Enter Autolycus and a Gentleman.
Aut. Beseech you, sir, were you present at this relation?
First Gent. I was by at the opening of the fardel, heard
the old shepherd deliver the manner how he found it:
whereupon, after a little amazedness, we were all commanded
5
out of the chamber; only this methought I heard
the shepherd say, he found the child.
Aut. I would most gladly know the issue of it.
First Gent. I make a broken delivery of the business;
but the changes I perceived in the king and Camillo were
10
very notes of admiration: they seemed almost, with staring
on one another, to tear the cases of their eyes; there was
speech in their dumbness, language in their very gesture;
they looked as they had heard of a world ransomed, or one
destroyed: a notable passion of wonder appeared in them;
15
but the wisest beholder, that knew no more but seeing,
could not say if the importance were joy or sorrow; but in
the extremity of the one, it must needs be.
Enter another Gentleman.
Here comes a gentleman that haply knows more. The
news, Rogero?
20
Sec. Gent. Nothing but bonfires: the oracle is fulfilled;
the king's daughter is found: such a deal of wonder is
broken out within this hour, that ballad-makers cannot be
able to express it.
Enter a third Gentleman.
Here comes the Lady Paulina's steward: he can deliver
25
you more. How goes it now, sir? this news which is
called true is so like an old tale, that the verity of it is in
strong suspicion: has the king found his heir?
Third Gent. Most true, if ever truth were pregnant by
circumstance: that which you hear you'll swear you see,
30
there is such unity in the proofs. The mantle of Queen
Hermione's, her jewel about the neck of it, the letters of
Antigonus found with it which they know to be his character,
the majesty of the creature in resemblance of the
mother, the affection of nobleness which nature shows
35
above her breeding, and many other evidences proclaim
her with all certainty to be the king's daughter. Did you
see the meeting of the two kings?
Sec. Gent. No.
Third Gent. Then have you lost a sight, which was to
40
be seen, cannot be spoken of. There might you have beheld
one joy crown another, so and in such manner, that
it seemed sorrow wept to take leave of them, for their joy
waded in tears. There was casting up of eyes, holding up
of hands, with countenance of such distraction, that they
45
were to be known by garment, not by favour. Our king,
being ready to leap out of himself for joy of his found daughter,
as if that joy were now become a loss, cries 'O, thy
mother, thy mother!' then asks Bohemia forgiveness; then
embraces his son-in-law; then again worries he his daughter
50
with clipping her; now he thanks the old shepherd, which
stands by like a weather-bitten conduit of many kings'
reigns. I never heard of such another encounter, which
lames report to follow it and undoes description to do it.
Sec. Gent. What, pray you, became of Antigonus, that
55
carried hence the child?
Third Gent. Like an old tale still, which will have
matter to rehearse, though credit be asleep and not an ear
open. He was torn to pieces with a bear: this avouches
the shepherd's son; who has not only his innocence, which
60
seems much, to justify him, but a handkerchief and rings
of his that Paulina knows.
First Gent. What became of his bark and his followers?
Third Gent. Wrecked the same instant of their master's
death and in the view of the shepherd: so that all the instruments
65
which aided to expose the child were even then
lost when it was found. But O, the noble combat that
'twixt joy and sorrow was fought in Paulina! She had one
eye declined for the loss of her husband, another elevated
that the oracle was fulfilled: she lifted the princess from the
70
earth, and so locks her in embracing, as if she would pin her
to her heart that she might no more be in danger of losing.
First Gent. The dignity of this act was worth the audience
of kings and princes; for by such was it acted.
Third Gent. One of the prettiest touches of all and that
75
which angled for mine eyes, caught the water though not
the fish, was when, at the relation of the queen's death, with
the manner how she came to 't bravely confessed and lamented
