The old

Fore and crickets are Malone's emendations. copies have from and cricket, and, in the next line, are, for which aye was first substituted by Dyce. A resemblance to this speech of Gower's has been seen by some in A Midsummer Night's Dream, v. 1. 380, &c.

As regards the house cricket, we are told they "live in a kind of artificial torrid zone, are very thirsty souls, and are frequently found drowned in pans of water, milk, broth, and the like. Whatever is moist, even stockings or linen hung out to dry, is to them a bonne bouche" (Kirby and Spence, p. 140).

By many a DERN and painful perch
Of Pericles the careful search,
By the four opposing COIGNS
Which the world together joins,
Is made with all due diligence.

Coigns was substituted by Rowe for the crignes of Qq., F 3, F. 4. It seems here to mean "quarters;" its literal sense is "corner" (French coin). Dearn, meaning dreary or solitary, is the reading of Qq. in King Lear, iii. 7. 63. The sentence means "the careful search for Pericles is made over many a lonely and toilsome mile of country, through the four quarters of the world."

148. Line 29: The mutiny he there hastes t' APPEASE.Appease is Steevens's conjecture for oppress of the Qq., F. 3, F. 4. It is confirmed by the words of the Novel: graue Helycanus had not without much labour, appeased the stubborne mutiny of the Tyrians" (p. 42).

The same imperfect rhyme occurs again, v. 2. (Gower) 19, 20. Dooms means judgments or suffrages.

150. Line 35: YRAVISHED the regions round.-Q. 1 reads Iranyshed, which the later editions made into irony shed.

Steevens made the correction. Y-, which has the same force as the German ge-, was, in Old English, the prefix of the past participle. An example has just occurred in line 1. The only example in Shakespeare is the word ycliped, Love's Labour's Lost, i. 1. 242; v. 2. 602.

151. Lines 45-48:

half the flood

Hath their keel cut: but fortune's MOOD
Varies again; the GRIZZLED north
Disgorges such a tempest forth.

The meaning of the first clause is that the ship had completed half its voyage. Steevens first corrected fortune mov'd, the reading (substantially) of Qq., F. 3, F. 4, to fortune's mood. Grisled is the reading of Q. 1; the other copies have grisly.

152. Lines 51, 52:

The lady shrieks, and, WELL-A-NEAR!

Does fall in travail with her fear.

Reed observed that well-a-near was equivalent to "wella-day," and was a Yorkshire expression. Dyce quotes Coles, Latin and English Dictionary: "Well a day, well a-neer, well a way. Eheu." The word is found in Look About You, 1600:

Now well-a-neere! that e'er I liv'd to see
Such patience and so much impiety!

-Dodsley, vii. p. 397 where Hazlitt wrongly prints "well a year. Wilkins's Novel says: "She is strucke into such a hasty fright, that welladay she falles in trauell" (p. 44).

153. Lines 53, 54:

And what ensues in this FELL storm
Shall for itself itself perform.

So Q. 1. The other Qq. and F. 3, F. 4 have self instead of fell. But ought we not to read "What next ensues?" And is prosaic. The next line is incapable of strict interpretation. Both are unnecessary, the sense being given in lines 55, 56.

154. Line 60: The SEA- tost Pericles. -Qq., F. 3, F. 4 read seas. The text is Rowe's.

ACT III. SCENE 1.

155. This scene passes by night. Clarke has here well observed: "The diction throughout the present scene is veritably Shakespearian. It has that majesty of unrestrained force which distinguishes his finest descriptive passages, and that dignity of expression, combined with the most simple and natural pathos, which characterizes his passages of deepest passion. After the comparative stiffness traceable in the phraseology of the previous scenes, and after the cramped and antiquated chantspeeches of Gower, this opening of the third act always comes upon us with the effect of a grand strain of music -the music of the great master himself-with its rightly touched discords and its nobly exalted soul-sufficing harmonies." B. W. Procter (Barry Cornwall) also, after stating his belief that the first two acts were probably not Shakespeare's work, observes that in the present scene "the genius of the author seems suddenly to expand;" and that this opening speech has many touches "characteristic of our greatest poet, and worthy of him.”

156. Line 1: THOU god of this great vast. So Rowe. Qq., F. 3, F. 4 read the for thou.

157. Lines 4-6:

Having RECALL'D them from the deep! O, still
Thy deafning, dreadful thunders; GENTLY quench
Thy nimble, sulphurous flashes!

Recall'd is Dyce's correction, which, as he observes, is
demanded both by the sense and the metre, in place of
call'd, the reading of the old editions. Gently, in line 5,
is given only by Q. 1; the other copies read daily.
158. Lines 7, 8:

THOU STORMEST venomously;

Wilt thou SPIT all thyself?

