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- PERICLES 13
be assigned to Shakespeare's pen. A scattered line or two here and there at other points of the play have a Shakespearean ring, but nowhere else is there any sustained evidence of Shakespeare's handiwork. Most of the other scenes are penned in a ‘clipt jargon’ which lacks his literary feeling.
All the Shakespearean scenes deal with the story of Pericles’ daughter, Marina. They open with the tempest at sea during which she is born, and they close with her final restoration to her parents and her betrothal. The language is throughout in Shakespeare’s latest manner. The ellipses are often puzzling. The condensed thought is intensely vivid, and glows with strength and insight. The blank verse adapts itself, in defiance of strict metrical law, to every phase of sentiment. The themes of Shakespeare’s contributions to the play anticipate many of those which occupied him in his latest work. The tone of Marina’s appeals to Lysimachus and Boult in the brothel resembles that of Isabella’s speeches in *Measure for Measure*. Thaisa, whom her husband Pericles imagines to be dead, shares some of the experiences of Hermione in *The Winter’s Tale*. The picture of the shipwreck which accompanies Marina’s birth adumbrates the opening scene of *The Tempest*; and there are ingenuous touches in the portrayal of Marina herself which suggest the girlhood of Perdita.
The most reasonable explanation of the manner of Shakespeare’s association with the piece is suggested by Coleridge. According to Coleridge, Pericles illustrated ‘the way in which Shakespeare handled a piece he had to refit for representation. At first he proceeded with indifference, only now and then troubling himself to put in a thought or an image, but as he advanced he interested himself in his employment, and [large portions of the last three acts] are almost
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