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“ Copp'p hills"-i. e. Hills rising in a conical form,

(you happily may think something of the shape of a sugar-loaf. Thus, in Hor Are like the Trojan horse, WAR-STUFF'D sihia mau's “Vulgaria," (1519:)—"Sometime men

With bloody veins,") etc. copped caps like a sugar loat.” So Baret:-" To make The old copies read :copped, or sharp at top; cacumino." In Anglo-Saxon,

And these our ships you happily may think cop is a head.

Are like the Trojan horse, was stutt d within

With bloody reines, etc.
SCENE II.

The emendation is Stevens's. Mr. Boswell says that " — why should this CHANGE of thoughts”-So every

the old reading may mean, elliptically, “shich was

stuffed." old copy: every modern one, without necessity, alters change" to charge. “Change for charge, and vice

For “ bloody veins” the editors have generally giren

us · bloody views"-a reading at once harsh and no versa, was a common misprint. But Pericles, after

etical, and at the same time modern in its use; for commanding that none should disturb him," asks why this change in his spirits should do so. Two lines lower,

views, in this sense, gives not only a very uncouth met

phor, but seems neither in the manner of Shakespeare as, of the old copies, was altered to is, by Malone. We

nor of his age. might, by a mere transposition of two letters, read, Be my, etc., for “By me," and attain an easier sense than the editors have yet given :

ACT II. why should this change of thoughts,

“ – vill prove AWFUL"-i. e. Entitled to awe and The sad companion, dull-eyed melancholy, Be my so usd a guest, is not an hour, etc.

* Thinks all is writ he spoken can"- Meaning, Thinks - OSTENT of war”—The old copies have slint of

all he can speak is as holy writ. war," retained in some editions, and explained by Kuight—" Slint is synonymous with stop, in old wri

“ Build his statue"—“ All the old copies read .build: ters." * Ostent” is an ingenious correction, and proba

but the word is invariably changed to gild, becans 1 bly the true reading, as it agrees with the context, “ will

the Confessio Amantis' we find, with regard to this look so huge." It is besides a frequent old poetic phrase. Thus, in Decker's “Entertainment to James I."

It was of laton over-gilt. (1604:)—

But before the statue was gilt it was erected, according And why you bear alone th' ostent of warre.

to the same authority :Again, in Chapman's translation of Homer's Batracho

For they were all of him so glad muomachia :

That they for erer in remembrance

Made a figure in resemblance
Both heralds bearing the ostents of war.

Of him, and in a common place

They set it up. “ Are arms to princes"— Which are arms, etc., is here understood.

Why not then · build,' as well as gild ?"-KNIGHT. " -- but smooth”—To “smooth” is to sooth, or coax.

this 'longs the lext”-i. e. (in Gower's elliptical Thus in RICHARD III.:

construction.) This belongs to the text. Excuse me

from comment upon it; you will see it.
Smile in men's faces, smooth, deceive, and cog.
So, in Titus ANDRONICUS :-

SCENE I.
Yield to his honour, smooth, and speak him fair.
The verb to smooth is frequently used in this sense by

“ — when I saw the porpus"— The playing of pos. our older writers; for instance, by Stubbes, in bis

poises round a ship is a prognostic of a violent gale of “Anatomie of Abuses," (1583 :)“ If you will learn to

wind. deride, scoffe, mock, and flowt, to flatter and smooth," - the FINNY subject of the sea"-Stevens corrected etc.

the old copies, which read fenny, to“ finny," and rightly, - shall ne'er CONVINCE"-In the sense of overcome.

as is shown by the words of the novel founded upon the

play:—“ Prince Pericles wondering that from the firsy SCENE III.

subjects of the sea, these poor country-people learned

the infirmities of men." “ — he was a wise fellow"-Stevens has told us who this wise fellow was, from the following passage in Bar

"if it be a day fits you, search out of the calendar, nabie Riche's “ Souldier's Wishe to Briton's Welfare, or

and nobody look after it”—This is the reading of the Captaine Skill and Captaine Pill," (1604, p. 27:)—"I

original, and has occasioned some discussion. Does it will therefore commende the poet Phillipides, who being

not mean that the fisherman, laughing at the rarity of demannded by King Lisimachus, what favour he inight being honest, remarks, If it be a day (i. e. a saint's or doe unto him for that he loved him, made this answere

red-letter day) fits you, search out of (not in) the calento the king—That your majesty would never impart

dar, and nobody look after it (there, as it would be use unto me any of your secrets.

less ?) Stevens supposes that the dialogue origiuaily

ran thus:-
SCENE IV.

