Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 1

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E3rSc. 143.2

Critical ApparatusEnter Lord Cerymon with a seruant.
Link 1

Cery. Phylemon, hoe.

Enter Phylemon.

Phyl. Doth my Lord call?

Critical Apparatus2

Cery. Get Fire and meat for these poore men,

3T'as been a turbulent and stormie night.

Critical Apparatus4

Seru. I haue [seen] many; but such a night as this,

Critical Apparatus5Till now, I neare endured:


Cery. Your Maister will be dead ere you returne,

Critical Apparatus7There's nothing can be ministred to Nature,

8That can recouer him: giue this to the Pothecary,

9And tell me how it workes.

Enter two Gentlemen.

1. Gent. Good morrow.

Critical Apparatus10

2. Gent. Good morrow to your Lordship,

Cery. Gentlemen,

Critical Apparatus11Why doe you stirre so early?

1. Gent. Sir,

12Our lodgings standing bleake vpon the sea,

13Shooke as the earth did quake:

Critical Apparatus14The very principals did seeme to rend

15And all to topple: pure surprize and feare,

Critical Apparatus16Made me to quite the house.


2. Gent. That is the cause we trouble you so early,

18T'is not our husbandry.

Cery. O you say well.

pg 1395 Critical Apparatus19

1. Gent. But I much maruaile that your Lordship [should,]

20Hauing rich tire about you, at these early howers,

Critical Apparatus21Shake off the golden slumber of repose;

22Tis most strange

Critical Apparatus23Nature should be so conuersant with Paine,

Critical Apparatus24Being thereto not compelled.

Cery. I hold it euer

25Vertue and Cunning, were endowments greater,

26Then Noblenesse & Riches; carelesse Heyres,

Critical Apparatus27May the two latter darken and expend;

28But Immortalitie attendes the former,

29Making a man a god: T'is knowne, I euer

30Haue studied Physicke: through which secret Art,

E3v Link 31By turning ore Authorities,

I haue

32Togeather with my practize, made famyliar,

33To me and to my ayde, the blest infusions

Critical Apparatus34That dwels in Vegetiues, in Mettals, Stones:

Critical Apparatus35And [so] can speake of the disturbances

Critical Apparatus36That Nature works, and of her cures; which doth giue me

Critical Apparatus37A more content [and cause] of true delight

38Then to be thirsty after tottering honour,

Critical Apparatus39Or tie my pleasure vp in silken Bagges,

Critical Apparatus40To please the Foole and Death.

2. Gent. Your honour has

41Through Ephesus, poured foorth your charitie,

42And hundreds call themselues, your Creatures; who

Critical Apparatus43By you, haue been restored; And not your knowledge,

44Your personall payne, but euen your Purse still open,

45Hath built Lord Cerimon, such strong renowne,

Critical Apparatus46As time shall neuer.

Enter two or three with a Chist.
pg 1396 Critical Apparatus47

Seru. So, lift there.

Cer. What's that?

Ser. Sir, euen now

Critical Apparatus48[The sea tost vp] vpon our shore this Chist;

49Tis of some wracke.

Cer. Set't downe, let's looke vpon't.

Critical Apparatus50

2. Gent. T'is like a Coffin, sir.

Cer. What ere it be,

Critical Apparatus51T'is woondrous heauie; Wrench it open straight:

52If the Seas stomacke be orecharg'd with Gold,

Critical Apparatus53T'is [by] a good constraint of [fickle] Fortune

54It belches vpon vs.

2. Gent. T'is so, my Lord.

Critical Apparatus55

Cer. How close tis caulkt & [bittumed], did the sea cast it vp?

Critical Apparatus56

Ser. I neuer saw so huge a billow sir,

Critical Apparatus57As tost it vpon shore.

Cer. Wrench it open

58Soft; it smels most sweetly in my sense.

2. Gent. A delicate Odour.


Cer. As euer hit my nostrill: so, vp with it.

60Oh you most potent Gods! what's here, a Corse?

