mere literature is concerned, of the brothel scenes to ng in the first two Acts; the impossibility of Shakes marrying Marina to a man like Lysimachus; the ions of, and additions to, the Shakespeare work by Wilkins in his novel fancied he could improve the ve. The difference of style and metre in the blank Fleay illustrates by a comparison between Act III. i. Act IV. vi. 167-175, Act II. i. I-II, and of the rhymrse in various places; his contention as to Wilkins's he supports by a metrical analysis of that dramatist's Ees of Enforced Marriage; and his belief in the presence wley by a reference to his style, and to the fact that the time when Pericles may be supposed to have been n he was associated with Wilkins and Day in The Is of the Three English Brothers.

osely allied with the question of Wilkins's share in the s that of the authorship of the brothel scenes. With in the opinion of most modern commentators, Shakehad no concern; while some hold with Fleay that are due to Rowley. Nevertheless there are sound rs who refuse assent to either doctrine. Thus Boas, pere and his Predecessors, p. 554, while admitting the ility of a third hand, remarks that "their Shaksperean rship is not to be so decisively rejected as some critics e. The most repellent features in the scenes mentioned be paralleled from Measure for Measure, and here as they are not introduced from sheer love of foulness. throw the virginal figure of Marina into brilliant relief hibiting her untainted purity amidst the most contamg surroundings. And in the dialogue there are touches

worthy of the great dramatist, e.g. the sudden rise from prose to verse in Act IV. vi., when Marina appeals to Lysimachus in lines that have a true Shakesperean ring:

If you were born to honour, show it now;
If put upon you, make the judgement good
That thought you worthy of it.

O! that the gods

...

Would set me free from this unhallow'd place,
Though they did change me to the meanest bird

That flies i' the purer air.

So too the opening lines of Act v., describing her occupations after her escape from captivity, contain distinctively Shaksperean expressions and ideas: e.g. :—

Deep clerks she dumbs; and with her neeld composes
Nature's own shape, of bud, bird, branch, or berry,

That even her art sisters the natural roses;

Her inkle, silk, twin with the rubied cherry.

Here the word 'inkle' which occurs in The Winter's Tale and the description of Marina's needlework as counterfeiting nature to the life, both suggest the hand of Shakspere, who always adopts this realistic criterion of art."

I go much farther than Boas, and believe that throughout the three scenes, IV. ii. v. vi., Shakespeare's presence is distinctly visible in characteristic expressions and turns of thought. These, indeed, are to my mind so striking and abound so largely that while space does not admit of my instancing them, I am astonished at their being supposed to come from any mint but one. What, however, impresses

1 With the five-measure Gower parts in IV. iv., and in this Chorus (though the rhymes here are alternate and not consecutive) we should, I think, compare The Winter's Tale, ïv. i., Enter Time, the only other Chorus in which Shakespeare uses rhymed lines.

In

a more forcibly is a consideration of structure.
's novel Lysimachus is a profligate roué. The Bawd
es him as a fauorer of our calling, one that will as
aue his hand in his pocket, as such a pretty dilling
shalt come in his eye, and not as most of our Gentle-
e, draw it out empty, but filling it full of golde, will
ue-like rayne it downe into his Danaes lap". This
, originally outlined by Twine, Lysimachus subse-
acknowledges for his own. Yet Pericles is shown us
rfully giving his daughter in marriage to a man of
usly evil life. To Shakespeare such a dénouement
possible. While therefore he was bound to the
episode, he has, I maintain, taken upon himself to
his own reading of Lysimachus's character. It has
ointed out that in their general scope these scenes
nuch in common with certain others in Measure for
re. This likeness may, I think, be extended to a
lar fact. The Duke there uses his disguise, assumed
pecial purpose, as a means of informing himself upon
nner of life of his subjects, who owing to the laxity
rule had fallen into dissolute ways. Similarly, it
to me, Shakespeare may have conceived Lysimachus
hing to probe the plague-sores of the city of which he
overnor. Wilkins in his novel, following Twine's lead,
red the baser presentation of Lysimachus's character,
is version in the play of the interview with Marina
I no doubt have been on the same lines. For the
mentioned above, Shakespeare was debarred from
ting such a situation. At any rate, whatever the object
ed Lysimachus to visit the brothel, his conduct there

1

is quite in keeping with motives other than those by which he is actuated in the prose narratives of the story. With the Bawd and Pander he naturally assumes the role of an ordinary trafficker in the wares they had to utter and talks to them in their own language. Towards Marina his attitude is wholly different. While making trial of her virtue, he gives vent to none of the threats, displays none of the coarseness and violence, which Wilkins plentifully imputes to him. Instead of compelling her to protracted entreaties, he quickly recognises her genuine purity, and at the close of the interview, so far from confessing his vile intentions, emphatically protests that he never had the design of violating her honour. The language of his self-exculpation could hardly be more vigorous. "Had I," he says:—

Had I brought hither a corrupted mind,

Thy speech had alter'd it. Hold, here's gold for thee;
Persever in that clear way thou goest,

And the gods strengthen thee! .

For me, be you thoughten

That I came with no ill intent, for to me

The very doors and windows savour vilely.

Farewell. Thou art a piece of virtue, and

I doubt not that thy training hath been noble.
Hold, here's more gold for thee.

A curse upon him, die he like a thief,

That robs thee of thy goodness! If thou dost

Hear from me, it shall be for thy good.

So too with fierce indignation he turns upon Boult in these

words :

Avaunt! thou damned door-keeper. Your house,

But for this virgin that doth prop it, would

Sink and overwhelm you. Away!

rely these speeches have the full ring of truth, in every ear the impress of Shakespeare, and, no less surely, nit, exhibit him as rewriting a scene which in its first had followed the course of the Paineful Aduentures. with maudlin emotion, wiping the tears from Marina's and longing to reward her virtue with a chaste kiss, achus whimpers out, "I hither came with thoughtes perate, foule and deformed, the which your paines so ave laued, that they are now white, continue still to and for my parte, who hither came but to have payd ice, a péece of golde for your virginitie, now giue you y to reléeve your honesty". Equally in Twine's novel, h the details vary, we are left in no doubt as to the cter and intentions of Athenagoras, the counterpart of achus. Being outbidden at the public auction when g to purchase Marina, he consoles himself with the tion, "if I should contend with the bawd to buy her hie a price, I must needes sell other slaves to pay for hich were both losse and shame unto me. Wherefore I suffer him to buy her; and when he setteth her e, I will be the first man that shall come unto her, and gather the floure of her virginitie, which shall stand in as great steade as if I had bought her." Like nachus, too, in Wilkins's account, moved by Marina's light, Athenagoras abandons his avowed design. From Confessio Amantis the incident of the governor's visit brothel is altogether absent.

f course it is not necessary to my view that Shakee should have written the whole of these scenes. Inif he had originally taken the plot into his hands, I