FOOTNOTES:

FOOTNOTES:[767]Manly, the only editor of preceding texts, who attempts to place the scenes, prints here: "The audience-chamber of the palace. Clitus and Parmenio near the door. Timoclea and Campaspe are brought in later as prisoners. Alexander on the throne, attended by Hephestion." Do not lines 77-78 suggest that the scene takes place just outside the city walls, as Alexander returns from conquest; and that the characters enter one after another?[768]Plutarch (Alexander) says Clitus was of "a churlish nature, prowde and arrogant." See IV. 315, 357-59. Plutarch mentions Parmenio (Alexander), IV. 354-56.[769]Lyly softens Plutarch. See IV. 309-10.[770]"Likewise that shee loseth her light (as the rest of the planets) by the brightnes of the Sun, when she approcheth neere. For borrowing wholly of him her light she doth shine." Holland, II. 9.[771]Old Frenchsingulier, excellent. F.[772]'Staine' for excel. The sense is, "It is for turquoises to excel one another, not for diamonds, for among the latter there can be no comparison, since all are perfect."[773]Lyly refers both to the Persian sun-worshippers and the saying of Pompey, "More worship the rising than the setting sun."[774]All preceding texts read 'that which.'[775]Odyssey, 11.[776]Fear.[777]Esteems.[778]In all things he is that than.[779]Mentioned inNorth's Plutarch, Nutt, IV. 345, 353, 380.[780]If it like. See p.327.[781]SicA. and B.; Bl. 'Chyeronte.'[782]For the dramatic story of Timoclea and the original of this speech seeNorth's Plutarch, Nutt, IV. 310-11.[783]Worst possible.[784]Bl. prints this as the name of the speaker.[785]The market-place. M.[786]Diogenes brought to Athens an attendant of this name, and dismissed him for the reasons given p.296.[787]Lyly refers blindly to the following: "Seeing a mouse running over a Room and considering with himself that it neither sought for a Bed, nor was affraid to be alone in the dark, nor desired any of our esteemed Dainties, he contrived a way to relieve his own Exigencies; being the first, as some think, that folded in the Mantle, because his necessity obliged him to sleep in it."Lives of Philosophers, VI., 402.[788]The constant application of the epithet "Dog," to Diogenes is historically correct. When Alexander first went to see the philosopher, he introduced himself thus: "I am Alexander, surnamed the Great." To this Diogenes replied: "And I am Diogenes, surnamed the Dog." The Athenians raised a pillar of Parian marble, surmounted with a dog, to his memory.[789]Currish fellow.[790]Perfect.[791]Conceits.[792]Yesterday.[793]Pun: surpassing, running by.[794]Bl. printsWhy then, this; F.thus.[795]This Socratic method foreshadows Shakespeare's clowns and pages.[796]'Redes,' teaches.[797]Pun: painting, substituting false for real.[798]Bl. omitsa.[799]Picture.[800]Countenances.[801]Preceding texts read:And with the riotous;withprinter's repetition.[802]Terence,Eunuchus, 816.[803]"All the old editions omitby; it appears in Dodsley, and a sixteenth-century hand inserted it in ink in a copy of the third edition, now in the Garrick collection." M.[804]Hash.[805]Diogenes.[806]Referring to the bad effect on the voice of eating just before singing.[807]Bl. first gave the songs. In Bl. 'Granicus' is below 'Song.'[808]Besides.[809]Rabbit.[810]Alexander's Palace. M. The first part might be there, but the portion with Diogenes belongs in some public place through which the philosophers pass, returning from the palace.[811]Bl. adds here the names of all who enter during the scene.[812]From Plutarch's account of Aristotle (Alexander, IV., 304-306, 363), Lyly borrows only the idea that Alexander, suspecting Aristotle of treasonable designs, withdrew some of his friendliness.[813]For his relations with Alexander and Clitus, see North'sPlutarch, IV., 359-360.[814]See Prologue,Endimion.[815]A theoretical cause.[816]The preceding seven lines roughly sum up the contrasting opinions of Plato and Aristotle on physical matters.[817]'The earth which as a masse swimmeth,' or 'The earth, which is a masse, swimming'?[818]Nature that is a creative energy.[819]C.knewe.[820]Bl. omitsof.[821]Instruction.