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

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Sc. 255.1

Enter Helicanus, to him 2. Saylers.
Critical Apparatus1

1. Say. Where is Lord Helicanus? hee can resolue you,

2O here he is

3Sir, there is a barge put off from Metaline,

Critical Apparatus4And in it is Lysimachus the Gouernour,

5Who craues to come a-boord, what is your will?

6

Helly. That hee haue his, call vp some Gentlemen.

Critical Apparatus7

[1.] Say. Ho Gentlemen, my Lord calls.

Enter two or three Gentlemen.

1. Gent. Doeth your Lordship call?

Critical Apparatus8

Helli. Gentlemen there is some of worth would come aboord,

Critical Apparatus9I pray [you] greet him fairely.

Enter Lysimachus.

[2.] Say. Sir,

pg 1420Critical Apparatus10This is the man that can in ought you would

Critical Apparatus11Resolue you.

Lys. Hayle reuerent Syr, the Gods

Critical Apparatus12Preserue you.

Hell. And you to out-liue the age I am,

Critical Apparatus13And die as I would doe.

Li. You wish mee well,

14Beeing on shore, honoring of Neptunes triumphs,

15Seeing this goodly vessell ride before vs,

16I made to it, to knowe of whence you are.

Critical Apparatus17

Hell. First what is your place?

18

Ly. I am the Gouernour of this place you lie before.

Critical Apparatus19

Hell. Syr our vessell is of Tyre, in it the King,

20A man, who for this three moneths hath not spoken

21To anie one, nor taken sustenance,

Critical Apparatus22But to prorogue his griefe.

Critical Apparatus23

Li. Vpon what ground is his distemperature?

Critical Apparatus24

Hell. Twould be too tedious to repeat, but the mayne griefe

Critical Apparatus25Springs frō the losse of a beloued daughter

H3rCritical Apparatus26& a wife.

Li. May wee not see him?

Hell. You may,

Critical Apparatus27But bootlesse is your sight, hee will not speake

Critical Apparatus28To any.

[Lys.] Let me [yet] obtaine my wish.

Critical Apparatus29

[Hell.] Behold him, this was a goodly person,

Critical Apparatus30[Till] the disaster that one mortall [night]

31Droue him to this.

pg 1421 Critical Apparatus32

Lys. Sir King all haile, the Gods preserue you, haile royall sir.

33

Hell. It is in vaine, he will not speake to you.

Critical Apparatus34

Lord. Sir we haue a maid in [Metaline], I durst wager

Critical Apparatus35Would win some words of him.

Lys. Tis well bethought,

36She questionlesse with her sweet harmonie,

Critical Apparatus37And other [choise] attractions, would allure

Critical Apparatus38And make a battrie through his defend [ports],

39Which now are midway stopt,

Critical Apparatus40Shee [in] all happie as the fairest of all,

Critical Apparatus41And [with] her fellow [maide is], now vpon

42The leauie shelter that abutts against

Critical Apparatus43The Islands side.

Critical Apparatus44

Hell. Sure all effectlesse, yet nothing weele omit

45That beares recoueries name. But since your kindnesse

46Wee haue stretcht thus farre, let vs beseech you,

47That for our golde we may prouision haue,

48Wherein we are not destitute for want,

Critical Apparatus49But wearie for the stalenesse.

Lys. O sir, a curtesie,

Critical Apparatus50Which if we should denie, the most iust [Gods]

51For euery graffe would send a Caterpillar,

52And so inflict our Prouince: yet once more

pg 142253Let mee intreate to knowe at large the cause

Critical Apparatus54Of your kings sorrow.

Holl. Sit sir, I will recount it to you,

Critical Apparatus55But see I am preuented.

Lys. O [heer's] the Ladie

56That I sent for, welcome faire one, ist not

Critical Apparatus57A goodly [presenc]?

Hell. Shee's a gallant Ladie.

58

Lys. Shee's such a one, that were I well assurde

Critical Apparatus59Came of a gentle kinde, [or] noble stocke, [Ide] wish

Critical Apparatus60No better choise, and thinke me rarely [wed],

Critical Apparatus61Faire on all goodnesse that consists in [bountie],

62Expect euen here, where is a kingly patient,

H3vCritical Apparatus Link 63If that thy prosperous and artificiall fate,

Critical Apparatus64Can draw him but to answere thee in ought,

65Thy sacred Physicke shall receiue such pay,

Critical Apparatus66As thy desires can wish.

Mar. Sir I will vse

Critical Apparatus67My vtmost skill in his recouerie, prouided

68That none but I and my companion maid

Critical Apparatus69Be suffered to come neere him.

Lys. Come, let vs leaue her,

Critical Apparatus70And the Gods make her [presence] prosperous.

        The Song.
Critical Apparatus71

Lys. [Markt] he your Musicke?

Mar. No nor lookt on vs.

72

Lys. See she will speake to him.

Critical Apparatus73

Mar. Haile sir, my Lord lend eare.

Per. Hum, ha.

Mar. I am a maid,

74My Lorde, that nere before inuited eyes,

75But haue beene gazed on like a Comet: She speaks

pg 142376My Lord, that may be, hath endured a griefe

77Might equall yours, if both were iustly wayde,

78Though wayward fortune did maligne my state,

79My deriuation was from ancestors,

80Who stood equiuolent with mightie Kings,

81But time hath rooted out my parentage,

82And to the world, and augward casualties,

83Bound me in seruitude, I will desist,

84But there is something glowes vpon my cheek,

Critical Apparatus85And whispers in mine eare, go not till he speake.

