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Cornell University Library 
 R 2997.T5D18 
 
 A time analysis of the plots o' Sliaksper 
 
 3 1924 013 162 213 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924013162213 
 
NeuT Shakspere Society. 
 
 Series I. 
 
 Sranjsartions 
 
 OF THE 
 
 New Shakspei\e Society, iSjj-o. 
 
 PART -11. 
 
 A TIME-ANALYSIS OF THE PLOTS OF 
 
 SHAKSPEEB'S PLAYS : 
 
 I. COMEDIES. 
 II. TRAGEDIES. 
 III. HISTORIES. 
 
 By p. A. DANIEL. 
 
 PDBLISHT FOE 
 
 THE NEW SHAKSPERE SOCIETY 
 BY N. TRUBNER & CO., 57, 59, LUDGATE HILL, 
 
 - LONDON, E.G., 1879. 
 
The folloiriiig PiihUcaftons of the Is''ew Shakspere Society hcc-e heen 
 
 itsisaed for 1874 : I 
 
 Series I. Tranmctiom. 1. Part I, containing 4 Papers, and editions of the genuine pa: 
 of Timon and Pericles, by the Eev. F. G. Fleay, M.A., with Discussions on t 
 Papers, Mr Spedding's Paper on Henry VIII, &c. 
 
 Series II. Plays. The First two Quartos of Romeo and, Juliet, 1597 and 1599, in c 
 simple Reprints ; b. Parallel Texts, arranged so as to show their Differences, wit 
 Collations of all the Quartos and Polios ; all ed. by P. A. Daniel, Esq. [6. wa 
 presented to the Society hy H.R.H. Prince Leopold, one of its Vice-Presidents.'] 
 
 Series IV. Shakspere Allusion-Books. 1. Part I. 1592-8 a.d. (Greenes Groatesworth c 
 Wit [written m 1592], 1596 ; Henry Chettle's ' Kind-Harts Dreame' [written in 1593; 
 'Englandes MournLug Garment' [1603]; A Moumeful Dittie [IBO:?] ; five section 
 from Francis Meres's Palladis Tamia, 1598, &c. &c.) ; edited by C. Mansfieli 
 Ingleby, Esq., LL.D. 
 
 Copies of ttr Ingleby i Still Lion, and 3fr Furnivall's Introduction to Ger\inus'« 
 Corameutaries, were pji'esenti^d to every Member. 
 
 For 1875: 
 
 Series I. Transactio7is, 2, 3. 1874, Part II ; 1875-6, Part I, containing Papers by I\Iessr 
 Hales, Fleay, Simpson, and Speddiug, and Profs. Ingram and Delius, with Discussioi 
 on the Papers. 
 
 Series II. Plays. 4. Borneo and Jidiet, o. a Revised Edition of the Quarto of 1591 
 collated with the other Quartos and the Folios ; edited by P. A. Daniel, Esq., wit 
 Notes and Introduction. 
 5, U. Henry V., a. Reprints of the Quarto and Foho, edited by Dr Brinsley Nicholson, 
 
 Series III. Oriijinals and Analogues. 1. Part I. a. The Tragicall Historye of Romei 
 and Juliet, written first in Italian by Bandell, and nowe in Englishe by Ai[fhiii 
 ]3r[ooke], 1562 ; edited by P. A. Daniel, Esq. h. The goodly hystory of the tnie M 
 constant lone between Rhomeo and Juhetta ; from Painter's Palace of Pleasure, 1567 
 edited by P. A. Daniel, Esq. 
 
 Mr Halliviell presented to every Member a copiy of 3Ir A. H. Paget s "Shak( 
 ipeare's Plays : a Chapter of Stage History." 
 
 For 1876: 
 
 Series II. Plays. _ 7, 8. The Two Noble Kinsmen, 1^ Shakspere and Fletcher ; a. i. 
 Reiirint of the Quarto of 1634 ; b. a revised Edition, mth Notes, by Harold 
 Littledale, Esq., Trin. Coll., Dublin. ( T/ie latter jjresented by Richard Johnson, Esq.) 
 
 Series VI. 2. a. Tell-Trothes Xeic-yeares Gift. 1593, with T/ie jjassionate Morric.'. 
 h. John Lane's Tom Tell-Troths mes.-sage and his Pens Complaint, 160,). c. THomni 
 PoweU's Tom of all Trades, or tlie Plaine Pathway to Preferment, 1631. d. Tht 
 Glasse of Godly Loi'e, [1569]. {Presented by 3 members of the Societi/.) Edited bj 
 F. J. Fumivall.M.A. 
 
 3. \Viniam Stattbixl's Compendioiis or briefe Examination of certeyne ordinary 
 Complaints of divers of our Coiintreymen, in these our Days, 15S1 ; with ar 
 Introduction by F. D. Jlatthew, Esq.; edited by P. J. Furuivall, M.A. 
 (Presented hy the Right Hon. the Earl of Derby.) 
 
 4. Phillip StiJjbes's Anatomie of Abuses, 1 J\lay, 1583: with cxtiacts from Ids Life of 
 his Wife, 1591 ; edited by F. .7. Fumivall, ]\I,A. Part I. 
 
 Series VIII. Miscellanies. 1. The late Prof. W. Spalding-'s Letter on the Authorship 
 of Tlie Tli-o Noble Kinsmen, on the Characteristics of Shakspere's style, and tile 
 secret of liis Supremacy (1833). A new ed. with a Memoir of Prof. Snakliii" by JoluJ 
 lliUBurton, LL.D., and Forewords by F. J. Furnivall, M.A. " " 
 
 For 1877: 
 
 Series I. Transactions. 4. Part II. for 1875-6, containing Papers by Prof. Delius, ^liss 
 
 Jane Lee, Prof. S. R. Gardiner, &c. 
 Series II. Plays. 9. Jleoiry V., h. Parallel Texts of the First Quarto (1600) and First 
 
 Folio (1623) editions; edited by Dr Brinsley Nicholson, with an Introduction by 
 
 P. A. Darnel, Esq. 
 Series VI. Shaks^iere's England. 1. WiWiamllnrnson's Description of England, I'il', 
 
 15S7, edited from its two versions by Fredk. J. Furnivall, JM.A. Part I, with an 
 
 enlarged copy of Norden's i\Iap of London by van deu Keere, 1593, and Notes on it 
 
 by H. B. Wheatley, Esq. 
 
 For 1878: 
 
 Series I. Transactions. 5, Part I, 1877-9, with Papers by Jas. Spcdding, Esq., &o. 
 SeriesVI. Sluik.yjerc's Enrjland. 5. William Harrison's Dcfcrijition of Eaqland, 
 1577, ]iJS7, Part II., with engravings, ed. liy F. J. I'luiuvall, Esq. 
 
THE 
 
 NEW SHAKSPERE SOCIETY'S 
 TRANSACTIONS. 
 
 1877-9. 
 
 PART II. 
 
 A TIME-ANALYSIS OF THE PLOTS OF 
 
 SHAKSPERB'S PLAYS: 
 
 I. COMEDIES. 
 II. TRAGEDIES. 
 III. HISTORIES. 
 
 By p. a. DANIEL. 
 
 PDBLISHT POR THE SOCIETY BT 
 
 TRUBNBR & CO., 57 & 59, LUDGATE HILL, E.G., 
 
 LONDON. 
 
INDEX TO TIME -ANALYSES. 
 
 AlFs Well, 169. 
 
 Antony and Cleopatra, 232. 
 
 As You Like It, 156. 
 
 Comedy of Errors, 139. 
 Coriolanus, 183. 
 Cyrribeline, 240. 
 
 Hamlet, 208. 
 lEenry IV., 270. 
 II Henry IV., 280. 
 ^e»«/ F., 290. 
 
 I Henry VI., 298. 
 
 II Henry TJ., 306. 
 J/7 S^erar?/ r/., 315. 
 Hmry VIIL, 337. 
 
 King John, 257. 
 Julius Ccesar, 197.t 
 
 Xcar, 215. 
 
 Love's Labours Lost, 145. 
 
 Macbeth, 201. 
 
 Measure for Measure, 135. 
 Merchant of Venice, 149. 
 Merry Wives of Windsor, 125. 
 Midsummer Nights Dream, 147. 
 ilfMcA ^do, 140. 
 
 OiAe^/o, 224. 
 
 Pericles, 251. 
 
 Richard II., 264. 
 Richard III., 325. 
 Romeo and Juliet, 191.* 
 
 Taming of the Shrew, 162. 
 
 Tempest, 117. 
 
 Timon, 194. 
 
 TiJtts ^jK^rowtcMs, 188. 
 
 Troilus and Cressida, 180. 
 
 rioe?/!!/;, iVig-^, 173. 
 
 T?i)o Gentlemen of Verona, 120. 
 
 Wlntei's Tale, 177 
 
 * CoRREOTiorr. Romeo and Juliet, pp. 193-4, Act IV. sc. iv, should have 
 been included In Day 4. — P. A. D. 
 
 Mr. J. N. Rolfe, in the Notes to his edition of Romeo and Juliet, contends 
 that the Friar's words in IV. iv. 79-93 show Juliet's funeral to have been 
 early enough on Wednesday, to allow Balthazar — who witnest it, and ' pre- 
 sently took post' to Mantua (not 25 miles)— to reach Romeo on Wednesday 
 afternoon or evening, and give him time to buy his poison, write his letter to 
 his father, and post back to Verona late on Wednesday night. Mr. RoUe thus 
 saves one day of the action of the play, shortening the friar's 42 hours to 30, 
 or thereabouts. — P. J. F. 
 
 t Note how the evening of March 14 is seemingly made one with that of 
 Feb. 15, by Cicero's "Casca, brought you Cresar home ?" I. iii. 1, as if from 
 the Lupercalia of Feb. 15, b.o. 44, I. ii. But as on the latter day Shakspere 
 has put the triumph of Csesar which took place early in the October before {b.o. 
 45), he may have meant to annihilate the one month, Feb.— March 44 (not 
 directly mentiond in Plutarch's 3 source-Lives), as he did the four months 
 Oct. 45— Feb. 44. -F. J. F. 
 
117 
 
 VIII. TIME-ANALYSIS OF THE PLOTS OF 
 SHAKSPERE'S PLAYS. 
 
 BY' 
 
 P. A. DANIEL. 
 (JRead at the 46<A Meeting of the Society, November 8, 1878.) 
 
 PAET L 
 
 THE COMEDIES. 
 
 Note. — No attempt is here made at Chronological arrangement: the order 
 tahen is that of the First Folio and of the Glohe edition : to the latter of 
 which the numbering of Acts, Scenes and lines refers. By one '^ Bay " 
 is to be wnderstood the mhole or any portion of the tmenty-fonr liours 
 from midnight to midnight. All intervals are swpposed to include, at 
 the least, one clear day from midnight to midnight : a break in the 
 action of the drama from noon one day to noon the next is not here 
 considered an interval. 
 
 THE TEMPEST. 
 
 First printed in the Folio ; divided into acts and scenes. 
 
 The period of time represented is little more than that required 
 for the stage performance. 
 
 In Act I. se. ii., the first scene on the Island, which follows 
 immediately on the shipwreck, Prospero asks Ariel — 
 
 " What is the time o' th' day ? 
 Ati. Past the mid season. 
 
 Pros. At least two glasses : the time 'twixt six and now 
 Must by us both be spent most preciously." 
 
 The opening scene, the shipwreck, may therefore be supposed to 
 commence shortly before 2 p.m., and it is now .I'ust past that hour. 
 
 N. S. BOC. TRANS., 1877-9. 9 
 
113 VIII. P, A. DANIEL. TIME-ANALTSIS OP THE TEMPEST, 
 
 A little later, in sc. ii., Caliban, on being called out by Pros- 
 
 pero, grumbles — 
 
 " I must eat my dinner." 
 
 Caliban, for those times, was a late diner. 
 
 At the commencement of the last scene of the play (Act V. 
 sc. i.) Prospero agaia asks Ariel, "How's the day?" and Ariel 
 
 replies — 
 
 " On the sixth hour : at which time, my lord, 
 You said our work should cease." 
 
 The time, therefore, for the whole action would be, according to 
 Prospero and Ariel, little more than four hours. 
 
 The testimony of Alonzo and the Boatswain is, however, some- 
 what at variance with this estimate of time. 
 
 In this same last scene Alonzo speaks of himself and his 
 
 followers as they — 
 
 " who three hours since 
 
 Were wrack'd upon this shore. 
 
 And he subsec[uently says that his son's " eld'st acc[uaintance " with 
 
 Miranda " cannot be three hours." 
 
 The Boatswain, also, who shortly after enters, says — 
 
 -our ship — 
 
 "Which bat three glasses since, we gave out split—' 
 Is tight and yare," etc. 
 
 It may be noted here, as a proof that this enquiry into the time 
 of Shakspere's Plays is not without its value, even as regards the 
 critical revision of the text, that a want of attention to it has led, in 
 one instance at least, to an unnecessary alteration of the original. 
 
 The passage from Act I. sc. ii., which I have quoted at the 
 beginning of this article, has been supposed corrupt as regards the 
 distribution of the dialogue; for, it has been observed, Prospero 
 asks a question and yet answers it himself. Warburton, adopting 
 Theobald's conjecture [Upton's conjecture, according to Malone], 
 read — 
 
 " Pros. What is the time o' th' day 1 
 Ari. Past the mid season at least two glasses. 
 Pros. The time," etc, 
 
 Johnson, though thinking that " this passage needs not be disturbed, 
 
Vm. p. A. DANIEL. TIME-ANALYSIS OF THE TEMPEST. 119 
 
 it being common to ask a question which the next moment enables 
 us to answer," suggested.-^— 
 
 " Pros. What is the time o' th' day 1 Past the mid season ? 
 Ari, At least two glasses. 
 Pros. The time," etc. 
 
 Staunton, to obviate the supposed inconsistency and, render any 
 change in the distribution of the speeches unnecessary, pointed 
 Prospero's speech thus — 
 
 " At least two glasses — the time 'twixt six and now — 
 Must by us both be spent most preciously." 
 
 " But," as Mr. Aldis Wright has observed in the Clarendon Press 
 edition of the Play, "this would make it [the time of the com- 
 mencement of the action] four in the afternoon, which hardly 
 answers to Ariel's ' Past the mid season.' " 
 
 And it might be added that it would make Caliban's dinner-hour 
 stUl more fashionable, and would reduce the time of the play to 
 little more than two hours, a period at variance with both Prospero's 
 and Alonzo's estimates of the time. 
 
 It cannot, however, be overlooked in an enquiry into the time 
 
 of this play, that though that time is strictly limited to a few hours 
 
 of one afternoon, it nevertheless contains touches which possess the 
 
 mind of the audience with the idea of a much more extended period : 
 
 for instance, Ferdinand, addressing Miranda in Act III, sc. i., 
 
 says — 
 
 " 'tis fresh morning with me. 
 
 When you are by at night." 
 
 And yet they have never been in each other's company at morning 
 or at night. 
 
 As a question of time it is desirable to note here the meaning 
 attached to the word " glass,'' used by Prospero and the Boartswain. 
 Alonzo's "three hours," followed shortly afterwards by the Boat- 
 swain's "three glasses," must decide this measure of time for The 
 Tempest to be a one hour glass. 
 
 The lines in 1 Henry VI, IV. ii. 35,— 
 
 " For ere the glass, that now begins to run, 
 Finish the process of his sandy hour "— 
 
120 Vm. p. A. DANIEL. TIME-ANALYSIS OP THE TEMPEST. 
 
 are in accordance with this interpretation ; but in All's Well that 
 Ends Well, II. i. 168, the "pilot's glass," unless there is some error 
 in the text, must he a two hour glass. See the comment on this play. 
 In Admiral W. H. Smyth's Sailor's Word-Book, 1867, "glass" 
 is explained as a measure of half an how. Any interpretation, how- 
 ever, other than one hour would enormously increase in The Tempest 
 the already existing discrepancy between Prospero's and Alonzo's 
 estimate of the time, noticed above. 
 
 THE TWO GENTLEMEN OP VERONA. 
 
 First printed in Folio ; divided into acts and scenes. 
 
 Day 1. Act I. sc. i. Verona. Valentine embarks for Milan. 
 His servant. Speed, tells Proteus how he had delivered the letter to 
 Julia, and then follows his master. 
 
 Act I. sc. ii, Lucetta, who has received the letter in her mistress's 
 name, now gives it to Julia. It is dinner-time when this scene ends. 
 
 An interval. Time to hear of Valentine's arrival at Milan and of 
 his success at Court ; time for Julia to acknowledge her love to 
 Proteus. For a month past Antonio has been hammering on the 
 question of sending Proteus abroad. We may perhaps allow a 
 month for this interval ; see, however, the remarks on Act IV. sc. i, 
 
 Day 2. Act I. sc. iii. Antonio resolves to send Proteus "to the 
 Emperor's Court, and fixes the morrow for his departure. It may be 
 noted here that the sovereign of Milan is spoken of in this scene as 
 an Emperor, and in Act II. sc. iv. 1. 77 he himself seems to assume 
 that title. Launce also, in Act II. sc. iii., talks of going to the 
 " Imperial's court." From Act IV. sc. i. to the end of the play he is 
 only spoken of as "Duke," and the prefix to his speeches throughout 
 is Duke. 
 
 Act II. sc. i. Milan. Speed chaflB his master on being in love, 
 SUvia declares her love to Valentine by returning to him the letter 
 which, at her request, he has written in her name to her unknown 
 friend. I place this scene in day No. 2, though it might equally 
 
,VIII. p. A. DANIEL. TIME-ANALYSIS OF TWO GENTLEMEN OF VEEONA. 121 
 
 well come in the foUowing day. It must from its position hs 
 coincident in point of time either with Act I. sc. iii, or with Act II. 
 60. ii. and iii. 
 
 Day 3. Act II. sc. ii. Proteus bids Julia adieu. This is the 
 morrow of Act I. sc. iii. 
 
 Act II. sc. iii. Launce with his dog. Panthino bids him haste 
 after his master, who is already shipped. 
 
 An interval. Proteus's journey to Milan. 
 
 Day 4. Act II. sc. iv. Milan. Valentine and Thurio rivals 
 for Silvia's love. Proteus arrives and is smitten at first sight with 
 love of Silvia. 
 
 Act II. sc. T. Speed welcomes Launce to Milan. 
 
 An interval of a few days to allow Proteus to settle at Court. 
 
 When he reveals to the Duke Valentine's plot, he excuses himself 
 
 for his treachery on the ground o£ 
 
 " your gracious favours 
 
 Done to me," etc. 
 
 This. implies a certain lapse of time since his arrival. Launce, too, 
 has found time to fall in love and obtain a "cate-log" of his 
 mistress's conditions. 
 
 Day 5. Act II. sc. vi. Proteus tells us that tJiis night Valen- 
 tine and Silvia intend to elope. He resolves to cross their purpose 
 by revealing it to the Duke. 
 
 Act II. sc. vii. Back in Verona. Julia resolves to follow 
 Proteus disguised as a page. It may be noticed that in Act I. sc. ii. 
 Julia has a father ; here she acts as a woman of independent fortune. 
 The position of this scene, enclosed as it were by scenes which un- 
 doubtedly occur on one and the same day, determines its coincidence 
 in point of time with those scenes. 
 
 Act III. sc. i. Proteus betrays Valentine to the Duke. The 
 Duke detects Valentine with the ladder of rope and banishes him. 
 The Duke has scarcely left the stage when Proteus and Launce 
 enter with the news that the proclamation of Valentine's banishment 
 is out, an4 with a full account of Silvia's grief thereat, and fruit- 
 
122 VIII. p. A. DANIEL. TlM^A.'SAhYSlS OV TWO GENTLEMEN 01' VEBONA, 
 
 less intercession for him. Valentine departs ; Proteus sees Mm to 
 tlie gates of the city. 
 
 Speed enters, and Launoe, after showing him the " cats-log " of 
 his mistress's conditions, sends him after his master. 
 
 Act III. so. ii. The Duke and Thurio. The lattei complains — 
 
 " Since Ms [Valentine's] exile she [Silvia] hath despised me most. 
 Foresworn my company and rail'd at me." 
 
 From this it might he supposed that some time — days — had passed 
 
 since Valentine's departure ; but it is not so. Proteus, who has 
 
 been seeing Valentine off, now enters, and the Duke addresses him — 
 
 " How now. Sir Proteus ! Is your countryman, 
 According to our proclamation, gone ? 
 Pro. Gone, my good lord." 
 
 It is evident that but an hour or two at the utmost can have 
 elapsed since Valentine's departure. The Duke now persuades 
 Proteus to Undertake the advocacy of Thurio's love-suit to Silvia, 
 and Thurio, acting on Proteus's advice, resolves to serenade Silvia 
 this very night. 
 
 The time of this scene is apparently the afternoon : at the end of 
 it Proteus says to the Duke, with reference to the proposed serenade, 
 " We'U wait upon your grace, tiU after supper ; 
 And afterward determine our proceedings." 
 
 The Duke replies — 
 
 " Even now about it ; I will pardon you." 
 
 Act rV. sc. i. Valentine is stopped by the outlaws and becomes 
 their captain. 
 
 With this scene we may, I think, end day No. 5. 
 
 There is here a note of time which should be considered in con- 
 nection with the first interval which I have marked in the action of 
 the play. Valentine, interrogated by the outlaws, says that he has 
 sojourned in Milan "some sixteen months;" and he also says that 
 he was banished for kUling a man. Some motive for the self- 
 accusation of murder may be conceived: it would impress the 
 outlaws with the belief that he was a man of desperate fortunes, 
 and therefore fit for their purpose ; but why he should deceive them 
 as to the time of his sojourn in Milan is not so clear. The sixteen 
 
VIII. p. A. DANIEL, TIME-ANALYSIS OP TWO GENTLEMEN OF VERONA. 123 
 
 months is not wanted for the plot of the play j hut if accepted, its 
 place must he in the first "interval." 
 
 An interval : for reason of which see account of following scene. 
 
 Day 6. Act rV. sc. ii. At night. Thurio serenades Silvia, 
 This fact would at first sight seem to connect the scene with day 
 No. 5, and lead us to suppose that Thurio was now putting in 
 practice his resolution of Act III. sc. ii. There are, however, so 
 many separating incidents in the scene, that one is fairly driven 
 to the conclusion that this serenade is one of a later date than that 
 resolved on in Act III. sc. ii. In the first place we find Proteus, at 
 the beginning of the scene, speaking as though he had been for 
 some time — days at least — urging his suit to Silvia, since, by the 
 Duke's permission, he had obtained access to her. He tells her, too, 
 he has heard that Valentine is dead : it is a lie, of course, but one 
 he could not have ventured on if this were only the night of the 
 day on which Valentine was banished.: it implies a lapse of time. 
 His courtship of Silvia has, in fact, become notorious, and mine host 
 brings Julia (as Sebastian) — who has apparently arrived in MUan 
 within the last few hours — to this serenade imder Silvia's window, 
 as to a place to which it is well known Proteus often resorts. The 
 presence of Julia, too, whose resolution to follow Proteus is only 
 made known in Act II. sc. vii. (day No. 5), would be a glaring 
 impossibility if this scene were taken to be the night of that same 
 day. Time for her journey must be allowed, and an interval sup- 
 posed between this scene and those preceding it. 
 
 Day 7. Act IV, sc. iii. In the early morning following the 
 last scene. Sir Eglamour attends to receive Silvia's instructions, and 
 it is arranged that they shall meet " this evening coming " at Friar 
 Patrick's cell, previous to their flight to Mantua, where Silvia hears 
 that Valentine makes his abode. 
 
 Act IV. sc. iv. Later in the day Launce returns from Silvia 
 with his dog which she has rejected. Proteus employs Julia, who 
 has entered his service as Sebastian, to call on Silvia for the portrait 
 she had promised him last night. 
 
124 VIII. p. A. DANIEL. TIME- ANALYSIS OF T)VO OXNTLEMBN OF VEBONA. 
 
 Act V. sc. i. " The sun begins to gild the western sky " when Sir 
 Eglamour and Silvia meet at Patrick's cell and set out on their flight. 
 
 Act V. sc. ii. The same evening — for the Duke, speaking of 
 Silvia, says, 
 
 " — She did intend confession 
 At Patrick's cell this even," etc. — 
 
 her flight is discovered, and the Duke, Thurio, Proteus, and Julia 
 set out in pursuit. 
 
 Act V. sc. ui. and iv. In the forest. Silvia is captured by 
 the outlaws ; rescued by Proteus ; Proteus offers violence, and is 
 repulsed by Valentine ; Julia is discovered, and Proteus returns to 
 his first love; the friends are reconciled. The Duke — who with 
 Thurio is also taken prisoner — consents to his daughter's marriage 
 with Valentine ; the outlaws are pardoned, and aU are made happy, 
 with the exception of Thurio, who, as a natural fool, can require no 
 further blessing, and Sir Eglamour, who is heard of no more since 
 he ran away from Silvia. 
 
 It may perhaps be questioned whether these two last scenes 
 should not be placed in a separate day ; but taking into consider- 
 ation the extreme rapidity of the action of the play generally, it 
 seems probable that they were intended to end the day commencing 
 with Act IV. sc. iii. 
 
 The time of this play comprises seven days, represented on this 
 stage, and intervals. 
 
 Day 1. Act I. sc. i. and ii. 
 
 Interval : a month, perhaps ; perhaps sixteen months. 
 „ 2. Act I. sc. iii. and Act II. sc. i. 
 „ 3. Act II. sc. ii. and iii. 
 
 Interval: Proteus's journey to Milan. 
 „ 4. Act II. sc. iv. and v. 
 
 Interval of a few days. 
 „ 5. Act II. sc. vi. and vii.. Act III., and Act IV. sc. i. 
 
 Interval, including Julia's journey to Milan. 
 „ 6. Act IV. sc. ii. 
 „ 7. Act IV. sc. iii. and iv., and Act V. 
 
Till. P. A. DANIEL. TIMK-ANAIiTSIS OF MERKY WIVES OF WINDSOR. 125 
 
 THE MERRY WIVES OF WINDSOR. 
 
 FiEST printed in an imperfect shape in Qo. with no division of 
 acts and scenes. In the Folio the acts and scenes are numbered. 
 
 Day 1. Act I. sc. i. Before Page's house. The altercation 
 between Shallow and Falstaff, ending with the dinner at Page's. 
 
 Act I. sc. ii. Sir Hugh gives Simple a letter to Mrs Quickly, 
 praying her good services with Anne on behalf of Slender. He 
 re-enters the house to make an end of his dinner. 
 
 Act I. sc. iii. Later in the day at the Garter Inn. Falstaff 
 considers what to do with his followers. Bardolph turns tapster. 
 'Nym and Pistol, refusing to carry letters to Mrs Ford and Mrs Page, 
 are discharged, and the letters confided to Eobin. In the course of 
 the dialogue Falstaff remarks that Page's wife " even now gave me 
 good eyes." This even now must refer to the dinner at Page's. 
 
 Act I. sc. iv. While the preceding scene is in action Simple 
 delivers Sir Hugh's letter to Mrs Quickly at Dr Caius's house. 
 Caius finds hiTn there and, enraged at the purpose of his visit, writes 
 a challenge to Sir Hugh, and entrusts it to Simple. Fentonnow has an 
 interview with Mrs Quickly with reference to his suit to Anne. He says, 
 " I shall see her to-day," — " if thou see'st her before me, commend me." 
 Was the interview which Fenton has with Anne in Act III. sc. iv. 
 intended as the realization of this speech? However this may be, 
 the action of the first day ends with this scene. 
 
 Days 2 & 3. Act II. sc. i. Mrs Page and Mrs Ford compare. 
 Falstaff's letters, which they must, or certainly ought to, have received 
 yesterday. WhQe they consider what course to pursue, Ford and 
 Page enter with N'ym and Pistol, who denounce their late master. 
 Mrs Quickly comes to visit Anne, and the ladies resolve to make her 
 their go-between with Falstaff. They retire ; and Page and Ford, 
 after discussing the information given them by Ifym and Pistol, are 
 joined by mine Host and Shallow, who desire them to come and see 
 the result of the duel which the Host has dis -axia,nged between Sir 
 Hugh and Dr Caius j Page goes with them, but Ford, having 
 obtained a promise from the Host that he wiU introduce him to 
 
126 VIII. p. A. DANIEL. TIME- ANALYSIS OP MERRY WIVES OP WINDSOR. 
 
 Falstaflf under the name of Brook, resolves to look further into the 
 matter of Falstaff's courtship. In the course of the dialogue in 
 this scene Mrs Page says to her husband, " You'll come to dinner, 
 George." It is clear, therefore, that this scene takes place in the 
 morlung of the second day ; the arrangement for the duel also sup- 
 poses the time to be the morning following the challenge, and we 
 must recollect that Falstaffs first meeting with Mrs Ford is supposed 
 to take place while the business of the duel is in progress, i. e. 
 "between ten and eleven." "We must not, however, omit to note a 
 slip on Shallow's part : when he arrives on the scene with the Host 
 he addresses Page with " Good eve7i and twenty, good Master Page." 
 Act II. sc. ii. At the Garter. Mrs Quickly invites Falstaff 
 to his first interview with Mrs Ford, which is to take place between 
 ten and eleven. She has but just left when Ford, who has not 
 waited for mine Host's introduction, makes his appearance as Brook, 
 and obtains information of the proposed meeting. Falstaff leaves 
 him to keep the appointment, telling him to come to him soon at 
 night and hear how it had passed ofi'. 
 
 Act II. sc. iii. and Act III. sc. i. end the duel between Sir Hugh 
 and Dr Caius. 
 
 Act III. sc. ii. Ford meets Mrs Page and Eobin, who are on 
 their way to join Mrs Ford. Then in come Page, Shallow, and the 
 rest from the fields where the sham duel has been played out. Ford 
 asks them all home with him to dinner, in order that they may witness 
 the exposure of Falstaff. Page, Caius, and Evans accept ; Shallow 
 and Slender go off to court Anne, and the Host returns home. 
 
 Act III. sc. iii. In Ford's house. Mrs Ford, Mrs Page, Eobin, 
 and the servants prepare the buck-basket for Falstaflfs first reception. 
 All but Mrs Ford then retire. Falstaff enters, and after a little 
 complimenting Mrs Page gives the alarm. Falstaff is crammed into 
 the basket with the dirty clothes, and the servants are about to carry 
 him off when Ford and his company arrive. The basket is allowed 
 to pass, and they search the house without result. Ford affects to be 
 satisfied and renews his invitation to his guests. Page also invites 
 them all to breakfast the following morning, after which they are to 
 go a-birding. The merry wives resolve to play Falstaff another 
 
VIII. p. A. DANIEL. TIMB- ANALYSIS OF MEMRY WIVES OF WINDSOR. 127 
 
 trick, and determine that he shall "be sent for to-morrow, eight 
 o'clock, to have amends." 
 
 -Act III. sc. iv. At Page's house. The time of this scene is 
 singularly elastic. It is prior to, concurrent with, and subsequent 
 to the preceding scene. Prior to in the interview between Fenton 
 and Anne ; concurrent with in the arrival of Shallow and Slender, 
 who left the company in sc. ii. to come here, while the rest of the 
 company went on to Ford's house ; subsequent to in the return home 
 of Page and his wife from the dinner at Ford's house, with which 
 sc. ii. is supposed to end. And Mrs Quickly 1 In modern editions 
 Mrs Quickly arrives on the scene with Shallow and Slender ; but 
 there is no authority for this or any other of the entries in this scene 
 in the Folio. The scene— and so it is with all the scenes throughout 
 the Play — ^is merely headed with a list of the actors who appear in 
 it : the special time at which they enter is not marked. This is the 
 case not only with this Play but with others, — The Two Gentlemen of 
 Verona, for instance, — and is a common arrangement with the early 
 editions of plays. 
 
 In the " first sketch " of the Play Mrs Quickly enters with Fenton 
 and Anne ; she is ia the confidence of the lovers, and she is here in 
 her proper place to look out of window, or read on a book, or take a 
 short nap whUe the principals are billing and cooing. To her Shallow 
 naturally addresses himself when he enters, to get her to "break 
 their talk." But how could she know of the second invitation she 
 had to take to Falstaff if she was on this scene at its commencement 1 
 or, indeed, if she only made her first appearance with Shallow and 
 Slender 1 The only solution of the difficulty is to suppose that when 
 Mrs Page enters she makes a communication to her " aside." She 
 certainly knows of the invitation for " to-morrow, eight o'clock," for 
 she concludes the scene with — " Well, I must of another errand to Sir 
 John Falstaff from my two mistresses : what a beast am I to slack it ! " 
 
 It is to be presumed that she slacks it no longer than the time it 
 takes her to get to the Garter Inn, where, in — 
 
 Act III. sc. v., we find Falstaff calling for sack to qualify the cold 
 water he had swallowed when slighted into the river from the buck- 
 basket. One would naturally suppose that the time of this scene 
 
128 VIII. p. A. DANIEL. TIME-ANALYSIS OF MEBBY WIVES OF WINDSOR 
 
 must be the afternoon of tte day of that adventure, and, indeed, it 
 can be but a Kttle later than the time of the preceding scene; but 
 lo ! when Mrs Quickly enters with the invit3.tion for " to-morrow, 
 eight o'clock," she gives his worship good morrow [= good morning] ; 
 tells him that Ford goes this morning a-birding, and that Mrs Ford 
 desires him to come to her once more, between eight and nine. 
 
 As Mrs Quickly departs, Falstaff remarks, " I marvel I hear not 
 of Master Brook ; he sent me word to stay within : I like his money 
 well. 0, here he comes." And Ford (as Brook), who was to have 
 visited Falstaff " soon at night " after the adventure which ended 
 with the buck-basket, makes his appearance to learn the result of the 
 first interview, and to be told of the second, which is just about to 
 take place. " Her husband," says Falstaff, " is this morning gone 
 a-birding : I have received from her another embassy of meeting ; 
 'twixt eight and nine is the hour. Master Brook." "'Tis past eight 
 already, sir," says Ford ; and Falstaff replies, " Is it ? I will then 
 address me to my appointment,'' and so he goes out, and Ford 
 follows, confident this time of taking him in his house. 
 
 Act IV. sc. i. A street. Mrs Page, Mrs Quickly, and William. 
 
 " Mrs Page. Is he at Master Ford's already, think'st thou? 
 
 Quicldy. Sure he is by this, or wiU be presently. . . . Mistress 
 Ford desires you to come suddenly. 
 
 Mrs Page. I'U be with her by and by ; I'U but bring my young 
 man here to school." 
 
 We see the time here follows close upon, is almost coincident in 
 fact, with the latter part of the preceding scene at the Garter. Sir 
 Hugh enters ; there is no school to-day ; " Master Slender is let the 
 boys leave to play." Sir Hugh examines the boy in his learning, 
 and then Mrs Page and Quickly hurry off to Ford's. " Come, we 
 stay too long," says Mrs Page. 
 
 Act IV. sc. ii. Ford's house. Falstaff and Mrs Ford. Sh6 
 tells him her husband is a-birding, and for aught she knows she tells 
 him the truth. A difficulty here presents itself r how did the merry 
 wives propose to treat Falstaff at this second meeting? At the first 
 meeting they had arranged the buck-basket for him ; and though the 
 unexpected arrival of Ford and his companions added greatly to the 
 success of that plot, Falstaff would have been, and in fact was 
 
Vin. p. A. DANIEL. TIME- ANALYSIS OP MERRY WIVES OF WINDSOR. 129 
 
 slighted into the Thames quite independently of any interference on 
 Ford's part. As far as I can make out, all the punishment Mrs 
 Ford and Mrs Page had devised for Falstafif at this second meeting 
 was to frighten him out of the house in the disguise of an old woman. 
 The alarm which Mrs Page gives at this second meeting is, however, 
 a true alarm ; she actually knows that Ford has drawn her husband 
 and the rest of their company from their sport to make another 
 experiment of his suspicion, — she must have learned this in coming 
 through the streets, — but Mrs Ford does not know that it is true till 
 after Falstaff has gone upstairs to put on Mother Prat's gown. " But 
 is my husband coming?" she asks. "Ay, in good sadness, is he," 
 says Mrs Page ; " and talks of the basket too, howsoever he hath 
 had intelligence.'' The arrival of Ford with his cudgel was quite 
 unforeseen by them, and a mere providential addition to their plot. 
 However, Falstaff is beaten out as an old woman ; Ford and his 
 companions proceed to search the house ; and the merry wives, left 
 alone, resolve to reveal to their husbands the tricks they have played 
 on the fat knight. 
 
 Note that in this scene Ford refers to the first meeting as having 
 taken place yesterday. " Master Page," says he, " as I am a man, 
 there was one conveyed out of my house yesterday in this basket : 
 why may not he be there again ? " 
 
 Act rV. sc. iii. During the search in Ford's house we are trans- 
 ported to the Garter, and in a short scene between Bardolph and 
 mine Host we learn that the Germans desire to borrow horses to meet 
 ihe duke who comes to-morrow to Court. Mine Host assents. 
 
 Act rV. sc iv. "We are back in Ford's house. The wives have 
 revealed their plots on Falstaff, and now in general council it is 
 resolved once more to tempt Falstaff to a meeting. Time and place ; 
 the ensuing midnight at Heme's oak in the park. Page and his 
 wife resolve (apart from each other) that at the mock fairy scene 
 which is to 'take place at midnight their daughter Anne shall be 
 carried off and married — by Slender, so the husband decides ; the 
 wife determines, by the Doctor. 
 
 Act rV. sc. V. At the Garter again. This scene follows close 
 on the preceding one in point of time. Simple, it would seem, has 
 followed the false Mother Prat through the l^treets, and has seen her 
 
130 VIII. p. A. DANIEL. TIME-ANALYSIS OP MEBBY WIVES OF WINDSOR. 
 
 go up to FalstafPs chamber, and he waita till she comes down to 
 consult her on behalf of his master. In reply to his Host's call, 
 Falstaff makes his appearance, and acknowledges that there was " an 
 old fat woman even now vri.th me ; but she's gone." Simple is shifted 
 oflf, and Bardolph enters to tell mine Host that the Germans have run 
 away with his horses ; Evans and Caius follow in quick succession to 
 warn him, now that it is too late, to beware of these " cozen-germans." 
 AU depart save Falstaff, who wishes all the world might be cozened 
 as he has been. And now Mrs Quickly appears to tempt Viim to the 
 third meeting at Heme's oak. They go up to his chamber together, 
 and the scene closes, 
 
 Act rV". so. vi. Still at the Garter. Fenton consoles the Host 
 for his losses, and obtains his assistance for the runaway match which 
 he intends to make that night with Anne Page ; whom he is to steal 
 away from the fairy scene prepared for Falstaff's discomfiture at 
 Heme's oak. 
 
 Act V. sc. i. Falstaff has yielded to Mrs Quickly's persuasions, 
 and he promises to be at the place of meeting at the appointed time. 
 As Mrs Quickly goes out Ford enters, and Falstaff tells him — 
 " Master Brook, the matter wiU be known to-night or never. Be you 
 in the park about midnight, at Heme's oak, and you shall see 
 wonders." The plot, as we have seen, is hopelessly entangled 
 already, but Ford now puts the finishing touch to it. Eeferring to 
 the second meeting, which took place on the morning of the very 
 day on which he is speaking, he asks Falstaff, " Went you not to her 
 yesterday, sir, as you told me you had appointed 1 " and Falstaff is 
 not surprised, but gives him an account of the cudgelling he had 
 received, as Mother Prat, on the morning of the day on which the 
 question is asked. 
 
 The remaining scenes of the Play — Act V. sc. ii., iii., iv., and v. 
 — comprise the discomfiture of Falstaff at Heme's oak, and the 
 results of the plotting with reference to Anne Page, which ends in 
 her marriage with Fenton. 
 
 The confusion which exists in the Play with reference to Falstaff's 
 meetings with Mrs Ford may be briefly stated as follows : — The first 
 meeting, which ends with the buck-basket, takes place between teu 
 
Vm. P, A. DANIEL. TIME-ANALYSIS OP MESR7 WIVES OF WINDSOR. 131 
 
 and eleven on one morning; the second meeting is determined for 
 the morrow of the first, and actually foUows it ; but yet the invita- 
 tion to it and its actual occurrence are fixed by the Play at an earlier 
 hour of the same day as that on which the first takes place ; and 
 when it has thus got in advance of the first, Ford refers to the first 
 as being before it. And the confusion does not end here, for on the 
 very day of the second meeting Ford refers to that second meeting 
 as having taken place on the ' yesterday,' and thus the third meeting, 
 which is on the night of the day of the second, is driven forward to 
 the night of the day following it. 
 
 So much for the confusion of the Folio version of the Play. In 
 the Quarto the hours of the two first interviews are transposed : the 
 first interview takes place between eight and nine, the second between 
 ten and eleven ; but we do not thereby escape confusion. It should 
 be noted that after the first interview the merry wives do not, as in 
 the Folio (Act III. sc. ui.), mention the morrow as the time for the 
 second, but the invitation to it is delivered, as in the Folio, by Mrs 
 Quickly just after Falstaff's return from his ducking, and she then 
 says it is for " to-morrotv, sir, between ten and eleven ; '' when Ford, 
 however, enters — ^immediately after her departure — Falstaff teUs him 
 it is to take place at once, that is, on the same day as the first inter- 
 view; and yet — as in the Folio — when Ford the second time searches 
 his house, he refers to the first, or buck-basket adventure, as having 
 taken place yesterday. 
 
 The third, or Heme's oak meeting, is arranged, as in the Folio, 
 for the night of the day on which the second interview (and the first 
 too, as it appears) takes place ; but as Ford. — although he says he 
 wOl — does not call on Falstafi' to ascertain if he wiU keep tryst, we 
 escape the last touch of confusion, which is given in the Folio [by 
 his referring to the second interview as having occurred ' yesterday.' 
 Against this, however, we may set a little bit of confusion which is 
 the exclusive property of the Quarto. When in Act II. sc. i. the 
 Host and Shallow come to invite Page and Ford to go with them to 
 see the fun of the sham duel, neither of them accepts the invitation, 
 but they both go off to dine together — before eight o'clock in the 
 morning J but yet in the subsequent scenes we find that they did not 
 
132 VIII. p. A. DANIEL. TIME-ANALySIS OF MERBY WIVES OF WINDSOR. 
 
 go to dinner, for Page is with mine Host and the duellists, and Ford 
 calls on Falstaff, as in the Folio. It should also be noticed that 
 Page, after the first search has been made for Falstaff in Ford's house, 
 invites aU the company to dinner -with him on the next day, and 
 proposes that in the morning they shall go a-birding. Mrs Quickly, 
 however, when she delivers the invitation to Falstaff for the first 
 interview — between eight and nine — tells him that the birding is for 
 that morning, when, indeed, the business of the duel is in hand. 
 
 In the Quarto the scene in which Fenton has an interview with 
 Anne Page (Act III. sc. iv. Fo.) comes after the scene in which the 
 invitation to Falstaff's second interview with Mrs Ford is given, hut 
 before the scene in which it takes place ; in the Folio the Fenton. 
 scene comes before that of the invitation to the second interview. 
 Mr Grant White in his preliminary remarks on this Play, in his 
 edition of Shakespeare's works, notices this transposition of scenes 
 and the introduction in the Folio version of the scene with the 
 Pedagogue, Act IV. sc. L, as ' two manoeuvres,' the result of which 
 " is, that in the perfected Play the important incongruity [the con- 
 fusion of the days of the first two interviews] ceases to be palpable ;" 
 and by them he considers that the author " skilfully concealed an 
 error, to eradicate which would have cost more labour than he cared 
 to bestow.'' Mr. White's argument is of course founded on the 
 supposition that the Quarto represents the author's "first sketch" of 
 the Play. 
 
 I fail utterly to see the force of this argument; for the 'change' 
 in the Folio does not conceal the error in the slightest degree, that 
 error manifesting itself in one scene only (Act III. sc. v.), so that no 
 transposition or addition of scenes before or after can disguise it. 
 It is important here to consider the condition of the FoUo version of 
 the Play, and on this point the conclusions of the Cambridge editors 
 (expressed in their notes at the end of the Play) may with great 
 confidence be received, as being the result of the most thorough 
 examination of the text that the Play has yet received. 
 
 Besides noting minor points on which the Quarto affords evidence 
 of imperfection in the Folio, they observe, Note iii., " The fact 
 that so many omissions can be supplied from such mutilated copies 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF UEEBY WIVES OF WINDSOR. 133 
 
 as tlie early Quartos, indicates that there may he many more omis- 
 sions for the detection of which we have no clue. The text of the 
 Merry Wives given in Fi was p'rohahly printed from a carelessly- 
 written copy of the author's MS." In l^Tote vii. they remark, " Tlie 
 meaning of the text may have heen obscured by some omission in 
 the Folio ; " and in Note viii. they say, " 'So doubt there is an 
 omission here in the Folio which may be partly supplied from the 
 Quarto." 
 
 The editors of the Cambridge edition do not express any opinion 
 as to the confusion of time which exists in the Folio version of the 
 Play, and it will be observed that while noting apparent omissions in 
 it, they only ascribe them to "a carelessly-written copy of the 
 author's MS. j" but something more than this, careless compression 
 and mutilation of the Play are indicated by the extraordinary 
 entanglement of the plot I have pointed out. I have abeady, in a 
 letter published in The Athenceum, 6th April, 1878, endeavoured to 
 account for this entanglement, and have suggested the means for its 
 cure j but it is necessary for the completion of this article that I 
 should repeat my argument here. The chief error^ then, lies in sc. v. 
 of Act III. J that scene must, I think, have been formed by the 
 violent junction — I cannot call it fusion — of two separate scenes 
 representing portions of two separate days. The first part of the 
 scene— Mrs Quickly and Falstaff — is inseparably connected with the 
 day of FalstafPs first interview with Mrs Ford ; the second part is 
 as inseparably connected vidth the day of the second interview. The 
 first part clearly shows us Falstail in the afternoon, just escaped 
 from his ducking in the Thames ; the second part as clearly shows 
 him in the early morning about to keep his second appointment with 
 Mrs Ford. 
 
 Cut this actual scene v. into two, ending the first with Mrs 
 Quickly's last speech— " Peace be with you, sir," — and the main 
 difficulty vanishes, and the only change required in the text of the 
 FoHo to make it agree with the previous scenes is the alteration of 
 two words. In her first speech Mrs Quickly says, " Give your 
 worship good morrow," — 1. 28. For morrow read even. In lines 
 45-6 she says, "Her husband goes this morning a-birding." For 
 
 N, S. BOO. TKANS., 1877-9. 10 
 
1 34 VIII. p. A. DAHIBL. TIME-ANALYSIS OF MBBB7 WIVES OF WINDSOR. 
 
 this morning read in the morning or to-morrow morning. Not a 
 syllable need be changed in the Ford part of the scene ; hut with 
 his part we might begia Act IV. The confusion between Falstaffs 
 first and second interviews with Mrs Ford would he thus absolutely- 
 cured. 
 
 To complete our task and make the text of the play perfectly 
 accordant with its plot we should further alter one word ia Act V. 
 sc. i. Ford there says, "Went you not to her yesterday, sir]" etc. 
 For yesterday read this morning. 
 
 This is the great change which Mr Grant White imagiaes " would 
 have cost" the author "more labour than he cared to bestow;" and 
 with it — if any editor should be rash enough to make it — would 
 end the confusion which we all deplore ia this delightful Play. 
 
 I should add that this important " emendation " is suggested, 
 and I may say absolutely justified, by the Quarto version of sc. v. 
 Act III. In that version Mrs Quickly expressly states that the 
 second interview is for the morrow — as the plot requires — and we 
 only learn that we have arrived at this morrow when Ford appears. 
 This glaring incongruity at once suggests that here are two scenes 
 run into one, and on examination it will be found that by merely 
 drawing a line between the Quickly and Ford portions, and without 
 altering a syllable of the text, the scene splits perfectly into two 
 scenes representing portions of two separate days, as required by 
 the plot. On the theory, therefore, that the Quarto represents 
 the author's first sketch, it wiU be seen that absolutely no labour 
 was required to correct the error in that edition, but that a cer- 
 taia amount of labour was actually bestowed on establishing it in 
 the 'perfected' Play. I believe, however, that the error never 
 existed in the author's MS., but is the result of some managerial 
 attempt to compress the two scenes into one for the convenience of 
 the stage representation, and that then the words, which I propose to 
 alter, were introduced into the Folio version in order to make the 
 new one-scene self-consistent; that the author himself could have 
 been so forgetful of his plot as to make the change I hold to be 
 incredible. 
 
 As it is impossible in its present state to make out any time- 
 
III. p. A. DANIEL. TIME-ANALYSIS OP MERRY WIVES OF WINDSOR. 135 
 
 division of the Play, I give that which results from the correction I 
 propose; disentangling Days 2 and 3, and hringing the plot in 
 accordance with the ohvious intention of the author. 
 
 Day 1. Act I. sc. i. to iv. 
 „ 2. Act II. sc. i. to iii., Act III. sc. i. to iv., and the Quickly 
 portion of sc. v. 
 
 Day 3. The Ford portion of Act III. sc. v. to end of the Play. 
 
 MEASURE FOR MEASURE. 
 
 First printed in Folio ; divided into acts and scenes. 
 
 It should, however, be noted that scene ii. of Act I. is divided in 
 the Folio into two scenes, Scena Tertia commencing with the entry of 
 Provost, Claudio, etc. Scenes iii. and iv. of this act are accordingly 
 numbered iv. and v. in the Folio. The Folio also makes the whole 
 of Act iii. one continuous scene ; here it is divided into two. 
 
 Day 1. Act I. sc. i. The Duke gives his commission to Angelo 
 and Escalus and departs. 
 
 A short interval must here be supposed, to allow tne new governors 
 to settle to their work. 
 
 Day 3. In Act I. sc. ii. we see the result, in the arrest of 
 Claudio. Lucio promises to see Isabella immediately to get her to 
 intercede for her brother. 
 
 Note that in this scene Claudio remarks that the laws under which 
 he now suffers have been suspended for " nineteen zodiacs ; " in the 
 following scene the Diite says for "fourteen years." 
 
 Act I. sc. iii. The Duke confides to Friar Thomas his purpose 
 of watching, under the disguise of a monk, the proceedings of his 
 deputies. 
 
 Act I." sc. iv. Lucio has an interview with Isabella, who 
 promises to call on Angelo at once and endeavour to obtain her 
 brother's pardon. " Soon at night," says she, " PU send him certain 
 word of my success." 
 
 Act II. sc. i. Angelo, Escalus, etc, sitting in justice. Angelo 
 
136 VIII. p. A. DANIEL. TIME-ANALYSIS OF MEASURE FOR MEASURE. 
 
 gives orders to the Provost that Claudio "be executed by nine 
 to-morrow morning." Elbow brings Froth and Pompey before the 
 bench. At the end of the scene it is eleven o'clock, and Esoalus 
 invites the Justice home with him to dinner. 
 
 Act II. sc. ii. The Provost returns to Angelo to be reassured 
 that Claudio is to die to-morrow. Lucio and Isabella now enter to 
 plead for Claudio. Angelo twice tells Isabella that her brother is to 
 die to-morrow ; at last, moved by her speech and beauty, he says, " I 
 will bethink me ; come again to-morrow," and again a little later on 
 he says, " Well : come to me to-morrow." Isabella asks, " At what 
 hour to-morrow 1 " and he replies, " At any time 'fore noon." 
 
 Act II. sc. iii In the Prison. The Duke in disguise as a Friar. 
 The Provost informs him that Claudio is to die to-morrow. No 
 respite then has reached the prison in consequence of Isabella's inter- 
 view with Angelo. The Duke has some discourse with Juliet, which 
 he ends with " Your partner, as I hear, must die to-morrow, and I 
 am going with instruction to him." 
 
 Act II. sc. iv. Isabella has a second interview with Angelo. 
 This should be the " morrow 'fore noon " appointed in scene ii. ; but 
 the time both of the scene which precedes and of that which foUows 
 this binds ns still to the day of Claudio's condemnation. In this 
 scene Angelo makes his attempt on Isabella's -virtue and is rejected. 
 He leaves her to think over what he has said, telling her to armoei- 
 Mm io-morroio. She resolves to acquaint her brother vith his 
 infamous proposals. 
 
 Act III. sc. i. The Duke fulfils his intention announced in Act 
 II. sc. ui., and prepares Claudio for death. Isabella enters ; three 
 times she tells her brother that he must make up his mind to die on 
 the morrow ; she tells him of Angelo's proposal ; and strangely enough 
 she knows that " this nights the time " at which Angelo would have 
 her accede to it. But Angelo in the preceding scene made no such 
 suggestion, and Isabella could not have seen him since .the second 
 interview, when he told her to give him her final answer on the 
 morrow of that interview. 
 
 The Duke now intervenes, and concerts with Isabella the plot in 
 which Mariana is to take her place with Angelo " if for this nighi ho 
 
VIII. p. A. DANIEL. TIME- ANALYSIS OP MEASURE FOB MEASURE. 137 
 
 entreat you to his bed." Isabella departs at once to make tbe appoint- 
 ment "with. Angelo, and agrees to meet the Duke presently at the 
 moated grange. 
 
 Act III. sc. ii. While Isabella is upon this business, Pompey 
 and then Mrs OTerdone are taken into custody. It is evening now. 
 " Good even, good father," says Escalus to the Duke. Twice again in 
 this scene reference is made to Claudio's death as fixed for the mor- 
 row, and at the end of it the Duke refers to his plot on Angelo for 
 " to-night." 
 
 Act IV. sc. i. Mariana in the moated grange. The Duke makes 
 his appearance, and she says — 
 
 " Here comes a man of comfort, whose advice 
 Hath often still'd my brawling discontent." 
 
 Yet she only knows him as a Friar, and it was but this morning that 
 he assumed the disguise ; for we are still in the fiist day represented 
 on the stage since his supposed departure from Vienna. 
 
 Isabella now arrives ; she has agreed to meet Angelo " upon the 
 heavy middle of the night" and they have to make haste, for " the 
 vaporous night approaches." Mariana consents to the plot. 
 
 Act IV. sc. ii. In the Prison. The Provost engages Pompey as 
 an assistant to the executioner ; for " to-morrow morning are to die 
 Claudio and Bamadine." He tells Abhorson to provide his block 
 and axe " to-morrow four o'clock." A little later Claudio enters, and 
 he says — 
 
 " Look, here's the warrant, Claudio, for thy death : 
 'Tis now dead midnight, and hy eight to-morroio 
 Thou mv^t he made immortal." 
 
 Day 3, then, begins here. The Duke enters. " The best and 
 wholesomest spirits of the night envelope you, good Provost," says 
 he. He comes to ask if any countermand for Claudio has yet 
 reached the prison. None has, nor does the Provost expect any, for 
 
 " upon the very siege of justice 
 
 Lord Angelo hath to the public ear 
 Profess'd the contrary." 
 
 This must refer to Act II. sc. i., and is important as showing that no 
 order deferring the execution of Claudio has been given by Angelo in 
 
1 38 VIII. p. A. DANIEL. TIME-ANALYSIS OP MEASURE FOR MEASURE. 
 
 consequence of Isabella's interviews -with him, and, notwitlistanding 
 that the second interview was appointed for the morrow, it helps 
 to prove that both those interviews were on the busy day just 
 ended. 
 
 A messenger now arrives with a private note from Angelo to the 
 Provost that " Claudio he executed by four of the clock ; and in the 
 afternoon Bamardine ; '' and he desires to have Claudio's head sent 
 liim by five. As the messenger departs he says, " Good morrow ; for, 
 as I take it, it is almost day." 
 
 The Duke now persuades the Provost to preserve Claudio's life 
 and substitute for his head Barnardine's, and he cv&ybs hut four days' 
 respite to biing all things to a prosperous conclusion : later on he 
 assures the Provost that the Duke wiU be here within these two days; 
 and, as the scene ends, he remarks, " It is almost clear dawn ; " so that 
 we are now clearly entered on the third day of the action represented 
 on the stage j the second since the Duke's supposed departure from 
 Vienna. 
 
 Ifote tnat in Act II. sc. i. Claudio was to be executed at 9 a.m. 
 In the scene which has just concluded the block is to be provided for 
 4 a.m. ; according to the warrant the time is fixed at 8 a.m. ; and 
 in Angelo's private note it is 4 a.m. 
 
 Act rV". sc. iii. follows in time immediately on the preceding 
 scene. We are stUl in the Prison. Pompey and Abhorson, and 
 subsequently the Duke, try to persuade Bamardine to come and be 
 "killed ; he obstinately declines, and then the Provost gets out of the 
 difficulty by providing the head of the pirate Eagozine, who has 
 opportunely died that morning. He himself undertakes to carry it 
 at once to Angelo, for the hour [five] draws on prefixed by him. 
 Again the Duke teUs the Provost that aU wiU be safe 
 
 " Ere twice the sun hath made his journal greeting 
 To the under generation." 
 
 The Duke, left alone, says he will now write letters to Angelo, 
 " whose contents shall witness to him I am near at home.'' And he 
 proposes to himself that the Provost shall bear these letters. 
 
 Isabella now enters, and the Duke greets her with " Good 
 morning to you, fair and gracious daughter." He conceals from 
 
VIII. p. A. DANIEL. lllSM-A-NAJLYaia 0¥ MEASUHE FOR MEASURE. 139 
 
 her her brother's preservation, and informs her that the "Duke 
 comes home to-morrow," and that one of his convent has abeady 
 "carried notice to Escalus and Angelo :" in fact, that the notice 
 he proposed to send by the Provost has been already delivered 
 by another person, Friar Peter ; and he gives her a letter to this 
 Priar in order that he may bring her before the Duke on his entry, 
 where she may accuse Angelo. Lucio now enters, and salutes them 
 with " Good even," so that it appears the day has suddenly grown 
 old during this early morning scene. 
 
 Act IV. so. iv. Angelo and Escalus discuss the Duke's letters 
 and arrange for his public entrance on the morrow. The order for 
 the despatch of complaints is to be proclaimed betimes i' the morn, 
 and Angelo bids Escalus " Good night " when he departs. "With 
 this scene ends the third day of the action. 
 
 Day 4. Act IV. sc. v. and vi. and Act V. represent the morn- 
 ing of the Duke's public entry ; during which Angelo is unmasked, 
 and all wrongs are righted and faults pardoned. 
 
 The time of the Play, then, is four days : — 
 
 Day 1. Act I. sc. i. may be taken as a kind of prelude, after 
 which some little interval must be supposed in order to permit the 
 new governors of the city to settle to their work. The rest of the 
 Play is comprised in three consecutive days. 
 
 Day 2. Commences with Act I. sc. ii, and ends in Act IV. 
 sc. ii. 
 
 Day 3. Commences in Act IV. sc. ii. and ends with Act IV. 
 sc. iv. 
 
 Day 4. Includes Act IV. sc. v. and vi. and the whole of Act 
 v., which is in one scene only. 
 
 COMEDY OF ERRORS. 
 
 First printed in Folio ; divided into acts. The scenes not 
 numbered. 
 
 The whole time of the dramatic action is comprised in one day, 
 ending about 5 p.m. 
 
140 VIII. p. A. DANIEL. TIME- ANALYSIS OF COMEDY OF ERBOBS. 
 
 Note. — When Egeon and his family were floating on the mast two 
 ships of Corinth and of Epidarus made amain to them. Their mast 
 being broken on a rock, the family was divided. Egeon supposed 
 that his wife and the children with her were picked up by the 
 Corinth ship (Act I. sc. i.). The wife says that she was picked up 
 by men of Epidamnium, the children afterwards forcibly taken from 
 them by the Corinth men, and she left to take to the " fortune that 
 you see me in " (Act V. sc. i.). 
 
 Egeon is picked up by "another ship," is recognized,, and of 
 course returns home to Syracuse. At eighteen years of age his son 
 who was rescued with him, sets out to seek his brother, and has been 
 sciym years wandering about when he arrives at Ephesus (Act V. 
 sc. i.) ; he is then twenty-Jive years old. Yet the Abbess, his mother, 
 declares at the end of the Play — 
 
 " Thirty-three years have I but gone in travail 
 Of you, my sons ; and till the present hour 
 My heavy burthen ne'er delivered." 
 
 Antipholus of Ephesus was brought from Corinth by Duke 
 !^^ennphon, at what age does not appear ; but the present Duke has 
 been his patron for twenty years. 
 
 Egeon, after the departure of Antipholus of Syracuse, has been wan- 
 Juring " five summers " in search of him when he arrives in Ephesus. 
 
 MUCH ADO ABOUT NOTHING. 
 
 First printed in Quarto, with no division of acts and scenes. In 
 the Folio the acts are numbered, but not the scenes. 
 
 Day 1. Act I. and sc. i. of Act II. represent the afternoon and 
 evening of Don Pedro's arrival at Leonato's. A great supper is pro- 
 vided, after which at a masked ball the Prince woos Hero for Claudio, 
 as agreed between them in the first scene of the Play. Claudio wishes 
 his marriage to take place on the morrow, but Leonato defers it " till 
 Monday, . . . which is hence a just seven-night." The Prince proposes 
 that in the interim they shall employ themselves in bringing Beatrice 
 
VIII. p. A DANIEL. llM.'E-A'SAljrSlS 0¥ MUCH AW ABOUT NOTJIING. 141 
 
 and Benedick " into a mountain of affection the one with the other." 
 These scenes, then, are on a Monday. E"ote that in the opening 
 scene the Prince says that their stay with Leonato will bo "at the 
 least a month." 
 
 Day 2. Act II. sc. ii. Don John resolves to cross Claudio's 
 marriage. This scene cannot certainly be later than the second day 
 of the action, for Don John must have had early news of the pro- 
 posed marriage. It may possibly be included in the first day. We 
 have, however, a week to dispose of, and may perhaps employ one 
 day of the week for this scene, and call it the second day, or Tuesday. 
 
 Note that Borachio here professes to have overheard in the musty 
 room he had been smoking the conversation between the Prince and 
 Claudio which Antonio's man had overheard in the orchard (Act I. 
 sc. ii.). 
 
 Day 3. Act II. sc. iii. Benedick in the orchard ; he conceals 
 himself as the Prince, Claudio, and Leonato enter, with music. After 
 the music they, being aware of his concealment, hold out for him the 
 lure which is to entice him into the toils of love. Towards the end 
 of the scene Leonato remarks that " dinner is ready," and Beatrice is 
 afterwards sent to bid Benedick " come in to dinner." This " dinner " 
 I am disposed to think must be a slip for " supper ; " the feeling of the 
 scene — in the early part especially — is that of a quiet afternoon, and 
 Claudio distinctly marks the time with the charming lines — 
 
 " How still the evening is. 
 As hush'd on purpose to grace harmony." 
 
