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"I can feel my fingers burn to this day where the frozen fodder sawed and rasped 'em in winter and the hot plough-handles bit and blistered 'em in summer. And then, afterwards, those old St. Louis days meant hard pulling, too, of another kind. From grocery clerk, to dry-goods clerk, to old Peele's real estate office, it was pull, pull, if not over one thing, over another.
Such identifications, at any rate, have no importance for our present task, which is to ascertain in what measure and in what manner Peele's work paved the way for the advent of the Italian pastoral; and we note, with regard to the present scene, that the more polished and more homely elements alike both Colin on the one hand, and Diggon, Hobbinol, and the rest on the other are inspired by Spenser's work, and by his alone.
"I'll employ nobody but myself," said Helen. "I'll go to the British Museum directly." "The Museum!" cried Mr. Undercliff, looking with surprise. "Why, they will be half an hour groping for a copy of the Times. No, no; go to Peele's CoffeeHouse."
She then warns him against the dangers of faithlessness in a passage which is a good example of Peele's use of the old rimed versification, and as such deserves quotation.
Pilchard breathed smoke through his nose in his self-possessed way, and said nothing more, until Swan suddenly broke out: "Well, I for one won't be sorry to get out of this hole. I'll get the job done, of course, but we've just had a terrible setback. I think Peele's dying." "Lord!" "I came away from him only half an hour ago. He may last through the night, but I doubt it.
The slight plot, or story, of Comus was probably suggested to Milton by his recollection of George Peele's Old Wives' Tale, which he may have seen on the stage. The personage of Comus was borrowed from a Latin extravaganza by a Dutch professor, whose Comus was reprinted at Oxford in 1634, the very year in which Milton wrote his Mask.
The Old Wives' Tale, printed as 'by G. P., and of which there is no reason to question Peele's authorship, connects itself with pastoral chiefly through the already mentioned parallel which it affords to Comus. It also anticipates, in a song of harvesters, the introduction of the 'sunburnt sicklemen' of the Tempest masque.
It is of course impossible to say exactly to what extent the fame of the Italian pastoral drama may have penetrated to England the Aminta was first printed the year of the production of Peele's play, and waited a decade before the first English translation and the first English edition appeared but no influence of Tasso's masterpiece can be detected in the Arraignment; still less is it possible to trace any acquaintance with Poliziano's work.
George Peele's masterpiece, David and Bethsabe, was also, in many respects, a fine play, though its beauties were poetic rather than dramatic, consisting not in the characterization which is feeble but in the Eastern luxuriance of the imagery. There is one noble chorus O proud revolt of a presumptuous man,
Why would Shakespeare's plays have been impossible if the evolution of the drama had stopped with Gorboduc? Pre-Shakespearean Dramatists. Selections from Lyly, Peele, Green, Lodge, Nashe, and Kyd may be found in Williams's Specimens. Morley and Oxford Treasury also contain a number of selections. Peele's The Arraignment of Paris and Kyd's The Spanish Tragedy are in Temple Dramatists.
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