Main Text

Sc. 15

Enter Gower
Editor’s Note1

gower Imagine Pericles arrived at Tyre,

2Welcomed and settled to his own desire.

3His woeful queen we leave at Ephesus,

Editor’s Note4Unto Diana there's a votaress.

5Now to Marina bend your mind,

Editor’s Note6Whom our fast-growing scene must find

7At Tarsus, and by Cleon trained

Editor’s Note8In music's letters; who hath gained

Editor’s Note9Of education all the grace,

Editor’s NoteCritical Apparatus10Which makes her both the heart and place

11Of general wonder. But alack,

Editor’s Note12That monster envy, oft the wrack

pg 170

Editor’s Note13Of earned praise, Marina's life

Editor’s NoteCritical Apparatus Link 14Seeks to take off by treason's knife,

Editor’s NoteCritical Apparatus15And in this kind: our Cleon has

16One daughter, and a full-grown lass

Critical Apparatus17Even ripe for marriage-rite. This maid

Editor’s Note18Hight Philoten, and it is said

19For certain in our story she

Editor’s Note20Would ever with Marina be,

Editor’s NoteCritical Apparatus Link 21Be't when she weaved the sleided silk

Editor’s Note Link 22With fingers long, small, white as milk;

Editor’s NoteCritical Apparatus Link 23Or when she would with sharp nee'le wound

pg 171

Editor’s Note24The cambric which she made more sound

25By hurting it, or when to th' lute

Editor’s NoteCritical Apparatus Link 26She sung, and made the night bird mute

Editor’s Note27That still records with moan; or when

Editor’s Note28She would with rich and constant pen

Editor’s Note Link 29Vail to her mistress Dian. Still

Editor’s Note30This Philoten contends in skill

Editor’s Note31With absolute Marina; so

Editor’s NoteCritical Apparatus32With the dove of Paphos might the crow

Editor’s Note33Vie feathers white. Marina gets

Editor’s Note34All praises which are paid as debts,

Editor’s Note Link 35And not as given. This so darks

36In Philoten all graceful marks

Editor’s Note37That Cleon's wife with envy rare

Editor’s NoteCritical Apparatus38A present murder does prepare

39For good Marina, that her daughter

40Might stand peerless by this slaughter.

pg 172

Editor’s Note41The sooner her vile thoughts to stead

Editor’s Note42Lychorida, our nurse, is dead,

43And cursed Dionyza hath

Editor’s Note Link 44The pregnant instrument of wrath

Editor’s Note45Pressed for this blow. The unborn event

Editor’s Note46I do commend to your content,

Editor’s NoteCritical Apparatus47Only I carry winged Time

Editor’s Note48Post on the lame feet of my rhyme,

Editor’s Note49Which never could I so convey

50Unless your thoughts went on my way.

Editor’s NoteEnter Dionyza with Leonine

51Dionyza does appear.

52With Leonine, a murderer.

Editor’s Note53

dionyza Thy oath remember, thou hast sworn to do't.

54'Tis but a blow, which never shall be known.

Editor’s Note55Thou canst not do a thing in the world so soon

Editor’s Note56To yield thee so much profit. Let not conscience,

pg 173

Editor’s NoteCritical Apparatus57Which is but cold, or flaming love thy bosom

Editor’s NoteCritical Apparatus58Enslave too nicely, nor let pity, which

Link 59Even women have cast off, melt thee; but be

Editor’s Note Link 60A soldier to thy purpose.

leonine I will do't;

Editor’s Note61But yet she is a goodly creature.


dionyza The fitter then the gods should have her.

Editor’s NoteCritical Apparatus63Here she comes weeping for her only nurse's death.

64Thou art resolved?

leonine I am resolved.

