cient data for his assertion, independent of any reliance on the similar declarations of Shepherd and Tatham.

Taking the statement of Dryden, therefore, as a disclosure of the fact, it follows, of course, from what has been previously said on the epoch of Shakspeare's commencement as a dramatic writer, that Pericles must be referred to the autumn of the year 1590, an assignment which the consideration of a few particulars will tend to corroborate.

In the first place, it may be remarked, that the numerous dumb shows of this play, are of themselves a striking presumptive proof of its antiquity, indicating that Shakspeare, who subsequently laughed at these clumsy expedients, thought it necessary, at the opening of his career, to fall in with the fashion of the times, with a fashion which had reigned from the earliest establishment of our stage, which was still in vogue in 1590, but soon after this period became an object of ridicule, and began to decline.

Mr. Malone has remarked, that from the manner in which Pericles is mentioned in a metrical pamphlet, entitled Pimlyco or Runne Redcap, 1609, there is reason to conclude that it is coëval with the old play of Jane Shore *; and this latter being noticed by Beaumont and Fletcher in conjunction with The Bold Beauchamps†, a production which D'Avenant classes, in point of age, with Tamburlaine and Faustus, pieces which appeared in or before 1590, he infers, per

+ "I was ne'er at one of these before; but I should have seen Jane Shore, and my husband hath promised me any time this twelvemonth to carry me to The Bold Beauchamps.” -The Knight of the Burning Pestle.

"There is an old tradition,

That in the times of mighty Tamburlaine,

Of conjuring Faustus, and The Beauchamps Bold,

Your poets used to have the second day.”

A Playhouse to be Let.

haps not injudiciously, that Pericles has a claim to similar antiquity, and should be ascribed to the year 1.590.*

But a still stronger conclusion in favour of the date which, we think, should be assigned to Pericles, may be drawn from a suggestion of Mr. Steevens, which has not perhaps been sufficiently considered. This gentleman contends, that Shakspeare's Prince of Tyre was originally named Pyroclés, after the hero of Sidney's Arcadia, the character, as he justly observes, not bearing the smallest affinity to that of the Athenian statesman. "It is remarkable," says he, "that many of our ancient writers were ambitious to exhibit Sidney's worthies on the stage: and when his subordinate agents were advanced to such honour, how happened it that Pyrocles, their leader, should be overlooked? Musidorus (his companion), Argalus and Parthenia, Phalantus and Eudora, Andromana, &c. furnished titles for different tragedies; and perhaps Pyrocles, in the present instance, was defrauded of a like distinction. The names invented or employed by Sidney, had once such popularity, that they were sometimes borrowed by poets who did not profess to follow the direct current of his fables, or attend to the strict preservation of his characters. — I must add, that the Appolyn of the Story-book and Gower could have been rejected only to make room for a more favourite name; yet, however conciliating the name of Pyrocles might have been, that of Pericles could challenge no advantage with regard to general predilection. All circumstances therefore considered, it is not improbable that our author designed his chief character to be called Pyrocles, not Pericles, however ignorance or accident might have shuffled the latter (a name of almost similar sound) into the place of the former.”†

The probability of this happy conjecture will amount almost to certainty, if we diligently compare Pericles with the Pyrocles of the Arcadia; the same romantic, versatile, and sensitive disposition is

* Reed's Shakspeare, vol. ii. p. 249.

+ Reed's Shakspeare, vol. xxi. pp. 152, 153.

ascribed to both characters, and several of the incidents pertaining to the latter are found mingled with the adventures of the former personage, while, throughout the play, the obligations of its author to various other parts of the romance may be frequently and distinctly traced, not only in the assumption of an image or a sentiment, but in the adoption of the very words of his once popular predecessor, proving incontestably the poet's familiarity with and study of the Arcadia to have been very considerable. *

Now this work of Sidney, commenced in 1580, was corrected and published by his sister the Countess of Pembroke, in 1590, and the admiration which it immediately excited would naturally induce a young actor, then meditating his first essay in dramatic poetry, instantly to avail himself of its popularity, and, by appropriating the appellation of its principal hero, fix the attention of the public. That Shakspeare long preserved his attachment to the Arcadia, is evident from his King Lear, where the episode of Gloster and his sons is plainly copied from the first edition of this romance. †

