114. Who, even now, &c. The present passage is very involved in construction, from the circumstance that "who" is made to do double duty in the sentence, that word being used in reference to Imogen, and used in addressing Posthumus. Throughout the very condensed and elliptical diction of this play, there is scarcely a more remarkable instance of it than the one now commented upon. Capell, perceiving the difficulty in the passage, changed "this" to 'thy;' but that change does not meet the really perplexing point of the peculiar construction here, which we think lies in the duplex use of the word "who." It may be proper to state that we asserted this in the preface to our edition which was published in New York, 1860. Shakespeare not unfrequently makes a verb do double duty in a sentence (see Note 23, Act iv., "Timon of Athens"); but, to the best of our remembrance, this is the only instance where he makes a pronoun perform similar twofold office. 115. My peace we will begin. Hanmer changed "my" to 'by' here; but we think that Cymbeline uses "my" to denote the " peace" that he himself will at once inaugurate, in contradistinction to the future "peace" predicted to Britain as resulting from the reign of his sons after him. 116. Whom heavens, in justice, both on her and hers, have laid most heavy hand. Here "on" after "both" allows 'on' to be understood either before "whom" or after hand." See, for an instance of similar construction, Note 71, Act iv., “King John." 117. Of this yet scarce-cold battle. 'yet this' transposedly for "this yet." Folio. The first Folio gives Corrected in the third Lords, Knights, Gentlemen, Sailors, Pirates, Fishermen, and Messengers, DIANA, GOWER, as Chorus. SCENE-Dispersedly in various Countries.* To show in how many regions the scene is dispersed, it may be remarked that Antioch was the metropolis of Syria: Tyre, a city of Phoenicia, in Asia; Tharsus, the metropolis of Cilicia, a country of Asia Minor; Mytilene, the capital of Lesbos, an island in the Ægean Sea; Ephesus, the capital of Ionia, a country of the Lesser Asia. 1. Although this play is not given in the first Folio, we think there is no doubt that it was Shakespeare's production. Internal evidence as well as external evidence show it to have been his; the poetry of imagination and poetic diction, in certain scenes especially, appear to us to be essentially his. For instance, the whole of the first scene of the third Act and first scene of the fifth Act seem to us to be written as but one dramatic hand ever wrote. Fervour of expression in the most natural language, and passion welling up from the very depths of the human heart, are here to be found as only one writer with whom we are acquainted ever presented them to mortal sight by pen and ink. The tokens we perceive of our poet's authorship in particular passages will be pointed out in our notes appended thereto as we proceed through the play. The first known Quarto edition was published in 1609, and bore William Shakespeare's name on the title as its author. Other Quarto editions followed, published successively in 1611, 1619, 1630, 1635, 1639; and it was inserted in the Folios of 1664 and 1685 It had been entered in the registers of the stationers' books on the 20th of May, 1608, by Edward Blount (one of the publishers of the first Folio); but the 1609 Quarto edition was published by Henry Gosson, not by Edward Blount. The period when this play was first performed upon the stage seems to have been somewhere about 1607 or 1608; for in the title-page to the earliest known Quarto (1609) it is called "The late and much admired Play, called Pericles';" while the title of a prose tract, written by George Wilkins, published in 1608, and founded upon this popular drama, runs thus: "The Painfull Adventures of Pericles Prince of Tyre. Being the true History of the Play of Pericles as it was lately presented by the worthy and ancient Poet John Gower." With regard to the date of its composition, it may have been originally written by Shakespeare when first trying his hand upon a tragic subject; and that he re-touched and revised it for bringing out upon the stage in 1607 or 1608. Dryden, in his Prologue to Charles Davenant's "Circe," written in 1675, has a line which testifies to this effect : "Shakespeare's own Muse his Pericles first bore." The story on which the plot of this drama is based is found in And lords and ladies in their lives The purchase is to make men glorious; If you, born in these latter times, the ancient romance of "King Apollonius of Tyre," and also in Gower's "Confessio Amantis," where King Appolin of Tyre is treated of; while the more immediate source whence the incidents were derived is probably a prose translation of the "Gesta Romanorum," by Lawrence Twine, first printed in 1576, which gives a novel, entitled, "The Patterne of painefull Aduentures: containing the most excellent, pleasant, and variable Historie of the strange accidents that befell vnto Prince Apollonius," &c. 2. Gower. An ancient English poet, a contemporary with Chaucer. It was because he relates in his "Confessio Amantis" the story on which this play is founded, that the chorus here introduced is represented in his character. 