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n. And can do nought but wail her darling's loss; n. Even so myself bewails good Gloster's case, n. With sad unhelpful tears; and with dimm'd eyes n. Look after him, and cannot do him good; n. So mighty are his vowed enemies. a. His fortunes I will weep; and twixt each groan, a. Say— Who's a traitor ? Gloster he is none.' (Exit HENRY. n. Queen. Free lords, cold snow melts with the sun's hot beams. n. Henry my lord is cold in great affairs; n. Too full of foolish pity; and Gloster's show n. Beguiles him as the mournful crocodile

With sorrow snares relenting passengers ; n. Or as the snake, rolled in a flowering bank, n. With shining checker'd slough, doth sting a child, n. That, for the beauty, thinks it excellent. n. Believe me, lords, were none more wise than I, N. (And yet, herein, I judge mine own wit good) n. This Gloster should be quickly rid the world, No · To rid us from the fear we have of him.

n. York. 'Tis York that hath more reason for his death.
n. But, my lord cardinal, and you, my lord of Suffolk,
n. Say as you think, and speak it from your souls ;-
n. Were 't not all one, an empty eagle were set
n. To guard the chicken from a hungry kite,
n. As place duke Humphrey for the king's protector ?
no Queen. So the poor chicken should be sure of death."

2 Henry VI, III. i. Or turning to 3 Henry VI, take the new lines at the close of Act II. SC. v. As to these Mr Furnivall admits that .they “look very like Shakspere's." a. Queen Margaret. Mount you, my lord : towards Berwick

post amain. n. Edward and Richard like a brace of greyhounds, n. Having the fearful, flying hare in sight, n. With fiery eyes, sparkling for very wrath, n. And bloody steel grasp'd in their ireful hands,

a. Are at our backs; and therefore hence amain." Shakspere had as yet been only a few years in London, and still had fresh in his memory the little tragedies with which country life makes us acquainted. It is, indeed, noticeable that—with a few exceptions—the animals introduced into the Henry VI plays, and not mentioned in the originals, are animals with which Shakspere must have been familiar when he lived among the woods and green fields of Warwickshire.

There are a sufficient number of allusions to animals in Marlowe and in Shakspere to justify my belief that it was they who inserted these animal metaphors in the Henry VI plays. Besides, many are transplanted out of the Contention and True Tragedy, and Greene's predilection for animals—both real and fabulous—is well known. “Did I,” exclaims Nash, indignant at being accused of having imitated Greene, “euer write of cony-catching? stufft my stile with hearbs and stones? . . . if not, how then do I imitate bim?” (Haue with you to Saffron-Walden," &c., 1596. Sig. V. 3. See Dyce's ed. of Greene, p. 37.) “If any man bee of a dainty and curious eare," says the author of Martine Mar-Sixtus, 1592, undoubtedly alluding to Greene, “I shall desire him to repayre to those authors; euery man hath not a perle-mint, a fish-mint, nor a bird mint in his braine, all are not licensed to create new stones, new fowles, new serpents, to coyne new creatures" (Preface, Seo Dyce's ed. of Greene, p. 37).

For these reasons I do not think that the animal and insect metaphors necessarily indicate another writer than Shakspere or Marlowe at work in the Second and Third Parts of Henry VI, .

'homekeeping': Two Gentlemen : cp. Coriolanus. Mansionato, a homekeeper, a houslin, one that seldom goes abroad.”—1598; Florio.

"house and home, eat out of': 2 Hen. IV., II. i. 81. “I set abroach all the vessels in my house, hoggesheads and pipes: I had all my men as busie as could bee to serue : and this is but one night. What thinke you shall become of you, whom they shall daily eate out of house and home [quem assiduè exedent]? So God be my helpe, as I take pitie and compassion of your substance."-R, Bernard's Terence in English, p. 222, ed. 1607 (1st ed. 1598).

jack: sb. Saultercau : n. A Locust, or Grasshopper; also, the Jack of a Virginall, &c.”—1611; Cotgrave.

jump': adv. Hamlet, I. i. 65. Ita attemperatè venit hodie, He comes so iumpe, or in the very nicke to day : in season, at the very point.”—R. Bernard's Terence in English, p. 101, ed. 1607 (1st ed. 1598).

kecksie or kex': Hen. V., V. Ž. “But he hath a certaine couetous fellow to his father, miserly, and as dry as a kixe : its our neighbour Menedemus." —R. Bernard's Terence in English, p. 226, ed. 1607 (1st ed. 1598).

'kibe: Hamlet. Pernione, a kibe on the heele, or a chilblane on the hands.”—1598; Florio.

TABLE OF SHAKSPERE'S AND MARLOWE’S SHARES IN

HENRY VI, PARTS II. AND III.1

BY MISS JANE LEE.

[I wish this scheme to be looked on as merely conjectural and tentative. With regard to the authorship of several passages I am quite ready, if need be, to yield my opinion to that of others more skilled and more experienced in deciding disputed questions of a like kind. This remark will hold even more strongly with regard to the Contention2 and True Tragedysee Table at p. 304.]

Henry VI. Part II. Act I. sc. i. 11. 23-35. New.

Shakspere. „ „ 11. 76-235. New or reformed. 3 Shakspere.

