sition here with that in -m is often in Greene, as mmon verb, not again in vils" (Orlando Furioso, 186) in the same play. espeare, but very com· Our did bright Phoebus y VI. and Richard III. inting" (Tritameron of d outside Greene. It souldiers captivate by 283). And elsewhere. in the composition of . and iii. See Shakellot wholly to Shake rs again below, III. word of Greene's: Philautus, vi. 151 Greene has the verb earlier example in New Eng. Dict. that is parallel. It is a favourite with Greene: "they must have one fling at women? dispraysing their nature" (Mamillia, ii. 76, 77); “did meane to have a fling at her" (Defence of Conny-Catching, xi. 37). And in Never too Late, viii. 190, and again, viii. 218. And in Selimus (by Greene and Peele), xiv. 290. Earlier in Whetstone. III. i. 113. repulse. An uncommon word in the sense of serious rebuff. Greene affords an example: "When the Turke doth heare of this repulse, We shall be sure to die" (Alphonsus, xiii. 381). III. i. 99. inkhorn mate. The adjective is not elsewhere in Shakespeare, nor is the word anywhere used by him with a sneer. And mate, as a term of contempt, disappears early from his work. Mate is frequent in Greene. See Greene, xiii. 124, 138, 342, 366, 396, etc. One of his most usual words. For inkhorn; "an inkhorne desire to be eloquent " (Menaphon, vi. 82). III. i. 171. girt. Again in 2 Henry VI. 1. i. 165. "And girt faire England with a wall of brasse" (Frier Bacon, xiii. 77); "Go girt thy loines" (A Looking Glasse for London, xiv. 51). (See note at passage here.) Earlier in Marlowe. III. i. 190. feign'd . forged. Commonly set together by Greene: "fained faith & forged flatterie" (Mamillia, ii. 183); “to forge a fayned tale" (Alphonsus, xiii. 341). And the first line of the Prologue to Selimus. In Spenser's Colin Clout. III. i. 192. fester'd members rot. "the festring Fistuloe hath by long continuance made the sound flesh rotten" (Mamillia, ii. 125). This scene is quite beyond Greene in dignity and continuity of purpose. But he certainly bore a hand in its construction. III. ii. 55. twit with cowardice. Only in Two Gentlemen of Verona outside these plays. "She twits thee with Vesta" (Tullies Love, vii. 167); "twit him with the lawes that nature lowes" (A Looking Glasse for London, xiv. 12). But see under Peele. III. ii. 119. enshrines. This term is found figurativly used both in Locrine and Selimus, which proves nothing. New Eng. Dict. has no earlier example than the present. Scene ii. is probably wholly Shakespeare's. I see no reason to look for another's work; if there be any it would be safest to suggest Peele. į III. iii. 3. corrosive. Occurs again only in 2 Henry VI. 111. ii. 403 where it is a noun. Not an uncommon word in figurative use with various spellings, and often used by Greene as in Mamillia: "the corasive of despair," ii. p. 152, etc., etc. Earlier in Grafton. ... III. iii. 6, 7. peacock . . . pull his plumes. Greene is particularly fond of the peacock and his plumes as a metaphor in his prose tracts. For pull his plumes (not again in Shakespeare) compare Greene: "Pull all your plumes and sore dishonour you" (George-a-Greene (Dyce edn. 261, b, Routledge)); "a tawny hiew pulleth downe my plumes" (Metamorphoses, Grosart, ix. 22); "Solon pulde downe his plumes" (Farewell to Follie, ix. 260). Marlowe uses this also. quest is as great" word outside these ply then, as now, it e it often. akespeare and no III. iii. 11. foil. Occurs again meaning defeat, miscarriage (Schmidt) 1189 xviii THE FIRST PART only at v. iii. 23 below. Often in Greene, but it same words apply also to "sugared words" in line 2 Henry VI. and Richard III. Th III. ii. 12. secret policies (dodges, tricks). Shakespeare. A favourite word with the writer o tracts: "sundry policies" (Second Part of Conny-C Ile flie to secret policie" (George-a-Greene, xiv. 146) 111. iii. 61. progeny, meaning descent, is an old in Shakespeare. Greene used it frequently (see from such a peevish Parent" (Planetomachia, v. 40, III. iii. 79. roaring cannon-shot. The earliest shot in New Eng. Dict., and not again in Shakespea whole expression: "the roaring cannon-shot spit their fired panch" (Alphonsus, xiii. 397). III. iii. 91. prejudice the foe. The verb is not u "What daies and nightes they spende in watching preiudice the enemie" (Farewell to Follie, ix. 247) Late, viii. 53. III. iv. is so poor a scene and contains such wre hesitates to ascribe it to any one. It contains Gre (1. 