by the king, how attentiveness wounded his daughter;
till, from one sign of dolour to another, she did, with
80
an 'Alas,' I would fain say, bleed tears, for I am sure my
heart wept blood. Who was most marble there changed
colour; some swooned, all sorrowed: if all the world could
have seen 't, the woe had been universal.
First Gent. Are they returned to the court?
85
Third Gent. No: the princess hearing of her mother's
statue, which is in the keeping of Paulina,—a piece many
years in doing and now newly performed by that rare Italian
master, Julio Romano, who, had he himself eternity and
could put breath into his work, would beguile Nature of her
90
custom, so perfectly he is her ape: he so near to Hermione
hath done Hermione, that they say one would speak to her
and stand in hope of answer:—thither with all greediness of
affection are they gone, and there they intend to sup.
Sec. Gent. I thought she had some great matter there
95
in hand; for she hath privately twice or thrice a day, ever
since the death of Hermione, visited that removed house.
Shall we thither and with our company piece the rejoicing?
First Gent. Who would be thence that has the benefit
of access? every wink of an eye, some new grace will be
100
born: our absence makes us unthrifty to our knowledge.
Let's along. [Exeunt Gentlemen.
Aut. Now, had I not the dash of my former life in me,
would preferment drop on my head. I brought the old
man and his son aboard the prince; told him I heard them
105
talk of a fardel and I know not what: but he at that time,
overfond of the shepherd's daughter, so he then took her
to be, who began to be much sea-sick, and himself little
better, extremity of weather continuing, this mystery remained
undiscovered. But 'tis all one to me; for had I
110
been the finder out of this secret, it would not have relished
among my other discredits.
Enter Shepherd and Clown.
Here come those I have done good to against my will,
and already appearing in the blossoms of their fortune.
Shep. Come, boy; I am past moe children, but thy
115
sons and daughters will be all gentlemen born.
Clo. You are well met, sir. You denied to fight with
me this other day, because I was no gentleman born. See
you these clothes? say you see them not and think me
still no gentleman born: you were best say these robes are
120
not gentlemen born: give me the lie, do, and try whether
I am not now a gentleman born.
Aut. I know you are now, sir, a gentleman born.
Clo. Ay, and have been so any time these four hours.
Shep. And so have I, boy.
125
Clo. So you have: but I was a gentleman born before
my father; for the king's son took me by the hand, and
called me brother; and then the two kings called my father
brother; and then the prince my brother and the princess
my sister called my father father; and so we wept, and
130
there was the first gentleman-like tears that ever we shed.
Shep. We may live, son, to shed many more.
Clo. Ay; or else 'twere hard luck, being in so pre-posterous
estate as we are.
Aut. I humbly beseech you, sir, to pardon me all the
135
faults I have committed to your worship and to give me
your good report to the prince my master.
Shep. Prithee, son, do; for we must be gentle, now we
are gentlemen.
Clo. Thou wilt amend thy life?
140
Aut. Ay, an it like your good worship.
Clo. Give me thy hand: I will swear to the prince thou
art as honest a true fellow as any is in Bohemia.
Shep. You may say it, but not swear it.
Clo. Not swear it, now I am a gentleman? Let boors
145
and franklins say it, I'll swear it.
Shep. How if it be false, son?
Clo. If it be ne'er so false, a true gentleman may swear
it in the behalf of his friend: and I'll swear to the prince
thou art a tall fellow of thy hands and that thou wilt not
150
be drunk; but I know thou art no tall fellow of thy hands
and that thou wilt be drunk: but I'll swear it, and I would
thou wouldst be a tall fellow of thy hands.
Aut. I will prove so, sir, to my power.
Clo. Ay, by any means prove a tall fellow: if I do not
155
wonder how thou darest venture to be drunk, not being a
tall fellow, trust me not. Hark! the kings and the princes,
our kindred, are going to see the queen's picture. Come,
follow us: we'll be thy good masters. [Exeunt.

