplet, and then vanishes. Simo-
nides likewise is lost as soon as the marriage of Thaisa is over;
and the punishment of Cleon and his wife, which poetick justice
demanded, makes no part of the action, but is related in a kind ot
epilogue by Gower. This is at least a practice which in no in-
stance has received the sanction of Shakspeare. From such defi-
ciency of mutual interest, and liaison among the personages of the
drama, I am further strengthened in my belief that our great poet

speare in the character of the Pentapolitan Monarch, cannot fail
with equal felicity to discover Helen's Beauty in a Brow of Egypt,
and to find all that should adorn the Graces, in the persons and
conduct of the Weird Sisters. Compared with this Simomdes, the
Kine of Navarre, in Love's Labour's Lost, Theseus, in A Mid-
summer-Night's Dream, and the Rex Fistulatissimus, in All's Well
That Ends Well, are the rarest compounds of Macluavel and Her-
cules.

PRINCE OF TYRE.

229

had no share in constructing it*. Dr. Johnson long ago observed
that his real power is not seen in the splendor of particular pas-

* It is remarkable, that not a name appropriated by Shakspeare
to any character throughout his other plays, is to be found in this.
At the same time the reader will observe that, except in such
pieces as are built on historical subjects, or English fables, he em-
ploys the same proper names repeatedly in his different dramas.

Antonio.

Sebastian.

Ferdinand.

Francisco.

Stephano.

Helena.

Demetrius.

Valentine.

Balthasar.

Escalus.

Claudio.

Juliet.

Mariana.

Vincentio.

Portia.

Gratiano.

Rosaline.

Katharine.

Maria.

Emilia.

Angelo.

Varro.

Flavius.

Lucilius.

Diomedes.

Varrius.

Cornelius.

Bianca.

Paris.

Baptista.

Claudius.

Philo.

Ventidius.

Lucius.

Cesario.

Tempest.

Cymbeline.
M. N. Dream.
Two Gent.
Much Ado.
R. and Juliet.
Much Ado.
R. and Jul.
M. for Meas.
Tam. the Shrew
Julius Cajsar.
Othello.
L. L. Lost.
Tam. the Shrew.
Twelfth Night.
Othello.
M. for Meas.
Timon.

Two Gent. Much Ado. T. Night. M. of V.

Tw. Night.

L. L. Lost.

Hamlet.

M. of Ven.

All's Well. M. N. Dr. Tr. and Cress.

Ant. and CI.

Tw. Night.

M. of Ven. Com. of E. R. and Jul.

M. for Meas.

All's Well.

M. of Ven.

As You, &c.
L. L. Lost.

W. Tale.
Com. of E.
Julius Caes.

Com. of E.

Tr. and Cress.

M. for Meas.

Hamlet.

Othello.

Tr. and Cress.

Hamlet.

Ant. and Cleo.

Cymbeline.
Twelfth Night.

Ant. and Cleo.

Cymbeline.
T. the Shrew.
R. and Jul.
T. the Shrew.
Jul. Caesar.
Timon.

Ant. and Cleo.

To these may be added such as only differ from each other by
means of fresh terminations :

Launcc. Two Gent. and Launcelot.

Adrian. Tempest. and Adriana.

Francisco. Hamlet, etc. and Francisca.

Luce. Com. of Errors. Lucina, ibid.

Silvius. As You Like It. and Silvia.

Egeus. Mid. Night's Dr. and Egeon.

Hortensius. Timon. and Hortensio.

Leonato. Much Ado. and Leonatus.

Merchant of Venice.
Comedy of Errors.
Measure for Measure.
Lucetta. Two Gent.
Two Gent, of Verona.
Comedy of Errors.
Taming of the Shrew.
Cymbeline.

Names that in some plays are appropriated to speaking charac-
ters, in other dramas are introduced as belonging only to absent
persons or things. Thus we have mention of a

Rosaline, a Lucio, a Helena, a Valentine, &c. in Romeo and
Juliet.

230 PERICLES,

rees but in the progress of his fable, and the tenour of his dia-
Sue' and when it becomes necessary for me to quote a decision
fSed on comprehensive views, I can appeal to none in which I
should more implicitly confide.-Gower relates the story of Pen-
cies in aCnne?not quite so desultory ; and yet such a tale as that
of Prince Appolyn, in its most perfect state, would hardly have at-
tract d the Notice of any playwright, except one who was qui e a
novice in the rules of his art. Mr. Malone indeed obse ve > that
our author has pursued the legend exactly as he found it n the
Confessio Amantis, or elsewhere. 1 can only add, that this is oy
no means his practice in any other dramas, except such as are
roerel h storied, or founded on facts from which he could not
Venture to deviate, because they were universally believed Shak-
speare has deserted his originals in As You Like It, Hamlet, >ing
Lear &c The curious reader may easily convince himselt ot the

trUTif Shal^rtrrepeated in his later plays any material
circumstances which he had adopted in his more early ones I am
bv no means ready to allow. Some smaller coincidences with
himself may perhaps be discovered. Though it be not usual foi
onTarcStert to build two fabricks exactly alike, he may yet be
found to have distributed many ornaments in common over both,
and to have fitted up more than one apartment with the same
coidnic°e and moulding! If Pericles should be supposed Uo be
any general and striking resemblance to The Winters 1 ale, i«
me enquire in what part of the former we are to search tor the
XS traces of Leontes' jealousy (the hinge on which the fable
aims.) the noble fortitude of Hermione the gallantry of Hi.zel
the spirit of Paulina, or the humour of Autolycus? Two stones
canno be said to have much correspondence, when the chief
futures that distinguish the one, are entirely wanting in the

other.

Isabella, Escalus, Antonio, and Sebastian, in All's Well That

Ends Well. . .•

Capulet and Roderigo, in Twelfth-Night
Ferdinand and Troilus, in The Taming of a Shrew, &c
I have taken this minute trouble to gain an opportunity ot ob
serving how unlikely it is that Shakspeare should have been con-
tentto use second-hand names in so many of h» more finished
nhvs and at the same time have bestowed original ones through-
Whe ^enes of Pericles. This affords additional suspicion,
to me at least, that the story, and the person* drama-
% were not of our author's selection.-Neither Gower, nor
he translator of King Appolyn, has been followed on his occa
sion • for the names of Pericles, Escanes, Simonules, Cleon Lysi
rnachus and Marina, are foreign to the old story, as related both
by the poet and the novelist.

PRINCE OF TYRE. 231

Mr. Malone is likewise willing to suppose that Shakspeare con-
tracted his dialogue in the last Act of The Winter's Tale, because
he had before exhausied himself on the same subject in Pericles.
But it is easy to justify this distinction in our poet's conduct, on
other principles. Neither the king or queen of Tyre feels the
smallest degree of self-reproach. They meet with repeated ex-
pressions of rapture, for they were parted only by unprovoked
misfortune. They speak without reserve, because there is no-
thing in their story which the one or the other can wish to be
suppressed. — Leontes, on the contrary, seems content to welcome
his return of happiness without expatiating on the means by
which he had formerly lost it ; nor does Hermione recapitulate
her sufferings, through fear to revive the memory of particulars
which might be construed into a reflection on her husband's
jealousy. The discovery of Marina would likewise admit of cla-
morous transport, for similar reasons ; but whatever could be said
on the restoration of Perdita to her mother, would only tend to
prolong the remorse of her father. Throughout the notes which
I have contributed to Pericles, I have not been backward to point
out many of the particulars on which the opinion of Mr. Malone
is built; for as truth, not victory, is the object of us both, I am
sure we cannot wish to keep any part of the evidence that may
seem to effect our reciprocal opinions out of sight.

Mr. Malone is likewise solicitous to prove, from the wildness
and irregularity of the fable, &c. that this was either our author's
first, or one of his earliest dramas. It might have been so ; and
yet I am sorry to observe that the same qualities predominate in
his more mature performances ; but there these defects are in-
strumental in producing beauties. If we travel in Antony and
Cleopatra from Alexandria to Rome — to Messina — into Syria — to
Athens — to Actium, we are still relieved in the course of our
peregrinations by variety of objects, and importance of events.
But are we rewarded in the same manner for our journeys from
Antioch to Tyre, from Tyre to Pentapolis, from Pentapolis to
Tharsus, from Tharsus to Tyre, from Tyre to Mitylene, and from
Mitylene to Ephesus ? — In one light, indeed, I am ready to allow
Pericles was our poet's first attempt. Before he was satisfied
with his own strength, and trusted himself to the publick, he
might have tried his hand with a partner, and entered the theatre
in disguise. Before he ventured to face an audience on the stage,
it was natural that he should peep at them through the curtain.

What Mr. Malone has called the inequalities of the poetry, I
should rather term the patchwork of the style, in which the gene-"
ral flow of Shakspeare is not often visible. An unwearied blaze of
words, like that which burns throughout Phaedra and Hippolitus,
and Mariamne, is never attempted by our author ; for such uni-
formity could be maintained but by keeping nature at a distance.
Inequality and wildness, therefore, cannot be received as criterions

232 PERICLES,

by which we are to distinguish the early pieces of Shakspeare from
those which were written at a later period.

But one peculiarity relative to the complete genuineness of
this play, has hitherto been disregarded, though in my opinion it
is absolutely decisive. I shall not hesitate to affirm, that through
different parts of Pericles, there are more frequent and more
aukward ellipses than occur in all the other dramas attributed to
the same author ; and that these figures of speech appear only in
such worthless portions of the dialogue as cannot with justice be
imputed to him. Were the play the work of any single hand, or
had it been corrupted only by a printer, it is natural to suppose
that this clipped jargon would have been scattered over it with
equality. Had it been the composition of our great poet, he
would be found to have availed himself of the same licence in his
other tragedies ; nor perhaps, would an individual writer have
called the same characters and places alternately Pericles and
Pericles, Thaisa and Thalsa, Pentapolis and Pentapolis. Shak-
speare never varies the quantity of his proper names in the com-
pass of one play. In Cymbeline we always meet with Posthumus,
not Posthumus, Arviragus, and not Arvimgus.

It may appear singular that I have hitherto laid no stress on
such parallels between the acknowledged plays of Shakspeare and
Pericles, as are produced in the course of our preceding illustra-
tions. But perhaps any argument that could be derived from so
few of these, ought not to be decisive ; for the same reasoning
might tend to prove that eveiy little piece of coincidence of
thought and expression, is in reality one of the petty larcenies of
literature ; and thus we might in the end impeach the original
merit of these whom we ought not to suspect of having need to
borrow from their predecessors *. I can only add on this subject,
(like Dr. Farmer) that the world is already possessed of the
Marks of Imitation ; and that there is scarce one English tragedy
but bears some slight internal resemblance to another. I there-
fore attempt no deduction from premises occasionally fallacious,
nor pretend to discover in the piece before us the draughts of
scenes which were afterwards more happily wrought, or the
slender and crude principles of ideas which on other occasions
were dilated into consequence, or polished into lustre f. Not

* Dr. Johnson once assured me, that when he wrote his Irene
he had never read Othello ; but meeting with it soon afterwards,
was surprized to find he had given one of his characters a speech
- very strongly resembling that in which Cassio describes the effects
produced by Desdemona's beauty on such inanimate objects as
the outter'd rocks and congregated sands. The Doctor added,
that on making the discovery, for fear of imputed plagiarism, he
struck out this accidental coincidence from his own tragedy.

t Though I admit that a small portion of general and occa-

PRINCE OF TYRE. 233

that such a kind of evidence, however strong, or however skilfully
applied, would divest my former arguments of their weight ; for I
admit without reserve that Shakspeare,

sional relations may pass unsuspected from the works of one
author into those of another, yet when multitudes of minute coin-
cidences occur, they must have owed their introduction to contri-
vance and design. The surest and least equivocal marks of imita-
tion (says Dr. Hurd) are to be found in peculiarities of phrase and
diction ; an identity in both, is the most certain note of plagia-
rism.

This observation inclines me to offer a few words in regard to
Shakspeare's imputed share in The Two Noble Kinsmen.

On Mr. Pope's opinion relative to this subject, no great reliance
can be placed ; for he who reprobated The Winter's Tale as a
performance alien to Shakspeare, could boast of little acquaint-
ance with the spirit or manner of the author whom he undertook
to correct and explain.

Dr. Warburton (vol. i. after the table of editions) expresses a
belief that our great poet wrote " the first Act, but in his worst
manner." The Doctor indeed only seems to have been ambitious
of adding somewhat (though at random) to the decision of his
predecessor.

Mr. Seward's enquiry into the authenticity of this piece, has
been fully examined by Mr. Colman, who adduces several argu-
ments to prove that our author had no concern in it. [See Beau-
mont and Fletcher, last edit. vol. i. p. 118.] Mr. Colman might
have added more to the same purpose ; but, luckily for the pub-
lick, his pen is always better engaged than in critical and anti-
quarian disquisitions.

As Dr. Farmer has advanced but little on the present occasion,
I confess my inability to determine the point on which his conclu-
sion is founded.

This play, however, was not printed till eighteen years after the
death of Shakspeare ; and its title-page carries all the air of a
canting bookseller's imposition. Would any one else have thought
it necessary to tell the world, that Fletcher and his pretended
coadjutor, were "memorable worthies?" The piece too was
printed for one John Waterson, a man who had no copy-right in
any of our author's other dramas. It was equally unknown to the
editors in 1623, and 1632; and was rejected by those in 1664,
and 1685. — In 1661, Kirkman, another knight of the rubrick post,
issued out The Birth of Merlin, by Rowley and Shakspeare. Are
we to receive a part of this also as a genuine work of the latter ?
for the authority of Kirkman is as respectable as that of Waterson.
— I may add, as a similar instance of the craft or ignorance of
these ancient Curls, that in 1640, the Coronation, claimed by

234 PEHICLES,

" . . whose hopeful colours

" Advance a halj-facd sun striving to shine."

Shirley, was printed in Fletcher's name, and (I know not why) is
still permitted to hold a place among his other dramas.

That Shakspeare had the slightest connection with B. and
Fletcher, has not been proved by evidence of any kind. There
are no verses written by either iti his commendation ; but they
both stand convicted of having aimed their ridicule at passages in
several of his plays. His imputed intimacy with one of them, is
therefore unaccountable. Neither are the names of our great
confederates enrolled with those of other wits who frequented the
literary symposia held at the Devil Tavern in Fleet Street. As
they were gentlemen of family and fortune, it is probable that they
aspired to company of a higher rank than that of needy poets, or
mercenary players. Their dialogue bears abundant testimony to
this supposition ; while Shakspeare's attempts to exhibit such
spritely conversations as pass between young men of elegance and
fashion, are very rare, and almost confined (as Dr. Johnson re-
marks) to the characters of Mercutio and his associates. Our
author could not easily copy what he had few opportunities of ob-
serving.—So much for the unlikeliness of Fletcher's having united
with Shakspeare in the same composition.

But here it may be asked— why was the name of our poet
joined with that of Beaumont's coadjutor in The Two Noble
Kinsmen, rather than in any other play of the same author that so
long remained in manuscript? I answer,— that this event might
have taken its rise from the playhouse tradition mentioned by
Pope, and founded, as I conceive, on a singular occurrence, which
it is my present office to point out and illustrate to my readers.

The language and images of this piece coincide perpetually with
those in the dramas of Shakspeare. The same frequency of co-
incidence occurs in no other individual of Fletcher's works ^ and
how is so material a distinction to be accounted for? Did Shak-
speare assist the survivor of Beaumont in his tragedy? Surely
no ; for if he had, he would not (to borrow a conceit from Moth
in Love's Labour's Lost) have written as if he had been at a great
feast o/tragedies, and stolen the scraps, It was natural that he
should more studiously have abstained from the use. of marked ex-
pressions in this than in any other of his pieces written without
assistance. He cannot be suspected of so pitiful an ambition as
that of setting his seal on the portions he wrote, to distinguish
them from those of his colleague. It was his business to coalesce
with Fletcher, and not to withdraw from him. But, were our au-
thor convicted of this jealous artifice, let me ask where we are to
look for any single dialogue in which these lines of separation are
not drawn. If they are to be regarded as landmarks to ascertain
6

PRINCE OF TYRE. 235

is visible in many scenes throughout the play. But it follows not
from thence that he is answerable for its worst part, though the

our author's property, they stand so constantly in our way, that
we must adjudge the whole literary estate to him. I hope no one
will be found who supposes our duumvirate sat down to correct
what each other wrote. To such an indignity Fletcher could not
well have submitted ; and such a drudgery Shakspeare would as
hardly have endured. In Pericles it is no difficult task to dis-
criminate the scenes in which the hand of the latter is evident. I
say again, let the critick try if the same undertaking is as easy in
The Two Noble Kinsmen. The style of Fletcher on other occa-
sions is sufficiently distinct from Shakspeare's, though it may mix
more intimately with that of Beaumont :

<$>xciti o"v/x<p£^£T«i U^ov poov. Apol. Rhoa.

From loud Araxes Lycus' streams divide,
But roll with Phasis in a blended tide.

But, that my assertions relative to coincidence may not appear
without some support, I proceed to insert a Jew of many instances
that might be brought in aid of an opinion which I am ready to
subjoin. — The first passage hereafter quoted is always from the
Two Noble Kinsmen, edit. 1750.

{1 Dear glass of ladies. P. 9. vol. x.
2 he was indeed the glass
Wherein the noble youths did dress themselves.

King Henry IV. P. II.

fl blood-sizd field— P. 9.

\<2, o'er-sized with coagulate gore. Hamlet.

■as ospreys do the fish,

Subdue before they touch. P. 11.

as is the osprey to the fish, who takes it

By sovereignty of nature. Coriolanus.

1 His ocean needs not my poor drops. P. 20.

2 as petty to his ends

As is the morn-dew on a myrtle leaf

To his grand sea. Antony and Cleopatra.

1 Their intertanglcd roots of love. P. 22.

2 Grief and patience, rooted \n him both,

Mingle their spurs together. Cymbclinc.

236 PERICLES,

best it contains may be, not dishonourably, imputed to him.
Both weeds and flowers appear in the same parterre, yet we do

{
{

1 Lord, lord, the difference of men ! P. 30.

2 O, the difference of man and man. King Lear.

1 Like lazy clouds — . P. 30.

2 — — the lazy-pacing clouds — . Romeo and Juliet.

fl the angry swine

! Flies like a Parthian. P. 31.

<! 2 Or, like the Parthian, I shattjlying fight. Cymbeline.

i Mr. Seward observes that this comparison occurs no where
L in Shakspeare.

1 Banish' d the kingdom, &c. — P. 41.

2 See the speech of Romeo on the same occasion.

Romeo and Juliet.

1 He has a tongue will tame

Tempests—. P. 42.
2 she would sing the savageness out of a bear. Othello.

{
{
{
{

{

{
{

1 TheseusJ] To-morrow, by the sun, to do observance
To flowery May. P. 47.

2 Theseus.'] they rose up early to observe

The rite of May. Midsummer- Night's Dream.

1 Let all the dukes and all the devils roar,
He is at liberty—. P. 48.

2 And if the devil come and roar for them,
He shall not have them. King Henry IV. P. I.

1 in thy rumination

That I, poor man, might eftsoons come between. P. 50.

2 — — Nymph, in thy orisons
Be all my sins remember'd ! Hamlet.

1 Dear cousin Palamon—

Pal. Cozener Arcite. P. 51.
2 Gentle Harry Percy, and kind cousin, —

The devil take such cozeners. King Henry IV. P. I.

1 this question, sick between us,

By bleeding must be cur'd. P. 54.

2 Let's purge this choler without letting blood. K. Richard II.

1 swim with your body,

And carry it sweetly — . P. 61.

2 Bear your body more seemly, Audrey. As You Like It.

PRINCE OF TYRE. 237

not infer from their being found together, that they were planted
by the same hand.

{

{
{
{

{

{

{
{
{

{

1 And dainty duke whose doughty dismal fame. P. 64.

2 Whereat with blade, with bloody blameful blade.

Midsummer- Night's Dream.

1 And then she sung

Nothing but willow, ivillow — . P. 79.
2 sing willow, willow — . Othello.

1 O who can find the bent of woman's fancy ! P. 84-.

2 O undistinguish'd space of woman's will ! King Lear.

1 like the great-ey'd Juno's, but far sweeter. P. 84.

2 sweeter than the lids of Juno's eyes. The Winter's Tale.

1 better, o' my conscience,

Was never soldier's friend. P. 86.

2 A better never did itself sustain
Upon a soldier's thigh. Othello.

1 his tongue
Sounds like a trumpet. P. 87.

2 Would plead like angels trumpet-tongued. Macbeth.

1 this would shew bravely,

Fighting about the titles of two kingdoms. P. 89.

2 such a sight as this
Becomes the field, but here shows much amiss. Hamlet.

1 Look where she comes ! you shall perceive her behaviour.

P. 89.

2 Lo you where she comes ! This is her very guise. Macbeth.

1 the burden on't was down-a down-a. P. 90.

2 You must sing down-a down-a : oh how the wheel becomes
it ! Hamlet.

1 How her brain coins ! — P. 90.

2 This is the very coinage of your brain. Hamlet.

1 Doctor. .] not an engrafted madness, but a most thick

and profound melancholy — . p. 91.

2 Doctor^] • not so sick, my lord,

As she is troubled with thick- coming fancies — . Macbeth.

f 1 Doctor. I think she has a. perturbed mind, which I cannot
minister to. P. 91. .

J 2 perturbed spirit ! Hamlet.

i Canst thou not minister to a mind diseased?

Doctor. therein the patient

t Must minister to himself. Macbeth.

238 PERICLES,

Were I disposed, with controversial wantonness, to reason
against conviction, I might add, that as Shakspeare is known to

1 to him that makes the camp a cistern

Brim'd -with the blood of men. P. 94.

2 The mailed Mars shall on his altar sit
Up to the ears in blood. King Henry IV. P. I,

-1 hast tum'd

Green Neptune into purple. P. 94.

2 the multitudinous seas incarnardine,

Making the green one red. Macbeth.

{

1 . lover, never yet

Made truer sigh — . P. 98.

2 > never man

Sigh'd truer breath. Coriolanus.

-arms in assurance

{

{

{
{

My body to this business. P. 99.

2 bends up

Each corporal agent to this terrible feat. Macbeth.

1 thy female knights — . P. 99.

2 thy virgin knight. Much Ado About Nothing.

1 with that thy rare green eye — . P. 99.

2 Hath not so quick, so green, so fair an eye.

Romeo and Juliet.

His eyes were green as leeks. Midsummer- Night's Dream.

1 His costliness of spirit look' d through him. P. 110.

2 Your spirits shine through you. Macbeth.

1 . to dis-seat his lord. P. 114.

2 . or dis-seat me now. Macbeth.

N. B. I have met with no other instances of the use of this

word.

1 Disroot his rider whence he grew. P. 115.

2 This gallant grew unto his seat. Hamlet.

1 And bear us like the time. P. 117.

2 to beguile the time,

Look like the time. Macbeth.

{
{

It will happen, on familiar occasions, that diversity of expression
is neither worth seeking, or easy to be found; as in the following
instances :

PRINCE OF TYRE. 239

have borrowed whole speeches from the authors of Darius, King
John, the Taming of a Shrew, &c. as well as from novellists and

{

fCer. Look to the lady. Pericles.
J Macd. Look to the lady. Macbeth.
j Cap. Look to the bak'd meats. Romeo and Juliet.
V.Pal. Look to thy life well, Arcite ! Two Noble Kinsmen.

Dion. How chance my daughter is not with you ? Pericles.
K. Hen. How chance thou art not with the prince thy brother?

King Henry IV. Part II.

{Dion. How now, Marina? why do you keep alone? Pericles.
Ladv Macb. How now, my lord ? why do you keep alone ?
Macbeth.
{Coun. ■ have with you, boys! Two Noble Kinsmen.
Bel. Have faith you, boys ! Cymbeline.

rDaugh. Yours to command, i tlC way of honesty.
1 Two Noble Kinsmen.

Faulc. For I was got i' th' way of honesty. King John.

\

rThal. if I can get him within my pistols length. Pericles.

1 Phang. an if he come but within my vice.

\_ King Henry IV. P. II.

All such examples I have abstained from producing ; but the
peculiar coincidence of many among those already given, suffers
much by their not being viewed in their natural situations.

Let the criticks who can fix on any particular scenes which
they conceive to have been written by Shakspeare, or let those
who suppose him to have been so poor in language as well as
ideas, that he was constrained to borrow in the compass of half
the Noble Kinsmen from above a dozen entire plays of his own
composition, advance some hypothesis more plausible than the
following ; and yet I flatter myself that readers maybe found who
will concur with me in believing this tragedy to have been written
by Fletcher in silent imitation of our author's manner. No other
circumstance could well have occasioned such a frequent occur-
rence of corresponding phrases, &c, ; nor, in my opinion, could
any particular, but this, have induced the players to propagate the
report, that our author was Fletcher's coadjutor in the piece. —
There is nothing unusual in these attempts at imitation. Dryden,
in his preface to All for Love, professes to copy the style of Shak-
speare. Rowe, in his Jane Shore, arrogates to himself the merit
of having pursued the same plan. Mow far these poets have suc-
ceeded, it is not my present business to examine ; but Fletcher's
imitation, like that of many others, is chiefly verbal ; and yet

240 PERICLES,

historians without number, so he might be suspected of having
taken lines, and hints for future situations, from the play ot Peri-

fwhen joined with other circumstances) was perfect enough to
have misled the judgment of the players. Those people whom
the course of their profession must have had much ot bhakspeare s
language recent in their memories, could easily discover traces ot
it in this performance. They could likewise observe that the
drama opens with the same characters as first enter in A Mid-
summer-Night's Dream; that Clowns exert themselves for the
entertainment of Theseus in both ; that a pedagogue likewise
directs the sports in Love's Labour's Lost ; that a character of
female frenzy, copied from Ophelia, is notorious in The Jailor s
Daughter : and that this girl, like Lady Macbeth, is attended by
a physician who describes the difficulties of her case, and com-
ments on it, in almost similar terms. They might therefore con-
clude that the play before us was in part a production of the same
writer. Over this line, the criticks behind the scenes were unable
to proceed. Their sagacity was insufficient to observe that the
eeneral current of the style was even throughout the whole, and
bore no marks of a divided hand. Hence perhaps the solgeminus
and duvlices Thebes of these very incompetent judges, who, like
staunch match-makers, were desirous that the widow'd muse ot
Fletcher should not long remain without a bed-fellow. _

Lest it should be urged that one of my arguments against bnak-
speare's co-operation in The Two Noble Kinsmen would equally
militate against his share in Pericles, it becomes necessary for me
to ward off any objection to that purpose, by remarking that the
circumstances attendant on these two dramas are by no means
exactly parallel. Shakspeare probably furnished his share in the
latter at an early period of his authorship, and afterwards having
never owned it, or supposing it to be forgotten) was wdhng to
profit by the most valuable lines and ideas it contained. But he
would scarce have been considered himself as an object ot imita-
tion, before he had reached his meridian fame ; and in my
opinion, The Noble Kinsmen could not have been composed till
after 1611, nor perhaps antecedent to the deaths of Beaumont
and our author, when assistance and competition ceased, and the
poet who resembled the lattermost, had the direst prospect of
success. During the life of Beaumont, which concluded in 1615,
it cannot well be supposed that Fletcher would have deserted
him, to write in concert with any other dramatist. Shakspeare
survived Beaumont only by one year, and, during that time is
known to have lived in Warwickshire beyond the reach of Het-
cher, who continued to reside in London till he fell a sacrifice o
the plague in 1625 ; so that there was no opportunity for them ^ to
have joined in personal conference relative to The Two Noble

PRINCE OF TYRE. 241

cles, supposing it were the work of a writer somewhat more early
than himself. Such splendid passages occur in the scenes of his
contemporaries, as have not disgraced his own : and be it re-
membered, that many things which we at present are content to
reckon only among the adoptions of our great poet, had been long
regarded as his own proper effusions, and were as constantly
enumerated among his distinguished beauties. No verses have

Kinsmen ; and without frequent interviews between confederate
writers, a consistent tragedy can hardly be produced. Yet such
precautions will be sometimes inefficient in producing conformity
of plan, even when confederate writers are within reach of each
other. Thus, Dryden, in the third Act of Oedipus, has made
Tiresias say to the Theban monarch :

" • if e'er we meet again, 'twill be

" In mutual darkness ; we shall feel before us

" To reach each other's hand ."

But, alas ! for want of adverting to this speech, Lee has coun-
teracted it in the fourth Act, where Tiresias has another inter-
view with Oedipus before the extinction of his eyes, a circum-
stance that does not take place till the fifth Act.

But, at whatever time of Shakspeare's life Pericles was brought
forth, it will not be found on examination to comprize a fifth part
of the coincidences which may be detected in its successor ;
neither will a tenth division of the same relations be discovered in
any one of his thirty-five dramas which have hitherto been pub-
lished together.

To conclude, it is peculiarly apparent that this tragedy of The
Two Noble Kinsmen was printed from a prompter's copy, as it
exhibits such stage-directions as I do not remember to have seen
in any other drama of the same period. We may likewise take
notice that there are fewer hemistiches in it than in any of Shak-
speare's acknowledged productions. If one speech concludes with
an imperfect verse, the next in general completes it. This is
some indication of a writer more studious of neatness in composi-
tion than the pretended associate of Fletcher.

In the course of my investigation I am pleased to find I differ
but on one occasion from Mr. Colman ; and that is, in my dis-
belief that Beaumont had any share in this tragedy. The utmost
beauties it contains, were within the reach of Fletcher, who has
a right to wear,

" Without corrival, all his dignities :
" But out upon this half-fac'd fellowship ! "
because there is no just reason for supposing ;iny poet but Chau-
cer has a right to dispute with him the reputation which the tale
of Palamon and Arcitc has so long and so indisputably main-
tained.

VOL. XXI. 11

242 PERICLES, j

been more frequently quoted, or more loudly applauded than
those beginning -with " The cloud-capt towers "in The lempest ,
but if our positions relative to the date of that play are : weU
founded, Shakspeape's share in this celebrated account of nature s
Hi solution, is very inconsiderable.

To conclude, the play of Pericles was in all probability the
composkion of some friend whose interest the « gentle Shak-
S? was industrious to promote. He therefore improved his
d&ue in many places; and knowing by experience that the
s r n°gthof a dramatick piece should be f-S^f^f^
ritistroDhe was most liberal of his aid in the last Act We can
not be surprised to find that what he has supplied is of a different

colour from the rest : . .

Scinditur in partes, gemmoque qacumine surgit,

Thebanos imitata rogos ; . ' , .

for, like Beaumont, he was not writing in conjunction with a

F1MCrbMalone has asked how it happens that no memorial of an
earlier drama on the subject of Pericles remains I shall only
answer by another question-Why is it the fate of still-born in-
fants to be soon forgotten? In the rummage of some mass of
an^n? pamphlets a'nd papers, the ^*«*^SSS
miv hereafter make ts appearance. The chance that preserver
S WitSi o Middleton, may at some distant period establish
my general opinion concerning the authenticity of Pencte.
which is already strengthened by those of Rowe and Dr. farmer
and countenanced in some degree by the om.ssion of Hemingp
and Condell I was once disposed to entertain very different sen-
tmients concerning the authority of title-pages ; but on my
325 "dgment ^ I offend not to say it is mended I have found
sufficient reason to change my creed, and confess the folly ot ad
van inp much on a question which I had not more than cursorily
cons dfred.-To this I must subjoin, that perhaps our author pro-
duced The Winter s Tale at the distance of several years from he
time at which he corrected Pericles ; and, for reasons hinted at in
a preceding page, or through a forgetfulness common to all writers
Xated a few of the identical phrases and ideas which he had
Kd used in that and other dramas. I have formerly ob.er£
in a note on King Lear, (see vol. x. p. 281, n. 8.) that ana*
ncare ias appropriated the same sentiment in nearly the same
woX to Justice Shallow, King Lear, and Othello ; and inay
SrV that I find another allusion as nearly expressed in five
different places :

" Id strip myself to death, as for a bed
" That longing I'd been sick for."

J n ° ° Measure for Measure,

" I will encounter darkness like a bride,
« And hug it in. my arms." Ibidem.

PRINCE OF TYRE. 243

" I will be

" A bridegroom in my death, and run unto't
" As to a lover's bed." Antony and Cleopatra.

" I will die bravely like a bridegroom." King Lear.

" ■ in terms like bride and groom

" Devesting them for bed." Othello.

The degree of credit due to the title-page of this tragedy is
but very inconsiderable. It is not mentioned by Meres in 1598 ;
but that Shakspeare was known to have had some hand in it, was
sufficient reason why the whole should be fathered on him. The
name of the original writer could have promoted a bookseller's
purpose in but an inferior degree. In the year 1611, one of the
same fraternity attempted to obtrude on the publick the old King
John (in Dr. Farmer's opinion written by Rowley) as the work of
our celebrated author.

But we are told with confidence, that

" Shakspeare's own muse his Pericles^rrf bore,
" The Prince of Tyre was elder than the Moor."

To the testimony of Dryden respect is always due, when he
speaks of things within the compass of his own knowledge. But
on the present occasion he could only take report, or a title-page,
for his guide ; and seems to have preferred smoothness of versi-
fication to preciseness of expression. His meaning is completely
given in the second line of his couplet. In both, he designs to
say no more than that Shakspeare himself did not rise to excel-
lence in his first plays ; but that Pericles, one of the weakest im-
puted to him, was written before Othello, which is generally
regarded as the most vigorous of his productions ; that of these
two pieces, Pericles was the Jirst. Dryden in all probability met
with it in the folio edition, 1664, and enquired no further con-
cerning its authenticity. The birth of his friend Sir William
D'Avenant happened in 1605, at least ten years below the date of
this contested drama *.

* Shakspeare died in 1616; and it is hardly probable that his
godson, (a lad about ten years old) instead of searching his
pockets for apples, should have enquired of him concerning the
dates of his theatrical performances. It is not much more likely
that afterwards, in an age devoid of literary curiosity, Sir William
should have been solicitous about this circumstance, or met with
any person who was capable of ascertaining it.

If it be urged against this opinion, that most of the players
contemporary with Shakspeare, were yet alive, and from that
quarter Sir William's information might have been derived, I
answer, — from those who were at the head of their fraternity
while our author flourished, he could not have received it. Had

11

244 PERICLES,

The abuse of J. Tatham would have deserved t no reply, had it
not been raised into consequence by its place in Mr. Malone s Pre-
Uminary Observations. I think it therefore but justice to observe
hTtSs obscure wretch who calls our author a '< plebeian
driller,- (droller I suppose he meant to say,) has thereby be-
stowed on him a portion of involuntary applause. Because
Homce has pronounced that he who pleases the great is not enti-
tied to the lowest of encomiums, are we therefore to infer that the
man who has given delight to the vulgar, has no claim also o his
dividend of praise ?-interdum vulgus rectum videt. It is the
peculiar merit of Shakspeare's scenes, that they are generally felt
K understood. The tumid conceits of modern tragedy commu-
nicate no sensations to the highest or the meanest rank Senti-
mental comedy is not much more fortunate in its efforts But
cTthe perioAe pointed out in which King Lear and The Merry
Wives of Windsor did not equally entertain those who 6U the
boxes and the gallery, prmores popuh populumque ^utim.

Before I close this enquiry, which has swelled into an unex-
pected bulk, let me ask, whose opinion confers mqgt honour on
Shaksneare my opponent's or mine ? Mr. Malone is desirous
thathL fevoSe pTet should be. regarded as the sole author of a
drama which, collectively taken, is unworthy of him. I only wish
he^eader to' adopt a more moderate creed that the -purpura
panni are Shakspeare's, and the rest the productions of some in-
glorious and forgotten playwright.

g If consistently with my real belief I could have supported in-
stead of controverting the sentiments of this gentleman, whom I
have the honour to call my friend, I should have been as happy
in do ng so aS I „0w am in confessing my literary obligations to
him, and acknowledging how often in the course of the preceding
vlmes he has supplied my deficiency ^d -ctihed my err; „

On the whole, were the intnnsick merits of Pericles yet less
thin thev are it would be entitled to respect among the curious
„ %S? i erature. As the engravings of Mark Antonio are
valuable not only on account of their beauty, but because they
are supposed to have been executed under the eye of Ranaelle so
PericleTwill continue to owe some part of its reputation to the
touches it is said to have received from the hand of Shakspeare.

thev known that Pericles was the entire composition of our great
poet they would certainly have printed it among his other WOrks
in the folio 16'23,-Is it 'likely that any of our ancient histnonick
troop were better acquainted with the incunabula of Shakspeare s
Muse than the very people whose intimateconnection with him .s
marked I bv his last will" in which he calls them-" his fellom
John Heniynge, and Henry Cdndell?"

PRINCE OF TYRE. 245

To the popularity of the Prince of Tyre (which is sufficiently
evident from the testimonies referred to by Mr. Malone) we may
impute the unprecedented corruptions in its text. What was
acted frequently, must have been frequently transcribed for the
use of prompters and players ; and through the medium of such
faithless copies it should seem that most of our early theatrical
pieces were transmitted to the publick. There are certainly more
gross mistakes in this than in any other tragedy attributed to
Shakspeare. Indeed so much of it, as hitherto printed, was ab-
solutely unintelligible, that the reader had no power to judge of
the rank it ought to hold among our ancient dramatick perform-
ances. Steevens.

Mr. Steevens's intimate acquaintance with the writings of
Shakspeare renders him so well qualified to decide upon this
question, that it is not without some distrust of my own judgment
that I express my dissent from his decision ; but as all the posi-
tions that he has endeavoured to establish in his ingenious dis-
quisition on the merits and authenticity of Pericles do not appear
to me to have equal weight, I shall shortly state the reasons why
I cannot subscribe to his opinion with regard to this long-con-
tested piece.

The imperfect imitation of the language and numbers of
Gower, which is found in the choruses of this play, is not in my
apprehension a proof that they were not written by Shakspeare.
To summon a person from the grave, and to introduce him by
way of Chorus to the drama, appears to have been no uncommon
practice with our author's contemporaries. Marlowe, before the
time of Shakspeare, had in this way introduced Machiavel in his
Jew of Malta ; and his countryman Guicciardine is brought upon
the stage in an ancient tragedy called The Devil's Charter. In
the same manner Rainulph, the monk of Chester, appears in
The Mayor of Quinborough, written by Thomas Middleton. Yet
it never has been objected to the authors of the two former pieces,
as a breach of decorum, that the Italians whom they have brought
into the scene do not speak the language of their own country ;
or to the writer of the latter, that the monk whom he has intro-
duced does not use the English dialect of the age in which he
lived. — But it may be said, " nothing of this kind is attempted
by these poets ; the author of Pericles, on the other hand, has en-
deavoured to copy the versification of Gower, and has failed in
the attempt : had this piece been the composition of Shakspeare,
he would have succeeded."

I shall very readily acknowledge, that Shakspeare, if he had
thought fit, could have exhibited a tolerably accurate imitation
of the language of Gower ; for there can be little doubt, that
what has been effected by much inferior writers, he with no great

t^

246 PERICLES,

difficulty could have accomplished. But that, because these
choruses do not exhibit such an imitation, they were therefore
not his performance, does not appear to me a necessary conclu-
sion ; for he might not think such an imitation proper for a po-
pular audience. Gower, like the persons above mentioned, would
probably have been suffered to speak the same language as the
other characters in this piece, had he not written a poem contain-
ing the very story on which the play is formed. Like Guicciardine
and the monk of Chester, he is called up to superintend a rela-
tion found in one of his own performances. Hence, Shakspeare
seems to have thought it proper (not, to copy his versification for
that does not appear to have been at all in his thoughts, but) to
throw a certain air of antiquity over the monologues which he
has attributed to the venerable bard. Had he imitated the dic-
tion of the Confessio Amantiswith accuracy, he well knew that
it would have been as unintelligible to the greater part of his
audience as the Italian of Guicciardine or the Latin of Ramulph ;
for I suppose, there can be no doubt, that the language of
Gower (which is almost as far removed from that of Hooker and
Fairfax, as it is from the prose of Addison or the poetry of Pope,)
was understood by none but scholars*, even in the time of Queen
Elizabeth. Having determined to introduce the contemporary ot
Chaucer in the scene, it was not his business to exhibit so perfect
an imitation of his diction as perhaps with assiduity and study he
might have accomplished, but such an antiquated style as might
be understood by the people before whom his play was to be re-
presented f. . • • • (K
As the language of these choruses is, in my opinion, insuffi-
cient to prove that they were not the production of Shakspeare,
so also is the inequality of metre which maybe observed in dii-
ferent parts of them ; for the same inequality is found in the
lyrical parts of Macbeth and A Midsummer-Night's Dream. It
may likewise be remarked, that as in Pericles, so in many of our
author's early performances, alternate rhymes frequently occur ; a

* Perhaps not by all of them. The treasures of Greece and
Rome had not long been discovered, and to the study of ancient
languages almost every Englishman that aspired to literary repu-
tation applied his talents and his time, while his native tongue
was neglected. Even the learned Ascham was but little ac-
quainted with the language of the age immediately preceding
his own. If scholars were defective in this respect, the people,
we may be sure, were much more so. <

+ If I am warranted in supposing that the language of the
Confessio Amantis would have been unintelligible to the audience,
this surely xvas a sufficient reason for departing from it.

7

PRINCE OF TYRE. 247

practice which I have not observed in any other dramatick per-
formances of that age, intended for publick representation *.

Before I quit the subject of the choruses introduced in this
piece, let me add, that, like many other parts of this play, they
contain some marked expressions, certain ardentia verba, that are
also found in the undisputed works of our great poet ; which any
one who will take the trouble to compare them with the choruses
in King Heniy V. and The Winter's Tale, will readily perceive.
If, in order to account for the similitude, it shall be said, that
though Shakspeare did not compose these declamations of Gower,
he might have retouched them, as that is a point which never can
be ascertained, so no answer can be given to it.

That the play of Pericles was originally written by another
poet, and afterwards improved by Shakspeare, I do not see suffi-
cient reason to believe. It may be true, that all which the im-
prover of a dramatick piece originally ill-constructed can do, is,
to polish the language, and to add a few splendid passages ; but
that this play was the work of another, which Shakspeare from
his friendship for the author revised and corrected, is the very
point in question, and therefore cannot be adduced as a medium
to prove that point. It appears to me equally improbable that
Pericles was formed on an unsuccessful drama of a preceding
period ; and that all the weaker scenes are taken from thence.
We know indeed that it was a frequent practice of our author to
avail himself of the labours of others, and to construct a new
drama upon an old foundation ; but the pieces that he has thus
imitated are yet extant. We have an original Taming of a
Shrew, a King John, a Promos and Cassandra, a King Leir, &c.
but where is this old play of Pericles f ? or how comes it to pass
that no memorial of such a drama remains ? Even if it could be
proved that such a piece once existed, it would not warrant us in
supposing that the less vigorous parts of the performance in ques-
tion were taken from thence ; for though Shakspeare borrowed the
fables of the ancient dramas just now enumerated, he does not
appear to have transcribed a single scene from any one of them.

Still, however, it may be urged, if Shakspeare was the original
author of this play, and this was one of his earliest productions,
he would scarcely, at a subsequent period, have introduced in his
Winter's Tale some incidents and expressions which bear a strong

* The plays of Lord Sterline are entirely in alternate rhymes ;
but these seem not to have been intended for the stage, nor were
they, I believe, ever performed in any theatre.

t WThen Ben Jonson calls Pericles a mouldy tale, he alludes,
I apprehend, not to the remote date of the play, but to the anti-
quity of the story on which it is founded.

248 PERICLES,

resemblance to the latter part of Pericles : on the other hand,
he might not scruple to copy the performance of a preceding

POet- ... • i .

Before we acquiesce in the justice of this reasoning, let us ex-
amine what has been his practice in those dramas concerning the
authenticity of which there is no doubt. Is it true that Shak-
speare has rigidly abstained from introducing incidents or cha-
racters similar to those which he had before brought upon the
stage ? Or rather, is not the contrary notorious ? In Much Ado
About Nothing the two principal persons of the drama frequently
remind us of two other characters that had been exhibited in an
early production,— Love's Labour's Lost. In All's Well That
Ends Well and Measure for Measure we find the same artifice
twice employed : and in many other of his plays the action is
embarrassed, and the denouement affected, by contrivances that
bear a striking similitude to each other. ..-.••.

The conduct of Pericles and The Winter's Tale, which have
several events common to both, gives additional weight to the
supposition that the two pieces proceeded from the same hand.
In the latter our author has thrown the discovery of Perdita into
narration, as if through consciousness of having already exhausted,
in the business of Marina, all that could render such an incident
affecting on the stage. Leontes too says but little to Hermione,
when he finds her ; their mutual situations having been likewise
anticipated by the Prince of Tyre and Thaisa, who had before
amply expressed the transports natural to unexpected meeting
after long and painful separation.

All the objections which are founded on the want of liaison be-
tween the different parts of this piece, on the numerous characters
introduced in it, not sufficiently connected with each other, on the
various and distant countries in which the scene is laid,— may, I
think, be answered, by saying that the author pursued the story
exactly as he found it either in the Confessio Amantis * or some
prose translation of the Gesta llomanorum ; a practice which
S'iakspeare is known to have followed in many plays, and to which
iKOSt of the faults that have been urged against his dramas maybe

* Here also were found the names of the greater part of the
characters introduced in this plav ; for of the seventeen persons
represented, six of the names only were the invention of the poet.

The same quantity not being uniformly observed in some of these
names, is mentioned by Mr. Steevens as a proof that this piece
was the production of two hands. We find however Thais* and
Thaisa in the fifth Act, in two succeeding lnc-s. Is it to be ima-
gined, that this play was written like French Bouts Rimees, and
that as soon as one verse was composed by one of this supposed
duumvirate, the next was written by his associate ?

PRINCE OF TYRE. 249

imputed*. — If while we travel in Antony and Cleopatra t from
one country to another with no less rapidity than in the present
piece, the objects presented to us are more beautiful, and the
prospect more diversified, let it be remembered, at the same
time, that between the composition of these plays there was pro-
bably an interval of at least fifteen years ; that even Shakspeare
himself must have gradually acquired information like other mor-
tals, and in that period must have gained a knowledge of many
characters, and various modes of life, with which in his earlier
years he was unacquainted.

If this play had come down to us in the state in which the poet
left it, its numerous ellipses might fairly be urged to invalidate
Shakspeare's claim to the whole or to any part of it. But the argu-
ment that is founded in these irregularities of the style loses much
of its weight, when it is considered, that the earliest printed copy
appears in so imperfect a form, that there is scarcely a single page
of it undisfigured by the grossest corruptions. As many words
have been inserted, inconsistent not only with the author's meaning,
but with any meaning whatsoever, as many verses appear to have been
transposed, and some passages are appropriated to characters to
whom manifestly they do not belong, so there is great reason to
believe that many words and even lines were omitted at the press ;
and it is highly probable that the printer is answerable for more
of these ellipses than the poet. The same observation may be
extended to the metre, which might have been originally suffi-

* In the conduct of Measure for Measure his judgment has
been arraigned for certain deviations from the Italian of Cinthio,
in one of whose novels the story on which the play is built, may
be read. But, on examination, it has been found, that the faults
of the piece are to be attributed not to Shakspeare's departing
from, but too closely pursuing his original, which, as Dr. Farmer
has observed, was not Cinthio's novel, but the Heptameron of
Whetstone. In like manner the catastrophe of Romeo and Juliet
is rendered less affecting than it might have been made, by the
author's having implicitly followed the poem of Romeus and Ju-
liet, on which his play appears to have been formed. In The
Winter's Tale, Bohemia, situated nearly in the centre of Europe,
is described as a maritime country, because it had been already
described as such by Robert Greene in his Dorastus and Faunia;
and in The Two Gentlemen of Verona, Proteus goes from one
inland town to another by sea ; a voyage that in some novel he
had probably taken before. Many similar instances might be added.

f It is observable that the two plays of Pericles and Antony and
Cleopatra were entered together at Stationers' Hall in the year
1608, by Edward Blount, a bookseller of eminence, and one of the
printers of the first folio edition of our author's works.

250 PERICLES,

ciently smooth and harmonious, though now, notwithstanding
the editor's best care, it is feared it will be found in many places
rugged and defective. . ,

On the appearance of Shakspeare'* name in the title page of the
original edition of Pericles, it is acknowledged no great stress can
be laid ; for by the knavery of printers or booksellers it has been
likewise affixed to two pieces, of which it may be doubted whether
a single line was written by our author. However, though the
name of Shakspeare may not alone authenticate this play, it is not
in the scale of evidence entirely insignificant ; nor is it a lair con-
elusion, that, because we are not to confide in the title-pages ot
two dramas which are proved by the whole colour of the style and
many other considerations not to have been the composition ot
Shakspeare, we are therefore to give no credit to the title ot a
piece, which we are led by very strong internal proof, and by many
corroborating circumstances, to attribute to him. Though the
title-pages of The London Prodigal and Sir John Oldcastle should
clearly appear to be forgeries, those of Henry IV. and Othello will
still remain unimpeached.

The non-enumeration of Pericles in Meres's Catalogue of our
author's plays, printed in 1598, is undecisive with respect to the
authenticity of this piece ; for neither are the three parts of King
Henry VI. nor Hamlet mentioned in that list ; though it is certain
they were written, and had been publickly performed, before his
book was published. ' ,

Why this drama was omitted in the first edition of Shakspeare s
works, it is impossible now to ascertain. But if we shall allow
the omission to be a decisive proof that it was not the composition
of our author, we must likewise exclude Troilus and Cress.da from
the list of his performances: for it is certain, this was likewise
omitted by the editors of the first folio, nor did they see their error
till the whole work and even the table of contents was printed ; as
appears from its not being paged, or enumerated in that table with
his other plays. I do not, however, suppose that the editors,
Heminge and Condell, did not know who was the writer of Iroilus
and Cressida, but that the piece, though printed some years be-
fore, for a time escaped their memory. The same may be said ot
Pericles Why this also was not recovered, as well as the other,
we can now only conjecture. Perhaps they thought their volume
had already swelled to a sufficient size, and they did not choose to
run the risk of retarding the sale of it by encreasing its bu Ik .and
price ; perhaps they did not recollect The Prince of Tyre till their
book had been issued out ; or perhaps they considered it more for
their friend's credit to omit this juvenile performance. Ben Jon-
son, when he collected his pieces intoa volume, in the year ,1616,
in like manner omitted a comedy called The Case is Altered,
which had been printed with his name some years before, and ap-
pears to have been one of his earliest productions ; having been
exhibited before the year 1599.

PRINCE OF TYRE. 251

After all, perhaps, the internal evidence which this drama itself
affords of the hand of Shakspeare is of more weight than any
other argument that can be adduced. If we are to form our judg-
ment bv those unerring criterions which have been established by
the learned author of The Discourse on Poetical Imitation, the
question will be quickly decided ; for who can point out two wri-
ters, that without any communication or knowledge of each other
ever produced so many passages, coinciding both in sentiment
and expression, as are found in this piece and the undisputed plays
of Shakspeare * ? Should it be said, that he did not scruple to
borrow both fables and sentiments from other writers, and that
therefore this circumstance will not prove this tragedy to be his,
it may be answered, that had Pericles been an anonymous pro-
duction, this coincidence might not perhaps ascertain Shakspeare's
title to the play ; and he might with sufficient probability be sup-
posed to have only borrowed from another ; but when, in addition
to all the circumstances already stated, we recollect the constant
tradition that has accompanied this piece, and that it was printed
with his name, in his life-time, as acted at his own theatre, the
parallel passages which are so abundantly scattered throughout
every part of Pericles and his undisputed performances, afford no
slight proof, that in the several instances enumerated in the course
of the preceding observations, he borrowed, as was his frequent
practice, from himself; and that this contested play was his own
composition.

The testimony of Dryden to this point does not appear to me
so inconsiderable as it has been represented. If he had only
meant to say, that Pericles was produced before Othello, the
second line of the couplet which has been already quoted, would
have sufficiently expressed his meaning ; nor, in order to convey
this idea, was it necessary to call the former the 7"^ dramatick
performance of Shakspeare ; a particular which he lived near
enough the time to have learned from stage-tradition, or the more
certain information of his friend Sir William D'Avenant f. If

* " Considering the vast variety of words which any language,
and especially the more copious ones furnish, and the infinite
possible combinations of them into all the forms of phraseology, it
would be very strange, if two persons should hit on the same iden-
tical terms, and much more, should they agree in the same precise
arrangement of them in whole sentences." Discourse on Poetical
Imitation, Hurd's Horace, vol. iii. p. 109, edit. 1766.

f Sir William D'Avenant produced his first play at the theatre
in Blackfryers, in 1629, when he was twenty-four years old, at
which time his passion for apple-hunting, we may presume, had
subsided, and given way to more manly pursuits. That a young
poet thus early acquainted with the stage, who appears to have
had a great veneration for our author, who was possessed of

252 PERICLES,

he had only taken the folio edition of our author's works for his
guide, without any other authority, he would have named The
Tempest as his earliest production ; because it happens to stand
first in the volume. But however this may be, and whether, when
Dryden entitled Pericles our author's first composition, he meant
to be understood literally or not, let it be remembered, that he
calls it his Pericles ; that he speaks of it as the legitimate, not
the spurious or adopted, offspring of our poet's muse ; as the
sole, not the partial property of Shakspeare.

I am yet, therefore, unconvinced, that this drama was not
written by our author. The wildness and irregularity of the
fable, the artless conduct of the piece, and the inequalities of
the poetry, may, I think, be all accounted for, by supposing it
either his first, or one of his earliest essays in dramatick compo-
sition. Ma LONE.

On looking into Roscius Anglicanus, better known by the
name of Downes the Prompter's Book, originally printed in 1709,
and lately republished by the ingenious Mr. Waldron of Drury
Lane Theatre, I was not a little surprized to find, that Pericles,
Prince of Tyre, was one of the characters in which the famous
Betterton had been most applauded.— Could the copy from
which this play was acted by him and his associates, be recovered,
it would prove a singular curiosity ; at least, to those who have
since been drudging through every scene of the original quarto
1609, in the hope of restoring it to such a degree of sense and
measure as might give it currency with the reader.

As for the present editor, he expects to be

" Stopp'd in phials, and transfix'd with pins,"

the only original picture of Shakspeare ever painted, who care-
fully preserved a letter written to him by King James, who him-
self altered four of his plavs and introduced them in a new form
on the stage, should have been altogether incurious about the
early history and juvenile productions of the great luminary of
the dramatick world, (then only thirteen years dead,) who hap-
pened also to be his god-father, and was by many reputed his
father, is not very credible. That he should have never made
an enquiry concerning a play, printed with Shakspeare's name,
and which appears to have been a popular piece at the very time
when D'Avenant produced his first dramatick essay, (a third edi-
tion of Pericles having been printed in 1630) is equally improbable,
and it is still more incredible, that our author's friend, old Mr.
Heminge, who was alive in 1629, and principal proprietor and
manager of the Globe and Blackfryars play houses, should not
have been able to give him any information concerning a play,
which had been produced at the former theatre, probably while
it was under his direction, and had been acted by his company
with great applause for more than thirty years.

PRINCE OF TYRE.

253

on account of the readiness with which he has obeyed the second
clause of the Ovidian precept :

Cuncta prius tentanda ; sed immedicabile vulnus
Ense recidendum.
When it is proved, however, that a gentle process might have
been employed with equal success, let th'e actual cautery be re-
jected, or applied to the remarks of him who has so freely used it.

Steevens.

TITUS ANDRONICUS.

PRELIMINARY REMARKS.

IT is observable, that this play is printed in the quarto of 1611,
with exactness equal to that of the other books of those times.
The first edition was probably corrected by the author, so that
here is very little room for conjecture or emendation ; and accord-
ingly none of the editors have much molested this piece with
officious criticism. Johnson.

There is an authority for ascribing this play to Shakspeare,
which I think a very strong one, though not made use of, as I
remember, by any of his commentators. It is given to him,
among other plays, which are undoubtedly his, in a little book,
called Palladis Tarriia, or the Second Part of Wit's Common-
wealth, written by Francis Meres, Maister of Arts, and printed at
London in 1598. The other tragedies, enumerated as his in that
book, are King John, Richard the Second, Henry the Fourth,
Richard the Third, and Romeo and Juliet. The comedies are,
the Midsummer-Night's Dream, the Gentlemen of Verona, the
Comedy of Errors, the Love's Labour's Lost, the Love's Labour
Won, and the Merchant of Venice. I have given this list, as it
serves so far to ascertain the date of these plays ; and also, as
it contains a notice of a comedy of Shakspeare, the Love's Labour
Won, not included in any collection of his works ; nor, as far as I
know, attributed to him by any other authority. If there should
be a play in being with that title, though without Shakspeare's
name, I should be glad to see it ; and I think the editor would be
sure of thepublick thanks, even if it should prove no better than
the Love's Labour's Lost. Tyrwhitt.

Dr. Farmer was of opinion that Love's Labour Won was an-
other name for All's Well That Ends Well. See the Preliminary
Remarks to that play, vol. x. Bo swell.

The work of criticism on the plays of our author, is, I believe,
generally found to extend or contract itself in proportion to the
value of the piece under consideration ; and we shall always do
little where we desire but little should be done. I know not that
this piece stands in need of much emendation ; though it might
be treated as condemned criminals are in some countries, — any
experiments might be justifiably made on it.

The author, whoever he was, might have borrowed the story,
the names, the characters, &c. from an old ballad, which is entered
in the books of the Stationers' Company immediately after the
play on the same subject. " John Danter] Feb. 6, 1593. A
book entitled A Noble Roman Historie of Titus Andronicus."

VOL. XXI. S

258 PRELIMINARY REMARKS.

" Enter'd unto him also the ballad thereof."

Entered again April 19, 1602, by Tho. Pavyer.

The reader will find it in Dr. Percy's Reliques of Ancient Eng-
lish Poetry vol. i. Dr. Percy adds, that " there is reason to
conclude that this play was rather improved by Shakspeare with
a few fine touches of his pen, than originally writ by him ; for not
to mention that the style is less figurative than his others gene-
rally are, this tragedy is mentioned with discredit in ^e induction
to Ben Jonsons Bartholomew Fair in 161*, as one that had hen
been exhibited < five-and-twenty or thirty years : which, if we take
the lowest number, throws it back to the year •1589, at which
time Shakspeare was but twenty-five : an earlier date than can be
found for any other of his pieces, and if it does not clear him en-
tirely of it, shows at least it was a first attempt."

Though we are obliged to Dr. Percy for his attempt to clear
our great dramatick writer from the imputation of having pro-
duced this sanguinary performance, yet I cannot admit that the
circumstance of its being discreditably mentioned by Ben Jonson,
ought to have any weight; for Ben has not very sparingly cen-
sured The Tempest, and other pieces which are undoubtedly
among the most finished works of Shakspeare. The whole of
Ben's Prologue to Every Man in his Humour, is a malicious sneer

^Painter, in his Palace of Pleasure, torn. ii. speaks of the story of
Titus as well known, and particularly mentions the cruelty ot
Tamora : And, in A Knack to Know a Knave, 1594, is the follow-
ing allusion to it :

« as welcome shall you be

" To me, my daughters, and my son in law,
*« As Titus was unto the Roman senators,
" When he had made a conquest on the Goths.''
Whatever were the motives of Heming and Condell for ad-
mitting this tragedy among those of Shakspeare, all it has gained
bv their favour is, to be delivered down to posterity with repeated
remarks of contempt,-a Thersites babbling among heroes, and

introduced only to be derided.

See the notes at the conclusion of this piece. Steevens.
On what principle the editors of the first complete edition of
our poet's plays admitted this into their volume, cannot now be
ascertained The most probable reason that can be assigned is,
that he wrote a few lines in it, or gave some assistance to the
author, in revising it, or in some other way aided him>n bring-
ing- it forward on the stage. The tradition mentioned by Ra-
venscroft in the time of King James II. warrants us in making
one or other of these suppositions. - I have been told (says
he in his preface to an alteration of this play published in 1687,)
« by some anciently conversant with the stage, that it was no
originally his, but brought by a private author to be acted, and

PRELIMINARY REMARKS. 259

he only gave some master touches to one or two of the principa
parts or characters."

H A booke entitled A Noble Roman Historie of Titus Andro-
nicus " was entered at Stationers'- Hall, by John Danter, Feb. 6,
1593- 4. This was undoubtedly the play, as it was printed in
that year (according to Langbaine, who alone appears to have
seen the first edition,) and acted by the servants of the Earls of
Pembroke, Derby, and Sussex. It is observable that in the entry
no author's name is mentioned, and that the play was originally
performed by the same company of comedians who exhibited the
old drama, entitled The Contention of the Houses of Yorke and
Lancaster, The old Taming of a Shrew, and Marlowe's King
Edward II. by whom not one of Shakspeare's Plays is said to
have been performed. See the Dissertation on King Henry VI.
vol. xviii. p. 570.

From Ben Jonson's Induction to Bartholomew Fair, 1614, we
learn that Andronicus had been exhibited twenty-five or thirty
years before ; that is, according to the lowest computation, in
1589; or taking a middle period, which is perhaps more just, in
1587.

To enter into a long disquisition to prove this piece not to have
been written by Shakspeare, would be an idle waste of time. To
those who are not conversant with his writings, if particular pas-
sages were examined, more words would be necessary than the
subject is worth ; those who are well acquainted with his works,
cannot entertain a doubt on the question. — I will however men-
tion one mode by which it may be easily ascertained. Let the
reader only peruse a few lines of Appius and Virginia, Tancred
and Gismund, The Battle of Alcazar, Jeronimo, Selimus Em-
peror of the Turks, The Wounds of Civil War, The Wars of
Cyrus, Locrine, Arden of Feversham, King Edward I. The
Spanish Tragedy, Solyman and Perseda, King Leir, the old
King John, or any other of the pieces that were exhibited before
the time of Shakspeare, and he will at once perceive that Titus
Andronicus was coined in the same mint.

The testimony of Meres, mentioned in a preceding note, alone
remains to be considered. His enumerating this among Shak-
speare's plays may be accounted for in the same way in which
we may account for its being printed by his fellow- comedians in
the first folio edition of his works. Meres was in 1598, when
his book appeared, intimately connected with Drayton, and pro-
bably acquainted with some of the dramatick poets of the time,
from some or other of whom he might have heard that Shak-
speare interested himself about this tragedy, or had written a few
lines for the author. The internal evidence furnished by the
piece itself, and proving it not to have been the production of
Shakspeare, greatly outweighs any single testimony on the other
side. Meres might have been misinformed, or inconsiderately

S 2

260 PRELIMINARY REMARKS.

have given credit to the rumour of the day. For six of theplays
which he has mentioned, (exclusive of the evidence which the
representation of the pieces themselves might have furnished,)
he had perhaps no better authority than the whisper of the
theatre; for they were not then printed. He could not have
been deceived by a title-page, as Dr. Johnson supposes; for Shak-
speare's same is not in the title-page of the edition printed in
quarto in 1611, and therefore we may conclude, was not in the
title-page of that in 159-t, of which the other was undoubtedly
a re-impression. Had this mean performance been the work of
Shakspeare, can it be supposed that the booksellers would not
have endeavoured to procure a sale for it by stamping his name
upon it?

In short, the high antiquity of the piece, its entry on the Sta-
tioners* books, and being afterwards printed without the name of
our author, its being performed by the servants of Lord Pem-
broke, &c. the stately march of the versification, the whole colour
of the composition, its resemblance to several of our most ancient
dramas, the dissimilitude of the style from our author's undoubted
compositions, and the tradition mentioned by Ravenscroft, when
some of his contemporaries had not been long dead, (for
Lowin and Taylor, two of his fellow-comedians, were alive a few
years before the Restoration, and Sir William D'Avenant,
who had himself written for the stage in 1626, did not die till
April 1668,) all these circumstances combined, prove with irre-
sistible force that the play of Titus Andronicus has been errone-
ously ascribed to Shakspeare. Malone.

" Kyd— probably original author of Andronicus, Locrine, and
play in Hamlet. — Marloe, of H. 6.

" Ben Jonson, Barthol. Fair— ranks together Hieronymo and
Andronicus, [time and stile]— first exposed him to the criticks—
shelter'd afterwards under another's name.

" Sporting Kyd [perhaps wrote comedy] and Marloe's mighty
line— Jonson. [might assist Lily,] Perhaps Shakspeare's addi-
tions outshone.

" Tamburlaine mention'd with praise by Heywood, as Marloe's,
might be different from the bombast one— and that written by

From a loose scrap of paper, in the hand writing of Dr. Farmer.

Steevens.
In the library of the Duke of Bridgewater, at Ashridge, is a
volume of old quarto plays, numbered R. 1. 7 ; in which the first

is Titus Andronicus. . . , ... ,

I have collated it with the tragedy as it stands in the edition of
Shakspeare, 1793 : and the following remarks, and various read-
ings, are here assigned to their proper places. Todd. _

The ingenious and accurate Mr. Todd has most obligingly col-
lated this tragedy (4to. 1600) with that.in 8vo. 1793. Most of

PRELIMINARY REMARKS. 261

his collations, &c. will be found at the bottom of the following
pages. Steevens.

Mr. Malone, in a preceding note, has expressed his opinion
that Shakspeare may have written a few lines in this play, or given
some assistance to the author in revising it. Upon no other ground
than this, has it any claim to a place among our poet's dramas ?
Those passages in which he supposed the hand of Shakspeare may be
traced, are marked wirh inverted commas. I cannot help thinking
that this system of seizing upon every line possessed of merit
as belonging of right to our great dramatist, is scarcely doing
justice to his contemporaries, and resembles one of the argu-
ments which Theobald has used in his preface to The Double
Falshood : " My partiality for Shakspeare makes me wish that
every thing which is good or pleasing in our tongue had been
owing to his pen." Many of the writers of that day were men of
high poetical talent ; and many individual speeches are found in
plays, which, as plays, are of no value, which would not have been
in any way unworthy of Shakspeare himself, of whom Dr. Johnson
has observed, that " his real power is not shown in the splendour
of particular passages, but by the progress of his fable and the
tenor of his dialogue, and he that tries to recommend him by
select quotations, will succeed like the pedant in Hierocles,
who, when he offered his house to sale, carried a brick in his
pocket as a specimen." It is with the utmost diffidence that I
venture to call in question the opinion of Dr. Farmer, who has
ascribed Titus Andronicus to Kyd, and placed it on a level with
Locrine ; but it appears to me to be much more in the style of
Marlowe. His fondness for accumulating horrors upon other
occasions will account for the sanguinary character of this play ;
and it would not, I think, be difficult to show by extracts from his
other performances, that there is not a line in it which he was
not fully capable of writing. Boswell.

PERSONS REPRESENTED.

Saturninus, Son to the late Emperor of Rome, and

afterwards declared Emperor himself.
Bassianus, Brother to Saturninus ; in love with

Lavinia.
Titus Andronicus, a noble Roman, General

against the Goths.
Marcus Andronicus, Tribune of the People;

and Brother to Titus.
Lucius, "|

Qutntus, I Song to titus Andronicus.

Martius, r

Mutius, J

Young Lucius, a Boy, Son to Lucius.

Publius, Son to Marcus the Tribune.

/Emilius, a noble Roman.

Alarbus, "I

Chiron, VSons to Tamora.

Demetrius, )

Aaron, a Moor, beloved by Tamora .

A Captain, Tribune, Messenger, and Clown;

Romans.
Goths and Romans.