Enter Marina with a basket of flowers
Editor’s Note Link 65

marina No, I will rob Tellus of her weed

pg 174

Editor’s Note Link 66To strew thy green with flowers. The yellows, blues,

Editor’s Note67The purple violets and marigolds

Editor’s Note68Shall as a carpet hang upon thy grave

Editor’s Note Link 69While summer days doth last. Ay me, poor maid,

70Born in a tempest when my mother died,

Editor’s Note71This world to me is but a ceaseless storm

Editor’s Note72Whirring me from my friends.

Editor’s Note73

dionyza How now Marina, why do you keep alone?

74How chance my daughter is not with you?

Editor’s Note75Do not consume your blood with sorrowing.

Editor’s NoteCritical Apparatus76Have you a nurse of me. Lord, how your favour

77Is changed with this unprofitable woe!

Editor’s NoteCritical Apparatus78Give me your flowers. Come, o'er the sea-marge walk

pg 175

Editor’s Note79With Leonine. The air is piercing there,

Editor’s Note80And quick; it sharps the stomach. Come, Leonine,

81Take her by the arm. Walk with her.

marina No, I pray you,

Editor’s Note82I'll not bereave you of your servant.

dionyza Come, come,

83I love the King your father and yourself

Editor’s Note Link 84With more than foreign heart. We every day

85Expect him here. When he shall come and find

Editor’s Note86Our paragon to all reports thus blasted,

Editor’s Note Link 87He will repent the breadth of his great voyage,

88Blame both my lord and me, that we have taken

Editor’s Note89No care to your best courses. Go, I pray you,

Critical Apparatus90Walk and be cheerful once again; resume

91That excellent complexion which did steal

92The eyes of young and old. Care not for me.

93I can go home alone.

marina Well, I will go,

Editor’s Note94But truly I have no desire to it.

Editor’s Note95

dionyza Nay, I know 'tis good for you. Walk half an hour,

96Leonine, at the least; remember

Editor’s Note97What I have said.

leonine I warrant you, madam.

pg 176 98

dionyza (to Marina) I'll leave you, my sweet lady, for a while.

Editor’s NoteCritical Apparatus99Pray you walk softly, do not heat your blood.

100What, I must have care of you.

marina My thanks, sweet madam.

Critical Apparatus Exit Dionyza

Editor’s Note Link 101Is this wind westerly that blows?

leonine South-west.

Editor’s Note Link 102

marina When I was born the wind was north.

leonine Was't so?

Editor’s Note103

marina My father, as nurse says, did never fear,

Editor’s Note104But cried 'Good seamen' to the mariners,

Editor’s NoteCritical Apparatus105Galling his kingly hands with haling ropes,

Editor’s Note Link 106And clasping to the mast, endured a sea

107That almost burst the deck.


leonine When was this?


marina When I was born.

110Never was waves nor wind more violent,

Editor’s Note111And from the ladder tackle washes off

Editor’s Note112A canvas-climber. 'Ha!' says one, 'wolt out?'

Editor’s Note113And with a dropping industry they skip

pg 177

Editor’s NoteCritical Apparatus Link 114From stem to stern. The boatswain whistles, and

115The master calls and trebles their confusion.


leonine Come, say your prayers.


marina What mean you?

Editor’s Note118

leonine If you require a little space for prayer

Editor’s Note119I grant it. Pray, but be not tedious, for

Editor’s Note120The gods are quick of ear, and I am sworn

121To do my work with haste.

marina Why will you kill me?


leonine To satisfy my lady.

marina Why would she have me killed?

Editor’s Note123Now, as I can remember, by my troth

124I never did her hurt in all my life.

125I never spake bad word, nor did ill turn

Editor’s Note126To any living creature. Believe me, la,

Editor’s Note127I never killed a mouse nor hurt a fly.

Link 128I trod upon a worm against my will,

Critical Apparatus129But I wept for it. How have I offended

130Wherein my death might yield her any profit

pg 178

131Or my life imply her any danger?

leonine My commission

132Is not to reason of the deed, but do't.


marina You will not do't for all the world, I hope.