LINENOTES:

Scene ii.] Scene v. Pope.

Before ...] The same. Before the Palace. Capell. Near the court in Sicily. Theobald.

[2] First Gent.] Gent. 1. Ff.

[12] very] every Anon. conj.

[13] as they] as if they Rowe.

[18] haply] Collier. happily Ff.

[20] Sec. Gent.] Gent. 2. Ff (and throughout).

[28] Third Gent.] Gent. 3. Ff (and throughout).

[31] Hermione's] Hermiones Ff. Hermione Rowe.

[50] which] who Rowe.

[51] weather-bitten] F1 F2. weather-beaten F3 F4.

[53] to do it] to draw it Hanmer. to do it justice Singer conj. to show it Collier (Collier MS.).

[57] matter] matters F4.

[58] with] of Capell conj.

[63] Wrecked] Wrackt Ff.

[70] locks] lock'd Hanmer.

[71] losing] losing her Collier (Collier MS.).

[75] caught] and caught Keightley conj.

[75, 76] caught ... fish] omitted by Hanmer (Warburton).

[77] bravely] heavily Collier (Collier MS.).

[81] marble there] F3. marble, there F1 F2. marble there, F4.

[82] swooned] Pope. swownded F1 F2. swounded F3 F4.

[99] wink] winking S.Walker conj., reading lines 98-101 as four lines of verse, ending benefit ... eye ... makes us ... along.

[101] Exeunt Gentlemen.] Capell. Exit. Ff. Exeunt. Rowe.

[102] had I not] had not I Rowe (ed. 2).

[108] extremity] and extremity Keightley conj.

[112] Scene vi. Pope.

[114] moe] F1. more F2 F3 F4.

[117] this other] the other Hanmer.

[140] an] Hanmer. and Ff.

[158] masters] F1. master F2 F3 F4.


Scene III. A chapel in Paulina's house.