Critical Apparatus86

Per. My fortunes, parentage, good parentage,

87To equall mine, was it not thus, what say you?

Critical Apparatus88

Mari. I sed my Lord, if you did know my parentage,

89You would not do me violence.

Critical Apparatus90

Per. I do thinke so, pray you turne your eyes vpon me,

Critical Apparatus91Your like something that, what Countrey [woman

Critical Apparatus92Heere] of these [shores]?

Mar. No, nor of any [shores],

93Yet I was mortally brought forth, and am

Critical Apparatus94No other then I appeare.

Critical Apparatus95

Per. I am great with woe, and shall deliuer weeping:

Critical Apparatus96My dearest wife was like this maid, and such a one

H4r Link 97My daughter

might haue beene: My Queenes square browes,

98Her stature to an inch, as wandlike-straight,

99As siluer voyst, her eyes as Iewell-like,

100And caste as richly, in pace an other Iuno.

101Who starues the eares shee feedes, and makes them hungrie,

102The more she giues them speech, Where doe you liue?

Critical Apparatus103

Mar. Where I am but a straunger from the decke,

Critical Apparatus104You may discerne the place.

Per. Where were you bred?

105And how atchieu'd you these indowments which

Critical Apparatus106You make more rich to owe?

Mar. If I should tell

107My hystorie, it would seeme like lies

Critical Apparatus108Disdaind in the reporting.

Per. Prethee speake,

109Falsnesse cannot come from thee, for thou lookest

Critical Apparatus110Modest as iustice, & thou seemest a [Pallas]

111For the crownd truth to dwell in, I wil beleeue thee

Critical Apparatus112And make [my] senses credit thy relation,

pg 1424Critical Apparatus113To points that seeme impossible, for thou lookest

114Like one I loued indeede: what were thy friends?

Critical Apparatus115Didst thou not [say] when I did push thee backe,

116Which was when I perceiu'd thee that thou camst

Critical Apparatus117From good discending.

Mar. So indeed I did.

Critical Apparatus118

Per. Report thy parentage, I think thou saidst

119Thou hadst beene tost from wrong to iniurie,

Critical Apparatus120And that thou [thought'st] thy griefs might equall mine,

Critical Apparatus121If both were opened.

Mar. Some such thing I sed,

Critical Apparatus122And sed no more, but what my thoughts

Critical Apparatus123Did warrant me was likely.

Per. Tell thy storie,

Critical Apparatus124If thine considered proue the thousand part

125Of my enduraunce, thou art a man, and I

126Haue suffered like a girle, yet thou doest looke

127Like patience, gazing on Kings graues, and smiling

128Extremitie out of act, what were thy friends?

Critical Apparatus129Howe lost thou [them]? thy name, my most kinde Virgin?

130Recount I doe beseech thee, Come sit by mee.

Critical Apparatus131

Mar. My name is Marina.

Per. Oh I am mockt,

132And thou by some insenced God sent hither

H4vCritical Apparatus Link 133To make the world to laugh at me.

Mar. Patience good sir:

Critical Apparatus134Or here Ile cease.

Per. Nay Ile be patient:

135Thou little knowst howe thou doest startle me

Critical Apparatus136To call thy selfe Marina.

Mar. The name

137Was giuen mee by one that had some power,

Critical Apparatus138My father, and a King.

Per. How, a Kings daughter,

Critical Apparatus139And cald Marina?

Mar. You sed you would beleeue me,

140But not to bee a troubler of your peace,

141I will end here.

Per. But are you flesh and bloud?

Critical Apparatus142Haue you a working pulse, and are no Fairie?

pg 1425143Motion [as] well, speake on, where were you borne?

Critical Apparatus144And wherefore calld Marina?

Mar. Calld Marina,

145For I was borne at sea.

Plr. At sea, what mother?

Critical Apparatus146

Mar. My mother was the daughter of a King,

147Who died the minute I was borne,

148As my good Nurse Licherida hath oft

Critical Apparatus149Deliuered weeping.

Per. O stop there a little,

Critical Apparatus150This is the rarest dreame that ere [dull] sleepe

151Did mocke sad fooles withall, This cannot be

152My daughter, buried, well, where were you bred?

153Ile heare you more too'th bottome of your storie,

154And neuer interrupt you.

Critical Apparatus155

Mar. You scorne, beleeue me twere best I did giue ore.

Critical Apparatus156

Per. I will beleeue you by the syllable

157Of what you shall deliuer, yet giue me leaue,

158How came you in these parts? where were you bred?

159

Mar. The King my father did in Tharsus leaue me,

160Till cruel Cleon with his wicked wife,

Critical Apparatus161Did seeke to murther me: and [wooed] a villaine,

Critical Apparatus162To attempt it, who hauing drawne to doo't,

163A crew of Pirats came and rescued me,

Critical Apparatus164Brought me to Metaline, but good sir

Critical Apparatus165Whither wil you haue me? why doe you weep? It may be

Critical Apparatus166You thinke mee an imposture, no good fayth:

167I am the daughter to King Pericles,

168If good king Pericles be.