 I place this scene in the third day (Wednesday). The love con- 
 spirators would scarcely defer their attempt on Benedick's peace of 
 mind to a later date ; but yet, for the verisimilitude of their descrip- 
 tion of Beatrice's passion — " she'll be up twenty times a night, and 
 there wOl she sit in her smock till she have writ a sheet of paper," 
 etc. — we must suppose a night or two to have passed since the 
 opening scene. 
 
 Here, for reasons manifested in the next scene, I am forced to 
 mark an interval of three days, Thursday, Friday, and Saturday. 
 
 Day 4. Act III. sc. i. Hero and Ursula lay a lilte trap for 
 
142 VIII. p. A. DANIEL. TIME- ANALYSIS OF MUOE ABO ABOUT NOTHINa. 
 
 Beatrice as that by which Benedick has been caught. That they 
 should have deferred doing so till now is strange, for we are now 
 clearly on the eve of the wedding. Ursula asks, " When are you 
 married, madam 1 " [Why does she ask this question 1 She must 
 have known the day.] And Hero replies — 
 
 " Why, every day, to-morrow. Come, go in : 
 I'll show thee some attires, and have thy counsel 
 Which is the best to furnish me to-morrow." 
 
 According to Leonato the first day of the action was a Monday, 
 and then the wedding was fixed for the next Monday ; as this scene 
 is on the eve of the wedding it must therefore be Sunday. 
 
 Act III. sc. ii. The same day. Don John, being assured that 
 the marriage is to take place on the morroio, proposes, ia pursuance ot 
 his plot, to prove to the Prince and Claudio, this very night, the 
 guUt of Hero. 
 
 Note, in the opening speech of this scene, Don Pedro says, " I do 
 but stay tiU your marriage be consummate, and then go I toward 
 Arragon." He has changed his mind, then, since the opening day, 
 when he proposed to stay " at the least a month " with Leonato. 
 
 Act III. sc. iii. Late at night. Dogberry and Verges give their 
 charge to the watch, and in especial pray them to " watch about 
 Signior Leonato's door; for the wedding being there to-morrow, 
 there is a great coil to-night.'' Borachio and Conrade enter, and the 
 former tells how by his wooing of Margaret at Hero's window he has 
 deceived the Prince and Claudio. They are overheard by the watch 
 and arrested. 
 
 Day 6. Act. III. sc. 4. The wedding day — early morning. 
 Hero and her maids are attiring foi:' the ceremony. Beatrice joias 
 them, and we learn that " 'tis almost five o'clock." At the end of 
 the scene Ursula announces that " the prince, the count, Signior 
 Benedick, Don John, and aU the gallants of the town, are come to 
 fetch you to church." 
 
 Act III. sc. V. Dogberry and Verges inform Leonato that the 
 watch have to-night ^ taken " two aspicious persons," and they would 
 
 ' to-night = last night. See instances noted in Schmidt's Shakespeare 
 Lexicon, s. v. To-night. 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF MUCH ADO ABOUT NOTHmG. 143 
 
 have them this morning examined before his worship. He tells them 
 to examine the prisoners themselves, and is then summoned hy a 
 messenger, — " My lord, they stay for you to give your daughter to 
 her husband." 
 
 Act IV. sc. i. In the church. Claudio accuses Hero of her 
 supposed gmlt — witnessed by him "yesternight," "last night," at 
 her chamber window — and rejects her. She swoons, and after the 
 departure of Claudio and his friends it is agreed that it shall be 
 given out that she is dead. 
 
 Act lY. sc. ii. Borachio and Conrade are examined by the 
 watch ; Hero's innocence established ; and we hear that Don John, 
 the author of the mischief, has " this morning secretly stolen 
 away." 
 
 Act V. sc. i. Leonato and Antonio threaten the Prince and 
 Claudio with vengeance for Hero's death. Benedick challenges 
 Claudio. The watch bring in Conrade and Borachio, and the latter 
 confesses his guilt. Leonato determines that in satisfaction for his 
 daughter's death Claudio shall 
 
 " Hang her an epitaph upon her tomb 
 And sing it to her bones, sing it tonight," 
 
 and that " to-morrow morning " he shall accept as his wife, in lieu of 
 Hero, a daughter of his brother. 
 
 Act V. sc. ii. Benedick has a meeting with Beatrice ; at the end 
 of the scene they learn that Hero's innocence is established. 
 
 Act V. sc. iii. The night has come, and the Prince and Claudio 
 fulfil their promise of hanging an epitaph upon the monument of 
 Leonato in honour of Hero. 
 
 The night passes into day — 
 
 " The wolves have prey'd ; and look, the gentle day, 
 Before the wheels of Phoebus, round about 
 Dapples the drowsy east with spots of grey." 
 
 " Come, let us hence," says the Prince, " and put on other weeds ; 
 and then to Leonato's we will go." 
 
 In this scene ends the day of the broken-oif wedding, and the 
 day commences which ends the Play in the next scene. 
 
144 VIII. p. A. DANIEL. TIME!-ANALYai3 OF MUCH ADO ABOUT NOTHING. 
 
 Day 6. Act V. sc. iv. Claudio accepts as his wife Leonato's 
 supposed niece, who on unmasking is discovered to he the true Hero. 
 Benedick and Beatrice resolre on marriage, and all ends happily. 
 
 It wiU he seen that in the endeavour to make the action of the 
 Play agree as far as possible with Leonato's determination in Act II. 
 sc. i., that the marriage of Claudio and Hero shall take place on 
 " Monday . . . which is hence a just seven-night," I have supposed 
 the following days to he represented on the stage. 
 Day 1. Monday. Act I. and sc. i. of Act XL 
 „ 2. Tuesday. Act II. sc. ii. 
 „ 3. Wednesday. Act II. sc. iii. 
 Thursday, i 
 Friday. ! Blank. 
 Saturday. / 
 „ 4. Sunday. Act III. sc. i. — iii. 
 
 „ 5. Monday. Act III. sc. iv. and v., Act IV. sc. i. and ii,, 
 Act. V. so. i., ii., and part of iii. 
 
 Day 6. Tuesday. Act V. sc. iii. (in part) and sc. iv. 
 The first Tuesday even in this scheme might very well he left a 
 blank, and the sc. ii. of Act II. be included in the opening Monday. 
 I believe, however, that just as the Prince forgets his determina- 
 tion to stay "at the least a month" at Messina, so the "just seven- 
 night " to the wedding was also either forgotten or intentionally set 
 aside, and that only four consecutive days are actually included in 
 the action of the drama. 
 
 Day 1 . Act I. and Act II. sc. i. and ii. 
 „ 2. Act II. sc. iii. and Act III. sc. i. — iii. 
 „ 3. Act III, sc. iv. and v., Act IV., Act V. sc. i., ii., and part 
 of iii. 
 
 Day 4. Act V. part of sc. iii. and sc. iv. 
 
 Note. — I take this occasion — as the matter is in some degree a 
 question of time — to endeavour at an explanation of a phrase which 
 must have made many a reader pause. In Act III. sc. i. where 
 Ursula asks, " When are you married, madam ? " Hero replies — 
 
 "Why euerie [euBry Qo.J day to morrow," — Fo. 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF MUCB ADO ABOUT NOTHING. 145 
 
 Tlio usual punctuation is — 
 
 Why, every day; — to-morrow : — Var. ed. 1821, etc. 
 The Cambridge editors have — 
 
 Why, every day, to-morrow. — 
 
 Mr. Collier (Notes and Emendations) considers the answer to he 
 unintelligible, and that " the correction of the Polio, 1632, has made 
 it quite clear by setting right a misprint : there Hero replies, ' Why, 
 in a day, — to-morrow.' " 
 
 Mr. Staunton, as far as I am aware, is the only editor who 
 attempts an explanation : ho prints — 
 
 Why, every day to-morrow : — 
 
 and says, — " Hero plays on the form of Ursula's interrogatory, 
 ' When are you married ? ' 
 
 '1 am a married woman every day, after to-morrow.' " 
 
 I cannot consider either the emendation or the explanation as 
 satisfactory : I fancy that " every day " is here used in the sense of 
 immediately, without delay, as the French incessament. 
 
 I have met with one other instance of the use of the phrase, and 
 I quote it as evidence in favour of the integrity of the text of Much 
 Ado. 
 
 " Goldstone. Fare thee well : when shaU_ I see thee at my 
 chamber, when^ 
 
 " Fitzgrave. Every day, shortly." 
 
 Middleton, Your Five Gallants, Act IV. Sc. v., 
 ed. Dyce Vol. 11. p. 289. 
 
 LOVE'S LABOUR'S LOST. 
 
 First printed in Quarto with no division of acts and scenes. The 
 acts only numbered in the Folio ; where by some error, Acts IV. 
 and V. are both headed Actus Quartus. 
 
 Day 1. The first day of the action includes Acts I. and II. In it 
 the Princess of France has her first interview with the King of ISTavarre. 
 Toward the end of Act II. certain documents required for the estab- 
 
146 yill. p. A. DANIEL. TIME-ANALYSIS OP LOVe's LABOUR'S LOST. 
 
 lishment of the French claims are stated to have not yet come ] but, 
 says Boyet, "to-morrow you shall have a sight of them" (1. 166), 
 and the King teUs the Princess—" To-morrow shall we visit you 
 again" (1. 177). 
 
 Day 2. Act III. Aimado intrusts Costard with a letter to 
 Jaquenetta ; immediately afterwards Biron also intrusts him with a 
 letter for Eosaline, which he is to deliver this afternoon (1. 155). 
 
 Act IV. sc. i. The Princess remarks that " to-day we shall have 
 our dispatch." This fixes the scene as the morrow referred to in the 
 first day. Costard now enters to deliver, as he supposes, the letter 
 entrusted to him hy Biron. He mistakes, however, and gives up 
 Armado's letter to Jaquenetta. 
 
 Act IV. sc. ii. Costard and Jaquenetta come to Holophemes 
 and Nathaniel to get them to read the letter, as they suppose, of 
 Armado to Jaquenetta. It turns out to be the letter of Biron to 
 Eosaline, and Costard and Jaquenetta are sent off to give it up at 
 once to the King. It is clear that these scenes from the beginning 
 of Act III. are aU on one day ; but at the end of this scene Holo- 
 phemes invites Nathaniel and DuU to dine with him " to day at the 
 father's of a pupU of mine." This does not agree very weU with 
 " this aftei-noon '' mentioned in Act III., and one or the other — the 
 afternoon, I think — must be set down as an oversight. 
 
 Act IV. sc. iii. Still the same day. The Kiug, LongavUle, and 
 Dumain mutually detect each other of love, and Biron triumphs over 
 aU three till his own backslidings are exposed by the entry of 
 Costard and Jaquenetta with his letter to Eosaline. Finally, aU 
 four resolve to woo their mistresses openly, and determine that — 
 
 -in the afternoon 
 
 [They] wUl with some strange pastime solace them " (1. 376-7). 
 
 In pursuance of this idea in the next scene, Act V. sc. i., we find 
 Armado consulting Holophemes and Nathaniel — who have now 
 returned from their dinner — as to some masque with which " it is 
 the King's most sweet pleasure and affection to congratulate the 
 Piincess at her pavilion in the posteriors of this day, which the rude 
 
VIII. p. A. DANIEL. TIMK-ANALYSIS OF LOVe's LABOUb's LOST. 147 
 
 multitude call the afternoon" (1. 92-5). A masque of the Mne 
 "Worthies is determined on. 
 
 In the next scene the masque is presented accordingly, and with 
 this scene the Play ends. 
 
 The time of the action, then, is two days : — 
 
 1. Acts I. and II. 
 
 2. Acts III. to V. 
 
 MIDSUMMER-NIGHT'S DREAM. 
 First printed in Quarto, with no division of acts and scenes. 
 Divided into acts only in the Folio. 
 
 Day 1. Act I. sc. i. Athens. In the first two speeches the 
 proposed duration of the action seems pretty clearly set forth : — 
 
 " Theseus. !Now, fair Hippoiyta, our nuptial hour 
 Draws on apace ; four happy days bring in 
 Another moon : . . 
 
 Hippolyta. Four days will quickly steep themselves in nights ; 
 Four nights will quickly dream away the time ; 
 And then the moon, like to a silver how 
 New-bent in heaven, shall behold the night 
 Of our solemnities." 
 
 By this I understand, that four clear days are to intervene hit ween 
 the time of this scene and the day of the wedding. The night of this 
 day No. 1 would, however, suppose five nights to come betwesn. 
 
 Egeus complains that Lysander has stolen his daughter Hermia's 
 heart. Theseus counsels her, and gives her 'tiU. 
 
 -the next new moon. 
 
 The sealing-day betvrixt my love and me," 
 
 to consider of her fate. 
 
 The lovers agree to steal away from Athens " to-morrow night," 
 and meet in the wood a league without the town. 
 
 They confide their intention to Helena, who resolves to inform 
 Demetrius and meet in the wood too. 
 
 Act I. sc. ii. The clowns resolve also to meet in the wood to- 
 morrow night to rehearse their play of Py ramus and Thishie. 
 
148 VIII. p. A. DANIEL. TIME-ANALYSIS OF MJDSUMMEE-NIGBt'S DREAM. 
 
 Day 2. Act II., Act III., and part of sc. i. Act IV. are on the 
 morrow night, in tlie wood, and are occupied with the adventures of 
 the lovers ; with Oberon, Titania, Puck ; the clowns and Nick 
 Bottom. Daybrealc being at hand, the fairies trip after the night's 
 shade and leave the lovers and Bottom asleep. 
 
 Day 3. Act IV. sc. i. continued. Morning. Mayday. Theseus, 
 Hippolyta, etc., enter and awake the lovers with their hunting horns. 
 Theseus, addressing Egeus, says — 
 
 " Is not this the day 
 That Hermia should give answer of her choice ] 
 Egeus. It is, my lord." 
 
 Egeus's will as to the disposal of his daughter being overborne, 
 Theseus resolves that 
 
 " in the temple, by and by, with us 
 
 These couples shall eternally be knit." 
 
 And so all return lovingly to Athens. 
 
 In Act I. it will be remembered that four days were to elapse 
 before Theseus's nuptials and Hermia's resolve ; but here we see the 
 plot is altered, for we aie now only in the second day from the 
 opening scene, and only one clear day has intervened between day 
 No. 1 and this, the wedding-day. 
 
 Bottom now also awakes and returns to Athens. 
 
 Act TV. sc. ii. Athens. Later in the day. The clowns lament 
 the absence of Bottom. Snug enters to teU them that " the Duke is 
 coming from the temple." Shortly afterwards Bottom makes his 
 appearance, and tells them that " the Duke hath dined," and that they 
 must " meet presently at the jjalace." 
 
 Act V. In the Palace. Evening. Theseus asks — 
 
 -"What masques, what dances shall we have. 
 
 To wear away this long age of three hours 
 Between our after-supper and bed-time % " 
 
 The clowns' play of Pyranius and Thishie is then given. After 
 which, when 
 
 " The iron tongue of midnight hath told twelve," 
 
VIII. p. A. DANIEL. TIME- ANALYSIS OF MIDSUMMER-NIGHT'S DREAM. 149 
 
 all retire, leaving tLe stage free for the Fairies, who end the play with 
 a blessing on the house and its occupants. 
 
 According to the opening speeches of Theseus and Hippolyta in 
 Act I., we should have expected the dramatic action to have com- 
 prised five days exclusive of that Act ; as it is we have only three 
 days inclusive of it. 
 Day 1. Act I. 
 „ 2. Acts II., III., 'and part of sc. i. Act IV. 
 „ 3. Part of sc. i. Act IV., sc. ii. Act IV., and Act V. 
 
 MERCHANT OP VENICE. 
 First printed in Quarto, with no division of acts and scenes. 
 Divided into acts only in the Folio. 
 
 Day 1. Act I. sc. i. Venice. Bassanio, desiring to ofler him- 
 self as a suitor to Portia, applies to his friend Antonio for means to 
 enahle him to do so. Antonio's fortunes beiug aU at sea, he offers 
 Bassanio his credit to raise a loan, and they separate, each to enquire 
 where money is. 
 
 Act T. sc. ii. Belmont. Portia discusses with Nerissa the merits 
 of her suitors. It is evident, from the intimate knowledge she 
 displays of their manners and customs, that the suitors generally 
 sojourn some little time at Belmont before they decide whether they 
 will or will not risk their fortunes in the choice of the caskets. Four 
 of them [Iferissa recapitulates six] now seek to take their leave, and 
 the forerunner of a fifth, the Prince of Morocco, is announced ; lie 
 brings word that his master will be here to-night. 
 
 Act I. sc. iii. Venice. Shylock agrees to lend Bassanio three 
 thousand ducats; Antonio being bound to repay the sum on or 
 before the expiration of three months, on pain of forfeiting a pound 
 of his flesh to the Jew. As, in the beginning of this scene, Bassanio 
 tells Shylock that he may see Antonio if he wUl dine with them, the 
 time of this scene must be supposed the forenoon. 
 
 The two Venice scenes in this Act take place presumably on one 
 and the same day. The position of the Belmont scene, between the 
 
 N. S. BOC. TEANS., 1877-9. 11 
 
150 VIII. P.A.DANIEL. TllATi-A^AhYSlB Off MERCHANT OF VENIGE. 
 
 two, fixes it as concurrent with them in point of time. The day 
 presumably ends with the arrival of Morocco at Belmont. 
 
 An interval of some days — say a week — must now he supposed 
 in the action of the drama, for reasons stated in the comment on the 
 following scenes. 
 
 Day 2. Act II. sc. i. Belmont. Morocco determines to try his 
 fortune at the caskets. His hazard is to be made after dinner. 
 
 Act II. sc. ii. — vi. Venice. These scenes comprise the business 
 of a portion of one day, ending, at nine o'clock p.m., with the 
 embarkation of Bassanio for Belmont, and the elopement of Lorenzo 
 and Jessica. 
 
 Act II. sc. vii. Belmont. Morocco makes his choice of the 
 caskets, and fails. 
 
 The position of the two Belmont scenes (i. and vii.) — which 
 certainly take place on one and the same day— fixes the time of the 
 Venice scenes (ii. — vi.) as concurrent with them. It is also evident 
 that the first of these two Belmont scenes taking place in a forenoon, 
 after the arrival of Morocco, all these scenes (i. — vii.) must be placed 
 in a separate day from that represented in Act I. The question 
 remains, are we to consider this as the day following that of Act I. 
 or are we to imagine an interval between them 1 An examination of 
 the Venice scenes must determine this question. In them we find 
 Launcelot (sc. ii.) lamenting his hard life in Shylock's service ; he 
 knows that Bassanio gives " rare new liveries," and we may suppose 
 that in going of errands between Shylock and Bassanio he has gained 
 his knowledge of the superior comforts to be obtained in the service 
 of the latter. He accordingly petitions to be admitted his servant, 
 and he obtains his end ; for Bassanio " knows him well," and tells him 
 that this very day Shylock himself has preferred him. This fact alone 
 shows that Shylock — however inwardly he has cherished his hate — 
 has been at least for some little time in familiar intercourse with 
 Bassanio and his friends since the signing of the bond. We find, 
 too, that he has got over his horror of pork, and now accepts an 
 invitation to eat with the Christians almost as a matter of course. 
 The time has been employed by Bassanio in providing his outfit ; he 
 
VIII. p. A. DANIEL. TIME-ANALYSIS Oi MERCHANT OF VENICE. 151 
 
 has engaged his sMp, and is now waiting for a fair wind. Lorenzo, 
 too, has been courting Jessica, and persuading her to elope with him. 
 And Jessica, in Act III. sc. ii. 1. 287 — 90, testifies that when she 
 was with her father, i. e. after the signing of the bond, she had 
 
 " heard him swear 
 
 To Tubal and to Chus, his countrymen,' 
 That he would rather have Antonio's flesh 
 Than twenty times the value of the sum 
 That he did owe him." 
 
 All this manifestly supposes a lapse of time since the signing of the 
 bond, and I should allow an interval of several days — say a week — 
 between Acts I. and II. It is true that if we allow this interval in 
 Venice we must also allow it in Belmont, and suppose Morocco to 
 have sojourned there a week before making his choice of the caskets ; 
 but there seems to me nothing improbable lq this if we consider the 
 custom of the suitors (see Act I. sc. ii.). 
 
 An interval of one day ; for reasons see comment on Day 3. 
 
 Day 3. Act II. sc. viii. Venice. Salarino and Salanio discuss 
 Shylock's rage on discovering the flight of his daughter. Salarino 
 reports that he had reasoned with a Frenchman yesterday who 
 brought news of the loss of a Venetian vessel in the narrow seas ; 
 he hopes it may not be one of Antonio's. 
 
 Act II. sc. ix. Belmont. The Prince of Arragon makes his 
 choice of the caskets, and fails. As he takes his departure Bassanio's 
 forerunner is announced ; he brings word of the approach of his lord. 
 
 I make these two scenes coincident in point of time, and suppose 
 them to take place on the second day after Bassanio's embarkation. 
 We may suppose him to arrive at Belmont on the day his approach 
 is announced. "We cannot allow him longer time for his journey, for 
 we shall see later in the Play that the distance between Belmont and 
 Venice is but a day's journey. I^either can we give this day No. 3 
 an earlier date; for the yesterday mentioned by Salarino cannot 
 possibly refer to a time earlier than the first day after Bassanio's 
 departure from Venice. The only possible scheme of time seems to 
 me that which I propose, and I must therefore ask the reader to take 
 
152 VIII. P.A.DANIEL. VITAE-A^ALYaia OV MEBniIANT OF VBmCS. 
 
 his faith in both hands, and believe in an interval of one day 
 between these two scenes and those which precede them. 
 
 An interval bringing the time to -within a fortnight of the 
 maturity of the bond. 
 
 Day 4. Act III. so. i. Venice. Salanio and Salarino are stiU 
 harping on the loss of the ship in the narrow seas ; but now the 
 rumour is that it is really one of Antonio's, and though the mention 
 of this ship connects the scene with Act II. scene viii. (Day 3), it 
 also marlcs the advance of time. The fact that Shylock, who joins 
 them, is still brooding over his daughter's flight does not by any 
 means necessitate a close approximation of the time of this scene and 
 that of the elopement. As the scene progresses we find him already 
 beginning to talk of Antonio as a probable bankrupt, and uttering 
 threats in anticipation of the forfeiture of the bond. Tubal, who 
 now makes his appearance, accounts for a considerable portion of the 
 past time, and we learn from his conversation with Shylock that he 
 has just returned from a fruitless pursuit of Jessica, in tracing whom 
 ho has been as far as Genoa. He brings news, too, of the loss of 
 another of Antonio's ships, and tells how divers of Antonio's 
 creditors swear he cannot choose but break. Whereupon Shylock 
 gives him this instruction : — " Go, Tubal, fee me an ofiioer; bespeak 
 him a fortnight before." However doubtful we may feel as to its 
 flight, this distinct note of time leaves us no choice but to believe 
 in an interval, between this and the preceding scenes, of sufficient 
 length to bring the three-months bond to within a fortnight of its 
 maturity. 
 
 An interval of rather more than a fortnight must now be 
 supposed. 
 
 Day 6. Act III. sc. ii. Belmont. Bassanio makes his choice, 
 of the caskets and wins Portia for his wife. Gratiano announces 
 that lie and Iferissa intend to follow their example. Salerio now 
 arrives, accompanied by Lorenzo and Jessica; ho brings the news 
 that the bond is forfeit, and that Antonio is fallen into the power of 
 the Jew. With the assent of their wives Bassanio and Gratiano set 
 out at once for Venice. 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF MERCHANT OF VENICE. 153 
 
 Act III. sc. iii. Venice. Antonio in custody. We learn from 
 him that the trial is to take place on the morrow. 
 
 Act III. sc. iv. Belmont. Portia confides the care of her 
 house to Lorenzo, and sets out for Venice with Nerissa, having 
 previously despatched Balthazar to Padua to receive instructions from 
 Bellario. 
 
 It is evident that the two Belmont scenes, ii. and iv., are on one 
 and the same day. The position of the Venice scene, iii., fixes it 
 also on that day. As Bassanio, Portia, etc., are all present at the 
 trial on the morrow mentioned by Antonio, it follows that the 
 journey between Belmont and Venice cannot be more than what 
 could be effected in the interim. "We must, in fact, be satisfied 
 with a rough estimate of the distance as a day's journey. 
 
 In Act III. sc. i. (day No. 4) we arrived at the conclusion that 
 all but a fortnight of the three months of the bond had expired. 
 More than a fortnight's interval, therefore (allowing for Salerio's 
 journey, and the time passed by him in Venice after the arrest, 
 during which the chief citizens interceded with Shylock on behalf of 
 Antonio), must be supposed between sc. i. and sc. ii. — iv. of this 
 Act. So far all is clear : the difficulty is to account for Bassanio's 
 proceedings since his arrival at Belmont. We cannot fix the time of 
 his arrival with precision ; but granting the first week's interval, 
 spent in Venice in preparing for his journey, and his arrival at 
 Belmont on the second day after his embarlcation, we still are but 
 nine days from the signing of the bond, and now when he makes his 
 choice of the caskets more than the full three months of the bond 
 have expired. We allowed Morocco a week in which to make his 
 suit to Portia; to Arragon we could only afford one day; but 
 Bassanio has taken the unconscionable time of some twelve weeks ! 
 And yet when he at last determines to risk his fortunes in the choice 
 of the caskets, Portia addresses him with — 
 
 '* I pray you tarry : pause a day or two. 
 
 I would detain you here some month or two 
 Before you venture for me," etc. 
 
 This speech apart, however, we need not find much difficulty in 
 
154 VIII. p. A. DANIEL. TIME-ANALYSIS OP MERCHANT OF VENICE. 
 
 allowing for a somewhat lengthy sojourn at Belmont of Bassanio and 
 his suite. The dialogue between him and Portia is that of two per- 
 sons who by long intercourse are mutually certain of each other's 
 love, and tremble lest fate should divide them. It is certain also 
 that Bassanio is now no new-comer, for he refers to the time — 
 
 " When I did first impart my love to you," etc., 
 
 and the mere sound of this line carries us back a long way into time- 
 past. We must suppose — and the poet intended we should suppose 
 — that Bassanio has heen following Antonio's advice, and staying 
 "the very riping of the time" (II. viii. 40). And Portia and he 
 have not been alone in their wooing ; Gratiano has been hard at it 
 too, wooing till he sweat again, and "at last" Nerissa has promised 
 him her hand if Bassanio achieve her mistress. We may even find 
 some support for our theory of long-time at Belmont in the accusation 
 which Lorenzo, in Act III. sc. v., brings against Launcelot in con- 
 nection with the Moor : a period of some twelve weeks, I am toM» 
 would be absolutely necessary before such an accusation could have 
 any appearance of probability. 
 
 Day 6. Act III. so. v. Belmont. Lorenzo, Jessica, and 
 Launcelot in the garden, before dinner. 
 
 Act IV. sc. i. Venice. The trial. This scene also takes place 
 before noon : towards the close the Duke invites Portia home with 
 him to dinner. She excuses herself on the plea that she must away 
 this night to Padua, and must presently set forth. Bassanio and 
 Antonio propose to fly toward Belmont early next morning. 
 
 Act IV. sc. ii. This scene follows close on the preceding one. 
 
 In it Portia and Nerissa obtain their husbands' rings. Portia 
 
 proposes — 
 
 " We'll away to-night, 
 
 And he a day before our husbands home.'' 
 
 Days 7 and 8. Act V. Belmont. At night in the garden. 
 Lorenzo and Jessica discourse on music. Portia and Nerissa arrive. 
 Afterwards Antonio, Bassanio, and Gratiano. The mock quarrel 
 takes place about the rings, which the ladies pretend they had 
 
VIII. p. A. DANIEL. TIME- ANALYSIS OP MERCHANT QF VENICH. 155 
 
 received from the Doctor and Hs clerk last niglit, — i. e. on the 
 shortest time theory, the night of the day of the trial, — and the Play 
 ends at two hours before day. 
 
 Time : eight days represented on the stage ; with intervals. 
 Total time : a period of rather more than three months. 
 
 Day 1. Act I. 
 
 Interval — say a week. 
 „ 2. Act II. sc. i. — ^vii. 
 
 Interval — one day. 
 „ 3. Act II. sc. viii. and ix. 
 
 Interval — bringing the time to within a fortnight of 
 the maturity of the bond. 
 „ 4. Act III. sc. i. 
 
 Interval — rather more than a fortnight. 
 ,, 5. Act III. sc. ii. — iv. 
 „ 6. Act III. sc. v.. Act IV. 
 „ 7 and 8. Act V. 
 
 Note. — Much of this article is unavoidably a repetition of a 
 paper read before the N. 8. Soc. on the 12th Oct., 1877, and printed 
 in the Transactions of that date, prepared by me in refutation of the 
 Eev. N. J. Halpin's Time-Analysis of The Merchant of Venice, in 
 which that gentleman endeavoured to prove that the whole " drama- 
 tic time of the action " was limited to thirty-nine consecutive hours ! 
 
 About the beginning of the present century Ambrose Eceles 
 published editions of The Merchant of Venice-, King Lear, and 
 Gymbeline. Part of his plan was to note the supposed time of each 
 scene and its relation, in this respect, with the rest j to do in fact for 
 these three plays what is here attempted for the whole series. My 
 scheme of time for these plays was completed before I became aware 
 of his work ; but as he is, so far as I know, the only editor who has 
 attempted anything of the kind, I have thought it might be of 
 interest to note here the variations between his scheme of time and 
 my own. 
 
 Of my Day No. 2 he makes two days by bringing together the 
 Belmont scenes i. and vii., in which Morocco is concerned, and 
 
156 VIH. p. A. DANIEL. TlMB-ANALrSIS OF MERCHANT OF VENICE. 
 
 placing them as tlie morrow of Day 1 in Act I. as sc. iv. and v. Of 
 the Venice scenes ii. to vi. he makes a separate day, and hetween 
 the two days thus obtained he places the interval required for 
 Bassanio's preparations after signing the hond. 
 
 He includes in my Day No. 5 the Belmont scene, Act. III. sc, v. 
 
 He also makes the whole of Acts IV. and V., beginning with 
 the Trial in Venice and ending in the garden at Belmont, one day. 
 To do this, however, he is obliged to explain away Bassanio's resolution 
 of starting for Belmont on the morning after the Trial, and he entirely 
 overlooks Nerissa's " last night " on which the ring quarrel is 
 established. 
 
 In other respects our divisions of this play are substantially in 
 agreement. 
 
 The editions of Eccles's work that I have seen are King Lear and 
 Cymheline, London, 1801, and Merchant of Venice, Dublin, 1805. 
 Lowndes mentions other editions of the two first plays dated 1793, 
 1794, and 1805. 
 
 AS YOU LIKE IT. 
 
 FiEST printed in the Folio ; divided into acts and scenes. 
 Day 1, Act I. sc. i. Orlando's altercation with his brother 
 Oliver. Charles, the Duke's wrestler^ comes to warn Oliver not to 
 let Orlando take part in the match which is to come off next day j 
 but the affectionate elder brother tells him he had as lief he broke 
 his neck as notj indeed encourages him to do so. One might judge 
 from the talk between the two that the " old Duke's '' banishment 
 was quite a recent event. Nothing new at Court has occurred since 
 then, and it is only an on dit that " he is already in the forest of 
 Arden." Oliver confirms this impression by asking if Eosalind be 
 banished with her father, and Charles teUs him, no; the love 
 between the cousins being so great that Celia would have followed 
 her exile, or have died to stay behind. This is somewhat at variance 
 with what follows : in Act I. sc. iii., when the Duke banishes 
 Eosalindj he says — 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF AS YOU LIKE IT. 157 
 
 " Ay Celia ; we stay'd her for your sake, 
 Else had she with her father ranged along, 
 Celia. I did not flien entreat to have her stay, 
 
 I was too younc/ that time to value her ; 
 But now I know her," etc. 
 
 Observe, too, that in Act II. sc. i. the banished Duke says, " Hath 
 not old custom made this life more sweet,'' etc. 
 
 Day 2. . Act I. sc. ii. The wrestling match. Charles ia 
 defeated by Orlando. Orlando and Rosalind fall in love. Le Beau 
 informs Orlando of the Duke's displeasure and counsels him to 
 depart. 
 
 Act I. sc. iii. The Duke banishes Eosalind. She and Celia 
 resolve to fly together, and to take Touchstone with them. 
 
 Act II. sc. i. In the forest of Arden, with the banished Duke 
 and his lords. " Hath not old custom," etc. Description of Jaqiies 
 meditating on the wounded deer ; the Duke goes out to seek him. 
 
 This scene in our scheme of time may be supposed concurrent 
 with the two preceding scenes. 
 
 Note that Act II. sc. iii. must also be included in this Day 2. 
 
 An interval perhaps might be expected between the day of 
 Rosalind's banishment and the day (No. 3) on which her flight ia 
 discovered. The Duke allows her ten days for preparation ; but she 
 and her companions would hardly delay so long, and any delay at 
 all would throw the scheme of time utterly out of gear. See the 
 comment on Act II. sc. vi. I believe the author started them on 
 their journey on the night ensuing the banishment, and made Days 
 1, 2, and 3 consecutive. In Lodge's Rosalynde, it may be observed, 
 the Duke, who banishes his daughter as well as his niece, bids them 
 depart the same night. 
 
 Day 3. Act II. sc. ii. The flight of Eosalind and Celia is dis- 
 covered ; it is believed that Orlando is in their company, and the 
 Duke orders that he be sent for, and, if absent from his brother's 
 house, that Oliver himself be brought before him, " suddenly.'' 
 
 Note that Act III. sc. i. must either be included in this Day 3 or 
 be supposed to occur on the following morning at the latest. 
 
158 VIII. p. A. DANIEL. TIME-ANALYSIS OF AS YOU LIKE IT, 
 
 [Act II. sc. iii. Orlando returns home from the -wrestling. 
 Adam warns him not to enter the house, and together they set out 
 to seek their fortune. 
 
 The time of this scene must evidently be the evening of Day No. 
 2, and I accordingly enclose it in brackets, as being out of place.] 
 
 An interval of a few days between Days 3 and 4 must now be 
 supposed, whUe Kosalind and her companions, and Orlando and 
 Adam journey towards Arden. 
 
 Day 4. Act II. sc. iv. Eosalind, Celia, and Touchstone arrive 
 in the forest of Arden. They meet with old Corin and purchase the 
 Sheepcote for their residence. It is evening when they arrive. 
 " Good even to you, friend," says Eosalind, addressing Corin. 
 
 Day 5. Act II. sc. v. Morning in the forest. Jaques with 
 Amiens and others join in song, whUe the Duke's banquet is being 
 prepared. Amiens tells Jaques that the Duke " hath been all this 
 (lay to look you ; " " all this day,'' as we shall see in the following 
 scene vii., means only all this morning. Jaques now goes out saying 
 he wUl go sleep, and Amiens goes to seek the Duke ; " his banquet 
 is prepared." 
 
 Act II. sc. vi. Orlando and Adam arrive in the forest. Ob- 
 serve, that they set out on their journey on the evening of day 
 No. 2, but arrive a day later than Eosalind and her companions. 
 These arrivals are against any interval being allowed between Days 
 2 and 3. 
 
 Act II. sc. vii. A continuation of the preceding scene v. First 
 Lord tells the Duke, who has been seeking Jaques — 
 
 " My lord, he is but even now gone hence : 
 Here was he merry, hearing of a song." 
 
 Jaques again makes his appearance; he did not go asleep after aU; 
 he met with Touchstone, and is now full of his new acquaintance. 
 His mention of Touchstone's consulting his dial and telling it was 
 ten o'clock fixes the time of the scenes of Day 5 as morning scenes. 
 The foresters now sit to the table, and Orlando enters with drawn 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OP AS YOU LIKE IT. 159 
 
 sword to demand relief. He is welcomed, and goes out to return 
 again with old Adam. 
 
 It is a peculiarity of the banished Duke that he is always 
 seeking for Jaques ; he went out at the end of Act II. sc. 1. (Day 2) 
 with the intention of finding him, and in this sc. vii. he enters 
 complaining that he can nowhere find him. Was this intended as a 
 connecting link to the two scenes t If so, we must bring the earlier 
 scene to this Day 'No. 5 ; we can't put scenes v. and vii. of Act II, 
 back to scene i ; for the arrival in the forest of Touchstone, whom 
 Jaques has just met, comes between. 
 
 As it is not desirable to break the continuity of the dramatic 
 action with intervals that are avoidable, we may take it that this 
 meeting is on the first morning following the arrival of Eosalind, etc., 
 in the forest ; and therefore that Days 4 and 5 are consecutive. 
 
 [Act III. sc. i. Duke Frederick, in pursuance of his orders 
 issued in Act II. sc. ii. (Day 3), has now before him Oliver, and 
 calls on him to produce his brother dead or alive, and in the mean 
 time seizes on his lands and goods. 
 
 The time of this scene must evidently be put back to day No. 3, 
 or the morning immediately following it at the latest. Like Act II. 
 sc. iii. it is accordingly placed within brackets.] 
 
 An interval of a few days may be allowed between Days 5 and 6, 
 for reason of which see next scene. 
 
 Day 6. Act III. sc. ii. Orlando, who may now be considered 
 as settled in the banished Duke's service, employs his leisure 
 hours in hanging verses in praise of Eosalind on the trees ; Touch- 
 stone, who has now had a little experience of a shepherd's life, dis- 
 cusses with Corin the relative merits of Court and country. Eosalind 
 enters reading one of Orlando's sonnets ; Celia meets her reading 
 another, and tel^ her of Orlando's arrival. Orlando himself now 
 makes his appearance with Jaques, who, after a little skirmish of 
 wit, leaves him, and the cousins come forward to " play the knave 
 with him." Eosalind proposes to cure him of love, and he agrees to 
 court her as his mistress. 
 
 An interval — indefinite in duration — now seems requisite, during 
 
IGO VIII. p. A. DANIEL. TIME- ANALYSIS OF AS YOU LIKE IT. 
 
 which WO may imagine the inhabitants of the forest " fleetin" the 
 time carelessly, as they did in the golden world." The Duke and 
 his fellows hunting, carousing, and disputing with the melancholy 
 Jaques ; Orlando calling every day at the Sheepcote, wooinf his 
 mistress under the disguise of Gaflymede ; while Touchstone finds 
 out and courts Audrey. Whether time has progressed or stood 
 stiU matters not ; and now on one fine evening in 
 
 Day 7. Act III. sc. iii., we find Touchstone about to commit 
 matrimony with Audrey, who is here first introduced to us. Sir 
 Oliver Martext, however, is but a hedge-priest, and Jaques easily 
 persuades the couple to defer their marriage for a time. 
 
 Day 8. Act III. sc. iv. EosalLnd is in distress, for Orlando 
 " did swear he would come this morning, and comes not." A diver- 
 sion appears in the shape of Corin, who invites the cousins to witness 
 the wooing of Phebe by Silvius. 
 
 Act III. sc. V. In this scene, accoramgly, we find Silvius 
 pleading his love. Eosalind interferes and chides Phebe for lier 
 cruelty. Phebe is smitten with love of Ganymede (Eosalind), and 
 determines to write him a letter straight, which Silvius undertakes to 
 deliver. 
 
 Act IV. sc. i. Jaques meets Eosalind and Celia as they return 
 from witnessing the pageant of love played in the preceding scene. 
 He departs, however, on the entry of Orlando, who excuses the 
 neglect complained of in scene iv., as, after all, he comes within an 
 hour of his promise. Then follows a lesson of love, and Orlando 
 leaves to attend the Duke at dinner, but promises to return by two 
 o'clock. 
 
 Act rV. sc. ii. A short hunting scene, with song. Jaques, 
 Lords, and Foresters. 
 
 Act IV. sc. iii. Eosalind and Colia again. " Past two o'clock J 
 and here much Orlando." Silvius delivers Phebe's letter, and is 
 rallied for his pains. Olivier, who has wandered to the forest and 
 been rescued from the lioness by Orlando since scene i. of this 
 Act, now makes his appearance to excuse his brother's broken 
 promise, and to give Eosalind the napkin dyed in his blood. 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF AS YOU LIKE IT. 161 
 
 Wote that Oliver says — 
 
 " "When last the young Orlando parted from you 
 He left a promise to return again 
 Within an hour," etc. 
 
 In Act IV. so. i. 1. 180, Orlando said two hours. 
 
 Act Y. so. i. Touchstone and Audrey meet with William, who 
 is faced out of his claim to Audrey's hand. It is evening now, and 
 with this scene we should perhaps conclude the day ISTo. 8. 
 
 Day 9. Act V. sc. ii. Oliver acquaints Orlando with his love 
 for Aliena (Celia), and it is agreed they shall be married " to-mor- 
 row." Ganymede (EosaHnd) tells Orlando that the true Eosalind 
 shall appear to-morrow, and he shaU marry her if he will. Phehe 
 also agrees to marry Silvius to-morrow if she refuse Ganymede. 
 
 Act V. so. iii. Touchstone and Audrey also agree to be married 
 to-morrow. 
 
 It is possible that these two scenes should be included in the 
 previous day, No. 8.-; but the plot does not confine us to any par 
 ticular time, and it will be observed that in the last scene of that day, 
 as I divide it, evening has already come. We may reasonably allow 
 Orlando a night's rest after his wound, and suppose these scenes to 
 take place on the following morning. 
 
 Day 10. Act V. sc. iv. concludes the Play, and is the morrow 
 on which the several couples unite in holy matrimony. Jaques de 
 Boys enters to announce the restoration of the banished Duke to his 
 domains, and all ends happily. 
 
 The time, then, of this Play may be taken as ten days represented 
 on the stage, with such sufficient intervals as the reader may 
 imagine for himself as requisite for the probability of the plot. 
 Day 1. Act I. sc. i. 
 
 „ 2. Act I. sc. ii. and iii., and Act II. sc. i. [Act II. sc. iii.] 
 „ 3. Act II. sc. ii. [Act III. sc. i.] 
 
 An interval of a few days. The journey to Arden. 
 „ 4. Act II. sc. iv. 
 „ 5. Act II. sc. v., vi., and vii. 
 An interval of a few days. 
 
162 VIII. P. A. DANIEL. TIME- ANALYSIS OF AS YOU LIKE IT. 
 
 Day 6. Act III. so. ii. 
 
 An interval — indefinite. 
 „ 7. Act III. so. iii. 
 „ 8. Act III. sc. iv. and v., Act TV. sc. i., ii., and iii., and Act 
 
 V. sc. i. 
 „ 9. Act V. sc. ii. and iii. 
 „ 10. Act V, sc. iv. 
 Two scenes of the Play — Act II. sc. iii. and Act III. sc. i. — are 
 placed, veithin brackets, out of their actual order in this table. The 
 first must be referred to day No. 2, the second to day No. 3 [see the 
 analysis]. Looking to the time of the scenes, they are out of place : 
 the author seems to have gone back to resume these threads of the 
 story which were dropped while other parts of the plot were in 
 hand. 
 
 Other instances of this irregularity will be found in Antony and 
 Cleopatra and in Cymheline. 
 
 THE TAMING OF THE SHREW. 
 
 First printed in the Folio. Divided into Acts I., III., IV., and 
 V. Act II. not marked. No division of scenes. The division of 
 the last three acts difiers greatly from that of modern editions. 
 
 Actus Tertius includes Act III. sc. i. and ii., and Act IV. so. i. 
 and ii. 
 
 Actus Quartus commences with Act IV. sc. iii., and includes 
 Act V. sc. i. 
 
 Actus Quintus commences with Act V. sc. ii. 
 
 The Induction. The plot on Christopher Sly need not here engage 
 our attention. It is carefully elaborated up to the opening scene of 
 the Play itself, and its characters again appear in half-a-dozen lines of 
 dialogue at the end of sc. i ; after this it drops away from the Play 
 altogether, no conclusion to Sly's adventure being given as in the 
 older Play of " The Taming of a Shrew," 1594. 
 
 Day 1. Act I. sc. i. Lucentio and his man Tranio arrive in 
 Padua. They overliear Baptista's resolution that his younger daughter. 
 
VIII. p. A, DANIEL. TIME-ANALtaiS OF TAMIl/ia OF THE SEREW. 163 
 
 Bianca, shall not be bestowed until a husband for the elder daughter, 
 Katharine, is provided ; they also hear the promise of the two suitors 
 to Bianca, Gremio and Hortensio, to seek out masters for the educa- 
 tion of the ladies. Lucentio falls in love with Bianca, and, to gain 
 access to her, determines to offer himself as one of these masters, and 
 in the mean time he prevails on Tranio to personate him in Padua. 
 
 Act I. sC. ii. Petruchio arrives and calls on his old friend 
 Hortensio. Petruchio's purpose is to 
 
 " wive it wealthily in Padua ; 
 If wealthily, then happily in Padua." 
 
 Hortensio proposes Katharine to him, and he resolves at once that he 
 will not sleep till he see her. Hortensio further proposes that his 
 friend Petruchio shall offer him, 
 
 " disguised in sober robes. 
 To old Baptista as a schoolmaster 
 Well seen in music, to instruct Bianca." 
 
 In the mean time Lucentio has sought out Gremio, and now appears 
 with him, disguised as " Cambio," a schoolmaster, " well read in 
 poetry and other books," etc. Tranio (disguised as Lucentio) ako 
 makes his appearance in the character of a third suitor to Bianca. 
 The three competitors agree to gratify Petruchio equally if he achieves 
 Kathariue, and on the motion of Tranio they aU adjourn to quaff 
 carouses to their mistress' health this afternoon. 
 
 Day 2. Act II. sc. i. In Baptista's house. Katharine quarrels 
 with her sister. Baptista interferes, and his daughters retire. The 
 conspirators now enter. Petruchio presents himself as a suitor for 
 Katharine, and presents Hortensio, disguised as the musician " Licio." 
 Gremio presents Lucentio, disguised as " Cambio ; " and Tranio, as 
 Lucentio, offering himself as a suitor for Bianca, contributes a lute 
 and a packet of books for the education of the ladies. 
 
 Baptista welcomes them all. The " schoolmasters " are sent in to 
 the ladies, and Baptista proposes that 
 
 " We will go walk a little in the orchard, 
 And then to dinner." 
 
164 VIII. p. A. DANIEL. TIME- ANALYSIS OP TAMING OF THE SHREW. 
 
 But here " Licio " re-enters ■with his head broken by Katharine. 
 Eaptista consoles him, and all then leave the scene save Petruchio, to 
 ■whom Katharine is immediately sent by her father. 
 
 Petruchio takes her by storm and, ■will she nill she, determines 
 that they shall be married on Sunday. Baptista confirms the 
 bargain, and Petruchio leaves to go to Venice, 
 
 " To buy apparel 'gainst the 'wedding day." 
 
 " Sunday," he says, " comes apace ; " but it is not clear •what day 
 of the -week before it this scene is supposed to represent. 
 
 Gremio and Tranio (as Lucentio) now vie -with each other as to 
 ■which ■wUl assure Bianca the larger dower. Baptista decides that 
 Bianca shall be married on the Sunday foUo-wing Katharine's 
 wedding : to Tranio, if he can make good his assurance ; if not, to 
 Gremio. 
 
 Oddly enough, Hortensio, by gaining access to Bianca as " Licio," 
 drops out of the competition for her hand, and neither BaptMa, 
 Gremio, nor Tranio appear to be at all surprised at his absence. The 
 /;ompany aU disperse ■without going to dinner, as proposed by 
 Baptista (1. 112). 
 
 It is this dinner and the afternoon referred to at the end of Act I. 
 sc. ii. which have induced me to mark Act II. as the second day of 
 the action; otherwise there is nothing to prevent Acts I. and II. 
 being considered as one day only ; indeed, Petruchio's resolve to see 
 Katharine hefore lie sleeps is in favour of one day, and would be 
 conclusive but for the afternoorHs carouse proposed by Tranio. 
 
 Day 3. Act III. sc. i. Bianca with " Cambio " and " Licio." 
 The false schoolmasters begin to suspect each other. This scene is on 
 the eve of the wedding. A servant enters with — 
 
 " Mistress, your father prays you leave your books 
 And help to dress your sister's chamber up : 
 You know to-morrow is the wedding day." 
 
 Day 4. Act III. sc. ii. The wedding day. Sunday. How 
 Petruchio keeps the wedding party waiting, in what mad attire he 
 makes his appearance at last, and how he behaved at church, need 
 no description. It is sufficient for our purpose to know that, in 
 
VIII. p. A. DANIEL. TIME- ANALYSIS OF TAMINa OF THE SHEEW. 165 
 
 spite of her resistance, he carries off his bride -without waiting for 
 the wedding dinner, and Bianca is left to take her sister's room at 
 the tahle. 
 
 What must strike every reader as remarkable ia this scene is the 
 sudden knowledge Tranio (the supposed Lucentio) manifests of 
 Petruchio's manners and customs. Neither Lucentio nor Tranio has 
 any acquaiutance with Petruchio, except what both may have gained 
 from being in his company in Days 1 and 2 — which perhaps after all 
 are only one day ; yet Baptista addresses himself to Tranio, when 
 the wedding party is kept waiting, for explanation, and Tranio 
 answers for Petruchio as if he were quite an old friend. 
 
 " Upon my life, Petruchio means but well, 
 Whatever fortune stays him from his word : 
 Though he be blunt, I know him passing wise ; 
 Though he be merry, yet withal he's honest." 
 
 Again — 
 
 " 'Tis some odd humour pricks him to this fashion ; 
 Yet oftentimes he goes but mean-apparell'd. " 
 
 And again wlien Pi-truchid niakps his appearance Tranio always 
 counsels and addresses him as though he wlto an intiniato nf long 
 standiag. 
 
 The fact is, all these speeches of Tranio, of and to Petruchio, 
 should be in the mouth of Hortensio, who is really Petruchio's 
 famiUar; but this wonderful plot of his, of disguising himself as 
 Lioio, — when there was no need for it, — has not only silenced him as 
 an open competitor for the hand of Bianca, but also as the friend of 
 Petruchio. 
 
 M"ote that in the old play Polidor [= Hortensio] does not dis- 
 guise himself as the musician, and it is in his mouth that the speeches 
 which are the equivalent of Tranio's in this scene are placed. 
 
 Act IV. sc. i. ends the wedding day at night at Petruchio's 
 country house. After balking Katharine of her wedding dinner, and 
 now of her supper, he conducts her to her chamber, and then returns 
 to the stage to inform the audience that 
 
 " Last night she slept not, nor to-night she shall not." 
 
 N. S, BOO, TBANB., 1877-9. 12 
 
166 VIII. p. A. DANIEL. TIME- ANALYSIS OF TAMING OF THE SSREW. 
 
 How did lie know that she didn't sleep last night ? This is the first 
 night of their wedding. They can't have spent a night on the road, 
 for the distance from Padua is no more than may be traversed between 
 dinner and supper-time. See Act IV. sc. iii. 
 
 Day 5. Act IV. sc. ii. " Licio " and Tranio overhear the love- 
 making between " Cambio " and Bianca ; " Licio " discloses himself 
 to Tranio as Hortensio, and they mutually swear to have nothing 
 more to do with Bianca. Hortensio goes off, vowing to be married to 
 a wealthy widow ere three days pass. Tranio iaforms the lovers of 
 what has passed between him and Hortensio ; but he knows — how, 
 does not appear — that Hortensio has " gone unto the taming-school " 
 of wliich " Petruchio is the master ; " and sure enough we find Hor- 
 tensio with Petruchio and Katharine in the next scene. 
 
 The Pedant now appears, and, iu pursuance of the plot concerted 
 between Tranio and Lucentio, Tranio engages him to personate 
 Lucentio's father, 
 
 " To pass assurance of a dower in marriage 
 'Twixt me [Tranio-Lucentio] and one Baptista's daughter here." 
 
 It is not easy to fix the exact date of this scene. I have marked 
 it as a separate day, and it may be the morrow of Katharine's marriage, 
 or it may be two or three days after that event, or it might even be 
 supposed to occur on the afternoon of the day of Katharine's wedding ; 
 tho' in this last case we must put it back in time to precede sc. i. of 
 this Act, which would scarcely be a desirable arrangement. 
 
 Day 6. In this, the concluding day of the Play, the scene shifts 
 from Petruchio's country house in Act TV. sc. iii. to Padua in Act 
 IV. sc. iv. ; then back to the road between Petruchio's house aJid 
 Padua in Act IV. sc. v., and finally to Padua in Act V. 
 
 Act IV. sc. iii. Petruchio's house. Katharine is weU-nigh 
 famished, and Grumio torments her with offers of food. Petruchio 
 brings in her meat, which, on submission, she is allowed to eat. Note 
 that Hortensio is now on a visit to them ; he has — as Tranio in Act 
 IV. sc. ii. said he would — come to the " taming-school." Observe, 
 too, that this and all the remaining scenes of the Play are included 
 in one day, and that this day must be — if any regard is to be paid to 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF TAMim OF THE SBBBW. 167 
 
 Baptista'sprogramme— theSundayfollowingKatharine's wedding day. 
 She can't have been a whole week without food, and yet somehow 
 we get an impression that this is the first meat she has tasted in 
 Petruchio's house. 
 
 The tailor and the haberdasher bring the wares which have been 
 ordered by Grumio. This incident supposes the lapse of some days 
 since the marriage day. Petruchio now determines to return to 
 Baptista's house. 
 
 " Let's see," says he, " I think 'tis now some seven o'clock 
 And well we may come there by dinner-time. 
 
 Kath. I dare assure you, sir, 'tis almost two ; 
 And 'twill be supper-time ere you come there. 
 
 Pet. It shaU be seven ere I go to horse : 
 Look, what I speak, or do, or think to do, 
 You stiU are crossing it. Sirs, let 't alone : 
 I win not go to-day ; and ere I do, 
 It shall be what o'clock I say it is." 
 
 This scene closes then at 2 p.m. 
 
 Act IV. sc. iv. Padua. Scene, a street ; Lucentio's house on 
 one side of the stage, Baptista's on the other. Tranio enters from 
 Lucentio's house with the Pedant ; BiondeUo joins them and they 
 knock at Baptista's door. Baptista enters with " Cambio." Tranio 
 introduces the Pedant as his (Tranio-Lucentio's) father, and the 
 match between him and Bianca is agreed on. BiondeUo is com- 
 missioned to "fetch the Scrivener presently ; " whUe Baptista charges 
 " Cambio " to hie home, " and bid Bianca make her ready straight." 
 Tranio, Baptista and the Pedant then' adjourn to Lucentio's house. 
 Left alone, BiondeUo teUs "Cambio" that he is going to bid the 
 priest at St Luke's be ready for him, and recommends him to carry 
 off Bianca at once. They depart on their several errands. I have 
 been particular in describing the business of this scene, because there 
 is some Uttle confusion in the Fo. exits aiA entrances, etc., leading to 
 .alterations in our modern text ; the most injudicious of which is the 
 change of Cambio to BiondeUo in line 62 — "Cambio, hie you home." 
 
 Act IV. sc. V. Katharine has evidently agreed to its being 
 "seven o'clock," as Petruchio insisted in Act IV. sc. iii.,for they are 
 now, with Hortensio, on their way to Padua, They meet with 
 
168 YIII. P. A. DANIEL. TIME-ANALYSIS OF T AMINO OF THE SBBEW. 
 
 Vincentio, Lucontio's father, and Petruchio tells him — and Hortensio 
 confiims the fact — that his son hy this has married Bianca. By his 
 son they mean of course Tranio, the supposed Lucentio. The only 
 ground they can have for this assertion is Baptista's determination, in 
 Act II. so. i., that Bianca should be married on the Sunday following 
 Katharine's marriage. Petruchio's " hy this " would seem to imply 
 that that Sunday afternoon has now arrived. His assertion, however, 
 that she was to be married to Lucentio is mere conjecture, but Hor- 
 tensio's confirmation of it is in flat contradiction to the knowledge he 
 has that both he and Lucentio [Tranio] in Act IV. sc. ii. vowed to 
 have nothing more to do with Bianca. 
 
 Act V. sc. i. This scene is a good illustration of the economy of 
 the old stage. Its locality is supposed to be the same as in Act IV. 
 sc. iv. One door represents Lucentio's house ; the other door repre- 
 sents Baptista's, which "bears more toward the market-place." 
 Gremio is waiting about Baptista's door — of course with his back 
 towards it — hoping to see " Cambio " and to hear how his [Gremio's] 
 suit 'to Bianca is progressing (see lines 145 — 160, Act I. so. ii.). 
 " Cambio " and Bianca, af oompanind by Binndollo, .stoal nut from 
 r.nptista'fi honsf, iiuiiprrri\-i?(l by (Iroiaio, and Imi'i-y otl' In got 
 jnarvicJ. 'J'lion nntov Potrufliin. Kathariiio, \'ini'oiitio, cic, and 
 Imock at Lucentiu's door, whore Tranio and the Pedant are beguiling 
 Baptista with articles about Bianca's dowry. Gremio's attention is at 
 once attracted to the new arrivals, and he takes part in the business 
 which arises on the exposiu'6 of the false Vincentio and Lucentio. 
 The arrival of the true Lucentio and his bride sets all things straight, 
 and all the company enter Lucentio's house. 
 
 Hortensio is not in this scene ; he must have quitted Petruchio 
 immediately on their arrival at Padua, and have hurried off to get 
 married to his widow ; for in the next and last scene we find him 
 with her, a married man. 
 
 Act. V. sc. ii. The whole company is assembled in Lucentio's 
 house at a banquet after supper. The newly-married men bet on 
 their wives' obedience; Petruchio wins, and it is admitted on all 
 hands that he has tamed the shrew. 
 
 In this Play we have six days represented on the stage ; or if 
 
VIII, !>. A. DANIEL. TIME-ANALYSIS OF TAMING OF THE SHREW. 169 
 
 Acts I. and II. should be considered as one day, then five days only, 
 •with intervals, the length of which it is not easy to determine, hut 
 the entire period cannot exceed a fortnight. 
 Day 1. Act I, 
 ' „ 2. Act II. 
 
 Interval of a day or two. Petruchio proposes to go to 
 Venice to buy apparel. 
 „ 3. Act III. sc. i. Saturday, eve of the wedding. 
 „ 4. Act III. sc. ii.. Act IV. sc. i. Sunday, the wedding day. 
 
 Interval [ ? ] 
 „ 5. Act IV. sc. ii. 
 Intewal [ 1 ] 
 „ 6. Act IV. sc. iii., iv., and v., and Act V. [ ? The second 
 Sunday.] 
 Time, however, in. this Play is a very slippery element, difficult 
 to fix in any completely consistent scheme. In the old Play of the 
 Taming of a Shrew the whole story is knit up in the course of two 
 days. In the first, Ferando = Petruchio, woos Kate and fixes his 
 marriage for next Sunday j " next Sunday '' then becomes to-morrow, 
 to-morrow becomes to-day, and to-day ends with the wedding night 
 in Ferando's country house. All the rest of the Play is included in 
 the second day. 
 
 ALL'S WELL THAT ENDS WELL. 
 
 First printed in the Folio. Divided into acts only,. 
 
 Day 1. Act I. sC. i. EousiUon. Bertram takes leave of his 
 mother and Helena, and proceeds to the French Court with Lafeu 
 and ParoUes. 
 
 An interval. Bertram's journey to Court. 
 
 Day 2. Act I. sc. ii. At the French Court. The King grants 
 leave to some of his lords to go to the wars in Italy. Bertram 
 arrives and is welcomed by the King. 
 
 Act I. sc. iii. At Eousillon. Helena confesses her love for 
 Bertram to the Countess, and obtains leave to go to Paris to try 
 
170 VIII. p. A. DANIEL. TIME-ANALtSIS OF ALl's WELL THAT ENDS WELL. 
 
 to cure the King's malady. Her departiire is appointed for the 
 morrow. 
 
 This scene may he supposed coincident in time with the previous 
 scene. 
 
 An interval. Helena's journey to Court. 
 
 Day 3. Act II. sc. i. At Court. The lords for the Florentine 
 
 war take leave of the King. Helena arrives and offers her services 
 
 to the King for the cure of his malady, which she hopes to effect 
 
 " Ere twice the horses of the sun shall hring 
 Their fiery torcher his diurnal ring, 
 Ere twice in murk and occidental damp 
 Moist Hesperus hath quench'd his sleepy lamp. 
 Or four and twenty times the pilot's glass 
 Hath told the thievish minutes how they pass." 
 
 Her reward to he the hand of any one of his lords whom she may 
 choose for her hushand. The "pilot's glass" mentioned in the 
 above lines must he a two-hour glass. See note on glass in TJie 
 Tempest. 
 
 Act II. sc. ii. At Eousillon. The Countess sends the Clown to 
 Court with a letter to Helena. 
 
 This scene may be bracketed in point of time with the preceding 
 one. 
 
 An interval. In Act II. sc. i. Helena promised to cure the King 
 within two days. An interval of two days, then, may be supposed 
 between Days 3 and 4. In the interim the Clown makes his journey 
 from Eousillon to the Court. 
 
 Day 4. Act II. sc. iii., iv., and v. At Court. Helena has 
 succeeded in restoring the King's health. She claims the hand of 
 Bertram as her reward. They are married, and the same night he 
 sends her home to his mother and flies with ParoUes to Italy. 
 
 In sc. iv. the Clown delivers to Helena the letter from the 
 Countess, Act II. sc. ii. 
 
 An interval. Helena's return, to Eousillon. Bertram's journey 
 to Florence. 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF ALl's WELL THAT ENDS WELL. 171 
 
 Day 5. Act III. sc. i. At Florence. The Duke welcomes the 
 French lords who took leave of the King in Act II. sc. i. 
 
 Act III. sc. ii. Eousillon. Helena and the Clown are at 
 home again; they haye but just arrived, for the Clown only now 
 delivers to the Countess a letter from Bertram, telling her of his 
 flight. Helena introduces two gentlemen who met him on his 
 way to Florence, and were charged hy him. with a letter for her. 
 She resolves to steal away to-night. 
 
 Day 6. Act III. sc. iii. At Florence. The Duke welcomes 
 Bertram. 
 
 Act III, sc. iv. At Eousillon. The Steward gives the Countess 
 a letter from Helena, received from her the last night past. He 
 says — 
 
 " If I had given you this at over-night, 
 She might have been o'erta'en," etc. 
 
