[i.e., insensible, fainting, in a state of suspended animation.-Ed.] (Compare Stage Direction, iv. 2, fol. p. 389, col. 1. Enter Arviragus, with Imogen dead, bearing her in his Armes.) One might, perhaps, compare Spenser's

"Our pleasant Willy, ah! is dead of late."

So understand Sidney, Arcadia, B. iii. p. 297, 1. 24,— "His impresa was a Catablepta, which so long lies dead as the Moon (whereto it hath so natural a sympathy) wants her light." Spenser, F. Q., B. iv. C. vii. St. ix.,—

"For she (deare ladie) all the while was dead,

Whilest he in armes her bore; but, when she felt
Herself down soust, she waked out of dread

Straight into griefe," &c.

I scarcely know whether Spenser, B. ii. C. viii. St. xxiii., is in point; see context,—

Then, turning to the palmer, he gan spy
Where at his feet, with sorrow full demayne
And deadly hew, an armed corse did lye,

In whose dead face he read great magnanimity."

Cannot O-sæpius interpolatum-be dispensed with here? At any rate, we must pronounce instinct. iv. 2,—

That an invisible instinct should frame them

To royalty unlearn'd," &c.

2 King Henry IV. i. 1,—

"He that but fears the thing he would not know,
Hath, by instinct, knowledge from other's eyes,

That what he fear'd is chanc'd."

Middleton and Rowley, Changeling, Dyce's M., vol. iv. p. 289,

"O; but instinct is of a subtler strain!" And so Milton, Paradise Lost, x. 263.

Perhaps, with the little 1747 ed.,—“”T is 17 I am, sir," &c.

Ib.,

"Great Jupiter, upon his eagle back,
Appear'd to me."

Fol., back'd. Would eagle-back be according to the laws of Elizabethan grammar? Horse-back was horse' back; King John, ii. 1, write (see S. V., Art. li. p. 253),—

"St. George, that swinged the dragon, and e'er since
Sits on his horse' back at my hostess' door."

1 King Henry IV. ii. 4,-"this horse'-back-breaker."

Compare the characters of Cymbeline and his queen with Sidney, Arcadia, B. ii. p. 178, 1. 34,-" And therefore I shall need the less to make you know what kind of woman she was; but this only, that first with the reins of

17 So Pope, who was followed by several of the early editors. -Ed.

:

affection, and after with the very use of directing, she had made herself so absolute a master of her husband's mind, that awhile he would not, and after, he could not tell how to govern without being governed by her but finding an ease in not understanding, let loose his thoughts wholly to pleasure, entrusting to her the entire conduct of all his royal affairs. A thing that may luckily fall out to him that hath the blessing to match with some heroical-minded lady. But in him it was neither guided by wisdom, nor followed by fortune, but therein was slipt insensibly into such an estate, that he lived at her undiscreet discretion: all his subjects having by some years learned, so to hope for good, and fear of harm, only from her, that it should have needed a stronger virtue than his, to have unwound so deeply an entered vice. So that, either not striving because he was contented, or contented because he would not strive, he scarcely knew what was done in his own chamber, but as it pleased her instruments to frame the relation."

Observe, that Pisanio, v. 5, in the account he gives of Cloten's proceedings, says of him,

away he posts

With unchaste purpose, and with oath to violate" &c. though Cloten says nothing to this effect in his dialogue with Pisanio, iii. 5. Did Pisanio learn it from a subsequent conversation with the prince in his apartments? see the conclusion of the last mentioned scene.

333

PERICLES.

Authorship of Pericles. This play was the work of three hands. I am not able at present (Feb., 1843) to assign each particular scene to its author; but the truth of my position may be tested by comparing the scenes at the court of Simonides with the storm-scene, or that wherein Pericles recognizes his daughter (both which latter are incontestably Shakespeare's); and again, both the above with the dialogues in the brothel,-vigorous certainly, but not Shakespearian, either in subject, or in the kind of power they display. Perhaps Shakespeare retouched a great part of the play. The third writer may have been, as I have heard conjectured, Dekker; but I do not know Dekker's manner well enough to warrant me in giving an opinion. The first scene seems tinctured with Latinism (qu.),

"Yon sometime famous princes

Tell thee with speechless tongues, &c.

so thou thyself shalt bleed.

i. 4,

Forty days longer we do respite you;

If by which time our secret be undone,
This mercy shews," &c.

“O my distressed lord, even such our griefs are;
Here they're but felt, and seen with mischief's eyes;
But like to groves, being topt, they higher rise."

This has been altered to mistful. Possibly "misery's

eyes;" mischiefes-miseries. Ford, &c., Witch of Edmonton, i. 2, Moxon, p. 189, col. 2,

we should read misery; mischiefe—miserie; at least, so

imagine.

Ib.,

"This Tharsus, o'er which I have government,

(A city, on whom plenty held full hand,)
For riches, strew'd herself even in the streets;
Whose towers bore heads so high," &c.

Write and point,

"A city, on whom Plenty held full hand,

For Riches strew'd herself ev'n in the streets," &c.

I

Except that For seems corrupt; perhaps Where. I know not whether it is necessary to observe, that Riches was then a singular noun; the French richesse, in fact. Beaumont and Fletcher, Wit Without Money, near the beginning," a common riches." Shakespeare, Sonnet lxxxvii, "For how do I hold thee but by thy granting? And for that riches where is my deserving?"

In Shirley's Contention for Honour and Riches, Gifford and Dyce, vol. vi. p. 287 sqq. Riches is one of the dramatis passage of Pericles as I have

personæ. Knight writes the

done, except that he prints Plenty and Riches without capitals; which makes me doubt whether he construes it as I do.

Ib., towards the end,

"Nor come we to add sorrow to your tears,

But to relieve them of their heavy load."

Papa! Hearts, I conclude.