7. That rules... diadem. Compare in Orlando Furioso: 'It fits me not to sway the diadem.'

8. these conceived joys, these joys conceived by him.

II. quite, requite. Compare note on v. 112.

Ib. favourites. "Query, "favourers"?' (Dyce.)

15. They did, i.e. they would.

Ib. images, figures-of the three goddesses who appeared before Paris. 18. Jove. See note to Doctor Faustus, i. 74.

21. grac'd with, honoured by. Compare 'troopèd with,' vii. 3; and 'circled with,' below, 67.

25. wears, a confusion of construction for 'wearest.'

43. I find, &c. These lines form one of those compliments to Queen Elizabeth which, as Dyce observes, frequently occur at the conclusion of dramas acted during her lifetime-mainly, no doubt, in those acted at Court. Compare Cranmer's prophecy at the close of Henry VIII, which, so far as it refers to Elizabeth's reign, I cannot believe to have been written for recitation before her death.--Another complimentary passage of this kind is at the close of Peele's Arraignment of Paris, where 'Diana describeth the nymph Eliza, a figure of the queen'; even in A Looking-Glass for London and England Jonas contrives a tribute to the saving virtues of Elizabeth.

Ib. prescience, accented on the second syllable.

44. temper'd. Compare vi. 2.

45. That here. . . Troynovant. This is one of the many allusions in our writers to the legend taken from Nennius' by Geoffrey of Monmouth, according to which the first inhabitants of Britain were Trojans led to Italy by Aeneas, the wife of whose grandson Silvius bore a son named Brut. Geoffrey of Monmouth, at the end of the First Book of his Historia Britonum, brings Brut to the foundation of TroynovantNew Troy-afterwards London. See H. Morley, English Writers, i. 2. 499-500. Layamon's Brut' is an enlarged English version of Wace's Norman-French metrical translation of Geoffrey's History. Milton, in his History of Britain, ad in., writes: after this, Brutus in a chosen place builds Troja Nova, changed in time to Trinovantum, now London.' -Compare 'wandering Brute,' below, 1. 55; and see also note to xiii. 78, and the passage there cited from Peele's Edward I. Compare also Peele's Anglorum Feriae, England's Holidays:

Those quiet days that Englishmen enjoy

Under our Queen, fair Queen of Brute's New Troy';

and Dekker's The Seuen Deadly Sinnes of London, where London is called This fairest-faced daughter of Brute,' and afterwards 'faire Troynouant.'

46. From forth. For this prepositional use of 'forth,' by itself or with 'of' and 'from,' see Abbott, § 156.

48. deface, obliterate, i. e. outvie.

Ib. Phoebus' flower, the sun-flower.

56. these. 'Query, "those"? but our early writers did not always make the distinction between "these" and "those" which is made at the present day.' (Dyce.)

57. gorgeous, gorgeously.

58. Apollo's heliotropion. The name heliotropium (turnsol) is applied by the old botanical writers to so many distinct plants, that it is needless to suppose Greene in our passage to have had any particular one of these in view.

59. Venus' hyacinth. According to the legend in Ovid's Metamorphoses, x. 184-215, the hyacinth was sacred, not to Venus, but to Apollo. The Hyacinthia were a Lacedaemonian festival in honour of Apollo's favourite Hyacinthus, with Apolline processions and games. The identification of the hyacinth of the Greeks and Romans has been much disputed; see Bostock and Riley's note to Plin. Hist. Nat., bk. xxi. c. 38.

Ib. vail, lower, a shortened form of 'avale' or 'avail,' from the French avaller (à val, Latin ad vallem).-Compare The Merchant of Venice, i. 1. 26:

'And see my wealthy Andrew dock'd in sand,
Vailing her high-top lower than her ribs
To kiss her burial';

and in George-a-Greene, the Pinner of Wakefield:

'Proud dapper Jack, vail bonnet to the bench
That represents the person of the king.'