Tamora, Queen of the Goths.

Lavinia, Daughter to Titus Andronicus.

A Nurse, and a black Child.

Kinsmen of Titus, Senators, Tribunes, Officers,
Soldiers, and Attendants.

SCENEy Rome ; and the Country near it.

TITUS ANDRONICUS.

ACT I. SCENE I.

Rome. Before the Capitol.

The Tomb of the Andronici appearing ; the Tri-
bunes and Senators aloft, as in the Senate. En-
ter, below, Saturmnus and his Followers, on one
side; and Bass i anus and his Followers, on the
other ; with Drum and Colours.

Sat. Noble patricians, patrons of my right,
Defend the justice of my cause with arms ;
And, countrymen, my loving followers,
Plead my successive title 1 with your swords :
I am his first-born son, that was the last
That ware the imperial diadem of Rome ;
Then let my father's honours live in me,
Nor wrong mine age 2 with this indignity.

Bas. Romans, — friends, followers, favourers of
my right,—
If ever Bassianus, Caesar's son,

' — my successive title — ] i. e. my title to the succession.

Malone.
Thus also Raleigh : " The empire being elective, and not suc-
cessive, the emperors, in being, made profit of their own times."

Steevens.
2 — mine age — ] My seniority in point of age. Tamora,
in a subsequent passage, speaks of him as a very young man :
" If Saturnine advance the queen of Goths,
" She will a handmaid be to his desires ;
" A loving nurse, a mother to \\\s youth." Boswell.

264 TITUS ANDRONICUS. act i.

Were gracious in the eyes of royal Rome,

Keep then this passage to the Capitol ;

" And suffer not dishonour to approach

" The imperial seat, to virtue consecrate,

" To justice, continence, and nobility:

" But let desert in pure election shine ;

" And, Romans, fight for freedom in your choice.

Enter Marcus Andronicus, aloft, with the Crown.

Mar. Princes — that strive by factions, and by
friends,
Ambitiously for rule and empery, —
Know, that the people of Rome, for whom we

stand
A special party, have, by common voice,
In election for the Roman empery,
Chosen Andronicus, surnamed Pius
For many good and great deserts to Rome :
A nobler man, a braver warrior,
Lives not this day within the city walls :
He by the senate is accited home,
From weary wars against the barbarous Goths ;
That, with his sons, a terror to our foes,
Hath yok'd a nation strong, train d up in arms.
Ten years are spent, since first he undertook
This cause of Rome, and chastis'd with his arms
Our enemies' pride : Five times he hath return'd
Bleeding to Rome, bearing his valiant sons
In coffins from the field ;
And now at last, laden with honour's spoils,
Returns the good Andronicus to Rome,
Renowned Titus, flourishing in arms.
Let us entreat, — By honour of his name,
Whom, worthily, you would have now succeed,
And in the Capitol and senate's right,
Whom you pretend to honour and adore, —
That you withdraw you, and abate your strength ;

sc. J. TITUS ANDRONICUS. 265

Dismiss your followers, and, as suitors should,
Plead your deserts in peace and humbleness.

Sat. How fair the tribune speaks to calm my

thoughts !
Bas. Marcus Andronicus, so I do any
In thy uprightness and integrity,
And so I love and honour thee and thine,
Thy nobler brother Titus, and his sons,
And her, to whom my thoughts are humbled all,
Gracious Lavinia, Rome's rich ornament,
That I will here dismiss my loving friends ;
And to my fortunes, and the people's favour,
Commit my cause in balance to be weigh'd.

[Exeunt the Folloxcers of Bassianvs.
Sat. Friends, that have been thus forward in my
right,
I thank you all, and here dismiss you all ;
And to the love and favour of my country
Commit myself, my person, and the cause.

[Exeunt the Followers of Saturninus.
Rome, be as just and gracious unto me,
As I am confident and kind to thee. —
Open the gates, and let me in.

Bas. Tribunes ! and me, a poor competitor.
[Sat. and Bas. go into the Capitol, and exeunt
with Senators, Marcus, 8$c.

SCENE II.
The Same.

Enter a Captain, and Others.

Cap. Romans, make way; The good Andronicus,
Patron of virtue, Rome's best champion,
Successful in the battles that he fights,
With honour and with fortune is rcturn'd,

266 TITUS ANDRONICUS. act 1.

From where he circumscribed with his sword,
And brought to yoke, the enemies of Rome.

Flourish of Trumpets, 8$c. Enter Mutjus and Mar-
tius: after them, two Men bearing a Coffin co-
vered with black ; then Quintus and Lucius.
After them, Titus Andronicus ; and then
Tamora, with Alarbus, Chiron, Demetrius,
Aaron, and other Goths, prisoners ; Soldiers and
People, following. The Bearers set down the
Coffin, and Titus speaks.

Tit. Hail, Rome, victorious in thy mourning
weeds 3 !
Lo, as the bark, that hath discharg'd her fraught4,
Returns with precious lading to the bay,
From whence at first she weighed her anchorage,
Cometh Andronicus, bound with laurel boughs,
To re-salute his country with his tears ;
Tears of true joy for his return to Rome,—
Thou great defender of this Capitol 5,
Stand gracious to the rights that we intend !

3 Hail, Rome, victorious in thy mourning weeds !] I suspect
that the poet wrote :

" in my mourning weeds ! "

i. e. Titus would say : ' Thou, Rome, art victorious, though I am a
mourner for those sons which I have lost in obtaining that victory.'

Warburton.
Thy is as well as my. We may suppose the Romans in a
grateful ceremony, meeting the dead sons of Andronicus with
mournful habits. Johnson.

Or that they were in mourning for their emperor who was just
dead. Steevens.

4 — her fraught.] Old copies — his fraught. Corrected in
the fourth folio. Malone.

" — his fraught," As in the other old copies noted by Mr.
Malone. It will be proper here to observe, that the edition of
1600 is not paged. Todd.

s Thou great defender of this Capitol,] Jupiter, to whom the
Capitol was sacred. Johnson.

sc. I. TITUS ANDRONICUS. 267

Romans, of five and twenty valiant sons,

Half of the number that king Priam had,

Behold the poor remains, alive, and dead !

These, that survive, let Rome reward with love;

These, that I bring unto their latest home,

With burial amongst their ancestors :

Here Goths have given me leave to sheath my

sword.
Titus, unkind, and careless of thine own,
Why suffer'st thou thy sons, unburied yet,
To hover on the dreadful shore of Styx 6 ? —
Make way to lay them by their brethren.

[The Tomb is opened.
There greet in silence, as the dead are wont,
And sleep in peace, slain in your country's wars !
O sacred receptacle of my joys,
Sweet cell of virtue and nobility,
How many sons of mine hast thou in store,
That thou wilt never render to me more ?

Luc. Give us the proudest prisoner of the Goths,
That we may hew his limbs, and, on a pile,
Ad manes Jratrum sacrifice his flesh,
Before this earthly prison 7 of their bones ;
That so the shadows be not unappeas'd,
Nor we disturb'd with prodigies on earth8.

Tit. I give him you ; the noblest that survives,
The eldest son of this distressed queen.

Tam. Stay, Roman brethren; — Gracious con-
queror,

6 To hover on the dreadful shore of Styx ?] Here we have one
of the numerous classical notions that are scattered with apedan-
tick profusion through this piece. Malone.

7 — earthly prison — ] Edit. 1600 — " earthy prison."

Todd.

8 Nor we disturb'd with prodigies on earth.] It was supposed
by the ancients, that the ghosts of unburied people appeared to
their friends and relations, to solicit the rites of funeral.

Steevens.

268 TITUS ANDRONICUS. act i.

Victorious Titus, rue the tears I shed,
A mother's tears in passion for her son :
And, if thy sons were ever dear to thee,
O, think my son to be as dear to me.
Sufficeth not, that we are brought to Rome,
To beautify thy triumphs, and return,
Captive to thee, and to thy Roman yoke ;
But must my sons be slaughter'd in the streets,
For valiant doings in their country's cause ?
O ! if to fight for king and common weal
Were piety in thine, it is in these.
Andronicus, stain not thy tomb with blood :
Wilt thou draw near the nature of the gods ?
Draw near them then in being merciful 8 :
Sweet mercy is nobility's true badge ;
Thrice-noble Titus, spare my first-born son.

Tit. Patient yourself 9, madam, and pardon me.
These are their brethren, whom you Goths beheld
Alive, and dead ; and for their brethren slain,
Religiously they ask a sacrifice :
To this your son is mark'd ; and die he must,
To appease their groaning shadows that are gone.

8 Wilt thou draw near the nature of the gods ?

Draw near them then in being merciful :] " Homines enim
ad deos nulla re propius accedunt, quam salutem hominibus dando."
Cicero fro Ligario.

Mr. Whalley infers the learning of Shakspeare from this pas-
sage : but our present author, whoever he was, might have found
a translation of it in several places, provided he was not acquainted
with the original. Steevens.
The same sentiment is in Edward III. 1596 :

" kings approach the nearest unto God,

" By giving life and safety unto men." Reed.

9 Patient yourself, &c] This verb is used by other drama-
tick writers. So, in Arden of Feversham, 1592 :

" Patient yourself, we cannot help it now."
Again, in King Edward I. 1599:

" Patient your highness, 'tis but mother's love."
Again, in Warner's Albion's England, 1602, b. xii. ch. Ixxv. :
" Her, weeping ripe, he laughing, bids to patient her awhile."

Steevens.

sc. i. TITUS ANDRONICUS. 269

Luc. Away, with him ! and make a fire straight;
And with our swords, upon a pile of wood,
Let's hew his limbs, till they be clean consum'd.

[Exeunt Lucius, Quintus, Martius, and
Mutius, with Alarbus.

Tam. O cruel, irreligious piety !

Chi. Was ever Scythia half so barbarous ?

Dem. Oppose not Scythia to ambitious Rome.
Alarbus goes to rest ; and we survive
To tremble under Titus' threatening look.
Then, madam, stand resolv'd ; but hope withal,
The self-same gods, that arm'd the queen of Troy
With opportunity of sharp revenge
Upon the Thracian tyrant in his tent *,
May favour Tamora, the queen of Goths,
(When Goths were Goths, and Tamora was queen,)
To quit the bloody wrongs upon her foes.

1 The self-same gods, that arm'd the queen of Troy
With opportunity of sharp revenge

Upon the Thracian tyrant in his tent, &c] I read, against
the authority of all the copies :

" in her tent ."

i. e. in the tent where she and the other Trojan captive women
were kept : for thither Hecuba by a wile had decoyed Polymnestor,
in order to perpetrate her revenge. This we may learn from Euri-
pides's Hecuba ; the only author, that I can at present remember,
from whom our writer must have gleaned this circumstance.

Theobald.

Mr. Theobald should first have proved to us that our author
understood Greek, or else that this play of Euripides had been
translated. In the mean time, because neither of these particulars
are verified, we may as well suppose he took it from the old story-
book of the Trojan War, or the old translation of Ovid. See
Metam. xiii. The writer of the play, whoever he was, might have
been misled by the passage in Ovid, " vadit ad artifice7n," and
therefore took it for granted that she found him in his tent.

Steevens.

I have no doubt that the writer of this play had read Euripides
in the original. Mr. Steevens justly observes in a subsequent
note near the end of this scene, that there is " a plain allusion to
the Ajax of Sophocles, of which no translation was extant in the
time of Shakspeare." Malone.

270 TITUS ANDRONICUS. acti.

Re-enter Lucius, Quintus, Martius, and Mutius,
with their Swords bloody.

Luc. See, lord and father, how we have per-
form d
Our Roman rites : Alarbus' limbs are lopp'd,
And entrails feed the sacrificing fire,
Whose smoke, like incense, doth perfume the sky.
Remaineth nought, but to inter our brethren,
And with loud 'larums welcome them to Rome.

Tit. Let it be so, and let Andronicus
Make this his latest farewell to their souls.

\Trumpets sounded, and the Coffins laid in the
Tomb.
" In peace and honour rest you here, my sons ;
" Rome's readiest champions, repose you here in

rest 2,
" Secure from worldly chances and mishaps !
" Here lurks no treason, here no envy swells,
" Here grow no damned grudges ; here, are no

storms,
" No noise, but silence and eternal sleep :

Enter Lavinia.

In peace and honour rest you here, my sons !

Lav. In peace and honour live lord Titus long ;
My noble lord and father, live in fame !
Lo ! at this tomb my tributary tears
I render, for my brethren's obsequies ;
And at thy feet I kneel with tears of joy
Shed on the earth, for thy return to Rome :
O, bless me here with thy victorious hand,

* — repose you here,] Old copies, redundantly in respect both
to sense and metre :

«« _ — repose you here in rest." Steevens.

The same redundancy in the edition 1600, as noted in other co-
pies by Mr. Steevens. Todd.

sc. i. TITUS ANDRONICUS. 271

Whose fortunes Rome's best citizens applaud.
Tit. Kind Rome, that hast thus lovingly
reserv'd
The cordial of mine age to glad my heart ! —
Lavinia, live ; outlive thy father's days,
And fame's eternal date, for virtue's praise3 !

Enter Marcus Andronicus, Saturninus, Bas-

sianus, and Others.

Mar. Long live lord Titus, my beloved brother,
Gracious triumpher in the eyes of Rome !

Tit. Thanks, gentle tribune, noble brother
Marcus.

Mar. And welcome, nephews, from successful
wars,
You that survive, and you that sleep in fame.
Fair lords, your fortunes are alike in all,
That in your country's service drew your swords :
But safer triumph is this funeral pomp,
That hath aspir'd to Solon's happiness 4,
And triumphs over chance, in honour's bed. —
Titus Andronicus, the people of Rome,
Whose friend in justice thou hast ever been,
Send thee by me, their tribune, and their trust,

3 And fame's eternal date, for virtue's praise !] This absurd
wish is made sense of, by changing and into in. Warburton.

To " live in fame's date " is, if an allowable, yet a harsh ex-
pression.

To " outlive an eternal date " is, though not philosophical, yet
poetical sense. He wishes that her life may be longer than his,
and her praise longer than fame. Johnson.

* That hath aspir'd to Solon's happiness,] The maxim of Solon
here alluded to is, that no man can be pronounced to be happy
before his death :

ultima semper

Expectanda dies homini ; dicique beatus

Ante obitum nemo, supremaque funera, debet. Ovid.

Malonu.

272 TITUS ANDRONICUS act i.

This palliament of white and spotless hue ;
And name thee in election for the empire,
With these our late-deceased emperor's sons :
Be candidatus then, and put it on,
And help to set a head on headless Rome.

Tit. A better head her glorious body fits,
Than his, that shakes for age and feebleness :
What ! should I don this robe 5, and trouble you ?
Be chosen with proclamations to-day ;
To-morrow, yield up rule, resign my life,
And set abroad new business for you all ?
Rome, I have been thy soldier forty years,
And buried one and twenty valiant sons,
Knighted in field, slain manfully in arms,
In right and service of their noble country :
Give me a staff of honour for mine age,
But not a scepter to control the world:
Upright he held it, lords, that held it last.

Mar. Titus, thou shalt obtain and ask the
empery 6.

Sat. Proud and ambitious tribune, canst thou
tell ?—

Tit. Patience, prince Saturnine 7.

Sat. Romans, do me right ; —

Patricians, draw your swords, and sheath them not
Till Saturninus be Rome's emperor : —
Andronicus, 'would thou wert shipp'd to hell,
Rather than rob me of the people's hearts.

Luc. Proud Saturnine, interrupter of the good
That noble-minded Titus means to thee !

5 — don this robe,] i. e. do on this robe, put it on. So, in
Hamlet :

" Then up he rose, and do'nd his clothes." Steevens.

6 Titus, thou shalt obtain and ask the empery.] Here is ra-
ther too much of the vcrrepov Trporepov. Steevens.

7 Patience, prince Saturnine.] Edition 1600 —

" Patience, prince Saturninus." Todd.

sc. 7. TITUS ANDRONICUS. 273

Tit. Content thee, prince : I will restore to thee
The people's hearts, and wean them from them-
selves.

Bas. Andronicus, I do not flatter thee,
But honour thee, and will do till I die ;
My faction if thou strengthen with thy friends 8,
I will most thankful be : and thanks, to men
Of noble minds, is honourable meed.

Tit. People of Rome, and people's tribunes here,
I ask your voices, and your suffrages;
Will you bestow them friendly on Andronicus ?

Trib. To gratify the good Andronicus,
And gratulate his safe return to Rome,
The people will accept whom he admits.

Tit. Tribunes, I thank you: and this suit I
make,
That you create your emperor's eldest son,
Lord Saturnine; whose virtues will, I hope,
Reflect on Rome, as Titan's rays on earth,
And ripen justice in this common-weal:
Then if you will elect by my advice,
Crown him, and say, — Long live our emperor.

Mar. With voices and applause of every sort,
Patricians, and plebeians, we create
Lord Saturninus, Rome's great emperor ;
And say, — Long live our Emperor Saturnine !

\_A long Flourish.

Sat. Titus Andronicus, for thy favours done
To us in our election this day,
I give thee thanks in part of thy deserts,
And will with deeds requite thy gentleness:
And, for an onset, Titus, to advance
Thy name and honourable family,

8 — thy friends,] Old copies— -friend. Corrected in the
fourth folio. Ma lone.

Edition 1600, friend, as in other old eopirs noted by Mr. Ma-
lone. Tonr>.

VOL. XXI. T

274 TITUS ANDRONICUS. act i.

Lavinia will I make my emperess,
Rome's royal mistress, mistress of my heart,
And in the sacred Pantheon 9 her espouse :
Tell me, Andronicus, doth this motion please thee ?
Tit. It doth, my worthy lord ; and, in this match,
I hold me highly honour d of your grace :
And here, in sight of Rome, to Saturnine,—
King and commander of our common-weal,
The wide world's emperor,— do I consecrate
My sword, my chariot, and my prisoners;
Presents well worthy Rome's imperial lord ' :
Receive them then, the tribute that I owe,
Mine honour's ensigns humbled at thy feet.

Sat. Thanks, noble Titus, father of my life !
How proud I am of thee, and of thy gifts,
Rome shall record ; and, when I do forget
The least of these unspeakable deserts,
Romans, forget your fealty to me.

Tit. Now, madam, are you prisoner to an
emperor; [To T amor a.

To him, that for your honour and your state,
Will use you nobly, and your followers.

Sat. A goodly lady, trust me ; of the hue
That I would choose, were I to choose anew.—
Clear up, fair queen, that cloudy countenance :
Though chance of war hath wrought this change

of cheer,
Thou com'st not to be made a scorn in Rome :
Princely shall be thy usage every way.
Rest on my word, and let not discontent
Daunt all your hopes ; Madam, he comforts you/

9 — Pantheon — ] The quarto 1611, and the first folio— Fa-
Man ; the second mo— Pantheon. Steevens.

Edition 1600— Pathan, as in other copies noted by Mr. fctee-

vens. Todd.

« —imperial lord :] Edition 1600:
'« .imperious lord." Todd.

sc. i. TITUS ANDRONICUS. 275

Can make you greater than the queen of Goths. —
Lavinia, you are not displeas'd with this ?

Lav. Not I, my lord'2; sith true nobility
Warrants these words in princely courtesy.

Sat. Thanks, sweet Lavinia. — Romans, let us go :
Ransomless here we set our prisoners free :
Proclaim our honours, lords, with trump and drum.
Bas. Lord Titus, by your leave, this maid is
mine. [Seizing Lavinia.

Tit. How, sir ? Are you in earnest then, my lord ?
Bas. Ay, noble Titus ; and resolv'd withal,
To do myself this reason and this right.

[The Emperor courts Tamora in dumb show.
Mar. Suum cuique is our Roman justice :
This prince injustice seizeth but his own.

Luc. And that he will, and shall, if Lucius live.
Tit. Traitors, avaunt ! Where is the emperor's
guard ?
Treason, my lord ; Lavinia is surpriz'd.
Sat. Surpriz'd ! By whom ?
Bas. By him that justly may

Bear his betroth'd from all the world away.

[Exeunt Marcus and Bassianus, with Lavinia.
Mut. Brothers, help to convey her hence away,
And with my sword I'll keep this door safe.

[Exeunt Lucius, Quintus, and Martius.
Tit. Follow my lord, and I'll soon bring her

back.
Mut. My lord, you pass not here.

2 Lav. Not I, my lord ;] It was pity to part a couple who seem
to have corresponded in disposition so exactly as Saturninus and
Lavinia. Saturninus, who has just promised to espouse her, al-
ready wishes he were to choose again ; and she who was engaged
to Bassianus (whom she afterwards marries) expresses no reluc-
tance when her father gives her to Saturninus. Her subsequent
raillery to Tamora is of so coarse a nature, that if her tongue had
been all she was condemned to lose, perhaps the author (whoever
he was) might have escaped censure on the score of poctick jus-
tice. Stervt.ns.

>r o

276 TITUS ANDRONICUS. act /.

Tit. What, villain boy !

Barr'st me my way in Rome ?

[Titus kills Mutjvs.

Mut. Help, Lucius, help !

Re-enter Lucius.
Luc. My lord, you are unjust; and, more than so,
In wrongful quarrel you have slain your son.

Tit. Nor thou, nor he, are any sons of mine :
My sons would never so dishonour me:
Traitor, restore Lavinia to the emperor.

Luc. Dead, if you will ; but not to be his wife,
That is another's lawful promis'd love . [Exit .

" Sat. No, Titus, no; the emperor needs her not,
" Nor her 3, nor thee, nor any of thy stock :
" I'll trust, by leisure, him that mocks me once ;
" Thee never, nor thy traitorous haughty sons,
" Confederates all thus to dishonour me.
" Was there none else in Rome to make a stale 4,
" But Saturnine ? Full well, Andronicus,
" Agree these deeds with that proud brag of thine,
" That said'st, I begg'd the empire at thy hands.

" Tit. O monstrous! what reproachful words are
these ?

Sat. But go thy ways ; go, give that changing
piece 5

3 Not her,] Edition 1600— Nor her. Todd.

It is nor in the edition of 1611 also, but has hitherto been erro-
neously printed by the modern editors— not. Malone.

4 Was there, &c] The words there and else are not found in
the old copies. This conjectural emendation was made by the
editor of the second folio.

The same editor, from ignorance of ancient phraseology, reads
— " to make a stale of." See vol. xiii. p. 228, n. 2. Malone

I must excuse myself from ejecting anyone of these monosylla-
bles, being convinced that they were all inserted from an autho-
rized copy, and by a judicious hand. Steevens.

5 changing piece — ] Spoken of Lavinia. Piece was then,

as it is now, used personally as a word of contempt. Johnson.

sc. i. TITUS ANDRONICUS. 277

To him that flourish'd for her with his sword :
A valiant son-in-law thou shalt enjoy ;
One fit to bandy with thy lawless sons,
To ruffle in the commonwealth of Rome 6.

Tit. These words are razors to my wounded
heart.

Sat. And therefore, lovely Tamora, queen of
Goths, —
That, like the stately Phoebe 'mongst her nymphs,
Dost overshine the gallant'st dames of Rome 7,
If thou be pleas'd with this my sudden choice,
Behold, I choose thee, Tamora, for my bride,
And will create thee emperess of Rome.
Speak, queen of Goths, dost thou applaud my
choice ?

So, in Britania's Pastorals, by Brown, 1613 :

" her husband, weaken'd piece,

" Must have his cullis mix'd with ambergrease ;

" Pheasant and partridge into jelly turn'd,

" Grated with gold."
Again, in the old play of King Leir, 1605 :

" when did you see Cordelia last,

" That pretty piece — ? " Steevens.

6 To ruffle in the commonwealth of Rome.] A rnffler was a
kind of cheating bully ; and is so called in a statute made for the
punishment of vagabonds in the 27th year of King Henry VIII.
See Greene's Groundwork of Coneycatching, 1592. Hence,
I suppose, this sense of the verb, to ruffle. Rufflers are likewise
enumerated among other vagabonds, by Holinshed, vol. i. p. 183.

Steevens.
To ruffle meant, to be noisy, disorderly, turbulent. A rujjler
was a boisterous swaggerer. Malone.

7 That, like the stately Phozbe 'mongst her nymphs,
Dost overshine the gallant'st dames of Rome,]

— — — Micat inter omnes
Julium sidus, velut inter ignes
Luna minores. Hor. Malone.
From Phaer's Virgil, 1573 : [^neid, b. i.]

" Most like unto Diana bright when she to hunt goth out —
" Whom thousands of the ladie nymphes awaite to do her
will;

" She on her armes her quiucr beres, and al them oucr-
shynes." Ritson.

278

TITUS ANDRONICUS. act i.

And here I swear by all the Roman Gods,—
Sith priest and holy water are so near,
And tapers burn so bright, and every thing
In readiness for Hymeneus stand, —
I will not re -salute the streets of Rome,
Or climb my palace, till from forth this place
I lead espous'd my bride along with me.

Tam. And here, in sight of heaven, to Rome I
swear,
If Saturnine advance the queen of Goths,
She will a handmaid be to his desires,
A loving nurse, a mother to his youth.

Sat. Ascend, fair queen, Pantheon :— Lords,
accompany
Your noble emperor, and his lovely bride,
Sent by the heavens for prince Saturnine,
Whose wisdom hath her fortune conquered :
There shall we consummate our spousal rites.

[Exeunt Satvrninus and his Followers ; Ta~
mora, and her Sons; Aaron and Goths.
Tit. I am not bid 8 to wait upon this bride ; —
Titus, when wert thou wont to walk alone,
Dishonour'd thus, and challenged of wrongs ?

Re-enter Marcus, Lucius, Quintus, and Martws.

Mar. O, Titus, see, O, see, what thou hast done I
In a bad quarrel slain a virtuous son.

Tit. No, foolish tribune, no ; no son of mine,—
Nor thou, nor these, confederates in the deed
That hath dishonour^ all our family ;
Unworthy brother, and unworthy sons !

Luc. But let us give him burial, as becomes ;
Give Mutius burial with our brethren.

Tit. Traitors, away ! he rests not in this tomb.
This monument five hundred years hath stood,

* 1 am not bid — ] I e. invited. Nf alone.

sc. i. TITUS ANDRONICUS. 279

Which I have sumptuously re-edified :
Here none but soldiers, and Rome's servitors,
Repose in fame ; none basely slain in brawls : —
Bury him where you can, he comes not here.

Mar. My lord, this is impiety in you :
My nephew Mutius' deeds do plead for him :
He must be buried with his brethren.

Quin. Mart. And shall, or him we will accom-
pany.

Tit. And shall ? What villain was it spoke that
word ?

Quin. He that would vouch't in any place but
here.

Tit. What, would you bury him in my despite ?

Mar. No, noble Titus ; but entreat of thee
To pardon Mutius, and to bury him.

Tit. Marcus, even thou hast struck upon my
crest,
And, with these boys, mine honour thou hast

wounded :
My foes I do repute you every one ;
So trouble me no more, but get you gone.

Mart. He is not with himself; let us withdraw 9.

Quin. Not I, till Mutius' bones be buried.

\_Marcus and the Sons of Titus kneel.

Mar. Brother, for in that name doth nature plead.

Quin. Father, and in that name doth nature speak.

Tit. Speak thou no more, if all the rest will speed.

Mar. Renowned Titus, more than half my soul, —

Luc. Dear father, soul and substance of us all, —

Mar. Suffer thy brother Marcus to inter

9 He is not with himself; let us withdraw.] Read:

" He is not novo himself ." Hitson.

Perhaps the old reading is a mere affected imitation of Roman
phraseology. See iEneid xi. 409, though the words there are
otherwise applied :

1 habitet tecum, et sit pectore in isto. Ste evens.

It is much the same sort of phrase as he is beside himself, a
genuine English idiom. Boswell.

280 TITUS ANDRONICUS. act I.

His noble nephew here in virtue's nest,
That died in honour and Lavinia's cause.
Thou art a Roman, be not barbarous :
The Greeks, upon advice, did bury Ajax
That slew himself ; and wise Laertes' son
Did graciously plead for his funerals x :
Let not young Mutius then, that was thy joy,
Be barr'd his entrance here.

Tit. Rise, Marcus, rise : —

The dismall'st day is this, that e'er I saw,
To be dishonour'd by my sons in Rome ! —
Well, bury him, and bury me the next.

[Mutius is put into the Tomb.
Luc. There lie thy bones, sweet Mutius, with
thy friends,
Till we with trophies do adorn thy tomb ! —

All. No man shed tears for noble Mutius2 ;
He lives in fame that died in virtue's cause.

Mar. My lord,— to step out of these dreary
dumps, —
How comes it, that the subtle queen of Goths
Is of a sudden thus advanc'd in Rome ?

Tit. I know not, Marcus ; but, I know, it is ;
Whether by device, or no, the heavens can tell :
Is she not then beholden to the man
That brought her for this high good turn so far ?
Yes, and will nobly him remunerate3.

' The Greeks, upon advice, bid bury Ajax
That slew himself; and wise Laertes' son
Did graciously plead for his funerals.] This passage alone
would sufficiently convince me, that the play before us was the
work of one who was conversant with the Greek tragedies in
their original language. We have here a plain allusion to the
Ajax of Sophocles, of which no translation was extant in the time
of Shakspeare. In that piece, Agamemnon consents at last to
allow Ajax the rites of sepulture, and Ulysses is the pleader,
whose arguments prevail in favour of his remains. Steevens.

* No man shed tears, &c] This is evidently a translation of
the distich of Ennius :

Nemo me lacrumeis decoret: nee funera fletu
Facsit, quur ? volito vivu' per ora virtim. Steevens.

sc. i. TITUS ANDRONICUS. 281

Flourish. Re-enter, at one side, Satvrninus, at-
tended; Tamora, Chiron, Demetrius, and
Aaron: At the Other, Bassianus, Lavinia,
and Others.

Sat. So Bassianus, you have play'd your prize4;
God give you joy, sir, of your gallant bride.

Bas. And you of yours, my lord : I say no more,
Nor wish no less ; and so I take my leave.

Sat. Traitor, if Rome have law, or we have power,
Thou and thy faction shall repent this rape.

Bas. Rape, call you it, my lord, to seize my own,
My true-betrothed love, and now my wife ?
But let the laws of Rome determine all ;
Mean while I am possess'd of that is mine.

Sat. 'Tis good, sir : You are very short with us ;
But, if we live, we'll be as sharp with you.

Bas. My lord, what I have done, as best I may,
Answer I must, and shall do with my life.
Only thus much I give your grace to know,
By all the duties that I owe to Rome,
This noble gentleman, lord Titus here,
Is in opinion, and in honour, wrong'd ;
That, in the rescue of Lavinia,
With his own hand did slay his youngest son,
In zeal to you, and highly mov'd to wrath
To be control'd in that he frankly gave :
Receive him then to favour, Saturnine ;
That hath express'd himself, in all his deeds,
A father, and a friend, to thee, and Rome.

3 Yes, &c] This line is not in the quarto. I suspect, when
it was added by the editor of the folio, he inadvertently omitted
to prefix the name of the speaker, and that it belongs to Marcus.
In the second line of this speech the modern editors read — //'by
device, &c. Malone.

4 — play'd your prize ;] A technical term in the ancient
fencing-school. See vol. viii. p. 30, n. 8. Ste evens.

282

TITUS ANDRONICUS.

ACT 1.

Tit. Prince Bassianus, leave to plead my deeds;
Tis thou, and those, that have dishonoured me :
Rome and the righteous heavens be my judge,
How I have lov'd and honour'd Saturnine !
Tam. My worthy lord, if ever Tamora
Were gracious in those princely eyes of thine,
Then hear me speak indifferently for all ;
And at my suit, sweet, pardon what is past.

Sat. What ! madam ! be dishonour'd openly,
And basely put it up without revenge ?

Tam. Not so, my lord; The gods of Rome fore-
fend,
I should be author to dishonour you !
But, on mine honour, dare I undertake
For good lord Titus' innocence in all,
Whose fury, not dissembled, speaks his griefs :
Then, at my suit, look graciously on him ;
Lose not so noble a friend on vain suppose,
Nor with sour looks afflict his gentle heart.—
My lord, be rul'd by me, be won at last,
Dissemble all your griefs and discontents:
You are but newly planted in your throne ;
Lest then the people, and patricians too,
Upon a just survey, take Titus' part,
And so supplant us 3 for ingratitude,
(Which Rome reputes to be a heinous sin,)
Yield at entreats, and then let me alone : ^ ,
I'll find a day to massacre them all,
And raze their faction, and their family,
The cruel father, and his traitorous sons,
To whom I sued for my dear son's life ;
And make them know, what 'tis to let a

queen
Kneel in the streets, and beg for grace in
vain. —

5 — supplant us— ] Edition 1600:— supplant you. Todd.

sc. i. TITUS ANDRONICUS. 283

Come, come, sweet emperor, — come, Andronicus,
Take up this good old man, and cheer the heart
That dies in tempest of thy angry frown.

Sat. Rise, Titus, rise ; my empress hath pre-
vail'd.

Tit. I thank your majesty, and her, my lord :
These words, these looks, infuse new life in me.

Tam. Titus, I am incorporate in Rome,
A Roman now adopted happily,
And must advise the emperor for his good.
This day all quarrels die, Andronicus ; —
And let it be mine honour, good my lord,
That I have reconcil'd your friends and you. —
For you, prince Bassianus, I have pass'd
My word and promise to the emperor,
That you will be more mild and tractable. —
And fear not, lords, — and you, Lavinia ; —
By my advice, all humbled on your knees,
You shall ask pardon of his majesty.

Luc. We do ; and vow to heaven, and to his
highness,
That, what we did, was mildly, as we might,
Tend'ring our sister's honour, and our own.

Mar. That on mine honour here I do protest.

Sat. Away, and talk not ; trouble us no more. —

Tam. Nay, nay, sweet emperor, we must all be
friends :
The tribune and his nephews kneel for grace ;
I will not be denied. Sweet heart, look back.

Sat. Marcus, for thy sake, and thy brother's
here,
And at my lovely Tamora's entreats,
I do remit these young men's heinous faults.
Stand up.

Lavinia, though you left me like a churl,
I found a friend ; and sure as death I swore,
I would not part a bachelor from the priest.

6

284 TITUS ANDRONICUS. act n.

Come, if the emperor's court can feast two brides,
You are my guest, Lavinia, and your friends :
This day shall be a love-day, Tamora.

Tit. To-morrow, an it please your majesty,
To hunt the panther and the hart with me,
With horn and hound, we'll give your grace bonjour.

Sat. Be it so, Titus, and gramercy too.

[Exeunt.

ACT II. SCENE I.6
The Same. Before the Palace.

Enter Aaron.

Aar. Now climbeth Tamora Olympus' top,
Safe out of fortune's shot ; and sits aloft,
Secure of thunder's crack, or lightning's flash ;
Advanc'd above pale envy's threat'ning reach.
As when the golden sun salutes the morn,
And, having gilt the ocean with his beams,
Gallops the zodiack in his glistering coach,
And overlooks the highest-peering hills ;

So Tamora. v

Upon her wit 7 doth earthly honour wait,

6 Act II. Scene I.] In the quarto, the direction is, Manet
Aaron, and he is before made to enter with Tamora, though he
says nothing. This scene ought to continue the first Act.

Johnson.
In the edit. 1600, the stage direction is—" Sound trumpets,
manet Moore." Todd.

7 Upon her wit — ] We should read — Upon her mil.

Warburton.

I think mt, for which she is eminent in the drama, is right.

Johnson.

The wit of Tamora is again mentioned in this scene :

M Come, come, our empress with her sacred n*f," &c.

Malone.

sc. i. TITUS ANDRONIOUS. 285

And virtue stoops and trembles at her frown.

Then, Aaron, arm thy heart, and fit thy thoughts,

To mount aloft with thy imperial mistress,

And mount her pitch ; whom thou in triumph long

Hast prisoner held, fetter'd in amorous chains ;

And faster bound to Aaron's charming eyes,

Than is Prometheus tied to Caucasus.

Away with slavish weeds, and idle thoughts 8 !

I will be bright, and shine in pearl and gold,

To wait upon this new-made emperess.

To wait, said I ? to wanton with this queen,

This goddess, this Semiramis ; — this nymph 9,

This syren, that will charm Rome's Saturnine,

And see his shipwreck, and his commonweal's.

Holla ! what storm is this ?

Enter Chiron and Demetrius, braving.

Dem. Chiron, thy years want wit, thy wit wants
edge,
And manners, to intrude where I am grac'd ;
And may, for aught thou know'st, affected be.

Chi. Demetrius, thou dost over-ween in all ;
And so in this to bear me down with braves.
Tis not the difference of a year, or two,
Makes me less gracious, thee more fortunate :
I am as able, and as fit, as thou,
To serve, and to deserve my mistress' grace ;

8 — idle thoughts!] Edit. 1600 — servile thoughts, the better
reading, I think. Todd.

9 This goddess, this Semiramis ;— this nymph,] [Edition
1611, and folio, queen.] Mr. Malone notices the inadvertent
repetition of queen, but thinks the poet's word not worth a con-
jecture. The edition 1600 saves the trouble, as it reads :

" This goddesse, this Semerimis, this nymph." Todd.

The compositor probably repeated the word queen inadver-
tently; [see the preceding line:] what was the poet's word, it
is hardly worthwhile to conjecture. Malone.

286 TITUS ANDRONICUS. act n.

And that my sword upon thee shall approve,
And plead my passions for Lavinia's love.

Jar. Clubs, clubs x ! these lovers will not keep
the peace. .

Dem. Why, boy, although our mother, unadvis d,
Gave you a dancing-rapier by your side \
Are you so desperate grown, to threat your friends 3
Go to ; have your lath glued within your sheath,
Till you know better how to handle it.

Cm- Mean while, sir, with the little skill I have,
Full well shalt thou perceive how much I dare.

Dem. Ay, boy, grow ye so brave ? [They draw.

jARt Why, how now, lords ?

So near the emperor's palace dare you draw,
And maintain such a quarrel openly ?
Full well I wot the ground of all this grudge ;
I would not for a million of gold,
The cause were known to them it most concerns :
Nor would your noble mother, for much more,
Be so dishonour'd in the court of Rome.

For shame, put up.

Dem. Not I ; till I have sheath d

Mv rapier in his bosom, and, withal,

Thrust these reproachful 4 speeches down his throat,

« Clubs, clubs !] So, in King Henry VIII. : " - and hit that
woman, who cried out clubs ! " . . ,

This was the usual outcry for assistance, when any not in the
street happened. Steevens.

SppvoI vi. P. 490, n.3. Reed. ; , n!

?!LaDANciNG-KAPiE»byyour8ide.] So, ^Gree-esQu.p
for an Upstart Courtier: - - one of them carrying to eutfimg-
sword of choller, the other his dancing-rapier of delight. Again,
in All's Well that Ends Well :
" _ — . no sword worn,
" But one to dance with." Steevens.

See vol \ii P. 310, n. 8. Malone.

f Not 1 I have sheath'd, &c] This speech which has

been all along given to Demetrius, as the next to Chiron, wore
hnth riven To the wrong speaker; for it was Demetrios that luul
KowS out thercproach0fulspeechcson the other. wMHU

sc. i. TITUS ANDRONICUS. 287

That he hath breath'd in my dishonour here.

Chi. For that I am prepar'd and full resolv'd, —
Foul-spoken coward ! that thunder'st with thy

tongue 5,
And with thy weapon nothing dar'st perform.

Aar. Away, I say. —
Now by the gods, that warlike Goths adore,
This petty brabble will undo us all. —
Why, lords, — and think you not how dangerous
It is to jut upon a prince's right ?
What, is Lavinia then become so loose,
Or Bassianus so degenerate,
That for her love such quarrels may be broach'd,
Without controlment, justice, or revenge ?
Young lords, beware ! — an should the empress

know
This discord's ground, the musick would not please.

Chi. I care not, I, knew she and all the world ;
I love Lavinia more than all the world.

Dem. Youngling, learn thou to make some
meaner choice :
Lavinia is thine elder brother's hope.

Aar. Why, are ye mad ? or know ye not, in
Rome
How furious and impatient they be,
And cannot brook competitors in love ?
I tell you, lords, you do but plot your deaths
By this device.

Chi. Aaron, a thousand deaths

Would I propose 6, to achieve her whom I love.

4 — these reproachful — ] Edition 1600 — those reproachful.

Todd.

5 — thunder'st with thy tongue,] This phrase appears to
have been adopted from Virgil, iEneid xi. 383 :

Proinde tona eloquio, solitum tibi . Steevens.

6 — a thousand deaths

Would I PRorosE,] Whether Chiron means he would con-

288 TITUS ANDRONICUS. act n.

Jar. To achieve her !— How ?

Dem. Why mak'st thou it so strange ?

She is a woman, therefore may be woo'd ;
She is a woman, therefore may be won 7 ;

trive a thousand deaths for others, or imagine as many cruel ones
for himself I am unable to determine. Steevens.

Aaron's words, to which these are an answer, seem to lead to
the latter interpretation. Malone.

Does not Chiron mean,-' that had he a thousand lives, such
was his love for Lavinia, he would propose to venture them all
to achieve her? ' W. Woodham.

So, in The Taming of a Shrew: .

" Tranio, I burn, I burn, I pine, I perish, Tranio ;
" If I achieve not this young modest girl." Boswell.
7 She is a woman, therefore may be woo'd ;
She is a woman, therefore may be won ;] 1 hese two hnes
occur, with very little variation, in the First Part of King

T-fpnrv \f I *

" She's beautiful, and therefore to be woo'd ;

" She is a woman, therefore to be won."
This coincidence may lead one to suspect that the author of the
present play was also author of the original Henry VI. I do not,
indeed, conceive either to be the production of Shakspeare ; for,
thouoh his hand is sufficiently visible in some parts of the other
play, particularly in the second Scene of the fourth Act, there does
Sot appear a single line in this, which can have any pretensions to
that honour: ancftherefore the testimony of Meres and the pubhca-
tion of the players must necessarily yield to the force pfintonsick
and circumstantial evidence. It is much to be regretted that the dra-
matick works of our earliest tragick writers as Greene and 1 Fee e
for instance, and "sporting Kyd," and « Marlowe s mighty line ore
not collected and published together, if it were only » enabf ™J
readers of Shakspeare to discriminate between his style and that
of which he found the stage, and has left some oT his dmnas, in
possession ; and of which 1 consider this play, and a least four
nfths of the First Part of King Henry VI. (including the whole of
the First Act) the performances, no doubt, of one or other oi the
writers already named, as a genuine and not "toW^E";
men Indeed I should take Kyd to have been the author of 1 itus
Andronicus, because he seems to delight in murders and scraps of
Latin ; though I must confess that, in the first of those good
quabt es, Marlowe's Jew of Malta may fairly dispute precedence
with the Spanish Tragedy. Some few of the obsolete dramas I
allude to. are, it is true, to be found in the collections of Dodsley

sc. i. TITUS ANDRONICUS. 289

She is Lavinia, therefore must be lov'd.
What, man ! more water glideth by the mill 3
Than wots the miller of ; and easy it is
Of a cut loaf to steal a shive 9, we know :
Though Bassianus be the emperor's brother,
Better than he have worn * Vulcan's badge.

Aar. Ay, and as good as Saturninus may.

[Aside.

Dem. Then why should he despair, that knows
to court it
With words, fair looks, and liberality ?
What, hast thou not full often struck a doe ^
And borne her cleanly by the keeper's nose ?

and Hawkins ; though I could wish that each of those gentlemen
had confined his researches to the further side of the year 1600.
Future editors will, doubtless, agree in ejecting a performance by
which their author's name is dishonoured, and his works are dis-
graced. Ritson.

8 — more water glideth by the mill, &c] A Scots proverb :
" Mickle water goes by the miller when he sleeps."

Non omnem molitor quae fluit unda videt. Steeveivs.

9 — to steal a shive,] A shive is a slice. So, in the tale of
Argentile and Curan, in Warner's Albion's England, 1602 :

" A sheeve of bread as browne as nut."
Demetrius is again indebted to a Scots proverb :

" It is safe taking a shive of a cut loaf." Steevens.

1 — have worn — ] Worn is here used as a dissyllable.
The modern editors, however, after the second folio, read — " have
yet worn." Malone.

Let him who can read ivorn as a dissyllable, read it so. As I
am not of that description, I must continue to follow the second
folio. Steevens.

2 —struck a doe,] Mr. Holt is willing to infer from this
passage that Titus Andronicus was not only the work of Shak-
speare, but one of his earliest performances, because the strata-
gems of his former profession seem to have been yet fresh in his
mind. I had made the same observation in King Henry VI.
before I had seen his ; but when we consider how many phrases
are borrowed from the sports of the field, which were more fol-
lowed in our author's time than any other amusement, I do not
think there is much in either his remark or my own. — Let me
add, that we have here Demetrius, the son of a queen, demand-
ing of his brother prince if he has not often been reduced to

VOL. XXI. U

290 TITUS ANDRONICUS. act u.

Aar. Why then, it seems, some certain snatch
or so
Would serve your turns.

QHlt Ay, so the turn were serv d .

Dem. Aaron, thou hast hit it.

jARt 'Would you had hit it too ;

Then should not we be tir'd with this ado.
Why, hark ye, hark ye,— And are you such fools,
To square for this4 ? Would it offend you then
That both should speed ?

qhi F faith, not me.

Dem. Nor me>

So I were one.

Aar. For shame, be friends ; and join for that

you jar.
'Tis policy and stratagem must do
That you affect ; and so must you resolve ;
That what you cannot, as you would., achieve,
You must perforce accomplish as you may.
Take this of me, Lucrece was not more chaste
Than this Lavinia, Bassianus' love.
A speedier course than lingering languishment b

practise the common artifices of a deer-stealer :— an absurdity
right worthy the rest of the piece. Steevens.

Demetrius surely here addresses Aaron, not his brother.

Malone.

4 To sauARE for this?] To square is to quarrel. So, in A
Midsummer-Night's Dream :

" they never meet,

" But they do square."
Again, in Drant's translation of Horace's Art of Poetry, 1567 i
" Let them not sing twixt act and act,
" What squareth from the rest."
But to square, which in both these instances signifies to differ,
is now used only in the very opposite sense, and means to agree.

Steevens.

s A speedier course than lingering languishment—] The old
copies read :

"^ this lingering," &c.

se. /. TITUS ANDROJNtCUS. 291

Must we pursue, and I have found the path.

My lords, a solemn hunting is in hand ;

There will the lovely Roman ladies troop :

The forest walks are wide and spacious ;

And many unfrequented plots there are,

Fitted by kind6 for rape and villainy:

Single you thither then this dainty doe,

And strike her home by force, if not by words :

This way, or not at all, stand you in hope.

Come, come, our empress, with her sacred wit 7,

To villainy and vengeance consecrate,

Will we acquaint with all that we intend ;

And she shall file our engines with advice 8,

That will not suffer you to square yourselves,

But to your wishes' height advance you both.

The emperor's court is like the house of fame,

The palace full of tongues, of eyes, of ears 9 :

The woods are ruthless, dreadful, deaf, and dull ;

There speak, and strike, brave boys, and take your

turns :
There serve your lust, shadow'd from heaven's eye,
And revel in Lavinia's treasury.

Cm. Thy counsel, lad, smells of no cowardice.

which may mean, ' we must pursue by a speedier course this coy
languishing dame, this piece of reluctant softness.' Steevens.
The emendation was made by Mr. Rowe. Malone.

6 — by kind — ] That is, by nature, which is the old signifi-
cation of kind. Johnson.

7 — with her sacred wit,] Sacred here signifies accursed;
a Latinism :

Quid non mortalia pectora cogis,

Auri sacra fames ? Virg. Malone.

8 — file our engines with advice,] i. e. remove all impedi-
ments from our designs by advice. The allusion is to the opera-
tion of the file, which, by conferring smoothness, facilitates the
motion of the wheels which compose an engine or piece of ma-
chinery. Steevens.

9 — of eyes, of ears :] Edit. 1600 : — of eyes and eares.

Todd.

1J 2

292 TITUS ANDRONICUS. act u.

Dem. Sit fas aut nefas, till I find the stream
To cool this heat \ a charm to calm these fits,
Per Styga, per manes vehor2. \_Exeunt.

SCENE II.3

A Forest near Rome. A Lodge seen at a distance.
Horns, and cry of Hounds heard.

Enter Titus Andronicus, with Hunters, §c.
Marcus, Lucius, Quintus, and Martius.

" Tit. The hunt is up, the morn4 is bright and
grey \

1 — till I find the stream

To cool this heat,] Thus likewise, the festive Strumbo in
the tragedy of Locrine: " — except you with the pleasant
water of your secret fountain, quench the furious heat of the same."

Amner.

2 Per Styga, &c] These scraps of Latin are, I believe,
taken, though not exactly, from some of Seneca's tragedies.

Steevens.

3 Scene II.] The division of this play into Acts, which was
first made by the editors in 1623, is improper. There is here an
interval of action, and here the second Act ought to have begun.

Johnson.

4 — the morn — ] Edit. 1600 erroneously reads— the moon.

Todd.

5 —the morn is bright and grey,] i. e. bright and yet not
red, which was a sign of storms and rain, but gray, which fore-
told fair weather. Yet the Oxford editor alters gray to gay.

Warburton.
Surely the Oxford editor is in the right ; unless we reason like
the Witches in Macbeth, and say :

" Fair is foul, and foul is fair." Steevens.
The old copy is, I think, right ; nor did grey anciently denote
any thing of an uncheerful hue. It signified blue, of heaven's
own tinct." So, in Shakspeare's 132d Sonnet :

" And truly not the morning sun of heaven
" Better becomes the grey cheeks of the east — ."
Again, in King Henry VI. Part II. :

sc. ii. TITUS ANDRONICUS. 293

" The fields are fragrant, and the woods are green :
" Uncouple here, and let us make a bay,
" And wake the emperor and his lovely bride,
" And rouse the prince ; and ring a hunter's peal,
" That all the court may echo with the noise.
" Sons, let it be your charge, as it is ours,
" To tend the emperor's person carefully :
" I have been troubled in my sleep this night,
" But dawning day new comfort hath inspir'd.

Horns wind a Peal. Enter Saturninus, Tamora,
Bassianus, Lavinia, Chiron, Demetrius, and
Attendants.

Tit. Many good morrows to your majesty ; —
Madam, to you as many and as good ! —
I promised your grace a hunter's peal.

Sat. And you have rung it lustily, my lords,
Somewhat too early for new-married ladies.

Bas. Lavinia, how say you ?

Lav. I say, no ;

it stuck upon him as the sun

" In the grey vault of heaven."
Again, in Romeo and Juliet:

" The grey-ey'd morn smiles on the frowning night — ."
Again, ibidem :

" I'll say yon grey is not the morning's eye."
Again, more appositely, in Venus and Adonis, which decisively
supports the reading of the old copy:

" Mine eyes are grey and bright, and quick in turning."

Malone.
A lady's eye of any colour may be bright ; but still grey can-
not mean aerial blue, nor a grey morning a bright one. Mr.
Malone says grey is blue. Is agrey coat then a blue one ?

Steevbns.
Surely Warburton's note is fully explanatory of the text, if
it required explanation. There is a common proverbial saying —
" An evening red, and a morning grey,
" Are the signs of a fine coming day."
It is singular that either Mr. Malone or Mr. Steevens, who were
both early risers, should have thought this expression demanded a
note. Boswell.

6

294 TITUS ANDR0N1CUS. act n.

I have been broad awake two hours and more.

Sat. Come on then, horse and chariots let us have,
And to our sport :— Madam, now shall ye see
Our Roman hunting. [To Tjmora.

Mar. I have dogs, my lord,

Will rouse the proudest panther in the chase,
And climb the highest promontory top.

Tit. And I have horse will follow where the
game
Makes way, and run like swallows o'er the plain.
Dem. Chiron, we hunt not, we, with horse nor
hound,
But hope to pluck a dainty doe to ground.

[Exetint.

SCENE III.
A desert Part of the Forest.

Enter Aaron, with a Bag of Gold.

" Jar. He, that had wit, would think that I had
none,
" To bury so much gold under a tree,
" And never after to inherit it 6.
" Let him, that thinks of me so abjectly,
" Know, that this gold must coin a stratagem ;
" Which, cunningly effected, will beget
" A very excellent piece of villainy :
" And so repose, sweet gold, for their unrest 7,

[Hides the Gold.
" That have their alms out of the empress' chest8.

6 to inherit it.] To inherit formerly signified to j)ossess.

See vol. xv. p. H6, n. 7. Malonh.

7 for their unrest,] Unrest, for disquiet, is a word fre-
quently used by the old writers. So, in The Spanish Tragedy,

1603:

"Thus therefore will I rest me in unrest:

sc. ///. TITUS ANDRONICUS. 295

Enter Tamora.

" Tam. My lovely Aaron, wherefore look'st thou
sad 9,
" When every thing doth make a gleeful boast ?

Again, in Eliosto Libidinoso, an ancient novel, by John
Hinde, 1606:

" For the ease of whose unrest,
" Thus his furie was exprest."
Again, in Chapman's translation of the ninth Iliad :
" Both goddesses let fall their chins upon their ivorie breasts,
" Sat next to Jove, contriving still afflicted Troy's unrests."
Again, in an excellent Pastoral Dittie, by Shep. Tonie ; pub-
lished in England's Helicon, 1600 :

" With lute in hand did paint out her unrest."

Steevens.

8 That have their alms, &c] This is obscure. It seems to
mean only, that they who are to come at this gold of the empress
are to suffer by it. Johnson.

9 My lovely Aaron, wherefore look'st thou sad,] In the course
of the following notes several examples of the savage genius of
Ravenscroft, who altered this play in the reign of King James II.
are set down for the entertainment of the reader. The following
is a specimen of his descriptive talents. Instead of this line with
which this speech of Tamora begins, she is made to say :

" The emperor, with tvine and luxury o'ercome,

" Is fallen asleep ; in's pendant couch he's laid,

" That hangs in yonder grotto roclcd by winds,

" Which rais'd by art do give it gentle motion:

" And troops of slaves stand round with fans perfumd,

" Made of the feathers pluck'd from Indian birds,

" And cool him into golden slumbers :

" This time 1 chose to come to thee, my Moor.

" My lovely Aaron, wherefore," &c.

An emperor who has had too large a dose of love and wine,
and in consequence of satiety in both, falls asleep on a bed which
partakes of the nature of a sailor's hammock, and a child's cradle,
is a curiosity which only Ravenscroft could have ventured to
describe on the stage. I hope I may be excused for transplanting
a few of his flowers into the barren desart of our comments on
this tragedy. Steevens.

" My lovely Aaron, &c." There is much poetical beauty in
this speech of Tamora. It appears to me to be the only one in
the play that is in the style of Shakspeare. M. Mason.

296 TITUS ANDRONICUS. act n.

" The birds chaunt melody on every bush ;

" The snake lies rolled in the cheerful sun ;

" The green leaves quiver with the cooling wind,

" And make a checquer'd shadow l on the ground :

" Under their sweet shade, Aaron, let us sit,

« And— whilst the babbling echo mocks the hounds,

" Replying shrilly to the well-tun'd horns,

" As if a double hunt were heard at once 2,

" Let us sit down, and mark their yelling noise :

" And — after conflict, such as was suppos'd

" The wandering prince of Dido once enjoy'd,

" When with a happy storm they were surpriz'd,

'« And curtain'd with a counsel-keeping cave, —

" We may, each wreathed in the other's arms,

" Our pastimes done, possess a golden slumber ;

" Whiles hounds, and horns, and sweet melodious

birds,
" Be unto us, as is a nurse's song
" Of lullaby, to bring her babe asleep 3.

x __ a cHEcauER'D shadow — ] Milton has the same expres-
sion :

" many a maid

•* Dancing in the checquer'd shade."
The same epithet occurs again in Locrine. Steevens.
1 As if a double hunt were heard at once,] Hence, perhaps,
a line in a well known song by Dryden :

" And echo turns hunter, and doubles the cry."

Steevens.

3 — as is a nurse's song
Of lullaby, to bring her babe asleep.] Dr. Johnson, in
his Dictionary, savs, " it is observable that the nurses call sleep
by, by ; lullabij is therefore lull to sleep." But to hill originally
signified to sleep. * To compose to sleep by a pleasing sound ' is
a secondary sense retained after its primitive import became ob-
solete. The verbs to loll and lollop evidently spring from the
same root. And by meant house ; go to by is go to house or
cradle. The common compliment at parting, good by is good
house, may your house prosper ; and Selby, the Archbishop of
York's palace, is great house. So that lullaby implies literally
sleep in house, i. e. the cradle. Holt White.

sc. in. TITUS ANDRONICUS. 297

" Aar. Madam, though Venus govern your

desires,
" Saturn is dominator over mine 4 :
" What signifies my deadly-standing eye,
" My silence, and my cloudy melancholy ?
" My fleece of woolly hair that now uncurls,
" Even as an adder, when she doth unroll
" To do some fatal execution ?
" No, madam, these are no venereal signs ;
" Vengeance is in my heart, death in my hand,
" Blood and revenge are hammering in my head.
" Hark, Tamora, — the empress of my soul,
" Which never hopes more heaven than rests in

thee, —
" This is the day of doom for Bassianus ;
" His Philomel must lose her tongue to-day :
" Thy sons make pillage of her chastity,
" And wash their hands in Bassianus' blood.
" Seest thou this letter ? take it up I pray thee,
" And give the king this fatal-plotted scroll : —
" Now question me no more, we are espied ;
" Here comes a parcel of our hopeful booty,
" Which dreads not yet their lives' destruction.
" Tam. Ah, my sweet Moor, sweeter to me than

life!

4 — though Venus govern your desires,
Saturn is dominator over mine :] The meaning of this pas-
sage may be illustrated by the astronomical description of Saturn,
which Venus gives in Greene's Planetomachia, 1585 : " The star
of Saturn is especially cooling, and somewhat drie," &c.
Again, in The Sea Voyage, by Beaumont and Fletcher :

" — ■ for your aspect

" You're much inclin'd to melancholy, and that
" Tells me the sullen Saturn had predominance
" At your nativity, a malignant planet !
" And if not qualified by a sweet conjunction
" Of a soft ruddy wench, born under Venus,
" It may prove fatal." Collins.
Thus also, Propertius, 1. iv. i. 84 :

Et grave Saturni sydus in omne caput. Steevens.

298 TITUS ANDRONICUS. act 11.

" Aar. No more, great empress, Bassianus
comes :
" Be cross with him ; and I'll go fetch thy sons
" To back thy quarrels, whatsoe'er they be. [_Ej.it .

Enter Bassianus and Lavinia.

Bas. Who have we here ? Rome's royal emperess,
Unfurnish'd of her6 well-beseeming troop ?
Or is it Dian, habited like her ;
Who hath abandoned her holy groves,
To see the general hunting in this forest ?

Tam. Saucy controller of our private steps7 !
Had I the power, that, some say, Dian had,
Thy temples should be planted presently
With horns, as was Action's ; and the hounds
Should drive upon thy new-transformed limbs8,
Unmannerly intruder as thou art !

Lav. Under your patience, gentle emperess,
'Tis thought you have a goodly gift in horning ;
And to be doubted, that your Moor and you

6 — of her — ] Old copies— of our. Corrected by Mr. Iiowe.

Malone.

The edition 1600, reads exactly thus:

•< Vnfurnisht of her well beseeming troop." Todd.

7 __ our private steps !] Edition 1600 :— my private steps.

Todd.

8 Should drive upon thy new-transformed limbs,] Mr. Heath
suspects that the poet wrote :

" Should thrive upon thy new-transformed limbs — ,
as the former is an expression that suggests no image to the fancy.
But drive, I think, may stand, with this meaning : " the hounds
should pass with impetuous haste/' &c. So, in Hamlet:

" Pyrrhus at Priam drives," &c.
i e flies with impetuosity at him. Steevens.
' It is said in a note by Mr. Malone, that the old copies reau,
« upon his new-transformed limbs/' and that Mr. Rowe made
the emendation— thy. The edition of 1600 reads precisely thus :
" Should drive vpon thy new-transformed limbes." Todd.
It should be remembered that when Mr. Malone wrote the note
referred to, the edition of 1600 had not been discovered.

Boswell.

van. TITUS ANDRONICUS. 299

Are singled forth to try experiments :

Jove shield your husband from his hounds to-day !

'Tis pity, they should take him for a stag.

Bas. Believe me, queen, your swarth Cimmerian °
Doth make your honour of his body's hue,
Spotted, detested, and abominable.
Why are you sequester'd from all your train ?
Dismounted from your snow-white goodly steed,
And wander'd hither to an obscure plot,
Accompanied but with a barbarous Moor1,
If foul desire had not conducted you ?

Lav. And, being intercepted in your sport,
Great reason that my noble lord be rated
For sauciness. — I pray you, let us hence,
And let her 'joy her raven-colour'd love;
This valley fits the purpose passing well.

Bas. The king, my brother, shall have note of
this2.

Lav. Ay, for these slips have made him noted
long 3 :
Good king ! to be so mightily abus'd !

Tam. Why have I patience to endure all this ?

Enter Chiron and Demetrius.

Dem. How now, dear sovereign, and our gracious
mother,

9 — swarth Cimmerian — 1 Swarth is black. The Moor is
called Cimmerian, from the affinity of blackness to darkness.

Johnson.
" — swarth Cimmerian — ." Edition 1600 : — swartie Cyme-
rion. Todd.

' Accompanied with a barbarous Moor,] Edition 1600 reads:

" Accompanied but with a barbarous Moore." Todd.
Later editions omitted the word but. Boswell.

2 — have note of this,] Old copies — notice. Steevens.
Thus also the quarto 1600. Todd.

3 — made him noted long:] He had yet been married but
one night. Johnson.

The true reading may be — " made her," i. e. Tamora.

Steevbns.

<c

300 TITUS ANDRONICUS. actii.

Why doth your highness look so pale and wan ?

" Tam. Have I not reason, think you, to look
pale ?
" These two have 'tic'd me hither to this place,
" A barren detested vale4, you see, it is :
" The trees, though summer, yet forlorn and lean,
" O'ercome with moss, and baleful misletoe.
" Here never shines the sun 5 ; here nothing breeds,
" Unless the nightly owl, or fatal raven.
" And, when they show'd me this abhorred pit,
" They told me, here, at dead time of the night,
" A thousand fiends, a thousand hissing snakes,
" Ten thousand swelling toads, as many urchins 6,
" Would make such fearful and confused cries,
" As any mortal body, hearing it,

Should straight fall mad, or else die suddenly 7.

No sooner had they told this hellish tale,
" But straight they told me, they would bind me

here
" Unto the body of a dismal yew ;
" And leave me to this miserable death.
" And then they call'd me, foul adulteress,
" Lascivious Goth, and all the bitterest terms

4 A barren detested vale,] As the versification of this play is
by no means inharmonious, I am willing to suppose the author
wrote :

" A bare detested vale ." Steevens:

s Here never shines the sun ; &c.] Mr. Rowe seems to have
thought on this passage in his Jane Shore :

" This is the house where the sun never dawns,
" The bird of night sits screaming o'er its roof,
" Grim spectres sweep along the horrid gloom,
•* And nought is heard but wailings and lamentings."

Steevens.

6 — urchins,] i. e. hedgehogs. See vol. xv. p. 53, n. 3.

Steevens.

7 Should straight fall mad, or else die suddenly.] This is said
in fabulous physiology, of those that hear the groan of the man-
drake torn up. Johnson.

The same thought and almost the same expressions occur in
Romeo and Juliet. Stegvkns.

sc. in. TITUS ANDRONICUS. 301

" That ever ear did hear to such effect.
" And, had you not by wondrous fortune come,
" This vengeance on me had they executed :
" Revenge it, as you love your mother's life,
" Or be ye not henceforth call'd my children.
Dem. This is a witness that I am thy son.

[Stabs Bassianus.

Chi. And this for me, struck home to show my

strength. [Stabbing him likezvise.

Lav. Ay, come, Semiramis8, — nay, barbarous

Tamora !

For no name fits thy nature but thy own !

Tam. Give me thy poniard ; you shall know, my
boys,
Your mother's hand shall right your mother's
wrong.
Dem. Stay, madam, here is more belongs to her ;
First, thrash the corn, then after burn the straw :
This minion stood upon her chastity,
Upon her nuptial vow, her loyalty,
And with that painted hope braves your mighti-
ness 9 :
And shall she carry this unto her grave ?

Chi. An if she do, I would I were an eunuch.
Drag hence her husband to some secret hole,

8 Ay, come, Semiramis,] The propriety of this address will be
best understood from the following passage in P. Holland's trans-
lation of the eighth book of Pliny's Nat. Hist. ch. 42: "Queen
Semiramis loved a great horse that she had, so farre forth, that
she was content he should doe his kind with her," The inconti-
nence of this lady has been already alluded to in the induction to
the Taming of a Shrew, scene the second. Steevens.

9 And with that painted hope braves your mightiness:]
Painted hope is only specious hope, or ground of confidence more
plausible than solid. Johnson.

The ruggedness of this line persuades me that the word — hope
is an interpolation, the sense being complete without it :
" And with that painted, braves your mightiness."
So, in King Richard III. :

" Poor painted queen," &c.
Painted xvith is specious!// coloured with. Stickvkns.

302 TITUS ANDRONICUS. act n.

And make his dead trunk pillow to our lust.

Tam. But when you have the honey you desire \
Let not this wasp outlive, us both to sting.

Chi. I warrant you, madam ; we will make that
sure. —
Come, mistress, now perforce we will enjoy
That nice preserved honesty of yours.

Lav. O Tamora ! thou bear'st a woman's face, —
Tam. I will not hear her speak; away with her.
Lav. Sweet lords, entreat her hear me but a

word.
Dem. Listen, fair madam : Let it be your glory
To see her tears ; but be your heart to them,
As unrelenting flint to drops of rain.

Lav. When did the tiger's young ones teach the
dam ?
O do not learn her wrath ; she taught it thee :
The milk, thou suck'dst from her, did turn to

marble ;
Even at thy teat thou hadst thy tyranny.—
Yet every mother breeds not sons alike :
Do thou entreat her show a woman pity.

[To Chiron.

Chi. What! would'st thou have me prove
myself a bastard ?

Lav. 'Tis true ; the raven doth not hatch a lark :
Yet I have heard, (O could I find it now !)
The lion mov'd with pity, did endure
To have his princely paws par'd all away.
Some say that ravens foster forlorn children,
The whilst their own birds famish in their nests :
O, be to me, though thy hard heart say no,
Nothing so kind, but something pitiful !

Tam. I know not what it means ; away with her.

i _ you desire,] Old copies— toe desire. Corrected in the
second folio. Ma lone.
The edit. 1600 reads, with the other old copies— toe desire.

ac. ///. TITUS ANDRONICUS. 303

Lav. O, let me teach thee : for my father's sake,
That gave thee life, when well he might have slain

thee,
Be not obdurate, open thy deaf ears.

Tam. Had thou in person ne'er offended me,
Even for his sake am I pitiless : —
Remember, boys, I pour'd forth tears in vain,
To save your brother from the sacrifice ;
But fierce Andronicus would not relent,
Therefore away with her 2, and use her as you will ;
The worse to her, the better lov'd of me.

Lav. O Tamora, be call'd a gentle queen,
And with thine own hands kill me in this place :
For 'tis not life, that I have begg'd so long ;
Poor I was slain, when Bassianus died.

Tam. What begg'st thou then ; fond woman, let
me go.