Critical Apparatus61

2. Gent. Most strange.

Cer. Shrowded in Cloth of state,

pg 139762Balmed and entreasured with full bagges of Spices,

Critical Apparatus63A Pasport to

64Apollo, perfect mee in the Characters:

E4r Link 65    Heere I giue to vnderstand,

66    If ere this Coffin driues aland;

67    I King Pericles haue lost

68    This Queene, worth all our mundaine cost:

69    Who finds her, giue her burying,

70    She was the Daughter of a King:

71    Besides, this Treasure for a fee,

72    The Gods requit his charitie.

73If thou liuest Pericles, thou hast a heart,

Critical Apparatus74That euer cracks for woe, this chaunc'd to night.

Critical Apparatus75

2.Gent. Most likely sir.

Cer. Nay certainely to night,

Critical Apparatus76For looke how fresh she looks they were too [rash],

77That threw her in the sea. Make a Fire within;

78Fetch hither all my Boxes in my Closet,

79Death may vsurpe on Nature many howers,

80And yet the fire of life kindle againe

Critical Apparatus81The ore-prest spirits: I heard of an Egiptian

Critical Apparatus82That had 9. howers lien dead,

Critical Apparatus83Who was by good applyaunce recouered.

Critical ApparatusEnter one with Napkins and Fire.

Critical Apparatus84Well sayd, well sayd; the fire and clothes:

Critical Apparatus85The rough and Wofull Musick that we haue,

pg 139886Cause it to sound beseech you:

Critical Apparatus87The Violl once more; how thou stirr'st thou blocke?

88The Musicke there: I pray you giue her ayre:

Critical Apparatus89Gentlemen, this Queene will liue, Nature awakes

Critical Apparatus90A warmth [breaths] out of her; she hath not been

91Entranc'st aboue fiue howers: see how she ginnes

Critical Apparatus92To blow into lifes flower againe.

1. Gent. The Heauens,

Critical Apparatus93Through you, encrease our wonder, and sets vp

Critical Apparatus94Your fame for euer.

Cer. She is aliue, behold

95Her ey-lids cases to those heauenly iewels

96Which Pericles hath lost,

97Begin to part their fringes of bright gold,

Critical Apparatus98The Diamonds of a most praysed water

99Doth appeare, to make the world twise rich, liue,

100And make vs weepe. To heare your fate, faire creature,

Critical Apparatus101Rare as you seeme to bee.

Shee moues.

Thai. O deare Diana,

E4v Link 102Where am I? Where's my Lord? What world is this?

Critical Apparatus103

2. Gent. Is not this strange?

1. Gent. Most rare.

Ceri. Hush ([gentle] neighbours)

104Lend me your hands, to the next Chamber beare her:

105Get linnen: now this matter must be lookt to

106For her relapse is mortall: come, come;

107And Escelapius guide vs.

They carry her away. Exeunt omnes.

