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suggests that Greene's Orlando Furioso was the origin of INTROShakespeare's information here; but it has yet to be DUCTION shown that Greene's work was really of earlier date than

the play in question.

3 Henry VI.

The word 'type' in the very rare sense of distinguishing mark or badge' occurs in 3 Henry VI. :

'Thy father bears the type of King of Naples' (1. iv. 121). The New English Dictionary quotes only two examples of it earlier than 1613, and both from Shakespeare. He probably found it in the Civile Conversation (Bk. 11. 139) : hee which seeketh to reache the very toppe and type of 'glory...'

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In Bk. 1. 18 is the following passage: and as hidden 'flames by force kept downe are most ardent, so these corrupt humours, covertly lurking, with more force consume, and destroy the faire pallace of your minde." It is not easy to believe that the author of 3 Henry VI. had not this sentence in his mind when he made Edward (son of the Duke of York whose death had just been announced) address his brother Richard in these words:

'Now my soul's palace is become a prison': and, a few lines later, made Richard break out with: 'I cannot weep, for all my body's moisture

Scarce serves to quench my furnace-burning heart:
Nor can my tongue unload my heart's great burthen;
For self-same wind, that I should speak withal,
Is kindling coals that fire all my breast,

And burn me up with flames, that tears would quench.'

(II. i. 74-84.)

INTRO

Similarly in Lucrece is, his soul's fair temple is defaced"

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King John.

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Anniball when discussing people who speak ill of the dead mentions a proverb: And of these, this saying rose, That the Lion being dead, the verie Hares triumph

over him ' (Bk. 1. 73). This may be the origin of Shakespeare's more elaborate version in King John :

'You are the hare of whom the proverb goes,

Whose valour plucks dead lions by the beard': (11. i. 137.)

while in the same play Salisbury's lines (v. iv. 5),

That misbegotten devil, Faulconbridge,

In spite of spite, alone upholds the day,'

and a repetition of the phrase in 3 Henry VI. 11. iii. 5,
' And spite of spite needs must I rest awhile,'

would both seem to be echoes of Pettie's words: and

you

'wil say that spight it selfe can not deface her doings any

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way, and that in spight of spight shee will triumph over 'all yll tongues' (Bk. 11. 201).

Julius Cæsar.

There is the scene in which genuine friendship is contrasted with ceremonious regard:

'BRUTUS. He is not doubted. A word, Lucilius :
How he receiv'd you, let me be resolv'd.
LUCILIUS. With curtesy and with respect enough;
But not with such familiar instances,

Nor with such free and friendly conference,
As he hath us'd of old.

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BRUTUS.

Thou hast describ'd

INTRODUCTION

A hot friend cooling. Ever note, Lucilius,
When love begins to sicken and decay,

It useth an enforced ceremony.

There are no tricks in plain and simple faith.'

(Iv. ii. 13-22.)

If we compare with this the views expressed by Anniball which precede Guazzo's reply: 'I allowe the reasons 'alleadged by you to maintaine Ceremonies, but I will say unto you, that they ought to bee observed rather amongest strangers, then familiar friendes. For if I bee not deceived, 'true friendship can away neither with Ceremonious wordes 'nor deedes' (Bk. 11. 166), it will be difficult to believe that Shakespeare was not drawing on his recollection of the Civile Conversation; and still more so when we take the very next lines of Shakespeare:

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'But hollow men, like horses hot at hand,

Make gallant show and promise of their mettle;
But when they should endure the bloody spur,
They fall their crests, and, like deceitful jades,
Sink in the trial:

(IV. ii. 23-27.)

which are obviously but a Shakespearian embellishment

of Pettie's simpler words:

by too much spurring, the

horse is made dull' (Bk. 11. 134).

With the concluding portion of Guazzo's statement one

may also compare Timon of Athens, 1. ii. 15-18:

'Nay, my lords, ceremony was but devis'd at first
To set a gloss on faint deeds, hollow welcomes,

But where there is true friendship, there needs none.'

INTRO- King Lear.

DUCTION A considerable portion of the Third Book of the Guazzo

dialogue relates to the father's bearing to a son, and vice versa, a topic that enters largely into the play of King Lear, in connection with Edmund's crafty denunciation of his brother Edgar as one who was basely seeking to usurp their father's authority. Edmund's concocted letter, which Gloucester intercepts, runs in these words: This 'policy and reverence of age makes the world bitter to 'the best of our times; keeps our fortunes from us till our oldness cannot relish them. I begin to find an idle ' and fond bondage in the oppression of aged tyranny, who 'sways, not as it hath power, but as it is suffered ' (1. ii. 50). And some lines later, Edmund replying to a question put by Gloucester says: I have often heard him maintain 'it to be fit, that, sons at perfect age, and fathers declined, the father should be as ward to the son, and the son manage his revenue' (1. ii. 78 sqq.).

Contrast these extracts with what I cite from Pettie, and it will be seen that the family likeness is so strong between them that it cannot result from coincidence only:

'ANNIB. When eyther thorow the authoritie of olde age, or thorow ambition, or covetousnesse, or too good opinion in his own sufficiencie, the father is so desirous of keping his paternale jurisdiction, that though his children bee arived to mans estate, and be perfectly accomplished every way, yet he will alowe them neither more living, nor more liberty then they had when they were children.

'GUAZ. I thinke they have just cause to bee mal contents, who knowing themselves to be sufficient men, and to be so taken

of every man, are neverthelesse used by their father like INTROchildren and therefore I cannot blame them greatly, if in DUCTION stead of loving him, they complaine of death for delaying the execution of that judgement, which so long before was pronounced agaynst him: . . . adding, that his living will do him no good when it falleth into his handes, for that, by course of nature, he shall be constrained to forgoe it againe . . . but I wyll say, that they ought to acknowledge their insufficiency and want of judgement, and to referre the ordering of their house and living to their chyldren, who are of discretion to deale in suche waighty matters.' (Bk. III. 65.)1

Love's Labour's Lost.

One of the salient features of this play is the Academy— or 'Academe,' as the author always spells it. It has been suggested that he may have got the idea from Thomas Bowes' translation of De la Primaudaye's French Academy (1577), or perhaps from short passages in Greene, or Dekker, or even from J. K[eper]'s Courtiers Academie (1586). It seems, however, that the Civile Conversation is a more likely source, containing as it does a wealth of information in reference to such associations, and the actual working arrangements, procedure, and ceremonies which they had adopted; 2 and the presence in the play of the fantastical Spaniard Don Armado, who is here made the butt of other characters in quite the fashion in which Anniball and Guazzo deride the exaggerated language of the Spaniards, and those who modelled their speech upon it at that time in Italy, lends some confirmation to 1 See also ibid. 66-8, too long to quote here.

2 See Bk. 1. 42-3, and Bk. 11. 224-5.

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