60. Juno...up. Flowers-though not the gilliflower in particular— were associated with Hera, round whose couch they spring in abundance in Homer. The name 'gilliflower' or 'gillyvor' (the form used in The Winter's Tale, iv. 3. 82 and 98) is applied by our old botanists both to the stock (cheiranthus) and to the clove-pink (dianthus). The former is probably the flower intended by Greene; as the clove-pink is a kind of carnation, the flower mentioned 1. 62 below.

61. 'bash, abash or abase. Compare note to ii. 156.

62. Ceres' carnation. There seems again no reason why this flower should be connected with Ceres. If any flower is specially associated with her (Demeter) it is the narcissus, which Proserpine (Persephone) was gathering when Pluto carried her off. In the worship of Demeter herself corn was associated with her; and it is in allusion to the golden corn that Pindar calls her poivikóneja, purple-footed.

62. consort, company. Compare 'consorting,' ix. 205; and Two Gentlemen of Verona, iv. 1. 64:

'What sayst thou? wilt thou be of our consort?'

With the accent on the first syllable, the word in Shakespeare signifies a band of music; and is probably a mis-spelling of 'concert' (French concert, Italian concerto, from concertare, to discuss; hence an understanding or agreement for a common performance`.

63. Diana's rose, the rose of England's Virgin Queen. Diana and Cynthia are poetical names constantly applied to Queen Elizabeth. According to Mr. Halpin's Illustrations of the Fairy Mythology of A Midsummer Night's Dream, (old) Shakespeare Society's Publications, 1845, Shakespeare borrowed the phrase 'Diana's bud' (iv. 1. 78) from our passage. See H. P. Stokes, The Chronological Order of Shakespeare's Plays, 51.

64. is mystical, is allegorical, has a deeper meaning beneath it. 65. But, glorious. 'Some corruption here. Query, "But, glorious comrades of" &c.?' Dyce.

66. that wealthy isle, Paradise.

67. Circled with, encircled by. Compare 21; and Doctor Faustus, i. 87. Ib. Gihon. See Genesis ii. 13.

Ib. swift Euphrates. The quartos, "first Euphrates."-That I have rightly corrected the text, is proved by the following line of our author's Orlando Furioso:

"From whence floweth Gihon and swift Euphrates."' Dyce; who in a note to the latter passage points out that 'Euphrates' is the usual quantity in our early writers.-Compare Marlowe, 1 Tamburlaine, v. 2:

'As vast and deep as Euphrates and Nile.'

Greene is not very particular about his quantities; so in James IV, act v, he has 'Pactŏlus'; ib. in the Prologue, 'Erāto'; and ib. act i, 'Ixion.' See also note to iv. 11 as to 'Agenor.'

68. royalizing. Compare ix. 264, and note on Doctor Faustus, i. 15. 69. mightiness, for 'mightinesses.' Compare note on ix. 34. King Rasni, in A Looking-Glass for London and England, paraphrases himself as 'Rasni's royal mightiness.'

70. Let's march. 'Query, "Let us march hence"?' Dyce. 74. It rests, it remains; French rester.

Ib. furnish up. Compare note on iii. 22.

75. Only, for if only.'

76. jouissance. Compare Peele's Arraignment of Paris, i. 4 :
'They make such cheer your presence to behold,
Such jouissaunce, such mirth, such merriment,
As nothing else their mind might more unbent';

and Spenser's The Shepheard's Calender, May 25:

To see those folkes make such jovysaunce,

Made any heart after the pype to daunce.'

Omne tulit... dulci. From Horace, de Arte Poetica, 343-This, as Dyce points out, is Greene's favourite motto. He calls it himself 'mine old poesie'; see the passage cited from Perimedes the Blacksmith, Introduction, p. xvii. It is appended to the titles of eight prose works by him, including Pandosto, the Triumph of Time. In Part I of The Returne from Parnassus, act i, 1. 214, Studioso entreats Ingenioso: 'If thou hast ere an omne tulit punctum, ere a magister artium utriusque academiae, ere an opus and usus, ere a needie pamphlet, drinke of a sentence to us, to the healthe of mirth and the confusion of melancholye.' Greene, of course, had died long before the production of this play.-As to the form of this motto, and its bearing upon the question of the date of the play, see Mr. Fleay's Appendix B, ante, p. clxxii.

INDEX TO NOTES