I1rCritical Apparatus Link 169

[Per.] Hoe, Hellicanus?

170

Hel. Calls my Lord.

171

Per. Thou art a graue and noble Counseller,

Critical Apparatus172Most wise in generall, tell me if thou canst,

173What this mayde is, or what is like to bee,

Critical Apparatus174That thus hath made mee weepe.

Hel. I know not,

pg 1426175But heres the Regent sir of Metaline,

Critical Apparatus176Speakes nobly of her.

Lys. She neuer would tell

177Her parentage, being demaunded, that

178She would sit still and weepe.

Critical Apparatus179

Per. Oh Hellicanus, strike me honored sir,

180Giue mee a gash, put me to present paine,

181Least this great sea of ioyes rushing vpon me,

182Ore-beare the shores of my mortalitie,

183And drowne me with their sweetnesse: Oh come hither,

184Thou that begetst him that did thee beget,

185Thou that wast borne at sea, buried at Tharsus,

186And found at sea agen, O Hellicanus,

187Downe on thy knees, thanke the holie Gods as loud

188As thunder threatens vs, this is Marina.

189What was thy mothers name? tell me, but that

190For truth can neuer be confirm'd inough,

Critical Apparatus191Though doubts did euer sleepe.

Mar. [First] sir, I pray

192What is your title?

Critical Apparatus193

Per. I am Pericles of Tyre, but tell mee now

Critical Apparatus194My drownd Queenes name, as in the rest [thou] sayd,

195Thou hast beene God-like perfit, the heir of kingdomes,

Critical Apparatus196And an other [life] to Pericles thy father.

Critical Apparatus197

Ma. Is it no more to be your daughter, then

Critical Apparatus198To say, my mothers name was Thaisa,

199Thaisa was my mother, who did end

200The minute I began.

Critical Apparatus201

Pe. Now blessing on thee, rise th'art my child.

pg 1427Critical Apparatus202Giue me fresh garments, mine owne Hellicanus, shee is

203Not dead at Tharsus as shee should haue beene

Critical Apparatus204By sauage Cleon, she shall tell thee all,

205When thou shalt kneele, and iustifie in knowledge,

206She is thy verie Princes, who is this?

I1vCritical Apparatus207

Hel. Sir, tis the gouernor of Metaline,

208Who hearing of your melancholie state,

Critical Apparatus209Did come to see you.

Per. I embrace you [sir]

210Giue me my robes. I am wilde in my beholding,

211O heauens blesse my girle, but harke what Musicke

212Tell, Hellicanus my Marina, tell him

Critical Apparatus213Ore point by point, for yet he seemes to [dout].

214How sure you are my daughter, but what musicke?

215

Hel My Lord I heare none.

216

Per. None, the Musicke of the Spheres, list my Marina.

217

Lys. It is not good to crosse him, giue him way.

218

Per. Rarest sounds, do ye not heare?

Critical Apparatus219

Lys. Musicke my Lord? I heare.

220

Per. Most heauenly Musicke.

Critical Apparatus221It [raps] me vnto listning, and thicke slumber

Critical Apparatus222Hangs vpon mine eyes, let me rest.

Critical Apparatus223

Lys. A Pillow for his head, so leaue him all.

Critical Apparatus224Well my companion friends,

225If this but answere to my iust beliefe,

226Ile well remember you.

Diana.
Critical Apparatus227

Dia. My Temple stands in Ephesus, hie thee thither,

228And doe vppon mine Altar sacrifice,

Critical Apparatus229There when my maiden priests are met together

230[. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

231. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .] before the people all,

232Reueale how thou at sea didst loose thy wife,

pg 1428Critical Apparatus233To mourne thy crosses with thy daughters, call,

Critical Apparatus234And giue them repetition to the [life],

Critical Apparatus235[Performe] my bidding, or thou liuest in woe:

Critical Apparatus236Doo't, and [be] happie, by my siluer bow,

237Awake and tell thy dreame.

238

Per. Celestiall Dian, Goddesse Argentine,

Critical Apparatus239I will obey thee Hellicanus.

Hell. Sir.

240

Per. My purpose was for Tharsus, there to strike,

Critical Apparatus241The inhospitable Cleon, but I am

242For other seruice first, toward Ephesus

Critical Apparatus243Turne our blowne sayles, eftsoones Ile tell thee why,

244Shall we refresh vs sir vpon your shore,

245And giue you golde for such prouision

I2rCritical Apparatus Link 246As our intents will neede.

Lys Sir, with all my heart,

Critical Apparatus247And when you come a shore, I haue another [shuit].

Critical Apparatus248

Per. You shall preuaile were it to wooe my daughter,

249For it seemes you haue beene noble towards her.

250

Lys. Sir, lend me your arme.

Per. Come my Marina.

Exeunt.