 It is clear, then, that Days 5 and 6 are consecutive, and that Bertram's 
 journey to Florence can have taken him little more time than 
 Helena's from Paris to Eousillon. I have placed his arrival at 
 Florence in this day in order to give him as long a time as possible 
 for his journey ; but, looking to the way in which time and space 
 are dealt with in dramatic composition, it would be quite admissible 
 to lift Act III. sc. iii. into day No. 6, and Act III. sc. i. [the arrival 
 of the first batch of French lords at Florence] from Day 5 to Day 4. 
 
 An interval of " some two months." See comment on Act IV. 
 sc. iii. 
 
 Day 7. Act III. sc v. Helena arrives in Florence as a pilgrim; 
 she makes the acquaintance of the Widow, Diana, etc. 
 
 This day Bertram achieves a great victory, but a drum is lost, to 
 the grievous vexation of ParoUes. 
 
 Day 8. Act III. so. vi. ParoUes undertakes the adventure of 
 the drum, and says he will about it this evening. 
 
 Act III. sc. vii. Helena engages the Widow and Diana to assist 
 in her plot on Bertram, which they agree to put in practice to-night. 
 
 Act IV. sc. i. It is ten o'clock, according to ParoUes, and he is 
 
172 VIII. p. A. DANIEL. TIME-ANALYSIS OF ALh'S WELL THAT ENDS WELL, 
 
 now on his venture. He is seized and carried off by the Frencli lords, 
 who egged him on to the enterprise. 
 
 Act IV. sc. ii. While the ahove practice was in hand, or 
 prohably at an earlier hour, Bertram has an interview with Diana, 
 who feigns to yield to his suit, obtains from him his ring, and appoints 
 him to come to her chamber at midnight. 
 
 Day 9. Act IV. sc. iii. The time of this scene includes several 
 hours from before midnight to early morning next day. In it we 
 learn that peace is concluded, and that Bertram is about to return to 
 France. When he appears on the scene his meeting with Helena 
 (with Diana, as he supposes) is completed, and the scene ends with 
 the exposure of ParoUes. 
 
 From the way in which Days 7 and 8 are connected it is clear 
 that they are consecutive days. We learn also in Act IV. sc. iii., from 
 the conversation of first and second lord, that Helena had fled from 
 her home " some two months since." An interval, therefore, of this 
 length must be placed between Days 6 and 7 — ample time for 
 Helena's wanderings, and for Bertram to achieve military distinction 
 and lay siege to Diana. 
 
 Act IV. sc. iv. This scene may be considered the continuation 
 of the day which dawned in Act IV. sc. iii. In it Helena, the 
 Widow, and Diana resolve to proceed to Marseilles, at which place 
 they expect to find the French King. 
 
 An interval. Bertram's return to Eousillon, Helena's journey 
 to Marseilles. 
 
 Day 10. Act IV. sc. v. At Eousillon. The Countess, Lafeu, 
 and Clown. Bertram's arrival is announced, and we learn that the 
 King "comes post from Marseilles, and wiU be here to-morroiv." 
 
 Act V. sc. i. At Marseilles. Helena arrives and learns that the 
 King removed hence last night on his way to Eousillon. She 
 resolves to follow at once. 
 
 Day 11. Act V. sc. ii. Eousillon. ParoUes entreats the pro- 
 tection of Lafeu. The trumpets announce the approach of the King. 
 
 Act V. sc. iii. ends the play with the reconciliation of Bertram 
 with Helena. 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OP ALl's WELL TBAT ENDS WELL. 173 
 
 Time of the Play, eleven days lepresented on the stage, with 
 intervals. 
 
 Day 1. Act I. so. i. 
 
 Interval. Bertram's journey to Court. 
 „ 2, Act I. so. ii. and iii. 
 
 Interval. Helena's journey to Court. 
 „ 3. Act II. so. i. and ii. 
 
 Intei-val — two days. Cure of the King's malady. 
 „ 4. Act II. so. iii., iv., and v. 
 
 Interval. Helena's return to EousiUon, Bertram's 
 journey to Florence, 
 „ 5. Act III. sc. i. and ii. 
 „ 6. Act in, sc. iii. and iv. 
 
 Interval — " some two months " 
 „ 7. Act III. sc, V, 
 
 „ 8. Act III. sc. vi. and vii., Act IV. sc. i. and ii. 
 „ 9. Act IV. sc. iii. and iv. 
 
 Interval. Bertram's return to EousUlon, Helena's return 
 to Marseilles, 
 „ 10. Act rv. sc. v.. Act V. sc. i. 
 „ 11. Act V. sc. ii. and iii. 
 
 Total time, atout three months. 
 
 TWELFTH NIGHT, 
 
 PiRST printed in the Folio. Divided into acts and scenes. 
 
 Day 1. Act I. sc. i. introduces us to the Duke Orsino and liis 
 love-suit to Olivia. Ifote that, except in Act I. sc, i,, ii,, and iv., 
 and Act II. sc. iv., the Duke is always spoken of as Oount. In 
 the stage directions and prefixes to his speeches his title is invari- 
 ably Duke. 
 
 Act I, sc, ii, Viola, who has heen quite recently rescued from 
 shipwreck, resolves to enter the Duke's service, disguised as a boy. 
 
 Act I, sc, iii, makes us acquainted with Sir Toby, Sir Andrew, 
 and Maria. 
 
174 VIU. p. A. DANIEL. TIME-ANALYSIS OP TWELFTH NIOET. 
 
 These scenes may all be supposed to take place ou one and the 
 same day. 
 
 An interval of three days. 
 
 Day 2. Act I. sc. iv. Viola, aa " Cesario," is already in high 
 favour with the Duke. "He hath known you," says Valentine, 
 " but three days, and already you are no stranger." 
 
 This speech marks an interval of three days between this and the 
 preceding scenes. " Cesario " is sent by the Duke to plead his love 
 with Olivia. 
 
 Act I. sc. V. At Olivia's house. Viola delivers her message. 
 Olivia is smitten with love of the supposed young gentleman, and 
 sends Malvolio after him with a ring, and a request that he will come 
 again to-morrow. 
 
 Act II. sc. i. Sebastian, who had been rescued from the ship- 
 wreck by Antonio, arrives in Illyria, " bound to the Count Orsino's 
 Court." Antonio resolves to follow him. From his speeches we 
 may judge Sebastian to be still in the first agony of his grief for the 
 loss of his sister. 
 
 Act II. so. ii. Malvolio delivers the ring sent after Viola by 
 Olivia. 
 
 Act II. sc. iii. Late at night Sir Toby, Sir Andrew, and the 
 Clown are having a drinking bout. My lady has called up her 
 steward Malvolio to silence their racket. After his departure Maria 
 persuades Sir Toby "to be patient for to-night," for " since the youth 
 of the Count's was to-day with my lady, she is much out of quiet." 
 In revenge for Malvolio's insolence, Maria proposes to gull him by 
 feigned letters, which shall persuade him that the Countess is in love 
 with him. 
 
 So ends day Ko. 2, Sir Toby retiring to burn some sack ; for " 'tis 
 too late to go to bed now." 
 
 Day 3. From this point to the end of the Play all is but matter 
 for one May morning. 
 
 Act II. sc. iv. The love-sick Duke wishes to hear again 
 "That old and antique song we heard last night." 
 He then sends Viola on another embassy to Olivia. 
 
Vni. p. A. DANIEL, TIME-ANALYSIS OF TWELFTH NIGHT. 175 
 
 Act II. sc. V. Sir Toby and his companions play their trick of 
 the letter on Malvolio. 
 
 Act m. sc. i. Viola delivers her message to Olivia, who in 
 her turn avows her love for "Cesario." 
 
 Act m. sc. ii. Sir Andrew, jealous of the " Count's youth," is 
 urged by Sir Toby to challenge him. Maria calls the " competitors " 
 to witness the effect of their plot on MalvoUo. 
 
 Act III. sc. iii. Antonio rejoins Sebastian in the Duke's capital. 
 They separate : Antonio to go to their lodgings at the Elephant ; 
 Sebastian to wander about the city for an hour. 
 
 Act III. sc. iv. Continuation of Malvolio's adventure. Olivia, 
 thinking him mad, directs her people to take care of him, and leaves 
 the scene for another interview 'with " Cesario,'' whom she has sent 
 for again. Sir Andrew confides his challenge to Sir Toby for deUvery. 
 Olivia again with Viola. The duel between Viola and Sir Andrew. 
 Antonio interferes on behalf of Viola, whom he takes for Sebastian j 
 he is seized and carried off by the officers. 
 
 Act IV. sc. i. Sebastian in his wanderings is taken for " Cesario," 
 first by the Clown, then by Sir Andrew, who vents his valour on 
 him, and is cuffed for his pains. Sir Toby and Sebastian proceed to 
 fight, when Olivia interferes, and invites the |supposed " Cesario " 
 into her house. 
 
 Act IV. sc. ii. The competitors continue their practice on 
 Malvolio, who is confined in a dark room. 
 
 Act IV. sc. iii. Sebastian consents to marriage with Olivia. 
 
 Act V. sc. i. ends the Play. The comedy of errors occasioned 
 by Viola's disguise as " Cesario," and her resemblance to her brother 
 Sebastian, is explained, and Viola gains her prize — the hand of the 
 Duke, 
 
 The time represented by this Play is three days, with an interval 
 of three days between the first and second. 
 
 Day 1. Act I. sc. i. — ^iii. 
 
 Interval of three days. 
 „ 2. Act I. sc. iv. and v.. Act II. sc. i. — ^iii. 
 „ 3. Act II. sc. iv. and v., and Acts III., IV., and V. 
 
176 VIII. p. A. DANIEL. TIME-ANALYSIS OF TWELVTU NIGHT. ^ 
 
 There remains to notice in Act V. a statement inconsistent with 
 the plot of the Play as revealed in. the previous scenes. Viola and 
 Sehastian both suffered the same shipwreck, and when they arrive in 
 lUyria it is evident that but a Very few days can have elapsed since 
 their escape. Yet, when Antonio is brought before the Duke in 
 Act v., he' asserts that Sebastian has been in his company for three 
 montJis. It might indeed be said that tliis inconsistency is merely 
 imaginary, and is founded on too strict an interpretation of the 
 dialogue in Act I. sc. ii. and Act II. sc. i. ; but the Duke makes a 
 similar assertion with regard to Viola — 
 
 " Three months this youth hath tended upon me." 
 
 And this is in absolute contradiction to Valentine's speech on the 
 second day of the action (Act I. sc. iv.), where he says that the Duke 
 " hath known you [Viola] but three days.'' 
 
 While we are thus engaged in ferretting out spots in the sun, 
 attention may also be directed to Fabian's last speech. Speaking of 
 the plot on Malvolio, he says — 
 
 " Maria writ 
 The letter at Sir Toby's great importance; 
 In recompense whereof he hath married her." 
 
 'Now Maria writ the letter at the " importance " of her own love of 
 mischief; the plot originated entirely with her, though Sir Toby 
 and the rest eagerly joined in it. And when could Sir Toby have 
 found time for the marriage ceremony on this morning which has 
 been so fully occupied by the plots on Malvolio and Sir Andrew 
 Aguecheek? It could not have been since he last left the stage, for 
 he was then drunk and wounded, and sent off to bed to have his 
 hurts looked to. 
 
 However, Biondello tells us, in The Taming of the Shrew, "I 
 knew a wench married in an afternoon as she went to the garden for 
 parsley to stuff a rabbit ; " and perhaps Sir Toby snatched a spare 
 moment for an impromptu wedding, and so crammed more matter into 
 this busy May morning. 
 
VIII. p. A. DANIEL. TIMK- ANALYSIS OP WINTEI^S TALE. 177 
 
 WINTER'S TALE. 
 
 First printed in the Folio. Divided into acts and scenes. 
 
 Day 1. Act I. so. i. Sicilia. Camillo and Archidamus discuss 
 tlie friendship which exists hetween their respective sovereigns. 
 
 Act I. sc. ii. Polixenes proposes to return to Bohemia, hut 
 yielding to the solicitations of Hermione consents to prolong his stay 
 for another week. Leontes, smitten with jealousy, engages Camillo 
 to poison Polixenes. Camillo reveals the plot to Polixenes, and 
 together they fly from Sicilia that same night. 
 
 Day 2. Act II. sc. i. Leontes orders Hermione to be imprisoned, 
 pending the return of Cleomenes and Dion, whom he has despatched 
 to Delphos to consult the oracle of Apollo as to her guilt. 
 
 I am not sure that a separate day should be given to this scene ; 
 but, on the whole, the proposed departure of Polixenes and Camillo 
 on the night of the first day, and the mission, since then, of Cleomenes 
 and Dion to Delphos make this division probable. 
 
 An intermi of twenty-thren days is now to ho, supposed. 
 
 Day 3. Act II. so. ii. HCTminup, in prison, lias givaii bivth, 
 " something before her time," to a daughter. I'aulina undertakes to 
 present the chUd to Leontes. 
 
 Act II. sc. iii. Leontes is brooding over his supposed wrongs. 
 His baffled revenge on Polixenes, his belief in his wife's guilt, and 
 the mortal sickness of his boy MamiUius, allow him no rest, "nor 
 night nor day." Paulina presents him with the new-born babe. In 
 his belief that the chUd is none of his, he orders Antigonus to bear 
 it quite out of his dominions, and expose it in some remote and 
 desert place. 
 
 A servant now announces that Cleomenes and Dion, 
 
 " Being well arrived from Delphos, are both landed. 
 Hasting to Court" 
 
 " Twenty-tJiree days," says Leontes, "they have been absent : 'tis 
 good speed," &c. ; and he orders a session to be summoned for the 
 arraignment of the queen. 
 
178 VIII. p. A. DANIEL. TIME-ANALYSIS OP WINTERS TALE. 
 
 An interval of twenty-three days then occurs between Days 2 
 and 3. 
 
 Act III. sc. i. Cleomenes and Dion on their way to Court. 
 
 Day 4. Act III. sc. ii. The trial of the queen. The oracle 
 declares her innocence. A servant announces the death of MamiHius 
 " with mere conceit and fear of the queen's speed. Hermione swoons 
 and is carried out ; Paulina announces her death, and Leontes, now 
 too late, laments his jealous cruelty. 
 
 An interval of a few days must be allowed for Antigonus's 
 journey between Days 3 and 5, partly fiUed with Day i. 
 
 Day 6. Act III. sc. iii. Antigonus exposes the chUd, Perdita, 
 on a desert coast of Bohemia. He is destroyed by a bear, and the 
 ship from which ho landed lost at sea. A shepherd and his son find 
 the child and carry it home. 
 
 An interval. 
 
 Act IV. sc. i. Time, the Chorus, now announces the lapse of 
 sixteen years. 
 
 Day 6. Act IV. sc. ii. Bohemia — at the Court of Pohxenes. 
 CamiUo wishes to return to SicUia to the penitent king his master ; 
 Polixenes dissuades him : he is uneasy as to his son the Prince 
 Florizel, whose frequent resort to the house of a shepherd, who has 
 a daughter of most rare note, has been made known to him. They 
 resolve to visit the Shepherd in disguise. E"ote that Camillo makes 
 his absence from Sicilia to he fifteen years. This is probably a mere 
 error of the printer or copyist. Besides the sixteen announced by 
 Time, the Chorus, sixteen years is the period again twice mentioned 
 in Act V. sc. iii.— 1. 31, " Which let's go by some sixteen years," &c., 
 and 1. 50, " Which sixteen winters cannot blow away," &c. 
 
 Act IV. sc. iii. Autolycus cheats the Clown [the Shepherd's 
 son] of his purse as he is on his way to buy things for the sheep- 
 shearing festival. 
 
 This incident suggests the placing of the festival on the following 
 day. 
 
VIII. p. A. DANIEL. TIME-ANALYSIS OF WINTER'S TALE. 179 
 
 Day 7. Act IV. sc. iv. The festival at the Shepherd's. Florizel 
 proposes to contract himself with Perdita. Polixenes, who with 
 CamiUo is present in disguise, discovers himself, forbids the contract, 
 and threatens death in case of disobedience. Tlorizel determiaes to 
 fly with Perdita. Camillo, finding him resolute on this point, 
 counsels him to take refuge at the Court of Leontes. The old 
 Shepherd and his son, to clear themselves with Polixenes, propose 
 to reveal to him the circumstances under which Perdita came into 
 their hands; Autolycus, however, inveigles them on board the 
 prince's ship, and aU set sail for Sicilia. 
 
 An interval for the journey. 
 
 Day 8. Act V. sc. i. Florizel and Perdita arrive in Sicilia and are 
 received by Leontes, who has scarcely welcomed them when the arrival 
 of Polixenes and Camillo in pursuit of the fugitives is announced. 
 
 Act V. sc. ii. By means of the old Shepherd the parentage of 
 Perdita is discovered, and the tvfo kings are now as willing for the 
 union of their children as Florizel is eager for it. 
 
 Act V. sc. iii. and last. The two kings, Florizel, Perdita, &c., 
 meet at Paulina's house to see the statue of Hermione. The statue 
 proves to be true flesh and blood, and, the oracle being now fulfilled, 
 Leontes's long period of repentance ends in the happiaess of all. 
 
 The time of this Play comprises eight days represented on the 
 stage, with iatervals. 
 
 Day 1. Act I. sc. i. and ii. 
 „ 2. Act II. sc. i. 
 
 An interval of twenty-three days. 
 „ 3. Act II. sc. ii. and iii., and Act III. sc. i. 
 „ 4. Act III. sc. ii. 
 
 An interval. Antigonus's voyage to Bohemia. 
 „ 5. Act III. sc. iii. 
 
 An interval (Act IV. sc. i.) of sixteen years. 
 „ 6. Act IV. sc. ii. and iii. 
 „ 7. Act IV. sc. iv. 
 
 An interval. The journey to Sicilia. 
 ,, 8. Act V. sc. i. — iii. 
 
180 
 
 IX. TIME-ANALYSIS OF THE PLOTS OF SHAKSPEEE'S 
 
 PLAYS. 
 
 BY 
 
 P. A. DANIEL. 
 (^Read at the ilth Meeting of the Society, Decemier 13, 1878.) 
 
 PART IL 
 
 THE TRAGEDIES. 
 
 Jfote. — No attempt is here made at Chronologicau arrangement: the order 
 taken is that of the First Folio and of the Olohe edition .- to the latter of 
 nhich the numbering of Acts, Scenes and lilies refers. By one " Bay " 
 is to be understood the whole or any portion of the tnenty-four hours 
 from midnight to midnight. All intervals are supposed to include, at 
 the least, one clear day from midnight to midnight : a hrrnh in the 
 action of the drama from noon one day to noon the ne.rf is not here 
 runsidered an intrrral. 
 
 TROILUS AND CRESSIDA. 
 
 First printed in Quarto. IsTo division of acts and scenes in 
 either Quarto or Folio. 
 
 Day 1. Act I. so. i. In Troy. TroLlus complains to Pandarus 
 of the Ul-sucoess of his love-suit to Cressida. Pandarus declares he 
 will have no more to do with the business. Eneas joins Troilus, and 
 together they go off to join the rest of the combatants who are 
 already afield. 
 
 Act I. sc, ii. Cressida and Pandarus behold the return of the 
 warriors from the field. Eneas, Anterior, Hector, Paris, Helenus, 
 Troilus, Deiphobus, &c., pass over the stage. 
 
 Note. — The reader is requested to keep his eye on Antenor ', he 
 doesn't speak a word in the Play, but he plays an important part in 
 this time-analysis of it. 
 
 An interval of " dull and long-continued truce." See next scene. 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF TEOILUS AND CMESSIDA. 181 
 
 Day 2. Act I. so. iii. In tlie Grecian camp. Agamemnon, 
 Nestor, Ulysses, Menelaus, &c., discuss the position of affairs. 
 Eneas, from Troy, delivers a challenge from Hector — 
 
 " Who in this dull and long-continued truce 
 Is rusty grown" (1. 262-3). 
 
 "We must then suppose a considerable interval between this and the 
 preceding scenes. The challenge is for the morrow, to single combat, 
 between Hector and some one of the Grecian warriors. The com- 
 manders, to abate the pride of Achilles, resolve to put forward Ajax 
 as their champion. In the next scene. 
 
 Act II. sc. i., in which Ajax, Thersites, Achilles, and Patroclus 
 appear, we learn that the time of the combat is to be " by the fifth 
 hour of the sun" (1. 134). 
 
 Act II. sc. ii. In Troy. Priam, Hector, TroiLus, Paris, and 
 Helenus discuss the motive of the war with the Grecians. In con- 
 clusion Hector tells them of the challenge he has sent to the Grecian 
 camp. This scene may be supposed coincident in point of time with 
 that preceding it. 
 
 Act II. sc. iii. In the Grecian camp^ before the tent of Achilles. 
 The commanders " rub the vein " of Ajax. Achilles declines to see 
 them, but through Ulysses informs them that he " will not to the 
 field to-morrow " (1. 172). At the end of the scene Ulysses, remarks— ;- 
 
 " to-morrow 
 
 We must with all our main of power stand fast " (1. 272-3). 
 
 These two passages are somewhat ambiguous, for in fact only the 
 single combat between Hector and Ajax is resolved on for the 
 morrow. 
 
 Act III. so. i. We are back again in Troy. Pandarus requests 
 Paris to excuse Troilus to Priam, should " the king caU for him at 
 supper " (1. 34). In this scene commences an extraordinary entan- 
 glement of the plot of the Play. It is quite clear that from its 
 position it must represent a portion of the day on which Hector 
 sends his challenge to the Greeks : a day on which there could be no 
 encounters between the hostile forces, and which in fact is but one 
 day of a long-continued truce; yet in this scene Pandarus asks 
 
 N. S. SOC. TKANS., 1877-9. 13 
 
182 IX. p. A. DANIEL. TIME- ANALYSIS OF TBOILUS AND CRESSWA. 
 
 Paris, "Sweet, lord, who's afield to-day*!" Paris replies, "Hector, 
 .Deiphobus, Helenus, Anterior, and all the gallantry of Troy." Paris 
 himself, it seems, nor TroUus, went not. Towards the end of the 
 scene a retreat is sounded, and Paris says — 
 
 " They're come from field : let us to Priam's hall 
 To greet the warriors ; " 
 
 and he hegs Helen to come " help unarm our Hector." 
 
 Act III. sc. ii. Pandarus brings Troilus and Cressida together, 
 and we understand now why in the preceding scene he wished Paris 
 to excuse Troilus to Priam if the king asked for him at supper. 
 
 Act III. sc. iii. In the Grecian camp. The allusions to the 
 combat which is to come off to-murrow between Hector and Ajax are 
 numerous in this scene, so that we are clearly still in the day on 
 which Hector sent his challenge. But the entanglement of the plot 
 which we noticed in Act III. sc. i. becomes here still more involved. 
 Calchas says — 
 
 " You have a Trojan prisoner, called Anterior, 
 Tester-day took ; " 
 
 and he requests that Antenor may be exchanged for his daughter 
 Cressida. The commanders assent, and Diomedes is commissioned to 
 effect the exchange. Prom this it appears that Antenor, who goes 
 out to fight on this very day (see Act IIL sc. i.) — when there is no 
 fighting — was nevertheless taken prisoner the day before, during the 
 long-continued truce. 
 
 With this scene ends the day on which Hector sends his challenge 
 to the Greeks. 
 
 Day 3. Act IV. sc. i. — iv. In Troy, In the early morning 
 Diomedes arrives with Antenor. The parting of the lovers and the 
 exchange of Antenor for Cressida is effected in these scenes, which 
 close with a summons from Hector's trumpet, calling to the field. 
 
 Act IV. sc. V. In the Grecian camp. Ajax is armed. " 'Tis 
 but early days " when Diomedes arrives with Cressida. Hector then 
 makes his appearance, and the combat with Ajax takes place. The 
 combat ended, Hector and the Trojan lords go to feast with 
 Agamemnon, and afterwards, at night, in 
 
 Act V. sc. i., with Achilles. 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF TROTLVS AND CBESSWA. 183 
 
 Act V. sc. ii. Troilus, accompanied by Ulysses, discovers 
 Cressida's infidelity with. Diomedes. 
 
 Day 4. Morning has arrived, and 
 
 " Hector, hy this, is arming him in Troy ; " 
 
 when Eneas finds out Troilus, and returns with him to the city. 
 
 Act Y. sc. iii. In Troy. Andromache, Cassandra, and Priam in 
 vain urge Hector not to go a-field to-day. 
 
 Act V. sc. iv. — X. In the plains before Troy. " Alarums : 
 excursions." Hostilities are resumed. Hector is slain, and the 
 Trojans return to the town, for now 
 
 " The dragon wing of night o'erspreads the earth, 
 And, stickler-like, the armies separates." 
 
 Pandarus, disgraced by Troilus, ends the Play with a kind of 
 Epilogue. 
 
 The duration of the action of this Play is so distinctly marked 
 by Hector's challenge that, notwithstanding the discrepancies pointed 
 out in Act II. sc. iii. and Act III. sc. i. and ui., it is impossible to 
 assign to it more than four days, with an interval between the first 
 and second. 
 
 Day 1. Act I. sc. i. and ii. 
 
 Interval ; the long-continued truce. 
 „ 2. Act I. sc. ui.. Act II., and Act III. 
 „ 3. Act rV., Act V. sc. i. and first part of sc. ii. 
 „ 4. Act V. the latter part of sc. ii. and sc. iii. — x. 
 
 CORIOLANUS. 
 
 EiEST printed in Folio. Divided into Acts only. 
 
 Day 1. Act I. sc. i. In Eome. The citizens ia mutiny. 
 Menenius tells them the fable of the rebellion of the body's members 
 against the belly. News arrives that the Volsces are in arms. 
 Cominius, Titus Lartius, and Marcius are appointed leaders of the 
 Eoman army. 
 
184 IX. p. A. DANIEL. TIME-ANALYSIS OF C0RI0LANU3. 
 
 An interval — time for news from Eome to reach, Corioli. 
 
 Day 2. Act I. so. ii. In Corioli. Aufidius and the - Senate. 
 News has been received of the warlike preparations in Eome. The 
 Senators undertake to defend Corioli, while Aufidius takes command 
 of the army in the field. 
 
 An interval — ^time for news from the Eoman army to reach Eome. 
 
 Day 3. Act I. sc. iii. In Eome. Volumnia and Virgilia are 
 visited by Valeria, who brings news that Cominius is gone with one 
 part of the Eoman power to attack Aufidius in the field ; while 
 Titus Lartius and Marcius are set down before Corioli. 
 
 Act T. sc. iv. and v. Corioli. After a first repulse the town is 
 taken by the Eomans. Titus makes good the city, while Marcius 
 hastens to the assistance of Cominius. 
 
 Act I. sc. vi. In the field. Cominius is retiring before the 
 attack of Aufidius. Marcius joins him, and they prepare to renew 
 the fight. 
 
 Act I. sc. vii. Corioli. Titus Lartius leaves a Lieutenant ui 
 charge of the city and proceeds to the Eoman camp. 
 
 Act I. sc. viii. and ix. In the field. Aufidius is defeated by 
 Marcius and Cominius. Titus Lartius joins his comrades after 
 pursuing the defeated Volscian army. Marcius is proclaimed by the 
 surname of Coriolanus. Cominius directs that Lartius take charge 
 of Corioli whOe he and Marcius return to Eome. 
 
 Act I. sc. X. Aufidius and the Volscian army in retreat. 
 
 The scene in Eome, Act I. sc. iii., and the scenes iv. — x. in 
 Corioli and in the field, may very well be supposed to take place on 
 one and the same day, and I accordingly include them in day No. 3. 
 
 An interval — Cominius and Marcius return to Eome. 
 
 Day 4. Act II. sc. i. In Eome. Menenius chaffs the tribunes, 
 Sicioius and Brutus. Volumnia, Virgilia, and Valeria enter and 
 inform Menenius that letters have been received from Coriolanus, 
 and that he is on his way home. The trumpets sound, and Coriolanus, 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF CORIOLANVS. 185 
 
 with Cominius, Titus Lartius,^ etc, enters in triumph. They proceed 
 to the Capitol. 
 
 Here it is to be remarked that in this play the Acts only are 
 numbered ; the scenes are not otherwise marked than by the entries 
 and exits of the characters. In this particular place the stage 
 directions are — 
 
 " Flourish. Cornets. 
 Exeunt in State, as hefore." 
 
 This ends the page in the Polio ed. The next page begins with — 
 "Enter Brutus and Sicinius." 
 
 In all editions since Theobald's, with which I am acquainted, 
 this last stage direction is altered to — " The, Tribunes remain," or 
 "Brutus and Sicinius come forward," and thus the conversation 
 between the Tribunes which foUows is made part of sc. i. of Act II. 
 
 There seems to me no sufficient reason for setting aside the 
 authority of the Polio in this case, and there is this considerable 
 objection, that by so doing Coriolanus is made to arrive in Eome, to 
 stand for Consul, and to be banished on one and the same day. The 
 scene between the two Tribunes is not necessarily connected with the 
 day of Marcius's entry into Eome, but it is inseparably connected 
 with the day of his Consulship ; and that these are two distinct days 
 is to some extent proved by the fact that Titus Lartius is not present 
 
 ' The ijitroduction of Titus Lartius in this scene is an oversight whicfe 
 has hitherto been unnoticed, but which modern editors might take on 
 themselves to correct. The Stage direction of the Folio is — " Enter Cominius 
 the General], and Titus Latins {>io) : betweene them Coriolanus," etc. 
 Lartius does not spealc, nor is he mentioned in the dialogue as being present. 
 In Act I. so. ix. Cominius places him in charge of Corioli. In Act II. so. ii. 
 1. 41-2, he is supposed to be still there ; for Menenius says — 
 
 " Having determined of the Volsoes and 
 To send for Titus Lartius," etc. 
 
 He does not make his appearance in Eome 'till Act III. sc. i., and there we 
 should understand that he has returned from Corioli wiihout waiting to be 
 recalled. In answer to Coriolanus, who says — 
 
 " TuUua Aufidiua then had made new head t " 
 he replies — 
 
 " He had, my lord ; and that it was which caused 
 Our swifter composition. " 
 
 A note of mine on this subject, and on the division of Act II. so. i., was 
 published in the Athenceum, 6th July, 1878, 
 
186 IX. p. A. DANIEL. TIME-ANALYSIS OF CORIOLANUS. 
 
 during the entry, but is present during the Consulship. (See note on 
 Titus Lartius, Act I. so. i.) I therefore venture to restore the arrange- 
 ment of the PoHo, and mark this as a new scene and the commence- 
 ment of a separate day. In order, however, to avoid confusion of 
 reference, I continue to the following scenes of this act the numbers 
 given to them by modern editors, marking this as sc. i. a. 
 
 An interval. Ambassadors from Corioli have arrived in Rome 
 since the return of Cominius and Coriolanus. See in Act I. sc. is., 
 Cominius's instructions to Titus Lartius — 
 
 " send us to Eome 
 
 The best, with whom we may articulate 
 For their own good and ours." 
 
 Their business has been discussed during this interval, and is settled 
 in Act II. sc. ii. " Having determined of the Volsces,'' etc. 1. 41. 
 
 Day 5. Act II. sc. i. a. " Enter Brutus and Sicinius." The 
 Tribunes determine on a line of policy in the event of Coriolanus 
 being chosen Consul. They are sent for to the Capitol. At the 
 end of the preceding scene, it will be remembered, all proceed to the 
 Capitol, and it is this being sent for to the Capitol now which — as 
 well as I can make out — is the only, and very insufficient, reason for 
 connecting this scene with the preceding one. The tone of the con- 
 versation between the Tribunes marks a lapse of time. " I heard him 
 swear,'' says Brutus, " were he to stand for Consul, never would he 
 appear,'' etc. When did Brutus hear this vow 1 certainly not in the 
 preceding scene. 
 
 Act II. sc. ii. In the Capitol. Coriolanus is chosen Consul by 
 the Senators. 
 
 Act II. sc. iii. He obtains the voices of the people in the 
 market-place. The Tribunes slir up the people against him. 
 
 Act III. sc. i. The Tribunes aided by the people seek to arrest 
 Coriolanus ; he is rescued by the Patricians. In the end Menenius 
 promises that he shaU. meet the people in the market-place to answer 
 for his conduct. 
 
 Act III. sc. ii. His friends persuade Coriolanus to answer mUdly 
 the accusations brought against him. 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF CORIOLANUS. 187 
 
 Act in. sc. iii. He meets the Tribunes and the people ; but, 
 again giving the rein to his fury, he is banished by them. 
 
 Act ly. sc. i. His mother, wife, and friends, bid him farewell at 
 the gate of the city. 
 
 Act rV". sc. ii. Volumnia and Virgiha meet the Tribunes and 
 bestow their curses on them. 
 
 An interval — a few days perhaps — including Coriolanus's journey 
 to Antium. 
 
 Day 6. Act IV. sc. iii. Between Eome and Antium. A 
 Volscian spy going towards Eome to obtain news is met by a Eoman 
 spy bringing news to the army of the Volscians. From the dialogue 
 it appears that this meeting takes place shortly after the banishment 
 of Coriolanus. This Day 6 may be supposed part of the last marked 
 interval. 
 
 Day 7. Act IV. sc. iv. and v. Antium. Coriolanus seeks out 
 Aufidius and accepts from him half of his commission in a proposed 
 expedition against the Eoman state. 
 
 An interval. 
 
 Day 8. Act IV. sc. vi. Eome. News arrives of the approach 
 of the Volscian army under the command of Aufidius and Coriolanus. 
 
 An interval. 
 
 Day 9. Act IV. sc. vii. The Volscian camp. Aufidius mal- 
 content at the eclipse he suffers from Coriolanus's superior glory. 
 
 An interval. 
 
 Day 10. Act V. sc i. Eome. Cominius having failed to 
 obtain mercy for his country from Coriolanus, Menenius is now 
 persuaded to go on an embassy to him. 
 
 Act V. sc. ii. The Volscian camp. Eesidt of Menenius's 
 embassy. Coriolanus declines to hold any communication with him. 
 
 Act V. sc. iii. Volumnia, Virgilia, etc., come to the camp to 
 intercede for Eome. Coriolanus gives way before their prayers, and 
 consents to a peace, resolving, however, not to enter Eome, but to 
 go back with Aufidius. 
 
188 
 
 IX. p. A. DANIEL. TIME-ANALYSIS OF COBIOLANUS. 
 
 Act V. sc. iv. and v. The ladies hring back to Eome the 
 ■welcome news of the peace they have effected. 
 
 An interval. 
 
 Day 11. Act V. sc. vi. Antium. Aufidius and Coriolanus 
 letum from the expedition against Eome. Aufidius accuses Corio- 
 lanus of treason, and he and his friends slay him. 
 
 Time of this play, eleven days represented on the stage ; with 
 intervals. 
 
 ,Day 
 
 1. Act I. sc. i. 
 
 
 Interval. 
 
 
 Interval, 
 
 Day 6. 
 
 Act IV. sc. iii. 
 
 J) 
 
 2. Act I. sc. ii. 
 
 „ r. 
 
 Act TV. sc. iv. and v. 
 
 
 Interval. 
 
 
 Interval. 
 
 i) 
 
 3. Act I. sc. iii. to x. 
 
 , 8. 
 
 Act IV. sc. vi. 
 
 
 Interval. 
 
 
 Interval. 
 
 » 
 
 4. Act II. sc. i. 
 
 „ 9. 
 
 Act rV. sc. vii. 
 
 
 Interval. 
 
 
 Interval. 
 
 ij 
 
 5. Act II. sc. i. a (end 
 
 „ 10. 
 
 Act V. sc. i. to V. 
 
 of sc. i 
 
 in modern editions) to 
 
 
 Interval. 
 
 Act IV. 
 
 sc. ii. 
 
 „ 11. 
 
 Act V. sc. vi. 
 
 The actual Historical time represented by this play "com- 
 prehends a period of about four years, commencing with the 
 secession to the Mons Sacer in the year of Eome 262, and ending 
 with the death of Coriolanus, a.u.c. 266." — Malone. 
 
 ' TITUS ANDRONICUS. 
 
 PiKST printed in Quarto, with no division of Acts and Scenes. 
 Divided into Acts only in the Folio. The FoHo contains one Scene 
 (Act III. sc. ii.) not found in the Quartos. 
 
 Day 1. Act I. sc. i. Saturninus and Bassianus contend for the 
 crown. Titus arrives in triumph; with Tamora, her sons, Aaron, etc., 
 prisoners. Being chosen umpire he decides in favour of Saturninus. 
 
IX. p. A. DAN,IBL. TIME-ANALYSIS OP TITUS AlfDRONICVS. 189 
 
 After mucli quarrelling, slaughter, etc., Satumiaus marries Tamora, 
 and Bassianus, Layinia. An apparent reconciliation takes place, 
 and Titua invites tlie whole company to a grand hunting for the 
 morrow. 
 
 Act II. sc. i. Demetrius and Chiron quarrel for the love of 
 Lavinia. Aaron reconciles them, and by his counsel they determine 
 to effect their TUlanous purpose duiing the solemn hunting which is 
 in hand (1. 112). 
 
 As stated above, in the Quartos there is no division of this play 
 into Acts and Scenes, and in the Quartos the stage direction between 
 this and the preceding scene is "Exeunt. Sound trumpets, manet 
 Moore." Johnson is right in saying that "this scene ought to 
 continue the first Act." The fact that in it Chiron and Demetrius 
 are already quarreUing for the love of Lavinia is no sufficient reason 
 for supposing any break in the course of the action : time, through- 
 out the play, is almost annihilated. There is a sequence of events, 
 but no probable time is allowed for between them. 
 
 Day 2. Act II. sc. ii. The morning of the hunt. Titus awakes 
 the newly married couples with horns and hounds. They proceed 
 to the chase. 
 
 Act II. sc. iii. and iv. The hunt. During these scenes Tamora, 
 Aaron, Demetrius,' and Chiron plot and execute the murder of 
 Bassianus, the arrest of Quintus and Martins for the deed, and the 
 rape and mutilation of Lavinia. Marcus meets and conveys his 
 niece back to Eome. 
 
 Act III. sC i. Titus pleads in vain for his sons. Marcus brings 
 Lavinia to him. Under a promise that his sons' lives shall thereby 
 be saved, Titus cuts off one of his hands and sends it to Saturninus ; he 
 is rewarded with the heads of his sons and the return of his hand. 
 Lucius, banished for an attempt to rescue his brothers, sots out to 
 raise a power among the Goths for revenge on Eome. 
 
 Interval. 
 
 Day 3. Act III. sc. ii. In Titus's house. Titus, Marcus, 
 Lavinia, and young Lucius at table. 
 
190 IX. p. A. DANIEL. O'lMB- ANALYSIS OF TITUS ANDBONICUS. 
 
 It is possible to imagine a pause in tlie action, both before and 
 after this scene, the whole of which, it may be observed, is omitted in 
 the Quarto editions of the Play. 
 
 Interval. 
 
 Day 4. Act IV. sc. i. Lavinia manages to make known the 
 authors of her rape. Titus resolves to send to them a present of 
 weapons, with a scroll hinting at their guilt. 
 
 Act IV. sc. ii. Young Lucius delivers to Demetrius and Chiron 
 the "weapons sent by Titus. The Empress is delivered of a blacka- 
 moor child, the fruit of her adultery with Aaron. Aaron saves the 
 child's life from Demetrius and Charon, and instructs them how to 
 obtain another child which the Emperor may believe to be his own. 
 To make aU sure Aaron kills the nurse, and carries off his child for 
 safety with the Goths. 
 
 Act IV. sc. iii. Titus provides arrows with letters addressed to 
 the Gods, caUing for justice ; his friends shoot the arrows into the 
 Court of Saturnine. He then sends a mocking petition to Saturnine 
 by a clown. 
 
 Act IV. so. iv. Satuminus enraged by the letters found on Titus's 
 arrows. The clown delivers the petition, and is ordered to be hung. 
 News ari'ives of the approach of Lucius with an army of Goths. 
 Tamora (who has apparently recovered from her confinement) soothes 
 the rage and fear of -Saturnine, and it is resolved to send .^milius on 
 an embassy to Lucius requesting a parley at Titus's house. 
 
 Act V. sc. i. In the camp of Lucius. Aaron is brought in with 
 his child in his arms. To save the child's life he reveals the villaaies 
 that he, the Queen, and her sons, have plotted and executed against 
 the Andronici. ^milius arrives on his embassy, to which Lucius 
 assents on hostages being delivered to his father and to his uncle 
 Marcus. 
 
 The Embassy of jSImilius and the capture of Aaron connect this 
 scene too closely with the preceding scenes to allow of any break in 
 the course of the action since Act TV. sc. i. 
 
 Act V. sc. ii. During the time of the preceding scene, Tafljora 
 and her two sons, disguised as Eevenge, Eapine, and Murder, solicit- 
 
IX. p. A. DANIEL. TIME- ANALYSIS OF TITUS ANDBONICUS 191 
 
 Titus to forward the proposed meeting of Lucius and the Emperor at 
 his house. Titus sends Marcus to his son to bid him come, and 
 Tamora, leaving her sons in his hands, departs to inform Saturninus 
 of the success of her enterprise. Titus causes Demetrius and Chiron 
 to be seized and then cuts their throats, Lavinia holding the basin 
 between her stumps to receive their blood. He then gives orders to 
 have a pasty made of their carcases. 
 
 Act V. sc. iii. In Titus's house. Lucius and the Emperor meet. 
 Titus serves up the pasty, of which Tamora partakes. He then 
 sacrifices Lavinia and kiUs Tamora. Saturninus kUIs him. Lucius 
 kills Saturninus. Lucius is chosen Emperor, and orders Aaron to be 
 set breast-deep in. earth and to be starved to death, while Tamora's 
 body is cast forth to beasts and birds of prey. 
 
 The period included in this Play is four days represented on the 
 stage ; with, possibly, two intervals. 
 Day 1. Act I., Act II. sc. i. 
 „ 2. Act II. sc. ii.— iv., Act III. sc. i. 
 
 Interiial. 
 „ 3. Act IIL sc. ii. 
 
 Interval. 
 „ 4 Acts IV. and V. 
 
 ROMEO AND JULIET. 
 
 EiRST printed in Quarto. No division of Acts and scenes in 
 either Quarto or-Eolio. 
 
 Day 1. Act I. sc. i. The quarrel between the servants, joined 
 in by others of the two factions. The Prince separates the combat- 
 ants • orders Oapulet to go along with him, and bids Montague come 
 to him in the afternoon. After the fray Eomeo makes his first 
 appearance, and the day is stiU young— "but new struck nme." 
 
 Act I. sc. ii. Capulet has been with the Prince, and knows that 
 Montague is bound as well as himself to keep the peace j we must 
 
192 IX. p. A. DANIEL. TIME-ANALYSIS OF BOMEO AJfO JULIET. 
 
 therefore suppose this scene to take place in the afternoon, after 
 Montague's interview with the Prince. He invites Paris to a feast 
 this night, and gives a list of the guests, who are also to he invited, 
 to his servant. 
 
 The servant applies to Eomeo and Benvolio to read the list, and 
 they resolve to go to the feast. 
 
 Act I. sc. ui. Lady Capulet, the ISTurse and Juliet. Lady Capu- 
 let informs Juliet of Paris's love. A servant announces that the 
 guests are come and supper served up. 
 
 Act I. sc. iv. Eomeo and his friends on their way to the 
 feast. 
 
 Act L sc. V. The festival in Capulet's house. Eomeo falls in 
 love with Juliet. 
 
 Act II. sc. i. and ii. Late at night, returning from the feast, 
 Eomeo gives the slip to his friends and courts Juliet at her window. 
 
 Day 2. Act II. sc. iii. Early the next morning Eomeo visits 
 Friar Laurence to arrange for his marriage this same day. 
 
 Act II. sc. iv. At noon Eomeo meets his friends, has an inter- 
 view with the Ifurse, and by her sends a message to Juliet to meet 
 him at the Friar's cell that afternoon to be married. 
 
 Act II. sc. V. The Nurse delivers her message to Juliet. 
 
 Act II. sc. vi. The lovers meet at Friar Laurence's ceU and are 
 married. 
 
 Act III. sc. i. Eomeo rejoins his friends, and the fatal broil 
 occurs in which Mercutio and Tybalt are slain. The Prince banishes 
 Eomeo. 
 
 Act III. sc. ii. The l^Turse tells Juliet of the tragedy that has 
 happened, and then goes to seek Eomeo. 
 
 Act III. sc. iii. Eomeo in concealment in the Friar's cell. The 
 Nurse comes to arrange with him for his meeting that night with 
 Juliet. 
 
 Act III. sc. iv. Yery late at night Capulet promises his daugh- 
 ter's hand to Paris, and (this being Monday) he fixes the wedding 
 day for next Thursday. 
 
 Day 3. Act III. so. v. At early dawn the lovers part. Lady 
 
IX. p. A. DAJflEL. TIMB-ANALYSIS OP liOMEO AND JULIET. 193 
 
 Capulet enters to announce to Juliet her proposed marriage with 
 Paris. The quarrel of the parents with their daughter. 
 
 Act rV. sc. i. Juliet seeks counsel of the Friar, and obtains from 
 him the sleeping potion which is to hold her " two and forty hours." 
 
 Act IV. sc. ii. Eeturning home Juliet makes her submission to 
 her father, who, in his joy at her obedience, resolves that the marriage 
 shall be "knit up to-morrow morning" (Wednesday). 
 
 Act IV. sc. iii. In her chamber, at night, Juliet takes the sleeping 
 potion. 
 
 Act IV. sc. iv. Capulet and his family up all night preparing 
 for the wedding. 
 
 Day 4. Act IV. sc. v. Juliet discovered apparently dead on 
 her bed. They prepare to carry her to the grave. 
 
 Day 5. Act V. sc. i. At Mantua. Balthazar brings news of 
 Juliet's supposed death. Eomeo obtaias poison of an Apothecary, 
 and resolves to retmn to Verona that same night. 
 
 Act V. sc. ii. Verona. Friar John returns to Friar Laurence 
 the letter to Eomeo which circumstances had prevented him from 
 delivering. Laurence determines to go alone to the tomb, for 
 
 "Within this three hours will fair Juliet wake." • 
 
 If we suppose Juliet to have taken the sleeping-potion at midnight, 
 Tuesday- Wednesday, the " two-and-f orty hours" should expire on 
 this day (Thursday) at six p.m., and the time of this scene, there- 
 fore, would be three p.m. She does not, however, awake 'till a much 
 later hour. 
 
 Act V. sc. iii. In the churchyard, at night. Paris visits the 
 tomb of Juliet j hearing footsteps he retires ; ■ Eomeo enters and 
 opens the vault. Paris attempts to arrest him and is slain. Eomeo 
 enters the tomb, takes the poison, and dies. The Friar comes to take 
 Juliet from her grave ; she awakes, and, finding Eomeo dead, refuses 
 to leave him. The Friar flies, and Juliet stabs herself. Paris's page 
 enters with the watch, who apprehend the Friar and BJthazar, and 
 send to summon up the Prince, the Capulets, and the Montagues, 
 and aU meet at the tomb, to lament the loss of their children and end 
 their enmity, in the early morning of the sixth day. 
 
194 IX. p. A, DANIEL. TIME-ANALYSIS OI' ROMEO AND JULIET. 
 
 Day 6. End of Act V. sc. iii. Early morning of the sixth day, 
 Friday. 
 
 Time of this Tragedy, six consecutive days, commencing on the 
 morning of the first, and ending early in the morning of the sixth. 
 Day 1. (Sunday) Act I., and Act II. sc. i. and ii. 
 
 „ 2. (Monday) Act II. sc. iii.— vi., Act III. sc. i.— iv. 
 
 „ 3. (Tuesday) Act III. sc. v.. Act IV. sc. i. — iv. 
 
 „ 4. (Wednesday) Act IV. so. v. 
 
 „ 5. (Thursday) Act V. 
 
 „ 6. (Friday) End of Act V. sc. iii 
 
 TIMON OF ATHENS. 
 
 First printed in the Folio. No division of acts and scenes. 
 
 Day 1. Act I. sc. i. and ii. Timon in prosperity, giving and 
 receiving presents. Among others, the Lord Lucullus entreats his 
 company to-morrow to hunt with him, and has sent his honour two 
 brace of greyhounds. 
 
 Day 2. Act II. sc. i. and ii. His creditors hegin to press Timon 
 for pajrment. Eeturning from hunting, he is pestered by their 
 servants, who present their bills. Learning from his steward that 
 his fortune is all spent, he resolves to try his friends, and among 
 others sends to Lucullus : " I hunted with his honour to-day," says 
 he. This hunting seems to fix the time of these scenes as the morrow 
 of Day 1. 
 
 Act III. sc. i. — ^iii. His friends all refuse assistance. 
 
 Day 3. Act III. sc. iv. Before nine o'clock, presumably on 
 the foUowmg morning, Timon's hall is full of the servants of his 
 creditors clamouring for payment. Having got rid of them, he bids 
 his steward go and invite aU his friends again ; once more he will 
 feast the rascals. 
 
 Act III. sc. v. In the Senate. Alcibiades quarrels with the 
 Senators, and is banished by them. 
 
 Act III. sc. vi. In Timon's house. His friends, supposing 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF TIMON OF ATHENS. 195 
 
 Timon still rich, and that his application to them for money was 
 merely a feint to try them, have all assembled for this new feast. 
 The latest news among them is the banishment of Alcibiades. Timon 
 serves up the banquet, all covered dishes, which are found to 
 contain nothing but hot water. This, with the dishes, he throws at 
 his false friends, and beats them out. He then flies from Athens. 
 
 Act IV. sc. i. Timon, without the walls of Athens, looks back 
 and curses the town. 
 
 Act rV. sc. ii. Timon's servants take leave of each other. 
 
 All these scenes, from Act III. sc. iv. to this point, are evidently 
 included in the third day of the action. 
 
 An interval. 
 
 Day 4. Act IV. sc. ui. We may suppose a considerable 
 interval between this and the preceding scenes. Timon is living in 
 the woods. Digging for roots he finds gold. Alcibiades, having 
 raised an army, is marching to attack Athens j ■ he meets Timon, who 
 gives him gold to forward his enterprise. Alcibiades's discourse 
 with Timon is somewhat singular. At first he does not recognise 
 his friend. Then, without being informed who he is, he declares — 
 
 " I know thee weU ; 
 But in thy fortunes am unlearned and strange." 
 
 A little later he asks — 
 
 " How came the noble Timon to this change 1 " 
 A few lines further on he says — 
 
 " I have heard in some sort of thy miseries." 
 
 And again — 
 
 "I have heard, and grieved, 
 How cursed Athens, mindless of thy worth, 
 Forgetting thy great deeds," &c. 
 
 Alcibiades departs, and shortly after Timon is visited by Apemantus. 
 Timon shows him the gold, and he promises to spread the report of 
 it. In the course of their conversation Apemantus remarks — 
 •' Yonder comes a poet and a painter ; the plague of company Hght 
 on thee ! " Apemantus is no sooner gone than certain banditti enter 
 
196 IX. p. A. DANIEL. TIME- ANALYSIS OF TIMON OF ATHENS. 
 
 to try to get some of the treasure of which, they have heard Timon 
 is possessed. How or when they learned this does not appear. We 
 may, perhaps, suppose these men stragglers from Alcibiades's army, 
 for he has mentioned that his want of money 
 
 " doth daily make revolt 
 In my penurious band." 
 
 After the banditti. Flavins appears, but Timon, though he wUl not 
 accept his services, dismisses him with wealth. At the end of this 
 scene the stage direction is " Exit." 
 
 Day 5. Act V. sc. i. JSTow at last "Enter Poet and Painter." 
 They were descried by Apemantus in the preceding scene, but they 
 only now make their appearance. They know of the gold ; for 
 " Alcibiades reports it ; Phrynia and Timandra had gold of him ; he 
 likewise enriched poor straggling soldiers with great quantity : 'tis 
 said he gave unto his steward a mighty sum." All true ; but where, 
 when, and how did they hear all this t How could these inhabitants 
 of Athens know that Alcibiades, who was marching against their 
 town, reported this ? They could not have been within sight of Timon 
 during his visitations by Apemantus, the brigands, and by Flavius, 
 notwithstanding Apemantus's saying. Their knowledge is only from 
 hearsay, and would suggest that this scene is not a continuation of 
 the previous one, but takes place on a separate day. Timon enters 
 to them from his cave, and after rallying them, drives them out. 
 Stage direction is "Exeunt." 
 
 Then "Enter Steward and two Senators." The Senators are 
 deputed by Athens to seek aid from Timon against Alcibiades. 
 Flavius brings them to his cave. "Enter Timon out of his cave." 
 He refuses to have anything to do with them, tells them he has made 
 his grave, and that his epitaph will be seen to-morrow. This inter- 
 view may possibly take place on the same day as that with the Poet 
 and Painter ; but it should be numbered as a separate scene. 
 
 Act V. sc. ii. 'In Athens. The Senators receive news of the 
 approach of Alcibiades. The deputies return from Timon, and report 
 that nothing is to be expected from him. 
 
 Eay 6. Act V. sc. iii. " Enter a Souldier in the woods, seeking 
 
IX. p. A. DANIEL. TIME-ANALYSia OP TIMON OS ATHENS. 197 
 
 Timon." He reads an inscription importing tlie death of Timon, 
 and finding on his tomb an epitaph in. a character unknown to him, 
 he takes an impression of it in wax for Alcibiades to interpret. 
 
 Act Y. sc. iv. Alcibiades before Athens. The town surrenders 
 to him. The soldier brings to him the waxen impression of the 
 epitaph on Timon's tomb. 
 
 These scenes, iii. and iv., may perhaps be supposed on one day. 
 
 The time, then, of the Play may be taken as six days represented 
 on the stage, with one considerable interval. 
 Day 1. Act I. sc. i. and ii. 
 „ 2. Act II. sc. i. and ii., Act III. sc. i. — iii. 
 „ 3. Act III. sc. iv. — ^vi., Act IV. sc. i. and ii. 
 
 Fnterval. 
 „ 4. Act rV, sc, iii. 
 „ 6. Act V. sc. i. and ii. 
 „ 6. Act V. sc. iii. and iv. 
 
 JULIUS CiESAR. 
 
 FiEST printed in the Folio. Divided into acts only. 
 
 Day 1. Act I, sc. i. The Tribunes Flavius and Marullus drive 
 the holiday-making commons from the streets, and proceed to " dis- 
 robe the images " " hung with Caesar's trophies. " 
 
 Act I. sc. ii, . Csesar and his train on their way to the Lupercalj 
 the Soothsayer bids him "beware the ides of March." Brutus and 
 Cassius remain. Cassius sounds Brutus as to his disposition towards 
 Csesar. Csesar and his train return from the games and pass over. 
 Casca remains with Brutus and Cassius, and relates how Ceesar had 
 refused the crown offered him by Antony. Cassius agrees to call on 
 Brutus on the morrow to discuss affairs, and resolves to throw in at his 
 window, this night, certain writings purporting to come from several 
 citizens, aU glancing at Caesar's ambition. 
 
 An interval of a month — from the ides, the 13th Feby, the 
 Lupercaiia, to the ides, the 15th March — should, I think, be allowed 
 
 N. S. SOO, TEAKS,, 1877-9. 14 
 
1;98 IX. p. A. DANIEL. TIME-ANALYSIS OP JULIUS C^SAR. 
 
 nere. History requires it, and though I would not lay much stress 
 on that argument, there are in the drama itself sufficient hints of a 
 lapse of time to justify the separation of the ahove scenes from those 
 which foUow. 
 
 INote that when we next meet with Brutus in Act II. sc. i., he 
 has of himself resolved on the death of Caesar ; his speech — 
 
 " Since Cassius first did whet me against Crosar 
 I have not slept. 
 
 Between the acting of a dreadful thing 
 And the first motion, aU the interim is 
 Like a phantasma, or a hideous dream " — 
 
 gives a sound as of a long period of mental agony ; and, to come to 
 more definite evidence, his remark on the sealed paper, which his hoy 
 Lucius has found thrown in at the window — 
 
 " Such instigations have been o/feji dropp'd 
 Where I have took them up "— 
 
 is only intelligible on the supposition of a considerable interval 
 between this Act II. sc. i. and Act I. sc. ii. This paper which Lucius 
 now finds must be that which Cassius confides to Cinna (Act I. sc. iii. 
 1. 144), and must not be confounded with those Cassius talks of at 
 the end of Act I. sc. ii. in Day ISTo. 1. 
 
 Day 2. Act I. sc. iii. A stormy night. Strange portents' are 
 seen in the streets of Ilome. Casca and Cicero meet, and we learn 
 that Cxsar intends to be at the Capitol on the morrow. As Cicero 
 goes out Cassius enters, and enlists Casca in the plot. Cinna then 
 arrives, and is employed by Cassius to continue the practice by which 
 he hopes to get Brutus to join them in their conspiracy against Cassar. 
 It is after midnight when this scene closes, and the conspirators 
 resolve to call on Brutus yet ere day. 
 
 Day 3. Act II. so. i. The ides^ of March are come ; but it is 
 
 1 As these papers relate especially — almost exclusively — to qucstiODB 
 of time, it should be noted that in the Folio Brutus asks the boy — 
 
 "Is not to-morrow, boy, the first of March? " 1. 40, 
 
 Aud in 1. 59 Lucius, after consulting the almanack, replies — 
 
 " Sir, March is •via.stcd. fifteen days." 
 
 These two obvious errors were corrected by Theobald Uttlie ides and fourteen, 
 at Warburton's suggestion. 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF JULIUS OJESAR. 199 
 
 yet little past inidniglit •when tlie conspirators, as agreed in the last 
 scene, call on Brutus, and find him walldng restlessly in his orchard. 
 It is finally resolved that the great deed shall he accomplished in the 
 day about to dawn, and at three o'clock they separate to meet again 
 at the eighth hour to accompany Csesar to the Capitol. Portia now 
 joins her husband. Their discourse is interrupted by the arrival 
 of Ligarius, with whom Brutus departs for the fulfilment of his 
 enterprise. 
 
 Act II. sc. ii. Eight o'clock, and Csesar, moved by Calpumia's 
 terrors and the warnings of the Augurers, determines that he will 
 not stir out to-day, when Deoius and, afterwards, the rest of the 
 conspirators arrive and induce him to alter his resolve and accompany 
 them to the Senate-House. 
 
 Act II. sc. iii. Artemidorus takes his stand in the street by 
 which Csesar must pass, with a paper warning him against the con- 
 spirators. 
 
 Act II. sc. iv. About the ninth hour Portia, anxious to heay 
 what passes at the Senate-House, sends thither the boy Lucius ; she 
 also meets the Soothsayer who is on his way to warn Csesar of the 
 unknown danger that threatens him. 
 
 Act III. so. i. Csesar, despite the warnings of Artemidorus and 
 the Soothsayer, enters the Capitol with the conspirators and others. 
 Trebonius draws Mark Antony out of the way, and then the rest of 
 the conspirators slay Csesar. Antony, on a promise of safety from 
 Brutus, comes to mourn over Csesar, and receives permission to per- 
 form his obsequies, and to speak to the people in the Forum. 
 
 Act III. sc. ii. Brutus speaks to the people and satisfies them of 
 the justice of Csesar's death ; he then gives way to Antony, who 
 enters with the body of Csesar, and who, after the departure of 
 Brutus, stirs up the multitude against the conspirators. At the end 
 of the scene we learn that Octavius has arrived in Eome, and that 
 the conspirators have fled the city. 
 
 Act III. sc. iii. The people kUl Cinna the poet, believing him 
 to be Cinna the conspirator. 
 
 An interval (Historical time : 15 March, B.C. 44, to 27 ISTovem- 
 ber, B.O. 43. The reader, howeyer, had better discard^Il notions of 
 
 14* 
 
200 IX. p. A, DANIEL. TIME-ANALYSIS OF JULIUS C^SAB. 
 
 historical time in relation to this and the subsequent intervals I have 
 marked in the dramatic action.) 
 
 Day 4. Act IV. so. i. Antony, Octavius, and Lepidus have 
 seized the supreme power ; they proscribe their enemies, and prepare 
 to oppose Brutus and Cassius, who we hear are levying powers. 
 
 Interval. 
 
 Day 5. Act IV. sc. ii. and iii. Brutus and Cassius join their 
 forces near Sardis. Some time has elapsed since their flight from 
 Eome. Their legions are now brim-full, and they resolve early next 
 morning to march towards Philippi, there to encounter Octavius and 
 Mark Antony, who have a mighty power afoot. Late at night the 
 Ghost of Csesar appears to Brutus in his tent. 
 
 Interval — one day at least. 
 
 Day 6. Act V. sc. i. — v. The plains of Philippi. The hostile 
 forces meet. The battle rages all day long, and ends with the deaths 
 of Brutus and Cassius. 
 
 One clear day, at least, intervenes between this and the preceding 
 Act. Brutus says — 
 
 " The Ghost of Coesar hath appeared to me 
 Two several tinies by night ; at Sardis once, 
 And, tills last night, here in'Philippi fields." 
 
 Sc. V. 1. 17—19, 
 
 Time of the Play, 6 days represented on the stage ; with intervals. 
 Day 1, Act I. sc, i, and ii. 
 
 Interval — one month. 
 „ 2. Act I. sc. iii. 
 „ 3. Acts II, and III, 
 
 Interval. 
 „ 4. Act IV. sc. i. 
 
 Interval. 
 „ 5, Act IV, sc. ii. and iii. 
 
 Interval — one day at least. 
 „ 6. Act V, 
 "The real length of time in Julius Csesar is as follows : About 
 the middle of February a,u.o. 709, a frantick festival, sacred to 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF JULIUS UMSAU. 201 
 
 Pan, and called Impercalia, was held in hdnour of Ciesar, -wlieii the 
 regal crown was offered to him by Antony. On the 15 March in 
 the same year, he was slain. November 27, a.u.o. 710, the trium- 
 virs met at a small island, formed by the river Ehenus, near Bononia, 
 and there adjusted their cruel proscription. — A.tJ.O. 711, Brutus 
 and Cassius were defeated near Philippi." — TJpton. 
 
 MACBETH. 
 
 FiBST published in Folio, 1623. Divided into acts and scenes. 
 The last scene of the folio, Scena Septima, has been variously divided 
 by modern editors. The Globe editors, following Dyce, divide it 
 into two, marking a fresh scene (viii) at Macbeth's last entry— ^ 
 " Why should I play the Eoman fool," &c. 
 
 Day 1. Act I. sc. i. The Witches. They propose to meet with 
 Macbeth after the battle, " upon the heath," " ere the set of sun." 
 