32), and his excrescent of (1. 29). miscreant (1. 44 with him. So that perhaps he would claim it in a which has many marks of him. v. i. 23. Wanton dalliance with a paramour. Pr v. i. 28. install'd. Very common in Greene. only in Henry VIII. and 1 and 3 Henry VI. /v. i. 33. co-equal with the crown. The word is n speare. "Make me in termes coequall with the gods Furioso, xiii. 128). See under Marlowe for an earlie In this scene we have fallen to a very low level of ii. there is no room or substance for an opinion, but almost to disappear from this onwards. Note h Spenserian parallels occur; Act v. shows hardly a with Shakespeare's work as compared with Green v. iii. 6. lordly monarch of the north. "Asmen north" (Frier Bacon, xiii. 62); "Astmeroth, ruler of t 81). For "lordly," see III. i. 43 above. OF t is also earlier. The ne 18, only paralleled in The only plural use in - of the Conny-Catching Catching, x. 77); “now 6). d use but not met with e note): "my progeny , etc.). st example of cannonGreene has the v. iii. 28. buckle with. A phrase of Greene's. See 1. ii. 95. But earlier in Grafton's Chronicle. v. iii. 56. Swan .. cygnets. "The Cignets dare not resist the call of the old Swan" (Greene, Mamillia, ii. 167). won. v. iii. 79, 80. She's beautiful . . . to be woo'd; she's a woman to be Greene's words. He has them five times (at least): Planetomachia (1585), v. 56; ibid. v. 110; Perymedes, vii. 68; Orpharion, xii. 31 and ibid. xii. 78. There are a number of Greene's epithets hereabouts hardly worth single mention. Collective they weigh; such as paramour, counterfeited, gorgeous, princely, daunted (xiii. 140, 360, 371), banning (vi. 106). Princely occurs five times. One duty of Shakespeare as a dresser," was to remove iteration. 66 eare. t forth the venome of used by Shakespeare. g either to preuent or 7). And in Never too retched lines that one reene's verb patronag 14) is also a pet word addition to Scene iii. s of him, and of no nes ii., iii., iv. and v. ugh recalling Greene rt of his, are Shake; the latter forty-five vii. 88) is a favourite nce had I not met it enry VI. I. i. 46. robably by Greene. Shakespeare has it not again in Shakes" (Greene, Orlando In Scene r use. f poetry. Shakespeare seems here also how few This accords any. e's. noth, guider of the the North" (ibid. p. v. iii. 84. cooling card. Not again in Shakespeare. "there is not a greater cooling carde to a rash wit than want" (Greene, Mamillia, ii. 6); and again in the same piece later, twice. It is a constant phrase with Greene in his prose tracts. But earlier in Gabriel Harvey (1573) and Lyly's Euphues. Greene made it a sort of hall-mark of his work. v. iii. 89. wooden (expressionless, senseless). Compare 1. i. 19. Greene has "fayre without wit, and that is to marry a woodden picture with a golden creast" (Orpharion, xii. 17). v. iii. 107. Captivate. See II. iii. 41. A word of Greene's, but not of Shakespeare's in this use. This scene was probably written in the rough state by Greene and polished and smoothed and finished by Shakespeare. The close of it is Shakespeare's. The evidence of Greene is undeniable. But there is a perspicuity, an absence of violent hyperbole, and an easy continuity of diction in good English that is rarely met with in Greene. But the amalgamated result is very deadly dull stuff. Greene's James the Fourth is probably later than 1 Henry VI. In it he seems to have remodelled his style to some extent. v. iv. is Shakespeare's. v. iv. 56. Spare for no faggots. "Spare for no cost" (Orlando Furioso, xiii. 164). But Marlowe's influence is apparent in several places. The close of the scene is so lamentably weak and washed out, that all one can say is that whoever wrote it he was most weary of his task. We have to remember it stands to Shakespeare's name in the Folio. At the end of Act v., in several places, Peele may have helped. But Shakespeare wrote the last two scenes (iv. and v.) and seems to have made Margaret his own property, and resolved to do more with her. There is ample evidence of him in these two scenes, as my notes will prove. PEELE. I will now exhibit what claim Peele has to a share in