Enter Leontes, Polixenes, Florizel, Perdita, Camillo, Paulina, Lords, and Attendants.
Leon. O grave and good Paulina, the great comfort
That I have had of thee!
Paul. What, sovereign sir,
I did not well, I meant well. All my services
You have paid home: but that you have vouchsafed
5
With your crown'd brother and these your contracted
Heirs of your kingdoms, my poor house to visit,
It is a surplus of your grace, which never
My life may last to answer.
Leon. O Paulina,
We honour you with trouble: but we came
10
To see the statue of our queen: your gallery
Have we pass'd through, not without much content
In many singularities; but we saw not
That which my daughter came to look upon,
The statue of her mother.
Paul. As she lived peerless,
15
So her dead likeness, I do well believe,
Excels whatever yet you look'd upon
Or hand of man hath done; therefore I keep it
Lonely, apart. But here it is: prepare
To see the life as lively mock'd as ever
20
Still sleep mock'd death: behold, and say 'tis well.
[Paulina draws a curtain, and discovers Hermione standing like a statue.
I like your silence, it the more shows off
Your wonder: but yet speak; first, you, my liege.
Comes it not something near?
Leon. Her natural posture!
Chide me, dear stone, that I may say indeed
25
Thou art Hermione; or rather, thou art she
In thy not chiding, for she was as tender
As infancy and grace. But yet, Paulina,
Hermione was not so much wrinkled, nothing
So aged as this seems.
Pol. O, not by much.
30
Paul. So much the more our carver's excellence;
Which lets go by some sixteen years and makes her
As she lived now.
Leon. As now she might have done,
So much to my good comfort, as it is
Now piercing to my soul. O, thus she stood,
35
Even with such life of majesty, warm life,
As now it coldly stands, when first I woo'd her!
I am ashamed: does not the stone rebuke me
For being more stone than it? O royal piece
There's magic in thy majesty, which has
40
My evils conjured to remembrance, and
From thy admiring daughter took the spirits,
Standing like stone with thee.
Per. And give me leave,
And do not say 'tis superstition, that
I kneel and then implore her blessing. Lady,
45
Dear queen, that ended when I but began,
Give me that hand of yours to kiss.
Paul. O, patience!
The statue is but newly fix'd, the colour's
Not dry.
Cam. My lord, your sorrow was too sore laid on,
50
Which sixteen winters cannot blow away,
So many summers dry: scarce any joy
Did ever so long live; no sorrow
But kill'd itself much sooner.
Pol. Dear my brother,
Let him that was the cause of this have power
55
To take off so much grief from you as he
Will piece up in himself.
Paul. Indeed, my lord,
If I had thought the sight of my poor image
Would thus have wrought you, for the stone is mine,
I'ld not have show'd it.
Leon. Do not draw the curtain.
60
Paul. No longer shall you gaze on't, lest your fancy
May think anon it moves.
Leon. Let be, let be.
Would I were dead, but that, methinks, already—
What was he that did make it? See, my lord,
Would you not deem it breathed? and that those veins
Did verily bear blood?
65
Pol. Masterly done:
The very life seems warm upon her lip.
Leon. The fixure of her eye has motion in't,
As we are mock'd with art.
Paul. I'll draw the curtain:
My lord's almost so far transported that
He'll think anon it lives.
70
Leon. O sweet Paulina,
Make me to think so twenty years together!
No settled senses of the world can match
The pleasure of that madness. Let't alone.
Paul. I am sorry, sir, I have thus far stirr'd you: but
I could afflict you farther.
75
Leon. Do, Paulina;
For this affliction has a taste as sweet
As any cordial comfort. Still, methinks,
There is an air comes from her: what fine chisel
Could ever yet cut breath? Let no man mock me,
For I will kiss her.
80
Paul. Good my lord, forbear:
The ruddiness upon her lip is wet;
You'll mar it if you kiss it, stain your own
With oily painting. Shall I draw the curtain?
Leon. No, not these twenty years.
Per. So long could I
Stand by, a looker on.
85
Paul. Either forbear,
Quit presently the chapel, or resolve you
For more amazement. If you can behold it,
I'll make the statue move indeed, descend
And take you by the hand: but then you'll think,
90
Which I protest against I am assisted
By wicked powers.
Leon. What you can make her do,
I am content to look on: what to speak,
I am content to hear; for 'tis as easy
To make her speak as move.
Paul. It is required
95
You do awake your faith. Then all stand still;
On: those that think it is unlawful business
I am about, let them depart.
Leon. Proceed:
No foot shall stir.
Paul. Music, awake her; strike!
'Tis time; descend; be stone no more; approach;
100
Strike all that look upon with marvel. Come,
I'll fill your grave up: stir, nay, come away,
Bequeath to death your numbness, for from him
Dear life redeems you. You perceive she stirs:
[Hermione comes down.
Start not; her actions shall be holy as
105
You hear my spell is lawful: do not shun her
Until you see her die again; for then
You kill her double. Nay, present your hand:
When she was young you woo'd her; now in age
Is she become the suitor?
Leon. O, she's warm!
110
If this be magic, let it be an art
Lawful as eating.
Pol. She embraces him.
Cam. She hangs about his neck:
If she pertain to life let her speak too.
Pol. Ay, and make't manifest where she has lived,
Or how stolen from the dead.
115
Paul. That she is living,
Were it but told you, should be hooted at
Like an old tale: but it appears she lives,
Though yet she speak not. Mark a little while.
Please you to interpose, fair madam: kneel
120
And pray your mother's blessing. Turn, good lady;
Our Perdita is found.
Her. You gods, look down
And from your sacred vials pour your graces
Upon my daughter's head! Tell me, mine own,
Where hast thou been preserved? where lived? how found
125
Thy father's court? for thou shalt hear that I,
Knowing by Paulina that the oracle
Gave hope thou wast in being, have preserved
Myself to see the issue.
Paul. There's time enough for that;
Lest they desire upon this push to trouble
130
Your joys with like relation. Go together,
You precious winners all; your exultation
Partake to every one. I, an old turtle,
Will wing me to some wither'd bough and there
My mate, that's never to be found again,
Lament till I am lost.
135
Leon. O, peace, Paulina!
Thou shouldst a husband take by my consent,
As I by thine a wife: this is a match,
And made between's by vows. Thou hast found mine;
But how, is to be question'd; for I saw her,
140
As I thought, dead; and have in vain said many
A prayer upon her grave. I'll not seek far,—
For him, I partly know his mind,—to find thee
An honourable husband. Come, Camillo,
And take her by the hand, whose worth and honesty
145
Is richly noted and here justified
By us, a pair of kings. Let's from this place.
What! look upon my brother: both your pardons,
That e'er I put between your holy looks
My ill suspicion. This your son-in-law,
150
And son unto the king, whom heavens directing,
Is troth-plight to your daughter. Good Paulina,
Lead us from hence, where we may leisurely
Each one demand, and answer to his part
Perform'd in this wide gap of time, since first
155
We were dissever'd: hastily lead away. [Exeunt.