Per. Peace be at your labour, honest fishermen;
The day is rough and thuarts your occupation.

2 Fish Honest! good fellow, what's that? If it be ret a day - and seen with mischief's eyes”—Thus in the old

fits you, scratch it out of the calendar, and nobody will loos copies. Malone proposed unseen, and Stevens prints ** wistful eyes," instead of " mischief's;" but Dionyza means to say, that here their griefs are but felt and seen

- puddings and FLAP-JACKS”-A “flap-jack" was with mischief's eyes—eyes of discontent and suffering; a pancake, or fritter, and it seems to have been made but if topped with other tales—that is, cut down by the

of batter and apple. In some parts of the country it is comparison-like groves they will rise higher, be more

also still called an apple-jack. (See Holloway's * Pro unbearable.

vincial Dictionary.") 6- dames so JETTED"-i. e. So strutted.

" — things must be as they may"-"Things must be

(says the speaker) as they are appointed to be; and Thou speak'st like him's"-i. e. Like him who is :

what a man is not sure to compass, he has yet a just an elliptical expression, misprinted hymnes in all the old

right to attempt." The Fisherman may then be sur copies.

posed to begin a new sentence-" His wife's soul;" buz " — if he on peace consist”-i. e. If he stand on here he is interrupted by his comrades; and it would peace; a Latinisın.

be vain to conjecture the conclusion of his speech. 38

after it.

There is a dance call'd Choria,
Which joy doth testify;
Another called Pyrricke
Which warlike feats doth try.
For men in armour gestures made,
And leap'd, that so they might,
When need requires, be more prompt
In public weal to fight."

SCENE IV. the strongest in our CENSURE”-i. e. Opinion. We believe, (savs the speaker,) that the probability of the death of Pericles is the strongest. He then proceeds to assume that the kingdom is without a head. So the ancient readings, which we follow.

SCENE V. " Even as my life, or blood that fosters it." So in the old copies. Malone and Collier have

Even as my life my blood, etc. Even as my life loves my blood. The original is clearI love you, even as my life, or as my blood that fosters

my life.”

ACT III.

.

etc.

And spite of all the RAPTURE of the sea,

This jewel holds his biding on my arm," In the old copies these lines run thus:

And spite of all the rupture of the sea,

This jewel holds his building on my arm. The novel founded upon Pericles shows that the two words, which in our text vary from the original copies, have been rightly changed by the commentators: Pericles, we are informed in the novel, got to land “ with a jewel, whom all the raptures of the sea could not bereave from his arm.” Sewel recommended “ rapture" for rup'ure, and Malone substituted - biding” for building. · Rapture” was often used for violent seizing, taking away forcibly.

- a pair of bases”-Not "armour for the legs," as explained in some of the annotators, but, as explained by a better antiquary, Nares, (in his “ Glossary,”) “a kind of embroidered mantle, which hung from about the middle to the knees, or lower; worn by knights on horseback.” It resembled the Highland dress.

SCENE II.
" The word, LUX TUA VITA MIHI"-" The word"
means the mot, or motto. Of old, perhaps, the motto
consisted of only one word. These “ shreds of litera-
ture” might have been picked up out of any heraldic
Looks, common in that age. Douce has traced some of
them to the“ Heroical Devices” of Paradin, translated
into English by P. S.” (1591.) The second one, Piu
per dulzura que per fuerza, (more by swiftness than
by force,") has the Italian piu (more) instead of the
Spanish mas—the rest being Spanish.