Lav. 'Tis present death I beg; and one thing
more,
That womanhood denies my tongue to tell :
O, keep me from their worse than killing lust,
And tumble me into some loathsome pit ;
Where never man's eye may behold my body :
Do this, and be a charitable murderer.

Tam. So should I rob my sweet sons of their fee :
No, let them satisfy their lust on thee.

Dem. Away, for thou hast staid us here too long.

Lav. No grace ? no womanhood ? Ah, beastly
creature !
The blot and enemy to our general name !
Confusion fall

Chi. Nay, then I'll stop your mouth : — Bring thou
her husband ;

[Dragging off Lavjnia.

* — with her,] These useless syllables, which hurt the metre,
might well be omitted. Steevens.

304 TITUS ANDRONICUS. act n.

This is the hole where Aaron bid us hide him.

[Exeunt.

Tam. Farewell, my sons : see, that you make her
sure :
Ne'er let my heart know merry cheer indeed,
Till all the Andronici be made away.
Now will I hence to seek my lovely Moor,
And let my spleenful sons this trull deflour. {Exit.

SCENE IV.

The Same.

Enter Aaron, 'with Quintus and Martius.
Aar. Come on, my lords ; the better foot before :
Straight will I bring you to the loathsome pit,
Where I espy'd the panther fast asleep.

Quin. My sight is very dull, whate'er it bodes.
Mart. And mine, I promise you; wer't not for
shame,
Well could I leave our sport to sleep awhile.

[Martius Jails into the Pit.
Qum. What art thou fallen ? What subtle hole
is this,
Whose mouth is cover'd with rude-growing briars ;
Upon whose leaves are drops of new-shed blood,
As fresh as morning's dew distill'd on flowers ?
A very fatal place it seems to me : —
Speak, brother, hast thou hurt thee with the fall ?
Mart. O, brother, with the dismal'st object hurt3,
That ever eye, with sight, made heart lament.
Aar. [Aside.] Now will I fetch the king to find
them here ;

3 —the dismal'st object hurt,] So the quarto 1600. In
the later quarto, and the folio, the word hurt is omitted.

n Malone.

*c. iv. TITUS ANDRONICUS. 305

That he thereby may give a likely guess,
How these were they that made away his brother.

[Exit Aaron.

Mart. Why dost not comfort me, and help me
out
From this unhallow'd 3 and blood-stained hole ?

Quin. I am surprized with an uncouth fear :
A chilling sweat o'er-runs my trembling joints;
My heart suspects more than mine eye can see.

Mart. To prove thou hast a true-divining heart,
Aaron and thou look down into this den,
And see a fearful sight of blood and death.

Quin. Aaron is gone; and my compassionate
heart
Will not permit mine eyes once to behold
The thing, whereat it trembles by surmise :
O, tell me who it is 4 ; for ne'er till now
Was I a child, to fear I know not what.

Mart. Lord Bassianus lies embrewed here,
All on a heap, like to a slaughter' d lamb,
In this detested, dark, blood-drinking pit.

Quin. If it be dark, how dost thou know 'tis he ?

" Mart. Upon his bloody finger he doth wear
" A precious ring5, that lightens all the hole6,

* From this unhallow'd, &c] Edition 1600:

" From this vnhallow" &c. Todd.
4 — who it is ;] So the quarto 1600. The later quarto, and
the folio, read — how it is. Malone.

i A precious ring,] There is supposed to be a gem called a
carbuncle, which emits not reflected but native light. Mr. Boyle
believes the reality of its existence. Johnson.

So, in The Gesta Romanorum, history the sixth : " He farther
beheld and saw a carbuncle'm the hall that lighted all the house."
Again, in Lydgate's Description of King Priam's Palace, 1. ii. :
" And for most chefe all dirkeness to confound,
" A carbuncle was set as kyng of stones all,
" To recomforte and gladden all the hull.
" And it to enlumine in the black night
" With the freshnes of his ruddy light."

k Again, in the Muse's Elysium, by Drayton :
VOL. XXI. X

306 TITUS ANDRONICUS. act n.

" Which, like a taper in some monument,

" Doth shine upon the dead man's earthy cheeks,

" And shows the ragged entrails of this pit :

" So pale did shine the moon 7 on Pyramus,

" When he by night lay bath'd in maiden blood.

" O brother, help me with thy fainting hand, —

" If fear hath made thee faint, as me it hath, —

" Out of this fell devouring receptacle,

" As hateful as Cocytus' misty mouth.

" Quin. Reach me thy hand, that I may help
thee out ;
" Or, wanting strength to do thee so much good,
" I may be pluck'd into the swallowing womb
" Of this deep pit, poor Bassianus' grave.
" I have no strength to pluck thee to the brink.
Mart. Nor I no strength to climb without thy

help.
Quin. Thy hand once more; I will not loose
again,

« Is that admired, mighty stone,
" The carbuncle that's named ;
" Which from it such a flaming light
" And radiancy ejecteth,
" That in the very darkest night
" The eye to it directeth."
Chaucer, in the Romaunt of the Rose, attributes the same pro-
perties to the carbuncle :

" Soche light ysprang out of the stone." Steevens.
So, in King Henry VIII. :

" a gem

" To lighten all this isle."
So also, Spenser's Fairy Queen, b. vi. c. xi. :

" like diamond of rich regard,

" In doubtful shadow of the darksome night."

Malone.

6 — all the hole,] The quarto 1600 reads— all this hole.

Todd.

7 So pale did shine the moon, &c] Lee appears to have been

indebted to this image in his Massacre of Paris : ,

" Looks like a midnight moon upon a murder."

Steevens.

sc.iv. TITUS ANDRONICUS. 307

Till thou art here aloft, or I below :

Thou canst not come to me, I come to thee.

[Falls in.

Enter Saturninus and Aaron.

Sat. Along with me : — I'll see what hole is here,
And what he is, that now is leap'd into it.
Say, who art thou, that lately didst descend
Into this gaping hollow of the earth ?

Mart. The unhappy son of old Andronicus ;
Brought hither in a most unlucky hour,
To find thy brother Bassianus dead.

Sat. My brother dead ? I know, thou dost but
jest:
He and his lady both are at the lodge,
Upon the north side of this pleasant chase ;
'Tis not an hour since I left him there8.

Mart. We know not where you left him all alive,
But, out alas ! here have we found him dead.

Enter Tamora, with Attendants ; Titus Andro-
nicus, and Lucius.

Tam. Where is my lord, the king ?

Sat. Here, Tamora ; though griev'd with killing

grief.
Tam. Where is thy brother Bassianus ?
Sat. Now to the bottom dost thou search my
wound ;
Poor Bassianus here lies murdered.

Tam. Then all too late I bring this fatal writ,

[Giving a Letter.
The complot of this timeless 9 tragedy ;

8 — left him there.] Edition 1600 reads — left them there.

Todd.

9 — timeless — ] i. e. untimely. So, in King Richard II. :

" The bloodv office of his timeless end." Steevens.

x 2

308 TITUS ANDRONICUS. act n.

And wonder greatly, that man's face can fold
In pleasing smiles such murderous tyranny.

Sat. [Reads.] An if we miss to meet him hand-
somely,—
Sweet huntsman, Bassianus 'tis, we mean, —
Do thou so much as dig the grave for him;
Thou know1 st our meaning : Look for thy reward
Among the nettles at the elder tree,
Which over shades the mouth of that same pit,
Where we decreed to bury Bassianus.
Do this, and purchase us thy lasting friends.
O, Tamora ! was ever heard the like ?
This is the pit, and this the elder-tree :
Look, sirs, if you can find the huntsman out,
That should have murder'd Bassianus here.

Aar. My gracious lord, here is the bag of gold.

[^Showing it.

Sat. Two of thy whelps, [To Tit.] fell curs of
bloody kind,
Have here bereft my brother of his life : —
Sirs, drag them from the pit unto the prison ;
There let them bide, until we have devis'd
Some never-heard-of torturing pain for them.

Tam. What, are they in this pit ? O wondrous
thing I
How easily murder is discovered !

Tit. High emperor, upon my feeble knee
I beg this boon, with ttears not lightly shed,
That this fell fault of my accursed sons,
Accursed, if the fault be prov'd in them,

Sat. If it be prov'd! you see, it is apparent. —
Who found this letter ? Tamora, was it you ?

Tam. Andronicus himself did take it up.

Tit. I did, my lord : yet let me be their bail :
For by my father's reverend tomb, I vow,
They shall be ready at your highness' will,
To answer their suspicion with their lives.

sc. y. TITUS ANDRONICUS. 309

Sat. Thou shalt not bail them ; see, thou follow
me.
Some bring the murder'd body, some the mur-
derers :
Let them not speak a word, the guilt is plain ;
For, by my soul, were there worse end than death,
That end upon them should be executed.

Tam. Andronicus, I will entreat the king;
Fear not thy sons, they shall do well enough.
Tit. Come, Lucius, come ; stay not to talk with
them. [Exeunt severally.

SCENE V.

The Same.

Enter Demetrius and Chiron, with Lavinia, ra-
vished; her Hands cut off, and her Tongue cut
out.

Dem. So, now go tell, an if thy tongue can
speak,
Who 'twas that cut thy tongue, and ravish'd thee.
Chi. Write down thy mind, bewray thy meaning
so;
And, if thy stumps will let thee, play the scribe.
Dem. See, how with signs and tokens she can

scrowl 9.
Chi. Go home, call for sweet water, wash thy
hands.

I Dem. She hath no tongue to call, nor hands to
* wash ;
And so let's leave her to her silent walks.
9 — she can scowl.] Edition 1600 reads:
" she can .scroivlc."

310 TITUS ANDTIONICUS. act iu

Chi. An 'twere my case, I should go hang

myself. . ,

Dem. If thou hadst hands to help thee knit the

cord. „

[Exeunt Demetrius and Chiron.

Enter Marcus.
Mar. Who's this,-my niece, that flies away so
fast ?
Pnimin a word : Where is your husband ?—
MM dodTeam, 'would all my wealth would wake

me1!
" If I do wake, some planet strike me down,
" That I may slumber in eternal sleep !—-
" Speak, gentle niece, what stern ungentle hands
« Have lopp'd, and hew'd, and made thy body bare
" Of her two branches ? those sweet ornaments,
« Whose circling shadows kings have sought to

sleep in ;
" And might not gain so great a happiness,
" As half thy love ? Why dost not speak to me .'—
" Alas, a crimson river of warm blood,
« Like to a bubbling fountain stirr'd with wind,
" Doth rise and fall between thy rosed lips,
« Coming and going with thy honey breath
" But sure, some Tereus hath defloured thee ;
" And, lest thou should'st detect him, cut thy

tongue2. .

Ah, now thou turn'st away thy face for shame !
And, notwithstanding all this loss of blood,—

. If 1 do dream, 'would all my wealth would wake me !] If ^this
be a dream, I would give all my possessions to be delivered from

U ^Shou^^St detect h:m *c.] Old copies-detect
them. The same mistake has happened in many other old plays.
Thp correction was made by Mr. Rowe.

Tereus having ravished Philomela, his wife's sister, cut out hei
tongue, to prevent a discovery. Malone.

sc. v. TITUS ANDRONICUS. 311

As from a conduit with three issuing spouts 3, —

Yet do thy cheeks look red as Titan's face,

Blushing to be encounter'd with a cloud.

Shall I speak for thee ? shall I say, 'tis so ?

O, that I knew thy heart ; and knew the beast,

That I might rail at him to ease my mind !

Sorrow concealed, like an oven stopp'd,

Doth burn the heart to cinders where it is.

Fair Philomela, she but lost her tongue,

And in a tedious sampler sew'd her mind :

But, lovely niece, that mean is cut from thee;

A craftier Tereus, cousin, hast thou met4,

And he hath cut those pretty fingers off,

That could have better sew'd than Philomel.

O, had the monster seen those lily hands

Tremble, like aspen leaves, upon a lute,

And make the silken strings delight to kiss them ;

He would not then have touch'd them for his life :

Or, had he heard the heavenly harmony,

Which that sweet tongue hath made,

He would have dropp'd his knife, and fell asleep,

As Cerberus at the Thracian poet's5 feet.

Come, let us go, and make thy father blind :

For such a sight will blind a father's eye :

One hour's storm will drown the fragrant meads ;

What will whole months of tears thy father's eyes ?

Do not draw back, for we will mourn with thee ;

O, could our mourning ease thy misery ! [Exeunt.

3 — three issuing spouts,] Old copies — their issuing, &c.
Corrected by Sir Thomas Hanmer. Steevens.

4 — hast thou met withal,] [So formerly printed.] The
word withal, is wanting in edition 1600. Todd.

The edition of 1600 reads as in the text. The word cousin, was
omitted in the quarto 1611, which appears to have been followed
by the folio, the editor of which, finding the line defective, in-
serted withal, by conjecture. Malone.

5 — Thracian poet's — ] Orpheus. Steevens.

312 TITUS ANDRONICUS. act in.

ACT III. SCENE I.

Rome. A Street.

Enter Senators, Tribunes, and Officers of Justice,
with Martjus and Quintus, bound, passing on to
the Place of Execution; Titus going before,
pleading.

" Tit. Hear me, grave fathers ! noble Tribunes,
stay !
" For pity of mine age, whose youth was spent
" In dangerous wars, whilst you securely slept ;
" For all my blood in Rome's great quarrel shed ;
" For all the frosty nights that I have watch'd ;
" And for these bitter tears, which now you see
" Filling the aged wrinkles in my cheeks ;
" Be pitiful to my condemned sons,
" Whose souls are not corrupted as 'tis thought !
" For two and twenty, sons I never wept,
" Because they died in honour's lofty bed.
For these, good tribunes 6, in the dust I write

[Throwing himself on the ground.

My heart's deep languor, and my soul's sad tears.

'« Let my tears stanch the earth's dry appetite ;

" My sons' sweet blood will make it shame and blush .

[Exeunt Senators, Tribunes, 8$c. with the

Prisoners.

6 For these, good tribunes,] In the original copy, a word
being omitted at the press, and the line consequently defective,
the editor of the second folio, to supply the metre, reads :

" For these, these tribunes ."

It is much more likely that some epithet of respect was given
to the tribunes, to conciliate their favour, than that the word
these should be so oddly repeated. So, afterwards :

" O, reverend tribunes "

For this emendation I am answerable. Malone.

<<

a

sc. j. TITUS ANDRONICUS. 313

" O earth, I will befriend thee more with rain,
" That shall distil from these two ancient urns 7,
" Than youthful April shall with all his showers :
" In summers drought, I'll drop upon thee still;
" In winter, with warm tears I'll melt the snow,
" And keep eternal spring-time on thy face,
" So thou refuse to drink my dear sons' blood.

Enter Lucius, with his Sword drawn.

O, reverend tribunes ! gentle-aged-men8 !
Unbind my sons, reverse the doom of death ;
And let me say, that never wept before,
My tears are now prevailing orators.

Luc. O, noble father, you lament in vain ;
The tribunes hear you not, no man is by,
And you recount your sorrows to a stone.

Tit. Ah, Lucius, for thy brothers let me plead :
Grave tribunes, once more I entreat of you.

Luc. My gracious lord, no tribune hears you
speak.

Tit. Why, 'tis no matter, man : or if they did mark,
They would not pity me^ yet plead I must 9,

7 — two ancient urns,] Oxford editor. — Vulg. " — two
ancient ruins." Johnson.

Edition 1600 — mines, as in other old copies. Todd.

8 O, reverend tribunes ! gentle-aged-men!] Edition 1600:

" O, reverend tribunes ! oh gentle aged men." Todd.

9 — or, if they did mark,

All bootless to them, they'd not pity me.
Therefore, &c] The edition 1600 thus :

" or if they did marke,

" They would notpitty me, yet pleade I must,
" All bootless unto them.
" Therefore," &c.
This I conceive to be the right reading. Todd.
The quarto 1600 reads as in the text, except that for—" All
bootless," it reads — " And bootless." The editor of the folio,
finding the passage corrupt in the quarto of 1611, mended it thus :

314 TITUS ANDRONICUS. act in.

All bootless unto them.

Therefore I tell my sorrows to the stones ;

Who, though they cannot answer my distress,

Yet in some sort they're better than the tribunes,

For that they will not intercept my tale :

When I do weep, they humbly at my feet

Receive my tears, and seem to weep with me ;

And, were they but attired in grave weeds,

Rome could afford no tribune like to these ,

A stone is soft as wax, tribunes more hard than

stones x :
A stone is silent, and offendeth not ;
And tribunes with their tongues doom men to

death.
But wherefore stand st thou with thy weapon

drawn ?
Luc. To rescue my two brothers from their

death :
For which attempt, the judges have pronounc'd
My everlasting doom of banishment.

Tit. O happy man ! they have befriended thee.
Why, foolish Lucius, dost thou not perceive,
That Rome is but a wilderness of tigers ?
Tigers must prey ; and Rome affords no prey,
But me and mine : How happy art thou then,
From these devourers to be banished ?
But who comes with our brother Marcus here ?

" they would not mark,

" ^//bootless unto them, they would not pity me/' &c.
The original is certainly the true reading.
in the quarto 1611, an entire line —
*' They would not pity me," &c.
was omitted by the carelessness of the printer ; an error which,
I have no doubt, has often happened in those plays of which we
have only the folio copy. Malone.

1 A stone is soft as wax, tribunes more hard than stones :] The
author, wc may suppose, originally wrote :

" Stone's soft as wax," &c. Stebvewst.

sv.i. TITUS ANDRONICUS. 315

Enter Marcus and Lavinia.

Mar. Titus, prepare thy aged eyes to weep ;
Or, if not so, thy noble heart to break ;
I bring consuming sorrow to thine age.

Tit. Will it consume me ? let me see it then.

Mar. This was thy daughter.

Tit. Why, Marcus, so she is.

Luc. Ah me ! this object kills me !

Tit. Faint-hearted boy, arise, and look upon
her: —
Speak, my Lavinia 2, what accursed hand
Hath made thee handless in thy father's sight 3 ?
What fool hath added water to the sea ?
Or brought a faggot to bright-burning Troy ?
My grief was at the height before thou cam'st,
And now, like Nilus, it disdaineth bounds. —
Give me a sword, I'll chop off my hands too4;
For they have fought for Rome, and all in vain ;
And they have nurs'd this woe, in feeding life ;
In bootless prayer have they been held up,
And they have serv'd me to effectless use :
Now, all the service I require of them
Is, that the one will help to cut the other. —

1 Speak, my Lavinia,] Afy, which is wanting in the first
folio, was supplied by the second. Strevens.

3 — in thy father's sight?] We should read — slight?

Warburton.

4 — I'll chop off mv hands too ;] Perhaps we should read :

« or chop off," &c.

It is not easy to discover how Titus, when he had chopped off
one of his hands, would have been able to have chopped off the
other. Steevens.

I have no doubt but the text is as the author wrote it. Let
him answer for the blunder. In a subsequent line Titus supposes
himself his own executioner:

" Now all the service I require of them,

" Is that the one will help to cut the other." Malone.

316 TITUS ANDRONICUS. act hi.

Tis well, Lavinia, that thou hast no hands ;
For hands, to do Rome service, are but vain.

Luc. Speak, gentle sister, who hath martyr'd
thee ?

Mar. O, that delightful engine of her thoughts5,
That blab'd them with such pleasing eloquence,
Is torn from forth that pretty hollow cage ;
Where, like a sweet melodious bird, it sung
Sweet varied notes, enchanting every ear !

Luc. O, say thou for her, who hath done this
deed ?

Mar. O, thus I found her, straying in the park,
Seeking to hide herself ; as doth the deer,
That hath receiv'd some unrecuring wound.

Tit. It was my deer 6 ; and he, that wounded
her,
Hath hurt me more, than had he kill'd me dead :
For now I stand as one upon a rock,
Environ'd with a wilderness of sea ;
Who marks the waxing tide grow wave by wave,
Expecting ever when some envious surge
Will in his brinish bowels swallow him.
This way to death my wretched sons are gone ;
Here stands my other son, a banish'd man ;
And here my brother, weeping at my woes ;
But that, which gives my soul the greatest spurn,
Is dear Lavinia, dearer than my soul. —
Had I but seen thy picture in this plight,
It would have madded me ; What shall I do
Now I behold thy lively body so ?

s O, that delightful engine of hkr thoughts,] This piece
furnishes scarce any resemblances to Shakspeare's works ; this
one expression, however, is found in his Venus and Adonis :
*• Once more the engine of her thoughts began."

Malone.
6 It was my deer ;] This play upon deer and dear has been
used by Waller, who calls a lady's girdle —

." The pale that held my lovely deer." Johnson.

sc. i. TITUS ANDRONICUS. 317

Thou hast no hands, to wipe away thy tears ;
Nor tongue, to tell me who hath martyr'd thee :
Thy husband he is dead ; and, for his death,
Thy brothers are condemn'd, and dead by this : —
Look, Marcus ! ah, son Lucius, look on her !
" When I did name her brothers, then fresh tears
*' Stood on her cheeks; as doth the honey dew
" Upon a gather'd lily almost wither'd.

Mar. Perchance, she weeps because they kill'd
her husband :
Perchance, because she knows them innocent.

Tit. If they did kill thy husband, then be
joyful,
Because the law hath ta'en revenge on them. —
No, no, they would not do so foul a deed ;
Witness the sorrow that their sister makes. —
Gentle Lavinia, let me kiss thy lips ;
Or make some sign how I may do thee ease :
Shall thy good uncle, and thy brother Lucius,
And thou, and I, sit round about some fountain ;
Looking all downwards, to behold our cheeks
How they are stain'd ; like meadows 7, yet not dry
With miry slime left on them by a flood ?
And in the fountain shall we gaze so long,
Till the fresh taste be taken from that clearness,
And made a brine-pit with our bitter tears ?
Or shall we cut away our hands, like thine ?
Or shall we bite our tongues, and in dumb shows
Pass the remainder of our hateful days ?
What shall we do ? let us, that have our tongues,
Plot some device of further misery,
To make us wonder'd at in time to come.

Luc. Sweet father, cease your tears ; for, at your
grief,
See, how my wretched sister sobs and weeps.

i — like meadows,] Old copies — in meadows. Corrected
by Mr, Rowe. Maloke.

318 TITUS ANDRONICUS. act m.

Mar. Patience, dear niece -.—good Titus, dry
thine eyes.

Tit. Ah, Marcus, Marcus! brother, well I wot,
Thy napkin cannot drink a tear of mine,
For thou, poor man, hast drown'd it with thine own.

Luc. Ah, my Lavinia, I will wipe thy cheeks.

Tit. Mark, Marcus, mark ! I understand her
signs :
Had she a tongue to speak, now would she say
That to her brother which I said to thee ;
His napkin, with her true tears all bewet,
Can do no service on her sorrowful cheeks.
O, what a sympathy of woe is this ?
As far from help as limbo is from bliss 8 !

Enter Aaron.

Jar. Titus Andronicus, my lord the emperor
Sends thee this word,— That, if thou love thy sons,
Let Marcus, Lucius, or thyself, old Titus,
Or any one of you, chop off your hand,
And send it to the king : he for the same,
Will send thee hither both thy sons alive ;
And that shall be the ransom for their fault.

Tit. O, gracious emperor ! O, gentle Aaron I
Did ever raven sing so like a lark,
That gives sweet tidings of the sun's uprise ?
With all my heart, I'll send the emperor
My hand;
Good Aaron, wilt thou help to chop it oil t

Luc. Stay, father; for that noble hand of thine,
That hath thrown down so many enemies,
Shall not be sent: my hand will serve the turn :

s —as limbo is from bliss !] The Limhus patrum, as it was
called is a place that the schoolmen supposed to be in the neigh-
bourhood of hell, where the souls of the patriarchs were detained,
and those good men who died before our Saviours resurrection.
Milton gives the name of Limbo to his Paradise of Tools. Reed.

sc. i. TITUS ANDRONICUS. 319

My youth can better spare my blood than you ;
And therefore mine shall save my brothers' lives.
Mar. Which of your hands hath not defended
Rome,
And rear'd aloft the bloody battle-axe,
Writing destruction on the enemy's castle 9 ?

9 Writing destruction on the enemy's castle ?] Thus all the
editions. But Mr. Theobald, after ridiculing the sagacity of the
former editors at the expence of a great deal of auk ward mirth,
corrects it to casque ; and this, he says, he'll stand by : And the
Oxford editor taking his security, will stand by it too. But what
a slippery ground is critical confidence ! Nothing could bid fairer
for a right conjecture ; yet 'tis all imaginary. A close helmet,
which covered the whole head was called a castle, and, I suppose,
for that very reason. Don Quixote's barber, at least as good a
critick as these editors, says (in Shelton's translation 1612) : " I
know what is a helmet, and what a morrion, and what a close
castle, and other things touching warfare." Lib. iv. cap. xviii.
And the original, celada de encaxe, has something of the same
signification. Shakspeare uses the word again in Troilus and
Cressida :

" and, Diomede,

" Stand fast, and wear a castle on thy head."

Warburton.
H Dr. Warburton's proof (says Mr. Heath,) rests wholly on
two mistakes, one of a printer, the other of his own. In Shel-
ton's Don Quixote the word close castle is an error of the press
for a close casque, which is the exact interpretation of the Spanish
original, celada de encaxe ; this Dr. Warburton must have seen,
if he had understood Spanish as well as he pretends to do. For
the primitive caxa, from whence the word encaxe is derived,
signifies a box, or coffer ; but never a castle. His other proof is
taken from this passage in Troilus and Cressida :

" • ' — and, Diomede,

" ' Stand fast, and wear a castle on thy head'
" Wherein Troilus doth not advise Diomede to wear a helmet
on his head, for that would be poor indeed, as he always wore one
in battle ; but to guard his head with the most impenetrable
armour, to shut it up even in a castle, if it were possible, or else
his sword should reach it."

After all this reasoning, however, it appears, that a castle did
actually signify a close helmet. See Grose's Treatise of Ancient
Armour, p. 12, from whence it appears that castle may only be a
corruption of the old French word — casqueiel. Thus also, in
Holinshed, vol. ii. p. 815 : " Then suddenlie with great noise of

6

320 TITUS ANDRONICUS. act hi.

O, none of both but are of high desert:
My hand hath been but idle ; let it serve
To ransom my two nephews from their death ;
Then have I kept it to a worthy end.

Jar. Nay, come agree, whose hand shall go
along,
For fear they die before their pardon come.
Mar. My hand shall go.

Xc/c. By heaven, it shall not go.

Tit. Sirs, strive no more : such wither'd herbs
as these
Are meet for plucking up, and therefore mine.

Luc. Sweet father, if I shall be thought thy son,
Let me redeem my brothers both from death.
Mar. And, for our father's sake, and mother's
care,
Now let me show a brother's love to thee.

Tit. Agree between you ; I will spare my hand.
Luc. Then I'll go fetch an axe.
Mar. But I will use the axe 2.

[Exeunt Lucius and Marcus.
Tit. Come hither, Aaron; I'll deceive them
both;
Lend me thy hand, and I will give thee mine.

trumpets entered sir Thomas Knevet in a cnstell of cole blacke,
and over the castell was written, The dolorous cast ell ; and so he.
and the earle of Essex, &c. ran their courses with the kyng," &c.

A remark, however, of my late friend Mr. Tyrwhitt, has taught
me to suspect the validity of my quotation from Holinshed ; for
one of the knights in the tournament described, made his entry
in a. fountain, and another in a horse-litter. Sir Thomas Knevet
therefore might have appeared in a building formed in imitation of
a castle. Steevens.

The instance quoted does not appear to me to prove what it
was adduced for ; wooden castles having been sometimes intro-
duced in ancient tournaments. The passage in the text is itself
much more decisive. Malone.

2 But I will use the axe.] Metre requires us to read :
" But I will use it." Steevens.

sc, i. TITUS ANDRONICUS. 321

Aar. If that be call'd deceit, I will be honest,
And never, whilst I live, deceive men so : —
But I'll deceive you in another sort,
And that you'll say, ere half an hour can pass.

[Aside.
[He cuts off Titus's Hand.

Enter Lucius and Marcus.

Tit. Now, stay your strife: what shall be, is
despatch'd. —
Good Aaron, give his majesty my hand :
Tell him, it was a hand that warded him
From thousand dangers ; bid him bury it ;
More hath it merited, that let it have.
As for my sons, say, I account of them
As jewels purchas'd at an easy price ;
And yet dear too, because I bought mine own.

Aar. I go, Andronicus : and for thy hand,
Look by and by to have thy sons with thee : —
Their heads, I mean. — O, how this villainy [Aside.
Doth fat me with the very thoughts of it!
Let fools do good, and fair men call for grace,
Aaron will have his soul black like his face. [Exit.

Tit. O, here I lift this one hand up to heaven,
And bow this feeble ruin to the earth :
If any power pities wretched tears,
To that I call : — What, wilt thou kneel with me ?

[To Lavinia.
Do then, dear heart; for heaven shall hear our

prayers ;
Or with our sighs we'll breathe the welkin dim,
And stain the sun with fog, as sometime clouds,
When they do hug him in their melting bosoms.

Mar. O! brother, speak with possibilities \
And do not break into these deep extremes.

3 — with possibilities,] Edition 1600 reads: — " with possibi*
litie." Todd.

VOL. XXI. V

322

TITUS ANDRONICUS. act nu

Tit. Is not my sorrow deep, having no bottom ?
Then be my passions bottomless with them.

Mar. But yet let reason govern thy lament.

Tit. If there were reason for these miseries,
Then into limits could I bind my woes:
When heaven doth weep, doth not the earth

o'erflow ?
If the winds rage, doth not the sea wax mad,
Threat'ning the welkin with his big-swoln face ?
And wilt thou have a reason for this coil ?
I am the sea ; hark, how her sighs do blow & !
She is the weeping welkin, I the earth :
Then must my sea be moved with her sighs ;
Then must my earth with her continual tears
Become a deluge, overflow'd and drown'd :
For why ? my bowels cannot hide her woes,
But like a drunkard must I vomit them.
Then give me leave ; for losers will have leave
To ease their stomachs with their bitter tongues.

Enter a Messenger, with Two Heads and a Hand,
Mess. Worthy Andronicus, ill art thou repaid

For that good hand thou sent'st the emperor.

Here are the heads of thy two noble sons ;

And here's thy hand, in scorn to thee sent back ;

Thy griefs their sports, thy resolution mock'd :

That woe is me to think upon thy woes,

More than remembrance of my father's death.

[Exit.
Mar. Now let hot JEtna. cool in Sicily,

And be my heart an ever-burning hell !

These miseries are more than may be borne !

To weep with them that weep doth ease some deal,

But sorrow flouted at is double death.

s — do blow !] Old copies— do flow. Corrected in the se-
cond folio. Malone.

sc. i. TITUS ANDRONICUS. 323

Luc. Ah, that this sight should make so deep a
wound,
And yet detested life not shrink thereat !
That ever death should let life bear his name,
Where life hath no more interest but to breathe !

\Lavinia kisses him.

Mar. Alas, poor heart, that kiss is comfortless,
As frozen water to a starved snake.

Tit. When will this fearful slumber have an end ?

Mar. Now, farewell, flattery: Die, Andronicus;
Thou dost not slumber : see, thy two sons' heads ;
Thy warlike hand ; thy mangled daughter here ;
Thy other banish'd son, with this dear sight
Struck pale and bloodless ; and thy brother, I,
Even like a stony image, cold and numb.
Ah ! now no more will I control thy griefs 6:
Rent off thy silver hair, thy other hand
Gnawing with thy teeth ; and be this dismal sight
The closing up of our most wretched eyes !
Now is a time to storm ; why art thou still ?

Tit. Ha, ha, ha !

Mar. Why dost thou laugh ? it fits not with this
hour.

Tit. Why, I have not another tear to shed :
Besides, this sorrow is an enemy,
And would usurp upon my watry eyes,
And make them blind with tributary tears ;
Then which way shall I find revenge's cave ?
For these two heads do seem to speak to me ;
And threat me, I shall never come to bliss,
Till all these mischiefs be return'd again,
Even in their throats that have committed them.
Come, let me see what task I have to do. —
You heavy people, circle me about ;

6 — thy griefs :] The old copies — my griefs. The correc-
tion was made by Mr. Theobald. Malone.

" Thy griefs," he. Edition 1600 : — my griefs. Todd.

Y 2

324

TITUS ANDRONICUS. act in.

7 .

That I may turn me to each one of you,
And swear unto my soul to right your wrongs.
The vow is made. — Come, brother, take a head ;
And in this hand the other will I bear :
Lavinia, thou shalt be employed in these things
Bear thou my hand, sweet wench, between thy

teeth.
As for thee, boy, go, get thee from my sight ;
Thou art an exile, and thou must not stay :
Hie to the Goths, and raise an army there:
And, if you love me, as I think you do,
Let's kiss and part, for we have much to do.

[Exeunt Tins, Marcus, and Lavinia.
Luc. Farewell, Andrcrnicus, my noble father ;
The woeful'st man that ever liv'd in Rome !
Farewell, proud Rome ! till Lucius come again,
He leaves 8 his pledges dearer than his life.
Farewell, Lavinia, my noble sister;
O, 'would thou wert as thou 'tofore hast been I
But now nor Lucius, nor Lavinia lives,
But in oblivion, and hateful griefs.
If Lucius live, he will requite your wrongs;
And make proud Saturninus 9 and his empress
Beg at the gates, like Tarquin and his queen.

1 Lavinia, thou shalt be employed in these things ;] Thus
the folio, 1623. The quarto, 1611, thus :

" And Lavinia thou shalt be employed in these arms.
Perhaps we ought to read :

" Lavinia, ,

" Thou too shalt be employed in these things .

Steevens.
The folio also reads— And Lavinia ; the rest as above. The
compositor probably caught the word— And from the preceding
line. Malone.

•* And Lavinia," &c. So in edit. 1600. Todd.

8 He leaves, &c] Old copies— He loves. Corrected by Mr.
Rowe. Malone. .

The edition 1600 reads with other old copies. Iodd.

9 —Saturninus— ] Edition 1600— Saturni ne. Todd,

sc. u. TITUS ANDRONICUS. 325

Now will I to the Goths, and raise a power,

To be reveng'd on Rome and Saturnine. \Exit.

SCENE II.1

A Room in Titus's House. A Banquet set out.

Enter Titus, Marcus* Lavinia, and young Lucius,

a Boy.

Tit. So, so; now sit: and look, you eat no more
Than will preserve just so much strength in us
As will revenge these bitter woes of ours.
Marcus, unknit that sorrow-wreathen knot 2 ;
Thy niece and I, poor creatures, want our hands,
And cannot passionate 3 our tenfold grief
With folded arms. This poor right hand of mine
Is left to tyrannize upon my breast ;
And when 4 my heart, all mad with misery,
Beats in this hollow prison of my flesh,
Then thus I thump it down. —
Thou map of woe, that thus dost talk in signs !

[To Lav ini a.
When thy poor heart beats with outrageous
beating,

1 Scene II.] This scene, which does not contribute any thing
to the action, yet seems to have the same author with the rest, is
omitted in the quarto of 161 1, but found in the folio of 1623.

Johnson.
Scene II. is also wanting in the edition 1600. Todd.

2 Marcus, unknit that sorrow-wreathen knot ;] So, in The
Tempest :

" > sitting

" His arms in thissfirf knot." Malone.

3 And cannot passionate, &c] This obsolete verb is likewise
found in Spenser :

" Great pleasure mix'd with pitiful regard,

" That godly king and queen did passionate.'" Steevens.

4 And when, &c] Old copies — Who when — . Corrected by
Mr. Howe. Malone.

326 TITUS ANDRONICUS. act in.

Thou canst not strike it thus to make it still.
Wound it with sighing, girl, kill it with groans ;
Or get some little knife between thy teeth,
And just against thy heart make thou a hole ;
That all the tears that thy poor eyes let fall,
May run into that sink, and soaking in,
Drown the lamenting fool in sea-salt tears.

Mar. Fye, brother, fye ! teach her not thus to

lay
Such violent hands upon her tender life.

Tit. How now ! has sorrow made thee dote
already ?
Why, Marcus, no man should be mad but I.
What violent hands can she lay on her life !
Ah, wherefore dost thou urge the name of hands ; —
To' bid yEneas tell the tale twice o'er,
How Troy was burnt, and he made miserable ?
O, handle not the theme, to talk of hands 5 ;
Lest we remember still, that we have none. —
Fye, fye, how frantickly I square my talk !
As if we should forget we had no hands,
If Marcus did not name the word of hands ! —
Come, let's fall to ; and, gentle girl, eat this :—
Here is no drink! Hark, Marcus, what she says ; —
I can interpret all her martyr'd signs ; —
She says, she drinks no other drink but tears 6,

5 O, handle not the theme, to talk of hands ;] So, in Troilus
and Cressida:

" thou ■

" Handiest in thy discourse, O, that her hand—."

Malone.

6 she drinks no other drink but tears,] So, in King

Henry VI. Part III. :

" Ye see, I drink the water of my eyes."
Again, in Venus and Adonis :

" Dost thou drink tears, that thou provok'st such weeping?"

Malone.

sc. n. TITUS ANDRONICUS. 327

Brew'd with her sorrows, mesh'd upon her cheeks7: —

Speechless complainer, I will learn thy thought;

In thy dumb action will I be as perfect,

As begging hermits in their holy prayers :

Thou shalt not sigh, nor hold thy stumps to heaven,

Nor wink, nor nod, nor kneel, nor make a sign,

But I, of these, will wrest an alphabet,

And, by still practice 8, learn to know thy meaning.

Boy. Good grandsire, leave these bitter deep
laments :
Make my aunt merry with some pleasing tale.

Mar. Alas, the tender boy, in passion mov'd,
Doth weep to see his grandsire's heaviness.

Tit. Peace, tender sapling; thou art made of
tears9,
And tears will quickly melt thy life away. —

[Marcus strikes the Dish with a Knife.
What dost thou strike at, Marcus, with thy knife ?

Mar. At that that I have kill'd, my lord ; a fly.

Tit. Out on thee, murderer! thou kill'st my
heart l ;
Mine eyes are cloy'd with view of tyranny:
A deed of death, done on the innocent,
Becomes not Titus' brother : Get thee gone ;
I see, thou art not for my company.

Mar. Alas, my lord, I have but kill'd a fly.

7 — mesh'd upon her cheeks:] A very coarse allusion to
brewing. Steevens.

8 — by still practice,] By constant or continual practice.

Johnson.

9 Peace, tender sapling ; thou art made of tears,] So, in
Coriolanus :

" thou boy of tears." Steevens.

1 Out on thee, murderer! thou kill'st my heart;] So,
in King Henry V. :

" The king hath kill'd his heart."
Again, in Venus and Adonis :

" That they have murder' d this poor heart of mine."

Mai.onf.

328 TITUS ANDR01S1CUS. act in.

Tit. But how, if that fly had a father and
mother 2 ?
How would he hang his slender gilded wings,
And buz lamenting doings in the air3 ?
Poor harmless fly !

That with his pretty buzzing melody,
Came here to make us merry ; and thou hast kill'd
him.
Mar. Pardon me, sir ; 'twas a black ill-favour'd

fly,

Like to the empress' Moor; therefore I kill'd him.

Tit. O, O, O,
Then pardon me for reprehending thee,
For thou hast done a charitable deed.
Give me thy knife, I will insult on him ;
Flattering myself, as if it were the Moor,
Come hither purposely to poison me. —
There's for thyself, and that's for Tamora. —
Ah, sirrah 4 ! —

i — a father and mother?] Mother perhaps should be omit-
ted, as the foliowing line speaks only in the singular number, and
Titus most probably confines his thoughts to the sufferings of a
father. Steevens.

Mr. Steevens judiciously conjectures that the words — and
mother, should be omitted. We might read :

" But !— How if that fly had a father, brother?"

The note of exclamation seems necessary after — But, from what
Marcus says, in the preceding line :

" Alas ! my lord, I have but kill'd a fly." Ritson.

3 And buz lamenting doings in the air?] Lamenting doings
is a very idle expression, and conveys no idea. I read — dohngs.
The alteration which I have made, though it is but the addition
of a single letter, is a great increase to the sense ; and though,
indeed, there is somewhat of tautology in the epithet and sub-
stantive annexed to it, yet that's no new thing with our author.

Theobald.
There is no need of change. Sad doings for any unfortunate
event, is a common though not an elegant expression.

Steevens.

4 Ah, sirrah !] This was formerly not a disrespectful expres-

act iv. TITUS ANDRONICUS. 329

^Yet I do think we are not brought so low5,
But that, between us, we can kill a fly,
That comes in likeness of a coal-black Moor.

Mar. Alas, poor man ! grief has so wrought on
him,
He takes false shadows for true substances.

Tit. Come, take away. — Lavinia, go with me :
I'll to thy closet ; and go read with thee
Sad stories, chanced in the times of old. —
Come, boy, and go with me ; thy sight is young,
And thou shalt read, when mine begins to dazzle.

[Exeunt.

ACT IV. SCENE I.

The Same. Before Titus's House.

Enter Titus and Marcus. Then enter young
Lucius, Lavinia running after him.

Boy. Help, grandsire, help ! my aunt Lavinia
Follows me every where, I know not why : —
Good uncle Marcus, see how swift she comes !
Alas, sweet aunt, I know not what you mean.
Mar. Stand by me, Lucius ; do not fear thine

aunt.
Tit. She loves thee, boy, too well to do thee

harm.
Boy. Ay, when my father was in Rome, she did.
Mar. What means my niece Lavinia by these
signs ?

8ion. Poins uses the same address to the Prince of Wales. See
vol. xvi. p. 20.), n. 7. Malone.

5 Yet I do think, &c.] Do was inserted by me for the sake of
the metre. Steevens.

330 TITUS ANDRONICUS. act iv.

Tit. Fear her not, Lucius : — Somewhat doth she
mean:
See, Lucius, see, how much she makes of thee:
Somewhither would she have thee go with her.
Ah, boy, Cornelia never with more care
Read to her sons, than she hath read to thee,
Sweet poetry, and Tully's Orator 6.
Canst thou not guess wherefore she plies thee thus ?

Boy. My lord, I know not, I, nor can I guess,
Unless some fit or phrenzy do possess her :
For I have heard my grandsire say full oft,
Extremity of griefs would make men mad ;
And I have read that Hecuba of Troy
Ran mad through sorrow: That made me to fear;
Although, my lord, I know, my noble aunt
Loves me as dear as e'er my mother did,
And would not, but in fury, fright my youth :
Which made me down to throw my books, and fly;
Causeless, perhaps : But pardon me, sweet aunt:
And, madam, if my uncle Marcus go,
I will most willingly attend your ladyship.

Mar. Lucius, I will.

\Lavinja turns over the books which Lucius
has let fall.

Tit. How now, Lavinia ? — Marcus, what means
this ?
Some book there is that she desires to see : —
Which is it, girl, of these ?— Open them, boy.—
But thou art deeper read, and better skill'd ;
Come, and take choice of all my library,

6 — Tully's Orator.] The moderns — oratory. The old
copies read— Tully's oratourj meaning, perhaps, Tully De Oratore.

Steevens.

«_ Tully's Orator." Tully's Treatise on Eloquence, addressed
to Brutus, and entitled Orator. The quantity of Latin words was
formerly little attended to. Mr. Rowe, and all the subsequent
editors, read — Tully's oratory. Malone.

6

sc.i. TITUS ANDRONICUS. 331

And so beguile thy sorrow, till the heavens
Reveal the damn'd contriver of this deed. —
Why lifts she up her arms in sequence thus ?

Mar. I think, she means, that there was more
than one
Confederate in the fact ; — Ay, more there was:
Or else to heaven she heaves them for revenge.

Tit. Lucius, what book is that she tosseth so ?

Boy. Grandsire, 'tis Ovid's Metamorphosis;
My mother gav't me.

Mar. For love of her that's gone,

Perhaps she cull'd it from among the rest.

Tit. Soft ! see, how busily she turns the leaves ! 7
Help her :

What would she find ? — Lavinia, shall I read ?
This is the tragick tale of Philomel,
And treats of Tereus' treason, and his rape ;
And rape, I fear, was root of thine annoy.

Mar. See, brother, see; note, how she quotes
the leaves 8.

Tit. Lavinia, wert thou thus surpriz'd, sweet
girl,
Ravish'd and wrongd, as Philomela was,
Forc'd in the ruthless, vast, and gloomy woods ? —

See, see !

Ay, such a place there is, where we did hunt,
(O, had we never, never, hunted there !)
Pattern'd by that the poet here describes,
By nature made for murders, and for rapes.

Mar. O, why should nature build so foul a den,
Unless the gods delight in tragedies !

7 Soft! see, how busily, &c] Old copies —

" Soft, so busily," &c.
Corrected by Mr. Rowe. Ma lone.
The edition 1600 also reads — Soft, so busilie. Todd.

8 — how she at'OTEs the leaves.] To quote, is to observe. See
a note on Hamlet, Act II. Sc. II. Steevbns.

332 TITUS ANDRONICUS. act iv.

Tjt. Give signs, sweet girl, — for here are none
but friends, —
What Roman lord it was durst do the deed :
Or slunk not Saturnine, as Tarquin erst,
That left the camp to sin in Lucrece' bed ?

Mar. Sit down, sweet niece ; — brother, sit down
by me. —
Apollo, Pallas, Jove, or Mercury,
Inspire me, that I may this treason find ! —
My lord, look here ; — Look here, Lavinia :
This sandy plot is plain ; guide, if thou canst,
This after me, when I have writ my name
Without the help of any hand at all.

[He writes his Name with his Staff, and guides
it with his Feet and Mouth.
Curs'd be that heart, that forc'd us to this shift ! —
Write thou, good niece ; and here display, at last,
What God will have discover'd for revenge :
Heaven guide thy pen to print thy sorrows plain,
That we may know the traitors, and the truth !

[She takes the Staff in her Mouth, and guides
it with her Stumps, and writes.
Tit. O, do you read, my lord, what she hath
writ ?
Stuprum— Chiron— Demetrius.

Mar. What, what !— the lustful sons of Tamora
Performers of this heinous, bloody deed ?

Tjt. Magni Dominator poli9,
Tarn lent us audis scelera? tarn lentus vides ?
Mar. O, calm thee, gentle lord! although, I
know,
There is enough written upon this earth,

9 Ma<me Dominator poli, &c] Magne Regnator Deum, &c.
is the exclamation of Ilippolytus when Phaedra discovers the
secret of her incestuous passion in Seneca's tragedy. Steevens.

" Magne Dominator poli." The edition 1600 reads—" Magni
Dominator poli." Toon.

Such is also the reading of quarto 161 1. Boswell.

*€?, /. TITUS ANDRONICUS. 333

To stir a mutiny in the mildest thoughts,
And arm the minds of infants to exclaims.
My lord, kneel down with me ; Lavinia, kneel ;
And kneel, sweet boy, the Roman Hector's hope ;
And swear with me, — as with the woful feere *,
And father, of that chaste dishonour'd dame,
Lord Junius Brutus sware for Lucrece' rape, —
That we will prosecute, by good advice,
Mortal revenge upon these traitorous Goths,
And see their blood, or die with this reproach.

1 And swear with me, — as with the woful feere,] The old
copies do not only assist us to find the true reading by conjecture.
I will give an instance, from the first folio, of a reading (incontes-
tably the true one) which has escaped the laborious researches of
the many most diligent criticks, who have favoured the world with
editions of Shakspeare :

" My lord, kneel down with me ; Lavinia, kneel ;

" And kneel, sweet boy, the Roman Hector's hope ;

" And swear with me, as with the woeful peer,

" And father of that chaste dishonour'd dame,

" Lord Junius Brutus sware for Lucrece' rape — ."
What meaning has hitherto been annexed to the word peer, in
this passage, I know not. The reading of the first folio is feere,
which signifies a companion, and here metaphorically a husband.
The proceeding of Brutus, which is alluded to, is described at
length in our author's Rape of Lucrece, as putting an end to the
lamentations of Collatinus and Lucretius, the husband and father
of Lucretia. So, in Sir Eglamour of Artoys, sig. A 4 :

" Christabell, your daughter free,

" When shall she have ajere ? "
i. e. husband.

Sir Thomas More's Lamentation on the Death of Queen Eliza-
beth, Wife of Henry VII. :

" Was I not a king's fere in marriage? "
And again :

" Farewell my daughter Katherine, late the fere

" To prince Arthur." Tvrwhitt.
The word feere or pheere very frequently occurs among the old
dramatick writers and others. So, in Ben Jonson's Silent Woman,
Morose says :

" her that I mean to choose for my bcd-])/iccre."

And many other places. Steevens.

334

TITUS ANDRONICUS. act iv.

Tit. Tis sure enough, an you knew how,
But if you hurt these bear-whelps, then beware :
The dam will wake ; and, if she wind you once,
She's with the lion deeply still in league,
And lulls him whilst she playeth on her back
And, when he sleeps, will she do what she list.
You're a young huntsman, Marcus ; let it alone ;
And, come, I will go get a leaf of brass,
And with a gad of steel 3 will write these words,
And lay it by : the angry northern wind
Will blow these sands, like Sybil's leaves, abroad,
And where's your lesson then ?— Boy, what say you ?

Boy. I say, my lord, that if I were a man,
Their mother's bed-chamber should not be safe
For these bad-bondmen to the yoke of Rome

Mar. Ay, that's my boy ! thy father hath full ott
For this ungrateful country done the like.

Boy. And, uncle, so will I, an if 1 live.

Tit. Come, go with me into mine armoury ;
Lucius, I'll fit thee ; and withal, my boy
Shall carry from me to the empress' sons
Presents, that I intend to send them both :
Come, come ; thou'lt do thy message, wilt thou
not ? .

Boy. Ay, with my dagger in their bosoms,

grandsire.
Tit. No, boy, not so ; I'll teach thee another

course.

* - let it alone ;] In edit. 1600, it is wanting. Todd.
3 And with a gad of steel-] Agad, from the Saxon jab, . e.
the point of a spear, is used here for some similar pointed instru-
ment. Malone.

a _- the angiy northern wind
Will blow these sands, like Sybil's leaves, abroad,]

Foliis tan turn ne carmina manda,

Ne turbata volent rapidis ludibria ventis. tfn.vi. 15.

Steevens.

sc. ii. TITUS ANDRONICUS. 335

Lavinia, come : — Marcus, look to my house ;

Lucius and I'll go brave it at the court ;

Ay, marry, will we, sir ; and we'll be waited on.

[Exeunt Titus, Lavinia, and Boy.
Mar. O heavens, can you hear a good man
groan,
And not relent, or not compassion him ?
Marcus, attend him in his ecstasy ;
That hath more scars of sorrow in his heart,
Than foe-men's marks upon his batter'd shield :
But yet so just, that he will not revenge: —
Revenge the heavens 5 for old Andronicus ! [Exit.

SCENE II.

The Same. A Room in the Palace.

Enter Aaron, Chiron, and Demetrius, at one
Door ; at another Door, young Lucius, and an
Attendant, with a Bundle of Weapons, and
Verses writ upon them.

Chi. Demetrius, here's the son of Lucius ;
He hath some message to deliver to us.

Aar. Ay, some mad message from his mad

grandfather.
Boy. My lords, with all the humbleness I may,
I greet your honours from Andronicus ; —
And pray the Roman gods, confound you both.

[Aside.

i Revenge the heavens — ] We should read :

" Revenge thee, heavens ." Warburton.

It should be :

" Revenge, ye heavens ."

Ye was by the transcriber taken for ?/, the. Johnsox.

I believe the old reading is right, and signifies — ' may the
heavens revenge,' &c. Steevens-

I believe we should read :

" Revenge then heavens." Tykwhitt.

336 TITUS ANDRONICUS. act iv.

Dem. Gramercy6, lovely Lucius: What's the

news ?
Boy. That you are both decipher'd, that's the

news,
For villains mark'd with rape. [Aside.] May it

please you,
My grandsire, well-advis'd, hath sent by me
The goodliest weapons of his armoury,
To gratify your honourable youth,
The hope of Rome ; for so he bade me say;
And so I do, and with his gifts present
Your lordships, that whenever you have need,
You may be armed and appointed well:
And so I leave you both, [Aside.'] like bloody

villains. ' [Exeunt Boy and Attendant.
Dem. What's here? A scroll; and written round

about ?

Let's see ;

Integer vitce, scelerisque purus,

Non eget Mauri jaculis, nee arcu.

Cm. O, 'tis a verse in Horace ; I know it well :
I read it in the grammar long ago.

Aar. Ay, just !— a verse in Horace ;— right, you

have it.
Now, what a thing it is to be an ass !
Here's no sound jest7 ! the old man Jiath

found their guilt :
And sends the weapons 8 wrapp'd about

with lines,

6 Gramercy,] i. e. grand merci, great thanks. Steevens.

7 Here's no sound jest!] Thus the old copies. This mode of
expression was common formerly ; so, in King Henry IV. Part I. :
" Here's no fine villainy ! "—We yet talk of giving a sound drub-
bing. Mr. Theobald, however, and the modern editors, read—

" Here's no fond jest." Malone.
The old reading is undoubtedly the true one. So, in King

Richard III. : * , . . . m •»

" Good Catesby, go, effect this business soundly.
See also Romeo and Juliet, Act IV. Sc. V. Steevens.

8 « the weapons— 0 Edit. 1600— them weapons. Todd,

Aside*

sc. //. TITUS ANDRONICUS. 337

That wound, beyond their feeling, to the "|

quick.
But were our witty empress well a-foot, V Aside.
She would applaud Andronicus' conceit.
But let her rest in her unrest awhile. — J
And now, young lords, was't not a happy star
Led us to Rome, strangers, and more than so,
Captives, to be advanced to this height ?
It did me good, before the palace gate
To brave the tribune in his brother's hearing.

Dem. But me more good, to see so great a lord
Basely insinuate, and send us gifts.

Aar. Had he not reason, lord Demetrius ?
Did you not use his daughter very friendly ?

Dem. I would, we had a thousand Roman dames
At such a bay, by turn to serve our lust.

Chi. A charitable wish, and full of love.

Aar. Here lacks but your mother for to say amen.

Chi. And that would she for twenty thousand
more.

Dem. Come, let us go ; and pray to all the gods
For our beloved mother in her pains.

Aar. Pray to the devils ; the gods have given us
o'er. [Aside. Flourish.

Dem. Why do the emperor's trumpets flourish
thus ?

Chi. Belike, for joy the emperor hath a son.

Dem. Soft ; who comes here ?

Enter a Nurse, xvith a Black- a-moor Child in her

Arms.

Nur. Good morrow, lords :

O, tell me, did you see Aaron the Moor.

Aar. Well, more, or less, or ne'er a whit at all,
Here Aaron is ; and what with Aaron now ?

Nur. O gentle Aaron, we are all undone !
Now help, or woe betide thee evermore !

vol. xxi. z

338 TITUS ANDRONICUS. act iv.

Jar. Why, what a caterwauling dost thou keep ?
What dost thou wrap and fumble in thy arms ?
Nun. O, that which I would hide from heavens

eye,
Our empress' shame, and stately Rome's disgrace ;—
She is deliver'd, lords, she is deliver'd.

Jar. To whom?

TJrjR I mean she's brought to bed.

Jar Wel1' God

Giveher good rest ! What hath he sent her ?

N R

Jar. Why, then she's the devil's dam ; a joyful

issue
Nun. A joyless, dismal, black, and sorrowful

issue *
Here is the babe, as loathsome as a toad
Amongst the fairest breeders of our clime.
The empress sends it thee, thy stamp, thy seal,
And bids thee christen it with thy dagger s point.

Jar. Out9, you whore! is black so base a
hue ?—
Sweet blowse, you are a beauteous blossom, sure.

Dem. Villain, what hast thou done ?

jARt Done! that which thou

Canst not undo2.

Cm. Thou hast undone our mother.

9 Out out 1 The second interjection, which is wanting in
the old copies I have inserted for the sake of metre. Steevens.
» oTL/you whore! » The edition 1600 reads:

" Zounds, you whore." Iodd.
This proves that Mr. Steevens's insertion of the second out was

"? D°one ! tatXh thou-] Done /which is wanting in the
old copies, was very properly added, for the sake of measure, by.
Mr. Capell. Steevens.
* Done ! that which thou
Canst not undo.] The edition 1G00 reads :
•« Dem. Villaine what hast thou done:-
" Aar. That which thou canst not vndoe.' 1 odd.

sc. //. TITUS ANDRONICUS. 339

Aar. Villain, I have done thy mother4.
Dem. And therein, hellish dog, thou hast
undone.
Woe to her chance, and damn'd her loathed choice !
Accurs'd the offspring of so foul a fiend !
Chi. It shall not live.
Aar. It shall not die 5.

Nur. Aaron, it must : the mother wills it so.
Aar. What, must it, nurse ? then let no man
but I,
Do execution on my flesh and blood.

Dem. I'll broach the tadpole 6 on my rapier's
point,
Nurse, give it me ; my sword shall soon despatch it.

3 Thou hast undone — ] Edition 1600 reads :

"Thou hasl undone her.'' Todd.

4 Villain, I have done thy mother.] To do is here used ob-
scenely. So, in Taylor the Water Poet's character of a Pros-
titute :

" She's facile fieri ; (quickly wonne,)
" Or, const'ring truly, easy to be done." Collins.
* It shall not die.] We may suppose that the measure here was
originally perfect, and stood thus :

" I say, it shall not die." Steevens.
6 I'll broach the tadpole — ] A broach is a spit. ' I'll spit the
tadpole.' Johnson.

So, in Hey wood's Rape of Lucrece, 1630:

" I'll broach thee on my steel."
Again, in Greene's Pleasant Discovery of the Cosenage of Col-
liers, 1592: " — with that she caught a spit in her hand, and
swore if he offered tostirre, she should therewith broach him."

Collins.

So also, in Lust's Dominion, by Marlowe, a play, in its style,

bearing, 1 think, a near resemblance to Titus Andronicus, Eleazar,

the Moor, a character of unmingled ferocity, like Aaron, and, like

him, the paramour of a royal mistress, exclaims :

" Run, and with a voice

" Erected high as mine, say thus, thus threaten
" To Roderigo and the Cardinal :
" Seek no queens here, I'll broach them, if they do,
" Upon my falchion's point." Boswell.

Z2

340 TITUS ANDROMCUS. act iv.

A 4R. Sooner this sword shall plow thy bowels up,
[Takes the Child from the Nurse, and draws.
Stay, murderous villains ! will you kill your brother ?
Now, by the burning tapers of the sky,
That shone so brightly when this boy was got,
He dies upon my scimitar's sharp point,
That touches this my first-born son and heir!
I tell you, younglings, not Enceladus,
With all his threat'ning band of Typhon's brood,
Nor great Alcides, nor the god of war,
Shall seize this prey out of his father's hands.
What, what ; ye sanguine, shallow-hearted boys !
Ye white-lim'd walls7 ! ye alehouse painted signs !
Coal-black is better than another hue.
In that it scorns to bear another hue8:
For all the water in the ocean
Can never turn a swan's black legs to white,
Although she lave them hourly in the flood.
Tell the emperess from me, I am of age
To keep mine own ; excuse it how she can.

Dem. Wilt thou betray thy noble mistress thus ?
Jar. My mistress is my mistress ; this, myself ;
The vigour, and the picture of my youth :

7 Ye white-LiM'D walls !] The old copies have— white tiwb'd.
The word intended, 1 think, was— white limnd. Mr. Pope, and
the subsequent editors, read— white lim'd. Malone.

I read—/mJ, because I never found the term—fowi d, em-
ployed to describe whitewashing, and because in A Midsummer-
Night's Dream, we have —

" This man, with lime, and rough-cast, doth present

" Wall:' ,. T . .

A layer-on of white-wish is not a limner. Limning compre-
hends the idea of delineation. Steevens.

8 In that it scorns to bear another hue :] 1 hus both the
quarto and the folio. Some modern editions had seems instead of
Icorns, which was restored by Dr. Johnson. Malone.
Scorns should undoubtedly be inserted in the text.

Tyrwhitt.

sc. n. TITUS ANDRONICUS. 341

This, before all the world, do I prefer ;
This, maugre all the world, will I keep safe,
Or some of you shall smoke for it in Rome.

Dem. By this our mother is for ever sham'd .

Chi. Rome will despise her for this foul escape 9.

Nur. The emperor, in his rage, will doom her
death.

Chi. I blush to think upon this ignomy1.

Aar. Why, there's the privilege your beauty
bears :
Fye, treacherous hue ! that will betray with blushing
The close enacts and counsels of the heart 2 !
Here's a young lad fram'd of another leer 3 :
Look, how the black slave smiles upon the father;
As who should say, Old lad, I am thine own.
He is your brother, lords; sensibly fed
Of that self-blood that first gave life to you;
And, from that womb4, where you imprison'd were,

9 — for this foul escape.] This foul illegitimate child.

Malone.
So, in King John :

" No scape of nature." Steevens.

1 — ignomy.] i. e. ignominy. See vol. ix. p. 87, n. 3.

Malone.

2 The close enacts and counsels of the heart !] So, in Othello :

" They are close denotements working from the heart — ."

Malone.

3 — another leer :] Leer is complexion, or hue. So, in As
You Like It: " — a Rosalind of a better leer than you." See
Mr. Toilet's note on Act IV. Sc. I. In the notes on the Canter-
bury Talcs of Chaucer, Mr. Tyrwhitt's edit. vol. iv. p. 320, lore
is supposed to mean skin. So, in Isumbras, MS. Cott. Cal. 11.
fol. 129:

" His lady is white as wales bone,
" Here lere brvgte to se upon,
" So faire as blosme on tre."
Again, in the ancient metrical romance of the Sowdon of
Babyloyne, MS:

" Tho spake Roulande with hevy cheere
" Woordes lamentable,
" When he saugh the ladies so whyte of lere
" Faile bredc on theire table." Steevens.

4 — that womb] Edition, 1600 — your womb. Todd.

342 TITUS ANDRONICUS. act iv.

He is enfranchised and come to light :
Nay, he's your brother by the surer side,
Although my seal be stamped in his face.

Nur. Aaron, what shall I say unto the empress ?
Dem. Advise thee, Aaron, what is to be done,
And we will all subscribe to thy advice ;
Save thou the child, so we may all be safe.

Aar. Then sit we down, and let us all consult.
My son and 1 will have the wind of you :
Keep there : Now talk at pleasure of your safety.

[They sit on the Ground.
Dem. How many women saw this child of his ?
Aar. Why, so, brave lords ; When we all join in
league,
I am a lamb : but if you brave the Moor,
The chased boar, the mountain lioness,
The ocean swells not so as Aaron storms.^
But, say again, how many saw the child ?

Nur. Cornelia the midwife, and myself:
And no one else, but the deliver'd empress.

Aar. The emperess, the midwife, and yourself:
Two may keep counsel, when the third's away 5 :
Go to the empress ; tell her, this I said :—

[Stabbing her.

Weke, weke !— so cries a pig, prepar'd to the spit.
Dem. What mean'st thou, Aaron? Wherefore

did'st thou this ?
Aar. O, lord, sir, 'tis a deed of policy :
Shall she live to betray this guilt of ours ?
A long-tongu'd babbling gossip ? no, lords, no.
And now be it known to you my full intent.
Not far, one Muliteus lives6, my countryman,

s Two may keep counsel, when the third's away:] This
croverb is introduced likewise in Romeo and Juliet, Act II.

" STK EVENS.

6 —one Muliteus lives,] The word lives, which is wanting
in the old copies, was supplied by Mr. Rowe. Malone.

»« __ Muliteus — ." This line being too long by a foot, Mull*
tens no Moorish name, (or indeed a^y name at all,) and the verb

sc. u. TITUS ANDUONICUS. 343

His wife but yesternight was brought to bed ;
His child is like to her, fair as you are :
Go pack with him7, and give the mother gold,
And tell them both the circumstance of all :
And how by this their child shall be advanc'd,
And be received for the emperor's heir,
And substituted in the place of mine,
To calm this tempest whirling in the court;
And let the emperor dandle him for his own.
Hark ye, lords; ye see, that I8 have given her
physick, [Pointing to the Nurse.

And you must needs bestow her funeral ;
The fields are near, and you are gallant grooms :
This done, see that you take no longer days,
But send the midwife presently to me.
The midwife, and the nurse, well made away,
Then let the ladies tattle what they please.

Chi. Aaron, I see, thou wilt not trust the air
With secrets.

Dem. For this care of Tamora,

Herself, and hers, are highly bound to thee.

[Exeunt Dem. and Chi. bearing off the Nurse.

Aar. Now to the Goths, as swift as swallow
flies ;

— lives wanting to the sense in the old copy, I suspect the desig-
nation of Aaron's friend to be a corruption, and that our author
wrote :

' ' Not far, one Muley lives, my countryman."
" Muley lives " was easily changed by a blundering transcriber,
or printer, into — Muliteus. Steevens.

7 Go pack with him,] Pack here seems to have the meaning
of make a bargain. Or it may mean, as in the phrase of modern
gamesters, to act collusively :

° And mighty dukes pack knaves for half a crown."

Pope.
To pack is to contrive insidiously. So, in King Lear:

" snuffs and packings of the dukes." Steevens.

To ' pack a jury,' is an expression still used ; though the prac-
tice, I trust, is obsolete. Henley.

i — that I — ] That omitted in edition 1G(K). Todd.

344 TITUS ANDRONICUS. act iv.

There to dispose this treasure in mine arms,
And secretly to greet the empress' friends. —
Come on, you thick-lipp'd slave, I'll bear you hence;
For it is you that puts us to our shifts ;
I'll make you feed on berries and on roots,
And feed 9 on curds and whey, and suck the goat,
And cabin in a cave ; and bring you up
To be a warrior, and command a camp. [Exit,

SCENE III.
The Same. A publick Place.

Enter Titus, bearing Arrows, with Letters at the
ends of them ; with him Marcus, young Lucius,
and other Gentlemen, with Bows.
Tit. Come, Marcus, come; — Kinsmen, this is
the way: —

Sir boy, now l let me see your archery ;

Look ye draw home enough, and 'tis there straight :

Terras Astrcea reliquit :

Be you remember'd, Marcus, she's gone, she's fled.

Sir, take you to your tools. You, cousins, shall

Go sound the ocean, and cast your nets ;

Happily you may catch her in the sea 2 ;

Yet there's as little justice as at land: —

No ; Publius and Sempronius, you must do it ;

'Tis you must dig with mattock, and with spade,

9 And feed — ] This verb having occurred in the line imme-
diately preceding, SirT. Hanmer with great probability, reads:
" And feast on curds, he. Steevens.

i now—] This svllable, which is necessary to the metre,

but wanting in the first folio, is supplied by the second.

Steevens.

2 — catch her in the sea.] So the 4to. 1600, that of 1611,
and the folio, read— find. Malone.

" Catch her, &c." The better reading, I think. Todd.

>

sc. m. TITUS ANDROMCUS. 345

And pierce the inmost center of the earth :
Then, when you come to Pluto's region,
I pray you, deliver him this petition ;
Tell him it is for justice, and for aid :
And that it comes from old Andronicus,
Shaken with sorrows in ungrateful Rome. —
Ah, Rome! — Well, well; I made thee miserable,
What time I threw the people's suffrages
On him that thus doth tyrannize o'er me. —
Go, get you gone ; and pray be careful all,
And leave you not a man of war unsearch'd ;
This wicked emperor may have shipp'd her hence,
And, kinsmen, then we may go pipe for justice.

Mar. O, Publius, is not this a heavy case,
To see thy noble uncle thus distract ?

