this the veriest knave in all Spain? Sac. Yes. Del. What, is he a friar? Sac. Yes, a friar indefinite and a knave infinite." He appears only here.

Jack Straw (p. 382): "But merrily with the world it went, When men ate berries of the hawthorn-tree. An thou help me, I'll help thee.” Old Wives' Tale (p. 447): "Hips and haws, and sticks and straws! why, is that all your food, father?"

Jack Straw (p. 384): "it seemeth strange. . . . That being won with reason and regard Of true succeeding prince, the common sort Should be so slack to give." And p. 399: “King. It is enough; believe me, if you will; For as I am your true succeeding prince, I swear." The Battle of Alcazar (p. 434): “calls for wars, Wars, wars, to plant the true succeeding prince." And p. 440: “From him to thee as true-succeeding prince. With all allegiance." "True-succeeding seed" occurs on p. 422 in the same play. I know no other examples. True suceeders occur in Richard III. v. v. 30.

Jack Straw (pp. 385 and 409): “Well I wot." In Peele's Tale of Troy (p. 556, a); and Honour of the Garter (p. 587, a, twice). Not especially Peele's, but characteristic of Spenser, Greene and Peele.

Jack Straw (p. 387): "I have his wife and children pledges. . . T. M. Let him take heed . . . or else his pledges goes to the pot.' Edward I. (389, b): "we will admit no pause, For goes this wretch, this traitor, to the pot."

Jack Straw (p. 387): “Gog's blood, Jack have we . (p. 502): “Nay, Gog's blood, I'll bee gone."

? Sir Clyomon

Jack Straw (p. 387): "have we the cards in our hands?" And p. 411: "I would lay a surer trump Ere I would lose so fair a trick." Peele is fond of illustrations from cards. Edward I. (p. 387): “Aye there's a card that puts us to our trump." And at p. 393: "since the King hath put us amongst the discarding cards, and, as it were, turned us with deuces and treys out of the deck." And Old Wives' Tale (p. 446): "What, shall we have a game at trump or ruff to drive away the time?"

Jack Straw (p. 390): "I cannot think so good a gentleman As is that knight, Sir John Morton I mean, Would entertain so base and vile a thought." Speeches at Theobald's (p. 577, b): “with sacred rites Prepared myself to entertain good thoughts." For "I mean" here, see note 1 Henry VI. v. v. 20. And Sir Clyomon (p. 522, a).

Jack Straw (p. 390): "Were it not for fear or policy, So true a bird would file so fair a nest." Anglorum Feriæ (p. 596, b): “He durst not openly disgorge at home, In his own nest filed with so foul a bird."

Jack Straw (p. 384): "Tyburn, standfast; I fear you will be loden." Sir Clyomon (p. 509, b): "there was never poor ass so loaden!"

Jack Straw (p. 392): “And so amidst the stream may hover safe." (at Greenwich). Tale of Troy (p. 554, b): "The flower of Greece. . . For want of wind had hover'd long in Aulis."

Jack Straw (p. 395): “It was a world to see what troops of men." Sir Clyomon (p. 515): "But 'tis a world to zee what merry lives we shepherds lead."

Jack Straw (p. 395): "'Gan strew the gravel ground and sandy plain." Anglorum Feriæ (p. 595, a): "Over the wild and sandy Afric plains." See note at 2 Henry VI. 1. iv. 39. And Battle of Alcazar (p. 440, a): "The fields and sandy plains we have survey'd."

Jack Straw (p. 395): "did an echo rise, That pierced the ears of our renowned king." Battle of Alcazar (p. 436, a): "the reasons of the king, Which so effectually have pierc'd mine ears." And Descensus Astrææ (p. 541, a): “Whose pure renown hath pierced the world's large ears." In Spenser's Daphnaida.

Jack Straw (p. 398): "have secret wreak in store." David and Bethsabe (p. 472, a): "in the holy temple have I sworn Wreak of his villany" (the noun is much less common than the verb).

Jack Straw (p. 400): "It skills not much: I am an Englishman." Sir Clyomon (p. 493, b): "Whither I go, it skills not, for Knowledge is my name."

Jack Straw (p. 401): "I have read this in Cato, Ad concilium antiquum voceris: Take good counsel, while it is given." Edward I. (p. 401): "I remember I read it in Cato's Pueriles, that Cantabit vacuus coram latrone viator; a man purse-penniless may sing before a thief.”