LINENOTES:

Scene iii.] Scene vii. Pope.

A chapel ...] A Chapel in Paulina's House: at upper End a Nich; a Curtain before it. Capell.

Lords and Attendants.] Rowe. Hermione (like a Statue:) Lords, &c. Ff.

[16] you] you've Anon. conj.

[18] Lonely] Hanmer. Louely F1. Lovely F2 F3 F4. See note (xxiii).

[20] [Paulina ...] Rowe.

[28] much] om. Seymour conj.

[41] thy] my Theobald.

[44] then] thus Collier (Collier MS.).

[47] colour's] colours S. Walker conj.

[48] [Staying Perdita. Capell.

[52, 53] sorrow But] sorrow but It S. Walker conj.

[58] is mine,] i' th' mine Tyrwhitt conj.

[61] moves] move Pope.

[62] already—] Rowe. alreadie. F1. already. F2 F3 F4. already I am but dead stone, looking upon stone Collier (Collier MS.). already I'm in heaven, amd looking on an angel. Anon. apud Singer conj.

[67] fixure] fixture F4. fissure Warburton conj.

[68] As] And Capell. So Mason conj.

are] were Rowe (ed. 2).

[73] Let't] Let Johnson.

[74] I am] I'm Pope.

[75] farther] F1 F2. further F3 F4.

[80] my] me F2.

[96] On: those] Ff. And those Pope. Or those Hanmer.

[98] [Music.] Rowe.

[100] upon] on you Hanmer. upon you Keightley conj. upon't Anon. conj.

[103] [Hermione ...] Rowe.

[109] suitor?] Ff. suitor. Rowe (ed. 2).

[Embracing her. Rowe.

[112, 113] She hangs... too] Arranged by S. Walker as two lines, ending pertain ... too.

[114] make't] Capell. make it Ff. make Hanmer.

[121] [Presenting Perdita, who kneels to Her. Rowe.

[122] vials] Pope. viols Ff.

[129] Lest] F3 F4. Least F1 F2.

[144] by the] om. Collier (Collier MS.).

[147] [To Her. Hanmer.

[149] This] This' S. Walker conj.

[150] whom heavens directing,] from heav'n's directing, Hanmer. who, heavens directing, Capell. (whom heavens directing,) Malone.

[155] We were] F1 F2. Were F3 F4.


NOTES.

Note I.

I. 2. 42. Warburton, who reads 'good heed' with the later Folios, says that Mr Theobald, not understanding the phrase, altered it to 'good deed.' In reality Theobald recalled the reading of the first Folio, which Warburton had not taken the trouble to collate.

Note II.

I. 2. 154. 'Methoughts' is of course a form grammatically inaccurate, suggested by the more familiar 'methinks.' It occurs, however, sufficiently often in the old editions to warrant us in supposing that it came from the author's pen. We therefore retain it.

Note III.

I. 2. 272. Mr Collier tells us that some copies of the second Folio read 'think it.' Ours has 'think.'

Note IV.

I. 2. 459. Johnson says: 'Dr Warburton's conjecture is, I think, just; but what shall be done with the following words of which I can make nothing? Perhaps the line, which connected them to the rest, is lost.' In fact we should have expected Polixenes to say that his flight without Hermione would be the best means not only of securing his own safety but of dispelling the suspicions Leontes entertained of his queen.

Note V.

II. 1. 136. The Folios spell 'than' and 'then' indifferently 'then.' In this passage Malone was inclined to restore 'then.'

Note VI.

II. 1. 143. If 'land-damn' be the right reading it has not yet received a satisfactory explanation. The word 'lamback' which in his first edition Mr Collier offered as a conjecture, he afterwards found in the corrected copy of the second Folio. But with the sense which he assigns to it 'to beat,' it seems an anticlimax after the threat contained in the line preceding. We omitted to record in our note that Dr Nicholson proposes to read 'Lent-damn.'

Note VII.

