Her stature to an inch; as wand-like straight;
As silver voic'd; her eyes as jewel-like,
And cas'd as richly:5 in pace another Juno;"
Who starves the ears she feeds, and makes them

hungry,

The more she gives them speech."-Where do you live?

It is observable that some of the leading incidents in this play strongly remind us of the Rudens. There Arcturus, like Gower, poλovie. In the Latin comedy, fishermen, as in Pericles, are brought on the stage, one of whom drags on shore in his net the wallet which principally produces the catastrophe; and the heroines of Plautus and Marina fall alike into the hands of a procurer; a circumstance on which much of the plot in both these dramatick pieces depends. HOLT WHITE.

5 her eyes as jewel-like

And cas'd as richly:] So, in King Lear:
and in this habit,

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"Met I my father with his bleeding rings, "Their precious stones new-lost." Again, ibidem:

"What, with this case of eyes?" MALONE.

So, in the third Act, Cerimon says:
"She is alive;-behold

"Her eye-lids, cases to those heavenly jewels,
"Which Pericles has lost,
"Begin to part their fringes of bright gold."

in pace another Juno;] So, in The Tempest :
Highest queen of state

66

"Great Juno comes; I know her by her gait."

MALONE.

7 Who starves the ears she feeds, and makes them hungry, The more she gives them speech.] So, in Antony and Cleo

patra:

other women cloy

"The appetites they feed, but she makes hungry,
"Where most she satisfies."

M. MASON.

Again, in Hamlet:

"As if increase of appetite did grow
66 By what it fed on." MALONE.

MAR. Where I am but a stranger: from the deck You may discern the place.

PER. Where were you bred? And how achiev'd you these endowments, which You make more rich to owe?8

MAR.
Should I tell my history,
'Twould seem like lies disdain'd in the reporting.
PER. Pr'ythee speak;

Falseness cannot come from thee, for thou look'st
Modest as justice, and thou seem'st a palace
For the crown'd truth to dwell in: I'll believe

thee, And make my senses credit thy relation,

And how achiev'd you these endowments, which

You make more rich to owe?] To owe in ancient language is to possess. So, in Othello:

66

that sweet sleep

"That thou ow'dst yesterday.'

The meaning of the compliment is:-These endowments, however valuable in themselves, are heighten'd by being in your possession. They acquire additional grace from their owner. Thus also, one of Timon's flatterers:

"You mend the jewel by the wearing of it."

9

a palace

For the crown'd truth to dwell in:] It is observable that our poet, when he means to represent any quality of the mind as eminently perfect, furnishes the imaginary being whom he personifies, with a crown. Thus, in his 114th Sonnet:

STEEVENS.

"Or whether doth my mind, being crown'd with you, "Drink up the monarch's plague, this flattery?" Again, in his 37th Sonnet:

"For whether beauty, birth, or wealth, or wit, "Or any of these all, or all, or more, "Entitled in thy parts do crowned sit,—.” Again, in Romeo and Juliet :

66

Upon his brow shame is asham'd to sit,
"For 'tis a throne, where honour may be crown'd,
"Sole monarch of the universal earth." MALONE.

To points that seem impossible; for thou look'st
Like one I lov'd indeed. What were thy friends?
Didst thou not say,' when I did push thee back,
(Which was when I perceiv'd thee,) that thou cam'st
From good descending?

MAR.

So indeed I did.

PER. Report thy parentage. I think thou said'st Thou hadst been toss'd from wrong to injury, And that thou thought'st thy griefs might equal mine,

If both were open'd.

MAR.

Some such thing indeed' I said, and said no more but what my thoughts Did warrant me was likely.

PER. Tell thy story; If thine consider'd prove the thousandth part Of my endurance, thou art a man, and I Have suffer'd like a girl:3 yet thou dost look Like Patience, gazing on kings' graves, and

smiling

1 Didst thou not say,] All the old copies read-Didst thou not stay. It was evidently a false print in the first edition.

MALONE.

* Some such thing indeed-] For the insertion of the wordindeed, I am accountable. Malone.

-thou art a man, and I

Have suffer'd like a girl:] So, in Macbeth

"If trembling I inhibit thee, protest me
"The baby of a girl." MALONE.

Like Patience, gazing on kings' graves,] So, in Twelfth

Night:

"She sat like Patience on a monument
"Smiling at Grief."

Again, in The Rape of Lucrece, 1594:

"Onward to Troy with these blunt swains he goes;
"So mild, that Patience seem'd to scorn his woes."

MALONE.

Extremity out of act."
How lost thou them?
virgin?
Recount, I do beseech thee; come, sit by me."
MAR. My name, sir, is Marina.
PER.

MAR.

Or here I'll cease.

O, I am mock'd, And thou by some incensed god sent hither To make the world laugh at me.

Patience, good sir,

PER.

Nay, I'll be patient; Thou little know'st how thou dost startle me, To call thyself Marina.

What were thy friends?
Thy name, my most kind

and smiling

Extremity out of act.] By her beauty and patient meekness disarming Calamity, and preventing her from using her up-lifted sword. So, in King Henry IV. Part II:

"And hangs resolv'd correction in the arm,
"That was uprear'd to execution."

Extremity (though not personified as here) is in like manner used in King Lear, for the utmost of human suffering:

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another,

"To amplify too much, would make much more,
"And top extremity." MALONE.

• How lost thou them?-Thy name, my most kind virgin? Recount, I do beseech thee; come, sit by me.] All the old copies read:

How lost thou thy name, my most kind virgin, recount, &c. But Marina had not said any thing about her name. She had indeed told the king, that "Time had rooted out her parentage, and to the world and aukward casualties bound her in servitude." -Pericles, therefore, naturally asks her, by what accident she had lost her friends; and at the same time desires to know her name. Marina answers his last question first, and then proceeds to tell her history. The insertion of the word them, which I suppose to have been omitted by the negligence of the compositor, renders the whole clear. The metre of the line, which was before defective, and Marina's answer, both support the conjectural reading of the text. MALONE.

MAR.

AD The name Marina, Was given me by one that had some power; My father, and a king.

PER.

And call'd Marina?

How! a king's daughter?

would believe me;

MAR.
You said
But, not to be a troubler of
I will end here.

you
your peace,"

PER.

But are you flesh and blood? Have you a working pulse? and are no fairy? No motion ?-Well; speak on. Where were you

born?

And wherefore call'd Marina?

7

a troubler of your peace,] Thus the earliest quarto. So, in King Richard III:

"And then hurl down their indignation

"On thee, the troubler of the poor world's peace." The folios and the modern editions read-a trouble of your peace.

MALONE.

No motion?] i. e. no puppet dress'd up to deceive me. So, in The Two Gentlemen of Verona :

"O excellent motion! O exceeding puppet!"

STEEVENS.

This passage should be pointed thus:

Have you a working pulse? and are no fairy-motion? That is, "Have you really life in you, or are you merely a puppet formed by enchantment? the work of fairies." The present reading cannot be right, for fairies were supposed to be animated beings, and to have working pulses as well as men.

M. MASON.

In the old copy this passage is thus exhibited: "But are you flesh and blood?

If Mr. M. Mason's punctuation were followed, the line would be too long by a foot. Pericles suggests three images in his question-I. Have you a working pulse? i. e. are you any thing human and really alive? 2. Are you a fairy? 3. Or are you a puppet? STEEVENS.

"Have you a working pulse, and are no fairy?
"Motion well, speak on," &c. MALONE.