 Act I. sc. ii. " Alarum within'." We are, then, supposed to be 
 within ear-shot of the battle. Duncan meets a bleeding Captain 
 [Serjeant in the text] who brings news of the fight — Macbeth has 
 defeated the Eebels under Macdonwald, and is now engaged with the 
 kfaig of Norway. Eoss and Angus [Mem. Angus does not speak 
 nor is he mentioned in the text, and is struck out of modern editions] 
 now enter. They come from Fife, and Eoss announces the victory 
 over Norway and Cawdor. Duncan commissions Eoss to pronounce 
 the present death of Cawdor and to greet Macbeth with his title. 
 
 Where is this scene laid 1 Modem editors say, at Forres. I pre- 
 sume because in the next scene Macbeth, who is on his way to the 
 king, asks "How far is't called to Forres?" Forres is, then, within 
 ear-shot of Fife. 
 
 Act I. sc. iii. The Witches meet with Macbeth and Banquo 
 upon the " blasted heath." Time near sunset, it is to be presumed, 
 as agreed on in sc. i. Eoss and Angus come from the King. ,Eoss 
 describes how the news of Macbeth's success reached the King, by 
 post after post. He appears to have entirely forgotten that he him- 
 self was the messenger ; he however greets Macbeth with tlie title 
 
202 IX. p. A. DANIEL. TIME-ANALtSI8 OP MACBETJt, 
 
 of Cawdor, and Angus informs Mactetli that Cawdor lies under 
 sentence of death for " treasons capital," hut whether he was in 
 league with Norway, or with the rehel [Macdonwald], or with hoth, 
 he knows not. Eoss did know when, in the preceding scene, he 
 took the news of the victory to the King ; hut he also appears to 
 have forgotten it;, at any rate he does not betray his knowledge, 
 Macheth's loss of memory is even more remarkable than Eoss's. 
 He doesn't recollect having himself defeated Cawdor but a few short 
 hours — we might say minutes — ago ; and the Witches' prophetic 
 greeting of him by that title; and Eoss's confirmation of it, fill him 
 with surprise ; for, so far as he knows, (or recollects, shall we say T) 
 the thane of Cawdor lives, a prosperous gentleman. 
 
 However, Macbeth and the rest now proceed toward the King, 
 and here we must end the first day of the action, at near sunset. 
 
 Day 2. Act I. so. iv. We are now, it is to be presumed, at 
 Forres, and on the following morning. Duncan is here with his sons 
 and with certain Lords. The commissioners charged with the judg- 
 ment and execution of Cawdor are not yet returned, but news of his 
 death has been received. Eoss was charged with this business, and 
 undertook it, but it is evident he can have had no hand in it. He 
 and Angus now make their appearance, with Macbeth and Banquo, 
 who are welcomed by the king. 
 
 Duncan determines that he will from hence to Inverness ; and 
 Macbeth, undertaking himself to be his harbinger, departs at once. 
 " Let's after him," says Duncan. 
 
 Act L sc. V. The scene changes to Macheth's castle at Inverness. 
 Lady Macbeth reads a letter from her husband, telling her of his 
 meeting with the Witches' in the day of his success. This letter 
 must have been written and despatched at some time between scenes 
 iii. and iv. A messenger announces the approach of Macbeth, fol- 
 lowed by the king. Macbeth himself arrives, and confirms the news 
 that the King comes here to-night. 
 
 Act I. sc. vi. The King arrives, and is welcomed by Lady Mac- 
 beth. He has couised Macbeth at the heels, and has had a " day's 
 hard journey " (see sc. vii., 1. 62). The scene is headed with the 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP MACBETB. 203 
 
 stage direction, "Hautboys and torches;" yet Banquo talks of this 
 swallows which have made their nests upon the castle walls, as 
 though it were still day. The stage direction should surely give way 
 before the authority of the text : torches is very generally omitted, 
 but the whole direction was probably caught from the next scene, 
 which is headed with a like direction. 
 
 Act I. sc. vii. " Hautboys and torches." The service of the 
 King's supper passes over the stage. Macbeth hesitates at the great 
 crime he and his wife had agreed to commit. She now again con- 
 firms him, and they settle the details of the King's murder. The 
 King has almost supp'd when Lady Macbeth comes to her husband. 
 
 Day 3. Act II. so. i. Past midnight. " The moon is down." 
 " And she goes down at twelve." Banquo and Fleance^ retiring to 
 rest, meet with Macbeth; they teU him that "The King's a-bed." 
 Banquo mentions that he " dreamt last night of the three weird 
 sisters." This last night must be supposed between scenes iii. and iv. 
 of Act I. : there is no other place where it could come in. 
 
 They part, and Macbeth proceeds to commit the murder. 
 
 Act II. sc. ii. The same. Lady Macbeth is waiting for the 
 fatal news. Macbeth re-enters with the daggers j he has done the 
 deed. In his horror he dares not return to the King's chamber with 
 the daggers ; Lady Macbeth takes them. Knocking is heard within. 
 They retire. 
 
 Act II. sc. iii. The same. The knocking has aroused the 
 drunken Porter, who proceeds to open the gate and admit Macduff 
 and Lennox. It is yet early morning, but they have command to 
 call timely on the King. Macbeth makes his appearance, and talks 
 with Lennox whUe Macduff goes to the King's chamber. Macduff 
 re-enters with the news of the murder. Macbeth and Lennox go to 
 see for themselves, while Macduflf raises the house. Lady Macbeth 
 and then Banquo enter. Macbeth and Lennox, with Eoss [how came 
 Eoss there"!] return from the Sling's chamber. The King's sons, 
 Malcolm and Donalbain, enter, to be informed of their father's 
 murder, and that Macbeth has slain the grooms of his chamber as 
 the culprits. All now retire, to meet again presently in the hall 
 
204 IX. p. A. DANIEL. TIME-ANALYSIS OF MACBETH. 
 
 to discuss matters, save Malcolm and Donalbain, who resolve on 
 flight. 
 
 Act II. sc. iv. Later in the day Eoss and an old man discuss 
 the events of the past night. Macduff joins them, and we learn that 
 Malcolm and Donalbain have fled, and that Macbeth has been chosen 
 King and has gone to Scone to be invested. Eoss determines to go 
 thither, but Macduff will not, he wUl to Fife. 
 
 An interval, the reasons for which are set forth in the comment 
 on the following scenes, must now be supposed. 
 
 Day 4. Act III. sc. i. to iv. Macbeth is now established on 
 the throne. In these scenes the murder of Banquo is plotted and 
 effected, and his ghost appears at the banquet. The night is almost 
 at odds with morning when these scenes end, and Macbeth deter- 
 mines that he will to-morrow, and betimes, to the weird sisters. 
 
 Act III. sc. V. During the same day Hecate meets the Witches 
 and apprises them of Macbeth's purposed, visit. 
 
 Between Acts II. and III. the long and dismal period of Mac- 
 beth's reign described or referred to in Act III. sc. vi.. Act IV. sc. ii. 
 and iii., and elsewhere in the play, must have elapsed. Macbeth 
 himself refers to it where, in Act III. sc. iv., speaking of his Thanes, 
 he says : 
 
 " There's not a one of them but in his house 
 I keep a servant fee'd." — 
 And again — 
 
 " I am in blood 
 Stepp'd in so far, that, should I wade no more, 
 Eeturning were as tedious as go o'er." 
 
 Yet, almost in the same breath he says, — 
 
 " My strange and self-abuse 
 Is the initiate fear that wants hard use : 
 We are yet but young in deed." 
 
 And the fijst words with which Banquo opens this Act — " Thou 
 hast it now," &c. — ^would lead us to suppose that a few days at the 
 utmost can have passed since the coronation at Scone ; in the same 
 scene, however, we learn that Malcolm and Donalbain are bestowed 
 in England and in Ireland : some little time must have elapsed 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP MACBETH. 205 
 
 ■before this news could have reached Macbeth. Professor "Wilson 
 suggests a week or two for this interval. Mr. Paton would allow 
 three weeks.^ 
 
 Note in sc. iv., quoted from ahove, Macbeth's reference to Mac- 
 duff: 
 
 " Mac. How say'st thou, that Macduff denies his person 
 
 At our great bidding 1 " 
 " Lady M. Did you send to him, sir ? " 
 
 " Mac. I hear it by the way ; hut I will send. " 
 
 It is clear then that up to this time Macbeth has not sent to 
 "Macduff. 
 
 [Act III. sc. vi. It is impossible to fix the time of this scene. 
 In it " Lenox and another Lord " discuss the position of affairs. The 
 murder of Banquo and the flight of Pleance are known to Lenox, 
 and he knows that Macduff lives in disgrace because he was not at 
 the feast, but that is the extent of his knowledge. The other Lord 
 informs him that Macbeth did send to Macduff, and that Macduff 
 has fled to England to join Malcolm. And that thereupon Mac- 
 beth "prepares for some attempt of war." All this supposes the 
 lapse, at the very least, of a day or two since the night of Macbeth's 
 banquet ; but in the next scene to this we find we have only arrived,-' 
 at the early morning following the banquet, up to which time the 
 murder of Banquo could not have been known ; nor had Macbeth 
 sent to Macduff, nor was the flight of the latter known. The scene 
 in fact is an impossibility in any scheme of time, and I am compelled 
 therefore to place it within brackets. — See Professor Wilson's amus- 
 ing account of this " miraculous " scene in the fifth part of Dies 
 Boreales : repriated in N. Sh. Soe. Trans, for 1875-6, part ii. p. 351-8.] 
 
 Day 5. Act IV. sc. i- We find ourselves in the witches' cave, 
 on the morning following the banquet, and Macbeth fulfilling his 
 purpose, then expressed, of consulting the weird sisters. It seems 
 
 1 I have had the advantage, while writing this article, of consulting an 
 edition of Macbeth, published hy Mr. A. P. Paton in 1877, to which is appended 
 a scheme of time for the play. My division of time agrees generally with Mr. 
 Paton's : the chief differences being that I place within brackets Act III. sc. 
 vi. while he includes it in Day 4, and that Abt V. so. i. to which he assigns a 
 separate day I include in Day 7. 
 
206 IX. p. A. DANIEL. TIME-ANALYSIS OB' MACBETH. 
 
 evident too that ho cannot yet have sent to Macduff; for news is 
 now brought him that Macduff has anticipated his purpose and has 
 fled to England. Lenox tells him this news, and Lenox himself 
 apparently has but just received^ it from the " two or three " horse- 
 men who bring it ; yet Lennox was informed of this and more in 
 the preceding scene by the other Lord ; he was even informed that 
 Macbeth was preparing for war in consequence of Macduff's flight 
 which he, Macbeth, now in this scene, hears of for the first time. 
 
 On hearing of Macduff's flight, the tyrant resolves immediately to 
 surprise his castle, and " give to th' edge of the sword / His wife, his 
 babes, and all imfortunate souls / That trace him in his line," and 
 accordingly in 
 
 Day 6. Act IV. sc. ii. Lady Macduff and her children are 
 .savagely murdered. "We may possibly suppose for this scene a 
 separate day, as I have marked it. Mr. Paton would allow an inter-' 
 val of two days between this and the preceding scene. Professor 
 Wilson fixes its time at "two days — certainly not more — after the 
 murder of Banquo " ; but the general breathless haste of the play is, 
 I think, against any such interval between Macbeth's purpose and 
 its execution ; the utmost I can allow is, that it takes place on the 
 day following sc. i. of Act IV. 
 
 An interval, for Eoss to carry the news of Lady Macduff's murder 
 to her husband in England where, in the next scene, 
 
 Day 7. Act IV. sc. iii., we find Malcolm and Macduff. The 
 latter has not long arrived. Eoss joins them with the dreadful news, 
 At his departure from Scotland " there ran a rumour / Of many 
 worthy fellows that were out," and ho had himself seen " the tyrant's 
 power a-foot." In this scene in particular is to be observed the sug- 
 gestion of a long period of desolation for Scotland from the corona- 
 tion of Macbeth to the flight of Macduff ; a period,' however, which 
 the action of the play rigorously compresses into two or three weeks 
 at the utmost. 
 
 Malcolm's power is ready, and they have but to take leave of the 
 English king and start on their expedition. 
 
li. p. A. DANIEL, TIME-ANALYSIS OF MACBETH. 20? 
 
 Act V. sc. i. At Dunsinane. Lady Mactetli walks in her sleep. 
 " Since his majesty went into the field " this has heen customary 
 with her ; but the Doctor has watched two nights and till now' has 
 seen nothing. The time of this scene may be supposed the night 
 of Day 7. The mention of Macbeth's being in the field must refer 
 to his expedition against the rebels ; also mentioned by Eoss in the 
 preceding scene, where he says that he had seen " the tyrant's power 
 a-foot." 
 
 An interval, Malcolm returns to Scotland with the English 
 forces. 
 
 Day 8. Act V. sc. ii. The Scotch thanes who have revolted 
 from Macbeth, march to Birnam to join with the English power led 
 by MalQolm, which we learn is now near at hand. We also learn 
 that Macbeth is back in Dunsinane, which " he strongly fortifies ; " 
 it is clear, therefore, that a considerable interval must be supposed 
 between sc. i. and ii. of Act V. 
 
 Act V. sc. iii. In Dunsinane Macbeth prepares for his opponents. 
 
 "We may fairly allow one day for these two scenes ; although no 
 special note of time is to be observed from here to the end of the 
 play : they may be supposed to end the last " interval " and serve as 
 an introduction to 
 
 Day 9 and last. Sc. iv. The Scotch and English forces join, 
 and march to Dunsinane screened with the branches cut in Birnam 
 wood. 
 
 Sc. v. In Dunsinane. The death of the Queen is announced. 
 Birnam wood is seen to move, and Macbeth sallies out to attack his 
 foes. 
 
 Sc. vi. The combined forces under Malcolm arrive before the 
 castle and throw down their leafy screens. 
 
 Sc. vii. and viii. (one scene only in Folio). The battle in which 
 Macbeth is slain, arid Malcolm restored to his father's throne. 
 
 Time of the Play nine days represented on the stage, and intervals. 
 
 Day 1. Act I. sc. i. to iii. 
 „ 2. Act I. sc. iv. to vii. 
 „ 3. Act II. sc. i. to iv. 
 
208 IX. p. A. UiNIEL. TIME-ANALYSIS OP MACBETH. 
 
 An interval, say a couple of weeks. A week or two- 
 Professor Wilson ; three weeks — Paton. 
 Day 4. Act III. se. i. to v. 
 
 [Act III. sc. vi., an impossible time.] 
 „ 5. Act IV. sc. i. 
 
 [Professor Wilson supposes an interval of certainly not 
 more than two days between Days- 5 and 6 ; Paton 
 marks two days. N"o interval is required in my 
 opinion.] 
 „ 6. Act IV. sc. ii. 
 
 An interval. Eoss's journey to England. Paton allows 
 two weeks. 
 „ 7. Act IV. sc. iii., Act V. sc. i. 
 
 An interval. Malcolm's return to Scotland. Three 
 weeks — Paton. 
 „ 8. Act V. sc. ii. and iii. 
 „ 9. Act V. sc. iv. to viii. 
 
 HAMLET. 
 
 First printed in Quarto. No division of acts and scenes in 
 Quarto ; in the Folio only Act I. and the first three scenes of that 
 act, and Act II. and the second scene of that act are numbered. 
 Both Quarto and Folio contain passages independent of each other. 
 
 Day 1. Act I. sc. i. On the platform before the castle of 
 Elsinore. Past midnight. Francisco on guard. He is relieved by 
 Bernardo, Marcellus, and Horatio. The Ghost of the late king 
 appears to them. They resolve to impart to Hamlet what they have 
 seen, and Marcellus knows where this morning they may most con- 
 veniently meet with him. The morning being come they break up 
 their watch. 
 
 Act I. sc. ii. A room of state in the castle. The King despatches 
 Cornelius and Voltimand on an embassy to Norway. He also 
 grants leave to Laertes to return to France. At the entreaties of the 
 King and his ra other, Hamlet consents to give up his intention of 
 going back to school in Wittenburg. Left alone, he gives way to the 
 
IX. p. A. DANIBt. TIME-ANALYSIS OF HAMLET. 209 
 
 bitterness of his soul as he reflects that although his father is yet 
 not two months dead, his mother is already married again, and to his 
 uncle, the present King, 
 
 Horatio, Marcellus, and Bernardo, interrupt his reflections, and 
 acquaint him with the -vision that has appeared to them. He resolves 
 that he wUl watch with them this coming night. It would seem that 
 Horatio and his companions were not ahle to find Hamlet, as they 
 proposed, in the morning. When they now meet with him he salutes 
 them with "good even." 
 
 It is somewhat singular that Horatio, Hamlet's intimate, who 
 came here to witness the funeral of the late King, should only now 
 for the first time present himself to his friend, 
 
 Act I, so. iii. Laertes takes leave of Ophelia and his father, 
 and embarlis for France. From the position of this scene it is clear 
 that it is included in the first day of the action. 
 
 Day 2. Act I. sc. iv. and v. On the platform. Past midnight, 
 Hamlet, with Horatio and Marcellus (Bernardo disappears from the 
 play after scene ii. ), comes to watch for his father's Ghost, The 
 Ghost appears and bectons him away, and on a more remote part of 
 the platform in sc. v., alone with him, tells him of his foul murder 
 by his brother, the present king. Day beginning to dawn, the Ghost 
 disappears, and Hamlet is rejoiued by Horatio and Marcellus whom 
 he swears to secrecy. 
 
 An interval; rather more than two months, the reasons for which 
 are manifested in the following scenes, must now be supposed in the 
 action of the play. 
 
 Day 3, Act II, sc. i. Polonius despatches Eeynaldo with 
 money and letters to his son in France, Ophelia acquaints her 
 father with Hamlet's steange" conduct to her; they suppose him to 
 have fallen mad in consequence of his love to her having been 
 repelled, and Polonius resolves to acquaint the King at once with 
 this discovery. That Hamlet's "transformation" is not a thing of 
 yesterday, is clear from what occurs in the next scene. 
 
 Act II. so. ii. The Kiag and Queen welcome Eosencrantz and 
 GuildeUstem, whom they have sent for in the hope that they, as the 
 
210 IX. p. A, DANIEL. TIME-ANALYSIS OP HAMLET, 
 
 friends of Hamlet's yonth, may induce him to reveal to them the 
 cause of his griefs. Polonius now introduces Voltimand and Cor- 
 nelius, who have returned from their embassy to Norway, and this 
 business despatched, he tells the King and Queen of his supposed 
 discovery of the cause of Hamlet's madness. Hamlet now entering, 
 Polonius is left alone with him to pursue his discovery; but is 
 treated only with chaff, tiU Eosencrantz arid Guildenstern come to 
 his relief. They however meet with no better success, and the 
 scene ends with the arrival of the Players, whose approach they had 
 announced; and whose services Hamlet resolves to employ in the 
 repreaentation of a play which shaU figure forth the murder of his 
 father as revealed to him by the Ghost, This play he wiU have 
 ready for " to-morrow night. " 
 
 Day 4. Act III. sc. i. With this scene commences the 
 " morrow '' of the past day. Eosencrantz and Guildenstern tell the 
 King and Queen of their failure with Hamlet, and announce the play 
 he has prepared for " this night." Polonius, still hot on his repulsed- 
 love theory, baits a trap for Hamlet with Ophelia, and that failing, 
 he advises the King — who now thinks it wUl be best to ship 
 Hamlet off to England — to let the Queen first have an interview with 
 him after the play, to make him show his grief. 
 
 Act III. sc. ii. Hamlet instructs the Players. He requests 
 Horatio to watch the King's countenance narrowly during the play 
 which is now about to be performed. The King, Queen and court 
 then enter, and the play begins ; but is ?oon broken off by the King 
 starting up conscience-stricken at the scene which so nearly represents 
 his own guilt. All depart save Hamlet and Horatio, who compare 
 notes as to the King's behaviour. Eosencrantz and Guildenstern, and 
 afterwards, Polonius, re-enter to tell Hamlet that his mother desires 
 to speak with him in her closet ere he go to bed. They leave him, 
 and he then, in " the very witching time of night," proceeds to his 
 mother's chamber. 
 
 In these two scenes Ophelia gives us two important notes of 
 time. In sc. i., 1. 91, she addresses Hamlet — 
 
 " How does your honour for this many a day." 
 In sc. ii. 1. 1-35 -when Hamlet wildly says, that his. " father died 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP HAMLET. 211 
 
 within, these two hours," she exclaims — " Nay, 'tis twice two months, 
 my lord." As in Act I. Hamlet's father had then been dead not 
 quite two months, it follows that the interval which I have marked 
 between Acts I. and II. must be a period of rather more than two 
 months. The length of this interval receives additional confirmation 
 from the King's speech in Act IV. sc. vii., 1. 82-3, when concerting 
 with Laertes the fenciag-match : " Two months since, \ Here was a 
 gentleman of Normandy," &c.^ 
 
 Act III. sc. iii. The King orders Rosencrantz and Guildenstern 
 to prepare immediately for England, whither he is iiow quite resolved 
 to send Hamlet. Polonius enters to inform the King that Hamlet is 
 going to his mother's closet. The King left alone kneels in prayer, 
 and Hamlet, in passing over the stage, thinks to kUl him then and 
 there ; but defers his vengeance for a worser moment, and proceeds 
 on his way. 
 
 Act III. sc. iv. The Queen's closet. Polonius informs the Queen 
 that Hamlet wiU come straight, and then hearing him approach, 
 hides himself behind the arras. The Quocn, terrified by Hamlet's 
 manner, cries for help ; her cry is taken up by Polonius who is slain 
 by Hamlet, Hamlet then proceeds to reproach his mother with her 
 conduct; the Ghost again appears, but this time is visible and 
 audible to Hamlet only. After advice to his mother, and obtaining 
 a promise from her that she will not reveal the subject of their con- 
 ference, the following remarkable conversation takes place — 
 
 " Ham. I must to England ; you know that ? " 
 " Queen. Alack, 
 
 I had forgot : 'tis so concluded on." 
 
 1 It must however be noted that the "tivice two months" of Ophelia has 
 been questioned by some commentators. Hanmer omits twice, and Dr. Ingloby 
 would substitute for it quite : the reason, no doubt, being that Hamlet in his 
 reply to Ophelia says, — " heavens I die two months ago, and not forgotten 
 yet I " "We have however to consider that Hamlet's is a " mad " speech, and 
 that the interval between Acts I. and II. must be considerable, for during this 
 time the embassy to Norway is completed; Eosenorantz and Guildenstern have 
 been sent for in consequence of Hamlet's unaccountable behaviour; and 
 Polonius is now found despatching money and letters to his son, which he 
 could scarcely be expected to do almost immediately after his departure. At 
 the same time one. cannot but wonder what Hamlet has been about.during this 
 more tlian.two months interval : he who intended to sweep to his revenge with 
 wings as swift as meditation or the thoughts of love. 
 
212 IX. p. A. DANIEL. TIME- ANALYSIS OiC HAMLET. 
 
 " Ham. There's letters sealed : and my two sclioolfeUows, 
 Whom I will trust as I will adders fang'd, 
 They tear the mandate ; " &c. 
 
 When, where, or from whom, could they have had this intelligence % 
 The Queen might possibly have known that some such scheme was 
 in contemplation, but could not know that it had been resolved on j 
 and Hamlet himself must have been quite in ignorance of the 
 matter. The authm's knowledge of the plot seems to have cropped 
 out here prematurely. 
 
 Act rV. sc. i. The night stiU continues. The Queen tells the 
 King of the death of Polonius. Eosencrantz and GuUdenstern are 
 sent off to find the body, and the King resolves that — 
 
 " The sun no sooner shall the mountains touch " 
 
 but Hamlet shall be shipped hence. 
 
 Act IV, sc. ii. Eosencrantz and GuiLdenstem meet with Hamlet 
 and pursue him. 
 
 Act rV. sc. iii. Hamlet is brought before the King, who teUs 
 him of his purpose. Hamlet consenting, the King instructs Eosen- 
 crantz and Guildenstern — 
 
 " FoUow him at foot ; tempt him with speed aboard ; 
 Delay it not ; I'U have him hence to-night ; 
 Away ! for everything is sealed and done," etc. 
 
 Here follows a scene, the time and place of which is somewhat 
 difficult to determine. 
 
 Day 5. Act IV. sc. iv. Young FortinbraS is on the march with 
 his army when Hamlet, Eosencrantz, Guildenstern, etc., who are on 
 their way to the ship, meet this power, and Hamlet discourses with 
 one of the captains. The scene is continuous with the action of the 
 preceding scenes ; but we must, I suppose, imagine that a new day 
 has now dawned, and mark this scene as day 5. So far as Hamlet 
 and his companions are concerned, this scene is not found in the 
 Folio version of the play. 
 
 An interval — a week. 
 
 Day 6. Act IV, so. v. Ophelia since her father's death hag 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF SAMLET. 213 
 
 gone mad. Her brother Laertes is in secret come from I'rance, and 
 now, heading a rebellion against the King, breaks in to demand 
 satisfaction. The King succeeds in calming him with promise of 
 revenge on Hamlet. 
 
 Act IV. sc. vi. Horatio receives letters from Hamlet telling him 
 that ere he had been two days at sea a pirate had attacked his vessel. 
 In the fight Hamlet boarded the pirate, and the ships separating, 
 Eosencrantz and Guildenstern continued their course for England, 
 Hamlet remaining with the pirates, by some of whom he sends his 
 letters. How long he had remained with them does not appear ; but 
 he has now landed, .and urges Horatio to join him. In the next scene, 
 
 Act IV. sc. vii., we learn from Hamlet's letter to the King, 
 brought by the same messengers, that he will beg leave to-morrow to 
 present himself at court. On this news the King concerts with 
 Laertes the fencing match in which Hamlet is to be slain. The 
 Queen interrupts their discourse with the news of Ophelia's death by 
 drowning. 
 
 Day 7. Act V. sc. i. Hamlet and Horatio discourse with 
 the Grave-digger. The funeral of Ophelia takes place, interrupted 
 with the quarrel of Hamlet and Laertes. The King calms the 
 latter : — 
 
 " Strengthen your patience," says he, " in our last night's speech ; 
 We'll put the matter to the present push." 
 
 Act V. sc. ii. and last. Hamlet relates to Horatio his sea ad- 
 ventures ; Osric brings the challenge for the fencing match. Hamlet 
 accepts, and the King, Queen, and all the Court enter to see it played. 
 It ends with the death of the Queen, the King, Hamlet, and Laertes ; 
 young Fortinbras, returning with conquest from Poland, meets the 
 ambassadors from England, bringing the news of the death of Eosen- 
 crantz and Guildenstern, and together they enter to bear out the 
 bodies with a dead march. A separate day may possibly be assigned 
 to this last scene ; but I think not. 
 
 The materials these scenes, from Act IV. sc. v. to the end, afford 
 for determining the length of the interval between days 5 and 6 are 
 somewhat doubtful. The utmost time that can be imagined for 
 
 N. S. SOO. TKANS., 1877-9. 15 
 
21-1 IX. p. A. DANIEL. TIME-ANALYSIS OF HAMLET. 
 
 Plamlet's absence from Elsinore can not be more than a week. Two 
 days at sea when attacked by the pirates, and the remainder of the 
 time in their company, journeying back to Denmark. This time 
 seems too long ; nevertheless in this supposed week, and apparently 
 some days before it had expired, Laertes must have been back in 
 Elsinore, summoned home by the news of his father's death ; and 
 during that week young Fortinbras marched to Poland, fought, and 
 marched back. The reader must decide from these data — if he can — 
 the length of our second interval. 
 
 The time of the Play is seven days represented on the stage — 
 or eight if the reader prefers to assign a separate day to the last scene 
 — with two intervals. 
 
 Day 1. Act I. sc. i. to iii. 
 ,, 2. Act I. sc. iv. and v. 
 
 Aji interval of rather more than two months. 
 
 „ 3. Act II. sc. i. and ii. 
 
 „ 4. Act III. sc. i. to iv., Act IV. sc. i. to iii. 
 
 „ 5. Act IV. sc. iv. 
 
 An interval — a week 1 . 
 
 „ 6. Act IV. sc. V. to vii. 
 „ 7. Act V. sc. i. and ii. 
 
 Note. — Since this article was in print my attention has been 
 directed to Mr. F. A. Marshall's Study of Hamlet, 1875, to which is 
 appended a scheme of time for the play. 
 
 To the end of Act IV. sc. iv. my scheme is substantially in agree- 
 ment with Mr. Marshall's. 
 
 For the interval of one week, which I then allow, Mr. Marshall 
 has two months, which certainly as regards Fortinbras's expedition 
 is not excessive, but which seems to me inconsistent with the move- 
 ments of the principal personage of the drama. Hamlet's " sudden 
 and more strange return" (IV. vii. 47), and the king's comment 
 thereon — 
 
 " If he be now returned, 
 
 As checking at his voyage, and that he means 
 No more to undertake it," etc. (IV. vii. 62-4) — 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF HAMLET. 215 
 
 are opposed to the notion of a longer period than the lapse of a few 
 days since his departure. Even the ■week I have allowed — with 
 some misgiving — seems too long a time, and hut for Fortinhras and 
 Laertes could not he accepted. 
 
 As regards Act IV. scenes v., vi. and vii., my scheme is again in 
 agreement with Mr. Marshall's ; hut the interval of two days which 
 he then marks, seems to me inconsistent with the notes of time the 
 play itself presents. See Hamlet's proposal to appear at court to- 
 morrow (IV. vii. 44), and the king's reference to " our last night's 
 speech" (V. i. 317). 
 
 To Mr. Marshall's arrangement of scenes i. and ii. of Act V. as 
 separate days, I have no strong ohjection : I have indeed left it a 
 moot point for the reader's decision. At the same time the king's 
 eagerness to "put the matter to the present push" (V. i. 318), and 
 the fact that in scene ii. Hamlet now, for the first time apparently, 
 gives Horatio an account of his sea-adventures, make me douht the 
 propriety of allowing two days for Act V. 
 
 KING LEAR. 
 
 First printed in Quarto, with no division of acts and scenes. 
 Divided into acts in Folio. The numbering of the scenes im- 
 perfect : in Act II. , scenes iii. and iv. are not numbered. In Act 
 
 IV. the Folio omits our present scene iii., which is taken from the 
 Quarto; the Folio scenes iii., iv. and v. are therefore our scenes iv., 
 
 V. and vi. The Folio numbers no scene vi. Its numbers jump from 
 V. to vii. Sc. vii. of Folio is also sc. vii. of Globe edition. 
 
 Day 1. Act I. sc. i. Lear rejects his daughter, Cordelia, who 
 is taken to wife by France ; banishes Kent ; divides his kingdom 
 between his daughters Goneril and Eegan, and sets out the same night 
 to spend the first month of his retirement with Goneril and her 
 husband Albany. 
 
 Editors mark the locality of this scene as Lear's Palace, but it is 
 somewhat doubtful where he holds his court. 
 
216 IX. p. A. DANIEL. TIME-ANALYSIS OP KINO LBAR. 
 
 Day 2. Act I. sc. ii. In this scene we are certainly in Glouces- 
 ter's Castle. Edmund meditates his plot against his father and Edgar. 
 Gloucester enters, exclaiming — 
 
 " Kent banish'd thus ! and France in choler parted ! 
 And the King gone to-night I subscribed his power ! 
 Confined to exhibition ! All this done 
 Upon the gad ! " 
 
 This speech would seem to indicate that the time and place 
 of these first two scenes were identical. Perhaps it was intended 
 that they should be ; but it must be remembered that the phrase 
 " to-night " is frequently used in these plays in the sense of the night 
 last past, and Edmund, who here promises his father full satisfaction 
 as to Edgar's guilt, " without any further delay than this very evening " 
 (1. 10), could not say, this if the night of the day on which he is 
 speaking were already come. On the whole I think we must mark 
 this scene as a separate day, the day following the opening scene. 
 
 An interval of something less than a fortnight [see 1. 316-17, 
 Act I. sc. iv. — "What, fifty of my followers at a clap ! Within a 
 fortnight ! "] must now be supposed in the action of the drama. 
 
 Day 3. Act I. sc. iii., iv. and v. In the Duke of Albany's 
 Palace. Time about mid-day. [See sc. iii., last line, "Prepare for 
 dinner J " and sc. iv. lines 9-45, "Let me not stay a jot for dinner" 
 — "Dinner, ho, dinner."] In these scenes the banished Kent, under 
 the disguise of Caius, joins his old master, and commences his service 
 by tripping up the heels of the insolent steward. Goneril breaks 
 with her father, who resolves to seek refuge with his daughter Eegan. 
 Both despatch letters to Eegan, acquainting her with their intentions. 
 Goneril, by her steward Oswald ; Lear, by Kent. 
 
 Lear, despatching his letters by Kent, says to him (Act I. sc. v. 
 
 1. 1-7),- 
 
 " Lear. Go you before to Gloucester with these letters. , , . If 
 your diligence be not speedy, I shall be there before you. 
 
 Kent. I will not sleep, my lord, till I have deHvered youi letter." 
 
 And Lear follows his messenger immediately. 
 
 It will be noticed — and of courae the fact has not escaped the 
 
IX. p. A. DANIEL. TIME-ANAL TSIS OF KING LEAR. 217 
 
 commentators, anxious to fix the locality of these scenes — that Lear 
 sends Kent to Gloucester, and therefore that Cornwall and Eegan 
 must be supposed to keep their court in that place; the Earl of 
 GMoucester's residence being elsewhere. 
 
 Day 4. Act II. sc. i. In Gloucester's Castle, a solitary resid- 
 ence : " for many miles about / There's scarce a bush " (Act II. sc. iv. 
 1. 304-5). The action of the drama, which ceased a little after noon 
 at the end of the last scene, recommences here towards night of the 
 following day. Curran announces the approach of Cornwall and 
 Eegan. Edmund thereupon brings his plot on his father and Edgar 
 to a crisis, and Edgar flies. 
 
 If we were not now clearly separated by about a fortnight from 
 the day No. 2 when Edmund commenced his practice, we should 
 suppose this to be the " very evening " of that day ; but we are now 
 compelled to believe that Edgar has been in hiding in the same house 
 with his father the whole of that time. And what a fortnight this 
 has been ! There are already rumours of " likely wars toward, 
 'twixt the Dukes of Cornwall and Albany" (1. 11, 12), and within 
 this time — as we shall learn a little later — Cordelia has already landed 
 at Dover with a power from France to redress the wrongs of her old 
 father. 
 
 However, as Curran had annotmced, Cornwall and Eegan now 
 make their appearance, and we learn that not wishing to receive Lear 
 at their own residence, they, on the arrival of the two messengers 
 (Kent and Oswald), at once set out to take up their abode with 
 Gloucester, bringing with them the messengers who "from hence 
 attend dispatch" (1. 127). They have travelled by night, and they 
 arrive during the night, and this fact must fix the time of the second 
 scene of this " day," 
 
 Act II. sc. ii., in which the quarrel between Kent and Oswald 
 takes place. Editors generally would fix the time as early (before 
 daylight) on the following morning ; because Oswald opens the scene 
 with the somewhat unusual salute of " Good dawning to thee, friend." 
 The time, however, even if we suppose it to be past midnight, is 
 certainly not the dawn : " though it be night," says Kent, " yet the 
 moon shines ; I'll make a sop o' the moonshine of you." Nor is it 
 
218 IX. p. A. DANIEL. TIME-ANALYSIS OP KING LEAB, 
 
 reasonalDle to suppose that Oswald, who arrived with the Duke and 
 Eegan, would wait tOl dawn to set up his horses. Moreover, " dawn- 
 ing " is the reading of the Folio only ; the Quartos read " eu,en " [one 
 of them " deuen." Can this corruption have had anything to do with 
 the Folio " dawning " ?] which better suits the time of the action. On 
 the other hand, in support of " dawning " must he adduced Corn- 
 wall's speech (1. 141), when ordering Kent to he set in the stocks — 
 "There shall he sit till noon," and Eegan's exclamation thereat — 
 "TUL noon! tQl night, my lord, and all night too:" — and when 
 Kent is thus disposed of, he gives Gloucester "goo<^ morrow" (1. 
 165). But yet again in the last Hues of the scene, he says — 
 
 " Approach, thou beacon to this under globe, 
 That by thy comfortable beams I may 
 Peruse this letter ! " 
 
 Editors differ as to whether by this " beacon " is meant the sun 
 or the moon ; but it may Ise remarked that if the latter is meant, the 
 address was unnecessary, as the moon was already shining, and if the 
 sun is meant it is clear that it has not yet approached ; therefore 
 no dawn. In conclusion, as he falls asleep, Kent wishes Fortune 
 " good night." 
 
 But be it night or morning, we have yet to determine the time 
 that has elapsed since Kent set out with Lear's letters to Eegan. It 
 win be remembered that it was about mid-day in Day 3 that he 
 tripped up the Steward's heels, and shortly afterwards Lear sent him 
 on this errand. When in this scene he again meets Oswald, he says, 
 " Ib it two days ago since I tripped up thy heels, and beat thee before 
 the King?" (1. 31-3.) We may suppose, then, that about a day and 
 a-half has been occupied in his journeying to Cornwall's Palace and 
 from thence to Gloucester's Castle, and that this is the second night, 
 or early morning, since he set out with Lear's letters : midnight of 
 Day 4, or 1 or 2 a.m. of Day 5. 
 
 Day 5. Act 11. sc. iii. Edgar resolves on disguising himseK as 
 mad Tom. The time of this scene may be 'supposed the morning 
 following his flight. 
 
 Act II. sc. iv. and Act III. sc. i. to vi. commence on this same 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP KING LEAB. 219 
 
 morning and end at night ; the scene shifting between Gloucester's 
 Castle and the adjacent country. Lear arriyes, and finds Kent still 
 in the stocks. After a little time Cornwall and Regan make their 
 appearance, and to them he bids " Good morrow ; " his irritation is 
 carefully nursed by Regan until Goneril arrives, and between them 
 they drive the old King into a fury, in which state he rushes out 
 into the stormy night — for the night has come on during the progress 
 of these scenes : " 'Tis a wild night," says Cornwall, in the last lines 
 of Act II. sc. iv. Then follow the scenes with Lear, Kent, the Fool, 
 and Edgar as mad Tom, out in the storm, and in the farm house to 
 which Gloucester conducts them for shelter, and from which he 
 presently sends them off for safety to Dover. In his castle in the 
 mean time Edmund betrays to Cornwall his father's correspondence 
 with France. 
 
 One scene of this day — or night rather— Act III. sc. i., requires 
 special notice. In it Kent and a gentleman are searching for Lear 
 while he is out in the storm, on the heath. Kent half reveals him- 
 self to this gentlema:n, and — after dropping certain dark hints of 
 division between the Dukes of Albany and Cornwall, and of spies in 
 their households who have kept France informed of " the harsh rein 
 which both of them have borne / Against the old kind king,"— tells 
 him that a power from France is already landed, and begs him to 
 speed to Dover to make "just report / Of how unnatural and be- 
 madding sorrow / The king hath cause to plain. If," he continues, 
 " you shall see Cordelia, — / As fear not but you shall, — show her this 
 ring ; / And she will tell you who your f eUow is / That yet you do 
 not know." When Kent again meets with this gentleman, in the 
 French camp near Dover (Act IV. sc. iii.), it would seem that, 
 besides this verbal message, he also entrusted him with letters to 
 Cordelia containing special mention of Lear's sufferings in this stormy 
 night outside Gloucester's Castle. Gloucester also has intelligence 
 this night of the landing of the French force: — Act III. sc. iii., "I 
 have received a letter this night : . . . these injuries the king now 
 bears wUl be revenged liome ; there's part of a power already footed." 
 From all this it is clear that before CornwaU and Regan can have 
 had an opportunity of manifesting their ingratitude, and — as Goneril's 
 outbreak is yet not more than two days old— before any news at all 
 
220 IX. p. A. DANIEL. TIME-ANALTSIS OF KING LEAB. 
 
 of her aged father's troubles can have reached her, Cordelia is already 
 landed in England for his relief; for she is careful to tell us (Act IV. 
 sc. iv.) that that only is the object of her invasion. "We must suppose, 
 then, that from the spies, darkly hinted at by Kent, she had gained 
 sufficient knowledge of her sister's intentions to convince her that her 
 return to England was urgently required. Kent, it is to be presumed, 
 got his knowledge of her movements from the letter from her which 
 he reads when placed in the stocks. See end of Act II. sc. ii. 
 
 Day 6. Act III. sc. vii. Next morning Edmund accompanies 
 Goneril back to Albany to acquaint him with the landing of the 
 French army, and to urge him to make preparations for opposing 
 it. After their departure Cornwall and Eegan revenge themselves on 
 Gloucester by putting out his eyes. One of the servants attempting 
 to defend his master is slain, but in the scuffle gives Cornwall his 
 death wound. Gloucester is turned out to wander where he will, 
 and in 
 
 Act IV. sc. i. Edgar, the supposed madman, whom he had seen 
 "I' the last night's storm" (1. 34), leads him on his way to Dover. 
 
 Day 7. Act IV. so. ii. Before the Duke of Albany's Palace, 
 Goneril and Edmund arrive ; they find that the Steward, Oswald, 
 has already acquainted the Duke with the landing of the French, 
 and he has received that and other news so strangely that Goneril, 
 after something very like a declaration of love, sends Edmund back 
 again. Albany now appears, and a scene of mutual recrimination 
 takes place between him and Goneril, interrupted by a messenger 
 who brings news of Cornwall's death. I mark this scene as a separate 
 day, in consideration of the distance which Goneril and Edmund 
 must have travelled between Gloucester's Castle and Albany's Palace ; 
 otherwise it contains no special note of time. 
 
 An interval. 
 
 Day 8. Act IV. sc. iii. The French camp near Dover. Kent 
 discusses wihh a gentleman the manner of Cordelia's receiving the 
 letters he had sent her (in Act III. sc. i.). Some short interval 
 between Days 7 and 8 should probably be supposed ; as the news now 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF KING LEAR. 221 
 
 is that the forces of Albany and Cornwall are afoot (1. 50-1), which 
 was not the case on the former day. Lear is in Dover, and in his 
 sane moments remembers what has happened ; but his deep shame 
 keeps him from the presence of Cordelia. 
 
 Day 9. Act IV. sc. iv. I am not sure that I am right in 
 making this scene the commencement of a separate day ; it may pos- 
 sibly be the contiauation of Day No. 8, or it may be separated from 
 that day by an interval of a day or two. Time is not marked except 
 by the succession of events, but on the whole they induce me to 
 suppose this the morrow of Day No. 8. Lear has been met in the 
 fields, crowned with wild flowers, and Cordelia sends out in search 
 of him. The news is that " The British powers are marching hither- 
 ward" (1. 21). 
 
 [Act IV. sc. V. The scene shifts to Gloucester's Castle, or, as 
 some editors make it, Eegan's Palace. Goneril's steward, Oswald, 
 has arrived with a letter from his Mistress for Edmund ; but " he is 
 posted hence on serious matter" (1. 8): Albany's troops, it seems, 
 are abeady in the field, Eegan's are to "set forth to-morrow'' (1. 16). 
 Eegan warns the Steward that she intends to take Edmund for her- 
 self, and she offers him preferment if he can cut off old Gloucester. 
 The position of this scene should mark it as occurring on the same day 
 as scenes iv. and vi. ; but the news as to the movement of the troops . 
 favours the notion that it represents an earlier date ; moreover, if it , 
 is allowed to retain its present place, we are called on to believe that 
 Oswald, who again makes his appearance in sc. vi., is present with 
 Eegan, and is at Dover on one and the same day. Its true place 
 seems to be in the interval I have marked between Days 7 and 8, and 
 Eccles actually transposes it to that position, making it, however, the 
 evening of the day represented in Act IV. se. ii. , my Day 7. On the 
 whole I think it best to enclose it within brackets, as in other cases 
 of scenes which I suppose to be put of the due order of time. — See 
 As You LiJce it, Antony and Cleopatra, and Cymheline.] 
 
 Act IV. sc. vi. Gloucester and Edgar arrive near Dover. Edgar 
 persuades his father that he has thrown himself without injury from 
 the summit of the cliff. While they are discoursing Lear makes 
 
222 IX. p. A. DANIEL, TIME-ANALYSIS OF KING LEAR. 
 
 Ms appearance, crowned witli wild flowers. The people sent out by- 
 Cordelia to secure him now enter, and he runs off, pursued by- them ; 
 one gentleman, however, remaining a little behind, informs Edgar 
 that the English army is "near and on speedy foot; the main 
 descry / Stands on the hourly thought.'' I do not pretend to under- 
 stand this gentleman's language, but no doubt his meaning is that 
 the English army is expected hourly to make its appearance ; and 
 indeed, at the end of the scene a drum is heard afar off. After the 
 departure of this gentleman the Steward enters and attempts the life 
 of Gloucester, but is himself slain by Edgar. 
 
 Day 10. And last. Observe that this must 'be a separate- day 
 if Act IV. sc. V. is properly placed ; for Eegan's troops which then 
 were to set forth on the morroio are now present, led by Edmund. 
 Indeed, but for the almost lightning-speed of the action, some little 
 interval might be supposed between this and Day 9. The tap of 
 the drum, heard in the last scene, is, however, against 'such an arrange- 
 ment of the time. 
 
 Act IV. sc. vii. Lear has been found, and after long sleep 
 (1. 18) awakes, with recovered mind, to be reconciled to Cordelia, on 
 this the day of battle (see last line). 
 
 Act V. sc. i. to iii. Eor our purpose of ascertaining the " time " 
 of the plot it is not necessary to trace the course of these scenes, 
 they are aU connected with the battle which now takes place, and 
 end with the deaths of Eegan, Goneril, Cordelia, and Lear ; Gloucester 
 and Edmund : and the " poor Fool " too, as I think, with Sir Joshua 
 Eeynolds ; though most editors are agreed that this phrase is applied 
 by the dying Lear in affectionate familiarity to Cordelia. 
 
 The longest period, including intervals, that can be allowed for ' 
 this Play is one month ; though perhaps little more than three weeks 
 is sufl&cient. My division of the time, in days, is as foUbws : — 
 
 Day 1. Act I. sc. i. 
 „ 2. Act I. sc. ii. 
 
 An Interval of something less than a fortnight. 
 „ 3. Act I. sc. iii., iv. and v. 
 „ 4. Act II. sc. i. and ii. 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF KING LEAR. 223 
 
 Day 5. Act II. so. iii. and iv., Act III. sc. i. — vi. 
 „ 6. Act III. sc. vii., Act IV. sc. i. 
 „ 7. Act IV. sc. ii. 
 
 Perhaps an Interval of a day or two. 
 „ 8. Act IV. sc. iii. 
 
 „ 9. Act IV. sc. iv., v. and vi. [But see comment on sc. v.] 
 „ 10. Act IV. sc. vii., Act V. sc. i. — iii. 
 It is perhaps well to remind the reader that sc. iii. of Act IV., 
 to which I assign a separate day (No. 8), is not represented ia the 
 Polio at all. Either version (Quarto and Folio) contains passages 
 not found ia the other ; but these passages (now combined in our 
 modem texts) need no consideration in determining the time of the 
 action. 
 
 I add the scheme of time adopted by my predecessor, Eccles (see 
 note at the end of Merchant of Venice). 
 Day 1. Act I. sc. i. 
 
 An interval of many months, during which Lear has 
 resided alternately with both his daughters. To get 
 this long interval Eccles is compelled to consider 
 Lear's speech. Act I. sc. iv. — -"Wliat, fifty of my 
 followers at a clap ! Within a fortnight ! '■' — either 
 as " an unhappy oversight," or as having relation 
 only to the month he is now spending with Goneril. 
 He further severs the connection of Act I. sc. ii. 
 with Act I. sc. i. by consigning to the margin 
 Gloucester's speech— "the king gone to-night," etc. 
 — which. I have quoted in Day 2, and transposes 
 the scene bodily to the beginning of Act II. (my 
 Day 4), thereby also getting rid of the difficulty I 
 have noted in sc. i. of that Act, — Edmund's long 
 concealment in his father's castle. 
 
 „ 2. Act I. sc. iii., iv. and v. 
 
 „ 3. Act I. sc. ii., Act II. sc. i. to iv., and Act III. sc. i. to vi. 
 „ 4. Act IIL sc. vii., and Act IV. sc. i. 
 „ 5. Act IV. sc. ii. and sc. v. — See my comment on sc. v. 
 „ 6. Act IV. sc. iii., iv. and vi. 
 „ 7. Act IV. sc. vii. 
 „ 8. ActV. 
 Mr. Eccles' scheme, however ingenious m some respects, cannot, I 
 tliink, be reconciled with the notes of time the Play itself contains. 
 
224 IX. p. A. DANIEL. TIME-ANALYSXB OP OTBELLO. 
 
 OTHELLO. 
 
 FiBST printed in Quarto (many passages omitted) ; the only- 
 divisions marked are Acts II., lY., and V. In the Folio the play is 
 divided into acts and scenes ; sc. iii. of Act 11. is, however, not 
 numbered. 
 
 Day 1. Act I. sc. i. to iii. The whole time comprised in this 
 Act is but an hour or two of one night. It is clear that Othello has 
 only this night taken Desdemona from her father's house and married 
 her. He sets out for Cyprus within an hour of the breaking up of 
 the meeting in the Senate house, leaving to lago to follow him with 
 Desdemona. 
 
 An interval ; the voyage to Cyprus. 
 
 Day 2. Act II. sc. i. Cyprus. Cassio, who quitted Venice at 
 the same time as OtheUo, but in another ship, is the first to arrive, 
 lago, with Desdemona, etc., arrives next, and Cassio remarks of him 
 that — 
 
 " —his footing here anticipates our thoughts 
 
 A se'ennight's speed." 
 
 OtheUo next lands in the Island, with wonder, great as his content, 
 to find his wife here before him. lago plots with Eoderigo the 
 affray to take place at night, by means of which he hopes to displant 
 Cassio. 
 
 Act II. sc. ii. This same day a herald proclaims " full liberty of 
 feasting from this present hour of five till the beU have told eleven;" 
 for besides the beneficial news of the perdition of the Turkish fleet, 
 it is the celebration of Othello's nuptial. 
 
 Act II. sc. iii. At night the quarrel, concerted by lago and 
 Eoderigo, takes place on the court of guard, and ends in Cassio being 
 dismissed from his office. Councelled by lago, he resolves to apply 
 to Desdemona the next morning to obtain his pardon, and lago plots 
 to make this the occasion of poisoning Othello's mind by bringing 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF OTHELLO. 225 
 
 " him jump when he may Cassio find / Soliciting his wife.'' It is 
 morning when lago ends this scene. Eoderigo, who returns to lago 
 after the affray is over, complains : — " I do follow here in the chase> 
 not like a hound that hunts, hut one that fiUs up the cry. My 
 money is almost spent :" etc. etc. Considering that this is his first 
 night on the island, this speech is somewhat unreasonahle and 
 embarrassing. 
 
 Day 3. Act III. sc. i. Cassio, who has not been a-bed, appears 
 with musicians before the castle to bid " G-ood morrow, general." 
 lago joins him, and sends out Emilia to bring him in to speak with 
 Desdemona. 
 
 Act III. sc. ii. Othello gives letters to lago to be sent off by the 
 Pilot to the Senate with his duty, and bids him then repair to him 
 on the' fortifications, which he goes off to inspect. 
 
 Act III. sc. iii. Cassio has his interview with Desdemona, who 
 promises to intercede for him. As lago had plotted, he now with 
 Othello appears on the scene, and Cassio, who dares not yet face his 
 general, abruptly departs, giving lago occasion to drop a hint at his 
 stealing away so " guUty-like." For the moment, this hint produces 
 little effect, and at Desdemona's intercession, OtheUo promises her 
 that he will reinstate Cassio, " let him come when he wUl." On this 
 promise she leaves him with lago, who at once renews his provoca- 
 tion of Othello's jealousy, and then departs leaving him to chew the 
 bitter cud. Desdemona, re-entering with Emilia, disperses his sus- 
 picions ; she comes to call him in to the dinner to which he has 
 invited the generous islanders. Othello complaining of a pain in the 
 forehead, she offers him the handkerchief to bind his head. He 
 puts it from him and it drops, and they go out together. Emilia, 
 who remains, picks up the handkerchief, which her wayward husband 
 hath a hundred times [when ?] woo'd her to steal. lago re-entering 
 •obtains it from her and sends her off; he detennines to lose it in 
 - Cassio's lodging and let him find it, and by his possession of it afford 
 a proof to the Moor of Desdemona's guilt. While he is thus 
 contriving the course of his villainy, OtheUo — who but a few 
 minutes before left the scene to feast the generous islanders — 
 
226 IX. p. A. DANIEL. TIME-ANALYSIS Of OTHELLO. 
 
 re-enters, his jealousy revived, and flaming mountains high. lago 
 artfully adds fuel to the fire; tells him of Cassio's talk ia sleep 
 ("I lay with Cassio lately." When? Cassio has not been a-hed 
 since his arrival in Cyprus), of his possession of the handkerchief, — 
 yet on his own person — and works him into a state of blind, 
 murderous rage. He charges lago with the death of Cassio — 
 
 " Within these three days let me hear thee say 
 That Cassio's not alive ; " — 
 
 and withdraws to furnish himself 
 
 " with some swift means of death 
 
 For the fair devil," — Desdemona. 
 
 From the commencement of Act II. — the arrival in Cyprus — up to 
 this point, the end of sc. iii. Act III., although the dialogue is fuU 
 of allusions and statements necessarily supposing and requiring the 
 lapse of a considerable period of time since the arrival, there is yet 
 no loop-hole for escape from the fact that we have yet arrived but to 
 mid-day of the second day in Cyprus, and at this point Desdemona's 
 fate is sealed. Long time between the effect and cause would now 
 be inconsistent with the violence of the Moor's passion, and we 
 shall find that the following scenes only comprise the remainder of 
 this second day in Cyprus, ending at night with the murder of the 
 heroine. 
 
 Act III. sc. iv. Desdemona, yet unconscious of her husband's 
 jealousy, sends for Cassio : — " teU him I have moved my Lord on 
 his behalf." Clearly a reference to her intercession at the beginning 
 of Act III. sc. iii. ; as also is the dialogue between her and Othello 
 when he appears in the present scene. 
 
 " Des. Come now, your promise. 
 
 0th. What promise, chuck ? 
 
 Des. I have sent to bid Cassio come speak with you." 
 
 Othello now enters to ascertain for himself whether she has parted 
 with the handkerchief. " Would he have let an hour elapse," as 
 Professor Wilson cogently asks, " before making the enquiry t " The 
 certainty of its loss makes him break away in " strange unquietness," 
 as Emilia mildly puts it. Cassio, with lago, now enters to renew 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF OTHELLO. 227 
 
 his suit j tut the time is not propitious, and Desdemona prays him 
 to "walk hereahout" till she can effect something in his behalf. 
 Left alone, Cassio is visited by Bianca, who complains that he has 
 absented himself from her for a week. An attempt has been made 
 to explain this note of time by supposing it to refer to a previous 
 connection of Cassio with Bianca in Venice. It must, however, be 
 confessed that this explanation is not entirely satisfactory. (See 
 note 9, p. 218, Var. ed. 1821, vol. ix.) Cassio, who — as lago had 
 plotted — ^has now got the handkerchief, gives it to Bianca to have 
 the work taken out, i. e. copied, before its owner shall demand it 
 from him. She asks him to see her soon at night, and he promises 
 that he wlU see her soon. 
 
 Act IV. sc. i. lago continues to stir the Moor's jealousy, and 
 works on his passion tOl he falls into a fit. At this moment Cassio 
 enters, and lago telling him that "This is his second fit; he had one 
 yesterday " (agaiu an impossible note of long time), bids him retire 
 for a while and return presently, when Othello is gone. The Moor 
 recovers, and lago places him where he may overhear, unseen, his 
 conversation with Cassio. Cassio re-entering, lago so manages this 
 conversation that whUe they really talk of Bianca, Othello is made 
 to believe that Desdemona is referred to. Hereupon Bianca returns 
 with the handkerchief which Cassio had given her even now, in the 
 preceding scene; she accuses him, in her jealousy, of having received 
 it from some other mistress ; and flounces out, teUing him angrily, 
 " An you'U come to supper to-night you may ; an you will not, come 
 when you are next prepared for.'' lago sends Cassio off after her, 
 and agrees to meet him at supper with her, Othello now comes 
 forward : the sight of the handkerchief has hardened him against 
 the love and pity yet struggling ia his bosom, and he resolves to 
 strangle Desdemona in her bed this night; whUe lago undertakes the 
 death of Cassio. A trumpet now announces the arrival of Lodovico, 
 from Venice, with letters from the Duke and Senators to Othello, 
 commanding him home, and deputing Cassio in his government, 
 Desdemona enters with Lodovico. Othello, on her expressing 
 satisfaction at Cassio's promotion, strikes her and drives her in. He 
 invites Lodovico to sup with him this night. 
 
228 IX. p. A. DANIEL. TIME-ANALTSIS OF OTHELLO. 
 
 Act IV. sc. ii. Othello questions Emilia as to her mistress's 
 conduct ; he then in. private with Desdemona directly accuses her of 
 unchastity, and leaves her; EmDia returns, endeavours to console her 
 mistress, and fetches lago, who offers his hypocritical condoUngs. 
 The trumpets then " summon to supper. / The Messengers of Venice 
 stay the meat." Exeunt Desdemona and Emilia, and enter Eoderigo. 
 Here again lago makes a cat's-paw of the foolish Eoderigo, and 
 engages him to assassinate Cassio this night as he returns from 
 supper with Bianca, between twelve and one. Here again, too, Eoderigo 
 embarrasses us mightily with the reproaches with which he assails 
 lago. Every day, it appears, he has been daffed off with some 
 device or other ; he wiU endure it no longer ; he has wasted himself 
 out of his means ; the jewels lago has had from him to deliver to 
 Desdemona would half have corrupted a votarist ; etc. etc. And 
 yet this is only the second day of his sojourn in Cyprus. 
 
 Act IV. sc. iii. After the supper. "Enter OtheUo, Lodovieo, 
 Desdemona, Emilia, and Attendants.'' OtheUo bids his wife to get to 
 bed on the instant, and goes out to walk a little way with his guests. 
 Desdemona, attended by Emilia, prepares for bed. Scene closes. 
 
 Act V. sc. i. lago places Eoderigo where he may waylay Cassio 
 on his return from Bianca's. Cassio enters. Eoderigo "makes a 
 pass at Cassio j" Cassio "draws and wounds Eoderigo." "lago 
 from behind wounds Cassio in the leg, and exit." Eoderigo and 
 Cassio both faU, and Cassio calls for help. Othello enters, and 
 hearing the cries, supposes that lago is about his work, and so goes 
 out to effect his. 
 
 Lodovieo and Gratiano enter, attracted by the cries of Cassio and 
 Eoderigo ; lago joins them, as though newly risen from bed, and 
 slyly gives Eoderigo a finishing stab. Bianca enters, and lago tries 
 to cast suspicion on her. Emilia also arrives. lago sends her to the 
 Citadel to " tell my Lord and Lady what hath happ'd," and, with 
 the others, carries off Cassio. It should be remarked that the stage 
 directions here are not in the Quartos or Folios ; they, however, give 
 the obvious business of the scene correctly. 
 
 Act V. sc. ii. The last. Desdemona asleep in bed. OtheUo 
 enters. — Ho need now to dweU on the detaUs of the dreadful tragedy 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP OTBELLO. 229 
 
 ■which ensues. The time is insuperably fixed as the night of the 
 second day in Cyprus. 
 
 The time, then, of this tragedy is three days ; with one interval. 
 
 Day 1. Act I. in Venice. 
 
 Interval ; the voyage to Cyprus. 
 „ 2. Act II. ^ 
 
 „ 3. Acts III, IV. and V. J ^ ^^P™^" 
 
 Note.— Professor "Wilson (see Tran. N. Sh. 8oc. for 1875-6, 
 part ii. p. 358 — 87) has so ably — and amusingly — discussed the plot 
 of this play, both as regards long and short time, and decides so 
 emphatically that the solution of its mystery is only to be found in 
 the " Tremendous Double-Time at Crpaus,'' that it may seem rash 
 on my part to hint that he has not quite done justice to a theory of 
 long time at Venice, which would in some degree reKeve our 
 perplexity. He sets up and very ably knocks down again a theory 
 of long time at Venice after marriage, and I fuUy agree with him, 
 that on the night represented in the opening scenes in Venice, OtheUo 
 then first takes Desdemona from her father's house and marries her, 
 and does not consummate the marriage tUl they arrive in Cyprus ; 
 but he has only a " Pah ! Faugh ! " to bestow on the theory of long 
 time at Venice before marriage. "I cannot believe," says he, "if 
 Shakespeare intended an infidelity taking precedency of the marriage, 
 that he would not by word or hint have said so." He, however, 
 entirely omits notice of the fact that the very foundation on which 
 lago builds up Othello's monstrous jealousy is the connection, so 
 repeatedly referred to, of Cassio with Desdemona before the marriage ; 
 and of his having been from first to last the confidant of Othello's 
 wooing, going between the lovers very oft. Surely this is a pretty 
 strong hint ; and Othello, in Act IV. sc. ii., where he first directly 
 accuses Desdemona of unchastity, gives another, pretty strong too — 
 
 " I cry you mercy, then : 
 I took you for that cunning whore of Venice 
 That married with OtheUo." 
 
 Wilson's argument too as regards Emilia can scarcely be considered 
 satisfactory. He asserts that Othello's request, on going aboard at 
 Venice, to Tago — "I prithee, let thy wife attend on her" — "is 
 
 N. 8. BOO. TEANS., 1877-9. 16 
 
230 IX p. A. DANIEL. TIME-ANALTSIS OF OTHELLO. 
 
 conclusive evidence to Emilia's being then first placed about Desde- 
 mona's person. It has no sense else ; nor is there the slightest 
 ground for supposing a prior acquaintance, at least intimacy. What 
 had an Ensign's wife to do with a Nobleman's daughter?" etc. That 
 he should place this as an argument before his submissive subjects is 
 " conclusive evidence " of the autocratic power of Christopher North ; 
 but that he should expect the outside world to receive it as such 
 supposes a belief in human gullibility infinitely amusing. To 
 anyone not whoUy given up to "double-time," Othello's request 
 might seem reasonable evidence in favour of a prior acquaintance 
 between Emilia and Desdemona ; and such a one would have no 
 greater difficulty in believing that an Ensign's wife might have to do 
 with a Nobleman's unmarried daughter than in believing, as he 
 must, that she has to do with her after her marriage. Eightly 
 considered, there is, moreover, good ground for supposing a prior 
 acquaintance, in the very first lines of the Play — 
 
 " Tush ! never tell me ; " says Eoderigo, " I take it much unkindly 
 That thou, lago, who hast had my purse 
 A.S if the strings were thine, shouldst know of this," etc. 
 