[822]Alexander "plainly shewed the ill will he bare unto Aristotle, for that Callisthenes had bene brought up with him, being his kinsman, and the son of Hero, Aristotle's neece." For the charges against the philosopher Callisthenes, see North'sPlutarch, Nutt, IV., 359-363.[823]Bl.rulers, the quartos 'rules.'[824]The following six questions and answers Lyly selects from nine in an interview of Alexander with ten wise men of India. North'sPlutarch, Nutt, IV., 372-373.[825]Alexander really spoke thus to Parmenio, but under very different circumstances.North's Plutarch, Nutt, IV., 332-333.[826]Bl.thrall.[827]Neither the quartos nor Bl. mark this entrance. In the Garrick copy of C. a contemporary of Lyly, W. Neile, noted it in ink. If Diogenes enters here, he goes to the farther side of the stage. The philosophers at once cross to him. Possibly he comes on at any time during the preceding dialogue, and going quietly to his part of the stage, waits till the philosophers see him and cross.[828]SeeLives of Philosophers, 1696, 401.[829]"You pretend to be better than you are, for you do not at heart object to counterfeiting," or, possibly, "Since you do not gain money by counterfeiting, you live falsely, for you have no adequate means of support."[830]Mad.[831]Editors, following Bl., have made the second act begin here, but would Diogenes go out only to come on at once? Bl. printed 'Diogenes, Psyllus,' etc. To the stage direction M. adds 'And Citizens.'[832]This line is Lyly's rather vague reference to the search of Diogenes for an honest man.[833]Almost the words of Diogenes. SeeLives of Philosophers, VI., 423.[834]Yesterday.[835]"Seeing once a little Boy drinking Water out of the Hollow of his Hand, he took his little Dish out of his Scrip, and threw it away, saying: This little boy hath out-done me in frugality."—Lives of Philosophers, VI., 412.[836]Bl. omitsI. The quartos give it.[837]Preceding editionsof.[838]"In old musical treatises harmony is frequently termed a consent of instruments." F.[839]Fiddle.[840]Bl.ala.M. corrects.[841]The Market-place. M.[842]Preceding editions,Scæna Secunda.[843]Bl. added 'Diogenes, Apelles.'[844]SeeEpistle Dedicatorie, Euphues and his England.[845]Ovid,Fasti, II. 305.[846]Horses covered with defensive armor.[847]Did this suggest:—"Grim-visaged war hath smooth'd his wrinkled front;And now,—instead of mounting barbed steedsTo fright the souls of fearful adversaries,—He capers nimbly in a lady's chamber,To the lascivious pleasing of a lute!"—Rich. III. I. 1. Do.[848]"All precious stones in general are improved in brilliancy by being boiled in honey, Corsican honey more particularly."—Hist. of World, XXXVII. 74. Bohn.[849]Mullet.[850]Cornish for brill and turbot.[851]"Deceived and intoxicated with unreasoning affection." F.[852]Refute.[853]During the preceding dialogue Diogenes has probably come in with his tub. Going to a remote part of the stage, he has put it down and crawled into it.[854]For the original of this scene and for some of the speeches, seeNorth's Plutarch, IV. 311-312, Nutt; see alsoLives of Philosophers, VI. 413.[855]Does Diogenes go out here, or crawl into his tub, to emerge when Crysus speaks to him, III. iii?[856]The house of Apelles: first inside, then in front.[857]Flatter.[858]Homely face.[859]If you give up in despair.[860]Flatter.[861]Longing, caused by her beauty, will take the color from his face.[862]Bl. and later editors mark a new scene here. Stage direction in Bl. 'Psyllus, Manes.'[863]As lean as Diogenes himself? Query: 'Dropped him'? The phrase suggests, "As like as if he had been spit out of his mouth" for "exact image." Kittredge.[864]Manes mimics each sound.[865]F. insertstobeforeone.[866]Impudent replies.[867]Oyez.[868]Psyllus, when he comes to "flie," breaks off incredulous. Manes gives the word.[869]Preceding editions,tertia. The Studio of Apelles.[870]"But her eyes!How could he see to do them?"M. of V.III. ii.[871]Does Campaspe playfully close her eyes here?[872]Pun: to paint and to hide. Campaspe is posing nude.[873]Perfect.[874]Lyly is thinking of the work of Arachne, who challenged Minerva to a trial of skill with the needle, and represented the amours of Jupiter named. Ovid.,Meta.VI. 1.[875]Preceding editionsquarta. As M. notes, Apelles and Campaspe busy themselves with the picture at one side of the stage. A new scene is hardly necessary. Bl. 