[434] "This expression is well illustrated by Titian's[?] picture (in the National Gallery) of the rape of Ganymede.—In Shakespeare's Love's Labour's Lost, act v. sc. 2, we have,—

[435] This speech is undoubtedly by Marlow, but it is curious that Nashe, in Summer's Last Will and Testament speaks of the amusement caused among the gods by the sight of Vulcan's dancing:—"To make the gods merry the celestial clown Vulcan tuned his polt foot to the measures of Apollo's lute, and danced a limping galliard in Jove's starry hall." (Hazlitt's Dodsley, viii. 91). In both passages there is perhaps an allusion to the lines in the first book of the Iliad (599-600), describing how "unquenchable laughter rose among the blessed gods when they saw Hephæstus limping through the hall."

[436] Surprised.

[437] The stars were the children of Astræus and Eos. See Hesiod, Theogony, ll. 381-2.

[438] These rhyming lines are suggestive of Nashe.

[442] Probably a misspelling of "eternise."

[443] Business.

[444] The scene shifts to a wood near the sea-shore.

[445] Old ed. "Cimodoæ."—Cf. Virgil, Æn. i. 144.

[446] Old ed. "thee."

[448] Old ed. "cunning."

[449] Cf. Titus Andronicus, iii. 2 (a great part of which I attribute to Marlowe):—

[450] Old ed. "aire."

[451] From this point to the end of the scene Marlowe follows Virgil very closely.—Cf. Æn. i. 321-410.

[452] Old ed. "Turen."

[453] Greene (in Orlando Furioso) uses the same form:—

[455] Scene: Carthage.

[456] Old ed. "Cloanthes."

[457] For what follows cf. Virg. Æn. i. 524-78.

[458] The expression "buckle with" occurs twice in 1 Henry VI., and once in 3 Henry VI.: nowhere in Shakespeare's undoubted plays.

[459] Old ed. "Vausis."

[460] Dyce proposes "all" for "shall." Retaining "shall" the sense is "we would hope to reunite your kindness in such a way as shall," &c.

[461] Scene: Juno's temple at Carthage.

[462] Virgil represents the tale of Troy depicted on a fresco in Juno's temple.

[463] Perhaps a misprint for "tears."

[464] Æneas is not shrouded in a cloud, as the reader (remembering Virgil) might at first suppose. Ilioneus fails to recognise Æneas in his mean apparel.

[465] Old ed. "meanes."

[466] We must suppose that the scene changes to Dido's palace.

[467] Old ed. "viewd."

[468] "An odd mistake on the part of the poet; similar to that which is attributed to the Duke of Newcastle in Smollet's Humphry Clinker (vol. i. 236, ed. 1783), where his grace is made to talk about 'thirty thousand French marching from Acadia to Cape Breton.' (The following passage of Sir J. Harington's Orlando Furioso will hardly be thought sufficient to vindicate our author from the imputation of a blunder in geography:

The passage of Harington seems to amply vindicate Marlowe.

[469] This epithet alone would show that the passage is Marlowe's.—Cf. Edward II. v. i. l. 44,

[470] We have had the expression "ring of pikes" in 2 Tamburlaine, iii. 2. l. 99.

[471] Mr. Symonds has an excellent criticism on this passage in Shakespeare's Predecessors, 664-5. He contrasts Virgil's reserve with Marlowe's exaggeration; and remarks that "even Shakespeare, had he dealt with Hector's as he did with Hamlet's father's ghost, would have sought to intensify the terror of the apparition at the expense of artistic beauty."

[472] Armour.

[473] Old ed. "wound." The emendation was suggested by Collier. Shakespeare certainly glanced at this passage when he wrote:—

Very slight heightening was required to give a burlesque turn to this speech of Æneas.

[474] Old ed. "Fawne."

[475] Old ed. "And after by that."

[476] Cease speaking.

[477] We must suppose that Venus had borne the sleeping Ascanius to Cyprus.—Cf. Virg. Æn. i. 680-1:—

[478] Sentinels. The form "centronel" (or "sentronel") occurs in the Tryal of Chevalry (1605), i. 3:—"Lieutenant, discharge Nod, and let Cricket stand Sentronell till I come."

[479] Old ed. "Citheida's."

[480] Grandson (Lat. nepos).

[481] Scene: a room in Dido's palace.

[482] The same form of expression occurs in the Jew of Malta, iii. ll. 32, 33:—

[483] "I.e. (I suppose) twisted."—Dyce.

[484] "The blank verse, falling in couplets, seems to cry aloud for rhymes."—Symonds.

[485] Ballast.

[486] I have adopted Dyce's emendation. The old ed. gives "meanly." (Collier suggested "newly.")