II. 3. 177. 'It,' as a possessive pronoun, is found again in this play (III. 2. 99). In the latter place Rowe was the first to make the correction 'its.' In The Tempest (II. 1. 157), as here, the change is made by the third Folio. See our note on that passage. It is remarkable that the only comedies in which this ancient usage occurs, viz. The Tempest and The Winter's Tale, are among the latest of our author's works. Perhaps the printer is responsible for the singularity.

Mr Staunton has mentioned the following instances in the Histories and Tragedies: King John, ii. 1, Timon of Athens, v. 2, King Lear, i. 4, Hamlet, i. 2 and v. 1. 'It' occurs besides in Henry V., v. 2, Cymbeline, iii. 4, Romeo and Juliet, i. 3, and Antony and Cleopatra, ii. 7.

In Hamlet, i. 2, the first Quarto has his, the first Folio, published twenty years later, has it. In the same play, v. 1, one of the Quartos has it's. Professor Craik quotes also from the Quarto, ith or it in King Lear, iv. 2. But the two Quartos of 1608 in Capell's collection both read it. 'Its' is found in The Tempest, i. 2. 95, 393, Measure for Measure, i. 2. 4, Winter's Tale, i. 2. 151, 152, 157, 266, iii. 3. 46, 2 Henry VI. iii. 2, Henry VIII. i. 1. On the whole we think it most probable that Shakespeare would not deliberately have written it for its, or his, except when imitating the language of rustics or children. It is only fair, however, to mention that Mr Staunton and Professor Craik are of a different opinion. After all it is not of very great consequence which form we preserve in the text, as we carefully record all the minutest variations at the foot of the page.

Note VIII.

III. 2. 10. The first Folio prints 'silence' in italics, like a stage-direction. The subsequent Folios have 'Silence. Enter,' also in italics. Rowe printed it, as we have done, as part of the officer's speech. Capell assigned it to a crier, and Mr Dyce, in support of this, quotes the commencement of Queen Catharine's trial, in Henry the Eighth, ii. 4. But there is no reason why in this play the officer who has already spoken should not also command silence.

Note IX.

III. 2. 41. "It is surprising," says Mr Staunton, "that this passage should have passed without question, for grief must surely be an error. Hermione means that life to her is of as little estimation as the most trivial thing which she would part with; and she expresses the same sentiment shortly after in similar terms,—'no life,—I prize it not a straw.' Could she speak of grief as a trifle, of no moment or importance?"

Is not the meaning this, that Hermione now holds life and grief to be inseparable and would willingly be rid of both? Johnson's note is to this effect.

Note X.

III. 3. 59. If written in Arabic numerals 16 would be more likely to be mistaken for 10 than 13, which Capell suggested. Besides 'sixteen' seems to suit the context better than 'thirteen.' Another mistake of one number for another occurs IV. 2. 3, but this may have been an error on the author's part.

Note XI.

III. 3. 122. Capell's copy of the first Folio has distinctly 'fight.' A copy in the possession of the Rev. N. M. Ferrers, Fellow of Gonville and Caius College, has as distinctly 'sight.'

Note XII.

IV. 1. 1. Johnson followed Theobald and Warburton in printing Time's speech at the end of the third act, but said in his note: 'I believe this speech of Time rather begins the fourth act than concludes the third.' He had not referred, apparently, to the Folios or to Rowe and Pope. Theobald did not mean to include the speech in either act, but drew a line above it to mark that it was an interlude between the third and fourth. Warburton, and Johnson after him, omitted the line.

Note XIII.

IV. 3. 48. A writer in The Gentleman's Magazine, 1st series, Vol. LX. p. 306, suggests that by 'me—' in this place is meant 'mercy,' and that the clown's exclamation is interrupted by Autolycus.

Note XIV.

IV. 4. 82. We have retained here the spelling 'gillyvors' in preference to the more familiar form 'gillyflowers,' because the latter is due to an etymological error. The original word is 'caryophyllus,' which becomes 'girofle' in French, and thence by metathesis 'gilofre,' 'gillyvor.'

Note XV.

IV. 4. 263. We have retained wives in this passage because Steevens' reading wives' is too strictly grammatical to accord with the reckless volubility of the charlatan. To be consistent, Steevens ought to have printed witnesses' for witnesses in line 275.

Note XVI.

IV. 4. 288. The first three Folios read thus;