'Clytus, Parmenio, Alexander, Hephestion, Crysus, Diogenes, Apelles, Campaspe.'[876]Remain undecided.[877]The modern "long arm of the Law."[878]Bl. omitsnot; A. gives it.[879]North's Plutarch, Nutt, IV. 303-304, 351, 369-370.[880]Bl.of; F.or of. M. corrects as in text.[881]Diogenes enters before Crysus; or, more probably, has been on the stage in his tub since II. 1. See p.301.[882]In this and the next line, the speakers refer to the popular idea that true Cynics despised money.[883]Fourpence. Often used for a very small sum.[884]In Attica about $1000.[885]As Alexander calls, he is supposed to enter the house of Apelles. See p.306, note875.[886]Arellius? Mentioned, Holland, XXXV. 10. No painter Aurelius is known.[887]Pun: technical knowledge and manual skill, and guileful. Apelles thinks of his need to conceal his passion.[888]For the original of this see Holland, XXXV. 7.[889]Looks, with something of the sense of attractions.[890]At this time it was fashionable to dye the hair yellow in compliment to the natural color of the Queen's hair. F.[891]A description simple because ancient armour lacked the varied markings of Elizabethan coats-of-arms.[892]Loveliness.[893]Ornamental arrangements of flower-beds.[894]Harmony.[895]The charcoal with which Alexander is drawing.[896]The old pictures were painted on wooden panels.[897]For the suggestion for this scene, see Holland, XXXV. 10.[898]Go as I wish.[899]"Modesty tempered in yielding by a contrasting emotion." F.[900]Preceding editionsquinta. Before the house of Apelles. Is a division needed? Apelles might remain when Alexander and Hephestion leave, and just before Psyllus cries "Away, Manes," see his page and move toward him. Bl. 'Psyllus, Manes, Apelles.'[901]Bl.Hast thou hast.F. and M. strike out the firsthast. Is it not more likely that the second is the mistake?[902]"Alexander streightly forbad by express edict, that no man should draw his portrait in colours but Apelles the painter: that none should engrave his personage but Pyrgoteles, the graver: and last of all, that no workman should cast his image in brasse but Lysippus a founder," Holland, VII. 1.[903]Apelles addresses here and in l. 44 a picture of Venus, which he really left unfinished. Holland, XXXV. 11.[904]Canopy[905]Basilisk, Holland, VIII. 21.[906]"Do I say paint what not (what is not) Apelles? What are all these—sighs, wounds, etc., but Apelles himself?"[907]Cullises, strengthening jellies.[908]The market-place. M.[909]Bl. adds 'Manes, Diogenes, Populus.'[910]Ovid,Meta.VIII.[911]Guy him.[912]Diogenes has probably been in his tub since his dialogue with Crysus, p. 308.[913]M. suggests 'Yee.' See next line.[914]Sow the inedible and weed out the edible.[915]Shut up as if precious.[916]"In falconrysealedmeans blinded." Do.[917]Railed at.[918]For conduct of Diogenes similar to this scene seeLives of Philosophers, VI. 405.[919]Diogenes refers to ll. 50-54, p. 315. Throughout Diogenes is very like a Cynic as described in Lucian's "Sale of the Philosophers."[920]Diogenes, thinking of himself as older than most of the crowd and wiser than any, names himself, apparently, in 'thy father.' "Diogenes need fear no curs like you, but you need fear a rating from me."[921]Decrepit persons.[922]A room in the palace. M. Why not the house of Apelles, into which the painter and Campaspe go after the last lines of the scene?[923]Bl. 'Campaspe, Apelles.'[924]Bl., 'aswell.'[925]"Apelles would have no dissembling in real love, but only in the simulated love he despises." F.[926]The palace. M.[927]Pretext.[928]"For the sound of the war trumpet, the voice of the singer." F.[929]A large and usually ornamental drinking cup, made especially for the dresser or sideboard. The chief guest at an entertainment or the presiding dignitary was served from it.[930]An engraving in Alciati'sEmblems, representing bees swarming into the face-guard of a helmet probably provided this simile. F.[931]Gloves were worn in the hat for three purposes,—as the favor of a mistress, the memorial of a friend, and as a mark to challenge an enemy.[932]Destroy.[933]To dance in a slow and stately fashion.[934]Studio of Apelles.[935]Bl., one word.