Editor’s Note Link 134You are well favoured, and your looks foreshow

135You have a gentle heart. I saw you lately

Editor’s Note136When you caught hurt in parting two that fought.

Editor’s Note137Good sooth, it showed well in you. Do so now.

Editor’s Note138Your lady seeks my life. Come you between,

139And save poor me, the weaker.

leonine drawing his swordI am sworn,

Editor’s Note140And will dispatch.

Editor’s Note Enter Pirates

first pirate Hold, villain.

Critical Apparatus Leonine runs away

second pirate A prize, a prize.

Editor’s Note143

third pirate Half-part, mates, half-part. Come, let's have

Editor’s NoteCritical Apparatus144her aboard suddenly. Exeunt PiratescarryingMarina

Editor’s Note Leonine steals back
Editor’s Note145

leonine These roguing thieves serve the great pirate Valdes.

Editor’s Note146An they have seized Marina, let her go.

Editor’s NoteCritical Apparatus147There's no hope she'll return. I'll swear she's dead

pg 179

148And thrown into the sea; but I'll see further.

Editor’s Note149Perhaps they will but please themselves upon her,

150Not carry her aboard. If she remain,

151Whom they have ravished must by me be slain.


Notes Settings


Editor’s Note
Sc. 15.1–4 Gower begins his speech in iambics, perhaps to ease the audience out of the blank verse in which the main action has been taking place, as he seems to have eased them into it at Sc. 10.59–60. As he introduces a new and important character, Marina, at l. 5, he slips back into his usual octosyllabic rhythm.
Editor’s Note
4 there's Either 'there as' or 'there she is'; but perhaps it is simpler in performance to follow Malone and read 'there'. votaress nun
Editor’s Note
6 fast-growing (because fourteen years have passed and the baby Marina of Sc. 11 and 13 has grown up)
Editor’s Note
8 music's letters the study of music. This is often emended to 'music, letters', i.e. that Marina was taught about literature as well as music, which may be what was intended; but later in the play her skills in needlework are stressed as well as music, but not literary ones, except at ll. 27–9; and her skill in singing is dramatically important in the climactic scene with her father (Sc. 21.68.2).
Editor’s Note
9 Of … grace all the accomplishments that education could provide
Critical Apparatus
Sc. 15.10 her] malone (Steevens); hie q
heart] malone (Steevens); art q
Editor’s Note
10 heart and place centre and focus
Editor’s Note
12, 37 envy 'Though the modern sense is in place, the commoner Shakespearian meaning "ill-will, malice" is also present' (Maxwell).
Editor’s Note
12 oft often
wrack ruin
Editor’s Note
13 earned justified
Critical Apparatus
14 Seeks] rowe; Seeke q
Editor’s Note
14 treason treachery
Critical Apparatus
15–16 has … lass] oxford (conj. Schanzer in Hoeniger); hath … wench q
Editor’s Note
15–16 And … lass These lines in Q (see Appendix A, 1406–7) raise two difficulties. If in this kind refers to something that Cleon 'hath', it must be an attempt to introduce his daughter Philoten, involving the forced interpretation 'the same category (as Marina)' (H. F. Brooks in Hoeniger). Secondly, the couplet does not rhyme, in a rhyming passage. The first problem is simply solved by Maxwell, who interprets in this kind as 'in the following way', so that the rest of Gower's speech explains how and why 'envy' tries to take Marina's life. The second requires more adjustment. Malone adopted Steevens's conjecture and reversed ';our Cleon hath' and 'full grown wench' to provide the rhyme 'Cleon/grown', but this involves the grotesque pronunciation 'Clee-own' rather than the normal Cleon. Oxford adopts Schanzer's proposal (in Hoeniger) of has for Q's 'hath', which Shakespeare increasingly uses in his later work, and lass for 'wench'; 'lass is strongly associated with Shakespeare's late work', most strikingly when Cleopatra is called 'lass unparalleled' (Antony 5.2.310); and Q's 'wench' 'would be an easy substitution' (TC, p. 575).