 The speech is unintelligible, Roderigo's whole connection with lago 
 is impossible, except on the supposition that lago has for some time 
 previous to the commencement of the action been fooling the poor 
 guU on the strength of his acquaintance, and therefore probably of 
 Emilia's acquaintance with Desdemona. It offers the oniy possible 
 explanation of the reproaches with which Eoderigo assails lago here 
 and in subsequent scenes in Cyprus, Act II. sc. iu., Act IV. sc. ii. 
 The " hundred times " that lago has woo'd his wife to steal the 
 handkerchief i (Act III. sc. iii.) ; Othello's questioning with EmiUa 
 (Act IV. sc. ii.), and numerous incidents of her connection with 
 Desdemona, are only possible on the supposition of this prior 
 
 1 This handkerchief was the Mooi-'s first gift to Desdemona (.see Act III. 
 sc. iii. 1. 291 and 436, and Act V. sc. ii. I. 215) ; a betrotlial gift, not a 
 marriage present : so at least 1 interpret the lines — 
 
 "And bid me, when my fate would have me wive. 
 To give it lier." (Act III. so. iv. 1. 64—5.) 
 
IX, p. A. DANIEL. TIME-ANALYSIS OF OTHELLO. 231 
 
 acquaintance, for the belief in which Wilson sees not the slightest 
 ground.^ 
 
 But though I think it must be admitted that long time at Venice 
 before marriage is an element worthy of consideration as affording 
 some explanation of many otherwise simply impossible incidents of 
 the play, I am forced to admit that this explanation is far from 
 satisfactory. Incidents such as the recall of Othello by the Senate 
 before it could be known that he had landed in Cyprus are not 
 affected by it in the least. Long time at Cyprus after marriage is 
 absolutely necessary for the probability of the plot; but before I seek 
 refuge in the unexplained and inexplicable mystery of "double 
 time," 2 I should like to be convinced that the author himself did 
 not pro-vide it. I say, with Professor Wilson, that, "with his 
 creative powers, if he was determined to have Two Calendar Months 
 from the First of May to the First of July, and then in One Day 
 distinctly the first suspicion sown and the murder done, nothing 
 could have been easier to him than to have imagined, and indicated, 
 and hurried over, the required gap of time." Long familiarity with 
 Shakespeare's work has convinced me, as it must have convinced 
 most students, that we cannot with certainty affirm that any of his 
 plays have reached us in the state in which they left his hands 1 in 
 some cases their corruption and mutilation for stage purposes can be 
 proved to demonstration, and it is quite possible that in Othello some 
 scenes may have been struck out and others so run together as to 
 confuse the time-plot originally laid down by the author. The links 
 in the chain of time, the absence of which so startles the reader, 
 would not be, and indeed are not, missed in the visible action on the 
 stage ; but we should not therefore rashly jump to the conclusion 
 that they never existed, and therefore that the author deliberately 
 
 1 Mr. E. H. Pickersgill, however, calls attention to the time occupied by 
 the voyage to Cyprus as suggesting a possible explanation with reference to 
 Emilia's " hundred times." 
 
 2 " Talioys. Through that mystery, you alone, sir, are the man to help us 
 through — and you must. 
 
 North. Not now — to-morrow. Till then be revolving the subject occa- 
 sionally in your minds.* 
 
 * Professor Wilson never resumed the subject in Blackwood. — ed." 
 
 16* 
 
232 IX. p. A. DANIEL. TIME-ANALTSIS OF OTHELLO. 
 
 designed an impossible plot. The play was first printed in an 
 abridged form in 1622, six years after the death of its author, and 
 but for the more complete version in the Folio edition of the foUow- 
 ing year, the abridgment in the Quarto could never have been 
 detected ; and the Folio itself is not above suspicion : with reference 
 to one passage of this play, Malone notes — " A careful comparison of 
 the Quartos and Folio incline me to believe that many of the varia- 
 tions, which are found in the later copy, did not come from the pen 
 of Shakspeare " (p. 403, vol. ix. ed. 1821). 
 
 ANTONY AND CLEOPATRA. 
 First printed in the Folio, with no division of acts and scenes. 
 
 Day 1. Act I. sc. i. Alexandria. Messengers arrive with news 
 from Rome for Antony; he will not hear them, and disposes 
 himself for mirth with Cleopatra. 
 
 Act I. sc. ii. The same. On tbe sudden, a Eoman thought hath 
 struck Antony, and he sends for the Messengers; their news 
 determines him to depart at once. One item is the death of Fulvia 
 (b.o. 40). 
 
 Act I. sc. iii. The same. Antony takes leave of Cleopatra. 
 
 Act I. sc. iv. Eome. Octavius and Lepidus comment on the 
 disorders of Antony ; they prepare to oppose Pompey and his allies. 
 This scene in Eome may probably be bracketed in point of time with 
 the preceding scenes in Alexandria. 
 
 An Interval — some forty days. 
 
 Day 2. Act I. sc. v. Alexandria. Alexas brings a message 
 and a present of a pearl to Cleopatra from Antony. On his journey 
 he has met " twenty several messengers " sent by the Queen to 
 Antony, and she says, 
 
 " He shall have every day a several greeting." 
 
 "We may suppose then an interval of some forty days between 
 the departure of Antony from Alexandria and the return to it of 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP ANTONY AND CLEOPATRA. 233 
 
 Alexas; but this also requires us to suppose that Alexas quitted 
 Antony while yet but half way on the journey to Eome, if, as I 
 suppose, this scene in Alexandria is to be considered coincident with 
 Act II. sc. ii., Antony's arrival in Eome. 
 
 Act II. sc. i. Messiaa. "Enter Pompey, Menecrates, and 
 Menas, in. warlike manner." Menas has heard that Csesar and 
 Lepidus are in the field. This news Pompey declares to be false ; he 
 knows they are in Eome looking for Antony. Varrius brings 
 intelligence that Antony has left Egypt, and is hourly expected in 
 Eome. 
 
 Act II. sc. ii. Eome (b.o. 40). The Triumvirs meet, and Caesar 
 and Antony are reconciled ; the latter accepting, as a bond of union, 
 Octavia, Caesar's sister, for his wife. Antony agrees to join with 
 Caesar and Lepidus in opposing Pompey. The afi'air requires haste : 
 
 " Yet," says he, " ere we put ourselves in arms, dispatch we 
 The business [the marriage] that we talk'd of;" 
 
 and Csesar leads him straight to view his sister. Enobarbus then 
 gives Agrippa his famous description of the meeting of Antony with 
 Cleopatra (b.o. 41 — 40). 
 
 Act II. sc. iii. The same. "Enter Antony, Csesar, Octavia 
 betweene them." The first lines of this scene must represent the 
 termination of the meeting proposed ia the preceding scene. At the 
 end of it Antony bids Octavia and Csesar good night, and she and 
 Csesar evidently go out together ; though the only stage direction is 
 " Exit." We are, then, clearly in Antony's first day in Eome j yet 
 his conversation with the Soothsayer, who now enters, would suppose 
 the lapse of some time since his arrival : he addresses him — " Now, 
 sirrah, you do wish yourself in Egypt 1 " and the Soothsayer admits 
 it both for his own sake and Antony's ; for he — and Antony himself 
 — has noted that in Caesar's presence Antony's genius is abashed : at 
 games of hazard, at cock and quail fighting, he stUl has been worsted. 
 Antony resolves that he will return to Egypt ; for 
 
 " — though I make this marriage for my peace, 
 r the east my pleasure lies." 
 
 He also now commissions Ventidius for Parthia as — immediately 
 
234 IX. p. A. DANIEL. TIME-ANALYSIS OF ANTONY AND CLEOPATRA. 
 
 before Ms meeting with Ciesar — he had resolved to do, if things 
 went well (see 1. 15, Act II. sc. i.). This commission also gives a 
 note as of time past since his arrival in Rome. The fact is, distant 
 periods of time are brought together in this scene, as in many other 
 places of the drama. In Plutarch the facts dwelt on by the Sooth- 
 sayer, and Ventidius's mission, follow the meeting with Pompey 
 represented in sc. vi. and vii. of Act II. In "dramatic" time I 
 conceive that aU these scenes, in Alexandria, Messina, and Eome, 
 from Act I. sc. v. to Act II. sc. iii., should be included in Day No. 2. 
 Day 3. Act II. sc. iv. Lepidus sets out on the expedition 
 against Pompey. He prays Mecaenas and Agrippa to hasten their 
 generals after. Agrippa replies that — 
 
 " Mark Antony 
 
 "Will e'en but kiss Octavia, and we'll follow.'' 
 
 The .morrow of Day 2 may be assigned to this scene, which may also 
 be supposed the day of Antony's marriage (b.o. 40). 
 
 A71 interval. Time for the news of Antony's marriage to reach 
 Alexandria; and for the Triumvirs to meet with Pompey near 
 Misenum. 
 
 Day 4. Act II. sc. v. Alexandria. Cleopatra receives the news 
 of Antony's marriage with Octavia, 
 
 Act II. sc. vi. and vii. Near Misenum (b.o. 39). The Triumvirs 
 meet with Pompey and come to terms. Pompey feasts them on 
 board his galley. These two scenes may, without much difficulty, 
 be supposed coincident with the preceding sc. v. in Alexandria. 
 
 An interval (1) ; time for the Triumvirs to return to Eome. 
 
 Day 5. Act III. sc. i. Syria. Ventidius as it were in triumph ; 
 having defeated the Parthians (b.o. 38). He sets out for Athens, 
 whither he hears that Antony purposeth. This Syrian scene and the 
 Eoman scene which follows may, I think, — notwithstanding the 
 shuffling of the historic dates — be included in the dramatic Day No. 5. 
 
 Act III. sc. ii. Eome (b.o. 39). Antony and Octavia take leave 
 of Ca3sar and depart for Athens. Enobarbus commences the scene 
 with — 
 
IX. p. A. DANIEL. TiME-ANALYSIS OF ANTONY AND CLEOPATRA. 235 
 
 " They have dispatch'd with Pompey, he is gone ; 
 The other three [the Triumvirs] are sealing. Ootavia weeps 
 To part from Eome ; Csosar is sad ; and Lepidus, 
 Since Pompey's feast, as Menas says, is troubled 
 With the green sickness." 
 
 These lines annihilate time and space. Dramatically Misenuni 
 and Eome become one. The treaty with Pompey concluded at 
 Misenum becomes a Eoman business; and the interval I have 
 marked between this and the preceding act is of dubious propriety. 
 It becomes stUl more so if we include in Day 5 the following scene, 
 which certainly cannot be later than the morrow of Act II. sc. v. 
 
 [Act III. sc. iii. Alexandria. Cleopatra has again before her the 
 messenger who brought her news of Antony's marriage. She consoles 
 herself with his depreciatory account of Octavia's beauty. Time is 
 so shuffled in these scenes that I find it extremely difficult to make 
 out any consistent scheme ; on the whole I incline to transfer this 
 scene to Day 4, and accordingly place it within brackets. It might 
 foUow, in stage representation, sc. vi. and vii. of Act II., or, better 
 perhaps, come between them, thus affording variety to the audience 
 and an equal distribution of repose and action to the players.] 
 
 An interval — much wanted historically — may now be marked. 
 
 Day 6. Act III. sc. iv. Athens (b.o. 37 — 35). Dissensions 
 have broken out between Antony and Csesar. Octavia offers to 
 mediate between them, and Antony gives her leave to depart on her 
 embassy. 
 
 Act III. sc. V. The same. Enobarbus and Eros. Further 
 details of the dissensions between the Triumvirs. Csesar, after the 
 new war with Pompey, and the death of the latter (b.o. 35), has 
 deposed and imprisoned Lepidus. 
 
 An interval; Octavia's journey from Athens to Eome. 
 
 Day 7. Act III. sc. vi. Eome (b.o. 36 — 32). The news is 
 that Antony, whom we last met in Athens, has returned to Alex- 
 andria and Cleopatra, and is preparing for war with Csesar. Octavia 
 enters to learn this news, which has arrived before her, and to find 
 her embassy hopeless. 
 
 An interval. 
 
236 IX. p. A. DANIEL. TIME-ANALYSIS OF ANTONY AND CLEOPATRA. 
 
 Day 8. Act III. sc. vii. Antony's camp near Actium. Caesar 
 with speed beyond belief has arrived with his forces. Antony, led 
 by Cleopatra, and against the advice of his generals, resolves to fight 
 him by sea. 
 
 Day 9. Act III. sc. viii. and ix. Alternately in Caesar's and 
 Antony's camp. Preparations for the sea fight. 
 
 Act III. sc. X. The land armies on both sides march over the 
 stage, one one way, one the other. Noise of the sea fight within 
 (b.o. 31). Cleopatra flies, followed by Antony, toward Peloponnessus. 
 Canidius, Antony's land general, resolves, as others have done, to 
 submit to Caesar. Enobarbus and Scarus follow Antony. 
 
 The time of these last four scenes, vii. to x,, I have divided 
 between Days 8 and 9 ; probably the correct " dramatic " time, with 
 which alone we are concerned. 
 
 An interval. 
 
 Day 10. Act III. sc. ii. "Enter Antony with Attendants." 
 lie bids them divide his treasure among them, and fly from him for 
 safety. Cleopatra enters to excuse herself for her flight and to 
 comfort him. Antony it seems has sent his schoolmaster, as Ambas- 
 sador to Caesar. " We sent our schoolmaster ; / Is he come back ? " 
 
 Editors place this scene at Alexandria, and it was from that place 
 that he despatched his schoolmaster, Euphronius, as Ambassador. The 
 chief part of the scene, the distribution of his treasure, and first 
 meetiug with Cleopatra, after the flight from Actium, took place at 
 Tcenarus, on board Cleopatra's gaUey. ITo locality is named in the 
 Folio. Two distinct periods of time are knit together ia this scene. 
 
 Act III. sc. xii. Caesar's camp (b.o. 30). Before Alexandria it 
 is to be presumed ; though Euphronius, who now appears, was sent 
 to Caesar ia Asia. Caesar rejects Antony's petition to be allowed to 
 live ia Egypt or, failing that, as a private man iu Athens. To 
 Cleopatra he promises favor 
 
 " so she 
 
 From Egypt drive her all-disgraced friend. 
 Or take his life there." 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF ANTONY AND CLEOPATRA. 237 
 
 Euphionius departing, Csesar sends Thyreus to win Cleopatra from 
 Antony. 
 
 Act III. so. xiii. Alexandria. Euphronius returns to Antony, 
 who determines to send Csesar a challenge to single combat. Thyreus 
 arrives on his embassy to Cleopatra. Antony, taking him kissing 
 the Queen's hand, orders him to be whipped, and sends him back. 
 He determines to have one more feast to-night. Enobarbus begins 
 to waver in his loyalty to him. 
 
 Act IV. sc. i. Caesar's camp. Csesar reads and treats with 
 disdain Antony's challenge. He determines that to-morrow he will 
 fight "the last of many battles." 
 
 Act IV. sc. ii. Alexandria. Antony learns the rejection of his 
 challenge by Csesar. He resolves to fight him to-morrow by sea and 
 land ; and then, with Cleopatra and his captains, proceeds to supper, 
 to drown consideration. 
 
 Act IV. sc. ui. The same. At night. Soldiers on guard. 
 They refer to the land and sea fight purposed for to-morrow. They 
 hear strange music in the air and under the earth, which they 
 interpret to be the god Hercules, whom Antony loved, now leaving 
 him. 
 
 All these scenes — Act III. sc. ii. to Act IV. sc. ui. — may, with 
 dramatic propriety, be supposed to represent the business of one day, 
 ISTo. 10. 
 
 Day 11. Act IV. sc. iv. Alexandria. Early morning. Cleopatra 
 helps to arm Antony. His captains come to bring him to the port. 
 
 Act rV. sc. V. Antony's camp. He learns the defection -of 
 Enobarbus, and sends his treasure after him. 
 
 Act IV. sc. vi. Caesar's camp. Csesar orders Agrippa to begin 
 the fight. A soldier informs Enobarbus, who is now with Caesar's 
 army, of Antony's bounty. In his shame and grief he resolves to 
 seek some ditch wherein to die. 
 
 Act IV. sc. vii. The field of battle. Antony beats Caesar to 
 his camp. 
 
 Act rV. sc. viii. Antony returns from the field, resolving to 
 renew the fight to-morrow. He is received into the town by 
 Cleopatra. 
 
238 IX. p. A. DANIEL. TIME-ANALYSIS OF ANTONY AND CLEOPATRA. 
 
 Act IV. sc. ix. Ciesar's camp. At night. The sentinels over- 
 hear the last words of EnobarhuSj who dies of a broken heart. They 
 carry out his body. 
 
 Day 12. Act IV. sc. x. and xi. Both Antony and Caesar 
 prepare for the day's battle. 
 
 Act IV. sc. xii. Antony beholds his fleet yielded to the foe, and 
 gives up aU for lost. Believing himseK to be betrayed by Cleopatra, 
 he resolves to be revenged on her. She flies from him. 
 
 Act IV. sc. xiii. Alexandria. Cleopatra takes refuge in. the 
 monument, and sends Mardian to Antony to report that she has slain 
 herself. 
 
 Act IV. sc. xiv. The same. Antony and Eros : Mardian brings 
 the story of Cleopatra's death. Antony, now convinced of her truth, 
 resolves not to out-live her, and calls on Eros to fulfil his promise 
 and slay him. Eros consents, but turns his sword on his own breast 
 and dies. Antony, thus compelled to be his own executioner, wounds 
 himself, but not efiectually. Dercetas, with the guard, come at his 
 call, but refuse to complete his work. Dercetas takes his sword, 
 resolving to carry it to Caesar. Diomedes comes froni Cleopatra, 
 who dreading the eiFect of the report of her death on Antony, sends 
 to inform him of the truth. He then, with some of the guard, 
 carries off the dying Antony to the monument. 
 
 Act IV. sc. XV. The monument. Cleopatra and her maids take 
 up Antony into the monument, where he dies in her arms (b.c. 30). 
 She and her maids bear him out to burial. 
 
 Act V. sc. i. Caesar's camp. Dercetas brings the sword of 
 Antony and the news of his death. An Egyptian comes from 
 Cleopatra to learn what intents Caesar bears towards her. CaRsar 
 sends Proculeius and Callus to her. 
 
 Act V. sc. ii. Alexandria. Cleopatra parleys with Proculeius 
 and Gallus at the gate of the monument. While Callus holds her 
 in talk, Proculeius and two of the guard ascend by a ladder, enter 
 the monument and seize her, to prevent her slaying herself. Gallus 
 goes with the news of her capture to Caesar, who sends DoUabeUa to 
 take charge of her. From him she learns that Caesar intends to 
 carry her in triumph to Eome, Caesar comes to visit her and sooth 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP ANTONY AND CLEOPATRA. 239 
 
 her; she, however, has determined to end her life, and after his 
 departure gives certain instructions to Charmian. Dolabella re-enters 
 to inform her that within three days it is Cassar's intention to send 
 her away. He then bids her adieu. Charmian returns, and is 
 quickly followed by a country fellow bearing a basket of figs. 
 Arrayed in her royal robes, the crown upon her head, Cleopati'a and 
 her maids prepare for death : the means, the aspics contained in the 
 basket brought in by the Clown. Iras dies first ; then Cleopatra 
 (b.o. 30), and the Guard rush in as Charmian last of all applies an 
 asp and dies. Csesar enters to view the scene of death, and orders 
 the burial of Cleopatra with her Antony. ^ 
 
 Much of the business of this scene — not easily to be gathered 
 from the drama itself — is derived by the Editors from Plutarch's 
 history of Mark Antony, on which the Play is founded. I am in 
 some doubt whether a separate day, the morrow of Day "12, should 
 not be marked for these last two scenes. Act V. sc. i. and ii. ; 
 historically of course some time elapsed between the deaths of 
 Antony and Cleopatra ; but all these scenes from Act IV. sc. x. to 
 the end of the Play are dramatically so closely connected, that in 
 the absence of any specific note of time which would justify this 
 division, I have deemed it best to include them all in one day, the 
 last. 
 
 Time of the Play, twelve days represented on the stage; with 
 intervals. 
 
 Day 1. Act I. sc. i. — iv. 
 
 Interval- — 40 days ? 
 „ 2. Act I. sc. v.. Act II. sc. i. — iii 
 „ 3. Act II. sc. iv. 
 
 Interval. 
 „ L Act II. sc. v.— vii. [Act III. sc, iii.] 
 
 Interval ? 
 „ 5. Act III. sc. i. and ii. 
 
 [Act III. sc. iii. See Day 4.] 
 Interval. 
 „ 6. Act III. sc. iv. and v. 
 Interval. 
 
240 IX. p. A. DANIEL. t;MB-ANAI;YSIS of ANTONY AND CLEOPATRA. 
 
 Day 7. Act III. sc. vi. 
 Interval, 
 ,, 8. Act III. sc. vii. 
 „ 9, Act III. sc. viii. — x. 
 
 Interval. 
 „ 10. Act III. sc. xi. — xiii., Act IV. sc. i. — ^iii. 
 „ 11. Act IV. sc. iv. — ix. 
 „ 12. Act IV. sc. X. — XV., Act V. sc. i. and ii. 
 Historic time, about ten years : b.o. 40 to b.o. 30. 
 
 CYMBELINB. 
 
 riEST printed in the Folio. Divided into acts and scenes. In 
 Act I., however, the Folio commences sc. ii. with the entry of the 
 Queen, 1. 101 : the subsequent scenes of this Act, ii., iii., iv., v. and vi. 
 in Globe edition, are therefore numbered in the Folio iii., iv., v., vi. 
 and vii. In Act II. sc. v. is not numbered ia the FoHo. In Act 
 III. the Folio makes scene vii. commence after the entry of Imogen 
 into the cave. The scene viL of the Globe edition is therefore 
 numbered viii. in the FoHo. 
 
 Day 1. Act I. sc. i. The Garden of Cymbeline's Palace. Two 
 Gentlemen, by way of Prologue, discuss the position of affairs. 
 Posthumus has wedded the King's daughter Imogen, for which 
 offence she is imprisoned, he sentenced to banishment. The King 
 himself has lately married a widow, to whose only son, Cloten, he 
 had proposed to marry Imogen. Some twenty years ago the King's 
 two sons, the eldest of them at three years old, the other in swathing- 
 clothes, were stolen from their nursery, and have not been heard of 
 since. The Queen, Posthumus, and Imogen now enter. Posthumus 
 comes to take leave of his wife. The Queen has favoured their 
 meeting with the view of more incensing the King against them, and 
 she now goes out to send him where he may surprise them. They 
 exchange gifts; Imogen gives him a ring, Posthumus places a 
 bracelet on her arm. The King enters and reviles them. Posthumus 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP CYMBELINE. 241 
 
 departs. The Queen re-entering is charged with the custody of 
 Imogen. Pisanio, Posthumus's servant, comes to offer his services to 
 his mistress ; she sends him to see her husband aboard. 
 
 Act I. so. ii. Cloten boasts his valour in an encounter with 
 Posthumus, whUe the latter was on his way to his ship. 
 
 Act I. so. iii. Pisanio gives an account to Imogen of Posthumus's 
 departure. 
 
 An interval. Posthumus's journey to Eome. 
 
 Day 2. Act I. sc. iv. Eome. Posthumus arrives at his friend 
 Philario's house. Provoked by lachimo he wages his ring against 
 ten thousand ducats on his wife's chastity. lachimo prepares to 
 depart immediately for Britain to put it to the test. 
 
 An interval. lachimo's journey to Britain. 
 
 Day 3. Act I. sc. v. In Cymbeline's Palace. The Queen 
 obtains from Dr Cornelius a drug which she believes to be poison, 
 but which he, suspecting her iatentions, has taken care shall only be 
 a sleeping potion. She then tries to shake the fidelity of Pisanio to 
 his master, but fiindiiig him fiim she presents him, as in friendship, 
 with the drug as a most sovereign medicine ; hoping that he may 
 take it and perish by it. 
 
 Another possible arrangement in time for this sc. v. would be to 
 make it concurrent with Day No. 2; or agaia, it might have a 
 separate day assigned to it, to be placed in the interval marked for 
 lachimo's journey to Britain. Eccles supposes it to occur at some 
 time between the arrival of Posthumus in Rome and the arrival of 
 lachimo in Britain. Its position as the early morning of Day 3, 
 " whiles yet the dew's on ground," is, however, quite consistent with 
 my scheme of time. 
 
 Act I. sc. vi. Pisanio presents lachimo to Imogen. He brings 
 letters to her from Posthumus, and after Pisanio's exit at once proceeds 
 in his attempt on her virtue, and is repulsed. He then satisfies her 
 that his attempt was only a trial of her fidelity, and begs her to take 
 charge, for the one night that he can remain in Britain, of a trunk 
 
242 IX. p. A, DANIEL. TIME-ANAL-JSIS OF CYMBELINE. 
 
 supposed to contain valuable presents for the Emperor of Eome. She 
 promises for its safety to have it placed in her bed-chamber. 
 
 Act II. sc. i. Cloten chafes at his losses at a game at bowls. He 
 is told of the arrival of lachimo, and resolves to see him, hoping to 
 ■win from him at night what he has lost to-day at bowls. 
 
 Act II. sc. ii. Imogen's chamber : a trunk in one comer of it. 
 Imogen lies reading in bed. It is almost midnight when she 
 dismisses her attendant, requesting to be called by four o' the clock, 
 and falls asleep. 
 
 Day 4 begins. lachimo issues from the trunk ; he observes the 
 furniture and adornments of the room; takes from Imogen's arm her 
 bracelet, and notes as a voucher of his success, stronger than ever 
 law could make, a mole cinque-spotted on her left breast. The clock 
 strikes three as he goes into the trunk. The scene closes.' 
 
 Act II. sc. iii. An ante-chamber to Imogen's apartment. Early 
 morning. Cloten has been gambling all night and has lost again. 
 "With whom has he been playing ? Certainly not with lachimo as 
 he proposed to do in Act II. sc. i. He takes advantage of his being 
 up so late to give his mistress some early morning music ; for, in 
 expectation of the divorce the King would force on Imogen, he is 
 now courting her; and music he is advised will penetrate. The 
 King and Queen find him here and commend his dUigence. A 
 Messenger now announces the arrival of ambassadors from Eome, 
 one of whom is Caius Lucius. The King bids Cloten, when he has 
 given good morning to his mistress, attend him, as he has need to 
 employ him towards this Roman. Left alone, Cloten knocks at 
 
 • Malone remarks on this scene, — " Our author is often careless in his 
 computation of time. Just before Imogen went to sleep, she asked her 
 attendant what hour it was, and was informed by her, it was almost midnight. 
 lachimo, immediately after she has fallen asleep, comes from the trunk, and 
 the present soliloquy cannot have consumed more than a few minutes : — yet 
 we are now told that it is three o'clock." Surely the many dramatic-time 
 camels Malone must have swallowed should have enabled him to pass this 
 little file without straining. Stage time is not measured by the glass, and to 
 an expectant audience the awful pause between the falling asleep of Imogen 
 and the stealthy opening of the trunk from which lachimo issues would be 
 note and mark of time enough. Instances of the night of one day passing 
 into the morning of the next in one unbroken scene are too frequent in these 
 Plays to need more than a general reference. 
 
IX. V. A. DANIEL. TIME-ANALYSIS OF CYMSELINB. 243 
 
 Imogen's door, and tries to bribe one of her women to favour his suit. 
 Imogen enters and repels his insolent attempts at courtship with 
 scorn ; she is troubled by the loss of her bracelet. She thinks she 
 saw it this morning, and is confident last night 'twas on her arm. 
 She leaves Cloten, who goes out vowing vengeance for his repulse. 
 
 An interval. lachimo's return journey to Eome. 
 
 Day 5. Act II. sc. iv. Eome. In PhUario's house. Philario 
 gives a note of the time by his reference to the Eoman embassy to 
 Cymbeline. 
 
 " By this, your King 
 Hath heard of great Augustus : Caius Lucius 
 Will do 's commission thoroughly : " etc. 
 
 lachimo arrives. His information is that when he was at the 
 Britain court, Caius Lucius was then expected, but not approached. 
 As we have seen above, Gains Lucius arrived there on the day on 
 which we must suppose that lachimo left Britain. lachimo now 
 proceeds to the business of his journey, and convinces Posthumus of 
 his wife's frailty. He acknowledges that he has lost the wager and 
 gives lachimo the ring. 
 
 Act II. sc. V. Posthumus soliloquizes on the deceit of womankind. 
 
 An interval ; time for Posthimius's letters from Eome to arrive 
 in BritarQ. 
 
 [Act III. sc. i. Britain. Cymbeline and his Court receive in 
 state Caius Lucius, the ambassador, who comes to demand the tribute 
 tm lately paid to Eome. The tribute is denied, and Lucius denounces 
 in the Emperor's name war against Britain. His office discharged, 
 he is welcomed to the court, and bid " make pastime with us a day 
 or two, or longer." The time of this scene is so evidently that of 
 Day No. 4, that I am compelled to place it here within brackets as 
 has been done m. other cases where scenes are out of their due order 
 as regards time. (See As Ton Like it, and Antony and Cleopatra.) 
 Eccles transfers the scene to follow Act II. sc. iii., making it, as I 
 suppose it to be, part of the day represented in that scene.] 
 
 Day 6. Act III. so. ii. Cymbeline's Palace. Pisanio receives 
 
244 IX. p. A. DANIEL. TIME-ANALYSIS OF CYMBELINE. 
 
 letters from Posthumus ordering him to put Imogen to death. To 
 enable him to train her forth for this purpose he also sends a letter 
 to Imogen telling her he is in Camhria, and nrgiag her to meet him 
 at MUford-Haven. Imogen arranges with Pisanio to set out on the 
 journey at once. 
 
 Act III. so. ui. In "Wales before the cave of Belarius. Enter 
 Belarius, Guiderius, and Arviragus. Belarius, who now goes by the 
 name of Morgan, lets us iuto the secret that the two young men, his 
 companions — now called Polydore and CadwaU — are, unknown to 
 themselves, the sons of CymbeUne, whom twenty years ago, when 
 unjustly banished, he stole from their father's court. They aU three 
 proceed to hunt the deer. 
 
 This scene may be supposed concurrent with the preceding 
 scene ii. 
 
 An interval, including one clear day. Imogen and Pisanio 
 journey into Wales. 
 
 Day 7. Act III. sc. iv. The country near Milford-Haven. 
 Enter Pisanio and Imogen. He reveals to her the purpose of their 
 journey, and shews her Posthumus's letter commanding her death. 
 Her first burst of horror and despair at the vile accusation made 
 against her over, he persuades her to disguise herself as a page and 
 endeavour to enter the service of the ambassador Lucius, who " comes 
 to Milford-Haven to-morrow," so that dwelling haply near the 
 residence of Posthumus she may find the means of unravelling the 
 web of treachery which has immeshed them both. He provides her 
 with the necessary disguise, and as a parting gift of value, gives her 
 the drug received by him from the Queen in Act I. sc. v. He then 
 hastens back to court. 
 
 An interval, including one clear day. Pisanio returns to court. 
 
 Day 8. Act III. sc. v. In Cymbeline's Palace. The ambassador 
 Lucius takes his departure, and desires " a conduct over-land to 
 Milford-Haven." Lucius has sojourned in Cymbeline's court since 
 Day No. 4 : since then the space between Eome and Britain has 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP CYMBELINE. 245 
 
 been twice traversed — by lacMmo going to Eome, and by the post 
 bringing letters from Posthunius to Pisanio — and Lucius himself 
 appears to have informed the emperor of the failure of his embassy, 
 and to have received a reply ; for he says^ 
 
 " My emperor hath ■v\Tote, I must from hence.'' 
 
 The "day or two, or longer" during which he was invited to rest at 
 Court would hardly suffice for this, unless we are to imagine that 
 Eome is only " behind the scenes, in the green-room." i Yet more 
 than a day or two is inconsistent with Cymbeline's remark immediately 
 after Lucius's departure. He misses his daughter — • 
 
 " She hath not appea7''d 
 Before the Roman, nor to us hath tender'd 
 The duty of the day : " etc. 
 
 And this scene, be it observed, can not be put earlier in time, as 
 with Act III. sc. i. was necessary; for Imogen's absence now is the 
 consequence of those joumeymgs to and from Eome since Lucius's 
 arrival. 
 
 The King sends to seek Imogen, and it then appears that she is 
 really missing. Cloten remarks that he has not seen Pisanio, her old 
 servant, these two days. Exeunt all but Cloten, To him enters 
 Pisanio, who has returned to Court. Cloten bullies him into telling 
 where his mistress has gone, and induces him to provide a suit of 
 Posthumus's garments in which he resolves to set out in pursuit of 
 Imogen. 
 
 Act III. sc. vi. Wales. Before the cave of Belarius. Enter 
 Imogen, in boy's clothes. When Pisanio parted from her Milford 
 was within ken, but since then for two nights together she has made 
 the ground her bed, and now on the third evening she arrives 
 faint with hunger and fatigue, before the cave of Belarius. If 
 we suppose, as I think we may, this scene to occur on the same 
 day as the preceding scene, we get — including this day, the day 
 of her departure from Court, and the two intervals suggested by 
 the time she has wandered alone — a period of five days, which may 
 
 ■ See Professor Wilson's Time-Analysis of Othello. If. S. 8oc. TVans., 
 1875-6, part ii. p. 375. 
 
 N . s. SOC. TKANS., 1877-9. 17 
 
246 IX. p. A. DANIEL. TIME-ANALYSIS OP CYMBELINE. 
 
 1)6 considered sufficient, dramatically, for the joumeyings to and from 
 the vicinity of MiKord, and not altogether inconsistent with Cymbe- 
 line's remark as to her not having lately paid him the daily duty she 
 was bound to proffer. She may have seen him on the day of her 
 departure (Day 6) ; on the next three days she is absent from his 
 presence, and on the fourth (this Day No. 8) he notices her absence 
 and discovers that she has fled. Even Cloten's remark of his not 
 having seen Pisanio for these two days need not form any serious 
 objection to this scheme of time : and all we can say to Pisanio's 
 remark on quitting Imogen, that Lucius would be at Milford-Haven 
 on the morrow, is, that his prediction has not been verified. 
 
 Imogen goes into the cave in search of food, and Belarius, 
 Guiderius, and Arviragus, returning from hunting, find her there and 
 welcome her to their rustic hospitality. It is " almost night " when 
 this scene closes. 
 
 [Act III. sc. vii. Eome. Enter two Senators and Tribunes. 
 We learn that Lucius is appointed general of the army to be 
 employed in the war in Britain. This army is to consist of the forces 
 " remaining now in Gallia," supplemented with a levy of the gentry 
 of Eome. This scene is evidently out of place. In any time-scheme 
 it must come much earlier in the drama. Eccles, who properly, as I 
 think, transfers sc. i. of Act III. to follow sc. iii. of Act II., also 
 transfers this scene to follow sc. v. of Act II. as part of Day 5 : I 
 rather think it may be supposed to occupy part of the interval I have 
 marked as " Time for Posthumus's letters from Eome to arrive in 
 Britain."] 
 
 An interval, including one clear day. This interval is marked on 
 the principle of allowing to Cloten for his journey into Wales, about 
 the same time that has been allowed to Imogen and Pisanio. 
 
 Day 9. Act IV. sc. i. Wales. Enter Cloten, dressed as 
 Posthumus. He has arrived near the place where he expects to meet 
 with Imogen and her husband, and discourses of the vengeance he 
 means to take on them both. 
 
 Act rV. sc. ii. The same. Before the cave of Belarius. Enter 
 Belarius, Guiderius, Arviragus, and Imogen. Imogen is Ul; they 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF CYMBELINE. 247 
 
 pray her to remain with them and rest in the cave while they go 
 eirhimting. She swallows some of the drug given to her by Pisanio 
 and goes into the cave.- Cloten enters; he is recognized by Belarius, 
 who feariag an ambush goes out to reconnoitre with Arviragus, leaving 
 Guiderius to deal with him. Cloten attempts to take him prisoner : 
 exeunt fighting. Belarius and Arviragus return ; they have found no 
 companies abroad ; Guiderius re-enters with the head of Cloten, 
 whom he has killed in fight. He goes out again to throw it in the 
 creek. Belarius determines that they will hunt no more to-day and 
 sends Arviragus into the cave ; Guiderius rejoins him, and Arviragus 
 comes out of the cave again to them with Imogen in his arms, as 
 dead. Belarius proposes that Cloten shall be buried with " Fidele," 
 and goes out to fetch the body. They lay them together, strew 
 flowers on them, and exeunt. After a time Imogen awakes from the 
 sleep into which the drug had cast her, and seeing the headless body 
 by her side dressed in her husband's clothes, takes it for Posthumus 
 and casts herself on the body to die. Then, Enter Lucius, Captains, 
 and a Soothsayer. A captain informs Lucius — 
 
 " — the legions garrison'd in GaUia, 
 After your wiU, have crossed the sea, attending 
 You here at Milford-Haven with your ships : 
 They are in readiness." 
 
 He also tells him, that the confiners and gentlemen of Italy, under 
 the conduct of bold lachimo, are expected to arrive with the next 
 benefit o' the wind. 
 
 Lucius finds Imogen lying on the body of Cloten, and after 
 questioning her as to her fortunes, engages her in his service and 
 orders the burial of the body. 
 
 An interval — a few days perhaps. 
 
 Day 10. Act IV. sc. iii. In Cymbeline's Palace. The news is 
 that the Legions from Gallia are landed, 
 
 -with a supply 
 
 Of Eoman gentlemen, by the Senate sent." 
 
 Cymbeline's forces are in readiness, and he prepares to meet the time ; 
 
 17* 
 
248 IX. p. A. DANIEL. TIME-ANALYSIS OF CYMBELINE. 
 
 but he is distracted with, domestic afflictions : his Queen is on a. 
 desperate bed ; her son gone, Imogen gone, no one knows whither. 
 Pisanio does ; but he also is in perplexity at not hearing from them. 
 He thinks it strange too that he has not heard from his master since 
 he wrote him Imogen was slain. Decidedly Eome must be behind 
 the scenes, somewhere. 
 
 Day 11. Act IV. sc iv. "Wales. The noise of the war is round 
 about them, and Guiderius and Arviragus determine to fight for their 
 country ; Belarius consents at last to accompany them. Eccles 
 supposes a short interval — for preparations for the engagement — 
 between this and the preceding scene, and begins Act V. with this 
 scene as part of the day represented in that act. Its position as a 
 separate day seems to me to satisfy all the requirements of the plot. 
 
 Day 12. Act V. sc. i. The Eoman camp. Posthiimus, who 
 has been brought here among the Eoman gentry, enters with a bloody 
 handkerchief sent him by Pisanio in token of Imogen's death. He 
 determines to disguise himself as a Briton peasant and seek for death 
 fighting on his country's side. 
 
 Act V. sc. ii. The field of battle. "Enter Lucius, lachimo, 
 and the Eomane Army at one doore : and the Britaine Army at 
 another : Leonatus Posthumus following like a poore Souldier. They 
 march over, and goe out. Then enter againe in Skinuish lachimo 
 and Posthumus : he vanquisheth and disarmeth lachimo, and then 
 leaues him." 
 
 lachimo's conscience is heavy with the thoughts of his treachery 
 to Imogen. 
 
 " The Battaile continues, the Britaines fly, Cymbeline is taken : 
 Then enter to his rescue, Belarius, Guiderius, and Arviragus.'' 
 
 "Enter Posthumus, and seconds the Britaines. They rescue 
 Cymbeline, and Exeunt." 
 
 " Then enter Lucius, lachimo, and Imogen." The Eomans are 
 routed. 
 
 Act V. sc. iii. Another part of the Field. Posthumus narrates 
 to a British Lord the manner of the fight. He has resumed again 
 the part he came in, and on the entry of "two Captaines, and 
 
IX. p. A. DANIEL. TIME-ANALYSIS OP CYMBELINE. 249 
 
 Soldiers," he gives himself up as a Eoman prisoner. "Eater 
 Cymheline, Belarius, Guiderius, Arviragus, Pisanio, and Eomane 
 Captives. The Captaines present Posthumus to CymbeHne, who 
 delivers him over to a Gaoler.'' Exeunt omnes. 
 
 Act V. sc. iv. Posthumus in prison. He falls asleep, and in a 
 vision his ancestors and Jupiter appear to him. A Messenger arrives 
 to bring him before Gymbeline. 
 
 Act V. sc. V. In Cymbeline's tent. In this scene all the 
 surviving characters of the drama are brought together. The death 
 of the Queen is announced, and her viHanies perpetrated and 
 purposed are revealed. Imogen, as " Fidele," finds favour with 
 Gymbeline, and makes lachimo confess his guilt; Posthumus 
 discloses himself; Imogen is made known. Belarius reveals the 
 parentage of Guiderius and Arviragus, and in his joy at the recovery 
 of his children Gymbeline frees his Eoman captives, makes peace 
 with the Emperor, and resolves to pay- the tribute the refusal of 
 which has caused the war — 
 
 " Never was a war did cease, 
 Ere bloody hands were wash'd, with such a peace.'' 
 
 This last line justifies the placing of the whole of the last act, 
 
 including the battle, Posthumus's imprisonment and the final scene, 
 
 in one day only. 
 
 The time, then, of the drama includes twelve days represented 
 
 on the stage; with intervals. 
 
 Day 1. Act I. sc. i. — iii. 
 
 An Interval. Posthumus's journey to Eome. 
 
 „ 2. Act I. sc. iv. 
 
 An Interval. lachimo's journey to Britain, 
 
 „ 3. Act I. sc. V. and vi., Act II. sc. i. and part of sc. ii. 
 
 „ 4. Act II. sc. ii., in part, and sc. iii, [Act III, sc. i. also 
 
 belongs to this day.] 
 
 An Interval. lachimo's return journey to Eome. 
 
 „ 5. Act II, sc. iv. and v. 
 
 An Interval. Time for Posthumus's lettets from, 
 
 Eome to arrive in Britain. 
 
 [Act III. sc. i. See Day No, 4.] 
 
230 IX. p. A. DANIEL. TIME-ASALYSIS OF CYMBELINE. 
 
 Day 6. Act III. so. ii. and iii. 
 
 An Interval, including one clear day. Imogen and 
 Pisanio journey to Wales. 
 „ 7. Act III. sc. iv. 
 
 An Interval, including one clear day. Pisanio returns 
 to Court. 
 „ 8. Act III. sc. V. and vi. 
 
 [Act III. sc. vii. In Eome. Time, between Days 5 
 and 6.] 
 An Interval, including one clear day, Clo ten journeys 
 to Wales. 
 „ 9. Act IV. sc. i. and ii. 
 
 An Interval — a few days perhaps. 
 „ 10. Act IV. sc. ui. 
 „ 11. Act IV. sc. iv. 
 „ 12. Act V. sc. i.— V. 
 
 Note. — This also is one of the plays in which, in the division of 
 its time, I have been preceded by Ambrose Eccles (see notes at the 
 end of The Merchant of Venice and King Lear). 
 
 My scheme of time for this Play is generally in agreement with 
 his, but in one instance we differ widely. He proposes to place an 
 interval between sc. ii. and sc. iii. of Act III. of " some part of a 
 day, a night, and an entire day and night," and to make scenes iii., 
 iv., V. and vi. of that Act aU part of one day. By so doing he is 
 compelled to allow no time for Pisanio to get back to Court after 
 leaving Imogen in Wales, and is forced to explain her reference to 
 the two nights she has wandered alone, as being nights passed with 
 him on her journey into Wales. I fancy he must have been misled 
 in this instance by the fact that in Act III. sc. iii. Belarius, 
 Guiderius, and Aviragus go a-hunting, and in Act III. sc. vi. when 
 they find Imogen in their cave they have just returned from hunting. 
 But as hunting was their daily occupation, there is no need to imagine 
 any connection between these two scenes. His scheme of time in 
 this respect is totally at variance with the requirements of the plot. 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF PERICLES. 251 
 
 PERICLES. 
 
 First printed in Quarto with no division of acts and scenes. In 
 the Folio (1664) divided into acts only. 
 
 Actus Primus, as in modern editions. 
 
 Actus Secundus ends with sc. ii. Act III. 
 
 Actus Tertius commences with sc. iii. Act III., and ends with 
 sc. iii. Act IV. 
 
 Actus Quavtus commences with sc. iv. Act IV., and ends with 
 line 240 of sc. i. Act V. 
 
 Actus Quintus includes the rest of the Play. 
 
 1st Chorus. Act 1. Gower introduces the story of Antioohus ■ 
 and his daughter. 
 
 Day 1. Act I. sc. i. Antioch. Pericles, as suitor to the 
 daughter, expounds the dreadful riddle, and, fearing for his Ufe, flies 
 from the Court. Antiochus employs Thaliard to pursue him and 
 put him to death. 
 
 An interval : Pericles' journey to Tyra 
 
 Day 2. Act L sc. ii. Tyre. Pericles, fearing the vengeance of 
 Antiochus for himself and his people, places Helicanus in the 
 government and sets out for Tarsus. 
 
 Act I. sc. iii. Thaliard arrives in Tyre and hears of the departure 
 of Pericles. This and the preceding scene may both be supposed 
 one day. 
 
 An interval : Pericles' voyage to Tarsus. 
 
 Day 3. Act I. sc. iv. Tarsus. Cleon laments the misery of 
 his people perishing with famine. Pericles arrives with store of corn 
 for their relief. 
 
 An interval: time for news from Tyre to reach Tarsus, and for 
 Pericles' voyage to Pentapolis. 
 
 2nd Chorus. Act II. Gower, with speech and dumb show, informs 
 the audience how Pericles (warned by letters from Helicanus that it 
 
252 IX. p. A. DANIEL. TIME-ANALYSIS OP PERICLES. 
 
 was no longer safe for him to remain at Tarsus) puts to sea, is 
 shipwrecked and cast on shore. 
 
 Day 4. Act II. sc. i. Pentapolis. Pericles, cast up by the sea, 
 is relieved by fishermen, and sets out for the Court of King Simonides 
 (half a day's journey from where he landed) in order to be present at 
 the tournament to take place on the morrow in honour of the Princess 
 Thaisa's birthday. 
 
 Day 5. Act II. sc. ii. The court of Simonides. The knights' 
 competitors, among them Pericles, present their shields to the Princess 
 Thaisa and proceed to the lists. 
 
 Act II. sc. iii. A banquet after the tournament. Pericles 
 receives the wreath of victory, and finds favour in the eyes of 
 Simonides and the Princess. 
 
 Act II. sc. iv. Tyre. Helicanus has heard of the deaths of 
 Antiochus and his daughter, consumed by fire from heaven. The 
 lords of Tyre in the continued absence of Pericles propose to make 
 Helicanus their sovereign ; he persuades them to defer their purpose 
 for a twelvemonth and to go in search of Pericles. This scene may 
 be supposed to occur on the same day as the two preceding scenes. 
 
 Day 6. Act II. sc. v. Pentapolis. Simonides shifts off the 
 other knights, suitors for the hand of Thaisa, on the plea that she 
 wUl not consent to wed for one twelvemonth longer, and then 
 marries her to Pericles. 
 
 An interval : some eight or nine months. 
 
 3rd Chorus. Act III. Goioer, with speech and dumb show, 
 informs the audience how Pericles is recalled to Tyre and takes his 
 departure with his wife and the nurse Lychorida; and then introduces 
 him on board ship ia a storm. 
 
 Day 7. Act III. sc. i. On a ship at sea, in a storm. Thaisa 
 gives birth to a daughter, and, being supposed dead, Pericles is 
 compelled by the mariners to bury her at sea in a chest prepared as 
 her coffin. He then for the sake of the infant makes for Tarsus, 
 intending there to leave the babe at careful nursing. 
 
IX. p. A. DANIEL, TIME-ANALYSIS OF PEBICLES. 253 
 
 Day 8. Act III. sc. ii. Ephesus. In the early morning of the 
 following day the chest containing the body of Thaisa is cast ashore. 
 Lord Cerimon, a wealthy and benevolent physician, opens it, and 
 finding the queen yet alive, takes means for her recovery. 
 
 An intei-val of a few days may here be supposed. 
 
 Day 9. Act III, sc. iii. Tarsus. Pericles, leaving his daughter 
 Marina and her nurse Lychorida to the care of Cleon and Dionyza, 
 resumes his voyage to Tyre. 
 
 Act III. sc. iv. Ephesus. Thaisa, supposing her husband lost 
 at sea, determines to devote herself to the service of Diana. This 
 and the preceding scene may be supposed one day. 
 
 An interval of fourteen years is now supposed to elapse. See 
 Act V. sc. iii. U. 7—9 : 
 
 « She at Tarsus 
 
 "Was nursed with Cleon ; who at fourteen years 
 He sought to murder ; " etc. 
 
 4th Choeus. Act IV. Gower tells how Pericles is established at 
 Tyre; Thaisa at Ephesus j and how Marina, growing up in all 
 perfection, eclipses Dionyza's daughter, to the envy of the mother, 
 who plots her death. 
 
 Day 10. Act IV. sc. i. Tarsus. Dionyza engages Leonine to 
 murder Marina. She is saved by Pirates, who carry her off as a 
 captive. 
 
 An interval : the voyage from Tarsus to Mytilene. 
 
 Day 11. Act IV. sc. ii. Mytilene. Marina is sold by the 
 Pirates to the keepers of the brothel. 
 
 Act IV. sc. iii. Tarsus. Cleon reproaches Dionyza with her 
 wickedness. To conceal her crime she has made away with Leonine 
 and has erected a monument to Marina, — now almost finished, — so 
 that when Pericles comes to claim his child he may suppose her to 
 have died a natural death. 
 
 This and the preceding scene may be supposed to occur on one 
 and the same day. 
 
254 IX. p. A. DANIEL. TIME ANALYSIS OF PERICLES. 
 
 An interval of a few days. 
 
 5tli Chorus. Act IV. sc. iv. [should be V.]. Gower, with speech 
 and dumb show, tells how Pericles sails to Tarsus to see his daughter, 
 is shown her monument, and, believing her dead, again embarks, his 
 course directed by Lady Fortune. The attention of the audience is 
 then again directed to Marina's adventures in MytUene.^ 
 
 Day 12. Act IV. sc. v. and vi. [should be V. i. and ii.]. 
 MytUene. Marina's virtue converts the frequenters of the brothel 
 and reduces its owners to despair. She persuades Boult to get her 
 honest employment in the city. 
 
 An interval of three months is to be supposed since Pericles 
 beheld his daughter's monument in Tarsus. See Act V. sc. i. 1. 24 : 
 
 " A man who for this three months hath not spoken," etc. 
 
 6th Chorus. Act V. [should be VI.]. Qmver tells of Marina's 
 success and virtuous life, and of the arrival of Pericles' ship off the 
 coast of Mytilene. 
 
 Day 13. Act V. sc. i. [should be VI. i.]. Mytilene. On board 
 Pericles' ship. Lysimachus, the governor of the town, visits the sad 
 king and sends for Marina to divert his sorrow. Pericles discovers 
 in her his daughter. Diana appears to him in a vision and commands 
 him to repair to her temple at Ephesus and relate before her altar 
 his story. 
 
 An interval of some few days for the events narrated in the 
 
 following chorus. 
 
 » In these papers I have avoided any reference to emendations of the text 
 where time was not concerned ; but in this Chorus Steevens's corruption of 
 lines 13 — 16 has gained such universal acceptance, even in the hest editions, 
 that I feel bound once more to protest against it, and to insist on a restoration 
 of the original arrangement of the lines. Properly punctuated they stand 
 
 thus ; — 
 
 " Old Helioanus goes along. Behind 
 Is left to govern it, you bear in mind, 
 Old Escanes, whom Helioanus late 
 Advanced in time to great and high estate." 
 
 Whether, In the last line, Sidney Wallier's conjecture of in Tyre for Ml time 
 should be adopted I do not pretend to decide ; but one minute's study of the 
 original will convince the reader that Steevens's corraption and topsy-turvy 
 arrangement must forthwith be expunged. 
 
IX. p. A. DANIEL. TIME-ANALYSIS OF FEBICLBS. 255 
 
 7 th Chorus. Aot V. sc. ii. [should he VII.]. Goieer tells of the 
 festivities at Mytileiie; of the betrothal of Marina to Lysimaehus; of 
 the departure of Pericles with them and his train, and of his arrival 
 at Ephesus. 
 
 Day 14. Act V. sc. iii. [should be VII. i.]. Ephesus. In the 
 Temple of Diana. Pericles narrates his story before the altar and is 
 recognized by and recognizes his wife Thaisa, the high priestess. 
 The family thus re-united, Pericles determines to take possession of 
 the kingdom of Pentapolis, now vacant by the death of his father- 
 in-law Simonides, and confers the kingdom of Tyre on Lysimaehus 
 and Marina. 
 
 8th Chorus. Oower, by way of Epilogue, shortly recapitulates 
 and moralizes the story, and informs the audience of the fate of 
 ''wicked Cleon and his wife." 
 
 The story of Pericles comprises a period of from fifteen to sixteen 
 years : of which fourteen days are represented on the stage, the chief 
 intervals being accounted for in the choruses. 
 
 1st Chorus introducing — 
 Day 1. Act I. sc. i. 
 
 An interval. Pericles retui'ns to Tyre. 
 „ 2. Act I. sc. ii. and iii. 
 
 An interval. Pericles sails to Tarsus. 
 „ 3. Act I. sc. iv. 
 
 2nd Chorus. An interval : Pericles' sojourn at Tarsus, departure 
 
 therefrom, and arrival at Pentapolis. 
 Day 4. Act II. sc. i. 
 
 „ 5. Act II. sc. ii. — iv. 
 
 „ 6. Act II. sc. V. 
 
 3rd Chorus. An interval of some eight or nine months : Pericles' 
 marriage, wedded life, and departure from 
 
 Pentapolis. 
 
 Day 7. Act III. sc. i. 
 „ 8. Act III. sc. ii. 
 
 An interval of a few days. 
 9. Act III. sc. iii. and iv. 
 
256 IX. P, A. DANIEL. TIME-ANALYSIS OF PERICLES. 
 
 4th Chorus. An interval of fourteen years : education of Marina 
 
 in Tarsue. 
 Day 10. Act IV. sc. i. 
 
 An interval : Marina's voyage from Tarsus to 
 Mytilene. 
 „ 11. Act IV. sc. ii. and iii. 
 
 5tli Choeus, Act IV. sc. iv. [should be V.]. An interval of 
 a few days Pericles arrives in Tarsus, and departs 
 therefrom on learning his daughter's supposed 
 death. 
 
 Day 12. Act IV. sc. v. and vi. [should be V. i. and ii. ]. 
 
 6th Chorus. An interval of three months between the departure 
 from Tarsus of Pericles and his arrival at 
 Mytilene. 
 
 Day 13. Act V. sc. i. [should be VI. i.j. 
 
 7th Chorus. Act V. sc. ii. [should be VII.]. An interval: 
 
 sojourn in Mytilene and voyage to Ephesus. 
 Day 14. Act V. sc. iii. [should be VII. i.]. 
 
 8th Chorus ; epilogue. 
 
 The division of the Play Lato five acts in the Folio edition has 
 evidently been made quite at random : Malone's division, adopted by 
 all subsequent editors, is no doubt much to be preferred : for the 
 first three acts he follows the chorus-division of the original ; but he 
 appears to have been hampered by the superstition that no drama 
 can have more than five acts, and he has accordingly crammed the 
 4th, 5th, 6th, and 7th chorus-divisions into Acts IV. and V. Of 
 course in this analysis I have been obliged for the convenience of 
 reference to follow the general usage ; but the Play consists of seven 
 acts, distinctly marked by the choruses. The original division of the 
 drama should be restored and the acts and scenes numbered 
 accordingly. 
 
257 
 
 X. TIME-ANALYSIS OF THE PLOTS OF 
 SHAKSPEEE'S PLAYS. 
 
 BY 
 
 P. A. DANIEL. 
 {Read at the S^rd Meetinq of the Society, IZth June, 1879.) 
 
 PAET IIL 
 
 THE HISTORIES. 
 
 Note. — No attempt is here made at Chronologieal arrangement : the order 
 talten is that of the First Folio and of the Glohe edition : to the latter 
 of which the numbering of Acts, Scenes, and lines refers. By one " Day " 
 is to he understood the whole or any portion of the twenty-four hours 
 from midnight to midnight. All intervals a/re supposed to include, at 
 the least, one clear day from midnight to midnight : a ireah in the 
 action of the drama from noon one day to noon the next is not here 
 considered an interval. 
 
 KING JOHN. 
 
 First printed in Folio ; divided into acts and scenes. 
 
 Actus primus consists of Sccena jyrima^tlie whole of Act I., 
 and Sccena secunda = the whole of Act II. 
 
 Actus secundus contains only the first 74 lines of Act III. sc. i. 
 
 Actus tertius, Secena prima, commencing with line 75 of Act III. 
 sc. i., includes the rest of that scene ; Seaina secunda = sc. ii. and 
 iii. ; Sccena tertia = sc. iv. 
 
 Actus quartus and Actus quintus as in Globe edition, except that 
 Act v. is wrongly headed Actus quartus. 
 
 Day 1. Act I. sc. i. Court of King John. Chatillon, ambas- 
 sador from France, calls on John to resign the crown in favour of 
 
258 X. p. A. DANIEL. TIME-ANALYSIS OP -KING JOHN. 
 
 Arthur, and on refusal denounces war. John settles the dispute 
 hetween Eohert Faulconbridge and his bastard brother Philip, 
 recognizing the latter as the son of Eichard Coeur-de-lion. Lady 
 Fauleonbridge confesses to Philip her fault and his parentage. 
 
 An interval. Eetum of the French ambassador and arrival of 
 John in France. 
 
 Day 2. Act II. sc. i. Before Angiers. Jf ranee and Austria 
 join their forces and are about to besiege the town iu the right of 
 Arthur, when Chatillon arrives and announces the approach of John. 
 Adverse winds had delayed his return from England, and enabled the 
 English army to land as soon as he. John enters with his army, 
 etc., and after a parley betwean the kings each summons the town. 
 The citizens refuse to admit either till one or the other proves his 
 right. The English and French armies accordingly proceed to fight, 
 and after an undecisive battle heralds from both parties again 
 summon the. town. The citizens still refusing, the contending 
 kings agree to join their forces and first destroy the town, 
 " Then after fight who shall be king of it." 
 
 The citizens propose as a medium course an alliance between France 
 and England, to be confirmed by the marriage of John's niece, the 
 lady Blanch, with Lewis the Dauphin. This agreed to, France 
 abandons the championship of Arthur, and the terms of alliance 
 being settled, all enter the town to solemnize the marriage presently 
 at St. Mary's chapel. 
 
 Act III. sc. i. The French king's pavilion. Salisbury breaks to 
 Constance and Arthur the news of the alliance. The two kings, 
 with the newly-married couple, enter to persuade Constance that this 
 day's proceedings wiU be to the advantage of Arthur and herself. She 
 curses the day, and prays to heaven that ere sunset armed discord 
 may be set betwixt the perjured kings. Her prayer is heard : Pan- 
 dulph, the Pope's legate, comes to demand of John why he keeps 
 Stephen Langton from the see of Canterbury, contrary to the Holy 
 Father's orders. John still refusing obedience, Pandulph excom- 
 municates him, and induces France to break off the alliance and take 
 up arms against him, on this the wedding-day (I. 300.) 
 
X. p. A. DANIEL. TIME-ANALYSIS OF KINQ JOHN. 259 
 
 Act HI. sc. ii. and iii. The battle ensues, ending in the defeat 
 of France and Austria, the death of the latter by the hand of the 
 Bastard, and the capture of Arthur. John sends away the Bastard 
 to levy forced contributions on the monasteries in England ; gives 
 Arthur into the custody of Hubert for conveyance to England and 
 death ; leaves his mother Elinor regent in France, and then himself 
 departs for Calais. 
 
 An intervaL See comment on following scene. 
 
 Day 3. Act III. sc. iv. In the French king's tent. The King 
 and the Dauphin lament their defeat. Constance sorrows for the 
 loss of her son Arthur. Pandulph consoles the Dauphin, and in 
 anticipation of Arthur's murder urges him to invade England and 
 claim the throne in right of his wife Blanch. Some little time must 
 be supposed to have elapsed since the battle ; for the French know 
 that John has fortified the places he has won, and has returned to 
 England ; from whence also they have intelligence that 'the Bastard 
 is ransacking the Church. 
 
 An interval. During this interval, the deaths of Constance and 
 Elinor (28th March and 1st April) must take place (see Act IV. 
 sc. ii.). 
 
 Day 4. Act IV. sc. i. A room in a castle. Hubert prepares to 
 burn out the eyes of Arthur ; but, moved by the entreaties of the 
 young prince, resolves to save him and spread a report of his death. 
 
 Act IV. sc. ii. King John's palace. John, being new crowned, 
 gives way to the advice and entreaties of his nobles, and promises the 
 enfranchisement of Arthur, committing his youth to their direction. 
 Hubert enters and announces that " Arthur is deceased to-night " 
 [= last night]. The nobles, believing the King guilty of his death, 
 leave him ia indignation. A messenger announces the landing of 
 the French under the command of the Dauphin, and informs the 
 King of the deaths of his mother Elinor, on the 1st April, and of 
 Constance, three days before that date. The Bastard now enters to 
 give an account of his perquisitions among the clergymen : he brings 
 with him in custody Peter of Pomfret, who has prophesied that the 
 King shall deliver up his crown " ere the next Ascension Day at 
 
260 X. p. A. DANIEL. TIME-ANALYSIS OF KrNG JOBN. 
 
 noon." John directs Hubert to carry the prophet to prison, ordering 
 that he be hang'd on the day when his prediction is to be fulfilled, 
 and bids him return to him when he has placed him in safe custody. 
 The Bastard tells him of the news abroad, and how he has met the 
 nobles " going to seek the grave / Of Arthur, whom they say is kill'd 
 to-night " [= last night]. John urges him to haste after them and 
 try to reduce them to their allegiance. Hubert returns ; John 
 reproaches him with his forwardness in executing _ his commands 
 concerning Arthur; Hubert then tells him he has preserved young 
 Arthur's life, and John bids him also haste after the peers with this 
 good news and bring them to him. 
 