SCENE III.
By Jove, I wonder, that is king of thoughts,

These cates resist me, he not thought upon."
“This speech is usually assigned to Pericles; and in
the second line, under this arrangement, we read, she
not thought upon. But, throughout the remainder of
the scene, Pericles gives no intimation of a sudden
attachment to the Princess. The King, on the contrary,
is evidently moved to treat him with marked attention,
and to bestow his thoughts upon him almost as exclu-
sively as his daughter. If we leave the old reading, and
the old indication of the speaker, Simonides wonders
that he cannot eat—these cates resist me'-although
he (Pericles) is ' not thought upon.' This is an attempt
to disguise the cause of his solicitude even to himself

. It must be observed that the succeeding speeches of Simonides, Thaisa, and Pericles, are all to be received as soliloquies. In the second speech, Simonides conlinues the idea of " he not thought upon,' by attempting to depreciate Pericles— He's but a country gentleman.'"-KNIGHT.

" — princes, not doing so, Are like to gnats," etc. “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 unserviceable prince, who, having dispensed no blessings, can hope for no better character."-STEVENS.

this stANDING-BOWL of rine"—A bowl with a raised stand, or foot, was so called.

- a soldier's dance"- Malone says, “ The dance here introduced is thus described in an ancient Dialogne against the Abuse of Dancing,' (black letter, no dute:)

Are the blither”—The old copies have, “ Are the blither," which several editors retain, as an elliptical expression. Stevens changes it to “ As the blither." It is strange that no English editor has thought of “aye* for ever—a word used by Gower and Shakespeare, and the contemporaries of both. Thus, in the MIDSUMMERNight's DREAM:

Fer aye to be in shady cloister 'mured.
Milton, too,
has-

the Muses who
Aye round about Jove's altar sing.
This was spelled, anciently, Aie, and may have been
so written here; which made Are an easy misprint for
it. Like much other good old poetic English, antiquated
at home, Ay, in this sense, is still both colloquial and
poetic Scotch. Thus, the “ crickets singing at the oven's
mouth”-

Aye the blither for their drouth-
is precisely the same idiom with Burns's—

An' ay the ale was growing better-
in “ Tam O'Shanter."

' fancies quaintly EchE"-A form of eke, found in Chaucer and Gower, as well as in later writers-here used for “eke out."

many a DEARN and painful PERCH"-“Dearn” signifies lonely, solitary. A " perch” is the measure of five yards and a half. “The careful search of Pericles is made by many a dearn and painful perch, by the four opposing corners which join the world together.”

“ – and WELL-A-NEAR" —An ulatory phrase, equivalent to Well-a-day! Alas, alas! still preserved in Yorkshire use, and explained in some of the glossaries of that dialect. " — in this self storm"-i. e. In this same, or self

Most modern editors corrupt the ancient text to fell storm."

" Inill relate"-i. e. I ne will, or will not relate.

same storm.

SCENE I.

· We, here belor, Recall not what we give, and therein may

l'se honour with you." Barry Cornwall notices this last touch, as peculiarly Shakespearian. He adds. “ And the bold use of effec. tive words, as where Pericles says that the surges rash both heaven and hell;' when he prays that the winds may by controlled, (bind them in brass ;') and his ap

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peal to Lucina, not to descend personally, not to lend The very PRINCIPALS”-i. e. The strongest timbers her aid merely, but to send down her divinity upon of a building them. (“convey thy deity,')-(he says,) are all characteristic of our greatest of poets, and worthy of him.

'T'is not our HUSBANDRY”—“Husbandry" here as The scene proceeds, and we hear Pericles mourning

nifies economical prudence. So in Hamlet, (act i soes over his lost wife, Thaisa, in terms at once homely and

3:)

- borrowing dulls the edge of kusbandry. beautiful:"A terrible childbirth, etc., etc.

And in HENRY V.:

For our bad neighbours m us early stirrers, * Quiet and gentle thy conditions !"

Which is both healthful and good kusbandry. Condition,” in old English, was applied to temper. * Virtue and CUNNING"-"Cunning" here mens Thus, in HENRY V.:-"Our tongue is rough, etc.; my condition is not smooth.” “ The late Earl of Essex told

knowledge, as in the old English versions of the Pana,

and elsewhere. Queen Elizabeth (says Sir Walter Raleigh) that her conditions were as crooked as her carcase-but it cost him

Or tie my treasure up in silken bags, his head."