Henry VI. We shall see much more of him in Part II. Several of the correspondences brought forward in this list may be reminiscences the other way, since for some years later, undoubtedly, than the None the less the communities of expression Although of interest they hardly can be reg ing his claim. I am claiming, however, for ship of Jack Straw, which will be dealt w Jack Cade's rebellion in Part II. (Introduc I. i. 34. His thread of life had not so soon deca of life is almost fret in twain" (Jack Straw (Hazlitt 1. i. 139. all France... Durst not presume. Europe quake. "Search me all England and find (Jack Straw (Hazlitt's Dodsley, v. 386)). I. ii. 77. parching heat. "Felt foeman's rage an heat" (An Eclogue gratulatory (1589), Dyce's ed. See again at Part II. 1. i. 79, where summer's pa Parching in this sense is characteristically Peele's. I. vi. I. Advance our colours. "In whose de advance" (Descensus Astrææ, 542, b (1591 ?)). Bu Grafton. II. i. 43. follow'd arms. "And rightly may you you from these civil harms" (Jack Straw (Hazlitt's D the note here Peele's love for trochaic endings is But they were too usual at this date to be any one' bably earlier in Marlowe. II. iii. 23. strike such terror. "Strike a terror to Jack Straw (Hazlitt's Dodsley, v. 407)). "enro II. iv. 101. Note you in my book of memory, of memory" (twice) (The Praise of Chastity). The u II. v. 80. -ed (laboured) of past tense metre's sake where usually not sounded. favourite trick of Peele's. or part II. v. 8, 9. These eyes... wax dim. "Then fir sight wexen dim" (Arraignment, 369, a). III. i. 171. Girt thee with... sword. (Descensus Astrææ, 542, b). Making thy for III. iii. 74, 75. fight'st. join'st. These unco only here and in Part II., can be paralleled from Pe Many others occur in 1 Henry VI., as contriv'dst, ser hear'st. Fail'st is in Part III. II. i. 190. IV. iii. 25. cornets. Peele has this new militar Alcazar, 1. ii. 423, b. IV. iv. 37. the noble-minded Talbot. "Noble-minded Nowell" (Polyhymnia, 570, a (1590)). IV. V. 2. stratagems of war. war" (David and Bethsabe, 477, b). v. iii. 182. unspotted heart. heart" (A Sonnet, 573, b). "Train'd up in feats and stratagems of "His saint is sure of his iunspotted v. v. 6, 7. hulk . . . driven by breath of her renown. "sails filled with the breath of men, That through the world admire his manliness" (Edward the First (beginning), 1588 ?). v. v. 17. full replete with. "Whose thankful hearts I find as full replete With signs of joy" (Jack Straw (Hazlitt's Dodsley, v. 412)). "Replete with" is frequent in Hawes, 1509. In Shakespeare's later plays and poems echoes of Peele occur not unfrequently. For more about Peele in this play, with reference to military terms, see under Kyd in Introduction to Part II. As a structural whole Peele has nothing to do with 1 Henry VI. Sometimes he may have lent a hand, more often his language was recalled. MARLOWE. For parallels from Marlowe's Tamburlaine (both parts) see Introduction to Part III. A few references to his Edward II. occur in the notes; as at withered vine, II. v. II; take exceptions at, IV. i. 105; Like captives bound to a triumphant car, I. i. 22. But Edward II. was probably a later play, certainly it is open to question that it was earlier. Tamburlaine is Marlowe's only work that undoubtedly preceded all Henry VI. There is plenty of evidence that it was familiar to, and made use of by the writer of 1 Henry VI. NASHE. An unexpected group of Nashe reminders may not be omitted. They occur almost in a cluster in I. ii. But Act I. Scene. ii "makes the senses rough" with a vengeance. I am inclined to regard them as later echoes from the play, and as Nashe is usually original, he may have been harking back on work of his own. However, his reference (already quoted) to this play shows he held it in high esteem and remembered it. I. ii. 1. Mars his true moving to this day is not known. "You are as ignorant in the true movings of my Muse as the Astronomers are in the true movings of Mars, which to this day they could never attaine too" (Have with you to Saffron Walden (Grosart's Nashe, iii. 28,1596)). I. ii. II. they must . . . have their provenders tied to their mouths. "Except the Cammell have his provender Hung at his mouth he will not travell on (Summer's Last Will, vi. 137 (1594)). ... |