Qq., F. 3, F. 4 read then storme venomously. The text is Dyce's. Thou had been previously proposed by Malone. Pericles, Rolfe observes, is on the deck, Lycorida in the cabin. He says, just afterwards, that the noise of the storm drowns even the boatswain's whistle; and his thought seems to be, "how can Lycorida hear me?" He then calls more loudly. Speat is the reading of Qq., spet of F. 3, in line 8. See Merchant of Venice, note 98. Steevens compares Merchant of Venice, ii. 7. 44, 45: The watery kingdom, whose ambitious head Spits in the face of heaven,

So Dyce. Qq., F. 3, F. 4, read travails. Elsewhere Shakespeare uses the singular.

161. Line 26: VIE honour with you.-The old copies have "Vse honour with you," which may mean, "may place ourselves on a footing with you in respect to honourable conduct." M. Mason, who made the emendation, observes: "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."" He compares act iv. Prol. 31-34:

though with some uncertainty. Portage properly means a toll or impost paid on reaching port. But we ought, I think, to interpret thy loss as the loss of which thou art the cause, the loss through thee, viz. Thaisa's death.

163. Lines 43, 44: Slack the BOLINS there!- Thou wilt NOT, wilt thou? Blow, and split thyself.-Bolin, or bowline (literally, "side-line"), is a rope fastened near the perpendicular edge of the square sails, and used to keep the weather edge of the sail tight forward when the ship is close-hauled. They are slackened when the wind is very strong. The person addressed in the next sentence is not certain. From iv. 1. 62 it might seem that someone falls overboard, but whether these words refer to him I cannot say. If they do, we should read "Thou wilt out." Mr. Nicholson, I find, makes the same conjecture.

164. Lines 45, 46: But sea-room, and the brine and cloudy billow kiss the moon, I care not; i.e. Let there but be searoom, and I care not how much the tempest may rage. Compare Tempest, i. 1. 8: "Blow, till thou burst thy wind, if room enough!"

165. Lines 47-49: Sir, your queen must overboard: the sea works high, the wind is loud, and will not lie till the ship be clear'd of the dead.-Steevens quotes from Fuller's Historie of the Holy Warre, book iv. chap. 27: "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." Almost the same words as in Fuller's last clause are in the earliest version of the story of our play. The superstition still exists.

166. Lines 51-55:

with us at sea it hath been still observed; and we are strong in CUSTOM. Therefore briefly yield her; for she must overboard straight.

Per. As you think meet.-Most wretched queen!

Q. 1, Q. 2, Q. 3, Q. 4, Q. 6, F. 3, F. 4 read (substantially) as follows:

with vs at Sea it hath bin still obserued.

And we are strong in easterne, therefore briefly yeeld'er,
Per. As you thinke meet; for she must ouer board straight:
Most wretched Queene.

Q. 5 inserts this is a lye before with us. This is evidently some marginal annotation, which the printer mistook for a correction of the text. Malone made the transposition, which has since been universally adopted. Custom, for easterne, is the conjecture of Boswell. There can be little doubt that it is the right word.

167. Line 56: Here she lies, sir.-Lycorida most likely draws back a curtain, disclosing Thaisa within a sort of deck cabin, presumably in the after part of the ship. Compare Gower, p. 310:

169. Lines 62-64:

Where, for a monument upon thy bones,

AND AYE-REMAINING LAMPS, the belching whale And humming water must o'erwhelm thy corpse. And aye-remaining lamps is the conjecture of Steevens. He interprets: "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.' The Quartos and Folios have "The air-remaining lamps," variously spelt. This reading Mr. Tyler proposes to interpret as denoting the stars, the "gold candles fix'd in heaven's air" (Sonnet xxi.). O'erwhelm thy corpse could then only refer to the humming water. Holt White cites Milton, Lycidas:

"

Pericles means, "alter thy course which has hitherto been for Tyre;" or else he means that the skipper is to divert his course, so as to take Tarsus on his way, and then continue towards Tyre. We may conjecture that the vessel, having been driven out of her course by the storm, had somehow got to the north-west of Cyprus, so as to be nearer Tarsus than Tyre. In such a position the courses for the two places would be quite different. The introduction to this act (lines 47, 48) implies that the storm began from the north, and so Marina says, iv. 1. 52. Gower, p. 310, wrote:

Out of the north they syhe a cloude: but probably neither author attended much to a geographical or nautical question.

175. Lines 21-23:

But 1 much marvel that your lordship, having RICH TIRE ABOUT YOU, should at these early hours Shake off the golden SLUMBER OF REPOSE. Steevens remarks: "The gentlemen rose early, because they were but in lodgings which stood exposed near the sea. They wonder, however, to find Lord Cerimon stirring, because he had rich tire about him; meaning perhaps a bed more richly and comfortably furnished, where he could have slept warm and secure in defiance of the tempest." Dyce is of the same opinion; see his Glossary. The In the next line the passage is, no doubt, mutilated. tautology slumber of repose must be a corruption.