To please the fool and death." That e'er was prince's child"— The novel founded

“ Death” and the "Fool" were both personages farriupon the play of Pericles here employs an expression liar to the amusements of the middle ages, and were which (says Collier) is evidently Shakespearian. It

acted, and painted, and engraved. Stevens mentions gives this part of the speech of Pericles as follows:

an old Flemish print, in which Death was exhibited in Poor inch of nature! (quoth he.) thou art as rudely

the act of plundering a miser of his bags, and ibe Fool welcome to the world, as ever princess' babe was, and

(discriminated by his bauble, etc.) was standing behind hast as chiding a nativity, as fire, air, earth and water

and grinning at the process. The “ Dance of Death can afford thee.” This quotation shows that Malone

appears to have been anciently a popular exhibition. A (who is followed in nearly all editions) was wrong in

venerable and aged clergyman informed Stevens tba: altering “ welcome” to welcom'd: the novel proves that

he had once been a spectator of it. The dance cos "welcome” was the Poet's word.

sisted of Death's contrivances to surprise the Merry

Andrew, and of the Merry Andrew's efforts to elude the Thy loss is more than can thy PORTAGE quit," etc. stratagems of Death, by whom at last he was overpow. That is, Thou hast already lost more (by the death of

ered; his finale being attended with such circumstances thy mother) than thy safe arrival at the port of life can

as mark the exit of the Dragon of Wantley. It should counterbalance, with all to boot that we can give thee. seem that the general idea of this serio-comic pisade • Portage" is here used for conveyance into life.

deur had been borrowed from the ancient “Dance of This is the common interpretation of this obscure

Machabre," commonly called the “ Dance of Death." phrase. I observe that, in Warner's “ Albion,” “ port

which appears to have been anciently acted in churches, age" seems used, as its analogous word bearing, often

like the Moralities. The subject was a frequent ornafor bchaviour :

ment of cloisters, both here and abroad. The reader The Muses barely begge or bribbe,

will remember the beautiful series of wood-cuts of the Or both, and must, for why?

Dance of Death," attributed (though erroneously) to They find as bad bestow as is

Holbein. Douce describes an exquisite set of initial Their portage beggarly.

letters, representing the same subject; in one of which As Pericles has just referred to the hoped-for future the Fool is engaged in a very stout combat with his ad. gentle bearing of the child, the Poet may have meant versary, and is actually buffeting him with a bladder that he should add, that the babe's loss was greater than filled with peas or pebbles-an instrument used by can be compensated by its future conduct, with all else modern Merry Andrews. that it can find here on earth.

SCENE III. " — we are strong in custom”—The old copies have strong in easterne,” which (Malone says) means that Though I show will in't"-i. e. Though I may there is a strong easterly wind. Knight would read, seem viljul and perverse in so doing. There may be here

strong astern"-i. e. we are driving strongly astern. a misprint for “ Though I show ill in it," as Pericles Neither of these ideas could well be in the author's (act v. scene iii.) says that his long hair “makes me thoughts. This edition prefers Boswell's ingenious and look dismal." most probable supposition, that easterne was a misprint for "custom," as meaning, they say they have always its dangers with calm. The epithet is singularly Shake

the mask'd Neptune”-i. e. The ocean masking observed it at sea, and that they are strong in their adherence to old usages. He refers to the experience of

spearian in manner; even the article prefixed, (* ike his own correction of the press, that this is a natural

masked Neptune,'') is in his peculiar fashion. mistake.

SCENE IV. Bring me the satin coffin”—“Coffin” and coffer are words of the same original meaning. Subsequently,

“ – on my EANING time”—This is the folio reading. Cerimon says to Thaisa

and that of one quarto. The others have learning

time,” which the editors have amended to "yearning Madam, this letter, and some certain jewels, Lay with you in your coffer.

time"—the time of that internal uneasiness preceding The Poet, therefore, did not mean that his queen should

labour. But “eaning" is a common old English word. be laid in this coffin, but that it was the coffer, or chest,

for bringing forth young, usually applied to sheep, but containing satins, which Pericles terms the "cloth of

not contined to them. Shylock speaks of “the ewes in state," used for her shroud. (See next scene.)

eaning time;" but there is no reason or evidence that

it was not used for the birth of children. SCENE II.