[936]Preceding editions, following Bl., read 'Campaspe alone.' It is much more natural to suppose that while she is crossing the stage, Apelles lingers on one side, watching her. When she goes out, he speaks.[937]Preceding editions,Actus quartus. Scæna quinta; Bl. 'Apelles, Page.'[938]See note61, p.309.[939]The market-place. M.[940]Bl. puts 'Diogenes' before 'Sylvius.'[941]For the originals of this and the first, third, fourth, fifth, and sixth of Diogenes's speeches which follow seeLives of Philosophers, VI. 406, 415, 417, 418, 424, 428, 431.[942]Dost thounot?[943]Readiest.[944]Bl. omitsto. F. and M. insert it. Query, 'sings'?[945]Of course the Song falls into three stanzas, with divisions at ll. 35, 39.—Gen. Ed.[946]These lines illustrate well how the memory of Shakespeare caught and held the best in the lines of others. Here, scattered through several lines, is the first line of the well-known song inCymbeline:—3 4"None but the larke so shrill and cleare.56 7How at heavens gats she claps her wings,8The morne not waking till she sings!12Heark, heark, with what a pretty throatPoore Robin Red-breast tunes his note!"[947]Not onlyenraptured, but with reference to the story of Philomela, Ovid,Meta.VI.[948]Warbler.[949]'Gate' as in Shakespeare? The 's' from 'she'?[950]For the original of this seeLives of Philosophers, VI. 426.[951]Studio of Apelles.[952]Bl. and later editors,Apelles alone.[953]"Be content to live with thy love unexpressed, and to die with it undiscovered."[954]Quartos and Bl.thy. Corrected by Do.[955]The market-place. M.[956]Bl. adds 'Diogenes.'[957]For the purpose.[958]Bl.know.[959]Contemptible.[960]Steel cuirasses.[961]In Kentrateis used for call away, off. F.[962]If nothing were paid.[963]Milectus threatens to strike Diogenes.[964]The market-place. M.[965]Bl. adds 'Diogenes, Apelles, Campaspe.'[966]Ovid,Meta.X. 9.[967]Earlier editions,his wooden swanne, borrowing the first two words from the line above. See note, p.305.[968]M. suggests 'covet.'[969]A. 'skilleth.'[970]In Lyly's time 'cabin' seems to have been used vaguely for any rude dwelling.[971]A sketch for a picture, or the plan for a building. F.[972]M., phrasing as in the text, says: "In Bl. these two words (each standing at the end of a line) are interchanged. F. prints as I do, but, as he has no note, I do not know whether he followed one of the older editions, or corrects by conjecture."[973]Frame your excuses clumsily.[974]Bl., two words.[975]"But my surmise is mischievous."[976]Bl.though conquer. F. added the 'he.'[977]SeeEuphues and his England, Arber, 256.[978]Patching.[979]"What good reckoning Alexander made of him, he shewed by one notable argument; for having among his courtesans one named Campaspe, whom he fancied especially in regard as well of that affection of his as her incomparable beauty, he gave commandement to Apelles to draw her picture all naked; but perceiving Apelles at the same time to be wounded with the like dart of love as well as himself, he bestowed her on him most frankly. Some are of opinion that by the patterne of this Campaspe, Apelles made the picture of Venus Anadyomene." Holland, XXXV. 10. The name really was Pancaste.[980]Alexander refers to the unfavorable comment of Apelles on his drawing, p. 310, l. 109.[981]F.on.THE EPILOGUE AT THEBLACKE FRIERSWherethe rain bow toucheth the tree, no caterpillars will hang on the leaves; where the gloworme creepeth in the night, no adder will goe in the day: wee hope in the eares where our travailes be lodged, no carping shall harbour in those tongues. Our exercises must be as your judgment is, resembling water, which is alwayes of5the same colour into what it runneth. In the Troyan horse lay couched souldiers with children;[982]and in heapes of many words we feare divers unfit among some allowable. But, as Demosthenes with often breathing up the hill, amended his stammering, so wee hope with sundrie labours against the haire[983]to correct our studies.10If the tree be blasted that blossomes, the fault is in the winde and not in the root; and if our pastimes bee misliked that have beene allowed, you must impute it to the malice of others and not our endevour. And so we rest in good case, if you rest well content.