Notes Settings


Critical Apparatus
14.0.1 a seruant 1white = a servant and others; two servants (edwards; a Servant and a Poor Man hoeniger; a Visiting Servant and a Poor Man gossett. In Painfull Aduentures, Cerimon is accompanied by more than one man, Dramatically speaking, only one onstage 'servant' is required, and 'these' (see next note) could refer to men he has just been with; or the one servant on stage could be representative of that group. But Cerimon appears to address another person at 14.8 (one of his servants, perhaps, or another sent by a shipwrecked master), and mute characters are frequently omitted from entrance directions.
Critical Apparatus
14.2 these 1white; those schanzer
Critical Apparatus
14.4 Seru. 1white = servant; first visiting servant (gossett). This servant character speaks here and is given the speech prefix 'Seru.'. There is, however, another separate 'Servant' character identified by the same speech prefix later in the scene at 14.47. taylor–jackson assign the lines for the later servant character to Philemon, which makes good sense because he is addressed by name in the text but then appears to disappear after his single response to Cerimon. However, we cannot be certain that the servant who brings in the chest is Philemon; after all, Philemon has been explicitly instructed by Cerimon to attend to the care of these 'poore men'. The issue is largely unproblematic in performance: it is obvious that this servant (who belongs to another master) is different from the other servants later.
Critical Apparatus
14.4 seen taylor–jackson (Taylor); been in 1white. The repetition of 'been' could indicate that the word has been accidentally caught from above. Taylor notes that in parallel passages elsewhere Shakespeare uses the verb 'seen' (Macbeth 11.1–4, Julius Caesar 1.3.5–10) or 'heard' (King Lear 9.44). The emendation also improves the meter.
Critical Apparatus
14.5 neare 1white = ne'er
Critical Apparatus
14.7 to 1white; in taylor–jackson (Jackson). The emendation supposes that Cerimon is speaking of a 'particular patient', and that the compositor may have anticipated 'to' in the next line. However, 'Nature' means 'the mortal body', as distinct from ministering to the soul. On this meaning, compare 'Nature awakes' at 14.89.
Critical Apparatus
14.10–11 Gentlemen … early? steevens; 1 line 1white
Critical Apparatus
14.11–12 Sir … sea, steevens; 1 line 1white
Critical Apparatus
14.14–6 The … house. malone1780; 2 lines 1white: topple:|
Critical Apparatus
14.16 quite 1white = quit
Critical Apparatus
14.19–20 Lordship should,| Hauing … you, taylor–jackson (Taylor); Lordship,| Hauing … you should 1white. The emendation assumes that the auxiliary verb was transposed in the transmission of the text (see Textual Introduction); it creates two metrically regular lines. Taylor explains the error in terms of faulty reporting, which may be correct, but alternatively it may have been caused by authorial revision gone wrong.
Critical Apparatus
14.21–2 Shake … strange malone1780; 1 line white
Critical Apparatus
14.23 should 1white; to taylor–jackson. Possibly caught from the (unemended) lines above. Taylor proposes that '"be" can more easily take the required metrical stress, if preceded by "to"'. But the meter is not problematic, and 'should' can be explained in the context: it adds to the sense of unlikelihood of Cerimon's 'most strange' empathy.
Critical Apparatus
14.24 hold 1white; held malone1780. Accepting malone1780's emendation, taylor–jackson observe parallels in 'My life I neuer held' in King Lear 1.139 and 'I haue euer held' in Antony and Cleopatra 12.52, but these parallels are inexact. gossett notes that 'ever' could modify 'hold' or 'were'.
Critical Apparatus
14.24–39 I … Bagges, malone1780; 14 lines 1white: Cunning,| Riches;| expend;| former,| god:| Physicke:| Authorities,| famyliar,| dwels| of the| cures;| delight| or|
Critical Apparatus
14.27 expend 1white; dispend taylor–jackson (Taylor). The emendation, a synonym, is derived from Painfull Aduentures; it comes further into consideration because it alliterates with 'darken'. But 'expend' is an entirely valid reading.
Critical Apparatus
14.34 dwels 1white; dwell herringman
Critical Apparatus
14.35 so can taylor–jackson (Taylor); can 1white; I can malone1780. The emendation regularizes the meter and creates an alliterative phrase; as Taylor notes, the pronoun 'I' is 'implicit'.
Critical Apparatus
14.36 doth giue 1white; gives malone1780 (Theobald); give reed
Critical Apparatus
14.37 and cause taylor–jackson (Taylor); in course 1white. As Taylor observes, 'in course of' is a lame 'linking phrase' that is both 'unidiosyncratic and superfluous'. The emendation assumes an easy misreading or reporting error.
Critical Apparatus
14.39 pleasure 1white; treasure steevens
Critical Apparatus