ACT. IV. Give this to the 'pothecary"— The precedent words show that the physic cannot be designed for the

“- ripe for marriage ritx"— The original has sight. master of the servants here introduced. Perhaps the

which has afforded place for various conjectures and incircumstance was introduced for no other reason than terpretations. The reading here adopted seems the to mark more strongly the extensive benevolence of

most probably that which the author wrote. Cerimon. It could not be meant for the poor men who " — the sleided silk"-"Sleided" silk (says Percy) have just left the stage, to whom he has ordered kitchen is untristed silk, prepared to be used in the weaver's physic.

sley, or slay

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RECORDS with moan"-TO “record” anciently signified to sing. Thus, in Sir Philip Sydney's “Ourania," (by Nicholas Breton, 1606:)

Recording songs unto the Deitie. The word is still used by bird-fanciers.

“ Prest for this blow"-—" Prest” is ready-(prét, French.)

SCENE I. " — for her OLD NURSE's death"-In the old copy

She comes weeping her onely mistresse death. As Marina (says Percy) had been trained in music, letters, etc., and had gained all the graces of education, Lychorida could not have been her only mistress.. I would therefore read

Here comes she weeping her old nurse's death." “— as a CARPET, hang upon thy grave”—“So the old copies. The modern reading is chaplet. But it is evident that the Poet was thinking of the green mound that marks the last resting-place of the humble, and not of the sculptured tomb to be adorned with wreaths. Upon the grassy grave Marina will hang a carpet of Howers—she will strew flowers, she has before said. The carpet of Shakespeare's time was a piece of tapestry, or embroidery, spread upon tables; and the real flowers with which Marina will cover the grave of her friend might have been, in her imagination, so intertwined as to resemble a carpet, usually bright with the flowers of the needle."-Knight.

I am afraid to think what I have done;

Look on't again I dare not, etc. The stern, sustained resolution of Lady Macbeth, her complaint for her husband's scruples, as

what beast was it, then, That made you break this enterprise to me and her

things without remedy Should be without regard, are, when compared with Dionyza's cool reply, " that she's dead," and her

I do shame
To think of what a noble strain you are,

And what a coward spirit, like the finished work of some great painter by the side of the first rough, spirited outline, in which he had embodied his conceptions.

“— Now, please you, wit"-i. e. Now, be pleased to know. The word, as well as its context, is Gower's own language, in whom we find

-the lorde hath to him writte That he should understande and witle.

SCENE VI. " - Perséver”—The old mode of writing and ac, centing the word, as it often occurs in the older dramatists.

“ – under the cope"—i. e. Under the cope, or covering of heaven.

" - door-keeper to every coYSTREL”—“Coystrel" is said, by Collier and Gifford, to be a corruption of kestrela bastard kind of hawk. But it rather seems to mean a low servant, or what Marina calls “the basest groom," as it is so used in Hollingshed and Palsgrave, as quoted by Dyce.

ACT V. " Her inklE"—“Inkle" is a kind of tape, but here it means coloured thread, crewel, or worsted, used in the working of fruit and flowers.

SceŅE IV. Becoming well thy Fact”—The old editions all have “thy face." This, though retained by the latest editors, seems to afford no appropriate meaning, and to be an error of the press. Malone supposed the word intended was feat-i. e. thy exploit. I prefer Dyce's suggestion of “ fact," as it requires but the change of a letter, and agrees with Shakespearian usage, in the sense of your guilty act.” Thus in the Winter's Tale, (act iii. scene 2,) the king reproaching his wife with her supposed guilt, says, “ As you are past all shame, (those of your fact are so,") etc.; for those who are guilty of the same crime with you. We retain this sense only in legal phrase, drawn from the old common law, “ taken in the facti. e. in the very act of crime.