 Act IV. sc. iii. Before the castle. Arthur endeavours to escape, 
 jumps from the castle walls, and dies. The nobles enter ; they have 
 received^of course during the few minutes that have elapsed since 
 they left the King — letters from Cardinal Pandulpli, brought by the 
 Count Melun, and they resolve to meet the Dauphin at St. Edmunds- 
 bury to-morrow morning, or rather then set forward ; for " 'twill be 
 two long days' journey " ere they meet with him. The Bastard joins 
 them, and requests them to return to the King. They find Arthur 
 lying dead under the castle walls, and refuse obedience. Hubert 
 enters from the King to tell them that Arthur lives ; they show him 
 the body, and accuse him of the murder ; he declares — " 'Tis not an 
 hour since I left him well," i. e. not an hour since the end of sc. i. of 
 this Act. The Bastaid defends him agauist the nobles, who depart 
 to join the Dauphin. Hubert again declares his innocence to the 
 Bastard, who bids him 
 
 " Bear away that child. 
 And follow me with speed ; I'll to the King : 
 A thousand businesses are brief in hand, 
 And heaven itself doth frown upon the land." 
 
 To this point it is quite clear that the action of sc. i., ii., and iii. of 
 Act IV. is on one day, is continuous, and represents little more time 
 than that required for the stage performance. 
 
 An interval should, if possible, be here imagined. See comment 
 On following scene. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF KING JOHN. 261 
 
 Day 5. Act V. sc. i. King John's palace. Ascension Day. 
 John yields up his crown to Pandulph, and receives it again from 
 him, as holding of the Pope. Pandulph, whose breath had blown 
 the tempest up, promises now to hush again the storm of war, and 
 departs to make the French lay down their arms. The Bastard 
 enters with the news that 
 
 " All Kent hath yielded ; nothing there holds out 
 But Dover Castle : London hath received, 
 Like a kind host, the Dauphia and his powers : 
 Your nobles will not hear you, but are gone 
 To offer service to your enemy. 
 
 K. John. Would not my lords return to me again, 
 After they heard young Arthur was alive ? 
 
 Bast. They found him dead, . , . , 
 K. John. That vUlain Hubert told me he did live. 
 Bast. So, on my soul, he did, for aught he knew." 
 
 The Bastard then persuades the King to be prepared for war, in 
 case the Cardinal should not succeed in making peace. John gives 
 him the command. 
 
 The arrival of Ascension Day, the presence of Pandulph, the 
 news of the Daupliin's successes, imperatively demand an interval 
 between this scene and the preceding Act ; on the other hand, we 
 find that the Bastard has only now returned from his mission to the 
 nobles, and that the King now hears for the first time of Arthur's 
 actual death : these facts are incompatible with any interval ; they 
 connect this scene with the scenes of Act IV., as part of Day 4. The 
 main plot, however, is impossible without a supposed interval, and 
 we must force the Play to allow it. 
 
 An interval, including at least Pandulph's return journey to the 
 Dauphin ; the Bastard's preparation for defence, and his and King 
 John's journey, with their army, to Edmundsbury. 
 
 Day 6. Act V. sc. ii. The Dauphin's camp at St. Edmunds- 
 bury. The Dauphin accepts the allegiance of the English nobles. 
 Pandulph enters to persuade the Dauphin to a peace. The Dauphin 
 declines to lay down his arms and withdraw from the kingdom 
 which he has now half conquered, The. Bastard comes from the 
 
 N. S. SOC, TEANS., 1879. 18 
 
262 X. p. A. DANIEL. TIME-ANALYSIS OF KING JOHN. 
 
 Bang to learn the result of PanSulph's interference; the English 
 army is in readiness, and hoth sides prepare for battle. 
 
 Act V. sc. iii. The field of battle. Time : the eveniag, " an 
 hour or two before / The stumbling night did part our weary- 
 powers" (sc. V. II. 17, 18). King John, stricken with fever, leaves 
 the field with Hubert, and retires toward Swinstead. A messenger 
 brings the news that 
 
 " the great supply. 
 That was expected by the Dauphin here. 
 Are wrack' d three nights ago on Goodwin sands. 
 
 The state of the battle is doubtful, — 
 
 " The French fight coldly, and retire themselves." 
 
 Act V. sc. iv. The same. The English nobles on the French 
 side prepare to renew the fight. Melun, wounded to death, informs 
 them that if the Dauphia wius the day he has vowed this very 
 night, which now approaches, to put them to death. Thereupon 
 they resolve to return to their allegiance to King John. 
 
 Act V. so. V. The same. After sunset. The two armies 
 separate, the fight yet undecided. Kews is brought to the Dauphin 
 of the falling off of the English lords, and of the loss on the Good- 
 wins of the supply that he had wished so long. He resolves to 
 renew the fight on the morrow. 
 
 So far it seems clear that the action of sc. ii. — v. of Act V. is 
 contiauous and on one day. It is also apparent in sc. ii. that the 
 English nobles have not joined the Dauphin many hours : iu Act 
 rV. sc. iii. (Day 4) they reckoned their distance from him "two 
 long days' journey." If we calculate the time of tlie plot from their 
 movements, we can, then, scarcely allow a lapse of more than two 
 clear days between Day 4 and this Day 6 ; and within this limit of 
 two days the enormous amount of business indicated in Act V. sc. i. 
 (Day 5), in the last interval, and in the scenes (ii. — v.) of this Day 
 6, must be supposed to have been transacted, and the long time 
 necessary for it must be supposed to be included. How, with this 
 limit placed lefore us, this is to be imagined I know not. 
 
 Day 7. Act V. sc. vi. iJfear Swinstead Abbey. Hubert, who 
 
X. p. A. DANIEL. TIMB-ANALTSIS OF KING JOHN. 263 
 
 apparently tut a short time ago has left King John dying, poisoned 
 by a monk, meets with the Bastard, to whom he was hastening with 
 the fatal news. He tells him that " the lords are all come back, / 
 And brought Prince Henry in their company." The Bastard tells 
 him that " half his power this night, / Passing these flats, are taken 
 by the tide ; / These Lincoln Washes have devoured them." Together 
 they hasten to the King. The time of this scene is at night, but I 
 suppose we should imagine it to be past midnight, and the commence- 
 ment of a separate day — the last. Also, notwithstanding distance, 
 and the immense amount of business transacted since the battle in 
 Day 6, I think this must be supposed the morrow of that day. 
 
 Act V. sc. vii. The orchard in Swinstead Ahhej. Time, early 
 morning. King John is brought in in a dying state. The Bastard 
 arrives, and has just time to tell him that " the Dauphin is preparing 
 hitherward," and that " in a night " he himself has lost the best part 
 of his power in the Washes, when the King expires. Salisbury then 
 informs the Bastard that half an hour since Pandulph arrived with 
 oifers of peace from the Dauphin, who is already departing from the 
 
 land, leaving 
 
 " his cause and quarrel 
 To the disposing of the Cardinal. 
 With whom yourself, myself, and other lords, 
 If you think meet, this afternoon will post 
 To consummate this business happUy." 
 
 They then arrange for the funeral of King John at Worcester, and 
 tender allegiance to Prince Henry. 
 
 Time of this Play seven days ; with intervals, comprisiag in all 
 not more than three or four months. 
 Day 1. Act I. sc. i. 
 Interval. 
 „ 2. Act II. sc. i., Act III., sc. i. to iii. 
 
 Interval. 
 „ 3. Act III. sc. iv. 
 
 Interval. 
 „ 4. Act rv. sc. i. to iii. 
 
 Interval. 
 ,, 5. Act V. sc. j. 
 
264 X. p. A. DANIEL. TIME- ANALYSIS OP EtCHABD II. 
 
 interval. 
 Day 6. Act V. sc. ii. to v. 
 
 „ 7. Act V. sc. vi. and vii. 
 Historical time: a.d. 1199 — 1216; the whole of King John's 
 reign. 
 
 EICHAED II. 
 PmsT printed in Quarto. First divided into acts and scenes in 
 Folio. This division is followed by Globe edition, except in Actus 
 quintus, where in Folio Sccena tertia includes sc. iii. and iv., Sccena 
 quarta = sc. v., and Sccena quinta ^= sc. vi. 
 
 Day 1. Act I. sc. i. Windsor [29th April, 1398]. "To make 
 good the boisteroTis late appeal " [at Shrewsbury, 30th January, 1398], 
 Bolingbroke and Mowbray appear before the King and mutually 
 accuse each other of treason. The King decides that they shall 
 settle their difference by single combat "at Coventry, upon St. 
 Lambert's day" [17th Sept.]. 
 
 An interval. About four months and a half? — historic time. 
 
 Day 2. Act I. sc. ii. London. Gaunt takes leave of the 
 widowed Duchess of Gloucester previous to his departure to Coventry. 
 
 An intei-val. Gaunt's journey to Coventry. 
 
 Day 3. Act I. sc. iii. Coventry [17th Sept., 1398]. The ap- 
 pellants enter the lists and are about to fight, when the King inter- 
 feres, banishes Mowbray for life and Bolingbroke for ten years, 
 which he afterwards reduces to slk. Mowbray departs, and at the 
 end of the scene Bolingbroke also sets out on his way to exUe. 
 
 An interval : journey from Coventry to London. 
 
 Day 4. Act I. sc. iv. London. The King, with Bagot and 
 Green, fresh from observing Bolingbroke's courtship to the common 
 people as he proceeded on his way to exile, is joined by Aumerle, 
 who tells him that he brought the exile but to the next highway and 
 there left him.^ It is evident that very few hours can have elapsed 
 
 1 It should, however, he noted that after the King's departure in Act I. so. 
 iii., Aumerle then bade farewell to Bolingbroke. Was this the leave-taking 
 to which he now refers ? 
 
X. p. A. DANIEL. TIME-ANALYSIS OP RICHARD II. 265 
 
 since Ms departure, and not many since the close of tlie last scene, 
 at Coventry ; not more than would suffice for the journey to London, 
 to which place it seems the scene is now transferred. Having got 
 rid of Bolingbroke, the King resolves immediately to set out on his 
 expedition to Ireland, when Bushy enters with the news that " Old 
 John of Gaunt is grievous sick " at Ely House, where he prays the 
 King to visit him. The King assents : 
 
 " Come, gentlemen, let's all go visit him : 
 Pray God, we may make haste, and come too late ! " 
 
 Act II. sc. i. Ely House [3rd Feb., 1399]. The King comes to 
 visit the dying Gaunt, who reproaches him with his ill government ; 
 he is carried out, and Northumberland immediately after enters to 
 announce his death. The King determines to seize on his wealth 
 and lands to furnish forth the Irish expedition, on which he proposes 
 to depart on the morrow [he sailed from MUford Haven 31st May 
 1399]. The nobles are disgusted at the King's injustice, and on 
 Northumberland revealing to them that Bolingbroke is already pre- 
 pared with a fleet and an army to invade England, and is only 
 delaying his arrival tiU the King departs for Ireland, they at once 
 agree to post to Eavenspurgh to welcome him. 
 
 The connection of this scene with the preceding one is too close 
 to allow of more than one day for the two ; and here we have a 
 singular instance of the manner in which the dramatist annihilates 
 time. It is evident that Bolingbroke cannot yet have quitted the 
 English coast, while at the same time we hear that he is already pre- 
 pared to return to it ; and that, too, before he could possibly have 
 heard of his father's death, the ostensible cause of his return. Some 
 slightly greater degree of apparent prohabiliiy might be given to the 
 plot, in stage performance, by dividing this scene ; making a separate 
 scene of the latter half when the King has left the stage. The 
 direction of the Folio, however, is — " Manet North. Willoughhy, and 
 Boss." But even with this break in the action we should stiU have 
 no probable time for the evolution of the story ; neither would this 
 arrangement meet the reference to Bolingbroke's sojourn at the 
 French court during his exile contained in York's speech, where he 
 
266 X. p. A. DANIEL. TIME-ANAIjYSIS OF RIOBABD 11. 
 
 mentions the ill turn the King has done him in the prevention of hia 
 marriage with the Doke of Berri's daughter (11, 167, 168). 
 
 An interval ; a day or two. 
 
 Day 5. Act II. sc. ii. The palace [Windsor]. The Queen 
 laments the departure of her husband. Bushy and Bagot en- 
 deavour to comfort her. Green enters in haste ; he hopes the King 
 is not yet shipped for Ireland, for news has come that Bolingbroke 
 has landed at Ravenspurgh [4th July, 1399], and that many of the 
 nobles have fled to him. York busies himself with preparations for 
 opposing Bolingbroke, bids the courtiers muster up their men and 
 meet him presently at Berkeley. Bushy and Green resolve to join 
 the Earl of Wiltshire in Bristol. Bagot determines to go over to 
 Ireland to the King. 
 
 It is evident from the nature of the dialogue in this scene that 
 but a very short time can have elapsed since the King's departure, 
 and that the interval between this and the preceding scenes cannot 
 be supposed more than a day or two at the utmost. 
 
 An interval. 
 
 Day 6. Act II. sc. iii. In Gloucestershire, near Berkeley 
 Castle. Enter Bolingbroke and Northumberland with forces. They 
 have travelled thus far from Eavenspurgh, and are presently joined 
 by Henry Percy and by Eoss and WUloughby. Berkeley enters 
 from the castle, charged by the Ee^ent York to demand the cause of 
 their coming; but before Bolingbroke can answer York himself 
 makes bis appearance. Bolingbroke protests that his invasion is 
 merely to enforce his rights as Duke of Lancaster, and York, too 
 feeble to oppose him, resolves to remain neuter. He offers them the 
 hospitality of the castle for the night. 
 
 An interval. 
 
 Day 7. Act II. sc. iv. In Wales [Conway]. A Welsh captain 
 Informs Salisbury that after staying ten days, and yet hearing no 
 tidings of the King, his army believes him. to be dead, and have 
 accordingly dispersed. 
 
 Johnson believes this scene to be misplaced, and that in tho 
 
X. p. A. DANIEL. TIME-ANALYSIS OF RICHARD II. 267 
 
 author's draught it was prohahly the second scene in the ensuing 
 Act III. Its position there would be more conformable to Holin- 
 shed ; but the "time " generally of these scenes is so indefinite that 
 I doubt if anything would be gained by its transposition. For stage 
 purposes its present position is useful, as affording a pause between 
 the Berkeley and Bristol portions of Bolingbroke's adventures. 
 
 Act III. sc. i. Bristol. Bolingbroke consigns Bushy and Green 
 to the block, and then determines to set out 
 
 " To fight with Glendower and his complices." 
 
 "We, however, hear nothing more of this proposed expedition. 
 
 Day 8. Act III. sc. iL The coast of Wales. Barkloughly 
 Castle. Eichard, recently returned from his expedition to Ireland 
 [he landed at Milford Haven 5th August, 1399], is joined by Salis 
 bury, who tells him that he comes " one day too late." 
 
 " 0, call back yesterday, bid time return. 
 And thou shalt have twelve thousand fighting men : 
 To-day, to-day, unhappy day, too late, 
 O'erthrows thy joys, friends, fortune, and thy state ; 
 For aU the Welshmen, hearing thou wert dead. 
 Are gone to Bolingbroke, dispersed, and fled. " 
 
 Scroop then enters to tell him of Bolingbroke's successes ; of the 
 deaths of Bushy, Green, and the Earl of Wiltshire, at Bristol [the 
 last not mentioned in Act III. sc. i.] ; and that York has joined with 
 the invader. In alternate fits of hope and despair, Eichard disbands 
 his forces and departs with his friends for Flint Castle. 
 
 If Salisbury's " yesterday " is to be accepted literally, the time of 
 this scene should be the morrow of Act II. sc. iv. For this reason 
 I bracket Act III. sc. i. with that scene as Day 7, and, setting aside 
 geographical considerations, with which indeed the author does not 
 appear to have concerned himself, we may then with dramatic pro- 
 priety suppose the journey of Salisbury from N'orth Wales and 
 of Scroop from Bristol to have been simultaneous, bringing them to 
 Eichard's presence within a short time of each other. 
 
 An interval. 
 
 Day 9. Act III. sc. iii. Before Flint Castle [19th August, 1399]. 
 Eichard surrenders to Bolingbroke ; they set on towards London. 
 
268 X. P, A, DANIEL. TIME-ANALYSIS OF RICHMD 11., 
 
 An interval. 
 
 Day 10. Act III. sc. iv. In the garden at Langley. The 
 Queen overhears the talk of the gardeners, from which it appears that 
 news has arrived of the deaths of "Wiltshire, Bushy, and Green, and 
 that Eichard had fallen into the power of Bolingbroke. She resolves 
 to post to London 
 
 " To meet at London London's king in woe." 
 An interval. 
 
 Day 11. Act IV. sc. i. Westminster HaU [Sept.— Oct., 1399]. 
 Eichard surrenders the crown to Bolingbroke, who fixes next Wed- 
 nesday for his coronation, and orders the King to be conveyed to the 
 Tower. 
 
 At the end of this scene the Abbot of Westminster, left alone 
 with Aumerle and the Bishop of Carlisle, invites them home witli 
 him to supper, where he proposes to concert with them in a plot 
 against Bolingbroke. 
 
 Act V. sc. i. The Queen meets Eichard on his way to the Tower. 
 Northumberland separates them, for Bolingbroke's mind is changed, 
 and he has now orders to convey the Bang to Pomfret and send 
 away the Queen to France. 
 
 An interval. 
 
 Day 12. Act V. sc. ii. The Duke of York relates to his wife 
 the manner of Bolingbroke's entry into London with Eichard ; their 
 son Aumerle joins them. York discovers that his son is engaged in 
 a conspiracy against King Henry. He departs to reveal it to the 
 King. The Duchess urges her son to post to the King and obtain a 
 pardon before his father arrives. 
 
 Act V. Bc. iii. Aumerle arrives in the King's presence, and sues 
 for pardon. His father, York, enters to denounce him. The 
 Duchess now joins them, and at her entreaties the King pardons 
 Aumerle, but resolves that the other conspirators who had purposed 
 to kUl him during certain triumphs to be shortly holden at Oxford 
 shall die the death of traitors. 
 
 At the commencement of this scene the King inquires for his 
 unthrifty son, whom he has not seen for (hree months. Putting 
 
X.- ■ p. A. DANIEL. TIME-ANALYSIS OP .BWSARD H, 269 
 
 aside all consideration of historical dates — any attempt to reconcile 
 which with the plot of the drama would plunge us into a sea of 
 contradictions and confusion-^this three months mentioned hy King 
 Henry would suppose the lapse of at least that period since his ac- 
 cession to the throne, that is, between Days 11 and 12 ; and yet, so 
 long an interval as three months seems quite at variance with the 
 march of the drama, and to be irreconcilable with York's description 
 of the entry into London, with which the first scene of this Day 1 2 
 . commences. I mark an interval between the two days, but am un- 
 able to determine its length. 
 
 Act V. sc. iv. Exton resolves to set out for Pomfret to put 
 Richard to death. I include this scene in Day 12, as the King's 
 words, which are his motive, I suppose to have been uttered on the 
 occasion of the discovery of the plot revealed in the two preceding 
 scenes. 
 
 An interval. 
 
 Day 13. Act V. sc. v. Pomfret Castle. Eichard in prison. 
 His murder by Exton. 
 An interval. 
 
 Day 14. Act V. sc. vi. The Court. In this scene we learn the 
 defeat of the rebellion against Henry and the death of the chief 
 conspirators. Exton arrives with the body of Eichard. The King 
 repels him, and resolves to make a pilgrimage to the Holy Land to 
 cleanse himself from the guilt of Eichard's death. 
 
 Time of this Play, fourteen days represented on the stage ; with 
 intervals, the length of which I cannot attempt to determine. 
 Day 1. Act L sc. i. 
 Interval. 
 „ 2. Act I. sc. ii. 
 
 Interval. 
 „ 3. Act I. sc. iii. 
 „ 4. Act I. sc. iv., Act II. sc. i. 
 
 Interval. 
 „ 5. Act II. sc. ii. 
 Interval. 
 
270 X. p. A. DANIEL. IIMB-ANALYSIS OF I SENRY tV. 
 
 Day 6. Act II. so. iii. 
 Interval. 
 „ 7. Act IT. sc. iv., Act III. sc. i. 
 „ 8. Act III. sc. ii. 
 
 Interval. 
 „ 9. Act III. sc. iii. 
 
 Interoal. 
 „ 10. Act III. sc. iv. 
 
 Interval. 
 „ 11. Act IV. sc. i., Act V. sc. i. 
 
 Intei-val. 
 „ 12. Act V. sc. ii., iii., and iv. 
 
 Interval. 
 „ 13. Act V. so. V. 
 
 Interval. 
 „ 14. Act V. sc. vi. 
 Historic time from 29th April, 1398, to the beginning of March, 
 1400, at which time the body of Eichard, or what was declared to 
 be such, was brought to London. 
 
 FIRST PART OP HENRY IV. 
 
 First printed in Quarto. First divided into acts and scenes in 
 FoUo; this division differs from Globe edition in Actus quintus only, 
 where Scama secunda includes sc. ii. and iii., Sccena tertia = sc. iv., 
 Scosna quarta = sc. v. 
 
 Day 1. Act I. sc. i. The Court. Henry demands of his council 
 what steps were taken yesternight to forward his proposed expedition 
 to the Holy Land determined on a twelvemonth ago (see end of 
 Richard II.), and we learn that this business was broken off by the 
 arrival of news importing the defeat and capture of Mortimer by 
 Glendower, and an engagement at Holmedon, the result of which is 
 yet unknown, between Harry I^ercy and the Scots under Douglas. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF I RENBY IV. 271 
 
 The King then introduces Elimt, " new lighted from his horse," who 
 brings news of Percy's complete victory. The King hears, ho-wever, 
 that Percy refuses to give up the prisoners he has taken, and he has 
 accordingly sent for him to answer this contempt of his authority : 
 he decides that the council shall meet again on Wednesday next at 
 "Windsor. 
 
 An interval : a week [f] See comment on Act I. sc. iii. 
 
 [1 Day la. Act I. sc. ii. The Prince of "Wales meets Falstaff, 
 and they are soon after joined by Poins, who comes to tell them of a 
 proposed highway robbery which is concerted for " to-morrow morn- 
 ing by four o'clock at Gadshill," and that after the alfair he has 
 " bespoke supper to-morrow night in Eastcheap." The Prince objects 
 (to Falstaff's great disgust) ; but Poins undertakes to persuade tlie 
 Prince, and Falstafif leaves them, teUing them they shall find him in 
 Eastcheap. Poias then proposes to the Prince that Falstafif and his 
 companions shall commit the robbery, and that he and the Prince in 
 disguise shall rob the robbers. Hal consents, and in the subsequent 
 scenes it appears that Poins's programme is carried out; but the 
 Prince throws the time into sad confusion by his speech (11. 215 — 217) 
 — " Well, rU go with thee ; provide us aU things necessary and meet 
 me to-morrow night in Eastcheap; there I'U sup. Farewell." If 
 this speech is otherwise correctly given, Capell's emendation, — to- 
 night — seems necessary; Knight, however, endeavours to overcome 
 the difficulty by re-arrangement : he prints, — " Well, PU go with 
 thee ; provide us aU things necessary and meet me. 
 
 To-morrow night in Eastcheap, there I'U sup. Farewell."] 
 
 Day 2. Act I. sc. iii. The Court. The King has before him 
 Harry Percy, his father ^Northumberland, and his uncle "Worcester. 
 The question of the Scottish prisoners taken by Percy at Holmedon 
 is discussed. The King refuses to ransom Mortimer — the condition 
 required bj' Percy before surrendering his prisoners — and departs, 
 threatening the Percys that they shall hear from him unless they 
 comply with his demands. Worcester, who in the beginning of the 
 
 I- Such of the Falstaffian scenes as cannot be dovetailed into the general 
 course of the action I have in this, and in the following Play, enclosed in 
 brackets and numbered their days separately. 
 
272 X. p. A. DANIEL. TIME-ANALYSIS. OP I HENRY IK 
 
 scene had hem dismissed by the King for his presumption iu 
 reminding him of his obligations to their family, now re-enters and 
 opens to Iforthumherland and Percy a plot hy which they may 
 depose the King and set up Mortimerj the rightful heir to the throne, 
 in his place. Percy is to free his prisoners without ransom and form 
 an alliance with the Scots; Northumberland is to join with the 
 Archbishop of York. Worcester will direct them by his letters how 
 to proceed, and, says he — 
 
 " When time is ripe, which will be suddenly, 
 I'll steal to Glendower, and Lord Mortimer; 
 Where you and Douglas and our powers at once. 
 As I wiU fashion it, shall happily meet," etc. 
 
 The time and place of this scene are somewhat difficult to determine; 
 if we go by Act I. sc. i. we should suppose the place " Windsor," 
 and the time the "Wednesday next" mentioned by the King, and 
 the longest interval we could suppose between sc. i. and iii. of this 
 Act would be a week. This, dramatically considered, may be suffi- 
 cient as far as Hotspur is concerned, but it supposes uncommon haste 
 as regards Mortimer's adventures; for during this interval he has 
 become the son-in-law of his captor Glendower, and the news of his 
 marriage has reached the King (1. 84). Of course it may be said 
 that as Mortimer was taken prisoner by Glendower 22nd June, 1402, 
 and the engagement at Holmedon was not fought tiU the 14th of the 
 following September, there was time enough for the marriage, and for 
 the news of it to reach the King ; but we are not dealing with 
 history : the poet makes both battles to occur about the same time, 
 and the time-plot of the drama becomes accordingly somewhat 
 confused. Taking the historic date of Holmedon fight, the time of 
 this scene might be supposed towards the end of Sept., 1402. 
 
 An interval : some three or four weeks. See comment on Act II. 
 sc. iii. 
 
 [Day 2a. Act II. sc. i. Eochester. An inn yard. Carriers 
 preparing to start on their journey. Time, as they reckon, 4 a.m. ; 
 though one of them in reply to GadsliilJ, who now enters, thinks it 
 be only 2 a.m. They depart, and Gadshill has further conference 
 
X. p. A. DANIEL. TIME-ANALYSIS OP / HENRY IV. 273 
 
 with the chamberlain, with whom he is in league, as to the move- 
 ments of the travellers who are to he the victims of the robbery. 
 
 Act II. sc. ii. The highway near Gadshill. Time, before day- 
 break. The Prince and Poins, then Palstaff, and subsequently 
 Gadshill, Bardolph, and Peto, enter. As plotted by Poins, he and the 
 Prince retire ; the travellers enter and are robbed by Palstaff and his 
 companions, who in their turn are robbed by the Prince and Poins. 
 
 Both these scenes are of course on the morrow of Act I. sc. ii., 
 Day la.] 
 
 Day 3. Act II. sc. iii. Hotspur's castle ; at Wark worth, so 
 editors have decided, following Gapell. Hotspur solus reading a 
 letter from some faint-hearted friend whom he has moved to join the 
 rebellion against the King. Some of his friends have set forward 
 already, and by the ninth of next month all expect to meet in arms. 
 He determines to set out to-night. Lady Percy joins him, and seelis 
 to know the cause of his pre-occupation, which has made her for this 
 fortnight 
 
 "A banish'd woman from her Harry's bed." 
 He daffs aside her inquiries, but promises — 
 
 " Whither I go thither shall you go too ; 
 To-day wUl I set forth, to-morrow you." 
 
 The plot of the drama can hardly allow us to suppose the lapse of 
 a longer period than three or four weeks between the time of this 
 scene and Act I. sc. iii.. Day 2 ; yet as Hotspur tells us that the 
 confederates were aU to meet on the " ninth of next month," and as 
 the final act of the rebellion takes place at Shrewsbury on the 21st' 
 July, 1403, we might be tempted to place the time of this Act II. so. 
 iii. in June, 1403. As we have supposed the time of Act I. sc. iii.. 
 Day 2, to be towards the end of Sept., 1402, this would give us an 
 interval of some eight or nine months between Days 2 and 3 ; clearly' 
 an impossibly long break in the dramatic action. Even if we 
 suppose the "ninth of next month" to refer to the meeting at 
 Bangor, Act III. sc. i., Day 4, we could not materially reduce this 
 long interval; for according to the drama that meeting must be 
 supposed to take place within three or four weeks, at the utmost, of 
 
274 X. p. A. DANIEL. TIME-ANALYSIS OP I HENRY IV. 
 
 Shre-wsbury fight. We must, in fact, brush history aside, and 
 content ourselves with the indefinite interval of three or four weeks 
 which I have marked between Days 2 and 3. 
 
 An interval: about a week. During this interval Worcester 
 must be supposed to steal away from Court to join his friends at 
 Bangor, where, in Day 4, Act III. sc. i., we next meet with him, 
 
 [Day 2a, continued. Act II. sc. iv. A tavern in Eastcheap. 
 As this is the first time we are introduced to Dame Quickly' s resid- 
 ence, it may as well be stated that the sign of the house, Tlie Boar's 
 Head, is a mere figment of the editors ; its locality only is mentioned 
 by Shakespeare : no note of its sign is to be found in any of the old 
 editions of his Plays, either in the text or in the stage-directions. 
 Yet Malone says Shakespeare hung up the sign ; BosweU, that he 
 with propriety selected it ; Hunter {New Illustrations), that he gave 
 the sign to the tavern ; and aU editors speak as familiarly of the 
 " Boar's Head " as if there were no more doubt about its being 
 Shakespeare's creation than there is of his having been the creator of 
 its jovial frequenter, Falstaff himself. I know not who first fixed on 
 the Boar's Head as the scene of Falstaff 's exploits,^ but it certainly is 
 a tradition of ancient date. See Pleasant Notes upon Don Quixot. 
 By Edmund Gayton, Esq., 1654. 
 
 "Sir John of famous memory; not he of the Boares-Head in 
 East-eJieap,'' p. 277. Quoted in Dr. Ingleby's Genturie of Praise, 
 etc. 
 
 The time of the commencement of this scene is the night of the 
 day of the robbery at GadshUl (sc. i. and ii. Act II.). The Prince and 
 Poins amuse themselves with bewildering the waiter, Francis, "to 
 drive away the time till Falstaff come." Falstaff arrives at length 
 with the rest of the crew, and gives his account of how he had 
 "ta'en" and lost "a thousand pound this day morning." A 
 messenger from the Court is now announced : Falstaff goes out to 
 question him, and returns with the news that Hotspur, Northumber- 
 land, Mortimer, Glendower, and Douglas are all up in arms ; that 
 "Worcester is stolen away to-night," and that the Prince "must to 
 
 ' Theobald was tho first editor who introduced it in the stage-directions. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF I EENBY IV. 275 
 
 the Court in the moming ; " and so they practise a play in order that 
 he may be prepared with his reply when he comes to his father's 
 presence "to-morrow." This amusement is interrupted hy the arrival 
 of the Sheriff, with a " most most monstrous watch," come to seek 
 for the heroes of GadshUl. They hide, leaving the Prince and Poins 
 to receive the Sheriff, who, on the assurance of the Prince that they 
 shall be forthcoming, departs, wishing him 
 
 " Good night, my noble lord. 
 Pfince. I think it is good morrow ; is it not ? 
 Sheriff. Indeed, my lord, I think it be tioo o'clocJe." 
 
 So that 
 
 Day 3a may now be said to have fairly commenced. The Prince 
 and Poins find Falstaff asleep behind the arras, and, searching his 
 pockets, find his famous tavern bUl. The Prince then announcing 
 that he wUl to the Court in the morning, and bidding Poins be with 
 him betimes, wishes him good morrow, and they depart.^] 
 
 Day 4. Act III. sc. i. At Bangor. Hotspur, Worcester, 
 Mortimer, and Glendower are met to seal to their tripartite division 
 of the kingdom, and to make their final arrangements for opposing 
 the King. It is agreed that Hotspur, Worcester, and Mortimer shall 
 set out this night to join with Northumberland and the Scottish 
 forces under Douglas, as appointed, at Shrewsbury; within a fort- 
 night Glendower is also to meet them there. Lady Percy, it should 
 be noted, is also in this scene ; and from the dialogue it is obvious 
 that all the conspirators have been some days in Bangor. We may 
 suppose perhaps a week's interval between this scene and Act II. sc. 
 iii., when we last met with Hotspur. 
 
 Mortimer, as appears from the subsequent scenes, did not leave 
 Glendower : we hear of him, indeed, but see him no more after this 
 scene. 
 
 An interval: about a fortnight. 
 
 Day 5. Act III. sc. ii. The Court, in London. The Prince, 
 
 1 In the latter part of this scene and in Act III. so. iii. Peto has by some 
 accident got into the place of Poins in the old copies ; similar errors occur 
 with reference to other subordinate characters in these Falstaffian scenes ; they 
 are obvious enough, and are corrected in most modern editions. 
 
276 X. p. A. DANIEL. TIME-ANALYSIS OF I HENBY IK 
 
 in pursuance of liis intention expressed in Act II. sc. iv., has an 
 interview with, his father, promises amendment, and is reconciled 
 with him. Blunt enters to announce that 
 
 " Lord Mortimer of Scotland hath sent word. 
 That Douglas and the English rebels met, 
 The eleventh of this month, at Shrewsbury." 
 
 The King replies that — ■ 
 
 " The Earl of Westmoreland set forth to-day ; 
 With him my son. Lord John of Lancaster ; 
 For this advertisement is five daijs old: — 
 On Wednesday next, Harry, you shall set forward ; 
 On Thursday, we ourselves will march : our meeting 
 Is Bridgenorth : and, Harry, you shall march 
 Through Gloucestershire ; by which account, 
 Our business valued, some twelve days hence 
 Our general forces at Bridgenorth shall meet." 
 
 From the news brought by Blunt — old news, as it appears — it is 
 obvious that a considerable interval, including the five days men- 
 tioned by the King, must be supposed to separate Days 4 and 5 ; 
 a fortnight perhaps may be deemed sufficient, dramatically, and L 
 have accordingly set down that time. 
 
 In this scene the Prince Hal and Falstaff days merge into the main 
 course of time : this Day 5 is the continuation of the bracketed Day 
 3a, which commenced in Act II. sc. iv. ; it is therefore the 
 morrow of Day 2a, itself the morrow of Day la, which opened in 
 Act I. sc. ii., and all these scenes might be brought down in time 
 and supposed to occur during the latter part of the interval marked 
 between Days 4 and 5 ; but — and this obstacle is insurmountable — 
 Falstaff in Act II. sc. iv. 1. 392 announces that " Worcester is stolen 
 away to-rdglit," i. e. the night of Days 2a — 3a, on which he is 
 speaking ; or if by to-night we are to understand the night last past — 
 a sense in which to-night is very frequently used in these plays — 
 then the night of Days la — 2a ; but it is obvious that Worcester 
 had joined his friends in Wales some weeks before this Falstaifian 
 night, unless we may suppose it to equal 
 
 " a night in Eussia 
 When nights are longest there." i 
 
X. p. A. DANIEL. TIME-ANALYSIS OP I HENRY IV, 277 
 
 In fact, we have in this Play two distinct streams of time, flowing 
 side by side, meeting at last, though in their previous courses pre- 
 senting irreooncUable elements : on the one hand months of time, 
 on the other a couple of days. 
 
 Day 6. Act III. so. iii. The tavern in Eastcheap. Falstaff 
 banters Bardolph on his red nose, and fixes a quarrel on his hostess 
 with reference to the picking of his pocket when, "the other 
 night," he fell asleep behind the arras. The Prince enters with 
 Poins ; he has paid back the money stolen at Gadshill, is reconciled 
 to his father, and has procured Falstaff a charge of foot. He sends 
 off letters to Prince John and to Westmoreland by Bardolph, and 
 then departs with Poins, with whom he has " thirty miles to ride yet 
 ere dinner-time." Falstaff ends the scene by calling for his break- 
 fast. The time of this scene must be supposed tolerably early in the 
 morning of the morrow of Day 5, otherwise Bardolph would have 
 some difficulty in delivering the letters to Prince John and "West- 
 moreland, who must, even at this time, have proceeded a day's 
 journey on their march to Shrewsbury. 
 
 An interval : a week. 
 
 Day 7. Act IV. sc. i. The rebel camp near Shrewsbury. Hot- 
 spur, Worcester, and Douglas. Letters come from Northumberland,, 
 stating that sickness prevents him from bringing up his forces. Sir 
 Eichard Vernon enters with the further news that Glendower can- 
 not be ready with his power this fourteen days. Vernoii also tells 
 the confederates that Westmoreland, with Prince John, is marching 
 hitherwards, and that " The King himself in person is set forth, / Or 
 hitherwards intended speedily ; " and that the Prince of Wales and 
 his comrades are all up in arms : he has himself seen " young Harry 
 with his beaver on." It is obvious from Vernon's news that several 
 days at least must have elapsed since the London scenes, Act III. 
 sc. ii. and iii. (Days 5 and 6). I have marked a week, which is per- 
 haps sufficient dramaticaUy. 
 
 An interval : a few days. 
 
 Day 8. - Act IV. sc. ii. ISTear Coventry; Falstaff ■ with- his 
 
 N. S. SOC. TEANS., 1877-9. W 
 
278 X. p. A. DANIEL. TIME-ANALYSIS OP I HENRY IV. 
 
 ragged regiment. He commissions Bardolph to get him a bottle of 
 sack, and to bid his lieutenant, Peto, meet him at the town's end : 
 for he himself determines that he will not march through Coventry 
 with his troops. He proposes to get to Sutton Co'fil' to-night. 
 Prince Hal and Westmoreland enter. Westmoreland's forces are 
 already at Shrewsbury; the King is encamped there, and loots for 
 them all, and they must away all night ; 'tis more than time that they 
 were there. The news contained in this scene justifies the interval 
 of a few days marked between it and the preceding scene. 
 
 Day 9. Act IV. so. iii. The rebel camp near Shrewsbury. Sir 
 Walter Blunt arrives with offers of peace from the King. Hotspur 
 bids Mm 
 
 " Go to the King ; and let there be impawn'd 
 Some surety for a safe return again. 
 And in the morning early shall my uncle [Worcester] 
 Bring him our purposes. " 
 
 Act rV. sc. iv. York. The Archbishop bids Sir Michael haste 
 ■with letters to his friends, that they may be prepared to resist the 
 King should Hotspur succumb in the great fight which he under- 
 stands is to take place at Shrewsbury on the morrow. 
 
 It is evident that this and the preceding scene must both be 
 supposed on one day, which may be taken to be the morrow of 
 Day 8. 
 
 Day 10. Act V. ec. i. The King's camp near Shrewsbury. 
 Worcester and Vernon come to the King, who renews his offers of 
 pardon and friendship to the rebels if they lay down their arms. 
 
 Act V. sc. ii. The rebel camp. Worcester determines that it is 
 not for their safety to place any reliance on " the liberal and kind 
 offer of the King," and informs Hotspur that " the King will bid 
 him battle presently." Whereupon Hotspur orders that defiance be 
 sent to him by Westmoreland, who, it seems, was hostage for Wor- 
 cester's safe return. They prepare for the fight. 
 
 Act V. sc. iii. and iv. Various incidents of the battle, ending in 
 the death of Hotspur and the defeat of the rebels. 
 
 Act V, sc. V. After the battle. The King disposes of the 
 
p. A. DANIEL. TIME-ANALYSIS OP I HENRY IV. 
 
 279 
 
 prisoners, orders Worcester and Yemen to execution, and then 
 determines that Prince John and Westmoreland shall proceed to 
 York, " to meet Northumherland and the prelate Scroop," while he 
 himself, with his son Harry, marches to Wales, 
 
 " To fight with Glendower and the Earl of March." 
 
 Time of this Play, ten " historic " days, with three extra Falstaffian 
 days, and intervals. Total dramatic time, three months at the outside. 
 
 Act I. sc, i. London, 
 of the battle of Holmedon, 
 
 Day 1 
 
 News 
 etc. 
 
 Interval : a week [?] 
 to Court. 
 
 Hotspur comes 
 
 Day 2. Act I. sc. in. At Court. 
 The Percj'S quarrel with the King. 
 Their rebellion planned. 
 
 Interval : some three or four weeks. 
 
 Day 3. Act II. sc. Hi. Wark- 
 - ■ worth. Hotspur determines to set 
 
 out to join the confederates at 
 
 Bangor. 
 
 Interval : a week. Hotspur and 
 Worcester both arrive at Bangor. 
 
 Day 4. Act III. sc. i. Bangor. 
 The confederates make the final 
 arrangements for their outbreak. 
 
 Interval : about a fortnight. 
 
 Day 5. Act III. sc. ii. At Court. 
 Prince Hal has an interview with 
 his father. News of the insurgents 
 is received. This Day 6 is also a 
 continuation of Day 3a, which com- 
 mences in Act II. so. iv. 
 
 Day 6. Act III. sc. Hi. East- 
 
 " cheap. Prince Hal informs Fal- 
 
 staff of his appointment to a 
 
 charge of foot for the wars. The 
 
 morrow of Day 6. 
 
 Interval ■■ a week. 
 
 Actl.sc.ii. London. Fal-"| 
 staff, Prince Hal, and I 
 Poins. The robbery at [ 
 Gadshill planned. J 
 
 Day la. 
 
 Act II. sc. i. 
 
 at Rochester. 
 Act II. sc. ii. 
 
 The robbery. 
 
 Inn 3'ard~ 
 Gadshill 
 
 ■DaySa 
 
 Act II. sc. iv. The 
 Bear's Head, East- 
 cheap. Prince Hal, Fal-. 
 staff, etc., at night and 
 early morning. 
 
 = Act III. 
 Court. 
 
 sc. ii. At 
 
 Day 3(1. 
 
 J 9* 
 
280 X. p. A. DANIEL. TIME-ANALYSIS OF II HESRY IV, 
 
 Day 7. Act IV. so. i. Eebel oainp 
 near Shrewsbury. 
 
 Interval : a few days. 
 
 Day 8. Act IV. sc. ii. Neai 
 Coventry. Falstaff with his ragged 
 regiment. 
 
 Day 9. Act IV. sc. Hi. The 
 rebel camp. Blunt comes with 
 offers of peace from the King. 
 
 Act IV. sc. iv. York. The 
 Archbishop prepares for the good 
 or ill fortune of the morrow. 
 
 Day 10. Act V. sc. i. to v. The 
 battle of Shrewsbury. 
 
 The period of history represented by this Play ranges from the 
 defeat of Mortimer by G-lendower, 22nd June, 1402, to the battle of 
 Shrewsbury, 21st July, 1403. 
 
 SECOND PART OF HENRY IV. 
 
 T"iEST printed in Quarto, First divided into acts and scenes in 
 Folio. 
 
 The Induction comes under the heading of Actus primus, Sccena 
 prima. Our scenes i., ii., iii. therefore = ii., iii., iv., Folio. 
 
 Actus Quartus, Sccena prima includes sc. i., ii., iii. Sccena 
 secunda includes sc. iv. and v. 
 
 The action of this Play is supposed to commence within a day or 
 two of the battle of Shrewsbury, with which the first part ends. 
 
 Induction. Eumour enters before the castle of old Northumber- 
 land, and tells how she has spread a false report of the battle of 
 Shrewsbury, attributing the victory to Hotspur. Accordingly, in 
 
 Day 1, Act I. sc. i., Lord Bardolphi enters to acquaint North- 
 umberland with these wished-for tidings. He is, however, soon 
 followed by Travers, who biings true news of the defeat of the 
 rebels and death of Hotspur. Morton, who has fled from Shrews- 
 
 ' In the first draught of this scene the part now taken by Lord Bardolph 
 was evidently given to Sir John Umf revile. See on this subject an interesting 
 paper by Professor Hagena, read at the 42nd meeting of the N. S, Soc, 13th 
 April, 1878, to be printed in Part III. of Transactions, 1877-9. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF 11 HENRY IV. 281 
 
 bury, now enters, confirms this fatal intelligence, and informs 
 Northumberland that the King 
 
 " hath sent out 
 A speedy power to encounter you, my lord, 
 Under the conduct of young Lancaster^ 
 And "Westmoreland." 
 
 He further tells him that 
 
 " The gentle Archbishop of York is up 
 "With well-appointed powers." 
 
 They adjourn to counsel, and to decide on 
 
 " The aptest way for safuty and revenge." 
 
 An interval : time for Lord Bardolph to join the Archbishop at 
 York. 
 
 [Day la. London. Act I. sc. ii. Falstaff, whom we last saw at 
 Shrewsbury (end of First Part of Henry IV.), is here with his page ; 
 Bardolph, it appears, is also with him ; though for the moment he has 
 gone into Smithfield to buy his worship a horse. The Lord Chief 
 Justice enters with his servant; Falstaff tries to avoid him, but it will 
 not do, so he brazens it out. The information in this scene as to the 
 movements of the personages of the drama is important, but at the 
 same time very perplexing for one engaged in an analysis of its 
 plot. We need not inquire how it comes about that Falstaff is now 
 in London, we must be satisfied with the fact that he is here. The 
 Lord Chief Justice's servant has heard that he " is now going with 
 some charge to the Lord John of Lancaster." " "What, to York ? " 
 asks his lordship ; so that it is clear that his lordship's information as 
 to Prince John's whereabouts is in agreement with the King's com- 
 mands at the end of the first part of this Play, and with Morton's 
 intelligence in sc. i. of this second part. His lordship's meaning, 
 however, is not quite so clear later on in this scene ; in 1. 128 he 
 teUs Falstaff, " 1 hear you are going with Lord John of Lancaster 
 
 ' It may be as well to note here that "young Lancaster " is Prince John, 
 afterwards Duke of Bedford in Henry V. and in Mrst Part of Henry VI. The 
 dramatist sometimes titles him " Lancaster " and " Duke of Lancaster," a 
 title belonging to the King, and devolving on his eldest son, the Prince of 
 Wales. 
 
282 X. p. A. DANIEL. TIME-ANALYSIS OF II HENRY tV. 
 
 against the Arclibisliop and the Earl of Northumberland;" and as at 
 the end of the scene Falstaff sends out his page with letters to 
 deliver to " my Lord of Lancaster," " to the Prince [of Wales]/' " to 
 the Earl of "Westmoreland," and "to old Mistress Ursula," it would 
 seem that all these personages are in London, and that the expedition 
 against Northumberland has been for some reason deferred. And the 
 expedition of the King and the Prince of Wales against Glendower ? 
 If we are to believe Falstaff, the Prince is back in London, and so 
 also is the King; for he tells us (1. 118), "I hear his majesty is 
 returned with some discomfort from Wales."] 
 
 Day 2. Act L so. iii. York. The Archbishop's palace. The 
 Archbishop and the Lords Hastings, Mowbray, and Bardolph con- 
 sider their position and their ability to cope with the King, wanting 
 as they yet do the promised power of Northumberland. They deter- 
 mine that they will on. Their information as to the King's move- 
 ments is that his force is divided into three parts : one led by "the 
 Duke of Lancaster and Westmoreland " against them ; one led by 
 the King himself and the Prince of Wales ag9.inst the Welsh ; and a 
 third division, the commander unknown, against the French. 
 
 It will be observed that Lord Bardolph is ignorant, until informed 
 by Hastings, that the force directed against them is lead by Prince 
 John ; yet in sc. i. he was present when Morton informed North- 
 umberland of this fact (see Note 1, p. 280). 
 
 [Day 2a. Act II. sc. i. London. Mistress Quickly of East- 
 cheap, now a widow, seeks to arrest Falstaff : he owes her money, 
 and she will be undone by his going. The Lord Chief Justice 
 interferes, reproaches Falstaff, teUs him he ought by this time to 
 have been well on his way to York, and Falstaff himself desires 
 deliverance from the officers on the plea that he is upon hasty 
 employment in the King's affairs. In the end he pacifies Mrs. 
 Quickly, persuades her to draw her action, cajoles her into pawning 
 her plate and tapestries in order to lend him more money, and 
 promises her to come to supper, when Doll Tearsheet is to be of the 
 company. In the mean time Gower enters with letters for the Chief 
 Justice, from which it appears that the King and Prince Harry are 
 
X. p. A. DiNlEL. TIME-ANALYSIS OF II HENBY IV. 283 
 
 near at hand ; the King lay at Basingstoke last night ; all his forces 
 are not come hack ; " fifteen hundred foot, five hundred horse / Are 
 march'd up to my Lord of Lancaster, / Against Northumberland and 
 the Archbishop." The time of this scene must be supposed before 
 midday, as Falstaff asks Gower to come with him to dinner (1. 194). 
 Mrs. Quickly also, in the beginning of the scene, says that Falstaff 
 " is indited to dinner to the Lubber's-head in Lumbert St., to Master 
 Smooth's the silkman." Yet for a king who was grievous sick the 
 forty-seven odd miles between Basingstoke and London must have 
 been a good morning's journey. So much for the time of the day ; 
 for the day itself there is nothing incompatible with its being 
 supposed the continuation of the day represented in Act I. sc. ii. ; 
 Falstaif's knowledge there of the movements of the King and Prince 
 Hal closely connect the two scenes ; but we shall perhaps satisfy all 
 the exigencies of the plot if we suppose it not later than the morrow 
 of that scene. "We must, however, forego all notion of Prince John 
 and Westmoreland having been in London in Act I. sc. ii., and what 
 we are to understand by Ealstaff sending letters to them by his page, 
 who has not left London, I know not. 
 
 Act II. sc. ii. London. Prince Hal and Poins have just 
 arrived; they meet Bardolph and the Page. Bardolph tells the 
 Prince that Falstaff had " heard of your grace's coming to town : 
 there's a letter for you." The letter, it is to be presumed, confided to 
 the Page yesterday. The Prince learns that Falstaff is to sup in 
 Eastcheap with Mrs. Quickly and Doll Tearsheet, and resolves to 
 steal upon him in disguise, cautioning Bardolph and the Page not to 
 let him know of his arrival.] 
 
 Day 2, continued. Act II. sc. iii. Northumberland's castle. 
 Northumberland yields to the solicitations of his wife and daughter- 
 in-law, and resolves to fly to Scotland, there to await the result of the 
 Archbishop's enterprise. This scene may most conveniently be 
 supposed on the same day as Act I. sc. iii. 
 
 An interval. Includes the Falstafiian Days la and 2a, during 
 which the King and Prince Hal arrive in London. 
 
 [Day 2a, continued. Act II. sc. iv. The tavern in Eastcheap 
 
284 X. p. A. DANIEL. TIME-ANALYSIS OF II HENRY IK 
 
 After supper Falstaff takes his fruit and wine with the Hostess and 
 Doll; his Ancient, Pistol, who now makes his first appearance in 
 these scenes, joins the company, but he and Doll are old enemies : a 
 quarrel ensues, and Pistol is soon quoited downstairs. The Prince 
 and Poins, disguised aa drawers, then enter, and after a fine scene of 
 humour Peto comes in haste to tell the Prince that his father is at 
 ■Westminster, and that there are twenty weak and wearied posts come 
 from the north : as he came along he met and overtook a dozen 
 captains inquiring after Sir John Falstaff. The Prince and Poins 
 immediately depart, and shortly after Bardolph enters to tell Palstaff 
 he must away to court presently ; a dozen captains stay at door for 
 him. And so the party breaks up, very late at night (U. 175, 299). 
 What important duty unfulfilled it was that caused Prince Hal to 
 hurry from this scene the drama sayeth not ; it could scarcely be to go 
 arhunting at Windsor, or to revel it in London " with Poins, and 
 other his continual followers " (see Act IV. sc. iv.), yet that is all we 
 hear of his proceedings till he appears again upon the stage in Act IV. 
 sc. T, after the rebellion in the north is crushed. Poins we see no 
 more.] 
 
 Day 3. Act III. se. i. Westminster. The King is sick and 
 sleepless ; he bids his page 
 
 " Go, call the Earls of Surrey and of Warwick ; 
 But, ere they come, bid them o'er-read these letters. 
 And weU consider them : make good speed." 
 
 By the time the earls arrive it is " one o'clock, and past. They 
 discuss the news from the north : the King hears that the Bishop and 
 Northumberland are fifty thousand strong. But this Warwick 
 believes to be the mere exaggeration of rumour, and that the powers 
 the King has sent forth will easily deal with the rebels. He also 
 informs the King that he has received ''a certain instance that 
 Glendower is dead." 
 
 About the middle of this scene (11. 57 — 65) the King gives its a 
 note of time from which we must infer that he has now arrived at 
 the eighth year of his reign, 1407, the fourth after the battle of 
 Slirewsbury. As we hear no more of Glendower, we must suppose 
 Warwick's news of his death to be dramatically true ; but in fact 
 
X. p. A. DANIEL. TIME-ANALYSIS OF II BENRY IV. 285 
 
 Glendower did not cease from troubling the realm till the 20th Sept., 
 1415. Kow the dramatic time of this scene must, I think, be taken 
 to be the morrow of the preceding scene. Act II. sc. iv. The letters 
 on which the King consults Warwick and Surrey must be those 
 brought by the " twenty weak and wearied posts come from the 
 north," and this scene therefore — ^history notwithstanding — must be 
 supposed within a few days of the battle of Shrewsbury. What 
 with Falstaffian days and "historic" days, which are utterly sub- 
 versive of history, the task of the " Time- Analyst " is by no means 
 an easy one. 
 
 An interval. Falstaff journeys into Gloucestershire. 
 
 Day 4. Act III. sc. ii. In Gloucestershire; before Justice 
 Shallow's house. Falstaff takes up recruits on his way to the army. 
 
 An interval. Sufficient time for Falstaff with his recruits to 
 travel from Gloucester to Yorkshire. 
 
 Day 5. Act IV. sc. i. Yorkshire. Gaultree Forest. The Arch- 
 bishop of York, Mowbray, Hastings, with their army. The Archbishop 
 states that he has received " new-dated letters from Northumberland " 
 announcing his retirement to Scotland, and concluding with prayers 
 for their success. A messenger brings news that 
 
 " West of this forest, scarcely off a mUe, 
 In goodly form comes on the enemy," 
 
 and immediately after Westmoreland enters with offers of peace. 
 After some discussion the confederates entrust Westmoreland with a 
 schedule of their grievances ; he departs to submit it to Prince John, 
 and shortly after returns to invite them to meet the Prince at a just 
 distance between the two armies. 
 
 Act IV, sc. ii. The proposed meeting takes place. The Prince 
 accepts the conditions of the confederates, promises redress of 
 grievances, and proposes that both sides shaU thereupon dismiss their 
 armies. Agreed to ; and messengers to both armies go out accord- 
 ingly. The army of the confederates disperses ; the leaders of the 
 Prince's army have, however, received secret orders from him not to 
 disband until he in person shall give the word of command. By this 
 means he is enabled in safety to, seize and send to. execution the 
 
286 X. p. A. DANIEL. TIME-ANALYSIS OF II HENRY IV. 
 
 leaders of the revolt, and pursue and slaughter their scattered forces. 
 The leaders themselves are a little surprised at the cleverness of this 
 proceeding, but the Prince triumphantly explains to them that he 
 had only promised them the redress of their grievances, not the safety 
 of their persons. 
 
 Some of the commentators are rather indignant -with Shakespeare 
 for not having written one word in condemnation of this hideous 
 piece of treachery ; but he makes the Prince swear, by the honour 
 of his blood, and upon his soul, that the grievances of the confederates 
 shall be with speed redressed; he makes him drink and embrace 
 with them in token of restored love and amity; he makes him 
 promise, upon his honour, most Christian care in the performance of 
 the promised redress, and he, moreover, makes him attribute to God 
 the whole glory of his stratagem. Shakespeare could unpack liis 
 heart with words, but I think he must have felt that any comment 
 in this case would but tend to weaken the effect produced by his 
 calm but vivid representation of the crime itself in all its naked 
 horror and deformity. 
 
 Act IV. sc. iii. The " Alarums and Excursions " of the pursuit. 
 Fal staff arrives on the scene and takes Sir John Colevile of the Dale 
 prisoner. He then presents himself before Prince John, who 
 reproaches him that when everything is ended then he comes. The 
 Prince sends Colevile to York with the other confederates to present 
 execution, and commissions Westmoreland to go before with the news 
 to the King. Falstaff requests permission to return home through 
 Gloucester, where he proposes to visit Master Eobert Shallow. 
 
 An interval. Time for Westmoreland's journey from Yorkshire 
 to Westminster. 
 
 Day 6. Act IV. sc. iv. Westminster. The Jerusalem Chamber. 
 The King again refers to his proposed expedition to the Holy Land, 
 which is only deferred until the rebels now afoot are brought under. 
 He questions his son Thomas of Clarence as to the Prince of Wales, 
 and is told that he dines in London, accompanied with Poins and 
 other his continual followers. Westmoreland arrives with the news 
 of the suppression of the Archbishop's revolt, and is immediately 
 followed by Harcourt who teUs of the overthrow of Northumberland 
 
X; P. A, Daniel, time-analysis of u benrt iv. 287 
 
 and Lord Bardolph by the Sheriff of York. The King swoons on 
 hearing this good news, and recovering again requests to be carried 
 into another chamber. 
 
 Act IV. sc. V. Another chamber. The King lying on a bed : 
 Clarence, Gloucester, "Warwick, etc. in attendance. Soft music. The 
 King falls asleep. The Prince of Wales enters, asks if the King has 
 heard the good news, and is told of his illness. He undertakes to 
 watch by his father's bed, and the rest retire. After a time he thinks 
 the King dead, takes the crown from the pUlow, places it on his own 
 head, and goes out. The King awakes, calls for "Warwick and the' 
 rest, misses the crown, is told that the Prince Henry has been at his 
 bedside, and sends for him. The Prince returns with the crown, is 
 reproached for his eagerness for the succession and for his wild life, 
 expresses his repentance and affection, and receives loving advice from 
 his father. Prince John of Lancaster arrives, and is welcomed by the 
 King, who, feeling his end to be near, requests to be carried into the 
 lodging where he first did swoon, which he now learns is ^called 
 Jerusalem ; there he wiU die, in fulfilment of the prophecy that he 
 should not die bat in Jerusalem, which vainly he supposed the Holy 
 Land. Both these scenes must be supposed on one day : the first is 
 certainly a morning scene, the second may be the afternoon. The 
 question of Prince Henry whether his father has heard the good 
 news connects them closely, and the arrivals of "Westmoreland in the 
 one scene and Prince John in the next are sufficiently separated to 
 be consistent with the stage-time of the history. 
 
 [Day 3a. Act V. sc. i. Gloucestershire. Justice Shallows 
 house. Shallow welcomes Falstaff and his followers. It is evident 
 that they have but just arrived. Cf. Davy's speech, 1. 31 : "Doth the 
 man of war stay all night, sir?" Shallow's, 1. 60: "Come, come, 
 come, off with your boots ;" and Falstaffs, 1. 67 : "Bardolph, look to 
 our horses."] 
 
 Day 7. Act V. sc. ii. "Westminster. Immediately after the 
 King's death. Cf . the questions of the Lord Chief Justice. " How: 
 doth the King?" .... "I hope, not dead." The new King 
 Henry V. enters and consoles and reassures his brothers, the Chief 
 
288 X. p. A. DANIEL. TIME-ANALYSIS OP 11 HENRY IK 
 
 Justice, etc. by his professions of entire reformation. A morning 
 scene ; the greetings are " good morrow : " it can therefore hardly be 
 supposed on the same day as scenes iv. and v. Act IV. ; I take it to 
 be the morrow of those scenes at the end of which it seems clear that 
 the King is within a few hours of dissolution. 
 
 An inte)'val. Funeral of Henry IV. Preparation for coronation 
 of Henry V. 
 
 [Day 3a, confinued. Act V. sc. iii. Gloucestershire. Shallow's 
 orchard. After supper Falstajff and his followers with their host and 
 Master Silence take their fruit and wine in an arbour. Pistol 
 arrives with the news of the King's death. Falstafif determines to 
 mount at once and ride all night to greet his new sovereign. This 
 scene is evidently the evening of the day commenced in Act V, sc. i. ; 
 both must therefore be supposed to occur some time in the last 
 marked interval.] 
 
 Dsfy 8. Act V. sc. iv. London. Enter Beadles, dragging in 
 Hostess Quickly and Doll Tearsheet. It seems that the man is dead 
 whom they and Pistol beat amongst them, and prison is their 
 destination. One would like to know, if it were not to consider 
 matters too curiously, what had been Pistol's career since he was first 
 introduced to us. Then (Act II. sc. iv.) he was Falstaff's ancient ; 
 but he apparently did not go to the wars with him. He must have 
 made it up with Doll and served under her banner, and so got 
 promotion; for when he brought news of the King's death to 
 Falstaff he was then greeted as Lieutenant. 
 
 Day 9. Act V. sc. v. Near Westminster Abbey. FalstafiF, 
 Shallow, etc. have arrived, and await the coming forth of the new 
 King from the coronation ceremony. They are repulsed by him, and 
 the Lord Chief Justice, re-entering, orders Sir John and all his 
 company to be carried to the Fleet. 
 
 EpiLOGtJB, spoken by a Dancer, promising a continuation of the 
 story, with Sir John in it, etc. 
 
 Time of this Play, nine days represented on the stage, with three 
 extra Falstaffian days, and intervals. The total dramatic time, in- 
 
X. p. A. DANIEL. TIME-ANALYSIS OP II HENRY IV. 
 
 289 
 
 eluding intervals, is not easily determined; I fancy a couple of 
 months would be a liberal estimate. 
 
 Day 1. Act I. sc. i. Warkworth, 
 Lord Bardolph with Northumber- 
 land. 
 
 Interval : time for Lord Bardolph to 
 join the Archbishop at York. 
 
 ' Act I. sc. Hi. York. Lord 
 Bardolph with the Arch- 
 bishop and confederates. 
 While this scene takes 
 place at York we may 
 suppose that in 
 
 Days. 
 
 Act II. sc. 
 umberland 
 Scotland. 
 
 Hi. North- 
 resolves for 
 
 Interval, including the FalstafSan 
 Days la and 2a, during which the 
 Eihg arrives in London. 
 
 Day 3. Act III. sc. i. West- 
 minster. The King receives un- 
 certain news of the rebellion. This 
 scene must be the morrow of Day 
 2a. 
 
 Interval. FalstafPs journey into 
 Gloucestershire. 
 
 Day 4. Act III. sc. ii. FalstafE 
 takes up recruits. 
 
 Interval. Falstaff's journey into 
 Yorltshire to join the army of 
 Prince John. 
 
 Day 5. Act IV. sc. i. to Hi. York- 
 shire. Suppression of the re- 
 bellion. 
 
 Interval. Westmoreland, followed 
 by Prince John, returns to London. 
 Falstaff travels into Gloucester- 
 shire. 
 
 Day 6. Act IV. sc. iv. and v. 
 Westminster. Westmoreland and 
 Prince John arrive at Court. 
 Mortal sickness of the King. 
 
 Act I. sc. ii. Falstaff 
 London. 
 
 '"I Day la. 
 
 Act II. sc. i. Falstaff's 
 arrest. The King and 
 Prince Hal arrive from 
 Wales. 
 
 Act II. sc. ii. Prince 
 Hal and Poins. 
 