Critical Apparatus
17 ripe] q2; right q1
rite] collier 2; light q
Editor’s Note
18 Hight was called. The past tense of the Middle English 'hoten', this is another of Gower's archaisms (OED v.1 arch.). Shakespeare elsewhere uses it in connection with the old-fashioned extravagances of Don Armado (Love's Labour's Lost 1.1.168, 249) and for the old-fashioned idiom of the play-within-the-play at Dream 5.1.138 'This grizzly beast, which "Lion" hight by name.'
Editor’s Note
18 Philoten The name comes from Gower's Confessio Amantis l. 1345, and presumably draws on the common Greek prefix meaning 'dear, beloved', perhaps chosen by Cleon to express his affection for his daughter. It is stressed on the first syllable.
Editor’s Note
20 ever always
Critical Apparatus
21 she] malone; they q
Editor’s Note
21 Be't whether it was
she Malone's emendation of Q's 'they' is needed since, though there is no reason why both Marina and Philoten shouldn't work at the embroidery, the next eight lines concentrate exclusively on Marina's qualities.
sleided separated out into threads for use in embroidery (OED, sleave-silk, Obs.). OED, sleided, says that this is an irregular variant of 'sleaved', citing only this passage and A Lover's Complaint l. 48; but 'Sleyd silke' also occurs in the Folio text of Troilus (5.1.28 / TLN 2898), where the Quarto text has 'sleiue silke'.
Editor’s Note
22 small slender, delicate
Critical Apparatus
23 nee'le] maxwell; needle q
Editor’s Note
23 nee'le needle (which Q reads; Maxwell adopts the common Elizabethan variant, which occurs in Q at Sc. 20.5, and which fits the metre in both cases)
Editor’s Note
24 cambric fine white linen
more sound stronger (reinforced by her sewing)
Critical Apparatus
26 bird] malone (Theobald); bed q
Editor’s Note
26–7 the night bird … moan The night bird is the nightingale; it records (remembers) with moan because, in classical mythology, the nightingale was the princess Philomel transformed, after being raped by her brother-in-law Tereus, who tore out her tongue to prevent her revealing his crime (Ovid, Metamorphoses 6.424–674). The story was a favourite with Shakespeare: he alludes to it, for example, throughout Titus Andronicus as a parallel to that play's events, and at Cymbeline 2.2.44–6.
Editor’s Note
27–9 when … Dian The general sense seems to be that Marina writes (poems?) in praise of her patron goddess, Diana. See the following notes.
Editor’s Note
28 rich eloquent (as at Cymbeline 2.3.17: 'rich words' and Sonnet 84.2: 'rich praise')
constant consistent, loyal (as at Sonnet 105.7, where the poet's exclusive praise of the same person is 'to constancy confined')
Editor’s Note
29 Vail do homage (literally 'bow', as at Sc. 7.42)
Editor’s Note
29 her mistress Dian Marina dedicates herself to the goddess as her mother has done in the previous scene.
Editor’s Note
30 contends competes
Editor’s Note
31 absolute perfect
Critical Apparatus
32 With the] steevens (Mason); The q
might] steevens (Mason); might with q
Editor’s Note
32 dove of Paphos White doves drew the chariot of Venus, goddess of love; Paphos in Cyprus was dedicated to Venus, who was thought to have risen from the sea close to the town. Compare Venus ll. 1190–3 and Tempest 4.1.92–4. Venus is rather surprisingly evoked in a passage extolling a character who is dedicated to Venus' rival Diana.
Editor’s Note
33 Vie compete (i.e. it would be as absurd for the black crow to compete with the white dove in having white feathers as for Philoten to compete in perfection with Marina). The comparison was proverbial (Dent B435).
Editor’s Note
34 debts (i.e. what is naturally owed to her)
Editor’s Note
35 given (as compliments)
darks darkens, puts in the shade
Editor’s Note
