Main Text

Editor’s Notepg 143 Sc. 8a

Editor’s Note Enter Pericles and Gentlemen with lights

first gentleman Here is your lodging, sir.

pericles Pray leave me private.

Editor’s Note2Only for instant solace pleasure me

3With some delightful instrument, with which,

Editor’s Note4And with my former practice, I intend

5To pass away the tediousness of night,

Editor’s Note6Though slumbers were more fitting.

first gentleman Presently.

Editor’s Note Exit First Gentleman
Link 7

second gentleman Your will's obeyed in all things, for our master

8Commanded you be disobeyed in nothing.

Enter First Gentleman with a stringed instrument
Editor’s Note9

pericles I thank you. Now betake you to your pillows,

10And to the nourishment of quiet sleep.

Exeunt Gentlemen pg 144 Editor’s Note Pericles plays and sings

Editor’s Note11Day—that hath still that sovereignty to draw back

12The empire of the night, though for a while

13In darkness she usurp—brings morning on.

Editor’s Note14I will go give his grace that salutation

Link 15Morning requires of me.

Exit with instrument

Notes Settings


Editor’s Note
Sc. 8a This scene does not occur in Q, but is wholly reconstructed from the verse rhythms in Wilkins's prose narrative (see Appendix B, Passage A). For a full discussion, see Introduction, pp. 40–1, where it is suggested that by presenting Pericles as expert warrior, dancer, and singer, he is dramatized as the Renaissance universal man, and that this helps to bind the otherwise straggling Pentapolis sequence together. This is even clearer if the episode is placed before Sc. 8 rather than after, where Wilkins places it. At Stratford, Ontario in 1986, for example, Pericles and the gentlemen ascended to the balcony of the mock-Elizabethan stage at the end of Sc. 7 and played Oxford's reconstructed episode up there; Pericles remained there while Sc. 8 was played on the stage below, thus providing a focus for its discussion about him, and minimizing the clumsy intrusion of that scene into the Pentapolis sequence. He then descended to join Simonides at Sc. 9.19.1. This gave the Pentapolis sequence ideal continuity and flow; but since this edition's reconstruction is based on Wilkins, I reluctantly follow Oxford's example and use Wilkins's order.
Editor’s Note
0.1 Gentlemen with lights The gentlemen are from Wilkins's account; at Sc. 7.104 Simonides calls for pages with lights, so pages are a possible alternative. As Oxford says, the lights 'usefully establish the continuity with the end of Sc. 7' (TC, p. 570), a continuity that would be even better established if this episode followed immediately after Sc. 7.
Editor’s Note
2–3 pleasure me | With allow me the pleasure of
Editor’s Note
4 practice exercise (of music) (OED 3)
Editor’s Note
6 Presently at once
Editor’s Note
8.1 a stringed instrument Wilkins's account 'refers to the "fingering" of the instrument, and Pericles sings while he plays (p. 513); in Twine it is a harp (p. 438)' (TC, p. 570). Perhaps it is a lute—at any rate, not a bowed instrument.
Editor’s Note
9–10 I thank … sleep In Wilkins, the other knights 'betook themselves to their pillows, and to the nourishment of a quiet sleep', on which Oxford draws: 'Some formula of dismissal is needed; Pericles is characteristically courteous; and the lines emphasize, by contrast, his own inability to sleep' (TC, p. 570).
Editor’s Note
10.2 Pericles plays and sings Wilkins describes the beauty of Pericles' singing, but maddeningly provides no words for the song, as he does for Marina's at Sc. 21.68.2, usefully filling a lacuna in Q. Stratford, Ontario in 1986 used the first half of Marina's lyric for Marina herself, but the last eight lines for Pericles' song (see Appendix B, Passage D). These lines at least have some relevance to Pericles' situation, and using the same lyric had the merit of reinforcing the structural point that father and daughter sing at important moments in each half of the play.
Editor’s Note
11–15 Day … me Oxford takes these lines from the narration in Wilkins's account, since Pericles needs a motive to stop singing and to leave the stage.
Editor’s Note
11–13 Day … usurp Day and night are represented as rival monarchs: day has the sovereignty (power) to defeat and drive away night's usurping darkness.
Editor’s Note
14 salutation greeting
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