The date assigned to Pericles, on this foundation, being admitted, it follows of course, that Shakspeare could not have had time to improve upon the sketch of a predecessor; and yet from the texture of some parts of the composition, we are compelled to infer, that in this first effort in dramatic poetry, he must have condescended to accept the assistance of a friend, whose inferiority to himself is distinctly visible through the greater part of the first two acts, a position the probability of which seems to have induced Mr. Steevens to yield his assent to Dryden's assertion. "In one light, indeed, I am ready," remarks this acute commentator, "to allow Pericles was our poet's first attempt. Before he was satisfied with his own strength, and

* Many instances of this kind have been pointed out by Mr. Steevens, in his notes on the play; namely, at pages 208. 213. 221. 227, 228. 258. 302.; and the list might be much enlarged by a careful collation of the two productions.

+ Where the chapter is entitled "The pitifull state and story of the Paphlagonian unkinde king and his kinde sonne, first related by the sonne, then by the blind father."

trusted himself to the publick, he might have tried his hand with a partner, and entered the theatre in disguise. Before he ventured to face an audience on the stage, it was natural that he should peep at them through the curtain.”*

The objections which have been made to this priority of Pericles in point of time, may be reduced to three, of which the first is drawn from the non-enumeration of the play by Meres, when giving a list of our poet's dramas, in 1598. † But if it were the object of Shakspeare and his coadjutor to lie concealed from the public eye, of which there can be little doubt, since the former, as hath been remarked, having never owned his share in it, or supposing it to be forgotten, was afterwards willing to profit by the most valuable lines and ideas it contained ‡, the omission of Meres is easily accounted for; yet granting that our author had been well known as the chief writer of Pericles, the validity of the objection is not thereby established, for we find in this catalogue neither the play of King Henry the Sixth, in any of its parts, nor the tragedy of Hamlet, pieces undoubtedly written and performed before the year 1598.

A second objection is founded on the title-page of the first edition of Pericles, published in 1609, where this drama is termed "the late and much admired play." § It is obvious that from a word so indefinite in its signification as late, whether taken adverbially or adjectively, nothing decisive can result. To a play written eighteen years before, the lexicographic definitions of the term in question, namely, in times past, not long ago, not far from the present, may, without doubt, justly apply; but we must also add, that it is uncertain whether the word is meant to refer to the period of the composition of the play, or to the date of its last representation; lately performed being most probably the sense in which the editor intended to be understood.

* Reed's Shakspeare, vol. xxi. p. 400. Reed's Shakspeare, vol. xxi. p. 407. note.

+ Vide Censura Literaria, vol. ix. p. 46. Ibid. p. 391. note.

Lastly, Mr. Douce is of opinion that three of the devices of the knights in act the second, scene the second, of Pericles, are copied from a translation of the Heroicall Devises of Paradin and Symeon, printed in 1591, which, if correct, would necessarily bring forward the date of the play either to this or the subsequent year; but from this difficulty we are relieved even by Mr. Douce himself, who owns that two out of the three are to be found in Whitney's Emblems, published in 1586, a confession which leads us to infer that the third may have an equally early origin. *

From the extensive survey which has now been taken of the merits and supposed era of this early drama, the reader, it is probable, will gather sufficient data for concluding that by far the greater part of it issued from the pen of Shakspeare, that it was his first dramatic production, that it appeared towards the close of the year 1590, and that it deserves to be removed from the Appendix to the editions of Shakspeare, where it has hitherto appeared, and incorporated in the body of his works.

2. COMEDY OF ERRORS, 1591. That this play should be ascribed to the year 1591, and not to 1593, or 1596, has, we think, been fully established by Mr. Chalmers †, to whom, therefore, the reader is referred, with this additional observation, that, from an account published in the British Bibliographer, of an interlude, named Jacke Jugeler, which was entered in the Stationers' books in 1562-3, it appears that the Menæchmi of Plautus, on which this comedy is founded, "was, in part at least, known at a very early period upon the English stage ‡," a further proof that versions or imitations of it had been in existence long prior to Warner's translation in 1595.

As the Comedy of Errors is one of the few plays of Shakspeare mentioned by Meres in 1598, and as we shall have occasion to refér more than once to the catalogue of this critic, it will be necessary, before we proceed farther in our arrangement, to give a transcript of

* Vide Douce's Illustrations of Shakspeare, vol. ii. pp. 127, 128. Supplemental Apology, pp. 274. et seq.

+ Vol. i. pp. 398-400.