Pub. Therefore, my lord, it highly us concerns,
By day and night to attend him carefully ;
And feed his humour kindly as we may,
Till time beget some careful remedy.

Mar. Kinsmen, his sorrows are past remedy.
Join with the Goths ; and with revengeful war
Take wreak on Rome for this ingratitude,
And vengeance on the traitor Saturnine.

Tit. Publius, how now ? how now, my masters ?
What,
Have you met with her ?

Pub. No, my good lord ; but Pluto sends you
word
If you will have revenge from hell, you shall :
Marry, for Justice, she is so employ'd,
He thinks with Jove in heaven, or somewhere else,
So that perforce you must needs stay a time.

Tit. He doth me wrong, to feed me with delays.
I'll dive into the burning lake below,
And pull her out of Acheron by the heels. —
Marcus, we are but shrubs, no cedars we ;
No big-bon'd men, fram'd of the Cyclops' size :

346 TITUS ANDRONICUS. act jr.

But metal, Marcus, steel to the very back ;

Yet wrung with wrongs3, more than our backs can

bear:
And, sith there is no justice in earth nor hell,
We will solicit heaven ; and move the gods,
To send down justice for to wreak4 our wrongs:
Come, to this gear. You are a good archer, Marcus.

[He gives them the Arrows.
Ad Jovem, that's for you -.—Here, ad Jpollinem :—
Jd Mart em, that's for myself ; —
Here, boy, to Pallas :— Here, to Mercury:
To Saturn, Caius 5, not to Saturnine, —
You were as good to shoot against the wind. —
To it, boy. Marcus, loose you6, when I bid:
O' my word, I have written to effect ;
There's not a god left unsolicited.

3 Yet wrung with wrongs,] To luring a horse is to press or

strain his back. Johnson.

So, in Hamlet :

"Our withers are unwrung." Steevens.

4 — to wreak — ] i. e. revenge. So, in p. 350 :

" Shall we be thus afflicted in his wreaks ?"
Again, in Chapman's version of the fifth Iliad :

" and justice might enforce

" The voreake he took on Troy." Steevens.
s To Saturn, Caius, &c] Old copies :

" To Saturnine, to Caius, not to Saturnine."
For Cams Mr. Rowe substituted— Ccelus. Steevens.
Saturnine was corrected by Mr. Rowe. To was inadvertently
repeated by the compositor. Caius appears to have been one of
the kinsmen of Titus. Publius and Sempronius have been al-
ready mentioned. Publius and Caius, are again introduced in
Act V. Sc. II. :

"Tit. Publius, come hither; Caius and Valentine."
The modern editors read— To Saturn, to Ccelum, &c.

Malone.

I have always read— Ccelus, i. e. the Roman deity of that name.

Steevens.

* — loose you.] For the insertion of you, which completes
the measure, I am answerable. Malone.

7

sc. m. TITUS ANDRONICUS. 3-17

Mar. Kinsmen, shoot all your shafts into the
court 7 :
We will afflict the emperor in his pride.

Tit. Now, masters, draw. [They shoot.'] O, well
said, Lucius !
Good boy, in Virgo's lap ; give it Pallas.

Mar. My lord, I aim a mile beyond the moon 8 ;
Your letter is with Jupiter by this.

Tit. Ha! Publius, Publius, what hast thou done !
See, see, thou hast shot off one of Taurus' horns.
Mar. This was the sport, my lord : when Publius
shot,
The bull being gall'd, gave Aries such a knock
That down fell both the ram's horns in the court ;
And who should find them but the empress' villain ?
She laugh'd, and told the Moor, he should not

choose
But give them to his master for a present.

7 — shoot all your shafts into the court;] In the ancient
ballad of Titus Andronicus's Complaint, is the following passage :

" Then past reliefe I upp and downe did goe,

" And with my tears wrote in the dust my woe :

*' I shot mij arrotves towards heaven hie,

" And for revenge to hell did often crye."
On this Dr. Percy has the following ohservation : " If the
ballad was written before the play, I should suppose this to be
only a metaphorical expression, taken from the Psalms : " They
shoot out their arrows, even bitter words," Psalm lxiv. 3. lle-
liques of Ancient English Poetry, vol. i. p. 228, third edition.

Steevens.

8 — I aim a mile beyond the moon ;] To " cast beyond the
moon," is an expression used in Hinde's Eliosto Libidinoso, 1606.
Again, in Mother Bombie, 1594 : " Risio hath gone beyond him-
self in casting beyond the moon." Again, in A Woman kill'd
with Kindness, 1617 :

" — — I talk of things impossible,
" And cast beyond the moon." Steevens.
" — I aim a mile beyond the moon." Thus the qiartoand

folio. Mr. Rowe for aim substituted am, which has been adopted

by all the modern editors. Malone.

348 TITUS ANDRONICUS. act if.

Tit. Why, there it goes: God give your lordship8

joy-

Enter a Clown, with a Basket and Two Pigeons.

News, news from heaven ! Marcus, the post is come.
Sirrah, what tidings ? have you any letters ?
Shall I have justice ? what says Jupiter ?

Clo. Ho! the gibbet-maker? he says, that he
hath taken them down again, for the man must not
be hanged till the next week.

Tit. But what says Jupiter, I ask thee ?

Clo. Alas, sir, I know not Jupiter ; I never drank
with him in all my life 9.

Tit. Why villain, art not thou the carrier?

Clo. Ay, of my pigeons, sir ; nothing else.

Tit. Why, didst thou not come from heaven ?

Clo. From heaven ? alas, sir, I never came there :
God forbid, I should be so bold to press to heaven
in my young days. Why, I am going with my
pigeons to the tribunal plebs \ to take up a matter
of°brawl betwixt my uncle and one of the empe-

rial's men.

Mar. Why, sir, that is as fit as can be, to serve
for your oration ; and let him deliver the pigeons
to the emperor from you.

Tit. Tell me, can you deliver an oration to the
emperor with a grace ?

s —your lordship—] Edition 1600 i—his lordship. Toon.

9 — 1 know not Jupiter ; I never drank with him in all my
life ] Perhaps, in this instance also, the Clown was designed to
blunder, by saying, (as does the Dairy-maid in a modern farce)
Jew Peter, instead of Jupiter. Steevens.

i — the tribunal plebs,] I suppose the Clown means to say,
Plebeian tribune, i. e. tribune of the people ; for none could fill
this office but such as were descended from Plebeian ancestors.

Steevens.

Sir T. Hanmer supposes that he means.— 4tibunua yields.

* Malone.

sc.ir. TITUS ANDRONICUS. 349

Clo. Nay, truly, sir, I could never say grace in
all my life.

Tit. Sirrah, come hither : make no more ado,
But give your pigeons to the emperor :
By me thou shalt have justice at his hands.
Hold, hold; — mean while, here's money for thy

charges.
Give me a pen and ink. —
Sirrah, can you with grace deliver a supplication ?

Clo. Ay, sir.

Tit. Then here is a supplication for you. And
when you come to him, at the first approach, you
must kneel; then kiss his foot; then deliver up
your pigeons ; and then look for your reward, I'll
be at hand, sir; see you do it bravely.

Clo. I warrant you, sir ; let me alone.

Tit. Sirrah, hast thou a knife ? Come, let me
see it. ~-

Here, Marcus, fold it in the oration ;
For thou hast made it like an humble suppliant : —
And when thou hast given it to the emperor,
Knock at my door, and tell me what he says.

Clo. God be with you, sir ; I will.

Tit. Come, Marcus, let's go : — Publius, follow
me. [Exeunt.

SCENE IV.

The Same. Before the Palace.

Enter Saturninus, Tamora, Chiron, Demetrivs,
Lords and Others : Saturninus xvith the Arroxvs
in his Hand, that Titus shot.

Sat. Why, lords, what wrongs are these? Was
ever seen
An emperor of Rome thus overborne,

/

350 TITUS ANDRONICUS. act ir.

Troubled, confronted thus ; and, for the extent

Of egal justice, us'd in such contempt ?

My lords, you know, as do '2 the mightful gods,

However these disturbers of our peace

Buz in the people's ears, there nought hath pass'd,

But even with the law \ against the wilful sons

Of old Andronicus. And what an if

His sorrows have so overwhelm'd his wits,

Shall we be thus afflicted in his wreaks,

His fits, his frenzy, and his bitterness ?

And now he writes to heaven for his redress :

See, here's to Jove, and this to Mercury ;

This to Apollo ; this to the god of war :

Sweet scrolls to fly about the streets of Rome !

What's this, but libelling against the senate,

And blazoning our injustice every where ?

A goodly humour, is it not, my lords ?

As who would say, in Rome no justice were.

But if I live, his feigned ecstsaies

Shall be no shelter to these outrages :

But he and his shall know, that justice lives

In Saturninus' health; whom, if she sleep,

He'll so awake, as she in fury shall

Cut off the proud'st conspirator that lives.

Tam. My gracious lord, my lovely Saturnine,
Lord of my life, commander of my thoughts,
Calm thee, and bear the faults of Titus' age,
The effects of sorrow for his valiant sons,
Whose loss hath pierc'd him deep, and scarr'd his

heart ;
And rather comfort his distressed plight,
Than prosecute the meanest, or the best,

1 — as do — ] These two words were supplied by Mr. Rowe ;
who also in the concluding lines of this speech substituted— if she
sleep, &c. for, if he sleep, and— as she, tor, as he. Malone.

3 _ even with law,] Thus the second folio. '1 he first, un-
metrically, — even with the law. Steevens.

sc. iv. TITUS ANDRONICUS. 351

For these contempts. Why, thus it shall become
High-witted Tamora to gloze with all : [Aside.

But, Titus, I have touched thee to the quick,
Thy life-blood out : if Aaron now be wise,
Then is all safe, the anchor's in the port4. —

Enter Clown,

How now, good fellow ? would'st thou speak with us ?

Clo. Yes, forsooth, an your mistership be imperial.

Tam. Empress I am, but yonder sits the em-
peror.

Clo. Tis he. — God, and saint Stephen, give you
good den : I have brought you a letter, and a couple
of pigeons here. [Saturn inus reads the Letter.

Sat. Go, take him away, and hang him pre-
sently.

Clo. How much money must I have ?

Tam. Come, sirrah, you must be hang'd.

Clo. Hang'd ! By'r lady, then I have brought
up a neck to a fair end. [Exit, guarded.

Sat. Despiteful and intolerable wrongs !
Shall I endure this monstrous villainy ?
I know from whence this same device proceeds ;
May this be borne ? — as if his traitorous sons,
That died by law for murder of our brother,
Have by my means been butcher'd wrongfully. —
Go, drag the villain hither by the hair ;
Nor age, nor honour, shall shape privilege : —
For this proud mock, I'll be thy slaughter- man ;
Sly frantick wretch, that holp'st to make me great,
In hope thyself should govern Rome and me.

Enter Mmilivs 5.
What news with thee, ^milius ?

4 — the anchor's in the port.] Edition 1600 reads — the
anchor in the port. Todd.

5 Enter JEmilius.'] [Old copy — Nuntius ./Emilius.] In the
author's manuscript, I presume, it was writ, Enter Nuntius ;

352 TITUS ANDRONICUS. act iv.

Mmil. Arm, arm, my lords 6 : Rome never had

more cause !
The Goths have gather'd head ; and with a power
Of high-resolved men, bent to the spoil,
They hither march amain, under conduct
Of Lucius, son to old Andronicus ;
Who threats, in course of this revenge, to do
As much as ever Coriolanus did.

Sat. Is warlike Lucius general of the Goths ?
These tidings nip me ; and I hang the head
As flowers with frost, or grass beat down with

storms,
Ay, now begin our sorrows to approach :
'Tis he the common people love so much ;
Myself hath often over- heard7 them say,

and they observing, that he is immediately called ^milius,
thought proper to give him his whole title, and so clapped in—
Enter Nuntius ^Emilius,— Mr. Pope has very critically followed
them; and ought, methinks, to have given this new-adopted
citizen Nuntius, a place in the Dramatis Persona;. Theobald.
The edition 1600 reads as in Theobald's old copy. Todd.

6 Arm, arm, my lords ;] The second arm is wanting in the
old copies. Steevens.

Arm is here used as a dissyllable. Malone.
i e to those who can so pronounce it. I continue, for the sake
of metre, to^ repeat the word— arm, May I add, that having seen
very correct and harmonious lines of Mr. Malone's composition, I
cannot suppose, if he had written a tale of persecuted love, he
would have ended it with such a couplet as follows ?— and yet,
according to his present position, if arms be a dissyllable, it must
certainly be allowed to rhyme with any word of corresponding
sound ; — for instance :

" Escaping thus aunt Tabby's larums,

«« They triumph'd in each other's arms."
i. e. -arums. But let the reader determine on the pretension of
arms to rank as a dissyllable. Steevens.

7 Myself hath often over-heard—] Self was used tor-
merlv as a substantive, and written separately from the pronominal
adjective : my self. The late editors, not attending to this, read,
after Sir Thomas Hanmer,— /ww often.— Over, which is not in
the old copies, was supplied by Mr. Theobald. Malone.

Over is wanting in edition 1600. Todd.

3

*c. /*>. TITUS ANDRONICUS. 353

(When I have walked like a private man,)
That Lucius' banishment was wrongfully,
And they have wish'd that Lucius were their em-
peror.

Tam. Why should you fear? is not your city
strong ?

Sat. Ay, but the citizens favour Lucius ;
And will revolt from me, to succour him.

Tam. King, be thy thoughts imperious, like thy
name 8.
Is the sun dimm'd, that gnats do fly in it ?
The eagle suffers little birds to sing,
And is not careful what they mean thereby ;
Knowing that with the shadow of his wings,
He can at pleasure stint their melody 9 :
Even so may'st thou the giddy men of Rome.
Then cheer thy spirit : for know, thou emperor,
I will enchant the old Andronicus,
With words more sweet, and yet more dangerous,
Than baits to fish, or honey-stalks to sheep ! ;
When as the one is wounded with the bait,
The other rotted with delicious feed.

8 — imperious, like thy name.] Imperious was formerly
used for imperial. See Cymbeline, Act IV. Sc. II. :

" The imperious seas, &c. Malone.
Again, in Troilus and Cressida :

" I thank thee, most imperious Agamemnon." Steevens.

9 — stint their melody:] i. e. stop their melody. Malone.
So, in Romeo and Juliet : " — it stinted, and cried— ay."

Steevens.
1 — honey-stalks to sheep ;] Honey-stalh are clover flowers,
which contain a sweet juice. It is common for cattle to over-
charge themselves with clover, and die. Johnson.

Clover has the effect that Johnson mentions, on black cattle,
but not on sheep. Besides, these honey-stalks, whatever they
may be, are described as rotting the sheep, not as bursting them ;
whereas clover is the wholcsomest food you can give them.

M. Mason.
Perhaps, the author was not so skilful a farmer as the com-
mentator. Malone.

VOL. XXI. c2 A

354 TITUS AN DRONICUS. act ir.

Sat. But he will not entreat his son for us.

Tam. If Tamora entreat him, them he will :
For I can smooth, and fill his aged ear
With golden promises ; that were his heart
Almost impregnable, his old ears deaf,
Yet should both ear and heart obey my tongue.—
Go thou before, be our embassador 2 :

[To Emilius,
Say that the emperor requests a parley
Of warlike Lucius, and appoint the meeting,
Even at his father's house, the old Andronicus.

Sat. Emilius, do this message honourably :
And if he stand on hostage 3 for his safety,
Bid him demand what pledge will please him best.

Emil. Your bidding shall 1 do effectually.

[Exit Emilius.

Tam. Now will I to that old Andronicus;
And temper him, with all the art I have,
To pluck proud Lucius from the warlike Goths.
And now, sweet emperor, be blithe again,
And bury all thy fear in my devices.

Sat. Then go successfully 4, and plead to him.

[Exeunt.

z — be our embassador :] The old copies read— to be, &c.
Corrected by Mr. Steevens. Malone.

3 — on hostage — ] Old copies — in hostage. Corrected by
Mr. Rowe. Malone.

4 — successfully,] The old copies read — successantly ; a mere
blunder of the press. Steevens.

Whether the author of this play had any authority for this word,
I know not ; but I suspect he had not. In the next Act he with
equal licence uses rapine for rape. By successantly, I suppose, he
meant successfully. Malone.

act v. TITUS ANDRONICUS. 355

ACT V. SCENE I.
Plains near Rome.

Enter Lucius, and Goths, with Drum and Colours.

Luc. Approved warriors, and my faithful friends,
I have received letters from great Rome,
Which signify, what hate they bear their emperor,
And how desirous of our sight they are.
Therefore, great lords, be, as your titles witness,
Imperious, and impatient of your wrongs ;
And, wherein Rome hath done you any scath 5,
Let him make treble satisfaction.

1 Goth. Brave slip, sprung from the great An-

dronicus,
Whose name was once our terror, now our comfort ;
Whose high exploits, and honourable deeds,
Ingrateful Rome requites with foul contempt,
Be bold in us : we'll follow where thou lead'st, —
Like stinging bees in hottest summer's day,
Led by their master to the flower'd fields, —
And be aveng'd on cursed Tamora.

Goths. And, as he saith, so say we all with him.

Luc. I humbly thank him, and I thank you all.
But who comes here, led by a lusty Goth ?

Enter a Goth, leading Aaron, with his Child in

his Arms.

2 Goth. Renowned Lucius, from our troops I

stray'd,
To gaze upon a ruinous monastery6;

s — scath,] i. e. harm. See vol. xv. p. 225, n. 9.

Steevens.
6 To gaze upon a ruinous monastery ;] Shakspeare has so per-
petually offended against chronology in all his plays, that no very
conclusive argument can be deduced from the particular absurdity

2a2

356 TITUS ANDRONICUS. actv.

And as I earnestly did fix mine eye

Upon the wasted building, suddenly

I heard a child cry underneath a wall :

I made unto the noise ; when soon I heard

The crying babe controll'd with this discourse ;

Peace, tawny slave ; half me, and half thy dam I

Did not thy hue bewray whose brat thou art,

Had nature lent thee but thy mother's look,

Villain, thou might 'st have been an emperor:

But where the bull and cow are both milk-white,

They never do beget a coal-black calf.

Peace, villain, peace! — even thus he rates the

babe, —
For I must bear thee to a trusty Goth ;
Who, when he knows thou art the empress' babe,
Will hold thee dearly for thy mother's sake.
With this my weapon drawn, I rush'd upon him,
Surpriz'd him suddenly ; and brought him hither,
To use as you think needful of the man.

Luc. O worthy Goth ! this is the incarnate devil,
That robb'd Andronicus of his good hand:
This is the pearl that pleas'd your empress' eye 7 ;
And here's the base fruit of his burning lust. —
Say, wall-ey'd slave, whither would'st thou convey
This growing image of thy fiend-like face ?
Why dost not speak? What! deaf? No8: not a
word ?

of these anachronisms, relative to the anthenticitv of Titus Andro-
nicus. And yet the ruined monastery, the popish tricks, &c. that
Aaron talks of, and especially the French salutation from the
mouth of Titus, are altogether so very much out of place that I
cannot persuade myself even our hasty poet could have been
guilty of their insertion, or would have permitted them to remain,
had he corrected the performance for another. Steevens.

7 This is the pearl that pleas'd your empress' eye ;] Alluding
to the proverb, " A black man is a pearl in a fair woman's eye."

M ALONE.

s — No :] This necessary syllable, though wanting in the first
folio, is found in the second. Steevens.

sc. i. TITUS ANDRONICUS. 357

A halter, soldiers ; hang him on this tree,
And by his side his fruit of bastardy.

Aar. Touch not the boy, he is of royal blood.
Luc. Too like the sire for ever being good. —
First, hang the child, that he may see it sprawl ;
A sight to vex the father's soul withal.
Get me a ladder.

[A Ladder brought, which Aaron is obliged to
ascend.

Aar. Lucius, save the child 9 ;

And bear it from me to the emperess.
If thou do this, I'll show thee wondrous things,
That highly may advantage thee to hear :
If thou wilt not, befall what may befall,
I'll speak no more ; But vengeance rot you all!

Luc. Say on ; and, if it please me which thou
speak'st,
Thy child shall live, and I will see it nourish'd.

Aar. An if it please thee ? why, assure thee,
Lucius,
'Twill vex thy soul to hear what I shall speak ;
For I must talk of murders, rapes, and massacres,
Acts of black night, abominable deeds,
Complots of mischief, treason ; villainies
Ruthful to hear, yet piteously perform'd ' :

9 Get me a ladder.
Aar. Lucius, save the child ;] All the printed

editions have given this whole verse to Aaron. But why should
the Moor ask for a ladder, who earnestly wanted to have his child
saved ? Theobald.

" Get me a ladder," may mean, hang me. Steevens.

These words, — " Get me a ladder," are given to Aaron, in edit.
1G0O. Todd.

1 Ruthful to hear, yet piteously perform'd :] I suppose we
should read — pitilessly, not piteously. M. Mason.

Is there such a word as that recommended ? Piteously means,
in a manner exciting pity. Steevens.

358 TITUS ANDRONICUS. act v.

And this shall all be buried by my death 2,
Unless thou swear to me, my child shall live.

Luc. Tell on thy mind ; I say, thy child shall

live.
Aar. Swear, that he shall, and then I will begin.
Luc. Who should I swear by? thou believ'st no
god;
That granted, how canst thou believe an oath ?

Aar. What if I do not? as, indeed, I do not :
Yet, — for I know thou art religious,
And hast a thing within thee, called conscience ;
With twenty popish tricks and ceremonies,
Which I have seen thee careful to observe, —
Therefore I urge thy oath ; — For that, I know,
An idiot holds his bauble3 for a god,
And keeps the oath, which by that god he swears 4 ;
To that I'll urge him: — Therefore, thou shalt vow
By that same god, what god so'er it be,
That thou ador'st and hast in reverence, —
To save my boy, to nourish, and bring him up ;
Or else I will discover nought to thee.

Luc. Even by my god, I swear to thee, I will.
Aar. First, know thou, I begot him on the

empress.
Luc. O most insatiate, luxurious woman 5 !
Aar. Tut, Lucius! this was but a deed of
charity,

2 — buried by my death,] Edition 1600— in my death.

Todd.

3 — his bauble—] See a note on All's Well that Ends Well,
vol. x. p. 4:60, n. 7. Steevens,

4 And keeps the oath, which by that god he swears ;] Allud-
ing perhaps to a custom mentioned in Genesis, xxiv. 9 : "And the
servant put his hand under the thigh of Abraham his master, and
sivare to him concerning that matter." Steevens.

i — Euxuiuous woman!] i.e. lascivious woman.

Malone.

sc. i. TITUS ANDRONICUS. 359

To that which thou shalt hear of me anon.
'Twas her two sons that murder'd Bassianus :
They cut thy sister's tongue, and ravish'd her,
And cut her hands; and trimm'dher as thou saw'st.

Luc. O, detestable villain! call'st thou that
trimming ?

Aar. Why, she was wash'd, and cut, andtrimm'd;
and 'twas
Trim sport for them that had the doing of it.

Luc. O, barbarous, beastly villains, like thyself!

Aar. Indeed, I was their tutor to instruct them ;
That codding spirit 6 had they from their mother,
As sure a card as ever won the set ;
That bloody mind, I think, they learn'd of me,
As true a dog as ever fought at head 7. —
Well, let my deeds be witness of my worth.
I train'd thy brethren to that guileful hole,
Where the dead corpse of Bassianus lay :
I wrote the letter that thy father found 8,

6 That codding spirit — ] i. e. that love of bed-sports. Cod
is a word still used in Yorkshire for a pillow. See Lloyd's cata-
logue of local words at the end of Ray's Proverbs.

Thus also, in A. Wyntown's Cronykil, b. ix. ch. vi. 147 :
" The Byschape Waltyr, qwhen he wes dede
" That succedyt in his stede,
" Gave twa lang coddis of welwete,
" That on the awtare oft is sete." Collins.
1 As true a dog as ever fought at head.] An allusion to bull-
dogs, whose generosity and courage are always shown by meeting
the bull in front, and seizing his nose. Johnson.

So, in A Collection of Epigrams, by J. D. [John Davies] and
C. M. [Christopher Marlowe,] printed at Middleburgh, no date :

" Amongst the dogs and beares he goes ;

" Where, while he skipping cries — To head, — to head."

Steevens.

8 I train'd thy brethren to that guileful hole,

I wrote the letter, &c] Perhaps Young had this speech in
his thoughts, when he made his Moor say :

" I urg'd Don Carlos to resign his mistress ;

f* I forg'd the letter ; I dispos'd the picture ;

" I hated, I despis'd, and I destroy." Malone.

7

360 TITUS ANDRONICUS. act v.

And hid the gold within the letter mention'd,
Confederate with the queen, and her two sons :
And what not done, that thou hast cause to rue,
Wherein I had no stroke of mischief in it ?
I play'd the cheater for thy father's hand ;
And, when I had it, drew myself apart,
And almost broke my heart with extreme laughter.
I pry'd me through the crevice of a wall,
When, for his hand, he had his two sons' heads ;
Beheld his tears, and laugh'd so heartily,
That both mine eyes were rainy like to his ;
And when I told the empress of this sport,
She swounded 9 almost at my pleasing tale,
And, for my tidings, gave me twenty kisses .

Goth. What ! canst thou say all this, and never
blush ?

Aar. Ay, like a black dog, as the saying is \

Luc. Art thou not sorry for these heinous deeds ?

Aar. Ay, that I had not done a thousand more.
Even now I curse the day, (and yet, I think,
Few come within the compass of my curse,)
Wherein I did not some notorious ill :
As kill a man, or else devise his death;
Ravish a maid, or plot the way to do it ;
Accuse some innocent, and forswear myself;
Set deadly enmity between two friends ;
Make poor men's cattle break their necks ; Q

9 She swounded — ] When this play was written, the verb to
svuoimd, which we now write stvoon, was in common use.

Malone.
So, in Romeo and Juliet :

" All in gore blood ; I stvoundcd at the sight."

Steevens.

1 Goth. What ! canst thou say all this, and never elush ?
Aar. Ay, like a black, dog, as the saying is.] To blush

lilce a black dog appears from Ray, p. 218, to have been proverbial.

Reed.

2 Make poor men's cattle break their necks ;] Two syllables
have been inadvertently omitted ; perhaps — and die. Malone.

ac /. TITUS ANDRONICUS. 361

Set fire on barns and hay-stacks in the night,
And bid the owners quench them with their tears.
Oft have I digg'd up dead men from their graves,
And set them upright at their dear friends' doors,
Even when their sorrows almost were forgot ;
And on their skins, as on the bark of trees,
Have with mv knife carved in Roman letters,
Let not your sorrozv die, though I am dead.
Tut, I have done a thousand dreadful things,
As willingly as one would kill a fly ;
And nothing grieves me heartily indeed %
But that I cannot do ten thousand more.

Luc. Bringdown the devil4; for he must not die
So sweet a death, as hanging presently.

Aar. If there be devils, 'would I were a devil,
To live and burn in everlasting fire :
So I might have your company in hell,
But to torment you with my bitter tongue !

Luc. Sirs, stop his mouth, and let him speak no
more.

Enter a Goth.

Goth. My lord, there is a messenger from Rome,
Desires to be admitted to your presence.
Luc. Let him come near. —

Enter JEmilius.

Welcome, /Emilius, what's the news from Rome ?

In my opinion, some other syllables should be sought, to fill
this chasm ; for if the cattle broke their necks, it was rather un-
necessary for us to be informed that — they died. Steevens.

3 And nothing grieves me, &c.] Marlowe has been supposed
to be the author of this play, and whoever will read the conversa-
tion between Barabas and Ithimore in the Jew of Malta, Act II.
and compare it with these sentiments of Aaron in the present
scene, will perceive much reason for the opinion. Reed.

4 Bring down the devil ;] It appears from these words, that
the audience were entertained with part of the apparatus of an
execution, and that Aaron was mounted on a ladder, as ready to
be turned off. Steevens.

302 TITUS ANDRONICUS. act v.

Mmil. Lord Lucius, and you princes of the
Goths,
The Roman emperor greets you all by me :
And, for he understands you are in arms,
He craves a parley at your father's house,
Willing you to demand your hostages,
And they shall be immediately deliver'd.

1 Goth. What says our general ?

Luc. ^Emilius, let the emperor give his pledges
Unto my father and my uncle Marcus,
And we will come .—March 5 away. {Exeunt.

SCENE II.

Rome. Before Titus's House.

Enter Tamora, Chiron, and Demetrius, disguised.
Tam. Thus, in this strange and sad habiliment,
I will encounter with Andronicus ;
And say, I am Revenge, sent from below,
To join with him, and right his heinous wrongs.
Knock at his study, where, they say, he keeps,
To ruminate strange plots of dire revenge ;
Tell him, Revenge is come to join with him,
And work confusion on his enemies. [They knock.

Enter Titus, above.
Tit. Who doth molest my contemplation ?
Is it your trick, to make me ope the door ;
That so my sad decrees may fly away,
And all my study be to no effect ?
You are deceiv'd : for what I mean to do,

s March — ] Perhaps this is a mere stage-direction which

has crept into the text. Steevens.

sc. ii. TITUS ANDRONTCUS. 3G3

See here, in bloody lines I have set down ;
And what is written shall be executed.

Tam. Titus, I am come to talk with thee 6.

Tit. No ; not a word : How can 1 grace my talk,
Wanting a hand to give it action 7 ?
Thou hast the odds of me, therefore no more.

Tam. If thou did'st know me, thou would'st
talk with me.

Tit. I am not mad ; I know thee well enough :
Witness this wretched stump, witness these crimson

lines 8 :
Witness these trenches, made by grief and care ;
Witness the tiring day, and heavy night ;
Witness all sorrow, that I know thee well
For our proud empress, mighty Tamora :
Is not thy coming for my other hand ?

Tam. Know thou, sad man, I am not Tamora ;
She is thy enemy, and I thy friend :
I am Revenge; sent from the infernal kingdom,
To ease the gnawing vulture of thy mind,
By working wreakful vengeance on thy foes.
Come down, and welcome me to this world's light;
Confer with me of murder and of death :
There's not a hollow cave, or lurking-place,
No vast obscurity, or misty vale,
Where bloody murder, or detested rape,
Can couch for fear, but I will find them out ;
And in their ears tell them my dreadful name,
Revenge, which makes the foul offender quake.

6 Titus, &c] Perhaps this imperfect line was originally com-
pleted thus :

" Titus, I am come to talk with thee aivhile." Steevens.
1 — action?] Thus the folio. The quarto, perhaps unintelli-
gibly— that accord. Steevens.

8 — stump, these crimson lines :] The old copies derange the
metre by reading, with useless repetition :

" stump, tvitncss these crimson lines ."

Steevens.

364 TITUS ANDRONICUS. act v.

Tit. Art thou Revenge ? and art thou sent to
me,
To be a torment to mine enemies ?

Tam. I am ; therefore come down, and welcome
me.

Tit. Do me some service, ere I come to thee.
Lo, by thy side where Rape, and Murder, stands ;
Now give some 'surance that thou art Revenge,
Stab them, or tear them on thy chariot wheels ;
And then I'll come, and be thy waggoner,
And whirl along with thee about the globes.
Provide thee proper palfries, black as jet 9,
To hale thy vengeful waggon swift away,
And find out murderers in their guilty caves * :
And, when thy car is loaden with their heads,
1 will dismount, and by the waggon wheel
Trot, like a servile footman, all day long ;
Even from Hyperion's 2 rising in the east,
Until his very downfal in the sea.
And day by day I'll do this heavy task,
So thou destroy Rapine and Murder there 3.

9 Provide thee proper palfries, black as jet,] The old copies,
poorly, and with disregard of metre, read :

" Provide thee hw proper palfries, as black as jet — ."

The second folio indeed omits the useless and redundant — as.

Steevens.

1 And find out murderers, &c] The old copies read— murder
and cares. The former emendation was made by Mr. Steevens ;
the latter by the editor of the second folio. Malone.

* ! Hyperion's — ] The folio reads — Eplon's; the quartos

1600 and 1611 — Epeon's; and so Ravenscroft. Steevens.

The correction was made in the second folio. Malone.

3 So thou destroy Rapine and Murder there.] I do not know
of any instance that can be brought to prove that rape and rapine
were ever used as synonymous terms. The word rapine has always
been employed for a less fatal kind of plunder, and means the
violent act of deprivation of any good, the honour here alluded to
being always excepted.

I have indeed since discovered that Gower, De Confessione
Amantis, lib. v. 116, b. uses ravine in the same sense :

sc. ii. TITUS ANDRONICUS. 3G5

Tam. These are my ministers, and come with

me.
Tit. Are them 4 thy ministers r what are they

call'd ?
Tam. Rapine, and Murder ; therefore called so,
'Cause they take vengeance of such kind of men.
Tit. Good lord, how like the empress' sons they
are !
And you, the empress ! But we worldly men
Have miserable, mad, mistaking eyes.

0 sweet Revenge, now do I come to thee :

And, if one arm's embracement will content thee,

1 will embrace thee in it by and by.

\Exit Titus, from above.
Tam. This closing with him fits his lunacy :
Whate'er I forge, to feed his brain-sick fits,
Do you uphold and maintain in your speeches.
For now he firmly takes me for Revenge ;
And, being credulous in this mad thought,
I'll make him send for Lucius, his son ;
And, whilst I at a banquet hold him sure,
I'll find some cunning practice out of hand,
To scatter and disperse the giddy Goths,
Or, at the least, make them his enemies.
See, here he comes, and I must ply my theme.

Enter Titus.

Tit. Long have I been forlorn, and all for thee :
Welcome, dread fury, to my woful house ; —
Rapine, and Murder, you are welcome too : —
How like the empress and her sons you are !
Well are you fitted, had you but a Moor : —

" For if thou be of suche covine,

" To get of love by ravyne

" Thy love," &c. Steevens. '

4 Are they—] Thus the second folio. The first, contemning
grammar — Are them. Steevens.

See the Essay on Shakspcare's Phraseology,. Boswell.

.'3

3GG TITUS ANDRONICUS. act r.

Could not all hell afford you such a devil ?—
For, well I wot, the empress never wags,
But in her company there is a Moor ;
And, would you represent our queen aright,
It were convenient you had such a devil :
But welcome, as you are. What shall we do ?
Tam. What would'st thou have us do, Androni-

cus ?
Dem. Show me a murderer, I'll deal with him.
Chi. Show me a villain, that hath done a rape,
And I am sent to be reveng'd on him.

Tam. Show me a thousand, that hath done thee
wrong,
And I will be revenged on them all.

Tit. Look round about the wicked streets of
Rome;
And when thou find'st a man that's like thyself,
Good Murder, stab him ; he's a murderer.—
Go thou with him ; and when it is thy hap,
To find another that is like to thee,
Good Rapine, stab him ; he is a ravisher.—
Go thou with them ; and in the emperor's court
There is a queen, attended by a Moor ;
Well may'st thou know her by thy own proportion,
For up and down she doth resemble thee !
I pray thee, do on them some violent death,
They have been violent to me and mine.

Tam. Well hast thou lesson'd us ; this shall we
do.
But would it please thee, good Andronicus,
To send for Lucius, thy thrice valiant son,
Who leads towards Rome a band of warlike Goths,
And bid him come and banquet at thy house :
When he is here, even at thy solemn feast,
I will bring in the empress and her sons,
The emperor himself, and all thy foes ;
And at thy mercy shall they stoop and kneel,

sc. ii. TITUS ANDRONICUS. 367

And on them shalt thou ease thy angry heart.
What says Andronicus to this device ?

Tit. Marcus, my brother ! — 'tis sad Titus calls.

Enter Marcus.

Go, gentle Marcus, to thy nephew Lucius ;
Thou shalt inquire him out among the Goths :
Bid him repair to me, and bring with him
Some of the chiefest princes of the Goths ;
Bid him encamp his soldiers where they are :
Tell him, the emperor and the empress too
Feast at my house : and he shall feast with them.
This do thou for my love ; and so let him,
As he regards his aged father's life.

Mar. This will I do, and soon return again.

Tam. Now will I hence about thy business,
And take my ministers along with me.

Tit. Nay, nay, let Rape and Murder stay with
me ;
Or else I'll call my brother back again,
And cleave to no revenge but Lucius.

Tam. What say you, boys ? will you abide with
him,
Whiles I go tell my lord the emperor,
How I have govern'd our determin'd jest ?
Yield to his humour, smooth and speak him fair,

[Aside.
And tarry with him, till I come again.

Tit. I know them all, though they suppose me
mad ;
And will o'er-reach them in their own devices,
A pair of cursed hell-hounds, and their dam. [Aside.
Dem. Madam, depart at pleasure, leave us here.
Tam. Farewell, Andronicus : Revenge now goes
To lay a complot to betray thy foes.

[Exit Tamora.

368 TITUS ANDRONICUS. actv.

Dem. I know, thou dost ; and, sweet Revenge,
farewell.

Cm. Tell us, old man, how shall we be employ d ?
' Tit. Tut, I have work enough for you to do. —
Publius, come hither> Caius and Valentine !

Enter Publius, and Others.

Pub. What's your will ?
Tit. Know you these two ?
Pub. The empress' sons,
I take them, Chiron and Demetrius 5.

Tit. Fye, Publius, . fye ! thou art too much
deceiv'd;
The one is Murder, Rape is the other's name :
And therefore bind them, gentle Publius ;
Caius, and Valentine, lay hands on them :
Oft have you heard me wish for such an hour,
And now I find it ; therefore bind them sure ;
And stop their mouths, if they begin to cry.

[Exit Titus.— Publius, %c, lay hold on Chi-
ron and Demetrius.
Chi. Villains, forbear ; we are the empress' sons.
Pub. And therefore do we what we are com-
manded.-—
Stop close their mouths, let them not speak a word:
Is he sure bound ? look, that you bind them fast.

Re-enter Titus Andronicus, with Lav inia; she
bearing a Bason, and he a Knife.
Tit. Come, come, Lavinia ; look, thy foes are
bound ; —
Sirs, stop their mouths* let them not speak tome;
But let them hear what fearful words I utter. —
O villains, Chiron and Demetrius !

s — and Demetrius.] And was inserted by Mr. Theobald.

Malone.

sc. //. TITUS ANDRONICUS. 369

Here stands the spring whom you have stain'd with

mud ;
This goodly summer with your winter mix'd.
You kill'd her husband ; and, for that vile fault,
Two of her brothers were condemn'd to death :
My hand cut off, and made a merry jest :
Both her sweet hands, her tongue, and that more

dear
Than hands or tongue, her spotless chastity,
Inhuman traitors, you constrain'd and forc'd.
What would you say, if I should let you speak ?
Villains, for shame you could not beg for grace.
Hark, wretches, how I mean to martyr you.
This one hand yet is left to cut your throats ;
Whilst that Lavinia 'tween her stumps doth hold
The bason, that receives your guilty blood.
You know, your mother means to feast with me,
And calls herself, Revenge, and thinks me mad, —
Hark, villains ; I will grind your bones to dust,
And with your blood and it, I'll make a paste ;
And of the paste a coffin ° I will rear,
And make two pasties of your shameful heads ;
And bid that strumpet, your unhallowed dam,
Like to the earth, swallow her own increase7.
This is the feast that I have bid her to,
And this the banquet she shall surfeit on ;
For worse than Philomel you us'd my daughter,

6 And of the paste a coffin — ] A coffin is the term of art for
the cavity of a raised pye. Johnson.

So, in the Seventh Book of Gawin Douglas's translation of the
iEneid, v. 50 :

" And with thare handis brek and chaftis gnaw
" The crustis, and the coffingh all on raw."
Again, in the Boke of Kerving: " All bake metes that ben hot,
open them above the coffyn." Steevens.

7 — her own increase.] i. e. her own produce. See vol. xv.
p. 142, n. 8. Malone.

VOL. XXI. 2 B

370 TITUS ANDRONICUS. act v.

And worse than Progne I will be reveng'd :
And now prepare your throats. — Lavinia, come,

[He cuts their Throats.
Receive the blood : and, when that they are dead,
Let me go grind their bones to powder small,
And with this hateful liquor temper it ;
And in that paste let their vile heads be bak'd.
Come, come, be every one officious
To make this banquet ; which I wish may prove
More stern and bloody than the Centaurs' feast.
So, now bring them in, for I will play the cook,
And see them ready 'gainst their mother comes.

[Exeunt, bearing the dead Bodies*.

SCENE III.
The Same. A Pavilion, with Tables, &c.

Enter Lucius, Marcus, and Goths, with Aaron,

Prisoner.
Luc. Uncle Marcus, since 'tis my father's mind,
That I repair to Rome, I am content.

1 Goth. And ours, with thine8, befall what

fortune will.
Luc. Good uncle, take you in this barbarous
Moor,
This ravenous tiger, this accursed devil ;
Let him receive no sustenance, fetter him,
Till he be brought unto the empress' face 9,

8 And ours, with thine,] And our content runs parallel with
thine, be the consequence of our coming to Rome what it may.

Malone.

9 — the empress' face,] The quarto has — emperours ; the
folio — emperous. For the emendation I am answerable.

Malone.
Mr. Malone says, the quarto of 161 1 has — emperours ; and that

SC. III.

TITUS ANDRONICUS.

371

For testimony of her foul proceedings :

And see the ambush of our friends be strong :

I fear the emperor means no good to us.

Aar. Some devil whisper curses in mine ear,
And prompt me, that my tongue may utter forth
The venomous malice of my swelling heart !

Luc. Away, inhuman dog! unhallow'd slave ! —
Sirs, help our uncle to convey him in. —

\_Exeunt Goths with Aaron. Flourish.
The trumpets show, the emperor is at hand.

Enter Saturninus and Tamora, with Tribunes,
Senators, and Others.
Sat. What, hath the firmament more suns than

one ?
Luc. What boots it thee, to call thyself a sun ?
Mar. Rome's emperor, and nephew, break the
parle ] ;
These quarrels must be quietly debated.
The feast is ready, which the careful Titus
Hath ordain'd to an honourable end,
For peace, for love, for league, and good to Rome :
Please you, therefore, draw nigh, and take your
places.
Sat. Marcus, we will.

[Hautboys sound. The Company sit down at
Table.

Enter Titus, dressed like a Cook, Latinia, veiled,
young Lucius, and Others. Titus places the
Dishes on the Table. v

Tit. Welcome, my gracious lord ; welcome,
dread queen;

Welcome, ye warlike Goths ; welcome, Lucius ;

he is answerable for the emendation — empress. The quarto of
1600 reads exactly thus :

" Te [i] 11 he be brought vnto the Empresse face." Todd.
1 — break the parle ;] That is, begin the parley. We yet say,
lie breaks his mind. Johnson.

2ii2

372 TITUS ANDRONICUS. act v.

And welcome, all : although the cheer be poor,
'Twill fill your stomachs ; please you eat of it.
Sat. Why art thou thus attir'd, Andronicus ?
Tit. Because I would be sure to have all well,
To entertain your highness, and your empress.
Tam. We are beholden to you, good Andronicus,
Tit. An if your highness knew my heart, you
were.
My lord the emperor, resolve me this ;
Was it well done of rash Virginius,
To slay his daughter with his own right hand \
Because she was enforc'd, stain'd, and deflour'd ?
Sat. It was, Andronicus.
Tit. Your reason, mighty lord !
Sat. Because the girl should not survive her
shame,
And by her presence still renew his sorrows.

Tit. A reason mighty, strong, and effectual;
A pattern, precedent, and lively warrant,
For me, most wretched to perform the like : —
Die, die, Lavinia, and thy shame with thee ;

[He kills Lavinia.
And, with thy shame, thy father's sorrow die !
Sat. What hast thou done, unnatural and un-
kind ?
Tit. Kill'd her, for whom my tears have made
me blind.
I am as woful as Virginius was :
And have a thousand times more cause than he
To do this outrage ; — and it is now done.

* Was it well done of rash Virginius,
To slay his daughter with his own right hand, &c] Mr.
Rowe might have availed himself of this passage in The Fair
Penitent, where Sciolto asks Calista :

" Hast thou not heard what brave Virginius did?
" With his own hand he slew his only daughter," &c.
Titus Andronicus, however, is incorrect in his statement of this
occurrence, for Virginia died unviolated. Steevens.

And therefore he says that he had " more cause" than Vir-
ginius. Boswell.

sc. in. TITUS ANDRONICUS. 373

Sat. What, was she ravish'd ? tell, who did the

deed.
Tit. Will 't please you eat ? will 't please your

highness feed ?
Tam. Why hast thou slain thine only daughter

thus ?
Tit. Not I ; twas Chiron, and Demetrius :
They ravish'd her, and cut away her tongue,
And they, 'twas they, that did her all this wrong.
Sat. Go, fetch them hither to us presently.
Tit. Why, there they are both, baked in that

pye;

Whereof their mother daintily hath fed,
Eating the flesh that she herself hath bred3.
Tis true, 'tis true ; witness my knife's sharp point.

[Killing Tamora.
Sat. Die, frantick wretch, for this accursed deed.

{Killing Titus.
Luc. Can the son's eye behold his father bleed ?
There's meed for meed, death for a deadly deed.
[Kills Saturninus. A great Tumult. The
People in confusion disperse. Marcus,
Lucius, and their Partisans, ascend the
Steps before Titus s House.
Mar. You sad-fac'd men, people and sons of
Rome,
By uproar sever'd, like a flight of fowl
Scatter'd by winds and high tempestuous gusts,

3 Eating the flesh that she herself hath bred.] The additions
made by Ravenscroft to this scene, are so much of a piece with it,
that I cannot resist the temptation of showing the reader how he
continues the speech before us:

" Thus cramm'd, thou'rt bravely fatten 'd up for hell,
" And thus to Pluto 1 do serve thee up.

" [Stabs the emperess."
And then — " A curtain drawn discovers the heads and hands of
Demetrius and Chiron hanging up against the wall ; their bodies
in chairs in bloody linen." Steevens.

374

TITUS ANDRONICUS. act r.

O, let me teach you how to knit again
This scatter'd corn into one mutual sheaf,
These broken limbs again into one body.

Sen. Lest Rome herself be bane unto herself ;
And she, whom mighty kingdoms court'sy to,
Like a forlorn and desperate cast -away,
Do shameful execution on herself.
But if my frosty signs and chaps of age,
Grave witnesses of true experience,
Cannot induce you to attend my words,—
Speak, Rome's dear friend; [To Lucius.] as erst

our ancestor,
When with his solemn tongue he did discourse,
To love-sick Dido's sad attending ear,
The story of that baleful burning night,
When subtle Greeks surpriz'd king Priam's Troy ;

4 Sen. Lest Rome, &c.] This speech and the next, in the
quarto 1611, are given to a Roman lord. In the folio they both
belong to the Goth. I know not why they are separated. I
believe the whole belongs to Marcus ; who, when Lucius has gone
through such a part of the narrative as concerns his own exile,
claims his turn to speak again, and recommend Lucius to the
empire. Steevens.

I have followed the quarto, where the words Roman lord,
R e. Senator,] are prefixed to this speech. The copy, however
reads—" Let Rome," &c. which I have no doubt was an error ot
the press for Lest. The editor of the folio finding the sentiment
as exhibited in the quarto, in consequence of this error, not
proper in the mouth of a Roman, for Roman lord substituted
Goth In correcting the errors of the quartos, the editor of the
folio appears often to have only looked on the surface, and to
have consequently made several injudicious emendations beside

the present.

Mr Capell, I find, has made the same emendation.

The error here corrected has likewise happened in the quarto
copies of Hamlet, Act I. Sc. II. : " - let my extent to the

players should more appear like entertainment than yours :

—instead of— "Lest my extent," &c. ".,,_,

As this speech proceeds in an uniform tenor with the foregoing,
the', whole (as Mr. Steevens has observed,) probably belongs to
Marcus. Malone.

sc. in. TITUS ANDRONICUS. 375

Tell us, what Sinon hath bewitch'd our ears,
Or who hath brought the fatal engine in,
That gives our Troy, our Rome, the civil wound. —
My heart is not compact of flint, nor steel ;
Nor can I utter all our bitter grief,
But floods of tears will drown my oratory,
And break my very utterance ; even i' the time
When it should move you to attend me most,
Lending your kind commiseration :
Here is a captain, let him tell the tale ;
You hearts will throb and weep to hear him speak.
Luc. Then, noble auditory, be it known to you,
That cursed Chiron and Demetrius
Were they that murdered our emperor's brother ;
And they it were that ravished our sister :
For their fell faults our brothers were beheaded ;
Our father's tears despisd ; and basely cozen'd 5
Of that true hand, that fought Rome's quarrel out,
And sent her enemies unto the grave.
Lastly, myself unkindly banished,
The gates shut on me, and turn'd weeping out,
To beg relief among Rome's enemies ;
Who drown'd their enmity in my true tears,
And op'd their arms to embrace me as a friend :
And I am the turn'd-forth, be it known to you,
That have preserv'd her welfare in my blood ;
And from her bosom took the enemy's point,
Sheathing the steel in my advent'rous body.
Alas ! you know, I am no vaunter, I ;
My scars can witness, dumb although they are,
That my report is just, and full of truth.
But, soft ; methinks, I do digress too much,
Citing my worthless praise : O, pardon me ;
For when no friends are by, men praise themselves.

— and basely cozen'd — ] i. c. and he basely cozened.

Malone.

376 TITUS ANDRONICUS. 4®C v.

Mar. Now is my turn to speak ; Behold this child,
[Pointing to the Child in the arms of an
Attendant.
Of this was Tamora delivered ;
The issue of an irreligious Moor,
Chief architect and plotter of these woes ;
The villain is alive in Titus' house,
Damn'd as he is 6, to witness this is true.
Now judge, what cause7 had Titus to revenge
These wrongs, unspeakable, past patience,
Or more than any living man could bear.
Now you have heard the truth, what say you,

Romans ?
Have we done aught amiss ? Show us wherein,
And, from the place where you behold us now,
The poor remainder of Andronici
Will, hand in hand, all headlong cast us down8,
And on the ragged stones beat forth our brains,
And make a mutual closure of our house.
Speak, Romans, speak ; and, if you say, we shall,
Lo, hand in hand, Lucius and I will fall.

Mmil. Come, come, thou reverend man of
Rome,
And bring our emperor gently in thy hand,
Lucius our emperor ; for, well I know,
The common voice do cry, it shall be so.

'"■ 6 Damn'd as he is,] The old copies read — "And as he is."
The emendation was made by Mr. Theobald. The same expres-
sion (as he observed) is used in Othello :

" O thou foul thief, where hast thou stow'd my daughter?
" Damn'd as thou art, thou hast inchanted her."
In the play before us the same epithet is applied to Aaron :
" See justice done on Aaron, that damn'd Moor."

Malone.

7 what cause — ] Old copies — what course. Corrected in

the fourth folio. Malone.

8 The poor remainder of Andronici

Will cast us down,] i.e. We the poor remainder, &c.

will cast us down. Malone.

sc. in. TITUS ANDRONICUS. 377

Rom. [Several speak.'] Lucius, all hail 9 ; Rome's
royal emperor !

Lucius, fyc. descend.

Mar. Go, go into old Titus' sorrowful house ;

[To an Attendant.
And hither hale that misbelieving Moor,
To be adjudg'd some direful slaughtering death,
As punishment for his most wicked life.

Rom. [Several speak.~] Lucius, all hail ; Rome's
gracious governor !

Luc. Thanks, gentle Romans ; May I govern so,
To heal Rome's harms, and wipe away her woe !
But, gentle people, give me aim awhile, —
For nature puts me to a heavy task ; —
Stand all aloof; — but, uncle, draw you near,
To shed obsequious tears upon this trunk : —
O, take this warm kiss on thy pale cold lips,

[Kisses Titus*
These sorrowful drops upon thy blood-stain'd face ',
The last true duties of thy noble son !

Mar. Tear for tear, and loving kiss for kiss,
Thy brother Marcus tenders on thy lips :
O, were the sum of these that I should pay
Countless and infinite, yet would I pay them !

Luc. Come hither, boy ; come, come, and learn
of us
To melt in showers : Thy grandsire lov'd thee well:
Many a time he danc'd thee on his knee,

9 Rom. Lucius, all hail ; &c] This line here, and the same
words below, are given in the old copy by mistake to Marcus. It
it manifest, as Mr. Steevens has observed, that they both belong
to the surrounding concourse of Romans, who with one voice hail
Lucius as their emperor. Malone.

This same mistake is in the quarto 1G00. Todd.

i — thy blood-STMN'D face,] The old copies have —
" thy blood-s/am face."

Corrected in the fourth folio. Malone.

378 TITUS ANDRONICUS. act v.

Sung thee asleep, his loving breast thy pillow;
Many a matter hath he told to thee,
Meet, and agreeing with thine infancy ;
In that respect then, like a loving child,
Shed yet some small drops from thy tender spring,
Because kind nature doth require it so a :
Friends should associate friends in grief and woe :
Bid him farewell ; commit him to the grave ;
Do him that kindness, and take leave of him.
Boy. O grandsire, grandsire ! even with all my
heart
Would I were dead, so you did live again ! —
6 lord, I cannot speak to him for weeping ;
My tears will choke me, if I ope my mouth.

Enter Attendants, with Aaron.

1 Rom. You sad Andronici, have done with woes ;
Give sentence on this execrable wretch,
That hath been breeder of these dire events.

Luc. Set him breast-deep in earth, and famish
him;
There let him stand, and rave and cry for food :
If any one relieves or pities him,
For the offence he dies. This is our doom :
Some stay, to see him fasten'd in the earth 3.

Aar. O, why should wrath be mute, and fury
dumb ?
I am no baby, I, that, with base prayers,
I should repent the evils I have done ;
Ten thousand, worse than ever yet I did,

* Shed yet some small drops

Because kind nature doth require it so :] Thus, in Romeo
and Juliet:

" — fond nature bids us all lament — ." Steevens.
3 — to see him fasten'd in the earth.] That justice and cookery
may go hand in hand to the conclusion of this play, in Ravens-
croft's alteration of it, Aaron is at once racked and roasted on the
stage. Steevens.

sail. TITUS ANDRONICUS. 379

Would I perform, if I might have my will ;
If one good deed in all my life I did,
I do repent it from my very soul.

Luc. Some loving friends convey the emperor
hence,
And give him burial in his father's grave :
My father, and Lavinia, shall forthwith
Be closed in our households monument.
As for that heinous tiger, Tamora,
No funeral rite, nor man in mournful weeds,
No mournful bell shall ring her burial ;
But throw her forth to beasts, and birds of prey :
Her life was beast-like, and devoid of pity;
And, being so, shall have like want of pity.
See justice done to Aaron 4, that damn'd Moor,
By whom our heavy haps had their beginning :
Then, afterwards, to order well the state 5 ;
That like events may ne'er it ruinate. [Exeunt

0

4 See justice clone to Aaron,] The quarto 1600 reads — done
on Aaron. Todd.

s Then, afterwards, to order, &c] ' Then xvill voe apply our-
selves to regulate the state. Malone.

6 This is one of those plays which I have always thought,
with the better judges, ought not to be acknowledged in the list
of Shakspeare's genuine pieces. And, perhaps, 1 may give a
proof to strengthen this opinion, that may put the matter out of
question. Ben Jonson, in the Introduction to his Bartholomew-
Fair, which made its first appearance in the year 1614, couples
Jeronymo and Andronicus together in reputation, and speaks of
them as plays then twenty-five or thirty years standing. Conse-
quently Andronicus must have been on the stage before Shak-
speare left Warwickshire, to come and reside in London : and I
never heard it so much as intimated, that he had turned his genius
to stage-writing before he associated with the players, and be-
came one of their body. However, that he afterwards introduced
it a-new on the stage, with the addition of his own masterly
touches, is incontestable, and thence, I presume, grew his title to
it. The diction in general, where he lias not taken the pains to
raise it, is even beneath that of the Three Parts of Henry VI.
The story we are to suppose merely fictitious. Andronicus is a
sur-name of pure Greek derivation. Tamoru is neither men-

380 TITUS ANDRONICUS.

tioned by Ammianus Marcellinus, nor any body else that I can
find. Nor had Rome, in the time of her emperors, any war with
the Goths that I know of: not till after the translation of the
empire, I mean to Byzantium. And yet the scene of our play is
laid at Rome, and Saturninus is elected to the empire at the
Capitol. Theobald,

All the editors and criticks agree with Mr. Theobald in suppos-
ing this play spurious. I see no reason for differing from them ;
for the colour of the style is wholly different from that of the
other plays, and there is an attempt at regular versification, and
artificial closes, not always inelegant, yet seldom pleasing. The
barbarity of the spectacles, and the general massacre, which are
here exhibited, can scarcely be conceived tolerable to any audi-
ence ; yet we are told by Jonson, that they were not only borne
but praised. That Shakspeare wrote any part, though Theobald
declares it incontestable, I see no reason for believing.

The testimony produced at the beginning of this play, by which
it is ascribed to Shakspeare, is by no means equal to the argument
against its authenticity, arising from the total difference of con-
duct, language, and sentiments, by which it stands apart from all
the rest. Meres had probably no other evidence than that of a
title-page, which, though in our time it be sufficient, was then of
no great authority ; for all the plays which were rejected by the
first collectors of Shakspeare's works, and admitted in later
editions, and again rejected by the critical editors, had Shak-
speare's name on the title, as we must suppose, by the fraudulence
of the printers, who, while there were yet no gazettes, nor adver-
tisements, nor any means of circulating literary intelligence,
could usurp at pleasure any celebrated name. Nor had Shak-
speare any interest in detecting the imposture, as none of his
fame or profit was produced by the press.

The chronology of this play does not prove it not to be Shak-
speare's. If it had been written twenty-five years in 1614, it
might have been written when Shakspeare was twenty-five years
old. When he left Warwickshire 1 know not, but at the age of
twenty-five it was rather too late to fly for deer-stealing.

Ravenscroft, who in the reign of James II. revised this play,
and restored it to the stage, tells us, in his preface, from a theatri-
cal tradition, I suppose, which in his time might be of sufficient
authority, that this play was touched in different parts by Shak-
speare, but written by some other poet. I do not find Shak-
speare's touches very discernible. Johnson.

There is every reason to believe, that Shakspeare was not the
author of this play. I have already said enough upon the subject.

Mr. Upton declares peremptorily, that it ought to be flung out
of the list of our author's works : yet Mr. Warner, with all his
laudable zeal for the memory of his school-fellow, when it may
seem to serve his purpose, disables his friend's judgment !
7

TITUS ANDRONICUS. 381

Indeed a new argument has been produced ; it must have been
written by Shakspeare, because at that time other people wrote in
the same manner * !

It is scarcely worth observing, that the original publisher f had
nothing to do with any of the rest of Shakspeare's works. Dr.
Johnson observes the copy to be as correct as other books of the
time; and probably revised by the author himself; but surely
Shakspeare would not have taken the greatest care about infi-
nitely the worst of his performances ! Nothing more can be said,
except that it is printed by Heminge and Condell in the first
folio : but not to insist, that it had been contrary to their interest
to have rejected any play, usually called Shakspeare's, though
they might know it to be spurious ; it does not appear, that their
knowledge is at all to be depended on ; for it is certain, that in the
first copies they had entirely omitted the play of Troilus and
Cressida.

It has been said, that this play was first printed for G. Eld,
1594, but the original publisher was Edward White. I have seen
in an old catalogue of Tales, &c. the history of Titus Andronicus.

Farmer.

I have already given the reader a specimen of the changes made
in this play by Ravenscroft, who revised it with success in
the year 1687 ; and may add, that when the Empress stabs her
child, he has supplied the Moor with the following lines:
" She has outdone me, ev'n in mine own art,
" Outdone me in murder, kill'd her own child ;
" Give it me, I'll eat it."

It rarely happens that a dramatick piece is altered with the same
spirit that it was written ; but Titus Andronicus has undoubtedly
fallen into the hands of one whose feelings and imagination were
congenial with those of its original author.

In the course of the notes on this performance, I have pointed
out a passage or two which, in my opinion, sufficiently prove it to
have been the work of one who was acquainted both with Greek
and Roman literature. It is likewise deficient in such internal
marks as distinguish the tragedies of Shakspeare from those of
other writers ; I mean, that it presents no struggles to introduce

* Capell thought Edward III. was Shakspeare's because
nobody could write so, and Titus Andronicus because every body
could ! Well fare his heart, for he is a jewel of a reasoner !

Farmer.

f The original owner of the copy was John Danter, who like-
wise printed the first edition of Romeo and Juliet in 1597, and is
introduced as a character in The Return from Parnassus, kc.
1606. Steevens.

3S2 TITUS ANDRONICUS.

the vein of humour so constantly interwoven with the business of
his serious dramas. . It can neither boast of his sinking excellent
cies nor his acknowledged defects ; for it often not a single inter-
esting situation, a natural character, or a string of quibbles from
first to last That Shakspeare should have written without com-
winding our attention, moving our passions, or sporting with
words Ippearu to me as improbable, as that he should have stu-
diously avoided dissyllable and trisyllable terminations in this

nlav and in no other. ... .■• . i

1 1 " Pt it likewise be remembered that this piece was not published
with the name of Shakspeare till after his death. The quarto in .
1611 is anonymous. . , ,;

Could the use of particular terms employed in no other of his
pieces be admitted as an argument that he was not its author,
more than one of these might be found ; among which is pallia-
7ent or robe, a Latinism which I have not met with elsewhere in
^English writer, whether ancient or modern ; though it _must
have originated from the mint of a scholar. I may add, that i-
tus Andronicus will be found on examination to contain a greater
number of classical allusions, &c. than are scattered over all the
reTofrtie performances on which the seal of Shakspeare is mdu-
hhablv fixed -Not to write any more about and about this sus-
necled thing, let me observe that the glitter of a few passages in
k has perhaps misled the judgment of those who ought to have
known that both sentiment and description are more easily pro-
duced than the interesting fabrick of a tragedy. Without these
advantages many plays have succeeded ; and many have faded, in
which they have been dealt about with the most lavish profusion.
7t does 2 follow, that he who can carve afreize with minuteness,
elegance, and ease, has a conception equal to the extent, pro-
priety and grandeur of a temple. Steevens.
P Dr Johnson is not quite accurate in what he has asserted con-
ceit ng the seven spurious plays, which the printer of the folio ^
S improperly admitted into his volume. The name of Shak-
V^nnPars only in the title-pages of four of them ; Pericles,
S^rrohrOldcastle, The LondoVprodigal, and The Yorkshire

T,'To1he word palliament mentioned by Mr. Steevens in the pre-
rPdinir note may be added the words accite, candidate, and sacred
[n thlsense of lecursed ; and the following allusions, and scraps
of Latin, which are found in this lamentable tragedy ;

" As hateful as Cocytus misty mouth—."

« More stern and bloody than the Centaurs' feast."

" The self-same gods that arm'd the queen of Troy
" With opportunity of sharp revenge ^
" Upon the Thracian tyrant in his tent.

o

TITUS ANDRONICUS. 383

" But safer is this funeral pomp,

" That hath aspir'd to Solon's happiness."

" Why suffer'st thou thy sons unbury'd yet
" To hover on the dreadful shore of Styx ? "

" The Greeks upon advice did bury Ajax
" That slew himself; and wise Laertes' son
" Did graciously plead for his funeral."

" He would have dropp'd his knife, and fallen asleep,
" As Cerberus at the Thracian poet's feet."

" To bid /Eneas tell the tale twice o'er,

" How Troy was burnt, and he made miserable."

" Was it well done of rash Virginius,

" To slay his daughter with his own right hand ? "

" Believe me, queen, your swart Cimmerian
" Doth make your honour of his body's hue."

" But sure some Tereus hath deflowred thee,

" And, lest thou should detect him, cut thy tongue."

" That, like the stately Phoebe 'mong her nymphs,
" Dost overshine the gallant dames of Rome."

" No man shed tears for noble Mutius,

" He lives in fame that died in virtue's cause."

" I tell you younglings, not Enceladus,

" With all his threatening band of Typhon's brood,

" Nor great Alcides," Sfc.

" I'll dive into the burning lake below,

" And pull her out of Acheron by the heels."

" I come, Semiramis ; nay, barbarous Tamora."

" And faster bound to Aaron's charming eyes,
" Than is Prometheus ty'd to Caucasus."

" Per Styga, per manes, vehor ,"

" Sitjas, aut nefas ,

" Ad manes Jratrum sacrifice his flesh."
" Suum cuique is our Roman justice."

" Magni dominator poli,

" Tarn lentus audis scelera? tarn lentus vides?"

384 TITUS ANDRONICUS.

" Integer vitce" &c.
" Terras Astrcea reliquit.'"
Similar scraps of Latin are found in the old play of King John,
and in many other of the dramatick pieces written by our author's
predecessors. Malone.

It must prove a circumstance of consummate mortification to
the living criticks on Shakspeare, as well as a disgrace on the me-
mory of those who have ceased to comment and collate, when it
shall appear from the sentiments of one of their own fraternity
(who cannot well be suspected of asinine tastelessness, or Gothick
pre-possessions,) that we have been all mistaken as to the merits
and author of this play. It is scarce necessary to observe that
the person exempted from these suspicions is 4'ft* <£apell, who de-
livers his opinion concerning Titus Andronicus in the following
words : " To the editor's eye, [i. e. his own,] Shakspeare stands
confessed : the third Act in particular may be read with admira-
tion even by the most delicate ; who, if they are not without feel-
ings, may chance to find themselves touch'd by it with such pas-
sions as tragedy should excite, that is,— terror and pity." It were
injustice not to remark, that the grand and pathetick circum-
stances in this third Act, which we are told cannot fail to excite
such vehement emotions, are as follows :— Titus lies down in the
dirt.— Aaron chops off his hand.— Saturninus sends him the heads
of his two sons, and his own hand again, for a present.— His he-
roick brother Marcus kills a fly.

9tj>r. Capetl may likewise claim the honour of having produced
the new argument which Dr. Farmer mentions in a preceding note.

Steevens.
To this note the name of Mr. Malone has hitherto been affixed ;
but he told me himself that it was written by Mr. Steevens, who,
with a jocular air, insisted upon ascribing it to him. " I believe,
(my late friend added) that when he did so, he was aware of what
would follow: for I got all the Capells upon my back in conse-
quence." I know not why he suffered his name to remain. Per-
haps from an unwillingness to acknowledge that he had been the
dupe of Mr. Steevens's waggery ; but I can see no reason now for
not setting the matter right. The note bears no sort of resem-
blance to Mr. Malone's manner of expressing himself.

BoSWKLL.

I agree with such of the commentators as think that Shakspeare
had no hand in this abominable tragedy ; and consider the correct-
ness with which it is printed, as a kind of collateral proof that he
had not. The genuine works of Shakspeare have been handed
down to us in in a more depraved state than those of any other
contemporary writer; which was partly owing to the obscurity ot
his hand-writing, which appears from the fac-simile prefixed to
this edition, to have been scarcely legible, and partly to his total
neglect of them when committed to the press. And it is not to be
supposed, that he should have taken more pains about the pubh-

TITUS ANDRONICUS. 385

cation of this horrid performance, than he did in that of his no-
blest productions, M. Mason.

The reader may possibly express some surprize on being told
that Titus Andronicus was revived at Lincoln's Inn Fields, 21st of
Dec. 1720. The receipt of the house was only 351. 16s. 6d.

It was acted again at the same theatre 19th of March, 1724, for
the benefit of Mr. Quin. Receipt in money 801. 6s. 6d. tickets
64-1. 14s.— 14-51. 0s.6d.