Notes Settings

Notes

Critical Apparatus
25.1–3 Where … Sir 1creede; Lord Helicanus can resolue you, Sir, taylor–jackson (Jackson)
Critical Apparatus
25.1–5 Where … will? steevens; prose 1creede
Critical Apparatus
25.4 And in it is 1creede; In it taylor–jackson (Taylor)
Critical Apparatus
25.7 1. Say. malone1780 (subs.); 2. Say 1creede. If the sailor from Mytilene has exited to find Lysimachus, then the First Sailor most likely receives and acts upon Helicanus' command. In the Modern edition, we insert an exit cue for the Second Sailor after 'his' 25.6.
Critical Apparatus
25.7 Ho Gentlemen 1creede; Ho taylor–jackson
Critical Apparatus
25.7 Doeth your Lordship call? 1creede; What is your Lordships pleasure? taylor–jackson (Taylor)
Critical Apparatus
25.8 there is some 1creede; some taylor–jackson (Taylor)
Critical Apparatus
25.8–9 Gentlemen … fairely. dyce2; prose 1creede
Critical Apparatus
25.9 you 6cotes; not in 1creede; thee chetwinde; ye rowe
Critical Apparatus
25.9 2. Say. taylor–jackson (sayler of metaline); 1. Say. 1creede(b); Hell. 1creede(a). The Second Sailor is the only person who could know that Helicanus is the man that Lysimachus should be seeking. In the Modern edition we supply an entrance cue for the Second Sailor to return with Helicanus after 25.8; see the note for 25.7 for the Second Sailor's earlier exit.
Critical Apparatus
25.9–10 Sir,| This 1creede; This taylor–jackson
Critical Apparatus
25.9–11 Sir … you. malone1780; prose 1creede
Critical Apparatus
25.9 Some copies give this line to Helicanus instead of a sailor.
Critical Apparatus
25.10 ought you would 1creede; ought taylor–jackson. An awkward construction in 1creede, gossett glosses the phrase as 'whatever you wish [to know]'. The phrase is rare but not unknown in the period; compare 'I Anna, is there ought you would with me?' in Marlowe's Dido Queene of Carthage (1594; STC 27441), sig. E2r.
Critical Apparatus
25.11–12 Hayle … you. gossett (Proudfoot); prose 1creede
Critical Apparatus
25.12–13 And … doe. malone1780; prose 1creede
Critical Apparatus
25.13–14 well,| Beeing 1creede; well,| I am the Gouernour of Metaline, | Beeing taylor–jackson (Taylor). Taylor omits the exchange 25.17–18, noting the potential impoliteness of Helicanus' demand to know Lysimachus' name (that is, that it implies that Helicanus will not answer Lysimcachus until he knows his identity), and proposes that 'a reporter could remember that Lysimachus' rank entered into the exchange, without remembering its exact place or form'. See following note.
Critical Apparatus
25.13–16 You … are. rowe; prose 1creede
Critical Apparatus
25.17–18 First … before. 1creede; not in taylor–jackson (see note above). Taylor argues that it is 'nonsensical' for Helicanus to ask 'what is [Lysimachus'] place' when he has already been informed of it'. However, Lysimachus has not been identified by name or place as yet, and Helicanus, despite knowing that the governor of Mytilene is Lysimachus, understandably demands the name and rank of the stranger who is greeting him.
Critical Apparatus
25.19 Syr our 1creede; Our taylor–jackson
Critical Apparatus
25.19 the King 1creede; our King taylor–jackson
Critical Apparatus
25.19–22 Syr … griefe. malone1780; prose 1creede
Critical Apparatus
25.22 prorogue 1creede; prolong 4pavier
Critical Apparatus
25.23 is 1creede; grew taylor–jackson (Taylor)
Critical Apparatus
25.23 distemperature 1creede; distemperance 3stafford
Critical Apparatus
25.24 Twould 1creede; Sir, it would malone1780
Critical Apparatus
25.24 repeat 1creede; tell it ouer taylor–jackson (Taylor)
Critical Apparatus
25.24 griefe 1creede; grief of all malone1780
Critical Apparatus
25.24–6 Twould … wife. this edition; prose 1creede; repeat,| losse| malone1780
Critical Apparatus
25.25 losse 1creede; precious losse taylor–jackson (Taylor)
Critical Apparatus
25.26 You may 1creede; See him Sir you may taylor–jackson (Taylor)
Critical Apparatus
25.26–8 You … any. steevens (subs.); prose 1creede
Critical Apparatus
25.27 bootlesse is 4pavier; bootlesse. Is 1creede
Critical Apparatus
25.27 sight, hee 1creede(b); sight see, 1creede(a)
Critical Apparatus
25.27 Some copies read 'sight see', for 'sight, hee'
Critical Apparatus
25.28 Lys. 4pavier (subs.); not in 1creede
Critical Apparatus
25.28 Let me yet taylor–jackson; yet let me 1creede. An easy compositorial transposition error; the emendation improves the line's intelligibility and meter.
Critical Apparatus
25.29 Hell. 4pavier; Lys. 1creede. See also the preceding and following interdependent notes.
Critical Apparatus
25.29–30 person,| Till 4pavier (person, till); person.| Hell. Till 1creede
Critical Apparatus
25.30 that 1creede; of taylor–jackson (Hoeniger). 1creede states that Pericles was driven mad one night. The emendation changes the reading to mean that Pericles was driven to madness because of the actions of one night.
Critical Apparatus
25.30 night malone1780; wight 1creede
Critical Apparatus
25.30–1 Till … this. malone1780; prose 1creede
Critical Apparatus