3. Old. Here used for ' of old' or 'anciently.' 4. Is come. The imperfect rhyme of sung" and " come in this couplet is not more licentious than several that occur in these chorus-speeches of Gower; and we have heretofore pointed out instances of occasional imperfect rhyme and even of nonrhyme in Shakespeare's rhymed passages. See Note 38, Act v., "Richard II. ;" and Note 25, Act ii., "Cymbeline." 5. Holy-ales. The old copies give 'holy dayes' here; but Malone's correction, suggested by Dr. Farmer, is probably right, "holy-ales" being synonymous with church-ales,' which were certain ecclesiastic holidays. See Note 34, Act ii., "Two Gentlemen of Verona." It is evident that these chorus-speeches were intended to be in rhyming form, however imperfect the rhymes occasionally are. The old printed text of the present play is so corrupt, that it is difficult to decide where, and where not, emendation is needed; all a conscientious editor can do is to examine carefully and exercise the power of decision to the best of his judgment. 6. Purchase. Here used for 'advantage,' 'gain,' 'profit.' Bacon, in his "Advancement of Learning," thus uses the word: "Some fall in love with accesse to princes, others with popular fame and applause, supposinge they are things of greate purchase, when in many cases they are but matters of envy, perill, and impediment." 7. Et bonum quo antiquius, eo melius. Latin; ' And a good thing the more ancient it is, the better it is.' Waste it for you, like taper-light.— This Antioch, then, Antiochus the Great I tell you what mine authors say: Bad child; worse father! to entice his own To evil should be done by none: By custom 10 what they did begin What now ensues, to the judgment of your eye SCENE I-ANTIOCH. A Room in the Palace. Enter ANTIOCHUS, PERICLES, and Attendants. Ant. Young prince of Tyre,16 you have at large receiv'd 8. Pheere. The old copies misprint 'peere' for "pheere." Malone's correction. This antique term for a • mate' or 'companion' was variously spelt, but most frequently 'fere.' 9. So buxom, blithe, and full of face. "Buxom " means 'fresh,' 'lively' (see Note 85, Act iii, "Henry V."); and "full" is used to express 'fully beautiful,' 'plenarily attractive.' See Note 17, Act i., "Othello." 10. By custom. The old copies have 'but' for "by." Malone's correction. 11. Account. An abbreviated form of 'accounted;' probably intended here, though the old copies give 'account'd,' 'accounted,' and 'counted.' Malone made the correction. 12. Thither frame. their course thither.' 13. Wight. Thither shape their course,' 'bend An old word for person,' 'individual.' See Note 21, Act ii., "Othello." 14. As yon grim looks do testify. In reference to the heads of those who had failed to guess the riddle, which were placed over the palace gate, and supposed to be in sight of the audience. 15. Who. Here used for which,' in relation to "the judg ment of your eye." 16. Young prince of Tyre. "Prince," as applied to Pericles in this play, means prince regnant; since we find him monarch of Tyre, and his father being spoken of by him in Act ii., sc. 1, as "dead." In the "Gesta Romanorum" Apollonius is King of Tyre; but in Twine's translation he is repeatedly called prince of Tyrus, as he is in Gower's "Confessio Amantis." Music. Enter the Daughter of Antiochus. Per. See where she comes, apparell'd like the spring, Graces her subjects, and her thoughts the king 20 Her face the book of praises,21 where is read You gods that made me man, and sway in love, 23 That would be son to great Antiochus. Before thee stands this fair Hesperides, 2 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, which desert must gain; And which, without desert, because thine eye Presumes to reach, all thy whole heap must die."4 20. Graces her subjects, and her thoughts, &c. Elliptically constructed; the sentence signifying, The Graces are her subjects, and her thoughts are the sovereign of every virtue that gives renown to men!' 21. Her face the book of praises. Her face is as a book containing all that is praiseworthy,' or that may elicit praises." 22. Her mild companion. 'The companion of her mildness. Shakespeare often has these elliptically employed epithets. See Note 59, Act ii., "Julius Cæsar." 23. This fair Hesperides. Antiochus calls his daughter by the name poetically used for the garden where the renowned golden apples were kept. See Note 113. Act iv., "Love's Labour's Lost." 24. All thy whole heap must die. 'Thy entire mass must be |