The characters as follow : — Aaron, Mr. Quin ; Titus, Mr. Bo-
heme ; Saturninus, Mr. Leigh ; Bassianus, Mr. Walker; Lucius,
Mr. Ryan ; Marcus, Mr. Ogden ; Demetrius, Mr. Digges ; Chiron,
Mr. Ward; Tamora, Mrs. Egleton ; Lavinia, Mrs. Sterling.

Again, on the 25th of April, for the benefit of Mr. Hurst, a dra-
matick writer. Receipt in money 181. 2s. tickets 171. Ss. — 351. 5s.

Reed.

VOL. XXT. 2 C

ADDENDA.

2 c 2

ADDENDA.

The following very curious documents having
been mingled with other papers of a different de-
scription, and mistakingly indorsed by Mr. Malone,
so as to mislead me concerning their contents,
were not discovered till The History of the Stage
was printed off. The first letter is perhaps not
strictly theatrical, but is worthy of preservation as
a picture of the simplicity of ancient manners.

Boswell.

Edzvard Alley n to his wife x.

Emanuel.

[Aug. 1, 1593.]
My good sweet mouse Q, I comend me hartely
to you And to my father, my mother, & my sister
bess; hopinge in god, though the sicknes 3 be round
about you, yett by his mercy itt may escape yoT.
house, wch. by ye grace of god it shall, therefor use
this corse : kepe yo\ house fayr and clean, wch. I

1 This lady was Joan Woodward, to whom Edward Alleyn was
married Oct. 22, 1592. Her mother, Agnes Woodward, after the
death of her first husband, married Philip Henslowe, whom
Alleyn calls his father, though in fact he was only step-father to
his wife.

2 This term of endearment occurs in Hamlet :

" Pinch wanton on your cheek, call you his mouse — ."
See the note there, vol. vii. p. 403.

J The great plague of 1593, which carried off in London and
its liberties, 10675 persons.

390 ADDENDA.

know you will, and every evening throwe water
before yor dore & in yor bake syd, and have in yor
windowes good store of rwe and herbe of grace 3,
and, w'all, the grace of god, wc\ must be obtaynd
by prayers ; and so doinge, no dout but ye Lord will
mercifully defend you : now, good mouse, I have
no newse to send you but this, that we have all our
helts, for wch. the Lord be praised. I reseved yor
letter at Bristo, by richard couley 4, for ye wich I
thank you. 1 have sent you by this berer, Thomas
Chockes kinsman, my whit wascote, because hit
is a trobell to me to carry it. reseave it w' this
letter, And lay it up for me till I com. if you send
any mor Letters, send to and by the carrier of
Shrowsbery or to wistchester, or to York 5, to be
kept till my Lord Stranges players com. and
thus, sweet hart, w\ my harty comenda. [com-
mendations] to all our frends, I sett from Bristo
this wensday after saynt James his day, [August 1,
1593] being redy to begin the playe of hary of
cornwal6. mouse, do my harty comend. [com-
mendations] to mr. grigs, his wife and all his
household and to my sister Phillips.

Yor Loving husband

E. Alleyn.

3 Shakspeare and the dictionaries of his time represent rue
and herb of grace as the same. From the answer to this letter
it appears that the latter here means wormwood.

4 Probably Richard Cowley, the actor, who at a subsequent
period joined Shakspeare's company. He was now, it should seem,
one of the servants of Lord Strange.

i Alleyn was at this time one of the company of players called
Lord Strange's Servants, who were now strolling, or travelling in
the country, as they called it, to avoid the plague raging in

London.

0 Harry of Cornwall was acted by Lord Stranger's Servants at
Henslowes theatre in Feb. 1591-2. See Henslowe's Register, ir.
the History of the Stage.

ADDENDA. 391

mouse; you send me no newes of any things hous-
hould and of yo.r domesticall matters, such things
as happens att homes ; as how yor distilled watter
proves, or this or that or any thing, what you will.
And Jug 7, 1 pray you. Lett my orayng tawny stokins
of wolen be dyed a newe good blak against I com
horn, to wear in the winter. you sente me not word
of my garden, but next tym you will, but remember
this in any case, that all that bed weh. was parsley,
in the month of September, you sowe itt w\ spi-
nage, for then is the tyme I would do it my selfe,
but we shall not com hom till all holand tyde. and
so, sweet mouse, farwell, and broke our Long
Jorney w\ patience.

Superscription.

" This be delyvered to mr. hinslo, on
[one] of the gromes of hir mats. chamber,
dwelling on the banksid, right over against
the clinke."

M\ hinchloe, I have harde fyve shetes of a playe
of the Conquest of the Indes, & I dow not doute
but It will be a verye good playe : tharefore I praye
ye delyver them fortye shyllynges In earneste of It,
& take the papers Into yor one hands, & on easter
eve thaye promyse to make an ende of all the Reste.

Samuel Rowley.

lent the 4 of Aprell 1601— xxxx\

R. of Mr Henslowe & Mr Alleyn, the i day of
Janewary 1601, for i qters Rent dewe unto my Mr,

7 Jug was the ancient abreviation or nick-name of Joan.
Coles, in his Dictionary, 1677, renders it by Joannicula.

392 ADDENDA.

Mr. Doryngton, for the commisyon for the Bear-
garden the some of tenne pownds * by me Richard

lefwicke, I say R. x/6.

Richard [ ] lefwicks marck.

Mr. Hynchlye I praye ye dow so muche for us
If Ihon Daye & wyll haughton have reseved but
thre pounde ten shyllynges, as to delyver them
thurtye shyllynges more, & take thare parers.

yo". to comande, Samuell Rowlye.

Mr. Hinchlowe I pray let me intreate you to
lende me forty shillings till the next weke and He
then paye it you agayne by the grace of god, I pray
as you love me fayle me not : here is one at home
must receave it presently, if you will doe me this
favour, you shall comaunde me in a greater matter.

yo1*. Will. Bihde.

feched by William felle, his man.

Mr Henchlowe, I pray ye delyver the Reste of
the Monye to John daye & wyll hawton dew to
them of the syx yemen of the weste.

Samuell Rowlye.

about the plott of the Indyes,

I have occasion to be absent A therefore pray

delyver it to will hawton ....

by me John Daye.

» This ascertains the rent of the Bear Garden to have been
40/. per annum.

ADDENDA. 393

Mr Henslowe, we have heard their booke and
lyke y\ their price is eight pounds, weh I pray pay
now to Mr. Wilson according to our promyse. I
would have come my selfe, but that I am trobled
with a scytation. Yo" Robt. Shaa.

[Nov. 1599.]

On the back of this paper :

1. Sci. W. Wor. & Ansell, & to them the
ploughmen.

2. Sci. Richard & Eliza. Catesbie, Lovell,
Rice ap Tho. Blount, Banester.

3. Sci. Ansell Davye Denys, Hen. Oxf. Courtney
Bou'ttner, & Grace.

4. Sci. To them Rice ap Tho. & his Soldiers.

5. Sci. K. Rich. Catesb. Lovell, Norf. Northumb.
Percy e.

Mr. hynchla, I praye ye let Mr hathwaye have
his papars a gayne of the playe of John a gante, &
for the Repayemente of the monye back a gayne he
ys contente to gyve ye a byll of his hande to be
payde at some cartayne tyme as In yor dyscressyon
yow shall thinke good, wrh done ye may crose It
oute of yor boouke & keepe the byll, or else wele
stande so muche indetted to you & keepe the byll
or selves. Samuell Rowley.

I pray you Mr. Henshloue deliver in behalfe of
the Company, unto the fifty Shillings wch they re-
ceaved the other day, three pounds & tenn shillings
more, in full payment of six pounds the pryce of
their play called To Good to be True.

Yor§ Robt. Shaa.

394 ADDENDA.

The xxiiith Daye of October 1601.
Receved of Phillipe Henslowe Esquire the some
of \xs. viid. and ys for one yeares Rente due at the
feast of st Michaell last past 1601, unto the
Reverent Father in god Thomas by gods providence
Lord Bishope of Winchester and ys for Certeine
tenemts one the banke syde Late one willm
Paynes and nowe in the tenore of the saide Phillipe
Henslowe. & me Johan Middleton.

Item for a Staple for Georg Sommer- s. d.

setts Dore • • • ° n.

Item for a plat for one other Dore . . 0 l
Item for taking of a lock & setting in

newe wards & mending the same 0 mi

Item for fowr barrs weying nyne

pounds & half » mi ob

Sum Total. . . . ii*. xid. ob
Inn all 1*. Z^d. ppd

R the xxvth day of October Anno Dom 1611 of
Mr Edwarde Allen Esquier, for one half yeares rent
of his howse and wharfe within the Cloose of Sl
Maryoveries dewe to the Ryghte Honnorable
Antony Lorde Viscounte Mountague att the feast
of St mychaell Tharchaungell, last past, the some
of fiftye shillings of lawfull Englishe money ; I say

p> me Mathewe Woodwarde.

I pray you, Mr Hinchlow, deliver unto the

ADDENDA. 395

bringer hereof the some of fyve and fifty shillings, to
make the 31. fyve shillings w.ch they receaved
before, full six pounds, in full payment of their
booke called The fayre Constance of Rome ;
whereof I pray you reserve for me Mr Willsons
whole share, wch is xls, wch I, to supply his neede,
delivered him yesternight.

Yor Lovinge ffreind

Robt. Shaa.

Mr Hinchlow :
Mr Dawborne and I have spent a great deale of
time in conference a bout this plott, wch will make
as beneficiall a play as hath come these seaven
yeares. It is out of his Love he detained it for us ;
onely x/. is desir'd in hand, for wch, wee will be
bound to bring you in the play finish'd upon the
first day of August ; wee would not Loose it, wee
have so assured a hope of it, and, on my know-
ledge Mr Dawborne may have his request of an-
other Companie. pray, let us have speedie answere,
and effectuall ; you know, the last money you
disburst was instly pay'd in, and wee are now in a
way to pay you allso, unlesse yoT selfe, for want of
small spplie, will put us out of it. pray, let us
know when wee shall speake with you ; Till when
and ever I rest

Yor Loving and obedient Son :

Nat. Field.

Receved of Mr Henchlowe the iiiith oH
Agust 1602 for one months pay due unto my I ... ,
Mr Mr Edmund Tylney upon the xxx1" day f
of July last the som of nil. I say R. J

Pr mei Phil. Plaistowe.
6

396 ADDENDA.

bookes owinge for (5), baxsters tragedy, Tobias,
Comedy, Jepha Judg of Israel, love parts frend-
shipp, The cardinall8.

Mr Allen, I commend my love and humble duty
to you, geving you thankes for yor great bounty
bestoed upon me in my sicknes, when I was in
great want, god blese you for it ; Sir, this it is, I
am to go over beyond the seeas wl Mr Browne and
the company, but not by his meanes, for he is put
to half a shaer, and to stay hear, for they ar all
against his going, now good Sir, as you have ever
byne my worthie frend, so helpe me nowe. I have
a sute of clothes and a cloke at pane for three
pound, and if it shall pleas you to lend me so
much to release them, I shall be bound to pray for
you so longe as I leve ; for if I go over and have
no clothes, I shall not be esteemed of; and by
gods helpe the first mony that I gett I will send it
over unto you, for hear I get nothinge ; some tymes
I have a shillinge a day and some tymes nothinge,
so that I leve in great poverty hear, and so humbly
take my leave praying to god, I and my wiffe, for
yor health and mistris aliens, which god continew.

Yor poor frend to commaund,

Richard Jones.

Memorandun. 'tis agreed between Phillip Hinch-
low Esqr & Robert Daborne gent, y< ye sd Robert
shall before ye end of this Ester Term deliver in
his Tragoedy cald Matchavill & ye Divill into the

8 Probably Cardinal Wolsey.

ADDENDA. 397

hands of y* sd Phillip, for ye sum of xxty pounds,
six pounds whearof ye sd Robert aknowledgeth to
hav receaved in earnest of ye sayd play this 17'"
of Aprill, & must hav other fowr pound upon
delivery in of 3 acts. & other ten pound upon
delivery in of ye last scean pfited. In witnes
hearof the sd Rober Daborne hearunto hath set his
hand this 17,h of Aprill 1613.

P me Rob : Daborne.

Good Mr Hinchlow, I am upon ye sodoyn put to
great extremyty in bayling my man, comitted to
newgate upon taking a Possession for me, & I took
less mony of my Kinsman, a lawier yl was with
me, then servd my turn. I am thearfore to be-
seech y" to spare me xxs., which will doe me so great
Pleasure yl yu shall find me thankfull & ^forming
more then ever I promisd or am tyed to : so, bold
upon so great an occation to truble yu, I crave yr
favorable interpretation & rest.

ever at yr comand
28 Aprill 1613. Rob : DaBORNE.

Lente Mr Daborne this money

wittness Hugh Attwell.

M Hinchlow, the company told me yu ware ex-
pected thear yesterday to conclude about thear
coming over or goinge to Oxford. I have not
only labord my own play, which shall be ready
before they come over, but givn Cyrill Tourneur an
act of ye Arreignment of london to write, yl. we may
have y* likewise ready for them. I wish yu had
spoken with them to know thear resolution, for they

398 ADDENDA.

depend upon yr purpose. I hav sent yu 2 sheets
more fayr written, upon my ffayth, sr, they shall
not stay one howr for me ; whearfor I beseech yu
as heatherto, so y" would now spare me xx*. which
stands me upon to send over to my counsell in a
matter concerns my whole estate, & when I deale
otherways then to yr content, may I & myne want
ffryndship in distress ! so, relijng one [on] yr favor,
which shall never reap loss by me, I rest

at yr comand

5° June 1613. ROB : DABORNE.

Receved by me Garred Leniaghe xx*.

Sr I expected yu one [on] munday. I fPceav yu
misdoubt my readynes ; sr I would not be hyred
to break my ffayth with yu. Before god, they shall
not stay one hour for me ; for I can this week
diliver in ye last word & will yl night they play
thear new play read this ; whearof I have sent yu
a sheet & wone fayr written yu may easyly know
thear is not much behind, & I intend no other
thing, god is my judge, tell this be finisht ; ye ne-
cessity of term busnies exacts me beyond my
custom to be trublesom unto yu ; whearfore I pray
send me the other 20*. I desyred, & then when I
read next week, I will take ye 40*. yl remaynes,
& doubt not yu shall receav thanks in doing me this
curtesy, so presuming one yr favor, I rest

Yrs to comaund
10 June 1613. ROB : DaBOBNE.

Mr Hinchlow, I am inforced to make bold with
for one 20*. more of ye x/, & one fryday

ADDENDA. 399

night I will deiiver in ye 3 acts fayr written, and
then receve ye other 40s ; & if y" please to have
some papers now, yu shall ; but my promise shall
be as good as bond to yu, & if y11 will let me have
jPusal of any other book of yrs I will after ffryday
intend it speedyly & doubt not to giv yu full con-
tent; so with my best remembranc I rest

at yr comaund
3 May, 1613, ROBT. DaBORNE.

R. the some of xxs. of Mr Hinchley to the use of
Mr. Daborne the 3 of Maye 1613, by me,

Thos. More.

Mr Hinchlow, my trubles drawing to some end,
have forced me to be trublesome to yu beyond my
purpose, bycause I would be free at any rate, some
papers I have sent yu, though not so say written all
as I could wish. I will now wholy intend to finishe
my promise, which though it come not within com-
pass of this Term, shall come upon ye neck of this
new play they ar now studynge, my request is, the
xl might be made up, whearof I have had 9/. if yu
please to appoynt any houer to read to Mr Allin, I
will not fayle, nor after this day loose any time till
it be concluded; my best rememberance to yu I
rest yors Robt. Daborne.

8 May, 1613.

R the some of xxs. of Mr Hinchlow to the \
use of Mr Daborne 8° May Pd - - ) XXS'

Thos. More.

Mr. Hinchlow, yr tried curtesy hath so fur in-
gaged me y1 howsoever this term hath much hun-
dred my busnies, y" shall see one Tuesday
night, I have not bin Idle, I thank god moste of

400 ADDENDA.

my trubles ar ended, upon heering whearof I have
taken home my wife agayne ; soe f I will now,
after munday, intend yr busnies carefully, yl the
company shall aknowledg themselfs bound to yu.
I doubt not. one Tuesday night, if yu will ap-
poynt, I will meet yu & Mr Allin & read some, for
I am unwilling to read to ye generall company till
all be finisht ; which upon my credit shall be to
play it this next term, with ye first. Sr, my occa-
tions of expenc have bin soe great & soe many, I
am ashamed to think how much I am forct to
press yu, whearin I pray let me finde yr favorablest
construction, & ad one xx*. more to ye mony I
have receaved, which makes xi/. & yu shall one
Tuesday see I will deserve, to my best ability, y*
love, which I valew more in it selfe, then ye best
companies in ye town; so myself & labors resting at
yr service I comit yu to god.

y" to comand
16 May, 1613. ROBT. DABORNE.

Receved by me, Garret Leniage, xxs.
I have receaved of Mr Hinchlow the full some of
sixteen pounds in pl of Matchavill & ye Divill.

Mem. I have receaved of Mr Hinchlow the full
some of sixteen pounds in pl of twenty pounds due
to me Robert Daborne for my Tragoedy of Matcha-
vill & ye Divill. I say receaved sixteen pounds this
19e" of May as aforesayd. In witnes whearof I
hereunto hav sett my hand, 1613.

Robt. Daborne.

this play is to be deliverd in to Mr
Hinchlow with all speed.

John Alleyn.

ADDENDA. 401

Sr. I did thinke I deservd as much mony as Mr
Messenger, although knowinge yr great disburs-
ments I forbour to urdge yu beyond yr own Plea-
sure ; but my occations press me so neerly yl I
cannot but expect this reasonable curtesy, consy-
dering I pay yu half my earnings in the play besyds
my continuall labor & chardge imployd only for yu ;
which if it prove not profitable now, yu shall see I
will giv yu honnest satisfaction for the utmost
farthinge I owe yow, & take another course : whear-
fore this being my last, I beseech yu way [weigh]
my great occation this once, & make up my mony
Even with Mr Messengers, which is to let me have
x*. more. I am sure I shall deserv it & yu can
never doe me a tymelyer curtesy, resting at yr
comand Robt. Dabohne.

I pray Sr let yr boy giv order this night
to the stage-keep, to set up bills agst
munday for Eastward hoe, & one wenas-
day, the New play.

Sr if yu doe not like this play when it is read, yu
shall have the other which shall be finished with all
expedition ; for befor god this is a good one, & will
giv yu content: howsoever, y11 shall never loose a
farthing by me ; whearfor I pray misdoubt me not,
but as y" hav bin kynd to me, so continew it till I
deserv the contrary ; and I pray send me ten shil-
lings & take these papers, which wants but one
short scean of the whole play, so I rest.

y™ at comand

Robt. Daborne.

pd unto your Daughter the 11th of
March 1613 [1614] xs.

VOL. XXI. 2 D

402 ADDENDA.

Mr Hinchlow yu hav now a full play. I desyr ya
should disburse but 12/. a play tell they be playd ;
I mean to urdge yu no farther, for if yu like not this,
yu shall hav another to yr. content, befor god, yu
hav the full play now, & I desyr but 20*. to serv
my ordynary turn, till I have finished one, y . y"
may hav yr. choyse, for I would hav y11 Know, I
can hav mony for papers though I hav cast myself
upon yu with a purpose to deserv yr. love. As for
Mr Pallat, is much discontented with your neglect
of him, I would I knew yr. mynd to giv him
awnswer. Sr if yu deny me this reasonable kynd-
nes, it will fore me to ingage a play which y11 will
miss : so desyring yl awnswer I rest,

yrs at comand

28 March 1613 ROBT. DABORNE.

pd unto Mr Daborne Lent of this bille the

the 2 of Aprell 1614 in 29 of Marche in fulle

earnest of The Shee payment of his new

Saynte, at his owne playe laste written ; the

howse the some of viii*. some of xs.

Mr Hinchlow, of all ffryndship let me beholding
to yu for one xx*. which shall be the last I will
request till the play be fully by us ended, upon my
horniest ffayth, with yu which I will never break, I
will request no more, & soe much will be due to me
then. Sr this is my last request of yr trouble which
my speedy occation presses me to ; soe I rely upon
f lov hearin, for which yu shall ever

comaund me
16th July 1613. Rob: Darborne.

pd this xx*. the 16th of July, 1613.

ADDENDA. 403

M Hinchlow I wrote a leter to Mr Griftyn re-
questinge thearin yr awnswer & end to these busi-
nesses & debts betwixt us but I cannot hear from
him my desyer was yl eather yu would be my pay-
mayster for another play or take x/. of yl mony we
hav had into yr hands agayne & security for the
rest, sr it is not unknown to yu yl I could & had
good certeynty of means before I wrote unto yu
which upon hopes of yr love I forsooke & must now
if yu & I had ended return to them agayne, for my
occations untill I have made sale of y' estate I have
ar soe urgent yt I can forbear no longer, whearfor
I pray Sr of yr much ffryndship doe me one curtesy
more till Thursday when we deliver in or play to yu
as to lend me twenty shillings & upon my ffayth
and Christianyty I will then or giv yu content or
secure yu to the utmost farthing yu can desyre of
me, Sr I pray of all yr gentlenes deny not this cur-
tesy to me & if yu fynd me not most just & honnest
to yu may I want a ffrynd in my extremyty it is
but till thursday I request yu hearin & so rest

at yr comaund

Rob: Daborne.

Sr yu hav a receipt of myne for twenty
shillings which I sent yu by the waterman
at the cardinalls hatt that or this shall
sufficiently giv yu assurance.
30 July 1613. witnes Moyses Bawleii.

Sr I sat up last night till past 12, to write out this
sheet & had not necessity inforct me to y» comon
place [pleas] bar this morning to acknowledge
a ffynall recovery, I would this day hav deliverd in
all. I hav bin heartofor of ye receaving hand ;
y" shall now find return to yr content & yl speedy ly.

2 D 2

404 ADDENDA.

I Drav S% let me have 40*. in earnest of ye Ar-
reighnment, & one munday night I will meet £
at ve new play & conclud further, to y content
I doubt not, resting my self & whole Indevors

wholly at yr Service
18 June 1613. ROB : DaBORNE.

M' Hinchlow, I pceave y» think I will be behind
with my Tragoedy; if so y; «*** ^h/[
account me dishonest, indeed for thear good &
myne own I have took extrardynary payns with
the end, & alterd one other scean in the third act.
which they have now in parts, for y Arreighnment, if
r will please to be my paym\ as for the other, they
shall have it, if not, try my Tragoedy first & as y
proves so deal with me, in the mean my necessity is
such vl I must use other means to be furnisht upon
it ; Before god, I can have 25/. for it as some of y
company know ; but such is my much debt to y ,
y\ so long as my labors may Pleasure them & y say
y« word, I am wholy yours to be

ever comaunded

Rob: Daborne.

I pray, Sr, if yu resolv to do this cur-
tesy for ye company, let me hav 40*. more
tell we seatel,
25 June 1613. pade to M' Daborne xx,.

Father Hinchlow,

I am unluckily taken on an execution of SO/, l

can be discharg'd for xx/. x/. I have from a frenj :

if now in my extremity you will venture x/. more

for my Liberty, I will never share penny till you

ADDENDA. 405

have it againe ; and make any satisfaction by writ-
ing, or otherwise yl you can devise. I am loath
to importune, because I know yor disbursements
are great ; nor must any know I send to you, for
then my creditor will not free me, but for the
whole some. I pray speedily consider my occasion,
for if I be putt to use other means, I hope all men,
and yor selfe will excuse me, if (inforcedly) I can-
not proove so honest, as towards you, I ever re-
solv'd to be. yor Loving son,

Nat. Field.

Mr. Hinchlow, I have ever since I saw yu kept
my bed, being so lame that I cannot stand. I
pray, Sr, goe forward with that reasonable bargayn
for The Bellman ; we will hav but twelv pounds
and the overplus of the second day, whearof I hav
had ten shillings, and desyre but twenty shillings
more, till yu hav 3 sheets of my papers. Good Sr,
consyder how for yr sake I hav put myself out
of the assured way to get mony, and from twenty
pounds a play am come to twelv; thearfor in my
extremyty forsake me not, as yu shall ever comand
me. my wif can aquaynt yu how infinite great my
occation is, and this shall be sufficient for the re-
ceipt, till I come to set my hand to your booke.

yor at comand
3 Agust, 1613. Rob. Daborne.

Lent Mr Daborne upon this not [note]
the 23 of Agust in earnest of a playe called
The Bellman of London, xxs.

Mr Allen, comends
Sr I hope you mistak not o' remooval from the
bank's side, wee stood the intemperate weather,

406 ADDENDA.

till more Intemperatr Mr. Meade thrust us over,
taking the day from us wch by cours was owrs ;
though by the time wee can yet claime none, &
that power hee exacted on us, for the prosecution
of or further suite in a house ; wee intreate you to
for-think well of the place, (though it crave a
speedie resolution) lest wee make a second fruitless
paines and as wee purpose to dedicate all or paines
powers & frends all referent to yor uses : so wee in-
treate you in the meane time, to look toward or ne-
cessityes ; leaving you ever a certaine forme of sa-
tisfaction ; wee have neede of some monie (indeed
urdgent necessitie,) wch wee rather wish you did
heare in conference then by report in writing ; wee
have to receive from the court (wch after shrovetide
wee meane to pursue with best speede) a great
summe of monie ; meane while, if you'le but fur-
nish us with the least halfe, wch will be fortie
pounds ; it shall be all confirm'd to you, till your
satisfaction of the fourty. what we can do for yor
availe or purpos, wee profess or readiest furtherance,
and you shall comand it, for wch wee entreat this
kindness from you, still resting

In your emploimente

frends to their best powers
Rob : Paltant William Rowley

Joseph Taylor
John Newton
Robt. Hanten
Hugh Attwel
Anthony Smyth

Sr. I hav bin twise to speak with yu both for the
sheet I told yu off, as also to know yr determination
for the company, wheather y" purpose they shall

ADDENDA. 407

have the play or noe. they rate upon me, I hear,
bycause the Kingsmen hav given out they shall
hav it. if yu please, I will make yu full amends for
thear wrong to yu in my last play, before they get
this ; for I know it is this play must doe them
good, if yu purpose any to them. I hav sent yu 2
sheets more, so y* yu hav 3 sheets, & I desyre yu to
send me 30s. more, which is just eight pound,
besyds my rent, which I will fully satisfy yu eather
by them or the Kings men, as yu please, good sr let
me know yr mynd, for I desyre to make yu part of
amends for yr great ffryndship to me, wishing my
labor or service could deserv yu : so trusting one
yr gentlenes, which cannot long be without satis-
faction, now I rest

ever at yr comaund

Rob : Daborne

Lent M" Daborne upon this bill more,
the 29 of October xxs.

Sr., yr man was with me, whoe found me wright-
ing the last scean, which I had thought to have
brought yu to night, but it will be late ear I can doe
it ; & being satterday night, my occation urges me
to request yu spare me xs. more, & for yr mony, if
yu please not to stay till Johnsons play 3 be playd,
the Kings men hav bin very earnest with me to
pay yu in yr mony for yr curtesy, whearin yu shall
have 30s. profit with many thanks, purposing to
morow nyght, if yu call not upon me, to com &
shew y" fynis. I pray Sr supply this my last occa-

3 Probably Bartholomew Fair, performed at the Hope on the
Bankside, in Nov. 1G13.

408 ADDENDA.

tion, which crowns ye rest of yr curtesies, to which
I will now giv speedy requitall, resting.

ever at yr comaund
Nov: 13 1613 ROB DaBORNE

S.r, if ever my service may do y" so much pleasure,
or my ability make ytl payment for it, let me receav
now this curtesy from yow, being but xs. by god,
had it not bin Sunday, I would not have for twise so
much wrote to y" in this manner, but my Lord
WilloUghby hath sent for me to goe to him to
morow morning, by six a clocke, & I know not how
Profitable it may be to me ; & without yr kindnes
hearin I cannot goe : he goes away with the king
to-morow morning ; whearfor I must be thear by
tymes. making this last tryall of yr love & favor, I
rest yts to comaund

Rob : Daborne

Lent upon this bill the 2 of Aguste 1614.

Mr Hinchlow, I builded upon yr promyse to my
wife, neather did I aquaint the company with any
mony I had of yow, bicause they should seek to
y"., as 1 know they will & giv you any terms yu can
desyfe : if they doe not, I will bring yu yr mony for
the papers & many thanks, neather will I fayle to
bring in the whole play next week; whearfor I
pray Sr of all ffryndship, disburse one 40*. & this
note shall suffice to acknowledg my self indebted
to yu with my qrters rent 6/., for which yu shall
eather have the whole companyes bonds to pay
y» the first day of my play being playd, or the

ADDENDA. 409

Kings mershall pay it yu & take my papers. Sr my
credit is as deer to me now as ever & I will be as
carefull of it as heartofore, or may I never prosper
nor myne ! so, desyring this may satisfy yu till yu
appoynt a tyme when I shall bring yu the companies
bond, I rest expecting y11 no more defering me,

ever at yr comand

Rob: Daborne.

Witnes Moyses Bowler.

October xiiij 1613

Mr Hinchlow, yu accuse me with the breach of
promise, trew it is, I promysd to bring y" the last
Scean, which yl yu may see finished, I send yu the
foule sheet, and ye fayr I was wrighting as yr man
can testify ; which, if great busnies had not pro-
vented, I had this night fynished. Sr, yu meat me
by yc comon measuer of Poets : if I could not liv
by it & be honest, I would giv it over : for rather
then I would be unthankfull to yu, I would famish,
thearfor accuse me not till yu hav cause, if yu
pleas to pform my request, I shall think myself be-
holding to yu for it. howsoever. I will not fayle to
write this fayr & pfit the book, which shall not ly
one yr hands. yrs to comaund

Rob : Daborne.

Lent at this tyme 8s. the 13 of November, 1613.

Sr I have sent to yu to request yu to send me the
twenty shillings I soe earnstly desyred yu to lend
me last night ; for which, as all the rest of yr mony,
I will give yow that honnest & just satisfaction one
Tuesday next, if yu please to come or send to

410 ADDENDA.

me, as I told yu, yl yu shall never repent yr many
curtesyes to me ; which ty me so far to pform the
faythfull part of an honnest man, y* 1 shall never
trewly rest contented till I manyfest myself worthy
yr great favor, which ever II will aknowledge in all
servic to be comaunded

27 Nov. 1613. Rob: Daborne.

Wittnes Moyses Bowler, xxs.

Sr out of the great love I have felt from y", I am
to request yu to my great occation & present ne-
cessety, which with less mony will be unsupplied,
to send me 20s. I pray, sr, accoumpt me not
amongst the number of those yl wholy serv thear
own turns, for god knows it is not mony could hyre
me to be dishonest to so worthy a ffrynd_as yu ar :
whearfor sine thear remayns so small a som, 1 pray
part with it to my good which xs. will not I pro-
test doe : yu know it is term tyme, and a litle mony
wanting will much hynder me ; whearfor, good Sr,
let me fynd yu put some trust in me, which when I
deceav, god forsake me & myne. one mun-
day I will be with y", so desyring yu to send me the
Book yu promysd & no less than 20s. I rest

ever at yr comaund

7 Nov. 1613. Rob : Daborne.

Witnes Moyses Bowler.

Mr Hinchlow, I acquaynted you with my neces-
sity, which I know you did in part supply, but if yu
doe not help me to tenn shillings by this bearer by
the living god I am utterly disgract, one ffryday

ADDENDA. 411

night I will bring you papers to the valew of three
acts. Sr my occation is not ordynary, that thus so-
deynly I write to you ; whearfor I beseech you doe
this for me, as ever yu wisht me well, which if I
requite not, heaven forget me. yrs at comaund

Rob : Daborne.

Lent upon this bill xs. to the fencer, upon the
owle.

Mr Griffin, my occation is so much above
ordynary loss, y* if yu cannot procure Mr Hinchlow
to let me have the 40*. He deliver y*» a paten worth
a hundred pound into yr hands for it, till I pay it
agayn : whearfor I pray, Sr, doe my extremyty this
curtesy, & I will requitt it more then I will write.
I pray, Sr, let me instantly speak with yu, for it con-
cerns me nearly yr much distressed frynd,

Rob : Daborne.

Lent uppon a pattent to Mr Dawborne \\s.

Sr I wrote to yow by my wif, hopinge, upon yr
receipt of all my papers, yl yow would have plea-
sured me with 20s. if not upon the play yow have,
yet upon my other out of yr booke, which I will
undertake shall make as good a play for yr publiqe
howse as ever was playd ; for which I desyre but
ten pounds, & I will undertake upon the reading it,
your company shall giv y" 20/. rather than part with
it. Sr, howsoever my want inforces me for a tyme,
I shall shortly be out of it, & be able to forbear a
play till I can make the best, it is but 20.?. I desyre>
till yu have mony or security to yr content, for y1 yu
ar out of. I have upon my wifes words keept
one all this day heer, assuring myself yu would

412 ADDENDA.

for my much good have pleasured me this one,
which I beseech at yr hands, though yu never lay
out penny more in which trust I rest

ever at yr comaund
9 December 1613. ROB : DaBORNE.

Sr. doe not thinke I incroch upon yu, for
god is myjudg, I mean playnly & justly
& yu shall make yr own terms with me in
any thinge.

Receaved by mee Robert Daborne gentleman of
Phillip Hinchlow Esquier the 24 of December 1613,
the some of seven pounds in part of payment of
the some of tenn pounds, which I am to receave
of the said Phillip Hinchlow in full satisfaction of a
plaie called The Owle, when I have fynishedd and
made perfect the same, accordinge to a bond made
by mee to the said Phillip for the same. In wittnes
whereof I have hereto sett my hand the daye and
yeare first above written. Rob: Daborne.

The Condition of this obligacon is such, that if
the above bounden Robert Daborne shall deliver or
cause to be deliverd one plaie fullie perfected and
ended Called by the name of The Oule unto the
said Phillip Hinchlow, at, or uppon, the tenth
daye of ffebruarie next ensuinge the date hereof,
which the said Phillip Hinchlow shall approove
alowe and accept of, that then and from hence
foorth this present obligacon to bee voyde and of
non effect, or else to remayne in full power strength
and virtue. Robert Daborne.

Signed Sealed and Delvred in the pre-
sence of Edwarde Griffin, Walter Hop-
kinss, Geo : Hales.

ADDENDA. 413

Sr, I yeeld yu many thanks for yr last kindnes,
which did me infinite pleasure. I hav bin very ill
this week of an extream cold, ells I had come this
night unto you. I will request no farther curtesy at
yr hands upon any occation till y11 hav papers in
full & to yr content only the other tenn shillings
which I requested agst this day, being a tyme yl re-
quires me beyond my present means. Sr, think not
yr curtesy can loose by me. I will be any thing
rather then Ingratefull to so much love as I hav
receaved from yu. as yu hav donn what I can desyre
in doing this, so now look for my honnest care to
discharge my bond. I will not truble yu with many
words, god send yu many hapy new years & me no
otherwise then I approv myself honnest to y"

yrs ever at comaund

31° December 1613 ROB : DaBORNE

one [on] munday I will come to y", &
appoynt for the reading the old Book &
bring in the new.

pd upon this bille toward The Owle. . x*.

Articles of Agreement,] made concluded and
agreed uppon and wCh are to be kept & performed
by Robert Dawes of London Gent unto and with
Phillipp Henslowe Esqre and Jacob [Meade Water-
man] in manner and forme following, that is to
say

Imprimis, the said Robert Dawes for him his
executors and administrators doth covenante pro-
mise and graunt to and with the said Phillipp
Henslowe and Jacob Meade their executors admi-

6

414 ADDENDA.

nistrators and assynes in manner and formme fol-
lowinge that is to saie that he the said Robert
Dawes shall and will plaie with such company as
the said Phillipp Henslowe and Jacob Meade shall
appoynte for and during the tyme and space of
three yeares from the date hereof for and at the
rate of one whole Share accordinge to the custome
of players ; and that he the said Robert Dawes
shall and will at all tymes during the said terme
duly attend all suche rehearsall which shall the
night before the rehearsall be given publickly out ;
and if that he the saide Robert Dawes shall at any
tyme faile to come at the hower appoynted, then
he shall and will pay to the said Phillipp Henslowe
and Jacob Meade their executors or assignes
Twelve pence; and if he come not before the
saide rehearsall is ended then the said Robert
Dawes is contented to pay twoe shillings ; and
further that if the said Robert Dawes shall not every
daie whereon any play is or ought to be played be

ready apparrelled and to begyn the play at the

hower of three of the clock in the afternoone unles
by sixe of the same Company he shall be lycenced
to the contrary, that then he the saide Robert
Dawes shall and will pay unto the said Phillipp and
Jacob or their assignes three [shillings] and if that
he the saide Robert Dawes Happen to be overcome
with drinck at the tyme when he [ought to] play,
by the Judgment of ffower of the said company, he
shall and will pay Tenne shillings and if he [the
said Robert Dawes] shall [faile to come] during any
plaie having noe lycence or just excuse of sicknes
he is contented to pay Twenty shillings ; and
further the said Robert Dawes for him his executors
and administrators doth covenant and graunt to
and with the said Phillipp Henslowe and Jacob
Meade their executors adminstrators and asignes

ADDENDA. 415

by these presents, that it shall and may be lawfull
unto and for the said Phillipp Henslowe and Jacob
Meade their executors or assignes during the
terme aforesaid to receave and take back to their
owne proper use the pt of him the said Robert
Dawes of and in one moyetie or halfe part of all
suche moneyes as shal be receaved at the Galleres
& tyring howse of such house or howses wherein
he the saide Robert Dawes shall play ; for and in
consideration of the use of the same howse and
howses, and likewis shall and may take and receave

his other moyetie

the moneys receaved at the galleries and tiring
howse dues towards the pa[ying] to them the
saide Phillip Henslowe and Jacob Meade of the
some of one hundred twenty and fower pounds
[being the value of the stock of apparell furnished
by the saide company by the said Phillip Henslowe

and Jacob Meade the one part of him the

saide Robert Dawes or any other somes

to them for any apparell hereafter newly to be
bought by the [said Phillip Henslowe and Jacob
Meade until the saide Phillip Henslowe and Jacob
Meade] shall therby be fully satisfied contented
and paid. And further the said Robert Dawes
doth covenant [promise and graunt to and with the
said Phillip Henslowe and Jacob Meade that if he
the said Robert Dawes] shall at any time after the
play is ended depart or goe out of the [howse]
with any [of their] apparell on his body Or if the
said Robert Dawes [shall carry away any propertie]
belonging to the said Company or shal be consent-
inge [or privy to any other of the said company
going out of the howse with any of their apparell
on his or their bodies, he the said] Robert Dawes shall
and will forfeit and pay unto the said Phillip and
Jacob or their administrators or assignes the some

416 ADDENDA.

of ffortie pounds of lawfull [money of England]

and the said Robert Dawes for him his executors
and administrators doth [covenant promise and
graunt to with the said] Phillip Henslowe and Jacob
Meade their Executors and Administrators, [and

assigns]

that it shall and may be law-
full to and for the said Phillip Henslowe and Jacob
Meade their executors and assignes to have and
use the playhows so appoynted [for the said com-
pany one day of] every fower daies, the
said daie to be chosen by the said Phillip and
[Jacob]

monday in any week on which day it shalbe law-
ful for the said Phillip [and Jacob their admini-
strators] and assignes to bait their bears and bulls
ther, and to use their accustomed sport and

[games]

and take to their owne use all
suche somes of money as therby shall arise and be
receaved

And the saide Robert Dawes his executors admini-
strators and assignes [doth hereby covenant pro-
mise and graunt to and with the saide Philip and
Jacob,] allowing to the saide company for every
such daye the some of ffortie shillings money of

England [In testimony] whereof I the saide

Robert Dawes have hereunto sett my hand and
seal this [sev]enth daie of April 1614 in the
twelfth yeare [of the reign of our sovereign lord
&c] Robeut Dawes.

Articles of Grievance against Mr. Henchlowe.

Imprimis in march 1612, uppon Mr Hinchlowes
joyning companes with Mr Rossiter, the companie

ADDENDA. 417

borrowed 80//. of one M' Griffin, and the same was
put into Mr Hinchlowe's debt, which made it six-
teen score pounds, who after the receipt of the
same or the most parte thereof, in march 1613, hee
broke the said companies againe and ceazed all the
stocke under culler to satisfie what remayned due
to him ; yet perswaded Mr Griffyne afterwards to
arest the companie for his 80//. who are still in
daunger for the same. Soe nowe there was in
equitie due to the companie 80//.

Item, Mr. Hinchlowe having lent one Taylor 2
30//. and 20//. to one Baxter, fellowes of the com-
panie, cunninglie put theire said privat debts into
the general accompt, by which meanes hee is in
conscience to allow them 50//.

Item, havinge the stock of Apparell in his hands
to secure his debt, he sould tenn pounds worth of
ould apparell out of the same, without accomptinge
or abatinge for the same, heare growes due to the

Companie 10//.

Alsoe uppon the departure of one Eglestone a fel-
lowe of the companie, he recovered of him 14//.
towards his debt which is in conscience likewise to
bee allowed to the companie 14//.

In march 1613 hee makes up a Companie and
buies apparell of one Rosseter to the value of 63//.:
and valued the ould stocke that remayned in his
hands at 63//. likewise then uppon his word ac-
ceptinge the same at that rate, which beinge prized
by Mr Daborne justli, betweene his partner Meade
and him came but to 40//. so here growes due to
the Companie 23//.

Item, he agrees with the same companie that

2 Joseph Taylor in 1613 was at the head of the Lady Eliza-
beth's servants ; this representation, therefore, was made by him
and his fellows. Ph. Rosseter, Lutinist, was the preceptor of tlvc
Children of the Revels, with whom the others appear to have
joined in that year.

VOL. XXI. 2 E

418 ADDENDA.

they should enter bond to plaie with him for three
yeares at such house and houses as hee shall ap-
pointe, and to allowe him halfe ga lenes for the
said house and houses and the other halfe galleries
towards his debt of 126/i. and other such moneys
as hee should laie out for playe apparrel dunnge the
space of the said three yeares agreeinge with them,
in consideracon wheareof to seale each of them a
bond of 200/i. to find them a convenient house and
houses and to laie out such monies as fower of the
sharers should think fitt for theire use in apparrell
which at the three yeares beinge paid for to be de-
livered to the Sharers ; whoe accordingly entered
the said bonds, but W Henslowe and W Mead
deferred the same and in conclusion utterly denied

to seale at all. . .

Item Mr Hinchlowe having promised m consi-
deracon of the companies lying still one daie in
forteene for his baytinge, to give them 50/*. hee
having; denied to bee bound as aforesaid gave them
onlie 40/i. and for that Mr Field would not consent
thereunto, hee gave him soe much as his share out
of 50/i. would have come unto, by which meanes
hee is dulie indebted to the companie x/<.

In June followinge the said agreement, hee
brought in Mr. Pallant and shortlie after M' Dawes
into the said Companie, promising one 12*. _ a
weeke out of his part of the galleries and the other
6s. a weeke out of his part of the galleries, and
likewise Mr Field was thought not to be drawne
thereunto; hee promised him six ^ shillinges
weeklie alsoe, which in one moneth after unwill-
ing to beare so greate a charge, he called the Com-
panie together, and told them that this 24*. was to
be charged upon them ; threatninge those which
would not consent thereunto to breake the Com-
panie and make up a newe without them. Wheare-

ADDENDA. 419

uppon knowinge hee was not bound, the three
quarters sharers advauncing them selves to whole
sharers consented thereunto, by which meanes
they are out of purse 30//. and his parte of the
galleries bettred twise as much 30//.

Item, having 9 gatherers more than his due, itt
comes to this yeare from the Companie 10//'.

Item, the Companie paid for Arras and other
properties 40//. which Mr Henchlowe deteyneth 40//.

In februarie last 1614, perceivinge the Companie
drew out of his debt and called uppon him for his
accompts hee brooke the Companie againe by with-
drawinge the hired men from them, and sells theire
stocke in his hands for 400//. givinge under his
owne hand that he had receaved towards his
debt 300//.

Which with the juste and conscionable allow-
ances before named made to the Companie which
comes to 267//. makes 567//.

Articles of Oppression against Mr. Hinchlowe.

He chargeth the stocke with 600//. and odd
pounds, towards which hee hath receaved as afore-
said 567 li. of us; yet sells the stocke to strangers
for fower hundred pounds and makes us no satis-
faction.

Hee hath taken all bonds of our hired men in his
own name, whose wages though wee have truly
paid, yet att his pleasure hee hath taken them
awaye, and turned them over to others to the
breckinge of our Companie.

For lendinge of vi//. to pay them their wages,
hee made us enter and to give him the profitt of a
warrant of tenn pounds due to us at court.

Also hee hath taken right gould and silver lace of
divers garments to his owne use without accompt to
us or abatement.

2 e 2

420 ADDENDA.

Uppon every breach of the Companie hee takes
new bonds for his stocke, and our securitie for
Xinge with him : soe that hee hath in his hands
bondsgof ours to the value of 5000/z and h1S stocke
to ; which he denies to deliver, and threatens to

ODnresse us with. . *

Alsoe havinge appointed a man to the seeinge of
his accompts in byinge of clothes, hee beinge to
have vis. a weeke, he takes the meanes away and
turnes the men out.

The reason of his often breakinge with us nee
gave in these words: Should these fellowes come
out of my debt, I should have noe rule with them.
Alsoe wee have paid him for plaie-books 200/*
or thereabouts, and yet he denies to give us the
coDnies of any one of them.

Also within 3 yeares hee hath broken and dis-
membered five Companies.

Dissertation on the Clowns and Fools of Shak-
speare. By Francis Douce, hsq.

TBv the liberal friendship of Mr. Douce, I am
permitted to enrich the present work by the inser-
tion of the following very curious and valuable
essav The cuts by which it was originally illus-
trated are unfortunately mislaid ; but Mr. Douce is
not one of those writers of whom it need be said
that " the pictures for the page aton*oswELL -j

The ensuing dissertation originated from the
opinion of a late eminent critic and antiquary that
the subject was deserving of particular considera-
tion How imperfectly it must be executed will

ADDENDA. 421

best be felt by those who are already accustomed
to obscure inquiries ; and little more can here be
offered, or reasonably expected, than some attempt
to arrange a few materials that have occurred during
a course of reading immediately connected with
the history of ancient manners. The critic above
alluded to had remarked,, that Shakspeare has
most judiciously varied and discriminated his fools3.
Without doubting that great writer's capacity to
have done so, it certainly remains to be proved
that he has ; or it might even be maintained that
on some occasions he has left his sketches so imper-
fect as to render it by no means an easy matter to
comprehend them. It has already been thought
better to make the attempt in a separate note to
the plays in which a clown or fool is introduced, and
to direct what is now offered to a more general
view of the subject.

It is so exceedingly clear that the terms cloxvn
and fool were used, however improperly, as syno-
nymous by our old writers, that it would be an
unnecessary occupation of the reader's time to ad-
duce examples. Their confused introduction in the
dramatis personam might indeed render this position
doubtful to any one who had not well considered
the matter ; but although the fool of our old plays
denoted either a mere idiot or natural, or else a
witty hireling or artificial fool, both retained for the
purpose of making sport for their employers, the
clown was certainly a character of much greater
variety. He occasionally represented one of the
above personages; sometimes he was a mere rustic,
and very often no more than a shrewd and witty
domestic. There are some instances in which any
low character in a play served to amuse the audience

3 See a note bv Mr. Ritson in Twelfth Night, Act II. Sc. III.

422 ADDENDA.

with his sallies of coarse buffoonery, and thus
became the clown of the piece. In short, the
theatrical clown or fool seems to have been a kind
of heterogeneous character, drawn in part from
real life, but very considerably heightened in order
to produce stage effect: an opinion that derives
considerable support from what Shakspeare has put
into the mouth of Hamlet, when he makes him
admonish those who play the clowns to speak no
more than is set down for them. Indeed the great
dramatist himself cannot be absolved from the im-
putation of having given too high a colouring
to the characters in question, unless we suppose,
what is extremely probable, that his plays have
been very much interpolated with the extempo-
raneous nonsense of the players. To this licen-
tious practice the author of an excellent and well
written satire, entitled Pasquil's Mad-cappe, throwne
at the Corruptions of these Times, 1626, 4to. al-
ludes in the following lines :

" Tell country players, that old paltry jests

" Pronounced in a painted motley coate,

" Filles all the world so full of cuckoes nests,

" That nightingales can scarcely sing a note :

" Oh bid them turne their minds to better meanings ;

" Fields are ill sowne that give no better gleanings."

Among other grave writers of the age, Sir Philip
Sidney has reprobated the practice of introducing
fools on the theatre. He remarks that the plays of
his time were neither right tragedies nor right
comedies, but that the authors mingled kings and
clowns, " not," says he, " because the matter so
carieth it, but thrust in the clowne by head and
shoulders to play a part in majestical matters, with
neither decencie nor discretion : so as neither the
admiration and commiseration, nor the right sport-
fulnesse is by their mongrell tragi-comedie ob-

ADDENDA. 423

tained \" William Rankin, a puritan, and contem-
porary with Shakspeare, has left us a most virulent
attack on plays, and players, whom he calls mons-
ters ; " And whie monsters," says he, " Bicause
under colour of humanitie they present nothing but
prodigious vanitie. These are wels without water,
dead branches fit for fuell, cockle amongst corne,
unwholesome weedes amongst sweete hearbes, and
finallie, feends that are crept into the worlde by
stealth, and holde possession by subtill invasion."
In another place, describing the performers at a
fictitious banquet in Terralbon, [England] he says,
" Some transformed themselves to roges, other to
ruffians, some other to dowries, a. fourth to fooles. . . .
the roges were ready, the ruffians were rude, theyr
clozvnes cladde as well with country condition, as in
ruffe russet ; theyr fooles as fonde as might be,"
&c. 5 The latter passage is interesting, because
the clown is properly distinguished from the fool.,
as he always should have been.

It may be the means of affording a clearer view
of the present subject, if something like a classifi-
cation of the different sorts of fools and clowns be
given. The following is therefore offered as a sub-
stitute for a better.

I. The general domestic fool, often, but as it
should seem improperly, termed a clown. He was,
1. A mere natural, -or idiot. 2. Silly by nature,
yet cunning and sarcastical. 3. Artificial. Put-
tenham, speaking of the latter, says, " A buffoune
or counterfet foole, to here him speake wisely
which is like himselfe, it is no sport at all ; but for
such a counterfait to talke and looke foolishly it
anaketh us laugh, because it is no part of his

4 Defence of Poesie, near the end.

5 Mirrour of Monsters, 1587, 4to. fo. 7-

424 ADDENDA.

naturall6." All these officiated occasionally as
menial servants.

II. The clown, who was, 1. A mere country
booby. 2. A witty rustic. 3. Any servant of a
shrewd and witty disposition, and who, like a
similar character in our modern plays, was made to
treat his master with great familiarity in order to
produce stage effect.

III. The female fool, who was generally an idiot.

IV. The city or corporation fool, whose office
was to assist at public entertainments and in
pageants. To this class belong perhaps the Lord
Mayors state fool, and those employed by the
companies of trades, &c.

V. Tavern foots. These seem to have been
retained to amuse the customers. We learn from
one of Ben Jonson's plays that they exhibited with
a Jew's harp, mounted on a joint-stool7, and in an-
other of them he has preserved the name of such a
character 8 : they were sometimes qualified to sing
after the Italian manner 9. Fools were also em-
ployed in the common brothels '.

VI. The fool of the ancient theatrical mysteries
and moralities. He was, more properly speaking,
the Vice, a singular character, that would afford
sufficient matter for much better dissertations than
those of Warburton or Upton. Being generally
dressed in a fool's habit, he appears to have been
gradually and undistinguishably blended with the
domestic fool ; yet he was certainly a buffoon of a
different sort. He was always a bitter enemy to
the Devil, and a part of his employment consisted
in teazing and tormenting the poor fiend on every

6 Arte of English Poesie, 1589, 4to. fo. 243.

7 The Devil Is An Ass, Sc. I. 8 The Fox, Act II. Sc. I.
9 Marston's Malcontent, Sc. VII.

1 Sec Measure for Measure.

ADDENDA. 425

occasion. He ceased to be in fashion at the end of
the sixteenth century 2.

VII. The fool in the old dumb shows exhibited at
fairs and perhaps at inns, in which he was gene-
rally engaged in a struggle with Death ; a fact that
seems alluded to more than once in Shakspeare's
plays. It is possible that some casual vestiges of
this species of entertainment might have suggested
the modern English pantomimes.

VIII. The fool in the JVhitsun ales and Morris
dance.

IX. The mountebank's fool, or Merry Andrew.
There may be others introduced into our old

dramas of an indefinite and irregular kind, and not
reducible to any of the above classes ; but to ex-
emplify these or many of the above by a specific
reference to authorities is not within the scope of
the present essay. It is hoped that what has been
just stated may contribute to assist the readers of
old plays in forming some judgment of their own
whenever the necessity shall arise.

A general investigation of that most singular and
eccentric character the real domestic fool would
occupy more space than could here have been
spared. It would indeed extend to a length that
few will conceive ; but should the same laudable
spirit of curiosity respecting the manners of former
times which at present constitutes much of the
amusement of an enlightened public continue to
maintain its influence, encouragement would not
be wanting to resume the subject more at large.
In the mean time it may be sufficient to remark
that the practice of retaining fools can be traced in
very remote times throughout almost all civilized
and even among some barbarous nations. It pre-
vailed from the palace to the brothel. The pope

* The Devil Is An Ass, Sc. I.

426 ADDENDA.

had his fool, and the bawd her's; and ladies enter-
tained them of both sexes. With respect to the
antiquity of this custom in our own country, there
is reason to suppose that it existed even during the
period of our Saxon history; but we are quite
certain of the fact in the reign of William the con-
queror. An almost contemporary historian, Maitre
Wace, has left us a curious account of the preser-
vation of William's life when he was only duke of
Normandy by his fool Goles 3. Mention is made in
Domesday of Berdicjoculator regis; and although
this term was unquestionably applied in numerous
instances to denote a minstrel, much evidence
might be adduced to show that on this occasion it
signified a buffoon. Latin terms were used by the
middle-age writers so licentiously and with such
extreme carelessness, that in many cases it is diffi-
cult to obtain a precise idea of their meaning.
Thus the jesters and minstrels were indefinitely ex-
pressed by the words joculator, scurra, mimus,
ministr alius, &c, a practice that may admit of jus-
tification when we consider that in early times the
minstrel and buffoon characters were sometimes
united in one person. It must be allowed, how-
ever, that in an etymological point of view the term
joculator is much better adapted to the jester than
the minstrel.

The accounts of the household expenses of our
sovereigns contain many payments and rewards to
fools both foreign and domestic, the motives for
which do not appear, but might perhaps have been
some witty speech or comic action that had pleased
the donors. Some of these payments are annual
gifts at Christmas. Dr. Fuller, speaking of the
court jester, whom he says some count a neces-

3 Roman des Dues de Normandie, MS. Reg. 4, C. xi.

ADDENDA. 427

sary evil, remarks, in his usual quaint manner, that
it is an office which none but he that hath wit can
perform, and none but he that wants it will per-
form4. A great many names of these buffoons
have been preserved ; and sufficient materials
remain to furnish a separate biography of them,
which might afford even more amusement than can
be found in the lives of many of their betters. They
continued an appurtenance to the English court to
a late period. Muckle John, the fool of Charles
the First, and the successor of Archee Armstrong,
is perhaps the last regular personage of the kind 5.
The national troubles that produced the downfall
of regal power, and the puritanical manners that
ensued, at once determined the existence of an
office that had so long maintained its ground at
court ; and when Charles the Second resumed the
throne, it was probably deemed a matter of no
moment to restore it. The common stories that
relate to Killigrew as jester to Charles, rest on no
sufficient authority ; and although he might have
contributed to amuse the witty monarch with his
jokes, it is certain that he had no regular appoint-
ment to such an office. Mr. Granger has justly
observed, that the wit of the buffoons became the
highest recommendation of a courtier in the time
of Charles the Second 6.

The discontinuance of the court fool had a can-

't Holy State, p. 182.

5 This person was probably the subject of the following lines
in Bancroft's Epigrams, 1639, 4 to :

" How plumpe's the libertine ! how rich and trimme !
" He jests with others, fortune jests with him."
Mr. Garrard, in a letter to Lord Strafford, says " There is a
new fool in his [Archee's] place, Muckle John, but he will ne'er
be so rich, for he cannot abide money." Strafford Papers,
ii. 154-.

8 Biogr. Hist, of England, i. 116.
6

428 ADDENDA.

siderable influence on the manners of private life ;
and we learn from one of Shadwell's plays, that it
was then " out of fashion for great men to keep
fools7/' But the practice was by no means abo-
lished ; it maintained its ground in this country so
late as the beginning of the last century ; and we
have an epitaph, written by Dean Swift, on Dicky
Pearce the Earl of Suffolk's fool, who was buried
in Berkley church-yard, June 18, 1728 This
person was an idiot. Lord Chancellor Talbot kept
a Welsh jester named Rees Pengelding. He was
a very shrewd fellow, and rented a farm of his mas-
ter Being distrained on for his rent by an op-
pressive steward, who had been a tailor and bore
him a grudge, the surly fellow said to him on this
occasion: "I'll fit you, sirrah." « Then, 'replied
Rees " it will be the first time in your life that
you ever fitted any one." Another Welshman
called Will the taborer was retained in a similar
capacity, about the beginning of the last century,
by Sir Edward Stradling, of St. Donat's castle, in
Glamorganshire. He is said to have been a very
witty fellow, and man of strong intellects. Lord
Bussy Mansel, of Margam, had likewise in his ser-
vice one Robin Rush an idiot by nature, but who
often said very witty things. There are people
now alive in Wales, or lately were, who well re-
membered him.

The sort of entertainment that fools were ex-
pected to afford, may be collected in great variety
from our old plays, and particularly from those of
Shakspeare; but perhaps no better idea can be
formed of their general mode of conduct than from
the following passage in a singular tract by Lodge,
entitled Wit's Miserie, 1599, 4to. " Immoderate

1 The Woman Captain, 1680, Sc. I.
8 Bigland's Collect tor Gloucest.

ADDENDA. 429

and disordinate joy became incorporate in the
bodie of a jeaster ; this fellow in person is comely,
in apparel! courtly, but in behaviour a very ape,
and no man ; his studie is to coine bitter jeasts, or
to shew antique motions, or to sing baudie sonnets
and ballads : give him a little wine in his head, he
is continually flearing and making of mouthes : he
laughs intemperately at every little occasion, and
dances about the house, leaps over tables, out-skips
mens heads, trips up his companions heeles, burns
sack with a candle, and hath all the feats of a lord
of misrule in the countrie: feed him in his humor,
you shall have his heart, in meere kindness he will
hug you in his armes, kisse you on the cheeke, and
rapping out an horrible oth, crie God's soule Turn,
I love you, you know my poore heart, come to my
chamber for a pipe of tobacco, there lives not a
man in this world that I more honor. In these
ceremonies you shall know his courting, and it is
a speciall mark of him at the table, he sits and
makes faces : keep not this fellow company, for in
jugling with him, your wardropes shall be wasted,
your credits crackt, your crownes consumed, and
time (the most precious riches of the world) utterly
lost." This is the picture of a real hireling or ar-
tificial fool.

As the profession of these hirelings required a
considerable degree of skill and dexterity to amuse
their employers, so it would in some instances fail
of success, and the want of the above talents would
excite considerable disgust and dissatisfaction.
Cardinal Perron being one day in company with the
duke of Mantua, the latter speaking of his fool, said
that he was un magro buffone tt non haver spirit o.
The cardinal remarked that nevertheless he had
wit. "Why so?"' demanded the duke; "Be-
cause," replied the other, " he lives by a trade

430 ADDENDA.

which he does not understand9." The liberties
allowed them were necessarily very great; but
this was not always a protection to them. Every
one knows the disgracefully severe conduct of
archbishop Laud to poor Archee. The duke
d'Espernon, though a man of great haughtiness
of spirit, conducted himself on a similar occasion
with much more discretion. His Gascon accent
was a constant subject of raillery on the part of
Maret, the fool of Louis XIII., whose great talent
lay in mimicry. Cardinal Richelieu, who took upon
him to give the duke some pointed admonitions,
ordered him among other things to endeavour to
get rid of his provincial tones, at the same time
counterfeiting his speech, and sarcastically intreat-
ing him not to take his advice in bad part. " But
why should I," replied the duke, " when I bear as
much every day from the king's fool who mocks
me in your presence1?" Selden has remarked,
on a similar occasion, that a gallant man is above
ill words, and has left us a story of the forbearance
of the old lord Salisbury, whom he calls a great
wise man, towards Stone, a celebrated fool in the
reign of James the First 2. Fools, however, did
not always escape with impunity ; they were liable
to, and often experienced, very severe domestic
castigation. Whipping was the punishment ge-
nerally inflicted 3. On the other hand they appear

9 Perroniana, inter Scaligerana, &c. i. 115.

1 Vigneul de Marville, Melanges, ii. 50.

2 Table Talk, Art. Evil-speaking.

3 This appears from many of our old plays. Lear threatens
his fool with the whip, Act I. Sc. IV. ; and see As You Like It,
Act I. Sc. II. In Dr. Turner's New Booke of Spintuall Physik,
1555, 12mo. fo. 8, there is a very curious story of John of Low,
the king of Scotland's fool, which throws light on the subject in
question. Yet the chastising of the poor fools seems to have
been a very unfair practice, when it is considered that they were

ADDENDA. 431

to have been sometimes used with great tenderness.
This is very feelingly exemplified in the conduct of
Lear. Stafford, in his Guide of Honour, 1634,
18mo. tells us, that he " had knowne a great and
competently wise man who would much respect
any man that was good to his foole." An oppor-
tunity here presents itself of explaining the old
proverb of " five pounds; youVe bled a fool/'
which, adverting to the usual privilege or allowance
belonging to this character, seems to demand a
forfeit from whoever had infringed it by inflicting
an improper and unlawful chastisement. This ex-
position derives support from a passage in Ben
Jonson's Fox, and also contributes to its illustration.
In the second act there is a song describing a fool,
in which it is said that he " speaks truth free from
slaughter." This has been with some ingenuity
supposed to mean "free from hurting any one."
The other construction may perhaps be thought as
plausible.

With respect to his office on the stage, we may
suppose it would be nearly the same as in reality ;
the difference might be that his wit was more
highly seasoned. Mr. Malone has already cited a
very curious passage on this subject from the play

a privileged class with respect to their wit and satire. Olivia, in
Twelfth Night, says, that " there is no slander in an allowed
fool though he do nothing but rail ; " and Jaques, in As You
Like It, alludes to the above privilege. See likewise other in-
stances in Reed's Old Plays, iii. 253, and xi. 4-17. Vet in cases
where the free discourse of fools gave just offence to the ears of
modest females they seem to have been treated without mercy,
and to have forfeited their usual privilege. This we learn from
Brantome, who, at the end of his Dames Galantes, relates a
story of a fool belonging to Elizabeth of France, who got a
whipping in the kitchen for a licentious speech to his mistress.
A representation of the manner in which the flagellation of fools
was performed may be seen in a German edition of Petrarch De
Remediis utriusque Fortunae, published more than once at
Frankfort, in the sixteenth century, part ii. chap. 100.

432 ADDENDA.

of The Careless Shepherdess, 1656 \ In Mid-
dleton's Mayor of Quinborough, a company of
actors with a clown make their appearance, and
the following dialogue ensues :

" First Cheater.
" This is our clown, sir.

" Simon.

" Fye, fye, your company

" Must fall upon him and beat him ; he's too fair, i' faith

" To make the people laugh.

" First Cheater.
" Not as he may be dress'd sir.

" Simon.

" 'Faith, dress him how you will, I'll give him

" That gift, he will never look half scurvily enough.

" Oh, the clowns that I have seen in my time.

" The very peeping out of one of them would have

" Made a young heir laugh, though his father lay a dying ;

" A man undone in law the day before

" (The saddest case that can be) might for his second

" Have burst himself with laughing, and ended all

" His miseries. Here was a merry world, my masters !

" Some talk of things of state, of puling stuff;

" There's nothing in a play like to a clown,

■< If he have the grace to hit on it, that's the thing indeed.

" Simon.
" Away then, shift ; clown to thy motley crupper."

Whoever is desirous of obtaining general and
accurate information concerning the great variety
of dresses that belong to some of the characters in
question at different periods, must study ancient
prints and paintings, and especially the miniatures
that embellish manuscripts. These will afford
sufficient specimens ; but the difficulty of ascer-
taining how the theatrical fools and downs of Shak-

4 See his note in All's Well That Ends Well, Act I. Sc. III.

ADDENDA. 4i)3

speare's time were akvays habited, is insuperable.
In some instances the plays themselves assist by
peculiar references that leave but little doubt ; but
this is not the case in general. It is to be lamented
that our artists did not appropriate more of their
labours to the representation of theatrical subjects,
and the fortunate discovery of a single ancient
painting of this kind would be of more importance
than a volume of conjectural dissertations. As it
may be presumed that former theatrical managers
exhibited with fidelity on the stage the manners of
their own times, a reference to the materials which
remain to illustrate the dress of the real fools, may
supply the defect before alluded to.

It may be collected both from the plays them-
selves, and from various other authorities, that the
costume of the domestic fool in Shakspeare's time
was of two sorts. In the first of these the coat
was motley or parti-coloured, and attached to the
body by a girdle, with bells at the skirts and elbows,
though not always. The breeches and hose close,
and sometimes each leg of a different colour. A
hood resembling a monk's cowl, which, at a very
early period, it was certainly designed to imitate,
covered the head entirely, and fell down over part
of the breast and shoulders. It was sometimes de-
corated with asses' ears, or else terminated in the
neck and head of a cock, a fashion as old as the
fourteenth century. It often had the comb or crest
only of the animal, whence the term cockscomb or
coxcomb was afterwards used to denote any silly
upstart. This fool usually carried in his hand an
official scepter or bauble, which was a short stick
ornamented at the end with the figure of a fools
head, or sometimes with that of a doll or puppet 3.

3 Plate V. Hence the French call a bauble marottc, from
Marionnette, or little Mary : but if the learned reader should
VOL. XXI. 2 F

434 ADDENDA.

To this instrument there was frequently annexed
an inflated skin or bladder, with which the fool
belaboured those who offended him, or with whom
he was inclined to make sport ; this was often used
by itself, in lieu, as it should seem, of a bauble.
The form of it varied, and in some instances was
obscene in the highest degree. It was not always
filled with air, but occasionally with sand, or pease.
Sometimes a strong bat or club was substituted for
the bauble 4. In the second tale of the priests of
Peblis, a man who counterfeits a fool is described
" with club and bel and partie cote with eiris ; "
but it afterwards appears that he had both a club
and a bauble. In an inventory of the goods of the
ancient company of Saint George at Norwich, men-
tion is made of " two habits, one for the club-bearer^
another for his man, who are now called fools b ; "
and the author of Tarltons Newes out of Purga-
tory, 1630, 4to. describes a dream in which he saw
" one attired in russet with a button'd cap on his
head, a great bag by his side, and a strung bat in
his hand, so artificially attired for a clowne, as I
began to call Tarltons woonted shape to remem-
brance."