- DISTAin my child”—The old reading is disdain, which may be right, but does not agree with the context. Gower has said of Marina's grace

this so darkes

In Philoten all graceful marks. · Distain" is a common old poetical word for sullying, defiling; either literally or by contrast. It is so used by Chaucer, in his “ Troilus," and by Gower; both of them authors familiar to Shakespeare.

“ – and held a MALKIS, Not worth the time of day.That is, a coarse wench, not worth a “good morrow.' “You are like one, that superstitiously Doth swear to the gods, that winter kills the flies," etc.

“This passage appears to mean, “You are so affectedly humane, that you would appeal to heaven against the cruelty of winter in killing flies.' Superstitious is explained by Johnson, scrupulous beyond need."-Bos

SCENE I. "— DEAFEN D parts”—The old copies all read “defended parts.” Malone made the alteration, which he explains thus:-"His ears, which are to be assailed by Marina's melodious voice." Stevens would read “deafen’d ports," meaning “ the oppilated doors of hearing."

- Afflict our province”—The old copies have inflict-a use of the word quite anomalous, and therefore, probably, a misprint for “afflict.”

Enter Lord, Marina, and a young Lady." “It appears that when PERICLES was originally performed, the theatres were furnished with no such apparatus as, by any stretch of 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 license 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 spectators was not more incommodious in the representation than any other would have been."-Malone.

- AWKWARD casualties"_" Awkward” is here used in its oldest sense, for wrong, adverse. Thus Udal says of the Pharisees, that "they with awkward judgment put goodness in outward things;" and he terms them blind guides of an awkward religion." Like Patience, gazing on kings' graves, and smiling

EXTREMITY out of act."

“By her beauty and patient meekness disarming Calamity, and preventing her from using her uplifted

WELL,

I know, you'll do as I advise"-Throughout this whole scene, slight and sketchy as it is, the reader cannot but be strongly reminded of Macbeth and his wife. Cleon's “infirmity of purpose," shocked at the crime, and willing to give " the spacious world to undo the deed,” while he immediately yields to his wife's energy of guilty will, and follows out her leading, is in the same spirit with Macbeth's,

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Rword. •Extremity' (though not personified as here) is, of our great Poet is only visible in the last act; for I in like manner, used for the utmost of human suffering, think it appears in several passages, dispersed over each in King LEAR:

of these divisions. I find it difficult, however, to per another,

suade myself that he was the original fabricator of the To amplify too much, would much more, And top extremity.

plot, or the author of every dialogue, chorus, etc. So in Twelfth Night:

“Were the intrinsic merits of PERICLES yet less than She sat like Patience on a monument,

they are, it would be entitled to respect among the Smiling at Grief."

Malose.

curious in dramatic literature. As the engravings of " Have you a working pulse ? and are no fairy Mark Antonio are valuable not only on account of their Motion ?

beauty, but because they are supposed to have been That is, No fairy puppet, made by enchantment. A executed under the eye of Raffaelle, so PERICLES Ml “ motion" was the old synonym for puppet. The phrase continue to owe some part of its reputation to the is poetic and Shakespearian, which in many editions is

touches it is said to have received from the hand of altered, without authority, to

Shakespeare."-STEVENS.
and no fairy,
No motion,

Mr. Hallam is not much more liberal in his con

mendations than Stevens: "- 0 Helicanus! strike me"-Barry Cornwall re

“ Pericles is generally reckoned to be in part, and marks, that there is no one of the dramatic authors of

only in part, the work of Shakespeare. From the the Elizabethan period whose pen can be so readily

poverty and bad management of the fable, the want of traced as Shakespeare's.” Of this, Pericles, with all

any effective or distinguishable character-for Marina its original defects, offers repeated examples of lines, is no more than the common form of female virtue, such phrases, passages, which cannot be ascribed to any other as all the dramatists of that age could draw—and a genpen. One of these characteristics, which is scarcely eral feebleness of the tragedy as a whole, I should w discernible in any of his contemporaries, is, (in the believe the structure to have been Shakespeare's Bat words of Barry Cornwall,) “ that his speeches, instead many passages are far more in his manner than in that of being directed and limited for the time to one sub of any contemporary writer with whom I am acquainted: ject and person only, radiate, so to speak, or point on and the extrinsic testimony, though not conclusive, being all sides; dealing wiih all persons present, and with all of some value, I should not dissent from the judgment subjects that can be supposed to influence the speaker.