14.40 please 1white; glad taylor–jackson (Taylor)
Critical Apparatus
14.40–6 Your honour … neuer. (Edwards); 6 lines 1white: Ephesus,| theselues,| restored;| payne,| Cerimon,|
Critical Apparatus
14.43 your 1white; alone your taylor–jackson (Taylor). 'Alone' or 'only' is already implied in the statement.
Critical Apparatus
14.46 neuer 1white; ~ raze dyce. It seems likely that the line was left incomplete deliberately. As taylor–jackson note, the 'obviousness of the missing conclusion makes its omission dramatic and intelligible'.
Critical Apparatus
14.47–9 Sir … wracke. steevens; 2 lines 1white: shore|
Critical Apparatus
14.48 The sea tost vp taylor–jackson (Taylor); Did the sea tosse vp 1white; did the sea toss malone1780. The passage 14.48–58 is flawed metrically—though it has strong evidence of verse rhythm throughout—and most editors suspect some form of corruption here, either as a result of confusion in reporting or compositorial error. Taylor's emendation improves the meter and adds a regular Shakespearean form: 'Shakespeare never uses "did toss" but has "tossed" 7 times'. The same structure 'did the sea … vp', used as an assertion here, is repeated as a question at 14.55. Whether or not the present reading represents contamination from later in the passage, the awkwardness of the repetition adds to the indications that the text is flawed. Contamination of some kind is possible, though white's reading could instead result for 'Did' being written as a false start (presumably by a copyist).
Critical Apparatus
14.50–1 What ere … heauie; malone1780; 1 line 1white
Critical Apparatus
14.51–3 did … shore 1white; after 'wracke' (14.49) conj. Brooks; after 'heauie' 14.51 taylor–jackson (Taylor). The emendations are prompted by the overall hypothesis of reporting: as maxwell notes, Cerimon's 'pointless question smacks of the reporter'. maxwell is referring to when Cerimon asks whether or not the 'sea cast it vp' (14.55) after having already been told by the servant that the sea 'did … tosse' it 'vp' (14.48). The second objection is to the repetition of Cerimon's order to 'wrench it open'. Taylor's emendation allows for the dialogue to flow more naturally, with Cerimon wondering how the chest came to be on the shore after remarking upon its weight. However, the repetitions need not be errors. gossett, who accepts Taylor's rearrangement in her edition, still observes that 'Cerimon's astonishment might justify his repeated questions'. Indeed, wonderment at the heaviness of the coffin as he gets close to it and maybe touches it explains this repetition very well, and could be effective theatrically. As for the repeat command for 'wrench it open', compare 'Fill me a bowl of wine' and 'Give me some wine', nine lines apart in Richard III (5.4.44–52): the first is an order to get the wine, the second an order to pour it. There is no reason to anticipate that a wrench will be needed before the coffin arrives on stage, so it has to be fetched.
Critical Apparatus
14.53 by taylor–jackson (Hoeniger); not in 1white
Critical Apparatus
14.53 fickle Fortune this edition (Jowett); Fortune 1white; queasie Fortune taylor–jackson (hoeniger). It seems likely that a word is missing, but 'queasie' is (a) not easily omitted and (b) inapposite, in that Fortune constrains the 'orecharg'd' sea rather than being queasy herself. 'Fickle' has a graphical similarity to 'fortune'. For the commonplace association of 'fickle' with 'fortune', compare 'And giddie Fortunes furious fickle Wheele' in Henry V 3.6.22. The idea is in itself a cliché, but 'a good constraint of fickle (and so often bad) Fortune' redeems the cliché through paradox.
Critical Apparatus
14.53–4 T'is … vs. taylor–jackson; 1 line 1white
Critical Apparatus
14.55 bittumed malone1780 = bitumed; bottomed 1white
Critical Apparatus
14.55–6 How … vp? clark–wright (rowe?); prose 1white
Critical Apparatus
14.56–7 sir| A tost it vpon shore 1white; sir| Or a more eager taylor–jackson (Taylor; see the preceding note for the placement of 'as … shore' in taylor–jackson). Derived from Painfull Aduentures.
Critical Apparatus
14.56–7 I … shore. gossett (Brooks); 1 line 1white
Critical Apparatus
14.57 vpon 1white = up on (allowing stress on 'up')
Critical Apparatus
14.57–8 Cer. Wrench it open| Soft 1white; Soft taylor–jackson (Hoeniger). The emendation assumes a 'reporter's misplacement of Cerimon's question and the servant's answer' (taylor–jackson); see note for 14.55–7 above. See also the Lineation Notes for this passage.
Critical Apparatus
14.57–8 Wrench … sense. johnson; 1 type-line 1white
Critical Apparatus
14.61 state 1white; state and crownd, taylor–jackson (Taylor). The emendation is derived from Painfull Aduentures.
Critical Apparatus
14.61–2 Shrowded … Spices, malone1780; prose 1white
Critical Apparatus
14.63 to 1white = too