May the two latter DARKEN and expend;

But immortality attends the former,
Making a man a god.

Careless heirs may darken rank and wealth, staining their glory by misuse and excess. As to men being made divine by virtue and cunning, wisdom and art, compare Bacon, Novum Organum (129), "Again let a man only consider what a difference there is between the life of men in the most civilized province of Europe, and in the wildest and most barbarous districts of New India; he will feel it be great enough to justify the saying that man is a god to man,' not only in regard of aid and benefit, but also by a comparison of condition. And this difference comes not from soil, not from climate, not from race, but from the arts." N. Holmes, in his Authorship of Shakespeare (3rd ed. p. 55), recognized a Baconian colouring in this portraiture of Cerimon. This we may allow without in the least assenting to the absurd notion that Bacon composed either Pericles or any other work with which Shakespeare's name is usually associated. Dr. Furnivall (Introd, to Leopold Shakspere, p. lxxxviii.) says: "Seeing with what contempt he (Shakespeare) treated the apothecaries in the Errors and Romeo and Juliet, and how little notice he took of the Doctor in Macbeth, we are struck with the very different character he gives to the noble, scientific, and generous Cerymon here. He is a man working for the good of all, the kind of man that Bacon would have desired for a friend." This note is Mr. Tyler's, to whom I am indebted for the subsequent illustrations of this scene from Bacon's writings.

177. Line 36: That dwell in vegetives, in metals, stones. -Steevens compares Romeo and Juliet, ii. 3. 15, 16:

O, mickle is the powerful grace that lies
In herbs, plants, stones, and their true qualities.

178. Lines 41, 42:

Or tie my TREASURE up in silken bags,
To please the fool and death.

Instead of treasure the old editions have pleasure, but this need not vary greatly the sense. It seems impossible to explain this passage satisfactorily. Steevens seems to think that there is here an allusion to some pictorial representation, for he says: "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." This explanation would certainly be attractive, if we could find the print, and ascertain that it was widely known in Shakespeare's time. The mention of the fool and death reminds us of Measure for Measure (see note 111 on that play). But the resemblance is merely superficial. Mr. Tyler observes, on the present passage, that the fool, delighting in his treasure, is like an ass bowed down with golden ingots. Death is amused with the whole proceeding, as he takes away for ever the load of heavy riches.

179. Lines 46-48:

but even

Your purse, still open, hath built Lord Cerimon
Such strong renown as time shall never RAZE.

Even this generous liberality is quite Baconian. We read at the end of the New Atlantis: "And so he left me; having assigned a value of about two thousand ducats, for a bounty to me and my fellows. For they give great largesses where they come upon all occasions." Raze was added by Dyce; in the first three Quartos the line ends with never. Q. 4, Q. 5, Q. 6 and the Folios read never shall decay.

180. Line 55: 'Tis a good constraint of fortune it belches upon us. It is a good thing that fortune has compelled the sea to discharge the chest upon our shore. Malone aptly compares The Tempest, iii. 3. 53-56:

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 caus'd to belch up you.

181. Lines 66, 67:

A passport TOO!— Apollo, perfect me in the characters! The old copies have "A passport to Apollo." The text is Malone's. It seems likely that the passage is corrupt. With full bags of spices is a very unrhythmical passage. In Wilkins's Novel Cerimon is described as "inuoking Apollo to his empericke" (i.e. experiment) when taking means to revive Thaisa. This hints that line 67 is out of place, and should, in some shape or other, follow line 88. The text, however, contains an invocation to Esculapius at the end of the scene.

182. Lines 82-84:

Death may usurp on nature many hours, And yet the fire of life kindle again

The o'erpress'd spirits.

Compare Bacon, New Atlantis: "Wherein we find many strange effects; as continuing life in them, though divers parts, which you account vital, be perished and taken forth; resuscitating of some that seemed dead in appearance; and the like." The queen presents signs of life in the accounts of Gower and Twine, which are not to be found in Shakespeare.

183. Lines 84-86:

I'VE READ of an Egyptian
That had nine hours lien dead,
Who was by good APPLIANCES recover'd.

The old copies have I heard. In Wilkins's Novel, which makes Egyptian refer to those who recovered persons

apparently dead, Cerimon says: "I have read of some Egyptians, who after four houres death (if a man may call it so) have raised impoverished bodies, like to this, unto their former health" (p. 48). I have introduced the correction into the text. Appliances is Dyce's emendation for appliance, the reading of Qq., F. 3, F. 4.

