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Ile play him one fitt of mirthe on my trebble to rouse him. Ext. These words occur in the left-hand margin. 'Who are these! ha! the towne waits? why, how now, my masters, whats the matter, ha? Passage cancelled in MS. The MS. gives "aurescion." The reading of the MS. seems to be "inuolute." Mr. Fleay suggests "invocate." The repetition of 'loath' in the next line is suspicious.
Mr. Fleay, in his very useful and suggestive, but not altogether to be trusted "Shakespeare Manual," to which I have before referred.
Now that you are safely out of it, I must try to persuade you that it was the most unhealthy place in the whole city, not only because I really believe it to be so, but that malaria may not be mingled and cherished with every remembrance of this delicious, artistic, fleay, malarious paradise.
Strata of his old fashion thrust themselves up through the newer formation. "Troilus and Cressida" is so remarkable in this respect that the chief of the absolute-period critics, the Rev. Mr. Fleay, has been obliged to invent a most extraordinary theory to account for it.
London, 1899. F. G. Fleay. A Biographical Chronicle of the English Drama. 2 vols. London, 1891. Of these some refer chiefly to pastoral poetry, some mainly to the English drama. E. W. Gosse. An Essay on English Pastoral Poetry. A. B. Grosart, Rider on Mr. Gosse's Essay. In Grosart's edition of Spenser, vol. iii, 1882, pp. ix-lxxi. H. O. Sommer. Erster Versuch über die englische Hirtendichtung.
There is an unique tract entitled "Pimlyco or Runne Red cap, 'tis a mad world at Hoggesden," 1609. I cannot find that "bob" is used as a technical term in falconry. Mr. Fleay suggests that a "bob'd hawke" merely means a "hawk cheated of her prey." I rather think the meaning is a "hawk beaten or repulsed by her prey."
Fleay, who regards the piece as forming part of the Five Plays in One, acted at the Rose in April, 1597, may very likely be right. Of the other pieces printed in the same volume, a few only show any trace of pastoral blending with the general mythological colouring.
Fleay separates the portions of the play which are undoubtedly to be assigned to witches from the parts he gives to his Norns, and attributes them to different characters; the other mixes up the witch and Norn elements in one confused mass.
The comic characters also study a piece on the subject of the golden fleece, reminiscent, like Narcissus, of the Midsummer Night's Dream. This, as Mr. Fleay supposes, may well be satirical of some of the city pageants, though it is best to be cautious in discovering definite allusions.
And we don't sympathize with the persecuted witches, although we make a great fuss about the sufferings of the Reformers. 83. The witches in Macbeth. Some take them to be Norns. 84. Gervinus. His opinion. 85. Mr. F.G. Fleay. His opinion. 86. Evidence. Simon Forman's note. 87. Holinshed's account. 88. Criticism. 89.
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