 Act II. sc. iv. Supper 
 at the Boar's Head. 
 
 Day 2a. 
 
290 
 
 p. A. DANIEL. TIME-ANALTSIS OP 11 HBNBY IV. 
 
 Act V. sc. Hi. Justice 
 Shallow's. Pistol ar- 
 rives with news of the 
 King's death. 
 
 Act V. SC. i. Falstaff 
 arrives at Justice Shal- 
 low's. 
 Day 7. Act V. sc. ii. West- 
 minster, Immediately after the 
 
 King's death; the morrow, I take ^ Day 3a. 
 
 it, of Day 6, 
 
 Interval. Funeral of the late King ; 
 preparations for the coronation of 
 the new. Within this interval 
 must be supposed FalstafE's arrival 
 at Justice Shallow's, Pistol's jour- 
 ney from Loudon with news of the 
 King's death, and the return of 
 Falstaff and company to London. 
 
 Day 8. Act V. sc. iv. Mrs. 
 Quickly and Doll Tearsheet in 
 custody. 
 
 Day 9. Act V. sc. v. London. 
 Arrival of Falstaff and company. 
 Coronation of Henry V. 
 
 To this attempt at fixing the duration of the dramatic action I 
 append for the convenience of the reader the dates of the chief 
 historical events dealt with in the Play. Battle of Shrewsbury, 21st 
 July, 1403 ; suppression of the Archbishop of York's rebellion, 
 1405; final defeat of Northumberland and Lord Bardolph, 28th 
 Peb., 1408; death of Henry IV., 20th March, 1413; coronation 
 of Henry V., 9th AprD., 1413 ; death of Owen Glendower, 20th 
 Sept., 1415. 
 
 HENEY V. 
 
 First printed in Folio, divided into acts only. 
 Actus p-imus includes Acts I. and II. 
 Actus secundus = Act III. 
 Actus tertius = Act IV. sc. i. to vi. 
 Actus quartus = Act IV. so. vii. and viii. 
 Actus quintics = Act V. 
 
 The imperfect Quarto edition, 1600, has no division of Acts or 
 scenes. 
 
X. p. A. DANIEL. TIMB-ANALTSia OF HENRY V. 291 
 
 1st Chorus. Prologue. Important as setting forth tlie claims 
 of the dramatist on the imagination of the audience, especially in 
 lines 19, 20, and 30, 31. 
 
 " Suppose within the girdle of these walls 
 Are now confined two mighty monarchies." 
 m * * * 
 
 " Turning the accomplishment of many years 
 Into an hour-glass." 
 
 Day 1. Act I. se. i. Ante-chamher in the King's Palace, The 
 Archbishop of Canterbury and the Bishop of Ely expatiate on the 
 wonderful reformation and high qualities of the King, and the 
 former teUs how he has sought to divert his attention from the 
 temporalities of the Church by encouraging his claim to the throne 
 of Prance, The time is four o'clock, at which hour the Prench 
 Ambassador is to have audience, and the Bishops go in to be present 
 at it. 
 
 Act I. sc. ii. The Presence Chamber. The King consults with 
 his lords, spiritual and temporal, touching his claim to the Prench 
 crown. The Archbishop sets forth his title, urges him — 
 
 " With blood and sword and fire to win his right," 
 
 and promises a mighty sum in aid. The Ambassadors of Prance are 
 then called in : they bring a message from the Dauphin mocking 
 Henry's claim to Prance, and offering him in lieu of it a present of 
 tennis balls. The Kiug dismisses them with a declaration of war, 
 and bids his lords prepare immediately for his expedition to Prance. 
 
 An interval. — See following chorus, 
 
 2nd ■ Chorus, Tells of the preparations for the war; of the 
 discovery of the conspiracy against the King, who is set from 
 liondon, and that the scene is now transported to Southampton. 
 The chorus, however, ends with the somewhat dubious lines — 
 
 " But tni the King come forth, and not till then, 
 Vnto Southampton do we shift our scene." — Polio. 
 
 I guess these two lines to have been added in order to introduce the 
 following scene, which certainly is not at Southampton, and which, 
 perhaps, would be better placed, as a separate day, in Act I. Pope, in 
 
292 X. p. A. DANIEL. TIME-ANALYSIS OP HENRY V. 
 
 fact, placed it there. It may be remarked that the comic scenes of 
 this play, like those of the two parts of Henry IV., are in general 
 very loosely connected with the main story, and render any comr 
 pletely satisfactory scheme of time difficult of attainment. 
 
 Day 2. Act II. so. i. London. Eastcheap 1 Certainly near 
 Mrs. Quickly's hostelry. Time, the morning : " Qoo(Pmorrow, 
 Lieutenant Bardolph,'' says Corporal Nym on meeting him. Ifym 
 has a quarrel with Ancient Pistol, and good cause ; for has not the 
 latter married Nell Quickly, to whom he, Nym, was troth-plight, and 
 does he not stiU owe him, and refuses payment of the eight shUlings 
 he won of him at betting? Bardolph reconciles them, and it is 
 agreed that they shall all three be sworn brothers to Prance. Mrs, 
 Quickly calls them in to comfort poor Sir John Falstaff, who is very 
 ill, and would to bed, heart-broken at the King's unkindness. 
 
 An interval — and the fact that any interval at all should be 
 required between chorus No. 2 and the King's appearance at South- 
 ampton is an additional reason for regretting that sc. i. of this Act 
 cannot be transferred to the end of Act I., and this interval absorbed 
 in that which nece.ssarUy separates the two Acts — must now be 
 supposed. Less time than one week for poor Sir John's sickness, 
 death, and burial, cannot weU be denied, and, but that Kings must 
 not be kept waiting, I should have set down at least a fortnight. 
 
 Day 3. Act II. sc. ii. Southampton. The King convicts 
 Cambridge, Scroop, and Grey of treason ; sends them to execution, 
 and then sets out for France. 
 
 Act II. sc. iii. London. Falstaff is dead, " and we must yearn 
 therefore : " "a' parted even just between twelve and one, even at 
 the turning o' the tide." ^ On what night is not stated : one night 
 during our last interval. Pistol, Nym, Bardolph, and the Boy, take 
 
 1 The tide of time : when time was " dead low water,'' and the " tide of 
 the returniDg day" commenced to flow. — See the late "Howard Staunton's 
 admirable exposition of this passage in TJie Atherxemn, 8th November, 1873. 
 As this is a question of time not generally understood, I may add to the 
 illustrations there given one more, from Brome's (My 11'//, I. i. p. 310, 
 Pearson's reprint — 
 
 Orasy [disguised as a doctor]. " Let me see, to-night it will he full moon. 
 And she 'scape the turning of tlie next Tyde, I will give her a gentle Vomit in 
 the njorning," &o, : 
 
X. p. A. DANIEL. TIME-ANALYSIS OF HENRY V. 293 
 
 leai^? of the Hostess, and depart to join the army. It is more than 
 time ; for " the King will be gone from Southampton." It ■will be 
 observed that Staines lies on their road, and therefore that the 
 travellers were bound for Southampton. I include this scene in one 
 day with so. ii. ; it cannot well be put later, nor can I suppose it to 
 be so early as the morrow of so. i. ; hence the necessity of the inter- 
 yal between Days 2 and 3. 
 
 An interval : time for the arrival of the English army in France, 
 and for the further journey of Exeter to the French Court. 
 
 Lay 4. Act II. sc. iv. France. The King's Palace. The 
 French King and his Nobles determine on their lines of defence. 
 Exeter, Ambassador from Henry, who is footed in the land already, 
 comes to demand the surrender of the crown, and to convey a mes- 
 sage of scorn and defiance to the Dauphin. The French King 
 requires a night's reflection, and promises his answer on the morrow. 
 
 An interval : see following chorus. 
 
 3rd Chorus. Tells of King Henry's departure from Hampton ; 
 his arrival at Harflour, and of the return of his Ambassador with the 
 offer of the French King's daughter, Katherine, in marriage, dowered 
 with some petty and unprofitable dukedoms, which offer likes not, 
 and the siege of the town is commenced accordingly. 
 
 Day 5. Act III. sc. i., ii., and iii. Before Harfleur. Siege of 
 the town — assaults — the town sounds a parley (sc. ii.), and surrenders 
 (sc. iii.) ; their expectation of succours from the Dauphin having this 
 day an end. Heniy establishes Exeter as governor, and the winter 
 coming on, determines to retire to Calais — - 
 
 " To-night," says he to Exeter, " in Harfleur we wiU be your guest ; 
 To-morrow for the march are we addrest." 
 
 Pistol and his companions are present at this siege (sc. ii.), and it 
 appears they did not accompany the King in his direct voyage to 
 Harfleur ; for " in Calais " Nym and Bardolph " stole a fire-shovel." 
 
 An interval. March of King Henry towards Calais. 
 {Act III. sc. iv. The French King's Palace. The Princess 
 Katherine takes her first lesson in English ; for, says she, " il faut 
 
 N. S. SOC. TEANS., 1877-9. 20 
 
294 X. p. A. DANIF.L. TIJfE-ANALYSIS OF HENRY V. 
 
 que j'appronne a parler." Why ? Clearly with a view to the pro- 
 posed marriage between herself and King Henry, and this scene 
 therefore seems out of place ; its time must be supposed within a 
 day or two of Day 4, Act II. ^c. iv. ; for since that time, as we learn 
 in Chorus 3, the negotiations for this marriage have been broken off. 
 I accordingly enclose this scene in brackets, and refer it to the inter- 
 val which follows Day 4.] 
 
 Day 6. Act III. so. v. Eouen. The French King and his 
 Nobles have heard that Henry has " pass'd the river Somme," and 
 determine that he shall be fought withal. The King bids them 
 march upon him and bring him prisoner into Eouen, and orders that 
 Mountjoy the herald be sent to him at once to defy him and to know 
 what ransom he will give. He determines that the Dauphin shall 
 remain with him in Eouen. 
 
 An iiiim'val : a day or two. 
 
 Day 7. Act III. sc. vi. Blangy. The English make them- 
 selves masters of the bridge, cross the Ternois, and encamp beyond 
 the river, within sight of the French army, near Agincourt. In the 
 course of the scene Mountjoy delivers to Henry the message confided 
 to him by the French King. 
 
 In this scene we have a noticeable instance of the method in 
 which time is frequently dealt with in these Plays ; the progress 
 of events keeping pace with the dialogue in which they are narrated : 
 Pistol comes to urge FlueUen to intercede with Exeter i for Bardolph, 
 who is sentenced to be hanged for stealing a pax of little price. 
 Eluellen declines to interfere, and almost immediately after — without 
 his quitting the stage, and without any break in the action which 
 might assist the spectator in imagining the passage of time — he is 
 able to inform the King, who enters, that Bardolph's "nose is 
 executed, and his fire's out." 
 
 Time "draws toward night" when this scene ends. 
 
 ' The plot of the drama would not lead us to expect the presence of 
 Exeter in this and subsequent scenes connected with Agincourt ; for iu Act 
 III. 80. iii. Henry establishes him as Governor of HarfJeur. According to the 
 Chronicles, however, Exeter appointed " Jhon FastolfEe " his lieutenant for 
 that place and accompanied the King on his journey to Calais. 
 
X. p. A. DANIBIi. TIME-ANALYSIS OF EENBY V. ■ 295 
 
 Act III. sc. vii. The French camp near Agincourt ; at night. 
 The French lords long for day that they may prove their valour on 
 the English host. At "midnight" (1. 97) " Dolphin "i goes out to 
 arm himself, and we must suppose, therefore, that 
 
 Day 8 begins here. The other lords continue their banter and 
 bragging. A messenger informs them that the Lord Grandprd has 
 measured the ground, and iinds that the English lie within 1500 
 paces of the French tents. Orleans concludes the scene with — 
 
 " It is now two o'clocJc ; but, let me see, by ten 
 "We shall have each a hundred Englishmen." 
 
 4th Choeus now intimates that it is " the third hour of drowsy 
 morning ; " describes the different conduct of the two armies, and 
 then, introducing us to the English camp and King Henry, departs. 
 
 Act rV. sc. i. The English camp. Henry visits in disguise the 
 several divisions of his army. Meets with Pistol, who boasts to him 
 that he wiU knock FlueUen's leek about his pate upon St. Davy's 
 Day. Overhears FlueUen's discourse with Gower on the disciplines 
 of the wars. Engages in a discussion with the three soldiers, Bates, 
 Court, and Williams, as morning begins to break (1. 88), and accepts 
 a challenge from the last, in gage of which they exchange gloves. 
 His nobles seek him out and he departs ; for the day, his friends and 
 aU things stay for him. 
 
 Act IV. sc. ii. The French Camp. Morning has come at last ; 
 the sun doth gild their armour. The English are embattled, and the 
 French lords mount their horses, eager for the fray. As they haste 
 to the field the Constable exclaims : " The sun is high, and we out- 
 wear the day." 
 
 Act rV. sc. iii. The English Camp. Henry and his Nobles pre- 
 pare for the battle. Once more Mountjoy comes to know if he will 
 yield and pay ransom, and is once more dismissed. 
 
 ' Is this " Dolphin " the Dauphin of France, who in Act III. so. v. was to 
 remain with his father in Eouen, and who, according to the chronicles, did 
 remain there ? Or is he intended for the " Great Master of France, the brave 
 Sir Guiohard Dolphin " who was slain in the battle 1 See Act IV. sc. viii. 
 1. 100. On this point, and others relating to the personages of the drama, see 
 Introduction to Parallel Texts Edition of Henry V., published for the JVew 
 Shakspere Society, 1877. 
 
206 X. p. A. DANIEL. TIME- ANALYSIS OF HENItY V. 
 
 Then follow the " Alarms and Excursions," and the scenes iv. to 
 viii., which reiDresent the great day of Agincourt, the details of which 
 it is not necessary for our purpose here to dwell upon. The King 
 ends the Act with the announcement of his intention to proceed to 
 Calais, and from thence to England. 
 
 After thus briefly dismissing the high acts and deaths of princes, 
 it may seem inconsistent to make special record of the end of 
 inferiors ; hut as a matter of interest in connection with the comic 
 portion of the plot, Nym's fate may here- be noted. At the end of 
 sc. iv., after Pistol has gone out with his French prisoner, the Boy 
 telis us that Nym has shared the fate of Bardolph. It was but 
 yesterday (Act III. sc. yi.) that the Lieutenant's vital thread was cut 
 with «dge of penny cord, and now we learn that a like preparation 
 of the herb Pantagruelion, so celebrated by the learned Alcofribas 
 Nasier, has also stopped the breath of Corporal Nym ; though when 
 this fatal event occurred we know not. The Boy himself perishes 
 shortly after — "there's not a boy left alive," says Gower in the 
 beginning of sc. vii. — and Pistol alone of all the crew is left alive to 
 furnish us with one more rich scene of humour in the next Act. 
 
 An interval. See following Chorus. 
 
 5th Chorus tells of Henry's journey to England and of his 
 reception by his people ; then, with excuses for passing over time 
 and history, brings the audience straight back again to Prance. The 
 historic period thus passed over by the dramatist dates from 25th 
 October, 1415, to Henry's betrothal to Katherine, 20th May, 1420; 
 all representation of the wars which ended in the conquest of France 
 being omitted in the Play. 
 
 [Act V. sc. i. Yesterday, it seems, was St. David's Day, and 
 Pistol, in fulfilment of his vow recorded in Act IV, sc. i., had taken 
 advantage of Pluellen's presence in a place where he "could not 
 breed no contention," to insult liim about his leek. Eluellen now 
 revenges himself, and cudgels Pistol into eating the leek he loathed. 
 The locality of this scene is France j for in his last speech, Pistol 
 says, " to England will I steal : " its time, dramatically considered, 
 should probably be imagined within a few days of Day 8. Pistol's 
 
X. r. A. DANIEL. TIME-ANALYSIS OF HENRY V. 297 
 
 braggardism had been pretty thoroughly exposed to the world already, 
 and he could scarcely be expected to maintain the imposture for any 
 longer time. Johnson, it may be observed, -would place the scene at 
 the end of Act IV., supposing it to occur before the return of the 
 army to England. At a pinch, perhaps, we might imagine that 
 Pistol, with Fluellen and Gower, had remained in garrison at Calais 
 since the great battle, and, if we go by the Almanack, we might 
 thus lengthen out Pistol's military career by four months and a-half 
 to this 2nd March, the morrow of St. David's Day. This time and 
 place, too, might be taken to agree pretty well with the news that 
 Pistol has received from England that his "ISTell is dead i' the 
 spital j " but it seems idle to assign any definite position in our time- 
 plot to this scene, and I enclose it therefore within brackets ; refer- 
 ring it to some time in the early part of the interval marked by 
 Chorus 5.] 
 
 Day 9. Act V. sc. ii. France. King Henry and his Lords, 
 and the French King and Queen, by the mediation of the Duke of 
 Burgundy, settle terms of peace by which the two kingdoms are 
 united, and the marriage of Henry with Katherine resolved on. 
 
 6th Choeus. Epilogue. 
 
 The period of history included in this Play commences in the 
 second year of Henry's reign, 1414, and ends with his betrothal to 
 Katherine, 20fch May, 1420. 
 
 This period is represented on the stage by nine days, with 
 intervals. 
 
 1st Chorus. Prologue. 
 Day 1. Act I. sc. i. and ii. 
 2nd Choeus. Interval.] 
 Day 2. Act 1 1, sc. i. 
 
 Interval. 
 „ 3. Act II. sc. ii. and iii. 
 
 Interval. 
 „ 4. Act II. sc. iv. 
 3rd Choeus. Interval. 
 Day 5. Act III. sc. i. to iii. 
 
298 X. p. A. DANIEL. TIME-ANALYSIS OF / HENRY VI. 
 
 Interval. 
 [Act III. sc. iv. Some time of the interval succeeding 
 Day 4.] 
 Day 6. Act III. sc. v. 
 „ 7. Act III. sc. vi., and first part of sc. vii. 
 „ 8. Act III. sc. vii., second part. 4tli Choeus, and Act IV. 
 sc. i. to viii. 
 5th Chorus. Interval. 
 
 [Act V. sc. i. Some time in the early part of the last 
 interval.] 
 Day 9. Act V. sc. ii. 
 6th Chorus. Epilogue. 
 
 FIRST PART OF HENRY VI. 
 
 First printed in Folio ; divided into acts and partly into scenes. 
 
 Actus Primus and Actus Secundum, no division of scenes. 
 
 Actus Tertius divided as in Glohe edition. 
 
 In Actus Qua/rtus, Scmna prima comprises the whole of our Act 
 IV. ; Sccena secunda = Act V. sc. i. ; and Sccena tertia = Act V. 
 sc. ii. to iv. 
 
 Actus Quintus = Act V. sc. v. 
 
 Day 1. Act I. sc. i. "Westminster Abbey. Funeral of Henry 
 v., attended by his brothers, the Duke of Gloucester, Protector, and 
 the Duke of Bedford, Eegent of France; the Duke of Exeter, 
 governor of the young King ;. the Bishop of "Winchester (Cardinal 
 Beaufort) and others.^ "While they lament the dead King and 
 
 1 Among the " others " of this scene the stage direction of the Folio In- 
 cludes " "Warwicke " and the " Duke of Somerset ; " neither has any part in 
 the scene, and it is not perhaps of much importance whether their names 
 he retained or struck out here ; but it is important that we should understand 
 whom they were designed to represent by the dramatist, and on this point 
 there can be no doubt that by the " Earl of Warwick," in the three parts of 
 Sermj VI, he meant Richard Neville, the ' king-maker,' and by the " Duke 
 of Somerset," in the two first parts, Edmund Beaufort, slain at St. Alban's. 
 It is of course perfectly true that their " dramatic " existence is often utterly 
 irreoonoileable with history, but if we are to correct the dramatist at the bid- 
 
X. p. A. DANIEL. TIME-ANALYSIS OP I HENRY VI. 299 
 
 quarrel among themselves, three several messengers arrive witli news 
 of great disasters in France. Thereupon Bedford, goes out to prepare 
 for his return thither ; Gloucester goes out to proceed to the Tower,, 
 " with all the haste he can," to view the artillery and munition there, 
 and then to proclaim young Henry VI. King ; Exeter goes out to 
 take charge of the young King at Eltham ; left alone, with no em- 
 ployment, Winchester resolves that he will not long he "Jack out 
 of office." 
 
 Act I. sc. ii. France. The French under the command of 
 Charles attack the English army under Salishury at the siege of 
 
 ding of history very little of his work would remain intact ; the whole of this 
 scene, for instance, would have to he demolished. In modern editions 
 "Warwick" is allowed to remain in this stage direction, and the reader's 
 historic conscience is soothed with the information that Richard Beauchamp 
 is here meant, and in the modern list of dramatis personce prefixed to this 
 1st Part we are told that Somerset is John, Edmund's elder brother, though 
 it is perfectly certain (according to the dramatist) that in the 2nd Part he is 
 Edmund, and that in both lat and 2nd Parts he is only one individual. 
 History is an indispensable aid in the study of these " Histories ; " but her 
 duty is that of a guide, not — except in a few rare oases — that of a, corrector. 
 If the dramatist chooses, for instance, to make Richard Neville, who was born 
 in 1420, present at the funeral of Henry V. in 1422, a full-iledged Earl with 
 a title which he only got in 1149, he is in his right ; I think he must be quit 
 for that : all historical romancists do the like. Marry, there is another in- 
 dictment upon him for the which I thiuk he should howl. He has not, I 
 think, any right to announce the loss of Paris in Act I, sc. i., and then in Act 
 rV. to take young Henry there to be crowned King of France ; but we have 
 no right to be scandalized at the presence of " Warwicke " and the "Duke of 
 Somerset " in this scene, and if their names are retained in the stage dii-ection, 
 it should be with the understanding that they are Richard Neville and Edmund 
 Beaufort. It may be added that Edmund, then Earl of Mortayn, did actually 
 accompany the corpse of Henry V. on its way to England, and therefore, his- 
 torically, has a better right to be present in this scene than "Warwick. While 
 on this subject it may perhaps be as well to clear up the individuality of the 
 Somerset introduced in the 3rd Part ; and here again we find that the drama- 
 tist presents us with a composite personage. Henry and Edmund, sons of the 
 above-mentioned Edmund, were successively Dukes of Somerset ; the former 
 did for a time abandon Henry VI. (and we find "Somerset" at Edward's 
 court in Act IV. so. i. 3 Henry YI.) ; but he afterwards returned to his 
 allegiance and lost his life at Hexham, 1463 — a part of history passed over by 
 the dramatist ; — Edmund, his brother, who succeeded to the title, was always 
 true to Henry, and lost his life at Tewksbury, 1471. These two form only 
 one individual in 3 Henry VI., but they make up with their father the three 
 Dukes referred to — by Richard in Act V. so. i. 1. 73, and by Edward in 
 Act V. sc. vii. 1. 5 — in 3 Henry VI. Whether, after giving us only tno 
 Somersets, the dramatist is justified in referring to them as three, I leave to the 
 decision of the reader ; but history here certainly explains how it happens that 
 he did so. This discrepancy is also found in Tlie Contention, &o. ; 
 
300 X. p. A. DANIEL. TIME- ANALYSIS OF I HENRY VI, 
 
 Orleans, and are beaten back. The Bastard of Orleans, Dunois, brings 
 Joan la Pucelle to Charles ; she promises to raise the siege this nighL 
 
 Act I. sc. iii. London. Before the Tower. Gloucester, with 
 his men in blue coats, comes " to survey the Tower this day." The 
 Lieutenant, in obedience to "Winchester's commands, denies him 
 entrance. Winchester himself,^ with his men in tawny coats, arrives 
 on the scene. The two parties skirmish and are finally separated by 
 the Lord Mayor, 
 
 Act L sc. iv. On the walls of Orleans. The Master Gunner hag 
 planted a piece of ordnance against a tower in the suburbs which the 
 English have won, from which he has heard they are wont to over- 
 peer the city. He leaves his boy in charge to watch for the entrance 
 of the English into this tower. Salisbury, Talbot,^ Sir "William 
 Glansdale, Sir Thomas Gargrave, and others enter the tower. "While 
 they are discoursing and viewing the city the Master Gunner's boy, 
 on the walls, fires off his piece and kills Salisbury and Gargrave. 
 The time "is supper-time in Orleans." News is brought to Talbot 
 that the Dauphin and Joan have gathered head and have come to 
 raise the siege. 
 
 Act I. sc. V, Alarums. Skirmishes ending in the relief of the 
 town by the French, and the repulse and retreat of the English under 
 Talbot. 
 
 Act L sc. vi. In Orleans. The French make merry ; for " Joan 
 la Pucelle hath performed her word." 
 
 Here, with the first Act, I end Day 1. It is quite evident that 
 the scenes in France are all supposed to take place on one day. The 
 English scenes i. and iii. — connected as they are by Gloucester's last 
 speech in sc. i. and his first speech in sc. iii. — must also be supposed 
 on one day ; and from the manner in which sc. iii. is dove-tailed 
 into the French scenes, one and the same day may be accepted for 
 both English and French scenes. 
 
 1 It will be observed that Winchester in this scene is a Cardinal. In the 
 next two scenes in which he appears — Act III. so. 1. and Act IV. so. i. — he ia 
 still but a Bishop. It is not 'till Act V. so. i. that he appears newly-invested 
 in the dignity of Cardinal. 
 
 2 Talbot's captivity was announced by one of the messengers in so. i. ; he 
 appears to have been released before the news of his capture reached London. 
 
X. p. A. DANIEL. TIME-ANALYSIS OP I HENRY VI. 301 
 
 An interval : Time for Bedford to arrive in France ; i. e. if time 
 was required for his journey, which is somewhat doubtful. At any 
 rate the interval must be short, for Salisbury has yet to be buried in 
 the following scenes, and possibly our Day 2 should only be supposed 
 the morrow of Day 1. 
 
 Day 2. Act II. sc. i. Before Orleans. At night, probably 
 past midnight, Talbot, who has been joined by Bedford and Bur- 
 gundy, scales the walls of Orleans and drives out the Dauphin, Joan, 
 and the French. 
 
 Act II. sc. ii. In Orleans. As day begins to break, Bedford 
 orders the pursuit of the French to cease. Talbot gives orders for 
 the obsequies of Salisbury. A messenger invites him to visit the 
 Countess of Auvergne. He accepts the invitation, but gives secret 
 instructions to one of his Captains. Exeunt. 
 
 Act II. sc. iii. The Countess of Auvergne's Castle. Talbot pays 
 his promised visit. The Countess thinking him in her power 
 declares him her prisoner; he winds his horn, his soldiers break in, 
 and he convinces her " that Talbot is but shadow of himself." It 
 seems to me clear that in the drama this scene is supposed to occur 
 within an hour or two of the preceding one, certainly on the game 
 day. The Countess of Auvergne's castle must therefore be situated 
 in the immediate neighbourhood of Orleans. If it be urged that this 
 is a slighting of geography, I can only reply — So much the worse 
 for geography. 
 
 Act II. sc. iv. London. The Temple garden. Enter Somerset, 
 Suffolk {William de la Pole, Earl), Warwick, Eichard Plantagenet 
 {afterwards Duke of Yorlt), Vernon, and Lawyer. On a disputed 
 case in law between Plantagenet and Somerset, their companions take 
 sides by plucking a white rose for Plantagenet and a red rose for 
 Somerset. Enmity and defiance on both sides is the result. The 
 blot on Plantagenet's House, by the treason and execution of his 
 father, Eichard, Earl of Cambridge (see Henry V., Act II. sc. ii.), 
 urged against him by Somerset, "Warwick declares " Shall be wiped 
 out in the next parliament / Called for the truce of Winchester and 
 Gloucester" (see Act I. so. iii.). Time, before noon: Plantagenet 
 adjourns with his friends to dinner. 
 
302 X. p. A. DANIEL. TIME-ANALYSIS OF I HENRY VI. 
 
 Act II. sc. V. The Tower. Eichard Plantagenet visits the aged 
 and dying Mortimer (the Mortimer of 1 Henry IV.), who tells him 
 of his own right to the throne and of his, Eichard's, claim as his 
 nephew and heir. He dies, and Eichard hastes to the parliament, 
 where he hopes " to be restored to his blood." The time must be 
 supposed the afternoon of the preceding scene : Eichard refers to the 
 dispute between himself and Somerset as having taken place "this 
 day.'' "With Act II. I end Day 2, including both the French and 
 English scenes, which may very well be supposed coincident in point 
 of time. 
 
 Day 3. Act III. sc. i. London. The Parliament House. 
 After a great deal of mutual recrimination, and violence on the part 
 of their respective factions, a seeming reconciliation is effected between 
 Gloucester and Winchester. "Warwick then presents a bill in favour 
 of Eichard Plantagenet, who, as heir to his uncle York, killed at 
 Agincourt, is restored to his inheritance and created Duke of York. 
 Gloucester then proposes that the King shaU cross the seas to be 
 crowned in France, and the parliament adjourns for this purpose. 
 In Act II. sc. iv., morning, "Warwick talked of the meeting repre- 
 sented in this scene as " the next parliament ; " in the next scene, 
 afternoon of same day, Plantagenet talked of hasting to this parlia- 
 ment. From "Warwick's speech we might have expected some 
 interval between Acts II. and III. ; from Plantagenet's speech 
 we might suppose Act 11. sc. v. and Act III. sc. i. to be on the 
 same day ; I split the difference, and mark this scene as the 
 commencement of Day 3 and the morrow of Day 2. 
 
 An interval, during which we are to imagine that the young 
 King and his Court arrive in Paris. 
 
 Day 4. Act III. sc. ii. France. Eouen. By a stratagem La 
 Pucelle, Charles, etc., capture the town and drive out Talbot, Bed- 
 ford, Burgundy, and the English. A battle — during which Sir John 
 Falstaffe runs away — then takes place, the English recapture the 
 town, thus " lost and recover'd in a day again." Bedford, who is sick 
 and dying, looks on at the fight from his chair, and in the moment 
 of victory breathes his last. Talbot then proposes that after seeing 
 
X. p. A. DANIEL. TIME-ANALYSIS OP I HENRY VI. 303 
 
 " his exequies fulfilled in Eouen " they shall " depart to Paris to the 
 King, / Por there young Henry with his nobles lie." 
 
 Day 6. Act III. so, iii. The plains near Eouen. Charles, La 
 Pucelle, etc., with their forces, fresh from their discomfiture in the 
 preceding scene. Talbot with his forces marches over on his way to 
 Paris. He is followed by Burgundy with his forces. Charles 
 desires a parley with Burgundy, who, yielding to the persuasions of 
 la Pucelle, resolves to abandon the English cause and join with 
 Charles. "We may afford a separate day to this scene, and suppose 
 it the morrow of sc. ii. 
 
 An interval. Talbot's march to Paris. 
 
 Day 6. Act III. sc. iv. Paris. " Enter the King, Gloucester, 
 Winchester, Yorke, Suffolke, Somerset, Warwicke, Exeter ; " appar- 
 ently on their way to the coronation ceremony. " To them, with his 
 Souldiers, Talbot," who comes to pay his duty to his sovereign. 
 The King creates him Earl of Shrewsbury, and bids him take his 
 place in the coronation. 
 
 " Senet. Flourish. Exeunt. 
 Manet, (sic.) Vernoii and Basset." 
 
 These two take up a former quarrel respecting York and Somerset. 
 Vernon, an adherent of York (see Act II. sc. iv.), strikes Basset, 
 who goes out to crave liberty of combat of the King to venge his 
 wrong. Vernon declares that he wiU be there as soon as he. 
 
 Act rV. sc. i. The Coronation. Sir John Falstaffe enters with 
 a letter to the King from the Duke of Burgundy, delivered to him 
 as he rode from Calais. Talbot tears off Falstaffe's garter, and dis- 
 graces him for his cowardice at the battle of Patay.i The King 
 confirms Talbot's act and banishes Falstaffe. Burgundy's letter, 
 announcing his defection from the English cause, is then read, and 
 Talbot is commissioned to chastise his treason. Vernon and Basset 
 now enter to crave liberty of combat. Their quarrel revives that of 
 their principals, who, however, yield to the remonstrances of the 
 King and are outwardly reconciled. The King in friendliness adopts 
 
 1 Narrated by one of the messengers in Act I. so. i. It may be noted hero 
 that the name of this warrior is always given in the Folio as " Falstaffe." 
 
304 X. P, A. DANIEL. TIME-ANALYSIS OP I llESRY VI. 
 
 the red rose of Somerset, and creates York regent of these parts of 
 France, bidding both unite their forces against the common enemy. 
 He then determines after some respite to return to Calais, and from 
 thence to England. The connection of this scene with the preceding 
 one is too close to allow of our assigning more than one day to the 
 two ; and, notwithstanding the " authority " of the Folio, I would 
 suggest that the first (Act III. so. iv.) would be better placed as the 
 commencement of Act IV. 
 
 An interval. Talbot prepares for and sets out on his new 
 expedition. King Henry returns to England. 
 
 Day 7. Act TV., sc. ii. to vii., concludes Talbot's career. In sc. 
 ii. Talbot summons the town of Bordeaux to surrender, and is 
 warned by the Governor that he is surrounded by the army of the 
 Daupliin. In scenes iii. and iv., in different parts of the plains, 
 messengers come to York and to Somerset from Talbot, urging them 
 to come to his assistance. Each throws the blame on the other, but 
 their mutual jealousy makes them leave Talbot to his fate. In sc. 
 V. young Talbot joins his father, and resolves to die with him. In 
 sc. vi. follow the incidents of the battle ending in the deaths of 
 Talbot and his son, whose bodies Sir William Lucy is permitted by 
 Charles and La Pucelle to carry from the field. The French then 
 determine to march on Paris. 
 
 Act V. sc. i. London. The King receives ambassadors from 
 the Pope, the Emperor, and the Earl of Armagnac, to treat of a 
 peace between England and France, and of the marriage of the King 
 to the Earl of Armagnac's daughter. He promises to send the 
 conditions of peace to France by Winchester (now Cardinal), and 
 sends a jewel to the lady in proof of his affection and intention to 
 make her his Queen. 
 
 Act V. sc. ii. France. Charles, La Pucelle, &c., with their 
 forces. They are stUl in the mind to march to Paris (see end of Act 
 IV. sc. vii.), when a scout enters bo inform them that "The English 
 army, that divided was / Into two parties, is now conjoiu'd in one, / 
 and means to give you battle presently." 
 
 " Exeunt. Alarum. Excursions," 
 
X. p. A. DANIEL. TIME-ANALYSIS OF I HENBY VI, 305 
 
 Act V. sc. iii. La Pucelle enters. "The Eegent [York] 
 conquers and tte Frenchmen fly," and she calls up her attendant 
 spirits to assist her ; they abandon her : then enter York, who takes 
 her prisoner. "Exeunt." "Alarum." Suffolk enters with Mar- 
 garet, his prisoner. Enchanted with her heauty, he proposes to her 
 that she shall become King Henry's Queen. She consents, provided 
 her father be pleased. Suffolk thereupon craves a parley with 
 Eegnier, who appears on his castle walls. Eegnier consents to this 
 great match for his daughter on condition of his being allowed quiet 
 possession of Anjou and Maine ; and Suffolk departs to inflame 
 Henry with an account of the great happiness he has provided for 
 him. Perhaps it might be well to mark the Suffolk-Margaret 
 portion of this scene as a separate scene. I include all the scenes, 
 French and English, from Act IV. sc. ii. to this Act V. sc. iii., in one 
 day, No. 7 ; for it seems evident — geographical considerations not- 
 withstanding — that the dramatist intended the action of the French 
 scenes to be continuous. 
 
 An interval ; during which we may suppose Wincnester journey 
 ing to France and Suffolk to England. 
 
 Day 8. Act V. sc. iv. York and Warwick with Joan, 
 prisoner. A shepherd, who claims to be her father, is repudiated by 
 her. York and "Warwick condemn her to death. Cardinal Beaufort 
 now arrives to inform York of the proposed peace; to confer on 
 which the Dauphin is at hand. Then enter Charles and his train. 
 The conditions are agreed to ; Charles swears allegiance to King 
 Henry, and a hollow peace is proclaimed. 
 
 Act V. sc. V. London. Henry, seduced by Suffolk's account 
 of Margaret, brushes aside the remonstrances of Gloucester and 
 Exeter with respect to his contract with the Earl of Armagnac'a 
 daughter, and commissions Suffolk to procure Margaret for his Queen. 
 These two last scenes may conveniently be supposed on one day. 
 
 Time of this play eight days; with intervals. 
 
 Day 1. Act I. sc. i. to vi. 
 Interval. 
 ,, 2. Act IL sc. i. to V. 
 
306 X. p. A. DANIEL. TIME-ANALYSIS OF II HENRY VI. 
 
 Day 3. Act III. sc. i. 
 
 Interval. 
 
 „ 4. Act III. sc. ii. 
 „ 5. Act III. sc. iii. 
 
 Interval. 
 
 „ 6. Act III. sc. iv., Act IV. sc. i. 
 
 Interval. 
 
 ,, 7. Act IV. sc. ii. to vii., and Act V. sc. i. to iii. 
 
 Interval. 
 
 „ 8. Act V. sc. iv. and v. 
 
 Historic period, say from death of Henry V., 31 August, 
 
 1422, to the treaty of marriage between Henry VI. and 
 
 Margaret, end of 1444. 
 
 SECOND PART OF HENRY VI. 
 
 First printed in Folio : no division of acts and scenes. 
 
 " The First paj't of the Contention," etc., on which this Play is 
 founded, has no division of acts or scenes. 
 
 The interval between the First and this, the Second Part of 
 Henry VI., is supposed to be occupied by Suffolk's negotiations for 
 the marriage of the King with Margaret of Anjou. In 
 
 Day 1. Act I. sc. i. London. The Palace. Suffolk presents 
 Margaret to the King. Tlie terms of the contract — the cession of 
 Anjou and Maine to her father, Eegnier — are agreed to. The King 
 rewards Suffolk with the title of Duke ; discharges York " from 
 being Regent, / I' the parts of France, till term of eighteen months j Be 
 full expired," and then, with the Queen and Suffolk, retires to pro- 
 vide with aR speed for her coronation, Gloucester, Protector, 
 laments the blow given to the English power in France by the 
 King's marriage, and after a few words with the Cardinal, departs. 
 The Cardinal, after urging on the lords the necessity of ousting 
 Gloucester from his post of Protector, next goes out to consult with 
 Suffolk on this business. Somerset and Buckingham follow him, 
 
X. p. A. DANIEL. TIME-ANALYSIS OF II HENRY VI. 307 
 
 agreeing to join in procuring the fall of Gloucester, but resolved tliat 
 tTiey, and not the Cardinal, shall benefit thereby. 
 
 The Nevils, Salisbury ^ and his son Warwick, determine to side 
 with Gloucester ; and York outwardly agrees with them, but resolves 
 within himself to steer his course solely with the view to his own 
 advancement to the throne. 
 
 An interval. Some considerable time. Perhaps eighteen months. 
 In sc. 1. York is discharged from his office of Eegent in France for 
 that period ; in sc. iii. it is a question of re-appointing him. 
 
 Day 2. Act I. sc. ii. Gloucester's house. His wife, Eleanor, 
 endeavours to excite in him her own desire for regal dignity; he 
 checks her for her ambition. A messenger enters to bid him " pre- 
 pare to ride unto St. Alban's / Where as the king and queen do 
 mean to hawk." The Duchess promises to follow him presently ; 
 but in the mean time calls in Sir John Hume, whom she has com- 
 missioned to confer with Margery Jourdain and Roger Bolingbroke 
 about raising a spirit that shall reveal the future to her, and she pro- 
 poses to consult them on her return from St. Alban's. Left alone, 
 Hume lets the audience into the secret that he is in the pay of 
 Suffolk and the Cardinal, whose plot it is to tickle the Duchess's 
 ambition, and by her attainture to cause the fall of her husband. 
 
 Act I. sc. iii. The Court. Divers petitioners await the coming 
 forth of the Lord Protector. The Queen and Suffolk enter and take 
 their petitions : one is from an apprentice, Peter, .denouncing his 
 master, Thomas Horner, for saying that the Duke of York was right- 
 ful heir to the crown. Suffolk orders him in and sends for Horner. 
 The Queen complains to Suffolk that all the nobles have greater power 
 than the King, and she is especially irate at the haughty conduct of 
 Dame Eleanor, the Protector's wife ; Suffolk bids her have patience, 
 he will, one by one, get rid of them all, and place the helm in her 
 
 1 Eichard Neville, eldest son of the second wife of Ralph, Earl of West- 
 moreland {Heni-y IV. and Benry V.); he was created Earl of Salisbury in 
 right of his wife Alice, daughter and heiress of Thomas Montacute, killed at 
 the siege of Orleans, 1428 (Is* Part Henry VI., I. iv.). His son, the Earl of 
 Warwick, got his title in right of his wife Anne, sister of Henry Beauchamp, 
 the last Earl and Duke of that family, who died 1445, and heiress of her 
 infant niece Anne, who died 1449. 
 
308 X. p. A. DANIEL. TIMB-ANALTSia OP U HENRY YI. 
 
 hands. The King enters with all the Court, and it is a question 
 whether York or Somerset shall be appointed to the regentship of 
 France. After a good deal of quarrelling, Suffolk calls in Horner 
 and his man Peter, and on the charge which the latter makes against 
 his master being heard, Gloucester, as Protector, decides that the 
 regentship shall be conferred on Somerset, and that Peter and 
 Horner shall settle by single combat, to take place on the last day of 
 the next month, their truth or falsehood. In the course of this scene 
 Margaret makes occasion to box Dame Eleanor's ears, and the latter 
 goes out vowing to be revenged. Buckingham follows her to watch 
 her proceedings. 
 
 Act I. sc. iv. It is to be presumed that the box on the ear 
 received from the Queen has determined Eleanor not to accompany 
 the Court to St. Alban's, and has hastened her consultation with the 
 magicians ; for we now find her with them. They raise a spirit who 
 predicts the fates of the King, York, Suffolk, and Somerset. While 
 they are at their incantations, York and Buckingham (who has 
 " watch'd her well "), with a guard, break in and take them all into 
 custody. Buckingham sets out at once to carry this news to where 
 " the King is now in progress towards St. Alban's ; " and York 
 anticipates that it will provide " a sorry breakfast for my lord 
 protector." He then sends to invite Salisbury and Warwick to sup 
 with him to-morroio nirjlit. The time of this scene appears to be the 
 night of the day commencing with sc. ii. of this Act ; the place is 
 generally given as " Gloucester's garden " (Capell) or " the witch's 
 cave" (Theobald). 
 
 Day 3. Act II. sc. i. St. Alban's. The King, Queen, 
 Gloucester, Cardinal, and Suffolk hawking, and of course quarrelling 
 as usual. They are interrupted by the townsmen brmging in 
 Saunder Simcox, who pretends to have been born blind, and to have 
 recovered his sight after offering at the shrine of St. Alban's ; but 
 who yet is supposed to be a cripple. Gloucester convicts him of 
 imposture, and cures his pretended lameness by whipping. Then 
 Buckingham arrives with the news of the arrest of Eleanor and her 
 accomplices. The King resolves to repose at St. Alban's this night 
 
X. p. A. DANIEL. TIME-ANALYSIS OF II HE^SY VI. 309 
 
 and "to-morrow toward London back again / To look into this 
 business tborouglily." The time of this scene, I presume, is not to 
 be supposed later than midday : Gloucester and the Cardinal, who are 
 somewhat restrained by the King's presence, propose to meet in the 
 evening and settle their difference by the sword ; it must, therefore, 
 be the morrow of the preceding scene. 
 
 Act II. sc. ii. London. The Duke of York's garden. Their 
 "simple supper ended" (see end of Act I. sc. iv.), York exposes to 
 Salisbury and "Warwick his title to the crown. They acknowledge 
 him as their sovereign, and resolve to assist him in obtaining his 
 right. 
 
 An interval of at least a month must here be supposed". 
 
 Day 4. Act II. sc. iii. London. . A hall of justice. The 
 King sentences Eleanor to three days open penance and then to 
 banishment in the Isle of Man ; her accomplices in witchcraft lie 
 condemns to death. He now also assumes sovereign power, and 
 abolishes Gloucester's protectorship. 
 
 This day is the day appointed for the combat between Horner 
 and his man Peter, and therefore, at least, a month must have 
 elapsed since Act I. sc. iii. ; they enter and fight : Horner is 
 vanquished, confesses his treason, and dies. 
 
 An interval; at least two days. 
 
 Day 6. Act II. sc iv. A street. The third day of Eleanor's 
 penance has come, and at ten o'clock Gloucester, with his men in 
 mourning cloaks, meets her and bids her adieu. The Sheriff, her 
 penance done, delivers her to Sir John Stanley, with whom she 
 departs for the Isle of Man. A herald summons Gloucester to a 
 Parliament, " holden at Bury the first of this next month." 
 
 The combat between Horner and Peter was appointed for the last 
 day of a month ; then followed the three days of Eleanor's penance : 
 therefore — 
 
 An interval of about twienty-seven days, to the Parliament on the 
 first of next month, is to be supposed between Days 5 and 6. 
 
 Day 6. Act III. sc. i. At Bury St, Edmund's. The Parlia- 
 
 N. S. SOC. TBANS., 1877-9. 21 
 
310 X. p. A. DANIEL. TIMB-ANALTSIS OF II HENRY VI. 
 
 ment. The Queen, Suffolk, the Cardinal, York, and Buckingham 
 endeavour to persuade the King of the dangerous character of 
 Gloucester.! Somerset comes from France and announces that all is 
 lost there. Gloucester enters, is accused of treason and committed 
 to the I custody of the Cardinal, the King, though convinced of his 
 innocence, being too weak to preserve him. Exeunt all but Queen, 
 Cardinal, Suffolk, and York. Somerset remains apart. They 
 resolve on the death of Gloucester, which the Cardinal promises to 
 elfect. A messenger announces a rebeUion in Ireland. York, after 
 suggesting that as Somerset has been so lucky in France he should 
 now try his hand in Ireland, himself undertakes the business, and 
 desires that, his soldiers may meet him within fourteen days at 
 Bristol, at which port he proposes to embark. Left alone, York 
 determines while he is away, to employ Jack Cade, under the title 
 of Mortimer, to raise commotions in England,' whereby he may 
 " perceive the Commons' mind, / How they affect the house and 
 claim of York," and then, returning with his army from Ireland, 
 to take advantage of circumstances as they may favour his ambition. 
 
 An interval of perhaps a few days may be allowed here. 
 
 Day 7, Act III. sc. ii. Bury St. Edmund's. A room of state. 
 The assassins engaged by Suffolk to murder Gloucester tell him they 
 have done the deed. The King enters with the Queen, the Cardinal, 
 Sonierset, &c., and bids Suffolk call Gloucester to his presence for 
 trial. Suffolk goes and returns with the news of the Duke's death. 
 Warwick and Salisbury enter with the Commons in uproar. The 
 body of Gloucester is brought in ; Warwick accuses Suffolk of the 
 murder. The Commons insist on his death or banishment, and the 
 King orders him to depart within three days, on pain of death. As 
 Suffolk and the Queen, left alone, take leave of each other, Vaux 
 enters and informs them that he is hastening to the King to tell him 
 that Cardinal Beaufort has been suddenly seized with sickness, and 
 now lies at point of death. 
 
 Act III. sc. iii. Death of the Cardinal. 
 
 ' Salisbury and Warwioke are also present, in the stage directipns j but they 
 take no part in the scene. In 1st Part of Contention they go out with the 
 King. 
 
X. p. A. DASIEL. TIME- ANALYSIS OF II HENBY 71. 311 
 
 An interval. Query — three days % The time allowed for Suffolk's 
 departure \ But see comment on the following scene. 
 
 Day 8. Act IV. so. i. The coast of Kent. Alarum. Fight 
 at sea ; then enter Captain of the Pirates, Walter Whitmore and 
 others, with Suffolk and others, prisoners. Suffolk falls to the lot of 
 Whitmore, who, ia revenge for having lost an eye in the fight, 
 instead of ransoming him, resolves to put him to death. Suffolk, 
 to save his life, reveals himself, hut only thereby rouses the anger 
 of the Pirates, who reproach him with the injuries he has inflicted 
 on the realm, and put him to death. The time of this scene is after 
 sunset ; see opening lines. In the course of it we learn that the 
 NevUs " are rising up in arms " in favour of the House of York, and 
 that the Commons of Kent are in rebellion. These facts would 
 suppose a longer iaterval between Days 7 and 8 than the three days 
 allowed to Suffolk for his departure from England. 
 
 Day 9. Act IV. sc. ii. Blackheath. The rebels who, led by 
 Jack Cade, "have been up these two days," are encountered by Sir 
 Humphrey Stafford and his brother with their forces. They prepare 
 for battle. 
 
 Act IV. sc. iii. "Alarums to the fight, wherein both the 
 Staffords are slain." Cade and his companions resolve to march 
 towards London. 
 
 The time of these two scenes cannot be supposed later than the 
 morrow of Day 8 ; for then the rebellion was known to the Pirates, 
 and yet it is not more than two days old. 
 
 Day 10. Act IV. sc. iv. London ; the Court. The King 
 reads a supplication from the Eebels. The Queen mourns over the 
 head of Suffolk. News comes that the rebels are in Southwark ; then 
 that they have gotten London Bridge. The King, on the advice of 
 Buckingham, determines to retreat to Kenilworth, and counsels Lord 
 Say, whom the rebels hate, to accompany him. Say, however, resolves 
 to remain in London in secret. 
 
 Act IV. sc. V. The Tower. Citizens implore aid of Lord Scales 
 against the rebels, who "have won the bridge." He bids them 
 
312 X. p. A. DANIEL. TIME- ANALYSIS OP 11 HENRY VI. 
 
 gather head in Smithfield, and promises to send Matthew Goffe to 
 them. 
 
 Act IV. b6. vi. Cannon Street. Cade and his followers. He 
 strikes his staff on London Stone, and declares himself lord of the 
 city. Dick tells him that there is an army gathered in Smithfield ; 
 he resolves to march there and fight them. 
 
 Act IV. sc. vii. Smithfield. Alarums. Matthew Goffe is 
 defeated and slain by the rebels. Lord Say is taken and beheaded. 
 His head and that of his son-in-law,- Sir James Cromer are borne 
 before Cade on two poles. 
 
 Day 11. Act IV. sc. viii. Buckingham and old Cliiford come 
 to the rebels and offer them a free pardon. They abandon Cade, 
 who flies. Buckingham bids some follow him, and offers a thousand 
 crowns for his head ; the rest he tells to come with him to be 
 reconciled to the King. 
 
 The locality of this scene is somewhat doubtful : Cade opens it 
 by shouting, " Up Fish-street ! down St. Magnus' Corner," &c. ; but 
 a little later he remonstrates with his followers that they should 
 leave him " at the White Hart in Southwark ; '" so that they seem 
 to be on both sides of the river at one time. Editors decide in 
 favour of Southwark. 
 
 Day 12. Act IV. sc. ix. " Sound Trumpets. Enter King, 
 Queene, and Somerset on the Tarras." Buckingham and Clifford 
 bring before the King a multitude of the repentent rebels, with 
 halters round their necks. The King pardons and dismisses them to 
 their homes. A messenger then announces that the Duke of York 
 IB newly come from Ireland, and is marching hitherward with a 
 mighty power, his professed object being only to remove from the 
 King the Duke of Somerset. The King proposes to Somerset that 
 he shall be committed to the Tower until York's army is dismissed, 
 and sends Buckingham to the Duke to satisfy him on this point. 
 
 In the Folio and in the 1st Part of the Contention, at the end of 
 sc. iv. of this Act, the King proposes to retire to KenUworth, and on 
 this ground, I presume, the locality of the present scene is given by 
 the editors as Kenilworth. In the \st Part of the Contention, how- 
 
X. p. A. DANIEL. TIME- ANALYSIS OP // HENRY VI. 313 
 
 ever, in Act IV, sc. viii., when the rebels abandon Cade, Clifford 
 tells them that he will lead them " to Windsor Castle whereas the 
 King abides," No indication of any place for this scene ix is given 
 in The Contention ; but in the Folio it is marked as on the " Tarras " 
 = Terrace. Independently therefore of any geographical consider- 
 ations — and against such considerations the reader of these Plays 
 must carefully guard himself — the weight of " authority " is in 
 favour of marking this scene as on the terrace at Windsor. 
 
 I have distributed these scenes (Act IV. sc. iv. — ix.) in three 
 consecutive days (10, 11, 12), rather from a feeling of its desirable- 
 ness, than from any note of time they contain. It is quite possible 
 the dramatist may have meant them to represent one day only ; it is 
 more probable that the question of time never engaged his attention 
 at all. York's return from Ireland is somewhat embarrassing here ; 
 I can't make out, including intervals, much more than ten days between 
 this day No. 12 and day No. 6 ; yet on that day York calculated that 
 about fourteen days would elapse before his departure to Ireland. 
 
 An interval ; three or four days. 
 
 Day 13. Act IV, sc. x. Kent. Cade, who has been hiding in 
 the woods " these five days," who has " eat no meat these five days," 
 ventures into Iden's garden in search of food. Meeting Idea he 
 fights with and is killed by him. 
 
 Day 14. Act V. sc. i. " Fields near St. Alban's. Two camps 
 
 pitch'd, the King's and Duke of York's ; on either side one." — 
 
 (Capell.) Enter York. Buckingham comes to him from the King. 
 
 On learning that Somerset is committed to the Tower, York professes 
 
 himself satisfied, bids his army disperse and meet him in St. George's 
 
 Fields to-morrow. He then goes with Buckingham to the King's 
 
 tent and makes his submission. Iden enters with the head of Cade 
 
 and is rewarded with knighthood. The Queen enters with Somerset. 
 
 Finding Somerset at freedom, York renounces allegiance and openly 
 
 claims the crown. Either side is jouied by its partisans — old Clifford 
 
 and his son for the King. York's two sons, Edward and Eichard, 
 
 and the Earls of Salisbury and Warwick for York. Then follows, 
 
 in 
 
314 X. p. A.. DANIEL. TIME-ANALYSIS OF U BENRY VI. 
 
 Act V. sc. ii., the Battle of St. Alban's, in which old CUfl'ord and 
 Somerset are slain and, the King's side being defeated, the Ejng, 
 Queen, and young Clifford fly to London. 
 
 Act V. sc. iii. York, with his partisans, resolves to foUow the 
 King to London immediately, or to get there before him if possible. 
 
 Out of respect for history, Malone, and most editors after him, 
 marks the locality of the first scene of this Act as in the fields 
 between Dartford and Blackheath. The dramatist, however, makes 
 the battle foUow immediately on the defiance, and I accordingly 
 adopt CapeU's stage direction as to the locality. 
 
 Time of this Play, fourteen days represented on the stage ; with 
 intervals, suggesting a period in all of say, at the outside, a couple 
 of years. 
 
 Day 1. Act I. sc. i. 
 
 Intei-val (1) eighteen months. 
 „ 2. Act I. sc. ii. — iv. 
 ,, 3. Act II. sc. i. and ii. 
 
 Interval ; a month at least. 
 „ 4. Act II. sc. iii. 
 
 Interval ; at least two days. 
 „ 5. Act II. sc. iv. 
 
 Interval ; about twenty-seven days. 
 „ 6. Act III. sc. i. 
 
 Interval ; a few days. 
 ,, 7. Act III. sc. ii. and iii. 
 
 Interval ; three days or more. 
 „ 8. Act IV. sc. i. 
 ,, 9. Act IV. sc. ii. and iii. 
 „ 10. Act IV. sc. iv. — vii. 
 „ 11. Act IV. sc. viii. 
 „ 12. Act IV. sc. ix. 
 
 Interval ; three or four days. 
 „ 13. Act IV. sc. X. 
 „ 14. Act V. sc. i. — ^iii. 
 Historic period, 22nd April, 1445, to 23rd May, 1455. 
 
X. p. A. DANIEL. TIME- ANALYSIS OF III HENRY VI. 315 
 
 THIRD PART OF HENRY VI. 
 
 First printed in Folio, no division of acts and scenes. 
 
 " The True Tragedie," &c., on which this play is founded, has no 
 division of acts or scenes. 
 
 The interval between The Second Part, and this, The Third Part 
 of Henry VI., is to be supposed no greater than would be required 
 for the flight and pursuit from St. Alban's to London : Eiohard 
 makes his appearance in sc. i. Avith the head of Somerset^ cut off 
 in the battle. 
 
 Day 1. Act I. sc. i. London. The Parliament House. York, 
 with his adherents, breaks in and takes possession of the throne. 
 The King, with his followers, enters ; remonstrances and menaces 
 being of no avail, he ultimately agrees that on being allowed peace- 
 able possession during his life the inheritance of the crown shall be 
 settled on York and his heirs. The I^orthern Lords, Northumber- 
 land, Clifford, and "Westmoreland, disgusted at the King's weakness, 
 leave him. York and his friends then disperse, leaving the King 
 with Exeter. The Queen and the young Prince of Wales enter and 
 reproach the King for the injury he has done himself and them, and, 
 having in the course of the last two or three hours raised a fresh 
 army, they depart to join with the B"orthern Lords. 
 
 An interval : march of the Queen from London to join with her 
 allies and attack the Duke of York in his castle near Wakefield, in 
 Yorkshire. 
 
 Day 2. Act L sc. ii. Sandal Castle. York yields to the 
 solicitations of his sons and Montague ^ and determines to take 
 possession of the throne at once. A messenger announces the 
 approach of the Queen and the Northern Lords. York is joined by 
 his uncles, the Mortimers, and they resolve to issue forth and fight 
 with the Queen's army in the field. 
 
 ' John Neville, brother to Warwick and nephew to York : York being 
 married to Cicely, sister to the Earl of Salisbury. In the Folio York addresses 
 him as iroiher ; in The True Tragedie both York and his sons address him as 
 cousin,. 
 
316 X. p. A. DANIEL. TIME-ANALYSIS OP III HENRY VI. 
 
 Act I. sc. iii. Field of battle between Sandal Castle and Wake- 
 field. Young Eutland, flying with his Tutor, is seized by Clifford 
 and slain. 
 
 Act I. sc. iv. The same. York's party is defeated. York is 
 taken. The Queen and Clifford insult over him, crown him with 
 paper, kill him, and order his head to be placed on York gates. 
 
 An interval : rather more than ten days. 
 
 Day 3. Act II. sc. i. The marches of Wales. "Enter 
 Edward, Eichard, and their power," newly escaped, apparently from 
 the battle of Wakefield. They are yet ignorant of their father's 
 fate when a messenger arrives to tell them of his death. "Enter 
 one blowing," is the stage direction of the Folio when this messenger 
 makes his appearance, and we must imagine that he also has but 
 just fled from the battle ; yet a few minutes afterwards, when War- 
 wick and Montague join them, we learn that to Warwick the news 
 of York's death is ten days old; and that since then, with King 
 Ilonry in his custody, he has encountered the Queen at St. Alban's 
 and been defeated — the King escaping to the Queen — and Warwick, 
 with George of York and the Duke of Norfolk, are come in post- 
 haste to the marches, having heard that Edward was "making 
 another head to fight again." George and Norfolk are still some six 
 miles ofif when a messenger from them brings the news that the 
 Queen is coming with a puissant host. They set forward accordingly. 
 
 An interval. The march to York. 
 
 Day 4. Act II. sc. ii. Before the town of York ; the Duke of 
 York's head over the gate. Enter the King and Queen with their 
 forces. They are met by Edward, his brothers, Warwick, &c., with 
 their army. After mutual defiance they prepare for battle. 
 
 Act II. sc. iii. The field of battle. Warwick, Edward, and 
 George, wearied and disheartened at the course of the action, enter 
 one after the other. Eichard joins them and infuses fresh spirit 
 into them.^ 
 
 1 In this scene, in the Folw, Eichard tells Warwick that his Irotherh&sjust 
 been killed ; in The Trite Tragedie he tells him his fatlier, Salisturff, has 
 
X. p. A. DANIEL. TIME- ANALYSIS OP III HENRY 7T. 317 
 
 Act II. sc. iv. Eichard and Clifford meet and fight. Warwick 
 enters. Clifford flies. 
 
 Act n. sc. T. The King, chidden from the battle hy the Queen 
 and Clifford, meditates on the happiness of a shepherd's Kfe. He 
 beholds and grieves over a son who has killed his father, and a 
 father who has killed his son. " Alarums : excursions." The Queen, 
 the young Prince, and Exeter join him ; the day is lost and they fly 
 towards Berwick. 
 
 Act II. sc. vi. Clifford, wounded to death, enters and falls. 
 Edward, his brothers, Warwick, Montague, &c., enter in triumph. 
 Clifford groans and dies. They mock his dead body, and order 
 York's head to be taken down from York Gate, and Clifford's to be 
 put in its place. They then set out for I<ondon where Edward is to 
 be crowned king, and from whence Warwick purposes to cross to 
 France to negotiate a marriage for him with the Lady Bona, sister- 
 in-law of the French king. Edward now creates Richard Duke of 
 Gloucester, and G«orge Duke of Clarence. The battle here dramatized 
 is supposed to represent the decisive battle of Towton, 28th — 30th 
 March, 1461. 
 
 An interval; during which we are to suppose the flight of Henry 
 and Margaret to Scotland ; the departure thence of the latter to 
 France ; the coronation of King Edward, and the departure of War- 
 wick on his embassy to France. 
 
 Day 5. Act III. sc. i. A forest in the north of England. Two 
 keepers enter, with cross-bows, and take their stand to shoot at the 
 deer. King Henry, who has stolen from Scotland in disguise, enters, 
 Ls recognized by them and apprehended. In the course of the scene 
 the King tells us that Margaret and the young Prince of Wales are 
 gone to France for aid, and he hears that Warwick also " is thither 
 gone, to crave the French king's sister / To wife for Edward." 
 
 An intei-val. The journey of the captive King Henry to London. 
 
 Day 6. Act III. sc. ii. London. The palace. The Lady 
 
 fallen. The historical fact is that a bastard son of the Earl of Salisbury was 
 here slain. The Earl was taken prisoner at the battle of Wakefield and 
 beheaded next day at Ponjfret. The dramatist does not notice his fate. 
 
318 X. p. A. DANIEL. TIME-ANALYSIS OF /:/ HENRY VI. 
 
 Elizabeth Grey has an interview with King Edward, who, failing in 
 his attempt to make her his mistress, resolves to make her his Queen. 
 A nobleman announces the arrival of King Henry as a prisoner. 
 Gloucester now begins to meditate the achievement of the crown. 
 
 An interval. Marriage of King Edward, and journey of his 
 messenger to the French court. 
 