Jack Straw (p. 402): "Riddle me a riddle, what's this, I shall be hanged, I shall not be hanged. Here he tries it with a staff." Old Wives' Tale (p. 449, a): "if it be no more but . . . 'riddle me, riddle me what's this'? I shall have the wench."

Jack Straw (p. 403): “But there's no such matter; we be no such fools." Arraignment of Paris (p. 352): "There's no such matter, Pan; we are all friends."

Jack Straw (p. 404): "Parson Ball, I will tell thee, And swear it of mine honesty. Thou shalt be hanged as well as we." The run of these lines is exactly Peele's. See Edward I. p. 392-95 in several places, e.g. Jack Straw (p. 407): "Lord Mayor, and well-belov'd friends." Battle of Alcazar, p. 423, a: "for no distrust Of loyalty, my well-beloved friends, But that," etc.

Jack Straw (p. 408): "mercy in a prince resembleth right The gladsome sunshine in a winter's day." David and Bethsabe (p. 468): "The time of year is pleasant for your grace, And gladsome summer in her shady robes." "Gladsome beams occurs in p. 485, b (same play).

Jack Straw (p. 409) "Pleaseth your grace, they have been rid apace. And yet survives this Ball." The Tale of Troy (p. 556, a): “Sir Paris than With poisoned arrow rid the heedless man." And Edward I. (p. 408, a): “I rid her not; I made her not away.” But frequent at this time.

A few more general points might be mentioned, as the touch of heraldry about the city arms and knighting of William Walworth (p. 413); the verbal iteration, as in p. 385, “Your words ... tend unto the profit of the king, Whose profit is the profit of the land"; and the culling of bits of prophecy from

Grafton (or other chroniclers), as at p. 381, "when Adam delved" (see Edward I. passim): these are all in Peele's manner. I am satisfied this piece is an early product of Peele's, and it seemed a useful link in the chain of evidence connecting Peele with 2 Henry VI. (or The Contention). Presently, when we come to look for Peele in these two plays, we shall see that certain passages or incidents occurring in Jack Straw, occur identically in them, in the rebellion of Jack Cade, where they are historically untrue. But the rebellions have so much similarity that if Peele had anything to do with the Cade scenes he would be certain to weave in, consciously or unconsciously, memories of his previous work. Or put the case the other way, Peele would be put on to that job (in company with Shakespeare) on account of his extant work and his knowledge of the chronicles. I say "in company with Shakespeare" because the latter did the larger part of the Cade scenes, but another hand (Peele's) is unmistakably present, so much so that we have two Cades in detail. I am not claiming for Peele a work of any importance in Jack Straw. It is only a slight four-act piece, written to flatter and amuse the people, very likely, as Fleay says, at a time of popular commotion—and hardly worthy of the name of a drama. There are some passions in it, but no characters distinctly drawn.

It is as well to give here another "sign manual" of Peele, though not in these plays. It is "numberless"; which may be added to "true-succeeding" and "sandy plains" as his especial badges. He uses it in Alcazar (p. 434, b): "Besides a number almost numberless Of drudges"; Order of the Garter (585, b): "A number numberless appointed well For tournament"; Anglorum Feriæ (596, b): “Small number of a number numberless.' And he introduces himself into Selimus (Grosart, xiv. 197): "Gathering to him a number numberless Of bigbond Tartars."

Peele's fashion of rhetorical repetition in his poetry, not silly iteration, but purposeful (Epanadiplosis, Epanalepsis, Anaphora, etc.), is more apparent in his later work than in The Arraignment and other his earlier work. This was due perhaps to the Faerie Queene's example, where such methods are largely and suitably used, though not appropriate in dramatic poetry. They were not due to Spenser, but greatly beautified and de

veloped by him. In Peele they are nowhere so abundant (and misplaced) as in Alcazar, and David and Bethsabe.

It is perhaps the same case with that I have called sing-song or trochaic endings. In Faerie Queene, II. i. 57, lingered mortality, tyranny, regality, infirmity; and see again in II. xii. 16 and elsewhere. But there the melody is suitable, and moreover the sing-songishness is checked by intervening lines. But when Marlowe uses it in 1 Tamburlaine, I. i. (Dyce, p. 8, b), and II. i. and elsewhere, it is a blemish. In Peele's Arraignment of Paris, it is less out of place. Later in Peele's work he became a slave to it. In such plays as Locrine (Greene) it becomes most irksome. Some patches of it occur in Jack Straw. And here and there in all three parts of Henry VI. Whether it is the least displeasing or the most tiresome form line depends upon taste, or upon its excess. in 1 Henry VI., and yet there is good poetry. But there is more beautiful poetry in Edward III. (anon.), almost wholly of end-pausing lines, with little or none of the sing-song--a later play than any of those just mentioned. See I Henry VI. II. i. 43, III. ii. 137 for notes and examples from Greene, who murdered the device with surfeiting the trespass of the lyric muse. The steady decrease of end-pausing from Henry VI. (Part I.) to Richard III. is always to be observed to Shakespeare's credit.