25.32 all … you 1creede; all haile taylor–jackson (Jackson). The form of the address substantively repeats 25.11–12, but Lysimachus is addressing a different person and attempting to summon Pericles from his reverie. gossett suggests that 'the repetitions of hail may come from his frustrated attempt to arouse the king'.
Critical Apparatus
25.32–3 Sir … sir. rowe; prose 1creede; 2 lines malone: you, Haile|; 2 lines dyce you,|
Critical Apparatus
25.34 Metaline 2gosson; Metaliue 1creede
Critical Apparatus
25.34–5 Sir … him. malone; prose 1creede
Critical Apparatus
25.35–43 Tis … side. malone1780 (subs.); prose 1creede
Critical Apparatus
25.37 choise steevens (choice); chosen 1creede
Critical Apparatus
25.37 allure 1creede; allarum taylor–jackson (Taylor). The emendation supposes a plausible misreading, and 'Allure' may seem inappropriate in the context of the feelings Marina would arouse in Pericles (although of course their familial relationship is unknown). Also, as Taylor notes, the word 'allarum', his emendation, 'naturally mediates between "win" and "battle"'. However, gossett persuasively defends the reading in 1creede, noting that a possible sexual attraction 'is just what Lysimachus, who has his own memories, may unconsciously imply', and that in the business-like arrangement of this scene, Pericles is just another client of Marina. gossett notes that 'the idea of employing a younger woman to awaken and warm an older man close to death is biblical' (1 Kings 1:1–4) and that Jonson satirizes this idea in Volpone (1606; Wiggins #1493).
Critical Apparatus
25.38 defend 1creede = deafened
Critical Apparatus
25.38 ports maxwell (Steevens); parts 1creede
Critical Apparatus
25.40 in all taylor–jackson (Taylor); is all 1creede; all as steevens. Taylor notes that 'Marina can hardly be called "comprehensively fortunate" or even "completely contented"'; the emendation supposes an easy misreading error and shifts the emphasis away from Marina's current fortunes or state of mind to her bountiful natural talents.
Critical Apparatus
25.41 And with malone1780; and 1creede; Is, with steevens; among taylor–jackson (Taylor). Emendation is required to make this line intelligible; Lysimachus is disclosing the whereabouts of Marina and 'her fellow maids', so some word is omitted that links her with the rest of the maids. Taylor finds convincing comparable usages of 'among' with 'maids' in Winter's Tale 4.4.232, All Is True 3.1.73, and Troilus and Cressida 8.170. However, we accept malone1780's emendation because it supposes an easy omission error.
Critical Apparatus
25.41 maide is schanzer; maides 1creede; maids, is malone1780. The phrase 'now vpon the' requires some verb; 'maides' for 'maid is' or 'maids is' is an easy aural error or compositorial misreading. A single 'companion maid' accompanies her when she enters (see 25.68), and though there is no reason to assume that she only keeps the company of one maid, 'maide is' seems preferable to malone1780's reading for reasons of euphony and poignancy.
Critical Apparatus
25.41–2 is now vpon| The 1creede; is now within| The steevens; Dwells now i'th taylor–jackson (Taylor). See Lineation Note for our adoption of malone1780's line break.
Critical Apparatus
25.43 side. 1creede; side. Goe fetch her hither. taylor–jackson (Taylor). Someone must leave to fetch Marina and her maid, and editors have suspected that a command was omitted here (which would also complete the part–line). Edwards suggests that a physical gesture could convey the same command, but this is at odds with contemporary stagecraft where such commands are more often than not made explicit. Taylor's emendation, which creates a more regular line, is supported by similar commands in Measure for Measure 5.1.457, Taming of the Shrew 16.101, Troilus and Cressida 11.58, Titus Andronicus 12.58, and Cymbeline 4.2.253. We do not emend, however, because Helicanus' subsequent first sentence might give the cue sufficiently; if there is 'nothing' that they will 'omit' from their efforts towards recovery, then this implies his assent to the Lord of Mytilene's suggestion to call Marina.
Critical Apparatus
25.44–9 Sure … stalenesse. malone1780; prose 1creede
Critical Apparatus
25.49–54 O … sorrow. malone1780; prose 1creede
Critical Apparatus
25.50 Gods dyce (W. S. Walker); God 1creede
Critical Apparatus
25.54 it to you 1creede; it taylor–jackson. taylor–jackson note that 'to you' is 'superfluous and extrametrical'; emendation supposes a memorial/interpolation error. However, emendation is not required: if 'I will' elides when spoken, the line is a hexameter with a feminine ending.
Critical Apparatus
25.54–5 Sit … preuented. steevens (subs.); prose 1creede
Critical Apparatus
25.55 heer's 2gosson; hee'rs 1creede
Critical Apparatus
25.55–7 O … presenc? malone1780; for,| 1creede
Critical Apparatus
25.57 presenc malone1780 (presence); present 1creede. An easy c/t misreading; a dropped terminal 'e' was common in the period (compare 'obedyenc' in Shakespeare's hand in the manuscript of Sir Thomas More IIc.39. But it would also be an easy aural error.
Critical Apparatus
25.59 of a 1creede; of taylor–jackson