37 rare exceptional
Critical Apparatus
38 murder] oxford (W. S. Walker); murderer q
Editor’s Note
38 present immediate
murder Q's 'murderer' makes sense, but probably anticipates l. 52. Oxford compares Hamlet 4.3.67: 'The present death of Hamlet'.
Editor’s Note
41 stead assist
Editor’s Note
42–3 Between these lines, Oxford adds the direction 'A tomb is revealed' because it 'is clearly required later', in ll. 66 and 68 (TC, p. 575). But that requirement depends upon emendations made by Oxford in both lines, which this edition does not follow; nor, therefore, does it follow Oxford in introducing an unnecessary piece of scenery.
Editor’s Note
44 pregnant apt to be influenced, ready (OED a.2 3d)
Editor’s Note
45 Pressed forced into service (OED v.2 2d). This interestingly qualifies the sense of pregnant in the previous line (see the note). Leonine is willing and not willing, as the dialogue subsequently makes clear.
unborn event outcome
Editor’s Note
46 content pleasure (in watching the play)
Critical Apparatus
47 carry] steevens; carried q
Editor’s Note
47–8 Only … rhyme 'my narrative [goes] faster than time, in spite of my halting verses' (Edwards)
Editor’s Note
48 Post post-haste (an adverb derived from the sixteenth-century custom of stationing horsemen along the post-roads to carry messages as swiftly as possible)
Editor’s Note
49–50 Which … way which I could not express unless your imaginations helped me. Compare the Chorus at Henry V Prologue 23: 'Piece out our imperfections with your thoughts'.
Editor’s Note
50.1 Enter … Leonine Q places this direction after Gower's exit, but this edition follows Oxford, in order to emphasize the easy interweaving of Gower's narratives with the action proper. Compare Sc. 1.39.1, Sc. 5.38.1,andthenoteto Sc. 1.40.
Leonine Shakespeare transfers this name from the brothel-keeper in Gower's original, who remains nameless in the play. The name means 'lion-like', and is one of several similarly-derived names in the late plays: the Leonatus family in Cymbeline, and Leontes in The Winter's Tale.
Editor’s Note
53–151 Q prints this scene as prose, with, as Maxwell says, 'a few half-hearted attempts' at the verse in which the original was obviously written (see Appendix A, ll. 1445–1541). Earlier editors, especially Rowe and Malone, have attempted to restore the verse, though some incomplete lines remain. It is, however, possible that some of these reflect dramatically deliberate pauses: see the note to ll. 101–15.
Editor’s Note
55 a thing anything
soon quickly
Editor’s Note
56–9 Let not … melt thee In the passage as amended here (see the next note), Dionyza urges Leonine not to be influenced by conscience, love, or pity. These three motivations occur together at 3 Henry VI 5.6.68: 'I that have neither pity, love, nor fear'.
Critical Apparatus
57 or]deighton; in q
love thy] singer; thy loue q
Editor’s Note
57–8 or flaming … nicely Q's 'in flaming, thy love bosom, enflame too nicely' is obviously confused nonsense. I have not adopted Oxford's emendation 'or fanning love thy bosom | Unflame too nicely' because it doesn't seem to me to make very good sense (see the extended discussion at TC, pp. 575–6), but have preferred Deighton's emendation, which provides a characteristically Shakespearian contrast with the preceding phrase: 'Don't let cither cold conscience or hot love (for Marina) influence you'. Oxford objects that Enslave is not recorded by OED before 1643, and it is true that Shakespeare doesn't use it elsewhere; but as the Oxford editors say in support of their own emendation, Shakespeare was a great coiner of words, and Deighton's has the merit of simplicity and comprehensibility.
Critical Apparatus
58 Enslave] deighton; enflame q
Editor’s Note
58 nicely scrupulously
Editor’s Note
60 A soldier to i.e. courageously resolved to carry out. Compare Cymbeline 3.4.183–4: 'This attempt | I am soldier to'.
