I. ii. 9-12. They want their porridge . . . look lik gins... to pumpe over mutton and porridge into weather our souldiors I can tell you, have need of mise, they have almost got the colicke and stone wit (Foure letters confuted, v. 285 (1592)). I. ii. 9. They want their . . . · fat bull-beeves. Sidney's Astrophel and Stella (Arber's Eng. Garner, i. 5 bear out their sails as proudly, as if they were balla (but proverbial, and earlier in Gascoigne). 1. ii. 15. Mad-brained Salisbury. "Mad-braine I. v. 5. I'll have a bout with thee. "Every table had two bowts with the Apostle before hee turne, i. 119 (1589)). See under Greene. Probably A consideration of great help in forming which was Shakespeare's unaided work lies i thought and language in this play which beco style in his mature work. But it is more than to me that in his later work, in all his work a he turned his back rigorously on all Green expressions, shunning them as he would the p quence of Greene's venomous attack upon hin bed. If this be correct, and it seems to me to b ance of Shakespearian passages in these plays importance as a touchstone of his work than ot be. I am not oblivious of the fact that Pando is the foundation of A Winter's Tale some tw when these early troubles were long obliterated Such an analysis as is above suggested wearisome use of space, and repetition also But I will cull a number of prominent passages, "The plaine rains. with trampled dead The Unfortunate Tra their position for reference to the notes for evidence; or to the consuming canker. II. man's spirit at the e left" (Pasquils Rey a commonplace. g an opinion as to in those turns of come a part of his n that: it appears after these plays, ene's diction and plague, in conseim on his deathbe so, the appears is of much more otherwise it would osto (by Greene), wenty years later d. would run into from my notes. , simply locating I muse. II. ii. 19. II. iv. 88. over-ruled and overveiled. II. ii. lamps . . . wasting oil. 50; 11. ii. 2. strong-knit. II. iii. 20. sort (some other time). II. iii. 26. for the nonce. II. iii. 56. III. i. 58. saucy priest. III. i. 45. despite. III. ii. 52, and hag, ibid. pretend. ill beseeming. IV. i. 31. sequestration. II. V. 25. II. v. 28. arbitrator. parting soul. II. v. 115. ACT III. Belike. III. ii. 62. Hecătě. III. ii. 64. muleters. III. ii. 68. II. iv. 112. III. ii. 105. II. v. 8. III. ii. 117. take some order. III. ii. 126. fertile France. III. iii. 44. reclaimed. III. iv. 5. ACT IV. Knights of the garter. IV. i. 34. 118 what remedy. v. iii. 132. mine own attorney. peevish. v. iii. 186. natural graces v. iii. 166. ratsbane. v. iv drab. v. iv. 32. heaven forfend. art. v. iii. lenity. v. iv. 12 kills thy heart. v. iv. 2. Gallian. v. iv. attorneyship. v 192. semblance. v. iii. 193. which is more. argues. 15. kind of life. v. iv. working of my th revolve and rumi event. V. V. 105 A selection like the above might be easily larged, and is bound to be unequal in convi however, it will give the proper impression to a with "the tongue that Shakespeare spake." H sufficiently Shakespeare's work in the play, and work on Greene's work or in company with Gi dressing of the latter for the stage-Greene having up the task on account of the uncongenial limita cal facts-I propose to make a still further exan language in the play. Perhaps-nay, most probably—we have here Shakespeare's earliest dramatic effort excepting only his share in The First Part of the Contention. Whose writings, others than dramatists, display their influence upon his earliest utterances? There are only a few to mention here-but they are important since these few remained his favourites. Golding, in Ovid's Metamorphoses; Puttenham in The Arte of English Poesie; and Spenser's earliest work call for notice. Needless to say, the Chroniclers precede these in consideration so far as bulk and needful sources go, but they stand on a different and obvious footing, and will be referred to later. In my Introduction to Love's Labour's Lost, I have shown Puttenham's presence there. There is less here. In I. vi. 24-27 the passage seems to be almost an insertion. The metaphor is boldly seized upon. Puttenham's passage is (Arber reprint, pp. 31, 32): "In what price the noble poemes of Homer were holden with Alexander the Great, in so much as every night they were layd under his pillow, and by day were carried in the rich iewell cofer of Darius lately before vanquished by him in battaile." Plutarch and Pliny mention the coffer, but the wording in the text is Puttenham's. At p. 112 Puttenham gives some verse of his own: her Maiestie environs her people round, Retaining them by oth and liegeance. Her people like to heards of deere. This simile is that at IV. ii. 45, 46. There is more of Puttenham in the late parts. A more interesting and important writer is Golding. Spenser and Peele, Marlowe and Shakespeare were all familiar with, and made use of, his Ovid. In The Return from Parnassus, "Will Kemp" says: "Few of the University pen plays well they smell too much of that writer Ovid, and that writer Metamorphosis, and talk too much of Proserpina and Jupiter." A good many illustrations from "Master Arthur Golding" will be found in my notes, but many are merely earlier authority for newish or unfamiliar words. I will only refer to "more glorious star. . . Than Julius Cæsar," I. i. 55, 56; "public xxvi THE FIRST PART O Spenser's Shepheards Calender was publish As early as 1580 Spenser was known to be Faerie Queene, of which the first three books a in 1590. But they were known to many in years before. Marlowe, for example, uses t the almond on the top of Selinis in 1586-7, And Spenser himself tells us that his Mother had been "long sithens composed," although n 1591, and further that he was "moved to set it which liked the same." It will be interesting t speare fixed much of this matter on his memory be referred to are selected as follows: Аст 1. 1. i. 11-13. Compare with Faerie Queene, 1. xi. 14 eyes, like two bright shining shieldes, Did burne sparkled living fyre. As two broad Beacons enemies conspyre. . . . So flamed his eyne with rage a . . Then with his waving wings displayed wyde." 1. i. 64. burst his lead and rise from death. Compar Calender. June: "Nowe dead he is and lyeth wrapt in October: "all the worthies liggen wrapt in leade." 1. i. 104. laments . . . bedew King Henry's hearse. Queene, 1. xii. 16: "they did lament . . . And all the bedeawd the hearers cheaks." 1. i. 124. Here, there, and everywhere enrag'd he Faerie Queene, III. i. 66: "Wherewith enrag'd she flew. . . . Here, there, and everywhere, about her swa steele." 1. ii. 16. in fretting spend his gall. Compare Faer "did his stout heart eat And wast his inward gall with And ibid. III. x. 18: "he chawd the cud of inward grie sume his gall with anguish sore." 1. ii. 35. lean raw-boned rascals. Compare Faerie "His rawbone armes." And "His raw-bone cheekes The word seems to be due to Spenser. |