(Contention, pp. 3-8, Marlowe and Greene.) Act I. sc. ii. 11. 1-108. New or reformed. But Shakspere.

several lines are taken
unaltered from the

Contention. (Contention, pp. 8-11, Greene.) Act I. sc. ii. 11. 1-127. New or reformed. A Shakspere.

few old lines are
taken unaltered from
the Contention, pp.

11-15.
11. 128-140. New.

Shakspere. 11. 141-150. Touched up.

Shakspere. » 11. 151-154. New, and might be by? Shakspere.

any one. u 11. 155-177. New or reformed. Shakspere.

In using this Table I must ask my readers to compare 2 and 3 Henry V1 with the Contention and True Tragedy for themselves, and not to confide in the marking of Malone, which is by no means trustworthy. All lines taken unchanged from the old Plays—as far as it was possible—I have passed by.

? Any references to the Contention or True Tragedy will be to the old Shakespeare Society (1843) Reprints.

It may, perhaps, be that the total number of lines set down as “new” or “ reformed” in this Table, will not agree with the total number which I have given at p. 266. But here I have not aimed at strict numerical accuracy. I attended rather to groups of lines than to single isolated lines,

Henry VI. PART II. Act I. sc. ii. 11. 182-226. New or reformed. Shakspere.

There is nothing in any way characteristic about the changes made. Some lines are taken unaltered from the Con

tention. (Contention, pp. 11-17, Greene and Marlowe.) Act I. sc. iv. 11. 1-31. New.

Shakspere. , 11. 41-66, 73-85. New or reformed. Shakspere. (Contention, pp. 17-19, Greene.)

Thus in ActI. I ascribe all new or reformed

lines to Shakspere. Act II. sc. i. 11. 1-113. New or reformed. Some ? Shakspere.

lines are taken un-
altered from the Con-
tention, pp. 19-21.
The additions and
changes made are of

little value.
11. 153-205. New or reformed. Shakspere.

(Contention, pp. 19-25, Greene.) Act II. sc. ii. 11. 1-82. New or reformed. Most ? Shakspere.

of the lines here are
virtually new. Some
few are taken un-
altered from the Con-

tention.
(Contention, pp. 25-27, Marlowe and ? Greene.)
Act II. sc. iü. 11. 1-58. Reformed.

9 Marlowe. 1 » 11. 73-76. Reformed.

Shakspere. » » 11. 87-103.

New or reformed. Shakspere. (Contention, pp. 27-30, Greene.) Act II. sc. iv.

New or reformed. But Shakspero.

some 17 or more lines
are taken unaltered

from the Contention.
(Contention, pp. 30-32, Greene.)
Thus in Act II, we have :-

Sc. i. Shakspere revising Greene.
Sc.ii. Shakspere revising Marlowe and Greene.
Sc. iii. Shakspere and ? Marlowe revising Greene.
Sc. iv. Shakspere revising Greene.

Henry VI. Part II.
Act III. sc. i. 11. 1-141. New or reformed. Shakspere.

, ll. 142-199. New or reformed. ? Marlowe.
. 11. 200-281. New.

Shakspere.
, 11. 282-330. New or reformed. ? Marlowe.
3, 11. 331-356. New.

Shakspere. »11. 357-383. New or reformed. ? Marlowe.

(Contention, pp. 33-39, Marlowe and Greene.) Act III. sc. ii. 11. 1-37. New or reformed.

Shakspere. , , 11. 43-121.1 New or reformed. Shakspere and

Marlowe together. Act III. sc. ï. 11. 122-187. New or reformed. Shakspere. 11. 230 - 235, New.

Shakspere. 238, 239, 242, 246-269. Act III. sc. ii. 11. 282-308. New or reformed. Shakspere. , 11. 312, 324, New.

Shakspere.

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Shakspere.

Shakspere.

Act III. sc. ii. 11. 339 - 366, New or reformed. 370-387, 396, 397.

Lines 375 and 378 are taken unaltered from the Contention,

p. 45. Act III. sc. ii. 11. 403-405. New.

(Contention, pp. 39-46, Marlowe and Greene.) Act III. sc. iii. 11. 1-33. New or reformed.

(Contention, pp. 46, 47, Marlowe.)
Thus in Act III. we have :-
Sc. i. Shakspere and ? Marlowe revising

Marlowe and Greene.
Sc. ii. Shakspere and Marlowe revising

Marlowe and Greene.
Sc. iii. Shakspere revising Marlowe.

Shakspere.

| Both the structure and thought of this passage are like Marlowe's. Still, I have assigned it to Shakspere and Marlowe, because I. 63, “ Look pale as primrose with blood drinking sighs,” is, I think, by Shakspere. Professor Dowden, speaking of this line, notes that Shakspere seems to have had a peculiar feeling about the primrose ;-as if its colour were sad, or low-toned. Thus, in The Winter's Tale, pale primroses, that die unmarried” (IV. iv. 122), and in Cymbeline, “ The flower, that's like thy face, pale primrose" (IV. ii. 221). Again, if, as I have seen it asserted, 11, 116-118,

• To sit and witch me, as Ascanius did,
When he to madding Dido would unfold

His fathers acts, commenced in burning Troy." contain a real misstatement, and imply that the writer believed it was Ascanius, not Aeneas, who told the tale of “ Troy divine," then Marlowe did not write these lines either, for Marlowe knew his Virgil from cover to cover.

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