In some old prints the fool is represented with
a sort of flapper or rattle ornamented with bells.
It seems to have been constructed of two round

prefer to derive the word from the Greek fxopog, or the Latin
inorio, he is at full liberty to do so ; and indeed such preference
would be supported by the comparatively modern figure of the
child's head, which the term marotte might have suggested.
The bauble originally used in King Lear is said to have been
extant so late as the time of Garrick, and the figure of it
would certainly have been worth preserving. A bauble is very
often improperly put into the hands of Momus.

* See Strutt's Dress and Habits of the People of England,
plate LXXI.

5 Blomefield's Hist, of Norfolk, ii. 737.

ADDENDA. 43.)

and flat pieces of wood or pasteboard, and is, no
doubt, a vestige of the crotalum used by the
Roman mimes or dancers 6. This implement was
used for the same purpose as the bladder, and oc-
casionally for correcting the fool himself whenever
he behaved with too much licentiousness. Such a
castigation is actually exhibited in one ancient
German edition of the Ship of Fools, by Sebastian
Brandt ; but the usual punishment on this occasion
was a simple whipping. In some old plays the
fool's dagger is mentioned, perhaps the same in-
strument as was carried by the Vice or buffoon of
the Moralities ; and it may be as well to observe
in this place that the domestic fool is sometimes,
though it is presumed improperly, called the Vice '.
The dagger of the latter was made of a thin piece
of lath ; and the use he generally made of it was
to belabour the Devil. It appears that in queen
Elizabeth's time the archbishop of Canterbury's
fool had a wooden dagger and coxcomb 8. In
Greene's play of Fryer Bacon, the fool speaks of
his dagger. In Beaumont and Fletcher's Noble
Gentleman, a person being compared to a fool, it
is added that he should wear a guarded coat and
a great wooden dagger. In Chapman's Widow's
Tears, an upstart governor is termed " a wooden
dagger gilded o'er ; " and Rabelais has made
Panurge give Triboulet the fool a wooden sword.

6 In the Imperial Library at Vienna, there is a manuscript
calendar, said to have been written in the time of Constantius
the son of Constantine the Great, with drawings of the twelve
months. April is represented as a man dancing with' A'crotahim
in each hand. This instrument was probably constructed of brass,
in order to make a rattling noise. See it represented in ;i print
in Lambecii Bibl. Ctesar. Vindobon. torn. iv. p. 291. These
months are also given in Montfaucon's Antiquities.

7 See Ben Jonson's Devil Is An Ass, Sc. I.

8 Penrv's O Read Over Job r, Bridges, lo. IN.

2 F 2

436 ADDENDA.

In an old German print a fool is represented with a

sword like a saw.

The other dress, and which seems to have been
more common in the time of Shakspeare, was the
long petticoat. This originally appertained to the
ideot or natural fool, and was obviously adopted for
the purposes of cleanliness and concealment. Why
it came to be used for the allowed fool is not so appa-
rent. It was, like the first, of various colours, the
materials often costly, as of velvet, and guarded or
fringed with yellow 9. In one instance we have a
yellow leather doublet1. In Bancroft's Epigrams,
1639, quarto, there is one addressed " to a giglot
with her greene sicknesse," in which are these

lines:

" Thy sicknesse mocks thy pride, that's seldom seene
" But in foole's yellow, and the lover's greene."

And a manuscript note in the time of the com-
monwealth states yellow to have been the Jool s
colour. This petticoat dress continued to a late
period, and has been seen not many years since in
some of the interludes exhibited in Wales.

But the above were by no means the only modes
in which the domestic fools were habited. Many
variations can be traced. The hood was not always
surmounted with the cock's-comb, in lieu of which
a single bell and occasionally more appeared.
Sometimes a feather was added to the comb. In
the old morality of The Longer Thou Livest the
More Foole Thou Art, Moros the fool says,

•« By my trouth the thing that I desire most
" Is in my cappe to have a goodly feather."

The head was frequently shaved in imitation or

* Prologue to King Henry the Eighth. Marston's Malcontent,
Act I. Sc. VII. and Act III. Sc. I.

1 See Henslowe's MSS. vol. iii. p. 210.

ADDENDA. 437

perhaps ridicule of a monk's crown. This practice
is very ancient, and can be traced to the twelfth
century. In one instance the hair exhibits a sort
of triple or Papal crown. The tails of foxes or
squirrels were often suspended to the garment.
Godfrey Gobilive the fool in Hawes's Pastime of
Pleasure, 1517, 4to. is described as so habited. In
The Pope's Funeral], 1605, 4 to. the author says,
" I shall prove him such a noddy before I leave him
that all the world will deeme him worthy to weare
in his forehead a coxcombe for his foolishness, and
on his back, a fox tayle for his badge." It was
likewise the dress of the fool in the plough pageant
and morris dance 2. One might almost conclude
that this custom was designed to ridicule a fashion
that prevailed among the ladies in the reign of
Edward the Third, and which is mentioned by the
author of the old chronicle of England, erroneously
ascribed to Caxton the printer in the following
terms, " And the women more nysely yet passed
the men in aray and coriouslaker, for they were so
streyt clothed that they let hange/ar tallies sowed
bineth within hir clothes for to hele and hide thir
a — , the which disguysinges and pride paradven-
ture afterward brouzt forth and encaused many
myshappes and meschief in the reame of Englond."
The idiot or natural was often clothed in a calf or
sheep's skin 3.

A large purse or wallet at the girdle is a very
ancient part of the fool's dress. Tarlton, who per-
sonated the clowns in Shakspeare's time, appears

2 Coryat's Crudities, p. 9, edit. 1611, 4-to. Brand's Obscrv,
on Popular Antiquities, p. 176.

3 Seethe notes on a passage in King John, vol. xv. p. 271.
"The scribe claims the manor of Noverinte, by providing sheep-
slcins and calves skins to ivrappc his highness ivards and idiotts in."
Gesta Grayorum, 1688, 4 to.

438 ADDENDA.

to have worn it 4. The budget given by Panufge
to Triboulet the fool is described as made of a

tortoise shell5.

We may suppose, that the same variety of dress
was observed on the stage which we know to have
actually prevailed in common life. The fools,
however, did not always appear in a discriminative
habit, and some of their portraits still remaining
confirm this observation. A very fine painting by
Holbein, in Kensington palace, represents Will
Somers the fool of Henry the Eighth, in a common
dress 6. In a wardrobe account of that sovereign
we find these articles : " For making a dubblette of
wursteede lyned with canvas and cotton, for
William Som'ar oure foole. Item for making of a
coote and cappe of grene clothe fringed with red
crule and lyned with fryse, for our saide foole.
Item for making of a dublette of fustian, lyned with
cotton and canvas for oure same foole.' Yet he
sometimes wore the usual hood instead of a cap ;
for in the same account is an article " For making

4 See the quotation from Tarlton's Newes out of Purgatory,
given in a preceding page (424). The portrait of Tarlton in
Hardinge's Biographical Mirror, and a print in the title ot
Greene's Tu quoque, or the Cittie Gallant, show the costume ot
the purse and feather.

5 Rabelais, book iii. ch. 45. _

6 This picture is very well engraven in Caulheld s 1 ortraits or
Remarkable Persons, vol. ii. There is a beautifully illuminated
psalter, preserved among the royal manuscripts in the British
Museum, 2 A xvi, written bv John Mallard the chaplain and
secretary of Henry the Eighth, with several marginal notes in the
king's own hand writing, some of which are in pencil. Prefixed
to Psalm 52, " Dixit insipiens," according to a very ancient
custom, are the figures of King David and a fool, in this instance
evidently the portraits of Henry and his favourite Will homers.
The countenance bears a strong resemblance to that of the figure
[a portrait of Wil Somers] in Holbein's picture of Henry the
Eighth and his family.

ADDENDA. 439

of a coote of grene clothe with a hooch to the same,
fringed with white crule lyned with fryse and boker-
ham, for oure foole aforesaid 7 ; " and there is a
print of him after a picture by Holbein, in which he
is represented in a long tunic with a chain and
horn in his hand 8. In the celebrated picture of Sir
Thomas More's family by Holbein, Patenson the
fool is not distinguished by any peculiarity of dress;
and, in one instance at least, the same remark
applies to Archy the fool of James 1 . 9 In those
families where the fool acted as a menial servant,
it is possible that he might have reserved his official
habit for particular occasions. The paucity of
materials that illustrate the theatrical character in
question, must necessarily leave this part of the
subject still more imperfect than the rest ; but the
plays of Shakspeare have furnished more informa-
tion than those of any other writer. It is surpris-
ing, on the whole, that the character of the
domestic fool is so seldom found in the old dramas
that remain ; because it was not only capable of
affording considerable mirth to the unrefined part
of the audience, but of giving the authors an
opportunity of displaying a great deal of ingenuity
so far as regarded extemporary wit. It is certain
that the fools in Shakspeare's plays were preemi-
nent above all others. For this we have the autho-
rity of Shadwell, who makes one of his characters
say that they had more wit than any of the wits

7 Archaeologia, ix. p. 249.

8 In Tatham's play of The Scot's Figgaries, 1652, 4to. the
king's fool is described as habited in a long coat with a gold rope
or chain about his neck.

9 See the print of Archy engraved by Cecill and prefixed
to his Jests, in which, unless Mr. Granger could have been
certain with respect to what he has called " a parti-coloured
tunic," there is nothing discriminutive of the fool's dress. This
portrait has been copied in Caulfield's above-cited work.

440 ADDENDA.

and critics of his time \ Beaumont and Fletcher
have but rarely introduced them ; Ben Jonson and
Massinger never. Indeed the originals had rapidly
declined at the period in which most of their plays
were written, and another character of a mixed
nature been substituted in their room. This was
the witty servant or clown, (Class II. No. 3,) and
of course his dress was not distinguished by any
peculiarity.

The practice of introducing the fools and clowns
between the acts and scenes, and after the play
was finished, to amuse the audience with extem-
poraneous wit and buffoonery, has been so well
illustrated by the able historian of the English
stage, that very little can remain to be said on the
subject2. It has been traced from the Greek and
Roman theatres; and, as their usages were un-
doubtedly preserved in those of the middle ages
that belonged to the countries where Roman
influence had been spread, it would not of course
be peculiar to the early stage in England. Indeed
the records of the French theatre amply demon-
strate the truth of this position, and furnish several
examples of the practice in question. In the
mystery of Saint Barbara we find this stage direc-
tion, " Pausa. Vadant, et Stultus loquitur;" and
he is several times introduced in like manner
between the scenes, in order that the amusement
of the spectators might not be suspended whilst
something was in agitation for the further prosecu-
tion of the piece3. Perhaps the most singular
pause in any dramatic composition whatsoever is
one which occurs in the very rare morality of La
Condamnacion des Banquetz in the following

1 The Woman Captain, Sc. I.

* See Mr. Malone's Historical Account of the English Stage.

3 Parfait, Histoiredu theatre Francois, II. pp. 27, 46,62.

ADDENDA. 441

words, " Pause pour pisser le fol. II prent ung
coffinet en lieu de orinal & pisse dedans, et tout
coule par bas," sign. M iiij. Nor was the English
stage in Shakspeare's time allowed to remain
empty. Lupton has related a story of the clown at
the Red Bull theatre, who was suddenly called for
between the acts and forgot his fool's cap 4. Put-
tenham, speaking of verses that rhyme in the
middle and end, observes that " they were more
commodiously uttered by the buffoons or vices in
playes then by any other person5." It was like-
wise a part of the stage fool's office to introduce at
his own discretion a great many old songs, or at
least the fragments of them 6.

The first symptoms of the decline of the do-
mestic fools, and the causes of it, have been already
touched on ; and the same reasons may partly be
assigned for their exile from the stage. In the
praeludium to Goffe's Careless Shepherdess, 1656,
4to. there is a panegyric on them 7, and some con-
cern is manifested for the fool's absence in the play
itself. It is likewise expressly stated that " the
motly coat was banish'd with trunk-hose. '.' Yet
during the reign of Charles the Second occasional
efforts were made to restore the character. In the
tragedy of Thorney Abbey, or the London Maid,
1662, 12mo. the prologue is spoken by a fool who
uses these words, " the poet's a fool who made the
tragedy to tell a story of a king and a court and
leave a fool out on't, when in Pacv's and Sommer's
and Patche's and Archee's times, my venerable
predecessours, a fool was alwaies the principal verb."

t See Mr. Steeven's note at the end of the second act of The
Taming of the Shrew.

■s Arte of English Poesie, 69.

6 See Mr. Steevens's note in King Lear, Act III. Sc. VI.

7 See Mr. Malone's note in All's Well That Ends Well, Act I.
Sc. III.

442 ADDENDA.

Shadwell's play of The Woman Captain, 1680, is
perhaps the last in which a regular fool is intro-
duced, and even there his master is made to say
that the character was then exploded on the stage.

[It would be vain for me to attempt any addition
to the researches of Mr. Douce on this or any other
subject, to which he had applied his inexhaustible
stores of curious information. Yet there is one
question to which he has not adverted, which is not
without its interest to those who are inclined to trace
what Dr. Johnson would have called the anfrac-
tuosities of the human mind. From whence could
this singular custom have first arisen ? I should
be unwilling to think that our ancestors could have
derived pleasure from the mere exhibition of a
fellow creature in the lowest and most calamitous
state of degradation ; and should therefore rather
be desirous of deriving the employment of domestick
fools from a superstition, which, however absurd,
appears to have been more widely prevalent than
has been generally supposed. We have been told
by many travellers in the East, that the Turks
regard an idiot with reverence as a person divinely
inspired ; and the following extraordinary passage
from the Visions of Piers Plouhman, seems to prove,
that a similar notion was entertained even by our
countrymen at an early period.

" And yut am yr other beggers in hele as hit semeth

" Ac hem wanteth here wit, men and women bothe

" The wiche aren lunatik toilers, and leperes aboute

" And mad as the mone sitt : more other lasse

" Thei caren for no cold ne counteth of no hete

" And are mevinge after the mone. Moneyles thei walke

" With a good wil witlees meny wyde contreys

" Ryght as Peter dude and Paul, save that thei preche nat

" Ne myracles maken : ac meny times hem happeth

" To pphetienation of the people plcynige as hit were

ADDENDA. 443

" And to oure sight as hit semeth : suththe God hath the

mighte
" To yeven each a whit wit. welthe and his hele
" And suffreth such so gon, hit semeth to myn inwitt

" Hit am as hus aposteles sucke peeple othr as his pvije dis-
ciples." Whitaker's Edition, p. 152.

As knowledge and civilization increased, this wild
fancy would disappear, but the practice founded
upon it, would, from the force of habit, still sub-
sist, till by degrees the place of the fool would be
supplied by the licensed jester ; and at last, this
barbarous and absurd custom would be totally
abolished.

That eagerness to become acquainted with futu-
rity, which is confined to no period of the history
of mankind, has led to every kind of irrational
mode of divination, and to this perhaps among the
rest. Nothing supernatural could be expected from
a butcher or baker, or any one with whom the
people were living in daily and familiar intercourse ;
but these unfortunate beings had nothing in
common with the rest of the species ; and their
wild gestures and incoherent language would give
them something of a mysterious character. From
whence have the gipsies obtained the reputation of
being fortune-tellers, but from their strange habits
by which they are insulated from all around them ?
and why should the powers of witchcraft have been
ascribed to miserable and decrepid old women, but
because they have been driven into solitude by their
poverty and infirmities ?

The following extracts exhibit Mr. Douce's no-
tions more particularly respecting the Fools in
Shakspeare. Bos well.]

Tzvo Gentlemen of Verona.

The Clowns. — The character of Speed is that
of a shrewd witty servant. Launce is something

444 addenda:

different, exhibiting a mixture of archness and
rustic simplicity. There is no allusion to dress,
nor any other circumstance, that marks either of
them as the domestic fool or jester.

Love's Labour s Lost.

The Clown. — The clown in this play is a mere

country fellow. The term fool, applied to him in

Act V. Scene II. means nothing more than a silly

fellow. He has not sufficient simplicity for a natural

fool, nor wit enough for an artificial one.

Merchant of Venice.

The Clown.— There is not a single circum-
stance through the whole of this play which con-
stitutes Lancelot an allowed fool or jester; and yet
there is some reason for supposing that Shakspeare
intended him as such, from his being called a patch,
a fool of Hagar's offspring, and in one place the fool.
It is not reasonable, however, to conclude that a
person like Shylock would entertain a domestic of
this description ; and it is possible that the fore-
going terms may be merely designed as synony-
mous with the appellation of clown, as in Love's
Labour's Lost. On the whole, we have here a
proof that Shakspeare has not observed that nice
discrimination of character in his clowns for which
some have given him credit.

As You Like It.

The Clown.— Touchstone is the domestic fool
of Frederick the duke's brother, and belongs to the
class of witty or allowed fools. He is threatened
with the whip, a mode of chastisement which was
often inflicted on this motley personage. His dress
should be a party-coloured garment. He should
occasionally carry a bauble in his hand, and wear

ADDENDA. 445

asses' ears to his hood, which is probably the head
dress intended by Shakspeare, there being no
allusion whatever to a cock's head or comb. The
three-cornered hat which Touchstone is made to
wear on the modern stage is an innovation, and
totally unconnected with the genuine costume of
the domestic fool.

Measure for Measure.

The Clown. — The clown in this play officiates
as the tapster of a brothel ; whence it has been
concluded that he is not a domestic fool, nor ought
to appear in the dress of that character. A little
consideration will serve to show that the opinion is
erroneous, that this clown is altogether a domestic
fool, and that he should be habited accordingly. In
Act II. Sc. I. Escalus calls him a tedious fool, and
Iniquity, a name for one of the old stage buffoons.
He tells him that he will have him zvhipt, a punish-
ment that was very often inflicted on fools. In
Timon of Athens we have a strumpet's fool, and a
similar character is mentioned in the first speech
in Antony and Cleopatra. But if any one should
still entertain a doubt on the subject, he may
receive the most complete satisfaction by an atten-
tive examination of ancient prints, many of which
will furnish instances of the common use of the
domestic fool in brothels. In Twelfth Night,
Act IV. Sc. I. Sebastian mistakes the clown for
such a character as that before us, and calls him a
foolish Greek, a term that is very happily explained
by Dr. Warburton, whose note both communicates
and receives support on the present occasion.

Othello.

The Clown. — He appears but twice in the
play, and was certainly intended to be an allowed

6

446 ADDENDA.

or domestic fool in the service of Othello and
Desdemona.

King Lear.

The Fool. — The fool in this play is the genuine
domestic buffoon ; but notwithstanding his sarcas-
tical flashes of wit, for which we must give the
poet credit, and ascribe them in some degree to
what is called stage effect, he is a mere natural
with a considerable share of cunning. Thus Edgar
calls him an innocent, and every one will imme-
diately distinguish him from such a character as
Touchstone. His dress on the stage should be
parti-coloured; his hood crested either with a
cock's-comb to which he often alludes, or with the
cock's head and neck. His bauble should have a
head like his own with a grinning countenance, for
the purpose of exciting mirth in those to whom he
occasionally presents it.

The kindness which Lear manifests towards his
fool, and the latter's extreme familiarity with his
master in the midst of the most poignant grief
and affliction, may excite surprise in those who are
not intimately acquainted with the simple manners
of our forefathers. An almost contemporary writer
has preserved to us a curious anecdote of William
duke of Normandy, afterwards William I. of Eng-
land, whose life was saved by the attachment and
address of his fool. An ancient Flemish chronicle
among the royal MSS. in the British Museum,
16, F. iii., commences with the exile of Salvard
lord of Roussillon and his family from Burgundy.
In passing through a forest, they are attacked by a
cruel giant, who kills Salvard and several of his
people ; his wife Emergard and a few others only
escaping. This scene the illuminator of the manu-
script, which is of the fifteenth century, has chosen
to exhibit. He has represented Emergard as driven

ADDENDA. 447

away in a covered cart or waggon by one of the
servants. She is attended by a female, and in the
front of the cart is placed her fool, with a counte-
nance expressive of the utmost alarm at the im-
pending danger. Nor would it be difficult to
adduce, if necessary, similar instances of the reci-
procal affection between these singular personages
and those who retained them.

All's Well that Ends Well.

The Clown. — He is a domestic fool of the
same kind as Touchstone.

Twelfth- Night.

The Clown. — The clown in this play is a
domestic or hired fool, in the service of Olivia. He
is specifically termed " an allowed fool," and
" Feste the jester, a fool that the lady Olivia's
father took much delight in." Malvolio likewise
speaks of him as " a set fool." Of his dress it is
impossible to speak correctly. If the fool's expres-
sion, " I will impeticoat thy gratility," be the
original language, he must have been habited
accordingly. Mr. Ritson has asserted that he has
neither coxcomb nor bauble, deducing his argu-
ment from the want of any allusion to them.
Yet such an omission may be a very fallacious
guide in judging of the habit of this character on
the stage. It must however be admitted that where
this happens there can be no clue as to the precise
manner in which the fool was dressed.

Antony and Cleopatra.

The Clown. — He is a mere country fellow ; but
Shakspeare, in compliance with the usual expecta-
tions of the audience, has bestowed on him a due
portion of wit and satire.

448 ADDENDA.

Timon of Athens.

The Fool.— The fool in this play is a very
obscure and insignificant character. Dr. Johnson's
conjecture, that he belongs to one of Alcibiades s
mistresses, is very probable. Many ancient prints
conduce to show that women of this description
were attended by buffoons : and there is good
reason for supposing, probably from the same kind of
evidence, that in most brothels such characters
were maintained to amuse the guests by their
broad jokes and seasonable anticks. In Measure
for Measure we have such a person, who is also a
tapster; and in Antony and Cleopatra, Act I. be. 1.
we hear of a strumpet's fool.

The dress, in the present instance, should be a
parti-coloured garment, with a hood and asses
ears, and a cock's-comb. He might also carry a
bauble.

Winters Tale.

The Clown.— He is a mere country booby.

Tempest.
The Fool.— The character of Trinculo, who in
the dramatis persona is called a jester, is not very
well discriminated in the course of the play itselt.
As he is only associated with Caliban and the
"drunken butler, there was no opportunity of exhi-
biting him in the legitimate character of a pro-
fessed fool; but at the conclusion of the play it
appears that he was in the service of the king ot
Naples as well as Stephano. On this account
therefore, and for the reasons already offered m
vol xv. p. 116, he must be regarded as an allowed
domestic buffoon, and should be habited on the
stage in the usual manner.

ADDENDA. 449

Pericles.

The Clown.— Although Boult, the servant to
the pandar and his wife, is not termed a clown in
the dramatis personam, it should seem that he has
an equal claim to the appellation with several
other low characters that have been introduced
into plays for the purpose of amusing the audience.
He bears some affinity to the tapster in Measure
for Measure ; but there is nothing that immediately
constitutes him the jester to a brothel. See what
has been said on such a character in the article
relating to the clown in Measure for Measure.

Titus Andronicus.

The Clown. — He is nothing more than a
shrewd rustic, performing the office of a messenger.

ANCIENT EDITIONS OF SHAKSPEARE.

[It is not easy to ascertain whether seemingly
different copies printed in the same year, are any
thing more than one edition corrected in its pas-
sage through the press. I have been favoured by
Mr. Amyot with the following collation of several
first folios. Bos well.]

List of Variations in txvo Copies of Shakspeare, folio 1623,
belonging to T. Amyot.

COPY NO. I. COPY NO. II.

Merchant of Venice p. 160 166

All's Well, &c 233 .... 237

Hamlet, p. 278, col. 1, line 17. .. . sirh, is .... sir, his

20. . . . yearys .... years

41 o-n thing onething.

Cooffin .... Coffin.

VOL. XXI. 2 G

450 ADDENDA.

COPY NO. I. COPY NO. II.

Col. 2, line 3 foredo

30 Brid-bed

Maide

43 Emphasies

52 wisensse

4 from bottom forebeare

for do

Bride-bed

Maid

Emphasis

wisenesse

forbeare

In a copy belonging to Mr. Litchfield, in As You
Like It, p. 204, col. 1, the Clown's speech, « a
ripe age," &c. is given to Orlando, and Williams
speech, immediately following it, is assigned to

the Clown. e _

In a copy now or very lately m the nanas ol
Messrs Longman and Co, in Othello, p. 333,
col. 1, top line, the words " and Hell gnaw his
bones," are substituted for the first line of
Roderigo's speech, " I have heard thus much," &c.
And in a copy lately at Messrs Arch's, the title-
page (evidently genuine) is dated 1622, but the
last page has the usual date 1623.
James Street, 7th March, 1821.

ADDITIONAL NOTES TO THE PLAYS.

Comedy of Errors, vol. iv. p. 184 :

" Be it my wrong, you are from me exempt:'

Exempt, is taken away. So, in the old play of
King John, Hubert, when he spares Arthur, ex-
claims

" Go, cursed tooles, your office is exempt.

Merchant of Venice, vol. v. p. 45:

" Well, if any man in Italy have a fairer table."
" Table," says Dr. Johnson, " is the palm of the
hand extended ;" but he has given no instance of this

ADDENDA. 451

usage of the word. The reader may accept of the
following from Middleton's Any Thing for a Quiet
Life, where the Lord Beauford is courting the
citizen's wife. " Beau. Fairest one, I have skill in
palmestry. Wife. Good my Lord, what do you
find there ? Beau. In good earnest I do find
written here, all my good fortune lies in your hand.
Wife. You keep a very bad house then, you may
see by the smallness of the table.""

Romeo and Juliet, vol. vi. p. 265 :

I have mentioned that a play on this subject was
written by Lopes de Vega. As the following
synopsis of the plot of the Spanish play is of no
great length, I have inserted it from Dr. Grey's
notes on Shakspeare :

" Extract from the Castelvins and Monteses, a
Play of Lopes de Vega.

cc

ACT I.

" Though the whole first act passes in the city
of Verona, yet there are several changes of decora-
tion. The stage, during the first scene, represents
a street, with the front of a beautiful palace, the
residence of Antonio, chief of the Castelvins.

" Anselm and Roselo, two young Gentlemen of
the party of the Monteses, are discoursing of an
entertainment given in the palace ; a concert, and
a masquerade ; the violins are heard. Roselo shews
a strong inclination to go in, and his friend dis-
suades him from it, by remonstrating the danger
that such a rashness might bring him into, and the
inexcusable crime it would appear to his father,
from the hereditary hatred of their houses.

2 G 2

a t

ft «

452 ADDENDA.

"Roselo argues, That the union of a moment
may perhaps happily cement the animosity of ages
which has been often near the ruin of the city:
That the Monteses have been always famous tor
men of unconquerable valour ; the Castelvms, for
women of as uncommon beauty.

» Lopes de Vega s expression in Spanish is,
Mugeres de tal belleza, que hurto la Naturaleza

laestampa a los Serafines.'
Women of such beauty, that Nature stole their
model from the Seraphims.'
That he has an impulse not to be overcome, that
urges him to believe 'tis his fate to put an end to
these unhappy dissensions. >

« Anselm expostulates for some time, and at last
Yields with great difficulty to the caprice of Roselo.
They determine to mask themselves, in order to go
with more safety into the house of their enemy ;
and Marin, Roselo's valet, the buffoon of the play
trembles for his master's danger and his own, and
concludes the scene with his burlesque terrors

« The scene changes to a fine garden. Some
Gentlemen and Ladies seated, others walking, &c;
a band of music at the end of the stage.

" Whilst the masks are dancing, Octavio (the
son of Theobald) is making love to Julia (daughter
to Antonio) . The old men advance to the front of
the stage, and testify the pleasure it would give
them tounite their children. Things don't succeed
just as they wish. Octavio loves Julia, but she dis-

lik«SRhos^io, Anselm, and Marin, join the company
in disguise. The extreme beauty of Julia strikes
Roselo immediately. He is lost in transport and
in his disorder, he drops his mask. Antonio knows
him that instant, and, with great mdignatow.
whispers it to Theobald, who with difficulty per-

ADDENDA. 4o3

suades him not to infringe the laws of hospitality.
During the dialogue, Julia and Roselo admire each
other. By degrees the crowd and tumult of the
assembly favour Roselo's addressing Julia. He
declares his love ; she listens to it without resent-
ment. Octavio endeavours to disturb the conver-
sation ; but this does not prevent Julia from slip-
ping a ring into Roselo's hand, and making an
appointment for the following night in the garden.

" The assembly breaks up, and all go off, except
Julia, and Celia her confident ; to whom she dis-
covers what has passed.

" The three or four following scenes pass alter-
nately in the street, and in the house of Fabricio
(Roselo's father), and are of no consequence to the
subject of the play. At the close of night, the
scene changes again to Antonio's garden, and Julia
appears with Roselo, who has scaled the wall. This
is a long scene, the most interesting of the whole,
and concludes with her consenting to a private
marriage.

a

ACT II.

" The interval between the first and second act,
is supposed to be taken up by the secret marriage
of Roselo and Julia. Their happiness does not last
long, without being interrupted by a most cruel
accident.

" All the Nobility of Verona are assembled, for
a certain solemnity, in the great church. Dorothea,
a Castelvin Lady (sister to Octavio, and daughter
to Theobald), is insulted in this sacred place, and
the insult is given by the servants of a Montese
Lady. This insolence raises a great tumult in the
church, and revives the animosity of the factions ;
but the Castelvins are obliged to give way to the
greater number of their adversaries.

454 ADDENDA.

" In the twelve first scenes, the decoration is a
public square, at the end of which appears the
front and gate of the church, where this adventure
is supposed to happen. Fesennio (Theobald^,
servant) relates it to his master, who receives it
with the utmost violence of temper, though before
he had inclined to moderation.

" Octavio enters, and is excited by his father to
revenge Dorothea. They return into the church,
to join their party. Roselo, Anselm, and Marin,
enter, ignorant of what has passed. Whilst the
two friends are conversing of Roselo's marriage and
happiness, the church becomes a field of battle.
The noise of swords and tumultuous cries are
heard ; and, soon after, the two parties rush in, in
pursuit of their quarrel. Roselo endeavours to
interpose ; and after a long expostulation with
Octavio, in which he proposes friendship in the
kindest terms, and a double marriage (between
himself and Julia; Octavio, and Dona Andrea, a
Montese Lady), being insulted by Octavio, and
obliged to defend himself, he at length kills him,
and escapes. Maximilian, the Duke of Verona,
comes too late to prevent the misfortune, and
informs himself of the circumstances. All the de-
positions are favourable to Roselo, and acknow-
ledge, that he did his utmost to appease the
quarrel, and that Octavio forced him to defend his

life.

V Upon this the Prince, who esteems Roselo, and
yet is unwilling to exasperate the Castelvins, as a
medium, banishes him from Verona.

" Roselo, then upon the point of leaving his

Julia, runs all hazards to bid her farewell; and

goes in the night, with Marin, to the garden, where

they meet Julia and Celia ; and, after a moving

oene between the lovers, and a burlesque one

ADDENDA. 455

between the confidents, they are surprised by the
appearance of Antonio, and his domestics, armed,
who were alarmed by a noise in the garden.
Roselo and Marin escape unseen, and Julia says
she came there to weep in solitude, for the unfor-
tunate death of Octavio. Antonio applauds her
humanity ; and, to give her consolation, informs
her of his design of marrying her to Count Paris, an
amiable young Nobleman of great power.

" This Count has already expressed a passion for
Julia, and even demanded her in marriage ; but
the proposal had been waved in favour of Octavio.
He is not then in Verona ; Antonio therefore writes
to him, and sends the letter by Fesennio.

" This old servant of Theobald's finds Count
Paris with Roselio at a magnificent country-seat,
which makes the decoration of the three following
scenes. Roselo, at his leaving the city, fell into
an ambuscade, laid for him by the Castelvins, and
was rescued by Paris, who has brought him to
his house, and is offering to accompany him to the
gates of Ferrara ; when Fesennio interrupts their
professions of friendship, by the delivery of the
letter, which Paris imparts to Roselo. He, from
the conclusion of the letter (which assures the
Count of Julia's tenderness and affection for him),
is seized by the most unaccountable jealousy and
rage that is possible. The Count departs for
Verona, assuring him, that, notwithstanding this
alliance with the Castelvins, he shall always con-
tinue his friend ; and Roselo remaining, concludes
the act with a long soliloquy of rage and despair,
which terminates in a resolution of endeavouring
to shake off his passion for the unfaithful Julia,
and fix his heart on some more worthy object at
Ferrara.

456 ADDENDA.

«

ACT III.

" During the interval between the second and
third acts, the father of Julia has been attempting
to force her to marry the Count: and his perse-
cutions have been so violent, that, finding at length
she shall be obliged to submit, she listens only to
despair, and determines to die, rather than betray
Roselo.

" With this design she sends Celia to Aurelio
(the priest who married her privately). He does
not appear upon the stage, but is frequently men-
tioned. Profound learning, universal charity, and
attention to the wants of the unhappy, are the dis-
tinguishing marks of his character.

" Julia implores the assistance of this pious man,
and informs him in her billet, that if he can find no
method of preserving her from the misfortune she
dreads, she shall escape from it by a voluntary death.

" The beginning of the act supposes all that is
here said, and the spectators are informed of it
with great address. Julia and her father appear
upon the stage, which represents a sallon. Antonio
presses his daughter to the marriage ; she excuses
herself; he menaces her with his utmost indig-
nation, and at last assures her, if she does not
consent willingly, they shall find means to force her
submission.

" This severity constrains her to promise obedi-
ence, and her father leaves her to reflect upon her
unhappy situation. Celia enters, as returned from
Aurelio, and tells her, that, after showing great
disorder and concern, he had retired for an hour ;
and then delivered her a vial for Julia to drink,
which he told her he hoped would prevent all she
feared.

ADDENDA. 457

" After a moving scene of doubt, hopes, and
fears, Julia drinks the composition ; and imme-
diately feeling the effects of it, imagines that by
mistake, Aurelio has given her poison, and (as
they both suppose) dies in the arms of Celia, re-
commending to her, if she ever saw Roselo, to
tell him, she carried her tenderness for him to the
grave, and died pronouncing his name ; that she
wished him to remember her with kindness, but
not with pain ; to be comforted, and to live happy.

" The scene closes upon Julia, and her confident,
and immediately changes to Ferrara. It repre-
sents a street, where two cavaliers, Ferdinand, and
Rutilio, are giving a serenade to Silvia, a Lady of
that city. She appears but once in the play, and
that only at her window.

" The persons in this scene, are entirely foreign to
the subject of the play, and have not the least con-
nexion with the Castelvins and Monteses. The
author only introduces them to give Roselo an
opportunity of endeavouring to revenge himself for
the supposed infidelity of Julia, and the whole
design is insipid and unnatural.

" The day begins to dawn, Roselo comes in, and
the two cavaliers and their men withdraw, without
any reason, but the pleasure of the author. The
young Montese makes love to Silvia, but in a way
and manner, that shews his heart is full of another
object, and that Julia is still the mistress of it, not-
withstanding all his resolutions.

" Anselm, who is come to Ferrara in search of
Roselo, meets him in the street ; Silvia shuts her
window, and disappears. Roselo learns from Anselm
what has passed : he shivers with horror, his eyes
are opened, he sees how wrongfully he suspected
her fidelity, and breaks out into the most moving
complaints; when Anselm comforts him, by in-

458 ADDENDA.

forming him of the secret of the draught, and tell-
ing him he must immediately return to Verona, and
deliver her from the vault, where she was laid.

" Upon this detail, which in the original is very
long, Roselo begins to breathe. His hopes how-
ever are intermixed with fears ; he dreads arriving
too late; that Julia, awakening in that dreadful
place, should die with horror, or faint away, and
expire in the midst of that profound sleep : he
departs immediately for Verona; Marin follows
him with great regret; and, upon Anselm's
describing the dreadfulness of the vault, declares
he hates keeping company with the dead ; and that
when his master pays them a visit, he thinks it his
duty to wait only at the door.

"A change of scene brings the spectator back again
to Verona, and to the palace of the Duke. Count
Paris is there in mourning, regretting Julia, and
the Duke endeavours in vain to console him.
Antonio comes in, sensibly touched at the fate of
his daughter : but having no heir, Maximilian pro-
poses to him, his marrying Dorothea, his nearest
relation, to hinder the great treasures he possesses,
from being dispersed into different families ; and he

consents to it.

" A new scene then appears ; the family -vault of
the Castelvins, surrounded with objects too melan-
choly for any theatre but the Spanish. Julia
awakens : her amazement, her terror, her love, and
surprise, furnish her in that dreadful darkness with
a beautiful soliloquy, at the close of which Roselo
enters. Their re-union is accompanied with the
most tender, and moving sentiments.

" They escape happily out of Verona ; and not
knowing where to conceal themselves, take refuge
in a castle belonging to Julias father, but where he
never came. There the last scenes pass.

ADDENDA. 459

" Julia, Roselo, Anselm, and Marin, are dis-
guised like peasants. Their design is, to stay a
day or two in the castle, till they find a convenience
to go off; but fortune decides it otherwise.

" Antonio repairs to this castle, to celebrate his
marriage with Dorothea ; Theobald (her father),
and several other Castelvin noblemen, accompany
them. Their arrival obliges Roselo and his party
to conceal themselves in different parts of the
castle ; the keeper does not know them, but their
behaviour and liberality engage him to secresy.

" As Julia is concealed close to the room her
father is in, she hears him alone, lamenting her
destiny. She speaks to him ; he, in the greatest
horror, imagines it her shade ; and this odd conver-
sation brings on the catastrophe. She re-
proaches him with the cruelty that brought on her
fate, and offers to appear before him in the shape
she bore since their separation. He declines it
with terror, and endeavours to excuse his severity
by the worth of the Count. She confesses the
merit of Paris ; but owns she had been privately
married two months before, to a husband, whom
envy itself could not blame ; that she knew the
fierceness of his nature could not bear the con-
fession, and therefore sacrificed her life to preserve
her fidelity to him she had chose ; that all she now
begged, was his solemn promise he would never
conspire the ruin of this unknown son-in-law, but
cherish and esteem him, as if he had been his own
choice ; that this was all the atonement he could
now make, and without which she should inces-
santly disturb him.

" He promises it, and asks his name ; when she
tells him, 'tis Roselo, the head of the Monteses,
and that heaven had raised him up to put an end
to those discords which destroyed their country :

460 ADDENDA.

he seems shocked at first, but soon melts into
grief and tenderness, and attests heaven that he
will always preserve the sentiments of a father for

Roselo.

" During this scene, Theobald, and the other
Castelvins, having discovered Roselo, Anselm, and
Marin, bring them all bound upon the stage, and
deliberate upon the kind of death they shall make
them suffer.

" In this conjuncture, Antonio, out of regard to
his promise, and compunction for his fault, dis-
covers what has passed, and embraces Roselo.
At first they imagine his brain disordered, but by
degrees he soothes them into moderation; and
Count Paris, who is present, out of generosity joins
with him, and conduces to bring 'em to a recon-
ciliation.

" To render this sudden conversion more lasting,
they determine to cement the peace by the marri-
age of Dorothea and Roselo. Julia, who hears all,
suddenly appears. Their first terror at the sight,
is turned into joy and surprise, when they find she
is alive ; and when they are informed that Roselo
delivered her from the arms of death, they judge
him to have a lawful claim to her. Their union
is ratified; Anselm marries the daughter of
Theobald ; and Marin (the Gracioso) receives the
hand of Celia, with a thousand ducats from Antonio

and Roselo.

" The End of the Play."

King Lear, vol. x. p. 223 :

" But to the girdle do the gods inherit ;
" Beneath is all the friend's."

My friend Charles Warren, Esq. Chief Justice
of Chester, pointed out to me the following curious

ADDENDA. 461

illustration of this doctrine in Jortin's Remarks on
Ecclesiastical History.

" The Manichaeans gave to each man two souls,
the one a good, the other a bad one. Clemens
Alexandrinus mentions an odd and ridiculous notion
held by some Heretics, that God made man down
to the navel, and that the rest of him was made by
another power. 'EvtsvOev axxoi rutt x»vn9£VT£? jj.ix.goi

xal XTiSavo) tou avQpUTrov U7ro $ioc<p6puv SvvoofAtuv TrXa.<r$ruicti
\iytso~i, xa» rei yXv /*£Xf'? ofj.ipa.Xis StioSts-'zpxs te^hi? tlvocr
ra tvtptyi Si, t*i? r\TTovo;' k $n %apiv, ogiystrSixi <j\jvx<ntxq.

Hinc moti aliqui alii, pusilli et nullius pretii, dicunt
formatum fuisse hominem a diversis potestatibus :
et quae sunt quidem usque ad umbilicum, esse artis
divinioris ; quae autem subter, minoris : qua de
caussa coitum quoque appetere. Strom, iii. p. 526.

Theodoret says that the Eunomians, as well as
the Marcionites, held that there were two Prin-
ciples, and that the lower parts of the human
body came from the Evil Principle. He probably
misrepresents the Eunomians, for what hath
Arianism to do with Manichaeism ? Eunomius was
an Arian indeed, and the Father of an Arian
sect ; yet as far as we can judge from his writings,
some of which are still extant and have escaped
burning, he was no more a Manichaean than Epi-
phanius, or Athanasius, or Jerom, or Theodoret.

" * Theodoritus 1. iv. Haereticarum fabularum
cap. 3. inter alia Eunomianis tribuit, quod et ipsi
cum Marcione duo rerum principia, malum et
bonum, statuerint, et inferiores partes a malo prin-
cipio ortas, et hinc non totum baptizandum esse
hominem docuerint. Cui congruit quod S. Ambro-
sius Eunomianos jungit Marcionistis, 1. i. de
officiis c. 2. ad quern locum conferendaj notae
Monachor. Benedictin. torn. ii. p. 31. Fabricius
Bibl. Gr.viii. 251.

462 ADDENDA.

" ' Eunomius ritus baptismi immutavit, qua de re
accusatum fuisse fatetur Philostorgius. Testis
potentissimus mutationis est Epiphanius : Qui jam
baptizati sunt, iterum baptizat Eunomius, non
modo qui a Catholicis, aut ab aliis hseresibus, sed
eos etiam qui ab ipsismet Arianis deficiunt. Repe-
titi porro illius baptismatis ea formula est, ' In
nomine Dei increati, et in nomine Filii creati, et
in nomine Spiritus sanctificantis, et a creato Filio
procreati.' Aliam tamen adhibuisse formulam
in Theodorito legimus : Dicit non oportere ter im-
mergere eum qui baptizatur, nee Trinitatem in-
vocare, sed semel baptizare in mortem Christi.
Risune an lacrimis prosequenda, quss de Eunomiani
baptismi ritibus a Veteribus sunt memorise man-
data ? Epiphanius : Sunt qui narrent, quotquot ab
iis denuo baptizantur in caput demergi, pedibus
in sublime porrectis, et sic jusjurandum adigi, nun-
quam se ab illius haeresi discessuros. Observat et
Nicetas : Longissima fascia, eum in usum parata
consecrataque, hominem a pectore, usque ad
extremos pedum articulos involvebant, turn deinde
superiores corporis partes aqua proluebant. Cujus
ritus causa hsec fuit, quod inferioribus corporis par-
ibus pollui aquam arbitrabantur. Tantum super-
stitio potuit suadere malorum ! Baptizatos ad pectus
usque aqua madefaciunt, inquit Theodoritus, re-
liquis autem partibus corporis, tanquam abomi-
nandis, aquam adhibere prohibent. Discipulis
Eunomii Ecclesias visitare moris nonerat. Omnes
sectatores ejus Basilicas Apostolorum et Martyrum
non ingrediuntur, ut scilicet mortuum adorent
Eunomium, cujus libros majores authoritatis arbi-
trantur quam Evangelia. Hieronymus. Neque
castiores doctrina mores fuere, si vera de ^Etio
preedicat Epiphanius : Cum quidam ob stuprum
feminse illatum accusarentur, et ab aliis damna-

6

ADDENDA. 463

rentur, nihil ilium commotum : sed factum risu et
ludibrio prosequentem dixisse, Nullius hoc esse
momenti : corporis enim hanc esse necessitatem.'
S. Basnage Ann. ii. 861.

" Observe that the testimonies of Epiphanius and
of Theodoret, concerning the form of Eunomian bap-
tism, contradict each other. We may suppose that
the Eunomians used only one immersion, or rather
superinfusion, and that they baptized in the name
of the Father, Son, and Holy Ghost, as they were
plainly directed to do by the Scriptures, to which
they paid as much regard as the Consubstantialists.

"When Epiphanius says of their baptism, sunt
qui narrent, we may be sure that proofs ran very
low with him.

" The Eunomians seem to have been of opinion
that it was not necessary for persons to be plunged
all over in water, and that it was not decent for
them to be stripped at the performance of this
religious rite. They therefore only uncovered them
to the breast, and then poured water upon their
heads. This was enough to give their adversaries
a pretext, though a poor one, to calumniate them,
and to call them Manichaeans, and to charge them
with holding that the lower parts of the body were
made by the Devil."

Henry IV. Part I. p. 13 :

" Of the dreamer Merlin and his prophecies."

[As I may in some measure consider myself as
classed among the commentators on Shakspeare,
however humble may be my rank, I am proud to
announce that the following note will enable us to
enroll my friend Sir Walter Scott in our fraternity.

Boswell.]

464 ADDENDA.

" The supposed prophecies of Merlin formed the
stock upon which those who undertook alterations in
the state, usually founded the predictions which they
circulated amongst the people, to prepare men's
minds for the intended change. The most com-
plete account of those to which Hotspur alludes in
the text, occurs in a manuscript of those historical
documents usually called Caxton's Chronicles, be-
cause first printed by the father of the English press.
It is well known to antiquaries, that manuscripts
of these Chronicles are not unfrequent, and that
they differ in tenor and in date, some coming as
far down as the reign of Henry V. ; others stopping
much earlier. The copy which will be presently
alluded to, breaks off immediately after the depo-
sition of Richard II. and concludes with a survey
of prophecies obviously designed to favour the
alliance of Glendower with Mortimer and Percy,
and their plan of dividing the kingdom into three
parts. Edward III. is shadowed forth as the boar
of righteousness ; Richard II. as the lambe ; Henry
as the Moldwarp ; and the three conspirators, to
whose insurrection success is predicted, as the lyon,
wolf, and dragon. The following extract will pro-
bably be sufficient to satisfy the reader with this
" skimble scamble stuff," as Hotspur terms it.

" And after thys Goote Seyde Merlyon shall com
a boore out of Wyndesere that shall be called the
Myldyste and the fayriste and most mercyfull
Prynce borne and he shall correcte hem that ben
untieue and in hys tyme shall thys londe be full-
fylled with and this boore shall make

wolves to becom lambys, and he shall be called
throrough oute the world e the boore of holynes,
of nobley of fyersnes, and of mercy, and he shall
mesurably do all that he hath to don anone to the
burgh of Jerlin. And alse he shall whette hys

ADDENDA. 165

teethe upon the gatis of Paris, and Spaigne shall
tremble for drede of hym. And he shall make Gas-
coigne for to quake and he shall make medowrisrede
and he shall gete as much as his ancetryes ded afore
hym. Andorthathebededehe shall were III crownes
and he shall put one londe in subjection and after-
warde hitt shall releved be but not in hys tyme ; for
his doughtynis he shall be entyred at Coleyne and
than shall this londe be fullfilled with all maner of
good, and after thys Boor (Seyde Merlyon) shall come
a lambe that shall have feete of lede and an hede of
brass, and an herte of a foxsse and a suynnys
skynne and the most party of his reyne the lond
shall be in peas. And in the fyrste yere of his regne
he shall do make a citte that all the worlde shall
spoke therof. And also thys lambe shall lose in his
tyme a grete party of his lond thorough an hydeous
woolff but he shall recover hitt agen : he shall take
his lordschippes to an egle of his londe wondir welle
and worthyly unto the tyme that pryde shall him
overcom & he shall dye thoroughe his brothers
sworde and afterward shall hys londe be in pes
and fullfilled with all manner of gode. And after thys
lambe seyed Merlyon shall com a Molwerp accursed
of Goddis mouthe a caytiff a coward and he shall
have an eldryche skynne as a goote and vengeance
shall com upon hym for synne that he shall use
and hys londe shall be fullfylled with all manner of
goodnes unto tyme that he shall suffir hys people
to lyve in gret pryde without chastysynge in gret
displesaunce to God and therefore vengeance shall
com unto hym. For a dragon shall com oute of the
Northe and wer agaynste the foresayde Moldwerp
uppon a stone. And thys Dragon shall gadir into his
cumpanye a wolffe that shall com oute of the weste,
and so shall the dragon and the wolff bynde hir
vol. xxi. l2 n

466 ADDENDA.

taylis togidir. Than shall a lyon com oute of Irelonde
that shall be in companye with hem and than shall
the lond tremble that shall be called Inglonde.
And alse in that tyme shall many castels falle by
the Temys bank and hit shall Teme shall be drye
with the bodies that shall fall therin and also the
chvff floodis of Inglonde renne with blood and the
Moldwerpe shall fle for drede for the Dragon the
Lyon and the woolf shall dryve him oute of the
londe and the Molwarpe shall have no power save
only a shyppe whereto he shall wende and he
shall go to londe whan the see is drye and com
ageyne and gef the III partyes of his londe for to
have the fourthe parte and after that shall the
Moldwarpe be drowned in the flood of the see and
his seed shall be fadirles for evermore. And than
shall the londe be departyed into III partyes oone
to the woolf another to the Dragen and the Hid to
the Lyon and so shall hitt be for ever. And then
shall this londe be called the londe of conqueste
and so shall the ryghtful eyris of Inglond be

diseryted."

The Manuscript Chronicle from which the above
extract was written many years since, was then
the property of John Clarke, Esquire, of Eldin, and
was afterwards, I believe, presented by him to the
present Duke of Hamilton. Walter Scott.

Henry IV. P. I. p. 359 :

" All plumed like estridges that inith the wind."

When I attempted to defend the original text, I
could not recollect at that time a passage in
which the conjunction with was used without a
verb in the sense of to go xvith. I have since
found one in Massinger :

ADDENDA. 467

" Be not so short, sweet lady, I must tvitlt you."

A Very Woman. Gifford's edit. vol. iv. p. 275.

BOSWELL.

Henry IV. P. II. vol. xvii. p. 220:

" Do me right,
" And dub me knight
" Samingo."

Why St. Domingo should have been considered as
the patron of topers I know not ; but he seems to
have been regarded in this light by Gonzalo Ber-
ceo, an old Castilian poet, who flourished in 1211.
He was a monk, much of the same cast with our
facetious Arch-deacon Walter de Mapes. In
writing the life of the saint, he seeks inspiration in
a glass of good wine.

" De un confessor sancto quiero fer una prosa

f* Quiero fer una prosa en Roman Paladino,
" En qual suele el pueblo fablar a su vecino,
" Ca no son tan lettrado por fer otro Latino,
" Bien valdra, come creo, un vaso de buen vino."

Boswell.

Henry IV. Part II. vol. xvii. p. 25 :

The following communication was transmitted to
me by Messrs Longman and Co. I have not the
honour of knowing the gentleman who wrote it,
but beg leave to return him my thanks for his
courtesy. Boswell.

§jr Tewkesbury, April 5th, 1821.

Observing an inaccuracy in the notes to the last
edition of Shakspeare, in 21 vols. I thought it
might be acceptable to you to be enabled to set
the matter right in the new edition.

Mr. Steevens is in error, where he says that

2 h 2

468 ADDENDA.

Dumbleton, Act I. Scene II. of the second part of
King Henry the Fourth, is the name of a town in
Giocestershire. A small milage, about seven miles
from Tewkesbury, bears that name ; but it is, I
think, very improbable that Shakspeare could have
alluded to this place as furnishing a title for Fal-
staif s tailor. At the period when this play was
written, the manor of Dumbleton was held by the
Abbey of Abingdon, having been given to it by
King Athelstan in 931, and was vested in that
house at the dissolution, when King Henry the
Eighth sold it to Thomas Lord Audley and Sir
Thomas Pope ; it afterwards came into the family
of the Cockses of Cleeve, Giocestershire, (de-
scended from the Cockses, of Cocks-Hall, Kent,)
from whom the Right Honourable Lord Somers,
the present proprietor, inherits it.

If any part of the above information is of the
least use to you, it is much at your service ; if not,
I hope you will excuse the trouble I give you, in
forwarding this to you through the hands of my
booksellers, Messrs Longman, Hurst, and Co.
I am, Sir,

Your most obedient Servant,

James Bennett.

To the Editor of Shakspeare's Plays, &c.

Henry V. vol. xvii. p. 407 :

•' That their hot blood may spin in English eyes,
" And dout them with superfluous courage."

I have already in the notes on a contested pas-
sage in Hamlet, vol. vii. p. 229, questioned whe-
ther dout for do out was ever employed in any
serious composition in our author's time. Mr.
Tyrwhitt observes on the passage before us, that

ADDENDA. 469

doubt, the reading of the folio, in both instances,
may here have been used for to make to doubt, to
terrify ; I am satisfied that such was its meaning.
Doubter, in Cotgrave's French Dictionary, is ex-
plained " to fear, awe, dread, redoubt ; " from
which last word redoubtable is derived, and that it
had a similar acceptation in old English seems to
be ascertained by a line in the old bl. 1. romance
of Syr Eglamoure of Artoys, quoted by Mr. Stee-
vens in vol. v. p. 281, n. 2 :

" Let some priest a gospel saye,
" For doute of fendes in the flode."

END OF VOL. XXI.

C. Baldwin, Printer,
New Bridge- street, London.

GLOSSARIAL INDEX

OF

WORDS, PHRASES, CUSTOMS, and PERSONS,

EXPLAINED OR MENTIONED IN THE NOTES.

VOL. XXI. 2 1

I have partly informed the reader, in my
Advertisement, of the plan upon which I have
constructed the following Index. I have sub-
joined an explanation of the words and phrases
wherever the commentators have all agreed; but
while, by such an addition, and by the insertion
of many terms which have hitherto been omitted,
I have added to this part of the work, I have
diminished its bulk upon the whole. Where the
difficulty has arisen, not from any particular word,
but from the general construction of the sentence, it
appeared to me that it would answer no purpose to
insert a common expression, used in its ordinary
sense, in a glossarial index ; because it occurred in a
passage which might require explanation. I have not
set down the various instances where a word occurs,
as the reader is generally referred to some one page
where its meaning is elucidated ; but when, as some-
times is the case, this information is partially con-
veyed in one note, and additional light is thrown
upon it in another, I have directed the attention to
both. To have done more, is unnecessary ; for the
very valuable work of Mr. Twiss, to whom I feel a
pleasure in expressing my gratitude, will point out,
to any one who is willing to make the inquiry, how
often any word occurs in our author's plays. Meta-
phors, compounded words, and all that comes under the
head of poetical embellishment, I have also excluded.
As there are some who take little interest in discussions
which are merely verbal, I have divided the Index
into three distinct branches. The first contains only

2 I 2

474

words and phrases : the second relates to manners,
customs, and allusions, among which I have in-
serted the songs and proverbs to which Shakspeare
is supposed to have referred. Some of the proverbs
are not uncommon ; but a value is attached to any
thing which our great poet has honoured with his
notice. In the third place, I have set down those names
which have suggested historical illustrations in the
notes, as far as they seemed important. I have
undergone no slight labour in performing this task ;
but I shall never regret the time I have bestowed
upon it, if I have been able, in any degree, to add
to the gratification of those who delight in the
perusal of our immortal Shakspeare.

GLOSSARIAL INDEX

OF

WORDS AND PHRASES.

Abated, depressed inspirit,
xiv. 149.

A B C, a catechism, xv. 215.

abhor, protest against, xix.
388.

abide, v. 269.

able, uphold, x. 23 1 .

abridgement, v. 311.

vii. 299.

absolute, complete, ix. 319.

completely accom-
plished, xxi. 134.

abuse, deception, ix. 188.

abused, deceived, ix. 441.

• •••••• Xll. OfJm

aby, v. 269, 279.
abysm, abyss, xv. 29.
accost, xi. 352.
Acheron, xi. 183.
acknown, ix. 376.
acquittance, requital, ix.

443.
Adam Cupid, vi. 72.
aches, xv. 57.
actures, actions, xx. 381.
addition, character, vii. 228.

title, viii. 313.

addressed, prepared, iv. 311.

v 67
admittance, favour, viii. 88.
advertise, inform himself,

ix. 11

advertisement, admonition,

vii. 131.
advice, consideration, iv. 56.

v. 133.

advised, on reflection, iv.

259, 431.
adulterate, xix. 174.
affection, affectation, iv.

393.
affectioned, affected, xi. 400.
affections, v. 111.
affeered, established, xi. 221.
affined, related to, ix. 224.
affront, meet face to face,

vii. 319.
...... viii. 334.

affy, betroth, xviii. 287.
agate, xvii. 24.
aged custom, xiv. 99.
agood, in good earnest, iv.

115.
aglet, v. 400.

agnise, acknowledge, ix. 27 1 .
Ajax, a jakes, iv. 443.
aim, guess, iv. 68.
.... ix. 250.

.... verb, to aim at, iv. 207.
aiery, a hawk's or eagle's

nest, ix. 49.
alapt, x. 72.
alder liefest, most loved,

xviii. 168.

476 GLOSSARIAL INDEX.

ale, a country festival, iv. 59. apply, viii. 253.

a'life, xiv.367. appointment, preparation,

allow, approve, viii. 88. viii. 380.

x. 125. ....ix. 102.

allowance, approbation, vii. approbation, proof, xiii. 33.

340. noviciate, ix.

'. ... viii. 307. 26.

allowed, licensed, iv. 435. approve, justify, v. 82.

all waters, xi. 475. vii. 174.

alms-drink, xii. 261. recommend, vii.

amaze, perplex, vi. 362. 497.

viii. 200. approved, experienced, iv.

ames ace, x. 379. 128.

a mile beyond the moon, arbitrate, determine, xi. 260.

xxi. 347. arch, chief, x. 80.

amiss, misfortune, vii. 424. argentine, silver, xxi. 210.

among, xvii. 216. Argier, Algiers, xv. 48.

amort, dispirited, v. 480. argosies, v. 7.

an, as if, v. 197. argument, contents of a

an if, if, v. 264. book, vi. 415.

anchor, anchoret, vii. 359 conversation, vn.

angerly, angrily, iv. 22, n. 2. 76.

ancient, ensign, the officer, armado, xv. 295.

ix. 223. arm, to take up in the arms,

xvii. 76. xii. 176.

the flag, xvi. 369. arm-gaunt, xii. 210.

angel, v. 473. aroint, x. 160.

an-heeres, viii. 69. xi. 29.

anight, at night, vi. 392. arrive, arrive at, xiv. 100.

antiquity, old age, xvii. 36. articulate, set down article

antres, caves, ix. 261. by article, xiv. 53.

a one, an individual, xi. 178. artificial, ingenious, v. 271.

ape, a term of endearment, aspersion,sprinkling,xv.l34.

vi# 73. aspire, verb active, to ascend,

vii.412. vi. 127.

7.7. xix. 1 05. assinego, an ass, viii. 284.

apperil, peril, xiii. 273. associate, verb active, ac-

apple-John, xvii. 69. company, vi. 227.

apply, ply, or apply to, v. assured, affianced, iv. 213.

383. astre *, vii. 182.

* In the notes to be found at the page referred to, it is said
by Mr. Steevens that the word astre is no where to be found
but in Southern's Diana. It has this moment met my eye, with

GLOSSARIAL INDEX.

477

astringer, a falconer, x. 464.
atomy, atom, vi. 51.
atone, reconcile, ix. 426.

xii. 28.

attask'd, blamed, x. 73.
attent, attentive, vii. 209.
attest, attestation, viii. 414.
audacious, spirited, iv. 393.
auk ward, adverse, xviii. 257.

bare, mere, iv. 80.
.... to shave, x. 428.
barful, full of impediments,

xi. 360.
barlet, xi. 70.
barm, yeast, v. 284.
barne, a child, xiv. 325.
barns, keeps in a barn, xx.

155.
barren, ignorant, v. 258.

aunts, strumpets, xiv. 335.

auspicious, joyful, vii. 191. base court, xvi. 113.
awful, iv. 96. bases, xxi. 71.

awful banks, xvii. 155. basilisk, xvii. 465.

basilisks, cannons, xvi. 254.
■d basta, enough, v. 392.

bastard, raisin wine, ix. 117.

Babe, xii. 107. xvi. 265.

babbled of green fields, xvii. bat, x. 237

313.
Baccare, v. 414.
Bajazet's mule, x, 427.
Bajazet's mute, x. 427.
bairns, children, vii. 98.
baldrick, vii. 22.
bale, misfortune, xiv. 14.
balk, v. 385.
balked, xvi. 186.
ballase, ballast, iv. 212.
hallow, x. 237.
ban dog, xviii. 198.
band, bond, iv. 228.
bandy, x. 52.
banked, xv. 350.
banquet, v. 510.

vi. 68.

xii. 261.

bans, curses, x. 106.
barbed, xix. 9.

battero, x. 237.
bate, to flutter, v. 469.
. . . . vi. 136.
bauble, carried by a fool, vi.

105.
bawcock, xiv. 248.
bay, ix. 55.
bay window, xi. 473.
bear a brain, vi. 36.
bear in hand, vii. 120.

bearing, deportment, v. 49.

vii. 40.

bearing cloth, xiv. 326.
beaver, vii. 212.
beautified, vii. 271.
becks, xiii. 288.
beetles, overhangs, vii. 236.
beguiled, deceitful, xx. 195.
behave, manage, xiii. 340.

a slight variation in the spelling, in a Scotch poet, Montgo-
mery, the author of the Cherrie and the Slae :

, " The asters clear, and torches of the night."

Montgomery's Poems, edit. 1821, p. 16*.

BOSWELL.

478

GLOSSARIAL INDEX.

behaviour, xv. 197.
beholding, viewing with re-
gard, xix. 436.
belee'd, ix. 223.
bellows-mender, v. 195.
belongings, endowments, ix.

10.
be-mete, be-measure, v.

487.
bemoiled, bemired, v. 461.
bench-hole, forica, xii. 353.
beneath world, under world,

xiii. 255.
bent, utmost degree of any

passion or mental quality,

vii. 115, 265.
beshrew, v. 238.
bestraught, distracted, v.

375.
beteem, v. 183.

vii. 203.

bewray, disclose, x. 84.
Bezonian, a mean fellow,

xvii. 224.
bias cheek, cheek swelling

out like the bias of a

bowl, viii. 381.
bickerings, skirmishes, xviii.

173.
bid the base, to challenge to

an encounter, iv. 23.

bid, to invite, v. 53.
bifold, twofold, viii. 415.
biggin, xvii. 185.
bilboes, vii. 485.
bill, v. 489.
bills, vi. 363.

.... vii. 7.

.... xiii. 335.
bird-bolt, an arrow, vii. 9.
bisson, blind, vii. 310.

xiv. 61.

blade of youth, x. 472.
blank, mark, x. 17.
blank and level, xiv. 293.
blanket of the dark, xi. 65.
blaze of youth, x. 472.
blench, shrink, vii. 317.
viii. 230.

blent, blended, xi. 373.
bless the mark, ix. 223.
blind worm, v. 236.

xi. 193.

block, vii. 12.

blood, amorous heat, vii. 41,

66.
blood-bolter'd,smeared with

blood, xi. 206.
bloody fire, fire in the blood,

viii. 192.
bloody, sanguine, xvii. 144.
blow, xv. 109.
blown, swelled, xii. 425.
blue bottle, xvii. 229.
blue caps, the Scotch, xvi.

288.
blurted, xxi. 162.
board, accost, vii. 277.

q? xi. 353.

bobb'd, fooled, ix. 454.
bobtail-tike, x. 175.
bodged, xviii. 392.
bodkin, a dagger, vii. 325.
boitier, viii. 49.
bold of, confident in, iv.309.
bolds, emboldens, x. 252.
boll'n, swollen, xx. 187.
bona robas, xvii. 116.
bond of air, viii. 256.
bons, vi. 99.
book, xvi. 322.
books, vii. 12.
boot, profit, ix. 76.

GLOSSARIAL INDEX.

479

boots, iv. 11.

bordered, restrained, x. 199.

bore, to stab, xix. 321.

borrower's cap, xvii. 62.

bosky, woody, xv. 148.

bosom's lord, vi. 216.

bosomed, x. 251.

bots, worms in the stomach

of a horse, xvi. 232.
bottled spider, ix. 4.
bought and sold, xviii. 120.

xix. 233.

bourn, a boundary, viii.

314.

a rivulet, x. 171.

bow, a yoke, vi. 448.
bower, a chamber, xiv. 136.
brace, defence, ix.251.
brach, v. 361.

viii. 287.

braid, x. 435.

brake, a thicket, v. 248.

brakes, ix. 43 .

brave, to make fine, v. 487.

bravery, fine cloaths, vi.

405.

••••••• IX* — o.

brawl, a kind of dance, iv.

323.
bray, vii. 227.
.... xv. 283.
break up, to carve, iv. 343.

• ••••••■ Vi Oil

break with, to open the

subject with, iv. 30.
breast, a voice, xi. 386.
breath, a breathing, a slight

exercise of arms, viii. 306,

387.

xiii. 248.

breathe in your watering,

xvi. 260.
breathing courtesy, made up

of mere words, v. 146.

breeched, xi. 127.
breeching, liable to be flog-
ged, v. 436.
breed-bate, one who excites
quarrels, viii. 45.

brewer's horse, xvi. 337.

bride buck, viii. 184.

brief, x. 385.

broach, to spit, xxi.

brock, a badger, xi. 422.

broken musick, vi. 365.

broker, a procurer or pro-
curess, iv. 21.

vii. 224.

viii. 446.

brokes, pimps, x. 414.

brooch, viii. 287.

brooched, adorned, xii. 382.

brooded, watchful, xv. 293.

broom groves, xv. 138.

bruit, report, xviii. 507.

bruited, loudly reported, xi.
269.

buff jerkin, xvi. 194.

bug, an object of terror,
xviii. 519.

buggle boe, xvii. 234.

bugs, bugbears, v. 407.

.... objects of terror, xii.
190.

bulk, vii. 261.

bully-rook, viii. 34.

bumbard, xv. 94.

bung, a pocket, hence a
pickpocket, xvii. 79.

bunting, x. 395.

burgonet, helmet, xii. 208.

buried with the face up-
wards, vii. 32.

burst, broken, v. 358, 461.

buss, to kiss [formerly not a
low word], xv. 298.

butt-shaft, an arrow, iv. 307.

• •••■•at VI* \J\J,

480

GLOSSARIAL INDEX.

butter woman, vi. 422.

buxom, xvii. 360.

buz, vii. 296.

byrlakin, by our lady, v.

245.
by day and night, always,

viii. 54.

C.

cade, xviii. 295.

caitiff, xvi. 21.

calino costore me, xvii. 425.

callet, strumpet, ix. 439.

xviii. 422.

calling, appellation, vi. 369.
came hardly off, did not

succeed, iv. 37.
canary, a kind of dance, iv.

323.

viii. 79.

candle cases, v. 442.
candle wasters, vii. 129.
candles of the night, stars,

v. 150.
canker, vii. 30.
the canker rose, xvi.

221.
canstick, candlestick, xvi.

311.
cantle, a fragment, xii. 304.

xvi. 311.

cantons, cantos, xi. 375.
cap, to put off the cap in

salutation, ix. 217.
cap with suspicion, vii. 19.
capable, intelligent, vii. 398.

viii. 358.

capacious, ix. 390.
capitulate, xvi. 333.
capocchio, a fool, viii. 368
capon, a letter, iv. 343.
capricious, vi. 444.

captious, x. 348.

carack, a vessel of great

bulk and value, ix. 243.
caraways, xvii. 213.
carbonadoed, cutlike a piece

of meat for the gridiron,

x. 464.
card, a sea-chart, vii. 471.
.... of tin, v. 433.
carded, xvi. 327.
Carduus Benedictus, vii.