Editor’s Note
61–2 she is … her This exchange, especially the ironic reply, recalls that between Lady Anne and Richard III about Henry VI: 'O he was gentle, mild, and virtuous. | The fitter for the King of Heaven that hath him' (Richard III (Q) 1.2.104–5).
Critical Apparatus
63 nurse's] steevens (Theobald, Percy); Mistresse q
Editor’s Note
63 only nurse's Q has 'only mistress'. It is just possible that 'mistress' is correct, though OED's latest example of the meaning 'a woman who has charge of a child or young person' is from c. 1400 (sb. 3), and since it refers to Lychorida, it is probably best to assume a misreading of 'nurse's'. I retain only with reluctance. If correct, it must express Marina's high regard for Lychorida: 'the only one to be counted, reckoned, or considered' (OED a. 5); but I find this forced, and think that Percy's conjecture 'old', adopted by Steevens, is probably preferable in performance, though it makes an irregular line still less regular. Only nurse occurs at Romeo 1.3.69, but there the context gives it a precise meaning which is irrelevant here.
Editor’s Note
65–9 This flower-strewing passage has affinities, both in language and rhythm, with Perdita's distribution of flowers at Winter's Tale 4.4.103–27 and especially Arviragus's promise to 'sweeten' Fidele's grave with flowers 'Whilst summer lasts' at Cymbeline 4.2.219–30.
Editor’s Note
65 No This probably has the force of 'Nay' used, as often in Shakespeare, as an intensifier rather than a contradiction; or perhaps it implies 'Do not doubt that', since the speech is addressed to the dead Lychorida.
Tellus goddess of the earth
weed garment, covering (i.e. the flowers)
Editor’s Note
66 green i.e. the turf covering Lychorida's grave, as at Tempest 4.1.83: 'short-grassed green'
Editor’s Note
67 violets, marigolds Both recur in Perdita's flower speeches at Winter's Tale 4.4.105, 120.
Editor’s Note
68 carpet Editors say that this means 'tapestry', but the normal modern meaning is supported by Richard II 3.3.48–9: 'we march | Upon the grassy carpet of this plain.'
grave Oxford emends to 'tomb', partly to avoid repetition from l. 66, where the editors follow F3 in emending 'green' to 'grave'; but since 'green' makes perfect sense, I retain Q in both lines. In any case, if the actor of Marina was the principal reporter, as Oxford persuasively argues, he is unlikely to have misremembered his opening lines.
Editor’s Note
69 days doth For the plural subject and singular verb, see the note to Sc. 1.115–16.
Editor’s Note
71 but only
ceaseless Q's 'lasting' makes sense, but may be a reporter's echo of 'last' at l, 69, whose accuracy is confirmed by the parallel with Cymbeline mentioned in the note to ll. 65–9. Oxford's emendation is discussed in TC, p. 576. Either reading makes the point that Marina feels a victim of perpetual storms, just as her father had been, at the point where she takes over from him as the centre of dramatic interest.
Editor’s Note
72 Whirring 'to carry or hurry along … with a rushing or vibratory sound' (OED, whirr, v. 1b)
Editor’s Note
73 How now what is the matter? (a common catch-phrase)
keep remain
Editor’s Note
75 consume … sorrowing Sorrow, and especially sighing, was thought to draw drops of blood from the heart; compare Romeo 3.5.59, 'Dry sorrow drinks our blood', and 2 Henry VI 3.2.61: 'blood-consuming sighs'.
Critical Apparatus
76–7 favour | Is changed] schanzer; fauours | Changd q
Editor’s Note
76 Have … me let me be your nurse
favour appearance
Critical Apparatus
78 o'er] oxford (Theobald); ere q
marge] This edition; marre it q
Editor’s Note
78–81 Oxford introduces several emendations and transpositions in these lines (compare Appendix A, ll. 1469–72), partly to provide more acceptable verse (for supporting evidence, see TC, pp. 576–7). I have taken the process a little further in l. 78. See the next note.