Critical Apparatus
25.59 or taylor–jackson (Taylor); and 1creede; of this edition conj. Taylor observes that 'gentle kind' and 'noble stock' 'express very different degrees of social rank'.
Critical Apparatus
25.59 Ide 4pavier; I do 1creede
Critical Apparatus
25.60 wed 4pavier; to wed 1creede
Critical Apparatus
25.61 on 1creede = one
Critical Apparatus
25.61 bountie malone1780 (Steevens); beautie 1creede. The emendation supposes an easy misreading error. As taylor–jackson note, the copy reading 'implies that Marina possesses only such goodness as resides in beauty'.
Critical Apparatus
25.63 fate 1creede = feat
Critical Apparatus
25.64 ought 1creede = aught
Critical Apparatus
25.66–9 Sir … him. malone1780; prose 1creede
Critical Apparatus
25.67 recouerie 1creede; recure hudson2 (W. S. Walker). It is possible that the more familiar word was substituted. But the line works well as a hexameter with a feminine ending (if 'recovery' is pronounced in three syllables) and we need not assume error.
Critical Apparatus
25.69 Come, let 1creede; Let taylor–jackson (Hoeniger)
Critical Apparatus
25.69–70 Come … prosperous. steevens; prose 1creede
Critical Apparatus
25.70 make her presence prosperous this edition; make her prosperous 1creede; prosper her taylor–jackson (Taylor). The emendation regularizes the meter and improves the sense; for Shakespearean parallels, compare Ophelia's 'maiden presence' in Hamlet 3.120 and 'Your presence makes vs rich' in Richard II 2.3.63.
Critical Apparatus
25.71 Markt 4pavier; Marke 1creede
Critical Apparatus
25.71 Mar. 1creede; maid taylor–jackson (clark–wright). The emendation supposes a plausible misreading of 'Mar.' for abbreviated 'Mai.'; however, there is little reason why Lysimachus should speak to Marina's 'companion maid' instead of her.
Critical Apparatus
25.73–85 I … speake. malone1780; prose 1creede
Critical Apparatus
25.85 go not 1creede; stay taylor–jackson (Taylor)
Critical Apparatus
25.86–7 My … you? malone1780; prose 1creede
Critical Apparatus
25.88 my Lord 1creede; placed before 'you would not' in taylor–jackson (Jackson)
Critical Apparatus
25.88–9 I … violence. malone1780; prose 1creede
Critical Apparatus
25.90 I … me, dyce; prose 1creede
Critical Apparatus
25.91 Your 1creede = You're
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25.91–2 woman | Heere malone1780 (Charlemont) (subs.); women heare 1creede
Critical Apparatus
25.91–4 Your … appeare. malone1780; prose 1creede
Critical Apparatus
25.92 shores … shores malone1780 (Charlemont); shewes … shewes 1creede
Critical Apparatus
25.94 appeare 1creede; seeme taylor–jackson (Taylor)
Critical Apparatus
25.95–02 I … liue? malone1780; prose 1creede
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25.96 such a one 1creede; such schanzer
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25.103–4 Where … place. malone1780; prose 1creede
Critical Apparatus
25.104–6 Where … owe? malone1780; prose 1creede
Critical Apparatus
25.106 owe 1creede = own
Critical Apparatus
25.106–8 If … reporting. taylor–jackson; prose 1creede
Critical Apparatus
25.108–17 Prethee … discending. malone1780; prose 1creede
Critical Apparatus
25.110 Pallas malone1780 (palace); Pallas 1creede. The italicized form suggests a compositorial misinterpretation of the copy, mistaking 'pallas', an acceptable variant spelling of 'palace', for 'Pallas', the Greek goddess. Such an error was possibly prompted by the earlier reference to 'Iuno' at 25.100.
Critical Apparatus
25.112 my senses 4pavier; senses 1creede
Critical Apparatus
25.113 for thou lookest 1creede = for thou look'st 4pavier, malone1780; Thou show'st taylor–jackson (Taylor)
Critical Apparatus
25.115 say malone1780; stay 1creede
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25.117 good … did. one type line 1creede
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25.118–21 Report … opened. malone1780; prose 1creede
Critical Apparatus
25.120 thought'st chetwinde; thoughts 1creede. gossett suggests that 'either the compositor considered Q's "thoughts" acceptable as a colloquial reduction or it was an error in the copy'. It seems as easy to conjecture that the compositor misread the copy, dropping the terminal 'st'.
Critical Apparatus
25.121–3 Some … likely. collier; prose 1creede
Critical Apparatus
25.122 thoughts 1creede; circumstance taylor–jackson (Jackson)
Critical Apparatus
25.123–30 Tell … mee. malone1780; prose 1creede
Critical Apparatus
25.124 thousand 1creede = thousandth
Critical Apparatus
25.129 them? malone1780; not in 1creede
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25.131 name is 1creede; name, sir, is steevens. The emendation is attractive because it improves the meter; Marina intermittently addresses Pericles as 'sir' 25.73, 25.133.
Critical Apparatus
25.131–3 Oh … at me. malone1780; prose 1creede
Critical Apparatus
25.133–4 Patience … cease. steevens; prose 1creede
Critical Apparatus
25.134–6 Nay … Marina. steevens; prose 1creede
Critical Apparatus
25.136–8 The … King. steevens; prose 1creede
Critical Apparatus
25.138–9 How … cald Marina? steevens; prose 1creede