184. Line 87: the fire and cloths. In the previous accounts we read of oil and wool for the anointing; thus in the Latin Historia Apollonii Regis Tyri, "Calefecit oleum, madefecit lanam, fudit super pectus puellæ." Twine says: "Then tooke he certaine hote and comfortable oyles, and warming them upon the coales, he dipped faire wooll therein, and fomented all the bodie ouer therewith" (p. 287). Probably the idea is that of a medicated hot-water bath or fomentation. Bacon (De Augmentis Scientiarum, i. ch. iv.) insisted on the importance of imitating Nature by artificial baths.

185. Line 88: The rough and woful music that we have.— Such music as would be most likely to waken the dormant sense of hearing. Malone compares Winter's Tale, v. 3. 98, where, when Paulina pretends to bring Hermione to life, she orders music to be played, to awake her from her trance. So also the Physician, when King Lear is about to wake from sleep after his frenzy (iv. 7. 25): "Louder the music there!"

186 Line 90: The VIAL once more.-The first three Quartos have violl, but the probability is that Cerimon requires a bottle or other vessel of strong perfume. This at least suits what follows, how thou stirr'st, thou block! which would scarcely agree with the idea of viol as a musical instrument.

187. Lines 93, 94;

nature awakes; a WARMTH Breathes out of her.

Q 1 has "Nature awakes a warmth breath out of her." The other old copies have warme instead of warmth. The text is Malone's.

188. Lines 101-104:

the diamonds

Of a most praised water DO appear,
To make the world twice rich.-O, live,

And make us weep to hear your fate, fair creature. For do, Qq. and F. 3, F. 4 read doth. They omit 0 in line 103. Both alterations are Malone's. With lines 99103 Steevens compares Sidney, Arcadia, book iii.: "Her faire liddes then hiding her fairer eyes seemed vnto him sweete boxes of mother of pearle, rich in themselves but containing in them farre richer Iewels" (ed. 1598, p. 351, which, however, reads fairer liddes).

189. Lines 106: Where am I? Where's my lord? What world is this?-The same words are found in Gower:

Thei leide hire on a couche softe,
And, with a shete warmed ofte,
Hir colde brest bigan to hete,
Hir herte also to flakke and bete.
This maister hath hir every ioint
With certein oil and balsme anoint,
And putte a licour in hir mouth
Which is to fewe clerkes couth;
So that she covereth atte laste,
And ferst hir yhen up she caste,

And, whan she more of strengthe caughte,
Her armes bothe forth she straughte,
Held up hir hond, and pitously

She spak, and seide: 'Wher am I?
Wher is my lord? what world is this?'

-See Pauli's ed. p. 315.

ACT III. SCENE 3.

190.-F. 3, in which for the first time this play is divided into acts, makes act iii. begin with this scene.

191. Lines 5-7:

Your STROKES of fortune,

THOUGH they HAVE HURT you mortally, yet glance
Full WOUNDINGLY on us.

Q. 1, followed substantially by the other Quartos, reads:
Your shakes of fortune, though they hant you mortally
Yet glaunce full wondringly on vs.

F. 3, F. 4 have hate instead of hant (or haunt). Hurt is Steevens's reading. The arrangement is due to Walker, but the insertion of have is Fleay's suggestion. Walker read although instead of though. I have substituted strokes, for which shakes is an easy misprint. Shafts, the conjecture of Steevens, differs more from the Quarto text, and is less suitable. Woundingly was proposed by Mr. Kinnear in his Cruces Shakspearianæ. He compares Antony and Cleopatra, v. 2. 103-105:

I do feel,
By the rebound of yours, a grief that smites
My very heart at root.

192. Lines 27-30:

Till she be married, madam,

By bright Diana, whom we honour, all UNSCISSAR'D shall this hair of mine remain,

Though I show ILL in 't.

Unscissar'd is Steevens's correction. Qq., F. 3, F. 4 read unsister'd. In the next line ill appears to have been proposed independently by Malone and by Dyce. The corrections are confirmed by the following from Wilkins's Novel: "vowing solemnely by othe to himselfe, his head should grow vncisserd, his beard vntrimmed, himself in all vncomely, since he had lost his Queene, and till he had married his daughter at ripe years" (p. 51). The incident belongs to the oldest versions of the story. 193. Lines 36, 37:

Then give you up to the MASK'D Neptune, and
The gentlest winds of heaven.

Mask'd perhaps means fair-seeming. His strength and fury are disguised for the nonce. Malone compares Merchant of Venice, iii. 2. 97, 98:

the guiled shore

To a most dangerous sea.

But any suggestion of the sea's treacherous and deceitful nature is hardly in place in the present connection.

ACT III. SCENE 4.

194. The early Qq. are in confusion here about Thaisa's name. Q.1, Q. 2 head this scene with the words, "Enter Cerimon, and Tharsa." Her first speech (line 4) is assigned to Thar.; and the other to Thin. The right form, however, appears in act v.

195. Line 6: Ev'n on my EANING time-So F. 3, F. 4.