Editor’s Note
78 Come … walk As Oxford says, the line's metrical irregularity in Q is 'easily rectified' by transposing Come from the start of the line. Such interjections are easily misplaced or inserted in reported texts (and Dionyza uses 'Come' repeatedly in the scene). Theobald conjectured 'o'er the sea margin', for Q's meaningless 'ere the sea mar it'; this is supported by Dream 2.1.85, 'the beached margin of the sea', and, as Hoeniger notes, still more by the combination of 'sea-marge' and 'air' at Tempest 4.1.69–70. Influenced by the latter, I suggest that this line flows better if we read marge rather than 'margin', and place walk at the end of this line rather than, as Oxford does, at the start of the next.
Editor’s Note
79–80 The air … stomach Of Q's 'the air is quick there, | And it pierces and sharpens the stomach' Oxford says: 'Although the air might be piercing, and might sharpen the appetite, it does not "pierce the stomach". Q's line is also, for Shakespeare, metrically impossible. The reporter might easily transpose the two attributes, resulting in metrical confusion in two adjacent lines' (TC, p. 577).
Editor’s Note
80 quick keen. Compare 'how quick and fresh art thou' at Twelfth Night 1.1.9, another context involving the breeze, the sea, and appetite.
sharps the stomach sharpens the appetite
Editor’s Note
82 bereave deprive
Editor’s Note
84 With … heart i.e. as if we were relatives, rather than strangers
Editor’s Note
86 paragon to all reports 'i.e. one who was worthy of all the praise she received' (Maxwell)
blasted withered
Editor’s Note
87 breadth … voyage i.e. that he went on such a long journey (and so has been so long away)
Editor’s Note
89 to … courses of what was best for you
Critical Apparatus
90 resume] maxwell (Wilson); reserue q
Editor’s Note
94 Oxford's truly for Q's 'yet' creates a normal iambic line.
Editor’s Note
95 Nay Of Q's 'Come, come' Oxford says: 'Dionyza has already used the same interjection four times in her last two speeches' (TC, p. 577); some of those, too, are probably the work of the reporter. For the force of Nay here, see the note to 'No' at l. 65.
Editor’s Note
97 warrant promise, guarantee
Critical Apparatus
99 Pray you] malone; pray q
Editor’s Note
99 softly gently
Critical Apparatus
100.1 Exit Dionyza] malone; not in q
Editor’s Note
101–15 Anne Barton writes of this episode: 'These two people may be placed, formally, in the attitude of conversation' but neither 'is really listening to the other. Arbitrarily sealed off in separate worlds, they talk at but not really to each other' ('Shakespeare and the Limits of Language', SS 24 (Cambridge, 1971), 19–30; p. 29). In re-creating Scene 11 through Marina's eyes and imagination fourteen years later, the episode further emphasizes, not just the link between Pericles and Marina, but that she is taking over from him as the centre of the play (see the second note to l. 71). Leonine, however, has no interest in her story: he is simply awaiting his opportunity to strike.
Editor’s Note
102 wind was north See Sc. 10.47 and second note.
Editor’s Note
103 says Malone altered this to 'said', but Marina shows the natural human tendency to think of the newly-dead as still alive.
Editor’s Note
104 'Good seamen' (i.e. he encouraged them, as Alonso does at Tempest 1.1.8: 'Good Boatswain, have care')
mariners Q has 'sailors', 'an easy unmetrical memorial substitution' (TC, P.577).
Critical Apparatus
105 with] malone; not in q
Editor’s Note
105 Galling chafing
haling pulling on (presumably to steady the wind-swept sails: OED v.1)
Editor’s Note
106 clasping clinging
Editor’s Note
111 ladder tackle rope ladder in the ship's rigging
Editor’s Note
