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Queen. And his acknowledged play, The Miseries of Enforced Marriage (1603), though totally unlike Pericles in plot (it is founded on the contemporary history of a Yorkshire family), has in common with it some tricks of metre, especially (as Delius noticed) the use of rhymes promiscuously interspersed in the midst of blank verse, even in verse-speeches which themselves alternate with prose. Cf. e.g. Pericles' dialogue with the fishermen in ii. 1., and the dialogues between Ilford and Scarborow, Ilford and the Clown (Miseries of Enforced Marriage, in HazlittDodsley, ix, 492, 493).
But the suggestion that the publication of the First Quarto of Pericles was an act of reprisal by Shakespeare's company is wholly unwarranted. For the state of the text leaves no doubt that it was published surreptitiously from a copy less authentic than that on which Wilkins himself had based his paraphrase.
Pericles was surpassed by few of Shakespeare's most authentic plays in popularity. In 1609 an anonymous satirist compared a crowd of outstretched throats to an audience come to see Shore or Pericles.'1 The name of Pericles became a by-word for good fortune, and Boult seems, like Pandarus, to have given a new sobriquet to his class.3
But the immense vogue of Pericles was chiefly among the populace of all ranks. Grave and scholarly persons resented its monstrous defects as a drama, as well as its pardonable if not legitimate grossness: and presently their voices began to be heard. Jonson, smarting from the derisive rejection
1 Pimlyco, or Runne Red Taylor's The Hogg hath lost his Cap, 1609 (cf. Cent. of Shake Pearle, 1614 (ib. p. 107). speare's Praise, p. 89).
3 Barthwaite, Strappado for 3 • Fortunate like Pericles'; the Divell, 1615 (ib. p. 113).
of his The New Inn (1629), turned savagely upon the 'mouldy tale' which it was still a safe venture to perform ; and even Owen Feltham's Reply seems to admit that there were many whom Pericles 'deeply displeased.' After the Restoration it passed from the stage, on account of its offences against art rather than against decency, though its grossness was of too primitive a type to please the contemporaries of Etherege. Dryden singles it out, with the English histories collectively, as a type of the 'ridiculous incoherent story which in one play many times took up the business of an age’; and in an unfortunate, but often-quoted, line used it to illustrate the contention that no first plays are good, since
Shakespeare's own Muse his Pericles first bore. In our own time it has, somewhat tardily, shared in the heightened repute of the Romances.
Before the palace of Antioch.
1. old, of old ; apparently ember-days. intended for an archaism.
9. purchase, gain, profit. 6. ember - eves, the eves of 16. Waste, spend.
Built up, this city, for his chiefest seat;
A room in the palace.
Enter ANTIOCHUS, PRINCE PERICLES, and
followers. Ant. Young prince of Tyre, you have at large
received 21. fere, mate.
By custom, which only em29, 30. The confused syntax phasises its apparent tautology. of this couplet is probably due 32. frame, betake them. to the writer. Malone proposed selves.
The danger of the task you undertake.
Per. I have, Antiochus, and, with a soul
Music. Enter the Daughter of Antiochus. Per. See where she comes, apparell'd like the
Ant. Prince Pericles,-
Ant. Before thee stands this fair Hesperides,
6. Bring in our daughter. • Music' as a stage direction ; Qq and Ff prefix 'Music' to and Dyce transferred it to v. II. these words, as a part of the 8. till Lucina reign'd, until speech. Malone distinguished her birth. VOL. IV