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SCEXE II.—The satne.—Pericles on the
Ami do upon iniue altar sacrifice.
Reveal how thou at sea didst lose thy wife:
Enter Ltsimachus, Helicanus, and
Per. My purpose was for Tharsus, there to strike
The inhospitable Cleon; but I am
Shall we refresh us, Sir, upon your shore,
ljys. With all my heart. Sir; and, when you come ashore, I have another suit.
Per. You shall prevail,
Jbys. Sir, lend your arm.
Per. Come, my Marina.
Enter Gowrr, before the Temple of Diana
SCEXE III.—The Temple of Diana at Ephesus: Thaisa standing near the, Altar, as high Priestess; a number of Virgins on each side; Cbrimon and other inhabitants oj Ephesus attending.
Enter Pericles, with his Train; LysiMtcHUs, Hklicanus, Marina, and a Lady.
Per. Hail Dian!
1 here confess myself the king of Tyre;
• V8o?B" i.. ■
1 < ui.tnuud here signifies to c
to perform thy just corn
Wears yet thy silver livery. * She at Tharsus Was uursM with Cleon: whom at fourteen years
He sought to murder: but her better stars Brought her to Mitylene; against whose shore (tiding, her fortunes brought the maid aboard us.
Where, by her own most clear remeiubiauce, she
Thau Voice and favour !—
Per. What means the woman 1 she dies 1 help, gentlemen 1
Cer. Noble Sir.
Per. Reverend appearer, no:
Cer. Upon this coast, I warrant you.
Per, Tis most certaiu.
Cer. Look to the lady;—Oh! she's but o'er joy'd.
Early, one blust'ring morn, this lady was Thrown on this shore. I op'd the coftin, and Fouud there rich jewels; recover'd her, and
plac'd her Here in Diana's temple.
Per. May we see them?
Cer. Great Sir, they shall be brought you to my house. Whither I invite you. Look 1 Thaisa is Recover'd.
That* Oh 1 let me look t If he be none of mine, my sanctity Will to my sensef bend uo licentious ear. But curb U, spite of seeing. O my lord, Are you not Pericles? Like him you speak, Like him you are: Did you not uaine a tempest,
A birtb, and death!
Per. The voice of dead Thaisa I
Thai. That Thaisa am 1, supposed dead. And drowu'd. J
Per. Immortal Dian 1
Thai. Now I know you better.—
[Shows a ring.
Per. This, this: no more, you gudi I your present kindness Makes my past miseries sport: You shall do well,
That on the touching of her lips I may Melt, and no more be seen, o come, be buried
A second time within these arms.
Mar* My heart
[Kttevls to Thaisa.
Per. Look, who kneels here! Flesh of thy iii -it, Thaisa; Thy burden at the sea, and call'd Marina, For she was yielded there.
Thai. Bless'd and mine own I
Hel. Hail, madam, and my queen 1
Thai. I know you not.
Per. You have heard me say, when I did fly from Tyre, I left behiud au ancient substitute: Can you remember what I call'd the man 1 1 have nam'd him oft.
Thai. 'Twas Helicanus then.
Per. Still confirmation:
Thai. Lord Cerimon, my lord ; this inn Through whom the gods have :hown their power ,
that can From first to last resolve you.
• /, t. Her wtaitt rol>c of inoctnc*. * S*nsiml pMtiM. J Drow n'd ben menu iv«r
wbcluird, not *ulrVcaicd.
Per. Reverend Sir,
Cer. I will, my lord.
How she came placed here within tbe temple; No needful thing omitted.
Per. Pure Diana I
Shall marry her at Pentapolls. And now,
Sir, that my father's dead.
We'll celebrate their nuptials, and ourselves
* l.t. flu beard.
Lord Cerimon, we do our lunging stay.
Enter Gowsr. Owe. In Antioch, * and his daughter, you have beard
Of monstrous lust the due and just reward:
Virtue preserv'd from fell destruction's blaii. Led on by heaven, and crowu'd with joy at last.
In Helicanua may you well descry
Of Pericles, to rage the city turn;
* 1. r. Hit king of Auiiucb.
Pol. What do you read, my lord I Ham. Go thy ways to a nunnery.
Ham. Words, words, words! Act III. Scene I.
^c/ II. Scene II.
Opfce. [ffcyv.] *9 dead and gone, lady, lit. Clown. Cudgel thy brains no more about it; for
He is dead and gone; your dull ass will not mend his pace with beating.
At his head a grass-green turf, . Act V. Scene I.
At his heels a stone.
Act IV. Scene V.
HAMLET, PRINCE OF DENMARK
LITERARY AND HISTORICAL NOTICE. THIS tragedy is supposed to hire been written in 1596. The principal incidents were probably drawn from a dramatic piece by on* Thomas Ryd, and from a Historic of Hambtet, in black let'er, adopted by Bellcforest in hi* collection of novel* (published 1564) from the narrative of Saxo-Grainmaticus, the old Danish historian. The play has long been accounted a first-rate dramatic production, for, with some egregious blunders, it con tains a varirty of unparalleled beauties. As originally written, it consumed four hours in the representation i persons, in Shakspearc's time, visiting the theatre so early as four o'clock, and regarding the quality less tnan the quantity obtaiucd for their money i this will excuse some of those trilling interlocutions which yet remain. Perhaps none of our poet's undertakings have been subjected to so much erudite and ingenious criticism as this ; and none, certainly, after its most severe exercise, have been left with so much to approve. For although it has been observed, with some appearance of justice, that in the management of the piece, Sbakspeare has been rather unfortunate, all its most striking circumstances arising so early In the formation, as 41 not to leave him room for a conclusion suitable to the importance of its beginning ;" yet this defect la amply recompensed by the sublimity of conception, the didactic morality of sentiment, the pathetic intenseness of feeling, the power and comprehensiveness of diction, and the delightful diversity of character, which are displayed in almost every scene. Indeed, were each drama of Shakapeare to be characterized by the particular quality which distinguishes it from the rest, the praise of variety must especially be given to the tragedy of Hamlet t as it is interchangeably contrasted " with merriment that includes judicious and instructive observations; and with solemnity not strained by poetical violence above the natural sentiments of man." To those, however, who are mentally capable of appreciating its excellences as a play, the charm of perusing it in the closet will probably be greater than the delight of witnessing us exhibition i siuce it is rich in the treasures of contemplative and philosophical speculation | divested of the glare and bustle which captivate or bewilder the senses; whilst the principal character, though furnishad with abundant materials, is almost the only support of the piece, and seldom meets with a representative in whom the beauties of the original are effectively embodied. Of the plot it may be observed, that it teems with slaughter, and is justly obnoxious to criticism in many of its parts ; but the catastrophe is certainly its most disgusting feature, and can only be tolerated by the known partiality of an English audience for a multiplicity pf deaths and bloodshed. ** The manner of Hamlet's death (says Dr. Johnson) is not very happily produced ( for the exchange of weapons is ralher an expedient of necessity, than a stroke of art."