[767]Manly, the only editor of preceding texts, who attempts to place the scenes, prints here: "The audience-chamber of the palace. Clitus and Parmenio near the door. Timoclea and Campaspe are brought in later as prisoners. Alexander on the throne, attended by Hephestion." Do not lines 77-78 suggest that the scene takes place just outside the city walls, as Alexander returns from conquest; and that the characters enter one after another?

[768]Plutarch (Alexander) says Clitus was of "a churlish nature, prowde and arrogant." See IV. 315, 357-59. Plutarch mentions Parmenio (Alexander), IV. 354-56.

[769]Lyly softens Plutarch. See IV. 309-10.

[770]"Likewise that shee loseth her light (as the rest of the planets) by the brightnes of the Sun, when she approcheth neere. For borrowing wholly of him her light she doth shine." Holland, II. 9.

[771]Old Frenchsingulier, excellent. F.

[772]'Staine' for excel. The sense is, "It is for turquoises to excel one another, not for diamonds, for among the latter there can be no comparison, since all are perfect."

[773]Lyly refers both to the Persian sun-worshippers and the saying of Pompey, "More worship the rising than the setting sun."

[774]All preceding texts read 'that which.'

[775]Odyssey, 11.

[776]Fear.

[777]Esteems.

[778]In all things he is that than.

[779]Mentioned inNorth's Plutarch, Nutt, IV. 345, 353, 380.

[780]If it like. See p.327.

[781]SicA. and B.; Bl. 'Chyeronte.'

[782]For the dramatic story of Timoclea and the original of this speech seeNorth's Plutarch, Nutt, IV. 310-11.

[783]Worst possible.

[784]Bl. prints this as the name of the speaker.

[785]The market-place. M.

[786]Diogenes brought to Athens an attendant of this name, and dismissed him for the reasons given p.296.

[787]Lyly refers blindly to the following: "Seeing a mouse running over a Room and considering with himself that it neither sought for a Bed, nor was affraid to be alone in the dark, nor desired any of our esteemed Dainties, he contrived a way to relieve his own Exigencies; being the first, as some think, that folded in the Mantle, because his necessity obliged him to sleep in it."Lives of Philosophers, VI., 402.

[788]The constant application of the epithet "Dog," to Diogenes is historically correct. When Alexander first went to see the philosopher, he introduced himself thus: "I am Alexander, surnamed the Great." To this Diogenes replied: "And I am Diogenes, surnamed the Dog." The Athenians raised a pillar of Parian marble, surmounted with a dog, to his memory.

[789]Currish fellow.

[790]Perfect.

[791]Conceits.

[792]Yesterday.

[793]Pun: surpassing, running by.

[794]Bl. printsWhy then, this; F.thus.

[795]This Socratic method foreshadows Shakespeare's clowns and pages.

[796]'Redes,' teaches.

[797]Pun: painting, substituting false for real.

[798]Bl. omitsa.

[799]Picture.

[800]Countenances.

[801]Preceding texts read:And with the riotous;withprinter's repetition.

[802]Terence,Eunuchus, 816.

[803]"All the old editions omitby; it appears in Dodsley, and a sixteenth-century hand inserted it in ink in a copy of the third edition, now in the Garrick collection." M.

[804]Hash.

[805]Diogenes.

[806]Referring to the bad effect on the voice of eating just before singing.

[807]Bl. first gave the songs. In Bl. 'Granicus' is below 'Song.'

[808]Besides.

[809]Rabbit.

[810]Alexander's Palace. M. The first part might be there, but the portion with Diogenes belongs in some public place through which the philosophers pass, returning from the palace.

[811]Bl. adds here the names of all who enter during the scene.

[812]From Plutarch's account of Aristotle (Alexander, IV., 304-306, 363), Lyly borrows only the idea that Alexander, suspecting Aristotle of treasonable designs, withdrew some of his friendliness.

[813]For his relations with Alexander and Clitus, see North'sPlutarch, IV., 359-360.

[814]See Prologue,Endimion.

[815]A theoretical cause.

[816]The preceding seven lines roughly sum up the contrasting opinions of Plato and Aristotle on physical matters.

[817]'The earth which as a masse swimmeth,' or 'The earth, which is a masse, swimming'?

[818]Nature that is a creative energy.

[819]C.knewe.

[820]Bl. omitsof.

[821]Instruction.

[822]Alexander "plainly shewed the ill will he bare unto Aristotle, for that Callisthenes had bene brought up with him, being his kinsman, and the son of Hero, Aristotle's neece." For the charges against the philosopher Callisthenes, see North'sPlutarch, Nutt, IV., 359-363.

[823]Bl.rulers, the quartos 'rules.'

[824]The following six questions and answers Lyly selects from nine in an interview of Alexander with ten wise men of India. North'sPlutarch, Nutt, IV., 372-373.

[825]Alexander really spoke thus to Parmenio, but under very different circumstances.North's Plutarch, Nutt, IV., 332-333.

[826]Bl.thrall.

[827]Neither the quartos nor Bl. mark this entrance. In the Garrick copy of C. a contemporary of Lyly, W. Neile, noted it in ink. If Diogenes enters here, he goes to the farther side of the stage. The philosophers at once cross to him. Possibly he comes on at any time during the preceding dialogue, and going quietly to his part of the stage, waits till the philosophers see him and cross.

