The intelligent reader will have realised that all this dating of Shakespeare's pessimistic works can only be approximate. I am inclined to advance them a year, because I fancy I can trace a connection between Coriolanus and Shakespeare's own thoughts of his mother, who died in 1608. But a son does not only think of his mother at the moment she is taken from him, and the fear of losing her in the illness which probably preceded her death may have recalled his mother's image to Shakespeare's mind with special force long before he actually lost her. Here, as in all cases where it is not expressly mentioned, the reader is requested to see an underlying Perhaps or Possibly, and to add one where he feels the need of it. Only the main lines of the sequence are at all certain. Where external criterions are missing, the internal alone cannot determine the question of a year or a month. As far as Pericles is concerned, we do possess some guide, for it is most unlikely that Shakespeare's share in the play would be added after it was performed in 1608, especially in the face of the assurance on the title-page.
The work as it has come down to us is not in reality a drama at all, but an incompletely dramatised epic poem. We are taken back to the childhood of dramatic art. The prologue to each act and the various explanatory passages interpolated throughout the play are supposed to be spoken by the old English poet John Gower, who had treated the subject in narrative verse about the year 1390. He introduces the play to the audience and explains it, as it were, with his pointer. Anything that cannot well be acted he narrates, or has represented in dumb-show. He speaks in the old octosyllabic rhymed iambics, which, as a rule, however, do not rhyme:
"To sing a song that old was sung
From ashes ancient Gower has come,
Assuming man's infirmities,
To glad your ears and please your eyes"
And in the last lines of the prologue to the fourth act:
"Dionyza doth appear,
With Leonine a murderer."
He jestingly alludes to the fact that the play includes nearly the whole of Pericles' life, from youth to old age. Marina is born at the beginning of the third act, and is about to be married at the close of the fifth. Nothing could well be farther from that unity of time and place which was attempted in France at a later period. The first act is laid at Antioch, Tyre, and Tarsus; the second in Pentapolis, on the sea-shore, in a corridor of Simonides' palace, and lastly in a hall of state. The third act opens on board ship and continues in the house of Cerimon at Ephesus. The fourth act begins with an open place near the sea-shore and ends in a brothel at Mitylerie; the fifth, on Pericles' ship off Mitylene, ending in the Temple of Diana at Ephesus. There is as little unity of action as of time and place about the play; its disconnected details are merely held together by the individuality of the principal characters, and there is neither rhyme nor reason in its various incidents; pure chance seems to rule all. The reader will seek in vain for any intention—I do not mean moral, but any fundamental idea in the play. Gower certainly institutes a contrast between an immoral princess at the beginning of the play and a virtuous one at the close, but this moral contrast has no connection with the intermediate acts.
Pericles was an old and very popular subject. Its earliest form was probably that of a Greek romance of the fifth century, of which a Latin translation is still extant. It was translated into various languages during the Middle Ages, and one version has found its way into the Gesta Romanorum. In the twelfth century it was incorporated by Godfrey of Viterbo in his great Chronicle. John Gower, who adapts it in the eighth book of his Confessio Amantis, gives Godfrey as his authority. The Latin tale was translated into English by Lawrence Twine in 1576, under the title of The Patterne of Paynfull Aduentures, a second edition of which was published in 1607. In all but the English adaptations the hero's name is given as Apollonius of Tyre. There can be no doubt that Shakespeare's play was based upon the 1607 editon, and this in itself is sufficient to refute the antiquated notion that his part in it belonged to his youthful period. It was on the substance of this play, and doubtless also upon Shakespeare's share in it, that George Wilkins founded the romance he published in 1608 under the title of The Painfull Aduentures of Pericles Prince of Tyre, Being the true history of the Play of Pericles as it was lately presented by the worthy and ancient John Gower. The fact that Wilkins, in the dedication of his book, which is a mere abstract of Twine and the play, calls it "a poor infant of my braine," and the still more remarkable similarity of the style and metrical structure of the first act of Pericles with Wilkins' own play, The Miseries of enforced Marriage, would seem to point to him as the author of the extraneous portions of Pericles. In both dramas