Will I, my lov'd Marina, clip to form ;

And what this fourteen years no razor touch'd,
To grace thy marriage-day, I'll beautify.

THAI. Lord Cerimon hath letters of good credit,
Sir, that my father's dead.

PER. Heavens make a star of him! Yet there, my queen, We'll celebrate their nuptials, and ourselves

Will in that kingdom spend our following days;

Our son and daughter shall in Tyrus reign.

Lord Cerimon, we do our longing stay,

To hear the rest untold.-Sir, lead the way. [Exeunt omnes. Enter GOWER.

Gow. In Antiochus and his daughter, you have heard
Of monstrous lust the due and just reward:

In Pericles, his queen and daughter, seen
(Although assail'd with fortune fierce and keen)
Virtue preserv'd from fell destruction's blast,
Led on by heaven, and crown'd with joy at last.
In Helicanus may you well descry

A figure of truth, of faith, of loyalty:
In reverend Cerimon there well appears
The worth that learned charity aye wears.
For wicked Cleon and his wife, when fame
Had spread their cursed deed, and honour'd name
Of Pericles, to rage the city turn ;

That him and his they in his palace burn.
The gods for murther seemed so content
To punish them; although not done, but meant.
So, on your patience ever more attending,

New joy wait on you! Here our play hath ending.

[Exit GOWER

VARIOUS READINGS.

"Pardon us, sir; with us at sea it hath been still observed, and we are strong in earnest."-ACT III., Sc. 1.

a

Our reading of astern, which Mr Dyce calls "egregious "-and ". jewel picked out of Jackson's 'Shakspeare's Genius Justified,"" was noticed by us as follows:"It appears to us that the sailor, at such a moment, was not very likely to enter into an explanation of his superstition. He believes in it, and he points out the danger. Will not the slightest change give a nautical sense, with the conciseness of nautical language? All that one of the sailors wants is sea-room.' The ship, as we learn immediately, is off the coast of Tharsus. The sailor dreads the coast, and the ship is driving upon it, unmanageable-answering not the helm: We are strong in [driving strongly in shore] astern.""

"Unscissor'd shall this hair of mine remain
Though I shew ill in 't."

The original has "will in 't."

ACT III., Sc. 3.

Mr. Dyce's reading of ill may be properly adopted; although

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Though I shew will" may mean "though I am wilful."

Mr. Collier's corrected folio of 1632 does not contain

'Pericles,' and, consequently, we have no "emendations."

GLOSSARY.

ALTER. Act III., Sc. 1.

"Alter thy course for Tyre."

That is, change thy course for Tyre to that towards Tharsus. ARMS. Act I., Sc. 2.

"Are arms to princes."

Which is to be understood before are arms.

BASES. Act II., Sc. 1.

"Of a pair of bases.”

Nares, in his 'Glossary,' explains that "bases," a plural noun, was an embroidered mantle. But why "a pair of bases?" Johnson interprets the word as stockings, or, perhaps, armour for the legs."

CARPET. Act IV., Sc. 1.

"Shall as a carpet hang upon thy grave.”

The carpet, in Shakspere's time, was a table cover of tapestry or embroidery, and the flowers which Marina strewed on the grave reminded her of the bright flowers of the needle wrought upon such coverings. Floors were covered with

rushes.

Coffer and coffin are the same word, meaning a trunk or chest. In Scene 1 of this Act Pericles says, "Bring me the satin coffin," and the sailor replies, "We have a chest beneath the hatches."

COIGNES. Chorus to Act III.

"By the four opposing coignes."

Coignes are angles or corners. Thus in 'Macbeth' (Act I.,
Sc. 6),

"Buttress, or coigne of vantage."

CONSIST. Act I., Sc. 4.

"Welcome is peace, if he on peace consist."

To consist is to stand on.

CONVINCE. Act I., Sc. 2.

"That time of both this truth shall ne'er convince." Convince in its Latin sense of overcome.

CUNNING. Act III., Sc. 2.

"Virtue and cunning were endowments greater." Cunning, from the Anglo-Saxon cunnian, is knowledge, experience.

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'By many a derne and painful perch."

Derne is sad or solitary, from the Anglo-Saxon dearn, dark or secret. In Spenser's Thestylis,' we have

"Their puissance whilom full dernly tried."

ECHE. Chorus to Act III.

"With your fine fancies quaintly eche."

Eche, from the Anglo-Saxon eacan, is to add to, to eke out. The c in the Anglo-Saxon became sometimes soft and sometimes hard, almost indifferently.

MERE. Act IV., Sc. 3.

"And that opinion a mere profit."

Mere, as in many other passages, is absolute, certain.

OWE. Act V., Sc. 1.

"You make more rich to owe."

Owe and own were interchangeable.

"The king unto him took a pheere."

Pheere is a mate. See fere in 'Henry IV., Part I.'

PILCHE. Act II., Sc. 1.

"What, ho, Pilche!"

Pilche is most probably meant for a name, as Patch-breech afterwards.

PREST. Chorus to Act IV.

"Prest for this blow."

Prest, from the French prêt, is ready, prepared.

PRINCIPALS. Act III., Sc. 2.

"The very principals did seem to rend."

Principals are the chief or strongest timbers of a building.

RECORDS. Chorus to Act IV.

"That still records with moan."

To record is to make music, to sing.

RESERVE. Act IV., Sc. 1.

"Reserve that excellent complexion." Reserve is used in the sense of preserve, take care of. SMOOTH. Act I., Sc. 2.

"Seem'd not to strike, but smooth."

To smooth is to flatter; a not quite obsolete sense. STINT. Act I., Sc. 2.

"And with the stint of war will look so huge." Stint is synonymous with stop in the old writers, but Malone changed stint to ostent, which is the usual reading. It has been said before, "He'll stop the course by which it might be known," which shows that stint is the right word.

WHEREAS. Act I., Sc. 2.

"Whereas, thou know'st."

Whereas, here, as in many other places, is used for where. In
Act II., Sc. 3, where is used for whereas :-

"Where now his son is like a glow-worm in the night."

WIT. Act IV., Sc. 4.

"Now please you wit."

Please you wit is be pleased to know. To wit is still a legal phrase.

PLOT AND CHARACTERS.

DR. DRAKE has bestowed very considerable attention upon the endeavour to prove that 'Pericles' ought to be received as the indisputable work of Shakspere. Yet his arguments, after all, amount only to the establishment of the following theory :-"No play, in fact, more openly discloses the hand of Shakspeare than 'Pericles,' and fortunately his share in its composition appears to have been very considerable: he may be distinctly, though not frequently, traced in the first and second acts; after which, feeling the incompetency of his fellow-labourer, he seems to have assumed almost the entire management of the remainder, nearly the whole of the third, fourth, and fifth acts