[828]SeeLives of Philosophers, 1696, 401.

[829]"You pretend to be better than you are, for you do not at heart object to counterfeiting," or, possibly, "Since you do not gain money by counterfeiting, you live falsely, for you have no adequate means of support."

[830]Mad.

[831]Editors, following Bl., have made the second act begin here, but would Diogenes go out only to come on at once? Bl. printed 'Diogenes, Psyllus,' etc. To the stage direction M. adds 'And Citizens.'

[832]This line is Lyly's rather vague reference to the search of Diogenes for an honest man.

[833]Almost the words of Diogenes. SeeLives of Philosophers, VI., 423.

[834]Yesterday.

[835]"Seeing once a little Boy drinking Water out of the Hollow of his Hand, he took his little Dish out of his Scrip, and threw it away, saying: This little boy hath out-done me in frugality."—Lives of Philosophers, VI., 412.

[836]Bl. omitsI. The quartos give it.

[837]Preceding editionsof.

[838]"In old musical treatises harmony is frequently termed a consent of instruments." F.

[839]Fiddle.

[840]Bl.ala.M. corrects.

[841]The Market-place. M.

[842]Preceding editions,Scæna Secunda.

[843]Bl. added 'Diogenes, Apelles.'

[844]SeeEpistle Dedicatorie, Euphues and his England.

[845]Ovid,Fasti, II. 305.

[846]Horses covered with defensive armor.

[847]Did this suggest:—"Grim-visaged war hath smooth'd his wrinkled front;And now,—instead of mounting barbed steedsTo fright the souls of fearful adversaries,—He capers nimbly in a lady's chamber,To the lascivious pleasing of a lute!"—Rich. III. I. 1. Do.

[847]Did this suggest:—

"Grim-visaged war hath smooth'd his wrinkled front;And now,—instead of mounting barbed steedsTo fright the souls of fearful adversaries,—He capers nimbly in a lady's chamber,To the lascivious pleasing of a lute!"—Rich. III. I. 1. Do.

"Grim-visaged war hath smooth'd his wrinkled front;

And now,—instead of mounting barbed steeds

To fright the souls of fearful adversaries,—

He capers nimbly in a lady's chamber,

To the lascivious pleasing of a lute!"—Rich. III. I. 1. Do.

[848]"All precious stones in general are improved in brilliancy by being boiled in honey, Corsican honey more particularly."—Hist. of World, XXXVII. 74. Bohn.

[849]Mullet.

[850]Cornish for brill and turbot.

[851]"Deceived and intoxicated with unreasoning affection." F.

[852]Refute.

[853]During the preceding dialogue Diogenes has probably come in with his tub. Going to a remote part of the stage, he has put it down and crawled into it.

[854]For the original of this scene and for some of the speeches, seeNorth's Plutarch, IV. 311-312, Nutt; see alsoLives of Philosophers, VI. 413.

[855]Does Diogenes go out here, or crawl into his tub, to emerge when Crysus speaks to him, III. iii?

[856]The house of Apelles: first inside, then in front.

[857]Flatter.

[858]Homely face.

[859]If you give up in despair.

[860]Flatter.

[861]Longing, caused by her beauty, will take the color from his face.

[862]Bl. and later editors mark a new scene here. Stage direction in Bl. 'Psyllus, Manes.'

[863]As lean as Diogenes himself? Query: 'Dropped him'? The phrase suggests, "As like as if he had been spit out of his mouth" for "exact image." Kittredge.

[864]Manes mimics each sound.

[865]F. insertstobeforeone.

[866]Impudent replies.

[867]Oyez.

[868]Psyllus, when he comes to "flie," breaks off incredulous. Manes gives the word.

[869]Preceding editions,tertia. The Studio of Apelles.

[870]"But her eyes!How could he see to do them?"M. of V.III. ii.

[870]

"But her eyes!How could he see to do them?"M. of V.III. ii.

"But her eyes!

How could he see to do them?"M. of V.III. ii.

[871]Does Campaspe playfully close her eyes here?

[872]Pun: to paint and to hide. Campaspe is posing nude.

[873]Perfect.

[874]Lyly is thinking of the work of Arachne, who challenged Minerva to a trial of skill with the needle, and represented the amours of Jupiter named. Ovid.,Meta.VI. 1.

[875]Preceding editionsquarta. As M. notes, Apelles and Campaspe busy themselves with the picture at one side of the stage. A new scene is hardly necessary. Bl. 'Clytus, Parmenio, Alexander, Hephestion, Crysus, Diogenes, Apelles, Campaspe.'