a quantity of disconnected material has been brought together in a long-drawn-out play, destitute of dramatic situations or interest, and in both we find the same jarring and awkward inversions of words. The incidents of the Enforced Marriage recall some of the non-Shakespearian elements of Timon; here, also, we are shown a spendthrift, evidently in possession of the sympathies of his author, by whom he is considered a victim. The mingling of prose, blank verse, and clumsily-introduced couplets with the same rhymes constantly recurring, reminds us of those acts and scenes in which Shakespeare had no part. Fleay observes that 195 rhymed lines occur in the two first acts of Pericles, and only fourteen in the last three, so marked is the contrast of style between the two parts, and he notices that this frequency of rhyme corresponds closely to the method of George Wilkins' own work. Both he and Boyle agree with Delius, who was the first to express the opinion, that Wilkins is the author of the first two acts. By dint of comparisons of style, Fleay came to the conclusion that Gower's two speeches in five-footed iambics, before and after Scenes 5 and 6 (which differ so markedly in form and language from his other monologues), were written by William Rowley, who had been associated in the previous year with Wilkins and Day in the production of a wretched melodrama, The Travels of Three English Brothers. His attempt, however, to ascribe to Rowley the two prose scenes which take place in the brothel is made more on moral than æsthetic grounds, and can have very little weight. My own opinion is that they were entirely written by Shakespeare. They are plainly presupposed in certain passages which are unmistakably Shakesparean; they accord with that general view of life from which he is but now beginning to escape, and they markedly recall the corresponding scenes in Measure for Measure.
It is impossible to ascertain the precise circumstances under which the play was produced. Some critics have maintained that it originally began with what is now the third act, and that Shakespeare, having lain it aside, gave Wilkins and Rowley permission to complete it for the stage. But in reality the two men wrote the play in collaboration and disposed of it to Shakespeare's company, which in turn submitted it to the poet, who worked upon such parts as appealed to his imagination. As the play now belonged to the theatre, and Wilkins was not at liberty to publish it, he forestalled the booksellers by bringing it out as a story, taking all the credit of invention and execution upon himself.
Never was a drama contrived out of more unlikely material. The name of the knightly Prince of Tyre is changed, probably because it did not suit the metre, from Apollonius to Pericles, which was corrupted from the Pyrocles of Sidney's Arcadia. He comes to Antioch to risk his life on the solution of a riddle. According to his success or failure he is to be rewarded by the Princess's hand or death. The riddle betrays to him the abominable fact that the Princess is living in incest with her own father. He withdraws from the contest, and flies from the country to escape the wrath of the wicked prince, who is even more certain to slay him for success than for failure. He returns to Tyre, but feeling insecure even there, he falls into a state of melancholy, and quits his kingdom to escape the pursuit of Antiochus.
Arriving at Tarsus at a time when its inhabitants are suffering from famine, he succours them with corn from his ships. Soon afterwards he is wrecked off Pentapolis and cast ashore. His armour is dragged out of the sea in fishermen's nets, and Pericles takes part in a knightly tournament. The king's daughter, Thaisa, falls in love with him at first sight, as did Nausicaa with Odysseus. She ignores all the young knights around her for the sake of this noble stranger, who has suffered shipwreck and so many other misfortunes. She will marry him or none; he shines in comparison with the others as a precious stone beside glass. Pericles weds Thaisa, and bears her away with him on his ship. They are overtaken by a storm, during which Thaisa dies in giving birth to a daughter. The superstition of the sailors requires that her corpse shall be immediately thrown into the sea. The coffin drifts ashore at Ephesus, where Thaisa reawakes to life unharmed. The newborn child is left by Pericles to be nursed at Tarsus. As Marina grows up, her foster-mother determines to kill her because she outshines her daughter. Pirates land and prevent the murder; carrying off Marina, they sell her to the mistress of a brothel in Mitylene. She preserves her purity amidst these horrible surroundings, and, finding a protector, gains her release. She is taken on board Pericles' ship that she may charm away his melancholy. A recognition ensues, and, in obedience to a sign from Diana, they sail to Ephesus; the husband is reunited to his wife and the newly-found daughter to her mother.