112 canvas-climber sailor climbing the rigging to trim the sails one (of the crew) 'wolt out?' 'Are you leaving us?' As Ridley says, a brutally humorous remark to the sailor who has just been 'washed off the rigging into the sea.
wolt Colloquial construction of 'will you' (OED, will, v.1 A.3).
Editor’s Note
113 dropping dripping wet (OED ppl. a. 1b)
Critical Apparatus
114 stem] malone; sterne q
Editor’s Note
114 From … stern from one end of the ship to the other
Editor’s Note
118–19 If … it In Twine (p. 454), the equivalent of Marina asks for time to pray, which is granted; by making the initiative come from the murderer himself, Shakespeare adds an additional touch to the characterization of Leonine as a reluctant murderer.
Editor’s Note
119 be not tedious don't take too long
Editor’s Note
120 of ear to hear (prayers)
Editor’s Note
123 as as far as
Editor’s Note
126 la An emphatic exclamation, roughly implying 'Yes indeed'. It is spelled both la and 'law' (as in Q here), and though OED lists these under separate headings, there is little if any distinction in meaning. Shakespeare uses it as an indication of simplicity, frequently so used by Slender in Merry Wives, or affectation, as when Berowne uses it at Love's Labour's Lost 5.2.414 in the very act of renouncing affectation. The rhyme in the latter context requires the mannered pronunciation 'law'; I have modernized to la here because the context is obviously one of simplicity, and to avoid any hint of mincing affectation (see the next note).
Editor’s Note
127–9 I never … it This is a very curious passage, to put it mildly. The aim seems to be to express Marina's innocence, but its sheer banality suggests instead simple-mindedness, at complete odds with a character celebrated for her accomplishments. Shakespeare was a master of simple, direct expression—at Sc. 21.201, for example, or Sc. 21.127–9 and the comparable lines from Twelfth Night cited in the Introduction, p. 12, or Marina's opening speech in this scene, and the parallel from Cymbeline cited in the note; and what Maxwell calls the 'mincing fatuousness' of these lines doesn't sound like Wilkins either. Is it possible that the reporter (probably the actor of Marina; see Introduction, pp. 78–9) was embroidering, or introducing lines from another play?
Critical Apparatus
129 for it] q4; fort q1
Editor’s Note
134 well favoured good-looking (a hint for casting?)
foreshow demonstrate, indicate
Editor’s Note
136 caught hurt received an injury
Editor’s Note
137 Good sooth truly (literally 'in good truth', a mild oath like 'by my troth' at l. 123)
Editor’s Note
138 between (us)
Editor’s Note
140 dispatch act (i.e. kill)
Editor’s Note
140.1 Enter Pirates This entrance has been variously staged: at Stratford-upon-Avon in 1958, for example, the pirates entered swiftly but silently a few lines earlier and threw themselves on the ground, watching until they intervened to save Marina, while at the Swan Theatre there in 1989, they abseiled down to the stage from the gallery.
Critical Apparatus
141.1 Leonine runs away] malone; not in q
Editor’s Note
143 Half-part let's go shares. This could mean, as Leonine assumes at l. 149, that they all want to have intercourse with her, or that they will share the profit from selling her to the brothel in the next scene.
have carry
Critical Apparatus
144 Exeunt … Marina] malone (subs.); Exit q
Editor’s Note
144 suddenly immediately
Editor’s Note
144.1 steals back From Wilkins's narrative; 'he secretly stole back' (p. 529).
Editor’s Note
145 Valdes Perhaps an allusion to the Spaniard Don Pedro de Valdes, referred to in Dekker's The Whore of Babylon (1607— i.e. roughly contemporary with Perides).
Editor’s Note
146 An since
Critical Apparatus
147 she'll] malone; shee will q
Editor’s Note
147 hope i.e. fear, risk
Editor’s Note
149 please themselves upon have intercourse with
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