can hardly be supposed to have meant that Pericles was popular rather from accident than merit; for that would have been but a poor eulogy on his own performance. An obscure poet, however, in 1652, insinuates that this drama was ill received, or at least that it added nothing to the reputation of its author: "But Shakespeare, the plebeian driller, was Founder'd in his Pericles, and must not pass." Verses by J. Tatham, prefixed to Richard Brome's Jovial Crew, or the Merry Reggars, 4to. 1652. The passages above quoted show that little credit is to be given to the assertion contained in these lines; yet they' furnish us with an additional proof that Pericles, at no very distant period after Shakespeare's death, was considered as unquestionably his performance, In The Times displayed in Six Sestiads, 4to. 1646, dedicated by S. Shephard to Philip Earl of Pembroke, p. 22, Sestiad VI. stanza 9, the author thus speaks of our poet and the piece before us : 66 See him, whose fragick scenes Euripides "He wrote of lustful Tarquin's rape, shows he For the division of this piece into scenes I am responsible, there being none found in the old copies. MALONE. The History of Apollonius King of Tyre was supposed by Mark Welser, when he printed it in 1595, to have been translated from the Greek a thousand years before. [Fabr. Bib. Gr. v. p. 821.] It certainly bears strong marks of a Greek original, though it is not (that I know) now extant in that language. The rythmical poem, under the same title, in modern Greek, was re-translated (if I may so speak) from the Latin-απο Λατινικής εις Ρωμαϊκην γλωσσαν. Du Fresne, Index Author. ad Gloss. Græc. When Welser printed it,' he probably did not know that it had been published already, (perhaps more than once) among the Gestu Romanorum. In an edition, which I have, printed at Rouen in 1521, it makes the 154th chapter. Towards the latter end of the XIIth century, Godfrey of Viterbo, in his Pantheon or Uni versal Chronicle, inserted this romance as part of the his tory of the third Antiochus, about 200 years before Christ. It begins thus [MS. Reg. 14, C. xi.]: "Filia Seleuci regis stat clara decore, "Matreque defunctâ pater arsit in ejus amore. "Res habet effectum, pressa puella dolet." The rest is in the same metre, with one pentameter only to two hexameters. Gower, by his own acknowledgement, took his story from the Pantheon; as the author, (whoever he was) of Pericles, Prince of Tyre, professes to have followed Gower. TYRWHITT. Chaucer also refers to this story in The Man of Lawe's Prologue: 66 Or elles of Tyrius Appolonius, "How that the cursed king Antiochus There are three French translations of this tale, viz.—“La Chronique d'Appollin, Roy de Thyr;" 4to. Geneva, bl. 1. no date; and "Plaisante et agreable Histoire d'Appollonius Prince de Thyr en Affrique, et Roi d'Antioche; traduit par Gilles Corozet," 8vo. Paris, 1530;-and (in the seventh volume of the Histories Tragiques, &c. 12mo. 1604, par François Belle-forest, &c.) "Accidens diuers aduenus à Appollonie Roy des Tyriens: ses malheurs sur mer, ses pertes de femme et fille, et la fin heureuse de tous ensemble." In the introduction to this last novel, the translator says:- Ayant en main une historie tiree du Grec, et icelle ancienne, comme aussi je l'ay recuellie d'un vieux livre écrit à la main," &c. But the present story, as it appears in Belle-forest's collection, (Vol. VII. p. 113, et seq.) has yet a further claim to our notice, as it had the honour (p. 148-9) of furnishing Dryden with the outline of his Alexander's Feast. Langbaine, &c. have accused this great poet of adopting circum. stances from the Histories Tragiques, among other French novels; a charge, however, that demands neither proof nor apology. The popularity of this tale of Apollonius, may be inferre from the very numerous MSS. in which it appears. Both editions of Twine's translation are now before me, Thomas Twine was the continuator of Phaer's Virgil, which was left imperfect in the year 1558. In Twine's book our hero is repeatedly called-" Prince of Tyrus." It is singular enough that this fable should have been re-published in 1607, the play entered on the books of the Stationers' Company in 1608, and printed in 1609. I must still add a few words concerning the piece in question. It has been so inveterately corrupted by transcription, interpolation, &c. that were it published, like the other dramas of Shakespeare, with scrupulous warning of every little change which necessity compels an editor to make in it, his comment would more than treble the quantity of his author's text. If, therefore, the silent insertion or transposition of a few harmless syllables which do not affect the value of one sentiment throughout the whole, can obviate those defects in construction and harmony which have hitherto molested the reader, why should not his progress be facilitated by such means, rather than by a wearisome appeal to remarks that disturb attention, and contribute to diminish whatever interest might otherwise have been awakened by the scenes before him? If any of the trivial supplements, &c. introduced by the present editor are found to be needless or improper, let him be freely censured by his successors, on the score of rashness or want of judgement. Let