[487] Dyce gives this line to Sergestus, arguing that the prefix Æn. is "proved to be wrong by the next speech of Dido." But we may suppose that Dido is there calling Æneas' attention to another set of pictures on the opposite side of the stage.

[488] Old ed. "Olympus."

[489] Old ed. "how."

[490] Old ed. "speak" (repeated from the line above).

[491] Scene: a grove.

[492] "Heir of Fury" is certainly a strange expression, but I dare not adopt Cunningham's emendation, "heir of Troy."

[493] Old ed. "face."

[494] Old ed. "left out."

[495] Old ed. "made."—The correction is Dyce's.

[496] See vol. i. p. 35, note 4.

[497] Ready.

[498] A Virgilian passage. Cf. Æn. i. 26-8:—

[499] Irresistible.

[500] Old ed. "change."

[501] Love.

[502] Old ed. "these."

[503] Scene: a wood near Carthage.

[504] Old ed. "shrowdes."

[505] A deer or other animal was said to "take soil" when it fled from its pursuers to the water. Dyce quotes from Cotgrave:—"Souil de sanglier. The soile of a wild Boare; the slough or mire wherein he hath wallowed."

[506] Far-fetched. There was a common proverb "far-fet and dear-bought is good for ladies."—Old ed. "far fet to the sea."

[507] Old ed. "for."

[508] The father of Anchises.

[509] Old ed. "descend" (which Dyce and Cunningham strangely retain).

[510] Scene: before the cave.

[511] The line is unrhythmical and corrupt. Qy. "That can call forth the winds"?

[512] Old ed. "Tiphous."

[513] Still, hushed.

[514] Old ed. "eares."

[515] Scene: a room in Iarbas' house.

[516] The epithet "gloomy," here and in l. 2, contrasts oddly with "Father of gladness and all frolic thoughts."

[517] Elissa (Dido).

[518] Scene: a room in Dido's palace.

[519] Old ed. "the."

[520] Cf. Faustus, scene xiv.—"And burnt the topless towers of Ilium."

[521] Old ed. "beames,"—a mistake, as Dyce observed, for "reames" (a common form of "realms)."

[522] Old ed. "my."

[523] "Coll" = cling round the neck.

[524] Scene: a room in Dido's palace.

[525] Old ed. "Circes."

[526] It is related in the fifth book of the Iliad how Aphrodite shrouded Æneas in a cloud when he was hard-pressed by Diomed.—Old ed. "fleest."

[527] Old ed. "Heavens."

[528] Desire, order.

[529] Old ed. "loues."

[530] Cf. Faustus.—

[531] Intrigued.

[532] Old ed. "he."

[533] Float.

[534] Lat. lympha is the same word as Nympha.

[535] Scene: the open country near Carthage.

[536] The reader will be reminded of Juliet's Nurse.

[537] Wencher.

[538] Scene; a room in Dido's palace.

[539] Plan.

[540] Old ed. "honeys spoyles."

[541] Old ed. "her." In the Athenæum for 10th May 1884, Dr. Karl Elze makes the plausible emendation,

[542] Rudder. Cf. 1 Henry VI. i. 1:—

[543] At l. 50 the stage-direction was "Exit Sergestus with Ascanius."

[544] Plan.

[545] Requite.

[546] A word which it is not easy to supply has been omitted.
  Dyce's     "farewell [none]"
  and Cunninghan's "Let me go is farewell"
are equally unsatisfactory.

[547] Old ed. "chaunged."

[548] Old ed. "my"

[549] Cf. 1 Tamburlaine, v. 1. l. 21.

[550] Virgil, Æn. iv. 317.

[551] Old ed. "ad hæc."

[552] Virgil, Æn. iv. 360.

[553] Cf. Virgil, Æn. iv. 365-7:—

[554] Old ed. "abdurate."

[555] Old ed. "keend." If "kenned" is the right reading, we must suppose the meaning to be "too clearly perceived."

[556] I have repeated "Anna" for the sake of the metre. Cf. l. 241.

[557] Old ed. "Orions."

[558] Dyce's correction "'em" seems unnecessary.

[559] Dearest. Cf. 2 Henry VI. iii. 1:—

[560] Old ed. "thy."

[561] "Daughter" is nonsense. Should we read "Guardian to" (or "unto")? Cf. Virg., Æn. iv. 484:—

[562] Here and in l. 298 Dyce needlessly reads "lies."

[563] Virg., Æn. iv. 628.

[564] The best editions of Virgil read "ipsique nepotesque."

[565] Virg., Æn. iv. 660.

[566] Preys.

[567] Avail.