Critical Apparatus
25.139–41 You … here. malone1780; prose 1creede
Critical Apparatus
25.142–3 Fairie?| Motion as well maxwell (subs.); Fairie?| Motion well 1creede; Fairy?| Motion? well, chetwinde; fairy?| No motion?—Well; steevens; fairy—motion? Well malone1780 (Mason); fairy^| Motion? Well, hoeniger
Critical Apparatus
25.144–5 Calld … sea. malone1780; 1 line 1creede
Critical Apparatus
25.146–9 My … weeping. malone1780; prose 1creede
Critical Apparatus
25.149 Deliuered 1creede; recounted taylor–jackson (Taylor)
Critical Apparatus
25.149–54 O … you. malone1780; 5 lines 1creede: dreame| withall,| you| storie,|
Critical Apparatus
25.150 dull 4pavier; duld 1creede. 'Dulled' is only used once in Shakespeare as past participle ('Whom he hath dull'd and cloy'd with gracious fauours',) and never as an adjective. All the reading in 1creede adds to the sense is puzzlement: sleep is described as 'dull' because it dulls, but it is unclear what would 'dull' sleep itself.
Critical Apparatus
25.155 You scorne, beleeue 1creede = You scorn. Believe; You'll scarce believe malone1780; You will scarce beleeue taylor–jackson. A misreading of 'scorne' for 'scarce' is plausible, but emendation is not required; earlier Marina expressed similar doubts as to whether or not Pericles is treating her 'story' seriously ('You sed you would beleeue me' 25.139). Pericles' reaction—'I will beleeue you'—corresponds well with Marina's appeal, 'beleeue me …'.
Critical Apparatus
25.156–8 I … bred? malone1780; prose 1creede
Critical Apparatus
25.161 wooed taylor–jackson (Jackson); hauing wooed 1creede. The emendation improves the line's syntax and meter; Jackson suggests that 'hauing' is 'probably a reporter's anticipation of the next line'—though a compositor too might make such an error.
Critical Apparatus
25.162 it 1creede; the deed taylor–jackson (Jackson)
Critical Apparatus
25.162 hauing 1creede; being malone1780
Critical Apparatus
25.164 Brought me to Metaline 1creede; To Metaline they brought me taylor–jackson (Taylor)
Critical Apparatus
25.164–8 Brought … be. steevens; 4 lines 1creede: Metaline,| weep?| I|
Critical Apparatus
25.165 Whither wil you haue me 1creede; What wil you of me taylor–jackson (Taylor)
Critical Apparatus
25.166 imposture 1creede = impostor
Critical Apparatus
25.169 Per. Hoe, 4pavier (subs.); Hell. Hoe, 1creede (text); Hoe 1creede (catchword)
Critical Apparatus
25.169 The catchword reads 'Hoe' without a speech prefix before it
Critical Apparatus
25.172–4 Most … weepe. malone1780; prose 1creede
Critical Apparatus
25.174–5 I … Metaline, maxwell; prose 1creede; but| malone1780
Critical Apparatus
25.176 neuer would 1creede; would never steevens. The emendation is metrical and supposes an easy word order transposition error. However, the meter is acceptable in 1creede: a missing syllable at the caesura, with 'neuer' spoken 'ne'er'. See also 25.201.
Critical Apparatus
25.176 Speakes … her malone1780; prose 1creede. See preceding Lineation Note for malone1780's alternative arrangement for the rest of this speech.
Critical Apparatus
25.176–8 She … weepe. malone1780; 2 lines 1creede: parentage,|
Critical Apparatus
25.179–83 Oh … hither, malone1780; prose 1creede
Critical Apparatus
25.191 First 2gosson; Frist 1creede
Critical Apparatus
25.191–2 First … title? steevens,; 1 line prose 1creede
Critical Apparatus
25.193–4 I … sayd, steevens; my| 1creede
Critical Apparatus
25.194 rest thou sayd this edition; rest you sayd 1creede; rest singer (Jackson). Brooks argues that this is a 'redundant memorial expansion' and taylor–jackson observe that it produces a 'you'/'thou' clash unparalleled elsewhere in reliable Shakespearean texts. We accept gossett's objection that the emendation deprives 'in the rest' of a 'specific referent' and 'Pericles means that Marina's perfection exists in more than her words'; but we emend 'you' to 'thou' to avoid the inconsistency in form of address. There is a prevalence of the 'thou' form in Pericles' addresses to Marina before this.
Critical Apparatus
25.194 sayd,| perfit, the 1 creede; perfit,| So proue but true in that, thou art my daughter| The taylor–jackson (Taylor); perfect,| So be but right in that, thou art my daughter| The (conj. Brooks). Suspecting a lacuna here after 'perfit' (25.195—see preceding Textual Note for singer's emendation which is accepted by Taylor and Brooks in their rearrangement), Brooks and Taylor both supply a conjectured verse-line (Taylor makes additional emendations but introduces Brooks's conjectured lineation, dividing after 'Pericles', 'name', 'perfit', the added line's final word, and 'life'.). However, the speech makes good sense in 1creede if we understand that, as per gossett, after Pericles' demand to hear his 'drownd Queenes name' the following 'phrases are in apposition'; that is, that Pericles is not saying that Marina will inherit his kingdom if she correctly identifies Thaisa, but that 'everything she has already said has shown she is perfect, of royal blood and the restorer of his life'.
Critical Apparatus