[876]Remain undecided.

[877]The modern "long arm of the Law."

[878]Bl. omitsnot; A. gives it.

[879]North's Plutarch, Nutt, IV. 303-304, 351, 369-370.

[880]Bl.of; F.or of. M. corrects as in text.

[881]Diogenes enters before Crysus; or, more probably, has been on the stage in his tub since II. 1. See p.301.

[882]In this and the next line, the speakers refer to the popular idea that true Cynics despised money.

[883]Fourpence. Often used for a very small sum.

[884]In Attica about $1000.

[885]As Alexander calls, he is supposed to enter the house of Apelles. See p.306, note875.

[886]Arellius? Mentioned, Holland, XXXV. 10. No painter Aurelius is known.

[887]Pun: technical knowledge and manual skill, and guileful. Apelles thinks of his need to conceal his passion.

[888]For the original of this see Holland, XXXV. 7.

[889]Looks, with something of the sense of attractions.

[890]At this time it was fashionable to dye the hair yellow in compliment to the natural color of the Queen's hair. F.

[891]A description simple because ancient armour lacked the varied markings of Elizabethan coats-of-arms.

[892]Loveliness.

[893]Ornamental arrangements of flower-beds.

[894]Harmony.

[895]The charcoal with which Alexander is drawing.

[896]The old pictures were painted on wooden panels.

[897]For the suggestion for this scene, see Holland, XXXV. 10.

[898]Go as I wish.

[899]"Modesty tempered in yielding by a contrasting emotion." F.

[900]Preceding editionsquinta. Before the house of Apelles. Is a division needed? Apelles might remain when Alexander and Hephestion leave, and just before Psyllus cries "Away, Manes," see his page and move toward him. Bl. 'Psyllus, Manes, Apelles.'

[901]Bl.Hast thou hast.F. and M. strike out the firsthast. Is it not more likely that the second is the mistake?

[902]"Alexander streightly forbad by express edict, that no man should draw his portrait in colours but Apelles the painter: that none should engrave his personage but Pyrgoteles, the graver: and last of all, that no workman should cast his image in brasse but Lysippus a founder," Holland, VII. 1.

[903]Apelles addresses here and in l. 44 a picture of Venus, which he really left unfinished. Holland, XXXV. 11.

[904]Canopy

[905]Basilisk, Holland, VIII. 21.

[906]"Do I say paint what not (what is not) Apelles? What are all these—sighs, wounds, etc., but Apelles himself?"

[907]Cullises, strengthening jellies.

[908]The market-place. M.

[909]Bl. adds 'Manes, Diogenes, Populus.'

[910]Ovid,Meta.VIII.

[911]Guy him.

[912]Diogenes has probably been in his tub since his dialogue with Crysus, p. 308.

[913]M. suggests 'Yee.' See next line.

[914]Sow the inedible and weed out the edible.

[915]Shut up as if precious.

[916]"In falconrysealedmeans blinded." Do.

[917]Railed at.

[918]For conduct of Diogenes similar to this scene seeLives of Philosophers, VI. 405.

[919]Diogenes refers to ll. 50-54, p. 315. Throughout Diogenes is very like a Cynic as described in Lucian's "Sale of the Philosophers."

[920]Diogenes, thinking of himself as older than most of the crowd and wiser than any, names himself, apparently, in 'thy father.' "Diogenes need fear no curs like you, but you need fear a rating from me."

[921]Decrepit persons.

[922]A room in the palace. M. Why not the house of Apelles, into which the painter and Campaspe go after the last lines of the scene?

[923]Bl. 'Campaspe, Apelles.'

[924]Bl., 'aswell.'

[925]"Apelles would have no dissembling in real love, but only in the simulated love he despises." F.

[926]The palace. M.

[927]Pretext.

[928]"For the sound of the war trumpet, the voice of the singer." F.

[929]A large and usually ornamental drinking cup, made especially for the dresser or sideboard. The chief guest at an entertainment or the presiding dignitary was served from it.

[930]An engraving in Alciati'sEmblems, representing bees swarming into the face-guard of a helmet probably provided this simile. F.

[931]Gloves were worn in the hat for three purposes,—as the favor of a mistress, the memorial of a friend, and as a mark to challenge an enemy.

[932]Destroy.

[933]To dance in a slow and stately fashion.

[934]Studio of Apelles.

[935]Bl., one word.

[936]Preceding editions, following Bl., read 'Campaspe alone.' It is much more natural to suppose that while she is crossing the stage, Apelles lingers on one side, watching her. When she goes out, he speaks.