100.
care, inclination, vi. 162.
careful, full of care, iv. 262.
carkanet, a necklace, iv.

189.
carl, xii. 136.
carlot, peasant, vi. 463.
carnal, sanguinary, vii. 518.
carry coals, vi. 7.
case, to strap, x. 421.
.... the skin, xi. 491.
cased lion, confined lion, xv.

280.
cassock, x. 444.
cast, ix. 319.
Castilian, viii. 94.
Castiliano vulgo, xi. 351.
castle, viii. 419.

xxi. 319.

Cataian, viii. 65.

catling, a small lutestring,

vi. 213.

viii. 357.

cavalero, viii. 68.
caviare, vii. 302.
cautel, craft, vii. 215.
cautelous, insidious, xiv.

152.
cease, dies, x. 279, 485.
to put a stop to, xiii.

293.
censer, v. 486.
xvii. 228.

GLOSSARIAL INDEX.

481

censure, to give an opinion,
iv. 19, n. 7.

to condemn, ix.

39.

an opinion, vii.

219.

ceremony, a thing highly-
valued, v. 149.

certes, certainly, iv. 230.

xv. 123.

cess, measure, xvi. 231.

chamberers, men of intrigue,
ix. 372.

chambers, pieces of ord-
nance, xvii. 75.

. XIX. oO 1 .

change that name, vii. 207.
changeling, v. 202.
chapman, market-man, iv.

308.
character, writing, vii. 218.
characts, ix. 180.
chares, task work, xii. 327.
charge house, free school, iv.

399.
chariest, most cautious, vii.

216.
chariness, caution, viii. 62.
charitable, endearing, xiii.

277.
charm your tongue, be silent,

ix. 477.
charmer, one who deals in

charms, ix. 399.
chaudron, entrails, xi. 195.
cheater, escheatour, viii. 41.
check, xii. 107.
checking, a term in falconry,

vii. 450.
cheer, countenance, v. 95,

329.
cheveril, soft leather, vi.

104.

cheveril, conscience, xix.
375.

chewet, xvi. 382.

chide, resound, xvii. 332.

chiding, clamour, v. 297.

clamorous, viii.257.

resounding, xix.

417.

chief, vii. 219.

child, a female infant, xiv.
324.

child changed, x. 242.

childing autumn, v. 220.

chopine, high heeled shoe,
vii. 300.

chough, a jackdaw, vii. 493.

Christendom, xv. 309.

christian, xvii. 316.

christian name, x. 323.

chrysom, xvii. 316.

chuck, a term of endear-
ment, xi. 156.

chuffs, xvi. 249.

circlet, xix. 437.

circumstance, conduct, iv.

12.
detail, viii.

343.
ix.217.

cite, incite, iv. 49.
cittern, a musical instru-
ment, i v. 448.
civil, vi. 424.
clamour, xiv. 365.

moistened, x. 206.

clap, join hands, xiv. 24(i.
clap into, begin, ix. 1<>4.
claw, to flatter, iv. 357.

vii. 30.

clean, completely, iv. 168.

.... xii. 27.

clean kam, awry, xiv. 124.
clear, pure, xiii. 307.

482 GLOSSARIAL INDEX.

clear, xv. 129. colt, to trick, xvi. 246.

clear stories, xi. 474. co-mart, vii. 179.

clear thy chrystals, xvii. combinate, betrothed, ix.

322. 114.

clerkly, like a scholar, iv. combine, bind, vi. 508.

36. ix. 168.

viii. 169. come bird, vii. 251.

cling, shrivell, xi. 265. co-meddled,commingled,vii.

clinquant, shining, xix. 313. 343.

clip, embrace, xiv. 168. come of will, to succeed,

closely, secretly, xv. 314. viii. 251.

clout, the mark in archery, come of, to pay, viii. 159.

x. 226. come your ways, x. 360.

.... xvii. 120. comma, connection, vii. 490.

clouted brogues, xii. 162. commission, authority, vi.
cloys, xii. 200. 183.

clutch, grasp, xi. 95. committed, ix. 436.

xiv. 145. commodity, convenience, v.

coach fellow, confederate, 97.

viii. 74. interest, xv.

coasting welcome, viii. 383. 258.

cobloaf, viii. 283. common, verb, vii. 444.

cock, xiii. 306. commonty, comedy, v. 381.

.... a cock-boat, x. 218. compact, made up, iv. 204.

cock and pye, xvii. 1 98. .to make a thing

cock shut time, twilight, consistent, x. 72.

xix. 313. companion, fellow, a term
cockatrice, vi. 140. of contempt, iv. 239.

cockney, x. 116. xii. 122.

codling, xi. 368. company, companion, x.

codpiece, iv. 64. 438.

coffin, pie paste, v. 485. comparative, xvi. 198, 330.

cognizance, badge, xviii. 66. compassed cape, round cape,

coigne, corner, xi. 71. v. 488.

coil, vii. 152. compassed window, a bow

collection, deduction, vii. window, viii. 243.

423. competitor, a confederate,
collied, blackened, v. 134. iv. 61, 311.

ix. 336. xi. 472.

collier, xi. 453. complain, lament, verb ac-
collop, xiv. 250. live, xvi. 20.

colt, a wild fellow, iv. 325. complement, accomplish-
v 19. ments, iv. 288, 323.

GLOSSARIAL INDEX. 483

complexion, humour, vii. confess and be hanged, xiii.

228. 273.

comply, compliment, vii. confession, profession, viii.

295,501. 273.

compose, to agree, xii. 220. confineless, boundless, xi.

composition, consistency, 222.

ix. 250. confound, to destroy, iv. 162.

composture, compost, xiii v. 329.

404. viii. 321.

comptible, xi. 369. xiii. 29.

con thanks, thanks, x. 443 to expend, xiv. 39.

concealed wells, xv. 352. conger and fennel, xvii. 94.

conceit, imagination, wit, conject, conjecture, ix. 258.

vi. 120. conjecture, suspicion, vii.

vii. 398. 110.

fanciful conception, conjuring, supplicating, vii.

xvi. 70. 417.

conceited, ingenious, xx. consent, conspiracy, iv. 432.

185. agreement, viii.

conceived to scope, pro- 293, 296.

perly imagined, xiii. 227. consider, reward, xii. 72.

concludes, is decisive, xv. consigned, sealed, viii. 272.

207. consist, stand, xvii. 156.

conclusions, experiments, v. consort, subst. iv. 91.

40. consort, to consort with, iv.

vii. 405. 161.

xii. 37. conspectuity, sight, xiv. 61.

conclusions past the car- consummation, end, xii.

eires, viii. 24. 169.

concupy, concupiscence, constancy, stability, v. 310.

viii. 418. constant, steady, x. 8.

condition, quality, ix. 424 xiv. 20.

conditions, qualities, iv. 81. constantly, certainly, ix. 140.

v. 23. contain, retain, v. i49.

v. 521. contemptible, contemp-

condole, v. 193. tuous, vii. 66.

condolement, sorrow, vii. continent, that which con-

198. tains, vii. 422, 495.

conduct, guide, vi. 128,243. continuate, less interrupted,

viii. 292. ix. 408.

xv. 176. continued, xiii. 248.

coney catch, to cheat, viii. 19. contrary, to contradict, vi.

confess and be hanged, ix. 65.

414. contrive, spend, v. 410.

484

GLOSSARIAL INDEX.

convented, summoned, ix.

186.
conversation, intercourse,

xix. 131.
converse, associate, x. 49.
convertite, apenitent,vi.5l0.

xx. 141.

convey, to steal, viii. 37.
conveyance, slight of hand,

vii. 44.
conveyers, thieves, xvi. 138.
convicted, subdued, xv. 296.
convince, convict, viii. 296.
overcome, ix. 412.

........ Xll. 4tO.

convive, to feast, viii, 398.
cooling card, xviii. 144.
copatain, i. e. conical hat, v.

504.
cope, encounter, vi. 384.
copp'd, xxi. 29.
copy, pattern, iv. 248.
Corinth, a brothel, xiii. 300.
Corinthian, a wencher, xvi.

260.
coronal, xix. 437.
corporal, corporeal, iv. 369.
corporal of the field, iv.336.
costard, ahead, iv. 327, 330.

...... XIX. 0/6.

costermonger, xvii. 35.
cote, iv. 369.
coted, overtook, vii. 237.
couch, to lie, v. 153.

ix. 450.

court confect, a specious

nobleman, vii. 120.
counter, a hunting term, iv.

226.

vii. 433.

counter caster, one who

counts with counters, ix.

223.

counter-check, a term at

chess, xv. 237.
counterfeit, a portrait, v.

86.
county, compte, an earl,

Romeo and Juliet, passi/n.
couplement, a couple, iv.

439.
court of guard, the place

where the guard musters,

ix. 311.
court holy water, flattery, x.

139.
courtsies, xi. 418.
cousin, kinsman, vi. 61.
cowl-staff, staffused in carry-
ing a cowl or tub, viii. 126.
coy, to soothe, v. 288.
coystril, xi. 350.
coziers' catches, xi. 396.
crack, a boy child, xiv. 29.
crack of doom, xi. 205.
cracks, xi. 22.
cracked in the ring, vii.

301.
crank, to wind, xx. 51.
cranks, windings, xiv. 13.
crants, garlands, vii. 477.
crare, a small trading vessel,

xiii. 161.
craven, a coward, a mean dis-

spirited cock, v. 433.

cowardly, vii. 420.

cravens,makes cowardly,xii.

120.
credent, enforcing credit, ix.

173.
credit, xi. 481.
creep, viii. 349.
crescive, xvii. 263.
crewel, worsted, x. i07.
crisp, curled, xv. 144.
.... xvi. 216.
critick, cynick, viii. 414.

GLOSSARIAL INDEX. 485

crone, an old woman, xiv. damned in a fair wife, ix.

298. 218.

cross, a coin, vi. 390. danger, controul, v. 121.

crush a cup, crack a bottle, dank, mouldy, xvi. 232.

vi. 33. Danskers, Danes, vii. 257.

crushed, confused into one dare, ix. 173.

mass, viii. 239. darkling, in the dark, v. 240.

crulentious, cruel, x. 147. xii. 381.

cruzadoes, a coin, ix. 394. darraign, set in array, xviii.

cry, a pack of hounds, xiv. 416.

147, 185. date broken bonds, bonds

cry aim, to encourage, viii. not paid when due, xiii.

113. 298.

xv. 235. daub, to disguise, x. 192.

cry, havock, xii. 89. daubery, disguise, viii. 156.

xiv. 122. day of season, x. 474.

cry hem, xiii. 128. day woman, iv. 304.

xvi. 260. dear, iv. 307, 461.

cry'd game, viii. 98. .... v. 191.

cub-drawn, x. 135. .... vi. 238.

cue, a theatrical term, vii vii. 208.

313. xi. 487.

. . . xix. 121. dearn, dreary, x. 187.

cullion, v. 471. death'sman, executioner, x.

cunning, knowing, v. 387. 239.

skill, vi. 83. debitor, debtor, ix. 223.

curb, truckle, vii. 401. deboshed, x. 485.

curiosity, scrupulousness, x xv. 113.

5. deck of cards, pack of cards,
affectation, xiii. xviii. 515.

393. decked, xv. 37.

curious, scrupulous, v. 493. decline, fall, xiv. 65.

curst, mischievous, v. 277. deer, animals in general, x.

.... petulant, xi. 442. 163.

curtail dog, a cur, viii. 63. defeat, vii. 314.

customer, a strumpet, or one ix. 285.

who visits her, iv. 239. x. 383.

ix. 420. defeatures, iv. 173, 262.

Cut, xi. 401. defence, art of fencing, vi.

cut and long tail, viii. 133. 447.

defend, to forbid, vii. 37.

D. ix. 280.

daff, do off, vii. 66, 133. deftly, adroitly, xi. 199.

486

GtOSSARIAL INDEX.

defy, reject, vi. 234.
....xv. 298,
deject, dejected, vii. 333.
delations, ix. 353.
delay, let slip, xiv. 42.
delighted, ix. 108.
demerits, merits, ix. 240.
demurely, solemnly, xii.

258.
denay, denial, xi. 412.
denier, a coin, xix. 33.
depart, part, iv. 314.
departed, xv. 257.
deprive, take away, vii. 236.

x. 32.

deracinate, tear up by the

roots, viii. 262.

xvii. 467.

derogate, x. 68.

descant, variations in mu-

sick, iv. 23.
designed, marked out, vii.

180.
despatched, bereft, vii. 246.
desperate, bold, vi. 158.
desperately mortal, ix. 155.
detected, suspected, ix. 126.
determine, to end, xvii.

188.
dewberries, v. 254.
Diablo, ix. 326.
Diana's priest, Diana's

priestess, xii. 56.
Diccon, Richard, xix. 233.
diet, regimen, iv. 33.
.... xiii. 371.
difference, vii. 442.
differing, xii. 143.
diffuse, disorder, x. 48.
diffused, irregular, viii. 163.
digression, transgression, iv.

304.
dilations, ix. 353.

disable, undervalue, vi. 466.
disappointed, unprepared,

vii. 246.
discandy, disclaim, x. 90.
disclose, to hatch, vii. 482.
discontents, malecontents,

xii. 203.
discourse of reason, vii.

205.

reason, xi. 482.

disease, trouble, x. 19.

xviii. 73.

dishabited, dislodged, xv.

236.
dislike, displease, vi. 81.
disme, tenth or tithe, viii.

289.
disnatured, unnatural, x. 68.
disparked, xvi. 89.
dispose, command, iv. 106.
disposition, vii. 235.
disputable, disputatious, vi.

397.
disputation, xii. 325.
dispute, contend, xi. 236.
disseat, depose, xi. 249.
dissemble, disguise, xi. 471.
dissembling, xix. 9.
distaste, corrupt, viii. 294.
distemperature, v. 218.
distempering, intoxicating,

ix.228.
distractions, xii. 303.
distraught, distracted, vi.

199.
divert, turn aside, vi. 388.
division, a term in music,

vi. 162.
do me right, fill a bumper,

vii. 138.
do withal, v. 102.
doff, do off, put off, xi. 232.
don'd, put on, vii. 427.

GLOSSARIAL INDEX.

487

done upon the gad, sudden-
ly, x. 34.
done to death, killed, vii.

153.
door particulars, particulars
at our doors, close to us,
x. 253.
dotant, dotard, xiv. 201.
double, full of duplicity, v.
151.

potential, ix. 238.

double vouchers, a law

term, vii. 470.
dout, vii. 229.
dovvle, a feather, xv. 127.
down gyved, vii. 261.
Dowsabel, iv. 220.
drachma, a Greek coin, xii.

103.
draw, vii. 136.
drawn fox, xvi. 345.
dribbling, ix. 29.
drink, xiii. 257.
drink the air, xv. 167.
drollery, a puppet show, xv.

122.
dropping, vii. 191.
drumble, loiter, viii. 126.
dry foot, iv. 226.
due dame, vi. 398.
dudgeon, handle of a dag-
ger, xi. 96.
dugs, not a low word, xix.

78.
duke, a leader, v. 176.
dull, xvii. 183.
dullard, x. 81.
dumb'd, xii. 211.
dump, an elegy, iv. 91.

vi. 210.

dun out of the mire, vi. 46.
dun's the mouse, vi. 46.
dung, xii. 396.
VOL. XXI.

dungy earth, xii. 169.

xiv. 288.

dupp'd, did up, opened, vii.

427.
durance, xvi. 194.
dwell, continue, v. 32.

E

eager, sharp, vii. 226.
eanlings, lambs just dropt,

v. 27.
ear, to plough, x. 338.
ear kissing, x. 77.
earthlier, v. 180.
easy, slight, xiv. 201.
.... xvii. 209.
eat no fish, x. 490.
ecstacy, strong emotion, iv.

209.
effects, actions, vii. 399.
eftest, vii. 124.
egal, v. 95
eld, viii. 162.
elf locks, vi. 55.
elf skin, xvi. 280.
elves, xv. 160.
elvish marked, ix. 45.
emballing, xix. 376.
embarquements, xiv. 56.
embossed, v. 361.

swelling, x. 127.

x. 422.

embowelled, exhausted, x.

350.
with the bowels

taken out, xvi. 405.
empery, sovereignty, xii. 56.
empiricutick, xiv. 63.
emulation, envy, viii. 299.

faction, xiv. 14.

emulous, viii. 303, 312.
2 K

488

GLOSSARIAL INDEX.

enactures, what is enacted,

vii. 357.
end, an end, at the conclu-
sion, iv. 111.
endart, dart forth, vi. 41.
endless night, xv. 361.
engross, fatten, xix. 141.
engrossing, vi. 243.
enmew, ix. 104.
enormous, out of rule, x. 100.
enridged, x. 223.
enscerped, ix. 300.
ensconce, fortify, viii. 76.
enseamed, greasy, vii. 396.
enseer, dry up, xiii. 383.
enshield beauty, ix. 84.
ensteeped, ix. 300.
entertain, to retain in ser-
vice, viii. 39.
entertainment, admission of
a soldier into pay, ix. 370.

xiv. 159.

entrance of this soil,xvi. 181.
entreatments, company, vii.

224.
enviously, angrily, vii. 422.
envy, hatred, v. 108.
.... viii. 330.

Ephesian, a cant term, viii.
167.

xvii. 63.

equipage, viii. 73.

erring, wandering, vii. 189.

ix. 287.

escoted, paid, vii. 293.
Esil, vii. 480.
essential, existing, ix. 297.
esteem, x. 471.
estridges, xvi. 359.
eterne, eternal, xi. 154.
even, xii. 127.
even christian, fellow chris-
tian, vii. 463.
evils, forica, ix. 70.

examined, doubted, x. 413.
excrement, beard, iv. 401.
excrements, hair, vii. 398.
execute, employ, viii. 439.
executors, executioners,xvn.

281.
exempt, iv. 184.
exercise, a religious term,

ix. 395.
exhale, xvii. 301.
exhaust, drawforth, xiii. 376.
exhibition, allowance, iv. 30.

ix. 272.

exigent, end, xviii. 72.

exorciser, one who raised
spirits, x. 490.

xii. 168.

expect, wait, v. 494.

expedient, expeditious, x.
385.

xvi. 45.

expediently, expeditiously,
vi.416.

expiate, end, xix. 119.

expire, verb active, vi. 57.

expostulate, discuss, vii.

268.
exposture,exposure,xiv.l53.

express, reveal, xi. 379.
expulsed, expelled, xviii. 97.
exsufflicate, ix. 364.
extasy, emotion, vii. 65.
alienation of mind,

vii. 400.
extend, xii. 180.

xii. 8.

extent, a law term, vi. 416.

violence, xi. 470.

extern, external, ix. 225.
extracting, distracting, xi.

494.
extravagant, wandering, vii.

189.

ix. 233.

GLOSSARIAL INDEX.

489

extremity, calamity, xxi.

200.
eye, a small portion, xv. 74.
eyas musket, a young hawk,

viii. 118.
eyases, nestlings, vii. 290.
eyeless night, xv. 361.
eyliads, glances, viii. 40.
eyne, eyes, v. 190.
eyry, a nest of hawks, vii.

290.
eysell, vinegar, xx. 324.

face, to feign, xviii. 146.
facinorous, wicked, x. 376.
faded, vanished, vii. 189.
fadge, succeed, iv. 403.

..... xi. 384.

fadings, dances, xiv. 359.

fair, beauty, iv. 173.

.... v. 186.

vi. 69, 421.

fairy, iv. 224.
faithfully, xiii. 319.
faitors, evil doers, xvii. 83.
fall, verb active, iv. 182.

.... v. 320.

fall and cease, x. 279.
false, falsify, xii. 74.
falsing, deceiving, iv. 180.
falsehood, dishonesty, v. 29.
fancies, v. 443.
fancy, love, v. 81, 188,

227, 301.
fang, gripe, xiii. 363.
fangled, xii. 201.
fantastical, xi. 39.
fantasticoes, vi. 98.
fap, drunk, viii. 24.

farced, stuffed, tumid, xvii.

401.
farre, xiv. 378.
fashions, farcy, a disease in

horses, v. 442.
favour, countenance, vii.

475.

• ••••• 1 A • J ~I ' J •

fear, to timify, v. 510.
fear no colours, xi. 361.
fearful, xv. 67.
fearful bravery, xii. 32.
feat, xii. 10.
feature, form, iv. 47.

q ? vi. 443.

x. 203.

xii. 253.

federary, ix. 88.
fee-grief, a peculiar sorrow,

xi. 232.
feeders, xii. 329.

xiii. 306.

feere companion, xxi. 333.
fell of hair, capilitium, xi.

261.
fellow, companion, xi. 452.
one of the same rank,

xii. 121.
fence, skill in fencing, vii.

133.
feodary, ix. 88.

xii. 100.

xiv. 230.

festinately, hastily, iv. 322.
festival terms, vii. 151.
fet, fetched, xvii. 339.
fetch in, apprehend, or sub-
due, xii. 338.
.... xiii. 137.
fico, a term of contempt,

viii. 37.
fielded, in the field, xiv. 32.
fierce, vehement, iv. 461 .

2 K2

490

GLOSSARIAL INDEX.

fierce, xii. 224.

xiii. 356.

fig, xvii. 225.
fig of Spain, xvii. 364.
fights, a sea term, viii. 83.
file, to defile, xi. 142.
... to go an equal pace,

xix. 415.
filed, polished, iv. 394.
finder of madmen, xi. 454.
fine end, x. 457.

. . . artful, x. 488. .
firago, xi. 461.
fire, xix. 486.

fire new, new-coined, iv.290.
firk, xvii. 430.
firstlings, first produce, viii.

227.
fishmonger, vii. 277.
fitchew, a polecat, viii. 404.
fits, viii. 317.
fives, a disease in horses, v.

442.
five wits, vii. 11.

... X. io^«

... xi. 477.

fixure, xiv. 424.

flap dragon, to swallow like
a flap dragon, xiv. 325.

flap dragons, iv. 397.

flaw, a blast, vii. 476.

a fragment, x. 131.

Jiaws, ix. 72.

flecked, spotted, vi. 90.

fleet, float, 333.

fleeting, fickle, xix. 57.

flesh and fell, flesh and skin,
x. 259.

fleshment, confidence, x. 97.

flewed, having large chaps,
v. 298.

flickering, x. 96.

flight, vii. 8.

flote, wave, xv. 45.
foining, thrusting, vii. 134.

viii. 93.

foison, plenty, ix. 37.

xv. 80, 143.

folly, unchastity, ix. 474.
fond, foolish, v. 96, 278.
. . . . vi. 208. /

to be fond, xi. 384.

fool and death, iv.407.
fool and feather, xix. 345.
fools of Nature, vii. 235.
footcloth, xix. 127.
for, because, passim.
forage, to range abroad, xv.

343.
forbid, accursed, xi. 33.
force, to consider as a mat-
ter of consequence, iv.
431.
.... xx. 165.
.... to stuff, viii. 312.

to urge, xiv. 131.

foredo, destroy, vii. 262,

476.
forefended, forbid, x. 251.
forslow, delay, xviii. 429.
forspent, tired, xvii. 11.
forestall, deprive by antici-
pation, xii. 131.
forfeit, ix. 207.
forgot, forgetful, ix. 329.
forked one, a cuckold, iv.

255.
formal, sober, iv. 251.

XII. 'ZQ.I .

formal capacity, soundness

of mind, xi. 423.
former, foremost, xii. 137.
forspoke, xii. 297.
fortune's fool, vi. 128.
fortune's star, vii. 229.
forwearied,womout, xv.237.

GLOSSARIAL INDEX.

491

foundation, vii. 147.
fox, a sword, xvii. 426.
fractions, broken hints, xiii.

309.
frame, vii. 112.
frampold, froward, viii. 81.
frank, a sty, xviii. 63.

• • • • • -Vl-\. '.Jim

franklin,afreeholder,xii.l05.

frayed, frightened, viii. 325.

free, xi. 405.

frets, stops in musick, v.

419.
friend, a lover, vii. 36.

• . . . . . All. 0\J*

friend, to befriend, xi. 219.

frippery, an old cloaths shop,
xv. 153.

frontlet, part of female
dress, x. 59.

froth and lime, viii. 35.

frush, to break, viii. 438.

fulfill, to fill full, viii. 224.

full, complete, ix. 226.

full fortune, great success,
ix. 226.

full of bread, vii. 381.

full of quality, accomplish-
ed, viii. 374.

full of view, xii. 124.

fulsome, v. 28.

fumiter, x. 211.

funeral, baked meats, vii.

207.
furnishings, pretences, x.

136.
furred pack, a wallet of skin

with the hair outward,

xviii. 296.
fur ow, x. 211.
fustilarian, xvii. 49.

G.

gaberdine, v. 80.

• •••• •••• A.V • kJKJu

gain giving, misgiving, vii.

504.
gait, passage, vii. 193.
galliard, a kind of dance,

xvii. 285.
galliass, a ship, v. 432.
gallow, frighten, x. 141.
gaily mawfry, confused heap

of things, xiv. 373
gamester, v. 433.

........ VI. OO / .

x.485.

garboils, commotion, xii.

194.
garden house, ix. 189.
garish, gawdy, vi. 138.
gasted, frightened, x. 80.
gawd, a bauble, v. 178,

301.
gawdy, festival, xii. 325.
gazed, xii. 25.

gear,

xviii. 236.

geek, a fool, xi. 497.
gelded, in a general sense

mutilated, iv. 315.
gemel, v. 302.
gender, race, vii. 448.
general, the people, vii. 302.
general assault, such as

youth in general is liable

to, vii. 259.
generosity, high birth, xiv.
' 18.

generous, of rank, ix. 176.
gentleness, gentility, v. 243.
gentry, complaisance, vii.

265.

492

GLOSSARIAL INDEX.

german, akin, vii. 499.
germens, seeds, x. 139.
germins, seeds, xi. 198.
gest, xiv. 241.
ghosted, appear as a ghost,

xii. 253.
gib, vii. 405.
gib cat, xvi. 196.
giglot, a wanton, ix. 197.
gilder, a coin, iv. 215.
gilt, gold money, xvii. 291.
gimmal, xvii. 411.
ging, gang, yiii. 153.
gird, gibe, xiv. 21.
gis, vii. 427.
give the bucklers, to yield

the day, vii. 149.
glared, xii. 28.
glass-gazing, x. 88.
glazed, xii. 25.
gleek, a scoff, v. 253.

to scoff, vi. 211.

gleeking, scoffing, xvii. 461.
glib, castrate, xiv. 286.
glooming, gloomy, vi. 257.
gloze, expound, xvii. 367.
glozed,commented, viii.296.
glut, to swallow, xv. 23.
gnarled, knotty, ix. 64.
go to the world to be mar-
ried, vii. 48.

X. out).

go your gait, go away, x.

237.
God before, God being

guide, xvii. 272.
God dig you den, xiv. 342.
God 'ield you, vii. 425.
God 'ild you, vi. 448.
God save the mark, vi. 141.
God warn us, vi. 468.
Gongarian, viii. 36.
good leave, assent, vi. 255.

good life, xi. 398.

xv. 130.

goodman devil, xi. 479.
good master, patron, xiv.
' 420.

gospelled, xi. 145.
gossomer, vi. 120.
goujeers, x. 259.
goujere, vii. 29.
gouts, drops, xi. 96.
graceful, virtuous, xiv. 408.
gracious, graceful, lovely,
iv. 86.

vii. 111.

viii. 296.

grange, a lone house, ix. 1 16.
...... ix.229.

gratulate, ix. 208.

grave, to entomb, xiii. 381.

grave man, a man in his

grave, vi. 126.
greasily, coarsely, iv. 351.
great morning, viii. 369.

xii. 150.

Greek, xi. 469.

green eyes, vi. 178.

green sleeves, an old song,

viii. 60.
greenly, unskilfully, vii. 430.
grey eves, iv. 118.
*. ..vi. 100.

griefs, grievances, xii. 113.
grievances, griefs, iv. 107.
grise, a step, xi. 438.

xiii. 363.

grize, a step, ix. 267.
groundlings, mean part of
an audience at the theatre,
vii. 336.
growing, accruing, iv. 216.
grunt, groan, vii. 326.
guard, to fringe, vii. 25.
xv. 315.

GLOSSARIAL INDEX. 493

guard of safety, court of harryed, xii. 284.

guard and safety, ix. 331. hart of Greece, v. 378.

guerdon, reward, iv. 332. haste, post haste, ix. 242,

vii. 153. 253.

guiled, deceitful, v. 84. hatch, viii. 256.

Guinea hen, ix. 23. xxi. 149.

gules, a term in heraldry, have with you, I will go

vii. 306. with you, xix. 115.

gull, xiii. 293. having, possessions, iv. 291.

gummed velvet, xvi. 244. vi. 440.

guts, not a low word, vii. 406 viii. 1 15.

haviour, xii. 115.

haught, haughty, xvi. 134.

H. xviii. 411.

haughty, high, xvii. 75.

H. vii. 99. hay, a term in fencing, vi. 98.

haggard, a wild hawk, v. 469 hearted, ix. 288.

vii. 71. hearted throne, the heart on

hair, xvi. 356. which you were enthron-

half faced, xvi. 224 ed, ix. 389.

half kirtles, xvii. 229. hebenon, vii. 244.

halfpence, small pieces, vii. hebona, vii. 244.

65. hefts, heavings, xiv. 278.

hall ! a hall, make room, vi. hell, a dungeon, iv. 226.

61. hem, vii. 128.

halidom,holy doom, the day henchman, a page, v. 220.

of judgment, iv. 105. hend, to seize, ix. 177.

hands not hearts, ix. 396. herb of grace, rue, vii. 441.

hanged an hour, ix. 197. x. 459.

happily, accidentally, v. 494. hereby, as it may happen,
happy, accomplished, xii. iv. 305.

126. hermits, xi. 73.

hardiment, bravery, xvi. hest, command, xv. 49, 107.

216. Hey no nonny, vii. 437.

hardokes, x. 211. high fantastical, fantastical
hare-finder, vii. 18. to the height, xi. 340.

harlocks, x. 211. high lone, quite alone, vi. 36.

harlot, applied to males, iv. high tides, solemn seasons,

258. xv. 268.

harlotry, vi. 190. bight, named, iv. 290.

harness, armour, xi. 267. v. 320.

xiii. 275. Inkling, a low wretch, v. A 1 2

harrows, subdues, vii. 175 x. 416.

494

GLOSSARIAL INDEX.

Hiren, xvii. 83.

hit, agree, x. 30.

hizzing, x. 169.

ho, ho, ho, v. 284.

xii. 341.

hob, nob, xi. 459.

holla ! vi. 433.

hold, enough, xi. 66, 272.

honorificabilitudinitatibus,
iv. 397.

hook and line, xvii. 32.

hope, expect, xii. 217.

hordocks, x. 211.

horologe, a clock, ix. 324.

hot-house, bagnio, ix. 47.

house, order of families, x.
121.

hugger mugger, secretly, vii.
430.

hull, to float without guid-
ance, xix. 394.

human mortals, v. 215.

humorous, humid, vi. 74.

Humphrey Hour, xix. 180.

Hungarian, a cant term, viii.
35.

hunt counter, xvii. 30.

hunts up, vi. 163.

hurly, noise, xvii. 106

hurly burly, xi. 11.

hurtle, xii. 60.

hurtling, tumult, vi. 483.

husbandry, thrift, viii. 237.

Hyrcan, x. 171.

I. and J.

I cannot tell, xvii. 35.
Jack, a term of contempt,

vii. 18.
Jack-a-lent, a puppet thrown

at in Lent, viii. 118,
196.
Jack-guardant, a jack in

office, xiv. 202.
Jack sauce, saucy fellow,

xvii. 448.
Jack and jills, v. 458.
jade, xvii. 375.
jaded, xviii. 285.
jauncing, xvi. 167.
jaunce, jaunt, vi. 116.
jay, a strumpet, viii. 119.
. . . xii. 117.
ice brook, ix. 484.
idle, sterile, ix. 261.
jesses, a term in falconry,

ix. 371.
jest, to act a part in a jest

or masque, xvi. 29.
jet, to strut, x. 414.
Jew, a term of endearment,

iv. 331.
Jewel, an ornament gene-
rally, xi. 457.
ignomy, ignominy, viii. 447.
jig, vii. 308, 348.
. . xii. 121.
ill roasted egg, vi. 418.
illustrious, without lustre,

xii. 53.
imagined speed, with cele-
rity, like that of imagina-
tion, v. 100.
imbare, xvii. 273.
immanity, barbarity, xviii.

135.
immediacy, x. 262.
imp, iv. 296.
.... xvii. 234.
impair, unsuitable, viii. 387.
impartial, partial, ix. 187.
impawn, xvii. 266.
impawned, wagered, vii. 497.

GLOSSARIAL INDEX.

495

imponed vagard, vii. 497,

498.
impeachment, xvii. 371.
imperious, imperial, iv. 50.

vii. 474.

viii. 392.

imperseverant, xii. 144.
import, xiv. 412.
importance, importunity, xi.

498.

important, importunate, iv.
253.

Vll. OO.

impose, injunction, iv. 106.
impositions, commands, x.

455.
impossible, vii. 39, 44.
impress, vii. 178.
in blood, xiv. 14.
in compt, subject to ac-
count, xi. 74.
in his eye, in his presence,

vii. 419.
in little, in miniature, vii.

295.
in place, present, xviii.

485.
in that, because, vii. 161.
insensible, vii. 460.
incarnardine, stain red, xi.

110.
incarnate, xvii. 321.
incense, instigate, vii. 142.

viii. 44.

inclips, embraces, xii. 266.
include, iv. 136.
incony, iv. 331.
increase, produce, v. 220.
indent, sign an indenture,

xvi. 214.
indifferent, v. 462.
Indian, ix. 491.

indigest, shapeless, xviii.

540. '
indite, accuse, vii. 304.
induction, preface, xix.

169.
inductions, preparations,

xix. 11.
indued, endowed, vii. 460.
inexicrable, v. 118.
infestion, xvi. 49.
infinite, infinity, iv. 66.

informal, deranged, ix. 191.
ingraft, rooted, ix. 325.
inhabit, verb neuter, xi.

172.
inhabitable, uninhabitable,

xvi. 10.
inherit, possess, iv. 93.

to make to possess,

xvi. 11.
inhibit, forbid, xi. 172.
inhibited, x. 319.
inhibition, prohibition, vii.

288.
inhooped, xii. 242.
inkhorn mate, a book-man,

xviii. 33.
inkle, a kind of tape, xxi.

184.
inland, polite, vi. 406.
innocent, a fool, x. 169,

446.
insane root, xi. 42.
insanie, insanity, iv. 395.
insconce, fortify, iv. 178.
instance, proof, x. 427.

example, xi. 482.

instances, motives, vii. 357.
integrity, consistency, xiv.

116.
intemible, x. 348

496

GLOSSARIAL INDEX.

intend, pretend, vii. 54.

••• XIX. \.Za.

intended, understood, xvii.

153.
intendment, xvii. 274.
intention, eagerness, viii. 40.
intentively, attentively, ix.

264.
interessed, x. 12.
intergatories, interrogato-
ries, x. 445.
intrenchant, which cannot

be cut, xi. 271.
intrinse, x. 92.
invised, invisible, xx. 382.
inward, intimate, iv. 400.

ix. 128.

inwardness, intimacy, vii.

117.
John a dreams, vii. 314.
joint ring, ix. 451.
Jove's accord, viii. 270.
Jovial, resembling Jove, xii.

170.
journal, daily course, xii.

146.
irregulous, xii. 171.
isebrooks, ix. 434.
itination, recitation, xvi.

199.
Judean, ix. 491.
jump, just, vii. 177.

ix. 343.

jump, to hazard, xii. 204.

xiv. 115.

justicer, justice, x. 170.
jutty, xi. 70.

K.

keech, fat rolled up, xvii. 51.

..... XIX. OK).

keel, iv. 465.

keep close, iv. 465.

Keisar, viii. 34.

Kendal Green, xvi. 278.

kickie wickie, x. 390.

kid fox, vii". 58.

kiln hole, xiv. 364.

kind, nature, v. 27.

vi. 479.

kind, q? vii. 195.

kindle, incite, vi. 357.

kindly, natural, vii. 109.

king'd of our fears, go-
verned by our fears, xv.
244.

kinsman, akin to, iv. 249.

kirtle, xvii. 98.

knap, to break short, v. 73.

knapt, x. 117.

knave, servant, xii. 369.

knife, xi. 65.

knights of the battle, xii.
206.

knights will hack, viii. 58.

knots, figures planted in
box, xvi. 117.

L.

lackeying, following, xii.

204.
lady of the strachy, xi. 415.
languish, subst. vi. 31.

xii. 401.

land-damn, xiv. 284.
land-rakers, xvi. 238.
lane of children, xii. 74,
lantern, vi. 237.
lapwing, vii. 500.

large, not kept within
bounds, vii. 108.

GLOSSARIAL INDEX. 497

large discourse, vii. 422. liberties of sin, iv. 166.

lass lorn, xv. 139. lie, to reside, iv. 237.

latch, to catch, xi. 232. viii. 79.

latched, v. 261. lieger, ambassador, xii. 40.

late, lately, xviii. 436. lifter, a thief, viii. 243.

xx. 209. light o' love, the name of

lated, benighted, xi. 161. an old tune, iv. 23.

xii. 309. vii. 93.

latten, viii. 22. lightly, commonly, xix. 103.

launch, lance, xii. 393. likelihood, semblance, xix.

laund, lawn, xviii. 448. 123.

laundering, wetting, xx. 369. like, please, x. 95.

law of children, xii. 74. liking, condition of body,

lay by, xvi. 192. viii. 59.

leaguer, camp, x. 417. limbeck, the vessels through

leasing, lying, xi. 366. which distilled liquors

leave, to part with, iv. 111. pass into the recipient,

leavened choice, conside- xi. 37.

rate, ix. 13. limbs of Limehouse, xix.

leer, complexion, vi. 467. 439.

leets and law days, ix. 354. lime, bird-lime, iv. 90,

leg, obeisance, xvi. 290. limited, appointed, xi. 120.

legerity, lightness, xvii. 389. Lincolnshire bagpipe, xvi.

leiger, resident, ix. 102. 197.

leman, a lover, viii. 155. lines t viii. 148, 307.

lenten, sparing, vii. 286. linstock, the staff to which

l'envoy, end of a poem, iv. the match is fixed when

327. ordnance is fired, xvii.

leno, a pander, xvii. 400. 336.

let be, vii. 141. lip, to kiss, ix. 417.

lethe, death, xii. 36. Lipsbury penfold, x. 86.

letthemusick knock it, xix. list, vii. 432.

355. . . . bound, ix. 5.

let slip, a term of the chase, lither, flexible, xviii. 130.

xii. 89. living, manifest, ix. 386.

lewd, ignorant, vii. 147. loach, xvi. 232.

wicked, xvi. 12. lob, lubber, v. 201.

liberal, licentious, iv. 34. lockram, xiv. 70.

v. 43. lode stars, v. 1 86.

vii. 110, lone woman, unmarried w<>

459. man, xvii. 47.
uncontrouled, ix. Long purples, a flower, vii.

481. 469.

498

GLOSSARIAL INDEX.

longly, longingly, v. 391.
loof, to bring a ship close

to the wind, xii. 307.
looped, x. 149.
loose, too unreserved, xix.

363.
love in idleness, a flower, v.

227.
love, the queen of love, iv.

206,392.

xii. 169.

love springs, young shoots

of love, iv. 199.
lover, a friend, v. 99.

• * e • • A..11* <J *j »

lover, a mistress, vi. 455.

ix. 36.

lown, a sorry fellow, 323.

lowted, xviii. 117.

lozel, a worthless fellow, xiv.

300.
lullaby, xxi. 297.
lunes, viii. 148.

xiv. 291.

lurched, xiv. 83.

lush, xv. 73.

lust, will, pleasure, viii. 373.

lustick, lusty, x. 376.

luxurious, lascivious, vii.

107.
luxury, lust, vii. 248.

viii. 193.

lym, x. 175.

M.

mace, a sceptre, xii. 129.
mad, xviii. 148.
.... wild, ix. 447.
magot pie, magpie, xi. 176.
magnificent, boastful, iv.
343.

make all split, v. 194.
make hopes, x. 432.
makeless, without a make,

or mate, xx. 232.
make remain, remain, xiv. 37.
make ropes, x. 432.
make the doors, bar the

doors, iv. 197.

....vi.471.

male, a bag, iv. 327.

malkin, xiv. 70,

malmsey nose, red nose,

xvii. 48.
maltworms, topers, xvi. 239.
mammering, hesitating, ix.

348.
mammets, xvi. 257.
mammock, to tear, xiv. 29.
man, applied to the devil,

viii. 179.
mandragora, mandrake, a

soporifick, ix. 378.
mankind, xiv, 155, 297.
manner,mannour,a forensick

term, iv. 292.

xvi. 283.

man-queller, a murderer,

xvii. 48.
many, the multitude, xiv.

109.

xvii. 45.

marble heaven, ix. 390.
marble pavement, heavens,

xiii. 201.
march pane, biscuit, vi. 59.
margent, margin, iv. 321.
market, vii. 420.
marry trap, viii. 25.
masters, xv. 71.
mated, xi. 243.
material, full of matter, vi.

445.
material sap, x. 200.

GLOSSARIAL INDEX. 499

mates, v. 386. metaphysical, supernatural,
maugre, x. 267. xi. 60.

xi. 439. metal of India, xi. 414.

maund, a basket, xx. 370. micher, xvi. 291.

meacock, a mean wretch, miching mallicho, vii. 352.

v. 428. middle earth, viii. 191.

mealed, ix. 151. midsummer madness, xi.
mean, the tenor in musick, 451.

iv. 23, 424. milled sixpences, viii. 21.

mean, to moan, v. 333. mimick, an actor, v. 259.

means, to make means, to mind of honour, honourable

take measures, iv. 135. mind, ix. 93.

measure, a solemn dance, iv. mind's eye, vii. 208.

414. mineral, a mine, vii. 409.

vii. 35. minikin, x. 173.

meazles, lepers, xiv. 109. minim, a term in musick, vi.

medicin, physician, xi. 245. 97.

meed, reward, iv. 127. minnow, a term of contempt,

excellence, vii. 497. iv. 294.

desert, xiii. 270. minions of the moon, thieves,

xviii. 511. xvi. 192.

meiney, retinue, x. 110. minute Jacks, xiii. 351.

mell, x. 449. minutes of the night, vii.
memorize, make memorable, 1 74.

xi. 23. mirable, admirable, viii. 389.

memory, memorial, vi. 386. miscreate, illegitimate, xvii.

xiv. 166. 266.

men of hair, satyrs, xiv. miser, a wretched person,

371. xviii. 150.

mercatante, a merchant, v. misery, avarice, xiv. 36.

474. misprised, mistaken, v. 263.

mercantant, a merchant, v. missingly, at intervals, xiv.

474. 332.

merchant, a low fellow, vi. missives, messengers, xi. 59.

108. mistake, vii. 361.

mere, complete, vi. 147. mistempered, angry, vi. 13.

viii. 263. mistress, the jack at bowls,

mered, xii. 319. viii. 326.

merely, entirely, vii. 203. mobled, vii. 309.

merit, a reward, xvi. 33. mock, ix. 359.

mermaid, a syren, iv. 205. mock-water, viii. 96.

Merops' son, iv. 74. model, copy, vii. 491.

merry Greeks, viii. 243, 374. modern, vi. 145, 409.

500

GLOSSARIAL INDEX.

modern, ix. 259.

xi. 230.

modesty, moderation, v. 366.
module, x. 440.

xv. 373.

moe, make mouths, xv. 93.
moiety, a portion, x. 5.
moist star, the moon, vii.

184.
mome, a fool, iv. 192.
momentany, momentary, v.

184.
monsters, x. 23.
month's mind, iv. 26.
mood, anger, iv. 97.
moon-calf, xv. 100.
moon-like, inconstant, iv.

376.
moonish, inconstant, vi . 44 1 .
mope, to exhibit marks of

stupidity, vii. 395.
mopping andmowing,x. 194.
mops and moes, xv. 129.
moral, secret purpose, v.

495.

vii. 100.

meaning, viii. 376.

more, greater, xv. 223.
more and less, greater and

less, xi. 261.
morris pike, iv. 232.
mort o' the deer, a lesson

played on the horn at the

death of the deer, xiv. 247.
mortal, deadly, vi. 393.
mortal coil, viii. 323.
mortified man, an ascetic,

xi. 244.
mot, motto, xx. 153.
mother, hysterica passio, x.

112.
motion, a puppet, or pup-
pet-show, iv. 36.

motion, ix. 246.

motive, motion, viii. 283.

instrument, xvi. 17.

mountain, a great deal, vii.

50.
mouse,a term of endearment,

iv. 404.

vii. 603.

mouse hunt, vi. 201.
mousing, xv. 243.
much, vi. 476.

xiii. 280.

xvii. 80.

muck water, viii. 96.
muffler, a dress for the face,

viii. 151, 157.

xvii. 361.

muliters, muliteers, xii. 300.
mulled, softened, xiv. 174.
multitudinous, xi. 110.
murdering piece, vii. 431.
murky, dark, xi. 241.
muse, to wonder, x. 398.
muss, a scramble, xii. 326.
musits, xx. 52.
mutine, to mutiny, vii. 395.
mutines, mutineers, vii. 485.

xv. 246.

mutton, lost, iv.'15.

laced, iv. 15.

ix. 130.

mysteries, ix. 344.

N.

napkin,handkerchief,vi .48 1 .

ix. 374.

native, adv. naturally, iv.

303.
naughty, unfit, x. 158.
nayword, a bye-word, xi.

399.

GL0SSAR1AL INDEX.

501

neat, xiv. 248.

neb, mouth, xiv. 255.

neeld, needle, v. 271.

neglection, neglect, viii . 264 .

neif, fist, v. 289.

.... xvii. 88.

nephew, a grandson, ix. 230.

nether stocks, stockings, x.

108.
newt, an eft, v. 236.
nice, trifling, vi. 130, 229.
nick, reckoning, iv. 102.
night rule, v. 257.
nill, ne will, will not, v. 425.
nine men's morris, v. 213.
nobility, vii. 199.
noble, a coin, xviii. 151.
noddy, a fool, iv. 16.
nonce, xvi. 205.
non com, nonplus, vii. 105.
nook-shotten, xvii. 354.
nott pated, with the hair cut

short, xvi. 263.
novum, a game at dice, iv.

440.
nourish, nurse, xviii. 11.
nousle, xxi. 50.
nowl, a head, v. 259.
nut-hook, xvii. 227.

O.

O, a circle, v. 270.

. . xvii. 254.

Os, pockmarks, iv. 406.

objects, xii. 109.

obsequious, careful of obse-
quies, xvii. 198.

viii. 439.

observation, celebration, v.
292.

* I have omitted to point out this

obstacle, obstinate, xviii.

150.
occupation,mechanicks,xiv.

182.
occurrents, occurrences, vii.

516.
od's pitikins, xii. 170.
Oeliads, x. 215.
o'ercrow, overcome, vii. 515.
o'erlooked, fascinated, v. 79.

• • *'••••••■ V 1 1 I • J. • ' — •

o'er raught, overlook, vii.

319.
o'erwrested, viii. 265.
of all loves, by all means,

v. 243.

• •••••••••a VIII. OaU»

officers of night, ix. 236.
offices, rooms of entertain-
ment, ix. 318.
xiii. 305.

• • • • ■ • A > 1 . -— ■ ^- •

offcapp'd, ix. 217.

oh, oh, xv. 55.

old, an augmentative, v.

133, 441.
. . . vii. 152.
. . . xvii. 71.
old utis, xvii 71.
old age, ages past, xi. 405.
old ends, vii. 25.
old lad of the castle, xvi. 193.
old tale, vii. 20, 163.
omen, vii. 185.
once, once for all, iv. 197.
.... vii. 27.
.... xiv. 89.

.... at some time, viii. 137.
.... xii. 125.
.... xiv. 89.
oneyers, xvi. 239.
opal, xi. 407.

explanation in the latter instance.

502

GLOSSARIAL INDEX.

open, ix;. 49.

operant, active, vii. 356.
opinion, obstinacy, iv. 393.
opposite, antagonist, ix. 129.

hostile, xi. 425.

opposition, combat, xii. 145.
oppression, xii. 352.
or, e'er, xii. 79.
. . xv. 27.

or ever, before, vii. 208.
orbs, fairy circles, v. 200.
orchard, a garden, vii. 55.
ordinance, rank, xiv. 128.
orgulous, proud, viii. 223.
osprey, xiv. 187.
ostent, outward show, v. 48.
ostentation, appearance, vii.

116.
overcome, come over, xi.

175.
overscutched, xvii. 138.
overture, xiv. 51.
Ouph, a fairy, viii. 163.
ousel cock, v. 251.
out, interj. iv. 65.
. . . completely, xiv. 169.
. . . xv. 28.
out of suits, vi. 270.
outward, not intimate, x.400.
owe, to possess, iv. 193,

303.

v. 240.

.... xv. 238.
owches, xvii. 74.

pack, combine, vii. 144.
packing, underhand contriv-
ances, x. 135.
paddock, a toad, xi. 13.
pagan, ix. 249.
xvii. 64.

pain, punishment, ix. 85.

paiock, vii. 366.

paicocke, vii. 366.

pajocke, vii. 366.

pale, incircle, xviii. 396.

pale, paleness, xx. 46.

pall, to fail, vii. 486.

palmy, vii. 182.

palter, to deceive, viii. 313.

..... XI. Aj I ~ •

paly, pale, vi. 187.
pang, to afflict, xix. 374.
pantaloon, vi. 410.
paper epitaph, xvii. 282.
papers, verb, xix. 317.
parcel, part, viii. 28.
parcell gilt, partly gilt, xvii.

51.
parcell, verb, xii. 411.
pardonnez moy's, vi. 99.
parle, conference, vii. 176.
parlous, perilous, v. 245.

shrewd, xix. 91.

partake, participate, xiv.

427.
partaker, accomplice, xviii.

66.
parted, endowed, viii. 346.
partial slander, reproach of

partiality, xvi. 38.
particular, private, ix. 173.
Partlet, xiv. 298.
pash, to strike, viii. 310.
.... a head, xiv. 249.
pass, to go beyond bounds,

viii. 153, 245.
.... to die, x. 221.
pass on, decide, ix. 42.
passes, ix. 199.
passion, to feel acutely, iv.

116.
passionate, sorrowful, xv.

256.

GLOSS ARIAL INDEX.

503

passionate, to lament, xxi.

312.
passy measure, xi.492.
pastry, room where pastry

was made, vi. 200.
patch, iv. 192.

v. 258.

patches, v. 258.
path, to walk, xii. 42.
pathetical, promise-breaker,

vi. 473.
patient, to make patient,

xxi. 268.
patines, v. 138.
pattern, instance, xix. 21.
pavan, xi. 492.
paucas pallabris, v. 358.
pay, to beat, iv. 237.
. . . .viii. 170.
pax, xvii. 362.
peacock, vii. 366.
pearl, ornament, xi. 274.
peat, pet, or darling, v. 337.
peculiar, private, ix. 19.
pedant, a schoolmaster, v.

474.
peer, ix. 323.
peevish, foolish, iv. 124,219,

242.
peize, to weigh, v. 79.
pelting, paltry, v. 212.

viii. 398.

x. 105.

pennons, flags, xvii. 357.
penthouse lid, xi. 33.
perdu, x. 244.
perdurable, lasting, xvii.

433.
perdurably, lastingly, ix.108.
perdy, pardieu, ]r. iv. 240.
perfect,well informed, xi. 2 14.

• ••••• Xll . \J / •

xiv. 331.

VOL. XXI.

periapts, charms, Kviii. 138.

period, to end, xiii. 259.

perjure, iv. 366.

periwig, iv. 117.

person, parson, persona ec-

clesiae, iv. 358.
perspective, xi. 495.
pestilence, poison, ix. 339.
pew fellow, comrade, xix.

173.
phantasma, xii. 42.
pheere, companion, xxi. 14.
pheezar, viii. 34.
pheeze, v. 357.

viii. 310.

Philip, xv. 217.
phill-horse, shaft-horse, v.

43.
phisnomy, physiognomy, x.

461.
pia mater, iv. 357.

viii. 285.

pick, pitch, xiv. 14.

pick axes, fingers, xii. 175.

picked, iv.394.

• • • • • • \ 1 I . " i / — .

• ••« •■ AV« ^Jti

pickers and stealers, hands,

vii. 369.
picking, petty, xvii. 157.
Pickt hatch, viii. 76.
pick thanks, parasites, xvi.

324.
piece of him, vii. 173.
pied ninny, a fool, xv. 116.
pieled priest, xviii. 31.
pierced, penetrated, ix. 266.
pi&ht, pitched, viii. 4\.>.
pilche, a Leathern coat, wi.

61.
pilcher, a cloak, vi. [26,
pil'desteemedf win. 37.
pilled, pillaged, xix. 42.

2 F.

504

GLOSSARIAL INDEX.

pillicock, x. 154.

pin, a term in archery, vi.96.

pin and web, a cataract, x.

159.
pinched thing, xiv. 278.
pink eyne, xii. 270.
pioned, xv. 136.
pious chansons, vii. 299.
pipe wine, viii. 116.
piss tallow, viii. 183.
pissing while, iv. 108.
pitch and pay, xvii. 323.
pith and marrow, vii. 228.
pitiful-hearted, xvi. 268.
pit tie ward, viii. 100.
pix, xvii. 363.
place, a mansion, vi. 387.
placket, x. 156.
plagued, punished, xix.,43.

plain song, v. 253.

planched, made of planks,
ix. 140

plantage, viii. 335.

plantain leaf, vi. 31.

plants, feet, xii. 261.

plates, xii. 406.

plausive, applauded, vii.228.

plot, a piece of ground, vii.
421.

plurisy, plethory, vii. 453.

point,anegative,iv.316,419.

point-device, vi. 440.

. xi. 426.

point devise, finical, iv. 395.

poize, weight, ix. 349.

Polacks, Poles, vii. 177.

poleaxe, vii. 177.

polled, cleaned, xiv. 173.

pomewater, a kind of apple,
iv. 353.

pons chansons, vii. 299.

poor fool, a term of endear-
ment, x. 283.

. . . xviii. 433.

poor fool, xx. 45.
Poprin peer, vi. 74.
popinjay, xvi. 211.
porpentine, porcupine, iv.

2, 14.
porringer, a cup, v. 484.
port, external appearance,
v. 15, 392.

a gate, viii. 377.

portable, bearable, xi. 224.
portance, carriage, behavi-
our, ix. 260.

xiv. 102.

ports, gates, xiv. 45.
possess, inform, vii. 144.
viii. 377.

...... IX. 1t:I.

potatoes, viii. 409.
potch, strike, xiv. 55.
poulter, poulterer, xvi. 294.
pouncet box, xvi. 210.
practice, vii. 456.
practise, insidious strata-
gems, ix. 184.
prank, adorn, xi. 408.

xiv. 106.

precedent, rough draft, xv.

345.
precept, a justice's warrant,

xvii. 201.
precisian, a puritan, viii.

54.
prefer, offer, v. 308.

vii. 458.

recommend, xii. 154.

pregnant, ready, viii. 343.

prescribe, prescrips, com-
mands, what is prescribed,
vii. 274.

presence, a publick room,

vi. 237.
the presence cham-
ber, xix. 399.

GLOSSARIAL INDEX.

505

presence, dignity of appear-
ance, xv. 207.

present, present time, xi.
67.

prest, ready, v. 17.
pretence, design, iv. 69.

• •■• • • • • A • O / •

pretend, intend, passim.
pretended, intended, iv. 62.
prevent, anticipate, xvii. 39.
prick in, insert, v. 444.
prick'd on, instigated, vii.

179.
pride, the haughty power,

xviii. 90.
prig, xiv. 342.
prima mater, iv. 357.
primero, a game at cards,

viii. 170.
principality, iv. 51.
principals, the strongest

rafters in the roof of a

building, xxi. 144.
princox, vi. 65.
print, in, with exactness, iv.

39.
private, subst. private ac-
count, xv. 331.
probal, probable, ix. 337.
proceed, iv. 283.
prodigious, portentous, v.

339.
producted, produced, ix.233.
proface, xvii. 216.
profane, licentious, ix. 230.
prognostication, almanack,

xiv. 397.
project, verb, xii. 408.
projection, xvii. 328.
prolixious, delaying, ix. 92.
prone, ix. 26.
forward, xii. 205.

propagate, advance, xiii.

257.
propagation, ix. 24.
proper, good looking, iv. 94.
v 21

• ••••9 V • *W A •

vii. 67.

proper-false, xi. 382.
properties, a stage term, v.

198.
property, to make a property

of, xi. 477.
propose, to converse, vii. 70.

conservative, vii. 70.

prorogue, delay, vi. 32.
protest, vi. 110.
provand, provender, xiv. 74.
provant, vi. 71.
provincial, ix. 195.
provincial roses, vii. 363.
provost, a gaoler, ix. 41.
provulgate, make known, ix.

239.
prune, xvi. 189.
pugging, xiv. 334.
pun, to pound, viii. 283.
purchase, stolen goods, xvi.

243.
purl, to curl, xx. 186.
push, vii. 131.
pussel, pucelle, xviii. 42.
put on, instigate, vii. 518.

putting down, viii. 56.
puttock, xii. 17.
pyramides, xii. 403.
pyramises, xii. 264.

Q.

quail, to be defeated, vi.

385.
xii. 212.

2 l 2

506

GLOSS ARIAL INDEX.

quail, subst. viii. 403.
quaintly, skilfully, iv. 72.
quake, terrify, xiv. 48.
qualify, to moderate, ix. 151 .
quality, profession, iv. 98.

vii. 293.

yiii. 186.

quarry, game that has been
killed, vii. 517.

...... X. Zoo*

xiv. 17.

quart d'ecu, a coin, x.452.

quarter, ix. 328.

quartered, fives, xii. 180.

quat, ix. 453.

queasy, squeamish, vii. 52.

quell, kill, v. 329.

.... murder, ii. 87.

quern, a hand-mill, v. 202.

quest of love, amorous ex-
pedition^. 21.

quests, ix. 143, 243.

question, conversation, v.
115.

VI. Zo.

theme, vii. 181,

questionable, vii. 233.
questrist, one who goes in

quest of another, x. 182.
quick, lively, iv. 288.

xii. 415.

quick winds, xii. 182.
quicken, animate, v. 385.
quiddits, subtilties,vii. 469.
quietus, discharge, vii. 325.
quillets, subtilties, vii. 469.
quintain, vi. 370.
quire, to play or sing in
concert with, v. 138.

.... xiv. 138.

quit, requite, vii. 492.

. . . . ix. 206.
quittance, return, xvii. 16.

quiver, nimble, xvii. 135.
quote, to observe, iv. 45.

vi. 45.

vii. 262.

R.

It, dog's letter, vi. 1 13.
rabato, a ruff, vii. 95.
rack, exaggerate, vii. 117.

.... subst. xii. 369.

.... xv. 147.

a • • • -\ A. • ^— ■*-) i •

ragged, rugged, vi. 396.

xvii. 18.

ragged end, forestall'd, re-
mission, xvii. 207.
rake up, cover up, x. 240.
rampallian, xvii. 49.
ranged, xii. 168.
rank, vi. 495.
.... xii. 83.
rank garb, ix. 316.
rank time, vi. 495.
rapture, a fit, xiv. 69.
rascal, a lean deer, vi. 447.

xvii. 73.

rased shoes, vii. 363.
rash, hasty, viii. 366.
rash, verb, to strike, x. 185.
ravin, devour, ix. 22.

.... ravenous, x. 407.

ravin'd, ravenous, xi. 194.

raught, reached, iv. 355.

raw, ignorant, vi. 420.

. . . vii. 495.

rawly, hastily, xvii. 395.

rawness, without prepara-
tion, xi. 221.

rayed, v. 456.

razes of ginger, xvi. 234.

read, counsel, vii. 217.

reason, discourse, iv. 393.

reasoned, conversed, v. 65.

GLOSSARIAL INDEX.

507

reasoning, conversing, iv.

38.
rebeck, a fiddle, vi. 213.
receive, understand, xi. 381.
receiving, ready apprehen-
sion, xi. 437.
recheate, vii. 21.
reck, to care for, iv. 107.
reckless, careless, iv. 124.
recollected, xi. 402.
record, to sing, iv. 126.
recorded, xi. 263.
recorder, v. 317.

vii. 369.

recover the wind, vii. 370.
recourse of tears, tears

coursing one another, viii.

424.
recure, recover, xix. 145.
red plague, erisipelas, xv.

571.
reduce, bring back, xix. 241.
reechy, smoky, vii. 92, 403.

xiv. 70.

refelled, refuted, ix. 182.
regiment, government, xii.

296.
regreet, salutation, xv. 279.
regreets, reward, v. 72.
reguerdon, xviii. 86.
relapse, xvii. 422.
relume, relight, ix. 465.
rein mine, ix. 465.
remorse, pity, v. 108.

vi. 370.

remorseful, feeling pity, iv.

106.
remotion, xiii. 395.
removed, remote, vii. 236.
render, describe, vi. 483.

an account, xii. 180.

reneg, deny, x. 93.
xii. 165.

rent, rend, xi. 230.
repeal, recall, ix. 339.
repugn, resist, xviii. 108.
rere-mouse, a bat, v. 237.
reserve, preserve, xx. 256.
resolve, dissolve, vii. 202.

xv. 357.

respect, consideration, vii.

323.

viii. 291.

respective, repected, iv. 119.
considerate, vi.

128.
resty, mouldy, xii. 138.
retail, recount, xix. 189.
retire, draw back, xvi. 72.
reverbs, reverberates, x. 17.
revolt of mein, viii. 44.
revolts, rebels, xii. 180.
rheumatick, splenetick, x\ ii.

75.
rib, to inclose, v. 61.
riched, enriched, x. 10.
rid, destroy, xv. 576.
riddles, book of, viii. 26.
ride the mare, xvii. 50.
rift, rive, split, xiv. 403.
riggish, wanton, xii. 237.
rigol, a circle, xvii. 186.
rim, xvii. 427.
ripe, v. 241.
ripe wants, v. 26.
rivage, bank, xvii. 335.
rivality, equal rank, xii. 289.
rivals, associates, vii. 172.
RivOj xvi. 268.
romage, vii. 1«S().
ronyon, scabbed, viii. 156.

rood, the cross, xvii. 114.
Took, to squat down, xviii.

539.
rooky, xi. 159.

508

GLOSSARIAL INDEX.

rooting hog, xix. 45.
rope tricks, roguery, v. 401.
ropery, roguery, vi. 108.
rose, vii. 388.
rough hew, vii. 487.
round, free in speech or ac-
tion, iv. 172.

vii. 272.

to whisper, xiv. 257.

without reserve, vii.

383.
rounded, whispered, xv.257.
roundel, a dance, or a song,

v. 234.
roundure, circle, xv. 238.
rouse, vii. 201.
.... ix. o~ i •
royal, a coin, xvi. 282.
royal faith, faith due to a

king, xvii. 156.
royal merchant, v. 109.
royalize, make royal, xix.

40.
royalty, excellence, xi. 140.
roynish, scabby, vi. 385.
ruddock, red-breast, xii. 164.
ruff, a boot-top, x. 401.
ruffle, v. 482.
.... xxi. 277.
running banquet, a hasty
banquet, xix. 342.

S.

sables, suit of, vii. 348.

sacred, accursed, xxi. 291.

sacrificial whisperings, xiii.
257.

sacring bell, bell that gives
notice of the Host ap-
proaching, xix. 423.

sad, serious, iv. 27.

sad and civil, solemn and

grave, xi. 448.
sadness, seriousness, vi. 216.
safe, be secure, xii. 194.
sag, swag, xi. 247.
said I well, viii. 34.
Saint George to boot, xix.

232.
Saint Nicholas, patron of

scholars, iv. 81.
sallet, vii. 303.
.... xviii. 330.
sal tiers, xiv. 373.
Samingo, xvii. 221.

xxi. 467.

sans, without, iv. 430.
savage, uncultivated, xvii.

353.
savageness, wildness, vii.

259.
save reverence, vi. 48.
say, xviii. 313.
'say, sample, x. 269.
scald, scabbed, xii. 415.
scale, ix. 115.
.... xiv. 9.

scaling, weighing, xiv. 104.
scall, a scab, viii. 111.
scamble, scramble, xv. 339.
scambling, scrambling, vii.

134.
scamble, to divide into small

portions, xvi. 309.
scamels, xv. 103.
'scape of nature, an abortion,

xv. 305.
scare, viii. 176.
scarre, x. 433.
scath, to do an injury, vi. 65.
scathful, destructive, xi. 486.
scattered, disunited, x. 136.
sconce, a head, iv. 164.
vii. 469.

GLOSSARIAL INDEX.

509

scotch, to cut, xi. 152.
scrimers, fencers, vii. 452.
scroyles, scabby fellows, xv.

246.
scrubbed, v. 147.
sculls, shoals, viii. 432.
sea-mells, xv. 103.
seam, fat, viii. 309.
sear, burn, xi. 204.
sear up, xii. 14.
season, vii. 113,209, 220.
seasoned, established and
settled by time, xiv. 145.
sect, a cutting, ix. 284.
securely, confidently, viii.

385.
seel, to close up, ix. 367.
.. . . xi. 158.
seeming, specious, viii.

113.
seen, well seen, practised,

v. 403.
seld-shown, seldom shown,

xiv. 71.
seldom, rare, xx. 273.
self, self-same, x. 210.
... xi. 344.
self covered, x. 202.
self figured knot, xii. 76.
semblably, resembling,

xvi. 394.
sennet, xii. 11.

xix. 381.

sense, sensual desires, ix.

66, 70.
sensible, having sensation,

xiv. 35.
septentrion, the north, xviii.

398.
sequestration, ix. 285.
sere dry, withered, iv. 222.

xi. 250.

sergeant, xi. 15.

serpigo, a kind of tetter,
viii. 303.

• ••••• IA.« i/O*

servant, a lady's lover, iv.

36.
sessey, x. 156.
set, vii. 417.
set by, to value, iv. 22.
set cock-a-hoop, vi. 64.
set down, ix. 309.
set up rest, iv. 232.

vi. 263.

several, iv. 318.
severals and hidden pas-
sages, xvii. 264.
sewer, xi. 74.
shaft or bolt, two kinds of

arrows, viii. 132.
shag eared, xi. 215.
shag haired, xviii. 250.
shapeless, iv. 10, n. 5.
shapes our ends, vii. 486.
shard borne, xi. 155.
sharded, xiii. 107.
shards, potsherds, vii. 476.
shark up, vii. 180.
sheen, bright, v. 202.
sheep, pronounced like ship,

iv. 14, 220.
sheer ale, v. 375.
sheer, transparent, xvi. 155.
shent, vii. 374.

rebuked, viii. 304.

xiv. 203.

shog off, xvii. 300.
short, defective, vi. 192.
shoughs, a kind of dogs, xi.

146.
shoulder clapper, a bailiff,

iv. 225.
shoulder of the sail, vii.

217.
shouldered, xix. 143.