 Lay 7. Act III. sc. iii. France. The King's palace. Queen 
 Margaret solicits aid of King Lewis. While he considers how he 
 may help her, Warwick enters and proposes a matrimonial alliance 
 between King Edward and the Lady Bona. Lewis assents ; but 
 now a post arrives from England — a general post it would seem, for 
 he brings, with strict impartiality, letters from Edward to Lewis, 
 from Montague to his brother Warwick, and from he knows not 
 whom to Queen Margaret. The upshot of them all is the marriage 
 of Edward with the Lady Grey. Enraged with the slight thus put 
 upon him, Warwick allies himself with Margaret, and receiving 
 promise of aid from King Lewis resolves to dethrone Edward and 
 reinstate King Heniy. The time between Days 6 and 7 must be 
 supposed long enough for the marriage of Edward and the journey 
 of the impartial post to the French Court ; but a difl&culty presents 
 itself with regard to the journeys of Margaret and Warwick : they 
 must have set out at some time between Days 4 and 5. Obviously 
 their arrival has been delayed in order that the whole business with 
 King Lewis might be knit up in this one scene. 
 
 An interval; return of Edward's messenger from the French 
 court. 
 
 Day 8. Act IV. sc. i. London. The palace. Clarence 
 and Gloucester speak their mind to Edward with respect to this 
 " new marriage with the Lady Grey.'' The Post, returned from 
 France, delivers to Edward the messages of defiance from Lewis, 
 Margaret, and Warwick with which he was charged in the preceding 
 scene. Clarence and Somerset ^ leave the King to join with Warwick. 
 Edward charges Pembroke and Stafford to " levy men, and make 
 
 ■set. See note on Act I, so. i., 1st Pt. Ben. VI., p. 299. 
 
X. p. A. DANIEL. TIME- ANALYSIS OF III HENBY VI. 319 
 
 prepare for war ; " for he knows — how does not appear — that " they 
 [the Warwick party] are already, or quickly will he, landed." He 
 then, with Gloucester, Montague, and Hastings, proceeds also to 
 make ready for the encounter with Warwick. 
 
 An interval ; a few " dramatic " days, perhaps. 
 
 Day 9. Act IV. sc. ii. Enter Warwick and Oxford, with 
 French soldiers. Clarence and Somerset join them and are welcomed, 
 Warwick promising to hestow his younger daughter on Clarence. 
 They propose to surprise Edward in his camp at night. 
 
 Act IV. sc. iii. King Edward's tent, guarded. Warwick and 
 his followers enter and seize the King. Gloucester and Hastings fly. 
 Warwick sends Edward to the custody of the Archbishop of York, 
 and then marches to London " to free King Henry from imprison- 
 ment / And see him seated in the regal throne." 
 
 An interval : time for news of these events to reach London. 
 
 Day 10. Act IV. sc. iv. London. Queen Elizabeth, who is 
 now with child, has heard of the defeat and capture of her husband, 
 and resolyes to take sanctuary. 
 
 An interval : some weeks probably. 
 
 Day 11. Act IV. sc. v. Middleham, Yorkshire. King Edward, 
 while hunting in the Archbishop's park — an exercise he has often 
 indulged in during his captivity — is rescued by his brother Gloucester 
 and others, and flies with them to Lynn, to ship from thence to 
 Flanders. 
 
 An interval : time for news of Edward's escape to reach London. 
 
 Day 12. Act IV. sc. vi. London. ' The Bishop's Palace i ad- 
 joining St. Paul's. Henry, replaced on the throne, appoints War- 
 wick and Clarence protectors of the realm, and requests that Queen 
 
 ' I place this scene, and so. viii. and viii.a. Act IV. in the Bishop of 
 London's Palace, because it was there that Warwick established the King's 
 Court when he replaced him on the throne ; and it was there that Edward 
 again took him prisoner, according to Hall. That also is the place named by 
 the dramatist See Act V. so. i. I. 45. " You left poor Henry at the Bishop's 
 palace," etc. 
 
320 X. p. A. DANIEL. TIME-ANALYSIS OF III HENRY VI. 
 
 Margaret and lus young son Edward may lie sent for from France. 
 Seeing the young Earl of Eichmond, he prophesies a regal destiny 
 for him. By this time, according to the stage directions of the 
 Eolio, Montague has joined with his brother Warwick. A post now 
 announces the escape of Edward. Somerset, who has charge of the 
 young Earl of Eichmond, resolves to send him away to Britanny to 
 be out of danger of the civU broils yet likely to ensue, i 
 
 An interval. Eeturn of Edward from Flanders. 
 
 Bay 13. Act IV. sc. vii. Before the gates of York. Edward, 
 who has obtained aid from Burgundy, has returned to England, and 
 now with Gloucester and others obtains possession of York from the 
 Mayor and Aldermen, on the plea that he only comes for his duke- 
 dom. Sir John Montgomery, with drum and soldiers, comes to offer 
 him service, but refuses his aid unless Edward proclaims himself 
 King, which he thereupon agrees to do. They propose for this night 
 to harbour in York, and to set forward next day to meet with 
 Warwick and his mates. 
 
 An interval. 
 
 Day 14. Act IV. sc. viii. London. The Bishop's Palace. 
 King Henry, in council with Warwick and other lords, determines of 
 the measures to be taken to oppose Edward, who is now marching 
 amain to London. Warwick is to muster up troops in Warwick- 
 shire ; Clarence in Suffolk, Norfolk, and Kent ; Montague in Buck- 
 ingham, Northampton, and Leicester ; Oxford in Oxfordshire : all 
 are to meet at Coventry ; the King remaining in London. Exeunt. 
 
 An interval. 
 
 Day 15. [sc. viii. a.] London. The Bishop's Palace. King Henry 
 alone with Exeter discusses his position ; he thinks that Edward's 
 forces should not be able to encounter his. He is interrupted by shouts 
 of " A Lancaster ! A Lancaster ! " ^ and Edward and Gloucester, with 
 soldiers, break in and seize him, and send him once more to the Tower. 
 Edward then determines to march towards Coventry, "where per- 
 
 1 So much of this scene as is given in Tlie True Ti-agedie is lumped with 
 the scene corresponding to the Folio scene viii. of Act IV., day 14. 
 ' Qy." A. York I A York 1" Johnson conj. 
 
X. p. A. DANIEL. TIME-ANALYSIS OP III HENRY VI. 321 
 
 omptory Warwick now remains." Contrary to modern usage, I divide 
 Act IV. sc. viii. into two scenes, assigning a separate day (15) to the 
 latter half (sc. viii.a). My division is, perhaps, justified by the 
 stage directions — such as they are — of the Folio and (Quarto) : the 
 " Exeunt " of Folio and " Exeunt omnes '' of (Quarto) which follow 
 the departure of Warwick and the rest, may mark the termination of 
 a scene, and though there is no direction marking the re-entry of the 
 King and Exeter, the probability of the plot absolutely requires a 
 separate scene here ; otherwise we have Henry talking of his forces 
 which are not yet levied as in existence, and Edward speaking of 
 Warwick, who his only just left the stage, as now remaining at 
 Coventry. I note that the Cambridge Editors, in their reprint of 
 The True Tragedy, etc., the (Quarto), number this scene of the 
 seizure of King Henry as a separate scene. The Ul contrivance of 
 the modern sc. viii. has not escaped the notice of the commentators ; 
 but perhaps editors are more responsible for it than the dramatist. 
 
 An interval. The march of Edward from London to Coventry. 
 
 Day 16. Act V. sc. i. Coventry. Warwick on the walls 
 receives messengers who announce the approach of his allies. A 
 drum is heard, and then enter Edward, Gloucester, and forces. They 
 parley with Warwick and exchange defiances. Then enter severally 
 Oxford, Montague, and Somerset, with their forces, and join with 
 Warwick. Last of all comes Clarence, but he, instead of joining his 
 father-in-law, Warwick, turns again and makes his submission to 
 Edward, by whom he is welcomed. Both parties then agree to 
 march to Bamet, there to fight it out, 
 
 An interval. The march from Coventry to Bamet. 
 
 Day 17. Act V. sc. ii. Near Bamet. The field of battle. 
 Alarum and excursions. Enter Edward, bringing forth Warwick 
 wounded. He leaves him there, and goes out to seek Montague. 
 The dying Warwick is joined by Oxford and Somerset, who tell'him 
 that "the Queen [Margaret] from France hath brought a puissant 
 power," and that his brother Montague has been killed. Warwick 
 urges them to fly to the Queen, and dies. 
 
322 X. p. A. DANIEL. TIME-ANALYSIS OF III HENRY VI. 
 
 Act V. sc. iii. Another part of the field. Enter King' Edward 
 in triumph ; with Gloucester, Clarence, etc. Victors at Bamet field, 
 they now resolve to encounter with Queen Margaret, who with her 
 army holds her course towards Tewkshury. Thither they march 
 accordingly. 
 
 An interval. The march from Bamet to Tewkshury. 
 
 Day 18. Act V. sc. iv. Near Tewkshury. Enter Queen 
 Margaret, Prince Edward, Somerset, Oxford, and soldiers. A mes- 
 senger announces the approach of King Edward : he enters with his 
 army. Edward and Margaret severally address their followers. 
 " Alarum. Retreat. Excursions." 
 
 Act Y. sc. V. Another part of the field. Enter Edward, 
 Gloucester, Clarence, etc., with Margaret, Oxford, and Somerset, 
 prisoners. Edward sends Oxford away to Hames Castle straight, 
 and orders Somerset to he beheaded. The young Prince Edward is 
 brought in by soldiers. After mutual revilings, Edward, Gloucester, 
 and Clarence stab the young Prince. • Gloucester suddenly departs 
 for London, where, as Clarence supposes, he means "to make a 
 bloody supper in the Tower." Edward orders Margaret to be carried 
 out, and then dismissing his army, marches to London to see his 
 gentle Queen, who by this time he hopes hath a son for him. 
 
 An interval. Gloucester's journey from Tewkshury to London. 
 
 Day 19. Act V. sc. vi. London. The Tower. Gloucester 
 murders King Henry VI. 
 
 Ifotwithstanding Gloucester's intention to make a bloody supper 
 in the Tower on the night of Tewkshury, I incline to give a separate 
 day to this scene. The dramatist, perhaps, would not have been 
 prevented by the odd 130 mUes between the two places from in- 
 cluding this and the preceding scene in one day, but he has suggested 
 a certain lapse of time by making Henry acquainted, evidently before 
 the appearance of Gloucester, with the fatal result of Tewkshury 
 fight, and the murder of his young son which followed it. I mark, 
 therefore, a separate day for this scene, and an interval between it 
 and the last. 
 
X. p. A. DANIEL. TIME-ANALYSIS OP III BENRY VI. 323 
 
 Having thus disposed of King Heniy, Gloucester resolves that 
 Clarence shall next be got rid of; and with this ohject in view he 
 proposes hy false prophecies to make Edward fearful of his life, and 
 then to purge his fear hy Clarence's death. 
 
 Day 20. Act V. sc. vii. London. Edward is once more seated 
 
 on the English throne. His Queen has presented him with a son 
 
 and heir. Margaret's father, Eegnier, has sent over her ransom, and 
 
 Edward orders her away to France. Having, as he believes, his 
 
 country's peace and brothers' loves, he now proposes to spend the 
 
 time 
 
 " With stately triumphs, mirthful comic shows, 
 Such as befits the pleasure of the Court." 
 
 If the reader will be good enough to imagiae the business con- 
 nected with Margaret's ransom to have been transacted by swift 
 messengers during Edward's march from Tewksbury (the last interval 
 and Day 19), there will be no need to suppose any interval between 
 Days 19 and 20. On this Day 20 the dead body of Henry YI. is lying 
 exposed to the public gaze in Paul's, and on the next day (Day 1 of 
 Ricliard III.) we shall find his daughter-in-lawr, the Lady Anne, 
 carrying it for burial to Chertsey. It is evident, therefore, that we 
 cannot place any interval between Days 19 and 20 of this Play, if it 
 is to be considered in connection with next {Richard HI.). 
 
 Time of this Play 20 Days represented on the stage ; with inter- 
 vals : suggesting a period in all of say 12 months. 
 
 Day 1. Act I. sc. i. 
 
 Interval. 
 2. Act I. sc. ii. — iv. 
 
 Interval. 
 „ 3. Act II. sc. i. 
 
 Interval. 
 „ 4. Act II. sc. ii. — ^vi. 
 
 Interval. 
 „ 5. Act III. sc. i. 
 
 Interval. 
 „ 6. Act III. sc. ii. 
 
324 
 
 p. A. DANIEL. TIME-ANALYSIS OF III HENBY VI. 
 
 Interval. 
 Day 7. Act III. sc. iii. 
 Interval. 
 8. Act IV. sc. i. 
 
 Interval. 
 • 9. Act IV. sc. ii. and iii. 
 Interval. 
 
 10. Act IV. sc. iv. 
 Interval. 
 
 11. Act rV. sc. V. 
 Interval. 
 
 12. Act IV. sc. vi. 
 Interval. 
 
 13. Act IV. sc. vii. 
 Interval. 
 
 14. Act IV. sc. viii. v 
 Interval. \ one scene in modern editions. 
 
 15. Act IV. sc. viii.a. ' 
 Interval. 
 
 16. Act V. sc. i. 
 Interval. 
 
 17. Act V. sc. ii and iii. 
 Idterval. 
 
 18. Act V. sc. iv. and v. 
 hiterval. 
 
 19. Act V. sc. vi. 
 
 20. Act V. sc. vii. 
 
 The historic period here dramatized commences on the day of the 
 battle of St. Alban's, 23rd May, 1455, and ends on the day on which 
 Henry VI. 's body was exposed in St. Paul's, 22nd May, 1471. 
 Queen Margaret, however, was not ransomed and sent to France 
 tiU 1475. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF ItlCHARD III. 325 
 
 RICHARD III. 
 
 First printed in Quarto. First divided into acts and scenes in 
 Folio. This division differs from that of Globe edition. 
 
 In Actus tertius sc. v., vi., and vii. are not numbered. 
 
 In Actus quartus Sccena secunda includes sc. ii. and iii. 
 Sccena tertia = sc. iv. Sccena quarta = sc. v. 
 
 In Actus quintus sc. iii., iv., and v. not numbered, 
 
 The connection of this with the preceding Play, 3rd Pari of 
 Henry VI., in point of time is singularly elastic : not a single day, 
 intervenes, yet years must be supposed to have elapsed. The murder 
 of Henry VI. is but two days old, — his unburied corse bleeds afresh 
 in the presence of the murderer; yet the battle of Tewksbury 
 took place three months ago ; and, stranger stUl, King Edward's 
 eldest son and only chUd, an infant in the Ifurse's arms in the last 
 scene of the former Play, is now a promising youth, with a forward 
 younger brother, and a marriageable sister older than them both. 
 Time, however, has stood stiU with the chief dramatis personce, and 
 they now step forward on the new scene in much the same relative 
 position to each other as when in the last Play the curtain fell between 
 them and their audience. 
 
 Day 1. Act I. sc. i. London. Eichard meditates on the plots 
 he has laid to gain for himself the crown. The false prophecies he 
 has spread abroad (see Act V. sc. vi., 3 Henry VI.) have taken effect, 
 and Clarence, fallen into suspicion with the King, is carried a pri- 
 soner to the Tower. Lord Hastings, who this present day has been 
 delivered from this same prison, greets Eichard, and reports the King 
 grievously sick. Eichard considers with himself that if his plots fail 
 not, " Clarence hath not another day to live ; " which done, he prays 
 that God may take King Edward to his mercy, and leave the world 
 for him to bustle in ; for then he means to marry "Warwick's youngest 
 daughter, the Lady Anne, widow of Prince Edward, the late King 
 Henry's only son. 
 
 Act I. sc. ii. On what appears to be the same day Eichard 
 meets the Lady Anne with the dead body of the late King, taken 
 
 N. S. SOC. TKANS., 1877-9. 22 
 
326 X. p. A. DANIEL. TiMB-ANALYSIS OF BICHARD III. 
 
 from Paul's to be interred at Chertsey. Its wounds bleed afresh in 
 the presence of the murderer. Eichard stays the funeral, and, not 
 waiting, as he purposed in the previous scene, for King Edward's 
 death, at once woos and wins the gentle lady, whose husband " some 
 three months since " he, in his angry mood, stabbed at Tewksbury. 
 She confides the care of the funeral to him, and agrees to meet him 
 at Crosby Place as soon as it is performed. 
 
 An interval should perhaps be allowed here for this funeral and 
 the subsequent marriage of Eichard with the Lady Anne. The 
 interval, however, must be short. Besides Eichard's " Clarence hath 
 not another day to live " of sc. i., note also the reference in Act I. 
 so. iii. 1. 91 to Hastings' late imprisonment. 
 
 Day 2. Act I. sc. iii. The Court. Queen Elizabeth, her 
 brother Lord Eivers, her sons Dorset and Grey, the Duke of Buck- 
 ingham and Lord Stanley, Eichard and Lord Hastings, all meet 
 and indulge in mutual recriminations. Queen Margaret, who has 
 come from France, attacks them all, and they in turn all join to 
 abuse her. The King, it seems, is dangerously ill, and has sent to 
 warn them to his presence to reconcile them to each other, and 
 Catesby comes from him to bid them to his chamber. All depart 
 save Eichard, who has an interview with two murderers, to whom 
 he gives a warrant for admission to the Tower, whither they are to 
 proceed at once to despatch Clarence, and then to repair to Crosby 
 Place to inform Eichard of his death. 
 
 Act I. sc. iv. The Tower. Clarence has "passed a miserable 
 night ; " he relates his dreams to Brackenbury and falls asleep again. 
 The two murderers enter, and show their commission to Brackenbury, 
 who goes out to acquaint the King, though apparently he never 
 reaches him. The murderers put Clarence to death. 
 
 Act IL sc. i. The King's chamber. The King has before 
 him the Queen and the lords of Act L sc. iii., and achieves his pur- 
 pose of reconciling them to each other ; Eichard enters and joins in 
 the universal profession of amity. The Queen then begs that 
 
 1 Lord Stanley In this Play is called Indifferently by his name and by the 
 title, Derby, subsequently conferred on him by Henry VII, I name him 
 Stanley throughout. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF RICHARD III. 327 
 
 Clarence may be restored to favour, ■whereupon Eicliard startles them 
 all with the news of his death. The King, who had reversed the 
 order for his execution, is stricken down with this iatelligence, and 
 is helped to his closet in great tribulation. This scene must, I take 
 it, be the contiauation of sc. iiL of Act I., but it raises this dilemma : 
 either the Queen and the lords were a very long time on their way 
 to the King's chamber, or the murderers were uncommonly quick in 
 effecting their business. Eichard, too, must have gone home to 
 Crosby Place to await the news of the murder. This, of course, 
 accounts for his arriving in the King's chamber after the others. 
 
 Act II. sc. ii. Enter the old Duchess of York, with the two 
 children of Clarence, grieving for his death and for the sickness of 
 the King. The children are in ignorance of their father's death till 
 by their artless prattle they extort the fatal news from her. Queen 
 Elizabeth, followed by Rivers and Dorset, now enters " with her hair 
 about her ears," lamenting the death of King Edward. Eichard, 
 Buckingham, Derby, Hastings, and Eatcliff join them, and it is 
 decided that the young Prince of "Wales shall be immediately fetched 
 from Ludlow to be crowned King. They adjourn to council to settle 
 this weighty business. Eichard and Buckingham, who linger a 
 little behind the others, determine that, whoever goes on this journey, 
 they will be of the party. 
 
 It would be possible to assign a separate day to this scene, and 
 suppose it the morrow of the three preceding scenes — later than the 
 morrow it can hardly be ; — but the action of this drama is so closely 
 compacted that I have thought it best to include it in Day ISTo. 2. 
 
 Day 3. Act II. sc. iii. A street in London. Certain citizens 
 meet and discuss the news, the chief item of which is the King's 
 death ; but this is not yet thoroughly spread abroad. As they salute 
 each other with " good morrow " = good morning, we may suppose 
 this scene to take place on the morning after the King's deatL 
 
 An interval for the journey to Ludlow may now be supposed. 
 
 Day 4. Act II. sc. iv. Westminster. Queen Elizabeth, with 
 her younger son the Dake of York, the old Duchess of York, and 
 
328 X. p. A. DANIEL. TIME-ANALYSIS OF RICHARD III. 
 
 the Archbishop of York.^ The Archbishop, referring to the Ludlow 
 expedition, tells us, " Last night, I hear, they lay at Northampton ; / 
 At Stony-Stratford will they be to-night :/ To-morrow, or next day, 
 they will be here." A messenger amves, who informs the Queen 
 that Lords Elvers and Grej'^, with Sir Thomas Vaughan, have been 
 sent as prisoners to Pomfret by the mighty Dukes Gloucester and 
 Buckingham. Alarmed by this news, the Queen departs to take 
 sanctuary with the young Duke of York. 
 
 An interval of one clear day, not more, might be marked between 
 this and the following scene ; the Archbishop's " next day " woiild 
 justify it ; but as it is not at all necessary to the plot, I prefer to 
 suppose that the young Prince arrives in town " to-morrow." 
 
 Day 5. Act IIL sc. i. London. Enter the young Prince of 
 Wales with Richard, -Buckingham, the Cardinal, Catesby, and others. 
 The Lord Mayor comes to greet him. Hastings brings news that the 
 Queen has taken sanctuary with the young Duke of York. Buck- 
 ingham induces the Cardinal to fetch him forth, either by persuasion 
 or force, to meet his brother. The Cardinal and Hastings accordingly 
 go out, and presently return with the young Duke. They then set 
 out to take up their abode in the Tower. Eichard, Buckingham, 
 and Catesby remain behind. Catesby, who is in the plot for raising 
 Eichard to the throne, is commissioned to sound Hastings on the 
 project, to sujnmon him to-morrow to the Tower to sit about the 
 coronation of the young King, and to tell him that his ancient 
 enemies. Elvers, Grey, and Vaughan, " to-morroto are let blood at 
 Pomfret Castle." He promises that they shall hear from him before 
 they sleep, and goes out accordingly. Eichard and Buckingham 
 adjourn to sup betimes. 
 
 Day 6. Act III. sc. ii. Before Lord Hastings' house. Upon 
 
 1 The prelate of this scene in the Folio is an archbishop ; in the Quarto he 
 is a cardinal. The prelate of the next scene is a cardinal in both versions. 
 Editors decide that the first is Archbishop Eotheram of York, and that the 
 second is Cardinal Bourohier, Archbishop of Canterbury. It may be doubted 
 whether the dramatist intended to present more than one personage. If 
 Holinshed was his authority he certainly did not ; for, according to Holinshed, 
 Eotheram was at that time a cardinal and Lord Chancellor ; it was he who 
 conducted the Queen to sanctuary, and it was he who afterwards persuaded 
 her to give up the young Duke of York. 
 
X. p. A. DANIEL. TIME-ANALrSIS OF RICHARD III. 329 
 
 the stroke of four in tlie morning a messenger from Lord Stanley 
 awakens Hastings to tell Mm that his master has had bad dreams in 
 the night ; he has heard that " there are two councils held; " he likes 
 it not, and proposes that they shall fly to the north " to shun the 
 danger that his soul divines." Hastings pooh-poohs his forebodings, 
 and sends back the messenger to bid Stanley come to him, and they 
 ■will go together to the Tower. Catesby, who we must suppose was 
 unable last night to discharge the commission then entrusted to him, 
 now enters, and finding Hastings unwUling to join in the plot, pre- 
 tends to agree with him. Hastings is, however, rejoiced to hear of 
 the execution which takes place to-day at Pomfret. Stanley enters, 
 and proceeds with Catesby to the Tower, leaving Hastings lingering 
 on the road to talk first with a pursuivant and then with a priest 
 whom he encounters. Buckingham overtakes him, and they go on 
 their way together to the Tower. 
 
 Act III. so. ui. The scene changes to Pomfret Castle, where we 
 find Sir Eichard Eatcliff conducting Elvers, Grey, and Vaughan to 
 present execution. 
 
 Act III. sc. iv. The Tower. The council is assembled to de- 
 termine the day of the young King's coronation. Eichard, finding 
 Hastiugs firm in his loyalty, picks a quarrel with him, and orders 
 him to instant execution, swearing he will not dine till he sees his 
 head. Eatcliff and Level are charged with his execution, according 
 to the Folio version ; in the Quarto Eichard's order is, " Some see it 
 done," and Catesby undertakes the office, and in the next scene 
 brings Hastings' head to Eichard. The Quarto, however, is not self- 
 consistent, for, in this next scene, bo/ore he brings in the head he is 
 addressed by Eichard as being present. The Folio is consistent in 
 itself as regards the parts taken by Eatcliff, Level, and Catesby in 
 Act III. sc. iv. and v. ; but as these scenes in the Tower take place 
 on the same day and at about the same time with sc. iii. at Pomfret 
 it is difficult to imagine Eatcliff as present in both places. Sundry 
 alterations, with a view to overcome this difficulty, have been 
 attempted as regards the parts of Eatcliff and Catesby in sc. iv. and 
 V. ; none, however, can be considered satisfactory. A very easy cure 
 might, however, be effected by giving EatcHEf's part in the Pomfrut 
 
330 X. p. A. DANIEL. TIME-ANALYSIS OF RICHARD III. 
 
 scene to some other personage ; and this change, although the 
 authority of hoth Quarto and Folio is against it, would involve less 
 alteration of the text than any other that has been proposed. If this 
 is beyond the province of editorial revision, we must be content to 
 suppose that the Tower and Pomfret are only separated from each 
 other by the traverse which divides the stage from the tiring-room : 
 a feat of imagination not unfrequently required of us in these Plays, 
 and one which is indeed expressly enjoined us in the 1st Chorus of 
 Henry V. 
 
 Act III. sc. V. The Tower walls. " Enter Eichard and Buck- 
 ingham, in rotten armour, marvellous ill-fauoured ; " their object being 
 to persuade the world that they go in fear of their lives. Catesby, 
 who has been sent to fetch the Lord Mayor, now enters with him, 
 and is followed almost immediately by Lovel and Eatcliff, who bring 
 Hastings' head. Eichard and Buckingham explain to the Mayor the 
 necessity of this sudden execution. He, good man, is easily satisfied, 
 and promises to acquaint the citizens with their just proceedings. 
 Buckingham goes after him to insinuate with the citizens the desir- 
 ability of conferring the crown on Eichard, and promises to let him 
 know the news from Guildhall and bring the citizens with him 
 towards three or four o'clock at Baynard's Castle, whither Eichard 
 proposes to adjourn. To the same place Eichard also commissions 
 Lovel and Catesby to fetch Dr. Shaw and Friar Penker, there to 
 meet him within this hour. 
 
 Act III. sc. vi. A street. Enter a scrivener with a fairly 
 engrossed copy of the indictment of Lord Hastings to be this day 
 read over in Paul's. He something more than insinuates that the 
 whole business is a "palpable device" and a deliberate conspiracy. 
 The time of this scene, according to the scrivener, is within five 
 hours of Hastings' death. 
 
 Act III. sc. vii. Baynard's Castle. Buckingham gives Eichard 
 an account of the proceedings at the Guildhall. The Lord Mayor 
 and citizens approaching, Eichard retires and appears again aloft 
 between two bishops.'- Then follows the scene in which the idiot 
 
 1 " Two bishops : " so they are styled in the stage direction of both Quarto 
 and Folio ; they are not thus dignified in the text, and the author doubtless 
 
X. p. A. DANIEL. TIMK-ANALTSIS OF BICSABB III. 331 
 
 mayor and his train, cajoled by Buckingham and Catesbyj induce 
 Eichard, seemingly much against his wiU, to accept the crown. To- 
 morrow is set down as the coronation day. 
 
 Day 7. Act IV. sc. i. Before the Tower. Queen Elizabeth 
 her son Dorset, and the old Duchess of York meet the Lady Anne, 
 Duchess of Gloucester,^ leading in her hand the Lady Margaret, 
 Clarence's young daughter. All are on their way to pay a visit to the 
 two young princes ; but the Lieutenant of the Tower has strict orders 
 from " the King " not to admit any visitors. The ladies thus learn 
 for the first time of the Lord Protector's assumption of the kingly 
 dignity, and the news is quickly confirmed by Stanley, who comes to 
 bid the Lady Anne go straight with him to "Westminster, " there to 
 be crowned Richard's royal queen." Anne, no less than the rest, is 
 surprised and dismayed at this turn of afiairs. Dorset, so counselled 
 by his mother and by Stanley, flies to take refuge with Richmond in 
 Brittany ; the Queen again goes to sanctuary. 
 
 Day 8. Act IV. sc. ii. The palace. " The trumpets sound. 
 Enter Riohard crowned, Buckingham, Gatesby, with other Nobles"— 
 Qq. 
 
 " Sound a Sennet. Enter Richard in pompe, Buckingham, 
 Gatesby, Rataliffe, Louel." — Ff. 
 
 Eichard mounts the throne. He now hints to Buckingham that 
 to secure his position he would have the young princes put to death, 
 and suddenly. Buckingham asks time to consider the matter, and 
 goes out. Displeased with his lukewarmness, Eichard asks a page if 
 he knows any one who might be bribed to do a deed of death. The 
 page suggests Tyrrel, and goes out to seek him. Stanley enters and 
 tells of the flight of Dorset. Eichard then instructs Gatesby to 
 rumour it abroad that Anne, his wife, is sick and like to die ; also 
 to inquire out some mean-born gentleman, to whom he will straight 
 marry Glarence'S daughter. To himself he determines to marry 
 
 intended them to be Shaw and Penker, mentioned in the preceding scene 
 V. of this Act. 
 
 ' This is the first intimation we have of the marriage of Anne with 
 Biohard. In Act I. so. ii. we witnessed their wooing ; the marriage must 
 have taken place during the interval I have marked as following that scene. 
 
333 X. r. A. DANIEL. TIME- ANALYSIS OP RICHARD III. 
 
 Edward's daughter (the Princess Elizabeth, of whose existence we 
 are now first made aware). " Murder her brothers, and then marry 
 her ! " The page re-enters with Tyrrel, who accepts the commission 
 to murder the princes without a moment's hesitation; he only requires 
 means to come to them, and Eichard delivers him the needful token. 
 
 " Tirrel. Tis done my gracious lord. 
 Richard. Shall we heare from thee, Tirrel, ere we sleepe? 
 Tirrel, Ye shall, my lord." ^ 
 
 So in the Quarto. la the Folio in lieu of these three speeches there 
 is but one, by Tyrrel : — " I wiU. dispatch it straight." And so he goes 
 to his work. Buckingham now re-enters; but Eichard no longer 
 wants him ; wiU not listen to his demands for the promised reward of 
 his services ; he is " not in the vein ; '' asks him instead, " What's 
 o'clock?" (and we learn that it is on the stroke of ten), and so leaves 
 him. Buckingham, alarmed at the contempt with which he is treated, 
 thinlcs of Hastings' fate, and resolves to fly to Brecknock while his 
 fearful head is on. 
 
 The early hour at which this scene closes (" upon the stroke of 
 ten "), and the fact that it is after the coronation — for Anne is not 
 present, and Stanley's business is to report the flight of Dorset — sug- 
 gest the commencement of a new day with this scene ; but as Dorset's 
 flight could not be long concealed from Eichard, we can scarcely 
 imagine the time to be later than the morrow of Act IV. sc. i. 
 
 Act IV. sc. iii. The palace. Tyrrel has done his work — 
 
 smothered the young princes as they lay asleep — and now comes to 
 
 inform the King, who bids him come to him again soon at after 
 
 supper, and tell the process of their death. The time of this scene ] 
 
 "Well, just before supper-time, about five or six o'clock p.m. On the 
 
 same day as the preceding scene 1 It should be if Tyrrel kept his 
 
 promise to a king not prone to let his purpose cool. Then the young 
 
 princes were abed early in the afternoon. Not impossible; but the 
 
 reader must decide for himself on the probabilities of the case. I take 
 
 it to be the same day, notwithstanding the astounding celerity of the 
 
 march of .events of which we gain intelligence when Tyrrel goes off 
 
 1 Except in the change of the name Catesby to Tirrel, the two last of these 
 speeches are a repetition of 11. 188, 189, Act III. so. i., found in both Quarto 
 and Folio, 
 
X. p. A. DANIEL. TIME-ANALYSIS OF MCBAXD III. 333 
 
 to meditate, between this and after-supper time, how the King may- 
 do him good. "We learn that between this time and ten in the 
 morning Eiohard has pent up the son of Clarence close ; that he 
 has matched the daughter (a mere child on the morning of yesterday) 
 in a mean marriage ; that " Anne, my wife, hath hid the world good 
 night," and that being now free, he is about to go, " a jolly thriving 
 wooer," to young Elizabeth, and so. prevent the aims of Breton 
 Eichmond in that quarter ! And this is not all ; for Catesby comes 
 in with the intelligence that Ely has fled to Eichmond, and that 
 Buckingham — ^here at ten this morning — is in the field, back'd with 
 the hardy Welshmen, and still his power increaseth ! 
 
 Eichard ends the scene, determining to make instant preparations 
 to put down Buckingham's rebellion. Does he wait for supper 1 I 
 think not. If Buckingham can fly from London to Brecknock,^ levy 
 an army there, and let the news of his proceedings fly back to Lon- 
 don all in the course of a few hours, Eichard may surely muster up 
 his men in ten minutes. He does so.^ 
 
 Act IV. sc. iv. Before the palace. Queen Margaret, who has 
 slily lurked in these confines to watch the waning of her adversaries, 
 is now about to return to France, when Queen Elizabeth and the old 
 Duchess of York enter, lamenting the death of the young princes, 
 whose souls they believe to be yet hovering in the air ; she joins 
 them, and aU three sit upon the ground, uniting in a chorus of 
 execrations and laments. After instructing them how to make their 
 curses teU, Margaret leaves them, and Eichard enters with his army. 
 He wiU not listen to the exclamations of the women, but drowns 
 their voices with his drums and trumpets. His mother curses him 
 and leaves him, and he then cajoles the Queen into promising him the 
 hand of her daughter ; whereupon she leaves him too. Then enter, 
 in rapid succession, Eatclifi', Catesby, Stanley, and several messengers 
 
 ' In a straight line 150 miles. 
 
 ' I need hardly say that it is Tyrrel's business which forces sc. il. and iii. 
 of Act IV. into one day ; if we could throw him over, or suppose him to have 
 taken a week or a month in which to fulfil his murderous engagement, so much 
 time as we allow him might be placed as an interval between these two 
 scenes ; but the dramatist fixes !iis time, and in our reckoning I presume we 
 are bound to accept the definite before the Indefinite. Scenes ii. and iii. being 
 thus brought together, scenes iv. and v. join them as a matter of course. 
 
334 X. p. A. DANIEL. TIME-ANALYSIS OF RICHARD III. 
 
 ■with the following items of intelligence : Eichmond is on the 
 western coast with a puissant navy ; in Devonshire Sir Edward 
 Courtney and his brother, the Bishop of Exeter, are up in arms ; 
 the army of the Duke of Buckingham is dispersed by sudden Hoods, 
 and he himself wandered away alone, no man knows whither ; Sir 
 Thomas Lovel and Dorset in Yorkshire are in arms ; the Breton navy 
 is dispersed by tempest; Eichmond in Dorsetshire had thought to land, 
 but, mistrusting the people there, hoisted sail and made away for 
 Brittany ; at last Catesby, who since his first entrance has posted 
 to the Duke of Norfolk to bid him muster up his force, re-enters 
 with the news that Buckingham is taken, but that Eichmond is with 
 a mighty power landed at Milford. Eichard ends the scene : — 
 
 " Away towards Salisbury ! while we reason here 
 A royal battle might be won and lost ; 
 Some one take order Buckingham be brought 
 To Salisbury ; the rest march on with me. 
 
 [Flouris?i. Exeunt." 
 
 Act IV. sc. V. Lord Stanley sends letters to his stepson Eich- 
 mond by Sir Christopher Urswick ; he cannot openly revolt to him, 
 for his son George is in the tyrant's power, hostage for his fidehty. 
 He lets him know that the Queen has heartily consented that he 
 shall marry the Princess Elizabeth her daughter. With this scene I 
 end the long-short time included in Act IV. sc. ii. — v., Day 8. It 
 is true that Sir Christopher has intelligence that Eichmond is now 
 at Pembroke or Ha'rford-west ; i but at the rate at which, in the pre- 
 ceding scene, we have seen events progress and news of them arrive, 
 we need not suppose any pause here. Stanley must have accom- 
 panied Eichard on his expedition, or at least have followed him 
 immediately, and this scene, therefore, may be taken as part of 
 Day 8. 
 
 An interval (?). Eichard's march to Salisbury. 
 
 Day 9. Act V. so. i. Salisbury. Buckingham is led to execu- 
 tion by the Sheriff; when he enters he asks, "Will not King 
 Eichard let me speak with him?" We may therefore suppose 
 Eichard to be now in the town. 
 
 ' Pembroke to the south, Ha'rford-weat to the north, of Milford. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF RICHARD III. 335 
 
 An interval C?). Eichard's march from Salisbury to Leicester. 
 
 Day 10. Act V. so. ii. Near Tamworth. Eichmond with his 
 adherents has penetrated thus far into the howels of the land. He 
 hears that Eichard now lies near Leicester, " one day's march " from 
 Tamworth, and thither he proceeds to join battle with him. 
 
 Here, as the author gives us two definite points, with the time 
 necessary for traversing the space between them, a little digression 
 may be allowable, with the view of ascertaining the lapse of time — ■ 
 if any — supposed by the plot of the drama between our Days 8 and 
 10. From Tamworth to Leicester is " one day's march : '' the 
 distance on the map, in a straight line, is 24 miles. Calculated at this 
 rate, Eichmond has marched from Milford to Tamworth — 160 miles 
 = six to seven days. Eichard has marched from London to Salisbury, 
 and from Salisbury to Leicester^ — 190 miles = seven to eight days. 
 Are we to distribute this time between the two last intervals that I 
 have doubtfully marked, or are we to go to history, where we find 
 that Eichmond landed at Milford Haven on the 7th August, 
 1485, and fought the battle of Bosworth Field on the 22nd of the 
 same month ? Or are we to be guided by the instances of the anni- 
 hilation of time and space which this Play elsewhere affords us ? It 
 seems a fruitless inquiry, but it at any rate leads to the conclusion 
 that the author himself actually, if not designedly, put aside all such 
 considerations when constructing the plots of his dramas. 
 
 Act V. sc. iii. Bosworth Field. As this place lies about half- 
 way between Tamworth and Leicester, we may suppose this scene 
 to be a continuation of the day commenced in the preceding scene. 
 
 Enter Eichard with his army. They pitch the King's tent on 
 one side of the stage, and then go out to survey the field for 
 to-morrow's battle. 
 
 Enter Eichmond with his army. " The weary sun hath made a 
 golden set." They pitch his tent on the other side of the stage, and 
 after giving some orders for the morrow's battle the leaders withdraw 
 into the tent. Eichmond desires that the Earl of Pembroke come 
 to him by the second hour of the morning. 
 
 In Eichard's tent. "It's supper-time," " it's nine o'clock" (six 
 o'clock, Qq.) j but the King will not sup to-night ; he gives sundry 
 
336 X. p. A. DANIEL. TIME-ANALYSIS OP BICnAUD III. 
 
 orders for the morrow, bids Eatcliff come to him ahout midnight, 
 and then desires to be left alone. 
 
 In Eichmond's tent. Stanley has a secret interview with his 
 stepson. Richmond is then left to his repose. 
 
 Eichard and Eichmoud both sleep. 
 
 Then enter, in succession, between the two tents, the ghosts of 
 Prince Edward, of Henry VI., of Clarence, of Eivers, Grey, and 
 Vaughan, of Hastings, of the two young princes, of Lady Anne, 
 and of Buckingham ; they address words of hope and comfort to 
 Eichmond, and bid Eichard despair. The ghosts vanish, and 
 Eichard awakes in terror from his dream. " It is now dead mid- 
 night," and 
 
 Day 11 begins. Eatcliff enters to Eichard, " The early vUlage 
 cock hath twice done salutation to the morn ; " but " it is not yet 
 near day," and they go out together — Eichard to play the eaves- 
 dropper under the tents, to see if any mean to shrink from him. 
 
 Eichmond now awakes, much comforted with his share of the 
 dream. His friends come to him. It is now " upon the stroke of 
 four.'' He makes an oration to his army, and they march out for 
 the battle. 
 
 Eichard re-enters with his friends ; makes his oration to liis army, 
 and they march out to join battle with the enemy. 
 
 Act V. sc. iv. •and v. Alarums and excursions for the battle. 
 Eichard is slain by Eichmond, who receives on the field the crown 
 taken from the dead tyrant's head. 
 
 Time of this Play 1 1 days represented on the stage ; with intervals. 
 Total dramatic time within one month (?). 
 
 Dayl. Act I. sc. i. and ii. 
 
 Interval. 
 „ 2. Act I. sc. iii. and iv. Act II. sc. i. and ii. 
 „ 3. Act II. sc. iii. 
 
 Interval. 
 „ 4. Act II. sc. iv. 
 „ 5. Act III. sc. i. 
 „ 6. Act III. sc. ii.— vii. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF HENRY VIII. 337 
 
 Day 7. Act IV. sc. i. 
 „ 8. Act IV. sc. ii. — V. 
 
 Interval. 
 „ 9. Act V. sc. i. 
 Internal. 
 „ 10. Act V. sc. ii. and fii-st half of sc. iii. 
 „ 11. Act V. second half of sc. iii. and sc. iv. and v. 
 Historic dates. The dead body of Henry VI. exposed to public 
 view in St. Paul's, 22nd May, 1471. Marriage of Eichard with 
 Anne, 1472. Death of Clarence, beginning of 1478. Death of 
 Edward IV., 9th April, 1483. Eivers and Grey an-ested, 30th 
 April, 1483. Hastings executed, 13th June, 1483. Eivers, Grey, 
 Vaughan, and Hawes executed, 15th June, 1483. BucWngham 
 harangues the citizens ia Guildhall, 24th June, 1483. Lord Mayor 
 and citizens offer Eichard the crown, 25th June; he is declared 
 King at Westminster Hall, 26th June ; and crowned, 6th July, 
 1483. Buckingham executed, October, 1483. Death of Queen 
 Anne, 16th March, 1485. Henry VII. lands at Milford Haven, 7th 
 August, 1485. Battle of Bosworth Field, 22nd August, 1485. 
 
 HENRY VIII. 
 
 FiEST printed in Folio ; divided into acts and scenes ; and so 
 divided in Globe edition, except that in the Folio. 
 
 Actus quintus, Sccena secunda includes sc. ii. and iii. Sccena 
 tertia = sc. iv. Sccena quarta = sc. v. 
 
 The Prologue. 
 
 Day 1. Act I. sc. i. London. An ante-chamber in the palace. 
 Enter the Duke of Norfolk at one door ; at the other the Duke of 
 Buckingham and his son-in-law. Lord Abergavenny. Their convers- 
 ation informs the audience of the course of affairs, commencing with 
 the glories of the meeting of Henry and Francis I. at the Field of the 
 Cloth of Gold ; of the league there concluded ; of its subsequent 
 breach; of the alliance with the Emperor Charles V., and of his 
 
338 X. p. A. DANIEL. TIME-ANALYSIS OP HENRY VUl. 
 
 visit to the English Couit : a period rauging from the summer of 
 1520 to the summer of 1522, but treated as though of yesterday. 
 In all these affairs Buckingham vigorously denounces the intrigues of 
 Cardinal "Wolsey, and threatens to expose him to the King. Norfolk 
 advises him to be cautious how he attacks so dangerous an adversary. 
 In the midst of this conversation Wolsey enters, with his train, on 
 his way to the King, and " in his passage fixeth his eye on Bucking- 
 ham, and Buckingham on him, both full of disdain." As he goes 
 out he has this conversation with his secretary : — 
 
 " Wol. The Duke of Buckingham's surveyor, ha ? 
 Where's his examination ? 
 
 Seer. Here, so please you. 
 
 Wol. Is he in person ready ? 
 
 Seer. Ay, please your grace. 
 
 Wol. Well, we shall then know more ; and Buckingham 
 Shall lessen this big look." 
 
 The result is soon apparent in the entry of Brandon with a sergeatit- 
 at-arms and the guard, and in the arrest for high treason of Buck- 
 ingham and Abergavenny, and their committal to the Tower. 
 
 Act I. sc. ii. The council-chamber. The King thanks Wolsey 
 for the great care he has of his safety, and determines to hear in 
 person the accusations of Buckingham's surveyor against his master. 
 The Queen enters, attended by the Dukes of Norfolk and Suffolk ; 
 she complains to the King of the grievous taxations inflicted on his 
 subjects by the Cardinal, who excuses himself on the plea that aU has 
 been done in due course of law. The King, however, is not satisfied ; 
 orders that these extraordinary exactions cease, and that a general 
 pardon be granted to all recalcitrants. Buckingham's discarded 
 servant — who we learned in the preceding scene was "in person 
 ready " — is then introduced, and testifies to the manifold treasons 
 of his late master. The Queen again attempts to mediate ; but the 
 Cardinal is here too strong for her, having on his side the King's 
 fears for his own safety. The King ends the scene, ordering that 
 Buckingham be called to present trial. 
 
 Act I. sc. iii. The palace. The Lord Chamberlain, Lord Sandys 
 and Sir Thomas Lovell meet. Their talk is of the extravagant 
 French fashions the Court gallants have adopted since " the late 
 
X. p. A. danieSj. timk-analysis of EENur nil. 339 
 
 voyage," and the Proclamation that has been issued for their 
 reformation. (The author still insists on our being as it were on the 
 morrow of the " Meld of the Cloth of Gold.") All three are about 
 to proceed to a great supper which the Cardinal gives to-night, and at 
 which the Chamberlain with Sir Henry Guildford are to be comp- 
 trollers. 
 
 Act I. sc. iv. The supper at the Cardinal's. Sir Henry Guild- 
 ford and the Lord Chamberlain marshal the guests. Wolsey enters, 
 takes his state, and welcomes them. A troop of noble strangers 
 crave admittance ; they enter masked and attired like shepherds, and 
 take out the ladies to dance. The King, who is among them, 
 chooses Anne Bullen, one of the guests, for his partner. The Car- 
 dinal discovers his royal visitants, and they adjourn with the ladies 
 to another chamber to a banquet. Note, that the King here sees 
 Anne for the first time. 
 
 "With these two last scenes, though they are in no way connected 
 with the preceding two, we may very weU conclude Day 1 and Act 
 I. together. 
 
 An interval. It should be short ; for at the end of Act I. sc. ii. 
 the King orders the present trial of Buckingham ; but as in sc. iv. 
 Henry first makes the acquaintance of Anne, the following scenes 
 require it to be long. 
 
 Day 2. Act II. sc. i. Westminster. Two gentlemen, who 
 act the part of Chorus, meet, and we learn the details of the trial and 
 condemnation of the Duke of Buckingham, who now enters from 
 his arraignment on his way back to the Tower, and to execution. 
 After his departure the two gentlemen resume their talk, and com- 
 ment on the rumours heard of late days of the King's intended divorce 
 from Katherine, and of the arrival of Cardinal Campeius in connec- 
 tion with the business. 
 
 Act II. sc. ii. An ante-chamber in the palace. The Lord 
 Chamberlain enters ; he has evidently but just left the King, when 
 the Dukes of Norfolk and Suffolk meet him. Their talk is all of 
 the intended divorce, the chief blame of which they lay on Wolsey. 
 The Dukes propose to visit the King, and ask the Chamberlain to 
 
340 X. p. A. DANIEL. TIME-ANALYSIS OP nENBY VIII. 
 
 accompany them. He excuses himself, for " the King liath sent me 
 otherwhere," and leaves them. A curtain is drawn, and the Dukes 
 are in the presence ; but are roughly received, and contemptuously 
 dismissed as Wolsey and Campeius make their appearance. This is 
 the first interview Campeius has with the King, and therefore must he 
 supposed to take place shortly after his arrival. As in the preceding 
 scene his arrival is generally known, we may suppose both these 
 scenes to be on one day. It would appear that much time must have 
 elapsed since Act I., for aU the learned clerks of Christendom have 
 been consulted in the matter of the divorce, and Campeius, now sent 
 by the Pope at the King's invitation, comes as " one general tongue " 
 to decide the matter. He delivers to the King his commission, 
 which joins vrith him, for the judging of the business, Cardinal 
 Wolsey. The King sends his new secretary, Gardiner, to inform the 
 Queen of the purpose for which Campeius is come. 
 
 Act II. sc. iii. An ante-chamber of the Queen's apartments. 
 Enter Anne Bullen and an old lady. The Lord Chamberlain comes 
 to them, and informs Anne that the King has been pleased to create 
 her Marchioness of Pembroke, with an allowance of " a thousand a 
 year." This, I presume, is the business on which the King had sent 
 the Chamberlain (see last scene), and I therefore include this scene 
 in Day 2. The old lady's discourse is full of hints at the approach- 
 ing elevation of Anne as Queen. Again, therefore, long time since 
 the end of Act I. is suggested to us. 
 
 Day 3. Act II. sc. iv. A haU in Blackfriars. The court is 
 assembled to try the case of the divorce. The King answers to his 
 name. The Queen does not answer; but, kneeling to the King, 
 appeals to his pity and sense of justice, and asks delay till she can be 
 advised by her friends in Spain. The cardinals oppose any delay ; 
 whereupon she accuses Wolsey of having blown this coal between 
 the King and her, denounces him as her enemy, refuses him as her 
 judge, and, appealing to the higher authority of the Pope for justice, 
 leaves the court. The King fully clears Wolsey of stirring this business, 
 admits that, on the contrary, he has ever wished that it should sleep, 
 and has often hindered the passages made towards it. His own 
 tender conscience — first startled at some doubts cast on the legitimacy 
 
X. p. A. DANIEL. TIME-ANALYSIS OF HENRY mi. 341 
 
 of Lis daughter Mary, on the occasion of a proposed treaty of 
 marriage between her and the Duke of Orleans ^ — is his only motive 
 for -wishing this trial j and he declares that if the court can satisfy 
 him as to the lawfulness of his marriage with Katherine, nothing 
 ■will give him. greater content. Campeius, taking advantage of this 
 profession of love for the Queen, suggests the adjournment of the 
 court, and that an earnest motion be made to the Queen to withdraw 
 her appeal to Rome. The King accordingly orders the court to 
 break up ; but he begins to perceive that the cardinals are trifling 
 with him, and in an aside he wishes for the return of Cranmer,^ 
 with whose approach he knows his comfort comes along. A separate 
 day must of course be assigned to this scene, which may, with 
 dramatic propriety, be supposed the morrow of Day 2. 
 
 Day 4. Act III. sc. i. The Queen's apartment. " Enter 
 Queene and her Women, as at worke." The two cardinals — "Wolsey 
 forgetting, like a good man, her late censure both of his truth and 
 him — come to offer their duty and advice to the Queen. She at first 
 repels them, but at last, soothed by their protestations of friendliness, 
 begs them to bestow their counsels on her. Beyond a general desire 
 that she should avoid irritating the King by her obstinacy, and place 
 her trust in them, they do not in this scene propose any definite 
 course to her. 
 
 A separate day, the morrow of Day 3, should, I think, be assigned 
 to this scene. 
 
 An interval ; for reason of which see comment on following scene. 
 
 Day 5. Act III. sc. ii. Ante-chamber to the King's apart- 
 ments. The Dukes of l^orfolk and Suffolk, the Earl of Surrey, and 
 the Lord Chamberlain are met, big with expectation of Wolsey's 
 overthrow ; for it seems his contrary proceedings in the divorce case 
 
 1 April, 1527. 
 
 ^ This is the first time we hear of Cranmer in the Play. He was away 
 in Italy, France, and Germany, working for the King's divorce from the 
 close of 1529 to the beginning of 1533, when he returned to be consecrated 
 Archbishop of Canterbury. The Archbishop of that see, mentioned in the 
 stage direction of this scene, and addressed by the King, would be his 
 predecessor, Warham. 
 
 N. S. see. TBANS., 1877-9. 23 
 
312 X. p. A. DANIEL. TIME-ANALYSIS OF SENBY VUI. 
 
 are all unfolded. His letters to the Pope, praying him to stay judg- 
 ment, and so prevent the Anne Bullen marriage, are come to the 
 King's eye; but on this point he is too late, for — though this is yet 
 a Court secret — the King already hath married the fair lady, and 
 there's order given for her coronation. Moreover, the King is further 
 incensed hy the fact that Cardinal Campeius, as agent to Wolsey in 
 this business, is stolen away to Eome, leaving the King's cause 
 unhandled. Norfolk asks, " When returns Cranmer?" Suffolk 
 replies — 
 
 " He is returii'd in his opinions ; which. 
 Have satisfied the King for his divorce, 
 Together with aU famous colleges 
 Almost in Christendom : shortly, I believe. 
 His second marriage shall be publish'd, and 
 Her coronation." 
 
 And they expect that Cranmer will be rewarded with an archbishopric. 
 From the above dialogue we are not to understand tbat Cranmer is 
 returned in person, but merely, as Tyrwhitt explains, — He is retum'd 
 in effect, having sent his opinions, etc. Norfolk could not be sup- 
 posed ignorant of Cranmer's actual return any more than Wolsey, 
 who now enters with his secretary, CromweU. The nobles stand 
 apart observing him. CromweU, it appears, has given to the King a 
 certain packet from the Cardinal, who now, in obedience to command, 
 awaits the coming forth of the King. He is moody ; he likes not 
 the Anne Bullen match ; determines with himself that Henry shall 
 marry with the French King's sister ; he is troubled too with thoughts 
 of the arch-heretic Cranmer, who has crawled into the favour of the 
 King, and so he falls into a brown study. The King enters, " read- 
 ing of a schedule," and rouses him from his meditations. Beginning 
 smoothly, he reminds him of the supreme favour he has so long en- 
 joyed, and then abruptly giving him two papers, and bidding him 
 " Eead o'er this ; / and, after, this : and then to breakfast, with / 
 what appetite you have," he goes out frowning upon the Cardinal. 
 "The nobles throng after him, smiling and whispering." "Wolsey 
 reads the papers : the account of the immense wealth he has drawn 
 together with wliich to gain the popedom, and his letter to the Pope 
 about the King's divorce. He sees that his disgrace is irretrievable. 
 
X. p. A. DANIEL. TIMB-ANALTSia OF SENRV YIII. 343 
 
 The nobles return, and in the King's name demand of him the great 
 seal; this he refuses to deliver to any but the King himself. They 
 leave him, after acquainting him with the King's further pleasme, 
 triumphing in his overthrow. Cromwell comes to him, amazed 
 at his fall; he tells him that Sir Thomas More is chosen Lord 
 Ghancellor in his place; that Cranmer is returned, and installed 
 Archbishop of Canterbury ; and that 
 
 "The Lady Anne,, 
 
 Whom the King hath in secrecy long married, 
 
 This day was viewed in open as his queen. 
 
 Going to chapel ; and the voice is now 
 
 Only about her coronation." 
 
 From all which it appears that events which were merely rumoured 
 or in expectation at the beginning of this scene have now before its 
 end become openly known and accomplished : they have, in fact, 
 progressed with the dialogue in which they are narrated. "Wolsey 
 ends the scene with friendly advice to Cromwell, and a farewell to 
 aU. his glory. 
 
 An interval. 
 
 Day 6. Act IV. sc. i. A street in Westminster. Our two 
 choric gentlemen, who have not met since they beheld the Duke of 
 Buckingham come from his trial, are now again in waiting to behold 
 the Lady Anne pass from her coronation. From them we learn that 
 Cranmer since his instalment has pronounced the nullity of Henry's 
 marriage with Katherine, who now remains sick at Kimbolton. The 
 coronation procession then passes over the stage, and the Chorus is 
 joined by a third gentleman, who gives some account of the ceremony 
 as he beheld it in the Abbey. We also learn that Gardiner has been 
 promoted to the see of Winchester, and is no lover of Cranmer, who, 
 however, has a staunch friend in Cromwell, a man now much in 
 esteem with the King. 
 
 Act IV. sc. ii. Kimbolton. " Enter Katherine, Dowager, sick ; 
 led between Griffith, her gentleman usher, and Patience, her woman." 
 News of the death of Wolsey has reached them ; they discuss his 
 character. The Queen then falls asleep, and has a vision of angels 
 presenting, to her an immortal garland. Awaking, she receives a visit 
 
344 X. p. A. DANIEL. TIME-ANALYSIS OF HENRr VIII. 
 
 from Capucius, ambassador from her nephew the Emperor, who brings 
 to her a message of comfort from the King ; to him she confides a 
 letter to Henry, praying him to be good to her dependants. She 
 then bids farewell to Griffith, and is helped to her bed by Patience, 
 anticipating a speedy end. 
 
 Both scenes of this act may, I presume, be supposed on one day. 
 
 Interval. 
 
 Day 7. Act V. sc. i. London. A gallery La the palace. At 
 night. Enter Gardiner, a page with a torch before him, met by Sir 
 Thomas Lovell. One o'clock has struck as Gardiner comes from the 
 King, whom lie has left at primero with the Duke of Suffolk. LoveU 
 is going to the King with news from Queen Aime, who is in labour, 
 and whose life is feared. They agree between them that they would 
 not be sorry if she and Cranmer and Cromwell were in their graves, 
 and Gardiner informs Lovell that he and the Council have moved 
 the King as to Cranmer, who is to appear before the Board to-morrow 
 morning (i. e. the morning of the twenty-four hours now begun) 
 to auswor for himself. Gardiner departs, and the King enters with 
 Suffolk from their play. Lovell delivers his message. The King, 
 telling Suffolk, " 'Tis midnight, Charles " (past one at the beginning of 
 the scene), bids him get to bed, and remember the Queen in his 
 prayers. Suffolk departs, and Sir Anthony Denny brings Cranmer 
 to the King in accordance with his commands. LoveU guesses that 
 this must be about the business which Gardiner had confided tO 
 him, and would fain listen to it; but the King orders every one 
 out of the gallery but Cranmer. Him he teUs of the complaints that 
 are made against him, and that he must appear before the Council in 
 the morning. Finding him firm in his innocence, he gives him his 
 signet, and tells him if the Council insist on committing him to the 
 Tower to show it to them and make his appeal to him. As Cranmer 
 departs an old lady forces her way in to tell the King of Anne's 
 happy deliverance of a daughter, and that she prays him to visit her. 
 
 Act V. sc. ii. Before the Council-chamber. Morning is come, 
 and Cranmer is kept waiting at the door ; he is seen there by Dr. 
 Butts, who hastens to inform the King ; and presently the King and 
 Butts appear at a window above to view this strange sight. 
 
X. p. A. DANIEL. TIME-ANALYSIS OF HENRY VIII. 345 
 
 Act V. sc. iii. The Council-chamber. The members are set, 
 and after a little time Cranmer is admitted. Gardiner, who takes 
 the lead in the business, proposes his committal to the Tower, and 
 all assent, Cromwell alone daring to speak in his favour. Finding 
 them obdurate, Cranmer, to their dismay, produces the King's signet, 
 and takes his cause out of their hands ; to their still greater dismay, 
 the Bang himself now makes his appearance, frowning on them. He 
 rates them soundly for their behaviour to Cranmer, and insists on 
 their reconcilement. To mark his own friendship to Cranmer, he 
 asks him to be godfather to the young maid, who yet wants baptism, 
 and anparently they all go out at once to the christening. 
 
 " Come, lords, we trifle time away ; I long 
 To have this young one made a Christian." 
 
 Act V. so. iv. The palace yard. The porters have great 
 difficulty in keeping out the crowd assembled to witness the return 
 of the christening procession. 
 
 Act V. sc. V. The procession enters with the young Princess 
 Elizabeth from the christening, and is met by the King. Cranmer 
 predicts the future greatness of the child, and the blessings England 
 is to enjoy under her rule and that of the King who is to succeed her. 
 
 Epilogue. 
 
 The time of this Play is seven days represented on the stage, 
 with intervals, the length of which it is, perhaps, impossible to 
 determine : see how dates are shuifled in the list below. 
 
 Day 1. Act I. sc. i. — iv. 
 
 Interval, 
 „ 2. Act II. sc. i. — iii. 
 „ 3. Act II. sc. iv. 
 „ ,4. Act III. sc. i. 
 
 Interval. 
 „ 5. Act III. sc. ii. 
 
 Interval. 
 „ 6. Act rV. sc. i. and ii. 
 
 Interval. 
 „ 7. Act V. sc. i. — V. 
 
316 X. p. A. DANIEL. TIME-ANALYSIS OF HESRY VIII. 
 
 HISTORIC DATES, ARRANGED IN THE ORDER OF THE PLAY. 
 
 1520. June. Field of the Cloth of Gold. 
 1522. March. War declared with France. 
 
 „ May — July. Visit of the Emperor to the English Court. 
 
 1521. April 16th. Buckingham brought to the Tower. 
 1527. Henry becomes acquainted with Anne 
 
 Bullen. 
 1521. May. Arraignment of Buckingham. May 17th, his 
 execution. 
 
 1527. August. Commencement of proceedings for the divorce. 
 
 1528. October. Cardinal Campeius arrives in London. 
 
 1532. September. Anne Bullen created Marchioness of 
 
 Pembroke. 
 
 1529. May. Assembly of the Court at Blackfriais to try the 
 
 case of the divorce. 
 1529, 
 1533. 
 1529. Eeturn of Cardinal Campeius to Eome. 
 
 1533. January. Marriage of Henry with Anne Bullen. 
 
 1529, October. Wolsey deprived of the great seal. 
 „ „ 25tL Sir Thomas More chosen Lord Chan- 
 cellor. 
 
 1533. March 30th. Cranmer consecrated Archbishop of Can- 
 terbury. 
 „ May 23rd. Nullity of the marriage with Katherine 
 declared. 
 
 1530. November 29th. Death of Cardinal "Wolsey. 
 1533. June 1st. Coronation of Anne. 
 1536. January 8th. Death of Queen Katherine. 
 1533. September 7th. Birth of Elizabeth. 
 1544. Cranmer called before the Council. 
 1533. September. Christening of Elizabeth. 
 
 ' [ Cranmer abroad working for the divorce. 
 
 3. / 
 
For 1878 continued : 
 
 Series VIII. Miscellanies. 2. Robert Chester's Lov^s Martyr— bom which Shakspere's 
 lines to the ' Phosnix and Turtle ' were taken— edited by the Rev. A. B. Grosart, B.D. 
 
 The following Publications will 2yrohablij he issued for 1879 : 
 
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