[937]Preceding editions,Actus quartus. Scæna quinta; Bl. 'Apelles, Page.'

[938]See note61, p.309.

[939]The market-place. M.

[940]Bl. puts 'Diogenes' before 'Sylvius.'

[941]For the originals of this and the first, third, fourth, fifth, and sixth of Diogenes's speeches which follow seeLives of Philosophers, VI. 406, 415, 417, 418, 424, 428, 431.

[942]Dost thounot?

[943]Readiest.

[944]Bl. omitsto. F. and M. insert it. Query, 'sings'?

[945]Of course the Song falls into three stanzas, with divisions at ll. 35, 39.—Gen. Ed.

[946]These lines illustrate well how the memory of Shakespeare caught and held the best in the lines of others. Here, scattered through several lines, is the first line of the well-known song inCymbeline:—3 4"None but the larke so shrill and cleare.56 7How at heavens gats she claps her wings,8The morne not waking till she sings!12Heark, heark, with what a pretty throatPoore Robin Red-breast tunes his note!"

3 4"None but the larke so shrill and cleare.56 7How at heavens gats she claps her wings,8The morne not waking till she sings!12Heark, heark, with what a pretty throatPoore Robin Red-breast tunes his note!"

3 4

"None but the larke so shrill and cleare.

56 7

How at heavens gats she claps her wings,

The morne not waking till she sings!

Heark, heark, with what a pretty throat

Poore Robin Red-breast tunes his note!"

[947]Not onlyenraptured, but with reference to the story of Philomela, Ovid,Meta.VI.

[948]Warbler.

[949]'Gate' as in Shakespeare? The 's' from 'she'?

[950]For the original of this seeLives of Philosophers, VI. 426.

[951]Studio of Apelles.

[952]Bl. and later editors,Apelles alone.

[953]"Be content to live with thy love unexpressed, and to die with it undiscovered."

[954]Quartos and Bl.thy. Corrected by Do.

[955]The market-place. M.

[956]Bl. adds 'Diogenes.'

[957]For the purpose.

[958]Bl.know.

[959]Contemptible.

[960]Steel cuirasses.

[961]In Kentrateis used for call away, off. F.

[962]If nothing were paid.

[963]Milectus threatens to strike Diogenes.

[964]The market-place. M.

[965]Bl. adds 'Diogenes, Apelles, Campaspe.'

[966]Ovid,Meta.X. 9.

[967]Earlier editions,his wooden swanne, borrowing the first two words from the line above. See note, p.305.

[968]M. suggests 'covet.'

[969]A. 'skilleth.'

[970]In Lyly's time 'cabin' seems to have been used vaguely for any rude dwelling.

[971]A sketch for a picture, or the plan for a building. F.

[972]M., phrasing as in the text, says: "In Bl. these two words (each standing at the end of a line) are interchanged. F. prints as I do, but, as he has no note, I do not know whether he followed one of the older editions, or corrects by conjecture."

[973]Frame your excuses clumsily.

[974]Bl., two words.

[975]"But my surmise is mischievous."

[976]Bl.though conquer. F. added the 'he.'

[977]SeeEuphues and his England, Arber, 256.

[978]Patching.

[979]"What good reckoning Alexander made of him, he shewed by one notable argument; for having among his courtesans one named Campaspe, whom he fancied especially in regard as well of that affection of his as her incomparable beauty, he gave commandement to Apelles to draw her picture all naked; but perceiving Apelles at the same time to be wounded with the like dart of love as well as himself, he bestowed her on him most frankly. Some are of opinion that by the patterne of this Campaspe, Apelles made the picture of Venus Anadyomene." Holland, XXXV. 10. The name really was Pancaste.

[980]Alexander refers to the unfavorable comment of Apelles on his drawing, p. 310, l. 109.

[981]F.on.

Wherethe rain bow toucheth the tree, no caterpillars will hang on the leaves; where the gloworme creepeth in the night, no adder will goe in the day: wee hope in the eares where our travailes be lodged, no carping shall harbour in those tongues. Our exercises must be as your judgment is, resembling water, which is alwayes of5the same colour into what it runneth. In the Troyan horse lay couched souldiers with children;[982]and in heapes of many words we feare divers unfit among some allowable. But, as Demosthenes with often breathing up the hill, amended his stammering, so wee hope with sundrie labours against the haire[983]to correct our studies.10If the tree be blasted that blossomes, the fault is in the winde and not in the root; and if our pastimes bee misliked that have beene allowed, you must impute it to the malice of others and not our endevour. And so we rest in good case, if you rest well content.

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