510

GLOSSARIAL INDEX.

shrew, applied to males, v.

461.
shrewd, bitter, v. 401.
shrift, confession, vi. 191.
shrive, to call a person to

confession, iv. 188.
shrup'd, viii. 393.
shut up, xi. 91.
side, x. 255.
side sleeves, vii. 96.
siege, place, or rank, vii.

451.
, • a . ix« zoy»
.... seat, ix. 152.
sigh away Sundays, vii. 19.
sightless, invisible, xi. 64.

unsightly, xv. 262.

sights of steel, the perfo-
rated part of their helmets
through which they could
see, xvii. 152.
signior, senior, iv. 297.
silly, simple, x. 95.
silly cheat, a cant term for

thieving, xiv. 337.
silver sound, vi. 213.
sincere motions, honest in-
dignation, ix. 323.
single, xvii. 35.
single-soled, vi. 103.
single state, xi. 49.
sirrah, sometimes not a
term of contempt, xvi.
205.
Sir-reverence, save rever-
ence, salva reverentia, iv.
208.

. .......... VI. t:».

sisters, verb, xxi. 1 84.
sith, since, xviii.371.
sixpenny strikers, xvi. 238.
sizes, allowance, x. 123.
skain's mate, vi. 109.

skill-less, viii. 230.

skills, is of importance,

xviii. 245.
skimble scamble, xvi. 313.
skipping, frolicksome, xi.

370.
skirr, xi. 254.

xvii. 440.

slack, to neglect, viii. 138.
slave, to make subject, x.

195.
sleave, xi. 106.
sleided silk, untwisted silk,

xxi. 132.
slip, a counterfeit, vi. 101.
sliver, tear off, x. 199.
slops, large breeches, iv.

367.
.... vi. 101.
slough, the skin which a

serpent throws off, xvii.

389.
slow, to retard, vi. 181.
slower, graver, xix. 25.
slubber, to obscure, ix.271.
sluggabed, sluggard, vi.

204.
sly-slow hours, xvi. 33.
smaller, shorter, vi. 372.
smirch, to soil, vi. 378.

vii. 92, 112.

smooth, to sooth, x. 93.
snake, a term of contempt,

vi. 479.
sneap, to check or rebuke,

xvii. 53.
sneaping, checking, iv. 284.

nipping, xiv. 240.

sneck up, xi. 396.
snipe, a fool, ix. 289.
snuff, anger, iv. 404.
snuffs, dislikes, x. 135.
soldier to, xii. 127.

GLOSSARIAL INDEX.

511

solemn supper, xi. 136.
soliciting, xi.48.
solidares, xiii. 313.
sometimes, formerly, v. 17.

soope,

vn

465.

sooth, truth, xi. 405.

sweetness, xvi. 111.

sop o' the moonshine, x. 88.
sorrow wag, vii. 128.
sort, a company, v. 260.

. . a lot, viii. 279.

. . and suit, ix. 171.

. . degree, v. 269.

. .to choose out, iv. 93.

. . to succeed, v. 481.

. . to suit, vii. 181.

. . viii. 235.
sorry, dismal, iv. 251.

xi. 105.

sovereignty of reason, sove-
reign, reason, vii. 236.
souced gurnet, xvi. 366.
soud, v. 465.
soul fearing, soul appalling,

xv. 247.
soul of great article, soul

of large comprehension,

vii. 496.
sound, declare, xv. 319.
sowle, drag by the ears, xiv.

172.
sowter, xi. 423.
spanieled, followed like a

spaniel, xii. 362.
spare, to let go a thing, xiv.

308.
Spartan hounds, v. 298.
speak fewer, speak less, xvii.

391.
speak parrot, talk idly, ix.

335.
special soul, ix. 9.
speculation, viii. 347.

speculative instruments,
eyes, ix. 280.

sperre, shut up, viii. 224.

spirit of sense, viii. 233.

spleen, haste, v. 184.

sprag, alert, viii. 147.

sprighted, haunted, xii. 78.

springs, young snoots or
buds, iv. 199.

spurring, xiii. 379.

spurs, fibres or roots of
trees, xiii. 149.

spy of the time, xi.
148.

square of sense, x. 11.

square, to quarrel, v. 202.

squarer, a quarrelsome fel-
low, vii. 14.

squash, an immature peas-
cod, v. 256.

• •••••• XI. ._ ' )' i.

squiny, squint, x. 229.
squire, a rule to measure

with, iv. 435.
squire of the night's body,

xvi. 190.
staff tipped with horn, vii.

161.
staggers, x. 384.
Btam, \. 316.
stale, a stalking horse, iv.

174.
stale, a term at chess, v.

386.
stalk on, vii. 6' 1 .
stands upon, is important,

xii. 219.

stannyel, xi. 422.
stark, still', xii. 162.
starkly, stiffly, ix. 150.
state, viii. 306,
xi. 164, 416.

512

GLOSSARIAL INDEX.

state, xii. 117.
.... xvii. 213.
state of law, xvi. 57.
station, attitude, vii. 392.
statist, statesman, vii. 489.

xii. 80.

statua, xii. 65.

xix. 139.

statue, a picture, iv. 119.
statute caps, iv 420.
statutes, securities, vii. 470.
staves, wood of the lances,

xix. 212.
stay, xv. 250.
sternage, xvii. 235,
stewed prunes, xvi. 345.
sticking place, xi. 84.
stickler, viii. 442.
stigmatical, stigmatised, iv.

223.
stigmatick, a person brand-
ed, xviii. 348.
stint, to stop, v. a. viii.
387.

.... to stop, v. n. vi. 36.
stithy, a smith's shop, vii.

344.
stoccata, a thrust, vi. 124.
stomach, passion or obsti-
nacy, iv. 22.

resolution, vii. 180.

pride, xix. 44.

stone bow, xi. 417.

stoup, a flaggon, vii. 465,
508.

strain, a fault, viii. 61.

.... to embrace, xix. 438.

strange, coy, vi. 83.

q? xii. 49.

a stranger, xii. 58.

strangle, suppress, xi. 490.

stratagem, dreadful event,
xvii. 10.

stratagem, xviii. 435.
straying shapes, iv. 455.
stricture, strictness, ix. 29.
strides, xi. 98.
strike the vessels, tap the

vessels, xii. 269.
strumpeted, iv. 183.
stuck, a thrust, vii. 458.
.... xi. 461.
stuff, baggage, iv. 244.
stuff of the conscience, ix.

237.
stuffed, vii. 10.
stuffed sufficiency, abilities

more than enough, xiv.

289.
subscribe, agree to, ix. 86.
yield, viii. 388.

........ X. Oil

success, consequence either
good or evil, ix. 368.

successantly, xxi. 354.

successive title, title to the
succession, xxi. 263.

sudden, violent, vi. 409.

suggest, to tempt, iv. 60.

suggestion, temptation, x.
411.

XI. rtO.

suitor, pronounced like
shooter, iv. 348.

summer seeming, xi. 223.

summer swelling, which
swells in summer, iv. 52.

sumpter, a horse that car-
ries provisions, x. 127.

sun breeding maggots in a
dead dog, vii. 278.

suppliance, vii. 215.

supplied, ix. 412.

surcease, an end, xi. 76.

sur-reined, xvii. 354.

suspect, suspicion, xx. 288.

GLOSSARIAL INDEX.

513

sustaining, xv. 44.

swaid, bent, v. 443.

swart, black, iv. 209.

swashing, swaggering, vi.
378.

swashing blow, vi. 11.

swaying, inclining, xvii.
263.

sweet, subst. iv. 427.

sweet mouth, iv. 83.

sweeting, a term of fond-
ness, ix. 334.

swift, ready, vii. 76.

sworn brother, vii. 12.

sworn rioter, xiii. 343.

T.

table, the palm of the hand,

v.45.
.... a picture, x. 315.
table of green Jields, xvii.

320.
tables, memorandum books,

vii. 249.
tabourines, small drums,

viii. 398.
tailor cries, v. 208.
taint, x. 23.
take in, overcome, xii. 99,

299.
take order, to take mea-
sures, iv. 253.
take out, copy, ix. 375.
take the earth, xvi. 124.
take the hatch, leap the

hatch, xv. 252.
take thought, grieve, xii.

318.
take up, contradict, x. 387.
takes, affects magically, vii.

190.
blasts, viii. 162.

talent, a talon, iv. 357.

tall, viii. 47, 70.

tall fellow of his hands, xiv.

419.
tallow keech, xvi. 279.
tame cheater, xvii. 77.
tang, xi. 451.
tarre, incite, vii. 294.
.... viii. 280.
.... xv. 313.
Tartar's bow, vi. 43.
tassel gentle, the male of

the goshawk, vi. 87.
taste your legs, xi. 434.
taxation, censure, vi. 361.
tear a cat, to bluster, v. 194.
teen, sorrow, vi. 35.
.... xv. 30.
temnest, most contemned, x.

98.
temper, verb, xviii. 499.

to mould, xix. 13.

temperance, temperature,xv.

73.
temporary meddler, ix. 187.
tenable, held, vii. 213.
tend, i' the eyes, xii. 235.
tender, dear, iv. 127.
tender, verb, vii. 222.
tender-hefted, x. 123.
tender-hested, x. 123.
ten fingers, xviii. 191.
tent, dwell as in a tent, xiv.

139.
tent, search, vii. 317.
tercel, the male hawk, viii.

327.
testern'd, getting sixpence,

iv. 18, n. 4.
Theban, x. 164.
theorick, theory, ix. 220.
thewes, vii. 215.
xvii. 129.

514 GLOSSARIAL INDEX.

thick as tale, xi. 43. tide, pun on tide and tied,
thick pleached, thickly in- iv. 43.

terwoven, vii. 28. tidy, xvii. 92.

thick, quick, xii. 103. tight, adroit, xii. 345.

thieves of the day's beauty, tightly, adroitly, viii. 41.

xvi. 191. tilly vally, xi. 394.

thill horse, v. 43. tilth, tillage, ix. 37.

thing of nothing, vii. 413. time of scorn, ix. 433.

thin helm, x. 244. time, the present times, vii.
think and die, xii. 317. 323.

thirdborough, a constable, timely parted, xviii. 263.

v. 360. tinct, tincture, x. 478.

thought, melancholy, vi. tire, a term in falconry, xiii.

474. ' 347.

vii. 443. tired, dressed, iv. 362.

thou'sthim, xi. 442. tiring, dressing, iv. 181.

thrasonical, iv. 394. tirra-lirra, the song of the
thread, to pass through, x. lark, xiv. 335.

84. toasting iron, xv. 337.

xiv. 112. tods, amounts to a tod of

thread of mine own life, xv. wool, xiv. 338.

133. toged, ix. 222.

three hooped pots, xvm. toll, x. 480.

297. tolling, taking toll, xvii.
three - nooked, three -cor- 188.

nered, xii. 349. tomboys, xii. 54.

three pile, rich velvet, xiv. tongued, wordy, ix. 222.

335. topple, tumble, x. 218.

three souls, xi. 390. totter d, xv. 359.

throstle, v. 20. touch, exploit, v. 263.

thrumbed hat, viii. 151. feeling, v. 390.

thrum, end of a weaver's viii. 368.

warp, v. 328. xii. 16.

thunder stone, thunderbolt, touchstone, xiii. 397.

xii. 168. toward, xiii. 349.

thwarting, crossing, xxi. towards, ready, vi. 68.

166. toys, vii. 237, 424.

tickle brain, xvi. 291. toze, xiv. 394.

tickle, ticklish, xviii. 177. trace, follow, xi. 209.
tickle your catastrophe, .... xix. 408.

xvii. 49. trade, dealing, vii. 368.

tickled in the sere, vii practise, ix. 111.

287. trail, course of an animal

GLOSSARIAL INDEX.

515

pursued by the scent, vii.

266.
.... viii. 157.
tranect, v. 101.
translate, transform, v. 187.

explain, vii. 408.

viii. 38.

trash, ix. 314.

xv. 31.

travel, to stroll, applied to

players, vii. 288.
traverse, march, ix. 288.
tray trip, xi. 427.
treacherous persons, x. 42.
treble, vii. 213.
trenched, carved, iv. 87.
tribulation of Tower-hill,

xix. 489.
trick, peculiarity, x. 315.

Trigon, xvii. 97.
triple, third, x. 361.
triple-turned, xii. 361.
triumphs, shows, iv. 136.

*••• •••• A. VI* JL i\J •

Trojans, xvi. 238.

trol my dames, xiv. 341.

trossers, xvii. 376.

trot, a term of contempt, ix.

123.
trow, vii. 99.
true man, honest man, ix.

146.

xviii. 394.

true penny, vi. 353.
trundle tail, x. 175.
truth, honesty, v. 122.
tub fast, xiii. 371.
tucket sonuance, xvii. 409.
tugged with fortune, xi.

147.
tumbler's hoop, iv. 337.
tup, a ram, ix. 228.

turn his girdle, vii. 137.
turn to, occasion, viii. 192.
turn Turk, vii. 99, 361.
twangling jack, v. 418.
twiggen bottle, wickered

bottle, ix. 326.
twilled, xv. 136.
twire, xx. 251.
tyed, xix. 444.

vail, to lower, v. 9.

....ix. 178.

.... xvii. 17.

vailing;, lowering;, iv. 422.

valanced, vii. 300.

validity, value, x. 11, 484.

valued file, xi. 146.

vanity, an illusion, xv. 135.

vantage, opportunity, xii. 24.

vantbrace, armour for the
arm, viii. 274.

varlet, a servant, viii. 229.

vast of night, xv. 53.

vaunt, whatgoes before, viii.
226.

vaward, forepart, v. 296.

velure, velvet, v. 443.

venew, iv. 308.

veneys, hits, viii. 31 .

vengeance, mischief, vi. 47H.

ventages, holes of a Hute,
vii. 371.

verbal, verbose, xii. 76.

Veronese, a shi|> from Ve-
rona, be. 293.

versing, writing verses, v.
210.

vice of kings, vii. 397.

vie, v. 427.

vild, vile, viii. 192.

516

GLOSSARIAL INDEX.

violenteth, acts with vio-
lence, viii. 371.

virginal, belonging to vir-
gins, xiv. 201.

to play on the vir-
ginal, a small kind of spin-
net, xiv. 248.

virgin knight, vii. 153.

virtuous, salutiferous, v. 280.

visitor, xv. 71.

vizaments, advisement, con-
sideration, viii. 13.

vox, xi. 49.

vulgar, common, xi. 438.

vulgarly, publickly, ix. 187.

U.

Ullorxa, xiii. 337.
umber, vi. 378.
umber, vii. 371.
umbered, xvii. 384.
unaneled, without extreme

unction, vii. 246.
unbatbed, xiv. 137.
unbolt, explain, xiii. 255.
unbonnetted, ix. 240.
unbraided wares, xiv. 360.
unbreathed, unpractised, v.

314.
uncape, a term in hunting,

viii. 127.
unclean, unchaste, x. 25.
unclew, xiii. 264.
unconfirmed, unpractised,

vii. 91.
uncurrent encounter, xiv.

309.
undercrest, xiv. 53.
under fiends, xiv. 167.
undergoes, is subject to, vii.

151.

understand, stand under, iv.

58, 171.
underwrite, subscribe to,

obey, viii. 306.
uneath, scarcely, xviii. 228.
uneffectual fire, vii. 248.
unexpressible, unexpressive,

vi. 417.
unfair, to deprive of beauty,

xx. 229.
unhaired sauciness, xv. 351.
unhappy, mischievous, x.

462.
unhouselled, without having
received the sacrament,
vii. 246.
union, a pearl, vii. 509.
unkind, unnatural, vi. 411.
unlace, ix. 330.
unless, except, xiv. 197.
unlived, lifeless, xx. 206.
unlustrous, without lustre,

xii. 53.
unmanned, a term in faul-

conry, vi. 136.
unmastered, licentious, vii.

216.
unpregnant, vii. 314.
unprepared, ix. 171.
unprevailing, unavailing, vii.

199.
unproper, not confined to

one, ix. 416.
unqualitied, xii. 312.
unquestionable, vi. 439.
unready, undressed, xviii.51 .
unrespective, thoughtless,

xix. 158.
unrest, disquiet, xxi. 294.
unrough youths, unbearded,

xi. 245.
unsifted, vii. 221.
unsisting, ix. 152.

GLOSSARIAL INDEX.

517

unsmirched, unsoiled, vii.

434.
unstaunched, xv. 22.
unthread, xv. 356.
untraded, not in common

use, viii. 392.
untrimmed, xv. 276.
unvalued, invaluable, xix.55.
upspring, a dance, vii. 226.
urchins, viii. 163.

use and usance, v. 30.
Utis, xvii. 71.

utterance, a 1' outrance, to
extremity, xi. 143.

• •••••••• A.11* %j I •

W.

wafts, beckons, iv. 181.

wage, xiv. 221.

waist, middle, vii. 209.

walk, xv. 323.

wannion, xxi. 61.

wanton, an effeminate man,

vii. 512.
wappened, xiii. 264.
ward, defence, xv. 68.
warden pies, xiv. 339.
warder, a guard, xi. 87.
warn, to summon, xii. 132.

• • • . . xix. ot).
warp, vi. 413.
wassel, iv. 423.

vii. 226.

wassel candle, xvii. 34.
wasp tongue, xvi. 226.
vmsp stiwg, xvi. 226.
watch, xix. 211.
water fly, a term of con-
tempt, vii. 493.
water galls, xx. 197.
wawl, wail, x. 232.

wax, to grow, iv. 404.

waxen, xvi. 27.

waxen epitaph, xvii. 383.

way of life, xi. 249.

weal, balanced, ix. 166.

wealth, prosperity, v. 151.

weather bitten, xiv. 414.

weazel, xii. 125.

wee, little, viii. 46.

weigh, value, x. 410.

weird sisters, xi. 35.

welkin, the sky, iv. 326.

well liking, enbonpoint, iv.
418.

wench, a young woman, ix.
486.

wend, to go, iv. 160.
v. 281.

whalesbone, iv. 424.

what make you ? what are
you doing ? vii. 207.

wheel, vii. 438.

whelked, curled, x. 222.

whelks and knobs, xvii. 369.

when, an interrogation ex-
pressive of impatience,
xii. 34.

• • • • ■ I i | « • • ATI vl •

where, whence, iv. 70, 312.
whereas, where, xviii. 181.
whiffler, xvii. 455.
whiles, until, xi. 483.
whinidst, mouldy, viii. 282.
whipping cheer, xvii. 227.
whipstock, a carter's whip,

xxi. 76.
whirring, xxi. 141.
white, trie mark in archery,

v. 522.
white death, x. 378.
white liver'd, cowardly, xix.

197.
whiting time, bleaching

time, viii. 125.

518

GLOSSARIAL INDEX.

whitsters, bleachers of linen,
viii. 117.

whittle, a clasped knife, xiii.
422.

whooping, vi. 429.

wide, irregular, viii. 108.

wide of the mark, viii. 320.

wilderness, wildness, ix.
110.

wild goose chase, vi. 103.

will, in opposition to incli-
nation, vii. 368.

wimpled, having a wimple,
or veil, iv. 343.

Winchester goose, viii. 447.

window-bars, xiii. 374.

windows of the eyes, eyelids,
vi. 187.

window'd, x. 149.

wing-led, xii. 80.

wink, xv. 86.

winter ground, xii. 164.

winters pale, xiv. 335.

winters sisterhood, vi. 452.

wise gentleman, vii. 139.

• _i

wise woman, a witch, viii.

168.
wish, recommend, vii. 72.
. . . . ix. 253.
wisp, xviii. 421.
wittol, a contented cockold ,

viii. 91.
witty, able, xviii. 384.
woe begone, xvii. 13.
woman, to affect as a wo-
man, x. 403.
woman - tired, henpeck'd,

xiv. 297.
wondered,wondrous,xv.l44.
wood, mad, iv. 42.
.... y. 229.
woodbine, v. 291.
woodcock, a fool, iv. 368.
vii. 138.

wooden thing, an awkward

business, xviii. 144.
woodman, viii. 184.
ix. 169.

. . ...... Xll. LO / .

woolvish, xiv. 94.

woolward, wearing wool, iv.
450.

world to see, wonderful, v.
427.

vii. 104.

Worm, a serpent, xi. 165.

xii. 418.

worship, dignity, xii. 376.

worth, wealth, xi. 446.

wrest, viii. 343.

wretch, a term of fondness,
ix. 350.

writ, written composition,
vii. 299.

write against, vii. 108.

write, to pronounce confi-
dently, x. 261, 414.

writhled, wrinkled, xviii. 57.

wrong, hurt, xii. 75.
to punish, xx. 159.

wronging, vii. 222.

wroth, misfortune, v. 71.

wrying, xii. 183.

wry-neck'd fife, v. 54.

Y.

yare, handy, ix. 149.

yearn, to vex, xvii. 415.

years, into years, into wrin-
kles, iv. 433.

yield in form, x. 400.

yellowness, jealousy, viii. 44.

yokes, viii. 194.

young, early, vi. 17.

xix. 409.

youngest wren of nine, xi.
444.

INDEX

OF

MANNERS, CUSTOMS, SUPERSTITIONS, fcc.
EXPLAINED IN THE NOTES.

Acheron, what place was signified by that name, dis-
cussed, xi. 182.

actors, in Shakspeare's time, sometimes performed several
parts in the same play, iv. 440.

xvi. 162.

Adam Bell, vii. 23.

Adonis' gardens, xviii. 45.

aldermen distinguished by thumb-rings, xvi. 285.

Alexandreis, a poem, by Philip Gualtier, v. 104.

alliteration ridiculed, iv. 356.

v. 320.

Alnaschar, story of, in the Arabian Nights, found also
in the Dialogues of Creatures Moralized, xi. 419.

Amaimon and Barbazon, daemons, viii. 91.

anachronisms, singular, pointed out in contemporary
authors, xii.T74.

anthropophagi, ix. 262.

apes in hell, v. 412.

apostle spoons given at christenings, xix. 480.

arras, large in Shakspeare's time, so that a person might
be concealed behind them, vii. 378.

xvi. 298.

Arthur's show at Mile End, xvii. 131.

aurum potabile, xvii. 192.

B.

baffuling, an ignominious punishment for perjury, xvi. 16.
bagpipe, effects of its musick, v. 111.
ballads, written upon all occasions, xiv. 368.
VOL. XXI. 2 M

520 INDEX OF

barbarous exhibitions on the ancient stage, x. 186.
barber's chair, x. 369.

forfeits, ix. 195. .

barnacles, ancient opinions concerning them, xv. 100.
Bartholomew pigs, xvii. 92.

basilisk, killed by its look, xvm. 255. f+nWp

bason and ewer expensive, because displayed at table

when they washed their hands before and after dinner,

xiii. 312. ... 01

bastardy, how far thought disgraceful, xvm. 41.

beards, how worn, v. 197, 307.

"-i0^

xvii. 366.

judas's beard, vi. 451 .
Cain's beard, viii. 46.

Abram's beard, viii. 46. . i„:noA

beaver of a helmet, passages mentioning it, explained,

bedfellows, men of the highest rank, so to each other,

xvii. 305.
Bedlam beggars, x. 104.
beggars' clack-dish, ix. 127.

benf book, and candle, excommunication by, xv, 289.
Bergomask dance, v. 33. .

Bermudas supposed to be inhabited by devils, . ur. 44.

in cant language applied to privileged places le

'sorted to by rogues and bullies, xv. 44.
SirBevis, a romance, quoted, x. 163.
bilboes, a punishment, described, vn. 480.
bills, weapons carried by watchmen; represented in a
wood-cut, vii. 87. ... w,

frequent puns on the word, xm. 660.

bishops dressed in white, xvii. 145.

biting thumbs an insult, vi. 10. ,

Black Monday, Easter Monday, why so called, v. o4.

blanks, an oppressive mode of taxation, xvi. Od.

bleeding at the nose deemed ominous, v. 54.

blue coats, the dress of servants, v. 461.

brake, an instrument of torture, explained, with a wood

bre'akingata^ce across, a disgraceful piece of awkward-
ness, vi. 454.

x. 358.

breeches ridiculously large, ix. 53.

MANNERS, CUSTOMS, &c. 521

breeches ridiculously large, xi. 116.

xix. 346.

bride-bed blessed, v. 338.

Bucklersbury inhabited by druggists, viii. 123.

Burbage, the original performer of Richard the Third.

xix. 241.
burning crown, a punishment for regicides, xix. 153.
bush, generally of ivy, hung out as a sign at vintners'

doors, vi. 511.
Buttery, players taken to, v. 369.

C.

cakes made in honour of saints' days, xi. 398

Camelot, King Arthur's court, x. 94.

calf-skin, worn by fools, xv. 27.

captain, a title assumed by rogues, xvii. 80.

captives, whom they belonged to, xvi. 188.

carpets used for table cloths, v. 460.

carpet knights, xi. 458.

carraways eaten with apples, xvii. 213.

carving, an accomplishment, perhaps a mode of showing

kindness, viii. 38.
cat in a bottle, a cruel sport, described, vii. 23.
St. Charity, name of a saint, vii. 427.
Child Rowland, x. 166.
Christmas carols, v. 216.
clowns, dramatick, described, x. 334.

xi. 361.

their extempore wit, vii. 341.

clubs, the cry of the citizens of London when they wanted

assistance, vi. 490.

ix. 487.

coals, to carry coals signified to submit to disgrace, vi. 7.

xvii. 343.

cockatrice, its look deadly, xix. 152.

conjuration, its ceremonies described, xviii. 199.

cooks, their perquisites, xi. 30.

corpse bleeding at the approach of the murderer, xix.

22.
Cotswold games, founded by Dover, viii. 16.

xvii. 1 1 5.

court of wards, iv. 253.

2 M 2

522 INDEX OF

country girls, their finery :

inkles, caddesses, sleeve hand, and the work about
the square ont, sweet gloves, masks, bugle brace-
lets, necklace amber, golden quoifs, poking sticks,
tawdry lace, xiv. 361.
pomander, brooch, horn ring, xiv. 388.
cowslip, a favourite flower with fairies, v. 200.
coxcomb, part of a fool's dress, x. 53.
St. Crispin, his history, xvii. 416.
crocodile's tears, ix. 426.
crow-keeper described, x. 224.

crusades, their object pointed out and defended, xvi. 183.
curled hair, the mark of a man of fashion, or sometimes

of a fop, ix. 245.
x. 154.

D.

day-bed, a luxury in Shakspeare's time, xi.417.

\ xix. 141.

Dsemons, names of, and their qualities, described :.
Flibbertigibbet, xi. 159, 194.
Modo, x. 163, 194.
Mahu, x. 163, 194.
Smolkin, x. 163.
Frateretto, x. 168.
Hopdance, x. 172.
Obbidicut, x. 194.
Hobbididance, x. 194.
deaths-head in a ring, worn by bawds, xvii. 93.
death and the fool, ix. 95.

xxi. 116.

death-tokens of the plague, viii. 309.
deer, their names at different ages, iv. 353.
degrees taken in the art of fencing, viii. 30.
demoniacal possession described, x. 151, 155, 172.
devil in old mysteries, v. 368.

xi. 479.

devils, six kinds of them : fiery, aerial, terrestrial, watery,
subterranean, and fawns, satyrs, nymphs, &c. xv. 286.

names of, xvi. 313.

Diana in a fountain, vi. 470.
distinctions of rank at table :
lower messes, xiv. 258.
higher messes, xv. 213.

MANNERS, CUSTOMS, &c. 523

dress regulated by law in Queen Elizabeth's reign, iv. 419.
drugs given to procure love, ix. 254.

xvi. 243.

duello, the laws of it settled with great nicety, xi. 463.
Duke, a general term for a military leader, v. 126.

xvii. 342.

Duke Humphrey, dining with him, the phrase explained,
xix. 179.

E.

ears burnings what it betokened, vii. 77.

earls first created in Scotland by Malcolm III. xi.275.

Edward shovel boards, viii. 21.

elegies had black title pages, xvii. 13.

elephants supposed to have no joints, viii. 305.

English deemed epicures by the Scotch, xi. 247.

eunuchs made for the voice, xi. 348.

Essex, Lord, alluded to, xvii. 427.

F.

face, a round one, a mark of folly, xii.283.
fading, an old Irish dance, described, xiv. 429.
fairies, their practices described, v. 199.

viii. 1 85.

fond of cleanliness, v. 336.

sometimes beautiful and kind to men ; sometimes

ugly and hostile, iv. 225.

xii. 354.

whether they die, discussed, v. 215.

falconry excelled in by the French, vii. 302.
fancy, an ornament worn in the hat, v. 444.

a ballad, v. 444.

fans, expensive in their materials, viii. 74.

.... large, carried by servants, viii. 74.

.... made of feathers, this illustrated by a wood-cut,
viii. 74.

.... worn sometimes by male fops, xix. 345.
feasts, accompanied with artificial tempests, and olln •■
pantomimical devices, viii. 184.
xv. 127.

524 INDEX OF

feathers and flowers worn in the cap by men, xi. 231.

xix. 345.

fellow with a great belly and his dog, xvii. 23.

fern-seed made the person who carried it invisible, xvi.

242.
fish-eating in Lent, how far a mark of popery, x. 50.
fillipping toads, how practised, (with a wood-cut,) xvii. 38.
Finsbury walks, the resort of citizens, xvi. 320.
Flemings, notorious as drunkards, viii. 55.
Florentius' love, an allusion to a story in Gower's Con-

fessio Amantis, v. 398.
flowers, their emblematical characters, vii. 439.

xiv. 349.

fools bauble described, x. 460.

.... their songs, x. 61.
fool at city feasts leaped into a custard, x. 396.

footcloths described, xviii. 315.

forehead, a high one, a beauty, vi. 73.

a low one, a deformity) xi. 283.

xv. 127.

foreign physicians, popular, viii. 49.

fortune, what deemed an ample one, viii. 131, 132.

forty, a favourite number, xix. 421.

fourscore, a general term for old age, viii. 106.

French, how pronounced in Shakspeare's time, xvii. 428.

fumbling with the sheets, a sign of approaching death,
xvii. 428.

fumigating rooms, its necessity, vii. 32.
xvii. 228.

G.

Garagantua, vi. 431.

galliard, the dance so called, described, xvii. 285.
garters made very expensive, xvi. 265.
German clocks, iv. 338.

hunting in waterwork, xvii. 154.

ghosts, supposed to vanish when the cock crew, vii. 187,

189, 211.
gloves worn in the hat, upon what occasions, x. 155.
gourd, fullam, high and low, gambling terms, explained,

viii. 42.
alluded to, xiv. 410.

MANNERS, CUSTOMS, &c.

green, the colour of lovers, iv. 302.

green eyes, vi. 178.

groats half-faced, when introduced, xv. 205.

guests at private tables attended by their own servants,

viii. 29.
Guinever, King Arthur's Queen, iv. 350.
gun-stones used in ordnance instead of iron balls, xvii. 288.

H.

hands always washed before and after meals, v. 466.

handy-dandy, a game described, x. 230.

hand, a dry one, sign of a cold constitution, xi. 354.

a moist one, of the contrary, ix. 395.

xii. 177.

Hecate, mistress of the witches, xi. 180.

hair, artificially coloured, fashionable, vii. 57, 95.

hangers, the sword-belt so called, described, vii. 498.

hangman, a name applied to Cupid, vii. 79.

Harry ten shillings, xvii. 127.

hare, why called melancholy, xvi. 197.

hare-lip, how cured, v. 339.

hats worn during dinner, v. 48.

heart supposed to be the seat of the understanding, xiv.

12.
Heliodorus, a story quoted from his iEthiopicks, xi. 488.
Heme the hunter, story of, viii. 162.
Herod, how represented in the mysteries, vii. 338.
hide fox and all after, a child's play, described, vii. 414.
hobby-horse in May-games, iv. 324.

vii. 350.

honour, the address to a lord, ix. 58.

xiii. 260.

horn for drinking, carried about by Bedlam beggars, x. 177.

horses actually shod with felt, x. 233.

horse hair dropped into corrupted water supposed to

become an animal, xii. 190.
Howleglass, an old story book, referred to, vii. 82.
hundred merry tales, vii. 39, 165.
hunting in the evening, xiii. 296.

526 INDEX OF

I. and J.

Jerusalem, dying there, a story told in many shapes,

xvii. 196.
Jesuits satirized as equivocators, xi. 116.
Incidis in Scyllam cupiens vitare Charybdim, the author

of that line pointed out, v. 104.
index always prefixed to books, vii. 391.

ix. 313.

Indians exhibited in London, xv. 95.

xix. 485.

John Drum's entertainment, x. 417.
Ireland, no poisonous reptiles there, xvi. 69.
Irish could rhyme rats to death, vi. 428.

either man or beast to death, xviii. 10.

judicial astrology satirized, x. 40.
justices of peace, their extortion, xvii. 203.

K.

Kempe probably acted Justice Shallow, xvii. 1 14.
kernes and gallow glasses described, xi. 16.
kissing comfits, viii. 183.

the hands often the mark of a fop, xi. 450.

knives worn by women, vi. 196.

brought by the guests invited to an entertainment,

xiii. 275.
knot grass given to young animals to prevent them from
growing, v. 278.

L.

ladies accustomed to strike their servants, xi. 445.

went deer-shooting, iv. 340.

wore mirrors at their girdles, iv. 341, 344.

wore a pocket at the bosom, for letters, vii. 272.

frequently acquired classical learning, v. 416.

kissed by their partners before dancing, xix. 354.

lavolta, a dance, described, xvii. 355.

lie, how many ways of giving it, vi. 501.

lion in a masque, at court, represented by a blackamoor,

v. 246.
. . . would not hurt the blood-royal, xvi. 281.

MANNERS, CUSTOMS, &c. 527

liver, the seat of love, iv. 368.

vii. 117.

viii. 63.

loggats, an old game, described, vii. 468.

London called the king's chamber, xix. 94.

Londoners called, in contempt, eaters of buttered toasts,

xvi. 368.
long swords disused after the introduction of rapiers, viii.

70.

xvi. 123.

loose-bodied gowns the dress of harlots, v. 488.

Lord have mercy upon us, written on the doors of houses

infected with the plague, iv. 430.
love and lover applied by one male to another, xx. 256.
love described as made up of contrarieties, vi. 481.
love-locks, how worn, vii. 146.

louse, a familiar beast to man, and signifies love, viii. 9.
lying at the feet of a mistress, a common fashion, vii. 468.

M.

Mab, the fairy queen, described, vi. 50.

maid Marian, xvi. 347.

magicians, their power over the operations of nature, xv.

161 ; and Tempest, passim.

showed future events in a glass, xi. 205.

man in the moon, his dog and his bush, v. 325.

xv. 107.

mandrakes, what they were supposed to be, vi. 198.

their groan destructive, vi. 1 98.

xviii. 270.

Maningtree fair, ox roasted whole there, xvi. 295.
metrical interludes performed there, xvi.

295.
Mantuan quoted, much read at that time, iv. 359.
Mary Frith, or Mistress Mall, account of her, xi. 356.
map of the Indies alluded to, xi. 445.
May day, a favourite time for authors to publish on, v.

299.
May-pole described, v. 277.
medals worn, appended to a ribbon round the neck, xiv.

264.
xix.

366.

528 INDEX OF

melancholy affected by those who wished to be thought

fashionable, xv. 308.
men whose heads did grow beneath their shoulders, ix.

262.

xv. 125.

represented in a wood-cut, ix.500.

Mephostophilus, a demon in the old romance of Doctor

Faustus, viii. 20.
Mile-end celebrated for its shows, x.451.

xvii. 131.

milled sixpences used for counters, viii. 21.

mistaking words, a common source of humour on the old

stage, vii. 89. . .

Monarcho, a fantastical character of that time, iv. 345.
Merlin and his prophecies, xvi. 312.

.... xxi.463.

Monmouth caps, xvii. 445.
monopolies, frequently satirized, x. 57.
Moorditch, why called melancholy, xvi. 197.
mountaineers dewlapped like bulls, xv. 125.
mules, Cardinals accustomed to ride on them, xix. 442.
mummy, to what uses it was applied, ix. 401.
Muscovites, frequently introduced in masques, iv. 410.
mustard, injurious to cholerick persons, v. 480.

N.

Nero, an angler in the lake of darkness, x. 168.
Nicholas (St.), the patron of scholars, and of parish

clerks, iv. 82.
ludicrously called the patron of thieves,

xvi. 237.
nobody, a ridiculous figure sometimes exhibited on signs,

xv. 119.
nuncle, a vulgar term of respect, x. 54.

O.

•

Oberon, the king of fairies, v. 209.

O Lord ! sir, an affected exclamation, ridiculed, x. 372.

owl, a baker's daughter, vii. 426.

out roaring Dick, a celebrated ballad singer, iv. 433.

MANNERS, CUSTOMS, bcc. 529

P.

pageants, iv. 441.

xii. 368 *

xv. 146.

painted cloths, vi. 435.

painted cloths had labels issuing from the mouths of the

figures containing moral sentences, vi. 435.

xvi. 147.

painted tyrants, in tapestry, vii. 307.

painting, much used by women, vii. 332.

Paris garden, xix. 483.

parish top, xi. 351.

Patience on a monument, xi. 411,505.

patient Grisel alluded to, v. 426.

Pavan, a dance, described, xi. 492.

pawnbroker, his dress a leathern jerkin with chrystal but

tons, xvi. 263.
pelican, vii. 426.

x. 153.

pensioners, v. 200.

perjured persons wore papers on their breasts, expressing

the crime, iv. 366.
Perseus's horse, a ship, viii. 254.
periwigs, v. 83.

worn by women, satirized, xiii. 378.

made of hair from dead bodies, xiii. 377.

xx. 286.

children plundered of their hair for this purpose,

xiii. 377.
perspective, a pictorial device described, xvi. 69.
phoenix, xv. 123.

picktooth, mark of a courtier, xiv. 394.
and of a traveller, xv. 213.

* In Antony and Cleopatra, xii. 368, Antony says :
" Sometime we see a cloud that's dragonish,
" A vapour, sometime like a bear, or lion, &c.
" They are black vesper's pageants."
No description of such pageants has been given in the notes ;
but while I was preparing this index, I found the following
illustration in a sermon by Bishop Hall, 1618: " I feare some
" of you are like the pageants of your great solemnities, wherein
" there is the show of a solid body, whether of a lion, or elephant,
" orunicorne; but if they be curiously look'd into, there is no-
" thing but cloth, and sticks, and ayre."

530 INDEX OF

picture of we three, xi. 386.
pioneers disgraced soldiers, ix. 379.
pilgrims, their dress, vii. 424.

how distinguished from palmers, x. 412.

pillars borne before Cardinal Wolsey, what they denoted,

xix. 383.
philosopher's stone, xvii. 141.
plague, death tokens of it, viii. 309.
playhouse prices, ix. 448.
players at the conclusion of the performance sometimes

knelt down and prayed for the queen or their patron,

xvii. 242.
points, a part of dress, described, xi. 363.
Portunus, a frolicksome daemon in ancient superstition,

resembling Puck, v. 205.
posies inscribed on rings, vii. 354.
and on knives, when they were termed cutler's

poetry, v. 146.
possets taken at bed time, how made, xi. 103.
primero, a game at cards, explained, xix. 456.
Puck, a description of his pranks, v. 203, 207.

whence the name derived, v. 206.

punishments after death fancifully described, ix. 108, 486.

purgatory described, vii. 239.

putting out of one for five, a mode of speculation in our

author's time, xv. 125.

Q.

questions and commands, a game, vii. 465.
quintaine described, vi. 370, 514.

R.

reckonings adjusted by small pieces of metal called coun-
ters, vi. 404.

xiv. 339.

red lattice, the mark of an alehouse, viii. 75.

riddles, book of, viii. 26.

riding wagers, xii. 104.

roasted pig, antipathy to, v. 100.

Robin Goodfellow, v. 203, 207.

roses stuck in the ear, xv. 209.

on Queen Elizabeth's three-farthing pieces, xv. 209.

MANNERS, CUSTOMS, 8tc. 531

ruddock, or robin red-breast, said to cover dead bodies

with leaves, xiii. 164.
Rumour painted full of tongues, xvii. 5.
rushes strewn in rooms in place of carpets, vi. 45.

xiii. 63.

xvi. 41, 317.

rush rings, when given, and by whom, x. 370.

S.

sack, what kind of wine it signified, discussed, xvi. 200,
272, 296.

xvii. 170.

.... drunk with sugar, xvi. 200.

.... for which purpose sugar carried by waiters made up
in small papers, xvi. 261.

.... sent, as a present at taverns from one guest to an-
other, viii. 85.

.... adulterated with lime, xvi. 271.

not known till Henry VIII. [1543,] xvi. 301.

.... its beneficial effects on the intellect, xvii. 170.

Sackerson, a celebrated bear at the Paris garden, viii. 32.

Sagittary, a monster engaged at the siege of Troy, de-
scribed, viii. 431.

sand bag, the weapon of inferior men in the trial by
battle, xviii. 223.

satyrs, in masques, personated by persons covered with
hair ; account of some of the most remarkable of these
exhibitions, with a wood-cut, xiv. 371.

Scogan, whether two poets of that name, xvii. 116.

schoolmaster, often reckoned a conjurer, iv. 238.

seamanship, Shakspeare's accurate knowledge of, and
skilful use of its technical language, xv. 184.

Setebos, a god of the Patagonians, xv. 58.

seven deadly sins, ix. 107.

shaving a man considered as a disgrace, iv. 256.

sheep-shearing feasts, expensive, xiv. 339.

sheriff's fool, what persons so designated, x. 445.

posts, xi.367.

shirts expensive, xvi. 341.

shoes worn with pointed toes of an absurd length, for-
bidden by statute, vii. 472.

532 INDEX OF

shovegroat shillings, xvii. 89.

shoulders of a buck, the keeper's perquisite, vm. 184.

shrove-tide, xvii. 218.

silence necessary during incantations, xi. 199.

sir, a title given to clergymen, vi. 447.

viii. 7, 210.

xix. 202.

Sir Dagonet, in Arthur's show, xvii. 132

Sir Eglamour, a common name for an inamorato, iv. 19.

sirrah, not always a disrespectful expression, xvi. 205.

xxi. 328.

sleeping in the afternoon, a common practice, vii. 244.
soldiers accused of being in the habit of stealing linen,

xvi. 370.
son, a title frequently given by one literary man to

another, viii. 314.
songs and sonnets, book of, viii. 26.
spitting white, the mark of a drunkard, xvn. 3?.
spleen, supposed to be the cause of laughter, iv. 410.

.... i. .....••• IX. DO.

Squire of tow Degree, a romance, alluded to, xvii. 460.
stage, its licentiousness in our author's time, vii. 29°-
hung with black at the performance of tragedies,

x. 149.

xviii. 7.

poverty of its scenery in Shakspeare's time, xix.

*368, 471.
statesmen affected to write a bad hand, vn. 489.
statues painted, xiv. 416. ...

statute caps directed by law to be worn by citizens, iv.

419.
stewards wore gold chains, xi. 398.
stocks introduced on the stage, x. 98.
strange fish exhibited in London, xiv. 368.

xv. 95.

strange exhibitions of various kinds, xiv. 368

........«•>.••• xv. yo.

" " " " xix. 485.

sVrumpeVs,' by an'old statute, compelled to wear their

garments the wrong side outward, xiii. 377.
subtilties, a term in cookery, used to signify dishes made
to appear different from what they really were, a frequent
practice, xv. 169.

MANNERS, CUSTOMS, &c. 533

swearing by a sword, vii. 253.

by St. Patrick, vii. 252.

sweet Oliver, a common phrase, without any very distinct

meaning, vi. 449.
sword and buckler_carried by serving-men, vi. 225.
their use occasioned frequent quarrels,

xvi. 225.
at what period they fell into disuse,

viii. 70.

xvi. 275.

sworn brothers, what that term signified, xvi. 141, 258.
xvii. 295.

T.

taylors fond of singing, xvi. 321.

Titania, the Queen of Fairies, v. 209.

tongs, &c. rural musick, v. 289.

travellers, their dress and manners described, xv. 212.

their society sought after, x. 396.

xv.213.

their wonderful stories ridiculed, xv. 123.

travelling, particularly in Italy, censured by Ascham and
Hall, and ridiculed by Shakspeare, vi. 466.
.....xv. 212.

trees, branches of them hewn down for a screen to con-
ceal the numbers of an army, xi. 257.

trenchers in general use, xv. 104.

trial by battle described, xviii. 226.

truckle-bed, its use, vii. 167.

trumpets sounded thrice before the prologue, v. 317.

trunks richly ornamented, considered as furniture, xi. 466.

tumblers' hoops, iv. 337.

Turnbull-street, infamous, xvii. 136.

U.

undertakers, what persons were satirized under that name

xi.461.
uno-artered, groins ungartered, the mark of a lover, iv. 35.

° .......... vi. 440

unicorns and bears, how caught, xii. 50.
universities, plays acted there, vii. 343.

534 INDEX OF

usurers wore chains, vii. 42.

their practices described, ix. 159.

Utopian schemes ridiculed, xv. 78.

V.

St. Valentine's day, vii. 426.

vapours, a game at, described, xvi. 192.

velvet guards worn by the wives of opulent citizens, xvi.

320.
Venetian dresses, fashionable, described, vm. 120.
Venetians had always foreign generals, ix. 253.
Venice, officers of night there, ix. 236.
vice, the fool of the old moralities, xi. 469.

xvii. 138.

.... armed with a dagger of lath, xi. 469.

.; xvi. 274.

\\ \' \ \ " \ xvii. 432.

! . . . used to belabour the devil, xi. 469.
vows of chastity entered into by widows, or widowers, or
lovers, on the death of their mistresses, iv, 106.

W.

wardship prevailed in France as well as in England, x.
307.

watches, uncommon, xi. 427.

Guy Faux fell under suspicion for wearing one,

xi. 427.

wax, soft, used in sealing letters, xi. 421.

waxen images, how employed in witchcraft, iv. 55.

xv. 357.

weavers fond of singing psalms, xi. 390.

; xvi. 227.

we three, picture of, xi. 386.

Welsh-hook, a warlike instrument, described, xvi. 286.

Winchester, bishop of, had jurisdiction over the stews in
Southwark, viii. 448.

wine drunk at weddings, v. 449.

wisp, a punishment for a scold, xviii. 421.

witches, popular superstitions with regard to them, de-
tailed, xi. 189.

MANNERS, CUSTOMS, <kc. 535

witches could sail in sieves, xi. 29.

or in an egg-shell, or cockle-shell, xxi. 165.

sold winds, xi. 31.

when transformed into other animals, had no

tails, why, xi. 30.

had beards, xi. 38.

by what gifts propitiated, iv. 235.

their power over the operations of nature, xi. 197.

lost their power over those who drew blood from

them, xviii. 43.
distinguished from conjurers and enchanters, x.

491.
Withold (St.), x. 160.
worship, the address to a knight, or esquire, xv. 213.

Y.

yellow starch, x. 457.

yellow stockings, wearing them, and being cross-gartered,
what they denoted, xi. 425.

PROVERBS QUOTED OR ALLUDED TO.

A bad cook that cannot lick his own fingers, vi. 190.

a little pot soon hot, v. 456.

a long spoon to eat with the devil, iv. 235.

a man at forty is either a fool or a physician, viii. 136.

a friend at court is worth a penny in purse, xvii. 202.

a crafty knave needs no broker, xviii. 183.

all hoods make not monks, xix. 398.

an two men ride of a horse one must ride behind, vii. 104.

as fit as Tib's rush for Tom's fore finger, x. 370.

as the bell clinketh, so the fool thinketh, vii. 79.

as true as steel, viii. 334.

at hand, quoth pick-purse, xvi. 236.

baccare, quoth Mortimer to his sow, v. 4 1 6,
VOL. XXI. 2 N

536 INDEX OF

black men are pearls in beauteous ladies' eyes, iv. 122.
blessing of your heart, you brew good ale, iv. 83.
blush like a black dog, xxi. 360.

bought and sold, viii. 285. ■„ . , •■<,<**

Bra| is a good dog, but Hold-fast is abetter, xvn. 323.
by chance, and not by truth, "j

something about, a little from the right, k xv. 211.

in at the window, or else o'er the hatch, J
have is have, however men do catch,

care killed a cat, vii. 137. .

cry with the lapwing farthest from her nest, iv. 116.
cry you mercy, I took you for a joint-stool, x. 174.
curse leves loquuntur ingentes stupent, x. 234.

dead as a door-nail, xvii. 225.

good goose bite not, vi. 104.

good liquor will make a cat speak, xv. yy.

good wine needs no bush, vi. 511.

happy man be his dole, viii. 135.

VY3 xiv. 24.

he is mad'that trusts in the tameness of a wolf a horse s

health, a boy's love, or a whore s oath, x. 170.
honest as the skin between his brows, vn. 102.

I know a hawk from a hand-saw, vii. 296

I'll make a shaft, or a bolt, of it, vm. 132.

it is easy to steal a shive from a cut loaf, xxi. 289.

it is an ill wind which blows no man to good, xvii. 222

let the galled jade wince, vii. 360.
let the world slide, v. 358. ,

love will creep where it cannot go, iv. yy.

xxi. 289.
my cake is dough, v. 508.

needs must, when the devil drives, x. 336.

neither flesh, nor fish, nor good red herring, xvi. 348.

MANNERS, CUSTOMS, 8ta 537

out of God's blessing, into the warm sun, vii. 196.

patience, per force, is a medicine for a mad dog, vi. 65.

pitchers have ears, xix. 91.

praise in departing, xv. 124.

pray God my girdle break, xvi. 348.

respice finem, respice funem, iv. 238.

service is no heritage, x. 336.
sowed cockle reap no corn, iv. 392.
still swine eat all the draff, viii. 152.

tell truth and shame the devil, xvi. 307.

the cat would eat fish, and would not wet her feet, xi. 82.

the devil rides on a fiddle-stick, xvi. 297.

there went but a pair of shears between them, ix. 16.

'Tis merry in hall when beards wag all, xvii. 218.

two may keep counsel, putting one away, vi. 112.

ungirt, unblest, xvi. 348.

Vineggia, Vineggia,

chi non te vede ei non te preggia, iv. 359.

walls have ears, v. 324.

wedding and ill-wintering spoil both man and beast, v. 458.

we burn day-light, vi. 49.

while the grass grows the steed starves, vii. 369.

who goes to Westminster for a wife, to St. Paul's for a

man, and to Smithfield for a horse, may meet with a

whore, a knave, and a jade, xvii. 27.
worth a Jew's eye, v. 55.

young ravens must have food, viii. 37.

SONGS QUOTED, OR ALLUDED TO.

a cup of wine that's brisk and fine, xviii. 219.
be merry, be merry, my wife has all, xvii. 217.

2 N 2

538 INDEX OF MANNERS, &c.

bonny sweet Robin is all my joy, vii. 443.

come o'er the bourn, Bessy, to me, x. 173.

Dolphin, my boy, my boy, x. 156.

do me right, and dub me knight, Samingo, xvu. .220.

do nothing but eat and make good cheer, xvu. 215.

farewell, dear heart, since I must needs be gone, xi. 397.
fill the cup and let it come, xvii. 219.

hey, Robin, jolly Robin, xi. 496.

how should I your true love know, x. 424.

Jack boy, ho boy, iv. 459.

I shall no more to sea, to sea, xv. 97.

Jephtha, judge of Israel, vii. 298.

in youth, when I did love, did love, vn. 466.

it was the friar of orders grey, v. 466.

king; Cophetua and the beggar maid, iv. 303.

....... vi. 72.

xvi. 156.

' '. '. '. '. '. '.'. '. V. ' '. ' ' ' '.'• • • xvii- 223-

king Stephen was a worthy peer, ix. 323.

larded all with sweet flowers, vii. 425.
let me the canakin clink, clink, ix. 322.
let the welkin roar, xvii. 86.

Peg a Ramsey, xi. 392.

sleep'st thou, or wak'st thou, jolly shepherd, x. 173.

the eod of love that sits above, vii. 148.

the master, the swabber, the boatswain, and I, xv. 97.

was this fair face the cause, quoth he, x. 339.
when Arthur first in court began, xvii. 72.
when griping grief the heart doth wound vi. 212.
whoop ! do me no harm, good man, xiv. 360.

HISTORICAL INDEX.

Abradas, a Macedonian pirate, xviii. 289.

Agincourt, the numbers engaged on both sides in that

battle, xvii. 419.
dignities conferred on the Englishmen who

fought there, xvii. 417.
Albertus, Alasco, v. 20.
Althea, erroneously, instead of Hecuba, said to have

dreamed of a burning brand, xvii. 60.
Amurah the Third, Emperor of the Turks, xvii. 208.
Apollo, his temple in ancient Britain, x. 17.
Arthur, King John's nephew, at what time he was put to

death, xv. 295, 307.

the manner of his death uncertain, xv. 330.

Arundell, Thomas, Archbishop of Canterbury, xvi. 64.

Thomas, son of Richard Duke of, xvi. 64.

Aumerle, Duke of, xvi. 24.
Austria, Leopold, Duke of, xv. 221.

B.

Bankes, and his bay horse, iv. 299.

Barbarossa, the Emperor, his punishment of the Milanese,

xvii. 225.
Bargalus, an Illyrian pirate, xvni. 289.
Baynard's castle, xix. 133.
Beaufort, Cardinal, historical account of his death, xviii

277.

Bolingbroke, at what time Henry Earl of Hereford as-
sumed that name, xvi. 9.

his mode of taking possession of the throne,

described, xvi. 128.

a conjuror of that name, xviii. 196.

Blanch, the lady niece to King John, xv. 248.

Buckingham, Henry Duke of, grounds of his quarrel
with Richard III. xix. 162.

540 HISTORICAL INDEX.

Buckingham, Duke of, grounds of his execution, xix. 204.
. . Edward Duke of, the son of the foregoing,

a learned man, xix. 336.

his arraignment, xix. 343.

his execution, xix. 358.

[[,...,... affected the name of Bohun, xix.

' '362. '

C.

Cataline, xviii. 464.

Cadwall, xiii. 112.

Cassibelan, great uncle to Cymbeline, xn. 112.

Cawdor, xi. 26.

Clarence, George Duke of, brother to Edward IV. sus-
pected by his brother on account of a prophecy, xix. 12.
/_ another cause assigned for their

quarrel, xix. 54.
/; grounds of his quarrel with his

brother Richard, xix. 66.
tried, and found guilty, by his

Peers, xix. 63.
fate of his children, xix. 134,

168.'"

Claribel, xv. 75.

Clerk of Chatham, xviii. 298.

Colbrand, the giant, xv. 216.

Colevile of the dale, xvii. 165.

Colmes-inch, or Inch-comb, xi. 27.

Colme-kill, or Icolm-kill, xi. 134.

Cranmer, Archbishop, the conspiracy against him de-
scribed, xix. 460.

Crosby place, xix. 30.

Cumberland, Prince of, xi. 56.

Cyprus, ix. 290.

D.

Damascus, the spot where Cain killed Abel, xviii. 32.

Darius's coffer, xviii. 47.

Decius Brutus, \ x^ g

Decimus Brutus, J

Dido, xv. 75. .. ur

Drayton's Barons' Wars, when first published, xn. ibo.

HISTORICAL INDEX. 541

E.

Eastcheap, the Boar's Head tavern in, xvi. 259.
why selected for Prince Henry's revels, xvii.

69.
Edward the Confessor had the power of curing diseases ;

the mode described, xi. 228.
the young King Edward V. question as to his

journey towards London after his father's death, xix.

88.
Eleanor, Queen, hostile to Prince Arthur from jealous}

of his mother Constance, xv. 227, 248.
Essex, Lord, his great popularity, xvii. 457.

F.

Falstolfe, Sir John, real person in history, xviii. 15, 105.
Fauconbridse, what was the historical foundation for this

character, xv. 202.
Faulconbridge, Thomas Nevil, bastard son of Lord Faul-

conbridge, his character, xviii. 378.
Florio, whether he was pointed at in the character of

Holofernes, discussed, iv. 479.
Fores, xi. 37.

G.

Gadshill, account of a celebrated gang of robbers there,

xvi. 431.
Galen, spoken of as in the time of Coriolanus, xiv. 63.
Gam, Davy, Esquire, a valiant Welshman, honourably

mentioned, xvii. 453.
Gascoigne, Sir William, chief justice, his conduct to

Henry V. when Prince of Wales, xvii. 243.
Glendower, xvi. 90.

the time of his death mistaken, xvii. 113.

Gough, Mathew, xviii. 311.

Grey, Sir John, xviii. 454.

Lady Elizabeth, afterwards Queen to Edward IV.

her family, xviii. 484.
her character, xix. 195.

542 HISTORICAL INDEX.

Grey, Sir Richard, son to Queen Elizabeth Grey, his

death, xix. 118.
Guiscard, King of Sicily, prophecy that he should die at

Jerusalem, xv. 197.
Gurney, James, xv. 216.

H.

Hastings, Lord, his condemnation, xix. 124.
Henry the Fifth, when Prince of Wales, prematurely intro-
duced in Richard II. xvi. 152.

his dissipation in early life denied, xvi. 152.

Henry VI. why Pope Julius refused to canonize him,

xviii. 501.

manner of his death, xvm. 533.

Henry VIII. his interview with Francis I. of France, xix.

341, et seq. .
extravagant expences incurred by those who

attended it, xix. 318. .. ,',w. ,
the masque given to him by Wolsey, de-

' scribed, xix. 353, et seq.

Hotspur, why so called, xvi. 185.

Hotspur's wife mistakingly called Kate, her name was
Elizabeth, xvi. 252.

Howard, Sir Thomas, afterwards Earl of Surrey temp.
Richard III.; his jesting conversation with Lord Hast-
ings, xix. 116.

I and J.

Jaques, St. his church at Orleans,

Iden or Eden, Alexander, put Cade to death, xviii. 329.

Imogen, xii. 11.

John, Prince of Lancaster, not Duke of Lancaster, xvi.

xvn. 44.

King, how often he was crowned, xv. 315.

where he was buried, xv. 373.

John "of Gaunt, only 58 when described as an old man,

xvi. 7.
Jourdan, Margery, the witch, xviii. 182.
Ipswich College, founded by Wolsey, xix. 449.

HISTORICAL INDEX. 543

Isabella, wife to King Richard II. her marriage, xvi. 13.

• Duchess of York, an anachronism in her intro-
duction in Richard II. xv. 146.

Julio Romano, xiv. 416.

Julius Caesar's tower, the tower of London traditionally so
called, xvi. 139.

L.

Lewis the Tenth, xvii. 270.

Lingare, the lady, daughter to Charlemagne, xvii. 269.
London Bridge, made formerly of wood, xviii. 310.
Lucy, the lady Elizabeth, said to have been affianced to

Edward IV. xix. 137.
Luke's iron crown, xix. 153.
Lymoges confounded with Leopold Duke of Austria, xv.

269.

M.

Machiavel, frequent mention made of him in our old

dramas, xviii. 153.
Macdowald, xi. 16.

Mahomet inspired with a dove, xviii. 27.
Malmutius, xii. 96.

Margaret, widow of King Henry VI. her history, xix. 43.
Mordake, Earl of Fife, xvi. 187.
Mortimer, mistakes with regard to two persons of that

name, pointed out and explained, xvi. 213, 219.
Mortimer, Edmund, his genealogy, xvi. 220.

his history discussed, xviii. 68, 216.

Lord, confounded with Lord March, xvi. 335.

Morton, Bishop of Ely, xix. 120.

N.

Nennius, xii. 94.

Norfolk, the Duke of, temp. Richard II. died in exile of

grief, xvi. 36.
Dukes of, in Henry VIII. distinguished, xix. 4 1 8.

O.

Oldcastle, the question discussed whether that was ori-
ginally the name of Falstaff, xvi. 193, 410.
xvii. 31.

544 HISTORICAL INDEX.

P.

Pace (Dr.), xix. 372. .

Pannonians and Dalmatians, their revolt against the

Romans, xii. 97, 143.
Paracelsus, x. 375.
Patay, the battle of, xviii. 105.
Pendragon, xviii. 93.
Peter the hermit, xv. 323.
Percy, the name, said, by Boetius, to have been derived

from piercing the king's eye, xvi. 398.
Plantagenet, date and origin of that name, xv. 210.

Richard, his genealogy, xviii. 64.

Polydore, xii. 112.

Pompey, erroneous account of his death, xvm. zyz.

Puttenham, his Art of Poetry, when published, ix. 303.

R.

Rhodope, xviii. 47.

Richard Cceur de Lion, his combat with a lion xv 220.
killed by the Duke of Austria, xv.

220

who afterwards wore his lion's

' hide, xv. 220. ,

Richard II. remarkable for his extravagance in dress, xvi.

112
'..... entertained at meat, every day, ten thousand

men, xvi. 136. , . lftQ

the manner of his murder discussed, xvi. lo».

Richmond,' Countess of, mother to Henry VII. her mam-
ages, xix. 35. _rTT ...

..:..... Henry Earl of, afterwards Henry VII. xvm.

60 ^ t # # his family, and title to the

crown, xix. 200.
Rivers, Earl, his death, xix. 118. ..

Roscius, a comedian, not a tragedian, xvm. oJ/.
Rutland, young Earl of, his melancholy fate, xvm. 388.

S.
Salisbury, Earl of, temp. Henry V. his death, xviii. 426,

475.
Shaw, Dr. xix. 134.

HISTORICAL INDEX. 545

Shaw, Edmund, Dr. Shaw's brother, Lord Mayor, xix.
141.

Shirley, Sir Robert, ambassador from Persia, xi. 427.

Simpcox, an impostor, xviii. 208.

Sinchlo, an actor, v. 367.

Sly, William, an actor, v. 358.

Solyman, the magnificent, his ostentatious letter to the
Emperor Ferdinand, xviii. 133.

Somerset, Duke of, temp. Henry VI. prophecies concern-
ing his death fulfilled, xviii. 353.

Stanley, Lord, xix. 216.

Suffolk, Duke of, temp. Henry VI. the manner of his
death, xviii. 280,291.

prophecies relating to it, xviii. 283.

Sweno, King of Norway, xi. 27.

Sylvester Pope, a prophecy that he should die in Jeru-
salem, xvii. 197.

T.

Talbot, Lord, the terror of the French, xviii. 39, 53.

list of his titles, xviii. 132.

Tarleton, sign of his eating-house, xi. 429.

Temple garden, contest there, between the two houses of

York and Lancaster, xviii. 60.
Tenantius, father to Cymbeline, xii. 9.
Turk Gregory, Pope Gregory the Seventh, so called, xvi.

396.

W.

Warwick, Richard Beauchamp Earl of, distinguished

from Richard Nevil Earl of, xviii. 7.
Warwick, Richard Nevil Earl of, doubts with regard to

some part of his history, xviii. 467.
, marriages of his

daughters explained, xviii. 478, 486.
Westminster Hall first used for the deposition of

Richard II. after he had finished rebuilding it, in 1399,

xvi. 121.
Wincot, v. 374.
Wolsey, the cause of his fall mis-stated ; what suggested

the mis-statement, xix. 412.

his establishment exaggerated, xix. 431.

distinguished for his eloquence, xix. 449.

546 HISTORICAL INDEX.

Y.

York and Lancaster, account of the battles'fought during

their contests, and the numbers killed on both sides,

xviii. 546.
York, Edward Duke of, son to Edward III. his character,

xvi. 47.
Richard Duke of, father of Richard III. his

marriages and connections, xviii. 173.
son of the Earl of Cambridge,

mistakingly called son of the Duke of York, xviii.

371.
whether he was guilty of perjury,

discussed, xviii. 387.
treated with insult before his

death, xviii. 395.
his death, occasioned by his own

imprudence, xviii. 401.
ages of his children ascertained,

xviii. 409.
Richard Duke of, afterwards Richard III. the time

of his birth, xviii. 366.

ERRATA.

vol. page line

i. 8, 7 from bottom^ur laid, read lain.
563, 11, for till, read that in which.
108, add Malone to the last note,
iv. 118, 10 from bottom, for This be, read Thisbe.

225, 11 of notes,/or T. Weston, read T. Warton.
v. 79, 3 of notes, for Glanvilli, read Glanvil.

104, 16 of notes, for Hermann, read Heumann *.
128, 16, put an asterisk after the word one.
vi. 161, 10 of notes, for AofxTrr^npig, read Aa/xTTTripe;.
220, add Malone to note 1.

265, 14 from bottom, ^r upon the subject, read upon it.

266, 5 from bottom, for find, read discover.

vii. 306, 10 of the quotation from Marlowe,ybr wound, read wind.
401, 4 from bottom, for of habit's devil, read of habits devil.
540, 8, for absolute, read obsolete,
viii. 303, 2 from bottom, for fetter, read tetter.
ix. 68, 8 of notes, for so, read no.

226, 1, for daws, read doves.
434, 7 of notes, dele Steevens.

x. 275, 15 from bottom, for term, read tense.

xi. 200, 12 from bottom, for the spirit by the witch, read the spirit
raised by the witch.
501, 13 from bottom, for Anglicamus, read Anglicanus.
501, 20 from bottom, for reflection, read rejection.
501, 22 from bottom, for much more, read more,
xiv. 275, 4 from bottom, for cacoethis, read cacoethes.
xv. 17, 9 from bottom, for that he must have happened, rcail that
Shakspeare must have happened.
143, 9 of notes, for see p. 60, read see p. 80.
xvi. 235, 6 from bottom, my reference belongs to note 1, and not
note 2.
304, 10 from bottom,ybr vol. iv. read vol. xiv.
329, 14 from bottom, insert Malone.
xxi. 9, 8 from bottom, after 1773, insert Steevens, and make
what follows a new note.

* This mistake originated with Mr. Steevens himself, in whose note it is
found.

THE END.

C. Baldwin, Printer,
Vew BriJee-strert, London-

!

i,*w. .^iTf of CAL1F0KWU
T.OS A WftET/TCR

/

UNIVERSITY OF CALIFORNIA AT LOS ANGELES

THE UNIVERSITY LIBRARY

This book is DUE on the last date stamped below

9 \W

feb:

\i*A

OCT 3 0 1964

RECEIVED

MAIN LOAN

DESK

OCT 1315164

A.M.

7181911011111211

CD

»M.
2! 3 1 41816

tO-OWL

Form L-9-20w 8/37

3 1158 00143 2862

UC SOUTHERN REGIONAL LIBRARY FACILITY

AA 000 148 795 8

• 1

r^ ^* -

^9m } C->

/ / / / / / /

, ///////■//
////■■

- / / / / / / / / /
/ / ,' / / / / / / /
7 / /////////
/,'.'////// /
•' ■■■ / / / /
. / - / / / / /
/ ' '■■ / / / /
■ •///• / / / /
'•/ / / • ,-' / / /

■ / /
/ /

.'V/'/VVV

/

: • ' / /■■■
/

/ .

V \ \

) ■

m a \ \

\ \ \ \
A \ \ \ \

A \
- \. \ \ \ \ \ "•

\ \ , ' \ \ \\
\ \ \ \ \ \ \ \
- . \ \ \ \ \ \ -

> \ s \ \ N ""

v\ .-V\\A \ \ \ '\

\ \ \ \/\ s \ • \

'& \ \ \ \ ■• ■• \ \ \

\ \ \ \ • ^ V

I XWWWN

4 • -Ay-
\ \Y\\ '

\ ^ •• •

V ^ \ ^ * \ \ \ \ '

if \ \ \ \ \ \

I s •

' \ \ \ \ '■

*5lA

8&2&W&M9&80&f&^^ ,