Critical Apparatus
14.63–4 A … Characters: steevens; prose continued 1white
Critical Apparatus
14.74 euer 1white; euen 4pavier. Derived from Painfull Aduentures, but it is unclear why this emendation is needed. gossett prefers 'even' to 'ever', stressing that 'the phrase comes between two others emphasizing the immediate situation, If thou livest and chanced tonight'. But 'ever' permits the sense that Pericles will thereafter suffer a perpetual 'dying' of a broken heart.
Critical Apparatus
14.75–80 Nay … againe steevens; 5 lines 1white: looks| sea.| Closet| yet|
Critical Apparatus
14.76 rash taylor–jackson (Malone); rough 1white. gossett suggests reasonably that there 'may be a relation between the rough expulsion of Thaisa and the rough … music … by which Cerimon will revive her'. If we retain the reading in 1white, then the sense 'violent, harsh, cruel' might apply. But the expected sense is 'hasty', which cannot be derived from 'rough'. The emendation supplies this meaning. It supposes a plausible misreading.
Critical Apparatus
14.81–3 The … recouered. clark–wright; spirits:| dead,|1white
Critical Apparatus
14.82 That … lien 1white; 9. howers taylor–jackson (Taylor)
Critical Apparatus
14.83 applyaunce 1white; appliances dyce. Shakespeare elsewhere uses 'appliance', singular, three times in connection with treating illness: 'diseases desperat growne,| By desperat applyance are relieu'd' (Hamlet 13.9–10), 'that's th'appliance onely| Which your disease requires' (All Is True 1.1.124–5), and 'I come to tender it, and my appliance' (All's Well 2.1.108). It also occurs in a Fletcher passage of Two Noble Kinsmen (4.3.79). Shakespeare also uses 'appliances', plural, twice (2 Henry IV 9.29 and Measure for Measure 3.1.86). But the clue here, metrically, is the '-ed' of 'recouered': it is syllabic, and so 'applyaunce' is presumably two syllables.
Critical Apparatus
14.83.1 one 1white = Philemon taylor–jackson (Taylor); = Servant malone1780 See Modern edition for performance options.
Critical Apparatus
14.84–6 Well … you: 4pavier ; 2 lines 1white and|
Critical Apparatus
14.85 rough 1white; still maxwell (Delius). Editors have considered the repetition of 'rough' (see 14.76) to be suspicious, and the emendation is derived from Painfull Aduentures. Hart, defending the 1white reading, sees a connection between Cerimon's 'rough' music and the 'healing powers of his "secret art" and the mysteries of the archaic goddesses who were associated with the ancient city of Ephesus' (317). gossett suggests that 'rough music' (meaning sufficiently loud music) is more appropriate than 'still music' (which Gossett observes as 'musick: such as charmeth sleepe' in Midsummer Night's Dream 5.539) and required to awaken Thaisa. But it seems much more likely that this is an apology for the household amateur music not being even more wonderful; that is, an awareness of the potentially dangerous underwhelming effect taken up in 'how thou stirr'st thou blocke?' It poses the question of whether it will be sufficient to achieve the purpose of awakening Thaisa? For the self-deprecation of the magus, with a metatheatrical implication, compare Prospero's 'rough Magicke' in Tempest 5.1.50.
Critical Apparatus
14.87 Violl 1white = vial (4pavier: Viall). Cerimon administers a 'liquor' to Thaisa in Gower and Painfull Aduentures. In the play he demands the 'boxes in [his] closet'. There must be something in these boxes that he uses to revive Thaisa, and a 'vial' could be used to administer the medicine. The other option is that Cerimon requests that a 'viol' is played. But it seems unnecessarily repetitive to call for music 'to sound' and then to specifically demand to hear a 'viol'.
Critical Apparatus
14.89–92 Gentlemen … againe. malone1780; liue,| her;| howers:| 1white
Critical Apparatus
14.90 warmth breaths steevens = warmth breathes; warmth breath 1white; warm breath 2gosson
Critical Apparatus
14.92–4 The … euer. malone1780; 2 lines 1white: wonder,|
Critical Apparatus
14.93 sets 1white; set malone1780. Jonathan Hope notes that 'this is either an example of the plural in s, allowable in early modern English, or it is a singular of proximity, affected by the singular wonder immediately preceding the verb' (reported in gossett).
Critical Apparatus
14.94–6 She … lost, malone1780; 2 lines 1white: ey-lids|
Critical Apparatus
14.98–02 The … bee. malone1780; 3 lines 1white: appeare,| weepe.|
Critical Apparatus
14.101–2 O … this? malone1780; Lord?| 1white
Critical Apparatus
14.103 gentle steevens; my gentle 1white. The possessive pronoun may have been interpolated, influenced by the verb–pronoun beginning to the next line ('Lend me'), disrupting the meter.
Critical Apparatus
14.103–7 Hush … vs. malone1780 (subs.); 4 lines 1white: hands,| linnen:| relapse|
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