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.

Not again in Shakespeare.

66

"there is not

v. iii. 84. cooling card. 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. 56. Spare for no faggots. "Spare for no cost" (Orlando Furioso, xiii. 164).

v. iv. is Shakespeare's. 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 I 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 Peele was writing for some years later, undoubtedly, than the date of this play. None the less the communities of expression must be noticed. Although of interest they hardly can be regarded as establishing his claim. I am claiming, however, for Peele, the authorship of Jack Straw, which will be dealt with in reference to Jack Cade's rebellion in Part II. (Introduction).

I. i. 34. His thread of life had not so soon decay'd. "When thread of life is almost fret in twain" (Jack Straw (Hazlitt's Dodsley, v. 409)).

1. i. 139. all France . . . Durst not presume. 1. i. 156. Make all Europe quake. "Search me all England and find four such captains" (Jack Straw (Hazlitt's Dodsley, v. 386)).

I. ii. 77. parching heat. "Felt foeman's rage and summer's parching heat" (An Eclogue gratulatory (1589), Dyce's ed. (Routledge 562, b)). See again at Part II. 1. i. 79, where summer's parching heat occurs. Parching in this sense is characteristically Peele's.

I. vi. I. Advance our colours. "In whose defence my colours I advance" (Descensus Astrææ, 542, b (1591 ?)). But it is in Hall and Grafton.

II. i. 43. follow'd arms. "And rightly may you follow arms, To rid you from these civil harms" (Jack Straw (Hazlitt's Dodsley, v. 382)). In the note here Peele's love for trochaic endings is commented upon. But they were too usual at this date to be any one's distinction. Probably earlier in Marlowe.

II. iii. 23. strike such terror. "Strike a terror to the rebels' heart (Jack Straw (Hazlitt's Dodsley, v. 407)).

II. iv. 101. Note you in my book of memory, "enrol his name in books of memory" (twice) (The Praise of Chastity). The uses are not parallel. II. v. 80. -ed (laboured) of past tense or participle, sounded for metre's sake where usually not sounded. See note here. An early and favourite trick of Peele's.

II. v. 8, 9. These eyes . . . wax dim. sight wexen dim” (Arraignment, 369, a). III. i. 171. Girt thee with... sword. (Descensus Astrææ, 542, b). numb. See note at line.

II. v. 13.
III. ii. 31.

"Then first gan Cupids eye

"And girt me with my sword"

shine it lihe a comet. "Making thy forehead, like a comet, shine" (David and Bethsabe, 467, b).

III. iii. 74, 75. fight'st . join'st. These uncouth monosyllables, only here and in Part II., can be paralleled from Peele's earliest work. Many others occur in 1 Henry VI., as contriv'dst, serv'st, for'st, com'st, hear'st. Fail'st is in Part III. II. i. 190.

IV. iii. 25. cornets. Peele has this new military term in Battle of Alcazar, 1. ii. 423, b.

"The great commander of such

IV. iii. 48. great commanders. lordly peers" (A Tale of Troy, 558, a (1589 ?)).

IV. iv. 37. the noble-minded Talbot. "Noble-minded Nowell" (Polyhymnia, 570, a (1590)).

IV. V. 2. stratagems of war. "Train'd up in feats and stratagems ot war" (David and Bethsabe, 477, b).

v. iii. 182. unspotted heart.

heart" (A Sonnet, 573, b).

...

"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. I. 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 (Have with you to Saffron Walden (Grosart's Nashe, iii. 28,1596)).

too

I. ii. 11. 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)).

I. ii. 9-12. They want their porridge . . . look like drowned mice. engins... to pumpe over mutton and porridge into France? this colde weather our souldiors I can tell you, have need of it, and, poore field mise, they have almost got the colicke and stone with eating of provant” (Foure letters confuted, v. 285 (1592)).

I. ii. 9. They want their . . . fat bull-beeves. Nashe Preface to Sidney's Astrophel and Stella (Arber's Eng. Garner, i. 500), 1591 has: "they bear out their sails as proudly, as if they were ballasted with bull beef" (but proverbial, and earlier in Gascoigne).

1. ii. 15. Mad-brained Salisbury. "Mad-braine fondnesse in Nashe's Christ's Teares, iv. 257 (1594).

I. ii. 33.

none but Samsons and Goliases.

occurs

"A big boand lustie fellow,

and a Golias, or Behemoth, in comparison of hym" (Have with you to Saffron Walden, iii. 125).

1. ii. 59. unfallible. In Nashe's Pierce Penilesse, ii. 126 (1592); and

elsewhere.

I. ii. 140.

Mahomet inspired with a dove.

"Socrates Genius was one

of this stampe, and the Dove wherewith the Turks hold Mahomet their Prophet to bee inspired" (The Terrors of the Night, iii. 228 (1594)). Nashe tells the fable again in Lenten Stuffe, v. 258.

I. iv. 109. Make a quagmire of your mingled brains. "The plaine appeared like a quagmire, overspread as it was with trampled dead bodies. . . dead murthered men braines" (The Unfortunate Traveller, v. 45 (1594)).

...

I. v. 5. I'll have a bout with thee. "Every man's spirit at the table had two bowts with the Apostle before hee left" (Pasquils Returne, i. 119 (1589)). See under Greene. Probably a commonplace.

A consideration of great help in forming an opinion as to which was Shakespeare's unaided work lies in those turns of thought and language in this play which become a part of his style in his mature work. But it is more than that: it appears to me that in his later work, in all his work after these plays, he turned his back rigorously on all Greene's diction and expressions, shunning them as he would the plague, in consequence of Greene's venomous attack upon him on his deathbed. If this be correct, and it seems to me to be So, the appearance of Shakespearian passages in these plays is of much more importance as a touchstone of his work than otherwise it would be. I am not oblivious of the fact that Pandosto (by Greene), is the foundation of A Winter's Tale some twenty years later when these early troubles were long obliterated.

Such an analysis as is above suggested would run into wearisome use of space, and repetition also from my notes. But I will cull a number of prominent passages, simply locating

their position for reference to the notes for evidence; or to the

sort (some other time). II. iii. 26. parting soul. II. V. 115.