of Stevens and Malone, that it was in no inconsiderable Thus, in the speech commencing 'O Helicanus! Per degree repaired and improved by his touch. Drake icles, in the course of a few lines, addresses himself to

has placed it under the year 1590, as the earliest of Helicanus, to Lysimachus, to Marina, to his own condi- Shakespeare's plays; for no better reason, apparently, tion, etc. Hence his scenes, instead of being conversa than that he thought it inferior to all the rest." But, if tions confined for the time to two speakers, are often it were not quite his own, this reason will have some matters of extensive and complicated interest, in which

less weight; and the language seems to me rather that the sentiments and humours of various persons are inter of his second or third manner than of his first."—Harwoven and brought to play upon each other, as in the

LAM, (Literature of Europe.) natural world."-(Life of Ben Jonson.)

“ – another life”—“ Another like" in the old copies, Hazlitt notices, that “the grammatical construction, which, as it gives no fit sense, is probably a misprint like that of TITUS Andronicus, is constantly false, ap) for “life.” The same error also occurs in Diana's mixed up with vulgarisms, which, (says he.) with the speech.

halting measure of the verse, are the chief objections

to Pericles of Tyre, if we except the far-fetched and SCENE II.

complicated absurdity of the story. The movement of Do it, and happy”-i. e. Do it

, and live happy: Shakespeare, and several of the descriptions are either

the thoughts and passions has something in it not unlike This would hardly seem to want explanation, had not several editors thought it so obscure as to require a

the original hints of passages which he has engrafted on change of the text, so as to read

his other plays, or are imitations of them by some of Do't, and be happy.

temporary poet. The most memorable idea in it is in Marina's speech, where she compares the world to a

lasting storin, hurrying her from her friends.'” SCENE III. “ Voice and FAVOUR"-" Favour” is here, as in other William Gifford goes further, and dismisses it siminstances, countenancc.

marily, as “the worthless Pericles." Upon this Barry

Cornwall (Life of Jonson, note on Pericles) thus retorte: “What means the woman"-"So the quarto, (1619.)

“ It is certainly not one of Shakespeare's firstclae and subsequent editious: the quarto of 1609, - What

plays. Nor is it to be lauded as a play full of character. means the mum ?' which may have been a misprint for But it stands higher, as a composition, than several of It would suit the measure better, and it would

Shakespeare's undoubted works, and it comprehends not be unprecedented to call a priestess of Diana a

passages finer in style and sentiment than any thing to nun."-COLLIER.

be found in the serious dramas of Ben Jonson. We " This ornament,

cannot but think that the preceding critics (and among Makes me louk dismal, will I clip to form," etc.

the rest Mr. Gifford) must have condemned it unread."

He then proceeds to extract and comment upon sone That is, My beard, that makes me look dismal, will I clip to form.

passages, in “ vindication (to use his words) of this much

slandered play." In Antioch, and his daughter"-i. e. The king of Antioch. The old copy reads Antiochus. Stevens made William Gopwis, (Life of Chaucer, chap. srii.) the alteration, observing that in Shakespeare's other without expressing equal confidevce in Shakespeare's plays we have France for the king of France; Morocco authorship of the play, speaks of the piece itself with for the king of Morocco, etc.

warm and unqualified admiration. In his account of old Gower, as the contemporary and fellow-labourer of

Chaucer, in forming our language, he says :—- Another “ That this tragedy has some merit, it were vain to circumstance which is worthy to be mentioned in this deny: but that it is the entire composition of Shake | slight enumeration of the literary deservings of Gower, speare, is more than can be hastily granted. I shall not is, that what is usually considered as the best of his venture, with Dr. Farmer, to determine that the hand tales, the tale of · Apollymus of Tyre,' is the foundation

nun.

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