25.196 life steevens (Mason); like 1creede
Critical Apparatus
25.197–00 Is … began. malone1780; prose 1creede
Critical Apparatus
25.198 name was Thaisa 1creede; name taylor–jackson (Brooks). The emendation is connected to a different lineation by Taylor, dividing 1creede's prose 'Is … name' after 'more'.
Critical Apparatus
25.201 th'art 1creede; thou art 4pavier (subs.). See 25.176 for a missing syllable at the caesura. Though lacking punctuation in 1creede, the present caesura is especially strong; as it is a significant moment theatrically the line may be held while Marina rises. In other circumstances this may seem an ad hoc explanation, but the strength of the caesura is a prerequisite for a metrical licence, and, reciprocally, the contracted form reinforces the caesura. In other words, the contraction is connected to a strong dramatic effect.
Critical Apparatus
25.202 Shee is 1creede; not in steevens
Critical Apparatus
25.202–3 Giue … beene gossett (Proudfoot); prose 1creede
Critical Apparatus
25.204–6 By … this? malone1780; prose 1creede
Critical Apparatus
25.207 sir steevens; not in 1creede. Here the vocative is needed to complete the meter across the shared line.
Critical Apparatus
25.207–9 Sir … you. malone1780; prose 1creede
Critical Apparatus
25.209–13 I … dout.malone1780 (subs.); 4 lines 1creede: robes.| girle,| Marina,|
Critical Apparatus
25.213 dout malone1780 = doubt; doat 1creede
Critical Apparatus
25.219–20 Lord? I heare.| Per. Most 1creede; Lord?| Per. I hear most maxwell (Clark–Wright). gossett persuasively defends the reading in 1creede, arguing that Pericles interrupts Lysimachus who is about to repeat 'I heare none'. The emendation implausibly supposes that the speech prefix was misplaced in the middle of a written line.
Critical Apparatus
25.221 raps collier = rapts; nips 1creede. Usually associated with pinching or squeezing, 'nips' seems particularly unsuitable in the context of Pericles' response to the harmonious music. The phrase 'nip in (or "nip by or on") the head' could mean to be overpowered and overcome and reduced 'to a state of helplessness' (OED P1a), and it is possible that such a meaning could be elliptically supplied here. However, this seems strained, and 'raps', an acceptable form of 'rapts', supplies a much improved reading (the music enraptures Pericles, forcing him to continue listening), and supposes an easy misreading.
Critical Apparatus
25.222 eyes 1creede; eyelids steevens. The emendation regularizes the line's meter. Jackson compares 'weigh my eye-liddes downe' (2 Henry IV 9.7) and 'my eie-liddes shall Coniecture hang' (Much Ado 4.1.101). But compare 'Night hangs vpon mine eyes' (Julius Caesar 5.5.41). Meter is the one issue here, but this could be another example of a missing syllable at a caesura where a pause might be appropriate (see 25.176 and 25.201).
Critical Apparatus
25.223–4 so … all 1creede; moved to after 'remember you' in taylor–jackson (Taylor)
Critical Apparatus
25.224–6 Well … you.steevens; 2 lines 1creede: must|
Critical Apparatus
25.227–8 My … sacrifice, rowe; Ephesus,| 1creede
Critical Apparatus
25.229–31 together . . . before 1 creede; together| At large discourse thy fortunes, in this wise:| With a full voyce before taylor–jackson. Unlike the rest of this speech in alternating rhyme, the rhyme for 'sacrifice' is absent. This, coupled with the short subsequent line, suggests that at least a line and a half has been omitted, with the longer line ending in a rhyme for 'wife'. We mark a lacuna in both texts.
Critical Apparatus
25.229–32 There … wife, hoeniger; prose 1creede
Critical Apparatus
25.233–7 To … dreame. rowe (subs.); prose 1creede
Critical Apparatus
25.234 life malone1780 (Charlemont); like 1creede
Critical Apparatus
25.235 Performe malone1780 (subs.); or performe 1creede
Critical Apparatus
25.236 be happie malone1780; happie 1creede; rest happie taylor–jackson (Taylor). gossett reads 'Doo't' in this line as 'Do it' to regularize the meter, but malone1780's emendation produces more satisfying reading (metrically and syntactically) and supposes an easy omission.
Critical Apparatus
25.239 I … Sir. 1 type line 1creede
Critical Apparatus
25.241–3 The inhospitable … sayles. malone1780; 2 lines 1creede: first,|
Critical Apparatus
25.243–6 eftsoones … neede. malone1780 prose 1creede
Critical Apparatus
25.246 Sir 1creede; after 'heart,' steevens
Critical Apparatus
25.246–7 Sir … shuit. taylor–jackson (Taylor) (subs.); a shore| 1creede
Critical Apparatus
25.247 another 1creede; a taylor–jackson. The first 'suit' (see next note), or matter of business, is the exchange of gold for provisions; the second 'suit' is to ask for Marina's hand in marriage. Pericles' next response pre-empts this request.
Critical Apparatus
25.247 shuit malone1780 = suit; sleight 1creede. 'Sleight' is wholly inappropriate in the context, and taylor–jackson suppose an easy misreading of 'shuit' as 'sleit', which was normalized by the compositor.
Critical Apparatus
25.248–9 You … her. taylor–jackson (Taylor); prose 1creede
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