of end-stopped All forms occur

VI. EVIDENCES OF PEELE IN PHRASES, PASSAGES, AND COMPOSITION IN 2 HENRY VI.: WITH A RUNNING COMMENT ON THE TEXTS COMPARED.

Only prominent ones are selected; others will be found in my notes, which should be referred to also for further information on those here given since the context is usually important, and dwelt upon there. And those from Peele are in earlier work.

1. i. 65, 66. till term of eighteen months Be full expired. Peele, Sir Clyomon (Dyce's one-vol. ed. p. 506): "Now are the ten days full expired wherein." Not in Q. Perhaps merely legal or technical.

1. i. 79. Summer's parching heat. Peele, An Eclogue Gratulatory (p. 562, b): "where he with swink and sweat Felt foeman's rage and summer's parching heat." This speech should also be compared with David and Bethsabe (p. 468, b) about "Joab and his brother in the fields

suffering the wrath of winter." See note in passage here on the development from the last scene but one in 1 Henry VI. Parching heat occurs in Lucrece, but was not an old expression. "Summer's parching heat” has been borrowed from Peele into Arden of Feversham (1592) also (Act 11.) attributed by Fleay to Kyd. Open fields in the preceding line is in Peele's Old Wives' Tale (p. 452, b). Peele has names in books of memory twice in later work (1593), Dyce, pp. 601, 602.

1. i. 123. In Contention, has my thrice valiant son. See Introduction to Part I. on this construction, a favourite with Peele and Shakespeare. At 1. i. 157-159 three lines about Humphrey occur (in Q) that are nearly repeated below at III. i. 20 in Q, and there carefully omitted.

Shakespeare opened the Act, as he usually (or often) does and wrote the first scene with Peele's help here and there. Peele has less to do with this scene (which is Shakespeare's) in Contention than in Part II., where both developed it together.

1. ii. 25. office-badge. Peele, Honour of the Garter (p. 587, a): "his office-badge Was a black rod whereof he took his name."

1. ii. 64. remove stumbling blocks. Peele, Edward I.: "'tis a deed of charity to remove this stumbling block." Not in Q.

1. ii. 82-86. In the Duchess's speech here in Q occurs "backside of my Orchard." (Shakespeare has "backside of the town" in Cymbeline.) Peele, Old Wives' Tale (p. 455, a): "He looks as though he crept out of the backside of the well, and speaks like a drum perished at the west end." But earlier in New Eng. Dict.

I. ii. 82-86. In the same speech occurs "And cast their spells in silence of the night." See 1. iv. 16, note at "silent of the night" perhaps a mere misprint. "Silence of the night" as in Q again below. Peele, Battle of Alcazar, II. i.: "Nor may the silence of the speechless night (Dire) architect of murders and misdeeds." ("Quiet silence of the night" occurs in Selimus, later, a play in which Peele had a final hand.) Joan has used spells in Part I. v. iii. 2.

1. ii. 99. And buz these conjurations in her brain. Peele, Tale of Troy (p. 551, a), 1589: "Till one, I say, revengeful power or other Buzz'd in the brain of her unhappy mother A dreadful dream." Greene often uses "buz in the ears" of a slander, etc.

The opening of Scene ii. is again Shakespeare's, who with Peele did the expansion in the finished play. Note the many Shakespearianisms introduced in the opening speech. The stage business of Hume, Jourdain and Bolingboke would be allotted to Peele, who wrote this part alone in Q.

1. iii. 133-135. See note at III. i. 61, 62 on the repetition of these charges against Gloucester. And again at 1. iii. 107-118 in Gloucester's reply, where the racking of the Commons is repeated from 1. iii. 125, 126, the Cardinal's accusation. See notes at 1. iii. 210, 211 and III. i. 292. The confusion and repetition is due to a divided, or a distributed authorship.

1. iii. 137. In Q the stage direction is "The Queene . . . hits the Duches of Gloster a boxe on the eare." This incident is paralleled by