the Nimrods of ifs and ands pursue him; let the champions of nonsense that bear the stamp of antiquity, couch their rusty lances at the desperate innovator. To the severest hazard, on this account, he would more cheerfully expose himself, than leave it to be observed that he had printed many passages in Pericles without an effort to exhibit them (as they must have originally appeared) with some obvious meaning, and a tolerable flow of versification. The pebble which aspires to rank with diamonds, should at least have a decent polish bestowed on it. Perhaps the piece here exhibited has merit insufficient to engage the extremest vigilance of criticism. Let it on the whole, however, be rendered legible, before its value is estimated, and then its minutiæ (if they deserve it) may become objects of contention. The old perplexed and vitiated copy of the play is by no means rare; and if the reader, like Pericles, should think himself qualified to evolve the intricacies of a riddle, be it remembered, that the editor is not an Antiochus, who would willingly subject him to such a labour. That I might escape the charge of having attempted to conceal the liberties taken with this corrupted play, have I been thus ample in my confession. To these tedious prolegomena may I subjoin that, in consequence of researches successfully urged by poetical antiquaries, I should express no surprize if the very title of the piece before us were hereafter, on good authority, to be discarded? Some lucky rummages among papers long hoarded up, have discovered as unexpected things as an author's own manuscript of an ancient play. That indeed of Tancred and Gismund, a much older piece, (and differing in many parts from the copy printed in 1592) is now before me. It is almost needless to observe that our dramatick Pericles has not the least resemblance to his historical namesake; though the adventures of the former are sometimes coincident with those of Pyrocles, the hero of Sidney's Arcadia; for the amorous, fugitive, shipwreck, musical, tilting, despairing Prince of Tyre, is an accomplished knight of romance, disguised under the name of a statesman, "Whose resistless eloquence "Wielded at will a fierce democratie, "Shook th' arsenal, and fulmin'd over Greece." As to Sidney's Pyrocles,―Tros, Tyriusve,— but Pericles was tied down to Athens, and could not be removed to a throne in Phoenicia. No poetick licence will permit a unique, classical, and conspicuous name to be thus unwarrantably transferred. A Prince of Madagascar must not be called Æneas, nor a Duke of Florence Mithridates; for such peculiar appellations would unseasonably remind us of their great original possessors. The playwright who indulges himself in these wanton and injudicious vagaries, will always counteract his own purpose. Thus, as often as the appropriated name of Pericles occurs, it serves but to expose our author's gross departure from established manners and historick truth; for laborious fiction could not designedly produce two personages more opposite than the settled demagogue of Athens, and the vagabond Prince of Туге. It is remarkable, that many of our ancient writers were anbitious to exhibit Sidney's worthies on the stage; and when his subordinate agents were advanced to such honour, how happened it that Pyrocles, their leader, should be overlooked? Musidorus, (his companion,) Argalus and Parthenia, Phalantus and Eudora, Andromana, &c. furnished titles for different tragedies; and perhaps Pyrocles, in the present instance, was defrauded of a like distinctio.. The names invented or employed by Sidney, had once such popularity, that they were sometimes borrowed by poets who did not profess to follow the direct current of his fables, or attend to the strict preservation of his characters. Nay, so high was the credit of this romance, that many a fashionable word and glowing phrase selected from it, was applied, like a Promethean torch, to contemporary sonnets, and gave a transient life even to those dwarfish and enervate bantlings of the reluctant Muse. I must add, that the Appolyn of the Story-book and Gower, could have been rejected only to make room for a more favourite name; yet, however conciliating the name of Pyrocles might have been, that of Pericles could challenge no advantage with regard to general predilection. I am aware, that a conclusive argument cannot be drawn from the false quantity in the second syllable of Pericles; and yet if the Athenian was in our author's mind, he might have been taught by repeated translations from fragments of satiric poets in Sir Thomas North's Plutarch, to call his hero Pericles; as for instance, in the following couplet: "O Chiron, tell me, first, art thou indeede the man "Which did instruct Pericles thus? make aunswer if thou can," &c. &e. Again, in George Gascoigne's Steele Glas: 68 Pericles stands in rancke amongst the rest." Again, ibidem; 66 Pericles was a famous man of warre " Such therefore was the poetical pronunciation of this proper name, in the age of Shakespeare. The address of Persius to a youthful orator-Magni pupille Pericli, is familiar to the ear of every classical reader. All circumstances considered, it is not improbable that our author designed his chief character to be called Pyrocles, |